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+The Project Gutenberg EBook of The Notebooks of Leonardo Da Vinci, Complete
+by Leonardo Da Vinci
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+Title: The Notebooks of Leonardo Da Vinci, Complete
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+Author: Leonardo Da Vinci
+
+Release Date: Jan, 2004  [EBook #5000]
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+*** START OF THE PROJECT GUTENBERG EBOOK, THE NOTEBOOKS OF LEONARDO DA
+    VINCI, COMPLETE ***
+
+
+
+
+This eBook was produced by Charles Aldarondo and the Distributed
+Proofreaders team.
+
+
+
+The Notebooks of Leonardo Da Vinci
+
+Volume 1
+
+Translated by Jean Paul Richter
+
+1888
+
+
+
+
+
+
+PREFACE.
+
+
+
+
+
+A singular fatality has ruled the destiny of nearly all the most
+famous of Leonardo da Vinci's works. Two of the three most important
+were never completed, obstacles having arisen during his life-time,
+which obliged him to leave them unfinished; namely the Sforza
+Monument and the Wall-painting of the Battle of Anghiari, while the
+third--the picture of the Last Supper at Milan--has suffered
+irremediable injury from decay and the repeated restorations to
+which it was recklessly subjected during the XVIIth and XVIIIth
+centuries. Nevertheless, no other picture of the Renaissance has
+become so wellknown and popular through copies of every description.
+
+Vasari says, and rightly, in his Life of Leonardo, "that he laboured
+much more by his word than in fact or by deed", and the biographer
+evidently had in his mind the numerous works in Manuscript which
+have been preserved to this day. To us, now, it seems almost
+inexplicable that these valuable and interesting original texts
+should have remained so long unpublished, and indeed forgotten. It
+is certain that during the XVIth and XVIIth centuries their
+exceptional value was highly appreciated. This is proved not merely
+by the prices which they commanded, but also by the exceptional
+interest which has been attached to the change of ownership of
+merely a few pages of Manuscript.
+
+That, notwithstanding this eagerness to possess the Manuscripts,
+their contents remained a mystery, can only be accounted for by the
+many and great difficulties attending the task of deciphering them.
+The handwriting is so peculiar that it requires considerable
+practice to read even a few detached phrases, much more to solve
+with any certainty the numerous difficulties of alternative
+readings, and to master the sense as a connected whole. Vasari
+observes with reference to Leonardos writing: "he wrote backwards,
+in rude characters, and with the left hand, so that any one who is
+not practised in reading them, cannot understand them". The aid of a
+mirror in reading reversed handwriting appears to me available only
+for a first experimental reading. Speaking from my own experience,
+the persistent use of it is too fatiguing and inconvenient to be
+practically advisable, considering the enormous mass of Manuscripts
+to be deciphered. And as, after all, Leonardo's handwriting runs
+backwards just as all Oriental character runs backwards--that is
+to say from right to left--the difficulty of reading direct from the
+writing is not insuperable. This obvious peculiarity in the writing
+is not, however, by any means the only obstacle in the way of
+mastering the text. Leonardo made use of an orthography peculiar to
+himself; he had a fashion of amalgamating several short words into
+one long one, or, again, he would quite arbitrarily divide a long
+word into two separate halves; added to this there is no punctuation
+whatever to regulate the division and construction of the sentences,
+nor are there any accents--and the reader may imagine that such
+difficulties were almost sufficient to make the task seem a
+desperate one to a beginner. It is therefore not surprising that the
+good intentions of some of Leonardo s most reverent admirers should
+have failed.
+
+Leonardos literary labours in various departments both of Art and of
+Science were those essentially of an enquirer, hence the analytical
+method is that which he employs in arguing out his investigations
+and dissertations. The vast structure of his scientific theories is
+consequently built up of numerous separate researches, and it is
+much to be lamented that he should never have collated and arranged
+them. His love for detailed research--as it seems to me--was the
+reason that in almost all the Manuscripts, the different paragraphs
+appear to us to be in utter confusion; on one and the same page,
+observations on the most dissimilar subjects follow each other
+without any connection. A page, for instance, will begin with some
+principles of astronomy, or the motion of the earth; then come the
+laws of sound, and finally some precepts as to colour. Another page
+will begin with his investigations on the structure of the
+intestines, and end with philosophical remarks as to the relations
+of poetry to painting; and so forth.
+
+Leonardo himself lamented this confusion, and for that reason I do
+not think that the publication of the texts in the order in which
+they occur in the originals would at all fulfil his intentions. No
+reader could find his way through such a labyrinth; Leonardo himself
+could not have done it.
+
+Added to this, more than half of the five thousand manuscript pages
+which now remain to us, are written on loose leaves, and at present
+arranged in a manner which has no justification beyond the fancy of
+the collector who first brought them together to make volumes of
+more or less extent. Nay, even in the volumes, the pages of which
+were numbered by Leonardo himself, their order, so far as the
+connection of the texts was concerned, was obviously a matter of
+indifference to him. The only point he seems to have kept in view,
+when first writing down his notes, was that each observation should
+be complete to the end on the page on which it was begun. The
+exceptions to this rule are extremely few, and it is certainly
+noteworthy that we find in such cases, in bound volumes with his
+numbered pages, the written observations: "turn over", "This is the
+continuation of the previous page", and the like. Is not this
+sufficient to prove that it was only in quite exceptional cases that
+the writer intended the consecutive pages to remain connected, when
+he should, at last, carry out the often planned arrangement of his
+writings?
+
+What this final arrangement was to be, Leonardo has in most cases
+indicated with considerable completeness. In other cases this
+authoritative clue is wanting, but the difficulties arising from
+this are not insuperable; for, as the subject of the separate
+paragraphs is always distinct and well defined in itself, it is
+quite possible to construct a well-planned whole, out of the
+scattered materials of his scientific system, and I may venture to
+state that I have devoted especial care and thought to the due
+execution of this responsible task.
+
+The beginning of Leonardo's literary labours dates from about his
+thirty-seventh year, and he seems to have carried them on without
+any serious interruption till his death. Thus the Manuscripts that
+remain represent a period of about thirty years. Within this space
+of time his handwriting altered so little that it is impossible to
+judge from it of the date of any particular text. The exact dates,
+indeed, can only be assigned to certain note-books in which the year
+is incidentally indicated, and in which the order of the leaves has
+not been altered since Leonardo used them. The assistance these
+afford for a chronological arrangement of the Manuscripts is
+generally self evident. By this clue I have assigned to the original
+Manuscripts now scattered through England, Italy and France, the
+order of their production, as in many matters of detail it is highly
+important to be able to verify the time and place at which certain
+observations were made and registered. For this purpose the
+Bibliography of the Manuscripts given at the end of Vol. II, may be
+regarded as an Index, not far short of complete, of all Leonardo s
+literary works now extant. The consecutive numbers (from 1 to 1566)
+at the head of each passage in this work, indicate their logical
+sequence with reference to the subjects; while the letters and
+figures to the left of each paragraph refer to the original
+Manuscript and number of the page, on which that particular passage
+is to be found. Thus the reader, by referring to the List of
+Manuscripts at the beginning of Volume I, and to the Bibliography at
+the end of Volume II, can, in every instance, easily ascertain, not
+merely the period to which the passage belongs, but also exactly
+where it stood in the original document. Thus, too, by following the
+sequence of the numbers in the Bibliographical index, the reader may
+reconstruct the original order of the Manuscripts and recompose the
+various texts to be found on the original sheets--so much of it,
+that is to say, as by its subject-matter came within the scope of
+this work. It may, however, be here observed that Leonardo s
+Manuscripts contain, besides the passages here printed, a great
+number of notes and dissertations on Mechanics, Physics, and some
+other subjects, many of which could only be satisfactorily dealt
+with by specialists. I have given as complete a review of these
+writings as seemed necessary in the Bibliographical notes.
+
+In 1651, Raphael Trichet Dufresne, of Paris, published a selection
+from Leonardo's writings on painting, and this treatise became so
+popular that it has since been reprinted about two-and-twenty times,
+and in six different languages. But none of these editions were
+derived from the original texts, which were supposed to have been
+lost, but from early copies, in which Leonardo's text had been more
+or less mutilated, and which were all fragmentary. The oldest and on
+the whole the best copy of Leonardo's essays and precepts on
+Painting is in the Vatican Library; this has been twice printed,
+first by Manzi, in 1817, and secondly by Ludwig, in 1882. Still,
+this ancient copy, and the published editions of it, contain much
+for which it would be rash to hold Leonardo responsible, and some
+portions--such as the very important rules for the proportions of
+the human figure--are wholly wanting; on the other hand they contain
+passages which, if they are genuine, cannot now be verified from any
+original Manuscript extant. These copies, at any rate neither give
+us the original order of the texts, as written by Leonardo, nor do
+they afford any substitute, by connecting them on a rational scheme;
+indeed, in their chaotic confusion they are anything rather than
+satisfactory reading. The fault, no doubt, rests with the compiler
+of the Vatican copy, which would seem to be the source whence all
+the published and extensively known texts were derived; for, instead
+of arranging the passages himself, he was satisfied with recording a
+suggestion for a final arrangement of them into eight distinct
+parts, without attempting to carry out his scheme. Under the
+mistaken idea that this plan of distribution might be that, not of
+the compiler, but of Leonardo himself, the various editors, down to
+the present day, have very injudiciously continued to adopt this
+order--or rather disorder.
+
+I, like other enquirers, had given up the original Manuscript of the
+Trattato della Pittura for lost, till, in the beginning of 1880, I
+was enabled, by the liberality of Lord Ashburnham, to inspect his
+Manuscripts, and was so happy as to discover among them the original
+text of the best-known portion of the Trattato in his magnificent
+library at Ashburnham Place. Though this discovery was of a fragment
+only--but a considerable fragment--inciting me to further search,
+it gave the key to the mystery which had so long enveloped the first
+origin of all the known copies of the Trattato. The extensive
+researches I was subsequently enabled to prosecute, and the results
+of which are combined in this work, were only rendered possible by
+the unrestricted permission granted me to investigate all the
+Manuscripts by Leonardo dispersed throughout Europe, and to
+reproduce the highly important original sketches they contain, by
+the process of "photogravure". Her Majesty the Queen graciously
+accorded me special permission to copy for publication the
+Manuscripts at the Royal Library at Windsor. The Commission Centrale
+Administrative de l'Institut de France, Paris, gave me, in the most
+liberal manner, in answer to an application from Sir Frederic
+Leighton, P. R. A., Corresponding member of the Institut, free
+permission to work for several months in their private collection at
+deciphering the Manuscripts preserved there. The same favour which
+Lord Ashburnham had already granted me was extended to me by the
+Earl of Leicester, the Marchese Trivulsi, and the Curators of the
+Ambrosian Library at Milan, by the Conte Manzoni at Rome and by
+other private owners of Manuscripts of Leonardo's; as also by the
+Directors of the Louvre at Paris; the Accademia at Venice; the
+Uffizi at Florence; the Royal Library at Turin; and the British
+Museum, and the South Kensington Museum. I am also greatly indebted
+to the Librarians of these various collections for much assistance
+in my labours; and more particularly to Monsieur Louis Lalanne, of
+the Institut de France, the Abbate Ceriani, of the Ambrosian
+Library, Mr. Maude Thompson, Keeper of Manuscripts at the British
+Museum, Mr. Holmes, the Queens Librarian at Windsor, the Revd Vere
+Bayne, Librarian of Christ Church College at Oxford, and the Revd A.
+Napier, Librarian to the Earl of Leicester at Holkham Hall.
+
+In correcting the Italian text for the press, I have had the
+advantage of valuable advice from the Commendatore Giov. Morelli,
+Senatore del Regno, and from Signor Gustavo Frizzoni, of Milan. The
+translation, under many difficulties, of the Italian text into
+English, is mainly due to Mrs. R. C. Bell; while the rendering of
+several of the most puzzling and important passages, particularly in
+the second half of Vol. I, I owe to the indefatigable interest taken
+in this work by Mr. E. J. Poynter R. A. Finally I must express my
+thanks to Mr. Alfred Marks, of Long Ditton, who has most kindly
+assisted me throughout in the revision of the proof sheets.
+
+The notes and dissertations on the texts on Architecture in Vol. II
+I owe to my friend Baron Henri de Geymuller, of Paris.
+
+I may further mention with regard to the illustrations, that the
+negatives for the production of the "photo-gravures" by Monsieur
+Dujardin of Paris were all taken direct from the originals.
+
+It is scarcely necessary to add that most of the drawings here
+reproduced in facsimile have never been published before. As I am
+now, on the termination of a work of several years' duration, in a
+position to review the general tenour of Leonardos writings, I may
+perhaps be permitted to add a word as to my own estimate of the
+value of their contents. I have already shown that it is due to
+nothing but a fortuitous succession of unfortunate circumstances,
+that we should not, long since, have known Leonardo, not merely as a
+Painter, but as an Author, a Philosopher, and a Naturalist. There
+can be no doubt that in more than one department his principles and
+discoveries were infinitely more in accord with the teachings of
+modern science, than with the views of his contemporaries. For this
+reason his extraordinary gifts and merits are far more likely to be
+appreciated in our own time than they could have been during the
+preceding centuries. He has been unjustly accused of having
+squandered his powers, by beginning a variety of studies and then,
+having hardly begun, throwing them aside. The truth is that the
+labours of three centuries have hardly sufficed for the elucidation
+of some of the problems which occupied his mighty mind.
+
+Alexander von Humboldt has borne witness that "he was the first to
+start on the road towards the point where all the impressions of our
+senses converge in the idea of the Unity of Nature" Nay, yet more
+may be said. The very words which are inscribed on the monument of
+Alexander von Humboldt himself, at Berlin, are perhaps the most
+appropriate in which we can sum up our estimate of Leonardo's
+genius:
+
+"Majestati naturae par ingenium."
+
+LONDON, April 1883.
+
+F. P. R.
+
+
+
+
+
+
+
+CONTENTS OF VOLUME I.
+
+
+
+
+
+PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING
+
+Clavis Sigillorum and Index of Manuscripts.--The author's intention
+to publish his MSS. (1).--The preparation of the MSS. for
+publication (2).--Admonition to readers (3).--The disorder in the
+MSS. (4).--Suggestions for the arrangement of MSS. treating of
+particular subjects (5--8).--General introductions to the book on
+painting (9--13).--The plan of the book on painting (14--17).--The
+use of the book on painting (18).--Necessity of theoretical
+knowledge (19, 20).--The function of the eye (21--23).--Variability
+of the eye (24).--Focus of sight (25).--Differences of perception by
+one eye and by both eyes (26--29).--The comparative size of the
+image depends on the amount of light (30--39).
+
+II.
+
+LINEAR PERSPECTIVE
+
+General remarks on perspective (40--41).--The elements of
+perspective:--of the point (42--46).--Of the line (47--48).--The
+nature of the outline (49).--Definition of perspective (50).--The
+perception of the object depends on the direction of the eye
+(51).--Experimental proof of the existence of the pyramid of sight
+(52--55).--The relations of the distance point to the vanishing
+point (55--56).--How to measure the pyramid of vision (57).--The
+production of the pyramid of vision (58--64).--Proof by experiment
+(65--66).--General conclusions (67).--That the contrary is
+impossible (68).--A parallel case (69).--The function of the eye, as
+explained by the camera obscura (70--71).--The practice of
+perspective (72--73).--Refraction of the rays falling upon the eye
+(74--75).--The inversion of the images (76).--The intersection of
+the rays (77--82).--Demonstration of perspective by means of a
+vertical glass plane (83--85.)--The angle of sight varies with the
+distance (86--88).--Opposite pyramids in juxtaposition (89).--On
+simple and complex perspective (90).--The proper distance of objects
+from the eye (91--92).--The relative size of objects with regard to
+their distance from the eye (93--98).--The apparent size of objects
+denned by calculation (99--106).--On natural perspective (107--109).
+
+III.
+
+SIX BOOKS ON LIGHT AND SHADE
+
+GENERAL INTRODUCTION.--Prolegomena (110).--Scheme of the books on
+light and shade (111).--Different principles and plans of treatment
+(112--116).--Different sorts of light (117--118).--Definition of
+the nature of shadows (119--122).--Of the various kinds of shadows
+(123--125).--Of the various kinds of light (126--127).--General
+remarks (128--129).--FIRST BOOK ON LIGHT AND SHADE.--On the nature
+of light (130--131).--The difference between light and lustre
+(132--135).--The relations of luminous to illuminated bodies (136).
+--Experiments on the relation of light and shadow within a room
+(137--140).--Light and shadow with regard to the position of the
+eye (141--145).--The law of the incidence of light
+(146--147).--SECOND BOOK ON LIGHT AND SHADE.--Gradations of strength
+in the shadows (148--149).--On the intensity of shadows as dependent
+on the distance from the light (150--152).--On the proportion of
+light and shadow (153--157).--THIRD BOOK ON LIGHT AND
+SHADE.--Definition of derived shadow (158--159).--Different sorts of
+derived shadows (160--162).--On the relation of derived and primary
+shadow (163--165).--On the shape of derived shadows (166--174).--On
+the relative intensity of derived shadows (175--179).--Shadow as
+produced by two lights of different size (180--181).--The effect of
+light at different distances (182).--Further complications in the
+derived shadows (183--187).--FOURTH BOOK ON LIGHT AND SHADE.--On the
+shape of cast shadows (188--191).--On the outlines of cast shadows
+(192--195).--On the relative size of cast shadows (196.
+197).--Effects on cast shadows by the tone of the back ground
+(198).--A disputed proposition (199).--On the relative depth of
+cast shadows (200--202).--FIFTH BOOK ON LIGHT AND
+SHADE.--Principles of reflection (203. 204).--On reverberation
+(205).--Reflection on water (206. 207).--Experiments with the mirror
+(208--210).--Appendix:--On shadows in movement (211--212).--SIXTH
+BOOK ON LIGHT AND SHADE.--The effect of rays passing through holes
+(213. 214).--On gradation of shadows (215. 216).--On relative
+proportion of light and shadows (216--221).
+
+IV.
+
+PERSPECTIVE OF DISAPPEARANCE
+
+Definition (222. 223).--An illustration by experiment (224).--A
+guiding rule (225).---An experiment (226).--On indistinctness at
+short distances (227--231).--On indistinctness at great distances
+(232--234).--The importance of light and shade in the Prospettiva
+de' perdimenti (235--239).--The effect of light or dark backgrounds
+on the apparent size of objects (240--250).--Propositions on
+Prospettiva de' perdimenti from MS. C. (250--262).
+
+V.
+
+THEORY OF COLOURS
+
+The reciprocal effects of colours on objects placed opposite each
+other (263--271).--Combination of different colours in cast shadows
+(272).--The effect of colours in the camera obscura (273. 274).--On
+the colours of derived shadows (275. 276).--On the nature of colours
+(277. 278).--On gradations in the depth of colours (279. 280).--On
+the reflection of colours (281--283).--On the use of dark and light
+colours in painting (284--286).--On the colours of the rainbow
+(287--288).
+
+VI.
+
+PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE
+
+General rules (289--291).--An exceptional case (292).--An experiment
+(293).--The practice of the Prospettiva de' colori (294).--The rules
+of aerial perspective (295--297).--On the relative density of the
+atmosphere (298--299).--On the colour of the atmosphere (300--307).
+
+VII.
+
+ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE
+
+Preliminary observations (308. 309).--Proportions of the head and
+face (310--318).--Proportions of the head seen in front
+(319--321).--Proportions of the foot (322--323).--Relative
+proportions of the hand and foot (324).--Relative proportions of
+the foot and of the face (325--327).--Proportions of the leg
+(328--331).--On the central point of the whole body (332).--The
+relative proportions of the torso and of the whole figure
+(333).--The relative proportions of the head and of the torso
+(334).--The relative proportions of the torso and of the leg (335.
+336).--The relative proportions of the torso and of the foot
+(337).--The proportions of the whole figure (338--341).--The torso
+from the front and back (342).--Vitruvius' scheme of proportions
+(343).--The arm and head (344).--Proportions of the arm
+(345--349).--The movement of the arm (350--354).--The movement of
+the torso (355--361).--The proportions vary at different ages
+(362--367).--The movement of the human figure (368--375).--Of
+walking up and down (375--379).--On the human body in action
+(380--388).--On hair falling down in curls (389).--On draperies
+
+(390--392).
+
+VIII.
+
+BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING
+
+Classification of trees (393).--The relative thickness of the
+branches to the trunk (394--396).--The law of proportion in the
+growth of the branches (397--402).--The direction of growth
+(403--407).--The forms of trees (408--411).--The insertion of the
+leaves (412--419).--Light on branches and leaves (420--422).--The
+proportions of light and shade in a leaf (423--426).--Of the
+transparency of leaves (427--429).--The gradations of shade and
+colour in leaves (430--434).--A classification of trees according to
+their colours (435).--The proportions of light and shade in trees
+(436--440).--The distribution of light and shade with reference to
+the position of the spectator (441--443).--The effects of morning
+light (444--448).--The effects of midday light (449).--The
+appearance of trees in the distance (450--451).--The cast shadow of
+trees (452. 453).--Light and shade on groups of trees
+(454--457).--On the treatment of light for landscapes
+(458--464).--On the treatment of light for views of towns
+(465--469).--The effect of wind on trees (470--473).--Light and
+shade on clouds (474--477).--On images reflected in water (478).--Of
+rainbows and rain (479. 480).--Of flower seeds (481).
+
+IX.
+
+THE PRACTICE OF PAINTING
+
+I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING.--How to ascertain the
+dispositions for an artistic career (482).--The course of
+instruction for an artist (483--485).--The study of the antique
+(486. 487).--The necessity of anatomical knowledge (488. 489).--How
+to acquire practice (490).--Industry and thoroughness the first
+conditions (491--493.)--The artist's private life and choice of
+company (493. 494).--The distribution of time for studying (495--
+497).--On the productive power of minor artists (498--501).--A
+caution against one-sided study (502).--How to acquire universality
+(503--506).--Useful games and exercises (507. 508).--II. THE
+ARTIST'S STUDIO.--INSTRUMENTS AND HELPS FOR THE APPLICATION OF
+PERSPECTIVE.--ON JUDGING OF A PICTURE.--On the size of the studio
+(509).--On the construction of windows (510--512).--On the best
+light for painting (513--520).--On various helps in preparing a
+picture (521--530).--On the management of works (531. 532).--On the
+limitations of painting (533--535).--On the choice of a position
+(536. 537).--The apparent size of figures in a picture (538.
+539).--The right position of the artist, when painting and of the
+spectator (540--547).--III. THE PRACTICAL METHODS OF LIGHT AND SHADE
+AND AERIAL PERSPECTIVE.--Gradations of light and shade (548).--On
+the choice of light for a picture (549--554).--The distribution of
+light and shade (555--559).--The juxtaposition of light and shade
+(560. 561).--On the lighting of the background (562--565).--On the
+lighting of white objects (566).--The methods of aerial perspective
+(567--570).--IV. OF PORTRAIT AND FIGURE PAINTING.--Of sketching
+figures and portraits (571. 572).--The position of the head
+(573).--Of the light on the face (574--576).--General suggestions
+for historical pictures (577--581).--How to represent the
+differences of age and sex (582. 583).--Of representing the emotions
+(584).--Of representing imaginary animals (585).--The selection of
+forms (586--591).--How to pose figures (592).--Of appropriate
+gestures (593--600).--V. SUGGESTIONS FOR COMPOSITIONS.--Of painting
+battle-pieces (601--603).--Of depicting night-scenes (604).--Of
+depicting a tempest (605. 606).--Of representing the deluge
+(607--609).--Of depicting natural phenomena (610. 611).--VI. THE
+ARTIST'S MATERIALS.--Of chalk and paper (612--617).--On the
+preparation and use of colours (618--627).--Of preparing the panel
+(628).--The preparation of oils (629--634).--On varnishes (635--
+637).--On chemical _materials (638--650).--VII. PHILOSOPHY AND
+HISTORY OF THE ART OF PAINTING.--The relation of art and nature
+(651. 652).--Painting is superior to poetry (653. 654).--Painting is
+superior to sculpture (655. 656).--Aphorisms (657--659).--On the
+history of painting (660. 661).--The painter's scope (662).
+
+X.
+
+STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS
+
+On pictures of the Madonna (663).--Bernardo di Bandino's portrait
+(664).--Notes on the Last Supper (665--668).--On the battle of
+Anghiari (669).--Allegorical representations referring to the duke
+of Milan (670--673).--Allegorical representations
+(674--678).--Arrangement of a picture (679).--List of drawings
+(680).--Mottoes and Emblems (681--702).
+
+
+
+
+
+
+The author's intention to publish his MSS.
+
+1.
+
+How by a certain machine many may stay some time under water. And
+how and wherefore I do not describe my method of remaining under
+water and how long I can remain without eating. And I do not publish
+nor divulge these, by reason of the evil nature of men, who would
+use them for assassinations at the bottom of the sea by destroying
+ships, and sinking them, together with the men in them. Nevertheless
+I will impart others, which are not dangerous because the mouth of
+the tube through which you breathe is above the water, supported on
+air sacks or cork.
+
+[Footnote: The leaf on which this passage is written, is headed with
+the words _Casi_ 39, and most of these cases begin with the word
+'_Come_', like the two here given, which are the 26th and 27th. 7.
+_Sughero_. In the Codex Antlanticus 377a; 1170a there is a sketch,
+drawn with the pen, representing a man with a tube in his mouth, and
+at the farther end of the tube a disk. By the tube the word
+'_Channa_' is written, and by the disk the word '_sughero_'.]
+
+The preparation of the MSS. for publication.
+
+2.
+
+When you put together the science of the motions of water, remember
+to include under each proposition its application and use, in order
+that this science may not be useless.--
+
+[Footnote: A comparatively small portion of Leonardo's notes on
+water-power was published at Bologna in 1828, under the title: "_Del
+moto e misura dell'Acqua, di L. da Vinci_".]
+
+Admonition to readers.
+
+3.
+
+Let no man who is not a Mathematician read the elements of my work.
+
+The disorder in the MSS.
+
+4.
+
+Begun at Florence, in the house of Piero di Braccio Martelli, on the
+22nd day of March 1508. And this is to be a collection without
+order, taken from many papers which I have copied here, hoping to
+arrange them later each in its place, according to the subjects of
+which they may treat. But I believe that before I am at the end of
+this [task] I shall have to repeat the same things several times;
+for which, O reader! do not blame me, for the subjects are many and
+memory cannot retain them [all] and say: 'I will not write this
+because I wrote it before.' And if I wished to avoid falling into
+this fault, it would be necessary in every case when I wanted to
+copy [a passage] that, not to repeat myself, I should read over all
+that had gone before; and all the more since the intervals are long
+between one time of writing and the next.
+
+[Footnote: 1. In the history of Florence in the early part of the
+XVIth century _Piero di Braccio Martelli_ is frequently mentioned as
+_Commissario della Signoria_. He was famous for his learning and at
+his death left four books on Mathematics ready for the press; comp.
+LITTA, _Famiglie celebri Italiane_, _Famiglia Martelli di
+Firenze_.--In the Official Catalogue of MSS. in the Brit. Mus., New
+Series Vol. I., where this passage is printed, _Barto_ has been
+wrongly given for Braccio.
+
+2. _addi 22 di marzo 1508_. The Christian era was computed in
+Florence at that time from the Incarnation (Lady day, March 25th).
+Hence this should be 1509 by our reckoning.
+
+3. _racolto tratto di molte carte le quali io ho qui copiate_. We
+must suppose that Leonardo means that he has copied out his own MSS.
+and not those of others. The first thirteen leaves of the MS. in the
+Brit. Mus. are a fair copy of some notes on physics.]
+
+Suggestions for the arrangement of MSS treating of particular
+subjects.(5-8).
+
+5.
+
+Of digging a canal. Put this in the Book of useful inventions and in
+proving them bring forward the propositions already proved. And this
+is the proper order; since if you wished to show the usefulness of
+any plan you would be obliged again to devise new machines to prove
+its utility and thus would confuse the order of the forty Books and
+also the order of the diagrams; that is to say you would have to mix
+up practice with theory, which would produce a confused and
+incoherent work.
+
+6.
+
+I am not to blame for putting forward, in the course of my work on
+science, any general rule derived from a previous conclusion.
+
+7.
+
+The Book of the science of Mechanics must precede the Book of useful
+inventions.--Have your books on anatomy bound! [Footnote: 4. The
+numerous notes on anatomy written on loose leaves and now in the
+Royal collection at Windsor can best be classified in four Books,
+corresponding to the different character and size of the paper. When
+Leonardo speaks of '_li tua libri di notomia_', he probably means
+the MSS. which still exist; if this hypothesis is correct the
+present condition of these leaves might seem to prove that he only
+carried out his purpose with one of the Books on anatomy. A borrowed
+book on Anatomy is mentioned in F.O.]
+
+8.
+
+The order of your book must proceed on this plan: first simple
+beams, then (those) supported from below, then suspended in part,
+then wholly [suspended]. Then beams as supporting other weights
+[Footnote: 4. Leonardo's notes on Mechanics are extraordinarily
+numerous; but, for the reasons assigned in my introduction, they
+have not been included in the present work.].
+
+General introductions to the book on Painting (9-13).
+
+9.
+
+INTRODUCTION.
+
+Seeing that I can find no subject specially useful or
+pleasing--since the men who have come before me have taken for their
+own every useful or necessary theme--I must do like one who, being
+poor, comes last to the fair, and can find no other way of providing
+himself than by taking all the things already seen by other buyers,
+and not taken but refused by reason of their lesser value. I, then,
+will load my humble pack with this despised and rejected
+merchandise, the refuse of so many buyers; and will go about to
+distribute it, not indeed in great cities, but in the poorer towns,
+taking such a price as the wares I offer may be worth. [Footnote: It
+need hardly be pointed out that there is in this 'Proemio' a covert
+irony. In the second and third prefaces, Leonardo characterises his
+rivals and opponents more closely. His protest is directed against
+Neo-latinism as professed by most of the humanists of his time; its
+futility is now no longer questioned.]
+
+10.
+
+INTRODUCTION.
+
+I know that many will call this useless work [Footnote: 3. questa
+essere opera inutile. By opera we must here understand libro di
+pittura and particularly the treatise on Perspective.]; and they
+will be those of whom Demetrius [Footnote: 4. Demetrio. "With regard
+to the passage attributed to Demetrius", Dr. H. M�LLER STR�BING
+writes, "I know not what to make of it. It is certainly not
+Demetrius Phalereus that is meant and it can hardly be Demetrius
+Poliorcetes. Who then can it be--for the name is a very common one?
+It may be a clerical error for Demades and the maxim is quite in the
+spirit of his writings I have not however been able to find any
+corresponding passage either in the 'Fragments' (C. MULLER, _Orat.
+Att._, II. 441) nor in the Supplements collected by DIETZ (_Rhein.
+Mus._, vol. 29, p. 108)."
+
+The same passage occurs as a simple Memorandum in the MS. Tr. 57,
+apparently as a note for this '_Proemio_' thus affording some data
+as to the time where these introductions were written.] declared
+that he took no more account of the wind that came out their mouth
+in words, than of that they expelled from their lower parts: men who
+desire nothing but material riches and are absolutely devoid of that
+of wisdom, which is the food and the only true riches of the mind.
+For so much more worthy as the soul is than the body, so much more
+noble are the possessions of the soul than those of the body. And
+often, when I see one of these men take this work in his hand, I
+wonder that he does not put it to his nose, like a monkey, or ask me
+if it is something good to eat.
+
+[Footnote: In the original, the Proemio d� prospettiva cio�
+dell'uffitio dell'occhio (see No. 21) stands between this and the
+preceding one, No. 9.]
+
+INTRODUCTION.
+
+I am fully concious that, not being a literary man, certain
+presumptuous persons will think that they may reasonably blame me;
+alleging that I am not a man of letters. Foolish folks! do they not
+know that I might retort as Marius did to the Roman Patricians
+[Footnote 21: _Come Mario disse ai patriti Romani_. "I am unable to
+find the words here attributed by Leonardo to Marius, either in
+Plutarch's Life of Marius or in the Apophthegmata (_Moralia_,
+p.202). Nor do they occur in the writings of Valerius Maximus (who
+frequently mentions Marius) nor in Velleius Paterculus (II, 11 to
+43), Dio Cassius, Aulus Gellius, or Macrobius. Professor E.
+MENDELSON of Dorpat, the editor of Herodian, assures me that no such
+passage is the found in that author" (communication from Dr. MULLER
+STRUBING). Leonardo evidently meant to allude to some well known
+incident in Roman history and the mention of Marius is the result
+probably of some confusion. We may perhaps read, for Marius,
+Menenius Agrippa, though in that case it is true we must alter
+Patriti to Plebei. The change is a serious one. but it would render
+the passage perfectly clear.] by saying: That they, who deck
+themselves out in the labours of others will not allow me my own.
+They will say that I, having no literary skill, cannot properly
+express that which I desire to treat of [Footnote 26: _le mie cose
+.... che d'altra parola_. This can hardly be reconciled with Mons.
+RAVAISSON'S estimate of L. da Vinci's learning. "_Leonard de Vinci
+etait un admirateur et un disciple des anciens, aussi bien dans
+l'art que dans la science et il tenait a passer pour tel meme aux
+yeux de la posterite._" _Gaz. des Beaux arts. Oct. 1877.]; but they
+do not know that my subjects are to be dealt with by experience
+rather than by words [Footnote 28: See Footnote 26]; and
+[experience] has been the mistress of those who wrote well. And so,
+as mistress, I will cite her in all cases.
+
+11.
+
+Though I may not, like them, be able to quote other authors, I shall
+rely on that which is much greater and more worthy:--on experience,
+the mistress of their Masters. They go about puffed up and pompous,
+dressed and decorated with [the fruits], not of their own labours,
+but of those of others. And they will not allow me my own. They will
+scorn me as an inventor; but how much more might they--who are not
+inventors but vaunters and declaimers of the works of others--be
+blamed.
+
+INTRODUCTION.
+
+And those men who are inventors and interpreters between Nature and
+Man, as compared with boasters and declaimers of the works of
+others, must be regarded and not otherwise esteemed than as the
+object in front of a mirror, when compared with its image seen in
+the mirror. For the first is something in itself, and the other
+nothingness.--Folks little indebted to Nature, since it is only by
+chance that they wear the human form and without it I might class
+them with the herds of beasts.
+
+12.
+
+Many will think they may reasonably blame me by alleging that my
+proofs are opposed to the authority of certain men held in the
+highest reverence by their inexperienced judgments; not considering
+that my works are the issue of pure and simple experience, who is
+the one true mistress. These rules are sufficient to enable you to
+know the true from the false--and this aids men to look only for
+things that are possible and with due moderation--and not to wrap
+yourself in ignorance, a thing which can have no good result, so
+that in despair you would give yourself up to melancholy.
+
+13.
+
+Among all the studies of natural causes and reasons Light chiefly
+delights the beholder; and among the great features of Mathematics
+the certainty of its demonstrations is what preeminently (tends to)
+elevate the mind of the investigator. Perspective, therefore, must
+be preferred to all the discourses and systems of human learning. In
+this branch [of science] the beam of light is explained on those
+methods of demonstration which form the glory not so much of
+Mathematics as of Physics and are graced with the flowers of both
+[Footnote: 5. Such of Leonardo's notes on Optics or on Perspective
+as bear exclusively on Mathematics or Physics could not be included
+in the arrangement of the _libro di pittura_ which is here presented
+to the reader. They are however but few.]. But its axioms being laid
+down at great length, I shall abridge them to a conclusive brevity,
+arranging them on the method both of their natural order and of
+mathematical demonstration; sometimes by deduction of the effects
+from the causes, and sometimes arguing the causes from the effects;
+adding also to my own conclusions some which, though not included in
+them, may nevertheless be inferred from them. Thus, if the Lord--who
+is the light of all things--vouchsafe to enlighten me, I will treat
+of Light; wherefore I will divide the present work into 3 Parts
+[Footnote: 10. In the middle ages--for instance, by ROGER BACON, by
+VITELLONE, with whose works Leonardo was certainly familiar, and by
+all the writers of the Renaissance Perspective and Optics were not
+regarded as distinct sciences. Perspective, indeed, is in its widest
+application the science of seeing. Although to Leonardo the two
+sciences were clearly separate, it is not so as to their names; thus
+we find axioms in Optics under the heading Perspective. According to
+this arrangement of the materials for the theoretical portion of the
+_libro di pittura_ propositions in Perspective and in Optics stand
+side by side or occur alternately. Although this particular chapter
+deals only with Optics, it is not improbable that the words _partir�
+la presente opera in 3 parti_ may refer to the same division into
+three sections which is spoken of in chapters 14 to 17.].
+
+The plan of the book on Painting (14--17).
+
+14.
+
+ON THE THREE BRANCHES OF PERSPECTIVE.
+
+There are three branches of perspective; the first deals with the
+reasons of the (apparent) diminution of objects as they recede from
+the eye, and is known as Diminishing Perspective.--The second
+contains the way in which colours vary as they recede from the eye.
+The third and last is concerned with the explanation of how the
+objects [in a picture] ought to be less finished in proportion as
+they are remote (and the names are as follows):
+
+Linear Perspective. The Perspective of Colour. The Perspective of
+Disappearance.
+
+[Footnote: 13. From the character of the handwriting I infer that
+this passage was written before the year 1490.].
+
+15.
+
+ON PAINTING AND PERSPECTIVE.
+
+The divisions of Perspective are 3, as used in drawing; of these,
+the first includes the diminution in size of opaque objects; the
+second treats of the diminution and loss of outline in such opaque
+objects; the third, of the diminution and loss of colour at long
+distances.
+
+[Footnote: The division is here the same as in the previous chapter
+No. 14, and this is worthy of note when we connect it with the fact
+that a space of about 20 years must have intervened between the
+writing of the two passages.]
+
+16.
+
+THE DISCOURSE ON PAINTING.
+
+Perspective, as bearing on drawing, is divided into three principal
+sections; of which the first treats of the diminution in the size of
+bodies at different distances. The second part is that which treats
+of the diminution in colour in these objects. The third [deals with]
+the diminished distinctness of the forms and outlines displayed by
+the objects at various distances.
+
+17.
+
+ON THE SECTIONS OF [THE BOOK ON] PAINTING.
+
+The first thing in painting is that the objects it represents should
+appear in relief, and that the grounds surrounding them at different
+distances shall appear within the vertical plane of the foreground
+of the picture by means of the 3 branches of Perspective, which are:
+the diminution in the distinctness of the forms of the objects, the
+diminution in their magnitude; and the diminution in their colour.
+And of these 3 classes of Perspective the first results from [the
+structure of] the eye, while the other two are caused by the
+atmosphere which intervenes between the eye and the objects seen by
+it. The second essential in painting is appropriate action and a due
+variety in the figures, so that the men may not all look like
+brothers, &c.
+
+[Footnote: This and the two foregoing chapters must have been
+written in 1513 to 1516. They undoubtedly indicate the scheme which
+Leonardo wished to carry out in arranging his researches on
+Perspective as applied to Painting. This is important because it is
+an evidence against the supposition of H. LUDWIG and others, that
+Leonardo had collected his principles of Perspective in one book so
+early as before 1500; a Book which, according to the hypothesis,
+must have been lost at a very early period, or destroyed possibly,
+by the French (!) in 1500 (see H. LUDWIG. L. da Vinci: _Das Buch van
+der Malerei_. Vienna 1882 III, 7 and 8).]
+
+The use of the book on Painting.
+
+18.
+
+These rules are of use only in correcting the figures; since every
+man makes some mistakes in his first compositions and he who knows
+them not, cannot amend them. But you, knowing your errors, will
+correct your works and where you find mistakes amend them, and
+remember never to fall into them again. But if you try to apply
+these rules in composition you will never make an end, and will
+produce confusion in your works.
+
+These rules will enable you to have a free and sound judgment; since
+good judgment is born of clear understanding, and a clear
+understanding comes of reasons derived from sound rules, and sound
+rules are the issue of sound experience--the common mother of all
+the sciences and arts. Hence, bearing in mind the precepts of my
+rules, you will be able, merely by your amended judgment, to
+criticise and recognise every thing that is out of proportion in a
+work, whether in the perspective or in the figures or any thing
+else.
+
+Necessity of theoretical knowledge (19. 20).
+
+19.
+
+OF THE MISTAKES MADE BY THOSE WHO PRACTISE WITHOUT KNOWLEDGE.
+
+Those who are in love with practice without knowledge are like the
+sailor who gets into a ship without rudder or compass and who never
+can be certain whether he is going. Practice must always be founded
+on sound theory, and to this Perspective is the guide and the
+gateway; and without this nothing can be done well in the matter of
+drawing.
+
+20.
+
+The painter who draws merely by practice and by eye, without any
+reason, is like a mirror which copies every thing placed in front of
+it without being conscious of their existence.
+
+The function of the eye (21-23).
+
+21.
+
+INTRODUCTION TO PERSPECTIVE:--THAT IS OF THE FUNCTION OF THE EYE.
+
+Behold here O reader! a thing concerning which we cannot trust our
+forefathers, the ancients, who tried to define what the Soul and
+Life are--which are beyond proof, whereas those things, which can at
+any time be clearly known and proved by experience, remained for
+many ages unknown or falsely understood. The eye, whose function we
+so certainly know by experience, has, down to my own time, been
+defined by an infinite number of authors as one thing; but I find,
+by experience, that it is quite another. [Footnote 13: Compare the
+note to No. 70.]
+
+[Footnote: In section 13 we already find it indicated that the study
+of Perspective and of Optics is to be based on that of the functions
+of the eye. Leonardo also refers to the science of the eye, in his
+astronomical researches, for instance in MS. F 25b '_Ordine del
+provare la terra essere una stella: Imprima difinisce l'occhio'_,
+&c. Compare also MS. E 15b and F 60b. The principles of astronomical
+perspective.]
+
+22.
+
+Here [in the eye] forms, here colours, here the character of every
+part of the universe are concentrated to a point; and that point is
+so marvellous a thing ... Oh! marvellous, O stupendous Necessity--by
+thy laws thou dost compel every effect to be the direct result of
+its cause, by the shortest path. These [indeed] are miracles;...
+
+In so small a space it can be reproduced and rearranged in its whole
+expanse. Describe in your anatomy what proportion there is between
+the diameters of all the images in the eye and the distance from
+them of the crystalline lens.
+
+23.
+
+OF THE 10 ATTRIBUTES OF THE EYE, ALL CONCERNED IN PAINTING.
+
+Painting is concerned with all the 10 attributes of sight; which
+are:--Darkness, Light, Solidity and Colour, Form and Position,
+Distance and Propinquity, Motion and Rest. This little work of mine
+will be a tissue [of the studies] of these attributes, reminding the
+painter of the rules and methods by which he should use his art to
+imitate all the works of Nature which adorn the world.
+
+24.
+
+ON PAINTING.
+
+Variability of the eye.
+
+1st. The pupil of the eye contracts, in proportion to the increase
+of light which is reflected in it. 2nd. The pupil of the eye expands
+in proportion to the diminution in the day light, or any other
+light, that is reflected in it. 3rd. [Footnote: 8. The subject of
+this third proposition we find fully discussed in MS. G. 44a.]. The
+eye perceives and recognises the objects of its vision with greater
+intensity in proportion as the pupil is more widely dilated; and
+this can be proved by the case of nocturnal animals, such as cats,
+and certain birds--as the owl and others--in which the pupil varies
+in a high degree from large to small, &c., when in the dark or in
+the light. 4th. The eye [out of doors] in an illuminated atmosphere
+sees darkness behind the windows of houses which [nevertheless] are
+light. 5th. All colours when placed in the shade appear of an equal
+degree of darkness, among themselves. 6th. But all colours when
+placed in a full light, never vary from their true and essential
+hue.
+
+25.
+
+OF THE EYE.
+
+Focus of sight.
+
+If the eye is required to look at an object placed too near to it,
+it cannot judge of it well--as happens to a man who tries to see the
+tip of his nose. Hence, as a general rule, Nature teaches us that an
+object can never be seen perfectly unless the space between it and
+the eye is equal, at least, to the length of the face.
+
+Differences of perception by one eye and by both eyes (26-29).
+
+26.
+
+OF THE EYE.
+
+When both eyes direct the pyramid of sight to an object, that object
+becomes clearly seen and comprehended by the eyes.
+
+27.
+
+Objects seen by one and the same eye appear sometimes large, and
+sometimes small.
+
+28.
+
+The motion of a spectator who sees an object at rest often makes it
+seem as though the object at rest had acquired the motion of the
+moving body, while the moving person appears to be at rest.
+
+ON PAINTING.
+
+Objects in relief, when seen from a short distance with one eye,
+look like a perfect picture. If you look with the eye _a_, _b_ at
+the spot _c_, this point _c_ will appear to be at _d_, _f_, and if
+you look at it with the eye _g_, _h_ will appear to be at _m_. A
+picture can never contain in itself both aspects.
+
+29.
+
+Let the object in relief _t_ be seen by both eyes; if you will look
+at the object with the right eye _m_, keeping the left eye _n_ shut,
+the object will appear, or fill up the space, at _a_; and if you
+shut the right eye and open the left, the object (will occupy the)
+space _b_; and if you open both eyes, the object will no longer
+appear at _a_ or _b_, but at _e_, _r_, _f_. Why will not a picture
+seen by both eyes produce the effect of relief, as [real] relief
+does when seen by both eyes; and why should a picture seen with one
+eye give the same effect of relief as real relief would under the
+same conditions of light and shade?
+
+[Footnote: In the sketch, _m_ is the left eye and _n_ the right,
+while the text reverses this lettering. We must therefore suppose
+that the face in which the eyes _m_ and _n_ are placed is opposite
+to the spectator.]
+
+30.
+
+The comparative size of the image depends on the amount of light
+(30-39).
+
+The eye will hold and retain in itself the image of a luminous body
+better than that of a shaded object. The reason is that the eye is
+in itself perfectly dark and since two things that are alike cannot
+be distinguished, therefore the night, and other dark objects cannot
+be seen or recognised by the eye. Light is totally contrary and
+gives more distinctness, and counteracts and differs from the usual
+darkness of the eye, hence it leaves the impression of its image.
+
+31.
+
+Every object we see will appear larger at midnight than at midday,
+and larger in the morning than at midday.
+
+This happens because the pupil of the eye is much smaller at midday
+than at any other time.
+
+32.
+
+The pupil which is largest will see objects the largest. This is
+evident when we look at luminous bodies, and particularly at those
+in the sky. When the eye comes out of darkness and suddenly looks up
+at these bodies, they at first appear larger and then diminish; and
+if you were to look at those bodies through a small opening, you
+would see them smaller still, because a smaller part of the pupil
+would exercise its function.
+
+[Footnote: 9. _buso_ in the Lomb. dialect is the same as _buco_.]
+
+33.
+
+When the eye, coming out of darkness suddenly sees a luminous body,
+it will appear much larger at first sight than after long looking at
+it. The illuminated object will look larger and more brilliant, when
+seen with two eyes than with only one. A luminous object will appear
+smaller in size, when the eye sees it through a smaller opening. A
+luminous body of an oval form will appear rounder in proportion as
+it is farther from the eye.
+
+34.
+
+Why when the eye has just seen the light, does the half light look
+dark to it, and in the same way if it turns from the darkness the
+half light look very bright?
+
+35.
+
+ON PAINTING.
+
+If the eye, when [out of doors] in the luminous atmosphere, sees a
+place in shadow, this will look very much darker than it really is.
+This happens only because the eye when out in the air contracts the
+pupil in proportion as the atmosphere reflected in it is more
+luminous. And the more the pupil contracts, the less luminous do the
+objects appear that it sees. But as soon as the eye enters into a
+shady place the darkness of the shadow suddenly seems to diminish.
+This occurs because the greater the darkness into which the pupil
+goes the more its size increases, and this increase makes the
+darkness seem less.
+
+[Footnote 14: _La luce entrer�_. _Luce_ occurs here in the sense of
+pupil of the eye as in no 51: C. A. 84b; 245a; I--5; and in many
+other places.]
+
+36.
+
+ON PERSPECTIVE.
+
+The eye which turns from a white object in the light of the sun and
+goes into a less fully lighted place will see everything as dark.
+And this happens either because the pupils of the eyes which have
+rested on this brilliantly lighted white object have contracted so
+much that, given at first a certain extent of surface, they will
+have lost more than 3/4 of their size; and, lacking in size, they
+are also deficient in [seeing] power. Though you might say to me: A
+little bird (then) coming down would see comparatively little, and
+from the smallness of his pupils the white might seem black! To this
+I should reply that here we must have regard to the proportion of
+the mass of that portion of the brain which is given up to the sense
+of sight and to nothing else. Or--to return--this pupil in Man
+dilates and contracts according to the brightness or darkness of
+(surrounding) objects; and since it takes some time to dilate and
+contract, it cannot see immediately on going out of the light and
+into the shade, nor, in the same way, out of the shade into the
+light, and this very thing has already deceived me in painting an
+eye, and from that I learnt it.
+
+37.
+
+Experiment [showing] the dilatation and contraction of the pupil,
+from the motion of the sun and other luminaries. In proportion as
+the sky is darker the stars appear of larger size, and if you were
+to light up the medium these stars would look smaller; and this
+difference arises solely from the pupil which dilates and contracts
+with the amount of light in the medium which is interposed between
+the eye and the luminous body. Let the experiment be made, by
+placing a candle above your head at the same time that you look at a
+star; then gradually lower the candle till it is on a level with the
+ray that comes from the star to the eye, and then you will see the
+star diminish so much that you will almost lose sight of it.
+
+[Footnote: No reference is made in the text to the letters on the
+accompanying diagram.]
+
+38.
+
+The pupil of the eye, in the open air, changes in size with every
+degree of motion from the sun; and at every degree of its changes
+one and the same object seen by it will appear of a different size;
+although most frequently the relative scale of surrounding objects
+does not allow us to detect these variations in any single object we
+may look at.
+
+39.
+
+The eye--which sees all objects reversed--retains the images for
+some time. This conclusion is proved by the results; because, the
+eye having gazed at light retains some impression of it. After
+looking (at it) there remain in the eye images of intense
+brightness, that make any less brilliant spot seem dark until the
+eye has lost the last trace of the impression of the stronger light.
+
+_II.
+
+Linear Perspective.
+
+We see clearly from the concluding sentence of section 49, where the
+author directly addresses the painter, that he must certainly have
+intended to include the elements of mathematics in his Book on the
+art of Painting. They are therefore here placed at the beginning. In
+section 50 the theory of the "Pyramid of Sight" is distinctly and
+expressly put forward as the fundamental principle of linear
+perspective, and sections 52 to 57 treat of it fully. This theory of
+sight can scarcely be traced to any author of antiquity. Such
+passages as occur in Euclid for instance, may, it is true, have
+proved suggestive to the painters of the Renaissance, but it would
+be rash to say any thing decisive on this point.
+
+Leon Battista Alberti treats of the "Pyramid of Sight" at some
+length in his first Book of Painting; but his explanation differs
+widely from Leonardo's in the details. Leonardo, like Alberti, may
+have borrowed the broad lines of his theory from some views commonly
+accepted among painters at the time; but he certainly worked out its
+application in a perfectly original manner.
+
+The axioms as to the perception of the pyramid of rays are followed
+by explanations of its origin, and proofs of its universal
+application (58--69). The author recurs to the subject with endless
+variations; it is evidently of fundamental importance in his
+artistic theory and practice. It is unnecessary to discuss how far
+this theory has any scientific value at the present day; so much as
+this, at any rate, seems certain: that from the artist's point of
+view it may still claim to be of immense practical utility.
+
+According to Leonardo, on one hand, the laws of perspective are an
+inalienable condition of the existence of objects in space; on the
+other hand, by a natural law, the eye, whatever it sees and wherever
+it turns, is subjected to the perception of the pyramid of rays in
+the form of a minute target. Thus it sees objects in perspective
+independently of the will of the spectator, since the eye receives
+the images by means of the pyramid of rays "just as a magnet
+attracts iron".
+
+In connection with this we have the function of the eye explained by
+the Camera obscura, and this is all the more interesting and
+important because no writer previous to Leonardo had treated of this
+subject_ (70--73). _Subsequent passages, of no less special interest,
+betray his knowledge of refraction and of the inversion of the image
+in the camera and in the eye_ (74--82).
+
+_From the principle of the transmission of the image to the eye and
+to the camera obscura he deduces the means of producing an
+artificial construction of the pyramid of rays or--which is the same
+thing--of the image. The fundamental axioms as to the angle of sight
+and the vanishing point are thus presented in a manner which is as
+complete as it is simple and intelligible_ (86--89).
+
+_Leonardo distinguishes between simple and complex perspective_ (90,
+91). _The last sections treat of the apparent size of objects at
+various distances and of the way to estimate it_ (92--109).
+
+General remarks on perspective (40-41).
+
+40.
+
+ON PAINTING.
+
+Perspective is the best guide to the art of Painting.
+
+[Footnote: 40. Compare 53, 2.]
+
+41.
+
+The art of perspective is of such a nature as to make what is flat
+appear in relief and what is in relief flat.
+
+The elements of perspective--Of the Point (42-46).
+
+42.
+
+All the problems of perspective are made clear by the five terms of
+mathematicians, which are:--the point, the line, the angle, the
+superficies and the solid. The point is unique of its kind. And the
+point has neither height, breadth, length, nor depth, whence it is
+to be regarded as indivisible and as having no dimensions in space.
+The line is of three kinds, straight, curved and sinuous and it has
+neither breadth, height, nor depth. Hence it is indivisible,
+excepting in its length, and its ends are two points. The angle is
+the junction of two lines in a point.
+
+43.
+
+A point is not part of a line.
+
+44.
+
+OF THE NATURAL POINT.
+
+The smallest natural point is larger than all mathematical points,
+and this is proved because the natural point has continuity, and any
+thing that is continuous is infinitely divisible; but the
+mathematical point is indivisible because it has no size.
+
+[Footnote: This definition was inserted by Leonardo on a MS. copy on
+parchment of the well-known _"Trattato d'Architettura civile e
+militare"_ &c. by FRANCESCO DI GIORGIO; opposite a passage where the
+author says: _'In prima he da sapere che punto � quella parie della
+quale he nulla--Linia he luncheza senza �pieza; &c.]
+
+45.
+
+1, The superficies is a limitation of the body. 2, and the
+limitation of a body is no part of that body. 4, and the limitation
+of one body is that which begins another. 3, that which is not part
+of any body is nothing. Nothing is that which fills no space.
+
+If one single point placed in a circle may be the starting point of
+an infinite number of lines, and the termination of an infinite
+number of lines, there must be an infinite number of points
+separable from this point, and these when reunited become one again;
+whence it follows that the part may be equal to the whole.
+
+46.
+
+The point, being indivisible, occupies no space. That which occupies
+no space is nothing. The limiting surface of one thing is the
+beginning of another. 2. That which is no part of any body is called
+nothing. 1. That which has no limitations, has no form. The
+limitations of two conterminous bodies are interchangeably the
+surface of each. All the surfaces of a body are not parts of that
+body.
+
+Of the line (47-48).
+
+47.
+
+DEFINITION OF THE NATURE OF THE LINE.
+
+The line has in itself neither matter nor substance and may rather
+be called an imaginary idea than a real object; and this being its
+nature it occupies no space. Therefore an infinite number of lines
+may be conceived of as intersecting each other at a point, which has
+no dimensions and is only of the thickness (if thickness it may be
+called) of one single line.
+
+HOW WE MAY CONCLUDE THAT A SUPERFICIES TERMINATES IN A POINT?
+
+An angular surface is reduced to a point where it terminates in an
+angle. Or, if the sides of that angle are produced in a straight
+line, then--beyond that angle--another surface is generated,
+smaller, or equal to, or larger than the first.
+
+48.
+
+OF DRAWING OUTLINE.
+
+Consider with the greatest care the form of the outlines of every
+object, and the character of their undulations. And these
+undulations must be separately studied, as to whether the curves are
+composed of arched convexities or angular concavities.
+
+49.
+
+The nature of the outline.
+
+The boundaries of bodies are the least of all things. The
+proposition is proved to be true, because the boundary of a thing is
+a surface, which is not part of the body contained within that
+surface; nor is it part of the air surrounding that body, but is the
+medium interposted between the air and the body, as is proved in its
+place. But the lateral boundaries of these bodies is the line
+forming the boundary of the surface, which line is of invisible
+thickness. Wherefore O painter! do not surround your bodies with
+lines, and above all when representing objects smaller than nature;
+for not only will their external outlines become indistinct, but
+their parts will be invisible from distance.
+
+50.
+
+Definition of Perspective.
+
+[Drawing is based upon perspective, which is nothing else than a
+thorough knowledge of the function of the eye. And this function
+simply consists in receiving in a pyramid the forms and colours of
+all the objects placed before it. I say in a pyramid, because there
+is no object so small that it will not be larger than the spot where
+these pyramids are received into the eye. Therefore, if you extend
+the lines from the edges of each body as they converge you will
+bring them to a single point, and necessarily the said lines must
+form a pyramid.]
+
+[Perspective is nothing more than a rational demonstration applied
+to the consideration of how objects in front of the eye transmit
+their image to it, by means of a pyramid of lines. The _Pyramid_ is
+the name I apply to the lines which, starting from the surface and
+edges of each object, converge from a distance and meet in a single
+point.]
+
+[Perspective is a rational demonstration, by which we may
+practically and clearly understand how objects transmit their own
+image, by lines forming a Pyramid (centred) in the eye.]
+
+Perspective is a rational demonstration by which experience confirms
+that every object sends its image to the eye by a pyramid of lines;
+and bodies of equal size will result in a pyramid of larger or
+smaller size, according to the difference in their distance, one
+from the other. By a pyramid of lines I mean those which start from
+the surface and edges of bodies, and, converging from a distance
+meet in a single point. A point is said to be that which [having no
+dimensions] cannot be divided, and this point placed in the eye
+receives all the points of the cone.
+
+[Footnote: 50. 1-5. Compare with this the Proem. No. 21. The
+paragraphs placed in brackets: lines 1-9, 10-14, and 17--20, are
+evidently mere sketches and, as such, were cancelled by the writer;
+but they serve as a commentary on the final paragraph, lines 22-29.]
+
+51.
+
+IN WHAT WAY THE EYE SEES OBJECTS PLACED IN FRONT OF IT.
+
+The perception of the object depends on the direction of the eye.
+
+Supposing that the ball figured above is the ball of the eye and let
+the small portion of the ball which is cut off by the line _s t_ be
+the pupil and all the objects mirrored on the centre of the face of
+the eye, by means of the pupil, pass on at once and enter the pupil,
+passing through the crystalline humour, which does not interfere in
+the pupil with the things seen by means of the light. And the pupil
+having received the objects, by means of the light, immediately
+refers them and transmits them to the intellect by the line _a b_.
+And you must know that the pupil transmits nothing perfectly to the
+intellect or common sense excepting when the objects presented to it
+by means of light, reach it by the line _a b;_ as, for instance, by
+the line _b c_. For although the lines _m n_ and _f g_ may be seen
+by the pupil they are not perfectly taken in, because they do not
+coincide with the line _a b_. And the proof is this: If the eye,
+shown above, wants to count the letters placed in front, the eye
+will be obliged to turn from letter to letter, because it cannot
+discern them unless they lie in the line _a b;_ as, for instance, in
+the line _a c_. All visible objects reach the eye by the lines of a
+pyramid, and the point of the pyramid is the apex and centre of it,
+in the centre of the pupil, as figured above.
+
+[Footnote: 51. In this problem the eye is conceived of as fixed and
+immovable; this is plain from line 11.]
+
+Experimental proof of the existence of the pyramid of sight (52-55).
+
+52.
+
+Perspective is a rational demonstration, confirmed by experience,
+that all objects transmit their image to the eye by a pyramid of
+lines.
+
+By a pyramid of lines I understand those lines which start from the
+edges of the surface of bodies, and converging from a distance, meet
+in a single point; and this point, in the present instance, I will
+show to be situated in the eye which is the universal judge of all
+objects. By a point I mean that which cannot be divided into parts;
+therefore this point, which is situated in the eye, being
+indivisible, no body is seen by the eye, that is not larger than
+this point. This being the case it is inevitable that the lines
+which come from the object to the point must form a pyramid. And if
+any man seeks to prove that the sense of sight does not reside in
+this point, but rather in the black spot which is visible in the
+middle of the pupil, I might reply to him that a small object could
+never diminish at any distance, as it might be a grain of millet or
+of oats or of some similar thing, and that object, if it were larger
+than the said [black] spot would never be seen as a whole; as may be
+seen in the diagram below. Let _a_. be the seat of sight, _b e_ the
+lines which reach the eye. Let _e d_ be the grains of millet within
+these lines. You plainly see that these will never diminish by
+distance, and that the body _m n_ could not be entirely covered by
+it. Therefore you must confess that the eye contains within itself
+one single indivisible point _a_, to which all the points converge
+of the pyramid of lines starting from an object, as is shown below.
+Let _a_. _b_. be the eye; in the centre of it is the point above
+mentioned. If the line _e f_ is to enter as an image into so small
+an opening in the eye, you must confess that the smaller object
+cannot enter into what is smaller than itself unless it is
+diminished, and by diminishing it must take the form of a pyramid.
+
+53.
+
+PERSPECTIVE.
+
+Perspective comes in where judgment fails [as to the distance] in
+objects which diminish. The eye can never be a true judge for
+determining with exactitude how near one object is to another which
+is equal to it [in size], if the top of that other is on the level
+of the eye which sees them on that side, excepting by means of the
+vertical plane which is the standard and guide of perspective. Let
+_n_ be the eye, _e f_ the vertical plane above mentioned. Let _a b c
+d_ be the three divisions, one below the other; if the lines _a n_
+and _c n_ are of a given length and the eye _n_ is in the centre,
+then _a b_ will look as large as _b c. c d_ is lower and farther off
+from _n_, therefore it will look smaller. And the same effect will
+appear in the three divisions of a face when the eye of the painter
+who is drawing it is on a level with the eye of the person he is
+painting.
+
+54.
+
+TO PROVE HOW OBJECTS REACH THE EYE.
+
+If you look at the sun or some other luminous body and then shut
+your eyes you will see it again inside your eye for a long time.
+This is evidence that images enter into the eye.
+
+The relations of the distance points to the vanishing point (55-56).
+
+55.
+
+ELEMENTS OF PERSPECTIVE.
+
+All objects transmit their image to the eye in pyramids, and the
+nearer to the eye these pyramids are intersected the smaller will
+the image appear of the objects which cause them. Therefore, you may
+intersect the pyramid with a vertical plane [Footnote 4: _Pariete_.
+Compare the definitions in 85, 2-5, 6-27. These lines refer
+exclusively to the third diagram. For the better understanding of
+this it should be observed that _c s_ must be regarded as
+representing the section or profile of a square plane, placed
+horizontally (comp. lines 11, 14, 17) for which the word _pianura_
+is subsequently employed (20, 22). Lines 6-13 contain certain
+preliminary observations to guide the reader in understanding the
+diagram; the last three seem to have been added as a supplement.
+Leonardo's mistake in writing _t denota_ (line 6) for _f denota_ has
+been rectified.] which reaches the base of the pyramid as is shown
+in the plane _a n_.
+
+The eye _f_ and the eye _t_ are one and the same thing; but the eye
+_f_ marks the distance, that is to say how far you are standing from
+the object; and the eye _t_ shows you the direction of it; that is
+whether you are opposite, or on one side, or at an angle to the
+object you are looking at. And remember that the eye _f_ and the eye
+_t_ must always be kept on the same level. For example if you raise
+or lower the eye from the distance point _f_ you must do the same
+with the direction point _t_. And if the point _f_ shows how far the
+eye is distant from the square plane but does not show on which side
+it is placed--and, if in the same way, the point _t_ show _s_ the
+direction and not the distance, in order to ascertain both you must
+use both points and they will be one and the same thing. If the eye
+_f_ could see a perfect square of which all the sides were equal to
+the distance between _s_ and _c_, and if at the nearest end of the
+side towards the eye a pole were placed, or some other straight
+object, set up by a perpendicular line as shown at _r s_--then, I
+say, that if you were to look at the side of the square that is
+nearest to you it will appear at the bottom of the vertical plane _r
+s_, and then look at the farther side and it would appear to you at
+the height of the point _n_ on the vertical plane. Thus, by this
+example, you can understand that if the eye is above a number of
+objects all placed on the same level, one beyond another, the more
+remote they are the higher they will seem, up to the level of the
+eye, but no higher; because objects placed upon the level on which
+your feet stand, so long as it is flat--even if it be extended into
+infinity--would never be seen above the eye; since the eye has in
+itself the point towards which all the cones tend and converge which
+convey the images of the objects to the eye. And this point always
+coincides with the point of diminution which is the extreme of all
+we can see. And from the base line of the first pyramid as far as
+the diminishing point
+
+[Footnote: The two diagrams above the chapter are explained by the
+first five lines. They have, however, more letters than are referred
+to in the text, a circumstance we frequently find occasion to
+remark.]
+
+56.
+
+there are only bases without pyramids which constantly diminish up
+to this point. And from the first base where the vertical plane is
+placed towards the point in the eye there will be only pyramids
+without bases; as shown in the example given above. Now, let _a b_
+be the said vertical plane and _r_ the point of the pyramid
+terminating in the eye, and _n_ the point of diminution which is
+always in a straight line opposite the eye and always moves as the
+eye moves--just as when a rod is moved its shadow moves, and moves
+with it, precisely as the shadow moves with a body. And each point
+is the apex of a pyramid, all having a common base with the
+intervening vertical plane. But although their bases are equal their
+angles are not equal, because the diminishing point is the
+termination of a smaller angle than that of the eye. If you ask me:
+"By what practical experience can you show me these points?" I
+reply--so far as concerns the diminishing point which moves with you
+--when you walk by a ploughed field look at the straight furrows
+which come down with their ends to the path where you are walking,
+and you will see that each pair of furrows will look as though they
+tried to get nearer and meet at the [farther] end.
+
+[Footnote: For the easier understanding of the diagram and of its
+connection with the preceding I may here remark that the square
+plane shown above in profile by the line _c s_ is here indicated by
+_e d o p_. According to lines 1, 3 _a b_ must be imagined as a plane
+of glass placed perpendicularly at _o p_.]
+
+57.
+
+How to measure the pyramid of vision.
+
+As regards the point in the eye; it is made more intelligible by
+this: If you look into the eye of another person you will see your
+own image. Now imagine 2 lines starting from your ears and going to
+the ears of that image which you see in the other man's eye; you
+will understand that these lines converge in such a way that they
+would meet in a point a little way beyond your own image mirrored in
+the eye. And if you want to measure the diminution of the pyramid in
+the air which occupies the space between the object seen and the
+eye, you must do it according to the diagram figured below. Let _m
+n_ be a tower, and _e f_ a, rod, which you must move backwards and
+forwards till its ends correspond with those of the tower [Footnote
+9: _I sua stremi .. della storre_ (its ends ... of the tower) this
+is the case at _e f_.]; then bring it nearer to the eye, at _c d_
+and you will see that the image of the tower seems smaller, as at _r
+o_. Then [again] bring it closer to the eye and you will see the rod
+project far beyond the image of the tower from _a_ to _b_ and from
+_t_ to _b_, and so you will discern that, a little farther within,
+the lines must converge in a point.
+
+The Production of pyramid of Vision (58-60).
+
+58.
+
+PERSPECTIVE.
+
+The instant the atmosphere is illuminated it will be filled with an
+infinite number of images which are produced by the various bodies
+and colours assembled in it. And the eye is the target, a loadstone,
+of these images.
+
+59.
+
+The whole surface of opaque bodies displays its whole image in all
+the illuminated atmosphere which surrounds them on all sides.
+
+60.
+
+That the atmosphere attracts to itself, like a loadstone, all the
+images of the objects that exist in it, and not their forms merely
+but their nature may be clearly seen by the sun, which is a hot and
+luminous body. All the atmosphere, which is the all-pervading
+matter, absorbs light and heat, and reflects in itself the image of
+the source of that heat and splendour and, in each minutest portion,
+does the same. The Northpole does the same as the loadstone shows;
+and the moon and the other planets, without suffering any
+diminution, do the same. Among terrestrial things musk does the same
+and other perfumes.
+
+61.
+
+All bodies together, and each by itself, give off to the surrounding
+air an infinite number of images which are all-pervading and each
+complete, each conveying the nature, colour and form of the body
+which produces it.
+
+It can clearly be shown that all bodies are, by their images,
+all-pervading in the surrounding atmosphere, and each complete in
+itself as to substance form and colour; this is seen by the images
+of the various bodies which are reproduced in one single perforation
+through which they transmit the objects by lines which intersect and
+cause reversed pyramids, from the objects, so that they are upside
+down on the dark plane where they are first reflected. The reason of
+this is--
+
+[Footnote: The diagram intended to illustrate the statement (Pl. II
+No. i) occurs in the original between lines 3 and 4. The three
+circles must be understood to represent three luminous bodies which
+transmit their images through perforations in a wall into a dark
+chamber, according to a law which is more fully explained in 75?81.
+So far as concerns the present passage the diagram is only intended
+to explain that the images of the three bodies may be made to
+coalesce at any given spot. In the circles are written,
+giallo--yellow, bi�cho--white, rosso--red.
+
+The text breaks off at line 8. The paragraph No.40 follows here in
+the original MS.]
+
+62.
+
+Every point is the termination of an infinite number of lines, which
+diverge to form a base, and immediately, from the base the same
+lines converge to a pyramid [imaging] both the colour and form. No
+sooner is a form created or compounded than suddenly infinite lines
+and angles are produced from it; and these lines, distributing
+themselves and intersecting each other in the air, give rise to an
+infinite number of angles opposite to each other. Given a base, each
+opposite angle, will form a triangle having a form and proportion
+equal to the larger angle; and if the base goes twice into each of
+the 2 lines of the pyramid the smaller triangle will do the same.
+
+63.
+
+Every body in light and shade fills the surrounding air with
+infinite images of itself; and these, by infinite pyramids diffused
+in the air, represent this body throughout space and on every side.
+Each pyramid that is composed of a long assemblage of rays includes
+within itself an infinite number of pyramids and each has the same
+power as all, and all as each. A circle of equidistant pyramids of
+vision will give to their object angles of equal size; and an eye at
+each point will see the object of the same size. The body of the
+atmosphere is full of infinite pyramids composed of radiating
+straight lines, which are produced from the surface of the bodies in
+light and shade, existing in the air; and the farther they are from
+the object which produces them the more acute they become and
+although in their distribution they intersect and cross they never
+mingle together, but pass through all the surrounding air,
+independently converging, spreading, and diffused. And they are all
+of equal power [and value]; all equal to each, and each equal to
+all. By these the images of objects are transmitted through all
+space and in every direction, and each pyramid, in itself, includes,
+in each minutest part, the whole form of the body causing it.
+
+64.
+
+The body of the atmosphere is full of infinite radiating pyramids
+produced by the objects existing in it. These intersect and cross
+each other with independent convergence without interfering with
+each other and pass through all the surrounding atmosphere; and are
+of equal force and value--all being equal to each, each to all. And
+by means of these, images of the body are transmitted everywhere and
+on all sides, and each receives in itself every minutest portion of
+the object that produces it.
+
+Proof by experiment (65-66).
+
+65.
+
+PERSPECTIVE.
+
+The air is filled with endless images of the objects distributed in
+it; and all are represented in all, and all in one, and all in each,
+whence it happens that if two mirrors are placed in such a manner as
+to face each other exactly, the first will be reflected in the
+second and the second in the first. The first being reflected in the
+second takes to it the image of itself with all the images
+represented in it, among which is the image of the second mirror,
+and so, image within image, they go on to infinity in such a manner
+as that each mirror has within it a mirror, each smaller than the
+last and one inside the other. Thus, by this example, it is clearly
+proved that every object sends its image to every spot whence the
+object itself can be seen; and the converse: That the same object
+may receive in itself all the images of the objects that are in
+front of it. Hence the eye transmits through the atmosphere its own
+image to all the objects that are in front of it and receives them
+into itself, that is to say on its surface, whence they are taken in
+by the common sense, which considers them and if they are pleasing
+commits them to the memory. Whence I am of opinion: That the
+invisible images in the eyes are produced towards the object, as the
+image of the object to the eye. That the images of the objects must
+be disseminated through the air. An instance may be seen in several
+mirrors placed in a circle, which will reflect each other endlessly.
+When one has reached the other it is returned to the object that
+produced it, and thence--being diminished--it is returned again to
+the object and then comes back once more, and this happens
+endlessly. If you put a light between two flat mirrors with a
+distance of 1 braccio between them you will see in each of them an
+infinite number of lights, one smaller than another, to the last. If
+at night you put a light between the walls of a room, all the parts
+of that wall will be tinted with the image of that light. And they
+will receive the light and the light will fall on them, mutually,
+that is to say, when there is no obstacle to interrupt the
+transmission of the images. This same example is seen in a greater
+degree in the distribution of the solar rays which all together, and
+each by itself, convey to the object the image of the body which
+causes it. That each body by itself alone fills with its images the
+atmosphere around it, and that the same air is able, at the same
+time, to receive the images of the endless other objects which are
+in it, this is clearly proved by these examples. And every object is
+everywhere visible in the whole of the atmosphere, and the whole in
+every smallest part of it; and all the objects in the whole, and all
+in each smallest part; each in all and all in every part.
+
+66.
+
+The images of objects are all diffused through the atmosphere which
+receives them; and all on every side in it. To prove this, let _a c
+e_ be objects of which the images are admitted to a dark chamber by
+the small holes _n p_ and thrown upon the plane _f i_ opposite to
+these holes. As many images will be produced in the chamber on the
+plane as the number of the said holes.
+
+67.
+
+General conclusions.
+
+All objects project their whole image and likeness, diffused and
+mingled in the whole of the atmosphere, opposite to themselves. The
+image of every point of the bodily surface, exists in every part of
+the atmosphere. All the images of the objects are in every part of
+the atmosphere. The whole, and each part of the image of the
+atmosphere is [reflected] in each point of the surface of the bodies
+presented to it. Therefore both the part and the whole of the images
+of the objects exist, both in the whole and in the parts of the
+surface of these visible bodies. Whence we may evidently say that
+the image of each object exists, as a whole and in every part, in
+each part and in the whole interchangeably in every existing body.
+As is seen in two mirrors placed opposite to each other.
+
+68.
+
+That the contrary is impossible.
+
+It is impossible that the eye should project from itself, by visual
+rays, the visual virtue, since, as soon as it opens, that front
+portion [of the eye] which would give rise to this emanation would
+have to go forth to the object and this it could not do without
+time. And this being so, it could not travel so high as the sun in a
+month's time when the eye wanted to see it. And if it could reach
+the sun it would necessarily follow that it should perpetually
+remain in a continuous line from the eye to the sun and should
+always diverge in such a way as to form between the sun and the eye
+the base and the apex of a pyramid. This being the case, if the eye
+consisted of a million worlds, it would not prevent its being
+consumed in the projection of its virtue; and if this virtue would
+have to travel through the air as perfumes do, the winds would bent
+it and carry it into another place. But we do [in fact] see the mass
+of the sun with the same rapidity as [an object] at the distance of
+a braccio, and the power of sight is not disturbed by the blowing of
+the winds nor by any other accident.
+
+[Footnote: The view here refuted by Leonardo was maintained among
+others by Bramantino, Leonardo's Milanese contemporary. LOMAZZO
+writes as follows in his Trattato dell' Arte della pittura &c.
+(Milano 1584. Libr. V cp. XXI): Sovviemmi di aver gi� letto in certi
+scritti alcune cose di Bramantino milanese, celebratissimo pittore,
+attenente alla prospettiva, le quali ho voluto riferire, e quasi
+intessere in questo luogo, affinch� sappiamo qual fosse l'opinione
+di cosi chiaro e famoso pittore intorno alla prospettiva . . Scrive
+Bramantino che la prospettiva � una cosa che contraf� il naturale, e
+che ci� si fa in tre modi
+
+Circa il primo modo che si fa con ragione, per essere la cosa in
+poche parole conclusa da Bramantino in maniera che giudico non
+potersi dir meglio, contenendovi si tutta Parte del principio al
+fine, io riferir� per appunto le proprie parole sue (cp. XXII, Prima
+prospettiva di Bramantino). La prima prospettiva fa le cose di
+punto, e l'altra non mai, e la terza pi� appresso. Adunque la prima
+si dimanda prospettiva, cio� ragione, la quale fa l'effetto dell'
+occhio, facendo crescere e calare secondo gli effetti degli occhi.
+Questo crescere e calare non procede della cosa propria, che in se
+per esser lontana, ovvero vicina, per quello effetto non pu�
+crescere e sminuire, ma procede dagli effetti degli occhi, i quali
+sono piccioli, e perci� volendo vedere tanto gran cosa_, bisogna che
+mandino fuora la virt� visiva, _la quale si dilata in tanta
+larghezza, che piglia tutto quello che vuoi vedere, ed_ arrivando a
+quella cosa la vede dove �: _e da lei agli occhi per quello circuito
+fino all' occhio, e tutto quello termine � pieno di quella cosa_.
+
+It is worthy of note that Leonardo had made his memorandum refuting
+this view, at Milan in 1492]
+
+69.
+
+A parallel case.
+
+Just as a stone flung into the water becomes the centre and cause of
+many circles, and as sound diffuses itself in circles in the air: so
+any object, placed in the luminous atmosphere, diffuses itself in
+circles, and fills the surrounding air with infinite images of
+itself. And is repeated, the whole every-where, and the whole in
+every smallest part. This can be proved by experiment, since if you
+shut a window that faces west and make a hole [Footnote: 6. Here the
+text breaks off.] . .
+
+[Footnote: Compare LIBRI, _Histoire des sciences math�matiques en
+Italie_. Tome III, p. 43.]
+
+The function of the eye as explained by the camera obscura (70. 71).
+
+70.
+
+If the object in front of the eye sends its image to the eye, the
+eye, on the other hand, sends its image to the object, and no
+portion whatever of the object is lost in the images it throws off,
+for any reason either in the eye or the object. Therefore we may
+rather believe it to be the nature and potency of our luminous
+atmosphere which absorbs the images of the objects existing in it,
+than the nature of the objects, to send their images through the
+air. If the object opposite to the eye were to send its image to the
+eye, the eye would have to do the same to the object, whence it
+might seem that these images were an emanation. But, if so, it would
+be necessary [to admit] that every object became rapidly smaller;
+because each object appears by its images in the surrounding
+atmosphere. That is: the whole object in the whole atmosphere, and
+in each part; and all the objects in the whole atmosphere and all of
+them in each part; speaking of that atmosphere which is able to
+contain in itself the straight and radiating lines of the images
+projected by the objects. From this it seems necessary to admit that
+it is in the nature of the atmosphere, which subsists between the
+objects, and which attracts the images of things to itself like a
+loadstone, being placed between them.
+
+PROVE HOW ALL OBJECTS, PLACED IN ONE POSITION, ARE ALL EVERYWHERE
+AND ALL IN EACH PART.
+
+I say that if the front of a building--or any open piazza or
+field--which is illuminated by the sun has a dwelling opposite to
+it, and if, in the front which does not face the sun, you make a
+small round hole, all the illuminated objects will project their
+images through that hole and be visible inside the dwelling on the
+opposite wall which may be made white; and there, in fact, they will
+be upside down, and if you make similar openings in several places
+in the same wall you will have the same result from each. Hence the
+images of the illuminated objects are all everywhere on this wall
+and all in each minutest part of it. The reason, as we clearly know,
+is that this hole must admit some light to the said dwelling, and
+the light admitted by it is derived from one or many luminous
+bodies. If these bodies are of various colours and shapes the rays
+forming the images are of various colours and shapes, and so will
+the representations be on the wall.
+
+[Footnote: 70. 15--23. This section has already been published in the
+"_Saggio delle Opere di Leonardo da Vinci_" Milan 1872, pp. 13, 14.
+G. Govi observes upon it, that Leonardo is not to be regarded as the
+inventor of the Camera obscura, but that he was the first to explain
+by it the structure of the eye. An account of the Camera obscura
+first occurs in CESARE CESARINI's Italian version of Vitruvius, pub.
+1523, four years after Leonardo's death. Cesarini expressly names
+Benedettino Don Papnutio as the inventor of the Camera obscura. In
+his explanation of the function of the eye by a comparison with the
+Camera obscura Leonardo was the precursor of G. CARDANO, Professor
+of Medicine at Bologna (died 1576) and it appears highly probable
+that this is, in fact, the very discovery which Leonardo ascribes to
+himself in section 21 without giving any further details.]
+
+71.
+
+HOW THE IMAGES OF OBJECTS RECEIVED BY THE EYE INTERSECT WITHIN THE
+CRYSTALLINE HUMOUR OF THE EYE.
+
+An experiment, showing how objects transmit their images or
+pictures, intersecting within the eye in the crystalline humour, is
+seen when by some small round hole penetrate the images of
+illuminated objects into a very dark chamber. Then, receive these
+images on a white paper placed within this dark room and rather near
+to the hole and you will see all the objects on the paper in their
+proper forms and colours, but much smaller; and they will be upside
+down by reason of that very intersection. These images being
+transmitted from a place illuminated by the sun will seem actually
+painted on this paper which must be extremely thin and looked at
+from behind. And let the little perforation be made in a very thin
+plate of iron. Let _a b e d e_ be the object illuminated by the sun
+and _o r_ the front of the dark chamber in which is the said hole at
+_n m_. Let _s t_ be the sheet of paper intercepting the rays of the
+images of these objects upside down, because the rays being
+straight, _a_ on the right hand becomes _k_ on the left, and _e_ on
+the left becomes _f_ on the right; and the same takes place inside
+the pupil.
+
+[Footnote: This chapter is already known through a translation into
+French by VENTURI. Compare his '_Essai sur les ouvrages
+physico-math�matiques de L. da Vinci avec des fragments tir�s de ses
+Manuscrits, apport�s de l'Italie. Lu a la premiere classe de
+l'Institut national des Sciences et Arts.' Paris, An V_ (1797).]
+
+The practice of perspective (72. 73).
+
+72.
+
+In the practice of perspective the same rules apply to light and to
+the eye.
+
+73.
+
+The object which is opposite to the pupil of the eye is seen by that
+pupil and that which is opposite to the eye is seen by the pupil.
+
+Refraction of the rays falling upon the eye (74. 75)
+
+74.
+
+The lines sent forth by the image of an object to the eye do not
+reach the point within the eye in straight lines.
+
+75.
+
+If the judgment of the eye is situated within it, the straight lines
+of the images are refracted on its surface because they pass through
+the rarer to the denser medium. If, when you are under water, you
+look at objects in the air you will see them out of their true
+place; and the same with objects under water seen from the air.
+
+The intersection of the rays (76-82).
+
+76.
+
+The inversion of the images.
+
+All the images of objects which pass through a window [glass pane]
+from the free outer air to the air confined within walls, are seen
+on the opposite side; and an object which moves in the outer air
+from east to west will seem in its shadow, on the wall which is
+lighted by this confined air, to have an opposite motion.
+
+77.
+
+THE PRINCIPLE ON WHICH THE IMAGES OF BODIES PASS IN BETWEEN THE
+MARGINS OF THE OPENINGS BY WHICH THEY ENTER.
+
+What difference is there in the way in which images pass through
+narrow openings and through large openings, or in those which pass
+by the sides of shaded bodies? By moving the edges of the opening
+through which the images are admitted, the images of immovable
+objects are made to move. And this happens, as is shown in the 9th
+which demonstrates: [Footnote 11: _per la 9a che dicie_. When
+Leonardo refers thus to a number it serves to indicate marginal
+diagrams; this can in some instances be distinctly proved. The ninth
+sketch on the page W. L. 145 b corresponds to the middle sketch of
+the three reproduced.] the images of any object are all everywhere,
+and all in each part of the surrounding air. It follows that if one
+of the edges of the hole by which the images are admitted to a dark
+chamber is moved it cuts off those rays of the image that were in
+contact with it and gets nearer to other rays which previously were
+remote from it &c.
+
+OF THE MOVEMENT OF THE EDGE AT THE RIGHT OR LEFT, OR THE UPPER, OR
+LOWER EDGE.
+
+If you move the right side of the opening the image on the left will
+move [being that] of the object which entered on the right side of
+the opening; and the same result will happen with all the other
+sides of the opening. This can be proved by the 2nd of this which
+shows: all the rays which convey the images of objects through the
+air are straight lines. Hence, if the images of very large bodies
+have to pass through very small holes, and beyond these holes
+recover their large size, the lines must necessarily intersect.
+
+[Footnote: 77. 2. In the first of the three diagrams Leonardo had
+drawn only one of the two margins, et _m_.]
+
+78.
+
+Necessity has provided that all the images of objects in front of
+the eye shall intersect in two places. One of these intersections is
+in the pupil, the other in the crystalline lens; and if this were
+not the case the eye could not see so great a number of objects as
+it does. This can be proved, since all the lines which intersect do
+so in a point. Because nothing is seen of objects excepting their
+surface; and their edges are lines, in contradistinction to the
+definition of a surface. And each minute part of a line is equal to
+a point; for _smallest_ is said of that than which nothing can be
+smaller, and this definition is equivalent to the definition of the
+point. Hence it is possible for the whole circumference of a circle
+to transmit its image to the point of intersection, as is shown in
+the 4th of this which shows: all the smallest parts of the images
+cross each other without interfering with each other. These
+demonstrations are to illustrate the eye. No image, even of the
+smallest object, enters the eye without being turned upside down;
+but as it penetrates into the crystalline lens it is once more
+reversed and thus the image is restored to the same position within
+the eye as that of the object outside the eye.
+
+79.
+
+OF THE CENTRAL LINE OF THE EYE.
+
+Only one line of the image, of all those that reach the visual
+virtue, has no intersection; and this has no sensible dimensions
+because it is a mathematical line which originates from a
+mathematical point, which has no dimensions.
+
+According to my adversary, necessity requires that the central line
+of every image that enters by small and narrow openings into a dark
+chamber shall be turned upside down, together with the images of the
+bodies that surround it.
+
+80.
+
+AS TO WHETHER THE CENTRAL LINE OF THE IMAGE CAN BE INTERSECTED, OR
+NOT, WITHIN THE OPENING.
+
+It is impossible that the line should intersect itself; that is,
+that its right should cross over to its left side, and so, its left
+side become its right side. Because such an intersection demands two
+lines, one from each side; for there can be no motion from right to
+left or from left to right in itself without such extension and
+thickness as admit of such motion. And if there is extension it is
+no longer a line but a surface, and we are investigating the
+properties of a line, and not of a surface. And as the line, having
+no centre of thickness cannot be divided, we must conclude that the
+line can have no sides to intersect each other. This is proved by
+the movement of the line _a f_ to _a b_ and of the line _e b_ to _e
+f_, which are the sides of the surface _a f e b_. But if you move
+the line _a b_ and the line _e f_, with the frontends _a e_, to the
+spot _c_, you will have moved the opposite ends _f b_ towards each
+other at the point _d_. And from the two lines you will have drawn
+the straight line _c d_ which cuts the middle of the intersection of
+these two lines at the point _n_ without any intersection. For, you
+imagine these two lines as having breadth, it is evident that by
+this motion the first will entirely cover the other--being equal
+with it--without any intersection, in the position _c d_. And this
+is sufficient to prove our proposition.
+
+81.
+
+HOW THE INNUMERABLE RAYS FROM INNUMERABLE IMAGES CAN CONVERGE TO A
+POINT.
+
+Just as all lines can meet at a point without interfering with each
+other--being without breadth or thickness--in the same way all the
+images of surfaces can meet there; and as each given point faces the
+object opposite to it and each object faces an opposite point, the
+converging rays of the image can pass through the point and diverge
+again beyond it to reproduce and re-magnify the real size of that
+image. But their impressions will appear reversed--as is shown in
+the first, above; where it is said that every image intersects as it
+enters the narrow openings made in a very thin substance.
+
+Read the marginal text on the other side.
+
+In proportion as the opening is smaller than the shaded body, so
+much less will the images transmitted through this opening intersect
+each other. The sides of images which pass through openings into a
+dark room intersect at a point which is nearer to the opening in
+proportion as the opening is narrower. To prove this let _a b_ be an
+object in light and shade which sends not its shadow but the image
+of its darkened form through the opening _d e_ which is as wide as
+this shaded body; and its sides _a b_, being straight lines (as has
+been proved) must intersect between the shaded object and the
+opening; but nearer to the opening in proportion as it is smaller
+than the object in shade. As is shown, on your right hand and your
+left hand, in the two diagrams _a_ _b_ _c_ _n_ _m_ _o_ where, the
+right opening _d_ _e_, being equal in width to the shaded object _a_
+_b_, the intersection of the sides of the said shaded object occurs
+half way between the opening and the shaded object at the point _c_.
+But this cannot happen in the left hand figure, the opening _o_
+being much smaller than the shaded object _n_ _m_.
+
+It is impossible that the images of objects should be seen between
+the objects and the openings through which the images of these
+bodies are admitted; and this is plain, because where the atmosphere
+is illuminated these images are not formed visibly.
+
+When the images are made double by mutually crossing each other they
+are invariably doubly as dark in tone. To prove this let _d_ _e_ _h_
+be such a doubling which although it is only seen within the space
+between the bodies in _b_ and _i_ this will not hinder its being
+seen from _f_ _g_ or from _f_ _m_; being composed of the images _a_
+_b_ _i_ _k_ which run together in _d_ _e_ _h_.
+
+[Footnote: 81. On the original diagram at the beginning of this
+chapter Leonardo has written "_azurro_" (blue) where in the
+facsimile I have marked _A_, and "_giallo_" (yellow) where _B_
+stands.]
+
+[Footnote: 15--23. These lines stand between the diagrams I and III.]
+
+[Footnote: 24--53. These lines stand between the diagrams I and II.]
+
+[Footnote: 54--97 are written along the left side of diagram I.]
+
+82.
+
+An experiment showing that though the pupil may not be moved from
+its position the objects seen by it may appear to move from their
+places.
+
+If you look at an object at some distance from you and which is
+below the eye, and fix both your eyes upon it and with one hand
+firmly hold the upper lid open while with the other you push up the
+under lid--still keeping your eyes fixed on the object gazed at--you
+will see that object double; one [image] remaining steady, and the
+other moving in a contrary direction to the pressure of your finger
+on the lower eyelid. How false the opinion is of those who say that
+this happens because the pupil of the eye is displaced from its
+position.
+
+How the above mentioned facts prove that the pupil acts upside down
+in seeing.
+
+[Footnote: 82. 14--17. The subject indicated by these two headings is
+fully discussed in the two chapters that follow them in the
+original; but it did not seem to me appropriate to include them
+here.]
+
+Demostration of perspective by means of a vertical glass plane
+(83-85).
+
+83.
+
+OF THE PLANE OF GLASS.
+
+Perspective is nothing else than seeing place [or objects] behind a
+plane of glass, quite transparent, on the surface of which the
+objects behind that glass are to be drawn. These can be traced in
+pyramids to the point in the eye, and these pyramids are intersected
+on the glass plane.
+
+84.
+
+Pictorial perspective can never make an object at the same distance,
+look of the same size as it appears to the eye. You see that the
+apex of the pyramid _f c d_ is as far from the object _c_ _d_ as the
+same point _f_ is from the object _a_ _b_; and yet _c_ _d_, which is
+the base made by the painter's point, is smaller than _a_ _b_ which
+is the base of the lines from the objects converging in the eye and
+refracted at _s_ _t_, the surface of the eye. This may be proved by
+experiment, by the lines of vision and then by the lines of the
+painter's plumbline by cutting the real lines of vision on one and
+the same plane and measuring on it one and the same object.
+
+85.
+
+PERSPECTIVE.
+
+The vertical plane is a perpendicular line, imagined as in front of
+the central point where the apex of the pyramids converge. And this
+plane bears the same relation to this point as a plane of glass
+would, through which you might see the various objects and draw them
+on it. And the objects thus drawn would be smaller than the
+originals, in proportion as the distance between the glass and the
+eye was smaller than that between the glass and the objects.
+
+PERSPECTIVE.
+
+The different converging pyramids produced by the objects, will
+show, on the plane, the various sizes and remoteness of the objects
+causing them.
+
+PERSPECTIVE.
+
+All those horizontal planes of which the extremes are met by
+perpendicular lines forming right angles, if they are of equal width
+the more they rise to the level of eye the less this is seen, and
+the more the eye is above them the more will their real width be
+seen.
+
+PERSPECTIVE.
+
+The farther a spherical body is from the eye the more you will see
+of it.
+
+The angle of sight varies with the distance (86-88)
+
+86.
+
+A simple and natural method; showing how objects appear to the eye
+without any other medium.
+
+The object that is nearest to the eye always seems larger than
+another of the same size at greater distance. The eye _m_, seeing
+the spaces _o v x_, hardly detects the difference between them, and
+the. reason of this is that it is close to them [Footnote 6: It is
+quite inconceivable to me why M. RAVAISSON, in a note to his French
+translation of this simple passage should have remarked: _Il est
+clair que c'est par erreur que Leonard a �crit_ per esser visino _au
+lieu de_ per non esser visino. (See his printed ed. of MS. A. p.
+38.)]; but if these spaces are marked on the vertical plane _n o_
+the space _o v_ will be seen at _o r_, and in the same way the space
+_v x_ will appear at _r q_. And if you carry this out in any place
+where you can walk round, it will look out of proportion by reason
+of the great difference in the spaces _o r_ and _r q_. And this
+proceeds from the eye being so much below [near] the plane that the
+plane is foreshortened. Hence, if you wanted to carry it out, you
+would have [to arrange] to see the perspective through a single hole
+which must be at the point _m_, or else you must go to a distance of
+at least 3 times the height of the object you see. The plane _o p_
+being always equally remote from the eye will reproduce the objects
+in a satisfactory way, so that they may be seen from place to place.
+
+87.
+
+How every large mass sends forth its images, which may diminish
+through infinity.
+
+The images of any large mass being infinitely divisible may be
+infinitely diminished.
+
+88.
+
+Objects of equal size, situated in various places, will be seen by
+different pyramids which will each be smaller in proportion as the
+object is farther off.
+
+89.
+
+Perspective, in dealing with distances, makes use of two opposite
+pyramids, one of which has its apex in the eye and the base as
+distant as the horizon. The other has the base towards the eye and
+the apex on the horizon. Now, the first includes the [visible]
+universe, embracing all the mass of the objects that lie in front of
+the eye; as it might be a vast landscape seen through a very small
+opening; for the more remote the objects are from the eye, the
+greater number can be seen through the opening, and thus the pyramid
+is constructed with the base on the horizon and the apex in the eye,
+as has been said. The second pyramid is extended to a spot which is
+smaller in proportion as it is farther from the eye; and this second
+perspective [= pyramid] results from the first.
+
+90.
+
+SIMPLE PERSPECTIVE.
+
+Simple perspective is that which is constructed by art on a vertical
+plane which is equally distant from the eye in every part. Complex
+perspective is that which is constructed on a ground-plan in which
+none of the parts are equally distant from the eye.
+
+91.
+
+PERSPECTIVE.
+
+No surface can be seen exactly as it is, if the eye that sees it is
+not equally remote from all its edges.
+
+92.
+
+WHY WHEN AN OBJECT IS PLACED CLOSE TO THE EYE ITS EDGES ARE
+INDISTINCT.
+
+When an object opposite the eye is brought too close to it, its
+edges must become too confused to be distinguished; as it happens
+with objects close to a light, which cast a large and indistinct
+shadow, so is it with an eye which estimates objects opposite to it;
+in all cases of linear perspective, the eye acts in the same way as
+the light. And the reason is that the eye has one leading line (of
+vision) which dilates with distance and embraces with true
+discernment large objects at a distance as well as small ones that
+are close. But since the eye sends out a multitude of lines which
+surround this chief central one and since these which are farthest
+from the centre in this cone of lines are less able to discern with
+accuracy, it follows that an object brought close to the eye is not
+at a due distance, but is too near for the central line to be able
+to discern the outlines of the object. So the edges fall within the
+lines of weaker discerning power, and these are to the function of
+the eye like dogs in the chase which can put up the game but cannot
+take it. Thus these cannot take in the objects, but induce the
+central line of sight to turn upon them, when they have put them up.
+Hence the objects which are seen with these lines of sight have
+confused outlines.
+
+The relative size of objects with regard to their distance from the
+eye (93-98).
+
+93.
+
+PERSPECTIVE.
+
+Small objects close at hand and large ones at a distance, being seen
+within equal angles, will appear of the same size.
+
+94.
+
+PERSPECTIVE.
+
+There is no object so large but that at a great distance from the
+eye it does not appear smaller than a smaller object near.
+
+95.
+
+Among objects of equal size that which is most remote from the eye
+will look the smallest. [Footnote: This axiom, sufficiently clear in
+itself, is in the original illustrated by a very large diagram,
+constructed like that here reproduced under No. 108.
+
+The same idea is repeated in C. A. I a; I a, stated as follows:
+_Infra le cose d'equal grandeza quella si dimostra di minor figura
+che sara pi� distante dall' ochio_.--]
+
+96.
+
+Why an object is less distinct when brought near to the eye, and why
+with spectacles, or without the naked eye sees badly either close or
+far off [as the case may be].
+
+97.
+
+PERSPECTIVE.
+
+Among objects of equal size, that which is most remote from the eye
+will look the smallest.
+
+98.
+
+PERSPECTIVE.
+
+No second object can be so much lower than the first as that the eye
+will not see it higher than the first, if the eye is above the
+second.
+
+PERSPECTIVE.
+
+And this second object will never be so much higher than the first
+as that the eye, being below them, will not see the second as lower
+than the first.
+
+PERSPECTIVE.
+
+If the eye sees a second square through the centre of a smaller one,
+that is nearer, the second, larger square will appear to be
+surrounded by the smaller one.
+
+PERSPECTIVE--PROPOSITION.
+
+Objects that are farther off can never be so large but that those in
+front, though smaller, will conceal or surround them.
+
+DEFINITION.
+
+This proposition can be proved by experiment. For if you look
+through a small hole there is nothing so large that it cannot be
+seen through it and the object so seen appears surrounded and
+enclosed by the outline of the sides of the hole. And if you stop it
+up, this small stopping will conceal the view of the largest object.
+
+The apparent size of objects defined by calculation (99-105)
+
+99.
+
+OF LINEAR PERSPECTIVE.
+
+Linear Perspective deals with the action of the lines of sight, in
+proving by measurement how much smaller is a second object than the
+first, and how much the third is smaller than the second; and so on
+by degrees to the end of things visible. I find by experience that
+if a second object is as far beyond the first as the first is from
+the eye, although they are of the same size, the second will seem
+half the size of the first and if the third object is of the same
+size as the 2nd, and the 3rd is as far beyond the second as the 2nd
+from the first, it will appear of half the size of the second; and
+so on by degrees, at equal distances, the next farthest will be half
+the size of the former object. So long as the space does not exceed
+the length of 20 braccia. But, beyond 20 braccia figures of equal
+size will lose 2/4 and at 40 braccia they will lose 9/10, and 19/20
+at 60 braccia, and so on diminishing by degrees. This is if the
+picture plane is distant from you twice your own height. If it is
+only as far off as your own height, there will be a great difference
+between the first braccia and the second.
+
+[Footnote: This chapter is included in DUFRESNE'S and MANZI'S
+editions of the Treatise on Painting. H. LUDWIG, in his commentary,
+calls this chapter "_eines der wichtigsten im ganzen Tractat_", but
+at the same time he asserts that its substance has been so
+completely disfigured in the best MS. copies that we ought not to
+regard Leonardo as responsible for it. However, in the case of this
+chapter, the old MS. copies agree with the original as it is
+reproduced above. From the chapters given later in this edition,
+which were written at a subsequent date, it would appear that
+Leonardo corrected himself on these points.]
+
+100.
+
+OF THE DIMINUTION OF OBJECTS AT VARIOUS DISTANCES.
+
+A second object as far distant from the first as the first is from
+the eye will appear half the size of the first, though they be of
+the same size really.
+
+OF THE DEGREES OF DIMINUTION.
+
+If you place the vertical plane at one braccio from the eye, the
+first object, being at a distance of 4 braccia from your eye will
+diminish to 3/4 of its height at that plane; and if it is 8 braccia
+from the eye, to 7/8; and if it is 16 braccia off, it will diminish
+to 15/16 of its height and so on by degrees, as the space doubles
+the diminution will double.
+
+101.
+
+Begin from the line _m f_ with the eye below; then go up and do the
+same with the line _n f_, then with the eye above and close to the 2
+gauges on the ground look at _m n_; then as _c m_ is to _m n_ so
+will _n m_ be to _n s_.
+
+If _a n_ goes 3 times into _f b, m p_ will do the same into _p g_.
+Then go backwards so far as that _c d_ goes twice into _a n_ and _p
+g_ will be equal to _g h_. And _m p_ will go into _h p_ as often as
+_d c_ into _o p_.
+
+[Footnote: The first three lines are unfortunately very obscure.]
+
+102.
+
+I GIVE THE DEGREES OF THE OBJECTS SEEN BY THE EYE AS THE MUSICIAN
+DOES THE NOTES HEARD BY THE EAR.
+
+Although the objects seen by the eye do, in fact, touch each other
+as they recede, I will nevertheless found my rule on spaces of 20
+braccia each; as a musician does with notes, which, though they can
+be carried on one into the next, he divides into degrees from note
+to note calling them 1st, 2nd, 3rd, 4th, 5th; and has affixed a name
+to each degree in raising or lowering the voice.
+
+103.
+
+PERSPECTIVE.
+
+Let _f_ be the level and distance of the eye; and _a_ the vertical
+plane, as high as a man; let _e_ be a man, then I say that on the
+plane this will be the distance from the plane to the 2nd man.
+
+104.
+
+The differences in the diminution of objects of equal size in
+consequence of their various remoteness from the eye will bear among
+themselves the same proportions as those of the spaces between the
+eye and the different objects.
+
+Find out how much a man diminishes at a certain distance and what
+its length is; and then at twice that distance and at 3 times, and
+so make your general rule.
+
+105.
+
+The eye cannot judge where an object high up ought to descend.
+
+106.
+
+PERSPECTIVE.
+
+If two similar and equal objects are placed one beyond the other at
+a given distance the difference in their size will appear greater in
+proportion as they are nearer to the eye that sees them. And
+conversely there will seem to be less difference in their size in
+proportion as they are remote from the eve.
+
+This is proved by the proportions of their distances among
+themselves; for, if the first of these two objects were as far from
+the eye, as the 2nd from the first this would be called the second
+proportion: since, if the first is at 1 braccia from the eye and the
+2nd at two braccia, two being twice as much as one, the first object
+will look twice as large as the second. But if you place the first
+at a hundred braccia from you and the second at a hundred and one,
+you will find that the first is only so much larger than the second
+as 100 is less than 101; and the converse is equally true. And
+again, the same thing is proved by the 4th of this book which shows
+that among objects that are equal, there is the same proportion in
+the diminution of the size as in the increase in the distance from
+the eye of the spectator.
+
+On natural perspective (107--109).
+
+107.
+
+OF EQUAL OBJECTS THE MOST REMOTE LOOK THE SMALLEST.
+
+The practice of perspective may be divided into ... parts [Footnote
+4: _in_ ... _parte_. The space for the number is left blank in the
+original.], of which the first treats of objects seen by the eye at
+any distance; and it shows all these objects just as the eye sees
+them diminished, without obliging a man to stand in one place rather
+than another so long as the plane does not produce a second
+foreshortening.
+
+But the second practice is a combination of perspective derived
+partly from art and partly from nature and the work done by its
+rules is in every portion of it, influenced by natural perspective
+and artificial perspective. By natural perspective I mean that the
+plane on which this perspective is represented is a flat surface,
+and this plane, although it is parallel both in length and height,
+is forced to diminish in its remoter parts more than in its nearer
+ones. And this is proved by the first of what has been said above,
+and its diminution is natural. But artificial perspective, that is
+that which is devised by art, does the contrary; for objects equal
+in size increase on the plane where it is foreshortened in
+proportion as the eye is more natural and nearer to the plane, and
+as the part of the plane on which it is figured is farther from the
+eye.
+
+And let this plane be _d e_ on which are seen 3 equal circles which
+are beyond this plane _d e_, that is the circles _a b c_. Now you
+see that the eye _h_ sees on the vertical plane the sections of the
+images, largest of those that are farthest and smallest of the
+nearest.
+
+108.
+
+Here follows what is wanting in the margin at the foot on the other
+side of this page.
+
+Natural perspective acts in a contrary way; for, at greater
+distances the object seen appears smaller, and at a smaller distance
+the object appears larger. But this said invention requires the
+spectator to stand with his eye at a small hole and then, at that
+small hole, it will be very plain. But since many (men's) eyes
+endeavour at the same time to see one and the same picture produced
+by this artifice only one can see clearly the effect of this
+perspective and all the others will see confusion. It is well
+therefore to avoid such complex perspective and hold to simple
+perspective which does not regard planes as foreshortened, but as
+much as possible in their proper form. This simple perspective, in
+which the plane intersects the pyramids by which the images are
+conveyed to the eye at an equal distance from the eye is our
+constant experience, from the curved form of the pupil of the eye on
+which the pyramids are intersected at an equal distance from the
+visual virtue.
+
+[Footnote 24: _la prima di sopra_ i. e. the first of the three
+diagrams which, in the original MS., are placed in the margin at the
+beginning of this chapter.]
+
+109.
+
+OF A MIXTURE OF NATURAL AND ARTIFICIAL PERSPECTIVE.
+
+This diagram distinguishes natural from artificial perspective. But
+before proceeding any farther I will define what is natural and what
+is artificial perspective. Natural perspective says that the more
+remote of a series of objects of equal size will look the smaller,
+and conversely, the nearer will look the larger and the apparent
+size will diminish in proportion to the distance. But in artificial
+perspective when objects of unequal size are placed at various
+distances, the smallest is nearer to the eye than the largest and
+the greatest distance looks as though it were the least of all; and
+the cause of this is the plane on which the objects are represented;
+and which is at unequal distances from the eye throughout its
+length. And this diminution of the plane is natural, but the
+perspective shown upon it is artificial since it nowhere agrees with
+the true diminution of the said plane. Whence it follows, that when
+the eye is somewhat removed from the [station point of the]
+perspective that it has been gazing at, all the objects represented
+look monstrous, and this does not occur in natural perspective,
+which has been defined above. Let us say then, that the square _a b
+c d_ figured above is foreshortened being seen by the eye situated
+in the centre of the side which is in front. But a mixture of
+artificial and natural perspective will be seen in this tetragon
+called _el main_ [Footnote 20: _el main_ is quite legibly written in
+the original; the meaning and derivation of the word are equally
+doubtful.], that is to say _e f g h_ which must appear to the eye of
+the spectator to be equal to _a b c d_ so long as the eye remains in
+its first position between _c_ and _d_. And this will be seen to
+have a good effect, because the natural perspective of the plane
+will conceal the defects which would [otherwise] seem monstrous.
+
+_III._
+
+_Six books on Light and Shade._
+
+_Linear Perspective cannot be immediately followed by either the_
+"prospettiva de' perdimenti" _or the_ "prospettiva de' colori" _or
+the aerial perspective; since these branches of the subject
+presuppose a knowledge of the principles of Light and Shade. No
+apology, therefore, is here needed for placing these immediately
+after Linear Perspective._
+
+_We have various plans suggested by Leonardo for the arrangement of
+the mass of materials treating of this subject. Among these I have
+given the preference to a scheme propounded in No._ III, _because,
+in all probability, we have here a final and definite purpose
+expressed. Several authors have expressed it as their opinion that
+the Paris Manuscript_ C _is a complete and finished treatise on
+Light and Shade. Certainly, the Principles of Light and Shade form
+by far the larger portion of this MS. which consists of two separate
+parts; still, the materials are far from being finally arranged. It
+is also evident that he here investigates the subject from the point
+of view of the Physicist rather than from that of the Painter._
+
+_The plan of a scheme of arrangement suggested in No._ III _and
+adopted by me has been strictly adhered to for the first four Books.
+For the three last, however, few materials have come down to us; and
+it must be admitted that these three Books would find a far more
+appropriate place in a work on Physics than in a treatise on
+Painting. For this reason I have collected in Book V all the
+chapters on Reflections, and in Book VI I have put together and
+arranged all the sections of MS._ C _that belong to the book on
+Painting, so far as they relate to Light and Shade, while the
+sections of the same MS. which treat of the_ "Prospettiva de'
+perdimenti" _have, of course, been excluded from the series on Light
+and Shade._
+
+[Footnote III: This text has already been published with some slight
+variations in Dozio's pamphlet _Degli scritti e disegni di Leonardo
+da Vinci_, Milan 1871, pp. 30--31. Dozio did not transcribe it from
+the original MS. which seems to have remained unknown to him, but
+from an old copy (MS. H. 227 in the Ambrosian Library).]
+
+GENERAL INTRODUCTION.
+
+Prolegomena.
+
+110.
+
+You must first explain the theory and then the practice. First you
+must describe the shadows and lights on opaque objects, and then on
+transparent bodies.
+
+Scheme of the books on Light and shade.
+
+111.
+
+INTRODUCTION.
+
+[Having already treated of the nature of shadows and the way in
+which they are cast [Footnote 2: _Avendo io tractato._--We may
+suppose that he here refers to some particular MS., possibly Paris
+C.], I will now consider the places on which they fall; and their
+curvature, obliquity, flatness or, in short, any character I may be
+able to detect in them.]
+
+Shadow is the obstruction of light. Shadows appear to me to be of
+supreme importance in perspective, because, without them opaque and
+solid bodies will be ill defined; that which is contained within
+their outlines and their boundaries themselves will be
+ill-understood unless they are shown against a background of a
+different tone from themselves. And therefore in my first
+proposition concerning shadow I state that every opaque body is
+surrounded and its whole surface enveloped in shadow and light. And
+on this proposition I build up the first Book. Besides this, shadows
+have in themselves various degrees of darkness, because they are
+caused by the absence of a variable amount of the luminous rays; and
+these I call Primary shadows because they are the first, and
+inseparable from the object to which they belong. And on this I will
+found my second Book. From these primary shadows there result
+certain shaded rays which are diffused through the atmosphere and
+these vary in character according to that of the primary shadows
+whence they are derived. I shall therefore call these shadows
+Derived shadows because they are produced by other shadows; and the
+third Book will treat of these. Again these derived shadows, where
+they are intercepted by various objects, produce effects as various
+as the places where they are cast and of this I will treat in the
+fourth Book. And since all round the derived shadows, where the
+derived shadows are intercepted, there is always a space where the
+light falls and by reflected dispersion is thrown back towards its
+cause, it meets the original shadow and mingles with it and modifies
+it somewhat in its nature; and on this I will compose my fifth Book.
+Besides this, in the sixth Book I will investigate the many and
+various diversities of reflections resulting from these rays which
+will modify the original [shadow] by [imparting] some of the various
+colours from the different objects whence these reflected rays are
+derived. Again, the seventh Book will treat of the various distances
+that may exist between the spot where the reflected rays fall and
+that where they originate, and the various shades of colour which
+they will acquire in falling on opaque bodies.
+
+Different principles and plans of treatment (112--116).
+
+112.
+
+First I will treat of light falling through windows which I will
+call Restricted [Light] and then I will treat of light in the open
+country, to which I will give the name of diffused Light. Then I
+will treat of the light of luminous bodies.
+
+113.
+
+OF PAINTING.
+
+The conditions of shadow and light [as seen] by the eye are 3. Of
+these the first is when the eye and the light are on the same side
+of the object seen; the 2nd is when the eye is in front of the
+object and the light is behind it. The 3rd is when the eye is in
+front of the object and the light is on one side, in such a way as
+that a line drawn from the object to the eye and one from the object
+to the light should form a right angle where they meet.
+
+114.
+
+OF PAINTING.
+
+This is another section: that is, of the nature of a reflection
+(from) an object placed between the eye and the light under various
+aspects.
+
+115.
+
+OF PAINTING.
+
+As regards all visible objects 3 things must be considered. These
+are the position of the eye which sees: that of the object seen
+[with regard] to the light, and the position of the light which
+illuminates the object, _b_ is the eye, _a_ the object seen, _c_ the
+light, _a_ is the eye, _b_ the illuminating body, _c_ is the
+illuminated object.
+
+116.
+
+Let _a_ be the light, _b_ the eye, _c_ the object seen by the eye
+and in the light. These show, first, the eye between the light and
+the body; the 2nd, the light between the eye and the body; the 3rd
+the body between the eye and the light, _a_ is the eye, _b_ the
+illuminated object, _c_ the light.
+
+117.
+
+OF PAINTING.
+
+OF THE THREE KINDS OF LIGHT THAT ILLUMINATE OPAQUE BODIES.
+
+The first kind of Light which may illuminate opaque bodies is called
+Direct light--as that of the sun or any other light from a window or
+flame. The second is Diffused [universal] light, such as we see in
+cloudy weather or in mist and the like. The 3rd is Subdued light,
+that is when the sun is entirely below the horizon, either in the
+evening or morning.
+
+118.
+
+OF LIGHT.
+
+The lights which may illuminate opaque bodies are of 4 kinds. These
+are: diffused light as that of the atmosphere, within our horizon.
+And Direct, as that of the sun, or of a window or door or other
+opening. The third is Reflected light; and there is a 4th which is
+that which passes through [semi] transparent bodies, as linen or
+paper or the like, but not transparent like glass, or crystal, or
+other diaphanous bodies, which produce the same effect as though
+nothing intervened between the shaded object and the light that
+falls upon it; and this we will discuss fully in our discourse.
+
+Definition of the nature of shadows (119--122).
+
+119.
+
+WHAT LIGHT AND SHADOW ARE.
+
+Shadow is the absence of light, merely the obstruction of the
+luminous rays by an opaque body. Shadow is of the nature of
+darkness. Light [on an object] is of the nature of a luminous body;
+one conceals and the other reveals. They are always associated and
+inseparable from all objects. But shadow is a more powerful agent
+than light, for it can impede and entirely deprive bodies of their
+light, while light can never entirely expel shadow from a body, that
+is from an opaque body.
+
+120.
+
+Shadow is the diminution of light by the intervention of an opaque
+body. Shadow is the counterpart of the luminous rays which are cut
+off by an opaque body.
+
+This is proved because the shadow cast is the same in shape and size
+as the luminous rays were which are transformed into a shadow.
+
+121.
+
+Shadow is the diminution alike of light and of darkness, and stands
+between darkness and light.
+
+A shadow may be infinitely dark, and also of infinite degrees of
+absence of darkness.
+
+The beginnings and ends of shadow lie between the light and darkness
+and may be infinitely diminished and infinitely increased. Shadow is
+the means by which bodies display their form.
+
+The forms of bodies could not be understood in detail but for
+shadow.
+
+122.
+
+OF THE NATURE OF SHADOW.
+
+Shadow partakes of the nature of universal matter. All such matters
+are more powerful in their beginning and grow weaker towards the
+end, I say at the beginning, whatever their form or condition may be
+and whether visible or invisible. And it is not from small
+beginnings that they grow to a great size in time; as it might be a
+great oak which has a feeble beginning from a small acorn. Yet I may
+say that the oak is most powerful at its beginning, that is where it
+springs from the earth, which is where it is largest (To return:)
+Darkness, then, is the strongest degree of shadow and light is its
+least. Therefore, O Painter, make your shadow darkest close to the
+object that casts it, and make the end of it fading into light,
+seeming to have no end.
+
+Of the various kinds of shadows. (123-125).
+
+123.
+
+Darkness is absence of light. Shadow is diminution of light.
+Primitive shadow is that which is inseparable from a body not in the
+light. Derived shadow is that which is disengaged from a body in
+shadow and pervades the air. A cast transparent shadow is that which
+is surrounded by an illuminated surface. A simple shadow is one
+which receives no light from the luminous body which causes it. A
+simple shadow begins within the line which starts from the edge of
+the luminous body _a b_.
+
+124.
+
+A simple shadow is one where no light at all interferes with it.
+
+A compound shadow is one which is somewhat illuminated by one or
+more lights.
+
+125.
+
+WHAT IS THE DIFFERENCE BETWEEN A SHADOW THAT IS INSEPARABLE FROM A
+BODY AND A CAST SHADOW?
+
+An inseparable shadow is that which is never absent from the
+illuminated body. As, for instance a ball, which so long as it is in
+the light always has one side in shadow which never leaves it for
+any movement or change of position in the ball. A separate shadow
+may be and may not be produced by the body itself. Suppose the ball
+to be one braccia distant from a wall with a light on the opposite
+side of it; this light will throw upon the wall exactly as broad a
+shadow as is to be seen on the side of the ball that is turned
+towards the wall. That portion of the cast shadow will not be
+visible when the light is below the ball and the shadow is thrown up
+towards the sky and finding no obstruction on its way is lost.
+
+126.
+
+HOW THERE ARE 2 KINDS OF LIGHT, ONE SEPARABLE FROM, AND THE OTHER
+INSEPARABLE FROM BODIES.
+
+Of the various kinds of light (126, 127).
+
+Separate light is that which falls upon the body. Inseparable light
+is the side of the body that is illuminated by that light. One is
+called primary, the other derived. And, in the same way there are
+two kinds of shadow:--One primary and the other derived. The primary
+is that which is inseparable from the body, the derived is that
+which proceeds from the body conveying to the surface of the wall
+the form of the body causing it.
+
+127.
+
+How there are 2 different kinds of light; one being called diffused,
+the other restricted. The diffused is that which freely illuminates
+objects. The restricted is that which being admitted through an
+opening or window illuminates them on that side only.
+
+[Footnote: At the spot marked _A_ in the first diagram Leonardo
+wrote _lume costretto_ (restricted light). At the spot _B_ on the
+second diagram he wrote _lume libero_ (diffused light).]
+
+General remarks (128. 129).
+
+128.
+
+Light is the chaser away of darkness. Shade is the obstruction of
+light. Primary light is that which falls on objects and causes light
+and shade. And derived lights are those portions of a body which are
+illuminated by the primary light. A primary shadow is that side of a
+body on which the light cannot fall.
+
+The general distribution of shadow and light is that sum total of
+the rays thrown off by a shaded or illuminated body passing through
+the air without any interference and the spot which intercepts and
+cuts off the distribution of the dark and light rays.
+
+And the eye can best distinguish the forms of objects when it is
+placed between the shaded and the illuminated parts.
+
+129.
+
+MEMORANDUM OF THINGS I REQUIRE TO HAVE GRANTED [AS AXIOMS] IN MY
+EXPLANATION OF PERSPECTIVE.
+
+I ask to have this much granted me--to assert that every ray
+passing through air of equal density throughout, travels in a
+straight line from its cause to the object or place it falls upon.
+
+FIRST BOOK ON LIGHT AND SHADE.
+
+On the nature of light (130. 131).
+
+130.
+
+The reason by which we know that a light radiates from a single
+centre is this: We plainly see that a large light is often much
+broader than some small object which nevertheless--and although the
+rays [of the large light] are much more than twice the extent [of
+the small body]--always has its shadow cast on the nearest surface
+very visibly. Let _c f_ be a broad light and _n_ be the object in
+front of it, casting a shadow on the plane, and let _a b_ be the
+plane. It is clear that it is not the broad light that will cast the
+shadow _n_ on the plane, but that the light has within it a centre
+is shown by this experiment. The shadow falls on the plane as is
+shown at _m o t r_.
+
+[Footnote 13: In the original MS. no explanatory text is placed
+after this title-line; but a space is left for it and the text
+beginning at line 15 comes next.] Why, to two [eyes] or in front of
+two eyes do 3 objects appear as two?
+
+Why, when you estimate the direction of an object with two sights
+the nearer appears confused. I say that the eye projects an infinite
+number of lines which mingle or join those reaching it which come to
+it from the object looked at. And it is only the central and
+sensible line that can discern and discriminate colours and objects;
+all the others are false and illusory. And if you place 2 objects at
+half an arm's length apart if the nearer of the two is close to the
+eye its form will remain far more confused than that of the second;
+the reason is that the first is overcome by a greater number of
+false lines than the second and so is rendered vague.
+
+Light acts in the same manner, for in the effects of its lines
+(=rays), and particularly in perspective, it much resembles the eye;
+and its central rays are what cast the true shadow. When the object
+in front of it is too quickly overcome with dim rays it will cast a
+broad and disproportionate shadow, ill defined; but when the object
+which is to cast the shadow and cuts off the rays near to the place
+where the shadow falls, then the shadow is distinct; and the more so
+in proportion as the light is far off, because at a long distance
+the central ray is less overcome by false rays; because the lines
+from the eye and the solar and other luminous rays passing through
+the atmosphere are obliged to travel in straight lines. Unless they
+are deflected by a denser or rarer air, when they will be bent at
+some point, but so long as the air is free from grossness or
+moisture they will preserve their direct course, always carrying the
+image of the object that intercepts them back to their point of
+origin. And if this is the eye, the intercepting object will be seen
+by its colour, as well as by form and size. But if the intercepting
+plane has in it some small perforation opening into a darker
+chamber--not darker in colour, but by absence of light--you will see
+the rays enter through this hole and transmitting to the plane
+beyond all the details of the object they proceed from both as to
+colour and form; only every thing will be upside down. But the size
+[of the image] where the lines are reconstructed will be in
+proportion to the relative distance of the aperture from the plane
+on which the lines fall [on one hand] and from their origin [on the
+other]. There they intersect and form 2 pyramids with their point
+meeting [a common apex] and their bases opposite. Let _a b_ be the
+point of origin of the lines, _d e_ the first plane, and _c_ the
+aperture with the intersection of the lines; _f g_ is the inner
+plane. You will find that _a_ falls upon the inner plane below at
+_g_, and _b_ which is below will go up to the spot _f_; it will be
+quite evident to experimenters that every luminous body has in
+itself a core or centre, from which and to which all the lines
+radiate which are sent forth by the surface of the luminous body and
+reflected back to it; or which, having been thrown out and not
+intercepted, are dispersed in the air.
+
+131.
+
+THE RAYS WHETHER SHADED OR LUMINOUS HAVE GREATER STRENGTH AND EFFECT
+AT THEIR POINTS THAN AT THEIR SIDES.
+
+Although the points of luminous pyramids may extend into shaded
+places and those of pyramids of shadow into illuminated places, and
+though among the luminous pyramids one may start from a broader base
+than another; nevertheless, if by reason of their various length
+these luminous pyramids acquire angles of equal size their light
+will be equal; and the case will be the same with the pyramids of
+shadow; as may be seen in the intersected pyramids _a b c_ and _d e
+f_, which though their bases differ in size are equal as to breadth
+and light.
+
+[Footnote: 51--55: This supplementary paragraph is indicated as being
+a continuation of line 45, by two small crosses.]
+
+The difference between light and lustre (132--135).
+
+132.
+
+Of the difference between light and lustre; and that lustre is not
+included among colours, but is saturation of whiteness, and derived
+from the surface of wet bodies; light partakes of the colour of the
+object which reflects it (to the eye) as gold or silver or the like.
+
+133.
+
+OF THE HIGHEST LIGHTS WHICH TURN AND MOVE AS THE EYE MOVES WHICH
+SEES THE OBJECT.
+
+Suppose the body to be the round object figured here and let the
+light be at the point _a_, and let the illuminated side of the
+object be _b c_ and the eye at the point _d_: I say that, as lustre
+is every where and complete in each part, if you stand at the point
+_d_ the lustre will appear at _c_, and in proportion as the eye
+moves from _d_ to _a_, the lustre will move from _c_ to _n_.
+
+134.
+
+OF PAINTING.
+
+Heigh light or lustre on any object is not situated [necessarily] in
+the middle of an illuminated object, but moves as and where the eye
+moves in looking at it.
+
+135.
+
+OF LIGHT AND LUSTRE.
+
+What is the difference between light and the lustre which is seen on
+the polished surface of opaque bodies?
+
+The lights which are produced from the polished surface of opaque
+bodies will be stationary on stationary objects even if the eye on
+which they strike moves. But reflected lights will, on those same
+objects, appear in as many different places on the surface as
+different positions are taken by the eye.
+
+WHAT BODIES HAVE LIGHT UPON THEM WITHOUT LUSTRE?
+
+Opaque bodies which have a hard and rough surface never display any
+lustre in any portion of the side on which the light falls.
+
+WHAT BODIES WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED?
+
+Those bodies which are opaque and hard with a hard surface reflect
+light [lustre] from every spot on the illuminated side which is in a
+position to receive light at the same angle of incidence as they
+occupy with regard to the eye; but, as the surface mirrors all the
+surrounding objects, the illuminated [body] is not recognisable in
+these portions of the illuminated body.
+
+136.
+
+The relations of luminous to illuminated bodies.
+
+The middle of the light and shade on an object in light and shade is
+opposite to the middle of the primary light. All light and shadow
+expresses itself in pyramidal lines. The middle of the shadow on any
+object must necessarily be opposite the middle of its light, with a
+direct line passing through the centre of the body. The middle of
+the light will be at _a_, that of the shadow at _b_. [Again, in
+bodies shown in light and shade the middle of each must coincide
+with the centre of the body, and a straight line will pass through
+both and through that centre.]
+
+[Footnote: In the original MS., at the spot marked _a_ of the first
+diagram Leonardo wrote _primitiuo_, and at the spot marked
+_c_--_primitiva_ (primary); at the spot marked _b_ he wrote
+_dirivatiuo_ and at _d deriuatiua_ (derived).]
+
+Experiments on the relation of light and shadow within a room
+(137--140).
+
+137.
+
+SHOWS HOW LIGHT FROM ANY SIDE CONVERGES TO ONE POINT.
+
+Although the balls _a b c_ are lighted from one window,
+nevertheless, if you follow the lines of their shadows you will see
+they intersect at a point forming the angle _n_.
+
+[Footnote: The diagram belonging to this passage is slightly
+sketched on Pl. XXXII; a square with three balls below it. The first
+three lines of the text belonging to it are written above the sketch
+and the six others below it.]
+
+138.
+
+Every shadow cast by a body has a central line directed to a single
+point produced by the intersection of luminous lines in the middle
+of the opening and thickness of the window. The proposition stated
+above, is plainly seen by experiment. Thus if you draw a place with
+a window looking northwards, and let this be _s f_, you will see a
+line starting from the horizon to the east, which, touching the 2
+angles of the window _o f_, reaches _d_; and from the horizon on the
+west another line, touching the other 2 angles _r s_, and ending at
+_c_; and their intersection falls exactly in the middle of the
+opening and thickness of the window. Again, you can still better
+confirm this proof by placing two sticks, as shown at _g h_; and you
+will see the line drawn from the centre of the shadow directed to
+the centre _m_ and prolonged to the horizon _n f_.
+
+[Footnote: _B_ here stands for _cerchio del' orizonte tramontano_ on
+the original diagram (the circle of the horizon towards the North);
+_A_ for _levante_ (East) and _C_ for _ponete_ (West).]
+
+139.
+
+Every shadow with all its variations, which becomes larger as its
+distance from the object is greater, has its external lines
+intersecting in the middle, between the light and the object. This
+proposition is very evident and is confirmed by experience. For, if
+_a b_ is a window without any object interposed, the luminous
+atmosphere to the right hand at _a_ is seen to the left at _d_. And
+the atmosphere at the left illuminates on the right at _c_, and the
+lines intersect at the point _m_.
+
+[Footnote: _A_ here stands for _levante_ (East), _B_ for _ponente_
+(West).]
+
+140.
+
+Every body in light and shade is situated between 2 pyramids one
+dark and the other luminous, one is visible the other is not. But
+this only happens when the light enters by a window. Supposing _a b_
+to be the window and _r_ the body in light and shade, the light to
+the right hand _z_ will pass the object to the left and go on to
+_p_; the light to the left at _k_ will pass to the right of the
+object at _i_ and go on to _m_ and the two lines will intersect at
+_c_ and form a pyramid. Then again _a_ _b_ falls on the shaded body
+at _i_ _g_ and forms a pyramid _f_ _i_ _g_. _f_ will be dark because
+the light _a_ _b_ can never fall there; _i_ _g_ _c_ will be
+illuminated because the light falls upon it.
+
+Light and shadow with regard to the position of the eye (141--145).
+
+141.
+
+Every shaded body that is larger than the pupil and that interposes
+between the luminous body and the eye will be seen dark.
+
+When the eye is placed between the luminous body and the objects
+illuminated by it, these objects will be seen without any shadow.
+
+[Footnote: The diagram which in the original stands above line 1 is
+given on Plate II, No 2. Then, after a blank space of about eight
+lines, the diagram Plate II No 3 is placed in the original. There is
+no explanation of it beyond the one line written under it.]
+
+142.
+
+Why the 2 lights one on each side of a body having two pyramidal
+sides of an obtuse apex leave it devoid of shadow.
+
+[Footnote: The sketch illustrating this is on Plate XLI No 1.]
+
+143.
+
+A body in shadow situated between the light and the eye can never
+display its illuminated portion unless the eye can see the whole of
+the primary light.
+
+[Footnote: _A_ stands for _corpo_ (body), _B_ for _lume_ (light).]
+
+144.
+
+The eye which looks (at a spot) half way between the shadow and the
+light which surrounds the body in shadow will see that the deepest
+shadows on that body will meet the eye at equal angles, that is at
+the same angle as that of sight.
+
+[Footnote: In both these diagrams _A_ stands for _lume_ (light) _B_
+for _ombra_ (shadow).]
+
+145.
+
+OF THE DIFFERENT LIGHT AND SHADE IN VARIOUS ASPECTS AND OF OBJECTS
+PLACED IN THEM.
+
+If the sun is in the East and you look towards the West you will see
+every thing in full light and totally without shadow because you see
+them from the same side as the sun: and if you look towards the
+South or North you will see all objects in light and shade, because
+you see both the side towards the sun and the side away from it; and
+if you look towards the coming of the sun all objects will show you
+their shaded side, because on that side the sun cannot fall upon
+them.
+
+The law of the incidence of light.
+
+146.
+
+The edges of a window which are illuminated by 2 lights of equal
+degrees of brightness will not reflect light of equal brightness
+into the chamber within.
+
+If _b_ is a candle and _a c_ our hemisphere both will illuminate the
+edges of the window _m_ _n_, but light _b_ will only illuminate _f
+g_ and the hemisphere _a_ will light all of _d e_.
+
+147.
+
+OF PAINTING.
+
+That part of a body which receives the luminous rays at equal angles
+will be in a higher light than any other part of it.
+
+And the part which the luminous rays strike between less equal
+angles will be less strongly illuminated.
+
+SECOND BOOK ON LIGHT AND SHADE.
+
+Gradations of strength in the shadows (148. 149).
+
+148.
+
+THAT PORTION OF A BODY IN LIGHT AND SHADE WILL BE LEAST LUMINOUS
+WHICH IS SEEN UNDER THE LEAST AMOUNT OF LIGHT.
+
+That part of the object which is marked _m_ is in the highest light
+because it faces the window _a d_ by the line _a f_; _n_ is in the
+second grade because the light _b d_ strikes it by the line _b e_;
+_o_ is in the third grade, as the light falls on it from _c d_ by
+the line _c h_; _p_ is the lowest light but one as _c d_ falls on it
+by the line _d v_; _q_ is the deepest shadow for no light falls on
+it from any part of the window.
+
+In proportion as _c d_ goes into _a d_ so will _n r s_ be darker
+than _m_, and all the rest is space without shadow.
+
+[Footnote: The diagram belonging to this chapter is No. 1 on Plate
+III. The letters _a b e d_ and _r_ are not reproduced in facsimile
+of the original, but have been replaced by ordinary type in the
+margin. 5-12. The original text of these lines is reproduced within
+the diagram.--Compare No 275.]
+
+149.
+
+The light which falls on a shaded body at the acutest angle receives
+the highest light, and the darkest portion is that which receives it
+at an obtuse angle and both the light and the shadow form pyramids.
+The angle _c_ receives the highest grade of light because it is
+directly in front of the window _a b_ and the whole horizon of the
+sky _m x_. The angle _a_ differs but little from _c_ because the
+angles which divide it are not so unequal as those below, and only
+that portion of the horizon is intercepted which lies between _y_
+and _x_. Although it gains as much on the other side its line is
+nevertheless not very strong because one angle is smaller than its
+fellow. The angles _e i_ will have less light because they do not
+see much of the light _m s_ and the light _v x_ and their angles are
+very unequal. Yhe angle _k_ and the angle _f_ are each placed
+between very unequal angles and therefore have but little light,
+because at _k_ it has only the light _p t_, and at _f_ only _t q_;
+_o g_ is the lowest grade of light because this part has no light at
+all from the sky; and thence come the lines which will reconstruct a
+pyramid that is the counterpart of the pyramid _c_; and this pyramid
+_l_ is in the first grade of shadow; for this too is placed between
+equal angles directly opposite to each other on either side of a
+straight line which passes through the centre of the body and goes
+to the centre of the light. The several luminous images cast within
+the frame of the window at the points _a_ and _b_ make a light which
+surrounds the derived shadow cast by the solid body at the points 4
+and 6. The shaded images increase from _o g_ and end at 7 and 8.
+
+[Footnote: The diagram belonging to this chapter is No. 2 on Plate
+III. In the original it is placed between lines 3 and 4, and in the
+reproduction these are shown in part. The semi circle above is
+marked _orizonte_ (horizon). The number 6 at the left hand side,
+outside the facsimile, is in the place of a figure which has become
+indistinct in the original.]
+
+On the intensity of shadows as dependent on the distance from the
+light (150-152).
+
+150.
+
+The smaller the light that falls upon an object the more shadow it
+will display. And the light will illuminate a smaller portion of the
+object in proportion as it is nearer to it; and conversely, a larger
+extent of it in proportion as it is farther off.
+
+A light which is smaller than the object on which it falls will
+light up a smaller extent of it in proportion as it is nearer to it,
+and the converse, as it is farther from it. But when the light is
+larger than the object illuminated it will light a larger extent of
+the object in proportion as it is nearer and the converse when they
+are farther apart.
+
+151.
+
+That portion of an illuminated object which is nearest to the source
+of light will be the most strongly illuminated.
+
+152.
+
+That portion of the primary shadow will be least dark which is
+farthest from the edges.
+
+The derived shadow will be darker than the primary shadow where it
+is contiguous with it.
+
+On the proportion of light and shade (153-157).
+
+153.
+
+That portion of an opaque body will be more in shade or more in
+light, which is nearer to the dark body, by which it is shaded, or
+to the light that illuminates it.
+
+Objects seen in light and shade show in greater relief than those
+which are wholly in light or in shadow.
+
+154.
+
+OF PERSPECTIVE.
+
+The shaded and illuminated sides of opaque objects will display the
+same proportion of light and darkness as their objects [Footnote 6:
+The meaning of _obbietti_ (objects) is explained in no 153, lines
+1-4.--Between the title-line and the next there is, in the
+original, a small diagram representing a circle described round a
+square.].
+
+155.
+
+OF PAINTING.
+
+The outlines and form of any part of a body in light and shade are
+indistinct in the shadows and in the high lights; but in the
+portions between the light and the shadows they are highly
+conspicuous.
+
+156.
+
+OF PAINTING.
+
+Among objects in various degrees of shade, when the light proceeds
+from a single source, there will be the same proportion in their
+shadows as in the natural diminution of the light and the same must
+be understood of the degrees of light.
+
+157.
+
+A single and distinct luminous body causes stronger relief in the
+object than a diffused light; as may be seen by comparing one side
+of a landscape illuminated by the sun, and one overshadowed by
+clouds, and so illuminated only by the diffused light of the
+atmosphere.
+
+THIRD BOOK ON LIGHT AND SHADE.
+
+Definition of derived shadow (158. 159).
+
+158.
+
+Derived shadow cannot exist without primary shadow. This is proved
+by the first of this which says: Darkness is the total absence of
+light, and shadow is an alleviation of darkness and of light, and it
+is more or less dark or light in proportion as the darkness is
+modified by the light.
+
+159.
+
+Shadow is diminution of light.
+
+Darkness is absence of light.
+
+Shadow is divided into two kinds, of which the first is called
+primary shadow, the second is derived shadow. The primary shadow is
+always the basis of the derived shadow.
+
+The edges of the derived shadow are straight lines.
+
+[Footnote: The theory of the _ombra_ dirivativa_--a technical
+expression for which there is no precise English equivalent is
+elaborately treated by Leonardo. But both text and diagrams (as Pl.
+IV, 1-3 and Pl. V) must at once convince the student that the
+distinction he makes between _ombra primitiva_ and _ombra
+dirivativa_ is not merely justifiable but scientific. _Ombra
+dirivativa_ is by no means a mere abstract idea. This is easily
+proved by repeating the experiment made by Leonardo, and by filling
+with smoke the room in which the existence of the _ombra dirivativa_
+is investigated, when the shadow becomes visible. Nor is it
+difficult to perceive how much of Leonardo's teaching depended on
+this theory. The recognised, but extremely complicated science of
+cast shadows--_percussione dell' ombre dirivative_ as Leonardo
+calls them--is thus rendered more intelligible if not actually
+simpler, and we must assume this theory as our chief guide through
+the investigations which follow.]
+
+The darkness of the derived shadow diminishes in proportion as it is
+remote from the primary shadow.
+
+Different sorts of derived shadows (160-162).
+
+160.
+
+SHADOW AND LIGHT.
+
+The forms of shadows are three: inasmuch as if the solid body which
+casts the shadow is equal (in size) to the light, the shadow
+resembles a column without any termination (in length). If the body
+is larger than the light the shadow resembles a truncated and
+inverted pyramid, and its length has also no defined termination.
+But if the body is smaller than the light, the shadow will resemble
+a pyramid and come to an end, as is seen in eclipses of the moon.
+
+161.
+
+OF SIMPLE DERIVED SHADOWS.
+
+The simple derived shadow is of two kinds: one kind which has its
+length defined, and two kinds which are undefined; and the defined
+shadow is pyramidal. Of the two undefined, one is a column and the
+other spreads out; and all three have rectilinear outlines. But the
+converging, that is the pyramidal, shadow proceeds from a body that
+is smaller than the light, and the columnar from a body equal in
+size to the light, and the spreading shadow from a body larger than
+the light; &c.
+
+OF COMPOUND DERIVED SHADOWS.
+
+Compound derived shadows are of two kinds; that is columnar and
+spreading.
+
+162.
+
+OF SHADOW.
+
+Derived shadows are of three kinds of which one is spreading, the
+second columnar, the third converging to the point where the two
+sides meet and intersect, and beyond this intersection the sides are
+infinitely prolonged or straight lines. And if you say, this shadow
+must terminate at the angle where the sides meet and extend no
+farther, I deny this, because above in the first on shadow I have
+proved: that a thing is completely terminated when no portion of it
+goes beyond its terminating lines. Now here, in this shadow, we see
+the converse of this, in as much as where this derived shadow
+originates we obviously have the figures of two pyramids of shadow
+which meet at their angles. Hence, if, as [my] opponent says, the
+first pyramid of shadow terminates the derivative shadow at the
+angle whence it starts, then the second pyramid of shadow--so says
+the adversary--must be caused by the angle and not from the body in
+shadow; and this is disproved with the help of the 2nd of this which
+says: Shadow is a condition produced by a body casting a shadow, and
+interposed between this shadow and the luminous body. By this it is
+made clear that the shadow is not produced by the angle of the
+derived shadow but only by the body casting the shadow; &c. If a
+spherical solid body is illuminated by a light of elongated form the
+shadow produced by the longest portion of this light will have less
+defined outlines than that which is produced by the breadth of the
+same light. And this is proved by what was said before, which is:
+That a shadow will have less defined outlines in proportion as the
+light which causes it is larger, and conversely, the outlines are
+clearer in proportion as it is smaller.
+
+[Footnote: The two diagrams to this chapter are on Plate IV, No. 1.]
+
+On the relation of derived and primary shadow (163-165).
+
+163.
+
+The derived shadow can never resemble the body from which it
+proceeds unless the light is of the same form and size as the body
+causing the shadow.
+
+The derived shadow cannot be of the same form as the primary shadow
+unless it is intercepted by a plane parallel to it.
+
+164.
+
+HOW A CAST SHADOW CAN NEVER BE OF THE SAME SIZE AS THE BODY THAT
+CASTS IT.
+
+If the rays of light proceed, as experience shows, from a single
+point and are diffused in a sphere round this point, radiating and
+dispersed through the air, the farther they spread the wider they
+must spread; and an object placed between the light and a wall is
+always imaged larger in its shadow, because the rays that strike it
+[Footnote: 7. The following lines are wanting to complete the
+logical connection.] would, by the time they have reached the wall,
+have become larger.
+
+165.
+
+Any shadow cast by a body in light and shade is of the same nature
+and character as that which is inseparable from the body. The centre
+of the length of a shadow always corresponds to that of the luminous
+body [Footnote 6: This second statement of the same idea as in the
+former sentence, but in different words, does not, in the original,
+come next to the foregoing; sections 172 and 127 are placed between
+them.]. It is inevitable that every shadow must have its centre in a
+line with the centre of the light.
+
+On the shape of derived shadows (166-174).
+
+166.
+
+OF THE PYRAMIDAL SHADOW.
+
+The pyramidal shadow produced by a columnar body will be narrower
+than the body itself in proportion as the simple derived shadow is
+intersected farther from the body which casts it.
+
+[Footnote 166: Compare the first diagram to No. 161. If we here
+conceive of the outlines of the pyramid of shadow on the ground as
+prolonged beyond its apex this gives rise to a second pyramid; this
+is what is spoken of at the beginning of No. 166.]
+
+167.
+
+The cast shadow will be longest when the light is lowest.
+
+The cast shadow will be shortest when the light is highest.
+
+168.
+
+Both the primary and derived shadow will be larger when caused by
+the light of a candle than by diffused light. The difference between
+the larger and smaller shadows will be in inverse proportion to the
+larger and smaller lights causing them.
+
+[Footnote: In the diagrams _A_ stands for _celo_ (sky), _B_ for
+_cadela_ (candle).]
+
+169.
+
+ALL BODIES, IN PROPORTION AS THEY ARE NEARER TO, OR FARTHER FROM THE
+SOURCE OF LIGHT, WILL PRODUCE LONGER OR SHORTER DERIVED SHADOWS.
+
+Among bodies of equal size, that one which is illuminated by the
+largest light will have the shortest shadow. Experiment confirms
+this proposition. Thus the body _m_ _n_ is surrounded by a larger
+amount of light than the body _p q_, as is shown above. Let us say
+that _v c a b d x_ is the sky, the source of light, and that _s t_
+is a window by which the luminous rays enter, and so _m n_ and _p q_
+are bodies in light and shade as exposed to this light; _m n_ will
+have a small derived shadow, because its original shadow will be
+small; and the derivative light will be large, again, because the
+original light _c d_ will be large and _p q_ will have more derived
+shadow because its original shadow will be larger, and its derived
+light will be smaller than that of the body _m n_ because that
+portion of the hemisphere _a b_ which illuminates it is smaller than
+the hemisphere _c d_ which illuminates the body _m n_.
+
+[Footnote: The diagram, given on Pl. IV, No. 2, stands in the
+original between lines 2 and 7, while the text of lines 3 to 6 is
+written on its left side. In the reproduction of this diagram the
+letter _v_ at the outer right-hand end has been omitted.]
+
+170.
+
+The shadow _m_ bears the same proportion to the shadow _n_ as the
+line _b c_ to the line _f c_.
+
+171.
+
+OF PAINTING.
+
+Of different shadows of equal strength that which is nearest the eye
+will seem the least strong.
+
+Why is the shadow _e a b_ in the first grade of strength, _b c_ in
+the second; _c d_ in the third? The reason is that as from _e a b_
+the sky is nowhere visible, it gets no light whatever from the sky,
+and so has no direct [primary] light. _b c_ faces the portion of the
+sky _f g_ and is illuminated by it. _c d_ faces the sky at _h k_. _c
+d_, being exposed to a larger extent of sky than _b c_, it is
+reasonable that it should be more lighted. And thus, up to a certain
+distance, the wall _a d_ will grow lighter for the reasons here
+given, until the darkness of the room overpowers the light from the
+window.
+
+172.
+
+When the light of the atmosphere is restricted [by an opening] and
+illuminates bodies which cast shadows, these bodies being equally
+distant from the centre of the window, that which is most obliquely
+placed will cast the largest shadow beyond it.
+
+173.
+
+These bodies standing apart in a room lighted by a single window
+will have derivative shadows more or less short according as they
+are more or less opposite to the window. Among the shadows cast by
+bodies of equal mass but at unequal distances from the opening by
+which they are illuminated, that shadow will be the longest of the
+body which is least in the light. And in proportion as one body is
+better illuminated than another its shadow will be shorter than
+another. The proportion _n m_ and _e v k_ bear to _r t_ and _v x_
+corresponds with that of the shadow _x_ to 4 and _y_.
+
+The reason why those bodies which are placed most in front of the
+middle of the window throw shorter shadows than those obliquely
+situated is:--That the window appears in its proper form and to the
+obliquely placed ones it appears foreshortened; to those in the
+middle, the window shows its full size, to the oblique ones it
+appears smaller; the one in the middle faces the whole hemisphere
+that is _e f_ and those on the side have only a strip; that is _q r_
+faces _a b_; and _m n_ faces _c d_; the body in the middle having a
+larger quantity of light than those at the sides is lighted from a
+point much below its centre, and thus the shadow is shorter. And the
+pyramid _g_ 4 goes into _l y_ exactly as often as _a b_ goes into _e
+f_. The axis of every derivative shadow passes through 6 1/2
+[Footnote 31: _passa per_ 6 1/2 (passes through 6 1/2). The meaning
+of these words is probably this: Each of the three axes of the
+derived shadow intersects the centre (_mezzo_) of the primary shadow
+(_ombra originale_) and, by prolongation upwards crosses six lines.
+
+This is self evident only in the middle diagram; but it is equally
+true of the side figures if we conceive of the lines 4 _f_, _x n v
+m_, _y l k v_, and 4 _e_, as prolonged beyond the semicircle of the
+horizon.] and is in a straight line with the centre of the primary
+shadow, with the centre of the body casting it and of the derivative
+light and with the centre of the window and, finally, with the
+centre of that portion of the source of light which is the celestial
+hemisphere, _y h_ is the centre of the derived shade, _l h_ of the
+primary shadow, _l_ of the body throwing it, _l k_ of the derived
+light, _v_ is the centre of the window, _e_ is the final centre of
+the original light afforded by that portion of the hemisphere of the
+sky which illuminates the solid body.
+
+[Footnote: Compare the diagram on Pl. IV, No. 3. In the original
+this drawing is placed between lines 3 and 22; the rest, from line 4
+to line 21, is written on the left hand margin.]
+
+174.
+
+THE FARTHER THE DERIVED SHADOW IS PROLONGED THE LIGHTER IT BECOMES.
+
+You will find that the proportion of the diameter of the derived
+shadow to that of the primary shadow will be the same as that
+between the darkness of the primary shadow and that of the derived
+shadow.
+
+[Footnote 6: Compare No. 177.] Let _a b_ be the diameter of the
+primary shadow and _c d_ that of the derived shadow, I say that _a
+b_ going, as you see, three times into _d c_, the shadow _d c_ will
+be three times as light as the shadow _a b_. [Footnote 8: Compare
+No. 177.]
+
+If the size of the illuminating body is larger than that of the
+illuminated body an intersection of shadow will occur, beyond which
+the shadows will run off in two opposite directions as if they were
+caused by two separate lights.
+
+On the relative intensity of derived shadows (175-179).
+
+175.
+
+ON PAINTING.
+
+The derived shadow is stronger in proportion as it is nearer to its
+place of origin.
+
+176.
+
+HOW SHADOWS FADE AWAY AT LONG DISTANCES.
+
+Shadows fade and are lost at long distances because the larger
+quantity of illuminated air which lies between the eye and the
+object seen tints the shadow with its own colour.
+
+177.
+
+_a b_ will be darker than _c d_ in proportion as _c d_ is broader
+than _a b_.
+
+[Footnote: In the original MS. the word _lume_ (light) is written at
+the apex of the pyramid.]
+
+178.
+
+It can be proved why the shadow _o p c h_ is darker in proportion as
+it is nearer to the line _p h_ and is lighter in proportion as it is
+nearer to the line _o c_. Let the light _a b_, be a window, and let
+the dark wall in which this window is, be _b s_, that is, one of the
+sides of the wall.
+
+Then we may say that the line _p h_ is darker than any other part of
+the space _o p c h_, because this line faces the whole surface in
+shadow of [Footnote: In the original the diagram is placed between
+lines 27 and 28.] the wall _b s_. The line _o c_ is lighter than the
+other part of this space _o p c h_, because this line faces the
+luminous space _a b_.
+
+Where the shadow is larger, or smaller, or equal the body which
+casts it.
+
+[First of the character of divided lights. [Footnote 14: _lumi
+divisi_. The text here breaks off abruptly.]
+
+OF THE COMPOUND SHADOW _F, R, C, H_ CAUSED BY A SINGLE LIGHT.
+
+The shadow _f r c h_ is under such conditions as that where it is
+farthest from its inner side it loses depth in proportion. To prove
+this:
+
+Let _d a_, be the light and _f n_ the solid body, and let _a e_ be
+one of the side walls of the window that is _d a_. Then I
+say--according to the 2nd [proposition]: that the surface of any
+body is affected by the tone of the objects surrounding it,--that
+the side _r c_, which faces the dark wall _a e_ must participate of
+its darkness and, in the same way that the outer surface which faces
+the light _d a_ participates of the light; thus we get the outlines
+of the extremes on each side of the centre included between them.]
+
+This is divided into four parts. The first the extremes, which
+include the compound shadow, secondly the compound shadow between
+these extremes.
+
+179.
+
+THE ACTION OF THE LIGHT AS FROM ITS CENTRE.
+
+If it were the whole of the light that caused the shadows beyond the
+bodies placed in front of it, it would follow that any body much
+smaller than the light would cast a pyramidal shadow; but experience
+not showing this, it must be the centre of the light that produces
+this effect.
+
+[Footnote: The diagram belonging to this passage is between lines 4
+and 5 in the original. Comp. the reproduction Pl. IV, No. 4. The
+text and drawing of this chapter have already been published with
+tolerable accuracy. See M. JORDAN: "_Das Malerbuch des Leonardo da
+Vinci_". Leipzig 1873, P. 90.]
+
+PROOF.
+
+Let _a b_ be the width of the light from a window, which falls on a
+stick set up at one foot from _a c_ [Footnote 6: _bastone_ (stick).
+The diagram has a sphere in place of a stick.]. And let _a d_ be the
+space where all the light from the window is visible. At _c e_ that
+part of the window which is between _l b_ cannot be seen. In the
+same way _a m_ cannot be seen from _d f_ and therefore in these two
+portions the light begins to fail.
+
+Shadow as produced by two lights of different size (180. 181).
+
+180.
+
+A body in light and shade placed between two equal lights side by
+side will cast shadows in proportion to the [amount of] light. And
+the shadows will be one darker than the other in proportion as one
+light is nearer to the said body than the other on the opposite
+side.
+
+A body placed at an equal distance between two lights will cast two
+shadows, one deeper than the other in proportion, as the light which
+causes it is brighter than the other.
+
+[Footnote: In the MS. the larger diagram is placed above the first
+line; the smaller one between l. 4 & 5.]
+
+181.
+
+A light which is smaller than the body it illuminates produces
+shadows of which the outlines end within [the surface of] the body,
+and not much compound shadow; and falls on less than half of it. A
+light which is larger than the body it illuminates, falls on more
+than half of it, and produces much compound shadow.
+
+The effect of light at different distances.
+
+182.
+
+OF THE SHADOW CAST BY A BODY PLACED BETWEEN 2 EQUAL LIGHTS.
+
+A body placed between 2 equal lights will cast 2 shadows of itself
+in the direction of the lines of the 2 lights; and if you move this
+body placing it nearer to one of the lights the shadow cast towards
+the nearer light will be less deep than that which falls towards the
+more distant one.
+
+Further complications in the derived shadows (183-187).
+
+183.
+
+The greatest depth of shadow is in the simple derived shadow because
+it is not lighted by either of the two lights _a b, c d_.
+
+The next less deep shadow is the derived shadow _e f n_; and in this
+the shadow is less by half, because it is illuminated by a single
+light, that is _c d_.
+
+This is uniform in natural tone because it is lighted throughout by
+one only of the two luminous bodies [10]. But it varies with the
+conditions of shadow, inasmuch as the farther it is away from the
+light the less it is illuminated by it [13].
+
+The third degree of depth is the middle shadow [Footnote 15: We
+gather from what follows that _q g r_ here means _ombra media_ (the
+middle shadow).]. But this is not uniform in natural tone; because
+the nearer it gets to the simple derived shadow the deeper it is
+[Footnote 18: Compare lines 10-13], and it is the uniformly gradual
+diminution by increase of distance which is what modifies it
+[Footnote 20: See Footnote 18]: that is to say the depth of a shadow
+increases in proportion to the distance from the two lights.
+
+The fourth is the shadow _k r s_ and this is all the darker in
+natural tone in proportion as it is nearer to _k s_, because it gets
+less of the light _a o_, but by the accident [of distance] it is
+rendered less deep, because it is nearer to the light _c d_, and
+thus is always exposed to both lights.
+
+The fifth is less deep in shadow than either of the others because
+it is always entirely exposed to one of the lights and to the whole
+or part of the other; and it is less deep in proportion as it is
+nearer to the two lights, and in proportion as it is turned towards
+the outer side _x t_; because it is more exposed to the second light
+_a b_.
+
+[Footnote: The diagram to this section is given on Pl. V. To the
+left is the facsimile of the beginning of the text belonging to it.]
+
+184.
+
+OF SIMPLE SHADOWS.
+
+Why, at the intersections _a_, _b_ of the two compound shadows _e f_
+and _m e_, is a simple shadow pfoduced as at _e h_ and _m g_, while
+no such simple shadow is produced at the other two intersections _c
+d_ made by the very same compound shadows?
+
+ANSWER.
+
+Compound shadow are a mixture of light and shade and simple shadows
+are simply darkness. Hence, of the two lights _n_ and _o_, one falls
+on the compound shadow from one side, and the other on the compound
+shadow from the other side, but where they intersect no light falls,
+as at _a b_; therefore it is a simple shadow. Where there is a
+compound shadow one light or the other falls; and here a difficulty
+arises for my adversary since he says that, where the compound
+shadows intersect, both the lights which produce the shadows must of
+necessity fall and therefore these shadows ought to be neutralised;
+inasmuch as the two lights do not fall there, we say that the shadow
+is a simple one and where only one of the two lights falls, we say
+the shadow is compound, and where both the lights fall the shadow is
+neutralised; for where both lights fall, no shadow of any kind is
+produced, but only a light background limiting the shadow. Here I
+shall say that what my adversary said was true: but he only mentions
+such truths as are in his favour; and if we go on to the rest he
+must conclude that my proposition is true. And that is: That if both
+lights fell on the point of intersection, the shadows would be
+neutralised. This I confess to be true if [neither of] the two
+shadows fell in the same spot; because, where a shadow and a light
+fall, a compound shadow is produced, and wherever two shadows or two
+equal lights fall, the shadow cannot vary in any part of it, the
+shadows and the lights both being equal. And this is proved in the
+eighth [proposition] on proportion where it is said that if a given
+quantity has a single unit of force and resistance, a double
+quantity will have double force and double resistance.
+
+DEFINITION.
+
+The intersection _n_ is produced by the shadows caused by the light
+_b_, because this light _b_ produces the shadow _x b_, and the
+shadow _s b_, but the intersection _m_ is produced by the light _a_
+which causes the shadow _s a_, and the shadow _x a_.
+
+But if you uncover both the lights _a b_, then you get the two
+shadows _n m_ both at once, and besides these, two other, simple
+shadows are produced at _r o_ where neither of the two lights falls
+at all. The grades of depth in compound shadows are fewer in
+proportion as the lights falling on, and crossing them are less
+numerous.
+
+186.
+
+Why the intersections at _n_ being composed of two compound derived
+shadows, forms a compound shadow and not a simple one, as happens
+with other intersections of compound shadows. This occurs, according
+to the 2nd [diagram] of this [prop.] which says:--The intersection
+of derived shadows when produced by the intersection of columnar
+shadows caused by a single light does not produce a simple shadow.
+And this is the corollary of the 1st [prop.] which says:--The
+intersection of simple derived shadows never results in a deeper
+shadow, because the deepest shadows all added together cannot be
+darker than one by itself. Since, if many deepest shadows increased
+in depth by their duplication, they could not be called the
+_deepest_ shadows, but only part-shadows. But if such intersections
+are illuminated by a second light placed between the eye and the
+intersecting bodies, then those shadows would become compound
+shadows and be uniformly dark just as much at the intersection as
+throughout the rest. In the 1st and 2nd above, the intersections _i
+k_ will not be doubled in depth as it is doubled in quantity. But in
+this 3rd, at the intersections _g n_ they will be double in depth
+and in quantity.
+
+187.
+
+HOW AND WHEN THE SURROUNDINGS IN SHADOW MINGLE THEIR DERIVED SHADOW
+WITH THE LIGHT DERIVED FROM THE LUMINOUS BODY.
+
+The derived shadow of the dark walls on each side of the bright
+light of the window are what mingle their various degrees of shade
+with the light derived from the window; and these various depths of
+shade modify every portion of the light, except where it is
+strongest, at _c_. To prove this let _d a_ be the primary shadow
+which is turned towards the point _e_, and darkens it by its derived
+shadow; as may be seen by the triangle _a e d_, in which the
+angle _e_ faces the darkened base _d a e_; the point _v_ faces the
+dark shadow _a s_ which is part of _a d_, and as the whole is
+greater than a part, _e_ which faces the whole base [of the
+triangle], will be in deeper shadow than _v_ which only faces part
+of it. In consequence of the conclusion [shown] in the above
+diagram, _t_ will be less darkened than _v_, because the base of the
+_t_ is part of the base of the _v_; and in the same way it follows
+that _p_ is less in shadow than _t_, because the base of the _p_ is
+part of the base of the _t_. And _c_ is the terminal point of the
+derived shadow and the chief beginning of the highest light.
+
+[Footnote: The diagram on Pl. IV, No. 5 belongs to this passage; but
+it must be noted that the text explains only the figure on the
+right-hand side.]
+
+FOURTH BOOK ON LIGHT AND SHADE.
+
+On the shape of the cast shadows (188-191).
+
+188.
+
+The form of the shadow cast by any body of uniform density can never
+be the same as that of the body producing it. [Footnote: Comp. the
+drawing on PI. XXVIII, No. 5.]
+
+189.
+
+No cast shadow can produce the true image of the body which casts it
+on a vertical plane unless the centre of the light is equally
+distant from all the edges of that body.
+
+190.
+
+If a window _a b_ admits the sunlight into a room, the sunlight will
+magnify the size of the window and diminish the shadow of a man in
+such a way as that when the man makes that dim shadow of himself,
+approach to that which defines the real size of the window, he will
+see the shadows where they come into contact, dim and confused from
+the strength of the light, shutting off and not allowing the solar
+rays to pass; the effect of the shadow of the man cast by this
+contact will be exactly that figured above.
+
+[Footnote: It is scarcely possible to render the meaning of this
+sentence with strict accuracy; mainly because the grammatical
+construction is defective in the most important part--line 4. In the
+very slight original sketch the shadow touches the upper arch of the
+window and the correction, here given is perhaps not justified.]
+
+191.
+
+A shadow is never seen as of uniform depth on the surface which
+intercepts it unless every portion of that surface is equidistant
+from the luminous body. This is proved by the 7th which says:--The
+shadow will appear lighter or stronger as it is surrounded by a
+darker or a lighter background. And by the 8th of this:--The
+background will be in parts darker or lighter, in proportion as it
+is farther from or nearer to the luminous body. And:--Of various
+spots equally distant from the luminous body those will always be in
+the highest light on which the rays fall at the smallest angles: The
+outline of the shadow as it falls on inequalities in the surface
+will be seen with all the contours similar to those of the body that
+casts it, if the eye is placed just where the centre of the light
+was.
+
+The shadow will look darkest where it is farthest from the body that
+casts it. The shadow _c d_, cast by the body in shadow _a b_ which
+is equally distant in all parts, is not of equal depth because it is
+seen on a back ground of varying brightness. [Footnote: Compare the
+three diagrams on Pl. VI, no 1 which, in the original accompany this
+section.]
+
+On the outlines of cast shadows (192-195).
+
+192.
+
+The edges of a derived shadow will be most distinct where it is cast
+nearest to the primary shadow.
+
+193.
+
+As the derived shadow gets more distant from the primary shadow, the
+more the cast shadow differs from the primary shadow.
+
+194.
+
+OF SHADOWS WHICH NEVER COME TO AN END.
+
+The greater the difference between a light and the body lighted by
+it, the light being the larger, the more vague will be the outlines
+of the shadow of that object.
+
+The derived shadow will be most confused towards the edges of its
+interception by a plane, where it is remotest from the body casting
+it.
+
+195.
+
+What is the cause which makes the outlines of the shadow vague and
+confused?
+
+Whether it is possible to give clear and definite outlines to the
+edges of shadows.
+
+On the relative size of shadows (196. 197).
+
+196.
+
+THE BODY WHICH IS NEAREST TO THE LIGHT CASTS THE LARGEST SHADOW, AND
+WHY?
+
+If an object placed in front of a single light is very close to it
+you will see that it casts a very large shadow on the opposite wall,
+and the farther you remove the object from the light the smaller
+will the image of the shadow become.
+
+WHY A SHADOW LARGER THAN THE BODY THAT PRODUCES IT BECOMES OUT OF
+PROPORTION.
+
+The disproportion of a shadow which is larger than the body
+producing it, results from the light being smaller than the body, so
+that it cannot be at an equal distance from the edges of the body
+[Footnote 11: H. LUDWIG in his edition of the old copies, in the
+Vatican library--in which this chapter is included under Nos. 612,
+613 and 614 alters this passage as follows: _quella parte ch'e piu
+propinqua piu cresce che le distanti_, although the Vatican copy
+agrees with the original MS. in having _distante_ in the former and
+_propinque_ in the latter place. This supposed amendment seems to me
+to invert the facts. Supposing for instance, that on Pl. XXXI No. 3.
+_f_ is the spot where the light is that illuminates the figure there
+represented, and that the line behind the figure represents a wall
+on which the shadow of the figure is thrown. It is evident, that in
+that case the nearest portion, in this case the under part of the
+thigh, is very little magnified in the shadow, and the remoter
+parts, for instance the head, are more magnified.]; and the portions
+which are most remote are made larger than the nearer portions for
+this reason [Footnote 12: See Footnote 11].
+
+WHY A SHADOW WHICH IS LARGER THAN THE BODY CAUSING IT HAS
+ILL-DEFINED OUTLINES.
+
+The atmosphere which surrounds a light is almost like light itself
+for brightness and colour; but the farther off it is the more it
+loses this resemblance. An object which casts a large shadow and is
+near to the light, is illuminated both by that light by the luminous
+atmosphere; hence this diffused light gives the shadow ill-defined
+edges.
+
+197.
+
+A luminous body which is long and narrow in shape gives more
+confused outlines to the derived shadow than a spherical light, and
+this contradicts the proposition next following: A shadow will have
+its outlines more clearly defined in proportion as it is nearer to
+the primary shadow or, I should say, the body casting the shadow;
+[Footnote 14: The lettering refers to the lower diagram, Pl. XLI,
+No. 5.] the cause of this is the elongated form of the luminous body
+_a c_, &c. [Footnote 16: See Footnote 14].
+
+Effects on cast shadows by the tone of the back ground.
+
+198.
+
+OF MODIFIED SHADOWS.
+
+Modified shadows are those which are cast on light walls or other
+illuminated objects.
+
+A shadow looks darkest against a light background. The outlines of a
+derived shadow will be clearer as they are nearer to the primary
+shadow. A derived shadow will be most defined in shape where it is
+intercepted, where the plane intercepts it at the most equal angle.
+
+Those parts of a shadow will appear darkest which have darker
+objects opposite to them. And they will appear less dark when they
+face lighter objects. And the larger the light object opposite, the
+more the shadow will be lightened.
+
+And the larger the surface of the dark object the more it will
+darken the derived shadow where it is intercepted.
+
+A disputed proposition.
+
+199.
+
+OF THE OPINION OF SOME THAT A TRIANGLE CASTS NO SHADOW ON A PLANE
+SURFACE.
+
+Certain mathematicians have maintained that a triangle, of which the
+base is turned to the light, casts no shadow on a plane; and this
+they prove by saying [5] that no spherical body smaller than the
+light can reach the middle with the shadow. The lines of radiant
+light are straight lines [6]; therefore, suppose the light to be _g
+h_ and the triangle _l m n_, and let the plane be _i k_; they say
+the light _g_ falls on the side of the triangle _l n_, and the
+portion of the plane _i q_. Thus again _h_ like _g_ falls on the
+side _l m_, and then on _m n_ and the plane _p k_; and if the whole
+plane thus faces the lights _g h_, it is evident that the triangle
+has no shadow; and that which has no shadow can cast none. This, in
+this case appears credible. But if the triangle _n p g_ were not
+illuminated by the two lights _g_ and _h_, but by _i p_ and _g_ and
+_k_ neither side is lighted by more than one single light: that is
+_i p_ is invisible to _h g_ and _k_ will never be lighted by _g_;
+hence _p q_ will be twice as light as the two visible portions that
+are in shadow.
+
+[Footnote: 5--6. This passage is so obscure that it would be rash to
+offer an explanation. Several words seem to have been omitted.]
+
+On the relative depth of cast shadows (200-202).
+
+200.
+
+A spot is most in the shade when a large number of darkened rays
+fall upon it. The spot which receives the rays at the widest angle
+and by darkened rays will be most in the dark; a will be twice as
+dark as b, because it originates from twice as large a base at an
+equal distance. A spot is most illuminated when a large number of
+luminous rays fall upon it. d is the beginning of the shadow _d f_,
+and tinges _c_ but _a_ little; _d e_ is half of the shadow _d f_ and
+gives a deeper tone where it is cast at _b_ than at _f_. And the
+whole shaded space _e_ gives its tone to the spot _a_. [Footnote:
+The diagram here referred to is on Pl. XLI, No. 2.]
+
+201.
+
+_A n_ will be darker than _c r_ in proportion to the number of times
+that _a b_ goes into _c d_.
+
+202.
+
+The shadow cast by an object on a plane will be smaller in
+proportion as that object is lighted by feebler rays. Let _d e_ be
+the object and _d c_ the plane surface; the number of times that _d
+e_ will go into _f g_ gives the proportion of light at _f h_ to _d
+c_. The ray of light will be weaker in proportion to its distance
+from the hole through which it falls.
+
+FIFTH BOOK ON LIGHT AND SHADE.
+
+Principles of reflection (203. 204).
+
+203.
+
+OF THE WAY IN WHICH THE SHADOWS CAST BY OBJECTS OUGHT TO BE DEFINED.
+
+If the object is the mountain here figured, and the light is at the
+point _a_, I say that from _b d_ and also from _c f_ there will be
+no light but from reflected rays. And this results from the fact
+that rays of light can only act in straight lines; and the same is
+the case with the secondary or reflected rays.
+
+204.
+
+The edges of the derived shadow are defined by the hues of the
+illuminated objects surrounding the luminous body which produces the
+shadow.
+
+On reverberation.
+
+205.
+
+OF REVERBERATION.
+
+Reverberation is caused by bodies of a bright nature with a flat and
+semi opaque surface which, when the light strikes upon them, throw
+it back again, like the rebound of a ball, to the former object.
+
+WHERE THERE CAN BE NO REFLECTED LIGHTS.
+
+All dense bodies have their surfaces occupied by various degrees of
+light and shade. The lights are of two kinds, one called original,
+the other borrowed. Original light is that which is inherent in the
+flame of fire or the light of the sun or of the atmosphere. Borrowed
+light will be reflected light; but to return to the promised
+definition: I say that this luminous reverberation is not produced
+by those portions of a body which are turned towards darkened
+objects, such as shaded spots, fields with grass of various height,
+woods whether green or bare; in which, though that side of each
+branch which is turned towards the original light has a share of
+that light, nevertheless the shadows cast by each branch separately
+are so numerous, as well as those cast by one branch on the others,
+that finally so much shadow is the result that the light counts for
+nothing. Hence objects of this kind cannot throw any reflected light
+on opposite objects.
+
+Reflection on water (206. 207).
+
+206.
+
+PERSPECTIVE.
+
+The shadow or object mirrored in water in motion, that is to say in
+small wavelets, will always be larger than the external object
+producing it.
+
+207.
+
+It is impossible that an object mirrored on water should correspond
+in form to the object mirrored, since the centre of the eye is above
+the surface of the water.
+
+This is made plain in the figure here given, which demonstrates that
+the eye sees the surface _a b_, and cannot see it at _l f_, and at
+_r t_; it sees the surface of the image at _r t_, and does not see
+it in the real object _c d_. Hence it is impossible to see it, as
+has been said above unless the eye itself is situated on the surface
+of the water as is shown below [13].
+
+[Footnote: _A_ stands for _ochio_ [eye], _B_ for _aria_ [air], _C_
+for _acqua_ [water], _D_ for _cateto_ [cathetus].--In the original
+MS. the second diagram is placed below line 13.]
+
+Experiments with the mirror (208-210).
+
+208.
+
+THE MIRROR.
+
+If the illuminated object is of the same size as the luminous body
+and as that in which the light is reflected, the amount of the
+reflected light will bear the same proportion to the intermediate
+light as this second light will bear to the first, if both bodies
+are smooth and white.
+
+209.
+
+Describe how it is that no object has its limitation in the mirror
+but in the eye which sees it in the mirror. For if you look at your
+face in the mirror, the part resembles the whole in as much as the
+part is everywhere in the mirror, and the whole is in every part of
+the same mirror; and the same is true of the whole image of any
+object placed opposite to this mirror, &c.
+
+210.
+
+No man can see the image of another man in a mirror in its proper
+place with regard to the objects; because every object falls on [the
+surface of] the mirror at equal angles. And if the one man, who sees
+the other in the mirror, is not in a direct line with the image he
+will not see it in the place where it really falls; and if he gets
+into the line, he covers the other man and puts himself in the place
+occupied by his image. Let _n o_ be the mirror, _b_ the eye of your
+friend and _d_ your own eye. Your friend's eye will appear to you at
+_a_, and to him it will seem that yours is at _c_, and the
+intersection of the visual rays will occur at _m_, so that either of
+you touching _m_ will touch the eye of the other man which shall be
+open. And if you touch the eye of the other man in the mirror it
+will seem to him that you are touching your own.
+
+Appendix:--On shadows in movement (211. 212).
+
+211.
+
+OF THE SHADOW AND ITS MOTION.
+
+When two bodies casting shadows, and one in front of the other, are
+between a window and the wall with some space between them, the
+shadow of the body which is nearest to the plane of the wall will
+move if the body nearest to the window is put in transverse motion
+across the window. To prove this let _a_ and _b_ be two bodies
+placed between the window _n m_ and the plane surface _o p_ with
+sufficient space between them as shown by the space _a b_. I say
+that if the body _a_ is moved towards _s_ the shadow of the body _b_
+which is at _c_ will move towards _d_.
+
+212.
+
+OF THE MOTION OF SHADOWS.
+
+The motion of a shadow is always more rapid than that of the body
+which produces it if the light is stationary. To prove this let _a_
+be the luminous body, and _b_ the body casting the shadow, and _d_
+the shadow. Then I say that in the time while the solid body moves
+from _b_ to _c_, the shadow _d_ will move to _e_; and this
+proportion in the rapidity of the movements made in the same space
+of time, is equal to that in the length of the space moved over.
+Thus, given the proportion of the space moved over by the body _b_
+to _c_, to that moved over by the shadow _d_ to _e_, the proportion
+in the rapidity of their movements will be the same.
+
+But if the luminous body is also in movement with a velocity equal
+to that of the solid body, then the shadow and the body that casts
+it will move with equal speed. And if the luminous body moves more
+rapidly than the solid body, the motion of the shadow will be slower
+than that of the body casting it.
+
+But if the luminous body moves more slowly than the solid body, then
+the shadow will move more rapidly than that body.
+
+SIXTH BOOK ON LIGHT AND SHADE.
+
+The effect of rays passing through holes (213. 214).
+
+213.
+
+PERSPECTIVE.
+
+If you transmit the rays of the sun through a hole in the shape of a
+star you will see a beautiful effect of perspective in the spot
+where the sun's rays fall.
+
+[Footnote: In this and the following chapters of MS. C the order of
+the original paging has been adhered to, and is shown in
+parenthesis. Leonardo himself has but rarely worked out the subject
+of these propositions. The space left for the purpose has
+occasionally been made use of for quite different matter. Even the
+numerous diagrams, most of them very delicately sketched, lettered
+and numbered, which occur on these pages, are hardly ever explained,
+with the exception of those few which are here given.]
+
+214.
+
+No small hole can so modify the convergence of rays of light as to
+prevent, at a long distance, the transmission of the true form of
+the luminous body causing them. It is impossible that rays of light
+passing through a parallel [slit], should not display the form of
+the body causing them, since all the effects produced by a luminous
+body are [in fact] the reflection of that body: The moon, shaped
+like a boat, if transmitted through a hole is figured in the surface
+[it falls on] as a boatshaped object. [Footnote 8: In the MS. a
+blank space is left after this question.] Why the eye sees bodies at
+a distance, larger than they measure on the vertical plane?.
+
+[Footnote: This chapter, taken from another MS. may, as an
+exception, be placed here, as it refers to the same subject as the
+preceding section.]
+
+On gradation of shadows (215. 216).
+
+215.
+
+Although the breadth and length of lights and shadow will be
+narrower and shorter in foreshortening, the quality and quantity of
+the light and shade is not increased nor diminished.
+
+[3]The function of shade and light when diminished by
+foreshortening, will be to give shadow and to illuminate an object
+opposite, according to the quality and quantity in which they fall
+on the body.
+
+[5]In proportion as a derived shadow is nearer to its penultimate
+extremities the deeper it will appear, _g z_ beyond the intersection
+faces only the part of the shadow [marked] _y z_; this by
+intersection takes the shadow from _m n_ but by direct line it takes
+the shadow _a m_ hence it is twice as deep as _g z_. _Y x_, by
+intersection takes the shadow _n o_, but by direct line the shadow
+_n m a_, therefore _x y_ is three times as dark as _z g_; _x f_, by
+intersection faces _o b_ and by direct line _o n m a_, therefore we
+must say that the shadow between _f x_ will be four times as dark as
+the shadow _z g_, because it faces four times as much shadow.
+
+Let _a b_ be the side where the primary shadow is, and _b c_ the
+primary light, _d_ will be the spot where it is intercepted,_f g_
+the derived shadow and _f e_ the derived light.
+
+And this must be at the beginning of the explanation.
+
+[Footnote: In the original MS. the text of No. 252 precedes the one
+given here. In the text of No. 215 there is a blank space of about
+four lines between the lines 2 and 3. The diagram given on Pl. VI,
+No. 2 is placed between lines 4 and 5. Between lines 5 and 6 there
+is another space of about three lines and one line left blank
+between lines 8 and 9. The reader will find the meaning of the whole
+passage much clearer if he first reads the final lines 11--13.
+Compare also line 4 of No. 270.]
+
+On relative proportion of light and shadows (216--221).
+
+216.
+
+That part of the surface of a body on which the images [reflection]
+from other bodies placed opposite fall at the largest angle will
+assume their hue most strongly. In the diagram below, 8 is a larger
+angle than 4, since its base _a n_ is larger than _e n_ the base of
+4. This diagram below should end at _a n_ 4 8. [4]That portion of
+the illuminated surface on which a shadow is cast will be brightest
+which lies contiguous to the cast shadow. Just as an object which is
+lighted up by a greater quantity of luminous rays becomes brighter,
+so one on which a greater quantity of shadow falls, will be darker.
+
+Let 4 be the side of an illuminated surface 4 8, surrounding the
+cast shadow _g e_ 4. And this spot 4 will be lighter than 8, because
+less shadow falls on it than on 8. Since 4 faces only the shadow _i
+n_; and 8 faces and receives the shadow _a e_ as well as _i n_ which
+makes it twice as dark. And the same thing happens when you put the
+atmosphere and the sun in the place of shade and light.
+
+[12] The distribution of shadow, originating in, and limited by,
+plane surfaces placed near to each other, equal in tone and directly
+opposite, will be darker at the ends than at the beginning, which
+will be determined by the incidence of the luminous rays. You will
+find the same proportion in the depth of the derived shadows _a n_
+as in the nearness of the luminous bodies _m b_, which cause them;
+and if the luminous bodies were of equal size you would still
+farther find the same proportion in the light cast by the luminous
+circles and their shadows as in the distance of the said luminous
+bodies.
+
+[Footnote: The diagram originally placed between lines 3 and 4 is on
+Pl. VI, No. 3. In the diagram given above line 14 of the original,
+and here printed in the text, the words _corpo luminoso_ [luminous
+body] are written in the circle _m_, _luminoso_ in the circle _b_
+and _ombroso_ [body in shadow] in the circle _o_.]
+
+217.
+
+THAT PART OF THE REFLECTION WILL BE BRIGHTEST WHERE THE REFLECTED
+RAYS ARE SHORTEST.
+
+[2] The darkness occasioned by the casting of combined shadows will
+be in conformity with its cause, which will originate and terminate
+between two plane surfaces near together, alike in tone and directly
+opposite each other.
+
+[4] In proportion as the source of light is larger, the luminous and
+shadow rays will be more mixed together. This result is produced
+because wherever there is a larger quantity of luminous rays, there
+is most light, but where there are fewer there is least light,
+consequently the shadow rays come in and mingle with them.
+
+[Footnote: Diagrams are inserted before lines 2 and 4.]
+
+218.
+
+In all the proportions I lay down it must be understood that the
+medium between the bodies is always the same. [2] The smaller the
+luminous body the more distinct will the transmission of the shadows
+be.
+
+[3] When of two opposite shadows, produced by the same body, one is
+twice as dark as the other though similar in form, one of the two
+lights causing them must have twice the diameter that the other has
+and be at twice the distance from the opaque body. If the object is
+lowly moved across the luminous body, and the shadow is intercepted
+at some distance from the object, there will be the same relative
+proportion between the motion of the derived shadow and the motion
+of the primary shadow, as between the distance from the object to
+the light, and that from the object to the spot where the shadow is
+intercepted; so that though the object is moved slowly the shadow
+moves fast.
+
+[Footnote: There are diagrams inserted before lines 2 and 3 but they
+are not reproduced here. The diagram above line 6 is written upon as
+follows: at _A lume_ (light), at _B obbietto_ (body), at _C ombra
+d'obbietto_ (shadow of the object).]
+
+219.
+
+A luminous body will appear less brilliant when surrounded by a
+bright background.
+
+[2] I have found that the stars which are nearest to the horizon
+look larger than the others because light falls upon them from a
+larger proportion of the solar body than when they are above us; and
+having more light from the sun they give more light, and the bodies
+which are most luminous appear the largest. As may be seen by the
+sun through a mist, and overhead; it appears larger where there is
+no mist and diminished through mist. No portion of the luminous body
+is ever visible from any spot within the pyramid of pure derived
+shadow.
+
+[Footnote: Between lines 1 and 2 there is in the original a large
+diagram which does not refer to this text. ]
+
+220.
+
+A body on which the solar rays fall between the thin branches of
+trees far apart will cast but a single shadow.
+
+[2] If an opaque body and a luminous one are (both) spherical the
+base of the pyramid of rays will bear the same proportion to the
+luminous body as the base of the pyramid of shade to the opaque
+body.
+
+[4] When the transmitted shadow is intercepted by a plane surface
+placed opposite to it and farther away from the luminous body than
+from the object [which casts it] it will appear proportionately
+darker and the edges more distinct.
+
+[Footnote: The diagram which, in the original, is placed above line
+2, is similar to the one, here given on page 73 (section 120).--The
+diagram here given in the margin stands, in the original, between
+lines 3 and 4.]
+
+221.
+
+A body illuminated by the solar rays passing between the thick
+branches of trees will produce as many shadows as there are branches
+between the sun and itself.
+
+Where the shadow-rays from an opaque pyramidal body are intercepted
+they will cast a shadow of bifurcate outline and various depth at
+the points. A light which is broader than the apex but narrower than
+the base of an opaque pyramidal body placed in front of it, will
+cause that pyramid to cast a shadow of bifurcate form and various
+degrees of depth.
+
+If an opaque body, smaller than the light, casts two shadows and if
+it is the same size or larger, casts but one, it follows that a
+pyramidal body, of which part is smaller, part equal to, and part
+larger than, the luminous body, will cast a bifurcate shadow.
+
+[Footnote: Between lines 2 and 3 there are in the original two large
+diagrams.]
+
+_IV._
+
+_Perspective of Disappearance._
+
+_The theory of the_ "Prospettiva de' perdimenti" _would, in many
+important details, be quite unintelligible if it had not been led up
+by the principles of light and shade on which it is based. The word_
+"Prospettiva" _in the language of the time included the principles
+of optics; what Leonardo understood by_ "Perdimenti" _will be
+clearly seen in the early chapters, Nos._ 222--224. _It is in the
+very nature of the case that the farther explanations given in the
+subsequent chapters must be limited to general rules. The sections
+given as_ 227--231 _"On indistinctness at short distances" have, it
+is true, only an indirect bearing on the subject; but on the other
+hand, the following chapters,_ 232--234, _"On indistinctness at
+great distances," go fully into the matter, and in chapters_
+235--239, _which treat "Of the importance of light and shade in the
+Perspective of Disappearance", the practical issues are distinctly
+insisted on in their relation to the theory. This is naturally
+followed by the statements as to "the effect of light or dark
+backgrounds on the apparent size of bodies"_ (_Nos._ 240--250). _At
+the end I have placed, in the order of the original, those sections
+from the MS._ C _which treat of the "Perspective of Disappearance"
+and serve to some extent to complete the treatment of the subject_
+(251--262).
+
+Definition (222. 223).
+
+222.
+
+OF THE DIMINISHED DISTINCTNESS OF THE OUTLINES OF OPAQUE BODIES.
+
+If the real outlines of opaque bodies are indistinguishable at even
+a very short distance, they will be more so at long distances; and,
+since it is by its outlines that we are able to know the real form
+of any opaque body, when by its remoteness we fail to discern it as
+a whole, much more must we fail to discern its parts and outlines.
+
+223.
+
+OF THE DIMINUTION IN PERSPECTIVE OF OPAQUE OBJECTS.
+
+Among opaque objects of equal size the apparent diminution of size
+will be in proportion to their distance from the eye of the
+spectator; but it is an inverse proportion, since, where the
+distance is greater, the opaque body will appear smaller, and the
+less the distance the larger will the object appear. And this is the
+fundamental principle of linear perspective and it
+follows:--[11]every object as it becomes more remote loses first
+those parts which are smallest. Thus of a horse, we should lose the
+legs before the head, because the legs are thinner than the head;
+and the neck before the body for the same reason. Hence it follows
+that the last part of the horse which would be discernible by the
+eye would be the mass of the body in an oval form, or rather in a
+cylindrical form and this would lose its apparent thickness before
+its length--according to the 2nd rule given above, &c. [Footnote 23:
+Compare line 11.].
+
+If the eye remains stationary the perspective terminates in the
+distance in a point. But if the eye moves in a straight [horizontal]
+line the perspective terminates in a line and the reason is that
+this line is generated by the motion of the point and our sight;
+therefore it follows that as we move our sight [eye], the point
+moves, and as we move the point, the line is generated, &c.
+
+An illustration by experiment.
+
+224.
+
+Every visible body, in so far as it affects the eye, includes three
+attributes; that is to say: mass, form and colour; and the mass is
+recognisable at a greater distance from the place of its actual
+existence than either colour or form. Again, colour is discernible
+at a greater distance than form, but this law does not apply to
+luminous bodies.
+
+The above proposition is plainly shown and proved by experiment;
+because: if you see a man close to you, you discern the exact
+appearance of the mass and of the form and also of the colouring; if
+he goes to some distance you will not recognise who he is, because
+the character of the details will disappear, if he goes still
+farther you will not be able to distinguish his colouring, but he
+will appear as a dark object, and still farther he will appear as a
+very small dark rounded object. It appears rounded because distance
+so greatly diminishes the various details that nothing remains
+visible but the larger mass. And the reason is this: We know very
+well that all the images of objects reach the senses by a small
+aperture in the eye; hence, if the whole horizon _a d_ is admitted
+through such an aperture, the object _b c_ being but a very small
+fraction of this horizon what space can it fill in that minute image
+of so vast a hemisphere? And because luminous bodies have more power
+in darkness than any others, it is evident that, as the chamber of
+the eye is very dark, as is the nature of all colored cavities, the
+images of distant objects are confused and lost in the great light
+of the sky; and if they are visible at all, appear dark and black,
+as every small body must when seen in the diffused light of the
+atmosphere.
+
+[Footnote: The diagram belonging to this passage is placed between
+lines 5 and 6; it is No. 4 on Pl. VI. ]
+
+A guiding rule.
+
+225.
+
+OF THE ATMOSPHERE THAT INTERPOSES BETWEEN THE EYE AND VISIBLE
+OBJECTS.
+
+An object will appear more or less distinct at the same distance, in
+proportion as the atmosphere existing between the eye and that
+object is more or less clear. Hence, as I know that the greater or
+less quantity of the air that lies between the eye and the object
+makes the outlines of that object more or less indistinct, you must
+diminish the definiteness of outline of those objects in proportion
+to their increasing distance from the eye of the spectator.
+
+An experiment.
+
+226.
+
+When I was once in a place on the sea, at an equal distance from the
+shore and the mountains, the distance from the shore looked much
+greater than that from the mountains.
+
+On indistinctness at short distances (227-231).
+
+227.
+
+If you place an opaque object in front of your eye at a distance of
+four fingers' breadth, if it is smaller than the space between the
+two eyes it will not interfere with your seeing any thing that may
+be beyond it. No object situated beyond another object seen by the
+eye can be concealed by this [nearer] object if it is smaller than
+the space from eye to eye.
+
+228.
+
+The eye cannot take in a luminous angle which is too close to it.
+
+229.
+
+That part of a surface will be better lighted on which the light
+falls at the greater angle. And that part, on which the shadow falls
+at the greatest angle, will receive from those rays least of the
+benefit of the light.
+
+230.
+
+OF THE EYE.
+
+The edges of an object placed in front of the pupil of the eye will
+be less distinct in proportion as they are closer to the eye. This
+is shown by the edge of the object _n_ placed in front of the pupil
+_d_; in looking at this edge the pupil also sees all the space _a c_
+which is beyond the edge; and the images the eye receives from that
+space are mingled with the images of the edge, so that one image
+confuses the other, and this confusion hinders the pupil from
+distinguishing the edge.
+
+231.
+
+The outlines of objects will be least clear when they are nearest to
+the eye, and therefore remoter outlines will be clearer. Among
+objects which are smaller than the pupil of the eye those will be
+less distinct which are nearer to the eye.
+
+On indistinctness at great distances (232-234).
+
+232.
+
+Objects near to the eye will appear larger than those at a distance.
+
+Objects seen with two eyes will appear rounder than if they are seen
+with only one.
+
+Objects seen between light and shadow will show the most relief.
+
+233.
+
+OF PAINTING.
+
+Our true perception of an object diminishes in proportion as its
+size is diminished by distance.
+
+234.
+
+PERSPECTIVE.
+
+Why objects seen at a distance appear large to the eye and in the
+image on the vertical plane they appear small.
+
+PERSPECTIVE.
+
+I ask how far away the eye can discern a non-luminous body, as, for
+instance, a mountain. It will be very plainly visible if the sun is
+behind it; and could be seen at a greater or less distance according
+to the sun's place in the sky.
+
+[Footnote: The clue to the solution of this problem (lines 1-3) is
+given in lines 4-6, No. 232. Objects seen with both eyes appear
+solid since they are seen from two distinct points of sight
+separated by the distance between the eyes, but this solidity cannot
+be represented in a flat drawing. Compare No. 535.]
+
+The importance of light and shade in the perspective of
+disappearance (235-239).
+
+235.
+
+An opaque body seen in a line in which the light falls will reveal
+no prominences to the eye. For instance, let _a_ be the solid body
+and _c_ the light; _c m_ and _c n_ will be the lines of incidence of
+the light, that is to say the lines which transmit the light to the
+object _a_. The eye being at the point _b_, I say that since the
+light _c_ falls on the whole part _m n_ the portions in relief on
+that side will all be illuminated. Hence the eye placed at _c_
+cannot see any light and shade and, not seeing it, every portion
+will appear of the same tone, therefore the relief in the prominent
+or rounded parts will not be visible.
+
+236.
+
+OF PAINTING.
+
+When you represent in your work shadows which you can only discern
+with difficulty, and of which you cannot distinguish the edges so
+that you apprehend them confusedly, you must not make them sharp or
+definite lest your work should have a wooden effect.
+
+237.
+
+OF PAINTING.
+
+You will observe in drawing that among the shadows some are of
+undistinguishable gradation and form, as is shown in the 3rd
+[proposition] which says: Rounded surfaces display as many degrees
+of light and shade as there are varieties of brightness and darkness
+reflected from the surrounding objects.
+
+238.
+
+OF LIGHT AND SHADE.
+
+You who draw from nature, look (carefully) at the extent, the
+degree, and the form of the lights and shadows on each muscle; and
+in their position lengthwise observe towards which muscle the axis
+of the central line is directed.
+
+239.
+
+An object which is [so brilliantly illuminated as to be] almost as
+bright as light will be visible at a greater distance, and of larger
+apparent size than is natural to objects so remote.
+
+The effect of light or dark backgrounds on the apparent size of
+objects (240-250).
+
+240.
+
+A shadow will appear dark in proportion to the brilliancy of the
+light surrounding it and conversely it will be less conspicuous
+where it is seen against a darker background.
+
+241.
+
+OF ORDINARY PERSPECTIVE.
+
+An object of equal breadth and colour throughout, seen against a
+background of various colours will appear unequal in breadth.
+
+And if an object of equal breadth throughout, but of various
+colours, is seen against a background of uniform colour, that object
+will appear of various breadth. And the more the colours of the
+background or of the object seen against the ground vary, the
+greater will the apparent variations in the breadth be though the
+objects seen against the ground be of equal breadth [throughout].
+
+242.
+
+A dark object seen against a bright background will appear smaller
+than it is.
+
+A light object will look larger when it is seen against a background
+darker than itself.
+
+243.
+
+OF LIGHT.
+
+A luminous body when obscured by a dense atmosphere will appear
+smaller; as may be seen by the moon or sun veiled by mists.
+
+OF LIGHT.
+
+Of several luminous bodies of equal size and brilliancy and at an
+equal distance, that will look the largest which is surrounded by
+the darkest background.
+
+OF LIGHT.
+
+I find that any luminous body when seen through a dense and thick
+mist diminishes in proportion to its distance from the eye. Thus it
+is with the sun by day, as well as the moon and the other eternal
+lights by night. And when the air is clear, these luminaries appear
+larger in proportion as they are farther from the eye.
+
+244.
+
+That portion of a body of uniform breadth which is against a lighter
+background will look narrower [than the rest].
+
+[4] _e_ is a given object, itself dark and of uniform breadth; _a b_
+and _c d_ are two backgrounds one darker than the other; _b c_ is a
+bright background, as it might be a spot lighted by the sun through
+an aperture in a dark room. Then I say that the object _e g_ will
+appear larger at _e f_ than at _g h_; because _e f_ has a darker
+background than _g h_; and again at _f g_ it will look narrower from
+being seen by the eye _o_, on the light background _b c_. [Footnote
+12: The diagram to which the text, lines 1-11, refers, is placed in
+the original between lines 3 and 4, and is given on Pl. XLI, No. 3.
+Lines 12 to 14 are explained by the lower of the two diagrams on Pl.
+XLI, No. 4. In the original these are placed after line 14.] That
+part of a luminous body, of equal breadth and brilliancy throughout,
+will look largest which is seen against the darkest background; and
+the luminous body will seem on fire.
+
+245.
+
+WHY BODIES IN LIGHT AND SHADE HAVE THEIR OUTLINES ALTERED BY THE
+COLOUR AND BRIGHTNESS OF THE OBJECTS SERVING AS A BACKGROUND TO
+THEM.
+
+If you look at a body of which the illuminated portion lies and ends
+against a dark background, that part of the light which will look
+brightest will be that which lies against the dark [background] at
+_d_. But if this brighter part lies against a light background, the
+edge of the object, which is itself light, will be less distinct
+than before, and the highest light will appear to be between the
+limit of the background _m f_ and the shadow. The same thing is seen
+with regard to the dark [side], inasmuch as that edge of the shaded
+portion of the object which lies against a light background, as at
+_l_, it looks much darker than the rest. But if this shadow lies
+against a dark background, the edge of the shaded part will appear
+lighter than before, and the deepest shade will appear between the
+edge and the light at the point _o_.
+
+[Footnote: In the original diagram _o_ is inside the shaded surface
+at the level of _d_.]
+
+246.
+
+An opaque body will appear smaller when it is surrounded by a highly
+luminous background, and a light body will appear larger when it is
+seen against a darker background. This may be seen in the height of
+buildings at night, when lightning flashes behind them; it suddenly
+seems, when it lightens, as though the height of the building were
+diminished. For the same reason such buildings look larger in a
+mist, or by night than when the atmosphere is clear and light.
+
+247.
+
+ON LIGHT BETWEEN SHADOWS
+
+When you are drawing any object, remember, in comparing the grades
+of light in the illuminated portions, that the eye is often deceived
+by seeing things lighter than they are. And the reason lies in our
+comparing those parts with the contiguous parts. Since if two
+[separate] parts are in different grades of light and if the less
+bright is conterminous with a dark portion and the brighter is
+conterminous with a light background--as the sky or something
+equally bright--, then that which is less light, or I should say
+less radiant, will look the brighter and the brighter will seem the
+darker.
+
+248.
+
+Of objects equally dark in themselves and situated at a considerable
+and equal distance, that will look the darkest which is farthest
+above the earth.
+
+249.
+
+TO PROVE HOW IT IS THAT LUMINOUS BODIES APPEAR LARGER, AT A
+DISTANCE, THAN THEY ARE.
+
+If you place two lighted candles side by side half a braccio apart,
+and go from them to a distance 200 braccia you will see that by the
+increased size of each they will appear as a single luminous body
+with the light of the two flames, one braccio wide.
+
+TO PROVE HOW YOU MAY SEE THE REAL SIZE OF LUMINOUS BODIES.
+
+If you wish to see the real size of these luminous bodies, take a
+very thin board and make in it a hole no bigger than the tag of a
+lace and place it as close to your eye as possible, so that when you
+look through this hole, at the said light, you can see a large space
+of air round it. Then by rapidly moving this board backwards and
+forwards before your eye you will see the light increase [and
+diminish].
+
+Propositions on perspective of disappearance from MS. C. (250-262).
+
+250.
+
+Of several bodies of equal size and equally distant from the eye,
+those will look the smallest which are against the lightest
+background.
+
+Every visible object must be surrounded by light and shade. A
+perfectly spherical body surrounded by light and shade will appear
+to have one side larger than the other in proportion as one is more
+highly lighted than the other.
+
+251.
+
+PERSPECTIVE.
+
+No visible object can be well understood and comprehended by the
+human eye excepting from the difference of the background against
+which the edges of the object terminate and by which they are
+bounded, and no object will appear [to stand out] separate from that
+background so far as the outlines of its borders are concerned. The
+moon, though it is at a great distance from the sun, when, in an
+eclipse, it comes between our eyes and the sun, appears to the eyes
+of men to be close to the sun and affixed to it, because the sun is
+then the background to the moon.
+
+252.
+
+A luminous body will appear more brilliant in proportion as it is
+surrounded by deeper shadow. [Footnote: The diagram which, in the
+original, is placed after this text, has no connection with it.]
+
+253.
+
+The straight edges of a body will appear broken when they are
+conterminous with a dark space streaked with rays of light.
+[Footnote: Here again the diagrams in the original have no
+connection with the text.]
+
+254.
+
+Of several bodies, all equally large and equally distant, that which
+is most brightly illuminated will appear to the eye nearest and
+largest. [Footnote: Here again the diagrams in the original have no
+connection with the text.]
+
+255.
+
+If several luminous bodies are seen from a great distance although
+they are really separate they will appear united as one body.
+
+256.
+
+If several objects in shadow, standing very close together, are seen
+against a bright background they will appear separated by wide
+intervals.
+
+257.
+
+Of several bodies of equal size and tone, that which is farthest
+will appear the lightest and smallest.
+
+258.
+
+Of several objects equal in size, brightness of background and
+length that which has the flattest surface will look the largest. A
+bar of iron equally thick throughout and of which half is red hot,
+affords an example, for the red hot part looks thicker than the
+rest.
+
+259.
+
+Of several bodies of equal size and length, and alike in form and in
+depth of shade, that will appear smallest which is surrounded by the
+most luminous background.
+
+260.
+
+DIFFERENT PORTIONS OF A WALL SURFACE WILL BE DARKER OR BRIGHTER IN
+PROPORTION AS THE LIGHT OR SHADOW FALLS ON THEM AT A LARGER ANGLE.
+
+The foregoing proposition can be clearly proved in this way. Let us
+say that _m q_ is the luminous body, then _f g_ will be the opaque
+body; and let _a e_ be the above-mentioned plane on which the said
+angles fall, showing [plainly] the nature and character of their
+bases. Then: _a_ will be more luminous than _b_; the base of the
+angle _a_ is larger than that of _b_ and it therefore makes a
+greater angle which will be _a m q_; and the pyramid _b p m_ will be
+narrower and _m o c_ will be still finer, and so on by degrees, in
+proportion as they are nearer to _e_, the pyramids will become
+narrower and darker. That portion of the wall will be the darkest
+where the breadth of the pyramid of shadow is greater than the
+breadth of the pyramid of light.
+
+At the point _a_ the pyramid of light is equal in strength to the
+pyramid of shadow, because the base _f g_ is equal to the base _r
+f_. At the point _d_ the pyramid of light is narrower than the
+pyramid of shadow by so much as the base _s f_ is less than the base
+_f g_.
+
+Divide the foregoing proposition into two diagrams, one with the
+pyramids of light and shadow, the other with the pyramids of light
+[only].
+
+261.
+
+Among shadows of equal depth those which are nearest to the eye will
+look least deep.
+
+262.
+
+The more brilliant the light given by a luminous body, the deeper
+will the shadows be cast by the objects it illuminates.
+
+_V._
+
+_Theory of colours._
+
+_Leonardo's theory of colours is even more intimately connected with
+his principles of light and shade than his Perspective of
+Disappearance and is in fact merely an appendix or supplement to
+those principles, as we gather from the titles to sections_ 264,
+267_, and _276_, while others again_ (_Nos._ 281, 282_) are headed_
+Prospettiva.
+
+_A very few of these chapters are to be found in the oldest copies
+and editions of the Treatise on Painting, and although the material
+they afford is but meager and the connection between them but
+slight, we must still attribute to them a special theoretical value
+as well as practical utility--all the more so because our knowledge
+of the theory and use of colours at the time of the Renaissance is
+still extremely limited._
+
+The reciprocal effects of colours on objects placed opposite each
+other (263-272).
+
+263.
+
+OF PAINTING.
+
+The hue of an illuminated object is affected by that of the luminous
+body.
+
+264.
+
+OF SHADOW.
+
+The surface of any opaque body is affected by the colour of
+surrounding objects.
+
+265.
+
+A shadow is always affected by the colour of the surface on which it
+is cast.
+
+266.
+
+An image produced in a mirror is affected by the colour of the
+mirror.
+
+267.
+
+OF LIGHT AND SHADE.
+
+Every portion of the surface of a body is varied [in hue] by the
+[reflected] colour of the object that may be opposite to it.
+
+EXAMPLE.
+
+If you place a spherical body between various objects that is to say
+with [direct] sunlight on one side of it, and on the other a wall
+illuminated by the sun, which wall may be green or of any other
+colour, while the surface on which it is placed may be red, and the
+two lateral sides are in shadow, you will see that the natural
+colour of that body will assume something of the hue reflected from
+those objects. The strongest will be [given by] the luminous body;
+the second by the illuminated wall, the third by the shadows. There
+will still be a portion which will take a tint from the colour of
+the edges.
+
+268.
+
+The surface of every opaque body is affected by the colour of the
+objects surrounding it. But this effect will be strong or weak in
+proportion as those objects are more or less remote and more or less
+strongly [coloured].
+
+269.
+
+OF PAINTING.
+
+The surface of every opaque body assumes the hues reflected from
+surrounding objects.
+
+The surface of an opaque body assumes the hues of surrounding
+objects more strongly in proportion as the rays that form the images
+of those objects strike the surface at more equal angles.
+
+And the surface of an opaque body assumes a stronger hue from the
+surrounding objects in proportion as that surface is whiter and the
+colour of the object brighter or more highly illuminated.
+
+270.
+
+OF THE RAYS WHICH CONVEY THROUGH THE AIR THE IMAGES OF OBJECTS.
+
+All the minutest parts of the image intersect each other without
+interfering with each other. To prove this let _r_ be one of the
+sides of the hole, opposite to which let _s_ be the eye which sees
+the lower end _o_ of the line _n o_. The other extremity cannot
+transmit its image to the eye _s_ as it has to strike the end _r_
+and it is the same with regard to _m_ at the middle of the line. The
+case is the same with the upper extremity _n_ and the eye _u_. And
+if the end _n_ is red the eye _u_ on that side of the holes will not
+see the green colour of _o_, but only the red of _n_ according to
+the 7th of this where it is said: Every form projects images from
+itself by the shortest line, which necessarily is a straight line,
+&c.
+
+[Footnote: 13. This probably refers to the diagram given under No.
+66.]
+
+271.
+
+OF PAINTING.
+
+The surface of a body assumes in some degree the hue of those around
+it. The colours of illuminated objects are reflected from the
+surfaces of one to the other in various spots, according to the
+various positions of those objects. Let _o_ be a blue object in full
+light, facing all by itself the space _b c_ on the white sphere _a b
+e d e f_, and it will give it a blue tinge, _m_ is a yellow body
+reflected onto the space _a b_ at the same time as _o_ the blue
+body, and they give it a green colour (by the 2nd [proposition] of
+this which shows that blue and yellow make a beautiful green &c.)
+And the rest will be set forth in the Book on Painting. In that Book
+it will be shown, that, by transmitting the images of objects and
+the colours of bodies illuminated by sunlight through a small round
+perforation and into a dark chamber onto a plane surface, which
+itself is quite white, &c.
+
+But every thing will be upside down.
+
+Combination of different colours in cast shadows.
+
+272.
+
+That which casts the shadow does not face it, because the shadows
+are produced by the light which causes and surrounds the shadows.
+The shadow caused by the light _e_, which is yellow, has a blue
+tinge, because the shadow of the body _a_ is cast upon the pavement
+at _b_, where the blue light falls; and the shadow produced by the
+light _d_, which is blue, will be yellow at _c_, because the yellow
+light falls there and the surrounding background to these shadows _b
+c_ will, besides its natural colour, assume a hue compounded of
+yellow and blue, because it is lighted by the yellow light and by
+the blue light both at once.
+
+Shadows of various colours, as affected by the lights falling on
+them. That light which causes the shadow does not face it.
+
+[Footnote: In the original diagram we find in the circle _e_
+"_giallo_" (yellow) and the cirle _d_ "_azurro"_ (blue) and also
+under the circle of shadow to the left "_giallo_" is written and
+under that to the right "_azurro_".
+
+In the second diagram where four circles are placed in a row we find
+written, beginning at the left hand, "_giallo_" (yellow), "_azurro_"
+(blue), "_verde_" (green), "_rosso_" (red).]
+
+The effect of colours in the camera obscura (273-274).
+
+273.
+
+The edges of a colour(ed object) transmitted through a small hole
+are more conspicuous than the central portions.
+
+The edges of the images, of whatever colour, which are transmitted
+through a small aperture into a dark chamber will always be stronger
+than the middle portions.
+
+274.
+
+OF THE INTERSECTIONS OF THE IMAGES IN THE PUPIL OF THE EYE.
+
+The intersections of the images as they enter the pupil do not
+mingle in confusion in the space where that intersection unites
+them; as is evident, since, if the rays of the sun pass through two
+panes of glass in close contact, of which one is blue and the other
+yellow, the rays, in penetrating them, do not become blue or yellow
+but a beautiful green. And the same thing would happen in the eye,
+if the images which were yellow or green should mingle where they
+[meet and] intersect as they enter the pupil. As this does not
+happen such a mingling does not exist.
+
+OF THE NATURE OF THE RAYS COMPOSED OF THE IMAGES OF OBJECTS, AND OF
+THEIR INTERSECTIONS.
+
+The directness of the rays which transmit the forms and colours of
+the bodies whence they proceed does not tinge the air nor can they
+affect each other by contact where they intersect. They affect only
+the spot where they vanish and cease to exist, because that spot
+faces and is faced by the original source of these rays, and no
+other object, which surrounds that original source can be seen by
+the eye where these rays are cut off and destroyed, leaving there
+the spoil they have conveyed to it. And this is proved by the 4th
+[proposition], on the colour of bodies, which says: The surface of
+every opaque body is affected by the colour of surrounding objects;
+hence we may conclude that the spot which, by means of the rays
+which convey the image, faces--and is faced by the cause of the
+image, assumes the colour of that object.
+
+On the colours of derived shadows (275. 276).
+
+275.
+
+ANY SHADOW CAST BY AN OPAQUE BODY SMALLER THAN THE LIGHT CAUSING THE
+SHADOW WILL THROW A DERIVED SHADOW WHICH IS TINGED BY THE COLOUR OF
+THE LIGHT.
+
+Let _n_ be the source of the shadow _e f_; it will assume its hue.
+Let _o_ be the source of _h e_ which will in the same way be tinged
+by its hue and so also the colour of _v h_ will be affected by _p_
+which causes it; and the shadow of the triangle _z k y_ will be
+affected by the colour of _q_, because it is produced by it. [7] In
+proportion as _c d_ goes into _a d_, will _n r s_ be darker than
+_m_; and the rest of the space will be shadowless [11]. _f g_ is
+the highest light, because here the whole light of the window _a d_
+falls; and thus on the opaque body _m e_ is in equally high light;
+_z k y_ is a triangle which includes the deepest shadow, because the
+light _a d_ cannot reach any part of it. _x h_ is the 2nd grade of
+shadow, because it receives only 1/3 of the light from the window,
+that is _c d_. The third grade of shadow is _h e_, where two thirds
+of the light from the window is visible. The last grade of shadow is
+_b d e f_, because the highest grade of light from the window falls
+at _f_.
+
+[Footnote: The diagram Pl. III, No. 1 belongs to this chapter as
+well as the text given in No. 148. Lines 7-11 (compare lines 8-12 of
+No. 148) which are written within the diagram, evidently apply to
+both sections and have therefore been inserted in both.]
+
+276.
+
+OF THE COLOURS OF SIMPLE DERIVED SHADOWS.
+
+The colour of derived shadows is always affected by that of the body
+towards which they are cast. To prove this: let an opaque body be
+placed between the plane _s c t d_ and the blue light _d e_ and the
+red light _a b_, then I say that _d e_, the blue light, will fall on
+the whole surface _s c t d_ excepting at _o p_ which is covered by
+the shadow of the body _q r_, as is shown by the straight lines _d q
+o e r p_. And the same occurs with the light _a b_ which falls on
+the whole surface _s c t d_ excepting at the spot obscured by the
+shadow _q r_; as is shown by the lines _d q o_, and _e r p_. Hence
+we may conclude that the shadow _n m_ is exposed to the blue light
+_d e_; but, as the red light _a b_ cannot fall there, _n m_ will
+appear as a blue shadow on a red background tinted with blue,
+because on the surface _s c t d_ both lights can fall. But in the
+shadows only one single light falls; for this reason these shadows
+are of medium depth, since, if no light whatever mingled with the
+shadow, it would be of the first degree of darkness &c. But in the
+shadow at _o p_ the blue light does not fall, because the body _q r_
+interposes and intercepts it there. Only the red light _a b_ falls
+there and tinges the shadow of a red hue and so a ruddy shadow
+appears on the background of mingled red and blue.
+
+The shadow of _q r_ at _o p_ is red, being caused by the blue light
+_d e_; and the shadow of _q r_ at _o' p'_ is blue being caused by
+the red light _a b_. Hence we say that the blue light in this
+instance causes a red derived shadow from the opaque body _q' r'_,
+while the red light causes the same body to cast a blue derived
+shadow; but the primary shadow [on the dark side of the body itself]
+is not of either of those hues, but a mixture of red and blue.
+
+The derived shadows will be equal in depth if they are produced by
+lights of equal strength and at an equal distance; this is proved.
+[Footnote 53: The text is unfinished in the original.]
+
+[Footnote: In the original diagram Leonardo has written within the
+circle _q r corpo obroso_ (body in shadow); at the spot marked _A,
+luminoso azzurro_ (blue luminous body); at _B, luminoso rosso_ (red
+luminous body). At _E_ we read _ombra azzurra_ (blue tinted shadow)
+and at _D ombra rossa_ (red tinted shadow).]
+
+On the nature of colours (277. 278).
+
+277.
+
+No white or black is transparent.
+
+278.
+
+OF PAINTING.
+
+[Footnote 2: See Footnote 3] Since white is not a colour but the
+neutral recipient of every colour [Footnote 3: _il bianco non e
+colore ma e inpotentia ricettiva d'ogni colore_ (white is not a
+colour, but the neutral recipient of every colour). LEON BATT.
+ALBERTI "_Della pittura_" libro I, asserts on the contrary: "_Il
+bianco e'l nero non sono veri colori, ma sono alteratione delli
+altri colori_" (ed. JANITSCHEK, p. 67; Vienna 1877).], when it is
+seen in the open air and high up, all its shadows are bluish; and
+this is caused, according to the 4th [prop.], which says: the
+surface of every opaque body assumes the hue of the surrounding
+objects. Now this white [body] being deprived of the light of the
+sun by the interposition of some body between the sun and itself,
+all that portion of it which is exposed to the sun and atmosphere
+assumes the colour of the sun and atmosphere; the side on which the
+sun does not fall remains in shadow and assumes the hue of the
+atmosphere. And if this white object did not reflect the green of
+the fields all the way to the horizon nor get the brightness of the
+horizon itself, it would certainly appear simply of the same hue as
+the atmosphere.
+
+On gradations in the depth of colours (279. 280).
+
+279.
+
+Since black, when painted next to white, looks no blacker than when
+next to black; and white when next to black looks no whiter than
+white, as is seen by the images transmitted through a small hole or
+by the edges of any opaque screen ...
+
+280.
+
+OF COLOURS.
+
+Of several colours, all equally white, that will look whitest which
+is against the darkest background. And black will look intensest
+against the whitest background.
+
+And red will look most vivid against the yellowest background; and
+the same is the case with all colours when surrounded by their
+strongest contrasts.
+
+On the reflection of colours (281-283).
+
+281.
+
+PERSPECTIVE.
+
+Every object devoid of colour in itself is more or less tinged by
+the colour [of the object] placed opposite. This may be seen by
+experience, inasmuch as any object which mirrors another assumes the
+colour of the object mirrored in it. And if the surface thus
+partially coloured is white the portion which has a red reflection
+will appear red, or any other colour, whether bright or dark.
+
+PERSPECTIVE.
+
+Every opaque and colourless body assumes the hue of the colour
+reflected on it; as happens with a white wall.
+
+282.
+
+PERSPECTIVE.
+
+That side of an object in light and shade which is towards the light
+transmits the images of its details more distinctly and immediately
+to the eye than the side which is in shadow.
+
+PERSPECTIVE.
+
+The solar rays reflected on a square mirror will be thrown back to
+distant objects in a circular form.
+
+PERSPECTIVE.
+
+Any white and opaque surface will be partially coloured by
+reflections from surrounding objects.
+
+[Footnote 281. 282: The title line of these chapters is in the
+original simply _"pro"_, which may be an abbreviation for either
+_Propositione_ or _Prospettiva_--taking Prospettiva of course in its
+widest sense, as we often find it used in Leonardo's writings. The
+title _"pro"_ has here been understood to mean _Prospettiva_, in
+accordance with the suggestion afforded by page 10b of this same
+MS., where the first section is headed _Prospettiva_ in full (see
+No. 94), while the four following sections are headed merely _"pro"_
+(see No. 85).]
+
+283.
+
+WHAT PORTION OF A COLOURED SURFACE OUGHT IN REASON TO BE THE MOST
+INTENSE.
+
+If _a_ is the light, and _b_ illuminated by it in a direct line,
+_c_, on which the light cannot fall, is lighted only by reflection
+from _b_ which, let us say, is red. Hence the light reflected from
+it, will be affected by the hue of the surface causing it and will
+tinge the surface _c_ with red. And if _c_ is also red you will see
+it much more intense than _b_; and if it were yellow you would see
+there a colour between yellow and red.
+
+On the use of dark and light colours in painting (284--286).
+
+284.
+
+WHY BEAUTIFUL COLOURS MUST BE IN THE [HIGHEST] LIGHT.
+
+Since we see that the quality of colour is known [only] by means of
+light, it is to be supposed that where there is most light the true
+character of a colour in light will be best seen; and where there is
+most shadow the colour will be affected by the tone of that. Hence,
+O Painter! remember to show the true quality of colours in bright
+lights.
+
+285.
+
+An object represented in white and black will display stronger
+relief than in any other way; hence I would remind you O Painter! to
+dress your figures in the lightest colours you can, since, if you
+put them in dark colours, they will be in too slight relief and
+inconspicuous from a distance. And the reason is that the shadows of
+all objects are dark. And if you make a dress dark there is little
+variety in the lights and shadows, while in light colours there are
+many grades.
+
+286.
+
+OF PAINTING.
+
+Colours seen in shadow will display more or less of their natural
+brilliancy in proportion as they are in fainter or deeper shadow.
+
+But if these same colours are situated in a well-lighted place, they
+will appear brighter in proportion as the light is more brilliant.
+
+THE ADVERSARY.
+
+The variety of colours in shadow must be as great as that of the
+colours in the objects in that shadow.
+
+THE ANSWER.
+
+Colours seen in shadow will display less variety in proportion as
+the shadows in which they lie are deeper. And evidence of this is to
+be had by looking from an open space into the doorways of dark and
+shadowy churches, where the pictures which are painted in various
+colours all look of uniform darkness.
+
+Hence at a considerable distance all the shadows of different
+colours will appear of the same darkness.
+
+It is the light side of an object in light and shade which shows the
+true colour.
+
+On the colours of the rainbow (287. 288).
+
+287.
+
+Treat of the rainbow in the last book on Painting, but first write
+the book on colours produced by the mixture of other colours, so as
+to be able to prove by those painters' colours how the colours of
+the rainbow are produced.
+
+288.
+
+WHETHER THE COLOURS OF THE RAINBOW ARE PRODUCED BY THE SUN.
+
+The colours of the rainbow are not produced by the sun, for they
+occur in many ways without the sunshine; as may be seen by holding a
+glass of water up to the eye; when, in the glass--where there are
+those minute bubbles always seen in coarse glass--each bubble, even
+though the sun does not fall on it, will produce on one side all the
+colours of the rainbow; as you may see by placing the glass between
+the day light and your eye in such a way as that it is close to the
+eye, while on one side the glass admits the [diffused] light of the
+atmosphere, and on the other side the shadow of the wall on one side
+of the window; either left or right, it matters not which. Then, by
+turning the glass round you will see these colours all round the
+bubbles in the glass &c. And the rest shall be said in its place.
+
+THAT THE EYE HAS NO PART IN PRODUCING THE COLOURS OF THE RAINBOW.
+
+In the experiment just described, the eye would seem to have some
+share in the colours of the rainbow, since these bubbles in the
+glass do not display the colours except through the medium of the
+eye. But, if you place the glass full of water on the window sill,
+in such a position as that the outer side is exposed to the sun's
+rays, you will see the same colours produced in the spot of light
+thrown through the glass and upon the floor, in a dark place, below
+the window; and as the eye is not here concerned in it, we may
+evidently, and with certainty pronounce that the eye has no share in
+producing them.
+
+OF THE COLOURS IN THE FEATHERS OF CERTAIN BIRDS.
+
+There are many birds in various regions of the world on whose
+feathers we see the most splendid colours produced as they move, as
+we see in our own country in the feathers of peacocks or on the
+necks of ducks or pigeons, &c.
+
+Again, on the surface of antique glass found underground and on the
+roots of turnips kept for some time at the bottom of wells or other
+stagnant waters [we see] that each root displays colours similar to
+those of the real rainbow. They may also be seen when oil has been
+placed on the top of water and in the solar rays reflected from the
+surface of a diamond or beryl; again, through the angular facet of a
+beryl every dark object against a background of the atmosphere or
+any thing else equally pale-coloured is surrounded by these rainbow
+colours between the atmosphere and the dark body; and in many other
+circumstances which I will not mention, as these suffice for my
+purpose.
+
+_VI._
+
+_'Prospettiva de' colri' (Perspective of Colour)_
+
+_and_
+
+_'Prospettiva aerea' (Aerial Perspective)._
+
+_Leonardo distinctly separates these branches of his subject, as may
+be seen in the beginning of No._ 295. _Attempts have been made to
+cast doubts on the results which Leonardo arrived at by experiment
+on the perspective of colour, but not with justice, as may be seen
+from the original text of section_ 294.
+
+_The question as to the composition of the atmosphere, which is
+inseparable from a discussion on Aerial Perspective, forms a
+separate theory which is treated at considerable length. Indeed the
+author enters into it so fully that we cannot escape the conviction
+that he must have dwelt with particular pleasure on this part of his
+subject, and that he attached great importance to giving it a
+character of general applicability._
+
+General rules (289--291).
+
+289.
+
+The variety of colour in objects cannot be discerned at a great
+distance, excepting in those parts which are directly lighted up by
+the solar rays.
+
+290.
+
+As to the colours of objects: at long distances no difference is
+perceptible in the parts in shadow.
+
+291.
+
+OF THE VISIBILITY OF COLOURS.
+
+Which colour strikes most? An object at a distance is most
+conspicuous, when it is lightest, and the darkest is least visible.
+
+An exceptional case.
+
+292.
+
+Of the edges [outlines] of shadows. Some have misty and ill defined
+edges, others distinct ones.
+
+No opaque body can be devoid of light and shade, except it is in a
+mist, on ground covered with snow, or when snow is falling on the
+open country which has no light on it and is surrounded with
+darkness.
+
+And this occurs [only] in spherical bodies, because in other bodies
+which have limbs and parts, those sides of limbs which face each
+other reflect on each other the accidental [hue and tone] of their
+surface.
+
+An experiment.
+
+293.
+
+ALL COLOURS ARE AT A DISTANCE UNDISTINGUISHABLE AND UNDISCERNIBLE.
+
+All colours at a distance are undistinguishable in shadow, because
+an object which is not in the highest light is incapable of
+transmitting its image to the eye through an atmosphere more
+luminous than itself; since the lesser brightness must be absorbed
+by the greater. For instance: We, in a house, can see that all the
+colours on the surface of the walls are clearly and instantly
+visible when the windows of the house are open; but if we were to go
+out of the house and look in at the windows from a little distance
+to see the paintings on those walls, instead of the paintings we
+should see an uniform deep and colourless shadow.
+
+The practice of the prospettiva de colori.
+
+294.
+
+HOW A PAINTER SHOULD CARRY OUT THE PERSPECTIVE OF COLOUR IN
+PRACTICE.
+
+In order to put into practice this perspective of the variation and
+loss or diminution of the essential character of colours, observe at
+every hundred braccia some objects standing in the landscape, such
+as trees, houses, men and particular places. Then in front of the
+first tree have a very steady plate of glass and keep your eye very
+steady, and then, on this plate of glass, draw a tree, tracing it
+over the form of that tree. Then move it on one side so far as that
+the real tree is close by the side of the tree you have drawn; then
+colour your drawing in such a way as that in colour and form the two
+may be alike, and that both, if you close one eye, seem to be
+painted on the glass and at the same distance. Then, by the same
+method, represent a second tree, and a third, with a distance of a
+hundred braccia between each. And these will serve as a standard and
+guide whenever you work on your own pictures, wherever they may
+apply, and will enable you to give due distance in those works. [14]
+But I have found that as a rule the second is 4/5 of the first when
+it is 20 braccia beyond it.
+
+[Footnote: This chapter is one of those copied in the Manuscript of
+the Vatican library Urbinas 1270, and the original text is rendered
+here with no other alterations, but in the orthography. H. LUDWIG,
+in his edition of this copy translates lines 14 and 15 thus: "_Ich
+finde aber als Regel, dass der zweite um vier Funftel des ersten
+abnimmt, wenn er namlich zwanzig Ellen vom ersten entfernt ist
+(?)"_. He adds in his commentary: "_Das Ende der Nummer ist wohl
+jedenfalls verstummelt_". However the translation given above shows
+that it admits of a different rendering.]
+
+The rules of aerial perspective (295--297).
+
+295.
+
+OF AERIAL PERSPECTIVE.
+
+There is another kind of perspective which I call Aerial
+Perspective, because by the atmosphere we are able to distinguish
+the variations in distance of different buildings, which appear
+placed on a single line; as, for instance, when we see several
+buildings beyond a wall, all of which, as they appear above the top
+of the wall, look of the same size, while you wish to represent them
+in a picture as more remote one than another and to give the effect
+of a somewhat dense atmosphere. You know that in an atmosphere of
+equal density the remotest objects seen through it, as mountains, in
+consequence of the great quantity of atmosphere between your eye and
+them--appear blue and almost of the same hue as the atmosphere
+itself [Footnote 10: _quado il sole e per leuante_ (when the sun is
+in the East). Apparently the author refers here to morning light in
+general. H. LUDWIG however translates this passage from the Vatican
+copy "_wenn namlich die Sonne (dahinter) im Osten steht_".] when the
+sun is in the East [Footnote 11: See Footnote 10]. Hence you must
+make the nearest building above the wall of its real colour, but the
+more distant ones make less defined and bluer. Those you wish should
+look farthest away you must make proportionately bluer; thus, if one
+is to be five times as distant, make it five times bluer. And by
+this rule the buildings which above a [given] line appear of the
+same size, will plainly be distinguished as to which are the more
+remote and which larger than the others.
+
+296.
+
+The medium lying between the eye and the object seen, tinges that
+object with its colour, as the blueness of the atmosphere makes the
+distant mountains appear blue and red glass makes objects seen
+beyond it, look red. The light shed round them by the stars is
+obscured by the darkness of the night which lies between the eye and
+the radiant light of the stars.
+
+297.
+
+Take care that the perspective of colour does not disagree with the
+size of your objects, hat is to say: that the colours diminish from
+their natural [vividness] in proportion as the objects at various
+distances dimmish from their natural size.
+
+On the relative density of the atmosphere (298--290).
+
+298.
+
+WHY THE ATMOSPHERE MUST BE REPRESENTED AS PALER TOWARDS THE LOWER
+PORTION.
+
+Because the atmosphere is dense near the earth, and the higher it is
+the rarer it becomes. When the sun is in the East if you look
+towards the West and a little way to the South and North, you will
+see that this dense atmosphere receives more light from the sun than
+the rarer; because the rays meet with greater resistance. And if the
+sky, as you see it, ends on a low plain, that lowest portion of the
+sky will be seen through a denser and whiter atmosphere, which will
+weaken its true colour as seen through that medium, and there the
+sky will look whiter than it is above you, where the line of sight
+travels through a smaller space of air charged with heavy vapour.
+And if you turn to the East, the atmosphere will appear darker as
+you look lower down because the luminous rays pass less freely
+through the lower atmosphere.
+
+299.
+
+OF THE MODE OF TREATING REMOTE OBJECTS IN PAINTING.
+
+It is easy to perceive that the atmosphere which lies closest to the
+level ground is denser than the rest, and that where it is higher
+up, it is rarer and more transparent. The lower portions of large
+and lofty objects which are at a distance are not much seen, because
+you see them along a line which passes through a denser and thicker
+section of the atmosphere. The summits of such heights are seen
+along a line which, though it starts from your eye in a dense
+atmosphere, still, as it ends at the top of those lofty objects,
+ceases in a much rarer atmosphere than exists at their base; for
+this reason the farther this line extends from your eye, from point
+to point the atmosphere becomes more and more rare. Hence, O
+Painter! when you represent mountains, see that from hill to hill
+the bases are paler than the summits, and in proportion as they
+recede beyond each other make the bases paler than the summits;
+while, the higher they are the more you must show of their true form
+and colour.
+
+On the colour of the atmosphere (300-307).
+
+300.
+
+OF THE COLOUR OF THE ATMOSPHERE.
+
+I say that the blueness we see in the atmosphere is not intrinsic
+colour, but is caused by warm vapour evaporated in minute and
+insensible atoms on which the solar rays fall, rendering them
+luminous against the infinite darkness of the fiery sphere which
+lies beyond and includes it. And this may be seen, as I saw it by
+any one going up [Footnote 5: With regard to the place spoken of as
+_M'oboso_ (compare No. 301 line 20) its identity will be discussed
+under Leonardo's Topographical notes in Vol. II.] Monboso, a peak of
+the Alps which divide France from Italy. The base of this mountain
+gives birth to the four rivers which flow in four different
+directions through the whole of Europe. And no mountain has its base
+at so great a height as this, which lifts itself almost above the
+clouds; and snow seldom falls there, but only hail in the summer,
+when the clouds are highest. And this hail lies [unmelted] there, so
+that if it were not for the absorption of the rising and falling
+clouds, which does not happen twice in an age, an enormous mass of
+ice would be piled up there by the hail, and in the middle of July I
+found it very considerable. There I saw above me the dark sky, and
+the sun as it fell on the mountain was far brighter here than in the
+plains below, because a smaller extent of atmosphere lay between the
+summit of the mountain and the sun. Again as an illustration of the
+colour of the atmosphere I will mention the smoke of old and dry
+wood, which, as it comes out of a chimney, appears to turn very
+blue, when seen between the eye and the dark distance. But as it
+rises, and comes between the eye and the bright atmosphere, it at
+once shows of an ashy grey colour; and this happens because it no
+longer has darkness beyond it, but this bright and luminous space.
+If the smoke is from young, green wood, it will not appear blue,
+because, not being transparent and being full of superabundant
+moisture, it has the effect of condensed clouds which take distinct
+lights and shadows like a solid body. The same occurs with the
+atmosphere, which, when overcharged with moisture appears white, and
+the small amount of heated moisture makes it dark, of a dark blue
+colour; and this will suffice us so far as concerns the colour of
+the atmosphere; though it might be added that, if this transparent
+blue were the natural colour of the atmosphere, it would follow that
+wherever a larger mass air intervened between the eye and the
+element of fire, the azure colour would be more intense; as we see
+in blue glass and in sapphires, which are darker in proportion as
+they are larger. But the atmosphere in such circumstances behaves in
+an opposite manner, inasmuch as where a greater quantity of it lies
+between the eye and the sphere of fire, it is seen much whiter. This
+occurs towards the horizon. And the less the extent of atmosphere
+between the eye and the sphere of fire, the deeper is the blue
+colour, as may be seen even on low plains. Hence it follows, as I
+say, that the atmosphere assumes this azure hue by reason of the
+particles of moisture which catch the rays of the sun. Again, we may
+note the difference in particles of dust, or particles of smoke, in
+the sun beams admitted through holes into a dark chamber, when the
+former will look ash grey and the thin smoke will appear of a most
+beautiful blue; and it may be seen again in in the dark shadows of
+distant mountains when the air between the eye and those shadows
+will look very blue, though the brightest parts of those mountains
+will not differ much from their true colour. But if any one wishes
+for a final proof let him paint a board with various colours, among
+them an intense black; and over all let him lay a very thin and
+transparent [coating of] white. He will then see that this
+transparent white will nowhere show a more beautiful blue than over
+the black--but it must be very thin and finely ground.
+
+[Footnote 7: _reta_ here has the sense of _malanno_.]
+
+301.
+
+Experience shows us that the air must have darkness beyond it and
+yet it appears blue. If you produce a small quantity of smoke from
+dry wood and the rays of the sun fall on this smoke, and if you then
+place behind the smoke a piece of black velvet on which the sun does
+not shine, you will see that all the smoke which is between the eye
+and the black stuff will appear of a beautiful blue colour. And if
+instead of the velvet you place a white cloth smoke, that is too
+thick smoke, hinders, and too thin smoke does not produce, the
+perfection of this blue colour. Hence a moderate amount of smoke
+produces the finest blue. Water violently ejected in a fine spray
+and in a dark chamber where the sun beams are admitted produces
+these blue rays and the more vividly if it is distilled water, and
+thin smoke looks blue. This I mention in order to show that the
+blueness of the atmosphere is caused by the darkness beyond it, and
+these instances are given for those who cannot confirm my experience
+on Monboso.
+
+302.
+
+When the smoke from dry wood is seen between the eye of the
+spectator and some dark space [or object], it will look blue. Thus
+the sky looks blue by reason of the darkness beyond it. And if you
+look towards the horizon of the sky, you will see the atmosphere is
+not blue, and this is caused by its density. And thus at each
+degree, as you raise your eyes above the horizon up to the sky over
+your head, you will see the atmosphere look darker [blue] and this
+is because a smaller density of air lies between your eye and the
+[outer] darkness. And if you go to the top of a high mountain the
+sky will look proportionately darker above you as the atmosphere
+becomes rarer between you and the [outer] darkness; and this will be
+more visible at each degree of increasing height till at last we
+should find darkness.
+
+That smoke will look bluest which rises from the driest wood and
+which is nearest to the fire and is seen against the darkest
+background, and with the sunlight upon it.
+
+303.
+
+A dark object will appear bluest in proportion as it has a greater
+mass of luminous atmosphere between it and the eye. As may be seen
+in the colour of the sky.
+
+304.
+
+The atmosphere is blue by reason of the darkness above it because
+black and white make blue.
+
+305.
+
+In the morning the mist is denser above than below, because the sun
+draws it upwards; hence tall buildings, even if the summit is at the
+same distance as the base have the summit invisible. Therefore,
+also, the sky looks darkest [in colour] overhead, and towards the
+horizon it is not blue but rather between smoke and dust colour.
+
+The atmosphere, when full of mist, is quite devoid of blueness, and
+only appears of the colour of clouds, which shine white when the
+weather is fine. And the more you turn to the west the darker it
+will be, and the brighter as you look to the east. And the verdure
+of the fields is bluish in a thin mist, but grows grey in a dense
+one.
+
+The buildings in the west will only show their illuminated side,
+where the sun shines, and the mist hides the rest. When the sun
+rises and chases away the haze, the hills on the side where it lifts
+begin to grow clearer, and look blue, and seem to smoke with the
+vanishing mists; and the buildings reveal their lights and shadows;
+through the thinner vapour they show only their lights and through
+the thicker air nothing at all. This is when the movement of the
+mist makes it part horizontally, and then the edges of the mist will
+be indistinct against the blue of the sky, and towards the earth it
+will look almost like dust blown up. In proportion as the atmosphere
+is dense the buildings of a city and the trees in a landscape will
+look fewer, because only the tallest and largest will be seen.
+
+Darkness affects every thing with its hue, and the more an object
+differs from darkness, the more we see its real and natural colour.
+The mountains will look few, because only those will be seen which
+are farthest apart; since, at such a distance, the density increases
+to such a degree that it causes a brightness by which the darkness
+of the hills becomes divided and vanishes indeed towards the top.
+There is less [mist] between lower and nearer hills and yet little
+is to be distinguished, and least towards the bottom.
+
+306.
+
+The surface of an object partakes of the colour of the light which
+illuminates it; and of the colour of the atmosphere which lies
+between the eye and that object, that is of the colour of the
+transparent medium lying between the object and the eye; and among
+colours of a similar character the second will be of the same tone
+as the first, and this is caused by the increased thickness of the
+colour of the medium lying between the object and the eye.
+
+307. OF PAINTING.
+
+Of various colours which are none of them blue that which at a great
+distance will look bluest is the nearest to black; and so,
+conversely, the colour which is least like black will at a great
+distance best preserve its own colour.
+
+Hence the green of fields will assume a bluer hue than yellow or
+white will, and conversely yellow or white will change less than
+green, and red still less.
+
+_VII._
+
+_On the Proportions and on the Movements of the Human Figure._
+
+_Leonardo's researches on the proportions and movements of the human
+figure must have been for the most part completed and written before
+the year_ 1498; _for LUCA PACIOLO writes, in the dedication to
+Ludovico il Moro, of his book_ Divina Proportione, _which was
+published in that year:_ "Leonardo da venci ... hauedo gia co tutta
+diligetia al degno libro de pictura e movimenti humani posto fine".
+
+_The selection of Leonardo's axioms contained in the Vatican copy
+attributes these words to the author:_ "e il resto si dira nella
+universale misura del huomo". (_MANZI, p. 147; LUDWIG, No. 264_).
+_LOMAZZO, again, in his_ Idea del Tempio della Pittura Milano 1590,
+cap. IV, _says:_ "Lionardo Vinci ... dimostro anco in figura tutte
+le proporzioni dei membri del corpo umano".
+
+_The Vatican copy includes but very few sections of the_ "Universale
+misura del huomo" _and until now nothing has been made known of the
+original MSS. on the subject which have supplied the very extensive
+materials for this portion of the work. The collection at Windsor,
+belonging to her Majesty the Queen, includes by far the most
+important part of Leonardo's investigations on this subject,
+constituting about half of the whole of the materials here
+published; and the large number of original drawings adds greatly to
+the interest which the subject itself must command. Luca Paciolo
+would seem to have had these MSS. (which I have distinguished by the
+initials W. P.) in his mind when he wrote the passage quoted above.
+Still, certain notes of a later date--such as Nos. 360, 362 and 363,
+from MS. E, written in 1513--14, sufficiently prove that Leonardo did
+not consider his earlier studies on the Proportions and Movements of
+the Human Figure final and complete, as we might suppose from Luca
+Paciolo's statement. Or else he took the subject up again at a
+subsequent period, since his former researches had been carried on
+at Milan between 1490 and 1500. Indeed it is highly probable that
+the anatomical studies which he was pursuing with so much zeal
+between 1510--16 should have led him to reconsider the subject of
+Proportion.
+
+Preliminary observations (308. 309).
+
+308.
+
+Every man, at three years old is half the full height he will grow
+to at last.
+
+309.
+
+If a man 2 braccia high is too small, one of four is too tall, the
+medium being what is admirable. Between 2 and 4 comes 3; therefore
+take a man of 3 braccia in height and measure him by the rule I will
+give you. If you tell me that I may be mistaken, and judge a man to
+be well proportioned who does not conform to this division, I answer
+that you must look at many men of 3 braccia, and out of the larger
+number who are alike in their limbs choose one of those who are most
+graceful and take your measurements. The length of the hand is 1/3
+of a braccio [8 inches] and this is found 9 times in man. And the
+face [Footnote 7: The account here given of the _braccio_ is of
+importance in understanding some of the succeeding chapters. _Testa_
+must here be understood to mean the face. The statements in this
+section are illustrated in part on Pl. XI.] is the same, and from
+the pit of the throat to the shoulder, and from the shoulder to the
+nipple, and from one nipple to the other, and from each nipple to
+the pit of the throat.
+
+Proportions of the head and face (310-318).
+
+310.
+
+The space between the parting of the lips [the mouth] and the base
+of the nose is one-seventh of the face.
+
+The space from the mouth to the bottom of the chin _c d_ is the
+fourth part of the face and equal to the width of the mouth.
+
+The space from the chin to the base of the nose _e f_ is the third
+part of the face and equal to the length of the nose and to the
+forehead.
+
+The distance from the middle of the nose to the bottom of the chin
+_g h_, is half the length of the face.
+
+The distance from the top of the nose, where the eyebrows begin, to
+the bottom of the chin, _i k_, is two thirds of the face.
+
+The space from the parting of the lips to the top of the chin _l m_,
+that is where the chin ends and passes into the lower lip of the
+mouth, is the third of the distance from the parting of the lips to
+the bottom of the chin and is the twelfth part of the face. From the
+top to the bottom of the chin _m n_ is the sixth part of the face
+and is the fifty fourth part of a man's height.
+
+From the farthest projection of the chin to the throat _o p_ is
+equal to the space between the mouth and the bottom of the chin, and
+a fourth of the face.
+
+The distance from the top of the throat to the pit of the throat
+below _q r_ is half the length of the face and the eighteenth part
+of a man's height.
+
+From the chin to the back of the neck _s t_, is the same distance as
+between the mouth and the roots of the hair, that is three quarters
+of the head.
+
+From the chin to the jaw bone _v x_ is half the head and equal to
+the thickness of the neck in profile.
+
+The thickness of the head from the brow to the nape is once and 3/4
+that of the neck.
+
+[Footnote: The drawings to this text, lines 1-10 are on Pl. VII, No.
+I. The two upper sketches of heads, Pl. VII, No. 2, belong to lines
+11-14, and in the original are placed immediately below the sketches
+reproduced on Pl. VII, No. 1.]
+
+311.
+
+The distance from the attachment of one ear to the other is equal to
+that from the meeting of the eyebrows to the chin, and in a fine
+face the width of the mouth is equal to the length from the parting
+of the lips to the bottom of the chin.
+
+312.
+
+The cut or depression below the lower lip of the mouth is half way
+between the bottom of the nose and the bottom of the chin.
+
+The face forms a square in itself; that is its width is from the
+outer corner of one eye to the other, and its height is from the
+very top of the nose to the bottom of the lower lip of the mouth;
+then what remains above and below this square amounts to the height
+of such another square, _a_ _b_ is equal to the space between _c_
+_d_; _d_ _n_ in the same way to _n_ _c_, and likewise _s_ _r_, _q_
+_p_, _h_ _k_ are equal to each other.
+
+It is as far between _m_ and _s_ as from the bottom of the nose to
+the chin. The ear is exactly as long as the nose. It is as far from
+_x_ to _j_ as from the nose to the chin. The parting of the mouth
+seen in profile slopes to the angle of the jaw. The ear should be as
+high as from the bottom of the nose to the top of the eye-lid. The
+space between the eyes is equal to the width of an eye. The ear is
+over the middle of the neck, when seen in profile. The distance from
+4 to 5 is equal to that from s_ to _r_.
+
+[Footnote: See Pl. VIII, No. I, where the text of lines 3-13 is also
+given in facsimile.]
+
+313.
+
+(_a_ _b_) is equal to (_c_ _d_).
+
+[Footnote: See Pl. VII, No. 3. Reference may also be made here to
+two pen and ink drawings of heads in profile with figured
+measurements, of which there is no description in the MS. These are
+given on Pl. XVII, No. 2.--A head, to the left, with part of the
+torso [W. P. 5a], No. 1 on the same plate is from MS. A 2b and in
+the original occurs on a page with wholly irrelevant text on matters
+of natural history. M. RAVAISSON in his edition of the Paris MS. A
+has reproduced this head and discussed it fully [note on page 12];
+he has however somewhat altered the original measurements. The
+complicated calculations which M. RAVAISSON has given appear to me
+in no way justified. The sketch, as we see it, can hardly have been
+intended for any thing more than an experimental attempt to
+ascertain relative proportions. We do not find that Leonardo made
+use of circular lines in any other study of the proportions of the
+human head. At the same time we see that the proportions of this
+sketch are not in accordance with the rules which he usually
+observed (see for instance No. 310).]
+
+The head _a_ _f_ 1/6 larger than _n_ _f_.
+
+315.
+
+From the eyebrow to the junction of the lip with the chin, and the
+angle of the jaw and the upper angle where the ear joins the temple
+will be a perfect square. And each side by itself is half the head.
+
+The hollow of the cheek bone occurs half way between the tip of the
+nose and the top of the jaw bone, which is the lower angle of the
+setting on of the ear, in the frame here represented.
+
+From the angle of the eye-socket to the ear is as far as the length
+of the ear, or the third of the face.
+
+[Footnote: See Pl. IX. The text, in the original is written behind
+the head. The handwriting would seem to indicate a date earlier than
+1480. On the same leaf there is a drawing in red chalk of two
+horsemen of which only a portion of the upper figure is here
+visible. The whole leaf measures 22 1/2 centimetres wide by 29 long,
+and is numbered 127 in the top right-hand corner.]
+
+316.
+
+From _a_ to _b_--that is to say from the roots of the hair in front
+to the top of the head--ought to be equal to _c_ _d_;--that is from
+the bottom of the nose to the meeting of the lips in the middle of
+the mouth. From the inner corner of the eye _m_ to the top of the
+head _a_ is as far as from _m_ down to the chin _s_. _s_ _c_ _f_ _b_
+are all at equal distances from each other.
+
+[Footnote: The drawing in silver-point on bluish tinted paper--Pl.
+X--which belongs to this chapter has been partly drawn over in ink
+by Leonardo himself.]
+
+317.
+
+From the top of the head to the bottom of the chin is 1/9, and from
+the roots of the hair to the chin is 1/9 of the distance from the
+roots of the hair to the ground. The greatest width of the face is
+equal to the space between the mouth and the roots of the hair and
+is 1/12 of the whole height. From the top of the ear to the top of
+the head is equal to the distance from the bottom of the chin to the
+lachrymatory duct of the eye; and also equal to the distance from
+the angle of the chin to that of the jaw; that is the 1/16 of the
+whole. The small cartilage which projects over the opening of the
+ear towards the nose is half-way between the nape and the eyebrow;
+the thickness of the neck in profile is equal to the space between
+the chin and the eyes, and to the space between the chin and the
+jaw, and it is 1/18 of the height of the man.
+
+318.
+
+_a b_, _c d_, _e f_, _g h_, _i k_ are equal to each other in size
+excepting that _d f_ is accidental.
+
+[Footnote: See Pl. XI.]
+
+Proportions of the head seen in front (319-321).
+
+319.
+
+_a n o f_ are equal to the mouth.
+
+_a c_ and _a f_ are equal to the space between one eye and the
+other.
+
+_n m o f q r_ are equal to half the width of the eye lids, that is
+from the inner [lachrymatory] corner of the eye to its outer corner;
+and in like manner the division between the chin and the mouth; and
+in the same way the narrowest part of the nose between the eyes. And
+these spaces, each in itself, is the 19th part of the head, _n o_ is
+equal to the length of the eye or of the space between the eyes.
+
+_m c_ is 1/3 of _n m_ measuring from the outer corner of the eyelids
+to the letter _c_. _b s_ will be equal to the width of the nostril.
+
+[Footnote: See Pl. XII.]
+
+320.
+
+The distance between the centres of the pupils of the eyes is 1/3 of
+the face. The space between the outer corners of the eyes, that is
+where the eye ends in the eye socket which contains it, thus the
+outer corners, is half the face.
+
+The greatest width of the face at the line of the eyes is equal to
+the distance from the roots of the hair in front to the parting of
+the lips.
+
+[Footnote: There are, with this section, two sketches of eyes, not
+reproduced here.]
+
+321.
+
+The nose will make a double square; that is the width of the nose at
+the nostrils goes twice into the length from the tip of the nose to
+the eyebrows. And, in the same way, in profile the distance from the
+extreme side of the nostril where it joins the cheek to the tip of
+the nose is equal to the width of the nose in front from one nostril
+to the other. If you divide the whole length of the nose--that is
+from the tip to the insertion of the eyebrows, into 4 equal parts,
+you will find that one of these parts extends from the tip of the
+nostrils to the base of the nose, and the upper division lies
+between the inner corner of the eye and the insertion of the
+eyebrows; and the two middle parts [together] are equal to the
+length of the eye from the inner to the outer corner.
+
+[Footnote: The two bottom sketches on Pl. VII, No. 4 face the six
+lines of this section,--With regard to the proportions of the head
+in profile see No. 312.]
+
+322.
+
+The great toe is the sixth part of the foot, taking the measure in
+profile, on the inside of the foot, from where this toe springs from
+the ball of the sole of the foot to its tip _a b_; and it is equal
+to the distance from the mouth to the bottom of the chin. If you
+draw the foot in profile from the outside, make the little toe begin
+at three quarters of the length of the foot, and you will find the
+same distance from the insertion of this toe as to the farthest
+prominence of the great toe.
+
+323.
+
+For each man respectively the distance between _a b_ is equal to _c
+d_.
+
+324.
+
+Relative proportion of the hand and foot.
+
+The foot is as much longer than the hand as the thickness of the arm
+at the wrist where it is thinnest seen facing.
+
+Again, you will find that the foot is as much longer than the hand
+as the space between the inner angle of the little toe to the last
+projection of the big toe, if you measure along the length of the
+foot.
+
+The palm of the hand without the fingers goes twice into the length
+of the foot without the toes.
+
+If you hold your hand with the fingers straight out and close
+together you will find it to be of the same width as the widest part
+of the foot, that is where it is joined onto the toes.
+
+And if you measure from the prominence of the inner ancle to the end
+of the great toe you will find this measure to be as long as the
+whole hand.
+
+From the top angle of the foot to the insertion of the toes is equal
+to the hand from wrist joint to the tip of the thumb.
+
+The smallest width of the hand is equal to the smallest width of the
+foot between its joint into the leg and the insertion of the toes.
+
+The width of the heel at the lower part is equal to that of the arm
+where it joins the hand; and also to the leg where it is thinnest
+when viewed in front.
+
+The length of the longest toe, from its first division from the
+great toe to its tip is the fourth of the foot from the centre of
+the ancle bone to the tip, and it is equal to the width of the
+mouth. The distance between the mouth and the chin is equal to that
+of the knuckles and of the three middle fingers and to the length of
+their first joints if the hand is spread, and equal to the distance
+from the joint of the thumb to the outset of the nails, that is the
+fourth part of the hand and of the face.
+
+The space between the extreme poles inside and outside the foot
+called the ancle or ancle bone _a b_ is equal to the space between
+the mouth and the inner corner of the eye.
+
+325.
+
+The foot, from where it is attached to the leg, to the tip of the
+great toe is as long as the space between the upper part of the chin
+and the roots of the hair _a b_; and equal to five sixths of the
+face.
+
+326.
+
+_a d_ is a head's length, _c b_ is a head's length. The four smaller
+toes are all equally thick from the nail at the top to the bottom,
+and are 1/13 of the foot.
+
+[Footnote: See Pl. XIV, No. 1, a drawing of a foot with the text in
+three lines below it.]
+
+327.
+
+The whole length of the foot will lie between the elbow and the
+wrist and between the elbow and the inner angle of the arm towards
+the breast when the arm is folded. The foot is as long as the whole
+head of a man, that is from under the chin to the topmost part of
+the head[Footnote 2: _nel modo che qui i figurato_. See Pl. VII, No.
+4, the upper figure. The text breaks off at the end of line 2 and
+the text given under No. 321 follows below. It may be here remarked
+that the second sketch on W. P. 311 has in the original no
+explanatory text.] in the way here figured.
+
+Proportions of the leg (328-331).
+
+328.
+
+The greatest thickness of the calf of the leg is at a third of its
+height _a b_, and is a twentieth part thicker than the greatest
+thickness of the foot.
+
+_a c_ is half of the head, and equal to _d b_ and to the insertion
+of the five toes _e f_. _d k_ diminishes one sixth in the leg _g h_.
+_g h_ is 1/3 of the head; _m n_ increases one sixth from _a e_ and
+is 7/12 of the head, _o p_ is 1/10 less than _d k_ and is 6/17 of
+the head. _a_ is at half the distance between _b q_, and is 1/4 of
+the man. _r_ is half way between _s_ and _b_[Footnote 11: _b_ is
+here and later on measured on the right side of the foot as seen by
+the spectator.]. The concavity of the knee outside _r_ is higher
+than that inside _a_. The half of the whole height of the leg from
+the foot _r_, is half way between the prominence _s_ and the ground
+_b_. _v_ is half way between _t_ and _b_. The thickness of the thigh
+seen in front is equal to the greatest width of the face, that is
+2/3 of the length from the chin to the top of the head; _z r_ is 5/6
+of 7 to _v_; _m n_ is equal to 7 _v_ and is 1/4 of _r b_, _x y_ goes
+3 times into _r b_, and into _r s_.
+
+[Footnote 22-35: The sketch illustrating these lines is on Pl. XIII,
+No. 2.]
+
+[Footnote 22: a b _entra in_ c f 6 _e_ 6 _in_ c n. Accurate
+measurement however obliges us to read 7 for 6.] _a b_ goes six
+times into _c f_ and six times into _c n_ and is equal to _g h_; _i
+k l m_ goes 4 times into _d f_, and 4 times into _d n_ and is 3/7 of
+the foot; _p q r s_ goes 3 times into _d f, and 3 times into _b n_;
+[Footnote: 25. _y_ is not to be found on the diagram and _x_ occurs
+twice; this makes the passage very obscure.] _x y_ is 1/8 of _x f_
+and is equal to _n q_. 3 7 is 1/9 of _n f_; 4 5 is 1/10 of _n f_
+[Footnote: 22-27. Compare with this lines 18-24 of No. 331, and the
+sketch of a leg in profile Pl. XV.].
+
+I want to know how much a man increases in height by standing on
+tip-toe and how much _p g_ diminishes by stooping; and how much it
+increases at _n q_ likewise in bending the foot.
+
+[Footnote 34: _e f_ 4 _dal cazo_. By reading _i_ for _e_ the sense
+of this passage is made clear.] _e f_ is four times in the distance
+between the genitals and the sole of the foot; [Footnote 35: 2 is
+not to be found in the sketch which renders the passage obscure. The
+two last lines are plainly legible in the facsimile.] 3 7 is six
+times from 3 to 2 and is equal to _g h_ and _i k_.
+
+[Footnote: The drawing of a leg seen in front Pl. XIII, No. 1
+belongs to the text from lines 3-21. The measurements in this
+section should be compared with the text No. 331, lines 1-13, and
+the sketch of a leg seen in front on Pl. XV.]
+
+329.
+
+The length of the foot from the end of the toes to the heel goes
+twice into that from the heel to the knee, that is where the leg
+bone [fibula] joins the thigh bone [femur].
+
+330.
+
+_a n b_ are equal; _c n d_ are equal; _n c_ makes two feet; _n d_
+makes 2 feet.
+
+[Footnote: See the lower sketch, Pl. XIV, No. 1.]
+
+331.
+
+_m n o_ are equal. The narrowest width of the leg seen in front goes
+8 times from the sole of the foot to the joint of the knee, and is
+the same width as the arm, seen in front at the wrist, and as the
+longest measure of the ear, and as the three chief divisions into
+which we divide the face; and this measurement goes 4 times from the
+wrist joint of the hand to the point of the elbow. [14] The foot is
+as long as the space from the knee between _a_ and _b_; and the
+patella of the knee is as long as the leg between _r_ and _s_.
+
+[18] The least thickness of the leg in profile goes 6 times from the
+sole of the foot to the knee joint and is the same width as the
+space between the outer corner of the eye and the opening of the
+ear, and as the thickest part of the arm seen in profile and between
+the inner corner of the eye and the insertion of the hair.
+
+_a b c_ [_d_] are all relatively of equal length, _c d_ goes twice
+from the sole of the foot to the centre of the knee and the same
+from the knee to the hip.
+
+[28]_a b c_ are equal; _a_ to _b_ is 2 feet--that is to say
+measuring from the heel to the tip of the great toe.
+
+[Footnote: See Pl. XV. The text of lines 2-17 is to the left of the
+front view of the leg, to which it refers. Lines 18-27 are in the
+middle column and refer to the leg seen in profile and turned to the
+left, on the right hand side of the writing. Lines 20-30 are above,
+to the left and apply to the sketch below them.
+
+Some farther remarks on the proportion of the leg will be found in
+No. 336, lines 6, 7.]
+
+On the central point of the whole body.
+
+332.
+
+In kneeling down a man will lose the fourth part of his height.
+
+When a man kneels down with his hands folded on his breast the navel
+will mark half his height and likewise the points of the elbows.
+
+Half the height of a man who sits--that is from the seat to the top
+of the head--will be where the arms fold below the breast, and
+below the shoulders. The seated portion--that is from the seat to
+the top of the head--will be more than half the man's [whole height]
+by the length of the scrotum.
+
+[Footnote: See Pl. VIII, No. 2.]
+
+The relative proportions of the torso and of the whole figure.
+
+333.
+
+The cubit is one fourth of the height of a man and is equal to the
+greatest width of the shoulders. From the joint of one shoulder to
+the other is two faces and is equal to the distance from the top of
+the breast to the navel. [Footnote 9: _dalla detta somita_. It would
+seem more accurate to read here _dal detto ombilico_.] From this
+point to the genitals is a face's length.
+
+[Footnote: Compare with this the sketches on the other page of the
+same leaf. Pl. VIII, No. 2.]
+
+The relative proportions of the head and of the torso.
+
+334.
+
+From the roots of the hair to the top of the breast _a b_ is the
+sixth part of the height of a man and this measure is equal.
+
+From the outside part of one shoulder to the other is the same
+distance as from the top of the breast to the navel and this measure
+goes four times from the sole of the foot to the lower end of the
+nose.
+
+The [thickness of] the arm where it springs from the shoulder in
+front goes 6 times into the space between the two outside edges of
+the shoulders and 3 times into the face, and four times into the
+length of the foot and three into the hand, inside or outside.
+
+[Footnote: The three sketches Pl. XIV, No. 2 belong to this text.]
+
+The relative proportions of the torso and of the leg (335. 336).
+
+335.
+
+_a b c_ are equal to each other and to the space from the armpit of
+the shoulder to the genitals and to the distance from the tip of the
+fingers of the hand to the joint of the arm, and to the half of the
+breast; and you must know that _c b_ is the third part of the height
+of a man from the shoulders to the ground; _d e f_ are equal to each
+other and equal to the greatest width of the shoulders.
+
+[Footnote: See Pl. XVI, No. 1.]
+
+336.
+
+--Top of the chin--hip--the insertion of the middle finger. The end
+of the calf of the leg on the inside of the thigh.--The end of the
+swelling of the shin bone of the leg. [6] The smallest thickness of
+the leg goes 3 times into the thigh seen in front.
+
+[Footnote: See Pl. XVII, No. 2, middle sketch.]
+
+The relative proportions of the torso and of the foot.
+
+337.
+
+The torso _a b_ in its thinnest part measures a foot; and from _a_
+to _b_ is 2 feet, which makes two squares to the seat--its thinnest
+part goes 3 times into the length, thus making 3 squares.
+
+[Footnote: See Pl, VII, No. 2, the lower sketch.]
+
+The proportions of the whole figure (338-341).
+
+338.
+
+A man when he lies down is reduced to 1/9 of his height.
+
+339.
+
+The opening of the ear, the joint of the shoulder, that of the hip
+and the ancle are in perpendicular lines; _a n_ is equal to _m o_.
+
+[Footnote: See Pl. XVI, No. 2, the upper sketch.]
+
+340.
+
+From the chin to the roots of the hair is 1/10 of the whole figure.
+From the joint of the palm of the hand to the tip of the longest
+finger is 1/10. From the chin to the top of the head 1/8; and from
+the pit of the stomach to the top of the breast is 1/6, and from the
+pit below the breast bone to the top of the head 1/4. From the chin
+to the nostrils 1/3 Part of the face, the same from the nostrils to
+the brow and from the brow to the roots of the hair, and the foot is
+1/6, the elbow 1/4, the width of the shoulders 1/4.
+
+341.
+
+The width of the shoulders is 1/4 of the whole. From the joint of
+the shoulder to the hand is 1/3, from the parting of the lips to
+below the shoulder-blade is one foot.
+
+The greatest thickness of a man from the breast to the spine is one
+8th of his height and is equal to the space between the bottom of
+the chin and the top of the head.
+
+The greatest width is at the shoulders and goes 4.
+
+The torso from the front and back.
+
+342.
+
+The width of a man under the arms is the same as at the hips.
+
+A man's width across the hips is equal to the distance from the top
+of the hip to the bottom of the buttock, when a man stands equally
+balanced on both feet; and there is the same distance from the top
+of the hip to the armpit. The waist, or narrower part above the hips
+will be half way between the arm pits and the bottom of the buttock.
+
+[Footnote: The lower sketch Pl. XVI, No. 2, is drawn by the side of
+line 1.]
+
+Vitruvius' scheme of proportions.
+
+343.
+
+Vitruvius, the architect, says in his work on architecture that the
+measurements of the human body are distributed by Nature as follows:
+that is that 4 fingers make 1 palm, and 4 palms make 1 foot, 6 palms
+make 1 cubit; 4 cubits make a man's height. And 4 cubits make one
+pace and 24 palms make a man; and these measures he used in his
+buildings. If you open your legs so much as to decrease your height
+1/14 and spread and raise your arms till your middle fingers touch
+the level of the top of your head you must know that the centre of
+the outspread limbs will be in the navel and the space between the
+legs will be an equilateral triangle.
+
+The length of a man's outspread arms is equal to his height.
+
+From the roots of the hair to the bottom of the chin is the tenth of
+a man's height; from the bottom of the chin to the top of his head
+is one eighth of his height; from the top of the breast to the top
+of his head will be one sixth of a man. From the top of the breast
+to the roots of the hair will be the seventh part of the whole man.
+From the nipples to the top of the head will be the fourth part of a
+man. The greatest width of the shoulders contains in itself the
+fourth part of the man. From the elbow to the tip of the hand will
+be the fifth part of a man; and from the elbow to the angle of the
+armpit will be the eighth part of the man. The whole hand will be
+the tenth part of the man; the beginning of the genitals marks the
+middle of the man. The foot is the seventh part of the man. From the
+sole of the foot to below the knee will be the fourth part of the
+man. From below the knee to the beginning of the genitals will be
+the fourth part of the man. The distance from the bottom of the chin
+to the nose and from the roots of the hair to the eyebrows is, in
+each case the same, and like the ear, a third of the face.
+
+[Footnote: See Pl. XVIII. The original leaf is 21 centimetres wide
+and 33 1/2 long. At the ends of the scale below the figure are
+written the words _diti_ (fingers) and _palmi_ (palms). The passage
+quoted from Vitruvius is Book III, Cap. 1, and Leonardo's drawing is
+given in the editions of Vitruvius by FRA GIOCONDO (Venezia 1511,
+fol., Firenze 1513, 8vo.) and by CESARIANO (Como 1521).]
+
+The arm and head.
+
+344.
+
+From _b_ to _a_ is one head, as well as from _c_ to _a_ and this
+happens when the elbow forms a right angle.
+
+[Footnote: See Pl. XLI, No. 1.]
+
+Proportions of the arm (345-349).
+
+345.
+
+From the tip of the longest finger of the hand to the shoulder joint
+is four hands or, if you will, four faces.
+
+_a b c_ are equal and each interval is 2 heads.
+
+[Footnote: Lines 1-3 are given on Pl. XV below the front view of the
+leg; lines 4 and 5 are below again, on the left side. The lettering
+refers to the bent arm near the text.]
+
+346.
+
+The hand from the longest finger to the wrist joint goes 4 times
+from the tip of the longest finger to the shoulder joint.
+
+347.
+
+_a b c_ are equal to each other and to the foot and to the space
+between the nipple and the navel _d e_ will be the third part of the
+whole man.
+
+_f g_ is the fourth part of a man and is equal to _g h_ and measures
+a cubit.
+
+[Footnote: See Pl. XIX, No. 1. 1. _mamolino_ (=_bambino_, little
+child) may mean here the navel.]
+
+348.
+
+_a b_ goes 4 times into _a c_ and 9 into _a m_. The greatest
+thickness of the arm between the elbow and the hand goes 6 times
+into _a m_ and is equal to _r f_. The greatest thickness of the arm
+between the shoulder and the elbow goes 4 times into _c m_, and is
+equal to _h n g_. The smallest thickness of the arm above the elbow
+_x y_ is not the base of a square, but is equal to half the space
+_h_ 3 which is found between the inner joint of the arm and the
+wrist joint.
+
+[11]The width of the wrist goes 12 times into the whole arm; that is
+from the tip of the fingers to the shoulder joint; that is 3 times
+into the hand and 9 into the arm.
+
+The arm when bent is 4 heads.
+
+The arm from the shoulder to the elbow in bending increases in
+length, that is in the length from the shoulder to the elbow, and
+this increase is equal to the thickness of the arm at the wrist when
+seen in profile. And the space between the bottom of the chin and
+the parting of the lips, is equal to the thickness of the 2 middle
+fingers, and to the width of the mouth and to the space between the
+roots of the hair on the forehead and the top of the head [Footnote:
+_Queste cose_. This passage seems to have been written on purpose to
+rectify the foregoing lines. The error is explained by the
+accompanying sketch of the bones of the arm.]. All these distances
+are equal to each other, but they are not equal to the
+above-mentioned increase in the arm.
+
+The arm between the elbow and wrist never increases by being bent or
+extended.
+
+The arm, from the shoulder to the inner joint when extended.
+
+When the arm is extended, _p n_ is equal to _n a_. And when it is
+bent _n a_ diminishes 1/6 of its length and _p n_ does the same. The
+outer elbow joint increases 1/7 when bent; and thus by being bent it
+increases to the length of 2 heads. And on the inner side, by
+bending, it is found that whereas the arm from where it joins the
+side to the wrist, was 2 heads and a half, in bending it loses the
+half head and measures only two: one from the [shoulder] joint to
+the end [by the elbow], and the other to the hand.
+
+The arm when folded will measure 2 faces up to the shoulder from the
+elbow and 2 from the elbow to the insertion of the four fingers on
+the palm of the hand. The length from the base of the fingers to the
+elbow never alters in any position of the arm.
+
+If the arm is extended it decreases by 1/3 of the length between _b_
+and _h_; and if--being extended--it is bent, it will increase the
+half of _o e_. [Footnote 59-61: The figure sketched in the margin is
+however drawn to different proportions.] The length from the
+shoulder to the elbow is the same as from the base of the thumb,
+inside, to the elbow _a b c_.
+
+[Footnote 62-64: The arm sketch on the margin of the MS. is
+identically the same as that given below on Pl. XX which may
+therefore be referred to in this place. In line 62 we read therefore
+_z c_ for _m n_.] The smallest thickness of the arm in profile _z c_
+goes 6 times between the knuckles of the hand and the dimple of the
+elbow when extended and 14 times in the whole arm and 42 in the
+whole man [64]. The greatest thickness of the arm in profile is
+equal to the greatest thickness of the arm in front; but the first
+is placed at a third of the arm from the shoulder joint to the elbow
+and the other at a third from the elbow towards the hand.
+
+[Footnote: Compare Pl. XVII. Lines 1-10 and 11-15 are written in two
+columns below the extended arm, and at the tips of the fingers we
+find the words: _fine d'unghie_ (ends of the nails). Part of the
+text--lines 22 to 25--is visible by the side of the sketches on Pl.
+XXXV, No. 1.]
+
+349.
+
+From the top of the shoulder to the point of the elbow is as far as
+from that point to the joints of the four fingers with the palm of
+the hand, and each is 2 faces.
+
+[5]_a e_ is equal to the palm of the hand, _r f_ and _o g_ are equal
+to half a head and each goes 4 times into _a b_ and _b c_. From _c_
+to _m_ is 1/2 a head; _m n_ is 1/3 of a head and goes 6 times into
+_c b_ and into _b a_; _a b_ loses 1/7 of its length when the arm is
+extended; _c b_ never alters; _o_ will always be the middle point
+between _a_ and _s_.
+
+_y l_ is the fleshy part of the arm and measures one head; and when
+the arm is bent this shrinks 2/5 of its length; _o a_ in bending
+loses 1/6 and so does _o r_.
+
+_a b_ is 1/7 of _r c_. _f s_ will be 1/8 of _r c_, and each of those
+2 measurements is the largest of the arm; _k h_ is the thinnest part
+between the shoulder and the elbow and it is 1/8 of the whole arm _r
+c_; _o p_ is 1/5 of _r l_; _c z_ goes 13 times into _r c_.
+
+[Footnote: See Pl. XX where the text is also seen from lines 5-23.]
+
+The movement of the arm (350-354).
+
+350.
+
+In the innermost bend of the joints of every limb the reliefs are
+converted into a hollow, and likewise every hollow of the innermost
+bends becomes a convexity when the limb is straightened to the
+utmost. And in this very great mistakes are often made by those who
+have insufficient knowledge and trust to their own invention and do
+not have recourse to the imitation of nature; and these variations
+occur more in the middle of the sides than in front, and more at the
+back than at the sides.
+
+351.
+
+When the arm is bent at an angle at the elbow, it will produce some
+angle; the more acute the angle is, the more will the muscles within
+the bend be shortened; while the muscles outside will become of
+greater length than before. As is shown in the example; _d c e_ will
+shrink considerably; and _b n_ will be much extended.
+
+[Footnote: See Pl. XIX, No. 2.]
+
+352.
+
+OF PAINTING.
+
+The arm, as it turns, thrusts back its shoulder towards the middle
+of the back.
+
+353.
+
+The principal movements of the hand are 10; that is forwards,
+backwards, to right and to left, in a circular motion, up or down,
+to close and to open, and to spread the fingers or to press them
+together.
+
+354.
+
+OF THE MOTIONS OF THE FINGERS.
+
+The movements of the fingers principally consist in extending and
+bending them. This extension and bending vary in manner; that is,
+sometimes they bend altogether at the first joint; sometimes they
+bend, or extend, half way, at the 2nd joint; and sometimes they bend
+in their whole length and in all the three joints at once. If the 2
+first joints are hindered from bending, then the 3rd joint can be
+bent with greater ease than before; it can never bend of itself, if
+the other joints are free, unless all three joints are bent. Besides
+all these movements there are 4 other principal motions of which 2
+are up and down, the two others from side to side; and each of these
+is effected by a single tendon. From these there follow an infinite
+number of other movements always effected by two tendons; one tendon
+ceasing to act, the other takes up the movement. The tendons are
+made thick inside the fingers and thin outside; and the tendons
+inside are attached to every joint but outside they are not.
+
+[Footnote 26: This head line has, in the original, no text to
+follow.] Of the strength [and effect] of the 3 tendons inside the
+fingers at the 3 joints.
+
+The movement of the torso (355-361).
+
+355.
+
+Observe the altered position of the shoulder in all the movements of
+the arm, going up and down, inwards and outwards, to the back and to
+the front, and also in circular movements and any others.
+
+And do the same with reference to the neck, hands and feet and the
+breast above the lips &c.
+
+356.
+
+Three are the principal muscles of the shoulder, that is _b c d_,
+and two are the lateral muscles which move it forward and backward,
+that is _a o_; _a_ moves it forward, and _o_ pulls it back; and bed
+raises it; _a b c_ moves it upwards and forwards, and _c d o_
+upwards and backwards. Its own weight almost suffices to move it
+downwards.
+
+The muscle _d_ acts with the muscle _c_ when the arm moves forward;
+and in moving backward the muscle _b_ acts with the muscle _c_.
+
+[Footnote: See Pl. XXI. In the original the lettering has been
+written in ink upon the red chalk drawing and the outlines of the
+figures have in most places been inked over.]
+
+357.
+
+OF THE LOINS, WHEN BENT.
+
+The loins or backbone being bent. The breasts are are always lower
+than the shoulderblades of the back.
+
+If the breast bone is arched the breasts are higher than the
+shoulderblades.
+
+If the loins are upright the breast will always be found at the same
+level as the shoulderblades.
+
+[Footnote: See Pl. XXII, No. 1.]
+
+358.
+
+_a b_ the tendon and ankle in raising the heel approach each other
+by a finger's breadth; in lowering it they separate by a finger's
+breadth.
+
+[Footnote: See Pl. XXII, No. 2. Compare this facsimile and text with
+Pl. III, No. 2, and p. 152 of MANZI'S edition. Also with No. 274 of
+LUDWIG'S edition of the Vatican Copy.]
+
+359.
+
+Just so much as the part _d a_ of the nude figure decreases in this
+position so much does the opposite part increase; that is: in
+proportion as the length of the part _d a_ diminishes the normal
+size so does the opposite upper part increase beyond its [normal]
+size. The navel does not change its position to the male organ; and
+this shrinking arises because when a figure stands on one foot, that
+foot becomes the centre [of gravity] of the superimposed weight.
+This being so, the middle between the shoulders is thrust above it
+out of it perpendicular line, and this line, which forms the central
+line of the external parts of the body, becomes bent at its upper
+extremity [so as to be] above the foot which supports the body; and
+the transverse lines are forced into such angles that their ends are
+lower on the side which is supported. As is shown at _a b c_.
+
+[Footnote: See Pl. XXII, No. 3.]
+
+360.
+
+OF PAINTING.
+
+Note in the motions and attitudes of figures how the limbs vary, and
+their feeling, for the shoulderblades in the motions of the arms and
+shoulders vary the [line of the] back bone very much. And you will
+find all the causes of this in my book of Anatomy.
+
+361.
+
+OF [CHANGE OF] ATTITUDE.
+
+The pit of the throat is over the feet, and by throwing one arm
+forward the pit of the throat is thrown off that foot. And if the
+leg is thrown forward the pit of the throat is thrown forward; and.
+so it varies in every attitude.
+
+362.
+
+OF PAINTING.
+
+Indicate which are the muscles, and which the tendons, which become
+prominent or retreat in the different movements of each limb; or
+which do neither [but are passive]. And remember that these
+indications of action are of the first importance and necessity in
+any painter or sculptor who professes to be a master &c.
+
+And indicate the same in a child, and from birth to decrepitude at
+every stage of its life; as infancy, childhood, boyhood, youth &c.
+
+And in each express the alterations in the limbs and joints, which
+swell and which grow thinner.
+
+363.
+
+O Anatomical Painter! beware lest the too strong indication of the
+bones, sinews and muscles, be the cause of your becoming wooden in
+your painting by your wish to make your nude figures display all
+their feeling. Therefore, in endeavouring to remedy this, look in
+what manner the muscles clothe or cover their bones in old or lean
+persons; and besides this, observe the rule as to how these same
+muscles fill up the spaces of the surface that extend between them,
+which are the muscles which never lose their prominence in any
+amount of fatness; and which too are the muscles of which the
+attachments are lost to sight in the very least plumpness. And in
+many cases several muscles look like one single muscle in the
+increase of fat; and in many cases, in growing lean or old, one
+single muscle divides into several muscles. And in this treatise,
+each in its place, all their peculiarities will be explained--and
+particularly as to the spaces between the joints of each limb &c.
+Again, do not fail [to observe] the variations in the forms of the
+above mentioned muscles, round and about the joints of the limbs of
+any animal, as caused by the diversity of the motions of each limb;
+for on some side of those joints the prominence of these muscles is
+wholly lost in the increase or diminution of the flesh of which
+these muscles are composed, &c.
+
+[Footnote: DE ROSSI remarks on this chapter, in the Roman edition of
+the Trattato, p. 504: "_Non in questo luogo solo, ma in altri ancora
+osserver� il lettore, che Lionardo va fungendo quelli che fanno
+abuso della loro dottrina anatomica, e sicuramente con ci� ha in
+mira il suo rivale Bonarroti, che di anatomia facea tanta pompa_."
+Note, that Leonardo wrote this passage in Rome, probably under the
+immediate impression of MICHAELANGELO'S paintings in the Sistine
+Chapel and of RAPHAEL'S Isaiah in Sant' Agostino.]
+
+364.
+
+OF THE DIFFERENT MEASUREMENTS OF BOYS AND MEN.
+
+There is a great difference in the length between the joints in men
+and boys for, in man, from the top of the shoulder [by the neck] to
+the elbow, and from the elbow to the tip of the thumb and from one
+shoulder to the other, is in each instance two heads, while in a boy
+it is but one because Nature constructs in us the mass which is the
+home of the intellect, before forming that which contains the vital
+elements.
+
+365.
+
+OF PAINTING.
+
+Which are the muscles which subdivide in old age or in youth, when
+becoming lean? Which are the parts of the limbs of the human frame
+where no amount of fat makes the flesh thicker, nor any degree of
+leanness ever diminishes it?
+
+The thing sought for in this question will be found in all the
+external joints of the bones, as the shoulder, elbow, wrists,
+finger-joints, hips, knees, ankle-bone and toes and the like; all of
+which shall be told in its place. The greatest thickness acquired by
+any limb is at the part of the muscles which is farthest from its
+attachments.
+
+Flesh never increases on those portions of the limb where the bones
+are near to the surface.
+
+At _b r d a c e f_ the increase or diminution of the flesh never
+makes any considerable difference. Nature has placed in front of man
+all those parts which feel most pain under a blow; and these are the
+shin of the leg, the forehead, and the nose. And this was done for
+the preservation of man, since, if such pain were not felt in these
+parts, the number of blows to which they would be exposed must be
+the cause of their destruction.
+
+Describe why the bones of the arm and leg are double near the hand
+and foot [respectively].
+
+And where the flesh is thicker or thinner in the bending of the
+limbs.
+
+366.
+
+OF PAINTING.
+
+Every part of the whole must be in proportion to the whole. Thus, if
+a man is of a stout short figure he will be the same in all his
+parts: that is with short and thick arms, wide thick hands, with
+short fingers with their joints of the same character, and so on
+with the rest. I would have the same thing understood as applying to
+all animals and plants; in diminishing, [the various parts] do so in
+due proportion to the size, as also in enlarging.
+
+367.
+
+OF THE AGREEMENT OF THE PROPORTION OF THE LIMBS.
+
+And again, remember to be very careful in giving your figures limbs,
+that they must appear to agree with the size of the body and
+likewise to the age. Thus a youth has limbs that are not very
+muscular not strongly veined, and the surface is delicate and round,
+and tender in colour. In man the limbs are sinewy and muscular,
+while in old men the surface is wrinkled, rugged and knotty, and the
+sinews very prominent.
+
+HOW YOUNG BOYS HAVE THEIR JOINTS JUST THE REVERSE OF THOSE OF MEN,
+AS TO SIZE.
+
+Little children have all the joints slender and the portions between
+them are thick; and this happens because nothing but the skin covers
+the joints without any other flesh and has the character of sinew,
+connecting the bones like a ligature. And the fat fleshiness is laid
+on between one joint and the next, and between the skin and the
+bones. But, since the bones are thicker at the joints than between
+them, as a mass grows up the flesh ceases to have that superfluity
+which it had, between the skin and the bones; whence the skin clings
+more closely to the bone and the limbs grow more slender. But since
+there is nothing over the joints but the cartilaginous and sinewy
+skin this cannot dry up, and, not drying up, cannot shrink. Thus,
+and for this reason, children are slender at the joints and fat
+between the joints; as may be seen in the joints of the fingers,
+arms, and shoulders, which are slender and dimpled, while in man on
+the contrary all the joints of the fingers, arms, and legs are
+thick; and wherever children have hollows men have prominences.
+
+The movement of the human figure (368-375).
+
+368.
+
+Of the manner of representing the 18 actions of man. Repose,
+movement, running, standing, supported, sitting, leaning, kneeling,
+lying down, suspended. Carrying or being carried, thrusting,
+pulling, striking, being struck, pressing down and lifting up.
+
+[As to how a figure should stand with a weight in its hand [Footnote
+8: The original text ends here.] Remember].
+
+369.
+
+A sitting man cannot raise himself if that part of his body which is
+front of his axis [centre of gravity] does not weigh more than that
+which is behind that axis [or centre] without using his arms.
+
+A man who is mounting any slope finds that he must involuntarily
+throw the most weight forward, on the higher foot, rather than
+behind--that is in front of the axis and not behind it. Hence a man
+will always, involuntarily, throw the greater weight towards the
+point whither he desires to move than in any other direction.
+
+The faster a man runs, the more he leans forward towards the point
+he runs to and throws more weight in front of his axis than behind.
+A man who runs down hill throws the axis onto his heels, and one who
+runs up hill throws it into the points of his feet; and a man
+running on level ground throws it first on his heels and then on the
+points of his feet.
+
+This man cannot carry his own weight unless, by drawing his body
+back he balances the weight in front, in such a way as that the foot
+on which he stands is the centre of gravity.
+
+[Footnote: See Pl. XXII, No. 4.]
+
+370.
+
+How a man proceeds to raise himself to his feet, when he is sitting
+on level ground.
+
+371.
+
+A man when walking has his head in advance of his feet.
+
+A man when walking across a long level plain first leans [rather]
+backwards and then as much forwards.
+
+[Footnote 3-6: He strides forward with the air of a man going down
+hill; when weary, on the contrary he walks like a man going up
+hill.]
+
+372.
+
+A man when running throws less weight on his legs than when standing
+still. And in the same way a horse which is running feels less the
+weight of the man he carries. Hence many persons think it wonderful
+that, in running, the horse can rest on one single foot. From this
+it may be stated that when a weight is in progressive motion the
+more rapid it is the less is the perpendicular weight towards the
+centre.
+
+373.
+
+If a man, in taking a jump from firm ground, can leap 3 braccia, and
+when he was taking his leap it were to recede 1/3 of a braccio, that
+would be taken off his former leap; and so if it were thrust forward
+1/3 of a braccio, by how much would his leap be increased?
+
+374.
+
+OF DRAWING.
+
+When a man who is running wants to neutralise the impetus that
+carries him on he prepares a contrary impetus which is generated by
+his hanging backwards. This can be proved, since, if the impetus
+carries a moving body with a momentum equal to 4 and the moving body
+wants to turn and fall back with a momentum of 4, then one momentum
+neutralises the other contrary one, and the impetus is neutralised.
+
+Of walking up and down (375-379)
+
+375.
+
+When a man wants to stop running and check the impetus he is forced
+to hang back and take short quick steps. [Footnote: Lines 5-31 refer
+to the two upper figures, and the lower figure to the right is
+explained by the last part of the chapter.] The centre of gravity of
+a man who lifts one of his feet from the ground always rests on the
+centre of the sole of the foot [he stands on].
+
+A man, in going up stairs involuntarily throws so much weight
+forward and on the side of the upper foot as to be a counterpoise to
+the lower leg, so that the labour of this lower leg is limited to
+moving itself.
+
+The first thing a man does in mounting steps is to relieve the leg
+he is about to lift of the weight of the body which was resting on
+that leg; and besides this, he gives to the opposite leg all the
+rest of the bulk of the whole man, including [the weight of] the
+other leg; he then raises the other leg and sets the foot upon the
+step to which he wishes to raise himself. Having done this he
+restores to the upper foot all the weight of the body and of the leg
+itself, and places his hand on his thigh and throws his head forward
+and repeats the movement towards the point of the upper foot,
+quickly lifting the heel of the lower one; and with this impetus he
+lifts himself up and at the same time extends the arm which rested
+on his knee; and this extension of the arm carries up the body and
+the head, and so straightens the spine which was curved.
+
+[32] The higher the step is which a man has to mount, the farther
+forward will he place his head in advance of his upper foot, so as
+to weigh more on _a_ than on _b_; this man will not be on the step
+_m_. As is shown by the line _g f_.
+
+[Footnote: See Pl. XXIII, No. 1. The lower sketch to the left
+belongs to the four first lines.]
+
+376.
+
+I ask the weight [pressure] of this man at every degree of motion on
+these steps, what weight he gives to _b_ and to _c_.
+
+[Footnote 8: These lines are, in the original, written in ink]
+Observe the perpendicular line below the centre of gravity of the
+man.
+
+[Footnote: See Pl. XXIII, No. 2.]
+
+377.
+
+In going up stairs if you place your hands on your knees all the
+labour taken by the arms is removed from the sinews at the back of
+the knees.
+
+[Footnote: See Pl. XXIII, No. 3.]
+
+378.
+
+The sinew which guides the leg, and which is connected with the
+patella of the knee, feels it a greater labour to carry the man
+upwards, in proportion as the leg is more bent; and the muscle which
+acts upon the angle made by the thigh where it joins the body has
+less difficulty and has a less weight to lift, because it has not
+the [additional] weight of the thigh itself. And besides this it has
+stronger muscles, being those which form the buttock.
+
+379.
+
+A man coming down hill takes little steps, because the weight rests
+upon the hinder foot, while a man mounting takes wide steps, because
+his weight rests on the foremost foot.
+
+[Footnote: See Pl. XXIII, No. 4.]
+
+On the human body in action (380-388).
+
+380.
+
+OF THE HUMAN BODY IN ACTION.
+
+When you want to represent a man as moving some weight consider what
+the movements are that are to be represented by different lines;
+that is to say either from below upwards, with a simple movement, as
+a man does who stoops forward to take up a weight which he will lift
+as he straightens himself. Or as a man does who wants to squash
+something backwards, or to force it forwards or to pull it downwards
+with ropes passed through pullies [Footnote 10: Compare the sketch
+on page 198 and on 201 (S. K. M. II.1 86b).]. And here remember that
+the weight of a man pulls in proportion as his centre of gravity is
+distant from his fulcrum, and to this is added the force given by
+his legs and bent back as he raises himself.
+
+381.
+
+Again, a man has even a greater store of strength in his legs than
+he needs for his own weight; and to see if this is true, make a man
+stand on the shore-sand and then put another man on his back, and
+you will see how much he will sink in. Then take the man from off
+his back and make him jump straight up as high as he can, and you
+will find that the print of his feet will be made deeper by the jump
+than from having the man on his back. Hence, here, by 2 methods it
+is proved that a man has double the strength he requires to support
+his own body.
+
+382.
+
+OF PAINTING.
+
+If you have to draw a man who is in motion, or lifting or pulling,
+or carrying a weight equal to his own, in what way must you set on
+his legs below his body?
+
+[Footnote: In the MS. this question remains unanswered.]
+
+383.
+
+OF THE STRENGTH OF MAN.
+
+A man pulling a [dead] weight balanced against himself cannot pull
+more than his own weight. And if he has to raise it he will [be able
+to] raise as much more than his weight as his strength may be more
+than that of other men. [Footnote 7: The stroke at the end of this
+line finishes in the original in a sort of loop or flourish, and a
+similar flourish occurs at the end of the previous passage written
+on the same page. M. RAVAISSON regards these as numbers (compare the
+photograph of page 30b in his edition of MS. A). He remarks: "_Ce
+chiffre_ 8 _et, a la fin de l'alinea precedent, le chiffre_ 7 _sont,
+dans le manuscrit, des renvois_."] The greatest force a man can
+apply, with equal velocity and impetus, will be when he sets his
+feet on one end of the balance [or lever] and then presses his
+shoulders against some stable body. This will raise a weight at the
+other end of the balance [lever], equal to his own weight and [added
+to that] as much weight as he can carry on his shoulders.
+
+384.
+
+No animal can simply move [by its dead weight] a greater weight than
+the sum of its own weight outside the centre of his fulcrum.
+
+385.
+
+A man who wants to send an arrow very far from the bow must be
+standing entirely on one foot and raising the other so far from the
+foot he stands on as to afford the requisite counterpoise to his
+body which is thrown on the front foot. And he must not hold his arm
+fully extended, and in order that he may be more able to bear the
+strain he must hold a piece of wood which there is in all crossbows,
+extending from the hand to the breast, and when he wishes to shoot
+he suddenly leaps forward at the same instant and extends his arm
+with the bow and releases the string. And if he dexterously does
+every thing at once it will go a very long way.
+
+386.
+
+When two men are at the opposite ends of a plank that is balanced,
+and if they are of equal weight, and if one of them wants to make a
+leap into the air, then his leap will be made down from his end of
+the plank and the man will never go up again but must remain in his
+place till the man at the other end dashes up the board.
+
+[Footnote: See Pl. XXIV, No. 3.]
+
+387.
+
+Of delivering a blow to the right or left.
+
+[Footnote: Four sketches on Pl. XXIV, No. 1 belong to this passage.
+The rest of the sketches and notes on that page are of a
+miscellaneous nature.]
+
+388.
+
+Why an impetus is not spent at once [but diminishes] gradually in
+some one direction? [Footnote 1: The paper has been damaged at the
+end of line 1.] The impetus acquired in the line _a b c d_ is spent
+in the line _d e_ but not so completely but that some of its force
+remains in it and to this force is added the momentum in the line _d
+e_ with the force of the motive power, and it must follow than the
+impetus multiplied by the blow is greater that the simple impetus
+produced by the momentum _d e_.
+
+[Footnote 8: The sketch No. 2 on Pl. XXIV stands, in the original,
+between lines 7 and 8. Compare also the sketches on Pl. LIV.] A man
+who has to deal a great blow with his weapon prepares himself with
+all his force on the opposite side to that where the spot is which
+he is to hit; and this is because a body as it gains in velocity
+gains in force against the object which impedes its motion.
+
+On hair falling down in curls.
+
+389.
+
+Observe the motion of the surface of the water which resembles that
+of hair, and has two motions, of which one goes on with the flow of
+the surface, the other forms the lines of the eddies; thus the water
+forms eddying whirlpools one part of which are due to the impetus of
+the principal current and the other to the incidental motion and
+return flow.
+
+[Footnote: See Pl. XXV. Where also the text of this passage is given
+in facsimile.]
+
+On draperies (390--392).
+
+390.
+
+OF THE NATURE OF THE FOLDS IN DRAPERY.
+
+That part of a fold which is farthest from the ends where it is
+confined will fall most nearly in its natural form.
+
+Every thing by nature tends to remain at rest. Drapery, being of
+equal density and thickness on its wrong side and on its right, has
+a tendency to lie flat; therefore when you give it a fold or plait
+forcing it out of its flatness note well the result of the
+constraint in the part where it is most confined; and the part which
+is farthest from this constraint you will see relapses most into the
+natural state; that is to say lies free and flowing.
+
+EXAMPLE.
+
+[Footnote 13: _a c sia_. In the original text _b_ is written instead
+of _c_--an evident slip of the pen.] Let _a b c_ be the fold of the
+drapery spoken of above, _a c_ will be the places where this folded
+drapery is held fast. I maintain that the part of the drapery which
+is farthest from the plaited ends will revert most to its natural
+form.
+
+Therefore, _b_ being farthest from _a_ and _c_ in the fold _a b c_
+it will be wider there than anywhere else.
+
+[Footnote: See Pl. XXVIII, No. 6, and compare the drawing from
+Windsor Pl. XXX for farther illustration of what is here stated.]
+
+391.
+
+OF SMALL FOLDS IN DRAPERIES.
+
+How figures dressed in a cloak should not show the shape so much as
+that the cloak looks as if it were next the flesh; since you surely
+cannot wish the cloak to be next the flesh, for you must suppose
+that between the flesh and the cloak there are other garments which
+prevent the forms of the limbs appearing distinctly through the
+cloak. And those limbs which you allow to be seen you must make
+thicker so that the other garments may appear to be under the cloak.
+But only give something of the true thickness of the limbs to a
+nymph [Footnote 9: _Una nifa_. Compare the beautiful drawing of a
+Nymph, in black chalk from the Windsor collection, Pl. XXVI.] or an
+angel, which are represented in thin draperies, pressed and clinging
+to the limbs of the figures by the action of the wind.
+
+392.
+
+You ought not to give to drapery a great confusion of many folds,
+but rather only introduce them where they are held by the hands or
+the arms; the rest you may let fall simply where it is its nature to
+flow; and do not let the nude forms be broken by too many details
+and interrupted folds. How draperies should be drawn from nature:
+that is to say if youwant to represent woollen cloth draw the folds
+from that; and if it is to be silk, or fine cloth or coarse, or of
+linen or of crape, vary the folds in each and do not represent
+dresses, as many do, from models covered with paper or thin leather
+which will deceive you greatly.
+
+[Footnote: The little pen and ink drawing from Windsor (W. 102),
+given on Pl. XXVIII, No. 7, clearly illustrates the statement made
+at the beginning of this passage; the writing of the cipher 19 on
+the same page is in Leonardo's hand; the cipher 21 is certainly
+not.]
+
+_VIII._
+
+_Botany for Painters and Elements of Landscape Painting._
+
+_The chapters composing this portion of the work consist of
+observations on Form, Light and Shade in Plants, and particularly in
+Trees summed up in certain general rules by which the author intends
+to guide the artist in the pictorial representation of landscape._
+
+_With these the first principles of a_ Theory of Landscape painting
+_are laid down--a theory as profoundly thought out in its main
+lines as it is lucidly worked out in its details. In reading these
+chapters the conviction is irresistible that such a_ Botany for
+painters _is or ought to be of similar importance in the practice of
+painting as the principles of the Proportions and Movements of the
+human figure_ i. e. Anatomy for painters.
+
+_There can be no doubt that Leonardo, in laying down these rules,
+did not intend to write on Botany in the proper scientific
+sense--his own researches on that subject have no place here; it
+need only be observed that they are easily distinguished by their
+character and contents from those which are here collected and
+arranged under the title 'Botany for painters'. In some cases where
+this division might appear doubtful,--as for instance in No._
+402--_the Painter is directly addressed and enjoined to take the
+rule to heart as of special importance in his art._
+
+_The original materials are principally derived from MS._ G, _in
+which we often find this subject treated on several pages in
+succession without any of that intermixture of other matters, which
+is so frequent in Leonardo's writings. This MS., too, is one of the
+latest; when it was written, the great painter was already more than
+sixty years of age, so we can scarcely doubt that he regarded all he
+wrote as his final views on the subject. And the same remark applies
+to the chapters from MSS._ E _and_ M _which were also written
+between_ 1513--15.
+
+_For the sake of clearness, however, it has been desirable to
+sacrifice--with few exceptions--the original order of the passages
+as written, though it was with much reluctance and only after long
+hesitation that I resigned myself to this necessity. Nor do I mean
+to impugn the logical connection of the author's ideas in his MS.;
+but it will be easily understood that the sequence of disconnected
+notes, as they occurred to Leonardo and were written down from time
+to time, might be hardly satisfactory as a systematic arrangement of
+his principles. The reader will find in the Appendix an exact
+account of the order of the chapters in the original MS. and from
+the data there given can restore them at will. As the materials are
+here arranged, the structure of the tree as regards the growth of
+the branches comes first_ (394-411) _and then the insertion of the
+leaves on the stems_ (412-419). _Then follow the laws of Light and
+Shade as applied, first, to the leaves (420-434), and, secondly, to
+the whole tree and to groups of trees_ (435-457). _After the remarks
+on the Light and Shade in landscapes generally_ (458-464), _we find
+special observations on that of views of towns and buildings_
+(465-469). _To the theory of Landscape Painting belong also the
+passages on the effect of Wind on Trees_ (470-473) _and on the Light
+and Shade of Clouds_ (474-477), _since we find in these certain
+comparisons with the effect of Light and Shade on Trees_ (e. g.: _in
+No._ 476, 4. 5; _and No._ 477, 9. 12). _The chapters given in the
+Appendix Nos._ 478 _and_ 481 _have hardly any connection with the
+subjects previously treated._
+
+Classification of trees.
+
+393.
+
+TREES.
+
+Small, lofty, straggling, thick, that is as to foliage, dark, light,
+russet, branched at the top; some directed towards the eye, some
+downwards; with white stems; this transparent in the air, that not;
+some standing close together, some scattered.
+
+The relative thickness of the branches to the trunk (393--396).
+
+394.
+
+All the branches of a tree at every stage of its height when put
+together are equal in thickness to the trunk [below them].
+
+All the branches of a water [course] at every stage of its course,
+if they are of equal rapidity, are equal to the body of the main
+stream.
+
+395.
+
+Every year when the boughs of a plant [or tree] have made an end of
+maturing their growth, they will have made, when put together, a
+thickness equal to that of the main stem; and at every stage of its
+ramification you will find the thickness of the said main stem; as:
+_i k_, _g h_, _e f_, _c d_, _a b_, will always be equal to each
+other; unless the tree is pollard--if so the rule does not hold
+good.
+
+All the branches have a direction which tends to the centre of the
+tree _m_.
+
+[Footnote: The two sketches of leafless trees one above another on
+the left hand side of Pl. XXVII, No. 1, belong to this passage.]
+
+396.
+
+If the plant n grows to the thickness shown at m, its branches will
+correspond [in thickness] to the junction a b in consequence of the
+growth inside as well as outside.
+
+The branches of trees or plants have a twist wherever a minor branch
+is given off; and this giving off the branch forms a fork; this said
+fork occurs between two angles of which the largest will be that
+which is on the side of the larger branch, and in proportion, unless
+accident has spoilt it.
+
+[Footnote: The sketches illustrating this are on the right hand side
+of PI. XXVII, No. I, and the text is also given there in facsimile.]
+
+397.
+
+There is no boss on branches which has not been produced by some
+branch which has failed.
+
+The lower shoots on the branches of trees grow more than the upper
+ones and this occurs only because the sap that nourishes them, being
+heavy, tends downwards more than upwards; and again, because those
+[branches] which grow downwards turn away from the shade which
+exists towards the centre of the plant. The older the branches are,
+the greater is the difference between their upper and their lower
+shoots and in those dating from the same year or epoch.
+
+[Footnote: The sketch accompanying this in the MS. is so effaced
+that an exact reproduction was impossible.]
+
+398.
+
+OF THE SCARS ON TREES.
+
+The scars on trees grow to a greater thickness than is required by
+the sap of the limb which nourishes them.
+
+399.
+
+The plant which gives out the smallest ramifications will preserve
+the straightest line in the course of its growth.
+
+[Footnote: This passage is illustrated by two partly effaced
+sketches. One of these closely resembles the lower one given under
+No. 408, the other also represents short closely set boughs on an
+upright trunk.]
+
+400.
+
+OF THE RAMIFICATION.
+
+The beginning of the ramification [the shoot] always has the central
+line [axis] of its thickness directed to the central line [axis] of
+the plant itself.
+
+401.
+
+In starting from the main stem the branches always form a base with
+a prominence as is shown at _a b c d_.
+
+402.
+
+WHY, VERY FREQUENTLY, TIMBER HAS VEINS THAT ARE NOT STRAIGHT.
+
+When the branches which grow the second year above the branch of the
+preceding year, are not of equal thickness above the antecedent
+branches, but are on one side, then the vigour of the lower branch
+is diverted to nourish the one above it, although it may be somewhat
+on one side.
+
+But if the ramifications are equal in their growth, the veins of the
+main stem will be straight [parallel] and equidistant at every
+degree of the height of the plant.
+
+Wherefore, O Painter! you, who do not know these laws! in order to
+escape the blame of those who understand them, it will be well that
+you should represent every thing from nature, and not despise such
+study as those do who work [only] for money.
+
+The direction of growth (403-407).
+
+403.
+
+OF THE RAMIFICATIONS OF PLANTS.
+
+The plants which spread very much have the angles of the spaces
+which divide their branches more obtuse in proportion as their point
+of origin is lower down; that is nearer to the thickest and oldest
+portion of the tree. Therefore in the youngest portions of the tree
+the angles of ramification are more acute. [Footnote: Compare the
+sketches on the lower portion of Pl. XXVII, No. 2.]
+
+404.
+
+The tips of the boughs of plants [and trees], unless they are borne
+down by the weight of their fruits, turn towards the sky as much as
+possible.
+
+The upper side of their leaves is turned towards the sky that it may
+receive the nourishment of the dew which falls at night.
+
+The sun gives spirit and life to plants and the earth nourishes them
+with moisture. [9] With regard to this I made the experiment of
+leaving only one small root on a gourd and this I kept nourished
+with water, and the gourd brought to perfection all the fruits it
+could produce, which were about 60 gourds of the long kind, andi set
+my mind diligently [to consider] this vitality and perceived that
+the dews of night were what supplied it abundantly with moisture
+through the insertion of its large leaves and gave nourishment to
+the plant and its offspring--or the seeds which its offspring had
+to produce--[21].
+
+The rule of the leaves produced on the last shoot of the year will
+be that they will grow in a contrary direction on the twin branches;
+that is, that the insertion of the leaves turns round each branch in
+such a way, as that the sixth leaf above is produced over the sixth
+leaf below, and the way they turn is that if one turns towards its
+companion to the right, the other turns to the left, the leaf
+serving as the nourishing breast for the shoot or fruit which grows
+the following year.
+
+[Footnote: A French translation of lines 9-12 was given by M.
+RAVAISSON in the _Gazette des Beaux Arts_, Oct. 1877; his paper also
+contains some valuable information as to botanical science in the
+ancient classical writers and at the time of the Renaissance.]
+
+405.
+
+The lowest branches of those trees which have large leaves and heavy
+fruits, such as nut-trees, fig-trees and the like, always droop
+towards the ground.
+
+The branches always originate above [in the axis of] the leaves.
+
+406.
+
+The upper shoots of the lateral branches of plants lie closer to the
+parent branch than the lower ones.
+
+407.
+
+The lowest branches, after they have formed the angle of their
+separation from the parent stem, always bend downwards so as not to
+crowd against the other branches which follow them on the same stem
+and to be better able to take the air which nourishes them. As is
+shown by the angle _b a c_; the branch _a c_ after it has made the
+corner of the angle _a c_ bends downwards to _c d_ and the lesser
+shoot _c_ dries up, being too thin.
+
+The main branch always goes below, as is shown by the branch _f n
+m_, which does not go to _f n o_.
+
+The forms of trees (408--411).
+
+408.
+
+The elm always gives a greater length to the last branches of the
+year's growth than to the lower ones; and Nature does this because
+the highest branches are those which have to add to the size of the
+tree; and those at the bottom must get dry because they grow in the
+shade and their growth would be an impediment to the entrance of the
+solar rays and the air among the main branches of the tree.
+
+The main branches of the lower part bend down more than those above,
+so as to be more oblique than those upper ones, and also because
+they are larger and older.
+
+409.
+
+In general almost all the upright portions of trees curve somewhat
+turning the convexity towards the South; and their branches are
+longer and thicker and more abundant towards the South than towards
+the North. And this occurs because the sun draws the sap towards
+that surface of the tree which is nearest to it.
+
+And this may be observed if the sun is not screened off by other
+plants.
+
+410.
+
+The cherry-tree is of the character of the fir tree as regards its
+ramification placed in stages round its main stem; and its branches
+spring, 4 or five or 6 [together] opposite each other; and the tips
+of the topmost shoots form a pyramid from the middle upwards; and
+the walnut and oak form a hemisphere from the middle upwards.
+
+411.
+
+The bough of the walnut which is only hit and beaten when it has
+brought to perfection...
+
+[Footnote: The end of the text and the sketch in red chalk belonging
+to it, are entirely effaced.]
+
+The insertion of the leaves (412--419).
+
+412.
+
+OF THE INSERTION OF THE BRANCHES ON PLANTS.
+
+Such as the growth of the ramification of plants is on their
+principal branches, so is that of the leaves on the shoots of the
+same plant. These leaves have [Footnote 6: _Quattro modi_ (four
+modes). Only three are described in the text, the fourth is only
+suggested by a sketch.
+
+This passage occurs in MANZI'S edition of the Trattato, p. 399, but
+without the sketches and the text is mutilated in an important part.
+The whole passage has been commented on, from MANZI'S version, in
+Part I of the _Nuovo Giornale Botanico Italiano_, by Prof. G.
+UZIELLI (Florence 1869, Vol. I). He remarks as to the 'four modes':
+"_Leonardo, come si vede nelle linie sententi da solo tre esempli.
+Questa ed altre inessattezze fanno desiderare, sia esaminato di
+nuovo il manoscritto Vaticano_". This has since been done by D.
+KNAPP of Tubingen, and his accurate copy has been published by H.
+LUDWIG, the painter. The passage in question occurs in his edition
+as No. 833; and there also the drawings are wanting. The space for
+them has been left vacant, but in the Vatican copy '_niente_' has
+been written on the margin; and in it, as well as in LUDWIG'S and
+MANZI'S edition, the text is mutilated.] four modes of growing one
+above another. The first, which is the most general, is that the
+sixth always originates over the sixth below [Footnote 8: _la sesta
+di sotto. "Disposizione 2/5 o 1/5. Leonardo osservo probabilmente
+soltanto la prima"_ (UZIELLl).]; the second is that two third ones
+above are over the two third ones below [Footnote 10: _terze di
+sotto: "Intende qui senza dubbio parlare di foglie decussate, in cui
+il terzo verticello e nel piano del primo"_ (UZIELLI).]; and the
+third way is that the third above is over the third below [Footnote
+11: 3a _di sotto: "Disposizione 1/2"_ (UZIELLI).].
+
+[Footnote: See the four sketches on the upper portion of the page
+reproduced as fig. 2 on P1. XXVII.]
+
+413.
+
+A DESCRIPTION OF THE ELM.
+
+The ramification of the elm has the largest branch at the top. The
+first and the last but one are smaller, when the main trunk is
+straight.
+
+The space between the insertion of one leaf to the rest is half the
+extreme length of the leaf or somewhat less, for the leaves are at
+an interval which is about the 3rd of the width of the leaf.
+
+The elm has more leaves near the top of the boughs than at the base;
+and the broad [surface] of the leaves varies little as to [angle
+and] aspect.
+
+[Footnote: See Pl. XXVII, No. 3. Above the sketch and close under
+the number of the page is the word '_olmo_' (elm).]
+
+414.
+
+In the walnut tree the leaves which are distributed on the shoots of
+this year are further apart from each other and more numerous in
+proportion as the branch from which this shoot springs is a young
+one. And they are inserted more closely and less in number when the
+shoot that bears them springs from an old branch. Its fruits are
+borne at the ends of the shoots. And its largest boughs are the
+lowest on the boughs they spring from. And this arises from the
+weight of its sap which is more apt to descend than to rise, and
+consequently the branches which spring from them and rise towards
+the sky are small and slender [20]; and when the shoot turns towards
+the sky its leaves spread out from it [at an angle] with an equal
+distribution of their tips; and if the shoot turns to the horizon
+the leaves lie flat; and this arises from the fact that leaves
+without exception, turn their underside to the earth [29].
+
+The shoots are smaller in proportion as they spring nearer to the
+base of the bough they spring from.
+
+[Footnote: See the two sketches on Pl XXVII, No. 4. The second
+refers to the passage lines 20-30.]
+
+415.
+
+OF THE INSERTION OF THE LEAVES ON THE BRANCHES.
+
+The thickness of a branch never diminishes within the space between
+one leaf and the next excepting by so much as the thickness of the
+bud which is above the leaf and this thickness is taken off from the
+branch above [the node] as far as the next leaf.
+
+Nature has so placed the leaves of the latest shoots of many plants
+that the sixth leaf is always above the first, and so on in
+succession, if the rule is not [accidentally] interfered with; and
+this occurs for two useful ends in the plant: First that as the
+shoot and the fruit of the following year spring from the bud or eye
+which lies above and in close contact with the insertion of the leaf
+[in the axil], the water which falls upon the shoot can run down to
+nourish the bud, by the drop being caught in the hollow [axil] at
+the insertion of the leaf. And the second advantage is, that as
+these shoots develop in the following year one will not cover the
+next below, since the 5 come forth on five different sides; and the
+sixth which is above the first is at some distance.
+
+416.
+
+OF THE RAMIFICATIONS OF TREES AND THEIR FOLIAGE.
+
+The ramifications of any tree, such as the elm, are wide and slender
+after the manner of a hand with spread fingers, foreshortened. And
+these are seen in the distribution [thus]: the lower portions are
+seen from above; and those that are above are seen from below; and
+those in the middle, some from below and some from above. The upper
+part is the extreme [top] of this ramification and the middle
+portion is more foreshortened than any other of those which are
+turned with their tips towards you. And of those parts of the middle
+of the height of the tree, the longest will be towards the top of
+the tree and will produce a ramification like the foliage of the
+common willow, which grows on the banks of rivers.
+
+Other ramifications are spherical, as those of such trees as put
+forth their shoots and leaves in the order of the sixth being placed
+above the first. Others are thin and light like the willow and
+others.
+
+417.
+
+You will see in the lower branches of the elder, which puts forth
+leaves two and two placed crosswise [at right angles] one above
+another, that if the stem rises straight up towards the sky this
+order never fails; and its largest leaves are on the thickest part
+of the stem and the smallest on the slenderest part, that is towards
+the top. But, to return to the lower branches, I say that the leaves
+on these are placed on them crosswise like [those on] the upper
+branches; and as, by the law of all leaves, they are compelled to
+turn their upper surface towards the sky to catch the dew at night,
+it is necessary that those so placed should twist round and no
+longer form a cross.
+
+[Footnote: See Pl. XXVII, No. 5.]
+
+418.
+
+A leaf always turns its upper side towards the sky so that it may
+the better receive, on all its surface, the dew which drops gently
+from the atmosphere. And these leaves are so distributed on the
+plant as that one shall cover the other as little as possible, but
+shall lie alternately one above another as may be seen in the ivy
+which covers the walls. And this alternation serves two ends; that
+is, to leave intervals by which the air and sun may penetrate
+between them. The 2nd reason is that the drops which fall from the
+first leaf may fall onto the fourth or--in other trees--onto the
+sixth.
+
+419.
+
+Every shoot and every fruit is produced above the insertion [in the
+axil] of its leaf which serves it as a mother, giving it water from
+the rain and moisture from the dew which falls at night from above,
+and often it protects them against the too great heat of the rays of
+the sun.
+
+LIGHT ON BRANCHES AND LEAVES (420--422).
+
+420.
+
+That part of the body will be most illuminated which is hit by the
+luminous ray coming between right angles.
+
+[Footnote: See Pl. XXVIII, No. 1.]
+
+421.
+
+Young plants have more transparent leaves and a more lustrous bark
+than old ones; and particularly the walnut is lighter coloured in
+May than in September.
+
+422.
+
+OF THE ACCIDENTS OF COLOURING IN TREES.
+
+The accidents of colour in the foliage of trees are 4. That is:
+shadow, light, lustre [reflected light] and transparency.
+
+OF THE VISIBILITY OF THESE ACCIDENTS.
+
+These accidents of colour in the foliage of trees become confused at
+a great distance and that which has most breadth [whether light or
+shade, &c.] will be most conspicuous.
+
+The proportions of light and shade in a leaf (423-426).
+
+423.
+
+OF THE SHADOWS OF A LEAF.
+
+Sometimes a leaf has three accidents [of light] that is: shade,
+lustre [reflected light] and transparency [transmitted light]. Thus,
+if the light were at _n_ as regards the leaf _s_, and the eye at
+_m_, it would see _a_ in full light, _b_ in shadow and _c_
+transparent.
+
+424.
+
+A leaf with a concave surface seen from the under side and
+up-side-down will sometimes show itself as half in shade, and half
+transparent. Thus, if _o p_ is the leaf and the light _m_ and the
+eye _n_, this will see _o_ in shadow because the light does not fall
+upon it between equal angles, neither on the upper nor the under
+side, and _p_ is lighted on the upper side and the light is
+transmitted to its under side. [Footnote: See Pl. XXVIII, No. 2, the
+upper sketch on the page. In the original they are drawn in red
+chalk.]
+
+425.
+
+Although those leaves which have a polished surface are to a great
+extent of the same colour on the right side and on the reverse, it
+may happen that the side which is turned towards the atmosphere will
+have something of the colour of the atmosphere; and it will seem to
+have more of this colour of the atmosphere in proportion as the eye
+is nearer to it and sees it more foreshortened. And, without
+exception the shadows show as darker on the upper side than on the
+lower, from the contrast offered by the high lights which limit the
+shadows.
+
+The under side of the leaf, although its colour may be in itself the
+same as that of the upper side, shows a still finer colour--a colour
+that is green verging on yellow--and this happens when the leaf is
+placed between
+
+426.
+
+the eye and the light which falls upon it from the opposite side.
+
+And its shadows are in the same positions as those were of the
+opposite side. Therefore, O Painter! when you do trees close at
+hand, remember that if the eye is almost under the tree you will see
+its leaves [some] on the upper and [some] on the under side, and the
+upper side will be bluer in proportion as they are seen more
+foreshortened, and the same leaf sometimes shows part of the right
+side and part of the under side, whence you must make it of two
+colours.
+
+Of the transparency of leaves (427-429).
+
+427.
+
+The shadows in transparent leaves seen from the under side are the
+same shadows as there are on the right side of this leaf, they will
+show through to the underside together with lights, but the lustre
+[reflected light] can never show through.
+
+428.
+
+When one green has another [green] behind it, the lustre on the
+leaves and their transparent [lights] show more strongly than in
+those which are [seen] against the brightness of the atmosphere.
+
+And if the sun illuminates the leaves without their coming between
+it and the eye and without the eye facing the sun, then the
+reflected lights and the transparent lights are very strong.
+
+It is very effective to show some branches which are low down and
+dark and so set off the illuminated greens which are at some
+distance from the dark greens seen below. That part is darkest which
+is nearest to the eye or which is farthest from the luminous
+atmosphere.
+
+429.
+
+Never paint leaves transparent to the sun, because they are
+confused; and this is because on the transparency of one leaf will
+be seen the shadow of another leaf which is above it. This shadow
+has a distinct outline and a certain depth of shade and sometimes is
+[as much as] half or a third of the leaf which is shaded; and
+consequently such an arrangement is very confused and the imitation
+of it should be avoided.
+
+The light shines least through a leaf when it falls upon it at an
+acute angle.
+
+The gradations of shade and colour in leaves (430-434).
+
+430.
+
+The shadows of plants are never black, for where the atmosphere
+penetrates there can never be utter darkness.
+
+431.
+
+If the light comes from _m_ and the eye is at _n_ the eye will see
+the colour of the leaves _a b_ all affected by the colour of _m_
+--that is of the atmosphere; and _b c_ will be seen from the under
+side as transparent, with a beautiful green colour verging on
+yellow.
+
+If _m_ is the luminous body lighting up the leaf _s_ all the eyes
+that see the under side of this leaf will see it of a beautiful
+light green, being transparent.
+
+In very many cases the positions of the leaves will be without
+shadow [or in full light], and their under side will be transparent
+and the right side lustrous [reflecting light].
+
+432.
+
+The willow and other similar trees, which have their boughs lopped
+every 3 or 4 years, put forth very straight branches, and their
+shadow is about the middle where these boughs spring; and towards
+the extreme ends they cast but little shade from having small leaves
+and few and slender branches. Hence the boughs which rise towards
+the sky will have but little shade and little relief; and the
+branches which are at an angle from the horizon, downwards, spring
+from the dark part of the shadow and grow thinner by degrees up to
+their ends, and these will be in strong relief, being in gradations
+of light against a background of shadow.
+
+That tree will have the least shadow which has the fewest branches
+and few leaves.
+
+433.
+
+OF DARK LEAVES IN FRONT OF TRANSPARENT ONES.
+
+When the leaves are interposed between the light and the eye, then
+that which is nearest to the eye will be the darkest, and the most
+distant will be the lightest, not being seen against the atmosphere;
+and this is seen in the leaves which are away from the centre of the
+tree, that is towards the light.
+
+[Footnote: See Pl. XXVIII, No. 2, the lower sketch.]
+
+434.
+
+OF THE LIGHTS ON DARK LEAVES.
+
+The lights on such leaves which are darkest, will be most near to
+the colour of the atmosphere that is reflected in them. And the
+cause of this is that the light on the illuminated portion mingles
+with the dark hue to compose a blue colour; and this light is
+produced by the blueness of the atmosphere which is reflected in the
+smooth surface of these leaves and adds to the blue hue which this
+light usually produces when it falls on dark objects.
+
+OF THE LIGHTS ON LEAVES OF A YELLOWISH GREEN.
+
+But leaves of a green verging on yellow when they reflect the
+atmosphere do not produce a reflection verging on blue, inasmuch as
+every thing which appears in a mirror takes some colour from that
+mirror, hence the blue of the atmosphere being reflected in the
+yellow of the leaf appears green, because blue and yellow mixed
+together make a very fine green colour, therefore the lustre of
+light leaves verging on yellow will be greenish yellow.
+
+A classification of trees according to their colours.
+
+435.
+
+The trees in a landscape are of various kinds of green, inasmuch as
+some verge towards blackness, as firs, pines, cypresses, laurels,
+box and the like. Some tend to yellow such as walnuts, and pears,
+vines and verdure. Some are both yellowish and dark as chesnuts,
+holm-oak. Some turn red in autumn as the service-tree, pomegranate,
+vine, and cherry; and some are whitish as the willow, olive, reeds
+and the like. Trees are of various forms ...
+
+The proportions of light and shade in trees (436-440).
+
+436.
+
+OF A GENERALLY DISTRIBUTED LIGHT AS LIGHTING UP TREES.
+
+That part of the trees will be seen to lie in the least dark shadow
+which is farthest from the earth.
+
+To prove it let _a p_ be the tree, _n b c_ the illuminated
+hemisphere [the sky], the under portion of the tree faces the earth
+_p c_, that is on the side _o_, and it faces a small part of the
+hemisphere at _c d_. But the highest part of the convexity a faces
+the greatest part of the hemisphere, that is _b c_. For this
+reason--and because it does not face the darkness of the earth--it
+is in fuller light. But if the tree has dense foliage, as the
+laurel, arbutus, box or holm oak, it will be different; because,
+although _a_ does not face the earth, it faces the dark [green] of
+the leaves cut up by many shadows, and this darkness is reflected
+onto the under sides of the leaves immediately above. Thus these
+trees have their darkest shadows nearest to the middle of the tree.
+
+437.
+
+OF THE SHADOWS OF VERDURE.
+
+The shadows of verdure are always somewhat blue, and so is every
+shadow of every object; and they assume this hue more in proportion
+as they are remote from the eye, and less in proportion as they are
+nearer. The leaves which reflect the blue of the atmosphere always
+present themselves to the eye edgewise.
+
+OF THE ILLUMINATED PART OF VERDURE AND OF MOUNTAINS.
+
+The illuminated portion, at a great distance, will appear most
+nearly of its natural colour where the strongest light falls upon
+it.
+
+438.
+
+OF TREES THAT ARE LIGHTED BY THE SUN AND BY THE ATMOSPHERE.
+
+In trees that are illuminated [both] by the sun and the atmosphere
+and that have leaves of a dark colour, one side will be illuminated
+by the atmosphere [only] and in consequence of this light will tend
+to blueness, while on the other side they will be illuminated by the
+atmosphere and the sun; and the side which the eye sees illuminated
+by the sun will reflect light.
+
+439.
+
+OF DEPICTING A FOREST SCENE.
+
+The trees and plants which are most thickly branched with slender
+branches ought to have less dark shadow than those trees and plants
+which, having broader leaves, will cast more shadow.
+
+440.
+
+ON PAINTING.
+
+In the position of the eye which sees that portion of a tree
+illuminated which turns towards the light, one tree will never be
+seen to be illuminated equally with the other. To prove this, let
+the eye be _c_ which sees the two trees _b d_ which are illuminated
+by the sun _a_; I say that this eye _c_ will not see the light in
+the same proportion to the shade, in one tree as in the other.
+Because, the tree which is nearest to the sun will display so much
+the stronger shadow than the more distant one, in proportion as one
+tree is nearer to the rays of the sun that converge to the eye than
+the other; &c.
+
+You see that the eye _c_ sees nothing of the tree _d_ but shadow,
+while the same eye _c_ sees th� tree _b_ half in light and half in
+shade.
+
+When a tree is seen from below, the eye sees the top of it as placed
+within the circle made by its boughs[23].
+
+Remember, O Painter! that the variety of depth of shade in any one
+particular species of tree is in proportion to the rarity or density
+of their branches.
+
+[Footnote: The two lower sketches on the left of Pl XXVIII, No. 3,
+refer to lines 21-23. The upper sketch has apparently been effaced
+by Leonardo himself.]
+
+The distribution of light and shade with reference to the position
+of the spectator (441-443).
+
+441.
+
+The shadows of trees placed in a landscape do not display themselves
+in the same position in the trees on the right hand and those on the
+left; still more so if the sun is to the right or left. As is proved
+by the 4th which says: Opaque bodies placed between the light and
+the eye display themselves entirely in shadow; and by the 5th: The
+eye when placed between the opaque body and the light sees the
+opaque body entirely illuminated. And by the 6th: When the eye and
+the opaque body are placed between darkness and light, it will be
+seen half in shadow and half in light.
+
+[Footnote: See the figure on the right hand side of Pl. XXVIII, No.
+3. The first five lines of the text are written below the diagram
+and above it are the last eight lines of the text, given as No.
+461.]
+
+442.
+
+OF THE HERBS OF THE FIELD.
+
+Of the plants which take a shadow from the plants which spring among
+them, those which are on this side [in front] of the shadow have the
+stems lighted up on a background of shadow, and the plants on which
+the shadows fall have their stems dark on a light background; that
+is on the background beyond the shadow.
+
+OF TREES WHICH ARE BETWEEN THE EYE AND THE LIGHT.
+
+Of the trees which are between the eye and the light the part in
+front will be light; but this light will be broken by the
+ramifications of transparent leaves--being seen from the under
+side--and lustrous leaves--being seen from the upper side; and the
+background below and behind will be dark green, being in shadow from
+the front portion of the said tree. This occurs in trees placed
+above the eye.
+
+443.
+
+FROM WHENCE TO DEPICT A LANDSCAPE
+
+Landscapes should be represented so that the trees may be half in
+light and half in shadow; but it is better to do them when the sun
+is covered with clouds, for then the trees are lighted by the
+general light of the sky, and the general darkness of the earth. And
+then they are darkest in certain parts in proportion as those parts
+are nearest to the middle of the tree and to the earth.
+
+The effects of morning light (444-448).
+
+444.
+
+OF TREES TO THE SOUTH.
+
+When the sun is in the east the trees to the South and to the North
+have almost as much light as shadow. But a greater share of light in
+proportion as they lie to the West and a greater share of shadow in
+proportion as they lie to the East.
+
+OF MEADOWS.
+
+If the sun is in the East the verdure of the meadows and of other
+small plants is of a most beautiful green from being transparent to
+the sun; this does not occur in the meadows to the West, and in
+those to the South and North the grass is of a moderately brilliant
+green.
+
+445.
+
+OF THE 4 POINTS OF THE COMPASS [IN LANDSCAPES].
+
+When the sun is in the East all the portions of plants lighted by it
+are of a most lively verdure, and this happens because the leaves
+lighted by the sun within the half of the horizon that is the
+Eastern half, are transparent; and within the Western semicircle the
+verdure is of a dull hue and the moist air is turbid and of the
+colour of grey ashes, not being transparent like that in the East,
+which is quite clear and all the more so in proportion as it is
+moister.
+
+The shadows of the trees to the East cover a large portion of them
+and are darker in proportion as the foliage of the trees is thicker.
+
+446.
+
+OF TREES IN THE EAST.
+
+When the sun is in the East the trees seen towards the East will
+have the light which surrounds them all round their shadows,
+excepting on the side towards the earth; unless the tree has been
+pruned [below] in the past year. And the trees to the South and
+North will be half in shade and half in light, and more or less in
+shade or in light in proportion as they are more or less to the East
+or to the West.
+
+The [position of] the eye above or below varies the shadows and
+lights in trees, inasmuch as the eye placed above sees the tree with
+the little shadow, and the eye placed below with a great deal of
+shadow.
+
+The colour of the green in plants varies as much as their species.
+
+447.
+
+OF THE SHADOWS IN TREES.
+
+The sun being in the East [to the right], the trees to the West [or
+left] of the eye will show in small relief and almost imperceptible
+gradations, because the atmosphere which lies between the eye and
+those trees is very dense [Footnote 7: _per la 7a di questo_. This
+possibly referred to something written on the seventh page of this
+note book marked _G_. Unfortunately it has been cut out and lost.],
+see the 7th of this--and they have no shade; for though a shadow
+exists in every detail of the ramification, it results that the
+images of the shade and light that reach the eye are confused and
+mingled together and cannot be perceived on account of their
+minuteness. And the principal lights are in the middle of the trees,
+and the shadows to wards the edges; and their separation is shown by
+the shadows of the intervals between the trees; but when the forests
+are thick with trees the thin edges are but little seen.
+
+448.
+
+OF TREES TO THE EAST.
+
+When the sun is in the East the trees are darker towards the middle
+while their edges are light.
+
+The effects of midday light.
+
+449.
+
+OBJECTS IN HIGH LIGHT SHOW BUT LITTLE, BUT BETWEEN LIGHT AND SHADOW
+THEY STAND OUT WELL.
+
+To represent a landscape choose that the sun shall be at noon and
+look towards the West or East and then draw. And if you turn towards
+the North, every object placed on that side will have no shadow,
+particularly those which are nearest to the [direction of the]
+shadow of your head. And if you turn towards the South every object
+on that side will be wholly in shadow. All the trees which are
+towards the sun and have the atmosphere for their background are
+dark, and the other trees which lie against that darkness will be
+black [very dark] in the middle and lighter towards the edges.
+
+The appearance of trees in the distance (450. 451).
+
+450.
+
+OF THE SPACES [SHOWING THE SKY] IN TREES THEMSELVES.
+
+The spaces between the parts in the mass of trees, and the spaces
+between the trees in the air, are, at great distances, invisible to
+the eye; for, where it is an effort [even] to see the whole it is
+most difficult to discern the parts.--But a confused mixture is the
+result, partaking chiefly of the [hue] which predominates. The
+spaces between the leaves consist of particles of illuminated air
+which are very much smaller than the tree and are lost sight of
+sooner than the tree; but it does not therefore follow that they are
+not there. Hence, necessarily, a compounded [effect] is produced of
+the sky and of the shadows of the tree in shade, which both together
+strike the eye which sees them.
+
+OF TREES WHICH CONCEAL THESE SPACES IN ONE ANOTHER.
+
+That part of a tree will show the fewest spaces, behind which a
+large number of trees are standing between the tree and the air
+[sky]; thus in the tree _a_ the spaces are not concealed nor in _b_,
+as there is no tree behind. But in _c_ only half shows the spaces
+filled up by the tree _d_, and part of the tree _d_ is filled up by
+the tree _e_ and a little farther on all the spaces in the mass of
+the trees are lost, and only that at the side remains.
+
+451.
+
+OF TREES.
+
+What outlines are seen in trees at a distance against the sky which
+serves as their background?
+
+The outlines of the ramification of trees, where they lie against
+the illuminated sky, display a form which more nearly approaches the
+spherical on proportion as they are remote, and the nearer they are
+the less they appear in this spherical form; as in the first tree
+_a_ which, being near to the eye, displays the true form of its
+ramification; but this shows less in _b_ and is altogether lost in
+_c_, where not merely the branches of the tree cannot be seen but
+the whole tree is distinguished with difficulty. Every object in
+shadow, of whatever form it may be, at a great distance appears to
+be spherical. And this occurs because, if it is a square body, at a
+very short distance it loses its angles, and a little farther off it
+loses still more of its smaller sides which remain. And thus before
+the whole is lost [to sight] the parts are lost, being smaller than
+the whole; as a man, who in such a distant position loses his legs,
+arms and head before [the mass of] his body, then the outlines of
+length are lost before those of breadth, and where they have become
+equal it would be a square if the angles remained; but as they are
+lost it is round.
+
+[Footnote: The sketch No. 4, Pl. XXVIII, belongs to this passage.]
+
+The cast shadow of trees (452. 453).
+
+452.
+
+The image of the shadow of any object of uniform breadth can never
+be [exactly] the same as that of the body which casts it.
+
+[Footnote: See Pl. XXVIII, No. 5.]
+
+Light and shade on groups of trees (453-457).
+
+453.
+
+All trees seen against the sun are dark towards the middle and this
+shadow will be of the shape of the tree when apart from others.
+
+The shadows cast by trees on which the sun shines are as dark as
+those of the middle of the tree.
+
+The shadow cast by a tree is never less than the mass of the tree
+but becomes taller in proportion as the spot on which it falls,
+slopes towards the centre of the world.
+
+The shadow will be densest in the middle of the tree when the tree
+has the fewest branches.
+
+[Footnote: The three diagrams which accompany this text are placed,
+in the original, before lines 7-11. At the spots marked _B_ Leonardo
+wrote _Albero_ (tree). At _A_ is the word _Sole_ (sun), at _C Monte_
+(mountain) at _D piano_ (plain) and at _E cima_ (summit).]
+
+Every branch participates of the central shadow of every other
+branch and consequently [of that] of the whole tree.
+
+The form of any shadow from a branch or tree is circumscribed by the
+light which falls from the side whence the light comes; and this
+illumination gives the shape of the shadow, and this may be of the
+distance of a mile from the side where the sun is.
+
+If it happens that a cloud should anywhere overshadow some part of a
+hill the [shadow of the] trees there will change less than in the
+plains; for these trees on the hills have their branches thicker,
+because they grow less high each year than in the plains. Therefore
+as these branches are dark by nature and being so full of shade, the
+shadow of the clouds cannot darken them any more; but the open
+spaces between the trees, which have no strong shadow change very
+much in tone and particularly those which vary from green; that is
+ploughed lands or fallen mountains or barren lands or rocks. Where
+the trees are against the atmosphere they appear all the same
+colour--if indeed they are not very close together or very thickly
+covered with leaves like the fir and similar trees. When you see the
+trees from the side from which the sun lights them, you will see
+them almost all of the same tone, and the shadows in them will be
+hidden by the leaves in the light, which come between your eye and
+those shadows.
+
+TREES AT A SHORT DISTANCE.
+
+[Footnote 29: The heading _alberi vicini_ (trees at a short
+distance) is in the original manuscript written in the margin.] When
+the trees are situated between the sun and the eye, beyond the
+shadow which spreads from their centre, the green of their leaves
+will be seen transparent; but this transparency will be broken in
+many places by the leaves and boughs in shadow which will come
+between you and them, or, in their upper portions, they will be
+accompanied by many lights reflected from the leaves.
+
+454.
+
+The trees of the landscape stand out but little from each other;
+because their illuminated portions come against the illuminated
+portions of those beyond and differ little from them in light and
+shade.
+
+455.
+
+Of trees seen from below and against the light, one beyond the other
+and near together. The topmost part of the first will be in great
+part transparent and light, and will stand out against the dark
+portion of the second tree. And thus it will be with all in
+succession that are placed under the same conditions.
+
+Let _s_ be the light, and _r_ the eye, _c d n_ the first tree, _a b
+c_ the second. Then I say that _r_, the eye, will see the portion _c
+f_ in great part transparent and lighted by the light _s_ which
+falls upon it from the opposite side, and it will see it, on a dark
+ground _b c_ because that is the dark part and shadow of the tree _a
+b c_.
+
+But if the eye is placed at _t_ it will see _o p_ dark on the light
+background _n g_.
+
+Of the transparent and shadowy parts of trees, that which is nearest
+to you is the darkest.
+
+456.
+
+That part of a tree which has shadow for background, is all of one
+tone, and wherever the trees or branches are thickest they will be
+darkest, because there are no little intervals of air. But where the
+boughs lie against a background of other boughs, the brighter parts
+are seen lightest and the leaves lustrous from the sunlight falling
+on them.
+
+457.
+
+In the composition of leafy trees be careful not to repeat too often
+the same colour of one tree against the same colour of another
+[behind it]; but vary it with a lighter, or a darker, or a stronger
+green.
+
+On the treatment of light for landscapes (458-464).
+
+458.
+
+The landscape has a finer azure [tone] when, in fine weather the sun
+is at noon than at any other time of the day, because the air is
+purified of moisture; and looking at it under that aspect you will
+see the trees of a beautiful green at the outside and the shadows
+dark towards the middle; and in the remoter distance the atmosphere
+which comes between you and them looks more beautiful when there is
+something dark beyond. And still the azure is most beautiful. The
+objects seen from the side on which the sun shines will not show you
+their shadows. But, if you are lower than the sun, you can see what
+is not seen by the sun and that will be all in shade. The leaves of
+the trees, which come between you and the sun are of two principal
+colours which are a splendid lustre of green, and the reflection of
+the atmosphere which lights up the objects which cannot be seen by
+the sun, and the shaded portions which only face the earth, and the
+darkest which are surrounded by something that is not dark. The
+trees in the landscape which are between you and the sun are far
+more beautiful than those you see when you are between the sun and
+them; and this is so because those which face the sun show their
+leaves as transparent towards the ends of their branches, and those
+that are not transparent--that is at the ends--reflect the light;
+and the shadows are dark because they are not concealed by any
+thing.
+
+The trees, when you place yourself between them and the sun, will
+only display to you their light and natural colour, which, in
+itself, is not very strong, and besides this some reflected lights
+which, being against a background which does not differ very much
+from themselves in tone, are not conspicuous; and if you are lower
+down than they are situated, they may also show those portions on
+which the light of the sun does not fall and these will be dark.
+
+In the Wind.
+
+But, if you are on the side whence the wind blows, you will see the
+trees look very much lighter than on the other sides, and this
+happens because the wind turns up the under side of the leaves,
+which, in all trees, is much whiter than the upper sides; and, more
+especially, will they be very light indeed if the wind blows from
+the quarter where the sun is, and if you have your back turned to
+it.
+
+[Footnote: At _S_, in the original is the word _Sole_ (sun) and at
+_N parte di nuvolo_ (the side of the clouds).]
+
+459.
+
+When the sun is covered by clouds, objects are less conspicuous,
+because there is little difference between the light and shade of
+the trees and of the buildings being illuminated by the brightness
+of the atmosphere which surrounds the objects in such a way that the
+shadows are few, and these few fade away so that their outline is
+lost in haze.
+
+460.
+
+OF TREES AND LIGHTS ON THEM.
+
+The best method of practice in representing country scenes, or I
+should say landscapes with their trees, is to choose them so that
+the sun is covered with clouds so that the landscape receives an
+universal light and not the direct light of the sun, which makes the
+shadows sharp and too strongly different from the lights.
+
+461.
+
+OF PAINTING.
+
+In landscapes which represent [a scene in] winter. The mountains
+should not be shown blue, as we see in the mountains in the summer.
+And this is proved [Footnote 5. 6.: _Per la_ 4_a di questo_. It is
+impossible to ascertain what this quotation refers to. _Questo_
+certainly does not mean the MS. in hand, nor any other now known to
+us. The same remark applies to the phrase in line 15: _per la_ 2_a
+di questo_.] in the 4th of this which says: Among mountains seen
+from a great distance those will look of the bluest colour which are
+in themselves the darkest; hence, when the trees are stripped of
+their leaves, they will show a bluer tinge which will be in itself
+darker; therefore, when the trees have lost their leaves they will
+look of a gray colour, while, with their leaves, they are green, and
+in proportion as the green is darker than the grey hue the green
+will be of a bluer tinge than the gray. Also by the 2nd of this: The
+shadows of trees covered with leaves are darker than the shadows of
+those trees which have lost their leaves in proportion as the trees
+covered with leaves are denser than those without leaves--and thus
+my meaning is proved.
+
+The definition of the blue colour of the atmosphere explains why the
+landscape is bluer in the summer than in the winter.
+
+462.
+
+OF PAINTING IN A LANDSCAPE.
+
+If the slope of a hill comes between the eye and the horizon,
+sloping towards the eye, while the eye is opposite the middle of the
+height of this slope, then that hill will increase in darkness
+throughout its length. This is proved by the 7th of this which says
+that a tree looks darkest when it is seen from below; the
+proposition is verified, since this hill will, on its upper half
+show all its trees as much from the side which is lighted by the
+light of the sky, as from that which is in shade from the darkness
+of the earth; whence it must result that these trees are of a medium
+darkness. And from this [middle] spot towards the base of the hill,
+these trees will be lighter by degrees by the converse of the 7th
+and by the said 7th: For trees so placed, the nearer they are to the
+summit of the hill the darker they necessarily become. But this
+darkness is not in proportion to the distance, by the 8th of this
+which says: That object shows darkest which is [seen] in the
+clearest atmosphere; and by the 10th: That shows darkest which
+stands out against a lighter background.
+
+[Footnote: The quotation in this passage again cannot be verified.]
+
+463.
+
+OF LANDSCAPES.
+
+The colours of the shadows in mountains at a great distance take a
+most lovely blue, much purer than their illuminated portions. And
+from this it follows that when the rock of a mountain is reddish the
+illuminated portions are violet (?) and the more they are lighted
+the more they display their proper colour.
+
+464.
+
+A place is most luminous when it is most remote from mountains.
+
+On the treatment of light for views of towns (465-469).
+
+465.
+
+OF LIGHT AND SHADOW IN A TOWN.
+
+When the sun is in the East and the eye is above the centre of a
+town, the eye will see the Southern part of the town with its roofs
+half in shade and half in light, and the same towards the North; the
+Eastern side will be all in shadow and the Western will be all in
+light.
+
+466.
+
+Of the houses of a town, in which the divisions between the houses
+may be distinguished by the light which fall on the mist at the
+bottom. If the eye is above the houses the light seen in the space
+that is between one house and the next sinks by degrees into thicker
+mist; and yet, being less transparent, it appears whiter; and if the
+houses are some higher than the others, since the true [colour] is
+always more discernible through the thinner atmosphere, the houses
+will look darker in proportion as they are higher up. Let _n o p q_
+represent the various density of the atmosphere thick with moisture,
+_a_ being the eye, the house _b c_ will look lightest at the bottom,
+because it is in a thicker atmosphere; the lines _c d f_ will appear
+equally light, for although _f_ is more distant than _c_, it is
+raised into a thinner atmosphere, if the houses _b e_ are of the
+same height, because they cross a brightness which is varied by
+mist, but this is only because the line of the eye which starts from
+above ends by piercing a lower and denser atmosphere at _d_ than at
+_b_. Thus the line a _f_ is lower at _f_ than at _c_; and the house
+_f_ will be seen darker at _e_ from the line _e k_ as far as _m_,
+than the tops of the houses standing in front of it.
+
+467.
+
+OF TOWNS OR OTHER BUILDINGS SEEN IN THE EVENING OR THE MORNING
+THROUGH THE MIST.
+
+Of buildings seen at a great distance in the evening or the morning,
+as in mist or dense atmosphere, only those portions are seen in
+brightness which are lighted up by the sun which is near the
+horizon; and those portions which are not lighted up by the sun
+remain almost of the same colour and medium tone as the mist.
+
+WHY OBJECTS WHICH ARE HIGH UP AND AT A DISTANCE ARE DARKER THAN THE
+LOWER ONES, EVEN IF THE MIST IS UNIFORMLY DENSE.
+
+Of objects standing in a mist or other dense atmosphere, whether
+from vapour or smoke or distance, those will be most visible which
+are the highest. And among objects of equal height that will be the
+darkest [strongest] which has for background the deepest mist. Thus
+the eye _h_ looking at _a b c_, towers of equal height, one with
+another, sees _c_ the top of the first tower at _r_, at two degrees
+of depth in the mist; and sees the height of the middle tower _b_
+through one single degree of mist. Therefore the top of the tower
+_c_ appears stronger than the top of the tower _b_, &c.
+
+468.
+
+OF THE SMOKE OF A TOWN.
+
+Smoke is seen better and more distinctly on the Eastern side than on
+the Western when the sun is in the East; and this arises from two
+causes; the first is that the sun, with its rays, shines through the
+particles of the smoke and lights them up and makes them visible.
+The second is that the roofs of the houses seen in the East at this
+time are in shadow, because their obliquity does not allow of their
+being illuminated by the sun. And the same thing occurs with dust;
+and both one and the other look the lighter in proportion as they
+are denser, and they are densest towards the middle.
+
+469.
+
+OF SMOKE AND DUST.
+
+If the sun is in the East the smoke of cities will not be visible in
+the West, because on that side it is not seen penetrated by the
+solar rays, nor on a dark background; since the roofs of the houses
+turn the same side to the eye as they turn towards the sun, and on
+this light background the smoke is not very visible.
+
+But dust, under the same aspect, will look darker than smoke being
+of denser material than smoke which is moist.
+
+The effect of wind on trees (470-473).
+
+470.
+
+OF REPRESENTING WIND.
+
+In representing wind, besides the bending of the boughs and the
+reversing of their leaves towards the quarter whence the wind comes,
+you should also represent them amid clouds of fine dust mingled with
+the troubled air.
+
+471.
+
+Describe landscapes with the wind, and the water, and the setting
+and rising of the sun.
+
+THE WIND.
+
+All the leaves which hung towards the earth by the bending of the
+shoots with their branches, are turned up side down by the gusts of
+wind, and here their perspective is reversed; for, if the tree is
+between you and the quarter of the wind, the leaves which are
+towards you remain in their natural aspect, while those on the
+opposite side which ought to have their points in a contrary
+direction have, by being turned over, their points turned towards
+you.
+
+472.
+
+Trees struck by the force of the wind bend to the side towards which
+the wind is blowing; and the wind being past they bend in the
+contrary direction, that is in reverse motion.
+
+473.
+
+That portion of a tree which is farthest from the force which
+strikes it is the most injured by the blow because it bears most
+strain; thus nature has foreseen this case by thickening them in
+that part where they can be most hurt; and most in such trees as
+grow to great heights, as pines and the like. [Footnote: Compare the
+sketch drawn with a pen and washed with Indian ink on Pl. XL, No. 1.
+In the Vatican copy we find, under a section entitled '_del fumo_',
+the following remark: _Era sotto di questo capitulo un rompimento di
+montagna, per dentro delle quali roture scherzaua fiame di fuoco,
+disegnate di penna et ombrate d'acquarella, da uedere cosa mirabile
+et uiua (Ed. MANZI, p. 235. Ed. LUDWIG, Vol. I, 460). This appears
+to refer to the left hand portion of the drawing here given from the
+Windsor collection, and from this it must be inferred, that the leaf
+as it now exists in the library of the Queen of England, was already
+separated from the original MS. at the time when the Vatican copy
+was made.]
+
+Light and shade on clouds (474-477).
+
+474.
+
+Describe how the clouds are formed and how they dissolve, and what
+cause raises vapour.
+
+475.
+
+The shadows in clouds are lighter in proportion as they are nearer
+to the horizon.
+
+[Footnote: The drawing belonging to this was in black chalk and is
+totally effaced.]
+
+476.
+
+When clouds come between the sun and the eye all the upper edges of
+their round forms are light, and towards the middle they are dark,
+and this happens because towards the top these edges have the sun
+above them while you are below them; and the same thing happens with
+the position of the branches of trees; and again the clouds, like
+the trees, being somewhat transparent, are lighted up in part, and
+at the edges they show thinner.
+
+But, when the eye is between the cloud and the sun, the cloud has
+the contrary effect to the former, for the edges of its mass are
+dark and it is light towards the middle; and this happens because
+you see the same side as faces the sun, and because the edges have
+some transparency and reveal to the eye that portion which is hidden
+beyond them, and which, as it does not catch the sunlight like that
+portion turned towards it, is necessarily somewhat darker. Again, it
+may be that you see the details of these rounded masses from the
+lower side, while the sun shines on the upper side and as they are
+not so situated as to reflect the light of the sun, as in the first
+instance they remain dark.
+
+The black clouds which are often seen higher up than those which are
+illuminated by the sun are shaded by other clouds, lying between
+them and the sun.
+
+Again, the rounded forms of the clouds that face the sun, show their
+edges dark because they lie against the light background; and to see
+that this is true, you may look at the top of any cloud that is
+wholly light because it lies against the blue of the atmosphere,
+which is darker than the cloud.
+
+[Footnote: A drawing in red chalk from the Windsor collection (see
+Pl. XXIX), representing a landscape with storm-clouds, may serve to
+illustrate this section as well as the following one.]
+
+477.
+
+OF CLOUDS, SMOKE AND DUST AND THE FLAMES OF A FURNACE OR OF A
+BURNING KILN.
+
+The clouds do not show their rounded forms excepting on the sides
+which face the sun; on the others the roundness is imperceptible
+because they are in the shade. [Footnote: The text of this chapter
+is given in facsimile on Pls. XXXVI and XXXVII. The two halves of
+the leaf form but one in the original. On the margin close to lines
+4 and 5 is the note: _rossore d'aria inverso l'orizonte_--(of the
+redness of the atmosphere near the horizon). The sketches on the
+lower portion of the page will be spoken of in No. 668.]
+
+If the sun is in the East and the clouds in the West, the eye placed
+between the sun and the clouds sees the edges of the rounded forms
+composing these clouds as dark, and the portions which are
+surrounded by this dark [edge] are light. And this occurs because
+the edges of the rounded forms of these clouds are turned towards
+the upper or lateral sky, which is reflected in them.
+
+Both the cloud and the tree display no roundness at all on their
+shaded side.
+
+On images reflected in water.
+
+478.
+
+Painters often deceive themselves, by representing water in which
+they make the water reflect the objects seen by the man. But the
+water reflects the object from one side and the man sees it from the
+other; and it often happens that the painter sees an object from
+below, and thus one and the same object is seen from hind part
+before and upside down, because the water shows the image of the
+object in one way, and the eye sees it in another.
+
+Of rainbows and rain (479. 480).
+
+479.
+
+The colours in the middle of the rainbow mingle together.
+
+The bow in itself is not in the rain nor in the eye that sees it;
+though it is generated by the rain, the sun, and the eye. The
+rainbow is always seen by the eye that is between the rain and the
+body of the sun; hence if the sun is in the East and the rain is in
+the West it will appear on the rain in the West.
+
+480.
+
+When the air is condensed into rain it would produce a vacuum if the
+rest of the air did not prevent this by filling its place, as it
+does with a violent rush; and this is the wind which rises in the
+summer time, accompanied by heavy rain.
+
+Of flower seeds.
+
+481.
+
+All the flowers which turn towards the sun perfect their seeds; but
+not the others; that is to say those which get only the reflection
+of the sun.
+
+IX.
+
+_The Practice of Painting._
+
+_It is hardly necessary to offer any excuses for the division
+carried out in the arrangement of the text into practical
+suggestions and theoretical enquiries. It was evidently intended by
+Leonardo himself as we conclude from incidental remarks in the MSS.
+(for instance No_ 110_). The fact that this arrangement was never
+carried out either in the old MS. copies or in any edition since, is
+easily accounted for by the general disorder which results from the
+provisional distribution of the various chapters in the old copies.
+We have every reason to believe that the earliest copyists, in
+distributing the materials collected by them, did not in the least
+consider the order in which the original MS.lay before them._
+
+_It is evident that almost all the chapters which refer to the
+calling and life of the painter--and which are here brought together
+in the first section (Nos._ 482-508_)--may be referred to two
+distinct periods in Leonardo's life; most of them can be dated as
+belonging to the year_ 1492 _or to_ 1515. _At about this later time
+Leonardo may have formed the project of completing his Libro della
+Pittura, after an interval of some years, as it would seem, during
+which his interest in the subject had fallen somewhat into the
+background._
+
+_In the second section, which treats first of the artist's studio,
+the construction of a suitable window forms the object of careful
+investigations; the special importance attached to this by Leonardo
+is sufficiently obvious. His theory of the incidence of light which
+was fully discussed in a former part of this work, was to him by no
+means of mere abstract value, but, being deduced, as he says, from
+experience (or experiment) was required to prove its utility in
+practice. Connected with this we find suggestions for the choice of
+a light with practical hints as to sketching a picture and some
+other precepts of a practical character which must come under
+consideration in the course of completing the painting. In all this
+I have followed the same principle of arrangement in the text as was
+carried out in the Theory of Painting, thus the suggestions for the
+Perspective of a picture, (Nos._ 536-569_), are followed by the
+theory of light and shade for the practical method of optics (Nos._
+548--566_) and this by the practical precepts or the treatment of
+aerial perspective (_567--570_)._
+
+_In the passage on Portrait and Figure Painting the principles of
+painting as applied to a bust and head are separated and placed
+first, since the advice to figure painters must have some connection
+with the principles of the treatment of composition by which they
+are followed._
+
+_But this arrangement of the text made it seem advisable not to pick
+out the practical precepts as to the representation of trees and
+landscape from the close connection in which they were originally
+placed--unlike the rest of the practical precepts--with the theory
+of this branch of the subject. They must therefore be sought under
+the section entitled Botany for Painters._
+
+_As a supplement to the_ Libro di Pittura _I have here added those
+texts which treat of the Painter's materials,--as chalk, drawing
+paper, colours and their preparation, of the management of oils and
+varnishes; in the appendix are some notes on chemical substances.
+Possibly some of these, if not all, may have stood in connection
+with the preparation of colours. It is in the very nature of things
+that Leonardo's incidental indications as to colours and the like
+should be now-a-days extremely obscure and could only be explained
+by professional experts--by them even in but few instances. It might
+therefore have seemed advisable to reproduce exactly the original
+text without offering any translation. The rendering here given is
+merely an attempt to suggest what Leonardo's meaning may have been._
+
+_LOMAZZO tells us in his_ Trattato dell'arte della Pittura, Scultura
+ed Architettura (Milano 1584, libro II, Cap. XIV): "Va discorrendo
+ed argomentando Leonardo Vinci in un suo libro letto da me (?)
+questi anni passati, ch'egli scrisse di mano stanca ai prieghi di
+LUDOVICO SFORZA duca di Milano, in determinazione di questa
+questione, se e piu nobile la pittura o la scultura; dicendo che
+quanto piu un'arte porta seco fatica di corpo, e sudore, tanto piu e
+vile, e men pregiata". _But the existence of any book specially
+written for Lodovico il Moro on the superiority of Painting over
+sculpture is perhaps mythical. The various passages in praise of
+Painting as compared not merely with Sculpture but with Poetry, are
+scattered among MSS. of very different dates._
+
+_Besides, the way, in which the subject is discussed appears not to
+support the supposition, that these texts were prepared at a special
+request of the Duke._
+
+I.
+
+MORAL PRECEPTS FOR THE STUDENT OF PAINTING.
+
+How to ascertain the dispositions for an artistic career.
+
+482.
+
+A WARNING CONCERNING YOUTHS WISHING TO BE PAINTERS.
+
+Many are they who have a taste and love for drawing, but no talent;
+and this will be discernible in boys who are not diligent and never
+finish their drawings with shading.
+
+The course of instruction for an artist (483-485).
+
+483.
+
+The youth should first learn perspective, then the proportions of
+objects. Then he may copy from some good master, to accustom himself
+to fine forms. Then from nature, to confirm by practice the rules he
+has learnt. Then see for a time the works of various masters. Then
+get the habit of putting his art into practice and work.
+
+[Footnote: The Vatican copy and numerous abridgements all place this
+chapter at the beginning of the _Trattato_, and in consequence
+DUFRESNE and all subsequent editors have done the same. In the
+Vatican copy however all the general considerations on the relation
+of painting to the other arts are placed first, as introductory.]
+
+484.
+
+OF THE ORDER OF LEARNING TO DRAW.
+
+First draw from drawings by good masters done from works of art and
+from nature, and not from memory; then from plastic work, with the
+guidance of the drawing done from it; and then from good natural
+models and this you must put into practice.
+
+485.
+
+PRECEPTS FOR DRAWING.
+
+The artist ought first to exercise his hand by copying drawings from
+the hand of a good master. And having acquired that practice, under
+the criticism of his master, he should next practise drawing objects
+in relief of a good style, following the rules which will presently
+be given.
+
+The study of the antique (486. 487).
+
+486.
+
+OF DRAWING.
+
+Which is best, to draw from nature or from the antique? and which is
+more difficult to do outlines or light and shade?
+
+487.
+
+It is better to imitate [copy] the antique than modern work.
+
+[Footnote 486, 487: These are the only two passages in which
+Leonardo alludes to the importance of antique art in the training of
+an artist. The question asked in No. 486 remains unanswered by him
+and it seems to me very doubtful whether the opinion stated in No.
+487 is to be regarded as a reply to it. This opinion stands in the
+MS. in a connection--as will be explained later on--which seems to
+require us to limit its application to a single special case. At any
+rate we may suspect that when Leonardo put the question, he felt
+some hesitation as to the answer. Among his very numerous drawings I
+have not been able to find a single study from the antique, though a
+drawing in black chalk, at Windsor, of a man on horseback (PI.
+LXXIII) may perhaps be a reminiscence of the statue of Marcus
+Aurelius at Rome. It seems to me that the drapery in a pen and ink
+drawing of a bust, also at Windsor, has been borrowed from an
+antique model (Pl. XXX). G. G. Rossi has, I believe, correctly
+interpreted Leonardo's feeling towards the antique in the following
+note on this passage in manzi's edition, p. 501: "Sappiamo dalla
+storia, che i valorosi artisti Toscani dell'et� dell'oro dell'arte
+studiarono sugli antichi marmi raccolti dal Magnifico LORENZO DE'
+MEDICI. Pare che il Vinci a tali monumenti non si accostasse. Quest'
+uomo sempre riconosce per maestra la natura, e questo principio lo
+stringeva alla sola imitazione d� essa"--Compare No. 10, 26--28
+footnote.]
+
+The necessity of anatomical knowledge (488. 489).
+
+488.
+
+OF PAINTING.
+
+It is indispensable to a Painter who would be thoroughly familiar
+with the limbs in all the positions and actions of which they are
+capable, in the nude, to know the anatomy of the sinews, bones,
+muscles and tendons so that, in their various movements and
+exertions, he may know which nerve or muscle is the cause of each
+movement and show those only as prominent and thickened, and not the
+others all over [the limb], as many do who, to seem great
+draughtsmen, draw their nude figures looking like wood, devoid of
+grace; so that you would think you were looking at a sack of walnuts
+rather than the human form, or a bundle of radishes rather than the
+muscles of figures.
+
+489.
+
+HOW IT IS NECESSARY TO A PAINTER THAT HE SHOULD KNOW THE INTRINSIC
+FORMS [STRUCTURE] OF MAN.
+
+The painter who is familiar with the nature of the sinews, muscles,
+and tendons, will know very well, in giving movement to a limb, how
+many and which sinews cause it; and which muscle, by swelling,
+causes the contraction of that sinew; and which sinews, expanded
+into the thinnest cartilage, surround and support the said muscle.
+Thus he will variously and constantly demonstrate the different
+muscles by means of the various attitudes of his figures, and will
+not do, as many who, in a variety of movements, still display the
+very same things [modelling] in the arms, back, breast and legs. And
+these things are not to be regarded as minor faults.
+
+How to acquire practice.
+
+490.
+
+OF STUDY AND THE ORDER OF STUDY.
+
+I say that first you ought to learn the limbs and their mechanism,
+and having this knowledge, their actions should come next, according
+to the circumstances in which they occur in man. And thirdly to
+compose subjects, the studies for which should be taken from natural
+actions and made from time to time, as circumstances allow; and pay
+attention to them in the streets and _piazze_ and fields, and note
+them down with a brief indication of the forms; [Footnote 5: Lines
+5-7 explained by the lower portion of the sketch No. 1 on Pl. XXXI.]
+thus for a head make an o, and for an arm a straight or a bent line,
+and the same for the legs and the body, [Footnote 7: Lines 5-7
+explained by the lower portion of the sketch No. 1 on Pl. XXXI.] and
+when you return home work out these notes in a complete form. The
+Adversary says that to acquire practice and do a great deal of work
+it is better that the first period of study should be employed in
+drawing various compositions done on paper or on walls by divers
+masters, and that in this way practice is rapidly gained, and good
+methods; to which I reply that the method will be good, if it is
+based on works of good composition and by skilled masters. But since
+such masters are so rare that there are but few of them to be found,
+it is a surer way to go to natural objects, than to those which are
+imitated from nature with great deterioration, and so form bad
+methods; for he who can go to the fountain does not go to the
+water-jar.
+
+[Footnote: This passage has been published by Dr. M. JORDAN, _Das
+Malerbuck des L. da Vinci_, p. 89; his reading however varies
+slightly from mine.]
+
+Industry and thoroughness the first conditions (491-493.)
+
+491.
+
+WHAT RULES SHOULD BE GIVEN TO BOYS LEARNING TO PAINT.
+
+We know for certain that sight is one of the most rapid actions we
+can perform. In an instant we see an infinite number of forms, still
+we only take in thoroughly one object at a time. Supposing that you,
+Reader, were to glance rapidly at the whole of this written page,
+you would instantly perceive that it was covered with various
+letters; but you could not, in the time, recognise what the letters
+were, nor what they were meant to tell. Hence you would need to see
+them word by word, line by line to be able to understand the
+letters. Again, if you wish to go to the top of a building you must
+go up step by step; otherwise it will be impossible that you should
+reach the top. Thus I say to you, whom nature prompts to pursue this
+art, if you wish to have a sound knowledge of the forms of objects
+begin with the details of them, and do not go on to the second
+[step] till you have the first well fixed in memory and in practice.
+And if you do otherwise you will throw away your time, or certainly
+greatly prolong your studies. And remember to acquire diligence
+rather than rapidity.
+
+492.
+
+HOW THAT DILIGENCE [ACCURACY] SHOULD FIRST BE LEARNT RATHER THAN
+RAPID EXECUTION.
+
+If you, who draw, desire to study well and to good purpose, always
+go slowly to work in your drawing; and discriminate in. the lights,
+which have the highest degree of brightness, and to what extent and
+likewise in the shadows, which are those that are darker than the
+others and in what way they intermingle; then their masses and the
+relative proportions of one to the other. And note in their
+outlines, which way they tend; and which part of the lines is curved
+to one side or the other, and where they are more or less
+conspicuous and consequently broad or fine; and finally, that your
+light and shade blend without strokes and borders [but] looking like
+smoke. And when you have thus schooled your hand and your judgment
+by such diligence, you will acquire rapidity before you are aware.
+
+The artist's private life and choice of company (493-494).
+
+493.
+
+OF THE LIFE OF THE PAINTER IN THE COUNTRY.
+
+A painter needs such mathematics as belong to painting. And the
+absence of all companions who are alienated from his studies; his
+brain must be easily impressed by the variety of objects, which
+successively come before him, and also free from other cares
+[Footnote 6: Leonardo here seems to be speaking of his own method of
+work as displayed in his MSS. and this passage explains, at least in
+part, the peculiarities in their arrangement.]. And if, when
+considering and defining one subject, a second subject
+intervenes--as happens when an object occupies the mind, then he
+must decide which of these cases is the more difficult to work out,
+and follow that up until it becomes quite clear, and then work out
+the explanation of the other [Footnote 11: Leonardo here seems to be
+speaking of his own method of work as displayed in his MSS. and this
+passage explains, at least in part, the peculiarities in their
+arrangement.]. And above all he must keep his mind as clear as the
+surface of a mirror, which assumes colours as various as those of
+the different objects. And his companions should be like him as to
+their studies, and if such cannot be found he should keep his
+speculations to himself alone, so that at last he will find no more
+useful company [than his own].
+
+[Footnote: In the title line Leonardo had originally written _del
+pictore filosofo_ (the philosophical painter), but he himself struck
+out_filosofo_. Compare in No. 363 _pictora notomista_ (anatomical
+painter). The original text is partly reproduced on Pl. CI.]
+
+494.
+
+OF THE LIFE OF THE PAINTER IN HIS STUDIO.
+
+To the end that well-being of the body may not injure that of the
+mind, the painter or draughtsman must remain solitary, and
+particularly when intent on those studies and reflections which will
+constantly rise up before his eye, giving materials to be well
+stored in the memory. While you are alone you are entirely your own
+[master] and if you have one companion you are but half your own,
+and the less so in proportion to the indiscretion of his behaviour.
+And if you have many companions you will fall deeper into the same
+trouble. If you should say: "I will go my own way and withdraw
+apart, the better to study the forms of natural objects", I tell
+you, you will not be able to help often listening to their chatter.
+And so, since one cannot serve two masters, you will badly fill the
+part of a companion, and carry out your studies of art even worse.
+And if you say: "I will withdraw so far that their words cannot
+reach me and they cannot disturb me", I can tell you that you will
+be thought mad. But, you see, you will at any rate be alone. And if
+you must have companions ship find it in your studio. This may
+assist you to have the advantages which arise from various
+speculations. All other company may be highly mischievous.
+
+The distribution of time for studying (495-497).
+
+495.
+
+OF WHETHER IT IS BETTER TO DRAW WITH COMPANIONS OR NOT.
+
+I say and insist that drawing in company is much better than alone,
+for many reasons. The first is that you would be ashamed to be seen
+behindhand among the students, and such shame will lead you to
+careful study. Secondly, a wholesome emulation will stimulate you to
+be among those who are more praised than yourself, and this praise
+of others will spur you on. Another is that you can learn from the
+drawings of others who do better than yourself; and if you are
+better than they, you can profit by your contempt for their defects,
+while the praise of others will incite you to farther merits.
+
+[Footnote: The contradiction by this passage of the foregoing
+chapter is only apparent. It is quite clear, from the nature of the
+reasoning which is here used to prove that it is more improving to
+work with others than to work alone, that the studies of pupils only
+are under consideration here.]
+
+496.
+
+OF STUDYING, IN THE DARK, WHEN YOU WAKE, OR IN BED BEFORE YOU GO TO
+SLEEP.
+
+I myself have proved it to be of no small use, when in bed in the
+dark, to recall in fancy the external details of forms previously
+studied, or other noteworthy things conceived by subtle speculation;
+and this is certainly an admirable exercise, and useful for
+impressing things on the memory.
+
+497.
+
+OF THE TIME FOR STUDYING SELECTION OF SUBJECTS.
+
+Winter evenings ought to be employed by young students in looking
+over the things prepared during the summer; that is, all the
+drawings from the nude done in the summer should be brought together
+and a choice made of the best [studies of] limbs and bodies among
+them, to apply in practice and commit to memory.
+
+OF POSITIONS.
+
+After this in the following summer you should select some one who is
+well grown and who has not been brought up in doublets, and so may
+not be of stiff carriage, and make him go through a number of agile
+and graceful actions; and if his muscles do not show plainly within
+the outlines of his limbs that does not matter at all. It is enough
+that you can see good attitudes and you can correct [the drawing of]
+the limbs by those you studied in the winter.
+
+[Footnote: An injunction to study in the evening occurs also in No.
+524.]
+
+On the productive power of minor artists (498-501).
+
+498.
+
+He is a poor disciple who does not excel his master.
+
+499.
+
+Nor is the painter praiseworthy who does but one thing well, as the
+nude figure, heads, draperies, animals, landscapes or other such
+details, irrespective of other work; for there can be no mind so
+inept, that after devoting itself to one single thing and doing it
+constantly, it should fail to do it well.
+
+[Footnote: In MANZI'S edition (p. 502) the painter G. G. Bossi
+indignantly remarks on this passage. "_Parla il Vince in questo
+luogo come se tutti gli artisti avessero quella sublimita d'ingegno
+capace di abbracciare tutte le cose, di cui era egli dotato"_ And he
+then mentions the case of CLAUDE LORRAIN. But he overlooks the fact
+that in Leonardo's time landscape painting made no pretensions to
+independence but was reckoned among the details (_particulari_,
+lines 3, 4).]
+
+500.
+
+THAT A PAINTER IS NOT ADMIRABLE UNLESS HE IS UNIVERSAL.
+
+Some may distinctly assert that those persons are under a delusion
+who call that painter a good master who can do nothing well but a
+head or a figure. Certainly this is no great achievement; after
+studying one single thing for a life-time who would not have
+attained some perfection in it? But, since we know that painting
+embraces and includes in itself every object produced by nature or
+resulting from the fortuitous actions of men, in short, all that the
+eye can see, he seems to me but a poor master who can only do a
+figure well. For do you not perceive how many and various actions
+are performed by men only; how many different animals there are, as
+well as trees, plants, flowers, with many mountainous regions and
+plains, springs and rivers, cities with public and private
+buildings, machines, too, fit for the purposes of men, divers
+costumes, decorations and arts? And all these things ought to be
+regarded as of equal importance and value, by the man who can be
+termed a good painter.
+
+501.
+
+OF THE MISERABLE PRETENCES MADE BY THOSE WHO FALSELY AND UNWORTHILY
+ACQUIRE THE NAME OF PAINTERS.
+
+Now there is a certain race of painters who, having studied but
+little, must need take as their standard of beauty mere gold and
+azure, and these, with supreme conceit, declare that they will not
+give good work for miserable payment, and that they could do as well
+as any other if they were well paid. But, ye foolish folks! cannot
+such artists keep some good work, and then say: this is a costly
+work and this more moderate and this is average work and show that
+they can work at all prices?
+
+A caution against one-sided study.
+
+502.
+
+HOW, IN IMPORTANT WORKS, A MAN SHOULD NOT TRUST ENTIRELY TO HIS
+MEMORY WITHOUT CONDESCENDING TO DRAW FROM NATURE.
+
+Any master who should venture to boast that he could remember all
+the forms and effects of nature would certainly appear to me to be
+graced with extreme ignorance, inasmuch as these effects are
+infinite and our memory is not extensive enough to retain them.
+Hence, O! painter, beware lest the lust of gain should supplant in
+you the dignity of art; for the acquisition of glory is a much
+greater thing than the glory of riches. Hence, for these and other
+reasons which might be given, first strive in drawing to represent
+your intention to the eye by expressive forms, and the idea
+originally formed in your imagination; then go on taking out or
+putting in, until you have satisfied yourself. Then have living men,
+draped or nude, as you may have purposed in your work, and take care
+that in dimensions and size, as determined by perspective, nothing
+is left in the work which is not in harmony with reason and the
+effects in nature. And this will be the way to win honour in your
+art.
+
+How to acquire universality (503-506).
+
+503.
+
+OF VARIETY IN THE FIGURES.
+
+The painter should aim at universality, because there is a great
+want of self-respect in doing one thing well and another badly, as
+many do who study only the [rules of] measure and proportion in the
+nude figure and do not seek after variety; for a man may be well
+proportioned, or he may be fat and short, or tall and thin, or
+medium. And a painter who takes no account of these varieties always
+makes his figures on one pattern so that they might all be taken for
+brothers; and this is a defect that demands stern reprehension.
+
+504.
+
+HOW SOMETHING MAY BE LEARNT EVERYWHERE.
+
+Nature has beneficently provided that throughout the world you may
+find something to imitate.
+
+505.
+
+OF THE MEANS OF ACQUIRING UNIVERSALITY.
+
+It is an easy matter to men to acquire universality, for all
+terrestrial animals resemble each other as to their limbs, that is
+in their muscles, sinews and bones; and they do not vary excepting
+in length or in thickness, as will be shown under Anatomy. But then
+there are aquatic animals which are of great variety; I will not try
+to convince the painter that there is any rule for them for they are
+of infinite variety, and so is the insect tribe.
+
+506.
+
+PAINTING.
+
+The mind of the painter must resemble a mirror, which always takes
+the colour of the object it reflects and is completely occupied by
+the images of as many objects as are in front of it. Therefore you
+must know, Oh Painter! that you cannot be a good one if you are not
+the universal master of representing by your art every kind of form
+produced by nature. And this you will not know how to do if you do
+not see them, and retain them in your mind. Hence as you go through
+the fields, turn your attention to various objects, and, in turn
+look now at this thing and now at that, collecting a store of divers
+facts selected and chosen from those of less value. But do not do
+like some painters who, when they are wearied with exercising their
+fancy dismiss their work from their thoughts and take exercise in
+walking for relaxation, but still keep fatigue in their mind which,
+though they see various objects [around them], does not apprehend
+them; but, even when they meet friends or relations and are saluted
+by them, although they see and hear them, take no more cognisance of
+them than if they had met so much empty air.
+
+Useful games and exercises (507. 508).
+
+507.
+
+OF GAMES TO BE PLAYED BY THOSE WHO DRAW.
+
+When, Oh draughtsmen, you desire to find relaxation in games you
+should always practise such things as may be of use in your
+profession, by giving your eye good practice in judging accurately
+of the breadth and length of objects. Thus, to accustom your mind to
+such things, let one of you draw a straight line at random on a
+wall, and each of you, taking a blade of grass or of straw in his
+hand, try to cut it to the length that the line drawn appears to him
+to be, standing at a distance of 10 braccia; then each one may go up
+to the line to measure the length he has judged it to be. And he who
+has come nearest with his measure to the length of the pattern is
+the best man, and the winner, and shall receive the prize you have
+settled beforehand. Again you should take forshortened measures:
+that is take a spear, or any other cane or reed, and fix on a point
+at a certain distance; and let each one estimate how many times he
+judges that its length will go into that distance. Again, who will
+draw best a line one braccio long, which shall be tested by a
+thread. And such games give occasion to good practice for the eye,
+which is of the first importance in painting.
+
+508.
+
+A WAY OF DEVELOPING AND AROUSING THE MIND TO VARIOUS INVENTIONS.
+
+I cannot forbear to mention among these precepts a new device for
+study which, although it may seem but trivial and almost ludicrous,
+is nevertheless extremely useful in arousing the mind to various
+inventions. And this is, when you look at a wall spotted with
+stains, or with a mixture of stones, if you have to devise some
+scene, you may discover a resemblance to various landscapes,
+beautified with mountains, rivers, rocks, trees, plains, wide
+valleys and hills in varied arrangement; or again you may see
+battles and figures in action; or strange faces and costumes, and an
+endless variety of objects, which you could reduce to complete and
+well drawn forms. And these appear on such walls confusedly, like
+the sound of bells in whose jangle you may find any name or word you
+choose to imagine.
+
+II.
+
+THE ARTIST'S STUDIO.--INSTRUMENTS AND HELPS FOR THE APPLICATION OF
+PERSPECTIVE.--ON JUDGING OF A PICTURE.
+
+On the size of the studio.
+
+509.
+
+Small rooms or dwellings discipline the mind, large ones weaken it.
+
+On the construction of windows (510-512).
+
+510.
+
+The larger the wall the less the light will be.
+
+511.
+
+The different kinds of light afforded in cellars by various forms of
+windows. The least useful and the coldest is the window at _a_. The
+most useful, the lightest and warmest and most open to the sky is
+the window at _b_. The window at _c_ is of medium utility.
+
+[Footnote: From a reference to the notes on the right light for
+painting it becomes evident that the observations made on
+cellar-windows have a direct bearing on the construction of the
+studio-window. In the diagram _b_ as well as in that under No. 510
+the window-opening is reduced to a minimum, but only, it would seem,
+in order to emphasize the advantage of walls constructed on the plan
+there shown.]
+
+512.
+
+OF THE PAINTER'S WINDOW AND ITS ADVANTAGE.
+
+The painter who works from nature should have a window, which he can
+raise and lower. The reason is that sometimes you will want to
+finish a thing you are drawing, close to the light.
+
+Let _a b c d_ be the chest on which the work may be raised or
+lowered, so that the work moves up and down and not the painter. And
+every evening you can let down the work and shut it up above so that
+in the evening it may be in the fashion of a chest which, when shut
+up, may serve the purpose of a bench.
+
+[Footnote: See Pl. XXXI, No. 2. In this plate the lines have
+unfortunately lost their sharpness, for the accidental loss of the
+negative has necessitated a reproduction from a positive. But having
+formerly published this sketch by another process, in VON LUTZOW'S
+_Zeitschrift fur bildende Kunst_ (Vol. XVII, pg. 13) I have
+reproduced it here in the text. The sharpness of the outline in the
+original sketch is here preserved but it gives it from the reversed
+side.]
+
+On the best light for painting (513-520).
+
+513.
+
+Which light is best for drawing from nature; whether high or low, or
+large or small, or strong and broad, or strong and small, or broad
+and weak or small and weak?
+
+[Footnote: The question here put is unanswered in the original MS.]
+
+514.
+
+OF THE QUALITY OF THE LIGHT.
+
+A broad light high up and not too strong will render the details of
+objects very agreeable.
+
+515.
+
+THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP.
+
+The light for drawing from nature should come from the North in
+order that it may not vary. And if you have it from the South, keep
+the window screened with cloth, so that with the sun shining the
+whole day the light may not vary. The height of the light should be
+so arranged as that every object shall cast a shadow on the ground
+of the same length as itself.
+
+516.
+
+THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE.
+
+An object will display the greatest difference of light and shade
+when it is seen in the strongest light, as by sunlight, or, at
+night, by the light of a fire. But this should not be much used in
+painting because the works remain crude and ungraceful.
+
+An object seen in a moderate light displays little difference in the
+light and shade; and this is the case towards evening or when the
+day is cloudy, and works then painted are tender and every kind of
+face becomes graceful. Thus, in every thing extremes are to be
+avoided: Too much light gives crudeness; too little prevents our
+seeing. The medium is best.
+
+OF SMALL LIGHTS.
+
+Again, lights cast from a small window give strong differences of
+light and shade, all the more if the room lighted by it be large,
+and this is not good for painting.
+
+517.
+
+PAINTING.
+
+The luminous air which enters by passing through orifices in walls
+into dark rooms will render the place less dark in proportion as the
+opening cuts into the walls which surround and cover in the
+pavement.
+
+518.
+
+OF THE QUALITY OF LIGHT.
+
+In proportion to the number of times that _a b_ goes into _c d_ will
+it be more luminous than _c d_. And similarly, in proportion as the
+point _e_ goes into _c d_ will it be more luminous than _c d;_ and
+this light is useful for carvers of delicate work. [Footnote 5: For
+the same reason a window thus constructed would be convenient for an
+illuminator or a miniature painter.]
+
+[Footnote: M. RAVAISSON in his edition of the Paris MS. A remarks on
+this passage: _"La figure porte les lettres_ f _et_ g, _auxquelles
+rien ne renvoie dans l'explication; par consequent, cette
+explication est incomplete. La figure semblerait, d'ailleurs, se
+rapporter a l'effet de la reflexion par un miroir concave."_ So far
+as I can see the text is not imperfect, nor is the sense obscure. It
+is hardly necessary to observe that _c d_ here indicate the wall of
+the room opposite to the window _e_ and the semicircle described by
+_f g_ stands for the arch of the sky; this occurs in various
+diagrams, for example under 511. A similar semicircle, Pl III, No. 2
+(and compare No. 149) is expressly called '_orizonte_' in writing.]
+
+519.
+
+That the light should fall upon a picture from one window only. This
+may be seen in the case of objects in this form. If you want to
+represent a round ball at a certain height you must make it oval in
+this shape, and stand so far off as that by foreshortening it
+appears round.
+
+520.
+
+OF SELECTING THE LIGHT WHICH GIVES MOST GRACE TO FACES.
+
+If you should have a court yard that you can at pleasure cover with
+a linen awning that light will be good. Or when you want to take a
+portrait do it in dull weather, or as evening falls, making the
+sitter stand with his back to one of the walls of the court yard.
+Note in the streets, as evening falls, the faces of the men and
+women, and when the weather is dull, what softness and delicacy you
+may perceive in them. Hence, Oh Painter! have a court arranged with
+the walls tinted black and a narrow roof projecting within the
+walls. It should be 10 braccia wide and 20 braccia long and 10
+braccia high and covered with a linen awning; or else paint a work
+towards evening or when it is cloudy or misty, and this is a perfect
+light.
+
+On various helps in preparing a picture (521-530).
+
+521.
+
+To draw a nude figure from nature, or any thing else, hold in your
+hand a plumb-line to enable you to judge of the relative position
+of objects.
+
+522.
+
+OF DRAWING AN OBJECT.
+
+When you draw take care to set up a principal line which you must
+observe all throughout the object you are drawing; every thing
+should bear relation to the direction of this principal line.
+
+523.
+
+OF A MODE OF DRAWING A PLACE ACCURATELY.
+
+Have a piece of glass as large as a half sheet of royal folio paper
+and set thus firmly in front of your eyes that is, between your eye
+and the thing you want to draw; then place yourself at a distance of
+2/3 of a braccia from the glass fixing your head with a machine in
+such a way that you cannot move it at all. Then shut or entirely
+cover one eye and with a brush or red chalk draw upon the glass that
+which you see beyond it; then trace it on paper from the glass,
+afterwards transfer it onto good paper, and paint it if you like,
+carefully attending to the arial perspective.
+
+HOW TO LEARN TO PLACE YOUR FIGURES CORRECTLY.
+
+If you want to acquire a practice of good and correct attitudes for
+your figures, make a square frame or net, and square it out with
+thread; place this between your eye and the nude model you are
+drawing, and draw these same squares on the paper on which you mean
+to draw the figure, but very delicately. Then place a pellet of wax
+on a spot of the net which will serve as a fixed point, which,
+whenever you look at your model, must cover the pit of the throat;
+or, if his back is turned, it may cover one of the vertebrae of the
+neck. Thus these threads will guide you as to each part of the body
+which, in any given attitude will be found below the pit of the
+throat, or the angles of the shoulders, or the nipples, or hips and
+other parts of the body; and the transverse lines of the net will
+show you how much the figure is higher over the leg on which it is
+posed than over the other, and the same with the hips, and the knees
+and the feet. But always fix the net perpendicularly so that all the
+divisions that you see the model divided into by the net work
+correspond with your drawing of the model on the net work you have
+sketched. The squares you draw may be as much smaller than those of
+the net as you wish that your figure should be smaller than nature.
+Afterwards remember when drawing figures, to use the rule of the
+corresponding proportions of the limbs as you have learnt it from
+the frame and net. This should be 3 braccia and a half high and 3
+braccia wide; 7 braccia distant from you and 1 braccio from the
+model.
+
+[Footnote: Leonardo is commonly credited with the invention of the
+arrangement of a plate of glass commonly known as the "vertical
+plane." Professor E. VON BRUCKE in his _"Bruchstucke aus der Theorie
+der bildenden Kunste,"_ Leipzig 1877, pg. 3, writes on this
+contrivance. _"Unsere Glastafel ist die sogenannte Glastafel des
+Leonardo da Vinci, die in Gestalt einer Glastafel vorgestellte
+Bildflache."_]
+
+524.
+
+A METHOD OF DRAWING AN OBJECT IN RELIEF AT NIGHT.
+
+Place a sheet of not too transparent paper between the relievo and
+the light and you can draw thus very well.
+
+[Footnote: Bodies thus illuminated will show on the surface of the
+paper how the copyist has to distribute light and shade.]
+
+525.
+
+If you want to represent a figure on a wall, the wall being
+foreshortened, while the figure is to appear in its proper form, and
+as standing free from the wall, you must proceed thus: have a thin
+plate of iron and make a small hole in the centre; this hole must be
+round. Set a light close to it in such a position as that it shines
+through the central hole, then place any object or figure you please
+so close to the wall that it touches it and draw the outline of the
+shadow on the wall; then fill in the shade and add the lights; place
+the person who is to see it so that he looks through that same hole
+where at first the light was; and you will never be able to persuade
+yourself that the image is not detached from the wall.
+
+[Footnote: _uno piccolo spiracelo nel mezzo_. M. RAVAISSON, in his
+edition of MS. A (Paris), p. 52, reads _nel muro_--evidently a
+mistake for _nel mezzo_ which is quite plainly written; and he
+translates it _"fait lui une petite ouverture dans le mur,"_ adding
+in a note: _"les mots 'dans le mur' paraissent etre de trop.
+Leonardo a du les ecrire par distraction"_ But _'nel mezzo'_ is
+clearly legible even on the photograph facsimile given by Ravaisson
+himself, and the objection he raises disappears at once. It is not
+always wise or safe to try to prove our author's absence of mind or
+inadvertence by apparent difficulties in the sense or connection of
+the text.]
+
+526.
+
+TO DRAW A FIGURE ON A WALL 12 BRACCIA HIGH WHICH SHALL LOOK 24
+BRACCIA HIGH.
+
+If you wish to draw a figure or any other object to look 24 braccia
+high you must do it in this way. First, on the surface _m r_ draw
+half the man you wish to represent; then the other half; then put on
+the vault _m n_ [the rest of] the figure spoken of above; first set
+out the vertical plane on the floor of a room of the same shape as
+the wall with the coved part on which you are to paint your figure.
+Then, behind it, draw a figure set out in profile of whatever size
+you please, and draw lines from it to the point _f_ and, as these
+lines cut _m n_ on the vertical plane, so will the figure come on
+the wall, of which the vertical plane gives a likeness, and you will
+have all the [relative] heights and prominences of the figure. And
+the breadth or thickness which are on the upright wall _m n_ are to
+be drawn in their proper form, since, as the wall recedes the figure
+will be foreshortened by itself; but [that part of] the figure which
+goes into the cove you must foreshorten, as if it were standing
+upright; this diminution you must set out on a flat floor and there
+must stand the figure which is to be transferred from the vertical
+plane _r n_[Footnote 17: _che leverai dalla pariete r n_. The
+letters refer to the larger sketch, No. 3 on Pl. XXXI.] in its real
+size and reduce it once more on a vertical plane; and this will be a
+good method [Footnote 18: Leonardo here says nothing as to how the
+image foreshortened by perspective and thus produced on the vertical
+plane is to be transferred to the wall; but from what is said in
+Nos. 525 and 523 we may conclude that he was familiar with the
+process of casting the enlarged shadow of a squaring net on the
+surface of a wall to guide him in drawing the figure.
+
+_Pariete di rilieuo; "sur une parai en relief"_ (RAVAISSON). _"Auf
+einer Schnittlinie zum Aufrichten"_ (LUDWIG). The explanation of
+this puzzling expression must be sought in No. 545, lines 15-17.].
+
+[Footnote: See Pl. XXXI. 3. The second sketch, which in the plate is
+incomplete, is here reproduced and completed from the original to
+illustrate the text. In the original the larger diagram is placed
+between lines 5 and 6.
+
+1. 2. C. A. 157a; 463a has the similar heading: '_del cressciere
+della figura_', and the text begins: "_Se voli fare 1a figura
+grande_ b c" but here it breaks off. The translation here given
+renders the meaning of the passage as I think it must be understood.
+The MS. is perfectly legible and the construction of the sentence is
+simple and clear; difficulties can only arise from the very fullness
+of the meaning, particularly towards the end of the passage.]
+
+527.
+
+If you would to draw a cube in an angle of a wall, first draw the
+object in its own proper shape and raise it onto a vertical plane
+until it resembles the angle in which the said object is to be
+represented.
+
+528.
+
+Why are paintings seen more correctly in a mirror than out of it?
+
+529.
+
+HOW THE MIRROR IS THE MASTER [AND GUIDE] OF PAINTERS.
+
+When you want to see if your picture corresponds throughout with the
+objects you have drawn from nature, take a mirror and look in that
+at the reflection of the real things, and compare the reflected
+image with your picture, and consider whether the subject of the two
+images duly corresponds in both, particularly studying the mirror.
+You should take the mirror for your guide--that is to say a flat
+mirror--because on its surface the objects appear in many respects
+as in a painting. Thus you see, in a painting done on a flat
+surface, objects which appear in relief, and in the mirror--also a
+flat surface--they look the same. The picture has one plane surface
+and the same with the mirror. The picture is intangible, in so far
+as that which appears round and prominent cannot be grasped in the
+hands; and it is the same with the mirror. And since you can see
+that the mirror, by means of outlines, shadows and lights, makes
+objects appear in relief, you, who have in your colours far stronger
+lights and shades than those in the mirror, can certainly, if you
+compose your picture well, make that also look like a natural scene
+reflected in a large mirror.
+
+[Footnote: I understand the concluding lines of this passage as
+follows: If you draw the upper half a figure on a large sheet of
+paper laid out on the floor of a room (_sala be piana_) to the same
+scale (_con le sue vere grosseze_) as the lower half, already drawn
+upon the wall (lines 10, 11)you must then reduce them on a '_pariete
+di rilievo_,' a curved vertical plane which serves as a model to
+reproduce the form of the vault.]
+
+530.
+
+OF JUDGING YOUR OWN PICTURES.
+
+We know very well that errors are better recognised in the works of
+others than in our own; and that often, while reproving little
+faults in others, you may ignore great ones in yourself. To avoid
+such ignorance, in the first place make yourself a master of
+perspective, then acquire perfect knowledge of the proportions of
+men and other animals, and also, study good architecture, that is so
+far as concerns the forms of buildings and other objects which are
+on the face of the earth; these forms are infinite, and the better
+you know them the more admirable will your work be. And in cases
+where you lack experience do not shrink from drawing them from
+nature. But, to carry out my promise above [in the title]--I say
+that when you paint you should have a flat mirror and often look at
+your work as reflected in it, when you will see it reversed, and it
+will appear to you like some other painter's work, so you will be
+better able to judge of its faults than in any other way. Again, it
+is well that you should often leave off work and take a little
+relaxation, because, when you come back to it you are a better
+judge; for sitting too close at work may greatly deceive you. Again,
+it is good to retire to a distance because the work looks smaller
+and your eye takes in more of it at a glance and sees more easily
+the discords or disproportion in the limbs and colours of the
+objects.
+
+On the management of works (531. 532).
+
+531.
+
+OF A METHOD OF LEARNING WELL BY HEART.
+
+When you want to know a thing you have studied in your memory
+proceed in this way: When you have drawn the same thing so many
+times that you think you know it by heart, test it by drawing it
+without the model; but have the model traced on flat thin glass and
+lay this on the drawing you have made without the model, and note
+carefully where the tracing does not coincide with your drawing, and
+where you find you have gone wrong; and bear in mind not to repeat
+the same mistakes. Then return to the model, and draw the part in
+which you were wrong again and again till you have it well in your
+mind. If you have no flat glass for tracing on, take some very thin
+kidts-kin parchment, well oiled and dried. And when you have used it
+for one drawing you can wash it clean with a sponge and make a
+second.
+
+532.
+
+THAT A PAINTER OUGHT TO BE CURIOUS TO HEAR THE OPINIONS OF EVERY ONE
+ON HIS WORK.
+
+Certainly while a man is painting he ought not to shrink from
+hearing every opinion. For we know very well that a man, though he
+may not be a painter, is familiar with the forms of other men and
+very capable of judging whether they are hump backed, or have one
+shoulder higher or lower than the other, or too big a mouth or nose,
+and other defects; and, as we know that men are competent to judge
+of the works of nature, how much more ought we to admit that they
+can judge of our errors; since you know how much a man may be
+deceived in his own work. And if you are not conscious of this in
+yourself study it in others and profit by their faults. Therefore be
+curious to hear with patience the opinions of others, consider and
+weigh well whether those who find fault have ground or not for
+blame, and, if so amend; but, if not make as though you had not
+heard, or if he should be a man you esteem show him by argument the
+cause of his mistake.
+
+On the limitations of painting (533-535)
+
+533.
+
+HOW IN SMALL OBJECTS ERRORS ARE LESS EVIDENT THAN IN LARGE ONES.
+
+In objects of minute size the extent of error is not so perceptible
+as in large ones; and the reason is that if this small object is a
+representation of a man or of some other animal, from the immense
+diminution the details cannot be worked out by the artist with the
+finish that is requisite. Hence it is not actually complete; and,
+not being complete, its faults cannot be determined. For instance:
+Look at a man at a distance of 300 braccia and judge attentively
+whether he be handsome or ugly, or very remarkable or of ordinary
+appearance. You will find that with the utmost effort you cannot
+persuade yourself to decide. And the reason is that at such a
+distance the man is so much diminished that the character of the
+details cannot be determined. And if you wish to see how much this
+man is diminished [by distance] hold one of your fingers at a span's
+distance from your eye, and raise or lower it till the top joint
+touches the feet of the figure you are looking at, and you will see
+an incredible reduction. For this reason we often doubt as to the
+person of a friend at a distance.
+
+534.
+
+WHY A PAINTING CAN NEVER APPEAR DETACHED AS NATURAL OBJECTS DO.
+
+Painters often fall into despair of imitating nature when they see
+their pictures fail in that relief and vividness which objects have
+that are seen in a mirror; while they allege that they have colours
+which for brightness or depth far exceed the strength of light and
+shade in the reflections in the mirror, thus displaying their own
+ignorance rather than the real cause, because they do not know it.
+It is impossible that painted objects should appear in such relief
+as to resemble those reflected in the mirror, although both are seen
+on a flat surface, unless they are seen with only one eye; and the
+reason is that two eyes see one object behind another as _a_ and _b_
+see _m_ and _n_. _m_ cannot exactly occupy [the space of] _n_
+because the base of the visual lines is so broad that the second
+body is seen beyond the first. But if you close one eye, as at _s_
+the body _f_ will conceal _r_, because the line of sight proceeds
+from a single point and makes its base in the first body, whence the
+second, of the same size, can never be seen.
+
+[Footnote: This passage contains the solution of the problem
+proposed in No. 29, lines 10-14. Leonardo was evidently familiar
+with the law of optics on which the construction of the stereoscope
+depends. Compare E. VON BRUCKE, _Bruchstucke aus der Theorie der
+bildenden Kunste_, pg. 69: "_Schon Leonardo da Vinci wusste, dass
+ein noch so gut gemaltes Bild nie den vollen Eindruck der
+Korperlichkeit geben kann, wie ihn die Natur selbst giebt. Er
+erklart dies auch in Kap. LIII und Kap. CCCXLI_ (ed. DU FRESNE)
+_des_ 'Trattato' _in sachgemasser Weise aus dem Sehen mit beiden
+Augen_."
+
+Chap. 53 of DU FRESNE'S edition corresponds to No. 534 of this
+work.]
+
+535.
+
+WHY OF TWO OBJECTS OF EQUAL SIZE A PAINTED ONE WILL LOOK LARGER THAN
+A SOLID ONE.
+
+The reason of this is not so easy to demonstrate as many others.
+Still I will endeavour to accomplish it, if not wholly, at any rate
+in part. The perspective of diminution demonstrates by reason, that
+objects diminish in proportion as they are farther from the eye, and
+this reasoning is confirmed by experience. Hence, the lines of sight
+that extend between the object and the eye, when they are directed
+to the surface of a painting are all intersected at uniform limits,
+while those lines which are directed towards a piece of sculpture
+are intersected at various limits and are of various lengths. The
+lines which are longest extend to a more remote limb than the others
+and therefore that limb looks smaller. As there are numerous lines
+each longer than the others--since there are numerous parts, each
+more remote than the others and these, being farther off,
+necessarily appear smaller, and by appearing smaller it follows that
+their diminution makes the whole mass of the object look smaller.
+But this does not occur in painting; since the lines of sight all
+end at the same distance there can be no diminution, hence the parts
+not being diminished the whole object is undiminished, and for this
+reason painting does not diminish, as a piece of sculpture does.
+
+On the choice of a position (536-537)
+
+536.
+
+HOW HIGH THE POINT OF SIGHT SHOULD BE PLACED.
+
+The point of sight must be at the level of the eye of an ordinary
+man, and the farthest limit of the plain where it touches the sky
+must be placed at the level of that line where the earth and sky
+meet; excepting mountains, which are independent of it.
+
+537.
+
+OF THE WAY TO DRAW FIGURES FOR HISTORICAL PICTURES.
+
+The painter must always study on the wall on which he is to picture
+a story the height of the position where he wishes to arrange his
+figures; and when drawing his studies for them from nature he must
+place himself with his eye as much below the object he is drawing
+as, in the picture, it will have to be above the eye of the
+spectator. Otherwise the work will look wrong.
+
+The apparent size of figures in a picture (538-539)
+
+538.
+
+OF PLACING A FIGURE IN THE FOREGROUND OF A HISTORICAL PICTURE.
+
+You must make the foremost figure in the picture less than the size
+of nature in proportion to the number of braccia at which you place
+it from the front line, and make the others in proportion by the
+above rule.
+
+539.
+
+PERSPECTIVE.
+
+You are asked, O Painter, why the figures you draw on a small scale
+according to the laws of perspective do not appear--notwithstanding
+the demonstration of distance--as large as real ones--their height
+being the same as in those painted on the wall.
+
+And why [painted] objects seen at a small distance appear larger
+than the real ones?
+
+The right position of the artist, when painting, and of the
+spectator (540-547)
+
+540.
+
+OF PAINTING.
+
+When you draw from nature stand at a distance of 3 times the height
+of the object you wish to draw.
+
+541.
+
+OF DRAWING FROM RELIEF.
+
+In drawing from the round the draughtsman should so place himself
+that the eye of the figure he is drawing is on a level with his own.
+This should be done with any head he may have to represent from
+nature because, without exception, the figures or persons you meet
+in the streets have their eyes on the same level as your own; and if
+you place them higher or lower you will see that your drawing will
+not be true.
+
+542.
+
+WHY GROUPS OF FIGURES ONE ABOVE ANOTHER ARE TO BE AVOIDED.
+
+The universal practice which painters adopt on the walls of chapels
+is greatly and reasonably to be condemned. Inasmuch as they
+represent one historical subject on one level with a landscape and
+buildings, and then go up a step and paint another, varying the
+point [of sight], and then a third and a fourth, in such a way as
+that on one wall there are 4 points of sight, which is supreme folly
+in such painters. We know that the point of sight is opposite the
+eye of the spectator of the scene; and if you would [have me] tell
+you how to represent the life of a saint divided into several
+pictures on one and the same wall, I answer that you must set out
+the foreground with its point of sight on a level with the eye of
+the spectator of the scene, and upon this plane represent the more
+important part of the story large and then, diminishing by degrees
+the figures, and the buildings on various hills and open spaces, you
+can represent all the events of the history. And on the remainder of
+the wall up to the top put trees, large as compared with the
+figures, or angels if they are appropriate to the story, or birds or
+clouds or similar objects; otherwise do not trouble yourself with it
+for your whole work will be wrong.
+
+543.
+
+A PICTURE OF OBJECTS IN PERSPECTIVE WILL LOOK MORE LIFELIKE WHEN
+SEEN FROM THE POINT FROM WHICH THE OBJECTS WERE DRAWN.
+
+If you want to represent an object near to you which is to have the
+effect of nature, it is impossible that your perspective should not
+look wrong, with every false relation and disagreement of proportion
+that can be imagined in a wretched work, unless the spectator, when
+he looks at it, has his eye at the very distance and height and
+direction where the eye or the point of sight was placed in doing
+this perspective. Hence it would be necessary to make a window, or
+rather a hole, of the size of your face through which you can look
+at the work; and if you do this, beyond all doubt your work, if it
+is correct as to light and shade, will have the effect of nature;
+nay you will hardly persuade yourself that those objects are
+painted; otherwise do not trouble yourself about it, unless indeed
+you make your view at least 20 times as far off as the greatest
+width or height of the objects represented, and this will satisfy
+any spectator placed anywhere opposite to the picture.
+
+If you want the proof briefly shown, take a piece of wood in the
+form of a little column, eight times as high as it is thick, like a
+column without any plinth or capital; then mark off on a flat wall
+40 equal spaces, equal to its width so that between them they make
+40 columns resembling your little column; you then must fix,
+opposite the centre space, and at 4 braccia from the wall, a thin
+strip of iron with a small round hole in the middle about as large
+as a big pearl. Close to this hole place a light touching it. Then
+place your column against each mark on the wall and draw the outline
+of its shadow; afterwards shade it and look through the hole in the
+iron plate.
+
+[Footnote: In the original there is a wide space between lines 3 and
+4 in which we find two sketches not belonging to the text. It is
+unnecessary to give prominence to the points in which my reading
+differs from that of M. RAVAISSON or to justify myself, since they
+are all of secondary importance and can also be immediately verified
+from the photograph facsimile in his edition.]
+
+544.
+
+A diminished object should be seen from the same distance, height
+and direction as the point of sight of your eye, or else your
+knowledge will produce no good effect.
+
+And if you will not, or cannot, act on this principle--because as
+the plane on which you paint is to be seen by several persons you
+would need several points of sight which would make it look
+discordant and wrong--place yourself at a distance of at least 10
+times the size of the objects.
+
+The lesser fault you can fall into then, will be that of
+representing all the objects in the foreground of their proper size,
+and on whichever side you are standing the objects thus seen will
+diminish themselves while the spaces between them will have no
+definite ratio. For, if you place yourself in the middle of a
+straight row [of objects], and look at several columns arranged in a
+line you will see, beyond a few columns separated by intervals, that
+the columns touch; and beyond where they touch they cover each
+other, till the last column projects but very little beyond the last
+but one. Thus the spaces between the columns are by degrees entirely
+lost. So, if your method of perspective is good, it will produce the
+same effect; this effect results from standing near the line in
+which the columns are placed. This method is not satisfactory unless
+the objects seen are viewed from a small hole, in the middle of
+which is your point of sight; but if you proceed thus your work will
+be perfect and will deceive the beholder, who will see the columns
+as they are here figured.
+
+Here the eye is in the middle, at the point _a_ and near to the
+columns.
+
+[Footnote: The diagram which stands above this chapter in the
+original with the note belonging to it: "a b _e la ripruova_" (_a b_
+is the proof) has obviously no connection with the text. The second
+sketch alone is reproduced and stands in the original between lines
+22 and 23.]
+
+545.
+
+If you cannot arrange that those who look at your work should stand
+at one particular point, when constructing your work, stand back
+until your eye is at least 20 times as far off as the greatest
+height and width of your work. This will make so little difference
+when the eye of the spectator moves, that it will be hardly
+appreciable, and it will look very good.
+
+If the point of sight is at _t_ you would make the figures on the
+circle _d b e_ all of one size, as each of them bears the same
+relation to the point _t_. But consider the diagram given below and
+you will see that this is wrong, and why I shall make _b_ smaller
+than _d e_ [Footnote 8: The second diagram of this chapter stands in
+the original between lines 8 and 9.].
+
+It is easy to understand that if 2 objects equal to each other are
+placed side by side the one at 3 braccia distance looks smaller than
+that placed at 2 braccia. This however is rather theoretical than
+for practice, because you stand close by [Footnote 11: Instead of
+'_se preso_' (=_sie presso_) M. RAVAISSON reads '_sempre se_' which
+gives rise to the unmeaning rendering: '_parceque toujours_ ...'].
+
+All the objects in the foreground, whether large or small, are to be
+drawn of their proper size, and if you see them from a distance they
+will appear just as they ought, and if you see them close they will
+diminish of themselves.
+
+[Footnote 15: Compare No. 526 line 18.] Take care that the vertical
+plan on which you work out the perspective of the objects seen is of
+the same form as the wall on which the work is to be executed.
+
+546.
+
+OF PAINTING.
+
+The size of the figures represented ought to show you the distance
+they are seen from. If you see a figure as large as nature you know
+it appears to be close to the eye.
+
+547.
+
+WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE.
+
+Supposing _a b_ to be the picture and _d_ to be the light, I say
+that if you place yourself between _c_ and _e_ you will not
+understand the picture well and particularly if it is done in oils,
+or still more if it is varnished, because it will be lustrous and
+somewhat of the nature of a mirror. And for this reason the nearer
+you go towards the point _c_, the less you will see, because the
+rays of light falling from the window on the picture are reflected
+to that point. But if you place yourself between _e_ and _d_ you
+will get a good view of it, and the more so as you approach the
+point _d_, because that spot is least exposed to these reflected
+rays of light.
+
+III.
+
+THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.
+
+Gradations of light and shade.
+
+548.
+
+OF PAINTING: OF THE DARKNESS OF THE SHADOWS, OR I MAY SAY, THE
+BRIGHTNESS OF THE LIGHTS.
+
+Although practical painters attribute to all shaded objects--trees,
+fields, hair, beards and skin--four degrees of darkness in each
+colour they use: that is to say first a dark foundation, secondly a
+spot of colour somewhat resembling the form of the details, thirdly
+a somewhat brighter and more defined portion, fourthly the lights
+which are more conspicuous than other parts of the figure; still to
+me it appears that these gradations are infinite upon a continuous
+surface which is in itself infinitely divisible, and I prove it
+thus:--[Footnote 7: See Pl. XXXI, No. 1; the two upper sketches.]
+Let _a g_ be a continuous surface and let _d_ be the light which
+illuminates it; I say--by the 4th [proposition] which says that that
+side of an illuminated body is most highly lighted which is nearest
+to the source of light--that therefore _g_ must be darker than _c_
+in proportion as the line _d g_ is longer than the line _d c_, and
+consequently that these gradations of light--or rather of shadow,
+are not 4 only, but may be conceived of as infinite, because _c d_
+is a continuous surface and every continuous surface is infinitely
+divisible; hence the varieties in the length of lines extending
+between the light and the illuminated object are infinite, and the
+proportion of the light will be the same as that of the length of
+the lines between them; extending from the centre of the luminous
+body to the surface of the illuminated object.
+
+On the choice of light for a picture (549-554).
+
+549.
+
+HOW THE PAINTER MUST PLACE HIMSELF WITH REFERENCE TO THE LIGHT, TO
+GIVE THE EFFECT OF RELIEF.
+
+Let _a b_ be the window, _m_ the point of light. I say that on
+whichever side the painter places himself he will be well placed if
+only his eye is between the shaded and the illuminated portions of
+the object he is drawing; and this place you will find by putting
+yourself between the point _m_ and the division between the shadow
+and the light on the object to be drawn.
+
+550.
+
+THAT SHADOWS CAST BY A PARTICULAR LIGHT SHOULD BE AVOIDED, BECAUSE
+THEY ARE EQUALLY STRONG AT THE ENDS AND AT THE BEGINNING.
+
+The shadows cast by the sun or any other particular light have not a
+pleasing effect on the body to which they belong, because the parts
+remain confuse, being divided by distinct outlines of light and
+shade. And the shadows are of equal strength at the end and at the
+beginning.
+
+551.
+
+HOW LIGHT SHOULD BE THROWN UPON FIGURES.
+
+The light must be arranged in accordance with the natural conditions
+under which you wish to represent your figures: that is, if you
+represent them in the sunshine make the shadows dark with large
+spaces of light, and mark their shadows and those of all the
+surrounding objects strongly on the ground. And if you represent
+them as in dull weather give little difference of light and shade,
+without any shadows at their feet. If you represent them as within
+doors, make a strong difference between the lights and shadows, with
+shadows on the ground. If the window is screened and the walls
+white, there will be little difference of light. If it is lighted by
+firelight make the high lights ruddy and strong, and the shadows
+dark, and those cast on the walls and on the floor will be clearly
+defined and the farther they are from the body the broader and
+longer will they be. If the light is partly from the fire and partly
+from the outer day, that of day will be the stronger and that of the
+fire almost as red as fire itself. Above all see that the figures
+you paint are broadly lighted and from above, that is to say all
+living persons that you paint; for you will see that all the people
+you meet out in the street are lighted from above, and you must know
+that if you saw your most intimate friend with a light [on his face]
+from below you would find it difficult to recognise him.
+
+552.
+
+OF HELPING THE APPARENT RELIEF OF A PICTURE BY GIVING IT ARTIFICIAL
+LIGHT AND SHADE.
+
+To increase relief of a picture you may place, between your figure
+and the solid object on which its shadow falls, a line of bright
+light, dividing the figure from the object in shadow. And on the
+same object you shall represent two light parts which will surround
+the shadow cast upon the wall by the figure placed opposite [6]; and
+do this frequently with the limbs which you wish should stand out
+somewhat from the body they belong to; particularly when the arms
+cross the front of the breast show, between the shadow cast by the
+arms on the breast and the shadow on the arms themselves, a little
+light seeming to fall through a space between the breast and the
+arms; and the more you wish the arm to look detached from the breast
+the broader you must make the light; always contrive also to arrange
+the figures against the background in such a way as that the parts
+in shadow are against a light background and the illuminated
+portions against a dark background.
+
+[Footnote 6: Compare the two diagrams under No. 565.]
+
+553.
+
+OF SITUATION.
+
+Remember [to note] the situation of your figures; for the light and
+shade will be one thing if the object is in a dark place with a
+particular light, and another thing if it is in a light place with
+direct sunlight; one thing in a dark place with a diffused evening
+light or a cloudy sky, and another in the diffused light of the
+atmosphere lighted by the sun.
+
+554.
+
+OF THE JUDGMENT TO BE MADE OF A PAINTER'S WORK.
+
+First you must consider whether the figures have the relief required
+by their situation and the light which illuminates them; for the
+shadows should not be the same at the extreme ends of the
+composition as in the middle, because it is one thing when figures
+are surrounded by shadows and another when they have shadows only on
+one side. Those which are in the middle of the picture are
+surrounded by shadows, because they are shaded by the figures which
+stand between them and the light. And those are lighted on one side
+only which stand between the principal group and the light, because
+where they do not look towards the light they face the group and the
+darkness of the group is thrown on them: and where they do not face
+the group they face the brilliant light and it is their own darkness
+shadowing them, which appears there.
+
+In the second place observe the distribution or arrangement of
+figures, and whether they are distributed appropriately to the
+circumstances of the story. Thirdly, whether the figures are
+actively intent on their particular business.
+
+555.
+
+OF THE TREATMENT OF THE LIGHTS.
+
+First give a general shadow to the whole of that extended part which
+is away from the light. Then put in the half shadows and the strong
+shadows, comparing them with each other and, in the same way give
+the extended light in half tint, afterwards adding the half lights
+and the high lights, likewise comparing them together.
+
+The distribution of light and shade (556-559)
+
+556.
+
+OF SHADOWS ON BODIES.
+
+When you represent the dark shadows in bodies in light and shade,
+always show the cause of the shadow, and the same with reflections;
+because the dark shadows are produced by dark objects and the
+reflections by objects only moderately lighted, that is with
+diminished light. And there is the same proportion between the
+highly lighted part of a body and the part lighted by a reflection
+as between the origin of the lights on the body and the origin of
+the reflections.
+
+557.
+
+OF LIGHTS AND SHADOWS.
+
+I must remind you to take care that every portion of a body, and
+every smallest detail which is ever so little in relief, must be
+given its proper importance as to light and shade.
+
+558.
+
+OF THE WAY TO MAKE THE SHADOW ON FIGURES CORRESPOND TO THE LIGHT AND
+TO [THE COLOUR] OF THE BODY.
+
+When you draw a figure and you wish to see whether the shadow is the
+proper complement to the light, and neither redder nor yellower than
+is the nature of the colour you wish to represent in shade, proceed
+thus. Cast a shadow with your finger on the illuminated portion, and
+if the accidental shadow that you have made is like the natural
+shadow cast by your finger on your work, well and good; and by
+putting your finger nearer or farther off, you can make darker or
+lighter shadows, which you must compare with your own.
+
+559.
+
+OF SURROUNDING BODIES BY VARIOUS FORMS OF SHADOW.
+
+Take care that the shadows cast upon the surface of the bodies by
+different objects must undulate according to the various curves of
+the limbs which cast the shadows, and of the objects on which they
+are cast.
+
+The juxtaposition of light and shade (560, 561).
+
+560.
+
+ON PAINTING.
+
+The comparison of the various qualities of shadows and lights not
+infrequently seems ambiguous and confused to the painter who desires
+to imitate and copy the objects he sees. The reason is this: If you
+see a white drapery side by side with a black one, that part of the
+white drapery which lies against the black one will certainly look
+much whiter than the part which lies against something whiter than
+itself. [Footnote: It is evident from this that so early as in 1492
+Leonardo's writing in perspective was so far advanced that he could
+quote his own statements.--As bearing on this subject compare what
+is said in No. 280.] And the reason of this is shown in my [book on]
+perspective.
+
+561.
+
+OF SHADOWS.
+
+Where a shadow ends in the light, note carefully where it is paler
+or deeper and where it is more or less indistinct towards the light;
+and, above all, in [painting] youthful figures I remind you not to
+make the shadow end like a stone, because flesh has a certain
+transparency, as may be seen by looking at a hand held between the
+eye and the sun, which shines through it ruddy and bright. Place the
+most highly coloured part between the light and shadow. And to see
+what shadow tint is needed on the flesh, cast a shadow on it with
+your finger, and according as you wish to see it lighter or darker
+hold your finger nearer to or farther from your picture, and copy
+that [shadow].
+
+On the lighting of the background (562-565).
+
+562.
+
+OF THE BACKGROUNDS FOR PAINTED FIGURES.
+
+The ground which surrounds the forms of any object you paint should
+be darker than the high lights of those figures, and lighter than
+their shadowed part: &c.
+
+563.
+
+OF THE BACKGROUND THAT THE PAINTER SHOULD ADOPT IN HIS WORKS.
+
+Since experience shows us that all bodies are surrounded by light
+and shade it is necessary that you, O Painter, should so arrange
+that the side which is in light shall terminate against a dark body
+and likewise that the shadow side shall terminate against a light
+body. And by [following] this rule you will add greatly to the
+relief of your figures.
+
+564.
+
+A most important part of painting consists in the backgrounds of the
+objects represented; against these backgrounds the outlines of
+those natural objects which are convex are always visible, and also
+the forms of these bodies against the background, even though the
+colours of the bodies should be the same as that of the background.
+This is caused by the convex edges of the objects not being
+illuminated in the same way as, by the same light, the background is
+illuminated, since these edges will often be lighter or darker than
+the background. But if the edge is of the same colour as the
+background, beyond a doubt it will in that part of the picture
+interfere with your perception of the outline, and such a choice in
+a picture ought to be rejected by the judgment of good painters,
+inasmuch as the purpose of the painter is to make his figures appear
+detached from the background; while in the case here described the
+contrary occurs, not only in the picture, but in the objects
+themselves.
+
+565.
+
+That you ought, when representing objects above the eye and on one
+side--if you wish them to look detached from the wall--to show,
+between the shadow on the object and the shadow it casts a middle
+light, so that the body will appear to stand away from the wall.
+
+On the lighting of white objects.
+
+566.
+
+HOW WHITE BODIES SHOULD BE REPRESENTED.
+
+If you are representing a white body let it be surrounded by ample
+space, because as white has no colour of its own, it is tinged and
+altered in some degree by the colour of the objects surrounding it.
+If you see a woman dressed in white in the midst of a landscape,
+that side which is towards the sun is bright in colour, so much so
+that in some portions it will dazzle the eyes like the sun itself;
+and the side which is towards the atmosphere,--luminous through
+being interwoven with the sun's rays and penetrated by them--since
+the atmosphere itself is blue, that side of the woman's figure will
+appear steeped in blue. If the surface of the ground about her be
+meadows and if she be standing between a field lighted up by the sun
+and the sun itself, you will see every portion of those folds which
+are towards the meadow tinged by the reflected rays with the colour
+of that meadow. Thus the white is transmuted into the colours of the
+luminous and of the non-luminous objects near it.
+
+The methods of aerial (567--570).
+
+567.
+
+WHY FACES [SEEN] AT A DISTANCE LOOK DARK.
+
+We see quite plainly that all the images of visible objects that lie
+before us, whether large or small, reach our sense by the minute
+aperture of the eye; and if, through so small a passage the image
+can pass of the vast extent of sky and earth, the face of a
+man--being by comparison with such large images almost nothing by
+reason of the distance which diminishes it,--fills up so little of
+the eye that it is indistinguishable. Having, also, to be
+transmitted from the surface to the sense through a dark medium,
+that is to say the crystalline lens which looks dark, this image,
+not being strong in colour becomes affected by this darkness on its
+passage, and on reaching the sense it appears dark; no other reason
+can in any way be assigned. If the point in the eye is black, it is
+because it is full of a transparent humour as clear as air and acts
+like a perforation in a board; on looking into it it appears dark
+and the objects seen through the bright air and a dark one become
+confused in this darkness.
+
+WHY A MAN SEEN AT A CERTAIN DISTANCE IS NOT RECOGNISABLE.
+
+The perspective of diminution shows us that the farther away an
+object is the smaller it looks. If you look at a man at a distance
+from you of an arrow's flight, and hold the eye of a small needle
+close to your own eye, you can see through it several men whose
+images are transmitted to the eye and will all be comprised within
+the size of the needle's eye; hence, if the man who is at the
+distance of an arrow's flight can send his whole image to your eye,
+occupying only a small space in the needle's eye how can you
+[expect] in so small a figure to distinguish or see the nose or
+mouth or any detail of his person? and, not seeing these you cannot
+recognise the man, since these features, which he does not show, are
+what give men different aspects.
+
+568.
+
+THE REASON WHY SMALL FIGURES SHOULD NOT BE MADE FINISHED.
+
+I say that the reason that objects appear diminished in size is
+because they are remote from the eye; this being the case it is
+evident that there must be a great extent of atmosphere between the
+eye and the objects, and this air interferes with the distinctness
+of the forms of the object. Hence the minute details of these
+objects will be indistinguishable and unrecognisable. Therefore, O
+Painter, make your smaller figures merely indicated and not highly
+finished, otherwise you will produce effects the opposite to nature,
+your supreme guide. The object is small by reason of the great
+distance between it and the eye, this great distance is filled with
+air, that mass of air forms a dense body which intervenes and
+prevents the eye seeing the minute details of objects.
+
+569.
+
+Whenever a figure is placed at a considerable distance you lose
+first the distinctness of the smallest parts; while the larger parts
+are left to the last, losing all distinctness of detail and outline;
+and what remains is an oval or spherical figure with confused edges.
+
+570.
+
+OF PAINTING.
+
+The density of a body of smoke looks white below the horizon while
+above the horizon it is dark, even if the smoke is in itself of a
+uniform colour, this uniformity will vary according to the variety
+in the ground on which it is seen.
+
+IV.
+
+OF PORTRAIT AND FIGURE PAINTING.
+
+Of sketching figures and portraits (571-572).
+
+571.
+
+OF THE WAY TO LEARN TO COMPOSE FIGURES [IN GROUPS] IN HISTORICAL
+PICTURES.
+
+When you have well learnt perspective and have by heart the parts
+and forms of objects, you must go about, and constantly, as you go,
+observe, note and consider the circumstances and behaviour of men in
+talking, quarrelling or laughing or fighting together: the action of
+the men themselves and the actions of the bystanders, who separate
+them or who look on. And take a note of them with slight strokes
+thus, in a little book which you should always carry with you. And
+it should be of tinted paper, that it may not be rubbed out, but
+change the old [when full] for a new one; since these things should
+not be rubbed out but preserved with great care; for the forms, and
+positions of objects are so infinite that the memory is incapable of
+retaining them, wherefore keep these [sketches] as your guides and
+masters.
+
+[Footnote: Among Leonardo's numerous note books of pocket size not
+one has coloured paper, so no sketches answering to this description
+can be pointed out. The fact that most of the notes are written in
+ink, militates against the supposition that they were made in the
+open air.]
+
+572.
+
+OF A METHOD OF KEEPING IN MIND THE FORM OF A FACE.
+
+If you want to acquire facility for bearing in mind the expression
+of a face, first make yourself familiar with a variety of [forms of]
+several heads, eyes, noses, mouths, chins and cheeks and necks and
+shoulders: And to put a case: Noses are of 10 types: straight,
+bulbous, hollow, prominent above or below the middle, aquiline,
+regular, flat, round or pointed. These hold good as to profile. In
+full face they are of 11 types; these are equal thick in the middle,
+thin in the middle, with the tip thick and the root narrow, or
+narrow at the tip and wide at the root; with the nostrils wide or
+narrow, high or low, and the openings wide or hidden by the point;
+and you will find an equal variety in the other details; which
+things you must draw from nature and fix them in your mind. Or else,
+when you have to draw a face by heart, carry with you a little book
+in which you have noted such features; and when you have cast a
+glance at the face of the person you wish to draw, you can look, in
+private, which nose or mouth is most like, or there make a little
+mark to recognise it again at home. Of grotesque faces I need say
+nothing, because they are kept in mind without difficulty.
+
+The position of the head.
+
+573.
+
+HOW YOU SHOULD SET TO WORK TO DRAW A HEAD OF WHICH ALL THE PARTS
+SHALL AGREE WITH THE POSITION GIVEN TO IT.
+
+To draw a head in which the features shall agree with the turn and
+bend of the head, pursue this method. You know that the eyes,
+eyebrows, nostrils, corners of the mouth, and sides of the chin, the
+jaws, cheeks, ears and all the parts of a face are squarely and
+straightly set upon the face.
+
+[Footnote: Compare the drawings and the text belonging to them on
+Pl. IX. (No. 315), Pl. X (No. 316), Pl. XL (No. 318) and Pl. XII.
+(No. 319).]
+
+Therefore when you have sketched the face draw lines passing from
+one corner of the eye to the other; and so for the placing of each
+feature; and after having drawn the ends of the lines beyond the two
+sides of the face, look if the spaces inside the same parallel lines
+on the right and on the left are equal [12]. But be sure to remember
+to make these lines tend to the point of sight.
+
+[Footnote: See Pl. XXXI, No. 4, the slight sketch on the left hand
+side. The text of this passage is written by the side of it. In this
+sketch the lines seem intentionally incorrect and converging to the
+right (compare I. 12) instead of parallel. Compare too with this
+text the drawing in red chalk from Windsor Castle which is
+reproduced on Pl. XL, No. 2.]
+
+Of the light on the face (574-576).
+
+574.
+
+HOW TO KNOW WHICH SIDE OF AN OBJECT IS TO BE MORE OR LESS LUMINOUS
+THAN THE OTHER.
+
+Let _f_ be the light, the head will be the object illuminated by it
+and that side of the head on which the rays fall most directly will
+be the most highly lighted, and those parts on which the rays fall
+most aslant will be less lighted. The light falls as a blow might,
+since a blow which falls perpendicularly falls with the greatest
+force, and when it falls obliquely it is less forcible than the
+former in proportion to the width of the angle. _Exempli gratia_ if
+you throw a ball at a wall of which the extremities are equally far
+from you the blow will fall straight, and if you throw the ball at
+the wall when standing at one end of it the ball will hit it
+obliquely and the blow will not tell.
+
+[Footnote: See Pl. XXXI. No. 4; the sketch on the right hand side.]
+
+575.
+
+THE PROOF AND REASON WHY AMONG THE ILLUMINATED PARTS CERTAIN
+PORTIONS ARE IN HIGHER LIGHT THAN OTHERS.
+
+Since it is proved that every definite light is, or seems to be,
+derived from one single point the side illuminated by it will have
+its highest light on the portion where the line of radiance falls
+perpendicularly; as is shown above in the lines _a g_, and also in
+_a h_ and in _l a_; and that portion of the illuminated side will be
+least luminous, where the line of incidence strikes it between two
+more dissimilar angles, as is seen at _b c d_. And by this means you
+may also know which parts are deprived of light as is seen at _m k_.
+
+Where the angles made by the lines of incidence are most equal there
+will be the highest light, and where they are most unequal it will
+be darkest.
+
+I will make further mention of the reason of reflections.
+
+[Footnote: See Pl. XXXII. The text, here given complete, is on the
+right hand side. The small circles above the beginning of lines 5
+and 11 as well as the circle above the text on Pl. XXXI, are in a
+paler ink and evidently added by a later hand in order to
+distinguish the text as belonging to the _Libro di Pittura_ (see
+Prolegomena. No. 12, p. 3). The text on the left hand side of this
+page is given as Nos. 577 and 137.]
+
+576.
+
+Where the shadow should be on the face.
+
+General suggestions for historical pictures (577-581).
+
+577.
+
+When you compose a historical picture take two points, one the point
+of sight, and the other the source of light; and make this as
+distant as possible.
+
+578.
+
+Historical pictures ought not to be crowded and confused with too
+many figures.
+
+579.
+
+PRECEPTS IN PAINTING.
+
+Let you sketches of historical pictures be swift and the working out
+of the limbs not be carried too far, but limited to the position of
+the limbs, which you can afterwards finish as you please and at your
+leisure.
+
+[Footnote: See Pl. XXXVIII, No. 2. The pen and ink drawing given
+there as No. 3 may also be compared with this passage. It is in the
+Windsor collection where it is numbered 101.]
+
+580.
+
+The sorest misfortune is when your views are in advance of your
+work.
+
+581.
+
+Of composing historical pictures. Of not considering the limbs in
+the figures in historical pictures; as many do who, in the wish to
+represent the whole of a figure, spoil their compositions. And when
+you place one figure behind another take care to draw the whole of
+it so that the limbs which come in front of the nearer figures may
+stand out in their natural size and place.
+
+How to represent the differences of age and sex (582-583).
+
+582.
+
+How the ages of man should be depicted: that is, Infancy, Childhood,
+Youth, Manhood, Old age, Decrepitude.
+
+[Footnote: No answer is here given to this question, in the original
+MS.]
+
+583.
+
+Old men ought to be represented with slow and heavy movements, their
+legs bent at the knees, when they stand still, and their feet placed
+parallel and apart; bending low with the head leaning forward, and
+their arms but little extended.
+
+Women must be represented in modest attitudes, their legs close
+together, their arms closely folded, their heads inclined and
+somewhat on one side.
+
+Old women should be represented with eager, swift and furious
+gestures, like infernal furies; but the action should be more
+violent in their arms and head than in their legs.
+
+Little children, with lively and contorted movements when sitting,
+and, when standing still, in shy and timid attitudes.
+
+[Footnote: _bracci raccolte_. Compare Pl. XXXIII. This drawing, in
+silver point on yellowish tinted paper, the lights heightened with
+white, represents two female hands laid together in a lap. Above is
+a third finished study of a right hand, apparently holding a veil
+from the head across the bosom. This drawing evidently dates from
+before 1500 and was very probably done at Florence, perhaps as a
+preparatory study for some picture. The type of hand with its
+slender thin forms is more like the style of the _Vierge aux
+Rochers_ in the Louvre than any later works--as the Mona Lisa for
+instance.]
+
+Of representing the emotions.
+
+584.
+
+THAT A FIGURE IS NOT ADMIRABLE UNLESS IT EXPRESSES BY ITS ACTION THE
+PASSION OF ITS SENTIMENT.
+
+That figure is most admirable which by its actions best expresses
+the passion that animates it.
+
+HOW AN ANGRY MAN IS TO BE FIGURED.
+
+You must make an angry person holding someone by the hair, wrenching
+his head against the ground, and with one knee on his ribs; his
+right arm and fist raised on high. His hair must be thrown up, his
+brow downcast and knit, his teeth clenched and the two corners of
+his mouth grimly set; his neck swelled and bent forward as he leans
+over his foe, and full of furrows.
+
+HOW TO REPRESENT A MAN IN DESPAIR.
+
+You must show a man in despair with a knife, having already torn
+open his garments, and with one hand tearing open the wound. And
+make him standing on his feet and his legs somewhat bent and his
+whole person leaning towards the earth; his hair flying in disorder.
+
+Of representing imaginary animals.
+
+585.
+
+HOW YOU SHOULD MAKE AN IMAGINARY ANIMAL LOOK NATURAL.
+
+You know that you cannot invent animals without limbs, each of
+which, in itself, must resemble those of some other animal. Hence if
+you wish to make an animal, imagined by you, appear natural--let us
+say a Dragon, take for its head that of a mastiff or hound, with the
+eyes of a cat, the ears of a porcupine, the nose of a greyhound, the
+brow of a lion, the temples of an old cock, the neck of a water
+tortoise.
+
+[Footnote: The sketch here inserted of two men on horseback fighting
+a dragon is the facsimile of a pen and ink drawing belonging to
+BARON EDMOND DE ROTHSCHILD of Paris.]
+
+The selection of forms.
+
+586.
+
+OF THE DELUSIONS WHICH ARISE IN JUDGING OF THE LIMBS.
+
+A painter who has clumsy hands will paint similar hands in his
+works, and the same will occur with any limb, unless long study has
+taught him to avoid it. Therefore, O Painter, look carefully what
+part is most ill-favoured in your own person and take particular
+pains to correct it in your studies. For if you are coarse, your
+figures will seem the same and devoid of charm; and it is the same
+with any part that may be good or poor in yourself; it will be shown
+in some degree in your figures.
+
+587.
+
+OF THE SELECTION OF BEAUTIFUL FACES.
+
+It seems to me to be no small charm in a painter when he gives his
+figures a pleasing air, and this grace, if he have it not by nature,
+he may acquire by incidental study in this way: Look about you and
+take the best parts of many beautiful faces, of which the beauty is
+confirmed rather by public fame than by your own judgment; for you
+might be mistaken and choose faces which have some resemblance to
+your own. For it would seem that such resemblances often please us;
+and if you should be ugly, you would select faces that were not
+beautiful and you would then make ugly faces, as many painters do.
+For often a master's work resembles himself. So select beauties as I
+tell you, and fix them in your mind.
+
+588.
+
+Of the limbs, which ought to be carefully selected, and of all the
+other parts with regard to painting.
+
+589.
+
+When selecting figures you should choose slender ones rather than
+lean and wooden ones.
+
+590.
+
+OF THE MUSCLES OF ANIMALS.
+
+The hollow spaces interposed between the muscles must not be of such
+a character as that the skin should seem to cover two sticks laid
+side by side like _c_, nor should they seem like two sticks somewhat
+remote from such contact so that the skin hangs in an empty loose
+curve as at _f_; but it should be like _i_, laid over the spongy fat
+that lies in the angles as the angle _n m o_; which angle is formed
+by the contact of the ends of the muscles and as the skin cannot
+fold down into such an angle, nature has filled up such angles with
+a small quantity of spongy and, as I may say, vesicular fat, with
+minute bladders [in it] full of air, which is condensed or rarefied
+in them according to the increase or the diminution of the substance
+of the muscles; in which latter case the concavity _i_ always has a
+larger curve than the muscle.
+
+591.
+
+OF UNDULATING MOVEMENTS AND EQUIPOISE IN FIGURES AND OTHER ANIMALS.
+
+When representing a human figure or some graceful animal, be careful
+to avoid a wooden stiffness; that is to say make them move with
+equipoise and balance so as not to look like a piece of wood; but
+those you want to represent as strong you must not make so,
+excepting in the turn of the head.
+
+How to pose figures.
+
+592.
+
+OF GRACE IN THE LIMBS.
+
+The limbs should be adapted to the body with grace and with
+reference to the effect that you wish the figure to produce. And if
+you wish to produce a figure that shall of itself look light and
+graceful you must make the limbs elegant and extended, and without
+too much display of the muscles; and those few that are needed for
+your purpose you must indicate softly, that is, not very prominent
+and without strong shadows; the limbs, and particularly the arms
+easy; that is, none of the limbs should be in a straight line with
+the adjoining parts. And if the hips, which are the pole of a man,
+are by reason of his position, placed so, that the right is higher
+than the left, make the point of the higher shoulder in a
+perpendicular line above the highest prominence of the hip, and let
+this right shoulder be lower than the left. Let the pit of the
+throat always be over the centre of the joint of the foot on which
+the man is leaning. The leg which is free should have the knee lower
+than the other, and near the other leg. The positions of the head
+and arms are endless and I shall therefore not enlarge on any rules
+for them. Still, let them be easy and pleasing, with various turns
+and twists, and the joints gracefully bent, that they may not look
+like pieces of wood.
+
+Of appropriate gestures (593-600).
+
+593.
+
+A picture or representation of human figures, ought to be done in
+such a way as that the spectator may easily recognise, by means of
+their attitudes, the purpose in their minds. Thus, if you have to
+represent a man of noble character in the act of speaking, let his
+gestures be such as naturally accompany good words; and, in the same
+way, if you wish to depict a man of a brutal nature, give him fierce
+movements; as with his arms flung out towards the listener, and his
+head and breast thrust forward beyond his feet, as if following the
+speaker's hands. Thus it is with a deaf and dumb person who, when he
+sees two men in conversation--although he is deprived of
+hearing--can nevertheless understand, from the attitudes and
+gestures of the speakers, the nature of their discussion. I once saw
+in Florence a man who had become deaf who, when you spoke very loud
+did not understand you, but if you spoke gently and without making
+any sound, understood merely from the movement of the lips. Now
+perhaps you will say that the lips of a man who speaks loudly do not
+move like those of one speaking softly, and that if they were to
+move them alike they would be alike understood. As to this argument,
+I leave the decision to experiment; make a man speak to you gently
+and note [the motion of] his lips.
+
+[Footnote: The first ten lines of this text have already been
+published, but with a slightly different reading by Dr. M. JORDAN:
+_Das Malerbuch Leonardo da Vinci's_ p. 86.]
+
+594.
+
+OF REPRESENTING A MAN SPEAKING TO A MULTITUDE.
+
+When you wish to represent a man speaking to a number of people,
+consider the matter of which he has to treat and adapt his action to
+the subject. Thus, if he speaks persuasively, let his action be
+appropriate to it. If the matter in hand be to set forth an
+argument, let the speaker, with the fingers of the right hand hold
+one finger of the left hand, having the two smaller ones closed; and
+his face alert, and turned towards the people with mouth a little
+open, to look as though he spoke; and if he is sitting let him
+appear as though about to rise, with his head forward. If you
+represent him standing make him leaning slightly forward with body
+and head towards the people. These you must represent as silent and
+attentive, all looking at the orator's face with gestures of
+admiration; and make some old men in astonishment at the things they
+hear, with the corners of their mouths pulled down and drawn in,
+their cheeks full of furrows, and their eyebrows raised, and
+wrinkling the forehead where they meet. Again, some sitting with
+their fingers clasped holding their weary knees. Again, some bent
+old man, with one knee crossed over the other; on which let him hold
+his hand with his other elbow resting in it and the hand supporting
+his bearded chin.
+
+[Footnote: The sketches introduced here are a facsimile of a pen and
+ink drawing in the Louvre which Herr CARL BRUN considers as studies
+for the Last Supper in the church of _Santa Maria delle Grazie_ (see
+Leonardo da Vinci, LXI, pp. 21, 27 and 28 in DOHME'S _Kunst und
+Kunstler_, Leipzig, Seemann). I shall not here enter into any
+discussion of this suggestion; but as a justification for
+introducing the drawing in this place, I may point out that some of
+the figures illustrate this passage as perfectly as though they had
+been drawn for that express purpose. I have discussed the
+probability of a connection between this sketch and the picture of
+the Last Supper on p. 335. The original drawing is 27 3/4
+centimetres wide by 21 high.--The drawing in silver point on reddish
+paper given on Pl. LII. No. 1--the original at Windsor Castle--may
+also serve to illustrate the subject of appropriate gestures,
+treated in Nos. 593 and 594.]
+
+595.
+
+OF THE DISPOSITION OF LIMBS.
+
+As regards the disposition of limbs in movement you will have to
+consider that when you wish to represent a man who, by some chance,
+has to turn backwards or to one side, you must not make him move his
+feet and all his limbs towards the side to which he turns his head.
+Rather must you make the action proceed by degrees and through the
+different joints; that is, those of the foot, the knee and the hip
+and the neck. And if you set him on the right leg, you must make the
+left knee bend inwards, and let his foot be slightly raised on the
+outside, and the left shoulder be somewhat lower than the right,
+while the nape of the neck is in a line directly over the outer
+ancle of the left foot. And the left shoulder will be in a
+perpendicular line above the toes of the right foot. And always set
+your figures so that the side to which the head turns is not the
+side to which the breast faces, since nature for our convenience has
+made us with a neck which bends with ease in many directions, the
+eye wishing to turn to various points, the different joints. And if
+at any time you make a man sitting with his arms at work on
+something which is sideways to him, make the upper part of his body
+turn upon the hips.
+
+[Footnote: Compare Pl. VII, No. 5. The original drawing at Windsor
+Castle is numbered 104.]
+
+596.
+
+When you draw the nude always sketch the whole figure and then
+finish those limbs which seem to you the best, but make them act
+with the other limbs; otherwise you will get a habit of never
+putting the limbs well together on the body.
+
+Never make the head turn the same way as the torso, nor the arm and
+leg move together on the same side. And if the face is turned to the
+right shoulder, make all the parts lower on the left side than on
+the right; and when you turn the body with the breast outwards, if
+the head turns to the left side make the parts on the right side
+higher than those on the left.
+
+[Footnote: In the original MS. a much defaced sketch is to be seen
+by the side of the second part of this chapter; its faded condition
+has rendered reproduction impossible. In M. RAVAISSON'S facsimile
+the outlines of the head have probably been touched up. This passage
+however is fitly illustrated by the drawings on Pl. XXI.]
+
+597.
+
+OF PAINTING.
+
+Of the nature of movements in man. Do not repeat the same gestures
+in the limbs of men unless you are compelled by the necessity of
+their action, as is shown in _a b_.
+
+[Footnote: See Pl. V, where part of the text is also reproduced. The
+effaced figure to the extreme left has evidently been cancelled by
+Leonardo himself as unsatisfactory.]
+
+598.
+
+The motions of men must be such as suggest their dignity or their
+baseness.
+
+599.
+
+OF PAINTING.
+
+Make your work carry out your purpose and meaning. That is when you
+draw a figure consider well who it is and what you wish it to be
+doing.
+
+OF PAINTING.
+
+With regard to any action which you give in a picture to an old man
+or to a young one, you must make it more energetic in the young man
+in proportion as he is stronger than the old one; and in the same
+way with a young man and an infant.
+
+600.
+
+OF SETTING ON THE LIMBS.
+
+The limbs which are used for labour must be muscular and those which
+are not much used you must make without muscles and softly rounded.
+
+OF THE ACTION OF THE FIGURES.
+
+Represent your figures in such action as may be fitted to express
+what purpose is in the mind of each; otherwise your art will not be
+admirable.
+
+V.
+
+SUGGESTIONS FOR COMPOSITIONS.
+
+Of painting battle pieces (601-603).
+
+601.
+
+OF THE WAY OF REPRESENTING A BATTLE.
+
+First you must represent the smoke of artillery mingling in the air
+with the dust and tossed up by the movement of horses and the
+combatants. And this mixture you must express thus: The dust, being
+a thing of earth, has weight; and although from its fineness it is
+easily tossed up and mingles with the air, it nevertheless readily
+falls again. It is the finest part that rises highest; hence that
+part will be least seen and will look almost of the same colour as
+the air. The higher the smoke mixed with the dust-laden air rises
+towards a certain level, the more it will look like a dark cloud;
+and it will be seen that at the top, where the smoke is more
+separate from the dust, the smoke will assume a bluish tinge and the
+dust will tend to its colour. This mixture of air, smoke and dust
+will look much lighter on the side whence the light comes than on
+the opposite side. The more the combatants are in this turmoil the
+less will they be seen, and the less contrast will there be in their
+lights and shadows. Their faces and figures and their appearance,
+and the musketeers as well as those near them you must make of a
+glowing red. And this glow will diminish in proportion as it is
+remote from its cause.
+
+The figures which are between you and the light, if they be at a
+distance, will appear dark on a light background, and the lower part
+of their legs near the ground will be least visible, because there
+the dust is coarsest and densest [19]. And if you introduce horses
+galloping outside the crowd, make the little clouds of dust distant
+from each other in proportion to the strides made by the horses; and
+the clouds which are furthest removed from the horses, should be
+least visible; make them high and spreading and thin, and the nearer
+ones will be more conspicuous and smaller and denser [23]. The air
+must be full of arrows in every direction, some shooting upwards,
+some falling, some flying level. The balls from the guns must have a
+train of smoke following their flight. The figures in the foreground
+you must make with dust on the hair and eyebrows and on other flat
+places likely to retain it. The conquerors you will make rushing
+onwards with their hair and other light things flying on the wind,
+with their brows bent down,
+
+[Footnote: 19--23. Compare 608. 57--75.]
+
+602.
+
+and with the opposite limbs thrust forward; that is where a man puts
+forward the right foot the left arm must be advanced. And if you
+make any one fallen, you must show the place where he has slipped
+and been dragged along the dust into blood stained mire; and in the
+half-liquid earth arround show the print of the tramping of men and
+horses who have passed that way. Make also a horse dragging the dead
+body of his master, and leaving behind him, in the dust and mud, the
+track where the body was dragged along. You must make the conquered
+and beaten pale, their brows raised and knit, and the skin above
+their brows furrowed with pain, the sides of the nose with wrinkles
+going in an arch from the nostrils to the eyes, and make the
+nostrils drawn up--which is the cause of the lines of which I
+speak--, and the lips arched upwards and discovering the upper
+teeth; and the teeth apart as with crying out and lamentation. And
+make some one shielding his terrified eyes with one hand, the palm
+towards the enemy, while the other rests on the ground to support
+his half raised body. Others represent shouting with their mouths
+open, and running away. You must scatter arms of all sorts among the
+feet of the combatants, as broken shields, lances, broken swords and
+other such objects. And you must make the dead partly or entirely
+covered with dust, which is changed into crimson mire where it has
+mingled with the flowing blood whose colour shows it issuing in a
+sinuous stream from the corpse. Others must be represented in the
+agonies of death grinding their teeth, rolling their eyes, with
+their fists clenched against their bodies and their legs contorted.
+Some might be shown disarmed and beaten down by the enemy, turning
+upon the foe, with teeth and nails, to take an inhuman and bitter
+revenge. You might see some riderless horse rushing among the enemy,
+with his mane flying in the wind, and doing no little mischief with
+his heels. Some maimed warrior may be seen fallen to the earth,
+covering himself with his shield, while the enemy, bending over him,
+tries to deal him a deathstroke. There again might be seen a number
+of men fallen in a heap over a dead horse. You would see some of the
+victors leaving the fight and issuing from the crowd, rubbing their
+eyes and cheeks with both hands to clean them of the dirt made by
+their watering eyes smarting from the dust and smoke. The reserves
+may be seen standing, hopeful but cautious; with watchful eyes,
+shading them with their hands and gazing through the dense and murky
+confusion, attentive to the commands of their captain. The captain
+himself, his staff raised, hurries towards these auxiliaries,
+pointing to the spot where they are most needed. And there may be a
+river into which horses are galloping, churning up the water all
+round them into turbulent waves of foam and water, tossed into the
+air and among the legs and bodies of the horses. And there must not
+be a level spot that is not trampled with gore.
+
+603.
+
+OF LIGHTING THE LOWER PARTS OF BODIES CLOSE TOGETHER, AS OF MEN IN
+BATTLE.
+
+As to men and horses represented in battle, their different parts
+will be dark in proportion as they are nearer to the ground on which
+they stand. And this is proved by the sides of wells which grow
+darker in proportion to their depth, the reason of which is that the
+deepest part of the well sees and receives a smaller amount of the
+luminous atmosphere than any other part.
+
+And the pavement, if it be of the same colour as the legs of these
+said men and horses, will always be more lighted and at a more
+direct angle than the said legs &c.
+
+604.
+
+OF THE WAY TO REPRESENT A NIGHT [SCENE].
+
+That which is entirely bereft of light is all darkness; given a
+night under these conditions and that you want to represent a night
+scene,--arrange that there shall be a great fire, then the objects
+which are nearest to this fire will be most tinged with its colour;
+for those objects which are nearest to a coloured light participate
+most in its nature; as therefore you give the fire a red colour, you
+must make all the objects illuminated by it ruddy; while those which
+are farther from the fire are more tinted by the black hue of night.
+The figures which are seen against the fire look dark in the glare
+of the firelight because that side of the objects which you see is
+tinged by the darkness of the night and not by the fire; and those
+who stand at the side are half dark and half red; while those who
+are visible beyond the edges of the flame will be fully lighted by
+the ruddy glow against a black background. As to their gestures,
+make those which are near it screen themselves with their hands and
+cloaks as a defence against the intense heat, and with their faces
+turned away as if about to retire. Of those farther off represent
+several as raising their hands to screen their eyes, hurt by the
+intolerable glare.
+
+Of depicting a tempest (605. 606).
+
+605.
+
+Describe a wind on land and at sea. Describe a storm of rain.
+
+606.
+
+HOW TO REPRESENT A TEMPEST.
+
+If you wish to represent a tempest consider and arrange well its
+effects as seen, when the wind, blowing over the face of the sea and
+earth, removes and carries with it such things as are not fixed to
+the general mass. And to represent the storm accurately you must
+first show the clouds scattered and torn, and flying with the wind,
+accompanied by clouds of sand blown up from the sea shore, and
+boughs and leaves swept along by the strength and fury of the blast
+and scattered with other light objects through the air. Trees and
+plants must be bent to the ground, almost as if they would follow
+the course of the gale, with their branches twisted out of their
+natural growth and their leaves tossed and turned about [Footnote
+11: See Pl. XL, No. 2.]. Of the men who are there some must have
+fallen to the ground and be entangled in their garments, and hardly
+to be recognized for the dust, while those who remain standing may
+be behind some tree, with their arms round it that the wind may not
+tear them away; others with their hands over their eyes for the
+dust, bending to the ground with their clothes and hair streaming in
+the wind. [Footnote 15: See Pl. XXXIV, the right hand lower sketch.]
+Let the sea be rough and tempestuous and full of foam whirled among
+the lofty waves, while the wind flings the lighter spray through the
+stormy air, till it resembles a dense and swathing mist. Of the
+ships that are therein some should be shown with rent sails and the
+tatters fluttering through the air, with ropes broken and masts
+split and fallen. And the ship itself lying in the trough of the sea
+and wrecked by the fury of the waves with the men shrieking and
+clinging to the fragments of the vessel. Make the clouds driven by
+the impetuosity of the wind and flung against the lofty mountain
+tops, and wreathed and torn like waves beating upon rocks; the air
+itself terrible from the deep darkness caused by the dust and fog
+and heavy clouds.
+
+Of representing the deluge (607-609).
+
+607.
+
+TO REPRESENT THE DELUGE.
+
+The air was darkened by the heavy rain whose oblique descent driven
+aslant by the rush of the winds, flew in drifts through the air not
+otherwise than as we see dust, varied only by the straight lines of
+the heavy drops of falling water. But it was tinged with the colour
+of the fire kindled by the thunder-bolts by which the clouds were
+rent and shattered; and whose flashes revealed the broad waters of
+the inundated valleys, above which was seen the verdure of the
+bending tree tops. Neptune will be seen in the midst of the water
+with his trident, and [15] let AEolus with his winds be shown
+entangling the trees floating uprooted, and whirling in the huge
+waves. The horizon and the whole hemisphere were obscure, but lurid
+from the flashes of the incessant lightning. Men and birds might be
+seen crowded on the tall trees which remained uncovered by the
+swelling waters, originators of the mountains which surround the
+great abysses [Footnote 23: Compare Vol. II. No. 979.].
+
+608.
+
+OF THE DELUGE AND HOW TO REPRESENT IT IN A PICTURE.
+
+Let the dark and gloomy air be seen buffeted by the rush of contrary
+winds and dense from the continued rain mingled with hail and
+bearing hither and thither an infinite number of branches torn from
+the trees and mixed with numberless leaves. All round may be seen
+venerable trees, uprooted and stripped by the fury of the winds; and
+fragments of mountains, already scoured bare by the torrents,
+falling into those torrents and choking their valleys till the
+swollen rivers overflow and submerge the wide lowlands and their
+inhabitants. Again, you might have seen on many of the hill-tops
+terrified animals of different kinds, collected together and subdued
+to tameness, in company with men and women who had fled there with
+their children. The waters which covered the fields, with their
+waves were in great part strewn with tables, bedsteads, boats and
+various other contrivances made from necessity and the fear of
+death, on which were men and women with their children amid sounds
+of lamentation and weeping, terrified by the fury of the winds which
+with their tempestuous violence rolled the waters under and over and
+about the bodies of the drowned. Nor was there any object lighter
+than the water which was not covered with a variety of animals
+which, having come to a truce, stood together in a frightened
+crowd--among them wolves, foxes, snakes and others--fleing from
+death. And all the waters dashing on their shores seemed to be
+battling them with the blows of drowned bodies, blows which killed
+those in whom any life remained [19]. You might have seen
+assemblages of men who, with weapons in their hands, defended the
+small spots that remained to them against lions, wolves and beasts
+of prey who sought safety there. Ah! what dreadful noises were heard
+in the air rent by the fury of the thunder and the lightnings it
+flashed forth, which darted from the clouds dealing ruin and
+striking all that opposed its course. Ah! how many you might have
+seen closing their ears with their hands to shut out the tremendous
+sounds made in the darkened air by the raging of the winds mingling
+with the rain, the thunders of heaven and the fury of the
+thunder-bolts. Others were not content with shutting their eyes, but
+laid their hands one over the other to cover them the closer that
+they might not see the cruel slaughter of the human race by the
+wrath of God. Ah! how many laments! and how many in their terror
+flung themselves from the rocks! Huge branches of great oaks loaded
+with men were seen borne through the air by the impetuous fury of
+the winds. How many were the boats upset, some entire, and some
+broken in pieces, on the top of people labouring to escape with
+gestures and actions of grief foretelling a fearful death. Others,
+with desperate act, took their own lives, hopeless of being able to
+endure such suffering; and of these, some flung themselves from
+lofty rocks, others strangled themselves with their own hands, other
+seized their own children and violently slew them at a blow; some
+wounded and killed themselves with their own weapons; others,
+falling on their knees recommended themselves to God. Ah! how many
+mothers wept over their drowned sons, holding them upon their knees,
+with arms raised spread out towards heaven and with words and
+various threatening gestures, upbraiding the wrath of the gods.
+Others with clasped hands and fingers clenched gnawed them and
+devoured them till they bled, crouching with their breast down on
+their knees in their intense and unbearable anguish. Herds of
+animals were to be seen, such as horses, oxen, goats and swine
+already environed by the waters and left isolated on the high peaks
+of the mountains, huddled together, those in the middle climbing to
+the top and treading on the others, and fighting fiercely
+themselves; and many would die for lack of food. Already had the
+birds begun to settle on men and on other animals, finding no land
+uncovered which was not occupied by living beings, and already had
+famine, the minister of death, taken the lives of the greater number
+of the animals, when the dead bodies, now fermented, where leaving
+the depth of the waters and were rising to the top. Among the
+buffeting waves, where they were beating one against the other, and,
+like as balls full of air, rebounded from the point of concussion,
+these found a resting place on the bodies of the dead. And above
+these judgements, the air was seen covered with dark clouds, riven
+by the forked flashes of the raging bolts of heaven, lighting up on
+all sides the depth of the gloom.
+
+The motion of the air is seen by the motion of the dust thrown up by
+the horse's running and this motion is as swift in again filling up
+the vacuum left in the air which enclosed the horse, as he is rapid
+in passing away from the air.
+
+Perhaps it will seem to you that you may reproach me with having
+represented the currents made through the air by the motion of the
+wind notwithstanding that the wind itself is not visible in the air.
+To this I must answer that it is not the motion of the wind but only
+the motion of the things carried along by it which is seen in the
+air.
+
+THE DIVISIONS. [Footnote 76: These observations, added at the bottom
+of the page containing the full description of the doluge seem to
+indicate that it was Leonardo's intention to elaborate the subject
+still farther in a separate treatise.]
+
+Darkness, wind, tempest at sea, floods of water, forests on fire,
+rain, bolts from heaven, earthquakes and ruins of mountains,
+overthrow of cities [Footnote 81: _Spianamenti di citta_ (overthrow
+of cities). A considerable number of drawings in black chalk, at
+Windsor, illustrate this catastrophe. Most of them are much rubbed;
+one of the least injured is reproduced at Pl. XXXIX. Compare also
+the pen and ink sketch Pl. XXXVI.].
+
+Whirlwinds which carry water [spouts] branches of trees, and men
+through the air.
+
+Boughs stripped off by the winds, mingling by the meeting of the
+winds, with people upon them.
+
+Broken trees loaded with people.
+
+Ships broken to pieces, beaten on rocks.
+
+Flocks of sheep. Hail stones, thunderbolts, whirlwinds.
+
+People on trees which are unable to to support them; trees and
+rocks, towers and hills covered with people, boats, tables, troughs,
+and other means of floating. Hills covered with men, women and
+animals; and lightning from the clouds illuminating every thing.
+
+[Footnote: This chapter, which, with the next one, is written on a
+loose sheet, seems to be the passage to which one of the compilers
+of the Vatican copy alluded when he wrote on the margin of fol. 36:
+"_Qua mi ricordo della mirabile discritione del Diluuio dello
+autore._" It is scarcely necessary to point out that these chapters
+are among those which have never before been published. The
+description in No. 607 may be regarded as a preliminary sketch for
+this one. As the MS. G. (in which it is to be found) must be
+attributed to the period of about 1515 we may deduce from it the
+approximate date of the drawings on Pl. XXXIV, XXXV, Nos. 2 and 3,
+XXXVI and XXXVII, since they obviously belong to this text. The
+drawings No. 2 on Pl. XXXV are, in the original, side by side with
+the text of No. 608; lines 57 to 76 are shown in the facsimile. In
+the drawing in Indian ink given on Pl. XXXIV we see Wind-gods in the
+sky, corresponding to the allusion to Aeolus in No. 607 1.
+15.-Plates XXXVI and XXXVII form one sheet in the original. The
+texts reproduced on these Plates have however no connection with the
+sketches, excepting the sketches of clouds on the right hand side.
+These texts are given as No. 477. The group of small figures on Pl.
+XXXVII, to the left, seems to be intended for a '_congregatione
+d'uomini._' See No. 608, 1. 19.]
+
+609.
+
+DESCRIPTION OF THE DELUGE.
+
+Let there be first represented the summit of a rugged mountain with
+valleys surrounding its base, and on its sides let the surface of
+the soil be seen to slide, together with the small roots of the
+bushes, denuding great portions of the surrounding rocks. And
+descending ruinous from these precipices in its boisterous course,
+let it dash along and lay bare the twisted and gnarled roots of
+large trees overthrowing their roots upwards; and let the mountains,
+as they are scoured bare, discover the profound fissures made in
+them by ancient earthquakes. The base of the mountains may be in
+great part clothed and covered with ruins of shrubs, hurled down
+from the sides of their lofty peaks, which will be mixed with mud,
+roots, boughs of trees, with all sorts of leaves thrust in with the
+mud and earth and stones. And into the depth of some valley may have
+fallen the fragments of a mountain forming a shore to the swollen
+waters of its river; which, having already burst its banks, will
+rush on in monstrous waves; and the greatest will strike upon and
+destroy the walls of the cities and farmhouses in the valley [14].
+Then the ruins of the high buildings in these cities will throw up a
+great dust, rising up in shape like smoke or wreathed clouds against
+the falling rain; But the swollen waters will sweep round the pool
+which contains them striking in eddying whirlpools against the
+different obstacles, and leaping into the air in muddy foam; then,
+falling back, the beaten water will again be dashed into the air.
+And the whirling waves which fly from the place of concussion, and
+whose impetus moves them across other eddies going in a contrary
+direction, after their recoil will be tossed up into the air but
+without dashing off from the surface. Where the water issues from
+the pool the spent waves will be seen spreading out towards the
+outlet; and there falling or pouring through the air and gaining
+weight and impetus they will strike on the water below piercing it
+and rushing furiously to reach its depth; from which being thrown
+back it returns to the surface of the lake, carrying up the air that
+was submerged with it; and this remains at the outlet in foam
+mingled with logs of wood and other matters lighter than water.
+Round these again are formed the beginnings of waves which increase
+the more in circumference as they acquire more movement; and this
+movement rises less high in proportion as they acquire a broader
+base and thus they are less conspicuous as they die away. But if
+these waves rebound from various objects they then return in direct
+opposition to the others following them, observing the same law of
+increase in their curve as they have already acquired in the
+movement they started with. The rain, as it falls from the clouds is
+of the same colour as those clouds, that is in its shaded side;
+unless indeed the sun's rays should break through them; in that case
+the rain will appear less dark than the clouds. And if the heavy
+masses of ruin of large mountains or of other grand buildings fall
+into the vast pools of water, a great quantity will be flung into
+the air and its movement will be in a contrary direction to that of
+the object which struck the water; that is to say: The angle of
+reflection will be equal to the angle of incidence. Of the objects
+carried down by the current, those which are heaviest or rather
+largest in mass will keep farthest from the two opposite shores. The
+water in the eddies revolves more swiftly in proportion as it is
+nearer to their centre. The crests of the waves of the sea tumble to
+their bases falling with friction on the bubbles of their sides; and
+this friction grinds the falling water into minute particles and
+this being converted into a dense mist, mingles with the gale in the
+manner of curling smoke and wreathing clouds, and at last it, rises
+into the air and is converted into clouds. But the rain which falls
+through the atmosphere being driven and tossed by the winds becomes
+rarer or denser according to the rarity or density of the winds that
+buffet it, and thus there is generated in the atmosphere a moisture
+formed of the transparent particles of the rain which is near to the
+eye of the spectator. The waves of the sea which break on the slope
+of the mountains which bound it, will foam from the velocity with
+which they fall against these hills; in rushing back they will meet
+the next wave as it comes and and after a loud noise return in a
+great flood to the sea whence they came. Let great numbers of
+inhabitants--men and animals of all kinds--be seen driven [54] by
+the rising of the deluge to the peaks of the mountains in the midst
+of the waters aforesaid.
+
+The wave of the sea at Piombino is all foaming water. [Footnote 55.
+56: These two lines are written below the bottom sketch on Pl. XXXV,
+3. The MS. Leic. being written about the year 1510 or later, it does
+not seem to me to follow that the sketches must have been made at
+Piombino, where Leonardo was in the year 1502 and possibly returned
+there subsequently (see Vol. II. Topographical notes).]
+
+Of the water which leaps up from the spot where great masses fall on
+its surface. Of the winds of Piombino at Piombino. Eddies of wind
+and rain with boughs and shrubs mixed in the air. Emptying the boats
+of the rain water.
+
+[Footnote: The sketches on Pl. XXXV 3 stand by the side of lines 14
+to 54.]
+
+Of depicting natural phenomena (610. 611).
+
+610.
+
+The tremendous fury of the wind driven by the falling in of the
+hills on the caves within--by the falling of the hills which served
+as roofs to these caverns.
+
+A stone flung through the air leaves on the eye which sees it the
+impression of its motion, and the same effect is produced by the
+drops of water which fall from the clouds when it [16] rains.
+
+[17] A mountain falling on a town, will fling up dust in the form of
+clouds; but the colour of this dust will differ from that of the
+clouds. Where the rain is thickest let the colour of the dust be
+less conspicuous and where the dust is thickest let the rain be less
+conspicuous. And where the rain is mingled with the wind and with
+the dust the clouds created by the rain must be more transparent
+than those of dust [alone]. And when flames of fire are mingled with
+clouds of smoke and water very opaque and dark clouds will be formed
+[Footnote 26-28: Compare Pl. XL, 1--the drawing in Indian ink on the
+left hand side, which seems to be a reminiscence of his observations
+of an eruption (see his remarks on Mount Etna in Vol II).]. And the
+rest of this subject will be treated in detail in the book on
+painting.
+
+[Footnote: See the sketches and text on Pl. XXXVIII, No. 1. Lines
+1-16 are there given on the left hand side, 17-30 on the right. The
+four lines at the bottom on the right are given as No. 472. Above
+these texts, which are written backwards, there are in the original
+sixteen lines in a larger writing from left to right, but only half
+of this is here visible. They treat of the physical laws of motion
+of air and water. It does not seem to me that there is any reason
+for concluding that this writing from left to right is spurious.
+Compare with it the facsimile of the rough copy of Leonardo's letter
+to Ludovico il Moro in Vol. II.]
+
+611.
+
+People were to be seen eagerly embarking victuals on various kinds
+of hastily made barks. But little of the waves were visible in those
+places where the dark clouds and rain were reflected.
+
+But where the flashes caused by the bolts of heaven were reflected,
+there were seen as many bright spots, caused by the image of the
+flashes, as there were waves to reflect them to the eye of the
+spectator.
+
+The number of the images produced by the flash of lightning on the
+waves of the water were multiplied in proportion to the distance of
+the spectator's eye.
+
+So also the number of the images was diminished in proportion as
+they were nearer the eye which saw them [Footnote 22. 23: _Com'e
+provato_. See Vol. II, Nos. 874-878 and 892-901], as it has been
+proved in the definition of the luminosity of the moon, and of our
+marine horizon when the sun's rays are reflected in it and the eye
+which receives the reflection is remote from the sea.
+
+VI.
+
+THE ARTIST'S MATERIALS.
+
+Of chalk and paper (612--617).
+
+612.
+
+To make points [crayons] for colouring dry. Temper with a little wax
+and do not dry it; which wax you must dissolve with water: so that
+when the white lead is thus tempered, the water being distilled, may
+go off in vapour and the wax may remain; you will thus make good
+crayons; but you must know that the colours must be ground with a
+hot stone.
+
+613.
+
+Chalk dissolves in wine and in vinegar or in aqua fortis and can be
+recombined with gum.
+
+614.
+
+PAPER FOR DRAWING UPON IN BLACK BY THE AID OF YOUR SPITTLE.
+
+Take powdered gall nuts and vitriol, powder them and spread them on
+paper like a varnish, then write on it with a pen wetted with
+spittle and it will turn as black as ink.
+
+615.
+
+If you want to make foreshortened letters stretch the paper in a
+drawing frame and then draw your letters and cut them out, and make
+the sunbeams pass through the holes on to another stretched paper,
+and then fill up the angles that are wanting.
+
+616.
+
+This paper should be painted over with candle soot tempered with
+thin glue, then smear the leaf thinly with white lead in oil as is
+done to the letters in printing, and then print in the ordinary way.
+Thus the leaf will appear shaded in the hollows and lighted on the
+parts in relief; which however comes out here just the contrary.
+
+[Footnote: This text, which accompanies a facsimile impression of a
+leaf of sage, has already been published in the _Saggio delle Opere
+di L. da Vinci_, Milano 1872, p. 11. G. GOVI observes on this
+passage: "_Forse aveva egli pensato ancora a farsi un erbario, od
+almeno a riprodurre facilmente su carta le forme e i particolari
+delle foglie di diverse piante; poiche (modificando un metodo che
+probabilmente gli eia stato insegnato da altri, e che piu tardi si
+legge ripetuto in molti ricettarii e libri di segreti), accanto a
+una foglia di Salvia impressa in nero su carta bianca, lascio
+scritto: Questa carta ...
+
+Erano i primi tentativi di quella riproduzione immediata delle parti
+vegetali, che poi sotto il nome d'Impressione Naturale, fu condotta
+a tanta perfezione in questi ultimi tempi dal signor de Hauer e da
+altri_."]
+
+617.
+
+Very excellent will be a stiff white paper, made of the usual
+mixture and filtered milk of an herb called calves foot; and when
+this paper is prepared and damped and folded and wrapped up it may
+be mixed with the mixture and thus left to dry; but if you break it
+before it is moistened it becomes somewhat like the thin paste
+called _lasagne_ and you may then damp it and wrap it up and put it
+in the mixture and leave it to dry; or again this paper may be
+covered with stiff transparent white and _sardonio_ and then damped
+so that it may not form angles and then covered up with strong
+transparent size and as soon as it is firm cut it two fingers, and
+leave it to dry; again you may make stiff cardboard of _sardonio_
+and dry it and then place it between two sheets of papyrus and break
+it inside with a wooden mallet with a handle and then open it with
+care holding the lower sheet of paper flat and firm so that the
+broken pieces be not separated; then have a sheet of paper covered
+with hot glue and apply it on the top of all these pieces and let
+them stick fast; then turn it upside down and apply transparent size
+several times in the spaces between the pieces, each time pouring in
+first some black and then some stiff white and each time leaving it
+to dry; then smooth it and polish it.
+
+On the preparation and use of colours (618-627).
+
+618.
+
+To make a fine green take green and mix it with bitumen and you will
+make the shadows darker. Then, for lighter [shades] green with
+yellow ochre, and for still lighter green with yellow, and for the
+high lights pure yellow; then mix green and turmeric together and
+glaze every thing with it. To make a fine red take cinnabar or red
+chalk or burnt ochre for the dark shadows and for the lighter ones
+red chalk and vermilion and for the lights pure vermilion and then
+glaze with fine lake. To make good oil for painting. One part of
+oil, one of the first refining and one of the second.
+
+619.
+
+Use black in the shadow, and in the lights white, yellow, green,
+vermilion and lake. Medium shadows; take the shadow as above and mix
+it with the flesh tints just alluded to, adding to it a little
+yellow and a little green and occasionally some lake; for the
+shadows take green and lake for the middle shades.
+
+[Footnote 618 and 619: If we may judge from the flourishes with
+which the writing is ornamented these passages must have been
+written in Leonardo's youth.]
+
+620.
+
+You can make a fine ochre by the same method as you use to make
+white.
+
+621.
+
+A FINE YELLOW.
+
+Dissolve realgar with one part of orpiment, with aqua fortis.
+
+WHITE.
+
+Put the white into an earthen pot, and lay it no thicker than a
+string, and let it stand in the sun undisturbed for 2 days; and in
+the morning when the sun has dried off the night dews.
+
+622.
+
+To make reddish black for flesh tints take red rock crystals from
+Rocca Nova or garnets and mix them a little; again armenian bole is
+good in part.
+
+623.
+
+The shadow will be burnt ,terra-verte'.
+
+624.
+
+THE PROPORTIONS OF COLOURS.
+
+If one ounce of black mixed with one ounce of white gives a certain
+shade of darkness, what shade of darkness will be produced by 2
+ounces of black to 1 ounce of white?
+
+625.
+
+Remix black, greenish yellow and at the end blue.
+
+626.
+
+Verdigris with aloes, or gall or turmeric makes a fine green and so
+it does with saffron or burnt orpiment; but I doubt whether in a
+short time they will not turn black. Ultramarine blue and glass
+yellow mixed together make a beautiful green for fresco, that is
+wall-painting. Lac and verdigris make a good shadow for blue in oil
+painting.
+
+627.
+
+Grind verdigris many times coloured with lemon juice and keep it
+away from yellow (?).
+
+Of preparing the panel.
+
+628.
+
+TO PREPARE A PANEL FOR PAINTING ON.
+
+The panel should be cypress or pear or service-tree or walnut. You
+must coat it over with mastic and turpentine twice distilled and
+white or, if you like, lime, and put it in a frame so that it may
+expand and shrink according to its moisture and dryness. Then give
+it [a coat] of aqua vitae in which you have dissolved arsenic or
+[corrosive] sublimate, 2 or 3 times. Then apply boiled linseed oil
+in such a way as that it may penetrate every part, and before it is
+cold rub it well with a cloth to dry it. Over this apply liquid
+varnish and white with a stick, then wash it with urine when it is
+dry, and dry it again. Then pounce and outline your drawing finely
+and over it lay a priming of 30 parts of verdigris with one of
+verdigris with two of yellow.
+
+[Footnote: M. RAVAISSON'S reading varies from mine in the following
+passages:
+
+1._opero allor [?] bo [alloro?]_ = "_ou bien de [laurier]_."
+
+6. _fregalo bene con un panno_. He reads _pane_ for _panno_ and
+renders it. "_Frotte le bien avec un pain de facon [jusqu'a ce]
+qu'il_" etc.
+
+7. _colla stecca po laua_. He reads "_polacca_" = "_avec le couteau
+de bois [?] polonais [?]_."]
+
+The preparation of oils (629--634).
+
+629.
+
+OIL.
+
+Make some oil of mustard seed; and if you wish to make it with
+greater ease mix the ground seeds with linseed oil and put it all
+under the press.
+
+630.
+
+TO REMOVE THE SMELL OF OIL.
+
+Take the rank oil and put ten pints into a jar and make a mark on
+the jar at the height of the oil; then add to it a pint of vinegar
+and make it boil till the oil has sunk to the level of the mark and
+thus you will be certain that the oil is returned to its original
+quantity and the vinegar will have gone off in vapour, carrying with
+it the evil smell; and I believe you may do the same with nut oil or
+any other oil that smells badly.
+
+631.
+
+Since walnuts are enveloped in a thin rind, which partakes of the
+nature of ..., if you do not remove it when you make the oil from
+them, this skin tinges the oil, and when you work with it this skin
+separates from the oil and rises to the surface of the painting, and
+this is what makes it change.
+
+632.
+
+TO RESTORE OIL COLOURS THAT HAVE BECOME DRY.
+
+If you want to restore oil colours that have become dry keep them
+soaking in soft soap for a night and, with your finger, mix them up
+with the soft soap; then pour them into a cup and wash them with
+water, and in this way you can restore colours that have got dry.
+But take care that each colour has its own vessel to itself adding
+the colour by degrees as you restore it and mind that they are
+thoroughly softened, and when you wish to use them for tempera wash
+them five and six times with spring water, and leave them to settle;
+if the soft soap should be thick with any of the colours pass it
+through a filter. [Footnote: The same remark applies to these
+sections as to No. 618 and 619.]
+
+633.
+
+OIL.
+
+Mustard seed pounded with linseed oil.
+
+634.
+
+... outside the bowl 2 fingers lower than the level of the oil, and
+pass it into the neck of a bottle and let it stand and thus all the
+oil will separate from this milky liquid; it will enter the bottle
+and be as clear as crystal; and grind your colours with this, and
+every coarse or viscid part will remain in the liquid. You must know
+that all the oils that have been created in seads or fruits are
+quite clear by nature, and the yellow colour you see in them only
+comes of your not knowing how to draw it out. Fire or heat by its
+nature has the power to make them acquire colour. See for example
+the exudation or gums of trees which partake of the nature of rosin;
+in a short time they harden because there is more heat in them than
+in oil; and after some time they acquire a certain yellow hue
+tending to black. But oil, not having so much heat does not do so;
+although it hardens to some extent into sediment it becomes finer.
+The change in oil which occurs in painting proceeds from a certain
+fungus of the nature of a husk which exists in the skin which covers
+the nut, and this being crushed along with the nuts and being of a
+nature much resembling oil mixes with it; it is of so subtle a
+nature that it combines with all colours and then comes to the
+surface, and this it is which makes them change. And if you want the
+oil to be good and not to thicken, put into it a little camphor
+melted over a slow fire and mix it well with the oil and it will
+never harden.
+
+[Footnote: The same remark applies to these sections as to No. 618
+and 619.]
+
+On varnishes [or powders] (635-637).
+
+635.
+
+VARNISH [OR POWDER].
+
+Take cypress [oil] and distil it and have a large pitcher, and put
+in the extract with so much water as may make it appear like amber,
+and cover it tightly so that none may evaporate. And when it is
+dissolved you may add in your pitcher as much of the said solution,
+as shall make it liquid to your taste. And you must know that amber
+is the gum of the cypress-tree.
+
+VARNISH [OR POWDER].
+
+And since varnish [powder] is the resin of juniper, if you distil
+juniper you can dissolve the said varnish [powder] in the essence,
+as explained above.
+
+636.
+
+VARNISH [OR POWDER].
+
+Notch a juniper tree and give it water at the roots, mix the liquor
+which exudes with nut-oil and you will have a perfect varnish
+[powder], made like amber varnish [powder], fine and of the best
+quality make it in May or April.
+
+637.
+
+VARNISH [OR POWDER].
+
+Mercury with Jupiter and Venus,--a paste made of these must be
+corrected by the mould (?) continuously, until Mercury separates
+itself entirely from Jupiter and Venus. [Footnote: Here, and in No.
+641 _Mercurio_ seems to mean quicksilver, _Giove_ stands for iron,
+_Venere_ for copper and _Saturno_ for lead.]
+
+On chemical materials (638-650).
+
+638.
+
+Note how aqua vitae absorbs into itself all the colours and smells
+of flowers. If you want to make blue put iris flowers into it and
+for red solanum berries (?)
+
+639.
+
+Salt may be made from human excrement burnt and calcined and made
+into lees, and dried by a slow fire, and all dung in like manner
+yields salt, and these salts when distilled are very pungent.
+
+640.
+
+Sea water filtered through mud or clay, leaves all its saltness in
+it. Woollen stuffs placed on board ship absorb fresh water. If sea
+water is distilled under a retort it becomes of the first excellence
+and any one who has a little stove in his kitchen can, with the same
+wood as he cooks with, distil a great quantity of water if the
+retort is a large one.
+
+641.
+
+MOULD(?).
+
+The mould (?) may be of Venus, or of Jupiter and Saturn and placed
+frequently in the fire. And it should be worked with fine emery and
+the mould (?) should be of Venus and Jupiter impasted over (?)
+Venus. But first you will test Venus and Mercury mixed with Jove,
+and take means to cause Mercury to disperse; and then fold them well
+together so that Venus or Jupiter be connected as thinly as
+possible.
+
+[Footnote: See the note to 637.]
+
+642.
+
+Nitre, vitriol, cinnabar, alum, salt ammoniac, sublimated mercury,
+rock salt, alcali salt, common salt, rock alum, alum schist (?),
+arsenic, sublimate, realgar, tartar, orpiment, verdegris.
+
+643.
+
+Pitch four ounces virgin wax, four ounces incense, two ounces oil of
+roses one ounce.
+
+644.
+
+Four ounces virgin wax, four ounces Greek pitch, two ounces incense,
+one ounce oil of roses, first melt the wax and oil then the Greek
+pitch then the other things in powder.
+
+645.
+
+Very thin glass may be cut with scissors and when placed over inlaid
+work of bone, gilt, or stained of other colours you can saw it
+through together with the bone and then put it together and it will
+retain a lustre that will not be scratched nor worn away by rubbing
+with the hand.
+
+646.
+
+TO DILUTE WHITE WINE AND MAKE IT PURPLE.
+
+Powder gall nuts and let this stand 8 days in the white wine; and in
+the same way dissolve vitriol in water, and let the water stand and
+settle very clear, and the wine likewise, each by itself, and strain
+them well; and when you dilute the white wine with the water the
+wine will become red.
+
+647.
+
+Put marcasite into aqua fortis and if it turns green, know that it
+has copper in it. Take it out with saltpetre and soft soap.
+
+648.
+
+A white horse may have the spots removed with the Spanish haematite
+or with aqua fortis or with ... Removes the black hair on a white
+horse with the singeing iron. Force him to the ground.
+
+649.
+
+FIRE.
+
+If you want to make a fire which will set a hall in a blaze without
+injury do this: first perfume the hall with a dense smoke of incense
+or some other odoriferous substance: It is a good trick to play. Or
+boil ten pounds of brandy to evaporate, but see that the hall is
+completely closed and throw up some powdered varnish among the fumes
+and this powder will be supported by the smoke; then go into the
+room suddenly with a lighted torch and at once it will be in a
+blaze.
+
+650.
+
+FIRE.
+
+Take away that yellow surface which covers oranges and distill them
+in an alembic, until the distillation may be said to be perfect.
+
+FIRE.
+
+Close a room tightly and have a brasier of brass or iron with fire
+in it and sprinkle on it two pints of aqua vitae, a little at a
+time, so that it may be converted into smoke. Then make some one
+come in with a light and suddenly you will see the room in a blaze
+like a flash of lightning, and it will do no harm to any one.
+
+VII.
+
+PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.
+
+The relation of art and nature (651. 652).
+
+651.
+
+What is fair in men, passes away, but not so in art.
+
+652.
+
+HE WHO DESPISES PAINTING LOVES NEITHER PHILOSOPHY NOR NATURE.
+
+If you condemn painting, which is the only imitator of all visible
+works of nature, you will certainly despise a subtle invention which
+brings philosophy and subtle speculation to the consideration of the
+nature of all forms--seas and plains, trees, animals, plants and
+flowers--which are surrounded by shade and light. And this is true
+knowledge and the legitimate issue of nature; for painting is born
+of nature--or, to speak more correctly, we will say it is the
+grandchild of nature; for all visible things are produced by nature,
+and these her children have given birth to painting. Hence we may
+justly call it the grandchild of nature and related to God.
+
+Painting is superior to poetry (653. 654).
+
+653.
+
+THAT PAINTING SURPASSES ALL HUMAN WORKS BY THE SUBTLE CONSIDERATIONS
+BELONGING TO IT.
+
+The eye, which is called the window of the soul, is the principal
+means by which the central sense can most completely and abundantly
+appreciate the infinite works of nature; and the ear is the second,
+which acquires dignity by hearing of the things the eye has seen. If
+you, historians, or poets, or mathematicians had not seen things
+with your eyes you could not report of them in writing. And if you,
+0 poet, tell a story with your pen, the painter with his brush can
+tell it more easily, with simpler completeness and less tedious to
+be understood. And if you call painting dumb poetry, the painter may
+call poetry blind painting. Now which is the worse defect? to be
+blind or dumb? Though the poet is as free as the painter in the
+invention of his fictions they are not so satisfactory to men as
+paintings; for, though poetry is able to describe forms, actions and
+places in words, the painter deals with the actual similitude of the
+forms, in order to represent them. Now tell me which is the nearer
+to the actual man: the name of man or the image of the man. The name
+of man differs in different countries, but his form is never changed
+but by death.
+
+654.
+
+And if the poet gratifies the sense by means of the ear, the painter
+does so by the eye--the worthier sense; but I will say no more of
+this but that, if a good painter represents the fury of a battle,
+and if a poet describes one, and they are both together put before
+the public, you will see where most of the spectators will stop, to
+which they will pay most attention, on which they will bestow most
+praise, and which will satisfy them best. Undoubtedly painting being
+by a long way the more intelligible and beautiful, will please most.
+Write up the name of God [Christ] in some spot and setup His image
+opposite and you will see which will be most reverenced. Painting
+comprehends in itself all the forms of nature, while you have
+nothing but words, which are not universal as form is, and if you
+have the effects of the representation, we have the representation
+of the effects. Take a poet who describes the beauty of a lady to
+her lover and a painter who represents her and you will see to which
+nature guides the enamoured critic. Certainly the proof should be
+allowed to rest on the verdict of experience. You have ranked
+painting among the mechanical arts but, in truth, if painters were
+as apt at praising their own works in writing as you are, it would
+not lie under the stigma of so base a name. If you call it
+mechanical because it is, in the first place, manual, and that it is
+the hand which produces what is to be found in the imagination, you
+too writers, who set down manually with the pen what is devised in
+your mind. And if you say it is mechanical because it is done for
+money, who falls into this error--if error it can be called--more
+than you? If you lecture in the schools do you not go to whoever
+pays you most? Do you do any work without pay? Still, I do not say
+this as blaming such views, for every form of labour looks for its
+reward. And if a poet should say: "I will invent a fiction with a
+great purpose," the painter can do the same, as Apelles painted
+Calumny. If you were to say that poetry is more eternal, I say the
+works of a coppersmith are more eternal still, for time preserves
+them longer than your works or ours; nevertheless they have not much
+imagination [29]. And a picture, if painted on copper with enamel
+colours may be yet more permanent. We, by our arts may be called the
+grandsons of God. If poetry deals with moral philosophy, painting
+deals with natural philosophy. Poetry describes the action of the
+mind, painting considers what the mind may effect by the motions [of
+the body]. If poetry can terrify people by hideous fictions,
+painting can do as much by depicting the same things in action.
+Supposing that a poet applies himself to represent beauty, ferocity,
+or a base, a foul or a monstrous thing, as against a painter, he may
+in his ways bring forth a variety of forms; but will the painter not
+satisfy more? are there not pictures to be seen, so like the actual
+things, that they deceive men and animals?
+
+Painting is superior to sculpture (655. 656).
+
+655.
+
+THAT SCULPTURE IS LESS INTELLECTUAL THAN PAINTING, AND LACKS MANY
+CHARACTERISTICS OF NATURE.
+
+I myself, having exercised myself no less in sculpture than in
+painting and doing both one and the other in the same degree, it
+seems to me that I can, without invidiousness, pronounce an opinion
+as to which of the two is of the greatest merit and difficulty and
+perfection. In the first place sculpture requires a certain light,
+that is from above, a picture carries everywhere with it its own
+light and shade. Thus sculpture owes its importance to light and
+shade, and the sculptor is aided in this by the nature, of the
+relief which is inherent in it, while the painter whose art
+expresses the accidental aspects of nature, places his effects in
+the spots where nature must necessarily produce them. The sculptor
+cannot diversify his work by the various natural colours of objects;
+painting is not defective in any particular. The sculptor when he
+uses perspective cannot make it in any way appear true; that of the
+painter can appear like a hundred miles beyond the picture itself.
+Their works have no aerial perspective whatever, they cannot
+represent transparent bodies, they cannot represent luminous bodies,
+nor reflected lights, nor lustrous bodies--as mirrors and the like
+polished surfaces, nor mists, nor dark skies, nor an infinite number
+of things which need not be told for fear of tedium. As regards the
+power of resisting time, though they have this resistance [Footnote
+19: From what is here said as to painting on copper it is very
+evident that Leonardo was not acquainted with the method of painting
+in oil on thin copper plates, introduced by the Flemish painters of
+the XVIIth century. J. LERMOLIEFF has already pointed out that in
+the various collections containing pictures by the great masters of
+the Italian Renaissance, those painted on copper (for instance the
+famous reading Magdalen in the Dresden Gallery) are the works of a
+much later date (see _Zeitschrift fur bildende Kunst_. Vol. X pg.
+333, and: _Werke italienischer Master in den Galerien von Munchen,
+Dresden und Berlin_. Leipzig 1880, pg. 158 and 159.)--Compare No.
+654, 29.], a picture painted on thick copper covered with white
+enamel on which it is painted with enamel colours and then put into
+the fire again and baked, far exceeds sculpture in permanence. It
+may be said that if a mistake is made it is not easy to remedy it;
+it is but a poor argument to try to prove that a work be the nobler
+because oversights are irremediable; I should rather say that it
+will be more difficult to improve the mind of the master who makes
+such mistakes than to repair the work he has spoilt.
+
+656.
+
+We know very well that a really experienced and good painter will
+not make such mistakes; on the contrary, with sound rules he will
+remove so little at a time that he will bring his work to a good
+issue. Again the sculptor if working in clay or wax, can add or
+reduce, and when his model is finished it can easily be cast in
+bronze, and this is the last operation and is the most permanent
+form of sculpture. Inasmuch as that which is merely of marble is
+liable to ruin, but not bronze. Hence a painting done on copper
+which as I said of painting may be added to or altered, resembles
+sculpture in bronze, which, having first been made in wax could then
+be altered or added to; and if sculpture in bronze is durable, this
+work in copper and enamel is absolutely imperishable. Bronze is but
+dark and rough after all, but this latter is covered with various
+and lovely colours in infinite variety, as has been said above; or
+if you will have me only speak of painting on panel, I am content to
+pronounce between it and sculpture; saying that painting is the more
+beautiful and the more imaginative and the more copious, while
+sculpture is the more durable but it has nothing else. Sculpture
+shows with little labour what in painting appears a miraculous thing
+to do; to make what is impalpable appear palpable, flat objects
+appear in relief, distant objects seem close. In fact painting is
+adorned with infinite possibilities which sculpture cannot command.
+
+Aphorisms (657-659).
+
+657.
+
+OF PAINTING.
+
+Men and words are ready made, and you, O Painter, if you do not know
+how to make your figures move, are like an orator who knows not how
+to use his words.
+
+658.
+
+As soon as the poet ceases to represent in words what exists in
+nature, he in fact ceases to resemble the painter; for if the poet,
+leaving such representation, proceeds to describe the flowery and
+flattering speech of the figure, which he wishes to make the
+speaker, he then is an orator and no longer a poet nor a painter.
+And if he speaks of the heavens he becomes an astrologer, and
+philosopher; and a theologian, if he discourses of nature or God.
+But, if he restricts himself to the description of objects, he would
+enter the lists against the painter, if with words he could satisfy
+the eye as the painter does.
+
+659.
+
+Though you may be able to tell or write the exact description of
+forms, the painter can so depict them that they will appear alive,
+with the shadow and light which show the expression of a face; which
+you cannot accomplish with the pen though it can be achieved by the
+brush.
+
+On the history of painting (660. 661).
+
+660.
+
+THAT PAINTING DECLINES AND DETERIORATES FROM AGE TO AGE, WHEN
+PAINTERS HAVE NO OTHER STANDARD THAN PAINTING ALREADY DONE.
+
+Hence the painter will produce pictures of small merit if he takes
+for his standard the pictures of others. But if he will study from
+natural objects he will bear good fruit; as was seen in the painters
+after the Romans who always imitated each other and so their art
+constantly declined from age to age. After these came Giotto the
+Florentine who--not content with imitating the works of Cimabue his
+master--being born in the mountains and in a solitude inhabited only
+by goats and such beasts, and being guided by nature to his art,
+began by drawing on the rocks the movements of the goats of which he
+was keeper. And thus he began to draw all the animals which were to
+be found in the country, and in such wise that after much study he
+excelled not only all the masters of his time but all those of many
+bygone ages. Afterwards this art declined again, because everyone
+imitated the pictures that were already done; thus it went on from
+century to century until Tomaso, of Florence, nicknamed Masaccio,
+showed by his perfect works how those who take for their standard
+any one but nature--the mistress of all masters--weary themselves in
+vain. And, I would say about these mathematical studies that those
+who only study the authorities and not the works of nature are
+descendants but not sons of nature the mistress of all good authors.
+Oh! how great is the folly of those who blame those who learn from
+nature [Footnote 22: _lasciando stare li autori_. In this
+observation we may detect an indirect evidence that Leonardo
+regarded his knowledge of natural history as derived from his own
+investigations, as well as his theories of perspective and optics.
+Compare what he says in praise of experience (Vol II; _XIX_).],
+setting aside those authorities who themselves were the disciples of
+nature.
+
+661.
+
+That the first drawing was a simple line drawn round the shadow of a
+man cast by the sun on a wall.
+
+The painter's scope.
+
+662.
+
+The painter strives and competes with nature.
+
+_X.
+
+Studies and Sketches for Pictures and Decorations.
+
+An artist's manuscript notes can hardly be expected to contain any
+thing more than incidental references to those masterpieces of his
+work of which the fame, sounded in the writings of his
+contemporaries, has left a glorious echo to posterity. We need not
+therefore be surprised to find that the texts here reproduced do not
+afford us such comprehensive information as we could wish. On the
+other hand, the sketches and studies prepared by Leonardo for the
+two grandest compositions he ever executed: The Fresco of the Last
+Supper in the Refectory of Santa Maria delle Grazie at Milan, and
+the Cartoon of the Battle of Anghiari, for the Palazzo della
+Signoria at Florence--have been preserved; and, though far from
+complete, are so much more numerous than the manuscript notes, that
+we are justified in asserting that in value and interest they amply
+compensate for the meagerness of the written suggestions.
+
+The notes for the composition of the Last Supper, which are given
+under nos._ 665 _and_ 666 _occur in a MS. at South Kensington, II2,
+written in the years_ 1494-1495. _This MS. sketch was noted down not
+more than three or four years before the painting was executed,
+which justifies the inference that at the time when it was written
+the painter had not made up his mind definitely even as to the
+general scheme of the work; and from this we may also conclude that
+the drawings of apostles' heads at Windsor, in red chalk, must be
+ascribed to a later date. They are studies for the head of St.
+Matthew, the fourth figure on Christ's left hand--see Pl. XL VII,
+the sketch (in black chalk) for the head of St. Philip, the third
+figure on the left hand--see Pl. XL VIII, for St. Peter's right
+arm--see Pl. XLIX, and for the expressive head of Judas which has
+unfortunately somewhat suffered by subsequent restoration of
+outlines,--see Pl. L. According to a tradition, as unfounded as it
+is improbable, Leonardo made use of the head of Padre Bandelli, the
+prior of the convent, as the prototype of his Judas; this however
+has already been contradicted by Amoretti "Memorie storiche" cap.
+XIV. The study of the head of a criminal on Pl. LI has, it seems to
+me, a better claim to be regarded as one of the preparatory sketches
+for the head of Judas. The Windsor collection contains two old
+copies of the head of St. Simon, the figure to the extreme left of
+Christ, both of about equal merit (they are marked as Nos._ 21 _and_
+36_)--the second was reproduced on Pl. VIII of the Grosvenor
+Gallery Publication in_ 1878. _There is also at Windsor a drawing in
+black chalk of folded hands (marked with the old No._ 212; _No. LXI
+of the Grosvenor Gallery Publication) which I believe to be a copy
+of the hands of St. John, by some unknown pupil. A reproduction of
+the excellent drawings of heads of Apostles in the possession of H.
+R. H. the Grand Duchess of Weimar would have been out of my province
+in this work, and, with regard to them, I must confine myself to
+pointing out that the difference in style does not allow of our
+placing the Weimar drawings in the same category as those here
+reproduced. The mode of grouping in the Weimar drawings is of itself
+sufficient to indicate that they were not executed before the
+picture was painted, but, on the contrary, afterwards, and it is, on
+the face of it, incredible that so great a master should thus have
+copied from his own work.
+
+The drawing of Christ's head, in the Brera palace at Milan was
+perhaps originally the work of Leonardo's hand; it has unfortunately
+been entirely retouched and re-drawn, so that no decisive opinion
+can be formed as to its genuineness.
+
+The red chalk drawing reproduced on Pl. XLVI is in the Accademia at
+Venice; it was probably made before the text, Nos._ 664 _and_ 665,
+_was written.
+
+The two pen and ink sketches on Pl. XLV seem to belong to an even
+earlier date; the more finished drawing of the two, on the right
+hand, represents Christ with only St. John and Judas and a third
+disciple whose action is precisely that described in No._ 666,
+_Pl._ 4. _It is hardly necessary to observe that the other sketches
+on this page and the lines of text below the circle (containing the
+solution of a geometrical problem) have no reference to the picture
+of the Last Supper. With this figure of Christ may be compared a
+similar pen and ink drawing reproduced on page_ 297 _below on the
+left hand; the original is in the Louvre. On this page again the
+rest of the sketches have no direct bearing on the composition of
+the Last Supper, not even, as it seems to me, the group of four men
+at the bottom to the right hand--who are listening to a fifth, in
+their midst addressing them. Moreover the writing on this page (an
+explanation of a disk shaped instrument) is certainly not in the
+same style as we find constantly used by Leonardo after the year_
+1489.
+
+_It may be incidentally remarked that no sketches are known for the
+portrait of "Mona Lisa", nor do the MS. notes ever allude to it,
+though according to Vasari the master had it in hand for fully four
+years.
+
+Leonardo's cartoon for the picture of the battle of Anghiari has
+shared the fate of the rival work, Michaelangelo's "Bathers summoned
+to Battle". Both have been lost in some wholly inexplicable manner.
+I cannot here enter into the remarkable history of this work; I can
+only give an account of what has been preserved to us of Leonardo's
+scheme and preparations for executing it. The extent of the material
+in studies and drawings was till now quite unknown. Their
+publication here may give some adequate idea of the grandeur of this
+famous work. The text given as No._ 669 _contains a description of
+the particulars of the battle, but for the reasons given in the note
+to this text, I must abandon the idea of taking this passage as the
+basis of my attempt to reconstruct the picture as the artist
+conceived and executed it.
+
+I may here remind the reader that Leonardo prepared the cartoon in
+the Sala del Papa of Santa Maria Novella at Florence and worked
+there from the end of October 1503 till February 1504, and then was
+busied with the painting in the Sala del Consiglio in the Palazzo
+della Signoria, till the work was interrupted at the end of May
+1506. (See Milanesi's note to Vasari pp. 43--45 Vol. IV ed. 1880.)
+Vasari, as is well known, describes only one scene or episode of the
+cartoon--the Battle for the Standard in the foreground of the
+composition, as it would seem; and this only was ever finished as a
+mural decoration in the Sala del Consiglio. This portion of the
+composition is familiar to all from the disfigured copy engraved by
+Edelinck. Mariette had already very acutely observed that Edelinck
+must surely have worked from a Flemish copy of the picture. There is
+in the Louvre a drawing by Rubens (No. 565) which also represents
+four horsemen fighting round a standard and which agrees with
+Edelinck's engraving, but the engraving reverses the drawing. An
+earlier Flemish drawing, such as may have served as the model for
+both Rubens and Edelinck, is in the Uffizi collection (see
+Philpots's Photograph, No. 732). It seems to be a work of the second
+half of the XVIth century, a time when both the picture and the
+cartoon had already been destroyed. It is apparently the production
+of a not very skilled hand. Raphael Trichet du Fresne, 1651,
+mentions that a small picture by Leonardo himself of the Battle of
+the Standard was then extant in the Tuileries; by this he probably
+means the painting on panel which is now in the possession of Madame
+Timbal in Paris, and which has lately been engraved by Haussoullier
+as a work by Leonardo. The picture, which is very carefully painted,
+seems to me however to be the work of some unknown Florentine
+painter, and probably executed within the first ten years of the
+XVIth century. At the same time, it would seem to be a copy not from
+Leonardo's cartoon, but from his picture in the Palazzo della
+Signoria; at any rate this little picture, and the small Flemish
+drawing in Florence are the oldest finished copies of this episode
+in the great composition of the Battle of Anghiari.
+
+In his Life of Raphael, Vasari tells us that Raphael copied certain
+works of Leonardo's during his stay in Florence. Raphael's first
+visit to Florence lasted from the middle of October 1504 till July
+1505, and he revisited it in the summer of 1506. The hasty sketch,
+now in the possession of the University of Oxford and reproduced on
+page 337 also represents the Battle of the Standard and seems to
+have been made during his first stay, and therefore not from the
+fresco but from the cartoon; for, on the same sheet we also find,
+besides an old man's head drawn in Leonardo's style, some studies
+for the figure of St. John the Martyr which Raphael used in 1505 in
+his great fresco in the Church of San Severo at Perugia.
+
+Of Leonardo's studies for the Battle of Anghiari I must in the first
+place point to five, on three of which--Pl. LII 2, Pl. LIII, Pl.
+LVI--we find studies for the episode of the Standard. The standard
+bearer, who, in the above named copies is seen stooping, holding on
+to the staff across his shoulder, is immediately recognisable as the
+left-hand figure in Raphael's sketch, and we find it in a similar
+attitude in Leonardo's pen and ink drawing in the British
+Museum--Pl. LII, 2--the lower figure to the right. It is not
+difficult to identify the same figure in two more complicated groups
+in the pen and ink drawings, now in the Accademia at Venice--Pl.
+LIII, and Pl. LIV--where we also find some studies of foot soldiers
+fighting. On the sheet in the British Museum--Pl. LII, 2--we find,
+among others, one group of three horses galloping forwards: one
+horseman is thrown and protects himself with his buckler against the
+lance thrusts of two others on horseback, who try to pierce him as
+they ride past. The same action is repeated, with some variation, in
+two sketches in pen and ink on a third sheet, in the Accademia at
+Venice, Pl. LV; a coincidence which suggests the probability of such
+an incident having actually been represented on the cartoon. We are
+not, it is true, in a position to declare with any certainty which
+of these three dissimilar sketches may have been the nearest to the
+group finally adopted in executing the cartoon.
+
+With regard, however, to one of the groups of horsemen it is
+possible to determine with perfect certainty not only which
+arrangement was preferred, but the position it occupied in the
+composition. The group of horsemen on Pl. LVII is a drawing in black
+chalk at Windsor, which is there attributed to Leonardo, but which
+appears to me to be the work of Cesare da Sesto, and the
+Commendatore Giov. Morelli supports me in this view. It can hardly
+be doubted that da Sesto, as a pupil of Leonardo's, made this
+drawing from his master's cartoon, if we compare it with the copy
+made by Raphael--here reproduced, for just above the fighting
+horseman in Raphael's copy it is possible to detect a horse which is
+seen from behind, going at a slower pace, with his tail flying out
+to the right and the same horse may be seen in the very same
+attitude carrying a dimly sketched rider, in the foreground of
+Cesare da Sesto's drawing._
+
+_If a very much rubbed drawing in black chalk at Windsor--Pl.
+LVI--is, as it appears to be, the reversed impression of an original
+drawing, it is not difficult to supplement from it the portions
+drawn by Cesare da Sesto. Nay, it may prove possible to reconstruct
+the whole of the lost cartoon from the mass of materials we now have
+at hand which we may regard as the nucleus of the composition. A
+large pen and ink drawing by Raphael in the Dresden collection,
+representing three horsemen fighting, and another, by Cesare da
+Sesto, in the Uffizi, of light horsemen fighting are a further
+contribution which will help us to reconstruct it._
+
+_The sketch reproduced on Pl. LV gives a suggestive example of the
+way in which foot-soldiers may have been introduced into the cartoon
+as fighting among the groups of horsemen; and I may here take the
+opportunity of mentioning that, for reasons which it would be out of
+place to enlarge upon here, I believe the two genuine drawings by
+Raphael's hand in his "Venetian sketch-book" as it is called--one of
+a standard bearer marching towards the left, and one of two
+foot-soldiers armed with spears and fighting with a horseman--to be
+undoubtedly copies from the cartoon of the Battle of Anghiari._
+
+_Leonardo's two drawings, preserved in the museum at Buda-Pesth and
+reproduced on pages 338 and 339 are preliminary studies for the
+heads of fighting warriors. The two heads drawn in black chalk (pg.
+338) and the one seen in profile, turned to the left, drawn in red
+chalk (pg. 339), correspond exactly with those of two horsemen in
+the scene of the fight round the standard as we see them in Madame
+Timbal's picture and in the other finished copies. An old copy of
+the last named drawing by a pupil of Leonardo is in MS. C. A. 187b;
+561b (See Saggio, Tav. XXII). Leonardo used to make such finished
+studies of heads as those, drawn on detached sheets, before
+beginning his pictures from his drawings--compare the preparatory
+studies for the fresco of the Last Supper, given on Pl. XLVII and
+Pl. L. Other drawings of heads, all characterised by the expression
+of vehement excitement that is appropriate to men fighting, are to
+be seen at Windsor (No. 44) and at the Accademia at Venice (IV, 13);
+at the back of one of the drawings at Buda-Pesth there is the bust
+of a warrior carrying a spear on his left shoulder, holding up the
+left arm (See Csatakepek a XVI--lk Szazadbol osszeallitotta Pvlszky
+Karoly). These drawings may have been made for other portions of the
+cartoon, of which no copies exist, and thus we are unable to
+identify these preparatory drawings. Finally I may add that a sketch
+of fighting horse and foot soldiers, formerly in the possession of
+M. Thiers and published by Charles Blanc in his "Vies des Peintres"
+can hardly be accepted as genuine. It is not to be found, as I am
+informed, among the late President's property, and no one appears to
+know where it now is._
+
+_An attempted reconstruction of the Cartoon, which is not only
+unsuccessful but perfectly unfounded, is to be seen in the
+lithograph by Bergeret, published in Charles Blanc's "Vies des
+peintres" and reprinted in "The great Artists. L. da Vinci", p. 80.
+This misleading pasticcio may now be rejected without hesitation._
+
+_There are yet a few original drawings by Leonardo which might be
+mentioned here as possibly belonging to the cartoon of the Battle;
+such as the pen and ink sketches on Pl. XXI and on Pl. XXXVIII, No.
+3, but we should risk too wide a departure from the domain of
+ascertained fact._
+
+_With regard to the colours and other materials used by Leonardo the
+reader may be referred to the quotations from the accounts for the
+picture in question given by Milanesi in his edition of Vasari (Vol.
+IV, p. 44, note) where we find entries of a similar character to
+those in Leonardo's note books for the year 1505; S. K. M. 12 (see
+No. 636)._
+
+_That Leonardo was employed in designing decorations and other
+preparations for high festivals, particularly for the court of
+Milan, we learn not only from the writings of his contemporaries but
+from his own incidental allusions; for instance in MS. C. l5b (1),
+l. 9. In the arrangement of the texts referring to this I have
+placed those first, in which historical personages are named--Nos.
+670-674. Among the descriptions of Allegorical subjects two texts
+lately found at Oxford have been included, Nos. 676 and 677. They
+are particularly interesting because they are accompanied by large
+sketches which render the meaning of the texts perfectly clear. It
+is very intelligible that in other cases, where there are no
+illustrative sketches, the notes must necessarily remain obscure or
+admit of various interpretations. The literature of the time affords
+ample evidence of the use of such allegorical representations,
+particularly during the Carnival and in Leonardo's notes we find the
+Carnival expressly mentioned--Nos. 685 and 704. Vasari in his Life
+of Pontormo, particularly describes that artist's various
+undertakings for Carnival festivities. These very graphic
+descriptions appear to me to throw great light in more ways than one
+on the meaning of Leonardo's various notes as to allegorical
+representations and also on mottoes and emblems--Nos. 681-702. In
+passing judgment on the allegorical sketches and emblems it must not
+be overlooked that even as pictures they were always accompanied by
+explanations in words. Several finished drawings of allegorical
+compositions or figures have been preserved, but as they have no
+corresponding explanation in the MSS. they had no claim to be
+reproduced here. The female figure on Pl. XXVI may perhaps be
+regarded as a study for such an allegorical painting, of which the
+purport would have been explained by an inscription._
+
+On Madonna pictures.
+
+663.
+
+[In the autumn of] 1478 I began the two Madonna [pictures].
+
+[Footnote: Photographs of this page have been published by BRAUN,
+No. 439, and PHILPOT, No. 718.
+
+1. _Incominciai_. We have no other information as to the two
+pictures of the Madonna here spoken of. As Leonardo here tells us
+that he had begun two Madonnas at the same time, the word
+'_incominciai_' may be understood to mean that he had begun at the
+same time preparatory studies for two pictures to be painted later.
+If this is so, the non-existence of the pictures may be explained by
+supposing that they were only planned and never executed. I may here
+mention a few studies for pictures of the Madonna which probably
+belong to this early time; particularly a drawing in silver-point on
+bluish tinted paper at Windsor--see Pl. XL, No. 3--, a drawing of
+which the details have almost disappeared in the original but have
+been rendered quite distinct in the reproduction; secondly a slight
+pen and ink sketch in, the Codex VALLARDI, in the Louvre, fol. 64,
+No. 2316; again a silver point drawing of a Virgin and child drawn
+over again with the pen in the His de la Salle collection also in
+the Louvre, No. 101. (See Vicomte BOTH DE TAUZIA, _Notice des
+dessins de la collection His de la Salle, exposes au Louvre_. Paris
+1881, pp. 80, 81.) This drawing is, it is true, traditionally
+ascribed to Raphael, but the author of the catalogue very justly
+points out its great resemblance with the sketches for Madonnas in
+the British Museum which are indisputably Leonardo's. Some of these
+have been published by Mr. HENRY WALLIS in the Art Journal, New Ser.
+No. 14, Feb. 1882. If the non-existence of the two pictures here
+alluded to justifies my hypothesis that only studies for such
+pictures are meant by the text, it may also be supposed that the
+drawings were made for some comrade in VERROCCHIO'S atelier. (See
+VASARI, Sansoni's ed. Florence 1880. Vol. IV, p. 564): "_E perche a
+Lerenzo piaceva fuor di modo la maniera di Lionardo, la seppe cosi
+bene imitare, che niuno fu che nella pulitezza e nel finir l'opere
+con diligenza l'imitasse pi� di lui_." Leonardo's notes give me no
+opportunity of discussing the pictures executed by him in Florence,
+before he moved to Milan. So the studies for the unfinished picture
+of the Adoration of the Magi--in the Uffizi, Florence--cannot be
+described here, nor would any discussion about the picture in the
+Louvre "_La Vierge aux Rochers_" be appropriate in the absence of
+all allusion to it in the MSS. Therefore, when I presently add a few
+remarks on this painting in explanation of the Master's drawings for
+it, it will be not merely with a view to facilitate critical
+researches about the picture now in the National Gallery, London,
+which by some critics has been pronounced to be a replica of the
+Louvre picture, but also because I take this opportunity of
+publishing several finished studies of the Master's which, even if
+they were not made in Florence but later in Milan, must have been
+prior to the painting of the Last Supper. The original picture in
+Paris is at present so disfigured by dust and varnish that the
+current reproductions in photography actually give evidence more of
+the injuries to which the picture has been exposed than of the
+original work itself. The wood-cut given on p. 344, is only intended
+to give a general notion of the composition. It must be understood
+that the outline and expression of the heads, which in the picture
+is obscured but not destroyed, is here altogether missed. The
+facsimiles which follow are from drawings which appear to me to be
+studies for "_La Vierge aux Rochers_."
+
+1. A drawing in silver point on brown toned paper of a woman's head
+looking to the left. In the Royal Library at Turin, apparently a
+study from nature for the Angel's head (Pl. XLII).
+
+2. A study of drapery for the left leg of the same figure, done with
+the brush, Indian ink on greenish paper, the lights heightened with
+white.
+
+The original is at Windsor, No. 223. The reproduction Pl. XLIII is
+defective in the shadow on the upper part of the thigh, which is not
+so deep as in the original; it should also be observed that the
+folds of the drapery near the hips are somewhat altered in the
+finished work in the Louvre, while the London copy shows a greater
+resemblance to this study in that particular.
+
+3. A study in red chalk for the bust of the Infant Christ--No. 3 in
+the Windsor collection (Pl. XLIV). The well-known silver-point
+drawing on pale green paper, in the Louvre, of a boy's head (No. 363
+in REISET, _Notice des dessins, Ecoles d'Italie_) seems to me to be
+a slightly altered copy, either from the original picture or from
+this red chalk study.
+
+4. A silver-point study on greenish paper, for the head of John the
+Baptist, reproduced on p. 342. This was formerly in the Codex
+Vallardi and is now exhibited among the drawings in the Louvre. The
+lights are, in the original, heightened with white; the outlines,
+particularly round the head and ear, are visibly restored.
+
+There is a study of an outstretched hand--No. 288 in the Windsor
+collection--which was published in the Grosvenor Gallery
+Publication, 1878, simply under the title of: "No. 72 Study of a
+hand, pointing" which, on the other hand, I regard as a copy by a
+pupil. The action occurs in the kneeling angel of the Paris picture
+and not in the London copy.
+
+These four genuine studies form, I believe, a valuable substitute in
+the absence of any MS. notes referring to the celebrated Paris
+picture.]
+
+Bernardo di Bandino's Portrait.
+
+664.
+
+A tan-coloured small cap, A doublet of black serge, A black jerkin
+lined A blue coat lined, with fur of foxes' breasts, and the collar
+of the jerkin covered with black and white stippled velvet Bernardo
+di Bandino Baroncelli; black hose.
+
+[Footnote: These eleven lines of text are by the side of the pen and
+ink drawing of a man hanged--Pl. LXII, No. 1. This drawing was
+exhibited in 1879 at the _Ecole des Beaux-Arts_ in Paris and the
+compilers of the catalogue amused themselves by giving the victim's
+name as follows: "_Un pendu, vetu d'une longue robe, les mains li�es
+sur le dos ... Bernardo di Bendino Barontigni, marchand de
+pantalons_" (see _Catalogue descriptif des Dessins de Mailres
+anciens exposes a l'Ecole des Beaux Arts_, Paris 1879; No. 83, pp.
+9-10). Now, the criminal represented here, is none other than
+Bernardino di Bandino Baroncelli the murderer of Giuliano de'Medici,
+whose name as a coadjutor in the conspiracy of the Pazzi has gained
+a melancholy notoriety by the tragedy of the 26th April 1478.
+Bernardo was descended from an ancient family and the son of the man
+who, under King Ferrante, was President of the High Court of Justice
+in Naples. His ruined fortunes, it would seem, induced him to join
+the Pazzi; he and Francesco Pazzi were entrusted with the task of
+murdering Giuliano de'Medici on the fixed day. Their victim not
+appearing in the cathedral at the hour when they expected him, the
+two conspirators ran to the palace of the Medici and induced him to
+accompany them. Giuliano then took his place in the chancel of the
+Cathedral, and as the officiating priest raised the Host--the sign
+agreed upon--Bernardo stabbed the unsuspecting Giuliano in the
+breast with a short sword; Giuliano stepped backwards and fell dead.
+The attempt on Lorenzo's life however, by the other conspirators at
+the same moment, failed of success. Bernardo no sooner saw that
+Lorenzo tried to make his escape towards the sacristy, than he
+rushed upon him, and struck down Francesco Nori who endeavoured to
+protect Lorenzo. How Lorenzo then took refuge behind the brazen
+doors of the sacristy, and how, as soon as Giuliano's death was made
+known, the further plans of the conspirators were defeated, while a
+terrible vengeance overtook all the perpetrators and accomplices,
+this is no place to tell. Bernardo Bandini alone seemed to be
+favoured by fortune; he hid first in the tower of the Cathedral, and
+then escaped undiscovered from Florence. Poliziano, who was with
+Lorenzo in the Cathedral, says in his 'Conjurationis Pactianae
+Commentarium': "_Bandinus fugitans in Tiphernatem incidit, a quo in
+aciem receptus Senas pervenit_." And Gino Capponi in summing up the
+reports of the numerous contemporary narrators of the event, says:
+"_Bernardo Bandini ricoverato in Costantinopoli, fu per ordine del
+Sultano preso e consegnato a un Antonio di Bernardino dei Medici,
+che Lorenzo aveva mandato apposta in Turchia: cos� era grande la
+potenza di quest' uomo e grande la voglia di farne mostra e che non
+restasse in vita chi aveagli ucciso il fratello, fu egli applicato
+appena giunto_" (_Storia della Republica di Firenze II_, 377, 378).
+Details about the dates may be found in the _Chronichetta di
+Belfredello Strinati Alfieri_: "_Bernardo di Bandino Bandini
+sopradetto ne venne preso da Gostantinopoti a d� 14. Dicembre 1479 e
+disaminato, che fu al Bargello, fu impiccato alle finestre di detto
+Bargello allato alla Doana a d� 29. Dicembre MCCCCLXXIX che pochi d�
+stette_." It may however be mentioned with reference to the mode of
+writing the name of the assassin that, though most of his
+contemporaries wrote Bernardo Bandini, in the _Breve Chronicon
+Caroli Petri de Joanninis_ he is called Bernardo di Bandini
+Baroncelli; and, in the _Sententiae Domini Matthaei de Toscana_,
+Bernardus Joannis Bandini de Baroncellis, as is written on
+Leonardo's drawing of him when hanged. Now VASARI, in the life of
+_Andrea del Castagno_ (Vol. II, 680; ed. Milanesi 1878), tells us
+that in 1478 this painter was commissioned by order of the Signoria
+to represent the members of the Pazzi conspiracy as traitors, on the
+facade of the Palazzo del Podest�--the Bargello. This statement is
+obviously founded on a mistake, for Andrea del Castagno was already
+dead in 1457. He had however been commissioned to paint Rinaldo
+degli Albizzi, when declared a rebel and exiled in 1434, and his
+adherents, as hanging head downwards; and in consequence he had
+acquired the nickname of Andrea degl' Impiccati. On the 21st July
+1478 the Council of Eight came to the following resolution: "_item
+servatis etc. deliberaverunt et santiaverunt Sandro Botticelli pro
+ejus labore in pingendo proditores flor. quadraginta largos_" (see
+G. MILANESI, _Arch. star. VI_ (1862) p. 5 note.)
+
+As has been told, Giuliano de' Medici was murdered on the 26th April
+1478, and we see by this that only three months later Botticelli was
+paid for his painting of the "_proditores_". We can however hardly
+suppose that all the members of the conspiracy were depicted by him
+in fresco on the facade of the palace, since no fewer than eighty
+had been condemned to death. We have no means of knowing whether,
+besides Botticelli, any other painters, perhaps Leonardo, was
+commissioned, when the criminals had been hanged in person out of
+the windows of the Palazzo del Podest� to represent them there
+afterwards in effigy in memory of their disgrace. Nor do we know
+whether the assassin who had escaped may at first not have been
+provisionally represented as hanged in effigy. Now, when we try to
+connect the historical facts with this drawing by Leonardo
+reproduced on Pl. LXII, No. I, and the full description of the
+conspirator's dress and its colour on the same sheet, there seems to
+be no reasonable doubt that Bernardo Bandini is here represented as
+he was actually hanged on December 29th, 1479, after his capture at
+Constantinople. The dress is certainly not that in which he
+committed the murder. A long furred coat might very well be worn at
+Constantinople or at Florence in December, but hardly in April. The
+doubt remains whether Leonardo described Bernardo's dress so fully
+because it struck him as remarkable, or whether we may not rather
+suppose that this sketch was actually made from nature with the
+intention of using it as a study for a wall painting to be executed.
+It cannot be denied that the drawing has all the appearance of
+having been made for this purpose. Be this as it may, the sketch
+under discussion proves, at any rate, that Leonardo was in Florence
+in December 1479, and the note that accompanies it is valuable as
+adding one more characteristic specimen to the very small number of
+his MSS. that can be proved to have been written between 1470 and
+1480.]
+
+Notes on the Last Supper (665-668).
+
+665.
+
+One who was drinking and has left the glass in its position and
+turned his head towards the speaker.
+
+Another, twisting the fingers of his hands together turns with stern
+brows to his companion [6]. Another with his hands spread open shows
+the palms, and shrugs his shoulders up his ears making a mouth of
+astonishment [8].
+
+[9] Another speaks into his neighbour's ear and he, as he listens to
+him, turns towards him to lend an ear [10], while he holds a knife
+in one hand, and in the other the loaf half cut through by the
+knife. [13] Another who has turned, holding a knife in his hand,
+upsets with his hand a glass on the table [14].
+
+[Footnote 665, 666: In the original MS. there is no sketch to
+accompany these passages, and if we compare them with those drawings
+made by Leonardo in preparation for the composition of the
+picture--Pl. XLV, XLVI--, (compare also Pl. LII, 1 and the drawings
+on p. 297) it is impossible to recognise in them a faithful
+interpretation of the whole of this text; but, if we compare these
+passages with the finished picture (see p. 334) we shall see that in
+many places they coincide. For instance, compare No. 665, 1. 6--8,
+with the fourth figure on the right hand of Christ. The various
+actions described in lines 9--10, 13--14 are to be seen in the group
+of Peter, John and Judas; in the finished picture however it is not
+a glass but a salt cellar that Judas is upsetting.]
+
+666.
+
+Another lays his hand on the table and is looking. Another blows his
+mouthful. [3] Another leans forward to see the speaker shading his
+eyes with his hand. [5] Another draws back behind the one who leans
+forward, and sees the speaker between the wall and the man who is
+leaning [Footnote: 6. _chinato_. I have to express my regret for
+having misread this word, written _cinato_ in the original, and
+having altered it to _"ciclo"_ when I first published this text, in
+'The Academy' for Nov. 8, 1879 immediately after I had discovered
+it, and subsequently in the small biography of Leonardo da Vinci
+(Great Artists) p. 29.].
+
+[Footnote: In No. 666. Line I must refer to the furthest figure on
+the left; 3, 5 and 6 describe actions which are given to the group
+of disciples on the left hand of Christ.]
+
+667.
+
+CHRIST.
+
+Count Giovanni, the one with the Cardinal of Mortaro.
+
+[Footnote: As this note is in the same small Manuscript as the
+passage here immediately preceding it, I may be justified in
+assuming that Leonardo meant to use the features of the person here
+named as a suitable model for the figure of Christ. The celebrated
+drawing of the head of Christ, now hanging in the Brera Gallery at
+Milan, has obviously been so much restored that it is now impossible
+to say, whether it was ever genuine. We have only to compare it with
+the undoubtedly genuine drawings of heads of the disciples in PI.
+XLVII, XLVIII and L, to admit that not a single line of the Milan
+drawing in its present state can be by the same hand.]
+
+668.
+
+Philip, Simon, Matthew, Thomas, James the Greater, Peter, Philip,
+Andrew, Bartholomew.
+
+[Footnote: See PI. XLVI. The names of the disciples are given in the
+order in which they are written in the original, from right to left,
+above each head. The original drawing is here slightly reduced in
+scale; it measures 39 centimetres in length by 26 in breadth.]
+
+669.
+
+  On the battle of Anghiari.
+  Florentine
+  Neri di Gino Capponi
+  Bernardetto de' Medici
+  Micheletto,
+  Niccolo da Pisa
+  Conte Francesco
+                         Pietro Gian Paolo
+                         Guelfo Orsino,
+                         Messer  Rinaldo   degli
+                                      Albizzi
+
+Begin with the address of Niccolo Piccinino to the soldiers and the
+banished Florentines among whom are Messer Rinaldo degli Albizzi and
+other Florentines. Then let it be shown how he first mounted on
+horseback in armour; and the whole army came after him--40 squadrons
+of cavalry, and 2000 foot soldiers went with him. Very early in the
+morning the Patriarch went up a hill to reconnoitre the country,
+that is the hills, fields and the valley watered by a river; and
+from thence he beheld Niccolo Picinino coming from Borgo San
+Sepolcro with his people, and with a great dust; and perceiving them
+he returned to the camp of his own people and addressed them. Having
+spoken he prayed to God with clasped hands, when there appeared a
+cloud in which Saint Peter appeared and spoke to the Patriarch.--500
+cavalry were sent forward by the Patriarch to hinder or check the
+rush of the enemy. In the foremost troop Francesco the son of
+Niccolo Piccinino [24] was the first to attack the bridge which was
+held by the Patriarch and the Florentines. Beyond the bridge to his
+left he sent forward some infantry to engage ours, who drove them
+back, among whom was their captain Micheletto [29] whose lot it was
+to be that day at the head of the army. Here, at this bridge there
+is a severe struggle; our men conquer and the enemy is repulsed.
+Here Guido and Astorre, his brother, the Lord of Faenza with a great
+number of men, re-formed and renewed the fight, and rushed upon the
+Florentines with such force that they recovered the bridge and
+pushed forward as far as the tents. But Simonetto advanced with 600
+horse, and fell upon the enemy and drove them back once more from
+the place, and recaptured the bridge; and behind him came more men
+with 2000 horse soldiers. And thus for a long time they fought with
+varying fortune. But then the Patriarch, in order to divert the
+enemy, sent forward Niccolo da Pisa [44] and Napoleone Orsino, a
+beardless lad, followed by a great multitude of men, and then was
+done another great feat of arms. At the same time Niccolo Piccinino
+urged forward the remnant of his men, who once more made ours give
+way; and if it had not been that the Patriarch set himself at their
+head and, by his words and deeds controlled the captains, our
+soldiers would have taken to flight. The Patriarch had some
+artillery placed on the hill and with these he dispersed the enemy's
+infantry; and the disorder was so complete that Niccolo began to
+call back his son and all his men, and they took to flight towards
+Borgo. And then began a great slaughter of men; none escaped but the
+foremost of those who had fled or who hid themselves. The battle
+continued until sunset, when the Patriarch gave his mind to
+recalling his men and burying the dead, and afterwards a trophy was
+erected.
+
+[Footnote: 669. This passage does not seem to me to be in Leonardo's
+hand, though it has hitherto been generally accepted as genuine. Not
+only is the writing unlike his, but the spelling also is quite
+different. I would suggest that this passage is a description of the
+events of the battle drawn up for the Painter by order of the
+Signoria, perhaps by some historian commissioned by them, to serve
+as a scheme or programme of the work. The whole tenor of the style
+seems to me to argue in favour of this theory; and besides, it would
+be in no way surprising that such a document should have been
+preserved among Leonardo's autographs.]
+
+Allegorical representations referring to the duke of Milan
+(670-673).
+
+670.
+
+Ermine with blood Galeazzo, between calm weather and a
+representation of a tempest.
+
+[Footnote: 670. Only the beginning of this text is legible; the
+writing is much effaced and the sense is consequently obscure. It
+seems to refer like the following passage to an allegorical
+picture.]
+
+671.
+
+Il Moro with spectacles, and Envy depicted with False Report and
+Justice black for il Moro.
+
+Labour as having a branch of vine [_or_ a screw] in her hand.
+
+672.
+
+Il Moro as representing Good Fortune, with hair, and robes, and his
+hands in front, and Messer Gualtieri taking him by the robes with a
+respectful air from below, having come in from the front [5].
+
+Again, Poverty in a hideous form running behind a youth. Il Moro
+covers him with the skirt of his robe, and with his gilt sceptre he
+threatens the monster.
+
+A plant with its roots in the air to represent one who is at his
+last;--a robe and Favour.
+
+Of tricks [_or_ of magpies] and of burlesque poems [_or_ of
+starlings].
+
+Those who trust themselves to live near him, and who will be a large
+crowd, these shall all die cruel deaths; and fathers and mothers
+together with their families will be devoured and killed by cruel
+creatures.
+
+[Footnote: 1--10 have already been published by _Amoretti_ in
+_Memorie Storiche_ cap. XII. He adds this note with regard to
+Gualtieri: "_A questo M. Gualtieri come ad uomo generoso e benefico
+scrive il Bellincioni un Sonetto (pag, 174) per chiedergli un
+piacere; e 'l Tantio rendendo ragione a Lodovico il Moro, perche
+pubblicasse le Rime del Bellincioni; ci� hammi imposto, gli dice:
+l'humano fidele, prudente e sollicito executore delli tuoi
+comandamenti Gualtero, che fa in tutte le cose ove tu possi far
+utile, ogni studio vi metti._" A somewhat mysterious and evidently
+allegorical composition--a pen and ink drawing--at Windsor, see PL
+LVIII, contains a group of figures in which perhaps the idea is
+worked out which is spoken of in the text, lines 1-5.]
+
+673.
+
+He was blacker than a hornet, his eyes were as red as a burning fire
+and he rode on a tall horse six spans across and more than 20 long
+with six giants tied up to his saddle-bow and one in his hand which
+he gnawed with his teeth. And behind him came boars with tusks
+sticking out of their mouths, perhaps ten spans.
+
+Allegorical representations (674--678).
+
+674.
+
+Above the helmet place a half globe, which is to signify our
+hemisphere, in the form of a world; on which let there be a peacock,
+richly decorated, and with his tail spread over the group; and every
+ornament belonging to the horse should be of peacock's feathers on a
+gold ground, to signify the beauty which comes of the grace bestowed
+on him who is a good servant.
+
+On the shield a large mirror to signify that he who truly desires
+favour must be mirrored in his virtues.
+
+On the opposite side will be represented Fortitude, in like manner
+in her place with her pillar in her hand, robed in white, to signify
+... And all crowned; and Prudence with 3 eyes. The housing of the
+horse should be of plain cloth of gold closely sprinkled with
+peacock's eyes, and this holds good for all the housings of the
+horse, and the man's dress. And the man's crest and his neck-chain
+are of peacock's feathers on golden ground.
+
+On the left side will be a wheel, the centre of which should be
+attached to the centre of the horse's hinder thigh piece, and in the
+centre Prudence is seen robed in red, Charity sitting in a fiery
+chariot and with a branch of laurel in her hand, to signify the hope
+which comes of good service.
+
+[21] Messer Antonio Grimani of Venice companion of Antonio Maria
+[23].
+
+[Footnote: _Messer Antonio Gri_. His name thus abbreviated is, there
+can be no doubt, Grimani. Antonio Grimani was the famous Doge who in
+1499 commanded the Venetian fleet in battle against the Turks. But
+after the abortive conclusion of the expedition--Ludovico being the
+ally of the Turks who took possession of Friuli--, Grimani was driven
+into exile; he went to live at Rome with his son Cardinal Domenico
+Grimani. On being recalled to Venice he filled the office of Doge
+from 1521 to 1523. _Antonio Maria_ probably means Antonio Maria
+Grimani, the Patriarch of Aquileia.]
+
+675.
+
+Fame should be depicted as covered all over with tongues instead of
+feathers, and in the figure of a bird.
+
+676.
+
+Pleasure and Pain represent as twins, since there never is one
+without the other; and as if they were united back to back, since
+they are contrary to each other.
+
+[6] Clay, gold.
+
+[Footnote: 7. _oro. fango_: gold, clay. These words stand below the
+allegorical figure.]
+
+If you take Pleasure know that he has behind him one who will deal
+you Tribulation and Repentance.
+
+[9] This represents Pleasure together with Pain, and show them as
+twins because one is never apart from the other. They are back to
+back because they are opposed to each other; and they exist as
+contraries in the same body, because they have the same basis,
+inasmuch as the origin of pleasure is labour and pain, and the
+various forms of evil pleasure are the origin of pain. Therefore it
+is here represented with a reed in his right hand which is useless
+and without strength, and the wounds it inflicts are poisoned. In
+Tuscany they are put to support beds, to signify that it is here
+that vain dreams come, and here a great part of life is consumed. It
+is here that much precious time is wasted, that is, in the morning,
+when the mind is composed and rested, and the body is made fit to
+begin new labours; there again many vain pleasures are enjoyed; both
+by the mind in imagining impossible things, and by the body in
+taking those pleasures that are often the cause of the failing of
+life. And for these reasons the reed is held as their support.
+
+[Footnote: 676. The pen and ink drawing on PI. LIX belongs to this
+passage.]
+
+[Footnote: 8. _tribolatione_. In the drawing caltrops may be seen
+lying in the old man's right hand, others are falling and others
+again are shewn on the ground. Similar caltrops are drawn in MS.
+Tri. p. 98 and underneath them, as well as on page 96 the words
+_triboli di ferro_ are written. From the accompanying text it
+appears that they were intended to be scattered on the ground at the
+bottom of ditches to hinder the advance of the enemy. Count Giulio
+Porro who published a short account of the Trivulzio MS. in the
+"_Archivio Storico Lombardo_", Anno VIII part IV (Dec. 31, 1881) has
+this note on the passages treating of "_triboli_": "_E qui
+aggiunger� che anni sono quando venne fabbricata la nuova
+cavallerizza presso il castello di Milano, ne furono trovati due che
+io ho veduto ed erano precisamente quali si trovano descritti e
+disegnati da Leonardo in questo codice_".
+
+There can therefore be no doubt that this means of defence was in
+general use, whether it were originally Leonardo's invention or not.
+The play on the word "_tribolatione_", as it occurs in the drawing
+at Oxford, must then have been quite intelligible.]
+
+[Footnote: 9--22. These lines, in the original, are written on the
+left side of the page and refer to the figure shown on PI. LXI. Next
+to it is placed the group of three figures given in PI. LX No. I.
+Lines 21 and 22, which are written under it, are the only
+explanation given.]
+
+Evil-thinking is either Envy or Ingratitude.
+
+677.
+
+Envy must be represented with a contemptuous motion of the hand
+towards heaven, because if she could she would use her strength
+against God; make her with her face covered by a mask of fair
+seeming; show her as wounded in the eye by a palm branch and by an
+olive-branch, and wounded in the ear by laurel and myrtle, to
+signify that victory and truth are odious to her. Many thunderbolts
+should proceed from her to signify her evil speaking. Let her be
+lean and haggard because she is in perpetual torment. Make her heart
+gnawed by a swelling serpent, and make her with a quiver with
+tongues serving as arrows, because she often offends with it. Give
+her a leopard's skin, because this creature kills the lion out of
+envy and by deceit. Give her too a vase in her hand full of flowers
+and scorpions and toads and other venomous creatures; make her ride
+upon death, because Envy, never dying, never tires of ruling. Make
+her bridle, and load her with divers kinds of arms because all her
+weapons are deadly.
+
+Toleration.
+
+Intolerable.
+
+No sooner is Virtue born than Envy comes into the world to attack
+it; and sooner will there be a body without a shadow than Virtue
+without Envy.
+
+[Footnote: The larger of the two drawings on PI. LXI is explained by
+the first 21 lines of this passage. L. 22 and 23, which are written
+above the space between the two drawings, do not seem to have any
+reference to either. L. 24-27 are below the allegorical twin figure
+which they serve to explain.]
+
+678.
+
+When Pluto's Paradise is opened, then there may be devils placed in
+twelve pots like openings into hell. Here will be Death, the Furies,
+ashes, many naked children weeping; living fires made of various
+colours....
+
+679.
+
+  John the Baptist
+  Saint Augustin
+  Saint Peter
+  Paul
+  Elisabeth
+  Saint Clara.
+  Bernardino
+  Our Lady  Louis
+  Bonaventura
+  Anthony of Padua.
+  Saint Francis.
+  Francis,
+  Anthony, a lily and book;
+  Bernardino with the [monogram of] Jesus,
+  Louis with 3 fleur de lys on his breast and
+              the crown at his feet,
+  Bonaventura with Seraphim,
+  Saint Clara with the tabernacle,
+  Elisabeth with a Queen's crown.
+
+[Footnote: 679. The text of the first six lines is written within a
+square space of the same size as the copy here given. The names are
+written in the margin following the order in which they are here
+printed. In lines 7--12 the names of those saints are repeated of
+whom it seemed necessary to point out the emblems.]
+
+List of drawings.
+
+680.
+
+  A head, full face, of a young man
+  with fine flowing hair,
+  Many flowers drawn from nature,
+  A head, full face, with curly hair,
+  Certain figures of Saint Jerome,
+  [6] The measurements of a figure,
+  Drawings of furnaces.
+  A head of the Duke,
+  [9] many designs for knots,
+  4 studies for the panel of Saint Angelo
+  A small composition of Girolamo da Fegline,
+  A head of Christ done with the pen,
+  [13] 8 Saint Sebastians,
+  Several compositions of Angels,
+  A chalcedony,
+  A head in profile with fine hair,
+  Some pitchers seen in(?) perspective,
+  Some machines for ships,
+  Some machines for waterworks,
+  A head, a portrait of Atalanta raising her
+  face;
+  The head of Geronimo da Fegline,
+  The head of Gian Francisco Borso,
+  Several throats of old women,
+  Several heads of old men,
+  Several nude figures, complete,
+  Several arms, eyes, feet, and positions,
+  A Madonna, finished,
+  Another, nearly in profile,
+  Head of Our Lady ascending into Heaven,
+  A head of an old man with long chin,
+  A head of a gypsy girl,
+  A head with a hat on,
+  A representation of the Passion, a cast,
+  A head of a girl with her hair gathered in a knot,
+  A head, with the brown hair dressed.
+
+[Footnote: 680. This has already been published by AMORETTI _Memorie
+storiche_ cap. XVI. His reading varies somewhat from that here
+given, _e. g._ l. 5 and 6. _Certi Sangirolami in su d'una figura_;
+and instead of I. 13. _Un San Bastiano_.]
+
+[Footnote: 680. 9. _Molti disegni di gruppi_. VASARI in his life of
+Leonardo (IV, 21, ed. MILANESI 1880) says: "_Oltrech� perse tempo
+fino a disegnare_ gruppi _di corde fatti con ordine, e che da un
+capo seguissi tutto il resto fino all' altro, tanto che s'empiessi
+un tondo; che se ne vede in istampa uno difficilissimo e molto
+bello, e nel mezzo vi sono queste parole: Leonardus Vinci
+Accademia_". _Gruppi_ must here be understood as a technical
+expression for those twisted ornaments which are well known through
+wood cuts. AMORETTI mentions six different ones in the Ambrosian
+Library. I am indebted to M. DELABORDE for kindly informing me that
+the original blocks of these are preserved in his department in the
+Biblioth�que Nationale in Paris. On the cover of these volumes is a
+copy from one of them. The size of the original is 23 1/2
+centimetres by 26 1/4. The centre portion of another is given on p.
+361. G. Govi remarks on these ornaments (_Saggio_ p. 22): "_Codesti
+gruppi eran probabilmente destinati a servir di modello a ferri da
+rilegatori per adornar le cartelle degli scolari (?). Fregi
+somigliantissimi a questi troviamo infatti impressi in oro sui
+cartoni di vari volumi contemporanei, e li vediam pur figurare nelle
+lettere iniziali di alcune edizioni del tempo._"
+
+D�rer who copied them, omitting the inscription, added to the second
+impressions his own monogram. In his diary he designates them simply
+as "_Die sechs Knoten_" (see THAUSING, Life of A. D�rer I, 362,
+363). In Leonardo's MSS. we find here and there little sketches or
+suggestions for similar ornaments. Compare too G. MONGERI, _L'Arte
+in Milano_, p. 315 where an ornament of the same character is given
+from the old decorations of the vaulted ceiling of the Sacristy of
+S. Maria delle Grazie.]
+
+[Footnote: 680, 17. The meaning in which the word _coppi_, literally
+pitchers, is here used I am unable to determine; but a change to
+_copie_ seems to me too doubtful to be risked.]
+
+681.
+
+  Stubborn rigour.
+  Doomed rigour.
+
+[Footnote: See PI. LXII, No. 2, the two upper pen and ink drawings.
+The originals, in the Windsor collection are slightly washed with
+colour. The background is blue sky; the plough and the instrument
+with the compass are reddish brown, the sun is tinted yellow].
+
+682.
+
+  Obstacles cannot crush me
+  Every obstacle yields to stern resolve
+  He who is fixed to a star does not change
+  his mind.
+
+[Footnote: This text is written to elucidate two sketches which were
+obviously the first sketches for the drawings reproduced on PL LXII,
+No. 2.]
+
+683.
+
+Ivy is [a type] of longevity.
+
+[Footnote: In the original there is, near this text, a sketch of a
+coat wreathed above the waist with ivy.]
+
+684.
+
+  Truth      the sun.
+  falsehood   a mask.
+  innocence,
+  malignity.
+
+  Fire destroys falsehood,
+  that is sophistry, and
+  restores truth, driving out
+  darkness.
+
+  Fire may be represented as the destroy of
+  all sophistry, and as the
+  image and demonstration of truth;
+  because it is light and drives
+  out darkness which conceals
+  all essences [or subtle things].
+
+[Footnote: See PI. LXIII. L. 1-8 are in the middle of the page; 1.
+9-14 to the right below; 1. 15-22 below in the middle column. The
+rest of the text is below the sketches on the left. There are some
+other passages on this page relating to geometry.]
+
+TRUTH.
+
+  Fire destroys all sophistry, that is deceit;
+  and maintains truth alone, that is gold.
+
+  Truth at last cannot be hidden.
+  Dissimulation  is of no avail. Dissimulation is
+  to no purpose before
+  so great a judge.
+  Falsehood puts on a mask.
+  Nothing is hidden under the sun.
+
+  Fire is to represent truth because it
+  destroys all sophistry and lies; and the
+  mask is for lying and falsehood
+  which conceal truth.
+
+685.
+
+  Movement will cease before we are
+  weary
+  of being useful.
+
+  Movement will fail sooner than usefulness.
+  Death sooner than        I am never weary   of
+  weariness.               being useful,
+  In serving others I      is a motto for carnval.
+  cannot do enough.        Without fatigue.
+
+  No labour is
+  sufficient to tire me.
+
+  Hands into which
+  ducats and precious
+  stones fall like snow; they
+  never become tired by serving,
+  but this  service is only for its
+  utility and not for our      I am never weary
+  own benefit.                 of being useful.
+
+  Naturally
+  nature has so disposed me.
+
+686.
+
+  This shall be placed in the
+  hand of Ingratitude.
+  Wood nourishes the fire that
+  consumes it.
+
+687.
+
+TO REPRESENT INGRATITUDE.
+
+  When the sun appears
+  which dispels darkness in
+  general, you put out the
+  light which dispelled it
+  for you in particular
+  for your need and convenience.
+
+688.
+
+  On this side Adam and Eve on the other;
+  O misery of mankind, of how many things do
+  you make yourself the slave for money!
+
+[Footnote: See PI. LXIV. The figures of Adam and Eve in the clouds
+here alluded to would seem to symbolise their superiority to all
+earthly needs.]
+
+689.
+
+Thus are base unions sundered.
+
+[Footnote: A much blurred sketch is on the page by this text. It
+seems to represent an unravelled plait or tissue.]
+
+690.
+
+  Constancy does not begin, but is that
+  which perseveres.
+
+[Footnote: A drawing in red chalk, also rubbed, which stands in the
+original in the middle of this text, seems to me to be intended for
+a sword hilt, held in a fist.]
+
+691.
+
+  Love, Fear, and Esteem,--
+  Write these on three stones. Of servants.
+
+692.
+
+Prudence Strength.
+
+693.
+
+  Fame alone raises herself to Heaven,
+  because virtuous things are in favour with God.
+
+  Disgrace should be represented upside
+  down, because all her deeds are contrary to
+  God and tend to hell.
+
+694.
+
+Short liberty.
+
+695.
+
+  Nothing is so much to be feared as Evil
+  Report.
+  This Evil Report is born of life.
+
+696.
+
+Not to disobey.
+
+697.
+
+  A felled tree which is shooting
+  again.
+
+  I am still hopeful.
+  A falcon,
+  Time.
+
+[Footnote: I. _Albero tagliato_. This emblem was displayed during
+the Carnival at Florence in 1513. See VASARI VI, 251, ed. MILANESI
+1881. But the coincidence is probably accidental.]
+
+698.
+
+  Truth here makes Falsehood torment
+  lying tongues.
+
+699.
+
+  Such as harm is when it hurts me not,
+  is good which avails me not.
+
+[Footnote: See PI. LX, No. 2. Compare this sketch with that on PI.
+LXII, No. 2. Below the two lines of the text there are two more
+lines: _li g�chi (giunchi) che rit�g� le paglucole (pagliucole)
+chelli (che li) anniegano_.]
+
+700.
+
+He who offends others, does not secure himself.
+
+[Footnote: See PI. LX, No. 3.]
+
+701.
+
+Ingratitude.
+
+[Footnote: See PI. LX, No. 4. Below the bottom sketches are the
+unintelligible words "_sta stilli_." For "_Ingratitudo_" compare
+also Nos. 686 and 687.]
+
+702.
+
+One's thoughts turn towards Hope.
+
+[Footnote: 702. By the side of this passage is a sketch of
+a cage with a bird sitting in it.]
+
+Ornaments and Decorations for feasts (703-705).
+
+703.
+
+A bird, for a comedy.
+
+[Footnote: The biographies say so much, and the author's notes say
+so little of the invention attributed to Leonardo of making
+artificial birds fly through the air, that the text here given is of
+exceptional interest from being accompanied by a sketch. It is a
+very slight drawing of a bird with outspread wings, which appears to
+be sliding down a stretched string. Leonardo's flying machines and
+his studies of the flight of birds will be referred to later.]
+
+704.
+
+A DRESS FOR THE CARNIVAL.
+
+To make a beautiful dress cut it in thin cloth and give it an
+odoriferous varnish, made of oil of turpentine and of varnish in
+grain, with a pierced stencil, which must be wetted, that it may not
+stick to the cloth; and this stencil may be made in a pattern of
+knots which afterwards may be filled up with black and the ground
+with white millet.[Footnote 7: The grains of black and white millet
+would stick to the varnish and look like embroidery.]
+
+[Footnote: Ser Giuliano, da Vinci the painter's brother, had been
+commissioned, with some others, to order and to execute the garments
+of the Allegorical figures for the Carnival at Florence in 1515--16;
+VASARI however is incorrect in saying of the Florentine Carnival of
+1513: "_equelli che feciono ed ordinarono gli abiti delle figure
+furono Ser Piero da Vinci, padre di Lonardo, e Bernardino di
+Giordano, bellissimi ingegni_" (See MILANESI'S ed. Voi. VI, pg.
+251.)]
+
+705.
+
+Snow taken from the high peaks of mountains might be carried to hot
+places and let to fall at festivals in open places at summer time.
+
+
+
+*** End of Volume 1 
+
+
+The Notebooks of Leonardo Da Vinci
+
+Volume 2
+
+Translated by Jean Paul Richter
+
+1888
+
+
+
+
+
+
+
+XI. 
+
+The notes on Sculpture. 
+
+Compared with the mass of manuscript treating of Painting, a very
+small number of passages bearing on the practice and methods of
+Sculpture are to be found scattered through the note books; these
+are here given at the beginning of this section (Nos. 706-709).
+There is less cause for surprise at finding that the equestrian
+statue of Francesco Sforza is only incidentally spoken of; for,
+although Leonardo must have worked at it for a long succession of
+years, it is not in the nature of the case that it could have given
+rise to much writing. We may therefore regard it as particularly
+fortunate that no fewer than thirteen notes in the master's
+handwriting can be brought together, which seem to throw light on
+the mysterious history of this famous work. Until now writers on
+Leonardo were acquainted only with the passages numbered 712, 719,
+720, 722 and 723. 
+
+In arranging these notes on sculpture I have given the precedence to
+those which treat of the casting of the monument, not merely because
+they are the fullest, but more especially with a view to
+reconstructing the monument, an achievement which really almost lies
+within our reach by combining and comparing the whole of the
+materials now brought to light, alike in notes and in sketches. 
+
+A good deal of the first two passages, Nos. 710 and 711, which refer
+to this subject seems obscure and incomprehensible; still, they
+supplement each other and one contributes in no small degree to the
+comprehension of the other. A very interesting and instructive
+commentary on these passages may be found in the fourth chapter of
+Vasari's Introduzione della Scultura under the title "Come si fanno
+i modelli per fare di bronzo le figure grandi e picciole, e come le
+forme per buttarle; come si armino di ferri, e come si gettino di
+metallo," &c. Among the drawings of models of the moulds for casting
+we find only one which seems to represent the horse in the act of
+galloping--No. 713. All the other designs show the horse as pacing
+quietly and as these studies of the horse are accompanied by copious
+notes as to the method of casting, the question as to the position
+of the horse in the model finally selected, seems to be decided by
+preponderating evidence. "Il cavallo dello Sforza"--C. Boito remarks
+very appositely in the Saggio on page 26, "doveva sembrare fratello
+al cavallo del Colleoni. E si direbbe che questo fosse figlio del
+cavallo del Gattamelata, il quale pare figlio di uno dei quattro
+cavalli che stavano forse sull' Arco di Nerone in Roma" (now at
+Venice). The publication of the Saggio also contains the
+reproduction of a drawing in red chalk, representing a horse walking
+to the left and supported by a scaffolding, given here on Pl. LXXVI,
+No. 1. It must remain uncertain whether this represents the model as
+it stood during the preparations for casting it, or whether--as
+seems to me highly improbable--this sketch shows the model as it was
+exhibited in 1493 on the Piazza del Castello in Milan under a
+triumphal arch, on the occasion of the marriage of the Emperor
+Maximilian to Bianca Maria Sforza. The only important point here is
+to prove that strong evidence seems to show that, of the numerous
+studies for the equestrian statue, only those which represent the
+horse pacing agree with the schemes of the final plans. 
+
+The second group of preparatory sketches, representing the horse as
+galloping, must therefore be considered separately, a distinction
+which, in recapitulating the history of the origin of the monument
+seems justified by the note given under No. 720. 
+
+Galeazza Maria Sforza was assassinated in 1476 before his scheme for
+erecting a monument to his father Francesco Sforza could be carried
+into effect. In the following year Ludovico il Moro the young
+aspirant to the throne was exiled to Pisa, and only returned to
+Milan in 1479 when he was Lord (Governatore) of the State of Milan,
+in 1480 after the minister Cecco Simonetta had been murdered. It may
+have been soon after this that Ludovico il Moro announced a
+competition for an equestrian statue, and it is tolerably certain
+that Antonio del Pollajuolo took part in it, from this passage in
+Vasari's Life of this artist: "E si trovo, dopo la morte sua, il
+disegno e modello che a Lodovico Sforza egli aveva fatto per la
+statua a cavallo di Francesco Sforza, duca di Milano; il quale
+disegno e nel nostro Libro, in due modi: in uno egli ha sotto
+Verona; nell'altro, egli tutto armato, e sopra un basamento pieno di
+battaglie, fa saltare il cavallo addosso a un armato; ma la cagione
+perche non mettesse questi disegni in opera, non ho gia potuto
+sapere." One of Pollajuolo's drawings, as here described, has lately
+been discovered by Senatore Giovanni Morelli in the Munich
+Pinacothek. Here the profile of the horseman is a portrait of
+Francesco Duke of Milan, and under the horse, who is galloping to
+the left, we see a warrior thrown and lying on the ground; precisely
+the same idea as we find in some of Leonardo's designs for the
+monument, as on Pl. LXVI, LXVII, LXVIII, LXIX and LXXII No. 1; and,
+as it is impossible to explain this remarkable coincidence by
+supposing that either artist borrowed it from the other, we can only
+conclude that in the terms of the competition the subject proposed
+was the Duke on a horse in full gallop, with a fallen foe under its
+hoofs. 
+
+Leonardo may have been in the competition there and then, but the
+means for executing the monument do not seem to have been at once
+forthcoming. It was not perhaps until some years later that Leonardo
+in a letter to the Duke (No. 719) reminded him of the project for
+the monument. Then, after he had obeyed a summons to Milan, the plan
+seems to have been so far modified, perhaps in consequence of a
+remonstrance on the part of the artist, that a pacing horse was
+substituted for one galloping, and it may have been at the same time
+that the colossal dimensions of the statue were first decided on.
+The designs given on Pl. LXX, LXXI, LXXII, 2 and 3, LXXIII and LXXIV
+and on pp. 4 and 24, as well as three sketches on Pl. LXIX may be
+studied with reference to the project in its new form, though it is
+hardly possible to believe that in either of these we see the design
+as it was actually carried out. It is probable that in Milan
+Leonardo worked less on drawings, than in making small models of wax
+and clay as preparatory to his larger model. Among the drawings
+enumerated above, one in black chalk, Pl. LXXIII--the upper sketch
+on the right hand side, reminds us strongly of the antique statue of
+Marcus Aurelius. If, as it would seem, Leonardo had not until then
+visited Rome, he might easily have known this statue from drawings
+by his former master and friend Verrocchio, for Verrocchio had been
+in Rome for a long time between 1470 and 1480. In 1473 Pope Sixtus
+IV had this antique equestrian statue restored and placed on a new
+pedestal in front of the church of San Giovanni in Luterano.
+Leonardo, although he was painting independently as early as in 1472
+is still spoken of as working in Verrocchio's studio in 1477. Two
+years later the Venetian senate decided on erecting an equestrian
+statue to Colleoni; and as Verrocchio, to whom the work was
+entrusted, did not at once move from Florence to Venice--where he
+died in 1488 before the casting was completed--but on the contrary
+remained in Florence for some years, perhaps even till 1485,
+Leonardo probably had the opportunity of seeing all his designs for
+the equestrian statue at Venice and the red chalk drawing on Pl.
+LXXIV may be a reminiscence of it. 
+
+The pen and ink drawing on Pl. LXXII, No. 3, reminds us of
+Donatello's statue of Gattamelata at Padua. However it does not
+appear that Leonardo was ever at Padua before 1499, but we may
+conclude that he took a special interest in this early bronze statue
+and the reports he could procure of it, form an incidental remark
+which is to be found in C. A. 145a; 432a, and which will be given in
+Vol. II under Ricordi or Memoranda. Among the studies--in the widest
+sense of the word--made in preparation statue we may include the
+Anatomy of the Horse which Lomazzo and Vas mention; the most
+important parts of this work still exist in the Queen's Li Windsor.
+It was beyond a doubt compiled by Leonardo when at Milan; only
+interesting records to be found among these designs are reproduced
+in Nos. 716a but it must be pointed out that out of 40 sheets of
+studies of the movements of the belonging to that treatise, a horse
+in full gallop occurs but once. 
+
+If we may trust the account given by Paulus Jovius--about l527--
+Leonardo's horse was represented as "vehementer incitatus et
+anhelatus". Jovius had probably seen the model exhibited at Milan;
+but, need we, in fact, infer from this description that the horse
+was galloping? Compare Vasari's description of the Gattamelata
+monument at Padua: "Egli [Donatello] vi ando ben volentieri, e fece
+il cavallo di bronzo, che e in sulla piazza di Sant Antonio, nel
+quale si dimostra lo sbuffamento ed il fremito del cavallo, ed il
+grande animo e la fierezza vivacissimamente espressa dall'arte nella
+figura che lo cavalca". 
+
+These descriptions, it seems to me, would only serve to mark the
+difference between the work of the middle ages and that of the
+renaissance. 
+
+We learn from a statement of Sabba da Castiglione that, when Milan
+was taken by the French in 1499, the model sustained some injury;
+and this informant, who, however is not invariably trustworthy, adds
+that Leonardo had devoted fully sixteen years to this work (la forma
+del cavallo, intorno a cui Leonardo avea sedici anni continui
+consumati). This often-quoted passage has given ground for an
+assumption, which has no other evidence to support it, that Leonardo
+had lived in Milan ever since 1483. But I believe it is nearer the
+truth to suppose that this author's statement alludes to the fact
+that about sixteen years must have past since the competition in
+which Leonardo had taken part. 
+
+I must in these remarks confine myself strictly to the task in hand
+and give no more of the history of the Sforza monument than is
+needed to explain the texts and drawings I have been able to
+reproduce. In the first place, with regard to the drawings, I may
+observe that they are all, with the following two exceptions, in the
+Queen's Library at Windsor Castle; the red chalk drawing on Pl.
+LXXVI No. 1 is in the MS. C. A. (see No. 7l2) and the fragmentary
+pen and ink drawing on page 4 is in the Ambrosian Library. The
+drawings from Windsor on Pl. LXVI have undergone a trifling
+reduction from the size of the originals. 
+
+There can no longer be the slightest doubt that the well-known
+engraving of several horsemen (Passavant, Le Peintre-Graveur, Vol.
+V, p. 181, No. 3) is only a copy after original drawings by
+Leonardo, executed by some unknown engraver; we have only to compare
+the engraving with the facsimiles of drawings on Pl. LXV, No. 2, Pl.
+LXVII, LXVIII and LXIX which, it is quite evident, have served as
+models for the engraver. 
+
+On Pl. LXV No. 1, in the larger sketch to the right hand, only the
+base is distinctly visible, the figure of the horseman is effaced.
+Leonardo evidently found it unsatisfactory and therefore rubbed it
+out. 
+
+The base of the monument--the pedestal for the equestrian statue--is
+repeatedly sketched on a magnificent plan. In the sketch just
+mentioned it has the character of a shrine or aedicula to contain a
+sarcophagus. Captives in chains are here represented on the
+entablature with their backs turned to that portion of the monument
+which more 
+
+strictly constitutes the pedestal of the horse. The lower portion of
+the aedicula is surrounded by columns. In the pen and ink drawing
+Pl. LXVI--the lower drawing on the right hand side--the sarcophagus
+is shown between the columns, and above the entablature is a plinth
+on which the horse stands. But this arrangement perhaps seemed to
+Leonardo to lack solidity, and in the little sketch on the left
+hand, below, the sarcophagus is shown as lying under an arched
+canopy. In this the trophies and the captive warriors are detached
+from the angles. In the first of these two sketches the place for
+the trophies is merely indicated by a few strokes; in the third
+sketch on the left the base is altogether broader, buttresses and
+pinnacles having been added so as to form three niches. The black
+chalk drawing on Pl. LXVIII shows a base in which the angles are
+formed by niches with pilasters. In the little sketch to the extreme
+left on Pl. LXV, No. 1, the equestrian statue serves to crown a
+circular temple somewhat resembling Bramante's tempietto of San
+Pietro in Montario at Rome, while the sketch above to the right
+displays an arrangement faintly reminding us of the tomb of the
+Scaligers in Verona. The base is thus constructed of two platforms
+or slabs, the upper one considerably smaller than the lower one
+which is supported on flying buttresses with pinnacles. 
+
+On looking over the numerous studies in which the horse is not
+galloping but merely walking forward, we find only one drawing for
+the pedestal, and this, to accord with the altered character of the
+statue, is quieter and simpler in style (Pl. LXXIV). It rises almost
+vertically from the ground and is exactly as long as the pacing
+horse. The whole base is here arranged either as an independent
+baldaquin or else as a projecting canopy over a recess in which the
+figure of the deceased Duke is seen lying on his sarcophagus; in the
+latter case it was probably intended as a tomb inside a church.
+Here, too, it was intended to fill the angles with trophies or
+captive warriors. Probably only No. 724 in the text refers to the
+work for the base of the monument. 
+
+If we compare the last mentioned sketch with the description of a
+plan for an equestrian monument to Gian Giacomo Trivulzio (No. 725)
+it seems by no means impossible that this drawing is a preparatory
+study for the very monument concerning which the manuscript gives us
+detailed information. We have no historical record regarding this
+sketch nor do the archives in the Trivulzio Palace give us any
+information. The simple monument to the great general in San Nazaro
+Maggiore in Milan consists merely of a sarcophagus placed in recess
+high on the wall of an octagonal chapel. The figure of the warrior
+is lying on the sarcophagus, on which his name is inscribed; a piece
+of sculpture which is certainly not Leonardo's work. Gian Giacomo
+Trivulzio died at Chartres in 1518, only five months before
+Leonardo, and it seems to me highly improbable that this should have
+been the date of this sketch; under these circumstances it would
+have been done under the auspices of Francis I, but the Italian
+general was certainly not in favour with the French monarch at the
+time. Gian Giacomo Trivulzio was a sworn foe to Ludovico il Moro,
+whom he strove for years to overthrow. On the 6th September 1499 he
+marched victorious into Milan at the head of a French army. In a
+short time, however, he was forced to quit Milan again when Ludovico
+il Moro bore down upon the city with a force of Swiss troops. On the
+15th of April following, after defeating Lodovico at Novara,
+Trivulzio once more entered Milan as a Conqueror, but his hopes of
+becoming _Governatore_ of the place were soon wrecked by intrigue.
+This victory and triumph, historians tell us, were signalised by
+acts of vengeance against the dethroned Sforza, and it might have
+been particularly flattering to him that the casting and
+construction of the Sforza monument were suspended for the time. 
+
+It must have been at this moment--as it seems to me--that he
+commissioned the artist to prepare designs for his own monument,
+which he probably intended should find a place in the Cathedral or
+in some other church. He, the husband of Margherita di Nicolino
+Colleoni, would have thought that he had a claim to the same
+distinction and public homage as his less illustrious connection had
+received at the hands of the Venetian republic. It was at this very
+time that Trivulzio had a medal struck with a bust portrait of
+himself and the following remarkable inscription on the reverse:_
+DEO FAVENTE--1499--DICTVS--10--IA--EXPVLIT--LVDOVICV--SF--
+(Sfortiam) DVC-- (ducem) MLI (Mediolani)--NOIE
+(nomine)--REGIS--FRANCORVM--EODEM--ANN --(anno) RED'T (redit)--LVS
+(Ludovicus)--SVPERATVS ET CAPTVS--EST--AB--EO. _In the Library of
+the Palazzo Trivulzio there is a MS. of Callimachus Siculus written
+at the end of the XVth or beginning of the XVIth century. At the
+beginning of this MS. there is an exquisite illuminated miniature of
+an equestrian statue with the name of the general on the base; it is
+however very doubtful whether this has any connection with
+Leonardo's design. 
+
+Nos. 731-740, which treat of casting bronze, have probably a very
+indirect bearing on the arrangements made for casting the equestrian
+statue of Francesco Sforza. Some portions evidently relate to the
+casting of cannon. Still, in our researches about Leonardo's work on
+the monument, we may refer to them as giving us some clue to the
+process of bronze casting at that period. 
+
+Some practical hints (706-709). 
+
+7O6. 
+
+OF A STATUE. 
+
+If you wish to make a figure in marble, first make one of clay, and
+when you have finished it, let it dry and place it in a case which
+should be large enough, after the figure is taken out of it, to
+receive also the marble, from which you intend to reveal the figure
+in imitation of the one in clay. After you have put the clay figure
+into this said case, have little rods which will exactly slip in to
+the holes in it, and thrust them so far in at each hole that each
+white rod may touch the figure in different parts of it. And colour
+the portion of the rod that remains outside black, and mark each rod
+and each hole with a countersign so that each may fit into its
+place. Then take the clay figure out of this case and put in your
+piece of marble, taking off so much of the marble that all your rods
+may be hidden in the holes as far as their marks; and to be the
+better able to do this, make the case so that it can be lifted up;
+but the bottom of it will always remain under the marble and in this
+way it can be lifted with tools with great ease. 
+
+707. 
+
+Some have erred in teaching sculptors to measure the limbs of their
+figures with threads as if they thought that these limbs were
+equally round in every part where these threads were wound about
+them. 
+
+708. 
+
+MEASUREMENT AND DIVISION OF A STATUE. 
+
+Divide the head into 12 degrees, and each degree divide into 12
+points, and each point into 12 minutes, and the minutes into minims
+and the minims into semi minims. 
+
+Degree--point--minute--minim. 
+
+709. 
+
+Sculptured figures which appear in motion, will, in their standing
+position, actually look as if they were falling forward. 
+
+[Footnote: _figure di rilievo_. Leonardo applies this term
+exclusively to wholly detached figures, especially to those standing
+free. This note apparently refers to some particular case, though we
+have no knowledge of what that may have been. If we suppose it to
+refer to the first model of the equestrian statue of Francesco
+Sforza (see the introduction to the notes on Sculpture) this
+observation may be regarded as one of his arguments for abandoning
+the first scheme of the Sforza Monument, in which the horse was to
+be galloping (see page 2). It is also in favour of this theory that
+the note is written in a manuscript volume already completed in
+1492. Leonardo's opinions as to the shortcomings of plastic works
+when compared with paintings are given under No. 655 and 656.] 
+
+Notes on the casting of the Sforza monument (710-715). 
+
+710. 
+
+Three braces which bind the mould. 
+
+[If you want to make simple casts quickly, make them in a box of
+river sand wetted with vinegar.] 
+
+[When you shall have made the mould upon the horse you must make the
+thickness of the metal in clay.] 
+
+Observe in alloying how many hours are wanted for each
+hundredweight. [In casting each one keep the furnace and its fire
+well stopped up.] [Let the inside of all the moulds be wetted with
+linseed oil or oil of turpentine, and then take a handful of
+powdered borax and Greek pitch with aqua vitae, and pitch the mould
+over outside so that being under ground the damp may not [damage
+it?] 
+
+[To manage the large mould make a model of the small mould, make a
+small room in proportion.] 
+
+[Make the vents in the mould while it is on the horse.] 
+
+Hold the hoofs in the tongs, and cast them with fish glue. Weigh the
+parts of the mould and the quantity of metal it will take to fill
+them, and give so much to the furnace that it may afford to each
+part its amount of metal; and this you may know by weighing the clay
+of each part of the mould to which the quantity in the furnace must
+correspond. And this is done in order that the furnace for the legs
+when filled may not have to furnish metal from the legs to help out
+the head, which would be impossible. [Cast at the same casting as
+the horse the little door] 
+
+[Footnote: The importance of the notes included under this number is
+not diminished by the fact that they have been lightly crossed out
+with red chalk. Possibly they were the first scheme for some fuller
+observations which no longer exist; or perhaps they were crossed out
+when Leonardo found himself obliged to give up the idea of casting
+the equestrian statue. In the original the first two sketches are
+above l. 1, and the third below l. 9.] 
+
+711. 
+
+THE MOULD FOR THE HORSE. 
+
+Make the horse on legs of iron, strong and well set on a good
+foundation; then grease it and cover it with a coating, leaving each
+coat to dry thoroughly layer by layer; and this will thicken it by
+the breadth of three fingers. Now fix and bind it with iron as may
+be necessary. Moreover take off the mould and then make the
+thickness. Then fill the mould by degrees and make it good
+throughout; encircle and bind it with its irons and bake it inside
+where it has to touch the bronze. 
+
+OF MAKING THE MOULD IN PIECES. 
+
+Draw upon the horse, when finished, all the pieces of the mould with
+which you wish to cover the horse, and in laying on the clay cut it
+in every piece, so that when the mould is finished you can take it
+off, and then recompose it in its former position with its joins, by
+the countersigns. 
+
+The square blocks _a b_ will be between the cover and the core, that
+is in the hollow where the melted bronze is to be; and these square
+blocks of bronze will support the intervals between the mould and
+the cover at an equal distance, and for this reason these squares
+are of great importance. 
+
+The clay should be mixed with sand. 
+
+Take wax, to return [what is not used] and to pay for what is used. 
+
+Dry it in layers. 
+
+Make the outside mould of plaster, to save time in drying and the
+expense in wood; and with this plaster enclose the irons [props]
+both outside and inside to a thickness of two fingers; make terra
+cotta. And this mould can be made in one day; half a boat load of
+plaster will serve you. 
+
+Good. 
+
+Dam it up again with glue and clay, or white of egg, and bricks and
+rubbish. 
+
+[Footnote: See Pl. LXXV. The figure "40," close to the sketch in the
+middle of the page between lines 16 and 17 has been added by a
+collector's hand. 
+
+In the original, below line 21, a square piece of the page has been
+cut out about 9 centimetres by 7 and a blank piece has been gummed
+into the place. 
+
+Lines 22-24 are written on the margin. l. 27 and 28 are close to the
+second marginal sketch. l. 42 is a note written above the third
+marginal sketch and on the back of this sheet is the text given as
+No. 642. Compare also No. 802.] 
+
+712. 
+
+All the heads of the large nails. 
+
+[Footnote: See Pl. LXXVI, No. i. This drawing has already been
+published in the "_Saggio delle Opere di L. da Vinci_." Milano 1872,
+Pl. XXIV, No. i. But, for various reasons I cannot regard the
+editor's suggestions as satisfactory. He says: "_Veggonsi le
+armature di legname colle quali forse venne sostenuto il modello,
+quando per le nozze di Bianca Maria Sforza con Massimiliano
+imperatore, esso fu collocato sotto un arco trionfale davanti al
+Castello_." 
+
+713. 
+
+These bindings go inside. 
+
+714. 
+
+Salt may be made from human excrements, burnt and calcined, made
+into lees and dried slowly at a fire, and all the excrements produce
+salt in a similar way and these salts when distilled, are very
+strong. 
+
+[Footnote: VASARI repeatedly states, in the fourth chapter of his
+_Introduzione della Scultura_, that in preparing to cast bronze
+statues horse-dung was frequently used by sculptors. If,
+notwithstanding this, it remains doubtful whether I am justified in
+having introduced here this text of but little interest, no such
+doubt can be attached to the sketch which accompanies it.] 
+
+715. 
+
+METHOD OF FOUNDING AGAIN. 
+
+This may be done when the furnace is made [Footnote: this note is
+written below the sketches.] strong and bruised. 
+
+Models for the horse of the Sforza monument (716-718). 
+
+7l6. 
+
+Messer Galeazzo's big genet 
+
+717. 
+
+Messer Galeazzo's Sicilian horse. 
+
+[Footnote: These notes are by the side of a drawing of a horse with
+figured measurements.] 
+
+718. 
+
+Measurement of the Sicilian horse the leg from behind, seen in
+front, lifted and extended. 
+
+[Footnote: There is no sketch belonging to this passage. Galeazze
+here probably means Galeazze di San Severino, the famous captain who
+married Bianca the daughter of Ludovico il Moro.] 
+
+Occasional references to the Sforza monument (719-724). 
+
+719. 
+
+Again, the bronze horse may be taken in hand, which is to be to the
+immortal glory and eternal honour of the happy memory of the prince
+your father, and of the illustrious house of Sforza. 
+
+[Footnote: The letter from which this passage is here extracted will
+be found complete in section XXI. (see the explanation of it, on
+page 2).] 
+
+720. 
+
+On the 23rd of April 1490 I began this book, and recommenced the
+horse. 
+
+721. 
+
+There is to be seen, in the mountains of Parma and Piacenza, a
+multitude of shells and corals full of holes, still sticking to the
+rocks, and when I was at work on the great horse for Milan, a large
+sackful of them, which were found thereabout, was brought to me into
+my workshop, by certain peasants. 
+
+722. 
+
+Believe me, Leonardo the Florentine, who has to do the equestrian
+bronze statue of the Duke Francesco that he does not need to care
+about it, because he has work for all his life time, and, being so
+great a work, I doubt whether he can ever finish it. [Footnote: This
+passage is quoted from a letter to a committee at Piacenza for whom
+Leonardo seems to have undertaken to execute some work. The letter
+is given entire in section XXL; in it Leonardo remonstrates as to
+some unreasonable demands.] 
+
+723. 
+
+Of the horse I will say nothing because I know the times. [Footnote:
+This passage occurs in a rough copy of a letter to Ludovico il Moro,
+without date (see below among the letters).] 
+
+724. 
+
+During ten years the works on the marbles have been going on I will
+not wait for my payment beyond the time, when my works are finished.
+[Footnote: This possibly refers to the works for the pedestal of the
+equestrian statue concerning which we have no farther information in
+the MSS. See p. 6.] 
+
+The project of the Trivulzio monument. 
+
+725. 
+
+THE MONUMENT TO MESSER GIOVANNI JACOMO DA TREVULZO. 
+
+[2] Cost of the making and materials for the horse [5]. 
+
+[Footnote: In the original, lines 2-5, 12-14, 33-35, are written on
+the margin. This passage has been recently published by G. Govi in
+Vol. V, Ser. 3a, of _Transunti, Reale Accademia dei Linea, sed. del
+5 Giugno, 1881,_ with the following introductory note: _"Desidero
+intanto che siano stampati questi pochi frammenti perche so che sono
+stati trascritti ultimamente, e verranno messi in luce tra poco
+fuori d'Italia. Li ripubblichi pure chi vuole, ma si sappia almeno
+che anche tra noi si conoscevano, e s'eran raccolti da anni per
+comporne, quando che fosse, una edizione ordinata degli scritti di
+Leonardo."_ 
+
+The learned editor has left out line 22 and has written 3 _pie_ for
+8 _piedi_ in line 25. There are other deviations of less importance
+from the original.] 
+
+A courser, as large as life, with the rider requires for the cost of
+the metal, duc. 500. 
+
+And for cost of the iron work which is inside the model, and
+charcoal, and wood, and the pit to cast it in, and for binding the
+mould, and including the furnace where it is to be cast ... duc.
+200. 
+
+To make the model in clay and then in wax......... duc. 432. 
+
+To the labourers for polishing it when it is cast. ....... duc. 450.
+
+in all. . duc. 1582. 
+
+[12] Cost of the marble of the monument [14]. 
+
+Cost of the marble according to the drawing. The piece of marble
+under the horse which is 4 braccia long, 2 braccia and 2 inches wide
+and 9 inches thick 58 hundredweight, at 4 Lire and 10 Soldi per
+hundredweight.. duc. 58. 
+
+And for 13 braccia and 6 inches of cornice, 7 in. wide and 4 in.
+thick, 24 hundredweight....... duc. 24. 
+
+And for the frieze and architrave, which is 4 br. and 6 in. long, 2
+br. wide and 6 in. thick, 29 hundredweight., duc. 20. 
+
+And for the capitals made of metal, which are 8, 5 inches in. square
+and 2 in. thick, at the price of 15 ducats each, will come to......
+duc. 122. 
+
+And for 8 columns of 2 br. 7 in., 4 1/2 in. thick, 20 hundredweight
+duc. 20. 
+
+And for 8 bases which are 5 1/2 in. square and 2 in. high 5 hund'..
+duc. 5. 
+
+And for the slab of the tombstone 4 br. io in. long, 2 br. 4 1/2 in.
+wide 36 hundredweight....... duc. 36. 
+
+And for 8 pedestal feet each 8 br. long and 6 1/2 in. wide and 6 1/2
+in. thick, 20 hundredweight come to... duc. 20. 
+
+And for the cornice below which is 4 br. and 10 in. long, and 2 br.
+and 5 in. wide, and 4 in. thick, 32 hund'.. duc. 32. 
+
+And for the stone of which the figure of the deceased is to be made
+which is 3 br. and 8 in. long, and 1 br. and 6 in. wide, and 9 in.
+thick, 30 hund'.. duc. 30. 
+
+And for the stone on which the figure lies which is 3 br. and 4 in.
+long and 1 br. and 2 in., wide and 4 1/2 in. thick duc. 16. 
+
+And for the squares of marble placed between the pedestals which are
+8 and are 9 br. long and 9 in. wide, and 3 in. thick, 8
+hundredweight . . . duc. 8. in all. . duc. 389. 
+
+[33]Cost of the work in marble[35]. 
+
+Round the base on which the horse stands there are 8 figures at 25
+ducats each ............ duc. 200. 
+
+And on the same base there are 8 festoons with some other ornaments,
+and of these there are 4 at the price of 15 ducats each, and 4 at
+the price of 8 ducats each ....... duc. 92. 
+
+And for squaring the stones duc. 6. 
+
+Again, for the large cornice which goes below the base on which the
+horse stands, which is 13 br. and 6 in., at 2 due. per br. ......
+duc. 27. 
+
+And for 12 br. of frieze at 5 due. per br. ........... duc. 60. 
+
+And for 12 br. of architrave at 1 1/2 duc. per br. ....... duc. 18. 
+
+And for 3 rosettes which will be the soffit of the monument, at 20
+ducats each .......... duc. 60. 
+
+And for 8 fluted columns at 8 ducats each ......... duc. 64. 
+
+And for 8 bases at 1 ducat each, duc. 8. 
+
+And for 8 pedestals, of which 4 are at 10 duc. each, which go above
+the angles; and 4 at 6 duc. each .. duc. 64. 
+
+And for squaring and carving the moulding of the pedestals at 2 duc.
+each, and there are 8 .... duc. 16. 
+
+And for 6 square blocks with figures and trophies, at 25 duc. each
+.. duc. 150. 
+
+And for carving the moulding of the stone under the figure of the
+deceased .......... duc. 40. 
+
+For the statue of the deceased, to do it well .......... duc. 100. 
+
+For 6 harpies with candelabra, at 25 ducats each ......... duc. 150.
+
+For squaring the stone on which the statue lies, and carving the
+moulding ............ duc. 20. 
+
+in all .. duc. 1075. 
+
+The sum total of every thing added together amount to ...... duc.
+3046. 
+
+726. 
+
+MINT AT ROME. 
+
+It can also be made without a spring. But the screw above must
+always be joined to the part of the movable sheath: [Margin note:
+The mint of Rome.] [Footnote: See Pl. LXXVI. This passage is taken
+from a note book which can be proved to have been used in Rome.] 
+
+All coins which do not have the rim complete, are not to be accepted
+as good; and to secure the perfection of their rim it is requisite
+that, in the first place, all the coins should be a perfect circle;
+and to do this a coin must before all be made perfect in weight, and
+size, and thickness. Therefore have several plates of metal made of
+the same size and thickness, all drawn through the same gauge so as
+to come out in strips. And out of [24] these strips you will stamp
+the coins, quite round, as sieves are made for sorting chestnuts
+[27]; and these coins can then be stamped in the way indicated
+above; &c. 
+
+[31] The hollow of the die must be uniformly wider than the lower,
+but imperceptibly [35]. 
+
+This cuts the coins perfectly round and of the exact thickness, and
+weight; and saves the man who cuts and weighs, and the man who makes
+the coins round. Hence it passes only through the hands of the
+gauger and of the stamper, and the coins are very superior.
+[Footnote: See Pl. LXXVI No. 2. The text of lines 31-35 stands
+parallel 1. 24-27. 
+
+Farther evidence of Leonardo's occupations and engagements at Rome
+under Pope Leo X. may be gathered from some rough copies of letters
+which will be found in this volume. Hitherto nothing has been known
+of his work in Rome beyond some doubtful, and perhaps mythical,
+statements in Vasari.] 
+
+727. 
+
+POWDER FOR MEDALS. 
+
+The incombustible growth of soot on wicks reduced to powder, burnt
+tin and all the metals, alum, isinglass, smoke from a brass forge,
+each ingredient to be moistened, with aqua vitae or malmsey or
+strong malt vinegar, white wine or distilled extract of turpentine,
+or oil; but there should be little moisture, and cast in moulds.
+[Margin note: On the coining of medals (727. 728).] [Footnote: The
+meaning of _scagliuolo_ in this passage is doubtful.] 
+
+728. 
+
+OF TAKING CASTS OF MEDALS. 
+
+A paste of emery mixed with aqua vitae, or iron filings with
+vinegar, or ashes of walnut leaves, or ashes of straw very finely
+powdered. 
+
+[Footnote: The meaning of _scagliuolo_ in this passage is doubtful.]
+
+The diameter is given in the lead enclosed; it is beaten with a
+hammer and several times extended; the lead is folded and kept
+wrapped up in parchment so that the powder may not be spilt; then
+melt the lead, and the powder will be on the top of the melted lead,
+which must then be rubbed between two plates of steel till it is
+thoroughly pulverised; then wash it with aqua fortis, and the
+blackness of the iron will be dissolved leaving the powder clean. 
+
+Emery in large grains may be broken by putting it on a cloth many
+times doubled, and hit it sideways with the hammer, when it will
+break up; then mix it little by little and it can be founded with
+ease; but if you hold it on the anvil you will never break it, when
+it is large. 
+
+Any one who grinds smalt should do it on plates of tempered steel
+with a cone shaped grinder; then put it in aqua fortis, which melts
+away the steel that may have been worked up and mixed with the
+smalt, and which makes it black; it then remains purified and clean;
+and if you grind it on porphyry the porphyry will work up and mix
+with the smalt and spoil it, and aqua fortis will never remove it
+because it cannot dissolve the porphyry. 
+
+If you want a fine blue colour dissolve the smalt made with tartar,
+and then remove the salt. 
+
+Vitrified brass makes a fine red. 
+
+729. 
+
+STUCCO. 
+
+Place stucco over the prominence of the..... which may be composed
+of Venus and Mercury, and lay it well over that prominence of the
+thickness of the side of a knife, made with the ruler and cover this
+with the bell of a still, and you will have again the moisture with
+which you applied the paste. The rest you may dry [Margin note: On
+stucco (729. 730).] [Footnote: In this passage a few words have been
+written in a sort of cipher--that is to say backwards; as in l. 3
+_erenev_ for _Venere_, l. 4 _oirucrem_ for Mercurio, l. 12 _il
+orreve co ecarob_ for _il everro (?) co borace_. The meaning of the
+word before _"di giesso"_ in l. 1 is unknown; and the sense, in
+which _sagoma_ is used here and in other passages is obscure.--
+_Venere_ and _Mercurio_ may mean 'marble' and 'lime', of which
+stucco is composed. 
+
+12. The meaning of _orreve_ is unknown.] 
+
+well; afterwards fire it, and beat it or burnish it with a good
+burnisher, and make it thick towards the side. 
+
+STUCCO. 
+
+Powder ... with borax and water to a paste, and make stucco of it,
+and then heat it so that it may dry, and then varnish it, with fire,
+so that it shines well. 
+
+730. 
+
+STUCCO FOR MOULDING. 
+
+Take of butter 6 parts, of wax 2 parts, and as much fine flour as
+when put with these 2 things melted, will make them as firm as wax
+or modelling clay. 
+
+GLUE. 
+
+Take mastic, distilled turpentine and white lead. 
+
+On bronze casting generally (731-740). 
+
+731. 
+
+TO CAST. 
+
+Tartar burnt and powdered with plaster and cast cause the plaster to
+hold together when it is mixed up again; and then it will dissolve
+in water. 
+
+732. 
+
+TO CAST BRONZE IN PLASTER. 
+
+Take to every 2 cups of plaster 1 of ox-horns burnt, mix them
+together and make your cast with it. 
+
+733. 
+
+When you want to take a cast in wax, burn the scum with a candle,
+and the cast will come out without bubbles. 
+
+734. 
+
+2 ounces of plaster to a pound of metal;-- walnut, which makes it
+like the curve. 
+
+[Footnote: The second part of this is quite obscure.] 
+
+735. 
+
+[Dried earth 16 pounds, 100 pounds of metal wet clay 20,--of wet
+100,-half,- which increases 4 Ibs. of water,--1 of wax, 1 Ib. of
+metal, a little less,-the scrapings of linen with earth, measure for
+measure.] [Footnote: The translation is given literally, but the
+meaning is quite obscure.] 
+
+736. 
+
+Such as the mould is, so will the cast be. 
+
+737. 
+
+HOW CASTS OUGHT TO BE POLISHED. 
+
+Make a bunch of iron wire as thick as thread, and scrub them with
+[this and] water; hold a bowl underneath that it may not make a mud
+below. 
+
+HOW TO REMOVE THE ROUGH EDGES FROM BRONZE. 
+
+Make an iron rod, after the manner of a large chisel, and with this
+rub over those seams on the bronze which remain on the casts of the
+guns, and which are caused by the joins in the mould; but make the
+tool heavy enough, and let the strokes be long and broad. 
+
+TO FACILITATE MELTING. 
+
+First alloy part of the metal in the crucible, then put it in the
+furnace, and this being in a molten state will assist in beginning
+to melt the copper. 
+
+TO PREVENT THE COPPER COOLING IN THE FURNACE. 
+
+When the copper cools in the furnace, be ready, as soon as you
+perceive it, to cut it with a long stick while it is still in a
+paste; or if it is quite cold cut it as lead is cut with broad and
+large chisels. 
+
+IF YOU HAVE TO MAKE A LARGE CAST. 
+
+If you have to make a cast of a hundred thousand pounds do it with
+two furnaces and with 2000 pounds in each, or as much as 3000 pounds
+at most. 
+
+738. 
+
+HOW TO PROCEED TO BREAK A LARGE MASS OF BRONZE. 
+
+If you want to break up a large mass of bronze, first suspend it,
+and then make round it a wall on the four sides, like a trough of
+bricks, and make a great fire therein. When it is quite red hot give
+it a blow with a heavy weight raised above it, and with great force.
+
+739. 
+
+TO COMBINE LEAD WITH OTHER METAL. 
+
+If you wish for economy in combining lead with the metal in order to
+lessen the amount of tin which is necessary in the metal, first
+alloy the lead with the tin and then add the molten copper. 
+
+How TO MELT [METAL] IN A FURNACE. 
+
+The furnace should be between four well founded pillars. 
+
+OF THE THICKNESS OF THE COATING. 
+
+The coating should not be more than two fingers thick, it should be
+laid on in four thicknesses over fine clay and then well fixed, and
+it should be fired only on the inside and then carefully covered
+with ashes and cow's dung. 
+
+OF THE THICKNESS OF THE GUN. 
+
+The gun being made to carry 600 Ibs. of ball and more, by this rule
+you will take the measure of the diameter of the ball and divide it
+into 6 parts and one of these parts will be its thickness at the
+muzzle; but at the breech it must always be half. And if the ball is
+to be 700 lbs., 1/7th of the diameter of the ball must be its
+thickness in front; and if the ball is to be 800, the eighth of its
+diameter in front; and if 900, 1/8th and 1/2 [3/16], and if 1000,
+1/9th. 
+
+OF THE LENGTH OF THE BODY OF THE GUN. 
+
+If you want it to throw a ball of stone, make the length of the gun
+to be 6, or as much as 7 diameters of the ball; and if the ball is
+to be of iron make it as much as 12 balls, and if the ball is to be
+of lead, make it as much as 18 balls. I mean when the gun is to have
+the mouth fitted to receive 600 lbs. of stone ball, and more. 
+
+OF THE THICKNESS OF SMALL GUNS. 
+
+The thickness at the muzzle of small guns should be from a half to
+one third of the diameter of the ball, and the length from 30 to 36
+balls. 
+
+740. 
+
+OF LUTING THE FURNACE WITHIN. 
+
+The furnace must be luted before you put the metal in it, with earth
+from Valenza, and over that with ashes. 
+
+[Footnote 1. 2.: _Terra di Valenza_.--Valenza is north of
+Alessandria on the Po.] 
+
+OF RESTORING THE METAL WHEN IT IS BECOMING COOL. 
+
+When you see that the bronze is congealing take some willow-wood cut
+in small chips and make up the fire with it. 
+
+THE CAUSE OF ITS CURDLING. 
+
+I say that the cause of this congealing often proceeds from too much
+fire, or from ill-dried wood. 
+
+TO KNOW THE CONDITION OF THE FIRE. 
+
+You may know when the fire is good and fit for your purpose by a
+clear flame, and if you see the tips of the flames dull and ending
+in much smoke do not trust it, and particularly when the flux metal
+is almost fluid. 
+
+OF ALLOYING THE METAL. 
+
+Metal for guns must invariably be made with 6 or even 8 per cent,
+that is 6 of tin to one hundred of copper, for the less you put in,
+the stronger will the gun be. 
+
+WHEN THE TIN SHOULD BE ADDED TO THE COPPER. 
+
+The tin should be put in with the copper when the copper is reduced
+to a fluid. 
+
+HOW TO HASTEN THE MELTING. 
+
+You can hasten the melting when 2/3ds of the copper is fluid; you
+can then, with a stick of chestnut-wood, repeatedly stir what of
+copper remains entire amidst what is melted. 
+
+_Introductory Observations on the Architectural Designs (XII), and
+Writings on Architecture (XIII)._ 
+
+_Until now very little has been known regarding Leonardo's labours
+in the domain of Architecture. No building is known to have been
+planned and executed by him, though by some contemporary writers
+incidental allusion is made to his occupying himself with
+architecture, and his famous letter to Lodovico il Moro,--which has
+long been a well-known document,--in which he offers his service as
+an architect to that prince, tends to confirm the belief that he was
+something more than an amateur of the art. This hypothesis has
+lately been confirmed by the publication of certain documents,
+preserved at Milan, showing that Leonardo was not only employed in
+preparing plans but that he took an active part, with much credit,
+as member of a commission on public buildings; his name remains
+linked with the history of the building of the Cathedral at Pavia
+and that of the Cathedral at Milan._ 
+
+_Leonardo's writings on Architecture are dispersed among a large
+number of MSS., and it would be scarcely possible to master their
+contents without the opportunity of arranging, sorting and comparing
+the whole mass of materials, so as to have some comprehensive idea
+of the whole. The sketches, when isolated and considered by
+themselves, might appear to be of but little value; it is not till
+we understand their general purport, from comparing them with each
+other, that we can form any just estimate of their true worth._ 
+
+_Leonardo seems to have had a project for writing a complete and
+separate treatise on Architecture, such as his predecessors and
+contemporaries had composed--Leon Battista Alberti, Filarete,
+Francesco di Giorgio and perhaps also Bramante. But, on the other
+hand, it cannot be denied that possibly no such scheme was connected
+with the isolated notes and researches, treating on special
+questions, which are given in this work; that he was merely working
+at problems in which, for some reason or other he took a special
+interest._ 
+
+_A great number of important buildings were constructed in Lombardy
+during the period between 1472 and 1499, and among them there are
+several by unknown architects, of so high an artistic merit, that it
+is certainly not improbable that either Bramante or Leonardo da
+Vinci may have been, directly or indirectly, concerned in their
+erection._ 
+
+_Having been engaged, for now nearly twenty years, in a thorough
+study of Bramante's life and labours, I have taken a particular
+interest in detecting the distinguishing marks of his style as
+compared with Leonardo's. In 1869 I made researches about the
+architectural drawings of the latter in the Codex Atlanticus at
+Milan, for the purpose of finding out, if possible the original
+plans and sketches of the churches of Santa Maria delle Grazie at
+Milan, and of the Cathedral at Pavia, which buildings have been
+supposed to be the work both of Bramante and of Leonardo. Since 1876
+I have repeatedly examined Leonardo's architectural studies in the
+collection of his manuscripts in the Institut de France, and some of
+these I have already given to the public in my work on_ "Les Projets
+Primitifs pour la Basilique de St. Pierre de Rome", _P1. 43. In 1879
+I had the opportunity of examining the manuscript in the Palazzo
+Trivulzio at Milan, and in 1880 Dr Richter showed me in London the
+manuscripts in the possession of Lord Ashburnham, and those in the
+British Museum. I have thus had opportunities of seeing most of
+Leonardo's architectural drawings in the original, but of the
+manuscripts tliemselves I have deciphered only the notes which
+accompany the sketches. It is to Dr Richter's exertions that we owe
+the collected texts on Architecture which are now published, and
+while he has undertaken to be responsible for the correct reading of
+the original texts, he has also made it his task to extract the
+whole of the materials from the various MSS. It has been my task to
+arrange and elucidate the texts under the heads which have been
+adopted in this work. MS. B. at Paris and the Codex Atlanticus at
+Milan are the chief sources of our knowledge of Leonardo as an
+architect, and I have recently subjected these to a thorough
+re-investigation expressly with a view to this work._ 
+
+_A complete reproduction of all Leonardo's architectural sketches
+has not, indeed, been possible, but as far as the necessarily
+restricted limits of the work have allowed, the utmost completeness
+has been aimed at, and no efforts have been spared to include every
+thing that can contribute to a knowledge of Leonardo's style. It
+would have been very interesting, if it had been possible, to give
+some general account at least of Leonardo's work and studies in
+engineering, fortification, canal-making and the like, and it is
+only on mature reflection that we have reluctantly abandoned this
+idea. Leonardo's occupations in these departments have by no means
+so close a relation to literary work, in the strict sense of the
+word as we are fairly justified in attributing to his numerous notes
+on Architecture._ 
+
+_Leonardo's architectural studies fall naturally under two heads:_ 
+
+_I. Those drawings and sketches, often accompanied by short remarks
+and explanations, which may be regarded as designs for buildings or
+monuments intended to be built. With these there are occasionally
+explanatory texts._ 
+
+_II. Theoretical investigations and treatises. A special interest
+attaches to these because they discuss a variety of questions which
+are of practical importance to this day. Leonardo's theory as to the
+origin and progress of cracks in buildings is perhaps to be
+considered as unique in its way in the literature of Architecture._ 
+
+_HENRY DE GEYMULLER_ 
+
+_XII._ 
+
+_Architectural Designs._ 
+
+_I. Plans for towns._ 
+
+_A. Sketches for laying out a new town with a double system of high-
+level and low-level road-ways._ 
+
+_Pl. LXXVII, No. 1 (MS. B, 15b). A general view of a town, with the
+roads outside it sloping up to the high-level ways within._ 
+
+_Pl. LXXVII, No. 3 (MS. B, 16b. see No. 741; and MS. B. 15b, see No.
+742) gives a partial view of the town, with its streets and houses,
+with explanatory references._ 
+
+_Pl. LXXVII, No. 2 (MS. B, 15b; see No. 743). View of a double
+staircaise with two opposite flights of steps._ 
+
+_Pl. LXXVIII, Nos. 2 and 3 (MS. B, 37a). Sketches illustrating the
+connection of the two levels of roads by means of steps. The lower
+galleries are lighted by openings in the upper roadway._ 
+
+_B. Notes on removing houses (MS. Br. M., 270b, see No. 744)._ 
+
+741. 
+
+The roads _m_ are 6 braccia higher than the roads _p s_, and each
+road must be 20 braccia wide and have 1/2 braccio slope from the
+sides towards the middle; and in the middle let there be at every
+braccio an opening, one braccio long and one finger wide, where the
+rain water may run off into hollows made on the same level as _p s_.
+And on each side at the extremity of the width of the said road let
+there be an arcade, 6 braccia broad, on columns; and understand that
+he who would go through the whole place by the high level streets
+can use them for this purpose, and he who would go by the low level
+can do the same. By the high streets no vehicles and similar objects
+should circulate, but they are exclusively for the use of gentlemen.
+The carts and burdens for the use and convenience of the inhabitants
+have to go by the low ones. One house must turn its back to the
+other, leaving the lower streets between them. Provisions, such as
+wood, wine and such things are carried in by the doors _n_, and
+privies, stables and other fetid matter must be emptied away
+underground. From one arch to the next 
+
+742. 
+
+must be 300 braccia, each street receiving its light through the
+openings of the upper streets, and at each arch must be a winding
+stair on a circular plan because the corners of square ones are
+always fouled; they must be wide, and at the first vault there must
+be a door entering into public privies and the said stairs lead from
+the upper to the lower streets and the high level streets begin
+outside the city gates and slope up till at these gates they have
+attained the height of 6 braccia. Let such a city be built near the
+sea or a large river in order that the dirt of the city may be
+carried off by the water. 
+
+743. 
+
+The construction of the stairs: The stairs _c d_ go down to _f g_,
+and in the same way _f g_ goes down to _h k_. 
+
+744. 
+
+ON MOVING HOUSES. 
+
+Let the houses be moved and arranged in order; and this will be done
+with facility because such houses are at first made in pieces on the
+open places, and can then be fitted together with their timbers in
+the site where they are to be permanent. 
+
+[9] Let the men of the country [or the village] partly inhabit the
+new houses when the court is absent [12]. 
+
+[Footnote: On the same page we find notes referring to Romolontino
+and Villafranca with a sketch-map of the course of the "Sodro" and
+the "(Lo)cra" (both are given in the text farther on). There can
+hardly be a doubt that the last sentence of the passage given above,
+refers to the court of Francis I. King of France.--L.9-13 are
+written inside the larger sketch, which, in the original, is on the
+right hand side of the page by the side of lines 1-8. The three
+smaller sketches are below. J. P. R.] 
+
+_II. Plans for canals and streets in a town. 
+
+Pl. LXXIX, 1. and 2, (MS. B, 37b, see No. 745, and MS. B. 36a, see
+No. 746). A Plan for streets and canals inside a town, by which the
+cellars of the houses are made accessible in boats. 
+
+The third text given under No. 747 refers to works executed by
+Leonardo in France._ 
+
+745. 
+
+The front _a m_ will give light to the rooms; _a e_ will be 6
+braccia--_a b_ 8 braccia --_b e_ 30 braccia, in order that the rooms
+under the porticoes may be lighted; _c d f_ is the place where the
+boats come to the houses to be unloaded. In order to render this
+arrangement practicable, and in order that the inundation of the
+rivers may not penetrate into the cellars, it is necessary to chose
+an appropriate situation, such as a spot near a river which can be
+diverted into canals in which the level of the water will not vary
+either by inundations or drought. The construction is shown below;
+and make choice of a fine river, which the rains do not render
+muddy, such as the Ticino, the Adda and many others. [Footnote 12:
+_Tesino, Adda e molti altri, i.e._ rivers coming from the mountains
+and flowing through lakes.] The construction to oblige the waters to
+keep constantly at the same level will be a sort of dock, as shown
+below, situated at the entrance of the town; or better still, some
+way within, in order that the enemy may not destroy it [14]. 
+
+[Footnote: L. 1-4 are on the left hand side and within the sketch
+given on Pl. LXXIX, No. I. Then follows after line 14, the drawing
+of a sluicegate--_conca_--of which the use is explained in the text
+below it. On the page 38a, which comes next in the original MS. is
+the sketch of an oval plan of a town over which is written "_modo di
+canali per la citta_" and through the longer axis of it "_canale
+magior_" is written with "_Tesino_" on the prolongation of the
+canal. J. P. R.] 
+
+746. 
+
+Let the width of the streets be equal to the average height of the
+houses. 
+
+747. 
+
+The main underground channel does not receive turbid water, but that
+water runs in the ditches outside the town with four mills at the
+entrance and four at the outlet; and this may be done by damming the
+water above Romorantin. 
+
+[11]There should be fountains made in each piazza[13]. 
+
+[Footnote: In the original this text comes immediately after the
+passage given as No. 744. The remainder of the writing on the same
+page refers to the construction of canals and is given later, in the
+"Topographical Notes". 
+
+Lines 1-11 are written to the right of the plan lines 11-13
+underneath it. J. P. R.] 
+
+[Footnote 10: _Romolontino_ is Romorantin, South of Orleans in
+France.] 
+
+_III. Castles and Villas. 
+
+A. Castles. 
+
+Pl. LXXX, No. 1 (P. V. fol. 39b; No. d'ordre 2282). The fortified
+place here represented is said by Vallardi to be the_ "castello" _at
+Milan, but without any satisfactory reason. The high tower behind
+the_ "rivellino" _ravelin--seems to be intended as a watch-tower. 
+
+Pl. LXXX, No. 2 (MS. B, 23b). A similarly constructed tower probably
+intended for the same use. 
+
+Pl. LXXX, No. 3 (MS. B). Sketches for corner towers with steps for a
+citadel. 
+
+Pl. LXXX, No. 4 (W. XVI). A cupola crowning a corner tower; an
+interesting example of decorative fortification. In this
+reproduction of the original pen and ink drawing it appears
+reversed. 
+
+B. Projects for Palaces. 
+
+Pl. LXXXI, No. 2 (MS. C. A, 75b; 221a, see No. 748). Project for a
+royal residence at Amboise in France. 
+
+Pl. LXXXII, No. 1 (C. A 308a; 939a). A plan for a somewhat extensive
+residence, and various details; but there is no text to elucidate
+it; in courts are written the three names: 
+
+Sam                   cosi                   giova
+       _(St. Mark)_           _(Cosmo)_               _(John)_,
+arch                   mo                     nino
+
+C. Plans for small castles or Villas. 
+
+The three following sketches greatly resemble each other. Pl.
+LXXXII, No. 2 (MS. K3 36b; see No. 749)._ 
+
+_Pl. LXXXII, No. 3 (MS. B 60a; See No. 750). 
+
+Pl. LXXXIII (W. XVII). The text on this sheet refers to Cyprus (see
+Topographical Notes No. 1103), but seems to have no direct
+connection with the sketches inserted between. 
+
+Pl. LXXXVIII, Nos. 6 and 7 (MS. B, 12a; see No. 751). A section of a
+circular pavilion with the plan of a similar building by the side of
+it. These two drawings have a special historical interest because
+the text written below mentions the Duke and Duchess of Milan. 
+
+The sketch of a villa on a terrace at the end of a garden occurs in
+C. A. 150; and in C. A. 77b; 225b is another sketch of a villa
+somewhat resembling the_ Belvedere _of Pope Innocent VIII, at Rome.
+In C. A. 62b; 193b there is a Loggia. 
+
+Pl. LXXXII, No. 4 (C. A. 387a; 1198a) is a tower-shaped_ Loggia
+_above a fountain. The machinery is very ingeniously screened from
+view._ 
+
+748. 
+
+The Palace of the prince must have a piazza in front of it. 
+
+Houses intended for dancing or any kind of jumping or any other
+movements with a multitude of people, must be on the ground- floor;
+for I have already witnessed the destruction of some, causing death
+to many persons, and above all let every wall, be it ever so thin,
+rest on the ground or on arches with a good foundation. 
+
+Let the mezzanines of the dwellings be divided by walls made of very
+thin bricks, and without wood on account of fire. 
+
+Let all the privies have ventilation [by shafts] in the thickness of
+the walls, so as to exhale by the roofs. 
+
+The mezzanines should be vaulted, and the vaults will be stronger in
+proportion as they are of small size. 
+
+The ties of oak must be enclosed in the walls in order to be
+protected from fire. 
+
+[Footnote: The remarks accompanying the plan reproduced on Pl.
+LXXXI, No. 2 are as follows: Above, to the left: "_in_ a _angholo
+stia la guardia de la sstalla_" (in the angle _a_ may be the keeper
+of the stable). Below are the words "_strada dabosa_" (road to
+Amboise), parallel with this "_fossa br 40_" (the moat 40 braccia)
+fixing the width of the moat. In the large court surrounded by a
+portico "_in terre No.--Largha br.80 e lugha br 120_." To the right
+of the castle is a large basin for aquatic sports with the words
+"_Giostre colle nave cioe li giostra li stieno sopra le na_"
+(Jousting in boats that is the men are to be in boats). J. P. R.] 
+
+The privies must be numerous and going one into the other in order
+that the stench may not penetrate into the dwellings., and all their
+doors must shut off themselves with counterpoises. 
+
+The main division of the facade of this palace is into two portions;
+that is to say the width of the court-yard must be half the whole
+facade; the 2nd ... 
+
+749. 
+
+30 braccia wide on each side; the lower entrance leads into a hall
+10 braccia wide and 30 braccia long with 4 recesses each with a
+chimney. 
+
+[Footnote: On each side of the castle, Pl. LXXXII. No. 2 there are
+drawings of details, to the left "_Camino_" a chimney, to the right
+the central lantern, sketched in red "_8 lati_" _i.e._ an octagon.] 
+
+750. 
+
+The firststorey [or terrace] must be entirely solid. 
+
+751. 
+
+The pavilion in the garden of the Duchess of Milan. 
+
+The plan of the pavilion which is in the middle of the labyrinth of
+the Duke of Milan. 
+
+[Footnote: This passage was first published by AMORETTI in _Memorie
+Storiche_ Cap. X: Una sua opera da riportarsi a quest' anno fu il
+bagno fatto per la duchessa Beatrice nel parco o giardino del
+Castello. Lionardo non solo ne disegno il piccolo edifizio a foggia
+di padiglione, nel cod. segnato Q. 3, dandone anche separatamente la
+pianta; ma sotto vi scrisse: Padiglione del giardino della duchessa;
+e sotto la pianta: Fondamento del padiglione ch'e nel mezzo del
+labirinto del duca di Milano; nessuna data e presso il padiglione,
+disegnato nella pagina 12, ma poco sopra fra molti circoli
+intrecciati vedesi = 10 Luglio 1492 = e nella pagina 2 presso ad
+alcuni disegni di legumi qualcheduno ha letto Settembre 1482 in vece
+di 1492, come dovea scriverevi, e probabilmente scrisse Lionardo. 
+
+The original text however hardly bears the interpretation put upon
+it by AMORETTI. He is mistaken as to the mark on the MS. as well as
+in his statements as to the date, for the MS. in question has no
+date; the date he gives occurs, on the contrary, in another
+note-book. Finally, it appears to me quite an open question whether
+Leonardo was the architect who carried out the construction of the
+dome-like Pavilion here shown in section, or of the ground plan of
+the Pavilion drawn by the side of it. Must we, in fact, suppose that
+"_il duca di Milano_" here mentioned was, as has been generally
+assumed, Ludovico il Moro? He did not hold this title from the
+Emperor before 1494; till that date he was only called _Governatore_
+and Leonardo in speaking of him, mentions him generally as "_il
+Moro_" even after 1494. On January 18, 1491, he married Beatrice
+d'Este the daughter of Ercole I, Duke of Ferrara. She died on the
+2nd January 1497, and for the reasons I have given it seems
+improbable that it should be this princess who is here spoken of as
+the "_Duchessa di Milano_". From the style of the handwriting it
+appears to me to be beyond all doubt that the MS. B, from which this
+passage is taken, is older than the dated MSS. of 1492 and 1493. In
+that case the Duke of Milan here mentioned would be Gian Galeazzo
+(1469-1494) and the Duchess would be his wife Isabella of Aragon, to
+whom he was married on the second February 1489. J. P. R.] 
+
+752. 
+
+The earth that is dug out from the cellars must be raised on one
+side so high as to make a terrace garden as high as the level of the
+hall; but between the earth of the terrace and the wall of the
+house, leave an interval in order that the damp may not spoil the
+principal walls. 
+
+_IV. Ecclesiastical Architecture. 
+
+A. General Observations._ 
+
+753. 
+
+A building should always be detached on all sides so that its form
+may be seen. 
+
+[Footnote: The original text is reproduced on Pl. XCII, No. 1 to the
+left hand at the bottom.] 
+
+754. 
+
+Here there cannot and ought not to be any _campanile_; on the
+contrary it must stand apart like that of the Cathedral and of San
+Giovanni at Florence, and of the Cathedral at Pisa, where the
+campanile is quite detached as well as the dome. Thus each can
+display its own perfection. If however you wish to join it to the
+church, make the lantern serve for the campanile as in the church at
+Chiaravalle. 
+
+[Footnote: This text is written by the side of the plan given on Pl.
+XCI. No. 2.] 
+
+[Footnote 12: The Abbey of Chiaravalle, a few miles from Milan, has
+a central tower on the intersection of the cross in the style of
+that of the Certosa of Pavia, but the style is mediaeval (A. D.
+1330). Leonardo seems here to mean, that in a building, in which the
+circular form is strongly conspicuous, the campanile must either be
+separated, or rise from the centre of the building and therefore
+take the form of a lantern.] 
+
+755. 
+
+It never looks well to see the roofs of a church; they should rather
+be flat and the water should run off by gutters made in the frieze. 
+
+[Footnote: This text is to the left of the domed church reproduced
+on Pl. LXXXVII, No. 2.] 
+
+_B. The theory of Dome Architecture. 
+
+This subject has been more extensively treated by Leonardo in
+drawings than in writing. Still we may fairly assume that it was his
+purpose, ultimately to embody the results of his investigation in a_
+"Trattato delle Cupole." _The amount of materials is remarkably
+extensive. MS. B is particularly rich in plans and elevations of
+churches with one or more domes--from the simplest form to the most
+complicated that can be imagined. Considering the evident connexion
+between a great number of these sketches, as well as the
+impossibility of seeing in them designs or preparatory sketches for
+any building intended to be erected, the conclusion is obvious that
+they were not designed for any particular monument, but were
+theoretical and ideal researches, made in order to obtain a clear
+understanding of the laws which must govern the construction of a
+great central dome, with smaller ones grouped round it; and with or
+without the addition of spires, so that each of these parts by
+itself and in its juxtaposition to the other parts should produce
+the grandest possible effect. 
+
+In these sketches Leonardo seems to have exhausted every imaginable
+combination. [Footnote 1: In MS. B, 32b (see Pl. C III, No. 2) we
+find eight geometrical patterns, each drawn in a square; and in MS.
+C.A., fol. 87 to 98 form a whole series of patterns done with the
+same intention.] The results of some of these problems are perhaps
+not quite satisfactory; still they cannot be considered to give
+evidence of a want of taste or of any other defect in Leonardo s
+architectural capacity. They were no doubt intended exclusively for
+his own instruction, and, before all, as it seems, to illustrate the
+features or consequences resulting from a given principle._ 
+
+_I have already, in another place,_ [Footnote 1: Les Projets
+Primitifs pour la Basilique de St. Pierre de Rome, par Bramante,
+Raphael etc.,Vol. I, p. 2.] _pointed out the law of construction for
+buildings crowned by a large dome: namely, that such a dome, to
+produce the greatest effect possible, should rise either from the
+centre of a Greek cross, or from the centre of a structure of which
+the plan has some symmetrical affinity to a circle, this circle
+being at the same time the centre of the whole plan of the building.
+
+Leonardo's sketches show that he was fully aware, as was to be
+expected, of this truth. Few of them exhibit the form of a Latin
+cross, and when this is met with, it generally gives evidence of the
+determination to assign as prominent a part as possible to the dome
+in the general effect of the building. 
+
+While it is evident, on the one hand, that the greater number of
+these domes had no particular purpose, not being designed for
+execution, on the other hand several reasons may be found for
+Leonardo's perseverance in his studies of the subject. 
+
+Besides the theoretical interest of the question for Leonardo and
+his_ Trattato _and besides the taste for domes prevailing at that
+time, it seems likely that the intended erection of some building of
+the first importance like the Duomos of Pavia and Como, the church
+of Sta. Maria delle Grazie at Milan, and the construction of a Dome
+or central Tower_ (Tiburio) _on the cathedral of Milan, may have
+stimulated Leonardo to undertake a general and thorough
+investigation of the subject; whilst Leonardo's intercourse with
+Bramante for ten years or more, can hardly have remained without
+influence in this matter. In fact now that some of this great
+Architect's studies for S. Peter's at Rome have at last become
+known, he must be considered henceforth as the greatest master of
+Dome-Architecture that ever existed. His influence, direct or
+indirect even on a genius like Leonardo seems the more likely, since
+Leonardo's sketches reveal a style most similar to that of Bramante,
+whose name indeed, occurs twice in Leonardo's manuscript notes. It
+must not be forgotten that Leonardo was a Florentine; the
+characteristic form of the two principal domes of Florence, Sta.
+Maria del Fiore and the Battisterio, constantly appear as leading
+features in his sketches. 
+
+The church of San Lorenzo at Milan, was at that time still intact.
+The dome is to this day one of the most wonderful cupolas ever
+constructed, and with its two smaller domes might well attract the
+attention and study of a never resting genius such as Leonardo. A
+whole class of these sketches betray in fact the direct influence of
+the church of S. Lorenzo, and this also seems to have suggested the
+plan of Bramante's dome of St. Peter's at Rome. 
+
+In the following pages the various sketches for the construction of
+domes have been classified and discussed from a general point of
+view. On two sheets: Pl. LXXXIV (C.A. 354b; 118a) and Pl. LXXXV,
+Nos. 1-11 (Ash. II, 6b) we see various dissimilar types, grouped
+together; thus these two sheets may be regarded as a sort of
+nomenclature of the different types, on which we shall now have to
+treat._ 
+
+_1. Churches formed on the plan of a Greek cross. 
+
+Group I. 
+
+Domes rising from a circular base. 
+
+The simplest type of central building is a circular edifice. 
+
+Pl. LXXXIV, No. 9. Plan of a circular building surrounded by a
+colonnade. 
+
+Pl. LXXXIV, No. 8. Elevation of the former, with a conical roof. 
+
+Pl. XC. No. 5. A dodecagon, as most nearly approaching the circle. 
+
+Pl. LXXXVI, No. 1, 2, 3. Four round chapels are added at the
+extremities of the two principal axes;--compare this plan with fig.
+1 on p. 44 and fig. 3 on p. 47 (W. P. 5b) where the outer wall is
+octagonal. 
+
+Group II. 
+
+Domes rising from a square base. 
+
+The plan is a square surrounded by a colonnade, and the dome seems
+to be octagonal. 
+
+Pl. LXXXIV. The square plan below the circular building No. 8, and
+its elevation to the left, above the plan: here the ground-plan is
+square, the upper storey octagonal. A further development of this
+type is shown in two sketches C. A. 3a (not reproduced here), and in
+
+Pl. LXXXVI, No. 5 (which possibly belongs to No. 7 on Pl. LXXXIV). 
+
+Pl, LXXXV, No. 4, and p. 45, Fig. 3, a Greek cross, repeated p. 45,
+Fig. 3, is another development of the square central plan. 
+
+The remainder of these studies show two different systems; in the
+first the dome rises from a square plan,--in the second from an
+octagonal base._ 
+
+_Group III. 
+
+Domes rising from a square base and four pillars. [Footnote 1: The
+ancient chapel San Satiro, via del Falcone, Milan, is a specimen of
+this type.]_ 
+
+a) First type. _A Dome resting on four pillars in the centre of a
+square edifice, with an apse in the middle, of each of the four
+sides. We have eleven variations of this type. 
+
+aa) Pl. LXXXVIII, No. 3. 
+
+bb) Pl. LXXX, No. 5. 
+
+cc) Pl. LXXXV, Nos. 2, 3, 5. 
+
+dd) Pl. LXXXIV, No. 1 and 4 beneath. 
+
+ee) Pl. LXXXV, Nos. 1, 7, 10, 11._ 
+
+b) Second type. _This consists in adding aisles to the whole plan of
+the first type; columns are placed between the apses and the aisles;
+the plan thus obtained is very nearly identical with that of S.
+Lorenzo at Milan. 
+
+Fig. 1 on p. 56. (MS. B, 75a) shows the result of this treatment
+adapted to a peculiar purpose about which we shall have to say a few
+words later on. 
+
+Pl. XCV, No. 1, shows the same plan but with the addition of a short
+nave. This plan seems to have been suggested by the general
+arrangement of S. Sepolcro at Milan. 
+
+MS. B. 57b (see the sketch reproduced on p.51). By adding towers in
+the four outer angles to the last named plan, we obtain a plan which
+bears the general features of Bramante's plans for S. Peter's at
+Rome. [Footnote 2: See_ Les projets primitifs _etc., Pl. 9-12.] (See
+p. 51 Fig. 1.) 
+
+Group IV. 
+
+Domes rising from an octagonal base. 
+
+This system, developed according to two different schemes, has given
+rise to two classes with many varieties. 
+
+In a) On each side of the octagon chapels of equal form are added. 
+
+In b) The chapels are dissimilar; those which terminate the
+principal axes being different in form from those which are added on
+the diagonal sides of the octagon. 
+
+a. First Class. 
+
+The Chapel_ "degli Angeli," _at Florence, built only to a height of
+about 20 feet by Brunellesco, may be considered as the prototype of
+this group; and, indeed it probably suggested it. The fact that we
+see in MS. B. 11b (Pl. XCIV, No. 3) by the side of Brunellesco's
+plan for the Basilica of Sto. Spirito at Florence, a plan almost
+identical with that of the_ Capella degli Angeli, _confirms this
+supposition. Only two small differences, or we may say improvements,
+have been introduced by Leonardo. Firstly the back of the chapels
+contains a third niche, and each angle of the Octagon a folded
+pilaster like those in Bramante's_ Sagrestia di S. M. presso San
+Satiro _at Milan, instead of an interval between the two pilasters
+as seen in the Battistero at Florence and in the Sacristy of Sto.
+Spirito in the same town and also in the above named chapel by
+Brunellesco. 
+
+The first set of sketches which come under consideration have at
+first sight the appearance of mere geometrical studies. They seem to
+have been suggested by the plan given on page 44 Fig. 2 (MS. B, 55a)
+in the centre of which is written_ "Santa Maria in perticha da
+Pavia", _at the place marked A on the reproduction. 
+
+a) (MS. B, 34b, page 44 Fig. 3). In the middle of each side a column
+is added, and in the axes of the intercolumnar spaces a second row
+of columns forms an aisle round the octagon. These are placed at the
+intersection of a system of semicircles, of which the sixteen
+columns on the sides of the octagon are the centres. 
+
+b) The preceding diagram is completed and becomes more monumental in
+style in the sketch next to it (MS. B, 35a, see p. 45 Fig. 1). An
+outer aisle is added by circles, having for radius the distance
+between the columns in the middle sides of the octagon. 
+
+c) (MS. B. 96b, see p. 45 Fig. 2). Octagon with an aisle round it;
+the angles of both are formed by columns. The outer sides are formed
+by 8 niches forming chapels. The exterior is likewise octagonal,
+with the angles corresponding to the centre of each of the interior
+chapels. 
+
+Pl. XCII, No. 2 (MS. B. 96b). Detail and modification of the
+preceding plan--half columns against piers--an arrangement by which
+the chapels of the aisle have the same width of opening as the inner
+arches between the half columns. Underneath this sketch the
+following note occurs:_ questo vole - avere 12 facce - co 12
+tabernaculi - come - _a_ - _b_. _(This will have twelve sides with
+twelve tabernacles as_ a b._) In the remaining sketches of this
+class the octagon is not formed by columns at the angles. 
+
+The simplest type shows a niche in the middle of each side and is
+repeated on several sheets, viz: MS. B 3; MS. C.A. 354b (see Pl.
+LXXXIV, No. 11) and MS. Ash II 6b; (see Pl. LXXXV, No. 9 and the
+elevations No. 8; Pl. XCII, No. 3; MS. B. 4b [not reproduced here]
+and Pl. LXXXIV, No. 2)._ 
+
+_Pl. XCII, 3 (MS. B, 56b) corresponds to a plan like the one in MS.
+B 35a, in which the niches would be visible outside or, as in the
+following sketch, with the addition of a niche in the middle of each
+chapel. 
+
+Pl. XC, No. 6. The niches themselves are surrounded by smaller
+niches (see also No. 1 on the same plate). 
+
+Octagon expanded on each side.
+
+A. by a square chapel:
+
+MS. B. 34b (not reproduced here).
+
+B. by a square with 3 niches:
+
+MS. B. 11b (see Pl. XCIV, No. 3).
+
+C. by octagonal chapels:
+
+a) MS. B, 21a; Pl. LXXXVIII, No. 4.
+
+b) No. 2 on the same plate. Underneath there is the remark:_
+"quest'e come le 8 cappele ano a essere facte" _(this is how the
+eight chapels are to be executed).
+
+c) Pl. LXXXVIII, No. 5. Elevation to the plans on the same sheet, it
+is accompanied by the note:_ "ciasscuno de' 9 tiburi no'uole -
+passare l'alteza - di - 2 - quadri" _(neither of the 9 domes must
+exceed the height of two squares). 
+
+d) Pl. LXXXVIII, No. 1. Inside of the same octagon. MS. B, 30a, and
+34b; these are three repetitions of parts of the same plan with very
+slight variations. 
+
+D. by a circular chapel:
+
+MS. B, 18a (see Fig. 1 on page 47) gives the plan of this
+arrangement in which the exterior is square on the ground floor with
+only four of the chapels projecting, as is explained in the next
+sketch.
+
+Pl. LXXXIX, MS. B, 17b. Elevation to the preceding plan sketched on
+the opposite side of the sheet, and also marked A. It is accompanied
+by the following remark, indicating the theoretical character of
+these studies:_ questo - edifitio - anchora - starebbe - bene
+affarlo dalla linja - _a_ - _b_ - _c_ - _d_ - insu. _("This edifice
+would also produce a good effect if only the part above the lines_ a
+b, c d, _were executed").
+
+Pl. LXXXIV, No. 11. The exterior has the form of an octagon, but the
+chapels project partly beyond it. On the left side of the sketch
+they appear larger than on the right side.
+
+Pl. XC, No. 1, (MS. B, 25b); Repetition of Pl. LXXXIV, No. 11.
+
+Pl. XC, No. 2. Elevation to the plan No. 1, and also to No. 6 of the
+same sheet._
+
+_E. By chapels formed by four niches:
+
+Pl. LXXXIV, No. 7 (the circular plan on the left below) shows this
+arrangement in which the central dome has become circular inside and
+might therefore be classed after this group. [Footnote 1: This plan
+and some others of this class remind us of the plan of the Mausoleum
+of Augustus as it is represented for instance by Durand. See_ Cab.
+des Estampes, Bibliotheque Nationale, Paris, Topographie de Rome, V,
+6, 82._] 
+
+The sketch on the right hand side gives most likely the elevation
+for the last named plan. 
+
+F. By chapels of still richer combinations, which necessitate an
+octagon of larger dimensions: 
+
+Pl. XCI, No. 2 (MS. Ash. 11. 8b) [Footnote 2: The note accompanying
+this plan is given under No. 754.]; on this plan the chapels
+themselves appear to be central buildings formed like the first type
+of the third group. Pl. LXXXVIII, No. 3. 
+
+Pl. XCI, No. 2 above; the exterior of the preceding figure,
+particularly interesting on account of the alternation of apses and
+niches, the latter containing statues of a gigantic size, in
+proportion to the dimension of the niches. 
+
+b. Second Class. 
+
+Composite plans of this class are generally obtained by combining
+two types of the first class--the one worked out on the principal
+axes, the other on the diagonal ones. 
+
+MS. B. 22 shows an elementary combination, without any additions on
+the diagonal axes, but with the dimensions of the squares on the two
+principal axes exceeding those of the sides of the octagon. 
+
+In the drawing W. P. 5b (see page 44 Fig. 1) the exterior only of
+the edifice is octagonal, the interior being formed by a circular
+colonnade; round chapels are placed against the four sides of the
+principal axes. 
+
+The elevation, drawn on the same sheet (see page 47 Fig. 3), shows
+the whole arrangement which is closely related with the one on Pl.
+LXXXVI No. 1, 2. 
+
+MS. B. 21a shows: 
+
+a) four sides with rectangular chapels crowned by pediments Pl.
+LXXXVII No. 3 (plan and elevation); 
+
+b) four sides with square chapels crowned by octagonal domes. Pl.
+LXXXVII No. 4; the plan underneath. 
+
+MS. B. 18a shows a variation obtained by replacing the round chapels
+in the principal axes of the sketch MS. B. l8a by square ones, with
+an apse. Leonardo repeated both ideas for better comparison side by
+side, see page 47. Fig. 2. 
+
+Pl. LXXXIX (MS. B. 17b). Elevation for the preceding figure. The
+comparison of the drawing marked M with the plan on page 47 Fig. 2,
+bearing the same mark, and of the elevation on Pl. LXXXIX below
+(marked A) with the corresponding plan on page 47 is highly
+instructive, as illustrating the spirit in which Leonardo pursued
+these studies. 
+
+Pl. LXXXIV No. 12 shows the design Pl. LXXXVII No. 3 combined with
+apses, with the addition of round chapels on the diagonal sides. 
+
+Pl. LXXXIV No. 13 is a variation of the preceding sketch. 
+
+Pl. XC No. 3. MS. B. 25b. The round chapels of the preceding sketch
+are replaced by octagonal chapels, above which rise campaniles. 
+
+Pl. XC No. 4 is the elevation for the preceding plan. 
+
+Pl. XCII No. 1. (MS. B. 39b.); the plan below. On the principal as
+well as on the diagonal axes are diagonal chapels, but the latter
+are separated from the dome by semicircular recesses. The
+communication between these eight chapels forms a square aisle round
+the central dome. 
+
+Above this figure is the elevation, showing four campaniles on the
+angles. [Footnote 1: The note accompanying this drawing is
+reproduced under No. 753.] 
+
+Pl. LXXXIV No. 3. On the principal axes are square chapels with
+three niches; on the diagonals octagonal chapels with niches. Cod.
+Atl. 340b gives a somewhat similar arrangement. 
+
+MS. B. 30. The principal development is thrown on the diagonal axes
+by square chapels with three niches; on the principal axes are inner
+recesses communicating with outer ones. 
+
+The plan Pl. XCIII No. 2 (MS. B. 22) differs from this only in so
+far as the outer semicircles have become circular chapels,
+projecting from the external square as apses; one of them serves as
+the entrance by a semicircular portico. 
+
+The elevation is drawn on the left side of the plan. 
+
+MS. B. 19. A further development of MS. B. 18, by employing for the
+four principal chapels the type Pl. LXXXVIII No. 3, as we have
+already seen in Pl. XCI No. 2; the exterior presents two varieties. 
+
+a) The outer contour follows the inner. [Footnote 2: These chapels
+are here sketched in two different sizes; it is the smaller type
+which is thus formed.] 
+
+b) It is semicircular. 
+
+Pl. LXXXVII No. 2 (MS. B. 18b) Elevation to the first variation MS.
+B. 19. If we were not certain that this sketch was by Leonardo, we
+might feel tempted to take it as a study by Bramante for St. Peter's
+at Rome. [Footnote 3: See_ Les projets primitifs Pl. 43._]_ 
+
+_MS. P. V. 39b. In the principal axes the chapels of MS. B. 19, and
+semicircular niches on the diagonals. The exterior of the whole
+edifice is also an octagon, concealing the form of the interior
+chapels, but with its angles on their axes. 
+
+Group V. 
+
+Suggested by San Lorenzo at Milan. 
+
+In MS. C. A. 266 IIb, 8l2b there is a plan almost identical with
+that of San Lorenzo. The diagonal sides of the irregular octagon are
+not indicated. 
+
+If it could be proved that the arches which, in the actual church,
+exist on these sides in the first story, were added in 1574 by
+Martimo Bassi, then this plan and the following section would be
+still nearer the original state of San Lorenzo than at present. A
+reproduction of this slightly sketched plan has not been possible.
+It may however be understood from Pl. LXXXVIII No. 3, by suppressing
+the four pillars corresponding to the apses. 
+
+Pl. LXXXVII No. 1 shows the section in elevation corresponding with
+the above-named plan. The recessed chapels are decorated with large
+shells in the halfdomes like the arrangement in San Lorenzo, but
+with proportions like those of Bramante's Sacristy of Santa Maria
+presso S. Satiro. 
+
+MS. C. A. 266; a sheet containing three views of exteriors of Domes.
+On the same sheet there is a plan similar to the one above-named but
+with uninterrupted aisles and with the addition of round chapels in
+the axes (compare Pl. XCVII No. 3 and page 44 Fig. 1), perhaps a
+reminiscence of the two chapels annexed to San Lorenzo.--Leonardo
+has here sketched the way of transforming this plan into a Latin
+cross by means of a nave with side aisles. 
+
+Pl. XCI No. 1. Plan showing a type deprived of aisles and comprised
+in a square building which is surrounded by a portico. It is
+accompanied by the following text:_ 
+
+756. 
+
+This edifice is inhabited [accessible] below and above, like San
+Sepolcro, and it is the same above as below, except that the upper
+story has the dome _c d_; and the [Footnote: The church of San
+Sepolcro at Milan, founded in 1030 and repeatedly rebuilt after the
+middle of the XVIth century, still stands over the crypt of the
+original structure.] lower has the dome _a b_, and when you enter
+into the crypt, you descend 10 steps, and when you mount into the
+upper you ascend 20 steps, which, with 1/3 braccio for each, make 10
+braccia, and this is the height between one floor of the church and
+the other. 
+
+_Above the plan on the same sheet is a view of the exterior. By the
+aid of these two figures and the description, sections of the
+edifice may easily be reconstructed. But the section drawn on the
+left side of the building seems not to be in keeping with the same
+plan, notwithstanding the explanatory note written underneath it:
+"dentro il difitio di sopra" (interior of the edifice
+above)[Footnote 1: _The small inner dome corresponds to_ a b _on the
+plan--it rises from the lower church into the upper-- above, and
+larger, rises the dome_ c d. _The aisles above and below thus
+correspond_ (e di sopra come di sotto, salvoche etc.). _The only
+difference is, that in the section Leonardo has not taken the
+trouble to make the form octagonal, but has merely sketched circular
+lines in perspective._ J. P. R._]. 
+
+_Before leaving this group, it is well to remark that the germ of it
+seems already indicated by the diagonal lines in the plans Pl. LXXXV
+No. 11 and No. 7. We shall find another application of the same type
+to the Latin cross in Pl. XCVII No. 3. 
+
+_2. Churches formed on the plan of a Latin cross. 
+
+We find among Leonardo's studies several sketches for churches on
+the plan of the Latin cross; we shall begin by describing them, and
+shall add a few observations. 
+
+A. Studies after existing Monuments. 
+
+Pl. XCIV No. 2. (MS. B. 11b.) Plan of Santo Spirito at Florence, a
+basilica built after the designs of Brunellesco.--Leonardo has added
+the indication of a portico in front, either his own invention or
+the reproduction of a now lost design. 
+
+Pl. XCV No. 2. Plan accompanied by the words: "A_ e santo sepolcro
+di milano di sopra"(A _is the upper church of S. Sepolcro at Milan);
+although since Leonardo's time considerably spoilt, it is still the
+same in plan. 
+
+The second plan with its note: "B_ e la sua parte socto tera" (B _is
+its subterranean part [the crypt]) still corresponds with the
+present state of this part of the church as I have ascertained by
+visiting the crypt with this plan. Excepting the addition of a few
+insignificant walls, the state of this interesting part of the
+church still conforms to Leonardo's sketch; but in the Vestibolo the
+two columns near the entrance of the winding stairs are absent. 
+
+B. Designs or Studies. 
+
+PL. XCV No. 1. Plan of a church evidently suggested by that of San
+Sepolcro at Milan. The central part has been added to on the
+principle of the second type of Group III. Leonardo has placed the_
+"coro" _(choir) in the centre._ 
+
+_Pl. XCVI No. 2. In the plan the dome, as regards its interior,
+belongs to the First Class of Group IV, and may be grouped with the
+one in MS. B. 35a. The nave seems to be a development of the type
+represented in Pl. XCV No. 2, B. by adding towers and two lateral
+porticos[Footnote 1: Already published in Les projets primitifs Pl.
+XLIII.]. 
+
+On the left is a view of the exterior of the preceding plan. It is
+accompanied by the following note:_ 
+
+757. 
+
+This building is inhabited below and above; the way up is by the
+campaniles, and in going up one has to use the platform, where the
+drums of the four domes are, and this platform has a parapet in
+front, and none of these domes communicate with the church, but they
+are quite separate. 
+
+_Pl. XCVI No. 1 (MS. C. A. 16b; 65a). Perspective view of a church
+seen from behind; this recalls the Duomo at Florence, but with two
+campaniles[Footnote 2: Already published in the Saggio Pl. IX.]. 
+
+Pl. XCVII No. 3 (MS. B. 52a). The central part is a development of
+S. Lorenzo at Milan, such as was executed at the Duomo of Pavia.
+There is sufficient analogy between the building actually executed
+and this sketch to suggest a direct connection between them.
+Leonardo accompanied Francesco di Giorgio[Footnote 3: See MALASPINA,
+il Duomo di Pavia. Documents.] when the latter was consulted on June
+21st, 1490 as to this church; the fact that the only word
+accompanying the plan is:_ "sagrestia", _seems to confirm our
+supposition, for the sacristies were added only in 1492, i. e. four
+years after the beginning of the Cathedral, which at that time was
+most likely still sufficiently unfinished to be capable of receiving
+the form of the present sketch. 
+
+Pl. XCVII No. 2 shows the exterior of this design. Below is the
+note:_ edifitio al proposito del fodameto figurato di socto
+_(edifice proper for the ground plan figured below). 
+
+Here we may also mention the plan of a Latin cross drawn in MS. C.
+A. fol. 266 (see p. 50). 
+
+Pl. XCIV No. 1 (MS. L. 15b). External side view of Brunellesco's
+Florentine basilica San Lorenzo, seen from the North. 
+
+Pl. XCIV No. 4 (V. A. V, 1). Principal front of a nave, most likely
+of a church on the plan of a Latin cross. We notice here not only
+the principal features which were employed afterwards in Alberti's
+front of S. Maria Novella, but even details of a more advanced
+style, such as we are accustomed to meet with only after the year
+1520. 
+
+In the background of Leonardo's unfinished picture of St. Jerome
+(Vatican Gallery) a somewhat similar church front is indicated (see
+the accompanying sketch). 
+
+[Illustration with caption: The view of the front of a temple,
+apparently a dome in the centre of four corinthian porticos bearing
+pediments (published by Amoretti Tav. II. B as being by Leonardo),
+is taken from a drawing, now at the Ambrosian Gallery. We cannot
+consider this to be by the hand of the master.]_ 
+
+_C. Studies for a form of a Church most proper for preaching. 
+
+The problem as to what form of church might answer the requirements
+of acoustics seems to have engaged Leonardo's very particular
+attention. The designation of_ "teatro" _given to some of these
+sketches, clearly shows which plan seemed to him most favourable for
+hearing the preacher's voice. 
+
+Pl. XCVII, No. 1 (MS. B, 52). Rectangular edifice divided into three
+naves with an apse on either side, terminated by a semicircular
+theatre with rising seats, as in antique buildings. The pulpit is in
+the centre. Leonardo has written on the left side of the sketch_:
+"teatro da predicare" _(Theatre for preaching). 
+
+MS. B, 55a (see page 56, Fig. 1). A domed church after the type of
+Pl. XCV, No. 1, shows four theatres occupying the apses and facing
+the square_ "coro" _(choir), which is in the centre between the four
+pillars of the dome.[Footnote 1: The note_ teatro de predicar, _on
+the right side is, I believe, in the handwriting of Pompeo Leoni. J.
+P. R.] The rising arrangement of the seats is shown in the sketch
+above. At the place marked_ B _Leonardo wrote_ teatri per uldire
+messa _(rows of seats to hear mass), at_ T teatri,_ and at_ C coro
+_(choir). 
+
+In MS. C.A. 260, are slight sketches of two plans for rectangular
+choirs and two elevations of the altar and pulpit which seem to be
+in connection with these plans. 
+
+In MS. Ash II, 8a (see p. 56 and 57. Fig. 2 and 3)._ "Locho dove si
+predica" _(Place for preaching). A most singular plan for a
+building. The interior is a portion of a sphere, the centre of which
+is the summit of a column destined to serve as the preacher's
+pulpit. The inside is somewhat like a modern theatre, whilst the
+exterior and the galleries and stairs recall the ancient
+amphitheatres. 
+
+[Illustration with caption: Page 57, Fig. 4. A plan accompanying the
+two preceding drawings. If this gives the complete form Leonardo
+intended for the edifice, it would have comprised only about two
+thirds of the circle. Leonardo wrote in the centre_ "fondamento", _a
+word he often employed for plans, and on the left side of the view
+of the exterior:_ locho dove si predicha _(a place for preaching
+in)._] 
+
+_D. Design for a Mausoleum. 
+
+Pl. XCVIII (P. V., 182._ No. d'ordre 2386). In the midst of a hilly
+landscape rises an artificial mountain in the form of a gigantic
+cone, crowned by an imposing temple. At two thirds of the height a
+terrace is cut out with six doorways forming entrances to galleries,
+each leading to three sepulchral halls, so constructed as to contain
+about five hundred funeral urns, disposed in the customary antique
+style. From two opposite sides steps ascend to the terrace in a
+single flight and beyond it to the temple above. A large circular
+opening, like that in the Pantheon, is in the dome above what may be
+the altar, or perhaps the central monument on the level of the
+terrace below. 
+
+The section of a gallery given in the sketch to the right below
+shows the roof to be constructed on the principle of superimposed
+horizontal layers, projecting one beyond the other, and each
+furnished with a sort of heel, which appears to be undercut, so as
+to give the appearance of a beam from within. Granite alone would be
+adequate to the dimensions here given to the key stone, as the
+thickness of the layers can hardly be considered to be less than a
+foot. In taking this as the basis of our calculation for the
+dimensions of the whole construction, the width of the chamber would
+be about 25 feet but, judging from the number of urns it
+contains--and there is no reason to suppose that these urns were
+larger than usual--it would seem to be no more than about 8 or 10
+feet. 
+
+The construction of the vaults resembles those in the galleries of
+some etruscan tumuli, for instance the Regulini Galeassi tomb at
+Cervetri (lately discovered) and also that of the chamber and
+passages of the pyramid of Cheops and of the treasury of Atreus at
+Mycenae. 
+
+The upper cone displays not only analogies with the monuments
+mentioned in the note, but also with Etruscan tumuli, such as the
+Cocumella tomb at Vulci, and the Regulini Galeassi tomb_[Footnote 1:
+_See_ FERSGUSON, _Handbook of Architecture, I,_ 291.]. _The whole
+scheme is one of the most magnificent in the history of
+Architecture. 
+
+It would be difficult to decide as to whether any monument he had
+seen suggested this idea to Leonardo, but it is worth while to
+enquire, if any monument, or group of monuments of an earlier date
+may be supposed to have done so._[Footnote 2: _There are, in
+Algiers, two Monuments, commonly called_ "Le Madracen" _and_ "Le
+tombeau de la Chretienne," _which somewhat resemble Leonardo's
+design. They are known to have served as the Mausolea of the Kings
+of Mauritania. Pomponius Mela, the geographer of the time of the
+Emperor Claudius, describes them as having been_ "Monumentum commune
+regiae gentis." _See_ Le Madracen, Rapport fait par M. le Grand
+Rabbin AB. CAHEN, Constantine 1873--Memoire sur les fouilles
+executees au Madras'en .. par le Colonel BRUNON, Constantine
+l873.--Deux Mausolees Africains, le Madracen et le tombeau de la
+Chretienne par M. J. DE LAURIERE, Tours l874.--Le tombeau de la
+Chretienne, Mausolee des rois Mauritaniens par M. BERBRUGGER, Alger
+1867.--_I am indebted to M. LE BLANC, of the Institut, and M. LUD,
+LALANNE, Bibliothecaire of the Institut for having first pointed out
+to me the resemblance between these monuments; while M. ANT. HERON
+DE VlLLEFOSSE of the Louvre was kind enough to place the
+abovementioned rare works at my disposal. Leonardo's observations on
+the coast of Africa are given later in this work. The Herodium near
+Bethlehem in Palestine_ (Jebel el Fureidis, _the Frank Mountain)
+was, according to the latest researches, constructed on a very
+similar plan. See_ Der Frankenberg, von Baurath C. SCHICK in
+Jerusalem, Zeitschrift des Deutschen Palastina-Vereins, _Leipzag_
+1880, _Vol. III, pages_ 88-99 _and Plates IV and V._ J. P. R.] 
+
+_E. Studies for the Central Tower, or Tiburio of Milan Cathedral. 
+
+Towards the end of the fifteenth century the Fabbricceria del Duomo
+had to settle on the choice of a model for the crowning and central
+part of this vast building. We learn from a notice published by G.
+L. Calvi [Footnote: G. L. CALVI, Notizie sulla vita e sulle opere
+dei principali architetti scultori e pittori che fiorirono in
+Milano, Part III, 20. See also: H. DE GEYMULLER, Les projets
+primitifs etc. I, 37 and 116-119.--The Fabbricceria of the Duomo has
+lately begun the publication of the archives, which may possibly
+tell us more about the part taken by Leonardo, than has hitherto
+been known.] that among the artists who presented models in the year
+1488 were: Bramante, Pietro da Gorgonzola, Luca Paperio (Fancelli),
+and Leonardo da Vinci.-- 
+
+Several sketches by Leonardo refer to this important project: 
+
+Pl. XCIX, No. 2 (MS. S. K. III, No. 36a) a small plan of the whole
+edifice.--The projecting chapels in the middle of the transept are
+wanting here. The nave appears to be shortened and seems to be
+approached by an inner "vestibolo".-- 
+
+Pl. C, No. 2 (Tr. 21). Plan of the octagon tower, giving the
+disposition of the buttresses; starting from the eight pillars
+adjoining the four principal piers and intended to support the eight
+angles of the Tiburio. These buttresses correspond exactly with
+those described by Bramante as existing in the model presented by
+Omodeo. [Footnote: Bramante's opinion was first published by G.
+MONGERl, Arch. stor. Lomb. V, fasc. 3 and afterwards by me in the
+publication mentioned in the preceding note.] 
+
+Pl. C, 3 (MS. Tr. 16). Two plans showing different arrangements of
+the buttresses, which seem to be formed partly by the intersection
+of a system of pointed arches such as that seen in ** 
+
+Pl. C, No. 5 (MS. B, 27a) destined to give a broader base to the
+drum. The text underneath is given under No. 788. 
+
+MS. B, 3--three slight sketches of plans in connexion with the
+preceding ones._ 
+
+_Pl. XCIX, No.1 (MS. Tr. 15) contains several small sketches of
+sections and exterior views of the Dome; some of them show
+buttress-walls shaped as inverted arches. Respecting these Leonardo
+notes:_ 
+
+758. 
+
+L'arco rivescio e migliore per fare spalla che l'ordinario, perche
+il rovescio trova sotto se muro resistete alla sua debolezza, e
+l'ordinario no trova nel suo debole se non aria 
+
+The inverted arch is better for giving a shoulder than the ordinary
+one, because the former finds below it a wall resisting its
+weakness, whilst the latter finds in its weak part nothing but air. 
+
+[Footnote: _Three slight sketches of sections on the same
+leaf--above those reproduced here--are more closely connected with
+the large drawing in the centre of Pl. C, No. 4 (M.S, Tr. 41) which
+shows a section of a very elevated dome, with double vaults,
+connected by ribs and buttresses ingeniously disposed, so as to
+bring the weight of the lantern to bear on the base of the dome. 
+
+A sketch underneath it shows a round pillar on which is indicated
+which part of its summit is to bear the weight: "il pilastro sara
+charicho in . a . b." (The column will bear the weight at a b.)
+Another note is above on the right side:_ Larcho regiera tanto sotto
+asse chome di sopra se _(The arch supports as much below it [i. e. a
+hanging weight] as above it). 
+
+Pl. C, No. 1 (C. A. 303a). Larger sketch of half section of the
+Dome, with a very complicated system of arches, and a double vault.
+Each stone is shaped so as to be knit or dovetailed to its
+neighbours. Thus the inside of the Dome cannot be seen from below. 
+
+MS. C. A. 303b. A repetition of the preceding sketch with very
+slight modifications._] 
+
+[Figs. 1. and Fig. 2. two sketeches of the dome] 
+
+MS. Tr. 9 (see Fig. 1 and 2). Section of the Dome with reverted
+buttresses between the windows, above which iron anchors or chains
+seem to be intended. Below is the sketch of the outside._ 
+
+_PI. XCIX, No. 3 (C. A., 262a) four sketches of the exterior of the
+Dome. 
+
+C. A. 12. Section, showing the points of rupture of a gothic vault,
+in evident connection with the sketches described above. 
+
+It deserves to be noticed how easily and apparently without effort,
+Leonardo manages to combine gothic details and structure with the
+more modern shape of the Dome. 
+
+The following notes are on the same leaf,_ oni cosa poderosa, _and_
+oni cosa poderosa desidera de(scendere); _farther below, several
+multiplications most likely intended to calculate the weight of some
+parts of the Dome, thus 16 x 47 = 720; 720 x 800 = 176000, next to
+which is written:_ peso del pilastro di 9 teste _(weight of the
+pillar 9 diameters high). 
+
+Below:_ 176000 x 8 = 1408000; _and below:_ 
+
+Semjlio e se ce 80 (?) il peso del tiburio _(six millions six
+hundred (?) 80 the weight of the Dome). 
+
+Bossi hazarded the theory that Leonardo might have been the
+architect who built the church of Sta. Maria delle Grazie, but there
+is no evidence to support this, either in documents or in the
+materials supplied by Leonardos manuscripts and drawings. The sketch
+given at the side shows the arrangement of the second and third
+socle on the apses of the choir of that church; and it is remarkable
+that those sketches, in MS. S. K. M. II2, 2a and Ib, occur with the
+passage given in Volume I as No. 665 and 666 referring to the
+composition of the Last Supper in the Refectory of that church._] 
+
+_F. The Project for lifting up the Battistero of Florence and
+setting it on a basement._ 
+
+_Among the very few details Vasari gives as to the architectural
+studies of Leonardo, we read: "And among these models and designs
+there was one by way of which he showed several times to many
+ingenious citizens who then governed Florence, his readiness to lift
+up without ruining it, the church of San Giovanni in Florence (the
+Battistero, opposite the Duomo) in order to place under it the
+missing basement with steps; he supported his assertions with
+reasons so persuasive, that while he spoke the undertaking seemed
+feasable, although every one of his hearers, when he had departed,
+could see by himself the impossibility of so vast an undertaking."_ 
+
+[Footnote: _This latter statement of Vasari's must be considered to
+be exaggerated. I may refer here to some data given by_ LIBRI,
+Histoire des sciences mathematiques en Italie (II, 216, 217): "On a
+cru dans ces derniers temps faire un miracle en mecanique en
+effectuant ce transport, et cependant des l'annee 1455, Gaspard Nadi
+et Aristote de Fioravantio avaient transporte, a une distance
+considerable, la tour de la Magione de Bologne, avec ses fondements,
+qui avait presque quatre-vingts pieds de haut. Le continuateur de la
+chronique de Pugliola dit que le trajet fut de 35 pieds et que
+durant le transport auquel le chroniqueur affirme avoir assiste, il
+arriva un accident grave qui fit pencher de trois pieds la tour
+pendant qu'elle etait suspendue, mais que cet accident fut
+promptement repare (Muratori, Scriptores rer. ital. Tom. XVIII, col.
+717, 718). Alidosi a rapporte une note ou Nadi rend compte de ce
+transport avec une rare simplicite. D'apres cette note, on voit que
+les operations de ce genre n'etaient pas nouvelles. Celle-ci ne
+couta que 150 livres (monnaie d'alors) y compris le cadeau que le
+Legat fit aux deux mecaniciens. Dans la meme annee, Aristote
+redressa le clocher de Cento, qui penchait de plus de cinq pieds
+(Alidosi, instruttione p. 188-- Muratori, Scriptores rer. ital.,
+tom. XXIII, col. 888.--Bossii, chronica Mediol., 1492, in-fol. ad
+ann. 1455). On ne concoit pas comment les historiens des beaux-arts
+ont pu negliger de tels hommes." J. P. R.] 
+
+_In the MS. C. A. fol. 293, there are two sketches which possibly
+might have a bearing on this bold enterprise. We find there a plan
+of a circular or polygonal edifice surrounded by semicircular arches
+in an oblique position. These may be taken for the foundation of the
+steps and of the new platform. In the perspective elevation the same
+edifice, forming a polygon, is shown as lifted up and resting on a
+circle of inverted arches which rest on an other circle of arches in
+the ordinary position, but so placed that the inverted arches above
+rest on the spandrels of the lower range._ 
+
+_What seems to confirm the supposition that the lifting up of a
+building is here in question, is the indication of engines for
+winding up, such as jacks, and a rack and wheel. As the lifting
+apparatus represented on this sheet does not seem particularly
+applicable to an undertaking of such magnitude, we may consider it
+to be a first sketch or scheme for the engines to be used._ 
+
+_G. Description of an unknown Temple._ 
+
+759. 
+
+Twelve flights of steps led up to the great temple, which was eight
+hundred braccia in circumference and built on an octagonal plan. At
+the eight corners were eight large plinths, one braccia and a half
+high, and three wide, and six long at the bottom, with an angle in
+the middle; on these were eight great pillars, standing on the
+plinths as a foundation, and twenty four braccia high. And on the
+top of these were eight capitals three braccia long and six wide,
+above which were the architrave frieze and cornice, four braccia and
+a half high, and this was carried on in a straight line from one
+pillar to the next and so, continuing for eight hundred braccia,
+surrounded the whole temple, from pillar to pillar. To support this
+entablature there were ten large columns of the same height as the
+pillars, three braccia thick above their bases which were one
+braccia and a half high. 
+
+The ascent to this temple was by twelve flights of steps, and the
+temple was on the twelfth, of an octagonal form, and at each angle
+rose a large pillar; and between the pillars were placed ten columns
+of the same height as the pillars, rising at once from the pavement
+to a height of twenty eight braccia and a half; and at this height
+the architrave, frieze and cornice were placed which surrounded the
+temple having a length of eight hundred braccia. At the same height,
+and within the temple at the same level, and all round the centre of
+the temple at a distance of 24 braccia farther in, are pillars
+corresponding to the eight pillars in the angles, and columns
+corresponding to those placed in the outer spaces. These rise to the
+same height as the former ones, and over these the continuous
+architrave returns towards the outer row of pillars and columns. 
+
+[Footnote: Either this description is incomplete, or, as seems to me
+highly probable, it refers to some ruin. The enormous dimensions
+forbid our supposing this to be any temple in Italy or Greece. Syria
+was the native land of colossal octagonal buildings, in the early
+centuries A. D. The Temple of Baalbek, and others are even larger
+than that here described. J. P. R.] 
+
+_V. Palace architecture. 
+
+But a small number of Leonardo's drawings refer to the architecture
+of palaces, and our knowledge is small as to what style Leonardo
+might have adopted for such buildings. 
+
+Pl. CII No. 1 (W. XVIII). A small portion of a facade of a palace
+in two stories, somewhat resembling Alberti's Palazzo
+Rucellai.--Compare with this Bramante's painted front of the Casa
+Silvestri, and a painting by Montorfano in San Pietro in Gessate at
+Milan, third chapel on the left hand side and also with Bramante's
+palaces at Rome. The pilasters with arabesques, the rustica between
+them, and the figures over the window may be painted or in
+sgraffito. The original is drawn in red chalk. 
+
+Pl. LXXXI No. 1 (MS. Tr. 42). Sketch of a palace with battlements
+and decorations, most likely graffiti; the details remind us of
+those in the Castello at Vigevano._ [Footnote 1: _Count GIULIO
+PORRO, in his valuable contribution to the_ Archivio Storico
+Lombardo, Anno VIII, Fasc. IV (31 Dec. 1881): Leonardo da Vinci,
+Libro di Annotazioni e Memorie, _refers to this in the following
+note:_ "Alla pag. 41 vi e uno schizzo di volta ed accanto scrisse:
+'il pilastro sara charicho in su 6' e potrebbe darsi che si
+riferisse alla cupola della chiesa delle Grazie tanto piu che a
+pag. 42 vi e un disegno che rassomiglia assai al basamento che oggi
+si vede nella parte esterna del coro di quella chiesa." _This may
+however be doubted. The drawing, here referred to, on page 41 of the
+same manuscript, is reproduced on Pl. C No. 4 and described on page
+61 as being a study for the cupola of the Duomo of Milan._ J. P. R.]
+
+_MS. Mz. 0", contains a design for a palace or house with a loggia
+in the middle of the first story, over which rises an attic with a
+Pediment reproduced on page 67. The details drawn close by on the
+left seem to indicate an arrangement of coupled columns against the
+wall of a first story. 
+
+Pl. LXXXV No. 14 (MS. S. K. M. Ill 79a) contains a very slight
+sketch in red chalk, which most probably is intended to represent
+the facade of a palace. Inside is the short note 7 he 7 (7 and 7)._ 
+
+_MS. J2 8a (see pages 68 Fig. 1 and 2) contains a view of an unknown
+palace. Its plan is indicated at the side._ 
+
+_In MS. Br. M. 126a(see Fig. 3 on page 68) there is a sketch of a
+house, on which Leonardo notes; casa con tre terrazi (house with
+three terraces)._ 
+
+_Pl. CX, No. 4 (MS. L. 36b) represents the front of a fortified
+building drawn at Cesena in 1502 (see No. 1040)._ 
+
+_Here we may also mention the singular building in the allegorical
+composition represented on Pl. LVIII in Vol. I. In front of it
+appears the head of a sphinx or of a dragon which seems to be
+carrying the palace away._ 
+
+_The following texts refer to the construction of palaces and other
+buildings destined for private use:_ 
+
+760. 
+
+In the courtyard the walls must be half the height of its width,
+that is if the court be 40 braccia, the house must be 20 high as
+regards the walls of the said courtyard; and this courtyard must be
+half as wide as the whole front. 
+
+[Footnote: See Pl. CI, no. 1, and compare the dimensions here given,
+with No. 748 lines 26-29; and the drawing belonging to it Pl. LXXXI,
+no. 2.] 
+
+On the dispositions of a stable. 
+
+761. 
+
+FOR MAKING A CLEAN STABLE. 
+
+The manner in which one must arrange a stable. You must first divide
+its width in 3 parts, its depth matters not; and let these 3
+divisions be equal and 6 braccia broad for each part and 10 high,
+and the middle part shall be for the use of the stablemasters; the 2
+side ones for the horses, each of which must be 6 braccia in width
+and 6 in length, and be half a braccio higher at the head than
+behind. Let the manger be at 2 braccia from the ground, to the
+bottom of the rack, 3 braccia, and the top of it 4 braccia. Now, in
+order to attain to what I promise, that is to make this place,
+contrary to the general custom, clean and neat: as to the upper part
+of the stable, i. e. where the hay is, that part must have at its
+outer end a window 6 braccia high and 6 broad, through which by
+simple means the hay is brought up to the loft, as is shown by the
+machine _E_; and let this be erected in a place 6 braccia wide, and
+as long as the stable, as seen at _k p_. The other two parts, which
+are on either side of this, are again divided; those nearest to the
+hay-loft are 4 braccia, _p s_, and only for the use and circulation
+of the servants belonging to the stable; the other two which reach
+to the outer walls are 2 braccia, as seen at _s k_, and these are
+made for the purpose of giving hay to the mangers, by means of
+funnels, narrow at the top and wide over the manger, in order that
+the hay should not choke them. They must be well plastered and clean
+and are represented at 4 _f s_. As to the giving the horses water,
+the troughs must be of stone and above them [cisterns of] water. The
+mangers may be opened as boxes are uncovered by raising the lids.
+[Footnote: See Pl. LXXVIII, No.1.] 
+
+Decorations for feasts. 
+
+762. 
+
+THE WAY TO CONSTRUCT A FRAME-WORK FOR DECORATING BUILDINGS. 
+
+The way in which the poles ought to be placed for tying bunches of
+juniper on to them. These poles must lie close to the framework of
+the vaulting and tie the bunches on with osier withes, so as to clip
+them even afterwards with shears. 
+
+Let the distance from one circle to another be half a braccia; and
+the juniper [sprigs] must lie top downwards, beginning from below. 
+
+Round this column tie four poles to which willows about as thick as
+a finger must be nailed and then begin from the bottom and work
+upwards with bunches of juniper sprigs, the tops downwards, that is
+upside down. [Footnote: See Pl. CII, No. 3. The words here given as
+the title line, lines 1--4, are the last in the original MS.--Lines
+5--16 are written under fig. 4.] 
+
+763. 
+
+The water should be allowed to fall from the whole circle _a b_.
+[Footnote: Other drawings of fountains are given on Pl. CI (W. XX);
+the original is a pen and ink drawing on blue paper; on Pl. CIII
+(MS. B.) and Pl. LXXXII.] 
+
+_VI. Studies of architectural details._ 
+
+_Several of Leonardo's drawings of architectural details prove that,
+like other great masters of that period, he had devoted his
+attention to the study of the proportion of such details. As every
+organic being in nature has its law of construction and growth,
+these masters endeavoured, each in his way, to discover and prove a
+law of proportion in architecture. The following notes in Leonardo's
+manuscripts refer to this subject._ 
+
+_MS. S. K. M. Ill, 47b (see Fig. 1). A diagram, indicating the rules
+as given by Vitruvius and by Leon Battista Alberti for the
+proportions of the Attic base of a column._ 
+
+_MS. S. K. M. Ill 55a (see Fig. 2). Diagram showing the same rules._
+
+764. 
+
+B toro superiore  .  .  .  .  .    toro superiore
+2B nestroli    .  .  .  .  .  .  astragali quadre
+3B orbiculo    .  .  .  .  .  .   .   .   troclea
+4B nestroli    .  .  .  .  .  .  astragali quadre
+5B toro iferiore  .  .  .  .  .  .  toro iferiore
+6B latastro    .  .  .  .  .  .  .   .    plintho
+
+[Footnote: No explanation can be offered of the meaning of the
+letter B, which precedes each name. It may be meant for _basa_
+(base). Perhaps it refers to some author on architecture or an
+architect (Bramante?) who employed the designations, thus marked for
+the mouldings. 3. _troclea._ Philander: _Trochlea sive trochalia aut
+rechanum._ 6. _Laterculus_ or _latastrum_ is the Latin name for
+_Plinthus_ (pi lambda Xiv) but Vitruvius adopted this Greek name
+and "latastro" seems to have been little in use. It is to be found
+besides the text given above, as far as I am aware, only two
+drawings of the Uffizi Collection, where in one instance, it
+indicates the _abacus_ of a Doric capital.] 
+
+765. 
+
+STEPS OF URRBINO. 
+
+The plinth must be as broad as the thickness of the wall against
+which the plinth is built. [Footnote: See Pl. CX No. 3. The hasty
+sketch on the right hand side illustrates the unsatisfactory effect
+produced when the plinth is narrower than the wall.] 
+
+766. 
+
+The ancient architects ...... beginning with the Egyptians (?) who,
+as Diodorus Siculus writes, were the first to build and construct
+large cities and castles, public and private buildings of fine form,
+large and well proportioned ..... 
+
+The column, which has its thickness at the third part .... The one
+which would be thinnest in the middle, would break ...; the one
+which is of equal thickness and of equal strength, is better for the
+edifice. The second best as to the usefulness will be the one whose
+greatest thickness is where it joins with the base. 
+
+[Footnote: See Pl. CIII, No. 3, where the sketches belonging to
+lines 10--16 are reproduced, but reversed. The sketch of columns,
+here reproduced by a wood cut, stands in the original close to lines
+5--8.] 
+
+The capital must be formed in this way. Divide its thickness at the
+top into 8; at the foot make it 5/7, and let it be 5/7 high and you
+will have a square; afterwards divide the height into 8 parts as you
+did for the column, and then take 1/8 for the echinus and another
+eighth for the thickness of the abacus on the top of the capital.
+The horns of the abacus of the capital have to project beyond the
+greatest width of the bell 2/7, i. e. sevenths of the top of the
+bell, so 1/7 falls to the projection of each horn. The truncated
+part of the horns must be as broad as it is high. I leave the rest,
+that is the ornaments, to the taste of the sculptors. But to return
+to the columns and in order to prove the reason of their strength or
+weakness according to their shape, I say that when the lines
+starting from the summit of the column and ending at its base and
+their direction and length ..., their distance apart or width may be
+equal; I say that this column ... 
+
+767. 
+
+The cylinder of a body columnar in shape and its two opposite ends
+are two circles enclosed between parallel lines, and through the
+centre of the cylinder is a straight line, ending at the centre of
+these circles, and called by the ancients the axis. 
+
+[Footnote: Leonardo wrote these lines on the margin of a page of the
+Trattato di Francesco di Giorgio, where there are several drawings
+of columns, as well as a head drawn in profile inside an outline
+sketch of a capital.] 
+
+768. 
+
+_a b_ is 1/3 of _n m_; _m o_ is 1/6 of _r o_. The ovolo projects 1/6
+of _r o_; _s_ 7 1/5 of _r o_, _a b_ is divided into 9 1/2; the
+abacus is 3/9 the ovolo 4/9, the bead-moulding and the fillet 2/9
+and 1/2. 
+
+[Footnote: See Pl. LXXXV, No. 16. In the original the drawing and
+writing are both in red chalk.] 
+
+_Pl. LXXXV No. 6 (MS. Ash. II 6b) contains a small sketch of a
+capital with the following note, written in three lines:_ I chorni
+del capitelo deono essere la quarta parte d'uno quadro _(The horns
+of a capital must measure the fourth part of a square)._ 
+
+_MS. S. K. M. III 72b contains two sketches of ornamentations of
+windows._ 
+
+_In MS. C. A. 308a; 938a (see Pl. LXXXII No. 1) there are several
+sketches of columns. One of the two columns on the right is similar
+to those employed by Bramante at the Canonica di S. Ambrogio. The
+same columns appear in the sketch underneath the plan of a castle.
+There they appear coupled, and in two stories one above the other.
+The archivolls which seem to spring out of the columns, are shaped
+like twisted cords, meant perhaps to be twisted branches. The walls
+between the columns seem to be formed out of blocks of wood, the
+pedestals are ornamented with a reticulated pattern. From all this
+we may suppose that Leonardo here had in mind either some festive
+decoration, or perhaps a pavilion for some hunting place or park.
+The sketch of columns marked "35" gives an example of columns shaped
+like candelabra, a form often employed at that time, particularly in
+Milan, and the surrounding districts for instance in the Cortile di
+Casa Castiglione now Silvestre, in the cathedral of Como, at Porta
+della Rana &c._ 
+
+769. 
+
+CONCERNING ARCHITRAVES OF ONE OR SEVERAL PIECES. 
+
+An architrave of several pieces is stronger than that of one single
+piece, if those pieces are placed with their length in the direction
+of the centre of the world. This is proved because stones have their
+grain or fibre generated in the contrary direction i. e. in the
+direction of the opposite horizons of the hemisphere, and this is
+contrary to fibres of the plants which have ... 
+
+[Footnote: The text is incomplete in the original.] 
+
+_The Proportions of the stories of a building are indicated by a
+sketch in MS. S. K. M. II2 11b (see Pl. LXXXV No. 15). The measures
+are written on the left side, as follows: br 1 1/2--6 3/4--br
+1/12--2 br--9 e 1/2--1 1/2--br 5--o 9--o 3 [br=braccia; o=oncie]. 
+
+Pl. LXXXV No. 13 (MS. B. 62a) and Pl. XCIII No. 1. (MS. B. 15a) give
+a few examples of arches supported on piers._ 
+
+_XIII. 
+
+Theoretical writings on Architecture. 
+
+Leonardo's original writings on the theory of Architecture have come
+down to us only in a fragmentary state; still, there seems to be no
+doubt that he himself did not complete them. It would seem that
+Leonardo entertained the idea of writing a large and connected book
+on Architecture; and it is quite evident that the materials we
+possess, which can be proved to have been written at different
+periods, were noted down with a more or less definite aim and
+purpose. They might all be collected under the one title: "Studies
+on the Strength of Materials". Among them the investigations on the
+subject of fissures in walls are particularly thorough, and very
+fully reported; these passages are also especially interesting,
+because Leonardo was certainly the first writer on architecture who
+ever treated the subject at all. Here, as in all other cases
+Leonardo carefully avoids all abstract argument. His data are not
+derived from the principles of algebra, but from the laws of
+mechanics, and his method throughout is strictly experimental. 
+
+Though the conclusions drawn from his investigations may not have
+that precision which we are accustomed to find in Leonardo's
+scientific labours, their interest is not lessened. They prove at
+any rate his deep sagacity and wonderfully clear mind. No one
+perhaps, who has studied these questions since Leonardo, has
+combined with a scientific mind anything like the artistic delicacy
+of perception which gives interest and lucidity to his observations.
+
+I do not assert that the arrangement here adopted for the passages
+in question is that originally intended by Leonardo; but their
+distribution into five groups was suggested by the titles, or
+headings, which Leonardo himself prefixed to most of these notes.
+Some of the longer sections perhaps should not, to be in strict
+agreement with this division, have been reproduced in their entirety
+in the place where they occur. But the comparatively small amount of
+the materials we possess will render them, even so, sufficiently
+intelligible to the reader; it did not therefore seem necessary or
+desirable to subdivide the passages merely for the sake of strict
+classification._ 
+
+_The small number of chapters given under the fifth class, treating
+on the centre of gravity in roof-beams, bears no proportion to the
+number of drawings and studies which refer to the same subject. Only
+a small selection of these are reproduced in this work since the
+majority have no explanatory text._ 
+
+I. 
+
+ON FISSURES IN WALLS. 
+
+770. 
+
+First write the treatise on the causes of the giving way of walls
+and then, separately, treat of the remedies. 
+
+Parallel fissures constantly occur in buildings which are erected on
+a hill side, when the hill is composed of stratified rocks with an
+oblique stratification, because water and other moisture often
+penetrates these oblique seams carrying in greasy and slippery soil;
+and as the strata are not continuous down to the bottom of the
+valley, the rocks slide in the direction of the slope, and the
+motion does not cease till they have reached the bottom of the
+valley, carrying with them, as though in a boat, that portion of the
+building which is separated by them from the rest. The remedy for
+this is always to build thick piers under the wall which is
+slipping, with arches from one to another, and with a good scarp and
+let the piers have a firm foundation in the strata so that they may
+not break away from them. 
+
+In order to find the solid part of these strata, it is necessary to
+make a shaft at the foot of the wall of great depth through the
+strata; and in this shaft, on the side from which the hill slopes,
+smooth and flatten a space one palm wide from the top to the bottom;
+and after some time this smooth portion made on the side of the
+shaft, will show plainly which part of the hill is moving. 
+
+[Footnote: See Pl. CIV.] 
+
+771. 
+
+The cracks in walls will never be parallel unless the part of the
+wall that separates from the remainder does not slip down. 
+
+WHAT IS THE LAW BY WHICH BUILDINGS HAVE STABILITY. 
+
+The stability of buildings is the result of the contrary law to the
+two former cases. That is to say that the walls must be all built up
+equally, and by degrees, to equal heights all round the building,
+and the whole thickness at once, whatever kind of walls they may be.
+And although a thin wall dries more quickly than a thick one it will
+not necessarily give way under the added weight day by day and thus,
+[16] although a thin wall dries more quickly than a thick one, it
+will not give way under the weight which the latter may acquire from
+day to day. Because if double the amount of it dries in one day, one
+of double the thickness will dry in two days or thereabouts; thus
+the small addition of weight will be balanced by the smaller
+difference of time [18]. 
+
+The adversary says that _a_ which projects, slips down. 
+
+And here the adversary says that _r_ slips and not _c_. 
+
+HOW TO PROGNOSTICATE THE CAUSES OF CRACKS IN ANY SORT OF WALL. 
+
+The part of the wall which does not slip is that in which the
+obliquity projects and overhangs the portion which has parted from
+it and slipped down. 
+
+ON THE SITUATION OF FOUNDATIONS AND IN WHAT PLACES THEY ARE A CAUSE
+OF RUIN. 
+
+When the crevice in the wall is wider at the top than at the bottom,
+it is a manifest sign, that the cause of the fissure in the wall is
+remote from the perpendicular line through the crevice. 
+
+[Footnote: Lines 1-5 refer to Pl. CV, No. 2. Line 9 _alle due
+anteciedete_, see on the same page. 
+
+Lines 16-18. The translation of this is doubtful, and the meaning in
+any case very obscure. 
+
+Lines 19-23 are on the right hand margin close to the two sketches
+on Pl. CII, No. 3.] 
+
+772. 
+
+OF CRACKS IN WALLS, WHICH ARE WIDE AT THE BOTTOM AND NARROW AT THE
+TOP AND OF THEIR CAUSES. 
+
+That wall which does not dry uniformly in an equal time, always
+cracks. 
+
+A wall though of equal thickness will not dry with equal quickness
+if it is not everywhere in contact with the same medium. Thus, if
+one side of a wall were in contact with a damp slope and the other
+were in contact with the air, then this latter side would remain of
+the same size as before; that side which dries in the air will
+shrink or diminish and the side which is kept damp will not dry. And
+the dry portion will break away readily from the damp portion
+because the damp part not shrinking in the same proportion does not
+cohere and follow the movement of the part which dries continuously.
+
+OF ARCHED CRACKS, WIDE AT THE TOP, AND NARROW BELOW. 
+
+Arched cracks, wide at the top and narrow below are found in
+walled-up doors, which shrink more in their height than in their
+breadth, and in proportion as their height is greater than their
+width, and as the joints of the mortar are more numerous in the
+height than in the width. 
+
+The crack diminishes less in _r o_ than in _m n_, in proportion as
+there is less material between _r_ and _o_ than between _n_ and _m_.
+
+Any crack made in a concave wall is wide below and narrow at the
+top; and this originates, as is here shown at _b c d_, in the side
+figure. 
+
+1. That which gets wet increases in proportion to the moisture it
+imbibes. 
+
+2. And a wet object shrinks, while drying, in proportion to the
+amount of moisture which evaporates from it. 
+
+[Footnote: The text of this passage is reproduced in facsimile on
+Pl. CVI to the left. L. 36-40 are written inside the sketch No. 2.
+L. 41-46 are partly written over the sketch No. 3 to which they
+refer.] 
+
+773. 
+
+OF THE CAUSES OF FISSURES IN [THE WALLS OF] PUBLIC AND PRIVATE
+BUILDINGS. 
+
+The walls give way in cracks, some of which are more or less
+vertical and others are oblique. The cracks which are in a vertical
+direction are caused by the joining of new walls, with old walls,
+whether straight or with indentations fitting on to those of the old
+wall; for, as these indentations cannot bear the too great weight of
+the wall added on to them, it is inevitable that they should break,
+and give way to the settling of the new wall, which will shrink one
+braccia in every ten, more or less, according to the greater or
+smaller quantity of mortar used between the stones of the masonry,
+and whether this mortar is more or less liquid. And observe, that
+the walls should always be built first and then faced with the
+stones intended to face them. For, if you do not proceed thus, since
+the wall settles more than the stone facing, the projections left on
+the sides of the wall must inevitably give way; because the stones
+used for facing the wall being larger than those over which they are
+laid, they will necessarily have less mortar laid between the
+joints, and consequently they settle less; and this cannot happen if
+the facing is added after the wall is dry. 
+
+_a b_ the new wall, _c_ the old wall, which has already settled; and
+the part _a b_ settles afterwards, although _a_, being founded on
+_c_, the old wall, cannot possibly break, having a stable foundation
+on the old wall. But only the remainder _b_ of the new wall will
+break away, because it is built from top to bottom of the building;
+and the remainder of the new wall will overhang the gap above the
+wall that has sunk. 
+
+774. 
+
+A new tower founded partly on old masonry. 
+
+775. 
+
+OF STONES WHICH DISJOIN THEMSELVES FROM THEIR MORTAR. 
+
+Stones laid in regular courses from bottom to top and built up with
+an equal quantity of mortar settle equally throughout, when the
+moisture that made the mortar soft evaporates. 
+
+By what is said above it is proved that the small extent of the new
+wall between _A_ and _n_ will settle but little, in proportion to
+the extent of the same wall between _c_ and _d_. The proportion will
+in fact be that of the thinness of the mortar in relation to the
+number of courses or to the quantity of mortar laid between the
+stones above the different levels of the old wall. 
+
+[Footnote: See Pl. CV, No. 1. The top of the tower is wanting in
+this reproduction, and with it the letter _n_ which, in the
+original, stands above the letter _A_ over the top of the tower,
+while _c_ stands perpendicularly over _d_.] 
+
+776. 
+
+This wall will break under the arch _e f_, because the seven whole
+square bricks are not sufficient to sustain the spring of the arch
+placed on them. And these seven bricks will give way in their middle
+exactly as appears in _a b_. The reason is, that the brick _a_ has
+above it only the weight _a k_, whilst the last brick under the arch
+has above it the weight _c d x a_. 
+
+_c d_ seems to press on the arch towards the abutment at the point
+_p_ but the weight _p o_ opposes resistence to it, whence the whole
+pressure is transmitted to the root of the arch. Therefore the foot
+of the arch acts like 7 6, which is more than double of _x z_. 
+
+II. 
+
+ON FISSURES IN NICHES. 
+
+777. 
+
+ON FISSURES IN NICHES. 
+
+An arch constructed on a semicircle and bearing weights on the two
+opposite thirds of its curve will give way at five points of the
+curve. To prove this let the weights be at _n m_ which will break
+the arch _a_, _b_, _f_. I say that, by the foregoing, as the
+extremities _c_ and _a_ are equally pressed upon by the thrust _n_,
+it follows, by the 5th, that the arch will give way at the point
+which is furthest from the two forces acting on them and that is the
+middle _e_. The same is to be understood of the opposite curve, _d g
+b_; hence the weights _n m_ must sink, but they cannot sink by the
+7th, without coming closer together, and they cannot come together
+unless the extremities of the arch between them come closer, and if
+these draw together the crown of the arch must break; and thus the
+arch will give way in two places as was at first said &c. 
+
+I ask, given a weight at _a_ what counteracts it in the direction
+_n_ _f_ and by what weight must the weight at _f_ be counteracted. 
+
+778. 
+
+ON THE SHRINKING OF DAMP BODIES OF DIFFERENT THICKNESS AND WIDTH. 
+
+The window _a_ is the cause of the crack at _b_; and this crack is
+increased by the pressure of _n_ and _m_ which sink or penetrate
+into the soil in which foundations are built more than the lighter
+portion at _b_. Besides, the old foundation under _b_ has already
+settled, and this the piers _n_ and _m_ have not yet done. Hence the
+part _b_ does not settle down perpendicularly; on the contrary, it
+is thrown outwards obliquely, and it cannot on the contrary be
+thrown inwards, because a portion like this, separated from the main
+wall, is larger outside than inside and the main wall, where it is
+broken, is of the same shape and is also larger outside than inside;
+therefore, if this separate portion were to fall inwards the larger
+would have to pass through the smaller--which is impossible. Hence
+it is evident that the portion of the semicircular wall when
+disunited from the main wall will be thrust outwards, and not
+inwards as the adversary says. 
+
+When a dome or a half-dome is crushed from above by an excess of
+weight the vault will give way, forming a crack which diminishes
+towards the top and is wide below, narrow on the inner side and wide
+outside; as is the case with the outer husk of a pomegranate,
+divided into many parts lengthwise; for the more it is pressed in
+the direction of its length, that part of the joints will open most,
+which is most distant from the cause of the pressure; and for that
+reason the arches of the vaults of any apse should never be more
+loaded than the arches of the principal building. Because that which
+weighs most, presses most on the parts below, and they sink into the
+foundations; but this cannot happen to lighter structures like the
+said apses. 
+
+[Footnote: The figure on Pl. CV, No. 4 belongs to the first
+paragraph of this passage, lines 1-14; fig. 5 is sketched by the
+side of lines l5--and following. The sketch below of a pomegranate
+refers to line 22. The drawing fig. 6 is, in the original, over line
+37 and fig. 7 over line 54.] 
+
+Which of these two cubes will shrink the more uniformly: the cube
+_A_ resting on the pavement, or the cube _b_ suspended in the air,
+when both cubes are equal in weight and bulk, and of clay mixed with
+equal quantities of water? 
+
+The cube placed on the pavement diminishes more in height than in
+breadth, which the cube above, hanging in the air, cannot do. Thus
+it is proved. The cube shown above is better shown here below. 
+
+The final result of the two cylinders of damp clay that is _a_ and
+_b_ will be the pyramidal figures below _c_ and _d_. This is proved
+thus: The cylinder _a_ resting on block of stone being made of clay
+mixed with a great deal of water will sink by its weight, which
+presses on its base, and in proportion as it settles and spreads all
+the parts will be somewhat nearer to the base because that is
+charged with the whole weight. 
+
+III. 
+
+ON THE NATURE OF THE ARCH. 
+
+779. 
+
+WHAT IS AN ARCH? 
+
+The arch is nothing else than a force originated by two weaknesses,
+for the arch in buildings is composed of two segments of a circle,
+each of which being very weak in itself tends to fall; but as each
+opposes this tendency in the other, the two weaknesses combine to
+form one strength. 
+
+OF THE KIND OF PRESSURE IN ARCHES. 
+
+As the arch is a composite force it remains in equilibrium because
+the thrust is equal from both sides; and if one of the segments
+weighs more than the other the stability is lost, because the
+greater pressure will outweigh the lesser. 
+
+OF DISTRIBUTING THE PRESSURE ABOVE AN ARCH. 
+
+Next to giving the segments of the circle equal weight it is
+necessary to load them equally, or you will fall into the same
+defect as before. 
+
+WHERE AN ARCH BREAKS. 
+
+An arch breaks at the part which lies below half way from the
+centre. 
+
+SECOND RUPTURE OF THE ARCH. 
+
+If the excess of weight be placed in the middle of the arch at the
+point _a_, that weight tends to fall towards _b_, and the arch
+breaks at 2/3 of its height at _c e_; and _g e_ is as many times
+stronger than _e a_, as _m o_ goes into _m n_. 
+
+ON ANOTHER CAUSE OF RUIN. 
+
+The arch will likewise give way under a transversal thrust, for when
+the charge is not thrown directly on the foot of the arch, the arch
+lasts but a short time. 
+
+780. 
+
+ON THE STRENGTH OF THE ARCH. 
+
+The way to give stability to the arch is to fill the spandrils with
+good masonry up to the level of its summit. 
+
+ON THE LOADING OF ROUND ARCHES. 
+
+ON THE PROPER MANNER OF LOADING THE POINTED ARCH. 
+
+ON THE EVIL EFFECTS OF LOADING THE POINTED ARCH DIRECTLY ABOVE ITS
+CROWN. 
+
+ON THE DAMAGE DONE TO THE POINTED ARCH BY THROWING THE PRESSURE ON
+THE FLANKS. 
+
+An arch of small curve is safe in itself, but if it be heavily
+charged, it is necessary to strengthen the flanks well. An arch of a
+very large curve is weak in itself, and stronger if it be charged,
+and will do little harm to its abutments, and its places of giving
+way are _o p_. 
+
+[Footnote: Inside the large figure on the righi is the note: _Da
+pesare la forza dell' archo_.] 
+
+781. 
+
+ON THE REMEDY FOR EARTHQUAKES. 
+
+The arch which throws its pressure perpendicularly on the abutments
+will fulfil its function whatever be its direction, upside down,
+sideways or upright. 
+
+The arch will not break if the chord of the outer arch does not
+touch the inner arch. This is manifest by experience, because
+whenever the chord _a o n_ of the outer arch _n r a_ approaches the
+inner arch _x b y_ the arch will be weak, and it will be weaker in
+proportion as the inner arch passes beyond that chord. When an arch
+is loaded only on one side the thrust will press on the top of the
+other side and be transmitted to the spring of the arch on that
+side; and it will break at a point half way between its two
+extremes, where it is farthest from the chord. 
+
+782. 
+
+A continuous body which has been forcibly bent into an arch, thrusts
+in the direction of the straight line, which it tends to recover. 
+
+783. 
+
+In an arch judiciously weighted the thrust is oblique, so that the
+triangle _c n b_ has no weight upon it. 
+
+784. 
+
+I here ask what weight will be needed to counterpoise and resist the
+tendency of each of these arches to give way? 
+
+[Footnote: The two lower sketches are taken from the MS. S. K. M.
+III, 10a; they have there no explanatory text.] 
+
+785. 
+
+ON THE STRENGTH OF THE ARCH IN ARCHITECTURE. 
+
+The stability of the arch built by an architect resides in the tie
+and in the flanks. 
+
+ON THE POSITION OF THE TIE IN THE ABOVE NAMED ARCH. 
+
+The position of the tie is of the same importance at the beginning
+of the arch and at the top of the perpendicular pier on which it
+rests. This is proved by the 2nd "of supports" which says: that part
+of a support has least resistance which is farthest from its solid
+attachment; hence, as the top of the pier is farthest from the
+middle of its true foundation and the same being the case at the
+opposite extremities of the arch which are the points farthest from
+the middle, which is really its [upper] attachment, we have
+concluded that the tie _a b_ requires to be in such a position as
+that its opposite ends are between the four above-mentioned
+extremes. 
+
+The adversary says that this arch must be more than half a circle,
+and that then it will not need a tie, because then the ends will not
+thrust outwards but inwards, as is seen in the excess at _a c_, _b
+d_. To this it must be answered that this would be a very poor
+device, for three reasons. The first refers to the strength of the
+arch, since it is proved that the circular parallel being composed
+of two semicircles will only break where these semicircles cross
+each other, as is seen in the figure _n m;_ besides this it follows
+that there is a wider space between the extremes of the semicircle
+than between the plane of the walls; the third reason is that the
+weight placed to counterbalance the strength of the arch diminishes
+in proportion as the piers of the arch are wider than the space
+between the piers. Fourthly in proportion as the parts at _c a b d_
+turn outwards, the piers are weaker to support the arch above them.
+The 5th is that all the material and weight of the arch which are in
+excess of the semicircle are useless and indeed mischievous; and
+here it is to be noted that the weight placed above the arch will be
+more likely to break the arch at _a b_, where the curve of the
+excess begins that is added to the semicircle, than if the pier were
+straight up to its junction with the semicircle [spring of the
+arch]. 
+
+AN ARCH LOADED OVER THE CROWN WILL GIVE WAY AT THE LEFT HAND AND
+RIGHT HAND QUARTERS. 
+
+This is proved by the 7th of this which says: The opposite ends of
+the support are equally pressed upon by the weight suspended to
+them; hence the weight shown at _f_ is felt at _b c_, that is half
+at each extremity; and by the third which says: in a support of
+equal strength [throughout] that portion will give way soonest which
+is farthest from its attachment; whence it follows that _d_ being
+equally distant from _f, e_ ..... 
+
+If the centering of the arch does not settle as the arch settles,
+the mortar, as it dries, will shrink and detach itself from the
+bricks between which it was laid to keep them together; and as it
+thus leaves them disjoined the vault will remain loosely built, and
+the rains will soon destroy it. 
+
+786. 
+
+ON THE STRENGTH AND NATURE OF ARCHES, AND WHERE THEY ARE STRONG OR
+WEAK; AND THE SAME AS TO COLUMNS. 
+
+That part of the arch which is nearer to the horizontal offers least
+resistance to the weight placed on it. 
+
+When the triangle _a z n_, by settling, drives backwards the 2/3 of
+each 1/2 circle that is _a s_ and in the same way _z m_, the reason
+is that _a_ is perpendicularly over _b_ and so likewise _z_ is above
+_f_. 
+
+Either half of an arch, if overweighted, will break at 2/3 of its
+height, the point which corresponds to the perpendicular line above
+the middle of its bases, as is seen at _a b_; and this happens
+because the weight tends to fall past the point _r_.--And if,
+against its nature it should tend to fall towards the point _s_ the
+arch _n s_ would break precisely in its middle. If the arch _n s_
+were of a single piece of timber, if the weight placed at _n_ should
+tend to fall in the line _n m_, the arch would break in the middle
+of the arch _e m_, otherwise it will break at one third from the top
+at the point a because from _a_ to _n_ the arch is nearer to the
+horizontal than from _a_ to _o_ and from _o_ to _s_, in proportion
+as _p t_ is greater than _t n_, _a o_ will be stronger than _a n_
+and likewise in proportion as _s o_ is stronger than _o a_, _r p_
+will be greater than _p t_. 
+
+The arch which is doubled to four times of its thickness will bear
+four times the weight that the single arch could carry, and more in
+proportion as the diameter of its thickness goes a smaller number of
+times into its length. That is to say that if the thickness of the
+single arch goes ten times into its length, the thickness of the
+doubled arch will go five times into its length. Hence as the
+thickness of the double arch goes only half as many times into its
+length as that of the single arch does, it is reasonable that it
+should carry half as much more weight as it would have to carry if
+it were in direct proportion to the single arch. Hence as this
+double arch has 4 times the thickness of the single arch, it would
+seem that it ought to bear 4 times the weight; but by the above rule
+it is shown that it will bear exactly 8 times as much. 
+
+THAT PIER, WHICH is CHARGED MOST UNEQUALLY, WILL SOONEST GIVE WAY. 
+
+The column _c b_, being charged with an equal weight, [on each side]
+will be most durable, and the other two outward columns require on
+the part outside of their centre as much pressure as there is inside
+of their centre, that is, from the centre of the column, towards the
+middle of the arch. 
+
+Arches which depend on chains for their support will not be very
+durable. 
+
+THAT ARCH WILL BE OF LONGER DURATION WHICH HAS A GOOD ABUTMENT
+OPPOSED TO ITS THRUST. 
+
+The arch itself tends to fall. If the arch be 30 braccia and the
+interval between the walls which carry it be 20, we know that 30
+cannot pass through the 20 unless 20 becomes likewise 30. Hence the
+arch being crushed by the excess of weight, and the walls offering
+insufficient resistance, part, and afford room between them, for the
+fall of the arch. 
+
+But if you do not wish to strengthen the arch with an iron tie you
+must give it such abutments as can resist the thrust; and you can do
+this thus: fill up the spandrels _m n_ with stones, and direct the
+lines of the joints between them to the centre of the circle of the
+arch, and the reason why this makes the arch durable is this. We
+know very well that if the arch is loaded with an excess of weight
+above its quarter as _a b_, the wall _f g_ will be thrust outwards
+because the arch would yield in that direction; if the other quarter
+_b c_ were loaded, the wall _f g_ would be thrust inwards, if it
+were not for the line of stones _x y_ which resists this. 
+
+787. 
+
+PLAN. 
+
+Here it is shown how the arches made in the side of the octagon
+thrust the piers of the angles outwards, as is shown by the line _h
+c_ and by the line _t d_ which thrust out the pier _m_; that is they
+tend to force it away from the centre of such an octagon. 
+
+788. 
+
+An Experiment to show that a weight placed on an arch does not
+discharge itself entirely on its columns; on the contrary the
+greater the weight placed on the arches, the less the arch transmits
+the weight to the columns. The experiment is the following. Let a
+man be placed on a steel yard in the middle of the shaft of a well,
+then let him spread out his hands and feet between the walls of the
+well, and you will see him weigh much less on the steel yard; give
+him a weight on the shoulders, you will see by experiment, that the
+greater the weight you give him the greater effort he will make in
+spreading his arms and legs, and in pressing against the wall and
+the less weight will be thrown on the steel yard. 
+
+IV. 
+
+ON FOUNDATIONS, THE NATURE OF THE GROUND AND SUPPORTS. 
+
+789. 
+
+The first and most important thing is stability. 
+
+As to the foundations of the component parts of temples and other
+public buildings, the depths of the foundations must bear the same
+proportions to each other as the weight of material which is to be
+placed upon them. 
+
+Every part of the depth of earth in a given space is composed of
+layers, and each layer is composed of heavier or lighter materials,
+the lowest being the heaviest. And this can be proved, because these
+layers have been formed by the sediment from water carried down to
+the sea, by the current of rivers which flow into it. The heaviest
+part of this sediment was that which was first thrown down, and so
+on by degrees; and this is the action of water when it becomes
+stagnant, having first brought down the mud whence it first flowed.
+And such layers of soil are seen in the banks of rivers, where their
+constant flow has cut through them and divided one slope from the
+other to a great depth; where in gravelly strata the waters have run
+off, the materials have, in consequence, dried and been converted
+into hard stone, and this happened most in what was the finest mud;
+whence we conclude that every portion of the surface of the earth
+was once at the centre of the earth, and _vice_versa_ &c. 
+
+790. 
+
+The heaviest part of the foundations of buildings settles most, and
+leaves the lighter part above it separated from it. 
+
+And the soil which is most pressed, if it be porous yields most. 
+
+You should always make the foundations project equally beyond the
+weight of the walls and piers, as shown at _m a b_. If you do as
+many do, that is to say if you make a foundation of equal width from
+the bottom up to the surface of the ground, and charge it above with
+unequal weights, as shown at _b e_ and at _e o_, at the part of the
+foundation at _b e_, the pier of the angle will weigh most and
+thrust its foundation downwards, which the wall at _e o_ will not
+do; since it does not cover the whole of its foundation, and
+therefore thrusts less heavily and settles less. Hence, the pier _b
+e_ in settling cracks and parts from the wall _e o_. This may be
+seen in most buildings which are cracked round the piers. 
+
+791. 
+
+The window _a_ is well placed under the window _c_, and the window
+_b_ is badly placed under the pier _d_, because this latter is
+without support and foundation; mind therefore never to make a break
+under the piers between the windows. 
+
+792. 
+
+OF THE SUPPORTS. 
+
+A pillar of which the thickness is increased will gain more than its
+due strength, in direct proportion to what its loses in relative
+height. 
+
+EXAMPLE. 
+
+If a pillar should be nine times as high as it is broad--that is to
+say, if it is one braccio thick, according to rule it should be nine
+braccia high--then, if you place 100 such pillars together in a mass
+this will be ten braccia broad and 9 high; and if the first pillar
+could carry 10000 pounds the second being only about as high as it
+is wide, and thus lacking 8 parts of its proper length, it, that is
+to say, each pillar thus united, will bear eight times more than
+when disconnected; that is to say, that if at first it would carry
+ten thousand pounds, it would now carry 90 thousand. 
+
+V. 
+
+ON THE RESISTANCE OF BEAMS. 
+
+793. 
+
+That angle will offer the greatest resistance which is most acute,
+and the most obtuse will be the weakest. 
+
+[Footnote: The three smaller sketches accompany the text in the
+original, but the larger one is not directly connected with it. It
+is to be found on fol. 89a of the same Manuscript and there we read
+in a note, written underneath, _coverchio della perdicha del
+castello_ (roof of the flagstaff of the castle),--Compare also Pl.
+XCIII, No. 1.] 
+
+794. 
+
+If the beams and the weight _o_ are 100 pounds, how much weight will
+be wanted at _ae_ to resist such a weight, that it may not fall
+down? 
+
+795. 
+
+ON THE LENGTH OF BEAMS. 
+
+That beam which is more than 20 times as long as its greatest
+thickness will be of brief duration and will break in half; and
+remember, that the part built into the wall should be steeped in hot
+pitch and filleted with oak boards likewise so steeped. Each beam
+must pass through its walls and be secured beyond the walls with
+sufficient chaining, because in consequence of earthquakes the beams
+are often seen to come out of the walls and bring down the walls and
+floors; whilst if they are chained they will hold the walls strongly
+together and the walls will hold the floors. Again I remind you
+never to put plaster over timber. Since by expansion and shrinking
+of the timber produced by damp and dryness such floors often crack,
+and once cracked their divisions gradually produce dust and an ugly
+effect. Again remember not to lay a floor on beams supported on
+arches; for, in time the floor which is made on beams settles
+somewhat in the middle while that part of the floor which rests on
+the arches remains in its place; hence, floors laid over two kinds
+of supports look, in time, as if they were made in hills [Footnote:
+19 M. RAVAISSON, in his edition of MS. A gives a very different
+rendering of this passage translating it thus: _Les planchers qui
+sont soutenus par deux differentes natures de supports paraissent
+avec le temps faits en voute a cholli_.] 
+
+Remarks on the style of Leonardo's architecture. 
+
+A few remarks may here be added on the style of Leonardo's
+architectural studies. However incomplete, however small in scale,
+they allow us to establish a certain number of facts and
+probabilities, well worthy of consideration. 
+
+When Leonardo began his studies the great name of Brunellesco was
+still the inspiration of all Florence, and we cannot doubt that
+Leonardo was open to it, since we find among his sketches the plan
+of the church of Santo Spirito[Footnote 1: See Pl. XCIV, No. 2. Then
+only in course of erection after the designs of Brunellesco, though
+he was already dead; finished in 1481.] and a lateral view of San
+Lorenzo (Pl. XCIV No. 1), a plan almost identical with the chapel
+Degli Angeli, only begun by him (Pl. XCIV, No. 3) while among
+Leonardo's designs for domes several clearly betray the influence of
+Brunellesco's Cupola and the lantern of Santa Maria del
+Fiore[Footnote 2: A small sketch of the tower of the Palazzo della
+Signoria (MS. C.A. 309) proves that he also studied mediaeval
+monuments.] 
+
+The beginning of the second period of modern Italian architecture
+falls during the first twenty years of Leonardo's life. However the
+new impetus given by Leon Battista Alberti either was not generally
+understood by his contemporaries, or those who appreciated it, had
+no opportunity of showing that they did so. It was only when taken
+up by Bramante and developed by him to the highest rank of modern
+architecture that this new influence was generally felt. Now the
+peculiar feature of Leonardo's sketches is that, like the works of
+Bramante, they appear to be the development and continuation of
+Alberti's. 
+
+_But a question here occurs which is difficult to answer. Did
+Leonardo, till he quitted Florence, follow the direction given by
+the dominant school of Brunellesco, which would then have given rise
+to his "First manner", or had he, even before he left Florence, felt
+Alberti's influence--either through his works (Palazzo Ruccellai,
+and the front of Santa Maria Novella) or through personal
+intercourse? Or was it not till he went to Milan that Alberti's work
+began to impress him through Bramante, who probably had known
+Alberti at Mantua about 1470 and who not only carried out Alberti's
+views and ideas, but, by his designs for St. Peter's at Rome, proved
+himself the greatest of modern architects. When Leonardo went to
+Milan Bramante had already been living there for many years. One of
+his earliest works in Milan was the church of Santa Maria presso San
+Satiro, Via del Falcone[Footnote 1: Evidence of this I intend to
+give later on in a Life of Bramante, which I have in preparation.]. 
+
+Now we find among Leonardos studies of Cupolas on Plates LXXXIV and
+LXXXV and in Pl. LXXX several sketches which seem to me to have been
+suggested by Bramante's dome of this church. 
+
+The MSS. B and Ash. II contain the plans of S. Sepolcro, the
+pavilion in the garden of the duke of Milan, and two churches,
+evidently inspired by the church of San Lorenzo at Milan. 
+
+MS. B. contains besides two notes relating to Pavia, one of them a
+design for the sacristy of the Cathedral at Pavia, which cannot be
+supposed to be dated later than 1492, and it has probably some
+relation to Leonardo's call to Pavia June 21, 1490[Footnote 2: The
+sketch of the plan of Brunellesco's church of Santo Spirito at
+Florence, which occurs in the same Manuscript, may have been done
+from memory.]. These and other considerations justify us in
+concluding, that Leonardo made his studies of cupolas at Milan,
+probably between the years 1487 and 1492 in anticipation of the
+erection of one of the grandest churches of Italy, the Cathedral of
+Pavia. This may explain the decidedly Lombardo-Bramantesque tendency
+in the style of these studies, among which only a few remind us of
+the forms of the cupolas of S. Maria del Fiore and of the Baptistery
+of Florence. Thus, although when compared with Bramante's work,
+several of these sketches plainly reveal that master's influence, we
+find, among the sketches of domes, some, which show already
+Bramante's classic style, of which the Tempietto of San Pietro in
+Montorio, his first building executed at Rome, is the foremost
+example[Footnote 3: It may be mentioned here, that in 1494 Bramante
+made a similar design for the lantern of the Cupola of the Church of
+Santa Maria delle Grazie.]. 
+
+On Plate LXXXIV is a sketch of the plan of a similar circular
+building; and the Mausoleum on Pl. XCVIII, no less than one of the
+pedestals for the statue of Francesco Sforza (Pl. LXV), is of the
+same type. 
+
+The drawings Pl. LXXXIV No. 2, Pl. LXXXVI No. 1 and 2 and the ground
+flour ("flour" sic but should be "floor" ?) of the building in the
+drawing Pl. XCI No. 2, with the interesting decoration by gigantic
+statues in large niches, are also, I believe, more in the style
+Bramante adopted at Rome, than in the Lombard style. Are we to
+conclude from this that Leonardo on his part influenced Bramante in
+the sense of simplifying his style and rendering it more congenial
+to antique art? The answer to this important question seems at first
+difficult to give, for we are here in presence of Bramante, the
+greatest of modern architects, and with Leonardo, the man comparable
+with no other. We have no knowledge of any buildings erected by
+Leonardo, and unless we admit personal intercourse--which seems
+probable, but of which there is no proof--, it would be difficult to
+understand how Leonardo could have affected Bramante's style. The
+converse is more easily to be admitted, since Bramante, as we have
+proved elsewhere, drew and built simultaneously in different
+manners, and though in Lombardy there is no building by him in his
+classic style, the use of brick for building, in that part of Italy,
+may easily account for it._ 
+
+_Bramante's name is incidentally mentioned in Leonardo's manuscripts
+in two passages (Nos. 1414 and 1448). On each occasion it is only a
+slight passing allusion, and the nature of the context gives us no
+due information as to any close connection between the two artists._
+
+_It might be supposed, on the ground of Leonardo's relations with
+the East given in sections XVII and XXI of this volume, that some
+evidence of oriental influence might be detected in his
+architectural drawings. I do not however think that any such traces
+can be pointed out with certainty unless perhaps the drawing for a
+Mausoleum, Pl. XC VIII._ 
+
+_Among several studies for the construction of cupolas above a Greek
+cross there are some in which the forms are decidedly monotonous.
+These, it is clear, were not designed as models of taste; they must
+be regarded as the results of certain investigations into the laws
+of proportion, harmony and contrast._ 
+
+_The designs for churches, on the plan of a Latin cross are
+evidently intended to depart as little as possible from the form of
+a Greek cross; and they also show a preference for a nave surrounded
+with outer porticos._ 
+
+_The architectural forms preferred by Leonardo are pilasters coupled
+(Pl. LXXXII No. 1; or grouped (Pl. LXXX No. 5 and XCIV No. 4), often
+combined with niches. We often meet with orders superposed, one in
+each story, or two small orders on one story, in combination with
+one great order (Pl. XCVI No. 2)._ 
+
+The drum (tamburo) of these cupolas is generally octagonal, as in
+the cathedral of Florence, and with similar round windows in its
+sides. In Pl. LXXXVII No. 2 it is circular like the model actually
+carried out by Michael Angelo at St. Peter's. 
+
+The cupola itself is either hidden under a pyramidal roof, as in the
+Baptistery of Florence, San Lorenzo of Milan and most of the Lombard
+churches (Pl. XCI No. 1 and Pl. XCII No. 1); but it more generally
+suggests the curve of Sta Maria del Fiore (Pl. LXXXVIII No. 5; Pl.
+XC No. 2; Pl. LXXXIX, M; Pl XC No. 4, Pl. XCVI No. 2). In other
+cases (Pl. LXXX No. 4; Pl. LXXXIX; Pl. XC No. 2) it shows the sides
+of the octagon crowned by semicircular pediments, as in
+Brunellesco's lantern of the Cathedral and in the model for the
+Cathedral of Pavia. 
+
+Finally, in some sketches the cupola is either semicircular, or as
+in Pl. LXXXVII No. 2, shows the beautiful line, adopted sixty years
+later by Michael Angelo for the existing dome of St. Peter's. 
+
+It is worth noticing that for all these domes Leonardo is not
+satisfied to decorate the exterior merely with ascending ribs or
+mouldings, but employs also a system of horizontal parallels to
+complete the architectural system. Not the least interesting are the
+designs for the tiburio (cupola) of the Milan Cathedral. They show
+some of the forms, just mentioned, adapted to the peculiar gothic
+style of that monument. 
+
+The few examples of interiors of churches recall the style employed
+in Lombardy by Bramante, for instance in S. Maria di Canepanuova at
+Pavia, or by Dolcebuono in the Monastero Maggiore at Milan (see Pl.
+CI No. 1 [C. A. 181b; 546b]; Pl. LXXXIV No. 10). 
+
+The few indications concerning palaces seem to prove that Leonardo
+followed Alberti's example of decorating the walls with pilasters
+and a flat rustica, either in stone or by graffitti (Pl. CII No. 1
+and Pl. LXXXV No. 14). 
+
+By pointing out the analogies between Leonardo's architecture and
+that of other masters we in no way pretend to depreciate his
+individual and original inventive power. These are at all events
+beyond dispute. The project for the Mausoleum (Pl. XCVIII) would
+alone suffice to rank him among the greatest architects who ever
+lived. The peculiar shape of the tower (Pl. LXXX), of the churches
+for preaching (Pl. XCVII No. 1 and pages 56 and 57, Fig. 1-4), his
+curious plan for a city with high and low level streets (Pl. LXXVII
+and LXXVIII No. 2 and No. 3), his Loggia with fountains (Pl. LXXXII
+No. 4) reveal an originality, a power and facility of invention for
+almost any given problem, which are quite wonderful. 
+
+_In addition to all these qualities he propably stood alone in his
+day in one department of architectural study,--his investigations,
+namely, as to the resistance of vaults, foundations, walls and
+arches._ 
+
+_As an application of these studies the plan of a semicircular vault
+(Pl. CIII No. 2) may be mentioned here, disposed so as to produce no
+thrust on the columns on which it rests:_ volta i botte e non
+ispignie ifori le colone. _Above the geometrical patterns on the
+same sheet, close to a circle inscribed in a square is the note:_ la
+ragio d'una volta cioe il terzo del diamitro della sua ... del
+tedesco in domo. 
+
+_There are few data by which to judge of Leonardo's style in the
+treatment of detail. On Pl. LXXXV No. 10 and Pl. CIII No. 3, we find
+some details of pillars; on Pl. CI No. 3 slender pillars designed
+for a fountain and on Pl. CIII No. 1 MS. B, is a pen and ink drawing
+of a vase which also seems intended for a fountain. Three handles
+seem to have been intended to connect the upper parts with the base.
+There can be no doubt that Leonardo, like Bramante, but unlike
+Michael Angelo, brought infinite delicacy of motive and execution to
+bear on the details of his work._ 
+
+_XIV._ 
+
+_Anatomy, Zoology and Physiology._ 
+
+_Leonardo's eminent place in the history of medicine, as a pioneer
+in the sciences of Anatomy and Physiology, will never be appreciated
+till it is possible to publish the mass of manuscripts in which he
+largely treated of these two branches of learning. In the present
+work I must necessarily limit myself to giving the reader a general
+view of these labours, by publishing his introductory notes to the
+various books on anatomical subjects. I have added some extracts,
+and such observations as are scattered incidentally through these
+treatises, as serving to throw a light on Leonardo's scientific
+attitude, besides having an interest for a wider circle than that of
+specialists only._ 
+
+_VASARI expressly mentions Leonardo's anatomical studies, having had
+occasion to examine the manuscript books which refer to them.
+According to him Leonardo studied Anatomy in the companionship of
+Marc Antonio della Torre_ "aiutato e scambievolmente
+aiutando."_--This learned Anatomist taught the science in the
+universities first of Padua and then of Pavia, and at Pavia he and
+Leonardo may have worked and studied together. We have no clue to
+any exact dates, but in the year 1506 Marc Antonio della Torre seems
+to have not yet left Padua. He was scarcely thirty years old when he
+died in 1512, and his writings on anatomy have not only never been
+published, but no manuscript copy of them is known to exist._ 
+
+_This is not the place to enlarge on the connection between Leonardo
+and Marc Antonio della Torre. I may however observe that I have not
+been able to discover in Leonardo's manuscripts on anatomy any
+mention of his younger contemporary. The few quotations which occur
+from writers on medicine--either of antiquity or of the middle ages
+are printed in Section XXII. Here and there in the manuscripts
+mention is made of an anonymous "adversary"_ (avversario) _whose
+views are opposed and refuted by Leonardo, but there is no ground
+for supposing that Marc Antonio della Torre should have been this
+"adversary"._ 
+
+_Only a very small selection from the mass of anatomical drawings
+left by Leonardo have been published here in facsimile, but to form
+any adequate idea of their scientific merit they should be compared
+with the coarse and inadequate figures given in the published books
+of the early part of the XVI. century. 
+
+William Hunter, the great surgeon--a competent judge--who had an
+opportunity in the time of George III. of seeing the originals in
+the King's Library, has thus recorded his opinion: "I expected to
+see little more than such designs in Anatomy as might be useful to a
+painter in his own profession. But I saw, and indeed with
+astonishment, that Leonardo had been a general and deep student.
+When I consider what pains he has taken upon every part of the body,
+the superiority of his universal genius, his particular excellence
+in mechanics and hydraulics, and the attention with which such a man
+would examine and see objects which he has to draw, I am fully
+persuaded that Leonardo was the best Anatomist, at that time, in the
+world ... Leonardo was certainly the first man, we know of, who
+introduced the practice of making anatomical drawings" (Two
+introductory letters. London 1784, pages 37 and 39). 
+
+The illustrious German Naturalist Johan Friedrich Blumenback
+esteemed them no less highly; he was one of the privileged few who,
+after Hunter, had the chance of seeing these Manuscripts. He writes:
+_Der Scharfblick dieses grossen Forschers und Darstellers der Natur
+hat schon auf Dinge geachtet, die noch Jahrhunderte nachher
+unbemerkt geblieben sind_" (see _Blumenbach's medicinische
+Bibliothek_, Vol. 3, St. 4, 1795. page 728). 
+
+These opinions were founded on the drawings alone. Up to the present
+day hardly anything has been made known of the text, and, for the
+reasons I have given, it is my intention to reproduce here no more
+than a selection of extracts which I have made from the originals at
+Windsor Castle and elsewhere. In the Bibliography of the
+Manuscripts, at the end of this volume a short review is given of
+the valuable contents of these Anatomical note books which are at
+present almost all in the possession of her Majesty the Queen of
+England. It is, I believe, possible to assign the date with
+approximate accuracy to almost all the fragments, and I am thus led
+to conclude that the greater part of Leonardo's anatomical
+investigations were carried out after the death of della Torre. 
+
+Merely in reading the introductory notes to his various books on
+Anatomy which are here printed it is impossible to resist the
+impression that the Master's anatomical studies bear to a very great
+extent the stamp of originality and independent thought. 
+
+I. 
+
+ANATOMY. 
+
+796. 
+
+A general introduction 
+
+I wish to work miracles;--it may be that I shall possess less than
+other men of more peaceful lives, or than those who want to grow
+rich in a day. I may live for a long time in great poverty, as
+always happens, and to all eternity will happen, to alchemists, the
+would-be creators of gold and silver, and to engineers who would
+have dead water stir itself into life and perpetual motion, and to
+those supreme fools, the necromancer and the enchanter. 
+
+[Footnote 23: The following seems to be directed against students of
+painting and young artists rather than against medical men and
+anatomists.] 
+
+And you, who say that it would be better to watch an anatomist at
+work than to see these drawings, you would be right, if it were
+possible to observe all the things which are demonstrated in such
+drawings in a single figure, in which you, with all your cleverness,
+will not see nor obtain knowledge of more than some few veins, to
+obtain a true and perfect knowledge of which I have dissected more
+than ten human bodies, destroying all the other members, and
+removing the very minutest particles of the flesh by which these
+veins are surrounded, without causing them to bleed, excepting the
+insensible bleeding of the capillary veins; and as one single body
+would not last so long, since it was necessary to proceed with
+several bodies by degrees, until I came to an end and had a complete
+knowledge; this I repeated twice, to learn the differences [59]. 
+
+[Footnote: Lines 1-59 and 60-89 are written in two parallel columns.
+When we here find Leonardo putting himself in the same category as
+the Alchemists and Necromancers, whom he elsewhere mocks at so
+bitterly, it is evidently meant ironically. In the same way
+Leonardo, in the introduction to the Books on Perspective sets
+himself with transparent satire on a level with other writers on the
+subject.] 
+
+And if you should have a love for such things you might be prevented
+by loathing, and if that did not prevent you, you might be deterred
+by the fear of living in the night hours in the company of those
+corpses, quartered and flayed and horrible to see. And if this did
+not prevent you, perhaps you might not be able to draw so well as is
+necessary for such a demonstration; or, if you had the skill in
+drawing, it might not be combined with knowledge of perspective; and
+if it were so, you might not understand the methods of geometrical
+demonstration and the method of the calculation of forces and of the
+strength of the muscles; patience also may be wanting, so that you
+lack perseverance. As to whether all these things were found in me
+or not [Footnote 84: Leonardo frequently, and perhaps habitually,
+wrote in note books of a very small size and only moderately thick;
+in most of those which have been preserved undivided, each contains
+less than fifty leaves. Thus a considerable number of such volumes
+must have gone to make up a volume of the bulk of the '_Codex
+Atlanticus_' which now contains nearly 1200 detached leaves. In the
+passage under consideration, which was evidently written at a late
+period of his life, Leonardo speaks of his Manuscript note-books as
+numbering 12O; but we should hardly be justified in concluding from
+this passage that the greater part of his Manuscripts were now
+missing (see _Prolegomena_, Vol. I, pp. 5-7).], the hundred and
+twenty books composed by me will give verdict Yes or No. In these I
+have been hindered neither by avarice nor negligence, but simply by
+want of time. Farewell [89]. 
+
+Plans and suggestions for the arrangement of materials (797-802). 
+
+797. 
+
+OF THE ORDER OF THE BOOK. 
+
+This work must begin with the conception of man, and describe the
+nature of the womb and how the foetus lives in it, up to what stage
+it resides there, and in what way it quickens into life and feeds.
+Also its growth and what interval there is between one stage of
+growth and another. What it is that forces it out from the body of
+the mother, and for what reasons it sometimes comes out of the
+mother's womb before the due time. 
+
+Then I will describe which are the members, which, after the boy is
+born, grow more than the others, and determine the proportions of a
+boy of one year. 
+
+Then describe the fully grown man and woman, with their proportions,
+and the nature of their complexions, colour, and physiognomy. 
+
+Then how they are composed of veins, tendons, muscles and bones.
+This I shall do at the end of the book. Then, in four drawings,
+represent four universal conditions of men. That is, Mirth, with
+various acts of laughter, and describe the cause of laughter.
+Weeping in various aspects with its causes. Contention, with various
+acts of killing; flight, fear, ferocity, boldness, murder and every
+thing pertaining to such cases. Then represent Labour, with pulling,
+thrusting, carrying, stopping, supporting and such like things. 
+
+Further I would describe attitudes and movements. Then perspective,
+concerning the functions and effects of the eye; and of
+hearing--here I will speak of music--, and treat of the other
+senses. 
+
+And then describe the nature of the senses. 
+
+This mechanism of man we will demonstrate in ... figures; of which
+the three first will show the ramification of the bones; that is:
+first one to show their height and position and shape: the second
+will be seen in profile and will show the depth of the whole and of
+the parts, and their position. The third figure will be a
+demonstration of the bones of the backparts. Then I will make three
+other figures from the same point of view, with the bones sawn
+across, in which will be shown their thickness and hollowness. Three
+other figures of the bones complete, and of the nerves which rise
+from the nape of the neck, and in what limbs they ramify. And three
+others of the bones and veins, and where they ramify. Then three
+figures with the muscles and three with the skin, and their proper
+proportions; and three of woman, to illustrate the womb and the
+menstrual veins which go to the breasts. 
+
+[Footnote: The meaning of the word _nervo_ varies in different
+passages, being sometimes used for _muscolo_ (muscle).] 
+
+798. 
+
+THE ORDER OF THE BOOK. 
+
+This depicting of mine of the human body will be as clear to you as
+if you had the natural man before you; and the reason is that if you
+wish thoroughly to know the parts of man, anatomically, you--or your
+eye--require to see it from different aspects, considering it from
+below and from above and from its sides, turning it about and
+seeking the origin of each member; and in this way the natural
+anatomy is sufficient for your comprehension. But you must
+understand that this amount of knowledge will not continue to
+satisfy you; seeing the very great confusion that must result from
+the combination of tissues, with veins, arteries, nerves, sinews,
+muscles, bones, and blood which, of itself, tinges every part the
+same colour. And the veins, which discharge this blood, are not
+discerned by reason of their smallness. Moreover integrity of the
+tissues, in the process of the investigating the parts within them,
+is inevitably destroyed, and their transparent substance being
+tinged with blood does not allow you to recognise the parts covered
+by them, from the similarity of their blood-stained hue; and you
+cannot know everything of the one without confusing and destroying
+the other. Hence, some further anatomy drawings become necessary. Of
+which you want three to give full knowledge of the veins and
+arteries, everything else being destroyed with the greatest care.
+And three others to display the tissues; and three for the sinews
+and muscles and ligaments; and three for the bones and cartilages;
+and three for the anatomy of the bones, which have to be sawn to
+show which are hollow and which are not, which have marrow and which
+are spongy, and which are thick from the outside inwards, and which
+are thin. And some are extremely thin in some parts and thick in
+others, and in some parts hollow or filled up with bone, or full of
+marrow, or spongy. And all these conditions are sometimes found in
+one and the same bone, and in some bones none of them. And three you
+must have for the woman, in which there is much that is mysterious
+by reason of the womb and the foetus. Therefore by my drawings every
+part will be known to you, and all by means of demonstrations from
+three different points of view of each part; for when you have seen
+a limb from the front, with any muscles, sinews, or veins which take
+their rise from the opposite side, the same limb will be shown to
+you in a side view or from behind, exactly as if you had that same
+limb in your hand and were turning it from side to side until you
+had acquired a full comprehension of all you wished to know. In the
+same way there will be put before you three or four demonstrations
+of each limb, from various points of view, so that you will be left
+with a true and complete knowledge of all you wish to learn of the
+human figure[Footnote 35: Compare Pl. CVII. The original drawing at
+Windsor is 28 1/2 X 19 1/2 centimetres. The upper figures are
+slightly washed with Indian ink. On the back of this drawing is the
+text No. 1140.]. 
+
+Thus, in twelve entire figures, you will have set before you the
+cosmography of this lesser world on the same plan as, before me, was
+adopted by Ptolemy in his cosmography; and so I will afterwards
+divide them into limbs as he divided the whole world into provinces;
+then I will speak of the function of each part in every direction,
+putting before your eyes a description of the whole form and
+substance of man, as regards his movements from place to place, by
+means of his different parts. And thus, if it please our great
+Author, I may demonstrate the nature of men, and their customs in
+the way I describe his figure. 
+
+And remember that the anatomy of the nerves will not give the
+position of their ramifications, nor show you which muscles they
+branch into, by means of bodies dissected in running water or in
+lime water; though indeed their origin and starting point may be
+seen without such water as well as with it. But their ramifications,
+when under running water, cling and unite--just like flat or hemp
+carded for spinning--all into a skein, in a way which makes it
+impossible to trace in which muscles or by what ramification the
+nerves are distributed among those muscles. 
+
+799. 
+
+THE ARRANGEMENT OF ANATOMY 
+
+First draw the bones, let us say, of the arm, and put in the motor
+muscle from the shoulder to the elbow with all its lines. Then
+proceed in the same way from the elbow to the wrist. Then from the
+wrist to the hand and from the hand to the fingers. 
+
+And in the arm you will put the motors of the fingers which open,
+and these you will show separately in their demonstration. In the
+second demonstration you will clothe these muscles with the
+secondary motors of the fingers and so proceed by degrees to avoid
+confusion. But first lay on the bones those muscles which lie close
+to the said bones, without confusion of other muscles; and with
+these you may put the nerves and veins which supply their
+nourishment, after having first drawn the tree of veins and nerves
+over the simple bones. 
+
+800. 
+
+Begin the anatomy at the head and finish at the sole of the foot. 
+
+801. 
+
+3 men complete, 3 with bones and nerves, 3 with the bones only. Here
+we have 12 demonstrations of entire figures. 
+
+802. 
+
+When you have finished building up the man, you will make the statue
+with all its superficial measurements. 
+
+[Footnote: _Cresciere l'omo_. The meaning of this expression appears
+to be different here and in the passage C.A. 157a, 468a (see No.
+526, Note 1. 2). Here it can hardly mean anything else than
+modelling, since the sculptor forms the figure by degrees, by adding
+wet clay and the figure consequently increases or grows. _Tu farai
+la statua_ would then mean, you must work out the figure in marble.
+If this interpretation is the correct one, this passage would have
+no right to find a place in the series on anatomical studies. I may
+say that it was originally inserted in this connection under the
+impression that _di cresciere_ should be read _descrivere_.] 
+
+Plans for the representation of muscles by drawings (803-809). 
+
+803. 
+
+You must show all the motions of the bones with their joints to
+follow the demonstration of the first three figures of the bones,
+and this should be done in the first book. 
+
+804. 
+
+Remember that to be certain of the point of origin of any muscle,
+you must pull the sinew from which the muscle springs in such a way
+as to see that muscle move, and where it is attached to the
+ligaments of the bones. 
+
+NOTE. 
+
+You will never get any thing but confusion in demonstrating the
+muscles and their positions, origin, and termination, unless you
+first make a demonstration of thin muscles after the manner of linen
+threads; and thus you can represent them, one over another as nature
+has placed them; and thus, too, you can name them according to the
+limb they serve; for instance the motor of the point of the great
+toe, of its middle bone, of its first bone, &c. And when you have
+the knowledge you will draw, by the side of this, the true form and
+size and position of each muscle. But remember to give the threads
+which explain the situation of the muscles in the position which
+corresponds to the central line of each muscle; and so these threads
+will demonstrate the form of the leg and their distance in a plain
+and clear manner. 
+
+I have removed the skin from a man who was so shrunk by illness that
+the muscles were worn down and remained in a state like thin
+membrane, in such a way that the sinews instead of merging in
+muscles ended in wide membrane; and where the bones were covered by
+the skin they had very little over their natural size. 
+
+[Footnote: The photograph No. 41 of Grosvenor Gallery Publications:
+a drawing of the muscles of the foot, includes a complete facsimile
+of the text of this passage.] 
+
+805. 
+
+Which nerve causes the motion of the eye so that the motion of one
+eye moves the other? 
+
+Of frowning the brows, of raising the brows, of lowering the
+brows,--of closing the eyes, of opening the eyes,--of raising the
+nostrils, of opening the lips, with the teeth shut, of pouting with
+the lips, of smiling, of astonishment.-- 
+
+Describe the beginning of man when it is caused in the womb and why
+an eight months child does not live. What sneezing is. What yawning
+is. Falling sickness, spasms, paralysis, shivering with cold,
+sweating, fatigue, hunger, sleepiness, thirst, lust. 
+
+Of the nerve which is the cause of movement from the shoulder to the
+elbow, of the movement from the elbow to the hand, from the joint of
+the hand to the springing of the fingers. From the springing of the
+fingers to the middle joints, and from the middle joints to the
+last. 
+
+Of the nerve which causes the movement of the thigh, and from the
+knee to the foot, and from the joint of the foot to the toes, and
+then to the middle of the toes and of the rotary motion of the leg. 
+
+806. 
+
+ANATOMY. 
+
+Which nerves or sinews of the hand are those which close and part
+the fingers and toes latteraly? 
+
+807. 
+
+Remove by degrees all the parts of the front of a man in making your
+dissection, till you come to the bones. Description of the parts of
+the bust and of their motions. 
+
+808. 
+
+Give the anatomy of the leg up to the hip, in all views and in every
+action and in every state; veins, arteries, nerves, sinews and
+muscles, skin and bones; then the bones in sections to show the
+thickness of the bones. 
+
+[Footnote: A straightened leg in profile is sketched by the side of
+this text.] 
+
+On corpulency and leanness (809-811). 
+
+809. 
+
+Make the rule and give the measurement of each muscle, and give the
+reasons of all their functions, and in which way they work and what
+makes them work &c. 
+
+[4] First draw the spine of the back; then clothe it by degrees, one
+after the other, with each of its muscles and put in the nerves and
+arteries and veins to each muscle by itself; and besides these note
+the vertebrae to which they are attached; which of the intestines
+come in contact with them; and which bones and other organs &c. 
+
+The most prominent parts of lean people are most prominent in the
+muscular, and equally so in fat persons. But concerning the
+difference in the forms of the muscles in fat persons as compared
+with muscular persons, it shall be described below. 
+
+[Footnote: The two drawings given on Pl. CVIII no. 1 come between
+lines 3 and 4. A good and very early copy of this drawing without
+the written text exists in the collection of drawings belonging to
+Christ's College Oxford, where it is attributed to Leonardo.] 
+
+810. 
+
+Describe which muscles disappear in growing fat, and which become
+visible in growing lean. 
+
+And observe that that part which on the surface of a fat person is
+most concave, when he grows lean becomes more prominent. 
+
+Where the muscles separate one from another you must give profiles
+and where they coalesce ... 
+
+811. 
+
+OF THE HUMAN FIGURE. 
+
+Which is the part in man, which, as he grows fatter, never gains
+flesh? 
+
+Or what part which as a man grows lean never falls away with a too
+perceptible diminution? And among the parts which grow fat which is
+that which grows fattest? 
+
+Among those which grow lean which is that which grows leanest? 
+
+In very strong men which are the muscles which are thickest and most
+prominent? 
+
+In your anatomy you must represent all the stages of the limbs from
+man's creation to his death, and then till the death of the bone;
+and which part of him is first decayed and which is preserved the
+longest. 
+
+And in the same way of extreme leanness and extreme fatness. 
+
+The divisions of the head (812. 813). 
+
+812. 
+
+ANATOMY. 
+
+There are eleven elementary tissues:-- Cartilage, bones, nerves,
+veins, arteries, fascia, ligament and sinews, skin, muscle and fat. 
+
+OF THE HEAD. 
+
+The divisions of the head are 10, viz. 5 external and 5 internal,
+the external are the hair, skin, muscle, fascia and the skull; the
+internal are the dura mater, the pia mater, [which enclose] the
+brain. The pia mater and the dura mater come again underneath and
+enclose the brain; then the rete mirabile, and the occipital bone,
+which supports the brain from which the nerves spring. 
+
+813. 
+
+_a_. hair 
+
+_n_. skin 
+
+_c_. muscle 
+
+_m_. fascia 
+
+_o_. skull _i.e._ bone 
+
+_b_. dura mater 
+
+_d_. pia mater 
+
+_f_. brain 
+
+_r_. pia mater, below 
+
+_t_. dura mater 
+
+_l_. rete mirablile 
+
+_s_. the occipitul bone. 
+
+[Footnote: See Pl. CVIII, No. 3.] 
+
+Physiological problems (814. 815). 
+
+814. 
+
+Of the cause of breathing, of the cause of the motion of the heart,
+of the cause of vomiting, of the cause of the descent of food from
+the stomach, of the cause of emptying the intestines. 
+
+Of the cause of the movement of the superfluous matter through the
+intestines. 
+
+Of the cause of swallowing, of the cause of coughing, of the cause
+of yawning, of the cause of sneezing, of the cause of limbs getting
+asleep. 
+
+Of the cause of losing sensibility in any limb. 
+
+Of the cause of tickling. 
+
+Of the cause of lust and other appetites of the body, of the cause
+of urine and also of all the natural excretions of the body. 
+
+[Footnote: By the side of this text stands the pen and ink drawing
+reproduced on Pl. CVIII, No. 4; a skull with indications of the
+veins in the fleshy covering.] 
+
+815. 
+
+The tears come from the heart and not from the brain. 
+
+Define all the parts, of which the body is composed, beginning with
+the skin with its outer cuticle which is often chapped by the
+influence of the sun. 
+
+II. 
+
+ZOOLOGY AND COMPARATIVE ANATOMY. 
+
+The divisions of the animal kingdom (816. 817). 
+
+816. 
+
+_Man_. The description of man, which includes that of such creatures
+as are of almost the same species, as Apes, Monkeys and the like,
+which are many, 
+
+_The Lion_ and its kindred, as Panthers. [Footnote 3: _Leonza_--wild
+cat? "_Secondo alcuni, lo stesso che Leonessa; e secondo altri con
+piu certezza, lo stesso che Pantera_" FANFANI, _Vocabolario_ page
+858.] Wildcats (?) Tigers, Leopards, Wolfs, Lynxes, Spanish cats,
+common cats and the like. 
+
+_The Horse_ and its kindred, as Mule, Ass and the like, with incisor
+teeth above and below. 
+
+_The Bull_ and its allies with horns and without upper incisors as
+the Buffalo, Stag Fallow Deer, Wild Goat, Swine, Goat, wild Goats
+Muskdeers, Chamois, Giraffe. 
+
+817. 
+
+Describe the various forms of the intestines of the human species,
+of apes and such like. Then, in what way the leonine species differ,
+and then the bovine, and finally birds; and arrange this description
+after the manner of a disquisition. 
+
+Miscellaneous notes on the study of Zoology (818-821). 
+
+818. 
+
+Procure the placenta of a calf when it is born and observe the form
+of the cotyledons, if their cotyledons are male or female. 
+
+819. 
+
+Describe the tongue of the woodpecker and the jaw of the crocodile. 
+
+820. 
+
+Of the flight of the 4th kind of butterflies that consume winged
+ants. Of the three principal positions of the wings of birds in
+downward flight. 
+
+[Footnote: A passing allusion is all I can here permit myself to
+Leonardo's elaborate researches into the flight of birds. Compare
+the observations on this subject in the Introduction to section
+XVIII and in the Bibliography of Manuscripts at the end of the
+work.] 
+
+821. 
+
+Of the way in which the tail of a fish acts in propelling the fish;
+as in the eel, snake and leech. 
+
+[Footnote: A sketch of a fish, swimming upwards is in the original,
+inserted above this text.--Compare No. 1114.] 
+
+Comparative study of the structure of bones and of the action of
+muscles (822-826). 
+
+822. 
+
+OF THE PALM OF THE HAND. 
+
+Then I will discourse of the hands of each animal to show in what
+they vary; as in the bear, which has the ligatures of the sinews of
+the toes joined above the instep. 
+
+823. 
+
+A second demonstration inserted between anatomy and [the treatise
+on] the living being. 
+
+You will represent here for a comparison, the legs of a frog, which
+have a great resemblance to the legs of man, both in the bones and
+in the muscles. Then, in continuation, the hind legs of the hare,
+which are very muscular, with strong active muscles, because they
+are not encumbered with fat. 
+
+[Footnote: This text is written by the side of a drawing in black
+chalk of a nude male figure, but there is no connection between the
+sketch and the text.] 
+
+824. 
+
+Here I make a note to demonstrate the difference there is between
+man and the horse and in the same way with other animals. And first
+I will begin with the bones, and then will go on to all the muscles
+which spring from the bones without tendons and end in them in the
+same way, and then go on to those which start with a single tendon
+at one end. 
+
+[Footnote: See Pl. CVIII, No. 2.] 
+
+825. 
+
+Note on the bendings of joints and in what way the flesh grows upon
+them in their flexions or extensions; and of this most important
+study write a separate treatise: in the description of the movements
+of animals with four feet; among which is man, who likewise in his
+infancy crawls on all fours. 
+
+826. 
+
+OF THE WAY OF WALKING IN MAN. 
+
+The walking of man is always after the universal manner of walking
+in animals with 4 legs, inasmuch as just as they move their feet
+crosswise after the manner of a horse in trotting, so man moves his
+4 limbs crosswise; that is, if he puts forward his right foot in
+walking he puts forward, with it, his left arm and vice versa,
+invariably. 
+
+III. 
+
+PHYSIOLOGY. 
+
+Comparative study of the organs of sense in men and animals. 
+
+827. 
+
+I have found that in the composition of the human body as compared
+with the bodies of animals the organs of sense are duller and
+coarser. Thus it is composed of less ingenious instruments, and of
+spaces less capacious for receiving the faculties of sense. I have
+seen in the Lion tribe that the sense of smell is connected with
+part of the substance of the brain which comes down the nostrils,
+which form a spacious receptacle for the sense of smell, which
+enters by a great number of cartilaginous vesicles with several
+passages leading up to where the brain, as before said, comes down. 
+
+The eyes in the Lion tribe have a large part of the head for their
+sockets and the optic nerves communicate at once with the brain; but
+the contrary is to be seen in man, for the sockets of the eyes are
+but a small part of the head, and the optic nerves are very fine and
+long and weak, and by the weakness of their action we see by day but
+badly at night, while these animals can see as well at night as by
+day. The proof that they can see is that they prowl for prey at
+night and sleep by day, as nocturnal birds do also. 
+
+Advantages in the structure of the eye in certain animals (828-831).
+
+828. 
+
+Every object we see will appear larger at midnight than at midday,
+and larger in the morning than at midday. 
+
+This happens because the pupil of the eye is much smaller at midday
+than at any other time. 
+
+In proportion as the eye or the pupil of the owl is larger in
+proportion to the animal than that of man, so much the more light
+can it see at night than man can; hence at midday it can see nothing
+if its pupil does not diminish; and, in the same way, at night
+things look larger to it than by day. 
+
+829. 
+
+OF THE EYES IN ANIMALS. 
+
+The eyes of all animals have their pupils adapted to dilate and
+diminish of their own accord in proportion to the greater or less
+light of the sun or other luminary. But in birds the variation is
+much greater; and particularly in nocturnal birds, such as horned
+owls, and in the eyes of one species of owl; in these the pupil
+dilates in such away as to occupy nearly the whole eye, or
+diminishes to the size of a grain of millet, and always preserves
+the circular form. But in the Lion tribe, as panthers, pards,
+ounces, tigers, lynxes, Spanish cats and other similar animals the
+pupil diminishes from the perfect circle to the figure of a pointed
+oval such as is shown in the margin. But man having a weaker sight
+than any other animal is less hurt by a very strong light and his
+pupil increases but little in dark places; but in the eyes of these
+nocturnal animals, the horned owl--a bird which is the largest of
+all nocturnal birds--the power of vision increases so much that in
+the faintest nocturnal light (which we call darkness) it sees with
+much more distinctness than we do in the splendour of noon day, at
+which time these birds remain hidden in dark holes; or if indeed
+they are compelled to come out into the open air lighted up by the
+sun, they contract their pupils so much that their power of sight
+diminishes together with the quantity of light admitted. 
+
+Study the anatomy of various eyes and see which are the muscles
+which open and close the said pupils of the eyes of animals. 
+
+[Footnote: Compare No. 24, lines 8 and fol.] 
+
+830. 
+
+_a b n_ is the membrane which closes the eye from below, upwards,
+with an opaque film, _c n b_ encloses the eye in front and behind
+with a transparent membrane. 
+
+It closes from below, upwards, because it [the eye] comes downwards.
+
+When the eye of a bird closes with its two lids, the first to close
+is the nictitating membrane which closes from the lacrymal duct over
+to the outer corner of the eye; and the outer lid closes from below
+upwards, and these two intersecting motions begin first from the
+lacrymatory duct, because we have already seen that in front and
+below birds are protected and use only the upper portion of the eye
+from fear of birds of prey which come down from above and behind;
+and they uncover first the membrane from the outer corner, because
+if the enemy comes from behind, they have the power of escaping to
+the front; and again the muscle called the nictitating membrane is
+transparent, because, if the eye had not such a screen, they could
+not keep it open against the wind which strikes against the eye in
+the rush of their rapid flight. And the pupil of the eye dilates and
+contracts as it sees a less or greater light, that is to say intense
+brilliancy. 
+
+831. 
+
+If at night your eye is placed between the light and the eye of a
+cat, it will see the eye look like fire. 
+
+Remarks on the organs of speech 
+
+(832. 833). 
+
+832.
+
+_a  e  i  o  u
+ba be bi bo bu
+ca ce ci co cu
+da de di do du
+fa fe fi fo fu
+ga ge gi go gu
+la le li lo lu
+ma me mi mo mu
+na ne ni no nu
+pa pe pi po pu
+qa qe qi qo qu
+ra re ri ro ru
+sa se si so su
+ta te ti to tu_
+
+The tongue is found to have 24 muscles which correspond to the six
+muscles which compose the portion of the tongue which moves in the
+mouth. 
+
+And when _a o u_ are spoken with a clear and rapid pronunciation, it
+is necessary, in order to pronounce continuously, without any pause
+between, that the opening of the lips should close by degrees; that
+is, they are wide apart in saying _a_, closer in saying _o_, and
+much closer still to pronounce _u_. 
+
+It may be shown how all the vowels are pronounced with the farthest
+portion of the false palate which is above the epiglottis. 
+
+833. 
+
+If you draw in breath by the nose and send it out by the mouth you
+will hear the sound made by the division that is the membrane in
+[Footnote 5: The text here breaks off.]... 
+
+On the conditions of sight (834. 835). 
+
+834. 
+
+OF THE NATURE OF SIGHT. 
+
+I say that sight is exercised by all animals, by the medium of
+light; and if any one adduces, as against this, the sight of
+nocturnal animals, I must say that this in the same way is subject
+to the very same natural laws. For it will easily be understood that
+the senses which receive the images of things do not project from
+themselves any visual virtue [Footnote 4: Compare No. 68.]. On the
+contrary the atmospheric medium which exists between the object and
+the sense incorporates in itself the figure of things, and by its
+contact with the sense transmits the object to it. If the
+object--whether by sound or by odour--presents its spiritual force
+to the ear or the nose, then light is not required and does not act.
+The forms of objects do not send their images into the air if they
+are not illuminated [8]; and the eye being thus constituted cannot
+receive that from the air, which the air does not possess, although
+it touches its surface. If you choose to say that there are many
+animals that prey at night, I answer that when the little light
+which suffices the nature of their eyes is wanting, they direct
+themselves by their strong sense of hearing and of smell, which are
+not impeded by the darkness, and in which they are very far superior
+to man. If you make a cat leap, by daylight, among a quantity of
+jars and crocks you will see them remain unbroken, but if you do the
+same at night, many will be broken. Night birds do not fly about
+unless the moon shines full or in part; rather do they feed between
+sun-down and the total darkness of the night. 
+
+[Footnote 8: See No. 58-67.] 
+
+No body can be apprehended without light and shade, and light and
+shade are caused by light. 
+
+835. 
+
+WHY MEN ADVANCED IN AGE SEE BETTER AT A DISTANCE. 
+
+Sight is better from a distance than near in those men who are
+advancing in age, because the same object transmits a smaller
+impression of itself to the eye when it is distant than when it is
+near. 
+
+The seat of the common sense. 
+
+836. 
+
+The Common Sense, is that which judges of things offered to it by
+the other senses. The ancient speculators have concluded that that
+part of man which constitutes his judgment is caused by a central
+organ to which the other five senses refer everything by means of
+impressibility; and to this centre they have given the name Common
+Sense. And they say that this Sense is situated in the centre of the
+head between Sensation and Memory. And this name of Common Sense is
+given to it solely because it is the common judge of all the other
+five senses _i.e._ Seeing, Hearing, Touch, Taste and Smell. This
+Common Sense is acted upon by means of Sensation which is placed as
+a medium between it and the senses. Sensation is acted upon by means
+of the images of things presented to it by the external instruments,
+that is to say the senses which are the medium between external
+things and Sensation. In the same way the senses are acted upon by
+objects. Surrounding things transmit their images to the senses and
+the senses transfer them to the Sensation. Sensation sends them to
+the Common Sense, and by it they are stamped upon the memory and are
+there more or less retained according to the importance or force of
+the impression. That sense is most rapid in its function which is
+nearest to the sensitive medium and the eye, being the highest is
+the chief of the others. Of this then only we will speak, and the
+others we will leave in order not to make our matter too long.
+Experience tells us that the eye apprehends ten different natures of
+things, that is: Light and Darkness, one being the cause of the
+perception of the nine others, and the other its absence:-- Colour
+and substance, form and place, distance and nearness, motion and
+stillness [Footnote 15: Compare No. 23.]. 
+
+On the origin of the soul. 
+
+837. 
+
+Though human ingenuity may make various inventions which, by the
+help of various machines answering the same end, it will never
+devise any inventions more beautiful, nor more simple, nor more to
+the purpose than Nature does; because in her inventions nothing is
+wanting, and nothing is superfluous, and she needs no counterpoise
+when she makes limbs proper for motion in the bodies of animals. But
+she puts into them the soul of the body, which forms them that is
+the soul of the mother which first constructs in the womb the form
+of the man and in due time awakens the soul that is to inhabit it.
+And this at first lies dormant and under the tutelage of the soul of
+the mother, who nourishes and vivifies it by the umbilical vein,
+with all its spiritual parts, and this happens because this
+umbilicus is joined to the placenta and the cotyledons, by which the
+child is attached to the mother. And these are the reason why a
+wish, a strong craving or a fright or any other mental suffering in
+the mother, has more influence on the child than on the mother; for
+there are many cases when the child loses its life from them, &c. 
+
+This discourse is not in its place here, but will be wanted for the
+one on the composition of animated bodies--and the rest of the
+definition of the soul I leave to the imaginations of friars, those
+fathers of the people who know all secrets by inspiration. 
+
+[Footnote 57: _lettere incoronate_. By this term Leonardo probably
+understands not the Bible only, but the works of the early Fathers,
+and all the books recognised as sacred by the Roman Church.] I leave
+alone the sacred books; for they are supreme truth. 
+
+On the relations of the soul to the organs of sense. 
+
+838. 
+
+HOW THE FIVE SENSES ARE THE MINISTERS OF THE SOUL. 
+
+The soul seems to reside in the judgment, and the judgment would
+seem to be seated in that part where all the senses meet; and this
+is called the Common Sense and is not all-pervading throughout the
+body, as many have thought. Rather is it entirely in one part.
+Because, if it were all-pervading and the same in every part, there
+would have been no need to make the instruments of the senses meet
+in one centre and in one single spot; on the contrary it would have
+sufficed that the eye should fulfil the function of its sensation on
+its surface only, and not transmit the image of the things seen, to
+the sense, by means of the optic nerves, so that the soul--for the
+reason given above-- may perceive it in the surface of the eye. In
+the same way as to the sense of hearing, it would have sufficed if
+the voice had merely sounded in the porous cavity of the indurated
+portion of the temporal bone which lies within the ear, without
+making any farther transit from this bone to the common sense, where
+the voice confers with and discourses to the common judgment. The
+sense of smell, again, is compelled by necessity to refer itself to
+that same judgment. Feeling passes through the perforated cords and
+is conveyed to this common sense. These cords diverge with infinite
+ramifications into the skin which encloses the members of the body
+and the viscera. The perforated cords convey volition and sensation
+to the subordinate limbs. These cords and the nerves direct the
+motions of the muscles and sinews, between which they are placed;
+these obey, and this obedience takes effect by reducing their
+thickness; for in swelling, their length is reduced, and the nerves
+shrink which are interwoven among the particles of the limbs; being
+extended to the tips of the fingers, they transmit to the sense the
+object which they touch. 
+
+The nerves with their muscles obey the tendons as soldiers obey the
+officers, and the tendons obey the Common [central] Sense as the
+officers obey the general. [27] Thus the joint of the bones obeys
+the nerve, and the nerve the muscle, and the muscle the tendon and
+the tendon the Common Sense. And the Common Sense is the seat of the
+soul [28], and memory is its ammunition, and the impressibility is
+its referendary since the sense waits on the soul and not the soul
+on the sense. And where the sense that ministers to the soul is not
+at the service of the soul, all the functions of that sense are also
+wanting in that man's life, as is seen in those born mute and blind.
+
+[Footnote: The peculiar use of the words _nervo_, _muscolo_,
+_corda_, _senso comune_, which are here literally rendered by nerve,
+muscle cord or tendon and Common Sense may be understood from lines
+27 and 28.] 
+
+On involuntary muscular action. 
+
+839. 
+
+HOW THE NERVES SOMETIMES ACT OF THEMSELVES WITHOUT ANY COMMANDS FROM
+THE OTHER FUNCTIONS OF THE SOUL. 
+
+This is most plainly seen; for you will see palsied and shivering
+persons move, and their trembling limbs, as their head and hands,
+quake without leave from their soul and their soul with all its
+power cannot prevent their members from trembling. The same thing
+happens in falling sickness, or in parts that have been cut off, as
+in the tails of lizards. The idea or imagination is the helm and
+guiding-rein of the senses, because the thing conceived of moves the
+sense. Pre-imagining, is imagining the things that are to be.
+Post-imagining, is imagining the things that are past. 
+
+Miscellaneous physiological observations (840-842). 
+
+840. 
+
+There are four Powers: memory and intellect, desire and
+covetousness. The two first are mental and the others sensual. The
+three senses: sight, hearing and smell cannot well be prevented;
+touch and taste not at all. Smell is connected with taste in dogs
+and other gluttonous animals. 
+
+841. 
+
+I reveal to men the origin of the first, or perhaps second cause of
+their existence. 
+
+842. 
+
+Lust is the cause of generation. 
+
+Appetite is the support of life. Fear or timidity is the
+prolongation of life and preservation of its instruments. 
+
+The laws of nutrition and the support of life (843-848). 
+
+843. 
+
+HOW THE BODY OF ANIMALS IS CONSTANTLY DYING AND BEING RENEWED. 
+
+The body of any thing whatever that takes nourishment constantly
+dies and is constantly renewed; because nourishment can only enter
+into places where the former nourishment has expired, and if it has
+expired it no longer has life. And if you do not supply nourishment
+equal to the nourishment which is gone, life will fail in vigour,
+and if you take away this nourishment, the life is entirely
+destroyed. But if you restore as much is destroyed day by day, then
+as much of the life is renewed as is consumed, just as the flame of
+the candle is fed by the nourishment afforded by the liquid of this
+candle, which flame continually with a rapid supply restores to it
+from below as much as is consumed in dying above: and from a
+brilliant light is converted in dying into murky smoke; and this
+death is continuous, as the smoke is continuous; and the continuance
+of the smoke is equal to the continuance of the nourishment, and in
+the same instant all the flame is dead and all regenerated,
+simultaneously with the movement of its own nourishment. 
+
+844. 
+
+King of the animals--as thou hast described him--I should rather say
+king of the beasts, thou being the greatest--because thou hast
+spared slaying them, in order that they may give thee their children
+for the benefit of the gullet, of which thou hast attempted to make
+a sepulchre for all animals; and I would say still more, if it were
+allowed me to speak the entire truth [5]. But we do not go outside
+human matters in telling of one supreme wickedness, which does not
+happen among the animals of the earth, inasmuch as among them are
+found none who eat their own kind, unless through want of sense (few
+indeed among them, and those being mothers, as with men, albeit they
+be not many in number); and this happens only among the rapacious
+animals, as with the leonine species, and leopards, panthers lynxes,
+cats and the like, who sometimes eat their children; but thou,
+besides thy children devourest father, mother, brothers and friends;
+nor is this enough for thee, but thou goest to the chase on the
+islands of others, taking other men and these half-naked, the ...
+and the ... thou fattenest, and chasest them down thy own
+throat[18]; now does not nature produce enough simples, for thee to
+satisfy thyself? and if thou art not content with simples, canst
+thou not by the mixture of them make infinite compounds, as Platina
+wrote[Footnote 21: _Come scrisse il Platina_ (Bartolomeo Sacchi, a
+famous humanist). The Italian edition of his treatise _De arte
+coquinaria_, was published under the title _De la honestra
+voluptate, e valetudine, Venezia_ 1487.], and other authors on
+feeding? 
+
+[Footnote: We are led to believe that Leonardo himself was a
+vegetarian from the following interesting passage in the first of
+Andrea Corsali's letters to Giuliano de'Medici: _Alcuni gentili
+chiamati Guzzarati non si cibano di cosa, alcuna che tenga sangue,
+ne fra essi loro consentono che si noccia ad alcuna cosa animata,
+come il nostro Leonardo da Vinci_. 
+
+5-18. Amerigo Vespucci, with whom Leonardo was personally
+acquainted, writes in his second letter to Pietro Soderini, about
+the inhabitants of the Canary Islands after having stayed there in
+1503: "_Hanno una scelerata liberta di viuere; ... si cibano di
+carne humana, di maniera che il padre magia il figliuolo, et
+all'incontro il figliuolo il padre secondo che a caso e per sorte
+auiene. Io viddi un certo huomo sceleratissimo che si vantaua, et si
+teneua a non piccola gloria di hauer mangiato piu di trecento
+huomini. Viddi anche vna certa citta, nella quale io dimorai forse
+ventisette giorni, doue le carni humane, hauendole salate, eran
+appicate alli traui, si come noi alli traui di cucina_ _appicchiamo
+le carni di cinghali secche al sole o al fumo, et massimamente
+salsiccie, et altre simil cose: anzi si marauigliauano gradem ete
+che noi non magiaissimo della carne de nemici, le quali dicono
+muouere appetito, et essere di marauiglioso sapore, et le lodano
+come cibi soaui et delicati (Lettere due di Amerigo Vespucci
+Fiorentino drizzate al magnifico Pietro Soderini, Gonfaloniere della
+eccelsa Republica di Firenze_; various editions).] 
+
+845. 
+
+Our life is made by the death of others. 
+
+In dead matter insensible life remains, which, reunited to the
+stomachs of living beings, resumes life, both sensual and
+intellectual. 
+
+846. 
+
+Here nature appears with many animals to have been rather a cruel
+stepmother than a mother, and with others not a stepmother, but a
+most tender mother. 
+
+847. 
+
+Man and animals are really the passage and the conduit of food, the
+sepulchre of animals and resting place of the dead, one causing the
+death of the other, making themselves the covering for the
+corruption of other dead [bodies]. 
+
+On the circulation of the blood (848-850). 
+
+848. 
+
+Death in old men, when not from fever, is caused by the veins which
+go from the spleen to the valve of the liver, and which thicken so
+much in the walls that they become closed up and leave no passage
+for the blood that nourishes it. 
+
+[6]The incessant current of the blood through the veins makes these
+veins thicken and become callous, so that at last they close up and
+prevent the passage of the blood. 
+
+849. 
+
+The waters return with constant motion from the lowest depths of the
+sea to the utmost height of the mountains, not obeying the nature of
+heavier bodies; and in this they resemble the blood of animated
+beings which always moves from the sea of the heart and flows
+towards the top of the head; and here it may burst a vein, as may be
+seen when a vein bursts in the nose; all the blood rises from below
+to the level of the burst vein. When the water rushes out from the
+burst vein in the earth, it obeys the law of other bodies that are
+heavier than the air since it always seeks low places. 
+
+[Footnote: From this passage it is quite plain that Leonardo had not
+merely a general suspicion of the circulation of the blood but a
+very clear conception of it. Leonardo's studies on the muscles of
+the heart are to be found in the MS. W. An. III. but no information
+about them has hitherto been made public. The limits of my plan in
+this work exclude all purely anatomical writings, therefore only a
+very brief excerpt from this note book can be given here. WILLIAM
+HARVEY (born 1578 and Professor of Anatomy at Cambridge from 1615)
+is always considered to have been the discoverer of the circulation
+of the blood. He studied medicine at Padua in 1598, and in 1628
+brought out his memorable and important work: _De motu cordis et
+sanguinis_.] 
+
+850. 
+
+That the blood which returns when the heart opens again is not the
+same as that which closes the valves of the heart. 
+
+Some notes on medicine (851-855). 
+
+851. 
+
+Make them give you the definition and remedies for the case ... and
+you will see that men are selected to be doctors for diseases they
+do not know. 
+
+852. 
+
+A remedy for scratches taught me by the Herald to the King of
+France. 4 ounces of virgin wax, 4 ounces of colophony, 2 ounces of
+incense. Keep each thing separate; and melt the wax, and then put in
+the incense and then the colophony, make a mixture of it and put it
+on the sore place. 
+
+853. 
+
+Medicine is the restoration of discordant elements; sickness is the
+discord of the elements infused into the living body. 
+
+854. 
+
+Those who are annoyed by sickness at sea should drink extract of
+wormwood. 
+
+855. 
+
+To keep in health, this rule is wise: Eat only when you want and
+relish food. Chew thoroughly that it may do you good. Have it well
+cooked, unspiced and undisguised. He who takes medicine is ill
+advised. 
+
+[Footnote: This appears to be a sketch for a poem.] 
+
+856. 
+
+I teach you to preserve your health; and in this you will succed
+better in proportion as you shun physicians, because their medicines
+are the work of alchemists. 
+
+[Footnote: This passage is written on the back of the drawing Pl.
+CVIII. Compare also No. 1184.] 
+
+_XV_. 
+
+_Astronomy_. 
+
+_Ever since the publication by Venturi in_ 1797 _and Libri in_ 1840
+_of some few passages of Leonardo's astronomical notes, scientific
+astronomers have frequently expressed the opinion, that they must
+have been based on very important discoveries, and that the great
+painter also deserved a conspicuous place in the history of this
+science. In the passages here printed, a connected view is given of
+his astronomical studies as they lie scattered through the
+manuscripts, which have come down to us. Unlike his other purely
+scientific labours, Leonardo devotes here a good deal of attention
+to the opinions of the ancients, though he does not follow the
+practice universal in his day of relying on them as authorities; he
+only quotes them, as we shall see, in order to refute their
+arguments. His researches throughout have the stamp of independent
+thought. There is nothing in these writings to lead us to suppose
+that they were merely an epitome of the general learning common to
+the astronomers of the period. As early as in the XIVth century
+there were chairs of astronomy in the universities of Padua and
+Bologna, but so late as during the entire XVIth century Astronomy
+and Astrology were still closely allied._ 
+
+_It is impossible now to decide whether Leonardo, when living in
+Florence, became acquainted in his youth with the doctrines of Paolo
+Toscanelli the great astronomer and mathematician (died_ 1482_), of
+whose influence and teaching but little is now known, beyond the
+fact that he advised and encouraged Columbus to carry out his
+project of sailing round the world. His name is nowhere mentioned by
+Leonardo, and from the dates of the manuscripts from which the texts
+on astronomy are taken, it seems highly probable that Leonardo
+devoted his attention to astronomical studies less in his youth than
+in his later years. It was evidently his purpose to treat of
+Astronomy in a connected form and in a separate work (see the
+beginning of Nos._ 866 _and_ 892_; compare also No._ 1167_). It is
+quite in accordance with his general scientific thoroughness that he
+should propose to write a special treatise on Optics as an
+introduction to Astronomy (see Nos._ 867 _and_ 877_). Some of the
+chapters belonging to this Section bear the title "Prospettiva"
+_(see Nos._ 869 _and_ 870_), this being the term universally applied
+at the time to Optics as well as Perspective (see Vol. I, p._ 10,
+_note to No._ 13, _l._ 10_)_. 
+
+_At the beginning of the XVIth century the Ptolemaic theory of the
+universe was still universally accepted as the true one, and
+Leonardo conceives of the earth as fixed, with the moon and sun
+revolving round it, as they are represented in the diagram to No._
+897. _He does not go into any theory of the motions of the planets;
+with regard to these and the fixed stars he only investigates the
+phenomena of their luminosity. The spherical form of the earth he
+takes for granted as an axiom from the first, and he anticipates
+Newton by pointing out the universality of Gravitation not merely in
+the earth, but even in the moon. Although his acute research into
+the nature of the moon's light and the spots on the moon did not
+bring to light many results of lasting importance beyond making it
+evident that they were a refutation of the errors of his
+contemporaries, they contain various explanations of facts which
+modern science need not modify in any essential point, and
+discoveries which history has hitherto assigned to a very much later
+date_. 
+
+_The ingenious theory by which he tries to explain the nature of
+what is known as earth shine, the reflection of the sun's rays by
+the earth towards the moon, saying that it is a peculiar refraction,
+originating in the innumerable curved surfaces of the waves of the
+sea may be regarded as absurd; but it must not be forgotten that he
+had no means of detecting the fundamental error on which he based
+it, namely: the assumption that the moon was at a relatively short
+distance from the earth. So long as the motion of the earth round
+the sun remained unknown, it was of course impossible to form any
+estimate of the moon's distance from the earth by a calculation of
+its parallax_. 
+
+_Before the discovery of the telescope accurate astronomical
+observations were only possible to a very limited extent. It would
+appear however from certain passages in the notes here printed for
+the first time, that Leonardo was in a position to study the spots
+in the moon more closely than he could have done with the unaided
+eye. So far as can be gathered from the mysterious language in which
+the description of his instrument is wrapped, he made use of
+magnifying glasses; these do not however seem to have been
+constructed like a telescope--telescopes were first made about_
+1600. _As LIBRI pointed out_ (Histoire des Sciences mathematiques
+III, 101) _Fracastoro of Verona_ (1473-1553) _succeeded in
+magnifying the moon's face by an arrangement of lenses (compare No._
+910, _note), and this gives probability to Leonardo's invention at a
+not much earlier date._ 
+
+I. 
+
+THE EARTH AS A PLANET. 
+
+The earth's place in the universe (857. 858). 
+
+857. 
+
+The equator, the line of the horizon, the ecliptic, the meridian: 
+
+These lines are those which in all their parts are equidistant from
+the centre of the globe. 
+
+858. 
+
+The earth is not in the centre of the Sun's orbit nor at the centre
+of the universe, but in the centre of its companion elements, and
+united with them. And any one standing on the moon, when it and the
+sun are both beneath us, would see this our earth and the element of
+water upon it just as we see the moon, and the earth would light it
+as it lights us. 
+
+The fundamental laws of the solar system (859-864). 
+
+859. 
+
+Force arises from dearth or abundance; it is the child of physical
+motion, and the grand-child of spiritual motion, and the mother and
+origin of gravity. Gravity is limited to the elements of water and
+earth; but this force is unlimited, and by it infinite worlds might
+be moved if instruments could be made by which the force could be
+generated. 
+
+Force, with physical motion, and gravity, with resistance are the
+four external powers on which all actions of mortals depend. 
+
+Force has its origin in spiritual motion; and this motion, flowing
+through the limbs of sentient animals, enlarges their muscles. Being
+enlarged by this current the muscles are shrunk in length and
+contract the tendons which are connected with them, and this is the
+cause of the force of the limbs in man. 
+
+The quality and quantity of the force of a man are able to give
+birth to other forces, which will be proportionally greater as the
+motions produced by them last longer. 
+
+[Footnote: Only part of this passage belongs, strictly speaking, to
+this section. The principle laid down in the second paragraph is
+more directly connected with the notes given in the preceding
+section on Physiology.] 
+
+860. 
+
+Why does not the weight _o_ remain in its place? It does not remain
+because it has no resistance. Where will it move to? It will move
+towards the centre [of gravity]. And why by no other line? Because a
+weight which has no support falls by the shortest road to the lowest
+point which is the centre of the world. And why does the weight know
+how to find it by so short a line? Because it is not independant and
+does not move about in various directions. 
+
+[Footnote: This text and the sketch belonging to it, are reproduced
+on Pl. CXXI.] 
+
+861. 
+
+Let the earth turn on which side it may the surface of the waters
+will never move from its spherical form, but will always remain
+equidistant from the centre of the globe. 
+
+Granting that the earth might be removed from the centre of the
+globe, what would happen to the water? 
+
+It would remain in a sphere round that centre equally thick, but the
+sphere would have a smaller diameter than when it enclosed the
+earth. 
+
+[Footnote: Compare No. 896, lines 48-64; and No. 936.] 
+
+862. 
+
+Supposing the earth at our antipodes which supports the ocean were
+to rise and stand uncovered, far out of the sea, but remaining
+almost level, by what means afterwards, in the course of time, would
+mountains and vallies be formed? 
+
+And the rocks with their various strata? 
+
+863. 
+
+Each man is always in the middle of the surface of the earth and
+under the zenith of his own hemisphere, and over the centre of the
+earth. 
+
+864. 
+
+Mem.: That I must first show the distance of the sun from the earth;
+and, by means of a ray passing through a small hole into a dark
+chamber, detect its real size; and besides this, by means of the
+aqueous sphere calculate the size of the globe ... 
+
+Here it will be shown, that when the sun is in the meridian of our
+hemisphere [Footnote 10: _Antipodi orientali cogli occidentali_. The
+word _Antipodes_ does not here bear its literal sense, but--as we
+may infer from the simultaneous reference to inhabitants of the
+North and South-- is used as meaning men living at a distance of 90
+degrees from the zenith of the rational horizon of each observer.],
+the antipodes to the East and to the West, alike, and at the same
+time, see the sun mirrored in their waters; and the same is equally
+true of the arctic and antarctic poles, if indeed they are
+inhabited. 
+
+How to prove that the earth is a planet (865-867). 
+
+865. 
+
+That the earth is a star. 
+
+866. 
+
+In your discourse you must prove that the earth is a star much like
+the moon, and the glory of our universe; and then you must treat of
+the size of various stars, according to the authors. 
+
+867. 
+
+THE METHOD OF PROVING THAT THE EARTH IS A STAR. 
+
+First describe the eye; then show how the twinkling of a star is
+really in the eye and why one star should twinkle more than another,
+and how the rays from the stars originate in the eye; and add, that
+if the twinkling of the stars were really in the stars --as it seems
+to be--that this twinkling appears to be an extension as great as
+the diameter of the body of the star; therefore, the star being
+larger than the earth, this motion effected in an instant would be a
+rapid doubling of the size of the star. Then prove that the surface
+of the air where it lies contiguous to fire, and the surface of the
+fire where it ends are those into which the solar rays penetrate,
+and transmit the images of the heavenly bodies, large when they
+rise, and small, when they are on the meridian. Let _a_ be the earth
+and _n d m_ the surface of the air in contact with the sphere of
+fire; _h f g_ is the orbit of the moon or, if you please, of the
+sun; then I say that when the sun appears on the horizon _g_, its
+rays are seen passing through the surface of the air at a slanting
+angle, that is _o m_; this is not the case at _d k_. And so it
+passes through a greater mass of air; all of _e m_ is a denser
+atmosphere. 
+
+868. 
+
+Beyond the sun and us there is darkness and so the air appears blue.
+
+[Footnote: Compare Vol. I, No. 301.] 
+
+869. 
+
+PERSPECTIVE. 
+
+It is possible to find means by which the eye shall not see remote
+objects as much diminished as in natural perspective, which
+diminishes them by reason of the convexity of the eye which
+necessarily intersects, at its surface, the pyramid of every image
+conveyed to the eye at a right angle on its spherical surface. But
+by the method I here teach in the margin [9] these pyramids are
+intersected at right angles close to the surface of the pupil. The
+convex pupil of the eye can take in the whole of our hemisphere,
+while this will show only a single star; but where many small stars
+transmit their images to the surface of the pupil those stars are
+extremely small; here only one star is seen but it will be large.
+And so the moon will be seen larger and its spots of a more defined
+form [Footnote 20 and fol.: Telescopes were not in use till a century
+later. Compare No. 910 and page 136.]. You must place close to the
+eye a glass filled with the water of which mention is made in number
+4 of Book 113 "On natural substances" [Footnote 23: _libro_ 113.
+This is perhaps the number of a book in some library catalogue. But
+it may refer, on the other hand, to one of the 120 Books mentioned
+in No. 796. l. 84.]; for this water makes objects which are enclosed
+in balls of crystalline glass appear free from the glass. 
+
+OF THE EYE. 
+
+Among the smaller objects presented to the pupil of the eye, that
+which is closest to it, will be least appreciable to the eye. And at
+the same time, the experiments here made with the power of sight,
+show that it is not reduced to speck if the &c. [32][Footnote 32:
+Compare with this the passage in Vol. I, No. 52, written about
+twenty years earlier.]. 
+
+Read in the margin. 
+
+[34]Those objects are seen largest which come to the eye at the
+largest angles. 
+
+But the images of the objects conveyed to the pupil of the eye are
+distributed to the pupil exactly as they are distributed in the air:
+and the proof of this is in what follows; that when we look at the
+starry sky, without gazing more fixedly at one star than another,
+the sky appears all strewn with stars; and their proportions to the
+eye are the same as in the sky and likewise the spaces between them
+[61]. 
+
+[Footnote: 9. 32. _in margine:_ lines 34-61 are, in the original,
+written on the margin and above them is the diagram to which
+Leonardo seems to refer here.] 
+
+870. 
+
+PERSPECTIVE. 
+
+Among objects moved from the eye at equal distance, that undergoes
+least diminution which at first was most remote. 
+
+When various objects are removed at equal distances farther from
+their original position, that which was at first the farthest from
+the eye will diminish least. And the proportion of the diminution
+will be in proportion to the relative distance of the objects from
+the eye before they were removed. 
+
+That is to say in the object _t_ and the object _e_ the proportion
+of their distances from the eye _a_ is quintuple. I remove each from
+its place and set it farther from the eye by one of the 5 parts into
+which the proposition is divided. Hence it happens that the nearest
+to the eye has doubled the distance and according to the last
+proposition but one of this, is diminished by the half of its whole
+size; and the body _e_, by the same motion, is diminished 1/5 of its
+whole size. Therefore, by that same last proposition but one, that
+which is said in this last proposition is true; and this I say of
+the motions of the celestial bodies which are more distant by 3500
+miles when setting than when overhead, and yet do not increase or
+diminish in any sensible degree. 
+
+871. 
+
+_a b_ is the aperture through which the sun passes, and if you could
+measure the size of the solar rays at _n m_, you could accurately
+trace the real lines of the convergence of the solar rays, the
+mirror being at _a b_, and then show the reflected rays at equal
+angles to _n m_; but, as you want to have them at _n m_, take them
+at the. inner side of the aperture at cd, where they maybe measured
+at the spot where the solar rays fall. Then place your mirror at the
+distance _a b_, making the rays _d b_, _c a_ fall and then be
+reflected at equal angles towards _c d_; and this is the best
+method, but you must use this mirror always in the same month, and
+the same day, and hour and instant, and this will be better than at
+no fixed time because when the sun is at a certain distance it
+produces a certain pyramid of rays. 
+
+872. 
+
+_a_, the side of the body in light and shade _b_, faces the whole
+portion of the hemisphere bed _e f_, and does not face any part of
+the darkness of the earth. And the same occurs at the point _o_;
+therefore the space a _o_ is throughout of one and the same
+brightness, and s faces only four degrees of the hemisphere _d e f g
+h_, and also the whole of the earth _s h_, which will render it
+darker; and how much must be demonstrated by calculation. [Footnote:
+This passage, which has perhaps a doubtful right to its place in
+this connection, stands in the Manuscript between those given in
+Vol. I as No. 117 and No. 427.] 
+
+873. 
+
+THE REASON OF THE INCREASED SIZE OF THE SUN IN THE WEST. 
+
+Some mathematicians explain that the sun looks larger as it sets,
+because the eye always sees it through a denser atmosphere, alleging
+that objects seen through mist or through water appear larger. To
+these I reply: No; because objects seen through a mist are similar
+in colour to those at a distance; but not being similarly diminished
+they appear larger. Again, nothing increases in size in smooth
+water; and the proof of this may be seen by throwing a light on a
+board placed half under water. But the reason why the sun looks
+larger is that every luminous body appears larger in proportion as
+it is more remote. [Footnote: Lines 5 and 6 are thus rendered by M.
+RAVAISSON in his edition of MS. A. "_De meme, aucune chose ne croit
+dans l'eau plane, et tu en feras l'experience_ en calquant un ais
+sous l'eau."--Compare the diagrams in Vol. I, p. 114.] 
+
+On the luminosity of the Earth in the universal space (874-878). 
+
+874. 
+
+In my book I propose to show, how the ocean and the other seas must,
+by means of the sun, make our world shine with the appearance of a
+moon, and to the remoter worlds it looks like a star; and this I
+shall prove. 
+
+Show, first that every light at a distance from the eye throws out
+rays which appear to increase the size of the luminous body; and
+from this it follows that 2 ...[Footnote 10: Here the text breaks
+off; lines 11 and fol. are written in the margin.]. 
+
+[11]The moon is cold and moist. Water is cold and moist. Thus our
+seas must appear to the moon as the moon does to us. 
+
+875. 
+
+The waves in water magnify the image of an object reflected in it. 
+
+Let _a_ be the sun, and _n m_ the ruffled water, _b_ the image of
+the sun when the water is smooth. Let _f_ be the eye which sees the
+image in all the waves included within the base of the triangle _c e
+f_. Now the sun reflected in the unruffled surface occupied the
+space _c d_, while in the ruffled surface it covers all the watery
+space _c e_ (as is proved in the 4th of my "Perspective") [Footnote
+9: _Nel quarto della mia prospettiva_. If this reference is to the
+diagrams accompanying the text--as is usual with Leonardo--and not
+to some particular work, the largest of the diagrams here given must
+be meant. It is the lowest and actually the fifth, but he would have
+called it the fourth, for the text here given is preceded on the
+same page of the manuscript by a passage on whirlpools, with the
+diagram belonging to it also reproduced here. The words _della mia
+prospettiva_ may therefore indicate that the diagram to the
+preceding chapter treating on a heterogeneal subject is to be
+excluded. It is a further difficulty that this diagram belongs
+properly to lines 9-10 and not to the preceding sentence. The
+reflection of the sun in water is also discussed in the Theoretical
+part of the Book on Painting; see Vol. I, No. 206, 207.] and it will
+cover more of the water in proportion as the reflected image is
+remote from the eye [10]. 
+
+[Footnote: In the original sketch, inside the circle in the first
+diagram, is written _Sole_ (sun), and to the right of it _luna_
+(moon). Thus either of these heavenly bodies may be supposed to fill
+that space. Within the lower circle is written _simulacro_ (image).
+In the two next diagrams at the spot here marked _L_ the word _Luna_
+is written, and in the last _sole_ is written in the top circle at
+_a_.] 
+
+The image of the sun will be more brightly shown in small waves than
+in large ones--and this is because the reflections or images of the
+sun are more numerous in the small waves than in large ones, and the
+more numerous reflections of its radiance give a larger light than
+the fewer. 
+
+Waves which intersect like the scales of a fir cone reflect the
+image of the sun with the greatest splendour; and this is the case
+because the images are as many as the ridges of the waves on which
+the sun shines, and the shadows between these waves are small and
+not very dark; and the radiance of so many reflections together
+becomes united in the image which is transmitted to the eye, so that
+these shadows are imperceptible. 
+
+That reflection of the sun will cover most space on the surface of
+the water which is most remote from the eye which sees it. 
+
+Let _a_ be the sun, _p q_ the reflection of the sun; _a b_ is the
+surface of the water, in which the sun is mirrored, and _r_ the eye
+which sees this reflection on the surface of the water occupying the
+space _o m_. _c_ is the eye at a greater distance from the surface
+of the water and also from the reflection; hence this reflection
+covers a larger space of water, by the distance between _n_ and _o_.
+
+876. 
+
+It is impossible that the side of a spherical mirror, illuminated by
+the sun, should reflect its radiance unless this mirror were
+undulating or filled with bubbles. 
+
+You see here the sun which lights up the moon, a spherical mirror,
+and all of its surface, which faces the sun is rendered radiant. 
+
+Whence it may be concluded that what shines in the moon is water
+like that of our seas, and in waves as that is; and that portion
+which does not shine consists of islands and terra firma. 
+
+This diagram, of several spherical bodies interposed between the eye
+and the sun, is given to show that, just as the reflection of the
+sun is seen in each of these bodies, in the same way that image may
+be seen in each curve of the waves of the sea; and as in these many
+spheres many reflections of the sun are seen, so in many waves there
+are many images, each of which at a great distance is much magnified
+to the eye. And, as this happens with each wave, the spaces
+interposed between the waves are concealed; and, for this reason, it
+looks as though the many suns mirrored in the many waves were but
+one continuous sun; and the shadows,, mixed up with the luminous
+images, render this radiance less brilliant than that of the sun
+mirrored in these waves. 
+
+[Footnote: In the original, at letter _A_ in the diagram "_Sole_"
+(the sun) is written, and at _o_ "_occhio_" (the eye).] 
+
+877. 
+
+This will have before it the treatise on light and shade. 
+
+The edges in the moon will be most strongly lighted and reflect most
+light, because, there, nothing will be visible but the tops of the
+waves of the water [Footnote 5: I have thought it unnecessary to
+reproduce the detailed explanation of the theory of reflection on
+waves contained in the passage which follows this.]. 
+
+878. 
+
+The sun will appear larger in moving water or on waves than in still
+water; an example is the light reflected on the strings of a
+monochord. 
+
+II. 
+
+THE SUN. 
+
+The question of the true and of the apparent size of the sun
+(879-884). 
+
+879. 
+
+IN PRAISE OF THE SUN. 
+
+If you look at the stars, cutting off the rays (as may be done by
+looking through a very small hole made with the extreme point of a
+very fine needle, placed so as almost to touch the eye), you will
+see those stars so minute that it would seem as though nothing could
+be smaller; it is in fact their great distance which is the reason
+of their diminution, for many of them are very many times larger
+than the star which is the earth with water. Now reflect what this
+our star must look like at such a distance, and then consider how
+many stars might be added--both in longitude and latitude--between
+those stars which are scattered over the darkened sky. But I cannot
+forbear to condemn many of the ancients, who said that the sun was
+no larger than it appears; among these was Epicurus, and I believe
+that he founded his reason on the effects of a light placed in our
+atmosphere equidistant from the centre of the earth. Any one looking
+at it never sees it diminished in size at whatever distance; and the
+rea- 
+
+[Footnote 879-882: What Leonardo says of Epicurus-- who according to
+LEWIS, _The Astronomy of the ancients_, and MADLER, _Geschichte der
+Himmelskunde_, did not devote much attention to the study of
+celestial phenomena--, he probably derived from Book X of Diogenes
+Laertius, whose _Vitae Philosophorum_ was not printed in Greek till
+1533, but the Latin translation appeared in 1475.] 
+
+880. 
+
+sons of its size and power I shall reserve for Book 4. But I wonder
+greatly that Socrates 
+
+[Footnote 2: _Socrates;_ I have little light to throw on this
+reference. Plato's Socrates himself declares on more than one
+occasion that in his youth he had turned his mind to the study of
+celestial phenomena (METEWPA) but not in his later years (see G. C.
+LEWIS, _The Astronomy of the ancients_, page 109; MADLER,
+_Geschichte der Himmelskunde_, page 41). Here and there in Plato's
+writings we find incidental notes on the sun and other heavenly
+bodies. Leonardo may very well have known of these, since the Latin
+version by Ficinus was printed as early as 1491; indeed an undated
+edition exists which may very likely have appeared between 1480--90.
+
+There is but one passage in Plato, Epinomis (p. 983) where he speaks
+of the physical properties of the sun and says that it is larger
+than the earth. 
+
+Aristotle who goes very fully into the subject says the same. A
+complete edition of Aristotele's works was first printed in Venice
+1495-98, but a Latin version of the Books _De Coelo et Mundo_ and
+_De Physica_ had been printed in Venice as early as in 1483 (H.
+MULLER-STRUBING).] 
+
+should have depreciated that solar body, saying that it was of the
+nature of incandescent stone, and the one who opposed him as to that
+error was not far wrong. But I only wish I had words to serve me to
+blame those who are fain to extol the worship of men more than that
+of the sun; for in the whole universe there is nowhere to be seen a
+body of greater magnitude and power than the sun. Its light gives
+light to all the celestial bodies which are distributed throughout
+the universe; and from it descends all vital force, for the heat
+that is in living beings comes from the soul [vital spark]; and
+there is no other centre of heat and light in the universe as will
+be shown in Book 4; and certainly those who have chosen to worship
+men as gods--as Jove, Saturn, Mars and the like--have fallen into
+the gravest error, seeing that even if a man were as large as our
+earth, he would look no bigger than a little star which appears but
+as a speck in the universe; and seeing again that these men are
+mortal, and putrid and corrupt in their sepulchres. 
+
+Marcellus [Footnote 23: I have no means of identifying _Marcello_
+who is named in the margin. It may be Nonius Marcellus, an obscure
+Roman Grammarian of uncertain date (between the IInd and Vth
+centuries A. C.) the author of the treatise _De compendiosa doctrina
+per litteras ad filium_ in which he treats _de rebus omnibus et
+quibusdam aliis_. This was much read in the middle ages. The _editto
+princeps_ is dated 1470 (H. MULLER-STRUBING).] and many others
+praise the sun. 
+
+881. 
+
+Epicurus perhaps saw the shadows cast by columns on the walls in
+front of them equal in diameter to the columns from which the
+shadows were cast; and the breadth of the shadows being parallel
+from beginning to end, he thought he might infer that the sun also
+was directly opposite to this parallel and that consequently its
+breadth was not greater than that of the column; not perceiving that
+the diminution in the shadow was insensibly slight by reason of the
+remoteness of the sun. If the sun were smaller than the earth, the
+stars on a great portion of our hemisphere would have no light,
+which is evidence against Epicurus who says the sun is only as large
+as it appears. 
+
+[Footnote: In the original the writing is across the diagram.] 
+
+882. 
+
+Epicurus says the sun is the size it looks. Hence as it looks about
+a foot across we must consider that to be its size; it would follow
+that when the moon eclipses the sun, the sun ought not to appear the
+larger, as it does. Then, the moon being smaller than the sun, the
+moon must be less than a foot, and consequently when our world
+eclipses the moon, it must be less than a foot by a finger's
+breadth; inasmuch as if the sun is a foot across, and our earth
+casts a conical shadow on the moon, it is inevitable that the
+luminous cause of the cone of shadow must be larger than the opaque
+body which casts the cone of shadow. 
+
+883. 
+
+To measure how many times the diameter of the sun will go into its
+course in 24 hours. 
+
+Make a circle and place it to face the south, after the manner of a
+sundial, and place a rod in the middle in such a way as that its
+length points to the centre of this circle, and mark the shadow cast
+in the sunshine by this rod on the circumference of the circle, and
+this shadow will be--let us say-- as broad as from _a_ to _n_. Now
+measure how many times this shadow will go into this circumference
+of a circle, and that will give you the number of times that the
+solar body will go into its orbit in 24 hours. Thus you may see
+whether Epicurus was [right in] saying that the sun was only as
+large as it looked; for, as the apparent diameter of the sun is
+about a foot, and as that sun would go a thousand times into the
+length of its course in 24 hours, it would have gone a thousand
+feet, that is 300 braccia, which is the sixth of a mile. Whence it
+would follow that the course of the sun during the day would be the
+sixth part of a mile and that this venerable snail, the sun will
+have travelled 25 braccia an hour. 
+
+884. 
+
+Posidonius composed books on the size of the sun. [Footnote:
+Poseidonius of Apamea, commonly called the Rhodian, because he
+taught in Rhodes, was a Stoic philosopher, a contemporary and friend
+of Cicero's, and the author of numerous works on natural science,
+among them. 
+
+Strabo quotes no doubt from one of his works, when he says that
+Poseidonius explained how it was that the sun looked larger when it
+was rising or setting than during the rest of its course (III, p.
+135). Kleomedes, a later Greek Naturalist also mentions this
+observation of Poseidonius' without naming the title of his work;
+however, as Kleomedes' Cyclia Theorica was not printed till 1535,
+Leonardo must have derived his quotation from Strabo. He probably
+wrote this note in 1508, and as the original Greek was first printed
+in Venice in 1516, we must suppose him to quote here from the
+translation by Guarinus Veronensis, which was printed as early as
+1471, also at Venice (H. MULLER-STRUBING).] 
+
+Of the nature of Sunlight. 
+
+885. 
+
+OF THE PROOF THAT THE SUN IS HOT BY NATURE AND NOT BY VIRTUE. 
+
+Of the nature of Sunlight. 
+
+That the heat of the sun resides in its nature and not in its virtue
+[or mode of action] is abundantly proved by the radiance of the
+solar body on which the human eye cannot dwell and besides this no
+less manifestly by the rays reflected from a concave mirror,
+which--when they strike the eye with such splendour that the eye
+cannot bear them--have a brilliancy equal to the sun in its own
+place. And that this is true I prove by the fact that if the mirror
+has its concavity formed exactly as is requisite for the collecting
+and reflecting of these rays, no created being could endure the
+heat that strikes from the reflected rays of such a mirror. And if
+you argue that the mirror itself is cold and yet send forth hot
+rays, I should reply that those rays come really from the sun and
+that it is the ray of the concave mirror after having passed through
+the window. 
+
+Considerations as to the size of the sun (886-891). 
+
+886. 
+
+The sun does not move. [Footnote: This sentence occurs incidentally
+among mathematical notes, and is written in unusually large
+letters.] 
+
+887. 
+
+PROOF THAT THE NEARER YOU ARE TO THE SOURCE OF THE SOLAR RAYS, THE
+LARGER WILL THE REFLECTION OF THE SUN FROM THE SEA APPEAR TO YOU. 
+
+[Footnote: Lines 4 and fol. Compare Vol. I, Nos. 130, 131.] If it is
+from the centre that the sun employs its radiance to intensify the
+power of its whole mass, it is evident that the farther its rays
+extend, the more widely they will be divided; and this being so,
+you, whose eye is near the water that mirrors the sun, see but a
+small portion of the rays of the sun strike the surface of the
+water, and reflecting the form of the sun. But if you were near to
+the sun--as would be the case when the sun is on the meridian and
+the sea to the westward--you would see the sun, mirrored in the sea,
+of a very great size; because, as you are nearer to the sun, your
+eye taking in the rays nearer to the point of radiation takes more
+of them in, and a great splendour is the result. And in this way it
+can be proved that the moon must have seas which reflect the sun,
+and that the parts which do not shine are land. 
+
+888. 
+
+Take the measure of the sun at the solstice in mid-June. 
+
+889. 
+
+WHY THE SUN APPEARS LARGER WHEN SETTING THAN AT NOON, WHEN IT IS
+NEAR TO US. 
+
+Every object seen through a curved medium seems to be of larger size
+than it is. 
+
+[Footnote: At A is written _sole_ (the sun), at B _terra_ (the
+earth).] 
+
+890. 
+
+Because the eye is small it can only see the image of the sun as of
+a small size. If the eye were as large as the sun it would see the
+image of the sun in water of the same size as the real body of the
+sun, so long as the water is smooth. 
+
+891. 
+
+A METHOD OF SEEING THE SUN ECLIPSED WITHOUT PAIN TO THE EYE. 
+
+Take a piece of paper and pierce holes in it with a needle, and look
+at the sun through these holes. 
+
+III. 
+
+THE MOON. 
+
+On the luminousity of the moon (892-901). 
+
+892. 
+
+OF THE MOON. 
+
+As I propose to treat of the nature of the moon, it is necessary
+that first I should describe the perspective of mirrors, whether
+plane, concave or convex; and first what is meant by a luminous ray,
+and how it is refracted by various kinds of media; then, when a
+reflected ray is most powerful, whether when the angle of incidence
+is acute, right, or obtuse, or from a convex, a plane, or a concave
+surface; or from an opaque or a transparent body. Besides this, how
+it is that the solar rays which fall on the waves of the sea, are
+seen by the eye of the same width at the angle nearest to the eye,
+as at the highest line of the waves on the horizon; but
+notwithstanding this the solar rays reflected from the waves of the
+sea assume the pyramidal form and consequently, at each degree of
+distance increase proportionally in size, although to our sight,
+they appear as parallel. 
+
+1st. Nothing that has very little weight is opaque. 
+
+2dly. Nothing that is excessively weighty can remain beneath that
+which is heavier. 
+
+3dly. As to whether the moon is situated in the centre of its
+elements or not. 
+
+And, if it has no proper place of its own, like the earth, in the
+midst of its elements, why does it not fall to the centre of our
+elements? [Footnote 26: The problem here propounded by Leonardo was
+not satisfactorily answered till Newton in 1682 formulated the law
+of universal attraction and gravitation. Compare No. 902, lines
+5-15.] 
+
+And, if the moon is not in the centre of its own elements and yet
+does not fall, it must then be lighter than any other element. 
+
+And, if the moon is lighter than the other elements why is it opaque
+and not transparent? 
+
+When objects of various sizes, being placed at various distances,
+look of equal size, there must be the same relative proportion in
+the distances as in the magnitudes of the objects. 
+
+[Footnote: In the diagram Leonardo wrote _sole_ at the place marked
+_A_.] 
+
+893. 
+
+OF THE MOON AND WHETHER IT IS POLISHED AND SPHERICAL. 
+
+The image of the sun in the moon is powerfully luminous, and is only
+on a small portion of its surface. And the proof may be seen by
+taking a ball of burnished gold and placing it in the dark with a
+light at some distance from it; and then, although it will
+illuminate about half of the ball, the eye will perceive its
+reflection only in a small part of its surface, and all the rest of
+the surface reflects the darkness which surrounds it; so that it is
+only in that spot that the image of the light is seen, and all the
+rest remains invisible, the eye being at a distance from the ball.
+The same thing would happen on the surface of the moon if it were
+polished, lustrous and opaque, like all bodies with a reflecting
+surface. 
+
+Show how, if you were standing on the moon or on a star, our earth
+would seem to reflect the sun as the moon does. 
+
+And show that the image of the sun in the sea cannot appear one and
+undivided, as it appears in a perfectly plane mirror. 
+
+894. 
+
+How shadows are lost at great distances, as is shown by the shadow
+side of the moon which is never seen. [Footnote: Compare also Vol.
+I, Nos. 175-179.] 
+
+895. 
+
+Either the moon has intrinsic luminosity or not. If it has, why does
+it not shine without the aid of the sun? But if it has not any light
+in itself it must of necessity be a spherical mirror; and if it is a
+mirror, is it not proved in Perspective that the image of a luminous
+object will never be equal to the extent of surface of the
+reflecting body that it illuminates? And if it be thus [Footnote 13:
+At A, in the diagram, Leonardo wrote "_sole_" (the sun), and at B
+"_luna o noi terra_" (the moon or our earth). Compare also the text
+of No. 876.], as is here shown at _r s_ in the figure, whence comes
+so great an extent of radiance as that of the full moon as we see
+it, at the fifteenth day of the moon? 
+
+896. 
+
+OF THE MOON. 
+
+The moon has no light in itself; but so much of it as faces the sun
+is illuminated, and of that illumined portion we see so much as
+faces the earth. And the moon's night receives just as much light as
+is lent it by our waters as they reflect the image of the sun, which
+is mirrored in all those waters which are on the side towards the
+sun. The outside or surface of the waters forming the seas of the
+moon and of the seas of our globe is always ruffled little or much,
+or more or less--and this roughness causes an extension of the
+numberless images of the sun which are repeated in the ridges and
+hollows, the sides and fronts of the innumerable waves; that is to
+say in as many different spots on each wave as our eyes find
+different positions to view them from. This could not happen, if the
+aqueous sphere which covers a great part of the moon were uniformly
+spherical, for then the images of the sun would be one to each
+spectator, and its reflections would be separate and independent and
+its radiance would always appear circular; as is plainly to be seen
+in the gilt balls placed on the tops of high buildings. But if those
+gilt balls were rugged or composed of several little balls, like
+mulberries, which are a black fruit composed of minute round
+globules, then each portion of these little balls, when seen in the
+sun, would display to the eye the lustre resulting from the
+reflection of the sun, and thus, in one and the same body many tiny
+suns would be seen; and these often combine at a long distance and
+appear as one. The lustre of the new moon is brighter and stronger,
+than when the moon is full; and the reason of this is that the angle
+of incidence is more obtuse in the new than in the full moon, in
+which the angles [of incidence and reflection] are highly acute. The
+waves of the moon therefore mirror the sun in the hollows of the
+waves as well as on the ridges, and the sides remain in shadow. But
+at the sides of the moon the hollows of the waves do not catch the
+sunlight, but only their crests; and thus the images are fewer and
+more mixed up with the shadows in the hollows; and this
+intermingling of the shaded and illuminated spots comes to the eye
+with a mitigated splendour, so that the edges will be darker,
+because the curves of the sides of the waves are insufficient to
+reflect to the eye the rays that fall upon them. Now the new moon
+naturally reflects the solar rays more directly towards the eye from
+the crests of the waves than from any other part, as is shown by the
+form of the moon, whose rays a strike the waves _b_ and are
+reflected in the line _b d_, the eye being situated at _d_. This
+cannot happen at the full moon, when the solar rays, being in the
+west, fall on the extreme waters of the moon to the East from _n_ to
+_m_, and are not reflected to the eye in the West, but are thrown
+back eastwards, with but slight deflection from the straight course
+of the solar ray; and thus the angle of incidence is very wide
+indeed. 
+
+The moon is an opaque and solid body and if, on the contrary, it
+were transparent, it would not receive the light of the sun. 
+
+The yellow or yolk of an egg remains in the middle of the albumen,
+without moving on either side; now it is either lighter or heavier
+than this albumen, or equal to it; if it is lighter, it ought to
+rise above all the albumen and stop in contact with the shell of the
+egg; and if it is heavier, it ought to sink, and if it is equal, it
+might just as well be at one of the ends, as in the middle or below
+[54]. 
+
+[Footnote 48-64: Compare No. 861.] 
+
+The innumerable images of the solar rays reflected from the
+innumerable waves of the sea, as they fall upon those waves, are
+what cause us to see the very broad and continuous radiance on the
+surface of the sea. 
+
+897. 
+
+That the sun could not be mirrored in the body of the moon, which is
+a convex mirror, in such a way as that so much of its surface as is
+illuminated by the sun, should reflect the sun unless the moon had a
+surface adapted to reflect it--in waves and ridges, like the surface
+of the sea when its surface is moved by the wind. 
+
+[Footnote: In the original diagrams _sole_ is written at the place
+marked _A; luna_ at _C,_ and _terra_ at the two spots marked _B_.] 
+
+The waves in water multiply the image of the object reflected in it.
+
+These waves reflect light, each by its own line, as the surface of
+the fir cone does [Footnote 14: See the diagram p. 145.] 
+
+These are 2 figures one different from the other; one with
+undulating water and the other with smooth water. 
+
+It is impossible that at any distance the image of the sun cast on
+the surface of a spherical body should occupy the half of the
+sphere. 
+
+Here you must prove that the earth produces all the same effects
+with regard to the moon, as the moon with regard to the earth. 
+
+The moon, with its reflected light, does not shine like the sun,
+because the light of the moon is not a continuous reflection of that
+of the sun on its whole surface, but only on the crests and hollows
+of the waves of its waters; and thus the sun being confusedly
+reflected, from the admixture of the shadows that lie between the
+lustrous waves, its light is not pure and clear as the sun is. 
+
+[Footnote 38: This refers to the small diagram placed between _B_
+and _B_.--]. The earth between the moon on the fifteenth day and the
+sun. [Footnote 39: See the diagram below the one referred to in the
+preceding note.] Here the sun is in the East and the moon on the
+fifteenth day in the West. [Footnote 40.41: Refers to the diagram
+below the others.] The moon on the fifteenth [day] between the earth
+and the sun. [41]Here it is the moon which has the sun to the West
+and the earth to the East. 
+
+898. 
+
+WHAT SORT OF THING THE MOON IS. 
+
+The moon is not of itself luminous, but is highly fitted to
+assimilate the character of light after the manner of a mirror, or
+of water, or of any other reflecting body; and it grows larger in
+the East and in the West, like the sun and the other planets. And
+the reason is that every luminous body looks larger in proportion as
+it is remote. It is easy to understand that every planet and star is
+farther from us when in the West than when it is overhead, by about
+3500 miles, as is proved on the margin [Footnote 7: refers to the
+first diagram.--A = _sole_ (the sun), B = _terra_ (the earth), C =
+_luna_ (the moon).], and if you see the sun or moon mirrored in the
+water near to you, it looks to you of the same size in the water as
+in the sky. But if you recede to the distance of a mile, it will
+look 100 times larger; and if you see the sun reflected in the sea
+at sunset, its image would look to you more than 10 miles long;
+because that reflected image extends over more than 10 miles of sea.
+And if you could stand where the moon is, the sun would look to you,
+as if it were reflected from all the sea that it illuminates by day;
+and the land amid the water would appear just like the dark spots
+that are on the moon, which, when looked at from our earth, appears
+to men the same as our earth would appear to any men who might dwell
+in the moon. 
+
+[Footnote: This text has already been published by LIBRI: _Histoire
+des Sciences,_ III, pp. 224, 225.] 
+
+OF THE NATURE OF THE MOON. 
+
+When the moon is entirely lighted up to our sight, we see its full
+daylight; and at that time, owing to the reflection of the solar
+rays which fall on it and are thrown off towards us, its ocean casts
+off less moisture towards us; and the less light it gives the more
+injurious it is. 
+
+899. 
+
+OF THE MOON. 
+
+I say that as the moon has no light in itself and yet is luminous,
+it is inevitable but that its light is caused by some other body. 
+
+900. 
+
+OF THE MOON. 
+
+All my opponent's arguments to say that there is no water in the
+moon. [Footnote: The objections are very minutely noted down in the
+manuscript, but they hardly seem to have a place here.] 
+
+901. 
+
+Answer to Maestro Andrea da Imola, who said that the solar rays
+reflected from a convex mirror are mingled and lost at a short
+distance; whereby it is altogether denied that the luminous side of
+the moon is of the nature of a mirror, and that consequently the
+light is not produced by the innumerable multitude of the waves of
+that sea, which I declared to be the portion of the moon which is
+illuminated by the solar rays. 
+
+Let _o p_ be the body of the sun, _c n s_ the moon, and _b_ the eye
+which, above the base _c n_ of the cathetus _c n m_, sees the body
+of the sun reflected at equal angles _c n_; and the same again on
+moving the eye from _b_ to _a_. [Footnote: The large diagram on the
+margin of page 161 belongs to this chapter.] 
+
+Explanation of the lumen cinereum in the moon. 
+
+902. 
+
+OF THE MOON. 
+
+No solid body is less heavy than the atmosphere. 
+
+[Footnote: 1. On the margin are the words _tola romantina,
+tola--ferro stagnato_ (tinned iron); _romantina_ is some special
+kind of sheet-iron no longer known by that name.] 
+
+Having proved that the part of the moon that shines consists of
+water, which mirrors the body of the sun and reflects the radiance
+it receives from it; and that, if these waters were devoid of waves,
+it would appear small, but of a radiance almost like the sun; --[5]
+It must now be shown whether the moon is a heavy or a light body:
+for, if it were a heavy body--admitting that at every grade of
+distance from the earth greater levity must prevail, so that water
+is lighter than the earth, and air than water, and fire than air and
+so on successively--it would seem that if the moon had density as it
+really has, it would have weight, and having weight, that it could
+not be sustained in the space where it is, and consequently that it
+would fall towards the centre of the universe and become united to
+the earth; or if not the moon itself, at least its waters would fall
+away and be lost from it, and descend towards the centre, leaving
+the moon without any and so devoid of lustre. But as this does not
+happen, as might in reason be expected, it is a manifest sign that
+the moon is surrounded by its own elements: that is to say water,
+air and fire; and thus is, of itself and by itself, suspended in
+that part of space, as our earth with its element is in this part of
+space; and that heavy bodies act in the midst of its elements just
+as other heavy bodies do in ours [Footnote 15: This passage would
+certainly seem to establish Leonardo's claim to be regarded as the
+original discoverer of the cause of the ashy colour of the new moon
+(_lumen cinereum_). His observations however, having hitherto
+remained unknown to astronomers, Moestlin and Kepler have been
+credited with the discoveries which they made independently a
+century later. 
+
+Some disconnected notes treat of the same subject in MS. C. A. 239b;
+718b and 719b; "_Perche la luna cinta della parte alluminata dal
+sole in ponente, tra maggior splendore in mezzo a tal cerchio, che
+quando essa eclissava il sole. Questo accade perche nell' eclissare
+il sole ella ombrava il nostro oceano, il qual caso non accade
+essendo in ponente, quando il sole alluma esso oceano_." The editors
+of the "_Saggio_" who first published this passage (page 12) add
+another short one about the seasons in the moon which I confess not
+to have seen in the original manuscript: "_La luna ha ogni mese un
+verno e una state, e ha maggiori freddi e maggiori caldi, e i suoi
+equinozii son piu freddi de' nostri._"] 
+
+When the eye is in the East and sees the moon in the West near to
+the setting sun, it sees it with its shaded portion surrounded by
+luminous portions; and the lateral and upper portion of this light
+is derived from the sun, and the lower portion from the ocean in the
+West, which receives the solar rays and reflects them on the lower
+waters of the moon, and indeed affords the part of the moon that is
+in shadow as much radiance as the moon gives the earth at midnight.
+Therefore it is not totally dark, and hence some have believed that
+the moon must in parts have a light of its own besides that which is
+given it by the sun; and this light is due, as has been said, to the
+above- mentioned cause,--that our seas are illuminated by the sun. 
+
+Again, it might be said that the circle of radiance shown by the
+moon when it and the sun are both in the West is wholly borrowed
+from the sun, when it, and the sun, and the eye are situated as is
+shown above. 
+
+[Footnote 23. 24: The larger of the two diagrams reproduced above
+stands between these two lines, and the smaller one is sketched in
+the margin. At the spot marked _A_ Leonardo wrote _corpo solare_
+(solar body) in the larger diagram and _Sole_ (sun) in the smaller
+one. At _C luna_ (moon) is written and at _B terra_ (the earth).] 
+
+Some might say that the air surrounding the moon as an element,
+catches the light of the sun as our atmosphere does, and that it is
+this which completes the luminous circle on the body of the moon. 
+
+Some have thought that the moon has a light of its own, but this
+opinion is false, because they have founded it on that dim light
+seen between the hornes of the new moon, which looks dark where it
+is close to the bright part, while against the darkness of the
+background it looks so light that many have taken it to be a ring of
+new radiance completing the circle where the tips of the horns
+illuminated by the sun cease to shine [Footnote 34: See Pl. CVIII,
+No. 5.]. And this difference of background arises from the fact that
+the portion of that background which is conterminous with the bright
+part of the moon, by comparison with that brightness looks darker
+than it is; while at the upper part, where a portion of the luminous
+circle is to be seen of uniform width, the result is that the moon,
+being brighter there than the medium or background on which it is
+seen by comparison with that darkness it looks more luminous at that
+edge than it is. And that brightness at such a time itself is
+derived from our ocean and other inland-seas. These are, at that
+time, illuminated by the sun which is already setting in such a way
+as that the sea then fulfils the same function to the dark side of
+the moon as the moon at its fifteenth day does to us when the sun is
+set. And the small amount of light which the dark side of the moon
+receives bears the same proportion to the light of that side which
+is illuminated, as that... [Footnote 42: Here the text breaks off;
+lines 43-52 are written on the margin.]. 
+
+If you want to see how much brighter the shaded portion of the moon
+is than the background on which it is seen, conceal the luminous
+portion of the moon with your hand or with some other more distant
+object. 
+
+On the spots in the moon (903-907). 
+
+903. 
+
+THE SPOTS ON THE MOON. 
+
+Some have said that vapours rise from the moon, after the manner of
+clouds and are interposed between the moon and our eyes. But, if
+this were the case, these spots would never be permanent, either as
+to position or form; and, seeing the moon from various aspects, even
+if these spots did not move they would change in form, as objects do
+which are seen from different sides. 
+
+904. 
+
+OF THE SPOTS ON THE MOON. 
+
+Others say that the moon is composed of more or less transparent
+parts; as though one part were something like alabaster and others
+like crystal or glass. It would follow from this that the sun
+casting its rays on the less transparent portions, the light would
+remain on the surface, and so the denser part would be illuminated,
+and the transparent portions would display the shadow of their
+darker depths; and this is their account of the structure and nature
+of the moon. And this opinion has found favour with many
+philosophers, and particularly with Aristotle, and yet it is a false
+view--for, in the various phases and frequent changes of the moon
+and sun to our eyes, we should see these spots vary, at one time
+looking dark and at another light: they would be dark when the sun
+is in the West and the moon in the middle of the sky; for then the
+transparent hollows would be in shadow as far as the tops of the
+edges of those transparent hollows, because the sun could not then
+fling his rays into the mouth of the hollows, which however, at full
+moon, would be seen in bright light, at which time the moon is in
+the East and faces the sun in the West; then the sun would
+illuminate even the lowest depths of these transparent places and
+thus, as there would be no shadows cast, the moon at these times
+would not show us the spots in question; and so it would be, now
+more and now less, according to the changes in the position of the
+sun to the moon, and of the moon to our eyes, as I have said above. 
+
+905. 
+
+OF THE SPOTS ON THE MOON. 
+
+It has been asserted, that the spots on the moon result from the
+moon being of varying thinness or density; but if this were so, when
+there is an eclipse of the moon the solar rays would pierce through
+the portions which were thin as is alleged [Footnote 3-5: _Eclissi_.
+This word, as it seems to me, here means eclipses of the sun; and
+the sense of the passage, as I understand it, is that by the
+foregoing hypothesis the moon, when it comes between the sun and the
+earth must appear as if pierced,--we may say like a sieve.]. But as
+we do not see this effect the opinion must be false. 
+
+Others say that the surface of the moon is smooth and polished and
+that, like a mirror, it reflects in itself the image of our earth.
+This view is also false, inasmuch as the land, where it is not
+covered with water, presents various aspects and forms. Hence when
+the moon is in the East it would reflect different spots from those
+it would show when it is above us or in the West; now the spots on
+the moon, as they are seen at full moon, never vary in the course of
+its motion over our hemisphere. A second reason is that an object
+reflected in a convex body takes up but a small portion of that
+body, as is proved in perspective [Footnote 18: _come e provato_.
+This alludes to the accompanying diagram.]. The third reason is that
+when the moon is full, it only faces half the hemisphere of the
+illuminated earth, on which only the ocean and other waters reflect
+bright light, while the land makes spots on that brightness; thus
+half of our earth would be seen girt round with the brightness of
+the sea lighted up by the sun, and in the moon this reflection would
+be the smallest part of that moon. Fourthly, a radiant body cannot
+be reflected from another equally radiant; therefore the sea, since
+it borrows its brightness from the sun,--as the moon does--, could
+not cause the earth to be reflected in it, nor indeed could the body
+of the sun be seen reflected in it, nor indeed any star opposite to
+it. 
+
+906. 
+
+If you keep the details of the spots of the moon under observation
+you will often find great variation in them, and this I myself have
+proved by drawing them. And this is caused by the clouds that rise
+from the waters in the moon, which come between the sun and those
+waters, and by their shadow deprive these waters of the sun's rays.
+Thus those waters remain dark, not being able to reflect the solar
+body. 
+
+907. 
+
+How the spots on the moon must have varied from what they formerly
+were, by reason of the course of its waters. 
+
+On the moon's halo. 
+
+908. 
+
+OF HALOS ROUND THE MOON. 
+
+I have found, that the circles which at night seem to surround the
+moon, of various sizes, and degrees of density are caused by various
+gradations in the densities of the vapours which exist at different
+altitudes between the moon and our eyes. And of these halos the
+largest and least red is caused by the lowest of these vapours; the
+second, smaller one, is higher up, and looks redder because it is
+seen through two vapours. And so on, as they are higher they will
+appear smaller and redder, because, between the eye and them, there
+is thicker vapour. Whence it is proved that where they are seen to
+be reddest, the vapours are most dense. 
+
+On instruments for observing the moon (909. 910). 
+
+909. 
+
+If you want to prove why the moon appears larger than it is, when it
+reaches the horizon; take a lens which is highly convex on one
+surface and concave on the opposite, and place the concave side next
+the eye, and look at the object beyond the convex surface; by this
+means you will have produced an exact imitation of the atmosphere
+included beneath the sphere of fire and outside that of water; for
+this atmosphere is concave on the side next the earth, and convex
+towards the fire. 
+
+910. 
+
+Construct glasses to see the moon magnified. 
+
+[Footnote: See the Introduction, p. 136, Fracastoro says in his work
+Homocentres: "_Per dua specilla ocularla si quis perspiciat, alteri
+altero superposito, majora multo et propinquiora videbit
+omnia.--Quin imo quaedam specilla ocularia fiunt tantae densitatis,
+ut si per ea quis aut lunam, aut aliud siderum spectet, adeo
+propinqua illa iudicet, ut ne turres ipsas excedant_" (sect. II c. 8
+and sect. III, c. 23).] 
+
+I.
+THE STARS.
+On the light of the stars (911-913).
+911.
+The stars are visible by night and not by day, because we are
+eneath the dense atmosphere, which is full of innumerable
+articles of moisture, each of which independently, when the
+ays of the sun fall upon it, reflects a radiance, and so these
+umberless bright particles conceal the stars; and if it were not
+or this atmosphere the sky would always display the stars against
+ts darkness.
+[Footnote: See No. 296, which also refers to starlight.]
+912.
+Whether the stars have their light from the sun or in themselves.
+Some say that they shine of themselves, alledging that if Venus
+nd Mercury had not a light of their own, when they come between
+ur eye and the sun they would darken so much of the sun as they
+ould cover from our eye. But this is false, for it is proved that
+ dark object against a luminous body is enveloped and entirely
+oncealed by the lateral rays of the rest of that luminous body
+nd so remains invisible. As may be seen when the sun is seen
+hrough the boughs of trees bare of their leaves, at some distance
+he branches do not conceal any portion of the sun from our eye.
+he same thing happens with the above mentioned planets which,
+hough they have no light of their own, do not--as has been said--
+onceal any part of the sun from our eye
+[18]. 
+
+SECOND ARGUMENT. 
+
+Some say that the stars appear most brilliant at night in proportion
+as they are higher up; and that if they had no light of their own,
+the shadow of the earth which comes between them and the sun, would
+darken them, since they would not face nor be faced by the solar
+body. But those persons have not considered that the conical shadow
+of the earth cannot reach many of the stars; and even as to those it
+does reach, the cone is so much diminished that it covers very
+little of the star's mass, and all the rest is illuminated by the
+sun. 
+
+Footnote: From this and other remarks (see No. 902) it is clear
+hat Leonardo was familiar with the phenomena of Irradiation.]
+
+13. 
+
+Why the planets appear larger in the East than they do overhead,
+whereas the contrary should be the case, as they are 3500 miles
+nearer to us when in mid sky than when on the horizon. 
+
+All the degrees of the elements, through which the images of the
+celestial bodies pass to reach the eye, are equal curves and the
+angles by which the central line of those images passes through
+them, are unequal angles [Footnote 13: _inequali_, here and
+elsewhere does not mean unequal in the sense of not being equal to
+each other, but angles which are not right angles.]; and the
+distance is greater, as is shown by the excess of _a b_ beyond _a
+d_; and the enlargement of these celestial bodies on the horizon is
+shown by the 9th of the 7th. 
+
+Observations on the stars. 
+
+914. 
+
+To see the real nature of the planets open the covering and note at
+the base [Footnote 4: _basa_. This probably alludes to some
+instrument, perhaps the Camera obscura.] one single planet, and the
+reflected movement of this base will show the nature of the said
+planet; but arrange that the base may face only one at the time. 
+
+On history of astronomy. 
+
+915. 
+
+Cicero says in [his book] De Divinatione that Astrology has been
+practised five hundred seventy thousand years before the Trojan war.
+
+57000. 
+
+[Footnote: The statement that CICERO, _De Divin._ ascribes the
+discovery of astrology to a period 57000 years before the Trojan war
+I believe to be quite erroneous. According to ERNESTI, _Clavis
+Ciceroniana,_ CH. G. SCHULZ (_Lexic. Cicer._) and the edition of _De
+Divin._ by GIESE the word Astrologia occurs only twice in CICERO:
+_De Divin. II_, 42. _Ad Chaldaeorum monstra veniamus, de quibus
+Eudoxus, Platonis auditor, in astrologia judicio doctissimorum
+hominum facile princeps, sic opinatur (id quod scriptum reliquit):
+Chaldaeis in praedictione et in notatione cujusque vitae ex natali
+die minime esse credendum._" He then quotes the condemnatory verdict
+of other philosophers as to the teaching of the Chaldaeans but says
+nothing as to the antiquity and origin of astronomy. CICERO further
+notes _De oratore_ I, 16 that Aratus was "_ignarus astrologiae_" but
+that is all. So far as I know the word occurs nowhere else in
+CICERO; and the word _Astronomia_ he does not seem to have used at
+all. (H. MULLER-STRUBING.)] 
+
+Of time and its divisions (916-918). 
+
+916. 
+
+Although time is included in the class of Continuous Quantities,
+being indivisible and immaterial, it does not come entirely under
+the head of Geometry, which represents its divisions by means of
+figures and bodies of infinite variety, such as are seen to be
+continuous in their visible and material properties. But only with
+its first principles does it agree, that is with the Point and the
+Line; the point may be compared to an instant of time, and the line
+may be likened to the length of a certain quantity of time, and just
+as a line begins and terminates in a point, so such a space of time.
+begins and terminates in an instant. And whereas a line is
+infinitely divisible, the divisibility of a space of time is of the
+same nature; and as the divisions of the line may bear a certain
+proportion to each other, so may the divisions of time. 
+
+[Footnote: This passage is repeated word for word on page 190b of
+the same manuscript and this is accounted for by the text in Vol. I,
+No. 4. Compare also No. 1216.] 
+
+917. 
+
+Describe the nature of Time as distinguished from the Geometrical
+definitions. 
+
+918. 
+
+Divide an hour into 3000 parts, and this you can do with a clock by
+making the pendulum lighter or heavier. 
+
+_XVI. 
+
+Physical Geography. 
+
+Leonardo's researches as to the structure of the earth and sea were
+made at a time, when the extended voyages of the Spaniards and
+Portuguese had also excited a special interest in geographical
+questions in Italy, and particularly in Tuscany. Still, it need
+scarcely surprise us to find that in deeper questions, as to the
+structure of the globe, the primitive state of the earth's surface,
+and the like, he was far in advance of his time. 
+
+The number of passages which treat of such matters is relatively
+considerable; like almost all Leonardo's scientific notes they deal
+partly with theoretical and partly with practical questions. Some of
+his theoretical views of the motion of water were collected in a
+copied manuscript volume by an early transcriber, but without any
+acknowledgment of the source whence they were derived. This copy is
+now in the Library of the Barberini palace at Rome and was published
+under the title: "De moto e misura dell'acqua," by FRANCESCO
+CARDINALI, Bologna_ 1828. _In this work the texts are arranged under
+the following titles:_ Libr. I. Della spera dell'acqua; Libr. II.
+Del moto dell'acqua; Libr. III. Dell'onda dell'acqua; Libr. IV. Dei
+retrosi d'acqua; Libr. V. Dell'acqua cadente; Libr. VI. Delle
+rotture fatte dall'acqua; Libr. VII Delle cose portate dall'acqua;
+Libr. VIII. Dell'oncia dell'acqua e delle canne; Libr. IX. De molini
+e d'altri ordigni d'acqua. 
+
+_The large number of isolated observations scattered through the
+manuscripts, accounts for our so frequently finding notes of new
+schemes for the arrangement of those relating to water and its
+motions, particularly in the Codex Atlanticus: I have printed
+several of these plans as an introduction to the Physical Geography,
+and I have actually arranged the texts in accordance with the clue
+afforded by one of them which is undoubtedly one of the latest notes
+referring to the subject (No._ 920_). The text given as No._ 930
+_which is also taken from a late note-book of Leonardo's, served as
+a basis for the arrangement of the first of the seven books--or
+sections--, bearing the title: Of the Nature of Water_ (Dell'acque
+in se). 
+
+_As I have not made it any part of this undertaking to print the
+passages which refer to purely physical principles, it has also been
+necessary to exclude those practical researches which, in accordance
+with indications given in_ 920, _ought to come in as Books_ 13, 14
+_and_ 15. _I can only incidentally mention here that Leonardo--as it
+seems to me, especially in his youth--devoted a great deal of
+attention to the construction of mills. This is proved by a number
+of drawings of very careful and minute execution, which are to be
+found in the Codex Atlanticus. Nor was it possible to include his
+considerations on the regulation of rivers, the making of canals and
+so forth (No._ 920, _Books_ 10, 11 _and_ 12_); but those passages in
+which the structure of a canal is directly connected with notices of
+particular places will be found duly inserted under section XVII
+(Topographical notes). In Vol. I, No._ 5 _the text refers to
+canal-making in general._ 
+
+_On one point only can the collection of passages included under the
+general heading of Physical Geography claim to be complete. When
+comparing and sorting the materials for this work I took particular
+care not to exclude or omit any text in which a geographical name
+was mentioned even incidentally, since in all such researches the
+chief interest, as it appeared to me, attached to the question
+whether these acute observations on the various local
+characteristics of mountains, rivers or seas, had been made by
+Leonardo himself, and on the spot. It is self-evident that the few
+general and somewhat superficial observations on the Rhine and the
+Danube, on England and Flanders, must have been obtained from maps
+or from some informants, and in the case of Flanders Leonardo
+himself acknowledges this (see No._ 1008_). But that most of the
+other and more exact observations were made, on the spot, by
+Leonardo himself, may be safely assumed from their method and the
+style in which he writes of them; and we should bear it in mind that
+in all investigations, of whatever kind, experience is always spoken
+of as the only basis on which he relies. Incidentally, as in No._
+984, _he thinks it necessary to allude to the total absence of all
+recorded observations._ 
+
+I. 
+
+INTRODUCTION. 
+
+Schemes for the arrangement of the materials (919-928). 
+
+919. 
+
+These books contain in the beginning: Of the nature of water itself
+in its motions; the others treat of the effects of its currents,
+which change the world in its centre and its shape. 
+
+920. 
+
+DIVISIONS OF THE BOOK. 
+
+Book 1 of water in itself. 
+
+Book 2 of the sea. 
+
+Book 3 of subterranean rivers. 
+
+Book 4 of rivers. 
+
+Book 5 of the nature of the abyss. 
+
+Book 6 of the obstacles. 
+
+Book 7 of gravels. 
+
+Book 8 of the surface of water. 
+
+Book 9 of the things placed therein. 
+
+Book 10 of the repairing of rivers. 
+
+Book 11 of conduits. 
+
+Book 12 of canals. 
+
+Book 13 of machines turned by water. 
+
+Book 14 of raising water. 
+
+Book 15 of matters worn away by water. 
+
+921. 
+
+First you shall make a book treating of places occupied by fresh
+waters, and the second by salt waters, and the third, how by the
+disappearance of these, our parts of the world were made lighter and
+in consequence more remote from the centre of the world. 
+
+922. 
+
+First write of all water, in each of its motions; then describe all
+its bottoms and their various materials, always referring to the
+propositions concerning the said waters; and let the order be good,
+for otherwise the work will be confused. 
+
+Describe all the forms taken by water from its greatest to its
+smallest wave, and their causes. 
+
+923. 
+
+Book 9, of accidental risings of water. 
+
+924. 
+
+THE ORDER OF THE BOOK. 
+
+Place at the beginning what a river can effect. 
+
+925. 
+
+A book of driving back armies by the force of a flood made by
+releasing waters. 
+
+A book showing how the waters safely bring down timber cut in the
+mountains. 
+
+A book of boats driven against the impetus of rivers. 
+
+A book of raising large bridges higher. Simply by the swelling of
+the waters. 
+
+A book of guarding against the impetus of rivers so that towns may
+not be damaged by them. 
+
+926. 
+
+A book of the ordering of rivers so as to preserve their banks. 
+
+A book of the mountains, which would stand forth and become land, if
+our hemisphere were to be uncovered by the water. 
+
+A book of the earth carried down by the waters to fill up the great
+abyss of the seas. 
+
+A book of the ways in which a tempest may of itself clear out filled
+up sea-ports. 
+
+A book of the shores of rivers and of their permanency. 
+
+A book of how to deal with rivers, so that they may keep their
+bottom scoured by their own flow near the cities they pass. 
+
+A book of how to make or to repair the foundations for bridges over
+the rivers. 
+
+A book of the repairs which ought to be made in walls and banks of
+rivers where the water strikes them. 
+
+A book of the formation of hills of sand or gravel at great depths
+in water. 
+
+927. 
+
+Water gives the first impetus to its motion. 
+
+A book of the levelling of waters by various means, 
+
+A book of diverting rivers from places where they do mischief. 
+
+A book of guiding rivers which occupy too much ground. 
+
+A book of parting rivers into several branches and making them
+fordable. 
+
+A book of the waters which with various currents pass through seas. 
+
+A book of deepening the beds of rivers by means of currents of
+water. 
+
+A book of controlling rivers so that the little beginnings of
+mischief, caused by them, may not increase. 
+
+A book of the various movements of waters passing through channels
+of different forms. 
+
+A book of preventing small rivers from diverting the larger one into
+which their waters run. 
+
+A book of the lowest level which can be found in the current of the
+surface of rivers. 
+
+A book of the origin of rivers which flow from the high tops of
+mountains. 
+
+A book of the various motions of waters in their rivers. 
+
+928. 
+
+[1] Of inequality in the concavity of a ship. [Footnote 1: The first
+line of this passage was added subsequently, evidently as a
+correction of the following line.] 
+
+[1] A book of the inequality in the curve of the sides of ships. 
+
+[1] A book of the inequality in the position of the tiller. 
+
+[1] A book of the inequality in the keel of ships. 
+
+[2] A book of various forms of apertures by which water flows out. 
+
+[3] A book of water contained in vessels with air, and of its
+movements. 
+
+[4] A book of the motion of water through a syphon. [Footnote 7:
+_cicognole_, see No. 966, 11, 17.] 
+
+[5] A book of the meetings and union of waters coming from different
+directions. 
+
+[6] A book of the various forms of the banks through which rivers
+pass. 
+
+[7] A book of the various forms of shoals formed under the sluices
+of rivers. 
+
+[8] A book of the windings and meanderings of the currents of
+rivers. 
+
+[9] A book of the various places whence the waters of rivers are
+derived. 
+
+[10] A book of the configuration of the shores of rivers and of
+their permanency. 
+
+[11] A book of the perpendicular fall of water on various objects. 
+
+[12] Abook of the course of water when it is impeded in various
+places. 
+
+[12] A book of the various forms of the obstacles which impede the
+course of waters. 
+
+[13] A book of the concavity and globosity formed round various
+objects at the bottom. 
+
+[14] Abook of conducting navigable canals above or beneath the
+rivers which intersect them. 
+
+[15] A book of the soils which absorb water in canals and of
+repairing them. 
+
+[16] Abook of creating currents for rivers, which quit their beds,
+[and] for rivers choked with soil. 
+
+General introduction. 
+
+929. 
+
+THE BEGINNING OF THE TREATISE ON WATER. 
+
+By the ancients man has been called the world in miniature; and
+certainly this name is well bestowed, because, inasmuch as man is
+composed of earth, water, air and fire, his body resembles that of
+the earth; and as man has in him bones the supports and framework of
+his flesh, the world has its rocks the supports of the earth; as man
+has in him a pool of blood in which the lungs rise and fall in
+breathing, so the body of the earth has its ocean tide which
+likewise rises and falls every six hours, as if the world breathed;
+as in that pool of blood veins have their origin, which ramify all
+over the human body, so likewise the ocean sea fills the body of the
+earth with infinite springs of water. The body of the earth lacks
+sinews and this is, because the sinews are made expressely for
+movements and, the world being perpetually stable, no movement takes
+place, and no movement taking place, muscles are not necessary.
+--But in all other points they are much alike. 
+
+I. 
+
+OF THE NATURE OF WATER. 
+
+The arrangement of Book I. 
+
+930. 
+
+THE ORDER OF THE FIRST BOOK ON WATER. 
+
+Define first what is meant by height and depth; also how the
+elements are situated one inside another. Then, what is meant by
+solid weight and by liquid weight; but first what weight and
+lightness are in themselves. Then describe why water moves, and why
+its motion ceases; then why it becomes slower or more rapid; besides
+this, how it always falls, being in contact with the air but lower
+than the air. And how water rises in the air by means of the heat of
+the sun, and then falls again in rain; again, why water springs
+forth from the tops of mountains; and if the water of any spring
+higher than the ocean can pour forth water higher than the surface
+of that ocean. And how all the water that returns to the ocean is
+higher than the sphere of waters. And how the waters of the
+equatorial seas are higher than the waters of the North, and higher
+beneath the body of the sun than in any part of the equatorial
+circle; for experiment shows that under the heat of a burning brand
+the water near the brand boils, and the water surrounding this
+ebullition always sinks with a circular eddy. And how the waters of
+the North are lower than the other seas, and more so as they become
+colder, until they are converted into ice. 
+
+Definitions (931. 932). 
+
+931. 
+
+OF WHAT IS WATER. 
+
+Among the four elements water is the second both in weight and in
+instability. 
+
+932. 
+
+THE BEGINNING OF THE BOOK ON WATER. 
+
+Sea is the name given to that water which is wide and deep, in which
+the waters have not much motion. 
+
+[Footnote: Only the beginning of this passage is here given, the
+remainder consists of definitions which have no direct bearing on
+the subject.] 
+
+Of the surface of the water in relation to the globe (933-936). 
+
+933. 
+
+The centres of the sphere of water are two, one universal and common
+to all water, the other particular. The universal one is that which
+is common to all waters not in motion, which exist in great
+quantities. As canals, ditches, ponds, fountains, wells, dead
+rivers, lakes, stagnant pools and seas, which, although they are at
+various levels, have each in itself the limits of their superficies
+equally distant from the centre of the earth, such as lakes placed
+at the tops of high mountains; as the lake near Pietra Pana and the
+lake of the Sybil near Norcia; and all the lakes that give rise to
+great rivers, as the Ticino from Lago Maggiore, the Adda from the
+lake of Como, the Mincio from the lake of Garda, the Rhine from the
+lakes of Constance and of Chur, and from the lake of Lucerne, like
+the Tigris which passes through Asia Minor carrying with it the
+waters of three lakes, one above the other at different heights of
+which the highest is Munace, the middle one Pallas, and the lowest
+Triton; the Nile again flows from three very high lakes in Ethiopia.
+
+[Footnote 5: _Pietra Pana_, a mountain near Florence. If for Norcia,
+we may read Norchia, the remains of the Etruscan city near Viterbo,
+there can be no doubt that by '_Lago della Sibilla_'--a name not
+known elsewhere, so far as I can learn--Leonardo meant _Lago di
+Vico_ (Lacus Ciminus, Aen. 7).] 
+
+934. 
+
+OF THE CENTRE OF THE OCEAN. 
+
+The centre of the sphere of waters is the true centre of the globe
+of our world, which is composed of water and earth, having the shape
+of a sphere. But, if you want to find the centre of the element of
+the earth, this is placed at a point equidistant from the surface of
+the ocean, and not equidistant from the surface of the earth; for it
+is evident that this globe of earth has nowhere any perfect
+rotundity, excepting in places where the sea is, or marshes or other
+still waters. And every part of the earth that rises above the water
+is farther from the centre. 
+
+935. 
+
+OF THE SEA WHICH CHANGES THE WEIGHT OF THE EARTH. 
+
+The shells, oysters, and other similar animals, which originate in
+sea-mud, bear witness to the changes of the earth round the centre
+of our elements. This is proved thus: Great rivers always run
+turbid, being coloured by the earth, which is stirred by the
+friction of their waters at the bottom and on their shores; and this
+wearing disturbs the face of the strata made by the layers of
+shells, which lie on the surface of the marine mud, and which were
+produced there when the salt waters covered them; and these strata
+were covered over again from time to time, with mud of various
+thickness, or carried down to the sea by the rivers and floods of
+more or less extent; and thus these layers of mud became raised to
+such a height, that they came up from the bottom to the air. At the
+present time these bottoms are so high that they form hills or high
+mountains, and the rivers, which wear away the sides of these
+mountains, uncover the strata of these shells, and thus the softened
+side of the earth continually rises and the antipodes sink closer to
+the centre of the earth, and the ancient bottoms of the seas have
+become mountain ridges. 
+
+936. 
+
+Let the earth make whatever changes it may in its weight, the
+surface of the sphere of waters can never vary in its equal distance
+from the centre of the world. 
+
+Of the proportion of the mass of water to that of the earth (937.
+938). 
+
+937. 
+
+WHETHER THE EARTH IS LESS THAN THE WATER. 
+
+Some assert that it is true that the earth, which is not covered by
+water is much less than that covered by water. But considering the
+size of 7000 miles in diameter which is that of this earth, we may
+conclude the water to be of small depth. 
+
+938. 
+
+OF THE EARTH. 
+
+The great elevations of the peaks of the mountains above the sphere
+of the water may have resulted from this that: a very large portion
+of the earth which was filled with water that is to say the vast
+cavern inside the earth may have fallen in a vast part of its vault
+towards the centre of the earth, being pierced by means of the
+course of the springs which continually wear away the place where
+they pass. 
+
+Sinking in of countries like the Dead Sea in Syria, that is Sodom
+and Gomorrah. 
+
+It is of necessity that there should be more water than land, and
+the visible portion of the sea does not show this; so that there
+must be a great deal of water inside the earth, besides that which
+rises into the lower air and which flows through rivers and springs.
+
+[Footnote: The small sketch below on the left, is placed in the
+original close to the text referring to the Dead Sea.] 
+
+The theory of Plato. 
+
+939. 
+
+THE FIGURES OF THE ELEMENTS. 
+
+Of the figures of the elements; and first as against those who deny
+the opinions of Plato, and who say that if the elements include one
+another in the forms attributed to them by Plato they would cause a
+vacuum one within the other. I say it is not true, and I here prove
+it, but first I desire to propound some conclusions. It is not
+necessary that the elements which include each other should be of
+corresponding magnitude in all the parts, of that which includes and
+of that which is included. We see that the sphere of the waters
+varies conspicuously in mass from the surface to the bottom, and
+that, far from investing the earth when that was in the form of a
+cube that is of 8 angles as Plato will have it, that it invests the
+earth which has innumerable angles of rock covered by the water and
+various prominences and concavities, and yet no vacuum is generated
+between the earth and water; again, the air invests the sphere of
+waters together with the mountains and valleys, which rise above
+that sphere, and no vacuum remains between the earth and the air, so
+that any one who says a vacuum is generated, speaks foolishly. 
+
+But to Plato I would reply that the surface of the figures which
+according to him the elements would have, could not exist. 
+
+That the flow of rivers proves the slope of the land. 
+
+940. 
+
+PROVES HOW THE EARTH IS NOT GLOBULAR AND NOT BEING GLOBULAR CANNOT
+HAVE A COMMON CENTRE. 
+
+We see the Nile come from Southern regions and traverse various
+provinces, running towards the North for a distance of 3000 miles
+and flow into the Mediterranean by the shores of Egypt; and if we
+will give to this a fall of ten braccia a mile, as is usually
+allowed to the course of rivers in general, we shall find that the
+Nile must have its mouth ten miles lower than its source. Again, we
+see the Rhine, the Rhone and the Danube starting from the German
+parts, almost the centre of Europe, and having a course one to the
+East, the other to the North, and the last to Southern seas. And if
+you consider all this you will see that the plains of Europe in
+their aggregate are much higher than the high peaks of the maritime
+mountains; think then how much their tops must be above the sea
+shores. 
+
+Theory of the elevation of water within the mountains. 
+
+941. 
+
+OF THE HEAT THAT IS IN THE WORLD. 
+
+Where there is life there is heat, and where vital heat is, there is
+movement of vapour. This is proved, inasmuch as we see that the
+element of fire by its heat always draws to itself damp vapours and
+thick mists as opaque clouds, which it raises from seas as well as
+lakes and rivers and damp valleys; and these being drawn by degrees
+as far as the cold region, the first portion stops, because heat and
+moisture cannot exist with cold and dryness; and where the first
+portion stops the rest settle, and thus one portion after another
+being added, thick and dark clouds are formed. They are often wafted
+about and borne by the winds from one region to another, where by
+their density they become so heavy that they fall in thick rain; and
+if the heat of the sun is added to the power of the element of fire,
+the clouds are drawn up higher still and find a greater degree of
+cold, in which they form ice and fall in storms of hail. Now the
+same heat which holds up so great a weight of water as is seen to
+rain from the clouds, draws them from below upwards, from the foot
+of the mountains, and leads and holds them within the summits of the
+mountains, and these, finding some fissure, issue continuously and
+cause rivers. 
+
+The relative height of the surface of the sea to that of the land
+(942-945). 
+
+942. 
+
+OF THE SEA, WHICH TO MANY FOOLS APPEARS TO BE HIGHER THAN THE EARTH
+WHICH FORMS ITS SHORE. 
+
+_b d_ is a plain through which a river flows to the sea; this plain
+ends at the sea, and since in fact the dry land that is uncovered is
+not perfectly level--for, if it were, the river would have no
+motion--as the river does move, this place is a slope rather than a
+plain; hence this plain _d b_ so ends where the sphere of water
+begins that if it were extended in a continuous line to _b a_ it
+would go down beneath the sea, whence it follows that the sea _a c
+b_ looks higher than the dry land. 
+
+Obviously no portions of dry land left uncovered by water can ever
+be lower than the surface of the watery sphere. 
+
+943. 
+
+OF CERTAIN PERSONS WHO SAY THE WATERS WERE HIGHER THAN THE DRY LAND.
+
+Certainly I wonder not a little at the common opinion which is
+contrary to truth, but held by the universal consent of the judgment
+of men. And this is that all are agreed that the surface of the sea
+is higher than the highest peaks of the mountains; and they allege
+many vain and childish reasons, against which I will allege only one
+simple and short reason; We see plainly that if we could remove the
+shores of the sea, it would invest the whole earth and make it a
+perfect sphere. Now, consider how much earth would be carried away
+to enable the waves of the sea to cover the world; therefore that
+which would be carried away must be higher than the sea-shore. 
+
+944. 
+
+THE OPINION OF SOME PERSONS WHO SAY THAT THE WATER OF SOME SEAS IS
+HIGHER THAN THE HIGHEST SUMMITS OF MOUNTAINS; AND NEVERTHELESS THE
+WATER WAS FORCED UP TO THESE SUMMITS. 
+
+Water would not move from place to place if it were not that it
+seeks the lowest level and by a natural consequence it never can
+return to a height like that of the place where it first on issuing
+from the mountain came to light. And that portion of the sea which,
+in your vain imagining, you say was so high that it flowed over the
+summits of the high mountains, for so many centuries would be
+swallowed up and poured out again through the issue from these
+mountains. You can well imagine that all the time that Tigris and
+Euphrates 
+
+945. 
+
+have flowed from the summits of the mountains of Armenia, it must be
+believed that all the water of the ocean has passed very many times
+through these mouths. And do you not believe that the Nile must have
+sent more water into the sea than at present exists of all the
+element of water? Undoubtedly, yes. And if all this water had fallen
+away from this body of the earth, this terrestrial machine would
+long since have been without water. Whence we may conclude that the
+water goes from the rivers to the sea, and from the sea to the
+rivers, thus constantly circulating and returning, and that all the
+sea and the rivers have passed through the mouth of the Nile an
+infinite number of times [Footnote: _Moti Armeni, Ermini_ in the
+original, in M. RAVAISSON'S transcript _"monti ernini [le loro
+ruine?]"_. He renders this _"Le Tigre et l'Euphrate se sont deverses
+par les sommets des montagnes [avec leurs eaux destructives?] on
+pent cro're" &c. Leonardo always writes _Ermini, Erminia_, for
+_Armeni, Armenia_ (Arabic: _Irminiah_). M. RAVAISSON also deviates
+from the original in his translation of the following passage: "_Or
+tu ne crois pas que le Nil ait mis plus d'eau dans la mer qu'il n'y
+en a a present dans tout l'element de l'eau. Il est certain que si
+cette eau etait tombee_" &c.] 
+
+II. 
+
+ON THE OCEAN. 
+
+Refutation of Pliny's theory as to the saltness of the sea (946.
+947). 
+
+946. 
+
+WHY WATER IS SALT. 
+
+Pliny says in his second book, chapter 103, that the water of the
+sea is salt because the heat of the sun dries up the moisture and
+drinks it up; and this gives to the wide stretching sea the savour
+of salt. But this cannot be admitted, because if the saltness of the
+sea were caused by the heat of the sun, there can be no doubt that
+lakes, pools and marshes would be so much the more salt, as their
+waters have less motion and are of less depth; but experience shows
+us, on the contrary, that these lakes have their waters quite free
+from salt. Again it is stated by Pliny in the same chapter that this
+saltness might originate, because all the sweet and subtle portions
+which the heat attracts easily being taken away, the more bitter and
+coarser part will remain, and thus the water on the surface is
+fresher than at the bottom [Footnote 22: Compare No. 948.]; but this
+is contradicted by the same reason given above, which is, that the
+same thing would happen in marshes and other waters, which are dried
+up by the heat. Again, it has been said that the saltness of the sea
+is the sweat of the earth; to this it may be answered that all the
+springs of water which penetrate through the earth, would then be
+salt. But the conclusion is, that the saltness of the sea must
+proceed from the many springs of water which, as they penetrate into
+the earth, find mines of salt and these they dissolve in part, and
+carry with them to the ocean and the other seas, whence the clouds,
+the begetters of rivers, never carry it up. And the sea would be
+salter in our times than ever it was at any time; and if the
+adversary were to say that in infinite time the sea would dry up or
+congeal into salt, to this I answer that this salt is restored to
+the earth by the setting free of that part of the earth which rises
+out of the sea with the salt it has acquired, and the rivers return
+it to the earth under the sea. 
+
+[Footnote: See PLINY, Hist. Nat. II, CIII [C]. _Itaque Solis ardore
+siccatur liquor: et hoc esse masculum sidus accepimus, torrens
+cuncta sorbensque._ (cp. CIV.) _Sic mari late patenti saporem
+incoqui salis, aut quia exhausto inde dulci tenuique, quod facillime
+trahat vis ignea, omne asperius crassiusque linquatur: ideo summa
+aequorum aqua dulciorem profundam; hanc esse veriorem causam, quam
+quod mare terrae sudor sit aeternus: aut quia plurimum ex arido
+misceatur illi vapore: aut quia terrae natura sicut medicatas aquas
+inficiat_ ... (cp. CV): _altissimum mare XV. stadiorum Fabianus
+tradit. Alii n Ponto coadverso Coraxorum gentis (vocant B Ponti)
+trecentis fere a continenti stadiis immensam altitudinem maris
+tradunt, vadis nunquam repertis._ (cp. CVI [CIII]) _Mirabilius id
+faciunt aquae dulces, juxta mare, ut fistulis emicantes. Nam nec
+aquarum natura a miraculis cessat. Dulces mari invehuntur, leviores
+haud dubie. Ideo et marinae, quarum natura gravior, magis invecta
+sustinent. Quaedam vero et dulces inter se supermeant alias._] 
+
+947. 
+
+For the third and last reason we will say that salt is in all
+created things; and this we learn from water passed over the ashes
+and cinders of burnt things; and the urine of every animal, and the
+superfluities issuing from their bodies, and the earth into which
+all things are converted by corruption. 
+
+But,--to put it better,--given that the world is everlasting, it
+must be admitted that its population will also be eternal; hence the
+human species has eternally been and would be consumers of salt; and
+if all the mass of the earth were to be turned into salt, it would
+not suffice for all human food [Footnote 27: That is, on the
+supposition that salt, once consumed, disappears for ever.]; whence
+we are forced to admit, either that the species of salt must be
+everlasting like the world, or that it dies and is born again like
+the men who devour it. But as experience teaches us that it does not
+die, as is evident by fire, which does not consume it, and by water
+which becomes salt in proportion to the quantity dissolved in
+it,--and when it is evaporated the salt always remains in the
+original quantity--it must pass through the bodies of men either in
+the urine or the sweat or other excretions where it is found again;
+and as much salt is thus got rid of as is carried every year into
+towns; therefore salt is dug in places where there is urine.-- Sea
+hogs and sea winds are salt. 
+
+We will say that the rains which penetrate the earth are what is
+under the foundations of cities with their inhabitants, and are what
+restore through the internal passages of the earth the saltness
+taken from the sea; and that the change in the place of the sea,
+which has been over all the mountains, caused it to be left there in
+the mines found in those mountains, &c. 
+
+The characteristics of sea water (948. 949). 
+
+948. 
+
+The waters of the salt sea are fresh at the greatest depths. 
+
+949. 
+
+THAT THE OCEAN DOES NOT PENETRATE UNDER THE EARTH. 
+
+The ocean does not penetrate under the earth, and this we learn from
+the many and various springs of fresh water which, in many parts of
+the ocean make their way up from the bottom to the surface. The same
+thing is farther proved by wells dug beyond the distance of a mile
+from the said ocean, which fill with fresh water; and this happens
+because the fresh water is lighter than salt water and consequently
+more penetrating. 
+
+Which weighs most, water when frozen or when not frozen? 
+
+FRESH WATER PENETRATES MORE AGAINST SALT WATER THAN SALT WATER
+AGAINST FRESH WATER. 
+
+That fresh water penetrates more against salt water, than salt water
+against fresh is proved by a thin cloth dry and old, hanging with
+the two opposite ends equally low in the two different waters, the
+surfaces of which are at an equal level; and it will then be seen
+how much higher the fresh water will rise in this piece of linen
+than the salt; by so much is the fresh lighter than the salt. 
+
+On the formation of Gulfs (950. 951). 
+
+950. 
+
+All inland seas and the gulfs of those seas, are made by rivers
+which flow into the sea. 
+
+951. 
+
+HERE THE REASON IS GIVEN OF THE EFFECTS PRODUCED BY THE WATERS IN
+THE ABOVE MENTIONED PLACE. 
+
+All the lakes and all the gulfs of the sea and all inland seas are
+due to rivers which distribute their waters into them, and from
+impediments in their downfall into the Mediterranean --which divides
+Africa from Europe and Europe from Asia by means of the Nile and the
+Don which pour their waters into it. It is asked what impediment is
+great enough to stop the course of the waters which do not reach the
+ocean. 
+
+On the encroachments of the sea on the land and vice versa
+(952-954). 
+
+952. 
+
+OF WAVES. 
+
+A wave of the sea always breaks in front of its base, and that
+portion of the crest will then be lowest which before was highest. 
+
+[Footnote: The page of FRANCESCO DI GIORGIO'S _Trattato_, on which
+Leonardo has written this remark, contains some notes on the
+construction of dams, harbours &c.] 
+
+953. 
+
+That the shores of the sea constantly acquire more soil towards the
+middle of the sea; that the rocks and promontories of the sea are
+constantly being ruined and worn away; that the Mediterranean seas
+will in time discover their bottom to the air, and all that will be
+left will be the channel of the greatest river that enters it; and
+this will run to the ocean and pour its waters into that with those
+of all the rivers that are its tributaries. 
+
+954. 
+
+How the river Po, in a short time might dry up the Adriatic sea in
+the same way as it has dried up a large part of Lombardy. 
+
+The ebb and flow of the tide (955-960). 
+
+955. 
+
+Where there is a larger quantity of water, there is a greater flow
+and ebb, but the contrary in narrow waters. 
+
+Look whether the sea is at its greatest flow when the moon is half
+way over our hemisphere [on the meridian]. 
+
+956. 
+
+Whether the flow and ebb are caused by the moon or the sun, or are
+the breathing of this terrestrial machine. That the flow and ebb are
+different in different countries and seas. 
+
+[Footnote: 1. Allusion may here be made to the mythological
+explanation of the ebb and flow given in the Edda. Utgardloki says
+to Thor (Gylfaginning 48): "When thou wert drinking out of the horn,
+and it seemed to thee that it was slow in emptying a wonder befell,
+which I should not have believed possible: the other end of the horn
+lay in the sea, which thou sawest not; but when thou shalt go to the
+sea, thou shalt see how much thou hast drunk out of it. And that men
+now call the ebb tide." 
+
+Several passages in various manuscripts treat of the ebb and flow.
+In collecting them I have been guided by the rule only to transcribe
+those which named some particular spot.] 
+
+957. 
+
+Book 9 of the meeting of rivers and their flow and ebb. The cause is
+the same in the sea, where it is caused by the straits of Gibraltar.
+And again it is caused by whirlpools. 
+
+958. 
+
+OF THE FLOW AND EBB. 
+
+All seas have their flow and ebb in the same period, but they seem
+to vary because the days do not begin at the same time throughout
+the universe; in such wise as that when it is midday in our
+hemisphere, it is midnight in the opposite hemisphere; and at the
+Eastern boundary of the two hemispheres the night begins which
+follows on the day, and at the Western boundary of these hemispheres
+begins the day, which follows the night from the opposite side.
+Hence it is to be inferred that the above mentioned swelling and
+diminution in the height of the seas, although they take place in
+one and the same space of time, are seen to vary from the above
+mentioned causes. The waters are then withdrawn into the fissures
+which start from the depths of the sea and which ramify inside the
+body of the earth, corresponding to the sources of rivers, which are
+constantly taking from the bottom of the sea the water which has
+flowed into it. A sea of water is incessantly being drawn off from
+the surface of the sea. And if you should think that the moon,
+rising at the Eastern end of the Mediterranean sea must there begin
+to attract to herself the waters of the sea, it would follow that we
+must at once see the effect of it at the Eastern end of that sea.
+Again, as the Mediterranean sea is about the eighth part of the
+circumference of the aqueous sphere, being 3000 miles long, while
+the flow and ebb only occur 4 times in 24 hours, these results would
+not agree with the time of 24 hours, unless this Mediterranean sea
+were six thousand miles in length; because if such a superabundance
+of water had to pass through the straits of Gibraltar in running
+behind the moon, the rush of the water through that strait would be
+so great, and would rise to such a height, that beyond the straits
+it would for many miles rush so violently into the ocean as to cause
+floods and tremendous seething, so that it would be impossible to
+pass through. This agitated ocean would afterwards return the waters
+it had received with equal fury to the place they had come from, so
+that no one ever could pass through those straits. Now experience
+shows that at every hour they are passed in safety, but when the
+wind sets in the same direction as the current, the strong ebb
+increases [Footnote 23: In attempting to get out of the
+Mediterranean, vessels are sometimes detained for a considerable
+time; not merely by the causes mentioned by Leonardo but by the
+constant current flowing eastwards through the middle of the straits
+of Gibraltar.]. The sea does not raise the water that has issued
+from the straits, but it checks them and this retards the tide; then
+it makes up with furious haste for the time it has lost until the
+end of the ebb movement. 
+
+959. 
+
+That the flow and ebb are not general; for on the shore at Genoa
+there is none, at Venice two braccia, between England and Flanders
+18 braccia. That in the straits of Sicily the current is very strong
+because all the waters from the rivers that flow into the Adriatic
+pass there. 
+
+[Footnote: A few more recent data may be given here to facilitate
+comparison. In the Adriatic the tide rises 2 and 1/2 feet, at
+Terracina 1 1/4. In the English channel between Calais and Kent it
+rises from 18 to 20 feet. In the straits of Messina it rises no more
+than 2 1/2 feet, and that only in stormy weather, but the current is
+all the stronger. When Leonardo accounts for this by the southward
+flow of all the Italian rivers along the coasts, the explanation is
+at least based on a correct observation; namely that a steady
+current flows southwards along the coast of Calabria and another
+northwards, along the shores of Sicily; he seems to infer, from the
+direction of the fust, that the tide in the Adriatic is caused by
+it.] 
+
+960. 
+
+In the West, near to Flanders, the sea rises and decreases every 6
+hours about 20 braccia, and 22 when the moon is in its favour; but
+20 braccia is the general rule, and this rule, as it is evident,
+cannot have the moon for its cause. This variation in the increase
+and decrease of the sea every 6 hours may arise from the damming up
+of the waters, which are poured into the Mediterranean by the
+quantity of rivers from Africa, Asia and Europe, which flow into
+that sea, and the waters which are given to it by those rivers; it
+pours them to the ocean through the straits of Gibraltar, between
+Abila and Calpe [Footnote 5: _Abila_, Lat. _Abyla_, Gr. , now
+Sierra _Ximiera_ near Ceuta; _Calpe_, Lat. _Calpe_. Gr., now
+Gibraltar. Leonardo here uses the ancient names of the rocks, which
+were known as the Pillars of Hercules.]. That ocean extends to the
+island of England and others farther North, and it becomes dammed up
+and kept high in various gulfs. These, being seas of which the
+surface is remote from the centre of the earth, have acquired a
+weight, which as it is greater than the force of the incoming waters
+which cause it, gives this water an impetus in the contrary
+direction to that in which it came and it is borne back to meet the
+waters coming out of the straits; and this it does most against the
+straits of Gibraltar; these, so long as this goes on, remain dammed
+up and all the water which is poured out meanwhile by the
+aforementioned rivers, is pent up [in the Mediterranean]; and this
+might be assigned as the cause of its flow and ebb, as is shown in
+the 21st of the 4th of my theory. 
+
+III. 
+
+SUBTERRANEAN WATER COURSES. 
+
+Theory of the circulation of the waters (961. 962). 
+
+961. 
+
+Very large rivers flow under ground. 
+
+962. 
+
+This is meant to represent the earth cut through in the middle,
+showing the depths of the sea and of the earth; the waters start
+from the bottom of the seas, and ramifying through the earth they
+rise to the summits of the mountains, flowing back by the rivers and
+returning to the sea. 
+
+Observations in support of the hypothesis (963-969). 
+
+963. 
+
+The waters circulate with constant motion from the utmost depths of
+the sea to the highest summits of the mountains, not obeying the
+nature of heavy matter; and in this case it acts as does the blood
+of animals which is always moving from the sea of the heart and
+flows to the top of their heads; and here it is that veins burst--as
+one may see when a vein bursts in the nose, that all the blood from
+below rises to the level of the burst vein. When the water rushes
+out of a burst vein in the earth it obeys the nature of other things
+heavier than the air, whence it always seeks the lowest places. [7]
+These waters traverse the body of the earth with infinite
+ramifications. 
+
+[Footnote: The greater part of this passage has been given as No.
+849 in the section on Anatomy.] 
+
+964. 
+
+The same cause which stirs the humours in every species of animal
+body and by which every injury is repaired, also moves the waters
+from the utmost depth of the sea to the greatest heights. 
+
+965. 
+
+It is the property of water that it constitutes the vital human of
+this arid earth; and the cause which moves it through its ramified
+veins, against the natural course of heavy matters, is the same
+property which moves the humours in every species of animal body.
+But that which crowns our wonder in contemplating it is, that it
+rises from the utmost depths of the sea to the highest tops of the
+mountains, and flowing from the opened veins returns to the low
+seas; then once more, and with extreme swiftness, it mounts again
+and returns by the same descent, thus rising from the inside to the
+outside, and going round from the lowest to the highest, from whence
+it rushes down in a natural course. Thus by these two movements
+combined in a constant circulation, it travels through the veins of
+the earth. 
+
+966. 
+
+WHETHER WATER RISES FROM THE SEA TO THE TOPS OF MOUNTAINS. 
+
+The water of the ocean cannot make its way from the bases to the
+tops of the mountains which bound it, but only so much rises as the
+dryness of the mountain attracts. And if, on the contrary, the rain,
+which penetrates from the summit of the mountain to the base, which
+is the boundary of the sea, descends and softens the slope opposite
+to the said mountain and constantly draws the water, like a syphon
+[Footnote 11: Cicognola, Syphon. See Vol. I, Pl. XXIV, No. 1.] which
+pours through its longest side, it must be this which draws up the
+water of the sea; thus if _s n_ were the surface of the sea, and the
+rain descends from the top of the mountain _a_ to _n_ on one side,
+and on the other sides it descends from _a_ to _m_, without a doubt
+this would occur after the manner of distilling through felt, or as
+happens through the tubes called syphons [Footnote 17: Cicognola,
+Syphon. See Vol. I, Pl. XXIV, No. 1.]. And at all times the water
+which has softened the mountain, by the great rain which runs down
+the two opposite sides, would constantly attract the rain _a n_, on
+its longest side together with the water from the sea, if that side
+of the mountain _a m_ were longer than the other _a n_; but this
+cannot be, because no part of the earth which is not submerged by
+the ocean can be lower than that ocean. 
+
+967. 
+
+OF SPRINGS OF WATER ON THE TOPS OF MOUNTAINS. 
+
+It is quite evident that the whole surface of the ocean--when there
+is no storm--is at an equal distance from the centre of the earth,
+and that the tops of the mountains are farther from this centre in
+proportion as they rise above the surface of that sea; therefore if
+the body of the earth were not like that of man, it would be
+impossible that the waters of the sea--being so much lower than the
+mountains--could by their nature rise up to the summits of these
+mountains. Hence it is to be believed that the same cause which
+keeps the blood at the top of the head in man keeps the water at the
+summits of the mountains. 
+
+[Footnote: This conception of the rising of the blood, which has
+given rise to the comparison, was recognised as erroneous by
+Leonardo himself at a later period. It must be remembered that the
+MS. A, from which these passages are taken, was written about twenty
+years earlier than the MS. Leic. (Nos. 963 and 849) and twenty-five
+years before the MS. W. An. IV. 
+
+There is, in the original a sketch with No. 968 which is not
+reproduced. It represents a hill of the same shape as that shown at
+No. 982. There are veins, or branched streams, on the side of the
+hill, like those on the skull Pl. CVIII, No. 4] 
+
+968. 
+
+IN CONFIRMATION OF WHY THE WATER GOES TO THE TOPS OF MOUNTAINS. 
+
+I say that just as the natural heat of the blood in the veins keeps
+it in the head of man,--for when the man is dead the cold blood
+sinks to the lower parts--and when the sun is hot on the head of a
+man the blood increases and rises so much, with other humours, that
+by pressure in the veins pains in the head are often caused; in the
+same way veins ramify through the body of the earth, and by the
+natural heat which is distributed throughout the containing body,
+the water is raised through the veins to the tops of mountains. And
+this water, which passes through a closed conduit inside the body of
+the mountain like a dead thing, cannot come forth from its low place
+unless it is warmed by the vital heat of the spring time. Again, the
+heat of the element of fire and, by day, the heat of the sun, have
+power to draw forth the moisture of the low parts of the mountains
+and to draw them up, in the same way as it draws the clouds and
+collects their moisture from the bed of the sea. 
+
+969. 
+
+That many springs of salt water are found at great distances from
+the sea; this might happen because such springs pass through some
+mine of salt, like that in Hungary where salt is hewn out of vast
+caverns, just as stone is hewn. 
+
+[Footnote: The great mine of Wieliczka in Galicia, out of which a
+million cwt. of rock-salt are annually dug out, extends for 3000
+metres from West to East, and 1150 metres from North to South.] 
+
+IV. 
+
+OF RIVERS. 
+
+On the way in which the sources of rivers are fed. 
+
+970. 
+
+OF THE ORIGIN OF RIVERS. 
+
+The body of the earth, like the bodies of animals, is intersected
+with ramifications of waters which are all in connection and are
+constituted to give nutriment and life to the earth and to its
+creatures. These come from the depth of the sea and, after many
+revolutions, have to return to it by the rivers created by the
+bursting of these springs; and if you chose to say that the rains of
+the winter or the melting of the snows in summer were the cause of
+the birth of rivers, I could mention the rivers which originate in
+the torrid countries of Africa, where it never rains--and still less
+snows--because the intense heat always melts into air all the clouds
+which are borne thither by the winds. And if you chose to say that
+such rivers, as increase in July and August, come from the snows
+which melt in May and June from the sun's approach to the snows on
+the mountains of Scythia [Footnote 9: Scythia means here, as in
+Ancient Geography, the whole of the Northern part of Asia as far as
+India.], and that such meltings come down into certain valleys and
+form lakes, into which they enter by springs and subterranean caves
+to issue forth again at the sources of the Nile, this is false;
+because Scythia is lower than the sources of the Nile, and, besides,
+Scythia is only 400 miles from the Black sea and the sources of the
+Nile are 3000 miles distant from the sea of Egypt into which its
+waters flow. 
+
+The tide in estuaries. 
+
+971. 
+
+Book 9, of the meeting of rivers and of their ebb and flow. The
+cause is the same in the sea, where it is caused by the straits of
+Gibraltar; and again it is caused by whirlpools. 
+
+[3] If two rivers meet together to form a straight line, and then
+below two right angles take their course together, the flow and ebb
+will happen now in one river and now in the other above their
+confluence, and principally if the outlet for their united volume is
+no swifter than when they were separate. Here occur 4 instances. 
+
+[Footnote: The first two lines of this passage have already been
+given as No. 957. In the margin, near line 3 of this passage, the
+text given as No. 919 is written.] 
+
+On the alterations, caused in the courses of rivers by their
+confluence (972-974). 
+
+972. 
+
+When a smaller river pours its waters into a larger one, and that
+larger one flows from the opposite direction, the course of the
+smaller river will bend up against the approach of the larger river;
+and this happens because, when the larger river fills up all its bed
+with water, it makes an eddy in front of the mouth of the other
+river, and so carries the water poured in by the smaller river with
+its own. When the smaller river pours its waters into the larger
+one, which runs across the current at the mouth of the smaller
+river, its waters will bend with the downward movement of the larger
+river. [Footnote: In the original sketches the word _Arno_ is
+written at the spot here marked _A_, at _R. Rifredi_, and at _M.
+Mugnone_.] 
+
+973. 
+
+When the fulness of rivers is diminished, then the acute angles
+formed at the junction of their branches become shorter at the sides
+and wider at the point; like the current _a n_ and the current _d
+n_, which unite in _n_ when the river is at its greatest fulness. I
+say, that when it is in this condition if, before the fullest time,
+_d n_ was lower than _a n_, at the time of fulness _d n_ will be
+full of sand and mud. When the water _d n_ falls, it will carry away
+the mud and remain with a lower bottom, and the channel _a n_
+finding itself the higher, will fling its waters into the lower, _d
+n_, and will wash away all the point of the sand-spit _b n c_, and
+thus the angle _a c d_ will remain larger than the angle _a n d_ and
+the sides shorter, as I said before. 
+
+[Footnote: Above the first sketch we find, in the original, this
+note: "_Sopra il pote rubaconte alla torricella_"; and by the
+second, which represents a pier of a bridge, "_Sotto l'ospedal del
+ceppo._"] 
+
+974. 
+
+WATER. 
+
+OF THE MOVEMENT OF A SUDDEN RUSH MADE BY A RIVER IN ITS BED
+PREVIOUSLY DRY. 
+
+In proportion as the current of the water given forth by the
+draining of the lake is slow or rapid in the dry river bed, so will
+this river be wider or narrower, or shallower or deeper in one place
+than another, according to this proposition: the flow and ebb of the
+sea which enters the Mediterranean from the ocean, and of the rivers
+which meet and struggle with it, will raise their waters more or
+less in proportion as the sea is wider or narrower. 
+
+[Footnote: In the margin is a sketch of a river which winds so as to
+form islands.] 
+
+Whirlpools. 
+
+975. 
+
+Whirlpools, that is to say caverns; that is to say places left by
+precipitated waters. 
+
+On the alterations in the channels of rivers. 
+
+976. 
+
+OF THE VIBRATION OF THE EARTH. 
+
+The subterranean channels of waters, like those which exist between
+the air and the earth, are those which unceasingly wear away and
+deepen the beds of their currents. 
+
+The origin of the sand in rivers (977. 978). 
+
+977. 
+
+A river that flows from mountains deposits a great quantity of large
+stones in its bed, which still have some of their angles and sides,
+and in the course of its flow it carries down smaller stones with
+the angles more worn; that is to say the large stones become
+smaller. And farther on it deposits coarse gravel and then smaller,
+and as it proceeds this becomes coarse sand and then finer, and
+going on thus the water, turbid with sand and gravel, joins the sea;
+and the sand settles on the sea-shores, being cast up by the salt
+waves; and there results the sand of so fine a nature as to seem
+almost like water, and it will not stop on the shores of the sea but
+returns by reason of its lightness, because it was originally formed
+of rotten leaves and other very light things. Still, being
+almost--as was said--of the nature of water itself, it afterwards,
+when the weather is calm, settles and becomes solid at the bottom of
+the sea, where by its fineness it becomes compact and by its
+smoothness resists the waves which glide over it; and in this shells
+are found; and this is white earth, fit for pottery. 
+
+978. 
+
+All the torrents of water flowing from the mountains to the sea
+carry with them the stones from the hills to the sea, and by the
+influx of the sea-water towards the mountains; these stones were
+thrown back towards the mountains, and as the waters rose and
+retired, the stones were tossed about by it and in rolling, their
+angles hit together; then as the parts, which least resisted the
+blows, were worn off, the stones ceased to be angular and became
+round in form, as may be seen on the banks of the Elsa. And those
+remained larger which were less removed from their native spot; and
+they became smaller, the farther they were carried from that place,
+so that in the process they were converted into small pebbles and
+then into sand and at last into mud. After the sea had receded from
+the mountains the brine left by the sea with other humours of the
+earth made a concretion of these pebbles and this sand, so that the
+pebbles were converted into rock and the sand into tufa. And of this
+we see an example in the Adda where it issues from the mountains of
+Como and in the Ticino, the Adige and the Oglio coming from the
+German Alps, and in the Arno at Monte Albano [Footnote 13: At the
+foot of _Monte Albano_ lies Vinci, the birth place of Leonardo.
+Opposite, on the other bank of the Arno, is _Monte Lupo_.], near
+Monte Lupo and Capraia where the rocks, which are very large, are
+all of conglomerated pebbles of various kinds and colours. 
+
+V. 
+
+ON MOUNTAINS. 
+
+The formation of mountains (979-983). 
+
+979. 
+
+Mountains are made by the currents of rivers. 
+
+Mountains are destroyed by the currents of rivers. 
+
+[Footnote: Compare 789.] 
+
+980. 
+
+That the Northern bases of some Alps are not yet petrified. And this
+is plainly to be seen where the rivers, which cut through them, flow
+towards the North; where they cut through the strata in the living
+stone in the higher parts of the mountains; and, where they join the
+plains, these strata are all of potter's clay; as is to be seen in
+the valley of Lamona where the river Lamona, as it issues from the
+Appenines, does these things on its banks. 
+
+That the rivers have all cut and divided the mountains of the great
+Alps one from the other. This is visible in the order of the
+stratified rocks, because from the summits of the banks, down to the
+river the correspondence of the strata in the rocks is visible on
+either side of the river. That the stratified stones of the
+mountains are all layers of clay, deposited one above the other by
+the various floods of the rivers. That the different size of the
+strata is caused by the difference in the floods--that is to say
+greater or lesser floods. 
+
+981. 
+
+The summits of mountains for a long time rise constantly. 
+
+The opposite sides of the mountains always approach each other
+below; the depths of the valleys which are above the sphere of the
+waters are in the course of time constantly getting nearer to the
+centre of the world. 
+
+In an equal period, the valleys sink much more than the mountains
+rise. 
+
+The bases of the mountains always come closer together. 
+
+In proportion as the valleys become deeper, the more quickly are
+their sides worn away. 
+
+982. 
+
+In every concavity at the summit of the mountains we shall always
+find the divisions of the strata in the rocks. 
+
+983. 
+
+OF THE SEA WHICH ENCIRCLES THE EARTH. 
+
+I find that of old, the state of the earth was that its plains were
+all covered up and hidden by salt water. [Footnote: This passage has
+already been published by Dr. M. JORDAN: _Das Malerbuch des L. da
+Vinci, Leipzig_ 1873, p. 86. However, his reading of the text
+differs from mine.] 
+
+The authorities for the study of the structure of the earth. 
+
+984. 
+
+Since things are much more ancient than letters, it is no marvel if,
+in our day, no records exist of these seas having covered so many
+countries; and if, moreover, some records had existed, war and
+conflagrations, the deluge of waters, the changes of languages and
+of laws have consumed every thing ancient. But sufficient for us is
+the testimony of things created in the salt waters, and found again
+in high mountains far from the seas. 
+
+VI. 
+
+GEOLOGICAL PROBLEMS. 
+
+985. 
+
+In this work you have first to prove that the shells at a thousand
+braccia of elevation were not carried there by the deluge, because
+they are seen to be all at one level, and many mountains are seen to
+be above that level; and to inquire whether the deluge was caused by
+rain or by the swelling of the sea; and then you must show how,
+neither by rain nor by swelling of the rivers, nor by the overflow
+of this sea, could the shells--being heavy objects--be floated up
+the mountains by the sea, nor have carried there by the rivers
+against the course of their waters. 
+
+Doubts about the deluge. 
+
+986. 
+
+A DOUBTFUL POINT. 
+
+Here a doubt arises, and that is: whether the deluge, which happened
+at the time of Noah, was universal or not. And it would seem not,
+for the reasons now to be given: We have it in the Bible that this
+deluge lasted 40 days and 40 nights of incessant and universal rain,
+and that this rain rose to ten cubits above the highest mountains in
+the world. And if it had been that the rain was universal, it would
+have covered our globe which is spherical in form. And this
+spherical surface is equally distant in every part, from the centre
+of its sphere; hence the sphere of the waters being under the same
+conditions, it is impossible that the water upon it should move,
+because water, in itself, does not move unless it falls; therefore
+how could the waters of such a deluge depart, if it is proved that
+it has no motion? and if it departed how could it move unless it
+went upwards? Here, then, natural reasons are wanting; hence to
+remove this doubt it is necessary to call in a miracle to aid us, or
+else to say that all this water was evaporated by the heat of the
+sun. 
+
+[Footnote: The passages, here given from the MS. Leic., have
+hitherto remained unknown. Some preliminary notes on the subject are
+to be found in MS. F 8oa and 8ob; but as compared with the fuller
+treatment here given, they are, it seems to me, of secondary
+interest. They contain nothing that is not repeated here more
+clearly and fully. LIBRI, _Histoire des Sciences mathematiques III_,
+pages 218--221, has printed the text of F 80a and 80b, therefore it
+seemed desirable to give my reasons for not inserting it in this
+work.] 
+
+That marine shells could not go up the mountains. 
+
+987. 
+
+OF THE DELUGE AND OF MARINE SHELLS. 
+
+If you were to say that the shells which are to be seen within the
+confines of Italy now, in our days, far from the sea and at such
+heights, had been brought there by the deluge which left them there,
+I should answer that if you believe that this deluge rose 7 cubits
+above the highest mountains-- as he who measured it has
+written--these shells, which always live near the sea-shore, should
+have been left on the mountains; and not such a little way from the
+foot of the mountains; nor all at one level, nor in layers upon
+layers. And if you were to say that these shells are desirous of
+remaining near to the margin of the sea, and that, as it rose in
+height, the shells quitted their first home, and followed the
+increase of the waters up to their highest level; to this I answer,
+that the cockle is an animal of not more rapid movement than the
+snail is out of water, or even somewhat slower; because it does not
+swim, on the contrary it makes a furrow in the sand by means of its
+sides, and in this furrow it will travel each day from 3 to 4
+braccia; therefore this creature, with so slow a motion, could not
+have travelled from the Adriatic sea as far as Monferrato in
+Lombardy [Footnote: _Monferrato di Lombardia_. The range of hills of
+Monferrato is in Piedmont, and Casale di Monferrato belonged, in
+Leonardo's time, to the Marchese di Mantova.], which is 250 miles
+distance, in 40 days; which he has said who took account of the
+time. And if you say that the waves carried them there, by their
+gravity they could not move, excepting at the bottom. And if you
+will not grant me this, confess at least that they would have to
+stay at the summits of the highest mountains, in the lakes which are
+enclosed among the mountains, like the lakes of Lario, or of Como
+and il Maggiore [Footnote: _Lago di Lario._ Lacus Larius was the
+name given by the Romans to the lake of Como. It is evident that it
+is here a slip of the pen since the the words in the MS. are: _"Come
+Lago di Lario o'l Magare e di Como,"_ In the MS. after line 16 we
+come upon a digression treating of the weight of water; this has
+here been omitted. It is 11 lines long.] and of Fiesole, and of
+Perugia, and others. 
+
+And if you should say that the shells were carried by the waves,
+being empty and dead, I say that where the dead went they were not
+far removed from the living; for in these mountains living ones are
+found, which are recognisable by the shells being in pairs; and they
+are in a layer where there are no dead ones; and a little higher up
+they are found, where they were thrown by the waves, all the dead
+ones with their shells separated, near to where the rivers fell into
+the sea, to a great depth; like the Arno which fell from the
+Gonfolina near to Monte Lupo [Footnote: _Monte Lupo_, compare 970,
+13; it is between Empoli and Florence.], where it left a deposit of
+gravel which may still be seen, and which has agglomerated; and of
+stones of various districts, natures, and colours and hardness,
+making one single conglomerate. And a little beyond the sandstone
+conglomerate a tufa has been formed, where it turned towards Castel
+Florentino; farther on, the mud was deposited in which the shells
+lived, and which rose in layers according to the levels at which the
+turbid Arno flowed into that sea. And from time to time the bottom
+of the sea was raised, depositing these shells in layers, as may be
+seen in the cutting at Colle Gonzoli, laid open by the Arno which is
+wearing away the base of it; in which cutting the said layers of
+shells are very plainly to be seen in clay of a bluish colour, and
+various marine objects are found there. And if the earth of our
+hemisphere is indeed raised by so much higher than it used to be, it
+must have become by so much lighter by the waters which it lost
+through the rift between Gibraltar and Ceuta; and all the more the
+higher it rose, because the weight of the waters which were thus
+lost would be added to the earth in the other hemisphere. And if the
+shells had been carried by the muddy deluge they would have been
+mixed up, and separated from each other amidst the mud, and not in
+regular steps and layers-- as we see them now in our time. 
+
+The marine shells were not produced away from the sea. 
+
+988. 
+
+As to those who say that shells existed for a long time and were
+born at a distance from the sea, from the nature of the place and of
+the cycles, which can influence a place to produce such
+creatures--to them it may be answered: such an influence could not
+place the animals all on one line, except those of the same sort and
+age; and not the old with the young, nor some with an operculum and
+others without their operculum, nor some broken and others whole,
+nor some filled with sea-sand and large and small fragments of other
+shells inside the whole shells which remained open; nor the claws of
+crabs without the rest of their bodies; nor the shells of other
+species stuck on to them like animals which have moved about on
+them; since the traces of their track still remain, on the outside,
+after the manner of worms in the wood which they ate into. Nor would
+there be found among them the bones and teeth of fish which some
+call arrows and others serpents' tongues, nor would so many
+[Footnote: I. Scilla argued against this hypothesis, which was still
+accepted in his days; see: _La vana Speculazione, Napoli_ 1670.]
+portions of various animals be found all together if they had not
+been thrown on the sea shore. And the deluge cannot have carried
+them there, because things that are heavier than water do not float
+on the water. But these things could not be at so great a height if
+they had not been carried there by the water, such a thing being
+impossible from their weight. In places where the valleys have not
+been filled with salt sea water shells are never to be seen; as is
+plainly visible in the great valley of the Arno above Gonfolina; a
+rock formerly united to Monte Albano, in the form of a very high
+bank which kept the river pent up, in such a way that before it
+could flow into the sea, which was afterwards at its foot, it formed
+two great lakes; of which the first was where we now see the city of
+Florence together with Prato and Pistoia, and Monte Albano. It
+followed the rest of its bank as far as where Serravalle now stands.
+>From the Val d'Arno upwards, as far as Arezzo, another lake was
+formed, which discharged its waters into the former lake. It was
+closed at about the spot where now we see Girone, and occupied the
+whole of that valley above for a distance of 40 miles in length.
+This valley received on its bottom all the soil brought down by the
+turbid waters. And this is still to be seen at the foot of Prato
+Magno; it there lies very high where the rivers have not worn it
+away. Across this land are to be seen the deep cuts of the rivers
+that have passed there, falling from the great mountain of Prato
+Magno; in these cuts there are no vestiges of any shells or of
+marine soil. This lake was joined with that of Perugia [Footnote:
+See PI. CXIII.] 
+
+A great quantity of shells are to be seen where the rivers flow into
+the sea, because on such shores the waters are not so salt owing to
+the admixture of the fresh water, which is poured into it. Evidence
+of this is to be seen where, of old, the Appenines poured their
+rivers into the Adriatic sea; for there in most places great
+quantities of shells are to be found, among the mountains, together
+with bluish marine clay; and all the rocks which are torn off in
+such places are full of shells. The same may be observed to have
+been done by the Arno when it fell from the rock of Gonfolina into
+the sea, which was not so very far below; for at that time it was
+higher than the top of San Miniato al Tedesco, since at the highest
+summit of this the shores may be seen full of shells and oysters
+within its flanks. The shells did not extend towards Val di Nievole,
+because the fresh waters of the Arno did not extend so far. 
+
+That the shells were not carried away from the sea by the deluge,
+because the waters which came from the earth although they drew the
+sea towards the earth, were those which struck its depths; because
+the water which goes down from the earth, has a stronger current
+than that of the sea, and in consequence is more powerful, and it
+enters beneath the sea water and stirs the depths and carries with
+it all sorts of movable objects which are to be found in the earth,
+such as the above-mentioned shells and other similar things. And in
+proportion as the water which comes from the land is muddier than
+sea water it is stronger and heavier than this; therefore I see no
+way of getting the said shells so far in land, unless they had been
+born there. If you were to tell me that the river Loire [Footnote:
+Leonardo has written Era instead of Loera or Loira--perhaps under
+the mistaken idea that _Lo_ was an article.],which traverses France
+covers when the sea rises more than eighty miles of country, because
+it is a district of vast plains, and the sea rises about 20 braccia,
+and shells are found in this plain at the distance of 80 miles from
+the sea; here I answer that the flow and ebb in our Mediterranean
+Sea does not vary so much; for at Genoa it does not rise at all, and
+at Venice but little, and very little in Africa; and where it varies
+little it covers but little of the country. 
+
+The course of the water of a river always rises higher in a place
+where the current is impeded; it behaves as it does where it is
+reduced in width to pass under the arches of a bridge. 
+
+Further researches (989-991). 
+
+989. 
+
+A CONFUTATION OF THOSE WHO SAY THAT SHELLS MAY HAVE BEEN CARRIED TO
+A DISTANCE OF MANY DAYS' JOURNEY FROM THE SEA BY THE DELUGE, WHICH
+WAS SO HIGH AS TO BE ABOVE THOSE HEIGHTS. 
+
+I say that the deluge could not carry objects, native to the sea, up
+to the mountains, unless the sea had already increased so as to
+create inundations as high up as those places; and this increase
+could not have occurred because it would cause a vacuum; and if you
+were to say that the air would rush in there, we have already
+concluded that what is heavy cannot remain above what is light,
+whence of necessity we must conclude that this deluge was caused by
+rain water, so that all these waters ran to the sea, and the sea did
+not run up the mountains; and as they ran to the sea, they thrust
+the shells from the shore of the sea and did not draw them to wards
+themselves. And if you were then to say that the sea, raised by the
+rain water, had carried these shells to such a height, we have
+already said that things heavier than water cannot rise upon it, but
+remain at the bottom of it, and do not move unless by the impact of
+the waves. And if you were to say that the waves had carried them to
+such high spots, we have proved that the waves in a great depth move
+in a contrary direction at the bottom to the motion at the top, and
+this is shown by the turbidity of the sea from the earth washed down
+near its shores. Anything which is lighter than the water moves with
+the waves, and is left on the highest level of the highest margin of
+the waves. Anything which is heavier than the water moves, suspended
+in it, between the surface and the bottom; and from these two
+conclusions, which will be amply proved in their place, we infer
+that the waves of the surface cannot convey shells, since they are
+heavier than water. 
+
+If the deluge had to carry shells three hundred and four hundred
+miles from the sea, it would have carried them mixed with various
+other natural objects heaped together; and we see at such distances
+oysters all together, and sea-snails, and cuttlefish, and all the
+other shells which congregate together, all to be found together and
+dead; and the solitary shells are found wide apart from each other,
+as we may see them on sea-shores every day. And if we find oysters
+of very large shells joined together and among them very many which
+still have the covering attached, indicating that they were left
+here by the sea, and still living when the strait of Gibraltar was
+cut through; there are to be seen, in the mountains of Parma and
+Piacenza, a multitude of shells and corals, full of holes, and still
+sticking to the rocks there. When I was making the great horse for
+Milan, a large sack full was brought to me in my workshop by certain
+peasants; these were found in that place and among them were many
+preserved in their first freshness. 
+
+Under ground, and under the foundations of buildings, timbers are
+found of wrought beams and already black. Such were found in my time
+in those diggings at Castel Fiorentino. And these had been in that
+deep place before the sand carried by the Arno into the sea, then
+covering the plain, had heen raised to such a height; and before the
+plains of Casentino had been so much lowered, by the earth being
+constantly carried down from them. 
+
+[Footnote: These lines are written in the margin.] 
+
+And if you were to say that these shells were created, and were
+continually being created in such places by the nature of the spot,
+and of the heavens which might have some influence there, such an
+opinion cannot exist in a brain of much reason; because here are the
+years of their growth, numbered on their shells, and there are large
+and small ones to be seen which could not have grown without food,
+and could not have fed without motion--and here they could not move
+[Footnote: These lines are written in the margin.] 
+
+990. 
+
+That in the drifts, among one and another, there are still to be
+found the traces of the worms which crawled upon them when they were
+not yet dry. And all marine clays still contain shells, and the
+shells are petrified together with the clay. From their firmness and
+unity some persons will have it that these animals were carried up
+to places remote from the sea by the deluge. Another sect of
+ignorant persons declare that Nature or Heaven created them in these
+places by celestial influences, as if in these places we did not
+also find the bones of fishes which have taken a long time to grow;
+and as if, we could not count, in the shells of cockles and snails,
+the years and months of their life, as we do in the horns of bulls
+and oxen, and in the branches of plants that have never been cut in
+any part. Besides, having proved by these signs the length of their
+lives, it is evident, and it must be admitted, that these animals
+could not live without moving to fetch their food; and we find in
+them no instrument for penetrating the earth or the rock where we
+find them enclosed. But how could we find in a large snail shell the
+fragments and portions of many other sorts of shells, of various
+sorts, if they had not been thrown there, when dead, by the waves of
+the sea like the other light objects which it throws on the earth?
+Why do we find so many fragments and whole shells between layer and
+layer of stone, if this had not formerly been covered on the shore
+by a layer of earth thrown up by the sea, and which was afterwards
+petrified? And if the deluge before mentioned had carried them to
+these parts of the sea, you might find these shells at the boundary
+of one drift but not at the boundary between many drifts. We must
+also account for the winters of the years during which the sea
+multiplied the drifts of sand and mud brought down by the
+neighbouring rivers, by washing down the shores; and if you chose to
+say that there were several deluges to produce these rifts and the
+shells among them, you would also have to affirm that such a deluge
+took place every year. Again, among the fragments of these shells,
+it must be presumed that in those places there were sea coasts,
+where all the shells were thrown up, broken, and divided, and never
+in pairs, since they are found alive in the sea, with two valves,
+each serving as a lid to the other; and in the drifts of rivers and
+on the shores of the sea they are found in fragments. And within the
+limits of the separate strata of rocks they are found, few in number
+and in pairs like those which were left by the sea, buried alive in
+the mud, which subsequently dried up and, in time, was petrified. 
+
+991. 
+
+And if you choose to say that it was the deluge which carried these
+shells away from the sea for hundreds of miles, this cannot have
+happened, since that deluge was caused by rain; because rain
+naturally forces the rivers to rush towards the sea with all the
+things they carry with them, and not to bear the dead things of the
+sea shores to the mountains. And if you choose to say that the
+deluge afterwards rose with its waters above the mountains, the
+movement of the sea must have been so sluggish in its rise against
+the currents of the rivers, that it could not have carried, floating
+upon it, things heavier than itself; and even if it had supported
+them, in its receding it would have left them strewn about, in
+various spots. But how are we to account for the corals which are
+found every day towards Monte Ferrato in Lombardy, with the holes of
+the worms in them, sticking to rocks left uncovered by the currents
+of rivers? These rocks are all covered with stocks and families of
+oysters, which as we know, never move, but always remain with one of
+their halves stuck to a rock, and the other they open to feed
+themselves on the animalcules that swim in the water, which, hoping
+to find good feeding ground, become the food of these shells. We do
+not find that the sand mixed with seaweed has been petrified,
+because the weed which was mingled with it has shrunk away, and this
+the Po shows us every day in the debris of its banks. 
+
+Other problems (992-994). 
+
+992. 
+
+Why do we find the bones of great fishes and oysters and corals and
+various other shells and sea-snails on the high summits of mountains
+by the sea, just as we find them in low seas? 
+
+993. 
+
+You now have to prove that the shells cannot have originated if not
+in salt water, almost all being of that sort; and that the shells in
+Lombardy are at four levels, and thus it is everywhere, having been
+made at various times. And they all occur in valleys that open
+towards the seas. 
+
+994. 
+
+>From the two lines of shells we are forced to say that the earth
+indignantly submerged under the sea and so the first layer was made;
+and then the deluge made the second. 
+
+[Footnote: This note is in the early writing of about 1470--1480. On
+the same sheet are the passages No. 1217 and 1219. Compare also No.
+1339. All the foregoing chapters are from Manuscripts of about 1510.
+This explains the want of connection and the contradiction between
+this and the foregoing texts.] 
+
+VII. 
+
+ON THE ATMOSPHERE. 
+
+Constituents of the atmosphere. 
+
+995. 
+
+That the brightness of the air is occasioned by the water which has
+dissolved itself in it into imperceptible molecules. These, being
+lighted by the sun from the opposite side, reflect the brightness
+which is visible in the air; and the azure which is seen in it is
+caused by the darkness that is hidden beyond the air. [Footnote:
+Compare Vol. I, No. 300.] 
+
+On the motion of air (996--999). 
+
+996. 
+
+That the return eddies of wind at the mouth of certain valleys
+strike upon the waters and scoop them out in a great hollow, whirl
+the water into the air in the form of a column, and of the colour of
+a cloud. And I saw this thing happen on a sand bank in the Arno,
+where the sand was hollowed out to a greater depth than the stature
+of a man; and with it the gravel was whirled round and flung about
+for a great space; it appeared in the air in the form of a great
+bell-tower; and the top spread like the branches of a pine tree, and
+then it bent at the contact of the direct wind, which passed over
+from the mountains. 
+
+997. 
+
+The element of fire acts upon a wave of air in the same way as the
+air does on water, or as water does on a mass of sand --that is
+earth; and their motions are in the same proportions as those of the
+motors acting upon them. 
+
+998. 
+
+OF MOTION. 
+
+I ask whether the true motion of the clouds can be known by the
+motion of their shadows; and in like manner of the motion of the
+sun. 
+
+999. 
+
+To know better the direction of the winds. [Footnote: In connection
+with this text I may here mention a hygrometer, drawn and probably
+invented by Leonardo. A facsimile of this is given in Vol. I, p. 297
+with the note: _'Modi di pesare l'arie eddi sapere quando s'a
+arrompere il tepo'_ (Mode of weighing the air and of knowing when
+the weather will change); by the sponge _"Spugnea"_ is written.] 
+
+The globe an organism. 
+
+1000. 
+
+Nothing originates in a spot where there is no sentient, vegetable
+and rational life; feathers grow upon birds and are changed every
+year; hairs grow upon animals and are changed every year, excepting
+some parts, like the hairs of the beard in lions, cats and their
+like. The grass grows in the fields, and the leaves on the trees,
+and every year they are, in great part, renewed. So that we might
+say that the earth has a spirit of growth; that its flesh is the
+soil, its bones the arrangement and connection of the rocks of which
+the mountains are composed, its cartilage the tufa, and its blood
+the springs of water. The pool of blood which lies round the heart
+is the ocean, and its breathing, and the increase and decrease of
+the blood in the pulses, is represented in the earth by the flow and
+ebb of the sea; and the heat of the spirit of the world is the fire
+which pervades the earth, and the seat of the vegetative soul is in
+the fires, which in many parts of the earth find vent in baths and
+mines of sulphur, and in volcanoes, as at Mount Aetna in Sicily, and
+in many other places. 
+
+[Footnote: Compare No. 929.] 
+
+_XVII._ 
+
+_Topographical Notes._ 
+
+_A large part of the texts published in this section might perhaps
+have found their proper place in connection with the foregoing
+chapters on Physical Geography. But these observations on Physical
+Geography, of whatever kind they may be, as soon as they are
+localised acquire a special interest and importance and particularly
+as bearing on the question whether Leonardo himself made the
+observations recorded at the places mentioned or merely noted the
+statements from hearsay. In a few instances he himself tells us that
+he writes at second hand. In some cases again, although the style
+and expressions used make it seem highly probable that he has
+derived his information from others-- though, as it seems to me,
+these cases are not very numerous--we find, on the other hand, among
+these topographical notes a great number of observations, about
+which it is extremely difficult to form a decided opinion. Of what
+the Master's life and travels may have been throughout his
+sixty-seven years of life we know comparatively little; for a long
+course of time, and particularly from about 1482 to 1486, we do not
+even know with certainty that he was living in Italy. Thus, from a
+biographical point of view a very great interest attaches to some of
+the topographical notes, and for this reason it seemed that it would
+add to their value to arrange them in a group by themselves.
+Leonardo's intimate knowledge with places, some of which were
+certainly remote from his native home, are of importance as
+contributing to decide the still open question as to the extent of
+Leonardo's travels. We shall find in these notes a confirmation of
+the view, that the MSS. in which the Topographical Notes occur are
+in only a very few instances such diaries as may have been in use
+during a journey. These notes are mostly found in the MSS. books of
+his later and quieter years, and it is certainly remarkable that
+Leonardo is very reticent as to the authorities from whom he quotes
+his facts and observations: For instance, as to the Straits of
+Gibraltar, the Nile, the Taurus Mountains and the Tigris and
+Euphrates. Is it likely that he, who declared that in all scientific
+research, his own experience should be the foundation of his
+statements (see XIX Philosophy No. 987--991,) should here have made
+an exception to this rule without mentioning it?_ 
+
+_As for instance in the discussion as to the equilibrium of the mass
+of water in the Mediterranean Sea--a subject which, it may be
+observed, had at that time attracted the interest and study of
+hardly any other observer. The acute remarks, in Nos. 985--993, on
+the presence of shells at the tops of mountains, suffice to
+prove--as it seems to me--that it was not in his nature to allow
+himself to be betrayed into wide generalisations, extending beyond
+the limits of his own investigations, even by such brilliant results
+of personal study._ 
+
+_Most of these Topographical Notes, though suggesting very careful
+and thorough research, do not however, as has been said, afford
+necessarily indisputable evidence that that research was Leonardo's
+own. But it must be granted that in more than one instance
+probability is in favour of this idea._ 
+
+_Among the passages which treat somewhat fully of the topography of
+Eastern places by far the most interesting is a description of the
+Taurus Mountains; but as this text is written in the style of a
+formal report and, in the original, is associated with certain
+letters which give us the history of its origin, I have thought it
+best not to sever it from that connection. It will be found under
+No. XXI (Letters)._ 
+
+_That Florence, and its neighbourhood, where Leonardo spent his
+early years, should be nowhere mentioned except in connection with
+the projects for canals, which occupied his attention for some short
+time during the first ten years of the XVIth century, need not
+surprise us. The various passages relating to the construction of
+canals in Tuscany, which are put together at the beginning, are
+immediately followed by those which deal with schemes for canals in
+Lombardy; and after these come notes on the city and vicinity of
+Milan as well as on the lakes of North Italy._ 
+
+_The notes on some towns of Central Italy which Leonardo visited in
+1502, when in the service of Cesare Borgia, are reproduced here in
+the same order as in the note book used during these travels (MS.
+L., Institut de France). These notes have but little interest in
+themselves excepting as suggesting his itinerary. The maps of the
+districts drawn by Leonardo at the time are more valuable (see No.
+1054 note). The names on these maps are not written from right to
+left, but in the usual manner, and we are permitted to infer that
+they were made in obedience to some command, possibly for the use of
+Cesare Borgia himself; the fact that they remained nevertheless in
+Leonardo's hands is not surprising when we remember the sudden
+political changes and warlike events of the period. There can be no
+doubt that these maps, which are here published for the first time,
+are original in the strictest sense of the word, that is to say
+drawn from observations of the places themselves; this is proved by
+the fact--among others--that we find among his manuscripts not only
+the finished maps themselves but the rough sketches and studies for
+them. And it would perhaps be difficult to point out among the
+abundant contributions to geographical knowledge published during
+the XVIth century, any maps at all approaching these in accuracy and
+finish._ 
+
+_The interesting map of the world, so far as it was then known,
+which is among the Leonardo MSS. at Windsor (published in the_
+'Archaeologia' _Vol. XI) cannot be attributed to the Master, as the
+Marchese Girolamo d'Adda has sufficiently proved; it has not
+therefore been reproduced here._ 
+
+_Such of Leonardo's observations on places in Italy as were made
+before or after his official travels as military engineer to Cesare
+Borgia, have been arranged in alphabetical order, under Nos.
+1034-1054. The most interesting are those which relate to the Alps
+and the Appenines, Nos. 1057-1068._ 
+
+_Most of the passages in which France is mentioned have hitherto
+remained unknown, as well as those which treat of the countries
+bordering on the Mediterranean, which come at the end of this
+section. Though these may be regarded as of a more questionable
+importance in their bearing on the biography of the Master than
+those which mention places in France, it must be allowed that they
+are interesting as showing the prominent place which the countries
+of the East held in his geographical studies. He never once alludes
+to the discovery of America._ 
+
+I. 
+
+ITALY. 
+
+Canals in connection with the Arno (1001-1008). 
+
+1001. 
+
+CANAL OF FLORENCE. 
+
+Sluices should be made in the valley of la Chiana at Arezzo, so that
+when, in the summer, the Arno lacks water, the canal may not remain
+dry: and let this canal be 20 braccia wide at the bottom, and at the
+top 30, and 2 braccia deep, or 4, so that two of these braccia may
+flow to the mills and the meadows, which will benefit the country;
+and Prato, Pistoia and Pisa, as well as Florence, will gain two
+hundred thousand ducats a year, and will lend a hand and money to
+this useful work; and the Lucchese the same, for the lake of Sesto
+will be navigable; I shall direct it to Prato and Pistoia, and cut
+through Serravalle and make an issue into the lake; for there will
+be no need of locks or supports, which are not lasting and so will
+always be giving trouble in working at them and keeping them up. 
+
+And know that in digging this canal where it is 4 braccia deep, it
+will cost 4 dinari the square braccio; for twice the depth 6 dinari,
+if you are making 4 braccia [Footnote: This passage is illustrated
+by a slightly sketched map, on which these places are indicated from
+West to East: Pisa, Luccha, Lago, Seravalle, Pistoja, Prato,
+Firenze.] and there are but 2 banks; that is to say one from the
+bottom of the trench to the surface of the edges of it, and the
+other from these edges to the top of the ridge of earth which will
+be raised on the margin of the bank. And if this bank were of double
+the depth only the first bank will be increased, that is 4 braccia
+increased by half the first cost; that is to say that if at first 4
+dinari were paid for 2 banks, for 3 it would come to 6, at 2 dinari
+the bank, if the trench measured 16 braccia at the bottom; again, if
+the trench were 16 braccia wide and 4 deep, coming to 4 lire for the
+work, 4 Milan dinari the square braccio; a trench which was 32
+braccia at the bottom would come to 8 dinari the square braccio. 
+
+1002. 
+
+>From the wall of the Arno at [the gate of] la Giustizia to the bank
+of the Arno at Sardigna where the walls are, to the mills, is 7400
+braccia, that is 2 miles and 1400 braccia and beyond the Arno is
+5500 braccia. 
+
+[Footnote: 2. _Giustizia_. By this the Porta della Giustizia seems
+to be meant; from the XVth to the XVIth centuries it was also
+commonly known as Porta Guelfa, Porta San Francesco del Renaio,
+Porta Nuova, and Porta Reale. It was close to the Arno opposite to
+the Porta San Niccolo, which still exists.] 
+
+1003. 
+
+By guiding the Arno above and below a treasure will be found in each
+acre of ground by whomsoever will. 
+
+1004. 
+
+The wall of the old houses runs towards the gate of San Nicolo. 
+
+[Footnote: By the side of this text there is an indistinct sketch,
+resembling that given under No.973. On the bank is written the word
+_Casace_. There then follows in the original a passage of 12 lines
+in which the consequences of the windings of the river are
+discussed. A larger but equally hasty diagram on the same page
+represents the shores of the Arno inside Florence as in two parallel
+lines. Four horizontal lines indicate the bridges. By the side these
+measures are stated in figures: I. (at the Ponte alla Carraja):
+_230--largho br. 12 e 2 di spoda e 14 di pile e a 4 pilastri;_ 2.
+(at the Ponte S. Trinita); _l88--largho br. 15 e 2 di spode he 28
+di pilastri for delle spode e pilastri so 2;_ 3. (at the Ponte
+vecchio); _pote lung br. 152 e largo;_ 4. (at the Ponte alle
+Grazie): _290 ellargo 12 e 2 di spode e 6 di pili._ 
+
+There is, in MS. W. L. 2l2b, a sketched plan of Florence, with the
+following names of gates:
+_Nicholo--Saminiato--Giorgo--Ghanolini--Porta San Fredian
+--Prato--Faenza--Ghallo--Pinti--Giustitia_.] 
+
+1005. 
+
+The ruined wall is 640 braccia; 130 is the wall remaining with the
+mill; 300 braccia were broken in 4 years by Bisarno. 
+
+1006. 
+
+They do not know why the Arno will never remain in a channel. It is
+because the rivers which flow into it deposit earth where they
+enter, and wear it away on the opposite side, bending the river in
+that direction. The Arno flows for 6 miles between la Caprona and
+Leghorn; and for 12 through the marshes, which extend 32 miles, and
+16 from La Caprona up the river, which makes 48; by the Arno from
+Florence beyond 16 miles; to Vico 16 miles, and the canal is 5; from
+Florence to Fucechio it is 40 miles by the river Arno. 
+
+56 miles by the Arno from Florence to Vico; by the Pistoia canal it
+is 44 miles. Thus it is 12 miles shorter by the canal than by the
+Arno. 
+
+[Footnote: This passage is written by the side of a map washed in
+Indian ink, of the course of the Arno; it is evidently a sketch for
+a completer map. 
+
+These investigations may possibly be connected with the following
+documents. _Francesco Guiducci alla Balia di Firenze. Dal Campo
+contro Pisa_ 24 _Luglio_ 1503 (_Archivio di Stato, Firenze, Lettere
+alla Balia_; published by J. GAYE, _Carteggio inedito d'Artisti,
+Firenze_ 1840, _Tom. II_, p. 62): _Ex Castris, Franciscus
+Ghuiduccius,_ 24. _Jul._ 1503. _Appresso fu qui hieri con una di V.
+Signoria Alexandro degli Albizi insieme con Leonardo da Vinci et
+certi altri, et veduto el disegno insieme con el ghovernatore, doppo
+molte discussioni et dubii conclusesi che l'opera fussi molto al
+proposito, o si veramente Arno volgersi qui, o restarvi con un
+canale, che almeno vieterebbe che le colline da nemici non
+potrebbono essere offese; come tucto referiranno loro a bocha V. S._
+
+And, _Archivio di Stato, Firenze, Libro d'Entrata e Uscita di cassa
+de' Magnifici Signori di luglio e agosto_ 
+
+1503 _a_ 51 _T.: Andata di Leonardo al Campo sotto Pisa. Spese
+extraordinarie dieno dare a di XXVI di luglio L. LVI sol. XII per
+loro a Giovanni Piffero; e sono per tanti, asegnia avere spexi in
+vetture di sei chavalli a spese di vitto per andare chon Lionardo da
+Vinci a livellare Arno in quello di Pisa per levallo del lilo suo._
+(Published by MILANESI, _Archivio Storico Italiano, Serie III, Tom.
+XVI._} VASARI asserts: _(Leonardo) fu il primo ancora, che
+giovanetto discorresse sopra il fiume d'Arno per metterlo in canale
+da Pisa a Fiorenza_ (ed. SANSONI, IV, 20). 
+
+The passage above is in some degree illustrated by the map on Pl.
+CXII, where the course of the Arno westward from Empoli is shown.] 
+
+1007. 
+
+The eddy made by the Mensola, when the Arno is low and the Mensola
+full. 
+
+[Footnote: _Mensola_ is a mountain stream which falls into the Arno
+about a mile and a half above Florence. 
+
+A=Arno, I=Isola, M=Mvgone, P=Pesa, N=Mesola.] 
+
+1008. 
+
+That the river which is to be turned from one place to another must
+be coaxed and not treated roughly or with violence; and to do this a
+sort of floodgate should be made in the river, and then lower down
+one in front of it and in like manner a third, fourth and fifth, so
+that the river may discharge itself into the channel given to it, or
+that by this means it may be diverted from the place it has damaged,
+as was done in Flanders--as I was told by Niccolo di Forsore. 
+
+How to protect and repair the banks washed by the water, as below
+the island of Cocomeri. 
+
+Ponte Rubaconte (Fig. 1); below [the palaces] Bisticci and Canigiani
+(Fig. 2). Above the flood gate of la Giustizia (Fig. 3); _a b_ is a
+sand bank opposite the end of the island of the Cocomeri in the
+middle of the Arno (Fig. 4). [Footnote: The course of the river Arno
+is also discussed in Nos. 987 and 988.] 
+
+Canals in the Milanese (1009-1013). 
+
+1009. 
+
+The canal of San Cristofano at Milan made May 3rd 1509. [Footnote:
+This observation is written above a washed pen and ink drawing which
+has been published as Tav. VI in the _,,Saggio."_ The editors of
+that work explain the drawing as _"uno Studio di bocche per
+estrazione d'acqua."_] 
+
+1010. 
+
+OF THE CANAL OF MARTESANA. 
+
+By making the canal of Martesana the water of the Adda is greatly
+diminished by its distribution over many districts for the
+irrigation of the fields. A remedy for this would be to make several
+little channels, since the water drunk up by the earth is of no more
+use to any one, nor mischief neither, because it is taken from no
+one; and by making these channels the water which before was lost
+returns again and is once more serviceable and useful to men. 
+
+[Footnote: _"el navilio di Martagano"_ is also mentioned in a note
+written in red chalk, MS. H2 17a Leonardo has, as it seems, little
+to do with Lodovico il Moro's scheme to render this canal navigable.
+The canal had been made in 1460 by Bertonino da Novara. Il Moro
+issued his degree in 1493, but Leonardo's notes about this canal
+were, with the exception of one (No. 1343), written about sixteen
+years later.] 
+
+1011. 
+
+No canal which is fed by a river can be permanent if the river
+whence it originates is not wholly closed up, like the canal of
+Martesana which is fed by the Ticino. 
+
+1012. 
+
+>From the beginning of the canal to the mill. 
+
+>From the beginning of the canal of Brivio to the mill of Travaglia
+is 2794 trabochi, that is 11176 braccia, which is more than 3 miles
+and two thirds; and here the canal is 57 braccia higher than the
+surface of the water of the Adda, giving a fall of two inches in
+every hundred trabochi; and at that spot we propose to take the
+opening of our canal. 
+
+[Footnote: The following are written on the sketches: At the place
+marked _N: navilio da dacquiue_ (canal of running water); at _M:
+molin del Travaglia_ (Mill of Travaglia); at _R: rochetta ssanta
+maria_ (small rock of Santa Maria); at _A: Adda;_ at _L: Lagho di
+Lecho ringorgato alli 3 corni in Adda,--Concha perpetua_ (lake of
+Lecco overflowing at Tre Corni, in Adda,-- a permanent sluice). Near
+the second sketch, referring to the sluice near _Q: qui la chatena
+ttalie d'u peso_ (here the chain is in one piece). At _M_ in the
+lower sketch: _mol del travaglia, nel cavare la concha il tereno
+ara chotrapero co cassa d'acqua._ (Mill of Travaglia, in digging
+out the sluice the soil will have as a counterpoise a vessel of
+water).] 
+
+1013. 
+
+If it be not reported there that this is to be a public canal, it
+will be necessary to pay for the land; [Footnote 3: _il re_. Louis
+XII or Francis I of France. It is hardly possible to doubt that the
+canals here spoken of were intended to be in the Milanese. Compare
+with this passage the rough copy of a letter by Leonardo, to the
+_"Presidente dell' Ufficio regolatore dell' acqua"_ on No. 1350. See
+also the note to No. 745, 1. 12.] and the king will pay it by
+remitting the taxes for a year. 
+
+Estimates and preparatory studies for canals (1014. 1015). 
+
+1014. 
+
+CANAL. 
+
+The canal which may be 16 braccia wide at the bottom and 20 at the
+top, we may say is on the average 18 braccia wide, and if it is 4
+braccia deep, at 4 dinari the square braccia; it will only cost 900
+ducats, to excavate by the mile, if the square braccio is calculated
+in ordinary braccia; but if the braccia are those used in measuring
+land, of which every 4 are equal to 4 1/2 and if by the mile we
+understand three thousand ordinary braccia; turned into land
+braccia, these 3000 braccia will lack 1/4; there remain 2250
+braccia, which at 4 dinari the braccio will amount to 675 ducats a
+mile. At 3 dinari the square braccio, the mile will amount to 506
+1/4 ducats so that the excavation of 30 miles of the canal will
+amount to 15187 1/2 ducats. 
+
+1015. 
+
+To make the great canal, first make the smaller one and conduct into
+it the waters which by a wheel will help to fill the great one. 
+
+Notes on buildings in Milan (1016-1019) 
+
+1016. 
+
+Indicate the centre of Milan. 
+
+Moforte--porta resa--porta nova--strada nova--navilio--porta
+cumana--barco--porta giovia--porta vercellina--porta sco
+Anbrogio--porta Tesinese--torre dell' Imperatore-- porta
+Lodovica--acqua. 
+
+[Footnote: See Pl. CIX. The original sketch is here reduced to about
+half its size. The gates of the town are here named, beginning at
+the right hand and following the curved line. In the bird's eye view
+of Milan below, the cathedral is plainly recognisable in the middle;
+to the right is the tower of San Gottardo. The square, above the
+number 9147, is the Lazzaretto, which was begun in 1488. On the left
+the group of buildings of the _'Castello'_ will be noticed. On the
+sketched Plan of Florence (see No. 1004 note) Leonardo has written
+on the margin the following names of gates of Milan: Vercellina
+--Ticinese--Ludovica--Romana--Orientale--
+Nova--Beatrice--Cumana--Compare too No. 1448, 11. 5, 12.] 
+
+1017. 
+
+The moat of Milan. 
+
+Canal 2 braccia wide. 
+
+The castle with the moats full. 
+
+The filling of the moats of the Castle of Milan. 
+
+1018. 
+
+THE BATH. 
+
+To heat the water for the stove of the Duchess take four parts of
+cold water to three parts of hot water. 
+
+[Footnote: _Duchessa di Milano_, Beatrice d'Este, wife of Ludovico
+il Moro to whom she was married, in 1491. She died in June 1497.] 
+
+1019. 
+
+In the Cathedral at the pulley of the nail of the cross. 
+
+Item. 
+
+To place the mass _v r_ in the... 
+
+[Footnote: On this passage AMORETTI remarks _(Memorie Storiche_
+chap. IX): _Nell'anno stesso lo veggiamo formare un congegno di
+carucole e di corde, con cui trasportare in piu venerabile e piu
+sicuro luogo, cioe nell'ultima arcata della nave di mezzo della
+metropolitana, la sacra reliquia del Santo Chiodo, che ivi ancor si
+venera. Al fol. 15 del codice segnato Q. R. in 16, egli ci ha
+lasciata di tal congegno una doppia figura, cioe una di quattro
+carucole, e una di tre colle rispettive corde, soggiugnandovi: in
+Domo alla carucola del Chiodo della Croce._ 
+
+AMORETTI'S views as to the mark on the MS, and the date when it was
+written are, it may be observed, wholly unfounded. The MS. L, in
+which it occurs, is of the year 1502, and it is very unlikely that
+Leonardo was in Milan at that time; this however would not prevent
+the remark, which is somewhat obscure, from applying to the
+Cathedral at Milan.] 
+
+1020. 
+
+OF THE FORCE OF THE VACUUM FORMED IN A MOMENT. 
+
+I saw, at Milan, a thunderbolt fall on the tower della Credenza on
+its Northern side, and it descended with a slow motion down that
+side, and then at once parted from that tower and carried with it
+and tore away from that wall a space of 3 braccia wide and two deep;
+and this wall was 4 braccia thick and was built of thin and small
+old bricks; and this was dragged out by the vacuum which the flame
+of the thunderbolt had caused, &c. 
+
+[Footnote: With reference to buildings at Milan see also Nos. 751
+and 756, and Pl. XCV, No. 2 (explained on p. 52), Pl. C (explained
+on pages 60-62). See also pages 25, 39 and 40.] 
+
+Remarks on natural phenomena in and near Milan (1021. 1022). 
+
+1021. 
+
+I have already been to see a great variety (of atmospheric effects).
+And lately over Milan towards Lago Maggiore I saw a cloud in the
+form of an immense mountain full of rifts of glowing light, because
+the rays of the sun, which was already close to the horizon and red,
+tinged the cloud with its own hue. And this cloud attracted to it
+all the little clouds that were near while the large one did not
+move from its place; thus it retained on its summit the reflection
+of the sunlight till an hour and a half after sunset, so immensely
+large was it; and about two hours after sunset such a violent wind
+arose, that it was really tremendous and unheard of. 
+
+[Footnote: _di arie_ is wanting in the original but may safely be
+inserted in the context, as the formation of clouds is under
+discussion before this text.] 
+
+1022. 
+
+On the 10th day of December at 9 o'clock a. m. fire was set to the
+place. 
+
+On the l8th day of December 1511 at 9 o'clock a. m. this second fire
+was kindled by the Swiss at Milan at the place called DCXC.
+[Footnote: With these two texts, (l. 1--2 and l. 3--5 are in the
+original side by side) there are sketches of smoke wreaths in red
+chalk.] 
+
+Note on Pavia. 
+
+1023. 
+
+The chimneys of the castle of Pavia have 6 rows of openings and from
+each to the other is one braccio. 
+
+[Footnote: Other notes relating to Pavia occur on p. 43 and p. 53
+(Pl. XCVIII, No. 3). Compare No. 1448, 26.] 
+
+Notes on the Sforzesca near Vigevano (1024-1028). 
+
+1024. 
+
+On the 2nd day of February 1494. At Sforzesca I drew twenty five
+steps, 2/3 braccia to each, and 8 braccia wide. 
+
+[Footnote: See Pl. CX, No. 2. The rest of the notes on this page
+refer to the motion of water. On the lower sketch we read: 4 _br._
+(four braccia) and _giara_ (for _ghiaja_, sand, gravel).] 
+
+1025. 
+
+The vineyards of Vigevano on the 20th day of March 1494. 
+
+[Footnote: On one side there is an effaced sketch in red chalk.] 
+
+1026. 
+
+To lock up a butteris at Vigevano. 
+
+1027. 
+
+Again if the lowest part of the bank which lies across the current
+of the waters is made in deep and wide steps, after the manner of
+stairs, the waters which, in their course usually fall
+perpendicularly from the top of such a place to the bottom, and wear
+away the foundations of this bank can no longer descend with a blow
+of too great a force; and I find the example of this in the stairs
+down which the water falls in the fields at Sforzesca at Vigevano
+over which the running water falls for a height of 50 braccia. 
+
+1028. 
+
+Stair of Vigevano below La Sforzesca, 130 steps, 1/4 braccio high
+and 1/2 braccio wide, down which the water falls, so as not to wear
+away anything at the end of its fall; by these steps so much soil
+has come down that it has dried up a pool; that is to say it has
+filled it up and a pool of great depth has been turned into meadows.
+
+Notes on the North Italian lake. (1029-1033) 
+
+1029. 
+
+In many places there are streams of water which swell for six hours
+and ebb for six hours; and I, for my part, have seen one above the
+lake of Como called Fonte Pliniana, which increases and ebbs, as I
+have said, in such a way as to turn the stones of two mills; and
+when it fails it falls so low that it is like looking at water in a
+deep pit. 
+
+[Footnote: The fountain is known by this name to this day: it is
+near Torno, on the Eastern shore of Como. The waters still rise and
+fall with the flow and ebb of the tide as Pliny described it (Epist.
+IV, 30; Hist. Nat. II, 206).] 
+
+1030. 
+
+LAKE OF COMO. VALLEY OF CHIAVENNA. 
+
+Above the lake of Como towards Germany is the valley of Chiavenna
+where the river Mera flows into this lake. Here are barren and very
+high mountains, with huge rocks. Among these mountains are to be
+found the water-birds called gulls. Here grow fir trees, larches and
+pines. Deer, wildgoats, chamois, and terrible bears. It is
+impossible to climb them without using hands and feet. The peasants
+go there at the time of the snows with great snares to make the
+bears fall down these rocks. These mountains which very closely
+approach each other are parted by the river. They are to the right
+and left for the distance of 20 miles throughout of the same nature.
+>From mile to mile there are good inns. Above on the said river there
+are waterfalls of 400 braccia in height, which are fine to see; and
+there is good living at 4 soldi the reckoning. This river brings
+down a great deal of timber. 
+
+VAL SASINA. 
+
+Val Sasina runs down towards Italy; this is almost the same form and
+character. There grow here many _mappello_ and there are great ruins
+and falls of water [Footnote 14: The meaning of _mappello_ is
+unknown.]. 
+
+VALLEY OF INTROZZO. 
+
+This valley produces a great quantity of firs, pines and larches;
+and from here Ambrogio Fereri has his timber brought down; at the
+head of the Valtellina are the mountains of Bormio, terrible and
+always covered with snow; marmots (?) are found there. 
+
+BELLAGGIO. 
+
+Opposite the castle Bellaggio there is the river Latte, which falls
+from a height of more than 100 braccia from the source whence it
+springs, perpendicularly, into the lake with an inconceivable roar
+and noise. This spring flows only in August and September. 
+
+VALTELLINA. 
+
+Valtellina, as it is called, is a valley enclosed in high and
+terrible mountains; it produces much strong wine, and there is so
+much cattle that the natives conclude that more milk than wine grows
+there. This is the valley through which the Adda passes, which first
+runs more than 40 miles through Germany; this river breeds the fish
+_temolo_ which live on silver, of which much is to be found in its
+sands. In this country every one can sell bread and wine, and the
+wine is worth at most one soldo the bottle and a pound of veal one
+soldo, and salt ten dinari and butter the same and their pound is 30
+ounces, and eggs are one soldo the lot. 
+
+1031. 
+
+At BORMIO. 
+
+At Bormio are the baths;--About eight miles above Como is the
+Pliniana, which increases and ebbs every six hours, and its swell
+supplies water for two mills; and its ebbing makes the spring dry
+up; two miles higher up there is Nesso, a place where a river falls
+with great violence into a vast rift in the mountain. These
+excursions are to be made in the month of May. And the largest bare
+rocks that are to be found in this part of the country are the
+mountains of Mandello near to those of Lecco, and of Gravidona
+towards Bellinzona, 30 miles from Lecco, and those of the valley of
+Chiavenna; but the greatest of all is that of Mandello, which has at
+its base an opening towards the lake, which goes down 200 steps, and
+there at all times is ice and wind. 
+
+IN VAL SASINA. 
+
+In Val Sasina, between Vimognio and Introbbio, to the right hand,
+going in by the road to Lecco, is the river Troggia which falls from
+a very high rock, and as it falls it goes underground and the river
+ends there. 3 miles farther we find the buildings of the mines of
+copper and silver near a place called Pra' Santo Pietro, and mines
+of iron and curious things. La Grigna is the highest mountain there
+is in this part, and it is quite bare. 
+
+[Footnote: 1030 and 1031. From the character of the handwriting we
+may conclude that these observations were made in Leonardo's youth;
+and I should infer from their contents, that they were notes made in
+anticipation of a visit to the places here described, and derived
+from some person (unknown to us) who had given him an account of
+them.] 
+
+1032. 
+
+The lake of Pusiano flows into the lake of Segrino [Footnote 3: The
+statement about the lake Segrino is incorrect; it is situated in the
+Valle Assina, above the lake of Pusiano.] and of Annone and of Sala.
+The lake of Annone is 22 braccia higher at the surface of its water
+than the surface of the water of the lake of Lecco, and the lake of
+Pusiano is 20 braccia higher than the lake of Annone, which added to
+the afore said 22 braccia make 42 braccia and this is the greatest
+height of the surface of the lake of Pusiano above the surface of
+the lake of Lecco. 
+
+[Footnote: This text has in the original a slight sketch to
+illustrate it.] 
+
+1033. 
+
+At Santa Maria in the Valley of Ravagnate [Footnote 2: _Ravagnate_
+(Leonardo writes _Ravagna_) in the Brianza is between Oggiono and
+Brivio, South of the lake of Como. M. Ravaisson avails himself of
+this note to prove his hypothesis that Leonardo paid two visits to
+France. See Gazette des Beaux Arts, 1881 pag. 528: 
+
+_Au recto du meme feuillet, on lit encore une note relative a une
+vallee "nemonti brigatia"; il me semble qu'il s'agit bien des monts
+de Briancon, le Brigantio des anciens. Briancon est sur la route de
+Lyon en Italie. Ce fut par le mont Viso que passerent, en aout 1515,
+les troupes francaises qui allaient remporter la victoire de
+Marignan. 
+
+Leonard de Vinci, ingenieur de Francois Ier, comme il l'avait ete de
+Louis XII, aurait-il ete pour quelque chose dans le plan du celebre
+passage des Alpes, qui eut lieu en aout 1515, et a la suite duquel
+on le vit accompagner partout le chevaleresque vainqueur? Auraitil
+ete appele par le jeune roi, de Rome ou l'artiste etait alors, des
+son avenement au trone?_] in the mountains of Brianza are the rods
+of chestnuts of 9 braccia and one out of an average of 100 will be
+14 braccia. 
+
+At Varallo di Ponbia near to Sesto on the Ticino the quinces are
+white, large and hard. 
+
+[Footnote 5: Varallo di Ponbia, about ten miles South of Arona is
+distinct from Varallo the chief town in the Val di Sesia.] 
+
+Notes on places in Central Italy, visited in 1502 (1034-1054). 
+
+1034. 
+
+Pigeon-house at Urbino, the 30th day of July 1502. [Footnote: An
+indistinct sketch is introduced with this text, in the original, in
+which the word _Scolatoro_ (conduit) is written.] 
+
+1035. 
+
+Made by the sea at Piombino. [Footnote: Below the sketch there are
+eleven lines of text referring to the motion of waves.] 
+
+1036. 
+
+Acquapendente is near Orvieto. [Footnote: _Acquapendente_ is about
+10 miles West of Orvieto, and is to the right in the map on Pl.
+CXIII, near the lake of Bolsena.] 
+
+1037. 
+
+The rock of Cesena. [Footnote: See Pl. XCIV No. 1, the lower sketch.
+The explanation of the upper sketch is given on p. 29.] 
+
+1038. 
+
+Siena, _a b_ 4 braccia, _a c_ 10 braccia. Steps at [the castle of]
+Urbino. [Footnote: See Pl. CX No. 3; compare also No. 765.] 
+
+1039. 
+
+The bell of Siena, that is the manner of its movement, and the place
+of the attachment of the clapper. [Footnote: The text is accompanied
+by an indistinct sketch.] 
+
+1040. 
+
+On St. Mary's day in the middle of August, at Cesena, 1502.
+[Footnote: See Pl. CX, No. 4.] 
+
+1041. 
+
+Stairs of the [palace of the] Count of Urbino,--rough. [Footnote:
+The text is accompanied by a slight sketch.] 
+
+1042. 
+
+At the fair of San Lorenzo at Cesena. 1502. 
+
+1043. 
+
+Windows at Cesena. [Footnote: There are four more lines of text
+which refer to a slightly sketched diagram.] 
+
+1044. 
+
+At Porto Cesenatico, on the 6th of September 1502 at 9 o'clock a. m.
+
+The way in which bastions ought to project beyond the walls of the
+towers to defend the outer talus; so that they may not be taken by
+artillery. 
+
+[Footnote: An indistinct sketch, accompanies this passage.] 
+
+1045. 
+
+The rock of the harbour of Cesena is four points towards the South
+West from Cesena. 
+
+1046. 
+
+In Romagna, the realm of all stupidity, vehicles with four wheels
+are used, of which O the two in front are small and two high ones
+are behind; an arrangement which is very unfavourable to the motion,
+because on the fore wheels more weight is laid than on those behind,
+as I showed in the first of the 5th on "Elements". 
+
+1047. 
+
+Thus grapes are carried at Cesena. The number of the diggers of the
+ditches is [arranged] pyramidically. [Footnote: A sketch,
+representing a hook to which two bunches of grapes are hanging,
+refers to these first two lines. Cesena is mentioned again Fol. 82a:
+_Carro da Cesena_ (a cart from Cesena).] 
+
+1048. 
+
+There might be a harmony of the different falls of water as you saw
+them at the fountain of Rimini on the 8th day of August, 1502. 
+
+1049. 
+
+The fortress at Urbino. [Footnote: 1049. In the original the text is
+written inside the sketch in the place here marked _n_.] 
+
+1050. 
+
+Imola, as regards Bologna, is five points from the West, towards the
+North West, at a distance of 20 miles. 
+
+Castel San Piero is seen from Imola at four points from the West
+towards the North West, at a distance of 7 miles. 
+
+Faenza stands with regard to Imola between East and South East at a
+distance of ten miles. Forli stands with regard to Faenza between
+South East and East at a distance of 20 miles from Imola and ten
+from Faenza. 
+
+Forlimpopoli lies in the same direction at 25 miles from Imola. 
+
+Bertinoro, as regards Imola, is five points from the East to wards
+the South East, at 27 miles. 
+
+1051. 
+
+Imola as regards Bologna is five points from the West towards the
+North West at a distance of 20 miles. 
+
+Castel San Pietro lies exactly North West of Imola, at a distance of
+7 miles. 
+
+Faenza, as regards Imola lies exactly half way between the East and
+South East at a distance of 10 miles; and Forli lies in the same
+direction from Imola at a distance of 20 miles; and Forlimpopolo
+lies in the same direction from Forli at a distance of 25 miles. 
+
+Bertinoro is seen from Imola two points from the East towards the
+South East at a distance of 27 miles. 
+
+[Footnote: Leonardo inserted this passage on the margin of the
+circular plan, in water colour, of Imola--see Pl. CXI No. 1.--In the
+original the fields surrounding the town are light green; the moat,
+which surrounds the fortifications and the windings of the river
+Santerno, are light blue. The parts, which have come out blackish
+close to the river are yellow ochre in the original. The dark groups
+of houses inside the town are red. At the four points of the compass
+drawn in the middle of the town Leonardo has written (from right to
+left): _Mezzodi_ (South) at the top; to the left _Scirocho_ (South
+east), _levante_ (East), _Greco_ (North East), _Septantrione_
+(North), _Maesstro_ (North West), _ponente_ (West) _Libecco_ (South
+West). The arch in which the plan is drawn is, in the original, 42
+centimetres across. 
+
+At the beginning of October 1502 Cesare Borgia was shut up in Imola
+by a sudden revolt of the Condottieri, and it was some weeks before
+he could release himself from this state of siege (see Gregorovius,
+_Geschichte der Stadt Rom im Mittelalter_, Vol. VII, Book XIII, 5,
+5). 
+
+Besides this incident Imola plays no important part in the history
+of the time. I therefore think myself fully justified in connecting
+this map, which is at Windsor, with the siege of 1502 and with
+Leonardo's engagements in the service of Cesare Borgia, because a
+comparison of these texts, Nos. 1050 and 1051, raise, I believe, the
+hypothesis to a certainty.] 
+
+1052. 
+
+>From Bonconventi to Casa Nova are 10 miles, from Casa Nova to Chiusi
+9 miles, from Chiusi to Perugia, from, Perugia to Santa Maria degli
+Angeli, and then to Fuligno. [Footnote: Most of the places here
+described lie within the district shown in the maps on Pl. CXIII.] 
+
+1053. 
+
+On the first of August 1502, the library at Pesaro. 
+
+1054. 
+
+OF PAINTING. 
+
+On the tops and sides of hills foreshorten the shape of the ground
+and its divisions, but give its proper shape to what is turned
+towards you. [Footnote: This passage evidently refers to the making
+of maps, such as Pl. CXII, CXIII, and CXIV. There is no mention of
+such works, it is true, excepting in this one passage of MS. L. But
+this can scarcely be taken as evidence against my view that Leonardo
+busied himself very extensively at that time in the construction of
+maps; and all the less since the foregoing chapters clearly prove
+that at a time so full of events Leonardo would only now and then
+commit his observations to paper, in the MS. L. 
+
+By the side of this text we find, in the original, a very indistinct
+sketch, perhaps a plan of a position. Instead of this drawing I have
+here inserted a much clearer sketch of a position from the same MS.,
+L. 82b and 83a. They are the only drawings of landscape, it may be
+noted, which occur at all in that MS.] 
+
+Alessandria in Piedmont (1055. 1056). 
+
+1055. 
+
+At Candia in Lombardy, near Alessandria della Paglia, in making a
+well for Messer Gualtieri [Footnote 2: Messer Gualtieri, the same
+probably as is mentioned in Nos. 672 and 1344.] of Candia, the
+skeleton of a very large boat was found about 10 braccia
+underground; and as the timber was black and fine, it seemed good to
+the said Messer Gualtieri to have the mouth of the well lengthened
+in such a way as that the ends of the boat should be uncovered. 
+
+1056. 
+
+At Alessandria della Paglia in Lombardy there are no stones for
+making lime of, but such as are mixed up with an infinite variety of
+things native to the sea, which is now more than 200 miles away. 
+
+The Alps (1057-1062). 
+
+1057. 
+
+At Monbracco, above Saluzzo,--a mile above the Certosa, at the foot
+of Monte Viso, there is a quarry of flakey stone, which is as white
+as Carrara marble, without a spot, and as hard as porphyry or even
+harder; of which my worthy gossip, Master Benedetto the sculptor,
+has promised to give me a small slab, for the colours, the second
+day of January 1511. 
+
+[Footnote: Saluzzo at the foot of the Alps South of Turin.] 
+
+[Footnote 9. 10.: _Maestro Benedetto scultore_; probably some native
+of Northern Italy acquainted with the place here described. Hardly
+the Florentine sculptor Benedetto da Majano. Amoretti had published
+this passage, and M. Ravaisson who gave a French translation of it
+in the _Gazette des Beaux Arts_ (1881, pag. 528), remarks as
+follows: _Le maitre sculpteur que Leonard appelle son "compare" ne
+serait-il pas Benedetto da Majano, un de ceux qui jugerent avec lui
+de la place a donner au David de Michel-Ange, et de qui le Louvre a
+acquis recemment un buste d'apres Philippe Strozzi?_ To this it may
+be objected that Benedetto da Majano had already lain in his grave
+fourteen years, in the year 1511, when he is supposed to have given
+the promise to Leonardo. The colours may have been given to the
+sculptor Benedetto and the stone may have been in payment for them.
+>From the description of the stone here given we may conclude that it
+is repeated from hearsay of the sculptor's account of it. I do not
+understand how, from this observation, it is possible to conclude
+that Leonardo was on the spot.] 
+
+1058. 
+
+That there are springs which suddenly break forth in earthquakes or
+other convulsions and suddenly fail; and this happened in a mountain
+in Savoy where certain forests sank in and left a very deep gap, and
+about four miles from here the earth opened itself like a gulf in
+the mountain, and threw out a sudden and immense flood of water
+which scoured the whole of a little valley of the tilled soil,
+vineyards and houses, and did the greatest mischief, wherever it
+overflowed. 
+
+1059. 
+
+The river Arve, a quarter of a mile from Geneva in Savoy, where the
+fair is held on midsummerday in the village of Saint Gervais. 
+
+[Footnote: An indistinct sketch is to be seen by the text.] 
+
+1060. 
+
+And this may be seen, as I saw it, by any one going up Monbroso
+[Footnote: I have vainly enquired of every available authority for a
+solution of the mystery as to what mountain is intended by the name
+Monboso (Comp. Vol. I Nos. 300 and 301). It seems most obvious to
+refer it to Monte Rosa. ROSA derived from the Keltic ROS which
+survives in Breton and in Gaelic, meaning, in its first sense, a
+mountain spur, but which also--like HORN--means a very high peak;
+thus Monte Rosa would mean literally the High Peak.], a peak of the
+Alps which divide France from Italy. The base of this mountain gives
+birth to the 4 rivers which flow in four different directions
+through the whole of Europe. And no mountain has its base at so
+great a height as this, which lifts itself above almost all the
+clouds; and snow seldom falls there, but only hail in the summer,
+when the clouds are highest. And this hail lies [unmelted] there, so
+that if it were not for the absorption of the rising and falling
+clouds, which does not happen more than twice in an age, an enormous
+mass of ice would be piled up there by the layers of hail, and in
+the middle of July I found it very considerable; and I saw the sky
+above me quite dark, and the sun as it fell on the mountain was far
+brighter here than in the plains below, because a smaller extent of
+atmosphere lay between the summit of the mountain and the sun.
+[Footnote 6: _in una eta._ This is perhaps a slip of the pen on
+Leonardo's part and should be read _estate_ (summer).] 
+
+Leic. 9b] 
+
+1061. 
+
+In the mountains of Verona the red marble is found all mixed with
+cockle shells turned into stone; some of them have been filled at
+the mouth with the cement which is the substance of the stone; and
+in some parts they have remained separate from the mass of the rock
+which enclosed them, because the outer covering of the shell had
+interposed and had not allowed them to unite with it; while in other
+places this cement had petrified those which were old and almost
+stripped the outer skin. 
+
+1062. 
+
+Bridge of Goertz-Wilbach (?). 
+
+[Footnote: There is a slight sketch with this text, Leonardo seems
+to have intended to suggest, with a few pen-strokes, the course of
+the Isonzo and of the Wipbach in the vicinity of Gorizia (Goerz). He
+himself says in another place that he had been in Friuli (see No.
+1077 1. 19).] 
+
+The Appenins (1063-1068). 
+
+1063. 
+
+That part of the earth which was lightest remained farthest from the
+centre of the world; and that part of the earth became the lightest
+over which the greatest quantity of water flowed. And therefore that
+part became lightest where the greatest number of rivers flow; like
+the Alps which divide Germany and France from Italy; whence issue
+the Rhone flowing Southwards, and the Rhine to the North. The Danube
+or Tanoia towards the North East, and the Po to the East, with
+innumerable rivers which join them, and which always run turbid with
+the soil carried by them to the sea. 
+
+The shores of the sea are constantly moving towards the middle of
+the sea and displace it from its original position. The lowest
+portion of the Mediterranean will be reserved for the bed and
+current of the Nile, the largest river that flows into that sea. And
+with it are grouped all its tributaries, which at first fell into
+the sea; as may be seen with the Po and its tributaries, which first
+fell into that sea, which between the Appenines and the German Alps
+was united to the Adriatic sea. 
+
+That the Gallic Alps are the highest part of Europe. 
+
+1064. 
+
+And of these I found some in the rocks of the high Appenines and
+mostly at the rock of La Vernia. [Footnote 6: _Sasso della Vernia._
+The frowning rock between the sources of the Arno and the Tiber, as
+Dante describes this mountain, which is 1269 metres in height. 
+
+This note is written by the side of that given as No. 1020; but
+their connection does not make it clear what Leonardo's purpose was
+in writing it.] 
+
+1065. 
+
+At Parma, at 'La Campana' on the twenty-fifth of October 1514.
+[Footnote 2: _Capano_, an Inn.] 
+
+A note on the petrifactions, or fossils near Parma will be found
+under No. 989.] 
+
+1066. 
+
+A method for drying the marsh of Piombino. [Footnote: There is a
+slight sketch with this text in the original.--Piombino is also
+mentioned in Nos. 609, l. 55-58 (compare Pl. XXXV, 3, below). Also
+in No. 1035.] 
+
+1067. 
+
+The shepherds in the Romagna at the foot of the Apennines make
+peculiar large cavities in the mountains in the form of a horn, and
+on one side they fasten a horn. This little horn becomes one and the
+same with the said cavity and thus they produce by blowing into it a
+very loud noise. [Footnote: As to the Romagna see also No. 1046.] 
+
+1068. 
+
+A spring may be seen to rise in Sicily which at certain times of the
+year throws out chesnut leaves in quantities; but in Sicily chesnuts
+do not grow, hence it is evident that that spring must issue from
+some abyss in Italy and then flow beneath the sea to break forth in
+Sicily. [Footnote: The chesnut tree is very common in Sicily. In
+writing _cicilia_ Leonardo meant perhaps Cilicia.] 
+
+II. 
+
+FRANCE. 
+
+1069. 
+
+   GERMANY.                     FRANCE.
+
+a. Austria,                 a. Picardy.
+b. Saxony.                  b. Normandy.
+c. Nuremberg.               c. Dauphine.
+d. Flanders.
+
+               SPAIN.
+
+            a. Biscay.
+            b. Castille.
+            c. Galicia.
+            d. Portugal.
+            e. Taragona.
+            f. Granada.
+
+[Footnote: Two slightly sketched maps, one of Europe the other of
+Spain, are at the side of these notes.] 
+
+1070. 
+
+Perpignan. Roanne. Lyons. Paris. Ghent. Bruges. Holland. 
+
+[Footnote: _Roana_ does not seem to mean here Rouen in Normandy, but
+is probably Roanne (Rodumna) on the upper Loire, Lyonnais (Dep. du
+Loire). This town is now unimportant, but in Leonardo's time was
+still a place of some consequence.] 
+
+1071. 
+
+At Bordeaux in Gascony the sea rises about 40 braccia before its
+ebb, and the river there is filled with salt water for more than a
+hundred and fifty miles; and the vessels which are repaired there
+rest high and dry on a high hill above the sea at low tide.
+[Footnote 2: This is obviously an exaggeration founded on inaccurate
+information. Half of 150 miles would be nearer the mark.] 
+
+1072. 
+
+The Rhone issues from the lake of Geneva and flows first to the West
+and then to the South, with a course of 400 miles and pours its
+waters into the Mediterranean. 
+
+1073. 
+
+_c d_ is the garden at Blois; _a b_ is the conduit of Blois, made in
+France by Fra Giocondo, _b c_ is what is wanting in the height of
+that conduit, _c d_ is the height of the garden at Blois, _e f_ is
+the siphon of the conduit, _b c_, _e f_, _f g_ is where the siphon
+discharges into the river. [Footnote: The tenor of this note (see
+lines 2 and 3) seems to me to indicate that this passage was not
+written in France, but was written from oral information. We have no
+evidence as to when this note may have been written beyond the
+circumstance that Fra Giocondo the Veronese Architect left France
+not before the year 1505. The greater part of the magnificent
+Chateau of Blois has now disappeared. Whether this note was made for
+a special purpose is uncertain. The original form and extent of the
+Chateau is shown in Androvet, _Les plus excellents Bastiments de
+France, Paris MDCVII,_ and it may be observed that there is in the
+middle of the garden a Pavilion somewhat similar to that shown on
+Pl. LXXXVIII No. 7. 
+
+See S. DE LA SAUSSAYE, _Histoire du Chateau de Blois 4eme edition
+Blois et Paris_ p. 175: _En mariant sa fille ainee a Francois, comte
+d'Angouleme, Louis XII lui avait constitue en dot les comtes de
+Blois, d'Asti, de Coucy, de Montfort, d'Etampes et de Vertus. Une
+ordonnance de Francois I. lui laissa en_ 1516 _l'administration du
+comte de Blois. 
+
+Le roi fit commencer, dans la meme annee, les travaux de celle belle
+partie du chateau, connue sous le nom d'aile de Francois I, et dont
+nous avons donne la description au commencement de ce livre. Nous
+trouvons en effet, dans les archives du Baron de Foursanvault, une
+piece qui en fixe parfaitement la date. On y lit: "Je, Baymon
+Philippeaux, commis par le Roy a tenir le compte et fair le payement
+des bastiments, ediffices et reparacions que le dit seigneur fait
+faire en son chastu de Blois, confesse avoir eu et receu ... la
+somme de trois mille livres tournois ... le cinquieme jour de
+juillet, l'an mil cinq cent et seize._ P. 24: _Les jardins avaient
+ete decores avec beaucoup de luxe par les differents possesseurs du
+chateau. Il ne reste de tous les batiments qu'ils y eleverent que
+ceux des officiers charges de l'ad_ministration et de la culture des
+jardins, et un pavilion carre en pierre et en brique flanque de
+terrasses a chacun de ses angles. Quoique defigure par des mesures
+elevees sur les terrasses, cet edifice est tris-digne d'interet par
+l'originalite du plan, la decoration architecturale et le souvenir
+d'Anne de Bretagne qui le fit construire._ Felibien describes the
+garden as follows: _Le jardin haut etait fort bien dresse par grands
+compartimens de toutes sortes de figures, avec des allees de
+meuriers blancs et des palissades de coudriers. Deux grands berceaux
+de charpenterie separoient toute la longueur et la largeur du
+jardin, et dans les quatres angles des allees, ou ces berceaux se
+croissent, il y auoit 4 cabinets, de mesme charpenterie ... Il y a
+pas longtemps qu'il y auoit dans ce mesme jardin, a l'endroit ou se
+croissent les allees du milieu, un edifice de figure octogone, de
+plus de 7 thoises de diametre et de plus de neuf thoises de haut;
+avec 4 enfoncements en forme de niches dans les 4 angles des allies.
+Ce bastiment.... esloit de charpente mais d'un extraordinairement
+bien travaille. On y voyait particulierement la cordiliere qui
+regnati tout autour en forme de cordon. Car la Reyne affectait de la
+mettre nonseulement a ses armes et a ses chiffres mais de la faire
+representer en divers manieres dans tous les ouvrages qu'on lui
+faisait pour elle ... le bastiment estati couvert en forme de dome
+qui dans son milieu avait encore un plus petit dome, ou lanterne
+vitree au-dessus de laquelle estait une figure doree representant
+Saint Michel. Les deux domes estoient proprement couvert d'ardoise
+et de plomb dore par dehors; par dedans ils esloient lambrissez
+d'une menuiserie tres delicate. Au milieu de ce Salon il y avait un
+grand bassin octogone de marbre blanc, dont toutes les faces
+estoient enrichies de differentes sculptures, avec les armes et les
+chiffres du Roy Louis XII et de la Reine Anne, Dans ce bassin il y
+en avait un autre pose sur un piedestal lequel auoit sept piedz de
+diametre. Il estait de figure ronde a godrons, avec des masques et
+d'autres ornements tres scauamment taillez. Du milieu de ce
+deuxiesme bassin s'y levoit un autre petit piedestal qui portait un
+troisiesme bassin de trois pieds de diametre, aussy parfaitement
+bien taille; c'estoit de ce dernier bassin que jallissoit l'eau qui
+se rependoit en suitte dans les deux autres bassins. Les beaux
+ouvrages faits d'un marbre esgalement blanc et poli, furent brisez
+par la pesanteur de tout l'edifice, que les injures de l'air
+renverserent de fond en comble.] 
+
+1074. 
+
+The river Loire at Amboise. 
+
+The river is higher within the bank _b d_ than outside that bank. 
+
+The island where there is a part of Amboise. 
+
+This is the river that passes through Amboise; it passes at _a b c
+d_, and when it has passed the bridge it turns back, against the
+original current, by the channel _d e_, _b f_ in contact with the
+bank which lies between the two contrary currents of the said river,
+_a b_, _c d_, and _d e_, _b f_. It then turns down again by the
+channel _f l_, _g h_, _n m_, and reunites with the river from which
+it was at first separated, which passes by _k n_, which makes _k m_,
+_r t_. But when the river is very full it flows all in one channel
+passing over the bank _b d_. [Footnote: See Pl. CXV. Lines 1-7 are
+above, lines 8-10 in the middle of the large island and the word
+_Isola_ is written above _d_ in the smaller island; _a_ is written
+on the margin on the bank of the river above 1. I; in the
+reproduction it is not visible. As may be seen from the last
+sentence, the observation was made after long study of the river's
+course, when Leonardo had resided for some time at, or near,
+Amboise.] 
+
+1075. 
+
+The water may be dammed up above the level of Romorantin to such a
+height, that in its fall it may be used for numerous mills. 
+
+1075. 
+
+The river at Villefranche may be conducted to Romorantin which may
+be done by the inhabitants; and the timber of which their houses are
+built may be carried in boats to Romorantin [Footnote: Compare No.
+744.]. The river may be dammed up at such a height that the waters
+may be brought back to Romorantin with a convenient fall. 
+
+1076. 
+
+As to whether it is better that the water should all be raised in a
+single turn or in two? 
+
+The answer is that in one single turn the wheel could not support
+all the water that it can raise in two turns, because at the half
+turn of the wheel it would be raising 100 pounds and no more; and if
+it had to raise the whole, 200 pounds in one turn, it could not
+raise them unless the wheel were of double the diameter and if the
+diameter were doubled, the time of its revolution would be doubled;
+therefore it is better and a greater advantage in expense to make
+such a wheel of half the size (?) the land which it would water and
+would render the country fertile to supply food to the inhabitants,
+and would make navigable canals for mercantile purposes. 
+
+The way in which the river in its flow should scour its own channel.
+
+By the ninth of the third; the more rapid it is, the more it wears
+away its channel; and, by the converse proposition, the slower the
+water the more it deposits that which renders it turbid. 
+
+And let the sluice be movable like the one I arranged in Friuli
+[Footnote 19: This passage reveals to us the fact that Leonardo had
+visited the country of Friuli and that he had stayed there for some
+time. Nothing whatever was known of this previously.], where when
+one sluice was opened the water which passed through it dug out the
+bottom. Therefore when the rivers are flooded, the sluices of the
+mills ought to be opened in order that the whole course of the river
+may pass through falls to each mill; there should be many in order
+to give a greater impetus, and so all the river will be scoured. And
+below the site of each of the two mills there may be one of the said
+sluice falls; one of them may be placed below each mill. 
+
+1078. 
+
+A trabocco is four braccia, and one mile is three thousand of the
+said braccia. Each braccio is divided into 12 inches; and the water
+in the canals has a fall in every hundred trabocchi of two of these
+inches; therefore 14 inches of fall are necessary in two thousand
+eight hundred braccia of flow in these canals; it follows that 15
+inches of fall give the required momentum to the currents of the
+waters in the said canals, that is one braccio and a half in the
+mile. And from this it may be concluded that the water taken from
+the river of Ville-franche and lent to the river of Romorantin
+will..... Where one river by reason of its low level cannot flow
+into the other, it will be necessary to dam it up, so that it may
+acquire a fall into the other, which was previously the higher. 
+
+The eve of Saint Antony I returned from Romorantin to Amboise, and
+the King went away two days before from Romorantin. 
+
+>From Romorantin as far as the bridge at Saudre it is called the
+Saudre, and from that bridge as far as Tours it is called the Cher. 
+
+I would test the level of that channel which is to lead from the
+Loire to Romorantin, with a channel one braccio wide and one braccio
+deep. 
+
+[Footnote: Lines 6-18 are partly reproduced in the facsimile on p.
+254, and the whole of lines 19-25. 
+
+The following names are written along the rivers on the larger
+sketch, _era f_ (the Loire) _scier f_ (the Cher) three times. _Pote
+Sodro_ (bridge of the Soudre). _Villa francha_ (Villefranche)
+_banco_ (sandbank) _Sodro_ (Soudre). The circle below shows the
+position of Romorantin. The words '_orologio del sole_' written
+below do not belong to the map of the rivers. The following names
+are written by the side of the smaller sketch-map:--_tors_ (Tours),
+_Abosa_ (Amboise) _bres_--for Bles (Blois) _mo rica_ (Montrichard).
+_Lione_ (Lyons). This map was also published in the 'Saggio'
+(Milano, 1872) Pl. XXII, and the editors remark: _Forse la linia
+retta che va da Amboise a Romorantin segna l'andamento proposto d'un
+Canale, che poi rembra prolungarsi in giu fin dove sta scritto
+Lione._ 
+
+M. Ravaisson has enlarged on this idea in the Gazette des Beaux Arts
+(1881 p. 530): _Les traces de Leonard permettent d'entrevoir que le
+canal commencant soit aupres de Tours, soit aupres de Blois et
+passant par Romorantin, avec port d'embarquement a Villefranche,
+devait, au dela de Bourges, traverser l'Allier au-dessous des
+affluents de la Dore et de la Sioule, aller par Moulins jusqu' a
+Digoin; enfin, sur l'autre rive de la Loire, depasser les monts du
+Charolais et rejoindre la Saone aupres de Macon._ It seems to me
+rash, however, to found so elaborate an hypothesis on these sketches
+of rivers. The slight stroke going to _Lione_ is perhaps only an
+indication of the direction.--With regard to the Loire compare also
+No. 988. l. 38.] 
+
+1079. 
+
+THE ROAD TO ORLEANS 
+
+At 1/4 from the South to the South East. At 1/3 from the South to
+the South East. At 1/4 from the South to the South East. At 1/5 from
+the South to the South East. Between the South West and South, to
+the East bearing to the South; from the South towards the East 1/8;
+thence to the West, between the South and South West; at the South. 
+
+[Footnote: The meaning is obscure; a more important passage
+referring to France is to be found under No. 744] 
+
+On the Germans (1080. 1081). 
+
+1080. 
+
+The way in which the Germans closing up together cross and
+interweave their broad leather shields against the enemy, stooping
+down and putting one of the ends on the ground while they hold the
+rest in their hand. [Footnote: Above the text is a sketch of a few
+lines crossing each other and the words _de ponderibus_. The meaning
+of the passage is obscure.] 
+
+1081. 
+
+The Germans are wont to annoy a garrison with the smoke of feathers,
+sulphur and realgar, and they make this smoke last 7 or 8 hours.
+Likewise the husks of wheat make a great and lasting smoke; and also
+dry dung; but this must be mixed with olive husks, that is olives
+pressed for oil and from which the oil has been extracted.
+[Footnote: There is with this passage a sketch of a round tower
+shrouded in smoke.] 
+
+The Danube. 
+
+1082. 
+
+That the valleys were formerly in great part covered by lakes the
+soil of which always forms the banks of rivers,--and by seas, which
+afterwards, by the persistent wearing of the rivers, cut through the
+mountains and the wandering courses of the rivers carried away the
+other plains enclosed by the mountains; and the cutting away of the
+mountains is evident from the strata in the rocks, which correspond
+in their sections as made by the courses of the rivers [Footnote 4:
+_Emus_, the Balkan; _Dardania_, now Servia.], The Haemus mountains
+which go along Thrace and Dardania and join the Sardonius mountains
+which, going on to the westward change their name from Sardus to
+Rebi, as they come near Dalmatia; then turning to the West cross
+Illyria, now called Sclavonia, changing the name of Rebi to Albanus,
+and going on still to the West, they change to Mount Ocra in the
+North; and to the South above Istria they are named Caruancas; and
+to the West above Italy they join the Adula, where the Danube rises
+[8], which stretches to the East and has a course of 1500 miles; its
+shortest line is about l000 miles, and the same or about the same is
+that branch of the Adula mountains changed as to their name, as
+before mentioned. To the North are the Carpathians, closing in the
+breadth of the valley of the Danube, which, as I have said extends
+eastward, a length of about 1000 miles, and is sometimes 200 and in
+some places 300 miles wide; and in the midst flows the Danube, the
+principal river of Europe as to size. The said Danube runs through
+the middle of Austria and Albania and northwards through Bavaria,
+Poland, Hungary, Wallachia and Bosnia and then the Danube or Donau
+flows into the Black Sea, which formerly extended almost to Austria
+and occupied the plains through which the Danube now courses; and
+the evidence of this is in the oysters and cockle shells and
+scollops and bones of great fishes which are still to be found in
+many places on the sides of those mountains; and this sea was formed
+by the filling up of the spurs of the Adula mountains which then
+extended to the East joining the spurs of the Taurus which extend to
+the West. And near Bithynia the waters of this Black Sea poured into
+the Propontis [Marmora] falling into the Aegean Sea, that is the
+Mediterranean, where, after a long course, the spurs of the Adula
+mountains became separated from those of the Taurus. The Black Sea
+sank lower and laid bare the valley of the Danube with the above
+named countries, and the whole of Asia Minor beyond the Taurus range
+to the North, and the plains from mount Caucasus to the Black Sea to
+the West, and the plains of the Don this side--that is to say, at
+the foot of the Ural mountains. And thus the Black Sea must have
+sunk about 1000 braccia to uncover such vast plains. 
+
+[Footnote 8: _Danubio_, in the original _Reno_; evidently a mistake
+as we may infer from _come dissi_ l. 10 &c.] 
+
+III. 
+
+THE COUNTRIES OF THE WESTERN END OF THE MEDITERRANEAN. 
+
+The straits of Gibraltar (1083-1085). 
+
+1083. 
+
+WHY THE SEA MAKES A STRONGER CURRENT IN THE STRAITS OF SPAIN THAN
+ELSEWHERE. 
+
+A river of equal depth runs with greater speed in a narrow space
+than in a wide one, in proportion to the difference between the
+wider and the narrower one. 
+
+This proposition is clearly proved by reason confirmed by
+experiment. Supposing that through a channel one mile wide there
+flows one mile in length of water; where the river is five miles
+wide each of the 5 square miles will require 1/5 of itself to be
+equal to the square mile of water required in the sea, and where the
+river is 3 miles wide each of these square miles will require the
+third of its volume to make up the amount of the square mile of the
+narrow part; as is demonstrated in _f g h_ at the mile marked _n_. 
+
+[Footnote: In the place marked A in the diagram _Mare Mediterano_
+(Mediterranean Sea) is written in the original. And at B, _stretto
+di Spugna_ (straits of Spain, _i.e._ Gibraltar). Compare No. 960.] 
+
+1084. 
+
+WHY THE CURRENT OF GIBRALTAR IS ALWAYS GREATER TO THE WEST THAN TO
+THE EAST. 
+
+The reason is that if you put together the mouths of the rivers
+which discharge into the Mediterranean sea, you would find the sum
+of water to be larger than that which this sea pours through the
+straits into the ocean. You see Africa discharging its rivers that
+run northwards into this sea, and among them the Nile which runs
+through 3000 miles of Africa; there is also the Bagrada river and
+the Schelif and others. [Footnote 5: _Bagrada_ (Leonardo writes
+Bragada) in Tunis, now Medscherda; _Mavretano_, now Schelif.]
+Likewise Europe pours into it the Don and the Danube, the Po, the
+Rhone, the Arno, and the Tiber, so that evidently these rivers, with
+an infinite number of others of less fame, make its great breadth
+and depth and current; and the sea is not wider than 18 miles at the
+most westerly point of land where it divides Europe from Africa. 
+
+1085. 
+
+The gulf of the Mediterranean, as an inland sea, received the
+principal waters of Africa, Asia and Europe that flowed towards it;
+and its waters came up to the foot of the mountains that surrounded
+it and made its shores. And the summits of the Apennines stood up
+out of this sea like islands, surrounded by salt water. Africa
+again, behind its Atlas mountains did not expose uncovered to the
+sky the surface of its vast plains about 3000 miles in length, and
+Memphis [Footnote 6: _Mefi._ Leonardo can only mean here the citadel
+of Cairo on the Mokattam hills.] was on the shores of this sea, and
+above the plains of Italy, where now birds fly in flocks, fish were
+wont to wander in large shoals. 
+
+1086. 
+
+Tunis. 
+
+The greatest ebb made anywhere by the Mediterranean is above Tunis,
+being about two and a half braccia and at Venice it falls two
+braccia. In all the rest of the Mediterranean sea the fall is little
+or none. 
+
+1087. 
+
+Libya. 
+
+Describe the mountains of shifting deserts; that is to say the
+formation of waves of sand borne by the wind, and of its mountains
+and hills, such as occur in Libya. Examples may be seen on the wide
+sands of the Po and the Ticino, and other large rivers. 
+
+1088. 
+
+Majorca. 
+
+Circumfulgore is a naval machine. It was an invention of the men of
+Majorca. [Footnote: The machine is fully described in the MS. and
+shown in a sketch.] 
+
+1089. 
+
+The Tyrrhene Sea. 
+
+Some at the Tyrrhene sea employ this method; that is to say they
+fastened an anchor to one end of the yard, and to the other a cord,
+of which the lower end was fastened to an anchor; and in battle they
+flung this anchor on to the oars of the opponent's boat and by the
+use of a capstan drew it to the side; and threw soft soap and tow,
+daubed with pitch and set ablaze, on to that side where the anchor
+hung; so that in order to escape that fire, the defenders of that
+ship had to fly to the opposite side; and in doing this they aided
+to the attack, because the galley was more easily drawn to the side
+by reason of the counterpoise. [Footnote: This text is illustrated
+in the original by a pen and ink sketch.] 
+
+IV. 
+
+THE LEVANT. 
+
+The Levantine Sea. 
+
+1090. 
+
+On the shores of the Mediterranean 300 rivers flow, and 40, 200
+ports. And this sea is 3000 miles long. Many times has the increase
+of its waters, heaped up by their backward flow and the blowing of
+the West winds, caused the overflow of the Nile and of the rivers
+which flow out through the Black Sea, and have so much raised the
+seas that they have spread with vast floods over many countries. And
+these floods take place at the time when the sun melts the snows on
+the high mountains of Ethiopia that rise up into the cold regions of
+the air; and in the same way the approach of the sun acts on the
+mountains of Sarmatia in Asia and on those in Europe; so that the
+gathering together of these three things are, and always have been,
+the cause of tremendous floods: that is, the return flow of the sea
+with the West wind and the melting of the snows. So every river will
+overflow in Syria, in Samaria, in Judea between Sinai and the
+Lebanon, and in the rest of Syria between the Lebanon and the Taurus
+mountains, and in Cilicia, in the Armenian mountains, and in
+Pamphilia and in Lycia within the hills, and in Egypt as far as the
+Atlas mountains. The gulf of Persia which was formerly a vast lake
+of the Tigris and discharged into the Indian Sea, has now worn away
+the mountains which formed its banks and laid them even with the
+level of the Indian ocean. And if the Mediterranean had continued
+its flow through the gulf of Arabia, it would have done the same,
+that is to say, would have reduced the level of the Mediterranean to
+that of the Indian Sea. 
+
+The Red Sea. (1091. 1092). 
+
+1091. 
+
+For a long time the water of the Mediterranean flowed out through
+the Red Sea, which is 100 miles wide and 1500 long, and full of
+reefs; and it has worn away the sides of Mount Sinai, a fact which
+testifies, not to an inundation from the Indian sea beating on these
+coasts, but to a deluge of water which carried with it all the
+rivers which abound round the Mediterranean, and besides this there
+is the reflux of the sea; and then, a cutting being made to the West
+3000 miles away from this place, Gibraltar was separated from Ceuta,
+which had been joined to it. And this passage was cut very low down,
+in the plains between Gibraltar and the ocean at the foot of the
+mountain, in the low part, aided by the hollowing out of some
+valleys made by certain rivers, which might have flowed here.
+Hercules [Footnote 9: Leonardo seems here to mention Hercules half
+jestingly and only in order to suggest to the reader an allusion to
+the legend of the pillars of Hercules.] came to open the sea to the
+westward and then the sea waters began to pour into the Western
+Ocean; and in consequence of this great fall, the Red Sea remained
+the higher; whence the water, abandoning its course here, ever after
+poured away through the Straits of Spain. 
+
+1092. 
+
+The surface of the Red Sea is on a level with the ocean. 
+
+A mountain may have fallen and closed the mouth of the Red Sea and
+prevented the outlet of the Mediterranean, and the Mediterranean Sea
+thus overfilled had for outlet the passage below the mountains of
+Gades; for, in our own times a similar thing has been seen [Footnote
+6: Compare also No. 1336, ll. 30, 35 and 36.-- Paolo Giovio, the
+celebrated historian (born at Como in 1483) reports that in 1513 at
+the foot of the Alps, above Bellinzona, on the road to Switzerland,
+a mountain fell with a very great noise, in consequence of an
+earthquake, and that the mass of rocks, which fell on the left
+(Western) side blocked the river Breno (T. I p. 218 and 345 of D.
+Sauvage's French edition, quoted in ALEXIS PERCY, _Memoire des
+tremblements de terre de la peninsule italique; Academie Royale de
+Belgique._ T. XXII).--]; a mountain fell seven miles across a valley
+and closed it up and made a lake. And thus most lakes have been made
+by mountains, as the lake of Garda, the lakes of Como and Lugano,
+and the Lago Maggiore. The Mediterranean fell but little on the
+confines of Syria, in consequence of the Gaditanean passage, but a
+great deal in this passage, because before this cutting was made the
+Mediterranean sea flowed to the South East, and then the fall had to
+be made by its run through the Straits of Gades. 
+
+At _a_ the water of the Mediterranean fell into the ocean. 
+
+All the plains which lie between the sea and mountains were formerly
+covered with salt water. 
+
+Every valley has been made by its own river; and the proportion
+between valleys is the same as that between river and river. 
+
+The greatest river in our world is the Mediterranean river, which
+moves from the sources of the Nile to the Western ocean. 
+
+And its greatest height is in Outer Mauritania and it has a course
+of ten thousand miles before it reunites with its ocean, the father
+of the waters. 
+
+That is 3000 miles for the Mediterranean, 3000 for the Nile, as far
+as discovered and 3000 for the Nile which flows to the East, &c. 
+
+[Footnote: See Pl. CXI 2, a sketch of the shores of the
+Mediterranean Sea, where lines 11 to 16 may be seen. The large
+figures 158 are not in Leonardo's writing. The character of the
+writing leads us to conclude that this text was written later than
+the foregoing. A slight sketch of the Mediterranean is also to be
+found in MS. I', 47a.] 
+
+The Nile (1093-1098). 
+
+1093. 
+
+Therefore we must conclude those mountains to be of the greatest
+height, above which the clouds falling in snow give rise to the
+Nile. 
+
+1094. 
+
+The Egyptians, the Ethiopians, and the Arabs, in crossing the Nile
+with camels, are accustomed to attach two bags on the sides of the
+camel's bodies that is skins in the form shown underneath. 
+
+In these four meshes of the net the camels for baggage place their
+feet. 
+
+[Footnote: Unfortunately both the sketches which accompany this
+passage are too much effaced to be reproduced. The upper represents
+the two sacks joined by ropes, as here described, the other shows
+four camels with riders swimming through a river.] 
+
+1095. 
+
+The Tigris passes through Asia Minor and brings with it the water of
+three lakes, one after the other of various elevations; the first
+being Munace and the middle Pallas and the lowest Triton. And the
+Nile again springs from three very high lakes in Ethiopia, and runs
+northwards towards the sea of Egypt with a course of 4000 miles, and
+by the shortest and straightest line it is 3000 miles. It is said
+that it issues from the Mountains of the Moon, and has various
+unknown sources. The said lakes are about 4000 braccia above the
+surface of the sphere of water, that is 1 mile and 1/3, giving to
+the Nile a fall of 1 braccia in every mile. 
+
+[Footnote 5: _Incogniti principio._ The affluents of the lakes are
+probably here intended. Compare, as to the Nile, Nos. 970, 1063 and
+1084.] 
+
+1096. 
+
+Very many times the Nile and other very large rivers have poured out
+their whole element of water and restored it to the sea. 
+
+1097. 
+
+Why does the inundation of the Nile occur in the summer, coming from
+torrid countries? 
+
+1098. 
+
+It is not denied that the Nile is constantly muddy in entering the
+Egyptian sea and that its turbidity is caused by soil that this
+river is continually bringing from the places it passes; which soil
+never returns in the sea which receives it, unless it throws it on
+its shores. You see the sandy desert beyond Mount Atlas where
+formerly it was covered with salt water. 
+
+Customs of Asiatic Nations (1099. 1100). 
+
+1099. 
+
+The Assyrians and the people of Euboea accustom their horses to
+carry sacks which they can at pleasure fill with air, and which in
+case of need they carry instead of the girth of the saddle above and
+at the side, and they are well covered with plates of cuir bouilli,
+in order that they may not be perforated by flights of arrows. Thus
+they have not on their minds their security in flight, when the
+victory is uncertain; a horse thus equipped enables four or five men
+to cross over at need. 
+
+1100. 
+
+SMALL BOATS. 
+
+The small boats used by the Assyrians were made of thin laths of
+willow plaited over rods also of willow, and bent into the form of a
+boat. They were daubed with fine mud soaked with oil or with
+turpentine, and reduced to a kind of mud which resisted the water
+and because pine would split; and always remained fresh; and they
+covered this sort of boats with the skins of oxen in safely crossing
+the river Sicuris of Spain, as is reported by Lucant; [Footnote 7:
+See Lucan's Pharsalia IV, 130: _Utque habuit ripas Sicoris camposque
+reliquit, Primum cana salix madefacto vimine parvam Texitur in
+puppim, calsoque inducto juvenco Vectoris patiens tumidum supernatat
+amnem. Sic Venetus stagnante Pado, fusoque Britannus Navigat oceano,
+sic cum tenet omnia Nilus, Conseritur bibula Memphitis cymbo papyro.
+His ratibus transjecta manus festinat utrimque Succisam cavare nemus
+] 
+
+The Spaniards, the Scythians and the Arabs, when they want to make a
+bridge in haste, fix hurdlework made of willows on bags of ox-hide,
+and so cross in safety. 
+
+Rhodes (1101. 1102). 
+
+1101. 
+
+In [fourteen hundred and] eighty nine there was an earthquake in the
+sea of Atalia near Rhodes, which opened the sea--that is its
+bottom--and into this opening such a torrent of water poured that
+for more than three hours the bottom of the sea was uncovered by
+reason of the water which was lost in it, and then it closed to the
+former level. 
+
+[Footnote: _Nello ottanto_ 9. It is scarcely likely that Leonardo
+should here mean 89 AD. Dr. H. MULLER- STRUBING writes to me as
+follows on this subject: "With reference to Rhodes Ross says (_Reise
+auf den Griechischen Inseln, III_ 70 _ff_. 1840), that ancient
+history affords instances of severe earthquakes at Rhodes, among
+others one in the second year of the 138th Olympiad=270 B. C.; a
+remarkably violent one under Antoninus Pius (A. D. 138-161) and
+again under Constantine and later. But Leonardo expressly speaks of
+an earthquake "_nel mar di Atalia presso a Rodi_", which is
+singular. The town of Attalia, founded by Attalus, which is what he
+no doubt means, was in Pamphylia and more than 150 English miles
+East of Rhodes in a straight line. Leake and most other geographers
+identify it with the present town of Adalia. Attalia is rarely
+mentioned by the ancients, indeed only by Strabo and Pliny and no
+earthquake is spoken of. I think therefore you are justified in
+assuming that Leonardo means 1489". In the elaborate catalogue of
+earthquakes in the East by Sciale Dshelal eddin Sayouthy (an
+unpublished Arabic MS. in the possession of Prof. SCHEFER, (Membre
+de l'Institut, Paris) mention is made of a terrible earthquake in
+the year 867 of the Mohamedan Era corresponding to the year 1489,
+and it is there stated that a hundred persons were killed by it in
+the fortress of Kerak. There are three places of this name. Kerak on
+the sea of Tiberias, Kerak near Tahle on the Libanon, which I
+visited in the summer of l876--but neither of these is the place
+alluded to. Possibly it may be the strongly fortified town of
+Kerak=Kir Moab, to the West of the Dead Sea. There is no notice
+about this in ALEXIS PERCY, _Memoire sur les tremblements de terres
+ressentis dans la peninsule turco- hellenique et en Syrie (Memoires
+couronnes et memoires des savants etrangers, Academie Royale de
+Belgique, Tome XXIII)._] 
+
+1102. 
+
+Rhodes has in it 5000 houses. 
+
+Cyprus (1103. 1104). 
+
+1103. 
+
+SITE FOR [A TEMPLE OF] VENUS. 
+
+You must make steps on four sides, by which to mount to a meadow
+formed by nature at the top of a rock which may be hollowed out and
+supported in front by pilasters and open underneath in a large
+portico, 
+
+[Footnote: See Pl. LXXXIII. Compare also p. 33 of this Vol. The
+standing male figure at the side is evidently suggested by Michael
+Angelo's David. On the same place a slight sketch of horses seems to
+have been drawn first; there is no reason for assuming that the text
+and this sketch, which have no connection with each other, are of
+the same date. 
+
+_Sito di Venere._ By this heading Leonardo appears to mean Cyprus,
+which was always considered by the ancients to be the home and birth
+place of Aphrodite (Kirpic in Homer).] 
+
+in which the water may fall into various vases of granite,
+porphyryand serpentine, within semi-circular recesses; and the water
+may overflow from these. And round this portico towards the North
+there should be a lake with a little island in the midst of which
+should be a thick and shady wood; the waters at the top of the
+pilasters should pour into vases at their base, from whence they
+should flow in little channels. 
+
+Starting from the shore of Cilicia towards the South you discover
+the beauties of the island of Cyprus. 
+
+The Caspian Sea (1105. 1106). 
+
+1104. 
+
+>From the shore of the Southern coast of Cilicia may be seen to the
+South the beautiful island of Cyprus, which was the realm of the
+goddess Venus, and many navigators being attracted by her beauty,
+had their ships and rigging broken amidst the reefs, surrounded by
+the whirling waters. Here the beauty of delightful hills tempts
+wandering mariners to refresh themselves amidst their flowery
+verdure, where the winds are tempered and fill the island and the
+surrounding seas with fragrant odours. Ah! how many a ship has here
+been sunk. Ah! how many a vessel broken on these rocks. Here might
+be seen barks without number, some wrecked and half covered by the
+sand; others showing the poop and another the prow, here a keel and
+there the ribs; and it seems like a day of judgment when there
+should be a resurrection of dead ships, so great is the number of
+them covering all the Northern shore; and while the North gale makes
+various and fearful noises there. 
+
+1105. 
+
+Write to Bartolomeo the Turk as to the flow and ebb of the Black
+sea, and whether he is aware if there be such a flow and ebb in the
+Hyrcanean or Caspian sea. [Footnote: The handwriting of this note
+points to a late date.] 
+
+1106. 
+
+WHY WATER IS FOUND AT THE TOP OF MOUNTAINS. 
+
+>From the straits of Gibraltar to the Don is 3500 miles, that is one
+mile and 1/6, giving a fall of one braccio in a mile to any water
+that moves gently. The Caspian sea is a great deal higher; and none
+of the mountains of Europe rise a mile above the surface of our
+seas; therefore it might be said that the water which is on the
+summits of our mountains might come from the height of those seas,
+and of the rivers which flow into them, and which are still higher. 
+
+The sea of Azov. 
+
+1107. 
+
+Hence it follows that the sea of Azov is the highest part of the
+Mediterranean sea, being at a distance of 3500 miles from the
+Straits of Gibraltar, as is shown by the map for navigation; and it
+has 3500 braccia of descent, that is, one mile and 1/6; therefore it
+is higher than any mountains which exist in the West. 
+
+[Footnote: The passage before this, in the original, treats of the
+exit of the waters from Lakes in general.] 
+
+The Dardanelles. 
+
+1108. 
+
+In the Bosphorus the Black Sea flows always into the Egean sea, and
+the Egean sea never flows into it. And this is because the Caspian,
+which is 400 miles to the East, with the rivers which pour into it,
+always flows through subterranean caves into this sea of Pontus; and
+the Don does the same as well as the Danube, so that the waters of
+Pontus are always higher than those of the Egean; for the higher
+always fall towards the lower, and never the lower towards the
+higher. 
+
+Constantinople. 
+
+1109. 
+
+The bridge of Pera at Constantinople, 40 braccia wide, 70 braccia
+high above the water, 600 braccia long; that is 400 over the sea and
+200 on the land, thus making its own abutments. 
+
+[Footnote: See Pl. CX No. 1. In 1453 by order of Sultan Mohamed II.
+the Golden Horn was crossed by a pontoon bridge laid on barrels (see
+Joh. Dukas' History of the Byzantine Empire XXXVIII p. 279). --The
+biographers of Michelangelo, Vasari as well as Condivi, relate that
+at the time when Michelangelo suddenly left Rome, in 1506, he
+entertained some intention of going to Constantinople, there to
+serve the Sultan, who sought to engage him, by means of certain
+Franciscan Monks, for the purpose of constructing a bridge to
+connect Constantinople with Pera. See VASARI, _Vite_ (ed. Sansoni
+VII, 168): _Michelangelo, veduto questa furia del papa, dubitando di
+lui, ebbe, secondo che si dice, voglia di andarsene in
+Gostantinopoli a servire il Turco, per mezzo di certi frati di San
+Francesco, che desiderava averlo per fare un ponte che passassi da
+Gostantinopoli a Pera._ And CONDIVI, _Vita di M. Buonaroti chap._
+30_; Michelangelo allora vedendosi condotto a questo, temendo
+dell'ira del papa, penso d'andarsene in Levante; massimamente
+essendo stato dal Turco ricercato con grandissime promesse per mezzo
+di certi frati di San Francesco, per volersene servire in fare un
+ponte da Costantinopoli a Pera ed in altri affari._ Leonardo's plan
+for this bridge was made in 1502. We may therefore conclude that at
+about that time the Sultan Bajazet II. had either announced a
+competition in this matter, or that through his agents Leonardo had
+first been called upon to carry out the scheme.] 
+
+The Euphrates. 
+
+1110. 
+
+If the river will turn to the rift farther on it will never return
+to its bed, as the Euphrates does, and this may do at Bologna the
+one who is disappointed for his rivers. 
+
+Centrae Asia. 
+
+1111. 
+
+Mounts Caucasus, Comedorum, and Paropemisidae are joined together
+between Bactria and India, and give birth to the river Oxus which
+takes its rise in these mountains and flows 500 miles towards the
+North and as many towards the West, and discharges its waters into
+the Caspian sea; and is accompanied by the Oxus, Dargados, Arthamis,
+Xariaspes, Dargamaim, Ocus and Margus, all very large rivers. From
+the opposite side towards the South rises the great river Indus
+which sends its waters for 600 miles Southwards and receives as
+tributaries in this course the rivers Xaradrus, Hyphasis, Vadris,
+Vandabal Bislaspus to the East, Suastes and Coe to the West, uniting
+with these rivers, and with their waters it flows 800 miles to the
+West; then, turning back by the Arbiti mountains makes an elbow and
+turns Southwards, where after a course of about 100 miles it finds
+the Indian Sea, in which it pours itself by seven branches. On the
+side of the same mountains rises the great Ganges, which river flows
+Southwards for 500 miles and to the Southwest a thousand ... and
+Sarabas, Diarnuna, Soas and Scilo, Condranunda are its tributaries.
+It flows into the Indian sea by many mouths. 
+
+On the natives of hot countries. 
+
+1112. 
+
+Men born in hot countries love the night because it refreshes them
+and have a horror of light because it burns them; and therefore they
+are of the colour of night, that is black. And in cold countries it
+is just the contrary. 
+
+[Footnote: The sketch here inserted is in MS. H3 55b.] 
+
+_XVIII._ 
+
+_Naval Warfare.--Mechanical Appliances.--Music._ 
+
+_Such theoretical questions, as have been laid before the reader in
+Sections XVI and XVII, though they were the chief subjects of
+Leonardo's studies of the sea, did not exclusively claim his
+attention. A few passages have been collected at the beginning of
+this section, which prove that he had turned his mind to the
+practical problems of navigation, and more especially of naval
+warfare. What we know for certain of his life gives us no data, it
+is true, as to when or where these matters came under his
+consideration; but the fact remains certain both from these notes in
+his manuscripts, and from the well known letter to Ludovico il Moro
+(No._ 1340_), in which he expressly states that he is as capable as
+any man, in this very department._ 
+
+_The numerous notes as to the laws and rationale of the flight of
+birds, are scattered through several note-books. An account of these
+is given in the Bibliography of the manuscripts at the end of this
+work. It seems probable that the idea which led him to these
+investigations was his desire to construct a flying or aerial
+machine for man. At the same time it must be admitted that the notes
+on the two subjects are quite unconnected in the manuscripts, and
+that those on the flight of birds are by far the most numerous and
+extensive. The two most important passages that treat of the
+construction of a flying machine are those already published as Tav.
+XVI, No._ 1 _and Tav. XVIII in the_ "Saggio delle opere di Leonardo
+da Vinci" _(Milan_ 1872_). The passages--Nos._ 1120-1125--_here
+printed for the first time and hitherto unknown--refer to the same
+subject and, with the exception of one already published in the
+Saggio-- No._ 1126--_they are, so far as I know, the only notes,
+among the numerous observations on the flight of birds, in which the
+phenomena are incidentally and expressly connected with the idea of
+a flying machine._ 
+
+_The notes on machines of war, the construction of fortifications,
+and similar matters which fall within the department of the
+Engineer, have not been included in this work, for the reasons given
+on page_ 26 _of this Vol. An exception has been made in favour of
+the passages Nos._ 1127 _and_ 1128, _because they have a more
+general interest, as bearing on the important question: whence the
+Master derived his knowledge of these matters. Though it would be
+rash to assert that Leonardo was the first to introduce the science
+of mining into Italy, it may be confidently said that he is one of
+the earliest writers who can be proved to have known and understood
+it; while, on the other hand, it is almost beyond doubt that in the
+East at that time, the whole science of besieging towns and mining
+in particular, was far more advanced than in Europe. This gives a
+peculiar value to the expressions used in No._ 1127. 
+
+_I have been unable to find in the manuscripts any passage whatever
+which throws any light on Leonardo's great reputation as a musician.
+Nothing therein illustrates VASARPS well-known statement:_ Avvenne
+che morto Giovan Galeazze duca di Milano, e creato Lodovico Sforza
+nel grado medesimo anno 1494, fu condotto a Milano con gran
+riputazione Lionardo al duca, il quale molto si dilettava del suono
+della lira, perche sonasse; e Lionardo porto quello strumento
+ch'egli aveva di sua mano fabbricato d'argento gran parte, in forma
+d'un teschio di cavallo, cosa bizzarra e nuova, acciocche l'armonia
+fosse con maggior tuba e piu sonora di voce; laonde supero tutti i
+musici che quivi erano concorsi a sonare. 
+
+_The only notes on musical matters are those given as Nos._ 1129
+_and_ 1130, _which explain certain arrangements in instruments._ 
+
+The ship's logs of Vitruvius, of Alberti and of Leonardo 
+
+1113. 
+
+ON MOVEMENTS;--TO KNOW HOW MUCH A SHIP ADVANCES IN AN HOUR. 
+
+The ancients used various devices to ascertain the distance gone by
+a ship each hour, among which Vitruvius [Footnote 6: See VITRUVIUS,
+_De Architectura lib. X._ C. 14 (p. 264 in the edition of Rose and
+Muller- Strubing). The German edition published at Bale in 1543 has,
+on fol. 596, an illustration of the contrivance, as described by
+Vitruvius.] gives one in his work on Architecture which is just as
+fallacious as all the others; and this is a mill wheel which touches
+the waves of the sea at one end and in each complete revolution
+describes a straight line which represents the circumference of the
+wheel extended to a straightness. But this invention is of no worth
+excepting on the smooth and motionless surface of lakes. But if the
+water moves together with the ship at an equal rate, then the wheel
+remains motionless; and if the motion of the water is more or less
+rapid than that of the ship, then neither has the wheel the same
+motion as the ship so that this invention is of but little use.
+There is another method tried by experiment with a known distance
+between one island and another; and this is done by a board or under
+the pressure of wind which strikes on it with more or less
+swiftness. This is in Battista Alberti [Footnote 25: LEON BATTISTA
+ALBERTI, _De Architectura lib. V._, c. 12 treats '_de le navi e
+parti loro_', but there is no reference to the machine, mentioned by
+Leonardo. Alberti says here: _Noi abbiamo trattato lungamente in
+altro luogo de' modi de le navi, ma in questo luogo ne abbiamo detto
+quel tanto che si bisogna_. To this the following note is added in
+the most recent Italian edition: _Questo libro e tuttora inedito e
+porta il titolo, secondo Gesnero di_ '_Liber navis_'.]. 
+
+Battista Alberti's method which is made by experiment on a known
+distance between one island and another. But such an invention does
+not succeed excepting on a ship like the one on which the experiment
+was made, and it must be of the same burden and have the same sails,
+and the sails in the same places, and the size of the waves must be
+the same. But my method will serve for any ship, whether with oars
+or sails; and whether it be small or large, broad or long, or high
+or low, it always serves [Footnote 52: Leonardo does not reveal the
+method invented by him.]. 
+
+Methods of staying and moving in water 
+
+1114. 
+
+How an army ought to cross rivers by swimming with air-bags ... How
+fishes swim [Footnote 2: Compare No. 821.]; of the way in which they
+jump out of the water, as may be seen with dolphins; and it seems a
+wonderful thing to make a leap from a thing which does not resist
+but slips away. Of the swimming of animals of a long form, such as
+eels and the like. Of the mode of swimming against currents and in
+the rapid falls of rivers. Of the mode of swimming of fishes of a
+round form. How it is that animals which have not long hind quartres
+cannot swim. How it is that all other animals which have feet with
+toes, know by nature how to swim, excepting man. In what way man
+ought to learn to swim. Of the way in which man may rest on the
+water. How man may protect himself against whirlpools or eddies in
+the water, which drag him down. How a man dragged to the bottom must
+seek the reflux which will throw him up from the depths. How he
+ought to move his arms. How to swim on his back. How he can and how
+he cannot stay under water unless he can hold his breath [13]. How
+by means of a certain machine many people may stay some time under
+water. How and why I do not describe my method of remaining under
+water, or how long I can stay without eating; and I do not publish
+nor divulge these by reason of the evil nature of men who would use
+them as means of destruction at the bottom of the sea, by sending
+ships to the bottom, and sinking them together with the men in them.
+And although I will impart others, there is no danger in them;
+because the mouth of the tube, by which you breathe, is above the
+water supported on bags or corks [19]. 
+
+[Footnote: L. 13-19 will also be found in Vol. I No. 1.] 
+
+On naval warfare (1115. 1116). 
+
+1115. 
+
+Supposing in a battle between ships and galleys that the ships are
+victorious by reason of the high of heir tops, you must haul the
+yard up almost to the top of the mast, and at the extremity of the
+yard, that is the end which is turned towards the enemy, have a
+small cage fastened, wrapped up below and all round in a great
+mattress full of cotton so that it may not be injured by the bombs;
+then, with the capstan, haul down the opposite end of this yard and
+the top on the opposite side will go up so high, that it will be far
+above the round-top of the ship, and you will easily drive out the
+men that are in it. But it is necessary that the men who are in the
+galley should go to the opposite side of it so as to afford a
+counterpoise to the weight of the men placed inside the cage on the
+yard. 
+
+1116. 
+
+If you want to build an armada for the sea employ these ships to ram
+in the enemy's ships. That is, make ships 100 feet long and 8 feet
+wide, but arranged so that the left hand rowers may have their oars
+to the right side of the ship, and the right hand ones to the left
+side, as is shown at M, so that the leverage of the oars may be
+longer. And the said ship may be one foot and a half thick, that is
+made with cross beams within and without, with planks in contrary
+directions. And this ship must have attached to it, a foot below the
+water, an iron-shod spike of about the weight and size of an anvil;
+and this, by force of oars may, after it has given the first blow,
+be drawn back, and driven forward again with fury give a second
+blow, and then a third, and so many as to destroy the other ship. 
+
+The use of swimming belts. 
+
+1117. 
+
+A METHOD OF ESCAPING IN A TEMPEST AND SHIPWRECK AT SEA. 
+
+Have a coat made of leather, which must be double across the breast,
+that is having a hem on each side of about a finger breadth. Thus it
+will be double from the waist to the knee; and the leather must be
+quite air-tight. When you want to leap into the sea, blow out the
+skirt of your coat through the double hems of the breast; and jump
+into the sea, and allow yourself to be carried by the waves; when
+you see no shore near, give your attention to the sea you are in,
+and always keep in your mouth the air-tube which leads down into the
+coat; and if now and again you require to take a breath of fresh
+air, and the foam prevents you, you may draw a breath of the air
+within the coat. 
+
+[Footnote: AMORETTI, _Memorie Storiche_, Tav. II. B. Fig. 5, gives
+the same figure, somewhat altered. 6. _La canna dell' aria_. Compare
+Vol. I. No. I. Note] 
+
+On the gravity of water. 
+
+1118. 
+
+If the weight of the sea bears on its bottom, a man, lying on that
+bottom and having l000 braccia of water on his back, would have
+enough to crush him. 
+
+Diving apparatus and Skating (1119-1121). 
+
+1119. 
+
+Of walking under water. Method of walking on water. 
+
+[Footnote: The two sketches belonging to this passage are given by
+AMORETTI, _Memorie Storiche_. Tav. II, Fig. 3 and 4.] 
+
+1120. 
+
+Just as on a frozen river a man may run without moving his feet, so
+a car might be made that would slide by itself. 
+
+[Footnote: The drawings of carts by the side of this text have no
+direct connection with the problem as stated in words.--Compare No.
+1448, l. 17.] 
+
+1121. 
+
+A definition as to why a man who slides on ice does not fall.
+[Footnote: An indistinct sketch accompanies the passage, in the
+original.] 
+
+On Flying machines (1122-1126). 
+
+1122. 
+
+Man when flying must stand free from the waist upwards so as to be
+able to balance himself as he does in a boat so that the centre of
+gravity in himself and in the machine may counterbalance each other,
+and be shifted as necessity demands for the changes of its centre of
+resistance. 
+
+1123. 
+
+Remember that your flying machine must imitate no other than the
+bat, because the web is what by its union gives the armour, or
+strength to the wings. 
+
+If you imitate the wings of feathered birds, you will find a much
+stronger structure, because they are pervious; that is, their
+feathers are separate and the air passes through them. But the bat
+is aided by the web that connects the whole and is not pervious. 
+
+1124. 
+
+TO ESCAPE THE PERIL OF DESTRUCTION. 
+
+Destruction to such a machine may occur in two ways; of which the
+first is the breaking of the machine. The second would be when the
+machine should turn on its edge or nearly on its edge, because it
+ought always to descend in a highly oblique direction, and almost
+exactly balanced on its centre. As regards the first--the breaking
+of the machine--, that may be prevented by making it as strong as
+possible; and in whichever direction it may tend to turn over, one
+centre must be very far from the other; that is, in a machine 30
+braccia long the centres must be 4 braccia one from the other. 
+
+[Footnote: Compare No. 1428.] 
+
+1125. 
+
+Bags by which a man falling from a height of 6 braccia may avoid
+hurting himself, by a fall whether into water or on the ground; and
+these bags, strung together like a rosary, are to be fixed on one's
+back. 
+
+1126. 
+
+An object offers as much resistance to the air as the air does to
+the object. You may see that the beating of its wings against the
+air supports a heavy eagle in the highest and rarest atmosphere,
+close to the sphere of elemental fire. Again you may see the air in
+motion over the sea, fill the swelling sails and drive heavily laden
+ships. From these instances, and the reasons given, a man with wings
+large enough and duly connected might learn to overcome the
+resistance of the air, and by conquering it, succeed in subjugating
+it and rising above it. [Footnote: A parachute is here sketched,
+with an explanatory remark. It is reproduced on Tav. XVI in the
+Saggio, and in: _Leonardo da Vinci als Ingenieur etc., Ein Beitrag
+zur Geschichte der Technik und der induktiven Wissenschaften, von
+Dr. Hermann Grothe, Berlin_ 1874, p. 50.] 
+
+Of mining. 
+
+1127. 
+
+If you want to know where a mine runs, place a drum over all the
+places where you suspect that it is being made, and upon this drum
+put a couple of dice, and when you are over the spot where they are
+mining, the dice will jump a little on the drum at every blow which
+is given underground in the mining. 
+
+There are persons who, having the convenience of a river or a lake
+in their lands, have made, close to the place where they suspect
+that a mine is being made, a great reservoir of water, and have
+countermined the enemy, and having found them, have turned the water
+upon them and destroyed a great number in the mine. 
+
+Of Greek fire. 
+
+1128. 
+
+GREEK FIRE. 
+
+Take charcoal of willow, and saltpetre, and sulphuric acid, and
+sulphur, and pitch, with frankincense and camphor, and Ethiopian
+wool, and boil them all together. This fire is so ready to burn that
+it clings to the timbers even under water. And add to this
+composition liquid varnish, and bituminous oil, and turpentine and
+strong vinegar, and mix all together and dry it in the sun, or in an
+oven when the bread is taken out; and then stick it round hempen or
+other tow, moulding it into a round form, and studding it all over
+with very sharp nails. You must leave in this ball an opening to
+serve as a fusee, and cover it with rosin and sulphur. 
+
+Again, this fire, stuck at the top of a long plank which has one
+braccio length of the end pointed with iron that it may not be burnt
+by the said fire, is good for avoiding and keeping off the ships, so
+as not to be overwhelmed by their onset. 
+
+Again throw vessels of glass full of pitch on to the enemy's ships
+when the men in them are intent on the battle; and then by throwing
+similar burning balls upon them you have it in your power to burn
+all their ships. 
+
+[Footnote: Venturi has given another short text about the Greek fire
+in a French translation (Essai Section XIV). He adds that the
+original text is to be found in MS. B. 30 (?). Libri speaks of it in
+a note as follows (_Histoire des sciences mathematiques en Italie
+Vol. II_ p. 129): _La composition du feu gregeois est une des chases
+qui ont ete les plus cherchees et qui sont encore les plus
+douteuses. On dit qu'il fut invente au septieme siecle de l'ere
+chretienne par l'architecte Callinique (Constantini Porphyrogenetae
+opera, Lugd. Batav._ 1617,-- _in-_8vo; p. 172, _de admin, imper.
+exp._ 48_), et il se trouve souvent mentionne par les Historiens
+Byzantins. Tantot on le langait avec des machines, comme on
+lancerait une banche, tantot on le soufflait avec de longs tubes,
+comme on soufflerait un gaz ou un liquide enflamme (Annae Comnenae
+Alexias_, p. 335, _lib. XI.--Aeliani et Leonis, imperatoris tactica,
+Lugd.-Bat._ 1613, _in_-4. part. 2 a, p. 322, _Leonis tact. cap._
+l9.--_Joinville, histoire du Saint Louis collect. Petitot tom. II,_
+p. 235). _Les ecrivains contemporains disent que l'eau ne pouvait
+pas eteindre ce feu, mais qu'avec du vinaigre et du sable on y
+parvenait. Suivant quelques historiens le feu gregeois etait compose
+de soufre et de resine. Marcus Graecus (Liber ignium, Paris,_ 1804,
+_in_-40_) donne plusieurs manieres de le faire qui ne sont pas tres
+intelligibles, mais parmi lesquelles on trouve la composition de la
+poudre a canon. Leonard de Vinci (MSS. de Leonard de Vinci, vol. B.
+f. 30,) dit qu'on le faisait avec du charbon de saule, du salpetre,
+de l'eau de vie, de la resine, du soufre, de la poix et du camphre.
+Mais il est probable que nous ne savons pas qu'elle etait sa
+composition, surtout a cause du secret qu'en faisaient les Grecs. En
+effet, l'empereur Constantin Porphyrogenete recommende a son fils de
+ne jamais en donner aux Barbares, et de leur repondre, s'ils en
+demandaient, qu'il avait ete apporti du ciel par un ange et que le
+secret en avait ete confie aux Chretiens (Constantini
+Porphyrogennetae opera,_ p. 26-27, _de admin. imper., cap. _12_)._] 
+
+Of Music (1129. 1130). 
+
+1129. 
+
+A drum with cogs working by wheels with springs [2]. 
+
+[Footnote: This chapter consists of explanations of the sketches
+shown on Pl. CXXI. Lines 1 and 2 of the text are to be seen at the
+top at the left hand side of the first sketch of a drum. Lines 3-5
+refer to the sketch immediately below this. Line 6 is written as the
+side of the seventh sketch, and lines 7 and 8 at the side of the
+eighth. Lines 9-16 are at the bottom in the middle. The remainder of
+the text is at the side of the drawing at the bottom.] 
+
+A square drum of which the parchment may be drawn tight or slackened
+by the lever _a b_ [5]. 
+
+A drum for harmony [6]. 
+
+[7] A clapper for harmony; that is, three clappers together. 
+
+[9] Just as one and the same drum makes a deep or acute sound
+according as the parchments are more or less tightened, so these
+parchments variously tightened on one and the same drum will make
+various sounds [16]. 
+
+Keys narrow and close together; (bicchi) far apart; these will be
+right for the trumpet shown above. 
+
+_a_ must enter in the place of the ordinary keys which have the ...
+in the openings of a flute. 
+
+1130. 
+
+Tymbals to be played like the monochord, or the soft flute. 
+
+[6] Here there is to be a cylinder of cane after the manner of
+clappers with a musical round called a Canon, which is sung in four
+parts; each singer singing the whole round. Therefore I here make a
+wheel with 4 teeth so that each tooth takes by itself the part of a
+singer. 
+
+[Footnote: In the original there are some more sketches, to which
+the text, from line 6, refers. They are studies for a contrivance
+exactly like the cylinder in our musical boxes.] 
+
+1131. 
+
+Of decorations. 
+
+White and sky-blue cloths, woven in checks to make a decoration. 
+
+Cloths with the threads drawn at _a b c d e f g h i k_, to go round
+the decoration. 
+
+_XIX._ 
+
+_Philosophical Maxims. Morals. Polemics and Speculations_. 
+
+_Vasari indulges in severe strictures on Leonardo's religious views.
+He speaks, among other things, of his_ "capricci nel filosofar delle
+cose naturali" _and says on this point:_ "Per il che fece nell'animo
+un concetto si eretico che e' non si accostava a qualsi voglia
+religione, stimando per avventura assai piu lo esser filosofo che
+cristiano" _(see the first edition of_ 'Le Vite'_). But this
+accusation on the part of a writer in the days of the Inquisition is
+not a very serious one--and the less so, since, throughout the
+manuscripts, we find nothing to support it._ 
+
+_Under the heading of "Philosophical Maxims" I have collected all
+the passages which can give us a clear comprehension of Leonardo's
+ideas of the world at large. It is scarcely necessary to observe
+that there is absolutely nothing in them to lead to the inference
+that he was an atheist. His views of nature and its laws are no
+doubt very unlike those of his contemporaries, and have a much
+closer affinity to those which find general acceptance at the
+present day. On the other hand, it is obvious from Leonardo's will
+(see No._ 1566_) that, in the year before his death, he had
+professed to adhere to the fundamental doctrines of the Roman
+Catholic faith, and this evidently from his own personal desire and
+impulse._ 
+
+_The incredible and demonstrably fictitious legend of Leonardo's
+death in the arms of Francis the First, is given, with others, by
+Vasari and further embellished by this odious comment:_ "Mostrava
+tuttavia quanto avea offeso Dio e gli uomini del mondo, non avendo
+operato nell'arte come si conveniva." _This last accusation, it may
+be remarked, is above all evidence of the superficial character of
+the information which Vasari was in a position to give about
+Leonardo. It seems to imply that Leonardo was disdainful of diligent
+labour. With regard to the second, referring to Leonardo's morality
+and dealings with his fellow men, Vasari himself nullifies it by
+asserting the very contrary in several passages. A further
+refutation may be found in the following sentence from the letter in
+which Melsi, the young Milanese nobleman, announces the Master's
+death to Leonardo's brothers:_ Credo siate certificati della morte
+di Maestro Lionardo fratello vostro, e mio quanto optimo padre, per
+la cui morte sarebbe impossibile che io potesse esprimere il dolore
+che io ho preso; e in mentre che queste mia membra si sosterranno
+insieme, io possedero una perpetua infelicita, e meritamente perche
+sviscerato et ardentissimo amore mi portava giornalmente. E dolto ad
+ognuno la perdita di tal uomo, quale non e piu in podesta della
+natura, ecc. 
+
+_It is true that, in April_ 1476, _we find the names of Leonardo and
+Verrocchio entered in the_ "Libro degli Uffiziali di notte e de'
+Monasteri" _as breaking the laws; but we immediately after find the
+note_ "Absoluti cum condizione ut retamburentur" (Tamburini _was the
+name given to the warrant cases of the night police). The acquittal
+therefore did not exclude the possibility of a repetition of the
+charge. It was in fact repeated, two months later, and on this
+occasion the Master and his pupil were again fully acquitted.
+Verrocchio was at this time forty and Leonardo four-and-twenty. The
+documents referring to this affair are in the State Archives of
+Florence; they have been withheld from publication, but it seemed to
+me desirable to give the reader this brief account of the leading
+facts of the story, as the vague hints of it, which have recently
+been made public, may have given to the incident an aspect which it
+had not in reality, and which it does not deserve._ 
+
+_The passages here classed under the head "Morals" reveal Leonardo
+to us as a man whose life and conduct were unfailingly governed by
+lofty principles and aims. He could scarcely have recorded his stern
+reprobation and unmeasured contempt for men who do nothing useful
+and strive only for riches, if his own life and ambitions had been
+such as they have so often been misrepresented._ 
+
+_At a period like that, when superstition still exercised unlimited
+dominion over the minds not merely of the illiterate crowd, but of
+the cultivated and learned classes, it was very natural that
+Leonardo's views as to Alchemy, Ghosts, Magicians, and the like
+should be met with stern reprobation whenever and wherever he may
+have expressed them; this accounts for the argumentative tone of all
+his utterances on such subjects which I have collected in
+Subdivision III of this section. To these I have added some passages
+which throw light on Leonardo's personal views on the Universe. They
+are, without exception, characterised by a broad spirit of
+naturalism of which the principles are more strictly applied in his
+essays on Astronomy, and still more on Physical Geography._ 
+
+_To avoid repetition, only such notes on Philosophy, Morals and
+Polemics, have been included in this section as occur as independent
+texts in the original MSS. Several moral reflections have already
+been given in Vol. I, in section "Allegorical representations,
+Mottoes and Emblems". Others will be found in the following section.
+Nos._ 9 _to_ 12, _Vol. I, are also passages of an argumentative
+character. It did not seem requisite to repeat here these and
+similar passages, since their direct connection with the context is
+far closer in places where they have appeared already, than it would
+be here._ 
+
+I. 
+
+PHILOSOPHICAL MAXIMS. 
+
+Prayers to God (1132. 1133). 
+
+1132. 
+
+I obey Thee Lord, first for the love I ought, in all reason to bear
+Thee; secondly for that Thou canst shorten or prolong the lives of
+men. 
+
+1133. 
+
+A PRAYER. 
+
+Thou, O God, dost sell us all good things at the price of labour. 
+
+The powers of Nature (1134-1139). 
+
+1134. 
+
+O admirable impartiality of Thine, Thou first Mover; Thou hast not
+permitted that any force should fail of the order or quality of its
+necessary results. 
+
+1135. 
+
+Necessity is the mistress and guide of nature. 
+
+Necessity is the theme and the inventress, the eternal curb and law
+of nature. 
+
+1136. 
+
+In many cases one and the same thing is attracted by two strong
+forces, namely Necessity and Potency. Water falls in rain; the earth
+absorbs it from the necessity for moisture; and the sun evaporates
+it, not from necessity, but by its power. 
+
+1137. 
+
+Weight, force and casual impulse, together with resistance, are the
+four external powers in which all the visible actions of mortals
+have their being and their end. 
+
+1138. 
+
+Our body is dependant on heaven and heaven on the Spirit. 
+
+1139. 
+
+The motive power is the cause of all life. 
+
+Psychology (1140-1147). 
+
+1140. 
+
+And you, O Man, who will discern in this work of mine the wonderful
+works of Nature, if you think it would be a criminal thing to
+destroy it, reflect how much more criminal it is to take the life of
+a man; and if this, his external form, appears to thee marvellously
+constructed, remember that it is nothing as compared with the soul
+that dwells in that structure; for that indeed, be it what it may,
+is a thing divine. Leave it then to dwell in His work at His good
+will and pleasure, and let not your rage or malice destroy a
+life--for indeed, he who does not value it, does not himself deserve
+it [Footnote 19: In MS. II 15a is the note: _chi no stima la vita,
+non la merita._]. 
+
+[Footnote: This text is on the back of the drawings reproduced on
+Pl. CVII. Compare No. 798, 35 note on p. 111: Compare also No. 837
+and 838.] 
+
+1141. 
+
+The soul can never be corrupted with the corruption of the body,,
+but is in the body as it were the air which causes the sound of the
+organ, where when a pipe bursts, the wind would cease to have any
+good effect. [Footnote: Compare No. 845.] 
+
+1142. 
+
+The part always has a tendency to reunite with its whole in order to
+escape from its imperfection. 
+
+The spirit desires to remain with its body, because, without the
+organic instruments of that body, it can neither act, nor feel
+anything. 
+
+1143. 
+
+If any one wishes to see how the soul dwells in its body, let him
+observe how this body uses its daily habitation; that is to say, if
+this is devoid of order and confused, the body will be kept in
+disorder and confusion by its soul. 
+
+1144. 
+
+Why does the eye see a thing more clearly in dreams than with the
+imagination being awake? 
+
+1145. 
+
+The senses are of the earth; Reason, stands apart in contemplation. 
+
+[Footnote: Compare No. 842.] 
+
+1146. 
+
+Every action needs to be prompted by a motive. 
+
+To know and to will are two operations of the human mind. 
+
+Discerning, judging, deliberating are acts of the human mind. 
+
+1147. 
+
+All our knowledge has its origin in our preceptions. 
+
+Science, its principles and rules (1148--1161) 
+
+1148. 
+
+Science is the observation of things possible, whether present or
+past; prescience is the knowledge of things which may come to pass,
+though but slowly. 
+
+1149. 
+
+Experience, the interpreter between formative nature and the human
+race, teaches how that nature acts among mortals; and being
+constrained by necessity cannot act otherwise than as reason, which
+is its helm, requires her to act. 
+
+1150. 
+
+Wisdom is the daughter of experience. 
+
+1151. 
+
+Nature is full of infinite causes that have never occured in
+experience. 
+
+1152. 
+
+Truth was the only daughter of Time. 
+
+1153. 
+
+Experience never errs; it is only your judgments that err by
+promising themselves effects such as are not caused by your
+experiments. 
+
+Experience does not err; only your judgments err by expecting from
+her what is not in her power. Men wrongly complain of Experience;
+with great abuse they accuse her of leading them astray but they set
+Experience aside, turning from it with complaints as to our
+ignorance causing us to be carried away by vain and foolish desires
+to promise ourselves, in her name, things that are not in her power;
+saying that she is fallacious. Men are unjust in complaining of
+innocent Experience, constantly accusing her of error and of false
+evidence. 
+
+1154. 
+
+Instrumental or mechanical science is of all the noblest and the
+most useful, seeing that by means of this all animated bodies that
+have movement perform all their actions; and these movements are
+based on the centre of gravity which is placed in the middle
+dividing unequal weights, and it has dearth and wealth of muscles
+and also lever and counterlever. 
+
+1155. 
+
+OF MECHANICS. 
+
+Mechanics are the Paradise of mathematical science, because here we
+come to the fruits of mathematics. [Footnote: Compare No. 660, 11.
+19--22 (Vol. I., p. 332). 1156. 
+
+Every instrument requires to be made by experience. 
+
+1157. 
+
+The man who blames the supreme certainty of mathematics feeds on
+confusion, and can never silence the contradictions of sophistical
+sciences which lead to an eternal quackery. 
+
+1158. 
+
+There is no certainty in sciences where one of the mathematical
+sciences cannot be applied, or which are not in relation with these
+mathematics.
+
+1159. 
+
+Any one who in discussion relies upon authority uses, not his
+understanding, but rather his memory. Good culture is born of a good
+disposition; and since the cause is more to be praised than the
+effect, I will rather praise a good disposition without culture,
+than good culture without the disposition. 
+
+1160. 
+
+Science is the captain, and practice the soldiers. 
+
+1161. 
+
+OF THE ERRORS OF THOSE WHO DEPEND ON PRACTICE WITHOUT SCIENCE. 
+
+Those who fall in love with practice without science are like a
+sailor who enters a ship without a helm or a compass, and who never
+can be certain whither he is going. 
+
+II. 
+
+MORALS. 
+
+What is life? (1162. 1163). 
+
+1162. 
+
+Now you see that the hope and the desire of returning home and to
+one's former state is like the moth to the light, and that the man
+who with constant longing awaits with joy each new spring time, each
+new summer, each new month and new year--deeming that the things he
+longs for are ever too late in coming--does not perceive that he is
+longing for his own destruction. But this desire is the very
+quintessence, the spirit of the elements, which finding itself
+imprisoned with the soul is ever longing to return from the human
+body to its giver. And you must know that this same longing is that
+quintessence, inseparable from nature, and that man is the image of
+the world. 
+
+1163. 
+
+O Time! consumer of all things; O envious age! thou dost destroy all
+things and devour all things with the relentless teeth of years,
+little by little in a slow death. Helen, when she looked in her
+mirror, seeing the withered wrinkles made in her face by old age,
+wept and wondered why she had twice been carried away. 
+
+O Time! consumer of all things, and O envious age! by which all
+things are all devoured. 
+
+Death. 
+
+1164. 
+
+Every evil leaves behind a grief in our memory, except the supreme
+evil, that is death, which destroys this memory together with life. 
+
+How to spend life (1165-1170). 
+
+1165. 
+
+0 sleepers! what a thing is slumber! Sleep resembles death. Ah, why
+then dost thou not work in such wise as that after death thou mayst
+retain a resemblance to perfect life, when, during life, thou art in
+sleep so like to the hapless dead? [Footnote: Compare No. 676, Vol.
+I. p. 353.] 
+
+1166. 
+
+One pushes down the other. 
+
+By these square-blocks are meant the life and the studies of men. 
+
+1167. 
+
+The knowledge of past times and of the places on the earth is both
+an ornament and nutriment to the human mind. 
+
+1168. 
+
+To lie is so vile, that even if it were in speaking well of godly
+things it would take off something from God's grace; and Truth is so
+excellent, that if it praises but small things they become noble. 
+
+Beyond a doubt truth bears the same relation to falsehood as light
+to darkness; and this truth is in itself so excellent that, even
+when it dwells on humble and lowly matters, it is still infinitely
+above uncertainty and lies, disguised in high and lofty discourses;
+because in our minds, even if lying should be their fifth element,
+this does not prevent that the truth of things is the chief
+nutriment of superior intellects, though not of wandering wits. 
+
+But you who live in dreams are better pleased by the sophistical
+reasons and frauds of wits in great and uncertain things, than by
+those reasons which are certain and natural and not so far above us.
+
+1169. 
+
+Avoid studies of which the result dies with the worker. 
+
+1170. 
+
+Men are in error when they lament the flight of time, accusing it of
+being too swift, and not perceiving that it is sufficient as it
+passes; but good memory, with which nature has endowed us, causes
+things long past to seem present. 
+
+1171. 
+
+Learning acquired in youth arrests the evil of old age; and if you
+understand that old age has wisdom for its food, you will so conduct
+yourself in youth that your old age will not lack for nourishment. 
+
+1172. 
+
+The acquisition of any knowledge is always of use to the intellect,
+because it may thus drive out useless things and retain the good. 
+
+For nothing can be loved or hated unless it is first known. 
+
+1173. 
+
+As a day well spent procures a happy sleep, so a life well employed
+procures a happy death. 
+
+1174. 
+
+The water you touch in a river is the last of that which has passed,
+and the first of that which is coming. Thus it is with time present.
+
+Life if well spent, is long. 
+
+1175. 
+
+Just as food eaten without caring for it is turned into loathsome
+nourishment, so study without a taste for it spoils memory, by
+retaining nothing which it has taken in. 
+
+1176. 
+
+Just as eating against one's will is injurious to health, so study
+without a liking for it spoils the memory, and it retains nothing it
+takes in. 
+
+1177. 
+
+On Mount Etna the words freeze in your mouth and you may make ice of
+them.[Footnote 2: There is no clue to explain this strange
+sentence.] 
+
+Just as iron rusts unless it is used, and water putrifies or, in
+cold, turns to ice, so our intellect spoils unless it is kept in
+use. 
+
+You do ill if you praise, and still worse if you reprove in a matter
+you do not understand. 
+
+When Fortune comes, seize her in front with a sure hand, because
+behind she is bald. 
+
+1178. 
+
+It seems to me that men of coarse and clumsy habits and of small
+knowledge do not deserve such fine instruments nor so great a
+variety of natural mechanism as men of speculation and of great
+knowledge; but merely a sack in which their food may be stowed and
+whence it may issue, since they cannot be judged to be any thing
+else than vehicles for food; for it seems to me they have nothing
+about them of the human species but the voice and the figure, and
+for all the rest are much below beasts. 
+
+1179. 
+
+Some there are who are nothing else than a passage for food and
+augmentors of excrement and fillers of privies, because through them
+no other things in the world, nor any good effects are produced,
+since nothing but full privies results from them. 
+
+On foolishness and ignorance (1180--1182). 
+
+1180. 
+
+The greatest deception men suffer is from their own opinions. 
+
+1181. 
+
+Folly is the shield of shame, as unreadiness is that of poverty
+glorified. 
+
+1182. 
+
+Blind ignorance misleads us thus and delights with the results of
+lascivious joys. 
+
+Because it does not know the true light. Because it does not know
+what is the true light. 
+
+Vain splendour takes from us the power of being .... behold! for its
+vain splendour we go into the fire, thus blind ignorance does
+mislead us. That is, blind ignorance so misleads us that ... 
+
+O! wretched mortals, open your eyes. 
+
+On riches (1183--1187). 
+
+1183. 
+
+That is not riches, which may be lost; virtue is our true good and
+the true reward of its possessor. That cannot be lost; that never
+deserts us, but when life leaves us. As to property and external
+riches, hold them with trembling; they often leave their possessor
+in contempt, and mocked at for having lost them. 
+
+1184. 
+
+Every man wishes to make money to give it to the doctors, destroyers
+of life; they then ought to be rich. [Footnote 2: Compare No. 856.] 
+
+Man has much power of discourse which for the most part is vain and
+false; animals have but little, but it is useful and true, and a
+small truth is better than a great lie. 
+
+1185. 
+
+He who possesses most must be most afraid of loss. 
+
+1186. 
+
+He who wishes to be rich in a day will be hanged in a year. 
+
+1187. 
+
+That man is of supreme folly who always wants for fear of wanting;
+and his life flies away while he is still hoping to enjoy the good
+things which he has with extreme labour acquired. 
+
+Rules of Life (1188-1202). 
+
+1188. 
+
+If you governed your body by the rules of virtue you would not walk
+on all fours in this world. 
+
+You grow in reputation like bread in the hands of a child.
+[Footnote: The first sentence is obscure. Compare Nos. 825, 826.] 
+
+1189. 
+
+Savage he is who saves himself. 
+
+1190. 
+
+We ought not to desire the impossible. [Footnote: The writing of
+this note, which is exceedingly minute, is reproduced in facsimile
+on Pl. XLI No. 5 above the first diagram. 
+
+1191. 
+
+Ask counsel of him who rules himself well. 
+
+Justice requires power, insight, and will; and it resembles the
+queen-bee. 
+
+He who does not punish evil commands it to be done. 
+
+He who takes the snake by the tail will presently be bitten by it. 
+
+The grave will fall in upon him who digs it. 
+
+1192. 
+
+The man who does not restrain wantonness, allies himself with
+beasts. 
+
+You can have no dominion greater or less than that over yourself. 
+
+He who thinks little, errs much. 
+
+It is easier to contend with evil at the first than at the last. 
+
+No counsel is more loyal than that given on ships which are in
+peril: He may expect loss who acts on the advice of an inexperienced
+youth. 
+
+1193. 
+
+Where there is most feeling, there is the greatest martyrdom;--a
+great martyr. 
+
+1194. 
+
+The memory of benefits is a frail defence against ingratitude. 
+
+Reprove your friend in secret and praise him openly. 
+
+Be not false about the past. 
+
+1195. 
+
+A SIMILE FOR PATIENCE. 
+
+Patience serves us against insults precisely as clothes do against
+the cold. For if you multiply your garments as the cold increases,
+that cold cannot hurt you; in the same way increase your patience
+under great offences, and they cannot hurt your feelings. 
+
+1196. 
+
+To speak well of a base man is much the same as speaking ill of a
+good man. 
+
+1197. 
+
+Envy wounds with false accusations, that is with detraction, a thing
+which scares virtue. 
+
+1198. 
+
+We are deceived by promises and time disappoints us ... [Footnote 2:
+The rest of this passage may be rendered in various ways, but none
+of them give a satisfactory meaning.] 
+
+1199. 
+
+Fear arises sooner than any thing else. 
+
+1200. 
+
+Just as courage imperils life, fear protects it. 
+
+Threats alone are the weapons of the threatened man. 
+
+Wherever good fortune enters, envy lays siege to the place and
+attacks it; and when it departs, sorrow and repentance remain
+behind. 
+
+He who walks straight rarely falls. 
+
+It is bad if you praise, and worse if you reprove a thing, I mean,
+if you do not understand the matter well. 
+
+It is ill to praise, and worse to reprimand in matters that you do
+not understand. 
+
+1201. 
+
+Words which do not satisfy the ear of the hearer weary him or vex
+him, and the symptoms of this you will often see in such hearers in
+their frequent yawns; you therefore, who speak before men whose good
+will you desire, when you see such an excess of fatigue, abridge
+your speech, or change your discourse; and if you do otherwise, then
+instead of the favour you desire, you will get dislike and
+hostility. 
+
+And if you would see in what a man takes pleasure, without hearing
+him speak, change the subject of your discourse in talking to him,
+and when you presently see him intent, without yawning or wrinkling
+his brow or other actions of various kinds, you may be certain that
+the matter of which you are speaking is such as is agreeable to him
+&c. 
+
+1202. 
+
+The lover is moved by the beloved object as the senses are by
+sensible objects; and they unite and become one and the same thing.
+The work is the first thing born of this union; if the thing loved
+is base the lover becomes base. 
+
+When the thing taken into union is perfectly adapted to that which
+receives it, the result is delight and pleasure and satisfaction. 
+
+When that which loves is united to the thing beloved it can rest
+there; when the burden is laid down it finds rest there. 
+
+Politics (1203. 1204). 
+
+1203. 
+
+There will be eternal fame also for the inhabitants of that town,
+constructed and enlarged by him. 
+
+All communities obey and are led by their magnates, and these
+magnates ally themselves with the lords and subjugate them in two
+ways: either by consanguinity, or by fortune; by consanguinity, when
+their children are, as it were, hostages, and a security and pledge
+of their suspected fidelity; by property, when you make each of
+these build a house or two inside your city which may yield some
+revenue and he shall have...; 10 towns, five thousand houses with
+thirty thousand inhabitants, and you will disperse this great
+congregation of people which stand like goats one behind the other,
+filling every place with fetid smells and sowing seeds of pestilence
+and death; 
+
+And the city will gain beauty worthy of its name and to you it will
+be useful by its revenues, and the eternal fame of its
+aggrandizement. 
+
+[Footnote: These notes were possibly written in preparation for a
+letter. The meaning is obscure.] 
+
+1204. 
+
+To preserve Nature's chiefest boon, that is freedom, I can find
+means of offence and defence, when it is assailed by ambitious
+tyrants, and first I will speak of the situation of the walls, and
+also I shall show how communities can maintain their good and just
+Lords. 
+
+[Footnote: Compare No. 1266.] 
+
+III. 
+
+POLEMICS.--SPECULATION. 
+
+Against Speculators (1205. 1206). 
+
+1205. 
+
+Oh! speculators on things, boast not of knowing the things that
+nature ordinarily brings about; but rejoice if you know the end of
+those things which you yourself devise. 
+
+1206. 
+
+Oh! speculators on perpetual motion how many vain projects of the
+like character you have created! Go and be the companions of the
+searchers for gold. [Footnote: Another short passage in MS. I,
+referring also to speculators, is given by LIBRI (_Hist, des
+Sciences math._ III, 228): _Sicche voi speculatori non vi fidate
+delli autori che anno sol col immaginatione voluto farsi interpreti
+tra la natura e l'omo, ma sol di quelli che non coi cienni della
+natura, ma cogli effetti delle sue esperienze anno esercitati i loro
+ingegni._] 
+
+Against alchemists (1207. 1208). 
+
+1207. 
+
+The false interpreters of nature declare that quicksilver is the
+common seed of every metal, not remembering that nature varies the
+seed according to the variety of the things she desires to produce
+in the world. 
+
+1208. 
+
+And many have made a trade of delusions and false miracles,
+deceiving the stupid multitude. 
+
+Against friars. 
+
+1209. 
+
+Pharisees--that is to say, friars. 
+
+[Footnote: Compare No. 837, 11. 54-57, No. 1296 (p. 363 and 364),
+and No. 1305 (p. 370).] 
+
+Against writers of epitomes. 
+
+1210. 
+
+Abbreviators do harm to knowledge and to love, seeing that the love
+of any thing is the offspring of this knowledge, the love being the
+more fervent in proportion as the knowledge is more certain. And
+this certainty is born of a complete knowledge of all the parts,
+which, when combined, compose the totality of the thing which ought
+to be loved. Of what use then is he who abridges the details of
+those matters of which he professes to give thorough information,
+while he leaves behind the chief part of the things of which the
+whole is composed? It is true that impatience, the mother of
+stupidity, praises brevity, as if such persons had not life long
+enough to serve them to acquire a complete knowledge of one single
+subject, such as the human body; and then they want to comprehend
+the mind of God in which the universe is included, weighing it
+minutely and mincing it into infinite parts, as if they had to
+dissect it! 
+
+Oh! human stupidity, do you not perceive that, though you have been
+with yourself all your life, you are not yet aware of the thing you
+possess most of, that is of your folly? and then, with the crowd of
+sophists, you deceive yourselves and others, despising the
+mathematical sciences, in which truth dwells and the knowledge of
+the things included in them. And then you occupy yourself with
+miracles, and write that you possess information of those things of
+which the human mind is incapable and which cannot be proved by any
+instance from nature. And you fancy you have wrought miracles when
+you spoil a work of some speculative mind, and do not perceive that
+you are falling into the same error as that of a man who strips a
+tree of the ornament of its branches covered with leaves mingled
+with the scented blossoms or fruit....... [Footnote 48: _Givstino_,
+Marcus Junianus Justinus, a Roman historian of the second century,
+who compiled an epitome from the general history written by Trogus
+Pompeius, who lived in the time of Augustus. The work of the latter
+writer no longer exist.] as Justinus did, in abridging the histories
+written by Trogus Pompeius, who had written in an ornate style all
+the worthy deeds of his forefathers, full of the most admirable and
+ornamental passages; and so composed a bald work worthy only of
+those impatient spirits, who fancy they are losing as much time as
+that which they employ usefully in studying the works of nature and
+the deeds of men. But these may remain in company of beasts; among
+their associates should be dogs and other animals full of rapine and
+they may hunt with them after...., and then follow helpless beasts,
+which in time of great snows come near to your houses asking alms as
+from their master.... 
+
+On spirits (1211--1213). 
+
+1211. 
+
+O mathematicians shed light on this error. 
+
+The spirit has no voice, because where there is a voice there is a
+body, and where there is a body space is occupied, and this prevents
+the eye from seeing what is placed behind that space; hence the
+surrounding air is filled by the body, that is by its image. 
+
+1212. 
+
+There can be no voice where there is no motion or percussion of the
+air; there can be no percussion of the air where there is no
+instrument, there can be no instrument without a body; and this
+being so, a spirit can have neither voice, nor form, nor strength.
+And if it were to assume a body it could not penetrate nor enter
+where the passages are closed. And if any one should say that by
+air, compressed and compacted together, a spirit may take bodies of
+various forms and by this means speak and move with strength--to him
+I reply that when there are neither nerves nor bones there can be no
+force exercised in any kind of movement made by such imaginary
+spirits. 
+
+Beware of the teaching of these speculators, because their reasoning
+is not confirmed by experience. 
+
+1213. 
+
+Of all human opinions that is to be reputed the most foolish which
+deals with the belief in Necromancy, the sister of Alchemy, which
+gives birth to simple and natural things. But it is all the more
+worthy of reprehension than alchemy, because it brings forth nothing
+but what is like itself, that is, lies; this does not happen in
+Alchemy which deals with simple products of nature and whose
+function cannot be exercised by nature itself, because it has no
+organic instruments with which it can work, as men do by means of
+their hands, who have produced, for instance, glass &c. but this
+Necromancy the flag and flying banner, blown by the winds, is the
+guide of the stupid crowd which is constantly witness to the
+dazzling and endless effects of this art; and there are books full,
+declaring that enchantments and spirits can work and speak without
+tongues and without organic instruments-- without which it is
+impossible to speak-- and can carry heaviest weights and raise
+storms and rain; and that men can be turned into cats and wolves and
+other beasts, although indeed it is those who affirm these things
+who first became beasts. 
+
+And surely if this Necromancy did exist, as is believed by small
+wits, there is nothing on the earth that would be of so much
+importance alike for the detriment and service of men, if it were
+true that there were in such an art a power to disturb the calm
+serenity of the air, converting it into darkness and making
+coruscations or winds, with terrific thunder and lightnings rushing
+through the darkness, and with violent storms overthrowing high
+buildings and rooting up forests; and thus to oppose armies,
+crushing and annihilating them; and, besides these frightful storms
+may deprive the peasants of the reward of their labours.--Now what
+kind of warfare is there to hurt the enemy so much as to deprive him
+of the harvest? What naval warfare could be compared with this? I
+say, the man who has power to command the winds and to make ruinous
+gales by which any fleet may be submerged, --surely a man who could
+command such violent forces would be lord of the nations, and no
+human ingenuity could resist his crushing force. The hidden
+treasures and gems reposing in the body of the earth would all be
+made manifest to him. No lock nor fortress, though impregnable,
+would be able to save any one against the will of the necromancer.
+He would have himself carried through the air from East to West and
+through all the opposite sides of the universe. But why should I
+enlarge further upon this? What is there that could not be done by
+such a craftsman? Almost nothing, except to escape death. Hereby I
+have explained in part the mischief and the usefulness, contained in
+this art, if it is real; and if it is real why has it not remained
+among men who desire it so much, having nothing to do with any
+deity? For I know that there are numberless people who would, to
+satisfy a whim, destroy God and all the universe; and if this
+necromancy, being, as it were, so necessary to men, has not been
+left among them, it can never have existed, nor will it ever exist
+according to the definition of the spirit, which is invisible in
+substance; for within the elements there are no incorporate things,
+because where there is no body, there is a vacuum; and no vacuum can
+exist in the elements because it would be immediately filled up.
+Turn over. 
+
+1214. 
+
+OF SPIRITS. 
+
+We have said, on the other side of this page, that the definition of
+a spirit is a power conjoined to a body; because it cannot move of
+its own accord, nor can it have any kind of motion in space; and if
+you were to say that it moves itself, this cannot be within the
+elements. For, if the spirit is an incorporeal quantity, this
+quantity is called a vacuum, and a vacuum does not exist in nature;
+and granting that one were formed, it would be immediately filled up
+by the rushing in of the element in which the vacuum had been
+generated. Therefore, from the definition of weight, which is
+this--Gravity is an accidental power, created by one element being
+drawn to or suspended in another--it follows that an element, not
+weighing anything compared with itself, has weight in the element
+above it and lighter than it; as we see that the parts of water have
+no gravity or levity compared with other water, but if you draw it
+up into the air, then it would acquire weight, and if you were to
+draw the air beneath the water then the water which remains above
+this air would acquire weight, which weight could not sustain itself
+by itself, whence collapse is inevitable. And this happens in water;
+wherever the vacuum may be in this water it will fall in; and this
+would happen with a spirit amid the elements, where it would
+continuously generate a vacuum in whatever element it might find
+itself, whence it would be inevitable that it should be constantly
+flying towards the sky until it had quitted these elements. 
+
+AS TO WHETHER A SPIRIT HAS A BODY AMID THE ELEMENTS. 
+
+We have proved that a spirit cannot exist of itself amid the
+elements without a body, nor can it move of itself by voluntary
+motion unless it be to rise upwards. But now we will say how such a
+spirit taking an aerial body would be inevitably melt into air;
+because if it remained united, it would be separated and fall to
+form a vacuum, as is said above; therefore it is inevitable, if it
+is to be able to remain suspended in the air, that it should absorb
+a certain quantity of air; and if it were mingled with the air, two
+difficulties arise; that is to say: It must rarefy that portion of
+the air with which it mingles; and for this cause the rarefied air
+must fly up of itself and will not remain among the air that is
+heavier than itself; and besides this the subtle spiritual essence
+disunites itself, and its nature is modified, by which that nature
+loses some of its first virtue. Added to these there is a third
+difficulty, and this is that such a body formed of air assumed by
+the spirits is exposed to the penetrating winds, which are
+incessantly sundering and dispersing the united portions of the air,
+revolving and whirling amidst the rest of the atmosphere; therefore
+the spirit which is infused in this 
+
+1215. 
+
+air would be dismembered or rent and broken up with the rending of
+the air into which it was incorporated. 
+
+AS TO WHETHER THE SPIRIT, HAVING TAKEN THIS BODY OF AIR, CAN MOVE OF
+ITSELF OR NOT. 
+
+It is impossible that the spirit infused into a certain quantity of
+air, should move this air; and this is proved by the above passage
+where it is said: the spirit rarefies that portion of the air in
+which it incorporates itself; therefore this air will rise high
+above the other air and there will be a motion of the air caused by
+its lightness and not by a voluntary movement of the spirit, and if
+this air is encountered by the wind, according to the 3rd of this,
+the air will be moved by the wind and not by the spirit incorporated
+in it. 
+
+AS TO WHETHER THE SPIRIT CAN SPEAK OR NOT. 
+
+In order to prove whether the spirit can speak or not, it is
+necessary in the first place to define what a voice is and how it is
+generated; and we will say that the voice is, as it were, the
+movement of air in friction against a dense body, or a dense body in
+friction against the air,--which is the same thing. And this
+friction of the dense and the rare condenses the rare and causes
+resistance; again, the rare, when in swift motion, and the rare in
+slow motion condense each other when they come in contact and make a
+noise and very great uproar; and the sound or murmur made by the
+rare moving through the rare with only moderate swiftness, like a
+great flame generating noises in the air; and the tremendous uproar
+made by the rare mingling with the rare, and when that air which is
+both swift and rare rushes into that which is itself rare and in
+motion, it is like the flame of fire which issues from a big gun and
+striking against the air; and again when a flame issues from the
+cloud, there is a concussion in the air as the bolt is generated.
+Therefore we may say that the spirit cannot produce a voice without
+movement of the air, and air in it there is none, nor can it emit
+what it has not; and if desires to move that air in which it is
+incorporated, it is necessary that the spirit should multiply
+itself, and that cannot multiply which has no quantity. And in the
+4th place it is said that no rare body can move, if it has not a
+stable spot, whence it may take its motion; much more is it so when
+an element has to move within its own element, which does not move
+of itself, excepting by uniform evaporation at the centre of the
+thing evaporated; as occurs in a sponge squeezed in the hand held
+under water; the water escapes in every direction with equal
+movement through the openings between the fingers of the hand in
+which it is squeezed. 
+
+As to whether the spirit has an articulate voice, and whether the
+spirit can be heard, and what hearing is, and seeing; the wave of
+the voice passes through the air as the images of objects pass to
+the eye. 
+
+Nonentity. 
+
+1216. 
+
+Every quantity is intellectually conceivable as infinitely
+divisible. 
+
+[Amid the vastness of the things among which we live, the existence
+of nothingness holds the first place; its function extends over all
+things that have no existence, and its essence, as regards time,
+lies precisely between the past and the future, and has nothing in
+the present. This nothingness has the part equal to the whole, and
+the whole to the part, the divisible to the indivisible; and the
+product of the sum is the same whether we divide or multiply, and in
+addition as in subtraction; as is proved by arithmeticians by their
+tenth figure which represents zero; and its power has not extension
+among the things of Nature.] 
+
+[What is called Nothingness is to be found only in time and in
+speech. In time it stands between the past and future and has no
+existence in the present; and thus in speech it is one of the things
+of which we say: They are not, or they are impossible.] 
+
+With regard to time, nothingness lies between the past and the
+future, and has nothing to do with the present, and as to its nature
+it is to be classed among things impossible: hence, from what has
+been said, it has no existence; because where there is nothing there
+would necessarily be a vacuum. 
+
+[Footnote: Compare No. 916.] 
+
+Reflections on Nature (1217-1219). 
+
+1217. 
+
+EXAMPLE OF THE LIGHTNING IN CLOUDS. 
+
+[O mighty and once living instrument of formative nature. Incapable
+of availing thyself of thy vast strength thou hast to abandon a life
+of stillness and to obey the law which God and time gave to
+procreative nature.] 
+
+Ah! how many a time the shoals of terrified dolphins and the huge
+tunny-fish were seen to flee before thy cruel fury, to escape;
+whilst thy fulminations raised in the sea a sudden tempest with
+buffeting and submersion of ships in the great waves; and filling
+the uncovered shores with the terrified and desperate fishes which
+fled from thee, and left by the sea, remained in spots where they
+became the abundant prey of the people in the neighbourhood. 
+
+O time, swift robber of all created things, how many kings, how many
+nations hast thou undone, and how many changes of states and of
+various events have happened since the wondrous forms of this fish
+perished here in this cavernous and winding recess. Now destroyed by
+time thou liest patiently in this confined space with bones stripped
+and bare; serving as a support and prop for the superimposed
+mountain. 
+
+[Footnote: The character of the handwriting points to an early
+period of Leonardo's life. It has become very indistinct, and is at
+present exceedingly difficult to decipher. Some passages remain
+doubtful.] 
+
+[Footnote: Compare No. 1339, written on the same sheet.] 
+
+1218. 
+
+The watery element was left enclosed between the raised banks of the
+rivers, and the sea was seen between the uplifted earth and the
+surrounding air which has to envelope and enclose the complicated
+machine of the earth, and whose mass, standing between the water and
+the element of fire, remained much restricted and deprived of its
+indispensable moisture; the rivers will be deprived of their waters,
+the fruitful earth will put forth no more her light verdure; the
+fields will no more be decked with waving corn; all the animals,
+finding no fresh grass for pasture, will die and food will then be
+lacking to the lions and wolves and other beasts of prey, and to men
+who after many efforts will be compelled to abandon their life, and
+the human race will die out. In this way the fertile and fruitful
+earth will remain deserted, arid and sterile from the water being
+shut up in its interior, and from the activity of nature it will
+continue a little time to increase until the cold and subtle air
+being gone, it will be forced to end with the element of fire; and
+then its surface will be left burnt up to cinder and this will be
+the end of all terrestrial nature. [Footnote: Compare No. 1339,
+written on the same sheet.] 
+
+1219. 
+
+Why did nature not ordain that one animal should not live by the
+death of another? Nature, being inconstant and taking pleasure in
+creating and making constantly new lives and forms, because she
+knows that her terrestrial materials become thereby augmented, is
+more ready and more swift in her creating, than time in his
+destruction; and so she has ordained that many animals shall be food
+for others. Nay, this not satisfying her desire, to the same end she
+frequently sends forth certain poisonous and pestilential vapours
+upon the vast increase and congregation of animals; and most of all
+upon men, who increase vastly because other animals do not feed upon
+them; and, the causes being removed, the effects would not follow.
+This earth therefore seeks to lose its life, desiring only continual
+reproduction; and as, by the argument you bring forward and
+demonstrate, like effects always follow like causes, animals are the
+image of the world. 
+
+_XX._ 
+
+_Humorous Writings._ 
+
+_Just as Michaelangelo's occasional poems reflect his private life
+as well as the general disposition of his mind, we may find in the
+writings collected in this section, the transcript of Leonardo's
+fanciful nature, and we should probably not be far wrong in
+assuming, that he himself had recited these fables in the company of
+his friends or at the court festivals of princes and patrons._ Era
+tanto piacevole nella conversazione-- _so relates Vasari_--che
+tirava a se gli animi delle genti. _And Paulus Jovius says in his
+short biography of the artist:_ Fuit ingenio valde comi, nitido,
+liberali, vultu autem longe venustissimo, et cum elegantiae omnis
+deliciarumque maxime theatralium mirificus inventor ac arbiter
+esset, ad lyramque scito caneret, cunctis per omnem aetatem
+principibus mire placuit. _There can be no doubt that the fables are
+the original offspring of Leonardo's brain, and not borrowed from
+any foreign source; indeed the schemes and plans for the composition
+of fables collected in division V seem to afford an external proof
+of this, if the fables themselves did not render it self-evident.
+Several of them-- for instance No._ l279--_are so strikingly
+characteristic of Leonardo's views of natural science that we cannot
+do them justice till we are acquainted with his theories on such
+subjects; and this is equally true of the 'Prophecies'_. 
+
+_I have prefixed to these quaint writings the 'Studies on the life
+and habits of animals' which are singular from their peculiar
+aphoristic style, and I have transcribed them in exactly the order
+in which they are written in MS. H. This is one of the very rare
+instances in which one subject is treated in a consecutive series of
+notes, all in one MS., and Leonardo has also departed from his
+ordinary habits, by occasionally not completing the text on the page
+it is begun. These brief notes of a somewhat mysterious bearing have
+been placed here, simply because they may possibly have been
+intended to serve as hints for fables or allegories. They can
+scarcely be regarded as preparatory for a natural history, rather
+they would seem to be extracts. On the one hand the names of some of
+the animals seem to prove that Leonardo could not here be recording
+observations of his own; on the other hand the notes on their habits
+and life appear to me to dwell precisely on what must have
+interested him most--so far as it is possible to form any complete
+estimate of his nature and tastes._ 
+
+_In No._ 1293 _lines_ 1-10, _we have a sketch of a scheme for
+grouping the Prophecies. I have not however availed myself of it as
+a clue to their arrangement here because, in the first place, the
+texts are not so numerous as to render the suggested classification
+useful to the reader, and, also, because in reading the long series,
+as they occur in the original, we may follow the author's mind; and
+here and there it is not difficult to see how one theme suggested
+another. I have however regarded Leonardo's scheme for the
+classification of the Prophecies as available for that of the Fables
+and Jests, and have adhered to it as far as possible._ 
+
+_Among the humourous writings I might perhaps have included the_
+'Rebusses', _of which there are several in the collection of
+Leonardo's drawings at Windsor; it seems to me not likely that many
+or all of them could be solved at the present day and the MSS. throw
+no light on them. Nor should I be justified if I intended to include
+in the literary works the well-known caricatures of human faces
+attributed to Leonardo-- of which, however, it may be incidentally
+observed, the greater number are in my opinion undoubtedly spurious.
+Two only have necessarily been given owing to their presence in
+text, which it was desired to reproduce: Vol. I page_ 326, _and Pl.
+CXXII. It can scarcely be doubted that some satirical intention is
+conveyed by the drawing on Pl. LXIV (text No. _688_). 
+
+My reason for not presenting Leonardo to the reader as a poet is the
+fact that the maxims and morals in verse which have been ascribed to
+him, are not to be found in the manuscripts, and Prof. Uzielli has
+already proved that they cannot be by him. Hence it would seem that
+only a few short verses can be attributed to him with any
+certainty._ 
+
+I. 
+
+STUDIES ON THE LIFE AND HABITS OF ANIMALS. 
+
+1220. 
+
+THE LOVE OF VIRTUE. 
+
+The gold-finch is a bird of which it is related that, when it is
+carried into the presence of a sick person, if the sick man is going
+to die, the bird turns away its head and never looks at him; but if
+the sick man is to be saved the bird never loses sight of him but is
+the cause of curing him of all his sickness. 
+
+Like unto this is the love of virtue. It never looks at any vile or
+base thing, but rather clings always to pure and virtuous things and
+takes up its abode in a noble heart; as the birds do in green woods
+on flowery branches. And this Love shows itself more in adversity
+than in prosperity; as light does, which shines most where the place
+is darkest. 
+
+1221. 
+
+ENVY. 
+
+We read of the kite that, when it sees its young ones growing too
+big in the nest, out of envy it pecks their sides, and keeps them
+without food. 
+
+CHEERFULNESS. 
+
+Cheerfulness is proper to the cock, which rejoices over every little
+thing, and crows with varied and lively movements. 
+
+SADNESS. 
+
+Sadness resembles the raven, which, when it sees its young ones born
+white, departs in great grief, and abandons them with doleful
+lamentations, and does not feed them until it sees in them some few
+black feathers. 
+
+1222. 
+
+PEACE. 
+
+We read of the beaver that when it is pursued, knowing that it is
+for the virtue [contained] in its medicinal testicles and not being
+able to escape, it stops; and to be at peace with its pursuers, it
+bites off its testicles with its sharp teeth, and leaves them to its
+enemies. 
+
+RAGE. 
+
+It is said of the bear that when it goes to the haunts of bees to
+take their honey, the bees having begun to sting him he leaves the
+honey and rushes to revenge himself. And as he seeks to be revenged
+on all those that sting him, he is revenged on none; in such wise
+that his rage is turned to madness, and he flings himself on the
+ground, vainly exasperating, by his hands and feet, the foes against
+which he is defending himself. 
+
+1223. 
+
+GRATITUDE. 
+
+The virtue of gratitude is said to be more [developed] in the birds
+called hoopoes which, knowing the benefits of life and food, they
+have received from their father and their mother, when they see them
+grow old, make a nest for them and brood over them and feed them,
+and with their beaks pull out their old and shabby feathers; and
+then, with a certain herb restore their sight so that they return to
+a prosperous state. 
+
+AVARICE. 
+
+The toad feeds on earth and always remains lean; because it never
+eats enough:-- it is so afraid lest it should want for earth. 
+
+1224. 
+
+INGRATITUDE. 
+
+Pigeons are a symbol of ingratitude; for when they are old enough no
+longer to need to be fed, they begin to fight with their father, and
+this struggle does not end until the young one drives the father out
+and takes the hen and makes her his own. 
+
+CRUELTY. 
+
+The basilisk is so utterly cruel that when it cannot kill animals by
+its baleful gaze, it turns upon herbs and plants, and fixing its
+gaze on them withers them up. 
+
+1225. 
+
+GENEROSITY. 
+
+It is said of the eagle that it is never so hungry but that it will
+leave a part of its prey for the birds that are round it, which,
+being unable to provide their own food, are necessarily dependent on
+the eagle, since it is thus that they obtain food. 
+
+DISCIPLINE. 
+
+When the wolf goes cunningly round some stable of cattle, and by
+accident puts his foot in a trap, so that he makes a noise, he bites
+his foot off to punish himself for his folly. 
+
+1226. 
+
+FLATTERERS OR SYRENS. 
+
+The syren sings so sweetly that she lulls the mariners to sleep;
+then she climbs upon the ships and kills the sleeping mariners. 
+
+PRUDENCE. 
+
+The ant, by her natural foresight provides in the summer for the
+winter, killing the seeds she harvests that they may not germinate,
+and on them, in due time she feeds. 
+
+FOLLY. 
+
+The wild bull having a horror of a red colour, the hunters dress up
+the trunk of a tree with red and the bull runs at this with great
+frenzy, thus fixing his horns, and forthwith the hunters kill him
+there. 
+
+1227. 
+
+JUSTICE. 
+
+We may liken the virtue of Justice to the king of the bees which
+orders and arranges every thing with judgment. For some bees are
+ordered to go to the flowers, others are ordered to labour, others
+to fight with the wasps, others to clear away all dirt, others to
+accompagny and escort the king; and when he is old and has no wings
+they carry him. And if one of them fails in his duty, he is punished
+without reprieve. 
+
+TRUTH. 
+
+Although partridges steal each other's eggs, nevertheless the young
+born of these eggs always return to their true mother. 
+
+1228. 
+
+FIDELITY, OR LOYALTY. 
+
+The cranes are so faithful and loyal to their king, that at night,
+when he is sleeping, some of them go round the field to keep watch
+at a distance; others remain near, each holding a stone in his foot,
+so that if sleep should overcome them, this stone would fall and
+make so much noise that they would wake up again. And there are
+others which sleep together round the king; and this they do every
+night, changing in turn so that their king may never find them
+wanting. 
+
+FALSEHOOD. 
+
+The fox when it sees a flock of herons or magpies or birds of that
+kind, suddenly flings himself on the ground with his mouth open to
+look as he were dead; and these birds want to peck at his tongue,
+and he bites off their heads. 
+
+1229. 
+
+LIES. 
+
+The mole has very small eyes and it always lives under ground; and
+it lives as long as it is in the dark but when it comes into the
+light it dies immediately, because it becomes known;--and so it is
+with lies. 
+
+VALOUR. 
+
+The lion is never afraid, but rather fights with a bold spirit and
+savage onslaught against a multitude of hunters, always seeking to
+injure the first that injures him. 
+
+FEAR OR COWARDICE. 
+
+The hare is always frightened; and the leaves that fall from the
+trees in autumn always keep him in terror and generally put him to
+flight. 
+
+1230. 
+
+MAGNANIMITY. 
+
+The falcon never preys but on large birds; and it will let itself
+die rather than feed on little ones, or eat stinking meat. 
+
+VAIN GLORY. 
+
+As regards this vice, we read that the peacock is more guilty of it
+than any other animal. For it is always contemplating the beauty of
+its tail, which it spreads in the form of a wheel, and by its cries
+attracts to itself the gaze of the creatures that surround it. 
+
+And this is the last vice to be conquered. 
+
+1231. 
+
+CONSTANCY. 
+
+Constancy may be symbolised by the phoenix which, knowing that by
+nature it must be resuscitated, has the constancy to endure the
+burning flames which consume it, and then it rises anew. 
+
+INCONSTANCY. 
+
+The swallow may serve for Inconstancy, for it is always in movement,
+since it cannot endure the smallest discomfort. 
+
+CONTINENCE. 
+
+The camel is the most lustful animal there is, and will follow the
+female for a thousand miles. But if you keep it constantly with its
+mother or sister it will leave them alone, so temperate is its
+nature. 
+
+1232. 
+
+INCONTINENCE. 
+
+The unicorn, through its intemperance and not knowing how to control
+itself, for the love it bears to fair maidens forgets its ferocity
+and wildness; and laying aside all fear it will go up to a seated
+damsel and go to sleep in her lap, and thus the hunters take it. 
+
+HUMILITY. 
+
+We see the most striking example of humility in the lamb which will
+submit to any animal; and when they are given for food to imprisoned
+lions they are as gentle to them as to their own mother, so that
+very often it has been seen that the lions forbear to kill them. 
+
+1233. 
+
+PRIDE. 
+
+The falcon, by reason of its haughtiness and pride, is fain to lord
+it and rule over all the other birds of prey, and longs to be sole
+and supreme; and very often the falcon has been seen to assault the
+eagle, the Queen of birds. 
+
+ABSTINENCE. 
+
+The wild ass, when it goes to the well to drink, and finds the water
+troubled, is never so thirsty but that it will abstain from
+drinking, and wait till the water is clear again. 
+
+GLUTTONY. 
+
+The vulture is so addicted to gluttony that it will go a thousand
+miles to eat a carrion [carcase]; therefore is it that it follows
+armies. 
+
+1234. 
+
+CHASTITY. 
+
+The turtle-dove is never false to its mate; and if one dies the
+other preserves perpetual chastity, and never again sits on a green
+bough, nor ever again drinks of clear water. 
+
+UNCHASTITY. 
+
+The bat, owing to unbridled lust, observes no universal rule in
+pairing, but males with males and females with females pair
+promiscuously, as it may happen. 
+
+MODERATION. 
+
+The ermine out of moderation never eats but once in the day; it will
+rather let itself be taken by the hunters than take refuge in a
+dirty lair, in order not to stain its purity. 
+
+1235. 
+
+THE EAGLE. 
+
+The eagle when it is old flies so high that it scorches its
+feathers, and Nature allowing that it should renew its youth, it
+falls into shallow water [Footnote 5: The meaning is obscure.]. And
+if its young ones cannot bear to gaze on the sun [Footnote 6: The
+meaning is obscure.]--; it does not feed them with any bird, that
+does not wish to die. Animals which much fear it do not approach its
+nest, although it does not hurt them. It always leaves part of its
+prey uneaten. 
+
+LUMERPA,--FAME. 
+
+This is found in Asia Major, and shines so brightly that it absorbs
+its own shadow, and when it dies it does not lose this light, and
+its feathers never fall out, but a feather pulled out shines no
+longer. 
+
+1236. 
+
+THE PELICAN. 
+
+This bird has a great love for its young; and when it finds them in
+its nest dead from a serpent's bite, it pierces itself to the heart,
+and with its blood it bathes them till they return to life. 
+
+THE SALAMANDER. 
+
+This has no digestive organs, and gets no food but from the fire, in
+which it constantly renews its scaly skin. 
+
+The salamander, which renews its scaly skin in the fire,--for
+virtue. 
+
+THE CAMELEON. 
+
+This lives on air, and there it is the prey of all the birds; so in
+order to be safer it flies above the clouds and finds an air so
+rarefied that it cannot support the bird that follows it. 
+
+At that height nothing can go unless it has a gift from Heaven, and
+that is where the chameleon flies. 
+
+1237. 
+
+THE ALEPO, A FISH. 
+
+The fish _alepo_ does not live out of water. 
+
+THE OSTRICH. 
+
+This bird converts iron into nourishment, and hatches its eggs by
+its gaze;--Armies under commanders. 
+
+THE SWAN. 
+
+The swan is white without any spot, and it sings sweetly as it dies,
+its life ending with that song. 
+
+THE STORK. 
+
+This bird, by drinking saltwater purges itself of distempers. If the
+male finds his mate unfaithful, he abandons her; and when it grows
+old its young ones brood over it, and feed it till it dies. 
+
+1238. 
+
+THE GRASSHOPPER. 
+
+This silences the cuckoo with its song. It dies in oil and revives
+in vinegar. It sings in the greatest heats 
+
+THE BAT. 
+
+The more light there is the blinder this creature becomes; as those
+who gaze most at the sun become most dazzled.--For Vice, that cannot
+remain where Virtue appears. 
+
+THE PARTRIDGE. 
+
+This bird changes from the female into the male and forgets its
+former sex; and out of envy it steals the eggs from others and
+hatches them, but the young ones follow the true mother. 
+
+THE SWALLOW. 
+
+This bird gives sight to its blind young ones by means of celandine.
+
+1239. 
+
+THE OYSTER.--FOR TREACHERY. 
+
+This creature, when the moon is full opens itself wide, and when the
+crab looks in he throws in a piece of rock or seaweed and the oyster
+cannot close again, whereby it serves for food to that crab. This is
+what happens to him who opens his mouth to tell his secret. He
+becomes the prey of the treacherous hearer. 
+
+THE BASILISK.--CRUELTY. 
+
+All snakes flie from this creature; but the weasel attacks it by
+means of rue and kills it. 
+
+THE ASP. 
+
+This carries instantaneous death in its fangs; and, that it may not
+hear the charmer it stops its ears with its tail. 
+
+1240. 
+
+THE DRAGON. 
+
+This creature entangles itself in the legs of the elephant which
+falls upon it, and so both die, and in its death it is avenged. 
+
+THE VIPER. 
+
+She, in pairing opens her mouth and at last clenches her teeth and
+kills her husband. Then the young ones, growing within her body rend
+her open and kill their mother. 
+
+THE SCORPION. 
+
+Saliva, spit out when fasting will kill a scorpion. This may be
+likened to abstinence from greediness, which removes and heals the
+ills which result from that gluttony, and opens the path of virtue. 
+
+1241. 
+
+THE CROCODILE. HYPOCRISY. 
+
+This animal catches a man and straightway kills him; after he is
+dead, it weeps for him with a lamentable voice and many tears. Then,
+having done lamenting, it cruelly devours him. It is thus with the
+hypocrite, who, for the smallest matter, has his face bathed with
+tears, but shows the heart of a tiger and rejoices in his heart at
+the woes of others, while wearing a pitiful face. 
+
+THE TOAD. 
+
+The toad flies from the light of the sun, and if it is held there by
+force it puffs itself out so much as to hide its head below and
+shield itself from the rays. Thus does the foe of clear and radiant
+virtue, who can only be constrainedly brought to face it with puffed
+up courage. 
+
+1242. 
+
+THE CATERPILLAR.--FOR VIRTUE IN GENERAL. 
+
+The caterpillar, which by means of assiduous care is able to weave
+round itself a new dwelling place with marvellous artifice and fine
+workmanship, comes out of it afterwards with painted and lovely
+wings, with which it rises towards Heaven. 
+
+THE SPIDER. 
+
+The spider brings forth out of herself the delicate and ingenious
+web, which makes her a return by the prey it takes. 
+
+[Footnote: Two notes are underneath this text. The first: _'nessuna
+chosa e da ttemere piu che lla sozza fama'_ is a repetition of the
+first line of the text given in Vol. I No. 695. 
+
+The second: _faticha fugga cholla fama in braccio quasi ochultata c_
+is written in red chalk and is evidently an incomplete sentence.] 
+
+1243. 
+
+THE LION. 
+
+This animal, with his thundering roar, rouses his young the third
+day after they are born, teaching them the use of all their dormant
+senses and all the wild things which are in the wood flee away. 
+
+This may be compared to the children of Virtue who are roused by the
+sound of praise and grow up in honourable studies, by which they are
+more and more elevated; while all that is base flies at the sound,
+shunning those who are virtuous. 
+
+Again, the lion covers over its foot tracks, so that the way it has
+gone may not be known to its enemies. Thus it beseems a captain to
+conceal the secrets of his mind so that the enemy may not know his
+purpose. 
+
+1244. 
+
+THE TARANTULA. 
+
+The bite of the tarantula fixes a man's mind on one idea; that is on
+the thing he was thinking of when he was bitten. 
+
+THE SCREECH-OWL AND THE OWL. 
+
+These punish those who are scoffing at them by pecking out their
+eyes; for nature has so ordered it, that they may thus be fed. 
+
+1245. 
+
+THE ELEPHANT. 
+
+The huge elephant has by nature what is rarely found in man; that is
+Honesty, Prudence, Justice, and the Observance of Religion; inasmuch
+as when the moon is new, these beasts go down to the rivers, and
+there, solemnly cleansing themselves, they bathe, and so, having
+saluted the planet, return to the woods. And when they are ill,
+being laid down, they fling up plants towards Heaven as though they
+would offer sacrifice. --They bury their tusks when they fall out
+from old age.--Of these two tusks they use one to dig up roots for
+food; but they save the point of the other for fighting with; when
+they are taken by hunters and when worn out by fatigue, they dig up
+these buried tusks and ransom themselves. 
+
+1246. 
+
+They are merciful, and know the dangers, and if one finds a man
+alone and lost, he kindly puts him back in the road he has missed,
+if he finds the footprints of the man before the man himself. It
+dreads betrayal, so it stops and blows, pointing it out to the other
+elephants who form in a troop and go warily. 
+
+These beasts always go in troops, and the oldest goes in front and
+the second in age remains the last, and thus they enclose the troop.
+Out of shame they pair only at night and secretly, nor do they then
+rejoin the herd but first bathe in the river. The females do not
+fight as with other animals; and it is so merciful that it is most
+unwilling by nature ever to hurt those weaker than itself. And if it
+meets in the middle of its way a flock of sheep 
+
+1247. 
+
+it puts them aside with its trunk, so as not to trample them under
+foot; and it never hurts any thing unless when provoked. When one
+has fallen into a pit the others fill up the pit with branches,
+earth and stones, thus raising the bottom that he may easily get
+out. They greatly dread the noise of swine and fly in confusion,
+doing no less harm then, with their feet, to their own kind than to
+the enemy. They delight in rivers and are always wandering about
+near them, though on account of their great weight they cannot swim.
+They devour stones, and the trunks of trees are their favourite
+food. They have a horror of rats. Flies delight in their smell and
+settle on their back, and the beast scrapes its skin making its
+folds even and kills them. 
+
+1248. 
+
+When they cross rivers they send their young ones up against the
+stream of the water; thus, being set towards the fall, they break
+the united current of the water so that the current does not carry
+them away. The dragon flings itself under the elephant's body, and
+with its tail it ties its legs; with its wings and with its arms it
+also clings round its ribs and cuts its throat with its teeth, and
+the elephant falls upon it and the dragon is burst. Thus, in its
+death it is revenged on its foe. 
+
+THE DRAGON. 
+
+These go in companies together, and they twine themselves after the
+manner of roots, and with their heads raised they cross lakes, and
+swim to where they find better pasture; and if they did not thus
+combine 
+
+1249. 
+
+they would be drowned, therefore they combine. 
+
+THE SERPENT. 
+
+The serpent is a very large animal. When it sees a bird in the air
+it draws in its breath so strongly that it draws the birds into its
+mouth too. Marcus Regulus, the consul of the Roman army was
+attacked, with his army, by such an animal and almost defeated. And
+this animal, being killed by a catapult, measured 123 feet, that is
+64 1/2 braccia and its head was high above all the trees in a wood. 
+
+THE BOA(?) 
+
+This is a very large snake which entangles itself round the legs of
+the cow so that it cannot move and then sucks it, in such wise that
+it almost dries it up. In the time of Claudius the Emperor, there
+was killed, on the Vatican Hill, 
+
+1250. 
+
+one which had inside it a boy, entire, that it had swallowed. 
+
+THE MACLI.--CAUGHT WHEN ASLEEP. 
+
+This beast is born in Scandinavia. It has the shape of a great
+horse, excepting that the great length of its neck and of its ears
+make a difference. It feeds on grass, going backwards, for it has so
+long an upper lip that if it went forwards it would cover up the
+grass. Its legs are all in one piece; for this reason when it wants
+to sleep it leans against a tree, and the hunters, spying out the
+place where it is wont to sleep, saw the tree almost through, and
+then, when it leans against it to sleep, in its sleep it falls, and
+thus the hunters take it. And every other mode of taking it is in
+vain, because it is incredibly swift in running. 
+
+1251. 
+
+THE BISON WHICH DOES INJURY IN ITS FLIGHT. 
+
+This beast is a native of Paeonia and has a neck with a mane like a
+horse. In all its other parts it is like a bull, excepting that its
+horns are in a way bent inwards so that it cannot butt; hence it has
+no safety but in flight, in which it flings out its excrement to a
+distance of 400 braccia in its course, and this burns like fire
+wherever it touches. 
+
+LIONS, PARDS, PANTHERS, TIGERS. 
+
+These keep their claws in the sheath, and never put them out unless
+they are on the back of their prey or their enemy. 
+
+THE LIONESS. 
+
+When the lioness defends her young from the hand of the hunter, in
+order not to be frightened by the spears she keeps her eyes on the
+ground, to the end that she may not by her flight leave her young
+ones prisoners. 
+
+1252. 
+
+THE LION. 
+
+This animal, which is so terrible, fears nothing more than the noise
+of empty carts, and likewise the crowing of cocks. And it is much
+terrified at the sight of one, and looks at its comb with a
+frightened aspect, and is strangely alarmed when its face is
+covered. 
+
+THE PANTHER IN AFRICA. 
+
+This has the form of the lioness but it is taller on its legs and
+slimmer and long bodied; and it is all white and marked with black
+spots after the manner of rosettes; and all animals delight to look
+upon these rosettes, and they would always be standing round it if
+it were not for the terror of its face; 
+
+1253. 
+
+therefore knowing this, it hides its face, and the surrounding
+animals grow bold and come close, the better to enjoy the sight of
+so much beauty; when suddenly it seizes the nearest and at once
+devours it. 
+
+CAMELS. 
+
+The Bactrian have two humps; the Arabian one only. They are swift in
+battle and most useful to carry burdens. This animal is extremely
+observant of rule and measure, for it will not move if it has a
+greater weight than it is used to, and if it is taken too far it
+does the same, and suddenly stops and so the merchants are obliged
+to lodge there. 
+
+1254. 
+
+THE TIGER. 
+
+This beast is a native of Hyrcania, and it is something like the
+panther from the various spots on its skin. It is an animal of
+terrible swiftness; the hunter when he finds its young ones carries
+them off hastily, placing mirrors in the place whence he takes them,
+and at once escapes on a swift horse. The panther returning finds
+the mirrors fixed on the ground and looking into them believes it
+sees its young; then scratching with its paws it discovers the
+cheat. Forthwith, by means of the scent of its young, it follows the
+hunter, and when this hunter sees the tigress he drops one of the
+young ones and she takes it, and having carried it to the den she
+immediately returns to the hunter and does 
+
+1255. 
+
+the same till he gets into his boat. 
+
+CATOBLEPAS. 
+
+It is found in Ethiopia near to the source Nigricapo. It is not a
+very large animal, is sluggish in all its parts, and its head is so
+large that it carries it with difficulty, in such wise that it
+always droops towards the ground; otherwise it would be a great pest
+to man, for any one on whom it fixes its eyes dies immediately.
+[Footnote: Leonardo undoubtedly derived these remarks as to the
+Catoblepas from Pliny, Hist. Nat. VIII. 21 (al. 32): _Apud Hesperios
+Aethiopas fons est Nigris_ (different readings), _ut plerique
+existimavere, Nili caput.-----Juxta hunc fera appellatur catoblepas,
+modica alioquin, ceterisque membris iners, caput tantum praegrave
+aegre ferens; alias internecio humani generis, omnibus qui oculos
+ejus videre, confestim morientibus._ Aelian, _Hist. An._ gives a far
+more minute description of the creature, but he says that it poisons
+beasts not by its gaze, but by its venomous breath. Athenaeus 221 B,
+mentions both. If Leonardo had known of these two passages, he would
+scarcely have omitted the poisonous breath. (H. MULLER-STRUBING.)] 
+
+THE BASILISK. 
+
+This is found in the province of Cyrenaica and is not more than 12
+fingers long. It has on its head a white spot after the fashion of a
+diadem. It scares all serpents with its whistling. It resembles a
+snake, but does not move by wriggling but from the centre forwards
+to the right. It is said that one 
+
+1256. 
+
+of these, being killed with a spear by one who was on horse-back,
+and its venom flowing on the spear, not only the man but the horse
+also died. It spoils the wheat and not only that which it touches,
+but where it breathes the grass dries and the stones are split. 
+
+THE WEASEL. 
+
+This beast finding the lair of the basilisk kills it with the smell
+of its urine, and this smell, indeed, often kills the weasel itself.
+
+THE CERASTES. 
+
+This has four movable little horns; so, when it wants to feed, it
+hides under leaves all of its body except these little horns which,
+as they move, seem to the birds to be some small worms at play. Then
+they immediately swoop down to pick them and the Cerastes suddenly
+twines round them and encircles and devours them. 
+
+1257. 
+
+THE AMPHISBOENA. 
+
+This has two heads, one in its proper place the other at the tail;
+as if one place were not enough from which to fling its venom. 
+
+THE IACULUS. 
+
+This lies on trees, and flings itself down like a dart, and pierces
+through the wild beast and kills them. 
+
+THE ASP. 
+
+The bite of this animal cannot be cured unless by immediately
+cutting out the bitten part. This pestilential animal has such a
+love for its mate that they always go in company. And if, by mishap,
+one of them is killed the other, with incredible swiftness, follows
+him who has killed it; and it is so determined and eager for
+vengeance that it overcomes every difficulty, and passing by every
+troop it seeks to hurt none but its enemy. And it will travel any
+distance, and it is impossible to avoid it unless by crossing water
+and by very swift flight. It has its eyes turned inwards, and large
+ears and it hears better than it sees. 
+
+1258. 
+
+THE ICHNEUMON. 
+
+This animal is the mortal enemy of the asp. It is a native of Egypt
+and when it sees an asp near its place, it runs at once to the bed
+or mud of the Nile and with this makes itself muddy all over, then
+it dries itself in the sun, smears itself again with mud, and thus,
+drying one after the other, it makes itself three or four coatings
+like a coat of mail. Then it attacks the asp, and fights well with
+him, so that, taking its time it catches him in the throat and
+destroys him. 
+
+THE CROCODILE. 
+
+This is found in the Nile, it has four feet and lives on land and in
+water. No other terrestrial creature but this is found to have no
+tongue, and it only bites by moving its upper jaw. It grows to a
+length of forty feet and has claws and is armed with a hide that
+will take any blow. By day it is on land and at night in the water.
+It feeds on fishes, and going to sleep on the bank of the Nile with
+its mouth open, a bird called 
+
+1259. 
+
+trochilus, a very small bird, runs at once to its mouth and hops
+among its teeth and goes pecking out the remains of the food, and so
+inciting it with voluptuous delight tempts it to open the whole of
+its mouth, and so it sleeps. This being observed by the ichneumon it
+flings itself into its mouth and perforates its stomach and bowels,
+and finally kills it. 
+
+THE DOLPHIN. 
+
+Nature has given such knowledge to animals, that besides the
+consciousness of their own advantages they know the disadvantages of
+their foes. Thus the dolphin understands what strength lies in a cut
+from the fins placed on his chine, and how tender is the belly of
+the crocodile; hence in fighting with him it thrusts at him from
+beneath and rips up his belly and so kills him. 
+
+The crocodile is a terror to those that flee, and a base coward to
+those that pursue him. 
+
+1260. 
+
+THE HIPPOPOTAMUS. 
+
+This beast when it feels itself over-full goes about seeking thorns,
+or where there may be the remains of canes that have been split, and
+it rubs against them till a vein is opened; then when the blood has
+flowed as much as he needs, he plasters himself with mud and heals
+the wound. In form he is something like a horse with long haunches,
+a twisted tail and the teeth of a wild boar, his neck has a mane;
+the skin cannot be pierced, unless when he is bathing; he feeds on
+plants in the fields and goes into them backwards so that it may
+seem, as though he had come out. 
+
+THE IBIS. 
+
+This bird resembles a crane, and when it feels itself ill it fills
+its craw with water, and with its beak makes an injection of it. 
+
+THE STAG. 
+
+These creatures when they feel themselves bitten by the spider
+called father-long-legs, eat crabs and free themselves of the venom.
+
+1261. 
+
+THE LIZARD. 
+
+This, when fighting with serpents eats the sow-thistle and is free. 
+
+THE SWALLOW. 
+
+This [bird] gives sight to its blind young ones, with the juice of
+the celandine. 
+
+THE WEASEL. 
+
+This, when chasing rats first eats of rue. 
+
+THE WILD BOAR. 
+
+This beast cures its sickness by eating of ivy. 
+
+THE SNAKE. 
+
+This creature when it wants to renew itself casts its old skin,
+beginning with the head, and changing in one day and one night. 
+
+THE PANTHER. 
+
+This beast after its bowels have fallen out will still fight with
+the dogs and hunters. 
+
+1262. 
+
+THE CHAMELEON. 
+
+This creature always takes the colour of the thing on which it is
+resting, whence it is often devoured together with the leaves on
+which the elephant feeds. 
+
+THE RAVEN. 
+
+When it has killed the Chameleon it takes laurel as a purge. 
+
+1263. 
+
+Moderation checks all the vices. The ermine will die rather than
+besmirch itself. 
+
+OF FORESIGHT. 
+
+The cock does not crow till it has thrice flapped its wings; the
+parrot in moving among boughs never puts its feet excepting where it
+has first put its beak. Vows are not made till Hope is dead. 
+
+Motion tends towards the centre of gravity. 
+
+1264. 
+
+MAGNANIMITY. 
+
+The falcon never seizes any but large birds and will sooner die than
+eat [tainted] meat of bad savour. 
+
+II. 
+
+FABLES. 
+
+Fables on animals (1265-1270). 
+
+1265. 
+
+A FABLE. 
+
+An oyster being turned out together with other fish in the house of
+a fisherman near the sea, he entreated a rat to take him to the sea.
+The rat purposing to eat him bid him open; but as he bit him the
+oyster squeezed his head and closed; and the cat came and killed
+him. 
+
+1266. 
+
+A FABLE. 
+
+The thrushes rejoiced greatly at seeing a man take the owl and
+deprive her of liberty, tying her feet with strong bonds. But this
+owl was afterwards by means of bird-lime the cause of the thrushes
+losing not only their liberty, but their life. This is said for
+those countries which rejoice in seeing their governors lose their
+liberty, when by that means they themselves lose all succour, and
+remain in bondage in the power of their enemies, losing their
+liberty and often their life. 
+
+1267. 
+
+A FABLE. 
+
+A dog, lying asleep on the fur of a sheep, one of his fleas,
+perceiving the odour of the greasy wool, judged that this must be a
+land of better living, and also more secure from the teeth and nails
+of the dog than where he fed on the dog; and without farther
+reflection he left the dog and went into the thick wool. There he
+began with great labour to try to pass among the roots of the hairs;
+but after much sweating had to give up the task as vain, because
+these hairs were so close that they almost touched each other, and
+there was no space where fleas could taste the skin. Hence, after
+much labour and fatigue, he began to wish to return to his dog, who
+however had already departed; so he was constrained after long
+repentance and bitter tears, to die of hunger. 
+
+1268. 
+
+A FABLE. 
+
+The vain and wandering butterfly, not content with being able to fly
+at its ease through the air, overcome by the tempting flame of the
+candle, decided to fly into it; but its sportive impulse was the
+cause of a sudden fall, for its delicate wings were burnt in the
+flame. And the hapless butterfly having dropped, all scorched, at
+the foot of the candlestick, after much lamentation and repentance,
+dried the tears from its swimming eyes, and raising its face
+exclaimed: O false light! how many must thou have miserably deceived
+in the past, like me; or if I must indeed see light so near, ought I
+not to have known the sun from the false glare of dirty tallow? 
+
+A FABLE. 
+
+The monkey, finding a nest of small birds, went up to it greatly
+delighted. But they, being already fledged, he could only succeed in
+taking the smallest; greatly delighted he took it in his hand and
+went to his abode; and having begun to look at the little bird he
+took to kissing it, and from excess of love he kissed it so much and
+turned it about and squeezed it till he killed it. This is said for
+those who by not punishing their children let them come to mischief.
+
+1269. 
+
+A FABLE. 
+
+A rat was besieged in his little dwelling by a weasel, which with
+unwearied vigilance awaited his surrender, while watching his
+imminent peril through a little hole. Meanwhile the cat came by and
+suddenly seized the weasel and forthwith devoured it. Then the rat
+offered up a sacrifice to Jove of some of his store of nuts, humbly
+thanking His providence, and came out of his hole to enjoy his
+lately lost liberty. But he was instantly deprived of it, together
+with his life, by the cruel claws and teeth of the lurking cat. 
+
+1270. 
+
+A FABLE. 
+
+The ant found a grain of millet. The seed feeling itself taken
+prisoner cried out to her: "If you will do me the kindness to allow
+me accomplish my function of reproduction, I will give you a hundred
+such as I am." And so it was. 
+
+A Spider found a bunch of grapes which for its sweetness was much
+resorted to by bees and divers kinds of flies. It seemed to her that
+she had found a most convenient spot to spread her snare, and having
+settled herself on it with her delicate web, and entered into her
+new habitation, there, every day placing herself in the openings
+made by the spaces between the grapes, she fell like a thief on the
+wretched creatures which were not aware of her. But, after a few
+days had passed, the vintager came, and cut away the bunch of grapes
+and put it with others, with which it was trodden; and thus the
+grapes were a snare and pitfall both for the treacherous spider and
+the betrayed flies. 
+
+An ass having gone to sleep on the ice over a deep lake, his heat
+dissolved the ice and the ass awoke under water to his great grief,
+and was forthwith drowned. 
+
+A falcon, unable to endure with patience the disappearance of a
+duck, which, flying before him had plunged under water, wished to
+follow it under water, and having soaked his feathers had to remain
+in the water while the duck rising to the air mocked at the falcon
+as he drowned. 
+
+The spider wishing to take flies in her treacherous net, was cruelly
+killed in it by the hornet. 
+
+An eagle wanting to mock at the owl was caught by the wings in
+bird-lime and was taken and killed by a man. 
+
+Fables on lifeless objects (1271--1274). 
+
+1271. 
+
+The water finding that its element was the lordly ocean, was seized
+with a desire to rise above the air, and being encouraged by the
+element of fire and rising as a very subtle vapour, it seemed as
+though it were really as thin as air. But having risen very high, it
+reached the air that was still more rare and cold, where the fire
+forsook it, and the minute particles, being brought together, united
+and became heavy; whence its haughtiness deserting it, it betook
+itself to flight and it fell from the sky, and was drunk up by the
+dry earth, where, being imprisoned for a long time, it did penance
+for its sin. 
+
+1272. 
+
+A FABLE. 
+
+The razor having one day come forth from the handle which serves as
+its sheath and having placed himself in the sun, saw the sun
+reflected in his body, which filled him with great pride. And
+turning it over in his thoughts he began to say to himself: "And
+shall I return again to that shop from which I have just come?
+Certainly not; such splendid beauty shall not, please God, be turned
+to such base uses. What folly it would be that could lead me to
+shave the lathered beards of rustic peasants and perform such menial
+service! Is this body destined for such work? Certainly not. I will
+hide myself in some retired spot and there pass my life in tranquil
+repose." And having thus remained hidden for some months, one day he
+came out into the air, and issuing from his sheath, saw himself
+turned to the similitude of a rusty saw while his surface no longer
+reflected the resplendent sun. With useless repentance he vainly
+deplored the irreparable mischief saying to himself: "Oh! how far
+better was it to employ at the barbers my lost edge of such
+exquisite keenness! Where is that lustrous surface? It has been
+consumed by this vexatious and unsightly rust." 
+
+The same thing happens to those minds which instead of exercise give
+themselves up to sloth. They are like the razor here spoken of, and
+lose the keenness of their edge, while the rust of ignorance spoils
+their form. 
+
+A FABLE. 
+
+A stone of some size recently uncovered by the water lay on a
+certain spot somewhat raised, and just where a delightful grove
+ended by a stony road; here it was surrounded by plants decorated by
+various flowers of divers colours. And as it saw the great quantity
+of stones collected together in the roadway below, it began to wish
+it could let itself fall down there, saying to itself: "What have I
+to do here with these plants? I want to live in the company of
+those, my sisters." And letting itself fall, its rapid course ended
+among these longed for companions. When it had been there sometime
+it began to find itself constantly toiling under the wheels of the
+carts the iron-shoed feet of horses and of travellers. This one
+rolled it over, that one trod upon it; sometimes it lifted itself a
+little and then it was covered with mud or the dung of some animal,
+and it was in vain that it looked at the spot whence it had come as
+a place of solitude and tranquil place. 
+
+Thus it happens to those who choose to leave a life of solitary
+comtemplation, and come to live in cities among people full of
+infinite evil. 
+
+1273. 
+
+Some flames had already lasted in the furnace of a glass-blower,
+when they saw a candle approaching in a beautiful and glittering
+candlestick. With ardent longing they strove to reach it; and one of
+them, quitting its natural course, writhed up to an unburnt brand on
+which it fed and passed at the opposite end out by a narrow chink to
+the candle which was near. It flung itself upon it, and with fierce
+jealousy and greediness it devoured it, having reduced it almost to
+death, and, wishing to procure the prolongation of its life, it
+tried to return to the furnace whence it had come. But in vain, for
+it was compelled to die, the wood perishing together with the
+candle, being at last converted, with lamentation and repentance,
+into foul smoke, while leaving all its sisters in brilliant and
+enduring life and beauty. 
+
+1274. 
+
+A small patch of snow finding itself clinging to the top of a rock
+which was lying on the topmost height of a very high mountain and
+being left to its own imaginings, it began to reflect in this way,
+saying to itself: "Now, shall not I be thought vain and proud for
+having placed myself--such a small patch of snow--in so lofty a
+spot, and for allowing that so large a quantity of snow as I have
+seen here around me, should take a place lower than mine? Certainly
+my small dimensions by no means merit this elevation. How easily may
+I, in proof of my insignificance, experience the same fate as that
+which the sun brought about yesterday to my companions, who were
+all, in a few hours, destroyed by the sun. And this happened from
+their having placed themselves higher than became them. I will flee
+from the wrath of the sun, and humble myself and find a place
+befitting my small importance." Thus, flinging itself down, it began
+to descend, hurrying from its high home on to the other snow; but
+the more it sought a low place the more its bulk increased, so that
+when at last its course was ended on a hill, it found itself no less
+in size than the hill which supported it; and it was the last of the
+snow which was destroyed that summer by the sun. This is said for
+those who, humbling themselves, become exalted. 
+
+Fables on plants (1275-1279). 
+
+1275. 
+
+The cedar, being desirous of producing a fine and noble fruit at its
+summit, set to work to form it with all the strength of its sap. But
+this fruit, when grown, was the cause of the tall and upright
+tree-top being bent over. 
+
+The peach, being envious of the vast quantity of fruit which she saw
+borne on the nut-tree, her neighbour, determined to do the same, and
+loaded herself with her own in such a way that the weight of the
+fruit pulled her up by the roots and broke her down to the ground. 
+
+The nut-tree stood always by a road side displaying the wealth of
+its fruit to the passers by, and every one cast stones at it. 
+
+The fig-tree, having no fruit, no one looked at it; then, wishing to
+produce fruits that it might be praised by men, it was bent and
+broken down by them. 
+
+The fig-tree, standing by the side of the elm and seeing that its
+boughs were bare of fruit, yet that it had the audacity to keep the
+Sun from its own unripe figs with its branches, said to it: "Oh elm!
+art thou not ashamed to stand in front of me. But wait till my
+offspring are fully grown and you will see where you are!" But when
+her offspring were mature, a troop of soldiers coming by fell upon
+the fig-tree and her figs were all torn off her, and her boughs cut
+away and broken. Then, when she was thus maimed in all her limbs,
+the elm asked her, saying: "O fig-tree! which was best, to be
+without offspring, or to be brought by them into so miserable a
+plight!" 
+
+1276. 
+
+The plant complains of the old and dry stick which stands by its
+side and of the dry stakes that surround it. 
+
+One keeps it upright, the other keeps it from low company. 
+
+1277. 
+
+A FABLE. 
+
+A nut, having been carried by a crow to the top of a tall campanile
+and released by falling into a chink from the mortal grip of its
+beak, it prayed the wall by the grace bestowed on it by God in
+allowing it to be so high and thick, and to own such fine bells and
+of so noble a tone, that it would succour it, and that, as it had
+not been able to fall under the verdurous boughs of its venerable
+father and lie in the fat earth covered up by his fallen leaves it
+would not abandon it; because, finding itself in the beak of the
+cruel crow, it had there made a vow that if it escaped from her it
+would end its life in a little hole. At these words the wall, moved
+to compassion, was content to shelter it in the spot where it had
+fallen; and after a short time the nut began to split open and put
+forth roots between the rifts of the stones and push them apart, and
+to throw out shoots from its hollow shell; and, to be brief, these
+rose above the building and the twisted roots, growing thicker,
+began to thrust the walls apart, and tear out the ancient stones
+from their old places. Then the wall too late and in vain bewailed
+the cause of its destruction and in a short time, it wrought the
+ruin of a great part of it. 
+
+1278. 
+
+A FABLE. 
+
+The privet feeling its tender boughs loaded with young fruit,
+pricked by the sharp claws and beak of the insolent blackbird,
+complained to the blackbird with pitious remonstrance entreating her
+that since she stole its delicious fruits she should not deprive it
+of the leaves with which it preserved them from the burning rays of
+the sun, and that she should not divest it of its tender bark by
+scratching it with her sharp claws. To which the blackbird replied
+with angry upbraiding: "O, be silent, uncultured shrub! Do you not
+know that Nature made you produce these fruits for my nourishment;
+do you not see that you are in the world [only] to serve me as food;
+do you not know, base creature, that next winter you will be food
+and prey for the Fire?" To which words the tree listened patiently,
+and not without tears. After a short time the blackbird was taken in
+a net and boughs were cut to make a cage, in which to imprison her.
+Branches were cut, among others from the pliant privet, to serve for
+the small rods of the cage; and seeing herself to be the cause of
+the Blackbird's loss of liberty it rejoiced and spoke as follows: "O
+Blackbird, I am here, and not yet burnt by fire as you said. I shall
+see you in prison before you see me burnt." 
+
+A FABLE. 
+
+The laurel and the myrtle seeing the pear tree cut down cried out
+with a loud voice: "O pear-tree! whither are you going? Where is the
+pride you had when you were covered with ripe fruits? Now you will
+no longer shade us with your mass of leaves." Then the pear-tree
+replied: "I am going with the husbandman who has cut me down and who
+will take me to the workshop of a good sculptor who by his art will
+make me take the form of Jove the god; and I shall be dedicated in a
+temple and adored by men in the place of Jove, while you are bound
+always to remain maimed and stripped of your boughs, which will be
+placed round me to do me honour. 
+
+A FABLE. 
+
+The chesnut, seeing a man upon the fig-tree, bending its boughs down
+and pulling off the ripe fruits, which he put into his open mouth
+destroying and crushing them with his hard teeth, it tossed its long
+boughs and with a noisy rustle exclaimed: "O fig! how much less are
+you protected by nature than I. See how in me my sweet offspring are
+set in close array; first clothed in soft wrappers over which is the
+hard but softly lined husk; and not content with taking this care of
+me, and having given them so strong a shelter, on this she has
+placed sharp and close-set spines so that the hand of man cannot
+hurt me." Then the fig-tree and her offspring began to laugh and
+having laughed she said: "I know man to be of such ingenuity that
+with rods and stones and stakes flung up among your branches he will
+bereave you of your fruits; and when they are fallen, he will
+trample them with his feet or with stones, so that your offspring
+will come out of their armour, crushed and maimed; while I am
+touched carefully by their hands, and not like you with sticks and
+stones." 
+
+1279. 
+
+The hapless willow, finding that she could not enjoy the pleasure of
+seeing her slender branches grow or attain to the height she wished,
+or point to the sky, by reason of the vine and whatever other trees
+that grew near, but was always maimed and lopped and spoiled,
+brought all her spirits together and gave and devoted itself
+entirely to imagination, standing plunged in long meditation and
+seeking, in all the world of plants, with which of them she might
+ally herself and which could not need the help of her withes. Having
+stood for some time in this prolific imagination, with a sudden
+flash the gourd presented itself to her thoughts and tossing all her
+branches with extreme delight, it seemed to her that she had found
+the companion suited to her purpose, because the gourd is more apt
+to bind others than to need binding; having come to this conclusion
+she awaited eagerly some friendly bird who should be the mediator of
+her wishes. Presently seeing near her the magpie she said to him: "O
+gentle bird! by the memory of the refuge which you found this
+morning among my branches, when the hungry cruel, and rapacious
+falcon wanted to devour you, and by that repose which you have
+always found in me when your wings craved rest, and by the pleasure
+you have enjoyed among my boughs, when playing with your companions
+or making love--I entreat you find the gourd and obtain from her
+some of her seeds, and tell her that those that are born of them I
+will treat exactly as though they were my own flesh and blood; and
+in this way use all the words you can think of, which are of the
+same persuasive purport; though, indeed, since you are a master of
+language, I need not teach you. And if you will do me this service I
+shall be happy to have your nest in the fork of my boughs, and all
+your family without payment of any rent." Then the magpie, having
+made and confirmed certain new stipulations with the willow,--and
+principally that she should never admit upon her any snake or
+polecat, cocked his tail, and put down his head, and flung himself
+from the bough, throwing his weight upon his wings; and these,
+beating the fleeting air, now here, now there, bearing about
+inquisitively, while his tail served as a rudder to steer him, he
+came to a gourd; then with a handsome bow and a few polite words, he
+obtained the required seeds, and carried them to the willow, who
+received him with a cheerful face. And when he had scraped away with
+his foot a small quantity of the earth near the willow, describing a
+circle, with his beak he planted the grains, which in a short time
+began to grow, and by their growth and the branches to take up all
+the boughs of the willow, while their broad leaves deprived it of
+the beauty of the sun and sky. And not content with so much evil,
+the gourds next began, by their rude hold, to drag the ends of the
+tender shoots down towards the earth, with strange twisting and
+distortion. 
+
+Then, being much annoyed, it shook itself in vain to throw off the
+gourd. After raving for some days in such plans vainly, because the
+firm union forbade it, seeing the wind come by it commended itself
+to him. The wind flew hard and opened the old and hollow stem of the
+willow in two down to the roots, so that it fell into two parts. In
+vain did it bewail itself recognising that it was born to no good
+end. 
+
+III. 
+
+JESTS AND TALES. 
+
+1280. 
+
+A JEST. 
+
+A priest, making the rounds of his parish on Easter Eve, and
+sprinkling holy water in the houses as is customary, came to a
+painter's room, where he sprinkled the water on some of his
+pictures. The painter turned round, somewhat angered, and asked him
+why this sprinkling had been bestowed on his pictures; then said the
+priest, that it was the custom and his duty to do so, and that he
+was doing good; and that he who did good might look for good in
+return, and, indeed, for better, since God had promised that every
+good deed that was done on earth should be rewarded a hundred-fold
+from above. Then the painter, waiting till he went out, went to an
+upper window and flung a large pail of water on the priest's back,
+saying: "Here is the reward a hundred-fold from above, which you
+said would come from the good you had done me with your holy water,
+by which you have damaged my pictures." 
+
+1281. 
+
+When wine is drunk by a drunkard, that wine is revenged on the
+drinker. 
+
+1282. 
+
+Wine, the divine juice of the grape, finding itself in a golden and
+richly wrought cup, on the table of Mahomet, was puffed up with
+pride at so much honour; when suddenly it was struck by a contrary
+reflection, saying to itself: "What am I about, that I should
+rejoice, and not perceive that I am now near to my death and shall
+leave my golden abode in this cup to enter into the foul and fetid
+caverns of the human body, and to be transmuted from a fragrant and
+delicious liquor into a foul and base one. Nay, and as though so
+much evil as this were not enough, I must for a long time lie in
+hideous receptacles, together with other fetid and corrupt matter,
+cast out from human intestines." And it cried to Heaven, imploring
+vengeance for so much insult, and that an end might henceforth be
+put to such contempt; and that, since that country produced the
+finest and best grapes in the whole world, at least they should not
+be turned into wine. Then Jove made that wine drunk by Mahomet to
+rise in spirit to his brain; and that in so deleterious a manner
+that it made him mad, and gave birth to so many follies that when he
+had recovered himself, he made a law that no Asiatic should drink
+wine, and henceforth the vine and its fruit were left free. 
+
+As soon as wine has entered the stomach it begins to ferment and
+swell; then the spirit of that man begins to abandon his body,
+rising as it were skywards, and the brain finds itself parting from
+the body. Then it begins to degrade him, and make him rave like a
+madman, and then he does irreparable evil, killing his friends. 
+
+1283. 
+
+An artizan often going to visit a great gentleman without any
+definite purpose, the gentleman asked him what he did this for. The
+other said that he came there to have a pleasure which his lordship
+could not have; since to him it was a satisfaction to see men
+greater than himself, as is the way with the populace; while the
+gentleman could only see men of less consequence than himself; and
+so lords and great men were deprived of that pleasure. 
+
+1284. 
+
+Franciscan begging Friars are wont, at certain times, to keep fasts,
+when they do not eat meat in their convents. But on journeys, as
+they live on charity, they have license to eat whatever is set
+before them. Now a couple of these friars on their travels, stopped
+at an inn, in company with a certain merchant, and sat down with him
+at the same table, where, from the poverty of the inn, nothing was
+served to them but a small roast chicken. The merchant, seeing this
+to be but little even for himself, turned to the friars and said:
+"If my memory serves me, you do not eat any kind of flesh in your
+convents at this season." At these words the friars were compelled
+by their rule to admit, without cavil, that this was the truth; so
+the merchant had his wish, and eat the chicken and the friars did
+the best they could. After dinner the messmates departed, all three
+together, and after travelling some distance they came to a river of
+some width and depth. All three being on foot--the friars by reason
+of their poverty, and the other from avarice--it was necessary by
+the custom of company that one of the friars, being barefoot, should
+carry the merchant on his shoulders: so having given his wooden
+shoes into his keeping, he took up his man. But it so happened that
+when the friar had got to the middle of the river, he again
+remembered a rule of his order, and stopping short, he looked up,
+like Saint Christopher, to the burden on his back and said: "Tell
+me, have you any money about you?"--"You know I have", answered the
+other, "How do you suppose that a Merchant like me should go about
+otherwise?" "Alack!" cried the friar, "our rules forbid as to carry
+any money on our persons," and forthwith he dropped him into the
+water, which the merchant perceived was a facetious way of being
+revenged on the indignity he had done them; so, with a smiling face,
+and blushing somewhat with shame, he peaceably endured the revenge. 
+
+1285. 
+
+A JEST. 
+
+A man wishing to prove, by the authority of Pythagoras, that he had
+formerly been in the world, while another would not let him finish
+his argument, the first speaker said to the second: "It is by this
+token that I was formerly here, I remember that you were a miller."
+The other one, feeling himself stung by these words, agreed that it
+was true, and that by the same token he remembered that the speaker
+had been the ass that carried the flour. 
+
+A JEST. 
+
+It was asked of a painter why, since he made such beautiful figures,
+which were but dead things, his children were so ugly; to which the
+painter replied that he made his pictures by day, and his children
+by night. 
+
+1286. 
+
+A man saw a large sword which another one wore at his side. Said he
+"Poor fellow, for a long time I have seen you tied to that weapon;
+why do you not release yourself as your hands are untied, and set
+yourself free?" To which the other replied: "This is none of yours,
+on the contrary it is an old story." The former speaker, feeling
+stung, replied: "I know that you are acquainted with so few things
+in this world, that I thought anything I could tell you would be new
+to you." 
+
+1287. 
+
+A man gave up his intimacy with one of his friends because he often
+spoke ill of his other friends. The neglected friend one day
+lamenting to this former friend, after much complaining, entreated
+him to say what might be the cause that had made him forget so much
+friendship. To which he answered: "I will no longer be intimate with
+you because I love you, and I do not choose that you, by speaking
+ill of me, your friend, to others, should produce in others, as in
+me, a bad impression of yourself, by speaking evil to them of me,
+your friend. Therefore, being no longer intimate together, it will
+seem as though we had become enemies; and in speaking evil of me, as
+is your wont, you will not be blamed so much as if we continued
+intimate. 
+
+1288. 
+
+A man was arguing and boasting that he knew many and various tricks.
+Another among the bystanders said: "I know how to play a trick which
+will make whomsoever I like pull off his breeches." The first man--
+the boaster--said: "You won't make me pull off mine, and I bet you a
+pair of hose on it." He who proposed the game, having accepted the
+offer, produced breeches and drew them across the face of him who
+bet the pair of hose and won the bet [4]. 
+
+A man said to an acquaintance: "Your eyes are changed to a strange
+colour." The other replied: "It often happens, but you have not
+noticed it." "When does it happen?" said the former. "Every time
+that my eyes see your ugly face, from the shock of so unpleasing a
+sight they suddenly turn pale and change to a strange colour." 
+
+A man said to another: "Your eyes are changed to a strange colour."
+The other replied: "It is because my eyes behold your strange ugly
+face." 
+
+A man said that in his country were the strangest things in the
+world. Another answered: "You, who were born there, confirm this as
+true, by the strangeness of your ugly face." 
+
+[Footnote: The joke turns, it appears, on two meanings of trarre and
+is not easily translated.] 
+
+1289. 
+
+An old man was publicly casting contempt on a young one, and boldly
+showing that he did not fear him; on which the young man replied
+that his advanced age served him better as a shield than either his
+tongue or his strength. 
+
+1290. 
+
+A JEST. 
+
+A sick man finding himself in _articulo mortis_ heard a knock at the
+door, and asking one of his servants who was knocking, the servant
+went out, and answered that it was a woman calling herself Madonna
+Bona. Then the sick man lifting his arms to Heaven thanked God with
+a loud voice, and told the servants that they were to let her come
+in at once, so that he might see one good woman before he died,
+since in all his life he had never yet seen one. 
+
+1291. 
+
+A JEST. 
+
+A man was desired to rise from bed, because the sun was already
+risen. To which he replied: "If I had as far to go, and as much to
+do as he has, I should be risen by now; but having but a little way
+to go, I shall not rise yet." 
+
+1292. 
+
+A man, seeing a woman ready to hold up the target for a jousting
+match, exclaimed, looking at the shield, and considering his spear:
+"Alack! this is too small a workman for so great a business." 
+
+IV. 
+
+PROPHECIES. 
+
+1293. 
+
+THE DIVISION OF THE PROPHECIES. 
+
+First, of things relating to animals; secondly, of irrational
+creatures; thirdly of plants; fourthly, of ceremonies; fifthly, of
+manners; sixthly, of cases or edicts or quarrels; seventhly, of
+cases that are impossible in nature [paradoxes], as, for instance,
+of those things which, the more is taken from them, the more they
+grow. And reserve the great matters till the end, and the small
+matters give at the beginning. And first show the evils and then the
+punishment of philosophical things. 
+
+(Of Ants.) 
+
+These creatures will form many communities, which will hide
+themselves and their young ones and victuals in dark caverns, and
+they will feed themselves and their families in dark places for many
+months without any light, artificial or natural. 
+
+[Footnote: Lines 1--5l are in the original written in one column,
+beginning with the text of line 11. At the end of the column is the
+programme for the arrangement of the prophecies, placed here at the
+head: Lines 56--79 form a second column, lines 80--97 a third one
+(see the reproduction of the text on the facsimile PI. CXVIII). 
+
+Another suggestion for the arrangement of the prophecies is to be
+found among the notes 55--57 on page 357.] 
+
+(Of Bees.) 
+
+And many others will be deprived of their store and their food, and
+will be cruelly submerged and drowned by folks devoid of reason. Oh
+Justice of God! Why dost thou not wake and behold thy creatures thus
+ill used? 
+
+(Of Sheep, Cows, Goats and the like.) 
+
+Endless multitudes of these will have their little children taken
+from them ripped open and flayed and most barbarously quartered. 
+
+(Of Nuts, and Olives, and Acorns, and Chesnuts, and such like.) 
+
+Many offspring shall be snatched by cruel thrashing from the very
+arms of their mothers, and flung on the ground, and crushed. 
+
+(Of Children bound in Bundles.) 
+
+O cities of the Sea! In you I see your citizens--both females and
+males--tightly bound, arms and legs, with strong withes by folks who
+will not understand your language. And you will only be able to
+assuage your sorrows and lost liberty by means of tearful complaints
+and sighing and lamentation among yourselves; for those who will
+bind you will not understand you, nor will you understand them. 
+
+(Of Cats that eat Rats.) 
+
+In you, O cities of Africa your children will be seen quartered in
+their own houses by most cruel and rapacious beasts of your own
+country. 
+
+(Of Asses that are beaten.) 
+
+[Footnote 48: Compare No. 845.] O Nature! Wherefore art thou so
+partial; being to some of thy children a tender and benign mother,
+and to others a most cruel and pitiless stepmother? I see children
+of thine given up to slavery to others, without any sort of
+advantage, and instead of remuneration for the good they do, they
+are paid with the severest suffering, and spend their whole life in
+benefitting those who ill treat them. 
+
+(Of Men who sleep on boards of Trees.) 
+
+Men shall sleep, and eat, and dwell among trees, in the forests and
+open country. 
+
+(Of Dreaming.) 
+
+Men will seem to see new destructions in the sky. The flames that
+fall from it will seem to rise in it and to fly from it with terror.
+They will hear every kind of animals speak in human language. They
+will instantaneously run in person in various parts of the world,
+without motion. They will see the greatest splendour in the midst of
+darkness. O! marvel of the human race! What madness has led you
+thus! You will speak with animals of every species and they with you
+in human speech. You will see yourself fall from great heights
+without any harm and torrents will accompany you, and will mingle
+with their rapid course. 
+
+(Of Christians.) 
+
+Many who hold the faith of the Son only build temples in the name of
+the Mother. 
+
+(Of Food which has been alive.) 
+
+[84] A great portion of bodies that have been alive will pass into
+the bodies of other animals; which is as much as to say, that the
+deserted tenements will pass piecemeal into the inhabited ones,
+furnishing them with good things, and carrying with them their
+evils. That is to say the life of man is formed from things eaten,
+and these carry with them that part of man which dies . . . 
+
+1294. 
+
+(Of Funeral Rites, and Processions, and Lights, and Bells, and
+Followers.) 
+
+The greatest honours will be paid to men, and much pomp, without
+their knowledge. 
+
+[Footnote: A facsimile of this text is on PI. CXVI below on the
+right, but the writing is larger than the other notes on the same
+sheet and of a somewhat different style. The ink is also of a
+different hue, as may be seen on the original sheet at Milan.] 
+
+1295. 
+
+(Of the Avaricious.) 
+
+There will be many who will eagerly and with great care and
+solicitude follow up a thing, which, if they only knew its
+malignity, would always terrify them. 
+
+(Of those men, who, the older they grow, the more avaricious they
+become, whereas, having but little time to stay, they should become
+more liberal.) 
+
+We see those who are regarded as being most experienced and
+judicious, when they least need a thing, seek and cherish it with
+most avidity. 
+
+(Of the Ditch.) 
+
+Many will be busied in taking away from a thing, which will grow in
+proportion as it is diminished. 
+
+(Of a Weight placed on a Feather-pillow.) 
+
+And it will be seen in many bodies that by raising the head they
+swell visibly; and by laying the raised head down again, their size
+will immediately be diminished. 
+
+(Of catching Lice.) 
+
+And many will be hunters of animals, which, the fewer there are the
+more will be taken; and conversely, the more there are, the fewer
+will be taken. 
+
+(Of Drawing Water in two Buckets with a single Rope.) 
+
+And many will be busily occupied, though the more of the thing they
+draw up, the more will escape at the other end. 
+
+(Of the Tongues of Pigs and Calves in Sausage-skins.) 
+
+Oh! how foul a thing, that we should see the tongue of one animal in
+the guts of another. 
+
+(Of Sieves made of the Hair of Animals.) 
+
+We shall see the food of animals pass through their skin everyway
+excepting through their mouths, and penetrate from the outside
+downwards to the ground. 
+
+(Of Lanterns.) 
+
+[Footnote 35: Lanterns were in Italy formerly made of horn.] The
+cruel horns of powerful bulls will screen the lights of night
+against the wild fury of the winds. 
+
+(Of Feather-beds.) 
+
+Flying creatures will give their very feathers to support men. 
+
+(Of Animals which walk on Trees--wearing wooden Shoes.) 
+
+The mire will be so great that men will walk on the trees of their
+country. 
+
+(Of the Soles of Shoes, which are made from the Ox.) 
+
+And in many parts of the country men will be seen walking on the
+skins of large beasts. 
+
+(Of Sailing in Ships.) 
+
+There will be great winds by reason of which things of the East will
+become things of the West; and those of the South, being involved in
+the course of the winds, will follow them to distant lands. 
+
+(Of Worshipping the Pictures of Saints.) 
+
+Men will speak to men who hear not; having their eyes open, they
+will not see; they will speak to these, and they will not be
+answered. They will implore favours of those who have ears and hear
+not; they will make light for the blind. 
+
+(Of Sawyers.) 
+
+There will be many men who will move one against another, holding in
+their hands a cutting tool. But these will not do each other any
+injury beyond tiring each other; for, when one pushes forward the
+other will draw back. But woe to him who comes between them! For he
+will end by being cut in pieces. 
+
+(Of Silk-spinning.) 
+
+Dismal cries will be heard loud, shrieking with anguish, and the
+hoarse and smothered tones of those who will be despoiled, and at
+last left naked and motionless; and this by reason of the mover,
+which makes every thing turn round. 
+
+(Of putting Bread into the Mouth of the Oven and taking it out
+again.) 
+
+In every city, land, castle and house, men shall be seen, who for
+want of food will take it out of the mouths of others, who will not
+be able to resist in any way. 
+
+(Of tilled Land.) 
+
+The Earth will be seen turned up side down and facing the opposite
+hemispheres, uncovering the lurking holes of the fiercest animals. 
+
+(Of Sowing Seed.) 
+
+Then many of the men who will remain alive, will throw the victuals
+they have preserved out of their houses, a free prey to the birds
+and beasts of the earth, without taking any care of them at all. 
+
+(Of the Rains, which, by making the Rivers muddy, wash away the
+Land.) 
+
+[Footnote 81: Compare No. 945.] Something will fall from the sky
+which will transport a large part of Africa which lies under that
+sky towards Europe, and that of Europe towards Africa, and that of
+the Scythian countries will meet with tremendous revolutions
+[Footnote 84: Compare No. 945.]. 
+
+(Of Wood that burns.) 
+
+The trees and shrubs in the great forests will be converted into
+cinder. 
+
+(Of Kilns for Bricks and Lime.) 
+
+Finally the earth will turn red from a conflagration of many days
+and the stones will be turned to cinders. 
+
+(Of boiled Fish.) 
+
+The natives of the waters will die in the boiling flood. 
+
+(Of the Olives which fall from the Olive trees, shedding oil which
+makes light.) 
+
+And things will fall with great force from above, which will give us
+nourishment and light. 
+
+(Of Owls and screech owls and what will happen to certain birds.) 
+
+Many will perish of dashing their heads in pieces, and the eyes of
+many will jump out of their heads by reason of fearful creatures
+come out of the darkness. 
+
+(Of flax which works the cure of men.) 
+
+That which was at first bound, cast out and rent by many and various
+beaters will be respected and honoured, and its precepts will be
+listened to with reverence and love. 
+
+(Of Books which teach Precepts.) 
+
+Bodies without souls will, by their contents give us precepts by
+which to die well. 
+
+(Of Flagellants.) 
+
+Men will hide themselves under the bark of trees, and, screaming,
+they will make themselves martyrs, by striking their own limbs. 
+
+(Of the Handles of Knives made of the Horns of Sheep.) 
+
+We shall see the horns of certain beasts fitted to iron tools, which
+will take the lives of many of their kind. 
+
+(Of Night when no Colour can be discerned.) 
+
+There will come a time when no difference can be discerned between
+colours, on the contrary, everything will be black alike. 
+
+(Of Swords and Spears which by themselves never hurt any one.) 
+
+One who by himself is mild enough and void of all offence will
+become terrible and fierce by being in bad company, and will most
+cruelly take the life of many men, and would kill many more if they
+were not hindered by bodies having no soul, that have come out of
+caverns--that is, breastplates of iron. 
+
+(Of Snares and Traps.) 
+
+Many dead things will move furiously, and will take and bind the
+living, and will ensnare them for the enemies who seek their death
+and destruction. 
+
+(Of Metals.) 
+
+That shall be brought forth out of dark and obscure caves, which
+will put the whole human race in great anxiety, peril and death. To
+many that seek them, after many sorrows they will give delight, and
+to those who are not in their company, death with want and
+misfortune. This will lead to the commission of endless crimes; this
+will increase and persuade bad men to assassinations, robberies and
+treachery, and by reason of it each will be suspicious of his
+partner. This will deprive free cities of their happy condition;
+this will take away the lives of many; this will make men torment
+each other with many artifices deceptions and treasons. O monstrous
+creature! How much better would it be for men that every thing
+should return to Hell! For this the vast forests will be devastated
+of their trees; for this endless animals will lose their lives. 
+
+(Of Fire.) 
+
+One shall be born from small beginnings which will rapidly become
+vast. This will respect no created thing, rather will it, by its
+power, transform almost every thing from its own nature into
+another. 
+
+(Of Ships which sink.) 
+
+Huge bodies will be seen, devoid of life, carrying, in fierce haste,
+a multitude of men to the destruction of their lives. 
+
+(Of Oxen, which are eaten.) 
+
+The masters of estates will eat their own labourers. 
+
+(Of beating Beds to renew them.) 
+
+Men will be seen so deeply ungrateful that they will turn upon that
+which has harboured them, for nothing at all; they will so load it
+with blows that a great part of its inside will come out of its
+place, and will be turned over and over in its body. 
+
+(Of Things which are eaten and which first are killed.) 
+
+Those who nourish them will be killed by them and afflicted by
+merciless deaths. 
+
+(Of the Reflection of Walls of Cities in the Water of their
+Ditches.) 
+
+The high walls of great cities will be seen up side down in their
+ditches. 
+
+(Of Water, which flows turbid and mixed with Soil and Dust; and of
+Mist, which is mixed with the Air; and of Fire which is mixed with
+its own, and each with each.) 
+
+All the elements will be seen mixed together in a great whirling
+mass, now borne towards the centre of the world, now towards the
+sky; and now furiously rushing from the South towards the frozen
+North, and sometimes from the East towards the West, and then again
+from this hemisphere to the other. 
+
+(The World may be divided into two Hemispheres at any Point.) 
+
+All men will suddenly be transferred into opposite hemispheres. 
+
+(The division of the East from the West may be made at any point.) 
+
+All living creatures will be moved from the East to the West; and in
+the same way from North to South, and vice versa. 
+
+(Of the Motion of Water which carries wood, which is dead.) 
+
+Bodies devoid of life will move by themselves and carry with them
+endless generations of the dead, taking the wealth from the
+bystanders. 
+
+(Of Eggs which being eaten cannot form Chickens.) 
+
+Oh! how many will they be that never come to the birth! 
+
+(Of Fishes which are eaten unborn.) 
+
+Endless generations will be lost by the death of the pregnant. 
+
+(Of the Lamentation on Good Friday.) 
+
+Throughout Europe there will be a lamentation of great nations over
+the death of one man who died in the East. 
+
+(Of Dreaming.) 
+
+Men will walk and not stir, they will talk to those who are not
+present, and hear those who do not speak. 
+
+(Of a Man's Shadow which moves with him.) 
+
+Shapes and figures of men and animals will be seen following these
+animals and men wherever they flee. And exactly as the one moves the
+other moves; but what seems so wonderful is the variety of height
+they assume. 
+
+(Of our Shadow cast by the Sun, and our Reflection in the Water at
+one and the same time.) 
+
+Many a time will one man be seen as three and all three move
+together, and often the most real one quits him. 
+
+(Of wooden Chests which contain great Treasures.) 
+
+Within walnuts and trees and other plants vast treasures will be
+found, which lie hidden there and well guarded. 
+
+(Of putting out the Light when going to Bed.) 
+
+Many persons puffing out a breath with too much haste, will thereby
+lose their sight, and soon after all consciousness. 
+
+(Of the Bells of Mules, which are close to their Ears.) 
+
+In many parts of Europe instruments of various sizes will be heard
+making divers harmonies, with great labour to those who hear them
+most closely. 
+
+(Of Asses.) 
+
+The severest labour will be repaid with hunger and thirst, and
+discomfort, and blows, and goadings, and curses, and great abuse. 
+
+(Of Soldiers on horseback.) 
+
+Many men will be seen carried by large animals, swift of pace, to
+the loss of their lives and immediate death. 
+
+In the air and on earth animals will be seen of divers colours
+furiously carrying men to the destruction of their lives. 
+
+(Of the Stars of Spurs.) 
+
+By the aid of the stars men will be seen who will be as swift as any
+swift animal. 
+
+(Of a Stick, which is dead.) 
+
+The motions of a dead thing will make many living ones flee with
+pain and lamentation and cries. 
+
+(Of Tinder.) 
+
+With a stone and with iron things will be made visible which before
+were not seen. 
+
+1296. 
+
+(Of going in Ships.) 
+
+We shall see the trees of the great forests of Taurus and of Sinai
+and of the Appenines and others, rush by means of the air, from East
+to West and from North to South; and carry, by means of the air,
+great multitudes of men. Oh! how many vows! Oh! how many deaths! Oh!
+how many partings of friends and relations! Oh! how many will those
+be who will never again see their own country nor their native land,
+and who will die unburied, with their bones strewn in various parts
+of the world! 
+
+(Of moving on All Saints' Day.) 
+
+Many will forsake their own dwellings and carry with them all their
+belongings and will go to live in other parts. 
+
+(Of All Souls' Day.) 
+
+How many will they be who will bewail their deceased forefathers,
+carrying lights to them. 
+
+(Of Friars, who spending nothing but words, receive great gifts and
+bestow Paradise.) 
+
+Invisible money will procure the triumph of many who will spend it. 
+
+(Of Bows made of the Horns of Oxen.) 
+
+Many will there be who will die a painful death by means of the
+horns of cattle. 
+
+(Of writing Letters from one Country to another.) 
+
+Men will speak with each other from the most remote countries, and
+reply. 
+
+(Of Hemispheres, which are infinite; and which are divided by an
+infinite number of Lines, so that every Man always has one of these
+Lines between his Feet.) 
+
+Men standing in opposite hemispheres will converse and deride each
+other and embrace each other, and understand each other's language. 
+
+(Of Priests who say Mass.) 
+
+There will be many men who, when they go to their labour will put on
+the richest clothes, and these will be made after the fashion of
+aprons [petticoats]. 
+
+(Of Friars who are Confessors.) 
+
+And unhappy women will, of their own free will, reveal to men all
+their sins and shameful and most secret deeds. 
+
+(Of Churches and the Habitations of Friars.) 
+
+Many will there be who will give up work and labour and poverty of
+life and goods, and will go to live among wealth in splendid
+buildings, declaring that this is the way to make themselves
+acceptable to God. 
+
+(Of Selling Paradise.) 
+
+An infinite number of men will sell publicly and unhindered things
+of the very highest price, without leave from the Master of it;
+while it never was theirs nor in their power; and human justice will
+not prevent it. 
+
+(Of the Dead which are carried to be buried.) 
+
+The simple folks will carry vast quantities of lights to light up
+the road for those who have entirely lost the power of sight. 
+
+(Of Dowries for Maidens.) 
+
+And whereas, at first, maidens could not be protected against the
+violence of Men, neither by the watchfulness of parents nor by
+strong walls, the time will come when the fathers and parents of
+those girls will pay a large price to a man who wants to marry them,
+even if they are rich, noble and most handsome. Certainly this seems
+as though nature wished to eradicate the human race as being useless
+to the world, and as spoiling all created things. 
+
+(Of the Cruelty of Man.) 
+
+Animals will be seen on the earth who will always be fighting
+against each other with the greatest loss and frequent deaths on
+each side. And there will be no end to their malignity; by their
+strong limbs we shall see a great portion of the trees of the vast
+forests laid low throughout the universe; and, when they are filled
+with food the satisfaction of their desires will be to deal death
+and grief and labour and wars and fury to every living thing; and
+from their immoderate pride they will desire to rise towards heaven,
+but the too great weight of their limbs will keep them down. Nothing
+will remain on earth, or under the earth or in the waters which will
+not be persecuted, disturbed and spoiled, and those of one country
+removed into another. And their bodies will become the sepulture and
+means of transit of all they have killed. 
+
+O Earth! why dost thou not open and engulf them in the fissures of
+thy vast abyss and caverns, and no longer display in the sight of
+heaven such a cruel and horrible monster. 
+
+1297. 
+
+PROPHECIES. 
+
+There will be many which will increase in their destruction. 
+
+(The Ball of Snow rolling over Snow.) 
+
+There will be many who, forgetting their existence and their name,
+will lie as dead on the spoils of other dead creatures. 
+
+(Sleeping on the Feathers of Birds.) 
+
+The East will be seen to rush to the West and the South to the North
+in confusion round and about the universe, with great noise and
+trembling or fury. 
+
+(In the East wind which rushes to the West.) 
+
+The solar rays will kindle fire on the earth, by which a thing that
+is under the sky will be set on fire, and, being reflected by some
+obstacle, it will bend downwards. 
+
+(The Concave Mirror kindles a Fire, with which we heat the oven, and
+this has its foundation beneath its roof.) 
+
+A great part of the sea will fly towards heaven and for a long time
+will not return. (That is, in Clouds.) 
+
+There remains the motion which divides the mover from the thing
+moved. 
+
+Those who give light for divine service will be destroyed.(The Bees
+which make the Wax for Candles) 
+
+Dead things will come from underground and by their fierce movements
+will send numberless human beings out of the world. (Iron, which
+comes from under ground is dead but the Weapons are made of it which
+kill so many Men.) 
+
+The greatest mountains, even those which are remote from the sea
+shore, will drive the sea from its place. 
+
+(This is by Rivers which carry the Earth they wash away from the
+Mountains and bear it to the Sea-shore; and where the Earth comes
+the sea must retire.) 
+
+The water dropped from the clouds still in motion on the flanks of
+mountains will lie still for a long period of time without any
+motion whatever; and this will happen in many and divers lands. 
+
+(Snow, which falls in flakes and is Water.) 
+
+The great rocks of the mountains will throw out fire; so that they
+will burn the timber of many vast forests, and many beasts both wild
+and tame. 
+
+(The Flint in the Tinder-box which makes a Fire that consumes all
+the loads of Wood of which the Forests are despoiled and with this
+the flesh of Beasts is cooked.) 
+
+Oh! how many great buildings will be ruined by reason of Fire. 
+
+(The Fire of great Guns.) 
+
+Oxen will be to a great extent the cause of the destruction of
+cities, and in the same way horses and buffaloes. 
+
+(By drawing Guns.) 
+
+1298. 
+
+The Lion tribe will be seen tearing open the earth with their clawed
+paws and in the caves thus made, burying themselves together with
+the other animals that are beneath them. 
+
+Animals will come forth from the earth in gloomy vesture, which will
+attack the human species with astonishing assaults, and which by
+their ferocious bites will make confusion of blood among those they
+devour. 
+
+Again the air will be filled with a mischievous winged race which
+will assail men and beasts and feed upon them with much noise--
+filling themselves with scarlet blood. 
+
+1299. 
+
+Blood will be seen issuing from the torn flesh of men, and trickling
+down the surface. 
+
+Men will have such cruel maladies that they will tear their flesh
+with their own nails. (The Itch.) 
+
+Plants will be seen left without leaves, and the rivers standing
+still in their channels. 
+
+The waters of the sea will rise above the high peaks of the
+mountains towards heaven and fall again on to the dwellings of men.
+(That is, in Clouds.) 
+
+The largest trees of the forest will be seen carried by the fury of
+the winds from East to West. (That is across the Sea.) 
+
+Men will cast away their own victuals. (That is, in Sowing.) 
+
+1300. 
+
+Human beings will be seen who will not understand each other's
+speech; that is, a German with a Turk. 
+
+Fathers will be seen giving their daughters into the power of man
+and giving up all their former care in guarding them. (When Girls
+are married.) 
+
+Men will come out their graves turned into flying creatures; and
+they will attack other men, taking their food from their very hand
+or table. (As Flies.) 
+
+Many will there be who, flaying their mother, will tear the skin
+from her back. (Husbandmen tilling the Earth.) 
+
+Happy will they be who lend ear to the words of the Dead. (Who read
+good works and obey them.) 
+
+1031. 
+
+Feathers will raise men, as they do birds, towards heaven (that is,
+by the letters which are written with quills.) 
+
+The works of men's hands will occasion their death. (Swords and
+Spears.) 
+
+Men out of fear will cling to the thing they most fear. (That is
+they will be miserable lest they should fall into misery.) 
+
+Things that are separate shall be united and acquire such virtue
+that they will restore to man his lost memory; that is papyrus
+[sheets] which are made of separate strips and have preserved the
+memory of the things and acts of men. 
+
+The bones of the Dead will be seen to govern the fortunes of him who
+moves them. (By Dice.) 
+
+Cattle with their horns protect the Flame from its death. (In a
+Lantern [Footnote 13: See note page 357.].) 
+
+The Forests will bring forth young which will be the cause of their
+death. (The handle of the hatchet.) 
+
+1302. 
+
+Men will deal bitter blows to that which is the cause of their life.
+(In thrashing Grain.) 
+
+The skins of animals will rouse men from their silence with great
+outcries and curses. (Balls for playing Games.) 
+
+Very often a thing that is itself broken is the occasion of much
+union. (That is the Comb made of split Cane which unites the threads
+of Silk.) 
+
+The wind passing through the skins of animals will make men dance.
+(That is the Bag-pipe, which makes people dance.) 
+
+1303. 
+
+(Of Walnut trees, that are beaten.) 
+
+Those which have done best will be most beaten, and their offspring
+taken and flayed or peeled, and their bones broken or crushed. 
+
+(Of Sculpture.) 
+
+Alas! what do I see? The Saviour cru- cified anew. 
+
+(Of the Mouth of Man, which is a Sepulchre.) 
+
+Great noise will issue from the sepulchres of those who died evil
+and violent deaths. 
+
+(Of the Skins of Animals which have the sense of feeling what is in
+the things written.) 
+
+The more you converse with skins covered with sentiments, the more
+wisdom will you acquire. 
+
+(Of Priests who bear the Host in their body.) 
+
+Then almost all the tabernacles in which dwells the Corpus Domini,
+will be plainly seen walking about of themselves on the various
+roads of the world. 
+
+1304. 
+
+And those who feed on grass will turn night into day (Tallow.) 
+
+And many creatures of land and water will go up among the stars
+(that is Planets.) 
+
+The dead will be seen carrying the living (in Carts and Ships in
+various places.) 
+
+Food shall be taken out of the mouth of many ( the oven's mouth.) 
+
+And those which will have their food in their mouth will be deprived
+of it by the hands of others (the oven.) 
+
+1305. 
+
+(Of Crucifixes which are sold.) 
+
+I see Christ sold and crucified afresh, and his Saints suffering
+Martyrdom. 
+
+(Of Physicians, who live by sickness.) 
+
+Men will come into so wretched a plight that they will be glad that
+others will derive profit from their sufferings or from the loss of
+their real wealth, that is health. 
+
+(Of the Religion of Friars, who live by the Saints who have been
+dead a great while.) 
+
+Those who are dead will, after a thou- sand years be those who will
+give a livelihood to many who are living. 
+
+(Of Stones converted into Lime, with which prison walls are made.) 
+
+Many things that have been before that time destroyed by fire will
+deprive many men of liberty. 
+
+1306. 
+
+(Of Children who are suckled.) 
+
+Many Franciscans, Dominicans and Benedictines will eat that which at
+other times was eaten by others, who for some months to come will
+not be able to speak. 
+
+(Of Cockles and Sea Snails which are thrown up by the sea and which
+rot inside their shells.) 
+
+How many will there be who, after they are dead, will putrefy inside
+their own houses, filling all the surrounding air with a fetid
+smell. 
+
+1307. 
+
+(Of Mules which have on them rich burdens of silver and gold.) 
+
+Much treasure and great riches will be laid upon four-footed beasts,
+which will convey them to divers places. 
+
+1308. 
+
+(Of the Shadow cast by a man at night with a light.) 
+
+Huge figures will appear in human shape, and the nearer you get to
+them, the more will their immense size diminish. 
+
+[Footnote page 1307: It seems to me probable that this note, which
+occurs in the note book used in 1502, when Leonardo, in the service
+of Cesare Borgia, visited Urbino, was suggested by the famous
+pillage of the riches of the palace of Guidobaldo, whose treasures
+Cesare Borgia at once had carried to Cesena (see GREGOROVIUS,
+_Geschichte der Stadt Rom im Mittelalter_. XIII, 5, 4). ] 
+
+1309. 
+
+(Of Snakes, carried by Storks.) 
+
+Serpents of great length will be seen at a great height in the air,
+fighting with birds. 
+
+(Of great guns, which come out of a pit and a mould.) 
+
+Creatures will come from underground which with their terrific noise
+will stun all who are near; and with their breath will kill men and
+destroy cities and castles. 
+
+1310. 
+
+(Of Grain and other Seeds.) 
+
+Men will fling out of their houses those victuals which were
+intended to sustain their life. 
+
+(Of Trees, which nourish grafted shoots.) 
+
+Fathers and mothers will be seen to take much more delight in their
+step-children then in their own children. 
+
+(Of the Censer.) 
+
+Some will go about in white garments with arrogant gestures
+threatening others with metal and fire which will do no harm at all
+to them. 
+
+1311. 
+
+(Of drying Fodder.) 
+
+Innumerable lives will be destroyed and innumerable vacant spaces
+will be made on the earth. 
+
+(Of the Life of Men, who every year change their bodily substance.) 
+
+Men, when dead, will pass through their own bowels. 
+
+1312. 
+
+(Shoemakers.) 
+
+Men will take pleasure in seeing their own work destroyed and
+injured. 
+
+1313. 
+
+(Of Kids.) 
+
+The time of Herod will come again, for the little innocent children
+will be taken from their nurses, and will die of terrible wounds
+inflicted by cruel men. 
+
+V. 
+
+DRAUGHTS AND SCHEMES FOR THE HUMOROUS WRITINGS. 
+
+Schemes for fables, etc. (1314-1323). 
+
+1314. 
+
+A FABLE. 
+
+The crab standing under the rock to catch the fish which crept under
+it, it came to pass that the rock fell with a ruinous downfall of
+stones, and by their fall the crab was crushed. 
+
+THE SAME. 
+
+The spider, being among the grapes, caught the flies which were
+feeding on those grapes. Then came the vintage, and the spider was
+cut down with the grapes. 
+
+The vine that has grown old on an old tree falls with the ruin of
+that tree, and through that bad companionship must perish with it. 
+
+The torrent carried so much earth and stones into its bed, that it
+was then constrained to change its course. 
+
+The net that was wont to take the fish was seized and carried away
+by the rush of fish. 
+
+The ball of snow when, as it rolls, it descends from the snowy
+mountains, increases in size as it falls. 
+
+The willow, which by its long shoots hopes as it grows, to outstrip
+every other plant, from having associated itself with the vine which
+is pruned every year was always crippled. 
+
+1315. 
+
+Fable of the tongue bitten by the teeth. 
+
+The cedar puffed up with pride of its beauty, separated itself from
+the trees around it and in so doing it turned away towards the wind,
+which not being broken in its fury, flung it uprooted on the earth. 
+
+The traveller's joy, not content in its hedge, began to fling its
+branches out over the high road, and cling to the opposite hedge,
+and for this it was broken away by the passers by. 
+
+1316. 
+
+The goldfinch gives victuals to its caged young. Death rather than
+loss of liberty. [Footnote: Above this text is another note, also
+referring to liberty; see No. 694.] 
+
+1317. 
+
+(Of Bags.) 
+
+Goats will convey the wine to the city. 
+
+1318. 
+
+All those things which in winter are hidden under the snow, will be
+uncovered and laid bare in summer. (for Falsehood, which cannot
+remain hidden). 
+
+1319. 
+
+A FABLE. 
+
+The lily set itself down by the shores of the Ticino, and the
+current carried away bank and the lily with it. 
+
+1320. 
+
+A JEST. 
+
+Why Hungarian ducats have a double cross on them. 
+
+1321. 
+
+A SIMILE. 
+
+A vase of unbaked clay, when broken, may be remoulded, but not a
+baked one. 
+
+1322. 
+
+Seeing the paper all stained with the deep blackness of ink, it he
+deeply regrets it; and this proves to the paper that the words,
+composed upon it were the cause of its being preserved. 
+
+1323. 
+
+The pen must necessarily have the penknife for a companion, and it
+is a useful companionship, for one is not good for much without the
+other. 
+
+Schemes for prophecies (1324-1329). 
+
+1324. 
+
+The knife, which is an artificial weapon, deprives man of his nails,
+his natural weapons. 
+
+The mirror conducts itself haughtily holding mirrored in itself the
+Queen. When she departs the mirror remains there ... 
+
+1325. 
+
+Flax is dedicated to death, and to the corruption of mortals. To
+death, by being used for snares and nets for birds, animals and
+fish; to corruption, by the flaxen sheets in which the dead are
+wrapped when they are buried, and who become corrupt in these
+winding sheets.-- And again, this flax does not separate its fibre
+till it has begun to steep and putrefy, and this is the flower with
+which garlands and decorations for funerals should be made. 
+
+1326. 
+
+(Of Peasants who work in shirts) 
+
+Shadows will come from the East which will blacken with great colour
+darkness the sky that covers Italy. 
+
+(Of the Barbers.) 
+
+All men will take refuge in Africa. 
+
+1327. 
+
+The cloth which is held in the hand in the current of a running
+stream, in the waters of which the cloth leaves all its foulness and
+dirt, is meant to signify this &c. 
+
+By the thorn with inoculated good fruit is signified those natures
+which of themselves were not disposed towards virtue, but by the aid
+of their preceptors they have the repudation of it. 
+
+1328. 
+
+A COMMON THING. 
+
+A wretched person will be flattered, and these flatterers are always
+the deceivers, robbers and murderers of the wretched person. 
+
+The image of the sun where it falls appears as a thing which covers
+the person who attempts to cover it. 
+
+(Money and Gold.) 
+
+Out of cavernous pits a thing shall come forth which will make all
+the nations of the world toil and sweat with the greatest torments,
+anxiety and labour, that they may gain its aid. 
+
+(Of the Dread of Poverty.) 
+
+The malicious and terrible [monster] will cause so much terror of
+itself in men that they will rush together, with a rapid motion,
+like madmen, thinking they are escaping her boundless force. 
+
+(Of Advice.) 
+
+The man who may be most necessary to him who needs him, will be
+repaid with ingratitude, that is greatly contemned. 
+
+1329. 
+
+(Of Bees.) 
+
+They live together in communities, they are destroyed that we may
+take the honey from them. Many and very great nations will be
+destroyed in their own dwellings. 
+
+1330. 
+
+WHY DOGS TAKE PLEASURE IN SMELLING AT EACH OTHER. 
+
+This animal has a horror of the poor, because they eat poor food,
+and it loves the rich, because they have good living and especially
+meat. And the excrement of animals always retains some virtue of its
+origin as is shown by the faeces ... 
+
+Now dogs have so keen a smell, that they can discern by their nose
+the virtue remaining in these faeces, and if they find them in the
+streets, smell them and if they smell in them the virtue of meat or
+of other things, they take them, and if not, they leave them: And to
+return to the question, I say that if by means of this smell they
+know that dog to be well fed, they respect him, because they judge
+that he has a powerful and rich master; and if they discover no such
+smell with the virtue of meet, they judge that dog to be of small
+account and to have a poor and humble master, and therefore they
+bite that dog as they would his master. 
+
+1331. 
+
+The circular plans of carrying earth are very useful, inasmuch as
+men never stop in their work; and it is done in many ways. By one of
+these ways men carry the earth on their shoulders, by another in
+chests and others on wheelbarrows. The man who carries it on his
+shoulders first fills the tub on the ground, and he loses time in
+hoisting it on to his shoulders. He with the chests loses no time.
+[Footnote: The subject of this text has apparently no connection
+with the other texts of this section.] 
+
+Irony (1332). 
+
+1332. 
+
+If Petrarch was so fond of bay, it was because it is of a good taste
+in sausages and with tunny; I cannot put any value on their foolery.
+[Footnote: Conte Porro has published these lines in the _Archivio
+Stor. Lombarda_ VIII, IV; he reads the concluding line thus: _I no
+posso di loro gia (sic) co' far tesauro._--This is known to be by a
+contemporary poet, as Senatore Morelli informs me.] 
+
+Tricks (1333-1335). 
+
+1333. 
+
+We are two brothers, each of us has a brother. Here the way of
+saying it makes it appear that the two brothers have become four. 
+
+1334. 
+
+TRICKS OF DIVIDING. 
+
+Take in each hand an equal number; put 4 from the right hand into
+the left; cast away the remainder; cast away an equal number from
+the left hand; add 5, and now you will find 13 in this [left] hand;
+that is-I made you put 4 from the right hand into the left, and cast
+away the remainder; now your right hand has 4 more; then I make you
+throw away as many from the right as you threw away from the left;
+so, throwing from each hand a quantity of which the remainder may be
+equal, you now have 4 and 4, which make 8, and that the trick may
+not be detec- ted I made you put 5 more, which made 13. 
+
+TRICKS OF DIVIDING. 
+
+Take any number less than 12 that you please; then take of mine
+enough to make up the number 12, and that which remains to me is the
+number which you at first had; because when I said, take any number
+less than 12 as you please, I took 12 into my hand, and of that 12
+you took such a number as made up your number of 12; and what you
+added to your number, you took from mine; that is, if you had 8 to
+go as far as to 12, you took of my 12, 4; hence this 4 transferred
+from me to you reduced my 12 to a remainder of 8, and your 8 became
+12; so that my 8 is equal to your 8, before it was made 12. 
+
+[Footnote 1334: G. Govi _says in the_ 'Saggio' p. 22: _Si dilett
+Leonarda, di giuochi di prestigi e molti (?) ne descrisse, che si
+leggono poi riportati dal Paciolo nel suo libro:_ de Viribus
+Quantitatis, _e che, se non tutti, sono certo in gran parte
+invenzioni del Vinci._] 
+
+1335. 
+
+If you want to teach someone a subject you do not know yourself, let
+him measure the length of an object unknown to you, and he will
+learn the measure you did not know before;--Master Giovanni da Lodi.
+
+_XXI._ 
+
+_Letters. Personal Records. Dated Notes._ 
+
+_When we consider how superficial and imperfect are the accounts of
+Leonardo's life written some time after his death by Vasari and
+others, any notes or letters which can throw more light on his
+personal circumstances cannot fail to be in the highest degree
+interesting. The texts here given as Nos._ 1351--1353, _set his
+residence in Rome in quite a new aspect; nay, the picture which
+irresistibly dwells in our minds after reading these details of his
+life in the Vatican, forms a striking contrast to the contemporary
+life of Raphael at Rome._ 
+
+_I have placed foremost of these documents the very remarkable
+letters to the Defterdar of Syria. In these Leonardo speaks of
+himself as having staid among the mountains of Armenia, and as the
+biographies of the master tell nothing of any such distant journeys,
+it would seem most obvious to treat this passage as fiction, and so
+spare ourselves the onus of proof and discussion. But on close
+examination no one can doubt that these documents, with the
+accompanying sketches, are the work of Leonardo's own hand. Not
+merely is the character of the handwriting his, but the spelling and
+the language are his also. In one respect only does the writing
+betray any marked deviation from the rest of the notes, especially
+those treating on scientific questions; namely, in these
+observations he seems to have taken particular pains to give the
+most distinct and best form of expression to all he had to say; we
+find erasures and emendations in almost every line. He proceeded, as
+we shall see, in the same way in the sketches for letters to
+Giuliano de' Medici, and what can be more natural, I may ask, than
+to find the draft of a letter thus altered and improved when it is
+to contain an account of a definite subject, and when personal
+interests are in the scale? The finished copies as sent off are not
+known to exist; if we had these instead of the rough drafts, we
+might unhesitatingly have declared that some unknown Italian
+engineer must have been, at that time, engaged in Armenia in the
+service of the Egyptian Sultan, and that Leonardo had copied his
+documents. Under this hypothesis however we should have to state
+that this unknown writer must have been so far one in mind with
+Leonardo as to use the same style of language and even the same
+lines of thought. This explanation might--as I say--have been
+possible, if only we had the finished letters. But why should these
+rough drafts of letters be regarded as anything else than what they
+actually and obviously are? If Leonardo had been a man of our own
+time, we might perhaps have attempted to account for the facts by
+saying that Leonardo, without having been in the East himself, might
+have undertaken to write a Romance of which the scene was laid in
+Armenia, and at the desire of his publisher had made sketches of
+landscape to illustrate the text. 
+
+I feel bound to mention this singular hypothesis as it has actually
+been put forward (see No. 1336 note 5); and it would certainly seem
+as though there were no other possible way of evading the conclusion
+to which these letters point, and their bearing on the life of the
+master,--absurd as the alternative is. But, if, on a question of
+such importance, we are justified in suggesting theories that have
+no foundation in probability, I could suggest another which, as
+compared with that of a Fiction by Leonardo, would be neither more
+nor less plausible; it is, moreover the only other hypothesis,
+perhaps, which can be devised to account for these passages, if it
+were possible to prove that the interpretation that the documents
+themselves suggest, must be rejected a priori; viz may not Leonardo
+have written them with the intention of mystifying those who, after
+his death, should try to decipher these manuscripts with a view to
+publishing them? But if, in fact, no objection that will stand the
+test of criticism can be brought against the simple and direct
+interpretation of the words as they stand, we are bound to regard
+Leonardo's travels in the East as an established fact. There is, I
+believe nothing in what we know of his biography to negative such a
+fact, especially as the details of his life for some few years are
+wholly unknown; nor need we be at a loss for evidence which may
+serve to explain--at any rate to some extent--the strangeness of his
+undertaking such a journey. We have no information as to Leonardo's
+history between 1482 and 1486; it cannot be proved that he was
+either in Milan or in Florence. On the other hand the tenor of this
+letter does not require us to assume a longer absence than a year or
+two. For, even if his appointment_ (offitio) _as Engineer in Syria
+had been a permanent one, it might have become untenable--by the
+death perhaps of the Defterdar, his patron, or by his removal from
+office--, and Leonardo on his return home may have kept silence on
+the subject of an episode which probably had ended in failure and
+disappointment. 
+
+From the text of No. 1379 we can hardly doubt that Leonardo intended
+to make an excursion secretly from Rome to Naples, although so far
+as has hitherto been known, his biographers never allude to it. In
+another place (No. 1077) he says that he had worked as an Engineer
+in Friuli. Are we to doubt this statement too, merely because no
+biographer has hitherto given us any information on the matter? In
+the geographical notes Leonardo frequently speaks of the East, and
+though such passages afford no direct proof of his having been
+there, they show beyond a doubt that, next to the Nile, the
+Euphrates, the Tigris and the Taurus mountains had a special
+interest in his eyes. As a still further proof of the futility of
+the argument that there is nothing in his drawings to show that he
+had travelled in the East, we find on Pl. CXX a study of oriental
+heads of Armenian type,--though of course this may have been made in
+Italy. 
+
+If the style of these letters were less sober, and the expressions
+less strictly to the point throughout, it miglit be possible to
+regard them as a romantic fiction instead of a narrative of fact.
+Nay, we have only to compare them with such obviously fanciful
+passages as No. 1354, Nos. 670-673, and the Fables and Prophecies.
+It is unnecessary to discuss the subject any further here; such
+explanations as the letter needs are given in the foot notes. 
+
+The drafts of letters to Lodovico il Moro are very remarkable.
+Leonardo and this prince were certainly far less closely connected,
+than has hitherto been supposed. It is impossible that Leonardo can
+have remained so long in the service of this prince, because the
+salary was good, as is commonly stated. On the contrary, it would
+seem, that what kept him there, in spite of his sore need of the
+money owed him by the prince, was the hope of some day being able to
+carry out the project of casting the_ 'gran cavallo'. 
+
+Drafts of Letters and Reports referring to Armenia (1336. 1337). 
+
+1336. 
+
+To THE DEVATDAR OF SYRIA, LIEUTENANT OF THE SACRED SULTAN OF
+BABYLON. 
+
+[3] The recent disaster in our Northern parts which I am certain
+will terrify not you alone but the whole world, which 
+
+[Footnote: Lines 1-52 are reproduced in facsimile on Pl. CXVI. 
+
+1. _Diodario._ This word is not to be found in any Italian
+dictionary, and for a long time I vainly sought an explanation of
+it. The youthful reminiscences of my wife afforded the desired clue.
+The chief town of each Turkish Villayet, or province --such as
+Broussa, for instance, in Asia Minor, is the residence of a
+Defterdar, who presides over the financial affairs of the province.
+_Defterdar hane_ was, in former times, the name given to the
+Ministry of Finance at Constantinople; the Minister of Finance to
+the Porte is now known as the _Mallie-Nazri_ and the _Defterdars_
+are his subordinates. A _Defterdar_, at the present day is merely
+the head of the finance department in each Provincial district. With
+regard to my suggestion that Leonardo's _Diodario_ might be
+identical with the Defterdar of former times, the late M. C.
+DEFREMERIE, Arabic Professor, and Membre de l'Institut de France
+wrote to me as follows: _Votre conjecture est parfaitement fondee;
+diodario est Vequivalent de devadar ou plus exactement devatdar,
+titre d'une importante dignite en Egypt'e, sous les Mamlouks._ 
+
+The word however is not of Turkish, but of Perso-Arabie derivation.
+[Defter written in arab?] literally _Defter_ (Arabic) meaning
+_folio_; for _dar_ (Persian) Bookkeeper or holder is the English
+equivalent; and the idea is that of a deputy in command. During the
+Mamelook supremacy over Syria, which corresponded in date with
+Leonardo's time, the office of Defterdar was the third in importance
+in the State. 
+
+_Soltano di Babilonia_. The name of Babylon was commonly applied to
+Cairo in the middle ages. For instance BREIDENBACH, _Itinerarium
+Hierosolyma_ p. 218 says: "At last we reached Babylon. But this is
+not that Babylon which stood on the further shore of the river
+Chober, but that which is called the Egyptian Babylon. It is close
+by Cairo and the twain are but one and not two towns; one half is
+called Cairo and the other Babylon, whence they are called together
+Cairo-Babylon; originally the town is said to have been named
+Memphis and then Babylon, but now it is called Cairo." Compare No.
+1085, 6. 
+
+Egypt was governed from 1382 till 1517 by the Borgite or
+Tcherkessian dynasty of the Mamelook Sultans. One of the most famous
+of these, Sultan Kait Bey, ruled from 1468-1496 during whose reign
+the Gama (or Mosque) of Kait Bey and tomb of Kait Bey near the
+Okella Kait Bey were erected in Cairo, which preserve his name to
+this day. Under the rule of this great and wise prince many
+foreigners, particularly Italians, found occupation in Egypt, as may
+be seen in the 'Viaggio di Josaphat Barbaro', among other
+travellers. "Next to Leonardo (so I learn from Prof. Jac. Burckhardt
+of Bale) Kait Bey's most helpful engineer was a German who in about
+1487, superintended the construction of the Mole at Alexandria.
+Felix Fabri knew him and mentions him in his _Historia Suevorum_,
+written in 1488." 
+
+3. _Il nuovo accidente accaduto_, or as Leonardo first wrote and
+then erased, _e accaduto un nuovo accidente_. From the sequel this
+must refer to an earthquake, and indeed these were frequent at that
+period, particularly in Asia Minor, where they caused immense
+mischief. See No. 1101 note.] 
+
+shall be related to you in due order, showing first the effect and
+then the cause. [Footnote 4: The text here breaks off. The following
+lines are a fresh beginning of a letter, evidently addressed to the
+same person, but, as it would seem, written at a later date than the
+previous text. The numerous corrections and amendments amply prove
+that it is not a copy from any account of a journey by some unknown
+person; but, on the contrary, that Leonardo was particularly anxious
+to choose such words and phrases as might best express his own
+ideas.] 
+
+Finding myself in this part of Armenia [Footnote 5: _Parti
+d'Erminia_. See No. 945, note. The extent of Armenia in Leonardo's
+time is only approximately known. In the XVth century the Persians
+governed the Eastern, and the Arabs the Southern portions. Arabic
+authors--as, for instance Abulfeda--include Cilicia and a part of
+Cappadocia in Armenia, and Greater Armenia was the tract of that
+country known later as Turcomania, while Armenia Minor was the
+territory between Cappadocia and the Euphrates. It was not till
+1522, or even 1574 that the whole country came under the dominion of
+the Ottoman Turks, in the reign of Selim I. 
+
+The Mamelook Sultans of Egypt seem to have taken a particular
+interest in this, the most Northern province of their empire, which
+was even then in danger of being conquered by the Turks. In the
+autumn of 1477 Sultan Kait Bey made a journey of inspection,
+visiting Antioch and the valleys of the Tigris and Euphrates with a
+numerous and brilliant escort. This tour is briefly alluded to by
+_Moodshireddin_ p. 561; and by WEIL, _Geschichte der Abbasiden_ V,
+p. 358. An anonymous member of the suite wrote a diary of the
+expedition in Arabic, which has been published by R. V. LONZONE
+(_'Viaggio in Palestina e Soria di Kaid Ba XVIII sultano della II
+dinastia mamelucca, fatto nel 1477. Testo arabo. Torino 1878'_,
+without notes or commentary). Compare the critique on this edition,
+by J. GILDEMEISTER in _Zeitschrift des Deutschen Palaestina Vereins_
+(Vol. Ill p. 246--249). Lanzone's edition seems to be no more than
+an abridged copy of the original. I owe to Professor Sche'fer,
+Membre de l'Institut, the information that he is in possession of a
+manuscript in which the text is fuller, and more correctly given.
+The Mamelook dynasty was, as is well known, of Circassian origin,
+and a large proportion of the Egyptian Army was recruited in
+Circassia even so late as in the XVth century. That was a period of
+political storms in Syria and Asia Minor and it is easy to suppose
+that the Sultan's minister, to whom Leonardo addresses his report as
+his superior, had a special interest in the welfare of those
+frontier provinces. Only to mention a few historical events of
+Sultan Kait Bey's reign, we find that in 1488 he assisted the
+Circassians to resist the encroachments of Alaeddoulet, an Asiatic
+prince who had allied himself with the Osmanli to threaten the
+province; the consequence was a war in Cilicia by sea and land,
+which broke out in the following year between the contending powers.
+Only a few years earlier the same province had been the scene of the
+so-called Caramenian war in which the united Venetian, Neapolitan
+and Sclavonic fleets had been engaged. (See CORIALANO CIPPICO,
+_Della guerra dei Veneziani nell' Asia dal_ 1469--1474. Venezia
+1796, p. 54) and we learn incidentally that a certain Leonardo
+Boldo, Governor of Scutari under Sultan Mahmoud,--as his name would
+indicate, one of the numerous renegades of Italian birth--played an
+important part in the negotiations for peace. 
+
+_Tu mi mandasti_. The address _tu_ to a personage so high in office
+is singular and suggests personal intimacy; Leonardo seems to have
+been a favourite with the Diodario. Compare lines 54 and 55. 
+
+I have endeavoured to show, and I believe that I am also in a
+position to prove with regard to these texts, that they are draughts
+of letters actually written by Leonardo; at the same time I must not
+omit to mention that shortly after I had discovered 
+
+these texts in the Codex Atlanticus and published a paper on the
+subject in the _Zeitschrift fur bildende Kunst (Vol. XVI)_, Prof.
+Govi put forward this hypothesis to account for their origin: 
+
+_"Quanto alle notizie sul monte Tauro, sull'Armenia e sull' Asia
+minore che si contengono negli altri frammenti, esse vennero prese
+da qualche geografro o viaggiatore contemporaneo. Dall'indice
+imperfetto che accompagna quei frammenti, si potrebbe dedurre che
+Leonardo volesse farne un libro, che poi non venne compiuto. A ogni
+modo, non e possibile di trovare in questi brani nessun indizio di
+un viaggio di Leonardo in oriente, ne della sua conversione alla
+religione di Maometto, come qualcuno pretenderebbe. Leonardo amava
+con passione gli studi geografici, e nel suoi scritti s'incontran
+spesso itinerart, indicazioni, o descrizioni di luoghi, schizzi di
+carte e abbozzi topografici di varie regioni, non e quindi strano
+che egli, abile narratore com'era, si fosse proposto di scrivere una
+specie di Romanzo in forma epistolare svolgendone Pintreccio
+nell'Asia Minore, intorno alla quale i libri d'allora, e forse
+qualche viaggiatore amico suo, gli avevano somministrato alcuni
+elementi piu o meno_ fantastici. (See Transunti della Reale
+Accademia dei Lincei Voi. V Ser. 3). 
+
+It is hardly necessary to point out that Prof. Govi omits to name
+the sources from which Leonardo could be supposed to have drawn his
+information, and I may leave it to the reader to pronounce judgment
+on the anomaly which is involved in the hypothesis that we have here
+a fragment of a Romance, cast in the form of a correspondence. At
+the same time, I cannot but admit that the solution of the
+difficulties proposed by Prof. Govi is, under the circumstances,
+certainly the easiest way of dealing with the question. But we
+should then be equally justified in supposing some more of
+Leonardo's letters to be fragments of such romances; particularly
+those of which the addresses can no longer be named. Still, as
+regards these drafts of letters to the Diodario, if we accept the
+Romance theory, as pro- posed by Prof. Govi, we are also compelled
+to assume that Leonardo purposed from the first to illustrate his
+tale; for it needs only a glance at the sketches on PI. CXVI to CXIX
+to perceive that they are connected with the texts; and of course
+the rest of Leonardo's numerous notes on matters pertaining to the
+East, the greater part of which are here published for the first
+time, may also be somehow connected with this strange romance. 
+
+7. _Citta de Calindra (Chalindra)_. The position of this city is so
+exactly determined, between the valley of the Euphrates and the
+Taurus range that it ought to be possible to identify it. But it can
+hardly be the same as the sea port of Cilicia with a somewhat
+similar name Celenderis, Kelandria, Celendria, Kilindria, now the
+Turkish Gulnar. In two Catalonian Portulans in the Bibliotheque
+Natio- nale in Paris-one dating from the XV'h century, by Wilhelm
+von Soler, the other by Olivez de Majorca, in l584-I find this place
+called Calandra. But Leonardo's Calindra must certainly have lain
+more to the North West, probably somewhere in Kurdistan. The fact
+that the geographical position is so care- fully determined by
+Leonardo seems to prove that it was a place of no great importance
+and little known. It is singular that the words first written in 1.
+8 were divisa dal lago (Lake Van?), altered afterwards to
+dall'Eitfrates. 
+
+Nostri confini, and in 1. 6 proposito nostro. These refer to the
+frontier and to the affairs of the Mamelook Sultan, Lines 65 and 66
+throw some light on the purpose of Leonardo's mission. 
+
+8. _I_ corni del gra mote Tauro. Compare the sketches PI.
+CXVI-CXVIII. So long as it is im- possible to identify the situation
+of Calindra it is most difficult to decide with any certainty which
+peak of the Taurus is here meant; and I greatly regret that I had no
+foreknowledge of this puzzling topographical question when, in 1876,
+I was pursuing archaeological enquiries in the Provinces of Aleppo
+and Cilicia, and had to travel for some time in view of the imposing
+snow-peaks of Bulghar Dagh and Ala Tepessi. 
+
+9-10. The opinion here expressed as to the height of the mountain
+would be unmeaning, unless it had been written before Leonardo moved
+to Milan, where Monte Rosa is so conspicuous an object in the
+landscape. 4 _ore inanzi_ seems to mean, four hours before the sun's
+rays penetrate to the bottom of the valleys.] 
+
+to carry into effect with due love and care the task for which you
+sent me [Footnote: ][6]; and to make a beginning in a place which
+seemed to me to be most to our purpose, I entered into the city of
+Calindrafy[7], near to our frontiers. This city is situated at the
+base of that part of the Taurus mountains which is divided from the
+Euphrates and looks towards the peaks of the great Mount Taurus [8]
+to the West [9]. These peaks are of such a height that they seem to
+touch the sky, and in all the world there is no part of the earth,
+higher than its summit[10], and the rays of the sun always fall upon
+it on its East side, four hours before day-time, and being of the
+whitest stone [Footnote 11:_Pietra bianchissima_. The Taurus
+Mountains consist in great part of limestone.] it shines
+resplendently and fulfils the function to these Armenians which a
+bright moon-light would in the midst of the darkness; and by its
+great height it outreaches the utmost level of the clouds by a space
+of four miles in a straight line. This peak is seen in many places
+towards the West, illuminated by the sun after its setting the third
+part of the night. This it is, which with you [Footnote 14:
+_Appresso di voi_. Leonardo had at first written _noi_ as though his
+meaning had,been: This peak appeared to us to be a comet when you
+and I observed it in North Syria (at Aleppo? at Aintas?). The
+description of the curious reflection in the evening, resembling the
+"Alpine-glow" is certainly not an invented fiction, for in the next
+lines an explanation of the phenomenon is offered, or at least
+attempted.] we formerly in calm weather had supposed to be a comet,
+and appears to us in the darkness of night, to change its form,
+being sometimes divided in two or three parts, and sometimes long
+and sometimes short. And this is caused by the clouds on the horizon
+of the sky which interpose between part of this mountain and the
+sun, and by cutting off some of the solar rays the light on the
+mountain is intercepted by various intervals of clouds, and
+therefore varies in the form of its brightness. 
+
+THE DIVISIONS OF THE BOOK [Footnote 19: The next 33 lines are
+evidently the contents of a connected Report or Book, but not of one
+which he had at hand; more probably, indeed, of one he purposed
+writing.]. 
+
+The praise and confession of the faith [Footnote 20: _Persuasione di
+fede_, of the Christian or the Mohammedan faith? We must suppose the
+latter, at the beginning of a document addressed to so high a
+Mohammedan official. _Predica_ probably stands as an abbreviation
+for _predicazione_ (lat. _praedicatio_) in the sense of praise or
+glorification; very probably it may mean some such initial doxology
+as we find in Mohammedan works. (Comp. 1. 40.)]. 
+
+The sudden inundation, to its end. 
+
+[23] The destruction of the city. 
+
+[24]The death of the people and their despair. 
+
+The preacher's search, his release and benevolence [Footnote 28: The
+phraseology of this is too general for any conjecture as to its
+meaning to be worth hazarding.] 
+
+Description of the cause of this fall of the mountain [Footnote 30:
+_Ruina del monte_. Of course by an earthquake. In a catalogue of
+earthquakes, entitled _kechf aussalssaleb an auasf ezzel-zeleh_, and
+written by Djelal eddin]. 
+
+The mischief it did. 
+
+[32] Fall of snow. 
+
+The finding of the prophet [33]. 
+
+His prophesy. 
+
+[35] The inundation of the lower portion of Eastern Armenia, the
+draining of which was effected by the cutting through the Taurus
+Mountains. 
+
+How the new prophet showed [Footnote 40:_Nova profeta, 1. 33,
+profeta_. Mohammed. Leonardo here refers to the Koran: 
+
+In the name of the most merciful God.--When the earth shall be
+shaken by an earthquake; and the earth shall cast forth her burdens;
+and a man shall say, what aileth her? On that day the earth shall
+declare her tidings, for that thy Lord will inspire her. On that day
+men shall go forward in distinct classes, that they may behold their
+works. And whoever shall have wrought good of the weight of an ant,
+shall behold the same. And whoever shall have wrought evil of the
+weight of an ant, shall behold the same. (The Koran, translated by
+G. Sale, Chapter XCIX, p. 452).] that this destruction would happen
+as he had foretold. 
+
+Description of the Taurus Mountains [43] and the river Euphrates. 
+
+Why the mountain shines at the top, from half to a third of the
+night, and looks like a comet to the inhabitants of the West after
+the sunset, and before day to those of the East. 
+
+Why this comet appears of variable forms, so that it is now round
+and now long, and now again divided into two or three parts, and now
+in one piece, and when it is to be seen again. 
+
+OF THE SHAPE OF THE TAURUS MOUNTAINS [Footnote 53-94: The facsimile
+of this passage is given on Pl. CXVII.]. 
+
+I am not to be accused, Oh Devatdar, of idleness, as your chidings
+seem to hint; but your excessive love for me, which gave rise to the
+benefits you have conferred on me [Footnote 55] is that which has
+also compelled me to the utmost painstaking in seeking out and
+diligently investigating the cause of so great and stupendous an
+effect. And this could not be done without time; now, in order to
+satisfy you fully as to the cause of so great an effect, it is
+requisite that I should explain to you the form of the place, and
+then I will proceed to the effect, by which I believe you will be
+amply satisfied. 
+
+[Footnote 36: _Tagliata di Monte Tauro_. The Euphrates flows through
+the Taurus range near the influx of the Kura Shai; it rushes through
+a rift in the wildest cliffs from 2000 to 3000 feet high and runs on
+for 90 miles in 300 falls or rapids till it reaches Telek, near
+which at a spot called Gleikash, or the Hart's leap, it measures
+only 35 paces across. Compare the map on Pl. CXIX and the
+explanation for it on p. 391.] 
+
+[Footnote 54: The foregoing sketch of a letter, lines 5. 18, appears
+to have remained a fragment when Leonardo received pressing orders
+which caused him to write immediately and fully on the subject
+mentioned in line 43.] 
+
+[Footnote 59: This passage was evidently intended as an improvement
+on that immediately preceding it. The purport of both is essentially
+the same, but the first is pitched in a key of ill-disguised
+annoyance which is absent from the second. I do not see how these
+two versions can be reconciled with the romance-theory held by Prof.
+Govi.] Do not be aggrieved, O Devatdar, by my delay in responding to
+your pressing request, for those things which you require of me are
+of such a nature that they cannot be well expressed without some
+lapse of time; particularly because, in order to explain the cause
+of so great an effect, it is necessary to describe with accuracy the
+nature of the place; and by this means I can afterwards easily
+satisfy your above-mentioned request. [Footnote 62: This passage was
+evidently intended as an improvement on that immediately preceding
+it. The purport of both is essentially the same, but the first is
+pitched in a key of ill-disguised annoyance which is absent from the
+second. I do not see how these two versions can be reconciled with
+the romance-theory held by Prof. Govi.] 
+
+I will pass over any description of the form of Asia Minor, or as to
+what seas or lands form the limits of its outline and extent,
+because I know that by your own diligence and carefulness in your
+studies you have not remained in ignorance of these matters [65];
+and I will go on to describe the true form of the Taurus Mountain
+which is the cause of this stupendous and harmful marvel, and which
+will serve to advance us in our purpose [66]. This Taurus is that
+mountain which, with many others is said to be the ridge of Mount
+Caucasus; but wishing to be very clear about it, I desired to speak
+to some of the inhabitants of the shores of the Caspian sea, who
+give evidence that this must be the true Caucasus, and that though
+their mountains bear the same name, yet these are higher; and to
+confirm this in the Scythian tongue Caucasus means a very high
+[Footnote 68: Caucasus; Herodot Kaoxaais; Armen. Kaukaz.] peak, and
+in fact we have no information of there being, in the East or in the
+West, any mountain so high. And the proof of this is that the
+inhabitants of the countries to the West see the rays of the sun
+illuminating a great part of its summit for as much as a quarter of
+the longest night. And in the same way, in those countries which lie
+to the East. 
+
+OF THE STRUCTURE AND SIZE OF MOUNT TAURUS. 
+
+[Footnote 73: The statements are of course founded on those of the
+'inhabitants' spoken of in 1. 67.] The shadow of this ridge of the
+Taurus is of such a height that when, in the middle of June, the Sun
+is at its meridian, its shadow extends as far as the borders of
+Sarmatia, twelve days off; and in the middle of December it extends
+as far as the Hyperborean mountains, which are at a month's journey
+to the North [75]. And the side which faces the wind is always free
+from clouds and mists, because the wind which is parted in beating
+on the rock, closes again on the further side of that rock, and in
+its motion carries with it the clouds from all quarters and leaves
+them where it strikes. And it is always full of thunderbolts from
+the great quantity of clouds which accumulate there, whence the rock
+is all riven and full of huge debris [Footnote 77: Sudden storms are
+equally common on the heights of Ararat. It is hardly necessary to
+observe that Ararat cannot be meant here. Its summit is formed like
+the crater of Vesuvius. The peaks sketched on Pl. CXVI-CXVIII are
+probably views of the same mountain, taken from different sides.
+Near the solitary peak, Pl. CXVIII these three names are written
+_goba, arnigasar, caruda_, names most likely of different peaks. Pl.
+CXVI and CXVII are in the original on a single sheet folded down the
+middle, 30 centimetres high and 43 1/2 wide. On the reverse of one
+half of the sheet are notes on _peso_ and _bilancia_ (weight and
+balance), on the other are the 'prophecies' printed under Nos. 1293
+and 1294. It is evident from the arrangement that these were written
+subsequently, on the space which had been left blank. These pages
+are facsimiled on Pl. CXVIII. In Pl. CXVI-CXVIII the size is smaller
+than in the original; the map of Armenia, Pl. CXVIII, is on Pl. CXIX
+slightly enlarged. On this map we find the following names,
+beginning from the right hand at the top: _pariardes mo_ (for
+Paryadres Mons, Arm. Parchar, now Barchal or Kolai Dagh; Trebizond
+is on its slope). 
+
+_Aquilone_ --North, _Antitaurus Antitaurus psis mo_ (probably meant
+for Thospitis = Lake Van, Arm. Dgov Vanai, Tospoi, and the Mountain
+range to the South); _Gordis mo_ (Mountains of Gordyaea), the birth
+place of the Tigris; _Oriente_ --East; _Tigris_, and then, to the
+left, _Eufrates_. Then, above to the left _Argeo mo_ (now Erdshigas,
+an extinct volcano, 12000 feet high); _Celeno mo_ (no doubt Sultan
+Dagh in Pisidia). Celeno is the Greek town of KeAouvat-- see Arian
+I, 29, I--now the ruins of Dineir); _oriente_ --East; _africo
+libezco_ (for libeccio--South West). In the middle of the Euphrates
+river on this small map we see a shaded portion surrounded by
+mountains, perhaps to indicate the inundation mentioned in l. 35.
+The affluent to the Euphrates shown as coming with many windings
+from the high land of 'Argeo' on the West, is the Tochma Su, which
+joins the main river at Malatie. I have not been able to discover
+any map of Armenia of the XVth or XVIth century in which the course
+of the Euphrates is laid down with any thing like the correctness
+displayed in this sketch. The best I have seen is the Catalonian
+Portulan of Olivez de Majorca, executed in 1584, and it is far
+behind Leonardo's.]. This mountain, at its base, is inhabited by a
+very rich population and is full of most beautiful springs and
+rivers, and is fertile and abounding in all good produce,
+particularly in those parts which face to the South. But after
+mounting about three miles we begin to find forests of great fir
+trees, and beech and other similar trees; after this, for a space of
+three more miles, there are meadows and vast pastures; and all the
+rest, as far as the beginning of the Taurus, is eternal snows which
+never disappear at any time, and extend to a height of about
+fourteen miles in all. From this beginning of the Taurus up to the
+height of a mile the clouds never pass away; thus we have fifteen
+miles, that is, a height of about five miles in a straight line; and
+the summit of the peaks of the Taurus are as much, or about that.
+There, half way up, we begin to find a scorching air and never feel
+a breath of wind; but nothing can live long there; there nothing is
+brought forth save a few birds of prey which breed in the high
+fissures of Taurus and descend below the clouds to seek their prey.
+Above the wooded hills all is bare rock, that is, from the clouds
+upwards; and the rock is the purest white. And it is impossible to
+walk to the high summit on account of the rough and perilous ascent.
+
+1337. 
+
+[Footnote: 1337. On comparing this commencement of a letter l. 1-2
+with that in l. 3 and 4 of No. 1336 it is quite evident that both
+refer to the same event. (Compare also No. 1337 l. 10-l2 and 17 with
+No. 1336 l. 23, 24 and 32.) But the text No. 1336, including the
+fragment l. 3-4, was obviously written later than the draft here
+reproduced. The _Diodario_ is not directly addressed--the person
+addressed indeed is not known--and it seems to me highly probable
+that it was written to some other patron and friend whose name and
+position are not mentioned.] 
+
+Having often made you, by my letters, acquainted with the things
+which have happened, I think I ought not to be silent as to the
+events of the last few days, which--[2]... 
+
+Having several times-- 
+
+Having many times rejoiced with you by letters over your prosperous
+fortunes, I know now that, as a friend you will be sad with me over
+the miserable state in which I find myself; and this is, that during
+the last few days I have been in so much trouble, fear, peril and
+loss, besides the miseries of the people here, that we have been
+envious of the dead; and certainly I do not believe that since the
+elements by their separation reduced the vast chaos to order, they
+have ever combined their force and fury to do so much mischief to
+man. As far as regards us here, what we have seen and gone through
+is such that I could not imagine that things could ever rise to such
+an amount of mischief, as we experienced in the space of ten hours.
+In the first place we were assailed and attacked by the violence and
+fury of the winds [10]; to this was added the falling of great
+mountains of snow which filled up all this valley, thus destroying a
+great part of our city [Footnote 11: _Della nostra citta_ (Leonardo
+first wrote _di questa citta_). From this we may infer that he had
+at some time lived in the place in question wherever it might be.].
+And not content with this the tempest sent a sudden flood of water
+to submerge all the low part of this city [12]; added to which there
+came a sudden rain, or rather a ruinous torrent and flood of water,
+sand, mud, and stones, entangled with roots, and stems and fragments
+of various trees; and every kind of thing flying through the air
+fell upon us; finally a great fire broke out, not brought by the
+wind, but carried as it would seem, by ten thousand devils, which
+completely burnt up all this neighbourhood and it has not yet
+ceased. And those few who remain unhurt are in such dejection and
+such terror that they hardly have courage to speak to each other, as
+if they were stunned. Having abandoned all our business, we stay
+here together in the ruins of some churches, men and women mingled
+together, small and great [Footnote 17: _Certe ruine di chiese_.
+Either of Armenian churches or of Mosques, which it was not unusual
+to speak of as churches. 
+
+_Maschi e femmini insieme unite_, implies an infringement of the
+usually strict rule of the separation of the sexes.], just like
+herds of goats. The neighbours out of pity succoured us with
+victuals, and they had previously been our enemies. And if 
+
+[Footnote 18: _I vicini, nostri nimici_. The town must then have
+stood quite close to the frontier of the country. Compare 1336. L.
+7. _vicini ai nostri confini_. Dr. M. JORDAN has already published
+lines 4-13 (see _Das Malerbuch, Leipzig_, 1873, p. 90:--his reading
+differs from mine) under the title of "Description of a landscape
+near Lake Como". We do in fact find, among other loose sheets in the
+Codex Atlanticus, certain texts referring to valleys of the Alps
+(see Nos. 1030, 1031 and note p. 237) and in the arrangement of the
+loose sheets, of which the Codex Atlanticus has been formed, these
+happen to be placed close to this text. The compiler stuck both on
+the same folio sheet; and if this is not the reason for Dr. JORDAN'S
+choosing such a title (Description &c.) I cannot imagine what it can
+have been. It is, at any rate, a merely hypothetical statement. The
+designation of the population of the country round a city as "the
+enemy" (_nemici_) is hardly appropriate to Italy in the time of
+Leonardo.] 
+
+it had not been for certain people who succoured us with victuals,
+all would have died of hunger. Now you see the state we are in. And
+all these evils are as nothing compared with those which are
+promised to us shortly. 
+
+I know that as a friend you will grieve for my misfortunes, as I, in
+former letters have shown my joy at your prosperity ... 
+
+Notes about events observed abroad (1338-1339). 
+
+1338. 
+
+BOOK 43. OF THE MOVEMENT OF AIR ENCLOSED IN WATER. 
+
+I have seen motions of the air so furious that they have carried,
+mixed up in their course, the largest trees of the forest and whole
+roofs of great palaces, and I have seen the same fury bore a hole
+with a whirling movement digging out a gravel pit, and carrying
+gravel, sand and water more than half a mile through the air. 
+
+[Footnote: The first sixteen lines of this passage which treat of
+the subject as indicated on the title line have no place in this
+connexion and have been omitted.] 
+
+[Footnote 2: _Ho veduto movimenti_ &c. Nothing of the kind happened
+in Italy during Leonardo's lifetime, and it is therefore extremely
+probable that this refers to the natural phenomena which are so
+fully described in the foregoing passage. (Compare too, No. 1021.)
+There can be no doubt that the descriptions of the Deluge in the
+Libro di Pittura (Vol. I, No. 607-611), and that of the fall of a
+mountain No. 610, l. 17-30 were written from the vivid impressions
+derived from personal experience. Compare also Pl. XXXIV-XL.] 
+
+1339. 
+
+[Footnote: It may be inferred from the character of the writing,
+which is in the style of the note in facsimile Vol. I, p. 297, that
+this passage was written between 1470 and 1480. As the figure 6 at
+the end of the text indicates, it was continued on another page, but
+I have searched in vain for it. The reverse of this leaf is coloured
+red for drawing in silver point, but has not been used for that
+purpose but for writing on, and at about the same date. The passages
+are given as Nos. 1217, 1218, 1219, 1162 and No. 994 (see note page
+218). The text given above is obviously not a fragment of a letter,
+but a record of some personal experience. No. 1379 also seems to
+refer to Leonardo's journeys in Southern Italy.] 
+
+Like a whirling wind which rushes down a sandy and hollow valley,
+and which, in its hasty course, drives to its centre every thing
+that opposes its furious course ... 
+
+No otherwise does the Northern blast whirl round in its tempestuous
+progress ... 
+
+Nor does the tempestuous sea bellow so loud, when the Northern blast
+dashes it, with its foaming waves between Scylla and Charybdis; nor
+Stromboli, nor Mount Etna, when their sulphurous flames, having been
+forcibly confined, rend, and burst open the mountain, fulminating
+stones and earth through the air together with the flames they
+vomit. 
+
+Nor when the inflamed caverns of Mount Etna [Footnote 13: Mongibello
+is a name commonly given in Sicily to Mount Etna (from Djebel,
+Arab.=mountain). Fr. FERRARA, _Descrizione dell' Etna con la storia
+delle eruzioni_ (Palermo, 1818, p. 88) tells us, on the authority of
+the _Cronaca del Monastero Benedettino di Licordia_ of an eruption
+of the Volcano with a great flow of lava on Sept. 21, 1447. The next
+records of the mountain are from the years 1533 and 1536. A. Percy
+neither does mention any eruptions of Etna during the years to which
+this note must probably refer _Memoire des tremblements de terre de
+la peninsule italique, Vol. XXII des Memoires couronnees et Memoires
+des savants etrangers. Academie Royal de Belgique_). 
+
+A literal interpretation of the passage would not, however, indicate
+an allusion to any great eruption; particularly in the connection
+with Stromboli, where the periodical outbreaks in very short
+intervals are very striking to any observer, especially at night
+time, when passing the island on the way from Naples to Messina.],
+rejecting the ill-restained element vomit it forth, back to its own
+region, driving furiously before it every obstacle that comes in the
+way of its impetuous rage ... 
+
+Unable to resist my eager desire and wanting to see the great ... of
+the various and strange shapes made by formative nature, and having
+wandered some distance among gloomy rocks, I came to the entrance of
+a great cavern, in front of which I stood some time, astonished and
+unaware of such a thing. Bending my back into an arch I rested my
+left hand on my knee and held my right hand over my down-cast and
+contracted eye brows: often bending first one way and then the
+other, to see whether I could discover anything inside, and this
+being forbidden by the deep darkness within, and after having
+remained there some time, two contrary emotions arose in me, fear
+and desire--fear of the threatening dark cavern, desire to see
+whether there were any marvellous thing within it ... 
+
+Drafts of Letters to Lodovico il Moro (1340-1345). 
+
+1340. 
+
+[Footnote: The numerous corrections, the alterations in the figures
+(l. 18) and the absence of any signature prove that this is merely
+the rough draft of a letter to Lodovico il Moro. It is one of the
+very few manuscripts which are written from left to right--see the
+facsimile of the beginning as here reproduced. This is probably the
+final sketch of a document the clean of which copy was written in
+the usual manner. Leonardo no doubt very rarely wrote so, and this
+is probably the reason of the conspicuous dissimilarity in the
+handwriting, when he did. (Compare Pl. XXXVIII.) It is noteworthy
+too that here the orthography and abbreviations are also
+exceptional. But such superficial peculiarities are not enough to
+stamp the document as altogether spurious. It is neither a forgery
+nor the production of any artist but Leonardo himself. As to this
+point the contents leave us no doubt as to its authenticity,
+particularly l. 32 (see No. 719, where this passage is repeated).
+But whether the fragment, as we here see it, was written from
+Leonardo's dictation--a theory favoured by the orthography, the
+erasures and corrections--or whether it may be a copy made for or by
+Melzi or Mazenta is comparatively unimportant. There are in the
+Codex Atlanticus a few other documents not written by Leonardo
+himself, but the notes in his own hand found on the reverse pages of
+these leaves amply prove that they were certainly in Leonardo's
+possession. This mark of ownership is wanting to the text in
+question, but the compilers of the Codex Atlanticus, at any rate,
+accepted it as a genuine document. 
+
+With regard to the probable date of this projected letter see Vol.
+II, p. 3.] 
+
+Most illustrious Lord, Having now sufficiently considered the
+specimens of all those who proclaim themselves skilled contrivers of
+instruments of war, and that the invention and operation of the said
+instruments are nothing different to those in common use: I shall
+endeavour, without prejudice to any one else, to explain myself to
+your Excellency showing your Lordship my secrets, and then offering
+them to your best pleasure and approbation to work with effect at
+opportune moments as well as all those things which, in part, shall
+be briefly noted below. 
+
+1) I have a sort of extremely light and strong bridges, adapted to
+be most easily carried, and with them you may pursue, and at any
+time flee from the enemy; and others, secure and indestructible by
+fire and battle, easy and convenient to lift and place. Also methods
+of burning and destroying those of the enemy. 
+
+2) I know how, when a place is besieged, to take the water out of
+the trenches, and make endless variety of bridges, and covered ways
+and ladders, and other machines pertaining to such expeditions. 
+
+3) Item. If, by reason of the height of the banks, or the strength
+of the place and its position, it is impossible, when besieging a
+place, to avail oneself of the plan of bombardment, I have methods
+for destroying every rock or other fortress, even if it were founded
+on a rock, &c. 
+
+4) Again I have kinds of mortars; most convenient and easy to carry;
+and with these can fling small stones almost resembling a storm; and
+with the smoke of these causing great terror to the enemy, to his
+great detriment and confusion. 
+
+9) [8] And when the fight should be at sea I have kinds of many
+machines most efficient for offence and defence; and vessels which
+will resist the attack of the largest guns and powder and fumes. 
+
+5) Item. I have means by secret and tortuous mines and ways, made
+without noise to reach a designated [spot], even if it were needed
+to pass under a trench or a river. 
+
+6) Item. I will make covered chariots, safe and unattackable which,
+entering among the enemy with their artillery, there is no body of
+men so great but they would break them. And behind these, infantry
+could follow quite unhurt and without any hindrance. 
+
+7) Item. In case of need I will make big guns, mortars and light
+ordnance of fine and useful forms, out of the common type. 
+
+8) Where the operation of bombardment should fail, I would contrive
+catapults, mangonels, _trabocchi_ and other machines of marvellous
+efficacy and not in common use. And in short, according to the
+variety of cases, I can contrive various and endless means of
+offence and defence. 
+
+10) In time of peace I believe I can give perfect satisfaction and
+to the equal of any other in architecture and the composition of
+buildings public and private; and in guiding water from one place to
+another. 
+
+Item: I can carry out sculpture in marble, bronze or clay, and also
+in painting whatever may be done, and as well as any other, be he
+whom he may. 
+
+[32] Again, the bronze horse may be taken in hand, which is to be to
+the immortal glory and eternal honour of the prince your father of
+happy memory, and of the illustrious house of Sforza. 
+
+And if any one of the above-named things seem to any one to be
+impossible or not feasible, I am most ready to make the experiment
+in your park, or in whatever place may please your Excellency--to
+whom I commend myself with the utmost humility &c. 
+
+1341. 
+
+To my illustrious Lord, Lodovico, Duke of Bari, Leonardo da Vinci of
+Florence-- Leonardo. 
+
+[Footnote: Evidently a note of the superscription of a letter to the
+Duke, and written, like the foregoing from left to right. The
+manuscript containing it is of the year 1493. Lodovico was not
+proclaimed and styled Duke of Milan till September 1494. The Dukedom
+of Bari belonged to the Sforza family till 1499.] 
+
+1342. 
+
+You would like to see a model which will prove useful to you and to
+me, also it will be of use to those who will be the cause of our
+usefulness. 
+
+[Footnote: 1342. 1343. These two notes occur in the same not very
+voluminous MS. as the former one and it is possible that they are
+fragments of the same letter. By the _Modello_, the equestrian
+statue is probably meant, particularly as the model of this statue
+was publicly exhibited in this very year, 1493, on tne occasion of
+the marriage of the Emperor Maximilian with Bianca Maria Sforza.] 
+
+1343. 
+
+There are here, my Lord, many gentlemen who will undertake this
+expense among them, if they are allowed to enjoy the use of
+admission to the waters, the mills, and the passage of vessels and
+when it is sold to them the price will be repaid to them by the
+canal of Martesana. 
+
+1344. 
+
+I am greatly vexed to be in necessity, but I still more regret that
+this should be the cause of the hindrance of my wish which is always
+disposed to obey your Excellency. 
+
+Perhaps your Excellency did not give further orders to Messer
+Gualtieri, believing that I had money enough. 
+
+I am greatly annoyed that you should have found me in necessity, and
+that my having to earn my living should have hindered me ... 
+
+[12] It vexes me greatly that having to earn my living has forced me
+to interrupt the work and to attend to small matters, instead of
+following up the work which your Lordship entrusted to me. But I
+hope in a short time to have earned so much that I may carry it out
+quietly to the satisfaction of your Excellency, to whom I commend
+myself; and if your Lordship thought that I had money, your Lordship
+was deceived. I had to feed 6 men for 56 months, and have had 50
+ducats. 
+
+1345.
+
+And if any other comission is given me
+                            by any ...
+of the reward of my service. Because I am
+                            not [able] to be ...
+things assigned because meanwhile they
+                have ... to them ... 
+... which they well may settle rather than I ...
+not my art which I wish to change and ...
+given some clothing if I dare a sum ...
+
+
+My Lord, I knowing your Excellency's
+               mind to be occupied ...
+to remind your Lordship of my small matters
+                  and the arts put to silence
+that my silence might be the cause of making
+                  your Lordship scorn ...
+my life in your service. I hold myself ever
+                 in readiness to obey ...
+
+[Footnote 11: See No. 723, where this passage is repeated.]
+
+Of the horse I will say nothing because
+              I know the times [are bad]
+to your Lordship how I had still to receive
+              two years' salary of the ...
+with the two skilled workmen who are constantly 
+in my pay and at my cost
+that at last I found myself advanced the
+             said sum about 15 lire ...
+works of fame by which I could show to
+    those who shall see it that I have been
+everywhere, but I do not know where I
+could bestow my work [more] ...
+
+[Footnote 17: See No. 1344 l. 12.]
+I, having been working to gain my
+                       living ...
+
+I not having been informed what it is, I find
+                         myself ...
+
+[Footnote 19: In April, 1498, Leonardo was engaged in
+painting the Saletta Nigra of the Castello at Milan.
+(See G. MONGERI, _l'Arte in Milano_, 1872, p. 417.)]
+
+remember the commission to paint the
+                       rooms ...
+
+I conveyed to your Lordship only requesting
+                            you ...
+
+
+[Footnote: The paper on which this is written is torn down the
+middle; about half of each line remains.]
+
+Draft of letter to be sent to Piacenza (1346. 1347). 
+
+[Footnote: 1346. 1347. Piacenza belonged to Milan. The Lord spoken
+of in this letter, is no doubt Lodovico il Moro. One may infer from
+the concluding sentence (No. 1346, l. 33. 34 and No. 1347), that
+Leonardo, who no doubt compiled this letter, did not forward it to
+Piacenza himself, but gave it to some influential patron, under
+whose name and signature a copy of it was sent to the Commission.] 
+
+1346. 
+
+Magnificent Commissioners of Buildings I, understanding that your
+Magnificencies have made up your minds to make certain great works
+in bronze, will remind you of certain things: first that you should
+not be so hasty or so quick to give the commission, lest by this
+haste it should become impossible to select a good model and a good
+master; and some man of small merit may be chosen, who by his
+insufficiency may cause you to be abused by your descendants,
+judging that this age was but ill supplied with men of good counsel
+and with good masters; seeing that other cities, and chiefly the
+city of the Florentines, has been as it were in these very days,
+endowed with beautiful and grand works in bronze; among which are
+the doors of their Baptistery. And this town of Florence, like
+Piacenza, is a place of intercourse, through which many foreigners
+pass; who, seeing that the works are fine and of good quality, carry
+away a good impression, and will say that that city is well filled
+with worthy inhabitants, seeing the works which bear witness to
+their opinion; and on the other hand, I say seeing so much metal
+expended and so badly wrought, it were less shame to the city if the
+doors had been of plain wood; because, the material, costing so
+little, would not seem to merit any great outlay of skill... 
+
+Now the principal parts which are sought for in cities are their
+cathedrals, and of these the first things which strike the eye are
+the doors, by which one passes into these churches. 
+
+Beware, gentlemen of the Commission, lest too great speed in your
+determination, and so much haste to expedite the entrusting of so
+great a work as that which I hear you have ordered, be the cause
+that that which was intended for the honour of God and of men should
+be turned to great dishonour of your judgments, and of your city,
+which, being a place of mark, is the resort and gathering-place of
+innumerable foreigners. And this dishonour would result if by your
+lack of diligence you were to put your trust in some vaunter, who by
+his tricks or by favour shown to him here should obtain such work
+from you, by which lasting and very great shame would result to him
+and to you. Thus I cannot help being angry when I consider what men
+those are who have conferred with you as wishing to undertake this
+great work without thinking of their sufficiency for it, not to say
+more. This one is a potter, that one a maker of cuirasses, this one
+is a bell-founder, another a bell ringer, and one is even a
+bombardier; and among them one in his Lordship's service, who
+boasted that he was the gossip of Messer Ambrosio Ferrere [Footnote
+26: Messer Ambrogio Ferrere was Farmer of the Customs under the
+Duke. Piacenza at that time belonged to Milan.], who has some power
+and who has made him some promises; and if this were not enough he
+would mount on horseback, and go to his Lord and obtain such letters
+that you could never refuse [to give] him the work. But consider
+where masters of real talent and fit for such work are brought when
+they have to compete with such men as these. Open your eyes and look
+carefully lest your money should be spent in buying your own
+disgrace. I can declare to you that from that place you will procure
+none but average works of inferior and coarse masters. There is no
+capable man,--[33] and you may believe me,--except Leonardo the
+Florentine, who is making the equestrian statue in bronze of the
+Duke Francesco and who has no need to bring himself into notice,
+because he has work for all his life time; and I doubt, whether
+being so great a work, he will ever finish it [34]. 
+
+The miserable painstakers ... with what hope may they expect a
+reward of their merit? 
+
+1347. 
+
+There is one whom his Lordship invited from Florence to do this work
+and who is a worthy master, but with so very much business he will
+never finish it; and you may imagine that a difference there is to
+be seen between a beautiful object and an ugly one. Quote Pliny. 
+
+Letter to the Cardinal Ippolito d' Este. 
+
+1348. 
+
+[Footnote: This letter addressed to the Cardinal Ippolito d'Este is
+here given from Marchese G. CAMPORI'S publication: _Nuovi documenti
+per la Vita di Leonardo da Vinci. Atti e Memorie delle R. R.
+Deputazioni di Storia patria per la provincie modenesi e parmenesi,
+Vol. III._ It is the only text throughout this work which I have not
+myself examined and copied from the original. The learned discoverer
+of this letter--the only letter from Leonardo hitherto known as
+having been sent--adds these interesting remarks: _Codesto Cardinale
+nato ad Ercole I. nel 1470, arcivescovo di Strigonia a sette anni,
+poi d'Agra, aveva conseguito nel 1497 la pingue ed ambita cattedra
+di Milano, la dove avra conosciuto il Vinci, sebbene il poco amore
+ch'ei professava alle arti lasci credere che le proteste di servitu
+di Leonardo piu che a gratitudine per favori ricevuti e per opere a
+lui allogate, accennino a speranza per un favore che si aspetta.
+Notabile e ancora in questo prezioso documento la ripetuta signatura
+del grande artista 'che si scrive Vincio e Vincius, non da Vinci
+come si tiene comunemente, sebbene l'una e l'altra possano valere a
+significare cosi il casato come il paese; restando a sapere se il
+nome del paese di Vinci fosse assunto a cognome della famiglia di
+Leonardo nel qual supposto piu propriamento avrebbe a chiamarsi
+Leonardo Vinci, o Vincio (latinamente Vincius) com'egli stesso amo
+segnarsi in questa lettera, e come scrissero parecchi contenporanei
+di lui, il Casio, il Cesariano, Geoffrey Tory, il Gaurico, il
+Bandello, Raffaelle Maffei, il Paciolo. Per ultimo non lascero
+d'avvertire come la lettera del Vinci e assai ben conservata, di
+nitida e larga scrittura in forma pienemente corrispondente a quella
+dei suoi manoscritti, vergata all'uso comune da sinistra a destra,
+anziche contrariamente come fu suo costume; ma indubbiamente
+autentica e fornita della menzione e del suggello che fresca ancora
+conserva l'impronta di una testa di profilo da un picciolo antico
+cammeo._ (Compare No. 1368, note.)] 
+
+Most Illustrious and most Reverend Lord.
+  The Lord Ippolito, Cardinal of Este
+                          at Ferrare.
+
+Most Illustrious and most Reverend Lord.
+
+I arrived from Milan but a few days since and finding that my elder
+brother refuses to 
+
+carry into effect a will, made three years ago when my father
+died--as also, and no less, because I would not fail in a matter I
+esteem most important--I cannot forbear to crave of your most
+Reverend Highness a letter of recommendation and favour to Ser
+Raphaello Hieronymo, at present one of the illustrious members of
+the Signoria before whom my cause is being argued; and more
+particularly it has been laid by his Excellency the Gonfaloniere
+into the hands of the said Ser Raphaello, that his Worship may have
+to decide and end it before the festival of All Saints. And
+therefore, my Lord, I entreat you, as urgently as I know how and am
+able, that your Highness will write a letter to the said Ser
+Raphaello in that admirable and pressing manner which your Highness
+can use, recommending to him Leonardo Vincio, your most humble
+servant as I am, and shall always be; requesting him and pressing
+him not only to do me justice but to do so with despatch; and I have
+not the least doubt, from many things that I hear, that Ser
+Raphaello, being most affectionately devoted to your Highness, the
+matter will issue _ad votum_. And this I shall attribute to your
+most Reverend Highness' letter, to whom I once more humbly commend
+myself. _Et bene valeat_. 
+
+Florence XVIIIa 7bris 1507.
+E. V. R. D.
+
+your humble servant
+Leonardus Vincius, pictor.
+
+Draft of Letter to the Governor of Milan.
+
+1349. 
+
+I am afraid lest the small return I have made for the great
+benefits, I have received from your Excellency, have not made you
+somewhat angry with me, and that this is why to so many letters
+which I have written to your Lordship I have never had an answer. I
+now send Salai to explain to your Lordship that I am almost at an
+end of the litigation I had with my brother; that I hope to find
+myself with you this Easter, and to carry with me two pictures of
+two Madonnas of different sizes. These were done for our most
+Christian King, or for whomsoever your Lordship may please. I should
+be very glad to know on my return thence where I may have to reside,
+for I would not give any more trouble to your Lordship. Also, as I
+have worked for the most Christian King, whether my salary is to
+continue or not. I wrote to the President as to that water which the
+king granted me, and which I was not put in possession of because at
+that time there was a dearth in the canal by reason of the great
+droughts and because [Footnote:Compare Nos. 1009 and 1010. Leonardo
+has noted the payment of the pension from the king in 1505.] its
+outlets were not regulated; but he certainly promised me that when
+this was done I should be put in possession. Thus I pray your
+Lordship that you will take so much trouble, now that these outlets
+are regulated, as to remind the President of my matter; that is, to
+give me possession of this water, because on my return I hope to
+make there instruments and other things which will greatly please
+our most Christian King. Nothing else occurs to me. I am always
+yours to command. [Footnote:1349. Charles d'Amboise, Marechal de
+Chaumont, was Governor of Milan under Louis XII. Leonardo was in
+personal communication with him so early as in 1503. He was absent
+from Milan in the autumn of 1506 and from October l5l0--when he
+besieged Pope Julius II. in Bologna--till his death, which took
+place at Correggio, February 11, 1511. Francesco Vinci, Leonardo's
+uncle, died--as Amoretti tells us--in the winter of l5l0-11 (or
+according to Uzielli in 1506?), and Leonardo remained in Florence
+for business connected with his estate. The letter written with
+reference to this affair, No. 1348, is undoubtedly earlier than the
+letters Nos. 1349 and 1350. Amoretti tells us, _Memorie Storiche_,
+ch. II, that the following note existed on the same leaf in MS. C.
+A. I have not however succeeded in finding it. The passage runs
+thus: _Jo sono quasi al fine del mio letizio che io o con mie
+fratetgli ... Ancora ricordo a V. Excia la facenda che o cum Ser
+Juliana mio Fratello capo delli altri fratelli ricordandoli come se
+offerse di conciar le cose nostre fra noi fratelli del comune della
+eredita de mio Zio, e quelli costringa alla expeditione, quale
+conteneva la lettera che lui me mando._] 
+
+Drafts of Letters to the Superintendent of Canals and to Fr. Melzi. 
+
+1350. 
+
+Magnificent President, I am sending thither Salai, my pupil, who is
+the bearer of this, and from him you will hear by word of mouth the
+cause of my...
+
+Magnificent President, I...
+
+Magnificent President:--Having ofttimes remembered the proposals
+made many times to me by your Excellency, I take the liberty of
+writing to remind your Lordship of the promise made to me at my last
+departure, that is the possession of the twelve inches of water
+granted to me by the most Christian King. Your Lordship knows that I
+did not enter into possession, because at that time when it was
+given to me there was a dearth of water in the canal, as well by
+reason of the great drought as also because the outlets were not
+regulated; but your Excellency promised me that as soon as this was
+done, I should have my rights. Afterwards hearing that the canal was
+complete I wrote several times to your Lordship and to Messer
+Girolamo da Cusano,who has in his keeping the deed of this gift; and
+so also I wrote to Corigero and never had a reply. I now send
+thither Salai, my pupil, the bearer of this, to whom your Lordship
+may tell by word of mouth all that happened in the matter about
+which I petition your Excellency. I expect to go thither this Easter
+since I am nearly at the end of my lawsuit, and I will take with me
+two pictures of our Lady which I have begun, and at the present time
+have brought them on to a very good end; nothing else occurs to me. 
+
+My Lord the love which your Excellency has always shown me and the
+benefits that I have constantly received from you I have hitherto...
+
+I am fearful lest the small return I have made for the great
+benefits I have received from your Excellency may not have made you
+somewhat annoyed with me. And this is why, to many letters which I
+have written to your Excellency I have never had an answer. I now
+send to you Salai to explain to your Excellency that I am almost at
+the end of my litigation with my brothers, and that I hope to be
+with you this Easter and carry with me two pictures on which are two
+Madonnas of different sizes which I began for the most Christian
+King, or for whomsoever you please. I should be very glad to know
+where, on my return from this place, I shall have to reside, because
+I do not wish to give more trouble to your Lordship; and then,
+having worked for the most Christian King, whether my salary is to
+be continued or not. I write to the President as to the water that
+the king granted me of which I had not been put in possession by
+reason of the dearth in the canal, caused by the great drought and
+because its outlets were not regulated; but he promised me certainly
+that as soon as the regulation was made, I should be put in
+possession of it; I therefore pray you that, if you should meet the
+said President, you would be good enough, now that the outlets are
+regulated, to remind the said President to cause me to be put in
+possession of that water, since I understand it is in great measure
+in his power. Nothing else occurs to me; always yours to command. 
+
+Good day to you Messer Francesco. Why, in God's name, of all the
+letters I have written to you, have you never answered one. Now wait
+till I come, by God, and I shall make you write so much that perhaps
+you will become sick of it. 
+
+Dear Messer Francesco. I am sending thither Salai to learn from His
+Magnificence the President to what end the regulation of the water
+has come since, at my departure this regulation of the outlets of
+the canal had been ordered, because His Magnificence the President
+promised me that as soon as this was done I should be satisfied. It
+is now some time since I heard that the canal was in order, as also
+its outlets, and I immediately wrote to the President and to you,
+and then I repeated it, and never had an answer. So you will have
+the goodness to answer me as to that which happened, and as I am not
+to hurry the matter, would you take the trouble, for the love of me,
+to urge the President a little, and also Messer Girolamo Cusano, to
+whom you will commend me and offer my duty to his Magnificence. 
+
+[Footnote: 1350. 28-36. Draft of a letter to Francesco Melzi, born
+l493--a youth therefore of about 17 in 1510. Leonardo addresses his
+young friend as "Messer", as being the son of a noble house. Melzi
+practised art under Leonardo as a dilettante and not as a pupil,
+like Cesare da Sesto and others (See LERMOLIEFF, _Die Galerien_ &c.,
+p. 476).] 
+
+Drafts of a letter to Giuliano de' Medici (1351-1352). 
+
+135l. 
+
+[Most illustrious Lord. I greatly rejoice most Illustrious Lord at
+your...] 
+
+I was so greatly rejoiced, most illustrious Lord, by the desired
+restoration of your health, that it almost had the effect that [my
+own health recovered]--[I have got through my illness]--my own
+illness left me-- --of your Excellency's almost restored health. But
+I am extremely vexed that I have not been able completely to satisfy
+the wishes of your Excellency, by reason of the wickedness of that
+deceiver, for whom I left nothing undone which could be done for him
+by me and by which I might be of use to him; and in the first place
+his allowances were paid to him before the time, which I believe he
+would willingly deny, if I had not the writing signed by myself and
+the interpreter. And I, seeing that he did not work for me unless he
+had no work to do for others, which he was very careful in
+solliciting, invited him to dine with me, and to work afterwards
+near me, because, besides the saving of expense, he 
+
+[Footnote 1351. 1353: It is clear from the contents of this notes
+that they refer to Leonardo's residence in Rome in 1513-1515. Nor
+can there be any doubt that they were addressed to Leonardo's patron
+at the time: Giuliano de' Medici, third son of Lorenzo the
+Magnificent and brother of Pope Leo X (born 1478). In 1512 he became
+the head of the Florentine Republic. The Pope invited him to Rome,
+where he settled; in 1513 he was named patrician with much splendid
+ceremonial. The medal struck in honour of the event bears the words
+MAG. IVLIAN. MEDICES. Leonardo too uses the style "Magnifico", in
+his letter. Compare also No. 1377. 
+
+GlNO CAPPONI (_Storia della Repubblica di Firenze_, Vol. III, p.
+139) thus describes the character of Giuliano de' Medici, who died
+in 1516: _Era il migliore della famiglia, di vita placida, grande
+spenditore, tenendo intorno a se uomini ingegnosi, ed ogni nuova
+cosa voleva provare._ 
+
+See too GREGOROVIUS, _Geschichte der Stadi Rom_, VIII (book XIV.
+III, 2): _Die Luftschlosser furstlicher Grosse, wozu ihn der Papst
+hatte erheben wollen zerfielen. Julian war der edelste aller
+damaligen Medici, ein Mensch von innerlicher Richtung, unbefriedigt
+durch das Leben, mitten im Sonnenglanz der Herrlichkeit Leo's X.
+eine dunkle Gestalt die wie ein Schatten voruberzog._ Giuliano lived
+in the Vatican, and it may be safely inferred from No. 1352 l. 2,
+and No. 1353 l. 4, that Leonardo did the same. 
+
+From the following unpublished notice in the Vatican archives, which
+M. Eug. Muntz, librarian of the Ecole des Beaux arts, Paris, has
+done me the favour to communicate to me, we get a more accurate view
+of Leonardo's relation to the often named GIORGIO TEDESCO: 
+
+_Nota delle provisione_ (sic) _a da pagare per me in nome del nostro
+ill. S. Bernardo Bini e chompa di Roma, e prima della illma sua
+chonsorte ogni mese d. 800. 
+
+A Ldo da Vinci per sua provisione d. XXXIII, e piu d. VII al detto
+per la provisione di Giorgio tedescho, che sono in tutto d. 40. 
+
+From this we learn, that seven ducats formed the German's monthly
+wages, but according to No. 1353 l. 7 he pretended that eight ducats
+had been agreed upon.] 
+
+would acquire the Italian language. He always promised, but would
+never do so. And this I did also, because that Giovanni, the German
+who makes the mirrors, was there always in the workshop, and wanted
+to see and to know all that was being done there and made it known
+outside ... strongly criticising it; and because he dined with those
+of the Pope's guard, and then they went out with guns killing birds
+among the ruins; and this went on from after dinner till the
+evening; and when I sent Lorenzo to urge him to work he said that he
+would not have so many masters over him, and that his work was for
+your Excellency's Wardrobe; and thus two months passed and so it
+went on; and one day finding Gian Niccolo of the Wardrobe and asking
+whether the German had finished the work for your Magnificence, he
+told me this was not true, but only that he had given him two guns
+to clean. Afterwards, when I had urged him farther, be left the
+workshop and began to work in his room, and lost much time in making
+another pair of pincers and files and other tools with screws; and
+there he worked at mills for twisting silk which he hid when any one
+of my people went in, and with a thousand oaths and mutterings, so
+that none of them would go there any more. 
+
+I was so greatly rejoiced, most Illustrious Lord, by the desired
+restoration of your health, that my own illness almost left me. But
+I am greatly vexed at not having been able to completely satisfy
+your Excellency's wishes by reason of the wickedness of that German
+deceiver, for whom I left nothing undone by which I could have hope
+to please him; and secondly I invited him to lodge and board with
+me, by which means I should constantly see the work he was doing and
+with greater ease correct his errors while, besides this, he would
+learn the Italian tongue, by means of which be could with more ease
+talk without an interpreter; his moneys were always given him in
+advance of the time when due. Afterwards he wanted to have the
+models finished in wood, just as they were to be in iron, and wished
+to carry them away to his own country. But this I refused him,
+telling him that I would give him, in drawing, the breadth, length,
+height and form of what he had to do; and so we remained in
+ill-will. 
+
+The next thing was that he made himself another workshop and pincers
+and tools in his room where he slept, and there he worked for
+others; afterwards he went to dine with the Swiss of the guard,
+where there are idle fellows, in which he beat them all; and most
+times they went two or three together with guns, to shoot birds
+among the ruins, and this went on till evening. 
+
+At last I found how this master Giovanni the mirror-maker was he who
+had done it all, for two reasons; the first because he had said that
+my coming here had deprived him of the countenance and favour of
+your Lordship which always... The other is that he said that his
+iron-workers' rooms suited him for working at his mirrors, and of
+this he gave proof; for besides making him my enemy, he made him
+sell all he had and leave his workshop to him, where he works with a
+number of workmen making numerous mirrors to send to the fairs. 
+
+1352. 
+
+I was so greatly rejoiced, most Illustrious Lord, by the wished for
+recovery of your health, that my own ills have almost left me; and I
+say God be praised for it. But it vexes me greatly that I have not
+been able completely to satisfy your Excellency's wishes by reason
+of the wickedness of that German deceiver, for whom I left nothing
+undone by which I could hope to please him; and secondly I invited
+him to lodge and board with me, by which means I should see
+constantly the work he was doing, for which purpose I would have a
+table fixed at the foot of one of these windows, where he could work
+with the file and finish the things made below; and so I should
+constantly see the work he might do, and it could be corrected with
+greater ease. 
+
+Draft of letter written at Rome. 
+
+1353. 
+
+This other hindered me in anatomy, blaming it before the Pope; and
+likewise at the hospital; and he has filled [4] this whole Belvedere
+with workshops for mirrors; and he did the same thing in Maestro
+Giorgio's room. He said that he had been promised [7] eight ducats
+every month, beginning with the first day, when he set out, or at
+latest when he spoke with you; and that you agreed. 
+
+Seeing that he seldom stayed in the workshop, and that he ate a
+great deal, I sent him word that, if he liked I could deal with him
+separately for each thing that he might make, and would give him
+what we might agree to be a fair valuation. He took counsel with his
+neighbour and gave up his room, selling every thing, and went to
+find... 
+
+Miscellaneous Records (1354. 1355). 
+
+1354. 
+
+[Footnote: A puzzling passage, meant, as it would seem, for a jest.
+Compare the description of Giants in Dante, _Inf_. XXI and XXII.
+Perhaps Leonardo had the Giant Antaeus in his mind. Of him the myth
+relates that he was a son of Ge, that he fed on lions; that he
+hunted in Libya and killed the inhabitants. He enjoyed the
+peculiarity of renewing his strength whenever he fell and came in
+contact with his mother earth; but that Hercules lifted him up and
+so conquered and strangled him. Lucan gives a full account of the
+struggle. Pharsalia IV, 617. The reading of this passage, which is
+very indistinctly written, is in many places doubtful.] 
+
+Dear Benedetto de' Pertarti. When the proud giant fell because of
+the bloody and miry state of the ground it was as though a mountain
+had fallen so that the country shook as with an earthquake, and
+terror fell on Pluto in hell. From the violence of the shock he lay
+as stunned on the level ground. Suddenly the people, seeing him as
+one killed by a thunderbolt, turned back; like ants running wildly
+over the body of the fallen oak, so these rushing over his ample
+limbs.......... them with frequent wounds; by which, the giant being
+roused and feeling himself almost covered by the multitude, he
+suddenly perceives the smarting of the stabs, and sent forth a roar
+which sounded like a terrific clap of thunder; and placing his hands
+on the ground he raised his terrible face: and having lifted one
+hand to his head he found it full of men and rabble sticking to it
+like the minute creatures which not unfrequently are found there;
+wherefore with a shake of his head he sends the men flying through
+the air just as hail does when driven by the fury of the winds. Many
+of these men were found to be dead; stamping with his feet. 
+
+And clinging to his hair, and striving to hide in it, they behaved
+like sailors in a storm, who run up the ropes to lessen the force of
+the wind [by taking in sail]. 
+
+News of things from the East. 
+
+Be it known to you that in the month of June there appeared a Giant,
+who came from the Lybian desert... mad with rage like ants....
+struck down by the rude. 
+
+This great Giant was born in Mount Atlas and was a hero ... and had
+to fight against the Egyptians and Arabs, Medes and Persians. He
+lived in the sea on whales, grampuses and ships. 
+
+Mars fearing for his life took refuge under the... of Jove. 
+
+And at the great fall it seemed as though the whole province quaked.
+
+1355. 
+
+This spirit returns to the brain whence it had departed, with a loud
+voice and with these words, it moved... 
+
+And if any man though he may have wisdom or goodness ......... 
+
+[Footnote: This passage, very difficult to decipher, is on the
+reverse of a drawing at Windsor, Pl. CXXII, which possibly has some
+connection with it. The drawing is slightly reduced in this
+reproduction; the original being 25 cm. high by 19 cm. wide.] 
+
+O blessed and happy spirit whence comest thou? Well have I known
+this man, much against my will. This one is a receptacle of
+villainy; he is a perfect heap of the utmost ingratitude combined
+with every vice. But of what use is it to fatigue myself with vain
+words? Nothing is to be found in them but every form of sin ... And
+if there should be found among them any that possesses any good,
+they will not be treated differently to myself by other men; and in
+fine, I come to the conclusion that it is bad if they are hostile,
+and worse if they are friendly. 
+
+Miscellaneous drafts of letters and personal records (1356--1368). 
+
+1356. 
+
+All the ills that are or ever were, if they could be set to work by
+him, would not satisfy the desires of his iniquitous soul; and I
+could not in any length of time describe his nature to you, but I
+conclude... 
+
+1357. 
+
+I know one who, having promised me much, less than my due, being
+disappointed of his presumptuous desires, has tried to deprive me of
+all my friends; and as he has found them wise and not pliable to his
+will, he has menaced me that, having found means of denouncing me,
+he would deprive me of my benefactors. Hence I have informed your
+Lordship of this, to the end [that this man who wishes to sow the
+usual scandals, may find no soil fit for sowing the thoughts and
+deeds of his evil nature] so that he, trying to make your Lordship,
+the instrument of his iniquitous and maliceous nature may be
+disappointed of his desire. 
+
+1358. 
+
+[Footnote: Below this text we read gusstino--Giustino and in another
+passage on the same page Justin is quoted (No. 1210, 1. 48). The two
+have however no real connection.] 
+
+And in this case I know that I shall make few enemies seeing that no
+one will believe what I can say of him; for they are but few whom
+his vices have disgusted, and he only dislikes those men whose
+natures are contrary to those vices. And many hate their fathers,
+and break off friendship with those who reprove their vices; and he
+will not permit any examples against them, nor any advice. 
+
+If you meet with any one who is virtuous do not drive him from you;
+do him honour, so that he may not have to flee from you and be
+reduced to hiding in hermitages, or caves or other solitary places
+to escape from your treachery; if there is such an one among you do
+him honour, for these are our Saints upon earth; these are they who
+deserve statues from us, and images; but remember that their images
+are not to be eaten by you, as is still done in some parts of India
+[Footnote 15: In explanation of this passage I have received the
+following communication from Dr. G. W. LEITNER of Lahore: "So far as
+Indian customs are known to us, this practice spoken of by Leonardo
+as 'still existing in some parts of India' is perfectly unknown; and
+it is equally opposed to the spirit of Hinduism, Mohammedanism and
+Sikhism. In central Thibet the ashes of the dead, when burnt, are
+mixed with dough, and small figures--usually of Buddha--are stamped
+out of them and some are laid in the grave while others are
+distributed among the relations. The custom spoken of by Leonardo
+may have prevailed there but I never heard of it." Possibly Leonardo
+refers here to customs of nations of America.] where, when the
+images have according to them, performed some miracle, the priests
+cut them in pieces, being of wood, and give them to all the people
+of the country, not without payment; and each one grates his portion
+very fine, and puts it upon the first food he eats; and thus
+believes that by faith he has eaten his saint who then preserves him
+from all perils. What do you think here, Man, of your own species?
+Are you so wise as you believe yourselves to be? Are these things to
+be done by men? 
+
+1359. 
+
+As I told you in past days, you know that I am without any....
+Francesco d'Antonio. Bernardo di Maestro Jacopo. 
+
+1360. 
+
+Tell me how the things happened. 
+
+1361. 
+
+j lorezo\\\ 2 inbiadali\\\ 3 inferri de\\\ 4in lorezo\\\ 5[inno
+abuil]\\ 6 in acocatu\\\ 7 per la sella\\\ 8colte di lor\\\ 9v
+cavallott\\\ I0el uiagg\\\ IIal\\\ I2a lurez\\\ 13in biada\\\
+14inferri\\\ 15abuss\\\ 16in viagg\\\ 17alorz\\\ [Footnote: This
+seems to be the beginning of a letter, but only the first words of
+the lines have been preserved, the leaf being torn down the middle.
+No translation is possible.] 
+
+1362. 
+
+And so may it please our great Author that I may demonstrate the
+nature of man and his customs, in the way I describe his figure. 
+
+[Footnote: A preparatory note for the passage given as No. 798, 11.
+41--42.] 
+
+1363. 
+
+This writing distinctly about the kite seems to be my destiny,
+because among the first recollections of my infancy, it seemed to me
+that, as I was in my cradle, a kite came to me and opened my mouth
+with its tail, and struck me several times with its tail inside my
+lips. 
+
+[Footnote: This note probably refers to the text No. 1221.] 
+
+1364. 
+
+[When I did well, as a boy you used to put me in prison. Now if I do
+it being grown up, you will do worse to me.] 
+
+1365. 
+
+Tell me if anything was ever done. 
+
+1366. 
+
+Tell me if ever I did a thing which me .... 
+
+1367. 
+
+Do not reveal, if liberty is precious to you; my face is the prison
+of love. 
+
+[Footnote: This note seems to be a quotation.] 
+
+1368. 
+
+Maestro Leonardo of Florence. 
+
+[Footnote: So Leonardo writes his name on a sheet with sundry short
+notes, evidently to try a pen. Compare the signature with those in
+Nos. 1341, 1348 and 1374 (see also No. 1346, l. 33). The form
+"Lionardo" does not occur in the autographs. The Portrait of the
+Master in the Royal Library at Turin, which is reproduced--slightly
+diminished--on Pl. I, has in the original two lines of writing
+underneath; one in red chalk of two or three words is partly
+effaced: _lionardo it... lm_ (or _lai_?); the second written in
+pencil is as follows: _fatto da lui stesso assai vecchio_. In both
+of these the writing is very like the Master's, but is certainly
+only an imitation.] 
+
+Notes bearing Dates (1369--1378). 
+
+1369. 
+
+The day of Santa Maria _della Neve_ [of the Snows] August the 2nd
+1473. [Footnote: W. An. I. 1368. 1369. This date is on a drawing of
+a rocky landscape. See _Chronique des Arts_ 1881 no. 23: _Leonard de
+Vinci a-t-il ete au Righi le 5 aout 1473_? letter by H. de
+Geymuller. The next following date in the MSS. is 1478 (see No.
+663). 
+
+1370. 
+
+On the 2nd of April 1489, book entitled 'Of the human figure'.
+[Footnote: While the letters in the MS. notes of 1473 and 1478 are
+very ornate, this note and the texts on anatomy on the same sheet
+(for instance No. 805) are in the same simple hand as we see on Pl.
+CXVI and CXIX. No 1370 is the only dated note of the years between
+1480 and 1489, and the characters are in all essential points
+identical with those that we see in the latest manuscripts written
+in France (compare the facsimiles on Pl. CXV and p. 254), so that it
+is hardly possible to determine exactly the date of a manuscript
+from the style of the handwriting, if it does not betray the
+peculiarities of style as displayed in the few notes dated previous
+to l480.--Compare the facsimile of the manuscripts 1479 on Pl.LXII,
+No. 2; No. 664, note, Vol. I p. 346. This shows already a marked
+simplicity as compared with the calligraphy of I478. 
+
+The text No. 720 belongs to the year 1490; No. 1510 to the year
+1492; No. 1459, No. 1384 and No. 1460 to the year 1493; No. 1463,
+No. 1517, No. 1024, 1025 and 1461 to the year 1494; Nos. 1523 and
+1524 to the year 1497. 
+
+1371. 
+
+On the 1st of August 1499, I wrote here of motion and of weight. 
+
+[Footnote:1371. _Scrissi qui_. Leonardo does not say where; still we
+may assume that it was not in Milan. Amoretti writes, _Memorie
+Storiche_, chap. XIX: _Sembra pertanto che non nel 1499 ma nel 1500,
+dopo il ritorno e la prigionia del duca, sia da qui partito Lionardo
+per andare a Firenze; ed e quindi probabile, che i mesi di governo
+nuovo e incerto abbia passati coll' amico suo Francesco Melzi a
+Vaprio, ove meglio che altrove studiar potea la natura, e
+soprattutta le acque, e l'Adda specialmente, che gia era stato
+l'ogetto delle sue idrostatiche ricerche_. At that time Melzi was
+only six years of age. The next date is 1502; to this year belong
+No. 1034, 1040, 1042, 1048 and 1053. The note No. 1525 belongs to
+the year 1503.] 
+
+1372. 
+
+On the 9th of July 1504, Wednesday, at seven o'clock, died Ser Piero
+da Vinci, notary at the Palazzo del Podesta, my father, --at seven
+o'clock, being eighty years old, leaving behind ten sons and two
+daughters. 
+
+[Footnote: This statement of Ser Piero's age contradicts that of the
+_Riassunto della portata di Antonio da Vinci_ (Leonardo's
+grandfather), who speaks of Ser Piero as being thirty years old in
+1457; and that of the _Riassunto della portata di Ser Piero e
+Francesco_, sons of Antonia da Vinci, where Ser Piero is mentioned
+as being forty in 1469. These documents were published by G.
+UZIELLI, _Ricerche intorno a L. da Vinci, Firenze_, 1872, pp. 144
+and 146. Leonardo was, as is well known, a natural son. His mother
+'La Catarina' was married in 1457 to Acchattabriga di Piero del
+Vaccha da Vinci. She died in 1519. Leonardo never mentions her in
+the Manuscripts. In the year of Leonardo's birth Ser Piero married
+Albiera di Giovanni Amadoci, and after her death at the age of
+thirty eight he again married, Francesca, daughter of Ser Giovanni
+Lanfredi, then only fifteen. Their children were Leonardo's
+halfbrothers, Antonio (b. 1476), Ser Giuliano (b. 1479), Lorenzo (b.
+1484), a girl, Violante (b. 1485), and another boy Domenico (b.
+1486); Domenico's descendants still exist as a family. Ser Piero
+married for the third time Lucrezia di Guglielmo Cortigiani by whom
+he had six children: Margherita (b. 1491), Benedetto (b. 1492),
+Pandolfo (b. 1494), Guglielmo (b. 1496), Bartolommeo (b. 1497), and
+Giovanni) date of birth unknown). Pierino da Vinci the sculptor
+(about 1520-1554) was the son of Bartolommeo, the fifth of these
+children. The dates of their deaths are not known, but we may infer
+from the above passage that they were all still living in 1505.] 
+
+1373. 
+
+On Wednesday at seven o'clock died Ser Piero da Vinci on the 9th of
+July 1504. 
+
+[Footnote: This and the previous text it may be remarked are the
+only mention made by Leonardo of his father; Nos. 1526, 1527 and No.
+1463 are of the year 1504.] 
+
+1374. 
+
+Begun by me, Leonardo da Vinci, on the l2th of July 1505. 
+
+[Footnote: Thus he writes on the first page of the MS. The title is
+on the foregoing coversheet as follows: _Libro titolato
+disstrafformatione coe_ (cioe) _d'un corpo nvn_ (in un) _altro sanza
+diminuitione e acresscemento di materia._] 
+
+1375. 
+
+Begun at Milan on the l2th of September 1508. 
+
+[Footnote: No. 1528 and No. 1529 belong to the same year. The text
+Vol. I, No. 4 belongs to the following year 1509 (1508 old style);
+so also does No. 1009.-- Nos. 1022, 1057 and 1464 belong to 1511.] 
+
+1376. 
+
+On the 9th of January 1513. 
+
+[Footnote: No. 1465 belongs to the same year. No. 1065 has the next
+date 1514.] 
+
+1377. 
+
+The Magnifico Giuliano de' Medici left Rome on the 9th of January
+1515, just at daybreak, to take a wife in Savoy; and on the same day
+fell the death of the king of France. 
+
+[Footnote: Giuliano de Medici, brother to Pope Leo X.; see note to
+Nos. 1351-1353. In February, 1515, he was married to Filiberta,
+daughter of Filippo, Duke of Savoy, and aunt to Francis I, Louis
+XII's successor on the throne of France. Louis XII died on Jan. 1st,
+and not on Jan. 9th as is here stated.-- This addition is written in
+paler ink and evidently at a later date.] 
+
+1378. 
+
+On the 24th of June, St John's day, 1518 at Amboise, in the palace
+of... 
+
+[Footnote: _Castello del clli_. The meaning of this word is obscure;
+it is perhaps not written at full length.] 
+
+_XXII._ 
+
+_Miscellaneous Notes._ 
+
+_The incidental memoranda scattered here and there throughout the
+MSS. can have been for the most part intelligible to the writer
+only; in many cases their meaning and connection are all the more
+obscure because we are in ignorance about the persons with whom
+Leonardo used to converse nor can we say what part he may have
+played in the various events of his time. Vasari and other early
+biographers give us a very superficial and far from accurate picture
+of Leonardo's private life. Though his own memoranda, referring for
+the most part to incidents of no permanent interest, do not go far
+towards supplying this deficiency, they are nevertheless of some
+importance and interest as helping us to solve the numerous
+mysteries in which the history of Leonardo's long life remains
+involved. We may at any rate assume, from Leonardo's having
+committed to paper notes on more or less trivial matters on his
+pupils, on his house-keeping, on various known and unknown
+personages, and a hundred other trifies--that at the time they must
+have been in some way important to him._ 
+
+_I have endeavoured to make these 'Miscellaneous Notes' as complete
+as possible, for in many cases an incidental memorandum will help to
+explain the meaning of some other note of a similar kind. The first
+portion of these notes (Nos. l379--l457), as well as those referring
+to his pupils and to other artists and artificers who lived in his
+house (1458--1468,) are arranged in chronological order. A
+considerable proportion of these notes belong to the period between
+1490 and 1500, when Leonardo was living at Milan under the patronage
+of Lodovico il Moro, a time concerning which we have otherwise only
+very scanty information. If Leonardo did really--as has always been
+supposed,--spend also the greater part of the preceding decade in
+Milan, it seems hardly likely that we should not find a single note
+indicative of the fact, or referring to any event of that period, on
+the numerous loose leaves in his writing that exist. Leonardo's life
+in Milan between 1489 and 1500 must have been comparatively
+uneventful. The MSS. and memoranda of those years seem to prove that
+it was a tranquil period of intellectual and artistic labour rather
+than of bustling court life. Whatever may have been the fate of the
+MSS. and note books of the foregoing years--whether they were
+destroyed by Leonardo himself or have been lost--it is certainly
+strange that nothing whatever exists to inform us as to his life and
+doings in Milan earlier than the consecutive series of manuscripts
+which begin in the year 1489._ 
+
+_There is nothing surprising in the fact that the notes regarding
+his pupils are few and meagre. Excepting for the record of money
+transactions only very exceptional circumstances would have prompted
+him to make any written observations on the persons with whom he was
+in daily intercourse, among whom, of course, were his pupils. Of
+them all none is so frequently mentioned as Salai, but the character
+of the notes does not--as it seems to me--justify us in supposing
+that he was any thing more than a sort of factotum of Leonardo's
+(see 1519, note)._ 
+
+_Leonardo's quotations from books and his lists of titles supply
+nothing more than a hint as to his occasional literary studies or
+recreations. It was evidently no part of his ambition to be deeply
+read (see Nrs. 10, 11, 1159) and he more than once expressly states
+(in various passages which will be found in the foregoing sections)
+that he did not recognise the authority of the Ancients, on
+scientific questions, which in his day was held paramount.
+Archimedes is the sole exception, and Leonardo frankly owns his
+admiration for the illustrious Greek to whose genius his own was so
+much akin (see No. 1476). All his notes on various authors,
+excepting those which have already been inserted in the previous
+section, have been arranged alphabetically for the sake of
+convenience (1469--1508)._ 
+
+_The passages next in order contain accounts and inventories
+principally of household property. The publication of these--often
+very trivial entries--is only justifiable as proving that the
+wealth, the splendid mode of life and lavish expenditure which have
+been attributed to Leonardo are altogether mythical; unless we put
+forward the very improbable hypothesis that these notes as to money
+in hand, outlay and receipts, refer throughout to an exceptional
+state of his affairs, viz. when he was short of money._ 
+
+_The memoranda collected at the end (No. 1505--1565) are, in the
+original, in the usual writing, from left to right. Besides, the
+style of the handwriting is at variance with what we should expect
+it to be, if really Leonardo himself had written these notes. Most
+of them are to be found in juxtaposition with undoubtedly authentic
+writing of his. But this may be easily explained, if we take into
+account the fact, that Leonardo frequently wrote on loose sheets. He
+may therefore have occasionally used paper on which others had made
+short memoranda, for the most part as it would seem, for his use. At
+the end of all I have given Leonardo's will from the copy of it
+preserved in the Melzi Library. It has already been printed by
+Amoretti and by Uzielli. It is not known what has become of the
+original document._ 
+
+Memoranda before 1500 (1379-l413). 
+
+1379. 
+
+Find Longhi and tell him that you wait for him at Rome and will go
+with him to Naples; make you pay the donation [Footnote 2: _Libro di
+Vitolone_ see No. 1506 note.] and take the book by Vitolone, and the
+measurements of the public buildings. [3] Have two covered boxes
+made to be carried on mules, but bed-covers will be best; this makes
+three, of which you will leave one at Vinci. [4] Obtain
+the.............. from Giovanni Lombardo the linen draper of Verona.
+Buy handkerchiefs and towels,.... and shoes, 4 pairs of hose, a
+jerkin of... and skins, to make new ones; the lake of Alessandro.
+[Footnote: 7 and fol. It would seem from the text that Leonardo
+intended to have instructions in painting on paper. It is hardly
+necessary to point out that the Art of illuminating was quite
+separate from that of painting.] 
+
+Sell what you cannot take with you. Get from Jean de Paris the
+method of painting in tempera and the way of making white [Footnote:
+The mysterious looking words, quite distinctly written, in line 1:
+_ingol, amor a, ilopan a_ and on line 2: _enoiganod al_ are
+obviously in cipher and the solution is a simple one; by reading
+them backwards we find for _ingol_: logni-probably _longi_,
+evidently the name of a person; for _amor a_: _a Roma_, for _ilopan
+a_: _a Napoli_. Leonardo has done the same in two passages treating
+on some secrets of his art Nos. 641 and 729, the only other places
+in which we find this cipher employed; we may therefore conclude
+that it was for the sake of secrecy that he used it. 
+
+There can be no doubt, from the tenor of this passage, that Leonardo
+projected a secret excursion to Naples. Nothing has hitherto been
+known of this journey, but the significance of the passage will be
+easily understood by a reference to the following notes, from which
+we may infer that Leonardo really had at the time plans for
+travelling further than Naples. From lines 3, 4 and 7 it is evident
+that he purposed, after selling every thing that was not easily
+portable, to leave a chest in the care of his relations at Vinci.
+His luggage was to be packed into two trunks especially adapted for
+transport by mules. The exact meaning of many sentences in the
+following notes must necessarily remain obscure. These brief remarks
+on small and irrelevant affairs and so forth are however of no
+historical value. The notes referring to the preparations for his
+journey are more intelligible.] 
+
+salt, and how to make tinted paper; sheets of paper folded up; and
+his box of colours; learn to work flesh colours in tempera, learn to
+dissolve gum lac, linseed ... white, of the garlic of Piacenza; take
+'de Ponderibus'; take the works of Leonardo of Cremona. Remove the
+small furnace ... seed of lilies and of... Sell the boards of the
+support. Make him who stole it, give you the ... learn levelling and
+how much soil a man can dig out in a day. 
+
+1380. 
+
+This was done by Leone in the piazza of the castle with a chain and
+an arrow. [Footnote: This note must have been made in Milan; as we
+know from the date of the MS.] 
+
+1381. 
+
+NAMES OF ENGINEERS. 
+
+Callias of Rhodes, Epimachus the Athenian, Diogenes, a philosopher,
+of Rhodes, Calcedonius of Thrace, Febar of Tyre, Callimachus the
+architect, a master of fires. [Footnote: Callias, Architect of
+Aradus, mentioned by Vitruvius (X, 16, 5).--Epimachus, of Athens,
+invented a battering-enginee for Demetrius Poliorketes (Vitruvius X,
+16, 4).--Callimachus, the inventor of the Corinthian capital (Vitr.
+IV, I, 9), and of the method of boring marble (Paus. I, 26, 7), was
+also famous for his casts in bronze (Plin. XXXIV, 8, 19). He
+invented a lamp for the temple of Athene Polias, on the Acropolis of
+Athens (Paus. I, 26, 7)--The other names, here mentioned, cannot be
+identified.] 
+
+1382. 
+
+Ask maestro Lodovico for 'the conduits of water'. [Footnote:
+Condotti d'acqua. Possibly a book, a MS. or a map.] 
+
+1383. 
+
+... at Pistoja, Fioravante di Domenico at Florence is my most
+beloved friend, as though he were my [brother]. [Footnote: On the
+same sheet is the text No. 663.] 
+
+1384. 
+
+On the 16th day of July. 
+
+Caterina came on 16th day of July, 1493. 
+
+Messer Mariolo's Morel the Florentin, has a big horse with a fine
+neck and a beautiful head. 
+
+The white stallion belonging to the falconer has fine hind quarters;
+it is behind the Comasina Gate. 
+
+The big horse of Cermonino, of Signor Giulio. [Footnote: Compare
+Nos. 1522 and 1517. Caterina seems to have been his housekeeper.] 
+
+1385. 
+
+OF THE INSTRUMENT. 
+
+Any one who spends one ducat may take the instrument; and he will
+not pay more than half a ducat as a premium to the inventor of the
+instrument and one grosso to the workman every year. I do not want
+sub-officials. [Footnote: Refers perhaps to the regulation of the
+water in the canals.] 
+
+1386. 
+
+Maestro Giuliano da Marliano has a fine herbal. He lives opposite to
+Strami the Carpenters. [Footnote: Compare No. 616, note. 4.
+legnamiere (milanese dialect) = legnajuolo.] 
+
+1387. 
+
+Christofano da Castiglione who lives at the Pieta has a fine head. 
+
+1388. 
+
+Work of ... of the stable of Galeazzo; by the road of Brera
+[Footnote 4: Brera, see No. 1448, II, 13]; benefice of Stanghe
+[Footnote 5:Stanghe, see No. 1509.]; benefice of Porta Nuova;
+benefice of Monza; Indaco's mistake; give first the benefices; then
+the works; then ingratitude, indignity and lamentations. 
+
+1389. 
+
+Chiliarch--captain of 1000. 
+
+Prefects--captains. 
+
+A legion, six thousand and sixty three men. 
+
+1390. 
+
+A nun lives at La Colomba at Cremona; she works good straw plait,
+and a friar of Saint Francis. [Footnote: _La Colomba_ is to this day
+the name of a small house at Cremona, decorated with frescoes.] 
+
+1391. 
+
+Needle,--Niccolao,--thread,--Ferrando, -lacopo
+Andrea,--canvas,--stone,--colours, --brushes,--pallet,--sponge,--the
+panel of the Duke. 
+
+1392. 
+
+Messer Gian Domenico Mezzabarba and Messer Giovanni Franceso
+Mezzabarba. By the side of Messer Piero d'Anghiera. 
+
+1393. 
+
+Conte Francesco Torello. 
+
+1394. 
+
+Giuliano Trombetta,--Antonio di Ferrara, --Oil of .... [Footnote:
+Near this text is the sketch of a head drawn in red chalk.] 
+
+1395. 
+
+Paul was snatched up to heaven. [Footnote: See the facsimile of this
+note on Pl. XXIII No. 2.] 
+
+1396. 
+
+Giuliano da Maria, physician, has a steward without hands. 
+
+1397. 
+
+Have some ears of corn of large size sent from Florence. 
+
+1398. 
+
+See the bedstead at Santa Maria. Secret. 
+
+1399. 
+
+Arrigo is to have 11 gold Ducats. Arrigo is to have 4 gold ducats in
+the middle of August. 
+
+1400. 
+
+Give your master the instance of a captain who does not himself win
+the victory, but the soldiers do by his counsels; and so he still
+deserves the reward. 
+
+1401. 
+
+Messer Pier Antonio. 
+
+1402. 
+
+Oil,--yellow,--Ambrosio,--the mouth, --the farmhouse. 
+
+1403. 
+
+My dear Alessandro from Parma, by the hand of ... 
+
+1404. 
+
+Giovannina, has a fantastic face,--is at Santa Caterina, at the
+Hospital. [Footnote: Compare the text on the same page: No. 667.] 
+
+1405. 
+
+24 tavole make 1 perch. 4 trabochi make 1 tavola. 4 braccia and a
+half make a trabocco. A perch contains 1936 square braccia, or 1944.
+
+1406. 
+
+The road of Messer Mariolo is 13 1/4 braccia wide; the House of
+Evangelista is 75. 
+
+It enters 7 1/2 braccia in the house of Mariolo. [Footnote: On this
+page and that which faces it, MS.I2 7la, are two diagrams with
+numerous reference numbers, evidently relating to the measurements
+of a street.] 
+
+1407. 
+
+I ask at what part of its curved motion the moving cause will leave
+the thing moved and moveable. 
+
+Speak to Pietro Monti of these methods of throwing spears. 
+
+1408. 
+
+Antonio de' Risi is at the council of Justice. 
+
+1409. 
+
+Paolo said that no machine that moves another .... [Footnote: The
+passage, of which the beginning is here given, deals with questions
+in mechanics. The instances in which Leonardo quotes the opinions of
+his contemporaries on scientific matters are so rare as to be worth
+noticing. Compare No. 901. ] 
+
+1410. 
+
+Caravaggio. [Footnote: _Caravaggio_, a village not far from the Adda
+between Milan and Brescia, where Polidoro and Michelangelo da
+Caravaggio were born. This note is given in facsimile on Pl. XIII,
+No. I (above, to the left). On Pl. XIII, No. 2 above to the right we
+read _cerovazo_.] 
+
+1411. 
+
+Pulleys,--nails,--rope,--mercury,--cloth, Monday. 
+
+1412. 
+
+MEMORANDUM. 
+
+Maghino, Speculus of Master Giovanni the Frenchman; Galenus on
+utility. 
+
+1413. 
+
+Near to Cordusio is Pier Antonio da Tossano and his brother
+Serafino. [Footnote: This note is written between lines 23 and 24 of
+the text No. 710. Corduso, Cordusio (_curia ducis_) = Cordus in the
+Milanese dialect, is the name of a Piazza between the Via del
+Broletto and the Piazza de' Mercanti at Milan.. In the time of il
+Moro it was the centre of the town. The persons here named were
+members of the noble Milanese family de'Fossani; Ambrogio da
+Possano, the contemporary painter, had no connection with them.] 
+
+1414. 
+
+Memoranda after 1500 (1414--1434) 
+
+1414. 
+
+Paul of Vannochio at Siena ... The upper chamber for the apostles. 
+
+[4] Buildings by Bramante. 
+
+The governor of the castle made a prisoner. 
+
+[6] Visconti carried away and his son killed. [Footnote 6: Visconti.
+_Chi fosse quel Visconte non sapremmo indovinare fra tanti di questo
+nome. Arluno narra che allora atterrate furono le case de' Viconti,
+de' Castiglioni, de' Sanseverini, e de' Botta e non � improbabile
+che ne fossero insultati e morti i padroni. Molti Visconti annovera
+lo stesso Cronista che per essersi rallegrati del ritorno del duca
+in Milano furono da' Francesi arrestati, e strascinati in Francia
+come prigionieri di stato; e fra questi Messer Francesco Visconti, e
+suo figliuolo Battista_. (AMORETTI, Mem. Stor. XIX.).] 
+
+Giovanni della Rosa deprived of his money. 
+
+Borgonzio began ....; and moreover his fortunes fled. [Footnote 8:
+Borgonzio o Brugonzio Botta fu regolatore delle ducali entrate sotto
+il Moro, alla cui fuga la casa sua fu pur messa a sacco da'
+partitanti francesi. (AMORETTI, l. c.)] 
+
+The Duke has lost the state, property and liberty and none of his
+entreprises was carried out by him. 
+
+[Footnote: l. 4--10 This passage evidently refers to events in Milan
+at the time of the overthrow of Ludovico il Moro. Amoretti published
+it in the '_Memorie Storiche_' and added copious notes.] 
+
+1415. 
+
+Ambrosio Petri, St. Mark, 4 boards for the window, 2 ..., 3 the
+saints of chapels, 5 the Genoese at home. 
+
+1416. 
+
+Piece of tapestry,--pair of compasses,-- Tommaso's book,--the book
+of Giovanni Benci,--the box in the custom-house,--to cut the
+cloth,--the sword-belt,--to sole the boots, --a light hat,--the cane
+from the ruined houses,--the debt for the table linen,
+--swimming-belt,--a book of white paper for drawing,--charcoal.--How
+much is a florin ...., a leather bodice. 
+
+1417. 
+
+Borges shall get for you the Archimedes from the bishop of Padua,
+and Vitellozzo the one from Borgo a San Sepolcro [Footnote 3: Borgo
+a San Sepolcro, where Luca Paciolo, Leonardo's friend, was born.] 
+
+[Footnote: Borges. A Spanish name.] 
+
+1418. 
+
+Marzocco's tablet. 
+
+1419. 
+
+Marcello lives in the house of Giacomo da Mengardino. 
+
+1420. 
+
+Where is Valentino?--boots,--boxes in the
+custom-house,...,--[Footnote 5: Carmine. A church and monastery at
+Florence.] the monk at the Carmine,--squares,--[Footnotes 7 and 8:
+Martelli, Borgherini; names of Florentine families. See No. 4.]
+Piero Martelli,--[8] Salvi Borgherini,--send back the bags,--a
+support for the spectacles,--[Footnote 11: San Gallo; possibly
+Giuliano da San Gallo, the Florentine architect.] the nude study of
+San Gallo,--the cloak. Porphyry,--groups,--square,--[Footnote 16:
+Pandolfini, see No. 1544 note.] Pandolfino. [Footnote: Valentino.
+Cesare Borgia is probably meant. After being made Archbishop of
+Valence by Alexander VI he was commonly called Valentinus or
+Valentino. With reference to Leonardo's engagements by him see pp.
+224 and 243, note.] 
+
+1421. 
+
+Concave mirrors; philosophy of Aristotle;[Footnote 2: _Avicenna_
+(Leonardo here writes it Avinega) the Arab philosopher, 980-1037,
+for centuries the unimpeachable authority on all medical questions.
+Leonardo possibly points here to a printed edition: _Avicennae
+canonum libri V, latine_ 1476 _Patavis._ Other editions are, Padua
+1479, and Venice 1490.] the books of Avicenna Italian and Latin
+vocabulary; Messer Ottaviano Palavicino or his Vitruvius [Footnote
+3: _Vitruvius._ See Vol. I, No. 343 note.]. bohemian knives;
+Vitruvius[Footnote 6: _Vitruvius._ See Vol. I, No. 343 note.]; go
+every Saturday to the hot bath where you will see naked men; 
+
+'Meteora' [Footnote 7: _Meteora._ See No. 1448, 25.], 
+
+Archimedes, on the centre of gravity; [Footnote 9: The works of
+Archimedes were not printed during Leonardo's life-time.] anatomy
+[Footnote 10: Compare No. 1494.] Alessandro Benedetto; The Dante of
+Niccolo della Croce; Inflate the lungs of a pig and observe whether
+they increase in width and in length, or in width diminishing in
+length. 
+
+[Footnote 14: _Johannes Marliani sua etate philosophorum et
+medicorum principis et ducalis phisic. primi de proportione motuum
+velocitate questio subtilissima incipit ex ejusdem Marliani
+originali feliciter extracta, M(ilano)_ 1482. 
+
+Another work by him has the title: _Marlianus mediolanensis. Questio
+de caliditate corporum humanorum tempore hiemis ed estatis et de
+antiparistasi ad celebrem philosophorum et medicorum universitatem
+ticinensem._ 1474.] Marliano, on Calculation, to Bertuccio.
+Albertus, on heaven and earth [Footnote 15: See No. 1469, 1. 7.],
+[from the monk Bernardino]. Horace has written on the movements of
+the heavens. 
+
+[Footnote: _Filosofia d'Aristotele_ see No. 1481 note.] 
+
+1422. 
+
+Of the three regular bodies as opposed to some commentators who
+disparage the Ancients, who were the originators of grammar and the
+sciences and ... 
+
+1423. 
+
+The room in the tower of Vaneri. 
+
+[Footnote: This note is written inside the sketch of a plan of a
+house. On the same page is the date 1513 (see No. 1376).] 
+
+1424. 
+
+The figures you will have to reserve for the last book on shadows
+that they may appear in the study of Gerardo the illuminator at San
+Marco at Florence. 
+
+[Go to see Melzo, and the Ambassador, and Maestro Bernardo]. 
+
+[Footnote: L. 1-3 are in the original written between lines 3 and 4
+of No. 292. But the sense is not clear in this connection. It is
+scarcely possible to devine the meaning of the following sentence. 
+
+2. 3. _Gherardo_ Miniatore, a famous illuminator, 1445-1497, to whom
+Vasari dedicated a section of his Lives (Vol. II pp. 237-243, ed.
+Sansoni 1879). 
+
+5. _Bernardo_, possibly the painter Bernardo Zenale.] 
+
+1425. 
+
+Hermes the philosopher. 
+
+1426. 
+
+Suisset, viz. calculator,--Tisber, --Angelo Fossobron,--Alberto. 
+
+1427. 
+
+The structure of the drawbridge shown me by Donnino, and why _c_ and
+_d_ thrust downwards. 
+
+[Footnote: The sketch on the same page as this text represents two
+poles one across the other. At the ends of the longest are the
+letter _c_ and _d_. The sense of the passage is not rendered any
+clearer.] 
+
+1428. 
+
+The great bird will take its first flight;-- on the back of his
+great swan,--filling the universe with wonders; filling all writings
+with his fame and bringing eternal glory to his birthplace. 
+
+[Footnote: This seems to be a speculation about the flying machine
+(compare p. 271).] 
+
+1429. 
+
+This stratagem was used by the Gauls against the Romans, and so
+great a mortality ensued that all Rome was dressed in mourning. 
+
+[Footnote: Leonardo perhaps alludes to the Gauls under Brennus, who
+laid his sword in the scale when the tribute was weighed.] 
+
+1430. 
+
+Alberto da Imola;--Algebra, that is, the demonstration of the
+equality of one thing to another. 
+
+1431. 
+
+Johannes Rubicissa e Robbia. 
+
+1432. 
+
+Ask the wife of Biagio Crivelli how the capon nurtures and hatches
+the eggs of the hen,--he being drunk. 
+
+1433. 
+
+The book on Water to Messer Marco Antonio. 
+
+[Footnote: Possibly Marc-Antonio della Torre, see p. 97.] 
+
+1434. 
+
+Have Avicenna's work on useful inventions translated; spectacles
+with the case, steel and fork and...., charcoal, boards, and paper,
+and chalk and white, and wax;.... .... for glass, a saw for bones
+with fine teeth, a chisel, inkstand ........ three herbs, and Agnolo
+Benedetto. Get a skull, nut,--mustard. 
+
+Boots,--gloves, socks, combs, papers, towels, shirts,....
+shoe-tapes,--..... shoes, penknife, pens. A skin for the chest. 
+
+[Footnote: 4. Lapis. Compare Condivi, _Vita di Michelagnolo
+Buonarotti_, Chap. XVIII.: _Ma egli_ (Michelangelo) _non avendo che
+mostrare, prese una penna (percioche in quel tempo il lapis non era
+in uso) e con tal leggiadria gli dipinse una mano ecc._ The incident
+is of the year l496.--Lapis means pencil, and chalk (_matita_).
+Between lines 7 and 8 are the texts given as Nos. 819 and No. 7.] 
+
+Undated memoranda (1435-1457). 
+
+1435. 
+
+The book of Piero Crescenze,--studies from the nude by Giovanni
+Ambrosio,--compasses, --the book of Giovanni Giacomo. 
+
+1436. 
+
+MEMORARDUM. 
+
+To make some provisions for my garden, --Giordano, _De
+Ponderibus_[Footnote 3: _Giordano_. Jordanus Nemorarius, a
+mathematician of the beginning of the XIIIth century. No particulars
+of his life are known. The title of his principal work is:
+_Arithmetica decem libris demonstrata_, first published at Paris
+1496. In 1523 appeared at Nuremberg: _Liber Jordani Nemorarii de
+ponderibus, propositiones XIII et earundem demonstrationes,
+multarumque rerum rationes sane pulcherrimas complectens, nunc in
+lucem editus._],--the peacemaker, the flow and ebb of the sea,--have
+two baggage trunks made, look to Beltraffio's [Footnote 6:
+_Beltraffio_, see No. 465, note 2. 
+
+There are sketches by the side of lines 8 and 10.] lathe and have
+taken the stone,--out leave the books belonging to Messer Andrea the
+German,-- make scales of a long reed and weigh the substance when
+hot and again when cold. The mirror of Master Luigi; _A b_ the flow
+and ebb of the water is shown at the mill of Vaprio,--a cap. 
+
+1437. 
+
+Giovanni Fabre,--Lazaro del Volpe,-- the common,--Ser Piero. 
+
+[Footnote: These names are inserted on a plan of plots of land
+adjoining the Arno.] 
+
+1438. 
+
+[Lactantius], [the book of Benozzo], groups,--to bind the book,--a
+lantern,--Ser Pecantino,--Pandolfino.--[Rosso]--a square, --small
+knives,--carriages,--curry combs-- cup. 
+
+1439. 
+
+Quadrant of Carlo Marmocchi,--Messer Francesco Araldo,--Ser
+Benedetto d'Accie perello,--Benedetto on arithmetic,--Maestro Paulo,
+physician,--Domenico di Michelino,-- ...... of the Alberti,--Messer
+Giovanni Argimboldi. 
+
+1440. 
+
+Colours, formula,--Archimedes,--Marcantonio. 
+
+Tinned iron,--pierced iron. 
+
+1441. 
+
+See the shop that was formerly Bartolommeo's, the stationer. 
+
+[Footnote: 6. _Marc Antonio_, see No. 1433.] 
+
+1442. 
+
+The first book is by Michele di Francesco Nabini; it treats on
+science. 
+
+1443. 
+
+Messer Francesco, physician of Lucca, with the Cardinal Farnese. 
+
+[Footnote: _Alessandro Farnese_, afterwards Pope Paul III was
+created in 1493 Cardinal di San Cosimo e San Damiano, by Alexander
+VI.] 
+
+1444. 
+
+Pandolfino's book [Footnote 1: _Pandolfino, Agnolo_, of Florence. It
+is to this day doubtful whether he or L. B. Alberti was the author
+of the famous work '_Del Governo della Famiglia_'. It is the more
+probable that Leonardo should have meant this work by the words _il
+libro_, because no other book is known to have been written by
+Pandolfino. This being the case this allusion of Leonardo's is an
+important evidence in favour of Pandolfino's authorship (compare No.
+1454, line 3).],--knives,--a pen for ruling,--to have the vest
+dyed,--The library at St.-Mark's,--The library at Santo
+Spirito,--Lactantius of the Daldi [Footnote 7: The works of
+Lactantius were published very often in Italy during Leonardo's
+lifetime. The first edition published in 1465 "_in monastero
+sublacensi_" was also the first book printed in Italy.],--Antonio
+Covoni,--A book by Maestro Paolo Infermieri, --Boots, shoes and
+hose,--(Shell)lac, --An apprentice to do the models for me. Grammar,
+by Lorenzo de Medici,--Giovanni del Sodo,--Sansovino, [Footnote 15:
+_Sansovino_, Andrea--the _sculptor_; 1460-1529.]--a ruler,--a very
+sharp knife,--Spectacles,--fractions....,
+--repair.........,--Tomaso's book,-- Michelagnolo's little chain;
+Learn the multiplication of roots from Maestro Luca;--my map of the
+world which Giovanni Benci has [Footnote 25: Leonardo here probably
+alludes to the map, not executed by him (See p. 224), which is with
+the collection of his MSS. at Windsor, and was published in the
+_Archaeologia_ Vol. XI (see p. 224).];-Socks,--clothes from the
+customhouse-officier,--Red Cordova leather,--The map of the world,
+of Giovanni Benci,--a print, the districts about Milan--Market book.
+
+Get the Friar di Brera to show you [the book] '_de Ponderibus_'
+[Footnote 11: _Brera_, now _Palazzo delle Scienze ed Arti. Until
+1571 it was the monastery of the order of the Umiliati and
+afterwards of the Jesuits. 
+
+_De ponderibus_, compare No. 1436, 3.],-- 
+
+Of the measurement of San Lorenzo,-- 
+
+I lent certain groups to Fra Filippo de Brera, [Footnote 13:
+_Brera_, now _Palazzo delle Scienze ed Arti. Until 1571 it was the
+monastery of the order of the Umiliati and afterwards of the
+Jesuits. 
+
+_De ponderibus_, compare No. 1436, 3.]-- 
+
+Memorandum: to ask Maestro Giovannino as to the mode in which the
+tower of Ferrara is walled without loopholes,-- 
+
+Ask Maestro Antonio how mortars are placed on bastions by day or by
+night,-- 
+
+Ask Benedetto Portinari how the people go on the ice in Flanders,-- 
+
+On proportions by Alchino, with notes by Marliano, from Messer
+Fazio,-- 
+
+The measurement of the sun, promised me by Maestro Giovanni, the
+Frenchman,-- 
+
+The cross bow of Maestro Gianetto,-- 
+
+The book by Giovanni Taverna that Messer Fazio,-- 
+
+You will draw Milan [21],-- 
+
+The measurement of the canal, locks and supports, and large boats;
+and the expense,-- 
+
+Plan of Milan [Footnote 23: _Fondamento_ is commonly used by
+Leonardo to mean ground-plan. See for instance p. 53.],-- 
+
+Groups by Bramante [Footnote 24: _Gruppi_. See Vol. I p. 355, No.
+600, note 9.],-- 
+
+The book on celestial phenomena by Aristoteles, in Italian [Footnote
+25: _Meteora_. By this Leonardo means no doubt the four books. He
+must refer here to a MS. translation, as no Italian translation is
+known to have been published (see No. 1477 note).],-- 
+
+Try to get Vitolone, which is in the library at Pavia [Footnote 26:
+_Vitolone_ see No. 1506, note. 
+
+_Libreria di Pavia_. One of the most famous of Italian libraries.
+After the victory of Novara in April 1500, Louis XII had it conveyed
+to France, '_come trofeo di vittoria_'!] and which treats of
+Mathematics,--He had a master [learned] in waterworks and get him to
+explain the repairs and the costs, and a lock and a canal and a mill
+in the Lombard fashion. 
+
+A grandson of Gian Angelo's, the painter has a book on water which
+was his fathers. 
+
+Paolino Scarpellino, called Assiolo has great knowledge of water
+works. 
+
+[Footnote 12: _Sco Lorenzo_. A church at Milan, see pp. 39, 40 and
+50.] 
+
+[Footnote 13. 24: _Gruppi_. See Vol. I p. 355, No. 600, note 9.] 
+
+[Footnote 16: The _Portinari_ were one of the great merchant-
+families of Florence.] 
+
+1449. 
+
+Francesco d'Antonio at Florence. 
+
+1450. 
+
+Giuliano Condi[1],--Tomaso Ridolfi,-- Tomaso Paganelli,--Nicolo del
+Nero,--Simone Zasti,--Nasi,--the heir of Lionardo Manelli,
+--Guglielmo di Ser Martino,--Bartolomeo del Tovaglia,--Andrea
+Arrigucci,-- Nicolo Capponi,--Giovanni Portinari. 
+
+[Footnote: I. _Guiliano Gondi_. Ser Piero da Vinci, Leonardo's
+father, lived till 1480, in a house belonging to Giuliano Gondi. In
+1498 this was pulled down to make room for the fine Palazzo built on
+the Piazza San Firenze by Giuliano di San Gallo, which still exists.
+In the _Riassunto del Catasto di Ser Piero da Vinci_, 1480, Leonardo
+is not mentioned; it is evident therefore that he was living
+elsewhere. It may be noticed incidentally that in the _Catasto di
+Giuliano Gondi_ of the same year the following mention is made of
+his four eldest sons: 
+
+_Lionardo mio figliuolo d'eta d'anni 29, non fa nulla, Giovambatista
+d'eta d'anni 28 in Ghostantinopoli, Billichozo d'eta d'anni 24 a
+Napoli, Simone d'eta d'anni 23 in Ungheria._ 
+
+He himself was a merchant of gold filigree (_facciamo lavorare una
+bottegha d'arte di seta ... facciamo un pocho di trafico a Napoli_}.
+As he was 59 years old in 1480, he certainly would not have been
+alive at the time of Leonardo's death. But Leonardo must have been
+on intimate terms with the family till the end of his life, for in a
+letter dated June 1. 1519, in which Fr. Melzi, writing from Amboise,
+announces Leonardo's death to Giuliano da Vinci at Florence (see p.
+284), he says at the end "_Datemene risposta per i Gondi_" (see
+UZIELLI, _Ricerche_, passim). 
+
+Most of the other names on the list are those of well-known
+Florentine families.] 
+
+1451. 
+
+Pandolfino. 
+
+1452. 
+
+Vespuccio will give me a book of Geometry. 
+
+[Footnote: See No. 844, note, p. 130.] 
+
+1453. 
+
+Marcantonio Colonna at Santi Apostoli. 
+
+[Footnote: In July 1506 Pope Julius II gave Donna Lucrezia della
+Rovere, the daughter of his sister Lucchina, in marriage to the
+youthful Marcantonio Colonna, who, like his brothers Prospero and
+Fabrizio, became one of the most famous Captains of his family. He
+gave to him Frascati and made him a present of the palazzo he had
+built, when Cardinal, near the church of Santi Apostoli which is now
+known as the Palazzo Colonna (see GREGOROVIUS, _Gesch. der Stadt
+Rom._ Vol. VIII, book XIV I, 3. And COPPI, _Mem. Colonnesi_ p.
+251).] 
+
+1454. 
+
+A box, a cage,-- A square, to make the bird [Footnote 2: Vasari
+states that Leonardo invented mechanical birds which moved through
+the air. Compare No. 703.],-- Pandolfino's book, mortar [?],-- Small
+knives, Venieri for the 
+
+[Footnote: Much of No. 1444 is repeated in this memorandum.] 
+
+Pen for ruling,        stone,--star,--
+
+To have the vest dyed, Alfieri's tazza,--
+
+The Libraries,         the book on celestial
+                       phenomena,--
+
+Lactantius of the      go to the house of
+Daldi,--               the Pazzi,
+
+Book from Maestro      small box,--
+Paolo Infermieri,--
+
+Boots, shoes and       small gimlet,--
+hose,
+
+Lac,                   .......,--
+
+An apprentice for      .....,--
+models,
+
+Grammar of Lo-         the amount of the
+renzo de' Medici,      ...
+
+Giovanni del Sodo      .....
+for...,--the broken
+
+Sansovino,             the....
+
+Piero di Cosino        the wings,--
+
+[Footnote 16: _Pier di Cosimo_ the well known Florentine painter
+1462-1521. See VASARI, _Vite_ (Vol. IV, p. 134 ed. Sansoni 1880)
+about Leonardo's influence on Piero di Cosimo's style of painting.] 
+
+Filippo and Lorenzo [Footnote 17: _Filippo e Lorenzo_; probably the
+painters Filippino Lippi and Lorenzo di Credi. L. di Credi's
+pictures and Vasari's history of that painter bear ample evidence to
+his intimate relations with Leonardo.],--A ruler-,-- Spectacles,--to
+do the..... again,--Tomaso's book,--Michelagnolo's chain,--The
+multiplication of roots,--Of the bow and strinch,--The map of the
+world from Benci,-- Socks,--The clothes from the custom-house
+officier,--Cordova leather,--Market books, --waters of
+Cronaca,--waters of Tanaglino..., --the caps,--Rosso's mirror; to
+see him make it,--1/3 of which I have 5/6,--on the celestial
+phenomena, by Aristotle [Footnote 36: _Meteora_. See No. 1448,
+25.],--boxes of Lorenzo di Pier Francesco [Footnote 37: _Lorenzo di
+Pier Francesco_ and his brother _Giovanni_ were a lateral branch of
+the _Medici_ family and changed their name for that of
+Popolani.],--Maestro Piero of the Borgo,--To have my book
+bound,--Show the book to Serigatto,-- and get the rule of the clock
+[Footnote 41: Possibly this refers to the clock on the tower of the
+Palazzo Vecchio at Florence. In February 1512 it had been repaired,
+and so arranged as to indicate the hours after the French manner
+(twelve hours a. m. and as many p. m.).],--
+ring,--nutmeg,--gum,--the square,--Giovan' Batista at the piazza,
+de' Mozzi,--Giovanni Benci has my book and jaspers,--brass for the
+spectacles. 
+
+1455. 
+
+Search in Florence for...... 
+
+1456. 
+
+Bernardo da Ponte ... Val di Lugano ... many veins for anatomical
+demonstration. 
+
+[Footnote: This fragmentary note is written on the margin of a
+drawing of two legs.] 
+
+1457. 
+
+Paolo of Tavechia, to see the marks in the German stones. 
+
+[Footnote: This note occurs on a pen and ink drawing made by
+Leonardo as a sketch for the celebrated large cartoon in the
+possession of the Royal Academy of Arts, in London. This cartoon is
+commonly supposed to be identical with that described and lauded by
+Vasari, which was exhibited in Florence at the time and which now
+seems to be lost. Mr. Alfred Marks, of Long Ditton, in his valuable
+paper (read before the Royal Soc. of Literature, June 28, 1882) "On
+the St. Anne of Leonardo da Vinci", has adduced proof that the
+cartoon now in the Royal Academy was executed earlier at Milan. The
+note here given, which is written on the sheet containing the study
+for the said cartoon, has evidently no reference to the drawing on
+which it is written but is obviously of the same date. Though I have
+not any opening here for discussing this question of the cartoon, it
+seemed to me important to point out that the character of the
+writing in this note does not confirm the opinion hitherto held that
+the Royal Academy cartoon was the one described by Vasari, but, on
+the contrary, supports the hypothesis put forward by Mr. Marks.] 
+
+Notes on pupils (1458-1468.) 
+
+1458. 
+
+Giacomo came to live with me on St.-Mary Magdalen's[Footnote: _Il di
+della Maddalena._ July 22.] day, 1490, aged 10 years. The second day
+I had two shirts cut out for him, a pair of hose, and a jerkin, and
+when I put aside some money to pay for these things he stole 4
+_lire_ the money out of the purse; and I could never make him
+confess, though I was quite certain of the fact.--Thief, liar,
+obstinate, glutton. 
+
+The day after, I went to sup with Giacomo Andrea, and the said
+Giacomo supped for two and did mischief for four; for he brake 3
+cruets, spilled the wine, and after this came to sup where I .... 
+
+Item: on the 7th day of September he stole a silver point of the
+value of 22 soldi from Marco[Footnote 6: _Marco_, probably
+Leonardo's pupil Marco d'Oggionno; 1470 is supposed to be the date
+of his birth and 1540 of his death. 
+
+_Che stava con meco._ We may infer from this that he left the master
+shortly after this, his term of study having perhaps expired.] who
+was living with me, 4 _lire_ this being of silver; and he took it
+from his studio, and when the said Marco had searched for it a long
+while he found it hidden in the said Giacomo's box 4 _lire_. 
+
+Item: on the 26th January following, I, being in the house of Messer
+Galeazzo da San Severino [Footnote 9: Galeazzo. See No. 718 note.],
+was arranging the festival for his jousting, and certain footmen
+having undressed to try on some costumes of wild men for the said
+festival, Giacomo went to the purse of one of them which lay on the
+bed with other clothes, 2 lire 4 S, and took out such money as was
+in it. 
+
+Item: when I was in the same house, Maestro Agostino da Pavia gave
+to me a Turkish hide to have (2 lire.) a pair of short boots made of
+it; this Giacomo stole it of me within a month and sold it to a
+cobbler for 20 soldi, with which money, by his own confession, he
+bought anise comfits. 
+
+Item: again, on the 2nd April, Giovan Antonio [Footnote 16: Giovan
+Antonio, probably Beltraffio, 1467 to 1516.] having left a silver
+point on a drawing of his, Giacomo stole it, and this was of the
+value of 24 soldi (1 lira 4 S.) 
+
+The first year-
+
+A cloak, 2 lire,
+6 shirts, 4 lire,
+3 jerkins, 6 lire,
+4 pairs of hose, 7 lire 8 soldi,
+1 lined doublet, 5 lire,
+24 pairs of shoes, 6 lire 5 soldi,
+A cap, 1 lira,
+laces, 1 lira.
+
+[Footnote: Leonardo here gives a detailed account not only of the
+loss he and others incurred through Giacomo but of the wild tricks
+of the youth, and we may therefore assume that the note was not made
+merely as a record for his own use, but as a report to be forwarded
+to the lad's father or other responsible guardian.] 
+
+1459. 
+
+On the last day but one of September; 
+
+Thursday the 27th day of September Maestro Tommaso came back and
+worked for himself until the last day but one of February. On the
+18th day of March, 1493, Giulio, a German, came to live with
+me,--Lucia, Piero, Leonardo. 
+
+On the 6th day of October. 
+
+1460. 
+
+1493. On the 1st day of November we settled accounts. Giulio had to
+pay 4 months; and Maestro Tommaso 9 months; Maestro Tommaso
+afterwards made 6 candlesticks, 10 days' work; Giulio some
+fire-tongs 15 days work. Then he worked for himself till the 27th
+May, and worked for me at a lever till the 18th July; then for
+himself till the 7th of August, and for one day, on the fifteenth,
+for a lady. Then again for me at 2 locks until the 20th of August. 
+
+1461. 
+
+On the 23rd day of August, 12 lire from Pulisona. On the 14th of
+March 1494, Galeazzo came to live with me, agreeing to pay 5 lire a
+month for his cost paying on the l4th day of each month. 
+
+His father gave me 2 Rhenish florins. 
+
+On the l4th of July, I had from Galeazzo 2 Rhenish florins. 
+
+1462. 
+
+On the 15th day of September Giulio began the lock of my studio
+1494. 
+
+1463. 
+
+Saturday morning the 3rd of August 1504 Jacopo the German came to
+live with me in the house, and agreed with me that I should charge
+him a carlino a day. 
+
+1464. 
+
+1511. On the 26th of September Antonio broke his leg; he must rest
+40 days. 
+
+[Footnote: This note refers possibly to Beltraffio.] 
+
+1465. 
+
+I left Milan for Rome on the 24th day of September, 1513, with
+Giovanni [Footnote 2: _Giovan;_ it is not likely that Leonardo
+should have called Giovan' Antonio Beltraffio at one time Giovanni,
+as in this note and another time Antonio, as in No. 1464 while in
+No. 1458 l. 16 we find _Giovan'Antonio_, and in No. 1436, l.6
+_Beltraffio_. Possibly the Giovanni here spoken of is Leonardo's
+less known pupil Giovan Pietrino (see No. 1467, 5).], Francesco di
+Melzi [Footnote 2,3: _Francesco de' Melzi_ is often mentioned, see
+Nos. 1350.], Salai [Footnote 3: _Salai_. See No. 1519 note.],
+Lorenzo and il Fanfoia. 
+
+[Footnote 4: _Lorenzo_. See No. 1351, l. 10 (p. 408). Amoretti gives
+the following note in _Mem. Stor. XXIII:_ 1505. _Martedi--sera a di
+14 d'aprile. Venne Lorenzo a stare con mecho: disse essere d'eta
+d'anni 17 .. a di 15 del detto aprile ebbi scudi 25 d'oro dal
+chamerlingo di Santa Maria nuova._ This, he asserts is derived from
+a MS. marked S, in quarto. This MS. seems to have vanished and left
+no trace behind; Amoretti himself had not seen it, but copied from a
+selection of extracts made by Oltrocchi before the Leonardo MSS.
+were conveyed to Paris on the responsibility of the first French
+Republic. Lorenzo, by this, must have been born in 1487. The
+sculptor Lorenzetto was born in 1490. Amoretti has been led by the
+above passage to make the following absurd observations: 
+
+_Cotesto Lorenzo, che poi gli fu sempre compagno, almeno sin che
+stette in Italia, sarebb' egli Lorenzo Lotto bergamasco? Sappiamo
+essere stato questo valente dipintore uno de'bravi scolari del
+Vinci_ (?). 
+
+_Il Fafoia_, perhaps a nickname. Cesare da Sesto, Leonardo's pupil,
+seems to have been in Rome in these years, as we learn from a
+drawing by him in the Louvre. 
+
+1466. 
+
+On the 3rd day of January. 
+
+Benedetto came on the 17th of October; he stayed with me two months
+and 13 days of last year, in which time he earned 38 lire, 18 soldi
+and 8 dinari; he had of this 26 lire and 8 soldi, and there remains
+to be paid for the past year 12 lire 10 soldi. 
+
+Giodatti (?) came on the 8th day of September, at 4 soldi a month,
+and stayed with me 3 months and 24 days, and earned 59 lire 14 soldi
+and 8 dinari; he has had 43 lire, 4 soldi, there remains to pay 16
+lire, 10 soldi and 8 dinari. 
+
+Benedetto, 24 grossoni. 
+
+[Footnote: This seems to be an account for two assistants. The name
+of the second is scarcely legible. The year is not given. The note
+is nevertheless of chronological value. The first line tells us the
+date when the note was registered, January 3d, and the observations
+that follow refer to events of the previous month 'of last year'
+_(dell'anno passato)_. Leonardo cannot therefore have written thus
+in Florence where the year was, at that period, calculated as
+beginning in the month of March (see Vol. I, No. 4, note 2). He must
+then have been in Milan. What is more important is that we thus
+learn how to date the beginning of the year in all the notes written
+at Milan. This clears up Uzielli's doubts: _A Milano facevasi
+cominciar l'anno ab incarnatione, cioe il 25 Marzo e a nativitate,
+cioe il 25 Decembre. Ci sembra probabile che Leonardo dovesse
+prescegliere lo stile che era in uso a Firenze._ (_Ricerche_, p. 84,
+note.)] 
+
+1467.
+
+Gian Maria 4,
+Benedetto 4,
+Gian Pietro [5] 3,
+Salai 3,
+Bartolomeo 3,
+Gherardo 4.
+
+1468.
+
+Salai, 20 lire,
+Bonifacio, 2 lire,
+Bartolomeo, 4 lire,
+Arrigo [Harry], 15 lire.
+
+Quotations and notes on books and authors (1469-1508).
+
+1469. 
+
+Book on Arithmetic [Footnote 1: _"La nobel opera de arithmethica ne
+la qual se tracta tute cosse amercantia pertinente facta & compilata
+per Piero borgi da Veniesia", in-40. In fine: "Nela inclita cita di
+Venetia a corni. 2 augusto. 1484. fu imposto fine ala presente
+opera." Segn. a--p. quaderni. V'ha pero un' altra opera simile di
+Filippo Calandro, 1491. E da consultarsi su quest' ultimo, Federici:
+Memorie Trevigiane, Fiore di virtu: pag. 73. "Libricciuolo composto
+di bello stile verso il 1320 e piu volte impresso nel secolo XV
+(ristampato poi anche piu tardi). Gli accademici della Crusca lo
+ammettono nella serie dei testi di lingua. Vedasi Gamba, Razzolini,
+Panzer, Brunet, Lechi, ecc._ (G. D'A.)], 'Flowers of Virtue', 
+
+Pliny [Footnote 2: _"Historia naturale di C. Plinio Secondo,
+tradocta di lingua latina in fiorentina per Christophoro Laudino &
+Opus Nicolai Jansonis gallici imp. anno salutis M.CCCC.LXXVI.
+Venetiis" in-fol.--Diogene Laertio. Incomincia: "El libro de la vita
+de philosophi etc.: Impressum Venetiis" per Bernardinum Celerium de
+Luere, 1480", in-40_ (G. D'A.).], 'Lives of the Philosophers', 
+
+The Bible [Footnote 3: _"La Bibia volgare historiata (per Nicolo di
+Mallermi) Venecia ... M.CCCC.LXXI in kalende di Augusto (per
+Vindelino de Spira)" 2 vol. in-fol. a 2 col. di 50 lin,; od altra
+ediz. della stessa versione del Mallermi, Venetia 1471, e sempre:
+"Venecia per Gabriel de Piero 1477," in-fol.; 2 vol.; Ottavio Scotto
+da Modoetia 1481," "Venetia 1487 per Joan Rosso Vercellese," "1490
+Giovanni Ragazo di Monteferato a instantia di Luchanthonio di
+Giunta, ecc."--Lapidario Teofrasto? Mandebille: "Le grand
+lapidaire," versione italiana ms.?... Giorgio Agricola non puo
+essere, perche nato nel 1494, forse Alberto Magno: de mineralibus.
+Potrebbe essere una traduzione del poema latino (Liber lapidum seu
+de gemmis) di Marbordio Veterio di Rennes (morto nel 1123 da lui
+stesso tradotto in francese dal greco di Evao re d'Arabia celebre
+medico che l'aveva composto per l'imperatore Tiberio. Marbodio
+scrisse il suo prima per Filippo Augusto re di Francia. Vi sono
+anche traduzioni in prosa. "Il lapidario o la forza e la virtu delle
+pietre preziose, delle Erbe e degli Animali."_ (G. D'A.)],
+'Lapidary', 
+
+'On warfare' [Footnote 4: _Il Vegezio? ... Il Frontino? ... Il
+Cornazzano?... Noi crediamo piuttosto il Valturio. Questo libro
+doveva essere uno de'favoriti di Leonardo poiche libro di scienza e
+d'arte nel tempo stesso._], 'Epistles of Filelfo', 
+
+[Footnote: The late Marchese Girolamo d'Adda published a highly
+valuable and interesting disquisition on this passage under the
+title: _Leonardo da Vinci e la sua Libreria, note di un bibliofilo
+(Milano 1873. Ed. di soli 75 esemplari_; privately printed). In the
+autumn of 1880 the Marchese d'Adda showed me a considerable mass of
+additional notes prepared for a second edition. This, as he then
+intended, was to come out after the publication of this work of
+mine. After the much regretted death of the elder Marchese, his son,
+the Marchese Gioachino d'Adda was so liberal as to place these MS.
+materials at my disposal for the present work, through the kind
+intervention of Signor Gustavo Frizzoni. The following passages,
+with the initials G. d'A. are prints from the valuable notes in that
+publication, the MS. additions I have marked. I did not however
+think myself justified in reproducing here the acute and interesting
+observations on the contents of most of the rare books here
+enumerated.] 
+
+[Footnote: 1467. 5. See No. 1465, 2.] 
+
+The first decade, [5] 'On the preservation of health', The third
+decade, [6] Ciecho d'Ascoli, The fourth decade, [7] Albertus Magnus,
+Guido, [8] New treatise on rhetorics, Piero Crescentio, [9]
+Cibaldone, 'Quadriregio', [10] Aesop, 
+
+Donato, [Footnote 11: "_Donatus latine & italice: Impressum Venetiis
+impensis Johannis Baptistae de Sessa anno_ 1499, _in_-4�".-- "_El
+Psalterio de David in lingua volgare (da Malermi Venetia nel
+M.CCCC.LXXVI,_" in-fol. s. n._ (G. D'A.)] Psalms, 
+
+Justinus, [Footnote 12: Compare No. 1210, 48.--_La versione di
+Girolamo Squarzafico:_ "_Il libro di Justino posto diligentemente in
+materna lingua. Venetia ale spesse (sic) di Johane de Colonia &
+Johane Gheretze_ ... l477," _in-fol._--"_Marsilii Ficini, Theologia
+platonica, sive de animarum immortalitate, Florentine, per Ant.
+Misconimum_ 1482," _in-fol., ovvero qualche versione italiana di
+questo stesso libro, ms._ (G. D'A.)] 'On the immortality of the
+soul, 
+
+Guido [Footnote 13: _Forse_ "_la Historia Trojana Guidonis_" _od il
+_"_manipulus_" _di_ "_Guido da Monterocherii_"_ ma piu probabilmente
+_"_Guido d'Arezzo_"_ il di cui libro: _"_Micrologus, seu disciplina
+artis musicae_"_ poteva da Leonardo aversi ms.; di questi ne
+esistono in molto biblioteche, e fu poi impresso nel 1784 dal
+Gerbert._ 
+
+_Molte sono le edizione dei sonetti di Burchiello Fiorentino,
+impresse nel secolo XV. La prima e piu rara e recercata:_
+"_Incominciano li sonetti, ecc. (per Christoforo Arnaldo)_"_, in_-4�
+_senza numeri, richiami o segnature, del_ 1475, _e fors' anche del_
+1472, _secondo Morelli e Dibdin, ecc._ (G. D'A.)] Burchiello, 
+
+'Doctrinale' [Footnote 14: _Versione italiana det "Doctrinal de
+Sapience" di Guy de Roy, e foris'anche l'originale in lingua
+francese.--_ 
+
+_Di Pulci Luigi, benche nell' edizione:_ "_Florentiae_ 1479" _in_-4�
+si dica: _"_Il Driadeo composto in rima octava per Lucio Pulcro_"_
+Altre ediz, del secolo XV, _"_Florentie Miscomini_ 1481, _in_-40,
+_Firenze, apud S. Jacob, de Ripoli,_ 1483,_" _in_-4� _e "Antoni de
+Francesco,_ 1487," _in_-4� _e Francesco di Jacopo_ 1489,_in_-4� _ed
+altre ancora di Venezia e senza alcuna nota ecc._ (G. D'A.)]
+Driadeo, 
+
+Morgante [Footnote 15: _Una delle edizioni del Morgante impresse nel
+secolo XV, ecc.--_ 
+
+_Quale delle opere di Francesco Petrarca, sarebbe malagevole
+l'indovinare, ma probabilmente il Canzoniere._ (G. D'A.)] Petrarch. 
+
+John de Mandeville [Footnote 16: _Sono i viaggi del cavaliere_
+"_Mandeville_" _gentiluomo inglese. Scrisse il suo libro in lingua
+francese. Fu stampato replicatamente nel secolo XV in francese, in
+inglese ed in italiano ed in tedesco; del secolo XV ne annoverano
+forse piu di 27 edizioni, di cui ne conosciamo_ 8 _in francese,
+quattro in latino, sei in tedesco e molte altre in volgare._ (G.
+D'A.)] 
+
+'On honest recreation' [Footnote 17: _Il Platina (Bartolomeo Sacchi)
+la versione italiana_ "_de la honesta voluptate, & valetudine (& de
+li obsonnii) Venetia (senza nome di tipografo)_ 1487," _piccolo
+in_-4� _gotico._ (G. D'A.)--Compare No. 844, 21.] 
+
+Manganello, [Footnote 18: _Il Manganello: Satira eccessivamente
+vivace contro le donne ad imitazione della Sesta di Giovenale.
+Manganello non e soltanto il titolo del libricino, sua ben anche il
+nome dell'autore ch'era un_ "_milanese_". _Di questo libercolo
+rarissimo, che sembra impresso a Venezia dallo Zoppino (Nicolo
+d'Aristotile detto il), senza data, ma dei primissimi anni del
+secolo XVI, e forse piu antico, come vedremo in appresso, non se ne
+conoscono fra biblioteche pubbliche e private che due soli esemplari
+in Europa._ (G. D'A.)] 
+
+The Chronicle of Isidoro, [Footnote 19: "_Cronica desidero_",
+_sembra si deggia leggere piuttosto_ "_cronico disidoro_"_; ed in
+questo caso s'intenderebbe la_ "_cronica d'Isidoro_" _tanto in voga
+a quel tempo_ "_Comenza la Cronica di Sancto Isidoro menore con
+alchune additione cavate del testo & istorie de la Bibia & del libro
+di Paulo Oroso .... Impresso in Ascoli in casa del reverendo misser
+Pascale ..... per mano di Guglielmo de Linis de Alamania
+M.CCCC.LXXVII_" _in_-4� _di_ 157 _ff. E il primo libro impresso ad
+Ascoli e l'edizione principe di questa cronica in oggi assai rara.
+Non lo e meno l'edizione di Cividal del Friuli_, 1480, _e quella ben
+anche di Aquila_, 1482, _sempre in-_4�. _Vedasi Panzer, Hain, Brunet
+e P. Dechamps._ (G. D'A.)] 
+
+The Epistles of Ovid, [Footnote 20: "_Le pistole di Ovidio tradotte
+in prosa. Napoli Sixt. Riessinger_", _in_-4�, _oppure:_ "_Epistole
+volgarizzate_ 1489," _in_-4� _a due col._ "_impresse ne la cita
+(sic) di Bressa per pre: Baptista de Farfengo,_" _(in ottave) o:_
+"_El libro dele Epistole di Ovidio in rima volgare per messere
+Dominico de Monticelli toschano. Brescia Farfengo_," _in_-4� _got.
+(in rima volgare)_, 1491, _ed anche la versione di Luca Pulci.
+Firenze, Mischomini_, 1481, _in_-4�. (G. D'A.) ] 
+
+Epistles of Filelfo, [Footnote 21: See l. 4.] 
+
+Sphere, [Footnote 22: "_Jo: de Sacrobusto_," _o_ "_Goro Dati_," _o_
+"_Tolosano da Colle_" _di cui molteplici edizioni del secolo XV._
+(G. D'A.)] 
+
+The Jests of Poggio, [Footnote 23: _Tre edizioni delle facezie del
+Poggio abbiamo in lingua italiana della fine del secolo XV, tutte
+senza data. "Facetie de Poggio fiorentino traducte de latino in
+vulgare ornatissimo," in-40, segn. a--e in caratteri romani;
+l'altra: "Facetie traducte de latino in vulgare," in-40, caratteri
+gotici, ecc._ (G. D'A.)] Chiromancy, [Footnote 24: "_Die Kunst
+Cyromantia etc, in tedesco. 26 ff. di testo e figure il tutte
+eseguito su tavole di legno verso la fine del secolo XV da Giorgio
+Schapff". Dibdin, Heinecken, Sotheby e Chatto ne diedero una lunga
+descrizione; i primi tre accompagnati da fac-simili. La data 1448
+che si legge alla fine del titolo si riferisce al periodo della
+composizione del testo, non a quello della stampa del volume benche
+tabellario. Altri molti libri di Chiromanzia si conoscono di quel
+tempo e sarebbe opera vana il citarli tutti._ (G. D'A.)] 
+
+Formulary of letters, [Footnote 25: _Miniatore Bartolomeo.
+"Formulario de epistole vulgare missive e responsive, & altri fiori
+de ornali parlamenti al principe Hercule d'Esti ecc. composto ecc.
+Bologna per Ugo di Rugerii," in-40, del secolo XV. Altra edizione di
+"Venetia Bernardino di Novara, 1487" e "Milano per Joanne Angelo
+Scinzenzeler 1500," in-40._ (G. D'A.) 
+
+Five books out of this list are noted by Leonardo in another MS.
+(Tr. 3): _donato, -- lapidario, -- plinio, -- abacho, -- morgante._]
+
+1470. 
+
+Nonius Marcellus, Festus Pompeius, Marcus Varro. 
+
+[Footnote: Nonius Marcellus and Sextus Pompeius Festus were Roman
+grammarians of about the fourth century A. D. Early publications of
+the works of Marcellus are: _De proprietate sermonis, Romae_ (about
+1470), and 1471 (place of publication unknown). _Compendiosa
+doctrina, ad filium, de proprietate sermonum._ Venice, 1476. BRUNET,
+_Manuel du libraire_ (IV, p. 97) notes: _Le texte de cet ancien
+grammairien a ete reimprime plusieurs fois a la fin du XVe siecle,
+avec ceux de Pomponius Festus et de Terentius Varro. La plus
+ancienne edition qui reunisse ces trois auteurs est celle de Parme,
+1480 ... Celles de Venise, 1483, 1490, 1498, et de Milan, 1500,
+toutes in-fol., ont peu de valeur._] 
+
+1471. 
+
+Map of Elephanta in India which Antonello Merciaio has from maestro
+Maffeo;--there for seven years the earth rises and for seven years
+it sinks;--Enquire at the stationers about Vitruvius. 
+
+1472. 
+
+See 'On Ships' Messer Battista, and Frontinus 'On Acqueducts'
+[Footnote 2: 2. _Vitruvius de Arch., et Frontinus de Aquedoctibus._
+Florence, 1513.--This is the earliest edition of Frontinus.--The
+note referring to this author thus suggests a solution of the
+problem of the date of the Leicester Manuscript.]. 
+
+[Footnote: Compare No. 1113, 25.] 
+
+1473. 
+
+Anaxagoras: Every thing proceeds from every thing, and every thing
+becomes every thing, and every thing can be turned into every thing
+else, because that which exists in the elements is composed of those
+elements. 
+
+1474. 
+
+The Archimedes belonging to the Bishop of Padua. 
+
+[Footnote: See No. 1421, 1. 3, 6 and Vol. I, No. 343.] 
+
+1475. 
+
+Archimedes gave the quadrature of a polygonal figure, but not of the
+circle. Hence Archimedes never squared any figure with curved sides.
+He squared the circle minus the smallest portion that the intellect
+can conceive, that is the smallest point visible. 
+
+[Footnote: Compare No. 1504.] 
+
+1476. 
+
+If any man could have discovered the utmost powers of the cannon, in
+all its various forms and have given such a secret to the Romans,
+with what rapidity would they have conquered every country and have
+vanquished every army, and what reward could have been great enough
+for such a service! Archimedes indeed, although he had greatly
+damaged the Romans in the siege of Syracuse, nevertheless did not
+fail of being offered great rewards from these very Romans; and when
+Syracuse was taken, diligent search was made for Archimedes; and he
+being found dead greater lamentation was made for him by the Senate
+and people of Rome than if they had lost all their army; and they
+did not fail to honour him with burial and with a statue. At their
+head was Marcus Marcellus. And after the second destruction of
+Syracuse, the sepulchre of Archimedes was found again by Cato[25],
+in the ruins of a temple. So Cato had the temple restored and the
+sepulchre he so highly honoured.... Whence it is written that Cato
+said that he was not so proud of any thing he had done as of having
+paid such honour to Archimedes. 
+
+[Footnote: Where Leonardo found the statement that Cato had found
+and restored the tomb of Archimedes, I do not know. It is a merit
+that Cicero claims as his own (Tusc. V, 23) and certainly with a
+full right to it. None of Archimedes' biographers --not even the
+diligent Mazzucchelli, mentions any version in which Cato is named.
+It is evidently a slip of the memory on Leonardo's part. Besides,
+according to the passage in Cicero, the grave was not found _'nelle
+ruine d'un tempio'_--which is highly improbable as relating to a
+Greek--but in an open spot (H. MULLER-STRUBING).--See too, as to
+Archimedes, No. 1417. 
+
+Leonardo says somewhere in MS. C.A.: _Architronito e una macchina di
+fino rame, invenzlon d' Archimede_ (see _'Saggio'_, p. 20).] 
+
+1477. 
+
+Aristotle, Book 3 of the Physics, and Albertus Magnus, and Thomas
+Aquinas and the others on the rebound of bodies, in the 7th on
+Physics, on heaven and earth. 
+
+1478. 
+
+Aristotle says that if a force can move a body a given distance in a
+given time, the same force will move half the same body twice as far
+in the same time. 
+
+1479. 
+
+Aristotle in Book 3 of the Ethics: Man merits praise or blame solely
+in such matters as lie within his option to do or not to do. 
+
+1480. 
+
+Aristotle says that every body tends to maintain its nature. 
+
+1481. 
+
+On the increase of the Nile, a small book by Aristotle. [Footnote:
+_De inundatione Nili_, is quoted here and by others as a work of
+Aristotle. The Greek original is lost, but a Latin version of the
+beginning exists (Arist. Opp. IV p. 213 ed. Did. Par.). 
+
+In his quotations from Aristotle Leonardo possibly refers to one of
+the following editions: _Aristotelis libri IV de coelo et mundo; de
+anima libri III; libri VIII physi- corum; libri de generatione et
+corruptione; de sensu et sensato... omnia latine, interprete
+Averroe, Venetiis 1483_ (first Latin edition). There is also a
+separate edition of _Liber de coelo et mundo_, dated 1473.] 
+
+1482. 
+
+Avicenna will have it that soul gives birth to soul as body to body,
+and each member to itself. 
+
+[Footnote: Avicenna, see too No. 1421, 1. 2.] 
+
+1483. 
+
+Avicenna on liquids. 
+
+1484. 
+
+Roger Bacon, done in print. [Footnote: The earliest printed edition
+known to Brunet of the works of Roger Bacon, is a French
+translation, which appeared about fourty years after Leonardo's
+death.] 
+
+1485. 
+
+Cleomedes the philosopher. 
+
+[Footnote: Cleomede. A Greek mathematician of the IVth century B. C.
+We have a Cyclic theory of Meteorica by him. His works were not
+published before Leonardo's death.] 
+
+1486. 
+
+CORNELIUS CELSUS. 
+
+The highest good is wisdom, the chief evil is suffering in the body.
+Because, as we are composed of two things, that is soul and body, of
+which the first is the better, the body is the inferior; wisdom
+belongs to the better part, and the chief evil belongs to the worse
+part and is the worst of all. As the best thing of all in the soul
+is wisdom, so the worst in the body is suffering. Therefore just as
+bodily pain is the chief evil, wisdom is the chief good of the soul,
+that is with the wise man; and nothing else can be compared with it.
+
+[Footnote: _Aulus Cornelius Celsus_, a Roman physician, known as the
+Roman Hippocrates, probably contemporary with Augustus. Only his
+eight Books 'De Medicina', are preserved. The earliest editions are:
+_Cornelius Celsus, de medicina libr. VIII._, Milan 1481 Venice 1493
+and 1497.] 
+
+1487. 
+
+Demetrius was wont to say that there was no difference between the
+speech and words of the foolish and ignorant, and the noises and
+rumblings of the wind in an inflated stomach. Nor did he say so
+without reason, for he saw no difference between the parts whence
+the noise issued; whether their lower parts or their mouth, since
+one and the other were of equal use and importance. 
+
+[Footnote: Compare Vol. I, No. 10.] 
+
+1488. 
+
+Maestro Stefano Caponi, a physician, lives at the piscina, and has
+Euclid _De Ponderibus_. 
+
+1489. 
+
+5th Book of Euclid. First definition: a part is a quantity of less
+magnitude than the greater magnitude when the less is contained a
+certain number of times in the greater. 
+
+A part properly speaking is that which may be multiplied, that is
+when, being multiplied by a certain number, it forms exactly the
+whole. A common aggregate part ... 
+
+Second definition. A greater magnitude is said to be a multiple of a
+less, when the greater is measured by the less. 
+
+By the first we define the lesser [magnitude] and by the second the
+greater is defined. A part is spoken 
+
+1490. 
+
+of in relation to the whole; and all their relations lie between
+these two extremes, and are called multiples. 
+
+1491. 
+
+Hippocrates says that the origin of men's sperm derives from the
+brain, and from the lungs and testicles of our parents, where the
+final decocture is made, and all the other limbs transmit their
+substance to this sperm by means of expiration, because there are no
+channels through which they might come to the sperm. 
+
+[Footnote: The works of Hippocrates were printed first after
+Leonardo's death.] 
+
+1492. 
+
+Lucretius in his third [book] 'De Rerum Natura'. The hands, nails
+and teeth were (165) the weapons of ancient man. 
+
+They also use for a standard a bunch of grass tied to a pole (167). 
+
+[Footnote: _Lucretius, de rerum natura libri VI_ were printed first
+about 1473, at Verona in 1486, at Brescia in 1495, at Venice in 1500
+and in 1515, and at Florence in 1515. The numbers 165 and 167 noted
+by Leonardo at the end of the two passages seem to indicate pages,
+but if so, none of the editions just mentioned can here be meant,
+nor do these numbers refer to the verses in the poems of Lucretius.]
+
+1493. 
+
+Ammianus Marcellinus asserts that seven hundred thousand volumes of
+books were burnt in the siege of Alexandria in the time of Julius
+Cesar. 
+
+[Footnote: _Ammiani Marcellini historiarum libri qui extant XIII_,
+published at Rome in 1474.] 
+
+1494. 
+
+Mondino says that the muscles which raise the toes are in the
+outward side of the thigh, and he adds that there are no muscles in
+the back [upper side] of the feet, because nature desired to make
+them light, so as to move with ease; and if they had been fleshy
+they would be heavier; and here experience shows ... 
+
+[Footnote: _"Mundini anatomia. Mundinus, Anothomia (sic). Mundini
+praestantissimorum doctorum almi studii ticiensis (sic) cura
+diligentissime emendata. Impressa Papiae per magistrum Antonium de
+Carfano 1478," in-fol.; ristampata: "Bononiae Johan. de Noerdlingen,
+1482," in-fol.; "Padova per Mattheum Cerdonis de Vuindischgretz,
+1484," in-40; "Lipsia, 1493," in-40; "Venezia, 1494," in-40 e ivi
+"1498," con fig. Queste figure per altro non sono, come si e
+preteso, le prime che fossero introdotte in un trattato di Notamia.
+Nel 'fasciculus Medicinae' di Giovanni Ketham, che riproduce
+l''Anatomia' del Mundinus, impresso pure a Venezia da J. e G. de
+Gregoriis, 1491, in-fol., contengonsi intagli in legno (si vogliono
+disegnati non gia incisi da Andrea Mantegna) di grande dimensione, e
+che furono piu volte riprodotti negli anni successivi. Quest'
+edizione del "fasciculus" del 1491, sta fra nostri libri e potrebbe
+benissimo essere il volume d'Anatomia notato da Leonardo._ (G.
+D'A.)] 
+
+1495. 
+
+Of the error of those who practice without knowledge;--[3] See first
+the 'Ars poetica' of Horace [5]. 
+
+[Footnote: A 3-5 are written on the margin at the side of the title
+line of the text given, entire as No. 19] 
+
+1496. 
+
+The heirs of Maestro Giovanni Ghiringallo have the works of
+Pelacano. 
+
+1497. 
+
+The catapult, as we are told by Nonius and Pliny, is a machine
+devised by those &c. 
+
+[Footnote: _Plinius_, see No. 946.] 
+
+1498. 
+
+I have found in a history of the Spaniards that in their wars with
+the English Archimedes of Syracuse who at that time was living at
+the court of Ecliderides, King of the Cirodastri. And in maritime
+warfare he ordered that the ships should have tall masts, and that
+on their tops there should be a spar fixed [Footnote 6: Compare No.
+1115.] of 40 feet long and one third of a foot thick. At one end of
+this was a small grappling iron and at the other a counterpoise; and
+there was also attached 12 feet of chain; and, at the end of this
+chain, as much rope as would reach from the chain to the base of the
+top, where it was fixed with a small rope; from this base it ran
+down to the bottom of the mast where a very strong spar was attached
+and to this was fastened the end of the rope. But to go on to the
+use of his machine; I say that below this grappling iron was a fire
+[Footnote 14: Compare No. 1128.] which, with tremendous noise, threw
+down its rays and a shower of burning pitch; which, pouring down on
+the [enemy's] top, compelled the men who were in it to abandon the
+top to which the grappling-iron had clung. This was hooked on to the
+edges of the top and then suddenly the cord attached at the base of
+the top to support the cord which went from the grappling iron, was
+cut, giving way and drawing in the enemy's ship; and if the
+anchor--was cast ... 
+
+[Footnote: Archimedes never visited Spain, and the names here
+mentioned cannot be explained. Leonardo seems to quote here from a
+book, perhaps by some questionable mediaeval writer. Prof. C. Justi
+writes to me from Madrid, that Spanish savants have no knowledge of
+the sources from which this story may have been derived.] 
+
+1499. 
+
+Theophrastus on the ebb and flow of the tide, and of eddies, and on
+water. [Footnote: The Greek philosophers had no opportunity to study
+the phenomenon of the ebb and flow of the tide and none of them
+wrote about it. The movement of the waters in the Euripus however
+was to a few of them a puzzling problem.] 
+
+1500. 
+
+Tryphon of Alexandria, who spent his life at Apollonia, a city of
+Albania (163). [Footnote: Tryphon of Alexandria, a Greek Grammarian
+of the time of Augustus. His treatise TtaOY Aeijecu appeared first
+at Milan in 1476, in Constantin Laskaris's Greek Grammar.] 
+
+1501. 
+
+Messer Vincenzio Aliprando, who lives near the Inn of the Bear, has
+Giacomo Andrea's Vitruvius. 
+
+1502. 
+
+Vitruvius says that small models are of no avail for ascertaining
+the effects of large ones; and I here propose to prove that this
+conclusion is a false one. And chiefly by bringing forward the very
+same argument which led him to this conclusion; that is, by an
+experiment with an auger. For he proves that if a man, by a certain
+exertion of strength, makes a hole of a given diameter, and
+afterwards another hole of double the diameter, this cannot be made
+with only double the exertion of the man's strength, but needs much
+more. To this it may very well be answered that an auger 
+
+1503. 
+
+of double the diameter cannot be moved by double the exertion, be-
+cause the superficies of a body of the same form but twice as large
+has four times the extent of the superficies of the smaller, as is
+shown in the two figures a and n. 
+
+1504. 
+
+OF SQUARING THE CIRCLE, AND WHO IT WAS THAT FIRST DISCOVERED IT BY
+ACCIDENT. 
+
+Vitruvius, measuring miles by means of the repeated revolutions of
+the wheels which move vehicles, extended over many Stadia the lines
+of the circumferences of the circles of these wheels. He became
+aware of them by the animals that moved the vehicles. But he did not
+discern that this was a means of finding a square equal to a circle.
+This was first done by Archimedes of Syracuse, who by multiplying
+the second diameter of a circle by half its circumference produced a
+rectangular quadrilateral equal figure to the circle [Footnote 10:
+Compare No. 1475.]. 
+
+[Footnote: _Vitruvius_, see also Nos. 1113 and 343.] 
+
+1505. 
+
+Virgil says that a blank shield is devoid of merit because among the
+people of Athens the true recognition confirmed by testimonies ... 
+
+[Footnote: The end of the text cannot be deciphered.] 
+
+1506. 
+
+In Vitolone there are 805 conclusions [problems] in perspective. 
+
+[Footnote: _(Witelo, Vitellion, Vitellon) Vitellione. E da vedersi
+su questo ottico prospettico del secolo XIII Luca Pacioli, Paolo
+Lomazzo, Leonardo da Vinci, ecc. e fra i moderni il Graesse, il
+Libri, il Brunet, e le Memorie pubblicate dal principe Boncompagni,
+e 'Sur l' orthographe du nom et sur la patrie de Witelo (Vitellion)
+note de Maximilien Curtze, professeur a Thorn', ove sono descritti i
+molti codici esistenti nelle biblioteche d' Europa. Bernardino Baldi
+nelle sue 'Vite de'matematici', manoscritto presso il principe
+Boncompagni, ha una biografia del Vitellione. Questo scritto del
+Baldi reca la data 25 agosto 1588. Discorsero poi di lui Federigo
+Risnerio e Giovanni di Monteregio nella prefazione dell' Alfagrano,
+Giovanni Boteone, Girolamo Cardano, 'De subtilitate', che nota gli
+errori di Vitellione. Visse, secondo il Baldi, intorno all' anno
+1269, ma secondo il Reinoldo fioriva nel 1299, avendo dedicata la
+sua opera ad un frate Guglielmo di Monteca, che visse di que' tempi.
+
+Intorno ad un manoscritto dell' ottica di Vitellione, citato da Luca
+Pacioli v'ha un secondo esemplare del Kurlz, con aggiunte del
+principe Boncompagni, e le illustrazioni del cav. Enrico Narducci.
+Nel 'Catalogo di manoscritti' posseduti da D. Baldassare de'
+principi Boncompagni, compilato da esso Narducci, Roma, 1862, sotto
+al n. 358, troviamo citato: Vitellio, 'Perspectiva', manoscritto del
+secolo XIV. La 'Prospettiva di Vitelleone' (sic) Thuringo-poloni e
+citata due volte da Paolo Lomazzo nel Trattato dell' arte della
+pittura. Vitellio o Vitello o Witelo. Il suo libro fu impresso in
+foglio a Norimberga nel 1535; la secondo edizione e del 1551, sempre
+di Norimberga, ed una terza di Basilea, 1572._ (See _Indagini
+Storiche ... sulla Libreria-Visconteo-Sforzesca del Castello di
+Pavia ... per cura di_ G. D'A., _Milano 1879. P. I. Appendice p.
+113. 114)._] 
+
+1507. 
+
+Vitolone, at Saint Mark's. 
+
+[Footnote: _Altro codice di cotesta 'Prospettiva' del Vitolone
+troviamo notato nel 'Canone bibliographico di Nicolo V', conservato
+alla, Magliabecchiana, in copia dell' originale verosimilmente
+inviato dal Parentucelli a Cosimo de' Medici (Magliab. cod. segn. 1
+VII, 30 carte da 193 a 198). Proviene dal Convento di San Marco e lo
+aveva trascritto frate Leonardo Scruberti fiorentino, dell' ordine
+dei predicatori che fu anche bibliotecario della Medicea pubblica in
+San Marco_ (See _Indagini Storiche ... per cura di_ G. D'A. _Parte
+I, p. 97)._] 
+
+1508. 
+
+How this proposition of Xenophon is false. 
+
+If you take away unequal quantities from unequal quantities, but in
+the same proportion, &c. [Footnote: Xenophon's works were published
+several times during Leonardo's lifetime.] 
+
+Inventories and accounts (1509--1545). 
+
+1509. 
+
+On the 28th day of April I received from the Marchesino 103 lire and
+12 dinari. [Footnote: Instead of the indication of the year there is
+a blank space after _d'aprile_.--Marchesino Stange was one of
+Lodovico il Moro's officials.--Compare No. 1388.] 
+
+1510. 
+
+On the 10th day of July 1492 in 135 
+Rhenish florins          1. 445
+in dinari of 6 soldi     1. 112 S 16
+in dinari of 5 1/2 soldi 1.  29 S 13
+9 in gold and 3 scudi    1.  53
+         -----------------------------
+                         1. 811 in all
+
+1511. 
+
+On the first day of February, lire 1200. 
+
+1512. 
+
+The hall towards the court is 126 paces long and 27 braccia wide. 
+
+1513. 
+
+The narrow cornice above the hall lire 30. 
+
+The cornice beneath that, being one for each picture, lire 7, and
+for the cost of blue, gold, white, plaster, indigo and glue 3 lire;
+time 3 days. 
+
+The pictures below these mouldings with their pilasters, 12 lire
+each. 
+
+I calculate the cost for smalt, blue and gold and other colours at 1
+1/2 lire. 
+
+The days I calculate at 3, for the invention of the composition,
+pilasters and other things. 
+
+1514. 
+
+Item for each vault 7 lire 
+
+outlay for blue and gold 3 1/2 
+
+time, 4 days 
+
+for the windows 1 1/2 
+
+The cornice below the windows 16 soldi per braccio 
+
+item for 24 pictures of Roman history 14 lire each 
+
+The philosophers 10 lire 
+
+the pilasters, one ounce of blue 10 soldi 
+
+for gold 15 soldi 
+
+Total 2 and 1/2 lire. 
+
+1515. 
+
+The cornice above lire 30 
+
+The cornice below lire 7 
+
+The compositions, one with another lire 13 
+
+1516. 
+
+Salai, 6 lire ... 4 soldi ... 10 soldi for a chain;-- 
+
+On the l4th of March I had 13 lire S. 4; 16 lire remain. 
+
+1517. 
+
+How many braccia high is the level of the walls?-- 
+
+123 braccia 
+
+How large is the hall? 
+
+How large is the garland? 
+
+30 ducats. 
+
+On the 29th day of January, 1494 
+
+cloth for hose lire 4 S 3 
+
+lining S 16 
+
+making S 8 
+
+to Salai S 3 
+
+a jasper ring S 13 
+
+a sparkling stone S 11 
+
+to Caterina S 10 
+
+to Caterina S 10 
+
+1518. 
+
+The wheel lire 7 
+
+the tire lire 10 
+
+the shield lire 4 
+
+the cushion lire 8 
+
+the ends of the axle-tree lire 2 
+
+bed and frame lire 30 
+
+conduit lire 10 
+
+S.K.M.II.2 4a] 
+
+1519. 
+
+Parsley 10 parts 
+
+mint 1 part 
+
+thyme 1 part 
+
+Vinegar ... and a little salt two pieces of canvas for Salai. 
+
+[Footnote: This note, of about the year 1494, is the earliest
+mention of Salai, and the last is of the year 1513 (see No. 1465,
+3). From the various notes in the MSS. he seems to have been
+Leonardo's assistant and keeper only, and scarcely himself a
+painter. At any rate no signed or otherwise authenticated picture by
+him is known to exist. Vasari speaks somewhat doubtfully on this
+point.] 
+
+1520. 
+
+On Tuesday I bought wine for morning [drinking]; on Friday the 4th
+day of September the same. 
+
+[Footnote: This note enables us to fix the date of the Manuscript,
+in which it is to be found. In 1495 the 4th of September fell on a
+Friday; the contents of the Manuscript do not permit us to assign it
+to a much earlier or later date (Compare No. 1522, and Note).] 
+
+1521. 
+
+The cistern ... at the Hospital, --2 ducats, --beans, --white maize,
+--red maize, --millet, --buckwheat, --kidney beans, --beans, --peas.
+
+1522. 
+
+EXPENSES OF THE INTERMENT OF CATERINA.
+
+For the 3 lbs of tapers 27 S
+For the bier 8 S
+A pall over the bier 12 S
+For bearing and placing the cross 4 S
+For bearing the body 8 S
+For 4 priests and 4 clerks 20 S
+Bell, book and sponge 2 S
+For the gravediggers 16 S
+To the senior 8 S
+For a license from the authorities 1 S
+106 S
+
+The doctor 2 S
+Sugar and candles 12 S
+120 S
+
+[Footnote:  See Nos. 1384 and 1517.]
+
+1523.
+
+Salai's cloak, the 4th of April 1497.
+4 braccia of silver cloth l. 15 S 4
+green velvet to trim it l. 9 S --
+binding l.-- S 9
+loops l.-- S 12
+the making l. 1 S 5
+binding for the front l.-- S 5
+stitching _________
+here are 13 grossoni of his l. 26 S 5
+Salai stole the soldi.
+
+1524.
+
+On Monday I bought 4 braccia of cloth lire 13 S 14 1/2 on the 17th
+of, October 1497. 
+
+1525. 
+
+Memorandum. That on the 8th day of April 1503, I, Leonardo da Vinci,
+lent to Vante, miniature painter 4 gold ducats, in gold. Salai
+carried them to him and gave them into his own hand, and he said he
+would repay within the space of 40 days. 
+
+Memorandum. That on the same day I paid to Salai 3 gold ducats which
+he said he wanted for a pair of rose-coloured hose with their
+trimming; and there remain 9 ducats due to him--excepting that he
+owes me 20 ducats, that is 17 I lent him at Milan, and 3 at Venice. 
+
+Memorandum. That I gave Salai 21 braccia of cloth to make a shirt,
+at 10 soldi the braccio, which I gave him on the 20th day of April
+1503. 
+
+[Footnote: With regard to Vante or Attavante, the miniature painter
+(not Nanni as I formerly deciphered this name, which is difficult to
+read; see _Zeitschrift fur Bild. Kunst_, 1879, p. 155), and Vasari,
+Lives of Frate Giovanni da Fiesole, of Bartolommeo della Gatta, and
+of Gherardo, _miniatore._ He, like Leonardo, was one of the
+committee of artists who, in 1503, considered the erection and
+placing of Michel Angelo's David. The date of his death is not
+known; he was of the same age as Leonardo. Further details will be
+found in '_Notizie di Attavante miniatore, e di alcuni suoi lavori_'
+(Milanese's ed. of Vasari, III, 231-235).] 
+
+1526. 
+
+On the morning of San Peter's day, June 29th, 1504, I took io
+ducats, of which I gave one to Tommaso my servant to spend. 
+
+On Monday morning 1 florin to Salai to spend on the house. 
+
+On Thursday I took 1 florin for my own spending. 
+
+Wednesday evening 1 florin to Tommaso, before supper. 
+
+Saturday morning 1 florin to Tommaso. 
+
+Monday morning 1 florin less 10 soldi. 
+
+Thursday to Salai 1 florin less 10 soldi. 
+
+For a jerkin, 1 florin. 
+
+For a jerkin And a cap 2 florins. 
+
+To the hosier, 1 florin. 
+
+To Salai, 1 florin. 
+
+Friday morning, the 19th of July, 1 florin, less 6 soldi. I have 7
+fl. left, and 22 in the box. 
+
+Tuesday, the 23th day of July, 1 florin to Tommaso. 
+
+Monday morning, to Tommaso 1 florin. 
+
+[Wednesday morning 1 fl. to Tommaso.] 
+
+Thursday morning the 1st day of August 1 fl. to Tommaso. 
+
+Sunday, the 4th of August, 1 florin. 
+
+Friday, the 9th day of August 1504, I took 10 ducats out of the box.
+
+1527. 
+
+1504. On the 9th day of August, 1504, I took 10 florins in gold[2]
+... [3] on Friday the 9th day of August fifteen grossoni that is fl.
+5 S 5 ... given to me 1 florin in gold on the 12th day of August [4]
+... on the 14th of August, 32 grossoni to Tommaso. On the 18th of
+the same 5 grossoni to Salai. On the 8th of September 6 grossoni to
+the workman to spend; that is on the day of our Lady's birth. On the
+16th day of September I gave 4 grossoni to Tommaso: on a Sunday. 
+
+[Footnote: In the original, the passage given as No. 1463 is written
+between lines 2 and 3 of this text, and it is possible that the
+entries in lines 3 and 4 refer to the payments of Jacopo Tedesco,
+who is there mentioned. The first words of these lines are very
+illegible.] 
+
+[Footnote 7: _Al fattore._ Il Fattore, was, as is well known, the
+nick-name of Giovanni Franceso Penni, born in Florence in 1486, and
+subsequently a pupil of Raphael's. According to Vasari he was known
+by it even as a boy. Whether he is spoken of in this passage, or
+whether the word Fattore should be translated literally, I will not
+undertake to decide. The latter seems to me more probably right.] 
+
+1528. 
+
+On the day of October, 1508, I had 30 scudi; 13 I lent to Salai to
+make up his sister's dowry, and 17 I have left. 
+
+1529. 
+
+Memorandum of the money I have had from the King as my salary from
+July 1508 till April next 1509. First 100 scudi, then 70, then 50,
+then 20 and then 200 florins at 48 soldi the florin. [Footnote:
+Compare No. 1350 and 1561.] 
+
+1530. 
+
+Saturday the 2nd day of March I had from Santa Maria Novella 5 gold
+ducats, leaving 450. Of these I gave 2 the same day to Salai, who
+had lent them to me. [Footnote: See '_Conto corrente di Leonardo da
+Vinci con lo Spedale di S. Maria Nuova_' [1500 a 1507, 1513-1520]
+published by G. UZIELLI, _Ricerche intorno a Leonardo da Vinci,
+Firenze,_ 1872, pp. 164, 165, 218 and 219. The date here given by
+Leonardo does not occur in either of the accounts.] 
+
+1531. 
+
+Thursday, the eighth day of June, I took 17 grossoni, 18 soldi; on
+the same Thursday in the morning I gave to Salai 22 soldi for the
+expenses. 
+
+1532. 
+
+To Salai 4 grossoni, and for one braccio of velvet, 5 lire, and 1/2;
+viz. 10 soldi for loops of silver; Salai 14 soldi for binding, the
+making of the cloak 25 soldi. [Footnote: Compare No. 1523.] 
+
+1533. 
+
+I gave to Salai 93 lire 6 soldi, of which I have had 67 lire and
+there remain 26 lire 6 soldi. 
+
+1534. 
+
+To Salai S 42
+
+2 dozen of laces S 8
+
+for papers S 3 d 8
+
+a pair of shoes S 14
+
+for velvet S 14
+
+a sword and knife S 21
+
+to the barber S 11
+
+to Paolo for a ... S 20
+
+For having his fortune told S 6
+
+1535.
+
+On Friday morning,
+one florin to Salai to
+spend; 3 soldi received
+
+bread S.. d
+
+wine S.. d
+
+grapes S.. d
+
+mushrooms S.. d
+
+fruit S.. d
+
+[Footnote 6: Compare Nos. 1545, l. 4 and 5,
+with similar entries for horse's fodder.]
+bran S.. d
+
+at the barber's S.. d
+
+for shoes S.. d
+
+1536.
+
+On Thursday morning one florin.
+
+1537.
+
+On Saint Ambrose's day from the morning to Thursday 36 soldi.
+
+1538.
+
+The moneys I have had from Ser Matteo;
+first 20 grassoni, then on 13 occasions 3 f.
+and then 61 grassoni, then 3, and then 33;
+46 soldi 12 grossoni.
+
+1539.
+
+For paper S 18
+
+for canvas S 30
+
+for paper S 10 d 19
+
+Total S 73
+
+1540.
+
+20 pounds of German
+blue, at one ducat the pound lire 80 S  d
+
+60 pounds of white, S..
+the pound lire 15 S  d
+
+1 1/2 pound at 4 S the pound lire 6 S  d
+
+2 pounds of cinnabar at 
+S 18 the pound lire 1 S 16 d
+
+6 pounds of green at S 12
+the pound lire 3 S 12 d
+
+4 pounds of yellow at S 12
+the pound lire 2 S 8 d
+
+1 pound of minium at S 8
+the pound lire 0 S 8 d
+
+4 pounds of ... at S 2
+the pound lire 0 S 8 d
+
+6 pounds of ochre at S 1
+the pound lire 0 S 6 d
+
+black ... at S 2 the pound
+for 20 lire 2 S 0 d
+
+wax to make the stars
+29 pounds at S--the pound lire 0 S 0 d
+
+40 pounds of oil for painting
+at 5 soldi the pound lire 10 S 0 d
+
+Altogether lire 120 d 18
+without the gold. 18
+
+tin for putting on the gold 120 18
+
+58
+
+1541.
+
+Two large hatchets and one very small one, 8 brass spoons, 4
+tablecloths, 2 towels, 15 small napkins, 2 coarse napkins, 2 coarse
+cloths, 2 wrappers, 3 pairs of sheets, 2 pairs new and 1 old.
+
+1542.
+
+Bed 7 0 S
+
+ring 7 0
+
+crockery 2 5
+
+gardener 1 2
+
+..... 2 8
+
+porters 2 1
+
+glasses 1
+
+fuel 3 6
+
+a lock 1
+
+Section title: Miscellaneous Notes.
+
+1543.
+
+New tin-ware          3 pairs of sheets
+6 small bowls,          each of 4 breadths,
+6 bowls,              2 small sheets,
+2 large dishes,       2 tablecloths and 1/2,
+2 dishes medium size, 16 coarse cloths,
+2 small ones          8 shirts,
+  Old tin-ware        9 napkins,
+3 small bowls,        2 hand-towels.
+4 bowls,
+3 square stones,
+2 small bowls,
+1 large bowl,
+1 platter,
+4 candlesticks,
+1 small candlestick.
+
+1544.
+
+Hose        S 40
+straw       S 60
+wheat       S 42
+wine        S 54
+bread       S 18
+meat        S 54
+eggs        S  5
+salad       S  3
+the Barber  S 2 d 6
+horses      S 1
+
+1545.
+
+   Sunday
+
+meat        S 10 d
+wine        S 12 d
+bran        S  5 d 4
+herbs       S 10 d
+buttermilk  S  4 d 4
+melon       S  3 d
+bread       S  3 d 1
+____________________
+   Monday   S  9   8
+____________________
+.....       S  6 d
+wine        S 12 d
+bran        S  9 d 4
+buttermilk  S  4 d 4
+herbs       S  8 d 
+____________________
+     Tuesday S    d
+_____________________
+meat         S  0 d 8
+wine         S 12 d
+bread        S  3 d
+meal         S  5 d 4
+herbs        S  8 d
+_____________________
+    Wednesday
+_____________________
+wine         S  5 d
+melon        S  2 d
+meal         S  5 d 4
+vegetables   S  8
+
+Notes by unknown persons among the MSS. (1546-1565). 
+
+1546. 
+
+Miseracione divina sacro sancte Romane ecclesie tituli n cardinalis
+2wulgariter nuncupatus venerabili religioso fratri Johanni Mair
+d'Nustorf 3ordinis praedicatorum provintie teutonie (?) conventus
+Wiennensis capellano 4 nostro commensali salutem in dno sempiternam
+Religione zelus rite ac in [ferite?] 5honestas aliarumque
+laudabilium probitatis et virtutum merita quibus apud nos fide
+6digno commendationis testimonio Magistri videlicet ordinis felicis
+recordacionis Leonardi de 7Mansuetis de Perusio sigillo suo ... us
+dans tibi ad ... opera virtutum comen(salem)? 8 locum et tempus
+success(ores) cujus similiter officium ministratus qui
+praedecessoris sui donum (?) 9confirmavit et de novo dedit
+aliorumque plurima [laudatis] qui opera tua laudant 10nos inducunt
+ut tibi (?) reddamus ad gratiam liberalem hinc est quod nos
+cupientes. [Footnote: The meaning of this document, which is very
+difficult to decipher, and is written in unintelligible Latin, is,
+that Leonardo di Mansuetis recommends the Rev. Mair of Nusdorf,
+chaplain at Vienna, to some third person; and says also that
+something, which had to be proved, has been proved. The rest of the
+passages on the same leaf are undoubtedly in Leonardo's hand. (Nos.
+483, 661, 519, 578, 392, 582, 887 and 894.)] 
+
+1547. 
+
+Johannes Antonius di Johannes Ambrosius de Bolate. He who lets time
+pass and does not grow in virtue, the more I think of it the more I
+grieve. No man has it in him to be virtuous who will give up honour
+for gain. Good fortune is valueless to him who knows not toil. The
+man becomes happy who follows Christ. There is no perfect gift
+without great suffering. Our glories and our triumphs pass away.
+Foul lust, and dreams, and luxury, and sloth have banished every
+virtue from the world; so that our Nature, wandering and perplexed,
+has almost lost the old and better track. Henceforth it were well to
+rouse thyself from sleep. The master said that lying in down will
+not bring thee to Fame; nor staying beneath the quilts. He who,
+without Fame, burns his life to waste, leaves no more vestige of
+himself on earth than wind-blown smoke, or the foam upon the sea.
+[Footnote: From the last sentence we may infer that this text is by
+the hand of a pupil of Leonardo's.-- On the same sheet are the notes
+Nos.1175 and 715 in Leonardo's own handwriting.] 
+
+1548.
+
+On the morning of Santo Zanobio the
+29th of May 1504, I had from Lionardo Vinci
+15 gold ducats and began to spend them.
+to Mona Margarita   S  62 d 4
+to remake the ring  S  19 d 8
+clothes             S  13
+good beef           S   4
+eggs                S   6
+debt at the bank    S   7
+velvet              S  12
+wine                S  6 d 4
+meat                S  4
+mulberries          S  2 d 4
+mushrooms           S  3 d 4
+salad               S  1
+fruit               S  1 d 4
+candles             S  3
+...                 S  1
+flour               S  2
+
+    Sunday           198   8
+
+bread               S  6
+wine                S  9 d 4
+meat                S  7
+soup                S  2
+fruit               S  3 d 4
+candles             S  3 d  
+
+Monday                31
+
+bread               S  6 d 4
+meat                S 10 d 8
+wine                S  9 d 4
+fruit               S  4
+soup                S  1 d 8
+
+                      32
+
+1549.
+
+Tuesday
+
+bread              S  6
+meat               S 11
+wine               S  7
+fruit              S  9
+soup               S  2
+salad              S  1
+
+[Footnote 1548 and 1549: On the same sheet is the text No. 1015 in Leonardo's own handwriting.]
+
+1550.
+
+To Monna Margarita          S  5
+to Tomaso                   S 14
+to Monna Margarita     d  5 S  2
+on the day of San Zanobi
+left ... after
+payment                d 13 S  2 d 4
+of Monna Margarita 
+
+     altogether        d 14 S 5 d 4
+
+1551.
+
+On Monday, the l3th of February, I lent lire S 7 to Lionardo to
+spend, Friday d 7.
+
+[Footnote: This note is followed by an account very like the one
+given as No. 1549.]
+
+1552.
+
+Stephano Chigi, Canonico ..., servant of the honorable Count Grimani
+at S. Apostoli. 
+
+[Footnote: Compare No. 674, 21-23.] 
+
+1553. 
+
+Having become anxious ... Bernardo di Simone, Silvestro di Stefano,
+Bernardo di Jacopo, Francesco di Matteo Bonciani, Antonio di
+Giovanni Ruberti, Antonio da Pistoia.... Antonio; He who has time
+and waits for time, will lose his friends and his money. 
+
+1554. 
+
+Reverend Maestro, Domino Giovanni, I spoke to Maestro Zacaria as a
+brother about this business, and I made him satisfied with the
+arrangement that I had wished; that is, as regards the commission
+that I had from the parties and I say that between us there is no
+need to pay money down, as regard the pictures of the ... 
+
+1555. 
+
+Of things seen through a mist that which is nearest its farthest
+limit will be least visible, and all the more so as they are more
+remote. 
+
+1556. 
+
+Theodoricus Rex Semper Augustus. 
+
+1557. 
+
+Either you say Hesperia alone, and it will mean Italy, or you add
+ultima, and it will mean Spain. Umbria, part of Tuscany. 
+
+[Footnote: The notes in Greek, Nos. 1557, 1558 and 1562 stand in
+close connection with each other, but the meaning of some words is
+very doubtful, and a translation is thus rendered impossible.] 
+
+1558. 
+
+[Footnote: Greek Characters] 
+
+1559. 
+
+Canonica of ... on the 5th of July 1507; my dearly beloved mother,
+sisters and cousin I herewith inform you that thanks to God I am ...
+about the sword which I ... bring it to Maso at the piazza ... and I
+will settle the business of Piero so that ... 
+
+[Footnote: AMORETTI, _Mem. Stor. XXIV_, quotes the first three lines
+of this letter as by Leonardo. The character of the writing however
+does not favour this hypothesis, and still less the contents. I
+should regard it rather a rough draft of a letter by young Melzi. I
+have not succeeded in deciphering completely the 13 lines of this
+text. Amoretti reads at the beginning _Canonica di Vaprio_, but
+_Vaprio_ seems to me a very doubtful reading.] 
+
+1560. 
+
+  Ut bene respondet Naturae ars docta! dedisset
+    Vincius, ut tribuit cetera - sic animam -
+  Noluit ut similis magis haec foret: altera sic est:
+    Possidet illius Maurus amans animam.
+
+[Footnote: These three epigrams on the portrait of Lucrezia
+Crivelli, a picture by Leonardo which must have been lost at a very
+early date, seem to have been dedicated to Leonardo by the poet.
+Leonardo used the reverse of the sheet for notes on geometry.] 
+
+Hujus quam cernis nomen Lucretia, Divi Omnia cui larga contribuere
+manu. Rara huic forma data est; pinxit Leonardos, amavit Maurus,
+pictorum primus hic, ille ducum. 
+
+Naturam, ac superas hac laesit imagine Divas Pictor: tantum hominis
+posse manum haec doluit, Illae longa dari tam magnae tempera formae,
+Quae spatio fuerat deperitura brevi. 
+
+1561. 
+
+Egidius Romanus on the formation of the human body in the mother's
+womb [Footnote 1: _Liber magistri Egidii de pulsibus matrice
+conipositus (cum commentario Gentilis de Fulgineo)_ published in
+1484 at Padova, in 1494 and in 1514 at Venice, and in 1505 at
+Lyons.]. 
+
+[Footnote 2:2. This text appears to be in a handwriting different
+from that in the note, l. 1. Here the reading is not so simple as
+AMORETTI gave it, _Mem. Star. XXV: A Monsieur Lyonard Peintre du Roy
+pour Amboyse_. He says too that this address is of the year 1509,
+and Mr. Ravaisson remarks: "_De cette suscription il semble qu'on
+peut inferer que Leonard etait alors en France, a la cour de Louis
+XII ... Pour conclure je crois qu'il n'est pas prouve que Leonard de
+Vinci n'ait pas fait un voyage de quelques mois en France sous Louis
+XII, entre le printemps de 1509 et l'automne de_ 1510."--I must
+confess that I myself have not succeeded in deciphering completely
+this French writing of which two words remain to me doubtful. But so
+much seems to be quite evident that this is not an address of a
+letter at all, but a certificate or note. _Amboise_[l. 6] I believe
+to be the signature of Charles d'Amboise the Governor of Milan. If
+this explanation is the right one, it can be easily explained by the
+contents of Nos. 1350 and 1529. The note, line 1, was perhaps added
+later by another hand; and Leonardo himself wrote afterwards on the
+same sheet some geometrical explanations. I must also point out that
+the statement that this sheet belongs to the year 1509 has
+absolutely no foundation in fact. There is no clue whatever for
+giving a precise date to this note.] To Monsieur le Vinci,--the
+horses of the king's equerry.... Continue the payment to Ms.
+Lyonard, Painter to the King. 
+
+[6] Amboise. 
+
+1562. 
+
+[Footnote: Greek Characters] 
+
+1563. 
+
+Memorandum to Maestro Lionardo to have ... the state of Florence. 
+
+1564. 
+
+To remind your Excellency that Ridolfo Manini brought to Florence a
+quantity of crystal besides other stones such as are ... 
+
+1565. 
+
+XVI C. 6 de Ciuitate Dei, se Antipodes. 
+
+[Footnote: A facsimile of this note, which refers to a well known
+book by St. Augustin, is given on page 254.] 
+
+1566. 
+
+Leonardo's Will. 
+
+Be it known to all persons, present and to come that at the court of
+our Lord the King at Amboise before ourselves in person, Messer
+Leonardo da Vinci painter to the King, at present staying at the
+place known as Cloux near Amboise, duly considering the certainty of
+death and the uncertainty of its time, has acknowledged and declared
+in the said court and before us that he has made, according to the
+tenor of these presents, his testament and the declaration of his
+last will, as follows. And first he commends his soul to our Lord,
+Almighty God, and to the Glorious Virgin Mary, and to our lord Saint
+Michael, to all the blessed Angels and Saints male and female in
+Paradise. 
+
+Item. The said Testator desires to be buried within the church of
+Saint Florentin at Amboise, and that his body shall be borne thither
+by the chaplains of the church. 
+
+Item. That his body may be followed from the said place to the said
+church of Saint Florentin by the _collegium_ of the said church,
+that is to say by the rector and the prior, or by their vicars and
+chaplains of the church of Saint Denis of Amboise, also the lesser
+friars of the place, and before his body shall be carried to the
+said church this Testator desires, that in the said church of Saint
+Florentin three grand masses shall be celebrated by the deacon and
+sub-deacon and that on the day when these three high masses are
+celebrated, thirty low masses shall also be performed at Saint
+Gregoire. 
+
+Item. That in the said church of Saint Denis similar services shall
+be performed, as above. 
+
+Item. That the same shall be done in the church of the said friars
+and lesser brethren. 
+
+Item. The aforesaid Testator gives and bequeaths to Messer Francesco
+da Melzo, nobleman, of Milan, in remuneration for services and
+favours done to him in the past, each 
+
+[Footnote: See page 420.] 
+
+and all of the books the Testator is at present possessed of, and
+the instruments and portraits appertaining to his art and calling as
+a painter. 
+
+Item. The same Testator gives and bequeaths henceforth for ever to
+Battista de Vilanis his servant one half, that is the moity, of his
+garden which is outside the walls of Milan, and the other half of
+the same garden to Salai his servant; in which garden aforesaid
+Salai has built and constructed a house which shall be and remain
+henceforth in all perpetuity the property of the said Salai, his
+heirs and successors; and this is in remuneration for the good and
+kind services which the said de Vilanis and Salai, his servants have
+done him in past times until now. 
+
+Item. The said Testator gives to Maturina his waiting woman a cloak
+of good black cloth lined with fur, a ... of cloth and two ducats
+paid once only; and this likewise is in remuneration for good
+service rendered to him in past times by the said Maturina. 
+
+Item. He desires that at his funeral sixty tapers shall be carried
+which shall be borne by sixty poor men, to whom shall be given money
+for carrying them; at the discretion of the said Melzo, and these
+tapers shall be distributed among the four above mentioned churches.
+
+Item. The said Testator gives to each of the said churches ten lbs.
+of wax in thick tapers, which shall be placed in the said churches
+to be used on the day when those said services are celebrated. 
+
+Item. That alms shall be given to the poor of the Hotel-Dieu, to the
+poor of Saint Lazare d'Amboise and, to that end, there shall be
+given and paid to the treasurers of that same fraternity the sum and
+amount of seventy soldi of Tours. 
+
+Item. The said Testator gives and bequeaths to the said Messer
+Francesco Melzo, being present and agreeing, the remainder of his
+pension and the sums of money which are owing to him from the past
+time till the day of his death by the receiver or treasurer-general
+M. Johan Sapin, and each and every sum of money that he has already
+received from the aforesaid Sapin of his said pension, and in case
+he should die before the said Melzo and not otherwise; which moneys
+are at present in the possession of the said Testator in the said
+place called Cloux, as he says. And he likewise gives and bequeaths
+to the said Melzo all and each of his clothes which he at present
+possesses at the said place of Cloux, and all in remuneration for
+the good and kind services done by him in past times till now, as
+well as in payment for the trouble and annoyance he may incur with
+regard to the execution of this present testament, which however,
+shall all be at the expense of the said Testator. 
+
+And he orders and desires that the sum of four hundred scudi del
+Sole, which he has deposited in the hands of the treasurer of Santa
+Maria Nuova in the city of Florence, may be given to his brothers
+now living in Florence with all the interest and usufruct that may
+have accrued up to the present time, and be due from the aforesaid
+treasurer to the aforesaid Testator on account of the said four
+hundred crowns, since they were given and consigned by the Testator
+to the said treasurers. 
+
+Item. He desires and orders that the said Messer Francesco de Melzo
+shall be and remain the sole and only executor of the said will of
+the said Testator; and that the said testament shall be executed in
+its full and complete meaning and according to that which is here
+narrated and said, to have, hold, keep and observe, the said Messer
+Leonardo da Vinci, constituted Testator, has obliged and obliges by
+these presents the said his heirs and successors with all his goods
+moveable and immoveable present and to come, and has renounced and
+expressly renounces by these presents all and each of the things
+which to that are contrary. Given at the said place of Cloux in the
+presence of Magister Spirito Fieri vicar, of the church of Saint
+Denis at Amboise, of M. Guglielmo Croysant priest and chaplain, of
+Magister Cipriane Fulchin, Brother Francesco de Corion, and of
+Francesco da Milano, a brother of the Convent of the Minorites at
+Amboise, witnesses summoned and required to that end by the
+indictment of the said court in the presence of the aforesaid M.
+Francesco de Melze who accepting and agreeing to the same has
+promised by his faith and his oath which he has administered to us
+personally and has sworn to us never to do nor say nor act in any
+way to the contrary. And it is sealed by his request with the royal
+seal apposed to legal contracts at Amboise, and in token of good
+faith. 
+
+Given on the XXIIIrd day of April MDXVIII, before Easter. 
+
+And on the XXIIIrd day of this month of April MDXVIII, in the
+presence of M. Guglielmo Borian, Royal notary in the court of the
+bailiwick of Amboise, the aforesaid M. Leonardo de Vinci gave and
+bequeathed, by his last will and testament, as aforesaid, to the
+said M. Baptista de Vilanis, being present and agreeing, the right
+of water which the King Louis XII, of pious memory lately deceased
+gave to this same de Vinci, the stream of the canal of Santo
+Cristoforo in the duchy of Milan, to belong to the said Vilanis for
+ever in such wise and manner that the said gentleman made him this
+gift in the presence of M. Francesco da Melzo, gentleman, of Milan
+and in mine. 
+
+And on the aforesaid day in the said month of April in the said year
+MDXVIII the same M. Leonardo de Vinci by his last will and testament
+gave to the aforesaid M. Baptista de Vilanis, being present and
+agreeing, each and all of the articles of furniture and utensils of
+his house at present at the said place of Cloux, in the event of the
+said de Vilanis surviving the aforesaid M. Leonardo de Vinci, in the
+presence of the said M. Francesco Melzo and of me Notary &c. Borean.
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, THE NOTEBOOKS OF LEONARDO DA
+    VINCI, COMPLETE ***
+
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diff --git a/examples/word_count/outline-of-science.txt b/examples/word_count/outline-of-science.txt
new file mode 100644
index 0000000..9db5bc6
--- /dev/null
+++ b/examples/word_count/outline-of-science.txt
@@ -0,0 +1,12761 @@
+The Project Gutenberg EBook of The Outline of Science, Vol. 1 (of 4), by
+J. Arthur Thomson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Outline of Science, Vol. 1 (of 4)
+       A Plain Story Simply Told
+
+Author: J. Arthur Thomson
+
+Release Date: January 22, 2007 [EBook #20417]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK OUTLINE OF SCIENCE ***
+
+
+
+
+Produced by Brian Janes, Leonard Johnson and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+[Illustration: THE GREAT SCARLET SOLAR PROMINENCES, WHICH ARE SUCH A
+NOTABLE FEATURE OF THE SOLAR PHENOMENA, ARE IMMENSE OUTBURSTS OF FLAMING
+HYDROGEN RISING SOMETIMES TO A HEIGHT OF 500,000 MILES]
+
+
+
+
+THE
+OUTLINE OF SCIENCE
+
+A PLAIN STORY SIMPLY TOLD
+
+
+
+EDITED BY
+J. ARTHUR THOMSON
+REGIUS PROFESSOR OF NATURAL HISTORY IN THE
+UNIVERSITY OF ABERDEEN
+
+
+
+WITH OVER 800 ILLUSTRATIONS
+OF WHICH ABOUT 40 ARE IN COLOUR
+
+
+IN FOUR VOLUMES
+
+
+
+G. P. PUTNAM'S SONS
+NEW YORK AND LONDON
+The Knickerbocker press
+
+
+
+
+Copyright, 1922
+by
+G. P. Putnam's Sons
+
+
+
+_First Printing April, 1922
+Second Printing April, 1922
+Third Printing April, 1922
+Fourth Printing April, 1922
+Fifth Printing June, 1922
+Sixth Printing June, 1922
+Seventh Printing June, 1922
+Eighth Printing June, 1922
+Ninth Printing August, 1922
+Tenth Printing September, 1922
+Eleventh Printing Sept., 1922
+Twelfth Printing, May, 1924_
+
+
+Made in the United States of America
+
+
+
+
+INTRODUCTORY NOTE
+
+By Professor J. Arthur Thomson
+
+
+Was it not the great philosopher and mathematician Leibnitz who said
+that the more knowledge advances the more it becomes possible to
+condense it into little books? Now this "Outline of Science" is
+certainly not a little book, and yet it illustrates part of the meaning
+of Leibnitz's wise saying. For here within reasonable compass there is a
+library of little books--an outline of many sciences.
+
+It will be profitable to the student in proportion to the discrimination
+with which it is used. For it is not in the least meant to be of the
+nature of an Encyclopaedia, giving condensed and comprehensive articles
+with a big full stop at the end of each. Nor is it a collection of
+"primers," beginning at the very beginning of each subject and working
+methodically onwards. That is not the idea.
+
+What then is the aim of this book? It is to give the intelligent
+student-citizen, otherwise called "the man in the street," a bunch of
+intellectual keys by which to open doors which have been hitherto shut
+to him, partly because he got no glimpse of the treasures behind the
+doors, and partly because the portals were made forbidding by an
+unnecessary display of technicalities. Laying aside conventional modes
+of treatment and seeking rather to open up the subject as one might on a
+walk with a friend, the work offers the student what might be called
+informal introductions to the various departments of knowledge. To put
+it in another way, the articles are meant to be clues which the reader
+may follow till he has left his starting point very far behind. Perhaps
+when he has gone far on his own he will not be ungrateful to the simple
+book of "instructions to travellers" which this "Outline of Science" is
+intended to be. The simple "bibliographies" appended to the various
+articles will be enough to indicate "first books." Each article is meant
+to be an invitation to an intellectual adventure, and the short lists of
+books are merely finger-posts for the beginning of the journey.
+
+We confess to being greatly encouraged by the reception that has been
+given to the English serial issue of "The Outline of Science." It has
+been very hearty--we might almost say enthusiastic. For we agree with
+Professor John Dewey, that "the future of our civilisation depends upon
+the widening spread and deepening hold of the scientific habit of mind."
+And we hope that this is what "The Outline of Science" makes for.
+Information is all to the good; interesting information is better still;
+but best of all is the education of the scientific habit of mind.
+Another modern philosopher, Professor L. T. Hobhouse, has declared that
+the evolutionist's mundane goal is "the mastery by the human mind of the
+conditions, internal as well as external, of its life and growth." Under
+the influence of this conviction "The Outline of Science" has been
+written. For life is not for science, but science for life. And even
+more than science, to our way of thinking, is the individual development
+of the scientific way of looking at things. Science is our legacy; we
+must use it if it is to be our very own.
+
+
+
+
+CONTENTS
+
+
+INTRODUCTION                                                           3
+
+I. THE ROMANCE OF THE HEAVENS                                          7
+
+  The scale of the universe--The solar system--Regions of
+    the sun--The surface of the sun--Measuring the speed of
+    light--Is the sun dying?--The planets--Venus--Is there
+    life on Mars?--Jupiter and Saturn--The moon--The
+    mountains of the moon--Meteors and comets--Millions of
+    meteorites--A great comet--The stellar universe--The
+    evolution of stars--The age of stars--The nebular
+    theory--Spiral nebulae--The birth and death of
+    stars--The shape of our universe--Astronomical
+    instruments.
+
+II. THE STORY OF EVOLUTION                                            53
+
+  The beginning of the earth--Making a home for life--The
+    first living creatures--The first plants--The first
+    animals--Beginnings of bodies--Evolution of
+    sex--Beginning of natural death--Procession of life
+    through the ages--Evolution of land animals--The flying
+    dragons--The first known bird--Evidences of
+    evolution--Factors in evolution.
+
+III. ADAPTATIONS TO ENVIRONMENT                                      113
+
+  The shore of the sea--The open sea--The deep sea--The
+    fresh waters--The dry land--The air.
+
+IV. THE STRUGGLE FOR EXISTENCE                                       135
+
+  Animal and bird mimicry and disguise--Other kinds of
+    elusiveness.
+
+V. THE ASCENT OF MAN                                                 153
+
+  Anatomical proof of man's relationship with a Simian
+    stock--Physiological proof--Embryological proof--Man's
+    pedigree--Man's arboreal apprenticeship--Tentative
+    men--Primitive men--Races of mankind--Steps in human
+    evolution--Factors in human progress.
+
+VI. EVOLUTION GOING ON                                               183
+
+  Evolutionary prospect for man--The fountain of change;
+    variability--Evolution of plants--Romance of
+    wheat--Changes in animal life--Story of the
+    salmon--Forming new habits--Experiments in locomotion;
+    new devices.
+
+VII. THE DAWN OF MIND                                                205
+
+  A caution in regard to instinct--A useful law--Senses of
+    fishes--The mind of a minnow--The mind and senses of
+    amphibians--The reptilian mind--Mind in
+    birds--Intelligence co-operating with instinct--The
+    mind of the mammal--Instinctive aptitudes--Power of
+    association--Why is there not more intelligence?--The
+    mind of monkeys--Activity for activity's
+    sake--Imitation--The mind of man--Body and mind.
+
+VIII. FOUNDATIONS OF THE UNIVERSE                                    243
+
+  The world of atoms--The energy of atoms--The discovery of
+    X-rays--The discovery of radium--The discovery of the
+    electron--The electron theory--The structure of the
+    atom--The new view of matter--Other new views--The
+    nature of electricity--Electric current--The
+    dynamo--Magnetism--Ether and waves--Light--What the
+    blue "sky" means--Light without heat--Forms of
+    energy--What heat is--Substitutes for coal--Dissipation
+    of energy--What a uniform temperature would
+    mean--Matter, ether, and Einstein--The tides--Origin of
+    the moon--The earth slowing down--The day becoming
+    longer.
+
+
+
+
+ILLUSTRATIONS
+
+
+                                                                 FACING
+                                                                 PAGE
+
+THE GREAT SCARLET SOLAR PROMINENCES, WHICH ARE SUCH A
+  NOTABLE FEATURE OF THE SOLAR PHENOMENA, ARE IMMENSE
+  OUTBURSTS OF FLAMING HYDROGEN RISING SOMETIMES TO A
+  HEIGHT OF 500,000 MILES
+                                                _Coloured Frontispiece_
+
+LAPLACE                                                           10
+
+PROFESSOR J. C. ADAMS                                             10
+    Photo: Royal Astronomical Society.
+
+PROFESSOR EDDINGTON OF CAMBRIDGE UNIVERSITY                       10
+    Photo: Elliot & Fry, Ltd.
+
+THE PLANETS, SHOWING THEIR RELATIVE DISTANCES AND
+  DIMENSIONS                                                      11
+
+THE MILKY WAY                                                     14
+    Photo: Harvard College Observatory.
+
+THE MOON ENTERING THE SHADOW CAST BY THE EARTH                    14
+
+THE GREAT NEBULA IN ANDROMEDA, MESSIER 31                         15
+    From a photograph taken at the Yerkes Observatory.
+
+DIAGRAM SHOWING THE MAIN LAYERS OF THE SUN                        18
+
+SOLAR PROMINENCES SEEN AT TOTAL SOLAR ECLIPSE, MAY 29,
+  1919. TAKEN AT SOBRAL, BRAZIL                                   18
+    Photo: Royal Observatory, Greenwich.
+
+THE VISIBLE SURFACE OF THE SUN                                    19
+    Photo: Mount Wilson Observatory.
+
+THE SUN PHOTOGRAPHED IN THE LIGHT OF GLOWING HYDROGEN             19
+    Photo: Mount Wilson Observatory.
+
+THE AURORA BOREALIS (_Coloured Illustration_)                     20
+    Reproduced from _The Forces of Nature_ (Messrs. Macmillan)
+
+THE GREAT SUN-SPOT OF JULY 17, 1905                               22
+    Yerkes Observatory.
+
+SOLAR PROMINENCES                                                 22
+    From photographs taken at the Yerkes Observatory.
+
+MARS, OCTOBER 5, 1909                                             23
+    Photo: Mount Wilson Observatory.
+
+JUPITER                                                           23
+
+SATURN, NOVEMBER 19, 1911                                         23
+    Photo: Professor E. E. Barnard, Yerkes Observatory.
+
+THE SPECTROSCOPE, AN INSTRUMENT FOR ANALYSING LIGHT; IT
+  PROVIDES MEANS FOR IDENTIFYING SUBSTANCES (_Coloured
+  Illustration_)                                                  24
+
+THE MOON                                                          28
+
+MARS                                                              29
+    Drawings by Professor Percival Lowell.
+
+THE MOON, AT NINE AND THREE QUARTER DAYS                          29
+
+A MAP OF THE CHIEF PLAINS AND CRATERS OF THE MOON                 32
+
+A DIAGRAM OF A STREAM OF METEORS SHOWING THE EARTH PASSING
+  THROUGH THEM                                                    32
+
+COMET, SEPTEMBER 29, 1908                                         33
+    Photo: Royal Observatory, Greenwich.
+
+COMET, OCTOBER 3, 1908                                            33
+    Photo: Royal Observatory, Greenwich.
+
+TYPICAL SPECTRA                                                   36
+    Photo: Harvard College Observatory.
+
+A NEBULAR REGION SOUTH OF ZETA ORIONIS                            37
+    Photo: Mount Wilson Observatory.
+
+STAR CLUSTER IN HERCULES                                          37
+    Photo: Astrophysical Observatory, Victoria, British Columbia.
+
+THE GREAT NEBULA IN ORION                                         40
+    Photo: Yerkes Observatory.
+
+GIANT SPIRAL NEBULA, MARCH 23, 1914                               41
+    Photo: Lick Observatory.
+
+A SPIRAL NEBULA SEEN EDGE-ON                                      44
+    Photo: Mount Wilson Observatory.
+
+100-INCH TELESCOPE, MOUNT WILSON                                  45
+    Photo: H. J. Shepstone.
+
+THE YERKES 40-INCH REFRACTOR                                      48
+
+THE DOUBLE-SLIDE PLATE-HOLDER ON YERKES 40-INCH REFRACTING
+  TELESCOPE                                                       49
+    Photo: H. J. Shepstone.
+
+MODERN DIRECT-READING SPECTROSCOPE                                49
+    By A. Hilger, Ltd.
+
+CHARLES DARWIN                                                    56
+    Photo: Rischgitz Collection.
+
+LORD KELVIN                                                       56
+    Photo: Rischgitz Collection.
+
+A GIANT SPIRAL NEBULA                                             57
+    Photo: Lick Observatory.
+
+METEORITE WHICH FELL NEAR SCARBOROUGH AND IS NOW TO BE SEEN
+  IN THE NATURAL HISTORY MUSEUM                                   57
+    Photo: Natural History Museum.
+
+A LIMESTONE CANYON                                                60
+    Reproduced from the Smithsonian Report, 1915.
+
+GEOLOGICAL TREE OF ANIMALS                                        61
+
+DIAGRAM OF AMOEBA                                                 61
+
+A PIECE OF A REEF-BUILDING CORAL, BUILT UP BY A LARGE
+  COLONY OF SMALL SEA-ANEMONE-LIKE POLYPS, EACH OF WHICH
+  FORMS FROM THE SALTS OF THE SEA A SKELETON OR SHELL OF
+  LIME                                                            64
+    From the Smithsonian Report, 1917.
+
+A GROUP OF CHALK-FORMING ANIMALS, OR FORAMINIFERA, EACH
+  ABOUT THE SIZE OF A VERY SMALL PIN'S HEAD                       65
+    Photo: J. J. Ward, F.E.S.
+
+A COMMON FORAMINIFER (POLYSTOMELLA) SHOWING THE SHELL IN
+  THE CENTRE AND THE OUTFLOWING NETWORK OF LIVING MATTER,
+  ALONG WHICH GRANULES ARE CONTINUALLY TRAVELLING, AND BY
+  WHICH FOOD PARTICLES ARE ENTANGLED AND DRAWN IN                 65
+    Reproduced by permission of the Natural History Museum
+    (after Max Schultze).
+
+A PLANT-LIKE ANIMAL, OR ZOOPHYTE, CALLED OBELIA                   68
+    Photo: J. J. Ward, F.E.S.
+
+TRYPANOSOMA GAMBIENSE                                             69
+    Reproduced by permission of _The Quart. Journ. Mic. Sci._
+
+VOLVOX                                                            69
+
+PROTEROSPONGIA                                                    69
+
+GREEN HYDRA                                                       72
+    Photo: J. J. Ward, F.E.S.
+
+DIAGRAM ILLUSTRATING THE BEGINNING OF INDIVIDUAL LIFE             72
+
+EARTHWORM                                                         72
+    Photo: J. J. Ward, F.E.S.
+
+GLASS MODEL OF A SEA-ANEMONE                                      72
+    Reproduced from the Smithsonian Report, 1917.
+
+THIS DRAWING SHOWS THE EVOLUTION OF THE BRAIN FROM FISH TO
+  MAN                                                             73
+
+OKAPI AND GIRAFFE (_Coloured Illustration_)                       74
+
+DIAGRAM OF A SIMPLE REFLEX ARC IN A BACKBONELESS ANIMAL
+  LIKE AN EARTHWORM                                               76
+
+THE YUCCA MOTH                                                    76
+    Photo: British Museum (Natural History).
+
+INCLINED PLANE OF ANIMAL BEHAVIOUR                                76
+
+VENUS' FLY-TRAP                                                   77
+    Photo: J. J. Ward, F.E.S.
+
+A SPIDER SUNNING HER EGGS                                         77
+    Reproduced by permission from _The Wonders of Instinct_ by
+    J. H. Fabre.
+
+THE HOATZIN INHABITS BRITISH GUIANA                               82
+
+PERIPATUS                                                         83
+    Photograph, from the British Museum (Natural History), of a
+    drawing by Mr. E. Wilson.
+
+ROCK KANGAROO CARRYING ITS YOUNG IN A POUCH                       83
+    Photo: W. S. Berridge, F.Z.S.
+
+PROFESSOR THOMAS HENRY HUXLEY (1825-95)                           86
+    Photo: Rischgitz.
+
+BARON CUVIER, 1769-1832                                           86
+
+AN ILLUSTRATION SHOWING VARIOUS METHODS OF FLYING AND
+  SWOOPING                                                        87
+
+ANIMALS OF THE CAMBRIAN PERIOD                                    90
+    From Knipe's _Nebula to Man_.
+
+A TRILOBITE                                                       90
+    Photo: J. J. Ward, F.E.S.
+
+THE GAMBIAN MUD-FISH, PROTOPTERUS                                 91
+    Photo: British Museum (Natural History).
+
+THE ARCHAEOPTERYX                                                  91
+    After William Leche of Stockholm.
+
+WING OF A BIRD, SHOWING THE ARRANGEMENT OF THE FEATHERS           91
+
+PICTORIAL REPRESENTATION OF STRATA OF THE EARTH'S CRUST,
+  WITH SUGGESTIONS OF CHARACTERISTIC FOSSILS (_Coloured
+  Illustration_)                                                  92
+
+FOSSIL OF A PTERODACTYL OR EXTINCT FLYING DRAGON                  94
+    Photo: British Museum (Natural History).
+
+PARIASAURUS: AN EXTINCT VEGETARIAN TRIASSIC REPTILE               94
+    From Knipe's _Nebula to Man_.
+
+TRICERATOPS: A HUGE EXTINCT REPTILE                               95
+    From Knipe's _Nebula to Man_.
+
+THE DUCKMOLE OR DUCK-BILLED PLATYPUS OF AUSTRALIA                 95
+    Photo: _Daily Mail_.
+
+SKELETON OF AN EXTINCT FLIGHTLESS TOOTHED BIRD, HESPERORNIS      100
+    After Marsh.
+
+SIX STAGES IN THE EVOLUTION OF THE HORSE, SHOWING GRADUAL
+INCREASE IN SIZE                                                 101
+    After Lull and Matthew.
+
+DIAGRAM SHOWING SEVEN STAGES IN THE EVOLUTION OF THE
+  FORE-LIMBS AND HIND-LIMBS OF THE ANCESTORS OF THE MODERN
+  HORSE, BEGINNING WITH THE EARLIEST KNOWN PREDECESSORS OF
+  THE HORSE AND CULMINATING WITH THE HORSE OF TO-DAY             104
+  After Marsh and Lull.
+
+WHAT IS MEANT BY HOMOLOGY? ESSENTIAL SIMILARITY OF
+  ARCHITECTURE, THOUGH THE APPEARANCES MAY BE VERY
+  DIFFERENT                                                      105
+
+AN EIGHT-ARMED CUTTLEFISH OR OCTOPUS ATTACKING A SMALL CRAB      116
+
+A COMMON STARFISH, WHICH HAS LOST THREE ARMS AND IS
+  REGROWING THEM                                                 116
+    After Professor W. C. McIntosh.
+
+THE PAPER NAUTILUS (ARGONAUTA), AN ANIMAL OF THE OPEN SEA        117
+  Photo: J. J. Ward, F.E.S.
+
+A PHOTOGRAPH SHOWING A STARFISH (_Asterias Forreri_) WHICH
+  HAS CAPTURED A LARGE FISH                                      117
+
+TEN-ARMED CUTTLEFISH OR SQUID IN THE ACT OF CAPTURING A FISH     118
+
+GREENLAND WHALE                                                  118
+
+MINUTE TRANSPARENT EARLY STAGE OF A SEA-CUCUMBER                 119
+
+AN INTRICATE COLONY OF OPEN-SEA ANIMALS (_Physophora
+  Hydrostatica_) RELATED TO THE PORTUGUESE MAN-OF-WAR            119
+    Photo: British Museum (Natural History).
+
+A SCENE IN THE GREAT DEPTHS                                      119
+
+SEA-HORSE IN SARGASSO WEED                                       120
+
+LARGE MARINE LAMPREYS (_Petromyzon Marinus_)                     120
+
+THE DEEP-SEA FISH _Chiasmodon Niger_                             120
+
+DEEP-SEA FISHES                                                  120
+
+FLINTY SKELETON OF VENUS' FLOWER BASKET (_Euplectella_), A
+  JAPANESE DEEP-SEA SPONGE                                       121
+
+EGG DEPOSITORY OF _Semotilus Atromaculatus_                      121
+
+THE BITTERLING (_Rhodeus Amarus_)                                124
+
+WOOLLY OPOSSUM CARRYING HER FAMILY                               124
+    Photo: W. S. Berridge.
+
+SURINAM TOAD (_Pipa Americana_) WITH YOUNG ONES HATCHING
+  OUT OF LITTLE POCKETS ON HER BACK                              125
+
+STORM PETREL OR MOTHER CAREY'S CHICKEN (_Procellaria
+  Pelagica_)                                                     125
+
+ALBATROSS: A CHARACTERISTIC PELAGIC BIRD OF THE SOUTHERN
+  SEA                                                            128
+
+THE PRAYING MANTIS (_Mantis Religiosa_)                          138
+
+PROTECTIVE COLORATION: A WINTER SCENE IN NORTH SCANDINAVIA       138
+
+THE VARIABLE MONITOR (_Varanus_)                                 139
+    Photo: A. A. White.
+
+BANDED KRAIT: A VERY POISONOUS SNAKE WITH ALTERNATING
+  YELLOW AND DARK BANDS                                          140
+  Photo: W. S. Berridge, F.Z.S.
+
+THE WARTY CHAMELEON                                              140
+    Photos: W. S. Berridge, F.Z.S.
+
+SEASONAL COLOUR-CHANGE: SUMMER SCENE IN NORTH SCANDINAVIA        141
+
+PROTECTIVE RESEMBLANCE                                           142
+    Photo: J. J. Ward, F.E.S.
+
+WHEN ONLY A FEW DAYS OLD, YOUNG BITTERN BEGIN TO STRIKE THE
+  SAME ATTITUDE AS THEIR PARENTS, THRUSTING THEIR BILLS
+  UPWARDS AND DRAWING THEIR BODIES UP SO THAT THEY RESEMBLE
+  A BUNCH OF REEDS                                               143
+
+PROTECTIVE COLORATION OR CAMOUFLAGING, GIVING ANIMALS A
+  GARMENT OF INVISIBILITY (_Coloured Illustration_)              144
+
+ANOTHER EXAMPLE OF PROTECTIVE COLORATION (_Coloured
+  Illustration_)                                                 144
+
+DEAD-LEAF BUTTERFLY (_Kallima Inachis_) FROM INDIA               146
+
+PROTECTIVE RESEMBLANCE BETWEEN A SMALL SPIDER (_to the
+  left_) AND AN ANT (_to the right_)                             146
+
+THE WASP BEETLE, WHICH, WHEN MOVING AMONGST THE BRANCHES,
+  GIVES A WASP-LIKE IMPRESSION                                   147
+    Photo: J. J. Ward, F.E.S.
+
+HERMIT-CRAB WITH PARTNER SEA-ANEMONES                            147
+
+CUCKOO-SPIT                                                      147
+    Photo: G. P. Duffus.
+
+CHIMPANZEE, SITTING                                              156
+    Photo: New York Zoological Park.
+
+CHIMPANZEE, ILLUSTRATING WALKING POWERS                          156
+    Photo: New York Zoological Park.
+
+SURFACE VIEW OF THE BRAINS OF MAN AND CHIMPANZEE                 157
+
+SIDE-VIEW OF CHIMPANZEE'S HEAD                                   157
+    Photo: New York Zoological Park.
+
+PROFILE VIEW OF HEAD OF PITHECANTHROPUS, THE JAVA APE-MAN,
+  RECONSTRUCTED FROM THE SKULL-CAP                               157
+    After a model by J. H. McGregor.
+
+THE FLIPPER OF A WHALE AND THE HAND OF A MAN                     157
+
+THE GORILLA, INHABITING THE FOREST TRACT OF THE GABOON IN
+  AFRICA (_Coloured Illustration_)                               158
+
+"DARWIN'S POINT" ON HUMAN EAR                                    160
+
+PROFESSOR SIR ARTHUR KEITH, M.D., LL.D., F.R.S.                  161
+    Photo: J. Russell & Sons.
+
+SKELETONS OF THE GIBBON, ORANG, CHIMPANZEE, GORILLA, MAN         161
+    After T. H. Huxley (by permission of Messrs. Macmillan).
+
+SIDE-VIEW OF SKULL OF MAN AND GORILLA                            164
+
+THE SKULL AND BRAIN-CASE OF PITHECANTHROPUS, THE JAVA
+  APE-MAN, AS RESTORED BY J. H. MCGREGOR FROM THE SCANTY
+  REMAINS                                                        164
+
+SUGGESTED GENEALOGICAL TREE OF MAN AND ANTHROPOID APES           165
+
+THE GIBBON IS LOWER THAN THE OTHER APES AS REGARDS ITS
+  SKULL AND DENTITION, BUT IT IS HIGHLY SPECIALIZED IN THE
+  ADAPTATION OF ITS LIMBS TO ARBOREAL LIFE                       166
+    Photo: New York Zoological Park.
+
+THE ORANG HAS A HIGH ROUNDED SKULL AND A LONG FACE               166
+    Photo: New York Zoological Park.
+
+COMPARISONS OF THE SKELETONS OF HORSE AND MAN                    167
+    Photo: British Museum (Natural History).
+
+A RECONSTRUCTION OF THE JAVA MAN (_Coloured Illustration_)       168
+
+PROFILE VIEW OF THE HEAD OF PITHECANTHROPUS, THE JAVA
+  APE-MAN--AN EARLY OFFSHOOT FROM THE MAIN LINE OF MAN'S
+  ASCENT                                                         170
+    After a model by J. H. McGregor.
+
+PILTDOWN SKULL                                                   170
+    From the reconstruction by J. H. McGregor.
+
+SAND-PIT AT MAUER, NEAR HEIDELBERG: DISCOVERY SITE OF THE
+  JAW OF HEIDELBERG MAN                                          171
+    Reproduced by permission from Osborn's
+      _Men of the Old Stone Age_.
+
+PAINTINGS ON THE ROOF OF THE ALTAMIRA CAVE IN NORTHERN
+  SPAIN, SHOWING A BISON AND A GALLOPING BOAR (_Coloured
+  Illustration_)                                                 172
+
+PILTDOWN MAN, PRECEDING NEANDERTHAL MAN, PERHAPS 100,000 TO
+  150,000 YEARS AGO                                              174
+    After the restoration modelled by J. H. McGregor.
+
+THE NEANDERTHAL MAN OF LA CHAPELLE-AUX-SAINTS                    175
+    After the restoration modelled by J. H. McGregor.
+
+RESTORATION BY A. FORESTIER OF THE RHODESIAN MAN WHOSE
+  SKULL WAS DISCOVERED IN 1921                               176-177
+
+SIDE VIEW OF A PREHISTORIC HUMAN SKULL DISCOVERED IN 1921
+  IN BROKEN HILL CAVE, NORTHERN RHODESIA                         178
+    Photo: British Museum (Natural History).
+
+A CROMAGNON MAN OR CROMAGNARD, REPRESENTATIVE OF A STRONG
+  ARTISTIC RACE LIVING IN THE SOUTH OF FRANCE IN THE UPPER
+  PLEISTOCENE, PERHAPS 25,000 YEARS AGO                          178
+  After the restoration modelled by J. H. McGregor.
+
+PHOTOGRAPH SHOWING A NARROW PASSAGE IN THE CAVERN OF
+  FONT-DE-GAUME ON THE BEUNE                                     179
+  Reproduced by permission from Osborn's
+    _Men of the Old Stone Age_.
+
+A MAMMOTH DRAWN ON THE WALL OF THE FONT-DE-GAUME CAVERN          179
+
+A GRAZING BISON, DELICATELY AND CAREFULLY DRAWN, ENGRAVED
+  ON A WALL OF THE ALTAMIRA CAVE, NORTHERN SPAIN                 179
+
+PHOTOGRAPH OF A MEDIAN SECTION THROUGH THE SHELL OF THE
+  PEARLY NAUTILUS                                                186
+
+PHOTOGRAPH OF THE ENTIRE SHELL OF THE PEARLY NAUTILUS            186
+
+NAUTILUS                                                         186
+
+SHOEBILL                                                         187
+    Photo: W. S. Berridge.
+
+THE WALKING-FISH OR MUD-SKIPPER (_Periophthalmus_), COMMON
+  AT THE MOUTHS OF RIVERS IN TROPICAL AFRICA, ASIA, AND
+  NORTH-WEST AUSTRALIA                                           190
+
+THE AUSTRALIAN MORE-PORK OR PODARGUS                             190
+    Photo: _The Times_.
+
+PELICAN'S BILL, ADAPTED FOR CATCHING AND STORING FISHES          191
+
+SPOONBILL'S BILL, ADAPTED FOR SIFTING THE MUD AND CATCHING
+  THE SMALL ANIMALS, E.G. FISHES, CRUSTACEANS, INSECT
+  LARVAE, WHICH LIVE THERE                                        191
+
+AVOCET'S BILL, ADAPTED FOR A CURIOUS SIDEWAYS SCOOPING IN
+  THE SHORE-POOLS AND CATCHING SMALL ANIMALS                     191
+
+HORNBILL'S BILL, ADAPTED FOR EXCAVATING A NEST IN A TREE,
+  AND ALSO FOR SEIZING AND BREAKING DIVERSE FORMS OF FOOD,
+  FROM MAMMALS TO TORTOISES, FROM ROOTS TO FRUITS                191
+
+FALCON'S BILL, ADAPTED FOR SEIZING, KILLING, AND TEARING
+  SMALL MAMMALS AND BIRDS                                        191
+
+PUFFIN'S BILL, ADAPTED FOR CATCHING SMALL FISHES NEAR THE
+  SURFACE OF THE SEA, AND FOR HOLDING THEM WHEN CAUGHT AND
+  CARRYING THEM TO THE NEST                                      191
+
+LIFE-HISTORY OF A FROG                                           192
+
+HIND-LEG OF WHIRLIGIG BEETLE WHICH HAS BECOME BEAUTIFULLY
+  MODIFIED FOR AQUATIC LOCOMOTION                                192
+    Photo: J. J. Ward, F.E.S.
+
+THE BIG ROBBER-CRAB (_Birgus Latro_), THAT CLIMBS THE
+  COCONUT PALM AND BREAKS OFF THE NUTS                           193
+
+EARLY LIFE-HISTORY OF THE SALMON                                 196
+
+THE SALMON LEAPING AT THE FALL IS A MOST FASCINATING SPECTACLE   197
+
+DIAGRAM OF THE LIFE-HISTORY OF THE COMMON EEL (_Anguilla
+  Vulgaris_)                                                     200
+
+CASSOWARY                                                        201
+    Photo: Gambier Bolton.
+
+THE KIWI, ANOTHER FLIGHTLESS BIRD, OF REMARKABLE
+  APPEARANCE, HABITS, AND STRUCTURE                              201
+    Photo: Gambier Bolton.
+
+THE AUSTRALIAN FRILLED LIZARD, WHICH IS AT PRESENT TRYING
+  TO BECOME A BIPED                                              202
+
+A CARPET OF GOSSAMER                                             202
+
+THE WATER SPIDER                                                 203
+
+JACKDAW BALANCING ON A GATEPOST                                  208
+    Photo: O. J. Wilkinson.
+
+TWO OPOSSUMS FEIGNING DEATH                                      208
+    From Ingersoll's _The Wit of the Wild_.
+
+MALE OF THREE-SPINED STICKLEBACK, MAKING A NEST OF
+  WATER-WEED, GLUED TOGETHER BY VISCID THREADS SECRETED
+  FROM THE KIDNEYS AT THE BREEDING SEASON                        209
+
+A FEMALE STICKLEBACK ENTERS THE NEST WHICH THE MALE HAS
+  MADE, LAYS THE EGGS INSIDE, AND THEN DEPARTS                   209
+
+HOMING PIGEON                                                    212
+    Photo: Imperial War Museum.
+
+CARRIER PIGEON                                                   212
+    Photo: Imperial War Museum.
+
+YELLOW-CROWNED PENGUIN                                           213
+    Photo: James's Press Agency.
+
+PENGUINS ARE "A PECULIAR PEOPLE"                                 213
+    Photo: Cagcombe & Co.
+
+HARPY-EAGLE                                                      216
+    Photo: W. S. Berridge.
+
+THE DINGO OR WILD DOG OF AUSTRALIA, PERHAPS AN INDIGENOUS
+  WILD SPECIES, PERHAPS A DOMESTICATED DOG THAT HAS GONE
+  WILD OR FERAL                                                  216
+    Photo: W. S. Berridge, F.Z.S.
+
+WOODPECKER HAMMERING AT A COTTON-REEL, ATTACHED TO A TREE        217
+
+THE BEAVER                                                       220
+
+THE THRUSH AT ITS ANVIL                                          221
+    Photo: F. R. Hinkins & Son.
+
+ALSATIAN WOLF-DOG                                                226
+    Photo: Lafayette.
+
+THE POLAR BEAR OF THE FAR NORTH                                  227
+    Photo: W. S. Berridge.
+
+AN ALLIGATOR "YAWNING" IN EXPECTATION OF FOOD                    227
+    From the Smithsonian Report, 1914.
+
+BABY ORANG                                                       232
+    Photo: W. P. Dando.
+
+ORANG-UTAN                                                       232
+    Photo: Gambier Bolton.
+
+CHIMPANZEE                                                       233
+    Photo: James's Press Agency.
+
+BABY ORANG-UTAN                                                  233
+    Photo: James's Press Agency.
+
+ORANG-UTAN                                                       233
+    Photo: James's Press Agency.
+
+BABY CHIMPANZEES                                                 233
+    Photo: James's Press Agency.
+
+CHIMPANZEE                                                       238
+    Photo: W. P. Dando.
+
+YOUNG CHEETAHS, OR HUNTING LEOPARDS                              238
+    Photo: W. S. Berridge.
+
+COMMON OTTER                                                     239
+    Photo: C. Reid.
+
+SIR ERNEST RUTHERFORD                                            246
+    Photo: Elliott & Fry.
+
+J. CLERK-MAXWELL                                                 246
+    Photo: Rischgitz Collection.
+
+SIR WILLIAM CROOKES                                              247
+    Photo: Ernest H. Mills.
+
+PROFESSOR SIR W. H. BRAGG                                        247
+    Photo: Photo Press.
+
+COMPARATIVE SIZES OF MOLECULES                                   250
+
+INCONCEIVABLE NUMBERS AND INCONCEIVABLY SMALL PARTICLES          250
+
+WHAT IS A MILLION?                                               250
+
+THE BROWNIAN MOVEMENT                                            251
+
+A SOAP BUBBLE (_Coloured Illustration_)                          252
+    Reproduced from _The Forces of Nature_ (Messrs. Macmillan).
+
+DETECTING A SMALL QUANTITY OF MATTER                             254
+    From _Scientific Ideas of To-day_.
+
+THIS X-RAY PHOTOGRAPH IS THAT OF A HAND OF A SOLDIER
+  WOUNDED IN THE GREAT WAR                                       254
+  Reproduced by permission of X-Rays Ltd.
+
+AN X-RAY PHOTOGRAPH OF A GOLF BALL, REVEALING AN IMPERFECT
+  CORE                                                           254
+    Photo: National Physical Laboratory.
+
+A WONDERFUL X-RAY PHOTOGRAPH                                     255
+    Reproduced by permission of X-Rays Ltd.
+
+ELECTRIC DISCHARGE IN A VACUUM TUBE                              258
+
+THE RELATIVE SIZES OF ATOMS AND ELECTRONS                        258
+
+ELECTRONS STREAMING FROM THE SUN TO THE EARTH                    259
+
+PROFESSOR SIR J. J. THOMSON                                      262
+
+ELECTRONS PRODUCED BY PASSAGE OF X-RAYS THROUGH AIR              262
+    From the Smithsonian Report, 1915.
+
+MAGNETIC DEFLECTION OF RADIUM RAYS                               263
+
+PROFESSOR R. A. MILLIKAN'S APPARATUS FOR COUNTING ELECTRONS      263
+    Reproduced by permission of _Scientific American_.
+
+MAKING THE INVISIBLE VISIBLE                                     266
+
+THE THEORY OF ELECTRONS                                          267
+
+ARRANGEMENTS OF ATOMS IN A DIAMOND                               267
+
+DISINTEGRATION OF ATOMS                                          270
+
+SILK TASSEL ELECTRIFIED                                          270
+  Reproduced by permission from _The Interpretation of Radium_
+    (John Murray).
+
+SILK TASSEL DISCHARGED BY THE RAYS FROM RADIUM                   270
+
+A HUGE ELECTRIC SPARK                                            271
+
+ELECTRICAL ATTRACTION BETWEEN COMMON OBJECTS                     271
+    From _Scientific Ideas of To-day_.
+
+AN ELECTRIC SPARK                                                274
+    Photo: Leadbeater.
+
+AN ETHER DISTURBANCE AROUND AN ELECTRON CURRENT                  275
+    From _Scientific Ideas of To-day_.
+
+LIGHTNING                                                        278
+    Photo: H. J. Shepstone.
+
+LIGHT WAVES                                                      279
+
+THE MAGNETIC CIRCUIT OF AN ELECTRIC CURRENT                      279
+
+THE MAGNET                                                       279
+
+ROTATING DISC OF SIR ISAAC NEWTON FOR MIXING COLOURS
+  (_Coloured Illustration_)                                      280
+
+WAVE SHAPES                                                      282
+
+THE POWER OF A MAGNET                                            282
+
+THE SPEED OF LIGHT                                               283
+    Photo: The Locomotive Publishing Co., Ltd.
+
+ROTATING DISC OF SIR ISAAC NEWTON FOR MIXING COLOURS             283
+
+NIAGARA FALLS                                                    286
+
+TRANSFORMATION OF ENERGY                                         287
+    Photo: Stephen Cribb.
+
+"BOILING" A KETTLE ON ICE                                        287
+    Photo: Underwood & Underwood.
+
+THE CAUSE OF TIDES                                               290
+
+THE AEGIR ON THE TRENT                                           290
+    Photo: G. Brocklehurst.
+
+A BIG SPRING TIDE, THE AEGIR ON THE TRENT                        291
+    Photo: G. Brocklehurst.
+
+
+
+
+The Outline of Science
+
+
+
+
+INTRODUCTION
+
+
+There is abundant evidence of a widened and deepened interest in modern
+science. How could it be otherwise when we think of the magnitude and
+the eventfulness of recent advances?
+
+But the interest of the general public would be even greater than it is
+if the makers of new knowledge were more willing to expound their
+discoveries in ways that could be "understanded of the people." No one
+objects very much to technicalities in a game or on board a yacht, and
+they are clearly necessary for terse and precise scientific description.
+It is certain, however, that they can be reduced to a minimum without
+sacrificing accuracy, when the object in view is to explain "the gist of
+the matter." So this OUTLINE OF SCIENCE is meant for the general reader,
+who lacks both time and opportunity for special study, and yet would
+take an intelligent interest in the progress of science which is making
+the world always new.
+
+The story of the triumphs of modern science is one of which Man may well
+be proud. Science reads the secret of the distant star and anatomises
+the atom; foretells the date of the comet's return and predicts the
+kinds of chickens that will hatch from a dozen eggs; discovers the laws
+of the wind that bloweth where it listeth and reduces to order the
+disorder of disease. Science is always setting forth on Columbus
+voyages, discovering new worlds and conquering them by understanding.
+For Knowledge means Foresight and Foresight means Power.
+
+The idea of Evolution has influenced all the sciences, forcing us to
+think of _everything_ as with a history behind it, for we have travelled
+far since Darwin's day. The solar system, the earth, the mountain
+ranges, and the great deeps, the rocks and crystals, the plants and
+animals, man himself and his social institutions--all must be seen as
+the outcome of a long process of Becoming. There are some eighty-odd
+chemical elements on the earth to-day, and it is now much more than a
+suggestion that these are the outcome of an inorganic evolution, element
+giving rise to element, going back and back to some primeval stuff, from
+which they were all originally derived, infinitely long ago. No idea has
+been so powerful a tool in the fashioning of New Knowledge as this
+simple but profound idea of Evolution, that the present is the child of
+the past and the parent of the future. And with the picture of a
+continuity of evolution from nebula to social systems comes a promise of
+an increasing control--a promise that Man will become not only a more
+accurate student, but a more complete master of his world.
+
+It is characteristic of modern science that the whole world is seen to
+be more vital than before. Everywhere there has been a passage from the
+static to the dynamic. Thus the new revelations of the constitution of
+matter, which we owe to the discoveries of men like Professor Sir J. J.
+Thomson, Professor Sir Ernest Rutherford, and Professor Frederick Soddy,
+have shown the very dust to have a complexity and an activity heretofore
+unimagined. Such phrases as "dead" matter and "inert" matter have gone
+by the board.
+
+The new theory of the atom amounts almost to a new conception of the
+universe. It bids fair to reveal to us many of nature's hidden secrets.
+The atom is no longer the indivisible particle of matter it was once
+understood to be. We know now that there is an atom within the
+atom--that what we thought was elementary can be dissociated and broken
+up. The present-day theories of the atom and the constitution of matter
+are the outcome of the comparatively recent discovery of such things as
+radium, the X-rays, and the wonderful revelations of such instruments as
+the spectroscope and other highly perfected scientific instruments.
+
+The advent of the electron theory has thrown a flood of light on what
+before was hidden or only dimly guessed at. It has given us a new
+conception of the framework of the universe. We are beginning to know
+and realise of what matter is made and what electric phenomena mean. We
+can glimpse the vast stores of energy locked up in matter. The new
+knowledge has much to tell us about the origin and phenomena, not only
+of our own planet, but other planets, of the stars, and the sun. New
+light is thrown on the source of the sun's heat; we can make more than
+guesses as to its probable age. The great question to-day is: is there
+_one_ primordial substance from which all the varying forms of matter
+have been evolved?
+
+But the discovery of electrons is only one of the revolutionary changes
+which give modern science an entrancing interest.
+
+As in chemistry and physics, so in the science of living creatures there
+have been recent advances that have changed the whole prospect. A good
+instance is afforded by the discovery of the "hormones," or chemical
+messengers, which are produced by ductless glands, such as the thyroid,
+the supra-renal, and the pituitary, and are distributed throughout the
+body by the blood. The work of physiologists like Professor Starling and
+Professor Bayliss has shown that these chemical messengers regulate what
+may be called the "pace" of the body, and bring about that regulated
+harmony and smoothness of working which we know as health. It is not too
+much to say that the discovery of hormones has changed the whole of
+physiology. Our knowledge of the human body far surpasses that of the
+past generation.
+
+The persistent patience of microscopists and technical improvements like
+the "ultramicroscope" have greatly increased our knowledge of the
+invisible world of life. To the bacteria of a past generation have been
+added a multitude of microscopic _animal_ microbes, such as that which
+causes Sleeping Sickness. The life-histories and the weird ways of many
+important parasites have been unravelled; and here again knowledge means
+mastery. To a degree which has almost surpassed expectations there has
+been a revelation of the intricacy of the stones and mortar of the house
+of life, and the microscopic study of germ-cells has wonderfully
+supplemented the epoch-making experimental study of heredity which began
+with Mendel. It goes without saying that no one can call himself
+educated who does not understand the central and simple ideas of
+Mendelism and other new departures in biology.
+
+The procession of life through the ages and the factors in the sublime
+movement; the peopling of the earth by plants and animals and the
+linking of life to life in subtle inter-relations, such as those between
+flowers and their insect-visitors; the life-histories of individual
+types and the extraordinary results of the new inquiry called
+"experimental embryology"--these also are among the subjects with which
+this OUTLINE will deal.
+
+The behaviour of animals is another fascinating study, leading to a
+provisional picture of the dawn of mind. Indeed, no branch of science
+surpasses in interest that which deals with the ways and habits--the
+truly wonderful devices, adaptations, and instincts--of insects, birds,
+and mammals. We no longer deny a degree of intelligence to some members
+of the animal world--even the line between intelligence and reason is
+sometimes difficult to find.
+
+Fresh contacts between physiology and the study of man's mental life;
+precise studies of the ways of children and wild peoples; and new
+methods like those of the psycho-analyst must also receive the attention
+they deserve, for they are giving us a "New Psychology" and the claims
+of psychical research must also be recognised by the open-minded.
+
+The general aim of the OUTLINE is to give the reader a clear and concise
+view of the essentials of present-day science, so that he may follow
+with intelligence the modern advance and share appreciatively in man's
+continued conquest of his kingdom.
+
+J. ARTHUR THOMSON.
+
+
+
+
+I
+
+THE ROMANCE OF THE HEAVENS
+
+
+
+
+THE SCALE OF THE UNIVERSE--THE SOLAR SYSTEM
+
+
+Sec. 1
+
+The story of the triumphs of modern science naturally opens with
+Astronomy. The picture of the Universe which the astronomer offers to us
+is imperfect; the lines he traces are often faint and uncertain. There
+are many problems which have been solved, there are just as many about
+which there is doubt, and notwithstanding our great increase in
+knowledge, there remain just as many which are entirely unsolved.
+
+    The problem of the structure and duration of the universe [said the
+    great astronomer Simon Newcomb] is the most far-reaching with which
+    the mind has to deal. Its solution may be regarded as the ultimate
+    object of stellar astronomy, the possibility of reaching which has
+    occupied the minds of thinkers since the beginning of civilisation.
+    Before our time the problem could be considered only from the
+    imaginative or the speculative point of view. Although we can to-day
+    attack it to a limited extent by scientific methods, it must be
+    admitted that we have scarcely taken more than the first step toward
+    the actual solution.... What is the duration of the universe in
+    time? Is it fitted to last for ever in its present form, or does it
+    contain within itself the seeds of dissolution? Must it, in the
+    course of time, in we know not how many millions of ages, be
+    transformed into something very different from what it now is? This
+    question is intimately associated with the question whether the
+    stars form a system. If they do, we may suppose that system to be
+    permanent in its general features; if not, we must look further for
+    our conclusions.
+
+
+The Heavenly Bodies
+
+The heavenly bodies fall into two very distinct classes so far as their
+relation to our Earth is concerned; the one class, a very small one,
+comprises a sort of colony of which the Earth is a member. These bodies
+are called _planets_, or wanderers. There are eight of them, including
+the Earth, and they all circle round the sun. Their names, in the order
+of their distance from the sun, are Mercury, Venus, Earth, Mars,
+Jupiter, Saturn, Uranus, Neptune, and of these Mercury, the nearest to
+the sun, is rarely seen by the naked eye. Uranus is practically
+invisible, and Neptune quite so. These eight planets, together with the
+sun, constitute, as we have said, a sort of little colony; this colony
+is called the Solar System.
+
+The second class of heavenly bodies are those which lie _outside_ the
+solar system. Every one of those glittering points we see on a starlit
+night is at an immensely greater distance from us than is any member of
+the Solar System. Yet the members of this little colony of ours, judged
+by terrestrial standards, are at enormous distances from one another. If
+a shell were shot in a straight line from one side of Neptune's orbit to
+the other it would take five hundred years to complete its journey. Yet
+this distance, the greatest in the Solar System as now known (excepting
+the far swing of some of the comets), is insignificant compared to the
+distances of the stars. One of the nearest stars to the earth that we
+know of is Alpha Centauri, estimated to be some twenty-five million
+millions of miles away. Sirius, the brightest star in the firmament, is
+double this distance from the earth.
+
+We must imagine the colony of planets to which we belong as a compact
+little family swimming in an immense void. At distances which would take
+our shell, not hundreds, but millions of years to traverse, we reach
+the stars--or rather, a star, for the distances between stars are as
+great as the distance between the nearest of them and our Sun. The
+Earth, the planet on which we live, is a mighty globe bounded by a crust
+of rock many miles in thickness; the great volumes of water which we
+call our oceans lie in the deeper hollows of the crust. Above the
+surface an ocean of invisible gas, the atmosphere, rises to a height of
+about three hundred miles, getting thinner and thinner as it ascends.
+
+[Illustration: LAPLACE
+
+One of the greatest mathematical astronomers of all time and the
+originator of the nebular theory.]
+
+[Illustration: _Photo: Royal Astronomical Society._
+
+PROFESSOR J. C. ADAMS
+
+who, anticipating the great French mathematician, Le Verrier, discovered
+the planet Neptune by calculations based on the irregularities of the
+orbit of Uranus. One of the most dramatic discoveries in the history of
+Science.]
+
+[Illustration: _Photo: Elliott & Fry, Ltd._
+
+PROFESSOR EDDINGTON
+
+Professor of Astronomy at Cambridge. The most famous of the English
+disciples of Einstein.]
+
+[Illustration: FIG. 1.--DIAGRAMS OF THE SOLAR SYSTEM
+
+THE COMPARATIVE DISTANCES OF THE PLANETS
+
+(Drawn approximately to scale)
+
+The isolation of the Solar System is very great. On the above scale the
+_nearest_ star (at a distance of 25 trillions of miles) would be over
+_one half mile_ away. The hours, days, and years are the measures of
+time as we use them; that is: Jupiter's "Day" (one rotation of the
+planet) is made in ten of _our hours_; Mercury's "Year" (one revolution
+of the planet around the Sun) is eighty-eight of _our days_. Mercury's
+"Day" and "Year" are the same. This planet turns always the same side to
+the Sun.]
+
+[Illustration: THE COMPARATIVE SIZES OF THE SUN AND THE PLANETS (Drawn
+approximately to scale)
+
+On this scale the Sun would be 17-1/2 inches in diameter; it is far
+greater than all the planets put together. Jupiter, in turn, is greater
+than all the other planets put together.]
+
+Except when the winds rise to a high speed, we seem to live in a very
+tranquil world. At night, when the glare of the sun passes out of our
+atmosphere, the stars and planets seem to move across the heavens with a
+stately and solemn slowness. It was one of the first discoveries of
+modern astronomy that this movement is only apparent. The apparent
+creeping of the stars across the heavens at night is accounted for by
+the fact that the earth turns upon its axis once in every twenty-four
+hours. When we remember the size of the earth we see that this implies a
+prodigious speed.
+
+In addition to this the earth revolves round the sun at a speed of more
+than a thousand miles a minute. Its path round the sun, year in year
+out, measures about 580,000,000 miles. The earth is held closely to this
+path by the gravitational pull of the sun, which has a mass 333,432
+times that of the earth. If at any moment the sun ceased to exert this
+pull the earth would instantly fly off into space straight in the
+direction in which it was moving at the time, that is to say, at a
+tangent. This tendency to fly off at a tangent is continuous. It is the
+balance between it and the sun's pull which keeps the earth to her
+almost circular orbit. In the same way the seven other planets are held
+to their orbits.
+
+Circling round the earth, in the same way as the earth circles round the
+sun, is our moon. Sometimes the moon passes directly between us and the
+sun, and cuts off the light from us. We then have a total or partial
+eclipse of the sun. At other times the earth passes directly between the
+sun and the moon, and causes an eclipse of the moon. The great ball of
+the earth naturally trails a mighty shadow across space, and the moon is
+"eclipsed" when it passes into this.
+
+The other seven planets, five of which have moons of their own, circle
+round the sun as the earth does. The sun's mass is immensely larger than
+that of all the planets put together, and all of them would be drawn
+into it and perish if they did not travel rapidly round it in gigantic
+orbits. So the eight planets, spinning round on their axes, follow their
+fixed paths round the sun. The planets are secondary bodies, but they
+are most important, because they are the only globes in which there can
+be life, as we know life.
+
+If we could be transported in some magical way to an immense distance in
+space above the sun, we should see our Solar System as it is drawn in
+the accompanying diagram (Fig. 1), except that the planets would be mere
+specks, faintly visible in the light which they receive from the sun.
+(This diagram is drawn approximately to scale.) If we moved still
+farther away, trillions of miles away, the planets would fade entirely
+out of view, and the sun would shrink into a point of fire, a star. And
+here you begin to realize the nature of the universe. _The sun is a
+star. The stars are suns._ Our sun looks big simply because of its
+comparative nearness to us. The universe is a stupendous collection of
+millions of stars or suns, many of which may have planetary families
+like ours.
+
+
+Sec. 2
+
+The Scale of the Universe
+
+How many stars are there? A glance at a photograph of star-clouds will
+tell at once that it is quite impossible to count them. The fine
+photograph reproduced in Figure 2 represents a very small patch of that
+pale-white belt, the Milky Way, which spans the sky at night. It is true
+that this is a particularly rich area of the Milky Way, but the entire
+belt of light has been resolved in this way into masses or clouds of
+stars. Astronomers have counted the stars in typical districts here and
+there, and from these partial counts we get some idea of the total
+number of stars. There are estimated to be between two and three
+thousand million stars.
+
+Yet these stars are separated by inconceivable distances from each
+other, and it is one of the greatest triumphs of modern astronomy to
+have mastered, so far, the scale of the universe. For several centuries
+astronomers have known the relative distances from each other of the sun
+and the planets. If they could discover the actual distance of any one
+planet from any other, they could at once tell all the distances within
+the Solar System.
+
+The sun is, on the latest measurements, at an average distance of
+92,830,000 miles from the earth, for as the orbit of the earth is not a
+true circle, this distance varies. This means that in six months from
+now the earth will be right at the opposite side of its path round the
+sun, or 185,000,000 miles away from where it is now. Viewed or
+photographed from two positions so wide apart, the nearest stars show a
+tiny "shift" against the background of the most distant stars, and that
+is enough for the mathematician. He can calculate the distance of any
+star near enough to show this "shift." We have found that the nearest
+star to the earth, a recently discovered star, is twenty-five trillion
+miles away. Only thirty stars are known to be within a hundred trillion
+miles of us.
+
+This way of measuring does not, however, take us very far away in the
+heavens. There are only a few hundred stars within five hundred trillion
+miles of the earth, and at that distance the "shift" of a star against
+the background (parallax, the astronomer calls it) is so minute that
+figures are very uncertain. At this point the astronomer takes up a new
+method. He learns the different types of stars, and then he is able to
+deduce more or less accurately the distance of a star of a known type
+from its faintness. He, of course, has instruments for gauging their
+light. As a result of twenty years work in this field, it is now known
+that the more distant stars of the Milky Way are at least a hundred
+thousand trillion (100,000,000,000,000,000) miles away from the sun.
+
+Our sun is in a more or less central region of the universe, or a few
+hundred trillion miles from the actual centre. The remainder of the
+stars, which are all outside our Solar System, are spread out,
+apparently, in an enormous disc-like collection, so vast that even a ray
+of light, which travels at the rate of 186,000 miles a second, would
+take 50,000 years to travel from one end of it to the other. This, then
+is what we call our universe.
+
+
+Are there other Universes?
+
+Why do we say "our universe"? Why not _the_ universe? It is now believed
+by many of our most distinguished astronomers that our colossal family
+of stars is only one of many universes. By a universe an astronomer
+means any collection of stars which are close enough to control each
+other's movements by gravitation; and it is clear that there might be
+many universes, in this sense, separated from each other by profound
+abysses of space. Probably there are.
+
+For a long time we have been familiar with certain strange objects in
+the heavens which are called "spiral nebulae" (Fig 4). We shall see at a
+later stage what a nebula is, and we shall see that some astronomers
+regard these spiral nebulae as worlds "in the making." But some of the
+most eminent astronomers believe that they are separate
+universes--"island-universes" they call them--or great collections of
+millions of stars like our universe. There are certain peculiarities in
+the structure of the Milky Way which lead these astronomers to think
+that our universe may be a spiral nebula, and that the other spiral
+nebulae are "other universes."
+
+[Illustration: _Photo: Harvard College Observatory._
+
+FIG. 2.--THE MILKY WAY
+
+Note the cloud-like effect.]
+
+[Illustration: FIG. 3--THE MOON ENTERING THE SHADOW CAST BY THE EARTH
+
+The diagram shows the Moon partially eclipsed.]
+
+[Illustration: _From a photograph taken at the Yerkes Observatory_
+
+FIG. 4.--THE GREAT NEBULA IN ANDROMEDA, MESSIER 31]
+
+Vast as is the Solar System, then, it is excessively minute in
+comparison with the Stellar System, the universe of the Stars, which is
+on a scale far transcending anything the human mind can apprehend.
+
+
+THE SOLAR SYSTEM
+
+THE SUN
+
+
+Sec. 1
+
+But now let us turn to the Solar System, and consider the members of our
+own little colony.
+
+Within the Solar System there are a large number of problems that
+interest us. What is the size, mass, and distance of each of the
+planets? What satellites, like our Moon, do they possess? What are their
+temperatures? And those other, sporadic members of our system, comets
+and meteors, what are they? What are their movements? How do they
+originate? And the Sun itself, what is its composition, what is the
+source of its heat, how did it originate? Is it running down?
+
+These last questions introduce us to a branch of astronomy which is
+concerned with the physical constitution of the stars, a study which,
+not so very many years ago, may well have appeared inconceivable. But
+the spectroscope enables us to answer even these questions, and the
+answer opens up questions of yet greater interest. We find that the
+stars can be arranged in an order of development--that there are stars
+at all stages of their life-history. The main lines of the evolution of
+the stellar universe can be worked out. In the sun and stars we have
+furnaces with temperatures enormously high; it is in such conditions
+that substances are resolved into their simplest forms, and it is thus
+we are enabled to obtain a knowledge of the most primitive forms of
+matter. It is in this direction that the spectroscope (which we shall
+refer to immediately) has helped us so much. It is to this wonderful
+instrument that we owe our knowledge of the composition of the sun and
+stars, as we shall see.
+
+    "That the spectroscope will detect the millionth of a milligram of
+    matter, and on that account has discovered new elements, commands
+    our admiration; but when we find in addition that it will detect the
+    nature of forms of matter trillions of miles away, and moreover,
+    that it will measure the velocities with which these forms of matter
+    are moving with an absurdly small per cent. of possible error, we
+    can easily acquiesce in the statement that it is the greatest
+    instrument ever devised by the brain and hand of man."
+
+Such are some of the questions with which modern astronomy deals. To
+answer them requires the employment of instruments of almost incredible
+refinement and exactitude and also the full resources of mathematical
+genius. Whether astronomy be judged from the point of view of the
+phenomena studied, the vast masses, the immense distances, the aeons of
+time, or whether it be judged as a monument of human ingenuity,
+patience, and the rarest type of genius, it is certainly one of the
+grandest, as it is also one of the oldest, of the sciences.
+
+
+The Solar System
+
+In the Solar System we include all those bodies dependent on the sun
+which circulate round it at various distances, deriving their light and
+heat from the sun--the planets and their moons, certain comets and a
+multitude of meteors: in other words, all bodies whose movements in
+space are determined by the gravitational pull of the sun.
+
+
+The Sun
+
+Thanks to our wonderful modern instruments and the ingenious methods
+used by astronomers, we have to-day a remarkable knowledge of the sun.
+
+Look at the figure of the sun in the frontispiece. The picture
+represents an eclipse of the sun; the dark body of the moon has screened
+the sun's shining disc and taken the glare out of our eyes; we see a
+silvery halo surrounding the great orb on every side. It is the sun's
+atmosphere, or "crown" (corona), stretching for millions of miles into
+space in the form of a soft silvery-looking light; probably much of its
+light is sunlight reflected from particles of dust, although the
+spectroscope shows an element in the corona that has not so far been
+detected anywhere else in the universe and which in consequence has been
+named Coronium.
+
+We next notice in the illustration that at the base of the halo there
+are red flames peeping out from the edges of the hidden disc. When one
+remembers that the sun is 866,000 miles in diameter, one hardly needs to
+be told that these flames are really gigantic. We shall see what they
+are presently.
+
+
+Regions of the Sun
+
+The astronomer has divided the sun into definite concentric regions or
+layers. These layers envelop the nucleus or central body of the sun
+somewhat as the atmosphere envelops our earth. It is through these
+vapour layers that the bright white body of the sun is seen. Of the
+innermost region, the heart or nucleus of the sun, we know almost
+nothing. The central body or nucleus is surrounded by a brilliantly
+luminous envelope or layer of vaporous matter which is what we see when
+we look at the sun and which the astronomer calls the photosphere.
+
+Above--that is, overlying--the photosphere there is a second layer of
+glowing gases, which is known as the reversing layer. This layer is
+cooler than the underlying photosphere; it forms a veil of smoke-like
+haze and is of from 500 to 1,000 miles in thickness.
+
+A third layer or envelope immediately lying over the last one is the
+region known as the chromosphere. The chromosphere extends from 5,000
+to 10,000 miles in thickness--a "sea" of red tumultuous surging fire.
+Chief among the glowing gases is the vapour of hydrogen. The intense
+white heat of the photosphere beneath shines through this layer,
+overpowering its brilliant redness. From the uppermost portion of the
+chromosphere great fiery tongues of glowing hydrogen and calcium vapour
+shoot out for many thousands of miles, driven outward by some prodigious
+expulsive force. It is these red "prominences" which are such a notable
+feature in the picture of the eclipse of the sun already referred to.
+
+During the solar eclipse of 1919 one of these red flames rose in less
+than seven hours from a height of 130,000 miles to more than 500,000
+miles above the sun's surface. This immense column of red-hot gas, four
+or five times the thickness of the earth, was soaring upward at the rate
+of 60,000 miles an hour.
+
+These flaming jets or prominences shooting out from the chromosphere are
+not to be seen every day by the naked eye; the dazzling light of the sun
+obscures them, gigantic as they are. They can be observed, however, by
+the spectroscope any day, and they are visible to us for a very short
+time during an eclipse of the sun. Some extraordinary outbursts have
+been witnessed. Thus the late Professor Young described one on September
+7, 1871, when he had been examining a prominence by the spectroscope:
+
+    It had remained unchanged since noon of the previous day--a long,
+    low, quiet-looking cloud, not very dense, or brilliant, or in any
+    way remarkable except for its size. At 12:30 p.m. the Professor left
+    the spectroscope for a short time, and on returning half an hour
+    later to his observations, he was astonished to find the gigantic
+    Sun flame shattered to pieces. The solar atmosphere was filled with
+    flying debris, and some of these portions reached a height of
+    100,000 miles above the solar surface. Moving with a velocity which,
+    even at the distance of 93,000,000 miles, was almost perceptible to
+    the eye, these fragments doubled their height in ten minutes. On
+    January 30, 1885, another distinguished solar observer, the late
+    Professor Tacchini of Rome, observed one of the greatest prominences
+    ever seen by man. Its height was no less than 142,000
+    miles--eighteen times the diameter of the earth. Another mighty
+    flame was so vast that supposing the eight large planets of the
+    solar system ranged one on top of the other, the prominence would
+    still tower above them.[1]
+
+    [1] _The Romance of Astronomy_, by H. Macpherson.
+
+[Illustration: FIG. 5.--DIAGRAM SHOWING THE MAIN LAYERS OF THE SUN
+
+Compare with frontispiece.]
+
+[Illustration: _Photo: Royal Observatory, Greenwich._
+
+FIG. 6.--SOLAR PROMINENCES SEEN AT TOTAL SOLAR ECLIPSE, May 29, 1919.
+TAKEN AT SOBRAL, BRAZIL.
+
+The small Corona is also visible.]
+
+[Illustration: FIG. 7.--THE VISIBLE SURFACE OF THE SUN
+
+A photograph taken at the Mount Wilson Observatory of the Carnegie
+Institution at Washington.]
+
+[Illustration: FIG. 8.--THE SUN
+
+Photographed in the light of glowing hydrogen, at the Mount Wilson
+Observatory of the Carnegie Institution of Washington: vortex phenomena
+near the spots are especially prominent.]
+
+The fourth and uppermost layer or region is that of the corona, of
+immense extent and fading away into the surrounding sky--this we have
+already referred to. The diagram (Fig. 5) shows the dispositions of
+these various layers of the sun. It is through these several transparent
+layers that we see the white light body of the sun.
+
+
+Sec. 2
+
+The Surface of the Sun
+
+Here let us return to and see what more we know about the
+photosphere--the sun's surface. It is from the photosphere that we have
+gained most of our knowledge of the composition of the sun, which is
+believed not to be a solid body. Examination of the photosphere shows
+that the outer surface is never at rest. Small bright cloudlets come and
+go in rapid succession, giving the surface, through contrasts in
+luminosity, a granular appearance. Of course, to be visible at all at
+92,830,000 miles the cloudlets cannot be small. They imply enormous
+activity in the photosphere. If we might speak picturesquely the sun's
+surface resembles a boiling ocean of white-hot metal vapours. We have
+to-day a wonderful instrument, which will be described later, which
+dilutes, as it were, the general glare of the sun, and enables us to
+observe these fiery eruptions at any hour. The "oceans" of red-hot gas
+and white-hot metal vapour at the sun's surface are constantly driven by
+great storms. Some unimaginable energy streams out from the body or
+muscles of the sun and blows its outer layers into gigantic shreds, as
+it were.
+
+The actual temperature at the sun's surface, or what appears to us to be
+the surface--the photosphere--is, of course, unknown, but careful
+calculation suggests that it is from 5,000 deg. C. to 7,000 deg. C. The interior
+is vastly hotter. We can form no conception of such temperatures as must
+exist there. Not even the most obdurate solid could resist such
+temperatures, but would be converted almost instantaneously into gas.
+But it would not be gas as we know gases on the earth. The enormous
+pressures that exist on the sun must convert even gases into thick
+treacly fluids. We can only infer this state of matter. It is beyond our
+power to reproduce it.
+
+
+Sun-spots
+
+It is in the brilliant photosphere that the dark areas known as
+sun-spots appear. Some of these dark spots--they are dark only by
+contrast with the photosphere surrounding them--are of enormous size,
+covering many thousands of square miles of surface. What they are we
+cannot positively say. They look like great cavities in the sun's
+surface. Some think they are giant whirlpools. Certainly they seem to be
+great whirling streams of glowing gases with vapours above them and
+immense upward and downward currents within them. Round the edges of the
+sun-spots rise great tongues of flame.
+
+Perhaps the most popularly known fact about sun-spots is that they are
+somehow connected with what we call magnetic storms on earth. These
+magnetic storms manifest themselves in interruptions of our telegraphic
+and telephonic communications, in violent disturbances of the mariner's
+compass, and in exceptional auroral displays. The connection between the
+two sets of phenomena cannot be doubted, even although at times there
+may be a great spot on the sun without any corresponding "magnetic
+storm" effects on the earth.
+
+A surprising fact about sun-spots is that they show definite periodic
+variations in number. The best-defined period is one of about eleven
+years. During this period the spots increase to a maximum in number and
+then diminish to a minimum, the variation being more or less regular.
+Now this can only mean one thing. To be periodic the spots must have
+some deep-seated connection with the fundamental facts of the sun's
+structure and activities. Looked at from this point of view their
+importance becomes great.
+
+[Illustration: _Reproduction from "The Forces of Nature"_ (_Messrs.
+Macmillan_)
+
+THE AURORA BOREALIS
+
+The aurora borealis is one of the most beautiful spectacles in the sky.
+The colours and shape change every instant; sometimes a fan-like cluster
+of rays, at other times long golden draperies gliding one over the
+other. Blue, green, yellow, red, and white combine to give a glorious
+display of colour. The theory of its origin is still, in part, obscure,
+but there can be no doubt that the aurora is related to the magnetic
+phenomena of the earth and therefore is connected with the electrical
+influence of the sun.]
+
+It is from the study of sun-spots that we have learned that the sun's
+surface does not appear to rotate all at the same speed. The
+"equatorial" regions are rotating quicker than regions farther north or
+south. A point forty-five degrees from the equator seems to take about
+two and a half days longer to complete one rotation than a point on the
+equator. This, of course, confirms our belief that the sun cannot be a
+solid body.
+
+What is its composition? We know that there are present, in a gaseous
+state, such well-known elements as sodium, iron, copper, zinc, and
+magnesium; indeed, we know that there is practically every element in
+the sun that we know to be in the earth. How do we know?
+
+It is from the photosphere, as has been said, that we have won most of
+our knowledge of the sun. The instrument used for this purpose is the
+spectroscope; and before proceeding to deal further with the sun and the
+source of its energy it will be better to describe this instrument.
+
+
+A WONDERFUL INSTRUMENT AND WHAT IT REVEALS
+
+The spectroscope is an instrument for analysing light. So important is
+it in the revelations it has given us that it will be best to describe
+it fully. Every substance to be examined must first be made to glow,
+made luminous; and as nearly everything in the heavens _is_ luminous the
+instrument has a great range in Astronomy. And when we speak of
+analysing light, we mean that the light may be broken up into waves of
+different lengths. What we call light is a series of minute waves in
+ether, and these waves are--measuring them from crest to crest, so to
+say--of various lengths. Each wave-length corresponds to a colour of the
+rainbow. The shortest waves give us a sensation of violet colour, and
+the largest waves cause a sensation of red. The rainbow, in fact, is a
+sort of natural spectrum. (The meaning of the rainbow is that the
+moisture-laden air has sorted out these waves, in the sun's light,
+according to their length.) Now the simplest form of spectroscope is a
+glass prism--a triangular-shaped piece of glass. If white light
+(sunlight, for example) passes through a glass prism, we see a series of
+rainbow-tinted colours. Anyone can notice this effect when sunlight is
+shining through any kind of cut glass--the stopper of a wine decanter,
+for instance. If, instead of catching with the eye the coloured lights
+as they emerge from the glass prism, we allow them to fall on a screen,
+we shall find that they pass, by continuous gradations, from red at the
+one end of the screen, through orange, yellow, green, blue, and indigo,
+to violet at the other end. _In other words, what we call white light is
+composed of rays of these several colours. They go to make up the effect
+which we call white._ And now just as water can be split up into its two
+elements, oxygen and hydrogen, so sunlight can be broken up into its
+primary colours, which are those we have just mentioned.
+
+This range of colours, produced by the spectroscope, we call the solar
+spectrum, and these are, from the spectroscopic point of view, primary
+colours. Each shade of colour has its definite position in the spectrum.
+That is to say, the light of each shade of colour (corresponding to its
+wave-length) is reflected through a certain fixed angle on passing
+through the glass prism. Every possible kind of light has its definite
+position, and is denoted by a number which gives the wave-length of the
+vibrations constituting that particular kind of light.
+
+Now, other kinds of light besides sunlight can be analysed. Light
+from any substance which has been made incandescent may be observed with
+the spectroscope in the same way, and each element can be thus
+separated. It is found that each substance (in the same conditions of
+pressure, etc.) gives a constant spectrum of its own. _Each metal
+displays its own distinctive colour. It is obvious, therefore, that the
+spectrum provides the means for identifying a particular substance._ It
+was by this method that we discovered in the sun the presence of such
+well-known elements as sodium, iron, copper, zinc, and magnesium.
+
+[Illustration: _Yerkes Observatory._
+
+FIG. 9.--THE GREAT SUN-SPOT OF JULY 17, 1905]
+
+[Illustration: _From photographs taken at the Yerkes Observatory._
+
+FIG. 10.--SOLAR PROMINENCES
+
+These are about 60,000 miles in height. The two photographs show the
+vast changes occurring in ten minutes. October 10, 1910.]
+
+[Illustration: _Photo: Mount Wilson Observatory._
+
+FIG. 11.--MARS, October 5, 1909
+
+Showing the dark markings and the Polar Cap.]
+
+[Illustration: FIG. 12.--JUPITER
+
+Showing the belts which are probably cloud formations.]
+
+[Illustration: _Photo: Professor E. E. Barnard, Yerkes Observatory._
+
+FIG. 13.--SATURN, November 19, 1911
+
+Showing the rings, mighty swarms of meteorites.]
+
+Every chemical element known, then, has a distinctive spectrum of its
+own when it is raised to incandescence, and this distinctive spectrum is
+as reliable a means of identification for the element as a human face is
+for its owner. Whether it is a substance glowing in the laboratory or in
+a remote star makes no difference to the spectroscope; if the light of
+any substance reaches it, that substance will be recognised and
+identified by the characteristic set of waves.
+
+The spectrum of a glowing mass of gas will consist in a number of bright
+lines of various colours, and at various intervals; corresponding to
+each kind of gas, there will be a peculiar and distinctive arrangement
+of bright lines. But if the light from such a mass of glowing gas be
+made to pass through a cool mass of the _same_ gas it will be found that
+dark lines replace the bright lines in the spectrum, the reason for this
+being that the cool gas absorbs the rays of light emitted by the hot
+gas. Experiments of this kind enable us to reach the important general
+statement that every gas, when cold, absorbs the same rays of light
+which it emits when hot.
+
+Crossing the solar spectrum are hundreds and hundreds of dark lines.
+These could not at first be explained, because this fact of
+discriminative absorption was not known. We understand now. The sun's
+white light comes from the photosphere, but between us and the
+photosphere there is, as we have seen, another solar envelope of
+relatively cooler vapours--the reversing layer. Each constituent
+element in this outer envelope stops its own kind of light, that is, the
+kind of light made by incandescent atoms of the same element in the
+photosphere. The "stoppages" register themselves in the solar spectrum
+as dark lines placed exactly where the corresponding bright lines would
+have been. The explanation once attained, dark lines became as
+significant as bright lines. The secret of the sun's composition was
+out. We have found practically every element in the sun that we know to
+be in the earth. We have identified an element in the sun before we were
+able to isolate it on the earth. We have been able even to point to the
+coolest places on the sun, the centres of sun-spots, where alone the
+temperature seems to have fallen sufficiently low to allow chemical
+compounds to form.
+
+It is thus we have been able to determine what the stars, comets, or
+nebulae are made of.
+
+
+A Unique Discovery
+
+In 1868 Sir Norman Lockyer detected a light coming from the prominences
+of the sun which was not given by any substance known on earth, and
+attributed this to an unknown gas which he called helium, from the Greek
+_helios_, the sun. _In 1895 Sir William Ramsay discovered in certain
+minerals the same gas identified by the spectroscope._ We can say,
+therefore, that this gas was discovered in the sun nearly thirty years
+before it was found on earth; this discovery of the long-lost heir is as
+thrilling a chapter in the detective story of science as any in the
+sensational stories of the day, and makes us feel quite certain that our
+methods really tell us of what elements sun and stars are built up. The
+light from the corona of the sun, as we have mentioned indicates a gas
+still unknown on earth, which has been christened Coronium.
+
+
+Measuring the Speed of Light
+
+But this is not all; soon a new use was found for the spectroscope. We
+found that we could measure with it the most difficult of all speeds
+to measure, speed in the line of sight. Movement at right angles to the
+direction in which one is looking is, if there is sufficient of it, easy
+to detect, and, if the distance of the moving body is known, easy to
+measure. But movement in the line of vision is both difficult to detect
+and difficult to measure. Yet, even at the enormous distances with which
+astronomers have to deal, the spectroscope can detect such movement and
+furnish data for its measurement. If a luminous body containing, say,
+sodium is moving rapidly towards the spectroscope, it will be found that
+the sodium lines in the spectrum have moved slightly from their usual
+definite positions towards the violet end of the spectrum, the amount of
+the change of position increasing with the speed of the luminous body.
+If the body is moving away from the spectroscope the shifting of the
+spectral lines will be in the opposite direction, towards the red end of
+the spectrum. In this way we have discovered and measured movements that
+otherwise would probably not have revealed themselves unmistakably to us
+for thousands of years. In the same way we have watched, and measured
+the speed of, tremendous movements on the sun, and so gained proof that
+the vast disturbances we should expect there actually do occur.
+
+[Illustration: THE SPECTROSCOPE IS AN INSTRUMENT FOR ANALYSING LIGHT; IT
+PROVIDES THE MEANS FOR IDENTIFYING DIFFERENT SUBSTANCES
+
+This pictorial diagram illustrates the principal of Spectrum Analysis,
+showing how sunlight is decomposed into its primary colours. What we
+call white light is composed of seven different colours. The diagram is
+relieved of all detail which would unduly obscure the simple process by
+which a ray of light is broken up by a prism into different
+wave-lengths. The spectrum rays have been greatly magnified.]
+
+
+IS THE SUN DYING?
+
+Sec. 3
+
+Now let us return to our consideration of the sun.
+
+To us on the earth the most patent and most astonishing fact about the
+sun is its tremendous energy. Heat and light in amazing quantities pour
+from it without ceasing.
+
+Where does this energy come from? Enormous jets of red glowing gases can
+be seen shooting outwards from the sun, like flames from a fire, for
+thousands of miles. Does this argue fire, as we know fire on the earth?
+On this point the scientist is sure. The sun is not burning, and
+combustion is not the source of its heat. Combustion is a chemical
+reaction between atoms. The conditions that make it possible are known
+and the results are predictable and measurable. But no chemical reaction
+of the nature of combustion as we know it will explain the sun's energy,
+nor indeed will any ordinary chemical reaction of any kind. If the sun
+were composed of combustible material throughout and the conditions of
+combustion as we understand them were always present, the sun would burn
+itself out in some thousands of years, with marked changes in its heat
+and light production as the process advanced. There is no evidence of
+such changes. There is, instead, strong evidence that the sun has been
+emitting light and heat in prodigious quantities, not for thousands, but
+for millions of years. Every addition to our knowledge that throws light
+on the sun's age seems to make for increase rather than decrease of its
+years. This makes the wonder of its energy greater.
+
+And we cannot avoid the issue of the source of the energy by saying
+merely that the sun is gradually radiating away an energy that
+originated in some unknown manner, away back at the beginning of things.
+Reliable calculations show that the years required for the mere cooling
+of a globe like the sun could not possibly run to millions. In other
+words, the sun's energy must be subject to continuous and more or less
+steady renewal. However it may have acquired its enormous energy in the
+past, it must have some source of energy in the present.
+
+The best explanation that we have to-day of this continuous accretion of
+energy is that it is due to shrinkage of the sun's bulk under the force
+of gravity. Gravity is one of the most mysterious forces of nature, but
+it is an obvious fact that bodies behave as if they attracted one
+another, and Newton worked out the law of this attraction. We may say,
+without trying to go too deeply into things, that every particle of
+matter attracts every other throughout the universe. If the diameter of
+the sun were to shrink by one mile all round, this would mean that all
+the millions of tons in the outer one-mile thickness would have a
+straight drop of one mile towards the centre. And that is not all,
+because obviously the layers below this outer mile would also drop
+inwards, each to a less degree than the one above it. What a tremendous
+movement of matter, however slowly it might take place! And what a
+tremendous energy would be involved! Astronomers calculate that the
+above shrinkage of one mile all round would require fifty years for its
+completion, assuming, reasonably, that there is close and continuous
+relationship between loss of heat by radiation and shrinkage. Even if
+this were true we need not feel over-anxious on this theory; before the
+sun became too cold to support life many millions of years would be
+required.
+
+It was suggested at one time that falls of meteoric matter into the sun
+would account for the sun's heat. This position is hardly tenable now.
+The mere bulk of the meteoric matter required by the hypothesis, apart
+from other reasons, is against it. There is undoubtedly an enormous
+amount of meteoric matter moving about within the bounds of the solar
+system, but most of it seems to be following definite routes round the
+sun like the planets. The stray erratic quantities destined to meet
+their doom by collision with the sun can hardly be sufficient to account
+for the sun's heat.
+
+Recent study of radio-active bodies has suggested another factor that
+may be working powerfully along with the force of gravitation to
+maintain the sun's store of heat. In radio-active bodies certain atoms
+seem to be undergoing disintegration. These atoms appear to be splitting
+up into very minute and primitive constituents. But since matter may be
+split up into such constituents, may it not be built up from them?
+
+The question is whether these "radio-active" elements are undergoing
+disintegration, or formation, in the sun. If they are undergoing
+disintegration--and the sun itself is undoubtedly radio-active--then we
+have another source of heat for the sun that will last indefinitely.
+
+
+
+
+THE PLANETS
+
+LIFE IN OTHER WORLDS?
+
+Sec. 1
+
+It is quite clear that there cannot be life on the stars. Nothing solid
+or even liquid can exist in such furnaces as they are. Life exists only
+on planets, and even on these its possibilities are limited. Whether all
+the stars, or how many of them, have planetary families like our sun, we
+cannot positively say. If they have, such planets would be too faint and
+small to be visible tens of trillions of miles away. Some astronomers
+think that our sun may be exceptional in having planets, but their
+reasons are speculative and unconvincing. Probably a large proportion at
+least of the stars have planets, and we may therefore survey the globes
+of our own solar system and in a general way extend the results to the
+rest of the universe.
+
+In considering the possibility of life as we know it we may at once rule
+out the most distant planets from the sun, Uranus and Neptune. They are
+probably intrinsically too hot. We may also pass over the nearest planet
+to the sun, Mercury. We have reason to believe that it turns on its axis
+in the same period as it revolves round the sun, and it must therefore
+always present the same side to the sun. This means that the heat on the
+sunlit side of Mercury is above boiling-point, while the cold on the
+other side must be between two and three hundred degrees below
+freezing-point.
+
+
+The Planet Venus
+
+The planet Venus, the bright globe which is known to all as the morning
+and evening "star," seems at first sight more promising as regards the
+possibility of life. It is of nearly the same size as the earth, and it
+has a good atmosphere, but there are many astronomers who believe that,
+like Mercury, it always presents the same face to the sun, and it would
+therefore have the same disadvantage--a broiling heat on the sunny side
+and the cold of space on the opposite side. We are not sure. The
+surface of Venus is so bright--the light of the sun is reflected to us
+by such dense masses of cloud and dust--that it is difficult to trace
+any permanent markings on it, and thus ascertain how long it takes to
+rotate on its axis. Many astronomers believe that they have succeeded,
+and that the planet always turns the same face to the sun. If it does,
+we can hardly conceive of life on its surface, in spite of the
+cloud-screen.
+
+[Illustration: FIG. 14.--THE MOON
+
+Showing a great plain and some typical craters. There are thousands of
+these craters, and some theories of their origin are explained on page
+34.]
+
+[Illustration: FIG. 15.--MARS
+
+ 1} Drawings by Prof. Lowell to accompany actual photographs of Mars
+     showing many of the
+ 2} canals. Taken in 1907 by Mr. E. C. Slipher of the Lowell Observatory.
+ 3 Drawing by Prof. Lowell made January 6, 1914.
+ 4 Drawing by Prof. Lowell made January 21, 1914.
+
+Nos. 1 and 2 show the effect of the planet's rotation. Nos. 3 and 4
+depict quite different sections. Note the change in the polar snow-caps
+in the last two.]
+
+[Illustration: FIG. 16.--THE MOON, AT NINE AND THREE-QUARTER DAYS
+
+Note the mysterious "rays" diverging from the almost perfectly circular
+craters indicated by the arrows (Tycho, upper; Copernicus, lower), and
+also the mountains to the right with the lunar dawn breaking on them.]
+
+We turn to Mars; and we must first make it clear why there is so much
+speculation about life on Mars, and why it is supposed that, if there
+_is_ life on Mars, it must be more advanced than life on the earth.
+
+
+Is there Life on Mars?
+
+The basis of this belief is that if, as we saw, all the globes in our
+solar system are masses of metal that are cooling down, the smaller will
+have cooled down before the larger, and will be further ahead in their
+development. Now Mars is very much smaller than the earth, and must have
+cooled at its surface millions of years before the earth did. Hence, if
+a story of life began on Mars at all, it began long before the story of
+life on the earth. We cannot guess what sort of life-forms would be
+evolved in a different world, but we can confidently say that they would
+tend toward increasing intelligence; and thus we are disposed to look
+for highly intelligent beings on Mars.
+
+But this argument supposes that the conditions of life, namely air and
+water, are found on Mars, and it is disputed whether they are found
+there in sufficient quantity. The late Professor Percival Lowell, who
+made a lifelong study of Mars, maintained that there are hundreds of
+straight lines drawn across the surface of the planet, and he claimed
+that they are beds of vegetation marking the sites of great channels or
+pipes by means of which the "Martians" draw water from their polar
+ocean. Professor W. H. Pickering, another high authority, thinks that
+the lines are long, narrow marshes fed by moist winds from the poles.
+There are certainly white polar caps on Mars. They seem to melt in the
+spring, and the dark fringe round them grows broader.
+
+Other astronomers, however, say that they find no trace of water-vapour
+in the atmosphere of Mars, and they think that the polar caps may be
+simply thin sheets of hoar-frost or frozen gas. They point out that, as
+the atmosphere of Mars is certainly scanty, and the distance from the
+sun is so great, it may be too cold for the fluid water to exist on the
+planet.
+
+If one asks why our wonderful instruments cannot settle these points,
+one must be reminded that Mars is never nearer than 34,000,000 miles
+from the earth, and only approaches to this distance once in fifteen or
+seventeen years. The image of Mars on the photographic negative taken in
+a big telescope is very small. Astronomers rely to a great extent on the
+eye, which is more sensitive than the photographic plate. But it is easy
+to have differences of opinion as to what the eye sees, and so there is
+a good deal of controversy.
+
+In August, 1924, the planet will again be well placed for observation,
+and we may learn more about it. Already a few of the much-disputed
+lines, which people wrongly call "canals," have been traced on
+photographs. Astronomers who are sceptical about life on Mars are often
+not fully aware of the extraordinary adaptability of life. There was a
+time when the climate of the whole earth, from pole to pole, was
+semi-tropical for millions of years. No animal could then endure the
+least cold, yet now we have plenty of Arctic plants and animals. If the
+cold came slowly on Mars, as we have reason to suppose, the population
+could be gradually adapted to it. On the whole, it is possible that
+there is advanced life on Mars, and it is not impossible, in spite of
+the very great difficulties of a code of communication, that our "elder
+brothers" may yet flash across space the solution of many of our
+problems.
+
+
+Sec. 2
+
+Jupiter and Saturn
+
+Next to Mars, going outward from the sun, is Jupiter. Between Mars and
+Jupiter, however, there are more than three hundred million miles of
+space, and the older astronomers wondered why this was not occupied by a
+planet. We now know that it contains about nine hundred "planetoids," or
+small globes of from five to five hundred miles in diameter. It was at
+one time thought that a planet might have burst into these fragments (a
+theory which is not mathematically satisfactory), or it may be that the
+material which is scattered in them was prevented by the nearness of the
+great bulk of Jupiter from uniting into one globe.
+
+For Jupiter is a giant planet, and its gravitational influence must
+extend far over space. It is 1,300 times as large as the earth, and has
+nine moons, four of which are large, in attendance on it. It is
+interesting to note that the outermost moons of Jupiter and Saturn
+revolve round these planets in a direction contrary to the usual
+direction taken by moons round planets, and by planets round the sun.
+But there is no life on Jupiter.
+
+The surface which we see in photographs (Fig. 12) is a mass of cloud or
+steam which always envelops the body of the planet. It is apparently
+red-hot. A red tinge is seen sometimes at the edges of its cloud-belts,
+and a large red region (the "red spot"), 23,000 miles in length, has
+been visible on it for half a century. There may be a liquid or solid
+core to the planet, but as a whole it is a mass of seething vapours
+whirling round on its axis once in every ten hours. As in the case of
+the sun, however, different latitudes appear to rotate at different
+rates. The interior of Jupiter is very hot, but the planet is not
+self-luminous. The planets Venus and Jupiter shine very brightly, but
+they have no light of their own; they reflect the sunlight.
+
+Saturn is in the same interesting condition. The surface in the
+photograph (Fig. 13) is steam, and Saturn is so far away from the sun
+that the vaporisation of its oceans must necessarily be due to its own
+internal heat. It is too hot for water to settle on its surface. Like
+Jupiter, the great globe turns on its axis once in ten hours--a
+prodigious speed--and must be a swirling, seething mass of metallic
+vapours and gases. It is instructive to compare Jupiter and Saturn in
+this respect with the sun. They are smaller globes and have cooled down
+more than the central fire.
+
+Saturn is a beautiful object in the telescope because it has ten moons
+(to include one which is disputed) and a wonderful system of "rings"
+round it. The so-called rings are a mighty swarm of meteorites--pieces
+of iron and stone of all sorts and sizes, which reflect the light of the
+sun to us. This ocean of matter is some miles deep, and stretches from a
+few thousand miles from the surface of the planet to 172,000 miles out
+in space. Some astronomers think that this is volcanic material which
+has been shot out of the planet. Others regard it as stuff which would
+have combined to form an eleventh moon but was prevented by the nearness
+of Saturn itself. There is no evidence of life on Saturn.
+
+
+THE MOON
+
+Mars and Venus are therefore the only planets, besides the earth, on
+which we may look for life; and in the case of Venus, the possibility is
+very faint. But what about the moons which attend the planets? They
+range in size from the little ten-miles-wide moons of Mars, to Titan, a
+moon of Saturn, and Ganymede, a satellite of Jupiter, which are about
+3,000 miles in diameter. May there not be life on some of the larger of
+these moons? We will take our own moon as a type of the class.
+
+
+A Dead World
+
+The moon is so very much nearer to us than any other heavenly body that
+we have a remarkable knowledge of it. In Fig. 14 you have a photograph,
+taken in one of our largest telescopes, of part of its surface. In a
+sense such a telescope brings the moon to within about fifty miles of
+us. We should see a city like London as a dark, sprawling blotch on the
+globe. We could just detect a Zeppelin or a Diplodocus as a moving speck
+against the surface. But we find none of these things. It is true that a
+few astronomers believe that they see signs of some sort of feeble life
+or movement on the moon. Professor Pickering thinks that he can trace
+some volcanic activity. He believes that there are areas of vegetation,
+probably of a low order, and that the soil of the moon may retain a
+certain amount of water in it. He speaks of a very thin atmosphere, and
+of occasional light falls of snow. He has succeeded in persuading some
+careful observers that there probably are slight changes of some kind
+taking place on the moon.
+
+[Illustration: FIG. 17.--A MAP OF THE CHIEF PLAINS AND CRATERS OF THE
+MOON
+
+The plains were originally supposed to be seas: hence the name "Mare."]
+
+[Illustration: FIG. 18.--A DIAGRAM OF A STREAM OF METEORS SHOWING THE
+EARTH PASSING THROUGH THEM] [Illustration: _Photo: Royal Observatory,
+Greenwich._
+
+FIG. 19.--COMET, September 29, 1908
+
+Notice the tendency to form a number of tails. (See photograph below.)]
+
+[Illustration: _Photo: Royal Observatory, Greenwich._
+
+FIG. 20.--COMET, October 3, 1908
+
+The process has gone further and a number of distinct tails can now be
+counted.]
+
+But there are many things that point to absence of air on the moon. Even
+the photographs we reproduce tell the same story. The edges of the
+shadows are all hard and black. If there had been an appreciable
+atmosphere it would have scattered the sun's light on to the edges and
+produced a gradual shading off such as we see on the earth. This
+relative absence of air must give rise to some surprising effects. There
+will be no sounds on the moon, because sounds are merely air waves. Even
+a meteor shattering itself to a violent end against the surface of the
+moon would make no noise. Nor would it herald its coming by glowing into
+a "shooting star," as it would on entering the earth's atmosphere. There
+will be no floating dust, no scent, no twilight, no blue sky, no
+twinkling of the stars. The sky will be always black and the stars will
+be clearly visible by day as by night. The sun's wonderful corona, which
+no man on earth, even by seizing every opportunity during eclipses, can
+hope to see for more than two hours in all in a long lifetime, will be
+visible all day. So will the great red flames of the sun. Of course,
+there will be no life, and no landscape effects and scenery effects due
+to vegetation.
+
+The moon takes approximately twenty-seven of our days to turn once on
+its axis. So for fourteen days there is continuous night, when the
+temperature must sink away down towards the absolute cold of space. This
+will be followed without an instant of twilight by full daylight. For
+another fourteen days the sun's rays will bear straight down, with no
+diffusion or absorption of their heat, or light, on the way. It does not
+follow, however, that the temperature of the moon's surface must rise
+enormously. It may not even rise to the temperature of melting ice.
+Seeing there is no air there can be no check on radiation. The heat that
+the moon gets will radiate away immediately. We know that amongst the
+coldest places on the earth are the tops of very high mountains, the
+points that have reared themselves nearest to the sun but farthest out
+of the sheltering blanket of the earth's atmosphere. The actual
+temperature of the moon's surface by day is a moot point. It may be
+below the freezing-point or above the boiling-point of water.
+
+
+The Mountains of the Moon
+
+The lack of air is considered by many astronomers to furnish the
+explanation of the enormous number of "craters" which pit the moon's
+surface. There are about a hundred thousand of these strange rings, and
+it is now believed by many that they are spots where very large
+meteorites, or even planetoids, splashed into the moon when its surface
+was still soft. Other astronomers think that they are the remains of
+gigantic bubbles which were raised in the moon's "skin," when the globe
+was still molten, by volcanic gases from below. A few astronomers think
+that they are, as is popularly supposed, the craters of extinct
+volcanoes. Our craters, on the earth, are generally deep cups, whereas
+these ring-formations on the moon are more like very shallow and broad
+saucers. Clavius, the largest of them, is 123 miles across the interior,
+yet its encircling rampart is not a mile high.
+
+The mountains on the moon (Fig. 16) rise to a great height, and are
+extraordinarily gaunt and rugged. They are like fountains of lava,
+rising in places to 26,000 and 27,000 feet. The lunar Apennines have
+three thousand steep and weird peaks. Our terrestrial mountains are
+continually worn down by frost acting on moisture and by ice and water,
+but there are none of these agencies operating on the moon. Its
+mountains are comparatively "everlasting hills."
+
+The moon is interesting to us precisely because it is a dead world. It
+seems to show how the earth, or any cooling metal globe, will evolve in
+the remote future. We do not know if there was ever life on the moon,
+but in any case it cannot have proceeded far in development. At the most
+we can imagine some strange lowly forms of vegetation lingering here and
+there in pools of heavy gas, expanding during the blaze of the sun's
+long day, and frozen rigid during the long night.
+
+
+METEORS AND COMETS
+
+We may conclude our survey of the solar system with a word about
+"shooting stars," or meteors, and comets. There are few now who do not
+know that the streak of fire which suddenly lights the sky overhead at
+night means that a piece of stone or iron has entered our atmosphere
+from outer space, and has been burned up by friction. It was travelling
+at, perhaps, twenty or thirty miles a second. At seventy or eighty miles
+above our heads it began to glow, as at that height the air is thick
+enough to offer serious friction and raise it to a white heat. By the
+time the meteor reached about twenty miles or so from the earth's
+surface it was entirely dissipated, as a rule in fiery vapour.
+
+
+Millions of Meteorites
+
+It is estimated that between ten and a hundred million meteorites enter
+our atmosphere and are cremated, every day. Most of them weigh only an
+ounce or two, and are invisible. Some of them weigh a ton or more, but
+even against these large masses the air acts as a kind of "torpedo-net."
+They generally burst into fragments and fall without doing damage.
+
+It is clear that "empty space" is, at least within the limits of our
+solar system, full of these things. They swarm like fishes in the seas.
+Like the fishes, moreover, they may be either solitary or gregarious.
+The solitary bit of cosmic rubbish is the meteorite, which we have just
+examined. A "social" group of meteorites is the essential part of a
+comet. The nucleus, or bright central part, of the head of a comet (Fig.
+19) consists of a swarm, sometimes thousands of miles wide, of these
+pieces of iron or stone. This swarm has come under the sun's
+gravitational influence, and is forced to travel round it. From some
+dark region of space it has moved slowly into our system. It is not then
+a comet, for it has no tail. But as the crowded meteors approach the
+sun, the speed increases. They give off fine vapour-like matter and the
+fierce flood of light from the sun sweeps this vapour out in an
+ever-lengthening tail. Whatever way the comet is travelling, the tail
+always points away from the sun.
+
+
+A Great Comet
+
+The vapoury tail often grows to an enormous length as the comet
+approaches the sun. The great comet of 1843 had a tail two hundred
+million miles long. It is, however, composed of the thinnest vapours
+imaginable. Twice during the nineteenth century the earth passed through
+the tail of a comet, and nothing was felt. The vapours of the tail are,
+in fact, so attenuated that we can hardly imagine them to be white-hot.
+They may be lit by some electrical force. However that may be, the comet
+dashes round the sun, often at three or four hundred miles a second,
+then may pass gradually out of our system once more. It may be a
+thousand years, or it may be fifty years, before the monarch of the
+system will summon it again to make its fiery journey round his throne.
+
+[Illustration: _Photo: Harvard College Observatory._
+
+FIG. 21.--TYPICAL SPECTRA
+
+Six main types of stellar spectra. Notice the lines they have in common,
+showing what elements are met with in different types of stars. Each of
+these spectra corresponds to a different set of physical and chemical
+conditions.] [Illustration: _Photo: Mount Wilson Observatory._
+
+FIG. 22.--A NEBULAR REGION SOUTH OF ZETA ORIONIS
+
+Showing a great projection of "dark matter" cutting off the light from
+behind.]
+
+[Illustration: _Photo: Astrophysical Observatory, Victoria, British
+Columbia._
+
+FIG. 23.--STAR CLUSTER IN HERCULES
+
+A wonderful cluster of stars. It has been estimated that the distance of
+this cluster is such that it would take light more than 100,000 years to
+reach us.]
+
+
+THE STELLAR UNIVERSE
+
+Sec. 1
+
+The immensity of the Stellar Universe, as we have seen, is beyond our
+apprehension. The sun is nothing more than a very ordinary star, perhaps
+an insignificant one. There are stars enormously greater than the sun.
+One such, Betelgeux, has recently been measured, and its diameter is
+more than 300 times that of the sun.
+
+
+The Evolution of Stars
+
+The proof of the similarity between our sun and the stars has come to us
+through the spectroscope. The elements that we find by its means in the
+sun are also found in the same way in the stars. Matter, says the
+spectroscope, is essentially the same everywhere, in the earth and the
+sun, in the comet that visits us once in a thousand years, in the star
+whose distance is incalculable, and in the great clouds of "fire-mist"
+that we call nebulae.
+
+In considering the evolution of the stars let us keep two points clearly
+in mind. The starting-point, the nebula, is no figment of the scientific
+imagination. Hundreds of thousands of nebulae, besides even vaster
+irregular stretches of nebulous matter, exist in the heavens. But the
+stages of the evolution of this stuff into stars are very largely a
+matter of speculation. Possibly there is more than one line of
+evolution, and the various theories may be reconciled. And this applies
+also to the theories of the various stages through which the stars
+themselves pass on their way to extinction.
+
+The light of about a quarter of a million stars has been analysed in the
+spectroscope, and it is found that they fall into about a dozen classes
+which generally correspond to stages in their evolution (Fig. 21).
+
+
+The Age of Stars
+
+In its main lines the spectrum of a star corresponds to its colour, and
+we may roughly group the stars into red, yellow, and white. This is also
+the order of increasing temperature, the red stars being the coolest and
+the white stars the hottest. We might therefore imagine that the white
+stars are the youngest, and that as they grow older and cooler they
+become yellowish, then red, and finally become invisible--just as a
+cooling white-hot iron would do. But a very interesting recent research
+shows that there are two kinds of red stars; some of them are amongst
+the oldest stars and some are amongst the youngest. The facts appear to
+be that when a star is first formed it is not very hot. It is an immense
+mass of diffuse gas glowing with a dull-red heat. It contracts under the
+mutual gravitation of its particles, and as it does so it grows hotter.
+It acquires a yellowish tinge. As it continues to contract it grows
+hotter and hotter until its temperature reaches a maximum as a white
+star. At this point the contraction process does not stop, but the
+heating process does. Further contraction is now accompanied by cooling,
+and the star goes through its colour changes again, but this time in the
+inverse order. It contracts and cools to yellow and finally to red. But
+when it again becomes a red star it is enormously denser and smaller
+than when it began as a red star. Consequently the red stars are divided
+into two classes called, appropriately, Giants and Dwarfs. This theory,
+which we owe to an American astronomer, H. N. Russell, has been
+successful in explaining a variety of phenomena, and there is
+consequently good reason to suppose it to be true. But the question as
+to how the red giant stars were formed has received less satisfactory
+and precise answers.
+
+The most commonly accepted theory is the nebular theory.
+
+
+THE NEBULAR THEORY
+
+Sec. 2
+
+Nebulae are dim luminous cloud-like patches in the heavens, more like
+wisps of smoke in some cases than anything else. Both photography and
+the telescope show that they are very numerous, hundreds of thousands
+being already known and the number being continually added to. They are
+not small. Most of them are immensely large. Actual dimensions cannot be
+given, because to estimate these we must first know definitely the
+distance of the nebulae from the earth. The distances of some nebulae are
+known approximately, and we can therefore form some idea of size in
+these cases. The results are staggering. The mere visible surface of
+some nebulae is so large that the whole stretch of the solar system would
+be too small to form a convenient unit for measuring it. A ray of light
+would require to travel for years to cross from side to side of such a
+nebula. Its immensity is inconceivable to the human mind.
+
+There appear to be two types of nebulae, and there is evidence suggesting
+that the one type is only an earlier form of the other; but this again
+we do not know.
+
+The more primitive nebulae would seem to be composed of gas in an
+extremely rarified form. It is difficult to convey an adequate idea of
+the rarity of nebular gases. The residual gases in a vacuum tube are
+dense by comparison. A cubic inch of air at ordinary pressure would
+contain more matter than is contained in millions of cubic inches of the
+gases of nebulae. The light of even the faintest stars does not seem to
+be dimmed by passing through a gaseous nebula, although we cannot be
+sure on this point. The most remarkable physical fact about these gases
+is that they are luminous. Whence they derive their luminosity we do not
+know. It hardly seems possible to believe that extremely thin gases
+exposed to the terrific cold of space can be so hot as to be luminous
+and can retain their heat and their luminosity indefinitely. A cold
+luminosity due to electrification, like that of the aurora borealis,
+would seem to fit the case better.
+
+Now the nebular theory is that out of great "fire-mists," such as we
+have described, stars are born. We do not know whether gravitation is
+the only or even the main force at work in a nebula, but it is supposed
+that under the action of gravity the far-flung "fire-mists" would begin
+to condense round centres of greatest density, heat being evolved in the
+process. Of course the condensation would be enormously slow, although
+the sudden irruption of a swarm of meteors or some solid body might
+hasten matters greatly by providing large, ready-made centres of
+condensation.
+
+
+Spiral Nebulae
+
+It is then supposed that the contracting mass of gas would begin to
+rotate and to throw off gigantic streamers, which would in their turn
+form centres of condensation. The whole structure would thus form a
+spiral, having a dense region at its centre and knots or lumps of
+condensed matter along its spiral arms. Besides the formless gaseous
+nebulae there are hundreds of thousands of "spiral" nebulae such as we
+have just mentioned in the heavens. They are at all stages of
+development, and they are visible to us at all angles--that is to say,
+some of them face directly towards us, others are edge on, and some are
+in intermediate positions. It appears, therefore, that we have here a
+striking confirmation of the nebular hypothesis. But we must not go so
+fast. There is much controversy as to the nature of these spiral nebulae.
+Some eminent astronomers think they are other stellar universes,
+comparable in size with our own. In any case they are vast structures,
+and if they represent stars in process of condensation, they must be
+giving birth to huge agglomerations of stars--to star clusters at least.
+These vast and enigmatic objects do not throw much light on the origin
+of our own solar system. The nebular hypothesis, which was invented
+by Laplace to explain the origin of our solar system, has not yet met
+with universal acceptance. The explanation offers grave difficulties,
+and it is best while the subject is still being closely investigated, to
+hold all opinions with reserve. It may be taken as probable, however,
+that the universe has developed from masses of incandescent gas.
+
+[Illustration: _Photo: Yerkes Observatory._
+
+FIG. 24.--THE GREAT NEBULA IN ORION
+
+The most impressive nebula in the heavens. It is inconceivably greater
+in dimensions than the whole solar system.]
+
+[Illustration: _Photo: Lick Observatory._
+
+FIG. 25--GIANT SPIRAL NEBULA, March 23, 1914
+
+This spiral nebula is seen full on. Notice the central nucleus and the
+two spiral arms emerging from its opposite directions. Is matter flowing
+out of the nucleus into the arms or along the arms into the nucleus? In
+either case we should get two streams in opposite directions within the
+nucleus.]
+
+
+THE BIRTH AND DEATH OF STARS
+
+Sec. 3
+
+Variable, New, and Dark Stars: Dying Suns
+
+Many astronomers believe that in "variable stars" we have another star,
+following that of the dullest red star, in the dying of suns. The light
+of these stars varies periodically in so many days, weeks, or years. It
+is interesting to speculate that they are slowly dying suns, in which
+the molten interior periodically bursts through the shell of thick
+vapours that is gathering round them. What we saw about our sun seems to
+point to some such stage in the future. That is, however, not the
+received opinion about variable stars. It may be that they are stars
+which periodically pass through a great swarm of meteors or a region of
+space that is rich in cosmic dust of some sort, when, of course, a great
+illumination would take place.
+
+One class of these variable stars, which takes its name from the star
+Algol, is of special interest. Every third night Algol has its light
+reduced for several hours. Modern astronomy has discovered that in this
+case there are really two stars, circulating round a common centre, and
+that every third night the fainter of the two comes directly between us
+and its companion and causes an "eclipse." This was until recently
+regarded as a most interesting case in which a dead star revealed itself
+to us by passing before the light of another star. But astronomers have
+in recent years invented something, the "selenium-cell," which is even
+more sensitive than the photographic plate, and on this the supposed
+dead star registers itself as very much alive. Algol is, however,
+interesting in another way. The pair of stars which we have discovered
+in it are hundreds of trillions of miles away from the earth, yet we
+know their masses and their distances from each other.
+
+
+The Death and Birth of Stars
+
+We have no positive knowledge of dead stars; which is not surprising
+when we reflect that a dead star means an invisible star! But when we
+see so many individual stars tending toward death, when we behold a vast
+population of all conceivable ages, we presume that there are many
+already dead. On the other hand, there is no reason to suppose that the
+universe as a whole is "running down." Some writers have maintained
+this, but their argument implies that we know a great deal more about
+the universe than we actually do. The scientific man does not know
+whether the universe is finite or infinite, temporal or eternal; and he
+declines to speculate where there are no facts to guide him. He knows
+only that the great gaseous nebulae promise myriads of worlds in the
+future, and he concedes the possibility that new nebulae may be forming
+in the ether of space.
+
+The last, and not the least interesting, subject we have to notice is
+the birth of a "new star." This is an event which astronomers now
+announce every few years; and it is a far more portentous event than the
+reader imagines when it is reported in his daily paper. The story is
+much the same in all cases. We say that the star appeared in 1901, but
+you begin to realise the magnitude of the event when you learn that the
+distant "blaze" had really occurred about the time of the death of
+Luther! The light of the conflagration had been speeding toward us
+across space at 186,000 miles a second, yet it has taken nearly three
+centuries to reach us. To be visible at all to us at that distance the
+fiery outbreak must have been stupendous. If a mass of petroleum ten
+times the size of the earth were suddenly fired it would not be seen at
+such a distance. The new star had increased its light many hundredfold
+in a few days.
+
+There is a considerable fascination about the speculation that in such
+cases we see the resurrection of a dead world, a means of renewing the
+population of the universe. What happens is that in some region of the
+sky where no star, or only a very faint star, had been registered on our
+charts, we almost suddenly perceive a bright star. In a few days it may
+rise to the highest brilliancy. By the spectroscope we learn that this
+distant blaze means a prodigious outpour of white-hot hydrogen at
+hundreds of miles a second. But the star sinks again after a few months,
+and we then find a nebula round it on every side. It is natural to
+suppose that a dead or dying sun has somehow been reconverted in whole
+or in part into a nebula. A few astronomers think that it may have
+partially collided with another star, or approached too closely to
+another, with the result we described on an earlier page. The general
+opinion now is that a faint or dead star had rushed into one of those
+regions of space in which there are immense stretches of nebulous
+matter, and been (at least in part) vaporised by the friction.
+
+But the difficulties are considerable, and some astronomers prefer to
+think that the blazing star may merely have lit up a dark nebula which
+already existed. It is one of those problems on which speculation is
+most tempting but positive knowledge is still very incomplete. We may be
+content, even proud, that already we can take a conflagration that has
+occurred more than a thousand trillion miles away and analyse it
+positively into an outflame of glowing hydrogen gas at so many miles a
+second.
+
+
+THE SHAPE OF OUR UNIVERSE
+
+Sec. 4
+
+Our Universe a Spiral Nebula
+
+What is the shape of our universe, and what are its dimensions? This is
+a tremendous question to ask. It is like asking an intelligent insect,
+living on a single leaf in the midst of a great Brazilian forest, to say
+what is the shape and size of the forest. Yet man's ingenuity has proved
+equal to giving an answer even to this question, and by a method exactly
+similar to that which would be adopted by the insect. Suppose, for
+instance, that the forest was shaped as an elongated oval, and the
+insect lived on a tree near the centre of the oval. If the trees were
+approximately equally spaced from one another they would appear much
+denser along the length of the oval than across its width. This is the
+simple consideration that has guided astronomers in determining the
+shape of our stellar universe. There is one direction in the heavens
+along which the stars appear denser than in the directions at right
+angles to it. That direction is the direction in which we look towards
+the Milky Way. If we count the number of stars visible all over the
+heavens, we find they become more and more numerous as we approach the
+Milky Way. As we go farther and farther from the Milky Way the stars
+thin out until they reach a maximum sparseness in directions at right
+angles to the plane of the Milky Way. We may consider the Milky Way to
+form, as it were, the equator of our system, and the line at right
+angles to point to the north and south poles.
+
+Our system, in fact, is shaped something like a lens, and our sun is
+situated near the centre of this lens. In the remoter part of this lens,
+near its edge, or possibly outside it altogether, lies the great series
+of star clouds which make up the Milky Way. All the stars are in motion
+within this system, but the very remarkable discovery has been made that
+these motions are not entirely random. The great majority of the stars
+whose motions can be measured fall into two groups drifting past one
+another in opposite directions. The velocity of one stream relative to
+the other is about twenty-five miles per second. The stars forming these
+two groups are thoroughly well mixed; it is not a case of an inner
+stream going one way and an outer stream the other. But there are not
+quite as many stars going one way as the other. For every two stars in
+one stream there are three in the other. Now, as we have said, some
+eminent astronomers hold that the spiral nebulae are universes like our
+own, and if we look at the two photographs (Figs. 25 and 26) we see that
+these spirals present features which, in the light of what we have just
+said about our system, are very remarkable. The nebula in Coma Berenices
+is a spiral edge-on to us, and we see that it has precisely the
+lens-shaped middle and the general flattened shape that we have found in
+our own system. The nebula in Canes Venatici is a spiral facing towards
+us, and its shape irresistibly suggests motions along the spiral arms.
+This motion, whether it is towards or away from the central, lens-shaped
+portion, would cause a double streaming motion in that central portion
+of the kind we have found in our own system. Again, and altogether apart
+from these considerations, there are good reasons for supposing our
+Milky Way to possess a double-armed spiral structure. And the great
+patches of dark absorbing matter which are known to exist in the Milky
+Way (see Fig. 22) would give very much the mottled appearance we notice
+in the arms (which we see edge-on) of the nebula in Coma Berenices. The
+hypothesis, therefore, that our universe is a spiral nebula has much to
+be said for it. If it be accepted it greatly increases our estimate of
+the size of the material universe. For our central, lens-shaped system
+is calculated to extend towards the Milky Way for more than twenty
+thousand times a million million miles, and about a third of this
+distance towards what we have called the poles. If, as we suppose, each
+spiral nebula is an independent stellar universe comparable in size with
+our own, then, since there are hundreds of thousands of spiral nebulae,
+we see that the size of the whole material universe is indeed beyond our
+comprehension.
+
+[Illustration: _Photo: Mount Wilson Observatory._
+
+FIG. 26.--A SPIRAL NEBULA SEEN EDGE-ON
+
+Notice the lens-shaped formation of the nucleus and the arm stretching
+as a band across it. See reference in the text to the resemblance
+between this and our stellar universe.]
+
+[Illustration: _Photo: H. J. Shepstone._
+
+100-INCH TELESCOPE, MOUNT WILSON
+
+A reflecting telescope: the largest in the world. The mirror is situated
+at the base of the telescope.]
+
+[Illustration:
+
+  ________________________________________________________________
+ |                                                                |
+ |                        THE SOLAR SYSTEM                        |
+ |________________________________________________________________|
+ |         |               |            |            |            |
+ |         | MEAN DISTANCE | PERIOD OF  |            |            |
+ |  NAME   | FROM SUN (IN  | REVOLUTION |  DIAMETER  | NUMBER OF  |
+ |         |  MILLIONS OF  | AROUND SUN | (IN MILES) | SATELLITES |
+ |         |    MILES)     | (IN YEARS) |            |            |
+ |_________|_______________|____________|____________|____________|
+ |         |               |            |            |            |
+ | MERCURY |      36.0     |     0.24   |    3030    |      0     |
+ | VENUS   |      67.2     |     0.62   |    7700    |      0     |
+ | EARTH   |      92.9     |     1.00   |    7918    |      1     |
+ | MARS    |     141.5     |     1.88   |    4230    |      2     |
+ | JUPITER |     483.3     |    11.86   |   86500    |      9     |
+ | SATURN  |     886.0     |    29.46   |   73000    |     10     |
+ | URANUS  |    1781.9     |    84.02   |   31900    |      4     |
+ | NEPTUNE |    2971.6     |   164.78   |   34800    |      1     |
+ | SUN     |    ------     |   ------   |  866400    |     --     |
+ | MOON    |    ------     |   ------   |    2163    |     --     |
+ |_________|_______________|____________|____________|____________|
+
+FIG. 27]
+
+[Illustration:
+
+  ______________________________________
+ |                                      |
+ |            STAR DISTANCES            |
+ |______________________________________|
+ |                                      |
+ |                         DISTANCE IN  |
+ | STAR                    LIGHT-YEARS  |
+ |                                      |
+ | POLARIS                        76    |
+ | CAPELLA                        49.4  |
+ | RIGEL                         466    |
+ | SIRIUS                          8.7  |
+ | PROCYON                        10.5  |
+ | REGULUS                        98.8  |
+ | ARCTURUS                       43.4  |
+ | [ALPHA] CENTAURI                4.29 |
+ | VEGA                           34.7  |
+ |______________________________________|
+ |                                      |
+ | SMALLER MAGELLANIC CLOUD   32,600[A] |
+ | GREAT CLUSTER IN HERCULES 108,600[A] |
+ |______________________________________|
+
+[A] ESTIMATED
+
+FIG. 28
+
+The above distances are merely approximate and are subject to further
+revision. A "light-year" is the distance that light, travelling at the
+rate of 186,000 miles per second, would cover in one year.]
+
+In this simple outline we have not touched on some of the more debatable
+questions that engage the attention of modern astronomers. Many of these
+questions have not yet passed the controversial stage; out of these will
+emerge the astronomy of the future. But we have seen enough to convince
+us that, whatever advances the future holds in store, the science of the
+heavens constitutes one of the most important stones in the wonderful
+fabric of human knowledge.
+
+
+ASTRONOMICAL INSTRUMENTS
+
+Sec. 1
+
+The Telescope
+
+The instruments used in modern astronomy are amongst the finest triumphs
+of mechanical skill in the world. In a great modern observatory the
+different instruments are to be counted by the score, but there are two
+which stand out pre-eminent as the fundamental instruments of modern
+astronomy. These instruments are the telescope and the spectroscope, and
+without them astronomy, as we know it, could not exist.
+
+There is still some dispute as to where and when the first telescope was
+constructed; as an astronomical instrument, however, it dates from the
+time of the great Italian scientist Galileo, who, with a very small and
+imperfect telescope of his own invention, first observed the spots on
+the sun, the mountains of the moon, and the chief four satellites of
+Jupiter. A good pair of modern binoculars is superior to this early
+instrument of Galileo's, and the history of telescope construction, from
+that primitive instrument to the modern giant recently erected on Mount
+Wilson, California, is an exciting chapter in human progress. But the
+early instruments have only an historic interest: the era of modern
+telescopes begins in the nineteenth century.
+
+During the last century telescope construction underwent an
+unprecedented development. An immense amount of interest was taken in
+the construction of large telescopes, and the different countries of the
+world entered on an exciting race to produce the most powerful possible
+instruments. Besides this rivalry of different countries there was a
+rivalry of methods. The telescope developed along two different lines,
+and each of these two types has its partisans at the present day. These
+types are known as _refractors_ and _reflectors_, and it is necessary to
+mention, briefly, the principles employed in each. The _refractor_ is
+the ordinary, familiar type of telescope. It consists, essentially, of a
+large lens at one end of a tube, and a small lens, called the eye-piece,
+at the other. The function of the large lens is to act as a sort of
+gigantic eye. It collects a large amount of light, an amount
+proportional to its size, and brings this light to a focus within the
+tube of the telescope. It thus produces a small but bright image, and
+the eye-piece magnifies this image. In the _reflector_, instead of a
+large lens at the top of the tube, a large mirror is placed at the
+bottom. This mirror is so shaped as to reflect the light that falls on
+it to a focus, whence the light is again led to an eye-piece. Thus the
+refractor and the reflector differ chiefly in their manner of gathering
+light. The powerfulness of the telescope depends on the size of the
+light-gatherer. A telescope with a lens four inches in diameter is four
+times as powerful as the one with a lens two inches in diameter, for the
+amount of light gathered obviously depends on the _area_ of the lens,
+and the area varies as the _square_ of the diameter.
+
+The largest telescopes at present in existence are _reflectors_. It is
+much easier to construct a very large mirror than to construct a very
+large lens; it is also cheaper. A mirror is more likely to get out of
+order than is a lens, however, and any irregularity in the shape of a
+mirror produces a greater distorting effect than in a lens. A refractor
+is also more convenient to handle than is a reflector. For these reasons
+great refractors are still made, but the largest of them, the great
+Yerkes' refractor, is much smaller than the greatest reflector, the one
+on Mount Wilson, California. The lens of the Yerkes' refractor measures
+three feet four inches in diameter, whereas the Mount Wilson reflector
+has a diameter of no less than eight feet four inches.
+
+[Illustration: THE YERKES 40-INCH REFRACTOR
+
+(The largest _refracting_ telescope in the world. Its big lens weighs
+1,000 pounds, and its mammoth tube, which is 62 feet long, weighs about
+12,000 pounds. The parts to be moved weigh approximately 22 tons.
+
+The great _100-inch reflector_ of the Mount Wilson reflecting
+telescope--the largest _reflecting_ instrument in the world--weighs
+nearly 9,000 pounds and the moving parts of the telescope weigh about
+100 tons.
+
+The new _72-inch reflector_ at the Dominion Astrophysical Observatory,
+near Victoria, B. C., weighs nearly 4,500 pounds, and the moving parts
+about 35 tons.)]
+
+[Illustration: _Photo: H. J. Shepstone._
+
+THE DOUBLE-SLIDE PLATE HOLDER ON YERKES 40-INCH REFRACTING TELESCOPE
+
+The smaller telescope at the top of the picture acts as a "finder"; the
+field of view of the large telescope is so restricted that it is
+difficult to recognise, as it were, the part of the heavens being
+surveyed. The smaller telescope takes in a larger area and enables the
+precise object to be examined to be easily selected.]
+
+[Illustration: MODERN DIRECT-READING SPECTROSCOPE
+
+(_By A. Hilger, Ltd._)
+
+The light is brought through one telescope, is split up by the prism,
+and the resulting spectrum is observed through the other telescope.]
+
+But there is a device whereby the power of these giant instruments,
+great as it is, can be still further heightened. That device is the
+simple one of allowing the photographic plate to take the place of the
+human eye. Nowadays an astronomer seldom spends the night with his eye
+glued to the great telescope. He puts a photographic plate there. The
+photographic plate has this advantage over the eye, that it builds up
+impressions. However long we stare at an object too faint to be seen, we
+shall never see it. With the photographic plate, however, faint
+impressions go on accumulating. As hour after hour passes, the star
+which was too faint to make a perceptible impression on the plate goes
+on affecting it until finally it makes an impression which can be made
+visible. In this way the photographic plate reveals to us phenomena in
+the heavens which cannot be seen even through the most powerful
+telescopes.
+
+Telescopes of the kind we have been discussing, telescopes for exploring
+the heavens, are mounted _equatorially_; that is to say, they are
+mounted on an inclined pillar parallel to the axis of the earth so that,
+by rotating round this pillar, the telescope is enabled to follow the
+apparent motion of a star due to the rotation of the earth. This motion
+is effected by clock-work, so that, once adjusted on a star, and the
+clock-work started, the telescope remains adjusted on that star for any
+length of time that is desired. But a great official observatory, such
+as Greenwich Observatory or the Observatory at Paris, also has _transit_
+instruments, or telescopes smaller than the equatorials and without the
+same facility of movement, but which, by a number of exquisite
+refinements, are more adapted to accurate measurements. It is these
+instruments which are chiefly used in the compilation of the _Nautical
+Almanac_. They do not follow the apparent motions of the stars. Stars
+are allowed to drift across the field of vision, and as each star
+crosses a small group of parallel wires in the eye-piece its precise
+time of passage is recorded. Owing to their relative fixity of position
+these instruments can be constructed to record the _positions_ of stars
+with much greater accuracy than is possible to the more general and
+flexible mounting of equatorials. The recording of transit is
+comparatively dry work; the spectacular element is entirely absent;
+stars are treated merely as mathematical points. But these observations
+furnish the very basis of modern mathematical astronomy, and without
+them such publications as the _Nautical Almanac_ and the _Connaissance
+du Temps_ would be robbed of the greater part of their importance.
+
+
+Sec. 2
+
+The Spectroscope
+
+We have already learnt something of the principles of the spectroscope,
+the instrument which, by making it possible to learn the actual
+constitution of the stars, has added a vast new domain to astronomy. In
+the simplest form of this instrument the analysing portion consists of a
+single prism. Unless the prism is very large, however, only a small
+degree of dispersion is obtained. It is obviously desirable, for
+accurate analytical work, that the dispersion--that is, the separation
+of the different parts of the spectrum--should be as great as possible.
+The dispersion can be increased by using a large number of prisms, the
+light emerging from the first prism, entering the second, and so on. In
+this way each prism produces its own dispersive effect and, when a
+number of prisms are employed, the final dispersion is considerable. A
+considerable amount of light is absorbed in this way, however, so that
+unless our primary source of light is very strong, the final spectrum
+will be very feeble and hard to decipher.
+
+Another way of obtaining considerable dispersion is by using a
+_diffraction grating_ instead of a prism. This consists essentially of a
+piece of glass on which lines are ruled by a diamond point. When the
+lines are sufficiently close together they split up light falling on
+them into its constituents and produce a spectrum. The modern
+diffraction grating is a truly wonderful piece of work. It contains
+several thousands of lines to the inch, and these lines have to be
+spaced with the greatest accuracy. But in this instrument, again, there
+is a considerable loss of light.
+
+We have said that every substance has its own distinctive spectrum, and
+it might be thought that, when a list of the spectra of different
+substances has been prepared, spectrum analysis would become perfectly
+straightforward. In practice, however, things are not quite so simple.
+The spectrum emitted by a substance is influenced by a variety of
+conditions. The pressure, the temperature, the state of motion of the
+object we are observing, all make a difference, and one of the most
+laborious tasks of the modern spectroscopist is to disentangle these
+effects from one another. Simple as it is in its broad outlines,
+spectroscopy is, in reality, one of the most intricate branches of
+modern science.
+
+
+BIBLIOGRAPHY
+
+(The following list of books may be useful to readers wishing to pursue
+further the study of Astronomy.)
+
+ BALL, _The Story of the Heavens_.
+ BALL, _The Story of the Sun_.
+ FORBES, _History of Astronomy_.
+ HINCKS, _Astronomy_.
+ KIPPAX, _Call of the Stars_.
+ LOWELL, _Mars and Its Canals_.
+ LOWELL, _Evolution of Worlds_.
+ MCKREADY, _A Beginner's Star-Book_.
+ NEWCOMB, _Popular Astronomy_.
+ NEWCOMB, _The Stars: A Study of the Universe_.
+ OLCOTT, _Field Book of the Stars_.
+ PRICE, _Essence of Astronomy_.
+ SERVISS, _Curiosities of the Skies_.
+ WEBB, _Celestial Objects for Common Telescopes_.
+ YOUNG, _Text-Book of General Astronomy_.
+
+
+
+
+II
+
+THE STORY OF EVOLUTION
+
+
+
+
+INTRODUCTORY
+
+THE BEGINNING OF THE EARTH--MAKING A HOME FOR LIFE--THE FIRST LIVING
+CREATURES
+
+
+Sec. 1
+
+The Evolution-idea is a master-key that opens many doors. It is a
+luminous interpretation of the world, throwing the light of the past
+upon the present. Everything is seen to be an antiquity, with a history
+behind it--a _natural history_, which enables us to understand in some
+measure how it has come to be as it is. We cannot say more than
+"understand in some measure," for while the _fact_ of evolution is
+certain, we are only beginning to discern the _factors_ that have been
+at work.
+
+The evolution-idea is very old, going back to some of the Greek
+philosophers, but it is only in modern times that it has become an
+essential part of our mental equipment. It is now an everyday
+intellectual tool. It was applied to the origin of the solar system and
+to the making of the earth before it was applied to plants and animals;
+it was extended from these to man himself; it spread to language, to
+folk-ways, to institutions. Within recent years the evolution-idea has
+been applied to the chemical elements, for it appears that uranium may
+change into radium, that radium may produce helium, and that lead is the
+final stable result when the changes of uranium are complete. Perhaps
+all the elements may be the outcome of an inorganic evolution. Not less
+important is the extension of the evolution-idea to the world within as
+well as to the world without. For alongside of the evolution of bodies
+and brains is the evolution of feelings and emotions, ideas and
+imagination.
+
+Organic evolution means that the present is the child of the past and
+the parent of the future. It is not a power or a principle; it is a
+process--a process of becoming. It means that the present-day animals
+and plants and all the subtle inter-relations between them have arisen
+in a natural knowable way from a preceding state of affairs on the whole
+somewhat simpler, and that again from forms and inter-relations simpler
+still, and so on backwards and backwards for millions of years till we
+lose all clues in the thick mist that hangs over life's beginnings.
+
+Our solar system was once represented by a nebula of some sort, and we
+may speak of the evolution of the sun and the planets. But since it has
+been _the same material throughout_ that has changed in its distribution
+and forms, it might be clearer to use some word like genesis. Similarly,
+our human institutions were once very different from what they are now,
+and we may speak of the evolution of government or of cities. But Man
+works with a purpose, with ideas and ideals in some measure controlling
+his actions and guiding his achievements, so that it is probably clearer
+to keep the good old word history for all processes of social becoming
+in which man has been a conscious agent. Now between the genesis of the
+solar system and the history of civilisation there comes the vast
+process of organic evolution. The word development should be kept for
+the becoming of the individual, the chick out of the egg, for instance.
+
+Organic evolution is a continuous natural process of racial change, by
+successive steps in a definite direction, whereby distinctively new
+individualities arise, take root, and flourish, sometimes alongside of,
+and sometimes, sooner or later, in place of, the originative stock. Our
+domesticated breeds of pigeons and poultry are the results of
+evolutionary change whose origins are still with us in the Rock Dove and
+the Jungle Fowl; but in most cases in Wild Nature the ancestral stocks
+of present-day forms are long since extinct, and in many cases they are
+unknown. Evolution is a long process of coming and going, appearing and
+disappearing, a long-drawn-out sublime process like a great piece of
+music.
+
+[Illustration: _Photo: Rischgitz Collection._
+
+CHARLES DARWIN
+
+Greatest of naturalists, who made the idea of evolution current
+intellectual coin, and in his _Origin of Species_ (1859) made the whole
+world new.]
+
+[Illustration: _Photo: Rischgitz Collection._
+
+LORD KELVIN
+
+One of the greatest physicists of the nineteenth century. He estimated
+the age of the earth at 20,000,000 years. He had not at his disposal,
+however, the knowledge of recent discoveries, which have resulted in
+this estimate being very greatly increased.]
+
+[Illustration: _Photo: Lick Observatory._
+
+A GIANT SPIRAL NEBULA
+
+Laplace's famous theory was that the planets and the earth were formed
+from great whirling nebulae.]
+
+[Illustration: _Photo: Natural History Museum._
+
+METEORITE WHICH FELL NEAR SCARBOROUGH, AND IS NOW TO BE SEEN IN THE
+NATURAL HISTORY MUSEUM
+
+It weighs about 56 lb., and is a "stony" meteorite, i.e., an aerolite.]
+
+
+Sec. 2
+
+The Beginning of the Earth
+
+When we speak the language of science we cannot say "In the beginning,"
+for we do not know of and cannot think of any condition of things that
+did not arise from something that went before. But we may qualify the
+phrase, and legitimately inquire into the beginning of the earth within
+the solar system. If the result of this inquiry is to trace the sun and
+the planets back to a nebula we reach only a relative beginning. The
+nebula has to be accounted for. And even before matter there may have
+been a pre-material world. If we say, as was said long ago, "In the
+beginning was Mind," we may be expressing or trying to express a great
+truth, but we have gone BEYOND SCIENCE.
+
+
+The Nebular Hypothesis
+
+One of the grandest pictures that the scientific mind has ever thrown
+upon the screen is that of the Nebular Hypothesis. According to
+Laplace's famous form of this theory (1796), the solar system was once a
+gigantic glowing mass, spinning slowly and uniformly around its centre.
+As the incandescent world-cloud of gas cooled and its speed of rotation
+increased the shrinking mass gave off a separate whirling ring, which
+broke up and gathered together again as the first and most distant
+planet. The main mass gave off another ring and another till all the
+planets, including the earth, were formed. The central mass persisted as
+the sun.
+
+Laplace spoke of his theory, which Kant had anticipated forty-one years
+before, with scientific caution: "conjectures which I present with all
+the distrust which everything not the result of observation or of
+calculation ought to inspire." Subsequent research justified his
+distrust, for it has been shown that the original nebula need not have
+been hot and need not have been gaseous. Moreover, there are great
+difficulties in Laplace's theory of the separation of successive rings
+from the main mass, and of the condensation of a whirling gaseous ring
+into a planet.
+
+So it has come about that the picture of a hot gaseous nebula revolving
+as a unit body has given place to other pictures. Thus Sir Norman
+Lockyer pointed out (1890) that the earth is gathering to itself
+millions of meteorites every day; this has been going on for millions of
+years; in distant ages the accretion may have been vastly more rapid and
+voluminous; and so the earth has grown! Now the meteoritic contributions
+are undoubted, but they require a centre to attract them, and the
+difficulty is to account for the beginning of a collecting centre or
+planetary nucleus. Moreover, meteorites are sporadic and erratic,
+scattered hither and thither rather than collecting into unit-bodies. As
+Professor Chamberlin says, "meteorites have rather the characteristics
+of the wreckage of some earlier organisation than of the parentage of
+our planetary system." Several other theories have been propounded to
+account for the origin of the earth, but the one that has found most
+favour in the eyes of authorities is that of Chamberlin and Moulton.
+According to this theory a great nebular mass condensed to form the sun,
+from which under the attraction of passing stars planet after planet,
+the earth included, was heaved off in the form of knotted spiral nebulae,
+like many of those now observed in the heavens.
+
+Of great importance were the "knots," for they served as collecting
+centres drawing flying matter into their clutches. Whatever part of the
+primitive bolt escaped and scattered was drawn out into independent
+orbits round the sun, forming the "planetesimals" which behave like
+minute planets. These planetesimals formed the food on which the knots
+subsequently fed.
+
+
+The Growth of the Earth
+
+It has been calculated that the newborn earth--the "earth-knot" of
+Chamberlin's theory--had a diameter of about 5,500 miles. But it grew
+by drawing planetesimals into itself until it had a diameter of over
+8,100 miles at the end of its growing period. Since then it has shrunk,
+by periodic shrinkages which have meant the buckling up of successive
+series of mountains, and it has now a diameter of 7,918 miles. But
+during the shrinking the earth became more varied.
+
+A sort of slow boiling of the internally hot earth often forced molten
+matter through the cold outer crust, and there came about a gradual
+assortment of lighter materials nearer the surface and heavier materials
+deeper down. The continents are built of the lighter materials, such as
+granites, while the beds of the great oceans are made of the heavier
+materials such as basalts. In limited areas land has often become sea,
+and sea has often given place to land, but the probability is that the
+distinction of the areas corresponding to the great continents and
+oceans goes back to a very early stage.
+
+The lithosphere is the more or less stable crust of the earth, which may
+have been, to begin with, about fifty miles in thickness. It seems that
+the young earth had no atmosphere, and that ages passed before water
+began to accumulate on its surface--before, in other words, there was
+any hydrosphere. The water came from the earth itself, to begin with,
+and it was long before there was any rain dissolving out saline matter
+from the exposed rocks and making the sea salt. The weathering of the
+high grounds of the ancient crust by air and water furnished the
+material which formed the sandstones and mudstones and other sedimentary
+rocks, which are said to amount to a thickness of over fifty miles in
+all.
+
+
+Sec. 3
+
+Making a Home for Life
+
+It is interesting to inquire how the callous, rough-and-tumble
+conditions of the outer world in early days were replaced by others that
+allowed of the germination and growth of that tender plant we call
+LIFE. There are very tough living creatures, but the average organism is
+ill suited for violence. Most living creatures are adapted to mild
+temperatures and gentle reactions. Hence the fundamental importance of
+the early atmosphere, heavy with planetesimal dust, in blanketing the
+earth against intensities of radiance from without, as Chamberlin says,
+and inequalities of radiance from within. This was the first preparation
+for life, but it was an atmosphere without free oxygen. Not less
+important was the appearance of pools and lakelets, of lakes and seas.
+Perhaps the early waters covered the earth. And water was the second
+preparation for life--water, that can dissolve a larger variety of
+substances in greater concentration than any other liquid; water, that
+in summer does not readily evaporate altogether from a pond, nor in
+winter freeze throughout its whole extent; water, that is such a mobile
+vehicle and such a subtle cleaver of substances; water, that forms over
+80 per cent. of living matter itself.
+
+Of great significance was the abundance of carbon, hydrogen, and oxygen
+(in the form of carbonic acid and water) in the atmosphere of the
+cooling earth, for these three wonderful elements have a unique
+_ensemble_ of properties--ready to enter into reactions and relations,
+making great diversity and complexity possible, favouring the formation
+of the plastic and permeable materials that build up living creatures.
+We must not pursue the idea, but it is clear that the stones and mortar
+of the inanimate world are such that they built a friendly home for
+life.
+
+
+Origin of Living Creatures upon the Earth
+
+During the early chapters of the earth's history, no living creature
+that we can imagine could possibly have lived there. The temperature was
+too high; there was neither atmosphere nor surface water. Therefore it
+follows that at some uncertain, but inconceivably distant date, living
+creatures appeared upon the earth. No one knows how, but it is
+interesting to consider possibilities.
+
+[Illustration: _Reproduced from the Smithsonian Report, 1915._
+
+A LIMESTONE CANYON
+
+Many fossils of extinct animals have been found in such rock
+formations.]
+
+[Illustration: GENEALOGICAL TREE OF ANIMALS
+
+Showing in order of evolution the general relations of the chief classes
+into which the world of living things is divided. This scheme represents
+the present stage of our knowledge, but is admittedly provisional.]
+
+[Illustration: DIAGRAM OF AMOEBA
+
+(Greatly magnified.)
+
+The amoeba is one of the simplest of all animals, and gives us a hint
+of the original ancestors. It looks like a tiny irregular speck of
+greyish jelly, about 1/100th of an inch in diameter. It is commonly
+found gliding on the mud or weeds in ponds, where it engulfs its
+microscopic food by means of out-flowing lobes (PS). The food vacuole
+(FV) contains ingested food. From the contractile vacuole (CV) the waste
+matter is discharged. N is the nucleus, GR, granules.]
+
+From ancient times it has been a favourite answer that the dust of the
+earth may have become living in a way which is outside scientific
+description. This answer forecloses the question, and it is far too soon
+to do that. Science must often say "Ignoramus": Science should be slow
+to say "Ignorabimus."
+
+A second position held by Helmholtz, Lord Kelvin, and others, suggests
+that minute living creatures may have come to the earth from elsewhere,
+in the cracks of a meteorite or among cosmic dust. It must be remembered
+that seeds can survive prolonged exposure to very low temperatures; that
+spores of bacteria can survive high temperature; that seeds of plants
+and germs of animals in a state of "latent life" can survive prolonged
+drought and absence of oxygen. It is possible, according to Berthelot,
+that as long as there is not molecular disintegration vital activities
+may be suspended for a time, and may afterwards recommence when
+appropriate conditions are restored. Therefore, one should be slow to
+say that a long journey through space is impossible. The obvious
+limitation of Lord Kelvin's theory is that it only shifts the problem of
+the origin of organisms (i.e. living creatures) from the earth to
+elsewhere.
+
+The third answer is that living creatures of a very simple sort may have
+emerged on the earth's surface from not-living material, e.g. from some
+semi-fluid carbon compounds activated by ferments. The tenability of
+this view is suggested by the achievements of the synthetic chemists,
+who are able artificially to build up substances such as oxalic acid,
+indigo, salicylic acid, caffeine, and grape-sugar. We do not know,
+indeed, what in Nature's laboratory would take the place of the clever
+synthetic chemist, but there seems to be a tendency to complexity.
+Corpuscles form atoms, atoms form molecules, small molecules large
+ones.
+
+Various concrete suggestions have been made in regard to the possible
+origin of living matter, which will be dealt with in a later chapter. So
+far as we know of what goes on to-day, there is no evidence of
+spontaneous generation; organisms seem always to arise from pre-existing
+organisms of the same kind; where any suggestion of the contrary has
+been fancied, there have been flaws in the experimenting. But it is one
+thing to accept the verdict "omne vivum e vivo" as a fact to which
+experiment has not yet discovered an exception and another thing to
+maintain that this must always have been true or must always remain
+true.
+
+If the synthetic chemists should go on surpassing themselves, if
+substances like white of egg should be made artificially, and if we
+should get more light on possible steps by which simple living creatures
+may have arisen from not-living materials, this would not greatly affect
+our general outlook on life, though it would increase our appreciation
+of what is often libelled as "inert" matter. If the dust of the earth
+did naturally give rise very long ago to living creatures, if they are
+in a real sense born of her and of the sunshine, then the whole world
+becomes more continuous and more vital, and all the inorganic groaning
+and travailing becomes more intelligible.
+
+
+Sec. 4
+
+The First Organisms upon the Earth
+
+We cannot have more than a speculative picture of the first living
+creatures upon the earth or, rather, in the waters that covered the
+earth. A basis for speculation is to be found, however, in the simplest
+creatures living to-day, such as some of the bacteria and one-celled
+animalcules, especially those called Protists, which have not taken any
+very definite step towards becoming either plants or animals. No one can
+be sure, but there is much to be said for the theory that the first
+creatures were microscopic globules of living matter, not unlike the
+simplest bacteria of to-day, but able to live on air, water, and
+dissolved salts. From such a source may have originated a race of
+one-celled marine organisms which were able to manufacture chlorophyll,
+or something like chlorophyll, that is to say, the green pigment which
+makes it possible for plants to utilise the energy of the sunlight in
+breaking up carbon dioxide and in building up (photosynthesis) carbon
+compounds like sugars and starch. These little units were probably
+encased in a cell-wall of cellulose, but their boxed-in energy expressed
+itself in the undulatory movement of a lash or flagellum, by means of
+which they propelled themselves energetically through the water. There
+are many similar organisms to-day, mostly in water, but some of
+them--simple one-celled plants--paint the tree-stems and even the
+paving-stones green in wet weather. According to Prof. A. H. Church
+there was a long chapter in the history of the earth when the sea that
+covered everything teemed with these green flagellates--the originators
+of the Vegetable Kingdom.
+
+On another tack, however, there probably evolved a series of simple
+predatory creatures, not able to build up organic matter from air,
+water, and salts, but devouring their neighbours. These units were not
+closed in with cellulose, but remained naked, with their living matter
+or protoplasm flowing out in changeful processes, such as we see in the
+Amoebae in the ditch or in our own white blood corpuscles and other
+amoeboid cells. These were the originators of the animal kingdom. Thus
+from very simple Protists the first animals and the first plants may
+have arisen. All were still very minute, and it is worth remembering
+that had there been any scientific spectator after our kind upon the
+earth during these long ages, he would have lamented the entire absence
+of life, although the seas were teeming. The simplest forms of life and
+the protoplasm which Huxley called the physical basis of life will be
+dealt with in the chapter on Biology in a later section of this work.
+
+
+FIRST GREAT STEPS IN EVOLUTION
+
+THE FIRST PLANTS--THE FIRST ANIMALS--BEGINNINGS OF BODIES--EVOLUTION OF
+SEX--BEGINNING OF NATURAL DEATH
+
+Sec. 1
+
+The Contrast between Plants and Animals
+
+However it may have come about, there is no doubt at all that one of the
+first great steps in Organic Evolution was the forking of the
+genealogical tree into Plants and Animals--the most important parting of
+the ways in the whole history of Nature.
+
+Typical plants have chlorophyll; they are able to feed at a low chemical
+level on air, water, and salts, using the energy of the sunlight in
+their photosynthesis. They have their cells boxed in by cellulose walls,
+so that their opportunities for motility are greatly restricted. They
+manufacture much more nutritive material than they need, and live far
+below their income. They have no ready way of getting rid of any
+nitrogenous waste matter that they may form, and this probably helps to
+keep them sluggish.
+
+Animals, on the other hand, feed at a high chemical level, on the
+carbohydrates (e.g. starch and sugar), fats, and proteins (e.g. gluten,
+albumin, casein) which are manufactured by other animals, or to begin
+with, by plants. Their cells have not cellulose walls, nor in most cases
+much wall of any kind, and motility in the majority is unrestricted.
+Animals live much more nearly up to their income. If we could make for
+an animal and a plant of equal weight two fractions showing the ratio of
+the upbuilding, constructive, chemical processes to the down-breaking,
+disruptive, chemical processes that go on in their respective bodies,
+the ratio for the plant would be much greater than the corresponding
+ratio for the animal. In other words, animals take the munitions which
+plants laboriously manufacture and explode them in locomotion and
+work; and the entire system of animate nature depends upon the
+photosynthesis that goes on in green plants.
+
+[Illustration: _From the Smithsonian Report, 1917_
+
+A PIECE OF A REEF-BUILDING CORAL, BUILT UP BY A LARGE COLONY OF SMALL
+SEA-ANEMONE-LIKE POLYPS, EACH OF WHICH FORMS FROM THE SALTS OF THE SEA A
+SKELETON OR SHELL OF LIME
+
+The wonderful mass of corals, which are very beautiful, are the skeleton
+remains of hundreds of these little creatures.]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+THE INSET CIRCLE SHOWS A GROUP OF CHALK-FORMING ANIMALS, OR
+FORAMINIFERA, EACH ABOUT THE SIZE OF A VERY SMALL PIN'S HEAD
+
+They form a great part of the chalk cliffs of Dover and similar deposits
+which have been raised from the floor of an ancient sea.
+
+THE ENORMOUSLY ENLARGED ILLUSTRATION IS THAT OF A COMMON FORAMINIFER
+(POLYSTOMELLA) SHOWING THE SHELL IN THE CENTRE AND THE OUTFLOWING
+NETWORK OF LIVING MATTER, ALONG WHICH GRANULES ARE CONTINUALLY
+TRAVELLING, AND BY WHICH FOOD PARTICLES ARE ENTANGLED AND DRAWN IN
+
+_Reproduced by permission of the Natural History Museum_ (_after Max
+Schultze_).]
+
+As the result of much more explosive life, animals have to deal with
+much in the way of nitrogenous waste products, the ashes of the living
+fire, but these are usually got rid of very effectively, e.g. in the
+kidney filters, and do not clog the system by being deposited as
+crystals and the like, as happens in plants. Sluggish animals like
+sea-squirts which have no kidneys are exceptions that prove the rule,
+and it need hardly be said that the statements that have been made in
+regard to the contrasts between plants and animals are general
+statements. There is often a good deal of the plant about the animal, as
+in sedentary sponges, zoophytes, corals, and sea-squirts, and there is
+often a little of the animal about the plant, as we see in the movements
+of all shoots and roots and leaves, and occasionally in the parts of the
+flower. But the important fact is that on the early forking of the
+genealogical tree, i.e. the divergence of plants and animals, there
+depended and depends all the higher life of the animal kingdom, not to
+speak of mankind. The continuance of civilisation, the upkeep of the
+human and animal population of the globe, and even the supply of oxygen
+to the air we breathe, depend on the silent laboratories of the green
+leaves, which are able with the help of the sunlight to use carbonic
+acid, water, and salts to build up the bread of life.
+
+
+Sec. 2
+
+The Beginnings of Land Plants
+
+It is highly probable that for long ages the waters covered the earth,
+and that all the primeval vegetation consisted of simple Flagellates in
+the universal Open Sea. But contraction of the earth's crust brought
+about elevations and depressions of the sea-floor, and in places the
+solid substratum was brought near enough the surface to allow the
+floating plants to begin to settle down without getting out of the
+light. This is how Professor Church pictures the beginning of a fixed
+vegetation--a very momentous step in evolution. It was perhaps among
+this early vegetation that animals had their first successes. As the
+floor of the sea in these shallow areas was raised higher and higher
+there was a beginning of dry land. The sedentary plants already spoken
+of were the ancestors of the shore seaweeds, and there is no doubt that
+when we go down at the lowest tide and wade cautiously out among the
+jungle of vegetation only exposed on such occasions we are getting a
+glimpse of very ancient days. _This_ is the forest primeval.
+
+
+The Protozoa
+
+Animals below the level of zoophytes and sponges are called Protozoa.
+The word obviously means "First Animals," but all that we can say is
+that the very simplest of them may give us some hint of the simplicity
+of the original first animals. For it is quite certain that the vast
+majority of the Protozoa to-day are far too complicated to be thought of
+as primitive. Though most of them are microscopic, each is an animal
+complete in itself, with the same fundamental bodily attributes as are
+manifested in ourselves. They differ from animals of higher degree in
+not being built up of the unit areas or corpuscles called cells. They
+have no cells, no tissues, no organs, in the ordinary acceptation of
+these words, but many of them show a great complexity of internal
+structure, far exceeding that of the ordinary cells that build up the
+tissues of higher animals. They are complete living creatures which have
+not gone in for body-making.
+
+In the dim and distant past there was a time when the only animals were
+of the nature of Protozoa, and it is safe to say that one of the great
+steps in evolution was the establishment of three great types of
+Protozoa: (_a_) Some were very active, the Infusorians, like the slipper
+animalcule, the night-light (Noctiluca), which makes the seas
+phosphorescent at night, and the deadly Trypanosome, which causes
+Sleeping Sickness. (_b_) Others were very sluggish, the parasitic
+Sporozoa, like the malaria organism which the mosquito introduces into
+man's body. (_c_) Others were neither very active nor very passive, the
+Rhizopods, with out-flowing processes of living matter. This amoeboid
+line of evolution has been very successful; it is represented by the
+Rhizopods, such as Amoebae and the chalk-forming Foraminifera and the
+exquisitely beautiful flint-shelled Radiolarians of the open sea. They
+have their counterparts in the amoeboid cells of most multicellular
+animals, such as the phagocytes which migrate about in the body,
+engulfing and digesting intruding bacteria, serving as sappers and
+miners when something has to be broken down and built up again, and
+performing other useful offices.
+
+
+Sec. 3
+
+The Making of a Body
+
+The great naturalist Louis Agassiz once said that the biggest gulf in
+Organic Nature was that between the unicellular and the multicellular
+animals (Protozoa and Metazoa). But the gulf was bridged very long ago
+when sponges, stinging animals, and simple worms were evolved, and
+showed, for the first time, a "body." What would one not give to be able
+to account for the making of a body, one of the great steps in
+evolution! No one knows, but the problem is not altogether obscure.
+
+When an ordinary Protozoon or one-celled animal divides into two or
+more, which is its way of multiplying, the daughter-units thus formed
+float apart and live independent lives. But there are a few Protozoa in
+which the daughter-units are not quite separated off from one another,
+but remain coherent. Thus Volvox, a beautiful green ball, found in some
+canals and the like, is a colony of a thousand or even ten thousand
+cells. It has almost formed a body! But in this "colony-making"
+Protozoon, and in others like it, the component cells are all of one
+kind, whereas in true multicellular animals there are different kinds
+of cells, showing division of labour. There are some other Protozoa in
+which the nucleus or kernel divides into many nuclei within the cell.
+This is seen in the Giant Amoeba (Pelomyxa), sometimes found in
+duck-ponds, or the beautiful Opalina, which always lives in the hind
+part of the frog's food-canal. If a portion of the living matter of
+these Protozoa should gather round each of the nuclei, then _that would
+be the beginning of a body_. It would be still nearer the beginning of a
+body if division of labour set in, and if there was a setting apart of
+egg-cells and sperm-cells distinct from body-cells.
+
+It was possibly in some such way that animals and plants with a body
+were first evolved. Two points should be noticed, that body-making is
+not essentially a matter of size, though it made large size possible.
+For the body of a many-celled Wheel Animalcule or Rotifer is no bigger
+than many a Protozoon. Yet the Rotifer--we are thinking of Hydatina--has
+nine hundred odd cells, whereas the Protozoon has only one, except in
+forms like Volvox. Secondly, it is a luminous fact that _every
+many-celled animal from sponge to man that multiplies in the ordinary
+way begins at the beginning again as a "single cell,"_ the fertilised
+egg-cell. It is, of course, not an ordinary single cell that develops
+into an earthworm or a butterfly, an eagle, or a man; it is a cell in
+which a rich inheritance, the fruition of ages, is somehow condensed;
+but it is interesting to bear in mind the elementary fact that every
+many-celled creature, reproduced in the ordinary way and not by budding
+or the like, starts as a fertilised egg-cell. The coherence of the
+daughter-cells into which the fertilised egg-cell divides is a
+reminiscence, as it were, of the primeval coherence of daughter-units
+that made the first body possible.
+
+
+The Beginning of Sexual Reproduction
+
+A freshwater Hydra, growing on the duckweed usually multiplies by
+budding. It forms daughter-buds, living images of itself; a check comes
+to nutrition and these daughter-buds go free. A big sea-anemone may
+divide in two or more parts, which become separate animals. This is
+asexual reproduction, which means that the multiplication takes place by
+dividing into two or many portions, and not by liberating egg-cells and
+sperm-cells. Among animals as among plants, asexual reproduction is very
+common. But it has great disadvantages, for it is apt to be
+physiologically expensive, and it is beset with difficulties when the
+body shows great division of labour, and is very intimately bound into
+unity. Thus, no one can think of a bee or a bird multiplying by division
+or by budding. Moreover, if the body of the parent has suffered from
+injury or deterioration, the result of this is bound to be handed on to
+the next generation if asexual reproduction is the only method.
+
+[Illustration: _Photos: J. J. Ward, F.E.S._
+
+A PLANT-LIKE ANIMAL, OR ZOOPHYTE, CALLED OBELIA
+
+Consisting of a colony of small polyps, whose stinging tentacles are
+well shown greatly enlarged in the lower photograph.]
+
+[Illustration: _Reproduced by permission of "The Quart. Journ. Mic.
+Sci."_
+
+TRYPANOSOMA GAMBIENSE
+
+(Very highly magnified.)
+
+The microscopic animal Trypanosome, which causes Sleeping Sickness. The
+study of these organisms has of late years acquired an immense
+importance on account of the widespread and dangerous maladies to which
+some of them give rise. It lives in the blood of man, who is infected by
+the bite of a Tse-tse fly which carries the parasite from some other
+host.]
+
+[Illustration: VOLVOX
+
+The Volvox is found in some canals and the like. It is one of the first
+animals to suggest the beginning of a body. It is a colony of a thousand
+or even ten thousand cells, but they are all cells of one kind. In
+_multicellular_ animals the cells are of _different_ kinds with
+different functions. Each of the ordinary cells (marked 5) has two
+lashes or flagella. Daughter colonies inside the Parent colony are being
+formed at 3, 4, and 2. The development of germ-cells is shown at 1.]
+
+[Illustration: PROTEROSPONGIA
+
+One of the simplest multicellular animals, illustrating the beginning of
+a body. There is a setting apart of egg-cells and sperm-cells, distinct
+from body-cells; the collared lashed cells on the margin are different
+in kind from those farther in. Thus, as in indubitable multicellular
+animals, division of labour has begun.]
+
+Splitting into two or many parts was the old-fashioned way of
+multiplying, but one of the great steps in evolution was the discovery
+of a better method, namely, sexual reproduction. The gist of this is
+simply that during the process of body-building (by the development of
+the fertilised egg-cell) certain units, _the germ-cells_, do not share
+in forming ordinary tissues or organs, but remain apart, continuing the
+full inheritance which was condensed in the fertilised egg-cell. _These
+cells kept by themselves are the originators of the future reproductive
+cells of the mature animal_; they give rise to the egg-cells and the
+sperm-cells.
+
+The advantages of this method are great. (1) The new generation is
+started less expensively, for it is easier to shed germ-cells into the
+cradle of the water than to separate off half of the body. (2) It is
+possible to start a great many new lives at once, and this may be of
+vital importance when the struggle for existence is very keen, and when
+parental care is impossible. (3) The germ-cells are little likely to be
+prejudicially affected by disadvantageous dints impressed on the body of
+the parent--little likely unless the dints have peculiarly penetrating
+consequences, as in the case of poisons. (4) A further advantage is
+implied in the formation of two kinds of germ-cells--the ovum or
+egg-cell, with a considerable amount of building material and often with
+a legacy of nutritive yolk; the spermatozoon or sperm-cell, adapted to
+move in fluids and to find the ovum from a distance, thus securing
+change-provoking cross-fertilisation.
+
+
+Sec. 4
+
+The Evolution of Sex
+
+Another of the great steps in organic evolution was the differentiation
+of two different physiological types, the male or sperm-producer and the
+female or egg-producer. It seems to be a deep-seated difference in
+constitution, which leads one egg to develop into a male, and another,
+lying beside it in the nest, into a female. In the case of pigeons it
+seems almost certain, from the work of Professor Oscar Riddle, that
+there are two kinds of egg, a male-producing egg and a female-producing
+egg, which differ in their yolk-forming and other physiological
+characters.
+
+In sea-urchins we often find two creatures superficially
+indistinguishable, but the one is a female with large ovaries and the
+other is a male with equally large testes. Here the physiological
+difference does not affect the body as a whole, but the reproductive
+organs or gonads only, though more intimate physiology would doubtless
+discover differences in the blood or in the chemical routine
+(metabolism). In a large number of cases, however, there are marked
+superficial differences between the sexes, and everyone is familiar with
+such contrasts as peacock and peahen, stag and hind. In such cases the
+physiological difference between the sperm-producer and the
+ovum-producer, for this is the essential difference, saturates through
+the body and expresses itself in masculine and feminine structures and
+modes of behaviour. The expression of the masculine and feminine
+characters is in some cases under the control of hormones or chemical
+messengers which are carried by the blood from the reproductive organs
+throughout the body, and pull the trigger which brings about the
+development of an antler or a wattle or a decorative plume or a capacity
+for vocal and saltatory display. In some cases it is certain that the
+female carries in a latent state the masculine features, but these are
+kept from expressing themselves by other chemical messengers from the
+ovary. Of these chemical messengers more must be said later on.
+
+Recent research has shown that while the difference between male and
+female is very deep-rooted, corresponding to a difference in gearing, it
+is not always clear-cut. Thus a hen-pigeon may be very masculine, and a
+cock-pigeon very feminine. The difference is in degree, not in kind.
+
+
+Sec. 5
+
+What is the meaning of the universal or almost universal inevitableness
+of death? A Sequoia or "Big Tree" of California has been known to live
+for over two thousand years, but eventually it died. A centenarian
+tortoise has been known, and a sea-anemone sixty years of age; but
+eventually they die. What is the meaning of this apparently inevitable
+stoppage of bodily life?
+
+
+The Beginning of Natural Death
+
+There are three chief kinds of death, (_a_) The great majority of
+animals come to a violent end, being devoured by others or killed by
+sudden and extreme changes in their surroundings. (_b_) When an animal
+enters a new habitat, or comes into new associations with other
+organisms, it may be invaded by a microbe or by some larger parasite to
+which it is unaccustomed and to which it can offer no resistance. With
+many parasites a "live-and-let-live" compromise is arrived at, but new
+parasites are apt to be fatal, as man knows to his cost when he is
+bitten by a tse-tse fly which infects him with the microscopic animal (a
+Trypanosome) that causes Sleeping Sickness. In many animals the
+parasites are not troublesome as long as the host is vigorous, but if
+the host is out of condition the parasites may get the upper hand, as in
+the so-called "grouse disease," and become fatal. (_c_) But besides
+violent death and microbic (or parasitic) death, there is natural death.
+This is in great part to be regarded as the price paid for a body. A
+body worth having implies complexity or division of labour, and this
+implies certain internal furnishings of a more or less stable kind in
+which the effects of wear and tear are apt to accumulate. It is not the
+living matter itself that grows old so much as the framework in which it
+works--the furnishings of the vital laboratory. There are various
+processes of rejuvenescence, e.g. rest, repair, change, reorganisation,
+which work against the inevitable processes of senescence, but sooner or
+later the victory is with ageing. Another deep reason for natural death
+is to be found in the physiological expensiveness of reproduction, for
+many animals, from worms to eels, illustrate natural death as the
+nemesis of starting new lives. Now it is a very striking fact that to a
+large degree the simplest animals or Protozoa are exempt from natural
+death. They are so relatively simple that they can continually
+recuperate by rest and repair; they do not accumulate any bad debts.
+Moreover, their modes of multiplying, by dividing into two or many
+units, are very inexpensive physiologically. It seems that in some
+measure this bodily immortality of the Protozoa is shared by some simple
+many-celled animals like the freshwater Hydra and Planarian worms. Here
+is an interesting chapter in evolution, the evolution of means of
+evading or staving off natural death. Thus there is the well-known case
+of the Paloloworm of the coral-reefs where the body breaks up in
+liberating the germ-cells, but the head-end remains fixed in a crevice
+of the coral, and buds out a new body at leisure.
+
+Along with the evolution of the ways of avoiding death should be
+considered also the gradual establishment of the length of life best
+suited to the welfare of the species, and the punctuation of the
+life-history to suit various conditions.
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+GREEN HYDRA
+
+A little freshwater polyp, about half an inch long, with a crown of
+tentacles round the mouth. It is seen giving off a bud, a clear
+illustration of asexual reproduction. When a tentacle touches some small
+organism the latter is paralysed and drawn into the mouth.]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+EARTHWORM
+
+Earthworms began the profitable habit of moving with one end of the body
+always in front, and from worms to man the great majority of animals
+have bilateral symmetry.]
+
+[Illustration: DIAGRAM ILLUSTRATING THE BEGINNING OF INDIVIDUAL LIFE
+
+1. An immature _sperm_-cell, with 4 chromosomes (nuclear bodies)
+represented as rods.
+
+2. A mature sperm-cell, with 2 chromosomes.
+
+3. An immature _egg_-cell, with 4 chromosomes represented as curved
+bodies.
+
+4. A mature egg-cell, with 2 chromosomes.
+
+5. The spermatozoon fertilises the ovum, introducing 2 chromosomes.
+
+6. The fertilised ovum, with 4 chromosomes, 2 of paternal origin and 2
+of maternal origin.
+
+7. The chromosomes lie at the equator, and each is split longitudinally.
+The centrosome introduced by the spermatozoon has divided into two
+centrosomes, one at each pole of the nucleus. These play an important
+part in the division or segmentation of the egg.
+
+8. The fertilised egg has divided into two cells. Each cell has 2
+paternal and 2 maternal chromosomes.]
+
+[Illustration: _Reproduced from the Smithsonian Report, 1917._
+
+GLASS MODEL OF A SEA-ANEMONE
+
+A long tubular sea-anemone, with a fine crown of tentacles around the
+mouth. The suggestion of a flower is very obvious. By means of stinging
+lassoes on the tentacles minute animals on which it feeds are paralysed
+and captured for food.]
+
+[Illustration: THIS DRAWING SHOWS THE EVOLUTION OF THE BRAIN FROM FISH
+TO MAN
+
+The Cerebrum, the seat of intelligence, increases in proportion to the
+other parts. In mammals it becomes more and more convoluted. The brain,
+which lies in one plane in fishes, becomes gradually curved on itself.
+In birds it is more curved than the drawing shows.]
+
+
+Sec. 6
+
+Great Acquisitions
+
+In animals like sea-anemones and jellyfishes the general symmetry of the
+body is radial; that is to say, there is no right or left, and the body
+might be halved along many planes. It is a kind of symmetry well suited
+for sedentary or for drifting life. But worms began the profitable habit
+of moving with one end of the body always in front, and from worms to
+man the great majority of animals have bilateral symmetry. They have a
+right and a left side, and there is only one cut that halves the body.
+This kind of symmetry is suited for a more strenuous life than radial
+animals show; it is suited for pursuing food, for avoiding enemies, for
+chasing mates. And _with the establishment of bilateral symmetry must be
+associated the establishment of head-brains_, the beginning of which is
+to be found in some simple worm-types.
+
+Among the other great acquisitions gradually evolved we may notice: a
+well-developed head with sense-organs, the establishment of large
+internal surfaces such as the digestive and absorptive wall of the
+food-canal, the origin of quickly contracting striped muscle and of
+muscular appendages, the formation of blood as a distributing medium
+throughout the body, from which all the parts take what they need and to
+which they also contribute.
+
+Another very important acquisition, almost confined (so far as is known)
+to backboned animals, was the evolution of what are called glands of
+internal secretion, such as the thyroid and the supra-renal. These
+manufacture subtle chemical substances which are distributed by the
+blood throughout the body, and have a manifold influence in regulating
+and harmonising the vital processes. Some of these chemical messengers
+are called hormones, which stimulate organs and tissues to greater
+activity; others are called chalones, which put on a brake. Some
+regulate growth and others rapidly alter the pressure and composition
+of the blood. Some of them call into active development certain parts of
+the body which have been, as it were, waiting for an appropriate
+trigger-pulling. Thus, at the proper time, the milk-glands of a
+mammalian mother are awakened from their dormancy. This very interesting
+outcome of evolution will be dealt with in another portion of this work.
+
+
+THE INCLINED PLANE OF ANIMAL BEHAVIOUR
+
+Sec. 1
+
+Before passing to a connected story of the gradual emergence of higher
+and higher forms of life in the course of the successive ages--the
+procession of life, as it may be called--it will be useful to consider
+the evolution of animal behaviour.
+
+
+Evolution of Mind
+
+A human being begins as a microscopic fertilised egg-cell, within which
+there is condensed the long result of time--Man's inheritance. The long
+period of nine months before birth, with its intimate partnership
+between mother and offspring, is passed as it were in sleep, and no one
+can make any statement in regard to the mind of the unborn child. Even
+after birth the dawn of mind is as slow as it is wonderful. To begin
+with, there is in the ovum and early embryo no nervous system at all,
+and it develops very gradually from simple beginnings. Yet as mentality
+cannot come in from outside, we seem bound to conclude that the
+potentiality of it--whatever that means--resides in the individual from
+the very first. The particular kind of activity known to us as thinking,
+feeling, and willing is the most intimate part of our experience, known
+to us directly apart from our senses, and the possibility of that must
+be implicit in the germ-cell just as the genius of Newton was implicit
+in a very miserable specimen of an infant. Now what is true of the
+individual is true also of the race--there is a gradual evolution of
+that aspect of the living creature's activity which we call mind. We
+cannot put our finger on any point and say: Before this stage there was
+no mind. Indeed, many facts suggest the conclusion that wherever there
+is life there is some degree of mind--even in the plants. Or it might be
+more accurate to put the conclusion in another way, that the activity we
+call life has always in some degree an inner or mental aspect.
+
+[Illustration: OKAPI AND GIRAFFE
+
+The Okapi is one of the great zooelogical discoveries. It gives a good
+idea of what the Giraffe's ancestors were like. The Okapi was unknown
+until discovered in 1900 by Sir Harry Johnston in Central Africa, where
+these strange animals have probably lived in dense forests from time
+immemorial.]
+
+In another part of this book there is an account of the dawn of mind in
+backboned animals; what we aim at here is an outline of what may be
+called the inclined plane of animal behaviour.
+
+A very simple animal accumulates a little store of potential energy, and
+it proceeds to expend this, like an explosive, by acting on its
+environment. It does so in a very characteristic self-preservative
+fashion, so that it burns without being consumed and explodes without
+being blown to bits. It is characteristic of the organism that it
+remains a going concern for a longer or shorter period--its length of
+life. Living creatures that expended their energy ineffectively or
+self-destructively would be eliminated in the struggle for existence.
+When a simple one-celled organism explores a corner of the field seen
+under a microscope, behaving to all appearance very like a dog scouring
+a field seen through a telescope, it seems permissible to think of
+something corresponding to mental endeavour associated with its
+activity. This impression is strengthened when an amoeba pursues
+another amoeba, overtakes it, engulfs it, loses it, pursues it again,
+recaptures it, and so on. What is quite certain is that the behaviour of
+the animalcule is not like that of a potassium pill fizzing about in a
+basin of water, nor like the lurching movements of a gun that has got
+loose and "taken charge" on board ship. Another feature is that the
+locomotor activity of an animalcule often shows a distinct
+individuality: it may swim, for instance, in a loose spiral.
+
+But there is another side to vital activity besides acting upon the
+surrounding world; the living creature is acted on by influences from
+without. The organism acts on its environment; that is the one side of
+the shield: the environment acts upon the organism; that is the other
+side. If we are to see life whole we must recognise these two sides of
+what we call living, and it is missing an important part of the history
+of animal life if we fail to see that evolution implies becoming more
+advantageously sensitive to the environment, making more of its
+influences, shutting out profitless stimuli, and opening more gateways
+to knowledge. The bird's world is a larger and finer world than an
+earthworm's; the world means more to the bird than to the worm.
+
+
+The Trial and Error Method
+
+Simple creatures act with a certain degree of spontaneity on their
+environment, and they likewise react effectively to surrounding stimuli.
+Animals come to have definite "answers back," sometimes several,
+sometimes only one, as in the case of the Slipper Animalcule, which
+reverses its cilia when it comes within the sphere of some disturbing
+influence, retreats, and, turning upon itself tentatively, sets off
+again in the same general direction as before, but at an angle to the
+previous line. If it misses the disturbing influence, well and good; if
+it strikes it again, the tactics are repeated until a satisfactory way
+out is discovered or the stimulation proves fatal.
+
+It may be said that the Slipper Animalcule has but one answer to every
+question, but there are many Protozoa which have several enregistered
+reactions. When there are alternative reactions which are tried one
+after another, the animal is pursuing what is called the trial-and-error
+method, and a higher note is struck.
+
+There is an endeavour after satisfaction, and a trial of answers. When
+the creature profits by experience to the extent of giving the right
+answer first, there is the beginning of learning.
+
+[Illustration: DIAGRAM OF A SIMPLE REFLEX ARC IN A BACKBONELESS ANIMAL
+LIKE AN EARTHWORM
+
+1. A sensory nerve-cell (S.C.) on the surface receives a stimulus.
+
+2. The stimulus travels along the sensatory nerve-fibre (S.F.)
+
+3. The sensory nerve-fibre branches in the nerve-cord.
+
+4. Its branches come into close contact (SY^{1}) with those of an
+associative or communicating nerve-cell (A.C.).
+
+5. Other branches of the associative cell come into close contact
+(SY^{2}) with the branches or dendrites of a motor nerve-cell (M.C.).
+
+6. An impulse or command travels along the motor nerve-fibre or axis
+cylinder of the motor nerve-cell.
+
+7. The motor nerve-fibre ends on a muscle-fibre (M.F.) near the surface.
+This moves and the reflex action is complete.]
+
+[Illustration: _Photo: British Museum_ (_Natural History_).
+
+THE YUCCA MOTH
+
+The Yucca Moth, emerging from her cocoon, flies at night to a Yucca
+flower and collects pollen from the stamens, holding a little ball of it
+in her mouth-parts. She then visits another flower and lays an egg in
+the seed-box. After this she applies the pollen to the tip of the
+pistil, thus securing the fertilisation of the flower and the growth of
+the ovules in the pod. Yucca flowers in Britain do not produce seeds
+because there are no Yucca Moths.]
+
+[Illustration: INCLINED PLANE OF ANIMAL BEHAVIOUR
+
+Diagram illustrating animal behaviour. The main line represents the
+general life of the creature. On the upper side are activities implying
+initiative; on the lower side actions which are almost automatic.
+
+_Upper Side._--I. Energetic actions. II. Simple tentatives. III.
+Trial-and-error methods. IV. Non-intelligent experiments. V.
+Experiential "learning." VI. Associative "learning." VII. Intelligent
+behaviour. VIII. Rational conduct (man).
+
+_Lower Side._--1. Reactions to environment. 2. Enregistered reactions.
+3. Simple reflex actions. 4. Compound reflex actions. 5. Tropisms. 6.
+Enregistered rhythms. 7. Simple instincts. 8. Chain instincts. 9.
+Instinctive activities influenced by intelligence. 10. Subconscious
+cerebration at a high level (man).]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+VENUS' FLY-TRAP
+
+One of the most remarkable plants in the world, which captures its prey
+by means of a trap formed from part of its leaf. It has been induced to
+snap at and hold a bristle. If an insect lighting on the leaf touches
+one of six very sensitive hairs, which pull the trigger of the movement,
+the two halves of the leaf close rapidly and the fringing teeth on the
+margin interlock, preventing the insect's escape. Then follows an
+exudation of digestive juice.]
+
+[Illustration: _Reproduced by permission from "The Wonders of Instinct"
+by J. H. Fabre._
+
+A SPIDER SUNNING HER EGGS
+
+A kind of spider, called Lycosa, lying head downwards at the edge of her
+nest, and holding her silken cocoon--the bag containing the eggs--up
+towards the sun in her hindmost pair of legs. This extraordinary
+proceeding is believed to assist in the hatching.]
+
+
+Reflex Actions
+
+Among simple multicellular animals, such as sea-anemones, we find the
+beginnings of reflex actions, and a considerable part of the behaviour
+of the lower animals is reflex. That is to say, there are laid down in
+the animal in the course of its development certain pre-arrangements of
+nerve-cells and muscle-cells which secure that a fit and proper answer
+is given to a frequently recurrent stimulus. An earthworm half out of
+its burrow becomes aware of the light tread of a thrush's foot, and
+jerks itself back into its hole before anyone can say "reflex action."
+What is it that happens?
+
+Certain sensory nerve-cells in the earthworm's skin are stimulated by
+vibrations in the earth; the message travels down a sensory nerve-fibre
+from each of the stimulated cells and enters the nerve-cord. The sensory
+fibres come into vital connection with branches of intermediary,
+associative, or communicating cells, which are likewise connected with
+motor nerve-cells. To these the message is thus shunted. From the motor
+nerve-cells an impulse or command travels by motor nerve-fibres, one
+from each cell, to the muscles, which contract. If this took as long to
+happen as it takes to describe, even in outline, it would not be of much
+use to the earthworm. But the motor answer follows the sensory stimulus
+almost instantaneously. The great advantage of establishing or
+enregistering these reflex chains is that the answers are practically
+ready-made or inborn, not requiring to be learned. It is not necessary
+that the brain should be stimulated if there is a brain; nor does the
+animal will to act, though in certain cases it may by means of higher
+controlling nerve-centres keep the natural reflex response from being
+given, as happens, for instance, when we control a cough or a sneeze on
+some solemn occasion. The evolutionary method, if we may use the
+expression, has been to enregister ready-made responses; and as we
+ascend the animal kingdom, we find reflex actions becoming complicated
+and often linked together, so that the occurrence of one pulls the
+trigger of another, and so on in a chain. The behaviour of the
+insectivorous plant called Venus's fly-trap when it shuts on an insect
+is like a reflex action in an animal, but plants have no definite
+nervous system.
+
+
+What are Called Tropisms
+
+A somewhat higher level on the inclined plane is illustrated by what are
+called "tropisms," obligatory movements which the animal makes,
+adjusting its whole body so that physiological equilibrium results in
+relation to gravity, pressure, currents, moisture, heat, light,
+electricity, and surfaces of contact. A moth is flying past a candle;
+the eye next the light is more illumined than the other; a physiological
+inequilibrium results, affecting nerve-cells and muscle-cells; the
+outcome is that the moth automatically adjusts its flight so that both
+eyes become equally illumined; in doing this it often flies into the
+candle.
+
+It may seem bad business that the moth should fly into the candle, but
+the flame is an utterly artificial item in its environment to which no
+one can expect it to be adapted. These tropisms play an important role
+in animal behaviour.
+
+
+Sec. 2
+
+Instinctive Behaviour
+
+On a higher level is instinctive behaviour, which reaches such
+remarkable perfection in ants, bees, and wasps. In its typical
+expression instinctive behaviour depends on inborn capacities; it does
+not require to be learned; it is independent of practice or experience,
+though it may be improved by both; it is shared equally by all members
+of the species of the same sex (for the female's instincts are often
+different from the male's); it refers to particular conditions of life
+that are of vital importance, though they may occur only once in a
+lifetime. The female Yucca Moth emerges from the cocoon when the Yucca
+flower puts forth its bell-like blossoms. She flies to a flower,
+collects some pollen from the stamens, kneads it into a pill-like ball,
+and stows this away under her chin. She flies to an older Yucca flower
+and lays her eggs in some of the ovules within the seed-box, but before
+she does so she has to deposit on the stigma the ball of pollen. From
+this the pollen-tubes grow down and the pollen-nucleus of a tube
+fertilises the egg-cell in an ovule, so that the possible seeds become
+real seeds, for it is only a fraction of them that the Yucca Moth has
+destroyed by using them as cradles for her eggs. Now it is plain that
+the Yucca Moth has no individual experience of Yucca flowers, yet she
+secures the continuance of her race by a concatenation of actions which
+form part of her instinctive repertory.
+
+From a physiological point of view instinctive behaviour is like a chain
+of compound reflex actions, but in some cases, at least, there is reason
+to believe that the behaviour is suffused with awareness and backed by
+endeavour. This is suggested in exceptional cases where the stereotyped
+routine is departed from to meet exceptional conditions. It should also
+be noted that just as ants, hive bees, and wasps exhibit in most cases
+purely instinctive behaviour, but move on occasion on the main line of
+trial and error or of experimental initiative, so among birds and
+mammals the intelligent behaviour is sometimes replaced by instinctive
+routine. Perhaps there is no instinctive behaviour without a spice of
+intelligence, and no intelligent behaviour without an instinctive
+element. The old view that instinctive behaviour was originally
+intelligent, and that instinct is "lapsed intelligence," is a tempting
+one, and is suggested by the way in which habitual intelligent actions
+cease in the individual to require intelligent control, but it rests on
+the unproved hypothesis that the acquisitions of the individual can be
+entailed on the race. It is almost certain that instinct is on a line of
+evolution quite different from intelligence, and that it is nearer to
+the inborn inspirations of the calculating boy or the musical genius
+than to the plodding methods of intelligent learning.
+
+
+Animal Intelligence
+
+The higher reaches of the inclined plane of behaviour show intelligence
+in the strict sense. They include those kinds of behaviour which cannot
+be described without the suggestion that the animal makes some sort of
+perceptual inference, not only profiting by experience but learning by
+ideas. Such intelligent actions show great individual variability; they
+are plastic and adjustable in a manner rarely hinted at in connection
+with instincts where routine cannot be departed from without the
+creature being nonplussed; they are not bound up with particular
+circumstances as instinctive actions are, but imply an appreciative
+awareness of relations.
+
+When there is an experimenting with general ideas, when there is
+_conceptual_ as contrasted with _perceptual_ inference, we speak of
+Reason, but there is no evidence of this below the level of man. It is
+not, indeed, always that we can credit man with rational conduct, but he
+has the possibility of it ever within his reach.
+
+Animal instinct and intelligence will be illustrated in another part of
+this work. We are here concerned simply with the general question of the
+evolution of behaviour. There is a main line of tentative experimental
+behaviour both below and above the level of intelligence, and it has
+been part of the tactics of evolution to bring about the hereditary
+enregistration of capacities of effective response, the advantages being
+that the answers come more rapidly and that the creature is left free,
+if it chooses, for higher adventures.
+
+There is no doubt as to the big fact that in the course of evolution
+animals have shown an increasing complexity and masterfulness of
+behaviour, that they have become at once more controlled and more
+definitely free agents, and that the inner aspect of the
+behaviour--experimenting, learning, thinking, feeling, and willing--has
+come to count for more and more.
+
+
+Sec. 3
+
+Evolution of Parental Care
+
+Mammals furnish a crowning instance of a trend of evolution which
+expresses itself at many levels--the tendency to bring forth the young
+at a well-advanced stage and to an increase of parental care associated
+with a decrease in the number of offspring. There is a British starfish
+called _Luidia_ which has two hundred millions of eggs in a year, and
+there are said to be several millions of eggs in conger-eels and some
+other fishes. These illustrate the spawning method of solving the
+problem of survival. Some animals are naturally prolific, and the number
+of eggs which they sow broadcast in the waters allows for enormous
+infantile mortality and obviates any necessity for parental care.
+
+But some other creatures, by nature less prolific, have found an
+entirely different solution of the problem. They practise parental care
+and they secure survival with greatly economised reproduction. This is a
+trend of evolution particularly characteristic of the higher animals. So
+much so that Herbert Spencer formulated the generalisation that the size
+and frequency of the animal family is inverse ratio to the degree of
+evolution to which the animal has attained.
+
+Now there are many different methods of parental care which secure the
+safety of the young, and one of these is called viviparity. The young
+ones are not liberated from the parent until they are relatively well
+advanced and more or less able to look after themselves. This gives the
+young a good send-off in life, and their chances of death are greatly
+reduced. In other words, the animals that have varied in the direction
+of economised reproduction may keep their foothold in the struggle for
+existence if they have varied at the same time in the direction of
+parental care. In other cases it may have worked the other way round.
+
+In the interesting archaic animal called _Peripatus_, which has to face
+a modern world too severe for it, one of the methods of meeting the
+environing difficulties is the retention of the offspring for many
+months within the mother, so that it is born a fully-formed creature.
+There are only a few offspring at a time, and, although there are
+exceptional cases like the summer green-flies, which are very prolific
+though viviparous, the general rule is that viviparity is associated
+with a very small family. The case of flowering plants stands by itself,
+for although they illustrate a kind of viviparity, the seed being
+embryos, an individual plant may have a large number of flowers and
+therefore a huge family.
+
+Viviparity naturally finds its best illustrations among terrestrial
+animals, where the risks to the young life are many, and it finds its
+climax among mammals.
+
+Now it is an interesting fact that the three lowest mammals, the
+Duckmole and two Spiny Ant-eaters, lay eggs, i.e. are oviparous; that
+the Marsupials, on the next grade, bring forth their young, as it were,
+prematurely, and in most cases stow them away in an external pouch;
+while all the others--the Placentals--show a more prolonged ante-natal
+life and an intimate partnership between the mother and the unborn
+young.
+
+
+Sec. 4
+
+There is another way of looking at the sublime process of evolution. It
+has implied a mastery of all the possible haunts of life; it has been a
+progressive conquest of the environment.
+
+1. It is highly probable that living organisms found their foothold in
+the stimulating conditions of the shore of the sea--the shallow water,
+brightly illumined, seaweed-growing shelf fringing the Continents. This
+littoral zone was a propitious environment where sea and fresh water,
+earth and air all meet, where there is stimulating change, abundant
+oxygenation and a copious supply of nutritive material in what the
+streams bring down and in the rich seaweed vegetation.
+
+[Illustration: THE HOATZIN INHABITS BRITISH GUIANA
+
+The newly hatched bird has claws on its thumb and first finger and so is
+enabled to climb on the branches of trees with great dexterity until
+such time as the wings are strong enough to sustain it in flight.]
+
+[Illustration: _Photograph, from the British Museum (Natural History),
+of a drawing by Mr. E. Wilson._
+
+PERIPATUS
+
+A widely distributed old-fashioned type of animal, somewhat like a
+permanent caterpillar. It has affinities both with worms and with
+insects. It has a velvety skin, minute diamond-like eyes, and short
+stump-like legs. A defenceless, weaponless animal, it comes out at
+night, and is said to capture small insects by squirting jets of slime
+from its mouth.]
+
+[Illustration: _Photo: W. S. Berridge, F.Z.S._
+
+ROCK KANGAROO CARRYING ITS YOUNG IN A POUCH
+
+The young are born so helpless that they cannot even suck. The mother
+places them in the external pouch, and fitting their mouths on the teats
+injects the milk. After a time the young ones go out and in as they
+please.]
+
+It is not an easy haunt of life, but none the worse for that, and it is
+tenanted to-day by representatives of practically every class of animals
+from infusorians to seashore birds and mammals.
+
+
+The Cradle of the Open Sea
+
+2. The open-sea or pelagic haunt includes all the brightly illumined
+surface waters beyond the shallow water of the shore area.
+
+It is perhaps the easiest of all the haunts of life, for there is no
+crowding, there is considerable uniformity, and an abundance of food for
+animals is afforded by the inexhaustible floating "sea-meadows" of
+microscopic Algae. These are reincarnated in minute animals like the
+open-sea crustaceans, which again are utilised by fishes, these in turn
+making life possible for higher forms like carnivorous turtles and
+toothed whales. It is quite possible that the open sea was the original
+cradle of life and perhaps Professor Church is right in picturing a long
+period of pelagic life before there was any sufficiently shallow water
+to allow the floating plants to anchor. It is rather in favour of this
+view that many shore animals such as crabs and starfishes, spend their
+youthful stages in the relatively safe cradle of the open sea, and only
+return to the more strenuous conditions of their birthplace after they
+have gained considerable strength of body. It is probably safe to say
+that the honour of being the original cradle of life lies between the
+shore of the sea and the open sea.
+
+
+The Great Deeps
+
+3. A third haunt of life is the floor of the Deep Sea, the abyssal area,
+which occupies more than a half of the surface of the globe. It is a
+region of extreme cold--an eternal winter; of utter darkness--an eternal
+night--relieved only by the fitful gleams of "phosphorescent" animals;
+of enormous pressure--2-1/2 tons on the square inch at a depth of 2,500
+fathoms; of profound calm, unbroken silence, immense monotony. And as
+there are no plants in the great abysses, the animals must live on one
+another, and, in the long run, on the rain of moribund animalcules which
+sink from the surface through the miles of water. It seems a very
+unpromising haunt of life, but it is abundantly tenanted, and it gives
+us a glimpse of the insurgent nature of the living creature that the
+difficulties of the Deep Sea should have been so effectively conquered.
+It is probable that the colonising of the great abysses took place in
+relatively recent times, for the fauna does not include many very
+antique types. It is practically certain that the colonisation was due
+to littoral animals which followed the food-debris, millennium after
+millennium, further and further down the long slope from the shore.
+
+
+The Freshwaters
+
+4. A fourth haunt of life is that of the freshwaters, including river
+and lake, pond and pool, swamp and marsh. It may have been colonised by
+gradual migration up estuaries and rivers, or by more direct passage
+from the seashore into the brackish swamp. Or it may have been in some
+cases that partially landlocked corners of ancient seas became gradually
+turned into freshwater basins. The animal population of the freshwaters
+is very representative, and is diversely adapted to meet the
+characteristic contingencies--the risk of being dried up, the risk of
+being frozen hard in winter, and the risk of being left high and dry
+after floods or of being swept down to the sea.
+
+
+Conquest of the Dry Land
+
+5. The terrestrial haunt has been invaded age after age by contingents
+from the sea or from the freshwaters. We must recognise the worm
+invasion, which led eventually to the making of the fertile soil, the
+invasion due to air-breathing Arthropods, which led eventually to the
+important linkage between flowers and their insect visitors, and the
+invasion due to air-breathing Amphibians, which led eventually to the
+higher terrestrial animals and to the development of intelligence and
+family affection. Besides these three great invasions, there were minor
+ones such as that leading to land-snails, for there has been a
+widespread and persistent tendency among aquatic animals to try to
+possess the dry land.
+
+Getting on to dry land had a manifold significance.
+
+It implied getting into a medium with a much larger supply of oxygen
+than there is dissolved in the water. But the oxygen of the air is more
+difficult to capture, especially when the skin becomes hard or well
+protected, as it is almost bound to become in animals living on dry
+ground. Thus this leads to the development of _internal surfaces_, such
+as those of lungs, where the oxygen taken into the body may be absorbed
+by the blood. In most animals the blood goes to the surface of
+oxygen-capture; but in insects and their relatives there is a different
+idea--of taking the air to the blood or in greater part to the area of
+oxygen-combustion, the living tissues. A system of branching air-tubes
+takes air into every hole and corner of the insect's body, and this
+thorough aeration is doubtless in part the secret of the insect's
+intense activity. The blood never becomes impure.
+
+The conquest of the dry land also implied a predominance of that kind of
+locomotion which may be compared to punting, when the body is pushed
+along by pressing a lever against a hard substratum. And it also
+followed that with few exceptions the body of the terrestrial animal
+tended to be compact, readily lifted off the ground by the limbs or
+adjusted in some other way so that there may not be too large a surface
+trailing on the ground. An animal like a jellyfish, easily supported in
+the water, would be impossible on land. Such apparent exceptions as
+earthworms, centipedes, and snakes are not difficult to explain, for the
+earthworm is a burrower which eats its way through the soil, the
+centipede's long body is supported by numerous hard legs, and the snake
+pushes itself along by means of the large ventral scales to which the
+lower ends of very numerous ribs are attached.
+
+
+Methods of Mastering the Difficulties of Terrestrial Life
+
+A great restriction attendant on the invasion of the dry land is that
+locomotion becomes limited to one plane, namely, the surface of the
+earth. This is in great contrast to what is true in the water, where the
+animal can move up or down, to right or to left, at any angle and in
+three dimensions. It surely follows from this that the movements of land
+animals must be rapid and precise, unless, indeed, safety is secured in
+some other way. Hence it is easy to understand why most land animals
+have very finely developed striped muscles, and why a beetle running on
+the ground has far more numerous muscles than a lobster swimming in the
+sea.
+
+Land animals were also handicapped by the risks of drought and of frost,
+but these were met by defences of the most diverse description, from the
+hairs of woolly caterpillars to the fur of mammals, from the carapace of
+tortoises to the armour of armadillos. In other cases, it is hardly
+necessary to say, the difficulties may be met in other ways, as frogs
+meet the winter by falling into a lethargic state in some secluded
+retreat.
+
+Another consequence of getting on to dry land is that the eggs or young
+can no longer be set free anyhow, as is possible when the animal is
+surrounded by water, which is in itself more or less of a cradle. If the
+eggs were laid or the young liberated on dry ground, the chances are
+many that they would be dried up or devoured. So there are numerous ways
+in which land animals secure the safety of their young, e.g. by burying
+them in the ground, or by hiding them in nests, or by carrying them
+about for a prolonged period either before or after birth. This may mean
+great safety for the young, this may make it possible to have only a
+small family, and this may tend to the evolution of parental care and
+the kindly emotions. Thus it may be understood that from the conquest of
+the land many far-reaching consequences have followed.
+
+[Illustration: _Photo: Rischgitz._
+
+PROFESSOR THOMAS HENRY HUXLEY (1825-95)
+
+One of the most distinguished of zoologists, with unsurpassed gifts as a
+teacher and expositor. He did great service in gaining a place for
+science in ordinary education and in popular estimation. No one
+championed Evolutionism with more courage and skill.]
+
+[Illustration: BARON CUVIER, 1769-1832
+
+One of the founders of modern Comparative Anatomy. A man of gigantic
+intellect, who came to Paris as a youth from the provinces, and became
+the director of the higher education of France and a peer of the Empire.
+He was opposed to Evolutionist ideas, but he had anatomical genius.]
+
+[Illustration: AN ILLUSTRATION SHOWING VARIOUS METHODS OF FLYING AND
+SWOOPING
+
+Gull, with a feather-wing, a true flier. Fox-bat, with a skin-wing, a
+true flier. Flying Squirrel, with a parachute of skin, able to swoop
+from tree to tree, but not to fly. Flying Fish, with pectoral fins used
+as volplanes in a great leap due to the tail. To some extent able to
+sail in albatros fashion.]
+
+Finally, it is worth dwelling on the risks of terrestrial life, because
+they enable us better to understand why so many land animals have become
+burrowers and others climbers of trees, why some have returned to the
+water and others have taken to the air. It may be asked, perhaps, why
+the land should have been colonised at all when the risks and
+difficulties are so great. The answer must be that necessity and
+curiosity are the mother and father of invention. Animals left the water
+because the pools dried up, or because they were overcrowded, or because
+of inveterate enemies, but also because of that curiosity and spirit of
+adventure which, from first to last, has been one of the spurs of
+progress.
+
+
+Conquering the Air
+
+6. The last great haunt of life is the air, a mastery of which must be
+placed to the credit of insects, Pterodactyls, birds, and bats. These
+have been the successes, but it should be noted that there have been
+many brilliant failures, which have not attained to much more than
+parachuting. These include the Flying Fishes, which take leaps from the
+water and are carried for many yards and to considerable heights,
+holding their enlarged pectoral fins taut or with little more than a
+slight fluttering. There is a so-called Flying Frog (_Rhacophorus_) that
+skims from branch to branch, and the much more effective Flying Dragon
+(_Draco volans_) of the Far East, which has been mentioned already.
+Among mammals there are Flying Phalangers, Flying Lemurs, and more
+besides, all attaining to great skill as parachutists, and illustrating
+the endeavour to master the air which man has realised in a way of his
+own.
+
+The power of flight brings obvious advantages. A bird feeding on the
+ground is able to evade the stalking carnivore by suddenly rising into
+the air; food and water can be followed rapidly and to great distances;
+the eggs or the young can be placed in safe situations; and birds in
+their migrations have made a brilliant conquest both of time and space.
+Many of them know no winter in their year, and the migratory flight of
+the Pacific Golden Plover from Hawaii to Alaska and back again does not
+stand alone.
+
+
+THE PROCESSION OF LIFE THROUGH THE AGES
+
+Sec. 1
+
+The Rock Record
+
+How do we know when the various classes of animals and plants were
+established on the earth? How do we know the order of their appearance
+and the succession of their advances? The answer is: by reading the Rock
+Record. In the course of time the crust of the earth has been elevated
+into continents and depressed into ocean-troughs, and the surface of the
+land has been buckled up into mountain ranges and folded in gentler
+hills and valleys. The high places of the land have been weathered by
+air and water in many forms, and the results of the weathering have been
+borne away by rivers and seas, to be laid down again elsewhere as
+deposits which eventually formed sandstones, mudstones, and similar
+sedimentary rocks. Much of the material of the original crust has thus
+been broken down and worked up again many times over, and if the total
+thickness of the sedimentary rocks is added up it amounts, according to
+some geologists, to a total of 67 miles. In most cases, however, only a
+small part of this thickness is to be seen in one place, for the
+deposits were usually formed in limited areas at any one time.
+
+
+The Use of Fossils
+
+When the sediments were accumulating age after age, it naturally came
+about that remains of the plants and animals living at the time were
+buried, and these formed the fossils by the aid of which it is possible
+to read the story of the past. By careful piecing together of evidence
+the geologist is able to determine the order in which the different
+sedimentary rocks were laid down, and thus to say, for instance, that
+the Devonian period was the time of the origin of Amphibians. In other
+cases the geologist utilises the fossils in his attempt to work out the
+order of the strata when these have been much disarranged. For the
+simpler fossil forms of any type must be older than those that are more
+complex. There is no vicious circle here, for the general succession of
+strata is clear, and it is quite certain that there were fishes before
+there were amphibians, and amphibians before there were reptiles, and
+reptiles before there were birds and mammals. In certain cases, e.g. of
+fossil horses and elephants, the actual historical succession has been
+clearly worked out.
+
+If the successive strata contained good samples of all the plants and
+animals living at the time when the beds were formed, then it would be
+easy to read the record of the rocks, but many animals were too soft to
+become satisfactory fossils, many were eaten or dissolved away, many
+were destroyed by heat and pressure, so that the rock record is like a
+library very much damaged by fire and looting and decay.
+
+
+Sec. 2
+
+The Geological Time-table
+
+The long history of the earth and its inhabitants is conveniently
+divided into eras. Thus, just as we speak of the ancient, mediaeval, and
+modern history of mankind, so we may speak of Palaeozoic, Mesozoic and
+Cenozoic eras in the history of the earth as a whole.
+
+Geologists cannot tell us except in an approximate way how long the
+process of evolution has taken. One of the methods is to estimate how
+long has been required for the accumulation of the salts of the sea,
+for all these have been dissolved out of the rocks since rain began to
+fall on the earth. Dividing the total amount of saline matter by what is
+contributed every year in modern times, we get about a hundred million
+years as the age of the sea. But as the present rate of
+salt-accumulation is probably much greater than it was during many of
+the geological periods, the prodigious age just mentioned is in all
+likelihood far below the mark. Another method is to calculate how long
+it would take to form the sedimentary rocks, like sandstones and
+mudstones, which have a _total_ thickness of over fifty miles, though
+the _local_ thickness is rarely over a mile. As most of the materials
+have come from the weathering of the earth's crust, and as the annual
+amount of weathering now going on can be estimated, the time required
+for the formation of the sedimentary rocks of the world can be
+approximately calculated. There are some other ways of trying to tell
+the earth's age and the length of the successive periods, but no
+certainty has been reached.
+
+The eras marked on the table (page 92) as _before the Cambrian_
+correspond to about thirty-two miles of thickness of strata; and all the
+subsequent eras with fossil-bearing rocks to a thickness of about
+twenty-one miles--in itself an astounding fact. Perhaps thirty million
+years must be allotted to the Pre-Cambrian eras, eighteen to the
+Palaeozoic, nine to the Mesozoic, three to the Cenozoic, making a grand
+total of sixty millions.
+
+
+The Establishment of Invertebrate Stocks
+
+It is an astounding fact that at least half of geological time (the
+Archaeozoic and Proterozoic eras) passed before there were living
+creatures with parts sufficiently hard to form fossils. In the latter
+part of the Proterozoic era there are traces of one-celled marine
+animals (Radiolarians) with shells of flint, and of worms that wallowed
+in the primal mud. It is plain that as regards the most primitive
+creatures the rock record tells us little.
+
+[Illustration: _From Knipe's "Nebula to Man."_
+
+ANIMALS OF THE CAMBRIAN PERIOD e.g. Sponges, Jellyfish, Starfish,
+Sea-lilies, Water-fleas, and Trilobites]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+A TRILOBITE
+
+Trilobites were ancient seashore animals, abundant from the Upper
+Cambrian to the Carboniferous eras. They have no direct descendants
+to-day. They were jointed-footed animals, allied to Crustaceans and
+perhaps also to King-crabs. They were able to roll themselves up in
+their ring-armour.]
+
+[Illustration: _Photo: British Museum (Natural History)._
+
+THE GAMBIAN MUD-FISH, PROTOPTERUS
+
+It can breathe oxygen dissolved in water by its gills; it can also
+breathe dry air by means of its swim-bladder, which has become a lung.
+It is a _double-breather_, showing evolution in process. For seven
+months of the year, the dry season, it can remain inert in the mud,
+getting air through an open pipe to the surface. When water fills the
+pools it can use its gills again. Mud-nests or mud encasements with the
+lung-fish inside have often been brought to Britain and the fish when
+liberated were quite lively.]
+
+[Illustration: THE ARCHAEOPTERYX
+
+(_After William Leche of Stockholm._)
+
+A good restoration of the oldest known bird, Archaeopteryx (Jurassic
+Era). It was about the size of a crow; it had teeth on both jaws; it had
+claws on the thumb and two fingers; and it had a long lizard-like tail.
+But it had feathers, proving itself a true bird.]
+
+[Illustration: WING OF A BIRD, SHOWING THE ARRANGEMENT OF THE FEATHERS
+
+The longest feathers or primaries (PR) are borne by the two fingers (2
+and 3), and their palm-bones (CMC); the second longest or secondaries
+are borne by the ulna bone (U) of the fore-arm; there is a separate tuft
+(AS) on the thumb (TH).]
+
+The rarity of direct traces of life in the oldest rocks is partly due to
+the fact that the primitive animals would be of delicate build, but it
+must also be remembered that the ancient rocks have been profoundly and
+repeatedly changed by pressure and heat, so that the traces which did
+exist would be very liable to obliteration. And if it be asked what
+right we have to suppose the presence of living creatures in the absence
+or extreme rarity of fossils, we must point to great accumulations of
+limestone which indicate the existence of calcareous algae, and to
+deposits of iron which probably indicate the activity of iron-forming
+Bacteria. Ancient beds of graphite similarly suggest that green plants
+flourished in these ancient days.
+
+
+Sec. 3
+
+The Era of Ancient Life (Palaeozoic)
+
+The _Cambrian_ period was the time of the establishment of the chief
+stocks of backboneless animals such as sponges, jellyfishes, worms,
+sea-cucumbers, lamp-shells, trilobites, crustaceans, and molluscs. There
+is something very eloquent in the broad fact that the peopling of the
+seas had definitely begun some thirty million years ago, for Professor
+H. F. Osborn points out that in the Cambrian period there was already a
+colonisation of the shore of the sea, the open sea, and the deep waters.
+
+The _Ordovician_ period was marked by abundant representation of the
+once very successful class of Trilobites--jointed-footed,
+antenna-bearing, segmented marine animals, with numerous appendages and
+a covering of chitin. They died away entirely with the end of the
+Palaeozoic era. Also very notable was the abundance of predatory
+cuttlefishes, the bullies of the ancient seas. But it was in this period
+that the first backboned animals made their appearance--an epoch-making
+step in evolution. In other words, true fishes were evolved--destined in
+the course of ages to replace the cuttlefishes (which are mere molluscs)
+in dominating the seas.
+
+ _______________________________________________________________________
+
+ _RECENT TIMES_                            Human civilisation.
+ _______________________________________________________________________
+
+                      {PLEISTOCENE OR GLACIAL TIME Last great Ice Age.
+ _CENOZOIC ERA_       {MIOCENE AND PLIOCENE TIMES  Emergence of Man.
+                      {EOCENE AND OLIGOCENE TIMES  Rise of higher mammals.
+ _______________________________________________________________________
+
+                      {CRETACEOUS PERIOD    Rise of primitive mammals,
+                      {                      flowering plants,
+                      {                      and higher insects.
+ _MESOZOIC ERA_       {JURASSIC PERIOD      Rise of birds and flying
+                      {                      reptiles.
+                      {TRIASSIC PERIOD      Rise of dinosaur reptiles.
+ _______________________________________________________________________
+
+                      {PERMIAN PERIOD       Rise of reptiles.
+                      {CARBONIFEROUS PERIOD Rise of insects.
+                      {DEVONIAN PERIOD      First amphibians.
+ _PALAEOZOIC ERA_      {SILURIAN PERIOD      Land animals began.
+                      {ORDOVICIAN PERIOD    First fishes.
+                      {CAMBRIAN PERIOD      Peopling of the sea.
+ _______________________________________________________________________
+
+ _PROTEROZOIC AGES_   Many of the Backboneless stocks began.
+ _ARCHAEOZOIC AGES_    Living creatures began to be upon the earth.
+ _______________________________________________________________________
+
+                      {Making of continents and ocean-basins.
+                      {Beginnings of atmosphere and hydrosphere.
+ _FORMATIVE TIMES_    {Cooling of the earth.
+                      {Establishment of the solar system.
+ _______________________________________________________________________
+
+In the _Silurian_ period in which the peopling of the seas went on
+apace, there was the first known attempt at colonising the dry land. For
+in Silurian rocks there are fossil scorpions, and that implies ability
+to breathe dry air--by means of internal surfaces, in this case known as
+lungbooks. It was also towards the end of the Silurian, when a period of
+great aridity set in, that fishes appeared related to our mud-fishes or
+double-breathers (Dipnoi), which have lungs as well as gills. This,
+again, meant utilising dry air, just as the present-day mud-fishes do
+when the water disappears from the pools in hot weather. The lung-fishes
+or mud-fishes of to-day are but three in number, one in Queensland, one
+in South America, and one in Africa, but they are extremely
+interesting "living fossils," binding the class of fishes to that of
+amphibians. It is highly probable that the first invasion of the dry
+land should be put to the credit of some adventurous worms, but the
+second great invasion was certainly due to air-breathing Arthropods,
+like the pioneer scorpion we mentioned.
+
+[Illustration: PICTORIAL REPRESENTATION OF THE SUCCESSIVE STRATA OF THE
+EARTH'S CRUST, WITH SUGGESTIONS OF CHARACTERISTIC FOSSILS
+
+E.g. Fish and Trilobite in the Devonian (red), a large Amphibian in the
+Carboniferous (blue), Reptiles in Permian (light red), the first Mammal
+in the Triassic (blue), the first Bird in the Jurassic (yellow), Giant
+Reptiles in the Cretaceous (white), then follow the Tertiary strata with
+progressive mammals, and Quaternary at the top with man and mammoth.]
+
+The _Devonian_ period, including that of the Old Red Sandstone, was one
+of the most significant periods in the earth's history. For it was the
+time of the establishment of flowering plants upon the earth and of
+terrestrial backboned animals. One would like to have been the
+discoverer of the Devonian foot-print of _Thinopus_, the first known
+Amphibian foot-print--an eloquent vestige of the third great invasion of
+the dry land. It was probably from a stock of Devonian lung-fishes that
+the first Amphibians sprang, but it was not till the next period that
+they came to their own. While they were still feeling their way, there
+was a remarkable exuberance of shark-like and heavily armoured fishes in
+the Devonian seas.
+
+
+EVOLUTION OF LAND ANIMALS
+
+Sec. 1
+
+Giant Amphibians and Coal-measures
+
+The _Carboniferous_ period was marked by a mild moist climate and a
+luxuriant vegetation in the swampy low grounds. It was a much less
+strenuous time than the Devonian period; it was like a very long summer.
+There were no trees of the type we see now, but there were forests of
+club-mosses and horsetails which grew to a gigantic size compared with
+their pigmy representatives of to-day. In these forests the
+jointed-footed invaders of the dry land ran riot in the form of
+centipedes, spiders, scorpions, and insects, and on these the primeval
+Amphibians fed. The appearance of insects made possible a new linkage of
+far-reaching importance, namely, the cross-fertilisation of flowering
+plants by their insect visitors, and from this time onwards it may be
+said that flowers and their visitors have evolved hand in hand.
+Cross-fertilisation is much surer by insects than by the wind, and
+cross-fertilisation is more advantageous than self-fertilisation because
+it promotes both fertility and plasticity. It was probably in this
+period that _coloured_ flowers--attractive to insect-visitors--began to
+justify themselves as beauty became useful, and began to relieve the
+monotonous green of the horsetail and club-moss forests, which covered
+great tracts of the earth for millions of years. In the Carboniferous
+forests there were also land-snails, representing one of the minor
+invasions of the dry land, tending on the whole to check vegetation.
+They, too, were probably preyed upon by the Amphibians, some of which
+attained a large size. Each age has had its giants, and those of the
+Carboniferous were Amphibians called Labyrinthodonts, some of which were
+almost as big as donkeys. It need hardly be said that it was in this
+period that most of the Coal-measures were laid down by the immense
+accumulation of the spores and debris of the club-moss forests. Ages
+afterwards, it was given to man to tap this great source of
+energy--traceable back to the sunshine of millions of years ago. Even
+then it was true that no plant or animal lives or dies to itself!
+
+
+The Acquisitions of Amphibians.
+
+As Amphibians had their Golden Age in the Carboniferous period we may
+fitly use this opportunity of indicating the advances in evolution which
+the emergence of Amphibians implied. (1) In the first place the passage
+from water to dry land was the beginning of a higher and more promiseful
+life, taxed no doubt by increased difficulties. The natural question
+rises why animals should have migrated from water to dry land at all
+when great difficulties were involved in the transition. The answers
+must be: (_a_) that local drying up of water-basins or elevations of the
+land surface often made the old haunts untenable; (_b_) that there may
+have been great congestion and competition in the old quarters; and
+(_c_) that there has been an undeniable endeavour after well-being
+throughout the history of animal life. In the same way with mankind,
+migrations were prompted by the setting in of prolonged drought, by
+over-population, and by the spirit of adventure. (2) In Amphibians for
+the first time the non-digitate paired fins of fishes were replaced by
+limbs with fingers and toes. This implied an advantageous power of
+grasping, of holding firm, of putting food into the mouth, of feeling
+things in three dimensions. (3) We cannot be positive in regard to the
+soft parts of the ancient Amphibians known only as fossils, but if they
+were in a general way like the frogs and toads, newts and salamanders of
+the present day, we may say that they made among other acquisitions the
+following: true ventral lungs, a three-chambered heart, a movable
+tongue, a drum to the ear, and lids to the eyes. It is very interesting
+to find that though the tongue of the tadpole has some muscle-fibres in
+it, they are not strong enough to effect movement, recalling the tongue
+of fishes, which has not any muscles at all. Gradually, as the tadpole
+becomes a frog, the muscle-fibres grow in strength, and make it possible
+for the full-grown creature to shoot out its tongue upon insects. This
+is probably a recapitulation of what was accomplished in the course of
+millennia in the history of the Amphibian race. (4) Another acquisition
+made by Amphibians was a voice, due, as in ourselves, to the rapid
+passage of air over taut membranes (vocal cords) stretched in the
+larynx. It is an interesting fact that for millions of years there was
+upon the earth no sound of life at all, only the noise of wind and wave,
+thunder and avalanche. Apart from the instrumental music of some
+insects, perhaps beginning in the Carboniferous, the first vital sounds
+were due to Amphibians, and theirs certainly was the first voice--surely
+one of the great steps in organic evolution.
+
+[Illustration: _Photo: British Museum (Natural History)._
+
+FOSSIL OF A PTERODACTYL OR EXTINCT FLYING DRAGON
+
+The wing is made of a web of skin extended on the enormously elongated
+outermost finger. The long tail served for balancing and steering. The
+Pterodactyls varied from the size of sparrows to a wing-span of fifteen
+feet--the largest flying creatures.]
+
+[Illustration: _From Knipe's "Nebula to Man."_
+
+PARIASAURUS: AN EXTINCT VEGETARIAN TRIASSIC REPTILE
+
+Total length about 9 feet. (Remains found in Cape Colony, South
+Africa.)]
+
+[Illustration: _From Knipe's "Nebula to Man."_
+
+TRICERATOPS: A HUGE EXTINCT REPTILE
+
+(From remains found in Cretaceous strata of Wyoming, U.S.A.)
+
+This Dinosaur, about the size of a large rhinoceros, had a huge
+three-horned skull with a remarkable bony collar over the neck. But, as
+in many other cases, its brain was so small that it could have passed
+down the spinal canal in which the spinal cord lies. Perhaps this partly
+accounts for the extinction of giant reptiles.]
+
+[Illustration: _Photo: "Daily Mail."_
+
+THE DUCKMOLE OR DUCK-BILLED PLATYPUS OF AUSTRALIA
+
+The Duckmole or Duck-billed Platypus of Australia is a survivor of the
+most primitive mammals. It harks back to reptiles, e.g. in being an
+egg-layer, in having comparatively large eggs, and in being imperfectly
+warm-blooded. It swims well and feeds on small water-animals. It can
+also burrow.]
+
+
+Evolution of the Voice
+
+The first use of the voice was probably that indicated by our frogs and
+toads--it serves as a sex-call. That is the meaning of the trumpeting
+with which frogs herald the spring, and it is often only in the males
+that the voice is well developed. But if we look forward, past
+Amphibians altogether, we find the voice becoming a maternal call
+helping to secure the safety of the young--a use very obvious when young
+birds squat motionless at the sound of the parent's danger-note. Later
+on, probably, the voice became an infantile call, as when the unhatched
+crocodile pipes from within the deeply buried egg, signalling to the
+mother that it is time to be unearthed. Higher still the voice expresses
+emotion, as in the song of birds, often outside the limits of the
+breeding time. Later still, particular sounds become words, signifying
+particular things or feelings, such as "food," "danger," "home,"
+"anger," and "joy." Finally words become a medium of social intercourse
+and as symbols help to make it possible for man to reason.
+
+
+Sec. 2
+
+The Early Reptiles
+
+In the _Permian_ period reptiles appeared, or perhaps one should say,
+began to assert themselves. That is to say, there was an emergence of
+backboned animals which were free from water and relinquished the method
+of breathing by gills, which Amphibians retained in their young stages
+at least. The unhatched or unborn reptile breathes by means of a
+vascular hood spread underneath the egg-shell and absorbing dry air from
+without. It is an interesting point that this vascular hood, called the
+allantois, is represented in the Amphibians by an unimportant bladder
+growing out from the hind end of the food-canal. A great step in
+evolution was implied in the origin of this ante-natal hood or foetal
+membrane and another one--of protective significance--called the amnion,
+which forms a water-bag over the delicate embryo. The step meant total
+emancipation from the water and from gill-breathing, and the two
+foetal membranes, the amnion and the allantois, persist not only in
+all reptiles but in birds and mammals as well. These higher Vertebrates
+are therefore called Amniota in contrast to the Lower Vertebrates or
+Anamnia (the Amphibians, Fishes, and primitive types).
+
+It is a suggestive fact that the embryos of all reptiles, birds, and
+mammals show gill-clefts--_a tell-tale evidence of their distant aquatic
+ancestry_. But these embryonic gill-clefts are not used for respiration
+and show no trace of gills except in a few embryonic reptiles and birds
+where their dwindled vestiges have been recently discovered. As to the
+gill-clefts, they are of no use in higher Vertebrates except that the
+first becomes the Eustachian tube leading from the ear-passage to the
+back of the mouth. The reason why they persist when only one is of any
+use, and that in a transformed guise, would be difficult to interpret
+except in terms of the Evolution theory. They illustrate the lingering
+influence of a long pedigree, the living hand of the past, the tendency
+that individual development has to recapitulate racial evolution. In a
+condensed and telescoped manner, of course, for what took the race a
+million years may be recapitulated by the individual in a week!
+
+In the Permian period the warm moist climate of most of the
+Carboniferous period was replaced by severe conditions, culminating in
+an Ice Age which spread from the Southern Hemisphere throughout the
+world. With this was associated a waning of the Carboniferous flora, and
+the appearance of a new one, consisting of ferns, conifers, ginkgos, and
+cycads, which persisted until near the end of the Mesozoic era. The
+Permian Ice Age lasted for millions of years, and was most severe in the
+Far South. Of course, it was a very different world then, for North
+Europe was joined to North America, Africa to South America, and
+Australia to Asia. It was probably during the Permian Ice Age that many
+of the insects divided their life-history into two main chapters--the
+feeding, growing, moulting, immature, larval stages, e.g. caterpillars,
+and the more ascetic, non-growing, non-moulting, winged phase, adapted
+for reproduction. Between these there intervened the quiescent,
+well-protected pupa stage or chrysalis, probably adapted to begin with
+as a means of surviving the severe winter. For it is easier for an
+animal to survive when the vital processes are more or less in abeyance.
+
+
+Disappearance of many Ancient Types
+
+We cannot leave the last period of the Palaeozoic era and its prolonged
+ice age without noticing that it meant the entire cessation of a large
+number of ancient types, especially among plants and backboneless
+animals, which now disappear for ever. It is necessary to understand
+that the animals of ancient days stand in three different relations to
+those of to-day. (_a_) There are ancient types that have living
+representatives, sometimes few and sometimes many, sometimes much
+changed and sometimes but slightly changed. The lamp-shell,
+_Lingulella_, of the Cambrian and Ordovician period has a very near
+relative in the _Lingula_ of to-day. There are a few extremely
+conservative animals. (_b_) There are ancient types which have no living
+representatives, except in the guise of transformed descendants, as the
+King-crab (_Limulus_) may be said to be a transformed descendant of the
+otherwise quite extinct race to which Eurypterids or Sea-scorpions
+belonged. (_c_) There are altogether extinct types--_lost races_--which
+have left not a wrack behind. For there is not any representation to-day
+of such races as Graptolites and Trilobites.
+
+Looking backwards over the many millions of years comprised in the
+Palaeozoic era, what may we emphasise as the most salient features? There
+was in the _Cambrian_ the establishment of the chief classes of
+backboneless animals; in the _Ordovician_ the first fishes and perhaps
+the first terrestrial plants; in the _Silurian_ the emergence of
+air-breathing Invertebrates and mud-fishes; in the _Devonian_ the
+appearance of the first Amphibians, from which all higher land animals
+are descended, and the establishment of a land flora; in the
+_Carboniferous_ the great Club-moss forests and an exuberance of
+air-breathing insects and their allies; in the _Permian_ the first
+reptiles and a new flora.
+
+
+THE GEOLOGICAL MIDDLE AGES
+
+Sec. 1
+
+The Mesozoic Era
+
+In a broad way the Mesozoic era corresponds with the Golden Age of
+reptiles, and with the climax of the Conifer and Cycad flora, which was
+established in the Permian. But among the Conifers and Cycads our modern
+flowering plants were beginning to show face tentatively, just like
+birds and mammals among the great reptiles.
+
+In the _Triassic_ period the exuberance of reptilian life which marked
+the Permian was continued. Besides Turtles which still persist, there
+were Ichthyosaurs, Plesiosaurs, Dinosaurs, and Pterosaurs, none of which
+lasted beyond the Mesozoic era. Of great importance was the rise of the
+Dinosaurs in the Triassic, for it is highly probable that within the
+limits of this vigorous and plastic stock--some of them bipeds--we must
+look for the ancestors of both birds and mammals. Both land and water
+were dominated by reptiles, some of which attained to gigantic size. Had
+there been any zoologist in those days, he would have been very
+sagacious indeed if he had suspected that reptiles did not represent the
+climax of creation.
+
+
+The Flying Dragons
+
+The _Jurassic_ period showed a continuance of the reptilian splendour.
+They radiated in many directions, becoming adapted to many haunts. Thus
+there were many Fish Lizards paddling in the seas, many types of
+terrestrial dragons stalking about on land, many swiftly gliding
+alligator-like forms, and the Flying Dragons which began in the Triassic
+attained to remarkable success and variety. Their wing was formed by the
+extension of a great fold of skin on the enormously elongated outermost
+finger, and they varied from the size of a sparrow to a spread of over
+five feet. A soldering of the dorsal vertebrae as in our Flying Birds was
+an adaptation to striking the air with some force, but as there is not
+more than a slight keel, if any, on the breast-bone, it is unlikely that
+they could fly far. For we know from our modern birds that the power of
+flight may be to some extent gauged from the degree of development of
+the keel, which is simply a great ridge for the better insertion of the
+muscles of flight. It is absent, of course, in the Running Birds, like
+the ostrich, and it has degenerated in an interesting way in the
+burrowing parrot (_Stringops_) and a few other birds that have "gone
+back."
+
+
+The First Known Bird
+
+But the Jurassic is particularly memorable because its strata have
+yielded two fine specimens of the first known bird, _Archaeopteryx_.
+These were entombed in the deposits which formed the fine-grained
+lithographic stones of Bavaria, and practically every bone in the body
+is preserved except the breast-bone. Even the feathers have left their
+marks with distinctness. This oldest known bird--too far advanced to be
+the first bird--was about the size of a crow and was probably of
+arboreal habits. Of great interest are its reptilian features, so
+pronounced that one cannot evade the evolutionist suggestion. It had
+teeth in both jaws, which no modern bird has; it had a long lizard-like
+tail, which no modern bird has; it had claws on three fingers, and a
+sort of half-made wing. That is to say, it does not show, what all
+modern birds show, a fusion of half the wrist-bones with the whole of
+the palm-bones, the well-known carpo-metacarpus bone which forms a basis
+for the longest pinions. In many reptiles, such as Crocodiles, there are
+peculiar bones running across the abdomen beneath the skin, the
+so-called "abdominal ribs," and it seems an eloquent detail to find
+these represented in _Archaeopteryx_, the earliest known bird. No modern
+bird shows any trace of them. [Illustration: SKELETON OF AN EXTINCT
+FLIGHTLESS TOOTHED BIRD, HESPERORNIS
+
+(_After Marsh._)
+
+The bird was five or six feet high, something like a swimming ostrich,
+with a very powerful leg but only a vestige of a wing. There were sharp
+teeth in a groove. The modern divers come nearest to this ancient
+type.]
+
+[Illustration: SIX STAGES IN THE EVOLUTION OF THE HORSE, SHOWING GRADUAL
+INCREASE IN SIZE
+
+(_After Lull and Matthew._)
+
+1. Four-toed horse, Eohippus, about one foot high. Lower Eocene, N.
+America.
+
+2. Another four-toed horse, Orohippus, a little over a foot high. Middle
+Eocene, N. America.
+
+3. Three-toed horse, Mesohippus, about the size of a sheep. Middle
+Oligocene, N. America.
+
+4. Three-toed horse, Merychippus, Miocene, N. America. Only one toe
+reaches the ground on each foot, but the remains of two others are
+prominent.
+
+5. The first one-toed horse, Pliohippus, about forty inches high at the
+shoulder. Pliocene, N. America.
+
+6. The modern horse, running on the third digit of each foot.]
+
+There is no warrant for supposing that the flying reptiles or
+Pterodactyls gave rise to birds, for the two groups are on different
+lines, and the structure of the wings is entirely different. Thus the
+long-fingered Pterodactyl wing was a parachute wing, while the secret of
+the bird's wing has its centre in the feathers. It is highly probable
+that birds evolved from certain Dinosaurs which had become bipeds, and
+it is possible that they were for a time swift runners that took "flying
+jumps" along the ground. Thereafter, perhaps, came a period of arboreal
+apprenticeship during which there was much gliding from tree to tree
+before true flight was achieved. It is an interesting fact that the
+problem of flight has been solved four times among animals--by insects,
+by Pterodactyls, by birds, and by bats; and that the four solutions are
+on entirely different lines.
+
+In the _Cretaceous_ period the outstanding events included the waning of
+giant reptiles, the modernising of the flowering plants, and the
+multiplication of small mammals. Some of the Permian reptiles, such as
+the dog-toothed Cynodonts, were extraordinarily mammal-like, and it was
+probably from among them that definite mammals emerged in the Triassic.
+Comparatively little is known of the early Triassic mammals save that
+their back-teeth were marked by numerous tubercles on the crown, but
+they were gaining strength in the late Triassic when small arboreal
+insectivores, not very distant from the modern tree-shrews (_Tupaia_),
+began to branch out in many directions indicative of the great divisions
+of modern mammals, such as the clawed mammals, hoofed mammals, and the
+race of monkeys or Primates. In the Upper Cretaceous there was an
+exuberant "radiation" of mammals, adaptive to the conquest of all sorts
+of haunts, and this was vigorously continued in Tertiary times.
+
+There is no difficulty in the fact that the earliest remains of definite
+mammals in the Triassic precede the first-known bird in the Jurassic.
+For although we usually rank mammals as higher than birds (being mammals
+ourselves, how could we do otherwise?), there are many ways in which
+birds are pre-eminent, e.g. in skeleton, musculature, integumentary
+structures, and respiratory system. The fact is that birds and mammals
+are on two quite different tacks of evolution, not related to one
+another, save in having a common ancestry in extinct reptiles. Moreover,
+there is no reason to believe that the Jurassic _Archaeopteryx_ was the
+first bird in any sense except that it is the first of which we have any
+record. In any case it is safe to say that birds came to their own
+before mammals did.
+
+Looking backwards, we may perhaps sum up what is most essential in the
+Mesozoic era in Professor Schuchert's sentence: "The Mesozoic is the Age
+of Reptiles, and yet the little mammals and the toothed birds are
+storing up intelligence and strength to replace the reptiles when the
+cycads and conifers shall give way to the higher flowering plants."
+
+
+Sec. 2
+
+The Cenozoic or Tertiary Era
+
+In the _Eocene_ period there was a replacement of the small-brained
+archaic mammals by big-brained modernised types, and with this must be
+associated the covering of the earth with a garment of grass and dry
+pasture. Marshes were replaced by meadows and browsing by grazing
+mammals. In the spreading meadows an opportunity was also offered for a
+richer evolution of insects and birds.
+
+During the _Oligocene_ the elevation of the land continued, the climate
+became much less moist, and the grazing herds extended their range.
+
+The _Miocene_ was the mammalian Golden Age and there were crowning
+examples of what Osborn calls "adaptive radiation." That is to say,
+mammals, like the reptiles before them, conquer every haunt of life.
+There are flying bats, volplaning parachutists, climbers in trees like
+sloths and squirrels, quickly moving hoofed mammals, burrowers like the
+moles, freshwater mammals, like duckmole and beaver, shore-frequenting
+seals and manatees, and open-sea cetaceans, some of which dive far more
+than full fathoms five. It is important to realise the perennial
+tendency of animals to conquer every corner and to fill every niche of
+opportunity, and to notice that this has been done by successive sets of
+animals in succeeding ages. _Most notably the mammals repeat all the
+experiments of reptiles on a higher turn of the spiral._ Thus arises
+what is called convergence, the superficial resemblance of unrelated
+types, like whales and fishes, the resemblance being due to the fact
+that the different types are similarly adapted to similar conditions of
+life. Professor H. F. Osborn points out that mammals may seek any one of
+the twelve different habitat-zones, and that in each of these there may
+be six quite different kinds of food. Living creatures penetrate
+everywhere like the overflowing waters of a great river in flood.
+
+
+Sec. 3
+
+The _Pliocene_ period was a more strenuous time, with less genial
+climatic conditions, and with more intense competition. Old land bridges
+were broken and new ones made, and the geographical distribution
+underwent great changes. Professor R. S. Lull describes the _Pliocene_
+as "a period of great unrest." "Many migrations occurred the world over,
+new competitions arose, and the weaker stocks began to show the effects
+of the strenuous life. One momentous event seems to have occurred in the
+Pliocene, and that was the transformation of the precursor of humanity
+into man--the culmination of the highest line of evolution."
+
+The _Pleistocene_ period was a time of sifting. There was a continued
+elevation of the continental masses, and Ice Ages set in, relieved by
+less severe interglacial times when the ice-sheets retreated northwards
+for a time. Many types, like the mammoth, the woolly rhinoceros, the
+sabre-toothed tiger, the cave-lion, and the cave-bear, became extinct.
+Others which formerly had a wide range became restricted to the Far
+North or were left isolated here and there on the high mountains, like
+the Snow Mouse, which now occurs on isolated Alpine heights above the
+snow-line. Perhaps it was during this period that many birds of the
+Northern Hemisphere learned to evade the winter by the sublime device of
+migration.
+
+Looking backwards we may quote Professor Schuchert again:
+
+    "The lands in the Cenozoic began to bloom with more and more
+    flowering plants and grand hardwood forests, the atmosphere is
+    scented with sweet odours, a vast crowd of new kinds of insects
+    appear, and the places of the once dominant reptiles of the lands
+    and seas are taken by the mammals. Out of these struggles there
+    rises a greater intelligence, seen in nearly all of the mammal
+    stocks, but particularly in one, the monkey-ape-man. Brute man
+    appears on the scene with the introduction of the last glacial
+    climate, a most trying time for all things endowed with life, and
+    finally there results the dominance of reasoning man over all his
+    brute associates."
+
+In man and human society the story of evolution has its climax.
+
+
+The Ascent of Man
+
+Man stands apart from animals in his power of building up general ideas
+and of using these in the guidance of his behaviour and the control of
+his conduct. This is essentially wrapped up with his development of
+language as an instrument of thought. Some animals have words, but man
+has language (Logos). Some animals show evidence of _perceptual_
+inference, but man often gets beyond this to _conceptual_ inference
+(Reason). Many animals are affectionate and brave, self-forgetful and
+industrious, but man "thinks the ought," definitely guiding his conduct
+in the light of ideals, which in turn are wrapped up with the fact that
+he is "a social person."
+
+Besides his big brain, which may be three times as heavy as that of a
+gorilla, man has various physical peculiarities. He walks erect, he
+plants the sole of his foot flat on the ground, he has a chin and a good
+heel, a big forehead and a non-protrusive face, a relatively uniform set
+of teeth without conspicuous canines, and a relatively naked body.
+
+[Illustration: DIAGRAM SHOWING SEVEN STAGES IN THE EVOLUTION OF THE
+FORE-LIMBS AND HIND-LIMBS OF THE ANCESTORS OF THE MODERN HORSE,
+BEGINNING WITH THE EARLIEST KNOWN PREDECESSORS OF THE HORSE AND
+CULMINATING WITH THE HORSE OF TO-DAY
+
+(_After Marsh and Lull._)
+
+1 and 1A, fore-limb and hind-limb of Eohippus; 2 and 2A, Orohippus; 3
+and 3A, Mesohippus; 4 and 4A, Hypohippus; 5 and 5A, Merychippus; 6 and
+6A, Hipparion; 7 and 7A, the modern horse. Note how the toes shorten and
+disappear.]
+
+[Illustration: A. Fore-limb of Monkey B. Fore-limb of Whale
+
+WHAT IS MEANT BY HOMOLOGY? ESSENTIAL SIMILARITY OF ARCHITECTURE, THOUGH
+THE APPEARANCES MAY BE VERY DIFFERENT
+
+This is seen in comparing these two fore-limbs, A, of Monkey, B, of
+Whale. They are as different as possible, yet they show the same bones,
+e.g. SC, the scapula or shoulder-blade; H, the humerus or upper arm; R
+and U, the radius and ulna of the fore-arm; CA, the wrist; MC, the palm;
+and then the fingers.]
+
+But in spite of man's undeniable apartness, there is no doubt as to his
+solidarity with the rest of creation. There is an "all-pervading
+similitude of structure," between man and the Anthropoid Apes, though it
+is certain that it is not from any living form that he took his origin.
+None of the anatomical distinctions, except the heavy brain, could be
+called momentous. Man's body is a veritable museum of relics (vestigial
+structures) inherited from pre-human ancestors. In his everyday bodily
+life and in some of its disturbances, man's pedigree is often revealed.
+Even his facial expression, as Darwin showed, is not always human. Some
+fossil remains bring modern man nearer the anthropoid type.
+
+It is difficult not to admit the ring of truth in the closing words of
+Darwin's _Descent of Man_:
+
+    "We must, however, acknowledge, as it seems to me, that man, with
+    all his noble qualities, with sympathy which feels for the most
+    debased, with benevolence which extends not only to other men but to
+    the humblest living creature, with his God-like intellect which has
+    penetrated into the movements and constitution of the solar
+    system--with all these exalted powers--man still bears in his bodily
+    frame the indelible stamp of his lowly origin."
+
+
+THE EVOLVING SYSTEM OF NATURE
+
+There is another side of evolution so obvious that it is often
+overlooked, the tendency to link lives together in vital
+inter-relations. Thus flowers and their insect visitors are often
+vitally interlinked in mutual dependence. Many birds feed on berries and
+distribute the seeds. The tiny freshwater snail is the host of the
+juvenile stages of the liver-fluke of the sheep. The mosquito is the
+vehicle of malaria from man to man, and the tse-tse fly spreads sleeping
+sickness. The freshwater mussel cannot continue its race without the
+unconscious co-operation of the minnow, and the freshwater fish called
+the bitterling cannot continue its race without the unconscious
+co-operation of the mussel. There are numerous mutually beneficial
+partnerships between different kinds of creatures, and other
+inter-relations where the benefit is one-sided, as in the case of
+insects that make galls on plants. There are also among kindred animals
+many forms of colonies, communities, and societies. Nutritive chains
+bind long series of animals together, the cod feeding on the whelk, the
+whelk on the worm, the worm on the organic dust of the sea. There is a
+system of successive incarnations and matter is continually passing from
+one embodiment to another. These instances must suffice to illustrate
+the central biological idea of the web of life, the interlinked System
+of Animate Nature. Linnaeus spoke of the Systema Naturae, meaning the
+orderly hierarchy of classes, orders, families, genera, and species; but
+we owe to Darwin in particular some knowledge of a more dynamic Systema
+Naturae, the network of vital inter-relations. This has become more and
+more complex as evolution has continued, and man's web is most complex
+of all. It means making Animate Nature more of a unity; it means an
+external method of registering steps of progress; it means an evolving
+set of sieves by which new variations are sifted, and living creatures
+are kept from slipping down the steep ladder of evolution.
+
+
+Parasitism
+
+It sometimes happens that the inter-relation established between one
+living creature and another works in a retrograde direction. This is the
+case with many thoroughgoing internal parasites which have sunk into an
+easygoing kind of life, utterly dependent on their host for food,
+requiring no exertions, running no risks, and receiving no spur to
+effort. Thus we see that evolution is not necessarily progressive;
+everything depends on the conditions in reference to which the living
+creatures have been evolved. When the conditions are too easygoing, the
+animal may be thoroughly well adapted to them--as a tapeworm certainly
+is--but it slips down the rungs of the ladder of evolution.
+
+This is an interesting minor chapter in the story of evolution--the
+establishment of different kinds of parasites, casual and constant,
+temporary and lifelong, external hangers-on and internal unpaying
+boarders, those that live in the food-canal and depend on the host's
+food and those that inhabit the blood or the tissues and find their food
+there. It seems clear that ichneumon grubs and the like which hatch
+inside a caterpillar and eat it alive are not so much parasites as
+"beasts of prey" working from within.
+
+But there are two sides to this minor chapter: there is the evolution of
+the parasite, and there is also the evolution of counteractive measures
+on the part of the host. Thus there is the maintenance of a bodyguard of
+wandering amoeboid cells, which tackle the microbes invading the body
+and often succeed in overpowering and digesting them. Thus, again, there
+is the protective capacity the blood has of making antagonistic
+substances or "anti-bodies" which counteract poisons, including the
+poisons which the intruding parasites often make.
+
+
+THE EVIDENCES OF EVOLUTION--HOW IT CAME ABOUT
+
+Sec. 1
+
+Progress in Evolution
+
+There has often been slipping back and degeneracy in the course of
+evolution, but the big fact is that there has been progress. For
+millions of years Life has been slowly creeping upwards, and if we
+compare the highest animals--Birds and Mammals--with their predecessors,
+we must admit that they are more controlled, more masters of their
+fate, with more mentality. Evolution is on the whole _integrative_; that
+is to say, it makes against instability and disorder, and towards
+harmony and progress. Even in the rise of Birds and Mammals we can
+discern that the evolutionary process was making towards a fuller
+embodiment or expression of what Man values most--control, freedom,
+understanding, and love. The advance of animal life through the ages has
+been chequered, but on the whole it has been an advance towards
+increasing fullness, freedom, and fitness of life. In the study of this
+advance--the central fact of Organic Evolution--there is assuredly much
+for Man's instruction and much for his encouragement.
+
+
+Evidences of Evolution
+
+In all this, it may be said, the fact of evolution has been taken for
+granted, but what are the evidences? Perhaps it should be frankly
+answered that the idea of evolution, that the present is the child of
+the past and the parent of the future, cannot be _proved_ as one may
+prove the Law of Gravitation. All that can be done is to show that it is
+a key--a way of looking at things--that fits the facts. There is no lock
+that it does not open.
+
+But if the facts that the evolution theory vividly interprets be called
+the evidences of its validity, there is no lack of them. There is
+_historical_ evidence; and what is more eloquent than the general fact
+that fishes emerge before amphibians, and these before reptiles, and
+these before birds, and so on? There are wonderfully complete fossil
+series, e.g. among cuttlefishes, in which we can almost see evolution in
+process. The pedigree of horse and elephant and crocodile is in general
+very convincing, though it is to be confessed that there are other cases
+in regard to which we have no light. Who can tell, for instance, how
+Vertebrates arose or from what origin?
+
+There is _embryological_ evidence, for the individual development often
+reads like an abbreviated recapitulation of the presumed evolution of
+the race. The mammal's visceral clefts are tell-tale evidence of remote
+aquatic ancestors, breathing by gills. Something is known in regard to
+the historical evolution of antlers in bygone ages; the Red Deer of
+to-day recapitulates at least the general outlines of the history. The
+individual development of an asymmetrical flat-fish, like a plaice or
+sole, which rests and swims on one side, tells us plainly that its
+ancestors were symmetrical fishes.
+
+There is what might be called _physiological_ evidence, for many plants
+and animals are variable before our eyes, and evolution is going on
+around us to-day. This is familiarly seen among domesticated animals and
+cultivated plants, but there is abundant flux in Wild Nature. It need
+hardly be said that some organisms are very conservative, and that
+change need not be expected when a position of stable equilibrium has
+been secured.
+
+There is also _anatomical_ evidence of a most convincing quality. In the
+fore-limbs of backboned animals, say, the paddle of a turtle, the wing
+of a bird, the flipper of a whale, the fore-leg of a horse, and the arm
+of a man; the same essential bones and muscles are used to such diverse
+results! What could it mean save blood relationship? And as to the two
+sets of teeth in whalebone whales, which never even cut the gum, is
+there any alternative but to regard them as relics of useful teeth which
+ancestral forms possessed? In short, the evolution theory is justified
+by the way in which it works.
+
+
+Sec. 2
+
+Factors in Evolution
+
+If it be said "So much for the _fact_ of evolution, but what of the
+_factors_?" the answer is not easy. For not only is the problem the
+greatest of all scientific problems, but the inquiry is still very
+young. The scientific study of evolution practically dates from the
+publication of _The Origin of Species_ in 1859.
+
+Heritable novelties or variations often crop up in living creatures, and
+these form the raw material of evolution. These variations are the
+outcome of expression of changes in the germ-cells that develop into
+organisms. But why should there be changes in the constitution of the
+germ-cells? Perhaps because the living material is very complex and
+inherently liable to change; perhaps because it is the vehicle of a
+multitude of hereditary items among which there are very likely to be
+reshufflings or rearrangements; perhaps because the germ-cells have very
+changeful surroundings (the blood, the body-cavity fluid, the
+sea-water); perhaps because deeply saturating outside influences, such
+as change of climate and habitat, penetrate through the body to its
+germ-cells and provoke them to vary. But we must be patient with the
+wearisome reiteration of "perhaps." Moreover, every many-celled organism
+reproduced in the usual way, arises from an egg-cell fertilised by a
+sperm-cell, and the changes involved in and preparatory to this
+fertilisation may make new permutations and combinations of the living
+items and hereditary qualities not only possible but necessary. It is
+something like shuffling a pack of cards, but the cards are living. As
+to the changes wrought on the body during its lifetime by peculiarities
+in nurture, habits, and surroundings, these dents or modifications are
+often very important for the individual, but it does not follow that
+they are directly important for the race, since it is not certain that
+they are transmissible.
+
+Given a crop of variations or new departures or mutations, whatever the
+inborn novelties may be called, we have then to inquire how these are
+sifted. The sifting, which means the elimination of the relatively less
+fit variations and the selection of the relatively more fit, effected in
+many different ways in the course of the struggle for existence. The
+organism plays its new card in the game of life, and the consequences
+may determine survival. The relatively less fit to given conditions
+will tend to be eliminated, while the relatively more fit will tend to
+survive. If the variations are hereditary and reappear, perhaps
+increased in amount, generation after generation, and if the process of
+sifting continue consistently, the result will be the evolution of the
+species. The sifting process may be helped by various forms of
+"isolation" which lessen the range of free intercrossing between members
+of a species, e.g. by geographical barriers. Interbreeding of similar
+forms tends to make a stable stock; out-breeding among dissimilars tends
+to promote variability. But for an outline like this it is enough to
+suggest the general method of organic evolution: Throughout the ages
+organisms have been making tentatives--new departures of varying
+magnitude--and these tentatives have been tested. The method is that of
+testing all things and holding fast that which is good.
+
+
+BIBLIOGRAPHY
+
+(The following short list may be useful to readers who desire to have
+further books recommended to them.)
+
+ CLODD, _Story of Creation: A Plain Account of Evolution._
+ DARWIN, _Origin of Species, Descent of Man._
+ DEPERET, _Transformation of the Animal World_ (Internat. Sci. Series).
+ GEDDES AND THOMSON, _Evolution_ (Home University Library).
+ GOODRICH, _Evolution_ (The People's Books).
+ HEADLEY, _Life and Evolution._
+ HUTCHINSON, H. NEVILLE, _Extinct Monsters_ (1892).
+ LULL, _Organic Evolution._
+ MCCABE, _A B C of Evolution._
+ METCALF, _Outline of the Theory of Organic Evolution._
+ OSBORN, H. F., _The Evolution of Life_ (1921).
+ THOMSON, _Darwinism and Human Life._
+ WALLACE, _Darwinism._
+
+
+
+
+III
+
+ADAPTATIONS TO ENVIRONMENT
+
+
+
+
+ADAPTATIONS TO ENVIRONMENT
+
+
+We saw in a previous chapter how the process of evolution led to a
+mastery of all the haunts of life. But it is necessary to return to
+these haunts or homes of animals in some detail, so as to understand the
+peculiar circumstances of each, and to see how in the course of ages of
+struggle all sorts of self-preserving and race-continuing adaptations or
+fitnesses have been wrought out and firmly established. Living creatures
+have spread over all the earth and in the waters under the earth; some
+of them have conquered the underground world and others the air. It is
+possible, however, as has been indicated, to distinguish six great
+haunts of life, each tenanted by a distinctive fauna, namely, the shore
+of the sea, the open sea, the depths of the sea, the freshwaters, the
+dry land, and the air. In the deep sea there are no plants at all; in
+the air the only plants are floating bacteria, though there is a sense
+in which a tree is very aerial, and the orchid perched on its branches
+still more so; in the other four haunts there is a flora as well as a
+fauna--the two working into one another's hands in interesting and often
+subtle inter-relations--the subject of a separate study.
+
+
+I. THE SHORE OF THE SEA
+
+The Seaweed Area
+
+By the shore of the sea the zoologist means much more than the narrow
+zone between tide-marks; he means the whole of the relatively shallow,
+well-illumined, seaweed-growing shelf around the continents and
+continental islands. Technically, this is called the littoral area, and
+it is divisible into zones, each with its characteristic population. It
+may be noted that the green seaweeds are highest up on the shore; the
+brown ones come next; the beautiful red ones are lowest. All of them
+have got green chlorophyll, which enables them to utilise the sun's rays
+in photosynthesis (i.e. building up carbon compounds from air, water,
+and salts), but in the brown and red seaweeds the green pigment is
+masked by others. It is maintained by some botanists that these other
+pigments enable their possessors to make more of the scantier light in
+the deeper waters. However this may be, we must always think of the
+shore-haunt as the seaweed-growing area. Directly and indirectly the
+life of the shore animals is closely wrapped up with the seaweeds, which
+afford food and foothold, and temper the force of the waves. The minute
+fragments broken off from seaweeds and from the sea-grass (a flowering
+plant called Zostera) form a sort of nutritive sea-dust which is swept
+slowly down the slope from the shore, to form a very useful deposit in
+the quietness of deepish water. It is often found in the stomachs of
+marine animals living a long way offshore.
+
+
+Conditions of Shore Life
+
+The littoral area as defined is not a large haunt of life; it occupies
+only about 9 million square miles, a small fraction of the 197,000,000
+of the whole earth's surface. But it is a very long haunt, some 150,000
+miles, winding in and out by bay and fiord, estuary and creek. Where
+deep water comes close to cliffs there may be no shore at all; in other
+places the relatively shallow water, with seaweeds growing over the
+bottom, may extend outwards for miles. The nature of the shore varies
+greatly according to the nature of the rocks, according to what the
+streams bring down from inland, and according to the jetsam that is
+brought in by the tides. The shore is a changeful place; there is, in
+the upper reaches, a striking difference between "tide in" and "tide
+out"; there are vicissitudes due to storms, to freshwater floods, to
+wind-blown sand, and to slow changes of level, up and down. The shore is
+a very crowded haunt, for it is comparatively narrow, and every niche
+among the rocks may be precious.
+
+[Illustration: AN EIGHT-ARMED CUTTLEFISH OR OCTOPUS ATTACKING A SMALL
+CRAB
+
+These molluscs are particularly fond of crustaceans, which they crunch
+with their parrot's beak-like jaws. Their salivary juice has a
+paralysing effect on their prey. To one side, below the eye, may be seen
+the funnel through which water is very forcibly ejected in the process
+of locomotion.]
+
+[Illustration: A COMMON STARFISH, WHICH HAS LOST THREE ARMS AND IS
+REGROWING THEM
+
+The lowest arm is being regrown double.
+
+(_After Professor W. C. McIntosh._)]
+
+[Illustration: A PHOTOGRAPH SHOWING A STARFISH (_Asterias Forreri_)
+WHICH HAS CAPTURED A LARGE FISH
+
+The suctorial tube-feet are seen gripping the fish firmly. (After an
+observation on the Californian coast.)]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+THE PAPER NAUTILUS (ARGONAUTA), AN ANIMAL OF THE OPEN SEA
+
+The delicate shell is made by the female only, and is used as a shelter
+for the eggs and young ones. It is secreted by two of the arms, not by
+the mantle as other mollusc shells are. It is a single-chambered shell,
+very different from that of the Pearly Nautilus.]
+
+
+Keen Struggle for Existence
+
+It follows that the shore must be the scene of a keen struggle for
+existence--which includes all the answers-back that living creatures
+make to environing difficulties and limitations. There is struggle for
+food, accentuated by the fact that small items tend to be swept away by
+the outgoing tide or to sink down the slope to deep water. Apart from
+direct competition, e.g. between hungry hermit-crabs, it often involves
+hard work to get a meal. This is true even of apparently sluggish
+creatures. Thus the Crumb-of-Bread Sponge, or any other seashore sponge,
+has to lash large quantities of water through the intricate canal system
+of its body before it can get a sufficient supply of the microscopic
+organisms and organic particles on which it feeds. An index of the
+intensity of the struggle for food is afforded by the nutritive chains
+which bind animals together. The shore is almost noisy with the
+conjugation of the verb to eat in its many tenses. One pound of rock-cod
+requires for its formation ten pounds of whelk; one pound of whelk
+requires ten pounds of sea-worms; and one pound of worms requires ten
+pounds of sea-dust. Such is the circulation of matter, ever passing from
+one embodiment or incarnation to another.
+
+Besides struggle for food there is struggle for foothold and for fresh
+air, struggle against the scouring tide and against the pounding
+breakers. The risk of dislodgment is often great and the fracture of
+limbs is a common accident. Of kinds of armour--the sea-urchin's
+hedgehog-like test, the crab's shard, the limpet's shell--there is great
+variety, surpassed only by that of weapons--the sea-anemone's
+stinging-cells, the sea-urchin's snapping-blades, the hermit-crab's
+forceps, the grappling tentacles and parrot's-beak jaws of the octopus.
+
+
+Shifts for a Living
+
+We get another glimpse of the intensity of the seashore struggle for
+existence in the frequency of "shifts for a living," adaptations of
+structure or of behaviour which meet frequently recurrent vicissitudes.
+The starfish is often in the dilemma of losing a limb or its life; by a
+reflex action it jettisons the captured arm and escapes. And what is
+lost is gradually regrown. The crab gets its leg broken past all
+mending; it casts off the leg across a weak breakage plane near the
+base, and within a preformed bandage which prevents bleeding a new leg
+is formed in miniature. Such is the adaptive device--more reflex than
+reflective--which is called self-mutilation or autotomy.
+
+In another part of this book there is a discussion of camouflaging and
+protective resemblance; how abundantly these are illustrated on the
+shore! But there are other "shifts for a living." Some of the
+sand-hoppers and their relatives illustrate the puzzling phenomenon of
+"feigning death," becoming suddenly so motionless that they escape the
+eyes of their enemies. Cuttlefishes, by discharging sepia from their
+ink-bags, are able to throw dust in the eyes of their enemies. Some
+undisguised shore-animals, e.g. crabs, are adepts in a hide-and-seek
+game; some fishes, like the butterfish or gunnel, escape between stones
+where there seemed no opening and are almost uncatchable in their
+slipperiness. Subtlest of all, perhaps, is the habit some hermit-crabs
+have of entering into mutually beneficial partnership (commensalism)
+with sea-anemones, which mask their bearers and also serve as mounted
+batteries, getting transport as their reward and likewise crumbs from
+the frequently spread table. But enough has been said to show that the
+shore-haunt exhibits an extraordinary variety of shifts for a living.
+
+
+Parental Care on the Shore
+
+According to Darwin, the struggle for existence, as a big fact in the
+economy of Animate Nature, includes not only competition but all the
+endeavours which secure the welfare of the offspring, and give them a
+good send-off in life. So it is without a jolt that we pass from
+struggle for food and foothold to parental care. The marine leech called
+Pontobdella, an interesting greenish warty creature fond of fixing
+itself to skate, places its egg-cocoons in the empty shell of a bivalve
+mollusc, and guards them for weeks, removing any mud that might injure
+their development. We have seen a British starfish with its fully-formed
+young ones creeping about on its body, though the usual mode of
+development for shore starfishes is that the young ones pass through a
+free-swimming larval period in the open water. The father sea-spider
+carries about the eggs attached to two of his limbs; the father
+sea-horse puts his mate's eggs into his breast pocket and carries them
+there in safety until they are hatched; the father stickleback of the
+shore-pools makes a seaweed nest and guards the eggs which his wives are
+induced to lay there; the father lumpsucker mounts guard over the bunch
+of pinkish eggs which his mate has laid in a nook of a rocky shore-pool,
+and drives off intruders with zest. He also aerates the developing eggs
+by frequent paddling with his pectoral fins and tail, as the Scots name
+Cock-paidle probably suggests. It is interesting that the salient
+examples of parental care in the shore-haunt are mostly on the male
+parent's side. But there is maternal virtue as well.
+
+[Illustration: TEN-ARMED CUTTLEFISH OR SQUID IN THE ACT OF CAPTURING A
+FISH
+
+The arms bear numerous prehensile suckers, which grip the prey. In the
+mouth there are strong jaws shaped like a parrot's beak. The
+cuttlefishes are molluscs and may be regarded as the highest of the
+backboneless or Invertebrate animals. Many occur near shore, others in
+the open sea, and others in the great depths.]
+
+[Illustration: GREENLAND WHALE
+
+Showing the double blowhole or nostrils on the top of the head and the
+whalebone plates hanging down from the roof of the mouth.]
+
+[Illustration: MINUTE TRANSPARENT EARLY STAGE OF A SEA-CUCUMBER
+
+It swims in the open sea by means of girdles of microscopic cilia shown
+in the figure. After a period of free swimming and a remarkable
+metamorphosis, the animal settles down on the floor of the sea in
+relatively shallow water.]
+
+[Illustration: _Photo: British Museum (Natural History)_
+
+AN INTRICATE COLONY OF OPEN-SEA ANIMALS (_Physophora Hydrostatica_)
+RELATED TO THE PORTUGUESE MAN-OF-WAR
+
+There is great division of labor in the colony. At the top are floating
+and swimming "persons"; the long ones below are offensive "persons"
+bearing batteries of stinging cells; in the middle zone there are
+nutritive, reproductive, and other "persons." The color of the colony is
+a fine translucent blue. Swimmers and bathers are often badly stung by
+this strange animal and its relatives.]
+
+[Illustration: A SCENE IN THE GREAT DEPTHS
+
+Showing a deep-sea fish of large gape, two feather-stars on the end of
+long stalks, a "sea-spider" (or Pycnogon) walking on lanky legs on the
+treacherous ooze, likewise a brittle-star, and some deep-sea corals.]
+
+The fauna of the shore is remarkably _representative_--from unicellular
+Protozoa to birds like the oyster-catcher and mammals like the seals.
+Almost all the great groups of animals have apparently served an
+apprenticeship in the shore-haunt, and since lessons learned for
+millions of years sink in and become organically enregistered, it is
+justifiable to look to the shore as a great school in which were gained
+racial qualities of endurance, patience, and alertness.
+
+
+II. THE OPEN SEA
+
+In great contrast to the narrow, crowded, difficult conditions of the
+shore-haunt (littoral area) are the spacious, bountiful, and relatively
+easygoing conditions of the open sea (pelagic area), which means the
+well-lighted surface waters quite away from land. Many small organisms
+have their maximum abundance at about fifty fathoms, so that the word
+"surface" is to be taken generously. The light becomes very dim at 250
+fathoms, and the open sea, as a zoological haunt, stops with the light.
+It is hardly necessary to say that the pelagic plants are more abundant
+near the surface, and that below a certain depth the population consists
+almost exclusively of animals. Not a few of the animals sink and rise in
+the water periodically; there are some that come near the surface by
+day, and others that come near the surface by night. Of great interest
+is the habit of the extremely delicate Ctenophores or
+"sea-gooseberries," which the splash of a wave would tear into shreds.
+Whenever there is any hint of a storm they sink beyond its reach, and
+the ocean's surface must have remained flat as a mirror for many hours
+before they can be lured upwards from the calm of their deep retreat.
+
+
+The Floating Sea-meadows
+
+To understand the vital economy of the open sea, we must recognise the
+incalculable abundance of minute unicellular plants, for they form the
+fundamental food-supply. Along with these must also be included numerous
+microscopic animals which have got possession of chlorophyll, or have
+entered into internal partnership with unicellular Algae (symbiosis).
+These green or greenish plants and animals are the _producers_, using
+the energy of the sunlight to help them in building up carbon compounds
+out of air, water, and salts. The animals which feed on the producers,
+or on other animals, are the _consumers_. Between the two come those
+open-sea bacteria that convert nitrogenous material, e.g. from dead
+plants or animals that other bacteria have rotted, into forms, e.g.
+nitrates, which plants can re-utilise. The importance of these
+_middlemen_ is great in keeping "the circulation of matter" agoing.
+
+[Illustration: 1. SEA-HORSE IN SARGASSO WEED. In its frond-like tags of
+skin and in its colouring this kind of sea-horse is well concealed among
+the floating seaweed of the so-called Sargasso Sea.
+
+2. THE LARGE MARINE LAMPREYS (_PETROMYZON MARINUS_), WHICH MAY BE AS
+LONG AS ONE'S ARM, SPAWN IN FRESH WATER. Stones and pebbles, gripped in
+the suctorial mouth, are removed from a selected spot and piled around
+the circumference, so that the eggs, which are laid within the circle,
+are not easily washed away.
+
+3. THE DEEP-SEA FISH _CHIASMODON NIGER_ IS FAMOUS FOR ITS VORACITY. It
+sometimes manages to swallow a fish larger than itself, which causes an
+extraordinary protrusion of the stomach.
+
+4. DEEP-SEA FISHES. Two of them--_Melanocetus murrayi_ and _Melanocetus
+indicus_--are related to the Angler of British coasts, but adapted to
+life in the great abysses. They are very dark in colour, and delicately
+built; they possess well-developed luminous organs. The third form is
+called Chauliodus, a predatory animal with large gape and formidable
+teeth.]
+
+[Illustration: FLINTY SKELETON OF VENUS FLOWER BASKET (EUPLECTELLA), A
+JAPANESE DEEP-SEA SPONGE]
+
+[Illustration: EGG DEPOSITORY OF _Semotilus Atromaculatus_
+
+In the building of this egg depository, the male fish takes stones from
+the bottom of the stream, gripping them in his mouth, and heaps them up
+into the dam. In the egg depository he arranges the stones so that when
+the eggs are deposited in the interstices they are thoroughly protected,
+and cannot be washed down-stream.
+
+1, dam of stones; 2, egg depository; 3, hillock of sand. The arrow shows
+the direction of the stream. Upper fish, male; lower, female.]
+
+The "floating sea-meadows," as Sir John Murray called them, are always
+receiving contributions from inshore waters, where the conditions are
+favourable for the prolific multiplication of unicellular Algae, and
+there is also a certain amount of non-living sea-dust always being swept
+out from the seaweed and sea-grass area.
+
+
+Swimmers and Drifters
+
+The animals of the open sea are conveniently divided into the active
+swimmers (Nekton) and the more passive drifters (Plankton). The swimmers
+include whales great and small, such birds as the storm petrel, the
+fish-eating turtles and sea-snakes, such fishes as mackerel and herring,
+the winged snails or sea-butterflies on which whalebone whales largely
+feed, some of the active cuttles or squids, various open-sea prawns and
+their relatives, some worms like the transparent arrow-worm, and such
+active Protozoa as Noctiluca, whose luminescence makes the waves sparkle
+in the short summer darkness. Very striking as an instance of the
+insurgence of life are the sea-skimmers (Halobatidae), wingless insects
+related to the water-measurers in the ditch. They are found hundreds of
+miles from land, skimming on the surface of the open sea, and diving in
+stormy weather. They feed on floating dead animals.
+
+The drifters or easygoing swimmers--for there is no hard and fast
+line--are represented, for instance, by the flinty-shelled Radiolarians
+and certain of the chalk-forming animals (Globigerinid Foraminifera); by
+jellyfishes, swimming-bells, and Portuguese men-of-war; by the
+comb-bearers or Ctenophores; by legions of minute Crustaceans; by
+strange animals called Salps, related to the sedentary sea-squirts; and
+by some sluggish fishes like globe-fishes, which often float idly on the
+surface.
+
+Open-sea animals tend to be delicately built, with a specific gravity
+near that of the sea-water, with adaptations, such as projecting
+filaments, which help flotation, and with capacities of rising and
+sinking according to the surrounding conditions. Many of them are
+luminescent, and many of them are very inconspicuous in the water owing
+to their transparency or their bluish colour. In both cases the
+significance is obscure.
+
+
+Hunger and Love
+
+Hunger is often very much in evidence in the open sea, especially in
+areas where the Plankton is poor. For there is great diversity in this
+respect, most of the Mediterranean, for instance, having a scanty
+Plankton as compared with the North Sea. In the South Pacific, west of
+Patagonia, there is said to be an immense "sea desert" where there is
+little Plankton, and therefore little in the way of fishes. The success
+of fisheries in the North, e.g. on the Atlantic cod-banks, is due to the
+richness of the floating sea-meadows and the abundance of the smaller
+constituents of the animal Plankton.
+
+Hunger is plain enough when the Baleen Whale rushes through the water
+with open jaws, engulfing in the huge cavern of its mouth, where the
+pendent whalebone plates form a huge sieve, incalculable millions of
+small fry.
+
+But there is love as well as hunger in the open sea. The maternal care
+exhibited by the whale reaches a very high level, and the delicate shell
+of the female Paper Nautilus or Argonaut, in which the eggs and the
+young ones are sheltered, may well be described as "the most beautiful
+cradle in the world."
+
+Besides the permanent inhabitants of the open sea, there are the larval
+stages of many shore-animals which are there only for a short time. For
+there is an interesting give and take between the shore-haunt and the
+open sea. From the shore come nutritive contributions and minute
+organisms which multiply quickly in the open waters. But not less
+important is the fact that the open waters afford a safe cradle or
+nursery for many a delicate larva, e.g. of crab and starfish,
+acorn-shell and sea-urchin, which could not survive for a day in the
+rough-and-tumble conditions of the shore and the shallow water. After
+undergoing radical changes and gaining strength, the young creatures
+return to the shore in various ways.
+
+
+III. THE DEEP SEA
+
+Very different from all the other haunts are the depths of the sea,
+including the floor of the abysses and the zones of water near the
+bottom. This haunt, forever unseen, occupies more than a third of the
+earth's surface, and it is thickly peopled. It came into emphatic notice
+in connection with the mending of telegraph cables, but the results of
+the _Challenger_ expedition (1873-6) gave the first impressive picture
+of what was practically a new world.
+
+
+Physical Conditions
+
+The average depth of the ocean is about two and a half miles; therefore,
+since many parts are relatively shallow, there must be enormous depths.
+A few of these, technically called "deeps," are about six miles deep, in
+which Mount Everest would be engulfed. There is enormous pressure in
+such depths; even at 2,500 fathoms it is two and a half tons on the
+square inch. The temperature is on and off the freezing-point of fresh
+water (28 deg.-34 deg. Fahr.), due to the continual sinking down of cold water
+from the Poles, especially from the South. Apart from the fitful gleams
+of luminescent animals, there is utter darkness in the deep waters. The
+rays of sunlight are practically extinguished at 250 fathoms, though
+very sensitive bromogelatine plates exposed at 500 fathoms have shown
+faint indications even at that depth. It is a world of absolute calm and
+silence, and there is no scenery on the floor. A deep, cold, dark,
+silent, monotonous world!
+
+
+Biological Conditions
+
+While some parts of the floor of the abysses are more thickly peopled
+than others, there is no depth limit to the distribution of life.
+Wherever the long arm of the dredge has reached, animals have been
+found, e.g. Protozoa, sponges, corals, worms, starfishes, sea-urchins,
+sea-lilies, crustaceans, lamp-shells, molluscs, ascidians, and fishes--a
+very representative fauna. In the absence of light there can be no
+chlorophyll-possessing plants, and as the animals cannot all be eating
+one another there must be an extraneous source of food-supply. This is
+found in the sinking down of minute organisms which are killed on the
+surface by changes of temperature and other causes. What is left of
+them, before or after being swallowed, and of sea-dust and mineral
+particles of various kinds forms the diversified "ooze" of the
+sea-floor, a soft muddy precipitate, which is said to have in places the
+consistence of butter in summer weather.
+
+There seems to be no bacteria in the abysses, so there can be no
+rotting. Everything that sinks down, even the huge carcase of a whale,
+must be nibbled away by hungry animals and digested, or else, in the
+case of most bones, slowly dissolved away. Of the whale there are left
+only the ear-bones, of the shark his teeth.
+
+
+Adaptations to Deep-sea Life
+
+In adaptation to the great pressure the bodies of deep-sea animals are
+usually very permeable, so that the water gets through and through them,
+as in the case of Venus' Flower Basket, a flinty sponge which a child's
+finger would shiver. But when the pressure inside is the same as that
+outside nothing happens. In adaptation to the treacherous ooze, so apt
+to smother, many of the active deep-sea animals have very long,
+stilt-like legs, and many of the sedentary types are lifted into safety
+on the end of long stalks which have their bases embedded in the mud. In
+adaptation to the darkness, in which there is only luminescence that
+eyes could use, there is a great development of tactility. The
+interesting problem of luminescence will be discussed elsewhere.
+
+As to the origin of the deep-sea fauna, there seems no doubt that it
+has arisen by many contributions from the various shore-haunts.
+Following the down-drifting food, many shore-animals have in the course
+of many generations reached the world of eternal night and winter, and
+become adapted to its strange conditions. For the animals of the
+deep-sea are as fit, beautiful, and vigorous as those elsewhere. There
+are no slums in Nature.
+
+[Illustration: THE BITTERLING (_Rhodeus Amarus_)
+
+A Continental fish which lays its eggs by means of a long ovipositor
+inside the freshwater mussel. The eggs develop inside the mollusc's
+gill-plates.]
+
+[Illustration: _Photo: W. S. Berridge._
+
+WOOLLY OPOSSUM CARRYING HER FAMILY
+
+One of the young ones is clinging to its mother and has its long
+prehensile tail coiled round hers.]
+
+[Illustration: SURINAM TOAD (_Pipa Americana_) WITH YOUNG ONES HATCHING
+OUT OF LITTLE POCKETS ON HER BACK]
+
+[Illustration: STORM PETREL OR MOTHER CAREY'S CHICKEN
+
+(_Procellaria Pelagica_)
+
+This characteristic bird of the open sea does not come to land at all
+except to nest. It is the smallest web-footed bird, about four inches
+long. The legs are long and often touch the water as the bird flies. The
+storm petrel is at home in the Atlantic, and often nests on islands off
+the west coast of Britain.]
+
+
+IV. THE FRESH WATERS
+
+Of the whole earth's surface the freshwaters form a very small fraction,
+about a hundredth, but they make up for their smallness by their
+variety. We think of deep lake and shallow pond, of the great river and
+the purling brook, of lagoon and swamp, and more besides. There is a
+striking resemblance in the animal population of widely separated
+freshwater basins: and this is partly because birds carry many small
+creatures on their muddy feet from one water-shed to another; partly
+because some of the freshwater animals are descended from types which
+make their way from the sea and the seashore through estuaries and
+marshes, and only certain kinds of constitution could survive the
+migration; and partly because some lakes are landlocked dwindling relics
+of ancient seas, and similar forms again would survive the change.
+
+A typical assemblage of freshwater animals would include many Protozoa,
+like Amoebae and the Bell-Animalcules, a representative of one family
+of sponges (Spongillidae), the common Hydra, many unsegmented worms
+(notably Planarians and Nematodes), many Annelids related to the
+earthworms, many crustaceans, insects, and mites, many bivalves and
+snails, various fishes, a newt or two, perhaps a little mud-turtle or in
+warm countries a huge Crocodilian, various interesting birds like the
+water-ouzel or dipper, and mammals like the water-vole and the
+water-shrew.
+
+Freshwater animals have to face certain difficulties, the greatest of
+which are drought, frost, and being washed away in times of flood.
+There is no more interesting study in the world than an inquiry into the
+adaptations by which freshwater animals overcome the difficulties of the
+situation. We cannot give more than a few illustrations.
+
+(1) Drought is circumvented by the capacity that many freshwater animals
+have of lying low and saying nothing. Thus the African mudfish may spend
+half the year encased in the mud, and many minute crustaceans can
+survive being dried up for years. (2) Escape from the danger of being
+frozen hard in the pool is largely due to the almost unique property of
+water that it expands as it approaches the freezing-point. Thus the
+colder water rises to the surface and forms or adds to the protecting
+blanket of ice. The warmer water remains unfrozen at the bottom, and the
+animals live on. (3) The risk of being washed away, e.g. to the sea, is
+lessened by all sorts of gripping, grappling, and anchoring structures,
+and by shortening the juvenile stages when the risks are greatest.
+
+
+V. THE DRY LAND
+
+Over and over again in the history of animal life there have been
+attempts to get out of the water on to terra firma, and many of these
+have been successful, notably those made (1) by worms, (2) by
+air-breathing Arthropods, and (3) by amphibians.
+
+In thinking of the conquest of the dry land by animals, we must
+recognise the indispensable role of plants in preparing the way. The dry
+ground would have proved too inhospitable had not terrestrial plants
+begun to establish themselves, affording food, shelter, and humidity.
+There had to be plants before there could be earthworms, which feed on
+decaying leaves and the like, but how soon was the debt repaid when the
+earthworms began their worldwide task of forming vegetable mould,
+opening up the earth with their burrows, circulating the soil by means
+of their castings, and bruising the particles in their
+gizzard--certainly the most important mill in the world.
+
+Another important idea is that littoral haunts, both on the seashore and
+in the freshwaters, afforded the necessary apprenticeship and
+transitional experience for the more strenuous life on dry land. Much
+that was perfected on land had its beginnings on the shore. Let us
+inquire, however, what the passage from water to dry land actually
+implied. This has been briefly discussed in a previous article (on
+Evolution), but the subject is one of great interest and importance.
+
+
+Difficulties and Results of the Transition from Water to Land
+
+Leaving the water for dry land implied a loss in freedom of movement,
+for the terrestrial animal is primarily restricted to the surface of the
+earth. Thus it became essential that movements should be very rapid and
+very precise, needs with which we may associate the acquisition of fine
+cross-striped, quickly contracting muscles, and also, in time, their
+multiplication into very numerous separate engines. We exercise
+fifty-four muscles in the half-second that elapses between raising the
+heel of our foot in walking and planting it firmly on the ground again.
+Moreover, the need for rapid precisely controlled movements implied an
+improved nervous system, for the brain was a movement-controlling organ
+for ages before it did much in the way of thinking. The transition to
+terra firma also involved a greater compactness of body, so that there
+should not be too great friction on the surface. An animal like the
+jellyfish is unthinkable on land, and the elongated bodies of some land
+animals like centipedes and snakes are specially adapted so that they do
+not "sprawl." They are exceptions that prove the rule.
+
+Getting on to dry land meant entering a kingdom where the differences
+between day and night, between summer and winter are more felt than in
+the sea. This made it advantageous to have protections against
+evaporation and loss of heat and other such dangers. Hence a variety of
+ways in which the surface of the body acquired a thickened skin, or a
+dead cuticle, or a shell, or a growth of hair, and so forth. In many
+cases there is an increase of the protection before the winter sets in,
+e.g. by growing thicker fur or by accumulating a layer of fat below the
+skin.
+
+But the thickening or protection of the skin involved a partial or total
+loss of the skin as a respiratory surface. There is more oxygen
+available on dry land than in the water, but it is not so readily
+captured. Thus we see the importance of moist internal surfaces for
+capturing the oxygen which has been drawn into the interior of the body
+into some sort of lung. A unique solution was offered by Tracheate
+Arthropods, such as Peripatus, Centipedes, Millipedes, and Insects,
+where the air is carried to every hole and corner of the body by a
+ramifying system of air-tubes or tracheae. In most animals the blood goes
+to the air, in insects the air goes to the blood. In the Robber-Crab,
+which has migrated from the shore inland, the dry air is absorbed by
+vascular tufts growing under the shelter of the gill-cover.
+
+The problem of disposing of eggs or young ones is obviously much more
+difficult on land than in the water. For the water offers an immediate
+cradle, whereas on the dry land there were many dangers, e.g. of
+drought, extremes of temperature, and hungry sharp-eyed enemies, which
+had to be circumvented. So we find all manner of ways in which land
+animals hide their eggs or their young ones in holes and nests, on herbs
+and on trees. Some carry their young ones about after they are born,
+like the Surinam toad and the kangaroo, while others have prolonged the
+period of ante-natal life during which the young ones develop in safety
+within their mother, and in very intimate partnership with her in the
+case of the placental mammals. It is very interesting to find that the
+pioneer animal called Peripatus, which bridges the gap between worms and
+insects, carries its young for almost a year before birth.
+
+Enough has been said to show that the successive conquests of the dry
+land had great evolutionary results. It is hardly too much to say that
+the invasion which the Amphibians led was the beginning of better
+brains, more controlled activities, and higher expressions of family
+life.
+
+[Illustration: ALBATROSS: A CHARACTERISTIC PELAGIC BIRD OF THE SOUTHERN
+SEA
+
+It may have a spread of wing of over 11 feet from tip to tip. It is
+famous for its extraordinary power of "sailing" round the ship without
+any apparent strokes of its wings.]
+
+
+VI. THE AIR
+
+There are no animals thoroughly aerial, but many insects spend much of
+their adult life in the free air, and the swift hardly pauses in its
+flight from dawn to dusk of the long summer day, alighting only for
+brief moments at the nest to deliver insects to the young. All the
+active life of bats certainly deserves to be called aerial.
+
+The air was the last haunt of life to be conquered, and it is
+interesting to inquire what the conquest implied. (1) It meant
+transcending the radical difficulty of terrestrial life which confines
+the creatures of the dry land to moving on one plane, the surface of the
+earth. But the power of flight brought its possessors back to the
+universal freedom of movement which water animals enjoy. When we watch a
+sparrow rise into the air just as the cat has completed her stealthy
+stalking, we see that flight implies an enormous increase of safety. (2)
+The power of flight also opened up new possibilities of following the
+prey, of exploring new territories, of prospecting for water. (3) Of
+great importance too was the practicability of placing the eggs and the
+young, perhaps in a nest, in some place inaccessible to most enemies.
+When one thinks of it, the rooks' nests swaying on the tree-tops express
+the climax of a brilliant experiment. (4) The crowning advantage was the
+possibility of migrating, of conquering time (by circumventing the arid
+summer and the severe winter) and of conquering space (by passing
+quickly from one country to another and sometimes almost girdling the
+globe). There are not many acquisitions that have meant more to their
+possessors than the power of flight. It was a key opening the doors of a
+new freedom.
+
+The problem of flight, as has been said in a previous chapter, has been
+solved four times, and the solution has been different in each case. The
+four solutions are those offered by insects, extinct Pterodactyls,
+birds, and bats. Moreover, as has been pointed out, there have been
+numerous attempts at flight which remain glorious failures, notably the
+flying fishes, which take a great leap and hold their pectoral fins
+taut; the Flying Tree-Toad, whose webbed fingers and toes form a
+parachute; the Flying Lizard (_Draco volans_), which has its skin pushed
+out on five or six greatly elongated mobile ribs; and various "flying"
+mammals, e.g. Flying Phalangers and Flying Squirrels, which take great
+swooping leaps from tree to tree.
+
+The wings of an insect are hollow flattened sacs which grow out from the
+upper parts of the sides of the second and third rings of the region
+called the thorax. They are worked by powerful muscles, and are
+supported, like a fan, by ribs of chitin, which may be accompanied by
+air-tubes, blood-channels, and nerves. The insect's body is lightly
+built and very perfectly aerated, and the principle of the insect's
+flight is the extremely rapid striking of the air by means of the
+lightly built elastic wings. Many an insect has over two hundred strokes
+of its wings in one _second_. Hence, in many cases, the familiar hum,
+comparable on a small scale to that produced by the rapidly revolving
+blades of an aeroplane's propeller. For a short distance a bee can
+outfly a pigeon, but few insects can fly far, and they are easily blown
+away or blown back by the wind. Dragon-flies and bees may be cited as
+examples of insects that often fly for two or three miles. But this is
+exceptional, and the usual shortness of insect flight is an important
+fact for man since it limits the range of insects like house-flies and
+mosquitoes which are vehicles of typhoid fever and malaria respectively.
+The most primitive insects (spring-tails and bristle-tails) show no
+trace of wings, while fleas and lice have become secondarily wingless.
+It is interesting to notice that some insects only fly once in their
+lifetime, namely, in connection with mating. The evolution of the
+insect's wing remains quite obscure, but it is probable that insects
+could run, leap, and parachute before they could actually fly.
+
+The extinct Flying Dragons or Pterodactyls had their golden age in the
+Cretaceous era, after which they disappeared, leaving no descendants. A
+fold of skin was spread out from the sides of the body by the enormously
+elongated outermost finger (usually regarded as corresponding to our
+little finger); it was continued to the hind-legs and thence to the
+tail.
+
+It is unlikely that the Pterodactyls could fly far, for they have at
+most a weak keel on their breast-bone; on the other hand, some of them
+show a marked fusion of dorsal vertebrae, which, as in flying birds, must
+have served as a firm fulcrum for the stroke of the wings. The quaint
+creatures varied from the size of a sparrow up to a magnificent spread
+of 15-20 feet from tip to tip of the wings. They were the largest of all
+flying creatures.
+
+The bird's solution of the problem of flight, which will be discussed
+separately, is centred in the feather, which forms a coherent vane for
+striking the air. In Pterodactyl and bat the wing is a web-wing or
+patagium, and a small web is to be seen on the front side of the bird's
+wing. But the bird's patagium is unimportant, and the bird's wing is on
+an evolutionary tack of its own--a fore-limb transformed for bearing the
+feathers of flight. Feathers are in a general way comparable to the
+scales of reptiles, but only in a general way, and no transition stage
+is known between the two. Birds evolved from a bipedal Dinosaur stock,
+as has been noticed already, and it is highly probable that they began
+their ascent by taking running leaps along the ground, flapping their
+scaly fore-limbs, and balancing themselves in kangaroo-like fashion with
+an extended tail. A second chapter was probably an arboreal
+apprenticeship, during which they made a fine art of parachuting--a
+persistence of which is to be seen in the pigeon "gliding" from the
+dovecot to the ground. It is in birds that the mastery of the air
+reaches its climax, and the mysterious "sailing" of the albatross and
+the vulture is surely the most remarkable locomotor triumph that has
+ever been achieved. Without any apparent stroke of the wings, the bird
+sails for half an hour at a time with the wind and against the wind,
+around the ship and in majestic spirals in the sky, probably taking
+advantage of currents of air of different velocities, and continually
+changing energy of position into energy of motion as it sinks, and
+energy of motion into energy of position as it rises. It is interesting
+to know that some dragon-flies are also able to "sail."
+
+The web-wing of bats involves much more than the fore-arm. The double
+fold of skin begins on the side of the neck, passes along the front of
+the arm, skips the thumb, and is continued over the elongated palm-bones
+and fingers to the sides of the body again, and to the hind-legs, and to
+the tail if there is a tail. It is interesting to find that the bones of
+the bat's skeleton tend to be lightly built as in birds, that the
+breast-bone has likewise a keel for the better insertion of the pectoral
+muscles, and that there is a solidifying of the vertebrae of the back,
+affording as in birds a firm basis for the wing action. Such similar
+adaptations to similar needs, occurring in animals not nearly related to
+one another, are called "convergences," and form a very interesting
+study. In addition to adaptations which the bat shares with the flying
+bird, it has many of its own. There are so many nerve-endings on the
+wing, and often also on special skin-leaves about the ears and nose,
+that the bat flying in the dusk does not knock against branches or other
+obstacles. Some say that it is helped by the echoes of its high-pitched
+voice, but there is no doubt as to its exquisite tactility. That it
+usually produces only a single young one at a time is a clear adaptation
+to flight, and similarly the sharp, mountain-top-like cusps on the back
+teeth are adapted in insectivorous bats for crunching insects.
+
+Whether we think of the triumphant flight of birds, reaching a climax in
+migration, or of the marvel that a creature of the earth--as a mammal
+essentially is--should evolve such a mastery of the air as we see in
+bats, or even of the repeated but splendid failures which parachuting
+animals illustrate, we gain an impression of the insurgence of living
+creatures in their characteristic endeavour after fuller well-being.
+
+We have said enough to show how well adapted many animals are to meet
+the particular difficulties of the haunt which they tenant. But
+difficulties and limitations are ever arising afresh, and so one fitness
+follows on another. It is natural, therefore, to pass to the frequent
+occurrence of protective resemblance, camouflage, and mimicry--the
+subject of the next article.
+
+
+BIBLIOGRAPHY
+
+ ELMHIRST, R., _Animals of the Shore_.
+ FLATTELY AND WALTON, _The Biology of the Shore_ (1921).
+ FURNEAUX, _Life of Ponds and Streams_.
+ HICKSON, S. J., _Story of Life in the Seas_ and _Fauna of the Deep Sea_.
+ JOHNSTONE, J., _Life in the Sea_ (Cambridge Manual of Science).
+ MIALL, L. C., _Aquatic Insects_.
+ MURRAY, SIR JOHN, _The Ocean_ (Home University Library).
+ MURRAY, SIR JOHN AND HJORT, DR. J., _The Depths of the Ocean_.
+ NEWBIGIN, M. I., _Life by the Sea Shore_.
+ PYCRAFT, W. P., _History of Birds_.
+ SCHARFF, R. F., _History of the European Fauna_ (Contemp. Sci. Series).
+ THOMSON, J. ARTHUR, _The Wonder of Life_ (1914) and
+   _The Haunts of Life_ (1921).
+
+
+
+
+IV
+
+THE STRUGGLE FOR EXISTENCE
+
+
+
+
+ANIMAL AND BIRD MIMICRY AND DISGUISE
+
+
+Sec. 1
+
+For every animal one discovers when observing carefully, there must be
+ten unseen. This is partly because many animals burrow in the ground or
+get in underneath things and into dark corners, being what is called
+cryptozoic or elusive. But it is partly because many animals put on
+disguise or have in some way acquired a garment of invisibility. This is
+very common among animals, and it occurs in many forms and degrees. The
+reason why it is so common is because the struggle for existence is
+often very keen, and the reasons why the struggle for existence is keen
+are four. First, there is the tendency to over-population in many
+animals, especially those of low degree. Second, there is the fact that
+the scheme of nature involves nutritive chains or successive
+incarnations, one animal depending upon another for food, and all in the
+long run on plants; thirdly, every vigorous animal is a bit of a
+hustler, given to insurgence and sticking out his elbows. There is a
+fourth great reason for the struggle for existence, namely, the frequent
+changefulness of the physical environment, which forces animals to
+answer back or die; but the first three reasons have most to do with the
+very common assumption of some sort of disguise. Even when an animal is
+in no sense a weakling, it may be very advantageous for it to be
+inconspicuous when it is resting or when it is taking care of its young.
+Our problem is the evolution of elusiveness, so far at least as that
+depends on likeness to surroundings, on protective resemblance to other
+objects, and in its highest reaches on true mimicry.
+
+
+Colour Permanently Like That of Surroundings
+
+Many animals living on sandy places have a light-brown colour, as is
+seen in some lizards and snakes. The green lizard is like the grass and
+the green tree-snake is inconspicuous among the branches. The spotted
+leopard is suited to the interrupted light of the forest, and it is
+sometimes hard to tell where the jungle ends and the striped tiger
+begins. There is no better case than the hare or the partridge sitting a
+few yards off on the ploughed field. Even a donkey grazing in the dusk
+is much more readily heard than seen.
+
+The experiment has been made of tethering the green variety of Praying
+Mantis on green herbage, fastening them with silk threads. They escape
+the notice of birds. The same is true when the brown variety is tethered
+on withered herbage. But if the green ones are put on brown plants, or
+the brown ones on green plants, the birds pick them off. Similarly, out
+of 300 chickens in a field, 240 white or black and therefore
+conspicuous, 60 spotted and inconspicuous, 24 were soon picked off by
+crows, but only one of these was spotted. This was not the proportion
+that there should have been if the mortality had been fortuitous. There
+is no doubt that it often pays an animal to be like its habitual
+surroundings, like a little piece of scenery if the animal is not
+moving. It is safe to say that in process of time wide departures from
+the safest coloration will be wiped out in the course of Nature's
+ceaseless sifting.
+
+But we must not be credulous, and there are three cautions to be borne
+in mind. (1) An animal may be very like its surroundings without there
+being any protection implied. The arrow-worms in the sea are as clear as
+glass, and so are many open-sea animals. But this is because their
+tissues are so watery, with a specific gravity near that of the salt
+water. And the invisibility does not save them, always or often, from
+being swallowed by larger animals that gather the harvest of the sea.
+(2) Among the cleverer animals it looks as if the creature sometimes
+sought out a spot where it was most inconspicuous. A spider may place
+itself in the middle of a little patch of lichen, where its
+self-effacement is complete. Perhaps it is more comfortable as well as
+safer to rest in surroundings the general colour of which is like that
+of the animal's body. (3) The fishes that live among the coral-reefs are
+startling in their brilliant coloration, and there are many different
+patterns. To explain this it has been suggested that these fishes are so
+safe among the mazy passages and endless nooks of the reefs, that they
+can well afford to wear any colour that suits their constitution. In
+some cases this may be true, but naturalists who have put on a diving
+suit and walked about among the coral have told us that each kind of
+fish is particularly suited to some particular place, and that some are
+suited for midday work and others for evening work. Sometimes there is a
+sort of Box and Cox arrangement by which two different fishes utilise
+the same corner at different times.
+
+[Illustration: THE PRAYING MANTIS (_Mantis Religiosa_)
+
+A very voracious insect with a quiet, unobtrusive appearance. It holds
+its formidable forelegs as if in the attitude of prayer; its movements
+are very slow and stealthy; and there is a suggestion of a leaf in the
+forewing. But there is no reason to credit the creature with conscious
+guile!]
+
+[Illustration: PROTECTIVE COLORATION: A WINTER SCENE IN NORTH
+SCANDINAVIA
+
+Showing Variable Hare, Willow Grouse, and Arctic Fox, all white in
+winter and inconspicuous against the snow. But the white dress is also
+the dress that is physiologically best, for it loses least of the animal
+heat.]
+
+[Illustration: THE VARIABLE MONITOR (_Varanus_)
+
+The monitors are the largest of existing lizards, the Australian species
+represented in the photograph attaining a length of four feet. It has a
+brown colour with yellow spots, and in spite of its size it is not
+conspicuous against certain backgrounds, such as the bark of a tree.]
+
+
+Sec. 2
+
+Gradual Change of Colour
+
+The common shore-crab shows many different colours and mottlings,
+especially when it is young. It may be green or grey, red or brown, and
+so forth, and it is often in admirable adjustment to the colour of the
+rock-pool where it is living. Experiments, which require extension, have
+shown that when the crab has moulted, which it has to do very often when
+it is young, the colour of the new shell tends to harmonise with the
+general colour of the rocks and seaweed. How this is brought about, we
+do not know. The colour does not seem to change till the next moult, and
+not then unless there is some reason for it. A full-grown shore-crab is
+well able to look after itself, and it is of interest to notice,
+therefore, that the variety of coloration is mainly among the small
+individuals, who have, of course, a much less secure position. It is
+possible, moreover, that the resemblance to the surroundings admits of
+more successful hunting, enabling the small crab to take its victim
+unawares.
+
+Professor Poulton's experiments with the caterpillars of the small
+tortoise-shell butterfly showed that in black surroundings the pupae tend
+to be darker, in white surroundings lighter, in gilded boxes golden; and
+the same is true in other cases. It appears that the surrounding colour
+affects the caterpillars through the skin during a sensitive period--the
+twenty hours immediately preceding the last twelve hours of the larval
+state. The result will tend to make the quiescent pupae less conspicuous
+during the critical time of metamorphosis. The physiology of this
+sympathetic colouring remains obscure.
+
+
+Seasonal Change of Colouring
+
+The ptarmigan moults three times in the year. Its summer plumage is
+rather grouselike above, with a good deal of rufous brown; the back
+becomes much more grey in autumn; almost all the feathers of the winter
+plumage are white. That is to say, they develop without any pigment and
+with numerous gas-bubbles in their cells. Now there can be no doubt that
+this white winter plumage makes the ptarmigan very inconspicuous amidst
+the snow. Sometimes one comes within a few feet of the crouching bird
+without seeing it, and this garment of invisibility may save it from the
+hungry eyes of golden eagles.
+
+Similarly the brown stoat becomes the white ermine, mainly by the
+growth, of a new suit of white fur, and the same is true of the mountain
+hare. The ermine is all white except the black tip of its tail; the
+mountain hare in its winter dress is all white save the black tips of
+its ears. In some cases, especially in the mountain hare, it seems that
+individual hairs may turn white, by a loss of pigment, as may occur in
+man. According to Metchnikoff, the wandering amoeboid cells of the
+body, called phagocytes, may creep up into the hairs and come back again
+with microscopic burdens of pigment. The place of the pigment is taken
+by gas-bubbles, and that is what causes the whiteness. In no animals is
+there any white _pigment_; the white _colour_ is like that of snow or
+foam, it is due to the complete reflection of the light from innumerable
+minute surfaces of crystals or bubbles.
+
+[Illustration: _Photo: W. S. Berridge, F.Z.S._
+
+BANDED KRAIT: A VERY POISONOUS SNAKE WITH ALTERNATING YELLOW AND DARK
+BANDS
+
+It is very conspicuous and may serve as an illustration of warning
+coloration. Perhaps, that is to say, its striking coloration serves as
+an advertisement, impressing other creatures with the fact that the
+Banded Krait should be left alone. It is very unprofitable for a snake
+to waste its venom on creatures it does not want.]
+
+[Illustration: _Photos: W. S. Berridge, F.Z.S._
+
+THE WARTY CHAMELEON
+
+The upper photograph shows the Warty Chameleon inflated and conspicuous.
+At another time, however, with compressed body and adjusted coloration,
+the animal is very inconspicuous. The lower photograph shows the sudden
+protrusion of the very long tongue on a fly.]
+
+[Illustration: SEASONAL COLOUR-CHANGE: A SUMMER SCENE IN NORTH
+SCANDINAVIA
+
+Showing a brown Variable Hare, Willow Grouse, and Arctic Fox, all
+inconspicuous in their coloration when seen in their natural
+surroundings.]
+
+The mountain hare may escape the fox the more readily because its
+whiteness makes it so inconspicuous against a background of snow; and
+yet, at other times, we have seen the creature standing out like a
+target on the dark moorland. So it cuts both ways. The ermine has almost
+no enemies except the gamekeeper, but its winter whiteness may help it
+to sneak upon its victims, such as grouse or rabbit, when there is snow
+upon the ground. In both cases, however, the probability is that the
+constitutional rhythm which leads to white hair in winter has been
+fostered and fixed for a reason quite apart from protection. The fact is
+that for a warm-blooded creature, whether bird or mammal, the
+physiologically best dress is a white one, for there is less radiation
+of the precious animal heat from white plumage or white pelage than from
+any other colour. The quality of warm-bloodedness is a prerogative of
+birds and mammals, and it means that the body keeps an almost constant
+temperature, day and night, year in and year out. This is effected by
+automatic internal adjustments which regulate the supply of heat,
+chiefly from the muscles, to the loss of heat, chiefly through the skin
+and from the lungs. The chief importance of this internal heat is that
+it facilitates the smooth continuance of the chemical processes on which
+life depends. If the temperature falls, as in hibernating mammals (whose
+warm-bloodedness is imperfect), the rate of the vital process is slowed
+down--sometimes dangerously. Thus we see how the white coat helps the
+life of the creature.
+
+
+Sec. 3
+
+Rapid Colour-change
+
+Bony flat-fishes, like plaice and sole, have a remarkable power of
+adjusting their hue and pattern to the surrounding gravel and sand, so
+that it is difficult to find them even when we know that they are there.
+It must be admitted that they are also very quick to get a sprinkling
+of sand over their upturned side, so that only the eyes are left
+showing. But there is no doubt as to the exactness with which they often
+adjust themselves to be like a little piece of the substratum on which
+they lie; they will do this within limits in experimental conditions
+when they are placed on a quite artificial floor. As these fishes are
+very palatable and are much sought after by such enemies as cormorants
+and otters, it is highly probably that their power of self-effacement
+often saves their life. And it may be effected within a few minutes, in
+some cases within a minute.
+
+In these self-effacing flat-fishes we know with some precision what
+happens. The adjustment of colour and pattern is due to changes in the
+size, shape, and position of mobile pigment-cells (chromatophores) and
+the skin. But what makes the pigment-cells change? The fact that a blind
+flat-fish does not change its colour gives us the first part of the
+answer. The colour and the pattern of the surroundings must affect the
+eye. The message travels by the optic nerve to the brain; from the
+brain, instead of passing down the spinal cord, the message travels down
+the chain of sympathetic ganglia. From these it passes along the nerves
+which comes out of the spinal cord and control the skin. Thus the
+message reaches the colour-cells in the skin, and before you have
+carefully read these lines the flat-fish has slipped on its Gyges ring
+and become invisible.
+
+The same power of rapid colour-change is seen in cuttlefishes, where it
+is often an expression of nervous excitement, though it sometimes helps
+to conceal. It occurs with much subtlety in the AEsop prawn, Hippolyte,
+which may be brown on a brown seaweed, green on sea-lettuce or
+sea-grass, red on red seaweed, and so on through an extensive repertory.
+
+    According to the nature of the background, [Professor Gamble writes]
+    so is the mixture of the pigments compounded so as to form a close
+    reproduction both of its colour and its pattern. A sweep of the
+    shrimp net detaches a battalion of these sleeping prawns, and if
+    we turn the motley into a dish and give a choice of seaweed, each
+    variety after its kind will select the one with which it agrees in
+    colour, and vanish. Both when young and when full-grown, the AEsop
+    prawn takes on the colour of its immediate surroundings. At
+    nightfall Hippolyte, of whatever colour, changes to a transparent
+    azure blue: its stolidity gives place to a nervous restlessness; at
+    the least tremor it leaps violently, and often swims actively from
+    one food-plant to another. This blue fit lasts till daybreak, and is
+    then succeeded by the prawn's diurnal tint.
+
+Thus, Professor Gamble continues, the colour of an animal may express a
+nervous rhythm.
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+PROTECTIVE RESEMBLANCE
+
+Hawk Moth, settled down on a branch, and very difficult to detect as
+long as it remains stationary. Note its remarkable sucking tongue, which
+is about twice the length of its body. The tongue can be quickly coiled
+up and put safely away beneath the lower part of the head.]
+
+[Illustration: WHEN ONLY A FEW DAYS OLD, YOUNG BITTERN BEGIN TO STRIKE
+THE SAME ATTITUDE AS THEIR PARENTS THRUSTING THEIR BILLS UPWARDS AND
+DRAWING THEIR BODIES UP SO THAT THEY RESEMBLE A BUNCH OF REEDS
+
+The soft browns and blue-greens harmonise with the dull sheaths of the
+young reeds; the nestling bittern is thus completely camouflaged.]
+
+
+The Case of Chameleons
+
+The highest level at which rapid colour-change occurs is among lizards,
+and the finest exhibition of it is among the chameleons. These quaint
+creatures are characteristic of Africa; but they occur also in
+Andalusia, Arabia, Ceylon, and Southern India. They are adapted for life
+on trees, where they hunt insects with great deliberateness and success.
+The protrusible tongue, ending in a sticky club, can be shot out for
+about seven inches in the common chameleon. Their hands and feet are
+split so that they grip the branches firmly, and the prehensile tail
+rivals a monkey's. When they wish they can make themselves very slim,
+contracting the body from side to side, so that they are not very
+readily seen. In other circumstances, however, they do not practise
+self-effacement, but the very reverse. They inflate their bodies, having
+not only large lungs, but air-sacs in connection with them. The throat
+bulges; the body sways from side to side; and the creature expresses its
+sentiments in a hiss. The power of colour-change is very remarkable, and
+depends partly on the contraction and expansion of the colour-cells
+(chromatophores) in the under-skin (or dermis) and partly on
+close-packed refractive granules and crystals of a waste-product called
+guanin. The repertory of possible colours in the common chameleon is
+greater than in any other animal except the AEsop prawn. There is a
+legend of a chameleon which was brown in a brown box, green in a green
+box, and blue in a blue box, and died when put into one lined with
+tartan; and there is no doubt that one and the same animal has a wide
+range of colours. The so-called "chameleon" (_Anolis_) of North America
+is so sensitive that a passing cloud makes it change its emerald hue.
+
+There is no doubt that a chameleon may make itself more inconspicuous by
+changing its colour, being affected by the play of light on its eyes. A
+bright-green hue is often seen on those that are sitting among strongly
+illumined green leaves. But the colour also changes with the time of day
+and with the animal's moods. A sudden irritation may bring about a rapid
+change; in other cases the transformation comes about very gradually.
+When the colour-change expresses the chameleon's feelings it might be
+compared to blushing, but that is due to an expansion of the arteries of
+the face, allowing more blood to get into the capillaries of the
+under-skin. The case of the chameleon is peculiarly interesting because
+the animal has two kinds of tactics--self-effacement on the one hand and
+bluffing on the other. There can be little doubt that the power of
+colour-change sometimes justifies itself by driving off intruders. Dr.
+Cyril Crossland observed that a chameleon attacked by a fox-terrier
+"turned round and opened its great pink mouth in the face of the
+advancing dog, at the same time rapidly changing colour, becoming almost
+black. This ruse succeeded every time, the dog turning off at once." In
+natural leafy surroundings the startling effect would be much greater--a
+sudden throwing off of the mantle of invisibility and the exposure of a
+conspicuous black body with a large red mouth.
+
+
+Sec. 4
+
+Likeness to Other Things
+
+Dr. H. O. Forbes tells of a flat spider which presents a striking
+resemblance to a bird's dropping on a leaf. Years after he first
+found it he was watching in a forest in the Far East when his eye fell
+on a leaf before him which had been blotched by a bird. He wondered idly
+why he had not seen for so long another specimen of the bird-dropping
+spider (_Ornithoscatoides decipiens_), and drew the leaf towards him.
+Instantaneously he got a characteristic sharp nip; it was the spider
+after all! Here the colour-resemblance was enhanced by a
+form-resemblance.
+
+[Illustration: A. PROTECTIVE COLORATION OR CAMOUFLAGING, GIVING ANIMALS
+A GARMENT OF INVISIBILITY
+
+At the foot of the plate is a Nightjar, with plumage like bark and
+withering leaves; to the right, resting on a branch, is shown a
+Chameleon in a green phase amid green surroundings; the insects on the
+reeds are Locusts; while a green Frog, merged into its surroundings,
+rests on a leaf near the centre at the top of the picture.
+
+B. ANOTHER EXAMPLE OF PROTECTIVE COLORATION OR CAMOUFLAGE
+
+A shore scene showing Trout in the pool almost invisible against their
+background. The Stone Curlews, both adult and young, are very
+inconspicuous among the stones on the beach.]
+
+But why should it profit a spider to be like a bird-dropping? Perhaps
+because it thereby escapes attention; but there is another possibility.
+It seems that some butterflies, allied to our Blues, are often attracted
+to excrementitious material, and the spider Dr. Forbes observed had
+actually caught its victim. This is borne out by a recent observation by
+Dr. D. G. H. Carpenter, who found a Uganda bug closely resembling a
+bird-dropping on sand. The bug actually settled down on a bird-dropping
+on sand, and caught a blue butterfly which came to feed there!
+
+Some of the walking-stick insects, belonging to the order of crickets
+and grasshoppers (Orthoptera), have their body elongated and narrow,
+like a thin dry branch, and they have a way of sticking out their limbs
+at abrupt and diverse angles, which makes the resemblance to twigs very
+close indeed. Some of these quaint insects rest through the day and have
+the remarkable habit of putting themselves into a sort of kataleptic
+state. Many creatures turn stiff when they get a shock, or pass suddenly
+into new surroundings, like some of the sand-hoppers when we lay them on
+the palm of our hand; but these twig-insects put themselves into this
+strange state. The body is rocked from side to side for a short time,
+and then it stiffens. An advantage may be that even if they were
+surprised by a bird or a lizard, they will not be able to betray
+themselves by even a tremor. Disguise is perfected by a remarkable
+habit, a habit which leads us to think of a whole series of different
+ways of lying low and saying nothing which are often of life-preserving
+value. The top end of the series is seen when a fox plays 'possum.
+
+The leaf-butterfly _Kallima_, conspicuously coloured on its upper
+surface, is like a withered leaf when it settles down and shows the
+under side of its wings. Here, again, there is precise form-resemblance,
+for the nervures on the wings are like the mid-rib and side veins on a
+leaf, and the touch of perfection is given in the presence of whitish
+spots which look exactly like the discolorations produced by lichens on
+leaves. An old entomologist, Mr. Jenner Weir, confessed that he
+repeatedly pruned off a caterpillar on a bush in mistake for a
+superfluous twig, for many brownish caterpillars fasten themselves by
+their posterior claspers and by an invisible thread of silk from their
+mouth, and project from the branch at a twig-like angle. An insect may
+be the very image of a sharp prickle or a piece of soft moss; a spider
+may look precisely like a tiny knob on a branch or a fragment of lichen;
+one of the sea-horses (_Phyllopteryx_) has frond-like tassels on various
+parts of its body, so that it looks extraordinarily like the seaweeds
+among which it lives. In a few cases, e.g. among spiders, it has been
+shown that animals with a special protective resemblance to something
+else seek out a position where this resemblance tells, and there is
+urgent need for observations bearing on this selection of environment.
+
+
+Sec. 5
+
+Mimicry in the True Sense
+
+It sometimes happens that in one and the same place there are two groups
+of animals not very nearly related which are "doubles" of one another.
+Investigation shows that the members of the one group, _always in the
+majority_, are in some way specially protected, e.g. by being
+unpalatable. They are the "mimicked." The members of the other group,
+_always in the minority_, have not got the special protection possessed
+by the others. They are the "mimickers," though the resemblance is not,
+of course, associated with any conscious imitation. The theory is that
+the mimickers live on the reputation of the mimicked. If the mimicked
+are left alone by birds because they have a reputation for
+unpalatability, or because they are able to sting, the mimickers
+survive--although they are palatable and stingless. They succeed, not
+through any virtue of their own, but because of their resemblance to the
+mimicked, for whom they are mistaken. There are many cases of mimetic
+resemblance so striking and so subtle that it seems impossible to doubt
+that the thing works; there are other cases which are rather
+far-fetched, and may be somewhat of the nature of coincidences. Thus
+although Mr. Bates tells us that he repeatedly shot humming-bird moths
+in mistake for humming-birds, we cannot think that this is a good
+illustration of mimicry. What is needed for many cases is what is
+forthcoming for some, namely, experimental evidence, e.g. that the
+unpalatable mimicked butterflies are left in relative peace while
+similar palatable butterflies are persecuted. It is also necessary to
+show that the mimickers do actually consort with the mimicked. Some
+beetles and moths are curiously wasplike, which may be a great
+advantage; the common drone-fly is superficially like a small bee; some
+harmless snakes are very like poisonous species; and Mr. Wallace
+maintained that the powerful "friar-birds" of the Far East are mimicked
+by the weak and timid orioles. When the model is unpalatable or
+repulsive or dangerous, and the mimic the reverse, the mimicry is called
+"Batesian" (after Mr. Bates), but there is another kind of mimicry
+called Muellerian (after Fritz Mueller) where the mimic is also
+unpalatable. The theory in this case is that the mimicry serves as
+mutual assurance, the members of the ring getting on better by
+consistently presenting the same appearance, which has come to mean to
+possible enemies a signal, _Noli me tangere_ ("Leave me alone"). There
+is nothing out of the question in this theory, but it requires to be
+taken in a critical spirit. It leads us to think of "warning colours,"
+which are the very opposite of the disguises which we are now studying.
+Some creatures like skunks, magpies, coral-snakes, cobras, brightly
+coloured tree-frogs are obtrusive rather than elusive, and the theory
+of Alfred Russel Wallace was that the flaunting conspicuousness serves
+as a useful advertisement, impressing itself on the memories of
+inexperienced enemies, who soon learn to leave creatures with "warning
+colours" alone. In any case it is plain that an animal which is as safe
+as a wasp or a coral-snake can afford to wear any suit of clothes it
+likes.
+
+[Illustration: DEAD-LEAF BUTTERFLY (_Kallima Inachis_) FROM INDIA
+
+It is conspicuous on its upper surface, but when it settles down on a
+twig and shows the underside of its wings it is practically invisible.
+The colouring of the under surface of the wings is like that of the
+withering leaf; there are spots like fungas spots; and the venation of
+the wings suggests the mid-rib and veins of the leaf. A, showing upper
+surface; B, showing under surface; C, a leaf.]
+
+[Illustration: PROTECTIVE RESEMBLANCE BETWEEN A SMALL SPIDER (_to the
+left_) AND AN ANT (_to the right_)
+
+As ants are much dreaded, it is probably profitable to the spider to be
+like an ant. It will be noted that the spider has four pairs of legs and
+no feelers, whereas the ant has three pairs of legs and a pair of
+feelers.]
+
+[Illustration: _Photo: J. J. Ward, F.E.S._
+
+THE WASP BEETLE, WHICH, WHEN MOVING AMONGST THE BRANCHES GIVES A
+WASP-LIKE IMPRESSION]
+
+[Illustration: HERMIT-CRAB WITH PARTNER SEA-ANEMONES
+
+Hermit-crabs hide their soft tail in the shell of a whelk or some other
+sea-snail. But some hermit-crabs place sea-anemones on the back of their
+borrowed shell. The sea-anemones mask the hermit-crab and their
+tentacles can sting. As for the sea-anemones, they are carried about by
+the hermit-crab and they get crumbs from its table. This kind of
+mutually beneficial external partnership is called commensalism, i.e.
+eating at the same table.]
+
+[Illustration: _Photo: G. P. Duffus._
+
+CUCKOO-SPIT
+
+The white mass in the centre of the picture is a soapy froth which the
+young frog-hopper makes, and within which it lies safe both from the
+heat of the sun and almost all enemies. After sojourning for a time in
+the cuckoo-spit, the frog-hopper becomes a winged insect.]
+
+
+Masking
+
+The episode in Scottish history called "The Walking Wood of Birnam,"
+when the advancing troop masked their approach by cutting down branches
+of the trees, has had its counterpart in many countries. But it is also
+enacted on the seashore. There are many kinds of crabs that put on
+disguise with what looks like deliberateness. The sand-crab takes a
+piece of seaweed, nibbles at the end of it, and then rubs it on the back
+of the carapace or on the legs so that it fixes to the bristles. As the
+seaweed continues to live, the crab soon has a little garden on its back
+which masks the crab's real nature. It is most effective camouflaging,
+but if the crab continues to grow it has to moult, and that means losing
+the disguise. It is then necessary to make a new one. The crab must have
+on the shore something corresponding to a reputation; that is to say,
+other animals are clearly or dimly aware that the crab is a voracious
+and combative creature. How useful to the crab, then, to have its
+appearance cloaked by a growth of innocent seaweed, or sponge, or
+zoophyte. It will enable the creature to sneak upon its victims or to
+escape the attention of its own enemies.
+
+If a narrow-beaked crab is cleaned artificially it will proceed to
+clothe itself again, the habit has become instinctive; and it must be
+admitted that while a particular crab prefers a particular kind of
+seaweed for its dress, it will cover itself with unsuitable and even
+conspicuous material, such as pieces of coloured cloth, if nothing
+better is available. The disguise differs greatly, for one crab is
+masked by a brightly coloured and unpalatable sponge densely packed
+with flinty needles; another cuts off the tunic of a sea-squirt and
+throws it over its shoulders; another trundles about a bivalve shell.
+The facts recall the familiar case of the hermit-crab, which protects
+its soft tail by tucking it into the empty shell of a periwinkle or a
+whelk or some other sea-snail, and that case leads on to the elaboration
+known as commensalism, where the hermit-crab fixes sea-anemones on the
+back of its borrowed house. The advantage here is beyond that of
+masking, for the sea-anemone can sting, which is a useful quality in a
+partner. That this second advantage may become the main one is evident
+in several cases where the sea-anemone is borne, just like a weapon, on
+each of the crustacean's great claws. Moreover, as the term commensalism
+(eating at the same table) suggests, the partnership is _mutually_
+beneficial. For the sea-anemone is carried about by the hermit-crab, and
+it doubtless gets its share of crumbs from its partner's frequent meals.
+There is a very interesting sidelight on the mutual benefit in the case
+of a dislodged sea-anemone which sulked for a while and then waited in a
+state of preparedness until a hermit-crab passed by and touched it.
+Whereupon the sea-anemone gripped and slowly worked itself up on to the
+back of the shell.
+
+
+Sec. 6
+
+Other Kinds of Elusiveness
+
+There are various kinds of disguise which are not readily classified. A
+troop of cuttlefish swimming in the sea is a beautiful sight. They keep
+time with one another in their movements and they show the same change
+of colour almost at the same moment. They are suddenly attacked,
+however, by a small shark, and then comes a simultaneous discharge of
+sepia from their ink-bags. There are clouds of ink in the clear water,
+for, as Professor Hickson puts it, the cuttlefishes have thrown dust in
+the eyes of their enemies. One can see a newborn cuttlefish do this a
+minute after it escapes from the egg.
+
+Very beautiful is the way in which many birds, like our common
+chaffinch, disguise the outside of their nest with moss and lichen and
+other trifles felted together, so that the cradle is as inconspicuous as
+possible. There seems to be a touch of art in fastening pieces of
+spider's web on the outside of a nest!
+
+How curious is the case of the tree-sloth of South American forests,
+that walks slowly, back downwards, along the undersides of the branches,
+hanging on by its long, curved fingers and toes. It is a nocturnal
+animal, and therefore not in special danger, but when resting during the
+day it is almost invisible because its shaggy hair is so like certain
+lichens and other growths on the branches. But the protective
+resemblance is enhanced by the presence of a green alga, which actually
+lives on the surface of the sloth's hairs--an alga like the one that
+makes tree-stems and gate-posts green in damp weather.
+
+There is no commoner sight in the early summer than the cuckoo-spit on
+the grasses and herbage by the wayside. It is conspicuous and yet it is
+said to be left severely alone by almost all creatures. In some way it
+must be a disguise. It is a sort of soap made by the activity of small
+frog-hoppers while they are still in the wingless larval stage, before
+they begin to hop. The insect pierces with its sharp mouth-parts the
+skin of the plant and sucks in sweet sap which by and by overflows over
+its body. It works its body up and down many times, whipping in air,
+which mixes with the sugary sap, reminding one of how "whipped egg" is
+made. But along with the sugary sap and the air, there is a little
+ferment from the food-canal and a little wax from glands on the skin,
+and the four things mixed together make a kind of soap which lasts
+through the heat of the day.
+
+There are many other modes of disguise besides those which we have been
+able to illustrate. Indeed, the biggest fact is that there are so many,
+for it brings us back to the idea that life is not an easy business. It
+is true, as Walt Whitman says, that animals do not sweat and whine about
+their condition; perhaps it is true, as he says, that not one is
+unhappy over the whole earth. But there is another truth, that this
+world is not a place for the unlit lamp and the ungirt loin, and that
+when a creature has not armour or weapons or cleverness it must find
+some path of safety or go back. One of these paths of safety is
+disguise, and we have illustrated its evolution.
+
+
+
+
+V
+
+THE ASCENT OF MAN
+
+
+
+
+THE ASCENT OF MAN
+
+
+Sec. 1
+
+No one thinks less of Sir Isaac Newton because he was born as a very
+puny infant, and no one should think less of the human race because it
+sprang from a stock of arboreal mammals. There is no doubt as to man's
+apartness from the rest of creation when he is seen at his best--"a
+little lower than the angels, crowned with glory and honour." "What a
+piece of work is a man! How noble in reason! How infinite in faculty! in
+form and moving how express and admirable! in action how like an angel!
+in apprehension so like a God." Nevertheless, all the facts point to his
+affiliation to the stock to which monkeys and apes also belong. Not,
+indeed, that man is descended from any living ape or monkey; it is
+rather that he and they have sprung from a common ancestry--are branches
+of the same stem. This conclusion is so momentous that the reasons for
+accepting it must be carefully considered. They were expounded with
+masterly skill in Darwin's _Descent of Man_ in 1871--a book which was
+but an expansion of a chapter in _The Origin of Species_ (1859).
+
+
+Anatomical Proof of Man's Relationship with a Simian Stock
+
+The anatomical structure of man is closely similar to that of the
+anthropoid apes--the gorilla, the orang, the chimpanzee, and the gibbon.
+Bone for bone, muscle for muscle, blood-vessel for blood-vessel, nerve
+for nerve, man and ape agree. As the conservative anatomist, Sir
+Richard Owen, said, there is between them "an all-pervading similitude
+of structure." Differences, of course, there are, but they are not
+momentous except man's big brain, which may be three times as heavy as
+that of a gorilla. The average human brain weighs about 48 ounces; the
+gorilla brain does not exceed 20 ounces at its best. The capacity of the
+human skull is never less than 55 cubic inches; in the orang and the
+chimpanzee the figures are 26 and 27-1/2 respectively. We are not
+suggesting that the most distinctive features of man are such as can be
+measured and weighed, but it is important to notice that the main seat
+of his mental powers is physically far ahead of that of the highest of
+the anthropoid apes.
+
+Man alone is thoroughly erect after his infancy is past; his head
+weighted with the heavy brain does not droop forward as the ape's does;
+with his erect attitude there is perhaps to be associated his more
+highly developed vocal organs. Compared with an anthropoid ape, man has
+a bigger and more upright forehead, a less protrusive face region,
+smaller cheek-bones and eyebrow ridges, and more uniform teeth. He is
+almost unique in having a chin. Man plants the sole of his foot flat on
+the ground, his big toe is usually in a line with the other toes, and he
+has a better heel than any monkey has. The change in the shape of the
+head is to be thought of in connection with the enlargement of the
+brain, and also in connection with the natural reduction of the muzzle
+region when the hand was freed from being an organ of support and became
+suited for grasping the food and conveying it to the mouth.
+
+Everyone is familiar in man's clothing with traces of the past
+persisting in the present, though their use has long since disappeared.
+There are buttons on the back of the waist of the morning coat to which
+the tails of the coat used to be fastened up, and there are buttons,
+occasionally with buttonholes, at the wrist which were once useful in
+turning up the sleeve. The same is true of man's body, which is a
+veritable museum of relics. Some anatomists have made out a list of
+over a hundred of these _vestigial_ structures, and though this number
+is perhaps too high, there is no doubt that the list is long. In the
+inner upper corner of the eye there is a minute tag--but larger in some
+races than in others--which is the last dwindling relic of the third
+eyelid, used in cleaning the front of the eye, which most mammals
+possess in a large and well-developed form. It can be easily seen, for
+instance, in ox and rabbit. In man and in monkeys it has become a
+useless vestige, and the dwindling must be associated with the fact that
+the upper eyelid is much more mobile in man and monkeys than in the
+other mammals. The vestigial third eyelid in man is enough of itself to
+prove his relationship with the mammals, but it is only one example out
+of many. Some of these are discussed in the article dealing with the
+human body, but we may mention the vestigial muscles going to the
+ear-trumpet, man's dwindling counterpart of the skin-twitching muscle
+which we see a horse use when he jerks a fly off his flanks, and the
+short tail which in the seven-weeks-old human embryo is actually longer
+than the leg. Without committing ourselves to a belief in the entire
+uselessness of the vermiform appendix, which grows out as a blind alley
+at the junction of the small intestine with the large, we are safe in
+saying that it is a dwindling structure--the remains of a blind gut
+which must have been capacious and useful in ancestral forms. In some
+mammals, like the rabbit, the blind gut is the bulkiest structure in the
+body, and bears the vermiform appendix at its far end. In man the
+appendix alone is left, and it tells its tale. It is interesting to
+notice that it is usually longer in the orang than in man, and that it
+is very variable, as dwindling structures tend to be. One of the
+unpleasant expressions of this variability is the liability to go wrong:
+hence appendicitis. Now these vestigial structures are, as Darwin said,
+like the unsounded, i.e. functionless, letters in words, such as the _o_
+in "leopard," the _b_ in "doubt," the _g_ in "reign." They are of no
+use, but they tell us something of the history of the words. So do man's
+vestigial structures reveal his pedigree. They must have an historical
+or evolutionary significance. No other interpretation is possible.
+
+[Illustration: _Photo: New York Zoological Park._
+
+CHIMPANZEE, SITTING
+
+The head shows certain facial characteristics, e.g. the beetling eyebrow
+ridges, which were marked in the Neanderthal race of men. Note the
+shortening of the thumb and the enlargement of the big toe.]
+
+[Illustration: _Photo: New York Zoological Park._
+
+CHIMPANZEE, ILLUSTRATING WALKING POWERS
+
+Note the great length of the arms and the relative shortness of the
+legs.]
+
+[Illustration: SURFACE VIEW OF THE BRAINS OF MAN (1) AND CHIMPANZEE (2)
+
+The human brain is much larger and heavier, more dome-like, and with
+much more numerous and complicated convolutions.]
+
+[Illustration: _Photo: New York Zoological Park._
+
+SIDE-VIEW OF CHIMPANZEE'S HEAD.
+
+(Compare with opposite picture.)]
+
+[Illustration: _After a model by J. H. McGregor._
+
+PROFILE VIEW OF HEAD OF PITHECANTHROPUS, THE JAVA APE MAN, RECONSTRUCTED
+FROM THE SKULL-CAP.]
+
+[Illustration: THE FLIPPER OF A WHALE AND THE HAND OF A MAN
+
+In the bones and in their arrangement there is a close resemblance in
+the two cases, yet the outcome is very different. The multiplication of
+finger joints in the whale is a striking feature.]
+
+Some men, oftener than women, show on the inturned margin of the
+ear-trumpet or pinna, a little conical projection of great interest. It
+is a vestige of the tip of the pointed ear of lower mammals, and it is
+well named _Darwin's point_. It was he who described it as a "surviving
+symbol of the stirring times and dangerous days of man's animal youth."
+
+
+Sec. 2
+
+Physiological Proof of Man's Relationship with a Simian Stock
+
+The everyday functions of the human body are practically the same as
+those of the anthropoid ape, and similar disorders are common to both.
+Monkeys may be infected with certain microbes to which man is peculiarly
+liable, such as the bacillus of tuberculosis. Darwin showed that various
+human gestures and facial expressions have their counterparts in
+monkeys. The sneering curl of the upper lip, which tends to expose the
+canine tooth, is a case in point, though it may be seen in many other
+mammals besides monkeys--in dogs, for instance, which are at some
+considerable distance from the simian branch to which man's ancestors
+belonged.
+
+When human blood is transfused into a dog or even a monkey, it behaves
+in a hostile way to the other blood, bringing about a destruction of the
+red blood corpuscles. But when it is transfused into a chimpanzee there
+is an harmonious mingling of the two. This is a very literal
+demonstration of man's blood-relationship with the higher apes. But
+there is a finer form of the same experiment. When the blood-fluid (or
+serum) of a rabbit, which has had human blood injected into it, is
+mingled with human blood, it forms a cloudy precipitate. It forms almost
+as marked a precipitate when it is mingled with the blood of an
+anthropoid ape. But when it is mingled with the blood of an American
+monkey there is only a slight clouding after a considerable time and
+no actual precipitate. When it is added to the blood of one of the
+distantly related "half-monkeys" or lemurs there is no reaction or only
+a very weak one. With the blood of mammals off the simian line
+altogether there is no reaction at all. Thus, as a distinguished
+anthropologist, Professor Schwalbe, has said: "We have in this not only
+a proof of the literal blood-relationship between man and apes, but the
+degree of relationship with the different main groups of apes can be
+determined beyond possibility of mistake." We can imagine how this
+modern line of experiment would have delighted Darwin.
+
+[Illustration: THE GORILLA, INHABITING THE FOREST TRACT OF THE GABOON IN
+AFRICA
+
+A full-grown individual stands about 5 feet high. The gait is shuffling,
+the strength enormous, the diet mainly vegetarian, the temper rather
+ferocious.]
+
+
+Embryological Proof of Man's Relationship with a Simian Stock
+
+In his individual development, man does in some measure climb up his own
+genealogical tree. Stages in the development of the body during its nine
+months of ante-natal life are closely similar to stages in the
+development of the anthropoid embryo. Babies born in times of famine or
+siege are sometimes, as it were, imperfectly finished, and sometimes
+have what may be described as monkeyish features and ways. A visit to an
+institution for the care of children who show arrested, defective, or
+disturbed development leaves one sadly impressed with the risk of
+slipping down the rungs of the steep ladder of evolution; and even in
+adults the occurrence of serious nervous disturbance, such as
+"shell-shock," is sometimes marked by relapses to animal ways. It is a
+familiar fact that a normal baby reveals the past in its surprising
+power of grip, and the careful experiments of Dr. Louis Robinson showed
+that an infant three weeks old could support its own weight for over two
+minutes, holding on to a horizontal bar. "In many cases no sign of
+distress is evinced and no cry uttered, until the grasp begins to give
+way." This persistent grasp probably points back to the time when the
+baby had to cling to its arboreal mother. The human tail is represented
+in the adult by a fusion of four or five vertebrae forming the "coccyx"
+at the end of the backbone, and is normally concealed beneath the
+flesh, but in the embryo the tail projects freely and is movable. Up to
+the sixth month of the ante-natal sleep the body is covered, all but the
+palms and soles, with longish hair (the lanugo), which usually
+disappears before birth. This is a stage in the normal development,
+which is reasonably interpreted as a recapitulation of a stage in the
+racial evolution. We draw this inference when we find that the unborn
+offspring of an almost hairless whale has an abundant representation of
+hairs; we must draw a similar inference in the case of man.
+
+It must be noticed that there are two serious errors in the careless
+statement often made that man in his development is at one time like a
+little fish, at a later stage like a little reptile, at a later stage
+like a little primitive mammal, and eventually like a little monkey. The
+first error here is that the comparison should be made with
+_embryo_-fish, _embryo_-reptile, _embryo_-mammal, and so on. It is in
+the making of the embryos that the great resemblance lies. When the
+human embryo shows the laying down of the essential vertebrate
+characters, such as brain and spinal cord, then it is closely comparable
+to the embryo of a lower vertebrate at a similar stage. When, at a
+subsequent stage, its heart, for instance, is about to become a
+four-chambered mammalian heart, it is closely comparable to the heart
+of, let us say, a turtle, which never becomes more than three-chambered.
+The point is that in the making of the organs of the body, say brain and
+kidneys, the embryo of man pursues a path closely corresponding to the
+path followed by the embryos of other backboned animals lower in the
+scale, but at successive stages it parts company with these, with the
+lowest first and so on in succession. A human embryo is never like a
+little reptile, but the developing organs pass through stages which very
+closely resemble the corresponding stages in lower types which are in a
+general way ancestral.
+
+The second error is that every kind of animal, man included, has from
+the first a certain individuality, with peculiar characteristics which
+are all its own. This is expressed by the somewhat difficult word
+_specificity_, which just means that every species is itself and no
+other. So in the development of the human embryo, while there are close
+resemblances to the embryos of apes, monkeys, other mammals, and even,
+at earlier stages still, to the embryos of reptile and fish, it has to
+be admitted that we are dealing from first to last with a human embryo
+with peculiarities of its own.
+
+[Illustration: "DARWIN'S POINT" ON HUMAN EAR (MARKED D.P.)
+
+It corresponds to the tip (T) of the ear of an ordinary mammal, as shown
+in the hare's ear below. In the young orang the part corresponding to
+Darwin's point is still at the tip of the ear.]
+
+[Illustration: _Photo: J. Russell & Sons._
+
+PROFESSOR SIR ARTHUR KEITH, M.D., LL.D., F.R.S.
+
+Conservator of the Museum and Hunterian Professor, Royal College of
+Surgeons of England. One of the foremost living anthropologists and a
+leading authority on the antiquity of man.]
+
+[Illustration: _After T. H. Huxley (by permission of Messrs.
+Macmillan)._
+
+SKELETONS OF THE GIBBON, ORANG, CHIMPANZEE, GORILLA, MAN
+
+Photographically reduced from diagrams of the natural size (except that
+of the gibbon, which was twice as large as nature) drawn by Mr.
+Waterhouse Hawkins from specimens in the Museum of the Royal College of
+Surgeons.]
+
+Every human being begins his or her life as a single cell--a fertilised
+egg-cell, a treasure-house of all the ages. For in this living
+microcosm, only a small fraction (1/125) of an inch in diameter, there
+is condensed--who can imagine how?--all the natural inheritance of man,
+all the legacy of his parentage, of his ancestry, of his long pre-human
+pedigree. Darwin called the pinhead brain of the ant the most marvellous
+atom of matter in the world, but the human ovum is more marvellous
+still. It has more possibilities in it than any other thing, yet without
+fertilisation it will die. The fertilised ovum divides and redivides;
+there results a ball of cells and a sack of cells; gradually division of
+labour becomes the rule; there is a laying down of nervous system and
+food-canal, muscular system and skeleton, and so proceeds what is
+learnedly called differentiation. Out of the apparently simple there
+emerges the obviously complex. As Aristotle observed more than two
+thousand years ago, in the developing egg of the hen there soon appears
+the beating heart! There is nothing like this in the non-living world.
+But to return to the developing human embryo, there is formed from and
+above the embryonic food-canal a skeletal rod, which is called the
+notochord. It thrills the imagination to learn that this is the only
+supporting axis that the lower orders of the backboned race possess. The
+curious thing is that it does not become the backbone, which is
+certainly one of the essential features of the vertebrate race. The
+notochord is the supporting axis of the pioneer backboned animals,
+namely the Lancelets and the Round-mouths (Cyclostomes), such as the
+Lamprey. They have no backbone in the strict sense, but they have this
+notochord. It can easily be dissected out in the lamprey--a long gristly
+rod. It is surrounded by a sheath which becomes the backbone of most
+fishes and of all higher animals. The interesting point is that although
+the notochord is only a vestige in the adults of these types, it is
+never absent from the embryo. It occurs even in man, a short-lived relic
+of the primeval supporting axis of the body. It comes and then it goes,
+leaving only minute traces in the adult. We cannot say that it is of any
+use, unless it serves as a stimulus to the development of its
+substitute, the backbone. It is only a piece of preliminary scaffolding,
+but there is no more eloquent instance of the living hand of the past.
+
+One other instance must suffice of what Professor Lull calls the
+wonderful changes wrought in the dark of the ante-natal period, which
+recapitulate in rapid abbreviation the great evolutionary steps which
+were taken by man's ancestors "during the long night of the geological
+past." On the sides of the neck of the human embryo there are four pairs
+of slits, the "visceral clefts," openings from the beginning of the
+food-canals to the surface. There is no doubt as to their significance.
+They correspond to the gill-slits of fishes and tadpoles. Yet in
+reptiles, birds, and mammals they have no connection with breathing,
+which is their function in fishes and amphibians. Indeed, they are not
+of any use at all, except that the first becomes the Eustachian tube
+bringing the ear-passage into connection with the back of the mouth, and
+that the second and third have to do with the development of a curious
+organ called the thymus gland. Persistent, nevertheless, these
+gill-slits are, recalling even in man an aquatic ancestry of many
+millions of years ago.
+
+When all these lines of evidence are considered, they are seen to
+converge in the conclusion that man is derived from a simian stock of
+mammals. He is solidary with the rest of creation. To quote the closing
+words of Darwin's _Descent of Man_:
+
+    We must, however, acknowledge, as it seems to me, that man with all
+    his noble qualities, with sympathy which feels for the most debased,
+    with benevolence which extends not only to other men but to the
+    humblest living creature, with his God-like intellect, which has
+    penetrated into the movements and constitution of the solar
+    system--with all these exalted powers--man still bears in his bodily
+    frame the indelible stamp of his lowly origin.
+
+We should be clear that this view does not say more than that man sprang
+from a stock common to him and to the higher apes. Those who are
+repelled by the idea of man's derivation from a simian type should
+remember that the theory implies rather more than this, namely, that man
+is the outcome of a genealogy which has implied many millions of years
+of experimenting and sifting--the groaning and travailing of a whole
+creation. Speaking of man's mental qualities, Sir Ray Lankester says:
+"They justify the view that man forms a new departure in the gradual
+unfolding of Nature's predestined plan." In any case, we have to try to
+square our views with the facts, not the facts with our views, and while
+one of the facts is that man stands unique and apart, the other is that
+man is a scion of a progressive simian stock. Naturalists have exposed
+the pit whence man has been digged and the rock whence he has been hewn,
+but it is surely a heartening encouragement to know that it is an
+ascent, not a descent, that we have behind us. There is wisdom in
+Pascal's maxim:
+
+    It is dangerous to show man too plainly how like he is to the
+    animals, without, at the same time, reminding him of his greatness.
+    It is equally unwise to impress him with his greatness and not with
+    his lowliness. It is worse to leave him in ignorance of both. But it
+    is very profitable to recognise the two facts.
+
+
+Sec. 3
+
+Man's Pedigree
+
+The facts of anatomy, physiology, and embryology, of which we have given
+illustrations, all point to man's affiliation with the order of monkeys
+and apes. To this order is given the name Primates, and our first and
+second question must be when and whence the Primates began. The rock
+record answers the first question: the Primates emerged about the dawn
+of the Eocene era, when grass was beginning to cover the earth with a
+garment. Their ancestral home was in the north in both hemispheres, and
+then they migrated to Africa, India, Malay, and South America. In North
+America the Primates soon became extinct, and the same thing happened
+later on in Europe. In this case, however, there was a repeopling from
+the South (in the Lower Miocene) and then a second extinction (in the
+Upper Pliocene) before man appeared. There is considerable evidence in
+support of Professor R. S. Lull's conclusion, that in Southern Asia,
+Africa, and South America the evolution of Primates was continuous since
+the first great southward migration, and there is, of course, an
+abundant modern representation of Primates in these regions to-day.
+
+As to the second question: Whence the Primates sprang, the answer must
+be more conjectural. But it is a reasonable view that Carnivores and
+Primates sprang from a common Insectivore stock, the one order diverging
+towards flesh-eating and hunting on the ground, the other order
+diverging towards fruit-eating and arboreal habits. There is no doubt
+that the Insectivores (including shrews, tree-shrews, hedgehog, mole,
+and the like) were very plastic and progressive mammals.
+
+What followed in the course of ages was the divergence of branch after
+branch from the main Primate stem. First there diverged the South
+American monkeys on a line of their own, and then the Old World monkeys,
+such as the macaques and baboons. Ages passed and the main stems gave
+off (in the Oligocene period) the branch now represented by the small
+anthropoid apes--the gibbon and the siamang. Distinctly later there
+diverged the branch of the large anthropoid apes--the gorilla, the
+chimpanzee, and the orang. That left a generalised humanoid stock
+separated off from all monkeys and apes, and including the immediate
+precursors of man. When this sifting out of a generalised humanoid stock
+took place remains very uncertain, some authorities referring it to the
+Miocene, others to the early Pliocene. Some would estimate its date at
+half a million years ago, others at two millions! The fact is that
+questions of chronology do not as yet admit of scientific statement.
+
+[Illustration: SIDE-VIEW OF SKULL OF MAN (M) AND GORILLA (G)
+
+Notice in the gorilla's skull the protrusive face region, the big
+eyebrow ridges, the much less domed cranial cavity, the massive lower
+jaw, the big canine teeth. Notice in man's skull the well-developed
+forehead, the domed and spacious cranial cavity, the absence of any
+snout, the chin process, and many other marked differences separating
+the human skull from the ape's.]
+
+[Illustration: THE SKULL AND BRAIN-CASE OF PITHECANTHROPUS, THE JAVA
+APE-MAN, AS RESTORED. BY J. H. McGREGOR FROM THE SCANTY REMAINS
+
+The restoration shows the low, retreating forehead and the prominent
+eyebrow ridges.]
+
+[Illustration: SUGGESTED GENEALOGICAL TREE OF MAN AND ANTHROPOID APES
+
+From Sir Arthur Keith; the lettering to the right has been slightly
+simplified.]
+
+We are on firmer, though still uncertain, ground when we state the
+probability that it was in Asia that the precursors of man were
+separated off from monkeys and apes, and began to be terrestrial rather
+than arboreal. Professor Lull points out that Asia is nearest to the
+oldest known human remains (in Java), and that Asia was the seat of the
+most ancient civilisations and the original home of many domesticated
+animals and cultivated plants. The probability is that the cradle of the
+human race was in Asia.
+
+
+Man's Arboreal Apprenticeship
+
+At this point it will be useful to consider man's arboreal
+apprenticeship and how he became a terrestrial journeyman. Professor
+Wood Jones has worked out very convincingly the thesis that man had no
+direct four-footed ancestry, but that the Primate stock to which he
+belongs was from its first divergence arboreal. He maintains that the
+leading peculiarities of the immediate precursors of man were wrought
+out during a long arboreal apprenticeship. The first great gain of
+arboreal life on bipedal erect lines (not after the quadrupedal fashion
+of tree-sloths, for instance) was the emancipation of the hand. The
+foot became the supporting and branch-gripping member, and the hand was
+set free to reach upward, to hang on by, to seize the fruit, to lift it
+and hold it to the mouth, and to hug the young one close to the breast.
+The hand thus set free has remained plastic--a generalised, not a
+specialised member. Much has followed from man's "handiness."
+
+The arboreal life had many other consequences. It led to an increased
+freedom of movement of the thigh on the hip joint, to muscular
+arrangements for balancing the body on the leg, to making the backbone a
+supple yet stable curved pillar, to a strongly developed collar-bone
+which is only found well-formed when the fore-limb is used for more than
+support, and to a power of "opposing" the thumb and the big toe to the
+other digits of the hand and foot--an obvious advantage for
+branch-gripping. But the evolution of a free hand made it possible to
+dispense with protrusive lips and gripping teeth. Thus began the
+recession of the snout region, the associated enlargement of the
+brain-box, and the bringing of the eyes to the front. The overcrowding
+of the teeth that followed the shortening of the snout was one of the
+taxes on progress of which modern man is often reminded in his dental
+troubles.
+
+Another acquisition associated with arboreal life was a greatly
+increased power of turning the head from side to side--a mobility very
+important in locating sounds and in exploring with the eyes.
+Furthermore, there came about a flattening of the chest and of the back,
+and the movements of the midriff (or diaphragm) came to count for more
+in respiration than the movements of the ribs. The sense of touch came
+to be of more importance and the sense of smell of less; the part of the
+brain receiving tidings from hand and eye and ear came to predominate
+over the part for receiving olfactory messages. Finally, the need for
+carrying the infant about among the branches must surely have implied an
+intensification of family relations, and favoured the evolution of
+gentleness.
+
+[Illustration: _Photo: New York Zoological Park._
+
+THE GIBBON IS LOWER THAN THE OTHER APES AS REGARDS ITS SKULL AND
+DENTITION, BUT IT IS HIGHLY SPECIALIZED IN THE ADAPTATION OF ITS LIMBS
+TO ARBOREAL LIFE]
+
+[Illustration: _Photo: New York Zoological Park._
+
+THE ORANG HAS A HIGH ROUNDED SKULL AND A LONG FACE]
+
+[Illustration: _Photo: British Museum (Natural History)._
+
+COMPARISONS OF THE SKELETONS OF HORSE AND MAN
+
+Bone for bone, the two skeletons are like one another, though man is a
+biped and the horse a quadruped. The backbone in man is mainly vertical;
+the backbone in the horse is horizontal except in the neck and the tail.
+Man's skull is mainly in a line with the backbone; the horse's at an
+angle to it. Both man and horse have seven neck vertebrae. Man has five
+digits on each limb; the horse has only one digit well developed on each
+limb.]
+
+It may be urged that we are attaching too much importance to the
+arboreal apprenticeship, since many tree-loving animals remain to-day
+very innocent creatures. To this reasonable objection there are two
+answers, first that in its many acquisitions the arboreal evolution of
+the _humanoid_ precursors of man prepared the way for the survival of a
+_human_ type marked by a great step in brain-development; and second
+that the passage from the humanoid to the human was probably associated
+with _a return to mother earth_.
+
+According to Professor Lull, to whose fine textbook, _Organic Evolution_
+(1917), we are much indebted, "climatic conditions in Asia in the
+Miocene or early Pliocene were such as to compel the descent of the
+pre-human ancestor from the trees, a step which was absolutely essential
+to further human development." Continental elevation and consequent
+aridity led to a dwindling of the forests, and forced the ape-man to
+come to earth. "And at the last arose the man."
+
+According to Lull, the descent from the trees was associated with the
+assumption of a more erect posture, with increased liberation and
+plasticity of the hand, with becoming a hunter, with experiments towards
+clothing and shelter, with an exploring habit, and with the beginning of
+communal life.
+
+It is a plausible view that the transition from the humanoid to the
+human was effected by a discontinuous variation of considerable
+magnitude, what is nowadays called a _mutation_, and that it had mainly
+to do with the brain and the vocal organs. But given the gains of the
+arboreal apprenticeship, the stimulus of an enforced descent to terra
+firma, and an evolving brain and voice, we can recognise accessory
+factors which helped success to succeed. Perhaps the absence of great
+physical strength prompted reliance on wits; the prolongation of infancy
+would help to educate the parents in gentleness; the strengthening of
+the feeling of kinship would favour the evolution of family and social
+life--of which there are many anticipations at lower levels. There is
+much truth in the saying: "Man did not make society, society made man."
+
+A continuation of the story will deal with the emergence of the
+primitive types of man and the gradual ascent of the modern species.
+
+
+Sec. 4
+
+Tentative Men
+
+So far the story has been that of the sifting out of a humanoid stock
+and of the transition to human kind, from the ancestors of apes and men
+to the man-ape, and from the man-ape to man. It looks as if the
+sifting-out process had proceeded further, for there were several human
+branches that did not lead on to the modern type of man.
+
+1. The first of these is represented by the scanty fossil remains known
+as _Pithecanthropus erectus_, found in Java in fossiliferous beds which
+date from the end of the Pliocene or the beginning of the Pleistocene
+era. Perhaps this means half a million years ago, and the remains
+occurred along with those of some mammals which are now extinct.
+Unfortunately the remains of Pithecanthropus the Erect consisted only of
+a skull-cap, a thigh-bone, and two back teeth, so it is not surprising
+that experts should differ considerably in their interpretation of what
+was found. Some have regarded the remains as those of a large gibbon,
+others as those of a pre-human ape-man, and others as those of a
+primitive man off the main line of ascent. According to Sir Arthur
+Keith, Pithecanthropus was "a being human in stature, human in gait,
+human in all its parts, save its brain." The thigh-bone indicates a
+height of about 5 feet 7 inches, one inch less than the average height
+of the men of to-day. The skull-cap indicates a low, flat forehead,
+beetling brows, and a capacity about two-thirds of the modern size. The
+remains were found by Dubois, in 1894, in Trinil in Central Java.
+
+2. The next offshoot is represented by the Heidelberg man (_Homo
+heidelbergensis_), discovered near Heidelberg in 1907 by Dr.
+Schoetensack. But the remains consisted only of a lower jaw and its
+teeth. Along with this relic were bones of various mammals, including
+some long since extinct in Europe, such as elephant, rhinoceros, bison,
+and lion. The circumstances indicate an age of perhaps 300,000 years
+ago. There were also very crude flint implements (or eoliths). But the
+teeth are human teeth, and the jaw seems transitional between that of an
+anthropoid ape and that of man. Thus there was no chin. According to
+most authorities the lower jaw from the Heidelberg sand-pit must be
+regarded as a relic of a primitive type off the main line of human
+ascent.
+
+[Illustration: A RECONSTRUCTION OF THE JAVA MAN
+
+(_Pithecanthropus erectus._)]
+
+3. It was in all probability in the Pliocene that there took origin the
+Neanderthal species of man, _Homo neanderthalensis_, first known from
+remains found in 1856 in the Neanderthal ravine near Duesseldorf.
+According to some authorities Neanderthal man was living in Europe a
+quarter of a million years ago. Other specimens were afterwards found
+elsewhere, e.g. in Belgium ("the men of Spy"), in France, in Croatia,
+and at Gibraltar, so that a good deal is known of Neanderthal man. He
+was a loose-limbed fellow, short of stature and of slouching gait, but a
+skilful artificer, fashioning beautifully worked flints with a
+characteristic style. He used fire; he buried his dead reverently and
+furnished them with an outfit for a long journey; and he had a big
+brain. But he had great beetling, ape-like eyebrow ridges and massive
+jaws, and he showed "simian characters swarming in the details of his
+structure." In most of the points in which he differs from modern man he
+approaches the anthropoid apes, and he must be regarded as a low type of
+man off the main line. Huxley regarded the Neanderthal man as a low form
+of the modern type, but expert opinion seems to agree rather with the
+view maintained in 1864 by Professor William King of Galway, that the
+Neanderthal man represents a distinct species off the main line of
+ascent. He disappeared with apparent suddenness (like some aboriginal
+races to-day) about the end of the Fourth Great Ice Age; but there is
+evidence that before he ceased to be there had emerged a successor
+rather than a descendant--the modern man.
+
+4. Another offshoot from the main line is probably represented by the
+Piltdown man, found in Sussex in 1912. The remains consisted of the
+walls of the skull, which indicate a large brain, and a high forehead
+without the beetling eyebrows of the Neanderthal man and
+Pithecanthropus. The "find" included a tooth and part of a lower jaw,
+but these perhaps belong to some ape, for they are very discrepant. The
+Piltdown skull represents the most ancient human remains as yet found in
+Britain, and Dr. Smith Woodward's establishment of a separate genus
+Eoanthropus expresses his conviction that the Piltdown man was off the
+line of the evolution of the modern type. If the tooth and piece of
+lower jaw belong to the Piltdown skull, then there was a remarkable
+combination of ape-like and human characters. As regards the brain,
+_inferred_ from the skull-walls, Sir Arthur Keith says:
+
+    All the essential features of the brain of modern man are to be seen
+    in the brain cast. There are some which must be regarded as
+    primitive. There can be no doubt that it is built on exactly the
+    same lines as our modern brains. A few minor alterations would make
+    it in all respects a modern brain.... Although our knowledge of the
+    human brain is limited--there are large areas to which we can assign
+    no definite function--we may rest assured that a brain which was
+    shaped in a mould so similar to our own was one which responded to
+    the outside world as ours does. Piltdown man saw, heard, felt,
+    thought, and dreamt much as we do still.
+
+And this was 150,000 years ago at a modern estimate, and some would say
+half a million.
+
+There is neither agreement nor certainty as to the antiquity of man,
+except that the modern type was distinguishable from its collaterals
+hundreds of thousands of years ago. The general impression left is very
+grand. In remote antiquity the Primate stem diverged from the other
+orders of mammals; it sent forth its tentative branches, and the result
+was a tangle of monkeys; ages passed and the monkeys were left behind,
+while the main stem, still probing its way, gave off the Anthropoid
+apes, both small and large. But they too were left behind, and the main
+line gave off other experiments--indications of which we know in Java,
+at Heidelberg, in the Neanderthal, and at Piltdown. None of these lasted
+or was made perfect. They represent _tentative_ men who had their day
+and ceased to be, our predecessors rather than our ancestors. Still, the
+main stem goes on evolving, and who will be bold enough to say what
+fruit it has yet to bear!
+
+[Illustration: _After a model by J. H. McGregor._
+
+PROFILE VIEW OF THE HEAD OF PITHECANTHROPUS, THE JAVA APE-MAN--AN EARLY
+OFFSHOOT FROM THE MAIN LINE OF MAN'S ASCENT
+
+The animal remains found along with the skull-cap, thigh-bone, and two
+teeth of Pithecanthropus seem to indicate the lowest Pleistocene period,
+perhaps 500,000 years ago.]
+
+[Illustration: _From the reconstruction by J. H. McGregor._
+
+PILTDOWN SKULL. THE DARK PARTS ONLY ARE PRESERVED, NAMELY PORTIONS OF
+THE CRANIAL WALLS AND THE NASAL BONES
+
+Some authorities include a canine tooth and part of the lower jaw which
+were found close by. The remains were found in 1912 in Thames gravels in
+Sussex, and are usually regarded as vastly more ancient than those of
+Neanderthal Man. It has been suggested that Piltdown Man lived 100,000
+to 150,000 years ago, in the Third Interglacial period.]
+
+[Illustration: _Reproduced by permission from Osborn's "Men of the Old
+Stone Age."_
+
+SAND-PIT AT MAUER, NEAR HEIDELBERG: DISCOVERY SITE OF THE JAW OF
+HEIDELBERG MAN
+
+ _a-b._ "Newer loess," either of Third Interglacial or of Postglacial
+          times.
+ _b-c._ "Older loess" (sandy loess), of the close of Second Interglacial
+          times.
+ _c-f._ The "sands of Mauer."
+ _d-e._ An intermediate layer of clay.
+
+The white cross (X) indicates the spot at the base of the "sands of
+Mauer" at which the jaw of Heidelberg was discovered.]
+
+
+Primitive Men
+
+Ancient skeletons of men of the modern type have been found in many
+places, e.g. Combe Capelle in Dordogne, Galley Hill in Kent, Cro-Magnon
+in Perigord, Mentone on the Riviera; and they are often referred to as
+"Cave-men" or "men of the Early Stone Age." They had large skulls, high
+foreheads, well-marked chins, and other features such as modern man
+possesses. They were true men at last--that is to say, like ourselves!
+The spirited pictures they made on the walls of caves in France and
+Spain show artistic sense and skill. Well-finished statuettes
+representing nude female figures are also known. The elaborate burial
+customs point to a belief in life after death. They made stone
+implements--knives, scrapers, gravers, and the like, of the type known
+as Palaeolithic, and these show interesting gradations of skill and
+peculiarities of style. The "Cave-men" lived between the third and
+fourth Ice Ages, along with cave-bear, cave-lion, cave-hyaena, mammoth,
+woolly rhinoceros, Irish elk, and other mammals now extinct--taking us
+back to 30,000-50,000 years ago, and many would say much more. Some of
+the big-brained skulls of these Palaeolithic cave-men show not a single
+feature that could be called primitive. They show teeth which in size
+and form are exactly the same as those of a thousand generations
+afterwards--and suffering from gumboil too! There seems little doubt
+that these vigorous Palaeolithic Cave-men of Europe were living for a
+while contemporaneously with the men of Neanderthal, and it is possible
+that they directly or indirectly hastened the disappearance of their
+more primitive collaterals. Curiously enough, however, they had not
+themselves adequate lasting power in Europe, for they seem for the most
+part to have dwindled away, leaving perhaps stray present-day survivors
+in isolated districts. The probability is that after their decline
+Europe was repeopled by immigrants from Asia. It cannot be said that
+there is any inherent biological necessity for the decline of a vigorous
+race--many animal races go back for millions of years--but in mankind
+the historical fact is that a period of great racial vigour and success
+is often followed by a period of decline, sometimes leading to practical
+disappearance as a definite race. The causes of this waning remain very
+obscure--sometimes environmental, sometimes constitutional, sometimes
+competitive. Sometimes the introduction of a new parasite, like the
+malaria organism, may have been to blame.
+
+After the Ice Ages had passed, perhaps 25,000 years ago, the Palaeolithic
+culture gave place to the Neolithic. The men who made rudely dressed but
+often beautiful stone implements were succeeded or replaced by men who
+made polished stone implements. The earliest inhabitants of Scotland
+were of this Neolithic culture, migrating from the Continent when the
+ice-fields of the Great Glaciation had disappeared. Their remains are
+often associated with the "Fifty-foot Beach" which, though now high and
+dry, was the seashore in early Neolithic days. Much is known about these
+men of the polished stones. They were hunters, fowlers, and fishermen;
+without domesticated animals or agriculture; short folk, two or three
+inches below the present standard; living an active strenuous life.
+Similarly, for the south, Sir Arthur Keith pictures for us a Neolithic
+community at Coldrum in Kent, dating from about 4,000 years ago--a few
+ticks of the geological clock. It consisted, in this case, of
+agricultural pioneers, men with large heads and big brains, about two
+inches shorter in stature than the modern British average (5 ft. 8 in.),
+with better teeth and broader palates than men have in these days of
+soft food, with beliefs concerning life and death similar to those that
+swayed their contemporaries in Western and Southern Europe. Very
+interesting is the manipulative skill they showed on a large scale in
+erecting standing stones (probably connected with calendar-keeping and
+with worship), and on a small scale in making daring operations on the
+skull. Four thousand years ago is given as a probable date for that
+early community in Kent, but evidences of Neolithic man occur in
+situations which demand a much greater antiquity--perhaps 30,000 years.
+And man was not young then!
+
+[Illustration: PAINTINGS ON THE ROOF OF THE ALTAMIRA CAVE IN NORTHERN
+SPAIN, SHOWING A BISON ABOVE AND A GALLOPING BOAR BELOW
+
+The artistic drawings, over 2 feet in length, were made by the Reindeer
+Men or "Cromagnards" in the time of the Upper or Post-Glacial
+Pleistocene, before the appearance of the Neolithic men.]
+
+We must open one more chapter in the thrilling story of the Ascent of
+Man--the Metal Ages, which are in a sense still continuing. Metals began
+to be used in the late Polished Stone (Neolithic) times, for there were
+always overlappings. Copper came first, Bronze second, and Iron last.
+The working of copper in the East has been traced back to the fourth
+millennium B.C., and there was also a very ancient Copper Age in the New
+World. It need hardly be said that where copper is scarce, as in
+Britain, we cannot expect to find much trace of a Copper Age.
+
+The ores of different metals seem to have been smelted together in an
+experimental way by many prehistoric metallurgists, and bronze was the
+alloy that rewarded the combination of tin with copper. There is
+evidence of a more or less definite Bronze Age in Egypt and Babylonia,
+Greece and Europe.
+
+It is not clear why iron should not have been the earliest metal to be
+used by man, but the Iron Age dates from about the middle of the second
+millennium B.C. From Egypt the usage spread through the Mediterranean
+region to North Europe, or it may have been that discoveries made in
+Central Europe, so rich in iron-mines, saturated southwards, following
+for instance, the route of the amber trade from the Baltic. Compared
+with stone, the metals afforded much greater possibilities of
+implements, instruments, and weapons, and their discovery and usage had
+undoubtedly great influence on the Ascent of Man. Occasionally, however,
+on his descent.
+
+
+Retrospect
+
+Looking backwards, we discern the following stages: (1) The setting
+apart of a Primate stock, marked off from other mammals by a tendency to
+big brains, a free hand, gregariousness, and good-humoured
+talkativeness. (2) The divergence of marmosets and New World monkeys and
+Old World monkeys, leaving a stock--an anthropoid stock--common to the
+present-day and extinct apes and to mankind. (3) From this common stock
+the Anthropoid apes diverged, far from ignoble creatures, and a humanoid
+stock was set apart. (4) From the latter (we follow Sir Arthur Keith and
+other authorities) there arose what may be called, without
+disparagement, tentative or experimental men, indicated by
+Pithecanthropus "the Erect," the Heidelberg man, the Neanderthalers,
+and, best of all, the early men of the Sussex Weald--hinted at by the
+Piltdown skull. It matters little whether particular items are
+corroborated or disproved--e.g. whether the Heidelberg man came before
+or after the Neanderthalers--the general trend of evolution remains
+clear. (5) In any case, the result was the evolution of _Homo sapiens,
+the man we are_--a quite different fellow from the Neanderthaler. (6)
+Then arose various stocks of primitive men, proving everything and
+holding fast to that which is good. There were the Palaeolithic peoples,
+with rude stone implements, a strong vigorous race, but probably, in
+most cases, supplanted by fresh experiments. These may have arisen as
+shoots from the growing point of the old race, or as a fresh offshoot
+from more generalised members at a lower level. This is the eternal
+possible victory alike of aristocracy and democracy. (7) Palaeolithic men
+were involved in the succession of four Great Ice Ages or
+Glaciations, and it may be that the human race owes much to the
+alternation of hard times and easy times--glacial and interglacial. When
+the ice-fields cleared off Neolithic man had his innings. (8) And we
+have closed the story, in the meantime, with the Metal Ages.
+
+[Illustration: _After the restoration modelled by J. H. McGregor._
+
+PILTDOWN MAN, PRECEDING NEANDERTHAL MAN, PERHAPS 100,000 TO 150,000
+YEARS AGO]
+
+[Illustration: _After the restoration modelled by J. H. McGregor._
+
+THE NEANDERTHAL MAN OF LA CHAPELLE-AUX-SAINTS
+
+The men of this race lived in Europe from the Third Interglacial period
+through the Fourth Glacial. They disappeared somewhat suddenly, being
+replaced by the Modern Man type, such as the Cromagnards. Many regard
+the Neanderthal Men as a distinct species.]
+
+It seems not unfitting that we should at this point sound another
+note--that of the man of feeling. It is clear in William James's words:
+
+    Bone of our bone, and flesh of our flesh, are these half-brutish
+    prehistoric brothers. Girdled about with the immense darkness of
+    this mysterious universe even as we are, they were born and died,
+    suffered and struggled. Given over to fearful crime and passion,
+    plunged in the blackest ignorance, preyed upon by hideous and
+    grotesque delusions, yet steadfastly serving the profoundest of
+    ideals in their fixed faith that existence in any form is better
+    than non-existence, they ever rescued triumphantly from the jaws of
+    ever imminent destruction the torch of life which, thanks to them,
+    now lights the world for us.
+
+
+Races of Mankind
+
+Given a variable stock spreading over diverse territory, we expect to
+find it splitting up into varieties which may become steadied into races
+or incipient species. Thus we have races of hive-bees, "Italians,"
+"Punics," and so forth; and thus there arose races of men. Certain types
+suited certain areas, and periods of in-breeding tended to make the
+distinctive peculiarities of each incipient race well-defined and
+stable. When the original peculiarities, say, of negro and Mongol,
+Australian and Caucasian, arose as brusque variations or "mutations,"
+then they would have great staying power from generation to generation.
+They would not be readily swamped by intercrossing or averaged off.
+Peculiarities and changes of climate and surroundings, not to speak of
+other change-producing factors, would provoke new departures from age to
+age, and so fresh racial ventures were made. Moreover, the occurrence
+of out-breeding when two races met, in peace or in war, would certainly
+serve to induce fresh starts. Very important in the evolution of human
+races must have been the alternating occurrence of periods of
+in-breeding (endogamy), tending to stability and sameness, and periods
+of out-breeding (exogamy), tending to changefulness and diversity.
+
+Thus we may distinguish several more or less clearly defined primitive
+races of mankind--notably the African, the Australian, the Mongolian,
+and the Caucasian. The woolly-haired African race includes the negroes
+and the very primitive bushmen. The wavy-to curly-haired Australian race
+includes the Jungle Tribes of the Deccan, the Vedda of Ceylon, the
+Jungle Folk or Semang, and the natives of unsettled parts of
+Australia--all sometimes slumped together as "Pre-Dravidians." The
+straight-haired Mongols include those of Tibet, Indo-China, China, and
+Formosa, those of many oceanic islands, and of the north from Japan to
+Lapland. The Caucasians include Mediterraneans, Semites, Nordics,
+Afghans, Alpines, and many more.
+
+There are very few corners of knowledge more difficult than that of the
+Races of Men, the chief reason being that there has been so much
+movement and migration in the course of the ages. One physical type has
+mingled with another, inducing strange amalgams and novelties. If we
+start with what might be called "zoological" races or strains differing,
+for instance, in their hair (woolly-haired Africans, straight-haired
+Mongols, curly-or wavy-haired Pre-Dravidians and Caucasians), we find
+these replaced by _peoples_ who are mixtures of various races, "brethren
+by civilisation more than by blood." As Professor Flinders Petrie has
+said, the only meaning the term "race" now can have is that of a group
+of human beings whose type has been unified by their rate of
+assimilation exceeding the rate of change produced by the infiltration
+of foreign elements. It is probable, however, that the progress of
+precise anthropology will make it possible to distinguish the various
+racial "strains" that make up any people. For the human sense of race
+is so strong that it convinces us of reality even when scientific
+definition is impossible. It was this the British sailor expressed in
+his answer to the question "What is a Dago?" "Dagoes," he replied, "is
+anything wot isn't our sort of chaps."
+
+[Illustration: RESTORATION BY A. FORESTIER OF THE RHODESIAN MAN WHOSE
+SKULL WAS DISCOVERED IN 1921
+
+Attention may be drawn to the beetling eyebrow ridges, the projecting
+upper lip, the large eye-sockets, the well-poised head, the strong
+shoulders.
+
+The squatting figure is crushing seeds with a stone, and a crusher is
+lying on the rock to his right.]
+
+[Illustration: RESTORATION BY A. FORESTIER OF THE RHODESIAN MAN WHOSE
+SKULL WAS DISCOVERED IN 1921
+
+The figure in the foreground, holding a staff, shows the erect attitude
+and the straight legs. His left hand holds a flint implement.
+
+On the left, behind the sitting figure, is seen the entrance to the
+cave. This new Rhodesian cave-man may be regarded as a southern
+representative of a Neanderthal race, or as an extinct type intermediate
+between the Neanderthal Men and the Modern Man type.]
+
+
+Steps in Human Evolution
+
+Real men arose, we believe, by variational uplifts of considerable
+magnitude which led to big and complex brains and to the power of
+reasoned discourse. In some other lines of mammalian evolution there
+were from time to time great advances in the size and complexity of the
+brain, as is clear, for instance, in the case of horses and elephants.
+The same is true of birds as compared with reptiles, and everyone
+recognises the high level of excellence that has been attained by their
+vocal powers. How these great cerebral advances came about we do not
+know, but it has been one of the main trends of animal evolution to
+improve the nervous system. Two suggestions may be made. First, the
+prolongation of the period of ante-natal life, in intimate physiological
+partnership with the mother, may have made it practicable to start the
+higher mammal with a much better brain than in the lower orders, like
+Insectivores and Rodents, and still more Marsupials, where the period
+before birth (gestation) is short. Second, we know that the individual
+development of the brain is profoundly influenced by the internal
+secretions of certain ductless glands notably the thyroid. When this
+organ is not functioning properly the child's brain development is
+arrested. It may be that increased production of certain
+hormones--itself, of course, to be accounted for--may have stimulated
+brain development in man's remote ancestors.
+
+Given variability along the line of better brains and given a process of
+discriminate sifting which would consistently offer rewards to alertness
+and foresight, to kin-sympathy and parental care, there seems no great
+difficulty in imagining how Man would evolve. We must not think of an
+Aristotle or a Newton except as fine results which justify all the
+groaning and travailing; we must think of average men, of primitive
+peoples to-day, and of our forbears long ago. We must remember how much
+of man's advance is dependent on the external registration of the social
+heritage, not on the slowly changing natural inheritance.
+
+Looking backwards it is impossible, we think, to fail to recognise
+progress. There is a ring of truth in the fine description AEschylus gave
+of primitive men that--
+
+    first, beholding they beheld in vain, and, hearing, heard not, but,
+    like shapes in dreams, mixed all things wildly down the tedious
+    time, nor knew to build a house against the sun with wicketed sides,
+    nor any woodwork knew, but lived like silly ants, beneath the
+    ground, in hollow caves unsunned. There came to them no steadfast
+    sign of winter, nor of spring flower-perfumed, nor of summer full of
+    fruit, but blindly and lawlessly they did all things.
+
+Contrast this picture with the position of man to-day. He has mastered
+the forces of Nature and is learning to use their resources more and
+more economically; he has harnessed electricity to his chariot and he
+has made the ether carry his messages. He tapped supplies of material
+which seemed for centuries unavailable, having learned, for instance,
+how to capture and utilise the free nitrogen of the air. With his
+telegraph and "wireless" he has annihilated distance, and he has added
+to his navigable kingdom the depths of the sea and the heights of the
+air. He has conquered one disease after another, and the young science
+of heredity is showing him how to control in his domesticated animals
+and cultivated plants the nature of the generations yet unborn. With all
+his faults he has his ethical face set in the right direction. The main
+line of movement is towards the fuller embodiment of the true, the
+beautiful, and the good in healthy lives which are increasingly a
+satisfaction in themselves.
+
+[Illustration: _Photo: British Museum (Natural History)._
+
+SIDE-VIEW OF A PREHISTORIC HUMAN SKULL DISCOVERED IN 1921 IN BROKEN HILL
+CAVE, NORTHERN RHODESIA
+
+Very striking are the prominent eyebrow ridges and the broad massive
+face. The skull looks less domed than that of modern man, but its
+cranial capacity is far above the lowest human limit. The teeth are
+interesting in showing marked rotting or "caries," hitherto unknown in
+prehistoric skulls. In all probability the Rhodesian man was an African
+representative of the extinct Neanderthal species hitherto known only
+from Europe.]
+
+[Illustration: _After the restoration modelled by J. H. McGregor._
+
+A CROMAGNON MAN OR CROMAGNARD, REPRESENTATIVE OF A STRONG ARTISTIC RACE
+LIVING IN THE SOUTH OF FRANCE IN THE UPPER PLEISTOCENE, PERHAPS 25,000
+YEARS AGO
+
+They seemed to have lived for a while contemporaneously with the
+Neanderthal Men, and there may have been interbreeding. Some Cromagnards
+probably survive, but the race as a whole declined, and there was
+repopulation of Europe from the East.]
+
+[Illustration: _Reproduced by permission from Osborn's "Men of the Old
+Stone Age."_
+
+PHOTOGRAPH SHOWING A NARROW PASSAGE IN THE CAVERN OF FONT-DE-GAUME ON
+THE BEUNE
+
+Throughout the cavern the walls are crowded with engravings; on the left
+wall, shown in the photograph, are two painted bison. In the great
+gallery there may be found not less than eighty figures--bison,
+reindeer, and mammoths. A specimen of the last is reproduced below.]
+
+[Illustration: A MAMMOTH DRAWN ON THE WALL OF THE FONT-DE-GAUME CAVERN
+
+The mammoth age was in the Middle Pleistocene, while Neanderthal Men
+still flourished, probably far over 30,000 years ago.]
+
+[Illustration: A GRAZING BISON, DELICATELY AND CAREFULLY DRAWN, ENGRAVED
+ON A WALL OF THE ALTAMIRA CAVE, NORTHERN SPAIN
+
+This was the work of a Reindeer Man or Cromagnard, in the Upper or
+Post-Glacial Pleistocene, perhaps 25,000 years ago. Firelight must have
+been used in making these cave drawings and engravings.]
+
+
+Factors in Human Progress
+
+Many, we believe, were the gains that rewarded the arboreal
+apprenticeship of man's ancestors. Many, likewise, were the results of
+leaving the trees and coming down to the solid earth--a transition which
+marked the emergence of more than tentative men. What great steps
+followed?
+
+Some of the greatest were--the working out of a spoken language and of
+external methods of registration; the invention of tools; the discovery
+of the use of fire; the utilisation of iron and other metals; the taming
+of wild animals such as dog and sheep, horses and cattle; the
+cultivation of wild plants such as wheat and rice; and the irrigation of
+fields. All through the ages necessity has been the mother of invention
+and curiosity its father; but perhaps we miss the heart of the matter if
+we forget the importance of some leisure time--wherein to observe and
+think. If our earth had been so clouded that the stars were hidden from
+men's eyes the whole history of our race would have been different. For
+it was through his leisure-time observations of the stars that early man
+discovered the regularity of the year and got his fundamental
+impressions of the order of Nature--on which all his science is founded.
+
+If we are to think clearly of the factors of human progress we must
+recall the three great biological ideas--the living organism, its
+environment, and its functioning. For man these mean (1) the living
+creature, the outcome of parents and ancestors, a fresh expression of a
+bodily and mental inheritance; (2) the surroundings, including climate
+and soil, the plants and animals these allow; and (3) the activities of
+all sorts, occupations and habits, all the actions and reactions between
+man and his milieu. In short, we have to deal with FOLK, PLACE, WORK;
+the _Famille_, _Lieu_, _Travail_ of the LePlay school.
+
+As to FOLK, human progress depends on intrinsic racial
+qualities--notably health and vigour of body, clearness and alertness of
+mind, and an indispensable sociality. The most powerful factors in the
+world are clear ideas in the minds of energetic men of good will. The
+differences in bodily and mental health which mark races, and stocks
+within a people, just as they mark individuals, are themselves traceable
+back to germinal variations or mutations, and to the kind of sifting to
+which the race or stock has been subjected. Easygoing conditions are not
+only without stimulus to new departures, they are without the sifting
+which progress demands.
+
+As to PLACE, it is plain that different areas differ greatly in their
+material resources and in the availability of these. Moreover, even when
+abundant material resources are present, they will not make for much
+progress unless the climate is such that they can be readily utilised.
+Indeed, climate has been one of the great factors in civilisation, here
+stimulating and there depressing energy, in one place favouring certain
+plants and animals important to man, in another place preventing their
+presence. Moreover, climate has slowly changed from age to age.
+
+As to WORK, the form of a civilisation is in some measure dependent on
+the primary occupations, whether hunting or fishing, farming or
+shepherding; and on the industries of later ages which have a profound
+moulding effect on the individual at least. We cannot, however, say more
+than that the factors of human progress have always had these three
+aspects, Folk, Place, Work, and that if progress is to continue on
+stable lines it must always recognise the essential correlation of
+fitter folk in body and mind: improved habits and functions, alike in
+work and leisure; and bettered surroundings in the widest and deepest
+sense.
+
+
+BIBLIOGRAPHY
+
+ DARWIN, CHARLES, _Descent of Man_.
+ HADDON, A. C., _Races of Men_.
+ HADDON, A. C., _History of Anthropology_.
+ KEANE, A. H., _Man Past and Present_.
+ KEITH, ARTHUR, _Antiquity of Man_.
+ LULL, R. S., _Organic Evolution_.
+ MCCABE, JOSEPH, _Evolution of Civilization_.
+ MARETT, R. R., _Anthropology_ (Home University Library).
+ OSBORN, H. F., _Men of the Early Stone Age_.
+ SOLLAS, W. J., _Ancient Hunters and their Modern Representatives_.
+ TYLOR, E. B., _Anthropology and Primitive Culture_.
+
+
+
+
+VI
+
+EVOLUTION GOING ON
+
+
+
+
+EVOLUTION GOING ON
+
+
+Evolution, as we have seen in a previous chapter, is another word for
+race-history. It means the ceaseless process of Becoming, linking
+generation to generation of living creatures. The Doctrine of Evolution
+states the fact that the present is the child of the past and the parent
+of the future. It comes to this, that the living plants and animals we
+know are descended from ancestors on the whole simpler, and these from
+others likewise simpler, and so on, back and back--till we reach the
+first living creatures, of which, unfortunately, we know nothing.
+Evolution is a process of racial change in a definite direction, whereby
+new forms arise, take root, and flourish, alongside of or in the place
+of their ancestors, which were in most cases rather simpler in structure
+and behaviour.
+
+The rock-record, which cannot be wrong, though we may read it wrongly,
+shows clearly that there was once a time in the history of the Earth
+when the only backboned animals were Fishes. Ages passed, and there
+evolved Amphibians, with fingers and toes, scrambling on to dry land.
+Ages passed, and there evolved Reptiles, in bewildering profusion. There
+were fish-lizards and sea-serpents, terrestrial dragons and flying
+dragons, a prolific and varied stock. From the terrestrial Dinosaurs it
+seems that Birds and Mammals arose. In succeeding ages there evolved all
+the variety of Birds and all the variety of Mammals. Until at last arose
+the Man. The question is whether similar processes of evolution are
+still going on.
+
+We are so keenly aware of rapid changes in mankind, though these
+concern the social heritage much more than the flesh-and-blood natural
+inheritance, that we find no difficulty in the idea that evolution is
+going on in mankind. We know the contrast between modern man and
+primitive man, and we are convinced that in the past, at least, progress
+has been a reality. That degeneration may set in is an awful
+possibility--involution rather than evolution--but even if going back
+became for a time the rule, we cannot give up the hope that the race
+would recover itself and begin afresh to go forward. For although there
+have been retrogressions in the history of life, continued through
+unthinkably long ages, and although great races, the Flying Dragons for
+instance, have become utterly extinct, leaving no successors whatsoever,
+we feel sure that there has been on the whole a progress towards nobler,
+more masterful, more emancipated, more intelligent, and _better_ forms
+of life--a progress towards what mankind at its best has always regarded
+as best, i.e. affording most enduring satisfaction. So we think of
+evolution going on in mankind, evolution chequered by involution, but on
+the whole _progressive evolution_.
+
+
+Evolutionary Prospect for Man
+
+It is not likely that man's body will admit of _great_ change, but there
+is room for some improvement, e.g. in the superfluous length of the
+food-canal and the overcrowding of the teeth. It is likely, however,
+that there will be constitutional changes, e.g. of prolonged
+youthfulness, a higher standard of healthfulness, and a greater
+resistance to disease. It is justifiable to look forward to great
+improvements in intelligence and in control. The potentialities of the
+human brain, as it is, are far from being utilised to the full, and new
+departures of promise are of continual occurrence. What is of great
+importance is that the new departures or variations which emerge in fine
+children should be fostered, not nipped in the bud, by the social
+environment, education included. The evolutionary prospect for man is
+promising.
+
+[Illustration: PHOTOGRAPH OF A MEDIAN SECTION THROUGH THE SHELL OF THE
+PEARLY NAUTILUS
+
+It is only the large terminal chamber that is occupied by the animal.]
+
+[Illustration: PHOTOGRAPH OF THE ENTIRE SHELL OF THE PEARLY NAUTILUS
+
+The headquarters of the Nautilus are in the Indian and Pacific Oceans.
+They sometimes swim at the surface of the sea, but they usually creep
+slowly about on the floor of comparatively shallow water.]
+
+[Illustration: NAUTILUS
+
+A section through the Pearly Nautilus, _Nautilus pompilius_, common from
+Malay to Fiji. The shell is often about 9 inches long. The animal lives
+in the last chamber only, but a tube (S) runs through the empty
+chambers, perforating the partitions (SE). The bulk of the animal is
+marked VM; the eye is shown at E; a hood is marked H; round the mouth
+there are numerous lobes (L) bearing protrusible tentacles, some of
+which are shown. When the animal is swimming near the surface the
+tentacles radiate out in all directions, and it has been described as "a
+shell with something like a cauliflower sticking out of it." The Pearly
+Nautilus is a good example of a conservative type, for it began in the
+Triassic Era. But the family of Nautiloids to which it belongs
+illustrates very vividly what is meant by a dwindling race. The
+Nautiloids began in the Cambrian, reached their golden age in the
+Silurian, and began to decline markedly in the Carboniferous. There are
+2,500 extinct or fossil species of Nautiloids, and only 4 living
+to-day.]
+
+[Illustration: _Photo: W. S. Berridge._
+
+SHOEBILL
+
+A bird of a savage nature, never mixing with other marsh birds.
+According to Dr. Chalmers Mitchell, it shows affinities to herons,
+storks, pelicans, and gannets, and is a representative of a type equal
+to both herons and storks and falling between the two.]
+
+But it is very important to realise that among plant and animals
+likewise, _Evolution is going on_.
+
+
+The Fountain of Change: Variability
+
+On an ordinary big clock we do not readily see that even the minute hand
+is moving, and if the clock struck only once in a hundred years we can
+conceive of people arguing whether the hands did really move at all. So
+it often is with the changes that go on from generation to generation in
+living creatures. The flux is so slow, like the flowing of a glacier,
+that some people fail to be convinced of its reality. And it must, of
+course, be admitted that some kinds of living creatures, like the
+Lamp-shell _Ligula_ or the Pearly Nautilus, hardly change from age to
+age, whereas others, like some of the birds and butterflies, are always
+giving rise to something new. The Evening Primrose among plants, and the
+Fruit-fly, Drosophila, among animals, are well-known examples of
+organisms which are at present in a sporting or mutating mood.
+
+Certain dark varieties of moth, e.g. of the Peppered Moth, are taking
+the place of the paler type in some parts of England, and the same is
+true of some dark forms of Sugar-bird in the West Indian islands. Very
+important is the piece of statistics worked out by Professor R. C.
+Punnett, that "if a population contains .001 per cent of a new variety,
+and if that variety has even a 5 per cent selection advantage over the
+original form, the latter will almost completely disappear in less than
+a hundred generations." This sort of thing has been going on all over
+the world for untold ages, and the face of animate nature has
+consequently changed.
+
+We are impressed by striking novelties that crop up--a clever dwarf, a
+musical genius, a calculating boy, a cock with a 10 ft. tail, a
+"wonder-horse" with a mane reaching to the ground, a tailless cat, a
+white blackbird, a copper beech, a Greater Celandine with much cut up
+leaves; but this sort of mutation is common, and smaller, less brusque
+variations are commoner still. _They form the raw materials of possible
+evolution._ We are actually standing before an apparently inexhaustible
+fountain of change. This is evolution going on.
+
+
+The Sporting Jellyfish
+
+It is of interest to consider a common animal like the jellyfish
+Aurelia. It is admirably suited for a leisurely life in the open sea,
+where it swims about by contracting its saucer-shaped body, thus driving
+water out from its concavity. By means of millions of stinging cells on
+its four frilled lips and on its marginal tentacles it is able to
+paralyse and lasso minute crustaceans and the like, which it then wafts
+into its mouth. It has a very eventful life-history, for it has in its
+early youth to pass through a fixed stage, fastened to rock or seaweed,
+but it is a successful animal, well suited for its habitat, and
+practically cosmopolitan in its distribution. It is certainly an
+old-established creature. Yet it is very variable in colour and in size,
+and even in internal structure. Very often it is the size of a saucer or
+a soup-plate, but giants over two feet in diameter are well known. Much
+more important, however, than variation in colour and size are the
+inborn changes in structure. Normally a jellyfish has its parts in four
+or multiples of four. Thus it has four frilled lips, four tufts of
+digestive filaments in its stomach, and four brightly coloured
+reproductive organs. It has eight sense-organs round the margin of its
+disc, eight branched and eight unbranched radial canals running from the
+central stomach to a canal round the circumference. The point of giving
+these details is just this, that every now and then we find a jellyfish
+with its parts in sixes, fives, or threes, and with a multitude of minor
+idiosyncrasies. _Even in the well-established jellyfish there is a
+fountain of change._
+
+
+Sec. 1
+
+Evolution of Plants
+
+It is instructive to look at the various kinds of cabbages, such as
+cauliflower and Brussels sprouts, kale and curly greens, and remember
+that they are all scions of the not very promising wild cabbage found on
+our shores. And are not all the aristocrat apple-trees of our orchards
+descended from the plebeian crab-apple of the roadside? We know far too
+little about the precise origin of our cultivated plants, but there is
+no doubt that after man got a hold of them he took advantage of their
+variability to establish race after race, say, of rose and
+chrysanthemum, of potato and cereal. The evolution of cultivated plants
+is continuing before our eyes, and the creations of Mr. Luther Burbank,
+such as the stoneless plum and the primus berry, the spineless cactus
+and the Shasta daisy, are merely striking instances of what is always
+going on.
+
+There is reason to believe that the domestic dog has risen three times,
+from three distinct ancestors--a wolf, a jackal, and a coyote. So a
+multiple pedigree must be allowed for in the case of the dog, and the
+same is true in regard to some other domesticated animals. But the big
+fact is the great variety of breeds that man has been able to fix, after
+he once got started with a domesticated type. There are over 200
+well-marked breeds of domestic pigeons, and there is very strong
+evidence that all are descended from the wild rock-dove, just as the
+numerous kinds of poultry are descended from the jungle-fowl of some
+parts of India and the Malay Islands. Even more familiar is the way in
+which man has, so to speak, unpacked the complex fur of the wild rabbit,
+and established all the numerous colour-varieties which we see among
+domestic rabbits. And apart from colour-varieties there are long-haired
+Angoras and quaint lop-eared forms, and many more besides. All this
+points to evolution going on.
+
+
+The Romance of the Wheat
+
+It is well-known that Neolithic man grew wheat, and some authorities
+have put the date of the first wheat harvest at between fifteen thousand
+and ten thousand years ago. The ancient civilisations of Babylonia,
+Egypt, Crete, Greece, and Rome were largely based on wheat, and it is
+highly probable that the first great wheatfields were in the fertile
+land between the Tigris and the Euphrates. The oldest Egyptian tombs
+that contain wheat, which, by the way, never germinates after its
+millennia of rest, belong to the First Dynasty, and are about six
+thousand years old. But there must have been a long history of wheat
+before that.
+
+Now it is a very interesting fact that the almost certain ancestor of
+the cultivated wheat is at present living on the arid and rocky slopes
+of Mount Hermon. It is called _Triticum hermonis_, and it is varying
+notably to-day, as it did long ago when it gave rise to the emmer, which
+was cultivated in the Neolithic Age and is the ancestor of all our
+ordinary wheats. We must think of Neolithic man noticing the big seeds
+of this Hermon grass, gathering some of the heads, breaking the brittle
+spikelet-bearing axis in his fingers, knocking off the rough awns or
+bruising the spikelets in his hand till the glumes or chaff separated
+off and could be blown away, chewing a mouthful of the seeds--and
+resolving to sow and sow again.
+
+That was the beginning of a long story, in the course of which man took
+advantage of the numerous variations that cropped up in this sporting
+stock and established one successful race after another on his fields.
+Virgil refers in the "Georgics" to the gathering of the largest and
+fullest ears of wheat in order to get good seed for another sowing, but
+it was not till the first quarter of the nineteenth century that the
+great step was taken, by men like Patrick Sheriff of Haddington, of
+deliberately selecting individual ears of great excellence and
+segregating their progeny from mingling with mediocre stock. This is the
+method which has been followed with remarkable success in modern times.
+
+One of the factors that assisted the Allies in overcoming the food
+crisis in the darkest period of the war was the virtue of Marquis Wheat,
+a very prolific, early ripening, hard red spring wheat with excellent
+milling and baking qualities. It is now the dominant spring wheat in
+Canada and the United States, and it has enormously increased the real
+wealth of the world in the last ten years (1921). Now our point is
+simply that this Marquis Wheat is a fine example of evolution going on.
+In 1917 upwards of 250,000,000 bushels of this wheat were raised in
+North America, and in 1918 upwards of 300,000,000 bushels; yet the whole
+originated from a single grain planted in an experimental plot at Ottawa
+by Dr. Charles E. Saunders so recently as the spring of 1903.
+
+[Illustration: THE WALKING-FISH OR MUD-SKIPPER (PERIOPHTHALMUS), COMMON
+AT THE MOUTHS OF RIVERS IN TROPICAL AFRICA, ASIA, AND NORTH-WEST
+AUSTRALIA
+
+It skips about by means of its strong pectoral fins on the mud-flats; it
+jumps from stone to stone hunting small shore-animals; it climbs up the
+roots of the mangrove-trees. The close-set eyes protrude greatly and are
+very mobile. The tail seems to help in respiration.]
+
+[Illustration: _Photo: "The Times."_
+
+THE AUSTRALIAN MORE-PORK OR PODARGUS
+
+A bird with a frog-like mouth, allied to the British Nightjar. Now in
+the London Zoological Gardens.
+
+The capacious mouth is well suited for engulfing large insects such as
+locusts and mantises, which are mostly caught on the trees. During the
+day the More-pork or Frog-mouth sleeps upright on a branch, and its
+mottled brown plumage makes it almost invisible.]
+
+[Illustration: PELICAN'S BILL, ADAPTED FOR CATCHING AND STORING FISHES
+
+There is an enormous dilatable sac beneath the lower jaw.]
+
+[Illustration: HORNBILL'S BILL, ADAPTED FOR EXCAVATING A NEST IN A TREE,
+AND ALSO FOR SEIZING AND BREAKING DIVERSE FORMS OF FOOD, FROM MAMMALS TO
+TORTOISES, FROM ROOTS TO FRUITS
+
+The use of the helmet or casque is obscure.]
+
+[Illustration: SPOONBILL'S BILL, ADAPTED FOR SIFTING THE MUD AND
+CATCHING THE SMALL ANIMALS, E.G. FISHES, CRUSTACEANS, INSECT LARVAE,
+WHICH LIVE THERE]
+
+[Illustration: FALCON'S BILL, ADAPTED FOR SEIZING, KILLING, AND TEARING
+SMALL MAMMALS AND BIRDS]
+
+[Illustration: AVOCET'S BILL, ADAPTED FOR A CURIOUS SIDEWAYS SCOOPING IN
+THE SHORE-POOLS AND CATCHING SMALL ANIMALS]
+
+[Illustration: PUFFIN'S BILL, ADAPTED FOR CATCHING SMALL FISHES NEAR THE
+SURFACE OF THE SEA, AND FOR HOLDING THEM WHEN CAUGHT AND CARRYING THEM
+TO THE NEST
+
+The scaly covering is moulted in the autumn.]
+
+We must not dwell too long on this particular instance of evolution,
+though it has meant much to our race. We wish, however, following
+Professor Buller's _Essays on Wheat_ (1919), to explain the method by
+which this good seed was discovered. From one we may learn all. The
+parent of Marquis Wheat on the male side was the mid-Europe Red Fife--a
+first-class cereal. The parent on the female side was less promising, a
+rather nondescript, not pure-bred wheat, called Red Calcutta, which was
+imported from India into Canada about thirty years ago. The father was
+part of a cargo that came from the Baltic to Glasgow, and was happily
+included in a sample sent on to David Fife in Ontario about 1842. From
+one kernel of this sample David Fife started his stock of Red Fife,
+which was crossed by Dr. Saunders with Hard Red Calcutta. The result of
+the cross was a medley of types, nearly a hundred varieties altogether,
+and it was in scrutinising these that Dr. Saunders hit upon Marquis. He
+worked steadily through the material, studying head after head of what
+resulted from sowing, and selecting out those that gave most promise.
+Each of the heads selected was propagated; most of the results were
+rejected; the elect were sifted again and yet again, and finally Marquis
+Wheat emerged, rich in constructive possibilities, probably the most
+valuable food-plant in the world. It is like a romance to read that "the
+first crop of the wheat that was destined within a dozen years to
+overtax the mightiest elevators in the land was stored away in the
+winter of 1904-5 in a paper packet no larger than an envelope."
+
+Thus from the Wild Wheat of Mount Hermon there evolved one of the most
+important food-plants of the world. This surely is _Evolution going on_.
+
+
+Sec. 2
+
+Changes in the Animal Life of a Country
+
+Nothing gives us a more convincing impression of evolution in being than
+a succession of pictures of the animal life of a country in different
+ages. Dr. James Ritchie, a naturalist of distinction, has written a
+masterly book, _The Influence of Man on Animal Life in Scotland_ (1920),
+in which we get this succession of pictures. "Within itself," he says,
+"a fauna is in a constant state of uneasy restlessness, an assemblage of
+creatures which in its parts ebbs and flows as one local influence or
+another plays upon it." There are temporary and local changes, endless
+disturbances and readjustments of the "balance of nature." One year
+there is a plague of field-voles, perhaps next year "grouse disease" is
+rife; in one place there is huge increase of starlings, in another place
+of rabbits; here cockchafers are in the ascendant, and there the moles
+are spoiling the pasture. "But while the parts fluctuate, the fauna as a
+whole follows a path of its own. As well as internal tides which swing
+to and fro about an average level, there is a drift which carries the
+fauna bodily along an 'irretraceable course.'" This is partly due to
+considerable changes of climate, for climate calls the tune to which
+living creatures dance, but it is also due to new departures among the
+animals themselves. We need not go back to the extinct animals and lost
+faunas of past ages--for Britain has plenty of relics of these--which
+"illustrate the reality of the faunal drift," but it may be very useful,
+in illustration of evolution in being, to notice what has happened in
+Scotland since the end of the Great Ice Age.
+
+Some nine thousand years ago or more, certain long-headed,
+square-jawed, short-limbed, but agile hunters and fishermen, whom we
+call Neolithic Man, established themselves in Scotland. What was the
+state of the country then?
+
+    It was a country of swamps, low forests of birch, alder, and willow,
+    fertile meadows, and snow-capped mountains. Its estuaries penetrated
+    further inland than they now do, and the sea stood at the level of
+    the Fifty-Foot Beach. On its plains and in its forests roamed many
+    creatures which are strange to the fauna of to-day--the Elk and the
+    Reindeer, Wild Cattle, the Wild Boar and perhaps Wild Horses, a
+    fauna of large animals which paid toll to the European Lynx, the
+    Brown Bear and the Wolf. In all likelihood, the marshes resounded to
+    the boom of the Bittern and the plains to the breeding calls of the
+    Crane and the Great Bustard.
+
+Such is Dr. Ritchie's initial picture.
+
+[Illustration: LIFE-HISTORY OF A FROG
+
+1, Before hatching; 2, newly hatched larvae hanging on to water-weed; 3,
+with external gills; 4, external gills are covered over and are
+absorbed; 5, limbless larva about a month old with internal gills; 6,
+tadpole with hind-legs, about two months old; 7, with the fore-limbs
+emerging; 8, with all four legs free; 9, a young frog, about three
+months old, showing the almost complete absorption of the tail and the
+change of the tadpole mouth into a frog mouth.]
+
+[Illustration: _Photo: J. J. Ward. F.E.S._
+
+HIND-LEG OF WHIRLIGIG BEETLE WHICH HAS BECOME BEAUTIFULLY MODIFIED FOR
+AQUATIC LOCOMOTION
+
+The flattened tips form an expanding "fan" or paddle, which opens and
+closes with astonishing rapidity. The closing of the "fan," like the
+"feathering" of an oar, reduces friction when the leg is being moved
+forwards for the next stroke.]
+
+[Illustration: THE BIG ROBBER-CRAB (_Birgus Latro_), THAT CLIMBS THE
+COCO-NUT PALM AND BREAKS OFF THE NUTS
+
+It occurs on islands in the Indian Ocean and Pacific, and is often found
+far above sea-level. It is able to breathe dry air. One is seen emerging
+from its burrow, which is often lined with coco-nut fibre. The empty
+coco-nut shell is sometimes used by the Robber-Crab for the protection
+of its tail.]
+
+Now what happened in this kingdom of Caledonia which Neolithic Man had
+found? He began to introduce domesticated animals, and that meant a
+thinning of the ranks of predacious creatures. "Safety first" was the
+dangerous motto in obedience to which man exterminated the lynx, the
+brown bear, and the wolf. Other creatures, such as the great auk, were
+destroyed for food, and others like the marten for their furs. Small
+pests were destroyed to protect the beginnings of agriculture; larger
+animals like the boar were hunted out of existence; others, like the
+pearl-bearing river-mussels, yielded to subtler demands. No doubt there
+was protection also--protection for sport, for utility, for aesthetic
+reasons, and because of humane sentiments; even wholesome superstitions
+have safeguarded the robin redbreast and the wren. There were
+introductions too--the rabbit for utility, the pheasant for sport, and
+the peacock for amenity. And every introduction, every protection, every
+killing out had its far-reaching influences.
+
+But if we are to picture the evolution going on, we must think also of
+man's indirect interference with animal life. He destroyed the forests,
+he cultivated the wild, he made bridges, he allowed aliens, like rats
+and cockroaches, to get in unawares. Of course, he often did good, as
+when he drained swamps and got rid of the mosquitoes which once made
+malaria rife in Scotland.
+
+What has been the net result? Not, as one might think for a moment, a
+reduction in the _number_ of different kinds of animals. Fourteen or so
+species of birds and beasts have been banished from Scotland since man
+interfered, but as far as numbers go they have been more than replaced
+by deliberate introductions like fallow deer, rabbit, squirrel, and
+pheasant, and by accidental introductions like rats and cockroaches. But
+the change is rather in _quality_ than in quantity; the smaller have
+taken the place of the larger, rather paltry pigmies of noble giants.
+Thus we get a vivid idea that evolution, especially when man interferes,
+is not necessarily progressive. That depends on the nature of the sieves
+with which the living materials are sifted. As Dr. Ritchie well says,
+the standard of the wild fauna as regards size has fallen and is
+falling, and it is not in size only that there is loss, there is a
+deterioration of quality. "For how can the increase of Rabbits and
+Sparrows and Earthworms and Caterpillars, and the addition of millions
+of Rats and Cochroaches and Crickets and Bugs, ever take the place of
+those fine creatures round the memories of which the glamour of
+Scotland's past still plays--the Reindeer and the Elk, the Wolf, the
+Brown Bear, the Lynx, and the Beaver, the Bustard, the Crane, the
+Bumbling Bittern, and many another, lost or disappearing." Thus we see
+again that evolution is going on.
+
+
+Sec. 3
+
+The Adventurers
+
+All through the millions of years during which animals have tenanted the
+earth and the waters under the earth, there has been a search for new
+kingdoms to conquer, for new corners in which to make a home. And this
+still goes on. _It has been and is one of the methods of evolution to
+fill every niche of opportunity._ There is a spider that lives inside a
+pitcher-plant, catching some of the inquisitive insects which slip down
+the treacherous internal surface of the trap. There is another that
+makes its home in crevices among the rocks on the shore of the
+Mediterranean, or even in empty tubular shells, keeping the water out,
+more or less successfully, by spinning threads of silk across the
+entrance to its retreat. The beautiful brine-shrimp, _Artemia salina_,
+that used to occur in British salterns has found a home in the dense
+waters of the Great Salt Lake of Utah. Several kinds of earthworms have
+been found up trees, and there is a fish, Arges, that climbs on the
+stones of steep mountain torrents of the Andes. The intrepid explorers
+of the _Scotia_ voyage found quite a number of Arctic terns spending our
+winter within the summer of the Antarctic Circle--which means girdling
+the globe from pole to pole; and every now and then there are incursions
+of rare birds, like Pallas's Sand-grouse, into Britain, just as if they
+were prospecting in search of a promised land. Twice or thrice the
+distinctively North American Killdeer Plover has been found in Britain,
+having somehow or other got across the Atlantic. We miss part of the
+meaning of evolution if we do not catch this note of insurgence and
+adventure, which some animal or other never ceases to sound, though many
+establish themselves in a security not easily disturbed, and though a
+small minority give up the struggle against the stream and are content
+to acquiesce, as parasites or rottenness eaters, in a drifting life of
+ease.
+
+More important than very peculiar cases is the broad fact that over and
+over again in different groups of animals there have been attempts to
+master different kinds of haunts--such as the underground world, the
+trees, the freshwaters, and the air. There are burrowing amphibians,
+burrowing reptiles, burrowing birds, and burrowing mammals; there are
+tree-toads, tree-snakes, tree-lizards, tree-kangaroos, tree-sloths,
+tree-shrews, tree-mice, tree-porcupines, and so on; enough of a list to
+show, without mentioning birds, how many different kinds of animals
+have entered upon an arboreal apprenticeship--an apprenticeship often
+with far-reaching consequences. What the freeing of the hand from being
+an organ of terrestrial support has meant in the evolution of monkeys is
+a question that gives a spur to our imagination.
+
+
+The Case of the Robber Crab
+
+On some of the coral islands of the Indian and Pacific Oceans there
+lives a land-crab, Birgus, which has learned to breathe on land. It
+breathes dry air by means of curious blood-containing tufts in the upper
+part of its gill-cavity, and it has also rudimentary gills. It is often
+about a foot long, and it has very heavy great claws, especially on the
+left-hand side. With this great claw it hammers on the "eye-hole" of a
+coconut, from which it has torn off the fibrous husk. It hammers until a
+hole is made by which it can get at the pulp. Part of the shell is
+sometimes used as a protection for the soft abdomen--for the
+robber-crab, as it is called, is an offshoot from the hermit-crab stock.
+Every year this quaint explorer, which may go far up the hills and climb
+the coco-palms, has to go back to the sea to spawn. The young ones are
+hatched in the same state as in our common shore-crab. That is to say,
+they are free-swimming larvae which pass through an open-water period
+before they settle down on the shore, and eventually creep up on to dry
+land. Just as open-water turtles lay their eggs on sandy shores, going
+back to their old terrestrial haunt, so the robber-crab, which has
+almost conquered the dry land, has to return to the seashore to breed.
+There is a peculiar interest in the association of the robber-crab with
+the coco-palm, for that tree is not a native of these coral islands, but
+has been introduced, perhaps from Mexico, by the Polynesian mariners
+before the discovery of America by Columbus. So the learning to deal
+with coconuts is a recent achievement, and we are face to face with a
+very good example of evolution going on.
+
+[Illustration: EARLY LIFE-HISTORY OF THE SALMON
+
+1. The fertilised egg, shed in the gravelly bed of the river.
+
+2. The embryo within the egg, just before hatching. The embryo has been
+constricted off from the yolk-laden portion of the egg.
+
+3. The newly hatched salmon, or alevin, encumbered with its legacy of
+yolk (Y.S.).
+
+4 and 5. The larval salmon, still being nourished from the yolk-sac
+(Y.S.), which is diminishing in size as the fish grows larger.
+
+6. The salmon fry about six weeks old, with the yolk fully absorbed, so
+that the young fish has now to feed for itself. The fry become parr,
+which go to the sea as smolts, and return as grilse.
+
+In all cases the small figures to the right indicate the natural size.]
+
+[Illustration: THE SALMON LEAPING AT THE FALL IS A MOST FASCINATING
+SPECTACLE
+
+Again and again we see them jumping out of the seething foam beneath the
+fall, casting themselves into the curtain of the down-rushing water,
+only to be carried back by it into the depths whence they have risen.
+One here and another there makes its effort good, touches the upper lip
+of the cataract, gives a swift stroke of its tail, and rushes on towards
+those upper reaches which are the immemorial spawning beds of its
+race.]
+
+
+The Story of the Salmon
+
+In late autumn or in winter the salmon spawn in the rivers. The female
+makes a shallow trough in the gravel by moving her tail from side to
+side, and therein lays many eggs. The male, who is in attendance,
+fertilises these with the milt, and then the female covers them deeply
+with gravel. The process is repeated over and over again for a week or
+more till all the eggs are shed. For three to four months the eggs
+develop, and eventually there emerge the larvae or _alevins_, which lurk
+among the pebbles. They cannot swim much, for they are encumbered by a
+big legacy of yolk. In a few weeks, perhaps eight, the protruding bag of
+yolk has disappeared and the _fry_, about an inch long, begin to move
+about more actively and to fend for themselves. By the end of the year
+they have grown to be rather trout-like _parr_, about four inches long.
+In two years these are double that length. Usually in the second year,
+but it may be earlier or later, the parr become silvery _smolts_, which
+go out to sea, usually about the month of May. They feed on young
+herring and the like and grow large and strong. When they are about
+three and a half years old they come up the rivers as _grilse_ and may
+spawn. Or they may pass through the whole grilse stage in the sea and
+come up the rivers with all the characters of the full-grown fish. In
+many cases the salmon spawn only once, and some (they are called _kelts_
+after spawning) are so much exhausted by starting a new generation that
+they die or fall a victim to otters and other enemies. In the case of
+the salmon of the North Pacific (in the genus _Oncorhynchus_, not
+_Salmo_) all the individuals die after spawning, none being able to
+return to the sea. It must be remembered that full-grown salmon do not
+as a rule feed in fresh water, though they may be unable to resist
+snapping at the angler's strange creations. A very interesting fact is
+that the salmon keeps as it were a diary of its movements, which vary a
+good deal in different rivers. This diary is written in the scales, and
+a careful reading of the concentric lines on the scales shows the age of
+the fish, and when it went out to sea, and whether it has spawned or
+not, and more besides.
+
+
+Interpretation of the Salmon's Story
+
+When an animal frequents two different haunts, in one of which it
+breeds, it is very often safe to say that the breeding-place represents
+the original home. The flounder is quite comfortable far up the rivers,
+but it has to go to the shore-waters to spawn, and there is no doubt
+that the flounder is a marine fish which has recently learned to
+colonise the fresh waters. Its relatives, like plaice and sole, are
+strictly marine. But it is impossible to make a dogma of the rule that
+the breeding-place corresponds to the original home. Thus some kinds of
+bass, which belong to the marine family of sea-perches, live in the sea
+or in estuaries, while two have become permanent residents in fresh
+water. Or, again, the members of the herring family are very
+distinctively marine, but the shad, which belong to this family, spawn
+in rivers and may spend their lives there.
+
+So there are two different ways of interpreting the life-history of the
+salmon. Some authorities regard the salmon as a marine fish which is
+establishing itself in fresh water. But others read the story the other
+way and regard the salmon as a member of a freshwater race, that has
+taken to the sea for feeding purposes. In regard to trout, we know that
+the ranks of those in rivers and lakes are continually being reinforced
+by migrants from the sea, and that some trout go down to the sea while
+others remain in the freshwater. We know also in regard to a related
+fish, the char, that while the great majority of kinds are now permanent
+residents in cold and deep, isolated northern lakes, there are Arctic
+forms which live in the sea but enter the rivers to spawn. These facts
+favour the view that the salmon was originally a marine fish. But there
+are arguments on both sides, and, for our present purpose, the important
+fact is that the salmon is conquering _two_ haunts. Its evolution is
+going on.
+
+
+The Romance of the Eel
+
+Early in summer, at dates varying with the distance of the rivers from
+the open Atlantic, crowds of young eels or elvers come up-stream.
+Sometimes the procession or eel-fare includes thousands of individuals,
+each about the length of our first finger, and as thick as a stout
+knitting needle. They obey an inborn impulse to swim against the stream,
+seeking automatically to have both sides of their body equally
+stimulated by the current. So they go straight ahead. The obligation
+works only during the day, for when the sun goes down behind the hills
+the elvers snuggle under stones or beneath the bank and rest till dawn.
+In the course of time they reach the quiet upper reaches of the river or
+go up rivulets and drainpipes to the isolated ponds. Their impulse to go
+on must be very imperious, for they may wriggle up the wet moss by the
+side of a waterfall or even make a short excursion in a damp meadow.
+
+In the quiet-flowing stretches of the river or in the ponds they feed
+and grow for years and years. They account for a good many young fishes.
+Eventually, after five or six years in the case of the males, six to
+eight years in the case of the females, the well-grown fishes, perhaps a
+foot and a half to two feet long, are seized by a novel restlessness.
+They are beginning to be mature. They put on a silvery jacket and become
+large of eye, and they return to the sea. In getting away from the pond
+it may be necessary to wriggle through the damp meadow-grass before
+reaching the river. They travel by night and rather excitedly. The
+Arctic Ocean is too cold for them and the North Sea too shallow. They
+must go far out to sea, to where the old margin of the once larger
+continent of Europe slopes down to the great abysses, from the Hebrides
+southwards. Eels seem to spawn in the deep dark water; but the just
+liberated eggs have not yet been found. The young fry rises to near the
+surface and becomes a knife-blade-like larva, transparent all but its
+eye. It lives for many months in this state, growing to be about three
+inches long, rising and sinking in the water, and swimming gently.
+These open-sea young eels are known as Leptocephali, a name given to
+them before their real nature was proved. They gradually become shorter,
+and the shape changes from knife-blade-like to cylindrical. During this
+change they fast, and the weight of their delicate body decreases. They
+turn into glass-eels, about 2-1/2 inches long, like a knitting-needle in
+girth. They begin to move towards the distant shores and rivers, and
+they may be a year and a half old before they reach their destination
+and go up-stream as elvers. Those that ascend the rivers of the Eastern
+Baltic must have journeyed three thousand miles. It is certain that no
+eel ever matures or spawns in fresh water. It is practically certain
+that all the young eels ascending the rivers of North Europe have come
+in from the Atlantic, some of them perhaps from the Azores or further
+out still. It is interesting to inquire how the young eels circumvent
+the Falls of the Rhine and get into Lake Constance, or how their kindred
+on the other side of the Atlantic overcome the obstacle of Niagara; but
+it is more important to lay emphasis on the variety of habitats which
+this fish is trying--the deep waters, the open sea, the shore, the
+river, the pond, and even, it may be, a little taste of solid earth. It
+seems highly probable that the common eel is a deep-water marine fish
+which has learned to colonise the freshwaters. It has been adventurous
+and it has succeeded. The only shadow on the story of achievement is
+that there seems to be no return from the spawning. There is little
+doubt that death is the nemesis of their reproduction. In any case, no
+adult eel ever comes back from the deep sea. We are minded of Goethe's
+hard saying: "Death is Nature's expert advice to get plenty of life."
+
+
+Sec. 4
+
+Forming New Habits
+
+There is a well-known mudfish of Australia, Neoceratodus by name, which
+has turned its swim-bladder into a lung and comes to the surface to
+spout. It expels vitiated air with considerable force and takes fresh
+gulps. At the same time, like an ordinary fish, it has gills which allow
+the usual interchange of gases between the blood and the water. Now this
+Australian mudfish or double-breather (Dipnoan), which may be a long way
+over a yard in length, is a direct and little-changed descendant of an
+ancient extinct fish, Ceratodus, which lived in Mesozoic times, as far
+back as the Jurassic, which probably means over five millions of years
+ago. The Queensland mudfish is an antiquity, and there has not been much
+change in its lineage for millions of years. We might take it as an
+illustration of the inertia of evolution. And yet, though its structure
+has changed but little, the fish probably illustrates evolution in
+process, for it is a fish that is learning to breathe dry air. It cannot
+leave the water; but it can live comfortably in pools which are foul
+with decomposing animal and vegetable matter. In partially dried-up and
+foul waterholes, full of dead fishes of various kinds, Neoceratodus has
+been found vigorous and lively. Unless we take the view, which is
+_possible_, that the swim-bladder of fishes was originally a lung, the
+mud-fishes are learning to breathe dry air. They illustrate evolution
+agoing.
+
+[Illustration: DIAGRAM OF THE LIFE HISTORY OF THE COMMON EEL (_Anguilla
+Vulgalis_)
+
+1. The transparent open-sea knife-blade-like larva called a
+Leptocephalus.
+
+2 and 3. The gradual change of shape from knife-blade-like to
+cylindrical. The body becomes shorter and loses weight.
+
+4. The young elver, at least a year old, which makes its way from the
+open sea to the estuaries and rivers. It is 2/3 inches long and almost
+cylindrical.
+
+5. The fully-formed eel.]
+
+[Illustration: _Photo: Gambier Bolton._
+
+CASSOWARY
+
+Its bare head is capped with a helmet. Unlike the plumage of most birds
+its feathers are loose and hair-like, whilst its wings are merely
+represented by a few black quills. It is flightless and entirely
+dependent on its short powerful legs to carry it out of danger.]
+
+[Illustration: _Photo: Gambier Bolton._
+
+THE KIWI, ANOTHER FLIGHTLESS BIRD, OF REMARKABLE APPEARANCE, HABITS, AND
+STRUCTURE]
+
+The herring-gull is by nature a fish-eater; but of recent years, in some
+parts of Britain, it has been becoming in the summer months more and
+more of a vegetarian, scooping out the turnips, devouring potatoes,
+settling on the sheaves in the harvest field and gorging itself with
+grain. Similar experiments, usually less striking, are known in many
+birds; but the most signal illustration is that of the kea or Nestor
+parrot of New Zealand, which has taken to lighting on the loins of the
+sheep, tearing away the fleece, cutting at the skin, and gouging out
+fat. Now the parrot belongs to a vegetarian or frugivorous stock, and
+this change of diet in the relatively short time since sheep-ranches
+were established in New Zealand is very striking. Here, since we know
+the dates, we may speak of evolution going on under our eyes. It must be
+remembered that variations in habit may give an animal a new
+opportunity to test variations in structure which arise mysteriously
+from within, as expressions of germinal changefulness rather than as
+imprints from without. For of the transmissibility of the latter there
+is little secure evidence.
+
+
+Experiments in Locomotion
+
+It is very interesting to think of the numerous types of locomotion
+which animals have discovered--pulling and punting, sculling and rowing,
+and of the changes that are rung on these four main methods. How
+striking is the case of the frilled lizard (Chlamydosaurus) of
+Australia, which at the present time is, as it were, experimenting in
+bipedal progression--always a rather eventful thing to do. It gets up on
+its hind-legs and runs totteringly for a few feet, just like a baby
+learning to walk.
+
+How beautiful is the adventure which has led our dipper or
+water-ouzel--a bird allied to the wrens--to try walking and flying under
+water! How admirable is the volplaning of numerous parachutists--"flying
+fish," "flying frog," "flying dragon," "flying phalanger," "flying
+squirrel," and more besides, which take great leaps through the air. For
+are these not the splendid failures that might have succeeded in
+starting new modes of flight?
+
+Most daring of all, perhaps, are the aerial journeys undertaken by many
+small spiders. On a breezy morning, especially in the autumn, they mount
+on gate-posts and palings and herbage, and, standing with their head to
+the wind, pay out three or four long threads of silk. When the wind tugs
+at these threads, the spinners let go, and are borne, usually back
+downwards, on the wings of the wind from one parish to another. It is
+said that if the wind falls they can unfurl more sail, or furl if it
+rises. In any case, these wingless creatures make aerial journeys. When
+tens of thousands of the used threads sink to earth, there is a "shower
+of gossamer." On his _Beagle_ voyage Darwin observed that vast numbers
+of small gossamer spiders were borne on to the ship when it was sixty
+miles distant from the land.
+
+[Illustration: THE AUSTRALIAN FRILLED LIZARD, WHICH IS AT PRESENT TRYING
+TO BECOME A BIPED
+
+When it gets up on its hind-legs and runs for a short distance it folds
+its big collar round its neck.]
+
+[Illustration: A CARPET OF GOSSAMER
+
+The silken threads used by thousands of gossamer spiders in their
+migrations are here seen entangled in the grass, forming what is called
+a shower of gossamer. At the edge of the grass the gossamer forms a
+curtain, floating out and looking extraordinarily like waves breaking on
+a seashore.]
+
+[Illustration: THE WATER-SPIDER
+
+The spider is seen just leaving its diving-bell to ascend to the surface
+to capture air.
+
+The spider jerks its body and legs out at the surface and then dives--
+
+--carrying with it what looks like a silvery air-bubble--air entangled
+in the hair.
+
+The spider reaches its air-dome. Note how the touch of its legs indents
+the inflated balloon.
+
+Running down the side of the nest, the spider
+
+--brushes off the air at the entrance, and the bubble ascends into the
+silken balloon.
+
+_Photos: J. J. Ward, F.E.S._]
+
+
+New Devices
+
+It is impossible, we must admit, to fix dates, except in a few cases,
+relatively recent; but there is a smack of modernity in some striking
+devices which we can observe in operation to-day. Thus no one will
+dispute the statement that spiders are thoroughly terrestrial animals
+breathing dry air, but we have the fact of the water-spider conquering
+the under-water world. There are a few spiders about the seashore, and a
+few that can survive douching with freshwater, but the particular case
+of the true water-spider, _Argyroneta natans_, stands by itself because
+the creature, as regards the female at least, has _conquered_ the
+sub-aquatic environment. A flattish web is woven, somehow, underneath
+the water, and pegged down by threads of silk. Along a special vertical
+line the mother spider ascends to the surface and descends again, having
+entangled air in the hairs of her body. She brushes off this air
+underneath her web, which is thereby buoyed up into a sort of dome. She
+does this over and over again, never getting wet all the time, until the
+domed web has become like a diving-bell, full of dry air. In this
+eloquent anticipation of man's rational device, this creature--far from
+being endowed with reason--lays her eggs and looks after her young. The
+general significance of the facts is that when competition is keen, a
+new area of exploitation is a promised land. Thus spiders have spread
+over all the earth except the polar areas. But here is a spider with
+some spirit of adventure, which has endeavoured, instead of trekking, to
+find a new corner near at home. It has tackled a problem surely
+difficult for a terrestrial animal, the problem of living in great part
+under water, and it has solved it in a manner at once effective and
+beautiful.
+
+
+In Conclusion
+
+We have given but a few representative illustrations of a great theme.
+When we consider the changefulness of living creatures, the
+transformations of cultivated plants and domesticated animals, the
+gradual alterations in the fauna of a country, the search after new
+haunts, the forming of new habits, and the discovery of many inventions,
+are we not convinced that Evolution is going on? And why should it
+stop?
+
+
+
+
+VII
+
+THE DAWN OF MIND
+
+
+
+
+THE DAWN OF MIND
+
+
+In the story of evolution there is no chapter more interesting than the
+emergence of mind in the animal kingdom. But it is a difficult chapter
+to read, partly because "mind" cannot be seen or measured, only
+_inferred_ from the outward behaviour of the creature, and partly
+because it is almost impossible to avoid reading ourselves into the much
+simpler animals.
+
+
+Sec. 1
+
+Two Extremes to be Avoided
+
+The one extreme is that of uncritical generosity which credits every
+animal, like Brer Rabbit--who, by the way, was the hare--with human
+qualities. The other extreme is that of thinking of the animal as if it
+were an automatic machine, in the working of which there is no place or
+use for mind. Both these extremes are to be avoided.
+
+When Professor Whitman took the eggs of the Passenger Pigeon (which
+became extinct not long ago with startling rapidity) and placed them a
+few inches to one side of the nest, the bird looked a little uneasy and
+put her beak under her body as if to feel for something that was not
+there. But she did not try to retrieve her eggs, close at hand as they
+were. In a short time she flew away altogether. This shows that the mind
+of the pigeon is in some respects very different from the mind of man.
+On the other hand, when a certain clever dog, carrying a basket of eggs,
+with the handle in his mouth, came to a stile which had to be
+negotiated, he laid the basket on the ground, pushed it gently through a
+low gap to the other side, and then took a running leap over. We dare
+not talk of this dog as an automatic machine.
+
+
+A Caution in Regard to Instinct
+
+In studying the behaviour of animals, which is the only way of getting
+at their mind, for it is only of our own mind that we have direct
+knowledge, it is essential to give prominence to the fact that there has
+been throughout the evolution of living creatures a strong tendency to
+enregister or engrain capacities of doing things effectively. Thus
+certain abilities come to be inborn; they are parts of the inheritance,
+which will express themselves whenever the appropriate trigger is
+pulled. The newly born child does not require to learn its breathing
+movements, as it afterwards requires to learn its walking movements. The
+ability to go through the breathing movements is inborn, engrained,
+enregistered.
+
+In other words, there are hereditary pre-arrangements of nerve-cells and
+muscle-cells which come into activity almost as easily as the beating of
+the heart. In a minute or two the newborn pigling creeps close to its
+mother and sucks milk. It has not to learn how to do this any more than
+we have to learn to cough or sneeze. Thus animals have many useful
+ready-made, or almost ready-made, capacities of doing apparently clever
+things. In simple cases of these inborn pre-arrangements we speak of
+reflex actions; in more complicated cases, of instinctive behaviour. Now
+the caution is this, that while these inborn capacities usually work
+well in natural conditions, they sometimes work badly when the ordinary
+routine is disturbed. We see this when a pigeon continues sitting for
+many days on an empty nest, or when it fails to retrieve its eggs only
+two inches away. But it would be a mistake to call the pigeon, because
+of this, an unutterably stupid bird. We have only to think of the
+achievements of homing pigeons to know that this cannot be true. We must
+not judge animals in regard to those kinds of behaviour which have been
+handed over to instinct, and go badly agee when the normal routine is
+disturbed. In ninety-nine cases out of a hundred the enregistered
+instinctive capacities work well, and the advantage of their becoming
+stereotyped was to leave the animal more free for adventures at a higher
+level. Being "a slave of instinct" may give the animal a security that
+enables it to discover some new home or new food or new joy. Somewhat in
+the same way, a man of methodical habits, which he has himself
+established, may gain leisure to make some new departure of racial
+profit.
+
+[Illustration: _Photo: O. J. Wilkinson._
+
+JACKDAW BALANCING ON A GATEPOST
+
+The jackdaw is a big-brained, extremely alert, very educable, loquacious
+bird.]
+
+[Illustration: _From Ingersoll's "The Wit of the Wild."_
+
+TWO OPOSSUMS FEIGNING DEATH
+
+The Opossums are mainly arboreal marsupials, insectivorous and
+carnivorous, confined to the American Continent from the United States
+to Patagonia. Many have no pouch and carry their numerous young ones on
+their back, the tail of the young twined round that of the mother. The
+opossums are agile, clever creatures, and famous for "playing 'possum,"
+lying inert just as if they were dead.]
+
+[Illustration: MALE OF THREE-SPINED STICKLEBACK, MAKING A NEST OF
+WATER-WEED, GLUED TOGETHER BY VISCID THREADS SECRETED FROM THE KIDNEYS
+AT THE BREEDING SEASON]
+
+[Illustration: A FEMALE STICKLEBACK ENTERS THE NEST WHICH THE MALE HAS
+MADE, LAYS THE EGGS INSIDE, AND THEN DEPARTS
+
+In many cases two or three females use the same nest, the stickleback
+being polygamous. Above the nest the male, who mounts guard, is seen
+driving away an intruder.]
+
+When we draw back our finger from something very hot, or shut our eye to
+avoid a blow from a rebounding branch, we do not will the action; and
+this is more or less the case, probably, when a young mammal sucks its
+mother for the first time. Some Mound-birds of Celebes lay their eggs in
+warm volcanic ash by the shore of the sea, others in a great mass of
+fermenting vegetation; it is inborn in the newly hatched bird to
+struggle out as quickly as it can from such a strange nest, else it will
+suffocate. If it stops struggling too soon, it perishes, for it seems
+that the trigger of the instinct cannot be pulled twice. Similarly, when
+the eggs of the turtle, that have been laid in the sand of the shore,
+hatch out, the young ones make _instinctively_ for the sea. Some of the
+crocodiles bury their eggs two feet or so below the surface among sand
+and decaying vegetation--an awkward situation for a birthplace. When the
+young crocodile is ready to break out of the egg-shell, just as a chick
+does at the end of the three weeks of brooding, it utters
+_instinctively_ a piping cry. On hearing this, the watchful mother digs
+away the heavy blankets, otherwise the young crocodile would be buried
+alive at birth. Now there is no warrant for believing that the young
+Mound-birds, young crocodiles, and young turtles have an intelligent
+appreciation of what they do when they are hatched. They act
+instinctively, "as to the manner born." But this is not to say that
+their activity is not backed by endeavour or even suffused with a
+certain amount of awareness. Of course, it is necessarily difficult for
+man, who is so much a creature of intelligence, to get even an inkling
+of the mental side of instinctive behaviour.
+
+In many of the higher reaches of animal instinct, as in courtship or
+nest-building, in hunting or preparing the food, it looks as if the
+starting of the routine activity also "rang up" the higher centres of
+the brain and put the intelligence on the _qui vive_, ready to interpose
+when needed. So the twofold caution is this: (1) We must not depreciate
+the creature too much if, in unusual circumstances, it acts in an
+ineffective way along lines of behaviour which are normally handed over
+to instinct; and (2) we must leave open the possibility that even
+routine instinctive behaviour may be suffused with awareness and backed
+by endeavour.
+
+
+Sec. 2
+
+A Useful Law
+
+But how are we to know when to credit the animal with intelligence and
+when with something less spontaneous? Above all, how are we to know when
+the effective action, like opening the mouth the very instant it is
+touched by food in the mother's beak, is just a physiological action
+like coughing or sneezing, and when there is behind it--a mind at work?
+The answer to this question is no doubt that given by Prof. Lloyd
+Morgan, who may be called the founder of comparative psychology, that we
+must describe the piece of behaviour very carefully, just as it
+occurred, without reading anything into it, and that we must not ascribe
+it to a higher faculty if it can be satisfactorily accounted for in
+terms of a lower one. In following this principle we may be sometimes
+niggardly, for the behaviour may have a mental subtlety that we have
+missed; but in nine cases out of ten our conclusions are likely to be
+sound. It is the critical, scientific way.
+
+Bearing this law in mind, let us take a survey of the emergence of mind
+among backboned animals.
+
+
+Senses of Fishes
+
+Fishes cannot shut their eyes, having no true lids; but the eyes
+themselves are very well developed and the vision is acute, especially
+for moving objects. Except in gristly fishes, the external opening to
+the ear has been lost, so that sound-waves and coarser vibrations must
+influence the inner ear, which is well developed, through the
+surrounding flesh and bones. It seems that the main use of the ear in
+fishes is in connection with balancing, not with hearing. In many cases,
+however, the sense of hearing has been demonstrated; thus fishes will
+come to the side of a pond to be fed when a bell is rung or when a
+whistle is blown by someone not visible from the water. The fact that
+many fishes pay no attention at all to loud noises does not prove that
+they are deaf, for an animal may hear a sound and yet remain quite
+indifferent or irresponsive. This merely means that the sound has no
+vital interest for the animal. Some fishes, such as bullhead and
+dogfish, have a true sense of smell, detecting by their nostrils very
+dilute substances permeating the water from a distance. Others, such as
+members of the cod family, perceive their food in part at least by the
+sense of taste, which is susceptible to substances near at hand and
+present in considerable quantity. This sense of taste may be located on
+the fins as well as about the mouth. At this low level the senses of
+smell and taste do not seem to be very readily separated. The chief use
+of the sensitive line or lateral line seen on each side of a bony fish
+is to make the animal aware of slow vibrations and changes of pressure
+in the water. The skin responds to pressures, the ear to vibrations of
+high frequency; the lateral line is between the two in its function.
+
+
+Interesting Ways of Fishes
+
+The brain of the ordinary bony fish is at a very low level. Thus the
+cerebral hemispheres, destined to become more and more the seat of
+intelligence, are poorly developed. In gristly fishes, like skates and
+sharks, the brain is much more promising. But although the state of the
+brain does not lead one to expect very much from a bony fish like trout
+or eel, haddock or herring, illustrations are not wanting of what might
+be called pretty pieces of behaviour. Let us select a few cases.
+
+
+The Stickleback's Nest
+
+The three-spined and two-spined sticklebacks live equally well in fresh
+or salt water; the larger fifteen-spined stickleback is entirely marine.
+In all three species the male fish makes a nest, in fresh or brackish
+water in the first two cases, in shore-pools in the third case. The
+little species use the leaves and stems of water-plants; the larger
+species use seaweed and zoophyte. The leaves or fronds are entangled
+together and fastened by glue-like threads, secreted, strange to say, by
+the kidneys. It is just as if a temporary diseased condition had been
+regularised and turned to good purpose. Going through the nest several
+times, the male makes a little room in the middle. Partly by coercion
+and partly by coaxing he induces a female--first one and then
+another--to pass through the nest with two doors, depositing eggs during
+her short sojourn. The females go their way, and the male mounts guard
+over the nest. He drives off intruding fishes much bigger than himself.
+When the young are hatched, the male has for a time much to do, keeping
+his charges within bounds until they are able to move about with
+agility. It seems that sticklebacks are short-lived fishes, probably
+breeding only once; and it is reasonable to suppose that their success
+as a race depends to some extent on the paternal care. Now if we could
+believe that the nesting behaviour had appeared suddenly in its present
+form, we should be inclined to credit the fish with considerable mental
+ability. But we are less likely to be so generous if we reflect that the
+routine has been in all likelihood the outcome of a long racial process
+of slight improvements and critical testings. The secretion of the glue
+probably came about as a pathological variation; its utilisation was
+perhaps discovered by accident; the types that had wit enough to take
+advantage of this were most successful; the routine became enregistered
+hereditarily. The stickleback is not so clever as it looks.
+
+[Illustration: _Photo: Imperial War Museum._
+
+HOMING PIGEON
+
+A blue chequer hen, which during the War (in September of 1918) flew 22
+miles in as many minutes, saving the crew of an aeroplane in
+difficulties.]
+
+[Illustration: _Photo: Imperial War Museum._
+
+CARRIER PIGEON
+
+Carrier pigeons were much used in the War to carry messages. The
+photograph shows how the message is fixed to the carrier pigeon's leg,
+in the form of light rings.]
+
+[Illustration: _Photo: James's Press Agency._
+
+YELLOW-CROWNED PENGUIN
+
+Notice the flightless wings turned into flippers, which are often
+flapped very vigorously. The very strong feet are also noteworthy.
+Penguins are mostly confined to the Far South.]
+
+[Illustration: _Photo: Cagcombe & Co._
+
+PENGUINS ARE "A PECULIAR PEOPLE"
+
+Their wings have been turned into flippers for swimming in the sea and
+tobogganing on snow. The penguins come back over hundreds of miles of
+trackless waste to their birthplace, where they breed. When they reach
+the Antarctic shore they walk with determination to a suitable site,
+often at the top of a steep cliff. Some species waddle 130 steps per
+minute, 6 inches per step, two-thirds of a mile per hour.]
+
+
+The Mind of a Minnow
+
+To find solid ground on which to base an appreciation of the behaviour
+of fishes, it is necessary to experiment, and we may refer to Miss
+Gertrude White's interesting work on American minnows and sticklebacks.
+After the fishes had become quite at home in their artificial
+surroundings, their lessons began. Cloth packets, one of which contained
+meat and the other cotton, were suspended at opposite ends of the
+aquarium. The mud-minnows did not show that they perceived either
+packet, though they swam close by them; the sticklebacks were intrigued
+at once. Those that went towards the packet containing meat darted
+furiously upon it and pulled at it with great excitement. Those that
+went towards the cotton packet turned sharply away when they were within
+about two inches off. They then perceived what those at the other end
+were after and joined them--a common habit amongst fishes. Although the
+minnows were not interested in the tiny "bags of mystery," they were
+even more alert than the sticklebacks in perceiving moving objects in or
+on the water, and there is no doubt that both these shallow-water
+species discover their food largely by sense of sight.
+
+The next set of lessons had to do with colour-associations. The fishes
+were fed on minced snail, chopped earthworm, fragments of liver, and the
+like, and the food was given to them from the end of forceps held above
+the surface of the water, so that the fishes could not be influenced by
+smell. They had to leap out of the water to take the food from the
+forceps. Discs of coloured cardboard were slipped over the end of the
+forceps, so that what the fishes saw was a morsel of food in the centre
+of a coloured disc. After a week or so of preliminary training, they
+were so well accustomed to the coloured discs that the presentation of
+one served as a signal for the fishes to dart to the surface and spring
+out of the water. When baits of paper were substituted for the food, the
+fishes continued to jump at the discs. When, however, a blue disc was
+persistently used for the paper bait and a red disc for the real food,
+or _vice versa_, some of the minnows learned to discriminate infallibly
+between shadow and substance, both when these were presented alternately
+and when they were presented simultaneously. This is not far from the
+dawn of mind.
+
+In the course of a few lessons, both minnows and sticklebacks learned to
+associate particular colours with food, and other associations were also
+formed. A kind of larva that a minnow could make nothing of after
+repeated trials was subsequently ignored. The approach of the
+experimenter or anyone else soon began to serve as a food-signal. There
+can be no doubt that in the ordinary life of fishes there is a process
+of forming useful associations and suppressing useless responses. Given
+an inborn repertory of profitable movements that require no training,
+given the power of forming associations such as those we have
+illustrated, and given a considerable degree of sensory alertness along
+certain lines, fishes do not require much more. And in truth they have
+not got it. Moving with great freedom in three dimensions in a medium
+that supports them and is very uniform and constant, able in most cases
+to get plenty of food without fatiguing exertions and to dispense with
+it for considerable periods if it is scarce, multiplying usually in
+great abundance so that the huge infantile mortality hardly counts,
+rarely dying a natural death but usually coming with their strength
+unabated to a violent end, fishes hold their own in the struggle for
+existence without much in the way of mental endowment. Their brain has
+more to do with motion than with mentality, and they have remained at a
+low psychical level.
+
+Yet just as we should greatly misjudge our own race if we confined our
+attention to everyday routine, so in our total, as distinguished from
+our average, estimate of fishes, we must remember the salmon surmounting
+the falls, the wary trout eluding the angler's skill, the common
+mud-skipper (Periophthalmus) of many tropical shores which climbs on the
+rocks and the roots of the mangrove-trees, or actively hunts small
+shore-animals. We must remember the adventurous life-history of the eel
+and the quaint ways in which some fishes, males especially, look after
+their family. The male sea-horse puts the eggs in his breast-pocket; the
+male Kurtus carries them on the top of his head; the cock-paidle or
+lumpsucker guards them and aerates them in a corner of a shore-pool.
+
+
+Sec. 3
+
+The Mind of Amphibians
+
+Towards the end of the age of the Old Red Sandstone or Devonian, a great
+step in evolution was taken--the emergence of Amphibians. The earliest
+representatives had fish-like characters even more marked than those
+which may be discerned in the tadpoles of our frogs and toads, and there
+is no doubt that amphibians sprang from a fish stock. But they made
+great strides, associated in part with their attempts to get out of the
+water on to dry land. From fossil forms we cannot say much in regard to
+soft parts; but if we consider the living representatives of the class,
+we may credit amphibians with such important acquisitions as fingers and
+toes, a three-chambered heart, true ventral lungs, a drum to the ear, a
+mobile tongue, and vocal cords. When animals began to be able to grasp
+an object and when they began to be able to utter sufficient sounds, two
+new doors were opened. Apart from insects, whose instrumental music had
+probably begun before the end of the Devonian age, amphibians were the
+first animals to have a voice. The primary meaning of this voice was
+doubtless, as it is to-day in our frogs, a sex-call; but it was the
+beginning of what was destined to play a very important part in the
+evolution of the mind. In the course of ages the significance of the
+voice broadened out; it became a parental call; it became an infant's
+cry. Broadening still, it became a very useful means of recognition
+among kindred, especially in the dark and in the intricacies of the
+forest. Ages passed, and the voice rose on another turn of the
+evolutionary spiral to be expressive of particular emotions beyond the
+immediate circle of sex--emotions of joy and of fear, of jealousy and of
+contentment. Finally, we judge, the animal--perhaps the bird was
+first--began to give utterance to particular "words," indicative not
+merely of emotions, but of particular things with an emotional halo,
+such as "food," "enemy," "home." Long afterwards, words became _in man_
+the medium of reasoned discourse. Sentences were made and judgments
+expressed. But was not the beginning in the croaking of Amphibia?
+
+
+Senses of Amphibians
+
+Frogs have good eyes, and the toad's eyes are "jewels." There is
+evidence of precise vision in the neat way in which a frog catches a
+fly, flicking out its tongue, which is fixed in front and loose behind.
+There is also experimental proof that a frog discriminates between red
+and blue, or between red and white, and an interesting point is that
+while our skin is sensitive to heat rays but not to light, the skin of
+the frog answers back to light rays as well. Professor Yerkes
+experimented with a frog which had to go through a simple labyrinth if
+it wished to reach a tank of water. At the first alternative between two
+paths, a red card was placed on the wrong side and a white one on the
+other. When the frog had learned to take the correct path, marked by the
+white card, Prof. Yerkes changed the cards. The confusion of the frog
+showed how thoroughly it had learned its lesson.
+
+We know very little in regard to sense of smell or taste in amphibians;
+but the sense of hearing is well developed, more developed than might be
+inferred from the indifference that frogs show to almost all sounds
+except the croaking of their kindred and splashes in the water.
+
+The toad looks almost sagacious when it is climbing up a bank, and some
+of the tree-frogs are very alert; but there is very little that we dare
+say about the amphibian mind. We have mentioned that frogs may learn the
+secret of a simple maze, and toads sometimes make for a particular
+spawning-pond from a considerable distance. But an examination of their
+brains, occupying a relatively small part of the broad, flat skull,
+warns us not to expect much intelligence. On the other hand, when we
+take frogs along a line that is very vital to them, namely, the
+discrimination of palatable and unpalatable insects, we find, by
+experiment, that they are quick to learn and that they remember their
+lessons for many days. Frogs sometimes deposit their eggs in very
+unsuitable pools of water; but perhaps that is not quite so stupid as it
+looks. The egg-laying is a matter that has been, as it were, handed over
+to instinctive registration.
+
+[Illustration: _Photo: W. S. Berridge._
+
+HARPY-EAGLE
+
+"Clean and dainty and proud as a Spanish Don."
+
+It is an arboreal and cliff-loving bird, feeding chiefly on mammals,
+very fierce and strong. The under parts are mostly white, with a greyish
+zone on the chest. The upper parts are blackish-grey. The harpy occurs
+from Mexico to Paraguay and Bolivia.]
+
+[Illustration: _Photo: W. S. Berridge, F.Z.S._
+
+THE DINGO OR WILD DOG OF AUSTRALIA, PERHAPS AN INDIGENOUS WILD SPECIES,
+PERHAPS A DOMESTICATED DOG THAT HAS GONE WILD OR FERAL
+
+It does much harm in destroying sheep. It is famous for its persistent
+"death-feigning," for an individual has been known to allow part of its
+skin to be removed, in the belief that it was dead, before betraying its
+vitality.]
+
+[Illustration: WOODPECKER, HAMMERING AT A COTTON-REEL, ATTACHED TO A
+TREE
+
+Notice how the stiff tail-feathers braced against the stem help the bird
+to cling on with its toes. The original hole, in which this woodpecker
+inserted nuts for the purposes of cracking the shell and extracting the
+kernel, is seen towards the top of the tree. But the taker of the
+photograph tied on a hollowed-out cotton-reel as a receptacle for a nut,
+and it was promptly discovered and used by the bird.]
+
+
+Experiments in Parental Care
+
+It must be put to the credit of amphibians that they have made many
+experiments in methods of parental care, as if they were feeling their
+way to new devices. A common frog lays her clumps of eggs in the cradle
+of the water, sometimes far over a thousand together; the toad winds two
+long strings round and between water-weeds; and in both cases that is
+all. There is no parental care, and the prolific multiplication covers
+the enormous infantile mortality. This is the spawning solution of the
+problem of securing the continuance of the race. But there is another
+solution, that of parental care associated with an economical reduction
+of the number of eggs. Thus the male of the Nurse-Frog (Alytes), not
+uncommon on the Continent, fixes a string of twenty to fifty eggs to the
+upper part of his hind-legs, and retires to his hole, only coming out at
+night to get some food and to keep up the moisture about the eggs. In
+three weeks, when the tadpoles are ready to come out, he plunges into
+the pond and is freed from his living burden and his family cares. In
+the case of the thoroughly aquatic Surinam Toad (Pipa), the male helps
+to press the eggs, perhaps a hundred in number, on to the back of the
+female, where each sinks into a pocket of skin with a little lid. By and
+by fully formed young toads jump out of the pockets.
+
+In the South American tree-frogs called Nototrema there is a pouch on
+the back of the female in which the eggs develop, and it is interesting
+to find that in some species what come out are ordinary tadpoles, while
+in other species the young emerge as miniatures of their parents.
+Strangest of all, perhaps, is the case of Darwin's Frog (Rhinoderma of
+Chili), where the young, about ten to fifteen in number, develop in the
+male's croaking-sacs, which become in consequence enormously distended.
+Eventually the strange spectacle is seen of miniature frogs jumping out
+of their father's mouth. Needless to say we are not citing these methods
+of parental care as examples of intelligence; but perhaps they correct
+the impression of amphibians as a rather humdrum race. Whatever be the
+mental aspect of the facts, there has certainly been some kind of
+experimenting, and the increase of parental care, so marked in many
+amphibians, with associated reduction of the number of offspring is a
+finger-post on the path of progress.
+
+
+Sec. 4
+
+The Reptilian Mind
+
+We speak of the wisdom of the serpent; but it is not very easy to
+justify the phrase. Among all the multitude of reptiles--snakes,
+lizards, turtles, and crocodiles, a motley crowd--we cannot see much
+more than occasional traces of intelligence. The inner life remains a
+tiny rill.
+
+No doubt many reptiles are very effective; but it is an instinctive
+rather than an intelligent efficiency. The well-known "soft-shell"
+tortoise of the United States swims with powerful strokes and runs so
+quickly that it can hardly be overtaken. It hunts vigorously for
+crayfish and insect larvae in the rivers. It buries itself in the mud
+when cold weather comes. It may lie on a floating log ready to slip into
+the water at a moment's notice; it may bask on a sunny bank or in the
+warm shallows. Great wariness is shown in choosing times and places for
+egg-laying. The mother tramps the earth down upon the buried eggs. All
+is effective. Similar statements might be made in regard to scores of
+other reptiles; but what we see is almost wholly of the nature of
+instinctive routine, and we get little glimpse of more than efficiency
+and endeavour.
+
+In a few cases there is proof of reptiles finding their way back to
+their homes from a considerable distance, and recognition of persons is
+indubitable. Gilbert White remarks of his tortoise: "Whenever the good
+old lady came in sight who had waited on it for more than thirty years,
+it always hobbled with awkward alacrity towards its benefactress, while
+to strangers it was altogether inattentive." Of definite learning there
+are a few records. Thus Professor Yerkes studied a sluggish turtle of
+retiring disposition, taking advantage of its strong desire to efface
+itself. On the path of the darkened nest of damp grass he interposed a
+simple maze in the form of a partitioned box. After wandering about
+constantly for thirty-five minutes the turtle found its way through the
+maze by chance. Two hours afterwards it reached the nest in fifteen
+minutes; and after another interval of two hours it only required five
+minutes. After the third trial, the routes became more direct, there was
+less aimless wandering. The time of the twentieth trial was forty-five
+seconds; that of the thirtieth, forty seconds. In the thirtieth case,
+the path followed was quite direct, and so it was on the fiftieth trip,
+which only required thirty-five seconds. Of course, the whole thing did
+not amount to very much; but there was a definite learning, _a learning
+from experience_, which has played an important part in the evolution of
+animal behaviour.
+
+Comparing reptiles with amphibians, we may recognise an increased
+masterliness of behaviour and a hint of greater plasticity. The records
+of observers who have made pets of reptiles suggest that the life of
+feeling or emotion is growing stronger, and so do stories, if they can
+be accepted, which suggest the beginning of conjugal affection.
+
+The error must be guarded against of interpreting in terms of
+intelligence what is merely the outcome of long-continued structure
+adaptation. When the limbless lizard called the Slow-worm is suddenly
+seized by the tail, it escapes by surrendering the appendage, which
+breaks across a preformed weak plane. But this is a reflex action, not a
+reflective one. It is comparable to our sudden withdrawal of our finger
+from a very hot cinder. The Egg-eating African snake Dasypeltis gets the
+egg of a bird into its gullet unbroken, and cuts the shell against
+downward-projecting sharp points of the vertebrae. None of the precious
+contents is lost and the broken "empties" are returned. It is admirable,
+indeed unsurpassable; but it is not intelligent.
+
+
+Sec. 5
+
+Mind in Birds
+
+Sight and hearing are highly developed in birds, and the senses, besides
+pulling the triggers of inborn efficiencies, supply the raw materials
+for intelligence. There is some truth, though not the whole truth, in
+the old philosophical dictum, that there is nothing in the intellect
+which was not previously in the senses. Many people have admired the
+certainty and alacrity with which gulls pick up a fragment of biscuit
+from the white wake of a steamer, and the incident is characteristic. In
+their power of rapidly altering the focus of the eye, birds are
+unsurpassed.
+
+To the sense of sight in birds, the sense of hearing comes a good
+second. A twig breaks under our feet, and out sounds the danger-call of
+the bird we were trying to watch. Many young birds, like partridges,
+respond when two or three hours old to the anxious warning note of the
+parents, and squat motionless on the ground, though other sounds, such
+as the excited clucking of a foster-mother hen, leave them indifferent.
+They do not know what they are doing when they squat; they are obeying
+the living hand of the past which is within them. Their behaviour is
+instinctive. But the present point is the discriminating quality of the
+sense of hearing; and that is corroborated by the singing of birds.
+It is emotional art, expressing feelings in the medium of sound. On the
+part of the females, who are supposed to listen, it betokens a
+cultivated ear.
+
+[Illustration: THE BEAVER
+
+The beaver will gnaw through trees a foot in diameter; to save itself
+more trouble than is necessary, it will stop when it has gnawed the
+trunk till there is only a narrow core left, having the wit to know that
+the autumn gales will do the rest.]
+
+[Illustration: _Photo: F. R. Hinkins & Son._
+
+THE THRUSH AT ITS ANVIL
+
+The song-thrush takes the snail's shell in its bill, and knocks it
+against a stone until it breaks, making the palatable flesh available.
+
+Many broken shells are often found around the anvil.]
+
+As to the other senses, touch is not highly developed except about the
+bill, where it reaches a climax in birds like the wood-cock, which probe
+for unseen earthworms in the soft soil. Taste seems to be poorly
+developed, for most birds bolt their food, but there is sometimes an
+emphatic rejection of unpalatable things, like toads and caterpillars.
+Of smell in birds little is known, but it has been proved to be present
+in certain cases, e.g. in some nocturnal birds of prey. It seems certain
+that it is by sight, not by smell, that the eagles gather to the
+carcass; but perhaps there is more smell in birds than they are usually
+credited with. One would like to experiment with the oil from the preen
+gland of birds to see whether the scent of this does not help in the
+recognition of kin by kin at night or amid the darkness of the forest.
+There may be other senses in birds, such as a sense of temperature and a
+sense of balance; but no success has attended the attempts made to
+demonstrate a magnetic sense, which has been impatiently postulated by
+students of bird migration in order to "explain" how the birds find
+their way. The big fact is that in birds there are two widely open
+gateways of knowledge, the sense of sight and the sense of hearing.
+
+
+Instinctive Aptitudes
+
+Many a young water-bird, such as a coot, swims right away when it is
+tumbled into water for the first time. So chicks peck without any
+learning or teaching, very young ducklings catch small moths that flit
+by, and young plovers lie low when the danger-signal sounds. But birds
+seem strangely limited as regards many of these instinctive
+capacities--limited when compared with the "little-brained" ants and
+bees, which have from the first such a rich repertory of ready-made
+cleverness. The limitation in birds is of great interest, for it means
+that intelligence is coming to its own and is going to take up the
+reins at many corners of the daily round. Professor Lloyd Morgan
+observed that his chickens incubated in the laboratory had no
+instinctive awareness of the significance of their mother's cluck when
+she was brought outside the door. Although thirsty and willing to drink
+from a moistened finger-tip, they did not instinctively recognize water,
+even when they walked through a saucerful. Only when they happened to
+peck their toes as they stood in the water did they appreciate water as
+the stuff they wanted, and raise their bills up to the sky. Once or
+twice they actually stuffed their crops with "worms" of red worsted!
+
+Instinctive aptitudes, then, the young birds have, but these are more
+limited than in ants, bees, and wasps; and the reason is to be found in
+the fact that the brain is now evolving on the tack of what Sir Ray
+Lankester has called "educability." Young birds _learn_ with prodigious
+rapidity; the emancipation of the mind from the tyranny of hereditary
+obligations has begun. Young birds make mistakes, like the red worsted
+mistake, but they do not make the same mistakes often. They are able to
+profit by experience in a very rapid way. We do not mean that creatures
+of the little-brain type, like ants, bees, and wasps, are unable to
+profit by experience or are without intelligence. There are no such
+hard-and-fast lines. We mean that in the ordinary life of insects the
+enregistered instinctive capacities are on the whole sufficient for the
+occasion, and that intelligent educability is very slightly developed.
+Nor do we mean that birds are quite emancipated from the tyranny of
+engrained instinctive obligations, and can always "ring up" intelligence
+in a way that is impossible for the stereotyped bee. The sight of a
+pigeon brooding on an empty nest, while her two eggs lie disregarded
+only a couple of inches away, is enough to show that along certain lines
+birds may find it impossible to get free from the trammels of instinct.
+The peculiar interest of birds is that they have many instincts and yet
+a notable power of learning intelligently.
+
+
+Intelligence co-operating with Instinct
+
+Professor Lloyd Morgan was foster-parent to two moorhens which grew up
+in isolation from their kindred. They swam instinctively, but they would
+not dive, neither in a large bath nor in a current. But it happened one
+day when one of these moorhens was swimming in a pool on a Yorkshire
+stream, that a puppy came barking down the bank and made an awkward
+feint towards the young bird. In a moment the moorhen dived, disappeared
+from view, and soon partially reappeared, his head just peeping above
+the water beneath the overhanging bank. This was the first time the bird
+had dived, and the performance was absolutely true to type.
+
+There can be little doubt as to the meaning of this observation. The
+moorhen has an hereditary or instinctive capacity for swimming and
+diving, but the latter is not so easily called into activity as the
+former. The particular moorhen in question had enjoyed about two months
+of swimming experience, which probably counted for something, but in the
+course of that experience nothing had pulled the trigger of the diving
+capacity. On an eventful day the young moorhen saw and heard the dog; it
+was emotionally excited; it probably did to some extent intelligently
+appreciate a novel and meaningful situation. Intelligence cooperated
+with instinct, and the bird dived appropriately.
+
+Birds have inborn predispositions to certain effective ways of pecking,
+scratching, swimming, diving, flying, crouching, lying low,
+nest-building, and so on; but they are marked off from the much more
+purely instinctive ants and bees by the extent to which individual
+"nurture" seems to mingle with the inherited "nature." The two together
+result in the fine product which we call the bird's behaviour. After
+Lloyd Morgan's chicks had tried a few conspicuous and unpalatable
+caterpillars, they had no use for any more. They learned in their early
+days with prodigious rapidity, illustrating the deep difference between
+the "big-brain" type, relatively poor in its endowment of instinctive
+capacities, but eminently "educable," and the "little-brain" type, say,
+of ants and bees, richly endowed with instinctive capacities, but very
+far from being quick or glad to learn. We owe it to Sir Ray Lankester to
+have made it clear that these two types of brain are, as it were, on
+different tacks of evolution, and should not be directly pitted against
+one another. The "little-brain" type makes for a climax in the ant,
+where instinctive behaviour reaches a high degree of perfection; the
+"big-brain" type reaches its climax in horse and dog, in elephant and
+monkey. The particular interest that attaches to the behaviour of birds
+is in the combination of a good deal of instinct with a great deal of
+intelligent learning. This is well illustrated when birds make a nest
+out of new materials or in some quite novel situation. It is clearly
+seen when birds turn to some new kind of food, like the Kea parrot,
+which attacks the sheep in New Zealand.
+
+Some young woodpeckers are quite clever in opening fir cones to get at
+the seeds, and this might be hastily referred to a well-defined
+hereditary capacity. But the facts are that the parents bring their
+young ones first the seeds themselves, then partly opened cones, and
+then intact ones. There is an educative process, and so it is in scores
+of cases.
+
+
+Using their Wits
+
+When the Greek eagle lifts the Greek tortoise in its talons, and lets it
+fall from a height so that the strong carapace is broken and the flesh
+exposed, it is making intelligent use of an expedient. Whether it
+discovered the expedient by experimenting, as is possible, or by chance,
+as is more likely, it uses it intelligently. In the same way
+herring-gulls lift sea-urchins and clams in their bills, and let them
+fall on the rocks so that the shells are broken. In the same way rooks
+deal with freshwater mussels.
+
+
+The Thrush's Anvil
+
+A very instructive case is the behaviour of the song-thrush when it
+takes a wood-snail in its beak and hammers it against a stone, its
+so-called anvil. To a young thrush, which she had brought up by hand,
+Miss Frances Pitt offered some wood-snails, but it took no interest in
+them until one put out its head and began to move about. The bird then
+pecked at the snail's horns, but was evidently puzzled when the creature
+retreated within the shelter of the shell. This happened over and over
+again, the thrush's inquisitive interest increasing day by day. It
+pecked at the shell and even picked it up by the lip, but no real
+progress was made till the sixth day, when the thrush seized the snail
+and beat it on the ground as it would a big worm. On the same day it
+picked up a shell and knocked it repeatedly against a stone, trying
+first one snail and then another. After fifteen minutes' hard work, the
+thrush managed to break one, and after that it was all easy. A certain
+predisposition to beat things on the ground was doubtless present, but
+the experiment showed that the use of an anvil could be arrived at by an
+untutored bird. After prolonged trying it found out how to deal with a
+difficult situation. It may be said that in more natural conditions this
+might be picked up by imitation, but while this is quite possible, it is
+useful to notice that experiments with animals lead us to doubt whether
+imitation counts for nearly so much as used to be believed.
+
+
+Sec. 6
+
+The Mind of the Mammal
+
+When we watch a collie at a sheep-driving competition, or an elephant
+helping the forester, or a horse shunting waggons at a railway siding,
+we are apt to be too generous to the mammal mind. For in the cases we
+have just mentioned, part of man's mind has, so to speak, got into the
+animal's. On the other hand, when we study rabbits and guinea-pigs, we
+are apt to be too stingy, for these rodents are under the average of
+mammals, and those that live in domestication illustrate the stupefying
+effect of a too sheltered life. The same applies to domesticated sheep
+contrasted with wild sheep, or even with their own lambs. If we are to
+form a sound judgment on the intelligence of mammals we must not attend
+too much to those that have profited by man's training, nor to those
+whose mental life has been dulled by domestication.
+
+
+Instinctive Aptitudes
+
+What is to be said of the behaviour of beavers who gnaw the base of a
+tree with their chisel-edged teeth till only a narrow core is left--to
+snap in the first gale, bringing the useful branches down to the ground?
+What is to be said of the harvest-mouse constructing its nest, or of the
+squirrel making cache after cache of nuts? These and many similar pieces
+of behaviour are fundamentally instinctive, due to inborn
+predispositions of nerve-cells and muscle-cells. But in mammals they
+seem to be often attended by a certain amount of intelligent attention,
+saving the creature from the tyranny of routine so marked in the ways of
+ants and bees.
+
+
+Sheer Dexterity
+
+Besides instinctive aptitudes, which are exhibited in almost equal
+perfection by all the members of the same species, there are acquired
+dexterities which depend on individual opportunities. They are also
+marked by being outside and beyond ordinary routine--not that any
+rigorous boundary line can be drawn. We read that at Mathura on the
+Jumna doles of food are provided by the piety of pilgrims for the sacred
+river-tortoises, which are so crowded when there is food going that
+their smooth carapaces form a more or less continuous raft across the
+river. On that unsteady slippery bridge the Langur monkeys
+(_Semnopithecus entellus_) venture out and in spite of vicious snaps
+secure a share of the booty. This picture of the monkeys securing a
+footing on the moving mass of turtle-backs is almost a diagram of sheer
+dexterity. It illustrates the spirit of adventure, the will to
+experiment, which is, we believe, the main motive-force in new
+departures in behaviour.
+
+[Illustration: _Photo: Lafayette_
+
+ALSATIAN WOLF-DOG
+
+An animal of acute senses and great intelligence. It was of great
+service in the war.
+
+(The dog shown, Arno von Indetal, is a trained police dog and did
+service abroad during the war.)]
+
+[Illustration: _Photo: W. S. Berridge._
+
+THE POLAR BEAR OF THE FAR NORTH
+
+An animal of extraordinary strength, able with a stroke of its paw to
+lift a big seal right out of the water and send it crashing along the
+ice. The food consists chiefly of seals. The sexes wander separately. A
+hole is often dug as a winter retreat, but there is no hibernation. A
+polar bear in captivity has been seen making a current with its paw in
+the water of its pool in order to secure floating buns without
+trouble--an instance of sheer intelligence.]
+
+[Illustration: _From the Smithsonian Report_, 1914
+
+AN ALLIGATOR "YAWNING" IN EXPECTATION OF FOOD
+
+Note the large number of sharp conical teeth fixed in sockets along the
+jaws.]
+
+
+Power of Association
+
+A bull-terrier called Jasper, studied by Prof. J. B. Watson, showed
+great power of associating certain words with certain actions. From a
+position invisible to the dog the owner would give certain commands,
+such as "Go into the next room and bring me a paper lying on the floor."
+Jasper did this at once, and a score of similar things.
+
+Lord Avebury's dog Van was accustomed to go to a box containing a small
+number of printed cards and select the card TEA or OUT, as the occasion
+suggested. It had established an association between certain black marks
+on a white background and the gratification of certain desires. It is
+probable that some of the extraordinary things horses and dogs have been
+known to do in the way of stamping a certain number of times in supposed
+indication of an answer to an arithmetical question (in the case of
+horses), or of the name of an object drawn (in the case of dogs), are
+dependent on clever associations established by the teacher between
+minute signs and a number of stampings. What is certain is that mammals
+have in varying degrees a strong power of establishing associations.
+There is often some delicacy in the association established. Everyone
+knows of cases where a dog, a cat, or a horse will remain quite
+uninterested, to all appearance, in its owner's movements until some
+little detail, such as taking a key from its peg, pulls the trigger. Now
+the importance of this in the wild life of the fox or the hare, the
+otter or the squirrel, is obviously that the young animals learn to
+associate certain sounds in their environment with definite
+possibilities. They have to learn an alphabet of woodcraft, the letters
+of which are chiefly sounds and scents.
+
+
+The Dancing Mouse as a Pupil
+
+The dancing or waltzing mouse is a Japanese variety with many
+peculiarities, such as having only one of the three semicircular canals
+of the ear well developed. It has a strong tendency to waltz round and
+round in circles without sufficient cause and to trip sideways towards
+its dormitory instead of proceeding in the orthodox head-on fashion. But
+this freak is a very educable creature, as Professor Yerkes has shown.
+In a careful way he confronted his mouse-pupil with alternative pathways
+marked by different degrees of illumination, or by different colours. If
+the mouse chose compartment A, it found a clear passage direct to its
+nest; if it chose compartment B, it was punished by a mild electric
+shock and it had to take a roundabout road home. Needless to say, the A
+compartment was sometimes to the right hand, sometimes to the left, else
+mere position would have been a guide. The experiments showed that the
+dancing mice learn to discriminate the right path from the wrong, and
+similar results have been got from other mammals, such as rats and
+squirrels. There is no proof of learning by ideas, but there is proof of
+learning by experience. And the same must be true in wild life.
+
+Many mammals, such as cats and rats, learn how to manipulate
+puzzle-boxes and how to get at the treasure at the heart of a Hampton
+Court maze. Some of the puzzle-boxes, with a reward of food inside, are
+quite difficult, for the various bolts and bars have to be dealt with in
+a particular order, and yet many mammals master the problem. What is
+plain is that they gradually eliminate useless movements, that they make
+fewer and fewer mistakes, that they eventually succeed, and that they
+register the solution within themselves so that it remains with them for
+a time. It looks a little like the behaviour of a man who learns a game
+of skill without thinking. It is a learning by experience, not by ideas
+or reflection. Thus it is very difficult to suppose that a rat or a cat
+could form any idea or even picture of the Hampton Court maze--which
+they nevertheless master.
+
+
+Learning Tricks
+
+Given sufficient inducement many of the cleverer mammals will learn to
+do very sensible things, and no one is wise enough to say that they
+never understand what they are doing. Yet it is certain that trained
+animals often exhibit pieces of behaviour which are not nearly so clever
+as they look. The elephant at the Belle Vue Gardens in Manchester used
+to collect pennies from benevolent visitors. When it got a penny in its
+trunk it put it in the slot of an automatic machine which delivered up a
+biscuit. When a visitor gave the elephant a halfpenny it used to throw
+it back with disgust. At first sight this seemed almost wise, and there
+was no doubt some intelligent appreciation of the situation. But it was
+largely a matter of habituation, the outcome of careful and prolonged
+training. The elephant was laboriously taught to put the penny in the
+slot and to discriminate between the useful pennies and the useless
+halfpennies. It was not nearly so clever as it looked.
+
+
+Using their Wits
+
+In the beautiful Zoological Park in Edinburgh the Polar Bear was wont to
+sit on a rocky peninsula of a water-filled quarry. The visitors threw in
+buns, some of which floated on the surface. It was often easy for the
+Polar Bear to collect half a dozen by plunging into the pool. But it had
+discovered a more interesting way. At the edge of the peninsula it
+scooped the water gently with its huge paw and made a current which
+brought the buns ashore. This was a simple piece of behaviour, but it
+has the smack of intelligence--of putting two and two together in a
+novel way. It suggests the power of making what is called a "perceptual
+inference."
+
+On the occasion of a great flood in a meadow it was observed that a
+number of mares brought their foals to the top of a knoll, and stood
+round about them protecting them against the rising water. A dog has
+been known to show what was at any rate a plastic appreciation of a
+varying situation in swimming across a tidal river. It changed its
+starting-point, they say, according to the flow or ebb of the tide.
+Arctic foxes and some other wild mammals show great cleverness in
+dealing with traps, and the manipulative intelligence of elephants is
+worthy of all our admiration.
+
+
+Sec. 7
+
+Why is there not more Intelligence?
+
+When we allow for dexterity and power of association, when we recognise
+a certain amount of instinctive capacity and a capacity for profiting by
+experience in an intelligent way, we must admit a certain degree of
+disappointment when we take a survey of the behaviour of mammals,
+especially of those with very fine brains, from which we should
+naturally expect great things. Why is there not more frequent exhibition
+of intelligence in the stricter sense?
+
+The answer is that most mammals have become in the course of time very
+well adapted to the ordinary conditions of their life, and tend to leave
+well alone. They have got their repertory of efficient answers to the
+ordinary questions of everyday life, and why should they experiment? In
+the course of the struggle for existence what has been established is
+efficiency in normal circumstances, and therefore even the higher
+animals tend to be no cleverer than is necessary. So while many mammals
+are extraordinarily efficient, they tend to be a little dull. Their
+mental equipment is adequate for the everyday conditions of their life,
+but it is not on sufficiently generous lines to admit of, let us say, an
+interest in Nature or adventurous experiment. Mammals always tend to
+"play for safety."
+
+We hasten, however, to insert here some very interesting saving clauses.
+
+
+Experimentation in Play
+
+A glimpse of what mammals are capable of, were it necessary, may be
+obtained by watching those that are playful, such as lambs and kids,
+foals and calves, young foxes and others. For these young creatures let
+themselves go irresponsibly, they are still unstereotyped, they test
+what they and their fellows can do. The experimental character of much
+of animal play is very marked.
+
+It is now recognised by biologists that play among animals is the young
+form of work, and that the playing period, often so conspicuous, is
+vitally important as an apprenticeship to the serious business of life
+and as an opportunity for learning the alphabet of Nature. But the
+playing period is much more; it is one of the few opportunities animals
+have of making experiments without too serious responsibilities. Play is
+Nature's device for allowing elbow-room for new departures
+(behaviour-variations) which may form part of the raw materials of
+progress. Play, we repeat, gives us a glimpse of the possibilities of
+the mammal mind.
+
+
+Other Glimpses of Intelligence
+
+A squirrel is just as clever as it needs to be and no more; and of some
+vanishing mammals, like the beaver, not even this can be said. Humdrum
+non-plastic efficiency is apt to mean stagnation. Now we have just seen
+that in the play of young mammals there is an indication of unexhausted
+possibilities, and we get the same impression when we think of three
+other facts. (_a_) In those mammals, like dog and horse, which have
+entered into active cooperative relations with man, we see that the mind
+of the mammal is capable of much more than the average would lead us to
+think. When man's sheltering is too complete and the domesticated
+creature is passive in his grip, the intelligence deteriorates. (_b_)
+When we study mammals, like the otter, which live a versatile life in a
+very complex and difficult environment, we get an inspiriting picture of
+the play of wits. (_c_) Thirdly, when we pass to monkeys, where the
+fore-limb has become a free hand, where the brain shows a relatively
+great improvement, where "words" are much used, we cannot fail to
+recognise the emergence of something new--a restless inquisitiveness, a
+desire to investigate the world, an unsatisfied tendency to experiment.
+We are approaching the Dawn of Reason.
+
+
+THE MIND OF MONKEYS
+
+Sec. 8
+
+There is a long gamut between the bushy-tailed, almost squirrel-like
+marmosets and the big-brained chimpanzee. There is great variety of
+attainment at different levels in the Simian tribe.
+
+
+Keen Senses
+
+To begin at the beginning, it is certain that monkeys have a first-class
+sensory equipment, especially as regards sight, hearing, and touch. The
+axes of the two eyes are directed forwards as in man, and a large
+section of the field of vision is common to both eyes. In other words,
+monkeys have a more complete stereoscopic vision than the rest of the
+mammals enjoy. They look more and smell less. They can distinguish
+different colours, apart from different degrees of brightness in the
+coloured objects. They are quick to discriminate differences in the
+shapes of things, e.g. boxes similar in size but different in shape, for
+if the prize is always put in a box of the same shape they soon learn
+(by association) to select the profitable one. They learn to
+discriminate cards with short words or with signs printed on them,
+coming down when the "Yes" card is shown, remaining on their perch when
+the card says "No." Bred to a forest life where alertness is a
+life-or-death quality, they are quick to respond to a sudden movement or
+to pick out some new feature in their surroundings. And what is true of
+vision holds also for hearing.
+
+
+Power of Manipulation
+
+Another quality which separates monkeys very markedly from ordinary
+mammals is their manipulative expertness, the co-ordination of hand
+and eye. This great gift follows from the fact that among monkeys the
+fore-leg has been emancipated. It has ceased to be indispensable as an
+organ of support; it has become a climbing, grasping, lifting, handling
+organ. The fore-limb has become a free hand, and everyone who knows
+monkeys at all is aware of the zest with which they use their tool. They
+enjoy pulling things to pieces--a kind of dissection--or screwing the
+handle off a brush and screwing it on again.
+
+[Illustration: _Photo: W. P. Dando_
+
+BABY ORANG
+
+Notice the small ears and the suggestion of good temper. The mother
+orang will throw prickly fruits and pieces of branches at those who
+intrude on her maternal care.]
+
+[Illustration: _Photo: Gambier Bolton._
+
+ORANG-UTAN
+
+A large and heavy ape, frequenting forests in Sumatra and Borneo, living
+mainly in trees, where a temporary nest is made. The expression is
+melancholy, the belly very protuberant, the colour yellow-brown, the
+movements are cautious and slow.]
+
+[Illustration: 1. CHIMPANZEE
+
+2. BABY ORANG-UTAN
+
+3. ORANG-UTAN
+
+4. BABY CHIMPANZEES
+
+_Photos: James's Press Agency._
+
+In his famous book on _The Expression of the Emotions in Man and
+Animals_ (1872) Charles Darwin showed that many forms of facial
+expression familiar in man have their counterparts in apes and other
+mammals. He also showed how important the movements of expression are as
+means of communication between mother and offspring, mate and mate, kith
+and kin.
+
+The anthropoid apes show notable differences of temperament as the
+photographs show. The chimpanzee is lively, cheerful, and educable. The
+orang is also mild of temper, but often and naturally appears melancholy
+in captivity. This is not suggested, however, by our photograph of the
+adult. Both chimpanzee and orang are markedly contrasted with the fierce
+and gloomy gorilla.]
+
+
+Activity for Activity's Sake
+
+Professor Thorndike hits the nail on the head when he lays stress on the
+intensity of activity in monkeys--activity both of body and mind. They
+are pent-up reservoirs of energy, which almost any influence will tap.
+Watch a cat or a dog, Professor Thorndike says; it does comparatively
+few things and is content for long periods to do nothing. It will be
+splendidly active in response to some stimulus such as food or a friend
+or a fight, but if nothing appeals to its special make-up, which is very
+utilitarian in its interests, it will do nothing. "Watch a monkey and
+you cannot enumerate the things he does, cannot discover the stimuli to
+which he reacts, cannot conceive the _raison d'etre_ of his pursuits.
+Everything appeals to him. He likes to be active for the sake of
+activity."
+
+This applies to mental activity as well, and the quality is one of
+extraordinary interest, for it shows the experimenting mood at a higher
+turn of the spiral than in any other creature, save man. It points
+forward to the scientific spirit. We cannot, indeed, believe in the
+sudden beginning of any quality, and we recall the experimenting of
+playing mammals, such as kids and kittens, or of inquisitive adults like
+Kipling's mongoose, Riki-Tiki-Tavi, which made it his business in life
+to find out about things. But in monkeys the habit of restless
+experimenting rises to a higher pitch. They appear to be curious about
+the world. The psychologist whom we have quoted tells of a monkey which
+happened to hit a projecting wire so as to make it vibrate. He went on
+repeating the performance hundreds of times during the next few days. Of
+course, he got nothing out of it, save fun, but it was grist to his
+mental mill. "The fact of mental life is to monkeys it own reward." The
+monkey's brain is "tender all over, functioning throughout, set off in
+action by anything and everything."
+
+
+Sheer Quickness
+
+Correlated with the quality of restless inquisitiveness and delight in
+activity for its own sake there is the quality of quickness. We mean not
+merely the locomotor agility that marks most monkeys, but quickness of
+perception and plan. It is the sort of quality that life among the
+branches will engender, where it is so often a case of neck or nothing.
+It is the quality which we describe as being on the spot, though the
+phrase has slipped from its original moorings. Speaking of his Bonnet
+Monkey, an Indian macaque, second cousin to the kind that lives on the
+Rock of Gibraltar, Professor S. J. Holmes writes: "For keenness of
+perception, rapidity of action, facility in forming good practical
+judgments about ways and means of escaping pursuit and of attaining
+various other ends, Lizzie had few rivals in the animal world.... Her
+perceptions and decisions were so much more rapid than my own that she
+would frequently transfer her attention, decide upon a line of action,
+and carry it into effect before I was aware of what she was about. Until
+I came to guard against her nimble and unexpected manoeuvres, she
+succeeded in getting possession of many apples and peanuts which I had
+not intended to give her except upon the successful performance of some
+task."
+
+
+Quick to Learn
+
+Quite fundamental to any understanding of animal behaviour is the
+distinction so clearly drawn by Sir Ray Lankester between the
+"little-brain" type, rich in inborn or instinctive capacities, but
+relatively slow to learn, and the "big-brain" type, with a relatively
+poor endowment of specialised instincts, but with great educability. The
+"little-brain" type finds its climax in ants and bees; the "big-brain"
+type in horses and dogs, elephants and monkeys. And of all animals
+monkeys are the quickest to learn, if we use the word "learn" to mean
+the formation of useful associations between this and that, between a
+given sense-presentation and a particular piece of behaviour.
+
+
+The Case of Sally
+
+Some of us remember Sally, the chimpanzee at the "Zoo" with which Dr.
+Romanes used to experiment. She was taught to give her teacher the
+number of straws he asked for, and she soon learned to do so up to five.
+If she handed a number not asked for, her offer was refused; if she gave
+the proper number, she got a piece of fruit. If she was asked for five
+straws, she picked them up individually and placed them in her mouth,
+and when she had gathered five she presented them together in her hand.
+Attempts to teach her to give six to ten straws were not very
+successful. For Sally "above six" meant "many," and besides, her limits
+of patience were probably less than her range of computation. This was
+hinted at by the highly interesting circumstance that when dealing with
+numbers above five she very frequently doubled over a straw so as to
+make it present two ends and thus appear as two straws. The doubling of
+the straw looked like an intelligent device to save time, and it was
+persistently resorted to in spite of the fact that her teacher always
+refused to accept a doubled straw as equivalent to two straws. Here we
+get a glimpse of something beyond the mere association of a
+sound--"Five"--and that number of straws.
+
+
+The Case of Lizzie
+
+The front of the cage in which Professor Holmes kept Lizzie was made of
+vertical bars which allowed her to reach out with her arm. On a board
+with an upright nail as handle, there was placed an apple--out of
+Lizzie's reach. She reached immediately for the nail, pulled the board
+in and got the apple. "There was no employment of the method of trial
+and error; there was direct appropriate action following the perception
+of her relation to board, nail, and apple." Of course her ancestors may
+have been adepts at drawing a fruit-laden branch within their reach, but
+the simple experiment was very instructive. All the more instructive
+because in many other cases the experiments indicate a gradual sifting
+out of useless movements and an eventful retention of the one that pays.
+When Lizzie was given a vaseline bottle containing a peanut and closed
+with a cork, she at once pulled the cork out with her teeth, obeying the
+instinct to bite at new objects, but she never learned to turn the
+bottle upside down and let the nut drop out. She often got the nut, and
+after some education she got it more quickly than she did at first, but
+there was no indication that she ever perceived the fit and proper way
+of getting what she wanted. "In the course of her intent efforts her
+mind seemed so absorbed with the object of desire that it was never
+focussed on the means of attaining that object. There was no
+deliberation, and no discrimination between the important and the
+unimportant elements in her behaviour. The gradually increasing facility
+of her performances depended on the apparently unconscious elimination
+of useless movements." This may be called learning, but it is learning
+at a very low level; it is far from learning by ideas; it is hardly even
+learning by experiment; it is not more than learning by experience, it
+is not more than fumbling at learning!
+
+
+Trial and Error
+
+A higher note is struck in the behaviour of some more highly endowed
+monkeys. In many experiments, chiefly in the way of getting into boxes
+difficult to open, there is evidence (1) of attentive persistent
+experiment (2) of the rapid elimination of ineffective movements, and
+(3) of remembering the solution when it was discovered. Kinnaman taught
+two macaques the Hampton Court Maze, a feat which probably means a
+memory of movements, and we get an interesting glimpse in his
+observation that they began to smack their lips audibly when they
+reached the latter part of their course, and began to feel, dare one
+say, "We are right this time."
+
+In getting into "puzzle-boxes" and into "combination-boxes" (where the
+barriers must be overcome in a definite order), monkeys learn by the
+trial and error method much more quickly than cats and dogs do, and a
+very suggestive fact emphasized by Professor Thorndike is "a process of
+sudden acquisition by a rapid, often apparently instantaneous
+abandonment of the unsuccessful movements and selection of the
+appropriate one, which rivals in suddenness the selections made by human
+beings in similar performances." A higher note still was sounded by one
+of Thorndike's monkeys which opened a puzzle-box at once, eight months
+after his previous experience with it. For here was some sort of
+registration of a solution.
+
+
+Imitation
+
+Two chimpanzees in the Dublin Zoo were often to be seen washing the two
+shelves of their cupboard and "wringing" the wet cloth in the approved
+fashion. It was like a caricature of a washerwoman, and someone said,
+"What mimics they are!" Now we do not know whether that was or was not
+the case with the chimpanzees, but the majority of the experiments that
+have been made do not lead us to attach to imitation so much importance
+as is usually given to it by the popular interpreter. There are
+instances where a monkey that had given up a puzzle in despair returned
+to it when it had seen its neighbour succeed, but most of the
+experiments suggested that the creature has to find out for itself. Even
+with such a simple problem as drawing food near with a stick, it often
+seems of little use to show the monkey how it is done. Placing a bit of
+food outside his monkey's cage, Professor Holmes "poked it about with
+the stick so as to give her a suggestion of how the stick might be
+employed to move the food within reach, but although the act was
+repeated many times Lizzie never showed the least inclination to use the
+stick to her advantage." Perhaps the idea of a "tool" is beyond the
+Bonnet Monkey, yet here again we must be cautious, for Professor L. T.
+Hobhouse had a monkey of the same macaque genus which learned in the
+course of time to use a crooked stick with great effect.
+
+
+The Case of Peter
+
+Perhaps the cleverest monkey as yet studied was a performing chimpanzee
+called Peter, which has been generally described by Dr. Lightner Witmer.
+Peter could skate and cycle, thread needles and untie knots, smoke a
+cigarette and string beads, screw in nails and unlock locks. But what
+Peter was thinking about all the time it was hard to guess, and there is
+very little evidence to suggest that his rapid power of putting two and
+two together ever rose above a sort of concrete mental experimenting,
+which Dr. Romanes used to call perceptual inference. Without supposing
+that there are hard-and-fast boundary lines, we cannot avoid the general
+conclusion that, while monkeys are often intelligent, they seldom, if
+ever, show even hints of reason, i.e. of working or playing with general
+ideas. That remains Man's prerogative.
+
+
+The Bustle of the Mind
+
+In mammals like otters, foxes, stoats, hares, and elephants, what a
+complex of tides and currents there must be in the brain-mind! We may
+think of a stream with currents at different levels. Lowest there are
+the _basal appetites_ of hunger and sex, often with eddies rising to the
+surface. Then there are the _primary emotions_, such as fear of
+hereditary enemies and maternal affection for offspring. Above these are
+_instinctive aptitudes_, inborn powers of doing clever things without
+having to learn how. But in mammals these are often expressed along
+with, or as it were through, the controlled life of _intelligent
+activity_, where there is more clear-cut perceptual influence.
+
+[Illustration: _Photo: W. P. Dando._
+
+CHIMPANZEE
+
+An African ape, at home in the equatorial forests, a lively and playful
+creature, eminently educable.]
+
+[Illustration: _Photo: W. S. Berridge._
+
+YOUNG CHEETAHS, OR HUNTING LEOPARDS
+
+Trained to hunt from time immemorial and quite easily tamed. Cheetahs
+occur in India, Persia, Turkestan, and Africa.]
+
+[Illustration: _Photo: C. Reid._
+
+COMMON OTTER
+
+One of the most resourceful of animals and the "most playsomest crittur
+on God's earth." It neither stores nor hibernates, but survives in
+virtue of its wits and because of the careful education of the young.
+The otter is a roving animal, often with more than one resting-place; it
+has been known to travel fifteen miles in a night.]
+
+Higher still are the records or memories of individual experience and
+the registration of individual habits, while on the surface is the
+instreaming multitude of messages from the outside world, like raindrops
+and hailstones on the stream, some of them penetrating deeply, being, as
+we say, full of meaning. The mind of the higher animal is in some
+respects like a child's mind, in having little in the way of clear-cut
+ideas, in showing no reason in the strict sense, and in its
+extraordinary educability, but it differs from the child's mind entirely
+in the sure effectiveness of a certain repertory of responses. It is
+efficient to a degree.
+
+
+"Until at last arose the Man."
+
+Man's brain is more complicated than that of the higher apes--gorilla,
+orang, and chimpanzee--and it is relatively larger. But the improvements
+in structure do not seem in themselves sufficient to account for man's
+great advance in intelligence. The rill of inner life has become a swift
+stream, sometimes a rushing torrent. Besides perceptual inference or
+_Intelligence_--a sort of picture-logic, which some animals likewise
+have--there is conceptual inference--or _Reason_--an internal
+experimenting with general ideas. Even the cleverest animals, it would
+seem, do not get much beyond playing with "particulars"; man plays an
+internal game of chess with "universals." Intelligent behaviour may go a
+long way with mental images; rational conduct demands general ideas. It
+may be, however, that "percepts" and "concepts" differ rather in degree
+than in kind, and that the passage from one to the other meant a higher
+power of forming associations. A clever dog has probably a generalised
+percept of man, as distinguished from a memory-image of the particular
+men it has known, but man alone has the concept Man, or Mankind, or
+Humanity. Experimenting with concepts or general ideas is what we call
+Reason.
+
+Here, of course, we get into deep waters, and perhaps it is wisest not
+to attempt too much. So we shall content ourselves here with pointing
+out that Man's advance in intelligence and from intelligence to reason
+is closely wrapped up with his power of speech. What animals began--a
+small vocabulary--he has carried to high perfection. But what is
+distinctive is not the vocabulary so much as the habit of making
+sentences, of expressing judgments in a way which admitted of
+communication between mind and mind. The multiplication of words meant
+much, the use of words as symbols of general ideas meant even more, for
+it meant the possibility of playing the internal game of thinking; but
+perhaps the most important advance of all was the means of comparing
+notes with neighbours, of corroborating individual experience by social
+intercourse. With words, also, it became easier to enregister outside
+himself the gains of the past. It is not without significance that the
+Greek Logos, which may be translated "the word," may also be translated
+Mind.
+
+
+Sec. 9
+
+Looking Backwards
+
+When we take a survey of animal behaviour we see a long inclined plane.
+The outer world provokes simple creatures to answer back; simple
+creatures act experimentally on their surroundings. From the beginning
+this twofold process has been going on, receiving stimuli from the
+environment and acting upon the environment, and according to the
+efficiency of the reactions and actions living creatures have been
+sifted for millions of years. One main line of advance has been opening
+new gateways of knowledge--the senses, which are far more than five in
+number. The other main line of advance has been in most general terms,
+experimenting or testing, probing and proving, trying one key after
+another till a door is unlocked. There is progress in multiplying the
+gateways of knowledge and making them more discriminating, and there is
+progress in making the modes of experimenting more wide-awake, more
+controlled, and more resolute. But behind both of these is the
+characteristically vital power of enregistering within the organism the
+lessons of the past. In the life of the individual these enregistrations
+are illustrated by memories and habituations and habits; in the life of
+the race they are illustrated by reflex actions and instinctive
+capacities.
+
+
+Body and Mind
+
+We must not shirk the very difficult question of the relation between
+the bodily and the mental side of behaviour.
+
+(_a_) Some great thinkers have taught that the mind is a reality by
+itself which plays upon the instrument of the brain and body. As the
+instrument gets worn and dusty the playing is not so good as it once
+was, but the player is still himself. This theory of the essential
+independence of the mind is a very beautiful one, but those who like it
+when applied to themselves are not always so fond of it when it is
+applied to other intelligent creatures like rooks and elephants. It may
+be, however, that there is a gradual emancipation of the mind which has
+gone furthest in Man and is still progressing.
+
+(_b_) Some other thinkers have taught that the inner life of thought and
+feeling is only, as it were, an echo of the really important
+activity--that of the body and brain. Ideas are just foam-bells on the
+hurrying streams and circling eddies of matter and energy that make up
+our physiological life. To most of us this theory is impossible, because
+we are quite sure that ideas and feelings and purposes, which cannot be
+translated into matter and motion, are the clearest realities in our
+experience, and that they count for good and ill all through our life.
+They are more than the tickings of the clock; they make the wheels go
+round.
+
+(_c_) There are others who think that the most scientific position is
+simply to recognise both the bodily and the mental activities as equally
+important, and so closely interwoven that they cannot be separated.
+Perhaps they are just the outer and the inner aspects of one
+reality--the life of the creature. Perhaps they are like the concave and
+convex curves of a dome, like the two sides of a shield. Perhaps the
+life of the organism is always a unity, at one time appearing more
+conspicuously as Mind-body, at another time as Body-mind. The most
+important fact is that neither aspect can be left out. By no jugglery
+with words can we get Mind out of Matter and Motion. And since we are in
+ourselves quite sure of our Mind, we are probably safe in saying that in
+the beginning was Mind. This is in accordance with Aristotle's saying
+that there is nothing in the end which was not also in kind present in
+the beginning--whatever we mean by beginning.
+
+
+In conclusion
+
+What has led to the truly wonderful result which we admire in a creature
+like a dog or an otter, a horse or a hare? In general, we may say, just
+two main processes--(1) testing all things, and (2) holding fast that
+which is good. New departures occur and these are tested for what they
+are worth. Idiosyncrasies crop up and they are sifted. New cards come
+mysteriously from within into the creature's hand, and they are
+played--for better or for worse. So by new variations and their sifting,
+by experimenting and enregistering the results, the mind has gradually
+evolved and will continue to evolve.
+
+
+
+
+VIII
+
+FOUNDATIONS OF THE UNIVERSE
+
+
+
+
+THE WORLD OF ATOMS
+
+
+Most people have heard of the oriental race which puzzled over the
+foundations of the universe, and decided that it must be supported on
+the back of a giant elephant. But the elephant? They put it on the back
+of a monstrous tortoise, and there they let the matter end. If every
+animal in nature had been called upon, they would have been no nearer a
+foundation. Most ancient peoples, indeed, made no effort to find a
+foundation. The universe was a very compact little structure, mainly
+composed of the earth and the great canopy over the earth which they
+called the sky. They left it, as a whole, floating in nothing. And in
+this the ancients were wiser than they knew. Things do not fall down
+unless they are pulled down by that mysterious force which we call
+gravitation. The earth, it is true, is pulled by the sun, and would fall
+into it; but the earth escapes this fiery fate by circulating at great
+speed round the sun. The stars pull each other; but it has already been
+explained that they meet this by travelling rapidly in gigantic orbits.
+Yet we do, in a new sense of the word, need foundations of the universe.
+Our mind craves for some explanation of the matter out of which the
+universe is made. For this explanation we turn to modern Physics and
+Chemistry. Both these sciences study, under different aspects, matter
+and energy; and between them they have put together a conception of the
+fundamental nature of things which marks an epoch in the history of
+human thought.
+
+
+Sec. 1
+
+The Bricks of the Cosmos
+
+More than two thousand years ago the first men of science, the Greeks of
+the cities of Asia Minor, speculated on the nature of matter. You can
+grind a piece of stone into dust. You can divide a spoonful of water
+into as many drops as you like. Apparently you can go on dividing as
+long as you have got apparatus fine enough for the work. But there must
+be a limit, these Greeks said, and so they supposed that all matter was
+ultimately composed of minute particles which were indivisible. That is
+the meaning of the Greek word "atom."
+
+Like so many other ideas of these brilliant early Greek thinkers, the
+atom was a sound conception. We know to-day that matter is composed of
+atoms. But science was then so young that the way in which the Greeks
+applied the idea was not very profound. A liquid or a gas, they said,
+consisted of round, smooth atoms, which would not cling together. Then
+there were atoms with rough surfaces, "hooky" surfaces, and these stuck
+together and formed solids. The atoms of iron or marble, for instance,
+were so very hooky that, once they got together, a strong man could not
+tear them apart. The Greeks thought that the explanation of the universe
+was that an infinite number of these atoms had been moving and mixing in
+an infinite space during an infinite time, and had at last hit by chance
+on the particular combination which is our universe.
+
+This was too simple and superficial. The idea of atoms was cast aside,
+only to be advanced again in various ways. It was the famous Manchester
+chemist, John Dalton, who restored it in the early years of the
+nineteenth century. He first definitely formulated the atomic theory as
+a scientific hypothesis. The whole physical and chemical science of that
+century was now based upon the atom, and it is quite a mistake to
+suppose that recent discoveries have discredited "atomism." An atom is
+the smallest particle of a chemical element. No one has ever seen an
+atom. Even the wonderful new microscope which has just been invented
+cannot possibly show us particles of matter which are a million times
+smaller than the breadth of a hair; for that is the size of atoms. We
+can weigh them and measure them, though they are invisible, and we know
+that all matter is composed of them. It is a new discovery that atoms
+are not indivisible. They consist themselves of still smaller particles,
+as we shall see. But the atoms exist all the same, and we may still say
+that they are the bricks of which the material universe is built.
+
+[Illustration: _Photo: Elliott & Fry._
+
+SIR ERNEST RUTHERFORD
+
+One of our most eminent physicists who has succeeded Sir J. J. Thomson
+as Cavendish Professor of Physics at the University of Cambridge. The
+modern theory of the structure of the atom is largely due to him.]
+
+[Illustration: _Photo: Rischgitz Collection._
+
+J. CLERK-MAXWELL
+
+One of the greatest scientific men who have ever lived. He
+revolutionised physics with his electro-magnetic theory of light, and
+practically all modern researches have had their origin, direct or
+indirect, in his work. Together with Faraday he constitutes one of the
+main scientific glories of the nineteenth century.]
+
+[Illustration: _Photo: Ernest H. Mills._
+
+SIR WILLIAM CROOKES
+
+Sir William Crookes experimented on the electric discharge in vacuum
+tubes and described the phenomena as a "fourth state of matter." He was
+actually observing the flight of electrons, but he did not fully
+appreciate the nature of his experiments.]
+
+[Illustration: _Photo: Photo Press_
+
+PROFESSOR SIR W. H. BRAGG
+
+One of the most distinguished physicists of the present day.]
+
+But if we had some magical glass by means of which we could see into the
+structure of material things, we should not see the atoms put evenly
+together as bricks are in a wall. As a rule, two or more atoms first
+come together to form a larger particle, which we call a "molecule."
+Single atoms do not, as a rule, exist apart from other atoms; if a
+molecule is broken up, the individual atoms seek to unite with other
+atoms of another kind or amongst themselves. For example, three atoms of
+oxygen form what we call ozone; two atoms of hydrogen uniting with one
+atom of oxygen form water. It is molecules that form the mass of matter;
+a molecule, as it has been expressed, is a little building of which
+atoms are the bricks.
+
+In this way we get a useful first view of the material things we handle.
+In a liquid the molecules of the liquid cling together loosely. They
+remain together as a body, but they roll over and away from each other.
+There is "cohesion" between them, but it is less powerful than in a
+solid. Put some water in a kettle over the lighted gas, and presently
+the tiny molecules of water will rush through the spout in a cloud of
+steam and scatter over the kitchen. The heat has broken their bond of
+association and turned the water into something like a gas; though we
+know that the particles will come together again, as they cool, and form
+once more drops of water.
+
+In a gas the molecules have full individual liberty. They are in a
+state of violent movement, and they form no union with each other. If we
+want to force them to enter into the loose sort of association which
+molecules have in a liquid, we have to slow down their individual
+movements by applying severe cold. That is how a modern man of science
+liquefies gases. No power that we have will liquefy air at its ordinary
+temperature. In _very_ severe cold, on the other hand, the air will
+spontaneously become liquid. Some day, when the fires of the sun have
+sunk very low, the temperature of the earth will be less than -200 deg. C.:
+that is to say, more than two hundred degrees Centigrade below
+freezing-point. It will sink to the temperature of the moon. Our
+atmosphere will then be an ocean of liquid air, 35 feet deep, lying upon
+the solidly frozen masses of our water-oceans.
+
+In a solid the molecules cling firmly to each other. We need a force
+equal to twenty-five tons to tear asunder the molecules in a bar of iron
+an inch thick. Yet the structure is not "solid" in the popular sense of
+the word. If you put a piece of solid gold in a little pool of mercury,
+the gold will take in the mercury _between_ its molecules, as if it were
+porous like a sponge. The hardest solid is more like a lattice-work than
+what we usually mean by "solid"; though the molecules are not fixed,
+like the bars of a lattice-work, but are in violent motion; they vibrate
+about equilibrium positions. If we could see right into the heart of a
+bit of the hardest steel, we should see billions of separate molecules,
+at some distance from each other, all moving rapidly to and fro.
+
+This molecular movement can, in a measure, be made visible. It was
+noticed by a microscopist named Brown that, in a solution containing
+very fine suspended particles, the particles were in constant movement.
+Under a powerful microscope these particles are seen to be violently
+agitated; they are each independently darting hither and thither
+somewhat like a lot of billiard balls on a billiard table, colliding and
+bounding about in all directions. Thousands of times a second these
+encounters occur, and this lively commotion is always going on, this
+incessant colliding of one molecule with another is the normal
+condition of affairs; not one of them is at rest. The reason for this
+has been worked out, and it is now known that these particles move about
+because they are being incessantly bombarded by the molecules of the
+liquid. The molecules cannot, of course, be seen, but the fact of their
+incessant movement is revealed to the eye by the behaviour of the
+visible suspended particles. This incessant movement in the world of
+molecules is called the Brownian movement, and is a striking proof of
+the reality of molecular motions.
+
+
+Sec. 2
+
+The Wonder-World of Atoms
+
+The exploration of this wonder-world of atoms and molecules by the
+physicists and chemists of to-day is one of the most impressive triumphs
+of modern science. Quite apart from radium and electrons and other
+sensational discoveries of recent years, the study of ordinary matter is
+hardly inferior, either in interest or audacity, to the work of the
+astronomer. And there is the same foundation in both cases--marvellous
+apparatus, and trains of mathematical reasoning that would have
+astonished Euclid or Archimedes. Extraordinary, therefore, as are some
+of the facts and figures we are now going to give in connection with the
+minuteness of atoms and molecules, let us bear in mind that we owe them
+to the most solid and severe processes of human thought.
+
+Yet the principle can in most cases be made so clear that the reader
+will not be asked to take much on trust. It is, for instance, a matter
+of common knowledge that gold is soft enough to be beaten into gold
+leaf. It is a matter of common sense, one hopes, that if you beat a
+measured cube of gold into a leaf six inches square, the mathematician
+can tell the thickness of that leaf without measuring it. As a matter of
+fact, a single grain of gold has been beaten into a leaf seventy-five
+inches square. Now the mathematician can easily find that when a single
+grain of gold is beaten out to that size, the leaf must be 1/367,000 of
+an inch thick, or about a thousand times thinner than the paper on
+which these words are printed; yet the leaf must be several molecules
+thick.
+
+The finest gold leaf is, in fact, too thick for our purpose, and we turn
+with a new interest to that toy of our boyhood the soap-bubble. If you
+carefully examine one of these delicate films of soapy water, you notice
+certain dark spots or patches on them. These are their thinnest parts,
+and by two quite independent methods--one using electricity and the
+other light--we have found that at these spots the bubble is less than
+the three-millionth of an inch thick! But the molecules in the film
+cling together so firmly that they must be at least twenty or thirty
+deep in the thinnest part. A molecule, therefore, must be far less than
+the three-millionth of an inch thick.
+
+We found next that a film of oil on the surface of water may be even
+thinner than a soap-bubble. Professor Perrin, the great French authority
+on atoms, got films of oil down to the fifty-millionth of an inch in
+thickness! He poured a measured drop of oil upon water. Then he found
+the exact limits of the area of the oil-sheet by blowing upon the water
+a fine powder which spread to the edge of the film and clearly outlined
+it. The rest is safe and simple calculation, as in the case of the
+beaten grain of gold. Now this film of oil must have been at least two
+molecules deep, so a single molecule of oil is considerably less than a
+hundred-millionth of an inch in diameter.
+
+Innumerable methods have been tried, and the result is always the same.
+A single grain of indigo, for instance, will colour a ton of water. This
+obviously means that the grain contains billions of molecules which
+spread through the water. A grain of musk will scent a room--pour
+molecules into every part of it--for several years, yet not lose
+one-millionth of its mass in a year. There are a hundred ways of showing
+the minuteness of the ultimate particles of matter, and some of these
+enable us to give definite figures. On a careful comparison of the best
+methods we can say that the average molecule of matter is less than
+the 1/125,000,000 of an inch in diameter. In a single cubic centimetre
+of air--a globule about the size of a small marble--there are thirty
+million trillion molecules. And since the molecule is, as we saw, a
+group or cluster of atoms, the atom itself is smaller. Atoms, for
+reasons which we shall see later, differ very greatly from each other in
+size and weight. It is enough to say that some of them are so small that
+it would take 400,000,000 of them, in a line, to cover an inch of space;
+and that it takes at least a quintillion atoms of gold to weigh a single
+gramme. Five million atoms of helium could be placed in a line across
+the diameter of a full stop.
+
+[Illustration: An atom is the smallest particle of a chemical element.
+Two or more atoms come together to form a molecule: thus molecules form
+the mass of matter. A molecule of water is made up of two atoms of
+hydrogen and one atom of oxygen. Molecules of different substances,
+therefore, are of different sizes according to the number and kind of
+the particular atoms of which they are composed. A starch molecule
+contains no less than 25,000 atoms.
+
+Molecules, of course, are invisible. The above diagram illustrates the
+_comparative_ sizes of molecules.]
+
+[Illustration: INCONCEIVABLE NUMBERS AND INCONCEIVABLY SMALL PARTICLES
+
+The molecules, which are inconceivably small, are, on the other hand, so
+numerous that if one was able to place, end to end, all those contained
+in, for example, a cubic centimetre of gas (less than a fifteenth of a
+cubic inch), one would obtain a line capable of passing two hundred
+times round the earth.]
+
+[Illustration: WHAT IS A MILLION?
+
+In dealing with the infinitely small, it is difficult to apprehend the
+vast figures with which scientists confront us. A million is one
+thousand thousand. We may realise what this implies if we consider that
+a clock, beating seconds, takes approximately 278 hours (i.e. one week
+four days fourteen hours) to tick one million times. A billion is one
+million million. To tick a billion the clock would tick for over 31,735
+years.
+
+(In France and America a thousand millions is called a billion.)]
+
+[Illustration: THE BROWNIAN MOVEMENT
+
+A diagram, constructed from actual observations, showing the erratic
+paths pursued by very fine particles suspended in a liquid, when
+bombarded by the molecules of the liquid. This movement is called the
+Brownian movement, and it furnishes a striking illustration of the truth
+of the theory that the molecules of a body are in a state of continual
+motion.]
+
+
+The Energy of Atoms
+
+And this is only the beginning of the wonders that were done with
+"ordinary matter," quite apart from radium and its revelations, to which
+we will come presently. Most people have heard of "atomic energy," and
+the extraordinary things that might be accomplished if we could harness
+this energy and turn it to human use. A deeper and more wonderful source
+of this energy has been discovered in the last twenty years, but it is
+well to realise that the atoms themselves have stupendous energy. The
+atoms of matter are vibrating or gyrating with extraordinary vigour. The
+piece of cold iron you hold in your hand, the bit of brick you pick up,
+or the penny you take from your pocket is a colossal reservoir of
+energy, since it consists of trillions of moving atoms. To realise the
+total energy, of course, we should have to witness a transformation such
+as we do in atoms of radio-active elements, about which we shall have
+something to say presently.
+
+If we put a grain of indigo in a glass of water, or a grain of musk in a
+perfectly still room, we soon realise that molecules travel. Similarly,
+the fact that gases spread until they fill every "empty" available space
+shows definitely that they consist of small particles travelling at
+great speed. The physicist brings his refined methods to bear on these
+things, and he measures the energy and velocity of these infinitely
+minute molecules. He tells us that molecules of oxygen, at the
+temperature of melting ice, travel at the rate of about 500 yards a
+second--more than a quarter of a mile a second. Molecules of hydrogen
+travel at four times that speed, or three times the speed with which a
+bullet leaves a rifle. Each molecule of the air, which seems so still in
+the house on a summer's day, is really travelling faster than a rifle
+bullet does at the beginning of its journey. It collides with another
+molecule every twenty-thousandth of an inch of its journey. It is turned
+from its course 5,000,000,000 times in every second by collisions. If we
+could stop the molecules of hydrogen gas, and utilise their energy, as
+we utilise the energy of steam or the energy of the water at Niagara, we
+should find enough in every gramme of gas (about two-thousandths of a
+pound) to raise a third of a ton to a height of forty inches.
+
+I have used for comparison the speed of a rifle bullet, and in an
+earlier generation people would have thought it impossible even to
+estimate this. It is, of course, easy. We put two screens in the path of
+the bullet, one near the rifle and the other some distance away. We
+connect them electrically and use a fine time-recording machine, and the
+bullet itself registers the time it takes to travel from the first to
+the second screen.
+
+Now this is very simple and superficial work in comparison with the
+system of exact and minute measurements which the physicist and chemist
+use. In one of his interesting works Mr. Charles R. Gibson gives a
+photograph of two exactly equal pieces of paper in the opposite pans of
+a fine balance. A single word has been written in pencil on one of these
+papers, and that little scraping of lead has been enough to bring down
+the scale! The spectroscope will detect a quantity of matter four
+million times smaller even than this; and the electroscope is a million
+times still more sensitive than the spectroscope. We have a
+heat-measuring instrument, the bolometer, which makes the best
+thermometer seem Early Victorian. It records the millionth of a degree
+of temperature. It is such instruments, multiplied by the score,
+which enable us to do the fine work recorded in these pages.
+
+[Illustration: _Reproduced from "The Forces of Nature" (Messrs.
+Macmillan)._
+
+A SOAP BUBBLE
+
+The iridescent colours sometimes seen on a soap bubble, as in the
+illustration, may also be seen in very fine sections of crystals, in
+glass blown into extremely fine bulbs, on the wings of dragon-flies and
+the surface of oily water. The different colours correspond to different
+thicknesses of the surface. Part of the light which strikes these thin
+coatings is reflected from the upper surface, but another part of the
+light penetrates the transparent coating and is reflected from the lower
+surface. It is the mixture of these two reflected rays, their
+"interference" as it is called, which produces the colours observed. The
+"black spots" on a soap bubble are the places where the soapy film is
+thinnest. At the black spots the thickness of the bubble is about the
+three-millionth part of an inch. If the whole bubble were as thin as
+this it would be completely invisible.]
+
+
+Sec. 3
+
+THE DISCOVERY OF X-RAYS AND RADIUM
+
+The Discovery of Sir Wm. Crookes
+
+But these wonders of the atom are only a prelude to the more romantic
+and far-reaching discoveries of the new physics--the wonders of the
+electron. Another and the most important phase of our exploration of the
+material universe opened with the discovery of radium in 1898.
+
+In the discovery of radio-active elements, a new property of matter was
+discovered. What followed on the discovery of radium and of the X-rays
+we shall see.
+
+As Sir Ernest Rutherford, one of our greatest authorities, recently
+said, the new physics has dissipated the last doubt about the reality of
+atoms and molecules. The closer examination of matter which we have been
+able to make shows positively that it is composed of atoms. But we must
+not take the word now in its original Greek meaning (an "indivisible"
+thing). The atoms are not indivisible. They can be broken up. They are
+composed of still smaller particles.
+
+The discovery that the atom was composed of smaller particles was the
+welcome realisation of a dream that had haunted the imagination of the
+nineteenth century. Chemists said that there were about eighty different
+kinds of atoms--different kinds of matter--but no one was satisfied with
+the multiplicity. Science is always aiming at simplicity and unity. It
+may be that science has now taken a long step in the direction of
+explaining the fundamental unity of all the matter. The chemist was
+unable to break up these "elements" into something simpler, so he called
+their atoms "indivisible" in that sense. But one man of science after
+another expressed the hope that we would yet discover some fundamental
+matter of which the various atoms were composed--_one primordial
+substance from which all the varying forms of matter have been evolved
+or built up_. Prout suggested this at the very beginning of the century,
+when atoms were rediscovered by Dalton. Father Secchi, the famous Jesuit
+astronomer said that all the atoms were probably evolved from ether; and
+this was a very favoured speculation. Sir William Crookes talked of
+"prothyl" as the fundamental substance. Others thought hydrogen was the
+stuff out of which all the other atoms were composed.
+
+The work which finally resulted in the discovery of radium began with
+some beautiful experiments of Professor (later Sir William) Crookes in
+the eighties.
+
+It had been noticed in 1869 that a strange colouring was caused when an
+electric charge was sent through a vacuum tube--the walls of the glass
+tube began to glow with a greenish phosphorescence. A vacuum tube is one
+from which nearly all the air has been pumped, although we can never
+completely empty the tube. Crookes used such ingenious methods that he
+reduced the gas in his tubes until it was twenty million times thinner
+than the atmosphere. He then sent an electric discharge through, and got
+very remarkable results. The negative pole of the electric current (the
+"cathode") _gave off rays which faintly lit the molecules of the thin
+gas in the tube_, and caused a pretty fluorescence on the glass walls of
+the tube. What were these Rays? Crookes at first thought they
+corresponded to a "new or fourth state of matter." Hitherto we had only
+been familiar with matter in the three conditions of solid, liquid, and
+gaseous.
+
+Now Crookes really had the great secret under his eyes. But about twenty
+years elapsed before the true nature of these rays was finally and
+independently established by various experiments. The experiments proved
+"that the rays consisted of a stream of negatively charged particles
+travelling with enormous velocities from 10,000 to 100,000 miles a
+second. In addition, it was found that the mass of each particle was
+exceedingly small, about 1/1800 of the mass of a hydrogen atom, the
+lightest atom known to science." _These particles or electrons, as they
+are now called, were being liberated from the atom._ The atoms of matter
+were breaking down in Crookes tubes. At that time, however, it was
+premature to think of such a thing, and Crookes preferred to say that
+the particles of the gas were electrified and hurled against the walls
+of the tube. He said that it was ordinary matter in a new
+state--"radiant matter." Another distinguished man of science, Lenard,
+found that, when he fitted a little plate of aluminum in the glass wall
+of the tube, the mysterious rays passed through this as if it were a
+window. They must be waves in the ether, he said.
+
+[Illustration: _From "Scientific Ideas of To-day_."
+
+DETECTING A SMALL QUANTITY OF MATTER
+
+In the left-hand photograph the two pieces of paper exactly balance. The
+balance used is very sensitive, and when the single word "atoms" has
+been written with a lead pencil upon one of the papers the additional
+weight is sufficient to depress one of the pans as shown in the second
+photograph. The spectroscope will detect less than one-millionth of the
+matter contained in the word pencilled above.]
+
+[Illustration: _Reproduced by permission of X-Rays Ltd._
+
+THIS X-RAY PHOTOGRAPH IS THAT OF A HAND OF A SOLDIER WOUNDED IN THE
+GREAT WAR
+
+Note the pieces of shrapnel which are revealed.]
+
+[Illustration: _Photo: National Physical Laboratory._
+
+AN X-RAY PHOTOGRAPH OF A GOLF BALL, REVEALING AN IMPERFECT CORE]
+
+[Illustration: _Reproduced by permission of X-Rays Ltd._
+
+A WONDERFUL X-RAY PHOTOGRAPH
+
+Note the fine details revealed, down to the metal tags of the bootlace
+and the nails in the heel of the boot.]
+
+
+Sec. 4
+
+The Discovery of X-rays
+
+So the story went on from year to year. We shall see in a moment to what
+it led. Meanwhile the next great step was when, in 1895, Roentgen
+discovered the X-rays, which are now known to everybody. He was
+following up the work of Lenard, and he one day covered a "Crookes tube"
+with some black stuff. To his astonishment a prepared chemical screen
+which was near the tube began to glow. _The rays had gone through the
+black stuff; and on further experiment he found that they would go
+through stone, living flesh, and all sorts of "opaque" substances._ In a
+short time the world was astonished to learn that we could photograph
+the skeleton in a living man's body, locate a penny in the interior of a
+child that had swallowed one, or take an impression of a coin through a
+slab of stone.
+
+And what are these X-rays? They are not a form of matter; they are not
+material particles. X-rays were found to be a new variety of _light_
+with a remarkable power of penetration. We have seen what the
+spectroscope reveals about the varying nature of light wave-lengths.
+Light-waves are set up by vibrations in ether,[2] and, as we shall see,
+these ether disturbances are all of the same kind; they only differ as
+regards wave-lengths. The X-rays which Roentgen discovered, then, are
+light, but a variety of light previously unknown to us; they are ether
+waves of very short length. X-rays have proved of great value in many
+directions, as all the world knows, but that we need not discuss at this
+point. Let us see what followed Roentgen's discovery.
+
+    [2] We refer throughout to the "ether" because, although modern
+    theories dispense largely with this conception, the theories of
+    physics are so inextricably interwoven with it that it is necessary,
+    in an elementary exposition, to assume its existence. The modern
+    view will be explained later in the article on Einstein's Theory.
+
+While the world wondered at these marvels, the men of science were
+eagerly following up the new clue to the mystery of matter which was
+exercising the mind of Crookes and other investigators. In 1896
+Becquerel brought us to the threshold of the great discovery.
+
+Certain substances are phosphorescent--they become luminous after they
+have been exposed to sunlight for some time, and Becquerel was trying to
+find if any of these substances give rise to X-rays. One day he chose a
+salt of the metal uranium. He was going to see if, after exposing it to
+sunlight, he could photograph a cross with it through an opaque
+substance. He wrapped it up and laid it aside, to wait for the sun, but
+he found the uranium salt did not wait for the sun. Some strong
+radiation from it went through the opaque covering and made an
+impression of the cross upon the plate underneath. Light or darkness was
+immaterial. The mysterious rays streamed night and day from the salt.
+This was something new. Here was a substance which appeared to be
+producing X-rays; the rays emitted by uranium would penetrate the same
+opaque substances as the X-rays discovered by Roentgen.
+
+
+Discovery of Radium
+
+Now, at the same time as many other investigators, Professor Curie and
+his Polish wife took up the search. They decided to find out whether
+the emission came from the uranium itself or _from something associated
+with it_, and for this purpose they made a chemical analysis of great
+quantities of minerals. They found a certain kind of pitchblende which
+was very active, and they analysed tons of it, concentrating always on
+the radiant element in it. After a time, as they successively worked out
+the non-radiant matter, the stuff began to glow. In the end they
+extracted from eight tons of pitchblende about half a teaspoonful of
+something _that was a million times more radiant than uranium_. There
+was only one name for it--Radium.
+
+That was the starting-point of the new development of physics and
+chemistry. From every laboratory in the world came a cry for radium
+salts (as pure radium was too precious), and hundreds of brilliant
+workers fastened on the new element. The inquiry was broadened, and, as
+year followed year, one substance after another was found to possess the
+power of emitting rays, that is, to be radio-active. We know to-day that
+nearly every form of matter can be stimulated to radio-activity; which,
+as we shall see, means that _its atoms break up into smaller and
+wonderfully energetic particles which we call "electrons."_ This
+discovery of electrons has brought about a complete change in our ideas
+in many directions.
+
+So, instead of atoms being indivisible, they are actually dividing
+themselves, spontaneously, and giving off throughout the universe tiny
+fragments of their substance. We shall explain presently what was later
+discovered about the electron; meanwhile we can say that every glowing
+metal is pouring out a stream of these electrons. Every arc-lamp is
+discharging them. Every clap of thunder means a shower of them. Every
+star is flooding space with them. We are witnessing the spontaneous
+breaking up of atoms, atoms which had been thought to be indivisible.
+The sun not only pours out streams of electrons from its own atoms, but
+the ultra-violet light which it sends to the earth is one of the most
+powerful agencies for releasing electrons from the surface-atoms of
+matter on the earth. It is fortunate for us that our atmosphere absorbs
+most of this ultra-violet or invisible light of the sun--a kind of light
+which will be explained presently. It has been suggested that, if we
+received the full flood of it from the sun, our metals would
+disintegrate under its influence and this "steel civilisation" of ours
+would be impossible!
+
+But we are here anticipating, we are going beyond radium to the
+wonderful discoveries which were made by the chemists and physicists of
+the world who concentrated upon it. The work of Professor and Mme. Curie
+was merely the final clue to guide the great search. How it was followed
+up, how we penetrated into the very heart of the minute atom and
+discovered new and portentous mines of energy, and how we were able to
+understand, not only matter, but electricity and light, will be told in
+the next chapter.
+
+
+THE DISCOVERY OF THE ELECTRON AND HOW IT EFFECTED A REVOLUTION IN IDEAS
+
+What the discovery of radium implied was only gradually realised. Radium
+captivated the imagination of the world; it was a boon to medicine, but
+to the man of science it was at first a most puzzling and most
+attractive phenomenon. It was felt that some great secret of nature was
+dimly unveiled in its wonderful manifestations, and there now
+concentrated upon it as gifted a body of men--conspicuous amongst them
+Sir J. J. Thomson, Sir Ernest Rutherford, Sir W. Ramsay, and Professor
+Soddy--as any age could boast, with an apparatus of research as far
+beyond that of any other age as the _Aquitania_ is beyond a Roman
+galley. Within five years the secret was fairly mastered. Not only were
+all kinds of matter reduced to a common basis, but the forces of the
+universe were brought into a unity and understood as they had never been
+understood before.
+
+[Illustration: ELECTRIC DISCHARGE IN A VACUUM TUBE
+
+The two ends, marked + and -, of a tube from which nearly all air has
+been exhausted are connected to electric terminals, thus producing an
+electric discharge in the vacuum tube. This discharge travels straight
+along the tube, as in the upper diagram. When a magnetic field is
+applied, however, the rays are deflected, as shown in the lower diagram.
+The similarity of the behaviour of the electric discharge with the
+radium rays (see diagram of deflection of radium rays, _post_) shows
+that the two phenomena may be identified. It was by this means that the
+characteristics of electrons were first discovered.]
+
+[Illustration: THE RELATIVE SIZES OF ATOMS AND ELECTRONS
+
+An atom is far too small to be seen. In a bubble of hydrogen gas no
+larger than the letter "O" there are billions of atoms, whilst an
+electron is more than a thousand times smaller than the smallest atom.
+How their size is ascertained is described in the text. In this diagram
+a bubble of gas is magnified to the size of the world. Adopting this
+scale, _each atom_ in the bubble would then be as large as a tennis
+ball.]
+
+[Illustration: IF AN ATOM WERE MAGNIFIED TO THE SIZE OF ST. PAUL'S
+CATHEDRAL, EACH ELECTRON IN THE ATOM (AS REPRESENTED BY THE CATHEDRAL)
+WOULD THEN BE ABOUT THE SIZE OF A SMALL BULLET]
+
+[Illustration: ELECTRONS STREAMING FROM THE SUN TO THE EARTH
+
+There are strong reasons for supposing that sun-spots are huge
+electronic cyclones. The sun is constantly pouring out vast streams of
+electrons into space. Many of these streams encounter the earth, giving
+rise to various electrical phenomena.]
+
+
+Sec. 5
+
+The Discovery of the Electron
+
+Physicists did not take long to discover that the radiation from radium
+was very like the radiation in a "Crookes tube." It was quickly
+recognised, moreover, that both in the tube and in radium (and other
+metals) the atoms of matter were somehow breaking down.
+
+However, the first step was to recognise that there were three distinct
+and different rays that were given off by such metals as radium and
+uranium. Sir Ernest Rutherford christened them, after the first three
+letters of the Greek alphabet, the Alpha, the Beta, and Gamma rays. We
+are concerned chiefly with the second group and purpose here to deal
+with that group only.[3]
+
+    [3] The "Alpha rays" were presently recognised as atoms of helium
+    gas, shot out at the rate of 12,000 miles a second.
+
+The "Gamma rays" are _waves_, like the X-rays, not material particles.
+They appear to be a type of X-rays. They possess the remarkable power of
+penetrating opaque substances; they will pass through a foot of solid
+iron, for example.
+
+The "Beta rays," as they were at first called, have proved to be one of
+the most interesting discoveries that science ever made. They proved
+what Crookes had surmised about the radiations he discovered in his
+vacuum tube. But it was _not_ a fourth state of matter that had been
+found, but a new _property_ of matter, a property common to all atoms of
+matter. The Beta rays were later christened Electrons. They are
+particles of disembodied electricity, here spontaneously liberated from
+the atoms of matter: only when the electron was isolated from the atom
+was it recognised for the first time as a separate entity. Electrons,
+therefore, are a constituent of the atoms of matter, and we have
+discovered that they can be released from the atom by a variety of
+agencies. Electrons are to be found everywhere, forming part of every
+atom.
+
+"An electron," Sir William Bragg says, "can only maintain a separate
+existence if it is travelling at an immense rate, from one
+three-hundredth of the velocity of light upwards, that is to say, at
+least 600 _miles a second, or thereabouts_. Otherwise the electron
+sticks to the first atom it meets." These amazing particles may travel
+with the enormous velocity of from 10,000 to more than 100,000 miles a
+second. It was first learned that they are of an electrical nature,
+because they are bent out of their normal path if a magnet is brought
+near them. And this fact led to a further discovery: to one of those
+sensational estimates which the general public is apt to believe to be
+founded on the most abstruse speculations. The physicist set up a little
+chemical screen for the "Beta rays" to hit, and he so arranged his tube
+that only a narrow sheaf of the rays poured on to the screen. He then
+drew this sheaf of rays out of its course with a magnet, and he
+accurately measured the shift of the luminous spot on the screen where
+the rays impinged on it. But when he knows the exact intensity of his
+magnetic field--which he can control as he likes--and the amount of
+deviation it causes, and the mass of the moving particles, he can tell
+the speed of the moving particles which he thus diverts. These particles
+were being hurled out of the atoms of radium, or from the negative pole
+in a vacuum tube, at a speed which, in good conditions, reached nearly
+the velocity of light, i.e. nearly 186,000 miles a second.
+
+Their speed has, of course, been confirmed by numbers of experiments;
+and another series of experiments enabled physicists to determine the
+size of the particles. Only one of these need be described, to give the
+reader an idea how men of science arrived at their more startling
+results.
+
+Fog, as most people know, is thick in our great cities because the
+water-vapour gathers on the particles of dust and smoke that are in the
+atmosphere. This fact was used as the basis of some beautiful
+experiments. Artificial fogs were created in little glass tubes, by
+introducing dust, in various proportions, for supersaturated vapour to
+gather on. In the end it was possible to cause tiny drops of rain, each
+with a particle of dust at its core, to fall upon a silver mirror and be
+counted. It was a method of counting the quite invisible particles of
+dust in the tube; and the method was now successfully applied to the new
+rays. Yet another method was to direct a slender stream of the particles
+upon a chemical screen. The screen glowed under the cannonade of
+particles, and a powerful lens resolved the glow into distinct sparks,
+which could be counted.
+
+In short, a series of the most remarkable and beautiful experiments,
+checked in all the great laboratories of the world, settled the nature
+of these so-called rays. They were streams of particles more than a
+thousand times smaller than the smallest known atom. The mass of each
+particle is, according to the latest and finest measurements 1/1845 of
+that of an atom of hydrogen. The physicist has not been able to find any
+character except electricity in them, and the name "electrons" has been
+generally adopted.
+
+
+The Key to many Mysteries
+
+The Electron is an atom, of disembodied electricity; it occupies an
+exceedingly small volume, and its "mass" is entirely electrical. These
+electrons are the key to half the mysteries of matter. Electrons in
+rapid motion, as we shall see, explain what we mean by an "electric
+current," not so long ago regarded as one of the most mysterious
+manifestations in nature.
+
+"What a wonder, then, have we here!" says Professor R. K. Duncan. "An
+innocent-looking little pinch of salt and yet possessed of special
+properties utterly beyond even the fanciful imaginings of men of past
+time; for nowhere do we find in the records of thought even the hint of
+the possibility of things which we now regard as established fact. This
+pinch of salt projects from its surface bodies [i.e. electrons]
+possessing the inconceivable velocity of over 100,000 miles a second, a
+velocity sufficient to carry them, if unimpeded, five times around the
+earth in a second, and possessing with this velocity, masses a thousand
+times smaller than the smallest atom known to science. Furthermore,
+they are charged with negative electricity; they pass straight through
+bodies considered opaque with a sublime indifference to the properties
+of the body, with the exception of its mere density; they cause bodies
+which they strike to shine out in the dark; they affect a photographic
+plate; they render the air a conductor of electricity; they cause clouds
+in moist air; they cause chemical action and have a peculiar
+physiological action. Who, to-day, shall predict the ultimate service to
+humanity of the beta-rays from radium!"
+
+
+Sec. 6
+
+THE ELECTRON THEORY, OR THE NEW VIEW OF MATTER
+
+The Structure of the Atom
+
+There is general agreement amongst all chemists, physicists, and
+mathematicians upon the conclusions which we have so far given. We know
+that the atoms of matter are constantly--either spontaneously or under
+stimulation--giving off electrons, or breaking up into electrons; and
+they therefore contain electrons. Thus we have now complete proof of the
+independent existence of atoms and also of electrons.
+
+When, however, the man of science tries to tell us _how_ electrons
+compose atoms, he passes from facts to speculation, and very difficult
+speculation. Take the letter "o" as it is printed on this page. In a
+little bubble of hydrogen gas no larger than that letter there are
+_trillions_ of atoms; and they are not packed together, but are
+circulating as freely as dancers in a ball-room. We are asking the
+physicist to take one of these minute atoms and tell us how the still
+smaller electrons are arranged in it. Naturally he can only make mental
+pictures, guesses or hypotheses, which he tries to fit to the facts, and
+discards when they will _not_ fit.
+
+At present, after nearly twenty years of critical discussion, there are
+two chief theories of the structure of the atom. At first Sir J. J.
+Thomson imagined the electrons circulating in shells (like the layers of
+an onion) round the nucleus of the atom. This did not suit, and Sir E.
+Rutherford and others worked out a theory that the electrons circulated
+round a nucleus rather like the planets of our solar system revolving
+round the central sun. Is there a nucleus, then, round which the
+electrons revolve? The electron, as we saw, is a disembodied atom of
+electricity; we should say, of "negative" electricity. Let us picture
+these electrons all moving round in orbits with great velocity. Now it
+is suggested that there is a nucleus of "positive" electricity
+attracting or pulling the revolving electrons to it, and so forming an
+equilibrium, otherwise the electrons would fly off in all directions.
+This nucleus has been recently named the proton. We have thus two
+electricities in the atom: the positive = the nucleus; the negative =
+the electron. Of recent years Dr. Langmuir has put out a theory that the
+electrons do not _revolve round_ the nucleus, but remain in a state of
+violent agitation of some sort at fixed distances from the nucleus.
+
+[Illustration: PROFESSOR SIR J. J. THOMSON
+
+Experimental discoverer of the electronic constitution of matter, in the
+Cavendish Physical Laboratory, Cambridge. A great investigator, noted
+for the imaginative range of his hypotheses and his fertility in
+experimental devices.]
+
+[Illustration: _From the Smithsonian Report_, 1915.
+
+ELECTRONS PRODUCED BY PASSAGE OF X-RAYS THROUGH AIR
+
+A photograph clearly showing that electrons are definite entities. As
+electrons leave atoms they may traverse matter or pass through the air
+in a straight path The illustration shows the tortuous path of electrons
+resulting from collision with atoms.]
+
+[Illustration: MAGNETIC DEFLECTION OF RADIUM RAYS
+
+The radium rays are made to strike a screen, producing visible spots of
+light. When a magnetic field is applied the rays are seen to be
+deflected, as in the diagram. This can only happen if the rays carry an
+electric charge, and it was by experiments of this kind that we obtained
+our knowledge respecting the electric charges carried by radium rays.]
+
+[Illustration: _Reproduced by permission of "Scientific American."_
+
+PROFESSOR R. A. MILLIKAN'S APPARATUS FOR COUNTING ELECTRONS]
+
+But we will confine ourselves here to the facts, and leave the
+contending theories to scientific men. It is now pretty generally
+accepted that an atom of matter consists of a number of electrons, or
+charges of negative electricity, held together by a charge of positive
+electricity. It is not disputed that these electrons are in a state of
+violent motion or strain, and that therefore a vast energy is locked up
+in the atoms of matter. To that we will return later. Here, rather, we
+will notice another remarkable discovery which helps us to understand
+the nature of matter.
+
+A brilliant young man of science who was killed in the war, Mr. Moseley,
+some years ago showed that, when the atoms of different substances are
+arranged in order of their weight, _they are also arranged in the order
+of increasing complexity of structure_. That is to say, the heavier the
+atom, the more electrons it contains. There is a gradual building up of
+atoms containing more and more electrons from the lightest atom to the
+heaviest. Here it is enough to say that as he took element after
+element, from the lightest (hydrogen) to the heaviest (uranium) he found
+a strangely regular relation between them. If hydrogen were represented
+by the figure one, helium by two, lithium three, and so on up to
+uranium, then uranium should have the figure ninety-two. This makes it
+probable that there are in nature ninety-two elements--we have found
+eighty-seven--and that the number Mr. Moseley found is the number of
+electrons in the atom of each element; that is to say, the number is
+arranged in order of the atomic numbers of the various elements.
+
+
+Sec. 7
+
+The New View of Matter
+
+Up to the point we have reached, then, we see what the new view of
+Matter is. Every atom of matter, of whatever kind throughout the whole
+universe, is built up of electrons in conjunction with a nucleus. From
+the smallest atom of all--the atom of hydrogen--which consists of one
+electron, rotating round a positively charged nucleus, to a heavy
+complicated atom, such as the atom of gold, constituted of many
+electrons and a complex nucleus, _we have only to do with positive and
+negative units of electricity_. The electron and its nucleus are
+particles of electricity. All Matter, therefore, is nothing but a
+manifestation of electricity. The atoms of matter, as we saw, combine
+and form molecules. Atoms and molecules are the bricks out of which
+nature has built up everything; ourselves, the earth, the stars, the
+whole universe.
+
+But more than bricks are required to build a house. There are other
+fundamental existences, such as the various forms of energy, which give
+rise to several complex problems. And we have also to remember, that
+there are more than eighty distinct elements, each with its own definite
+type of atom. We shall deal with energy later. Meanwhile it remains to
+be said that, although we have discovered a great deal about the
+electron and the constitution of matter, and that while the physicists
+of our own day seem to see a possibility of explaining positive and
+negative electricity, the nature of them both is unknown. There exists
+the theory that the particles of positive and negative electricity,
+which make up the atoms of matter, are points or centres of disturbances
+of some kind in a universal ether, and that all the various forms of
+energy are, in some fundamental way, aspects of the same primary entity
+which constitutes matter itself.
+
+But the discovery of the property of radio-activity has raised many
+other interesting questions, besides that which we have just dealt with.
+In radio-active elements, such as uranium for example, the element is
+breaking down; in what we call radio-activity we have a manifestation of
+the spontaneous change of elements. What is really taking place is a
+transmutation of one element into another, from a heavier to a lighter.
+The element uranium spontaneously becomes radium, and radium passes
+through a number of other stages until it, in turn, becomes lead. Each
+descending element is of lighter atomic weight than its predecessor. The
+changing process, of course, is a very slow one. It may be that all
+matter is radio-active, or can be made so. This raises the question
+whether all the matter in the universe may not undergo disintegration.
+
+There is, however, another side of the question, which the discovery of
+radio-activity has brought to light, and which has effected a revolution
+in our views. We have seen that in radio-active substances the elements
+are breaking down. Is there a process of building up at work? If the
+more complicated atoms are breaking down into simpler forms, may there
+not be a converse process--a building up from simpler elements to more
+complicated elements? It is probably the case that both processes are at
+work.
+
+There are some eighty-odd chemical elements on the earth to-day: are
+they all the outcome of an inorganic evolution, element giving rise to
+element, going back and back to some primeval stuff from which they
+were all originally derived infinitely long ago? Is there an evolution
+in the inorganic world which may be going on, parallel to that of the
+evolution of living things; or is organic evolution a continuation of
+inorganic evolution? We have seen what evidence there is of this
+inorganic evolution in the case of the stars. We cannot go deeply into
+the matter here, nor has the time come for any direct statement that can
+be based on the findings of modern investigation. Taking it altogether
+the evidence is steadily accumulating, and there are authorities who
+maintain that already the evidence of inorganic evolution is convincing
+enough. The heavier atoms would appear to behave as though they were
+evolved from the lighter. The more complex forms, it is supposed, have
+_evolved_ from the simpler forms. Moseley's discovery, to which
+reference has been made, points to the conclusion that the elements are
+built up one from another.
+
+
+Sec. 8
+
+Other New Views
+
+We may here refer to another new conception to which the discovery of
+radio-activity has given rise. Lord Kelvin, who estimated the age of the
+earth at twenty million years, reached this estimate by considering the
+earth as a body which is gradually cooling down, "losing its primitive
+heat, like a loaf taken from the oven, at a rate which could be
+calculated, and that the heat radiated by the sun was due to
+contraction." Uranium and radio-activity were not known to Kelvin, and
+their discovery has upset both his arguments. Radio-active substances,
+which are perpetually giving out heat, introduce an entirely new factor.
+We cannot now assume that the earth is necessarily cooling down; it may
+even, for all we know, be getting hotter. At the 1921 meeting of the
+British Association, Professor Rayleigh stated that further knowledge
+had extended the probable period during which there had been life on
+this globe to about one thousand million years, and the total age of
+the earth to some small multiple of that. The earth, he considers, is
+not cooling, but "contains an internal source of heat from the
+disintegration of uranium in the outer crust." On the whole the estimate
+obtained would seem to be in agreement with the geological estimates.
+The question, of course, cannot, in the present state of our knowledge,
+be settled within fixed limits that meet with general agreement.
+
+[Illustration: MAKING THE INVISIBLE VISIBLE
+
+Radium, as explained in the text, emits rays--the "Alpha," the "Beta"
+(electrons), and "Gamma" rays. The above illustration indicates the
+method by which these invisible rays are made visible, and enables the
+nature of the rays to be investigated. To the right of the diagram is
+the instrument used, the Spinthariscope, making the impact of radium
+rays visible on a screen.
+
+The radium rays shoot out in all directions; those that fall on the
+screen make it glow with points of light. These points of light are
+observed by the magnifying lens.
+
+A. Magnifying lens. B. A zinc sulphite screen. C. A needle on whose
+point is placed a speck of radium.
+
+The lower picture shows the screen and needle magnified.]
+
+[Illustration: THE THEORY OF ELECTRONS
+
+An atom of matter is composed of electrons. We picture an atom as a sort
+of miniature solar system, the electrons (particles of negative
+electricity) rotating round a central nucleus of positive electricity,
+as described in the text. In the above pictorial representation of an
+atom the whirling electrons are indicated in the outer ring. Electrons
+move with incredible speed as they pass from one atom to another.]
+
+[Illustration: ARRANGEMENTS OF ATOMS IN A DIAMOND
+
+The above is a model (seen from two points of view) of the arrangement
+of the atoms in a diamond. The arrangement is found by studying the
+X-ray spectra of the diamond.]
+
+As we have said, there are other fundamental existences which give rise
+to more complex problems. The three great fundamental entities in the
+physical universe are matter, ether, and energy; so far as we know,
+outside these there is nothing. We have dealt with matter, there remain
+ether and energy. We shall see that just as no particle of matter,
+however small, may be created or destroyed, and just as there is no such
+thing as empty space--ether pervades everything--so there is no such
+thing as _rest_. Every particle that goes to make up our solid earth is
+in a state of perpetual unremitting vibration; energy "is the universal
+commodity on which all life depends." Separate and distinct as these
+three fundamental entities--matter, ether, and energy--may appear, it
+may be that, after all, they are only different and mysterious phases of
+an essential "oneness" of the universe.
+
+
+Sec. 9
+
+The Future
+
+Let us, in concluding this chapter, give just one illustration of the
+way in which all this new knowledge may prove to be as valuable
+practically as it is wonderful intellectually. We saw that electrons are
+shot out of atoms at a speed that may approach 160,000 miles a second.
+Sir Oliver Lodge has written recently that a seventieth of a grain of
+radium discharges, at a speed a thousand times that of a rifle bullet,
+thirty million electrons a second. Professor Le Bon has calculated that
+it would take 1,340,000 barrels of powder to give a bullet the speed of
+one of these electrons. He shows that the smallest French copper
+coin--smaller than a farthing--contains an energy equal to eighty
+million horsepower. A few pounds of matter contain more energy than we
+could extract from millions of tons of coal. Even in the atoms of
+hydrogen at a temperature which we could produce in an electric furnace
+the electrons spin round at a rate of nearly a hundred trillion
+revolutions a second!
+
+Every man asks at once: "Will science ever tap this energy?" If it does,
+no more smoke, no mining, no transit, no bulky fuel. The energy of an
+atom is of course only liberated when an atom passes from one state to
+another. The stored up energy is fortunately fast bound by the electrons
+being held together as has been described. If it were not so "the earth
+would explode and become a gaseous nebula"! It is believed that some day
+we shall be able to release, harness, and utilise atomic energy. "I am
+of opinion," says Sir William Bragg, "that atom energy will supply our
+future need. A thousand years may pass before we can harness the atom,
+or to-morrow might see us with the reins in our hands. That is the
+peculiarity of Physics--research and 'accidental' discovery go hand in
+hand." Half a brick contains as much energy as a small coal-field. The
+difficulties are tremendous, but, as Sir Oliver Lodge reminds us, there
+was just as much scepticism at one time about the utilisation of steam
+or electricity. "Is it to be supposed," he asks, "that there can be no
+fresh invention, that all the discoveries have been made?" More than one
+man of science encourages us to hope. Here are some remarkable words
+written by Professor Soddy, one of the highest authorities on
+radio-active matter, in our chief scientific weekly (_Nature_, November
+6, 1919):
+
+    The prospects of the successful accomplishment of artificial
+    transmutation brighten almost daily. The ancients seem to have had
+    something more than an inkling that the accomplishment of
+    transmutation would confer upon men powers hitherto the prerogative
+    of the gods. But now we know definitely that the material aspect of
+    transmutation would be of small importance in comparison with the
+    control over the inexhaustible stores of internal atomic energy to
+    which its successful accomplishment would inevitably lead. It has
+    become a problem, no longer redolent of the evil associations of the
+    age of alchemy, but one big with the promise of a veritable physical
+    renaissance of the whole world.
+
+If that "promise" is ever realised, the economic and social face of the
+world will be transformed.
+
+Before passing on to the consideration of ether, light, and energy, let
+us see what new light the discovery of the electron has thrown on the
+nature and manipulation of electricity.
+
+
+WHAT IS ELECTRICITY?
+
+The Nature of Electricity
+
+There is at least one manifestation in nature, and so late as twenty
+years ago it seemed to be one of the most mysterious manifestations of
+all, which has been in great measure explained by the new discoveries.
+Already, at the beginning of this century, we spoke of our "age of
+electricity," yet there were few things in nature about which we knew
+less. The "electric current" rang our bells, drove our trains, lit our
+rooms, but none knew what the current was. There was a vague idea that
+it was a sort of fluid that flowed along copper wires as water flows in
+a pipe. We now suppose that it is _a rapid movement of electrons from
+atom to atom_ in the wire or wherever the current is.
+
+Let us try to grasp the principle of the new view of electricity and see
+how it applies to all the varied electrical phenomena in the world about
+us. As we saw, the nucleus of an atom of matter consists of positive
+electricity which holds together a number of electrons, or charges of
+negative electricity.[4] This certainly tells us to some extent what
+electricity is, and how it is related to matter, but it leaves us with
+the usual difficulty about fundamental realities. But we now know that
+electricity, like matter, is atomic in structure; a charge of
+electricity is made up of a number of small units or charges of a
+definite, constant amount. It has been suggested that the two kinds of
+electricity, i.e. positive and negative, are right-handed and
+left-handed vortices or whirlpools in ether, or rings in ether, but
+there are very serious difficulties, and we leave this to the future.
+
+    [4] The words "positive" and "negative" electricity belong to the
+    days when it was regarded as a fluid. A body overcharged with the
+    fluid was called positive; an undercharged body was called negative.
+    A positively-electrified body is now one whose atoms have lost some
+    of their outlying electrons, so that the positive charge of
+    electricity predominates. The negatively-electrified body is one
+    with more than the normal number of electrons.
+
+
+Sec. 10
+
+What an Electric Current is
+
+The discovery of these two kinds of electricity has, however, enabled us
+to understand very fairly what goes on in electrical phenomena. The
+outlying electrons, as we saw, may pass from atom to atom, and this, on
+a large scale, is the meaning of the electric current. In other words,
+we believe an electric current to be a flow of electrons. Let us take,
+to begin with, a simple electrical "cell," in which a feeble current is
+generated: such a cell as there is in every house to serve its electric
+bells.
+
+In the original form this simple sort of "battery" consisted of a plate
+of zinc and a plate of copper immersed in a chemical. Long before
+anything was known about electrons it was known that, if you put zinc
+and copper together, you produce a mild current of electricity. We know
+now what this means. Zinc is a metal the atoms of which are particularly
+disposed to part with some of their outlying electrons. Why, we do not
+know; but the fact is the basis of these small batteries. Electrons from
+the atoms of zinc pass to the atoms of copper, and their passage is a
+"current." Each atom gives up an electron to its neighbour. It was
+further found long ago that if the zinc and copper were immersed in
+certain chemicals, which slowly dissolve the zinc, and the two metals
+were connected by a copper wire, the current was stronger. In modern
+language, there is a brisker flow of electrons. The reason is that
+the atoms of zinc which are stolen by the chemical leave their
+detachable electrons behind them, and the zinc has therefore more
+electrons to pass on to the copper.
+
+[Illustration: DISINTEGRATION OF ATOMS
+
+An atom of Uranium, by ejecting an Alpha particle, becomes Uranium X.
+This substance, by ejecting Beta and Gamma rays, becomes Radium. Radium
+passes through a number of further changes, as shown in the diagram, and
+finally becomes lead. Some radio-active substances disintegrate much
+faster than others. Thus Uranium changes very slowly, taking
+5,000,000,000 years to reach the same stage of disintegration that
+Radium A reaches in 3 minutes. As the disintegration proceeds, the
+substances become of lighter and lighter atomic weights. Thus Uranium
+has an atomic weight of 238, whereas lead has an atomic weight of only
+206. The breaking down of atoms is fully explained in the text.]
+
+[Illustration: _Reproduced by permission from "The Interpretation of
+Radium" (John Murray)._
+
+SILK TASSEL ELECTRIFIED
+
+The separate threads of the tassel, being each electrified with the same
+kind of electricity, repel one another, and thus the tassel branches out
+as in the photograph.]
+
+[Illustration: SILK TASSEL DISCHARGED BY THE RAYS FROM RADIUM
+
+When the radium rays, carrying an opposite electric charge to that on
+the tassel, strikes the threads, the threads are neutralised, and hence
+fall together again.]
+
+[Illustration: A HUGE ELECTRIC SPARK
+
+This is an actual photograph of an electric spark. It is leaping a
+distance of about 10 feet, and is the discharge of a million volts. It
+is a graphic illustration of the tremendous energy of electrons.]
+
+[Illustration: _From "Scientific Ideas of To-day_."
+
+ELECTRICAL ATTRACTION BETWEEN COMMON OBJECTS
+
+Take an ordinary flower-vase well dried and energetically rub it with a
+silk handkerchief. The vase which thus becomes electrified will attract
+any light body, such as a feather, as shown in the above illustration.]
+
+Such cells are now made of zinc and carbon, immersed in sal-ammoniac,
+but the principle is the same. The flow of electricity is a flow of
+electrons; though we ought to repeat that they do not flow in a body, as
+molecules of water do. You may have seen boys place a row of bricks,
+each standing on one end, in such order that the first, if it is pushed,
+will knock over the second, the second the third, and so on to the last.
+There is a flow of _movement_ all along the line, but each brick moves
+only a short distance. So an electron merely passes to the next atom,
+which sends on an electron to a third atom, and so on. In this case,
+however, the movement from atom to atom is so rapid that the ripple of
+movement, if we may call it so, may pass along at an enormous speed. We
+have seen how swiftly electrons travel.
+
+But how is this turned into power enough even to ring a bell? The actual
+mechanical apparatus by which the energy of the electron current is
+turned into sound, or heat, or light will be described in a technical
+section later in this work. We are concerned here only with the
+principle, which is clear. While zinc is very apt to part with
+electrons, copper is just as obliging in facilitating their passage
+onward. Electrons will travel in this way in most metals, but copper is
+one of the best "conductors." So we lengthen the copper wire between the
+zinc and the carbon until it goes as far as the front door and the bell,
+which are included in the circuit. When you press the button at the
+door, two wires are brought together, and the current of electrons
+rushes round the circuit; and at the bell its energy is diverted into
+the mechanical apparatus which rings the bell.
+
+Copper is a good conductor--six times as good as iron--and is therefore
+so common in electrical industries. Some other substances are just as
+stubborn as copper is yielding, and we call them "insulators," because
+they resist the current instead of letting it flow. Their atoms do not
+easily part with electrons. Glass, vulcanite, and porcelain are very
+good insulators for this reason.
+
+
+What the Dynamo does
+
+But even several cells together do not produce the currents needed in
+modern industry, and the flow is produced in a different manner. As the
+invisible electrons pass along a wire they produce what we call a
+magnetic field around the wire, they produce a disturbance in the
+surrounding ether. To be exact, it is through the ether surrounding the
+wire that the energy originated by the electrons is transmitted. To set
+electrons moving on a large scale we use a "dynamo." By means of the
+dynamo it is possible to transform mechanical energy into electrical
+energy. The modern dynamo, as Professor Soddy puts it, may be looked
+upon as an electron pump. We cannot go into the subject deeply here, we
+would only say that a large coil of copper wire is caused to turn round
+rapidly between the poles of a powerful magnet. That is the essential
+construction of the "dynamo," which is used for generating strong
+currents. We shall see in a moment how magnetism differs from
+electricity, and will say here only that round the poles of a large
+magnet there is a field of intense disturbance which will start a flow
+of electrons in any copper that is introduced into it. On account of the
+speed given to the coil of wire its atoms enter suddenly this magnetic
+field, and they give off crowds of electrons in a flash.
+
+It is found that a similar disturbance is caused, though the flow is in
+the _opposite_ direction, when the coil of wire leaves the magnetic
+field. And as the coil is revolving very rapidly we get a powerful
+current of electricity that runs in alternate directions--an
+"alternating" current. Electricians have apparatus for converting it
+into a continuous current where this is necessary.
+
+A current, therefore, means a steady flow of the electrons from atom to
+atom. Sometimes, however, a number of electrons rush violently and
+explosively from one body to another, as in the electric spark or the
+occasional flash from an electric tram or train. The grandest and most
+spectacular display of this phenomenon is the thunderstorm. As we saw
+earlier, a portentous furnace like the sun is constantly pouring floods
+of electrons from its atoms into space. The earth intercepts great
+numbers of these electrons. In the upper regions of the air the stream
+of solar electrons has the effect of separating positively-electrified
+atoms from negatively-electrified ones, and the water-vapour, which is
+constantly rising from the surface of the sea, gathers more freely round
+the positively-electrified atoms, and brings them down, as rain, to the
+earth. Thus the upper air loses a proportion of positive electricity, or
+becomes "negatively electrified." In the thunderstorm we get both kinds
+of clouds--some with large excesses of electrons, and some deficient in
+electrons--and the tension grows until at last it is relieved by a
+sudden and violent discharge of electrons from one cloud to another or
+to the earth--an electric spark on a prodigious scale.
+
+
+Sec. 11
+
+Magnetism
+
+We have seen that an electric current is really a flow of electrons. Now
+an electric current exhibits a magnetic effect. The surrounding space is
+endowed with energy which we call electro-magnetic energy. A piece of
+magnetised iron attracting other pieces of iron to it is the popular
+idea of a magnet. If we arrange a wire to pass vertically through a
+piece of cardboard and then sprinkle iron filings on the cardboard we
+shall find that, on passing an electric current through the wire, the
+iron filings arrange themselves in circles round it. The magnetic force,
+due to the electric current, seems to exist in circles round the wire,
+an ether disturbance being set up. Even a single electron, when in
+movement, creates a magnetic "field," as it is called, round its path.
+There is no movement of electrons without this attendant field of
+energy, and their motion is not stopped until that field of energy
+disappears from the ether. The modern theory of magnetism supposes that
+all magnetism is produced in this way. All magnetism is supposed to
+arise from the small whirling motions of the electrons contained in the
+ultimate atoms of matter. We cannot here go into the details of the
+theory nor explain why, for instance, iron behaves so differently from
+other substances, but it is sufficient to say that here, also, the
+electron theory provides the key. This theory is not yet definitely
+_proved_, but it furnishes a sufficient theoretical basis for future
+research. The earth itself is a gigantic magnet, a fact which makes the
+compass possible, and it is well known that the earth's magnetism is
+affected by those great outbreaks on the sun called sun-spots. Now it
+has been recently shown that a sun-spot is a vast whirlpool of electrons
+and that it exerts a strong magnetic action. There is doubtless a
+connection between these outbreaks of electronic activity and the
+consequent changes in the earth's magnetism. The precise mechanism of
+the connection, however, is still a matter that is being investigated.
+
+
+ETHER AND WAVES
+
+Ether and Waves
+
+The whole material universe is supposed to be embedded in a vast medium
+called the ether. It is true that the notion of the ether has been
+abandoned by some modern physicists, but, whether or not it is
+ultimately dispensed with, the conception of the ether has entered so
+deeply into the scientific mind that the science of physics cannot be
+understood unless we know something about the properties attributed to
+the ether. The ether was invented to explain the phenomena of light, and
+to account for the flow of energy across empty space. Light takes time
+to travel. We see the sun at any moment by the light that left it 8
+minutes before. It has taken that 8 minutes for the light from the
+sun to travel that 93,000,000 miles odd which separates it from our
+earth. Besides the fact that light takes time to travel, it can be shown
+that light travels in the form of waves. We know that sound travels in
+waves; sound consists of waves in the air, or water or wood or whatever
+medium we hear it through. If an electric bell be put in a glass jar and
+the air be pumped out of the jar, the sound of the bell becomes feebler
+and feebler until, when enough air has been taken out, we do not hear
+the bell at all. Sound cannot travel in a vacuum. We continue to _see_
+the bell, however, so that evidently light can travel in a vacuum. The
+invisible medium through which the waves of light travel is the ether,
+and this ether permeates all space _and all matter_. Between us and the
+stars stretch vast regions empty of all matter. But we see the stars;
+their light reaches us, even though it may take centuries to do so. We
+conceive, then, that it is the universal ether which conveys that light.
+All the energy which has reached the earth from the sun and which,
+stored for ages in our coal-fields, is now used to propel our trains and
+steamships, to heat and light our cities, to perform all the
+multifarious tasks of modern life, was conveyed by the ether. Without
+that universal carrier of energy we should have nothing but a stagnant,
+lifeless world.
+
+[Illustration: _Photo: Leadbeater._
+
+AN ELECTRIC SPARK
+
+An electric spark consists of a rush of electrons across the space
+between the two terminals. A state of tension is established in the
+ether by the electric charges, and when this tension passes a certain
+limit the discharge takes place.]
+
+[Illustration: _From "Scientific Ideas of To-day."_
+
+AN ETHER DISTURBANCE AROUND AN ELECTRON CURRENT
+
+In the left-hand photograph an electric current is passing through the
+coil, thus producing a magnetic field and transforming the poker into a
+magnet. The poker is then able to support a pair of scissors. As soon as
+the electric current is broken off, as in the second photograph, the
+ether disturbance ceases. The poker loses its magnetism, and the
+scissors fall.]
+
+We have said that light consists of waves. The ether may be considered
+as resembling, in some respects, a jelly. It can transmit vibrations.
+The waves of light are really excessively small ripples, measuring from
+crest to crest. The distance from crest to crest of the ripples in a
+pond is sometimes no more than an inch or two. This distance is
+enormously great compared to the longest of the wave-lengths that
+constitute light. We say the longest, for the waves of light differ in
+length; the colour depends upon the length of the light. Red light has
+the longest waves and violet the shortest. The longest waves, the waves
+of deep-red light, are seven two hundred and fifty thousandths of an
+inch in length (7/250,000 inch). This is nearly twice the length of
+deep-violet light-waves, which are 1/67,000 inch. But light-waves, the
+waves that affect the eye, are not the only waves carried by the ether.
+Waves too short to affect the eye can affect the photographic plate, and
+we can discover in this way the existence of waves only half the length
+of the deep-violet waves. Still shorter waves can be discovered, until
+we come to those excessively minute rays, the X-rays.
+
+
+Below the Limits of Visibility
+
+But we can extend our investigations in the other direction; we find
+that the ether carries many waves longer than light-waves. Special
+photographic emulsions can reveal the existence of waves five times
+longer than violet-light waves. Extending below the limits of visibility
+are waves we detect as heat-waves. Radiant heat, like the heat from a
+fire, is also a form of wave-motion in the ether, but the waves our
+senses recognise as heat are longer than light-waves. There are longer
+waves still, but our senses do not recognise them. But we can detect
+them by our instruments. These are the waves used in wireless
+telegraphy, and their length may be, in some cases, measured in miles.
+These waves are the so-called electro-magnetic waves. Light, radiant
+heat, and electro-magnetic waves are all of the same nature; they differ
+only as regards their wave-lengths.
+
+
+LIGHT--VISIBLE AND INVISIBLE
+
+If Light, then, consists of waves transmitted through the ether, what
+gives rise to the waves? Whatever sets up such wonderfully rapid series
+of waves must be something with an enormous vibration. We come back to
+the electron: all atoms of matter, as we have seen, are made up of
+electrons revolving in a regular orbit round a nucleus. These electrons
+may be affected by out-side influences, they may be agitated and their
+speed or vibration increased.
+
+
+Electrons and Light
+
+The particles even of a piece of cold iron are in a state of vibration.
+No nerves of ours are able to feel and register the waves they emit, but
+your cold poker is really radiating, or sending out a series of
+wave-movements, on every side. After what we saw about the nature of
+matter, this will surprise none. Put your poker in the fire for a time.
+The particles of the glowing coal, which are violently agitated,
+communicate some of their energy to the particles of iron in the poker.
+They move to and fro more rapidly, and the waves which they create are
+now able to affect your nerves and cause a sensation of heat. Put the
+poker again in the fire, until its temperature rises to 500 deg. C. It
+begins to glow with a dull red. Its particles are now moving very
+violently, and the waves they send out are so short and rapid that they
+can be picked up by the eye--we have _visible_ light. They would still
+not affect a photographic plate. Heat the iron further, and the crowds
+of electrons now send out waves of various lengths which blend into
+white light. What is happening is the agitated electrons flying round in
+their orbits at a speed of trillions of times a second. Make the iron
+"blue hot," and it pours out, in addition to light, the _invisible_
+waves which alter the film on the photographic plate. And beyond these
+there is a long range of still shorter waves, culminating in the X-rays,
+which will pass between the atoms of flesh or stone.
+
+Nearly two hundred and fifty years ago it was proved that light
+travelled at least 600,000 times faster than sound. Jupiter, as we saw,
+has moons, which circle round it. They pass behind the body of the
+planet, and reappear at the other side. But it was noticed that, when
+Jupiter is at its greatest distance from us, the reappearance of the
+moon from behind it is 16 minutes and 36 seconds later than when the
+planet is nearest to us. Plainly this was because light took so long to
+cover the additional distance. The distance was then imperfectly known,
+and the speed of light was underrated. We now know the distance, and we
+easily get the velocity of light.
+
+No doubt it seems far more wonderful to discover this within the walls
+of a laboratory, but it was done as long ago as 1850. A cogged wheel is
+so mounted that a ray of light passes between two of the teeth and is
+reflected back from a mirror. Now, slight as is the fraction of a second
+which light takes to travel that distance, it is possible to give such
+speed to the wheel that the next tooth catches the ray of light on its
+return and cuts it off. The speed is increased still further until the
+ray of light returns to the eye of the observer through the notch _next_
+to the one by which it had passed to the mirror! The speed of the wheel
+was known, and it was thus possible again to gather the velocity of
+light. If the shortest waves are 1/67,000 of an inch in length, and
+light travels at 186,000 miles a second, any person can work out that
+about 800 trillion waves enter the eye in a second when we see "violet."
+
+
+Sorting out Light-waves
+
+The waves sent out on every side by the energetic electrons become
+faintly visible to us when they reach about 1/35,000 of an inch. As they
+become shorter and more rapid, as the electrons increase their speed, we
+get, in succession, the colours red, orange, yellow, green, blue,
+indigo, and violet. Each distinct sensation of colour means a wave of
+different length. When they are all mingled together, as in the light of
+the sun, we get white light. When this white light passes through glass,
+the speed of the waves is lessened; and, if the ray of light falls
+obliquely on a triangular piece of glass, the waves of different lengths
+part company as they travel through it, and the light is spread out in a
+band of rainbow-colour. The waves are sorted out according to their
+lengths in the "obstacle race" through the glass. Anyone may see this
+for himself by holding up a wedge-shaped piece of crystal between the
+sunlight and the eye; the prism separates the sunlight into its
+constituent colours, and these various colours will be seen quite
+readily. Or the thing may be realised in another way. If the seven
+colours are painted on a wheel as shown opposite page 280 (in the
+proportion shown), and the wheel rapidly revolved on a pivot, the wheel
+will appear a dull white, the several colours will not be seen. But
+_omit_ one of the colours, then the wheel, when revolved, will not
+appear white, but will give the impression of one colour, corresponding
+to what the union of six colours gives. Another experiment will show
+that some bodies held up between the eye and a white light will not
+permit all the rays to pass through, but will intercept some; a body
+that intercepts all the seven rays except red will give the impression
+of red, or if all the rays except violet, then violet will be the colour
+seen.
+
+[Illustration: _Photo: H. J. Shepstone._
+
+LIGHTNING
+
+In a thunderstorm we have the most spectacular display in lightning of a
+violent and explosive rush of electrons (electricity) from one body to
+another, from cloud to cloud, or to the earth. In this wonderful
+photograph of an electrical storm note the long branched and undulating
+flashes of lightning. Each flash lasts no longer than the one
+hundred-thousandth part of a second of time.]
+
+[Illustration: LIGHT WAVES
+
+Light consists of waves transmitted through the ether. Waves of light
+differ in length. The colour of the light depends on the wave-length.
+Deep-red waves (the longest) are 7/250000 inch and deep-violet waves
+1/67000 inch. The diagram shows two wave-motions of different
+wave-lengths. From crest to crest, or from trough to trough, is the
+length of the wave.]
+
+[Illustration: THE MAGNETIC CIRCUIT OF AN ELECTRIC CURRENT
+
+The electric current passing in the direction of the arrow round the
+electric circuit generates in the surrounding space circular magnetic
+circuits as shown in the diagram. It is this property which lies at the
+base of the electro-magnet and of the electric dynamo.]
+
+[Illustration: THE MAGNET
+
+The illustration shows the lines of force between two magnets. The lines
+of force proceed from the north pole of one magnet to the south pole of
+the other. They also proceed from the north to the south poles of the
+same magnet. These facts are shown clearly in the diagram. The north
+pole of a magnet is that end of it which turns to the north when the
+magnet is freely suspended.]
+
+
+The Fate of the World
+
+Professor Soddy has given an interesting picture of what might happen
+when the sun's light and heat is no longer what it is. The human eye
+"has adapted itself through the ages to the peculiarities of the sun's
+light, so as to make the most of that wave-length of which there is
+most.... Let us indulge for a moment in these gloomy prognostications,
+as to the consequences to this earth of the cooling of the sun with the
+lapse of ages, which used to be in vogue, but which radio-activity has
+so rudely shaken. Picture the fate of the world when the sun has become
+a dull red-hot ball, or even when it has cooled so far that it would no
+longer emit light to us. That does not all mean that the world would be
+in inky darkness, and that the sun would not emit light to the people
+then inhabiting this world, if any had survived and could keep
+themselves from freezing. To such, if the eye continued to adapt itself
+to the changing conditions, our blues and violets would be ultra-violet
+and invisible, but our dark heat would be light and hot bodies would be
+luminous to them which would be dark to us."
+
+
+Sec. 12
+
+What the Blue "Sky" means
+
+We saw in a previous chapter how the spectroscope splits up light-waves
+into their colours. But nature is constantly splitting the light into
+its different-lengthed waves, its colours. The rainbow, where dense
+moisture in the air acts as a spectroscope, is the most familiar
+example. A piece of mother-of-pearl, or even a film of oil on the street
+or on water, has the same effect, owing to the fine inequalities in its
+surface. The atmosphere all day long is sorting out the waves. The blue
+"sky" overhead means that the fine particles in the upper atmosphere
+catch the shorter waves, the blue waves, and scatter them. We can make a
+tubeful of blue sky in the laboratory at any time. The beautiful
+pink-flush on the Alps at sunrise, the red glory that lingers in the
+west at sunset, mean that, as the sun's rays must struggle through
+denser masses of air when it is low on the horizon, the long red waves
+are sifted out from the other shafts.
+
+Then there is the varied face of nature which, by absorbing some waves
+and reflecting others, weaves its own beautiful robe of colour. Here and
+there is a black patch, which _absorbs_ all the light. White surfaces
+_reflect_ the whole of it. What is reflected depends on the period of
+vibration of the electrons in the particular kind of matter. Generally,
+as the electrons receive the flood of trillions of waves, they absorb
+either the long or the medium or the short, and they give us the
+wonderful colour-scheme of nature. In some cases the electrons continue
+to radiate long after the sunlight has ceased to fall upon them. We get
+from them "black" or invisible light, and we can take photographs by it.
+Other bodies, like glass, vibrate in unison with the period of the
+light-waves and let them stream through.
+
+
+Light without Heat
+
+There are substances--"phosphorescent" things we call them--which give
+out a mysterious cold light of their own. It is one of the problems
+of science, and one of profound practical interest. If we could produce
+light without heat our "gas bill" would shrink amazingly. So much energy
+is wasted in the production of heat-waves and ultra-violet waves which
+we do not want, that 90 per cent. or more of the power used in
+illumination is wasted. Would that the glow-worm, or even the dead
+herring, would yield us its secret! Phosphorus is the one thing we know
+as yet that suits the purpose, and--it smells! Indeed, our artificial
+light is not only extravagant in cost, but often poor in colour. The
+unwary person often buys a garment by artificial light, and is disgusted
+next morning to find in it a colour which is not wanted. The colour
+disclosed by the sun was not in the waves of the artificial light.
+
+[Illustration: ROTATING DISC OF SIR ISAAC NEWTON FOR MIXING COLOURS
+
+The Spectroscope sorts out the above seven colours from sunlight (which
+is compounded of these seven colours). If painted in proper proportions
+on a wheel, as shown in the coloured illustration, and the wheel be
+turned rapidly on a pivot through its centre, only a dull white will be
+perceived. If one colour be omitted, the result will be one colour--the
+result of the union of the remaining six.]
+
+Beyond the waves of violet light are the still shorter and more rapid
+waves--the "ultra-violet" waves--which are precious to the photographer.
+As every amateur knows, his plate may safely be exposed to light that
+comes through a red or an orange screen. Such a screen means "no
+thoroughfare" for the blue and "beyond-blue" waves, and it is these
+which arrange the little grains of silver on the plate. It is the same
+waves which supply the energy to the little green grains of matter
+(chlorophyll) in the plant, preparing our food and timber for us, as
+will be seen later. The tree struggles upward and spreads out its leaves
+fanwise to the blue sky to receive them. In our coal-measures, the
+mighty dead forests of long ago, are vast stores of sunlight which we
+are prodigally using up.
+
+The X-rays are the extreme end, the highest octave, of the series of
+waves. Their power of penetration implies that they are excessively
+minute, but even these have not held their secret from the modern
+physicist. From a series of beautiful experiments, in which they were
+made to pass amongst the atoms of a crystal, we learned their length. It
+is about the ten-millionth of a millimetre, and a millimetre is about
+the 1/25 of an inch!
+
+One of the most recent discoveries, made during a recent eclipse of the
+sun, is that light is subject to gravitation. A ray of light from a star
+is bent out of its straight path when it passes near the mass of the
+sun. Professor Eddington tells us that we have as much right to speak of
+a pound of light as of a pound of sugar. Professor Eddington even
+calculates that the earth receives 160 tons of light from the sun every
+year!
+
+
+ENERGY: HOW ALL LIFE DEPENDS ON IT
+
+As we have seen in an earlier chapter, one of the fundamental entities
+of the universe is matter. A second, not less important, is called
+energy. Energy is indispensable if the world is to continue to exist,
+since all phenomena, including life, depend on it. Just as it is humanly
+impossible to create or to destroy a particle of matter, so is it
+impossible to create or to destroy energy. This statement will be more
+readily understood when we have considered what energy is.
+
+Energy, like matter, is indestructible, and just as matter exists in
+various forms so does energy. And we may add, just as we are ignorant of
+what the negative and positive particles of electricity which constitute
+matter really are, so we are ignorant of the true nature of energy. At
+the same time, energy is not so completely mysterious as it once was. It
+is another of nature's mysteries which the advance of modern science has
+in some measure unveiled. It was only during the nineteenth century that
+energy came to be known as something as distinct and permanent as matter
+itself.
+
+
+Forms of Energy
+
+The existence of various forms of energy had been known, of course, for
+ages; there was the energy of a falling stone, the energy produced by
+burning wood or coal or any other substance, but the essential
+_identity_ of all these forms of energy had not been suspected. The
+conception of energy as something which, like matter, was constant in
+amount, which could not be created nor destroyed, was one of the great
+scientific acquisitions of the past century.
+
+[Illustration: WAVE SHAPES
+
+Wave-motions are often complex. The above illustration shows some fairly
+complicated wave shapes. All such wave-motions can be produced by
+superposing a number of simple wave forms.]
+
+[Illustration: THE POWER OF A MAGNET
+
+The illustration is that of a "Phoenix" electric magnet lifting scrap
+from railway trucks. The magnet is 52 inches in diameter and lifts a
+weight of 26 tons. The same type of magnet, 62 inches in diameter, lifts
+a weight of 40 tons.]
+
+[Illustration: _Photo: The Locomotive Publishing Co., Ltd._
+
+THE SPEED OF LIGHT
+
+A train travelling at the rate of sixty miles per hour would take rather
+more than seventeen and a quarter days to go round the earth at the
+equator, i.e. a distance of 25,000 miles. Light, which travels at the
+rate of 186,000 miles per second, would take between one-seventh and
+one-eighth of a second to go the same distance.]
+
+[Illustration: ROTATING DISC OF SIR ISAAC NEWTON FOR MIXING COLOURS
+
+The Spectroscope sorts out the above seven colours from sunlight (which
+is compounded of these seven colours). If painted in proper proportions
+on a wheel, as shown in the coloured illustration, and the wheel turned
+rapidly on a pivot through its centre, only a dull white will be
+perceived. If one colour be omitted, the result will be one colour--the
+result of the union of the remaining six.]
+
+It is not possible to enter deeply into this subject here. It is
+sufficient if we briefly outline its salient aspects. Energy is
+recognised in two forms, kinetic and potential. The form of energy which
+is most apparent to us is the _energy of motion_; for example, a rolling
+stone, running water, a falling body, and so on. We call the energy of
+motion _kinetic energy_. Potential energy is the energy a body has in
+virtue of its position--it is its capacity, in other words, to acquire
+kinetic energy, as in the case of a stone resting on the edge of a
+cliff.
+
+Energy may assume different forms; one kind of energy may be converted
+directly or indirectly into some other form. The energy of burning coal,
+for example, is converted into heat, and from heat energy we have
+mechanical energy, such as that manifested by the steam-engine. In this
+way we can transfer energy from one body to another. There is the energy
+of the great waterfalls of Niagara, for instance, which are used to
+supply the energy of huge electric power stations.
+
+
+What Heat is
+
+An important fact about energy is, that all energy _tends to take the
+form of heat energy_. The impact of a falling stone generates heat; a
+waterfall is hotter at the bottom than at the top--the falling particles
+of water, on striking the ground, generate heat; and most chemical
+changes are attended by heat changes. Energy may remain latent
+indefinitely in a lump of wood, but in combustion it is liberated, and
+we have heat as a result. The atom of radium or of any other
+radio-active substance, as it disintegrates, generates heat. "Every hour
+radium generates sufficient heat to raise the temperature of its own
+weight of water, from the freezing point to the boiling point." And what
+is heat? _Heat is molecular motion._ The molecules of every substance,
+as we have seen on a previous page, are in a state of continual motion,
+and the more vigorous the motion the hotter the body. As wood or coal
+burns, the invisible molecules of these substances are violently
+agitated, and give rise to ether waves which our senses interpret as
+light and heat. In this constant movement of the molecules, then, we
+have a manifestation of the energy of motion and of heat.
+
+That energy which disappears in one form reappears in another has been
+found to be universally true. It was Joule who, by churning water, first
+showed that a measurable quantity of mechanical energy could be
+transformed into a measurable quantity of heat energy. By causing an
+apparatus to stir water vigorously, that apparatus being driven by
+falling weights or a rotating flywheel or by any other mechanical means,
+the water became heated. A certain amount of mechanical energy had been
+used up and a certain amount of heat had appeared. The relation between
+these two things was found to be invariable. Every physical change in
+nature involves a transformation of energy, but the total quantity of
+energy in the universe remains unaltered. This is the great doctrine of
+the Conservation of Energy.
+
+
+Sec. 13
+
+Substitutes for Coal
+
+Consider the source of nearly all the energy which is used in modern
+civilisation--coal. The great forests of the Carboniferous epoch now
+exists as beds of coal. By the burning of coal--a chemical
+transformation--the heat energy is produced on which at present our
+whole civilisation depends. Whence is the energy locked up in the coal
+derived? From the sun. For millions of years the energy of the sun's
+rays had gone to form the vast vegetation of the Carboniferous era and
+had been transformed, by various subtle processes, into the potential
+energy that slumbers in those immense fossilized forests.
+
+The exhaustion of our coal deposits would mean, so far as our knowledge
+extends at present, the end of the world's civilisation. There are other
+known sources of energy, it is true. There is the energy of falling
+water; the great falls of Niagara are used to supply the energy of huge
+electric power stations. Perhaps, also, something could be done to
+utilise the energy of the tides--another instance of the energy of
+moving water. And attempts have been made to utilise directly the energy
+of the sun's rays. But all these sources of energy are small compared
+with the energy of coal. A suggestion was made at a recent British
+Association meeting that deep borings might be sunk in order to utilise
+the internal heat of the earth, but this is not, perhaps, a very
+practical proposal. By far the most effective substitutes for coal would
+be found in the interior energy of the atom, a source of energy which,
+as we have seen, is practically illimitable. If the immense electrical
+energy in the interior of the atom can ever be liberated and controlled,
+then our steadily decreasing coal supply will no longer be the bugbear
+it now is to all thoughtful men.
+
+The stored-up energy of the great coal-fields can be used up, but we
+cannot replace it or create fresh supplies. As we have seen, energy
+cannot be destroyed, but it can become _unavailable_. Let us consider
+what this important fact means.
+
+
+Sec. 14
+
+Dissipation of Energy
+
+Energy may become dissipated. Where does it go? since if it is
+indestructible it must still exist. It is easier to ask the question
+than to give a final answer, and it is not possible in this OUTLINE,
+where an advanced knowledge of physics is not assumed on the part of the
+reader, to go fully into the somewhat difficult theories put forward by
+physicists and chemists. We may raise the temperature, say, of iron,
+until it is white-hot. If we stop the process the temperature of the
+iron will gradually settle down to the temperature of surrounding
+bodies. As it does so, where does its previous energy go? In some
+measure it may pass to other bodies in contact with the piece of iron,
+but ultimately the heat becomes radiated away in space where we cannot
+follow it. It has been added to the vast reservoir of _unavailable_ heat
+energy of uniform temperature. It is sufficient here to say that if all
+bodies had a uniform temperature we should experience no such thing as
+heat, because heat only travels from one body to another, having the
+effect of cooling the one and warming the other. In time the two bodies
+acquire the same temperature. The sum-total of the heat in any body is
+measured in terms of the kinetic energy of its moving molecules.
+
+There must come a time, so far as we can see at present, when, even if
+all the heat energy of the universe is not radiated away into empty
+infinite space, yet a uniform temperature will prevail. If one body is
+hotter than another it radiates heat to that body until both are at the
+same temperature. Each body may still possess a considerable quantity of
+heat energy, which it has absorbed, but that energy, so far as reactions
+between those two bodies are concerned, _is now unavailable_. The same
+principle applies whatever number of bodies we consider. Before heat
+energy can be utilised we must have bodies with different temperature.
+If the whole universe were at some uniform temperature, then, although
+it might possess an enormous amount of heat energy, this energy would be
+unavailable.
+
+
+What a Uniform Temperature would mean
+
+And what does this imply? It implies a great deal: for if all the energy
+in the world became unavailable, the universe, as it now is, would cease
+to be. It is possible that, by the constant interchange of heat
+radiations, the whole universe is tending to some uniform temperature,
+in which case, although all molecular motion would not have ceased, it
+would have become unavailable. In this sense it may be said that the
+universe is running down.
+
+[Illustration: NIAGARA FALLS
+
+The energy of this falling water is prodigious. It is used to generate
+thousands of horse-power in great electrical installations. The power is
+used to drive electric trams in cities 150 to 250 miles away.]
+
+[Illustration: _Photo: Stephen Cribb._
+
+TRANSFORMATION OF ENERGY
+
+An illustration of Energy. The chemical energy brought into existence by
+firing the explosive manifesting itself as mechanical energy, sufficient
+to impart violent motion to tons of water.]
+
+[Illustration: _Photo: Underwood & Underwood._
+
+"BOILING" A KETTLE ON ICE
+
+When a kettle containing liquid air is placed on ice it "boils" because
+the ice is intensely hot _when compared with the very low temperature of
+the liquid air_.]
+
+If all the molecules of a substance were brought to a standstill, that
+substance would be at the absolute zero of temperature. There could be
+nothing colder. The temperature at which all molecular motions would
+cease is known: it is -273 deg. C. No body could possibly attain a lower
+temperature than this: a lower temperature could not exist. Unless there
+exists in nature some process, of which we know nothing at present,
+whereby energy is renewed, our solar system must one day sink to this
+absolute zero of temperature. The sun, the earth, and every other body
+in the universe is steadily radiating heat, and this radiation cannot go
+on for ever, because heat continually tends to diffuse and to equalise
+temperatures.
+
+But we can see, theoretically, that there is a way of evading this law.
+If the chaotic molecular motions which constitute heat could be
+_regulated_, then the heat energy of a body could be utilised directly.
+Some authorities think that some of the processes which go on in the
+living body do not involve any waste energy, that the chemical energy of
+food is transformed directly into work without any of it being
+dissipated as useless heat energy. It may be, therefore, that man will
+finally discover some way of escape from the natural law that, while
+energy cannot be destroyed, it has a tendency to become unavailable.
+
+The primary reservoir of energy is the atom; it is the energy of the
+atom, the atom of elements in the sun, the stars, the earth, from which
+nature draws for all her supply of energy. Shall we ever discover how we
+can replenish the dwindling resources of energy, or find out how we can
+call into being the at present unavailable energy which is stored up in
+uniform temperature?
+
+    It looks as if our successors would witness an interesting race,
+    between the progress of science on the one hand and the depletion of
+    natural resources upon the other. The natural rate of flow of energy
+    from its primary atomic reservoirs to the sea of waste heat energy
+    of uniform temperature, allows life to proceed at a complete pace
+    sternly regulated by the inexorable laws of supply and demand,
+    which the biologists have recognised in their field as the struggle
+    for existence.[5]
+
+    [5] _Matter and Energy_, by Professor Soddy.
+
+It is certain that energy is an actual entity just as much as matter,
+and that it cannot be created or destroyed. Matter and ether are
+receptacles or vehicles of energy. As we have said, what these entities
+really are in themselves we do not know. It may be that all forms of
+energy are in some fundamental way aspects of the same primary entity
+which constitutes matter: how all matter is constituted of particles of
+electricity we have already seen. The question to which we await an
+answer is: What is electricity?
+
+
+Sec. 15
+
+MATTER, ETHER, AND EINSTEIN
+
+The supreme synthesis, the crown of all this progressive conquest of
+nature, would be to discover that the particles of positive and negative
+electricity, which make up the atoms of matter, are points or centres of
+disturbances of some kind in a universal ether, and that all our
+"energies" (light, magnetism, gravitation, etc.) are waves or strains of
+some kind set up in the ether by these clusters of electrons.
+
+It is a fascinating, tantalising dream. Larmor suggested in 1900 that
+the electron is a tiny whirlpool, or "vortex," in ether; and, as such a
+vortex may turn in either of two opposite ways, we seem to see a
+possibility of explaining positive and negative electricity. But the
+difficulties have proved very serious, and the nature of the electron is
+unknown. A recent view is that it is "a ring of negative electricity
+rotating about its axis at a high speed," though that does not carry us
+very far. The unit of positive electricity is even less known. We must
+be content to know the general lines on which thought is moving toward
+the final unification.
+
+We say "unification," but it would be a grave error to think that ether
+is the only possible basis for such unity, or to make it an essential
+part of one's philosophy of the universe. Ether was never more than an
+imagined entity to which we ascribed the most extraordinary properties,
+and which seemed then to promise considerable aid. It was conceived as
+an elastic solid of very great density, stretching from end to end of
+the universe, transmitting waves from star to star at the rate of
+186,000 miles a second; yet it was believed that the most solid matter
+passed through it as if it did not exist.
+
+Some years ago a delicate experiment was tried for the purpose of
+detecting the ether. Since the earth, in travelling round the sun, must
+move through the ether if the ether exists, there ought to be a stream
+of ether flowing through every laboratory; just as the motion of a ship
+through a still atmosphere will make "a wind." In 1887 Michelson and
+Morley tried to detect this. Theoretically, a ray of light in the
+direction of the stream ought to travel at a different rate from a ray
+of light against the stream or across it. They found no difference, and
+scores of other experiments have failed. This does not prove that there
+is no ether, as there is reason to suppose that our instruments would
+appear to shrink in precisely the same proportion as the alteration of
+the light; but the fact remains that we have no proof of the existence
+of ether. J. H. Jeans says that "nature acts as if no such thing
+existed." Even the phenomena of light and magnetism, he says, do not
+imply ether; and he thinks that the hypothesis may be abandoned. The
+primary reason, of course, for giving up the notion of the ether is
+that, as Einstein has shown, there is no way of detecting its existence.
+If there is an ether, then, since the earth is moving through it, there
+should be some way of detecting this motion. The experiment has been
+tried, as we have said, but, although the method used was very
+sensitive, no motion was discovered. It is Einstein who, by
+revolutionising our conceptions of space and time, showed that no such
+motion ever could be discovered, whatever means were employed, and that
+the usual notion of the ether must be abandoned. We shall explain this
+theory more fully in a later section.
+
+
+INFLUENCE OF THE TIDES: ORIGIN OF THE MOON: THE EARTH SLOWING DOWN
+
+Sec. 16
+
+Until comparatively recent times, until, in fact, the full dawn of
+modern science, the tides ranked amongst the greatest of nature's
+mysteries. And, indeed, what agency could be invoked to explain this
+mysteriously regular flux and reflux of the waters of the ocean? It is
+not surprising that that steady, rhythmical rise and fall suggested to
+some imaginative minds the breathing of a mighty animal. And even when
+man first became aware of the fact that this regular movement was
+somehow associated with the moon, was he much nearer an explanation?
+What bond could exist between the movements of that distant world and
+the diurnal variation of the waters of the earth? It is reported that an
+ancient astronomer, despairing of ever resolving the mystery, drowned
+himself in the sea.
+
+
+The Earth Pulled by the Moon
+
+But it was part of the merit of Newton's mighty theory of gravitation
+that it furnished an explanation even of this age-old mystery. We can
+see, in broad outlines at any rate, that the theory of universal
+attraction can be applied to this case. For the moon, Newton taught us,
+pulls every particle of matter throughout the earth. If we imagine that
+part of the earth's surface which comprises the Pacific Ocean, for
+instance, to be turned towards the moon, we see that the moon's pull,
+_acting on the loose and mobile water_, would tend to heap it up into a
+sort of mound. The whole earth is pulled by the moon, but the water
+is more free to obey this pull than is the solid earth, although small
+tides are also caused in the earth's solid crust. It can be shown also
+that a corresponding hump would tend to be produced on the other side of
+the earth, owing, in this case, to the tendency of the water, being more
+loosely connected, to lag behind the solid earth. If the earth's surface
+were entirely fluid the rotation of the earth would give the impression
+that these two humps were continually travelling round the world, once
+every day. At any given part of the earth's surface, therefore, there
+would be two humps daily, i.e. two periods of high water. Such is the
+simplest possible outline of the gravitational theory of the tides.
+
+[Illustration: THE CAUSE OF TIDES
+
+The tides of the sea are due to the pull of the moon, and, in lesser
+degree, of the sun. The whole earth is pulled by the moon, but the loose
+and mobile water is more free to obey this pull than is the solid earth,
+although small tides are also caused in the earth's solid crust. The
+effect which the tides have on slowing down the rotation of the earth is
+explained in the text.]
+
+[Illustration: _Photo: G. Brocklehurst._
+
+THE AEGIR ON THE TRENT
+
+An exceptionally smooth formation due to perfect weather conditions. The
+wall-like formation of these tidal waves (see next page also) will be
+noticed. The reason for this is that the downward current in the river
+heads the sea-water back, and thus helps to exaggerate the advancing
+slope of the wave. The exceptional spring tides are caused by the
+combined operation of the moon and the sun, as is explained in the
+text.]
+
+[Illustration: _Photo: G. Brocklehurst._
+
+A BIG SPRING TIDE, THE AEGIR ON THE TRENT]
+
+The actually observed phenomena are vastly more complicated, and the
+complete theory bears very little resemblance to the simple form we have
+just outlined. Everyone who lives in the neighbourhood of a port knows,
+for instance, that high water seldom coincides with the time when the
+moon crosses the meridian. It may be several hours early or late. High
+water at London Bridge, for instance, occurs about one and a half hours
+after the moon has passed the meridian, while at Dublin high water
+occurs about one and a half hours before the moon crosses the meridian.
+The actually observed phenomena, then, are far from simple; they have,
+nevertheless, been very completely worked out, and the times of high
+water for every port in the world can now be prophesied for a
+considerable time ahead.
+
+
+The Action of Sun and Moon
+
+It would be beyond our scope to attempt to explain the complete theory,
+but we may mention one obvious factor which must be taken into account.
+Since the moon, by its gravitational attraction, produces tides, we
+should expect that the sun, whose gravitational attraction is so much
+stronger, should also produce tides and, we would suppose at first
+sight, more powerful tides than the moon. But while it is true that the
+sun produces tides, it is not true that they are more powerful than
+those produced by the moon. The sun's tide-producing power is, as a
+matter of fact, less than half that of the moon. The reason of this is
+that _distance_ plays an enormous role in the production of tides. The
+mass of the sun is 26,000,000 times that of the moon; on the other hand
+it is 386 times as far off as the moon. This greater distance more than
+counterbalances its greater mass, and the result, as we have said, is
+that the moon is more than twice as powerful. Sometimes the sun and moon
+act together, and we have what are called spring tides; sometimes they
+act against one another, and we have neap tides. These effects are
+further complicated by a number of other factors, and the tides, at
+various places, vary enormously. Thus at St. Helena the sea rises and
+falls about three feet, whereas in the Bay of Fundy it rises and falls
+more than fifty feet. But here, again, the reasons are complicated.
+
+
+Sec. 17
+
+Origin of the Moon
+
+But there is another aspect of the tides which is of vastly greater
+interest and importance than the theory we have just been discussing. In
+the hands of Sir George H. Darwin, the son of Charles Darwin, the tides
+had been made to throw light on the evolution of our solar system. In
+particular, they have illustrated the origin and development of the
+system formed by our earth and moon. It is quite certain that, long ages
+ago, the earth was rotating immensely faster than it is now, and that
+the moon was so near as to be actually in contact with the earth. In
+that remote age the moon was just on the point of separating from the
+earth, of being thrown off by the earth. Earth and moon were once one
+body, but the high rate of rotation caused this body to split up into
+two pieces; one piece became the earth we now know, and the other became
+the moon. Such is the conclusion to which we are led by an examination
+of the tides. In the first place let us consider the energy produced by
+the tides. We see evidences of this energy all round the word's
+coastlines. Estuaries are scooped out, great rocks are gradually reduced
+to rubble, innumerable tons of matter are continually being set in
+movement. Whence is this energy derived? Energy, like matter, cannot be
+created from nothing; what, then, is the source which makes this
+colossal expenditure possible.
+
+
+The Earth Slowing down
+
+The answer is simple, but startling. _The source of tidal energy is the
+rotation of the earth._ The massive bulk of the earth, turning every
+twenty-four hours on its axis, is like a gigantic flywheel. In virtue of
+its rotation it possesses an enormous store of energy. But even the
+heaviest and swiftest flywheel, if it is doing work, or even if it is
+only working against the friction of its bearings, cannot dispense
+energy for ever. It must, gradually, slow down. There is no escape from
+this reasoning. It is the rotation of the earth which supplies the
+energy of the tides, and, as a consequence, the tides must be slowing
+down the earth. The tides act as a kind of brake on the earth's
+rotation. These masses of water, _held back by the moon_, exert a kind
+of dragging effect on the rotating earth. Doubtless this effect,
+measured by our ordinary standards, is very small; it is, however,
+continuous, and in the course of the millions of years dealt with in
+astronomy, this small but constant effect may produce very considerable
+results.
+
+But there is another effect which can be shown to be a necessary
+mathematical consequence of tidal action. It is the moon's action on the
+earth which produces the tides, but they also react on the moon. The
+tides are slowing down the earth, and they are also driving the moon
+farther and farther away. This result, strange as it may seem, does not
+permit of doubt, for it is the result of an indubitable dynamical
+principle, which cannot be made clear without a mathematical discussion.
+Some interesting consequences follow.
+
+Since the earth is slowing down, it follows that it was once rotating
+faster. There was a period, a long time ago, when the day comprised only
+twenty hours. Going farther back still we come to a day of ten hours,
+until, inconceivable ages ago, the earth must have been rotating on its
+axis in a period of from three to four hours.
+
+At this point let us stop and inquire what was happening to the moon. We
+have seen that at present the moon is getting farther and farther away.
+It follows, therefore, that when the day was shorter the moon was
+nearer. As we go farther back in time we find the moon nearer and nearer
+to an earth rotating faster and faster. When we reach the period we have
+already mentioned, the period when the earth completed a revolution in
+three or four hours, we find that the moon was so near as to be almost
+grazing the earth. This fact is very remarkable. Everybody knows that
+there is a _critical velocity_ for a rotating flywheel, a velocity
+beyond which the flywheel would fly into pieces because the centrifugal
+force developed is so great as to overcome the cohesion of the molecules
+of the flywheel. We have already likened our earth to a flywheel, and we
+have traced its history back to the point where it was rotating with
+immense velocity. We have also seen that, at that moment, the moon was
+barely separated from the earth. The conclusion is irresistible. In an
+age more remote the earth _did_ fly in pieces, and one of those pieces
+is the moon. Such, in brief outline, is the tidal theory of the origin
+of the earth-moon system.
+
+
+The Day Becoming Longer
+
+At the beginning, when the moon split off from the earth, it obviously
+must have shared the earth's rotation. It flew round the earth in the
+same time that the earth rotated, that is to say, the month and the day
+were of equal length. As the moon began to get farther from the earth,
+the month, because the moon took longer to rotate round the earth, began
+to get correspondingly longer. The day also became longer, because the
+earth was slowing down, taking longer to rotate on its axis, but the
+month increased at a greater rate than the day. Presently the month
+became equal to two days, then to three, and so on. It has been
+calculated that this process went on until there were twenty-nine days
+in the month. After that the number of days in the month began to
+decrease until it reached its present value or magnitude, and will
+continue to decrease until once more the month and the day are equal. In
+that age the earth will be rotating very slowly. The braking action of
+the tides will cause the earth always to keep the same face to the moon;
+it will rotate on its axis in the same time that the moon turns round
+the earth. If nothing but the earth and moon were involved this state of
+affairs would be final. But there is also the effect of the solar tides
+to be considered. The moon makes the day equal to the month, but the sun
+has a tendency, by still further slowing down the earth's rotation on
+its axis, to make the day equal to the year. It would do this, of
+course, by making the earth take as long to turn on its axis as to go
+round the sun. It cannot succeed in this, owing to the action of the
+moon, but it can succeed in making the day rather longer than the month.
+
+Surprising as it may seem, we already have an illustration of this
+possibility in the satellites of Mars. The Martian day is about one
+half-hour longer than ours, but when the two minute satellites of Mars
+were discovered it was noticed that the inner one of the two revolved
+round Mars in about seven hours forty minutes. In one Martian day,
+therefore, one of the moons of Mars makes more than three complete
+revolutions round that planet, so that, to an inhabitant of Mars, there
+would be more than three months in a day.
+
+
+BIBLIOGRAPHY
+
+ ARRHENIUS, SVANTE, _Worlds in the Making_.
+ CLERK-MAXWELL, JAMES, _Matter and Motion_.
+ DANIELL, ALFRED, _A Text-Book of the Principles of Physics_.
+ DARWIN, SIR G. H., _The Tides_.
+ HOLMAN, _Matter, Energy, Force and Work_.
+ KAPP, GISBERT, _Electricity_.
+ KELVIN, LORD, _Popular Lectures and Addresses_. Vol. i. _Constitution
+   of Matter._
+ LOCKYER, SIR NORMAN, _Inorganic Evolution_.
+ LODGE, SIR OLIVER, _Electrons_ and _The Ether of Space_.
+ PERRIN, JEAN, _Brownian Movement and Molecular Reality_.
+ SODDY, FREDERICK, _Matter and Energy_ and _The Interpretation of Radium_.
+ THOMPSON, SILVANUS P., _Light, Visible and Invisible_.
+ THOMSON, SIR J. J., _The Corpuscular Theory of Matter_.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Outline of Science, Vol. 1 (of 4), by
+J. Arthur Thomson
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+The Project Gutenberg EBook of Ulysses, by James Joyce
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+Title: Ulysses
+
+Author: James Joyce
+
+Release Date: July, 2003 [EBook #4300]
+[This file was first posted on December 27, 2001]
+[Edition 12 posted June 30th, 2002]
+[Date last updated: November 26, 2004]
+
+Edition: 12
+
+Language: English
+
+Character set encoding: ASCII
+
+Please Note:  This etext edition of the Project Gutenberg Ulysses by
+James Joyce is based on the pre-1923 print editions.  Any suggested
+changes to this etext should be based on comparison to that print
+edition, and not to the new 1986 and later print editions.
+
+
+
+*** START OF THE PROJECT GUTENBERG EBOOK ULYSSES ***
+
+
+
+
+This etext was prepared by Col Choat <colchoat@yahoo.com.au>.
+
+
+
+
+
+Ulysses by James Joyce
+
+
+    -- I --
+
+
+
+STATELY, PLUMP BUCK MULLIGAN CAME FROM THE STAIRHEAD, bearing a bowl of
+lather on which a mirror and a razor lay crossed. A yellow dressinggown,
+ungirdled, was sustained gently behind him by the mild morning air. He
+held the bowl aloft and intoned:
+
+--INTROIBO AD ALTARE DEI.
+
+Halted, he peered down the dark winding stairs and called out coarsely:
+
+--Come up, Kinch! Come up, you fearful jesuit!
+
+Solemnly he came forward and mounted the round gunrest. He faced about
+and blessed gravely thrice the tower, the surrounding land and the
+awaking mountains. Then, catching sight of Stephen Dedalus, he bent
+towards him and made rapid crosses in the air, gurgling in his throat and
+shaking his head. Stephen Dedalus, displeased and sleepy, leaned his arms
+on the top of the staircase and looked coldly at the shaking gurgling
+face that blessed him, equine in its length, and at the light untonsured
+hair, grained and hued like pale oak.
+
+Buck Mulligan peeped an instant under the mirror and then covered
+the bowl smartly.
+
+--Back to barracks! he said sternly.
+
+He added in a preacher's tone:
+
+--For this, O dearly beloved, is the genuine Christine: body and soul and
+blood and ouns. Slow music, please. Shut your eyes, gents. One moment. A
+little trouble about those white corpuscles. Silence, all.
+
+He peered sideways up and gave a long slow whistle of call, then paused
+awhile in rapt attention, his even white teeth glistening here and there
+with gold points. Chrysostomos. Two strong shrill whistles answered
+through the calm.
+
+--Thanks, old chap, he cried briskly. That will do nicely. Switch off the
+current, will you?
+
+He skipped off the gunrest and looked gravely at his watcher, gathering
+about his legs the loose folds of his gown. The plump shadowed face and
+sullen oval jowl recalled a prelate, patron of arts in the middle ages. A
+pleasant smile broke quietly over his lips.
+
+--The mockery of it! he said gaily. Your absurd name, an ancient Greek!
+
+He pointed his finger in friendly jest and went over to the parapet,
+laughing to himself. Stephen Dedalus stepped up, followed him wearily
+halfway and sat down on the edge of the gunrest, watching him still as he
+propped his mirror on the parapet, dipped the brush in the bowl and
+lathered cheeks and neck.
+
+Buck Mulligan's gay voice went on.
+
+--My name is absurd too: Malachi Mulligan, two dactyls. But it has a
+Hellenic ring, hasn't it? Tripping and sunny like the buck himself. We
+must go to Athens. Will you come if I can get the aunt to fork out twenty
+quid?
+
+He laid the brush aside and, laughing with delight, cried:
+
+--Will he come? The jejune jesuit!
+
+Ceasing, he began to shave with care.
+
+--Tell me, Mulligan, Stephen said quietly.
+
+--Yes, my love?
+
+--How long is Haines going to stay in this tower?
+
+Buck Mulligan showed a shaven cheek over his right shoulder.
+
+--God, isn't he dreadful? he said frankly. A ponderous Saxon. He thinks
+you're not a gentleman. God, these bloody English! Bursting with money
+and indigestion. Because he comes from Oxford. You know, Dedalus, you
+have the real Oxford manner. He can't make you out. O, my name for you is
+the best: Kinch, the knife-blade.
+
+He shaved warily over his chin.
+
+--He was raving all night about a black panther, Stephen said. Where is
+his guncase?
+
+--A woful lunatic! Mulligan said. Were you in a funk?
+
+--I was, Stephen said with energy and growing fear. Out here in the dark
+with a man I don't know raving and moaning to himself about shooting a
+black panther. You saved men from drowning. I'm not a hero, however. If
+he stays on here I am off.
+
+Buck Mulligan frowned at the lather on his razorblade. He hopped down
+from his perch and began to search his trouser pockets hastily.
+
+--Scutter! he cried thickly.
+
+He came over to the gunrest and, thrusting a hand into Stephen's upper
+pocket, said:
+
+--Lend us a loan of your noserag to wipe my razor.
+
+Stephen suffered him to pull out and hold up on show by its corner a
+dirty crumpled handkerchief. Buck Mulligan wiped the razorblade neatly.
+Then, gazing over the handkerchief, he said:
+
+--The bard's noserag! A new art colour for our Irish poets: snotgreen.
+You can almost taste it, can't you?
+
+He mounted to the parapet again and gazed out over Dublin bay, his fair
+oakpale hair stirring slightly.
+
+--God! he said quietly. Isn't the sea what Algy calls it: a great sweet
+mother? The snotgreen sea. The scrotumtightening sea. EPI OINOPA PONTON.
+Ah, Dedalus, the Greeks! I must teach you. You must read them in the
+original. THALATTA! THALATTA! She is our great sweet mother. Come and
+look.
+
+Stephen stood up and went over to the parapet. Leaning on it he looked
+down on the water and on the mailboat clearing the harbourmouth of
+Kingstown.
+
+--Our mighty mother! Buck Mulligan said.
+
+He turned abruptly his grey searching eyes from the sea to Stephen's
+face.
+
+--The aunt thinks you killed your mother, he said. That's why she won't
+let me have anything to do with you.
+
+--Someone killed her, Stephen said gloomily.
+
+--You could have knelt down, damn it, Kinch, when your dying mother asked
+you, Buck Mulligan said. I'm hyperborean as much as you. But to think of
+your mother begging you with her last breath to kneel down and pray for
+her. And you refused. There is something sinister in you ...
+
+He broke off and lathered again lightly his farther cheek. A tolerant
+smile curled his lips.
+
+--But a lovely mummer! he murmured to himself. Kinch, the loveliest
+mummer of them all!
+
+He shaved evenly and with care, in silence, seriously.
+
+Stephen, an elbow rested on the jagged granite, leaned his palm against
+his brow and gazed at the fraying edge of his shiny black coat-sleeve.
+Pain, that was not yet the pain of love, fretted his heart. Silently, in
+a dream she had come to him after her death, her wasted body within its
+loose brown graveclothes giving off an odour of wax and rosewood, her
+breath, that had bent upon him, mute, reproachful, a faint odour of
+wetted ashes. Across the threadbare cuffedge he saw the sea hailed as a
+great sweet mother by the wellfed voice beside him. The ring of bay and
+skyline held a dull green mass of liquid. A bowl of white china had stood
+beside her deathbed holding the green sluggish bile which she had torn up
+from her rotting liver by fits of loud groaning vomiting.
+
+Buck Mulligan wiped again his razorblade.
+
+--Ah, poor dogsbody! he said in a kind voice. I must give you a shirt and
+a few noserags. How are the secondhand breeks?
+
+--They fit well enough, Stephen answered.
+
+Buck Mulligan attacked the hollow beneath his underlip.
+
+--The mockery of it, he said contentedly. Secondleg they should be. God
+knows what poxy bowsy left them off. I have a lovely pair with a hair
+stripe, grey. You'll look spiffing in them. I'm not joking, Kinch. You
+look damn well when you're dressed.
+
+--Thanks, Stephen said. I can't wear them if they are grey.
+
+--He can't wear them, Buck Mulligan told his face in the mirror.
+Etiquette is etiquette. He kills his mother but he can't wear grey
+trousers.
+
+He folded his razor neatly and with stroking palps of fingers felt the
+smooth skin.
+
+Stephen turned his gaze from the sea and to the plump face with its
+smokeblue mobile eyes.
+
+--That fellow I was with in the Ship last night, said Buck Mulligan, says
+you have g.p.i. He's up in Dottyville with Connolly Norman. General
+paralysis of the insane!
+
+He swept the mirror a half circle in the air to flash the tidings abroad
+in sunlight now radiant on the sea. His curling shaven lips laughed and
+the edges of his white glittering teeth. Laughter seized all his strong
+wellknit trunk.
+
+--Look at yourself, he said, you dreadful bard!
+
+Stephen bent forward and peered at the mirror held out to him, cleft by a
+crooked crack. Hair on end. As he and others see me. Who chose this face
+for me? This dogsbody to rid of vermin. It asks me too.
+
+--I pinched it out of the skivvy's room, Buck Mulligan said. It does her
+all right. The aunt always keeps plainlooking servants for Malachi. Lead
+him not into temptation. And her name is Ursula.
+
+Laughing again, he brought the mirror away from Stephen's peering eyes.
+
+--The rage of Caliban at not seeing his face in a mirror, he said. If
+Wilde were only alive to see you!
+
+Drawing back and pointing, Stephen said with bitterness:
+
+--It is a symbol of Irish art. The cracked looking-glass of a servant.
+
+Buck Mulligan suddenly linked his arm in Stephen's and walked with him
+round the tower, his razor and mirror clacking in the pocket where he had
+thrust them.
+
+--It's not fair to tease you like that, Kinch, is it? he said kindly. God
+knows you have more spirit than any of them.
+
+Parried again. He fears the lancet of my art as I fear that of his. The
+cold steelpen.
+
+--Cracked lookingglass of a servant! Tell that to the oxy chap downstairs
+and touch him for a guinea. He's stinking with money and thinks you're
+not a gentleman. His old fellow made his tin by selling jalap to Zulus or
+some bloody swindle or other. God, Kinch, if you and I could only work
+together we might do something for the island. Hellenise it.
+
+Cranly's arm. His arm.
+
+--And to think of your having to beg from these swine. I'm the only one
+that knows what you are. Why don't you trust me more? What have you up
+your nose against me? Is it Haines? If he makes any noise here I'll bring
+down Seymour and we'll give him a ragging worse than they gave Clive
+Kempthorpe.
+
+Young shouts of moneyed voices in Clive Kempthorpe's rooms. Palefaces:
+they hold their ribs with laughter, one clasping another. O, I shall
+expire! Break the news to her gently, Aubrey! I shall die! With slit
+ribbons of his shirt whipping the air he hops and hobbles round the
+table, with trousers down at heels, chased by Ades of Magdalen with the
+tailor's shears. A scared calf's face gilded with marmalade. I don't want
+to be debagged! Don't you play the giddy ox with me!
+
+Shouts from the open window startling evening in the quadrangle. A deaf
+gardener, aproned, masked with Matthew Arnold's face, pushes his mower on
+the sombre lawn watching narrowly the dancing motes of grasshalms.
+
+To ourselves ... new paganism ... omphalos.
+
+--Let him stay, Stephen said. There's nothing wrong with him except at
+night.
+
+--Then what is it? Buck Mulligan asked impatiently. Cough it up. I'm
+quite frank with you. What have you against me now?
+
+They halted, looking towards the blunt cape of Bray Head that lay on the
+water like the snout of a sleeping whale. Stephen freed his arm quietly.
+
+--Do you wish me to tell you? he asked.
+
+--Yes, what is it? Buck Mulligan answered. I don't remember anything.
+
+He looked in Stephen's face as he spoke. A light wind passed his brow,
+fanning softly his fair uncombed hair and stirring silver points of
+anxiety in his eyes.
+
+Stephen, depressed by his own voice, said:
+
+--Do you remember the first day I went to your house after my mother's
+death?
+
+Buck Mulligan frowned quickly and said:
+
+--What? Where? I can't remember anything. I remember only ideas and
+sensations. Why? What happened in the name of God?
+
+--You were making tea, Stephen said, and went across the landing to get
+more hot water. Your mother and some visitor came out of the drawingroom.
+She asked you who was in your room.
+
+--Yes? Buck Mulligan said. What did I say? I forget.
+
+--You said, Stephen answered, O, IT'S ONLY DEDALUS WHOSE MOTHER IS
+BEASTLY DEAD.
+
+A flush which made him seem younger and more engaging rose to Buck
+Mulligan's cheek.
+
+--Did I say that? he asked. Well? What harm is that?
+
+He shook his constraint from him nervously.
+
+--And what is death, he asked, your mother's or yours or my own? You saw
+only your mother die. I see them pop off every day in the Mater and
+Richmond and cut up into tripes in the dissectingroom. It's a beastly
+thing and nothing else. It simply doesn't matter. You wouldn't kneel down
+to pray for your mother on her deathbed when she asked you. Why? Because
+you have the cursed jesuit strain in you, only it's injected the wrong
+way. To me it's all a mockery and beastly. Her cerebral lobes are not
+functioning. She calls the doctor sir Peter Teazle and picks buttercups
+off the quilt. Humour her till it's over. You crossed her last wish in
+death and yet you sulk with me because I don't whinge like some hired
+mute from Lalouette's. Absurd! I suppose I did say it. I didn't mean to
+offend the memory of your mother.
+
+He had spoken himself into boldness. Stephen, shielding the gaping wounds
+which the words had left in his heart, said very coldly:
+
+--I am not thinking of the offence to my mother.
+
+--Of what then? Buck Mulligan asked.
+
+--Of the offence to me, Stephen answered.
+
+Buck Mulligan swung round on his heel.
+
+--O, an impossible person! he exclaimed.
+
+He walked off quickly round the parapet. Stephen stood at his post,
+gazing over the calm sea towards the headland. Sea and headland now grew
+dim. Pulses were beating in his eyes, veiling their sight, and he felt
+the fever of his cheeks.
+
+A voice within the tower called loudly:
+
+--Are you up there, Mulligan?
+
+--I'm coming, Buck Mulligan answered.
+
+He turned towards Stephen and said:
+
+--Look at the sea. What does it care about offences? Chuck Loyola, Kinch,
+and come on down. The Sassenach wants his morning rashers.
+
+His head halted again for a moment at the top of the staircase, level
+with the roof:
+
+--Don't mope over it all day, he said. I'm inconsequent. Give up the
+moody brooding.
+
+His head vanished but the drone of his descending voice boomed out of the
+stairhead:
+
+
+    AND NO MORE TURN ASIDE AND BROOD
+   UPON LOVE'S BITTER MYSTERY
+   FOR FERGUS RULES THE BRAZEN CARS.
+
+
+Woodshadows floated silently by through the morning peace from the
+stairhead seaward where he gazed. Inshore and farther out the mirror of
+water whitened, spurned by lightshod hurrying feet. White breast of the
+dim sea. The twining stresses, two by two. A hand plucking the
+harpstrings, merging their twining chords. Wavewhite wedded words
+shimmering on the dim tide.
+
+A cloud began to cover the sun slowly, wholly, shadowing the bay in
+deeper green. It lay beneath him, a bowl of bitter waters. Fergus' song:
+I sang it alone in the house, holding down the long dark chords. Her door
+was open: she wanted to hear my music. Silent with awe and pity I went to
+her bedside. She was crying in her wretched bed. For those words,
+Stephen: love's bitter mystery.
+
+Where now?
+
+Her secrets: old featherfans, tasselled dancecards, powdered with musk, a
+gaud of amber beads in her locked drawer. A birdcage hung in the sunny
+window of her house when she was a girl. She heard old Royce sing in the
+pantomime of TURKO THE TERRIBLE and laughed with others when he sang:
+
+
+    I AM THE BOY
+    THAT CAN ENJOY
+    INVISIBILITY.
+
+
+Phantasmal mirth, folded away: muskperfumed.
+
+
+    AND NO MORE TURN ASIDE AND BROOD.
+
+
+Folded away in the memory of nature with her toys. Memories beset his
+brooding brain. Her glass of water from the kitchen tap when she had
+approached the sacrament. A cored apple, filled with brown sugar,
+roasting for her at the hob on a dark autumn evening. Her shapely
+fingernails reddened by the blood of squashed lice from the children's
+shirts.
+
+In a dream, silently, she had come to him, her wasted body within its
+loose graveclothes giving off an odour of wax and rosewood, her breath,
+bent over him with mute secret words, a faint odour of wetted ashes.
+
+Her glazing eyes, staring out of death, to shake and bend my soul. On me
+alone. The ghostcandle to light her agony. Ghostly light on the tortured
+face. Her hoarse loud breath rattling in horror, while all prayed on
+their knees. Her eyes on me to strike me down. LILIATA RUTILANTIUM TE
+CONFESSORUM TURMA CIRCUMDET: IUBILANTIUM TE VIRGINUM CHORUS EXCIPIAT.
+
+Ghoul! Chewer of corpses!
+
+No, mother! Let me be and let me live.
+
+--Kinch ahoy!
+
+Buck Mulligan's voice sang from within the tower. It came nearer up the
+staircase, calling again. Stephen, still trembling at his soul's cry,
+heard warm running sunlight and in the air behind him friendly words.
+
+--Dedalus, come down, like a good mosey. Breakfast is ready. Haines is
+apologising for waking us last night. It's all right.
+
+--I'm coming, Stephen said, turning.
+
+--Do, for Jesus' sake, Buck Mulligan said. For my sake and for all our
+sakes.
+
+His head disappeared and reappeared.
+
+--I told him your symbol of Irish art. He says it's very clever. Touch
+him for a quid, will you? A guinea, I mean.
+
+--I get paid this morning, Stephen said.
+
+--The school kip? Buck Mulligan said. How much? Four quid? Lend us one.
+
+--If you want it, Stephen said.
+
+--Four shining sovereigns, Buck Mulligan cried with delight. We'll have a
+glorious drunk to astonish the druidy druids. Four omnipotent sovereigns.
+
+He flung up his hands and tramped down the stone stairs, singing out of
+tune with a Cockney accent:
+
+
+    O, WON'T WE HAVE A MERRY TIME,
+    DRINKING WHISKY, BEER AND WINE!
+    ON CORONATION,
+    CORONATION DAY!
+    O, WON'T WE HAVE A MERRY TIME
+    ON CORONATION DAY!
+
+
+Warm sunshine merrying over the sea. The nickel shavingbowl shone,
+forgotten, on the parapet. Why should I bring it down? Or leave it there
+all day, forgotten friendship?
+
+He went over to it, held it in his hands awhile, feeling its coolness,
+smelling the clammy slaver of the lather in which the brush was stuck. So
+I carried the boat of incense then at Clongowes. I am another now and yet
+the same. A servant too. A server of a servant.
+
+In the gloomy domed livingroom of the tower Buck Mulligan's gowned form
+moved briskly to and fro about the hearth, hiding and revealing its
+yellow glow. Two shafts of soft daylight fell across the flagged floor
+from the high barbacans: and at the meeting of their rays a cloud of
+coalsmoke and fumes of fried grease floated, turning.
+
+--We'll be choked, Buck Mulligan said. Haines, open that door, will you?
+
+Stephen laid the shavingbowl on the locker. A tall figure rose from the
+hammock where it had been sitting, went to the doorway and pulled open
+the inner doors.
+
+--Have you the key? a voice asked.
+
+--Dedalus has it, Buck Mulligan said. Janey Mack, I'm choked!
+
+He howled, without looking up from the fire:
+
+--Kinch!
+
+--It's in the lock, Stephen said, coming forward.
+
+The key scraped round harshly twice and, when the heavy door had been set
+ajar, welcome light and bright air entered. Haines stood at the doorway,
+looking out. Stephen haled his upended valise to the table and sat down
+to wait. Buck Mulligan tossed the fry on to the dish beside him. Then he
+carried the dish and a large teapot over to the table, set them down
+heavily and sighed with relief.
+
+--I'm melting, he said, as the candle remarked when ... But, hush! Not a
+word more on that subject! Kinch, wake up! Bread, butter, honey. Haines,
+come in. The grub is ready. Bless us, O Lord, and these thy gifts.
+Where's the sugar? O, jay, there's no milk.
+
+Stephen fetched the loaf and the pot of honey and the buttercooler from
+the locker. Buck Mulligan sat down in a sudden pet.
+
+--What sort of a kip is this? he said. I told her to come after eight.
+
+--We can drink it black, Stephen said thirstily. There's a lemon in the
+locker.
+
+--O, damn you and your Paris fads! Buck Mulligan said. I want Sandycove
+milk.
+
+Haines came in from the doorway and said quietly:
+
+--That woman is coming up with the milk.
+
+--The blessings of God on you! Buck Mulligan cried, jumping up from his
+chair. Sit down. Pour out the tea there. The sugar is in the bag. Here, I
+can't go fumbling at the damned eggs.
+
+He hacked through the fry on the dish and slapped it out on three plates,
+saying:
+
+--IN NOMINE PATRIS ET FILII ET SPIRITUS SANCTI.
+
+Haines sat down to pour out the tea.
+
+--I'm giving you two lumps each, he said. But, I say, Mulligan, you do
+make strong tea, don't you?
+
+Buck Mulligan, hewing thick slices from the loaf, said in an old woman's
+wheedling voice:
+
+--When I makes tea I makes tea, as old mother Grogan said. And when I
+makes water I makes water.
+
+--By Jove, it is tea, Haines said.
+
+Buck Mulligan went on hewing and wheedling:
+
+--SO I DO, MRS CAHILL, says she. BEGOB, MA'AM, says Mrs Cahill, GOD SEND
+YOU DON'T MAKE THEM IN THE ONE POT.
+
+He lunged towards his messmates in turn a thick slice of bread, impaled
+on his knife.
+
+--That's folk, he said very earnestly, for your book, Haines. Five lines
+of text and ten pages of notes about the folk and the fishgods of
+Dundrum. Printed by the weird sisters in the year of the big wind.
+
+He turned to Stephen and asked in a fine puzzled voice, lifting his
+brows:
+
+--Can you recall, brother, is mother Grogan's tea and water pot spoken of
+in the Mabinogion or is it in the Upanishads?
+
+--I doubt it, said Stephen gravely.
+
+--Do you now? Buck Mulligan said in the same tone. Your reasons, pray?
+
+--I fancy, Stephen said as he ate, it did not exist in or out of the
+Mabinogion. Mother Grogan was, one imagines, a kinswoman of Mary Ann.
+
+Buck Mulligan's face smiled with delight.
+
+--Charming! he said in a finical sweet voice, showing his white teeth and
+blinking his eyes pleasantly. Do you think she was? Quite charming!
+
+Then, suddenly overclouding all his features, he growled in a hoarsened
+rasping voice as he hewed again vigorously at the loaf:
+
+
+  --FOR OLD MARY ANN
+    SHE DOESN'T CARE A DAMN.
+    BUT, HISING UP HER PETTICOATS ...
+
+
+He crammed his mouth with fry and munched and droned.
+
+The doorway was darkened by an entering form.
+
+--The milk, sir!
+
+--Come in, ma'am, Mulligan said. Kinch, get the jug.
+
+An old woman came forward and stood by Stephen's elbow.
+
+--That's a lovely morning, sir, she said. Glory be to God.
+
+--To whom? Mulligan said, glancing at her. Ah, to be sure!
+
+Stephen reached back and took the milkjug from the locker.
+
+--The islanders, Mulligan said to Haines casually, speak frequently of
+the collector of prepuces.
+
+--How much, sir? asked the old woman.
+
+--A quart, Stephen said.
+
+He watched her pour into the measure and thence into the jug rich white
+milk, not hers. Old shrunken paps. She poured again a measureful and a
+tilly. Old and secret she had entered from a morning world, maybe a
+messenger. She praised the goodness of the milk, pouring it out.
+Crouching by a patient cow at daybreak in the lush field, a witch on her
+toadstool, her wrinkled fingers quick at the squirting dugs. They lowed
+about her whom they knew, dewsilky cattle. Silk of the kine and poor old
+woman, names given her in old times. A wandering crone, lowly form of an
+immortal serving her conqueror and her gay betrayer, their common
+cuckquean, a messenger from the secret morning. To serve or to upbraid,
+whether he could not tell: but scorned to beg her favour.
+
+--It is indeed, ma'am, Buck Mulligan said, pouring milk into their cups.
+
+--Taste it, sir, she said.
+
+He drank at her bidding.
+
+--If we could live on good food like that, he said to her somewhat
+loudly, we wouldn't have the country full of rotten teeth and rotten
+guts. Living in a bogswamp, eating cheap food and the streets paved with
+dust, horsedung and consumptives' spits.
+
+--Are you a medical student, sir? the old woman asked.
+
+--I am, ma'am, Buck Mulligan answered.
+
+--Look at that now, she said.
+
+Stephen listened in scornful silence. She bows her old head to a voice
+that speaks to her loudly, her bonesetter, her medicineman: me she
+slights. To the voice that will shrive and oil for the grave all there is
+of her but her woman's unclean loins, of man's flesh made not in God's
+likeness, the serpent's prey. And to the loud voice that now bids her be
+silent with wondering unsteady eyes.
+
+--Do you understand what he says? Stephen asked her.
+
+--Is it French you are talking, sir? the old woman said to Haines.
+
+Haines spoke to her again a longer speech, confidently.
+
+--Irish, Buck Mulligan said. Is there Gaelic on you?
+
+--I thought it was Irish, she said, by the sound of it. Are you from the
+west, sir?
+
+--I am an Englishman, Haines answered.
+
+--He's English, Buck Mulligan said, and he thinks we ought to speak Irish
+in Ireland.
+
+--Sure we ought to, the old woman said, and I'm ashamed I don't speak the
+language myself. I'm told it's a grand language by them that knows.
+
+--Grand is no name for it, said Buck Mulligan. Wonderful entirely. Fill
+us out some more tea, Kinch. Would you like a cup, ma'am?
+
+--No, thank you, sir, the old woman said, slipping the ring of the
+milkcan on her forearm and about to go.
+
+Haines said to her:
+
+--Have you your bill? We had better pay her, Mulligan, hadn't we?
+
+Stephen filled again the three cups.
+
+--Bill, sir? she said, halting. Well, it's seven mornings a pint at
+twopence is seven twos is a shilling and twopence over and these three
+mornings a quart at fourpence is three quarts is a shilling. That's a
+shilling and one and two is two and two, sir.
+
+Buck Mulligan sighed and, having filled his mouth with a crust thickly
+buttered on both sides, stretched forth his legs and began to search his
+trouser pockets.
+
+--Pay up and look pleasant, Haines said to him, smiling.
+
+Stephen filled a third cup, a spoonful of tea colouring faintly the thick
+rich milk. Buck Mulligan brought up a florin, twisted it round in his
+fingers and cried:
+
+--A miracle!
+
+He passed it along the table towards the old woman, saying:
+
+--Ask nothing more of me, sweet. All I can give you I give.
+
+Stephen laid the coin in her uneager hand.
+
+--We'll owe twopence, he said.
+
+--Time enough, sir, she said, taking the coin. Time enough. Good morning,
+sir.
+
+She curtseyed and went out, followed by Buck Mulligan's tender chant:
+
+
+  --HEART OF MY HEART, WERE IT MORE,
+    MORE WOULD BE LAID AT YOUR FEET.
+
+
+He turned to Stephen and said:
+
+--Seriously, Dedalus. I'm stony. Hurry out to your school kip and bring
+us back some money. Today the bards must drink and junket. Ireland
+expects that every man this day will do his duty.
+
+--That reminds me, Haines said, rising, that I have to visit your
+national library today.
+
+--Our swim first, Buck Mulligan said.
+
+He turned to Stephen and asked blandly:
+
+--Is this the day for your monthly wash, Kinch?
+
+Then he said to Haines:
+
+--The unclean bard makes a point of washing once a month.
+
+--All Ireland is washed by the gulfstream, Stephen said as he let honey
+trickle over a slice of the loaf.
+
+Haines from the corner where he was knotting easily a scarf about the
+loose collar of his tennis shirt spoke:
+
+--I intend to make a collection of your sayings if you will let me.
+
+Speaking to me. They wash and tub and scrub. Agenbite of inwit.
+Conscience. Yet here's a spot.
+
+--That one about the cracked lookingglass of a servant being the symbol
+of Irish art is deuced good.
+
+Buck Mulligan kicked Stephen's foot under the table and said with warmth
+of tone:
+
+--Wait till you hear him on Hamlet, Haines.
+
+--Well, I mean it, Haines said, still speaking to Stephen. I was just
+thinking of it when that poor old creature came in.
+
+--Would I make any money by it? Stephen asked.
+
+Haines laughed and, as he took his soft grey hat from the holdfast of the
+hammock, said:
+
+--I don't know, I'm sure.
+
+He strolled out to the doorway. Buck Mulligan bent across to Stephen and
+said with coarse vigour:
+
+--You put your hoof in it now. What did you say that for?
+
+--Well? Stephen said. The problem is to get money. From whom? From the
+milkwoman or from him. It's a toss up, I think.
+
+--I blow him out about you, Buck Mulligan said, and then you come along
+with your lousy leer and your gloomy jesuit jibes.
+
+--I see little hope, Stephen said, from her or from him.
+
+Buck Mulligan sighed tragically and laid his hand on Stephen's arm.
+
+--From me, Kinch, he said.
+
+In a suddenly changed tone he added:
+
+--To tell you the God's truth I think you're right. Damn all else they
+are good for. Why don't you play them as I do? To hell with them all. Let
+us get out of the kip.
+
+He stood up, gravely ungirdled and disrobed himself of his gown, saying
+resignedly:
+
+--Mulligan is stripped of his garments.
+
+He emptied his pockets on to the table.
+
+--There's your snotrag, he said.
+
+And putting on his stiff collar and rebellious tie he spoke to them,
+chiding them, and to his dangling watchchain. His hands plunged and
+rummaged in his trunk while he called for a clean handkerchief. God,
+we'll simply have to dress the character. I want puce gloves and green
+boots. Contradiction. Do I contradict myself? Very well then, I
+contradict myself. Mercurial Malachi. A limp black missile flew out of
+his talking hands.
+
+--And there's your Latin quarter hat, he said.
+
+Stephen picked it up and put it on. Haines called to them from the
+doorway:
+
+--Are you coming, you fellows?
+
+--I'm ready, Buck Mulligan answered, going towards the door. Come out,
+Kinch. You have eaten all we left, I suppose. Resigned he passed out with
+grave words and gait, saying, wellnigh with sorrow:
+
+--And going forth he met Butterly.
+
+Stephen, taking his ashplant from its leaningplace, followed them out
+and, as they went down the ladder, pulled to the slow iron door and
+locked it. He put the huge key in his inner pocket.
+
+At the foot of the ladder Buck Mulligan asked:
+
+--Did you bring the key?
+
+--I have it, Stephen said, preceding them.
+
+He walked on. Behind him he heard Buck Mulligan club with his heavy
+bathtowel the leader shoots of ferns or grasses.
+
+--Down, sir! How dare you, sir!
+
+Haines asked:
+
+--Do you pay rent for this tower?
+
+--Twelve quid, Buck Mulligan said.
+
+--To the secretary of state for war, Stephen added over his shoulder.
+
+They halted while Haines surveyed the tower and said at last:
+
+--Rather bleak in wintertime, I should say. Martello you call it?
+
+--Billy Pitt had them built, Buck Mulligan said, when the French were on
+the sea. But ours is the OMPHALOS.
+
+--What is your idea of Hamlet? Haines asked Stephen.
+
+--No, no, Buck Mulligan shouted in pain. I'm not equal to Thomas Aquinas
+and the fifty-five reasons he has made out to prop it up. Wait till I have
+a few pints in me first.
+
+He turned to Stephen, saying, as he pulled down neatly the peaks of his
+primrose waistcoat:
+
+--You couldn't manage it under three pints, Kinch, could you?
+
+--It has waited so long, Stephen said listlessly, it can wait longer.
+
+--You pique my curiosity, Haines said amiably. Is it some paradox?
+
+--Pooh! Buck Mulligan said. We have grown out of Wilde and paradoxes.
+It's quite simple. He proves by algebra that Hamlet's grandson is
+Shakespeare's grandfather and that he himself is the ghost of his own
+father.
+
+--What? Haines said, beginning to point at Stephen. He himself?
+
+Buck Mulligan slung his towel stolewise round his neck and, bending in
+loose laughter, said to Stephen's ear:
+
+--O, shade of Kinch the elder! Japhet in search of a father!
+
+--We're always tired in the morning, Stephen said to Haines. And it is
+rather long to tell.
+
+Buck Mulligan, walking forward again, raised his hands.
+
+--The sacred pint alone can unbind the tongue of Dedalus, he said.
+
+--I mean to say, Haines explained to Stephen as they followed, this tower
+and these cliffs here remind me somehow of Elsinore. THAT BEETLES O'ER
+HIS BASE INTO THE SEA, ISN'T IT?
+
+Buck Mulligan turned suddenly. for an instant towards Stephen but did not
+speak. In the bright silent instant Stephen saw his own image in cheap
+dusty mourning between their gay attires.
+
+--It's a wonderful tale, Haines said, bringing them to halt again.
+
+Eyes, pale as the sea the wind had freshened, paler, firm and prudent.
+The seas' ruler, he gazed southward over the bay, empty save for the
+smokeplume of the mailboat vague on the bright skyline and a sail tacking
+by the Muglins.
+
+--I read a theological interpretation of it somewhere, he said bemused.
+The Father and the Son idea. The Son striving to be atoned with the
+Father.
+
+Buck Mulligan at once put on a blithe broadly smiling face. He looked at
+them, his wellshaped mouth open happily, his eyes, from which he had
+suddenly withdrawn all shrewd sense, blinking with mad gaiety. He moved a
+doll's head to and fro, the brims of his Panama hat quivering, and began
+to chant in a quiet happy foolish voice:
+
+
+  --I'M THE QUEEREST YOUNG FELLOW THAT EVER YOU HEARD.
+    MY MOTHER'S A JEW, MY FATHER'S A BIRD.
+    WITH JOSEPH THE JOINER I CANNOT AGREE.
+    SO HERE'S TO DISCIPLES AND CALVARY.
+
+
+He held up a forefinger of warning.
+
+
+  --IF ANYONE THINKS THAT I AMN'T DIVINE
+    HE'LL GET NO FREE DRINKS WHEN I'M MAKING THE WINE
+    BUT HAVE TO DRINK WATER AND WISH IT WERE PLAIN
+    THAT I MAKE WHEN THE WINE BECOMES WATER AGAIN.
+
+
+He tugged swiftly at Stephen's ashplant in farewell and, running forward
+to a brow of the cliff, fluttered his hands at his sides like fins or
+wings of one about to rise in the air, and chanted:
+
+
+  --GOODBYE, NOW, GOODBYE! WRITE DOWN ALL I SAID
+    AND TELL TOM, DIEK AND HARRY I ROSE FROM THE DEAD.
+    WHAT'S BRED IN THE BONE CANNOT FAIL ME TO FLY
+    AND OLIVET'S BREEZY ... GOODBYE, NOW, GOODBYE!
+
+
+He capered before them down towards the forty-foot hole, fluttering his
+winglike hands, leaping nimbly, Mercury's hat quivering in the fresh wind
+that bore back to them his brief birdsweet cries.
+
+Haines, who had been laughing guardedly, walked on beside Stephen and
+said:
+
+--We oughtn't to laugh, I suppose. He's rather blasphemous. I'm not a
+believer myself, that is to say. Still his gaiety takes the harm out of
+it somehow, doesn't it? What did he call it? Joseph the Joiner?
+
+--The ballad of joking Jesus, Stephen answered.
+
+--O, Haines said, you have heard it before?
+
+--Three times a day, after meals, Stephen said drily.
+
+--You're not a believer, are you? Haines asked. I mean, a believer in the
+narrow sense of the word. Creation from nothing and miracles and a
+personal God.
+
+--There's only one sense of the word, it seems to me, Stephen said.
+
+Haines stopped to take out a smooth silver case in which twinkled a green
+stone. He sprang it open with his thumb and offered it.
+
+--Thank you, Stephen said, taking a cigarette.
+
+Haines helped himself and snapped the case to. He put it back in his
+sidepocket and took from his waistcoatpocket a nickel tinderbox, sprang
+it open too, and, having lit his cigarette, held the flaming spunk
+towards Stephen in the shell of his hands.
+
+--Yes, of course, he said, as they went on again. Either you believe or
+you don't, isn't it? Personally I couldn't stomach that idea of a
+personal God. You don't stand for that, I suppose?
+
+--You behold in me, Stephen said with grim displeasure, a horrible
+example of free thought.
+
+He walked on, waiting to be spoken to, trailing his ashplant by his side.
+Its ferrule followed lightly on the path, squealing at his heels. My
+familiar, after me, calling, Steeeeeeeeeeeephen! A wavering line along
+the path. They will walk on it tonight, coming here in the dark. He wants
+that key. It is mine. I paid the rent. Now I eat his salt bread. Give him
+the key too. All. He will ask for it. That was in his eyes.
+
+--After all, Haines began ...
+
+Stephen turned and saw that the cold gaze which had measured him was not
+all unkind.
+
+--After all, I should think you are able to free yourself. You are your
+own master, it seems to me.
+
+--I am a servant of two masters, Stephen said, an English and an Italian.
+
+--Italian? Haines said.
+
+A crazy queen, old and jealous. Kneel down before me.
+
+--And a third, Stephen said, there is who wants me for odd jobs.
+
+--Italian? Haines said again. What do you mean?
+
+--The imperial British state, Stephen answered, his colour rising, and
+the holy Roman catholic and apostolic church.
+
+Haines detached from his underlip some fibres of tobacco before he spoke.
+
+--I can quite understand that, he said calmly. An Irishman must think
+like that, I daresay. We feel in England that we have treated you rather
+unfairly. It seems history is to blame.
+
+The proud potent titles clanged over Stephen's memory the triumph of
+their brazen bells: ET UNAM SANCTAM CATHOLICAM ET APOSTOLICAM ECCLESIAM:
+the slow growth and change of rite and dogma like his own rare thoughts,
+a chemistry of stars. Symbol of the apostles in the mass for pope
+Marcellus, the voices blended, singing alone loud in affirmation: and
+behind their chant the vigilant angel of the church militant disarmed and
+menaced her heresiarchs. A horde of heresies fleeing with mitres awry:
+Photius and the brood of mockers of whom Mulligan was one, and Arius,
+warring his life long upon the consubstantiality of the Son with the
+Father, and Valentine, spurning Christ's terrene body, and the subtle
+African heresiarch Sabellius who held that the Father was Himself His own
+Son. Words Mulligan had spoken a moment since in mockery to the stranger.
+Idle mockery. The void awaits surely all them that weave the wind: a
+menace, a disarming and a worsting from those embattled angels of the
+church, Michael's host, who defend her ever in the hour of conflict with
+their lances and their shields.
+
+Hear, hear! Prolonged applause. ZUT! NOM DE DIEU!
+
+--Of course I'm a Britisher, Haines's voice said, and I feel as one. I
+don't want to see my country fall into the hands of German jews either.
+That's our national problem, I'm afraid, just now.
+
+Two men stood at the verge of the cliff, watching: businessman, boatman.
+
+--She's making for Bullock harbour.
+
+The boatman nodded towards the north of the bay with some disdain.
+
+--There's five fathoms out there, he said. It'll be swept up that way
+when the tide comes in about one. It's nine days today.
+
+The man that was drowned. A sail veering about the blank bay waiting for
+a swollen bundle to bob up, roll over to the sun a puffy face, saltwhite.
+Here I am.
+
+They followed the winding path down to the creek. Buck Mulligan stood on
+a stone, in shirtsleeves, his unclipped tie rippling over his shoulder. A
+young man clinging to a spur of rock near him, moved slowly frogwise his
+green legs in the deep jelly of the water.
+
+--Is the brother with you, Malachi?
+
+--Down in Westmeath. With the Bannons.
+
+--Still there? I got a card from Bannon. Says he found a sweet young
+thing down there. Photo girl he calls her.
+
+--Snapshot, eh? Brief exposure.
+
+Buck Mulligan sat down to unlace his boots. An elderly man shot up near
+the spur of rock a blowing red face. He scrambled up by the stones, water
+glistening on his pate and on its garland of grey hair, water rilling
+over his chest and paunch and spilling jets out of his black sagging
+loincloth.
+
+Buck Mulligan made way for him to scramble past and, glancing at Haines
+and Stephen, crossed himself piously with his thumbnail at brow and lips
+and breastbone.
+
+--Seymour's back in town, the young man said, grasping again his spur of
+rock. Chucked medicine and going in for the army.
+
+--Ah, go to God! Buck Mulligan said.
+
+--Going over next week to stew. You know that red Carlisle girl, Lily?
+
+--Yes.
+
+--Spooning with him last night on the pier. The father is rotto with
+money.
+
+--Is she up the pole?
+
+--Better ask Seymour that.
+
+--Seymour a bleeding officer! Buck Mulligan said.
+
+He nodded to himself as he drew off his trousers and stood up, saying
+tritely:
+
+--Redheaded women buck like goats.
+
+He broke off in alarm, feeling his side under his flapping shirt.
+
+--My twelfth rib is gone, he cried. I'm the UBERMENSCH. Toothless Kinch
+and I, the supermen.
+
+He struggled out of his shirt and flung it behind him to where his
+clothes lay.
+
+--Are you going in here, Malachi?
+
+--Yes. Make room in the bed.
+
+The young man shoved himself backward through the water and reached the
+middle of the creek in two long clean strokes. Haines sat down on a
+stone, smoking.
+
+--Are you not coming in? Buck Mulligan asked.
+
+--Later on, Haines said. Not on my breakfast.
+
+Stephen turned away.
+
+--I'm going, Mulligan, he said.
+
+--Give us that key, Kinch, Buck Mulligan said, to keep my chemise flat.
+
+Stephen handed him the key. Buck Mulligan laid it across his heaped
+clothes.
+
+--And twopence, he said, for a pint. Throw it there.
+
+Stephen threw two pennies on the soft heap. Dressing, undressing. Buck
+Mulligan erect, with joined hands before him, said solemnly:
+
+--He who stealeth from the poor lendeth to the Lord. Thus spake
+Zarathustra.
+
+His plump body plunged.
+
+--We'll see you again, Haines said, turning as Stephen walked up the path
+and smiling at wild Irish.
+
+Horn of a bull, hoof of a horse, smile of a Saxon.
+
+--The Ship, Buck Mulligan cried. Half twelve.
+
+--Good, Stephen said.
+
+He walked along the upwardcurving path.
+
+
+    LILIATA RUTILANTIUM.
+    TURMA CIRCUMDET.
+    IUBILANTIUM TE VIRGINUM.
+
+
+The priest's grey nimbus in a niche where he dressed discreetly. I will
+not sleep here tonight. Home also I cannot go.
+
+A voice, sweettoned and sustained, called to him from the sea. Turning
+the curve he waved his hand. It called again. A sleek brown head, a
+seal's, far out on the water, round.
+
+Usurper.
+
+
+    * * * * * * *
+
+
+--You, Cochrane, what city sent for him?
+
+--Tarentum, sir.
+
+--Very good. Well?
+
+--There was a battle, sir.
+
+--Very good. Where?
+
+The boy's blank face asked the blank window.
+
+Fabled by the daughters of memory. And yet it was in some way if not as
+memory fabled it. A phrase, then, of impatience, thud of Blake's wings of
+excess. I hear the ruin of all space, shattered glass and toppling
+masonry, and time one livid final flame. What's left us then?
+
+--I forget the place, sir. 279 B. C.
+
+--Asculum, Stephen said, glancing at the name and date in the gorescarred
+book.
+
+--Yes, sir. And he said: ANOTHER VICTORY LIKE THAT AND WE ARE DONE FOR.
+
+That phrase the world had remembered. A dull ease of the mind. From a
+hill above a corpsestrewn plain a general speaking to his officers,
+leaned upon his spear. Any general to any officers. They lend ear.
+
+--You, Armstrong, Stephen said. What was the end of Pyrrhus?
+
+--End of Pyrrhus, sir?
+
+--I know, sir. Ask me, sir, Comyn said.
+
+--Wait. You, Armstrong. Do you know anything about Pyrrhus?
+
+A bag of figrolls lay snugly in Armstrong's satchel. He curled them
+between his palms at whiles and swallowed them softly. Crumbs adhered to
+the tissue of his lips. A sweetened boy's breath. Welloff people, proud
+that their eldest son was in the navy. Vico road, Dalkey.
+
+--Pyrrhus, sir? Pyrrhus, a pier.
+
+All laughed. Mirthless high malicious laughter. Armstrong looked round at
+his classmates, silly glee in profile. In a moment they will laugh more
+loudly, aware of my lack of rule and of the fees their papas pay.
+
+--Tell me now, Stephen said, poking the boy's shoulder with the book,
+what is a pier.
+
+--A pier, sir, Armstrong said. A thing out in the water. A kind of a
+bridge. Kingstown pier, sir.
+
+Some laughed again: mirthless but with meaning. Two in the back bench
+whispered. Yes. They knew: had never learned nor ever been innocent. All.
+With envy he watched their faces: Edith, Ethel, Gerty, Lily. Their likes:
+their breaths, too, sweetened with tea and jam, their bracelets tittering
+in the struggle.
+
+--Kingstown pier, Stephen said. Yes, a disappointed bridge.
+
+The words troubled their gaze.
+
+--How, sir? Comyn asked. A bridge is across a river.
+
+For Haines's chapbook. No-one here to hear. Tonight deftly amid wild
+drink and talk, to pierce the polished mail of his mind. What then? A
+jester at the court of his master, indulged and disesteemed, winning a
+clement master's praise. Why had they chosen all that part? Not wholly
+for the smooth caress. For them too history was a tale like any other too
+often heard, their land a pawnshop.
+
+Had Pyrrhus not fallen by a beldam's hand in Argos or Julius Caesar not
+been knifed to death. They are not to be thought away. Time has branded
+them and fettered they are lodged in the room of the infinite
+possibilities they have ousted. But can those have been possible seeing
+that they never were? Or was that only possible which came to pass?
+Weave, weaver of the wind.
+
+--Tell us a story, sir.
+
+--O, do, sir. A ghoststory.
+
+--Where do you begin in this? Stephen asked, opening another book.
+
+--WEEP NO MORE, Comyn said.
+
+--Go on then, Talbot.
+
+--And the story, sir?
+
+--After, Stephen said. Go on, Talbot.
+
+A swarthy boy opened a book and propped it nimbly under the breastwork of
+his satchel. He recited jerks of verse with odd glances at the text:
+
+
+  --WEEP NO MORE, WOFUL SHEPHERDS, WEEP NO MORE
+    FOR LYCIDAS, YOUR SORROW, IS NOT DEAD,
+    SUNK THOUGH HE BE BENEATH THE WATERY FLOOR ...
+
+
+It must be a movement then, an actuality of the possible as possible.
+Aristotle's phrase formed itself within the gabbled verses and floated
+out into the studious silence of the library of Saint Genevieve where he
+had read, sheltered from the sin of Paris, night by night. By his elbow a
+delicate Siamese conned a handbook of strategy. Fed and feeding brains
+about me: under glowlamps, impaled, with faintly beating feelers: and in
+my mind's darkness a sloth of the underworld, reluctant, shy of
+brightness, shifting her dragon scaly folds. Thought is the thought of
+thought. Tranquil brightness. The soul is in a manner all that is: the
+soul is the form of forms. Tranquility sudden, vast, candescent: form of
+forms.
+
+Talbot repeated:
+
+
+  --THROUGH THE DEAR MIGHT OF HIM THAT WALKED THE WAVES,
+    THROUGH THE DEAR MIGHT ...
+
+
+--Turn over, Stephen said quietly. I don't see anything.
+
+--What, sir? Talbot asked simply, bending forward.
+
+His hand turned the page over. He leaned back and went on again,
+having just remembered. Of him that walked the waves. Here also over
+these craven hearts his shadow lies and on the scoffer's heart and lips
+and on mine. It lies upon their eager faces who offered him a coin of the
+tribute. To Caesar what is Caesar's, to God what is God's. A long look
+from dark eyes, a riddling sentence to be woven and woven on the church's
+looms. Ay.
+
+
+    RIDDLE ME, RIDDLE ME, RANDY RO.
+    MY FATHER GAVE ME SEEDS TO SOW.
+
+
+Talbot slid his closed book into his satchel.
+
+--Have I heard all? Stephen asked.
+
+--Yes, sir. Hockey at ten, sir.
+
+--Half day, sir. Thursday.
+
+--Who can answer a riddle? Stephen asked.
+
+They bundled their books away, pencils clacking, pages rustling.
+Crowding together they strapped and buckled their satchels, all gabbling
+gaily:
+
+--A riddle, sir? Ask me, sir.
+
+--O, ask me, sir.
+
+--A hard one, sir.
+
+--This is the riddle, Stephen said:
+
+
+    THE COCK CREW,
+    THE SKY WAS BLUE:
+    THE BELLS IN HEAVEN
+    WERE STRIKING ELEVEN.
+    'TIS TIME FOR THIS POOR SOUL
+    TO GO TO HEAVEN.
+
+
+What is that?
+
+--What, sir?
+
+--Again, sir. We didn't hear.
+
+Their eyes grew bigger as the lines were repeated. After a silence
+Cochrane said:
+
+--What is it, sir? We give it up.
+
+Stephen, his throat itching, answered:
+
+--The fox burying his grandmother under a hollybush.
+
+He stood up and gave a shout of nervous laughter to which their cries
+echoed dismay.
+
+A stick struck the door and a voice in the corridor called:
+
+--Hockey!
+
+They broke asunder, sidling out of their benches, leaping them.
+Quickly they were gone and from the lumberroom came the rattle of sticks
+and clamour of their boots and tongues.
+
+Sargent who alone had lingered came forward slowly, showing an
+open copybook. His thick hair and scraggy neck gave witness of
+unreadiness and through his misty glasses weak eyes looked up pleading.
+On his cheek, dull and bloodless, a soft stain of ink lay, dateshaped,
+recent and damp as a snail's bed.
+
+He held out his copybook. The word SUMS was written on the
+headline. Beneath were sloping figures and at the foot a crooked signature
+with blind loops and a blot. Cyril Sargent: his name and seal.
+
+--Mr Deasy told me to write them out all again, he said, and show them to
+you, sir.
+
+Stephen touched the edges of the book. Futility.
+
+--Do you understand how to do them now? he asked.
+
+--Numbers eleven to fifteen, Sargent answered. Mr Deasy said I was to
+copy them off the board, sir.
+
+--Can you do them. yourself? Stephen asked.
+
+--No, sir.
+
+Ugly and futile: lean neck and thick hair and a stain of ink, a snail's
+bed. Yet someone had loved him, borne him in her arms and in her heart.
+But for her the race of the world would have trampled him underfoot, a
+squashed boneless snail. She had loved his weak watery blood drained from
+her own. Was that then real? The only true thing in life? His mother's
+prostrate body the fiery Columbanus in holy zeal bestrode. She was no
+more: the trembling skeleton of a twig burnt in the fire, an odour of
+rosewood and wetted ashes. She had saved him from being trampled
+underfoot and had gone, scarcely having been. A poor soul gone to heaven:
+and on a heath beneath winking stars a fox, red reek of rapine in his fur,
+with merciless bright eyes scraped in the earth, listened, scraped up the
+earth, listened, scraped and scraped.
+
+Sitting at his side Stephen solved out the problem. He proves by
+algebra that Shakespeare's ghost is Hamlet's grandfather. Sargent peered
+askance through his slanted glasses. Hockeysticks rattled in the
+lumberroom: the hollow knock of a ball and calls from the field.
+
+Across the page the symbols moved in grave morrice, in the mummery
+of their letters, wearing quaint caps of squares and cubes. Give hands,
+traverse, bow to partner: so: imps of fancy of the Moors. Gone too from
+the world, Averroes and Moses Maimonides, dark men in mien and
+movement, flashing in their mocking mirrors the obscure soul of the
+world, a darkness shining in brightness which brightness could not
+comprehend.
+
+--Do you understand now? Can you work the second for yourself?
+
+--Yes, sir.
+
+In long shaky strokes Sargent copied the data. Waiting always for a
+word of help his hand moved faithfully the unsteady symbols, a faint hue
+of shame flickering behind his dull skin. AMOR MATRIS: subjective and
+objective genitive. With her weak blood and wheysour milk she had fed him
+and hid from sight of others his swaddling bands.
+
+Like him was I, these sloping shoulders, this gracelessness. My
+childhood bends beside me. Too far for me to lay a hand there once or
+lightly. Mine is far and his secret as our eyes. Secrets, silent, stony
+sit in the dark palaces of both our hearts: secrets weary of their
+tyranny: tyrants, willing to be dethroned.
+
+The sum was done.
+
+--It is very simple, Stephen said as he stood up.
+
+--Yes, sir. Thanks, Sargent answered.
+
+He dried the page with a sheet of thin blottingpaper and carried his
+copybook back to his bench.
+
+--You had better get your stick and go out to the others, Stephen said as
+he followed towards the door the boy's graceless form.
+
+--Yes, sir.
+
+In the corridor his name was heard, called from the playfield.
+
+--Sargent!
+
+--Run on, Stephen said. Mr Deasy is calling you.
+
+He stood in the porch and watched the laggard hurry towards the
+scrappy field where sharp voices were in strife. They were sorted in teams
+and Mr Deasy came away stepping over wisps of grass with gaitered feet.
+When he had reached the schoolhouse voices again contending called to
+him. He turned his angry white moustache.
+
+--What is it now? he cried continually without listening.
+
+--Cochrane and Halliday are on the same side, sir, Stephen said.
+
+--Will you wait in my study for a moment, Mr Deasy said, till I restore
+order here.
+
+And as he stepped fussily back across the field his old man's voice
+cried sternly:
+
+--What is the matter? What is it now?
+
+Their sharp voices cried about him on all sides: their many forms
+closed round him, the garish sunshine bleaching the honey of his illdyed
+head.
+
+Stale smoky air hung in the study with the smell of drab abraded
+leather of its chairs. As on the first day he bargained with me here. As
+it was in the beginning, is now. On the sideboard the tray of Stuart
+coins, base treasure of a bog: and ever shall be. And snug in their
+spooncase of purple plush, faded, the twelve apostles having preached to
+all the gentiles: world without end.
+
+A hasty step over the stone porch and in the corridor. Blowing out his
+rare moustache Mr Deasy halted at the table.
+
+--First, our little financial settlement, he said.
+
+He brought out of his coat a pocketbook bound by a leather thong. It
+slapped open and he took from it two notes, one of joined halves, and laid
+them carefully on the table.
+
+--Two, he said, strapping and stowing his pocketbook away.
+
+And now his strongroom for the gold. Stephen's embarrassed hand
+moved over the shells heaped in the cold stone mortar: whelks and money
+cowries and leopard shells: and this, whorled as an emir's turban, and
+this, the scallop of saint James. An old pilgrim's hoard, dead treasure,
+hollow shells.
+
+A sovereign fell, bright and new, on the soft pile of the tablecloth.
+
+--Three, Mr Deasy said, turning his little savingsbox about in his hand.
+These are handy things to have. See. This is for sovereigns. This is for
+shillings. Sixpences, halfcrowns. And here crowns. See.
+
+He shot from it two crowns and two shillings.
+
+--Three twelve, he said. I think you'll find that's right.
+
+--Thank you, sir, Stephen said, gathering the money together with shy
+haste and putting it all in a pocket of his trousers.
+
+--No thanks at all, Mr Deasy said. You have earned it.
+
+Stephen's hand, free again, went back to the hollow shells. Symbols
+too of beauty and of power. A lump in my pocket: symbols soiled by greed
+and misery.
+
+--Don't carry it like that, Mr Deasy said. You'll pull it out somewhere
+and lose it. You just buy one of these machines. You'll find them very
+handy.
+
+Answer something.
+
+--Mine would be often empty, Stephen said.
+
+The same room and hour, the same wisdom: and I the same. Three
+times now. Three nooses round me here. Well? I can break them in this
+instant if I will.
+
+--Because you don't save, Mr Deasy said, pointing his finger. You don't
+know yet what money is. Money is power. When you have lived as long as I
+have. I know, I know. If youth but knew. But what does Shakespeare say?
+PUT BUT MONEY IN THY PURSE.
+
+--Iago, Stephen murmured.
+
+He lifted his gaze from the idle shells to the old man's stare.
+
+--He knew what money was, Mr Deasy said. He made money. A poet, yes,
+but an Englishman too. Do you know what is the pride of the English? Do
+you know what is the proudest word you will ever hear from an
+Englishman's mouth?
+
+The seas' ruler. His seacold eyes looked on the empty bay: it seems
+history is to blame: on me and on my words, unhating.
+
+--That on his empire, Stephen said, the sun never sets.
+
+--Ba! Mr Deasy cried. That's not English. A French Celt said that. He
+tapped his savingsbox against his thumbnail.
+
+--I will tell you, he said solemnly, what is his proudest boast. I PAID
+MY WAY.
+
+Good man, good man.
+
+--I PAID MY WAY. I NEVER BORROWED A SHILLING IN MY LIFE. Can you feel
+that? I OWE NOTHING. Can you?
+
+Mulligan, nine pounds, three pairs of socks, one pair brogues, ties.
+Curran, ten guineas. McCann, one guinea. Fred Ryan, two shillings.
+Temple, two lunches. Russell, one guinea, Cousins, ten shillings, Bob
+Reynolds, half a guinea, Koehler, three guineas, Mrs MacKernan, five
+weeks' board. The lump I have is useless.
+
+--For the moment, no, Stephen answered.
+
+Mr Deasy laughed with rich delight, putting back his savingsbox.
+
+--I knew you couldn't, he said joyously. But one day you must feel it. We
+are a generous people but we must also be just.
+
+--I fear those big words, Stephen said, which make us so unhappy.
+
+Mr Deasy stared sternly for some moments over the mantelpiece at
+the shapely bulk of a man in tartan filibegs: Albert Edward, prince of
+Wales.
+
+--You think me an old fogey and an old tory, his thoughtful voice said. I
+saw three generations since O'Connell's time. I remember the famine
+in '46. Do you know that the orange lodges agitated for repeal of the
+union twenty years before O'Connell did or before the prelates of your
+communion denounced him as a demagogue? You fenians forget some things.
+
+Glorious, pious and immortal memory. The lodge of Diamond in
+Armagh the splendid behung with corpses of papishes. Hoarse, masked and
+armed, the planters' covenant. The black north and true blue bible.
+Croppies lie down.
+
+Stephen sketched a brief gesture.
+
+--I have rebel blood in me too, Mr Deasy said. On the spindle side. But I
+am descended from sir John Blackwood who voted for the union. We are all
+Irish, all kings' sons.
+
+--Alas, Stephen said.
+
+--PER VIAS RECTAS, Mr Deasy said firmly, was his motto. He voted for it
+and put on his topboots to ride to Dublin from the Ards of Down to do so.
+
+
+    LAL THE RAL THE RA
+    THE ROCKY ROAD TO DUBLIN.
+
+
+A gruff squire on horseback with shiny topboots. Soft day, sir John!
+Soft day, your honour! ... Day! ... Day! ... Two topboots jog dangling
+on to Dublin. Lal the ral the ra. Lal the ral the raddy.
+
+--That reminds me, Mr Deasy said. You can do me a favour, Mr Dedalus,
+with some of your literary friends. I have a letter here for the press.
+Sit down a moment. I have just to copy the end.
+
+He went to the desk near the window, pulled in his chair twice and
+read off some words from the sheet on the drum of his typewriter.
+
+--Sit down. Excuse me, he said over his shoulder, THE DICTATES OF COMMON
+SENSE. Just a moment.
+
+He peered from under his shaggy brows at the manuscript by his
+elbow and, muttering, began to prod the stiff buttons of the keyboard
+slowly, sometimes blowing as he screwed up the drum to erase an error.
+
+Stephen seated himself noiselessly before the princely presence.
+Framed around the walls images of vanished horses stood in homage, their
+meek heads poised in air: lord Hastings' Repulse, the duke of
+Westminster's Shotover, the duke of Beaufort's Ceylon, PRIX DE PARIS,
+1866. Elfin riders sat them, watchful of a sign. He saw their speeds,
+backing king's colours, and shouted with the shouts of vanished crowds.
+
+--Full stop, Mr Deasy bade his keys. But prompt ventilation of this
+allimportant question ...
+
+Where Cranly led me to get rich quick, hunting his winners among
+the mudsplashed brakes, amid the bawls of bookies on their pitches and
+reek of the canteen, over the motley slush. Fair Rebel! Fair Rebel! Even
+money the favourite: ten to one the field. Dicers and thimbleriggers we
+hurried by after the hoofs, the vying caps and jackets and past the
+meatfaced woman, a butcher's dame, nuzzling thirstily her clove of orange.
+
+Shouts rang shrill from the boys' playfield and a whirring whistle.
+
+Again: a goal. I am among them, among their battling bodies in a
+medley, the joust of life. You mean that knockkneed mother's darling who
+seems to be slightly crawsick? Jousts. Time shocked rebounds, shock by
+shock. Jousts, slush and uproar of battles, the frozen deathspew of the
+slain, a shout of spearspikes baited with men's bloodied guts.
+
+--Now then, Mr Deasy said, rising.
+
+He came to the table, pinning together his sheets. Stephen stood up.
+
+--I have put the matter into a nutshell, Mr Deasy said. It's about the
+foot and mouth disease. Just look through it. There can be no two opinions
+on the matter.
+
+May I trespass on your valuable space. That doctrine of LAISSEZ FAIRE
+which so often in our history. Our cattle trade. The way of all our old
+industries. Liverpool ring which jockeyed the Galway harbour scheme.
+European conflagration. Grain supplies through the narrow waters of the
+channel. The pluterperfect imperturbability of the department of
+agriculture. Pardoned a classical allusion. Cassandra. By a woman who
+was no better than she should be. To come to the point at issue.
+
+--I don't mince words, do I? Mr Deasy asked as Stephen read on.
+
+Foot and mouth disease. Known as Koch's preparation. Serum and
+virus. Percentage of salted horses. Rinderpest. Emperor's horses at
+Murzsteg, lower Austria. Veterinary surgeons. Mr Henry Blackwood Price.
+Courteous offer a fair trial. Dictates of common sense. Allimportant
+question. In every sense of the word take the bull by the horns. Thanking
+you for the hospitality of your columns.
+
+--I want that to be printed and read, Mr Deasy said. You will see at the
+next outbreak they will put an embargo on Irish cattle. And it can be
+cured. It is cured. My cousin, Blackwood Price, writes to me it is
+regularly treated and cured in Austria by cattledoctors there. They offer
+to come over here. I am trying to work up influence with the department.
+Now I'm going to try publicity. I am surrounded by difficulties,
+by ... intrigues by ... backstairs influence by ...
+
+He raised his forefinger and beat the air oldly before his voice spoke.
+
+--Mark my words, Mr Dedalus, he said. England is in the hands of the
+jews. In all the highest places: her finance, her press. And they are the
+signs of a nation's decay. Wherever they gather they eat up the nation's
+vital strength. I have seen it coming these years. As sure as we are
+standing here the jew merchants are already at their work of destruction.
+Old England is dying.
+
+He stepped swiftly off, his eyes coming to blue life as they passed a
+broad sunbeam. He faced about and back again.
+
+--Dying, he said again, if not dead by now.
+
+
+    THE HARLOT'S CRY FROM STREET TO STREET
+    SHALL WEAVE OLD ENGLAND'S WINDINGSHEET.
+
+
+His eyes open wide in vision stared sternly across the sunbeam in
+which he halted.
+
+--A merchant, Stephen said, is one who buys cheap and sells dear, jew or
+gentile, is he not?
+
+--They sinned against the light, Mr Deasy said gravely. And you can see
+the darkness in their eyes. And that is why they are wanderers on the
+earth to this day.
+
+On the steps of the Paris stock exchange the goldskinned men quoting
+prices on their gemmed fingers. Gabble of geese. They swarmed loud,
+uncouth about the temple, their heads thickplotting under maladroit silk
+hats. Not theirs: these clothes, this speech, these gestures. Their full
+slow eyes belied the words, the gestures eager and unoffending, but knew
+the rancours massed about them and knew their zeal was vain. Vain patience
+to heap and hoard. Time surely would scatter all. A hoard heaped by the
+roadside: plundered and passing on. Their eyes knew their years of
+wandering and, patient, knew the dishonours of their flesh.
+
+--Who has not? Stephen said.
+
+--What do you mean? Mr Deasy asked.
+
+He came forward a pace and stood by the table. His underjaw fell
+sideways open uncertainly. Is this old wisdom? He waits to hear from me.
+
+--History, Stephen said, is a nightmare from which I am trying to awake.
+
+From the playfield the boys raised a shout. A whirring whistle: goal.
+What if that nightmare gave you a back kick?
+
+--The ways of the Creator are not our ways, Mr Deasy said. All human
+history moves towards one great goal, the manifestation of God.
+
+Stephen jerked his thumb towards the window, saying:
+
+--That is God.
+
+Hooray! Ay! Whrrwhee!
+
+--What? Mr Deasy asked.
+
+--A shout in the street, Stephen answered, shrugging his shoulders.
+
+Mr Deasy looked down and held for awhile the wings of his nose
+tweaked between his fingers. Looking up again he set them free.
+
+--I am happier than you are, he said. We have committed many errors and
+many sins. A woman brought sin into the world. For a woman who was no
+better than she should be, Helen, the runaway wife of Menelaus, ten years
+the Greeks made war on Troy. A faithless wife first brought the strangers
+to our shore here, MacMurrough's wife and her leman, O'Rourke, prince of
+Breffni. A woman too brought Parnell low. Many errors, many failures but
+not the one sin. I am a struggler now at the end of my days. But I will
+fight for the right till the end.
+
+
+    FOR ULSTER WILL FIGHT
+    AND ULSTER WILL BE RIGHT.
+
+
+Stephen raised the sheets in his hand.
+
+--Well, sir, he began ...
+
+--I foresee, Mr Deasy said, that you will not remain here very long at
+this work. You were not born to be a teacher, I think. Perhaps I am
+wrong.
+
+--A learner rather, Stephen said.
+
+And here what will you learn more?
+
+Mr Deasy shook his head.
+
+--Who knows? he said. To learn one must be humble. But life is the great
+teacher.
+
+Stephen rustled the sheets again.
+
+--As regards these, he began.
+
+--Yes, Mr Deasy said. You have two copies there. If you can have them
+published at once.
+
+TELEGRAPH. IRISH HOMESTEAD.
+
+--I will try, Stephen said, and let you know tomorrow. I know two editors
+slightly.
+
+--That will do, Mr Deasy said briskly. I wrote last night to Mr Field,
+M.P. There is a meeting of the cattletraders' association today at the
+City Arms hotel. I asked him to lay my letter before the meeting. You see
+if you can get it into your two papers. What are they?
+
+--THE EVENING TELEGRAPH ...
+
+--That will do, Mr Deasy said. There is no time to lose. Now I have to
+answer that letter from my cousin.
+
+--Good morning, sir, Stephen said, putting the sheets in his pocket.
+Thank you.
+
+--Not at all, Mr Deasy said as he searched the papers on his desk. I like
+to break a lance with you, old as I am.
+
+--Good morning, sir, Stephen said again, bowing to his bent back.
+
+He went out by the open porch and down the gravel path under the
+trees, hearing the cries of voices and crack of sticks from the playfield.
+The lions couchant on the pillars as he passed out through the gate:
+toothless terrors. Still I will help him in his fight. Mulligan will dub
+me a new name: the bullockbefriending bard.
+
+--Mr Dedalus!
+
+Running after me. No more letters, I hope.
+
+--Just one moment.
+
+--Yes, sir, Stephen said, turning back at the gate.
+
+Mr Deasy halted, breathing hard and swallowing his breath.
+
+--I just wanted to say, he said. Ireland, they say, has the honour of
+being the only country which never persecuted the jews. Do you know that?
+No. And do you know why?
+
+He frowned sternly on the bright air.
+
+--Why, sir? Stephen asked, beginning to smile.
+
+--Because she never let them in, Mr Deasy said solemnly.
+
+A coughball of laughter leaped from his throat dragging after it a
+rattling chain of phlegm. He turned back quickly, coughing, laughing, his
+lifted arms waving to the air.
+
+--She never let them in, he cried again through his laughter as he
+stamped on gaitered feet over the gravel of the path. That's why.
+
+On his wise shoulders through the checkerwork of leaves the sun flung
+spangles, dancing coins.
+
+
+    * * * * * * *
+
+
+Ineluctable modality of the visible: at least that if no more, thought
+through my eyes. Signatures of all things I am here to read, seaspawn and
+seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust:
+coloured signs. Limits of the diaphane. But he adds: in bodies. Then he
+was aware of them bodies before of them coloured. How? By knocking his
+sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO
+DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane,
+adiaphane. If you can put your five fingers through it it is a gate, if
+not a door. Shut your eyes and see.
+
+Stephen closed his eyes to hear his boots crush crackling wrack and
+shells. You are walking through it howsomever. I am, a stride at a time. A
+very short space of time through very short times of space. Five, six: the
+NACHEINANDER. Exactly: and that is the ineluctable modality of the
+audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles
+o'er his base, fell through the NEBENEINANDER ineluctably! I am getting on
+nicely in the dark. My ash sword hangs at my side. Tap with it: they do.
+My two feet in his boots are at the ends of his legs, NEBENEINANDER.
+Sounds solid: made by the mallet of LOS DEMIURGOS. Am I walking into
+eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea
+money. Dominie Deasy kens them a'.
+
+
+    WON'T YOU COME TO SANDYMOUNT,
+    MADELINE THE MARE?
+
+
+Rhythm begins, you see. I hear. Acatalectic tetrameter of iambs
+marching. No, agallop: DELINE THE MARE.
+
+Open your eyes now. I will. One moment. Has all vanished since? If I
+open and am for ever in the black adiaphane. BASTA! I will see if I can
+see.
+
+See now. There all the time without you: and ever shall be, world
+without end.
+
+They came down the steps from Leahy's terrace prudently,
+FRAUENZIMMER: and down the shelving shore flabbily, their splayed feet
+sinking in the silted sand. Like me, like Algy, coming down to our mighty
+mother. Number one swung lourdily her midwife's bag, the other's gamp
+poked in the beach. From the liberties, out for the day. Mrs Florence
+MacCabe, relict of the late Patk MacCabe, deeply lamented, of Bride
+Street. One of her sisterhood lugged me squealing into life. Creation from
+nothing. What has she in the bag? A misbirth with a trailing navelcord,
+hushed in ruddy wool. The cords of all link back, strandentwining cable of
+all flesh. That is why mystic monks. Will you be as gods? Gaze in your
+OMPHALOS. Hello! Kinch here. Put me on to Edenville. Aleph, alpha: nought,
+nought, one.
+
+Spouse and helpmate of Adam Kadmon: Heva, naked Eve. She had
+no navel. Gaze. Belly without blemish, bulging big, a buckler of taut
+vellum, no, whiteheaped corn, orient and immortal, standing from
+everlasting to everlasting. Womb of sin.
+
+Wombed in sin darkness I was too, made not begotten. By them, the
+man with my voice and my eyes and a ghostwoman with ashes on her
+breath. They clasped and sundered, did the coupler's will. From before the
+ages He willed me and now may not will me away or ever. A LEX ETERNA
+stays about Him. Is that then the divine substance wherein Father and Son
+are consubstantial? Where is poor dear Arius to try conclusions? Warring
+his life long upon the contransmagnificandjewbangtantiality. Illstarred
+heresiarch' In a Greek watercloset he breathed his last: euthanasia. With
+beaded mitre and with crozier, stalled upon his throne, widower of a
+widowed see, with upstiffed omophorion, with clotted hinderparts.
+
+Airs romped round him, nipping and eager airs. They are coming,
+waves. The whitemaned seahorses, champing, brightwindbridled, the steeds
+of Mananaan.
+
+I mustn't forget his letter for the press. And after? The Ship, half
+twelve. By the way go easy with that money like a good young imbecile.
+
+Yes, I must.
+
+His pace slackened. Here. Am I going to aunt Sara's or not? My
+consubstantial father's voice. Did you see anything of your artist brother
+Stephen lately? No? Sure he's not down in Strasburg terrace with his aunt
+
+Sally? Couldn't he fly a bit higher than that, eh? And and and and tell
+us, Stephen, how is uncle Si? O, weeping God, the things I married into!
+De boys up in de hayloft. The drunken little costdrawer and his brother,
+the cornet player. Highly respectable gondoliers! And skeweyed Walter
+sirring his father, no less! Sir. Yes, sir. No, sir. Jesus wept: and no
+wonder, by Christ!
+
+I pull the wheezy bell of their shuttered cottage: and wait. They take
+me for a dun, peer out from a coign of vantage.
+
+--It's Stephen, sir.
+
+--Let him in. Let Stephen in.
+
+A bolt drawn back and Walter welcomes me.
+
+--We thought you were someone else.
+
+In his broad bed nuncle Richie, pillowed and blanketed, extends over
+the hillock of his knees a sturdy forearm. Cleanchested. He has washed the
+upper moiety.
+
+--Morrow, nephew.
+
+He lays aside the lapboard whereon he drafts his bills of costs for the
+eyes of master Goff and master Shapland Tandy, filing consents and
+common searches and a writ of DUCES TECUM. A bogoak frame over his bald
+head: Wilde's REQUIESCAT. The drone of his misleading whistle brings
+Walter back.
+
+--Yes, sir?
+
+--Malt for Richie and Stephen, tell mother. Where is she?
+
+--Bathing Crissie, sir.
+
+Papa's little bedpal. Lump of love.
+
+--No, uncle Richie ...
+
+--Call me Richie. Damn your lithia water. It lowers. Whusky!
+
+--Uncle Richie, really ...
+
+--Sit down or by the law Harry I'll knock you down.
+
+Walter squints vainly for a chair.
+
+--He has nothing to sit down on, sir.
+
+--He has nowhere to put it, you mug. Bring in our chippendale chair.
+Would you like a bite of something? None of your damned lawdeedaw airs
+here. The rich of a rasher fried with a herring? Sure? So much the better.
+We have nothing in the house but backache pills.
+
+ALL'ERTA!
+
+He drones bars of Ferrando's ARIA DI SORTITA. The grandest number,
+Stephen, in the whole opera. Listen.
+
+His tuneful whistle sounds again, finely shaded, with rushes of the air,
+his fists bigdrumming on his padded knees.
+
+This wind is sweeter.
+
+Houses of decay, mine, his and all. You told the Clongowes gentry
+you had an uncle a judge and an uncle a general in the army. Come out of
+them, Stephen. Beauty is not there. Nor in the stagnant bay of Marsh's
+library where you read the fading prophecies of Joachim Abbas. For
+whom? The hundredheaded rabble of the cathedral close. A hater of his
+kind ran from them to the wood of madness, his mane foaming in the
+moon, his eyeballs stars. Houyhnhnm, horsenostrilled. The oval equine
+faces, Temple, Buck Mulligan, Foxy Campbell, Lanternjaws. Abbas father,--
+furious dean, what offence laid fire to their brains? Paff! DESCENDE,
+CALVE, UT NE AMPLIUS DECALVERIS. A garland of grey hair on his comminated
+head see him me clambering down to the footpace (DESCENDE!), clutching a
+monstrance, basiliskeyed. Get down, baldpoll! A choir gives back menace
+and echo, assisting about the altar's horns, the snorted Latin of
+jackpriests moving burly in their albs, tonsured and oiled and gelded, fat
+with the fat of kidneys of wheat.
+
+And at the same instant perhaps a priest round the corner is elevating it.
+Dringdring! And two streets off another locking it into a pyx.
+Dringadring! And in a ladychapel another taking housel all to his own
+cheek. Dringdring! Down, up, forward, back. Dan Occam thought of that,
+invincible doctor. A misty English morning the imp hypostasis tickled his
+brain. Bringing his host down and kneeling he heard twine with his second
+bell the first bell in the transept (he is lifting his) and, rising, heard
+(now I am lifting) their two bells (he is kneeling) twang in diphthong.
+
+Cousin Stephen, you will never be a saint. Isle of saints. You were
+awfully holy, weren't you? You prayed to the Blessed Virgin that you might
+not have a red nose. You prayed to the devil in Serpentine avenue that the
+fubsy widow in front might lift her clothes still more from the wet
+street. O SI, CERTO! Sell your soul for that, do, dyed rags pinned round a
+squaw. More tell me, more still!! On the top of the Howth tram alone
+crying to the rain: Naked women! NAKED WOMEN! What about that, eh?
+
+What about what? What else were they invented for?
+
+Reading two pages apiece of seven books every night, eh? I was
+young. You bowed to yourself in the mirror, stepping forward to applause
+earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one
+saw: tell no-one. Books you were going to write with letters for titles.
+Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful.
+O yes, W. Remember your epiphanies written on green oval leaves, deeply
+deep, copies to be sent if you died to all the great libraries of the
+world, including Alexandria? Someone was to read them there after a few
+thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like
+a whale. When one reads these strange pages of one long gone one feels
+that one is at one with one who once ...
+
+The grainy sand had gone from under his feet. His boots trod again a
+damp crackling mast, razorshells, squeaking pebbles, that on the
+unnumbered pebbles beats, wood sieved by the shipworm, lost Armada.
+Unwholesome sandflats waited to suck his treading soles, breathing upward
+sewage breath, a pocket of seaweed smouldered in seafire under a midden
+of man's ashes. He coasted them, walking warily. A porterbottle stood up,
+stogged to its waist, in the cakey sand dough. A sentinel: isle of
+dreadful thirst. Broken hoops on the shore; at the land a maze of dark
+cunning nets; farther away chalkscrawled backdoors and on the higher beach
+a dryingline with two crucified shirts. Ringsend: wigwams of brown
+steersmen and master mariners. Human shells.
+
+He halted. I have passed the way to aunt Sara's. Am I not going
+there? Seems not. No-one about. He turned northeast and crossed the
+firmer sand towards the Pigeonhouse.
+
+--QUI VOUS A MIS DANS CETTE FICHUE POSITION?
+
+--C'EST LE PIGEON, JOSEPH.
+
+Patrice, home on furlough, lapped warm milk with me in the bar
+MacMahon. Son of the wild goose, Kevin Egan of Paris. My father's a bird,
+he lapped the sweet LAIT CHAUD with pink young tongue, plump bunny's face.
+Lap, LAPIN. He hopes to win in the GROS LOTS. About the nature of women he
+read in Michelet. But he must send me LA VIE DE JESUS by M. Leo Taxil.
+Lent it to his friend.
+
+--C'EST TORDANT, VOUS SAVEZ. MOI, JE SUIS SOCIALISTE. JE NE CROIS PAS EN
+L'EXISTENCE DE DIEU. FAUT PAS LE DIRE A MON P-RE.
+
+--IL CROIT?
+
+--MON PERE, OUI.
+
+SCHLUSS. He laps.
+
+My Latin quarter hat. God, we simply must dress the character. I
+want puce gloves. You were a student, weren't you? Of what in the other
+devil's name? Paysayenn. P. C. N., you know: PHYSIQUES, CHIMIQUES ET
+NATURELLES. Aha. Eating your groatsworth of MOU EN CIVET, fleshpots of
+Egypt, elbowed by belching cabmen. Just say in the most natural tone:
+when I was in Paris; BOUL' MICH', I used to. Yes, used to carry punched
+tickets to prove an alibi if they arrested you for murder somewhere.
+Justice. On the night of the seventeenth of February 1904 the prisoner was
+seen by two witnesses. Other fellow did it: other me. Hat, tie, overcoat,
+nose. LUI, C'EST MOI. You seem to have enjoyed yourself.
+
+Proudly walking. Whom were you trying to walk like? Forget: a
+dispossessed. With mother's money order, eight shillings, the banging door
+of the post office slammed in your face by the usher. Hunger toothache.
+ENCORE DEUX MINUTES. Look clock. Must get. FERME. Hired dog! Shoot him
+to bloody bits with a bang shotgun, bits man spattered walls all brass
+buttons. Bits all khrrrrklak in place clack back. Not hurt? O, that's all
+right. Shake hands. See what I meant, see? O, that's all right. Shake a
+shake. O, that's all only all right.
+
+You were going to do wonders, what? Missionary to Europe after
+fiery Columbanus. Fiacre and Scotus on their creepystools in heaven spilt
+from their pintpots, loudlatinlaughing: EUGE! EUGE! Pretending to speak
+broken English as you dragged your valise, porter threepence, across the
+slimy pier at Newhaven. COMMENT? Rich booty you brought back; LE TUTU,
+five tattered numbers of PANTALON BLANC ET CULOTTE ROUGE; a blue
+French telegram, curiosity to show:
+
+--Mother dying come home father.
+
+The aunt thinks you killed your mother. That's why she won't.
+
+
+    THEN HERE'S A HEALTH TO MULLIGAN'S AUNT
+    AND I'LL TELL YOU THE REASON WHY.
+    SHE ALWAYS KEPT THINGS DECENT IN
+    THE HANNIGAN FAMILEYE.
+
+
+His feet marched in sudden proud rhythm over the sand furrows,
+along by the boulders of the south wall. He stared at them proudly, piled
+stone mammoth skulls. Gold light on sea, on sand, on boulders. The sun is
+there, the slender trees, the lemon houses.
+
+Paris rawly waking, crude sunlight on her lemon streets. Moist pith of
+farls of bread, the froggreen wormwood, her matin incense, court the air.
+Belluomo rises from the bed of his wife's lover's wife, the kerchiefed
+housewife is astir, a saucer of acetic acid in her hand. In Rodot's Yvonne
+and Madeleine newmake their tumbled beauties, shattering with gold teeth
+CHAUSSONS of pastry, their mouths yellowed with the PUS of FLAN BRETON.
+Faces of Paris men go by, their wellpleased pleasers, curled
+conquistadores.
+
+Noon slumbers. Kevin Egan rolls gunpowder cigarettes through
+fingers smeared with printer's ink, sipping his green fairy as Patrice his
+white. About us gobblers fork spiced beans down their gullets. UN DEMI
+SETIER! A jet of coffee steam from the burnished caldron. She serves me at
+his beck. IL EST IRLANDAIS. HOLLANDAIS? NON FROMAGE. DEUX IRLANDAIS, NOUS,
+IRLANDE, VOUS SAVEZ AH, OUI! She thought you wanted a cheese HOLLANDAIS.
+Your postprandial, do you know that word? Postprandial. There was a
+fellow I knew once in Barcelona, queer fellow, used to call it his
+postprandial. Well: SLAINTE! Around the slabbed tables the tangle of wined
+breaths and grumbling gorges. His breath hangs over our saucestained
+plates, the green fairy's fang thrusting between his lips. Of Ireland, the
+Dalcassians, of hopes, conspiracies, of Arthur Griffith now, A E,
+pimander, good shepherd of men. To yoke me as his yokefellow, our crimes
+our common cause. You're your father's son. I know the voice. His fustian
+shirt, sanguineflowered, trembles its Spanish tassels at his secrets. M.
+Drumont, famous journalist, Drumont, know what he called queen
+Victoria? Old hag with the yellow teeth. VIEILLE OGRESSE with the DENTS
+JAUNES. Maud Gonne, beautiful woman, LA PATRIE, M. Millevoye, Felix
+Faure, know how he died? Licentious men. The froeken, BONNE A TOUT FAIRE,
+who rubs male nakedness in the bath at Upsala. MOI FAIRE, she said, TOUS
+LES MESSIEURS. Not this MONSIEUR, I said. Most licentious custom. Bath a
+most private thing. I wouldn't let my brother, not even my own brother,
+most lascivious thing. Green eyes, I see you. Fang, I feel. Lascivious
+people.
+
+The blue fuse burns deadly between hands and burns clear. Loose
+tobaccoshreds catch fire: a flame and acrid smoke light our corner. Raw
+facebones under his peep of day boy's hat. How the head centre got away,
+authentic version. Got up as a young bride, man, veil, orangeblossoms,
+drove out the road to Malahide. Did, faith. Of lost leaders, the betrayed,
+wild escapes. Disguises, clutched at, gone, not here.
+
+Spurned lover. I was a strapping young gossoon at that time, I tell
+you. I'll show you my likeness one day. I was, faith. Lover, for her love
+he prowled with colonel Richard Burke, tanist of his sept, under the walls
+of Clerkenwell and, crouching, saw a flame of vengeance hurl them upward
+in the fog. Shattered glass and toppling masonry. In gay Paree he hides,
+Egan of Paris, unsought by any save by me. Making his day's stations, the
+dingy printingcase, his three taverns, the Montmartre lair he sleeps short
+night in, rue de la Goutte-d'Or, damascened with flyblown faces of the
+gone. Loveless, landless, wifeless. She is quite nicey comfy without her
+outcast man, madame in rue Git-le-Coeur, canary and two buck lodgers.
+Peachy cheeks, a zebra skirt, frisky as a young thing's. Spurned and
+undespairing. Tell Pat you saw me, won't you? I wanted to get poor Pat a
+job one time. MON FILS, soldier of France. I taught him to sing THE BOYS
+OF KILKENNY ARE STOUT ROARING BLADES. Know that old lay? I taught Patrice
+that. Old Kilkenny: saint Canice, Strongbow's castle on the Nore. Goes
+like this. O, O. He takes me, Napper Tandy, by the hand.
+
+
+    O, O THE BOYS OF
+    KILKENNY ...
+
+
+Weak wasting hand on mine. They have forgotten Kevin Egan, not he
+them. Remembering thee, O Sion.
+
+He had come nearer the edge of the sea and wet sand slapped his
+boots. The new air greeted him, harping in wild nerves, wind of wild air
+of seeds of brightness. Here, I am not walking out to the Kish lightship,
+am I? He stood suddenly, his feet beginning to sink slowly in the quaking
+soil. Turn back.
+
+Turning, he scanned the shore south, his feet sinking again slowly in
+new sockets. The cold domed room of the tower waits. Through the
+barbacans the shafts of light are moving ever, slowly ever as my feet are
+sinking, creeping duskward over the dial floor. Blue dusk, nightfall, deep
+blue night. In the darkness of the dome they wait, their pushedback
+chairs, my obelisk valise, around a board of abandoned platters. Who to
+clear it? He has the key. I will not sleep there when this night comes.
+A shut door of a silent tower, entombing their--blind bodies, the
+panthersahib and his pointer. Call: no answer. He lifted his feet up from
+the suck and turned back by the mole of boulders. Take all, keep all. My
+soul walks with me, form of forms. So in the moon's midwatches I pace the
+path above the rocks, in sable silvered, hearing Elsinore's tempting
+flood.
+
+The flood is following me. I can watch it flow past from here. Get
+back then by the Poolbeg road to the strand there. He climbed over the
+sedge and eely oarweeds and sat on a stool of rock, resting his ashplant
+in a grike.
+
+A bloated carcass of a dog lay lolled on bladderwrack. Before him the
+gunwale of a boat, sunk in sand. UN COCHE ENSABLE Louis Veuillot called
+Gautier's prose. These heavy sands are language tide and wind have silted
+here. And these, the stoneheaps of dead builders, a warren of weasel rats.
+Hide gold there. Try it. You have some. Sands and stones. Heavy of the
+past. Sir Lout's toys. Mind you don't get one bang on the ear. I'm the
+bloody well gigant rolls all them bloody well boulders, bones for my
+steppingstones. Feefawfum. I zmellz de bloodz odz an Iridzman.
+
+A point, live dog, grew into sight running across the sweep of sand.
+Lord, is he going to attack me? Respect his liberty. You will not be
+master of others or their slave. I have my stick. Sit tight. From farther
+away, walking shoreward across from the crested tide, figures, two. The
+two maries. They have tucked it safe mong the bulrushes. Peekaboo. I see
+you. No, the dog. He is running back to them. Who?
+
+Galleys of the Lochlanns ran here to beach, in quest of prey, their
+bloodbeaked prows riding low on a molten pewter surf. Dane vikings, torcs
+of tomahawks aglitter on their breasts when Malachi wore the collar of
+gold. A school of turlehide whales stranded in hot noon, spouting,
+hobbling in the shallows. Then from the starving cagework city a horde of
+jerkined dwarfs, my people, with flayers' knives, running, scaling,
+hacking in green blubbery whalemeat. Famine, plague and slaughters. Their
+blood is in me, their lusts my waves. I moved among them on the frozen
+Liffey, that I, a changeling, among the spluttering resin fires. I spoke
+to no-one: none to me.
+
+The dog's bark ran towards him, stopped, ran back. Dog of my
+enemy. I just simply stood pale, silent, bayed about. TERRIBILIA MEDITANS.
+A primrose doublet, fortune's knave, smiled on my fear. For that are you
+pining, the bark of their applause? Pretenders: live their lives. The
+Bruce's brother, Thomas Fitzgerald, silken knight, Perkin Warbeck, York's
+false scion, in breeches of silk of whiterose ivory, wonder of a day, and
+Lambert Simnel, with a tail of nans and sutlers, a scullion crowned. All
+kings' sons. Paradise of pretenders then and now. He saved men from
+drowning and you shake at a cur's yelping. But the courtiers who mocked
+Guido in Or san Michele were in their own house. House of ... We don't
+want any of your medieval abstrusiosities. Would you do what he did? A
+boat would be near, a lifebuoy. NATURLICH, put there for you. Would you or
+would you not? The man that was drowned nine days ago off Maiden's rock.
+They are waiting for him now. The truth, spit it out. I would want to.
+I would try. I am not a strong swimmer. Water cold soft. When I put my
+face into it in the basin at Clongowes. Can't see! Who's behind me? Out
+quickly, quickly! Do you see the tide flowing quickly in on all sides,
+sheeting the lows of sand quickly, shellcocoacoloured? If I had land under
+my feet. I want his life still to be his, mine to be mine. A drowning man.
+His human eyes scream to me out of horror of his death. I ... With him
+together down ... I could not save her. Waters: bitter death: lost.
+
+A woman and a man. I see her skirties. Pinned up, I bet.
+
+Their dog ambled about a bank of dwindling sand, trotting, sniffing
+on all sides. Looking for something lost in a past life. Suddenly he made
+off like a bounding hare, ears flung back, chasing the shadow of a
+lowskimming gull. The man's shrieked whistle struck his limp ears. He
+turned, bounded back, came nearer, trotted on twinkling shanks. On a field
+tenney a buck, trippant, proper, unattired. At the lacefringe of the tide
+he halted with stiff forehoofs, seawardpointed ears. His snout lifted
+barked at the wavenoise, herds of seamorse. They serpented towards his
+feet, curling, unfurling many crests, every ninth, breaking, plashing,
+from far, from farther out, waves and waves.
+
+Cocklepickers. They waded a little way in the water and, stooping,
+soused their bags and, lifting them again, waded out. The dog yelped
+running to them, reared up and pawed them, dropping on all fours, again
+reared up at them with mute bearish fawning. Unheeded he kept by them as
+they came towards the drier sand, a rag of wolf's tongue redpanting from
+his jaws. His speckled body ambled ahead of them and then loped off at a
+calf's gallop. The carcass lay on his path. He stopped, sniffed, stalked
+round it, brother, nosing closer, went round it, sniffling rapidly like a
+dog all over the dead dog's bedraggled fell. Dogskull, dogsniff, eyes on
+the ground, moves to one great goal. Ah, poor dogsbody! Here lies poor
+dogsbody's body.
+
+--Tatters! Out of that, you mongrel!
+
+The cry brought him skulking back to his master and a blunt bootless
+kick sent him unscathed across a spit of sand, crouched in flight. He
+slunk back in a curve. Doesn't see me. Along by the edge of the mole he
+lolloped, dawdled, smelt a rock. and from under a cocked hindleg pissed
+against it. He trotted forward and, lifting again his hindleg, pissed
+quick short at an unsmelt rock. The simple pleasures of the poor. His
+hindpaws then scattered the sand: then his forepaws dabbled and delved.
+Something he buried there, his grandmother. He rooted in the sand,
+dabbling, delving and stopped to listen to the air, scraped up the sand
+again with a fury of his claws, soon ceasing, a pard, a panther, got in
+spousebreach, vulturing the dead.
+
+After he woke me last night same dream or was it? Wait. Open
+hallway. Street of harlots. Remember. Haroun al Raschid. I am almosting
+it. That man led me, spoke. I was not afraid. The melon he had he held
+against my face. Smiled: creamfruit smell. That was the rule, said. In.
+Come. Red carpet spread. You will see who.
+
+Shouldering their bags they trudged, the red Egyptians. His blued
+feet out of turnedup trousers slapped the clammy sand, a dull brick
+muffler strangling his unshaven neck. With woman steps she followed: the
+ruffian and his strolling mort. Spoils slung at her back. Loose sand and
+shellgrit crusted her bare feet. About her windraw face hair trailed.
+Behind her lord, his helpmate, bing awast to Romeville. When night hides
+her body's flaws calling under her brown shawl from an archway where dogs
+have mired. Her fancyman is treating two Royal Dublins in O'Loughlin's of
+Blackpitts. Buss her, wap in rogues' rum lingo, for, O, my dimber wapping
+dell! A shefiend's whiteness under her rancid rags. Fumbally's lane that
+night: the tanyard smells.
+
+
+    WHITE THY FAMBLES, RED THY GAN
+    AND THY QUARRONS DAINTY IS.
+    COUCH A HOGSHEAD WITH ME THEN.
+    IN THE DARKMANS CLIP AND KISS.
+
+
+Morose delectation Aquinas tunbelly calls this, FRATE PORCOSPINO.
+Unfallen Adam rode and not rutted. Call away let him: THY QUARRONS DAINTY
+IS. Language no whit worse than his. Monkwords, marybeads jabber on
+their girdles: roguewords, tough nuggets patter in their pockets.
+
+Passing now.
+
+A side eye at my Hamlet hat. If I were suddenly naked here as I sit? I
+am not. Across the sands of all the world, followed by the sun's flaming
+sword, to the west, trekking to evening lands. She trudges, schlepps,
+trains, drags, trascines her load. A tide westering, moondrawn, in her
+wake. Tides, myriadislanded, within her, blood not mine, OINOPA PONTON,
+a winedark sea. Behold the handmaid of the moon. In sleep the wet sign
+calls her hour, bids her rise. Bridebed, childbed, bed of death,
+ghostcandled. OMNIS CARO AD TE VENIET. He comes, pale vampire, through
+storm his eyes, his bat sails bloodying the sea, mouth to her mouth's
+kiss.
+
+Here. Put a pin in that chap, will you? My tablets. Mouth to her kiss.
+
+No. Must be two of em. Glue em well. Mouth to her mouth's kiss.
+
+His lips lipped and mouthed fleshless lips of air: mouth to her
+moomb. Oomb, allwombing tomb. His mouth moulded issuing breath,
+unspeeched: ooeeehah: roar of cataractic planets, globed, blazing, roaring
+wayawayawayawayaway. Paper. The banknotes, blast them. Old Deasy's
+letter. Here. Thanking you for the hospitality tear the blank end off.
+Turning his back to the sun he bent over far to a table of rock and
+scribbled words. That's twice I forgot to take slips from the library
+counter.
+
+His shadow lay over the rocks as he bent, ending. Why not endless till
+the farthest star? Darkly they are there behind this light, darkness
+shining in the brightness, delta of Cassiopeia, worlds. Me sits there with
+his augur's rod of ash, in borrowed sandals, by day beside a livid sea,
+unbeheld, in violet night walking beneath a reign of uncouth stars.
+I throw this ended shadow from me, manshape ineluctable, call it back.
+Endless, would it be mine, form of my form? Who watches me here? Who ever
+anywhere will read these written words? Signs on a white field. Somewhere
+to someone in your flutiest voice. The good bishop of Cloyne took the veil
+of the temple out of his shovel hat: veil of space with coloured emblems
+hatched on its field. Hold hard. Coloured on a flat: yes, that's right.
+Flat I see, then think distance, near, far, flat I see, east, back. Ah,
+see now! Falls back suddenly, frozen in stereoscope. Click does the trick.
+You find my words dark. Darkness is in our souls do you not think?
+Flutier. Our souls, shamewounded by our sins, cling to us yet more,
+a woman to her lover clinging, the more the more.
+
+She trusts me, her hand gentle, the longlashed eyes. Now where the blue
+hell am I bringing her beyond the veil? Into the ineluctable modality
+of the ineluctable visuality. She, she, she. What she? The virgin
+at Hodges Figgis' window on Monday looking in for one of the alphabet
+books you were going to write. Keen glance you gave her. Wrist through
+the braided jesse of her sunshade. She lives in Leeson park with
+a grief and kickshaws, a lady of letters. Talk that to someone else,
+Stevie: a pickmeup. Bet she wears those curse of God stays suspenders
+and yellow stockings, darned with lumpy wool. Talk about apple dumplings,
+PIUTTOSTO. Where are your wits?
+
+Touch me. Soft eyes. Soft soft soft hand. I am lonely here. O, touch
+me soon, now. What is that word known to all men? I am quiet here alone.
+Sad too. Touch, touch me.
+
+He lay back at full stretch over the sharp rocks, cramming the
+scribbled note and pencil into a pock his hat. His hat down on his eyes.
+That is Kevin Egan's movement I made, nodding for his nap, sabbath sleep.
+ET VIDIT DEUS. ET ERANT VALDE BONA. Alo! BONJOUR. Welcome as the flowers
+in May. Under its leaf he watched through peacocktwittering lashes the
+southing sun. I am caught in this burning scene. Pan's hour, the faunal
+noon. Among gumheavy serpentplants, milkoozing fruits, where on the
+tawny waters leaves lie wide. Pain is far.
+
+AND NO MORE TURN ASIDE AND BROOD.
+
+His gaze brooded on his broadtoed boots, a buck's castoffs,
+NEBENEINANDER. He counted the creases of rucked leather wherein another's
+foot had nested warm. The foot that beat the ground in tripudium, foot I
+dislove. But you were delighted when Esther Osvalt's shoe went on you:
+girl I knew in Paris. TIENS, QUEL PETIT PIED! Staunch friend, a brother
+soul: Wilde's love that dare not speak its name. His arm: Cranly's arm. He
+now will leave me. And the blame? As I am. As I am. All or not at all.
+
+In long lassoes from the Cock lake the water flowed full, covering
+greengoldenly lagoons of sand, rising, flowing. My ashplant will float
+away. I shall wait. No, they will pass on, passing, chafing against the
+low rocks, swirling, passing. Better get this job over quick. Listen: a
+fourworded wavespeech: seesoo, hrss, rsseeiss, ooos. Vehement breath of
+waters amid seasnakes, rearing horses, rocks. In cups of rocks it slops:
+flop, slop, slap: bounded in barrels. And, spent, its speech ceases. It
+flows purling, widely flowing, floating foampool, flower unfurling.
+
+Under the upswelling tide he saw the writhing weeds lift languidly
+and sway reluctant arms, hising up their petticoats, in whispering water
+swaying and upturning coy silver fronds. Day by day: night by night:
+lifted, flooded and let fall. Lord, they are weary; and, whispered to,
+they sigh. Saint Ambrose heard it, sigh of leaves and waves, waiting,
+awaiting the fullness of their times, DIEBUS AC NOCTIBUS INIURIAS PATIENS
+INGEMISCIT. To no end gathered; vainly then released, forthflowing,
+wending back: loom of the moon. Weary too in sight of lovers, lascivious
+men, a naked woman shining in her courts, she draws a toil of waters.
+
+Five fathoms out there. Full fathom five thy father lies. At one, he
+said. Found drowned. High water at Dublin bar. Driving before it a loose
+drift of rubble, fanshoals of fishes, silly shells. A corpse rising
+saltwhite from the undertow, bobbing a pace a pace a porpoise landward.
+There he is. Hook it quick. Pull. Sunk though he be beneath the watery
+floor. We have him. Easy now.
+
+Bag of corpsegas sopping in foul brine. A quiver of minnows, fat of a
+spongy titbit, flash through the slits of his buttoned trouserfly. God
+becomes man becomes fish becomes barnacle goose becomes featherbed
+mountain. Dead breaths I living breathe, tread dead dust, devour a urinous
+offal from all dead. Hauled stark over the gunwale he breathes upward the
+stench of his green grave, his leprous nosehole snoring to the sun.
+
+A seachange this, brown eyes saltblue. Seadeath, mildest of all deaths
+known to man. Old Father Ocean. PRIX DE PARIS: beware of imitations. Just
+you give it a fair trial. We enjoyed ourselves immensely.
+
+Come. I thirst. Clouding over. No black clouds anywhere, are there?
+Thunderstorm. Allbright he falls, proud lightning of the intellect,
+LUCIFER, DICO, QUI NESCIT OCCASUM. No. My cockle hat and staff and hismy
+sandal shoon. Where? To evening lands. Evening will find itself.
+
+He took the hilt of his ashplant, lunging with it softly, dallying still.
+Yes, evening will find itself in me, without me. All days make their end.
+By the way next when is it Tuesday will be the longest day. Of all the
+glad new year, mother, the rum tum tiddledy tum. Lawn Tennyson, gentleman
+poet. GIA. For the old hag with the yellow teeth. And Monsieur Drumont,
+gentleman journalist. GIA. My teeth are very bad. Why, I wonder. Feel.
+That one is going too. Shells. Ought I go to a dentist, I wonder, with
+that money? That one. This. Toothless Kinch, the superman. Why is that, I
+wonder, or does it mean something perhaps?
+
+My handkerchief. He threw it. I remember. Did I not take it up?
+
+His hand groped vainly in his pockets. No, I didn't. Better buy one.
+
+He laid the dry snot picked from his nostril on a ledge of rock,
+carefully. For the rest let look who will.
+
+Behind. Perhaps there is someone.
+
+He turned his face over a shoulder, rere regardant. Moving through
+the air high spars of a threemaster, her sails brailed up on the
+crosstrees, homing, upstream, silently moving, a silent ship.
+
+
+    -- II --
+
+
+Mr Leopold Bloom ate with relish the inner organs of beasts and fowls. He
+liked thick giblet soup, nutty gizzards, a stuffed roast heart,
+liverslices fried with crustcrumbs, fried hencods' roes. Most of all he
+liked grilled mutton kidneys which gave to his palate a fine tang of
+faintly scented urine.
+
+Kidneys were in his mind as he moved about the kitchen softly, righting
+her breakfast things on the humpy tray. Gelid light and air were in the
+kitchen but out of doors gentle summer morning everywhere. Made him feel
+a bit peckish.
+
+The coals were reddening.
+
+Another slice of bread and butter: three, four: right. She didn't like
+her plate full. Right. He turned from the tray, lifted the kettle off the
+hob and set it sideways on the fire. It sat there, dull and squat, its
+spout stuck out. Cup of tea soon. Good. Mouth dry. The cat walked stiffly
+round a leg of the table with tail on high.
+
+--Mkgnao!
+
+--O, there you are, Mr Bloom said, turning from the fire.
+
+The cat mewed in answer and stalked again stiffly round a leg of the
+table, mewing. Just how she stalks over my writingtable. Prr. Scratch my
+head. Prr.
+
+Mr Bloom watched curiously, kindly the lithe black form. Clean to see:
+the gloss of her sleek hide, the white button under the butt of her tail,
+the green flashing eyes. He bent down to her, his hands on his knees.
+
+--Milk for the pussens, he said.
+
+--Mrkgnao! the cat cried.
+
+They call them stupid. They understand what we say better than we
+understand them. She understands all she wants to. Vindictive too. Cruel.
+Her nature. Curious mice never squeal. Seem to like it. Wonder what I
+look like to her. Height of a tower? No, she can jump me.
+
+--Afraid of the chickens she is, he said mockingly. Afraid of the
+chookchooks. I never saw such a stupid pussens as the pussens.
+
+Cruel. Her nature. Curious mice never squeal. Seem to like it.
+
+--Mrkrgnao! the cat said loudly.
+
+She blinked up out of her avid shameclosing eyes, mewing plaintively and
+long, showing him her milkwhite teeth. He watched the dark eyeslits
+narrowing with greed till her eyes were green stones. Then he went to the
+dresser, took the jug Hanlon's milkman had just filled for him, poured
+warmbubbled milk on a saucer and set it slowly on the floor.
+
+--Gurrhr! she cried, running to lap.
+
+He watched the bristles shining wirily in the weak light as she tipped
+three times and licked lightly. Wonder is it true if you clip them they
+can't mouse after. Why? They shine in the dark, perhaps, the tips. Or
+kind of feelers in the dark, perhaps.
+
+He listened to her licking lap. Ham and eggs, no. No good eggs with this
+drouth. Want pure fresh water. Thursday: not a good day either for a
+mutton kidney at Buckley's. Fried with butter, a shake of pepper. Better
+a pork kidney at Dlugacz's. While the kettle is boiling. She lapped
+slower, then licking the saucer clean. Why are their tongues so rough? To
+lap better, all porous holes. Nothing she can eat? He glanced round him.
+No.
+
+On quietly creaky boots he went up the staircase to the hall, paused by
+the bedroom door. She might like something tasty. Thin bread and butter
+she likes in the morning. Still perhaps: once in a way.
+
+He said softly in the bare hall:
+
+--I'm going round the corner. Be back in a minute.
+
+And when he had heard his voice say it he added:
+
+--You don't want anything for breakfast?
+
+A sleepy soft grunt answered:
+
+--Mn.
+
+No. She didn't want anything. He heard then a warm heavy sigh, softer, as
+she turned over and the loose brass quoits of the bedstead jingled. Must
+get those settled really. Pity. All the way from Gibraltar. Forgotten any
+little Spanish she knew. Wonder what her father gave for it. Old style.
+Ah yes! of course. Bought it at the governor's auction. Got a short
+knock. Hard as nails at a bargain, old Tweedy. Yes, sir. At Plevna that
+was. I rose from the ranks, sir, and I'm proud of it. Still he had brains
+enough to make that corner in stamps. Now that was farseeing.
+
+His hand took his hat from the peg over his initialled heavy overcoat and
+his lost property office secondhand waterproof. Stamps: stickyback
+pictures. Daresay lots of officers are in the swim too. Course they do.
+The sweated legend in the crown of his hat told him mutely: Plasto's high
+grade ha. He peeped quickly inside the leather headband. White slip of
+paper. Quite safe.
+
+On the doorstep he felt in his hip pocket for the latchkey. Not there. In
+the trousers I left off. Must get it. Potato I have. Creaky wardrobe. No
+use disturbing her. She turned over sleepily that time. He pulled the
+halldoor to after him very quietly, more, till the footleaf dropped
+gently over the threshold, a limp lid. Looked shut. All right till I come
+back anyhow.
+
+He crossed to the bright side, avoiding the loose cellarflap of number
+seventyfive. The sun was nearing the steeple of George's church. Be a
+warm day I fancy. Specially in these black clothes feel it more. Black
+conducts, reflects, (refracts is it?), the heat. But I couldn't go in
+that light suit. Make a picnic of it. His eyelids sank quietly often as
+he walked in happy warmth. Boland's breadvan delivering with trays our
+daily but she prefers yesterday's loaves turnovers crisp crowns hot.
+Makes you feel young. Somewhere in the east: early morning: set off at
+dawn. Travel round in front of the sun, steal a day's march on him. Keep
+it up for ever never grow a day older technically. Walk along a strand,
+strange land, come to a city gate, sentry there, old ranker too, old
+Tweedy's big moustaches, leaning on a long kind of a spear. Wander
+through awned streets. Turbaned faces going by. Dark caves of carpet
+shops, big man, Turko the terrible, seated crosslegged, smoking a coiled
+pipe. Cries of sellers in the streets. Drink water scented with fennel,
+sherbet. Dander along all day. Might meet a robber or two. Well, meet
+him. Getting on to sundown. The shadows of the mosques among the pillars:
+priest with a scroll rolled up. A shiver of the trees, signal, the
+evening wind. I pass on. Fading gold sky. A mother watches me from her
+doorway. She calls her children home in their dark language. High wall:
+beyond strings twanged. Night sky, moon, violet, colour of Molly's new
+garters. Strings. Listen. A girl playing one of those instruments what do
+you call them: dulcimers. I pass.
+
+Probably not a bit like it really. Kind of stuff you read: in the track
+of the sun. Sunburst on the titlepage. He smiled, pleasing himself. What
+Arthur Griffith said about the headpiece over the FREEMAN leader: a
+homerule sun rising up in the northwest from the laneway behind the bank
+of Ireland. He prolonged his pleased smile. Ikey touch that: homerule sun
+rising up in the north-west.
+
+He approached Larry O'Rourke's. From the cellar grating floated up the
+flabby gush of porter. Through the open doorway the bar squirted out
+whiffs of ginger, teadust, biscuitmush. Good house, however: just the end
+of the city traffic. For instance M'Auley's down there: n. g. as
+position. Of course if they ran a tramline along the North Circular from
+the cattlemarket to the quays value would go up like a shot.
+
+Baldhead over the blind. Cute old codger. No use canvassing him for an
+ad. Still he knows his own business best. There he is, sure enough, my
+bold Larry, leaning against the sugarbin in his shirtsleeves watching the
+aproned curate swab up with mop and bucket. Simon Dedalus takes him off
+to a tee with his eyes screwed up. Do you know what I'm going to tell
+you? What's that, Mr O'Rourke? Do you know what? The Russians, they'd
+only be an eight o'clock breakfast for the Japanese.
+
+Stop and say a word: about the funeral perhaps. Sad thing about poor
+Dignam, Mr O'Rourke.
+
+Turning into Dorset street he said freshly in greeting through the
+doorway:
+
+--Good day, Mr O'Rourke.
+
+--Good day to you.
+
+--Lovely weather, sir.
+
+--'Tis all that.
+
+Where do they get the money? Coming up redheaded curates from the county
+Leitrim, rinsing empties and old man in the cellar. Then, lo and behold,
+they blossom out as Adam Findlaters or Dan Tallons. Then thin of the
+competition. General thirst. Good puzzle would be cross Dublin without
+passing a pub. Save it they can't. Off the drunks perhaps. Put down three
+and carry five. What is that, a bob here and there, dribs and drabs. On
+the wholesale orders perhaps. Doing a double shuffle with the town
+travellers. Square it you with the boss and we'll split the job, see?
+
+How much would that tot to off the porter in the month? Say ten barrels
+of stuff. Say he got ten per cent off. O more. Fifteen. He passed Saint
+Joseph's National school. Brats' clamour. Windows open. Fresh air helps
+memory. Or a lilt. Ahbeesee defeegee kelomen opeecue rustyouvee
+doubleyou. Boys are they? Yes. Inishturk. Inishark. Inishboffin. At their
+joggerfry. Mine. Slieve Bloom.
+
+He halted before Dlugacz's window, staring at the hanks of sausages,
+polonies, black and white. Fifteen multiplied by. The figures whitened in
+his mind, unsolved: displeased, he let them fade. The shiny links, packed
+with forcemeat, fed his gaze and he breathed in tranquilly the lukewarm
+breath of cooked spicy pigs' blood.
+
+A kidney oozed bloodgouts on the willowpatterned dish: the last. He stood
+by the nextdoor girl at the counter. Would she buy it too, calling the
+items from a slip in her hand? Chapped: washingsoda. And a pound and a
+half of Denny's sausages. His eyes rested on her vigorous hips. Woods his
+name is. Wonder what he does. Wife is oldish. New blood. No followers
+allowed. Strong pair of arms. Whacking a carpet on the clothesline. She
+does whack it, by George. The way her crooked skirt swings at each whack.
+
+The ferreteyed porkbutcher folded the sausages he had snipped off with
+blotchy fingers, sausagepink. Sound meat there: like a stallfed heifer.
+
+He took a page up from the pile of cut sheets: the model farm at
+Kinnereth on the lakeshore of Tiberias. Can become ideal winter
+sanatorium. Moses Montefiore. I thought he was. Farmhouse, wall round it,
+blurred cattle cropping. He held the page from him: interesting: read it
+nearer, the title, the blurred cropping cattle, the page rustling. A
+young white heifer. Those mornings in the cattlemarket, the beasts lowing
+in their pens, branded sheep, flop and fall of dung, the breeders in
+hobnailed boots trudging through the litter, slapping a palm on a
+ripemeated hindquarter, there's a prime one, unpeeled switches in their
+hands. He held the page aslant patiently, bending his senses and his
+will, his soft subject gaze at rest. The crooked skirt swinging, whack by
+whack by whack.
+
+The porkbutcher snapped two sheets from the pile, wrapped up her prime
+sausages and made a red grimace.
+
+--Now, my miss, he said.
+
+She tendered a coin, smiling boldly, holding her thick wrist out.
+
+--Thank you, my miss. And one shilling threepence change. For you,
+please?
+
+Mr Bloom pointed quickly. To catch up and walk behind her if she went
+slowly, behind her moving hams. Pleasant to see first thing in the
+morning. Hurry up, damn it. Make hay while the sun shines. She stood
+outside the shop in sunlight and sauntered lazily to the right. He sighed
+down his nose: they never understand. Sodachapped hands. Crusted toenails
+too. Brown scapulars in tatters, defending her both ways. The sting of
+disregard glowed to weak pleasure within his breast. For another: a
+constable off duty cuddling her in Eccles lane. They like them sizeable.
+Prime sausage. O please, Mr Policeman, I'm lost in the wood.
+
+--Threepence, please.
+
+His hand accepted the moist tender gland and slid it into a sidepocket.
+Then it fetched up three coins from his trousers' pocket and laid them on
+the rubber prickles. They lay, were read quickly and quickly slid, disc
+by disc, into the till.
+
+--Thank you, sir. Another time.
+
+A speck of eager fire from foxeyes thanked him. He withdrew his gaze
+after an instant. No: better not: another time.
+
+--Good morning, he said, moving away.
+
+--Good morning, sir.
+
+No sign. Gone. What matter?
+
+He walked back along Dorset street, reading gravely. Agendath Netaim:
+planters' company. To purchase waste sandy tracts from Turkish government
+and plant with eucalyptus trees. Excellent for shade, fuel and
+construction. Orangegroves and immense melonfields north of Jaffa. You
+pay eighty marks and they plant a dunam of land for you with olives,
+oranges, almonds or citrons. Olives cheaper: oranges need artificial
+irrigation. Every year you get a sending of the crop. Your name entered
+for life as owner in the book of the union. Can pay ten down and the
+balance in yearly instalments. Bleibtreustrasse 34, Berlin, W. 15.
+
+Nothing doing. Still an idea behind it.
+
+He looked at the cattle, blurred in silver heat. Silverpowdered
+olivetrees. Quiet long days: pruning, ripening. Olives are packed in
+jars, eh? I have a few left from Andrews. Molly spitting them out. Knows
+the taste of them now. Oranges in tissue paper packed in crates. Citrons
+too. Wonder is poor Citron still in Saint Kevin's parade. And Mastiansky
+with the old cither. Pleasant evenings we had then. Molly in Citron's
+basketchair. Nice to hold, cool waxen fruit, hold in the hand, lift it to
+the nostrils and smell the perfume. Like that, heavy, sweet, wild
+perfume. Always the same, year after year. They fetched high prices too,
+Moisel told me. Arbutus place: Pleasants street: pleasant old times. Must
+be without a flaw, he said. Coming all that way: Spain, Gibraltar,
+Mediterranean, the Levant. Crates lined up on the quayside at Jaffa, chap
+ticking them off in a book, navvies handling them barefoot in soiled
+dungarees. There's whatdoyoucallhim out of. How do you? Doesn't see. Chap
+you know just to salute bit of a bore. His back is like that Norwegian
+captain's. Wonder if I'll meet him today. Watering cart. To provoke the
+rain. On earth as it is in heaven.
+
+A cloud began to cover the sun slowly, wholly. Grey. Far.
+
+No, not like that. A barren land, bare waste. Vulcanic lake, the dead
+sea: no fish, weedless, sunk deep in the earth. No wind could lift those
+waves, grey metal, poisonous foggy waters. Brimstone they called it
+raining down: the cities of the plain: Sodom, Gomorrah, Edom. All dead
+names. A dead sea in a dead land, grey and old. Old now. It bore the
+oldest, the first race. A bent hag crossed from Cassidy's, clutching a
+naggin bottle by the neck. The oldest people. Wandered far away over all
+the earth, captivity to captivity, multiplying, dying, being born
+everywhere. It lay there now. Now it could bear no more. Dead: an old
+woman's: the grey sunken cunt of the world.
+
+Desolation.
+
+Grey horror seared his flesh. Folding the page into his pocket he turned
+into Eccles street, hurrying homeward. Cold oils slid along his veins,
+chilling his blood: age crusting him with a salt cloak. Well, I am here
+now. Yes, I am here now. Morning mouth bad images. Got up wrong side of
+the bed. Must begin again those Sandow's exercises. On the hands down.
+Blotchy brown brick houses. Number eighty still unlet. Why is that?
+Valuation is only twenty-eight. Towers, Battersby, North, MacArthur:
+parlour windows plastered with bills. Plasters on a sore eye. To smell
+the gentle smoke of tea, fume of the pan, sizzling butter. Be near her
+ample bedwarmed flesh. Yes, yes.
+
+Quick warm sunlight came running from Berkeley road, swiftly, in slim
+sandals, along the brightening footpath. Runs, she runs to meet me, a
+girl with gold hair on the wind.
+
+Two letters and a card lay on the hallfloor. He stooped and gathered
+them. Mrs Marion Bloom. His quickened heart slowed at once. Bold hand.
+Mrs Marion.
+
+--Poldy!
+
+Entering the bedroom he halfclosed his eyes and walked through warm
+yellow twilight towards her tousled head.
+
+--Who are the letters for?
+
+He looked at them. Mullingar. Milly.
+
+--A letter for me from Milly, he said carefully, and a card to you. And a
+letter for you.
+
+He laid her card and letter on the twill bedspread near the curve of her
+knees.
+
+--Do you want the blind up?
+
+Letting the blind up by gentle tugs halfway his backward eye saw her
+glance at the letter and tuck it under her pillow.
+
+--That do? he asked, turning.
+
+She was reading the card, propped on her elbow.
+
+--She got the things, she said.
+
+He waited till she had laid the card aside and curled herself back slowly
+with a snug sigh.
+
+--Hurry up with that tea, she said. I'm parched.
+
+--The kettle is boiling, he said.
+
+But he delayed to clear the chair: her striped petticoat, tossed soiled
+linen: and lifted all in an armful on to the foot of the bed.
+
+As he went down the kitchen stairs she called:
+
+--Poldy!
+
+--What?
+
+--Scald the teapot.
+
+On the boil sure enough: a plume of steam from the spout. He scalded and
+rinsed out the teapot and put in four full spoons of tea, tilting the
+kettle then to let the water flow in. Having set it to draw he took off
+the kettle, crushed the pan flat on the live coals and watched the lump
+of butter slide and melt. While he unwrapped the kidney the cat mewed
+hungrily against him. Give her too much meat she won't mouse. Say they
+won't eat pork. Kosher. Here. He let the bloodsmeared paper fall to her
+and dropped the kidney amid the sizzling butter sauce. Pepper. He
+sprinkled it through his fingers ringwise from the chipped eggcup.
+
+Then he slit open his letter, glancing down the page and over. Thanks:
+new tam: Mr Coghlan: lough Owel picnic: young student: Blazes Boylan's
+seaside girls.
+
+The tea was drawn. He filled his own moustachecup, sham crown
+
+Derby, smiling. Silly Milly's birthday gift. Only five she was then. No,
+wait: four. I gave her the amberoid necklace she broke. Putting pieces of
+folded brown paper in the letterbox for her. He smiled, pouring.
+
+
+    O, MILLY BLOOM, YOU ARE MY DARLING.
+    YOU ARE MY LOOKINGGLASS FROM NIGHT TO MORNING.
+    I'D RATHER HAVE YOU WITHOUT A FARTHING
+    THAN KATEY KEOGH WITH HER ASS AND GARDEN.
+
+
+Poor old professor Goodwin. Dreadful old case. Still he was a courteous
+old chap. Oldfashioned way he used to bow Molly off the platform. And the
+little mirror in his silk hat. The night Milly brought it into the
+parlour. O, look what I found in professor Goodwin's hat! All we laughed.
+Sex breaking out even then. Pert little piece she was.
+
+He prodded a fork into the kidney and slapped it over: then fitted the
+teapot on the tray. Its hump bumped as he took it up. Everything on it?
+Bread and butter, four, sugar, spoon, her cream. Yes. He carried it
+upstairs, his thumb hooked in the teapot handle.
+
+Nudging the door open with his knee he carried the tray in and set it on
+the chair by the bedhead.
+
+--What a time you were! she said.
+
+She set the brasses jingling as she raised herself briskly, an elbow on
+the pillow. He looked calmly down on her bulk and between her large soft
+bubs, sloping within her nightdress like a shegoat's udder. The warmth of
+her couched body rose on the air, mingling with the fragrance of the tea
+she poured.
+
+A strip of torn envelope peeped from under the dimpled pillow. In the act
+of going he stayed to straighten the bedspread.
+
+--Who was the letter from? he asked.
+
+Bold hand. Marion.
+
+--O, Boylan, she said. He's bringing the programme.
+
+--What are you singing?
+
+--LA CI DAREM with J. C. Doyle, she said, and LOVE'S OLD SWEET SONG.
+
+Her full lips, drinking, smiled. Rather stale smell that incense leaves
+next day. Like foul flowerwater.
+
+--Would you like the window open a little?
+
+She doubled a slice of bread into her mouth, asking:
+
+--What time is the funeral?
+
+--Eleven, I think, he answered. I didn't see the paper.
+
+Following the pointing of her finger he took up a leg of her soiled
+drawers from the bed. No? Then, a twisted grey garter looped round a
+stocking: rumpled, shiny sole.
+
+--No: that book.
+
+Other stocking. Her petticoat.
+
+--It must have fell down, she said.
+
+He felt here and there. VOGLIO E NON VORREI. Wonder if she pronounces
+that right: VOGLIO. Not in the bed. Must have slid down. He stooped and
+lifted the valance. The book, fallen, sprawled against the bulge of the
+orangekeyed chamberpot.
+
+--Show here, she said. I put a mark in it. There's a word I wanted to ask
+you.
+
+She swallowed a draught of tea from her cup held by nothandle and, having
+wiped her fingertips smartly on the blanket, began to search the text
+with the hairpin till she reached the word.
+
+--Met him what? he asked.
+
+--Here, she said. What does that mean?
+
+He leaned downward and read near her polished thumbnail.
+
+--Metempsychosis?
+
+--Yes. Who's he when he's at home?
+
+--Metempsychosis, he said, frowning. It's Greek: from the Greek. That
+means the transmigration of souls.
+
+--O, rocks! she said. Tell us in plain words.
+
+He smiled, glancing askance at her mocking eyes. The same young eyes. The
+first night after the charades. Dolphin's Barn. He turned over the
+smudged pages. RUBY: THE PRIDE OF THE RING. Hello. Illustration. Fierce
+Italian with carriagewhip. Must be Ruby pride of the on the floor naked.
+Sheet kindly lent. THE MONSTER MAFFEI DESISTED AND FLUNG HIS VICTIM FROM
+HIM WITH AN OATH. Cruelty behind it all. Doped animals. Trapeze at
+Hengler's. Had to look the other way. Mob gaping. Break your neck and
+we'll break our sides. Families of them. Bone them young so they
+metamspychosis. That we live after death. Our souls. That a man's soul
+after he dies. Dignam's soul ...
+
+--Did you finish it? he asked.
+
+--Yes, she said. There's nothing smutty in it. Is she in love with the
+first fellow all the time?
+
+--Never read it. Do you want another?
+
+--Yes. Get another of Paul de Kock's. Nice name he has.
+
+She poured more tea into her cup, watching it flow sideways.
+
+Must get that Capel street library book renewed or they'll write to
+Kearney, my guarantor. Reincarnation: that's the word.
+
+--Some people believe, he said, that we go on living in another body
+after death, that we lived before. They call it reincarnation. That we
+all lived before on the earth thousands of years ago or some other
+planet. They say we have forgotten it. Some say they remember their past
+lives.
+
+The sluggish cream wound curdling spirals through her tea. Bette remind
+her of the word: metempsychosis. An example would be better. An example?
+
+The BATH OF THE NYMPH over the bed. Given away with the Easter number of
+PHOTO BITS: Splendid masterpiece in art colours. Tea before you put milk
+in. Not unlike her with her hair down: slimmer. Three and six I gave for
+the frame. She said it would look nice over the bed. Naked nymphs:
+Greece: and for instance all the people that lived then.
+
+He turned the pages back.
+
+--Metempsychosis, he said, is what the ancient Greeks called it. They
+used to believe you could be changed into an animal or a tree, for
+instance. What they called nymphs, for example.
+
+Her spoon ceased to stir up the sugar. She gazed straight before her,
+inhaling through her arched nostrils.
+
+--There's a smell of burn, she said. Did you leave anything on the fire?
+
+--The kidney! he cried suddenly.
+
+He fitted the book roughly into his inner pocket and, stubbing his toes
+against the broken commode, hurried out towards the smell, stepping
+hastily down the stairs with a flurried stork's legs. Pungent smoke shot
+up in an angry jet from a side of the pan. By prodding a prong of the
+fork under the kidney he detached it and turned it turtle on its back.
+Only a little burnt. He tossed it off the pan on to a plate and let the
+scanty brown gravy trickle over it.
+
+Cup of tea now. He sat down, cut and buttered a slice of the loaf. He
+shore away the burnt flesh and flung it to the cat. Then he put a forkful
+into his mouth, chewing with discernment the toothsome pliant meat. Done
+to a turn. A mouthful of tea. Then he cut away dies of bread, sopped one
+in the gravy and put it in his mouth. What was that about some young
+student and a picnic? He creased out the letter at his side, reading it
+slowly as he chewed, sopping another die of bread in the gravy and
+raising it to his mouth.
+
+
+    Dearest Papli
+
+Thanks ever so much for the lovely birthday present. It suits me
+splendid. Everyone says I am quite the belle in my new tam. I got mummy's
+Iovely box of creams and am writing. They are lovely. I am getting on
+swimming in the photo business now. Mr Coghlan took one of me and Mrs.
+Will send when developed. We did great biz yesterday. Fair day and all
+the beef to the heels were in. We are going to lough Owel on Monday with
+a few friends to make a scrap picnic. Give my love to mummy and to
+yourself a big kiss and thanks. I hear them at the piano downstairs.
+There is to be a concert in the Greville Arms on Saturday. There is a
+young student comes here some evenings named Bannon his cousins or
+something are big swells and he sings Boylan's (I was on the pop of
+writing Blazes Boylan's) song about those seaside girls. Tell him silly
+Milly sends my best respects. I must now close with fondest love
+
+
+Your fond daughter,     MILLY.
+
+
+P. S. Excuse bad writing am in hurry. Byby.     M.
+
+
+Fifteen yesterday. Curious, fifteenth of the month too. Her first
+birthday away from home. Separation. Remember the summer morning she was
+born, running to knock up Mrs Thornton in Denzille street. Jolly old
+woman. Lot of babies she must have helped into the world. She knew from
+the first poor little Rudy wouldn't live. Well, God is good, sir. She
+knew at once. He would be eleven now if he had lived.
+
+His vacant face stared pityingly at the postscript. Excuse bad writing.
+Hurry. Piano downstairs. Coming out of her shell. Row with her in the XL
+Cafe about the bracelet. Wouldn't eat her cakes or speak or look.
+Saucebox. He sopped other dies of bread in the gravy and ate piece after
+piece of kidney. Twelve and six a week. Not much. Still, she might do
+worse. Music hall stage. Young student. He drank a draught of cooler tea
+to wash down his meal. Then he read the letter again: twice.
+
+O, well: she knows how to mind herself. But if not? No, nothing has
+happened. Of course it might. Wait in any case till it does. A wild piece
+of goods. Her slim legs running up the staircase. Destiny. Ripening now.
+
+Vain: very.
+
+He smiled with troubled affection at the kitchen window. Day I caught her
+in the street pinching her cheeks to make them red. Anemic a little. Was
+given milk too long. On the ERIN'S KING that day round the Kish. Damned
+old tub pitching about. Not a bit funky. Her pale blue scarf loose in the
+wind with her hair.
+
+
+    ALL DIMPLED CHEEKS AND CURLS,
+    YOUR HEAD IT SIMPLY SWIRLS.
+
+
+Seaside girls. Torn envelope. Hands stuck in his trousers' pockets,
+jarvey off for the day, singing. Friend of the family. Swurls, he says.
+Pier with lamps, summer evening, band,
+
+
+    THOSE GIRLS, THOSE GIRLS,
+    THOSE LOVELY SEASIDE GIRLS.
+
+
+Milly too. Young kisses: the first. Far away now past. Mrs Marion.
+Reading, lying back now, counting the strands of her hair, smiling,
+braiding.
+
+A soft qualm, regret, flowed down his backbone, increasing. Will happen,
+yes. Prevent. Useless: can't move. Girl's sweet light lips. Will happen
+too. He felt the flowing qualm spread over him. Useless to move now. Lips
+kissed, kissing, kissed. Full gluey woman's lips.
+
+Better where she is down there: away. Occupy her. Wanted a dog to pass
+the time. Might take a trip down there. August bank holiday, only two and
+six return. Six weeks off, however. Might work a press pass. Or through
+M'Coy.
+
+The cat, having cleaned all her fur, returned to the meatstained paper,
+nosed at it and stalked to the door. She looked back at him, mewing.
+Wants to go out. Wait before a door sometime it will open. Let her wait.
+Has the fidgets. Electric. Thunder in the air. Was washing at her ear
+with her back to the fire too.
+
+He felt heavy, full: then a gentle loosening of his bowels. He stood up,
+undoing the waistband of his trousers. The cat mewed to him.
+
+--Miaow! he said in answer. Wait till I'm ready.
+
+Heaviness: hot day coming. Too much trouble to fag up the stairs to the
+landing.
+
+A paper. He liked to read at stool. Hope no ape comes knocking just as
+I'm.
+
+In the tabledrawer he found an old number of TITBITS. He folded it under
+his armpit, went to the door and opened it. The cat went up in soft
+bounds. Ah, wanted to go upstairs, curl up in a ball on the bed.
+
+Listening, he heard her voice:
+
+--Come, come, pussy. Come.
+
+He went out through the backdoor into the garden: stood to listen towards
+the next garden. No sound. Perhaps hanging clothes out to dry. The maid
+was in the garden. Fine morning.
+
+He bent down to regard a lean file of spearmint growing by the wall. Make
+a summerhouse here. Scarlet runners. Virginia creepers. Want to manure
+the whole place over, scabby soil. A coat of liver of sulphur. All soil
+like that without dung. Household slops. Loam, what is this that is? The
+hens in the next garden: their droppings are very good top dressing. Best
+of all though are the cattle, especially when they are fed on those
+oilcakes. Mulch of dung. Best thing to clean ladies' kid gloves. Dirty
+cleans. Ashes too. Reclaim the whole place. Grow peas in that corner
+there. Lettuce. Always have fresh greens then. Still gardens have their
+drawbacks. That bee or bluebottle here Whitmonday.
+
+He walked on. Where is my hat, by the way? Must have put it back on the
+peg. Or hanging up on the floor. Funny I don't remember that. Hallstand
+too full. Four umbrellas, her raincloak. Picking up the letters. Drago's
+shopbell ringing. Queer I was just thinking that moment. Brown
+brillantined hair over his collar. Just had a wash and brushup. Wonder
+have I time for a bath this morning. Tara street. Chap in the paybox
+there got away James Stephens, they say. O'Brien.
+
+Deep voice that fellow Dlugacz has. Agendath what is it? Now, my miss.
+Enthusiast.
+
+He kicked open the crazy door of the jakes. Better be careful not to get
+these trousers dirty for the funeral. He went in, bowing his head under
+the low lintel. Leaving the door ajar, amid the stench of mouldy limewash
+and stale cobwebs he undid his braces. Before sitting down he peered
+through a chink up at the nextdoor windows. The king was in his
+countinghouse. Nobody.
+
+Asquat on the cuckstool he folded out his paper, turning its pages over
+on his bared knees. Something new and easy. No great hurry. Keep it a
+bit. Our prize titbit: MATCHAM'S MASTERSTROKE. Written by Mr Philip
+Beaufoy, Playgoers' Club, London. Payment at the rate of one guinea a
+column has been made to the writer. Three and a half. Three pounds three.
+Three pounds, thirteen and six.
+
+Quietly he read, restraining himself, the first column and, yielding but
+resisting, began the second. Midway, his last resistance yielding, he
+allowed his bowels to ease themselves quietly as he read, reading still
+patiently that slight constipation of yesterday quite gone. Hope it's not
+too big bring on piles again. No, just right. So. Ah! Costive. One
+tabloid of cascara sagrada. Life might be so. It did not move or touch
+him but it was something quick and neat. Print anything now. Silly
+season. He read on, seated calm above his own rising smell. Neat
+certainly. MATCHAM OFTEN THINKS OF THE MASTERSTROKE BY WHICH HE WON THE
+LAUGHING WITCH WHO NOW. Begins and ends morally. HAND IN HAND. Smart. He
+glanced back through what he had read and, while feeling his water flow
+quietly, he envied kindly Mr Beaufoy who had written it and received
+payment of three pounds, thirteen and six.
+
+Might manage a sketch. By Mr and Mrs L. M. Bloom. Invent a story for some
+proverb. Which? Time I used to try jotting down on my cuff what she said
+dressing. Dislike dressing together. Nicked myself shaving. Biting her
+nether lip, hooking the placket of her skirt. Timing her. 9.l5. Did
+Roberts pay you yet? 9.20. What had Gretta Conroy on? 9.23. What
+possessed me to buy this comb? 9.24. I'm swelled after that cabbage. A
+speck of dust on the patent leather of her boot.
+
+Rubbing smartly in turn each welt against her stockinged calf. Morning
+after the bazaar dance when May's band played Ponchielli's dance of the
+hours. Explain that: morning hours, noon, then evening coming on, then
+night hours. Washing her teeth. That was the first night. Her head
+dancing. Her fansticks clicking. Is that Boylan well off? He has money.
+Why? I noticed he had a good rich smell off his breath dancing. No use
+humming then. Allude to it. Strange kind of music that last night. The
+mirror was in shadow. She rubbed her handglass briskly on her woollen
+vest against her full wagging bub. Peering into it. Lines in her eyes. It
+wouldn't pan out somehow.
+
+Evening hours, girls in grey gauze. Night hours then: black with daggers
+and eyemasks. Poetical idea: pink, then golden, then grey, then black.
+Still, true to life also. Day: then the night.
+
+He tore away half the prize story sharply and wiped himself with it. Then
+he girded up his trousers, braced and buttoned himself. He pulled back
+the jerky shaky door of the jakes and came forth from the gloom into the
+air.
+
+In the bright light, lightened and cooled in limb, he eyed carefully his
+black trousers: the ends, the knees, the houghs of the knees. What time
+is the funeral? Better find out in the paper.
+
+A creak and a dark whirr in the air high up. The bells of George's
+church. They tolled the hour: loud dark iron.
+
+
+    HEIGHO! HEIGHO!
+    HEIGHO! HEIGHO!
+    HEIGHO! HEIGHO!
+
+
+Quarter to. There again: the overtone following through the air, a third.
+
+Poor Dignam!
+
+
+    * * * * * * *
+
+
+By lorries along sir John Rogerson's quay Mr Bloom walked soberly, past
+Windmill lane, Leask's the linseed crusher, the postal telegraph office.
+Could have given that address too. And past the sailors' home. He turned
+from the morning noises of the quayside and walked through Lime street.
+By Brady's cottages a boy for the skins lolled, his bucket of offal
+linked, smoking a chewed fagbutt. A smaller girl with scars of eczema on
+her forehead eyed him, listlessly holding her battered caskhoop. Tell him
+if he smokes he won't grow. O let him! His life isn't such a bed of
+roses. Waiting outside pubs to bring da home. Come home to ma, da. Slack
+hour: won't be many there. He crossed Townsend street, passed the
+frowning face of Bethel. El, yes: house of: Aleph, Beth. And past
+Nichols' the undertaker. At eleven it is. Time enough. Daresay Corny
+Kelleher bagged the job for O'Neill's. Singing with his eyes shut. Corny.
+Met her once in the park. In the dark. What a lark. Police tout. Her name
+and address she then told with my tooraloom tooraloom tay. O, surely he
+bagged it. Bury him cheap in a whatyoumaycall. With my tooraloom,
+tooraloom, tooraloom, tooraloom.
+
+In Westland row he halted before the window of the Belfast and Oriental
+Tea Company and read the legends of leadpapered packets: choice blend,
+finest quality, family tea. Rather warm. Tea. Must get some from Tom
+Kernan. Couldn't ask him at a funeral, though. While his eyes still read
+blandly he took off his hat quietly inhaling his hairoil and sent his
+right hand with slow grace over his brow and hair. Very warm morning.
+Under their dropped lids his eyes found the tiny bow of the leather
+headband inside his high grade ha. Just there. His right hand came down
+into the bowl of his hat. His fingers found quickly a card behind the
+headband and transferred it to his waistcoat pocket.
+
+So warm. His right hand once more more slowly went over his brow and
+hair. Then he put on his hat again, relieved: and read again: choice
+blend, made of the finest Ceylon brands. The far east. Lovely spot it
+must be: the garden of the world, big lazy leaves to float about on,
+cactuses, flowery meads, snaky lianas they call them. Wonder is it like
+that. Those Cinghalese lobbing about in the sun in DOLCE FAR NIENTE, not
+doing a hand's turn all day. Sleep six months out of twelve. Too hot to
+quarrel. Influence of the climate. Lethargy. Flowers of idleness. The air
+feeds most. Azotes. Hothouse in Botanic gardens. Sensitive plants.
+Waterlilies. Petals too tired to. Sleeping sickness in the air. Walk on
+roseleaves. Imagine trying to eat tripe and cowheel. Where was the chap I
+saw in that picture somewhere? Ah yes, in the dead sea floating on his
+back, reading a book with a parasol open. Couldn't sink if you tried: so
+thick with salt. Because the weight of the water, no, the weight of the
+body in the water is equal to the weight of the what? Or is it the volume
+is equal to the weight? It's a law something like that. Vance in High
+school cracking his fingerjoints, teaching. The college curriculum.
+Cracking curriculum. What is weight really when you say the weight?
+Thirtytwo feet per second per second. Law of falling bodies: per second
+per second. They all fall to the ground. The earth. It's the force of
+gravity of the earth is the weight.
+
+He turned away and sauntered across the road. How did she walk with her
+sausages? Like that something. As he walked he took the folded FREEMAN
+from his sidepocket, unfolded it, rolled it lengthwise in a baton and
+tapped it at each sauntering step against his trouserleg. Careless air:
+just drop in to see. Per second per second. Per second for every second
+it means. From the curbstone he darted a keen glance through the door of
+the postoffice. Too late box. Post here. No-one. In.
+
+He handed the card through the brass grill.
+
+--Are there any letters for me? he asked.
+
+While the postmistress searched a pigeonhole he gazed at the recruiting
+poster with soldiers of all arms on parade: and held the tip of his baton
+against his nostrils, smelling freshprinted rag paper. No answer
+probably. Went too far last time.
+
+The postmistress handed him back through the grill his card with a
+letter. He thanked her and glanced rapidly at the typed envelope.
+
+
+Henry Flower Esq,
+c/o P. O. Westland Row,
+City.
+
+
+Answered anyhow. He slipped card and letter into his sidepocket,
+reviewing again the soldiers on parade. Where's old Tweedy's regiment?
+Castoff soldier. There: bearskin cap and hackle plume. No, he's a
+grenadier. Pointed cuffs. There he is: royal Dublin fusiliers. Redcoats.
+Too showy. That must be why the women go after them. Uniform. Easier to
+enlist and drill. Maud Gonne's letter about taking them off O'Connell
+street at night: disgrace to our Irish capital. Griffith's paper is on
+the same tack now: an army rotten with venereal disease: overseas or
+halfseasover empire. Half baked they look: hypnotised like. Eyes front.
+Mark time. Table: able. Bed: ed. The King's own. Never see him dressed up
+as a fireman or a bobby. A mason, yes.
+
+He strolled out of the postoffice and turned to the right. Talk: as if
+that would mend matters. His hand went into his pocket and a forefinger
+felt its way under the flap of the envelope, ripping it open in jerks.
+Women will pay a lot of heed, I don't think. His fingers drew forth the
+letter the letter and crumpled the envelope in his pocket. Something
+pinned on: photo perhaps. Hair? No.
+
+M'Coy. Get rid of him quickly. Take me out of my way. Hate company when
+you.
+
+--Hello, Bloom. Where are you off to?
+
+--Hello, M'Coy. Nowhere in particular.
+
+--How's the body?
+
+--Fine. How are you?
+
+--Just keeping alive, M'Coy said.
+
+His eyes on the black tie and clothes he asked with low respect:
+
+--Is there any ... no trouble I hope? I see you're ...
+
+--O, no, Mr Bloom said. Poor Dignam, you know. The funeral is today.
+
+--To be sure, poor fellow. So it is. What time?
+
+A photo it isn't. A badge maybe.
+
+--E ... eleven, Mr Bloom answered.
+
+--I must try to get out there, M'Coy said. Eleven, is it? I only heard it
+last night. Who was telling me? Holohan. You know Hoppy?
+
+--I know.
+
+Mr Bloom gazed across the road at the outsider drawn up before the door
+of the Grosvenor. The porter hoisted the valise up on the well. She stood
+still, waiting, while the man, husband, brother, like her, searched his
+pockets for change. Stylish kind of coat with that roll collar, warm for
+a day like this, looks like blanketcloth. Careless stand of her with her
+hands in those patch pockets. Like that haughty creature at the polo
+match. Women all for caste till you touch the spot. Handsome is and
+handsome does. Reserved about to yield. The honourable Mrs and Brutus is
+an honourable man. Possess her once take the starch out of her.
+
+--I was with Bob Doran, he's on one of his periodical bends, and what do
+you call him Bantam Lyons. Just down there in Conway's we were.
+
+Doran Lyons in Conway's. She raised a gloved hand to her hair. In came
+Hoppy. Having a wet. Drawing back his head and gazing far from beneath
+his vailed eyelids he saw the bright fawn skin shine in the glare, the
+braided drums. Clearly I can see today. Moisture about gives long sight
+perhaps. Talking of one thing or another. Lady's hand. Which side will
+she get up?
+
+--And he said: SAD THING ABOUT OUR POOR FRIEND PADDY! WHAT PADDY? I said.
+POOR LITTLE PADDY DIGNAM, he said.
+
+Off to the country: Broadstone probably. High brown boots with laces
+dangling. Wellturned foot. What is he foostering over that change for?
+Sees me looking. Eye out for other fellow always. Good fallback. Two
+strings to her bow.
+
+--WHY? I said. WHAT'S WRONG WITH HIM? I said.
+
+Proud: rich: silk stockings.
+
+--Yes, Mr Bloom said.
+
+He moved a little to the side of M'Coy's talking head. Getting up in a
+minute.
+
+--WHAT'S WRONG WITH HIM? He said. HE'S DEAD, he said. And, faith, he
+filled up. IS IT PADDY DIGNAM? I said. I couldn't believe it when I heard
+it. I was with him no later than Friday last or Thursday was it in the
+Arch. YES, he said. HE'S GONE. HE DIED ON MONDAY, POOR FELLOW. Watch!
+Watch! Silk flash rich stockings white. Watch!
+
+A heavy tramcar honking its gong slewed between.
+
+Lost it. Curse your noisy pugnose. Feels locked out of it. Paradise and
+the peri. Always happening like that. The very moment. Girl in Eustace
+street hallway Monday was it settling her garter. Her friend covering the
+display of. ESPRIT DE CORPS. Well, what are you gaping at?
+
+--Yes, yes, Mr Bloom said after a dull sigh. Another gone.
+
+--One of the best, M'Coy said.
+
+The tram passed. They drove off towards the Loop Line bridge, her rich
+gloved hand on the steel grip. Flicker, flicker: the laceflare of her hat
+in the sun: flicker, flick.
+
+--Wife well, I suppose? M'Coy's changed voice said.
+
+--O, yes, Mr Bloom said. Tiptop, thanks.
+
+He unrolled the newspaper baton idly and read idly:
+
+
+    WHAT IS HOME WITHOUT
+    PLUMTREE'S POTTED MEAT?
+    INCOMPLETE
+    WITH IT AN ABODE OF BLISS.
+
+
+--My missus has just got an engagement. At least it's not settled yet.
+
+Valise tack again. By the way no harm. I'm off that, thanks.
+
+Mr Bloom turned his largelidded eyes with unhasty friendliness.
+
+--My wife too, he said. She's going to sing at a swagger affair in the
+Ulster Hall, Belfast, on the twenty-fifth.
+
+--That so? M'Coy said. Glad to hear that, old man. Who's getting it up?
+
+Mrs Marion Bloom. Not up yet. Queen was in her bedroom eating bread and.
+No book. Blackened court cards laid along her thigh by sevens. Dark lady
+and fair man. Letter. Cat furry black ball. Torn strip of envelope.
+
+
+    LOVE'S
+    OLD
+    SWEET
+    SONG
+    COMES LO-OVE'S OLD ...
+
+
+--It's a kind of a tour, don't you see, Mr Bloom said thoughtfully.
+SWEEEET SONG.  There's a committee formed. Part shares and part profits.
+
+M'Coy nodded, picking at his moustache stubble.
+
+--O, well, he said. That's good news.
+
+He moved to go.
+
+--Well, glad to see you looking fit, he said. Meet you knocking around.
+
+--Yes, Mr Bloom said.
+
+--Tell you what, M'Coy said. You might put down my name at the funeral,
+will you? I'd like to go but I mightn't be able, you see. There's a
+drowning case at Sandycove may turn up and then the coroner and myself
+would have to go down if the body is found. You just shove in my name if
+I'm not there, will you?
+
+--I'll do that, Mr Bloom said, moving to get off. That'll be all right.
+
+--Right, M'Coy said brightly. Thanks, old man. I'd go if I possibly
+could. Well, tolloll. Just C. P. M'Coy will do.
+
+--That will be done, Mr Bloom answered firmly.
+
+Didn't catch me napping that wheeze. The quick touch. Soft mark. I'd like
+my job. Valise I have a particular fancy for. Leather. Capped corners,
+rivetted edges, double action lever lock. Bob Cowley lent him his for the
+Wicklow regatta concert last year and never heard tidings of it from that
+good day to this.
+
+Mr Bloom, strolling towards Brunswick street, smiled. My missus has just
+got an. Reedy freckled soprano. Cheeseparing nose. Nice enough in its
+way: for a little ballad. No guts in it. You and me, don't you know: in
+the same boat. Softsoaping. Give you the needle that would. Can't he hear
+the difference? Think he's that way inclined a bit. Against my grain
+somehow. Thought that Belfast would fetch him. I hope that smallpox up
+there doesn't get worse. Suppose she wouldn't let herself be vaccinated
+again. Your wife and my wife.
+
+Wonder is he pimping after me?
+
+Mr Bloom stood at the corner, his eyes wandering over the multicoloured
+hoardings. Cantrell and Cochrane's Ginger Ale (Aromatic). Clery's Summer
+Sale. No, he's going on straight. Hello. LEAH tonight. Mrs Bandmann
+Palmer. Like to see her again in that. HAMLET she played last night. Male
+impersonator. Perhaps he was a woman. Why Ophelia committed suicide. Poor
+papa! How he used to talk of Kate Bateman in that. Outside the Adelphi in
+London waited all the afternoon to get in. Year before I was born that
+was: sixtyfive. And Ristori in Vienna. What is this the right name is? By
+Mosenthal it is. Rachel, is it? No. The scene he was always talking about
+where the old blind Abraham recognises the voice and puts his fingers on
+his face.
+
+Nathan's voice! His son's voice! I hear the voice of Nathan who left his
+father to die of grief and misery in my arms, who left the house of his
+father and left the God of his father.
+
+Every word is so deep, Leopold.
+
+Poor papa! Poor man! I'm glad I didn't go into the room to look at his
+face. That day! O, dear! O, dear! Ffoo! Well, perhaps it was best for
+him.
+
+Mr Bloom went round the corner and passed the drooping nags of the
+hazard. No use thinking of it any more. Nosebag time. Wish I hadn't met
+that M'Coy fellow.
+
+He came nearer and heard a crunching of gilded oats, the gently champing
+teeth. Their full buck eyes regarded him as he went by, amid the sweet
+oaten reek of horsepiss. Their Eldorado. Poor jugginses! Damn all they
+know or care about anything with their long noses stuck in nosebags. Too
+full for words. Still they get their feed all right and their doss.
+Gelded too: a stump of black guttapercha wagging limp between their
+haunches. Might be happy all the same that way. Good poor brutes they
+look. Still their neigh can be very irritating.
+
+He drew the letter from his pocket and folded it into the newspaper he
+carried. Might just walk into her here. The lane is safer.
+
+He passed the cabman's shelter. Curious the life of drifting cabbies. All
+weathers, all places, time or setdown, no will of their own. VOGLIO E
+NON. Like to give them an odd cigarette. Sociable. Shout a few flying
+syllables as they pass. He hummed:
+
+
+    LA CI DAREM LA MANO
+    LA LA LALA LA LA.
+
+
+He turned into Cumberland street and, going on some paces, halted
+in the lee of the station wall. No-one. Meade's timberyard. Piled balks.
+Ruins and tenements. With careful tread he passed over a hopscotch court
+with its forgotten pickeystone. Not a sinner. Near the timberyard a
+squatted child at marbles, alone, shooting the taw with a cunnythumb. A
+wise tabby, a blinking sphinx, watched from her warm sill. Pity to disturb
+them. Mohammed cut a piece out of his mantle not to wake her. Open it.
+And once I played marbles when I went to that old dame's school. She liked
+mignonette. Mrs Ellis's. And Mr? He opened the letter within the
+newspaper.
+
+A flower. I think it's a. A yellow flower with flattened petals. Not
+annoyed then? What does she say?
+
+
+    Dear Henry
+
+I got your last letter to me and thank you very much for it. I am sorry
+you did not like my last letter. Why did you enclose the stamps? I am
+awfully angry with you. I do wish I could punish you for that. I called
+you naughty boy because I do not like that other world. Please tell me
+what is the real meaning of that word? Are you not happy in your home you
+poor little naughty boy? I do wish I could do something for you. Please
+tell me what you think of poor me. I often think of the beautiful name you
+have. Dear Henry, when will we meet? I think of you so often you have no
+idea. I have never felt myself so much drawn to a man as you. I feel so
+bad about. Please write me a long letter and tell me more. Remember if you
+do not I will punish you. So now you know what I will do to you, you
+naughty boy, if you do not wrote. O how I long to meet you. Henry dear, do
+not deny my request before my patience are exhausted. Then I will tell you
+all. Goodbye now, naughty darling, I have such a bad headache. today. and
+write BY RETURN to your longing
+
+
+    Martha
+
+P. S. Do tell me what kind of perfume does your wife use. I want to know.
+
+
+He tore the flower gravely from its pinhold smelt its almost no smell
+and placed it in his heart pocket. Language of flowers. They like it
+because no-one can hear. Or a poison bouquet to strike him down. Then
+walking slowly forward he read the letter again, murmuring here and there
+a word. Angry tulips with you darling manflower punish your cactus if you
+don't please poor forgetmenot how I long violets to dear roses when we
+soon anemone meet all naughty nightstalk wife Martha's perfume. Having
+read it all he took it from the newspaper and put it back in his
+sidepocket.
+
+Weak joy opened his lips. Changed since the first letter. Wonder
+did she wrote it herself. Doing the indignant: a girl of good
+family like me, respectable character. Could meet one Sunday after the
+rosary. Thank you: not having any. Usual love scrimmage. Then running
+round corners. Bad as a row with Molly. Cigar has a cooling effect.
+Narcotic. Go further next time. Naughty boy: punish: afraid of words, of
+course. Brutal, why not? Try it anyhow. A bit at a time.
+
+Fingering still the letter in his pocket he drew the pin out of it.
+Common pin, eh? He threw it on the road. Out of her clothes somewhere:
+pinned together. Queer the number of pins they always have. No roses
+without thorns.
+
+Flat Dublin voices bawled in his head. Those two sluts that night in
+the Coombe, linked together in the rain.
+
+
+    O, MARY LOST THE PIN OF HER DRAWERS.
+    SHE DIDN'T KNOW WHAT TO DO
+    TO KEEP IT UP
+    TO KEEP IT UP.
+
+
+It? Them. Such a bad headache. Has her roses probably. Or sitting all day
+typing. Eyefocus bad for stomach nerves. What perfume does your wife
+use. Now could you make out a thing like that?
+
+    TO KEEP IT UP.
+
+Martha, Mary. I saw that picture somewhere I forget now old master or
+faked for money. He is sitting in their house, talking. Mysterious. Also
+the two sluts in the Coombe would listen.
+
+    TO KEEP IT UP.
+
+Nice kind of evening feeling. No more wandering about. Just loll there:
+quiet dusk: let everything rip. Forget. Tell about places you have been,
+strange customs. The other one, jar on her head, was getting the supper:
+fruit, olives, lovely cool water out of a well, stonecold like the hole in
+the wall at Ashtown. Must carry a paper goblet next time I go to the
+trottingmatches. She listens with big dark soft eyes. Tell her: more and
+more: all. Then a sigh: silence. Long long long rest.
+
+Going under the railway arch he took out the envelope, tore it swiftly
+in shreds and scattered them towards the road. The shreds fluttered away,
+sank in the dank air: a white flutter, then all sank.
+
+Henry Flower. You could tear up a cheque for a hundred pounds in
+the same way. Simple bit of paper. Lord Iveagh once cashed a sevenfigure
+cheque for a million in the bank of Ireland. Shows you the money to be
+made out of porter. Still the other brother lord Ardilaun has to change
+his shirt four times a day, they say. Skin breeds lice or vermin. A
+million pounds, wait a moment. Twopence a pint, fourpence a quart,
+eightpence a gallon of porter, no, one and fourpence a gallon of porter.
+One and four into twenty: fifteen about. Yes, exactly. Fifteen millions of
+barrels of porter.
+
+What am I saying barrels? Gallons. About a million barrels all the same.
+
+An incoming train clanked heavily above his head, coach after coach.
+Barrels bumped in his head: dull porter slopped and churned inside. The
+bungholes sprang open and a huge dull flood leaked out, flowing together,
+winding through mudflats all over the level land, a lazy pooling swirl of
+liquor bearing along wideleaved flowers of its froth.
+
+He had reached the open backdoor of All Hallows. Stepping into the
+porch he doffed his hat, took the card from his pocket and tucked it again
+behind the leather headband. Damn it. I might have tried to work M'Coy
+for a pass to Mullingar.
+
+Same notice on the door. Sermon by the very reverend John Conmee
+S.J. on saint Peter Claver S.J. and the African Mission. Prayers for the
+conversion of Gladstone they had too when he was almost unconscious.
+The protestants are the same. Convert Dr William J. Walsh D.D. to the
+true religion. Save China's millions. Wonder how they explain it to the
+heathen Chinee. Prefer an ounce of opium. Celestials. Rank heresy for
+them. Buddha their god lying on his side in the museum. Taking it easy
+with hand under his cheek. Josssticks burning. Not like Ecce Homo. Crown
+of thorns and cross. Clever idea Saint Patrick the shamrock. Chopsticks?
+Conmee: Martin Cunningham knows him: distinguishedlooking. Sorry I
+didn't work him about getting Molly into the choir instead of that Father
+Farley who looked a fool but wasn't. They're taught that. He's not going
+out in bluey specs with the sweat rolling off him to baptise blacks, is
+he? The glasses would take their fancy, flashing. Like to see them sitting
+round in a ring with blub lips, entranced, listening. Still life. Lap it
+up like milk, I suppose.
+
+
+The cold smell of sacred stone called him. He trod the worn steps,
+pushed the swingdoor and entered softly by the rere.
+
+Something going on: some sodality. Pity so empty. Nice discreet place
+to be next some girl. Who is my neighbour? Jammed by the hour to slow
+music. That woman at midnight mass. Seventh heaven. Women knelt in the
+benches with crimson halters round their necks, heads bowed. A batch knelt
+at the altarrails. The priest went along by them, murmuring, holding the
+thing in his hands. He stopped at each, took out a communion, shook a
+drop or two (are they in water?) off it and put it neatly into her mouth.
+Her hat and head sank. Then the next one. Her hat sank at once. Then the
+next one: a small old woman. The priest bent down to put it into her
+mouth, murmuring all the time. Latin. The next one. Shut your eyes and
+open your mouth. What? CORPUS: body. Corpse. Good idea the Latin.
+Stupefies them first. Hospice for the dying. They don't seem to chew it:
+only swallow it down. Rum idea: eating bits of a corpse. Why the cannibals
+cotton to it.
+
+He stood aside watching their blind masks pass down the aisle, one by
+one, and seek their places. He approached a bench and seated himself in
+its corner, nursing his hat and newspaper. These pots we have to wear. We
+ought to have hats modelled on our heads. They were about him here and
+there, with heads still bowed in their crimson halters, waiting for it to
+melt in their stomachs. Something like those mazzoth: it's that sort of
+bread: unleavened shewbread. Look at them. Now I bet it makes them feel
+happy. Lollipop. It does. Yes, bread of angels it's called. There's a big
+idea behind it, kind of kingdom of God is within you feel. First
+communicants. Hokypoky penny a lump. Then feel all like one family party,
+same in the theatre, all in the same swim. They do. I'm sure of that. Not
+so lonely. In our confraternity. Then come out a bit spreeish. Let off
+steam. Thing is if you really believe in it. Lourdes cure, waters of
+oblivion, and the Knock apparition, statues bleeding. Old fellow asleep
+near that confessionbox. Hence those snores. Blind faith. Safe in the arms
+of kingdom come. Lulls all pain. Wake this time next year.
+
+He saw the priest stow the communion cup away, well in, and kneel
+an instant before it, showing a large grey bootsole from under the lace
+affair he had on. Suppose he lost the pin of his. He wouldn't know what to
+do to. Bald spot behind. Letters on his back: I.N.R.I? No: I.H.S.
+Molly told me one time I asked her. I have sinned: or no: I have suffered,
+it is. And the other one? Iron nails ran in.
+
+Meet one Sunday after the rosary. Do not deny my request. Turn up
+with a veil and black bag. Dusk and the light behind her. She might be
+here with a ribbon round her neck and do the other thing all the same on
+the sly. Their character. That fellow that turned queen's evidence on the
+invincibles he used to receive the, Carey was his name, the communion
+every morning. This very church. Peter Carey, yes. No, Peter Claver I am
+thinking of. Denis Carey. And just imagine that. Wife and six children
+at home. And plotting that murder all the time. Those crawthumpers,
+now that's a good name for them, there's always something shiftylooking
+about them. They're not straight men of business either. O, no, she's
+not here: the flower: no, no. By the way, did I tear up that envelope?
+Yes: under the bridge.
+
+The priest was rinsing out the chalice: then he tossed off the dregs
+smartly. Wine. Makes it more aristocratic than for example if he drank
+what they are used to Guinness's porter or some temperance beverage
+Wheatley's Dublin hop bitters or Cantrell and Cochrane's ginger ale
+(aromatic). Doesn't give them any of it: shew wine: only the other. Cold
+comfort. Pious fraud but quite right: otherwise they'd have one old booser
+worse than another coming along, cadging for a drink. Queer the whole
+atmosphere of the. Quite right. Perfectly right that is.
+
+Mr Bloom looked back towards the choir. Not going to be any music.
+Pity. Who has the organ here I wonder? Old Glynn he knew how to make
+that instrument talk, the VIBRATO: fifty pounds a year they say he had in
+Gardiner street. Molly was in fine voice that day, the STABAT MATER of
+Rossini. Father Bernard Vaughan's sermon first. Christ or Pilate? Christ,
+but don't keep us all night over it. Music they wanted. Footdrill stopped.
+Could hear a pin drop. I told her to pitch her voice against that corner.
+I could feel the thrill in the air, the full, the people looking up:
+
+QUIS EST HOMO.
+
+Some of that old sacred music splendid. Mercadante: seven last
+words. Mozart's twelfth mass: GLORIA in that. Those old popes keen on
+music, on art and statues and pictures of all kinds. Palestrina for
+example too. They had a gay old time while it lasted. Healthy too,
+chanting, regular hours, then brew liqueurs. Benedictine. Green
+Chartreuse. Still, having eunuchs in their choir that was coming it a bit
+thick. What kind of voice is it? Must be curious to hear after their own
+strong basses. Connoisseurs. Suppose they wouldn't feel anything after.
+Kind of a placid. No worry. Fall into flesh, don't they? Gluttons, tall,
+long legs. Who knows? Eunuch. One way out of it.
+
+He saw the priest bend down and kiss the altar and then face about
+and bless all the people. All crossed themselves and stood up. Mr Bloom
+glanced about him and then stood up, looking over the risen hats. Stand up
+at the gospel of course. Then all settled down on their knees again and he
+sat back quietly in his bench. The priest came down from the altar,
+holding the thing out from him, and he and the massboy answered each other
+in Latin. Then the priest knelt down and began to read off a card:
+
+--O God, our refuge and our strength ...
+
+Mr Bloom put his face forward to catch the words. English. Throw
+them the bone. I remember slightly. How long since your last mass?
+Glorious and immaculate virgin. Joseph, her spouse. Peter and Paul. More
+interesting if you understood what it was all about. Wonderful
+organisation certainly, goes like clockwork. Confession. Everyone wants
+to. Then I will tell you all. Penance. Punish me, please. Great weapon in
+their hands. More than doctor or solicitor. Woman dying to. And I
+schschschschschsch. And did you chachachachacha? And why did you? Look
+down at her ring to find an excuse. Whispering gallery walls have ears.
+Husband learn to his surprise. God's little joke. Then out she comes.
+Repentance skindeep. Lovely shame. Pray at an altar. Hail Mary and
+Holy Mary. Flowers, incense, candles melting. Hide her blushes.
+Salvation army blatant imitation. Reformed prostitute will address
+the meeting. How I found the Lord. Squareheaded chaps those must be
+in Rome: they work the whole show. And don't they rake in the money too?
+Bequests also: to the P.P. for the time being in his absolute discretion.
+Masses for the repose of my soul to be said publicly with open doors.
+Monasteries and convents. The priest in that Fermanagh will case in
+the witnessbox. No browbeating him. He had his answer pat for everything.
+Liberty and exaltation of our holy mother the church. The doctors of the
+church: they mapped out the whole theology of it.
+
+The priest prayed:
+
+--Blessed Michael, archangel, defend us in the hour of conflict. Be our
+safeguard against the wickedness and snares of the devil (may God restrain
+him, we humbly pray!): and do thou, O prince of the heavenly host, by the
+power of God thrust Satan down to hell and with him those other wicked
+spirits who wander through the world for the ruin of souls.
+
+The priest and the massboy stood up and walked off. All over. The
+women remained behind: thanksgiving.
+
+Better be shoving along. Brother Buzz. Come around with the plate
+perhaps. Pay your Easter duty.
+
+He stood up. Hello. Were those two buttons of my waistcoat open all
+the time? Women enjoy it. Never tell you. But we. Excuse, miss, there's a
+(whh!) just a (whh!) fluff. Or their skirt behind, placket unhooked.
+Glimpses of the moon. Annoyed if you don't. Why didn't you tell me
+before. Still like you better untidy. Good job it wasn't farther south. He
+passed, discreetly buttoning, down the aisle and out through the main door
+into the light. He stood a moment unseeing by the cold black marble bowl
+while before him and behind two worshippers dipped furtive hands in the
+low tide of holy water. Trams: a car of Prescott's dyeworks: a widow in
+her  weeds. Notice because I'm in mourning myself. He covered himself. How
+goes the time? Quarter past. Time enough yet. Better get that lotion made
+up. Where is this? Ah yes, the last time. Sweny's in Lincoln place.
+Chemists rarely move. Their green and gold beaconjars too heavy to stir.
+Hamilton Long's, founded in the year of the flood. Huguenot churchyard
+near there. Visit some day.
+
+He walked southward along Westland row. But the recipe is in the
+other trousers. O, and I forgot that latchkey too. Bore this funeral
+affair. O well, poor fellow, it's not his fault. When was it I got it made
+up last? Wait. I changed a sovereign I remember. First of the month it
+must have been or the second. O, he can look it up in the prescriptions
+book.
+
+The chemist turned back page after page. Sandy shrivelled smell he
+seems to have. Shrunken skull. And old. Quest for the philosopher's stone.
+The alchemists. Drugs age you after mental excitement. Lethargy then.
+Why? Reaction. A lifetime in a night. Gradually changes your character.
+Living all the day among herbs, ointments, disinfectants. All his
+alabaster lilypots. Mortar and pestle. Aq. Dist. Fol. Laur. Te Virid.
+Smell almost cure you like the dentist's doorbell. Doctor Whack. He ought
+to physic himself a bit. Electuary or emulsion. The first fellow that
+picked an herb to cure himself had a bit of pluck. Simples. Want to be
+careful. Enough stuff here to chloroform you. Test: turns blue litmus
+paper red. Chloroform. Overdose of laudanum. Sleeping draughts.
+Lovephiltres. Paragoric poppysyrup bad for cough. Clogs the pores or the
+phlegm. Poisons the only cures. Remedy where you least expect it. Clever
+of nature.
+
+--About a fortnight ago, sir?
+
+--Yes, Mr Bloom said.
+
+He waited by the counter, inhaling slowly the keen reek of drugs, the
+dusty dry smell of sponges and loofahs. Lot of time taken up telling your
+aches and pains.
+
+--Sweet almond oil and tincture of benzoin, Mr Bloom said, and then
+orangeflower water ...
+
+It certainly did make her skin so delicate white like wax.
+
+--And white wax also, he said.
+
+Brings out the darkness of her eyes. Looking at me, the sheet up to
+her eyes, Spanish, smelling herself, when I was fixing the links in my
+cuffs. Those homely recipes are often the best: strawberries for the
+teeth: nettles and rainwater: oatmeal they say steeped in buttermilk.
+Skinfood. One of the old queen's sons, duke of Albany was it? had only one
+skin. Leopold, yes. Three we have. Warts, bunions and pimples to make it
+worse. But you want a perfume too. What perfume does your? PEAU D'ESPAGNE.
+That orangeflower water is so fresh. Nice smell these soaps have. Pure
+curd soap. Time to get a bath round the corner. Hammam. Turkish. Massage.
+Dirt gets rolled up in your navel. Nicer if a nice girl did it. Also I
+think I. Yes I. Do it in the bath. Curious longing I. Water to water.
+Combine business with pleasure. Pity no time for massage. Feel fresh then
+all the day. Funeral be rather glum.
+
+--Yes, sir, the chemist said. That was two and nine. Have you brought a
+bottle?
+
+--No, Mr Bloom said. Make it up, please. I'll call later in the day and
+I'll take one of these soaps. How much are they?
+
+--Fourpence, sir.
+
+Mr Bloom raised a cake to his nostrils. Sweet lemony wax.
+
+--I'll take this one, he said. That makes three and a penny.
+
+--Yes, sir, the chemist said. You can pay all together, sir, when you
+come back.
+
+--Good, Mr Bloom said.
+
+He strolled out of the shop, the newspaper baton under his armpit,
+the coolwrappered soap in his left hand.
+
+At his armpit Bantam Lyons' voice and hand said:
+
+--Hello, Bloom. What's the best news? Is that today's? Show us a minute.
+
+Shaved off his moustache again, by Jove! Long cold upper lip. To
+look younger. He does look balmy. Younger than I am.
+
+Bantam Lyons's yellow blacknailed fingers unrolled the baton. Wants
+a wash too. Take off the rough dirt. Good morning, have you used Pears'
+soap? Dandruff on his shoulders. Scalp wants oiling.
+
+--I want to see about that French horse that's running today, Bantam
+Lyons said. Where the bugger is it?
+
+He rustled the pleated pages, jerking his chin on his high collar.
+Barber's itch. Tight collar he'll lose his hair. Better leave him the
+paper and get shut of him.
+
+--You can keep it, Mr Bloom said.
+
+--Ascot. Gold cup. Wait, Bantam Lyons muttered. Half a mo. Maximum
+the second.
+
+--I was just going to throw it away, Mr Bloom said.
+
+Bantam Lyons raised his eyes suddenly and leered weakly.
+
+--What's that? his sharp voice said.
+
+--I say you can keep it, Mr Bloom answered. I was going to throw it away
+that moment.
+
+Bantam Lyons doubted an instant, leering: then thrust the outspread
+sheets back on Mr Bloom's arms.
+
+--I'll risk it, he said. Here, thanks.
+
+He sped off towards Conway's corner. God speed scut.
+
+Mr Bloom folded the sheets again to a neat square and lodged the
+soap in it, smiling. Silly lips of that chap. Betting. Regular hotbed of
+it lately. Messenger boys stealing to put on sixpence. Raffle for large
+tender turkey. Your Christmas dinner for threepence. Jack Fleming
+embezzling to gamble then smuggled off to America. Keeps a hotel now. They
+never come back. Fleshpots of Egypt.
+
+He walked cheerfully towards the mosque of the baths. Remind you
+of a mosque, redbaked bricks, the minarets. College sports today I see. He
+eyed the horseshoe poster over the gate of college park: cyclist doubled
+up like a cod in a pot. Damn bad ad. Now if they had made it round like a
+wheel. Then the spokes: sports, sports, sports: and the hub big: college.
+Something to catch the eye.
+
+There's Hornblower standing at the porter's lodge. Keep him on
+hands: might take a turn in there on the nod. How do you do, Mr
+Hornblower? How do you do, sir?
+
+Heavenly weather really. If life was always like that. Cricket weather.
+Sit around under sunshades. Over after over. Out. They can't play it here.
+Duck for six wickets. Still Captain Culler broke a window in the Kildare
+street club with a slog to square leg. Donnybrook fair more in their line.
+And the skulls we were acracking when M'Carthy took the floor.
+Heatwave. Won't last. Always passing, the stream of life, which in the
+stream of life we trace is dearer than them all.
+
+Enjoy a bath now: clean trough of water, cool enamel, the gentle
+tepid stream. This is my body.
+
+He foresaw his pale body reclined in it at full, naked, in a womb of
+warmth, oiled by scented melting soap, softly laved. He saw his trunk and
+limbs riprippled over and sustained, buoyed lightly upward, lemonyellow:
+his navel, bud of flesh: and saw the dark tangled curls of his bush
+floating, floating hair of the stream around the limp father of thousands,
+a languid floating flower.
+
+
+    * * * * * * *
+
+
+Martin Cunningham, first, poked his silkhatted head into the creaking
+carriage and, entering deftly, seated himself. Mr Power stepped in after
+him, curving his height with care.
+
+--Come on, Simon.
+
+--After you, Mr Bloom said.
+
+Mr Dedalus covered himself quickly and got in, saying:
+
+Yes, yes.
+
+--Are we all here now? Martin Cunningham asked. Come along, Bloom.
+
+Mr Bloom entered and sat in the vacant place. He pulled the door to
+after him and slammed it twice till it shut tight. He passed an arm
+through the armstrap and looked seriously from the open carriagewindow at
+the lowered blinds of the avenue. One dragged aside: an old woman peeping.
+Nose whiteflattened against the pane. Thanking her stars she was passed
+over. Extraordinary the interest they take in a corpse. Glad to see us go
+we give them such trouble coming. Job seems to suit them. Huggermugger in
+corners. Slop about in slipperslappers for fear he'd wake. Then getting it
+ready. Laying it out. Molly and Mrs Fleming making the bed. Pull it more
+to your side. Our windingsheet. Never know who will touch you dead.
+Wash and shampoo. I believe they clip the nails and the hair. Keep a bit
+in an envelope. Grows all the same after. Unclean job.
+
+All waited. Nothing was said. Stowing in the wreaths probably. I am
+sitting on something hard. Ah, that soap: in my hip pocket. Better shift
+it out of that. Wait for an opportunity.
+
+All waited. Then wheels were heard from in front, turning: then
+nearer: then horses' hoofs. A jolt. Their carriage began to move, creaking
+and swaying. Other hoofs and creaking wheels started behind. The blinds
+of the avenue passed and number nine with its craped knocker, door ajar.
+At walking pace.
+
+They waited still, their knees jogging, till they had turned and were
+passing along the tramtracks. Tritonville road. Quicker. The wheels
+rattled rolling over the cobbled causeway and the crazy glasses shook
+rattling in the doorframes.
+
+--What way is he taking us? Mr Power asked through both windows.
+
+--Irishtown, Martin Cunningham said. Ringsend. Brunswick street.
+
+Mr Dedalus nodded, looking out.
+
+--That's a fine old custom, he said. I am glad to see it has not died out.
+
+All watched awhile through their windows caps and hats lifted by
+passers. Respect. The carriage swerved from the tramtrack to the smoother
+road past Watery lane. Mr Bloom at gaze saw a lithe young man, clad in
+mourning, a wide hat.
+
+--There's a friend of yours gone by, Dedalus, he said.
+
+--Who is that?
+
+--Your son and heir.
+
+--Where is he? Mr Dedalus said, stretching over across.
+
+The carriage, passing the open drains and mounds of rippedup
+roadway before the tenement houses, lurched round the corner and,
+swerving back to the tramtrack, rolled on noisily with chattering wheels.
+Mr Dedalus fell back, saying:
+
+--Was that Mulligan cad with him? His FIDUS ACHATES!
+
+--No, Mr Bloom said. He was alone.
+
+--Down with his aunt Sally, I suppose, Mr Dedalus said, the Goulding
+faction, the drunken little costdrawer and Crissie, papa's little lump of
+dung, the wise child that knows her own father.
+
+Mr Bloom smiled joylessly on Ringsend road. Wallace Bros: the
+bottleworks: Dodder bridge.
+
+Richie Goulding and the legal bag. Goulding, Collis and Ward he
+calls the firm. His jokes are getting a bit damp. Great card he was.
+Waltzing in Stamer street with Ignatius Gallaher on a Sunday morning, the
+landlady's two hats pinned on his head. Out on the rampage all night.
+Beginning to tell on him now: that backache of his, I fear. Wife ironing
+his back. Thinks he'll cure it with pills. All breadcrumbs they are.
+About six hundred per cent profit.
+
+--He's in with a lowdown crowd, Mr Dedalus snarled. That Mulligan is a
+contaminated bloody doubledyed ruffian by all accounts. His name stinks
+all over Dublin. But with the help of God and His blessed mother I'll make
+it my business to write a letter one of those days to his mother or his
+aunt or whatever she is that will open her eye as wide as a gate. I'll
+tickle his catastrophe, believe you me.
+
+He cried above the clatter of the wheels:
+
+--I won't have her bastard of a nephew ruin my son. A counterjumper's
+son. Selling tapes in my cousin, Peter Paul M'Swiney's. Not likely.
+
+He ceased. Mr Bloom glanced from his angry moustache to Mr Power's
+mild face and Martin Cunningham's eyes and beard, gravely shaking.
+Noisy selfwilled man. Full of his son. He is right. Something to
+hand on. If little Rudy had lived. See him grow up. Hear his voice in the
+house. Walking beside Molly in an Eton suit. My son. Me in his eyes.
+Strange feeling it would be. From me. Just a chance. Must have been that
+morning in Raymond terrace she was at the window watching the two dogs
+at it by the wall of the cease to do evil. And the sergeant grinning up.
+She had that cream gown on with the rip she never stitched. Give us a
+touch, Poldy. God, I'm dying for it. How life begins.
+
+Got big then. Had to refuse the Greystones concert. My son inside
+her. I could have helped him on in life. I could. Make him independent.
+Learn German too.
+
+--Are we late? Mr Power asked.
+
+--Ten minutes, Martin Cunningham said, looking at his watch.
+
+Molly. Milly. Same thing watered down. Her tomboy oaths. O jumping
+Jupiter! Ye gods and little fishes! Still, she's a dear girl. Soon
+be a woman. Mullingar. Dearest Papli. Young student. Yes, yes: a woman
+too. Life, life.
+
+The carriage heeled over and back, their four trunks swaying.
+
+--Corny might have given us a more commodious yoke, Mr Power said.
+
+--He might, Mr Dedalus said, if he hadn't that squint troubling him. Do
+you follow me?
+
+He closed his left eye. Martin Cunningham began to brush away
+crustcrumbs from under his thighs.
+
+--What is this, he said, in the name of God? Crumbs?
+
+--Someone seems to have been making a picnic party here lately, Mr Power
+said.
+
+All raised their thighs and eyed with disfavour the mildewed
+buttonless leather of the seats. Mr Dedalus, twisting his nose, frowned
+downward and said:
+
+--Unless I'm greatly mistaken. What do you think, Martin?
+
+--It struck me too, Martin Cunningham said.
+
+Mr Bloom set his thigh down. Glad I took that bath. Feel my feet
+quite clean. But I wish Mrs Fleming had darned these socks better.
+
+Mr Dedalus sighed resignedly.
+
+--After all, he said, it's the most natural thing in the world.
+
+--Did Tom Kernan turn up? Martin Cunningham asked, twirling the peak
+of his beard gently.
+
+--Yes, Mr Bloom answered. He's behind with Ned Lambert and Hynes.
+
+--And Corny Kelleher himself? Mr Power asked.
+
+--At the cemetery, Martin Cunningham said.
+
+--I met M'Coy this morning, Mr Bloom said. He said he'd try to come.
+
+The carriage halted short.
+
+--What's wrong?
+
+--We're stopped.
+
+--Where are we?
+
+Mr Bloom put his head out of the window.
+
+--The grand canal, he said.
+
+Gasworks. Whooping cough they say it cures. Good job Milly never
+got it. Poor children! Doubles them up black and blue in convulsions.
+Shame really. Got off lightly with illnesses compared. Only measles.
+Flaxseed tea. Scarlatina, influenza epidemics. Canvassing for death. Don't
+miss this chance. Dogs' home over there. Poor old Athos! Be good to Athos,
+Leopold, is my last wish. Thy will be done. We obey them in the grave. A
+dying scrawl. He took it to heart, pined away. Quiet brute. Old men's dogs
+usually are.
+
+A raindrop spat on his hat. He drew back and saw an instant of
+shower spray dots over the grey flags. Apart. Curious. Like through a
+colander. I thought it would. My boots were creaking I remember now.
+
+--The weather is changing, he said quietly.
+
+--A pity it did not keep up fine, Martin Cunningham said.
+
+--Wanted for the country, Mr Power said. There's the sun again coming out.
+
+Mr Dedalus, peering through his glasses towards the veiled sun,
+hurled a mute curse at the sky.
+
+--It's as uncertain as a child's bottom, he said.
+
+--We're off again.
+
+The carriage turned again its stiff wheels and their trunks swayed
+gently. Martin Cunningham twirled more quickly the peak of his beard.
+
+--Tom Kernan was immense last night, he said. And Paddy Leonard taking
+him off to his face.
+
+--O, draw him out, Martin, Mr Power said eagerly. Wait till you hear him,
+Simon, on Ben Dollard's singing of THE CROPPY BOY.
+
+--Immense, Martin Cunningham said pompously. HIS SINGING OF THAT SIMPLE
+BALLAD, MARTIN, IS THE MOST TRENCHANT RENDERING I EVER HEARD IN THE WHOLE
+COURSE OF MY EXPERIENCE.
+
+--Trenchant, Mr Power said laughing. He's dead nuts on that. And the
+retrospective arrangement.
+
+--Did you read Dan Dawson's speech? Martin Cunningham asked.
+
+--I did not then, Mr Dedalus said. Where is it?
+
+--In the paper this morning.
+
+Mr Bloom took the paper from his inside pocket. That book I must
+change for her.
+
+--No, no, Mr Dedalus said quickly. Later on please.
+
+Mr Bloom's glance travelled down the edge of the paper, scanning the
+deaths: Callan, Coleman, Dignam, Fawcett, Lowry, Naumann, Peake, what
+Peake is that? is it the chap was in Crosbie and Alleyne's? no, Sexton,
+Urbright. Inked characters fast fading on the frayed breaking paper.
+Thanks to the Little Flower. Sadly missed. To the inexpressible grief of
+his. Aged 88 after a long and tedious illness. Month's mind: Quinlan.
+On whose soul Sweet Jesus have mercy.
+
+
+    IT IS NOW A MONTH SINCE DEAR HENRY FLED
+    TO HIS HOME UP ABOVE IN THE SKY
+    WHILE HIS FAMILY WEEPS AND MOURNS HIS LOSS
+    HOPING SOME DAY TO MEET HIM ON HIGH.
+
+
+I tore up the envelope? Yes. Where did I put her letter after I read it in
+the bath? He patted his waistcoatpocket. There all right. Dear Henry fled.
+Before my patience are exhausted.
+
+National school. Meade's yard. The hazard. Only two there now.
+Nodding. Full as a tick. Too much bone in their skulls. The other trotting
+round with a fare. An hour ago I was passing there. The jarvies raised
+their hats.
+
+A pointsman's back straightened itself upright suddenly against a
+tramway standard by Mr Bloom's window. Couldn't they invent something
+automatic so that the wheel itself much handier? Well but that fellow
+would lose his job then? Well but then another fellow would get a job
+making the new invention?
+
+Antient concert rooms. Nothing on there. A man in a buff suit with a
+crape armlet. Not much grief there. Quarter mourning. People in law
+perhaps.
+
+They went past the bleak pulpit of saint Mark's, under the railway
+bridge, past the Queen's theatre: in silence. Hoardings: Eugene Stratton,
+Mrs Bandmann Palmer. Could I go to see LEAH tonight, I wonder. I said I.
+Or the LILY OF KILLARNEY? Elster Grimes Opera Company. Big powerful
+change. Wet bright bills for next week. FUN ON THE BRISTOL. Martin
+Cunningham could work a pass for the Gaiety. Have to stand a drink or
+two. As broad as it's long.
+
+He's coming in the afternoon. Her songs.
+
+Plasto's. Sir Philip Crampton's memorial fountain bust. Who was he?
+
+--How do you do? Martin Cunningham said, raising his palm to his brow
+in salute.
+
+--He doesn't see us, Mr Power said. Yes, he does. How do you do?
+
+--Who? Mr Dedalus asked.
+
+--Blazes Boylan, Mr Power said. There he is airing his quiff.
+
+Just that moment I was thinking.
+
+Mr Dedalus bent across to salute. From the door of the Red Bank the
+white disc of a straw hat flashed reply: spruce figure: passed.
+
+Mr Bloom reviewed the nails of his left hand, then those of his right
+hand. The nails, yes. Is there anything more in him that they she sees?
+Fascination. Worst man in Dublin. That keeps him alive. They sometimes
+feel what a person is. Instinct. But a type like that. My nails. I am just
+looking at them: well pared. And after: thinking alone. Body getting a bit
+softy. I would notice that: from remembering. What causes that? I suppose
+the skin can't contract quickly enough when the flesh falls off. But the
+shape is there. The shape is there still. Shoulders. Hips. Plump. Night of
+the dance dressing. Shift stuck between the cheeks behind.
+
+He clasped his hands between his knees and, satisfied, sent his vacant
+glance over their faces.
+
+Mr Power asked:
+
+--How is the concert tour getting on, Bloom?
+
+--O, very well, Mr Bloom said. I hear great accounts of it. It's a good
+idea, you see ...
+
+--Are you going yourself?
+
+--Well no, Mr Bloom said. In point of fact I have to go down to the
+county Clare on some private business. You see the idea is to tour the
+chief towns. What you lose on one you can make up on the other.
+
+--Quite so, Martin Cunningham said. Mary Anderson is up there now.
+
+Have you good artists?
+
+--Louis Werner is touring her, Mr Bloom said. O yes, we'll have all
+topnobbers. J. C. Doyle and John MacCormack I hope and. The best, in
+fact.
+
+--And MADAME, Mr Power said smiling. Last but not least.
+
+Mr Bloom unclasped his hands in a gesture of soft politeness and
+clasped them. Smith O'Brien. Someone has laid a bunch of flowers there.
+Woman. Must be his deathday. For many happy returns. The carriage
+wheeling by Farrell's statue united noiselessly their unresisting knees.
+
+Oot: a dullgarbed old man from the curbstone tendered his wares, his
+mouth opening: oot.
+
+--Four bootlaces for a penny.
+
+Wonder why he was struck off the rolls. Had his office in Hume
+street. Same house as Molly's namesake, Tweedy, crown solicitor for
+Waterford. Has that silk hat ever since. Relics of old decency. Mourning
+too. Terrible comedown, poor wretch! Kicked about like snuff at a wake.
+O'Callaghan on his last legs.
+
+And MADAME. Twenty past eleven. Up. Mrs Fleming is in to clean.
+Doing her hair, humming. VOGLIO E NON VORREI. No. VORREI E NON. Looking
+at the tips of her hairs to see if they are split. MI TREMA UN POCO IL.
+Beautiful on that TRE her voice is: weeping tone. A thrush. A throstle.
+There is a word throstle that expresses that.
+
+His eyes passed lightly over Mr Power's goodlooking face. Greyish
+over the ears. MADAME: smiling. I smiled back. A smile goes a long way.
+Only politeness perhaps. Nice fellow. Who knows is that true about the
+woman he keeps? Not pleasant for the wife. Yet they say, who was it told
+me, there is no carnal. You would imagine that would get played out pretty
+quick. Yes, it was Crofton met him one evening bringing her a pound of
+rumpsteak. What is this she was? Barmaid in Jury's. Or the Moira, was it?
+
+They passed under the hugecloaked Liberator's form.
+
+Martin Cunningham nudged Mr Power.
+
+--Of the tribe of Reuben, he said.
+
+A tall blackbearded figure, bent on a stick, stumping round the corner
+of Elvery's Elephant house, showed them a curved hand open on his spine.
+
+--In all his pristine beauty, Mr Power said.
+
+Mr Dedalus looked after the stumping figure and said mildly:
+
+--The devil break the hasp of your back!
+
+Mr Power, collapsing in laughter, shaded his face from the window as
+the carriage passed Gray's statue.
+
+--We have all been there, Martin Cunningham said broadly.
+
+His eyes met Mr Bloom's eyes. He caressed his beard, adding:
+
+--Well, nearly all of us.
+
+Mr Bloom began to speak with sudden eagerness to his companions' faces.
+
+--That's an awfully good one that's going the rounds about Reuben J and
+the son.
+
+--About the boatman? Mr Power asked.
+
+--Yes. Isn't it awfully good?
+
+--What is that? Mr Dedalus asked. I didn't hear it.
+
+--There was a girl in the case, Mr Bloom began, and he determined to send
+him to the Isle of Man out of harm's way but when they were both ...
+
+--What? Mr Dedalus asked. That confirmed bloody hobbledehoy is it?
+
+--Yes, Mr Bloom said. They were both on the way to the boat and he tried
+to drown ...
+
+--Drown Barabbas! Mr Dedalus cried. I wish to Christ he did!
+
+Mr Power sent a long laugh down his shaded nostrils.
+
+--No, Mr Bloom said, the son himself ...
+
+Martin Cunningham thwarted his speech rudely:
+
+--Reuben and the son were piking it down the quay next the river on their
+way to the Isle of Man boat and the young chiseller suddenly got loose and
+over the wall with him into the Liffey.
+
+--For God's sake! Mr Dedalus exclaimed in fright. Is he dead?
+
+--Dead! Martin Cunningham cried. Not he! A boatman got a pole and
+fished him out by the slack of the breeches and he was landed up to the
+father on the quay more dead than alive. Half the town was there.
+
+--Yes, Mr Bloom said. But the funny part is ...
+
+--And Reuben J, Martin Cunningham said, gave the boatman a florin for
+saving his son's life.
+
+A stifled sigh came from under Mr Power's hand.
+
+--O, he did, Martin Cunningham affirmed. Like a hero. A silver florin.
+
+--Isn't it awfully good? Mr Bloom said eagerly.
+
+--One and eightpence too much, Mr Dedalus said drily.
+
+Mr Power's choked laugh burst quietly in the carriage.
+
+Nelson's pillar.
+
+--Eight plums a penny! Eight for a penny!
+
+--We had better look a little serious, Martin Cunningham said.
+
+Mr Dedalus sighed.
+
+--Ah then indeed, he said, poor little Paddy wouldn't grudge us a laugh.
+Many a good one he told himself.
+
+--The Lord forgive me! Mr Power said, wiping his wet eyes with his
+fingers. Poor Paddy! I little thought a week ago when I saw him last and
+he was in his usual health that I'd be driving after him like this. He's
+gone from us.
+
+--As decent a little man as ever wore a hat, Mr Dedalus said. He went
+very suddenly.
+
+--Breakdown, Martin Cunningham said. Heart.
+
+He tapped his chest sadly.
+
+Blazing face: redhot. Too much John Barleycorn. Cure for a red
+nose. Drink like the devil till it turns adelite. A lot of money he spent
+colouring it.
+
+Mr Power gazed at the passing houses with rueful apprehension.
+
+--He had a sudden death, poor fellow, he said.
+
+--The best death, Mr Bloom said.
+
+Their wide open eyes looked at him.
+
+--No suffering, he said. A moment and all is over. Like dying in sleep.
+
+No-one spoke.
+
+Dead side of the street this. Dull business by day, land agents,
+temperance hotel, Falconer's railway guide, civil service college, Gill's,
+catholic club, the industrious blind. Why? Some reason. Sun or wind. At
+night too. Chummies and slaveys. Under the patronage of the late Father
+Mathew. Foundation stone for Parnell. Breakdown. Heart.
+
+White horses with white frontlet plumes came round the Rotunda
+corner, galloping. A tiny coffin flashed by. In a hurry to bury. A
+mourning coach. Unmarried. Black for the married. Piebald for bachelors.
+Dun for a nun.
+
+--Sad, Martin Cunningham said. A child.
+
+A dwarf's face, mauve and wrinkled like little Rudy's was. Dwarf's
+body, weak as putty, in a whitelined deal box. Burial friendly society
+pays. Penny a week for a sod of turf. Our. Little. Beggar. Baby.
+Meant nothing. Mistake of nature. If it's healthy it's from the mother.
+If not from the man. Better luck next time.
+
+--Poor little thing, Mr Dedalus said. It's well out of it.
+
+The carriage climbed more slowly the hill of Rutland square. Rattle
+his bones. Over the stones. Only a pauper. Nobody owns.
+
+--In the midst of life, Martin Cunningham said.
+
+--But the worst of all, Mr Power said, is the man who takes his own life.
+
+Martin Cunningham drew out his watch briskly, coughed and put it back.
+
+--The greatest disgrace to have in the family, Mr Power added.
+
+--Temporary insanity, of course, Martin Cunningham said decisively. We
+must take a charitable view of it.
+
+--They say a man who does it is a coward, Mr Dedalus said.
+
+--It is not for us to judge, Martin Cunningham said.
+
+Mr Bloom, about to speak, closed his lips again. Martin Cunningham's
+large eyes. Looking away now. Sympathetic human man he is. Intelligent.
+Like Shakespeare's face. Always a good word to say. They have no
+mercy on that here or infanticide. Refuse christian burial. They
+used to drive a stake of wood through his heart in the grave. As if it
+wasn't broken already. Yet sometimes they repent too late. Found in the
+riverbed clutching rushes. He looked at me. And that awful drunkard of a
+wife of his. Setting up house for her time after time and then pawning the
+furniture on him every Saturday almost. Leading him the life of the
+damned. Wear the heart out of a stone, that. Monday morning. Start afresh.
+Shoulder to the wheel. Lord, she must have looked a sight that night
+Dedalus told me he was in there. Drunk about the place and capering with
+Martin's umbrella.
+
+
+    AND THEY CALL ME THE JEWEL OF ASIA,
+    OF ASIA,
+    THE GEISHA.
+
+
+He looked away from me. He knows. Rattle his bones.
+
+That afternoon of the inquest. The redlabelled bottle on the table. The
+room in the hotel with hunting pictures. Stuffy it was. Sunlight through
+the slats of the Venetian blind. The coroner's sunlit ears, big and hairy.
+Boots giving evidence. Thought he was asleep first. Then saw like yellow
+streaks on his face. Had slipped down to the foot of the bed. Verdict:
+overdose. Death by misadventure. The letter. For my son Leopold.
+
+No more pain. Wake no more. Nobody owns.
+
+The carriage rattled swiftly along Blessington street. Over the stones.
+
+--We are going the pace, I think, Martin Cunningham said.
+
+--God grant he doesn't upset us on the road, Mr Power said.
+
+--I hope not, Martin Cunningham said. That will be a great race tomorrow
+in Germany. The Gordon Bennett.
+
+--Yes, by Jove, Mr Dedalus said. That will be worth seeing, faith.
+
+As they turned into Berkeley street a streetorgan near the Basin sent
+over and after them a rollicking rattling song of the halls. Has anybody
+here seen Kelly? Kay ee double ell wy. Dead March from SAUL. He's as bad
+as old Antonio.  He left me on my ownio.  Pirouette!  The MATER
+MISERICORDIAE. Eccles street. My house down there. Big place. Ward for
+incurables there. Very encouraging. Our Lady's Hospice for the dying.
+Deadhouse handy underneath. Where old Mrs Riordan died. They look
+terrible the women. Her feeding cup and rubbing her mouth with the
+spoon. Then the screen round her bed for her to die. Nice young student
+that was dressed that bite the bee gave me. He's gone over to the lying-in
+hospital they told me. From one extreme to the other. The carriage
+galloped round a corner: stopped.
+
+--What's wrong now?
+
+A divided drove of branded cattle passed the windows, lowing,
+slouching by on padded hoofs, whisking their tails slowly on their clotted
+bony croups. Outside them and through them ran raddled sheep bleating
+their fear.
+
+--Emigrants, Mr Power said.
+
+--Huuuh! the drover's voice cried, his switch sounding on their flanks.
+
+Huuuh! out of that!
+
+Thursday, of course. Tomorrow is killing day. Springers. Cuffe sold
+them about twentyseven quid each. For Liverpool probably. Roastbeef for
+old England. They buy up all the juicy ones. And then the fifth quarter
+lost: all that raw stuff, hide, hair, horns. Comes to a big thing in a
+year. Dead meat trade. Byproducts of the slaughterhouses for tanneries,
+soap, margarine. Wonder if that dodge works now getting dicky meat off the
+train at Clonsilla.
+
+The carriage moved on through the drove.
+
+--I can't make out why the corporation doesn't run a tramline from the
+parkgate to the quays, Mr Bloom said. All those animals could be taken in
+trucks down to the boats.
+
+--Instead of blocking up the thoroughfare, Martin Cunningham said. Quite
+right. They ought to.
+
+--Yes, Mr Bloom said, and another thing I often thought, is to have
+municipal funeral trams like they have in Milan, you know. Run the line
+out to the cemetery gates and have special trams, hearse and carriage and
+all. Don't you see what I mean?
+
+--O, that be damned for a story, Mr Dedalus said. Pullman car and saloon
+diningroom.
+
+--A poor lookout for Corny, Mr Power added.
+
+--Why? Mr Bloom asked, turning to Mr Dedalus. Wouldn't it be more
+decent than galloping two abreast?
+
+--Well, there's something in that, Mr Dedalus granted.
+
+--And, Martin Cunningham said, we wouldn't have scenes like that when
+the hearse capsized round Dunphy's and upset the coffin on to the road.
+
+--That was terrible, Mr Power's shocked face said, and the corpse fell
+about the road. Terrible!
+
+--First round Dunphy's, Mr Dedalus said, nodding. Gordon Bennett cup.
+
+--Praises be to God! Martin Cunningham said piously.
+
+Bom! Upset. A coffin bumped out on to the road. Burst open. Paddy
+Dignam shot out and rolling over stiff in the dust in a brown habit too
+large for him. Red face: grey now. Mouth fallen open. Asking what's up
+now. Quite right to close it. Looks horrid open. Then the insides
+decompose quickly. Much better to close up all the orifices. Yes, also.
+With wax. The sphincter loose. Seal up all.
+
+--Dunphy's, Mr Power announced as the carriage turned right.
+
+Dunphy's corner. Mourning coaches drawn up, drowning their grief.
+A pause by the wayside. Tiptop position for a pub. Expect we'll pull up
+here on the way back to drink his health. Pass round the consolation.
+Elixir of life.
+
+But suppose now it did happen. Would he bleed if a nail say cut him in
+the knocking about? He would and he wouldn't, I suppose. Depends on
+where. The circulation stops. Still some might ooze out of an artery. It
+would be better to bury them in red: a dark red.
+
+In silence they drove along Phibsborough road. An empty hearse
+trotted by, coming from the cemetery: looks relieved.
+
+Crossguns bridge: the royal canal.
+
+Water rushed roaring through the sluices. A man stood on his
+dropping barge, between clamps of turf. On the towpath by the lock a
+slacktethered horse. Aboard of the BUGABU.
+
+Their eyes watched him. On the slow weedy waterway he had floated
+on his raft coastward over Ireland drawn by a haulage rope past beds of
+reeds, over slime, mudchoked bottles, carrion dogs. Athlone, Mullingar,
+Moyvalley, I could make a walking tour to see Milly by the canal. Or cycle
+down. Hire some old crock, safety. Wren had one the other day at the
+auction but a lady's. Developing waterways. James M'Cann's hobby to row
+me o'er the ferry. Cheaper transit. By easy stages. Houseboats. Camping
+out. Also hearses. To heaven by water. Perhaps I will without writing.
+Come as a surprise, Leixlip, Clonsilla. Dropping down lock by lock to
+Dublin. With turf from the midland bogs. Salute. He lifted his brown straw
+hat, saluting Paddy Dignam.
+
+They drove on past Brian Boroimhe house. Near it now.
+
+--I wonder how is our friend Fogarty getting on, Mr Power said.
+
+--Better ask Tom Kernan, Mr Dedalus said.
+
+--How is that? Martin Cunningham said. Left him weeping, I suppose?
+
+--Though lost to sight, Mr Dedalus said, to memory dear.
+
+The carriage steered left for Finglas road.
+
+The stonecutter's yard on the right. Last lap. Crowded on the spit of
+land silent shapes appeared, white, sorrowful, holding out calm hands,
+knelt in grief, pointing. Fragments of shapes, hewn. In white silence:
+appealing. The best obtainable. Thos. H. Dennany, monumental builder and
+sculptor.
+
+Passed.
+
+On the curbstone before Jimmy Geary, the sexton's, an old tramp sat,
+grumbling, emptying the dirt and stones out of his huge dustbrown
+yawning boot. After life's journey.
+
+Gloomy gardens then went by: one by one: gloomy houses.
+
+Mr Power pointed.
+
+--That is where Childs was murdered, he said. The last house.
+
+--So it is, Mr Dedalus said. A gruesome case. Seymour Bushe got him off.
+Murdered his brother. Or so they said.
+
+--The crown had no evidence, Mr Power said.
+
+--Only circumstantial, Martin Cunningham added. That's the maxim of
+the law. Better for ninetynine guilty to escape than for one innocent
+person to be wrongfully condemned.
+
+They looked. Murderer's ground. It passed darkly. Shuttered,
+tenantless, unweeded garden. Whole place gone to hell. Wrongfully
+condemned. Murder. The murderer's image in the eye of the murdered.
+They love reading about it. Man's head found in a garden. Her clothing
+consisted of. How she met her death. Recent outrage. The weapon used.
+Murderer is still at large. Clues. A shoelace. The body to be exhumed.
+Murder will out.
+
+Cramped in this carriage. She mightn't like me to come that way
+without letting her know. Must be careful about women. Catch them once
+with their pants down. Never forgive you after. Fifteen.
+
+The high railings of Prospect rippled past their gaze. Dark poplars,
+rare white forms. Forms more frequent, white shapes thronged amid the
+trees, white forms and fragments streaming by mutely, sustaining vain
+gestures on the air.
+
+The felly harshed against the curbstone: stopped. Martin
+Cunningham put out his arm and, wrenching back the handle, shoved the
+door open with his knee. He stepped out. Mr Power and Mr Dedalus
+followed.
+
+Change that soap now. Mr Bloom's hand unbuttoned his hip pocket
+swiftly and transferred the paperstuck soap to his inner handkerchief
+pocket. He stepped out of the carriage, replacing the newspaper his other
+hand still held.
+
+Paltry funeral: coach and three carriages. It's all the same.
+Pallbearers, gold reins, requiem mass, firing a volley. Pomp of death.
+Beyond the hind carriage a hawker stood by his barrow of cakes and fruit.
+Simnel cakes those are, stuck together: cakes for the dead. Dogbiscuits.
+Who ate them? Mourners coming out.
+
+He followed his companions. Mr Kernan and Ned Lambert followed,
+Hynes walking after them. Corny Kelleher stood by the opened hearse and
+took out the two wreaths. He handed one to the boy.
+
+Where is that child's funeral disappeared to?
+
+A team of horses passed from Finglas with toiling plodding tread,
+dragging through the funereal silence a creaking waggon on which lay a
+granite block. The waggoner marching at their head saluted.
+
+Coffin now. Got here before us, dead as he is. Horse looking round at it
+with his plume skeowways. Dull eye: collar tight on his neck, pressing on
+a bloodvessel or something. Do they know what they cart out here every
+day? Must be twenty or thirty funerals every day. Then Mount Jerome for
+the protestants. Funerals all over the world everywhere every minute.
+Shovelling them under by the cartload doublequick. Thousands every hour.
+Too many in the world.
+
+Mourners came out through the gates: woman and a girl. Leanjawed
+harpy, hard woman at a bargain, her bonnet awry. Girl's face stained with
+dirt and tears, holding the woman's arm, looking up at her for a sign to
+cry. Fish's face, bloodless and livid.
+
+The mutes shouldered the coffin and bore it in through the gates. So
+much dead weight. Felt heavier myself stepping out of that bath. First the
+stiff: then the friends of the stiff. Corny Kelleher and the boy followed
+with their wreaths. Who is that beside them? Ah, the brother-in-law.
+
+All walked after.
+
+Martin Cunningham whispered:
+
+--I was in mortal agony with you talking of suicide before Bloom.
+
+--What? Mr Power whispered. How so?
+
+--His father poisoned himself, Martin Cunningham whispered. Had the
+Queen's hotel in Ennis. You heard him say he was going to Clare.
+Anniversary.
+
+--O God! Mr Power whispered. First I heard of it. Poisoned himself?
+
+He glanced behind him to where a face with dark thinking eyes
+followed towards the cardinal's mausoleum. Speaking.
+
+--Was he insured? Mr Bloom asked.
+
+--I believe so, Mr Kernan answered. But the policy was heavily mortgaged.
+Martin is trying to get the youngster into Artane.
+
+--How many children did he leave?
+
+--Five. Ned Lambert says he'll try to get one of the girls into Todd's.
+
+--A sad case, Mr Bloom said gently. Five young children.
+
+--A great blow to the poor wife, Mr Kernan added.
+
+--Indeed yes, Mr Bloom agreed.
+
+Has the laugh at him now.
+
+He looked down at the boots he had blacked and polished. She had
+outlived him. Lost her husband. More dead for her than for me. One must
+outlive the other. Wise men say. There are more women than men in the
+world. Condole with her. Your terrible loss. I hope you'll soon follow
+him. For Hindu widows only. She would marry another. Him? No. Yet who
+knows after. Widowhood not the thing since the old queen died. Drawn on
+a guncarriage. Victoria and Albert. Frogmore memorial mourning. But in
+the end she put a few violets in her bonnet. Vain in her heart of hearts.
+All for a shadow. Consort not even a king. Her son was the substance.
+Something new to hope for not like the past she wanted back, waiting. It
+never comes. One must go first: alone, under the ground: and lie no more
+in her warm bed.
+
+--How are you, Simon? Ned Lambert said softly, clasping hands. Haven't
+seen you for a month of Sundays.
+
+--Never better. How are all in Cork's own town?
+
+--I was down there for the Cork park races on Easter Monday, Ned
+Lambert said. Same old six and eightpence. Stopped with Dick Tivy.
+
+--And how is Dick, the solid man?
+
+--Nothing between himself and heaven, Ned Lambert answered.
+
+--By the holy Paul! Mr Dedalus said in subdued wonder. Dick Tivy bald?
+
+--Martin is going to get up a whip for the youngsters, Ned Lambert said,
+pointing ahead. A few bob a skull. Just to keep them going till the
+insurance is cleared up.
+
+--Yes, yes, Mr Dedalus said dubiously. Is that the eldest boy in front?
+
+--Yes, Ned Lambert said, with the wife's brother. John Henry Menton is
+behind. He put down his name for a quid.
+
+--I'll engage he did, Mr Dedalus said. I often told poor Paddy he ought
+to mind that job. John Henry is not the worst in the world.
+
+--How did he lose it? Ned Lambert asked. Liquor, what?
+
+--Many a good man's fault, Mr Dedalus said with a sigh.
+
+They halted about the door of the mortuary chapel. Mr Bloom stood
+behind the boy with the wreath looking down at his sleekcombed hair and
+at the slender furrowed neck inside his brandnew collar. Poor boy! Was he
+there when the father? Both unconscious. Lighten up at the last moment
+and recognise for the last time. All he might have done. I owe three
+shillings to O'Grady. Would he understand? The mutes bore the coffin into
+the chapel. Which end is his head?
+
+After a moment he followed the others in, blinking in the screened
+light. The coffin lay on its bier before the chancel, four tall yellow
+candles at its corners. Always in front of us. Corny Kelleher, laying a
+wreath at each fore corner, beckoned to the boy to kneel. The mourners
+knelt here and there in prayingdesks. Mr Bloom stood behind near the font
+and, when all had knelt, dropped carefully his unfolded newspaper from his
+pocket and knelt his right knee upon it. He fitted his black hat gently on
+his left knee and, holding its brim, bent over piously.
+
+A server bearing a brass bucket with something in it came out through
+a door. The whitesmocked priest came after him, tidying his stole with one
+hand, balancing with the other a little book against his toad's belly.
+Who'll read the book? I, said the rook.
+
+They halted by the bier and the priest began to read out of his book
+with a fluent croak.
+
+Father Coffey. I knew his name was like a coffin. DOMINE-NAMINE.
+Bully about the muzzle he looks. Bosses the show. Muscular christian. Woe
+betide anyone that looks crooked at him: priest. Thou art Peter. Burst
+sideways like a sheep in clover Dedalus says he will. With a belly on him
+like a poisoned pup. Most amusing expressions that man finds. Hhhn: burst
+sideways.
+
+--NON INTRES IN JUDICIUM CUM SERVO TUO, DOMINE.
+
+Makes them feel more important to be prayed over in Latin. Requiem
+mass. Crape weepers. Blackedged notepaper. Your name on the altarlist.
+Chilly place this. Want to feed well, sitting in there all the morning in
+the gloom kicking his heels waiting for the next please. Eyes of a toad
+too. What swells him up that way? Molly gets swelled after cabbage. Air of
+the place maybe. Looks full up of bad gas. Must be an infernal lot of bad
+gas round the place. Butchers, for instance: they get like raw beefsteaks.
+Who was telling me? Mervyn Browne. Down in the vaults of saint Werburgh's
+lovely old organ hundred and fifty they have to bore a hole in the coffins
+sometimes to let out the bad gas and burn it. Out it rushes: blue. One
+whiff of that and you're a doner.
+
+My kneecap is hurting me. Ow. That's better.
+
+The priest took a stick with a knob at the end of it out of the boy's
+bucket and shook it over the coffin. Then he walked to the other end and
+shook it again. Then he came back and put it back in the bucket. As you
+were before you rested. It's all written down: he has to do it.
+
+--ET NE NOS INDUCAS IN TENTATIONEM.
+
+The server piped the answers in the treble. I often thought it would be
+better to have boy servants. Up to fifteen or so. After that, of
+course ...
+
+Holy water that was, I expect. Shaking sleep out of it. He must be fed
+up with that job, shaking that thing over all the corpses they trot up.
+What harm if he could see what he was shaking it over. Every mortal day a
+fresh batch: middleaged men, old women, children, women dead in
+childbirth, men with beards, baldheaded businessmen, consumptive girls
+with little sparrows' breasts. All the year round he prayed the same thing
+over them all and shook water on top of them: sleep. On Dignam now.
+
+--IN PARADISUM.
+
+Said he was going to paradise or is in paradise. Says that over everybody.
+Tiresome kind of a job. But he has to say something.
+
+The priest closed his book and went off, followed by the server.
+Corny Kelleher opened the sidedoors and the gravediggers came in, hoisted
+the coffin again, carried it out and shoved it on their cart. Corny
+Kelleher gave one wreath to the boy and one to the brother-in-law. All
+followed them out of the sidedoors into the mild grey air. Mr Bloom came
+last folding his paper again into his pocket. He gazed gravely at the
+ground till the coffincart wheeled off to the left. The metal wheels
+ground the gravel with a sharp grating cry and the pack of blunt boots
+followed the trundled barrow along a lane of sepulchres.
+
+The ree the ra the ree the ra the roo. Lord, I mustn't lilt here.
+
+--The O'Connell circle, Mr Dedalus said about him.
+
+Mr Power's soft eyes went up to the apex of the lofty cone.
+
+--He's at rest, he said, in the middle of his people, old Dan O'. But his
+heart is buried in Rome. How many broken hearts are buried here, Simon!
+
+--Her grave is over there, Jack, Mr Dedalus said. I'll soon be stretched
+beside her. Let Him take me whenever He likes.
+
+Breaking down, he began to weep to himself quietly, stumbling a little
+in his walk. Mr Power took his arm.
+
+--She's better where she is, he said kindly.
+
+--I suppose so, Mr Dedalus said with a weak gasp. I suppose she is in
+heaven if there is a heaven.
+
+Corny Kelleher stepped aside from his rank and allowed the mourners to
+plod by.
+
+--Sad occasions, Mr Kernan began politely.
+
+Mr Bloom closed his eyes and sadly twice bowed his head.
+
+--The others are putting on their hats, Mr Kernan said. I suppose we can
+do so too. We are the last. This cemetery is a treacherous place.
+
+They covered their heads.
+
+--The reverend gentleman read the service too quickly, don't you think?
+Mr Kernan said with reproof.
+
+Mr Bloom nodded gravely looking in the quick bloodshot eyes. Secret
+eyes, secretsearching. Mason, I think: not sure. Beside him again. We are
+the last. In the same boat. Hope he'll say something else.
+
+Mr Kernan added:
+
+--The service of the Irish church used in Mount Jerome is simpler, more
+impressive I must say.
+
+Mr Bloom gave prudent assent. The language of course was another thing.
+
+Mr Kernan said with solemnity:
+
+--I AM THE RESURRECTION AND THE LIFE. That touches a man's inmost heart.
+
+--It does, Mr Bloom said.
+
+Your heart perhaps but what price the fellow in the six feet by two
+with his toes to the daisies? No touching that. Seat of the affections.
+Broken heart. A pump after all, pumping thousands of gallons of blood
+every day. One fine day it gets bunged up: and there you are. Lots of
+them lying around here: lungs, hearts, livers. Old rusty pumps: damn the
+thing else. The resurrection and the life. Once you are dead you are dead.
+That last day idea. Knocking them all up out of their graves. Come forth,
+Lazarus! And he came fifth and lost the job. Get up! Last day! Then every
+fellow mousing around for his liver and his lights and the rest of his
+traps. Find damn all of himself that morning. Pennyweight of powder in
+a skull. Twelve grammes one pennyweight. Troy measure.
+
+Corny Kelleher fell into step at their side.
+
+--Everything went off A1, he said. What?
+
+He looked on them from his drawling eye. Policeman's shoulders. With
+your tooraloom tooraloom.
+
+--As it should be, Mr Kernan said.
+
+--What? Eh? Corny Kelleher said.
+
+Mr Kernan assured him.
+
+--Who is that chap behind with Tom Kernan? John Henry Menton asked. I
+know his face.
+
+Ned Lambert glanced back.
+
+--Bloom, he said, Madame Marion Tweedy that was, is, I mean, the
+soprano. She's his wife.
+
+--O, to be sure, John Henry Menton said. I haven't seen her for some time.
+he was a finelooking woman. I danced with her, wait, fifteen seventeen
+golden years ago, at Mat Dillon's in Roundtown. And a good armful she
+was.
+
+He looked behind through the others.
+
+--What is he? he asked. What does he do? Wasn't he in the stationery line?
+I fell foul of him one evening, I remember, at bowls.
+
+Ned Lambert smiled.
+
+--Yes, he was, he said, in Wisdom Hely's. A traveller for blottingpaper.
+
+--In God's name, John Henry Menton said, what did she marry a coon like
+that for? She had plenty of game in her then.
+
+--Has still, Ned Lambert said. He does some canvassing for ads.
+
+John Henry Menton's large eyes stared ahead.
+
+The barrow turned into a side lane. A portly man, ambushed among
+the grasses, raised his hat in homage. The gravediggers touched their
+caps.
+
+--John O'Connell, Mr Power said pleased. He never forgets a friend.
+
+Mr O'Connell shook all their hands in silence. Mr Dedalus said:
+
+--I am come to pay you another visit.
+
+--My dear Simon, the caretaker answered in a low voice. I don't want your
+custom at all.
+
+Saluting Ned Lambert and John Henry Menton he walked on at Martin
+Cunningham's side puzzling two long keys at his back.
+
+--Did you hear that one, he asked them, about Mulcahy from the Coombe?
+
+--I did not, Martin Cunningham said.
+
+They bent their silk hats in concert and Hynes inclined his ear. The
+caretaker hung his thumbs in the loops of his gold watchchain and spoke in
+a discreet tone to their vacant smiles.
+
+--They tell the story, he said, that two drunks came out here one foggy
+evening to look for the grave of a friend of theirs. They asked for
+Mulcahy from the Coombe and were told where he was buried. After traipsing
+about in the fog they found the grave sure enough. One of the drunks spelt
+out the name: Terence Mulcahy. The other drunk was blinking up at a statue
+of Our Saviour the widow had got put up.
+
+The caretaker blinked up at one of the sepulchres they passed. He
+resumed:
+
+--And, after blinking up at the sacred figure, NOT A BLOODY BIT LIKE THE
+MAN, says he. THAT'S NOT MULCAHY, says he, WHOEVER DONE IT.
+
+Rewarded by smiles he fell back and spoke with Corny Kelleher, accepting
+the dockets given him, turning them over and scanning them as he walked.
+
+--That's all done with a purpose, Martin Cunningham explained to Hynes.
+
+--I know, Hynes said. I know that.
+
+--To cheer a fellow up, Martin Cunningham said. It's pure goodheartedness:
+damn the thing else.
+
+Mr Bloom admired the caretaker's prosperous bulk. All want to be on
+good terms with him. Decent fellow, John O'Connell, real good sort. Keys:
+like Keyes's ad: no fear of anyone getting out. No passout checks. HABEAS
+CORPUS. I must see about that ad after the funeral. Did I write
+Ballsbridge on the envelope I took to cover when she disturbed me writing
+to Martha? Hope it's not chucked in the dead letter office. Be the better
+of a shave. Grey sprouting beard. That's the first sign when the hairs
+come out grey. And temper getting cross. Silver threads among the grey.
+Fancy being his wife. Wonder he had the gumption to propose to any girl.
+Come out and live in the graveyard. Dangle that before her. It might
+thrill her first. Courting death ... Shades of night hovering here with
+all the dead stretched about. The shadows of the tombs when churchyards
+yawn and Daniel O'Connell must be a descendant I suppose who is this used
+to say he was a queer breedy man great catholic all the same like a big
+giant in the dark. Will o' the wisp. Gas of graves. Want to keep her mind
+off it to conceive at all. Women especially are so touchy. Tell her a
+ghost story in bed to make her sleep. Have you ever seen a ghost? Well, I
+have. It was a pitchdark night. The clock was on the stroke of twelve.
+Still they'd kiss all right if properly keyed up. Whores in Turkish
+graveyards. Learn anything if taken young. You might pick up a young
+widow here. Men like that. Love among the tombstones. Romeo. Spice of
+pleasure. In the midst of death we are in life. Both ends meet.
+Tantalising for the poor dead. Smell of grilled beefsteaks to the
+starving. Gnawing their vitals. Desire to grig people. Molly wanting to
+do it at the window. Eight children he has anyway.
+
+He has seen a fair share go under in his time, lying around him field
+after field. Holy fields. More room if they buried them standing. Sitting
+or kneeling you couldn't. Standing? His head might come up some day above
+ground in a landslip with his hand pointing. All honeycombed the ground
+must be: oblong cells. And very neat he keeps it too: trim grass and
+edgings. His garden Major Gamble calls Mount Jerome. Well, so it is.
+Ought to be flowers of sleep. Chinese cemeteries with giant poppies
+growing produce the best opium Mastiansky told me. The Botanic Gardens
+are just over there. It's the blood sinking in the earth gives new life.
+Same idea those jews they said killed the christian boy. Every man
+his price. Well preserved fat corpse, gentleman, epicure, invaluable
+for fruit garden. A bargain. By carcass of William Wilkinson, auditor
+and accountant, lately deceased, three pounds thirteen and six.
+With thanks.
+
+I daresay the soil would be quite fat with corpsemanure, bones, flesh,
+nails. Charnelhouses. Dreadful. Turning green and pink decomposing. Rot
+quick in damp earth. The lean old ones tougher. Then a kind of a tallowy
+kind of a cheesy. Then begin to get black, black treacle oozing out of
+them. Then dried up. Deathmoths. Of course the cells or whatever they are
+go on living. Changing about. Live for ever practically. Nothing to feed
+on feed on themselves.
+
+But they must breed a devil of a lot of maggots. Soil must be simply
+swirling with them. Your head it simply swurls. Those pretty little
+seaside gurls. He looks cheerful enough over it. Gives him a sense of
+power seeing all the others go under first. Wonder how he looks at life.
+Cracking his jokes too: warms the cockles of his heart. The one about the
+bulletin. Spurgeon went to heaven 4 a.m. this morning. 11 p.m.
+(closing time). Not arrived yet. Peter. The dead themselves the men
+anyhow would like to hear an odd joke or the women to know what's in
+fashion. A juicy pear or ladies' punch, hot, strong and sweet. Keep out
+the damp. You must laugh sometimes so better do it that way. Gravediggers
+in HAMLET. Shows the profound knowledge of the human heart. Daren't joke
+about the dead for two years at least. DE MORTUIS NIL NISI PRIUS. Go out
+of mourning first. Hard to imagine his funeral. Seems a sort of a joke.
+Read your own obituary notice they say you live longer. Gives you second
+wind. New lease of life.
+
+--How many have-you for tomorrow? the caretaker asked.
+
+--Two, Corny Kelleher said. Half ten and eleven.
+
+The caretaker put the papers in his pocket. The barrow had ceased to
+trundle. The mourners split and moved to each side of the hole, stepping
+with care round the graves. The gravediggers bore the coffin and set its
+nose on the brink, looping the bands round it.
+
+Burying him. We come to bury Caesar. His ides of March or June.
+He doesn't know who is here nor care.
+Now who is that lankylooking galoot over there in the macintosh?
+Now who is he I'd like to know? Now I'd give a trifle to know who he is.
+Always someone turns up you never dreamt of. A fellow could live on his
+lonesome all his life. Yes, he could. Still he'd have to get someone to
+sod him after he died though he could dig his own grave. We all do. Only
+man buries. No, ants too. First thing strikes anybody. Bury the dead. Say
+Robinson Crusoe was true to life. Well then Friday buried him. Every
+Friday buries a Thursday if you come to look at it.
+
+
+    O, POOR ROBINSON CRUSOE!
+    HOW COULD YOU POSSIBLY DO SO?
+
+
+Poor Dignam! His last lie on the earth in his box. When you think of
+them all it does seem a waste of wood. All gnawed through. They could
+invent a handsome bier with a kind of panel sliding, let it down that way.
+Ay but they might object to be buried out of another fellow's. They're so
+particular. Lay me in my native earth. Bit of clay from the holy land.
+Only a mother and deadborn child ever buried in the one coffin. I see what
+it means. I see. To protect him as long as possible even in the earth. The
+Irishman's house is his coffin. Embalming in catacombs, mummies the same
+idea.
+
+Mr Bloom stood far back, his hat in his hand, counting the bared
+heads. Twelve. I'm thirteen. No. The chap in the macintosh is thirteen.
+Death's number. Where the deuce did he pop out of? He wasn't in the
+chapel, that I'll swear. Silly superstition that about thirteen.
+
+Nice soft tweed Ned Lambert has in that suit. Tinge of purple. I had
+one like that when we lived in Lombard street west. Dressy fellow he was
+once. Used to change three suits in the day. Must get that grey suit of
+mine turned by Mesias. Hello. It's dyed. His wife I forgot he's not
+married or his landlady ought to have picked out those threads for him.
+
+The coffin dived out of sight, eased down by the men straddled on the
+gravetrestles. They struggled up and out: and all uncovered. Twenty.
+
+Pause.
+
+If we were all suddenly somebody else.
+
+Far away a donkey brayed. Rain. No such ass. Never see a dead one,
+they say. Shame of death. They hide. Also poor papa went away.
+
+Gentle sweet air blew round the bared heads in a whisper. Whisper.
+The boy by the gravehead held his wreath with both hands staring quietly
+in the black open space. Mr Bloom moved behind the portly kindly
+caretaker. Wellcut frockcoat. Weighing them up perhaps to see which will
+go next. Well, it is a long rest. Feel no more. It's the moment you feel.
+Must be damned unpleasant. Can't believe it at first. Mistake must be:
+someone else. Try the house opposite. Wait, I wanted to. I haven't yet.
+Then darkened deathchamber. Light they want. Whispering around you. Would
+you like to see a priest? Then rambling and wandering. Delirium all you
+hid all your life. The death struggle. His sleep is not natural. Press his
+lower eyelid. Watching is his nose pointed is his jaw sinking are the
+soles of his feet yellow. Pull the pillow away and finish it off on the
+floor since he's doomed. Devil in that picture of sinner's death showing
+him a woman. Dying to embrace her in his shirt. Last act of LUCIA.
+SHALL I NEVERMORE BEHOLD THEE? Bam! He expires. Gone at last. People
+talk about you a bit: forget you. Don't forget to pray for him.
+Remember him in your prayers. Even Parnell. Ivy day dying out. Then
+they follow: dropping into a hole, one after the other.
+
+We are praying now for the repose of his soul. Hoping you're well
+and not in hell. Nice change of air. Out of the fryingpan of life into the
+fire of purgatory.
+
+Does he ever think of the hole waiting for himself? They say you do
+when you shiver in the sun. Someone walking over it. Callboy's warning.
+Near you. Mine over there towards Finglas, the plot I bought. Mamma,
+poor mamma, and little Rudy.
+
+The gravediggers took up their spades and flung heavy clods of clay
+in on the coffin. Mr Bloom turned away his face. And if he was alive all
+the time? Whew! By jingo, that would be awful! No, no: he is dead, of
+course. Of course he is dead. Monday he died. They ought to have
+some law to pierce the heart and make sure or an electric clock or
+a telephone in the coffin and some kind of a canvas airhole. Flag of
+distress. Three days. Rather long to keep them in summer. Just as well
+to get shut of them as soon as you are sure there's no.
+
+The clay fell softer. Begin to be forgotten. Out of sight, out of mind.
+
+The caretaker moved away a few paces and put on his hat. Had
+enough of it. The mourners took heart of grace, one by one, covering
+themselves without show. Mr Bloom put on his hat and saw the portly
+figure make its way deftly through the maze of graves. Quietly, sure of
+his ground, he traversed the dismal fields.
+
+Hynes jotting down something in his notebook. Ah, the names. But he
+knows them all. No: coming to me.
+
+--I am just taking the names, Hynes said below his breath. What is your
+christian name? I'm not sure.
+
+--L, Mr Bloom said. Leopold. And you might put down M'Coy's name too.
+He asked me to.
+
+--Charley, Hynes said writing. I know. He was on the FREEMAN once.
+
+So he was before he got the job in the morgue under Louis Byrne.
+Good idea a postmortem for doctors. Find out what they imagine they
+know. He died of a Tuesday. Got the run. Levanted with the cash of a few
+ads. Charley, you're my darling. That was why he asked me to. O well,
+does no harm. I saw to that, M'Coy. Thanks, old chap: much obliged.
+Leave him under an obligation: costs nothing.
+
+--And tell us, Hynes said, do you know that fellow in the, fellow was
+over there in the ...
+
+He looked around.
+
+--Macintosh. Yes, I saw him, Mr Bloom said. Where is he now?
+
+--M'Intosh, Hynes said scribbling. I don't know who he is. Is that
+his name?
+
+He moved away, looking about him.
+
+--No, Mr Bloom began, turning and stopping. I say, Hynes!
+
+Didn't hear. What? Where has he disappeared to? Not a sign. Well of
+all the. Has anybody here seen? Kay ee double ell. Become invisible. Good
+Lord, what became of him?
+
+A seventh gravedigger came beside Mr Bloom to take up an idle spade.
+
+--O, excuse me!
+
+He stepped aside nimbly.
+
+Clay, brown, damp, began to be seen in the hole. It rose. Nearly over.
+A mound of damp clods rose more, rose, and the gravediggers rested their
+spades. All uncovered again for a few instants. The boy propped his wreath
+against a corner: the brother-in-law his on a lump. The gravediggers put
+on their caps and carried their earthy spades towards the barrow. Then
+knocked the blades lightly on the turf: clean. One bent to pluck from the
+haft a long tuft of grass. One, leaving his mates, walked slowly on with
+shouldered weapon, its blade blueglancing. Silently at the gravehead
+another coiled the coffinband. His navelcord. The brother-in-law, turning
+away, placed something in his free hand. Thanks in silence. Sorry, sir:
+trouble. Headshake. I know that. For yourselves just.
+
+The mourners moved away slowly without aim, by devious paths,
+staying at whiles to read a name on a tomb.
+
+--Let us go round by the chief's grave, Hynes said. We have time.
+
+--Let us, Mr Power said.
+
+They turned to the right, following their slow thoughts. With awe Mr
+Power's blank voice spoke:
+
+--Some say he is not in that grave at all. That the coffin was filled
+with stones. That one day he will come again.
+
+Hynes shook his head.
+
+--Parnell will never come again, he said. He's there, all that was mortal
+of him. Peace to his ashes.
+
+Mr Bloom walked unheeded along his grove by saddened angels,
+crosses, broken pillars, family vaults, stone hopes praying with upcast
+eyes, old Ireland's hearts and hands. More sensible to spend the money on
+some charity for the living. Pray for the repose of the soul of. Does
+anybody really? Plant him and have done with him. Like down a coalshoot.
+Then lump them together to save time. All souls' day. Twentyseventh I'll
+be at his grave. Ten shillings for the gardener. He keeps it free of
+weeds. Old man himself. Bent down double with his shears clipping. Near
+death's door. Who passed away. Who departed this life. As if they did it
+of their own accord. Got the shove, all of them. Who kicked the bucket.
+More interesting if they told you what they were. So and So, wheelwright.
+I travelled for cork lino. I paid five shillings in the pound. Or a
+woman's with her saucepan. I cooked good Irish stew. Eulogy in a country
+churchyard it ought to be that poem of whose is it Wordsworth or Thomas
+Campbell. Entered into rest the protestants put it. Old Dr Murren's.
+The great physician called him home. Well it's God's acre for them.
+Nice country residence. Newly plastered and painted. Ideal spot to
+have a quiet smoke and read the CHURCH TIMES. Marriage ads they never
+try to beautify. Rusty wreaths hung on knobs, garlands of bronzefoil.
+Better value that for the money. Still, the flowers are more poetical.
+The other gets rather tiresome, never withering. Expresses nothing.
+Immortelles.
+
+A bird sat tamely perched on a poplar branch. Like stuffed. Like the
+wedding present alderman Hooper gave us. Hoo! Not a budge out of him.
+Knows there are no catapults to let fly at him. Dead animal even sadder.
+Silly-Milly burying the little dead bird in the kitchen matchbox, a
+daisychain and bits of broken chainies on the grave.
+
+The Sacred Heart that is: showing it. Heart on his sleeve. Ought to be
+sideways and red it should be painted like a real heart. Ireland was
+dedicated to it or whatever that. Seems anything but pleased. Why this
+infliction? Would birds come then and peck like the boy with the basket of
+fruit but he said no because they ought to have been afraid of the boy.
+Apollo that was.
+
+How many! All these here once walked round Dublin. Faithful departed.
+As you are now so once were we.
+
+Besides how could you remember everybody? Eyes, walk, voice. Well,
+the voice, yes: gramophone. Have a gramophone in every grave or keep it
+in the house. After dinner on a Sunday. Put on poor old greatgrandfather.
+Kraahraark! Hellohellohello amawfullyglad kraark awfullygladaseeagain
+hellohello amawf krpthsth. Remind you of the voice like the photograph
+reminds you of the face. Otherwise you couldn't remember the face after
+fifteen years, say. For instance who? For instance some fellow that died
+when I was in Wisdom Hely's.
+
+Rtststr! A rattle of pebbles. Wait. Stop!
+
+He looked down intently into a stone crypt. Some animal. Wait.
+There he goes.
+
+An obese grey rat toddled along the side of the crypt, moving the
+pebbles. An old stager: greatgrandfather: he knows the ropes. The grey
+alive crushed itself in under the plinth, wriggled itself in under it.
+Good hidingplace for treasure.
+
+Who lives there? Are laid the remains of Robert Emery. Robert
+Emmet was buried here by torchlight, wasn't he? Making his rounds.
+
+Tail gone now.
+
+One of those chaps would make short work of a fellow. Pick the
+bones clean no matter who it was. Ordinary meat for them. A corpse is
+meat gone bad. Well and what's cheese? Corpse of milk. I read in that
+VOYAGES IN CHINA that the Chinese say a white man smells like a corpse.
+Cremation better. Priests dead against it. Devilling for the other firm.
+Wholesale burners and Dutch oven dealers. Time of the plague. Quicklime
+feverpits to eat them. Lethal chamber. Ashes to ashes. Or bury at sea.
+Where is that Parsee tower of silence? Eaten by birds. Earth, fire, water.
+Drowning they say is the pleasantest. See your whole life in a flash. But
+being brought back to life no. Can't bury in the air however. Out of a
+flying machine. Wonder does the news go about whenever a fresh one is let
+down. Underground communication. We learned that from them. Wouldn't be
+surprised. Regular square feed for them. Flies come before he's well dead.
+Got wind of Dignam. They wouldn't care about the smell of it. Saltwhite
+crumbling mush of corpse: smell, taste like raw white turnips.
+
+The gates glimmered in front: still open. Back to the world again.
+Enough of this place. Brings you a bit nearer every time. Last time I was
+here was Mrs Sinico's funeral. Poor papa too. The love that kills. And
+even scraping up the earth at night with a lantern like that case I read
+of to get at fresh buried females or even putrefied with running
+gravesores. Give you the creeps after a bit. I will appear to you after
+death. You will see my ghost after death. My ghost will haunt you after
+death. There is another world after death named hell. I do not like that
+other world she wrote. No more do I. Plenty to see and hear and feel yet.
+Feel live warm beings near you. Let them sleep in their maggoty beds. They
+are not going to get me this innings. Warm beds: warm fullblooded life.
+
+Martin Cunningham emerged from a sidepath, talking gravely.
+
+Solicitor, I think. I know his face. Menton, John Henry, solicitor,
+commissioner for oaths and affidavits. Dignam used to be in his office.
+Mat Dillon's long ago. Jolly Mat. Convivial evenings. Cold fowl, cigars,
+the Tantalus glasses. Heart of gold really. Yes, Menton. Got his rag out
+that evening on the bowlinggreen because I sailed inside him. Pure fluke
+of mine: the bias. Why he took such a rooted dislike to me. Hate at first
+sight. Molly and Floey Dillon linked under the lilactree, laughing.
+Fellow always like that, mortified if women are by.
+
+Got a dinge in the side of his hat. Carriage probably.
+
+--Excuse me, sir, Mr Bloom said beside them.
+
+They stopped.
+
+--Your hat is a little crushed, Mr Bloom said pointing.
+
+John Henry Menton stared at him for an instant without moving.
+
+--There, Martin Cunningham helped, pointing also. John Henry Menton took
+off his hat, bulged out the dinge and smoothed the nap with care on his
+coatsleeve. He clapped the hat on his head again.
+
+--It's all right now, Martin Cunningham said.
+
+John Henry Menton jerked his head down in acknowledgment.
+
+--Thank you, he said shortly.
+
+They walked on towards the gates. Mr Bloom, chapfallen, drew
+behind a few paces so as not to overhear. Martin laying down the law.
+Martin could wind a sappyhead like that round his little finger, without
+his seeing it.
+
+Oyster eyes. Never mind. Be sorry after perhaps when it dawns on him.
+Get the pull over him that way.
+
+Thank you. How grand we are this morning!
+
+
+    * * * * * * *
+
+
+    IN THE HEART OF THE HIBERNIAN METROPOLIS
+
+
+Before Nelson's pillar trams slowed, shunted, changed trolley, started
+for Blackrock, Kingstown and Dalkey, Clonskea, Rathgar and Terenure,
+Palmerston Park and upper Rathmines, Sandymount Green, Rathmines,
+Ringsend and Sandymount Tower, Harold's Cross. The hoarse Dublin
+United Tramway Company's timekeeper bawled them off:
+
+--Rathgar and Terenure!
+
+--Come on, Sandymount Green!
+
+Right and left parallel clanging ringing a doubledecker and a
+singledeck moved from their railheads, swerved to the down line, glided
+parallel.
+
+--Start, Palmerston Park!
+
+
+    THE WEARER OF THE CROWN
+
+
+Under the porch of the general post office shoeblacks called and
+polished. Parked in North Prince's street His Majesty's vermilion
+mailcars, bearing on their sides the royal initials, E. R., received
+loudly flung sacks of letters, postcards, lettercards, parcels, insured
+and paid, for local, provincial, British and overseas delivery.
+
+
+    GENTLEMEN OF THE PRESS
+
+
+Grossbooted draymen rolled barrels dullthudding out of Prince's
+stores and bumped them up on the brewery float. On the brewery float
+bumped dullthudding barrels rolled by grossbooted draymen out of
+Prince's stores.
+
+--There it is, Red Murray said. Alexander Keyes.
+
+--Just cut it out, will you? Mr Bloom said, and I'll take it round to the
+TELEGRAPH office.
+
+The door of Ruttledge's office creaked again. Davy Stephens, minute
+in a large capecoat, a small felt hat crowning his ringlets, passed out
+with a roll of papers under his cape, a king's courier.
+
+Red Murray's long shears sliced out the advertisement from the
+newspaper in four clean strokes. Scissors and paste.
+
+--I'll go through the printingworks, Mr Bloom said, taking the cut square.
+
+--Of course, if he wants a par, Red Murray said earnestly, a pen behind
+his ear, we can do him one.
+
+--Right, Mr Bloom said with a nod. I'll rub that in.
+
+We.
+
+
+    WILLIAM BRAYDEN,
+    ESQUIRE, OF OAKLANDS, SANDYMOUNT
+
+
+Red Murray touched Mr Bloom's arm with the shears and whispered:
+
+--Brayden.
+
+Mr Bloom turned and saw the liveried porter raise his lettered cap as a
+stately figure entered between the newsboards of the WEEKLY FREEMAN AND
+NATIONAL PRESS and the FREEMAN'S JOURNAL AND NATIONAL PRESS. Dullthudding
+Guinness's barrels. It passed statelily up the staircase, steered by an
+umbrella, a solemn beardframed face. The broadcloth back ascended each
+step: back. All his brains are in the nape of his neck, Simon Dedalus
+says. Welts of flesh behind on him. Fat folds of neck, fat, neck, fat,
+neck.
+
+--Don't you think his face is like Our Saviour? Red Murray whispered.
+
+The door of Ruttledge's office whispered: ee: cree. They always build
+one door opposite another for the wind to. Way in. Way out.
+
+Our Saviour: beardframed oval face: talking in the dusk. Mary,
+Martha. Steered by an umbrella sword to the footlights: Mario the tenor.
+
+--Or like Mario, Mr Bloom said.
+
+--Yes, Red Murray agreed. But Mario was said to be the picture of Our
+Saviour.
+
+Jesusmario with rougy cheeks, doublet and spindle legs. Hand on his
+heart. In MARTHA.
+
+
+    CO-OME THOU LOST ONE,
+    CO-OME THOU DEAR ONE!
+
+
+    THE CROZIER AND THE PEN
+
+
+--His grace phoned down twice this morning, Red Murray said gravely.
+
+They watched the knees, legs, boots vanish. Neck.
+
+A telegram boy stepped in nimbly, threw an envelope on the counter
+and stepped off posthaste with a word:
+
+--FREEMAN!
+
+Mr Bloom said slowly:
+
+--Well, he is one of our saviours also.
+
+A meek smile accompanied him as he lifted the counterflap, as he
+passed in through a sidedoor and along the warm dark stairs and passage,
+along the now reverberating boards. But will he save the circulation?
+Thumping. Thumping.
+
+He pushed in the glass swingdoor and entered, stepping over strewn
+packing paper. Through a lane of clanking drums he made his way towards
+Nannetti's reading closet.
+
+Hynes here too: account of the funeral probably. Thumping. Thump.
+
+
+    WITH UNFEIGNED REGRET IT IS WE ANNOUNCE THE DISSOLUTION
+    OF A MOST RESPECTED DUBLIN BURGESS
+
+
+This morning the remains of the late Mr Patrick Dignam. Machines.
+Smash a man to atoms if they got him caught. Rule the world today. His
+machineries are pegging away too. Like these, got out of hand: fermenting.
+Working away, tearing away. And that old grey rat tearing to get in.
+
+
+    HOW A GREAT DAILY ORGAN IS TURNED OUT
+
+
+Mr Bloom halted behind the foreman's spare body, admiring a glossy crown.
+
+Strange he never saw his real country. Ireland my country. Member
+for College green. He boomed that workaday worker tack for all it was
+worth. It's the ads and side features sell a weekly, not the stale news in
+the official gazette. Queen Anne is dead. Published by authority in the
+year one thousand and. Demesne situate in the townland of Rosenallis,
+barony of Tinnahinch. To all whom it may concern schedule pursuant to
+statute showing return of number of mules and jennets exported from
+Ballina. Nature notes. Cartoons. Phil Blake's weekly Pat and Bull story.
+Uncle Toby's page for tiny tots. Country bumpkin's queries. Dear Mr
+Editor, what is a good cure for flatulence? I'd like that part. Learn a
+lot teaching others. The personal note. M. A. P. Mainly all pictures.
+Shapely bathers on golden strand. World's biggest balloon. Double marriage
+of sisters celebrated. Two bridegrooms laughing heartily at each other.
+Cuprani too, printer. More Irish than the Irish.
+
+The machines clanked in threefour time. Thump, thump, thump.
+Now if he got paralysed there and no-one knew how to stop them they'd
+clank on and on the same, print it over and over and up and back.
+Monkeydoodle the whole thing. Want a cool head.
+
+--Well, get it into the evening edition, councillor, Hynes said.
+
+Soon be calling him my lord mayor. Long John is backing him, they say.
+
+The foreman, without answering, scribbled press on a corner of the
+sheet and made a sign to a typesetter. He handed the sheet silently over
+the dirty glass screen.
+
+--Right: thanks, Hynes said moving off.
+
+Mr Bloom stood in his way.
+
+--If you want to draw the cashier is just going to lunch, he said,
+pointing backward with his thumb.
+
+--Did you? Hynes asked.
+
+--Mm, Mr Bloom said. Look sharp and you'll catch him.
+
+--Thanks, old man, Hynes said. I'll tap him too.
+
+He hurried on eagerly towards the FREEMAN'S JOURNAL.
+
+Three bob I lent him in Meagher's. Three weeks. Third hint.
+
+
+    WE SEE THE CANVASSER AT WORK
+
+
+Mr Bloom laid his cutting on Mr Nannetti's desk.
+
+--Excuse me, councillor, he said. This ad, you see. Keyes, you remember?
+
+Mr Nannetti considered the cutting awhile and nodded.
+
+--He wants it in for July, Mr Bloom said.
+
+The foreman moved his pencil towards it.
+
+--But wait, Mr Bloom said. He wants it changed. Keyes, you see. He wants
+two keys at the top.
+
+Hell of a racket they make. He doesn't hear it. Nannan. Iron nerves.
+Maybe he understands what I.
+
+The foreman turned round to hear patiently and, lifting an elbow,
+began to scratch slowly in the armpit of his alpaca jacket.
+
+--Like that, Mr Bloom said, crossing his forefingers at the top.
+
+Let him take that in first.
+
+Mr Bloom, glancing sideways up from the cross he had made, saw the
+foreman's sallow face, think he has a touch of jaundice, and beyond the
+obedient reels feeding in huge webs of paper. Clank it. Clank it. Miles of
+it unreeled. What becomes of it after? O, wrap up meat, parcels: various
+uses, thousand and one things.
+
+Slipping his words deftly into the pauses of the clanking he drew
+swiftly on the scarred woodwork.
+
+
+    HOUSE OF KEY(E)S
+
+
+--Like that, see. Two crossed keys here. A circle. Then here the name.
+Alexander Keyes, tea, wine and spirit merchant. So on.
+
+Better not teach him his own business.
+
+--You know yourself, councillor, just what he wants. Then round the top
+in leaded: the house of keys. You see? Do you think that's a good idea?
+
+The foreman moved his scratching hand to his lower ribs and scratched
+there quietly.
+
+--The idea, Mr Bloom said, is the house of keys. You know, councillor,
+the Manx parliament. Innuendo of home rule. Tourists, you know, from the
+isle of Man. Catches the eye, you see. Can you do that?
+
+I could ask him perhaps about how to pronounce that VOGLIO. But
+then if he didn't know only make it awkward for him. Better not.
+
+--We can do that, the foreman said. Have you the design?
+
+--I can get it, Mr Bloom said. It was in a Kilkenny paper. He has a house
+there too. I'll just run out and ask him. Well, you can do that and just a
+little par calling attention. You know the usual. Highclass licensed
+premises. Longfelt want. So on.
+
+The foreman thought for an instant.
+
+--We can do that, he said. Let him give us a three months' renewal.
+
+A typesetter brought him a limp galleypage. He began to check it
+silently. Mr Bloom stood by, hearing the loud throbs of cranks, watching
+the silent typesetters at their cases.
+
+
+    ORTHOGRAPHICAL
+
+
+Want to be sure of his spelling. Proof fever. Martin Cunningham
+forgot to give us his spellingbee conundrum this morning. It is amusing to
+view the unpar one ar alleled embarra two ars is it? double ess ment of a
+harassed pedlar while gauging au the symmetry with a y of a peeled pear
+under a cemetery wall. Silly, isn't it? Cemetery put in of course on
+account of the symmetry.
+
+I should have said when he clapped on his topper. Thank you. I ought
+to have said something about an old hat or something. No. I could have
+said. Looks as good as new now. See his phiz then.
+
+Sllt. The nethermost deck of the first machine jogged forward its
+flyboard with sllt the first batch of quirefolded papers. Sllt. Almost
+human the way it sllt to call attention. Doing its level best to speak.
+That door too sllt creaking, asking to be shut. Everything speaks in its
+own way. Sllt.
+
+
+    NOTED CHURCHMAN AN OCCASIONAL CONTRIBUTOR
+
+
+The foreman handed back the galleypage suddenly, saying:
+
+--Wait. Where's the archbishop's letter? It's to be repeated in the
+TELEGRAPH. Where's what's his name?
+
+He looked about him round his loud unanswering machines.
+
+--Monks, sir? a voice asked from the castingbox.
+
+--Ay. Where's Monks?
+
+--Monks!
+
+Mr Bloom took up his cutting. Time to get out.
+
+--Then I'll get the design, Mr Nannetti, he said, and you'll give it a
+good place I know.
+
+--Monks!
+
+--Yes, sir.
+
+Three months' renewal. Want to get some wind off my chest first. Try
+it anyhow. Rub in August: good idea: horseshow month. Ballsbridge.
+Tourists over for the show.
+
+
+    A DAYFATHER
+
+
+He walked on through the caseroom passing an old man, bowed,
+spectacled, aproned. Old Monks, the dayfather. Queer lot of stuff he must
+have put through his hands in his time: obituary notices, pubs' ads,
+speeches, divorce suits, found drowned. Nearing the end of his tether now.
+Sober serious man with a bit in the savingsbank I'd say. Wife a good cook
+and washer. Daughter working the machine in the parlour. Plain Jane, no
+damn nonsense.
+
+
+    AND IT WAS THE FEAST OF THE PASSOVER
+
+
+He stayed in his walk to watch a typesetter neatly distributing type.
+Reads it backwards first. Quickly he does it. Must require some practice
+that. mangiD kcirtaP. Poor papa with his hagadah book, reading
+backwards with his finger to me. Pessach. Next year in Jerusalem. Dear, O
+dear! All that long business about that brought us out of the land of
+Egypt and into the house of bondage ALLELUIA. SHEMA ISRAEL ADONAI ELOHENU.
+No, that's the other. Then the twelve brothers, Jacob's sons. And then the
+lamb and the cat and the dog and the stick and the water and the butcher.
+And then the angel of death kills the butcher and he kills the ox and the
+dog kills the cat. Sounds a bit silly till you come to look into it well.
+Justice it means but it's everybody eating everyone else. That's what life
+is after all. How quickly he does that job. Practice makes perfect. Seems
+to see with his fingers.
+
+Mr Bloom passed on out of the clanking noises through the gallery on
+to the landing. Now am I going to tram it out all the way and then catch
+him out perhaps. Better phone him up first. Number? Yes. Same as Citron's
+house. Twentyeight. Twentyeight double four.
+
+
+    ONLY ONCE MORE THAT SOAP
+
+
+He went down the house staircase. Who the deuce scrawled all over
+those walls with matches? Looks as if they did it for a bet. Heavy greasy
+smell there always is in those works. Lukewarm glue in Thom's next door
+when I was there.
+
+He took out his handkerchief to dab his nose. Citronlemon? Ah, the
+soap I put there. Lose it out of that pocket. Putting back his
+handkerchief he took out the soap and stowed it away, buttoned, into the
+hip pocket of his trousers.
+
+What perfume does your wife use? I could go home still: tram:
+something I forgot. Just to see: before: dressing. No. Here. No.
+
+A sudden screech of laughter came from the EVENING TELEGRAPH office. Know
+who that is. What's up? Pop in a minute to phone. Ned Lambert it is.
+
+He entered softly.
+
+
+    ERIN, GREEN GEM OF THE SILVER SEA
+
+
+--The ghost walks, professor MacHugh murmured softly, biscuitfully to
+the dusty windowpane.
+
+Mr Dedalus, staring from the empty fireplace at Ned Lambert's
+quizzing face, asked of it sourly:
+
+--Agonising Christ, wouldn't it give you a heartburn on your arse?
+
+Ned Lambert, seated on the table, read on:
+
+--OR AGAIN, NOTE THE MEANDERINGS OF SOME PURLING RILL AS IT BABBLES ON
+ITS WAY, THO' QUARRELLING WITH THE STONY OBSTACLES, TO THE TUMBLING WATERS
+OF NEPTUNE'S BLUE DOMAIN, 'MID MOSSY BANKS, FANNED BY GENTLEST ZEPHYRS,
+PLAYED ON BY THE GLORIOUS SUNLIGHT OR 'NEATH THE SHADOWS CAST O'ER ITS
+PENSIVE BOSOM BY THE OVERARCHING LEAFAGE OF THE GIANTS OF THE FOREST. What
+about that, Simon? he asked over the fringe of his newspaper. How's that
+for high?
+
+--Changing his drink, Mr Dedalus said.
+
+Ned Lambert, laughing, struck the newspaper on his knees, repeating:
+
+--THE PENSIVE BOSOM AND THE OVERARSING LEAFAGE. O boys! O boys!
+
+--And Xenophon looked upon Marathon, Mr Dedalus said, looking again
+on the fireplace and to the window, and Marathon looked on the sea.
+
+--That will do, professor MacHugh cried from the window. I don't want to
+hear any more of the stuff.
+
+He ate off the crescent of water biscuit he had been nibbling and,
+hungered, made ready to nibble the biscuit in his other hand.
+
+High falutin stuff. Bladderbags. Ned Lambert is taking a day off I
+see. Rather upsets a man's day, a funeral does. He has influence they say.
+Old Chatterton, the vicechancellor, is his granduncle or his
+greatgranduncle. Close on ninety they say. Subleader for his death written
+this long time perhaps. Living to spite them. Might go first himself.
+Johnny, make room for your uncle. The right honourable Hedges Eyre
+Chatterton. Daresay he writes him an odd shaky cheque or two on gale days.
+Windfall when he kicks out. Alleluia.
+
+--Just another spasm, Ned Lambert said.
+
+--What is it? Mr Bloom asked.
+
+--A recently discovered fragment of Cicero, professor MacHugh answered
+with pomp of tone. OUR LOVELY LAND.
+
+
+    SHORT BUT TO THE POINT
+
+
+--Whose land? Mr Bloom said simply.
+
+--Most pertinent question, the professor said between his chews. With an
+accent on the whose.
+
+--Dan Dawson's land Mr Dedalus said.
+
+--Is it his speech last night? Mr Bloom asked.
+
+Ned Lambert nodded.
+
+--But listen to this, he said.
+
+The doorknob hit Mr Bloom in the small of the back as the door was
+pushed in.
+
+--Excuse me, J. J. O'Molloy said, entering.
+
+Mr Bloom moved nimbly aside.
+
+--I beg yours, he said.
+
+--Good day, Jack.
+
+--Come in. Come in.
+
+--Good day.
+
+--How are you, Dedalus?
+
+--Well. And yourself?
+
+J. J. O'Molloy shook his head.
+
+
+    SAD
+
+
+Cleverest fellow at the junior bar he used to be. Decline, poor chap.
+That hectic flush spells finis for a man. Touch and go with him. What's in
+the wind, I wonder. Money worry.
+
+--OR AGAIN IF WE BUT CLIMB THE SERRIED MOUNTAIN PEAKS.
+
+--You're looking extra.
+
+--Is the editor to be seen? J. J. O'Molloy asked, looking towards the
+inner door.
+
+--Very much so, professor MacHugh said. To be seen and heard. He's in
+his sanctum with Lenehan.
+
+J. J. O'Molloy strolled to the sloping desk and began to turn back the
+pink pages of the file.
+
+Practice dwindling. A mighthavebeen. Losing heart. Gambling. Debts
+of honour. Reaping the whirlwind. Used to get good retainers from D. and
+T. Fitzgerald. Their wigs to show the grey matter. Brains on their sleeve
+like the statue in Glasnevin. Believe he does some literary work for the
+EXPRESS with Gabriel Conroy. Wellread fellow. Myles Crawford began on
+the INDEPENDENT. Funny the way those newspaper men veer about when
+they get wind of a new opening. Weathercocks. Hot and cold in the same
+breath. Wouldn't know which to believe. One story good till you hear the
+next. Go for one another baldheaded in the papers and then all blows over.
+Hail fellow well met the next moment.
+
+--Ah, listen to this for God' sake, Ned Lambert pleaded. OR AGAIN IF WE
+BUT CLIMB THE SERRIED MOUNTAIN PEAKS ...
+
+--Bombast! the professor broke in testily. Enough of the inflated
+windbag!
+
+--PEAKS, Ned Lambert went on, TOWERING HIGH ON HIGH, TO BATHE OUR SOULS,
+AS IT WERE ...
+
+--Bathe his lips, Mr Dedalus said. Blessed and eternal God! Yes? Is he
+taking anything for it?
+
+--AS 'TWERE, IN THE PEERLESS PANORAMA OF IRELAND'S PORTFOLIO, UNMATCHED,
+DESPITE THEIR WELLPRAISED PROTOTYPES IN OTHER VAUNTED PRIZE REGIONS, FOR
+VERY BEAUTY, OF BOSKY GROVE AND UNDULATING PLAIN AND LUSCIOUS PASTURELAND
+OF VERNAL GREEN, STEEPED IN THE TRANSCENDENT TRANSLUCENT GLOW OF OUR MILD
+MYSTERIOUS IRISH TWILIGHT ...
+
+
+    HIS NATIVE DORIC
+
+
+--The moon, professor MacHugh said. He forgot Hamlet.
+
+--THAT MANTLES THE VISTA FAR AND WIDE AND WAIT TILL THE GLOWING ORB OF
+THE MOON SHINE FORTH TO IRRADIATE HER SILVER EFFULGENCE ...
+
+--O! Mr Dedalus cried, giving vent to a hopeless groan. Shite and onions!
+That'll do, Ned. Life is too short.
+
+He took off his silk hat and, blowing out impatiently his bushy
+moustache, welshcombed his hair with raking fingers.
+
+Ned Lambert tossed the newspaper aside, chuckling with delight. An
+instant after a hoarse bark of laughter burst over professor MacHugh's
+unshaven blackspectacled face.
+
+--Doughy Daw! he cried.
+
+
+    WHAT WETHERUP SAID
+
+
+All very fine to jeer at it now in cold print but it goes down like hot
+cake that stuff. He was in the bakery line too, wasn't he? Why they call
+him Doughy Daw. Feathered his nest well anyhow. Daughter engaged to that
+chap in the inland revenue office with the motor. Hooked that nicely.
+Entertainments. Open house. Big blowout. Wetherup always said that. Get
+a grip of them by the stomach.
+
+The inner door was opened violently and a scarlet beaked face,
+crested by a comb of feathery hair, thrust itself in. The bold blue eyes
+stared about them and the harsh voice asked:
+
+--What is it?
+
+--And here comes the sham squire himself! professor MacHugh said grandly.
+
+--Getonouthat, you bloody old pedagogue! the editor said in recognition.
+
+--Come, Ned, Mr Dedalus said, putting on his hat. I must get a drink
+after that.
+
+--Drink! the editor cried. No drinks served before mass.
+
+--Quite right too, Mr Dedalus said, going out. Come on, Ned.
+
+Ned Lambert sidled down from the table. The editor's blue eyes roved
+towards Mr Bloom's face, shadowed by a smile.
+
+--Will you join us, Myles? Ned Lambert asked.
+
+
+    MEMORABLE BATTLES RECALLED
+
+
+--North Cork militia! the editor cried, striding to the mantelpiece. We
+won every time! North Cork and Spanish officers!
+
+--Where was that, Myles? Ned Lambert asked with a reflective glance at
+his toecaps.
+
+--In Ohio! the editor shouted.
+
+--So it was, begad, Ned Lambert agreed.
+
+Passing out he whispered to J. J. O'Molloy:
+
+--Incipient jigs. Sad case.
+
+--Ohio! the editor crowed in high treble from his uplifted scarlet face.
+My Ohio!
+
+--A perfect cretic! the professor said. Long, short and long.
+
+
+    O, HARP EOLIAN!
+
+
+He took a reel of dental floss from his waistcoat pocket and, breaking
+off a piece, twanged it smartly between two and two of his resonant
+unwashed teeth.
+
+--Bingbang, bangbang.
+
+Mr Bloom, seeing the coast clear, made for the inner door.
+
+--Just a moment, Mr Crawford, he said. I just want to phone about an ad.
+
+He went in.
+
+--What about that leader this evening? professor MacHugh asked, coming
+to the editor and laying a firm hand on his shoulder.
+
+--That'll be all right, Myles Crawford said more calmly. Never you fret.
+Hello, Jack. That's all right.
+
+--Good day, Myles, J. J. O'Molloy said, letting the pages he held slip
+limply back on the file. Is that Canada swindle case on today?
+
+The telephone whirred inside.
+
+--Twentyeight ... No, twenty ... Double four ... Yes.
+
+
+    SPOT THE WINNER
+
+
+Lenehan came out of the inner office with SPORT'S tissues.
+
+--Who wants a dead cert for the Gold cup? he asked. Sceptre with O.
+Madden up.
+
+He tossed the tissues on to the table.
+
+Screams of newsboys barefoot in the hall rushed near and the door
+was flung open.
+
+--Hush, Lenehan said. I hear feetstoops.
+
+Professor MacHugh strode across the room and seized the cringing
+urchin by the collar as the others scampered out of the hall and down the
+steps. The tissues rustled up in the draught, floated softly in the air
+blue scrawls and under the table came to earth.
+
+--It wasn't me, sir. It was the big fellow shoved me, sir.
+
+--Throw him out and shut the door, the editor said. There's a hurricane
+blowing.
+
+Lenehan began to paw the tissues up from the floor, grunting as he
+stooped twice.
+
+--Waiting for the racing special, sir, the newsboy said. It was Pat
+Farrell shoved me, sir.
+
+He pointed to two faces peering in round the doorframe.
+
+--Him, sir.
+
+--Out of this with you, professor MacHugh said gruffly.
+
+He hustled the boy out and banged the door to.
+
+J. J. O'Molloy turned the files crackingly over, murmuring, seeking:
+
+--Continued on page six, column four.
+
+--Yes, EVENING TELEGRAPH here, Mr Bloom phoned from the inner office. Is
+the boss ...? Yes, TELEGRAPH ... To where? Aha! Which auction rooms? ...
+Aha! I see ... Right. I'll catch him.
+
+
+    A COLLISION ENSUES
+
+
+The bell whirred again as he rang off. He came in quickly and
+bumped against Lenehan who was struggling up with the second tissue.
+
+--PARDON, MONSIEUR, Lenehan said, clutching him for an instant and making
+a grimace.
+
+--My fault, Mr Bloom said, suffering his grip. Are you hurt? I'm in a
+hurry.
+
+--Knee, Lenehan said.
+
+He made a comic face and whined, rubbing his knee:
+
+--The accumulation of the ANNO DOMINI.
+
+--Sorry, Mr Bloom said.
+
+He went to the door and, holding it ajar, paused. J. J. O'Molloy
+slapped the heavy pages over. The noise of two shrill voices, a
+mouthorgan, echoed in the bare hallway from the newsboys squatted on the
+doorsteps:
+
+
+  --WE ARE THE BOYS OF WEXFORD
+    WHO FOUGHT WITH HEART AND HAND.
+
+
+    EXIT BLOOM
+
+
+--I'm just running round to Bachelor's walk, Mr Bloom said, about this ad
+of Keyes's. Want to fix it up. They tell me he's round there in Dillon's.
+
+He looked indecisively for a moment at their faces. The editor who,
+leaning against the mantelshelf, had propped his head on his hand,
+suddenly stretched forth an arm amply.
+
+--Begone! he said. The world is before you.
+
+--Back in no time, Mr Bloom said, hurrying out.
+
+J. J. O'Molloy took the tissues from Lenehan's hand and read them,
+blowing them apart gently, without comment.
+
+--He'll get that advertisement, the professor said, staring through his
+blackrimmed spectacles over the crossblind. Look at the young scamps after
+him.
+
+--Show. Where? Lenehan cried, running to the window.
+
+
+    A STREET CORTEGE
+
+
+Both smiled over the crossblind at the file of capering newsboys in Mr
+Bloom's wake, the last zigzagging white on the breeze a mocking kite, a
+tail of white bowknots.
+
+--Look at the young guttersnipe behind him hue and cry, Lenehan said, and
+you'll kick. O, my rib risible! Taking off his flat spaugs and the walk.
+Small nines. Steal upon larks.
+
+He began to mazurka in swift caricature across the floor on sliding
+feet past the fireplace to J. J. O'Molloy who placed the tissues in his
+receiving hands.
+
+--What's that? Myles Crawford said with a start. Where are the other two
+gone?
+
+--Who? the professor said, turning. They're gone round to the Oval for a
+drink. Paddy Hooper is there with Jack Hall. Came over last night.
+
+--Come on then, Myles Crawford said. Where's my hat?
+
+He walked jerkily into the office behind, parting the vent of his jacket,
+jingling his keys in his back pocket. They jingled then in the air and
+against the wood as he locked his desk drawer.
+
+--He's pretty well on, professor MacHugh said in a low voice.
+
+--Seems to be, J. J. O'Molloy said, taking out a cigarettecase in
+murmuring meditation, but it is not always as it seems. Who has the most
+matches?
+
+
+    THE CALUMET OF PEACE
+
+
+He offered a cigarette to the professor and took one himself. Lenehan
+promptly struck a match for them and lit their cigarettes in turn. J. J.
+O'Molloy opened his case again and offered it.
+
+--THANKY VOUS, Lenehan said, helping himself.
+
+The editor came from the inner office, a straw hat awry on his brow.
+He declaimed in song, pointing sternly at professor MacHugh:
+
+
+  --'TWAS RANK AND FAME THAT TEMPTED THEE,
+    'TWAS EMPIRE CHARMED THY HEART.
+
+
+The professor grinned, locking his long lips.
+
+--Eh? You bloody old Roman empire? Myles Crawford said.
+
+He took a cigarette from the open case. Lenehan, lighting it for him
+with quick grace, said:
+
+--Silence for my brandnew riddle!
+
+--IMPERIUM ROMANUM, J. J. O'Molloy said gently. It sounds nobler than
+British or Brixton. The word reminds one somehow of fat in the fire.
+
+Myles Crawford blew his first puff violently towards the ceiling.
+
+--That's it, he said. We are the fat. You and I are the fat in the fire.
+We haven't got the chance of a snowball in hell.
+
+
+    THE GRANDEUR THAT WAS ROME
+
+
+--Wait a moment, professor MacHugh said, raising two quiet claws. We
+mustn't be led away by words, by sounds of words. We think of Rome,
+imperial, imperious, imperative.
+
+He extended elocutionary arms from frayed stained shirtcuffs, pausing:
+
+--What was their civilisation? Vast, I allow: but vile. Cloacae: sewers.
+The Jews in the wilderness and on the mountaintop said: IT IS MEET TO BE
+HERE. LET US BUILD AN ALTAR TO JEHOVAH. The Roman, like the Englishman who
+follows in his footsteps, brought to every new shore on which he set his
+foot (on our shore he never set it) only his cloacal obsession. He gazed
+about him in his toga and he said: IT IS MEET TO BE HERE. LET US CONSTRUCT
+A WATERCLOSET.
+
+--Which they accordingly did do, Lenehan said. Our old ancient ancestors,
+as we read in the first chapter of Guinness's, were partial to the running
+stream.
+
+--They were nature's gentlemen, J. J. O'Molloy murmured. But we have
+also Roman law.
+
+--And Pontius Pilate is its prophet, professor MacHugh responded.
+
+--Do you know that story about chief baron Palles? J. J. O'Molloy asked.
+It was at the royal university dinner. Everything was going
+swimmingly ...
+
+--First my riddle, Lenehan said. Are you ready?
+
+Mr O'Madden Burke, tall in copious grey of Donegal tweed, came in
+from the hallway. Stephen Dedalus, behind him, uncovered as he entered.
+
+--ENTREZ, MES ENFANTS! Lenehan cried.
+
+--I escort a suppliant, Mr O'Madden Burke said melodiously. Youth led by
+Experience visits Notoriety.
+
+--How do you do? the editor said, holding out a hand. Come in. Your
+governor is just gone.
+
+
+    ? ? ?
+
+
+Lenehan said to all:
+
+--Silence! What opera resembles a railwayline? Reflect, ponder,
+excogitate, reply.
+
+Stephen handed over the typed sheets, pointing to the title and signature.
+
+--Who? the editor asked.
+
+Bit torn off.
+
+--Mr Garrett Deasy, Stephen said.
+
+--That old pelters, the editor said. Who tore it? Was he short taken?
+
+
+    ON SWIFT SAIL FLAMING
+    FROM STORM AND SOUTH
+    HE COMES, PALE VAMPIRE,
+    MOUTH TO MY MOUTH.
+
+
+--Good day, Stephen, the professor said, coming to peer over their
+shoulders. Foot and mouth? Are you turned ...?
+
+Bullockbefriending bard.
+
+
+    SHINDY IN WELLKNOWN RESTAURANT
+
+
+--Good day, sir, Stephen answered blushing. The letter is not mine. Mr
+Garrett Deasy asked me to ...
+
+--O, I know him, Myles Crawford said, and I knew his wife too. The
+bloodiest old tartar God ever made. By Jesus, she had the foot and mouth
+disease and no mistake! The night she threw the soup in the waiter's face
+in the Star and Garter. Oho!
+
+A woman brought sin into the world. For Helen, the runaway wife of
+Menelaus, ten years the Greeks. O'Rourke, prince of Breffni.
+
+--Is he a widower? Stephen asked.
+
+--Ay, a grass one, Myles Crawford said, his eye running down the
+typescript. Emperor's horses. Habsburg. An Irishman saved his life on the
+ramparts of Vienna. Don't you forget! Maximilian Karl O'Donnell, graf
+von Tirconnell in Ireland. Sent his heir over to make the king an Austrian
+fieldmarshal now. Going to be trouble there one day. Wild geese. O yes,
+every time. Don't you forget that!
+
+--The moot point is did he forget it, J. J. O'Molloy said quietly,
+turning a horseshoe paperweight. Saving princes is a thank you job.
+
+Professor MacHugh turned on him.
+
+--And if not? he said.
+
+--I'll tell you how it was, Myles Crawford began. A Hungarian it was one
+day ...
+
+
+    LOST CAUSES
+
+
+    NOBLE MARQUESS MENTIONED
+
+
+--We were always loyal to lost causes, the professor said. Success for us
+is the death of the intellect and of the imagination. We were never loyal
+to the successful. We serve them. I teach the blatant Latin language. I
+speak the tongue of a race the acme of whose mentality is the maxim: time
+is money. Material domination. DOMINUS! Lord! Where is the spirituality?
+Lord Jesus? Lord Salisbury? A sofa in a westend club. But the Greek!
+
+
+    KYRIE ELEISON!
+
+
+A smile of light brightened his darkrimmed eyes, lengthened his long
+lips.
+
+--The Greek! he said again. KYRIOS! Shining word! The vowels the Semite
+and the Saxon know not. KYRIE! The radiance of the intellect. I ought to
+profess Greek, the language of the mind. KYRIE ELEISON! The closetmaker
+and the cloacamaker will never be lords of our spirit. We are liege
+subjects of the catholic chivalry of Europe that foundered at Trafalgar
+and of the empire of the spirit, not an IMPERIUM, that went under with the
+Athenian fleets at Aegospotami. Yes, yes. They went under. Pyrrhus, misled
+by an oracle, made a last attempt to retrieve the fortunes of Greece.
+Loyal to a lost cause.
+
+He strode away from them towards the window.
+
+--They went forth to battle, Mr O'Madden Burke said greyly, but they
+always fell.
+
+--Boohoo! Lenehan wept with a little noise. Owing to a brick received in
+the latter half of the MATINEE. Poor, poor, poor Pyrrhus!
+
+He whispered then near Stephen's ear:
+
+
+    LENEHAN'S LIMERICK
+
+  --THERE'S A PONDEROUS PUNDIT MACHUGH
+    WHO WEARS GOGGLES OF EBONY HUE.
+    AS HE MOSTLY SEES DOUBLE
+    TO WEAR THEM WHY TROUBLE?
+    I CAN'T SEE THE JOE MILLER. CAN YOU?
+
+
+In mourning for Sallust, Mulligan says. Whose mother is beastly dead.
+
+Myles Crawford crammed the sheets into a sidepocket.
+
+--That'll be all right, he said. I'll read the rest after. That'll be all
+right.
+
+Lenehan extended his hands in protest.
+
+--But my riddle! he said. What opera is like a railwayline?
+
+--Opera? Mr O'Madden Burke's sphinx face reriddled.
+
+Lenehan announced gladly:
+
+
+--THE ROSE OF CASTILE. See the wheeze? Rows of cast steel. Gee!
+
+He poked Mr O'Madden Burke mildly in the spleen. Mr O'Madden Burke
+fell back with grace on his umbrella, feigning a gasp.
+
+--Help! he sighed. I feel a strong weakness.
+
+Lenehan, rising to tiptoe, fanned his face rapidly with the rustling
+tissues.
+
+The professor, returning by way of the files, swept his hand across
+Stephen's and Mr O'Madden Burke's loose ties.
+
+--Paris, past and present, he said. You look like communards.
+
+--Like fellows who had blown up the Bastile, J. J. O'Molloy said in quiet
+mockery. Or was it you shot the lord lieutenant of Finland between you?
+You look as though you had done the deed. General Bobrikoff.
+
+
+    OMNIUM GATHERUM
+
+
+--We were only thinking about it, Stephen said.
+
+--All the talents, Myles Crawford said. Law, the classics ...
+
+--The turf, Lenehan put in.
+
+--Literature, the press.
+
+--If Bloom were here, the professor said. The gentle art of advertisement.
+
+--And Madam Bloom, Mr O'Madden Burke added. The vocal muse. Dublin's
+prime favourite.
+
+ Lenehan gave a loud cough.
+
+--Ahem! he said very softly. O, for a fresh of breath air! I caught a
+cold in the park. The gate was open.
+
+
+    YOU CAN DO IT!
+
+
+The editor laid a nervous hand on Stephen's shoulder.
+
+--I want you to write something for me, he said. Something with a bite in
+it. You can do it. I see it in your face. IN THE LEXICON OF YOUTH ...
+
+See it in your face. See it in your eye. Lazy idle little schemer.
+
+--Foot and mouth disease! the editor cried in scornful invective. Great
+nationalist meeting in Borris-in-Ossory. All balls! Bulldosing the public!
+Give them something with a bite in it. Put us all into it, damn its soul.
+Father, Son and Holy Ghost and Jakes M'Carthy.
+
+--We can all supply mental pabulum, Mr O'Madden Burke said.
+
+Stephen raised his eyes to the bold unheeding stare.
+
+--He wants you for the pressgang, J. J. O'Molloy said.
+
+
+    THE GREAT GALLAHER
+
+
+--You can do it, Myles Crawford repeated, clenching his hand in emphasis.
+Wait a minute. We'll paralyse Europe as Ignatius Gallaher used to say when
+he was on the shaughraun, doing billiardmarking in the Clarence. Gallaher,
+that was a pressman for you. That was a pen. You know how he made his
+mark? I'll tell you. That was the smartest piece of journalism ever known.
+That was in eightyone, sixth of May, time of the invincibles, murder in
+the Phoenix park, before you were born, I suppose. I'll show you.
+
+He pushed past them to the files.
+
+--Look at here, he said turning. The NEW YORK WORLD cabled for a special.
+Remember that time?
+
+Professor MacHugh nodded.
+
+--NEW YORK WORLD, the editor said, excitedly pushing back his straw hat.
+Where it took place. Tim Kelly, or Kavanagh I mean. Joe Brady and the
+rest of them. Where Skin-the-Goat drove the car. Whole route, see?
+
+--Skin-the-Goat, Mr O'Madden Burke said. Fitzharris. He has that
+cabman's shelter, they say, down there at Butt bridge. Holohan told me.
+You know Holohan?
+
+--Hop and carry one, is it? Myles Crawford said.
+
+--And poor Gumley is down there too, so he told me, minding stones for
+the corporation. A night watchman.
+
+Stephen turned in surprise.
+
+--Gumley? he said. You don't say so? A friend of my father's, is it?
+
+--Never mind Gumley, Myles Crawford cried angrily. Let Gumley mind
+the stones, see they don't run away. Look at here. What did Ignatius
+Gallaher do? I'll tell you. Inspiration of genius. Cabled right away. Have
+you WEEKLY FREEMAN of 17 March? Right. Have you got that?
+
+He flung back pages of the files and stuck his finger on a point.
+
+--Take page four, advertisement for Bransome's coffee, let us say. Have
+you got that? Right.
+
+The telephone whirred.
+
+
+    A DISTANT VOICE
+
+
+--I'll answer it, the professor said, going.
+
+--B is parkgate. Good.
+
+His finger leaped and struck point after point, vibrating.
+
+--T is viceregal lodge. C is where murder took place. K is Knockmaroon
+gate.
+
+The loose flesh of his neck shook like a cock's wattles. An illstarched
+dicky jutted up and with a rude gesture he thrust it back into his
+waistcoat.
+
+--Hello? EVENING TELEGRAPH here ... Hello?... Who's there? ...
+Yes ... Yes ... Yes.
+
+--F to P is the route Skin-the-Goat drove the car for an alibi, Inchicore,
+Roundtown, Windy Arbour, Palmerston Park, Ranelagh. F.A.B.P. Got that?
+X is Davy's publichouse in upper Leeson street.
+
+The professor came to the inner door.
+
+--Bloom is at the telephone, he said.
+
+--Tell him go to hell, the editor said promptly. X is Davy's publichouse,
+see?
+
+
+    CLEVER, VERY
+
+
+--Clever, Lenehan said. Very.
+
+--Gave it to them on a hot plate, Myles Crawford said, the whole bloody
+history.
+
+Nightmare from which you will never awake.
+
+--I saw it, the editor said proudly. I was present. Dick Adams, the
+besthearted bloody Corkman the Lord ever put the breath of life in, and
+myself.
+
+Lenehan bowed to a shape of air, announcing:
+
+--Madam, I'm Adam. And Able was I ere I saw Elba.
+
+--History! Myles Crawford cried. The Old Woman of Prince's street was
+there first. There was weeping and gnashing of teeth over that. Out of an
+advertisement. Gregor Grey made the design for it. That gave him the leg
+up. Then Paddy Hooper worked Tay Pay who took him on to the STAR.
+Now he's got in with Blumenfeld. That's press. That's talent. Pyatt! He
+was all their daddies!
+
+--The father of scare journalism, Lenehan confirmed, and the
+brother-in-law of Chris Callinan.
+
+--Hello? ... Are you there? ... Yes, he's here still. Come across
+yourself.
+
+--Where do you find a pressman like that now, eh? the editor cried.
+He flung the pages down.
+
+--Clamn dever, Lenehan said to Mr O'Madden Burke.
+
+--Very smart, Mr O'Madden Burke said.
+
+Professor MacHugh came from the inner office.
+
+--Talking about the invincibles, he said, did you see that some hawkers
+were up before the recorder ...
+
+--O yes, J. J. O'Molloy said eagerly. Lady Dudley was walking home
+through the park to see all the trees that were blown down by that cyclone
+last year and thought she'd buy a view of Dublin. And it turned out to be
+a commemoration postcard of Joe Brady or Number One or Skin-the-Goat.
+Right outside the viceregal lodge, imagine!
+
+--They're only in the hook and eye department, Myles Crawford said.
+Psha! Press and the bar! Where have you a man now at the bar like those
+fellows, like Whiteside, like Isaac Butt, like silvertongued O'Hagan. Eh?
+Ah, bloody nonsense. Psha! Only in the halfpenny place.
+
+His mouth continued to twitch unspeaking in nervous curls of disdain.
+
+Would anyone wish that mouth for her kiss? How do you know? Why did
+you write it then?
+
+
+    RHYMES AND REASONS
+
+
+Mouth, south. Is the mouth south someway? Or the south a mouth?
+Must be some. South, pout, out, shout, drouth. Rhymes: two men dressed
+the same, looking the same, two by two.
+
+
+    . . . . . . . . . . . . . . . . . . .LA TUA PACE
+    . . . . . . . . . . . . . . .CHE PARLAR TI PIACE
+    . . . . .MENTREM CHE IL VENTO, COME FA, SI TACE.
+
+
+He saw them three by three, approaching girls, in green, in rose, in
+russet, entwining, PER L'AER PERSO, in mauve, in purple, QUELLA PACIFICA
+ORIAFIAMMA, gold of oriflamme, DI RIMIRAR FE PIU ARDENTI. But I old men,
+penitent, leadenfooted, underdarkneath the night: mouth south: tomb womb.
+
+--Speak up for yourself, Mr O'Madden Burke said.
+
+
+    SUFFICIENT FOR THE DAY ...
+
+
+J. J. O'Molloy, smiling palely, took up the gage.
+
+--My dear Myles, he said, flinging his cigarette aside, you put a false
+construction on my words. I hold no brief, as at present advised, for the
+third profession qua profession but your Cork legs are running away with
+you. Why not bring in Henry Grattan and Flood and Demosthenes and
+Edmund Burke? Ignatius Gallaher we all know and his Chapelizod boss,
+Harmsworth of the farthing press, and his American cousin of the Bowery
+guttersheet not to mention PADDY KELLY'S BUDGET, PUE'S OCCURRENCES and our
+watchful friend THE SKIBBEREEN EAGLE. Why bring in a master of forensic
+eloquence like Whiteside? Sufficient for the day is the newspaper thereof.
+
+
+    LINKS WITH BYGONE DAYS OF YORE
+
+
+--Grattan and Flood wrote for this very paper, the editor cried in his
+face. Irish volunteers. Where are you now? Established 1763. Dr Lucas.
+Who have you now like John Philpot Curran? Psha!
+
+--Well, J. J. O'Molloy said, Bushe K.C., for example.
+
+--Bushe? the editor said. Well, yes: Bushe, yes. He has a strain of it in
+his blood. Kendal Bushe or I mean Seymour Bushe.
+
+--He would have been on the bench long ago, the professor said, only
+for ... But no matter.
+
+J. J. O'Molloy turned to Stephen and said quietly and slowly:
+
+--One of the most polished periods I think I ever listened to in my life
+fell from the lips of Seymour Bushe. It was in that case of fratricide,
+the Childs murder case. Bushe defended him.
+
+
+    AND IN THE PORCHES OF MINE EAR DID POUR.
+
+
+By the way how did he find that out? He died in his sleep. Or the
+other story, beast with two backs?
+
+--What was that? the professor asked.
+
+
+    ITALIA, MAGISTRA ARTIUM
+
+
+--He spoke on the law of evidence, J. J. O'Molloy said, of Roman justice
+as contrasted with the earlier Mosaic code, the LEX TALIONIS. And he cited
+the Moses of Michelangelo in the vatican.
+
+--Ha.
+
+--A few wellchosen words, Lenehan prefaced. Silence!
+
+Pause. J. J. O'Molloy took out his cigarettecase.
+
+False lull. Something quite ordinary.
+
+Messenger took out his matchbox thoughtfully and lit his cigar.
+
+I have often thought since on looking back over that strange time that
+it was that small act, trivial in itself, that striking of that match,
+that determined the whole aftercourse of both our lives.
+
+
+    A POLISHED PERIOD
+
+
+J. J. O'Molloy resumed, moulding his words:
+
+--He said of it: THAT STONY EFFIGY IN FROZEN MUSIC, HORNED AND TERRIBLE,
+OF THE HUMAN FORM DIVINE, THAT ETERNAL SYMBOL OF WISDOM AND OF PROPHECY
+WHICH, IF AUGHT THAT THE IMAGINATION OR THE HAND OF SCULPTOR HAS WROUGHT
+IN MARBLE OF SOULTRANSFIGURED AND OF SOULTRANSFIGURING DESERVES TO LIVE,
+DESERVES TO LIVE.
+
+His slim hand with a wave graced echo and fall.
+
+--Fine! Myles Crawford said at once.
+
+--The divine afflatus, Mr O'Madden Burke said.
+
+--You like it? J. J. O'Molloy asked Stephen.
+
+Stephen, his blood wooed by grace of language and gesture, blushed.
+He took a cigarette from the case. J. J. O'Molloy offered his case to
+Myles Crawford. Lenehan lit their cigarettes as before and took his
+trophy, saying:
+
+--Muchibus thankibus.
+
+
+    A MAN OF HIGH MORALE
+
+
+--Professor Magennis was speaking to me about you, J. J. O'Molloy said to
+Stephen. What do you think really of that hermetic crowd, the opal hush
+poets: A. E. the mastermystic? That Blavatsky woman started it. She was a
+nice old bag of tricks. A. E. has been telling some yankee interviewer
+that you came to him in the small hours of the morning to ask him about
+planes of consciousness. Magennis thinks you must have been pulling
+A. E.'s leg. He is a man of the very highest morale, Magennis.
+
+Speaking about me. What did he say? What did he say? What did he
+say about me? Don't ask.
+
+--No, thanks, professor MacHugh said, waving the cigarettecase aside.
+Wait a moment. Let me say one thing. The finest display of oratory I ever
+heard was a speech made by John F Taylor at the college historical
+society. Mr Justice Fitzgibbon, the present lord justice of appeal, had
+spoken and the paper under debate was an essay (new for those days),
+advocating the revival of the Irish tongue.
+
+He turned towards Myles Crawford and said:
+
+--You know Gerald Fitzgibbon. Then you can imagine the style of his
+discourse.
+
+--He is sitting with Tim Healy, J. J. O'Molloy said, rumour has it, on
+the Trinity college estates commission.
+
+--He is sitting with a sweet thing, Myles Crawford said, in a child's
+frock. Go on. Well?
+
+--It was the speech, mark you, the professor said, of a finished orator,
+full of courteous haughtiness and pouring in chastened diction I will not
+say the vials of his wrath but pouring the proud man's contumely upon the
+new movement. It was then a new movement. We were weak, therefore
+worthless.
+
+He closed his long thin lips an instant but, eager to be on, raised an
+outspanned hand to his spectacles and, with trembling thumb and
+ringfinger touching lightly the black rims, steadied them to a new focus.
+
+
+    IMPROMPTU
+
+
+In ferial tone he addressed J. J. O'Molloy:
+
+--Taylor had come there, you must know, from a sickbed. That he had
+prepared his speech I do not believe for there was not even one
+shorthandwriter in the hall. His dark lean face had a growth of shaggy
+beard round it. He wore a loose white silk neckcloth and altogether he
+looked (though he was not) a dying man.
+
+His gaze turned at once but slowly from J. J. O'Molloy's towards
+Stephen's face and then bent at once to the ground, seeking. His unglazed
+linen collar appeared behind his bent head, soiled by his withering hair.
+Still seeking, he said:
+
+--When Fitzgibbon's speech had ended John F Taylor rose to reply.
+Briefly, as well as I can bring them to mind, his words were these.
+
+He raised his head firmly. His eyes bethought themselves once more.
+Witless shellfish swam in the gross lenses to and fro, seeking outlet.
+
+He began:
+
+--MR CHAIRMAN, LADIES AND GENTLEMEN: GREAT WAS MY ADMIRATION IN LISTENING
+TO THE REMARKS ADDRESSED TO THE YOUTH OF IRELAND A MOMENT SINCE BY MY
+LEARNED FRIEND. IT SEEMED TO ME THAT I HAD BEEN TRANSPORTED INTO A COUNTRY
+FAR AWAY FROM THIS COUNTRY, INTO AN AGE REMOTE FROM THIS AGE, THAT I STOOD
+IN ANCIENT EGYPT AND THAT I WAS LISTENING TO THE SPEECH OF SOME HIGHPRIEST
+OF THAT LAND ADDRESSED TO THE YOUTHFUL MOSES.
+
+His listeners held their cigarettes poised to hear, their smokes
+ascending in frail stalks that flowered with his speech. And let our
+crooked smokes. Noble words coming. Look out. Could you try your hand at
+it yourself?
+
+--AND IT SEEMED TO ME THAT I HEARD THE VOICE OF THAT EGYPTIAN HIGHPRIEST
+RAISED IN A TONE OF LIKE HAUGHTINESS AND LIKE PRIDE. I HEARD HIS WORDS AND
+THEIR MEANING WAS REVEALED TO ME.
+
+
+    FROM THE FATHERS
+
+
+It was revealed to me that those things are good which yet are
+corrupted which neither if they were supremely good nor unless they were
+good could be corrupted. Ah, curse you! That's saint Augustine.
+
+--WHY WILL YOU JEWS NOT ACCEPT OUR CULTURE, OUR RELIGION AND OUR
+LANGUAGE? YOU ARE A TRIBE OF NOMAD HERDSMEN: WE ARE A MIGHTY PEOPLE. YOU
+HAVE NO CITIES NOR NO WEALTH: OUR CITIES ARE HIVES OF HUMANITY AND OUR
+GALLEYS, TRIREME AND  QUADRIREME, LADEN WITH ALL MANNER MERCHANDISE FURROW
+THE WATERS OF THE KNOWN GLOBE. YOU HAVE BUT EMERGED FROM PRIMITIVE
+CONDITIONS: WE HAVE A LITERATURE, A PRIESTHOOD, AN AGELONG HISTORY AND A
+POLITY.
+
+Nile.
+
+Child, man, effigy.
+
+By the Nilebank the babemaries kneel, cradle of bulrushes: a man
+supple in combat: stonehorned, stonebearded, heart of stone.
+
+--YOU PRAY TO A LOCAL AND OBSCURE IDOL: OUR TEMPLES, MAJESTIC AND
+MYSTERIOUS, ARE THE ABODES OF ISIS AND OSIRIS, OF HORUS AND AMMON RA.
+YOURS SERFDOM, AWE AND HUMBLENESS: OURS THUNDER AND THE SEAS. ISRAEL IS
+WEAK AND FEW ARE HER CHILDREN: EGYPT IS AN HOST AND TERRIBLE ARE HER ARMS.
+ VAGRANTS AND DAYLABOURERS ARE YOU CALLED: THE WORLD TREMBLES AT OUR NAME.
+
+A dumb belch of hunger cleft his speech. He lifted his voice above it
+boldly:
+
+--BUT, LADIES AND GENTLEMEN, HAD THE YOUTHFUL MOSES LISTENED TO AND
+ACCEPTED THAT VIEW OF LIFE, HAD HE BOWED HIS HEAD AND BOWED HIS WILL AND
+BOWED HIS SPIRIT BEFORE THAT ARROGANT ADMONITION HE WOULD NEVER HAVE
+BROUGHT THE CHOSEN PEOPLE OUT OF THEIR HOUSE OF BONDAGE, NOR FOLLOWED THE
+PILLAR OF THE CLOUD BY DAY. HE WOULD NEVER HAVE SPOKEN WITH THE ETERNAL
+AMID LIGHTNINGS ON SINAI'S MOUNTAINTOP NOR EVER HAVE COME DOWN WITH THE
+LIGHT OF INSPIRATION SHINING IN HIS COUNTENANCE AND BEARING IN HIS ARMS
+THE TABLES OF THE LAW, GRAVEN IN THE LANGUAGE OF THE OUTLAW.
+
+He ceased and looked at them, enjoying a silence.
+
+
+    OMINOUS--FOR HIM!
+
+
+J. J. O'Molloy said not without regret:
+
+--And yet he died without having entered the land of promise.
+
+--A sudden--at--the--moment--though--from--lingering--illness--
+often--previously--expectorated--demise, Lenehan added. And with a
+great future behind him.
+
+The troop of bare feet was heard rushing along the hallway and
+pattering up the staircase.
+
+--That is oratory, the professor said uncontradicted. Gone with the wind.
+Hosts at Mullaghmast and Tara of the kings. Miles of ears of porches.
+The tribune's words, howled and scattered to the four winds. A people
+sheltered within his voice. Dead noise. Akasic records of all that ever
+anywhere wherever was. Love and laud him: me no more.
+
+I have money.
+
+--Gentlemen, Stephen said. As the next motion on the agenda paper may I
+suggest that the house do now adjourn?
+
+--You take my breath away. It is not perchance a French compliment? Mr
+O'Madden Burke asked. 'Tis the hour, methinks, when the winejug,
+metaphorically speaking, is most grateful in Ye ancient hostelry.
+
+--That it be and hereby is resolutely resolved. All that are in favour
+say ay, Lenehan announced. The contrary no. I declare it carried. To which
+particular boosing shed? ... My casting vote is: Mooney's!
+
+He led the way, admonishing:
+
+--We will sternly refuse to partake of strong waters, will we not? Yes,
+we will not. By no manner of means.
+
+Mr O'Madden Burke, following close, said with an ally's lunge of his
+umbrella:
+
+--Lay on, Macduff!
+
+--Chip of the old block! the editor cried, clapping Stephen on the
+shoulder. Let us go. Where are those blasted keys?
+
+He fumbled in his pocket pulling out the crushed typesheets.
+
+--Foot and mouth. I know. That'll be all right. That'll go in. Where are
+they? That's all right.
+
+He thrust the sheets back and went into the inner office.
+
+
+    LET US HOPE
+
+
+J. J. O'Molloy, about to follow him in, said quietly to Stephen:
+
+--I hope you will live to see it published. Myles, one moment.
+
+He went into the inner office, closing the door behind him.
+
+--Come along, Stephen, the professor said. That is fine, isn't it? It has
+the prophetic vision. FUIT ILIUM! The sack of windy Troy. Kingdoms of this
+world. The masters of the Mediterranean are fellaheen today.
+
+The first newsboy came pattering down the stairs at their heels and
+rushed out into the street, yelling:
+
+--Racing special!
+
+Dublin. I have much, much to learn.
+
+They turned to the left along Abbey street.
+
+--I have a vision too, Stephen said.
+
+--Yes? the professor said, skipping to get into step. Crawford will
+follow.
+
+Another newsboy shot past them, yelling as he ran:
+
+--Racing special!
+
+
+    DEAR DIRTY DUBLIN
+
+
+Dubliners.
+
+--Two Dublin vestals, Stephen said, elderly and pious, have lived fifty
+and fiftythree years in Fumbally's lane.
+
+--Where is that? the professor asked.
+
+--Off Blackpitts, Stephen said.
+
+Damp night reeking of hungry dough. Against the wall. Face
+glistering tallow under her fustian shawl. Frantic hearts. Akasic records.
+Quicker, darlint!
+
+On now. Dare it. Let there be life.
+
+--They want to see the views of Dublin from the top of Nelson's pillar.
+They save up three and tenpence in a red tin letterbox moneybox. They
+shake out the threepenny bits and sixpences and coax out the pennies with
+the blade of a knife. Two and three in silver and one and seven in
+coppers. They put on their bonnets and best clothes and take their
+umbrellas for fear it may come on to rain.
+
+--Wise virgins, professor MacHugh said.
+
+
+    LIFE ON THE RAW
+
+
+--They buy one and fourpenceworth of brawn and four slices of panloaf at
+the north city diningrooms in Marlborough street from Miss Kate Collins,
+proprietress ... They purchase four and twenty ripe plums from a girl at
+the foot of Nelson's pillar to take off the thirst of the brawn. They give
+two threepenny bits to the gentleman at the turnstile and begin to waddle
+slowly up the winding staircase, grunting, encouraging each other, afraid
+of the dark, panting, one asking the other have you the brawn, praising
+God and the Blessed Virgin, threatening to come down, peeping at the
+airslits. Glory be to God. They had no idea it was that high.
+
+Their names are Anne Kearns and Florence MacCabe. Anne Kearns
+has the lumbago for which she rubs on Lourdes water, given her by a lady
+who got a bottleful from a passionist father. Florence MacCabe takes a
+crubeen and a bottle of double X for supper every Saturday.
+
+--Antithesis, the professor said nodding twice. Vestal virgins. I can see
+them. What's keeping our friend?
+
+He turned.
+
+A bevy of scampering newsboys rushed down the steps, scattering in
+all directions, yelling, their white papers fluttering. Hard after them
+Myles Crawford appeared on the steps, his hat aureoling his scarlet face,
+talking with J. J. O'Molloy.
+
+--Come along, the professor cried, waving his arm.
+
+He set off again to walk by Stephen's side.
+
+
+    RETURN OF BLOOM
+
+
+--Yes, he said. I see them.
+
+Mr Bloom, breathless, caught in a whirl of wild newsboys near the
+offices of the IRISH CATHOLIC AND DUBLIN PENNY JOURNAL, called:
+
+--Mr Crawford! A moment!
+
+--TELEGRAPH! Racing special!
+
+--What is it? Myles Crawford said, falling back a pace.
+
+A newsboy cried in Mr Bloom's face:
+
+--Terrible tragedy in Rathmines! A child bit by a bellows!
+
+
+
+    INTERVIEW WITH THE EDITOR
+
+
+--Just this ad, Mr Bloom said, pushing through towards the steps,
+puffing, and taking the cutting from his pocket. I spoke with Mr Keyes
+just now. He'll give a renewal for two months, he says. After he'll see.
+But he wants a par to call attention in the TELEGRAPH too, the Saturday
+pink. And he wants it copied if it's not too late I told councillor
+Nannetti from the KILKENNY PEOPLE. I can have access to it in the national
+library. House of keys, don't you see? His name is Keyes. It's a play on
+the name. But he practically promised he'd give the renewal. But he wants
+just a little puff. What will I tell him, Mr Crawford?
+
+
+
+    K.M.A.
+
+
+--Will you tell him he can kiss my arse? Myles Crawford said throwing out
+his arm for emphasis. Tell him that straight from the stable.
+
+A bit nervy. Look out for squalls. All off for a drink. Arm in arm.
+Lenehan's yachting cap on the cadge beyond. Usual blarney. Wonder is
+that young Dedalus the moving spirit. Has a good pair of boots on him
+today. Last time I saw him he had his heels on view. Been walking in muck
+somewhere. Careless chap. What was he doing in Irishtown?
+
+--Well, Mr Bloom said, his eyes returning, if I can get the design I
+suppose it's worth a short par. He'd give the ad, I think. I'll tell
+him ...
+
+
+    K.M.R.I.A.
+
+
+--He can kiss my royal Irish arse, Myles Crawford cried loudly over his
+shoulder. Any time he likes, tell him.
+
+While Mr Bloom stood weighing the point and about to smile he strode
+on jerkily.
+
+
+    RAISING THE WIND
+
+
+--NULLA BONA, Jack, he said, raising his hand to his chin. I'm up to
+here. I've been through the hoop myself. I was looking for a fellow to
+back a bill for me no later than last week. Sorry, Jack. You must take the
+will for the deed. With a heart and a half if I could raise the wind
+anyhow.
+
+J. J. O'Molloy pulled a long face and walked on silently. They caught
+up on the others and walked abreast.
+
+--When they have eaten the brawn and the bread and wiped their twenty
+fingers in the paper the bread was wrapped in they go nearer to the
+railings.
+
+--Something for you, the professor explained to Myles Crawford. Two old
+Dublin women on the top of Nelson's pillar.
+
+
+    SOME COLUMN!--
+    THAT'S WHAT WADDLER ONE SAID
+
+
+--That's new, Myles Crawford said. That's copy. Out for the waxies
+Dargle. Two old trickies, what?
+
+--But they are afraid the pillar will fall, Stephen went on. They see the
+roofs and argue about where the different churches are: Rathmines' blue
+dome, Adam and Eve's, saint Laurence O'Toole's. But it makes them giddy to
+look so they pull up their skirts ...
+
+
+    THOSE SLIGHTLY RAMBUNCTIOUS FEMALES
+
+
+--Easy all, Myles Crawford said. No poetic licence. We're in the
+archdiocese here.
+
+--And settle down on their striped petticoats, peering up at the statue
+of the onehandled adulterer.
+
+--Onehandled adulterer! the professor cried. I like that. I see the idea.
+I see what you mean.
+
+
+    DAMES DONATE DUBLIN'S CITS SPEEDPILLS
+    VELOCITOUS AEROLITHS, BELIEF
+
+
+--It gives them a crick in their necks, Stephen said, and they are too
+tired to look up or down or to speak. They put the bag of plums between
+them and eat the plums out of it, one after another, wiping off with their
+handkerchiefs the plumjuice that dribbles out of their mouths and spitting
+the plumstones slowly out between the railings.
+
+He gave a sudden loud young laugh as a close. Lenehan and Mr O'Madden
+Burke, hearing, turned, beckoned and led on across towards Mooney's.
+
+--Finished? Myles Crawford said. So long as they do no worse.
+
+
+    SOPHIST WALLOPS HAUGHTY HELEN SQUARE ON
+    PROBOSCIS. SPARTANS GNASH MOLARS. ITHACANS
+    VOW PEN IS CHAMP.
+
+
+--You remind me of Antisthenes, the professor said, a disciple of
+Gorgias, the sophist. It is said of him that none could tell if he were
+bitterer against others or against himself. He was the son of a noble and
+a bondwoman. And he wrote a book in which he took away the palm of beauty
+from Argive Helen and handed it to poor Penelope.
+
+Poor Penelope. Penelope Rich.
+
+They made ready to cross O'Connell street.
+
+
+    HELLO THERE, CENTRAL!
+
+
+At various points along the eight lines tramcars with motionless
+trolleys stood in their tracks, bound for or from Rathmines, Rathfarnham,
+Blackrock, Kingstown and Dalkey, Sandymount Green, Ringsend and
+Sandymount Tower, Donnybrook, Palmerston Park and Upper Rathmines,
+all still, becalmed in short circuit. Hackney cars, cabs, delivery
+waggons, mailvans, private broughams, aerated mineral water floats with
+rattling crates of bottles, rattled, rolled, horsedrawn, rapidly.
+
+
+
+    WHAT?--AND LIKEWISE--WHERE?
+
+
+--But what do you call it? Myles Crawford asked. Where did they get the
+plums?
+
+
+    VIRGILIAN, SAYS PEDAGOGUE.
+    SOPHOMORE PLUMPS FOR OLD MAN MOSES.
+
+
+--Call it, wait, the professor said, opening his long lips wide to
+reflect. Call it, let me see. Call it: DEUS NOBIS HAEC OTIA FECIT.
+
+--No, Stephen said. I call it A PISGAH SIGHT OF PALESTINE OR THE PARABLE
+OF THE PLUMS.
+
+--I see, the professor said.
+
+He laughed richly.
+
+--I see, he said again with new pleasure. Moses and the promised land. We
+gave him that idea, he added to J. J. O'Molloy.
+
+
+    HORATIO IS CYNOSURE THIS FAIR JUNE DAY
+
+
+J. J. O'Molloy sent a weary sidelong glance towards the statue and
+held his peace.
+
+--I see, the professor said.
+
+He halted on sir John Gray's pavement island and peered aloft at Nelson
+through the meshes of his wry smile.
+
+
+    DIMINISHED DIGITS PROVE TOO TITILLATING
+    FOR FRISKY FRUMPS. ANNE WIMBLES, FLO
+    WANGLES--YET CAN YOU BLAME THEM?
+
+
+--Onehandled adulterer, he said smiling grimly. That tickles me, I must
+say.
+
+--Tickled the old ones too, Myles Crawford said, if the God Almighty's
+truth was known.
+
+
+    * * * * * * *
+
+
+Pineapple rock, lemon platt, butter scotch. A sugarsticky girl
+shovelling scoopfuls of creams for a christian brother. Some school treat.
+Bad for their tummies. Lozenge and comfit manufacturer to His Majesty
+the King. God. Save. Our. Sitting on his throne sucking red jujubes white.
+
+A sombre Y.M.C.A. young man, watchful among the warm sweet
+fumes of Graham Lemon's, placed a throwaway in a hand of Mr Bloom.
+
+Heart to heart talks.
+
+Bloo ... Me? No.
+
+Blood of the Lamb.
+
+His slow feet walked him riverward, reading. Are you saved? All are
+washed in the blood of the lamb. God wants blood victim. Birth, hymen,
+martyr, war, foundation of a building, sacrifice, kidney burntoffering,
+druids' altars. Elijah is coming. Dr John Alexander Dowie restorer of the
+church in Zion is coming.
+
+
+    IS COMING! IS COMING!! IS COMING!!!
+    ALL HEARTILY WELCOME.
+
+
+Paying game. Torry and Alexander last year. Polygamy. His wife will
+put the stopper on that. Where was that ad some Birmingham firm the
+luminous crucifix. Our Saviour. Wake up in the dead of night and see him
+on the wall, hanging. Pepper's ghost idea. Iron nails ran in.
+
+Phosphorus it must be done with. If you leave a bit of codfish for
+instance. I could see the bluey silver over it. Night I went down to the
+pantry in the kitchen. Don't like all the smells in it waiting to rush
+out. What was it she wanted? The Malaga raisins. Thinking of Spain. Before
+Rudy was born. The phosphorescence, that bluey greeny. Very good for the
+brain.
+
+From Butler's monument house corner he glanced along Bachelor's
+walk. Dedalus' daughter there still outside Dillon's auctionrooms. Must be
+selling off some old furniture. Knew her eyes at once from the father.
+Lobbing about waiting for him. Home always breaks up when the mother
+goes. Fifteen children he had. Birth every year almost. That's in their
+theology or the priest won't give the poor woman the confession, the
+absolution. Increase and multiply. Did you ever hear such an idea? Eat you
+out of house and home. No families themselves to feed. Living on the fat
+of the land. Their butteries and larders. I'd like to see them do the
+black fast Yom Kippur. Crossbuns. One meal and a collation for fear he'd
+collapse on the altar. A housekeeper of one of those fellows if you could
+pick it out of her. Never pick it out of her. Like getting l.s.d. out of
+him. Does himself well. No guests. All for number one. Watching his water.
+Bring your own bread and butter. His reverence: mum's the word.
+
+Good Lord, that poor child's dress is in flitters. Underfed she looks
+too. Potatoes and marge, marge and potatoes. It's after they feel it.
+Proof of the pudding. Undermines the constitution.
+
+As he set foot on O'Connell bridge a puffball of smoke plumed up
+from the parapet. Brewery barge with export stout. England. Sea air sours
+it, I heard. Be interesting some day get a pass through Hancock to see the
+brewery. Regular world in itself. Vats of porter wonderful. Rats get in
+too. Drink themselves bloated as big as a collie floating. Dead drunk on
+the porter. Drink till they puke again like christians. Imagine drinking
+that! Rats: vats. Well, of course, if we knew all the things.
+
+Looking down he saw flapping strongly, wheeling between the gaunt
+quaywalls, gulls. Rough weather outside. If I threw myself down?
+Reuben J's son must have swallowed a good bellyful of that sewage. One and
+eightpence too much. Hhhhm. It's the droll way he comes out with the
+things. Knows how to tell a story too.
+
+They wheeled lower. Looking for grub. Wait.
+
+He threw down among them a crumpled paper ball. Elijah thirtytwo
+feet per sec is com. Not a bit. The ball bobbed unheeded on the wake of
+swells, floated under by the bridgepiers. Not such damn fools. Also the
+day I threw that stale cake out of the Erin's King picked it up in the
+wake fifty yards astern. Live by their wits. They wheeled, flapping.
+
+    THE HUNGRY FAMISHED GULL
+    FLAPS O'ER THE WATERS DULL.
+
+
+That is how poets write, the similar sounds. But then Shakespeare has
+no rhymes: blank verse. The flow of the language it is. The thoughts.
+Solemn.
+
+
+    HAMLET, I AM THY FATHER'S SPIRIT
+    DOOMED FOR A CERTAIN TIME TO WALK THE EARTH.
+
+
+--Two apples a penny! Two for a penny!
+
+His gaze passed over the glazed apples serried on her stand.
+Australians they must be this time of year. Shiny peels: polishes them up
+with a rag or a handkerchief.
+
+Wait. Those poor birds.
+
+He halted again and bought from the old applewoman two Banbury
+cakes for a penny and broke the brittle paste and threw its fragments down
+into the Liffey. See that? The gulls swooped silently, two, then all from
+their heights, pouncing on prey. Gone. Every morsel.
+
+Aware of their greed and cunning he shook the powdery crumb from his
+hands. They never expected that. Manna. Live on fish, fishy flesh
+they have, all seabirds, gulls, seagoose. Swans from Anna Liffey swim
+down here sometimes to preen themselves. No accounting for tastes.
+Wonder what kind is swanmeat. Robinson Crusoe had to live on them.
+
+They wheeled flapping weakly. I'm not going to throw any more.
+Penny quite enough. Lot of thanks I get. Not even a caw. They spread foot
+and mouth disease too. If you cram a turkey say on chestnutmeal it tastes
+like that. Eat pig like pig. But then why is it that saltwater fish are
+not salty? How is that?
+
+His eyes sought answer from the river and saw a rowboat rock at anchor
+on the treacly swells lazily its plastered board.
+
+KINO'S
+11/-
+TROUSERS
+
+Good idea that. Wonder if he pays rent to the corporation. How can
+you own water really? It's always flowing in a stream, never the same,
+which in the stream of life we trace. Because life is a stream. All kinds
+of places are good for ads. That quack doctor for the clap used to be
+stuck up in all the greenhouses. Never see it now. Strictly confidential.
+Dr Hy Franks. Didn't cost him a red like Maginni the dancing master self
+advertisement. Got fellows to stick them up or stick them up himself for
+that matter on the q. t. running in to loosen a button. Flybynight. Just
+the place too. POST NO BILLS. POST 110 PILLS. Some chap with a dose
+burning him.
+
+If he ...?
+
+O!
+
+Eh?
+
+No ... No.
+
+No, no. I don't believe it. He wouldn't surely?
+
+No, no.
+
+Mr Bloom moved forward, raising his troubled eyes. Think no more about
+that. After one. Timeball on the ballastoffice is down. Dunsink time.
+Fascinating little book that is of sir Robert Ball's. Parallax. I never
+exactly understood. There's a priest. Could ask him. Par it's Greek:
+parallel, parallax. Met him pike hoses she called it till I told her about
+the transmigration. O rocks!
+
+Mr Bloom smiled O rocks at two windows of the ballastoffice. She's
+right after all. Only big words for ordinary things on account of the
+sound. She's not exactly witty. Can be rude too. Blurt out what I was
+thinking. Still, I don't know. She used to say Ben Dollard had a base
+barreltone voice. He has legs like barrels and you'd think he was singing
+into a barrel. Now, isn't that wit. They used to call him big Ben. Not
+half as witty as calling him base barreltone. Appetite like an albatross.
+Get outside of a baron of beef. Powerful man he was at stowing away number
+one Bass. Barrel of Bass. See? It all works out.
+
+
+ A procession of whitesmocked sandwichmen marched slowly towards
+him along the gutter, scarlet sashes across their boards. Bargains. Like
+that priest they are this morning: we have sinned: we have suffered. He
+read the scarlet letters on their five tall white hats: H. E. L. Y. S.
+Wisdom Hely's. Y lagging behind drew a chunk of bread from under his
+foreboard, crammed it into his mouth and munched as he walked. Our staple
+food. Three bob a day, walking along the gutters, street after street.
+Just keep skin and bone together, bread and skilly. They are not Boyl:
+no, M Glade's men. Doesn't bring in any business either. I suggested
+to him about a transparent showcart with two smart girls sitting
+inside writing letters, copybooks, envelopes, blottingpaper. I bet that
+would have caught on. Smart girls writing something catch the eye at once.
+Everyone dying to know what she's writing. Get twenty of them round you
+if you stare at nothing. Have a finger in the pie. Women too. Curiosity.
+Pillar of salt. Wouldn't have it of course because he didn't think
+of it himself first. Or the inkbottle I suggested with a false stain
+of black celluloid. His ideas for ads like Plumtree's potted under
+the obituaries, cold meat department. You can't lick 'em. What? Our
+envelopes. Hello, Jones, where are you going? Can't stop, Robinson,
+I am hastening to purchase the only reliable inkeraser KANSELL,
+sold by Hely's Ltd, 85 Dame street. Well out of that ruck I am.
+Devil of a job it was collecting accounts of those convents. Tranquilla
+convent. That was a nice nun there, really sweet face. Wimple suited her
+small head. Sister? Sister? I am sure she was crossed in love by her eyes.
+Very hard to bargain with that sort of a woman. I disturbed her at her
+devotions that morning. But glad to communicate with the outside world.
+Our great day, she said. Feast of Our Lady of Mount Carmel. Sweet name
+too: caramel. She knew I, I think she knew by the way she. If she had
+married she would have changed. I suppose they really were short of
+money. Fried everything in the best butter all the same. No lard for them.
+My heart's broke eating dripping. They like buttering themselves in and
+out. Molly tasting it, her veil up. Sister? Pat Claffey, the pawnbroker's
+daughter. It was a nun they say invented barbed wire.
+
+He crossed Westmoreland street when apostrophe S had plodded by.
+Rover cycleshop. Those races are on today. How long ago is that? Year
+Phil Gilligan died. We were in Lombard street west. Wait: was in Thom's.
+Got the job in Wisdom Hely's year we married. Six years. Ten years ago:
+ninetyfour he died yes that's right the big fire at Arnott's. Val Dillon
+was lord mayor. The Glencree dinner. Alderman Robert O'Reilly emptying the
+port into his soup before the flag fell. Bobbob lapping it for the inner
+alderman. Couldn't hear what the band played. For what we have already
+received may the Lord make us. Milly was a kiddy then. Molly had that
+elephantgrey dress with the braided frogs. Mantailored with selfcovered
+buttons. She didn't like it because I sprained my ankle first day she wore
+choir picnic at the Sugarloaf. As if that. Old Goodwin's tall hat done up
+with some sticky stuff. Flies' picnic too. Never put a dress on her back
+like it. Fitted her like a glove, shoulders and hips. Just beginning to
+plump it out well. Rabbitpie we had that day. People looking after her.
+
+Happy. Happier then. Snug little room that was with the red
+wallpaper. Dockrell's, one and ninepence a dozen. Milly's tubbing night.
+American soap I bought: elderflower. Cosy smell of her bathwater. Funny
+she looked soaped all over. Shapely too. Now photography. Poor papa's
+daguerreotype atelier he told me of. Hereditary taste.
+
+He walked along the curbstone.
+
+Stream of life. What was the name of that priestylooking chap was
+always squinting in when he passed? Weak eyes, woman. Stopped in
+Citron's saint Kevin's parade. Pen something. Pendennis? My memory is
+getting. Pen ...? Of course it's years ago. Noise of the trams probably.
+Well, if he couldn't remember the dayfather's name that he sees every day.
+
+Bartell d'Arcy was the tenor, just coming out then. Seeing her home
+after practice. Conceited fellow with his waxedup moustache. Gave her that
+song WINDS THAT BLOW FROM THE SOUTH.
+
+Windy night that was I went to fetch her there was that lodge meeting
+on about those lottery tickets after Goodwin's concert in the supperroom
+or oakroom of the Mansion house. He and I behind. Sheet of her music blew
+out of my hand against the High school railings. Lucky it didn't. Thing
+like that spoils the effect of a night for her. Professor Goodwin linking
+her in front. Shaky on his pins, poor old sot. His farewell concerts.
+Positively last appearance on any stage. May be for months and may be for
+never. Remember her laughing at the wind, her blizzard collar up. Corner
+of Harcourt road remember that gust. Brrfoo! Blew up all her skirts and
+her boa nearly smothered old Goodwin. She did get flushed in the wind.
+Remember when we got home raking up the fire and frying up those pieces
+of lap of mutton for her supper with the Chutney sauce she liked. And the
+mulled rum. Could see her in the bedroom from the hearth unclamping the
+busk of her stays: white.
+
+Swish and soft flop her stays made on the bed. Always warm from
+her. Always liked to let her self out. Sitting there after till near two
+taking out her hairpins. Milly tucked up in beddyhouse. Happy. Happy.
+That was the night ...
+
+--O, Mr Bloom, how do you do?
+
+--O, how do you do, Mrs Breen?
+
+--No use complaining. How is Molly those times? Haven't seen her for ages.
+
+--In the pink, Mr Bloom said gaily. Milly has a position down in
+Mullingar, you know.
+
+--Go away! Isn't that grand for her?
+
+--Yes. In a photographer's there. Getting on like a house on fire. How are
+all your charges?
+
+--All on the baker's list, Mrs Breen said.
+
+How many has she? No other in sight.
+
+--You're in black, I see. You have no ...
+
+--No, Mr Bloom said. I have just come from a funeral.
+
+Going to crop up all day, I foresee. Who's dead, when and what did
+he die of? Turn up like a bad penny.
+
+--O, dear me, Mrs Breen said. I hope it wasn't any near relation.
+
+May as well get her sympathy.
+
+--Dignam, Mr Bloom said. An old friend of mine. He died quite suddenly,
+poor fellow. Heart trouble, I believe. Funeral was this morning.
+
+
+    YOUR FUNERAL'S TOMORROW
+    WHILE YOU'RE COMING THROUGH THE RYE.
+    DIDDLEDIDDLE DUMDUM
+    DIDDLEDIDDLE ...
+
+
+--Sad to lose the old friends, Mrs Breen's womaneyes said melancholily.
+
+Now that's quite enough about that. Just: quietly: husband.
+
+--And your lord and master?
+
+Mrs Breen turned up her two large eyes. Hasn't lost them anyhow.
+
+--O, don't be talking! she said. He's a caution to rattlesnakes. He's in
+there now with his lawbooks finding out the law of libel. He has me
+heartscalded. Wait till I show you.
+
+Hot mockturtle vapour and steam of newbaked jampuffs rolypoly
+poured out from Harrison's. The heavy noonreek tickled the top of Mr
+Bloom's gullet. Want to make good pastry, butter, best flour, Demerara
+sugar, or they'd taste it with the hot tea. Or is it from her? A barefoot
+arab stood over the grating, breathing in the fumes. Deaden the gnaw of
+hunger that way. Pleasure or pain is it? Penny dinner. Knife and fork
+chained to the table.
+
+Opening her handbag, chipped leather. Hatpin: ought to have a
+guard on those things. Stick it in a chap's eye in the tram. Rummaging.
+Open. Money. Please take one. Devils if they lose sixpence. Raise Cain.
+Husband barging. Where's the ten shillings I gave you on Monday? Are
+you feeding your little brother's family? Soiled handkerchief:
+medicinebottle. Pastille that was fell. What is she? ...
+
+--There must be a new moon out, she said. He's always bad then. Do you
+know what he did last night?
+
+Her hand ceased to rummage. Her eyes fixed themselves on him, wide
+in alarm, yet smiling.
+
+--What? Mr Bloom asked.
+
+Let her speak. Look straight in her eyes. I believe you. Trust me.
+
+--Woke me up in the night, she said. Dream he had, a nightmare.
+
+Indiges.
+
+--Said the ace of spades was walking up the stairs.
+
+--The ace of spades! Mr Bloom said.
+
+She took a folded postcard from her handbag.
+
+--Read that, she said. He got it this morning.
+
+--What is it? Mr Bloom asked, taking the card. U.P.?
+
+--U.P.: up, she said. Someone taking a rise out of him. It's a great shame
+for them whoever he is.
+
+--Indeed it is, Mr Bloom said.
+
+She took back the card, sighing.
+
+--And now he's going round to Mr Menton's office. He's going to take an
+action for ten thousand pounds, he says.
+
+She folded the card into her untidy bag and snapped the catch.
+
+Same blue serge dress she had two years ago, the nap bleaching. Seen
+its best days. Wispish hair over her ears. And that dowdy toque: three old
+grapes to take the harm out of it. Shabby genteel. She used to be a tasty
+dresser. Lines round her mouth. Only a year or so older than Molly.
+
+See the eye that woman gave her, passing. Cruel. The unfair sex.
+
+He looked still at her, holding back behind his look his discontent.
+Pungent mockturtle oxtail mulligatawny. I'm hungry too. Flakes of pastry
+on the gusset of her dress: daub of sugary flour stuck to her cheek.
+Rhubarb tart with liberal fillings, rich fruit interior. Josie Powell that
+was. In Luke Doyle's long ago. Dolphin's Barn, the charades. U.P.: up.
+
+Change the subject.
+
+--Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.
+
+--Mina Purefoy? she said.
+
+Philip Beaufoy I was thinking. Playgoers' Club. Matcham often
+thinks of the masterstroke. Did I pull the chain? Yes. The last act.
+
+--Yes.
+
+--I just called to ask on the way in is she over it. She's in the lying-in
+hospital in Holles street. Dr Horne got her in. She's three days bad now.
+
+--O, Mr Bloom said. I'm sorry to hear that.
+
+--Yes, Mrs Breen said. And a houseful of kids at home. It's a very stiff
+birth, the nurse told me.
+
+---O, Mr Bloom said.
+
+His heavy pitying gaze absorbed her news. His tongue clacked in
+compassion. Dth! Dth!
+
+--I'm sorry to hear that, he said. Poor thing! Three days! That's terrible
+for her.
+
+Mrs Breen nodded.
+
+--She was taken bad on the Tuesday ...
+
+Mr Bloom touched her funnybone gently, warning her:
+
+--Mind! Let this man pass.
+
+A bony form strode along the curbstone from the river staring with a
+rapt gaze into the sunlight through a heavystringed glass. Tight as a
+skullpiece a tiny hat gripped his head. From his arm a folded dustcoat, a
+stick and an umbrella dangled to his stride.
+
+--Watch him, Mr Bloom said. He always walks outside the lampposts. Watch!
+
+--Who is he if it's a fair question? Mrs Breen asked. Is he dotty?
+
+--His name is Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell, Mr
+Bloom said smiling. Watch!
+
+--He has enough of them, she said. Denis will be like that one of these
+days.
+
+She broke off suddenly.
+
+--There he is, she said. I must go after him. Goodbye. Remember me to
+Molly, won't you?
+
+--I will, Mr Bloom said.
+
+He watched her dodge through passers towards the shopfronts. Denis
+Breen in skimpy frockcoat and blue canvas shoes shuffled out of Harrison's
+hugging two heavy tomes to his ribs. Blown in from the bay. Like old
+times. He suffered her to overtake him without surprise and thrust his
+dull grey beard towards her, his loose jaw wagging as he spoke earnestly.
+
+Meshuggah. Off his chump.
+
+Mr Bloom walked on again easily, seeing ahead of him in sunlight the
+tight skullpiece, the dangling stickumbrelladustcoat. Going the two days.
+Watch him!  Out he goes again. One way of getting on in the world. And
+that other old mosey lunatic in those duds. Hard time she must have with
+him.
+
+U.P.: up. I'll take my oath that's Alf Bergan or Richie Goulding.
+Wrote it for a lark in the Scotch house I bet anything. Round to Menton's
+office. His oyster eyes staring at the postcard. Be a feast for the gods.
+
+He passed the IRISH TIMES. There might be other answers Iying there.
+Like to answer them all. Good system for criminals. Code. At their lunch
+now. Clerk with the glasses there doesn't know me. O, leave them there to
+simmer. Enough bother wading through fortyfour of them. Wanted, smart
+lady typist to aid gentleman in literary work. I called you naughty
+darling because I do not like that other world. Please tell me what is the
+meaning. Please tell me what perfume does your wife. Tell me who made the
+world. The way they spring those questions on you. And the other one
+Lizzie Twigg. My literary efforts have had the good fortune to meet with
+the approval of the eminent poet A. E. (Mr Geo. Russell). No time to do
+her hair drinking sloppy tea with a book of poetry.
+
+Best paper by long chalks for a small ad. Got the provinces now.
+Cook and general, exc. cuisine, housemaid kept. Wanted live man for spirit
+counter. Resp. girl (R.C.) wishes to hear of post in fruit or pork shop.
+James Carlisle made that. Six and a half per cent dividend. Made a big
+deal on Coates's shares. Ca' canny. Cunning old Scotch hunks. All the
+toady news. Our gracious and popular vicereine. Bought the IRISH FIELD
+now. Lady Mountcashel has quite recovered after her confinement and rode
+out with the Ward Union staghounds at the enlargement yesterday at
+Rathoath. Uneatable fox. Pothunters too. Fear injects juices make it
+tender enough for them. Riding astride. Sit her horse like a man.
+Weightcarrying huntress. No sidesaddle or pillion for her, not for Joe.
+First to the meet and in at the death. Strong as a brood mare some of
+those horsey women. Swagger around livery stables. Toss off a glass of
+brandy neat while you'd say knife. That one at the Grosvenor this morning.
+Up with her on the car: wishswish. Stonewall or fivebarred gate
+put her mount to it. Think that pugnosed driver did it out of spite.
+Who is this she was like? O yes! Mrs Miriam Dandrade that sold me
+her old wraps and black underclothes in the Shelbourne hotel.
+Divorced Spanish American. Didn't take a feather out of her
+my handling them. As if I was her clotheshorse. Saw her in the
+viceregal party when Stubbs the park ranger got me in with Whelan of the
+EXPRESS. Scavenging what the quality left. High tea. Mayonnaise I poured
+on the plums thinking it was custard. Her ears ought to have tingled for a
+few weeks after. Want to be a bull for her. Born courtesan. No nursery
+work for her, thanks.
+
+Poor Mrs Purefoy! Methodist husband. Method in his madness.
+Saffron bun and milk and soda lunch in the educational dairy. Y. M. C. A.
+Eating with a stopwatch, thirtytwo chews to the minute. And still his
+muttonchop whiskers grew. Supposed to be well connected. Theodore's
+cousin in Dublin Castle. One tony relative in every family. Hardy annuals
+he presents her with. Saw him out at the Three Jolly Topers marching along
+bareheaded and his eldest boy carrying one in a marketnet. The squallers.
+Poor thing! Then having to give the breast year after year all hours of
+the night. Selfish those t.t's are. Dog in the manger. Only one lump of
+sugar in my tea, if you please.
+
+He stood at Fleet street crossing. Luncheon interval. A sixpenny at
+Rowe's? Must look up that ad in the national library. An eightpenny in the
+Burton. Better. On my way.
+
+He walked on past Bolton's Westmoreland house. Tea. Tea. Tea. I forgot
+to tap Tom Kernan.
+
+Sss. Dth, dth, dth! Three days imagine groaning on a bed with a
+vinegared handkerchief round her forehead, her belly swollen out. Phew!
+Dreadful simply! Child's head too big: forceps. Doubled up inside her
+trying to butt its way out blindly, groping for the way out. Kill me that
+would. Lucky Molly got over hers lightly. They ought to invent something
+to stop that. Life with hard labour. Twilight sleep idea: queen Victoria
+was given that. Nine she had. A good layer. Old woman that lived in a shoe
+she had so many children. Suppose he was consumptive. Time someone thought
+about it instead of gassing about the what was it the pensive bosom of the
+silver effulgence. Flapdoodle to feed fools on. They could easily have big
+establishments whole thing quite painless out of all the taxes give every
+child born five quid at compound interest up to twentyone five per cent is
+a hundred shillings and five tiresome pounds multiply by twenty decimal
+system encourage people to put by money save hundred and ten and a bit
+twentyone years want to work it out on paper come to a tidy sum more than
+you think.
+
+Not stillborn of course. They are not even registered. Trouble for
+nothing.
+
+Funny sight two of them together, their bellies out. Molly and Mrs
+Moisel. Mothers' meeting. Phthisis retires for the time being, then
+returns. How flat they look all of a sudden after. Peaceful eyes.
+Weight off their mind. Old Mrs Thornton was a jolly old soul. All
+my babies, she said. The spoon of pap in her mouth before she fed
+them. O, that's nyumnyum. Got her hand crushed by old Tom Wall's son.
+His first bow to the public. Head like a prize pumpkin. Snuffy Dr Murren.
+People knocking them up at all hours. For God' sake, doctor. Wife in
+her throes. Then keep them waiting months for their fee. To attendance
+on your wife. No gratitude in people. Humane doctors, most of them.
+
+Before the huge high door of the Irish house of parliament a flock of
+pigeons flew. Their little frolic after meals. Who will we do it on? I
+pick the fellow in black. Here goes. Here's good luck. Must be thrilling
+from the air. Apjohn, myself and Owen Goldberg up in the trees near Goose
+green playing the monkeys. Mackerel they called me.
+
+A squad of constables debouched from College street, marching in
+Indian file. Goosestep. Foodheated faces, sweating helmets, patting their
+truncheons. After their feed with a good load of fat soup under their
+belts. Policeman's lot is oft a happy one. They split up in groups and
+scattered, saluting, towards their beats. Let out to graze. Best moment to
+attack one in pudding time. A punch in his dinner. A squad of others,
+marching irregularly, rounded Trinity railings making for the station.
+Bound for their troughs. Prepare to receive cavalry. Prepare to receive
+soup.
+
+He crossed under Tommy Moore's roguish finger. They did right to
+put him up over a urinal: meeting of the waters. Ought to be places for
+women. Running into cakeshops. Settle my hat straight. THERE IS NOT IN
+THIS WIDE WORLD A VALLEE. Great song of Julia Morkan's. Kept her voice up
+to the very last. Pupil of Michael Balfe's, wasn't she?
+
+He gazed after the last broad tunic. Nasty customers to tackle. Jack
+Power could a tale unfold: father a G man. If a fellow gave them trouble
+being lagged they let him have it hot and heavy in the bridewell. Can't
+blame them after all with the job they have especially the young hornies.
+That horsepoliceman the day Joe Chamberlain was given his degree in
+Trinity he got a run for his money. My word he did! His horse's hoofs
+clattering after us down Abbey street. Lucky I had the presence of mind to
+dive into Manning's or I was souped. He did come a wallop, by George.
+Must have cracked his skull on the cobblestones. I oughtn't to have got
+myself swept along with those medicals. And the Trinity jibs in their
+mortarboards. Looking for trouble. Still I got to know that young Dixon
+who dressed that sting for me in the Mater and now he's in Holles street
+where Mrs Purefoy. Wheels within wheels. Police whistle in my ears still.
+All skedaddled. Why he fixed on me. Give me in charge. Right here it
+began.
+
+--Up the Boers!
+
+--Three cheers for De Wet!
+
+--We'll hang Joe Chamberlain on a sourapple tree.
+
+Silly billies: mob of young cubs yelling their guts out. Vinegar hill.
+The Butter exchange band. Few years' time half of them magistrates and
+civil servants. War comes on: into the army helterskelter: same fellows
+used to. Whether on the scaffold high.
+
+Never know who you're talking to. Corny Kelleher he has Harvey
+Duff in his eye. Like that Peter or Denis or James Carey that blew the
+gaff on the invincibles. Member of the corporation too. Egging raw youths
+on to get in the know all the time drawing secret service pay from the
+castle. Drop him like a hot potato. Why those plainclothes men are always
+courting slaveys. Easily twig a man used to uniform. Squarepushing up
+against a backdoor. Maul her a bit. Then the next thing on the menu. And
+who is the gentleman does be visiting there? Was the young master saying
+anything? Peeping Tom through the keyhole. Decoy duck. Hotblooded young
+student fooling round her fat arms ironing.
+
+--Are those yours, Mary?
+
+--I don't wear such things ... Stop or I'll tell the missus on you.
+Out half the night.
+
+--There are great times coming, Mary. Wait till you see.
+
+--Ah, gelong with your great times coming.
+
+Barmaids too. Tobaccoshopgirls.
+
+James Stephens' idea was the best. He knew them. Circles of ten so
+that a fellow couldn't round on more than his own ring. Sinn Fein. Back
+out you get the knife. Hidden hand. Stay in. The firing squad. Turnkey's
+daughter got him out of Richmond, off from Lusk. Putting up in the
+Buckingham Palace hotel under their very noses. Garibaldi.
+
+You must have a certain fascination: Parnell. Arthur Griffith is a
+squareheaded fellow but he has no go in him for the mob. Or gas about our
+lovely land. Gammon and spinach. Dublin Bakery Company's tearoom.
+Debating societies. That republicanism is the best form of government.
+That the language question should take precedence of the economic
+question. Have your daughters inveigling them to your house. Stuff them
+up with meat and drink. Michaelmas goose. Here's a good lump of thyme
+seasoning under the apron for you. Have another quart of goosegrease
+before it gets too cold. Halffed enthusiasts. Penny roll and a walk with
+the band. No grace for the carver. The thought that the other chap pays
+best sauce in the world. Make themselves thoroughly at home. Show us over
+those apricots, meaning peaches. The not far distant day. Homerule sun
+rising up in the northwest.
+
+His smile faded as he walked, a heavy cloud hiding the sun slowly,
+shadowing Trinity's surly front. Trams passed one another, ingoing,
+outgoing, clanging. Useless words. Things go on same, day after day:
+squads of police marching out, back: trams in, out. Those two loonies
+mooching about. Dignam carted off. Mina Purefoy swollen belly on a bed
+groaning to have a child tugged out of her. One born every second
+somewhere. Other dying every second. Since I fed the birds five minutes.
+Three hundred kicked the bucket. Other three hundred born, washing the
+blood off, all are washed in the blood of the lamb, bawling maaaaaa.
+
+Cityful passing away, other cityful coming, passing away too: other
+coming on, passing on. Houses, lines of houses, streets, miles of
+pavements, piledup bricks, stones. Changing hands. This owner, that.
+Landlord never dies they say. Other steps into his shoes when he gets
+his notice to quit. They buy the place up with gold and still they
+have all the gold. Swindle in it somewhere. Piled up in cities, worn
+away age after age. Pyramids in sand. Built on bread and onions.
+Slaves Chinese wall. Babylon. Big stones left. Round towers. Rest rubble,
+sprawling suburbs, jerrybuilt. Kerwan's mushroom houses built of breeze.
+Shelter, for the night.
+
+No-one is anything.
+
+This is the very worst hour of the day. Vitality. Dull, gloomy: hate
+this hour. Feel as if I had been eaten and spewed.
+
+Provost's house. The reverend Dr Salmon: tinned salmon. Well
+tinned in there. Like a mortuary chapel. Wouldn't live in it if they paid
+me. Hope they have liver and bacon today. Nature abhors a vacuum.
+
+The sun freed itself slowly and lit glints of light among the silverware
+opposite in Walter Sexton's window by which John Howard Parnell passed,
+unseeing.
+
+There he is: the brother. Image of him. Haunting face. Now that's a
+coincidence. Course hundreds of times you think of a person and don't
+meet him. Like a man walking in his sleep. No-one knows him. Must be a
+corporation meeting today. They say he never put on the city marshal's
+uniform since he got the job. Charley Kavanagh used to come out on his
+high horse, cocked hat, puffed, powdered and shaved. Look at the
+woebegone walk of him. Eaten a bad egg. Poached eyes on ghost. I have a
+pain. Great man's brother: his brother's brother. He'd look nice on the
+city charger. Drop into the D.B.C. probably for his coffee, play chess
+there. His brother used men as pawns. Let them all go to pot. Afraid to
+pass a remark on him. Freeze them up with that eye of his. That's the
+fascination: the name. All a bit touched. Mad Fanny and his other sister
+Mrs Dickinson driving about with scarlet harness. Bolt upright lik
+ surgeon M'Ardle. Still David Sheehy beat him for south Meath.
+Apply for the Chiltern Hundreds and retire into public life. The patriot's
+banquet. Eating orangepeels in the park. Simon Dedalus said when they put
+him in parliament that Parnell would come back from the grave and lead
+him out of the house of commons by the arm.
+
+--Of the twoheaded octopus, one of whose heads is the head upon which
+the ends of the world have forgotten to come while the other speaks with a
+Scotch accent. The tentacles ...
+
+They passed from behind Mr Bloom along the curbstone. Beard and
+bicycle. Young woman.
+
+And there he is too. Now that's really a coincidence: second time.
+Coming events cast their shadows before. With the approval of the eminent
+poet, Mr Geo. Russell. That might be Lizzie Twigg with him. A. E.: what
+does that mean? Initials perhaps. Albert Edward, Arthur Edmund,
+Alphonsus Eb Ed El Esquire. What was he saying? The ends of the world
+with a Scotch accent. Tentacles: octopus. Something occult: symbolism.
+Holding forth. She's taking it all in. Not saying a word. To aid gentleman
+in literary work.
+
+His eyes followed the high figure in homespun, beard and bicycle, a
+listening woman at his side. Coming from the vegetarian. Only
+weggebobbles and fruit. Don't eat a beefsteak. If you do the eyes of that
+cow will pursue you through all eternity. They say it's healthier.
+Windandwatery though. Tried it. Keep you on the run all day. Bad as a
+bloater. Dreams all night. Why do they call that thing they gave me
+nutsteak? Nutarians. Fruitarians. To give you the idea you are eating
+rumpsteak. Absurd. Salty too. They cook in soda. Keep you sitting by the
+tap all night.
+
+Her stockings are loose over her ankles. I detest that: so tasteless.
+Those literary etherial people they are all. Dreamy, cloudy, symbolistic.
+Esthetes they are. I wouldn't be surprised if it was that kind of food you
+see produces the like waves of the brain the poetical. For example one of
+those policemen sweating Irish stew into their shirts you couldn't squeeze
+a line of poetry out of him. Don't know what poetry is even. Must be in a
+certain mood.
+
+
+    THE DREAMY CLOUDY GULL
+    WAVES O'ER THE WATERS DULL.
+
+
+He crossed at Nassau street corner and stood before the window of
+Yeates and Son, pricing the fieldglasses. Or will I drop into old Harris's
+and have a chat with young Sinclair? Wellmannered fellow. Probably at his
+lunch. Must get those old glasses of mine set right. Goerz lenses six
+guineas. Germans making their way everywhere. Sell on easy terms to
+capture trade. Undercutting. Might chance on a pair in the railway lost
+property office. Astonishing the things people leave behind them in trains
+and cloakrooms. What do they be thinking about? Women too. Incredible.
+Last year travelling to Ennis had to pick up that farmer's daughter's ba
+ and hand it to her at Limerick junction. Unclaimed money too. There's a
+little watch up there on the roof of the bank to test those glasses by.
+
+His lids came down on the lower rims of his irides. Can't see it. If you
+imagine it's there you can almost see it. Can't see it.
+
+He faced about and, standing between the awnings, held out his right
+hand at arm's length towards the sun. Wanted to try that often. Yes:
+completely. The tip of his little finger blotted out the sun's disk. Must
+be the focus where the rays cross. If I had black glasses. Interesting.
+There was a lot of talk about those sunspots when we were in Lombard
+street west. Looking up from the back garden. Terrific explosions they
+are. There will be a total eclipse this year: autumn some time.
+
+Now that I come to think of it that ball falls at Greenwich time. It's
+the clock is worked by an electric wire from Dunsink. Must go out there
+some first Saturday of the month. If I could get an introduction to
+professor Joly or learn up something about his family. That would do to:
+man always feels complimented. Flattery where least expected. Nobleman
+proud to be descended from some king's mistress. His foremother. Lay it on
+with a trowel. Cap in hand goes through the land. Not go in and blurt out
+what you know you're not to: what's parallax? Show this gentleman the
+door.
+
+Ah.
+
+His hand fell to his side again.
+
+Never know anything about it. Waste of time. Gasballs spinning
+about, crossing each other, passing. Same old dingdong always. Gas: then
+solid: then world: then cold: then dead shell drifting around, frozen
+rock, like that pineapple rock. The moon. Must be a new moon out, she
+said. I believe there is.
+
+He went on by la maison Claire.
+
+Wait. The full moon was the night we were Sunday fortnight exactly
+there is a new moon. Walking down by the Tolka. Not bad for a Fairview
+moon. She was humming. The young May moon she's beaming, love. He
+other side of her. Elbow, arm. He. Glowworm's la-amp is gleaming, love.
+Touch. Fingers. Asking. Answer. Yes.
+
+Stop. Stop. If it was it was. Must.
+
+Mr Bloom, quickbreathing, slowlier walking passed Adam court.
+
+With a keep quiet relief his eyes took note this is the street here
+middle of the day of Bob Doran's bottle shoulders. On his annual bend,
+M Coy said. They drink in order to say or do something or CHERCHEZ LA
+FEMME. Up in the Coombe with chummies and streetwalkers and then the
+rest of the year sober as a judge.
+
+Yes. Thought so. Sloping into the Empire. Gone. Plain soda would do
+him good. Where Pat Kinsella had his Harp theatre before Whitbred ran
+the Queen's. Broth of a boy. Dion Boucicault business with his
+harvestmoon face in a poky bonnet. Three Purty Maids from School. How
+time flies, eh? Showing long red pantaloons under his skirts. Drinkers,
+drinking, laughed spluttering, their drink against their breath. More
+power, Pat. Coarse red: fun for drunkards: guffaw and smoke. Take off that
+white hat. His parboiled eyes. Where is he now? Beggar somewhere. The harp
+that once did starve us all.
+
+I was happier then. Or was that I? Or am I now I? Twentyeight I was.
+She twentythree. When we left Lombard street west something changed.
+Could never like it again after Rudy. Can't bring back time. Like holding
+water in your hand. Would you go back to then? Just beginning then.
+Would you? Are you not happy in your home you poor little naughty boy?
+Wants to sew on buttons for me. I must answer. Write it in the library.
+
+Grafton street gay with housed awnings lured his senses. Muslin
+prints, silkdames and dowagers, jingle of harnesses, hoofthuds lowringing
+in the baking causeway. Thick feet that woman has in the white stockings.
+Hope the rain mucks them up on her. Countrybred chawbacon. All the beef
+to the heels were in. Always gives a woman clumsy feet. Molly looks out of
+plumb.
+
+He passed, dallying, the windows of Brown Thomas, silk mercers.
+Cascades of ribbons. Flimsy China silks. A tilted urn poured from its
+mouth a flood of bloodhued poplin: lustrous blood. The huguenots brought
+that here. LA CAUSA E SANTA! Tara Tara. Great chorus that. Taree tara.
+Must be washed in rainwater. Meyerbeer. Tara: bom bom bom.
+
+Pincushions. I'm a long time threatening to buy one. Sticking them all
+over the place. Needles in window curtains.
+
+He bared slightly his left forearm. Scrape: nearly gone. Not today
+anyhow. Must go back for that lotion. For her birthday perhaps.
+Junejulyaugseptember eighth. Nearly three months off. Then she mightn't
+like it. Women won't pick up pins. Say it cuts lo.
+
+Gleaming silks, petticoats on slim brass rails, rays of flat silk
+stockings.
+
+Useless to go back. Had to be. Tell me all.
+
+High voices. Sunwarm silk. Jingling harnesses. All for a woman,
+home and houses, silkwebs, silver, rich fruits spicy from Jaffa. Agendath
+Netaim. Wealth of the world.
+
+A warm human plumpness settled down on his brain. His brain
+yielded. Perfume of embraces all him assailed. With hungered flesh
+obscurely, he mutely craved to adore.
+
+Duke street. Here we are. Must eat. The Burton. Feel better then.
+
+He turned Combridge's corner, still pursued. Jingling, hoofthuds.
+Perfumed bodies, warm, full. All kissed, yielded: in deep summer fields,
+tangled pressed grass, in trickling hallways of tenements, along sofas,
+creaking beds.
+
+--Jack, love!
+
+--Darling!
+
+--Kiss me, Reggy!
+
+--My boy!
+
+--Love!
+
+His heart astir he pushed in the door of the Burton restaurant. Stink
+gripped his trembling breath: pungent meatjuice, slush of greens. See the
+animals feed.
+
+Men, men, men.
+
+Perched on high stools by the bar, hats shoved back, at the tables
+calling for more bread no charge, swilling, wolfing gobfuls of sloppy
+food, their eyes bulging, wiping wetted moustaches. A pallid suetfaced
+young man polished his tumbler knife fork and spoon with his napkin. New
+set of microbes. A man with an infant's saucestained napkin tucked round
+him shovelled gurgling soup down his gullet. A man spitting back on his
+plate: halfmasticated gristle: gums: no teeth to chewchewchew it. Chump
+chop from the grill. Bolting to get it over. Sad booser's eyes. Bitten off
+more than he can chew. Am I like that? See ourselves as others see us.
+Hungry man is an angry man. Working tooth and jaw. Don't! O! A bone! That
+last pagan king of Ireland Cormac in the schoolpoem choked himself at
+Sletty southward of the Boyne. Wonder what he was eating. Something
+galoptious. Saint Patrick converted him to Christianity. Couldn't swallow
+it all however.
+
+--Roast beef and cabbage.
+
+--One stew.
+
+Smells of men. Spaton sawdust, sweetish warmish cigarette smoke, reek of
+plug, spilt beer, men's beery piss, the stale of ferment.
+
+His gorge rose.
+
+Couldn't eat a morsel here. Fellow sharpening knife and fork to eat
+all before him, old chap picking his tootles. Slight spasm, full, chewing
+the cud. Before and after. Grace after meals. Look on this picture then on
+that. Scoffing up stewgravy with sopping sippets of bread. Lick it off the
+plate, man! Get out of this.
+
+He gazed round the stooled and tabled eaters, tightening the wings of
+his nose.
+
+--Two stouts here.
+
+--One corned and cabbage.
+
+That fellow ramming a knifeful of cabbage down as if his life
+depended on it. Good stroke. Give me the fidgets to look. Safer to eat
+from his three hands. Tear it limb from limb. Second nature to him. Born
+with a silver knife in his mouth. That's witty, I think. Or no. Silver
+means born rich. Born with a knife. But then the allusion is lost.
+
+An illgirt server gathered sticky clattering plates. Rock, the head
+bailiff, standing at the bar blew the foamy crown from his tankard. Well
+up: it splashed yellow near his boot. A diner, knife and fork upright,
+elbows on table, ready for a second helping stared towards the foodlift
+across his stained square of newspaper. Other chap telling him something
+with his mouth full. Sympathetic listener. Table talk. I munched hum un
+thu Unchster Bunk un Munchday. Ha? Did you, faith?
+
+Mr Bloom raised two fingers doubtfully to his lips. His eyes said:
+
+--Not here. Don't see him.
+
+Out. I hate dirty eaters.
+
+He backed towards the door. Get a light snack in Davy Byrne's. Stopgap.
+Keep me going. Had a good breakfast.
+
+--Roast and mashed here.
+
+--Pint of stout.
+
+Every fellow for his own, tooth and nail. Gulp. Grub. Gulp. Gobstuff.
+
+He came out into clearer air and turned back towards Grafton street.
+Eat or be eaten. Kill! Kill!
+
+Suppose that communal kitchen years to come perhaps. All trotting
+down with porringers and tommycans to be filled. Devour contents in the
+street. John Howard Parnell example the provost of Trinity every mother's
+son don't talk of your provosts and provost of Trinity women and children
+cabmen priests parsons fieldmarshals archbishops. From Ailesbury road,
+Clyde road, artisans' dwellings, north Dublin union, lord mayor in his
+gingerbread coach, old queen in a bathchair. My plate's empty. After you
+with our incorporated drinkingcup. Like sir Philip Crampton's fountain.
+Rub off the microbes with your handkerchief. Next chap rubs on a new
+batch with his. Father O'Flynn would make hares of them all. Have rows
+all the same. All for number one. Children fighting for the scrapings of
+the pot. Want a souppot as big as the Phoenix park. Harpooning flitches
+and hindquarters out of it. Hate people all round you. City Arms hotel
+TABLE D'HOTE she called it. Soup, joint and sweet. Never know whose
+thoughts you're chewing. Then who'd wash up all the plates and forks?
+Might be all feeding on tabloids that time. Teeth getting worse and worse.
+
+After all there's a lot in that vegetarian fine flavour of things from the
+earth garlic of course it stinks after Italian organgrinders crisp of
+onions mushrooms truffles. Pain to the animal too. Pluck and draw fowl.
+Wretched brutes there at the cattlemarket waiting for the poleaxe to split
+their skulls open. Moo. Poor trembling calves. Meh. Staggering bob. Bubble
+and squeak. Butchers' buckets wobbly lights. Give us that brisket off the
+hook. Plup. Rawhead and bloody bones. Flayed glasseyed sheep hung from
+their haunches, sheepsnouts bloodypapered snivelling nosejam on sawdust.
+Top and lashers going out. Don't maul them pieces, young one.
+
+Hot fresh blood they prescribe for decline. Blood always needed.
+Insidious. Lick it up smokinghot, thick sugary. Famished ghosts.
+
+Ah, I'm hungry.
+
+He entered Davy Byrne's. Moral pub. He doesn't chat. Stands a
+drink now and then. But in leapyear once in four. Cashed a cheque for me
+once.
+
+What will I take now? He drew his watch. Let me see now. Shandygaff?
+
+--Hello, Bloom, Nosey Flynn said from his nook.
+
+--Hello, Flynn.
+
+--How's things?
+
+--Tiptop ... Let me see. I'll take a glass of burgundy and ... let
+me see.
+
+Sardines on the shelves. Almost taste them by looking. Sandwich?
+Ham and his descendants musterred and bred there. Potted meats. What is
+home without Plumtree's potted meat? Incomplete. What a stupid ad!
+Under the obituary notices they stuck it. All up a plumtree. Dignam's
+potted meat. Cannibals would with lemon and rice. White missionary too
+salty. Like pickled pork. Expect the chief consumes the parts of honour.
+Ought to be tough from exercise. His wives in a row to watch the effect.
+THERE WAS A RIGHT ROYAL OLD NIGGER. WHO ATE OR SOMETHING THE SOMETHINGS OF
+THE REVEREND MR MACTRIGGER. With it an abode of bliss. Lord knows what
+concoction. Cauls mouldy tripes windpipes faked and minced up. Puzzle
+find the meat. Kosher. No meat and milk together. Hygiene that was what
+they call now. Yom Kippur fast spring cleaning of inside. Peace and war
+depend on some fellow's digestion. Religions. Christmas turkeys and geese.
+Slaughter of innocents. Eat drink and be merry. Then casual wards full
+after. Heads bandaged. Cheese digests all but itself. Mity cheese.
+
+--Have you a cheese sandwich?
+
+--Yes, sir.
+
+Like a few olives too if they had them. Italian I prefer. Good glass of
+burgundy take away that. Lubricate. A nice salad, cool as a cucumber, Tom
+Kernan can dress. Puts gusto into it. Pure olive oil. Milly served me that
+cutlet with a sprig of parsley. Take one Spanish onion. God made food, the
+devil the cooks. Devilled crab.
+
+--Wife well?
+
+--Quite well, thanks ... A cheese sandwich, then. Gorgonzola, have you?
+
+--Yes, sir.
+
+Nosey Flynn sipped his grog.
+
+--Doing any singing those times?
+
+Look at his mouth. Could whistle in his own ear. Flap ears to match.
+Music. Knows as much about it as my coachman. Still better tell him. Does
+no harm. Free ad.
+
+--She's engaged for a big tour end of this month. You may have heard
+perhaps.
+
+--No. O, that's the style. Who's getting it up?
+
+The curate served.
+
+--How much is that?
+
+--Seven d., sir ... Thank you, sir.
+
+Mr Bloom cut his sandwich into slender strips. MR MACTRIGGER. Easier
+than the dreamy creamy stuff. HIS FIVE HUNDRED WIVES. HAD THE TIME OF
+THEIR LIVES.
+
+--Mustard, sir?
+
+--Thank you.
+
+He studded under each lifted strip yellow blobs. THEIR LIVES. I have it.
+IT GREW BIGGER AND BIGGER AND BIGGER.
+
+--Getting it up? he said. Well, it's like a company idea, you see. Part
+shares and part profits.
+
+--Ay, now I remember, Nosey Flynn said, putting his hand in his pocket to
+scratch his groin. Who is this was telling me? Isn't Blazes Boylan mixed
+up in it?
+
+A warm shock of air heat of mustard hanched on Mr Bloom's heart.
+He raised his eyes and met the stare of a bilious clock. Two. Pub clock
+five minutes fast. Time going on. Hands moving. Two. Not yet.
+
+His midriff yearned then upward, sank within him, yearned more longly,
+longingly.
+
+Wine.
+
+He smellsipped the cordial juice and, bidding his throat strongly to
+speed it, set his wineglass delicately down.
+
+--Yes, he said. He's the organiser in point of fact.
+
+No fear: no brains.
+
+Nosey Flynn snuffled and scratched. Flea having a good square meal.
+
+--He had a good slice of luck, Jack Mooney was telling me, over that
+boxingmatch Myler Keogh won again that soldier in the Portobello
+barracks. By God, he had the little kipper down in the county Carlow he
+was telling me ...
+
+Hope that dewdrop doesn't come down into his glass. No, snuffled it
+up.
+
+--For near a month, man, before it came off. Sucking duck eggs by God till
+further orders. Keep him off the boose, see? O, by God, Blazes is a hairy
+chap.
+
+Davy Byrne came forward from the hindbar in tuckstitched
+shirtsleeves, cleaning his lips with two wipes of his napkin. Herring's
+blush. Whose smile upon each feature plays with such and such replete.
+Too much fat on the parsnips.
+
+--And here's himself and pepper on him, Nosey Flynn said. Can you give
+us a good one for the Gold cup?
+
+--I'm off that, Mr Flynn, Davy Byrne answered. I never put anything on a
+horse.
+
+--You're right there, Nosey Flynn said.
+
+Mr Bloom ate his strips of sandwich, fresh clean bread, with relish of
+disgust pungent mustard, the feety savour of green cheese. Sips of his
+wine soothed his palate. Not logwood that. Tastes fuller this weather with
+the chill off.
+
+Nice quiet bar. Nice piece of wood in that counter. Nicely planed.
+Like the way it curves there.
+
+--I wouldn't do anything at all in that line, Davy Byrne said. It ruined
+many a man, the same horses.
+
+Vintners' sweepstake. Licensed for the sale of beer, wine and spirits
+for consumption on the premises. Heads I win tails you lose.
+
+--True for you, Nosey Flynn said. Unless you're in the know. There's no
+straight sport going now. Lenehan gets some good ones. He's giving
+Sceptre today. Zinfandel's the favourite, lord Howard de Walden's, won at
+Epsom. Morny Cannon is riding him. I could have got seven to one against
+Saint Amant a fortnight before.
+
+--That so? Davy Byrne said ...
+
+He went towards the window and, taking up the pettycash book, scanned
+its pages.
+
+--I could, faith, Nosey Flynn said, snuffling. That was a rare bit of
+horseflesh. Saint Frusquin was her sire. She won in a thunderstorm,
+Rothschild's filly, with wadding in her ears. Blue jacket and yellow cap.
+Bad luck to big Ben Dollard and his John O'Gaunt. He put me off it. Ay.
+
+He drank resignedly from his tumbler, running his fingers down the flutes.
+
+--Ay, he said, sighing.
+
+Mr Bloom, champing, standing, looked upon his sigh. Nosey
+numbskull. Will I tell him that horse Lenehan? He knows already. Better
+let him forget. Go and lose more. Fool and his money. Dewdrop coming down
+again. Cold nose he'd have kissing a woman. Still they might like. Prickly
+beards they like. Dogs' cold noses. Old Mrs Riordan with the rumbling
+stomach's Skye terrier in the City Arms hotel. Molly fondling him in her
+lap. O, the big doggybowwowsywowsy!
+
+Wine soaked and softened rolled pith of bread mustard a moment
+mawkish cheese. Nice wine it is. Taste it better because I'm not thirsty.
+Bath of course does that. Just a bite or two. Then about six o'clock I can.
+Six. Six. Time will be gone then. She ...
+
+Mild fire of wine kindled his veins. I wanted that badly. Felt so off
+colour. His eyes unhungrily saw shelves of tins: sardines, gaudy
+lobsters' claws. All the odd things people pick up for food. Out of
+shells, periwinkles with a pin, off trees, snails out of the ground the
+French eat, out of the sea with bait on a hook. Silly fish learn nothing
+in a thousand years. If you didn't know risky putting anything into your
+mouth. Poisonous berries. Johnny Magories. Roundness you think good.
+Gaudy colour warns you off. One fellow told another and so on. Try it on
+the dog first. Led on by the smell or the look. Tempting fruit. Ice
+cones. Cream. Instinct. Orangegroves for instance. Need artificial
+irrigation. Bleibtreustrasse. Yes but what about oysters. Unsightly like
+a clot of phlegm. Filthy shells. Devil to open them too. Who found them
+out? Garbage, sewage they feed on. Fizz and Red bank oysters. Effect on
+the sexual. Aphrodis. He was in the Red Bank this morning. Was he oysters
+old fish at table perhaps he young flesh in bed no June has no ar no
+oysters. But there are people like things high. Tainted game. Jugged
+hare. First catch your hare. Chinese eating eggs fifty years old, blue
+and green again. Dinner of thirty courses. Each dish harmless might mix
+inside. Idea for a poison mystery. That archduke Leopold was it no yes or
+was it Otto one of those Habsburgs? Or who was it used to eat the scruff
+off his own head? Cheapest lunch in town. Of course aristocrats, then the
+others copy to be in the fashion. Milly too rock oil and flour. Raw
+pastry I like myself. Half the catch of oysters they throw back in the
+sea to keep up the price. Cheap no-one would buy. Caviare. Do the grand.
+Hock in green glasses. Swell blowout. Lady this. Powdered bosom pearls.
+The ELITE. CREME DE LA CREME. They want special dishes to pretend
+they're. Hermit with a platter of pulse keep down the stings of the
+flesh. Know me come eat with me. Royal sturgeon high sheriff, Coffey, the
+butcher, right to venisons of the forest from his ex. Send him back the
+half of a cow. Spread I saw down in the Master of the Rolls' kitchen
+area. Whitehatted CHEF like a rabbi. Combustible duck. Curly cabbage A LA
+DUCHESSE DE PARME. Just as well to write it on the bill of fare so you
+can know what you've eaten. Too many drugs spoil the broth. I know it
+myself. Dosing it with Edwards' desiccated soup. Geese stuffed silly for
+them. Lobsters boiled alive. Do ptake some ptarmigan. Wouldn't mind being
+a waiter in a swell hotel. Tips, evening dress, halfnaked ladies. May I
+tempt you to a little more filleted lemon sole, miss Dubedat? Yes, do
+bedad. And she did bedad. Huguenot name I expect that. A miss Dubedat
+lived in Killiney, I remember. DU, DE LA French. Still it's the same fish
+perhaps old Micky Hanlon of Moore street ripped the guts out of making
+money hand over fist finger in fishes' gills can't write his name on a
+cheque think he was painting the landscape with his mouth twisted.
+Moooikill A Aitcha Ha ignorant as a kish of brogues, worth fifty thousand
+pounds.
+
+Stuck on the pane two flies buzzed, stuck.
+
+Glowing wine on his palate lingered swallowed. Crushing in the winepress
+grapes of Burgundy. Sun's heat it is. Seems to a secret touch telling me
+memory. Touched his sense moistened remembered. Hidden under wild ferns
+on Howth below us bay sleeping: sky. No sound. The sky. The bay purple by
+the Lion's head. Green by Drumleck. Yellowgreen towards Sutton. Fields of
+undersea, the lines faint brown in grass, buried cities. Pillowed on my
+coat she had her hair, earwigs in the heather scrub my hand under her
+nape, you'll toss me all. O wonder! Coolsoft with ointments her hand
+touched me, caressed: her eyes upon me did not turn away. Ravished over
+her I lay, full lips full open, kissed her mouth. Yum. Softly she gave me
+in my mouth the seedcake warm and chewed. Mawkish pulp her mouth had
+mumbled sweetsour of her spittle. Joy: I ate it: joy. Young life, her
+lips that gave me pouting. Soft warm sticky gumjelly lips. Flowers her
+eyes were, take me, willing eyes. Pebbles fell. She lay still. A goat.
+No-one. High on Ben Howth rhododendrons a nannygoat walking surefooted,
+dropping currants. Screened under ferns she laughed warmfolded. Wildly I
+lay on her, kissed her: eyes, her lips, her stretched neck beating,
+woman's breasts full in her blouse of nun's veiling, fat nipples upright.
+Hot I tongued her. She kissed me. I was kissed. All yielding she tossed
+my hair. Kissed, she kissed me.
+
+Me. And me now.
+
+Stuck, the flies buzzed.
+
+His downcast eyes followed the silent veining of the oaken slab. Beauty:
+it curves: curves are beauty. Shapely goddesses, Venus, Juno: curves the
+world admires. Can see them library museum standing in the round hall,
+naked goddesses. Aids to digestion. They don't care what man looks. All
+to see. Never speaking. I mean to say to fellows like Flynn. Suppose she
+did Pygmalion and Galatea what would she say first? Mortal! Put you in
+your proper place. Quaffing nectar at mess with gods golden dishes, all
+ambrosial. Not like a tanner lunch we have, boiled mutton, carrots and
+turnips, bottle of Allsop. Nectar imagine it drinking electricity: gods'
+food. Lovely forms of women sculped Junonian. Immortal lovely. And we
+stuffing food in one hole and out behind: food, chyle, blood, dung,
+earth, food: have to feed it like stoking an engine. They have no. Never
+looked. I'll look today. Keeper won't see. Bend down let something drop
+see if she.
+
+Dribbling a quiet message from his bladder came to go to do not to do
+there to do. A man and ready he drained his glass to the lees and walked,
+to men too they gave themselves, manly conscious, lay with men lovers, a
+youth enjoyed her, to the yard.
+
+When the sound of his boots had ceased Davy Byrne said from his book:
+
+--What is this he is? Isn't he in the insurance line?
+
+--He's out of that long ago, Nosey Flynn said. He does canvassing for the
+FREEMAN.
+
+--I know him well to see, Davy Byrne said. Is he in trouble?
+
+--Trouble? Nosey Flynn said. Not that I heard of. Why?
+
+--I noticed he was in mourning.
+
+--Was he? Nosey Flynn said. So he was, faith. I asked him how was all at
+home. You're right, by God. So he was.
+
+--I never broach the subject, Davy Byrne said humanely, if I see a
+gentleman is in trouble that way. It only brings it up fresh in their
+minds.
+
+--It's not the wife anyhow, Nosey Flynn said. I met him the day before
+yesterday and he coming out of that Irish farm dairy John Wyse Nolan's
+wife has in Henry street with a jar of cream in his hand taking it home
+to his better half. She's well nourished, I tell you. Plovers on toast.
+
+--And is he doing for the FREEMAN? Davy Byrne said.
+
+Nosey Flynn pursed his lips.
+
+---He doesn't buy cream on the ads he picks up. You can make bacon of
+that.
+
+--How so? Davy Byrne asked, coming from his book.
+
+Nosey Flynn made swift passes in the air with juggling fingers. He
+winked.
+
+--He's in the craft, he said.
+
+---Do you tell me so? Davy Byrne said.
+
+--Very much so, Nosey Flynn said. Ancient free and accepted order. He's
+an excellent brother. Light, life and love, by God. They give him a leg
+up. I was told that by a--well, I won't say who.
+
+--Is that a fact?
+
+--O, it's a fine order, Nosey Flynn said. They stick to you when you're
+down. I know a fellow was trying to get into it. But they're as close as
+damn it. By God they did right to keep the women out of it.
+
+Davy Byrne smiledyawnednodded all in one:
+
+--Iiiiiichaaaaaaach!
+
+--There was one woman, Nosey Flynn said, hid herself in a clock to find
+out what they do be doing. But be damned but they smelt her out and swore
+her in on the spot a master mason. That was one of the saint Legers of
+Doneraile.
+
+Davy Byrne, sated after his yawn, said with tearwashed eyes:
+
+--And is that a fact? Decent quiet man he is. I often saw him in here and
+I never once saw him--you know, over the line.
+
+--God Almighty couldn't make him drunk, Nosey Flynn said firmly. Slips
+off when the fun gets too hot. Didn't you see him look at his watch? Ah,
+you weren't there. If you ask him to have a drink first thing he does he
+outs with the watch to see what he ought to imbibe. Declare to God he
+does.
+
+--There are some like that, Davy Byrne said. He's a safe man, I'd say.
+
+--He's not too bad, Nosey Flynn said, snuffling it up. He's been known to
+put his hand down too to help a fellow. Give the devil his due. O, Bloom
+has his good points. But there's one thing he'll never do.
+
+His hand scrawled a dry pen signature beside his grog.
+
+--I know, Davy Byrne said.
+
+--Nothing in black and white, Nosey Flynn said.
+
+Paddy Leonard and Bantam Lyons came in. Tom Rochford followed frowning, a
+plaining hand on his claret waistcoat.
+
+--Day, Mr Byrne.
+
+--Day, gentlemen.
+
+They paused at the counter.
+
+--Who's standing? Paddy Leonard asked.
+
+--I'm sitting anyhow, Nosey Flynn answered.
+
+--Well, what'll it be? Paddy Leonard asked.
+
+--I'll take a stone ginger, Bantam Lyons said.
+
+--How much? Paddy Leonard cried. Since when, for God' sake? What's yours,
+Tom?
+
+--How is the main drainage? Nosey Flynn asked, sipping.
+
+For answer Tom Rochford pressed his hand to his breastbone and hiccupped.
+
+--Would I trouble you for a glass of fresh water, Mr Byrne? he said.
+
+--Certainly, sir.
+
+Paddy Leonard eyed his alemates.
+
+--Lord love a duck, he said. Look at what I'm standing drinks to! Cold
+water and gingerpop! Two fellows that would suck whisky off a sore leg.
+He has some bloody horse up his sleeve for the Gold cup. A dead snip.
+
+--Zinfandel is it? Nosey Flynn asked.
+
+Tom Rochford spilt powder from a twisted paper into the water set before
+him.
+
+--That cursed dyspepsia, he said before drinking.
+
+--Breadsoda is very good, Davy Byrne said.
+
+Tom Rochford nodded and drank.
+
+--Is it Zinfandel?
+
+--Say nothing! Bantam Lyons winked. I'm going to plunge five bob on my
+own.
+
+--Tell us if you're worth your salt and be damned to you, Paddy Leonard
+said. Who gave it to you?
+
+Mr Bloom on his way out raised three fingers in greeting.
+
+--So long! Nosey Flynn said.
+
+The others turned.
+
+--That's the man now that gave it to me, Bantam Lyons whispered.
+
+--Prrwht! Paddy Leonard said with scorn. Mr Byrne, sir, we'll take two of
+your small Jamesons after that and a ...
+
+--Stone ginger, Davy Byrne added civilly.
+
+--Ay, Paddy Leonard said. A suckingbottle for the baby.
+
+Mr Bloom walked towards Dawson street, his tongue brushing his teeth
+smooth. Something green it would have to be: spinach, say. Then with
+those Rontgen rays searchlight you could.
+
+At Duke lane a ravenous terrier choked up a sick knuckly cud on the
+cobblestones and lapped it with new zest. Surfeit. Returned with thanks
+having fully digested the contents. First sweet then savoury. Mr Bloom
+coasted warily. Ruminants. His second course. Their upper jaw they move.
+Wonder if Tom Rochford will do anything with that invention of his?
+Wasting time explaining it to Flynn's mouth. Lean people long mouths.
+Ought to be a hall or a place where inventors could go in and invent
+free. Course then you'd have all the cranks pestering.
+
+He hummed, prolonging in solemn echo the closes of the bars:
+
+
+    DON GIOVANNI, A CENAR TECO
+    M'INVITASTI.
+
+
+Feel better. Burgundy. Good pick me up. Who distilled first? Some chap in
+the blues. Dutch courage. That KILKENNY PEOPLE in the national library
+now I must.
+
+Bare clean closestools waiting in the window of William Miller, plumber,
+turned back his thoughts. They could: and watch it all the way down,
+swallow a pin sometimes come out of the ribs years after, tour round the
+body changing biliary duct spleen squirting liver gastric juice coils of
+intestines like pipes. But the poor buffer would have to stand all the
+time with his insides entrails on show. Science.
+
+--A CENAR TECO.
+
+What does that TECO mean? Tonight perhaps.
+
+
+    DON GIOVANNI, THOU HAST ME INVITED
+    TO COME TO SUPPER TONIGHT,
+    THE RUM THE RUMDUM.
+
+
+Doesn't go properly.
+
+Keyes: two months if I get Nannetti to. That'll be two pounds ten about
+two pounds eight. Three Hynes owes me. Two eleven. Prescott's dyeworks
+van over there. If I get Billy Prescott's ad: two fifteen. Five guineas
+about. On the pig's back.
+
+Could buy one of those silk petticoats for Molly, colour of her new
+garters.
+
+Today. Today. Not think.
+
+Tour the south then. What about English wateringplaces? Brighton,
+Margate. Piers by moonlight. Her voice floating out. Those lovely seaside
+girls. Against John Long's a drowsing loafer lounged in heavy thought,
+gnawing a crusted knuckle. Handy man wants job. Small wages. Will eat
+anything.
+
+Mr Bloom turned at Gray's confectioner's window of unbought tarts and
+passed the reverend Thomas Connellan's bookstore. WHY I LEFT THE CHURCH
+OF ROME? BIRDS' NEST. Women run him. They say they used to give pauper
+children soup to change to protestants in the time of the potato blight.
+Society over the way papa went to for the conversion of poor jews. Same
+bait. Why we left the church of Rome.
+
+A blind stripling stood tapping the curbstone with his slender cane. No
+tram in sight. Wants to cross.
+
+--Do you want to cross? Mr Bloom asked.
+
+The blind stripling did not answer. His wallface frowned weakly. He moved
+his head uncertainly.
+
+--You're in Dawson street, Mr Bloom said. Molesworth street is opposite.
+Do you want to cross? There's nothing in the way.
+
+The cane moved out trembling to the left. Mr Bloom's eye followed its
+line and saw again the dyeworks' van drawn up before Drago's. Where I saw
+his brillantined hair just when I was. Horse drooping. Driver in John
+Long's. Slaking his drouth.
+
+--There's a van there, Mr Bloom said, but it's not moving. I'll see you
+across. Do you want to go to Molesworth street?
+
+--Yes, the stripling answered. South Frederick street.
+
+--Come, Mr Bloom said.
+
+He touched the thin elbow gently: then took the limp seeing hand to guide
+it forward.
+
+Say something to him. Better not do the condescending. They mistrust what
+you tell them. Pass a common remark.
+
+--The rain kept off.
+
+No answer.
+
+Stains on his coat. Slobbers his food, I suppose. Tastes all different
+for him. Have to be spoonfed first. Like a child's hand, his hand. Like
+Milly's was. Sensitive. Sizing me up I daresay from my hand. Wonder if he
+has a name. Van. Keep his cane clear of the horse's legs: tired drudge
+get his doze. That's right. Clear. Behind a bull: in front of a horse.
+
+--Thanks, sir.
+
+Knows I'm a man. Voice.
+
+--Right now? First turn to the left.
+
+The blind stripling tapped the curbstone and went on his way, drawing his
+cane back, feeling again.
+
+Mr Bloom walked behind the eyeless feet, a flatcut suit of herringbone
+tweed. Poor young fellow! How on earth did he know that van was there?
+Must have felt it. See things in their forehead perhaps: kind of sense of
+volume. Weight or size of it, something blacker than the dark. Wonder
+would he feel it if something was removed. Feel a gap. Queer idea of
+Dublin he must have, tapping his way round by the stones. Could he walk
+in a beeline if he hadn't that cane? Bloodless pious face like a fellow
+going in to be a priest.
+
+Penrose! That was that chap's name.
+
+Look at all the things they can learn to do. Read with their fingers.
+Tune pianos. Or we are surprised they have any brains. Why we think a
+deformed person or a hunchback clever if he says something we might say.
+Of course the other senses are more. Embroider. Plait baskets. People
+ought to help. Workbasket I could buy for Molly's birthday. Hates sewing.
+Might take an objection. Dark men they call them.
+
+Sense of smell must be stronger too. Smells on all sides, bunched
+together. Each street different smell. Each person too. Then the spring,
+the summer: smells. Tastes? They say you can't taste wines with your eyes
+shut or a cold in the head. Also smoke in the dark they say get no
+pleasure.
+
+And with a woman, for instance. More shameless not seeing. That girl
+passing the Stewart institution, head in the air. Look at me. I have them
+all on. Must be strange not to see her. Kind of a form in his mind's eye.
+The voice, temperatures: when he touches her with his fingers must almost
+see the lines, the curves. His hands on her hair, for instance. Say it
+was black, for instance. Good. We call it black. Then passing over her
+white skin. Different feel perhaps. Feeling of white.
+
+Postoffice. Must answer. Fag today. Send her a postal order two
+shillings, half a crown. Accept my little present. Stationer's just here
+too. Wait. Think over it.
+
+With a gentle finger he felt ever so slowly the hair combed back above
+his ears. Again. Fibres of fine fine straw. Then gently his finger felt
+the skin of his right cheek. Downy hair there too. Not smooth enough. The
+belly is the smoothest. No-one about. There he goes into Frederick
+street. Perhaps to Levenston's dancing academy piano. Might be settling
+my braces.
+
+Walking by Doran's publichouse he slid his hand between his waistcoat and
+trousers and, pulling aside his shirt gently, felt a slack fold of his
+belly. But I know it's whitey yellow. Want to try in the dark to see.
+
+He withdrew his hand and pulled his dress to.
+
+Poor fellow! Quite a boy. Terrible. Really terrible. What dreams would he
+have, not seeing? Life a dream for him. Where is the justice being born
+that way? All those women and children excursion beanfeast burned and
+drowned in New York. Holocaust. Karma they call that transmigration for
+sins you did in a past life the reincarnation met him pike hoses. Dear,
+dear, dear. Pity, of course: but somehow you can't cotton on to them
+someway.
+
+Sir Frederick Falkiner going into the freemasons' hall. Solemn as Troy.
+After his good lunch in Earlsfort terrace. Old legal cronies cracking a
+magnum. Tales of the bench and assizes and annals of the bluecoat school.
+I sentenced him to ten years. I suppose he'd turn up his nose at that
+stuff I drank. Vintage wine for them, the year marked on a dusty bottle.
+Has his own ideas of justice in the recorder's court. Wellmeaning old
+man. Police chargesheets crammed with cases get their percentage
+manufacturing crime. Sends them to the rightabout. The devil on
+moneylenders. Gave Reuben J. a great strawcalling. Now he's really what
+they call a dirty jew. Power those judges have. Crusty old topers in
+wigs. Bear with a sore paw. And may the Lord have mercy on your soul.
+
+Hello, placard. Mirus bazaar. His Excellency the lord lieutenant.
+Sixteenth. Today it is. In aid of funds for Mercer's hospital. THE
+MESSIAH was first given for that. Yes. Handel. What about going out
+there: Ballsbridge. Drop in on Keyes. No use sticking to him like a
+leech. Wear out my welcome. Sure to know someone on the gate.
+
+Mr Bloom came to Kildare street. First I must. Library.
+
+Straw hat in sunlight. Tan shoes. Turnedup trousers. It is. It is.
+
+His heart quopped softly. To the right. Museum. Goddesses. He swerved to
+the right.
+
+Is it? Almost certain. Won't look. Wine in my face. Why did I? Too heady.
+Yes, it is. The walk. Not see. Get on.
+
+Making for the museum gate with long windy steps he lifted his eyes.
+Handsome building. Sir Thomas Deane designed. Not following me?
+
+Didn't see me perhaps. Light in his eyes.
+
+The flutter of his breath came forth in short sighs. Quick. Cold statues:
+quiet there. Safe in a minute.
+
+No. Didn't see me. After two. Just at the gate.
+
+My heart!
+
+His eyes beating looked steadfastly at cream curves of stone. Sir Thomas
+Deane was the Greek architecture.
+
+Look for something I.
+
+His hasty hand went quick into a pocket, took out, read unfolded Agendath
+Netaim. Where did I?
+
+Busy looking.
+
+He thrust back quick Agendath.
+
+Afternoon she said.
+
+I am looking for that. Yes, that. Try all pockets. Handker. FREEMAN.
+Where did I? Ah, yes. Trousers. Potato. Purse. Where?
+
+Hurry. Walk quietly. Moment more. My heart.
+
+His hand looking for the where did I put found in his hip pocket soap
+lotion have to call tepid paper stuck. Ah soap there I yes. Gate.
+
+Safe!
+
+
+    * * * * * * *
+
+
+Urbane, to comfort them, the quaker librarian purred:
+
+--And we have, have we not, those priceless pages of WILHELM MEISTER. A
+great poet on a great brother poet. A hesitating soul taking arms against
+a sea of troubles, torn by conflicting doubts, as one sees in real life.
+
+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.
+
+A. E. has been telling some yankee interviewer. Wall, tarnation strike
+me!
+
+--The schoolmen were schoolboys first, Stephen said superpolitely.
+Aristotle was once Plato's schoolboy.
+
+--And has remained so, one should hope, John Eglinton sedately said. One
+can see him, a model schoolboy with his diploma under his arm.
+
+He laughed again at the now smiling bearded face.
+
+Formless spiritual. Father, Word and Holy Breath. Allfather, the heavenly
+man. Hiesos Kristos, magician of the beautiful, the Logos who suffers in
+us at every moment. This verily is that. I am the fire upon the altar. I
+am the sacrificial butter.
+
+Dunlop, Judge, the noblest Roman of them all, A.E., Arval, the Name
+Ineffable, in heaven hight: K.H., their master, whose identity is no
+secret to adepts. Brothers of the great white lodge always watching to
+see if they can help. The Christ with the bridesister, moisture of light,
+born of an ensouled virgin, repentant sophia, departed to the plane of
+buddhi. The life esoteric is not for ordinary person. O.P. must work off
+bad karma first. Mrs Cooper Oakley once glimpsed our very illustrious
+sister H.P.B.'s elemental.
+
+O, fie! Out on't! PFUITEUFEL! You naughtn't to look, missus, so you
+naughtn't when a lady's ashowing of her elemental.
+
+Mr Best entered, tall, young, mild, light. He bore in his hand with grace
+a notebook, new, large, clean, bright.
+
+--That model schoolboy, Stephen said, would find Hamlet's musings about
+the afterlife of his princely soul, the improbable, insignificant and
+undramatic monologue, as shallow as Plato's.
+
+John Eglinton, frowning, said, waxing wroth:
+
+--Upon my word it makes my blood boil to hear anyone compare Aristotle
+with Plato.
+
+--Which of the two, Stephen asked, would have banished me from his
+commonwealth?
+
+Unsheathe your dagger definitions. Horseness is the whatness of allhorse.
+Streams of tendency and eons they worship. God: noise in the street: very
+peripatetic. Space: what you damn well have to see. Through spaces
+smaller than red globules of man's blood they creepycrawl after Blake's
+buttocks into eternity of which this vegetable world is but a shadow.
+Hold to the now, the here, through which all future plunges to the past.
+
+Mr Best came forward, amiable, towards his colleague.
+
+--Haines is gone, he said.
+
+--Is he?
+
+--I was showing him Jubainville's book. He's quite enthusiastic, don't
+you know, about Hyde's LOVESONGS OF CONNACHT. I couldn't bring him in to
+hear the discussion. He's gone to Gill's to buy it.
+
+
+    BOUND THEE FORTH, MY BOOKLET, QUICK
+    TO GREET THE CALLOUS PUBLIC.
+    WRIT, I WEEN, 'TWAS NOT MY WISH
+    IN LEAN UNLOVELY ENGLISH.
+
+
+--The peatsmoke is going to his head, John Eglinton opined.
+
+We feel in England. Penitent thief. Gone. I smoked his baccy. Green
+twinkling stone. An emerald set in the ring of the sea.
+
+--People do not know how dangerous lovesongs can be, the auric egg of
+Russell warned occultly. The movements which work revolutions in the
+world are born out of the dreams and visions in a peasant's heart on the
+hillside. For them the earth is not an exploitable ground but the living
+mother. The rarefied air of the academy and the arena produce the
+sixshilling novel, the musichall song. France produces the finest flower
+of corruption in Mallarme but the desirable life is revealed only to the
+poor of heart, the life of Homer's Phaeacians.
+
+From these words Mr Best turned an unoffending face to Stephen.
+
+--Mallarme, don't you know, he said, has written those wonderful prose
+poems Stephen MacKenna used to read to me in Paris. The one about HAMLET.
+He says: IL SE PROMENE, LISANT AU LIVRE DE LUI-MEME, don't you know,
+READING THE BOOK OF HIMSELF. He describes HAMLET given in a French town,
+don't you know, a provincial town. They advertised it.
+
+His free hand graciously wrote tiny signs in air.
+
+
+    HAMLET
+    OU
+    LE DISTRAIT
+    PIECE DE SHAKESPEARE
+
+
+ He repeated to John Eglinton's newgathered frown:
+
+--PIECE DE SHAKESPEARE, don't you know. It's so French. The French point
+of view. HAMLET OU ...
+
+--The absentminded beggar, Stephen ended.
+
+ John Eglinton laughed.
+
+--Yes, I suppose it would be, he said. Excellent people, no doubt, but
+distressingly shortsighted in some matters.
+
+ Sumptuous and stagnant exaggeration of murder.
+
+--A deathsman of the soul Robert Greene called him, Stephen said. Not for
+nothing was he a butcher's son, wielding the sledded poleaxe and spitting
+in his palms. Nine lives are taken off for his father's one. Our Father
+who art in purgatory. Khaki Hamlets don't hesitate to shoot. The
+bloodboltered shambles in act five is a forecast of the concentration
+camp sung by Mr Swinburne.
+
+Cranly, I his mute orderly, following battles from afar.
+
+    WHELPS AND DAMS OF MURDEROUS FOES WHOM NONE
+    BUT WE HAD SPARED ...
+
+
+Between the Saxon smile and yankee yawp. The devil and the deep sea.
+
+--He will have it that HAMLET is a ghoststory, John Eglinton said for Mr
+Best's behoof. Like the fat boy in Pickwick he wants to make our flesh
+creep.
+
+
+    LIST! LIST! O LIST!
+
+
+My flesh hears him: creeping, hears.
+
+
+    IF THOU DIDST EVER ...
+
+
+--What is a ghost? Stephen said with tingling energy. One who has faded
+into impalpability through death, through absence, through change of
+manners. Elizabethan London lay as far from Stratford as corrupt Paris
+lies from virgin Dublin. Who is the ghost from LIMBO PATRUM, returning to
+the world that has forgotten him? Who is King Hamlet?
+
+John Eglinton shifted his spare body, leaning back to judge.
+
+Lifted.
+
+--It is this hour of a day in mid June, Stephen said, begging with a
+swift glance their hearing. The flag is up on the playhouse by the
+bankside. The bear Sackerson growls in the pit near it, Paris garden.
+Canvasclimbers who sailed with Drake chew their sausages among the
+groundlings.
+
+Local colour. Work in all you know. Make them accomplices.
+
+--Shakespeare has left the huguenot's house in Silver street and walks by
+the swanmews along the riverbank. But he does not stay to feed the pen
+chivying her game of cygnets towards the rushes. The swan of Avon has
+other thoughts.
+
+Composition of place. Ignatius Loyola, make haste to help me!
+
+--The play begins. A player comes on under the shadow, made up in the
+castoff mail of a court buck, a wellset man with a bass voice. It is the
+ghost, the king, a king and no king, and the player is Shakespeare who
+has studied HAMLET all the years of his life which were not vanity in
+order to play the part of the spectre. He speaks the words to Burbage,
+the young player who stands before him beyond the rack of cerecloth,
+calling him by a name:
+
+    HAMLET, I AM THY FATHER'S SPIRIT,
+
+bidding him list. To a son he speaks, the son of his soul, the prince,
+young Hamlet and to the son of his body, Hamnet Shakespeare, who has died
+in Stratford that his namesake may live for ever.
+
+Is it possible that that player Shakespeare, a ghost by absence, and in
+the vesture of buried Denmark, a ghost by death, speaking his own words
+to his own son's name (had Hamnet Shakespeare lived he would have been
+prince Hamlet's twin), is it possible, I want to know, or probable that
+he did not draw or foresee the logical conclusion of those premises: you
+are the dispossessed son: I am the murdered father: your mother is the
+guilty queen, Ann Shakespeare, born Hathaway?
+
+--But this prying into the family life of a great man, Russell began
+impatiently.
+
+Art thou there, truepenny?
+
+--Interesting only to the parish clerk. I mean, we have the plays. I mean
+when we read the poetry of KING LEAR what is it to us how the poet lived?
+As for living our servants can do that for us, Villiers de l'Isle has
+said. Peeping and prying into greenroom gossip of the day, the poet's
+drinking, the poet's debts. We have KING LEAR: and it is immortal.
+
+Mr Best's face, appealed to, agreed.
+
+
+    FLOW OVER THEM WITH YOUR WAVES AND WITH YOUR WATERS, MANANAAN,
+    MANANAAN MACLIR ...
+
+
+How now, sirrah, that pound he lent you when you were hungry?
+
+Marry, I wanted it.
+
+Take thou this noble.
+
+Go to! You spent most of it in Georgina Johnson's bed, clergyman's
+daughter. Agenbite of inwit.
+
+Do you intend to pay it back?
+
+O, yes.
+
+When? Now?
+
+Well ... No.
+
+When, then?
+
+I paid my way. I paid my way.
+
+Steady on. He's from beyant Boyne water. The northeast corner. You owe
+it.
+
+Wait. Five months. Molecules all change. I am other I now. Other I got
+pound.
+
+Buzz. Buzz.
+
+But I, entelechy, form of forms, am I by memory because under
+everchanging forms.
+
+I that sinned and prayed and fasted.
+
+A child Conmee saved from pandies.
+
+I, I and I. I.
+
+A.E.I.O.U.
+
+--Do you mean to fly in the face of the tradition of three centuries?
+John Eglinton's carping voice asked. Her ghost at least has been laid for
+ever. She died, for literature at least, before she was born.
+
+--She died, Stephen retorted, sixtyseven years after she was born. She
+saw him into and out of the world. She took his first embraces. She bore
+his children and she laid pennies on his eyes to keep his eyelids closed
+when he lay on his deathbed.
+
+Mother's deathbed. Candle. The sheeted mirror. Who brought me into this
+world lies there, bronzelidded, under few cheap flowers. LILIATA
+RUTILANTIUM.
+
+I wept alone.
+
+John Eglinton looked in the tangled glowworm of his lamp.
+
+--The world believes that Shakespeare made a mistake, he said, and got
+out of it as quickly and as best he could.
+
+--Bosh! Stephen said rudely. A man of genius makes no mistakes. His
+errors are volitional and are the portals of discovery.
+
+Portals of discovery opened to let in the quaker librarian,
+softcreakfooted, bald, eared and assiduous.
+
+--A shrew, John Eglinton said shrewdly, is not a useful portal of
+discovery, one should imagine. What useful discovery did Socrates learn
+from Xanthippe?
+
+--Dialectic, Stephen answered: and from his mother how to bring thoughts
+into the world. What he learnt from his other wife Myrto (ABSIT NOMEN!),
+Socratididion's Epipsychidion, no man, not a woman, will ever know. But
+neither the midwife's lore nor the caudlelectures saved him from the
+archons of Sinn Fein and their naggin of hemlock.
+
+--But Ann Hathaway? Mr Best's quiet voice said forgetfully. Yes, we seem
+to be forgetting her as Shakespeare himself forgot her.
+
+His look went from brooder's beard to carper's skull, to remind, to chide
+them not unkindly, then to the baldpink lollard costard, guiltless though
+maligned.
+
+--He had a good groatsworth of wit, Stephen said, and no truant memory.
+He carried a memory in his wallet as he trudged to Romeville whistling
+THE GIRL I LEFT BEHIND ME. If the earthquake did not time it we should
+know where to place poor Wat, sitting in his form, the cry of hounds, the
+studded bridle and her blue windows. That memory, VENUS AND ADONIS, lay
+in the bedchamber of every light-of-love in London. Is Katharine the
+shrew illfavoured? Hortensio calls her young and beautiful. Do you think
+the writer of ANTONY AND CLEOPATRA, a passionate pilgrim, had his eyes in
+the back of his head that he chose the ugliest doxy in all Warwickshire
+to lie withal? Good: he left her and gained the world of men. But his
+boywomen are the women of a boy. Their life, thought, speech are lent
+them by males. He chose badly? He was chosen, it seems to me. If others
+have their will Ann hath a way. By cock, she was to blame. She put the
+comether on him, sweet and twentysix. The greyeyed goddess who bends over
+the boy Adonis, stooping to conquer, as prologue to the swelling act, is
+a boldfaced Stratford wench who tumbles in a cornfield a lover younger
+than herself.
+
+And my turn? When?
+
+Come!
+
+--Ryefield, Mr Best said brightly, gladly, raising his new book, gladly,
+brightly.
+
+He murmured then with blond delight for all:
+
+
+    BETWEEN THE ACRES OF THE RYE
+    THESE PRETTY COUNTRYFOLK WOULD LIE.
+
+
+Paris: the wellpleased pleaser.
+
+A tall figure in bearded homespun rose from shadow and unveiled its
+cooperative watch.
+
+--I am afraid I am due at the HOMESTEAD.
+
+Whither away? Exploitable ground.
+
+--Are you going? John Eglinton's active eyebrows asked. Shall we see you
+at Moore's tonight? Piper is coming.
+
+--Piper! Mr Best piped. Is Piper back?
+
+Peter Piper pecked a peck of pick of peck of pickled pepper.
+
+--I don't know if I can. Thursday. We have our meeting. If I can get away
+in time.
+
+Yogibogeybox in Dawson chambers. ISIS UNVEILED. Their Pali book we tried
+to pawn. Crosslegged under an umbrel umbershoot he thrones an Aztec
+logos, functioning on astral levels, their oversoul, mahamahatma. The
+faithful hermetists await the light, ripe for chelaship, ringroundabout
+him. Louis H. Victory. T. Caulfield Irwin. Lotus ladies tend them i'the
+eyes, their pineal glands aglow. Filled with his god, he thrones, Buddh
+under plantain. Gulfer of souls, engulfer. Hesouls, shesouls, shoals of
+souls. Engulfed with wailing creecries, whirled, whirling, they bewail.
+
+
+    IN QUINTESSENTIAL TRIVIALITY
+    FOR YEARS IN THIS FLESHCASE A SHESOUL DWELT.
+
+
+--They say we are to have a literary surprise, the quaker librarian said,
+friendly and earnest. Mr Russell, rumour has it, is gathering together a
+sheaf of our younger poets' verses. We are all looking forward anxiously.
+
+Anxiously he glanced in the cone of lamplight where three faces, lighted,
+shone.
+
+See this. Remember.
+
+Stephen looked down on a wide headless caubeen, hung on his
+ashplanthandle over his knee. My casque and sword. Touch lightly with two
+index fingers. Aristotle's experiment. One or two? Necessity is that in
+virtue of which it is impossible that one can be otherwise. Argal, one
+hat is one hat.
+
+Listen.
+
+Young Colum and Starkey. George Roberts is doing the commercial part.
+Longworth will give it a good puff in the EXPRESS. O, will he? I liked
+Colum's DROVER. Yes, I think he has that queer thing genius. Do you think
+he has genius really? Yeats admired his line: AS IN WILD EARTH A GRECIAN
+VASE. Did he? I hope you'll be able to come tonight. Malachi Mulligan is
+coming too. Moore asked him to bring Haines. Did you hear Miss Mitchell's
+joke about Moore and Martyn? That Moore is Martyn's wild oats? Awfully
+clever, isn't it? They remind one of Don Quixote and Sancho Panza. Our
+national epic has yet to be written, Dr Sigerson says. Moore is the man
+for it. A knight of the rueful countenance here in Dublin. With a saffron
+kilt? O'Neill Russell? O, yes, he must speak the grand old tongue. And
+his Dulcinea? James Stephens is doing some clever sketches. We are
+becoming important, it seems.
+
+Cordelia. CORDOGLIO. Lir's loneliest daughter.
+
+Nookshotten. Now your best French polish.
+
+--Thank you very much, Mr Russell, Stephen said, rising. If you will be
+so kind as to give the letter to Mr Norman ...
+
+--O, yes. If he considers it important it will go in. We have so much
+correspondence.
+
+--I understand, Stephen said. Thanks.
+
+God ild you. The pigs' paper. Bullockbefriending.
+
+Synge has promised me an article for DANA too. Are we going to be read? I
+feel we are. The Gaelic league wants something in Irish. I hope you will
+come round tonight. Bring Starkey.
+
+Stephen sat down.
+
+The quaker librarian came from the leavetakers. Blushing, his mask said:
+
+--Mr Dedalus, your views are most illuminating.
+
+He creaked to and fro, tiptoing up nearer heaven by the altitude of a
+chopine, and, covered by the noise of outgoing, said low:
+
+--Is it your view, then, that she was not faithful to the poet?
+
+Alarmed face asks me. Why did he come? Courtesy or an inward light?
+
+--Where there is a reconciliation, Stephen said, there must have been
+first a sundering.
+
+--Yes.
+
+Christfox in leather trews, hiding, a runaway in blighted treeforks, from
+hue and cry. Knowing no vixen, walking lonely in the chase. Women he won
+to him, tender people, a whore of Babylon, ladies of justices, bully
+tapsters' wives. Fox and geese. And in New Place a slack dishonoured body
+that once was comely, once as sweet, as fresh as cinnamon, now her leaves
+falling, all, bare, frighted of the narrow grave and unforgiven.
+
+--Yes. So you think ...
+
+The door closed behind the outgoer.
+
+Rest suddenly possessed the discreet vaulted cell, rest of warm and
+brooding air.
+
+A vestal's lamp.
+
+Here he ponders things that were not: what Caesar would have lived to do
+had he believed the soothsayer: what might have been: possibilities of
+the possible as possible: things not known: what name Achilles bore when
+he lived among women.
+
+Coffined thoughts around me, in mummycases, embalmed in spice of words.
+Thoth, god of libraries, a birdgod, moonycrowned. And I heard the voice
+of that Egyptian highpriest. IN PAINTED CHAMBERS LOADED WITH TILEBOOKS.
+
+They are still. Once quick in the brains of men. Still: but an itch of
+death is in them, to tell me in my ear a maudlin tale, urge me to wreak
+their will.
+
+--Certainly, John Eglinton mused, of all great men he is the most
+enigmatic. We know nothing but that he lived and suffered. Not even so
+much. Others abide our question. A shadow hangs over all the rest.
+
+--But HAMLET is so personal, isn't it? Mr Best pleaded. I mean, a kind of
+private paper, don't you know, of his private life. I mean, I don't care
+a button, don't you know, who is killed or who is guilty ...
+
+He rested an innocent book on the edge of the desk, smiling his defiance.
+His private papers in the original. TA AN BAD AR AN TIR. TAIM IN MO
+SHAGART. Put beurla on it, littlejohn.
+
+Quoth littlejohn Eglinton:
+
+--I was prepared for paradoxes from what Malachi Mulligan told us but I
+may as well warn you that if you want to shake my belief that Shakespeare
+is Hamlet you have a stern task before you.
+
+Bear with me.
+
+Stephen withstood the bane of miscreant eyes glinting stern under
+wrinkled brows. A basilisk. E QUANDO VEDE L'UOMO L'ATTOSCA. Messer
+Brunetto, I thank thee for the word.
+
+--As we, or mother Dana, weave and unweave our bodies, Stephen said, from
+day to day, their molecules shuttled to and fro, so does the artist weave
+and unweave his image. And as the mole on my right breast is where it was
+when I was born, though all my body has been woven of new stuff time
+after time, so through the ghost of the unquiet father the image of the
+unliving son looks forth. In the intense instant of imagination, when the
+mind, Shelley says, is a fading coal, that which I was is that which I am
+and that which in possibility I may come to be. So in the future, the
+sister of the past, I may see myself as I sit here now but by reflection
+from that which then I shall be.
+
+Drummond of Hawthornden helped you at that stile.
+
+--Yes, Mr Best said youngly. I feel Hamlet quite young. The bitterness
+might be from the father but the passages with Ophelia are surely from
+the son.
+
+Has the wrong sow by the lug. He is in my father. I am in his son.
+
+--That mole is the last to go, Stephen said, laughing.
+
+John Eglinton made a nothing pleasing mow.
+
+--If that were the birthmark of genius, he said, genius would be a drug
+in the market. The plays of Shakespeare's later years which Renan admired
+so much breathe another spirit.
+
+--The spirit of reconciliation, the quaker librarian breathed.
+
+--There can be no reconciliation, Stephen said, if there has not been a
+sundering.
+
+Said that.
+
+--If you want to know what are the events which cast their shadow over
+the hell of time of KING LEAR, OTHELLO, HAMLET, TROILUS AND CRESSIDA,
+look to see when and how the shadow lifts. What softens the heart of a
+man, shipwrecked in storms dire, Tried, like another Ulysses, Pericles,
+prince of Tyre?
+
+Head, redconecapped, buffeted, brineblinded.
+
+--A child, a girl, placed in his arms, Marina.
+
+--The leaning of sophists towards the bypaths of apocrypha is a constant
+quantity, John Eglinton detected. The highroads are dreary but they lead
+to the town.
+
+Good Bacon: gone musty. Shakespeare Bacon's wild oats. Cypherjugglers
+going the highroads. Seekers on the great quest. What town, good masters?
+Mummed in names: A. E., eon: Magee, John Eglinton. East of the sun, west
+of the moon: TIR NA N-OG. Booted the twain and staved.
+
+
+    HOW MANY MILES TO DUBLIN?
+    THREE SCORE AND TEN, SIR.
+    WILL WE BE THERE BY CANDLELIGHT?
+
+
+--Mr Brandes accepts it, Stephen said, as the first play of the closing
+period.
+
+--Does he? What does Mr Sidney Lee, or Mr Simon Lazarus as some aver his
+name is, say of it?
+
+--Marina, Stephen said, a child of storm, Miranda, a wonder, Perdita,
+that which was lost. What was lost is given back to him: his daughter's
+child. MY DEAREST WIFE, Pericles says, WAS LIKE THIS MAID. Will any man
+love the daughter if he has not loved the mother?
+
+--The art of being a grandfather, Mr Best gan murmur. L'ART D'ETRE GRAND
+...
+
+--Will he not see reborn in her, with the memory of his own youth added,
+another image?
+
+Do you know what you are talking about? Love, yes. Word known to all men.
+Amor vero aliquid alicui bonum vult unde et ea quae concupiscimus ...
+
+--His own image to a man with that queer thing genius is the standard of
+all experience, material and moral. Such an appeal will touch him. The
+images of other males of his blood will repel him. He will see in them
+grotesque attempts of nature to foretell or to repeat himself.
+
+The benign forehead of the quaker librarian enkindled rosily with hope.
+
+--I hope Mr Dedalus will work out his theory for the enlightenment of the
+public. And we ought to mention another Irish commentator, Mr George
+Bernard Shaw. Nor should we forget Mr Frank Harris. His articles on
+Shakespeare in the SATURDAY REVIEW were surely brilliant. Oddly enough he
+too draws for us an unhappy relation with the dark lady of the sonnets.
+The favoured rival is William Herbert, earl of Pembroke. I own that if
+the poet must be rejected such a rejection would seem more in harmony
+with--what shall I say?--our notions of what ought not to have been.
+
+Felicitously he ceased and held a meek head among them, auk's egg, prize
+of their fray.
+
+He thous and thees her with grave husbandwords. Dost love, Miriam? Dost
+love thy man?
+
+--That may be too, Stephen said. There's a saying of Goethe's which Mr
+Magee likes to quote. Beware of what you wish for in youth because you
+will get it in middle life. Why does he send to one who is a BUONAROBA, a
+bay where all men ride, a maid of honour with a scandalous girlhood, a
+lordling to woo for him? He was himself a lord of language and had made
+himself a coistrel gentleman and he had written ROMEO AND JULIET. Why?
+Belief in himself has been untimely killed. He was overborne in a
+cornfield first (ryefield, I should say) and he will never be a victor in
+his own eyes after nor play victoriously the game of laugh and lie down.
+Assumed dongiovannism will not save him. No later undoing will undo the
+first undoing. The tusk of the boar has wounded him there where love lies
+ableeding. If the shrew is worsted yet there remains to her woman's
+invisible weapon. There is, I feel in the words, some goad of the flesh
+driving him into a new passion, a darker shadow of the first, darkening
+even his own understanding of himself. A like fate awaits him and the two
+rages commingle in a whirlpool.
+
+They list. And in the porches of their ears I pour.
+
+--The soul has been before stricken mortally, a poison poured in the
+porch of a sleeping ear. But those who are done to death in sleep cannot
+know the manner of their quell unless their Creator endow their souls
+with that knowledge in the life to come. The poisoning and the beast with
+two backs that urged it King Hamlet's ghost could not know of were he not
+endowed with knowledge by his creator. That is why the speech (his lean
+unlovely English) is always turned elsewhere, backward. Ravisher and
+ravished, what he would but would not, go with him from Lucrece's
+bluecircled ivory globes to Imogen's breast, bare, with its mole
+cinquespotted. He goes back, weary of the creation he has piled up to
+hide him from himself, an old dog licking an old sore. But, because loss
+is his gain, he passes on towards eternity in undiminished personality,
+untaught by the wisdom he has written or by the laws he has revealed. His
+beaver is up. He is a ghost, a shadow now, the wind by Elsinore's rocks
+or what you will, the sea's voice, a voice heard only in the heart of him
+who is the substance of his shadow, the son consubstantial with the
+father.
+
+--Amen! was responded from the doorway.
+
+Hast thou found me, O mine enemy?
+
+ENTR'ACTE.
+
+A ribald face, sullen as a dean's, Buck Mulligan came forward, then
+blithe in motley, towards the greeting of their smiles. My telegram.
+
+--You were speaking of the gaseous vertebrate, if I mistake not? he asked
+of Stephen.
+
+Primrosevested he greeted gaily with his doffed Panama as with a bauble.
+
+They make him welcome. WAS DU VERLACHST WIRST DU NOCH DIENEN.
+
+Brood of mockers: Photius, pseudomalachi, Johann Most.
+
+He Who Himself begot middler the Holy Ghost and Himself sent Himself,
+Agenbuyer, between Himself and others, Who, put upon by His fiends,
+stripped and whipped, was nailed like bat to barndoor, starved on
+crosstree, Who let Him bury, stood up, harrowed hell, fared into heaven
+and there these nineteen hundred years sitteth on the right hand of His
+Own Self but yet shall come in the latter day to doom the quick and dead
+when all the quick shall be dead already.
+
+Glo--o--ri--a in ex--cel--sis De--o.
+
+He lifts his hands. Veils fall. O, flowers! Bells with bells with bells
+aquiring.
+
+--Yes, indeed, the quaker librarian said. A most instructive discussion.
+Mr Mulligan, I'll be bound, has his theory too of the play and of
+Shakespeare. All sides of life should be represented.
+
+He smiled on all sides equally.
+
+Buck Mulligan thought, puzzled:
+
+--Shakespeare? he said. I seem to know the name.
+
+A flying sunny smile rayed in his loose features.
+
+--To be sure, he said, remembering brightly. The chap that writes like
+Synge.
+
+Mr Best turned to him.
+
+--Haines missed you, he said. Did you meet him? He'll see you after at
+the D. B. C. He's gone to Gill's to buy Hyde's LOVESONGS OF CONNACHT.
+
+--I came through the museum, Buck Mulligan said. Was he here?
+
+--The bard's fellowcountrymen, John Eglinton answered, are rather tired
+perhaps of our brilliancies of theorising. I hear that an actress played
+Hamlet for the fourhundredandeighth time last night in Dublin. Vining
+held that the prince was a woman. Has no-one made him out to be an
+Irishman? Judge Barton, I believe, is searching for some clues. He swears
+(His Highness not His Lordship) by saint Patrick.
+
+--The most brilliant of all is that story of Wilde's, Mr Best said,
+lifting his brilliant notebook. That PORTRAIT OF MR W. H. where he proves
+that the sonnets were written by a Willie Hughes, a man all hues.
+
+--For Willie Hughes, is it not? the quaker librarian asked.
+
+Or Hughie Wills? Mr William Himself. W. H.: who am I?
+
+--I mean, for Willie Hughes, Mr Best said, amending his gloss easily. Of
+course it's all paradox, don't you know, Hughes and hews and hues, the
+colour, but it's so typical the way he works it out. It's the very
+essence of Wilde, don't you know. The light touch.
+
+His glance touched their faces lightly as he smiled, a blond ephebe. Tame
+essence of Wilde.
+
+You're darned witty. Three drams of usquebaugh you drank with Dan Deasy's
+ducats.
+
+How much did I spend? O, a few shillings.
+
+For a plump of pressmen. Humour wet and dry.
+
+Wit. You would give your five wits for youth's proud livery he pranks in.
+Lineaments of gratified desire.
+
+There be many mo. Take her for me. In pairing time. Jove, a cool ruttime
+send them. Yea, turtledove her.
+
+Eve. Naked wheatbellied sin. A snake coils her, fang in's kiss.
+
+--Do you think it is only a paradox? the quaker librarian was asking. The
+mocker is never taken seriously when he is most serious.
+
+They talked seriously of mocker's seriousness.
+
+Buck Mulligan's again heavy face eyed Stephen awhile. Then, his head
+wagging, he came near, drew a folded telegram from his pocket. His mobile
+lips read, smiling with new delight.
+
+--Telegram! he said. Wonderful inspiration! Telegram! A papal bull!
+
+He sat on a corner of the unlit desk, reading aloud joyfully:
+
+--THE SENTIMENTALIST IS HE WHO WOULD ENJOY WITHOUT INCURRING THE IMMENSE
+DEBTORSHIP FOR A THING DONE. Signed: Dedalus. Where did you launch it
+from? The kips? No. College Green. Have you drunk the four quid? The aunt
+is going to call on your unsubstantial father. Telegram! Malachi
+Mulligan, The Ship, lower Abbey street. O, you peerless mummer! O, you
+priestified Kinchite!
+
+Joyfully he thrust message and envelope into a pocket but keened in a
+querulous brogue:
+
+--It's what I'm telling you, mister honey, it's queer and sick we were,
+Haines and myself, the time himself brought it in. 'Twas murmur we did
+for a gallus potion would rouse a friar, I'm thinking, and he limp with
+leching. And we one hour and two hours and three hours in Connery's
+sitting civil waiting for pints apiece.
+
+He wailed:
+
+--And we to be there, mavrone, and you to be unbeknownst sending us your
+conglomerations the way we to have our tongues out a yard long like the
+drouthy clerics do be fainting for a pussful.
+
+Stephen laughed.
+
+Quickly, warningfully Buck Mulligan bent down.
+
+--The tramper Synge is looking for you, he said, to murder you. He heard
+you pissed on his halldoor in Glasthule. He's out in pampooties to murder
+you.
+
+--Me! Stephen exclaimed. That was your contribution to literature.
+
+Buck Mulligan gleefully bent back, laughing to the dark eavesdropping
+ceiling.
+
+--Murder you! he laughed.
+
+Harsh gargoyle face that warred against me over our mess of hash of
+lights in rue Saint-Andre-des-Arts. In words of words for words,
+palabras. Oisin with Patrick. Faunman he met in Clamart woods,
+brandishing a winebottle. C'EST VENDREDI SAINT! Murthering Irish. His
+image, wandering, he met. I mine. I met a fool i'the forest.
+
+--Mr Lyster, an attendant said from the door ajar.
+
+-- ... in which everyone can find his own. So Mr Justice Madden in his
+DIARY OF MASTER WILLIAM SILENCE has found the hunting terms ... Yes? What
+is it?
+
+--There's a gentleman here, sir, the attendant said, coming forward and
+offering a card. From the FREEMAN. He wants to see the files of the
+KILKENNY PEOPLE for last year.
+
+--Certainly, certainly, certainly. Is the gentleman? ...
+
+He took the eager card, glanced, not saw, laid down unglanced, looked,
+asked, creaked, asked:
+
+--Is he? ... O, there!
+
+Brisk in a galliard he was off, out. In the daylit corridor he talked
+with voluble pains of zeal, in duty bound, most fair, most kind, most
+honest broadbrim.
+
+--This gentleman? FREEMAN'S JOURNAL? KILKENNY PEOPLE? To be sure. Good
+day, sir. KILKENNY ... We have certainly ...
+
+A patient silhouette waited, listening.
+
+--All the leading provincial ... NORTHERN WHIG, CORK EXAMINER,
+ENNISCORTHY GUARDIAN, 1903 ... Will you please? ... Evans, conduct this
+gentleman ... If you just follow the atten ... Or, please allow me ...
+This way ... Please, sir ...
+
+Voluble, dutiful, he led the way to all the provincial papers, a bowing
+dark figure following his hasty heels.
+
+The door closed.
+
+--The sheeny! Buck Mulligan cried.
+
+He jumped up and snatched the card.
+
+--What's his name? Ikey Moses? Bloom.
+
+He rattled on:
+
+--Jehovah, collector of prepuces, is no more. I found him over in the
+museum where I went to hail the foamborn Aphrodite. The Greek mouth that
+has never been twisted in prayer. Every day we must do homage to her.
+LIFE OF LIFE, THY LIPS ENKINDLE.
+
+Suddenly he turned to Stephen:
+
+--He knows you. He knows your old fellow. O, I fear me, he is Greeker
+than the Greeks. His pale Galilean eyes were upon her mesial groove.
+Venus Kallipyge. O, the thunder of those loins! THE GOD PURSUING THE
+MAIDEN HID.
+
+--We want to hear more, John Eglinton decided with Mr Best's approval. We
+begin to be interested in Mrs S. Till now we had thought of her, if at
+all, as a patient Griselda, a Penelope stayathome.
+
+--Antisthenes, pupil of Gorgias, Stephen said, took the palm of beauty
+from Kyrios Menelaus' brooddam, Argive Helen, the wooden mare of Troy in
+whom a score of heroes slept, and handed it to poor Penelope. Twenty
+years he lived in London and, during part of that time, he drew a salary
+equal to that of the lord chancellor of Ireland. His life was rich. His
+art, more than the art of feudalism as Walt Whitman called it, is the art
+of surfeit. Hot herringpies, green mugs of sack, honeysauces, sugar of
+roses, marchpane, gooseberried pigeons, ringocandies. Sir Walter Raleigh,
+when they arrested him, had half a million francs on his back including a
+pair of fancy stays. The gombeenwoman Eliza Tudor had underlinen enough
+to vie with her of Sheba. Twenty years he dallied there between conjugial
+love and its chaste delights and scortatory love and its foul pleasures.
+You know Manningham's story of the burgher's wife who bade Dick Burbage
+to her bed after she had seen him in RICHARD III and how Shakespeare,
+overhearing, without more ado about nothing, took the cow by the horns
+and, when Burbage came knocking at the gate, answered from the capon's
+blankets: WILLIAM THE CONQUEROR CAME BEFORE RICHARD III. And the gay
+lakin, mistress Fitton, mount and cry O, and his dainty birdsnies, lady
+Penelope Rich, a clean quality woman is suited for a player, and the
+punks of the bankside, a penny a time.
+
+Cours la Reine. ENCORE VINGT SOUS. NOUS FERONS DE PETITES COCHONNERIES.
+MINETTE? TU VEUX?
+
+--The height of fine society. And sir William Davenant of oxford's mother
+with her cup of canary for any cockcanary.
+
+Buck Mulligan, his pious eyes upturned, prayed:
+
+--Blessed Margaret Mary Anycock!
+
+--And Harry of six wives' daughter. And other lady friends from neighbour
+seats as Lawn Tennyson, gentleman poet, sings. But all those twenty years
+what do you suppose poor Penelope in Stratford was doing behind the
+diamond panes?
+
+Do and do. Thing done. In a rosery of Fetter lane of Gerard, herbalist,
+he walks, greyedauburn. An azured harebell like her veins. Lids of Juno's
+eyes, violets. He walks. One life is all. One body. Do. But do. Afar, in
+a reek of lust and squalor, hands are laid on whiteness.
+
+Buck Mulligan rapped John Eglinton's desk sharply.
+
+--Whom do you suspect? he challenged.
+
+--Say that he is the spurned lover in the sonnets. Once spurned twice
+spurned. But the court wanton spurned him for a lord, his dearmylove.
+
+Love that dare not speak its name.
+
+--As an Englishman, you mean, John sturdy Eglinton put in, he loved a
+lord.
+
+Old wall where sudden lizards flash. At Charenton I watched them.
+
+--It seems so, Stephen said, when he wants to do for him, and for all
+other and singular uneared wombs, the holy office an ostler does for the
+stallion. Maybe, like Socrates, he had a midwife to mother as he had a
+shrew to wife. But she, the giglot wanton, did not break a bedvow. Two
+deeds are rank in that ghost's mind: a broken vow and the dullbrained
+yokel on whom her favour has declined, deceased husband's brother. Sweet
+Ann, I take it, was hot in the blood. Once a wooer, twice a wooer.
+
+Stephen turned boldly in his chair.
+
+--The burden of proof is with you not with me, he said frowning. If you
+deny that in the fifth scene of HAMLET he has branded her with infamy
+tell me why there is no mention of her during the thirtyfour years
+between the day she married him and the day she buried him. All those
+women saw their men down and under: Mary, her goodman John, Ann, her poor
+dear Willun, when he went and died on her, raging that he was the first
+to go, Joan, her four brothers, Judith, her husband and all her sons,
+Susan, her husband too, while Susan's daughter, Elizabeth, to use
+granddaddy's words, wed her second, having killed her first.
+
+O, yes, mention there is. In the years when he was living richly in royal
+London to pay a debt she had to borrow forty shillings from her father's
+shepherd. Explain you then. Explain the swansong too wherein he has
+commended her to posterity.
+
+He faced their silence.
+
+To whom thus Eglinton:
+
+
+        You mean the will.
+    But that has been explained, I believe, by jurists.
+    She was entitled to her widow's dower
+    At common law. His legal knowledge was great
+    Our judges tell us.
+        Him Satan fleers,
+    Mocker:
+        And therefore he left out her name
+    From the first draft but he did not leave out
+    The presents for his granddaughter, for his daughters,
+    For his sister, for his old cronies in Stratford
+    And in London. And therefore when he was urged,
+    As I believe, to name her
+    He left her his
+    Secondbest
+    Bed.
+                PUNKT.
+    Leftherhis
+    Secondbest
+    Leftherhis
+    Bestabed
+    Secabest
+    Leftabed.
+
+
+Woa!
+
+AMPLIUS. IN SOCIETATE HUMANA HOC EST MAXIME NECESSARIUM UT SIT AMICITIA
+INTER MULTOS.
+
+--Saint Thomas, Stephen began ...
+
+--ORA PRO NOBIS, Monk Mulligan groaned, sinking to a chair.
+
+There he keened a wailing rune.
+
+--POGUE MAHONE! ACUSHLA MACHREE! It's destroyed we are from this day!
+It's destroyed we are surely!
+
+All smiled their smiles.
+
+--Saint Thomas, Stephen smiling said, whose gorbellied works I enjoy
+reading in the original, writing of incest from a standpoint different
+from that of the new Viennese school Mr Magee spoke of, likens it in his
+wise and curious way to an avarice of the emotions. He means that the
+love so given to one near in blood is covetously withheld from some
+stranger who, it may be, hungers for it. Jews, whom christians tax with
+avarice, are of all races the most given to intermarriage. Accusations
+are made in anger. The christian laws which built up the hoards of the
+jews (for whom, as for the lollards, storm was shelter) bound their
+affections too with hoops of steel. Whether these be sins or virtues old
+Nobodaddy will tell us at doomsday leet. But a man who holds so tightly
+to what he calls his rights over what he calls his debts will hold
+tightly also to what he calls his rights over her whom he calls his wife.
+No sir smile neighbour shall covet his ox or his wife or his manservant
+or his maidservant or his jackass.
+
+--Or his jennyass, Buck Mulligan antiphoned.
+
+--Gentle Will is being roughly handled, gentle Mr Best said gently.
+
+--Which will? gagged sweetly Buck Mulligan. We are getting mixed.
+
+--The will to live, John Eglinton philosophised, for poor Ann, Will's
+widow, is the will to die.
+
+--REQUIESCAT! Stephen prayed.
+
+
+    WHAT OF ALL THE WILL TO DO?
+    IT HAS VANISHED LONG AGO ...
+
+
+--She lies laid out in stark stiffness in that secondbest bed, the mobled
+queen, even though you prove that a bed in those days was as rare as a
+motorcar is now and that its carvings were the wonder of seven parishes.
+In old age she takes up with gospellers (one stayed with her at New Place
+and drank a quart of sack the town council paid for but in which bed he
+slept it skills not to ask) and heard she had a soul. She read or had
+read to her his chapbooks preferring them to the MERRY WIVES and, loosing
+her nightly waters on the jordan, she thought over HOOKS AND EYES FOR
+BELIEVERS' BREECHES and THE MOST SPIRITUAL SNUFFBOX TO MAKE THE MOST
+DEVOUT SOULS SNEEZE. Venus has twisted her lips in prayer. Agenbite of
+inwit: remorse of conscience. It is an age of exhausted whoredom groping
+for its god.
+
+--History shows that to be true, INQUIT EGLINTONUS CHRONOLOLOGOS. The
+ages succeed one another. But we have it on high authority that a man's
+worst enemies shall be those of his own house and family. I feel that
+Russell is right. What do we care for his wife or father? I should say
+that only family poets have family lives. Falstaff was not a family man.
+I feel that the fat knight is his supreme creation.
+
+Lean, he lay back. Shy, deny thy kindred, the unco guid. Shy, supping
+with the godless, he sneaks the cup. A sire in Ultonian Antrim bade it
+him. Visits him here on quarter days. Mr Magee, sir, there's a gentleman
+to see you. Me? Says he's your father, sir. Give me my Wordsworth. Enter
+Magee Mor Matthew, a rugged rough rugheaded kern, in strossers with a
+buttoned codpiece, his nether stocks bemired with clauber of ten forests,
+a wand of wilding in his hand.
+
+Your own? He knows your old fellow. The widower.
+
+Hurrying to her squalid deathlair from gay Paris on the quayside I
+touched his hand. The voice, new warmth, speaking. Dr Bob Kenny is
+attending her. The eyes that wish me well. But do not know me.
+
+--A father, Stephen said, battling against hopelessness, is a necessary
+evil. He wrote the play in the months that followed his father's death.
+If you hold that he, a greying man with two marriageable daughters, with
+thirtyfive years of life, NEL MEZZO DEL CAMMIN DI NOSTRA VITA, with fifty
+of experience, is the beardless undergraduate from Wittenberg then you
+must hold that his seventyyear old mother is the lustful queen. No. The
+corpse of John Shakespeare does not walk the night. From hour to hour it
+rots and rots. He rests, disarmed of fatherhood, having devised that
+mystical estate upon his son. Boccaccio's Calandrino was the first and
+last man who felt himself with child. Fatherhood, in the sense of
+conscious begetting, is unknown to man. It is a mystical estate, an
+apostolic succession, from only begetter to only begotten. On that
+mystery and not on the madonna which the cunning Italian intellect flung
+to the mob of Europe the church is founded and founded irremovably
+because founded, like the world, macro and microcosm, upon the void. Upon
+incertitude, upon unlikelihood. AMOR MATRIS, subjective and objective
+genitive, may be the only true thing in life. Paternity may be a legal
+fiction. Who is the father of any son that any son should love him or he
+any son?
+
+What the hell are you driving at?
+
+I know. Shut up. Blast you. I have reasons.
+
+AMPLIUS. ADHUC. ITERUM. POSTEA.
+
+Are you condemned to do this?
+
+--They are sundered by a bodily shame so steadfast that the criminal
+annals of the world, stained with all other incests and bestialities,
+hardly record its breach. Sons with mothers, sires with daughters, lesbic
+sisters, loves that dare not speak their name, nephews with grandmothers,
+jailbirds with keyholes, queens with prize bulls. The son unborn mars
+beauty: born, he brings pain, divides affection, increases care. He is a
+new male: his growth is his father's decline, his youth his father's
+envy, his friend his father's enemy.
+
+In rue Monsieur-le-Prince I thought it.
+
+--What links them in nature? An instant of blind rut.
+
+Am I a father? If I were?
+
+Shrunken uncertain hand.
+
+--Sabellius, the African, subtlest heresiarch of all the beasts of the
+field, held that the Father was Himself His Own Son. The bulldog of
+Aquin, with whom no word shall be impossible, refutes him. Well: if the
+father who has not a son be not a father can the son who has not a father
+be a son? When Rutlandbaconsouthamptonshakespeare or another poet of the
+same name in the comedy of errors wrote HAMLET he was not the father of
+his own son merely but, being no more a son, he was and felt himself the
+father of all his race, the father of his own grandfather, the father of
+his unborn grandson who, by the same token, never was born, for nature,
+as Mr Magee understands her, abhors perfection.
+
+Eglintoneyes, quick with pleasure, looked up shybrightly. Gladly
+glancing, a merry puritan, through the twisted eglantine.
+
+Flatter. Rarely. But flatter.
+
+--Himself his own father, Sonmulligan told himself. Wait. I am big with
+child. I have an unborn child in my brain. Pallas Athena! A play! The
+play's the thing! Let me parturiate!
+
+He clasped his paunchbrow with both birthaiding hands.
+
+--As for his family, Stephen said, his mother's name lives in the forest
+of Arden. Her death brought from him the scene with Volumnia in
+CORIOLANUS. His boyson's death is the deathscene of young Arthur in KING
+JOHN. Hamlet, the black prince, is Hamnet Shakespeare. Who the girls in
+THE TEMPEST, in PERICLES, in WINTER'S TALE are we know. Who Cleopatra,
+fleshpot of Egypt, and Cressid and Venus are we may guess. But there is
+another member of his family who is recorded.
+
+--The plot thickens, John Eglinton said.
+
+The quaker librarian, quaking, tiptoed in, quake, his mask, quake, with
+haste, quake, quack.
+
+Door closed. Cell. Day.
+
+They list. Three. They.
+
+I you he they.
+
+Come, mess.
+
+STEPHEN: He had three brothers, Gilbert, Edmund, Richard. Gilbert in his
+old age told some cavaliers he got a pass for nowt from Maister Gatherer
+one time mass he did and he seen his brud Maister Wull the playwriter up
+in Lunnon in a wrastling play wud a man on's back. The playhouse sausage
+filled Gilbert's soul. He is nowhere: but an Edmund and a Richard are
+recorded in the works of sweet William.
+
+MAGEEGLINJOHN: Names! What's in a name?
+
+BEST: That is my name, Richard, don't you know. I hope you are going to
+say a good word for Richard, don't you know, for my sake.
+
+                (Laughter)
+
+BUCKMULLIGAN: (PIANO, DIMINUENDO)
+
+         Then outspoke medical Dick
+         To his comrade medical Davy ...
+
+STEPHEN: In his trinity of black Wills, the villain shakebags, Iago,
+Richard Crookback, Edmund in KING LEAR, two bear the wicked uncles'
+names. Nay, that last play was written or being written while his brother
+Edmund lay dying in Southwark.
+
+BEST: I hope Edmund is going to catch it. I don't want Richard, my
+name ...
+
+                (Laughter)
+
+QUAKERLYSTER: (A TEMPO) But he that filches from me my good name ...
+
+STEPHEN: (STRINGENDO) He has hidden his own name, a fair name, William,
+in the plays, a super here, a clown there, as a painter of old Italy set
+his face in a dark corner of his canvas. He has revealed it in the
+sonnets where there is Will in overplus. Like John o'Gaunt his name is
+dear to him, as dear as the coat and crest he toadied for, on a bend
+sable a spear or steeled argent, honorificabilitudinitatibus, dearer than
+his glory of greatest shakescene in the country. What's in a name? That
+is what we ask ourselves in childhood when we write the name that we are
+told is ours. A star, a daystar, a firedrake, rose at his birth. It shone
+by day in the heavens alone, brighter than Venus in the night, and by
+night it shone over delta in Cassiopeia, the recumbent constellation
+which is the signature of his initial among the stars. His eyes watched
+it, lowlying on the horizon, eastward of the bear, as he walked by the
+slumberous summer fields at midnight returning from Shottery and from her
+arms.
+
+
+Both satisfied. I too.
+
+Don't tell them he was nine years old when it was quenched.
+
+And from her arms.
+
+Wait to be wooed and won. Ay, meacock. Who will woo you?
+
+Read the skies. AUTONTIMORUMENOS. BOUS STEPHANOUMENOS. Where's your
+configuration? Stephen, Stephen, cut the bread even. S. D: SUA DONNA.
+GIA: DI LUI. GELINDO RISOLVE DI NON AMARE S. D.
+
+--What is that, Mr Dedalus? the quaker librarian asked. Was it a
+celestial phenomenon?
+
+--A star by night, Stephen said. A pillar of the cloud by day.
+
+What more's to speak?
+
+Stephen looked on his hat, his stick, his boots.
+
+STEPHANOS, my crown. My sword. His boots are spoiling the shape of
+my feet. Buy a pair. Holes in my socks. Handkerchief too.
+
+--You make good use of the name, John Eglinton allowed. Your own name
+is strange enough. I suppose it explains your fantastical humour.
+
+Me, Magee and Mulligan.
+
+Fabulous artificer. The hawklike man. You flew. Whereto?
+Newhaven-Dieppe, steerage passenger. Paris and back. Lapwing. Icarus.
+PATER, AIT. Seabedabbled, fallen, weltering. Lapwing you are. Lapwing be.
+
+Mr Best eagerquietly lifted his book to say:
+
+--That's very interesting because that brother motive, don't you know, we
+find also in the old Irish myths. Just what you say. The three brothers
+Shakespeare. In Grimm too, don't you know, the fairytales. The third
+brother that always marries the sleeping beauty and wins the best prize.
+
+Best of Best brothers. Good, better, best.
+
+The quaker librarian springhalted near.
+
+--I should like to know, he said, which brother you ... I understand you
+to suggest there was misconduct with one of the brothers ... But
+perhaps I am anticipating?
+
+He caught himself in the act: looked at all: refrained.
+
+An attendant from the doorway called:
+
+--Mr Lyster! Father Dineen wants ...
+
+--O, Father Dineen! Directly.
+
+Swiftly rectly creaking rectly rectly he was rectly gone.
+
+John Eglinton touched the foil.
+
+--Come, he said. Let us hear what you have to say of Richard and
+Edmund. You kept them for the last, didn't you?
+
+--In asking you to remember those two noble kinsmen nuncle Richie and
+nuncle Edmund, Stephen answered, I feel I am asking too much perhaps. A
+brother is as easily forgotten as an umbrella.
+
+Lapwing.
+
+Where is your brother? Apothecaries' hall. My whetstone. Him, then
+Cranly, Mulligan: now these. Speech, speech. But act. Act speech. They
+mock to try you. Act. Be acted on.
+
+Lapwing.
+
+I am tired of my voice, the voice of Esau. My kingdom for a drink.
+
+On.
+
+--You will say those names were already in the chronicles from which he
+took the stuff of his plays. Why did he take them rather than others?
+Richard, a whoreson crookback, misbegotten, makes love to a widowed
+Ann (what's in a name?), woos and wins her, a whoreson merry widow.
+Richard the conqueror, third brother, came after William the conquered.
+The other four acts of that play hang limply from that first. Of all his
+kings Richard is the only king unshielded by Shakespeare's reverence,
+the angel of the world. Why is the underplot of KING LEAR in which Edmund
+figures lifted out of Sidney's ARCADIA and spatchcocked on to a Celtic
+legend older than history?
+
+--That was Will's way, John Eglinton defended. We should not now
+combine a Norse saga with an excerpt from a novel by George Meredith.
+QUE VOULEZ-VOUS? Moore would say. He puts Bohemia on the seacoast and
+makes Ulysses quote Aristotle.
+
+--Why? Stephen answered himself. Because the theme of the false or the
+usurping or the adulterous brother or all three in one is to Shakespeare,
+what the poor are not, always with him. The note of banishment,
+banishment from the heart, banishment from home, sounds uninterruptedly
+from THE TWO GENTLEMEN OF VERONA onward till Prospero breaks his staff,
+buries it certain fathoms in the earth and drowns his book. It doubles
+itself in the middle of his life, reflects itself in another, repeats
+itself, protasis, epitasis, catastasis, catastrophe. It repeats
+itself again when he is near the grave, when his married daughter
+Susan, chip of the old block, is accused of adultery. But it was
+the original sin that darkened his understanding, weakened his
+will and left in him a strong inclination to evil. The words are
+those of my lords bishops of Maynooth. An original sin and, like original
+sin, committed by another in whose sin he too has sinned. It is between
+the lines of his last written words, it is petrified on his tombstone
+under which her four bones are not to be laid. Age has not withered it.
+Beauty and peace have not done it away. It is in infinite variety
+everywhere in the world he has created, in MUCH ADO ABOUT NOTHING, twice
+in AS YOU LIKE IT, in THE TEMPEST, in HAMLET, in MEASURE FOR MEASURE--and
+in all the other plays which I have not read.
+
+He laughed to free his mind from his mind's bondage.
+
+Judge Eglinton summed up.
+
+--The truth is midway, he affirmed. He is the ghost and the prince. He is
+all in all.
+
+--He is, Stephen said. The boy of act one is the mature man of act five.
+All in all. In CYMBELINE, in OTHELLO he is bawd and cuckold. He acts and
+is acted on. Lover of an ideal or a perversion, like Jose he kills the
+real Carmen. His unremitting intellect is the hornmad Iago ceaselessly
+willing that the moor in him shall suffer.
+
+--Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear!
+
+Dark dome received, reverbed.
+
+--And what a character is Iago! undaunted John Eglinton exclaimed.
+When all is said Dumas FILS (or is it Dumas PERE?) is right. After God
+Shakespeare has created most.
+
+--Man delights him not nor woman neither, Stephen said. He returns after
+a life of absence to that spot of earth where he was born, where he has
+always been, man and boy, a silent witness and there, his journey of life
+ended, he plants his mulberrytree in the earth. Then dies. The motion is
+ended. Gravediggers bury Hamlet PERE and Hamlet FILS. A king and a
+prince at last in death, with incidental music. And, what though murdered
+and betrayed, bewept by all frail tender hearts for, Dane or Dubliner,
+sorrow for the dead is the only husband from whom they refuse to be
+divorced. If you like the epilogue look long on it: prosperous Prospero,
+the good man rewarded, Lizzie, grandpa's lump of love, and nuncle Richie,
+the bad man taken off by poetic justice to the place where the bad niggers
+go. Strong curtain. He found in the world without as actual what was in his
+world within as possible. Maeterlinck says: IF SOCRATES LEAVE HIS HOUSE
+TODAY HE WILL FIND THE SAGE SEATED ON HIS DOORSTEP. IF JUDAS GO FORTH
+TONIGHT IT IS TO JUDAS HIS STEPS WILL TEND. Every life is many days,
+day after day. We walk through ourselves, meeting robbers, ghosts, giants,
+old men, young men, wives, widows, brothers-in-love, but always meeting
+ourselves. The playwright who wrote the folio of this world and wrote it
+badly (He gave us light first and the sun two days later), the lord of
+things as they are whom the most Roman of catholics call DIO BOIA,
+hangman god, is doubtless all in all in all of us, ostler and butcher,
+and would be bawd and cuckold too but  that in the economy of heaven,
+foretold by Hamlet, there are no more marriages, glorified man, an
+androgynous angel, being a wife unto himself.
+
+--EUREKA! Buck Mulligan cried. EUREKA!
+
+Suddenly happied he jumped up and reached in a stride John Eglinton's
+desk.
+
+--May I? he said. The Lord has spoken to Malachi.
+
+He began to scribble on a slip of paper.
+
+Take some slips from the counter going out.
+
+--Those who are married, Mr Best, douce herald, said, all save one, shall
+live. The rest shall keep as they are.
+
+He laughed, unmarried, at Eglinton Johannes, of arts a bachelor.
+
+Unwed, unfancied, ware of wiles, they fingerponder nightly each his
+variorum edition of THE TAMING OF THE SHREW.
+
+--You are a delusion, said roundly John Eglinton to Stephen. You have
+brought us all this way to show us a French triangle. Do you believe your
+own theory?
+
+--No, Stephen said promptly.
+
+--Are you going to write it? Mr Best asked. You ought to make it a
+dialogue, don't you know, like the Platonic dialogues Wilde wrote.
+
+John Eclecticon doubly smiled.
+
+--Well, in that case, he said, I don't see why you should expect payment
+for it since you don't believe it yourself. Dowden believes there is some
+mystery in HAMLET but will say no more. Herr Bleibtreu, the man Piper met
+in Berlin, who is working up that Rutland theory, believes that the secret
+is hidden in the Stratford monument. He is going to visit the present
+duke, Piper says, and prove to him that his ancestor wrote the plays.
+It will come as a surprise to his grace. But he believes his theory.
+
+I believe, O Lord, help my unbelief. That is, help me to believe or help
+me to unbelieve? Who helps to believe? EGOMEN. Who to unbelieve? Other
+chap.
+
+--You are the only contributor to DANA who asks for pieces of silver. Then
+I don't know about the next number. Fred Ryan wants space for an article
+on economics.
+
+Fraidrine. Two pieces of silver he lent me. Tide you over. Economics.
+
+--For a guinea, Stephen said, you can publish this interview.
+
+Buck Mulligan stood up from his laughing scribbling, laughing: and
+then gravely said, honeying malice:
+
+--I called upon the bard Kinch at his summer residence in upper
+Mecklenburgh street and found him deep in the study of the SUMMA CONTRA
+GENTILES in the company of two gonorrheal ladies, Fresh Nelly and Rosalie,
+the coalquay whore.
+
+He broke away.
+
+--Come, Kinch. Come, wandering Aengus of the birds.
+
+Come, Kinch. You have eaten all we left. Ay. I will serve you your orts
+and offals.
+
+Stephen rose.
+
+Life is many days. This will end.
+
+--We shall see you tonight, John Eglinton said. NOTRE AMI Moore says
+Malachi Mulligan must be there.
+
+Buck Mulligan flaunted his slip and panama.
+
+--Monsieur Moore, he said, lecturer on French letters to the youth of
+Ireland. I'll be there. Come, Kinch, the bards must drink. Can you walk
+straight?
+
+Laughing, he ...
+
+Swill till eleven. Irish nights entertainment.
+
+Lubber ...
+
+Stephen followed a lubber ...
+
+One day in the national library we had a discussion. Shakes. After.
+His lub back: I followed. I gall his kibe.
+
+Stephen, greeting, then all amort, followed a lubber jester, a
+wellkempt head, newbarbered, out of the vaulted cell into a shattering
+daylight of no thought.
+
+What have I learned? Of them? Of me?
+
+Walk like Haines now.
+
+The constant readers' room. In the readers' book Cashel Boyle
+O'Connor Fitzmaurice Tisdall Farrell parafes his polysyllables. Item: was
+Hamlet mad? The quaker's pate godlily with a priesteen in booktalk.
+
+--O please do, sir ... I shall be most pleased ...
+
+Amused Buck Mulligan mused in pleasant murmur with himself, selfnodding:
+
+--A pleased bottom.
+
+The turnstile.
+
+Is that? ... Blueribboned hat ... Idly writing ... What? Looked? ...
+
+The curving balustrade: smoothsliding Mincius.
+
+Puck Mulligan, panamahelmeted, went step by step, iambing, trolling:
+
+
+    JOHN EGLINTON, MY JO, JOHN,
+    WHY WON'T YOU WED A WIFE?
+
+
+He spluttered to the air:
+
+--O, the chinless Chinaman! Chin Chon Eg Lin Ton. We went over to their
+playbox, Haines and I, the plumbers' hall. Our players are creating a new
+art for Europe like the Greeks or M. Maeterlinck. Abbey Theatre! I smell
+the pubic sweat of monks.
+
+He spat blank.
+
+Forgot: any more than he forgot the whipping lousy Lucy gave him.
+And left the FEMME DE TRENTE ANS. And why no other children born? And his
+first child a girl?
+
+Afterwit. Go back.
+
+The dour recluse still there (he has his cake) and the douce youngling,
+minion of pleasure, Phedo's toyable fair hair.
+
+Eh ... I just eh ... wanted ... I forgot ... he ...
+
+--Longworth and M'Curdy Atkinson were there ...
+
+Puck Mulligan footed featly, trilling:
+
+    I HARDLY HEAR THE PURLIEU CRY
+    OR A TOMMY TALK AS I PASS ONE BY
+    BEFORE MY THOUGHTS BEGIN TO RUN
+    ON F. M'CURDY ATKINSON,
+    THE SAME THAT HAD THE WOODEN LEG
+    AND THAT FILIBUSTERING FILIBEG
+    THAT NEVER DARED TO SLAKE HIS DROUTH,
+    MAGEE THAT HAD THE CHINLESS MOUTH.
+    BEING AFRAID TO MARRY ON EARTH
+    THEY MASTURBATED FOR ALL THEY WERE WORTH.
+
+Jest on. Know thyself.
+
+Halted, below me, a quizzer looks at me. I halt.
+
+--Mournful mummer, Buck Mulligan moaned. Synge has left off wearing
+black to be like nature. Only crows, priests and English coal are black.
+
+A laugh tripped over his lips.
+
+--Longworth is awfully sick, he said, after what you wrote about that old
+hake Gregory. O you inquisitional drunken jewjesuit! She gets you a job on
+the paper and then you go and slate her drivel to Jaysus. Couldn't you do
+the Yeats touch?
+
+He went on and down, mopping, chanting with waving graceful arms:
+
+--The most beautiful book that has come out of our country in my time.
+One thinks of Homer.
+
+He stopped at the stairfoot.
+
+--I have conceived a play for the mummers, he said solemnly.
+
+The pillared Moorish hall, shadows entwined. Gone the nine men's
+morrice with caps of indices.
+
+In sweetly varying voices Buck Mulligan read his tablet:
+
+
+        EVERYMAN HIS OWN WIFE
+                OR
+        A HONEYMOON IN THE HAND
+    (A NATIONAL IMMORALITY IN THREE ORGASMS)
+                BY
+        BALLOCKY MULLIGAN
+
+
+He turned a happy patch's smirk to Stephen, saying:
+
+--The disguise, I fear, is thin. But listen.
+
+He read, MARCATO:
+
+--Characters:
+
+
+    TODY TOSTOFF (a ruined Pole)
+    CRAB (a bushranger)
+    MEDICAL DICK  )
+        and       ) (two birds with one stone)
+    MEDICAL DAVY  )
+    MOTHER GROGAN (a watercarrier)
+    FRESH NELLY
+        and
+    ROSALIE (the coalquay whore).
+
+
+He laughed, lolling a to and fro head, walking on, followed by Stephen:
+and mirthfully he told the shadows, souls of men:
+
+--O, the night in the Camden hall when the daughters of Erin had to lift
+their skirts to step over you as you lay in your mulberrycoloured,
+multicoloured, multitudinous vomit!
+
+--The most innocent son of Erin, Stephen said, for whom they ever lifted
+them.
+
+About to pass through the doorway, feeling one behind, he stood aside.
+
+Part. The moment is now. Where then? If Socrates leave his house
+today, if Judas go forth tonight. Why? That lies in space which I in time
+must come to, ineluctably.
+
+My will: his will that fronts me. Seas between.
+
+A man passed out between them, bowing, greeting.
+
+--Good day again, Buck Mulligan said.
+
+The portico.
+
+Here I watched the birds for augury. Aengus of the birds. They go,
+they come. Last night I flew. Easily flew. Men wondered. Street of harlots
+after. A creamfruit melon he held to me. In. You will see.
+
+--The wandering jew, Buck Mulligan whispered with clown's awe. Did you
+see his eye? He looked upon you to lust after you. I fear thee, ancient
+mariner. O, Kinch, thou art in peril. Get thee a breechpad.
+
+Manner of Oxenford.
+
+Day. Wheelbarrow sun over arch of bridge.
+
+A dark back went before them, step of a pard, down, out by the
+gateway, under portcullis barbs.
+
+They followed.
+
+Offend me still. Speak on.
+
+Kind air defined the coigns of houses in Kildare street. No birds. Frail
+from the housetops two plumes of smoke ascended, pluming, and in a flaw
+of softness softly were blown.
+
+Cease to strive. Peace of the druid priests of Cymbeline: hierophantic:
+from wide earth an altar.
+
+
+    LAUD WE THE GODS
+    AND LET OUR CROOKED SMOKES CLIMB TO THEIR NOSTRILS
+    FROM OUR BLESS'D ALTARS.
+
+
+    * * * * * * *
+
+
+The superior, the very reverend John Conmee S.J. reset his smooth
+watch in his interior pocket as he came down the presbytery steps. Five to
+three. Just nice time to walk to Artane. What was that boy's name again?
+Dignam. Yes. VERE DIGNUM ET IUSTUM EST. Brother Swan was the person to
+see. Mr Cunningham's letter. Yes. Oblige him, if possible. Good practical
+catholic: useful at mission time.
+
+A onelegged sailor, swinging himself onward by lazy jerks of his
+crutches, growled some notes. He jerked short before the convent of the
+sisters of charity and held out a peaked cap for alms towards the very
+reverend John Conmee S. J. Father Conmee blessed him in the sun for his
+purse held, he knew, one silver crown.
+
+Father Conmee crossed to Mountjoy square. He thought, but not for
+long, of soldiers and sailors, whose legs had been shot off by
+cannonballs, ending their days in some pauper ward, and of cardinal
+Wolsey's words: IF I HAD SERVED MY GOD AS I HAVE SERVED MY KING HE WOULD
+NOT HAVE ABANDONED ME IN MY OLD DAYS. He walked by the treeshade of
+sunnywinking leaves: and towards him came the wife of Mr David Sheehy
+M.P.
+
+--Very well, indeed, father. And you, father?
+
+Father Conmee was wonderfully well indeed. He would go to Buxton
+probably for the waters. And her boys, were they getting on well at
+Belvedere? Was that so? Father Conmee was very glad indeed to hear that.
+And Mr Sheehy himself? Still in London. The house was still sitting, to be
+sure it was. Beautiful weather it was, delightful indeed. Yes, it was very
+probable that Father Bernard Vaughan would come again to preach. O,
+yes: a very great success. A wonderful man really.
+
+Father Conmee was very glad to see the wife of Mr David Sheehy
+M.P. Iooking so well and he begged to be remembered to Mr David Sheehy
+M.P. Yes, he would certainly call.
+
+--Good afternoon, Mrs Sheehy.
+
+Father Conmee doffed his silk hat and smiled, as he took leave, at the
+jet beads of her mantilla inkshining in the sun. And smiled yet again, in
+going. He had cleaned his teeth, he knew, with arecanut paste.
+
+Father Conmee walked and, walking, smiled for he thought on Father
+Bernard Vaughan's droll eyes and cockney voice.
+
+--Pilate! Wy don't you old back that owlin mob?
+
+A zealous man, however. Really he was. And really did great good in.
+his way. Beyond a doubt. He loved Ireland, he said, and he loved the
+Irish. Of good family too would one think it? Welsh, were they not?
+
+O, lest he forget. That letter to father provincial.
+
+Father Conmee stopped three little schoolboys at the corner of
+Mountjoy square. Yes: they were from Belvedere. The little house. Aha.
+And were they good boys at school? O. That was very good now. And what
+was his name? Jack Sohan. And his name? Ger. Gallaher. And the other
+little man? His name was Brunny Lynam. O, that was a very nice name to
+have.
+
+Father Conmee gave a letter from his breast to Master Brunny Lynam
+and pointed to the red pillarbox at the corner of Fitzgibbon street.
+
+--But mind you don't post yourself into the box, little man, he said.
+
+The boys sixeyed Father Conmee and laughed:
+
+--O, sir.
+
+--Well, let me see if you can post a letter, Father Conmee said.
+
+Master Brunny Lynam ran across the road and put Father Conmee's
+letter to father provincial into the mouth of the bright red letterbox.
+Father Conmee smiled and nodded and smiled and walked along Mountjoy
+square east.
+
+Mr Denis J Maginni, professor of dancing &c, in silk hat, slate
+frockcoat with silk facings, white kerchief tie, tight lavender trousers,
+canary gloves and pointed patent boots, walking with grave deportment
+most respectfully took the curbstone as he passed lady Maxwell at the
+corner of Dignam's court.
+
+Was that not Mrs M'Guinness?
+
+Mrs M'Guinness, stately, silverhaired, bowed to Father Conmee from
+the farther footpath along which she sailed. And Father Conmee smiled and
+saluted. How did she do?
+
+A fine carriage she had. Like Mary, queen of Scots, something. And to
+think that she was a pawnbroker! Well, now! Such a ... what should he
+say? ... such a queenly mien.
+
+Father Conmee walked down Great Charles street and glanced at the
+shutup free church on his left. The reverend T. R. Greene B.A. will (D.V.)
+speak. The incumbent they called him. He felt it incumbent on him to say a
+few words. But one should be charitable. Invincible ignorance. They acted
+according to their lights.
+
+Father Conmee turned the corner and walked along the North
+Circular road. It was a wonder that there was not a tramline in such an
+important thoroughfare. Surely, there ought to be.
+
+A band of satchelled schoolboys crossed from Richmond street. All
+raised untidy caps. Father Conmee greeted them more than once benignly.
+Christian brother boys.
+
+Father Conmee smelt incense on his right hand as he walked. Saint
+Joseph's church, Portland row. For aged and virtuous females. Father
+Conmee raised his hat to the Blessed Sacrament. Virtuous: but occasionally
+they were also badtempered.
+
+Near Aldborough house Father Conmee thought of that spendthrift
+nobleman. And now it was an office or something.
+
+Father Conmee began to walk along the North Strand road and was
+saluted by Mr William Gallagher who stood in the doorway of his shop.
+Father Conmee saluted Mr William Gallagher and perceived the odours
+that came from baconflitches and ample cools of butter. He passed
+Grogan's the Tobacconist against which newsboards leaned and told of a
+dreadful catastrophe in New York. In America those things were
+continually happening. Unfortunate people to die like that, unprepared.
+Still, an act of perfect contrition.
+
+Father Conmee went by Daniel Bergin's publichouse against the
+window of which two unlabouring men lounged. They saluted him and
+were saluted.
+
+Father Conmee passed H. J. O'Neill's funeral establishment where
+Corny Kelleher totted figures in the daybook while he chewed a blade of
+hay. A constable on his beat saluted Father Conmee and Father Conmee
+saluted the constable. In Youkstetter's, the porkbutcher's, Father Conmee
+observed pig's puddings, white and black and red, lie neatly curled in
+tubes.
+
+Moored under the trees of Charleville Mall Father Conmee saw a
+turfbarge, a towhorse with pendent head, a bargeman with a hat of dirty
+straw seated amidships, smoking and staring at a branch of poplar above
+him. It was idyllic: and Father Conmee reflected on the providence of the
+Creator who had made turf to be in bogs whence men might dig it out and
+bring it to town and hamlet to make fires in the houses of poor people.
+
+On Newcomen bridge the very reverend John Conmee S.J. of saint
+Francis Xavier's church, upper Gardiner street, stepped on to an outward
+bound tram.
+
+Off an inward bound tram stepped the reverend Nicholas Dudley
+C. C. of saint Agatha's church, north William street, on to Newcomen
+bridge.
+
+At Newcomen bridge Father Conmee stepped into an outward bound
+tram for he disliked to traverse on foot the dingy way past Mud Island.
+
+Father Conmee sat in a corner of the tramcar, a blue ticket tucked
+with care in the eye of one plump kid glove, while four shillings, a
+sixpence and five pennies chuted from his other plump glovepalm into his
+purse. Passing the ivy church he reflected that the ticket inspector
+usually made his visit when one had carelessly thrown away the ticket.
+The solemnity of the occupants of the car seemed to Father Conmee
+excessive for a journey so short and cheap. Father Conmee liked cheerful
+decorum.
+
+It was a peaceful day. The gentleman with the glasses opposite Father
+Conmee had finished explaining and looked down. His wife, Father
+Conmee supposed. A tiny yawn opened the mouth of the wife of the gentleman
+with the glasses. She raised her small gloved fist, yawned ever so gently,
+tiptapping  her small gloved fist on her opening mouth and smiled tinily,
+sweetly.
+
+Father Conmee perceived her perfume in the car. He perceived also
+that the awkward man at the other side of her was sitting on the edge of
+the seat.
+
+Father Conmee at the altarrails placed the host with difficulty in the
+mouth of the awkward old man who had the shaky head.
+
+At Annesley bridge the tram halted and, when it was about to go, an
+old woman rose suddenly from her place to alight. The conductor pulled
+the bellstrap to stay the car for her. She passed out with her basket and
+a marketnet: and Father Conmee saw the conductor help her and net and
+basket down: and Father Conmee thought that, as she had nearly passed
+the end of the penny fare, she was one of those good souls who had always
+to be told twice BLESS YOU, MY CHILD, that they have been absolved, PRAY
+FOR ME. But they had so many worries in life, so many cares, poor
+creatures.
+
+From the hoardings Mr Eugene Stratton grimaced with thick niggerlips at
+Father Conmee.
+
+Father Conmee thought of the souls of black and brown and yellow
+men and of his sermon on saint Peter Claver S.J. and the African mission
+and of the propagation of the faith and of the millions of black and brown
+and yellow souls that had not received the baptism of water when their last
+hour came like a thief in the night. That book by the Belgian jesuit, LE
+NOMBRE DES ELUS, seemed to Father Conmee a reasonable plea. Those were
+millions of human souls created by God in His Own likeness to whom the
+faith had not (D.V.) been brought. But they were God's souls, created by
+God. It seemed to Father Conmee a pity that they should all be lost, a
+waste, if one might say.
+
+At the Howth road stop Father Conmee alighted, was saluted by the
+conductor and saluted in his turn.
+
+The Malahide road was quiet. It pleased Father Conmee, road and
+name. The joybells were ringing in gay Malahide. Lord Talbot de Malahide,
+immediate hereditary lord admiral of Malahide and the seas adjoining.
+Then came the call to arms and she was maid, wife and widow in one day.
+Those were old worldish days, loyal times in joyous townlands, old times
+in the barony.
+
+Father Conmee, walking, thought of his little book OLD TIMES IN THE
+BARONY and of the book that might be written about jesuit houses and of
+Mary Rochfort, daughter of lord Molesworth, first countess of Belvedere.
+
+A listless lady, no more young, walked alone the shore of lough
+Ennel, Mary, first countess of Belvedere, listlessly walking in the
+evening, not startled when an otter plunged. Who could know the truth?
+Not the jealous lord Belvedere and not her confessor if she had not
+committed adultery fully, EIACULATIO SEMINIS INTER VAS NATURALE MULIERIS,
+with her husband's brother? She would half confess if she had not all
+sinned as women did. Only God knew and she and he, her husband's brother.
+
+Father Conmee thought of that tyrannous incontinence, needed
+however for man's race on earth, and of the ways of God which were not
+our ways.
+
+Don John Conmee walked and moved in times of yore. He was
+humane and honoured there. He bore in mind secrets confessed and he
+smiled at smiling noble faces in a beeswaxed drawingroom, ceiled with full
+fruit clusters. And the hands of a bride and of a bridegroom, noble to
+noble, were impalmed by Don John Conmee.
+
+It was a charming day.
+
+The lychgate of a field showed Father Conmee breadths of cabbages,
+curtseying to him with ample underleaves. The sky showed him a flock of
+small white clouds going slowly down the wind. MOUTONNER, the French
+said. A just and homely word.
+
+Father Conmee, reading his office, watched a flock of muttoning
+clouds over Rathcoffey. His thinsocked ankles were tickled by the stubble
+of Clongowes field. He walked there, reading in the evening, and heard the
+cries of the boys' lines at their play, young cries in the quiet evening.
+He was their rector: his reign was mild.
+
+Father Conmee drew off his gloves and took his rededged breviary out.
+An ivory bookmark told him the page.
+
+Nones. He should have read that before lunch. But lady Maxwell had come.
+
+Father Conmee read in secret PATER and AVE and crossed his breast.
+DEUS IN ADIUTORIUM.
+
+He walked calmly and read mutely the nones, walking and reading till
+he came to RES in BEATI IMMACULATI: PRINCIPIUM VERBORUM TUORUM VERITAS:
+IN ETERNUM OMNIA INDICIA IUSTITIAE TUAE.
+
+A flushed young man came from a gap of a hedge and after him came
+a young woman with wild nodding daisies in her hand. The young man
+raised his cap abruptly: the young woman abruptly bent and with slow care
+detached from her light skirt a clinging twig.
+
+Father Conmee blessed both gravely and turned a thin page of his
+breviary. SIN: PRINCIPES PERSECUTI SUNT ME GRATIS: ET A VERBIS TUIS
+FORMIDAVIT COR MEUM.
+
+
+    * * * * *
+
+
+Corny Kelleher closed his long daybook and glanced with his
+drooping eye at a pine coffinlid sentried in a corner. He pulled himself
+erect, went to it and, spinning it on its axle, viewed its shape and brass
+furnishings. Chewing his blade of hay he laid the coffinlid by and came to
+the doorway. There he tilted his hatbrim to give shade to his eyes and
+leaned against the doorcase, looking idly out.
+
+Father John Conmee stepped into the Dollymount tram on
+Newcomen bridge.
+
+Corny Kelleher locked his largefooted boots and gazed, his hat
+downtilted, chewing his blade of hay.
+
+Constable 57C, on his beat, stood to pass the time of day.
+
+--That's a fine day, Mr Kelleher.
+
+--Ay, Corny Kelleher said.
+
+--It's very close, the constable said.
+
+Corny Kelleher sped a silent jet of hayjuice arching from his mouth
+while a generous white arm from a window in Eccles street flung forth a
+coin.
+
+--What's the best news? he asked.
+
+--I seen that particular party last evening, the constable said with bated
+breath.
+
+
+    * * * * *
+
+
+A onelegged sailor crutched himself round MacConnell's corner,
+skirting Rabaiotti's icecream car, and jerked himself up Eccles street.
+Towards Larry O'Rourke, in shirtsleeves in his doorway, he growled
+unamiably:
+
+--FOR ENGLAND ...
+
+He swung himself violently forward past Katey and Boody Dedalus,
+halted and growled:
+
+--HOME AND BEAUTY.
+
+J. J. O'Molloy's white careworn face was told that Mr Lambert was
+in the warehouse with a visitor.
+
+A stout lady stopped, took a copper coin from her purse and dropped
+it into the cap held out to her. The sailor grumbled thanks, glanced
+sourly at the unheeding windows, sank his head and swung himself forward
+four strides.
+
+He halted and growled angrily:
+
+--FOR ENGLAND ...
+
+Two barefoot urchins, sucking long liquorice laces, halted near him,
+gaping at his stump with their yellowslobbered mouths.
+
+He swung himself forward in vigorous jerks, halted, lifted his head
+towards a window and bayed deeply:
+
+--HOME AND BEAUTY.
+
+The gay sweet chirping whistling within went on a bar or two, ceased.
+The blind of the window was drawn aside. A card UNFURNISHED APARTMENTS
+slipped from the sash and fell. A plump bare generous arm shone, was seen,
+held forth from a white petticoatbodice and taut shiftstraps. A woman's
+hand flung forth a coin over the area railings. It fell on the path.
+
+One of the urchins ran to it, picked it up and dropped it into the
+minstrel's cap, saying:
+
+--There, sir.
+
+
+    * * * * *
+
+
+Katey and Boody Dedalus shoved in the door of the closesteaming
+kitchen.
+
+--Did you put in the books? Boody asked.
+
+Maggy at the range rammed down a greyish mass beneath bubbling
+suds twice with her potstick and wiped her brow.
+
+--They wouldn't give anything on them, she said.
+
+Father Conmee walked through Clongowes fields, his thinsocked
+ankles tickled by stubble.
+
+--Where did you try? Boody asked.
+
+--M'Guinness's.
+
+Boody stamped her foot and threw her satchel on the table.
+
+--Bad cess to her big face! she cried.
+
+Katey went to the range and peered with squinting eyes.
+
+--What's in the pot? she asked.
+
+--Shirts, Maggy said.
+
+Boody cried angrily:
+
+--Crickey, is there nothing for us to eat?
+
+Katey, lifting the kettlelid in a pad of her stained skirt, asked:
+
+--And what's in this?
+
+A heavy fume gushed in answer.
+
+--Peasoup, Maggy said.
+
+--Where did you get it? Katey asked.
+
+--Sister Mary Patrick, Maggy said.
+
+The lacquey rang his bell.
+
+--Barang!
+
+Boody sat down at the table and said hungrily:
+
+--Give us it here.
+
+Maggy poured yellow thick soup from the kettle into a bowl. Katey,
+sitting opposite Boody, said quietly, as her fingertip lifted to her mouth
+random crumbs:
+
+--A good job we have that much. Where's Dilly?
+
+--Gone to meet father, Maggy said.
+
+Boody, breaking big chunks of bread into the yellow soup, added:
+
+--Our father who art not in heaven.
+
+Maggy, pouring yellow soup in Katey's bowl, exclaimed:
+
+--Boody! For shame!
+
+A skiff, a crumpled throwaway, Elijah is coming, rode lightly down
+the Liffey, under Loopline bridge, shooting the rapids where water chafed
+around the bridgepiers, sailing eastward past hulls and anchorchains,
+between the Customhouse old dock and George's quay.
+
+    * * * * *
+
+
+The blond girl in Thornton's bedded the wicker basket with rustling
+fibre. Blazes Boylan handed her the bottle swathed in pink tissue paper
+and a small jar.
+
+--Put these in first, will you? he said.
+
+--Yes, sir, the blond girl said. And the fruit on top.
+
+--That'll do, game ball, Blazes Boylan said.
+
+She bestowed fat pears neatly, head by tail, and among them ripe
+shamefaced peaches.
+
+Blazes Boylan walked here and there in new tan shoes about the
+fruitsmelling shop, lifting fruits, young juicy crinkled and plump red
+tomatoes, sniffing smells.
+
+H. E. L. Y.'S filed before him, tallwhitehatted, past Tangier lane,
+plodding towards their goal.
+
+He turned suddenly from a chip of strawberries, drew a gold watch
+from his fob and held it at its chain's length.
+
+--Can you send them by tram? Now?
+
+A darkbacked figure under Merchants' arch scanned books on the
+hawker's cart.
+
+--Certainly, sir. Is it in the city?
+
+--O, yes, Blazes Boylan said. Ten minutes.
+
+The blond girl handed him a docket and pencil.
+
+--Will you write the address, sir?
+
+Blazes Boylan at the counter wrote and pushed the docket to her.
+
+--Send it at once, will you? he said. It's for an invalid.
+
+--Yes, sir. I will, sir.
+
+Blazes Boylan rattled merry money in his trousers' pocket.
+
+--What's the damage? he asked.
+
+The blond girl's slim fingers reckoned the fruits.
+
+Blazes Boylan looked into the cut of her blouse. A young pullet. He
+took a red carnation from the tall stemglass.
+
+--This for me? he asked gallantly.
+
+The blond girl glanced sideways at him, got up regardless, with his tie
+a bit crooked, blushing.
+
+--Yes, sir, she said.
+
+Bending archly she reckoned again fat pears and blushing peaches.
+
+Blazes Boylan looked in her blouse with more favour, the stalk of the
+red flower between his smiling teeth.
+
+--May I say a word to your telephone, missy? he asked roguishly.
+
+
+    * * * * *
+
+
+--MA! Almidano Artifoni said.
+
+He gazed over Stephen's shoulder at Goldsmith's knobby poll.
+
+Two carfuls of tourists passed slowly, their women sitting fore,
+gripping the handrests. Palefaces. Men's arms frankly round their stunted
+forms. They looked from Trinity to the blind columned porch of the bank
+of Ireland where pigeons roocoocooed.
+
+--ANCH'IO HO AVUTO DI QUESTE IDEE, Almidano Artifoni said, QUAND' ERO
+GIOVINE COME LEI. EPPOI MI SONO CONVINTO CHE IL MONDO E UNA BESTIA.
+PECCATO. PERCHE LA SUA VOCE ... SAREBBE UN CESPITE DI RENDITA, VIA.
+INVECE, LEI SI SACRIFICA.
+
+--SACRIFIZIO INCRUENTO, Stephen said smiling, swaying his ashplant in slow
+swingswong from its midpoint, lightly.
+
+--SPERIAMO, the round mustachioed face said pleasantly. MA, DIA RETTA A
+ME. CI RIFLETTA.
+
+By the stern stone hand of Grattan, bidding halt, an Inchicore tram
+unloaded straggling Highland soldiers of a band.
+
+--CI RIFLETTERO, Stephen said, glancing down the solid trouserleg.
+
+--MA, SUL SERIO, EH? Almidano Artifoni said.
+
+His heavy hand took Stephen's firmly. Human eyes. They gazed
+curiously an instant and turned quickly towards a Dalkey tram.
+
+--ECCOLO, Almidano Artifoni said in friendly haste. VENGA A TROVARMI E CI
+PENSI. ADDIO, CARO.
+
+--ARRIVEDERLA, MAESTRO, Stephen said, raising his hat when his hand was
+freed. E GRAZIE.
+
+--DI CHE? Almidano Artifoni said. SCUSI, EH? TANTE BELLE COSE!
+
+Almidano Artifoni, holding up a baton of rolled music as a signal,
+trotted on stout trousers after the Dalkey tram. In vain he trotted,
+signalling in vain among the rout of barekneed gillies smuggling
+implements of music through Trinity gates.
+
+
+    * * * * *
+
+
+Miss Dunne hid the Capel street library copy of THE WOMAN IN WHITE
+far back in her drawer and rolled a sheet of gaudy notepaper into her
+typewriter.
+
+Too much mystery business in it. Is he in love with that one, Marion?
+Change it and get another by Mary Cecil Haye.
+
+The disk shot down the groove, wobbled a while, ceased and ogled
+them: six.
+
+Miss Dunne clicked on the keyboard:
+
+--16 June 1904.
+
+Five tallwhitehatted sandwichmen between Monypeny's corner and
+the slab where Wolfe Tone's statue was not, eeled themselves turning
+H. E. L. Y.'S and plodded back as they had come.
+
+
+Then she stared at the large poster of Marie Kendall, charming soubrette,
+and, listlessly lolling, scribbled on the jotter sixteens and capital
+esses. Mustard hair and dauby cheeks. She's not nicelooking, is she? The
+way she's holding up her bit of a skirt. Wonder will that fellow be at the
+band tonight. If I could get that dressmaker to make a concertina skirt
+like Susy Nagle's. They kick out grand. Shannon and all the boatclub
+swells never took his eyes off her. Hope to goodness he won't keep me here
+till seven.
+
+The telephone rang rudely by her ear.
+
+--Hello. Yes, sir. No, sir. Yes, sir. I'll ring them up after five. Only
+those two, sir, for Belfast and Liverpool. All right, sir. Then I can go
+after six if you're not back. A quarter after. Yes, sir. Twentyseven and
+six. I'll tell him. Yes: one, seven, six.
+
+She scribbled three figures on an envelope.
+
+--Mr Boylan! Hello! That gentleman from SPORT was in looking for you.
+Mr Lenehan, yes. He said he'll be in the Ormond at four. No, sir. Yes,
+sir. I'll ring them up after five.
+
+
+    * * * * *
+
+
+Two pink faces turned in the flare of the tiny torch.
+
+--Who's that? Ned Lambert asked. Is that Crotty?
+
+--Ringabella and Crosshaven, a voice replied groping for foothold.
+
+--Hello, Jack, is that yourself? Ned Lambert said, raising in salute his
+pliant lath among the flickering arches. Come on. Mind your steps there.
+
+The vesta in the clergyman's uplifted hand consumed itself in a long soft
+flame and was let fall. At their feet its red speck died: and mouldy air
+closed round them.
+
+--How interesting! a refined accent said in the gloom.
+
+--Yes, sir, Ned Lambert said heartily. We are standing in the historic
+council chamber of saint Mary's abbey where silken Thomas proclaimed
+himself a rebel in 1534. This is the most historic spot in all Dublin.
+O'Madden Burke is going to write something about it one of these days. The
+old bank of Ireland was over the way till the time of the union and the
+original jews' temple was here too before they built their synagogue over
+in Adelaide road. You were never here before, Jack, were you?
+
+--No, Ned.
+
+--He rode down through Dame walk, the refined accent said, if my
+memory serves me. The mansion of the Kildares was in Thomas court.
+
+--That's right, Ned Lambert said. That's quite right, sir.
+
+--If you will be so kind then, the clergyman said, the next time to allow
+me perhaps ...
+
+--Certainly, Ned Lambert said. Bring the camera whenever you like. I'll
+get those bags cleared away from the windows. You can take it from here or
+from here.
+
+In the still faint light he moved about, tapping with his lath the piled
+seedbags and points of vantage on the floor.
+
+From a long face a beard and gaze hung on a chessboard.
+
+--I'm deeply obliged, Mr Lambert, the clergyman said. I won't trespass on
+your valuable time ...
+
+--You're welcome, sir, Ned Lambert said. Drop in whenever you like. Next
+week, say. Can you see?
+
+--Yes, yes. Good afternoon, Mr Lambert. Very pleased to have met you.
+
+--Pleasure is mine, sir, Ned Lambert answered.
+
+He followed his guest to the outlet and then whirled his lath away
+among the pillars. With J. J. O'Molloy he came forth slowly into Mary's
+abbey where draymen were loading floats with sacks of carob and palmnut
+meal, O'Connor, Wexford.
+
+He stood to read the card in his hand.
+
+--The reverend Hugh C. Love, Rathcoffey. Present address: Saint
+Michael's, Sallins. Nice young chap he is. He's writing a book about the
+Fitzgeralds he told me. He's well up in history, faith.
+
+The young woman with slow care detached from her light skirt a
+clinging twig.
+
+--I thought you were at a new gunpowder plot, J. J. O'Molloy said.
+
+Ned Lambert cracked his fingers in the air.
+
+--God! he cried. I forgot to tell him that one about the earl of Kildare
+after he set fire to Cashel cathedral. You know that one? I'M BLOODY SORRY
+I DID IT, says he, BUT I DECLARE TO GOD I THOUGHT THE ARCHBISHOP WAS
+INSIDE. He mightn't like it, though. What? God, I'll tell him anyhow.
+That was the great earl, the Fitzgerald Mor. Hot members they were all of
+them, the Geraldines.
+
+The horses he passed started nervously under their slack harness. He
+slapped a piebald haunch quivering near him and cried:
+
+--Woa, sonny!
+
+He turned to J. J. O'Molloy and asked:
+
+--Well, Jack. What is it? What's the trouble? Wait awhile. Hold hard.
+
+With gaping mouth and head far back he stood still and, after an
+instant, sneezed loudly.
+
+--Chow! he said. Blast you!
+
+--The dust from those sacks, J. J. O'Molloy said politely.
+
+--No, Ned Lambert gasped, I caught a ... cold night before ... blast
+your soul ... night before last ... and there was a hell of a lot of
+draught ...
+
+He held his handkerchief ready for the coming ...
+
+--I was ... Glasnevin this morning ... poor little ... what do you call
+him ... Chow! ... Mother of Moses!
+
+
+    * * * * *
+
+
+Tom Rochford took the top disk from the pile he clasped against his
+claret waistcoat.
+
+--See? he said. Say it's turn six. In here, see. Turn Now On.
+
+He slid it into the left slot for them. It shot down the groove, wobbled
+a while, ceased, ogling them: six.
+
+Lawyers of the past, haughty, pleading, beheld pass from the
+consolidated taxing office to Nisi Prius court Richie Goulding carrying
+the costbag of Goulding, Collis and Ward and heard rustling from the
+admiralty division of king's bench to the court of appeal an elderly
+female with false teeth smiling incredulously and a black silk skirt of
+great amplitude.
+
+--See? he said. See now the last one I put in is over here: Turns Over.
+The impact. Leverage, see?
+
+He showed them the rising column of disks on the right.
+
+--Smart idea, Nosey Flynn said, snuffling. So a fellow coming in late can
+see what turn is on and what turns are over.
+
+--See? Tom Rochford said.
+
+He slid in a disk for himself: and watched it shoot, wobble, ogle, stop:
+four. Turn Now On.
+
+--I'll see him now in the Ormond, Lenehan said, and sound him. One good
+turn deserves another.
+
+--Do, Tom Rochford said. Tell him I'm Boylan with impatience.
+
+--Goodnight, M'Coy said abruptly. When you two begin
+
+Nosey Flynn stooped towards the lever, snuffling at it.
+
+--But how does it work here, Tommy? he asked.
+
+--Tooraloo, Lenehan said. See you later.
+
+He followed M'Coy out across the tiny square of Crampton court.
+
+--He's a hero, he said simply.
+
+--I know, M'Coy said. The drain, you mean.
+
+--Drain? Lenehan said. It was down a manhole.
+
+They passed Dan Lowry's musichall where Marie Kendall, charming
+soubrette, smiled on them from a poster a dauby smile.
+
+Going down the path of Sycamore street beside the Empire musichall
+Lenehan showed M'Coy how the whole thing was. One of those manholes
+like a bloody gaspipe and there was the poor devil stuck down in it, half
+choked with sewer gas. Down went Tom Rochford anyhow, booky's vest
+and all, with the rope round him. And be damned but he got the rope round
+the poor devil and the two were hauled up.
+
+--The act of a hero, he said.
+
+At the Dolphin they halted to allow the ambulance car to gallop past
+them for Jervis street.
+
+--This way, he said, walking to the right. I want to pop into Lynam's to
+see Sceptre's starting price. What's the time by your gold watch and
+chain?
+
+M'Coy peered into Marcus Tertius Moses' sombre office, then at
+O'Neill's clock.
+
+--After three, he said. Who's riding her?
+
+--O. Madden, Lenehan said. And a game filly she is.
+
+While he waited in Temple bar M'Coy dodged a banana peel with
+gentle pushes of his toe from the path to the gutter. Fellow might damn
+easy get a nasty fall there coming along tight in the dark.
+
+The gates of the drive opened wide to give egress to the viceregal
+cavalcade.
+
+--Even money, Lenehan said returning. I knocked against Bantam Lyons in
+there going to back a bloody horse someone gave him that hasn't an
+earthly. Through here.
+
+They went up the steps and under Merchants' arch. A darkbacked
+figure scanned books on the hawker's cart.
+
+--There he is, Lenehan said.
+
+--Wonder what he's buying, M'Coy said, glancing behind.
+
+--LEOPOLDO OR THE BLOOM IS ON THE RYE, Lenehan said.
+
+--He's dead nuts on sales, M'Coy said. I was with him one day and he
+bought a book from an old one in Liffey street for two bob. There were
+fine plates in it worth double the money, the stars and the moon and
+comets with long tails. Astronomy it was about.
+
+Lenehan laughed.
+
+--I'll tell you a damn good one about comets' tails, he said. Come over in
+the sun.
+
+They crossed to the metal bridge and went along Wellington quay by
+the riverwall.
+
+Master Patrick Aloysius Dignam came out of Mangan's, late
+Fehrenbach's, carrying a pound and a half of porksteaks.
+
+--There was a long spread out at Glencree reformatory, Lenehan said
+eagerly. The annual dinner, you know. Boiled shirt affair. The lord mayor
+was there, Val Dillon it was, and sir Charles Cameron and Dan Dawson
+spoke and there was music. Bartell d'Arcy sang and Benjamin Dollard ...
+
+--I know, M'Coy broke in. My missus sang there once.
+
+--Did she? Lenehan said.
+
+A card UNFURNISHED APARTMENTS reappeared on the windowsash of
+number 7 Eccles street.
+
+He checked his tale a moment but broke out in a wheezy laugh.
+
+--But wait till I tell you, he said. Delahunt of Camden street had the
+catering and yours truly was chief bottlewasher. Bloom and the wife were
+there. Lashings of stuff we put up: port wine and sherry and curacao to
+which we did ample justice. Fast and furious it was. After liquids came
+solids. Cold joints galore and mince pies ...
+
+--I know, M'Coy said. The year the missus was there ...
+
+Lenehan linked his arm warmly.
+
+--But wait till I tell you, he said. We had a midnight lunch too after all
+the jollification and when we sallied forth it was blue o'clock the
+morning after the night before. Coming home it was a gorgeous winter's
+night on the Featherbed Mountain. Bloom and Chris Callinan were on one
+side of the car and I was with the wife on the other. We started singing
+glees and duets: LO, THE EARLY BEAM OF MORNING. She was well primed with a
+good load of Delahunt's port under her bellyband. Every jolt the bloody
+car gave I had her bumping up against me. Hell's delights! She has a fine
+pair, God bless her. Like that.
+
+
+He held his caved hands a cubit from him, frowning:
+
+--I was tucking the rug under her and settling her boa all the time. Know
+what I mean?
+
+His hands moulded ample curves of air. He shut his eyes tight in
+delight, his body shrinking, and blew a sweet chirp from his lips.
+
+--The lad stood to attention anyhow, he said with a sigh. She's a gamey
+mare and no mistake. Bloom was pointing out all the stars and the comets
+in the heavens to Chris Callinan and the jarvey: the great bear and
+Hercules and the dragon, and the whole jingbang lot. But, by God, I was
+lost, so to speak, in the milky way. He knows them all, faith. At last she
+spotted a weeny weeshy one miles away. AND WHAT STAR IS THAT, POLDY? says
+she. By God, she had Bloom cornered. THAT ONE, IS IT? says Chris Callinan,
+SURE THAT'S ONLY WHAT YOU MIGHT CALL A PINPRICK. By God, he wasn't far
+wide of the mark.
+
+Lenehan stopped and leaned on the riverwall, panting with soft
+laughter.
+
+--I'm weak, he gasped.
+
+M'Coy's white face smiled about it at instants and grew grave.
+Lenehan walked on again. He lifted his yachtingcap and scratched his
+hindhead rapidly. He glanced sideways in the sunlight at M'Coy.
+
+--He's a cultured allroundman, Bloom is, he said seriously. He's not one
+of your common or garden ... you know ... There's a touch of the artist
+about old Bloom.
+
+
+    * * * * *
+
+
+Mr Bloom turned over idly pages of THE AWFUL DISCLOSURES OF MARIA
+MONK, then of Aristotle's MASTERPIECE. Crooked botched print. Plates:
+infants cuddled in a ball in bloodred wombs like livers of slaughtered
+cows. Lots of them like that at this moment all over the world. All
+butting with their skulls to get out of it. Child born every minute
+somewhere. Mrs Purefoy.
+
+He laid both books aside and glanced at the third: TALES OF THE GHETTO
+by Leopold von Sacher Masoch.
+
+--That I had, he said, pushing it by.
+
+The shopman let two volumes fall on the counter.
+
+--Them are two good ones, he said.
+
+Onions of his breath came across the counter out of his ruined
+mouth. He bent to make a bundle of the other books, hugged them against
+his unbuttoned waistcoat and bore them off behind the dingy curtain.
+
+On O'Connell bridge many persons observed the grave deportment
+and gay apparel of Mr Denis J Maginni, professor of dancing &c.
+
+Mr Bloom, alone, looked at the titles. FAIR TYRANTS by James Lovebirch.
+Know the kind that is. Had it? Yes.
+
+He opened it. Thought so.
+
+A woman's voice behind the dingy curtain. Listen: the man.
+
+No: she wouldn't like that much. Got her it once.
+
+He read the other title: SWEETS OF SIN. More in her line. Let us see.
+
+He read where his finger opened.
+
+--ALL THE DOLLARBILLS HER HUSBAND GAVE HER WERE SPENT IN THE STORES ON
+WONDROUS GOWNS AND COSTLIEST FRILLIES. FOR HIM! FOR RAOUL!
+
+Yes. This. Here. Try.
+
+--HER MOUTH GLUED ON HIS IN A LUSCIOUS VOLUPTUOUS KISS WHILE HIS HANDS
+FELT FOR THE OPULENT CURVES INSIDE HER DESHABILLE.
+
+Yes. Take this. The end.
+
+--YOU ARE LATE, HE SPOKE HOARSELY, EYING HER WITH A SUSPICIOUS GLARE.
+THE BEAUTIFUL WOMAN THREW OFF HER SABLETRIMMED WRAP, DISPLAYING HER
+QUEENLY SHOULDERS AND HEAVING EMBONPOINT. AN IMPERCEPTIBLE SMILE PLAYED
+ROUND HER PERFECT LIPS AS SHE TURNED TO HIM CALMLY.
+
+Mr Bloom read again: THE BEAUTIFUL WOMAN.
+
+Warmth showered gently over him, cowing his flesh. Flesh yielded
+amply amid rumpled clothes: whites of eyes swooning up. His nostrils
+arched themselves for prey. Melting breast ointments (FOR HIM! FOR
+RAOUL!). Armpits' oniony sweat. Fishgluey slime (HER HEAVING EMBONPOINT!).
+Feel! Press! Crushed! Sulphur dung of lions!
+
+Young! Young!
+
+An elderly female, no more young, left the building of the courts of
+chancery, king's bench, exchequer and common pleas, having heard in the
+lord chancellor's court the case in lunacy of Potterton, in the admiralty
+division the summons, exparte motion, of the owners of the Lady Cairns
+versus the owners of the barque Mona, in the court of appeal reservation
+of judgment in the case of Harvey versus the Ocean Accident and Guarantee
+Corporation.
+
+Phlegmy coughs shook the air of the bookshop, bulging out the dingy
+curtains. The shopman's uncombed grey head came out and his unshaven
+reddened face, coughing. He raked his throat rudely, puked phlegm on the
+floor. He put his boot on what he had spat, wiping his sole along it, and
+bent, showing a rawskinned crown, scantily haired.
+
+Mr Bloom beheld it.
+
+Mastering his troubled breath, he said:
+
+--I'll take this one.
+
+The shopman lifted eyes bleared with old rheum.
+
+--SWEETS OF SIN, he said, tapping on it. That's a good one.
+
+
+    * * * * *
+
+
+The lacquey by the door of Dillon's auctionrooms shook his handbell
+twice again and viewed himself in the chalked mirror of the cabinet.
+
+Dilly Dedalus, loitering by the curbstone, heard the beats of the bell,
+the cries of the auctioneer within. Four and nine. Those lovely curtains.
+Five shillings. Cosy curtains. Selling new at two guineas. Any advance on
+five shillings? Going for five shillings.
+
+The lacquey lifted his handbell and shook it:
+
+--Barang!
+
+Bang of the lastlap bell spurred the halfmile wheelmen to their sprint.
+J. A. Jackson, W. E. Wylie, A. Munro and H. T. Gahan, their stretched
+necks wagging, negotiated the curve by the College library.
+
+Mr Dedalus, tugging a long moustache, came round from Williams's
+row. He halted near his daughter.
+
+--It's time for you, she said.
+
+--Stand up straight for the love of the lord Jesus, Mr Dedalus said. Are
+you trying to imitate your uncle John, the cornetplayer, head upon
+shoulder? Melancholy God!
+
+Dilly shrugged her shoulders. Mr Dedalus placed his hands on them
+and held them back.
+
+--Stand up straight, girl, he said. You'll get curvature of the spine.
+Do you know what you look like?
+
+He let his head sink suddenly down and forward, hunching his
+shoulders and dropping his underjaw.
+
+--Give it up, father, Dilly said. All the people are looking at you.
+
+Mr Dedalus drew himself upright and tugged again at his moustache.
+
+--Did you get any money? Dilly asked.
+
+--Where would I get money? Mr Dedalus said. There is no-one in Dublin
+would lend me fourpence.
+
+--You got some, Dilly said, looking in his eyes.
+
+--How do you know that? Mr Dedalus asked, his tongue in his cheek.
+
+Mr Kernan, pleased with the order he had booked, walked boldly
+along James's street.
+
+--I know you did, Dilly answered. Were you in the Scotch house now?
+
+--I was not, then, Mr Dedalus said, smiling. Was it the little nuns
+taught you to be so saucy? Here.
+
+He handed her a shilling.
+
+--See if you can do anything with that, he said.
+
+--I suppose you got five, Dilly said. Give me more than that.
+
+--Wait awhile, Mr Dedalus said threateningly. You're like the rest of
+them, are you? An insolent pack of little bitches since your poor mother
+died. But wait awhile. You'll all get a short shrift and a long day from
+me. Low blackguardism! I'm going to get rid of you. Wouldn't care if I
+was stretched out stiff. He's dead. The man upstairs is dead.
+
+He left her and walked on. Dilly followed quickly and pulled his coat.
+
+--Well, what is it? he said, stopping.
+
+The lacquey rang his bell behind their backs.
+
+--Barang!
+
+--Curse your bloody blatant soul, Mr Dedalus cried, turning on him.
+
+The lacquey, aware of comment, shook the lolling clapper of his bell
+but feebly:
+
+--Bang!
+
+Mr Dedalus stared at him.
+
+--Watch him, he said. It's instructive. I wonder will he allow us to talk.
+
+--You got more than that, father, Dilly said.
+
+--I'm going to show you a little trick, Mr Dedalus said. I'll leave you
+all where Jesus left the jews. Look, there's all I have. I got two
+shillings from Jack Power and I spent twopence for a shave for the
+funeral.
+
+He drew forth a handful of copper coins, nervously.
+
+--Can't you look for some money somewhere? Dilly said.
+
+Mr Dedalus thought and nodded.
+
+--I will, he said gravely. I looked all along the gutter in O'Connell
+street. I'll try this one now.
+
+--You're very funny, Dilly said, grinning.
+
+--Here, Mr Dedalus said, handing her two pennies. Get a glass of milk for
+yourself and a bun or a something. I'll be home shortly.
+
+He put the other coins in his pocket and started to walk on.
+
+The viceregal cavalcade passed, greeted by obsequious policemen, out
+of Parkgate.
+
+--I'm sure you have another shilling, Dilly said.
+
+The lacquey banged loudly.
+
+Mr Dedalus amid the din walked off, murmuring to himself with a
+pursing mincing mouth gently:
+
+--The little nuns! Nice little things! O, sure they wouldn't do anything!
+O, sure they wouldn't really! Is it little sister Monica!
+
+
+    * * * * *
+
+
+From the sundial towards James's gate walked Mr Kernan, pleased with the
+order he had booked for Pulbrook Robertson, boldly along James's street,
+past Shackleton's offices. Got round him all right. How do you do, Mr
+Crimmins? First rate, sir. I was afraid you might be up in your other
+establishment in Pimlico. How are things going? Just keeping alive.
+Lovely weather we're having. Yes, indeed. Good for the country. Those
+farmers are always grumbling. I'll just take a thimbleful of your best
+gin, Mr Crimmins. A small gin, sir. Yes, sir. Terrible affair that
+General Slocum explosion. Terrible, terrible! A thousand casualties. And
+heartrending scenes. Men trampling down women and children. Most brutal
+thing. What do they say was the cause? Spontaneous combustion. Most
+scandalous revelation. Not a single lifeboat would float and the firehose
+all burst. What I can't understand is how the inspectors ever allowed a
+boat like that ... Now, you're talking straight, Mr Crimmins. You know
+why? Palm oil. Is that a fact? Without a doubt. Well now, look at that.
+And America they say is the land of the free. I thought we were bad here.
+
+I smiled at him. AMERICA, I said quietly, just like that. WHAT IS IT? THE
+SWEEPINGS OF EVERY COUNTRY INCLUDING OUR OWN. ISN'T THAT TRUE? That's a
+fact.
+
+Graft, my dear sir. Well, of course, where there's money going there's
+always someone to pick it up.
+
+Saw him looking at my frockcoat. Dress does it. Nothing like a dressy
+appearance. Bowls them over.
+
+--Hello, Simon, Father Cowley said. How are things?
+
+--Hello, Bob, old man, Mr Dedalus answered, stopping.
+
+Mr Kernan halted and preened himself before the sloping mirror of Peter
+Kennedy, hairdresser. Stylish coat, beyond a doubt. Scott of Dawson
+street. Well worth the half sovereign I gave Neary for it. Never built
+under three guineas. Fits me down to the ground. Some Kildare street club
+toff had it probably. John Mulligan, the manager of the Hibernian bank,
+gave me a very sharp eye yesterday on Carlisle bridge as if he remembered
+me.
+
+Aham! Must dress the character for those fellows. Knight of the road.
+Gentleman. And now, Mr Crimmins, may we have the honour of your custom
+again, sir. The cup that cheers but not inebriates, as the old saying has
+it.
+
+North wall and sir John Rogerson's quay, with hulls and anchorchains,
+sailing westward, sailed by a skiff, a crumpled throwaway, rocked on the
+ferrywash, Elijah is coming.
+
+Mr Kernan glanced in farewell at his image. High colour, of course.
+Grizzled moustache. Returned Indian officer. Bravely he bore his stumpy
+body forward on spatted feet, squaring his shoulders. Is that Ned
+Lambert's brother over the way, Sam? What? Yes. He's as like it as damn
+it. No. The windscreen of that motorcar in the sun there. Just a flash
+like that. Damn like him.
+
+Aham! Hot spirit of juniper juice warmed his vitals and his breath. Good
+drop of gin, that was. His frocktails winked in bright sunshine to his
+fat strut.
+
+Down there Emmet was hanged, drawn and quartered. Greasy black rope. Dogs
+licking the blood off the street when the lord lieutenant's wife drove by
+in her noddy.
+
+Bad times those were. Well, well. Over and done with. Great topers too.
+Fourbottle men.
+
+Let me see. Is he buried in saint Michan's? Or no, there was a midnight
+burial in Glasnevin. Corpse brought in through a secret door in the wall.
+Dignam is there now. Went out in a puff. Well, well. Better turn down
+here. Make a detour.
+
+Mr Kernan turned and walked down the slope of Watling street by the
+corner of Guinness's visitors' waitingroom. Outside the Dublin Distillers
+Company's stores an outside car without fare or jarvey stood, the reins
+knotted to the wheel. Damn dangerous thing. Some Tipperary bosthoon
+endangering the lives of the citizens. Runaway horse.
+
+Denis Breen with his tomes, weary of having waited an hour in John Henry
+Menton's office, led his wife over O'Connell bridge, bound for the office
+of Messrs Collis and Ward.
+
+Mr Kernan approached Island street.
+
+Times of the troubles. Must ask Ned Lambert to lend me those
+reminiscences of sir Jonah Barrington. When you look back on it all now
+in a kind of retrospective arrangement. Gaming at Daly's. No cardsharping
+then. One of those fellows got his hand nailed to the table by a dagger.
+Somewhere here lord Edward Fitzgerald escaped from major Sirr. Stables
+behind Moira house.
+
+Damn good gin that was.
+
+Fine dashing young nobleman. Good stock, of course. That ruffian, that
+sham squire, with his violet gloves gave him away. Course they were on
+the wrong side. They rose in dark and evil days. Fine poem that is:
+Ingram. They were gentlemen. Ben Dollard does sing that ballad
+touchingly. Masterly rendition.
+
+
+    AT THE SIEGE OF ROSS DID MY FATHER FALL.
+
+
+A cavalcade in easy trot along Pembroke quay passed, outriders leaping,
+leaping in their, in their saddles. Frockcoats. Cream sunshades.
+
+Mr Kernan hurried forward, blowing pursily.
+
+His Excellency! Too bad! Just missed that by a hair. Damn it! What a
+pity!
+
+
+    * * * * *
+
+
+Stephen Dedalus watched through the webbed window the lapidary's fingers
+prove a timedulled chain. Dust webbed the window and the showtrays. Dust
+darkened the toiling fingers with their vulture nails. Dust slept on dull
+coils of bronze and silver, lozenges of cinnabar, on rubies, leprous and
+winedark stones.
+
+Born all in the dark wormy earth, cold specks of fire, evil, lights
+shining in the darkness. Where fallen archangels flung the stars of their
+brows. Muddy swinesnouts, hands, root and root, gripe and wrest them.
+
+She dances in a foul gloom where gum bums with garlic. A sailorman,
+rustbearded, sips from a beaker rum and eyes her. A long and seafed
+silent rut. She dances, capers, wagging her sowish haunches and her hips,
+on her gross belly flapping a ruby egg.
+
+Old Russell with a smeared shammy rag burnished again his gem, turned it
+and held it at the point of his Moses' beard. Grandfather ape gloating on
+a stolen hoard.
+
+And you who wrest old images from the burial earth? The brainsick words
+of sophists: Antisthenes. A lore of drugs. Orient and immortal wheat
+standing from everlasting to everlasting.
+
+Two old women fresh from their whiff of the briny trudged through
+Irishtown along London bridge road, one with a sanded tired umbrella, one
+with a midwife's bag in which eleven cockles rolled.
+
+The whirr of flapping leathern bands and hum of dynamos from the
+powerhouse urged Stephen to be on. Beingless beings. Stop! Throb always
+without you and the throb always within. Your heart you sing of. I
+between them. Where? Between two roaring worlds where they swirl, I.
+Shatter them, one and both. But stun myself too in the blow. Shatter me
+you who can. Bawd and butcher were the words. I say! Not yet awhile. A
+look around.
+
+Yes, quite true. Very large and wonderful and keeps famous time. You say
+right, sir. A Monday morning, 'twas so, indeed.
+
+Stephen went down Bedford row, the handle of the ash clacking against his
+shoulderblade. In Clohissey's window a faded 1860 print of Heenan boxing
+Sayers held his eye. Staring backers with square hats stood round the
+roped prizering. The heavyweights in tight loincloths proposed gently
+each to other his bulbous fists. And they are throbbing: heroes' hearts.
+
+He turned and halted by the slanted bookcart.
+
+--Twopence each, the huckster said. Four for sixpence.
+
+Tattered pages. THE IRISH BEEKEEPER. LIFE AND MIRACLES OF THE CURE' OF
+ARS. POCKET GUIDE TO KILLARNEY.
+
+I might find here one of my pawned schoolprizes. STEPHANO DEDALO, ALUMNO
+OPTIMO, PALMAM FERENTI.
+
+Father Conmee, having read his little hours, walked through the hamlet of
+Donnycarney, murmuring vespers.
+
+Binding too good probably. What is this? Eighth and ninth book of Moses.
+Secret of all secrets. Seal of King David. Thumbed pages: read and read.
+Who has passed here before me? How to soften chapped hands. Recipe for
+white wine vinegar. How to win a woman's love. For me this. Say the
+following talisman three times with hands folded:
+
+--SE EL YILO NEBRAKADA FEMININUM! AMOR ME SOLO! SANKTUS! AMEN.
+
+Who wrote this? Charms and invocations of the most blessed abbot Peter
+Salanka to all true believers divulged. As good as any other abbot's
+charms, as mumbling Joachim's. Down, baldynoddle, or we'll wool your
+wool.
+
+--What are you doing here, Stephen?
+
+Dilly's high shoulders and shabby dress.
+
+Shut the book quick. Don't let see.
+
+--What are you doing? Stephen said.
+
+A Stuart face of nonesuch Charles, lank locks falling at its sides. It
+glowed as she crouched feeding the fire with broken boots. I told her of
+Paris. Late lieabed under a quilt of old overcoats, fingering a pinchbeck
+bracelet, Dan Kelly's token. NEBRAKADA FEMININUM.
+
+--What have you there? Stephen asked.
+
+--I bought it from the other cart for a penny, Dilly said, laughing
+nervously. Is it any good?
+
+My eyes they say she has. Do others see me so? Quick, far and daring.
+Shadow of my mind.
+
+He took the coverless book from her hand. Chardenal's French primer.
+
+--What did you buy that for? he asked. To learn French?
+
+She nodded, reddening and closing tight her lips.
+
+Show no surprise. Quite natural.
+
+--Here, Stephen said. It's all right. Mind Maggy doesn't pawn it on you.
+I suppose all my books are gone.
+
+--Some, Dilly said. We had to.
+
+She is drowning. Agenbite. Save her. Agenbite. All against us. She will
+drown me with her, eyes and hair. Lank coils of seaweed hair around me,
+my heart, my soul. Salt green death.
+
+We.
+
+Agenbite of inwit. Inwit's agenbite.
+
+Misery! Misery!
+
+
+    * * * * *
+
+
+--Hello, Simon, Father Cowley said. How are things?
+
+--Hello, Bob, old man, Mr Dedalus answered, stopping.
+
+They clasped hands loudly outside Reddy and Daughter's. Father Cowley
+brushed his moustache often downward with a scooping hand.
+
+--What's the best news? Mr Dedalus said.
+
+--Why then not much, Father Cowley said. I'm barricaded up, Simon, with
+two men prowling around the house trying to effect an entrance.
+
+--Jolly, Mr Dedalus said. Who is it?
+
+--O, Father Cowley said. A certain gombeen man of our acquaintance.
+
+--With a broken back, is it? Mr Dedalus asked.
+
+--The same, Simon, Father Cowley answered. Reuben of that ilk. I'm just
+waiting for Ben Dollard. He's going to say a word to long John to get him
+to take those two men off. All I want is a little time.
+
+He looked with vague hope up and down the quay, a big apple bulging in
+his neck.
+
+--I know, Mr Dedalus said, nodding. Poor old bockedy Ben! He's always
+doing a good turn for someone. Hold hard!
+
+He put on his glasses and gazed towards the metal bridge an instant.
+
+--There he is, by God, he said, arse and pockets.
+
+Ben Dollard's loose blue cutaway and square hat above large slops crossed
+the quay in full gait from the metal bridge. He came towards them at an
+amble, scratching actively behind his coattails.
+
+As he came near Mr Dedalus greeted:
+
+--Hold that fellow with the bad trousers.
+
+--Hold him now, Ben Dollard said.
+
+Mr Dedalus eyed with cold wandering scorn various points of Ben Dollard's
+figure. Then, turning to Father Cowley with a nod, he muttered
+sneeringly:
+
+--That's a pretty garment, isn't it, for a summer's day?
+
+--Why, God eternally curse your soul, Ben Dollard growled furiously, I
+threw out more clothes in my time than you ever saw.
+
+He stood beside them beaming, on them first and on his roomy clothes from
+points of which Mr Dedalus flicked fluff, saying:
+
+--They were made for a man in his health, Ben, anyhow.
+
+--Bad luck to the jewman that made them, Ben Dollard said. Thanks be to
+God he's not paid yet.
+
+--And how is that BASSO PROFONDO, Benjamin? Father Cowley asked.
+
+Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell, murmuring, glassyeyed,
+strode past the Kildare street club.
+
+Ben Dollard frowned and, making suddenly a chanter's mouth, gave forth a
+deep note.
+
+--Aw! he said.
+
+--That's the style, Mr Dedalus said, nodding to its drone.
+
+--What about that? Ben Dollard said. Not too dusty? What?
+
+He turned to both.
+
+--That'll do, Father Cowley said, nodding also.
+
+The reverend Hugh C. Love walked from the old chapterhouse of saint
+Mary's abbey past James and Charles Kennedy's, rectifiers, attended by
+Geraldines tall and personable, towards the Tholsel beyond the ford of
+hurdles.
+
+Ben Dollard with a heavy list towards the shopfronts led them forward,
+his joyful fingers in the air.
+
+--Come along with me to the subsheriff's office, he said. I want to show
+you the new beauty Rock has for a bailiff. He's a cross between Lobengula
+and Lynchehaun. He's well worth seeing, mind you. Come along. I saw John
+Henry Menton casually in the Bodega just now and it will cost me a fall
+if I don't ... Wait awhile ... We're on the right lay, Bob, believe you
+me.
+
+--For a few days tell him, Father Cowley said anxiously.
+
+Ben Dollard halted and stared, his loud orifice open, a dangling button
+of his coat wagging brightbacked from its thread as he wiped away the
+heavy shraums that clogged his eyes to hear aright.
+
+--What few days? he boomed. Hasn't your landlord distrained for rent?
+
+--He has, Father Cowley said.
+
+--Then our friend's writ is not worth the paper it's printed on, Ben
+Dollard said. The landlord has the prior claim. I gave him all the
+particulars. 29 Windsor avenue. Love is the name?
+
+--That's right, Father Cowley said. The reverend Mr Love. He's a minister
+in the country somewhere. But are you sure of that?
+
+--You can tell Barabbas from me, Ben Dollard said, that he can put that
+writ where Jacko put the nuts.
+
+He led Father Cowley boldly forward, linked to his bulk.
+
+--Filberts I believe they were, Mr Dedalus said, as he dropped his
+glasses on his coatfront, following them.
+
+
+    * * * * *
+
+
+--The youngster will be all right, Martin Cunningham said, as they passed
+out of the Castleyard gate.
+
+The policeman touched his forehead.
+
+--God bless you, Martin Cunningham said, cheerily.
+
+He signed to the waiting jarvey who chucked at the reins and set on
+towards Lord Edward street.
+
+Bronze by gold, Miss Kennedy's head by Miss Douce's head, appeared above
+the crossblind of the Ormond hotel.
+
+--Yes, Martin Cunningham said, fingering his beard. I wrote to Father
+Conmee and laid the whole case before him.
+
+--You could try our friend, Mr Power suggested backward.
+
+--Boyd? Martin Cunningham said shortly. Touch me not.
+
+John Wyse Nolan, lagging behind, reading the list, came after them
+quickly down Cork hill.
+
+On the steps of the City hall Councillor Nannetti, descending, hailed
+Alderman Cowley and Councillor Abraham Lyon ascending.
+
+The castle car wheeled empty into upper Exchange street.
+
+--Look here, Martin, John Wyse Nolan said, overtaking them at the MAIL
+office. I see Bloom put his name down for five shillings.
+
+--Quite right, Martin Cunningham said, taking the list. And put down the
+five shillings too.
+
+--Without a second word either, Mr Power said.
+
+--Strange but true, Martin Cunningham added.
+
+John Wyse Nolan opened wide eyes.
+
+--I'll say there is much kindness in the jew, he quoted, elegantly.
+
+They went down Parliament street.
+
+--There's Jimmy Henry, Mr Power said, just heading for Kavanagh's.
+
+--Righto, Martin Cunningham said. Here goes.
+
+Outside LA MAISON CLAIRE Blazes Boylan waylaid Jack Mooney's brother-in-
+law, humpy, tight, making for the liberties.
+
+John Wyse Nolan fell back with Mr Power, while Martin Cunningham took the
+elbow of a dapper little man in a shower of hail suit, who walked
+uncertainly, with hasty steps past Micky Anderson's watches.
+
+--The assistant town clerk's corns are giving him some trouble, John Wyse
+Nolan told Mr Power.
+
+They followed round the corner towards James Kavanagh's winerooms. The
+empty castle car fronted them at rest in Essex gate. Martin Cunningham,
+speaking always, showed often the list at which Jimmy Henry did not
+glance.
+
+--And long John Fanning is here too, John Wyse Nolan said, as large as
+life.
+
+The tall form of long John Fanning filled the doorway where he stood.
+
+--Good day, Mr Subsheriff, Martin Cunningham said, as all halted and
+greeted.
+
+Long John Fanning made no way for them. He removed his large Henry Clay
+decisively and his large fierce eyes scowled intelligently over all their
+faces.
+
+--Are the conscript fathers pursuing their peaceful deliberations? he
+said with rich acrid utterance to the assistant town clerk.
+
+Hell open to christians they were having, Jimmy Henry said pettishly,
+about their damned Irish language. Where was the marshal, he wanted to
+know, to keep order in the council chamber. And old Barlow the macebearer
+laid up with asthma, no mace on the table, nothing in order, no quorum
+even, and Hutchinson, the lord mayor, in Llandudno and little Lorcan
+Sherlock doing LOCUM TENENS for him. Damned Irish language, language of
+our forefathers.
+
+Long John Fanning blew a plume of smoke from his lips.
+
+Martin Cunningham spoke by turns, twirling the peak of his beard, to the
+assistant town clerk and the subsheriff, while John Wyse Nolan held his
+peace.
+
+--What Dignam was that? long John Fanning asked.
+
+Jimmy Henry made a grimace and lifted his left foot.
+
+--O, my corns! he said plaintively. Come upstairs for goodness' sake till
+I sit down somewhere. Uff! Ooo! Mind!
+
+Testily he made room for himself beside long John Fanning's flank and
+passed in and up the stairs.
+
+--Come on up, Martin Cunningham said to the subsheriff. I don't think you
+knew him or perhaps you did, though.
+
+With John Wyse Nolan Mr Power followed them in.
+
+--Decent little soul he was, Mr Power said to the stalwart back of long
+John Fanning ascending towards long John Fanning in the mirror.
+
+--Rather lowsized. Dignam of Menton's office that was, Martin Cunningham
+said.
+
+ Long John Fanning could not remember him.
+
+ Clatter of horsehoofs sounded from the air.
+
+--What's that? Martin Cunningham said.
+
+All turned where they stood. John Wyse Nolan came down again. From the
+cool shadow of the doorway he saw the horses pass Parliament street,
+harness and glossy pasterns in sunlight shimmering. Gaily they went past
+before his cool unfriendly eyes, not quickly. In saddles of the leaders,
+leaping leaders, rode outriders.
+
+--What was it? Martin Cunningham asked, as they went on up the staircase.
+
+--The lord lieutenantgeneral and general governor of Ireland, John Wyse
+Nolan answered from the stairfoot.
+
+
+    * * * * *
+
+
+As they trod across the thick carpet Buck Mulligan whispered behind
+his Panama to Haines:
+
+--Parnell's brother. There in the corner.
+
+They chose a small table near the window, opposite a longfaced man
+whose beard and gaze hung intently down on a chessboard.
+
+--Is that he? Haines asked, twisting round in his seat.
+
+--Yes, Mulligan said. That's John Howard, his brother, our city marshal.
+
+John Howard Parnell translated a white bishop quietly and his grey
+claw went up again to his forehead whereat it rested. An instant after,
+under its screen, his eyes looked quickly, ghostbright, at his foe and
+fell once more upon a working corner.
+
+--I'll take a MELANGE, Haines said to the waitress.
+
+--Two MELANGES, Buck Mulligan said. And bring us some scones and butter
+and some cakes as well.
+
+When she had gone he said, laughing:
+
+--We call it D.B.C. because they have damn bad cakes. O, but you missed
+Dedalus on HAMLET.
+
+Haines opened his newbought book.
+
+--I'm sorry, he said. Shakespeare is the happy huntingground of all minds
+that have lost their balance.
+
+The onelegged sailor growled at the area of 14 Nelson street:
+
+--ENGLAND EXPECTS ...
+
+Buck Mulligan's primrose waistcoat shook gaily to his laughter.
+
+--You should see him, he said, when his body loses its balance. Wandering
+Aengus I call him.
+
+--I am sure he has an IDEE FIXE, Haines said, pinching his chin
+thoughtfully with thumb and forefinger. Now I am speculating what it would
+be likely to be. Such persons always have.
+
+Buck Mulligan bent across the table gravely.
+
+--They drove his wits astray, he said, by visions of hell. He will never
+capture the Attic note. The note of Swinburne, of all poets, the white
+death and the ruddy birth. That is his tragedy. He can never be a poet.
+The joy of creation ...
+
+--Eternal punishment, Haines said, nodding curtly. I see. I tackled him
+this morning on belief. There was something on his mind, I saw. It's
+rather interesting because professor Pokorny of Vienna makes an
+interesting point out of that.
+
+Buck Mulligan's watchful eyes saw the waitress come. He helped her
+to unload her tray.
+
+--He can find no trace of hell in ancient Irish myth, Haines said, amid
+the cheerful cups. The moral idea seems lacking, the sense of destiny, of
+retribution. Rather strange he should have just that fixed idea. Does he
+write anything for your movement?
+
+He sank two lumps of sugar deftly longwise through the whipped
+cream. Buck Mulligan slit a steaming scone in two and plastered butter
+over its smoking pith. He bit off a soft piece hungrily.
+
+--Ten years, he said, chewing and laughing. He is going to write something
+in ten years.
+
+--Seems a long way off, Haines said, thoughtfully lifting his spoon.
+Still, I shouldn't wonder if he did after all.
+
+He tasted a spoonful from the creamy cone of his cup.
+
+--This is real Irish cream I take it, he said with forbearance.
+I don't want to be imposed on.
+
+Elijah, skiff, light crumpled throwaway, sailed eastward by flanks of
+ships and trawlers, amid an archipelago of corks, beyond new Wapping
+street past Benson's ferry, and by the threemasted schooner ROSEVEAN from
+Bridgwater with bricks.
+
+
+    * * * * *
+
+
+Almidano Artifoni walked past Holles street, past Sewell's yard.
+Behind him Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell, with
+stickumbrelladustcoat dangling, shunned the lamp before Mr Law Smith's
+house and, crossing, walked along Merrion square. Distantly behind him a
+blind stripling tapped his way by the wall of College park.
+
+Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell walked as far as
+Mr Lewis Werner's cheerful windows, then turned and strode back along
+Merrion square, his stickumbrelladustcoat dangling.
+
+At the corner of Wilde's house he halted, frowned at Elijah's name
+announced on the Metropolitan hall, frowned at the distant pleasance of
+duke's lawn. His eyeglass flashed frowning in the sun. With ratsteeth
+bared he muttered:
+
+--COACTUS VOLUI.
+
+He strode on for Clare street, grinding his fierce word.
+
+As he strode past Mr Bloom's dental windows the sway of his
+dustcoat brushed rudely from its angle a slender tapping cane and swept
+onwards, having buffeted a thewless body. The blind stripling turned his
+sickly face after the striding form.
+
+--God's curse on you, he said sourly, whoever you are! You're blinder nor
+I am, you bitch's bastard!
+
+
+    * * * * *
+
+
+Opposite Ruggy O'Donohoe's Master Patrick Aloysius Dignam,
+pawing the pound and a half of Mangan's, late Fehrenbach's, porksteaks he
+had been sent for, went along warm Wicklow street dawdling. It was too
+blooming dull sitting in the parlour with Mrs Stoer and Mrs Quigley and
+Mrs MacDowell and the blind down and they all at their sniffles and
+sipping sups of the superior tawny sherry uncle Barney brought from
+Tunney's. And they eating crumbs of the cottage fruitcake, jawing the
+whole blooming time and sighing.
+
+After Wicklow lane the window of Madame Doyle, courtdress
+milliner, stopped him. He stood looking in at the two puckers stripped to
+their pelts and putting up their props. From the sidemirrors two mourning
+Masters Dignam gaped silently. Myler Keogh, Dublin's pet lamb, will meet
+sergeantmajor Bennett, the Portobello bruiser, for a purse of fifty
+sovereigns. Gob, that'd be a good pucking match to see. Myler Keogh,
+that's the chap sparring out to him with the green sash. Two bar entrance,
+soldiers half price. I could easy do a bunk on ma. Master Dignam on his
+left turned as he turned. That's me in mourning. When is it? May the
+twentysecond. Sure, the blooming thing is all over. He turned to the right
+and on his right Master Dignam turned, his cap awry, his collar sticking
+up. Buttoning it down, his chin lifted, he saw the image of Marie Kendall,
+charming soubrette, beside the two puckers. One of them mots that do be in
+the packets of fags Stoer smokes that his old fellow welted hell out of
+him for one time he found out.
+
+Master Dignam got his collar down and dawdled on. The best pucker
+going for strength was Fitzsimons. One puck in the wind from that fellow
+would knock you into the middle of next week, man. But the best pucker
+for science was Jem Corbet before Fitzsimons knocked the stuffings out of
+him, dodging and all.
+
+In Grafton street Master Dignam saw a red flower in a toff's mouth
+and a swell pair of kicks on him and he listening to what the drunk was
+telling him and grinning all the time.
+
+No Sandymount tram.
+
+Master Dignam walked along Nassau street, shifted the porksteaks to
+his other hand. His collar sprang up again and he tugged it down. The
+blooming stud was too small for the buttonhole of the shirt, blooming end
+to it. He met schoolboys with satchels. I'm not going tomorrow either,
+stay away till Monday. He met other schoolboys. Do they notice I'm in
+mourning? Uncle Barney said he'd get it into the paper tonight. Then
+they'll all see it in the paper and read my name printed and pa's name.
+
+His face got all grey instead of being red like it was and there was a
+fly walking over it up to his eye. The scrunch that was when they were
+screwing the screws into the coffin: and the bumps when they were bringing
+it downstairs.
+
+Pa was inside it and ma crying in the parlour and uncle Barney telling
+the men how to get it round the bend. A big coffin it was, and high and
+heavylooking. How was that? The last night pa was boosed he was standing
+on the landing there bawling out for his boots to go out to Tunney's for
+to boose more and he looked butty and short in his shirt. Never see him
+again. Death, that is. Pa is dead. My father is dead. He told me to be a
+good son to ma. I couldn't hear the other things he said but I saw his
+tongue and his teeth trying to say it better. Poor pa. That was Mr Dignam,
+my father. I hope he's in purgatory now because he went to confession to
+Father Conroy on Saturday night.
+
+
+    * * * * *
+
+
+William Humble, earl of Dudley, and lady Dudley, accompanied by
+lieutenantcolonel Heseltine, drove out after luncheon from the viceregal
+lodge. In the following carriage were the honourable Mrs Paget, Miss de
+Courcy and the honourable Gerald Ward A.D.C. in attendance.
+
+The cavalcade passed out by the lower gate of Phoenix park saluted
+by obsequious policemen and proceeded past Kingsbridge along the
+northern quays. The viceroy was most cordially greeted on his way through
+the metropolis. At Bloody bridge Mr Thomas Kernan beyond the river
+greeted him vainly from afar Between Queen's and Whitworth bridges lord
+Dudley's viceregal carriages passed and were unsaluted by Mr Dudley
+White, B. L., M. A., who stood on Arran quay outside Mrs M. E. White's,
+the pawnbroker's, at the corner of Arran street west stroking his nose
+with his forefinger, undecided whether he should arrive at Phibsborough
+more quickly by a triple change of tram or by hailing a car or on foot
+through Smithfield, Constitution hill and Broadstone terminus. In the
+porch of Four Courts Richie Goulding with the costbag of Goulding,
+Collis and Ward saw him with surprise. Past Richmond bridge at the
+doorstep of the office of Reuben J Dodd, solicitor, agent for the
+Patriotic Insurance Company, an elderly female about to enter changed
+her plan and retracing her steps by King's windows smiled credulously
+on the representative of His Majesty. From its sluice in Wood quay
+wall under Tom Devan's office Poddle river hung out in fealty a tongue
+of liquid sewage. Above the crossblind of the Ormond hotel, gold by
+bronze, Miss Kennedy's head by Miss Douce's head watched and admired.
+On Ormond quay Mr Simon Dedalus, steering his way from the greenhouse
+for the subsheriff's office, stood still in midstreet and brought his
+hat low. His Excellency graciously returned Mr Dedalus' greeting. From
+Cahill's corner the reverend Hugh C. Love, M.A., made obeisance
+unperceived, mindful of lords deputies whose hands benignant
+had held of yore rich advowsons. On Grattan bridge Lenehan and M'Coy,
+taking leave of each other, watched the carriages go by. Passing by Roger
+Greene's office and Dollard's big red printinghouse Gerty MacDowell,
+carrying the Catesby's cork lino letters for her father who was laid up,
+knew by the style it was the lord and lady lieutenant but she couldn't see
+what Her Excellency had on because the tram and Spring's big yellow
+furniture van had to stop in front of her on account of its being the lord
+lieutenant. Beyond Lundy Foot's from the shaded door of Kavanagh's
+winerooms John Wyse Nolan smiled with unseen coldness towards the lord
+lieutenantgeneral and general governor of Ireland. The Right Honourable
+William Humble, earl of Dudley, G. C. V. O., passed Micky Anderson's
+all times ticking watches and Henry and James's wax smartsuited
+freshcheeked models, the gentleman Henry, DERNIER CRI James. Over against
+Dame gate Tom Rochford and Nosey Flynn watched the approach of the
+cavalcade. Tom Rochford, seeing the eyes of lady Dudley fixed on him,
+took his thumbs quickly out of the pockets of his claret waistcoat and
+doffed his cap to her. A charming SOUBRETTE, great Marie Kendall, with
+dauby cheeks and lifted skirt smiled daubily from her poster upon William
+Humble, earl of Dudley, and upon lieutenantcolonel H. G. Heseltine, and
+also upon the honourable Gerald Ward A. D. C. From the window of the
+D. B. C. Buck Mulligan gaily, and Haines gravely, gazed down on the
+viceregal equipage over the shoulders of eager guests, whose mass of forms
+darkened the chessboard whereon John Howard Parnell looked intently. In
+Fownes's street Dilly Dedalus, straining her sight upward from
+Chardenal's first French primer, saw sunshades spanned and wheelspokes
+spinning in the glare. John Henry Menton, filling the doorway of
+Commercial Buildings, stared from winebig oyster eyes, holding a fat gold
+hunter watch not looked at in his fat left hand not feeling it. Where the
+foreleg of King Billy's horse pawed the air Mrs Breen plucked her
+hastening husband back from under the hoofs of the outriders. She shouted
+in his ear the tidings. Understanding, he shifted his tomes to his left
+breast and saluted the second carriage. The honourable Gerald Ward A.D.C.,
+agreeably surprised, made haste to reply. At Ponsonby's corner a jaded
+white flagon H. halted and four tallhatted white flagons halted behind
+him, E.L.Y'S, while outriders pranced past and carriages. Opposite
+Pigott's music warerooms Mr Denis J Maginni, professor of dancing &c,
+gaily apparelled, gravely walked, outpassed by a viceroy and unobserved.
+By the provost's wall came jauntily Blazes Boylan, stepping in tan shoes
+and socks with skyblue clocks to the refrain of MY GIRL'S A YORKSHIRE
+GIRL.
+
+Blazes Boylan presented to the leaders' skyblue frontlets and high
+action a skyblue tie, a widebrimmed straw hat at a rakish angle and a suit
+of indigo serge. His hands in his jacket pockets forgot to salute but he
+offered to the three ladies the bold admiration of his eyes and the red
+flower between his lips. As they drove along Nassau street His Excellency
+drew the attention of his bowing consort to the programme of music which
+was being discoursed in College park. Unseen brazen highland laddies
+blared and drumthumped after the CORTEGE:
+
+
+    BUT THOUGH SHE'S A FACTORY LASS
+    AND WEARS NO FANCY CLOTHES.
+    BARAABUM.
+    YET I'VE A SORT OF A
+    YORKSHIRE RELISH FOR
+    MY LITTLE YORKSHIRE ROSE.
+    BARAABUM.
+
+
+Thither of the wall the quartermile flat handicappers, M. C. Green, H.
+Shrift, T. M. Patey, C. Scaife, J. B. Jeffs, G. N. Morphy, F. Stevenson,
+C. Adderly and W. C. Huggard, started in pursuit. Striding past Finn's
+hotel Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell stared through a
+fierce eyeglass across the carriages at the head of Mr M. E. Solomons in
+the window of the Austro-Hungarian viceconsulate. Deep in Leinster street
+by Trinity's postern a loyal king's man, Hornblower, touched his tallyho
+cap. As the glossy horses pranced by Merrion square Master Patrick
+Aloysius Dignam, waiting, saw salutes being given to the gent with the
+topper and raised also his new black cap with fingers greased by
+porksteak paper. His collar too sprang up. The viceroy, on his way to
+inaugurate the Mirus bazaar in aid of funds for Mercer's hospital,
+drove with his following towards Lower Mount street. He passed a blind
+stripling opposite Broadbent's. In Lower Mount street a pedestrian in a
+brown macintosh, eating dry bread, passed swiftly and unscathed across the
+viceroy's path. At the Royal Canal bridge, from his hoarding, Mr Eugene
+Stratton, his blub lips agrin, bade all comers welcome to Pembroke
+township. At Haddington road corner two sanded women halted themselves,
+an umbrella and a bag in which eleven cockles rolled to view with wonder
+the lord mayor and lady mayoress without his golden chain. On
+Northumberland and Lansdowne roads His Excellency acknowledged punctually
+salutes from rare male walkers, the salute of two small schoolboys at the
+garden gate of the house said to have been admired by the late queen when
+visiting the Irish capital with her husband, the prince consort, in 1849
+and the salute of Almidano Artifoni's sturdy trousers swallowed by a
+closing door.
+
+
+    * * * * * * *
+
+
+Bronze by gold heard the hoofirons, steelyringing Imperthnthn thnthnthn.
+
+Chips, picking chips off rocky thumbnail, chips.
+
+Horrid! And gold flushed more.
+
+A husky fifenote blew.
+
+Blew. Blue bloom is on the.
+
+Goldpinnacled hair.
+
+A jumping rose on satiny breast of satin, rose of Castile.
+
+Trilling, trilling: Idolores.
+
+Peep! Who's in the ... peepofgold?
+
+Tink cried to bronze in pity.
+
+And a call, pure, long and throbbing. Longindying call.
+
+Decoy. Soft word. But look: the bright stars fade. Notes chirruping
+answer.
+
+O rose! Castile. The morn is breaking.
+
+Jingle jingle jaunted jingling.
+
+Coin rang. Clock clacked.
+
+Avowal. SONNEZ. I could. Rebound of garter. Not leave thee. Smack. LA
+CLOCHE! Thigh smack. Avowal. Warm. Sweetheart, goodbye!
+
+Jingle. Bloo.
+
+Boomed crashing chords. When love absorbs. War! War! The tympanum.
+
+A sail! A veil awave upon the waves.
+
+Lost. Throstle fluted. All is lost now.
+
+Horn. Hawhorn.
+
+When first he saw. Alas!
+
+Full tup. Full throb.
+
+Warbling. Ah, lure! Alluring.
+
+Martha! Come!
+
+Clapclap. Clipclap. Clappyclap.
+
+Goodgod henev erheard inall.
+
+Deaf bald Pat brought pad knife took up.
+
+A moonlit nightcall: far, far.
+
+I feel so sad. P. S. So lonely blooming.
+
+Listen!
+
+The spiked and winding cold seahorn. Have you the? Each, and for other,
+plash and silent roar.
+
+Pearls: when she. Liszt's rhapsodies. Hissss.
+
+You don't?
+
+Did not: no, no: believe: Lidlyd. With a cock with a carra.
+
+Black. Deepsounding. Do, Ben, do.
+
+Wait while you wait. Hee hee. Wait while you hee.
+
+But wait!
+
+Low in dark middle earth. Embedded ore.
+
+Naminedamine. Preacher is he:
+
+All gone. All fallen.
+
+Tiny, her tremulous fernfoils of maidenhair.
+
+Amen! He gnashed in fury.
+
+Fro. To, fro. A baton cool protruding.
+
+Bronzelydia by Minagold.
+
+By bronze, by gold, in oceangreen of shadow. Bloom. Old Bloom.
+
+One rapped, one tapped, with a carra, with a cock.
+
+Pray for him! Pray, good people!
+
+His gouty fingers nakkering.
+
+Big Benaben. Big Benben.
+
+Last rose Castile of summer left bloom I feel so sad alone.
+
+Pwee! Little wind piped wee.
+
+True men. Lid Ker Cow De and Doll. Ay, ay. Like you men. Will lift your
+tschink with tschunk.
+
+Fff! Oo!
+
+Where bronze from anear? Where gold from afar? Where hoofs?
+
+Rrrpr. Kraa. Kraandl.
+
+Then not till then. My eppripfftaph. Be pfrwritt.
+
+Done.
+
+Begin!
+
+Bronze by gold, miss Douce's head by miss Kennedy's head, over the
+crossblind of the Ormond bar heard the viceregal hoofs go by, ringing
+steel.
+
+--Is that her? asked miss Kennedy.
+
+Miss Douce said yes, sitting with his ex, pearl grey and EAU DE NIL.
+
+--Exquisite contrast, miss Kennedy said.
+
+
+When all agog miss Douce said eagerly:
+
+--Look at the fellow in the tall silk.
+
+--Who? Where? gold asked more eagerly.
+
+--In the second carriage, miss Douce's wet lips said, laughing in the sun.
+
+He's looking. Mind till I see.
+
+She darted, bronze, to the backmost corner, flattening her face
+against the pane in a halo of hurried breath.
+
+Her wet lips tittered:
+
+--He's killed looking back.
+
+She laughed:
+
+--O wept! Aren't men frightful idiots?
+
+With sadness.
+
+Miss Kennedy sauntered sadly from bright light, twining a loose hair
+behind an ear. Sauntering sadly, gold no more, she twisted twined a hair.
+
+Sadly she twined in sauntering gold hair behind a curving ear.
+
+--It's them has the fine times, sadly then she said.
+
+A man.
+
+Bloowho went by by Moulang's pipes bearing in his breast the sweets
+of sin, by Wine's antiques, in memory bearing sweet sinful words, by
+Carroll's dusky battered plate, for Raoul.
+
+The boots to them, them in the bar, them barmaids came. For them
+unheeding him he banged on the counter his tray of chattering china. And
+
+--There's your teas, he said.
+
+Miss Kennedy with manners transposed the teatray down to an
+upturned lithia crate, safe from eyes, low.
+
+--What is it? loud boots unmannerly asked.
+
+--Find out, miss Douce retorted, leaving her spyingpoint.
+
+--Your BEAU, is it?
+
+A haughty bronze replied:
+
+--I'll complain to Mrs de Massey on you if I hear any more of your
+impertinent insolence.
+
+--Imperthnthn thnthnthn, bootssnout sniffed rudely, as he retreated as she
+threatened as he had come.
+
+Bloom.
+
+On her flower frowning miss Douce said:
+
+--Most aggravating that young brat is. If he doesn't conduct himself I'll
+wring his ear for him a yard long.
+
+Ladylike in exquisite contrast.
+
+--Take no notice, miss Kennedy rejoined.
+
+She poured in a teacup tea, then back in the teapot tea. They cowered
+under their reef of counter, waiting on footstools, crates upturned,
+waiting for their teas to draw. They pawed their blouses, both of black
+satin, two and nine a yard, waiting for their teas to draw, and two and
+seven.
+
+Yes, bronze from anear, by gold from afar, heard steel from anear,
+hoofs ring from afar, and heard steelhoofs ringhoof ringsteel.
+
+--Am I awfully sunburnt?
+
+Miss bronze unbloused her neck.
+
+--No, said miss Kennedy. It gets brown after. Did you try the borax with
+the cherry laurel water?
+
+Miss Douce halfstood to see her skin askance in the barmirror
+gildedlettered where hock and claret glasses shimmered and in their midst
+a shell.
+
+--And leave it to my hands, she said.
+
+--Try it with the glycerine, miss Kennedy advised.
+
+Bidding her neck and hands adieu miss Douce
+
+--Those things only bring out a rash, replied, reseated. I asked that old
+fogey in Boyd's for something for my skin.
+
+Miss Kennedy, pouring now a fulldrawn tea, grimaced and prayed:
+
+--O, don't remind me of him for mercy' sake!
+
+--But wait till I tell you, miss Douce entreated.
+
+Sweet tea miss Kennedy having poured with milk plugged both two
+ears with little fingers.
+
+--No, don't, she cried.
+
+--I won't listen, she cried.
+
+But Bloom?
+
+Miss Douce grunted in snuffy fogey's tone:
+
+--For your what? says he.
+
+Miss Kennedy unplugged her ears to hear, to speak: but said, but
+prayed again:
+
+--Don't let me think of him or I'll expire. The hideous old wretch! That
+night in the Antient Concert Rooms.
+
+She sipped distastefully her brew, hot tea, a sip, sipped, sweet tea.
+
+--Here he was, miss Douce said, cocking her bronze head three quarters,
+ruffling her nosewings. Hufa! Hufa!
+
+Shrill shriek of laughter sprang from miss Kennedy's throat. Miss
+Douce huffed and snorted down her nostrils that quivered imperthnthn like
+a snout in quest.
+
+--O! shrieking, miss Kennedy cried. Will you ever forget his goggle eye?
+
+Miss Douce chimed in in deep bronze laughter, shouting:
+
+--And your other eye!
+
+Bloowhose dark eye read Aaron Figatner's name. Why do I always
+think Figather? Gathering figs, I think. And Prosper Lore's huguenot name.
+By Bassi's blessed virgins Bloom's dark eyes went by. Bluerobed, white
+under, come to me. God they believe she is: or goddess. Those today. I
+could not see. That fellow spoke. A student. After with Dedalus' son. He
+might be Mulligan. All comely virgins. That brings those rakes of fellows
+in: her white.
+
+By went his eyes. The sweets of sin. Sweet are the sweets.
+
+Of sin.
+
+In a giggling peal young goldbronze voices blended, Douce with
+Kennedy your other eye. They threw young heads back, bronze gigglegold,
+to let freefly their laughter, screaming, your other, signals to each
+other,  high piercing notes.
+
+Ah, panting, sighing, sighing, ah, fordone, their mirth died down.
+
+Miss Kennedy lipped her cup again, raised, drank a sip and
+gigglegiggled. Miss Douce, bending over the teatray, ruffled again her
+nose and rolled droll fattened eyes. Again Kennygiggles, stooping, her
+fair pinnacles of hair, stooping, her tortoise napecomb showed, spluttered
+out of her mouth her tea, choking in tea and laughter, coughing with
+choking, crying:
+
+--O greasy eyes! Imagine being married to a man like that! she cried. With
+his bit of beard!
+
+Douce gave full vent to a splendid yell, a full yell of full woman,
+delight, joy, indignation.
+
+--Married to the greasy nose! she yelled.
+
+Shrill, with deep laughter, after, gold after bronze, they urged each
+each to peal after peal, ringing in changes, bronzegold, goldbronze,
+shrilldeep, to laughter after laughter. And then laughed more. Greasy I
+knows. Exhausted, breathless, their shaken heads they laid, braided and
+pinnacled by glossycombed, against the counterledge. All flushed (O!),
+panting, sweating (O!), all breathless.
+
+Married to Bloom, to greaseabloom.
+
+--O saints above! miss Douce said, sighed above her jumping rose. I wished
+
+I hadn't laughed so much. I feel all wet.
+
+--O, miss Douce! miss Kennedy protested. You horrid thing!
+
+And flushed yet more (you horrid!), more goldenly.
+
+By Cantwell's offices roved Greaseabloom, by Ceppi's virgins, bright
+of their oils. Nannetti's father hawked those things about, wheedling at
+doors as I. Religion pays. Must see him for that par. Eat first. I want.
+Not yet. At four, she said. Time ever passing. Clockhands turning. On.
+Where eat? The Clarence, Dolphin. On. For Raoul. Eat. If I net five
+guineas with those ads. The violet silk petticoats. Not yet. The sweets
+of sin.
+
+Flushed less, still less, goldenly paled.
+
+Into their bar strolled Mr Dedalus. Chips, picking chips off one of his
+rocky thumbnails. Chips. He strolled.
+
+--O, welcome back, miss Douce.
+
+He held her hand. Enjoyed her holidays?
+
+--Tiptop.
+
+He hoped she had nice weather in Rostrevor.
+
+--Gorgeous, she said. Look at the holy show I am. Lying out on the strand
+all day.
+
+Bronze whiteness.
+
+--That was exceedingly naughty of you, Mr Dedalus told her and pressed
+her hand indulgently. Tempting poor simple males.
+
+Miss Douce of satin douced her arm away.
+
+--O go away! she said. You're very simple, I don't think.
+
+He was.
+
+--Well now I am, he mused. I looked so simple in the cradle they christened
+me simple Simon.
+
+--You must have been a doaty, miss Douce made answer. And what did the
+doctor order today?
+
+--Well now, he mused, whatever you say yourself. I think I'll trouble you
+for some fresh water and a half glass of whisky.
+
+Jingle.
+
+--With the greatest alacrity, miss Douce agreed.
+
+With grace of alacrity towards the mirror gilt Cantrell and
+Cochrane's she turned herself. With grace she tapped a measure of gold
+whisky from her crystal keg. Forth from the skirt of his coat Mr Dedalus
+brought pouch and pipe. Alacrity she served. He blew through the flue two
+husky fifenotes.
+
+--By Jove, he mused, I often wanted to see the Mourne mountains. Must be
+a great tonic in the air down there. But a long threatening comes at last,
+they say. Yes. Yes.
+
+Yes. He fingered shreds of hair, her maidenhair, her mermaid's, into
+the bowl. Chips. Shreds. Musing. Mute.
+
+None nought said nothing. Yes.
+
+Gaily miss Douce polished a tumbler, trilling:
+
+--O, IDOLORES, QUEEN OF THE EASTERN SEAS!
+
+--Was Mr Lidwell in today?
+
+In came Lenehan. Round him peered Lenehan. Mr Bloom reached Essex bridge.
+Yes, Mr Bloom crossed bridge of Yessex. To Martha I must write. Buy paper.
+Daly's. Girl there civil. Bloom. Old Bloom. Blue bloom is on the rye.
+
+--He was in at lunchtime, miss Douce said.
+
+Lenehan came forward.
+
+--Was Mr Boylan looking for me?
+
+He asked. She answered:
+
+--Miss Kennedy, was Mr Boylan in while I was upstairs?
+
+She asked. Miss voice of Kennedy answered, a second teacup poised,
+her gaze upon a page:
+
+--No. He was not.
+
+Miss gaze of Kennedy, heard, not seen, read on. Lenehan round the
+sandwichbell wound his round body round.
+
+--Peep! Who's in the corner?
+
+No glance of Kennedy rewarding him he yet made overtures. To mind
+her stops. To read only the black ones: round o and crooked ess.
+
+Jingle jaunty jingle.
+
+Girlgold she read and did not glance. Take no notice. She took no
+notice while he read by rote a solfa fable for her, plappering flatly:
+
+--Ah fox met ah stork. Said thee fox too thee stork: Will you put your
+bill down inn my troath and pull upp ah bone?
+
+He droned in vain. Miss Douce turned to her tea aside.
+
+He sighed aside:
+
+--Ah me! O my!
+
+He greeted Mr Dedalus and got a nod.
+
+--Greetings from the famous son of a famous father.
+
+--Who may he be? Mr Dedalus asked.
+
+Lenehan opened most genial arms. Who?
+
+--Who may he be? he asked. Can you ask? Stephen, the youthful bard.
+
+Dry.
+
+Mr Dedalus, famous father, laid by his dry filled pipe.
+
+--I see, he said. I didn't recognise him for the moment. I hear he is
+keeping very select company. Have you seen him lately?
+
+He had.
+
+--I quaffed the nectarbowl with him this very day, said Lenehan. In
+Mooney's EN VILLE and in Mooney's SUR MER. He had received the rhino for
+the labour of his muse.
+
+He smiled at bronze's teabathed lips, at listening lips and eyes:
+
+--The ELITE of Erin hung upon his lips. The ponderous pundit, Hugh
+
+MacHugh, Dublin's most brilliant scribe and editor and that minstrel boy
+of the wild wet west who is known by the euphonious appellation of the
+O'Madden Burke.
+
+After an interval Mr Dedalus raised his grog and
+
+--That must have been highly diverting, said he. I see.
+
+He see. He drank. With faraway mourning mountain eye. Set down
+his glass.
+
+He looked towards the saloon door.
+
+--I see you have moved the piano.
+
+--The tuner was in today, miss Douce replied, tuning it for the smoking
+concert and I never heard such an exquisite player.
+
+--Is that a fact?
+
+--Didn't he, miss Kennedy? The real classical, you know. And blind too,
+poor fellow. Not twenty I'm sure he was.
+
+--Is that a fact? Mr Dedalus said.
+
+He drank and strayed away.
+
+--So sad to look at his face, miss Douce condoled.
+
+God's curse on bitch's bastard.
+
+Tink to her pity cried a diner's bell. To the door of the bar and
+diningroom came bald Pat, came bothered Pat, came Pat, waiter of
+Ormond. Lager for diner. Lager without alacrity she served.
+
+With patience Lenehan waited for Boylan with impatience, for
+jinglejaunty blazes boy.
+
+Upholding the lid he (who?) gazed in the coffin (coffin?) at the
+oblique triple (piano!) wires. He pressed (the same who pressed
+indulgently her hand), soft pedalling, a triple of keys to see the
+thicknesses of felt advancing, to hear the muffled hammerfall in action.
+
+Two sheets cream vellum paper one reserve two envelopes when I was
+in Wisdom Hely's wise Bloom in Daly's Henry Flower bought. Are you not
+happy in your home? Flower to console me and a pin cuts lo. Means
+something, language of flow. Was it a daisy? Innocence that is.
+Respectable girl meet after mass. Thanks awfully muchly. Wise Bloom eyed
+on the door a poster, a swaying mermaid smoking mid nice waves. Smoke
+mermaids, coolest whiff of all. Hair streaming: lovelorn. For some man.
+For Raoul. He eyed and saw afar on Essex bridge a gay hat riding on a
+jaunting car. It is. Again. Third time. Coincidence.
+
+Jingling on supple rubbers it jaunted from the bridge to Ormond
+quay. Follow. Risk it. Go quick. At four. Near now. Out.
+
+--Twopence, sir, the shopgirl dared to say.
+
+--Aha ... I was forgetting ... Excuse ...
+
+--And four.
+
+At four she. Winsomely she on Bloohimwhom smiled. Bloo smi qui
+go. Ternoon. Think you're the only pebble on the beach? Does that to all.
+
+For men.
+
+In drowsy silence gold bent on her page.
+
+From the saloon a call came, long in dying. That was a tuningfork the
+tuner had that he forgot that he now struck. A call again. That he now
+poised that it now throbbed. You hear? It throbbed, pure, purer, softly
+and softlier, its buzzing prongs. Longer in dying call.
+
+Pat paid for diner's popcorked bottle: and over tumbler, tray and
+popcorked bottle ere he went he whispered, bald and bothered, with Miss
+
+Douce.
+
+--THE BRIGHT STARS FADE ...
+
+A voiceless song sang from within, singing:
+
+-- ... THE MORN IS BREAKING.
+
+A duodene of birdnotes chirruped bright treble answer under sensitive
+hands. Brightly the keys, all twinkling, linked, all harpsichording,
+called to a voice to sing the strain of dewy morn, of youth, of love's
+leavetaking, life's, love's morn.
+
+--THE DEWDROPS PEARL ...
+
+Lenehan's lips over the counter lisped a low whistle of decoy.
+
+--But look this way, he said, rose of Castile.
+
+Jingle jaunted by the curb and stopped.
+
+She rose and closed her reading, rose of Castile: fretted, forlorn,
+dreamily rose.
+
+--Did she fall or was she pushed? he asked her.
+
+She answered, slighting:
+
+--Ask no questions and you'll hear no lies.
+
+Like lady, ladylike.
+
+Blazes Boylan's smart tan shoes creaked on the barfloor where he
+strode. Yes, gold from anear by bronze from afar. Lenehan heard and knew
+and hailed him:
+
+--See the conquering hero comes.
+
+Between the car and window, warily walking, went Bloom,
+unconquered hero. See me he might. The seat he sat on: warm. Black wary
+hecat walked towards Richie Goulding's legal bag, lifted aloft, saluting.
+
+--AND I FROM THEE ...
+
+--I heard you were round, said Blazes Boylan.
+
+He touched to fair miss Kennedy a rim of his slanted straw. She
+smiled on him. But sister bronze outsmiled her, preening for him her
+richer hair, a bosom and a rose.
+
+Smart Boylan bespoke potions.
+
+--What's your cry? Glass of bitter? Glass of bitter, please, and a sloegin
+for me. Wire in yet?
+
+Not yet. At four she. Who said four?
+
+Cowley's red lugs and bulging apple in the door of the sheriff's office.
+
+Avoid. Goulding a chance. What is he doing in the Ormond? Car waiting.
+
+Wait.
+
+Hello. Where off to? Something to eat? I too was just. In here. What,
+Ormond? Best value in Dublin. Is that so? Diningroom. Sit tight there.
+See, not be seen. I think I'll join you. Come on. Richie led on. Bloom
+followed bag. Dinner fit for a prince.
+
+Miss Douce reached high to take a flagon, stretching her satin arm,
+her bust, that all but burst, so high.
+
+--O! O! jerked Lenehan, gasping at each stretch. O!
+
+But easily she seized her prey and led it low in triumph.
+
+--Why don't you grow? asked Blazes Boylan.
+
+Shebronze, dealing from her oblique jar thick syrupy liquor for his
+lips, looked as it flowed (flower in his coat: who gave him?), and
+syrupped with her voice:
+
+--Fine goods in small parcels.
+
+That is to say she. Neatly she poured slowsyrupy sloe.
+
+--Here's fortune, Blazes said.
+
+He pitched a broad coin down. Coin rang.
+
+--Hold on, said Lenehan, till I ...
+
+--Fortune, he wished, lifting his bubbled ale.
+
+--Sceptre will win in a canter, he said.
+
+--I plunged a bit, said Boylan winking and drinking. Not on my own, you
+know. Fancy of a friend of mine.
+
+Lenehan still drank and grinned at his tilted ale and at miss Douce's
+lips that all but hummed, not shut, the oceansong her lips had trilled.
+
+Idolores. The eastern seas.
+
+Clock whirred. Miss Kennedy passed their way (flower, wonder who
+gave), bearing away teatray. Clock clacked.
+
+Miss Douce took Boylan's coin, struck boldly the cashregister. It
+clanged. Clock clacked. Fair one of Egypt teased and sorted in the till
+and hummed and handed coins in change. Look to the west. A clack. For me.
+
+--What time is that? asked Blazes Boylan. Four?
+
+O'clock.
+
+Lenehan, small eyes ahunger on her humming, bust ahumming,
+tugged Blazes Boylan's elbowsleeve.
+
+--Let's hear the time, he said.
+
+
+The bag of Goulding, Collis, Ward led Bloom by ryebloom flowered
+tables. Aimless he chose with agitated aim, bald Pat attending, a table
+near the door. Be near. At four. Has he forgotten? Perhaps a trick. Not
+come: whet appetite. I couldn't do. Wait, wait. Pat, waiter, waited.
+
+Sparkling bronze azure eyed Blazure's skyblue bow and eyes.
+
+--Go on, pressed Lenehan. There's no-one. He never heard.
+
+-- ... TO FLORA'S LIPS DID HIE.
+
+High, a high note pealed in the treble clear.
+
+Bronzedouce communing with her rose that sank and rose sought
+
+Blazes Boylan's flower and eyes.
+
+--Please, please.
+
+He pleaded over returning phrases of avowal.
+
+--I COULD NOT LEAVE THEE ...
+
+--Afterwits, miss Douce promised coyly.
+
+--No, now, urged Lenehan. SONNEZLACLOCHE! O do! There's no-one.
+
+She looked. Quick. Miss Kenn out of earshot. Sudden bent. Two
+kindling faces watched her bend.
+
+Quavering the chords strayed from the air, found it again, lost chord,
+and lost and found it, faltering.
+
+--Go on! Do! SONNEZ!
+
+Bending, she nipped a peak of skirt above her knee. Delayed. Taunted
+them still, bending, suspending, with wilful eyes.
+
+--SONNEZ!
+
+Smack. She set free sudden in rebound her nipped elastic garter
+smackwarm against her smackable a woman's warmhosed thigh.
+
+--LA CLOCHE! cried gleeful Lenehan. Trained by owner. No sawdust there.
+
+She smilesmirked supercilious (wept! aren't men?), but, lightward
+gliding, mild she smiled on Boylan.
+
+--You're the essence of vulgarity, she in gliding said.
+
+Boylan, eyed, eyed. Tossed to fat lips his chalice, drank off his chalice
+tiny, sucking the last fat violet syrupy drops. His spellbound eyes went
+after, after her gliding head as it went down the bar by mirrors, gilded
+arch for ginger ale, hock and claret glasses shimmering, a spiky shell,
+where it concerted, mirrored, bronze with sunnier bronze.
+
+Yes, bronze from anearby.
+
+-- ... SWEETHEART, GOODBYE!
+
+--I'm off, said Boylan with impatience.
+
+He slid his chalice brisk away, grasped his change.
+
+--Wait a shake, begged Lenehan, drinking quickly. I wanted to tell you.
+
+Tom Rochford ...
+
+--Come on to blazes, said Blazes Boylan, going.
+
+Lenehan gulped to go.
+
+--Got the horn or what? he said. Wait. I'm coming.
+
+He followed the hasty creaking shoes but stood by nimbly by the
+threshold, saluting forms, a bulky with a slender.
+
+--How do you do, Mr Dollard?
+
+--Eh? How do? How do? Ben Dollard's vague bass answered, turning an
+instant from Father Cowley's woe. He won't give you any trouble, Bob. Alf
+Bergan will speak to the long fellow. We'll put a barleystraw in that
+Judas Iscariot's ear this time.
+
+Sighing Mr Dedalus came through the saloon, a finger soothing an
+eyelid.
+
+--Hoho, we will, Ben Dollard yodled jollily. Come on, Simon. Give us a
+ditty. We heard the piano.
+
+Bald Pat, bothered waiter, waited for drink orders. Power for Richie.
+And Bloom? Let me see. Not make him walk twice. His corns. Four now.
+How warm this black is. Course nerves a bit. Refracts (is it?) heat. Let
+me see. Cider. Yes, bottle of cider.
+
+--What's that? Mr Dedalus said. I was only vamping, man.
+
+--Come on, come on, Ben Dollard called. Begone dull care. Come, Bob.
+
+He ambled Dollard, bulky slops, before them (hold that fellow with
+the: hold him now) into the saloon. He plumped him Dollard on the stool.
+His gouty paws plumped chords. Plumped, stopped abrupt.
+
+Bald Pat in the doorway met tealess gold returning. Bothered, he
+wanted Power and cider. Bronze by the window, watched, bronze from
+afar.
+
+Jingle a tinkle jaunted.
+
+Bloom heard a jing, a little sound. He's off. Light sob of breath Bloom
+sighed on the silent bluehued flowers. Jingling. He's gone. Jingle. Hear.
+
+--Love and War, Ben, Mr Dedalus said. God be with old times.
+
+Miss Douce's brave eyes, unregarded, turned from the crossblind,
+smitten by sunlight. Gone. Pensive (who knows?), smitten (the smiting
+light), she lowered the dropblind with a sliding cord. She drew down
+pensive (why did he go so quick when I?) about her bronze, over the bar
+where bald stood by sister gold, inexquisite contrast, contrast
+inexquisite nonexquisite, slow cool dim seagreen sliding depth of shadow,
+EAU DE NIL.
+
+--Poor old Goodwin was the pianist that night, Father Cowley reminded
+them. There was a slight difference of opinion between himself and the
+Collard grand.
+
+There was.
+
+--A symposium all his own, Mr Dedalus said. The devil wouldn't stop him.
+He was a crotchety old fellow in the primary stage of drink.
+
+--God, do you remember? Ben bulky Dollard said, turning from the
+punished keyboard. And by Japers I had no wedding garment.
+
+They laughed all three. He had no wed. All trio laughed. No wedding
+garment.
+
+--Our friend Bloom turned in handy that night, Mr Dedalus said. Where's
+my pipe, by the way?
+
+He wandered back to the bar to the lost chord pipe. Bald Pat carried
+two diners' drinks, Richie and Poldy. And Father Cowley laughed again.
+
+--I saved the situation, Ben, I think.
+
+--You did, averred Ben Dollard. I remember those tight trousers too. That
+was a brilliant idea, Bob.
+
+Father Cowley blushed to his brilliant purply lobes. He saved the
+situa. Tight trou. Brilliant ide.
+
+--I knew he was on the rocks, he said. The wife was playing the piano in
+the coffee palace on Saturdays for a very trifling consideration and who
+was it gave me the wheeze she was doing the other business? Do you
+remember? We had to search all Holles street to find them till the chap in
+Keogh's gave us the number. Remember? Ben remembered, his broad visage
+wondering.
+
+--By God, she had some luxurious operacloaks and things there.
+
+Mr Dedalus wandered back, pipe in hand.
+
+--Merrion square style. Balldresses, by God, and court dresses. He
+wouldn't take any money either. What? Any God's quantity of cocked hats
+and boleros and trunkhose. What?
+
+--Ay, ay, Mr Dedalus nodded. Mrs Marion Bloom has left off clothes of all
+descriptions.
+
+Jingle jaunted down the quays. Blazes sprawled on bounding tyres.
+
+Liver and bacon. Steak and kidney pie. Right, sir. Right, Pat.
+
+Mrs Marion. Met him pike hoses. Smell of burn. Of Paul de Kock. Nice
+name he.
+
+--What's this her name was? A buxom lassy. Marion ...
+
+--Tweedy.
+
+--Yes. Is she alive?
+
+--And kicking.
+
+--She was a daughter of ...
+
+--Daughter of the regiment.
+
+--Yes, begad. I remember the old drummajor.
+
+Mr Dedalus struck, whizzed, lit, puffed savoury puff after
+
+--Irish? I don't know, faith. Is she, Simon?
+
+Puff after stiff, a puff, strong, savoury, crackling.
+
+--Buccinator muscle is ... What? ... Bit rusty ... O, she is ... My
+Irish Molly, O.
+
+He puffed a pungent plumy blast.
+
+--From the rock of Gibraltar... all the way.
+
+They pined in depth of ocean shadow, gold by the beerpull, bronze by
+maraschino, thoughtful all two. Mina Kennedy, 4 Lismore terrace,
+Drumcondra with Idolores, a queen, Dolores, silent.
+
+Pat served, uncovered dishes. Leopold cut liverslices. As said before he
+ate with relish the inner organs, nutty gizzards, fried cods' roes while
+Richie Goulding, Collis, Ward ate steak and kidney, steak then kidney,
+bite by bite of pie he ate Bloom ate they ate.
+
+Bloom with Goulding, married in silence, ate. Dinners fit for princes.
+
+By Bachelor's walk jogjaunty jingled Blazes Boylan, bachelor, in sun
+in heat, mare's glossy rump atrot, with flick of whip, on bounding tyres:
+sprawled, warmseated, Boylan impatience, ardentbold. Horn. Have you
+the? Horn. Have you the? Haw haw horn.
+
+Over their voices Dollard bassooned attack, booming over bombarding
+chords:
+
+--WHEN LOVE ABSORBS MY ARDENT SOUL ...
+
+Roll of Bensoulbenjamin rolled to the quivery loveshivery roofpanes.
+
+--War! War! cried Father Cowley. You're the warrior.
+
+--So I am, Ben Warrior laughed. I was thinking of your landlord. Love or
+money.
+
+He stopped. He wagged huge beard, huge face over his blunder huge.
+
+--Sure, you'd burst the tympanum of her ear, man, Mr Dedalus said
+through smoke aroma, with an organ like yours.
+
+In bearded abundant laughter Dollard shook upon the keyboard. He
+would.
+
+--Not to mention another membrane, Father Cowley added. Half time,
+Ben. AMOROSO MA NON TROPPO. Let me there.
+
+Miss Kennedy served two gentlemen with tankards of cool stout. She
+passed a remark. It was indeed, first gentleman said, beautiful weather.
+They drank cool stout. Did she know where the lord lieutenant was going?
+And heard steelhoofs ringhoof ring. No, she couldn't say. But it would be
+in the paper. O, she need not trouble. No trouble. She waved about her
+outspread INDEPENDENT, searching, the lord lieutenant, her pinnacles of
+hair slowmoving, lord lieuten. Too much trouble, first gentleman said. O,
+not in the least. Way he looked that. Lord lieutenant. Gold by bronze
+heard iron steel.
+
+-- ............ MY ARDENT SOUL
+    I CARE NOT FOROR THE MORROW.
+
+In liver gravy Bloom mashed mashed potatoes. Love and War
+someone is. Ben Dollard's famous. Night he ran round to us to borrow a
+dress suit for that concert. Trousers tight as a drum on him. Musical
+porkers. Molly did laugh when he went out. Threw herself back across the
+bed, screaming, kicking. With all his belongings on show. O saints above,
+I'm drenched! O, the women in the front row! O, I never laughed so many!
+Well, of course that's what gives him the base barreltone. For instance
+eunuchs. Wonder who's playing. Nice touch. Must be Cowley. Musical.
+Knows whatever note you play. Bad breath he has, poor chap. Stopped.
+
+Miss Douce, engaging, Lydia Douce, bowed to suave solicitor, George
+Lidwell, gentleman, entering. Good afternoon. She gave her moist
+(a lady's) hand to his firm clasp. Afternoon. Yes, she was back. To the
+old dingdong again.
+
+--Your friends are inside, Mr Lidwell.
+
+George Lidwell, suave, solicited, held a lydiahand.
+
+Bloom ate liv as said before. Clean here at least. That chap in the
+Burton, gummy with gristle. No-one here: Goulding and I. Clean tables,
+flowers, mitres of napkins. Pat to and fro. Bald Pat. Nothing to do. Best
+value in Dub.
+
+Piano again. Cowley it is. Way he sits in to it, like one together,
+mutual understanding. Tiresome shapers scraping fiddles, eye on the
+bowend, sawing the cello, remind you of toothache. Her high long snore.
+Night we were in the box. Trombone under blowing like a grampus,
+between the acts, other brass chap unscrewing, emptying spittle.
+Conductor's legs too, bagstrousers, jiggedy jiggedy. Do right to hide
+them.
+
+Jiggedy jingle jaunty jaunty.
+
+Only the harp. Lovely. Gold glowering light. Girl touched it. Poop of
+a lovely. Gravy's rather good fit for a. Golden ship. Erin. The harp that
+once or twice. Cool hands. Ben Howth, the rhododendrons. We are their
+harps. I. He. Old. Young.
+
+--Ah, I couldn't, man, Mr Dedalus said, shy, listless.
+
+Strongly.
+
+--Go on, blast you! Ben Dollard growled. Get it out in bits.
+
+--M'APPARI, Simon, Father Cowley said.
+
+Down stage he strode some paces, grave, tall in affliction, his long
+arms outheld. Hoarsely the apple of his throat hoarsed softly. Softly he
+sang to a dusty seascape there: A LAST FAREWELL. A headland, a ship, a
+sail upon the billows. Farewell. A lovely girl, her veil awave upon the
+wind upon the headland, wind around her.
+
+Cowley sang:
+
+
+--M'APPARI TUTT'AMOR:
+IL MIO SGUARDO L'INCONTR ...
+
+
+She waved, unhearing Cowley, her veil, to one departing, dear one, to
+wind, love, speeding sail, return.
+
+--Go on, Simon.
+
+--Ah, sure, my dancing days are done, Ben ... Well ...
+
+Mr Dedalus laid his pipe to rest beside the tuningfork and, sitting,
+touched the obedient keys.
+
+--No, Simon, Father Cowley turned. Play it in the original. One flat.
+
+The keys, obedient, rose higher, told, faltered, confessed, confused.
+
+Up stage strode Father Cowley.
+
+--Here, Simon, I'll accompany you, he said. Get up.
+
+By Graham Lemon's pineapple rock, by Elvery's elephant jingly
+jogged. Steak, kidney, liver, mashed, at meat fit for princes sat princes
+Bloom and Goulding. Princes at meat they raised and drank, Power and
+cider.
+
+Most beautiful tenor air ever written, Richie said: SONNAMBULA. He
+heard Joe Maas sing that one night. Ah, what M'Guckin! Yes. In his way.
+Choirboy style. Maas was the boy. Massboy. A lyrical tenor if you like.
+Never forget it. Never.
+
+Tenderly Bloom over liverless bacon saw the tightened features strain.
+Backache he. Bright's bright eye. Next item on the programme. Paying the
+piper. Pills, pounded bread, worth a guinea a box. Stave it off awhile.
+Sings too: DOWN AMONG THE DEAD MEN. Appropriate. Kidney pie. Sweets to
+the. Not making much hand of it. Best value in. Characteristic of him.
+Power. Particular about his drink. Flaw in the glass, fresh Vartry water.
+Fecking matches from counters to save. Then squander a sovereign in dribs
+and drabs. And when he's wanted not a farthing. Screwed refusing to pay
+his fare. Curious types.
+
+Never would Richie forget that night. As long as he lived: never. In
+the gods of the old Royal with little Peake. And when the first note.
+
+Speech paused on Richie's lips.
+
+Coming out with a whopper now. Rhapsodies about damn all.
+
+Believes his own lies. Does really. Wonderful liar. But want a good
+memory.
+
+--Which air is that? asked Leopold Bloom.
+
+--ALL IS LOST NOW.
+
+Richie cocked his lips apout. A low incipient note sweet banshee murmured:
+all. A thrush. A throstle. His breath, birdsweet, good teeth he's
+proud of, fluted with plaintive woe. Is lost. Rich sound. Two notes in one
+there. Blackbird I heard in the hawthorn valley. Taking my motives he
+twined and turned them. All most too new call is lost in all. Echo. How
+sweet the answer. How is that done? All lost now. Mournful he whistled.
+Fall, surrender, lost.
+
+Bloom bent leopold ear, turning a fringe of doyley down under the
+vase. Order. Yes, I remember. Lovely air. In sleep she went to him.
+Innocence in the moon. Brave. Don't know their danger. Still hold her
+back. Call name. Touch water. Jingle jaunty. Too late. She longed to go.
+That's why. Woman. As easy stop the sea. Yes: all is lost.
+
+--A beautiful air, said Bloom lost Leopold. I know it well.
+
+Never in all his life had Richie Goulding.
+
+He knows it well too. Or he feels. Still harping on his daughter. Wise
+child that knows her father, Dedalus said. Me?
+
+Bloom askance over liverless saw. Face of the all is lost. Rollicking
+Richie once. Jokes old stale now. Wagging his ear. Napkinring in his eye.
+Now begging letters he sends his son with. Crosseyed Walter sir I did sir.
+Wouldn't trouble only I was expecting some money. Apologise.
+
+Piano again. Sounds better than last time I heard. Tuned probably.
+Stopped again.
+
+Dollard and Cowley still urged the lingering singer out with it.
+
+--With it, Simon.
+
+--It, Simon.
+
+--Ladies and gentlemen, I am most deeply obliged by your kind
+solicitations.
+
+--It, Simon.
+
+--I have no money but if you will lend me your attention I shall endeavour
+to sing to you of a heart bowed down.
+
+By the sandwichbell in screening shadow Lydia, her bronze and rose,
+a lady's grace, gave and withheld: as in cool glaucous EAU DE NIL Mina
+to tankards two her pinnacles of gold.
+
+The harping chords of prelude closed. A chord, longdrawn, expectant,
+drew a voice away.
+
+--WHEN FIRST I SAW THAT FORM ENDEARING ...
+
+Richie turned.
+
+--Si Dedalus' voice, he said.
+
+Braintipped, cheek touched with flame, they listened feeling that flow
+endearing flow over skin limbs human heart soul spine. Bloom signed to
+Pat, bald Pat is a waiter hard of hearing, to set ajar the door of the
+bar. The door of the bar. So. That will do. Pat, waiter, waited, waiting
+to hear, for he was hard of hear by the door.
+
+--SORROW FROM ME SEEMED TO DEPART.
+
+Through the hush of air a voice sang to them, low, not rain, not leaves
+in murmur, like no voice of strings or reeds or whatdoyoucallthem
+dulcimers touching their still ears with words, still hearts of their each
+his remembered lives. Good, good to hear: sorrow from them each seemed to
+from both depart when first they heard. When first they saw, lost Richie
+Poldy, mercy of beauty, heard from a person wouldn't expect it in the
+least, her first merciful lovesoft oftloved word.
+
+Love that is singing: love's old sweet song. Bloom unwound slowly
+the elastic band of his packet. Love's old sweet SONNEZ LA gold. Bloom
+wound a skein round four forkfingers, stretched it, relaxed, and wound it
+round his troubled double, fourfold, in octave, gyved them fast.
+
+--FULL OF HOPE AND ALL DELIGHTED ...
+
+Tenors get women by the score. Increase their flow. Throw flower at
+his feet. When will we meet? My head it simply. Jingle all delighted. He
+can't sing for tall hats. Your head it simply swurls. Perfumed for him.
+What perfume does your wife? I want to know. Jing. Stop. Knock. Last look
+at mirror always before she answers the door. The hall. There? How do you?
+I do well. There? What? Or? Phial of cachous, kissing comfits, in her
+satchel. Yes? Hands felt for the opulent.
+
+Alas the voice rose, sighing, changed: loud, full, shining, proud.
+
+--BUT ALAS, 'TWAS IDLE DREAMING ...
+
+Glorious tone he has still. Cork air softer also their brogue. Silly man!
+Could have made oceans of money. Singing wrong words. Wore out his
+wife: now sings. But hard to tell. Only the two themselves. If he doesn't
+break down. Keep a trot for the avenue. His hands and feet sing too.
+Drink. Nerves overstrung. Must be abstemious to sing. Jenny Lind soup:
+stock, sage, raw eggs, half pint of cream. For creamy dreamy.
+
+Tenderness it welled: slow, swelling, full it throbbed. That's the chat.
+Ha, give! Take! Throb, a throb, a pulsing proud erect.
+
+Words? Music? No: it's what's behind.
+
+Bloom looped, unlooped, noded, disnoded.
+
+Bloom. Flood of warm jamjam lickitup secretness flowed to flow in
+music out, in desire, dark to lick flow invading. Tipping her tepping her
+tapping her topping her. Tup. Pores to dilate dilating. Tup. The joy the
+feel the warm the. Tup. To pour o'er sluices pouring gushes. Flood, gush,
+flow, joygush, tupthrob. Now! Language of love.
+
+-- ... RAY OF HOPE IS ...
+
+Beaming. Lydia for Lidwell squeak scarcely hear so ladylike the muse
+unsqueaked a ray of hopk.
+
+MARTHA it is. Coincidence. Just going to write. Lionel's song. Lovely
+name you have. Can't write. Accept my little pres. Play on her
+heartstrings pursestrings too. She's a. I called you naughty boy. Still
+the name: Martha. How strange! Today.
+
+The voice of Lionel returned, weaker but unwearied. It sang again to
+Richie Poldy Lydia Lidwell also sang to Pat open mouth ear waiting to
+wait. How first he saw that form endearing, how sorrow seemed to part,
+how look, form, word charmed him Gould Lidwell, won Pat Bloom's heart.
+
+Wish I could see his face, though. Explain better. Why the barber in
+Drago's always looked my face when I spoke his face in the glass. Still
+hear it better here than in the bar though farther.
+
+--EACH GRACEFUL LOOK ...
+
+First night when first I saw her at Mat Dillon's in Terenure. Yellow,
+black lace she wore. Musical chairs. We two the last. Fate. After her.
+Fate.
+
+Round and round slow. Quick round. We two. All looked. Halt. Down she
+sat. All ousted looked. Lips laughing. Yellow knees.
+
+--CHARMED MY EYE ...
+
+Singing. WAITING she sang. I turned her music. Full voice of perfume
+of what perfume does your lilactrees. Bosom I saw, both full, throat
+warbling. First I saw. She thanked me. Why did she me? Fate. Spanishy
+eyes. Under a peartree alone patio this hour in old Madrid one side in
+shadow Dolores shedolores. At me. Luring. Ah, alluring.
+
+--MARTHA! AH, MARTHA!
+
+Quitting all languor Lionel cried in grief, in cry of passion dominant
+to love to return with deepening yet with rising chords of harmony. In cry
+of lionel loneliness that she should know, must martha feel. For only her
+he waited. Where? Here there try there here all try where. Somewhere.
+
+--CO-OME, THOU LOST ONE!
+  CO-OME, THOU DEAR ONE!
+
+Alone. One love. One hope. One comfort me. Martha, chestnote, return!
+
+--COME!
+
+It soared, a bird, it held its flight, a swift pure cry, soar silver orb
+it leaped serene, speeding, sustained, to come, don't spin it out too long
+long breath he breath long life, soaring high, high resplendent, aflame,
+crowned, high in the effulgence symbolistic, high, of the etherial bosom,
+high, of the high vast irradiation everywhere all soaring all around about
+the all, the endlessnessnessness ...
+
+--TO ME!
+
+Siopold!
+
+Consumed.
+
+Come. Well sung. All clapped. She ought to. Come. To me, to him, to
+her, you too, me, us.
+
+--Bravo! Clapclap. Good man, Simon. Clappyclapclap. Encore!
+Clapclipclap clap. Sound as a bell. Bravo, Simon! Clapclopclap. Encore,
+enclap, said, cried, clapped all, Ben Dollard, Lydia Douce, George
+Lidwell, Pat, Mina Kennedy, two gentlemen with two tankards, Cowley,
+first gent with tank and bronze miss Douce and gold MJiss Mina.
+
+Blazes Boylan's smart tan shoes creaked on the barfloor, said before.
+Jingle by monuments of sir John Gray, Horatio onehandled Nelson,
+reverend father Theobald Mathew, jaunted, as said before just now. Atrot,
+in heat, heatseated. CLOCHE. SONNEZ LA. CLOCHE. SONNEZ LA. Slower the mare
+went up the hill by the Rotunda, Rutland square. Too slow for Boylan,
+blazes Boylan, impatience Boylan, joggled the mare.
+
+An afterclang of Cowley's chords closed, died on the air made richer.
+
+And Richie Goulding drank his Power and Leopold Bloom his cider
+drank, Lidwell his Guinness, second gentleman said they would partake of
+two more tankards if she did not mind. Miss Kennedy smirked, disserving,
+coral lips, at first, at second. She did not mind.
+
+--Seven days in jail, Ben Dollard said, on bread and water. Then you'd
+sing, Simon, like a garden thrush.
+
+Lionel Simon, singer, laughed. Father Bob Cowley played. Mina
+Kennedy served. Second gentleman paid. Tom Kernan strutted in. Lydia,
+admired, admired. But Bloom sang dumb.
+
+Admiring.
+
+Richie, admiring, descanted on that man's glorious voice. He
+remembered one night long ago. Never forget that night. Si sang 'TWAS
+RANK AND FAME: in Ned Lambert's 'twas. Good God he never heard in all his
+life a note like that he never did THEN FALSE ONE WE HAD BETTER PART so
+clear so God he never heard SINCE LOVE LIVES NOT a clinking voice lives
+not ask Lambert he can tell you too.
+
+Goulding, a flush struggling in his pale, told Mr Bloom, face of the
+night, Si in Ned Lambert's, Dedalus house, sang 'TWAS RANK AND FAME.
+
+He, Mr Bloom, listened while he, Richie Goulding, told him, Mr
+Bloom, of the night he, Richie, heard him, Si Dedalus, sing 'TWAS RANK AND
+FAME in his, Ned Lambert's, house.
+
+Brothers-in-law: relations. We never speak as we pass by. Rift in the
+lute I think. Treats him with scorn. See. He admires him all the more. The
+night Si sang. The human voice, two tiny silky chords, wonderful, more
+than all others.
+
+That voice was a lamentation. Calmer now. It's in the silence after
+you feel you hear. Vibrations. Now silent air.
+
+Bloom ungyved his crisscrossed hands and with slack fingers plucked
+the slender catgut thong. He drew and plucked. It buzz, it twanged. While
+Goulding talked of Barraclough's voice production, while Tom Kernan,
+harking back in a retrospective sort of arrangement talked to listening
+Father Cowley, who played a voluntary, who nodded as he played. While
+big Ben Dollard talked with Simon Dedalus, lighting, who nodded as he
+smoked, who smoked.
+
+Thou lost one. All songs on that theme. Yet more Bloom stretched his
+string. Cruel it seems. Let people get fond of each other: lure them on.
+Then tear asunder. Death. Explos. Knock on the head. Outtohelloutofthat.
+Human life. Dignam. Ugh, that rat's tail wriggling! Five bob I gave.
+CORPUS PARADISUM. Corncrake croaker: belly like a poisoned pup. Gone.
+They sing. Forgotten. I too; And one day she with. Leave her: get tired.
+Suffer then. Snivel. Big spanishy eyes goggling at nothing. Her
+wavyavyeavyheavyeavyevyevyhair un comb:'d.
+
+Yet too much happy bores. He stretched more, more. Are you not
+happy in your? Twang. It snapped.
+
+Jingle into Dorset street.
+
+Miss Douce withdrew her satiny arm, reproachful, pleased.
+
+--Don't make half so free, said she, till we are better acquainted.
+
+George Lidwell told her really and truly: but she did not believe.
+
+First gentleman told Mina that was so. She asked him was that so.
+And second tankard told her so. That that was so.
+
+Miss Douce, miss Lydia, did not believe: miss Kennedy, Mina, did not
+believe: George Lidwell, no: miss Dou did not: the first, the first: gent
+with the tank: believe, no, no: did not, miss Kenn: Lidlydiawell: the
+tank.
+
+Better write it here. Quills in the postoffice chewed and twisted.
+
+Bald Pat at a sign drew nigh. A pen and ink. He went. A pad. He
+went. A pad to blot. He heard, deaf Pat.
+
+--Yes, Mr Bloom said, teasing the curling catgut line. It certainly is.
+Few lines will do. My present. All that Italian florid music is. Who is
+this wrote? Know the name you know better. Take out sheet notepaper,
+envelope: unconcerned. It's so characteristic.
+
+--Grandest number in the whole opera, Goulding said.
+
+--It is, Bloom said.
+
+Numbers it is. All music when you come to think. Two multiplied by two
+divided by half is twice one. Vibrations: chords those are. One plus two
+plus six is seven. Do anything you like with figures juggling. Always find
+out this equal to that. Symmetry under a cemetery wall. He doesn't see my
+mourning. Callous: all for his own gut. Musemathematics. And you think
+you're listening to the etherial. But suppose you said it like: Martha,
+seven times nine minus x is thirtyfive thousand. Fall quite flat. It's on
+account of the sounds it is.
+
+Instance he's playing now. Improvising. Might be what you like, till
+you hear the words. Want to listen sharp. Hard. Begin all right: then hear
+chords a bit off: feel lost a bit. In and out of sacks, over barrels,
+through wirefences, obstacle race. Time makes the tune. Question of mood
+you're in. Still always nice to hear. Except scales up and down, girls
+learning. Two together nextdoor neighbours. Ought to invent dummy pianos
+for that. BLUMENLIED I bought for her. The name. Playing it slow, a girl,
+night I came home, the girl. Door of the stables near Cecilia street.
+Milly no taste. Queer because we both, I mean.
+
+Bald deaf Pat brought quite flat pad ink. Pat set with ink pen quite
+flat pad. Pat took plate dish knife fork. Pat went.
+
+It was the only language Mr Dedalus said to Ben. He heard them as a
+boy in Ringabella, Crosshaven, Ringabella, singing their barcaroles.
+Queenstown harbour full of Italian ships. Walking, you know, Ben, in the
+moonlight with those earthquake hats. Blending their voices. God, such
+music, Ben. Heard as a boy. Cross Ringabella haven mooncarole.
+
+Sour pipe removed he held a shield of hand beside his lips that cooed
+a moonlight nightcall, clear from anear, a call from afar, replying.
+
+Down the edge of his FREEMAN baton ranged Bloom's, your other eye,
+scanning for where did I see that. Callan, Coleman, Dignam Patrick.
+Heigho! Heigho! Fawcett. Aha! Just I was looking ...
+
+Hope he's not looking, cute as a rat. He held unfurled his FREEMAN.
+Can't see now. Remember write Greek ees. Bloom dipped, Bloo mur: dear
+sir. Dear Henry wrote: dear Mady. Got your lett and flow. Hell did I put?
+Some pock or oth. It is utterl imposs. Underline IMPOSS. To write today.
+
+Bore this. Bored Bloom tambourined gently with I am just reflecting
+fingers on flat pad Pat brought.
+
+On. Know what I mean. No, change that ee. Accep my poor litt pres
+enclos. Ask her no answ. Hold on. Five Dig. Two about here. Penny the
+gulls. Elijah is com. Seven Davy Byrne's. Is eight about. Say half a
+crown. My poor little pres: p. o. two and six. Write me a long. Do you
+despise? Jingle, have you the? So excited. Why do you call me naught?
+You naughty too? O, Mairy lost the string of her. Bye for today. Yes, yes,
+will tell you. Want to. To keep it up. Call me that other. Other world she
+wrote. My patience are exhaust. To keep it up. You must believe. Believe.
+The tank. It. Is. True.
+
+Folly am I writing? Husbands don't. That's marriage does, their
+wives. Because I'm away from. Suppose. But how? She must. Keep young.
+If she found out. Card in my high grade ha. No, not tell all. Useless
+pain. If they don't see. Woman. Sauce for the gander.
+
+A hackney car, number three hundred and twentyfour, driver Barton James of
+number one Harmony avenue, Donnybrook, on which sat a fare, a young
+gentleman, stylishly dressed in an indigoblue serge suit made by
+George Robert Mesias, tailor and cutter, of number five Eden quay, and
+wearing a straw hat very dressy, bought of John Plasto of number one
+Great Brunswick street, hatter. Eh? This is the jingle that joggled and
+jingled. By Dlugacz' porkshop bright tubes of Agendath trotted a
+gallantbuttocked mare.
+
+--Answering an ad? keen Richie's eyes asked Bloom.
+
+--Yes, Mr Bloom said. Town traveller. Nothing doing, I expect.
+
+Bloom mur: best references. But Henry wrote: it will excite me. You
+know how. In haste. Henry. Greek ee. Better add postscript. What is he
+playing now? Improvising. Intermezzo. P. S. The rum tum tum. How will
+you pun? You punish me? Crooked skirt swinging, whack by. Tell me I want
+to. Know. O. Course if I didn't I wouldn't ask. La la la ree. Trails off
+there sad in minor. Why minor sad? Sign H. They like sad tail at end.
+P. P. S. La la la ree. I feel so sad today. La ree. So lonely. Dee.
+
+He blotted quick on pad of Pat. Envel. Address. Just copy out of
+paper. Murmured: Messrs Callan, Coleman and Co, limited. Henry wrote:
+
+
+        Miss Martha Clifford
+            c/o P. O.
+        Dolphin's Barn Lane
+                Dublin
+
+
+Blot over the other so he can't read. There. Right. Idea prize titbit.
+Something detective read off blottingpad. Payment at the rate of guinea
+per col. Matcham often thinks the laughing witch. Poor Mrs Purefoy. U. P:
+up.
+
+Too poetical that about the sad. Music did that. Music hath charms.
+Shakespeare said. Quotations every day in the year. To be or not to be.
+Wisdom while you wait.
+
+In Gerard's rosery of Fetter lane he walks, greyedauburn. One life is
+all. One body. Do. But do.
+
+Done anyhow. Postal order, stamp. Postoffice lower down. Walk
+now. Enough. Barney Kiernan's I promised to meet them. Dislike that job.
+
+House of mourning. Walk. Pat! Doesn't hear. Deaf beetle he is.
+
+Car near there now. Talk. Talk. Pat! Doesn't. Settling those napkins.
+Lot of ground he must cover in the day. Paint face behind on him then he'd
+be two. Wish they'd sing more. Keep my mind off.
+
+Bald Pat who is bothered mitred the napkins. Pat is a waiter hard of
+his hearing. Pat is a waiter who waits while you wait. Hee hee hee hee. He
+waits while you wait. Hee hee. A waiter is he. Hee hee hee hee. He waits
+while you wait. While you wait if you wait he will wait while you wait.
+Hee hee hee hee. Hoh. Wait while you wait.
+
+Douce now. Douce Lydia. Bronze and rose.
+
+She had a gorgeous, simply gorgeous, time. And look at the lovely
+shell she brought.
+
+To the end of the bar to him she bore lightly the spiked and winding
+seahorn that he, George Lidwell, solicitor, might hear.
+
+--Listen! she bade him.
+
+Under Tom Kernan's ginhot words the accompanist wove music slow.
+Authentic fact. How Walter Bapty lost his voice. Well, sir, the husband
+took him by the throat. SCOUNDREL, said he, YOU'LL SING NO MORE LOVESONGS.
+He did, faith, sir Tom. Bob Cowley wove. Tenors get wom. Cowley lay back.
+
+Ah, now he heard, she holding it to his ear. Hear! He heard.
+
+Wonderful. She held it to her own. And through the sifted light pale gold
+in contrast glided. To hear.
+
+Tap.
+
+Bloom through the bardoor saw a shell held at their ears. He heard
+more faintly that that they heard, each for herself alone, then each for
+other, hearing the plash of waves, loudly, a silent roar.
+
+Bronze by a weary gold, anear, afar, they listened.
+
+Her ear too is a shell, the peeping lobe there. Been to the seaside.
+Lovely seaside girls. Skin tanned raw. Should have put on coldcream first
+make it brown. Buttered toast. O and that lotion mustn't forget. Fever
+near her mouth. Your head it simply. Hair braided over: shell with
+seaweed. Why do they hide their ears with seaweed hair? And Turks the
+mouth, why? Her eyes over the sheet. Yashmak. Find the way in. A cave. No
+admittance except on business.
+
+The sea they think they hear. Singing. A roar. The blood it is. Souse
+in the ear sometimes. Well, it's a sea. Corpuscle islands.
+
+Wonderful really. So distinct. Again. George Lidwell held its murmur,
+hearing: then laid it by, gently.
+
+--What are the wild waves saying? he asked her, smiled.
+
+Charming, seasmiling and unanswering Lydia on Lidwell smiled.
+
+Tap.
+
+By Larry O'Rourke's, by Larry, bold Larry O', Boylan swayed and
+Boylan turned.
+
+From the forsaken shell miss Mina glided to her tankards waiting.
+No, she was not so lonely archly miss Douce's head let Mr Lidwell know.
+Walks in the moonlight by the sea. No, not alone. With whom? She nobly
+answered: with a gentleman friend.
+
+Bob Cowley's twinkling fingers in the treble played again. The
+landlord has the prior. A little time. Long John. Big Ben. Lightly he
+played a light bright tinkling measure for tripping ladies, arch and
+smiling, and for their gallants, gentlemen friends. One: one, one, one,
+one, one: two, one, three, four.
+
+Sea, wind, leaves, thunder, waters, cows lowing, the cattlemarket,
+cocks, hens don't crow, snakes hissss. There's music everywhere.
+Ruttledge's door: ee creaking. No, that's noise. Minuet of DON GIOVANNI
+he's playing now. Court dresses of all descriptions in castle chambers
+dancing. Misery. Peasants outside. Green starving faces eating
+dockleaves. Nice that is. Look: look, look, look, look, look: you
+look at us.
+
+That's joyful I can feel. Never have written it. Why? My joy is other
+joy. But both are joys. Yes, joy it must be. Mere fact of music shows you
+are. Often thought she was in the dumps till she began to lilt. Then
+know.
+
+M'Coy valise. My wife and your wife. Squealing cat. Like tearing silk.
+Tongue when she talks like the clapper of a bellows. They can't manage
+men's intervals. Gap in their voices too. Fill me. I'm warm, dark, open.
+Molly in QUIS EST HOMO: Mercadante. My ear against the wall to hear. Want
+a woman who can deliver the goods.
+
+Jog jig jogged stopped. Dandy tan shoe of dandy Boylan socks
+skyblue clocks came light to earth.
+
+O, look we are so! Chamber music. Could make a kind of pun on
+that. It is a kind of music I often thought when she. Acoustics that is.
+Tinkling. Empty vessels make most noise. Because the acoustics, the
+resonance changes according as the weight of the water is equal to the law
+of falling water. Like those rhapsodies of Liszt's, Hungarian, gipsyeyed.
+Pearls. Drops. Rain. Diddleiddle addleaddle ooddleooddle. Hissss. Now.
+Maybe now. Before.
+
+One rapped on a door, one tapped with a knock, did he knock Paul
+de Kock with a loud proud knocker with a cock carracarracarra cock.
+Cockcock.
+
+Tap.
+
+--QUI SDEGNO, Ben, said Father Cowley.
+
+--No, Ben, Tom Kernan interfered. THE CROPPY BOY. Our native Doric.
+
+--Ay do, Ben, Mr Dedalus said. Good men and true.
+
+--Do, do, they begged in one.
+
+I'll go. Here, Pat, return. Come. He came, he came, he did not stay.
+To me. How much?
+
+--What key? Six sharps?
+
+--F sharp major, Ben Dollard said.
+
+Bob Cowley's outstretched talons griped the black deepsounding chords.
+
+Must go prince Bloom told Richie prince. No, Richie said. Yes, must.
+Got money somewhere. He's on for a razzle backache spree. Much? He
+seehears lipspeech. One and nine. Penny for yourself. Here. Give him
+twopence tip. Deaf, bothered. But perhaps he has wife and family waiting,
+waiting Patty come home. Hee hee hee hee. Deaf wait while they wait.
+
+But wait. But hear. Chords dark. Lugugugubrious. Low. In a cave of
+the dark middle earth. Embedded ore. Lumpmusic.
+
+The voice of dark age, of unlove, earth's fatigue made grave approach
+and painful, come from afar, from hoary mountains, called on good men
+and true. The priest he sought. With him would he speak a word.
+
+Tap.
+
+Ben Dollard's voice. Base barreltone. Doing his level best to say it.
+Croak of vast manless moonless womoonless marsh. Other comedown. Big
+ships' chandler's business he did once. Remember: rosiny ropes, ships'
+lanterns. Failed to the tune of ten thousand pounds. Now in the Iveagh
+home. Cubicle number so and so. Number one Bass did that for him.
+
+The priest's at home. A false priest's servant bade him welcome. Step
+in. The holy father. With bows a traitor servant. Curlycues of chords.
+
+Ruin them. Wreck their lives. Then build them cubicles to end their
+days in. Hushaby. Lullaby. Die, dog. Little dog, die.
+
+The voice of warning, solemn warning, told them the youth had
+entered a lonely hall, told them how solemn fell his footsteps there, told
+them the gloomy chamber, the vested priest sitting to shrive.
+
+Decent soul. Bit addled now. Thinks he'll win in ANSWERS, poets'
+picture puzzle. We hand you crisp five pound note. Bird sitting hatching
+in a nest. Lay of the last minstrel he thought it was. See blank tee what
+domestic animal? Tee dash ar most courageous mariner. Good voice he has
+still. No eunuch yet with all his belongings.
+
+Listen. Bloom listened. Richie Goulding listened. And by the door
+deaf Pat, bald Pat, tipped Pat, listened. The chords harped slower.
+
+The voice of penance and of grief came slow, embellished, tremulous.
+Ben's contrite beard confessed. IN NOMINE DOMINI, in God's name he knelt.
+He beat his hand upon his breast, confessing: MEA CULPA.
+
+Latin again. That holds them like birdlime. Priest with the
+communion corpus for those women. Chap in the mortuary, coffin or
+coffey, CORPUSNOMINE. Wonder where that rat is by now. Scrape.
+
+Tap.
+
+They listened. Tankards and miss Kennedy. George Lidwell, eyelid
+well expressive, fullbusted satin. Kernan. Si.
+
+The sighing voice of sorrow sang. His sins. Since Easter he had
+cursed three times. You bitch's bast. And once at masstime he had gone to
+play. Once by the churchyard he had passed and for his mother's rest he
+had not prayed. A boy. A croppy boy.
+
+Bronze, listening, by the beerpull gazed far away. Soulfully. Doesn't
+half know I'm. Molly great dab at seeing anyone looking.
+
+Bronze gazed far sideways. Mirror there. Is that best side of her face?
+They always know. Knock at the door. Last tip to titivate.
+
+Cockcarracarra.
+
+What do they think when they hear music? Way to catch rattlesnakes.
+Night Michael Gunn gave us the box. Tuning up. Shah of Persia liked that
+best. Remind him of home sweet home. Wiped his nose in curtain too.
+Custom his country perhaps. That's music too. Not as bad as it sounds.
+Tootling. Brasses braying asses through uptrunks. Doublebasses helpless,
+gashes in their sides. Woodwinds mooing cows. Semigrand open crocodile
+music hath jaws. Woodwind like Goodwin's name.
+
+She looked fine. Her crocus dress she wore lowcut, belongings on
+show. Clove her breath was always in theatre when she bent to ask a
+question. Told her what Spinoza says in that book of poor papa's.
+Hypnotised, listening. Eyes like that. She bent. Chap in dresscircle
+staring down into her with his operaglass for all he was worth. Beauty
+of music you must hear twice. Nature woman half a look. God made the
+country man the tune. Met him pike hoses. Philosophy. O rocks!
+
+All gone. All fallen. At the siege of Ross his father, at Gorey all his
+brothers fell. To Wexford, we are the boys of Wexford, he would. Last of
+his name and race.
+
+I too. Last of my race. Milly young student. Well, my fault perhaps.
+No son. Rudy. Too late now. Or if not? If not? If still?
+
+He bore no hate.
+
+Hate. Love. Those are names. Rudy. Soon I am old. Big Ben his voice
+unfolded. Great voice Richie Goulding said, a flush struggling in his
+pale, to Bloom soon old. But when was young?
+
+Ireland comes now. My country above the king. She listens. Who
+fears to speak of nineteen four? Time to be shoving. Looked enough.
+
+--BLESS ME, FATHER, Dollard the croppy cried. BLESS ME AND LET ME GO.
+
+Tap.
+
+Bloom looked, unblessed to go. Got up to kill: on eighteen bob a
+week. Fellows shell out the dibs. Want to keep your weathereye open. Those
+girls, those lovely. By the sad sea waves. Chorusgirl's romance. Letters
+read out for breach of promise. From Chickabiddy's owny Mumpsypum.
+Laughter in court. Henry. I never signed it. The lovely name you.
+
+Low sank the music, air and words. Then hastened. The false priest
+rustling soldier from his cassock. A yeoman captain. They know it all by
+heart. The thrill they itch for. Yeoman cap.
+
+Tap. Tap.
+
+Thrilled she listened, bending in sympathy to hear.
+
+Blank face. Virgin should say: or fingered only. Write something on
+it: page. If not what becomes of them? Decline, despair. Keeps them young.
+Even admire themselves. See. Play on her. Lip blow. Body of white woman,
+a flute alive. Blow gentle. Loud. Three holes, all women. Goddess I didn't
+see. They want it. Not too much polite. That's why he gets them. Gold in
+your pocket, brass in your face. Say something. Make her hear. With look
+to look. Songs without words. Molly, that hurdygurdy boy. She knew he
+meant the monkey was sick. Or because so like the Spanish. Understand
+animals too that way. Solomon did. Gift of nature.
+
+Ventriloquise. My lips closed. Think in my stom. What?
+
+Will? You? I. Want. You. To.
+
+With hoarse rude fury the yeoman cursed, swelling in apoplectic
+bitch's bastard. A good thought, boy, to come. One hour's your time to
+live, your last.
+
+Tap. Tap.
+
+Thrill now. Pity they feel. To wipe away a tear for martyrs that want
+to, dying to, die. For all things dying, for all things born. Poor Mrs
+Purefoy. Hope she's over. Because their wombs.
+
+A liquid of womb of woman eyeball gazed under a fence of lashes,
+calmly, hearing. See real beauty of the eye when she not speaks. On yonder
+river. At each slow satiny heaving bosom's wave (her heaving embon) red
+rose rose slowly sank red rose. Heartbeats: her breath: breath that is
+life. And all the tiny tiny fernfoils trembled of maidenhair.
+
+But look. The bright stars fade. O rose! Castile. The morn. Ha.
+Lidwell. For him then not for. Infatuated. I like that? See her
+from here though. Popped corks, splashes of beerfroth, stacks of empties.
+
+On the smooth jutting beerpull laid Lydia hand, lightly, plumply, leave
+it to my hands. All lost in pity for croppy. Fro, to: to, fro: over the
+polished knob (she knows his eyes, my eyes, her eyes) her thumb and finger
+passed in pity: passed, reposed and, gently touching, then slid so
+smoothly, slowly down, a cool firm white enamel baton protruding through
+their sliding ring.
+
+With a cock with a carra.
+
+Tap. Tap. Tap.
+
+I hold this house. Amen. He gnashed in fury. Traitors swing.
+
+The chords consented. Very sad thing. But had to be. Get out before
+the end. Thanks, that was heavenly. Where's my hat. Pass by her. Can
+leave that Freeman. Letter I have. Suppose she were the? No. Walk,
+walk, walk. Like Cashel Boylo Connoro Coylo Tisdall Maurice Tisntdall
+Farrell. Waaaaaaalk.
+
+Well, I must be. Are you off? Yrfmstbyes. Blmstup. O'er ryehigh blue.
+Ow. Bloom stood up. Soap feeling rather sticky behind. Must have
+sweated: music. That lotion, remember. Well, so long. High grade. Card
+inside. Yes.
+
+By deaf Pat in the doorway straining ear Bloom passed.
+
+At Geneva barrack that young man died. At Passage was his body
+laid. Dolor! O, he dolores! The voice of the mournful chanter called to
+dolorous prayer.
+
+By rose, by satiny bosom, by the fondling hand, by slops, by empties,
+by popped corks, greeting in going, past eyes and maidenhair, bronze and
+faint gold in deepseashadow, went Bloom, soft Bloom, I feel so lonely
+Bloom.
+
+Tap. Tap. Tap.
+
+Pray for him, prayed the bass of Dollard. You who hear in peace. Breathe
+a prayer, drop a tear, good men, good people. He was the croppy boy.
+
+Scaring eavesdropping boots croppy bootsboy Bloom in the Ormond
+hallway heard the growls and roars of bravo, fat backslapping, their boots
+all treading, boots not the boots the boy. General chorus off for a swill
+to wash it down. Glad I avoided.
+
+--Come on, Ben, Simon Dedalus cried. By God, you're as good as ever you
+were.
+
+--Better, said Tomgin Kernan. Most trenchant rendition of that ballad,
+upon my soul and honour It is.
+
+--Lablache, said Father Cowley.
+
+Ben Dollard bulkily cachuchad towards the bar, mightily praisefed and all
+big roseate, on heavyfooted feet, his gouty fingers nakkering castagnettes
+in the air.
+
+Big Benaben Dollard. Big Benben. Big Benben.
+
+Rrr.
+
+And deepmoved all, Simon trumping compassion from foghorn nose,
+all laughing they brought him forth, Ben Dollard, in right good cheer.
+
+--You're looking rubicund, George Lidwell said.
+
+Miss Douce composed her rose to wait.
+
+--Ben machree, said Mr Dedalus, clapping Ben's fat back shoulderblade.
+Fit as a fiddle only he has a lot of adipose tissue concealed about his
+person.
+
+Rrrrrrrsss.
+
+--Fat of death, Simon, Ben Dollard growled.
+
+Richie rift in the lute alone sat: Goulding, Collis, Ward. Uncertainly
+he waited. Unpaid Pat too.
+
+Tap. Tap. Tap. Tap.
+
+Miss Mina Kennedy brought near her lips to ear of tankard one.
+
+--Mr Dollard, they murmured low.
+
+--Dollard, murmured tankard.
+
+Tank one believed: miss Kenn when she: that doll he was: she doll:
+the tank.
+
+He murmured that he knew the name. The name was familiar to him,
+that is to say. That was to say he had heard the name of. Dollard, was it?
+Dollard, yes.
+
+Yes, her lips said more loudly, Mr Dollard. He sang that song lovely,
+murmured Mina. Mr Dollard. And THE LAST ROSE OF SUMMER was a lovely
+song. Mina loved that song. Tankard loved the song that Mina.
+
+'Tis the last rose of summer dollard left bloom felt wind wound round
+inside.
+
+Gassy thing that cider: binding too. Wait. Postoffice near Reuben J's
+one and eightpence too. Get shut of it. Dodge round by Greek street. Wish
+I hadn't promised to meet. Freer in air. Music. Gets on your nerves.
+Beerpull. Her hand that rocks the cradle rules the. Ben Howth. That rules
+the world.
+
+Far. Far. Far. Far.
+
+Tap. Tap. Tap. Tap.
+
+Up the quay went Lionelleopold, naughty Henry with letter for
+Mady, with sweets of sin with frillies for Raoul with met him pike hoses
+went Poldy on.
+
+Tap blind walked tapping by the tap the curbstone tapping, tap by tap.
+
+Cowley, he stuns himself with it: kind of drunkenness. Better give
+way only half way the way of a man with a maid. Instance enthusiasts. All
+ears. Not lose a demisemiquaver. Eyes shut. Head nodding in time. Dotty.
+You daren't budge. Thinking strictly prohibited. Always talking shop.
+Fiddlefaddle about notes.
+
+All a kind of attempt to talk. Unpleasant when it stops because you
+never know exac. Organ in Gardiner street. Old Glynn fifty quid a year.
+Queer up there in the cockloft, alone, with stops and locks and keys.
+Seated all day at the organ. Maunder on for hours, talking to himself or
+the other fellow blowing the bellows. Growl angry, then shriek cursing
+(want to have wadding or something in his no don't she cried), then all of
+a soft sudden wee little wee little pipy wind.
+
+Pwee! A wee little wind piped eeee. In Bloom's little wee.
+
+--Was he? Mr Dedalus said, returning with fetched pipe. I was with him
+this morning at poor little Paddy Dignam's ...
+
+--Ay, the Lord have mercy on him.
+
+--By the bye there's a tuningfork in there on the ...
+
+Tap. Tap. Tap. Tap.
+
+--The wife has a fine voice. Or had. What? Lidwell asked.
+
+--O, that must be the tuner, Lydia said to Simonlionel first I saw, forgot
+it when he was here.
+
+Blind he was she told George Lidwell second I saw. And played so
+exquisitely, treat to hear. Exquisite contrast: bronzelid, minagold.
+
+--Shout! Ben Dollard shouted, pouring. Sing out!
+
+--'lldo! cried Father Cowley.
+
+Rrrrrr.
+
+I feel I want ...
+
+Tap. Tap. Tap. Tap. Tap
+
+--Very, Mr Dedalus said, staring hard at a headless sardine.
+
+Under the sandwichbell lay on a bier of bread one last, one lonely, last
+sardine of summer. Bloom alone.
+
+--Very, he stared. The lower register, for choice.
+
+Tap. Tap. Tap. Tap. Tap. Tap. Tap. Tap.
+
+Bloom went by Barry's. Wish I could. Wait. That wonderworker if I
+had. Twentyfour solicitors in that one house. Counted them. Litigation.
+Love one another. Piles of parchment. Messrs Pick and Pocket have power
+of attorney. Goulding, Collis, Ward.
+
+But for example the chap that wallops the big drum. His vocation:
+Mickey Rooney's band. Wonder how it first struck him. Sitting at home
+after pig's cheek and cabbage nursing it in the armchair. Rehearsing his
+band part. Pom. Pompedy. Jolly for the wife. Asses' skins. Welt them
+through life, then wallop after death. Pom. Wallop. Seems to be what you
+call yashmak or I mean kismet. Fate.
+
+Tap. Tap. A stripling, blind, with a tapping cane came taptaptapping
+by Daly's window where a mermaid hair all streaming (but he couldn't see)
+blew whiffs of a mermaid (blind couldn't), mermaid, coolest whiff of all.
+
+Instruments. A blade of grass, shell of her hands, then blow. Even
+comb and tissuepaper you can knock a tune out of. Molly in her shift in
+Lombard street west, hair down. I suppose each kind of trade made its own,
+don't you see? Hunter with a horn. Haw. Have you the? CLOCHE. SONNEZ LA.
+Shepherd his pipe. Pwee little wee. Policeman a whistle. Locks and keys!
+Sweep! Four o'clock's all's well! Sleep! All is lost now. Drum? Pompedy.
+Wait. I know. Towncrier, bumbailiff. Long John. Waken the dead. Pom.
+Dignam. Poor little NOMINEDOMINE. Pom. It is music. I mean of course it's
+all pom pom pom very much what they call DA CAPO. Still you can hear. As
+we march, we march along, march along. Pom.
+
+I must really. Fff. Now if I did that at a banquet. Just a question of
+custom shah of Persia. Breathe a prayer, drop a tear. All the same he must
+have been a bit of a natural not to see it was a yeoman cap. Muffled up.
+Wonder who was that chap at the grave in the brown macin. O, the whore
+of the lane!
+
+A frowsy whore with black straw sailor hat askew came glazily in the
+day along the quay towards Mr Bloom. When first he saw that form
+endearing? Yes, it is. I feel so lonely. Wet night in the lane. Horn. Who
+had the? Heehaw shesaw. Off her beat here. What is she? Hope she. Psst!
+Any chance of your wash. Knew Molly. Had me decked. Stout lady does be
+with you in the brown costume. Put you off your stroke, that. Appointment
+we made knowing we'd never, well hardly ever. Too dear too near to home
+sweet home. Sees me, does she? Looks a fright in the day. Face like dip.
+Damn her. O, well, she has to live like the rest. Look in here.
+
+In Lionel Marks's antique saleshop window haughty Henry Lionel
+Leopold dear Henry Flower earnestly Mr Leopold Bloom envisaged
+battered candlesticks melodeon oozing maggoty blowbags. Bargain: six bob.
+Might learn to play. Cheap. Let her pass. Course everything is dear if
+you don't want it. That's what good salesman is. Make you buy what he
+wants to sell. Chap sold me the Swedish razor he shaved me with. Wanted
+to charge me for the edge he gave it. She's passing now. Six bob.
+
+Must be the cider or perhaps the burgund.
+
+Near bronze from anear near gold from afar they chinked their clinking
+glasses all, brighteyed and gallant, before bronze Lydia's tempting
+last rose of summer, rose of Castile. First Lid, De, Cow, Ker, Doll, a
+fifth: Lidwell, Si Dedalus, Bob Cowley, Kernan and big Ben Dollard.
+
+Tap. A youth entered a lonely Ormond hall.
+
+Bloom viewed a gallant pictured hero in Lionel Marks's window. Robert
+Emmet's last words. Seven last words. Of Meyerbeer that is.
+
+--True men like you men.
+
+--Ay, ay, Ben.
+
+--Will lift your glass with us.
+
+They lifted.
+
+Tschink. Tschunk.
+
+Tip. An unseeing stripling stood in the door. He saw not bronze. He
+saw not gold. Nor Ben nor Bob nor Tom nor Si nor George nor tanks nor
+Richie nor Pat. Hee hee hee hee. He did not see.
+
+Seabloom, greaseabloom viewed last words. Softly. WHEN MY COUNTRY
+TAKES HER PLACE AMONG.
+
+Prrprr.
+
+Must be the bur.
+
+Fff! Oo. Rrpr.
+
+NATIONS OF THE EARTH. No-one behind. She's passed. THEN AND NOT TILL
+THEN. Tram kran kran kran. Good oppor. Coming. Krandlkrankran. I'm
+sure it's the burgund. Yes. One, two. LET MY EPITAPH BE. Kraaaaaa.
+WRITTEN. I HAVE.
+
+Pprrpffrrppffff.
+
+DONE.
+
+
+    * * * * * * *
+
+
+I was just passing the time of day with old Troy of the D. M. P. at the
+corner of Arbour hill there and be damned but a bloody sweep came along
+and he near drove his gear into my eye. I turned around to let him have
+the weight of my tongue when who should I see dodging along Stony Batter
+only Joe Hynes.
+
+--Lo, Joe, says I. How are you blowing? Did you see that bloody
+chimneysweep near shove my eye out with his brush?
+
+--Soot's luck, says Joe. Who's the old ballocks you were talking to?
+
+--Old Troy, says I, was in the force. I'm on two minds not to give that
+fellow in charge for obstructing the thoroughfare with his brooms and
+ladders.
+
+--What are you doing round those parts? says Joe.
+
+--Devil a much, says I. There's a bloody big foxy thief beyond by the
+garrison church at the corner of Chicken lane--old Troy was just giving
+me a wrinkle about him--lifted any God's quantity of tea and sugar to pay
+three bob a week said he had a farm in the county Down off a
+hop-of-my-thumb by the name of Moses Herzog over there near Heytesbury
+street.
+
+--Circumcised? says Joe.
+
+--Ay, says I. A bit off the top. An old plumber named Geraghty. I'm
+hanging on to his taw now for the past fortnight and I can't get a penny
+out of him.
+
+--That the lay you're on now? says Joe.
+
+--Ay, says I. How are the mighty fallen! Collector of bad and doubtful
+debts. But that's the most notorious bloody robber you'd meet in a day's
+walk and the face on him all pockmarks would hold a shower of rain. TELL
+HIM, says he, I DARE HIM, says he, AND I DOUBLEDARE HIM TO SEND YOU ROUND
+HERE AGAIN OR IF HE DOES, says he, I'LL HAVE HIM SUMMONSED UP BEFORE THE
+COURT, SO I WILL, FOR TRADING WITHOUT A LICENCE. And he after stuffing
+himself till he's fit to burst. Jesus, I had to laugh at the little jewy
+getting his shirt out. HE DRINK ME MY TEAS. HE EAT ME MY SUGARS. BECAUSE
+HE NO PAY ME MY MONEYS?
+
+For nonperishable goods bought of Moses Herzog, of 13 Saint
+Kevin's parade in the city of Dublin, Wood quay ward, merchant,
+hereinafter called the vendor, and sold and delivered to Michael E.
+Geraghty, esquire, of 29 Arbour hill in the city of Dublin, Arran quay
+ward, gentleman, hereinafter called the purchaser, videlicet, five pounds
+avoirdupois of first choice tea at three shillings and no pence per pound
+avoirdupois and three stone avoirdupois of sugar, crushed crystal, at
+threepence per pound avoirdupois, the said purchaser debtor to the said
+vendor of one pound five shillings and sixpence sterling for value
+received which amount shall be paid by said purchaser to said vendor in
+weekly instalments every seven calendar days of three shillings and no
+pence sterling: and the said nonperishable goods shall not be pawned or
+pledged or sold or otherwise alienated by the said purchaser but shall be
+and remain and be held to be the sole and exclusive property of the said
+vendor to be disposed of at his good will and pleasure until the said
+amount shall have been duly paid by the said purchaser to the said vendor
+in the manner herein set forth as this day hereby agreed between the said
+vendor, his heirs, successors, trustees and assigns of the one part and
+the said purchaser, his heirs, successors, trustees and assigns of the
+other part.
+
+--Are you a strict t.t.? says Joe.
+
+--Not taking anything between drinks, says I.
+
+--What about paying our respects to our friend? says Joe.
+
+--Who? says I. Sure, he's out in John of God's off his head, poor man.
+
+--Drinking his own stuff? says Joe.
+
+--Ay, says I. Whisky and water on the brain.
+
+--Come around to Barney Kiernan's, says Joe. I want to see the citizen.
+
+--Barney mavourneen's be it, says I. Anything strange or wonderful, Joe?
+
+--Not a word, says Joe. I was up at that meeting in the City Arms.
+
+---What was that, Joe? says I.
+
+--Cattle traders, says Joe, about the foot and mouth disease. I want to
+give the citizen the hard word about it.
+
+So we went around by the Linenhall barracks and the back of the
+courthouse talking of one thing or another. Decent fellow Joe when he has
+it but sure like that he never has it. Jesus, I couldn't get over that
+bloody foxy Geraghty, the daylight robber. For trading without a licence,
+says he.
+
+In Inisfail the fair there lies a land, the land of holy Michan. There
+rises a watchtower beheld of men afar. There sleep the mighty dead as in
+life they slept, warriors and princes of high renown. A pleasant land it
+is in sooth of murmuring waters, fishful streams where sport the gurnard,
+the plaice, the roach, the halibut, the gibbed haddock, the grilse,
+the dab, the brill, the flounder, the pollock, the mixed coarse fish
+generally and other denizens of the aqueous kingdom too numerous to be
+enumerated. In the mild breezes of the west and of the east the lofty
+trees wave in different directions their firstclass foliage, the wafty
+sycamore, the Lebanonian cedar, the exalted planetree, the eugenic
+eucalyptus and other ornaments of the arboreal world with which that
+region is thoroughly well supplied. Lovely maidens sit in close proximity
+to the roots of the lovely trees singing the most lovely songs while they
+play with all kinds of lovely objects as for example golden ingots,
+silvery fishes, crans of herrings, drafts of eels, codlings, creels of
+fingerlings, purple seagems and playful insects.  And heroes voyage from
+afar to woo them, from Eblana to Slievemargy, the peerless princes of
+unfettered Munster and of Connacht the just and of smooth sleek Leinster
+and of Cruahan's land and of Armagh the splendid and of the noble district
+of Boyle, princes, the sons of kings.
+
+And there rises a shining palace whose crystal glittering roof is seen by
+mariners who traverse the extensive sea in barks built expressly for that
+purpose, and thither come all herds and fatlings and firstfruits of that
+land for O'Connell Fitzsimon takes toll of them, a chieftain descended
+from chieftains.  Thither the extremely large wains bring foison of the
+fields, flaskets of cauliflowers, floats of spinach, pineapple chunks,
+Rangoon beans, strikes of tomatoes, drums of figs, drills of Swedes,
+spherical potatoes and tallies of iridescent kale, York and Savoy, and
+trays of onions, pearls of the earth, and punnets of mushrooms and
+custard marrows and fat vetches and bere and rape and red green yellow
+brown russet sweet big bitter ripe pomellated apples and chips of
+strawberries and sieves of gooseberries, pulpy and pelurious, and
+strawberries fit for princes and raspberries from their canes.
+
+I dare him, says he, and I doubledare him. Come out here, Geraghty,
+you notorious bloody hill and dale robber!
+
+And by that way wend the herds innumerable of bellwethers and
+flushed ewes and shearling rams and lambs and stubble geese and medium
+steers and roaring mares and polled calves and longwoods and storesheep
+and Cuffe's prime springers and culls and sowpigs and baconhogs and the
+various different varieties of highly distinguished swine and Angus
+heifers and polly bulllocks of immaculate pedigree together with prime
+premiated milchcows and beeves: and there is ever heard a trampling,
+cackling, roaring, lowing, bleating, bellowing, rumbling, grunting,
+champing, chewing, of sheep and pigs and heavyhooved kine from
+pasturelands of Lusk and Rush and Carrickmines and from the streamy vales
+of Thomond, from the M'Gillicuddy's reeks the inaccessible and lordly
+Shannon the unfathomable, and from the gentle declivities of the place of
+the race of Kiar, their udders distended with superabundance of milk and
+butts of butter and rennets of cheese and farmer's firkins and targets of
+lamb and crannocks of corn and oblong eggs in great hundreds, various in
+size, the agate with this dun.
+
+So we turned into Barney Kiernan's and there, sure enough, was the citizen
+up in the corner having a great confab with himself and that bloody
+mangy mongrel, Garryowen, and he waiting for what the sky would drop
+in the way of drink.
+
+--There he is, says I, in his gloryhole, with his cruiskeen lawn and his
+load of papers, working for the cause.
+
+The bloody mongrel let a grouse out of him would give you the creeps.  Be
+a corporal work of mercy if someone would take the life of that
+bloody dog. I'm told for a fact he ate a good part of the breeches off a
+constabulary man in Santry that came round one time with a blue paper
+about a licence.
+
+--Stand and deliver, says he.
+
+--That's all right, citizen, says Joe. Friends here.
+
+--Pass, friends, says he.
+
+Then he rubs his hand in his eye and says he:
+
+--What's your opinion of the times?
+
+Doing the rapparee and Rory of the hill. But, begob, Joe was equal to
+the occasion.
+
+--I think the markets are on a rise, says he, sliding his hand down his
+fork.
+
+So begob the citizen claps his paw on his knee and he says:
+
+--Foreign wars is the cause of it.
+
+And says Joe, sticking his thumb in his pocket:
+
+--It's the Russians wish to tyrannise.
+
+--Arrah, give over your bloody codding, Joe, says I. I've a thirst on me I
+wouldn't sell for half a crown.
+
+--Give it a name, citizen, says Joe.
+
+--Wine of the country, says he.
+
+--What's yours? says Joe.
+
+--Ditto MacAnaspey, says I.
+
+--Three pints, Terry, says Joe. And how's the old heart, citizen? says he.
+
+--Never better, A CHARA, says he. What Garry? Are we going to win? Eh?
+
+And with that he took the bloody old towser by the scruff of the neck
+and, by Jesus, he near throttled him.
+
+The figure seated on a large boulder at the foot of a round tower
+was that of a broadshouldered deepchested stronglimbed frankeyed
+redhaired freelyfreckled shaggybearded widemouthed largenosed
+longheaded deepvoiced barekneed brawnyhanded hairylegged ruddyfaced
+sinewyarmed hero. From shoulder to shoulder he measured several ells and
+his rocklike mountainous knees were covered, as was likewise the rest of
+his body wherever visible, with a strong growth of tawny prickly hair in
+hue and toughness similar to the mountain gorse (ULEX EUROPEUS). The
+widewinged nostrils, from which bristles of the same tawny hue projected,
+were of such capaciousness that within their cavernous obscurity the
+fieldlark might easily have lodged her nest. The eyes in which a tear and
+a smile strove ever for the mastery were of the dimensions of a goodsized
+cauliflower. A powerful current of warm breath issued at regular intervals
+from the profound cavity of his mouth while in rhythmic resonance the
+loud strong hale reverberations of his formidable heart thundered
+rumblingly causing the ground, the summit of the lofty tower and the still
+loftier walls of the cave to vibrate and tremble.
+
+He wore a long unsleeved garment of recently flayed oxhide reaching to the
+knees in a loose kilt and this was bound about his middle by a girdle of
+plaited straw and rushes. Beneath this he wore trews of deerskin, roughly
+stitched with gut. His nether extremities were encased in high Balbriggan
+buskins dyed in lichen purple, the feet being shod with brogues of salted
+cowhide laced with the windpipe of the same beast. From his girdle hung a
+row of seastones which jangled at every movement of his portentous frame
+and on these were graven with rude yet striking art the tribal images of
+many Irish heroes and heroines of antiquity, Cuchulin, Conn of hundred
+battles, Niall of nine hostages, Brian of Kincora, the ardri Malachi, Art
+MacMurragh, Shane O'Neill, Father John Murphy, Owen Roe, Patrick
+Sarsfield, Red Hugh O'Donnell, Red Jim MacDermott, Soggarth Eoghan
+O'Growney, Michael Dwyer, Francy Higgins, Henry Joy M'Cracken,
+Goliath, Horace Wheatley, Thomas Conneff, Peg Woffington, the Village
+Blacksmith, Captain Moonlight, Captain Boycott, Dante Alighieri,
+Christopher Columbus, S. Fursa, S. Brendan, Marshal MacMahon,
+Charlemagne, Theobald Wolfe Tone, the Mother of the Maccabees, the Last
+of the Mohicans, the Rose of Castile, the Man for Galway, The Man that
+Broke the Bank at Monte Carlo, The Man in the Gap, The Woman Who
+Didn't, Benjamin Franklin, Napoleon Bonaparte, John L. Sullivan,
+Cleopatra, Savourneen Deelish, Julius Caesar, Paracelsus, sir Thomas
+Lipton, William Tell, Michelangelo Hayes, Muhammad, the Bride of
+Lammermoor, Peter the Hermit, Peter the Packer, Dark Rosaleen, Patrick
+W. Shakespeare, Brian Confucius, Murtagh Gutenberg, Patricio
+Velasquez, Captain Nemo, Tristan and Isolde, the first Prince of Wales,
+Thomas Cook and Son, the Bold Soldier Boy, Arrah na Pogue, Dick
+Turpin, Ludwig Beethoven, the Colleen Bawn, Waddler Healy, Angus the
+Culdee, Dolly Mount, Sidney Parade, Ben Howth, Valentine Greatrakes,
+Adam and Eve, Arthur Wellesley, Boss Croker, Herodotus, Jack the
+Giantkiller, Gautama Buddha, Lady Godiva, The Lily of Killarney, Balor
+of the Evil Eye, the Queen of Sheba, Acky Nagle, Joe Nagle, Alessandro
+Volta, Jeremiah O'Donovan Rossa, Don Philip O'Sullivan Beare. A
+couched spear of acuminated granite rested by him while at his feet
+reposed a savage animal of the canine tribe whose stertorous gasps
+announced that he was sunk in uneasy slumber, a supposition confirmed by
+hoarse growls and spasmodic movements which his master repressed from time
+to time by tranquilising blows of a mighty cudgel rudely fashioned out of
+paleolithic stone.
+
+So anyhow Terry brought the three pints Joe was standing and begob
+the sight nearly left my eyes when I saw him land out a quid O, as true as
+I'm telling you. A goodlooking sovereign.
+
+--And there's more where that came from, says he.
+
+--Were you robbing the poorbox, Joe? says I.
+
+--Sweat of my brow, says Joe. 'Twas the prudent member gave me the wheeze.
+
+--I saw him before I met you, says I, sloping around by Pill lane and
+Greek street with his cod's eye counting up all the guts of the fish.
+
+Who comes through Michan's land, bedight in sable armour? O'Bloom,
+the son of Rory: it is he. Impervious to fear is Rory's son: he
+of the prudent soul.
+
+--For the old woman of Prince's street, says the citizen, the subsidised
+organ. The pledgebound party on the floor of the house. And look at this
+blasted rag, says he. Look at this, says he. THE IRISH INDEPENDENT, if you
+please, founded by Parnell to be the workingman's friend. Listen to the
+births and deaths in the IRISH ALL FOR IRELAND INDEPENDENT, and I'll thank
+you and the marriages.
+
+And he starts reading them out:
+
+--Gordon, Barnfield crescent, Exeter; Redmayne of Iffley, Saint Anne's on
+Sea: the wife of William T Redmayne of a son. How's that, eh? Wright and
+Flint, Vincent and Gillett to Rotha Marion daughter of Rosa and the late
+George Alfred Gillett, 179 Clapham road, Stockwell, Playwood and
+Ridsdale at Saint Jude's, Kensington by the very reverend Dr Forrest, dean
+of Worcester. Eh? Deaths. Bristow, at Whitehall lane, London: Carr, Stoke
+Newington, of gastritis and heart disease: Cockburn, at the Moat house,
+Chepstow ...
+
+--I know that fellow, says Joe, from bitter experience.
+
+--Cockburn. Dimsey, wife of David Dimsey, late of the admiralty: Miller,
+Tottenham, aged eightyfive: Welsh, June 12, at 35 Canning street,
+Liverpool, Isabella Helen. How's that for a national press, eh, my brown
+son! How's that for Martin Murphy, the Bantry jobber?
+
+--Ah, well, says Joe, handing round the boose. Thanks be to God they had
+the start of us. Drink that, citizen.
+
+--I will, says he, honourable person.
+
+--Health, Joe, says I. And all down the form.
+
+Ah! Ow! Don't be talking! I was blue mouldy for the want of that
+pint. Declare to God I could hear it hit the pit of my stomach with a
+click.
+
+And lo, as they quaffed their cup of joy, a godlike messenger came
+swiftly in, radiant as the eye of heaven, a comely youth and behind him
+there passed an elder of noble gait and countenance, bearing the sacred
+scrolls of law and with him his lady wife a dame of peerless lineage,
+fairest of her race.
+
+Little Alf Bergan popped in round the door and hid behind Barney's
+snug, squeezed up with the laughing. And who was sitting up there in the
+corner that I hadn't seen snoring drunk blind to the world only Bob Doran.
+I didn't know what was up and Alf kept making signs out of the door. And
+begob what was it only that bloody old pantaloon Denis Breen in his
+bathslippers with two bloody big books tucked under his oxter and the wife
+hotfoot after him, unfortunate wretched woman, trotting like a poodle. I
+thought Alf would split.
+
+--Look at him, says he. Breen. He's traipsing all round Dublin with a
+postcard someone sent him with U. p: up on it to take a li ...
+
+And he doubled up.
+
+--Take a what? says I.
+
+--Libel action, says he, for ten thousand pounds.
+
+--O hell! says I.
+
+The bloody mongrel began to growl that'd put the fear of God in you
+seeing something was up but the citizen gave him a kick in the ribs.
+
+--BI I DHO HUSHT, says he.
+
+--Who? says Joe.
+
+--Breen, says Alf. He was in John Henry Menton's and then he went round
+to Collis and Ward's and then Tom Rochford met him and sent him round
+to the subsheriff's for a lark. O God, I've a pain laughing. U. p: up. The
+long fellow gave him an eye as good as a process and now the bloody old
+lunatic is gone round to Green street to look for a G man.
+
+--When is long John going to hang that fellow in Mountjoy? says Joe.
+
+--Bergan, says Bob Doran, waking up. Is that Alf Bergan?
+
+--Yes, says Alf. Hanging? Wait till I show you. Here, Terry, give us a
+pony. That bloody old fool! Ten thousand pounds. You should have seen long
+John's eye. U. p ...
+
+And he started laughing.
+
+--Who are you laughing at? says Bob Doran. Is that Bergan?
+
+--Hurry up, Terry boy, says Alf.
+
+Terence O'Ryan heard him and straightway brought him a crystal
+cup full of the foamy ebon ale which the noble twin brothers Bungiveagh
+and Bungardilaun brew ever in their divine alevats, cunning as the sons of
+deathless Leda. For they garner the succulent berries of the hop and mass
+and sift and bruise and brew them and they mix therewith sour juices and
+bring the must to the sacred fire and cease not night or day from their
+toil, those cunning brothers, lords of the vat.
+
+
+Then did you, chivalrous Terence, hand forth, as to the manner born,
+that nectarous beverage and you offered the crystal cup to him that
+thirsted, the soul of chivalry, in beauty akin to the immortals.
+
+But he, the young chief of the O'Bergan's, could ill brook to be outdone
+in generous deeds but gave therefor with gracious gesture a testoon
+of costliest bronze. Thereon embossed in excellent smithwork was seen the
+image of a queen of regal port, scion of the house of Brunswick, Victoria
+her name, Her Most Excellent Majesty, by grace of God of the United
+Kingdom of Great Britain and Ireland and of the British dominions beyond
+the sea, queen, defender of the faith, Empress of India, even she, who
+bore rule, a victress over many peoples, the wellbeloved, for they knew
+and loved her from the rising of the sun to the going down thereof, the
+pale, the dark, the ruddy and the ethiop.
+
+--What's that bloody freemason doing, says the citizen, prowling up and
+down outside?
+
+--What's that? says Joe.
+
+--Here you are, says Alf, chucking out the rhino. Talking about hanging,
+I'll show you something you never saw. Hangmen's letters. Look at here.
+
+So he took a bundle of wisps of letters and envelopes out of his pocket.
+
+--Are you codding? says I.
+
+--Honest injun, says Alf. Read them.
+
+So Joe took up the letters.
+
+--Who are you laughing at? says Bob Doran.
+
+So I saw there was going to be a bit of a dust Bob's a queer chap
+when the porter's up in him so says I just to make talk:
+
+--How's Willy Murray those times, Alf?
+
+--I don't know, says Alf I saw him just now in Capel street with Paddy
+Dignam. Only I was running after that ...
+
+--You what? says Joe, throwing down the letters. With who?
+
+--With Dignam, says Alf.
+
+--Is it Paddy? says Joe.
+
+--Yes, says Alf. Why?
+
+--Don't you know he's dead? says Joe.
+
+--Paddy Dignam dead! says Alf.
+
+--Ay, says Joe.
+
+--Sure I'm after seeing him not five minutes ago, says Alf, as plain as a
+pikestaff.
+
+--Who's dead? says Bob Doran.
+
+--You saw his ghost then, says Joe, God between us and harm.
+
+--What? says Alf. Good Christ, only five ... What? ... And Willy Murray
+with him, the two of them there near whatdoyoucallhim's ... What?
+Dignam dead?
+
+--What about Dignam? says Bob Doran. Who's talking about... ?
+
+--Dead! says Alf. He's no more dead than you are.
+
+--Maybe so, says Joe. They took the liberty of burying him this morning
+anyhow.
+
+--Paddy? says Alf.
+
+--Ay, says Joe. He paid the debt of nature, God be merciful to him.
+
+--Good Christ! says Alf.
+
+Begob he was what you might call flabbergasted.
+
+In the darkness spirit hands were felt to flutter and when prayer by
+tantras had been directed to the proper quarter a faint but increasing
+luminosity of ruby light became gradually visible, the apparition of the
+etheric double being particularly lifelike owing to the discharge of jivic
+rays from the crown of the head and face. Communication was effected
+through the pituitary body and also by means of the orangefiery and
+scarlet rays emanating from the sacral region and solar plexus. Questioned
+by his earthname as to his whereabouts in the heavenworld he stated that
+he was now on the path of pr l ya or return but was still submitted to
+trial at the hands of certain bloodthirsty entities on the lower astral
+levels. In reply to a question as to his first sensations in the great
+divide beyond he stated that previously he had seen as in a glass darkly
+but that those who had passed over had summit possibilities of atmic
+development opened up to them. Interrogated as to whether life there
+resembled our experience in the flesh he stated that he had heard from
+more favoured beings now in the spirit that their abodes were equipped
+with every modern home comfort such as talafana, alavatar, hatakalda,
+wataklasat and that the highest adepts were steeped in waves of volupcy
+of the very purest nature. Having requested a quart of buttermilk this was
+brought and evidently afforded relief. Asked if he had any message
+for the living he exhorted all who were still at the wrong side of Maya
+to acknowledge the true path for it was reported in devanic circles that
+Mars and Jupiter were out for mischief on the eastern angle where the
+ram has power. It was then queried whether there were any special
+desires on the part of the defunct and the reply was: WE GREET YOU,
+FRIENDS OF EARTH, WHO ARE STILL IN THE BODY. MIND C. K. DOESN'T PILE IT
+ON. It was ascertained that the reference was to Mr Cornelius Kelleher,
+manager of Messrs H. J. O'Neill's popular funeral establishment, a
+personal friend of the defunct, who had been responsible for the carrying
+out of the interment arrangements. Before departing he requested that it
+should be told to his dear son Patsy that the other boot which he had been
+looking for was at present under the commode in the return room and that
+the pair should be sent to Cullen's to be soled only as the heels were
+still good. He stated that this had greatly perturbed his peace of mind in
+the other region and earnestly requested that his desire should be made
+known.
+
+Assurances were given that the matter would be attended to and it was
+intimated that this had given satisfaction.
+
+He is gone from mortal haunts: O'Dignam, sun of our morning. Fleet
+was his foot on the bracken: Patrick of the beamy brow. Wail, Banba, with
+your wind: and wail, O ocean, with your whirlwind.
+
+--There he is again, says the citizen, staring out.
+
+--Who? says I.
+
+--Bloom, says he. He's on point duty up and down there for the last ten
+minutes.
+
+And, begob, I saw his physog do a peep in and then slidder off again.
+
+Little Alf was knocked bawways. Faith, he was.
+
+--Good Christ! says he. I could have sworn it was him.
+
+And says Bob Doran, with the hat on the back of his poll, lowest
+blackguard in Dublin when he's under the influence:
+
+--Who said Christ is good?
+
+--I beg your parsnips, says Alf.
+
+--Is that a good Christ, says Bob Doran, to take away poor little Willy
+Dignam?
+
+--Ah, well, says Alf, trying to pass it off. He's over all his troubles.
+
+But Bob Doran shouts out of him.
+
+--He's a bloody ruffian, I say, to take away poor little Willy Dignam.
+
+Terry came down and tipped him the wink to keep quiet, that they
+didn't want that kind of talk in a respectable licensed premises. And Bob
+Doran starts doing the weeps about Paddy Dignam, true as you're there.
+
+--The finest man, says he, snivelling, the finest purest character.
+
+The tear is bloody near your eye. Talking through his bloody hat.
+Fitter for him go home to the little sleepwalking bitch he married,
+Mooney, the bumbailiff's daughter, mother kept a kip in Hardwicke street,
+that used to be stravaging about the landings Bantam Lyons told me that
+was stopping there at two in the morning without a stitch on her, exposing
+her person, open to all comers, fair field and no favour.
+
+--The noblest, the truest, says he. And he's gone, poor little Willy, poor
+little Paddy Dignam.
+
+And mournful and with a heavy heart he bewept the extinction of that
+beam of heaven.
+
+Old Garryowen started growling again at Bloom that was skeezing
+round the door.
+
+--Come in, come on, he won't eat you, says the citizen.
+
+So Bloom slopes in with his cod's eye on the dog and he asks Terry
+was Martin Cunningham there.
+
+--O, Christ M'Keown, says Joe, reading one of the letters. Listen to this,
+will you?
+
+And he starts reading out one.
+
+
+                7 HUNTER STREET, LIVERPOOL.
+        TO THE HIGH SHERIFF OF DUBLIN, DUBLIN.
+
+    HONOURED SIR I BEG TO OFFER MY SERVICES IN THE ABOVEMENTIONED PAINFUL
+CASE I HANGED JOE GANN IN BOOTLE JAIL ON THE 12 OF FEBUARY 1900 AND I
+HANGED ...
+
+--Show us, Joe, says I.
+
+-- ... PRIVATE ARTHUR CHACE FOR FOWL MURDER OF JESSIE TILSIT IN
+PENTONVILLE PRISON AND I WAS ASSISTANT WHEN ...
+
+--Jesus, says I.
+
+-- ... BILLINGTON EXECUTED THE AWFUL MURDERER TOAD SMITH ...
+
+The citizen made a grab at the letter.
+
+--Hold hard, says Joe, I HAVE A SPECIAL NACK OF PUTTING THE NOOSE ONCE IN
+HE CAN'T GET OUT HOPING TO BE FAVOURED I REMAIN, HONOURED SIR, MY TERMS IS
+FIVE GINNEES.
+
+            H. RUMBOLD,
+                MASTER BARBER.
+
+
+--And a barbarous bloody barbarian he is too, says the citizen.
+
+--And the dirty scrawl of the wretch, says Joe. Here, says he, take them
+to hell out of my sight, Alf. Hello, Bloom, says he, what will you have?
+
+So they started arguing about the point, Bloom saying he wouldn't
+and he couldn't and excuse him no offence and all to that and then he said
+well he'd just take a cigar. Gob, he's a prudent member and no mistake.
+
+--Give us one of your prime stinkers, Terry, says Joe.
+
+And Alf was telling us there was one chap sent in a mourning card
+with a black border round it.
+
+--They're all barbers, says he, from the black country that would hang
+their own fathers for five quid down and travelling expenses.
+
+And he was telling us there's two fellows waiting below to pull his
+heels down when he gets the drop and choke him properly and then they
+chop up the rope after and sell the bits for a few bob a skull.
+
+In the dark land they bide, the vengeful knights of the razor. Their
+deadly coil they grasp: yea, and therein they lead to Erebus whatsoever
+wight hath done a deed of blood for I will on nowise suffer it even so
+saith the Lord.
+
+So they started talking about capital punishment and of course Bloom
+comes out with the why and the wherefore and all the codology of the
+business and the old dog smelling him all the time I'm told those jewies
+does have a sort of a queer odour coming off them for dogs about I don't
+know what all deterrent effect and so forth and so on.
+
+--There's one thing it hasn't a deterrent effect on, says Alf.
+
+--What's that? says Joe.
+
+--The poor bugger's tool that's being hanged, says Alf.
+
+--That so? says Joe.
+
+--God's truth, says Alf. I heard that from the head warder that was in
+
+Kilmainham when they hanged Joe Brady, the invincible. He told me when
+they cut him down after the drop it was standing up in their faces like a
+poker.
+
+--Ruling passion strong in death, says Joe, as someone said.
+
+--That can be explained by science, says Bloom. It's only a natural
+phenomenon, don't you see, because on account of the ...
+
+And then he starts with his jawbreakers about phenomenon and
+science and this phenomenon and the other phenomenon.
+
+The distinguished scientist Herr Professor Luitpold Blumenduft
+tendered medical evidence to the effect that the instantaneous fracture of
+the cervical vertebrae and consequent scission of the spinal cord would,
+according to the best approved tradition of medical science, be calculated
+to inevitably produce in the human subject a violent ganglionic stimulus
+of the nerve centres of the genital apparatus, thereby causing the elastic
+pores of the CORPORA CAVERNOSA to rapidly dilate in such a way as to
+instantaneously facilitate the flow of blood to that part of the human
+anatomy known as the penis or male organ resulting in the phenomenon which
+has been denominated by the faculty a morbid upwards and outwards
+philoprogenitive erection IN ARTICULO MORTIS PER DIMINUTIONEM CAPITIS.
+
+So of course the citizen was only waiting for the wink of the word and
+he starts gassing out of him about the invincibles and the old guard and
+the men of sixtyseven and who fears to speak of ninetyeight and Joe with
+him about all the fellows that were hanged, drawn and transported for the
+cause by drumhead courtmartial and a new Ireland and new this, that and
+the other. Talking about new Ireland he ought to go and get a new dog so
+he ought. Mangy ravenous brute sniffing and sneezing all round the place
+and scratching his scabs. And round he goes to Bob Doran that was
+standing Alf a half one sucking up for what he could get. So of course Bob
+Doran starts doing the bloody fool with him:
+
+--Give us the paw! Give the paw, doggy! Good old doggy! Give the paw
+here! Give us the paw!
+
+Arrah, bloody end to the paw he'd paw and Alf trying to keep him
+from tumbling off the bloody stool atop of the bloody old dog and he
+talking all kinds of drivel about training by kindness and thoroughbred
+dog and intelligent dog: give you the bloody pip. Then he starts scraping
+a few bits of old biscuit out of the bottom of a Jacobs' tin he told Terry
+to bring. Gob, he golloped it down like old boots and his tongue hanging
+out of him a yard long for more. Near ate the tin and all, hungry bloody
+mongrel.
+
+And the citizen and Bloom having an argument about the point, the
+brothers Sheares and Wolfe Tone beyond on Arbour Hill and Robert
+Emmet and die for your country, the Tommy Moore touch about Sara
+Curran and she's far from the land. And Bloom, of course, with his
+knockmedown cigar putting on swank with his lardy face. Phenomenon!
+The fat heap he married is a nice old phenomenon with a back on her like a
+ballalley. Time they were stopping up in the CITY ARMS pisser Burke told
+me there was an old one there with a cracked loodheramaun of a nephew and
+Bloom trying to get the soft side of her doing the mollycoddle playing
+bezique to come in for a bit of the wampum in her will and not eating meat
+of a Friday because the old one was always thumping her craw and taking
+the lout out for a walk. And one time he led him the rounds of Dublin and,
+by the holy farmer, he never cried crack till he brought him home as drunk
+as a boiled owl and he said he did it to teach him the evils of alcohol
+and by herrings, if the three women didn't near roast him, it's a queer
+story, the old one, Bloom's wife and Mrs O'Dowd that kept the hotel.
+Jesus, I had to laugh at pisser Burke taking them off chewing the fat.
+And Bloom with his BUT DON'T YOU SEE? and BUT ON THE OTHER HAND. And sure,
+more be token, the lout I'm told was in Power's after, the blender's,
+round in Cope street going home footless in a cab five times in the week
+after drinking his way through all the samples in the bloody
+establishment. Phenomenon!
+
+--The memory of the dead, says the citizen taking up his pintglass and
+glaring at Bloom.
+
+--Ay, ay, says Joe.
+
+--You don't grasp my point, says Bloom. What I mean is ...
+
+--SINN FEIN! says the citizen. SINN FEIN AMHAIN! The friends we love are
+by our side and the foes we hate before us.
+
+The last farewell was affecting in the extreme. From the belfries far
+and near the funereal deathbell tolled unceasingly while all around the
+gloomy precincts rolled the ominous warning of a hundred muffled drums
+punctuated by the hollow booming of pieces of ordnance. The deafening
+claps of thunder and the dazzling flashes of lightning which lit up the
+ghastly scene testified that the artillery of heaven had lent its
+supernatural pomp to the already gruesome spectacle. A torrential rain
+poured down from the floodgates of the angry heavens upon the bared heads
+of the assembled multitude which numbered at the lowest computation five
+hundred thousand persons. A posse of Dublin Metropolitan police
+superintended by the Chief Commissioner in person maintained order in
+the vast throng for whom the York street brass and reed band whiled away
+the intervening time by admirably rendering on their blackdraped
+instruments the matchless melody endeared to us from the cradle by
+Speranza's plaintive muse. Special quick excursion trains and upholstered
+charabancs had been provided for the comfort of our country cousins of
+whom there were large contingents. Considerable amusement was caused
+by the favourite Dublin streetsingers L-n-h-n and M-ll-g-n who sang THE
+NIGHT BEFORE LARRY WAS STRETCHED in their usual mirth-provoking fashion.
+Our two inimitable drolls did a roaring trade with their broadsheets among
+lovers of the comedy element and nobody who has a corner in his heart for
+real Irish fun without vulgarity will grudge them their hardearned
+pennies. The children of the Male and Female Foundling Hospital who
+thronged the windows overlooking the scene were delighted with this
+unexpected addition to the day's entertainment and a word of praise is due
+to the Little Sisters of the Poor for their excellent idea of affording
+the poor fatherless and motherless children a genuinely instructive treat.
+The viceregal houseparty which included many wellknown ladies was
+chaperoned by Their Excellencies to the most favourable positions on the
+grandstand while the picturesque foreign delegation known as the Friends
+of the Emerald Isle was accommodated on a tribune directly opposite.
+The delegation, present in full force, consisted of Commendatore
+Bacibaci Beninobenone (the semiparalysed DOYEN of the party who had
+to be assisted to his seat by the aid of a powerful steam crane),
+Monsieur Pierrepaul Petitepatant, the Grandjoker Vladinmire
+Pokethankertscheff, the Archjoker Leopold Rudolph von
+Schwanzenbad-Hodenthaler, Countess Marha Viraga Kisaszony Putrapesthi,
+Hiram Y. Bomboost, Count Athanatos Karamelopulos, Ali Baba Backsheesh
+Rahat Lokum Effendi, Senor Hidalgo Caballero Don Pecadillo y
+Palabras y Paternoster de la Malora de la Malaria, Hokopoko Harakiri,
+Hi Hung Chang, Olaf Kobberkeddelsen, Mynheer Trik van Trumps,
+Pan Poleaxe Paddyrisky, Goosepond Prhklstr Kratchinabritchisitch,
+Borus Hupinkoff, Herr Hurhausdirektorpresident Hans Chuechli-Steuerli,
+Nationalgymnasiummuseumsanatoriumandsuspensoriumsordinaryprivatdocent-
+generalhistoryspecialprofessordoctor Kriegfried Ueberallgemein.
+All the delegates without exception expressed themselves in the
+strongest possible heterogeneous terms concerning the nameless
+barbarity which they had been called upon to witness. An animated
+altercation (in which all took part) ensued among the F. O. T. E. I.
+as to whether the eighth or the ninth of March was the correct
+date of the birth of Ireland's patron saint. In the course of the
+argument cannonballs, scimitars, boomerangs, blunderbusses, stinkpots,
+meatchoppers, umbrellas, catapults, knuckledusters, sandbags, lumps of pig
+iron were resorted to and blows were freely exchanged. The baby
+policeman, Constable MacFadden, summoned by special courier from
+Booterstown, quickly restored order and with lightning promptitude
+proposed the seventeenth of the month as a solution equally honourable for
+both contending parties. The readywitted ninefooter's suggestion at once
+appealed to all and was unanimously accepted. Constable MacFadden was
+heartily congratulated by all the F.O.T.E.I., several of whom were
+bleeding profusely. Commendatore Beninobenone having been extricated
+from underneath the presidential armchair, it was explained by his legal
+adviser Avvocato Pagamimi that the various articles secreted in his
+thirtytwo pockets had been abstracted by him during the affray from the
+pockets of his junior colleagues in the hope of bringing them to their
+senses. The objects (which included several hundred ladies' and
+gentlemen's gold and silver watches) were promptly restored to their
+rightful owners and general harmony reigned supreme.
+
+Quietly, unassumingly Rumbold stepped on to the scaffold in faultless
+morning dress and wearing his favourite flower, the GLADIOLUS CRUENTUS.
+He announced his presence by that gentle Rumboldian cough which so
+many have tried (unsuccessfully) to imitate--short, painstaking yet withal
+so characteristic of the man. The arrival of the worldrenowned headsman
+was greeted by a roar of acclamation from the huge concourse, the
+viceregal ladies waving their handkerchiefs in their excitement while the
+even more excitable foreign delegates cheered vociferously in a medley of
+cries, HOCH, BANZAI, ELJEN, ZIVIO, CHINCHIN, POLLA KRONIA, HIPHIP, VIVE,
+ALLAH, amid which the ringing EVVIVA of the delegate of the land of song
+(a high double F recalling those piercingly lovely notes with which the
+eunuch Catalani beglamoured our greatgreatgrandmothers) was easily
+distinguishable. It was exactly seventeen o'clock. The signal for prayer
+was then promptly given by megaphone and in an instant all heads were
+bared, the commendatore's patriarchal sombrero, which has been in the
+possession of his family since the revolution of Rienzi, being removed by
+his medical adviser in attendance, Dr Pippi. The learned prelate who
+administered the last comforts of holy religion to the hero martyr when
+about to pay the death penalty knelt in a most christian spirit in a pool
+of rainwater, his cassock above his hoary head, and offered up to the
+throne of grace fervent prayers of supplication. Hand by the block stood
+the grim figure of the executioner, his visage being concealed in a
+tengallon pot with two circular perforated apertures through which
+his eyes glowered furiously. As he awaited the fatal signal he
+tested the edge of his horrible weapon by honing it upon his
+brawny forearm or decapitated in rapid succession a flock of
+sheep which had been provided by the admirers of his fell but necessary
+office. On a handsome mahogany table near him were neatly arranged the
+quartering knife, the various finely tempered disembowelling appliances
+(specially supplied by the worldfamous firm of cutlers, Messrs John Round
+and Sons, Sheffield), a terra cotta saucepan for the reception of the
+duodenum, colon, blind intestine and appendix etc when successfully
+extracted and two commodious milkjugs destined to receive the most
+precious blood of the most precious victim. The housesteward of the
+amalgamated cats' and dogs' home was in attendance to convey these
+vessels when replenished to that beneficent institution. Quite an
+excellent repast consisting of rashers and eggs, fried steak and onions,
+done to a nicety, delicious hot breakfast rolls and invigorating tea had
+been considerately provided by the authorities for the consumption
+of the central figure of the tragedy who was in capital spirits
+when prepared for death and evinced the keenest interest in the
+proceedings from beginning to end but he, with an abnegation rare
+in these our times, rose nobly to the occasion and expressed the
+dying wish (immediately acceded to) that the meal should be
+divided in aliquot parts among the members of the sick and indigent
+roomkeepers' association as a token of his regard and esteem. The NEC and
+NON PLUS ULTRA of emotion were reached when the blushing bride elect burst
+her way through the serried ranks of the bystanders and flung herself upon
+the muscular bosom of him who was about to be launched into eternity for
+her sake. The hero folded her willowy form in a loving embrace murmuring
+fondly SHEILA, MY OWN. Encouraged by this use of her christian name she
+kissed passionately all the various suitable areas of his person which the
+decencies of prison garb permitted her ardour to reach. She swore to him
+as they mingled the salt streams of their tears that she would ever
+cherish his memory, that she would never forget her hero boy who went to
+his death with a song on his lips as if he were but going to a hurling
+match in Clonturk park. She brought back to his recollection the happy
+days of blissful childhood together on the banks of Anna Liffey when they
+had indulged in the innocent pastimes of the young and, oblivious of the
+dreadful present, they both laughed heartily, all the spectators,
+including the venerable pastor, joining in the general merriment. That
+monster audience simply rocked with delight. But anon they were overcome
+with grief and clasped their hands for the last time. A fresh torrent of
+tears burst from their lachrymal ducts and the vast concourse of people,
+touched to the inmost core, broke into heartrending sobs, not the least
+affected being the aged prebendary himself. Big strong men, officers of
+the peace and genial giants of the royal Irish constabulary,
+were making frank use of their handkerchiefs and it is safe to say
+that there was not a dry eye in that record assemblage. A most
+romantic incident occurred when a handsome young Oxford graduate,
+noted for his chivalry towards the fair sex, stepped forward and,
+presenting his visiting card, bankbook and genealogical tree,
+solicited the hand of the hapless young lady, requesting her to
+name the day, and was accepted on the spot. Every lady in the
+audience was presented with a tasteful souvenir of the occasion
+in the shape of a skull and crossbones brooch, a timely and generous
+act which evoked a fresh outburst of emotion: and when the gallant
+young Oxonian (the bearer, by the way, of one of the most timehonoured
+names in Albion's history) placed on the finger of his blushing FIANCEE
+an expensive engagement ring with emeralds set in the form of a
+fourleaved shamrock the excitement knew no bounds. Nay, even the stern
+provostmarshal, lieutenantcolonel Tomkin-Maxwell ffrenchmullan Tomlinson,
+who presided on the sad occasion, he who had blown a considerable number
+of sepoys from the cannonmouth without flinching, could not now restrain
+his natural emotion. With his mailed gauntlet he brushed away a furtive
+tear and was overheard, by those privileged burghers who happened to be
+in his immediate ENTOURAGE, to murmur to himself in a faltering undertone:
+
+--God blimey if she aint a clinker, that there bleeding tart. Blimey it
+makes me kind of bleeding cry, straight, it does, when I sees her cause I
+thinks of my old mashtub what's waiting for me down Limehouse way.
+
+So then the citizen begins talking about the Irish language and the
+corporation meeting and all to that and the shoneens that can't speak
+their own language and Joe chipping in because he stuck someone for
+a quid and Bloom putting in his old goo with his twopenny stump that
+he cadged off of Joe and talking about the Gaelic league and the
+antitreating league and drink, the curse of Ireland. Antitreating
+is about the size of it. Gob, he'd let you pour all manner of drink
+down his throat till the Lord would call him before you'd ever
+see the froth of his pint. And one night I went in with a fellow
+into one of their musical evenings, song and dance about she could
+get up on a truss of hay she could my Maureen Lay and there was a fellow
+with a Ballyhooly blue ribbon badge spiffing out of him in Irish and a lot
+of colleen bawns going about with temperance beverages and selling medals
+and oranges and lemonade and a few old dry buns, gob, flahoolagh
+entertainment, don't be talking. Ireland sober is Ireland free. And then
+an old fellow starts blowing into his bagpipes and all the gougers
+shuffling their feet to the tune the old cow died of. And one or two sky
+pilots having an eye around that there was no goings on with the females,
+hitting below the belt.
+
+So howandever, as I was saying, the old dog seeing the tin was empty
+starts mousing around by Joe and me. I'd train him by kindness, so I
+would, if he was my dog. Give him a rousing fine kick now and again where
+it wouldn't blind him.
+
+--Afraid he'll bite you? says the citizen, jeering.
+
+--No, says I. But he might take my leg for a lamppost.
+
+So he calls the old dog over.
+
+--What's on you, Garry? says he.
+
+Then he starts hauling and mauling and talking to him in Irish and
+the old towser growling, letting on to answer, like a duet in the opera.
+Such growling you never heard as they let off between them. Someone that
+has nothing better to do ought to write a letter PRO BONO PUBLICO to the
+papers about the muzzling order for a dog the like of that. Growling and
+grousing and his eye all bloodshot from the drouth is in it and the
+hydrophobia dropping out of his jaws.
+
+All those who are interested in the spread of human culture among
+the lower animals (and their name is legion) should make a point of not
+missing the really marvellous exhibition of cynanthropy given by the
+famous old Irish red setter wolfdog formerly known by the SOBRIQUET of
+Garryowen and recently rechristened by his large circle of friends and
+acquaintances Owen Garry. The exhibition, which is the result of years of
+training by kindness and a carefully thoughtout dietary system, comprises,
+among other achievements, the recitation of verse. Our greatest living
+phonetic expert (wild horses shall not drag it from us!) has left no stone
+unturned in his efforts to delucidate and compare the verse recited and has
+found it bears a STRIKING resemblance (the italics are ours) to the ranns
+of ancient Celtic bards. We are not speaking so much of those delightful
+lovesongs with which the writer who conceals his identity under the
+graceful pseudonym of the Little Sweet Branch has familiarised the
+bookloving world but rather (as a contributor D. O. C. points out in an
+interesting communication published by an evening contemporary) of the
+harsher and more personal note which is found in the satirical effusions
+of the famous Raftery and of Donal MacConsidine to say nothing of a more
+modern lyrist at present very much in the public eye. We subjoin a
+specimen which has been rendered into English by an eminent scholar
+whose name for the moment we are not at liberty to disclose though
+we believe that our readers will find the topical allusion rather
+more than an indication. The metrical system of the canine original,
+which recalls the intricate alliterative and isosyllabic rules of
+the Welsh englyn, is infinitely more complicated but we believe our
+readers will agree that the spirit has been well caught. Perhaps
+it should be added that the effect is greatly increased if Owen's
+verse be spoken somewhat slowly and indistinctly in a tone suggestive
+of suppressed rancour.
+
+
+    THE CURSE OF MY CURSES
+    SEVEN DAYS EVERY DAY
+    AND SEVEN DRY THURSDAYS
+    ON YOU, BARNEY KIERNAN,
+    HAS NO SUP OF WATER
+    TO COOL MY COURAGE,
+    AND MY GUTS RED ROARING
+    AFTER LOWRY'S LIGHTS.
+
+
+So he told Terry to bring some water for the dog and, gob, you could
+hear him lapping it up a mile off. And Joe asked him would he have
+another.
+
+--I will, says he, A CHARA, to show there's no ill feeling.
+
+Gob, he's not as green as he's cabbagelooking. Arsing around from
+one pub to another, leaving it to your own honour, with old Giltrap's dog
+and getting fed up by the ratepayers and corporators. Entertainment for
+man and beast. And says Joe:
+
+--Could you make a hole in another pint?
+
+--Could a swim duck? says I.
+
+--Same again, Terry, says Joe. Are you sure you won't have anything in the
+way of liquid refreshment? says he.
+
+--Thank you, no, says Bloom. As a matter of fact I just wanted to meet
+Martin Cunningham, don't you see, about this insurance of poor Dignam's.
+Martin asked me to go to the house. You see, he, Dignam, I mean, didn't
+serve any notice of the assignment on the company at the time and
+nominally under the act the mortgagee can't recover on the policy.
+
+--Holy Wars, says Joe, laughing, that's a good one if old Shylock is
+landed. So the wife comes out top dog, what?
+
+--Well, that's a point, says Bloom, for the wife's admirers.
+
+--Whose admirers? says Joe.
+
+--The wife's advisers, I mean, says Bloom.
+
+Then he starts all confused mucking it up about mortgagor under the act
+like the lord chancellor giving it out on the bench and for the benefit of
+the wife and that a trust is created but on the other hand that Dignam
+owed Bridgeman the money and if now the wife or the widow contested the
+mortgagee's right till he near had the head of me addled with his
+mortgagor under the act. He was bloody safe he wasn't run in himself under
+the act that time as a rogue and vagabond only he had a friend in court.
+Selling bazaar tickets or what do you call it royal Hungarian privileged
+lottery. True as you're there. O, commend me to an israelite! Royal and
+privileged Hungarian robbery.
+
+So Bob Doran comes lurching around asking Bloom to tell Mrs
+Dignam he was sorry for her trouble and he was very sorry about the
+funeral and to tell her that he said and everyone who knew him said that
+there was never a truer, a finer than poor little Willy that's dead to tell
+her. Choking with bloody foolery. And shaking Bloom's hand doing the
+tragic to tell her that. Shake hands, brother. You're a rogue and I'm
+another.
+
+--Let me, said he, so far presume upon our acquaintance which, however
+slight it may appear if judged by the standard of mere time, is founded,
+as I hope and believe, on a sentiment of mutual esteem as to request of
+you this favour. But, should I have overstepped the limits of reserve
+let the sincerity of my feelings be the excuse for my boldness.
+
+--No, rejoined the other, I appreciate to the full the motives which
+actuate your conduct and I shall discharge the office you entrust
+to me consoled by the reflection that, though the errand be one of
+sorrow, this proof of your confidence sweetens in some measure the
+bitterness of the cup.
+
+--Then suffer me to take your hand, said he. The goodness of your heart, I
+feel sure, will dictate to you better than my inadequate words the
+expressions which are most suitable to convey an emotion whose
+poignancy, were I to give vent to my feelings, would deprive me even of
+speech.
+
+And off with him and out trying to walk straight. Boosed at five
+o'clock. Night he was near being lagged only Paddy Leonard knew the bobby,
+14A. Blind to the world up in a shebeen in Bride street after closing
+time, fornicating with two shawls and a bully on guard, drinking porter
+out of teacups. And calling himself a Frenchy for the shawls, Joseph
+Manuo, and talking against the Catholic religion, and he serving mass in
+Adam and Eve's when he was young with his eyes shut, who wrote the new
+testament, and the old testament, and hugging and smugging. And the two
+shawls killed with the laughing, picking his pockets, the bloody
+fool and he spilling the porter all over the bed and the two shawls
+screeching laughing at one another. HOW IS YOUR TESTAMENT? HAVE YOU
+GOT AN OLD TESTAMENT? Only Paddy was passing there, I tell you what.
+Then see him of a Sunday with his little concubine of a wife, and
+she wagging her tail up the aisle of the chapel with her patent boots
+on her, no less, and her violets, nice as pie, doing the little lady.
+Jack Mooney's sister. And the old prostitute of a mother
+procuring rooms to street couples. Gob, Jack made him toe the line. Told
+him if he didn't patch up the pot, Jesus, he'd kick the shite out of him.
+
+So Terry brought the three pints.
+
+--Here, says Joe, doing the honours. Here, citizen.
+
+--SLAN LEAT, says he.
+
+--Fortune, Joe, says I. Good health, citizen.
+
+Gob, he had his mouth half way down the tumbler already. Want a
+small fortune to keep him in drinks.
+
+--Who is the long fellow running for the mayoralty, Alf? says Joe.
+
+--Friend of yours, says Alf.
+
+--Nannan? says Joe. The mimber?
+
+--I won't mention any names, says Alf.
+
+--I thought so, says Joe. I saw him up at that meeting now with William
+Field, M. P., the cattle traders.
+
+--Hairy Iopas, says the citizen, that exploded volcano, the darling of all
+countries and the idol of his own.
+
+So Joe starts telling the citizen about the foot and mouth disease and
+the cattle traders and taking action in the matter and the citizen sending
+them all to the rightabout and Bloom coming out with his sheepdip for the
+scab and a hoose drench for coughing calves and the guaranteed remedy
+for timber tongue. Because he was up one time in a knacker's yard.
+Walking about with his book and pencil here's my head and my heels are
+coming till Joe Cuffe gave him the order of the boot for giving lip to a
+grazier. Mister Knowall. Teach your grandmother how to milk ducks.
+Pisser Burke was telling me in the hotel the wife used to be in rivers of
+tears some times with Mrs O'Dowd crying her eyes out with her eight inches
+of fat all over her. Couldn't loosen her farting strings but old cod's eye
+was waltzing around her showing her how to do it. What's your programme
+today? Ay. Humane methods. Because the poor animals suffer and experts
+say and the best known remedy that doesn't cause pain to the animal and
+on the sore spot administer gently. Gob, he'd have a soft hand under a
+hen.
+
+Ga Ga Gara. Klook Klook Klook. Black Liz is our hen. She lays eggs
+for us. When she lays her egg she is so glad. Gara. Klook Klook Klook.
+Then comes good uncle Leo. He puts his hand under black Liz and takes
+her fresh egg. Ga ga ga ga Gara. Klook Klook Klook.
+
+--Anyhow, says Joe, Field and Nannetti are going over tonight to London
+to ask about it on the floor of the house of commons.
+
+--Are you sure, says Bloom, the councillor is going? I wanted to see him,
+as it happens.
+
+--Well, he's going off by the mailboat, says Joe, tonight.
+
+--That's too bad, says Bloom. I wanted particularly. Perhaps only Mr Field
+is going. I couldn't phone. No. You're sure?
+
+--Nannan's going too, says Joe. The league told him to ask a question
+tomorrow about the commissioner of police forbidding Irish games in the
+park. What do you think of that, citizen? THE SLUAGH NA H-EIREANN.
+
+Mr Cowe Conacre (Multifarnham. Nat.): Arising out of the question of my
+honourable friend, the member for Shillelagh, may I ask the right
+honourable gentleman whether the government has issued orders that these
+animals shall be slaughtered though no medical evidence is forthcoming as
+to their pathological condition?
+
+Mr Allfours (Tamoshant. Con.): Honourable members are already in
+possession of the evidence produced before a committee of the whole house.
+I feel I cannot usefully add anything to that. The answer to the
+honourable member's question is in the affirmative.
+
+Mr Orelli O'Reilly (Montenotte. Nat.): Have similar orders been issued for
+the slaughter of human animals who dare to play Irish games in the
+Phoenix park?
+
+Mr Allfours: The answer is in the negative.
+
+Mr Cowe Conacre: Has the right honourable gentleman's famous
+Mitchelstown telegram inspired the policy of gentlemen on the Treasury
+bench? (O! O!)
+
+Mr Allfours: I must have notice of that question.
+
+Mr Staylewit (Buncombe. Ind.): Don't hesitate to shoot.
+
+(Ironical opposition cheers.)
+
+The speaker: Order! Order!
+
+(The house rises. Cheers.)
+
+--There's the man, says Joe, that made the Gaelic sports revival. There he
+is sitting there. The man that got away James Stephens. The champion of
+all Ireland at putting the sixteen pound shot. What was your best throw,
+citizen?
+
+--NA BACLEIS, says the citizen, letting on to be modest. There was a time
+I was as good as the next fellow anyhow.
+
+--Put it there, citizen, says Joe. You were and a bloody sight better.
+
+--Is that really a fact? says Alf.
+
+--Yes, says Bloom. That's well known. Did you not know that?
+
+So off they started about Irish sports and shoneen games the like of lawn
+tennis and about hurley and putting the stone and racy of the soil and
+building up a nation once again and all to that. And of course Bloom had
+to have his say too about if a fellow had a rower's heart violent
+exercise was bad. I declare to my antimacassar if you took up a
+straw from the bloody floor and if you said to Bloom: LOOK AT, BLOOM.
+DO YOU SEE THAT STRAW? THAT'S A STRAW. Declare to my aunt he'd talk
+about it for an hour so he would and talk steady.
+
+A most interesting discussion took place in the ancient hall of BRIAN
+O'CIARNAIN'S in SRAID NA BRETAINE BHEAG, under the auspices of SLUAGH NA
+H-EIREANN, on the revival of ancient Gaelic sports and the importance of
+physical culture, as understood in ancient Greece and ancient Rome and
+ancient Ireland, for the development of the race. The venerable president
+of the noble order was in the chair and the attendance was of large
+dimensions. After an instructive discourse by the chairman, a magnificent
+oration eloquently and forcibly expressed, a most interesting and
+instructive discussion of the usual high standard of excellence
+ensued as to the desirability of the revivability of the ancient
+games and sports of our ancient Panceltic forefathers. The
+wellknown and highly respected worker in the cause of our old
+tongue, Mr Joseph M'Carthy Hynes, made an eloquent appeal for
+the resuscitation of the ancient Gaelic sports and pastimes,
+practised morning and evening by Finn MacCool, as calculated to revive the
+best traditions of manly strength and prowess handed down to us from
+ancient ages. L. Bloom, who met with a mixed reception of applause and
+hisses, having espoused the negative the vocalist chairman brought the
+discussion to a close, in response to repeated requests and hearty
+plaudits from all parts of a bumper house, by a remarkably noteworthy
+rendering of the immortal Thomas Osborne Davis' evergreen verses (happily
+too familiar to need recalling here) A NATION ONCE AGAIN in the execution
+of which the veteran patriot champion may be said without fear of
+contradiction to have fairly excelled himself. The Irish Caruso-Garibaldi
+was in superlative form and his stentorian notes were heard to the
+greatest advantage in the timehonoured anthem sung as only our citizen
+can sing it. His superb highclass vocalism, which by its superquality
+greatly enhanced his already international reputation, was vociferously
+applauded by the large audience among which were to be noticed many
+prominent members of the clergy as well as representatives of the press
+and the bar and the other learned professions. The proceedings then
+terminated.
+
+Amongst the clergy present were the very rev. William Delany, S. J.,
+L. L. D.; the rt rev. Gerald Molloy, D. D.; the rev. P. J. Kavanagh,
+C. S. Sp.; the rev. T. Waters, C. C.; the rev. John M. Ivers, P. P.; the
+rev. P. J. Cleary, O. S. F.; the rev. L. J. Hickey, O. P.; the very rev.
+Fr. Nicholas, O. S. F. C.; the very rev. B. Gorman, O. D. C.; the rev. T.
+Maher, S. J.; the very rev. James Murphy, S. J.; the rev. John Lavery,
+V. F.; the very rev. William Doherty, D. D.; the rev. Peter Fagan, O. M.;
+the rev. T. Brangan, O. S. A.; the rev. J. Flavin, C. C.; the rev. M. A.
+Hackett, C. C.; the rev. W. Hurley, C. C.; the rt rev. Mgr M'Manus,
+V. G.; the rev. B. R. Slattery, O. M. I.; the very rev. M. D. Scally, P.
+P.; the rev. F. T. Purcell, O. P.; the very rev. Timothy canon Gorman,
+P. P.; the rev. J. Flanagan, C. C. The laity included P. Fay, T. Quirke,
+etc., etc.
+
+--Talking about violent exercise, says Alf, were you at that Keogh-Bennett
+match?
+
+--No, says Joe.
+
+--I heard So and So made a cool hundred quid over it, says Alf.
+
+--Who? Blazes? says Joe.
+
+And says Bloom:
+
+--What I meant about tennis, for example, is the agility and training the
+eye.
+
+--Ay, Blazes, says Alf. He let out that Myler was on the beer to run up
+the odds and he swatting all the time.
+
+--We know him, says the citizen. The traitor's son. We know what put
+English gold in his pocket.
+
+---True for you, says Joe.
+
+And Bloom cuts in again about lawn tennis and the circulation of the
+blood, asking Alf:
+
+--Now, don't you think, Bergan?
+
+--Myler dusted the floor with him, says Alf. Heenan and Sayers was only a
+bloody fool to it. Handed him the father and mother of a beating. See the
+little kipper not up to his navel and the big fellow swiping. God, he gave
+him one last puck in the wind, Queensberry rules and all, made him puke
+what he never ate.
+
+It was a historic and a hefty battle when Myler and Percy were
+scheduled to don the gloves for the purse of fifty sovereigns. Handicapped
+as he was by lack of poundage, Dublin's pet lamb made up for it by
+superlative skill in ringcraft. The final bout of fireworks was a
+gruelling for both champions. The welterweight sergeantmajor had
+tapped some lively claret in the previous mixup during which Keogh
+had been receivergeneral of rights and lefts, the artilleryman
+putting in some neat work on the pet's nose, and Myler came on
+looking groggy. The soldier got to business, leading off with a
+powerful left jab to which the Irish gladiator retaliated by shooting
+out a stiff one flush to the point of Bennett's jaw. The redcoat
+ducked but the Dubliner lifted him with a left hook, the body punch being
+a fine one. The men came to handigrips. Myler quickly became busy and got
+his man under, the bout ending with the bulkier man on the ropes, Myler
+punishing him. The Englishman, whose right eye was nearly closed, took
+his corner where he was liberally drenched with water and when the bell
+went came on gamey and brimful of pluck, confident of knocking out the
+fistic Eblanite in jigtime. It was a fight to a finish and the best man
+for it. The two fought like tigers and excitement ran fever high. The
+referee twice cautioned Pucking Percy for holding but the pet was tricky
+and his footwork a treat to watch. After a brisk exchange of courtesies
+during which a smart upper cut of the military man brought blood freely
+from his opponent's mouth the lamb suddenly waded in all over his man and
+landed a terrific left to Battling Bennett's stomach, flooring him flat.
+It was a knockout clean and clever. Amid tense expectation the Portobello
+bruiser was being counted out when Bennett's second Ole Pfotts Wettstein
+threw in the towel and the Santry boy was declared victor to the frenzied
+cheers of the public who broke through the ringropes and fairly mobbed him
+with delight.
+
+--He knows which side his bread is buttered, says Alf. I hear he's running
+a concert tour now up in the north.
+
+--He is, says Joe. Isn't he?
+
+--Who? says Bloom. Ah, yes. That's quite true. Yes, a kind of summer tour,
+you see. Just a holiday.
+
+--Mrs B. is the bright particular star, isn't she? says Joe.
+
+--My wife? says Bloom. She's singing, yes. I think it will be a success
+too.
+
+He's an excellent man to organise. Excellent.
+
+Hoho begob says I to myself says I. That explains the milk in the cocoanut
+and absence of hair on the animal's chest. Blazes doing the tootle on the
+flute. Concert tour. Dirty Dan the dodger's son off Island bridge that
+sold the same horses twice over to the government to fight the Boers. Old
+Whatwhat. I called about the poor and water rate, Mr Boylan. You what?
+The water rate, Mr Boylan. You whatwhat? That's the bucko that'll
+organise her, take my tip. 'Twixt me and you Caddareesh.
+
+Pride of Calpe's rocky mount, the ravenhaired daughter of Tweedy.
+There grew she to peerless beauty where loquat and almond scent the air.
+The gardens of Alameda knew her step: the garths of olives knew and
+bowed. The chaste spouse of Leopold is she: Marion of the bountiful
+bosoms.
+
+And lo, there entered one of the clan of the O'Molloy's, a comely hero
+of white face yet withal somewhat ruddy, his majesty's counsel learned in
+the law, and with him the prince and heir of the noble line of Lambert.
+
+--Hello, Ned.
+
+--Hello, Alf.
+
+--Hello, Jack.
+
+--Hello, Joe.
+
+--God save you, says the citizen.
+
+--Save you kindly, says J. J. What'll it be, Ned?
+
+--Half one, says Ned.
+
+So J. J. ordered the drinks.
+
+--Were you round at the court? says Joe.
+
+--Yes, says J. J. He'll square that, Ned, says he.
+
+--Hope so, says Ned.
+
+Now what were those two at? J. J. getting him off the grand jury list
+and the other give him a leg over the stile. With his name in Stubbs's.
+Playing cards, hobnobbing with flash toffs with a swank glass in their
+eye, adrinking fizz and he half smothered in writs and garnishee orders.
+Pawning his gold watch in Cummins of Francis street where no-one would
+know him in the private office when I was there with Pisser releasing his
+boots out of the pop. What's your name, sir? Dunne, says he. Ay, and done
+says I. Gob, he'll come home by weeping cross one of those days, I'm
+thinking.
+
+--Did you see that bloody lunatic Breen round there? says Alf. U. p: up.
+
+--Yes, says J. J. Looking for a private detective.
+
+--Ay, says Ned. And he wanted right go wrong to address the court only
+Corny Kelleher got round him telling him to get the handwriting examined
+first.
+
+--Ten thousand pounds, says Alf, laughing. God, I'd give anything to hear
+him before a judge and jury.
+
+--Was it you did it, Alf? says Joe. The truth, the whole truth and nothing
+but the truth, so help you Jimmy Johnson.
+
+--Me? says Alf. Don't cast your nasturtiums on my character.
+
+--Whatever statement you make, says Joe, will be taken down in evidence
+against you.
+
+--Of course an action would lie, says J. J. It implies that he is not
+COMPOS MENTIS. U. p: up.
+
+--COMPOS your eye! says Alf, laughing. Do you know that he's balmy?
+Look at his head. Do you know that some mornings he has to get his hat on
+with a shoehorn.
+
+--Yes, says J. J., but the truth of a libel is no defence to an indictment
+for publishing it in the eyes of the law.
+
+--Ha ha, Alf, says Joe.
+
+--Still, says Bloom, on account of the poor woman, I mean his wife.
+
+--Pity about her, says the citizen. Or any other woman marries a half and
+half.
+
+--How half and half? says Bloom. Do you mean he ...
+
+--Half and half I mean, says the citizen. A fellow that's neither fish nor
+flesh.
+
+--Nor good red herring, says Joe.
+
+--That what's I mean, says the citizen. A pishogue, if you know what that
+is.
+
+Begob I saw there was trouble coming. And Bloom explaining he meant on
+account of it being cruel for the wife having to go round after the
+old stuttering fool. Cruelty to animals so it is to let that bloody
+povertystricken Breen out on grass with his beard out tripping him,
+bringing down the rain. And she with her nose cockahoop after she married
+him because a cousin of his old fellow's was pewopener to the pope.
+Picture of him on the wall with his Smashall Sweeney's moustaches, the
+signior Brini from Summerhill, the eyetallyano, papal Zouave to the Holy
+Father, has left the quay and gone to Moss street. And who was he, tell
+us? A nobody, two pair back and passages, at seven shillings a week, and
+he covered with all kinds of breastplates bidding defiance to the world.
+
+--And moreover, says J. J., a postcard is publication. It was held to be
+sufficient evidence of malice in the testcase Sadgrove v. Hole. In my
+opinion an action might lie.
+
+Six and eightpence, please. Who wants your opinion? Let us drink
+our pints in peace. Gob, we won't be let even do that much itself.
+
+--Well, good health, Jack, says Ned.
+
+--Good health, Ned, says J. J.
+
+---There he is again, says Joe.
+
+--Where? says Alf.
+
+And begob there he was passing the door with his books under his
+oxter and the wife beside him and Corny Kelleher with his wall eye looking
+in as they went past, talking to him like a father, trying to sell him a
+secondhand coffin.
+
+--How did that Canada swindle case go off? says Joe.
+
+--Remanded, says J. J.
+
+One of the bottlenosed fraternity it was went by the name of James
+Wought alias Saphiro alias Spark and Spiro, put an ad in the papers saying
+he'd give a passage to Canada for twenty bob. What? Do you see any green
+in the white of my eye? Course it was a bloody barney. What? Swindled
+them all, skivvies and badhachs from the county Meath, ay, and his own
+kidney too. J. J. was telling us there was an ancient Hebrew Zaretsky or
+something weeping in the witnessbox with his hat on him, swearing by the
+holy Moses he was stuck for two quid.
+
+--Who tried the case? says Joe.
+
+--Recorder, says Ned.
+
+--Poor old sir Frederick, says Alf, you can cod him up to the two eyes.
+
+--Heart as big as a lion, says Ned. Tell him a tale of woe about arrears
+of rent and a sick wife and a squad of kids and, faith, he'll dissolve in
+tears on the bench.
+
+--Ay, says Alf. Reuben J was bloody lucky he didn't clap him in the dock
+the other day for suing poor little Gumley that's minding stones, for the
+corporation there near Butt bridge.
+
+And he starts taking off the old recorder letting on to cry:
+
+--A most scandalous thing! This poor hardworking man! How many
+children? Ten, did you say?
+
+--Yes, your worship. And my wife has the typhoid.
+
+--And the wife with typhoid fever! Scandalous! Leave the court
+immediately, sir. No, sir, I'll make no order for payment. How dare you,
+sir, come up before me and ask me to make an order! A poor hardworking
+industrious man! I dismiss the case.
+
+And whereas on the sixteenth day of the month of the oxeyed goddess and in
+the third week after the feastday of the Holy and Undivided Trinity,
+the daughter of the skies, the virgin moon being then in her first
+quarter, it came to pass that those learned judges repaired them to the
+halls of law. There master Courtenay, sitting in his own chamber,
+gave his rede and master Justice Andrews, sitting without a jury
+in the probate court, weighed well and pondered the claim of the
+first chargeant upon the property in the matter of the will
+propounded and final testamentary disposition IN RE the real and
+personal estate of the late lamented Jacob Halliday, vintner, deceased,
+versus Livingstone, an infant, of unsound mind, and another. And to the
+solemn court of Green street there came sir Frederick the Falconer. And he
+sat him there about the hour of five o'clock to administer the law of the
+brehons at the commission for all that and those parts to be holden in
+and for the county of the city of Dublin. And there sat with him the high
+sinhedrim of the twelve tribes of Iar, for every tribe one man, of the
+tribe of Patrick and of the tribe of Hugh and of the tribe of Owen and of
+the tribe of Conn and of the tribe of Oscar and of the tribe of
+Fergus and of the tribe of Finn and of the tribe of Dermot and of
+the tribe of Cormac and of the tribe of Kevin and of the tribe of
+Caolte and of the tribe of Ossian, there being in all twelve good
+men and true. And he conjured them by Him who died on rood that
+they should well and truly try and true deliverance make in the
+issue joined between their sovereign lord the king and the prisoner at
+the bar and true verdict give according to the evidence so help them God
+and kiss the book. And they rose in their seats, those twelve of Iar, and
+they swore by the name of Him Who is from everlasting that they would do
+His rightwiseness. And straightway the minions of the law led forth from
+their donjon keep one whom the sleuthhounds of justice had apprehended in
+consequence of information received. And they shackled him hand and foot
+and would take of him ne bail ne mainprise but preferred a charge against
+him for he was a malefactor.
+
+--Those are nice things, says the citizen, coming over here to Ireland
+filling the country with bugs.
+
+So Bloom lets on he heard nothing and he starts talking with Joe, telling
+him he needn't trouble about that little matter till the first but if he
+would just say a word to Mr Crawford. And so Joe swore high and holy by
+this and by that he'd do the devil and all.
+
+--Because, you see, says Bloom, for an advertisement you must have
+repetition. That's the whole secret.
+
+--Rely on me, says Joe.
+
+--Swindling the peasants, says the citizen, and the poor of Ireland. We
+want no more strangers in our house.
+
+--O, I'm sure that will be all right, Hynes, says Bloom. It's just that
+Keyes, you see.
+
+--Consider that done, says Joe.
+
+--Very kind of you, says Bloom.
+
+--The strangers, says the citizen. Our own fault. We let them come in. We
+brought them in. The adulteress and her paramour brought the Saxon
+robbers here.
+
+--Decree NISI, says J. J.
+
+And Bloom letting on to be awfully deeply interested in nothing, a
+spider's web in the corner behind the barrel, and the citizen scowling
+after him and the old dog at his feet looking up to know who to bite and
+when.
+
+--A dishonoured wife, says the citizen, that's what's the cause of all our
+misfortunes.
+
+--And here she is, says Alf, that was giggling over the POLICE GAZETTE
+with Terry on the counter, in all her warpaint.
+
+--Give us a squint at her, says I.
+
+And what was it only one of the smutty yankee pictures Terry
+borrows off of Corny Kelleher. Secrets for enlarging your private parts.
+Misconduct of society belle. Norman W. Tupper, wealthy Chicago
+contractor, finds pretty but faithless wife in lap of officer Taylor.
+Belle in her bloomers misconducting herself, and her fancyman feeling for
+her tickles and Norman W. Tupper bouncing in with his peashooter just in
+time to be late after she doing the trick of the loop with officer Taylor.
+
+--O jakers, Jenny, says Joe, how short your shirt is!
+
+--There's hair, Joe, says I. Get a queer old tailend of corned beef off of
+that one, what?
+
+So anyhow in came John Wyse Nolan and Lenehan with him with a
+face on him as long as a late breakfast.
+
+--Well, says the citizen, what's the latest from the scene of action? What
+did those tinkers in the city hall at their caucus meeting decide about
+the Irish language?
+
+O'Nolan, clad in shining armour, low bending made obeisance to the
+puissant and high and mighty chief of all Erin and did him to wit of that
+which had befallen, how that the grave elders of the most obedient city,
+second of the realm, had met them in the tholsel, and there, after due
+prayers to the gods who dwell in ether supernal, had taken solemn counsel
+whereby they might, if so be it might be, bring once more into honour
+among mortal men the winged speech of the seadivided Gael.
+
+--It's on the march, says the citizen. To hell with the bloody brutal
+Sassenachs and their PATOIS.
+
+So J. J. puts in a word, doing the toff about one story was good till
+you heard another and blinking facts and the Nelson policy, putting your
+blind eye to the telescope and drawing up a bill of attainder to impeach a
+nation, and Bloom trying to back him up moderation and botheration and
+their colonies and their civilisation.
+
+--Their syphilisation, you mean, says the citizen. To hell with them! The
+curse of a goodfornothing God light sideways on the bloody thicklugged
+sons of whores' gets! No music and no art and no literature worthy of the
+name. Any civilisation they have they stole from us. Tonguetied sons of
+bastards' ghosts.
+
+--The European family, says J. J. ...
+
+--They're not European, says the citizen. I was in Europe with Kevin Egan
+of Paris. You wouldn't see a trace of them or their language anywhere in
+Europe except in a CABINET D'AISANCE.
+
+And says John Wyse:
+
+--Full many a flower is born to blush unseen.
+
+And says Lenehan that knows a bit of the lingo:
+
+--CONSPUEZ LES ANGLAIS! PERFIDE ALBION!
+
+He said and then lifted he in his rude great brawny strengthy hands
+the medher of dark strong foamy ale and, uttering his tribal slogan LAMH
+DEARG ABU, he drank to the undoing of his foes, a race of mighty valorous
+heroes, rulers of the waves, who sit on thrones of alabaster silent as the
+deathless gods.
+
+--What's up with you, says I to Lenehan. You look like a fellow that had
+lost a bob and found a tanner.
+
+--Gold cup, says he.
+
+--Who won, Mr Lenehan? says Terry.
+
+--THROWAWAY, says he, at twenty to one. A rank outsider. And the rest
+nowhere.
+
+--And Bass's mare? says Terry.
+
+--Still running, says he. We're all in a cart. Boylan plunged two quid on
+my tip SCEPTRE for himself and a lady friend.
+
+--I had half a crown myself, says Terry, on ZINFANDEL that Mr Flynn gave
+me. Lord Howard de Walden's.
+
+--Twenty to one, says Lenehan. Such is life in an outhouse. THROWAWAY,
+says he. Takes the biscuit, and talking about bunions. Frailty, thy name
+is SCEPTRE.
+
+So he went over to the biscuit tin Bob Doran left to see if there was
+anything he could lift on the nod, the old cur after him backing his luck
+with his mangy snout up. Old Mother Hubbard went to the cupboard.
+
+--Not there, my child, says he.
+
+--Keep your pecker up, says Joe. She'd have won the money only for the
+other dog.
+
+And J. J. and the citizen arguing about law and history with Bloom
+sticking in an odd word.
+
+--Some people, says Bloom, can see the mote in others' eyes but they can't
+see the beam in their own.
+
+--RAIMEIS, says the citizen. There's no-one as blind as the fellow that
+won't see, if you know what that means. Where are our missing
+twenty millions of Irish should be here today instead of four,
+our lost tribes? And our potteries and textiles, the finest in
+the whole world! And our wool that was sold in Rome in the time
+of Juvenal and our flax and our damask from the looms of Antrim
+and our Limerick lace, our tanneries and our white flint glass
+down there by Ballybough and our Huguenot poplin that we have since
+Jacquard de Lyon and our woven silk and our Foxford tweeds and ivory
+raised point from the Carmelite convent in New Ross, nothing like it in
+the whole wide world. Where are the Greek merchants that came through the
+pillars of Hercules, the Gibraltar now grabbed by the foe of mankind, with
+gold and Tyrian purple to sell in Wexford at the fair of Carmen? Read
+Tacitus and Ptolemy, even Giraldus Cambrensis. Wine, peltries,
+Connemara marble, silver from Tipperary, second to none, our farfamed
+horses even today, the Irish hobbies, with king Philip of Spain offering
+to pay customs duties for the right to fish in our waters. What do the
+yellowjohns of Anglia owe us for our ruined trade and our ruined hearths?
+And the beds of the Barrow and Shannon they won't deepen with millions
+of acres of marsh and bog to make us all die of consumption?
+
+--As treeless as Portugal we'll be soon, says John Wyse, or Heligoland
+with its one tree if something is not done to reafforest the land.
+Larches, firs, all the trees of the conifer family are going fast. I was
+reading a report of lord Castletown's ...
+
+--Save them, says the citizen, the giant ash of Galway and the chieftain
+elm of Kildare with a fortyfoot bole and an acre of foliage. Save the
+trees of Ireland for the future men of Ireland on the fair hills of
+Eire, O.
+
+--Europe has its eyes on you, says Lenehan.
+
+The fashionable international world attended EN MASSE this afternoon
+at the wedding of the chevalier Jean Wyse de Neaulan, grand high chief
+ranger of the Irish National Foresters, with Miss Fir Conifer of Pine
+Valley. Lady Sylvester Elmshade, Mrs Barbara Lovebirch, Mrs Poll Ash,
+Mrs Holly Hazeleyes, Miss Daphne Bays, Miss Dorothy Canebrake, Mrs
+Clyde Twelvetrees, Mrs Rowan Greene, Mrs Helen Vinegadding, Miss
+Virginia Creeper, Miss Gladys Beech, Miss Olive Garth, Miss Blanche
+Maple, Mrs Maud Mahogany, Miss Myra Myrtle, Miss Priscilla
+Elderflower, Miss Bee Honeysuckle, Miss Grace Poplar, Miss O Mimosa
+San, Miss Rachel Cedarfrond, the Misses Lilian and Viola Lilac, Miss
+Timidity Aspenall, Mrs Kitty Dewey-Mosse, Miss May Hawthorne, Mrs
+Gloriana Palme, Mrs Liana Forrest, Mrs Arabella Blackwood and Mrs
+Norma Holyoake of Oakholme Regis graced the ceremony by their
+presence. The bride who was given away by her father, the M'Conifer of
+the Glands, looked exquisitely charming in a creation carried out in green
+mercerised silk, moulded on an underslip of gloaming grey, sashed with a
+yoke of broad emerald and finished with a triple flounce of darkerhued
+fringe, the scheme being relieved by bretelles and hip insertions of acorn
+bronze. The maids of honour, Miss Larch Conifer and Miss Spruce Conifer,
+sisters of the bride, wore very becoming costumes in the same tone, a
+dainty MOTIF of plume rose being worked into the pleats in a pinstripe and
+repeated capriciously in the jadegreen toques in the form of heron
+feathers of paletinted coral. Senhor Enrique Flor presided at the
+organ with his wellknown ability and, in addition to the prescribed
+numbers of the nuptial mass, played a new and striking arrangement
+of WOODMAN, SPARE THAT TREE at the conclusion of the service. On
+leaving the church of Saint Fiacre IN HORTO after the papal
+blessing the happy pair were subjected to a playful crossfire
+of hazelnuts, beechmast, bayleaves, catkins of willow, ivytod,
+hollyberries, mistletoe sprigs and quicken shoots. Mr and Mrs Wyse
+Conifer Neaulan will spend a quiet honeymoon in the Black Forest.
+
+--And our eyes are on Europe, says the citizen. We had our trade with
+Spain and the French and with the Flemings before those mongrels were
+pupped, Spanish ale in Galway, the winebark on the winedark waterway.
+
+--And will again, says Joe.
+
+--And with the help of the holy mother of God we will again, says the
+citizen, clapping his thigh. our harbours that are empty will be full
+again, Queenstown, Kinsale, Galway, Blacksod Bay, Ventry in the kingdom of
+Kerry, Killybegs, the third largest harbour in the wide world with a fleet
+of masts of the Galway Lynches and the Cavan O'Reillys and the
+O'Kennedys of Dublin when the earl of Desmond could make a treaty with
+the emperor Charles the Fifth himself. And will again, says he, when the
+first Irish battleship is seen breasting the waves with our own flag to
+the fore, none of your Henry Tudor's harps, no, the oldest flag afloat,
+the flag of the province of Desmond and Thomond, three crowns on a blue
+field, the three sons of Milesius.
+
+And he took the last swig out of the pint. Moya. All wind and piss like
+a tanyard cat. Cows in Connacht have long horns. As much as his bloody
+life is worth to go down and address his tall talk to the assembled
+multitude in Shanagolden where he daren't show his nose with the Molly
+Maguires looking for him to let daylight through him for grabbing the
+holding of an evicted tenant.
+
+--Hear, hear to that, says John Wyse. What will you have?
+
+--An imperial yeomanry, says Lenehan, to celebrate the occasion.
+
+--Half one, Terry, says John Wyse, and a hands up. Terry! Are you asleep?
+
+--Yes, sir, says Terry. Small whisky and bottle of Allsop. Right, sir.
+
+Hanging over the bloody paper with Alf looking for spicy bits instead
+of attending to the general public. Picture of a butting match, trying to
+crack their bloody skulls, one chap going for the other with his head down
+like a bull at a gate. And another one: BLACK BEAST BURNED IN OMAHA, GA.
+A lot of Deadwood Dicks in slouch hats and they firing at a Sambo strung
+up in a tree with his tongue out and a bonfire under him. Gob, they ought
+to drown him in the sea after and electrocute and crucify him to make sure
+of their job.
+
+--But what about the fighting navy, says Ned, that keeps our foes at bay?
+
+--I'll tell you what about it, says the citizen. Hell upon earth it is.
+Read the revelations that's going on in the papers about flogging on the
+training ships at Portsmouth. A fellow writes that calls himself DISGUSTED
+ONE.
+
+So he starts telling us about corporal punishment and about the crew
+of tars and officers and rearadmirals drawn up in cocked hats and the
+parson with his protestant bible to witness punishment and a young lad
+brought out, howling for his ma, and they tie him down on the buttend of a
+gun.
+
+--A rump and dozen, says the citizen, was what that old ruffian sir John
+Beresford called it but the modern God's Englishman calls it caning on the
+breech.
+
+And says John Wyse:
+
+--'Tis a custom more honoured in the breach than in the observance.
+
+Then he was telling us the master at arms comes along with a long
+cane and he draws out and he flogs the bloody backside off of the poor lad
+till he yells meila murder.
+
+--That's your glorious British navy, says the citizen, that bosses the
+earth.
+
+The fellows that never will be slaves, with the only hereditary chamber on
+the face of God's earth and their land in the hands of a dozen gamehogs
+and cottonball barons. That's the great empire they boast about of drudges
+and whipped serfs.
+
+--On which the sun never rises, says Joe.
+
+--And the tragedy of it is, says the citizen, they believe it. The
+unfortunate yahoos believe it.
+
+They believe in rod, the scourger almighty, creator of hell upon earth,
+and in Jacky Tar, the son of a gun, who was conceived of unholy boast,
+born of the fighting navy, suffered under rump and dozen, was scarified,
+flayed and curried, yelled like bloody hell, the third day he arose again
+from the bed, steered into haven, sitteth on his beamend till further
+orders whence he shall come to drudge for a living and be paid.
+
+--But, says Bloom, isn't discipline the same everywhere. I mean wouldn't
+it be the same here if you put force against force?
+
+Didn't I tell you? As true as I'm drinking this porter if he was at his
+last gasp he'd try to downface you that dying was living.
+
+--We'll put force against force, says the citizen. We have our greater
+Ireland beyond the sea. They were driven out of house and home in the
+black 47. Their mudcabins and their shielings by the roadside were laid
+low by the batteringram and the TIMES rubbed its hands and told the
+whitelivered Saxons there would soon be as few Irish in Ireland as
+redskins in America. Even the Grand Turk sent us his piastres. But the
+Sassenach tried to starve the nation at home while the land was full of
+crops that the British hyenas bought and sold in Rio de Janeiro. Ay, they
+drove out the peasants in hordes. Twenty thousand of them died in the
+coffinships. But those that came to the land of the free remember the
+land of bondage. And they will come again and with a vengeance, no
+cravens, the sons of Granuaile, the champions of Kathleen ni Houlihan.
+
+--Perfectly true, says Bloom. But my point was ...
+
+--We are a long time waiting for that day, citizen, says Ned. Since the
+poor old woman told us that the French were on the sea and landed at
+Killala.
+
+--Ay, says John Wyse. We fought for the royal Stuarts that reneged us
+against the Williamites and they betrayed us. Remember Limerick and the
+broken treatystone. We gave our best blood to France and Spain, the wild
+geese. Fontenoy, eh? And Sarsfield and O'Donnell, duke of Tetuan in
+Spain, and Ulysses Browne of Camus that was fieldmarshal to Maria Teresa.
+But what did we ever get for it?
+
+--The French! says the citizen. Set of dancing masters! Do you know what
+it is? They were never worth a roasted fart to Ireland. Aren't they
+trying to make an ENTENTE CORDIALE now at Tay Pay's dinnerparty with
+perfidious Albion? Firebrands of Europe and they always were.
+
+--CONSPUEZ LES FRANCAIS, says Lenehan, nobbling his beer.
+
+--And as for the Prooshians and the Hanoverians, says Joe, haven't we had
+enough of those sausageeating bastards on the throne from George the
+elector down to the German lad and the flatulent old bitch that's dead?
+
+Jesus, I had to laugh at the way he came out with that about the old one
+with the winkers on her, blind drunk in her royal palace every night of
+God, old Vic, with her jorum of mountain dew and her coachman carting her
+up body and bones to roll into bed and she pulling him by the whiskers
+and singing him old bits of songs about EHREN ON THE RHINE and come where
+the boose is cheaper.
+
+--Well, says J. J. We have Edward the peacemaker now.
+
+--Tell that to a fool, says the citizen. There's a bloody sight more pox
+than pax about that boyo. Edward Guelph-Wettin!
+
+--And what do you think, says Joe, of the holy boys, the priests and
+bishops of Ireland doing up his room in Maynooth in His Satanic Majesty's
+racing colours and sticking up pictures of all the horses his jockeys
+rode. The earl of Dublin, no less.
+
+--They ought to have stuck up all the women he rode himself, says little
+Alf.
+
+And says J. J.:
+
+--Considerations of space influenced their lordships' decision.
+
+--Will you try another, citizen? says Joe.
+
+--Yes, sir, says he. I will.
+
+--You? says Joe.
+
+--Beholden to you, Joe, says I. May your shadow never grow less.
+
+--Repeat that dose, says Joe.
+
+Bloom was talking and talking with John Wyse and he quite excited with
+his dunducketymudcoloured mug on him and his old plumeyes rolling about.
+
+--Persecution, says he, all the history of the world is full of it.
+Perpetuating national hatred among nations.
+
+--But do you know what a nation means? says John Wyse.
+
+--Yes, says Bloom.
+
+--What is it? says John Wyse.
+
+--A nation? says Bloom. A nation is the same people living in the same
+place.
+
+--By God, then, says Ned, laughing, if that's so I'm a nation for I'm
+living in the same place for the past five years.
+
+So of course everyone had the laugh at Bloom and says he, trying to
+muck out of it:
+
+--Or also living in different places.
+
+--That covers my case, says Joe.
+
+--What is your nation if I may ask? says the citizen.
+
+--Ireland, says Bloom. I was born here. Ireland.
+
+The citizen said nothing only cleared the spit out of his gullet and,
+gob, he spat a Red bank oyster out of him right in the corner.
+
+--After you with the push, Joe, says he, taking out his handkerchief to
+swab himself dry.
+
+--Here you are, citizen, says Joe. Take that in your right hand and repeat
+after me the following words.
+
+The muchtreasured and intricately embroidered ancient Irish
+facecloth attributed to Solomon of Droma and Manus Tomaltach og
+MacDonogh, authors of the Book of Ballymote, was then carefully
+produced and called forth prolonged admiration. No need to dwell on the
+legendary beauty of the cornerpieces, the acme of art, wherein one can
+distinctly discern each of the four evangelists in turn presenting to each
+of the four masters his evangelical symbol, a bogoak sceptre, a North
+American puma (a far nobler king of beasts than the British article, be it
+said in passing), a Kerry calf and a golden eagle from Carrantuohill. The
+scenes depicted on the emunctory field, showing our ancient duns and raths
+and cromlechs and grianauns and seats of learning and maledictive stones,
+are as wonderfully beautiful and the pigments as delicate as when the
+Sligo illuminators gave free rein to their artistic fantasy long long ago
+in the time of the Barmecides. Glendalough, the lovely lakes of Killarney,
+the ruins of Clonmacnois, Cong Abbey, Glen Inagh and the Twelve Pins,
+Ireland's Eye, the Green Hills of Tallaght, Croagh Patrick, the brewery of
+Messrs Arthur Guinness, Son and Company (Limited), Lough Neagh's banks,
+the vale of Ovoca, Isolde's tower, the Mapas obelisk, Sir Patrick Dun's
+hospital, Cape Clear, the glen of Aherlow, Lynch's castle, the Scotch
+house, Rathdown Union Workhouse at Loughlinstown, Tullamore jail,
+Castleconnel rapids, Kilballymacshonakill, the cross at Monasterboice,
+Jury's Hotel, S. Patrick's Purgatory, the Salmon Leap, Maynooth college
+refectory, Curley's hole, the three birthplaces of the first duke of
+Wellington, the rock of Cashel, the bog of Allen, the Henry Street
+Warehouse, Fingal's Cave--all these moving scenes are still there for us
+today rendered more beautiful still by the waters of sorrow which have
+passed over them and by the rich incrustations of time.
+
+--Show us over the drink, says I. Which is which?
+
+--That's mine, says Joe, as the devil said to the dead policeman.
+
+--And I belong to a race too, says Bloom, that is hated and persecuted.
+Also now. This very moment. This very instant.
+
+Gob, he near burnt his fingers with the butt of his old cigar.
+
+--Robbed, says he. Plundered. Insulted. Persecuted. Taking what belongs
+to us by right. At this very moment, says he, putting up his fist, sold by
+auction in Morocco like slaves or cattle.
+
+--Are you talking about the new Jerusalem? says the citizen.
+
+--I'm talking about injustice, says Bloom.
+
+--Right, says John Wyse. Stand up to it then with force like men.
+
+That's an almanac picture for you. Mark for a softnosed bullet. Old
+lardyface standing up to the business end of a gun. Gob, he'd adorn a
+sweepingbrush, so he would, if he only had a nurse's apron on him. And
+then he collapses all of a sudden, twisting around all the opposite, as
+limp as a wet rag.
+
+--But it's no use, says he. Force, hatred, history, all that. That's not
+life for men and women, insult and hatred. And everybody knows that it's
+the very opposite of that that is really life.
+
+--What? says Alf.
+
+--Love, says Bloom. I mean the opposite of hatred. I must go now, says he
+to John Wyse. Just round to the court a moment to see if Martin is there.
+If he comes just say I'll be back in a second. Just a moment.
+
+Who's hindering you? And off he pops like greased lightning.
+
+--A new apostle to the gentiles, says the citizen. Universal love.
+
+--Well, says John Wyse. Isn't that what we're told. Love your neighbour.
+
+--That chap? says the citizen. Beggar my neighbour is his motto. Love,
+moya! He's a nice pattern of a Romeo and Juliet.
+
+Love loves to love love. Nurse loves the new chemist. Constable 14A
+loves Mary Kelly. Gerty MacDowell loves the boy that has the bicycle.
+M. B. loves a fair gentleman. Li Chi Han lovey up kissy Cha Pu Chow.
+Jumbo, the elephant, loves Alice, the elephant. Old Mr Verschoyle with the
+ear trumpet loves old Mrs Verschoyle with the turnedin eye. The man in the
+brown macintosh loves a lady who is dead. His Majesty the King loves Her
+Majesty the Queen. Mrs Norman W. Tupper loves officer Taylor. You love
+a certain person. And this person loves that other person because
+everybody loves somebody but God loves everybody.
+
+--Well, Joe, says I, your very good health and song. More power, citizen.
+
+--Hurrah, there, says Joe.
+
+--The blessing of God and Mary and Patrick on you, says the citizen.
+
+And he ups with his pint to wet his whistle.
+
+--We know those canters, says he, preaching and picking your pocket.
+What about sanctimonious Cromwell and his ironsides that put the women
+and children of Drogheda to the sword with the bible text GOD IS LOVE
+pasted round the mouth of his cannon? The bible! Did you read that skit in
+the UNITED IRISHMAN today about that Zulu chief that's visiting England?
+
+--What's that? says Joe.
+
+So the citizen takes up one of his paraphernalia papers and he starts
+reading out:
+
+--A delegation of the chief cotton magnates of Manchester was presented
+yesterday to His Majesty the Alaki of Abeakuta by Gold Stick in Waiting,
+Lord Walkup of Walkup on Eggs, to tender to His Majesty the heartfelt
+thanks of British traders for the facilities afforded them in his
+dominions. The delegation partook of luncheon at the conclusion
+of which the dusky potentate, in the course of a happy speech,
+freely translated by the British chaplain, the reverend Ananias
+Praisegod Barebones, tendered his best thanks to Massa Walkup and
+emphasised the cordial relations existing between Abeakuta and the
+British empire, stating that he treasured as one of his dearest
+possessions an illuminated bible, the volume of the word of God
+and the secret of England's greatness, graciously presented to him by
+the white chief woman, the great squaw Victoria, with a personal
+dedication from the august hand of the Royal Donor. The Alaki then drank a
+lovingcup of firstshot usquebaugh to the toast BLACK AND WHITE from the
+skull of his immediate predecessor in the dynasty Kakachakachak,
+surnamed Forty Warts, after which he visited the chief factory of
+Cottonopolis and signed his mark in the visitors' book, subsequently
+executing a charming old Abeakutic wardance, in the course of which he
+swallowed several knives and forks, amid hilarious applause from the girl
+hands.
+
+--Widow woman, says Ned. I wouldn't doubt her. Wonder did he put that
+bible to the same use as I would.
+
+--Same only more so, says Lenehan. And thereafter in that fruitful land
+the broadleaved mango flourished exceedingly.
+
+--Is that by Griffith? says John Wyse.
+
+--No, says the citizen. It's not signed Shanganagh. It's only
+initialled: P.
+
+--And a very good initial too, says Joe.
+
+--That's how it's worked, says the citizen. Trade follows the flag.
+
+--Well, says J. J., if they're any worse than those Belgians in the Congo
+Free State they must be bad. Did you read that report by a man what's this
+his name is?
+
+--Casement, says the citizen. He's an Irishman.
+
+--Yes, that's the man, says J. J. Raping the women and girls and flogging
+the natives on the belly to squeeze all the red rubber they can out of
+them.
+
+--I know where he's gone, says Lenehan, cracking his fingers.
+
+--Who? says I.
+
+--Bloom, says he. The courthouse is a blind. He had a few bob on
+THROWAWAY and he's gone to gather in the shekels.
+
+--Is it that whiteeyed kaffir? says the citizen, that never backed a horse
+in anger in his life?
+
+--That's where he's gone, says Lenehan. I met Bantam Lyons going to back
+that horse only I put him off it and he told me Bloom gave him the tip.
+Bet you what you like he has a hundred shillings to five on. He's the only
+man in Dublin has it. A dark horse.
+
+--He's a bloody dark horse himself, says Joe.
+
+--Mind, Joe, says I. Show us the entrance out.
+
+--There you are, says Terry.
+
+Goodbye Ireland I'm going to Gort. So I just went round the back of
+the yard to pumpship and begob (hundred shillings to five) while I was
+letting off my (THROWAWAY twenty to) letting off my load gob says I to
+myself I knew he was uneasy in his (two pints off of Joe and one in
+Slattery's off) in his mind to get off the mark to (hundred shillings is
+five quid) and when they were in the (dark horse) pisser Burke
+was telling me card party and letting on the child was sick (gob, must
+have done about a gallon) flabbyarse of a wife speaking down the tube
+SHE'S BETTER or SHE'S (ow!) all a plan so he could vamoose with the
+pool if he won or (Jesus, full up I was) trading without a licence (ow!)
+Ireland my nation says he (hoik! phthook!) never be up to those
+bloody (there's the last of it) Jerusalem (ah!) cuckoos.
+
+So anyhow when I got back they were at it dingdong, John Wyse
+saying it was Bloom gave the ideas for Sinn Fein to Griffith to put in his
+paper all kinds of jerrymandering, packed juries and swindling the taxes
+off of the government and appointing consuls all over the world to walk
+about selling Irish industries. Robbing Peter to pay Paul. Gob, that puts
+the bloody kybosh on it if old sloppy eyes is mucking up the show. Give us
+a bloody chance. God save Ireland from the likes of that bloody
+mouseabout. Mr Bloom with his argol bargol. And his old fellow before him
+perpetrating frauds, old Methusalem Bloom, the robbing bagman, that
+poisoned himself with the prussic acid after he swamping the country with
+his baubles and his penny diamonds. Loans by post on easy terms. Any
+amount of money advanced on note of hand. Distance no object. No security.
+Gob, he's like Lanty MacHale's goat that'd go a piece of the road with
+every one.
+
+--Well, it's a fact, says John Wyse. And there's the man now that'll tell
+you all about it, Martin Cunningham.
+
+Sure enough the castle car drove up with Martin on it and Jack Power
+with him and a fellow named Crofter or Crofton, pensioner out of the
+collector general's, an orangeman Blackburn does have on the registration
+and he drawing his pay or Crawford gallivanting around the country at the
+king's expense.
+
+Our travellers reached the rustic hostelry and alighted from their
+palfreys.
+
+--Ho, varlet! cried he, who by his mien seemed the leader of the party.
+Saucy knave! To us!
+
+So saying he knocked loudly with his swordhilt upon the open lattice.
+
+Mine host came forth at the summons, girding him with his tabard.
+
+--Give you good den, my masters, said he with an obsequious bow.
+
+--Bestir thyself, sirrah! cried he who had knocked. Look to our steeds.
+And for ourselves give us of your best for ifaith we need it.
+
+--Lackaday, good masters, said the host, my poor house has but a bare
+larder. I know not what to offer your lordships.
+
+--How now, fellow? cried the second of the party, a man of pleasant
+countenance, So servest thou the king's messengers, master Taptun?
+
+An instantaneous change overspread the landlord's visage.
+
+--Cry you mercy, gentlemen, he said humbly. An you be the king's
+messengers (God shield His Majesty!) you shall not want for aught. The
+king's friends (God bless His Majesty!) shall not go afasting in my house
+I warrant me.
+
+--Then about! cried the traveller who had not spoken, a lusty trencherman
+by his aspect. Hast aught to give us?
+
+Mine host bowed again as he made answer:
+
+--What say you, good masters, to a squab pigeon pasty, some collops of
+venison, a saddle of veal, widgeon with crisp hog's bacon, a boar's head
+with pistachios, a bason of jolly custard, a medlar tansy and a flagon of
+old Rhenish?
+
+--Gadzooks! cried the last speaker. That likes me well. Pistachios!
+
+--Aha! cried he of the pleasant countenance. A poor house and a bare
+larder, quotha! 'Tis a merry rogue.
+
+So in comes Martin asking where was Bloom.
+
+--Where is he? says Lenehan. Defrauding widows and orphans.
+
+--Isn't that a fact, says John Wyse, what I was telling the citizen about
+Bloom and the Sinn Fein?
+
+--That's so, says Martin. Or so they allege.
+
+--Who made those allegations? says Alf.
+
+--I, says Joe. I'm the alligator.
+
+--And after all, says John Wyse, why can't a jew love his country like the
+next fellow?
+
+--Why not? says J. J., when he's quite sure which country it is.
+
+--Is he a jew or a gentile or a holy Roman or a swaddler or what the hell
+is he? says Ned. Or who is he? No offence, Crofton.
+
+--Who is Junius? says J. J.
+
+--We don't want him, says Crofter the Orangeman or presbyterian.
+
+--He's a perverted jew, says Martin, from a place in Hungary and it was he
+drew up all the plans according to the Hungarian system. We know that in
+the castle.
+
+--Isn't he a cousin of Bloom the dentist? says Jack Power.
+
+--Not at all, says Martin. Only namesakes. His name was Virag, the
+father's name that poisoned himself. He changed it by deedpoll, the father
+did.
+
+--That's the new Messiah for Ireland! says the citizen. Island of saints
+and sages!
+
+--Well, they're still waiting for their redeemer, says Martin. For that
+matter so are we.
+
+--Yes, says J. J., and every male that's born they think it may be their
+Messiah. And every jew is in a tall state of excitement, I believe, till
+he knows if he's a father or a mother.
+
+--Expecting every moment will be his next, says Lenehan.
+
+--O, by God, says Ned, you should have seen Bloom before that son of his
+that died was born. I met him one day in the south city markets buying a
+tin of Neave's food six weeks before the wife was delivered.
+
+--EN VENTRE SA MERE, says J. J.
+
+--Do you call that a man? says the citizen.
+
+--I wonder did he ever put it out of sight, says Joe.
+
+--Well, there were two children born anyhow, says Jack Power.
+
+--And who does he suspect? says the citizen.
+
+Gob, there's many a true word spoken in jest. One of those mixed
+middlings he is. Lying up in the hotel Pisser was telling me once a month
+with headache like a totty with her courses. Do you know what I'm telling
+you? It'd be an act of God to take a hold of a fellow the like of that and
+throw him in the bloody sea. Justifiable homicide, so it would. Then
+sloping off with his five quid without putting up a pint of stuff like a
+man. Give us your blessing. Not as much as would blind your eye.
+
+--Charity to the neighbour, says Martin. But where is he? We can't wait.
+
+--A wolf in sheep's clothing, says the citizen. That's what he is. Virag
+from Hungary! Ahasuerus I call him. Cursed by God.
+
+--Have you time for a brief libation, Martin? says Ned.
+
+--Only one, says Martin. We must be quick. J. J. and S.
+
+--You, Jack? Crofton? Three half ones, Terry.
+
+--Saint Patrick would want to land again at Ballykinlar and convert us,
+says the citizen, after allowing things like that to contaminate our
+shores.
+
+--Well, says Martin, rapping for his glass. God bless all here is my
+prayer.
+
+--Amen, says the citizen.
+
+--And I'm sure He will, says Joe.
+
+And at the sound of the sacring bell, headed by a crucifer with acolytes,
+thurifers, boatbearers, readers, ostiarii, deacons and subdeacons,
+the blessed company drew nigh of mitred abbots and priors and guardians
+and monks and friars: the monks of Benedict of Spoleto, Carthusians and
+Camaldolesi, Cistercians and Olivetans, Oratorians and Vallombrosans,
+and the friars of Augustine, Brigittines, Premonstratensians, Servi,
+Trinitarians, and the children of Peter Nolasco: and therewith from Carmel
+mount the children of Elijah prophet led by Albert bishop and by Teresa of
+Avila, calced and other: and friars, brown and grey, sons of poor Francis,
+capuchins, cordeliers, minimes and observants and the daughters of Clara:
+and the sons of Dominic, the friars preachers, and the sons of Vincent:
+and the monks of S. Wolstan: and Ignatius his children: and the
+confraternity of the christian brothers led by the reverend brother
+Edmund Ignatius Rice. And after came all saints and martyrs,
+virgins and confessors: S. Cyr and S. Isidore Arator and S. James the
+Less and S. Phocas of Sinope and S. Julian Hospitator and S. Felix
+de Cantalice and S. Simon Stylites and S. Stephen Protomartyr and
+S. John of God and S. Ferreol and S. Leugarde and S. Theodotus and S.
+Vulmar and S. Richard and S. Vincent de Paul and S. Martin of Todi
+and S. Martin of Tours and S. Alfred and S. Joseph and S.
+Denis and S. Cornelius and S. Leopold and S. Bernard and S. Terence and
+S. Edward and S. Owen Caniculus and S. Anonymous and S. Eponymous
+and S. Pseudonymous and S. Homonymous and S. Paronymous and S.
+Synonymous and S. Laurence O'Toole and S. James of Dingle and
+Compostella and S. Columcille and S. Columba and S. Celestine and S.
+Colman and S. Kevin and S. Brendan and S. Frigidian and S. Senan and S.
+Fachtna and S. Columbanus and S. Gall and S. Fursey and S. Fintan and S.
+Fiacre and S. John Nepomuc and S. Thomas Aquinas and S. Ives of
+Brittany and S. Michan and S. Herman-Joseph and the three patrons of
+holy youth S. Aloysius Gonzaga and S. Stanislaus Kostka and S. John
+Berchmans and the saints Gervasius, Servasius and Bonifacius and S. Bride
+and S. Kieran and S. Canice of Kilkenny and S. Jarlath of Tuam and S.
+Finbarr and S. Pappin of Ballymun and Brother Aloysius Pacificus and
+Brother Louis Bellicosus and the saints Rose of Lima and of Viterbo and S.
+Martha of Bethany and S. Mary of Egypt and S. Lucy and S. Brigid and S.
+Attracta and S. Dympna and S. Ita and S. Marion Calpensis and the
+Blessed Sister Teresa of the Child Jesus and S. Barbara and S. Scholastica
+and S. Ursula with eleven thousand virgins. And all came with nimbi and
+aureoles and gloriae, bearing palms and harps and swords and olive
+crowns, in robes whereon were woven the blessed symbols of their
+efficacies, inkhorns, arrows, loaves, cruses, fetters, axes, trees,
+bridges, babes in a bathtub, shells, wallets, shears, keys, dragons,
+lilies, buckshot, beards, hogs, lamps, bellows, beehives, soupladles,
+stars, snakes, anvils, boxes of vaseline, bells, crutches, forceps,
+stags' horns, watertight boots, hawks, millstones, eyes on a dish, wax
+candles, aspergills, unicorns. And as they wended their way by Nelson's
+Pillar, Henry street, Mary street, Capel street, Little Britain street
+chanting the introit in EPIPHANIA DOMINI which beginneth SURGE,
+ILLUMINARE and thereafter most sweetly the gradual OMNES which saith
+DE SABA VENIENT they did divers wonders such as casting out devils,
+raising the dead to life, multiplying fishes, healing the halt and the
+blind, discovering various articles which had been mislaid, interpreting
+and fulfilling the scriptures, blessing and prophesying. And last, beneath
+a canopy of cloth of gold came the reverend Father O'Flynn attended by
+Malachi and Patrick. And when the good fathers had reached the appointed
+place, the house of Bernard Kiernan and Co, limited, 8, 9 and 10 little
+Britain street, wholesale grocers, wine and brandy shippers, licensed for
+the sale of beer, wine and spirits for consumption on the premises, the
+celebrant blessed the house and censed the mullioned windows and the
+groynes and the vaults and the arrises and the capitals and the pediments
+and the cornices and the engrailed arches and the spires and the cupolas
+and sprinkled the lintels thereof with blessed water and prayed that God
+might bless that house as he had blessed the house of Abraham and Isaac
+and Jacob and make the angels of His light to inhabit therein. And
+entering he blessed the viands and the beverages and the company of all
+the blessed answered his prayers.
+
+--ADIUTORIUM NOSTRUM IN NOMINE DOMINI.
+
+--QUI FECIT COELUM ET TERRAM.
+
+--DOMINUS VOBISCUM.
+
+--ET CUM SPIRITU TUO.
+
+And he laid his hands upon that he blessed and gave thanks and he
+prayed and they all with him prayed:
+
+--DEUS, CUIUS VERBO SANCTIFICANTUR OMNIA, BENEDICTIONEM TUAM EFFUNDE SUPER
+CREATURAS ISTAS: ET PRAESTA UT QUISQUIS EIS SECUNDUM LEGEM ET VOLUNTATEM
+TUAM CUM GRATIARUM ACTIONE USUS FUERIT PER INVOCATIONEM SANCTISSIMI
+NOMINIS TUI CORPORIS SANITATEM ET ANIMAE TUTELAM TE AUCTORE PERCIPIAT PER
+CHRISTUM DOMINUM NOSTRUM.
+
+--And so say all of us, says Jack.
+
+--Thousand a year, Lambert, says Crofton or Crawford.
+
+--Right, says Ned, taking up his John Jameson. And butter for fish.
+
+
+I was just looking around to see who the happy thought would strike
+when be damned but in he comes again letting on to be in a hell of a
+hurry.
+
+--I was just round at the courthouse, says he, looking for you. I hope I'm
+not ...
+
+--No, says Martin, we're ready.
+
+Courthouse my eye and your pockets hanging down with gold and silver.
+Mean bloody scut. Stand us a drink itself. Devil a sweet fear! There's
+a jew for you! All for number one. Cute as a shithouse rat. Hundred to
+five.
+
+--Don't tell anyone, says the citizen,
+
+--Beg your pardon, says he.
+
+--Come on boys, says Martin, seeing it was looking blue. Come along now.
+
+--Don't tell anyone, says the citizen, letting a bawl out of him. It's a
+secret.
+
+And the bloody dog woke up and let a growl.
+
+--Bye bye all, says Martin.
+
+And he got them out as quick as he could, Jack Power and Crofton or
+whatever you call him and him in the middle of them letting on to be all
+at sea and up with them on the bloody jaunting car.
+
+---Off with you, says
+
+Martin to the jarvey.
+
+The milkwhite dolphin tossed his mane and, rising in the golden poop
+the helmsman spread the bellying sail upon the wind and stood off forward
+with all sail set, the spinnaker to larboard. A many comely nymphs drew
+nigh to starboard and to larboard and, clinging to the sides of the noble
+bark, they linked their shining forms as doth the cunning wheelwright when
+he fashions about the heart of his wheel the equidistant rays whereof each
+one is sister to another and he binds them all with an outer ring and
+giveth speed to the feet of men whenas they ride to a hosting or contend
+for the smile of ladies fair. Even so did they come and set them, those
+willing nymphs, the undying sisters. And they laughed, sporting in a
+circle of their foam: and the bark clave the waves.
+
+But begob I was just lowering the heel of the pint when I saw the
+citizen getting up to waddle to the door, puffing and blowing with the
+dropsy, and he cursing the curse of Cromwell on him, bell, book and candle
+in Irish, spitting and spatting out of him and Joe and little Alf round
+him like a leprechaun trying to peacify him.
+
+--Let me alone, says he.
+
+And begob he got as far as the door and they holding him and he
+bawls out of him:
+
+--Three cheers for Israel!
+
+Arrah, sit down on the parliamentary side of your arse for Christ'
+sake and don't be making a public exhibition of yourself. Jesus, there's
+always some bloody clown or other kicking up a bloody murder about
+bloody nothing. Gob, it'd turn the porter sour in your guts, so it would.
+
+And all the ragamuffins and sluts of the nation round the door and Martin
+telling the jarvey to drive ahead and the citizen bawling and Alf and
+Joe at him to whisht and he on his high horse about the jews and the
+loafers calling for a speech and Jack Power trying to get him to sit down
+on the car and hold his bloody jaw and a loafer with a patch over his eye
+starts singing IF THE MAN IN THE MOON WAS A JEW, JEW, JEW and a slut
+shouts out of her:
+
+--Eh, mister! Your fly is open, mister!
+
+And says he:
+
+--Mendelssohn was a jew and Karl Marx and Mercadante and Spinoza.
+And the Saviour was a jew and his father was a jew. Your God.
+
+--He had no father, says Martin. That'll do now. Drive ahead.
+
+--Whose God? says the citizen.
+
+--Well, his uncle was a jew, says he. Your God was a jew. Christ was a jew
+like me.
+
+Gob, the citizen made a plunge back into the shop.
+
+--By Jesus, says he, I'll brain that bloody jewman for using the holy
+name.
+
+By Jesus, I'll crucify him so I will. Give us that biscuitbox here.
+
+--Stop! Stop! says Joe.
+
+A large and appreciative gathering of friends and acquaintances from
+the metropolis and greater Dublin assembled in their thousands to bid
+farewell to Nagyasagos uram Lipoti Virag, late of Messrs Alexander
+Thom's, printers to His Majesty, on the occasion of his departure for the
+distant clime of Szazharminczbrojugulyas-Dugulas (Meadow of
+Murmuring Waters). The ceremony which went off with great ECLAT was
+characterised by the most affecting cordiality. An illuminated scroll of
+ancient Irish vellum, the work of Irish artists, was presented to the
+distinguished phenomenologist on behalf of a large section of the
+community and was accompanied by the gift of a silver casket, tastefully
+executed in the style of ancient Celtic ornament, a work which reflects
+every credit on the makers, Messrs Jacob AGUS Jacob. The departing guest
+was the recipient of a hearty ovation, many of those who were present
+being visibly moved when the select orchestra of Irish pipes struck up the
+wellknown strains of COME BACK TO ERIN, followed immediately by RAKOCZSY'S
+MARCH. Tarbarrels and bonfires were lighted along the coastline of the four
+seas on the summits of the Hill of Howth, Three Rock Mountain, Sugarloaf,
+Bray Head, the mountains of Mourne, the Galtees, the Ox and Donegal and
+Sperrin peaks, the Nagles and the Bograghs, the Connemara hills, the reeks
+of M Gillicuddy, Slieve Aughty, Slieve Bernagh and Slieve Bloom. Amid
+cheers that rent the welkin, responded to by answering cheers from a big
+muster of henchmen on the distant Cambrian and Caledonian hills, the
+mastodontic pleasureship slowly moved away saluted by a final floral
+tribute from the representatives of the fair sex who were present in large
+numbers while, as it proceeded down the river, escorted by a flotilla of
+barges, the flags of the Ballast office and Custom House were dipped in
+salute as were also those of the electrical power station at the
+Pigeonhouse and the Poolbeg Light. VISSZONTLATASRA, KEDVES BARATON!
+VISSZONTLATASRA! Gone but not forgotten.
+
+Gob, the devil wouldn't stop him till he got hold of the bloody tin
+anyhow and out with him and little Alf hanging on to his elbow and he
+shouting like a stuck pig, as good as any bloody play in the Queen's royal
+theatre:
+
+--Where is he till I murder him?
+
+And Ned and J. J. paralysed with the laughing.
+
+--Bloody wars, says I, I'll be in for the last gospel.
+
+But as luck would have it the jarvey got the nag's head round the
+other way and off with him.
+
+--Hold on, citizen, says Joe. Stop!
+
+Begob he drew his hand and made a swipe and let fly. Mercy of God the sun
+was in his eyes or he'd have left him for dead. Gob, he near sent it
+into the county Longford. The bloody nag took fright and the old mongrel
+after the car like bloody hell and all the populace shouting and laughing
+and the old tinbox clattering along the street.
+
+The catastrophe was terrific and instantaneous in its effect. The
+observatory of Dunsink registered in all eleven shocks, all of the fifth
+grade of Mercalli's scale, and there is no record extant of a similar
+seismic disturbance in our island since the earthquake of 1534, the
+year of the rebellion of Silken Thomas. The epicentre appears to have
+been that part of the metropolis which constitutes the Inn's Quay
+ward and parish of Saint Michan covering a surface of fortyone acres,
+two roods and one square pole or perch. All the lordly residences in
+the vicinity of the palace of justice were demolished and that noble
+edifice itself, in which at the time of the catastrophe important
+legal debates were in progress, is literally a mass of ruins beneath
+which it is to be feared all the occupants have been buried alive.
+From the reports of eyewitnesses it transpires that the seismic waves
+were accompanied by a violent atmospheric perturbation of cyclonic
+character. An article of headgear since ascertained to belong to the much
+respected clerk of the crown and peace Mr George Fottrell and a silk
+umbrella with gold handle with the engraved initials, crest, coat of arms
+and house number of the erudite and worshipful chairman of quarter
+sessions sir Frederick Falkiner, recorder of Dublin, have been discovered
+by search parties in remote parts of the island respectively, the former
+on the third basaltic ridge of the giant's causeway, the latter embedded
+to the extent of one foot three inches in the sandy beach of Holeopen
+bay near the old head of Kinsale. Other eyewitnesses depose that they
+observed an incandescent object of enormous proportions hurtling through
+the atmosphere at a terrifying velocity in a trajectory directed
+southwest by west. Messages of condolence and sympathy are being
+hourly received from all parts of the different continents and the
+sovereign pontiff has been graciously pleased to decree that a
+special MISSA PRO DEFUNCTIS shall be celebrated simultaneously by
+the ordinaries of each and every cathedral church of all the episcopal
+dioceses subject to the spiritual authority of the Holy See in suffrage of
+the souls of those faithful departed who have been so unexpectedly called
+away from our midst. The work of salvage, removal of DEBRIS, human remains
+etc has been entrusted to Messrs Michael Meade and Son, 159 Great
+Brunswick street, and Messrs T. and C. Martin, 77, 78, 79 and 80 North
+Wall, assisted by the men and officers of the Duke of Cornwall's light
+infantry under the general supervision of H. R. H., rear admiral, the
+right honourable sir Hercules Hannibal Habeas Corpus Anderson, K. G.,
+K. P., K. T., P. C., K. C. B., M. P, J. P., M. B., D. S. O., S. O. D.,
+M. F. H., M. R. I. A., B. L., Mus. Doc., P. L. G., F. T. C. D.,
+F. R. U. I., F. R. C. P. I. and F. R. C. S. I.
+
+You never saw the like of it in all your born puff. Gob, if he got that
+lottery ticket on the side of his poll he'd remember the gold cup,
+he would so, but begob the citizen would have been lagged for assault
+and battery and Joe for aiding and abetting. The jarvey saved his life
+by furious driving as sure as God made Moses. What? O, Jesus, he did.
+And he let a volley of oaths after him.
+
+--Did I kill him, says he, or what?
+
+And he shouting to the bloody dog:
+
+--After him, Garry! After him, boy!
+
+And the last we saw was the bloody car rounding the corner and old
+sheepsface on it gesticulating and the bloody mongrel after it with his
+lugs back for all he was bloody well worth to tear him limb from limb.
+Hundred to five! Jesus, he took the value of it out of him, I promise you.
+
+When, lo, there came about them all a great brightness and they
+beheld the chariot wherein He stood ascend to heaven. And they beheld
+Him in the chariot, clothed upon in the glory of the brightness, having
+raiment as of the sun, fair as the moon and terrible that for awe they
+durst not look upon Him. And there came a voice out of heaven, calling:
+ELIJAH! ELIJAH! And He answered with a main cry: ABBA! ADONAI! And they
+beheld Him even Him, ben Bloom Elijah, amid clouds of angels ascend
+to the glory of the brightness at an angle of fortyfive degrees over
+Donohoe's in Little Green street like a shot off a shovel.
+
+
+    * * * * * * *
+
+
+The summer evening had begun to fold the world in its mysterious
+embrace. Far away in the west the sun was setting and the last glow of all
+too fleeting day lingered lovingly on sea and strand, on the proud
+promontory of dear old Howth guarding as ever the waters of the bay, on
+the weedgrown rocks along Sandymount shore and, last but not least, on the
+quiet church whence there streamed forth at times upon the stillness the
+voice of prayer to her who is in her pure radiance a beacon ever to the
+stormtossed heart of man, Mary, star of the sea.
+
+The three girl friends were seated on the rocks, enjoying the evening
+scene and the air which was fresh but not too chilly. Many a time and oft
+were they wont to come there to that favourite nook to have a cosy chat
+beside the sparkling waves and discuss matters feminine, Cissy Caffrey and
+Edy Boardman with the baby in the pushcar and Tommy and Jacky
+Caffrey, two little curlyheaded boys, dressed in sailor suits with caps to
+match and the name H.M.S. Belleisle printed on both. For Tommy and
+Jacky Caffrey were twins, scarce four years old and very noisy and spoiled
+twins sometimes but for all that darling little fellows with bright merry
+faces and endearing ways about them. They were dabbling in the sand with
+their spades and buckets, building castles as children do, or playing with
+their big coloured ball, happy as the day was long. And Edy Boardman was
+rocking the chubby baby to and fro in the pushcar while that young
+gentleman fairly chuckled with delight. He was but eleven months and nine
+days old and, though still a tiny toddler, was just beginning to lisp his
+first babyish words. Cissy Caffrey bent over to him to tease his fat
+little plucks and the dainty dimple in his chin.
+
+--Now, baby, Cissy Caffrey said. Say out big, big. I want a drink of
+water.
+
+And baby prattled after her:
+
+--A jink a jink a jawbo.
+
+Cissy Caffrey cuddled the wee chap for she was awfully fond of children,
+so patient with little sufferers and Tommy Caffrey could never be got to
+take his castor oil unless it was Cissy Caffrey that held his nose and
+promised him the scatty heel of the loaf or brown bread with golden syrup
+on. What a persuasive power that girl had! But to be sure baby Boardman
+was as good as gold, a perfect little dote in his new fancy bib. None of
+your spoilt beauties, Flora MacFlimsy sort, was Cissy Caffrey.
+A truerhearted lass never drew the breath of life, always with a laugh in
+her gipsylike eyes and a frolicsome word on her cherryripe red lips, a
+girl lovable in the extreme. And Edy Boardman laughed too at the quaint
+language of little brother.
+
+But just then there was a slight altercation between Master Tommy
+and Master Jacky. Boys will be boys and our two twins were no exception
+to this golden rule. The apple of discord was a certain castle of sand
+which Master Jacky had built and Master Tommy would have it right go wrong
+that it was to be architecturally improved by a frontdoor like the
+Martello tower had. But if Master Tommy was headstrong Master Jacky was
+selfwilled too and, true to the maxim that every little Irishman's house
+is his castle, he fell upon his hated rival and to such purpose that the
+wouldbe assailant came to grief and (alas to relate!) the coveted castle
+too. Needless to say the cries of discomfited Master Tommy drew the
+attention of the girl friends.
+
+--Come here, Tommy, his sister called imperatively. At once! And you,
+Jacky, for shame to throw poor Tommy in the dirty sand. Wait till I catch
+you for that.
+
+His eyes misty with unshed tears Master Tommy came at her call for
+their big sister's word was law with the twins. And in a sad plight he was
+too after his misadventure. His little man-o'-war top and unmentionables
+were full of sand but Cissy was a past mistress in the art of smoothing
+over life's tiny troubles and very quickly not one speck of sand was
+to be seen on his smart little suit. Still the blue eyes were glistening
+with hot tears that would well up so she kissed away the hurtness and
+shook her hand at Master Jacky the culprit and said if she was near
+him she wouldn't be far from him, her eyes dancing in admonition.
+
+--Nasty bold Jacky! she cried.
+
+She put an arm round the little mariner and coaxed winningly:
+
+--What's your name? Butter and cream?
+
+--Tell us who is your sweetheart, spoke Edy Boardman. Is Cissy your
+sweetheart?
+
+--Nao, tearful Tommy said.
+
+--Is Edy Boardman your sweetheart? Cissy queried.
+
+--Nao, Tommy said.
+
+--I know, Edy Boardman said none too amiably with an arch glance from
+her shortsighted eyes. I know who is Tommy's sweetheart. Gerty is
+Tommy's sweetheart.
+
+--Nao, Tommy said on the verge of tears.
+
+Cissy's quick motherwit guessed what was amiss and she whispered
+to Edy Boardman to take him there behind the pushcar where the
+gentleman couldn't see and to mind he didn't wet his new tan shoes.
+
+But who was Gerty?
+
+Gerty MacDowell who was seated near her companions, lost in
+thought, gazing far away into the distance was, in very truth, as fair a
+specimen of winsome Irish girlhood as one could wish to see. She was
+pronounced beautiful by all who knew her though, as folks often said, she
+was more a Giltrap than a MacDowell. Her figure was slight and graceful,
+inclining even to fragility but those iron jelloids she had been taking of
+late had done her a world of good much better than the Widow Welch's
+female pills and she was much better of those discharges she used to get
+and that tired feeling. The waxen pallor of her face was almost spiritual
+in its ivorylike purity though her rosebud mouth was a genuine Cupid's
+bow, Greekly perfect. Her hands were of finely veined alabaster
+with tapering fingers and as white as lemonjuice and queen of ointments
+could make them though it was not true that she used to wear kid gloves
+in bed or take a milk footbath either. Bertha Supple told that once
+to Edy Boardman, a deliberate lie, when she was black out at daggers
+drawn with Gerty (the girl chums had of course their little tiffs
+from time to time like the rest of mortals) and she told her not to
+let on whatever she did that it was her that told her or she'd never
+speak to her again. No. Honour where honour is due. There was an
+innate refinement, a languid queenly HAUTEUR about Gerty which
+was unmistakably evidenced in her delicate hands and higharched instep.
+Had kind fate but willed her to be born a gentlewoman of high degree in
+her own right and had she only received the benefit of a good education
+Gerty MacDowell might easily have held her own beside any lady in the
+land and have seen herself exquisitely gowned with jewels on her brow and
+patrician suitors at her feet vying with one another to pay their devoirs
+to her. Mayhap it was this, the love that might have been, that lent to
+her softlyfeatured face at whiles a look, tense with suppressed meaning,
+that imparted a strange yearning tendency to the beautiful eyes, a charm
+few could resist. Why have women such eyes of witchery? Gerty's were of
+the bluest Irish blue, set off by lustrous lashes and dark expressive
+brows. Time was when those brows were not so silkily seductive. It was
+Madame Vera Verity, directress of the Woman Beautiful page of the Princess
+Novelette, who had first advised her to try eyebrowleine which gave that
+haunting expression to the eyes, so becoming in leaders of fashion, and
+she had never regretted it. Then there was blushing scientifically cured
+and how to be tall increase your height and you have a beautiful face but
+your nose? That would suit Mrs Dignam because she had a button one. But
+Gerty's crowning glory was her wealth of wonderful hair. It was dark brown
+with a natural wave in it. She had cut it that very morning on account
+of the new moon and it nestled about her pretty head in a profusion of
+luxuriant clusters and pared her nails too, Thursday for wealth. And just
+now at Edy's words as a telltale flush, delicate as the faintest
+rosebloom, crept into her cheeks she looked so lovely in her sweet girlish
+shyness that of a surety God's fair land of Ireland did not hold
+her equal.
+
+For an instant she was silent with rather sad downcast eyes. She was
+about to retort but something checked the words on her tongue. Inclination
+prompted her to speak out: dignity told her to be silent. The pretty lips
+pouted awhile but then she glanced up and broke out into a joyous little
+laugh which had in it all the freshness of a young May morning. She knew
+right well, no-one better, what made squinty Edy say that because of him
+cooling in his attentions when it was simply a lovers' quarrel. As per
+usual somebody's nose was out of joint about the boy that had the bicycle
+off the London bridge road always riding up and down in front of her
+window. Only now his father kept him in in the evenings studying
+hard to get an exhibition in the intermediate that was on and he was
+going to go to Trinity college to study for a doctor when he left
+the high school like his brother W. E. Wylie who was racing in the
+bicycle races in Trinity college university. Little recked he perhaps
+for what she felt, that dull aching void in her heart sometimes,
+piercing to the core. Yet he was young and perchance he might
+learn to love her in time. They were protestants in his family
+and of course Gerty knew Who came first and after Him the Blessed
+Virgin and then Saint Joseph. But he was undeniably handsome with an
+exquisite nose and he was what he looked, every inch a gentleman, the
+shape of his head too at the back without his cap on that she would know
+anywhere something off the common and the way he turned the bicycle at
+the lamp with his hands off the bars and also the nice perfume of those
+good cigarettes and besides they were both of a size too he and she and
+that was why Edy Boardman thought she was so frightfully clever because
+he didn't go and ride up and down in front of her bit of a garden.
+
+Gerty was dressed simply but with the instinctive taste of a votary of
+Dame Fashion for she felt that there was just a might that he might be
+out. A neat blouse of electric blue selftinted by dolly dyes (because it
+was expected in the LADY'S PICTORIAL that electric blue would be worn)
+with a smart vee opening down to the division and kerchief pocket
+(in which she always kept a piece of cottonwool scented with her
+favourite perfume because the handkerchief spoiled the sit) and a
+navy threequarter skirt cut to the stride showed off her slim graceful
+figure to perfection. She wore a coquettish little love of a hat of
+wideleaved nigger straw contrast trimmed with an underbrim of eggblue
+chenille and at the side a butterfly bow of silk to tone. All Tuesday
+week afternoon she was hunting to match that chenille but at last
+she found what she wanted at Clery's summer sales, the very it, slightly
+shopsoiled but you would never notice, seven fingers two and a penny. She
+did it up all by herself and what joy was hers when she tried it on then,
+smiling at the lovely reflection which the mirror gave back to her!
+And when she put it on the waterjug to keep the shape she knew that that
+would take the shine out of some people she knew. Her shoes were the
+newest thing in footwear (Edy Boardman prided herself that she was very
+PETITE but she never had a foot like Gerty MacDowell, a five, and never
+would ash, oak or elm) with patent toecaps and just one smart buckle over
+her higharched instep. Her wellturned ankle displayed its perfect
+proportions beneath her skirt and just the proper amount and no more of
+her shapely limbs encased in finespun hose with highspliced heels and wide
+garter tops. As for undies they were Gerty's chief care and who that knows
+the fluttering hopes and fears of sweet seventeen (though Gerty would
+never see seventeen again) can find it in his heart to blame her? She had
+four dinky sets with awfully pretty stitchery, three garments and
+nighties extra, and each set slotted with different coloured ribbons,
+rosepink, pale blue, mauve and peagreen, and she aired them herself
+and blued them when they came home from the wash and ironed them
+and she had a brickbat to keep the iron on because she wouldn't trust
+those washerwomen as far as she'd see them scorching the things.
+She was wearing the blue for luck, hoping against hope, her own
+colour and lucky too for a bride to have a bit of blue somewhere
+on her because the green she wore that day week brought grief because
+his father brought him in to study for the intermediate exhibition
+and because she thought perhaps he might be out because when she was
+dressing that morning she nearly slipped up the old pair on her inside out
+and that was for luck and lovers' meeting if you put those things on
+inside out or if they got untied that he was thinking about you so long
+as it wasn't of a Friday.
+
+And yet and yet! That strained look on her face! A gnawing sorrow is
+there all the time. Her very soul is in her eyes and she would give worlds
+to be in the privacy of her own familiar chamber where, giving way to
+tears, she could have a good cry and relieve her pentup feelingsthough not
+too much because she knew how to cry nicely before the mirror. You are
+lovely, Gerty, it said. The paly light of evening falls upon a face
+infinitely sad and wistful. Gerty MacDowell yearns in vain. Yes, she had
+known from the very first that her daydream of a marriage has been
+arranged and the weddingbells ringing for Mrs Reggy Wylie T. C. D.
+(because the one who married the elder brother would be Mrs Wylie) and in
+the fashionable intelligence Mrs Gertrude Wylie was wearing a sumptuous
+confection of grey trimmed with expensive blue fox was not to be. He was
+too young to understand. He would not believe in love, a woman's
+birthright. The night of the party long ago in Stoer's (he was still in
+short trousers) when they were alone and he stole an arm round her waist
+she went white to the very lips. He called her little one in a strangely
+husky voice and snatched a half kiss (the first!) but it was only the end
+of her nose and then he hastened from the room with a remark about
+refreshments. Impetuous fellow! Strength of character had never been Reggy
+Wylie's strong point and he who would woo and win Gerty MacDowell must be
+a man among men. But waiting, always waiting to be asked and it was leap
+year too and would soon be over. No prince charming is her beau ideal to
+lay a rare and wondrous love at her feet but rather a manly man with a
+strong quiet face who had not found his ideal, perhaps his hair slightly
+flecked with grey, and who would understand, take her in his sheltering
+arms, strain her to him in all the strength of his deep passionate nature
+and comfort her with a long long kiss. It would be like heaven. For such
+a one she yearns this balmy summer eve. With all the heart of her she
+longs to be his only, his affianced bride for riches for poor, in sickness
+in health, till death us two part, from this to this day forward.
+
+And while Edy Boardman was with little Tommy behind the pushcar she was
+just thinking would the day ever come when she could call herself his
+little wife to be. Then they could talk about her till they went blue in
+the face, Bertha Supple too, and Edy, little spitfire, because she would
+be twentytwo in November. She would care for him with creature comforts
+too for Gerty was womanly wise and knew that a mere man liked that
+feeling of hominess. Her griddlecakes done to a goldenbrown hue and
+queen Ann's pudding of delightful creaminess had won golden opinions from
+all because she had a lucky hand also for lighting a fire, dredge in the
+fine selfraising flour and always stir in the same direction, then cream
+the milk and sugar and whisk well the white of eggs though she didn't like
+the eating part when there were any people that made her shy and often she
+wondered why you couldn't eat something poetical like violets or roses and
+they would have a beautifully appointed drawingroom with pictures and
+engravings and the photograph of grandpapa Giltrap's lovely dog
+Garryowen that almost talked it was so human and chintz covers for the
+chairs and that silver toastrack in Clery's summer jumble sales like they
+have in rich houses. He would be tall with broad shoulders (she had always
+admired tall men for a husband) with glistening white teeth under his
+carefully trimmed sweeping moustache and they would go on the continent
+for their honeymoon (three wonderful weeks!) and then, when they settled
+down in a nice snug and cosy little homely house, every morning they
+would both have brekky, simple but perfectly served, for their own two
+selves and before he went out to business he would give his dear little
+wifey a good hearty hug and gaze for a moment deep down into her eyes.
+
+Edy Boardman asked Tommy Caffrey was he done and he said yes so
+then she buttoned up his little knickerbockers for him and told him to run
+off and play with Jacky and to be good now and not to fight. But Tommy
+said he wanted the ball and Edy told him no that baby was playing with the
+ball and if he took it there'd be wigs on the green but Tommy said it was
+his ball and he wanted his ball and he pranced on the ground, if you
+please. The temper of him! O, he was a man already was little Tommy
+Caffrey since he was out of pinnies. Edy told him no, no and to be off now
+with him and she told Cissy Caffrey not to give in to him.
+
+--You're not my sister, naughty Tommy said. It's my ball.
+
+But Cissy Caffrey told baby Boardman to look up, look up high at her
+finger and she snatched the ball quickly and threw it along the sand and
+Tommy after it in full career, having won the day.
+
+--Anything for a quiet life, laughed Ciss.
+
+And she tickled tiny tot's two cheeks to make him forget and played here's
+the lord mayor, here's his two horses, here's his gingerbread carriage
+and here he walks in, chinchopper, chinchopper, chinchopper chin. But Edy
+got as cross as two sticks about him getting his own way like that from
+everyone always petting him.
+
+--I'd like to give him something, she said, so I would, where I won't say.
+
+--On the beeoteetom, laughed Cissy merrily.
+
+Gerty MacDowell bent down her head and crimsoned at the idea of Cissy
+saying an unladylike thing like that out loud she'd be ashamed of her
+life to say, flushing a deep rosy red, and Edy Boardman said she was sure
+the gentleman opposite heard what she said. But not a pin cared Ciss.
+
+--Let him! she said with a pert toss of her head and a piquant tilt of her
+nose. Give it to him too on the same place as quick as I'd look at him.
+
+Madcap Ciss with her golliwog curls. You had to laugh at her
+sometimes. For instance when she asked you would you have some more
+Chinese tea and jaspberry ram and when she drew the jugs too and the men's
+faces on her nails with red ink make you split your sides or when she
+wanted to go where you know she said she wanted to run and pay a visit to
+the Miss White. That was just like Cissycums. O, and will you ever forget
+her the evening she dressed up in her father's suit and hat and the burned
+cork moustache and walked down Tritonville road, smoking a cigarette.
+There was none to come up to her for fun. But she was sincerity itself,
+one of the bravest and truest hearts heaven ever made, not one of your
+twofaced things, too sweet to be wholesome.
+
+And then there came out upon the air the sound of voices and the
+pealing anthem of the organ. It was the men's temperance retreat conducted
+by the missioner, the reverend John Hughes S. J., rosary, sermon and
+benediction of the Most Blessed Sacrament. They were there gathered
+together without distinction of social class (and a most edifying
+spectacle it was to see) in that simple fane beside the waves,
+after the storms of this weary world, kneeling before the feet of
+the immaculate, reciting the litany of Our Lady of Loreto,
+beseeching her to intercede for them, the old familiar words,
+holy Mary, holy virgin of virgins. How sad to poor Gerty's ears!
+Had her father only avoided the clutches of the demon drink, by
+taking the pledge or those powders the drink habit cured in Pearson's
+Weekly, she might now be rolling in her carriage, second to none. Over and
+over had she told herself that as she mused by the dying embers in a brown
+study without the lamp because she hated two lights or oftentimes gazing
+out of the window dreamily by the hour at the rain falling on the rusty
+bucket, thinking. But that vile decoction which has ruined so many hearths
+and homes had cist its shadow over her childhood days. Nay, she had even
+witnessed in the home circle deeds of violence caused by intemperance and
+had seen her own father, a prey to the fumes of intoxication, forget
+himself completely for if there was one thing of all things that Gerty
+knew it was that the man who lifts his hand to a woman save in the way of
+kindness, deserves to be branded as the lowest of the low.
+
+And still the voices sang in supplication to the Virgin most powerful,
+Virgin most merciful. And Gerty, rapt in thought, scarce saw or heard her
+companions or the twins at their boyish gambols or the gentleman off
+Sandymount green that Cissy Caffrey called the man that was so like
+himself passing along the strand taking a short walk. You never saw him
+any way screwed but still and for all that she would not like him for a
+father because he was too old or something or on account of his face (it
+was a palpable case of Doctor Fell) or his carbuncly nose with the pimples
+on it and his sandy moustache a bit white under his nose. Poor father!
+With all his faults she loved him still when he sang TELL ME, MARY, HOW TO
+WOO THEE or MY LOVE AND COTTAGE NEAR ROCHELLE and they had stewed cockles
+and lettuce with Lazenby's salad dressing for supper and when he sang THE
+MOON HATH RAISED with Mr Dignam that died suddenly and was buried, God
+have mercy on him, from a stroke. Her mother's birthday that was and
+Charley was home on his holidays and Tom and Mr Dignam and Mrs and
+Patsy and Freddy Dignam and they were to have had a group taken.
+No-one would have thought the end was so near. Now he was laid to rest.
+And her mother said to him to let that be a warning to him for the rest of
+his days and he couldn't even go to the funeral on account of the gout and
+she had to go into town to bring him the letters and samples from his
+office about Catesby's cork lino, artistic, standard designs, fit for a
+palace, gives tiptop wear and always bright and cheery in the home.
+
+A sterling good daughter was Gerty just like a second mother in the house,
+a ministering angel too with a little heart worth its weight in gold.
+And when her mother had those raging splitting headaches who was it
+rubbed the menthol cone on her forehead but Gerty though she didn't like
+her mother's taking pinches of snuff and that was the only single thing
+they ever had words about, taking snuff. Everyone thought the world of her
+for her gentle ways. It was Gerty who turned off the gas at the main every
+night and it was Gerty who tacked up on the wall of that place where she
+never forgot every fortnight the chlorate of lime Mr Tunney the grocer's
+christmas almanac, the picture of halcyon days where a young gentleman in
+the costume they used to wear then with a threecornered hat was offering a
+bunch of flowers to his ladylove with oldtime chivalry through her lattice
+window. You could see there was a story behind it. The colours were done
+something lovely. She was in a soft clinging white in a studied attitude
+and the gentleman was in chocolate and he looked a thorough aristocrat.
+She often looked at them dreamily when she went there for a certain
+purpose and felt her own arms that were white and soft just like hers with
+the sleeves back and thought about those times because she had found out
+in Walker's pronouncing dictionary that belonged to grandpapa Giltrap
+about the halcyon days what they meant.
+
+The twins were now playing in the most approved brotherly fashion till at
+last Master Jacky who was really as bold as brass there was no getting
+behind that deliberately kicked the ball as hard as ever he could down
+towards the seaweedy rocks. Needless to say poor Tommy was not slow to
+voice his dismay but luckily the gentleman in black who was sitting there
+by himself came gallantly to the rescue and intercepted the ball. Our two
+champions claimed their plaything with lusty cries and to avoid trouble
+Cissy Caffrey called to the gentleman to throw it to her please. The
+gentleman aimed the ball once or twice and then threw it up the strand
+towards Cissy Caffrey but it rolled down the slope and stopped right under
+Gerty's skirt near the little pool by the rock. The twins clamoured again
+for it and Cissy told her to kick it away and let them fight for it so
+Gerty drew back her foot but she wished their stupid ball hadn't come
+rolling down to her and she gave a kick but she missed and Edy and Cissy
+laughed.
+
+--If you fail try again, Edy Boardman said.
+
+Gerty smiled assent and bit her lip. A delicate pink crept into her
+pretty cheek but she was determined to let them see so she just lifted her
+skirt a little but just enough and took good aim and gave the ball a jolly
+good kick and it went ever so far and the two twins after it down towards
+the shingle. Pure jealousy of course it was nothing else to draw attention
+on account of the gentleman opposite looking. She felt the warm flush, a
+danger signal always with Gerty MacDowell, surging and flaming into her
+cheeks. Till then they had only exchanged glances of the most casual but
+now under the brim of her new hat she ventured a look at him and the face
+that met her gaze there in the twilight, wan and strangely drawn, seemed
+to her the saddest she had ever seen.
+
+Through the open window of the church the fragrant incense was wafted and
+with it the fragrant names of her who was conceived without stain of
+original sin, spiritual vessel, pray for us, honourable vessel, pray for
+us, vessel of singular devotion, pray for us, mystical rose. And careworn
+hearts were there and toilers for their daily bread and many who had erred
+and wandered, their eyes wet with contrition but for all that bright with
+hope for the reverend father Father Hughes had told them what the great
+saint Bernard said in his famous prayer of Mary, the most pious Virgin's
+intercessory power that it was not recorded in any age that those who
+implored her powerful protection were ever abandoned by her.
+
+The twins were now playing again right merrily for the troubles of
+childhood are but as fleeting summer showers. Cissy Caffrey played with
+baby Boardman till he crowed with glee, clapping baby hands in air. Peep
+she cried behind the hood of the pushcar and Edy asked where was Cissy
+gone and then Cissy popped up her head and cried ah! and, my word,
+didn't the little chap enjoy that! And then she told him to say papa.
+
+--Say papa, baby. Say pa pa pa pa pa pa pa.
+
+And baby did his level best to say it for he was very intelligent for
+eleven months everyone said and big for his age and the picture of health,
+a perfect little bunch of love, and he would certainly turn out to be
+something great, they said.
+
+--Haja ja ja haja.
+
+Cissy wiped his little mouth with the dribbling bib and wanted him to sit
+up properly and say pa pa pa but when she undid the strap she cried out,
+holy saint Denis, that he was possing wet and to double the half blanket
+the other way under him. Of course his infant majesty was most
+obstreperous at such toilet formalities and he let everyone know it:
+
+--Habaa baaaahabaaa baaaa.
+
+And two great big lovely big tears coursing down his cheeks. It was all no
+use soothering him with no, nono, baby, no and telling him about the
+geegee and where was the puffpuff but Ciss, always readywitted, gave him
+in his mouth the teat of the suckingbottle and the young heathen was
+quickly appeased.
+
+Gerty wished to goodness they would take their squalling baby home out of
+that and not get on her nerves, no hour to be out, and the little brats
+of twins. She gazed out towards the distant sea. It was like the paintings
+that man used to do on the pavement with all the coloured chalks and such
+a pity too leaving them there to be all blotted out, the evening and the
+clouds coming out and the Bailey light on Howth and to hear the music like
+that and the perfume of those incense they burned in the church like a
+kind of waft. And while she gazed her heart went pitapat. Yes, it was her
+he was looking at, and there was meaning in his look. His eyes burned into
+her as though they would search her through and through, read her very
+soul. Wonderful eyes they were, superbly expressive, but could you trust
+them? People were so queer. She could see at once by his dark eyes and his
+pale intellectual face that he was a foreigner, the image of the photo she
+had of Martin Harvey, the matinee idol, only for the moustache which she
+preferred because she wasn't stagestruck like Winny Rippingham that
+wanted they two to always dress the same on account of a play but she
+could not see whether he had an aquiline nose or a slightly RETROUSSE from
+where he was sitting. He was in deep mourning, she could see that, and the
+story of a haunting sorrow was written on his face. She would have given
+worlds to know what it was. He was looking up so intently, so still, and
+he saw her kick the ball and perhaps he could see the bright steel buckles
+of her shoes if she swung them like that thoughtfully with the toes down.
+She was glad that something told her to put on the transparent stockings
+thinking Reggy Wylie might be out but that was far away. Here was that of
+which she had so often dreamed. It was he who mattered and there was joy
+on her face because she wanted him because she felt instinctively that he
+was like no-one else. The very heart of the girlwoman went out to him, her
+dreamhusband, because she knew on the instant it was him. If he had
+suffered, more sinned against than sinning, or even, even, if he had been
+himself a sinner, a wicked man, she cared not. Even if he was a protestant
+or methodist she could convert him easily if he truly loved her. There
+were wounds that wanted healing with heartbalm. She was a womanly woman
+not like other flighty girls unfeminine he had known, those cyclists
+showing off what they hadn't got and she just yearned to know all, to
+forgive all if she could make him fall in love with her, make him forget
+the memory of the past. Then mayhap he would embrace her gently, like a
+real man, crushing her soft body to him, and love her, his ownest girlie,
+for herself alone.
+
+Refuge of sinners. Comfortress of the afflicted. ORA PRO NOBIS. Well
+has it been said that whosoever prays to her with faith and constancy can
+never be lost or cast away: and fitly is she too a haven of refuge for the
+afflicted because of the seven dolours which transpierced her own heart.
+Gerty could picture the whole scene in the church, the stained glass
+windows lighted up, the candles, the flowers and the blue banners of the
+blessed Virgin's sodality and Father Conroy was helping Canon O'Hanlon at
+the altar, carrying things in and out with his eyes cast down. He looked
+almost a saint and his confessionbox was so quiet and clean and dark and
+his hands were just like white wax and if ever she became a Dominican nun
+in their white habit perhaps he might come to the convent for the novena
+of Saint Dominic. He told her that time when she told him about that in
+confession, crimsoning up to the roots of her hair for fear he could see,
+not to be troubled because that was only the voice of nature and we were
+all subject to nature's laws, he said, in this life and that that was no
+sin because that came from the nature of woman instituted by God, he said,
+and that Our Blessed Lady herself said to the archangel Gabriel be it done
+unto me according to Thy Word. He was so kind and holy and often and often
+she thought and thought could she work a ruched teacosy with embroidered
+floral design for him as a present or a clock but they had a clock she
+noticed on the mantelpiece white and gold with a canarybird that came out
+of a little house to tell the time the day she went there about the
+flowers for the forty hours' adoration because it was hard to know what
+sort of a present to give or perhaps an album of illuminated views of
+Dublin or some place.
+
+The exasperating little brats of twins began to quarrel again and Jacky
+threw the ball out towards the sea and they both ran after it. Little
+monkeys common as ditchwater. Someone ought to take them and give them
+a good hiding for themselves to keep them in their places, the both of
+them. And Cissy and Edy shouted after them to come back because they
+were afraid the tide might come in on them and be drowned.
+
+--Jacky! Tommy!
+
+Not they! What a great notion they had! So Cissy said it was the very
+last time she'd ever bring them out. She jumped up and called them and she
+ran down the slope past him, tossing her hair behind her which had a good
+enough colour if there had been more of it but with all the thingamerry
+she was always rubbing into it she couldn't get it to grow long because it
+wasn't natural so she could just go and throw her hat at it. She ran
+with long gandery strides it was a wonder she didn't rip up her skirt at
+the side that was too tight on her because there was a lot of the tomboy
+about Cissy Caffrey and she was a forward piece whenever she thought
+she had a good opportunity to show and just because she was a good runner
+she ran like that so that he could see all the end of her petticoat
+running and her skinny shanks up as far as possible. It would have
+served her just right if she had tripped up over something accidentally
+on purpose with her high crooked French heels on her to make her look
+tall and got a fine tumble. TABLEAU! That would have been a very charming
+expose for a gentleman like that to witness.
+
+Queen of angels, queen of patriarchs, queen of prophets, of all saints,
+they prayed, queen of the most holy rosary and then Father Conroy handed
+the thurible to Canon O'Hanlon and he put in the incense and censed the
+Blessed Sacrament and Cissy Caffrey caught the two twins and she was
+itching to give them a ringing good clip on the ear but she didn't because
+she thought he might be watching but she never made a bigger mistake in
+all her life because Gerty could see without looking that he never
+took his eyes off of her and then Canon O'Hanlon handed the thurible
+back to Father Conroy and knelt down looking up at the Blessed Sacrament
+and the choir began to sing the TANTUM ERGO and she just swung her foot
+in and out in time as the music rose and fell to the TANTUMER GOSA
+CRAMEN TUM. Three and eleven she paid for those stockings in Sparrow's
+of George's street on the Tuesday, no the Monday before Easter and there
+wasn't a brack on them and that was what he was looking at, transparent,
+and not at her insignificant ones that had neither shape nor form
+(the cheek of her!) because he had eyes in his head to see the difference
+for himself.
+
+Cissy came up along the strand with the two twins and their ball with
+her hat anyhow on her to one side after her run and she did look a streel
+tugging the two kids along with the flimsy blouse she bought only a
+fortnight before like a rag on her back and a bit of her petticoat hanging
+like a caricature. Gerty just took off her hat for a moment to settle her
+hair and a prettier, a daintier head of nutbrown tresses was never seen on
+a girl's shoulders--a radiant little vision, in sooth, almost maddening in
+its sweetness. You would have to travel many a long mile before you found
+a head of hair the like of that. She could almost see the swift answering
+flash of admiration in his eyes that set her tingling in every nerve.
+She put on her hat so that she could see from underneath the brim and
+swung her buckled shoe faster for her breath caught as she caught the
+expression in his eyes. He was eying her as a snake eyes its prey. Her
+woman's instinct told her that she had raised the devil in him and at the
+thought a burning scarlet swept from throat to brow till the lovely colour
+of her face became a glorious rose.
+
+Edy Boardman was noticing it too because she was squinting at Gerty,
+half smiling, with her specs like an old maid, pretending to nurse the
+baby. Irritable little gnat she was and always would be and that was why
+no-one could get on with her poking her nose into what was no concern of
+hers. And she said to Gerty:
+
+--A penny for your thoughts.
+
+--What? replied Gerty with a smile reinforced by the whitest of teeth.
+I was only wondering was it late.
+
+Because she wished to goodness they'd take the snottynosed twins and their
+babby home to the mischief out of that so that was why she just gave a
+gentle hint about its being late. And when Cissy came up Edy asked her the
+time and Miss Cissy, as glib as you like, said it was half past kissing
+time, time to kiss again. But Edy wanted to know because they were told to
+be in early.
+
+--Wait, said Cissy, I'll run ask my uncle Peter over there what's the time
+by his conundrum.
+
+So over she went and when he saw her coming she could see him take his
+hand out of his pocket, getting nervous, and beginning to play with his
+watchchain, looking up at the church. Passionate nature though he was
+Gerty could see that he had enormous control over himself. One moment he
+had been there, fascinated by a loveliness that made him gaze, and the
+next moment it was the quiet gravefaced gentleman, selfcontrol expressed
+in every line of his distinguishedlooking figure.
+
+Cissy said to excuse her would he mind please telling her what was the
+right time and Gerty could see him taking out his watch, listening to it
+and looking up and clearing his throat and he said he was very sorry his
+watch was stopped but he thought it must be after eight because the sun
+was set. His voice had a cultured ring in it and though he spoke in
+measured accents there was a suspicion of a quiver in the mellow tones.
+Cissy said thanks and came back with her tongue out and said uncle said
+his waterworks were out of order.
+
+Then they sang the second verse of the TANTUM ERGO and Canon
+O'Hanlon got up again and censed the Blessed Sacrament and knelt down and
+he told Father Conroy that one of the candles was just going to set fire
+to the flowers and Father Conroy got up and settled it all right and she
+could see the gentleman winding his watch and listening to the works and
+she swung her leg more in and out in time. It was getting darker but he
+could see and he was looking all the time that he was winding the watch or
+whatever he was doing to it and then he put it back and put his hands back
+into his pockets. She felt a kind of a sensation rushing all over her and
+she knew by the feel of her scalp and that irritation against her stays
+that that thing must be coming on because the last time too was when she
+clipped her hair on account of the moon. His dark eyes fixed themselves
+on her again drinking in her every contour, literally worshipping at her
+shrine. If ever there was undisguised admiration in a man's passionate
+gaze it was there plain to be seen on that man's face. It is for you,
+Gertrude MacDowell, and you know it.
+
+Edy began to get ready to go and it was high time for her and Gerty
+noticed that that little hint she gave had had the desired effect because
+it was a long way along the strand to where there was the place to push up
+the pushcar and Cissy took off the twins' caps and tidied their hair to
+make herself attractive of course and Canon O'Hanlon stood up with his
+cope poking up at his neck and Father Conroy handed him the card to read
+off and he read out PANEM DE COELO PRAESTITISTI EIS and Edy and Cissy were
+talking about the time all the time and asking her but Gerty could pay
+them back in their own coin and she just answered with scathing politeness
+when Edy asked her was she heartbroken about her best boy throwing her
+over. Gerty winced sharply. A brief cold blaze shone from her eyes that
+spoke volumes of scorn immeasurable. It hurt--O yes, it cut deep because
+Edy had her own quiet way of saying things like that she knew would wound
+like the confounded little cat she was. Gerty's lips parted swiftly to
+frame the word but she fought back the sob that rose to her throat,
+so slim, so flawless, so beautifully moulded it seemed one an artist
+might have dreamed of. She had loved him better than he knew.
+Lighthearted deceiver and fickle like all his sex he would never
+understand what he had meant to her and for an instant there was
+in the blue eyes a quick stinging of tears. Their eyes were
+probing her mercilessly but with a brave effort she sparkled back in
+sympathy as she glanced at her new conquest for them to see.
+
+--O, responded Gerty, quick as lightning, laughing, and the proud head
+flashed up. I can throw my cap at who I like because it's leap year.
+
+Her words rang out crystalclear, more musical than the cooing of the
+ringdove, but they cut the silence icily. There was that in her young
+voice that told that she was not a one to be lightly trifled with.
+As for Mr Reggy with his swank and his bit of money she could just
+chuck him aside as if he was so much filth and never again would she
+cast as much as a second thought on him and tear his silly postcard
+into a dozen pieces. And if ever after he dared to presume she
+could give him one look of measured scorn that would make him
+shrivel up on the spot. Miss puny little Edy's countenance fell to
+no slight extent and Gerty could see by her looking as black as
+thunder that she was simply in a towering rage though she hid it, the
+little kinnatt, because that shaft had struck home for her petty jealousy
+and they both knew that she was something aloof, apart, in another sphere,
+that she was not of them and never would be and there was somebody else
+too that knew it and saw it so they could put that in their pipe
+and smoke it.
+
+Edy straightened up baby Boardman to get ready to go and Cissy
+tucked in the ball and the spades and buckets and it was high time too
+because the sandman was on his way for Master Boardman junior. And
+Cissy told him too that billy winks was coming and that baby was to go
+deedaw and baby looked just too ducky, laughing up out of his gleeful
+eyes, and Cissy poked him like that out of fun in his wee fat tummy and
+baby, without as much as by your leave, sent up his compliments to all
+and sundry on to his brandnew dribbling bib.
+
+--O my! Puddeny pie! protested Ciss. He has his bib destroyed.
+
+The slight CONTRETEMPS claimed her attention but in two twos she set
+that little matter to rights.
+
+Gerty stifled a smothered exclamation and gave a nervous cough and
+Edy asked what and she was just going to tell her to catch it while it was
+flying but she was ever ladylike in her deportment so she simply passed it
+off with consummate tact by saying that that was the benediction because
+just then the bell rang out from the steeple over the quiet seashore
+because Canon O'Hanlon was up on the altar with the veil that Father
+Conroy put round his shoulders giving the benediction with the Blessed
+Sacrament in his hands.
+
+How moving the scene there in the gathering twilight, the last glimpse of
+Erin, the touching chime of those evening bells and at the same time a bat
+flew forth from the ivied belfry through the dusk, hither, thither, with a
+tiny lost cry. And she could see far away the lights of the lighthouses so
+picturesque she would have loved to do with a box of paints because it was
+easier than to make a man and soon the lamplighter would be going his
+rounds past the presbyterian church grounds and along by shady
+Tritonville avenue where the couples walked and lighting the lamp near her
+window where Reggy Wylie used to turn his freewheel like she read in that
+book THE LAMPLIGHTER by Miss Cummins, author of MABEL VAUGHAN and
+other tales. For Gerty had her dreams that no-one knew of. She loved to
+read poetry and when she got a keepsake from Bertha Supple of that lovely
+confession album with the coralpink cover to write her thoughts in she
+laid it in the drawer of her toilettable which, though it did not err
+on the side of luxury, was scrupulously neat and clean. It was there
+she kept her girlish treasure trove, the tortoiseshell combs, her
+child of Mary badge, the whiterose scent, the eyebrowleine, her
+alabaster pouncetbox and the ribbons to change when her things came
+home from the wash and there were some beautiful thoughts written
+in it in violet ink that she bought in Hely's of Dame Street for
+she felt that she too could write poetry if she could only express
+herself like that poem that appealed to her so deeply that she had
+copied out of the newspaper she found one evening round the potherbs. ART
+THOU REAL, MY IDEAL? it was called by Louis J Walsh, Magherafelt, and
+after there was something about TWILIGHT, WILT THOU EVER? and ofttimes
+the beauty of poetry, so sad in its transient loveliness, had misted
+her eyes with silent tears for she felt that the years were slipping
+by for her, one by one, and but for that one shortcoming she knew she
+need fear no competition and that was an accident coming down Dalkey
+hill and she always tried to conceal it. But it must end, she felt.
+If she saw that magic lure in his eyes there would be no holding
+back for her. Love laughs at locksmiths. She would make the great
+sacrifice. Her every effort would be to share his thoughts. Dearer than
+the whole world would she be to him and gild his days with happiness.
+There was the allimportant question and she was dying to know was he a
+married man or a widower who had lost his wife or some tragedy like the
+nobleman with the foreign name from the land of song had to have her put
+into a madhouse, cruel only to be kind. But even if--what then? Would it
+make a very great difference? From everything in the least indelicate her
+finebred nature instinctively recoiled. She loathed that sort of person,
+the fallen women off the accommodation walk beside the Dodder that went
+with the soldiers and coarse men with no respect for a girl's honour,
+degrading the sex and being taken up to the police station. No, no: not
+that. They would be just good friends like a big brother and sister
+without all that other in spite of the conventions of Society with a big
+ess. Perhaps it was an old flame he was in mourning for from the days
+beyond recall. She thought she understood. She would try to understand
+him because men were so different. The old love was waiting, waiting
+with little white hands stretched out, with blue appealing eyes. Heart
+of mine! She would follow, her dream of love, the dictates of her heart
+that told her he was her all in all, the only man in all the world
+for her for love was the master guide. Nothing else mattered. Come what
+might she would be wild, untrammelled, free.
+
+Canon O'Hanlon put the Blessed Sacrament back into the tabernacle
+and genuflected and the choir sang LAUDATE DOMINUM OMNES GENTES and
+then he locked the tabernacle door because the benediction was over and
+Father Conroy handed him his hat to put on and crosscat Edy asked wasn't
+she coming but Jacky Caffrey called out:
+
+--O, look, Cissy!
+
+And they all looked was it sheet lightning but Tommy saw it too over
+the trees beside the church, blue and then green and purple.
+
+--It's fireworks, Cissy Caffrey said.
+
+And they all ran down the strand to see over the houses and the
+church, helterskelter, Edy with the pushcar with baby Boardman in it and
+Cissy holding Tommy and Jacky by the hand so they wouldn't fall running.
+
+--Come on, Gerty, Cissy called. It's the bazaar fireworks.
+
+But Gerty was adamant. She had no intention of being at their beck and
+call. If they could run like rossies she could sit so she said she could
+see from where she was. The eyes that were fastened upon her set
+her pulses tingling. She looked at him a moment, meeting his glance,
+and a light broke in upon her. Whitehot passion was in that face, passion
+silent as the grave, and it had made her his. At last they were left
+alone without the others to pry and pass remarks and she knew he
+could be trusted to the death, steadfast, a sterling man, a man of
+inflexible honour to his fingertips. His hands and face were working
+and a tremour went over her. She leaned back far to look up where
+the fireworks were and she caught her knee in her hands so as not
+to fall back looking up and there was no-one to see only him and
+her when she revealed all her graceful beautifully shaped legs like that,
+supply soft and delicately rounded, and she seemed to hear the panting
+of his heart, his hoarse breathing, because she knew too about the passion
+of men like that, hotblooded, because Bertha Supple told her once in dead
+secret and made her swear she'd never about the gentleman lodger that was
+staying with them out of the Congested Districts Board that had pictures
+cut out of papers of those skirtdancers and highkickers and she said he
+used to do something not very nice that you could imagine sometimes in
+the bed. But this was altogether different from a thing like that
+because there was all the difference because she could almost feel
+him draw her face to his and the first quick hot touch of his
+handsome lips. Besides there was absolution so long as you didn't
+do the other thing before being married and there ought to be
+women priests that would understand without your telling out and
+Cissy Caffrey too sometimes had that dreamy kind of dreamy look
+in her eyes so that she too, my dear, and Winny Rippingham so mad
+about actors' photographs and besides it was on account of that other
+thing coming on the way it did.
+
+And Jacky Caffrey shouted to look, there was another and she leaned back
+and the garters were blue to match on account of the transparent and they
+all saw it and they all shouted to look, look, there it was and she leaned
+back ever so far to see the fireworks and something queer was flying
+through the air, a soft thing, to and fro, dark. And she saw a long Roman
+candle going up over the trees, up, up, and, in the tense hush,
+they were all breathless with excitement as it went higher and higher
+and she had to lean back more and more to look up after it, high,
+high, almost out of sight, and her face was suffused with a divine,
+an entrancing blush from straining back and he could see her other
+things too, nainsook knickers, the fabric that caresses the skin,
+better than those other pettiwidth, the green, four and eleven,
+on account of being white and she let him and she saw that he saw and then
+it went so high it went out of sight a moment and she was trembling in
+every limb from being bent so far back that he had a full view
+high up above her knee where no-one ever not even on the swing or wading
+and she wasn't ashamed and he wasn't either to look in that immodest way
+like that because he couldn't resist the sight of the wondrous revealment
+half offered like those skirtdancers behaving so immodest before gentlemen
+looking and he kept on looking, looking. She would fain have cried to him
+chokingly, held out her snowy slender arms to him to come, to feel his
+lips laid on her white brow, the cry of a young girl's love, a little
+strangled cry, wrung from her, that cry that has rung through the ages.
+And then a rocket sprang and bang shot blind blank and O! then the Roman
+candle burst and it was like a sigh of O! and everyone cried O! O! in
+raptures and it gushed out of it a stream of rain gold hair threads and
+they shed and ah! they were all greeny dewy stars falling with golden,
+O so lovely, O, soft, sweet, soft!
+
+Then all melted away dewily in the grey air: all was silent. Ah! She
+glanced at him as she bent forward quickly, a pathetic little glance of
+piteous protest, of shy reproach under which he coloured like a girl
+He was leaning back against the rock behind. Leopold Bloom (for it is he)
+stands silent, with bowed head before those young guileless eyes. What a
+brute he had been! At it again? A fair unsullied soul had called to him
+and, wretch that he was, how had he answered? An utter cad he had been!
+He of all men! But there was an infinite store of mercy in those eyes,
+for him too a word of pardon even though he had erred and sinned and
+wandered. Should a girl tell? No, a thousand times no. That was their
+secret, only theirs, alone in the hiding twilight and there was none to
+know or tell save the little bat that flew so softly through the evening
+to and fro and little bats don't tell.
+
+Cissy Caffrey whistled, imitating the boys in the football field to show
+what a great person she was: and then she cried:
+
+--Gerty! Gerty! We're going. Come on. We can see from farther up.
+
+Gerty had an idea, one of love's little ruses. She slipped a hand into
+her kerchief pocket and took out the wadding and waved in reply of course
+without letting him and then slipped it back. Wonder if he's too far to.
+She rose. Was it goodbye? No. She had to go but they would meet again,
+there, and she would dream of that till then, tomorrow, of her dream of
+yester eve. She drew herself up to her full height. Their souls met in a
+last lingering glance and the eyes that reached her heart, full of a
+strange shining, hung enraptured on her sweet flowerlike face. She half
+smiled at him wanly, a sweet forgiving smile, a smile that verged on
+tears, and then they parted.
+
+Slowly, without looking back she went down the uneven strand to
+Cissy, to Edy to Jacky and Tommy Caffrey, to little baby Boardman. It was
+darker now and there were stones and bits of wood on the strand and slippy
+seaweed. She walked with a certain quiet dignity characteristic of her but
+with care and very slowly because--because Gerty MacDowell was ...
+
+Tight boots? No. She's lame! O!
+
+Mr Bloom watched her as she limped away. Poor girl! That's why she's left
+on the shelf and the others did a sprint. Thought something was wrong by
+the cut of her jib. Jilted beauty. A defect is ten times worse in a woman.
+But makes them polite. Glad I didn't know it when she was on show. Hot
+little devil all the same. I wouldn't mind. Curiosity like a nun or a
+negress or a girl with glasses. That squinty one is delicate. Near her
+monthlies, I expect, makes them feel ticklish. I have such a bad headache
+today. Where did I put the letter? Yes, all right. All kinds of crazy
+longings. Licking pennies. Girl in Tranquilla convent that nun told
+me liked to smell rock oil. Virgins go mad in the end I suppose.
+Sister? How many women in Dublin have it today? Martha, she. Something
+in the air. That's the moon. But then why don't all women menstruate
+at the same time with the same moon, I mean? Depends on the time
+they were born I suppose. Or all start scratch then get out of step.
+Sometimes Molly and Milly together. Anyhow I got the best of that.
+Damned glad I didn't do it in the bath this morning over her silly
+I will punish you letter. Made up for that tramdriver this morning.
+That gouger M'Coy stopping me to say nothing. And his wife
+engagement in the country valise, voice like a pickaxe. Thankful for small
+mercies. Cheap too. Yours for the asking. Because they want it themselves.
+Their natural craving. Shoals of them every evening poured out of offices.
+Reserve better. Don't want it they throw it at you. Catch em alive, O.
+Pity they can't see themselves. A dream of wellfilled hose. Where was
+that? Ah, yes. Mutoscope pictures in Capel street: for men only. Peeping
+Tom. Willy's hat and what the girls did with it. Do they snapshot
+those girls or is it all a fake? LINGERIE does it. Felt for the
+curves inside her DESHABILLE. Excites them also when they're. I'm all
+clean come and dirty me. And they like dressing one another for the
+sacrifice. Milly delighted with Molly's new blouse. At first.
+Put them all on to take them all off. Molly. Why I bought her the violet
+garters. Us too: the tie he wore, his lovely socks and turnedup trousers.
+He wore a pair of gaiters the night that first we met. His lovely
+shirt was shining beneath his what? of jet. Say a woman loses a charm with
+every pin she takes out. Pinned together. O, Mairy lost the pin of her.
+Dressed up to the nines for somebody. Fashion part of their charm. Just
+changes when you're on the track of the secret. Except the east: Mary,
+Martha: now as then. No reasonable offer refused. She wasn't in a hurry
+either. Always off to a fellow when they are. They never forget an
+appointment. Out on spec probably. They believe in chance because like
+themselves. And the others inclined to give her an odd dig. Girl friends
+at school, arms round each other's necks or with ten fingers locked,
+kissing and whispering secrets about nothing in the convent garden. Nuns
+with whitewashed faces, cool coifs and their rosaries going up and down,
+vindictive too for what they can't get. Barbed wire. Be sure now and write
+to me. And I'll write to you. Now won't you? Molly and Josie Powell. Till
+Mr Right comes along, then meet once in a blue moon. TABLEAU! O, look
+who it is for the love of God! How are you at all? What have you been
+doing with yourself? Kiss and delighted to, kiss, to see you. Picking
+holes in each other's appearance. You're looking splendid. Sister souls.
+Showing their teeth at one another. How many have you left? Wouldn't lend
+each other a pinch of salt.
+
+Ah!
+
+Devils they are when that's coming on them. Dark devilish appearance.
+Molly often told me feel things a ton weight. Scratch the sole of
+my foot. O that way! O, that's exquisite! Feel it myself too. Good to rest
+once in a way. Wonder if it's bad to go with them then. Safe in one way.
+Turns milk, makes fiddlestrings snap. Something about withering plants I
+read in a garden. Besides they say if the flower withers she wears she's a
+flirt. All are. Daresay she felt 1. When you feel like that you often meet
+what you feel. Liked me or what? Dress they look at. Always know a fellow
+courting: collars and cuffs. Well cocks and lions do the same and stags.
+Same time might prefer a tie undone or something. Trousers? Suppose I
+when I was? No. Gently does it. Dislike rough and tumble. Kiss in the dark
+and never tell. Saw something in me. Wonder what. Sooner have me as I am
+than some poet chap with bearsgrease plastery hair, lovelock over his
+dexter optic. To aid gentleman in literary. Ought to attend to my
+appearance my age. Didn't let her see me in profile. Still, you
+never know. Pretty girls and ugly men marrying. Beauty and the
+beast. Besides I can't be so if Molly. Took off her hat to show
+her hair. Wide brim. Bought to hide her face, meeting someone might
+know her, bend down or carry a bunch of flowers to smell. Hair
+strong in rut. Ten bob I got for Molly's combings when we were on
+the rocks in Holles street. Why not? Suppose he gave her money.
+Why not? All a prejudice. She's worth ten, fifteen, more, a pound. What? I
+think so. All that for nothing. Bold hand: Mrs Marion. Did I forget to
+write address on that letter like the postcard I sent to Flynn? And the
+day I went to Drimmie's without a necktie. Wrangle with Molly it was put
+me off. No, I remember. Richie Goulding: he's another. Weighs on his mind.
+Funny my watch stopped at half past four. Dust. Shark liver oil they use
+to clean. Could do it myself. Save. Was that just when he, she?
+
+O, he did. Into her. She did. Done.
+
+Ah!
+
+Mr Bloom with careful hand recomposed his wet shirt. O Lord, that little
+limping devil. Begins to feel cold and clammy. Aftereffect not pleasant.
+Still you have to get rid of it someway. They don't care. Complimented
+perhaps. Go home to nicey bread and milky and say night prayers with the
+kiddies. Well, aren't they? See her as she is spoil all. Must have the
+stage setting, the rouge, costume, position, music. The name too. AMOURS
+of actresses. Nell Gwynn, Mrs Bracegirdle, Maud Branscombe. Curtain up.
+Moonlight silver effulgence. Maiden discovered with pensive bosom. Little
+sweetheart come and kiss me. Still, I feel. The strength it gives a man.
+That's the secret of it. Good job I let off there behind the wall coming
+out of Dignam's. Cider that was. Otherwise I couldn't have. Makes you want
+to sing after. LACAUS ESANT TARATARA. Suppose I spoke to her. What about?
+Bad plan however if you don't know how to end the conversation. Ask them a
+question they ask you another. Good idea if you're stuck. Gain time. But
+then you're in a cart. Wonderful of course if you say: good evening, and
+you see she's on for it: good evening. O but the dark evening in the
+Appian way I nearly spoke to Mrs Clinch O thinking she was. Whew! Girl in
+Meath street that night. All the dirty things I made her say. All wrong of
+course. My arks she called it. It's so hard to find one who. Aho! If you
+don't answer when they solicit must be horrible for them till they harden.
+And kissed my hand when I gave her the extra two shillings. Parrots. Press
+the button and the bird will squeak. Wish she hadn't called me sir. O, her
+mouth in the dark! And you a married man with a single girl! That's what
+they enjoy. Taking a man from another woman. Or even hear of it.
+Different with me. Glad to get away from other chap's wife. Eating off his
+cold plate. Chap in the Burton today spitting back gumchewed gristle.
+French letter still in my pocketbook. Cause of half the trouble. But might
+happen sometime, I don't think. Come in, all is prepared. I dreamt. What?
+Worst is beginning. How they change the venue when it's not what they
+like. Ask you do you like mushrooms because she once knew a gentleman
+who. Or ask you what someone was going to say when he changed his
+mind and stopped. Yet if I went the whole hog, say: I want to, something
+like that. Because I did. She too. Offend her. Then make it up. Pretend to
+want something awfully, then cry off for her sake. Flatters them. She must
+have been thinking of someone else all the time. What harm? Must since she
+came to the use of reason, he, he and he. First kiss does the trick. The
+propitious moment. Something inside them goes pop. Mushy like, tell by
+their eye, on the sly. First thoughts are best. Remember that till their
+dying day. Molly, lieutenant Mulvey that kissed her under the Moorish wall
+beside the gardens. Fifteen she told me. But her breasts were developed.
+Fell asleep then. After Glencree dinner that was when we drove home.
+Featherbed mountain. Gnashing her teeth in sleep. Lord mayor had his eye
+on her too. Val Dillon. Apoplectic.
+
+There she is with them down there for the fireworks. My fireworks.
+Up like a rocket, down like a stick. And the children, twins they must be,
+waiting for something to happen. Want to be grownups. Dressing in
+mother's clothes. Time enough, understand all the ways of the world. And
+the dark one with the mop head and the nigger mouth. I knew she could
+whistle. Mouth made for that. Like Molly. Why that highclass whore in
+Jammet's wore her veil only to her nose. Would you mind, please, telling
+me the right time? I'll tell you the right time up a dark lane. Say prunes
+and prisms forty times every morning, cure for fat lips. Caressing the
+little boy too. Onlookers see most of the game. Of course they understand
+birds, animals, babies. In their line.
+
+Didn't look back when she was going down the strand. Wouldn't give that
+satisfaction. Those girls, those girls, those lovely seaside girls. Fine
+eyes she had, clear. It's the white of the eye brings that out not so much
+the pupil. Did she know what I? Course. Like a cat sitting beyond a dog's
+jump. Women never meet one like that Wilkins in the high school drawing a
+picture of Venus with all his belongings on show. Call that innocence?
+Poor idiot! His wife has her work cut out for her. Never see them sit
+on a bench marked WET PAINT. Eyes all over them. Look under the bed
+for what's not there. Longing to get the fright of their lives.
+Sharp as needles they are. When I said to Molly the man at the corner
+of Cuffe street was goodlooking, thought she might like, twigged at
+once he had a false arm. Had, too. Where do they get that? Typist
+going up Roger Greene's stairs two at a time to show her understandings.
+Handed down from father to, mother to daughter, I mean. Bred in the
+bone. Milly for example drying her handkerchief on the mirror to
+save the ironing. Best place for an ad to catch a woman's eye on a
+mirror. And when I sent her for Molly's Paisley shawl to Prescott's
+by the way that ad I must, carrying home the change in her stocking!
+Clever little minx. I never told her. Neat way she carries parcels
+too. Attract men, small thing like that. Holding up her hand, shaking it,
+to let the blood flow back when it was red. Who did you learn that from?
+Nobody. Something the nurse taught me. O, don't they know! Three years
+old she was in front of Molly's dressingtable, just before we left Lombard
+street west. Me have a nice pace. Mullingar. Who knows? Ways of the
+world. Young student. Straight on her pins anyway not like the other.
+Still she was game. Lord, I am wet. Devil you are. Swell of her calf.
+Transparent stockings, stretched to breaking point. Not like that frump
+today. A. E. Rumpled stockings. Or the one in Grafton street. White. Wow!
+Beef to the heel.
+
+A monkey puzzle rocket burst, spluttering in darting crackles. Zrads
+and zrads, zrads, zrads. And Cissy and Tommy and Jacky ran out to see
+and Edy after with the pushcar and then Gerty beyond the curve of the
+rocks. Will she? Watch! Watch! See! Looked round. She smelt an onion.
+Darling, I saw, your. I saw all.
+
+Lord!
+
+Did me good all the same. Off colour after Kiernan's, Dignam's. For
+this relief much thanks. In HAMLET, that is. Lord! It was all things
+combined. Excitement. When she leaned back, felt an ache at the butt of my
+tongue. Your head it simply swirls. He's right. Might have made a worse
+fool of myself however. Instead of talking about nothing. Then I will tell
+you all. Still it was a kind of language between us. It couldn't be? No,
+Gerty they called her. Might be false name however like my name and the
+address Dolphin's barn a blind.
+
+
+    HER MAIDEN NAME WAS JEMINA BROWN
+    AND SHE LIVED WITH HER MOTHER IN IRISHTOWN.
+
+
+Place made me think of that I suppose. All tarred with the same brush.
+Wiping pens in their stockings. But the ball rolled down to her as if it
+understood. Every bullet has its billet. Course I never could throw
+anything straight at school. Crooked as a ram's horn. Sad however because
+it lasts only a few years till they settle down to potwalloping and papa's
+pants will soon fit Willy and fuller's earth for the baby when they hold
+him out to do ah ah. No soft job. Saves them. Keeps them out of harm's
+way. Nature. Washing child, washing corpse. Dignam. Children's hands
+always round them. Cocoanut skulls, monkeys, not even closed at first,
+sour milk in their swaddles and tainted curds. Oughtn't to have given
+that child an empty teat to suck. Fill it up with wind. Mrs Beaufoy,
+Purefoy. Must call to the hospital. Wonder is nurse Callan there still.
+She used to look over some nights when Molly was in the Coffee Palace.
+That young doctor O'Hare I noticed her brushing his coat. And Mrs Breen
+and Mrs Dignam once like that too, marriageable. Worst of all at night
+Mrs Duggan told me in the City Arms. Husband rolling in drunk, stink of
+pub off him like a polecat. Have that in your nose in the dark,
+whiff of stale boose. Then ask in the morning: was I drunk last
+night? Bad policy however to fault the husband. Chickens come
+home to roost. They stick by one another like glue. Maybe the
+women's fault also. That's where Molly can knock spots off them. It's the
+blood of the south. Moorish. Also the form, the figure. Hands felt for the
+opulent. Just compare for instance those others. Wife locked up at home,
+skeleton in the cupboard. Allow me to introduce my. Then they trot you out
+some kind of a nondescript, wouldn't know what to call her. Always see a
+fellow's weak point in his wife. Still there's destiny in it, falling in
+love. Have their own secrets between them. Chaps that would go to the dogs
+if some woman didn't take them in hand. Then little chits of girls,
+height of a shilling in coppers, with little hubbies. As God made them he
+matched them. Sometimes children turn out well enough. Twice nought makes
+one. Or old rich chap of seventy and blushing bride. Marry in May and
+repent in December. This wet is very unpleasant. Stuck. Well the foreskin
+is not back. Better detach.
+
+Ow!
+
+Other hand a sixfooter with a wifey up to his watchpocket. Long and
+the short of it. Big he and little she. Very strange about my watch.
+Wristwatches are always going wrong. Wonder is there any magnetic
+influence between the person because that was about the time he. Yes, I
+suppose, at once. Cat's away, the mice will play. I remember looking in
+Pill lane. Also that now is magnetism. Back of everything magnetism. Earth
+for instance pulling this and being pulled. That causes movement. And
+time, well that's the time the movement takes. Then if one thing stopped
+the whole ghesabo would stop bit by bit. Because it's all arranged.
+Magnetic needle tells you what's going on in the sun, the stars. Little
+piece of steel iron. When you hold out the fork. Come. Come. Tip. Woman
+and man that is. Fork and steel. Molly, he. Dress up and look and suggest
+and let you see and see more and defy you if you're a man to see that and,
+like a sneeze coming, legs, look, look and if you have any guts in you.
+Tip. Have to let fly.
+
+Wonder how is she feeling in that region. Shame all put on before
+third person. More put out about a hole in her stocking. Molly, her
+underjaw stuck out, head back, about the farmer in the ridingboots and
+spurs at the horse show. And when the painters were in Lombard street
+west. Fine voice that fellow had. How Giuglini began. Smell that I did.
+Like flowers. It was too. Violets. Came from the turpentine probably in
+the paint. Make their own use of everything. Same time doing it scraped
+her slipper on the floor so they wouldn't hear. But lots of them can't
+kick the beam, I think. Keep that thing up for hours. Kind of a general
+all round over me and half down my back.
+
+Wait. Hm. Hm. Yes. That's her perfume. Why she waved her hand. I
+leave you this to think of me when I'm far away on the pillow. What is it?
+Heliotrope? No. Hyacinth? Hm. Roses, I think. She'd like scent of that
+kind. Sweet and cheap: soon sour. Why Molly likes opoponax. Suits her,
+with a little jessamine mixed. Her high notes and her low notes. At the
+dance night she met him, dance of the hours. Heat brought it out. She was
+wearing her black and it had the perfume of the time before. Good
+conductor, is it? Or bad? Light too. Suppose there's some connection. For
+instance if you go into a cellar where it's dark. Mysterious thing too.
+Why did I smell it only now? Took its time in coming like herself, slow
+but sure. Suppose it's ever so many millions of tiny grains blown across.
+Yes, it is. Because those spice islands, Cinghalese this morning, smell
+them leagues off. Tell you what it is. It's like a fine fine veil or web
+they have all over the skin, fine like what do you call it gossamer, and
+they're always spinning it out of them, fine as anything, like rainbow
+colours without knowing it. Clings to everything she takes off. Vamp of
+her stockings. Warm shoe. Stays. Drawers: little kick, taking them off.
+Byby till next time. Also the cat likes to sniff in her shift on
+the bed. Know her smell in a thousand. Bathwater too. Reminds me of
+strawberries and cream. Wonder where it is really. There or the armpits
+or under the neck. Because you get it out of all holes and corners.
+Hyacinth perfume made of oil of ether or something. Muskrat.
+Bag under their tails. One grain pour off odour for years. Dogs at
+each other behind. Good evening. Evening. How do you sniff? Hm. Hm.
+Very well, thank you. Animals go by that. Yes now, look at it that way.
+We're the same. Some women, instance, warn you off when they have their
+period. Come near. Then get a hogo you could hang your hat on. Like
+what? Potted herrings gone stale or. Boof! Please keep off the grass.
+
+Perhaps they get a man smell off us. What though? Cigary gloves long
+John had on his desk the other day. Breath? What you eat and drink gives
+that. No. Mansmell, I mean. Must be connected with that because priests
+that are supposed to be are different. Women buzz round it like flies
+round treacle. Railed off the altar get on to it at any cost. The tree
+of forbidden priest. O, father, will you? Let me be the first to.
+That diffuses itself all through the body, permeates. Source of life.
+And it's extremely curious the smell. Celery sauce. Let me.
+
+Mr Bloom inserted his nose. Hm. Into the. Hm. Opening of his
+waistcoat. Almonds or. No. Lemons it is. Ah no, that's the soap.
+
+O by the by that lotion. I knew there was something on my mind.
+Never went back and the soap not paid. Dislike carrying bottles like that
+hag this morning. Hynes might have paid me that three shillings. I could
+mention Meagher's just to remind him. Still if he works that paragraph.
+Two and nine. Bad opinion of me he'll have. Call tomorrow. How much do
+I owe you? Three and nine? Two and nine, sir. Ah. Might stop him giving
+credit another time. Lose your customers that way. Pubs do. Fellows run up
+a bill on the slate and then slinking around the back streets into
+somewhere else.
+
+Here's this nobleman passed before. Blown in from the bay. Just went
+as far as turn back. Always at home at dinnertime. Looks mangled out: had
+a good tuck in. Enjoying nature now. Grace after meals. After supper walk
+a mile. Sure he has a small bank balance somewhere, government sit. Walk
+after him now make him awkward like those newsboys me today. Still you
+learn something. See ourselves as others see us. So long as women don't
+mock what matter? That's the way to find out. Ask yourself who is he now.
+THE MYSTERY MAN ON THE BEACH, prize titbit story by Mr Leopold Bloom.
+Payment at the rate of one guinea per column. And that fellow today at the
+graveside in the brown macintosh. Corns on his kismet however. Healthy
+perhaps absorb all the. Whistle brings rain they say. Must be some
+somewhere. Salt in the Ormond damp. The body feels the atmosphere. Old
+Betty's joints are on the rack. Mother Shipton's prophecy that is about
+ships around they fly in the twinkling. No. Signs of rain it is. The royal
+reader. And distant hills seem coming nigh.
+
+Howth. Bailey light. Two, four, six, eight, nine. See. Has to change or
+they might think it a house. Wreckers. Grace Darling. People afraid of the
+dark. Also glowworms, cyclists: lightingup time. Jewels diamonds flash
+better. Women. Light is a kind of reassuring. Not going to hurt you.
+Better now of course than long ago. Country roads. Run you through the
+small guts for nothing. Still two types there are you bob against.
+Scowl or smile. Pardon! Not at all. Best time to spray plants too in the
+shade after the sun. Some light still. Red rays are longest. Roygbiv
+Vance taught us: red, orange, yellow, green, blue, indigo, violet.
+A star I see. Venus? Can't tell yet. Two. When three it's night. Were
+those nightclouds there all the time? Looks like a phantom ship. No.
+Wait. Trees are they? An optical illusion. Mirage. Land of the setting
+sun this. Homerule sun setting in the southeast. My native land,
+goodnight.
+
+Dew falling. Bad for you, dear, to sit on that stone. Brings on white
+fluxions. Never have little baby then less he was big strong fight his way
+up through. Might get piles myself. Sticks too like a summer cold, sore on
+the mouth. Cut with grass or paper worst. Friction of the position.
+Like to be that rock she sat on. O sweet little, you don't know how nice
+you looked. I begin to like them at that age. Green apples. Grab at all
+that offer. Suppose it's the only time we cross legs, seated. Also the
+library today: those girl graduates. Happy chairs under them. But it's
+the evening influence. They feel all that. Open like flowers, know
+their hours, sunflowers, Jerusalem artichokes, in ballrooms, chandeliers,
+avenues under the lamps. Nightstock in Mat Dillon's garden where I kissed
+her shoulder. Wish I had a full length oilpainting of her then. June
+that was too I wooed. The year returns. History repeats itself.
+Ye crags and peaks I'm with you once again. Life, love, voyage round
+your own little world. And now? Sad about her lame of course but must
+be on your guard not to feel too much pity. They take advantage.
+
+All quiet on Howth now. The distant hills seem. Where we. The
+rhododendrons. I am a fool perhaps. He gets the plums, and I the
+plumstones. Where I come in. All that old hill has seen. Names change:
+that's all. Lovers: yum yum.
+
+Tired I feel now. Will I get up? O wait. Drained all the manhood out
+of me, little wretch. She kissed me. Never again. My youth. Only once it
+comes. Or hers. Take the train there tomorrow. No. Returning not the
+same. Like kids your second visit to a house. The new I want. Nothing new
+under the sun. Care of P. O. Dolphin's Barn. Are you not happy in your?
+Naughty darling. At Dolphin's barn charades in Luke Doyle's house. Mat
+Dillon and his bevy of daughters: Tiny, Atty, Floey, Maimy, Louy, Hetty.
+Molly too. Eightyseven that was. Year before we. And the old major,
+partial to his drop of spirits. Curious she an only child, I an only
+child. So it returns. Think you're escaping and run into yourself. Longest
+way round is the shortest way home. And just when he and she. Circus horse
+walking in a ring. Rip van Winkle we played. Rip: tear in Henny Doyle's
+overcoat. Van: breadvan delivering. Winkle: cockles and periwinkles. Then
+I did Rip van Winkle coming back. She leaned on the sideboard watching.
+Moorish eyes. Twenty years asleep in Sleepy Hollow. All changed.
+Forgotten. The young are old. His gun rusty from the dew.
+
+Ba. What is that flying about? Swallow? Bat probably. Thinks I'm a tree,
+so blind. Have birds no smell? Metempsychosis. They believed you could be
+changed into a tree from grief. Weeping willow. Ba. There he goes.
+Funny little beggar. Wonder where he lives. Belfry up there. Very likely.
+Hanging by his heels in the odour of sanctity. Bell scared him out, I
+suppose. Mass seems to be over. Could hear them all at it. Pray for us.
+And pray for us. And pray for us. Good idea the repetition. Same
+thing with ads. Buy from us. And buy from us. Yes, there's the light
+in the priest's house. Their frugal meal. Remember about the mistake
+in the valuation when I was in Thom's. Twentyeight it is. Two houses
+they have. Gabriel Conroy's brother is curate. Ba. Again. Wonder why
+they come out at night like mice. They're a mixed breed. Birds are
+like hopping mice. What frightens them, light or noise? Better sit still.
+All instinct like the bird in drouth got water out of the end of a
+jar by throwing in pebbles. Like a little man in a cloak he is with tiny
+hands. Weeny bones. Almost see them shimmering, kind of a bluey white.
+Colours depend on the light you see. Stare the sun for example
+like the eagle then look at a shoe see a blotch blob yellowish. Wants to
+stamp his trademark on everything. Instance, that cat this morning on the
+staircase. Colour of brown turf. Say you never see them with three
+colours. Not true. That half tabbywhite tortoiseshell in the CITY ARMS
+with the letter em on her forehead. Body fifty different colours. Howth
+a while ago amethyst. Glass flashing. That's how that wise man what's his
+name with the burning glass. Then the heather goes on fire. It can't be
+tourists' matches. What? Perhaps the sticks dry rub together in the wind
+and light. Or broken bottles in the furze act as a burning glass in the
+sun. Archimedes. I have it! My memory's not so bad.
+
+Ba. Who knows what they're always flying for. Insects? That bee last week
+got into the room playing with his shadow on the ceiling. Might be the
+one bit me, come back to see. Birds too. Never find out. Or what they say.
+Like our small talk. And says she and says he. Nerve they have to fly over
+the ocean and back. Lots must be killed in storms, telegraph wires.
+Dreadful life sailors have too. Big brutes of oceangoing steamers
+floundering along in the dark, lowing out like seacows. FAUGH A BALLAGH!
+Out of that, bloody curse to you! Others in vessels, bit of a handkerchief
+sail, pitched about like snuff at a wake when the stormy winds do blow.
+Married too. Sometimes away for years at the ends of the earth somewhere.
+No ends really because it's round. Wife in every port they say. She has a
+good job if she minds it till Johnny comes marching home again. If ever he
+does. Smelling the tail end of ports. How can they like the sea? Yet they
+do. The anchor's weighed. Off he sails with a scapular or a medal
+on him for luck. Well. And the tephilim no what's this they call it poor
+papa's father had on his door to touch. That brought us out of the land
+of Egypt and into the house of bondage. Something in all those
+superstitions because when you go out never know what dangers. Hanging
+on to a plank or astride of a beam for grim life, lifebelt round him,
+gulping salt water, and that's the last of his nibs till the sharks
+catch hold of him. Do fish ever get seasick?
+
+Then you have a beautiful calm without a cloud, smooth sea, placid,
+crew and cargo in smithereens, Davy Jones' locker, moon looking down so
+peaceful. Not my fault, old cockalorum.
+
+A last lonely candle wandered up the sky from Mirus bazaar in search
+of funds for Mercer's hospital and broke, drooping, and shed a cluster of
+violet but one white stars. They floated, fell: they faded. The shepherd's
+hour: the hour of folding: hour of tryst. From house to house, giving his
+everwelcome double knock, went the nine o'clock postman, the
+glowworm's lamp at his belt gleaming here and there through the laurel
+hedges. And among the five young trees a hoisted lintstock lit the lamp at
+Leahy's terrace. By screens of lighted windows, by equal gardens a shrill
+voice went crying, wailing: EVENING TELEGRAPH, STOP PRESS EDITION! RESULT
+OF THE GOLD CUP RACE! and from the door of Dignam's house a boy ran out
+and called. Twittering the bat flew here, flew there. Far out over the
+sands the coming surf crept, grey. Howth settled for slumber, tired of
+long days, of yumyum rhododendrons (he was old) and felt gladly the night
+breeze lift, ruffle his fell of ferns. He lay but opened a red eye
+unsleeping, deep and slowly breathing, slumberous but awake. And far on
+Kish bank the anchored lightship twinkled, winked at Mr Bloom.
+
+Life those chaps out there must have, stuck in the same spot. Irish
+Lights board. Penance for their sins. Coastguards too. Rocket and breeches
+buoy and lifeboat. Day we went out for the pleasure cruise in the Erin's
+King, throwing them the sack of old papers. Bears in the zoo. Filthy trip.
+Drunkards out to shake up their livers. Puking overboard to feed the
+herrings. Nausea. And the women, fear of God in their faces. Milly,
+no sign of funk. Her blue scarf loose, laughing. Don't know what death
+is at that age. And then their stomachs clean. But being lost they fear.
+When we hid behind the tree at Crumlin. I didn't want to. Mamma! Mamma!
+Babes in the wood. Frightening them with masks too. Throwing them up
+in the air to catch them. I'll murder you. Is it only half fun?
+Or children playing battle. Whole earnest. How can people aim guns at
+each other. Sometimes they go off. Poor kids! Only troubles wildfire
+and nettlerash. Calomel purge I got her for that. After getting better
+asleep with Molly. Very same teeth she has. What do they love?
+Another themselves? But the morning she chased her with the umbrella.
+Perhaps so as not to hurt. I felt her pulse. Ticking. Little hand
+it was: now big. Dearest Papli. All that the hand says when you
+touch. Loved to count my waistcoat buttons. Her first stays I
+remember. Made me laugh to see. Little paps to begin with. Left one
+is more sensitive, I think. Mine too. Nearer the heart? Padding
+themselves out if fat is in fashion. Her growing pains at night, calling,
+wakening me. Frightened she was when her nature came on her first.
+Poor child! Strange moment for the mother too. Brings back her girlhood.
+Gibraltar. Looking from Buena Vista. O'Hara's tower. The seabirds
+screaming. Old Barbary ape that gobbled all his family. Sundown,
+gunfire for the men to cross the lines. Looking out over the sea she
+told me. Evening like this, but clear, no clouds. I always thought I'd
+marry a lord or a rich gentleman coming with a private yacht. BUENAS
+NOCHES, SENORITA. EL HOMBRE AMA LA MUCHACHA HERMOSA. Why me? Because
+you were so foreign from the others.
+
+Better not stick here all night like a limpet. This weather makes you
+dull. Must be getting on for nine by the light. Go home. Too late for LEAH,
+LILY OF KILLARNEY. No. Might be still up. Call to the hospital to see.
+Hope she's over. Long day I've had. Martha, the bath, funeral, house of
+Keyes, museum with those goddesses, Dedalus' song. Then that bawler in
+Barney Kiernan's. Got my own back there. Drunken ranters what I said about
+his God made him wince. Mistake to hit back. Or? No. Ought to go home and
+laugh at themselves. Always want to be swilling in company. Afraid to be
+alone like a child of two. Suppose he hit me. Look at it other way round.
+Not so bad then. Perhaps not to hurt he meant. Three cheers for Israel.
+Three cheers for the sister-in-law he hawked about, three fangs in her
+mouth. Same style of beauty. Particularly nice old party for a cup of tea.
+The sister of the wife of the wild man of Borneo has just come to town.
+Imagine that in the early morning at close range. Everyone to his taste as
+Morris said when he kissed the cow. But Dignam's put the boots on it.
+Houses of mourning so depressing because you never know. Anyhow she
+wants the money. Must call to those Scottish Widows as I promised. Strange
+name. Takes it for granted we're going to pop off first. That widow
+on Monday was it outside Cramer's that looked at me. Buried the poor
+husband but progressing favourably on the premium. Her widow's mite.
+Well? What do you expect her to do? Must wheedle her way along.
+Widower I hate to see. Looks so forlorn. Poor man O'Connor wife and five
+children poisoned by mussels here. The sewage. Hopeless. Some good
+matronly woman in a porkpie hat to mother him. Take him in tow, platter
+face and a large apron. Ladies' grey flannelette bloomers, three shillings
+a pair, astonishing bargain. Plain and loved, loved for ever, they say.
+Ugly: no woman thinks she is. Love, lie and be handsome for tomorrow we
+die. See him sometimes walking about trying to find out who played the
+trick. U. p: up. Fate that is. He, not me. Also a shop often noticed.
+Curse seems to dog it. Dreamt last night? Wait. Something confused. She
+had red slippers on. Turkish. Wore the breeches. Suppose she does? Would
+I like her in pyjamas? Damned hard to answer. Nannetti's gone. Mailboat.
+Near Holyhead by now. Must nail that ad of Keyes's. Work Hynes and
+Crawford. Petticoats for Molly. She has something to put in them. What's
+that? Might be money.
+
+Mr Bloom stooped and turned over a piece of paper on the strand. He
+brought it near his eyes and peered. Letter? No. Can't read. Better go.
+Better. I'm tired to move. Page of an old copybook. All those holes and
+pebbles. Who could count them? Never know what you find. Bottle with
+story of a treasure in it, thrown from a wreck. Parcels post. Children
+always want to throw things in the sea. Trust? Bread cast on the waters.
+What's this? Bit of stick.
+
+O! Exhausted that female has me. Not so young now. Will she come
+here tomorrow? Wait for her somewhere for ever. Must come back.
+Murderers do. Will I?
+
+Mr Bloom with his stick gently vexed the thick sand at his foot. Write
+a message for her. Might remain. What?
+
+I.
+
+Some flatfoot tramp on it in the morning. Useless. Washed away. Tide comes
+here. Saw a pool near her foot. Bend, see my face there, dark mirror,
+breathe on it, stirs. All these rocks with lines and scars and letters. O,
+those transparent! Besides they don't know. What is the meaning of that
+other world. I called you naughty boy because I do not like.
+
+AM. A.
+
+No room. Let it go.
+
+Mr Bloom effaced the letters with his slow boot. Hopeless thing sand.
+Nothing grows in it. All fades. No fear of big vessels coming up here.
+Except Guinness's barges. Round the Kish in eighty days. Done half by
+design.
+
+He flung his wooden pen away. The stick fell in silted sand, stuck.
+Now if you were trying to do that for a week on end you couldn't. Chance.
+We'll never meet again. But it was lovely. Goodbye, dear. Thanks. Made me
+feel so young.
+
+Short snooze now if I had. Must be near nine. Liverpool boat long
+gone.. Not even the smoke. And she can do the other. Did too. And Belfast.
+I won't go. Race there, race back to Ennis. Let him. Just close my eyes a
+moment. Won't sleep, though. Half dream. It never comes the same. Bat
+again. No harm in him. Just a few.
+
+O sweety all your little girlwhite up I saw dirty bracegirdle made me
+do love sticky we two naughty Grace darling she him half past the bed met
+him pike hoses frillies for Raoul de perfume your wife black hair heave
+under embon SENORITA young eyes Mulvey plump bubs me breadvan Winkle
+red slippers she rusty sleep wander years of dreams return tail end
+Agendath swoony lovey showed me her next year in drawers return next in
+her next her next.
+
+A bat flew. Here. There. Here. Far in the grey a bell chimed. Mr
+Bloom with open mouth, his left boot sanded sideways, leaned, breathed.
+Just for a few
+
+
+    CUCKOO
+    CUCKOO
+    CUCKOO.
+
+
+The clock on the mantelpiece in the priest's house cooed where Canon
+O'Hanlon and Father Conroy and the reverend John Hughes S. J. were
+taking tea and sodabread and butter and fried mutton chops with catsup
+and talking about
+
+
+    CUCKOO
+    CUCKOO
+    CUCKOO.
+
+
+Because it was a little canarybird that came out of its little house to
+tell the time that Gerty MacDowell noticed the time she was there because
+she was as quick as anything about a thing like that, was Gerty MacDowell,
+and she noticed at once that that foreign gentleman that was sitting on
+the rocks looking was
+
+
+    CUCKOO
+    CUCKOO
+    CUCKOO.
+
+
+    * * * * * * *
+
+
+Deshil Holles Eamus. Deshil Holles Eamus. Deshil Holles Eamus.
+
+Send us bright one, light one, Horhorn, quickening and wombfruit. Send
+us bright one, light one, Horhorn, quickening and wombfruit. Send us
+bright one, light one, Horhorn, quickening and wombfruit.
+
+Hoopsa boyaboy hoopsa! Hoopsa boyaboy hoopsa! Hoopsa boyaboy hoopsa!
+
+Universally that person's acumen is esteemed very little perceptive
+concerning whatsoever matters are being held as most profitably by mortals
+with sapience endowed to be studied who is ignorant of that which the most
+in doctrine erudite and certainly by reason of that in them high mind's
+ornament deserving of veneration constantly maintain when by general
+consent they affirm that other circumstances being equal by no exterior
+splendour is the prosperity of a nation more efficaciously asserted than
+by the measure of how far forward may have progressed the tribute of its
+solicitude for that proliferent continuance which of evils the original if
+it be absent when fortunately present constitutes the certain sign of
+omnipotent nature's incorrupted benefaction. For who is there who anything
+of some significance has apprehended but is conscious that that exterior
+splendour may be the surface of a downwardtending lutulent reality or on
+the contrary anyone so is there unilluminated as not to perceive that as
+no nature's boon can contend against the bounty of increase so it behoves
+every most just citizen to become the exhortator and admonisher of his
+semblables and to tremble lest what had in the past been by the nation
+excellently commenced might be in the future not with similar excellence
+accomplished if an inverecund habit shall have gradually traduced the
+honourable by ancestors transmitted customs to that thither of profundity
+that that one was audacious excessively who would have the hardihood to
+rise affirming that no more odious offence can for anyone be than to
+oblivious neglect to consign that evangel simultaneously command and
+promise which on all mortals with prophecy of abundance or with
+diminution's menace that exalted of reiteratedly procreating function ever
+irrevocably enjoined?
+
+It is not why therefore we shall wonder if, as the best historians relate,
+among the Celts, who nothing that was not in its nature admirable admired,
+the art of medicine shall have been highly honoured. Not to speak of
+hostels, leperyards, sweating chambers, plaguegraves, their greatest
+doctors, the O'Shiels, the O'Hickeys, the O'Lees, have sedulously set down
+the divers methods by which the sick and the relapsed found again health
+whether the malady had been the trembling withering or loose boyconnell
+flux. Certainly in every public work which in it anything of gravity
+contains preparation should be with importance commensurate and therefore
+a plan was by them adopted (whether by having preconsidered or as the
+maturation of experience it is difficult in being said which the
+discrepant opinions of subsequent inquirers are not up to the present
+congrued to render manifest) whereby maternity was so far from all
+accident possibility removed that whatever care the patient in that
+all hardest of woman hour chiefly required and not solely for the
+copiously opulent but also for her who not being sufficiently moneyed
+scarcely and often not even scarcely could subsist valiantly and for an
+inconsiderable emolument was provided.
+
+To her nothing already then and thenceforward was anyway able to be
+molestful for this chiefly felt all citizens except with proliferent
+mothers prosperity at all not to can be and as they had received eternity
+gods mortals generation to befit them her beholding, when the case was so
+hoving itself, parturient in vehicle thereward carrying desire immense
+among all one another was impelling on of her to be received into that
+domicile. O thing of prudent nation not merely in being seen but also
+even in being related worthy of being praised that they her by
+anticipation went seeing mother, that she by them suddenly to be about to
+be cherished had been begun she felt!
+
+Before born bliss babe had. Within womb won he worship. Whatever
+in that one case done commodiously done was. A couch by midwives
+attended with wholesome food reposeful, cleanest swaddles as though
+forthbringing were now done and by wise foresight set: but to this no less
+of what drugs there is need and surgical implements which are pertaining
+to her case not omitting aspect of all very distracting spectacles in
+various latitudes by our terrestrial orb offered together with images,
+divine and human, the cogitation of which by sejunct females is to
+tumescence conducive or eases issue in the high sunbright wellbuilt fair
+home of mothers when, ostensibly far gone and reproductitive, it is come
+by her thereto to lie in, her term up.
+
+Some man that wayfaring was stood by housedoor at night's
+oncoming. Of Israel's folk was that man that on earth wandering far had
+fared. Stark ruth of man his errand that him lone led till that house.
+
+Of that house A. Horne is lord. Seventy beds keeps he there teeming
+mothers are wont that they lie for to thole and bring forth bairns hale so
+God's angel to Mary quoth. Watchers tway there walk, white sisters in
+ward sleepless. Smarts they still, sickness soothing: in twelve moons
+thrice an hundred. Truest bedthanes they twain are, for Horne holding
+wariest ward.
+
+In ward wary the watcher hearing come that man mildhearted eft
+rising with swire ywimpled to him her gate wide undid. Lo, levin leaping
+lightens in eyeblink Ireland's westward welkin. Full she drad that God the
+Wreaker all mankind would fordo with water for his evil sins. Christ's
+rood made she on breastbone and him drew that he would rathe infare under
+her thatch. That man her will wotting worthful went in Horne's house.
+
+Loth to irk in Horne's hall hat holding the seeker stood. On her stow
+he ere was living with dear wife and lovesome daughter that then over land
+and seafloor nine years had long outwandered. Once her in townhithe
+meeting he to her bow had not doffed. Her to forgive now he craved with
+good ground of her allowed that that of him swiftseen face, hers, so young
+then had looked. Light swift her eyes kindled, bloom of blushes his word
+winning.
+
+As her eyes then ongot his weeds swart therefor sorrow she feared.
+Glad after she was that ere adread was. Her he asked if O'Hare Doctor
+tidings sent from far coast and she with grameful sigh him answered that
+O'Hare Doctor in heaven was. Sad was the man that word to hear that him
+so heavied in bowels ruthful. All she there told him, ruing death for
+friend so young, algate sore unwilling God's rightwiseness to withsay. She
+said that he had a fair sweet death through God His goodness with
+masspriest to be shriven, holy housel and sick men's oil to his limbs. The
+man then right earnest asked the nun of which death the dead man was died
+and the nun answered him and said that he was died in Mona Island through
+bellycrab three year agone come Childermas and she prayed to God the
+Allruthful to have his dear soul in his undeathliness. He heard her sad
+words, in held hat sad staring. So stood they there both awhile in wanhope
+sorrowing one with other.
+
+Therefore, everyman, look to that last end that is thy death and the
+dust that gripeth on every man that is born of woman for as he came naked
+forth from his mother's womb so naked shall he wend him at the last for to
+go as he came.
+
+The man that was come in to the house then spoke to the
+nursingwoman and he asked her how it fared with the woman that lay there
+in childbed. The nursingwoman answered him and said that that woman
+was in throes now full three days and that it would be a hard birth unneth
+to bear but that now in a little it would be. She said thereto that she
+had seen many births of women but never was none so hard as was that
+woman's birth. Then she set it all forth to him for because she knew the
+man that time was had lived nigh that house. The man hearkened to her
+words for he felt with wonder women's woe in the travail that they have of
+motherhood and he wondered to look on her face that was a fair face for
+any man to see but yet was she left after long years a handmaid. Nine
+twelve bloodflows chiding her childless.
+
+And whiles they spake the door of the castle was opened and there
+nighed them a mickle noise as of many that sat there at meat. And there
+came against the place as they stood a young learningknight yclept Dixon.
+And the traveller Leopold was couth to him sithen it had happed that they
+had had ado each with other in the house of misericord where this
+learningknight lay by cause the traveller Leopold came there to be healed
+for he was sore wounded in his breast by a spear wherewith a horrible and
+dreadful dragon was smitten him for which he did do make a salve of
+volatile salt and chrism as much as he might suffice. And he said now that
+he should go in to that castle for to make merry with them that were
+there. And the traveller Leopold said that he should go otherwhither for
+he was a man of cautels and a subtile. Also the lady was of his avis and
+repreved the learningknight though she trowed well that the traveller had
+said thing that was false for his subtility. But the learningknight would
+not hear say nay nor do her mandement ne have him in aught contrarious to
+his list and he said how it was a marvellous castle. And the traveller
+Leopold went into the castle for to rest him for a space being sore of
+limb after many marches environing in divers lands and sometime venery.
+
+And in the castle was set a board that was of the birchwood of
+Finlandy and it was upheld by four dwarfmen of that country but they
+durst not move more for enchantment. And on this board were frightful
+swords and knives that are made in a great cavern by swinking demons out
+of white flames that they fix then in the horns of buffalos and stags that
+there abound marvellously. And there were vessels that are wrought by
+magic of Mahound out of seasand and the air by a warlock with his breath
+that he blases in to them like to bubbles. And full fair cheer and rich
+was on the board that no wight could devise a fuller ne richer. And there
+was a vat of silver that was moved by craft to open in the which lay
+strange fishes withouten heads though misbelieving men nie that this
+be possible thing without they see it natheless they are so. And these
+fishes lie in an oily water brought there from Portugal land because
+of the fatness that therein is like to the juices of the olivepress.
+And also it was a marvel to see in that castle how by magic they make
+a compost out of fecund wheatkidneys out of Chaldee that by aid of
+certain angry spirits that they do in to it swells up wondrously like
+to a vast mountain. And they teach the serpents there to entwine
+themselves up on long sticks out of the ground and of the scales of
+these serpents they brew out a brewage like to mead.
+
+And the learning knight let pour for childe Leopold a draught and halp
+thereto the while all they that were there drank every each. And childe
+Leopold did up his beaver for to pleasure him and took apertly somewhat in
+amity for he never drank no manner of mead which he then put by and
+anon full privily he voided the more part in his neighbour glass and his
+neighbour nist not of this wile. And he sat down in that castle with them
+for to rest him there awhile. Thanked be Almighty God.
+
+This meanwhile this good sister stood by the door and begged them at
+the reverence of Jesu our alther liege Lord to leave their wassailing for
+there was above one quick with child, a gentle dame, whose time hied fast.
+Sir Leopold heard on the upfloor cry on high and he wondered what cry that
+it was whether of child or woman and I marvel, said he, that it be not
+come or now. Meseems it dureth overlong. And he was ware and saw a
+franklin that hight Lenehan on that side the table that was older than any
+of the tother and for that they both were knights virtuous in the one
+emprise and eke by cause that he was elder he spoke to him full gently.
+But, said he, or it be long too she will bring forth by God His bounty and
+have joy of her childing for she hath waited marvellous long. And the
+franklin that had drunken said, Expecting each moment to be her next.
+Also he took the cup that stood tofore him for him needed never none
+asking nor desiring of him to drink and, Now drink, said he, fully
+delectably, and he quaffed as far as he might to their both's health
+for he was a passing good man of his lustiness. And sir Leopold
+that was the goodliest guest that ever sat in scholars' hall and
+that was the meekest man and the kindest that ever laid husbandly
+hand under hen and that was the very truest knight of the world
+one that ever did minion service to lady gentle pledged him courtly in
+the cup. Woman's woe with wonder pondering.
+
+Now let us speak of that fellowship that was there to the intent to be
+drunken an they might. There was a sort of scholars along either side the
+board, that is to wit, Dixon yclept junior of saint Mary Merciable's with
+other his fellows Lynch and Madden, scholars of medicine, and the franklin
+that hight Lenehan and one from Alba Longa, one Crotthers, and young
+Stephen that had mien of a frere that was at head of the board and
+Costello that men clepen Punch Costello all long of a mastery of him
+erewhile gested (and of all them, reserved young Stephen, he was the most
+drunken that demanded still of more mead) and beside the meek sir
+Leopold. But on young Malachi they waited for that he promised to
+have come and such as intended to no goodness said how he had broke
+his avow. And sir Leopold sat with them for he bore fast friendship
+to sir Simon and to this his son young Stephen and for that his languor
+becalmed him there after longest wanderings insomuch as they feasted
+him for that time in the honourablest manner. Ruth red him, love led
+on with will to wander, loth to leave.
+
+For they were right witty scholars. And he heard their aresouns each gen
+other as touching birth and righteousness, young Madden maintaining that
+put such case it were hard the wife to die (for so it had fallen out a
+matter of some year agone with a woman of Eblana in Horne's house that
+now was trespassed out of this world and the self night next before her
+death all leeches and pothecaries had taken counsel of her case). And
+they said farther she should live because in the beginning, they said,
+the woman should bring forth in pain and wherefore they that were of this
+imagination affirmed how young Madden had said truth for he had
+conscience to let her die. And not few and of these was young Lynch were
+in doubt that the world was now right evil governed as it was never other
+howbeit the mean people believed it otherwise but the law nor his judges
+did provide no remedy. A redress God grant. This was scant said but all
+cried with one acclaim nay, by our Virgin Mother, the wife should live
+and the babe to die. In colour whereof they waxed hot upon that head what
+with argument and what for their drinking but the franklin Lenehan was
+prompt each when to pour them ale so that at the least way mirth might
+not lack. Then young Madden showed all the whole affair and said how that
+she was dead and how for holy religion sake by rede of palmer and
+bedesman and for a vow he had made to Saint Ultan of Arbraccan her
+goodman husband would not let her death whereby they were all wondrous
+grieved. To whom young Stephen had these words following: Murmur, sirs,
+is eke oft among lay folk. Both babe and parent now glorify their Maker,
+the one in limbo gloom, the other in purgefire. But, gramercy, what of
+those Godpossibled souls that we nightly impossibilise, which is the sin
+against the Holy Ghost, Very God, Lord and Giver of Life? For, sirs, he
+said, our lust is brief. We are means to those small creatures within us
+and nature has other ends than we. Then said Dixon junior to Punch
+Costello wist he what ends. But he had overmuch drunken and the best word
+he could have of him was that he would ever dishonest a woman whoso she
+were or wife or maid or leman if it so fortuned him to be delivered of
+his spleen of lustihead. Whereat Crotthers of Alba Longa sang young
+Malachi's praise of that beast the unicorn how once in the millennium he
+cometh by his horn, the other all this while, pricked forward with their
+jibes wherewith they did malice him, witnessing all and several by saint
+Foutinus his engines that he was able to do any manner of thing that lay
+in man to do. Thereat laughed they all right jocundly only young Stephen
+and sir Leopold which never durst laugh too open by reason of a strange
+humour which he would not bewray and also for that he rued for her that
+bare whoso she might be or wheresoever. Then spake young Stephen orgulous
+of mother Church that would cast him out of her bosom, of law of canons,
+of Lilith, patron of abortions, of bigness wrought by wind of seeds of
+brightness or by potency of vampires mouth to mouth or, as Virgilius
+saith, by the influence of the occident or by the reek of moonflower or
+an she lie with a woman which her man has but lain with, EFFECTU SECUTO,
+or peradventure in her bath according to the opinions of Averroes and
+Moses Maimonides. He said also how at the end of the second month a human
+soul was infused and how in all our holy mother foldeth ever souls for
+God's greater glory whereas that earthly mother which was but a dam to
+bear beastly should die by canon for so saith he that holdeth the
+fisherman's seal, even that blessed Peter on which rock was holy church
+for all ages founded. All they bachelors then asked of sir Leopold would
+he in like case so jeopard her person as risk life to save life. A
+wariness of mind he would answer as fitted all and, laying hand to jaw,
+he said dissembling, as his wont was, that as it was informed him, who
+had ever loved the art of physic as might a layman, and agreeing also
+with his experience of so seldomseen an accident it was good for that
+mother Church belike at one blow had birth and death pence and in such
+sort deliverly he scaped their questions. That is truth, pardy, said
+Dixon, and, or I err, a pregnant word. Which hearing young Stephen was a
+marvellous glad man and he averred that he who stealeth from the poor
+lendeth to the Lord for he was of a wild manner when he was drunken and
+that he was now in that taking it appeared eftsoons.
+
+But sir Leopold was passing grave maugre his word by cause he still had
+pity of the terrorcausing shrieking of shrill women in their labour and
+as he was minded of his good lady Marion that had borne him an only
+manchild which on his eleventh day on live had died and no man of art
+could save so dark is destiny. And she was wondrous stricken of heart for
+that evil hap and for his burial did him on a fair corselet of lamb's
+wool, the flower of the flock, lest he might perish utterly and lie
+akeled (for it was then about the midst of the winter) and now Sir
+Leopold that had of his body no manchild for an heir looked upon him his
+friend's son and was shut up in sorrow for his forepassed happiness and
+as sad as he was that him failed a son of such gentle courage (for all
+accounted him of real parts) so grieved he also in no less measure for
+young Stephen for that he lived riotously with those wastrels and
+murdered his goods with whores.
+
+About that present time young Stephen filled all cups that stood empty so
+as there remained but little mo if the prudenter had not shadowed their
+approach from him that still plied it very busily who, praying for the
+intentions of the sovereign pontiff, he gave them for a pledge the vicar
+of Christ which also as he said is vicar of Bray. Now drink we, quod he,
+of this mazer and quaff ye this mead which is not indeed parcel of my
+body but my soul's bodiment. Leave ye fraction of bread to them that live
+by bread alone. Be not afeard neither for any want for this will comfort
+more than the other will dismay. See ye here. And he showed them
+glistering coins of the tribute and goldsmith notes the worth of two
+pound nineteen shilling that he had, he said, for a song which he writ.
+They all admired to see the foresaid riches in such dearth of money as
+was herebefore. His words were then these as followeth: Know all men, he
+said, time's ruins build eternity's mansions. What means this? Desire's
+wind blasts the thorntree but after it becomes from a bramblebush to be a
+rose upon the rood of time. Mark me now. In woman's womb word is made
+flesh but in the spirit of the maker all flesh that passes becomes the
+word that shall not pass away. This is the postcreation. OMNIS CARO AD TE
+VENIET. No question but her name is puissant who aventried the dear corse
+of our Agenbuyer, Healer and Herd, our mighty mother and mother most
+venerable and Bernardus saith aptly that She hath an OMNIPOTENTIAM
+DEIPARAE SUPPLICEM, that is to wit, an almightiness of petition because
+she is the second Eve and she won us, saith Augustine too, whereas that
+other, our grandam, which we are linked up with by successive anastomosis
+of navelcords sold us all, seed, breed and generation, for a penny
+pippin. But here is the matter now. Or she knew him, that second I say,
+and was but creature of her creature, VERGINE MADRE, FIGLIA DI TUO
+FIGLIO, or she knew him not and then stands she in the one denial or
+ignorancy with Peter Piscator who lives in the house that Jack built and
+with Joseph the joiner patron of the happy demise of all unhappy
+marriages, PARCEQUE M. LEO TAXIL NOUS A DIT QUE QUI L'AVAIT MISE DANS
+CETTE FICHUE POSITION C'ETAIT LE SACRE PIGEON, VENTRE DE DIEU! ENTWEDER
+transubstantiality ODER consubstantiality but in no case
+subsubstantiality. And all cried out upon it for a very scurvy word. A
+pregnancy without joy, he said, a birth without pangs, a body without
+blemish, a belly without bigness. Let the lewd with faith and fervour
+worship. With will will we withstand, withsay.
+
+Hereupon Punch Costello dinged with his fist upon the board and would
+sing a bawdy catch STABOO STABELLA about a wench that was put in pod of a
+jolly swashbuckler in Almany which he did straightways now attack: THE
+FIRST THREE MONTHS SHE WAS NOT WELL, STABOO, when here nurse Quigley from
+the door angerly bid them hist ye should shame you nor was it not meet as
+she remembered them being her mind was to have all orderly against lord
+Andrew came for because she was jealous that no gasteful turmoil might
+shorten the honour of her guard. It was an ancient and a sad matron of a
+sedate look and christian walking, in habit dun beseeming her megrims and
+wrinkled visage, nor did her hortative want of it effect for
+incontinently Punch Costello was of them all embraided and they reclaimed
+the churl with civil rudeness some and shaked him with menace of
+blandishments others whiles they all chode with him, a murrain seize the
+dolt, what a devil he would be at, thou chuff, thou puny, thou got in
+peasestraw, thou losel, thou chitterling, thou spawn of a rebel, thou
+dykedropt, thou abortion thou, to shut up his drunken drool out of that
+like a curse of God ape, the good sir Leopold that had for his cognisance
+the flower of quiet, margerain gentle, advising also the time's occasion
+as most sacred and most worthy to be most sacred. In Horne's house rest
+should reign.
+
+To be short this passage was scarce by when Master Dixon of Mary in
+Eccles, goodly grinning, asked young Stephen what was the reason why he
+had not cided to take friar's vows and he answered him obedience in the
+womb, chastity in the tomb but involuntary poverty all his days. Master
+Lenehan at this made return that he had heard of those nefarious deeds
+and how, as he heard hereof counted, he had besmirched the lily virtue of
+a confiding female which was corruption of minors and they all
+intershowed it too, waxing merry and toasting to his fathership. But he
+said very entirely it was clean contrary to their suppose for he was the
+eternal son and ever virgin. Thereat mirth grew in them the more and they
+rehearsed to him his curious rite of wedlock for the disrobing and
+deflowering of spouses, as the priests use in Madagascar island, she to
+be in guise of white and saffron, her groom in white and grain, with
+burning of nard and tapers, on a bridebed while clerks sung kyries and
+the anthem UT NOVETUR SEXUS OMNIS CORPORIS MYSTERIUM till she was there
+unmaided. He gave them then a much admirable hymen minim by those
+delicate poets Master John Fletcher and Master Francis Beaumont that is
+in their MAID'S TRAGEDY that was writ for a like twining of lovers: TO
+BED, TO BED was the burden of it to be played with accompanable concent
+upon the virginals. An exquisite dulcet epithalame of most mollificative
+suadency for juveniles amatory whom the odoriferous flambeaus of the
+paranymphs have escorted to the quadrupedal proscenium of connubial
+communion. Well met they were, said Master Dixon, joyed, but, harkee,
+young sir, better were they named Beau Mount and Lecher for, by my troth,
+of such a mingling much might come. Young Stephen said indeed to his best
+remembrance they had but the one doxy between them and she of the stews
+to make shift with in delights amorous for life ran very high in those
+days and the custom of the country approved with it. Greater love than
+this, he said, no man hath that a man lay down his wife for his friend.
+Go thou and do likewise. Thus, or words to that effect, saith
+Zarathustra, sometime regius professor of French letters to the
+university of Oxtail nor breathed there ever that man to whom mankind was
+more beholden. Bring a stranger within thy tower it will go hard but thou
+wilt have the secondbest bed. ORATE, FRATRES, PRO MEMETIPSO. And all the
+people shall say, Amen. Remember, Erin, thy generations and thy days of
+old, how thou settedst little by me and by my word and broughtedst in a
+stranger to my gates to commit fornication in my sight and to wax fat and
+kick like Jeshurum. Therefore hast thou sinned against my light and hast
+made me, thy lord, to be the slave of servants. Return, return, Clan
+Milly: forget me not, O Milesian. Why hast thou done this abomination
+before me that thou didst spurn me for a merchant of jalaps and didst
+deny me to the Roman and to the Indian of dark speech with whom thy
+daughters did lie luxuriously? Look forth now, my people, upon the land
+of behest, even from Horeb and from Nebo and from Pisgah and from the
+Horns of Hatten unto a land flowing with milk and money. But thou hast
+suckled me with a bitter milk: my moon and my sun thou hast quenched for
+ever. And thou hast left me alone for ever in the dark ways of my
+bitterness: and with a kiss of ashes hast thou kissed my mouth. This
+tenebrosity of the interior, he proceeded to say, hath not been illumined
+by the wit of the septuagint nor so much as mentioned for the Orient from
+on high Which brake hell's gates visited a darkness that was foraneous.
+Assuefaction minorates atrocities (as Tully saith of his darling Stoics)
+and Hamlet his father showeth the prince no blister of combustion. The
+adiaphane in the noon of life is an Egypt's plague which in the nights of
+prenativity and postmortemity is their most proper UBI and QUOMODO. And
+as the ends and ultimates of all things accord in some mean and measure
+with their inceptions and originals, that same multiplicit concordance
+which leads forth growth from birth accomplishing by a retrogressive
+metamorphosis that minishing and ablation towards the final which is
+agreeable unto nature so is it with our subsolar being. The aged sisters
+draw us into life: we wail, batten, sport, clip, clasp, sunder, dwindle,
+die: over us dead they bend. First, saved from waters of old Nile, among
+bulrushes, a bed of fasciated wattles: at last the cavity of a mountain,
+an occulted sepulchre amid the conclamation of the hillcat and the
+ossifrage. And as no man knows the ubicity of his tumulus nor to what
+processes we shall thereby be ushered nor whether to Tophet or to
+Edenville in the like way is all hidden when we would backward see from
+what region of remoteness the whatness of our whoness hath fetched his
+whenceness.
+
+Thereto Punch Costello roared out mainly ETIENNE CHANSON but he loudly
+bid them, lo, wisdom hath built herself a house, this vast majestic
+longstablished vault, the crystal palace of the Creator, all in applepie
+order, a penny for him who finds the pea.
+
+
+    BEHOLD THE MANSION REARED BY DEDAL JACK
+    SEE THE MALT STORED IN MANY A REFLUENT SACK,
+    IN THE PROUD CIRQUE OF JACKJOHN'S BIVOUAC.
+
+
+A black crack of noise in the street here, alack, bawled back. Loud on
+left Thor thundered: in anger awful the hammerhurler. Came now the storm
+that hist his heart. And Master Lynch bade him have a care to flout and
+witwanton as the god self was angered for his hellprate and paganry. And
+he that had erst challenged to be so doughty waxed wan as they might all
+mark and shrank together and his pitch that was before so haught uplift
+was now of a sudden quite plucked down and his heart shook within the
+cage of his breast as he tasted the rumour of that storm. Then did some
+mock and some jeer and Punch Costello fell hard again to his yale which
+Master Lenehan vowed he would do after and he was indeed but a word and a
+blow on any the least colour. But the braggart boaster cried that an old
+Nobodaddy was in his cups it was muchwhat indifferent and he would not
+lag behind his lead. But this was only to dye his desperation as cowed he
+crouched in Horne's hall. He drank indeed at one draught to pluck up a
+heart of any grace for it thundered long rumblingly over all the heavens
+so that Master Madden, being godly certain whiles, knocked him on his
+ribs upon that crack of doom and Master Bloom, at the braggart's side,
+spoke to him calming words to slumber his great fear, advertising how it
+was no other thing but a hubbub noise that he heard, the discharge of
+fluid from the thunderhead, look you, having taken place, and all of the
+order of a natural phenomenon.
+
+But was young Boasthard's fear vanquished by Calmer's words? No, for he
+had in his bosom a spike named Bitterness which could not by words be
+done away. And was he then neither calm like the one nor godly like the
+other? He was neither as much as he would have liked to be either. But
+could he not have endeavoured to have found again as in his youth the
+bottle Holiness that then he lived withal? Indeed no for Grace was not
+there to find that bottle. Heard he then in that clap the voice of the
+god Bringforth or, what Calmer said, a hubbub of Phenomenon? Heard? Why,
+he could not but hear unless he had plugged him up the tube Understanding
+(which he had not done). For through that tube he saw that he was in the
+land of Phenomenon where he must for a certain one day die as he was like
+the rest too a passing show. And would he not accept to die like the rest
+and pass away? By no means would he though he must nor would he make more
+shows according as men do with wives which Phenomenon has commanded them
+to do by the book Law. Then wotted he nought of that other land which is
+called Believe-on-Me, that is the land of promise which behoves to the
+king Delightful and shall be for ever where there is no death and no
+birth neither wiving nor mothering at which all shall come as many as
+believe on it? Yes, Pious had told him of that land and Chaste had
+pointed him to the way but the reason was that in the way he fell in with
+a certain whore of an eyepleasing exterior whose name, she said, is Bird-
+in-the-Hand and she beguiled him wrongways from the true path by her
+flatteries that she said to him as, Ho, you pretty man, turn aside hither
+and I will show you a brave place, and she lay at him so flatteringly
+that she had him in her grot which is named Two-in-the-Bush or, by some
+learned, Carnal Concupiscence.
+
+This was it what all that company that sat there at commons in Manse of
+Mothers the most lusted after and if they met with this whore Bird-in-
+the-Hand (which was within all foul plagues, monsters and a wicked devil)
+they would strain the last but they would make at her and know her. For
+regarding Believe-on-Me they said it was nought else but notion and they
+could conceive no thought of it for, first, Two-in-the-Bush whither she
+ticed them was the very goodliest grot and in it were four pillows on
+which were four tickets with these words printed on them, Pickaback and
+Topsyturvy and Shameface and Cheek by Jowl and, second, for that foul
+plague Allpox and the monsters they cared not for them for Preservative
+had given them a stout shield of oxengut and, third, that they might take
+no hurt neither from Offspring that was that wicked devil by virtue of
+this same shield which was named Killchild. So were they all in their
+blind fancy, Mr Cavil and Mr Sometimes Godly, Mr Ape Swillale, Mr False
+Franklin, Mr Dainty Dixon, Young Boasthard and Mr Cautious Calmer.
+Wherein, O wretched company, were ye all deceived for that was the voice
+of the god that was in a very grievous rage that he would presently lift
+his arm up and spill their souls for their abuses and their spillings
+done by them contrariwise to his word which forth to bring brenningly
+biddeth.
+
+So Thursday sixteenth June Patk. Dignam laid in clay of an apoplexy and
+after hard drought, please God, rained, a bargeman coming in by water a
+fifty mile or thereabout with turf saying the seed won't sprout, fields
+athirst, very sadcoloured and stunk mightily, the quags and tofts too.
+Hard to breathe and all the young quicks clean consumed without sprinkle
+this long while back as no man remembered to be without. The rosy buds
+all gone brown and spread out blobs and on the hills nought but dry flag
+and faggots that would catch at first fire. All the world saying, for
+aught they knew, the big wind of last February a year that did havoc the
+land so pitifully a small thing beside this barrenness. But by and by, as
+said, this evening after sundown, the wind sitting in the west, biggish
+swollen clouds to be seen as the night increased and the weatherwise
+poring up at them and some sheet lightnings at first and after, past ten
+of the clock, one great stroke with a long thunder and in a brace of
+shakes all scamper pellmell within door for the smoking shower, the men
+making shelter for their straws with a clout or kerchief, womenfolk
+skipping off with kirtles catched up soon as the pour came. In Ely place,
+Baggot street, Duke's lawn, thence through Merrion green up to Holles
+street a swash of water flowing that was before bonedry and not one chair
+or coach or fiacre seen about but no more crack after that first. Over
+against the Rt. Hon. Mr Justice Fitzgibbon's door (that is to sit with Mr
+Healy the lawyer upon the college lands) Mal. Mulligan a gentleman's
+gentleman that had but come from Mr Moore's the writer's (that was a
+papish but is now, folk say, a good Williamite) chanced against Alec.
+Bannon in a cut bob (which are now in with dance cloaks of Kendal green)
+that was new got to town from Mullingar with the stage where his coz and
+Mal M's brother will stay a month yet till Saint Swithin and asks what in
+the earth he does there, he bound home and he to Andrew Horne's being
+stayed for to crush a cup of wine, so he said, but would tell him of a
+skittish heifer, big of her age and beef to the heel, and all this while
+poured with rain and so both together on to Horne's. There Leop. Bloom of
+Crawford's journal sitting snug with a covey of wags, likely brangling
+fellows, Dixon jun., scholar of my lady of Mercy's, Vin. Lynch, a Scots
+fellow, Will. Madden, T. Lenehan, very sad about a racer he fancied and
+Stephen D. Leop. Bloom there for a languor he had but was now better, be
+having dreamed tonight a strange fancy of his dame Mrs Moll with red
+slippers on in a pair of Turkey trunks which is thought by those in ken
+to be for a change and Mistress Purefoy there, that got in through
+pleading her belly, and now on the stools, poor body, two days past her
+term, the midwives sore put to it and can't deliver, she queasy for a
+bowl of riceslop that is a shrewd drier up of the insides and her breath
+very heavy more than good and should be a bullyboy from the knocks, they
+say, but God give her soon issue. 'Tis her ninth chick to live, I hear,
+and Lady day bit off her last chick's nails that was then a twelvemonth
+and with other three all breastfed that died written out in a fair hand
+in the king's bible. Her hub fifty odd and a methodist but takes the
+sacrament and is to be seen any fair sabbath with a pair of his boys off
+Bullock harbour dapping on the sound with a heavybraked reel or in a punt
+he has trailing for flounder and pollock and catches a fine bag, I hear.
+In sum an infinite great fall of rain and all refreshed and will much
+increase the harvest yet those in ken say after wind and water fire shall
+come for a prognostication of Malachi's almanac (and I hear that Mr
+Russell has done a prophetical charm of the same gist out of the
+Hindustanish for his farmer's gazette) to have three things in all but
+this a mere fetch without bottom of reason for old crones and bairns yet
+sometimes they are found in the right guess with their queerities no
+telling how.
+
+With this came up Lenehan to the feet of the table to say how the letter
+was in that night's gazette and he made a show to find it about him (for
+he swore with an oath that he had been at pains about it) but on
+Stephen's persuasion he gave over the search and was bidden to sit near
+by which he did mighty brisk. He was a kind of sport gentleman that went
+for a merryandrew or honest pickle and what belonged of women, horseflesh
+or hot scandal he had it pat. To tell the truth he was mean in fortunes
+and for the most part hankered about the coffeehouses and low taverns
+with crimps, ostlers, bookies, Paul's men, runners, flatcaps,
+waistcoateers, ladies of the bagnio and other rogues of the game or with
+a chanceable catchpole or a tipstaff often at nights till broad day of
+whom he picked up between his sackpossets much loose gossip. He took his
+ordinary at a boilingcook's and if he had but gotten into him a mess of
+broken victuals or a platter of tripes with a bare tester in his purse he
+could always bring himself off with his tongue, some randy quip he had
+from a punk or whatnot that every mother's son of them would burst their
+sides. The other, Costello that is, hearing this talk asked was it poetry
+or a tale. Faith, no, he says, Frank (that was his name), 'tis all about
+Kerry cows that are to be butchered along of the plague. But they can go
+hang, says he with a wink, for me with their bully beef, a pox on it.
+There's as good fish in this tin as ever came out of it and very friendly
+he offered to take of some salty sprats that stood by which he had eyed
+wishly in the meantime and found the place which was indeed the chief
+design of his embassy as he was sharpset. MORT AUX VACHES, says Frank
+then in the French language that had been indentured to a brandyshipper
+that has a winelodge in Bordeaux and he spoke French like a gentleman
+too. From a child this Frank had been a donought that his father, a
+headborough, who could ill keep him to school to learn his letters and
+the use of the globes, matriculated at the university to study the
+mechanics but he took the bit between his teeth like a raw colt and was
+more familiar with the justiciary and the parish beadle than with his
+volumes. One time he would be a playactor, then a sutler or a welsher,
+then nought would keep him from the bearpit and the cocking main, then he
+was for the ocean sea or to hoof it on the roads with the romany folk,
+kidnapping a squire's heir by favour of moonlight or fecking maids' linen
+or choking chicken behind a hedge. He had been off as many times as a cat
+has lives and back again with naked pockets as many more to his father
+the headborough who shed a pint of tears as often as he saw him. What,
+says Mr Leopold with his hands across, that was earnest to know the drift
+of it, will they slaughter all? I protest I saw them but this day morning
+going to the Liverpool boats, says he. I can scarce believe 'tis so bad,
+says he. And he had experience of the like brood beasts and of springers,
+greasy hoggets and wether wool, having been some years before actuary for
+Mr Joseph Cuffe, a worthy salesmaster that drove his trade for live stock
+and meadow auctions hard by Mr Gavin Low's yard in Prussia street. I
+question with you there, says he. More like 'tis the hoose or the timber
+tongue. Mr Stephen, a little moved but very handsomely told him no such
+matter and that he had dispatches from the emperor's chief tailtickler
+thanking him for the hospitality, that was sending over Doctor
+Rinderpest, the bestquoted cowcatcher in all Muscovy, with a bolus or two
+of physic to take the bull by the horns. Come, come, says Mr Vincent,
+plain dealing. He'll find himself on the horns of a dilemma if he meddles
+with a bull that's Irish, says he. Irish by name and irish by nature,
+says Mr Stephen, and he sent the ale purling about, an Irish bull in an
+English chinashop. I conceive you, says Mr Dixon. It is that same bull
+that was sent to our island by farmer Nicholas, the bravest cattlebreeder
+of them all, with an emerald ring in his nose. True for you, says Mr
+Vincent cross the table, and a bullseye into the bargain, says he, and a
+plumper and a portlier bull, says he, never shit on shamrock. He had
+horns galore, a coat of cloth of gold and a sweet smoky breath coming out
+of his nostrils so that the women of our island, leaving doughballs and
+rollingpins, followed after him hanging his bulliness in daisychains.
+What for that, says Mr Dixon, but before he came over farmer Nicholas
+that was a eunuch had him properly gelded by a college of doctors who
+were no better off than himself. So be off now, says he, and do all my
+cousin german the lord Harry tells you and take a farmer's blessing, and
+with that he slapped his posteriors very soundly. But the slap and the
+blessing stood him friend, says Mr Vincent, for to make up he taught him
+a trick worth two of the other so that maid, wife, abbess and widow to
+this day affirm that they would rather any time of the month whisper in
+his ear in the dark of a cowhouse or get a lick on the nape from his long
+holy tongue than lie with the finest strapping young ravisher in the four
+fields of all Ireland. Another then put in his word: And they dressed
+him, says he, in a point shift and petticoat with a tippet and girdle and
+ruffles on his wrists and clipped his forelock and rubbed him all over
+with spermacetic oil and built stables for him at every turn of the road
+with a gold manger in each full of the best hay in the market so that he
+could doss and dung to his heart's content. By this time the father of
+the faithful (for so they called him) was grown so heavy that he could
+scarce walk to pasture. To remedy which our cozening dames and damsels
+brought him his fodder in their apronlaps and as soon as his belly was
+full he would rear up on his hind uarters to show their ladyships a
+mystery and roar and bellow out of him in bulls' language and they all
+after him. Ay, says another, and so pampered was he that he would suffer
+nought to grow in all the land but green grass for himself (for that was
+the only colour to his mind) and there was a board put up on a hillock in
+the middle of the island with a printed notice, saying: By the Lord
+Harry, Green is the grass that grows on the ground. And, says Mr Dixon,
+if ever he got scent of a cattleraider in Roscommon or the wilds of
+Connemara or a husbandman in Sligo that was sowing as much as a handful
+of mustard or a bag of rapeseed out he'd run amok over half the
+countryside rooting up with his horns whatever was planted and all by
+lord Harry's orders. There was bad blood between them at first, says Mr
+Vincent, and the lord Harry called farmer Nicholas all the old Nicks in
+the world and an old whoremaster that kept seven trulls in his house and
+I'll meddle in his matters, says he. I'll make that animal smell hell,
+says he, with the help of that good pizzle my father left me. But one
+evening, says Mr Dixon, when the lord Harry was cleaning his royal pelt
+to go to dinner after winning a boatrace (he had spade oars for himself
+but the first rule of the course was that the others were to row with
+pitchforks) he discovered in himself a wonderful likeness to a bull and
+on picking up a blackthumbed chapbook that he kept in the pantry he found
+sure enough that he was a lefthanded descendant of the famous champion
+bull of the Romans, BOS BOVUM, which is good bog Latin for boss of the
+show. After that, says Mr Vincent, the lord Harry put his head into a
+cow's drinkingtrough in the presence of all his courtiers and pulling it
+out again told them all his new name. Then, with the water running off
+him, he got into an old smock and skirt that had belonged to his
+grandmother and bought a grammar of the bulls' language to study but he
+could never learn a word of it except the first personal pronoun which he
+copied out big and got off by heart and if ever he went out for a walk he
+filled his pockets with chalk to write it upon what took his fancy, the
+side of a rock or a teahouse table or a bale of cotton or a corkfloat. In
+short, he and the bull of Ireland were soon as fast friends as an arse
+and a shirt. They were, says Mr Stephen, and the end was that the men of
+the island seeing no help was toward, as the ungrate women were all of
+one mind, made a wherry raft, loaded themselves and their bundles of
+chattels on shipboard, set all masts erect, manned the yards, sprang
+their luff, heaved to, spread three sheets in the wind, put her head
+between wind and water, weighed anchor, ported her helm, ran up the jolly
+Roger, gave three times three, let the bullgine run, pushed off in their
+bumboat and put to sea to recover the main of America. Which was the
+occasion, says Mr Vincent, of the composing by a boatswain of that
+rollicking chanty:
+
+
+  --POPE PETER'S BUT A PISSABED.
+    A MAN'S A MAN FOR A' THAT.
+
+
+Our worthy acquaintance Mr Malachi Mulligan now appeared in the doorway
+as the students were finishing their apologue accompanied with a friend
+whom he had just rencountered, a young gentleman, his name Alec Bannon,
+who had late come to town, it being his intention to buy a colour or a
+cornetcy in the fencibles and list for the wars. Mr Mulligan was civil
+enough to express some relish of it all the more as it jumped with a
+project of his own for the cure of the very evil that had been touched
+on. Whereat he handed round to the company a set of pasteboard cards
+which he had had printed that day at Mr Quinnell's bearing a legend
+printed in fair italics: MR MALACHI MULLIGAN. FERTILISER AND INCUBATOR.
+LAMBAY ISLAND. His project, as he went on to expound, was to withdraw
+from the round of idle pleasures such as form the chief business of sir
+Fopling Popinjay and sir Milksop Quidnunc in town and to devote himself
+to the noblest task for which our bodily organism has been framed. Well,
+let us hear of it, good my friend, said Mr Dixon. I make no doubt it
+smacks of wenching. Come, be seated, both. 'Tis as cheap sitting as
+standing. Mr Mulligan accepted of the invitation and, expatiating upon
+his design, told his hearers that he had been led into this thought by a
+consideration of the causes of sterility, both the inhibitory and the
+prohibitory, whether the inhibition in its turn were due to conjugal
+vexations or to a parsimony of the balance as well as whether the
+prohibition proceeded from defects congenital or from proclivities
+acquired. It grieved him plaguily, he said, to see the nuptial couch
+defrauded of its dearest pledges: and to reflect upon so many agreeable
+females with rich jointures, a prey to the vilest bonzes, who hide their
+flambeau under a bushel in an uncongenial cloister or lose their womanly
+bloom in the embraces of some unaccountable muskin when they might
+multiply the inlets of happiness, sacrificing the inestimable jewel of
+their sex when a hundred pretty fellows were at hand to caress, this, he
+assured them, made his heart weep. To curb this inconvenient (which he
+concluded due to a suppression of latent heat), having advised with
+certain counsellors of worth and inspected into this matter, he had
+resolved to purchase in fee simple for ever the freehold of Lambay island
+from its holder, lord Talbot de Malahide, a Tory gentleman of note much
+in favour with our ascendancy party. He proposed to set up there a
+national fertilising farm to be named OMPHALOS with an obelisk hewn and
+erected after the fashion of Egypt and to offer his dutiful yeoman
+services for the fecundation of any female of what grade of life soever
+who should there direct to him with the desire of fulfilling the
+functions of her natural. Money was no object, he said, nor would he take
+a penny for his pains. The poorest kitchenwench no less than the opulent
+lady of fashion, if so be their constructions and their tempers were warm
+persuaders for their petitions, would find in him their man. For his
+nutriment he shewed how he would feed himself exclusively upon a diet of
+savoury tubercles and fish and coneys there, the flesh of these latter
+prolific rodents being highly recommended for his purpose, both broiled
+and stewed with a blade of mace and a pod or two of capsicum chillies.
+After this homily which he delivered with much warmth of asseveration Mr
+Mulligan in a trice put off from his hat a kerchief with which he had
+shielded it. They both, it seems, had been overtaken by the rain and for
+all their mending their pace had taken water, as might be observed by Mr
+Mulligan's smallclothes of a hodden grey which was now somewhat piebald.
+His project meanwhile was very favourably entertained by his auditors and
+won hearty eulogies from all though Mr Dixon of Mary's excepted to it,
+asking with a finicking air did he purpose also to carry coals to
+Newcastle. Mr Mulligan however made court to the scholarly by an apt
+quotation from the classics which, as it dwelt upon his memory, seemed to
+him a sound and tasteful support of his contention: TALIS AC TANTA
+DEPRAVATIO HUJUS SECULI, O QUIRITES, UT MATRESFAMILIARUM NOSTRAE LASCIVAS
+CUJUSLIBET SEMIVIRI LIBICI TITILLATIONES TESTIBUS PONDEROSIS ATQUE
+EXCELSIS ERECTIONIBUS CENTURIONUM ROMANORUM MAGNOPERE ANTEPONUNT, while
+for those of ruder wit he drove home his point by analogies of the animal
+kingdom more suitable to their stomach, the buck and doe of the forest
+glade, the farmyard drake and duck.
+
+Valuing himself not a little upon his elegance, being indeed a proper man
+of person, this talkative now applied himself to his dress with
+animadversions of some heat upon the sudden whimsy of the atmospherics
+while the company lavished their encomiums upon the project he had
+advanced. The young gentleman, his friend, overjoyed as he was at a
+passage that had late befallen him, could not forbear to tell it his
+nearest neighbour. Mr Mulligan, now perceiving the table, asked for whom
+were those loaves and fishes and, seeing the stranger, he made him a
+civil bow and said, Pray, sir, was you in need of any professional
+assistance we could give? Who, upon his offer, thanked him very heartily,
+though preserving his proper distance, and replied that he was come there
+about a lady, now an inmate of Horne's house, that was in an interesting
+condition, poor body, from woman's woe (and here he fetched a deep sigh)
+to know if her happiness had yet taken place. Mr Dixon, to turn the
+table, took on to ask of Mr Mulligan himself whether his incipient
+ventripotence, upon which he rallied him, betokened an ovoblastic
+gestation in the prostatic utricle or male womb or was due, as with the
+noted physician, Mr Austin Meldon, to a wolf in the stomach. For answer
+Mr Mulligan, in a gale of laughter at his smalls, smote himself bravely
+below the diaphragm, exclaiming with an admirable droll mimic of Mother
+Grogan (the most excellent creature of her sex though 'tis pity she's a
+trollop): There's a belly that never bore a bastard. This was so happy a
+conceit that it renewed the storm of mirth and threw the whole room into
+the most violent agitations of delight. The spry rattle had run on in the
+same vein of mimicry but for some larum in the antechamber.
+
+Here the listener who was none other than the Scotch student, a little
+fume of a fellow, blond as tow, congratulated in the liveliest fashion
+with the young gentleman and, interrupting the narrative at a salient
+point, having desired his visavis with a polite beck to have the
+obligingness to pass him a flagon of cordial waters at the same time by a
+questioning poise of the head (a whole century of polite breeding had not
+achieved so nice a gesture) to which was united an equivalent but
+contrary balance of the bottle asked the narrator as plainly as was ever
+done in words if he might treat him with a cup of it. MAIS BIEN SUR,
+noble stranger, said he cheerily, ET MILLE COMPLIMENTS. That you may and
+very opportunely. There wanted nothing but this cup to crown my felicity.
+But, gracious heaven, was I left with but a crust in my wallet and a
+cupful of water from the well, my God, I would accept of them and find it
+in my heart to kneel down upon the ground and give thanks to the powers
+above for the happiness vouchsafed me by the Giver of good things. With
+these words he approached the goblet to his lips, took a complacent
+draught of the cordial, slicked his hair and, opening his bosom, out
+popped a locket that hung from a silk riband, that very picture which he
+had cherished ever since her hand had wrote therein. Gazing upon those
+features with a world of tenderness, Ah, Monsieur, he said, had you but
+beheld her as I did with these eyes at that affecting instant with her
+dainty tucker and her new coquette cap (a gift for her feastday as she
+told me prettily) in such an artless disorder, of so melting a
+tenderness, 'pon my conscience, even you, Monsieur, had been impelled by
+generous nature to deliver yourself wholly into the hands of such an
+enemy or to quit the field for ever. I declare, I was never so touched in
+all my life. God, I thank thee, as the Author of my days! Thrice happy
+will he be whom so amiable a creature will bless with her favours. A sigh
+of affection gave eloquence to these words and, having replaced the
+locket in his bosom, he wiped his eye and sighed again. Beneficent
+Disseminator of blessings to all Thy creatures, how great and universal
+must be that sweetest of Thy tyrannies which can hold in thrall the free
+and the bond, the simple swain and the polished coxcomb, the lover in the
+heyday of reckless passion and the husband of maturer years. But indeed,
+sir, I wander from the point. How mingled and imperfect are all our
+sublunary joys. Maledicity! he exclaimed in anguish. Would to God that
+foresight had but remembered me to take my cloak along! I could weep to
+think of it. Then, though it had poured seven showers, we were neither of
+us a penny the worse. But beshrew me, he cried, clapping hand to his
+forehead, tomorrow will be a new day and, thousand thunders, I know of a
+MARCHAND DE CAPOTES, Monsieur Poyntz, from whom I can have for a livre as
+snug a cloak of the French fashion as ever kept a lady from wetting. Tut,
+tut! cries Le Fecondateur, tripping in, my friend Monsieur Moore, that
+most accomplished traveller (I have just cracked a half bottle AVEC LUI
+in a circle of the best wits of the town), is my authority that in Cape
+Horn, VENTRE BICHE, they have a rain that will wet through any, even the
+stoutest cloak. A drenching of that violence, he tells me, SANS BLAGUE,
+has sent more than one luckless fellow in good earnest posthaste to
+another world. Pooh! A LIVRE! cries Monsieur Lynch. The clumsy things are
+dear at a sou. One umbrella, were it no bigger than a fairy mushroom, is
+worth ten such stopgaps. No woman of any wit would wear one. My dear
+Kitty told me today that she would dance in a deluge before ever she
+would starve in such an ark of salvation for, as she reminded me
+(blushing piquantly and whispering in my ear though there was none to
+snap her words but giddy butterflies), dame Nature, by the divine
+blessing, has implanted it in our hearts and it has become a household
+word that IL Y A DEUX CHOSES for which the innocence of our original
+garb, in other circumstances a breach of the proprieties, is the fittest,
+nay, the only garment. The first, said she (and here my pretty
+philosopher, as I handed her to her tilbury, to fix my attention, gently
+tipped with her tongue the outer chamber of my ear), the first is a bath
+... But at this point a bell tinkling in the hall cut short a discourse
+which promised so bravely for the enrichment of our store of knowledge.
+
+Amid the general vacant hilarity of the assembly a bell rang and, while
+all were conjecturing what might be the cause, Miss Callan entered and,
+having spoken a few words in a low tone to young Mr Dixon, retired with a
+profound bow to the company. The presence even for a moment among a party
+of debauchees of a woman endued with every quality of modesty and not
+less severe than beautiful refrained the humourous sallies even of the
+most licentious but her departure was the signal for an outbreak of
+ribaldry. Strike me silly, said Costello, a low fellow who was fuddled. A
+monstrous fine bit of cowflesh! I'll be sworn she has rendezvoused you.
+What, you dog? Have you a way with them? Gad's bud, immensely so, said Mr
+Lynch. The bedside manner it is that they use in the Mater hospice.
+Demme, does not Doctor O'Gargle chuck the nuns there under the chin. As I
+look to be saved I had it from my Kitty who has been wardmaid there any
+time these seven months. Lawksamercy, doctor, cried the young blood in
+the primrose vest, feigning a womanish simper and with immodest
+squirmings of his body, how you do tease a body! Drat the man! Bless me,
+I'm all of a wibbly wobbly. Why, you're as bad as dear little Father
+Cantekissem, that you are! May this pot of four half choke me, cried
+Costello, if she aint in the family way. I knows a lady what's got a
+white swelling quick as I claps eyes on her. The young surgeon, however,
+rose and begged the company to excuse his retreat as the nurse had just
+then informed him that he was needed in the ward. Merciful providence had
+been pleased to put a period to the sufferings of the lady who was
+ENCEINTE which she had borne with a laudable fortitude and she had given
+birth to a bouncing boy. I want patience, said he, with those who,
+without wit to enliven or learning to instruct, revile an ennobling
+profession which, saving the reverence due to the Deity, is the greatest
+power for happiness upon the earth. I am positive when I say that if need
+were I could produce a cloud of witnesses to the excellence of her noble
+exercitations which, so far from being a byword, should be a glorious
+incentive in the human breast. I cannot away with them. What? Malign such
+an one, the amiable Miss Callan, who is the lustre of her own sex and the
+astonishment of ours? And at an instant the most momentous that can
+befall a puny child of clay? Perish the thought! I shudder to think of
+the future of a race where the seeds of such malice have been sown and
+where no right reverence is rendered to mother and maid in house of
+Horne. Having delivered himself of this rebuke he saluted those present
+on the by and repaired to the door. A murmur of approval arose from all
+and some were for ejecting the low soaker without more ado, a design
+which would have been effected nor would he have received more than his
+bare deserts had he not abridged his transgression by affirming with a
+horrid imprecation (for he swore a round hand) that he was as good a son
+of the true fold as ever drew breath. Stap my vitals, said he, them was
+always the sentiments of honest Frank Costello which I was bred up most
+particular to honour thy father and thy mother that had the best hand to
+a rolypoly or a hasty pudding as you ever see what I always looks back on
+with a loving heart.
+
+To revert to Mr Bloom who, after his first entry, had been conscious of
+some impudent mocks which he however had borne with as being the fruits
+of that age upon which it is commonly charged that it knows not pity. The
+young sparks, it is true, were as full of extravagancies as overgrown
+children: the words of their tumultuary discussions were difficultly
+understood and not often nice: their testiness and outrageous MOTS were
+such that his intellects resiled from: nor were they scrupulously
+sensible of the proprieties though their fund of strong animal spirits
+spoke in their behalf. But the word of Mr Costello was an unwelcome
+language for him for he nauseated the wretch that seemed to him a
+cropeared creature of a misshapen gibbosity, born out of wedlock and
+thrust like a crookback toothed and feet first into the world, which the
+dint of the surgeon's pliers in his skull lent indeed a colour to, so as
+to put him in thought of that missing link of creation's chain
+desiderated by the late ingenious Mr Darwin. It was now for more than the
+middle span of our allotted years that he had passed through the thousand
+vicissitudes of existence and, being of a wary ascendancy and self a man
+of rare forecast, he had enjoined his heart to repress all motions of a
+rising choler and, by intercepting them with the readiest precaution,
+foster within his breast that plenitude of sufferance which base minds
+jeer at, rash judgers scorn and all find tolerable and but tolerable. To
+those who create themselves wits at the cost of feminine delicacy (a
+habit of mind which he never did hold with) to them he would concede
+neither to bear the name nor to herit the tradition of a proper breeding:
+while for such that, having lost all forbearance, can lose no more, there
+remained the sharp antidote of experience to cause their insolency to
+beat a precipitate and inglorious retreat. Not but what he could feel
+with mettlesome youth which, caring nought for the mows of dotards or the
+gruntlings of the severe, is ever (as the chaste fancy of the Holy Writer
+expresses it) for eating of the tree forbid it yet not so far forth as to
+pretermit humanity upon any condition soever towards a gentlewoman when
+she was about her lawful occasions. To conclude, while from the sister's
+words he had reckoned upon a speedy delivery he was, however, it must be
+owned, not a little alleviated by the intelligence that the issue so
+auspicated after an ordeal of such duress now testified once more to the
+mercy as well as to the bounty of the Supreme Being.
+
+Accordingly he broke his mind to his neighbour, saying that, to express
+his notion of the thing, his opinion (who ought not perchance to express
+one) was that one must have a cold constitution and a frigid genius not
+to be rejoiced by this freshest news of the fruition of her confinement
+since she had been in such pain through no fault of hers. The dressy
+young blade said it was her husband's that put her in that expectation or
+at least it ought to be unless she were another Ephesian matron. I must
+acquaint you, said Mr Crotthers, clapping on the table so as to evoke a
+resonant comment of emphasis, old Glory Allelujurum was round again
+today, an elderly man with dundrearies, preferring through his nose a
+request to have word of Wilhelmina, my life, as he calls her. I bade him
+hold himself in readiness for that the event would burst anon. 'Slife,
+I'll be round with you. I cannot but extol the virile potency of the old
+bucko that could still knock another child out of her. All fell to
+praising of it, each after his own fashion, though the same young blade
+held with his former view that another than her conjugial had been the
+man in the gap, a clerk in orders, a linkboy (virtuous) or an itinerant
+vendor of articles needed in every household. Singular, communed the
+guest with himself, the wonderfully unequal faculty of metempsychosis
+possessed by them, that the puerperal dormitory and the dissecting
+theatre should be the seminaries of such frivolity, that the mere
+acquisition of academic titles should suffice to transform in a pinch of
+time these votaries of levity into exemplary practitioners of an art
+which most men anywise eminent have esteemed the noblest. But, he further
+added, it is mayhap to relieve the pentup feelings that in common oppress
+them for I have more than once observed that birds of a feather laugh
+together.
+
+But with what fitness, let it be asked of the noble lord, his patron, has
+this alien, whom the concession of a gracious prince has admitted to
+civic rights, constituted himself the lord paramount of our internal
+polity? Where is now that gratitude which loyalty should have counselled?
+During the recent war whenever the enemy had a temporary advantage with
+his granados did this traitor to his kind not seize that moment to
+discharge his piece against the empire of which he is a tenant at will
+while he trembled for the security of his four per cents? Has he
+forgotten this as he forgets all benefits received? Or is it that from
+being a deluder of others he has become at last his own dupe as he is, if
+report belie him not, his own and his only enjoyer? Far be it from
+candour to violate the bedchamber of a respectable lady, the daughter of
+a gallant major, or to cast the most distant reflections upon her virtue
+but if he challenges attention there (as it was indeed highly his
+interest not to have done) then be it so. Unhappy woman, she has been too
+long and too persistently denied her legitimate prerogative to listen to
+his objurgations with any other feeling than the derision of the
+desperate. He says this, a censor of morals, a very pelican in his piety,
+who did not scruple, oblivious of the ties of nature, to attempt illicit
+intercourse with a female domestic drawn from the lowest strata of
+society! Nay, had the hussy's scouringbrush not been her tutelary angel,
+it had gone with her as hard as with Hagar, the Egyptian! In the question
+of the grazing lands his peevish asperity is notorious and in Mr Cuffe's
+hearing brought upon him from an indignant rancher a scathing retort
+couched in terms as straightforward as they were bucolic. It ill becomes
+him to preach that gospel. Has he not nearer home a seedfield that lies
+fallow for the want of the ploughshare? A habit reprehensible at puberty
+is second nature and an opprobrium in middle life. If he must dispense
+his balm of Gilead in nostrums and apothegms of dubious taste to restore
+to health a generation of unfledged profligates let his practice consist
+better with the doctrines that now engross him. His marital breast is the
+repository of secrets which decorum is reluctant to adduce. The lewd
+suggestions of some faded beauty may console him for a consort neglected
+and debauched but this new exponent of morals and healer of ills is at
+his best an exotic tree which, when rooted in its native orient, throve
+and flourished and was abundant in balm but, transplanted to a clime more
+temperate, its roots have lost their quondam vigour while the stuff that
+comes away from it is stagnant, acid and inoperative.
+
+The news was imparted with a circumspection recalling the ceremonial
+usage of the Sublime Porte by the second female infirmarian to the junior
+medical officer in residence, who in his turn announced to the delegation
+that an heir had been born, When he had betaken himself to the women's
+apartment to assist at the prescribed ceremony of the afterbirth in the
+presence of the secretary of state for domestic affairs and the members
+of the privy council, silent in unanimous exhaustion and approbation the
+delegates, chafing under the length and solemnity of their vigil and
+hoping that the joyful occurrence would palliate a licence which the
+simultaneous absence of abigail and obstetrician rendered the easier,
+broke out at once into a strife of tongues. In vain the voice of Mr
+Canvasser Bloom was heard endeavouring to urge, to mollify, to refrain.
+The moment was too propitious for the display of that discursiveness
+which seemed the only bond of union among tempers so divergent. Every
+phase of the situation was successively eviscerated: the prenatal
+repugnance of uterine brothers, the Caesarean section, posthumity with
+respect to the father and, that rarer form, with respect to the mother,
+the fratricidal case known as the Childs Murder and rendered memorable by
+the impassioned plea of Mr Advocate Bushe which secured the acquittal of
+the wrongfully accused, the rights of primogeniture and king's bounty
+touching twins and triplets, miscarriages and infanticides, simulated or
+dissimulated, the acardiac FOETUS IN FOETU and aprosopia due to a
+congestion, the agnathia of certain chinless Chinamen (cited by Mr
+Candidate Mulligan) in consequence of defective reunion of the maxillary
+knobs along the medial line so that (as he said) one ear could hear what
+the other spoke, the benefits of anesthesia or twilight sleep, the
+prolongation of labour pains in advanced gravidancy by reason of pressure
+on the vein, the premature relentment of the amniotic fluid (as
+exemplified in the actual case) with consequent peril of sepsis to the
+matrix, artificial insemination by means of syringes, involution of the
+womb consequent upon the menopause, the problem of the perpetration of
+the species in the case of females impregnated by delinquent rape, that
+distressing manner of delivery called by the Brandenburghers STURZGEBURT,
+the recorded instances of multiseminal, twikindled and monstrous births
+conceived during the catamenic period or of consanguineous parents--in a
+word all the cases of human nativity which Aristotle has classified in
+his masterpiece with chromolithographic illustrations. The gravest
+problems of obstetrics and forensic medicine were examined with as much
+animation as the most popular beliefs on the state of pregnancy such as
+the forbidding to a gravid woman to step over a countrystile lest, by her
+movement, the navelcord should strangle her creature and the injunction
+upon her in the event of a yearning, ardently and ineffectually
+entertained, to place her hand against that part of her person which long
+usage has consecrated as the seat of castigation. The abnormalities of
+harelip, breastmole, supernumerary digits, negro's inkle, strawberry mark
+and portwine stain were alleged by one as a PRIMA FACIE and natural
+hypothetical explanation of those swineheaded (the case of Madame Grissel
+Steevens was not forgotten) or doghaired infants occasionally born. The
+hypothesis of a plasmic memory, advanced by the Caledonian envoy and
+worthy of the metaphysical traditions of the land he stood for, envisaged
+in such cases an arrest of embryonic development at some stage antecedent
+to the human. An outlandish delegate sustained against both these views,
+with such heat as almost carried conviction, the theory of copulation
+between women and the males of brutes, his authority being his own
+avouchment in support of fables such as that of the Minotaur which the
+genius of the elegant Latin poet has handed down to us in the pages of
+his Metamorphoses. The impression made by his words was immediate but
+shortlived. It was effaced as easily as it had been evoked by an
+allocution from Mr Candidate Mulligan in that vein of pleasantry which
+none better than he knew how to affect, postulating as the supremest
+object of desire a nice clean old man. Contemporaneously, a heated
+argument having arisen between Mr Delegate Madden and Mr Candidate Lynch
+regarding the juridical and theological dilemma created in the event of
+one Siamese twin predeceasing the other, the difficulty by mutual consent
+was referred to Mr Canvasser Bloom for instant submittal to Mr Coadjutor
+Deacon Dedalus. Hitherto silent, whether the better to show by
+preternatural gravity that curious dignity of the garb with which he was
+invested or in obedience to an inward voice, he delivered briefly and, as
+some thought, perfunctorily the ecclesiastical ordinance forbidding man
+to put asunder what God has joined.
+
+But Malachias' tale began to freeze them with horror. He conjured up the
+scene before them. The secret panel beside the chimney slid back and in
+the recess appeared ... Haines! Which of us did not feel his flesh creep!
+He had a portfolio full of Celtic literature in one hand, in the other a
+phial marked POISON. Surprise, horror, loathing were depicted on all
+faces while he eyed them with a ghostly grin. I anticipated some such
+reception, he began with an eldritch laugh, for which, it seems, history
+is to blame. Yes, it is true. I am the murderer of Samuel Childs. And how
+I am punished! The inferno has no terrors for me. This is the appearance
+is on me. Tare and ages, what way would I be resting at all, he muttered
+thickly, and I tramping Dublin this while back with my share of songs and
+himself after me the like of a soulth or a bullawurrus? My hell, and
+Ireland's, is in this life. It is what I tried to obliterate my crime.
+Distractions, rookshooting, the Erse language (he recited some), laudanum
+(he raised the phial to his lips), camping out. In vain! His spectre
+stalks me. Dope is my only hope ... Ah! Destruction! The black panther!
+With a cry he suddenly vanished and the panel slid back. An instant later
+his head appeared in the door opposite and said: Meet me at Westland Row
+station at ten past eleven. He was gone. Tears gushed from the eyes of
+the dissipated host. The seer raised his hand to heaven, murmuring: The
+vendetta of Mananaun! The sage repeated: LEX TALIONIS. The sentimentalist
+is he who would enjoy without incurring the immense debtorship for a
+thing done. Malachias, overcome by emotion, ceased. The mystery was
+unveiled. Haines was the third brother. His real name was Childs. The
+black panther was himself the ghost of his own father. He drank drugs to
+obliterate. For this relief much thanks. The lonely house by the
+graveyard is uninhabited. No soul will live there. The spider pitches her
+web in the solitude. The nocturnal rat peers from his hole. A curse is on
+it. It is haunted. Murderer's ground.
+
+What is the age of the soul of man? As she hath the virtue of the
+chameleon to change her hue at every new approach, to be gay with the
+merry and mournful with the downcast, so too is her age changeable as her
+mood. No longer is Leopold, as he sits there, ruminating, chewing the cud
+of reminiscence, that staid agent of publicity and holder of a modest
+substance in the funds. A score of years are blown away. He is young
+Leopold. There, as in a retrospective arrangement, a mirror within a
+mirror (hey, presto!), he beholdeth himself. That young figure of then is
+seen, precociously manly, walking on a nipping morning from the old house
+in Clanbrassil street to the high school, his booksatchel on him
+bandolierwise, and in it a goodly hunk of wheaten loaf, a mother's
+thought. Or it is the same figure, a year or so gone over, in his first
+hard hat (ah, that was a day!), already on the road, a fullfledged
+traveller for the family firm, equipped with an orderbook, a scented
+handkerchief (not for show only), his case of bright trinketware (alas! a
+thing now of the past!) and a quiverful of compliant smiles for this or
+that halfwon housewife reckoning it out upon her fingertips or for a
+budding virgin, shyly acknowledging (but the heart? tell me!) his studied
+baisemoins. The scent, the smile, but, more than these, the dark eyes and
+oleaginous address, brought home at duskfall many a commission to the
+head of the firm, seated with Jacob's pipe after like labours in the
+paternal ingle (a meal of noodles, you may be sure, is aheating), reading
+through round horned spectacles some paper from the Europe of a month
+before. But hey, presto, the mirror is breathed on and the young
+knighterrant recedes, shrivels, dwindles to a tiny speck within the mist.
+Now he is himself paternal and these about him might be his sons. Who can
+say? The wise father knows his own child. He thinks of a drizzling night
+in Hatch street, hard by the bonded stores there, the first. Together
+(she is a poor waif, a child of shame, yours and mine and of all for a
+bare shilling and her luckpenny), together they hear the heavy tread of
+the watch as two raincaped shadows pass the new royal university. Bridie!
+Bridie Kelly! He will never forget the name, ever remember the night:
+first night, the bridenight. They are entwined in nethermost darkness,
+the willer with the willed, and in an instant (FIAT!) light shall flood
+the world. Did heart leap to heart? Nay, fair reader. In a breath 'twas
+done but--hold! Back! It must not be! In terror the poor girl flees away
+through the murk. She is the bride of darkness, a daughter of night. She
+dare not bear the sunnygolden babe of day. No, Leopold. Name and memory
+solace thee not. That youthful illusion of thy strength was taken from
+thee--and in vain. No son of thy loins is by thee. There is none now to
+be for Leopold, what Leopold was for Rudolph.
+
+The voices blend and fuse in clouded silence: silence that is the
+infinite of space: and swiftly, silently the soul is wafted over regions
+of cycles of generations that have lived. A region where grey twilight
+ever descends, never falls on wide sagegreen pasturefields, shedding her
+dusk, scattering a perennial dew of stars. She follows her mother with
+ungainly steps, a mare leading her fillyfoal. Twilight phantoms are they,
+yet moulded in prophetic grace of structure, slim shapely haunches, a
+supple tendonous neck, the meek apprehensive skull. They fade, sad
+phantoms: all is gone. Agendath is a waste land, a home of screechowls
+and the sandblind upupa. Netaim, the golden, is no more. And on the
+highway of the clouds they come, muttering thunder of rebellion, the
+ghosts of beasts. Huuh! Hark! Huuh! Parallax stalks behind and goads
+them, the lancinating lightnings of whose brow are scorpions. Elk and
+yak, the bulls of Bashan and of Babylon, mammoth and mastodon, they come
+trooping to the sunken sea, LACUS MORTIS. Ominous revengeful zodiacal
+host! They moan, passing upon the clouds, horned and capricorned, the
+trumpeted with the tusked, the lionmaned, the giantantlered, snouter and
+crawler, rodent, ruminant and pachyderm, all their moving moaning
+multitude, murderers of the sun.
+
+Onward to the dead sea they tramp to drink, unslaked and with horrible
+gulpings, the salt somnolent inexhaustible flood. And the equine portent
+grows again, magnified in the deserted heavens, nay to heaven's own
+magnitude, till it looms, vast, over the house of Virgo. And lo, wonder
+of metempsychosis, it is she, the everlasting bride, harbinger of the
+daystar, the bride, ever virgin. It is she, Martha, thou lost one,
+Millicent, the young, the dear, the radiant. How serene does she now
+arise, a queen among the Pleiades, in the penultimate antelucan hour,
+shod in sandals of bright gold, coifed with a veil of what do you call it
+gossamer. It floats, it flows about her starborn flesh and loose it
+streams, emerald, sapphire, mauve and heliotrope, sustained on currents
+of the cold interstellar wind, winding, coiling, simply swirling,
+writhing in the skies a mysterious writing till, after a myriad
+metamorphoses of symbol, it blazes, Alpha, a ruby and triangled sign upon
+the forehead of Taurus.
+
+Francis was reminding Stephen of years before when they had been at
+school together in Conmee's time. He asked about Glaucon, Alcibiades,
+Pisistratus. Where were they now? Neither knew. You have spoken of the
+past and its phantoms, Stephen said. Why think of them? If I call them
+into life across the waters of Lethe will not the poor ghosts troop to my
+call? Who supposes it? I, Bous Stephanoumenos, bullockbefriending bard,
+am lord and giver of their life. He encircled his gadding hair with a
+coronal of vineleaves, smiling at Vincent. That answer and those leaves,
+Vincent said to him, will adorn you more fitly when something more, and
+greatly more, than a capful of light odes can call your genius father.
+All who wish you well hope this for you. All desire to see you bring
+forth the work you meditate, to acclaim you Stephaneforos. I heartily
+wish you may not fail them. O no, Vincent Lenehan said, laying a hand on
+the shoulder near him. Have no fear. He could not leave his mother an
+orphan. The young man's face grew dark. All could see how hard it was for
+him to be reminded of his promise and of his recent loss. He would have
+withdrawn from the feast had not the noise of voices allayed the smart.
+Madden had lost five drachmas on Sceptre for a whim of the rider's name:
+Lenehan as much more. He told them of the race. The flag fell and, huuh!
+off, scamper, the mare ran out freshly with O. Madden up. She was leading
+the field. All hearts were beating. Even Phyllis could not contain
+herself. She waved her scarf and cried: Huzzah! Sceptre wins! But in the
+straight on the run home when all were in close order the dark horse
+Throwaway drew level, reached, outstripped her. All was lost now. Phyllis
+was silent: her eyes were sad anemones. Juno, she cried, I am undone. But
+her lover consoled her and brought her a bright casket of gold in which
+lay some oval sugarplums which she partook. A tear fell: one only. A
+whacking fine whip, said Lenehan, is W. Lane. Four winners yesterday and
+three today. What rider is like him? Mount him on the camel or the
+boisterous buffalo the victory in a hack canter is still his. But let us
+bear it as was the ancient wont. Mercy on the luckless! Poor Sceptre! he
+said with a light sigh. She is not the filly that she was. Never, by this
+hand, shall we behold such another. By gad, sir, a queen of them. Do you
+remember her, Vincent? I wish you could have seen my queen today, Vincent
+said. How young she was and radiant (Lalage were scarce fair beside her)
+in her yellow shoes and frock of muslin, I do not know the right name of
+it. The chestnuts that shaded us were in bloom: the air drooped with
+their persuasive odour and with pollen floating by us. In the sunny
+patches one might easily have cooked on a stone a batch of those buns
+with Corinth fruit in them that Periplipomenes sells in his booth near
+the bridge. But she had nought for her teeth but the arm with which I
+held her and in that she nibbled mischievously when I pressed too close.
+A week ago she lay ill, four days on the couch, but today she was free,
+blithe, mocked at peril. She is more taking then. Her posies tool Mad
+romp that she is, she had pulled her fill as we reclined together. And in
+your ear, my friend, you will not think who met us as we left the field.
+Conmee himself! He was walking by the hedge, reading, I think a brevier
+book with, I doubt not, a witty letter in it from Glycera or Chloe to
+keep the page. The sweet creature turned all colours in her confusion,
+feigning to reprove a slight disorder in her dress: a slip of underwood
+clung there for the very trees adore her. When Conmee had passed she
+glanced at her lovely echo in that little mirror she carries. But he had
+been kind. In going by he had blessed us. The gods too are ever kind,
+Lenehan said. If I had poor luck with Bass's mare perhaps this draught of
+his may serve me more propensely. He was laying his hand upon a winejar:
+Malachi saw it and withheld his act, pointing to the stranger and to the
+scarlet label. Warily, Malachi whispered, preserve a druid silence. His
+soul is far away. It is as painful perhaps to be awakened from a vision
+as to be born. Any object, intensely regarded, may be a gate of access to
+the incorruptible eon of the gods. Do you not think it, Stephen?
+Theosophos told me so, Stephen answered, whom in a previous existence
+Egyptian priests initiated into the mysteries of karmic law. The lords of
+the moon, Theosophos told me, an orangefiery shipload from planet Alpha
+of the lunar chain would not assume the etheric doubles and these were
+therefore incarnated by the rubycoloured egos from the second
+constellation.
+
+However, as a matter of fact though, the preposterous surmise about him
+being in some description of a doldrums or other or mesmerised which was.
+entirely due to a misconception of the shallowest character, was not the
+case at all. The individual whose visual organs while the above was going
+on were at this juncture commencing to exhibit symptoms of animation was
+as astute if not astuter than any man living and anybody that conjectured
+the contrary would have found themselves pretty speedily in the wrong
+shop. During the past four minutes or thereabouts he had been staring
+hard at a certain amount of number one Bass bottled by Messrs Bass and Co
+at Burton-on-Trent which happened to be situated amongst a lot of others
+right opposite to where he was and which was certainly calculated to
+attract anyone's remark on account of its scarlet appearance. He was
+simply and solely, as it subsequently transpired for reasons best known
+to himself, which put quite an altogether different complexion on the
+proceedings, after the moment before's observations about boyhood days
+and the turf, recollecting two or three private transactions of his own
+which the other two were as mutually innocent of as the babe unborn.
+Eventually, however, both their eyes met and as soon as it began to dawn
+on him that the other was endeavouring to help himself to the thing he
+involuntarily determined to help him himself and so he accordingly took
+hold of the neck of the mediumsized glass recipient which contained the
+fluid sought after and made a capacious hole in it by pouring a lot of it
+out with, also at the same time, however, a considerable degree of
+attentiveness in order not to upset any of the beer that was in it about
+the place.
+
+The debate which ensued was in its scope and progress an epitome of the
+course of life. Neither place nor council was lacking in dignity. The
+debaters were the keenest in the land, the theme they were engaged on the
+loftiest and most vital. The high hall of Horne's house had never beheld
+an assembly so representative and so varied nor had the old rafters of
+that establishment ever listened to a language so encyclopaedic. A
+gallant scene in truth it made. Crotthers was there at the foot of the
+table in his striking Highland garb, his face glowing from the briny airs
+of the Mull of Galloway. There too, opposite to him, was Lynch whose
+countenance bore already the stigmata of early depravity and premature
+wisdom. Next the Scotchman was the place assigned to Costello, the
+eccentric, while at his side was seated in stolid repose the squat form
+of Madden. The chair of the resident indeed stood vacant before the
+hearth but on either flank of it the figure of Bannon in explorer's kit
+of tweed shorts and salted cowhide brogues contrasted sharply with the
+primrose elegance and townbred manners of Malachi Roland St John
+Mulligan. Lastly at the head of the board was the young poet who found a
+refuge from his labours of pedagogy and metaphysical inquisition in the
+convivial atmosphere of Socratic discussion, while to right and left of
+him were accommodated the flippant prognosticator, fresh from the
+hippodrome, and that vigilant wanderer, soiled by the dust of travel and
+combat and stained by the mire of an indelible dishonour, but from whose
+steadfast and constant heart no lure or peril or threat or degradation
+could ever efface the image of that voluptuous loveliness which the
+inspired pencil of Lafayette has limned for ages yet to come.
+
+It had better be stated here and now at the outset that the perverted
+transcendentalism to which Mr S. Dedalus' (Div. Scep.) contentions would
+appear to prove him pretty badly addicted runs directly counter to
+accepted scientific methods. Science, it cannot be too often repeated,
+deals with tangible phenomena. The man of science like the man in the
+street has to face hardheaded facts that cannot be blinked and explain
+them as best he can. There may be, it is true, some questions which
+science cannot answer--at present--such as the first problem submitted by
+Mr L. Bloom (Pubb. Canv.) regarding the future determination of sex. Must
+we accept the view of Empedocles of Trinacria that the right ovary (the
+postmenstrual period, assert others) is responsible for the birth of
+males or are the too long neglected spermatozoa or nemasperms the
+differentiating factors or is it, as most embryologists incline to opine,
+such as Culpepper, Spallanzani, Blumenbach, Lusk, Hertwig, Leopold and
+Valenti, a mixture of both? This would be tantamount to a cooperation
+(one of nature's favourite devices) between the NISUS FORMATIVUS of the
+nemasperm on the one hand and on the other a happily chosen position,
+SUCCUBITUS FELIX of the passive element. The other problem raised by the
+same inquirer is scarcely less vital: infant mortality. It is interesting
+because, as he pertinently remarks, we are all born in the same way but
+we all die in different ways. Mr M. Mulligan (Hyg. et Eug. Doc.) blames
+the sanitary conditions in which our greylunged citizens contract
+adenoids, pulmonary complaints etc. by inhaling the bacteria which lurk
+in dust. These factors, he alleged, and the revolting spectacles offered
+by our streets, hideous publicity posters, religious ministers of all
+denominations, mutilated soldiers and sailors, exposed scorbutic
+cardrivers, the suspended carcases of dead animals, paranoic bachelors
+and unfructified duennas--these, he said, were accountable for any and
+every fallingoff in the calibre of the race. Kalipedia, he prophesied,
+would soon be generally adopted and all the graces of life, genuinely
+good music, agreeable literature, light philosophy, instructive pictures,
+plastercast reproductions of the classical statues such as Venus and
+Apollo, artistic coloured photographs of prize babies, all these little
+attentions would enable ladies who were in a particular condition to pass
+the intervening months in a most enjoyable manner. Mr J. Crotthers (Disc.
+Bacc.) attributes some of these demises to abdominal trauma in the case
+of women workers subjected to heavy labours in the workshop and to
+marital discipline in the home but by far the vast majority to neglect,
+private or official, culminating in the exposure of newborn infants, the
+practice of criminal abortion or in the atrocious crime of infanticide.
+Although the former (we are thinking of neglect) is undoubtedly only too
+true the case he cites of nurses forgetting to count the sponges in the
+peritoneal cavity is too rare to be normative. In fact when one comes to
+look into it the wonder is that so many pregnancies and deliveries go off
+so well as they do, all things considered and in spite of our human
+shortcomings which often baulk nature in her intentions. An ingenious
+suggestion is that thrown out by Mr V. Lynch (Bacc. Arith.) that both
+natality and mortality, as well as all other phenomena of evolution,
+tidal movements, lunar phases, blood temperatures, diseases in general,
+everything, in fine, in nature's vast workshop from the extinction of
+some remote sun to the blossoming of one of the countless flowers which
+beautify our public parks is subject to a law of numeration as yet
+unascertained. Still the plain straightforward question why a child of
+normally healthy parents and seemingly a healthy child and properly
+looked after succumbs unaccountably in early childhood (though other
+children of the same marriage do not) must certainly, in the poet's
+words, give us pause. Nature, we may rest assured, has her own good and
+cogent reasons for whatever she does and in all probability such deaths
+are due to some law of anticipation by which organisms in which morbous
+germs have taken up their residence (modern science has conclusively
+shown that only the plasmic substance can be said to be immortal) tend to
+disappear at an increasingly earlier stage of development, an arrangement
+which, though productive of pain to some of our feelings (notably the
+maternal), is nevertheless, some of us think, in the long run beneficial
+to the race in general in securing thereby the survival of the fittest.
+Mr S. Dedalus' (Div. Scep.) remark (or should it be called an
+interruption?) that an omnivorous being which can masticate, deglute,
+digest and apparently pass through the ordinary channel with
+pluterperfect imperturbability such multifarious aliments as cancrenous
+females emaciated by parturition, corpulent professional gentlemen, not
+to speak of jaundiced politicians and chlorotic nuns, might possibly find
+gastric relief in an innocent collation of staggering bob, reveals as
+nought else could and in a very unsavoury light the tendency above
+alluded to. For the enlightenment of those who are not so intimately
+acquainted with the minutiae of the municipal abattoir as this
+morbidminded esthete and embryo philosopher who for all his overweening
+bumptiousness in things scientific can scarcely distinguish an acid from
+an alkali prides himself on being, it should perhaps be stated that
+staggering bob in the vile parlance of our lowerclass licensed
+victuallers signifies the cookable and eatable flesh of a calf newly
+dropped from its mother. In a recent public controversy with Mr L. Bloom
+(Pubb. Canv.) which took place in the commons' hall of the National
+Maternity Hospital, 29, 30 and 31 Holles street, of which, as is well
+known, Dr A. Horne (Lic. in Midw., F. K. Q. C. P. I.) is the able and
+popular master, he is reported by eyewitnesses as having stated that once
+a woman has let the cat into the bag (an esthete's allusion, presumably,
+to one of the most complicated and marvellous of all nature's processes--
+the act of sexual congress) she must let it out again or give it life, as
+he phrased it, to save her own. At the risk of her own, was the telling
+rejoinder of his interlocutor, none the less effective for the moderate
+and measured tone in which it was delivered.
+
+Meanwhile the skill and patience of the physician had brought about a
+happy ACCOUCHEMENT. It had been a weary weary while both for patient and
+doctor. All that surgical skill could do was done and the brave woman had
+manfully helped. She had. She had fought the good fight and now she was
+very very happy. Those who have passed on, who have gone before, are
+happy too as they gaze down and smile upon the touching scene. Reverently
+look at her as she reclines there with the motherlight in her eyes, that
+longing hunger for baby fingers (a pretty sight it is to see), in the
+first bloom of her new motherhood, breathing a silent prayer of
+thanksgiving to One above, the Universal Husband. And as her loving eyes
+behold her babe she wishes only one blessing more, to have her dear Doady
+there with her to share her joy, to lay in his arms that mite of God's
+clay, the fruit of their lawful embraces. He is older now (you and I may
+whisper it) and a trifle stooped in the shoulders yet in the whirligig of
+years a grave dignity has come to the conscientious second accountant of
+the Ulster bank, College Green branch. O Doady, loved one of old,
+faithful lifemate now, it may never be again, that faroff time of the
+roses! With the old shake of her pretty head she recalls those days. God!
+How beautiful now across the mist of years! But their children are
+grouped in her imagination about the bedside, hers and his, Charley, Mary
+Alice, Frederick Albert (if he had lived), Mamy, Budgy (Victoria
+Frances), Tom, Violet Constance Louisa, darling little Bobsy (called
+after our famous hero of the South African war, lord Bobs of Waterford
+and Candahar) and now this last pledge of their union, a Purefoy if ever
+there was one, with the true Purefoy nose. Young hopeful will be
+christened Mortimer Edward after the influential third cousin of Mr
+Purefoy in the Treasury Remembrancer's office, Dublin Castle. And so time
+wags on: but father Cronion has dealt lightly here. No, let no sigh break
+from that bosom, dear gentle Mina. And Doady, knock the ashes from your
+pipe, the seasoned briar you still fancy when the curfew rings for you
+(may it be the distant day!) and dout the light whereby you read in the
+Sacred Book for the oil too has run low, and so with a tranquil heart to
+bed, to rest. He knows and will call in His own good time. You too have
+fought the good fight and played loyally your man's part. Sir, to you my
+hand. Well done, thou good and faithful servant!
+
+There are sins or (let us call them as the world calls them) evil
+memories which are hidden away by man in the darkest places of the heart
+but they abide there and wait. He may suffer their memory to grow dim,
+let them be as though they had not been and all but persuade himself that
+they were not or at least were otherwise. Yet a chance word will call
+them forth suddenly and they will rise up to confront him in the most
+various circumstances, a vision or a dream, or while timbrel and harp
+soothe his senses or amid the cool silver tranquility of the evening or
+at the feast, at midnight, when he is now filled with wine. Not to insult
+over him will the vision come as over one that lies under her wrath, not
+for vengeance to cut him off from the living but shrouded in the piteous
+vesture of the past, silent, remote, reproachful.
+
+The stranger still regarded on the face before him a slow recession of
+that false calm there, imposed, as it seemed, by habit or some studied
+trick, upon words so embittered as to accuse in their speaker an
+unhealthiness, a FLAIR, for the cruder things of life. A scene disengages
+itself in the observer's memory, evoked, it would seem, by a word of so
+natural a homeliness as if those days were really present there (as some
+thought) with their immediate pleasures. A shaven space of lawn one soft
+May evening, the wellremembered grove of lilacs at Roundtown, purple and
+white, fragrant slender spectators of the game but with much real
+interest in the pellets as they run slowly forward over the sward or
+collide and stop, one by its fellow, with a brief alert shock. And yonder
+about that grey urn where the water moves at times in thoughtful
+irrigation you saw another as fragrant sisterhood, Floey, Atty, Tiny and
+their darker friend with I know not what of arresting in her pose then,
+Our Lady of the Cherries, a comely brace of them pendent from an ear,
+bringing out the foreign warmth of the skin so daintily against the cool
+ardent fruit. A lad of four or five in linseywoolsey (blossomtime but
+there will be cheer in the kindly hearth when ere long the bowls are
+gathered and hutched) is standing on the urn secured by that circle of
+girlish fond hands. He frowns a little just as this young man does now
+with a perhaps too conscious enjoyment of the danger but must needs
+glance at whiles towards where his mother watches from the PIAZZETTA
+giving upon the flowerclose with a faint shadow of remoteness or of
+reproach (ALLES VERGANGLICHE) in her glad look.
+
+Mark this farther and remember. The end comes suddenly. Enter that
+antechamber of birth where the studious are assembled and note their
+faces. Nothing, as it seems, there of rash or violent. Quietude of
+custody, rather, befitting their station in that house, the vigilant
+watch of shepherds and of angels about a crib in Bethlehem of Juda long
+ago. But as before the lightning the serried stormclouds, heavy with
+preponderant excess of moisture, in swollen masses turgidly distended,
+compass earth and sky in one vast slumber, impending above parched field
+and drowsy oxen and blighted growth of shrub and verdure till in an
+instant a flash rives their centres and with the reverberation of the
+thunder the cloudburst pours its torrent, so and not otherwise was the
+transformation, violent and instantaneous, upon the utterance of the
+word.
+
+Burke's! outflings my lord Stephen, giving the cry, and a tag and bobtail
+of all them after, cockerel, jackanapes, welsher, pilldoctor, punctual
+Bloom at heels with a universal grabbing at headgear, ashplants, bilbos,
+Panama hats and scabbards, Zermatt alpenstocks and what not. A dedale of
+lusty youth, noble every student there. Nurse Callan taken aback in the
+hallway cannot stay them nor smiling surgeon coming downstairs with news
+of placentation ended, a full pound if a milligramme. They hark him on.
+The door! It is open? Ha! They are out, tumultuously, off for a minute's
+race, all bravely legging it, Burke's of Denzille and Holles their
+ulterior goal. Dixon follows giving them sharp language but raps out an
+oath, he too, and on. Bloom stays with nurse a thought to send a kind
+word to happy mother and nurseling up there. Doctor Diet and Doctor
+Quiet. Looks she too not other now? Ward of watching in Horne's house has
+told its tale in that washedout pallor. Then all being gone, a glance of
+motherwit helping, he whispers close in going: Madam, when comes the
+storkbird for thee?
+
+The air without is impregnated with raindew moisture, life essence
+celestial, glistening on Dublin stone there under starshiny COELUM. God's
+air, the Allfather's air, scintillant circumambient cessile air. Breathe
+it deep into thee. By heaven, Theodore Purefoy, thou hast done a doughty
+deed and no botch! Thou art, I vow, the remarkablest progenitor barring
+none in this chaffering allincluding most farraginous chronicle.
+Astounding! In her lay a Godframed Godgiven preformed possibility which
+thou hast fructified with thy modicum of man's work. Cleave to her!
+Serve! Toil on, labour like a very bandog and let scholarment and all
+Malthusiasts go hang. Thou art all their daddies, Theodore. Art drooping
+under thy load, bemoiled with butcher's bills at home and ingots (not
+thine!) in the countinghouse? Head up! For every newbegotten thou shalt
+gather thy homer of ripe wheat. See, thy fleece is drenched. Dost envy
+Darby Dullman there with his Joan? A canting jay and a rheumeyed curdog
+is all their progeny. Pshaw, I tell thee! He is a mule, a dead
+gasteropod, without vim or stamina, not worth a cracked kreutzer.
+Copulation without population! No, say I! Herod's slaughter of the
+innocents were the truer name. Vegetables, forsooth, and sterile
+cohabitation! Give her beefsteaks, red, raw, bleeding! She is a hoary
+pandemonium of ills, enlarged glands, mumps, quinsy, bunions, hayfever,
+bedsores, ringworm, floating kidney, Derbyshire neck, warts, bilious
+attacks, gallstones, cold feet, varicose veins. A truce to threnes and
+trentals and jeremies and all such congenital defunctive music! Twenty
+years of it, regret them not. With thee it was not as with many that will
+and would and wait and never--do. Thou sawest thy America, thy lifetask,
+and didst charge to cover like the transpontine bison. How saith
+Zarathustra? DEINE KUH TRUBSAL MELKEST DU. NUN TRINKST DU DIE SUSSE MILCH
+DES EUTERS. See! it displodes for thee in abundance. Drink, man, an
+udderful! Mother's milk, Purefoy, the milk of human kin, milk too of
+those burgeoning stars overhead rutilant in thin rainvapour, punch milk,
+such as those rioters will quaff in their guzzling den, milk of madness,
+the honeymilk of Canaan's land. Thy cow's dug was tough, what? Ay, but
+her milk is hot and sweet and fattening. No dollop this but thick rich
+bonnyclaber. To her, old patriarch! Pap! PER DEAM PARTULAM ET PERTUNDAM
+NUNC EST BIBENDUM!
+
+All off for a buster, armstrong, hollering down the street. Bonafides.
+Where you slep las nigh? Timothy of the battered naggin. Like ole Billyo.
+Any brollies or gumboots in the fambly? Where the Henry Nevil's sawbones
+and ole clo? Sorra one o' me knows. Hurrah there, Dix! Forward to the
+ribbon counter. Where's Punch? All serene. Jay, look at the drunken
+minister coming out of the maternity hospal! BENEDICAT VOS OMNIPOTENS
+DEUS, PATER ET FILIUS. A make, mister. The Denzille lane boys. Hell,
+blast ye! Scoot. Righto, Isaacs, shove em out of the bleeding limelight.
+Yous join uz, dear sir? No hentrusion in life. Lou heap good man. Allee
+samee dis bunch. EN AVANT, MES ENFANTS! Fire away number one on the gun.
+Burke's! Burke's! Thence they advanced five parasangs. Slattery's mounted
+foot. Where's that bleeding awfur? Parson Steve, apostates' creed! No,
+no, Mulligan! Abaft there! Shove ahead. Keep a watch on the clock.
+Chuckingout time. Mullee! What's on you? MA MERE M'A MARIEE. British
+Beatitudes! RETAMPLATAN DIGIDI BOUMBOUM. Ayes have it. To be printed and
+bound at the Druiddrum press by two designing females. Calf covers of
+pissedon green. Last word in art shades. Most beautiful book come out of
+Ireland my time. SILENTIUM! Get a spurt on. Tention. Proceed to nearest
+canteen and there annex liquor stores. March! Tramp, tramp, tramp, the
+boys are (atitudes!) parching. Beer, beef, business, bibles, bulldogs
+battleships, buggery and bishops. Whether on the scaffold high. Beer,
+beef, trample the bibles. When for Irelandear. Trample the trampellers.
+Thunderation! Keep the durned millingtary step. We fall. Bishops
+boosebox. Halt! Heave to. Rugger. Scrum in. No touch kicking. Wow, my
+tootsies! You hurt? Most amazingly sorry!
+
+Query. Who's astanding this here do? Proud possessor of damnall. Declare
+misery. Bet to the ropes. Me nantee saltee. Not a red at me this week
+gone. Yours? Mead of our fathers for the UBERMENSCH. Dittoh. Five number
+ones. You, sir? Ginger cordial. Chase me, the cabby's caudle. Stimulate
+the caloric. Winding of his ticker. Stopped short never to go again when
+the old. Absinthe for me, savvy? CARAMBA! Have an eggnog or a prairie
+oyster. Enemy? Avuncular's got my timepiece. Ten to. Obligated awful.
+Don't mention it. Got a pectoral trauma, eh, Dix? Pos fact. Got bet be a
+boomblebee whenever he wus settin sleepin in hes bit garten. Digs up near
+the Mater. Buckled he is. Know his dona? Yup, sartin I do. Full of a
+dure. See her in her dishybilly. Peels off a credit. Lovey lovekin. None
+of your lean kine, not much. Pull down the blind, love. Two Ardilauns.
+Same here. Look slippery. If you fall don't wait to get up. Five, seven,
+nine. Fine! Got a prime pair of mincepies, no kid. And her take me to
+rests and her anker of rum. Must be seen to be believed. Your starving
+eyes and allbeplastered neck you stole my heart, O gluepot. Sir? Spud
+again the rheumatiz? All poppycock, you'll scuse me saying. For the hoi
+polloi. I vear thee beest a gert vool. Well, doc? Back fro Lapland? Your
+corporosity sagaciating O K? How's the squaws and papooses? Womanbody
+after going on the straw? Stand and deliver. Password. There's hair. Ours
+the white death and the ruddy birth. Hi! Spit in your own eye, boss!
+Mummer's wire. Cribbed out of Meredith. Jesified, orchidised, polycimical
+jesuit! Aunty mine's writing Pa Kinch. Baddybad Stephen lead astray
+goodygood Malachi.
+
+Hurroo! Collar the leather, youngun. Roun wi the nappy. Here, Jock braw
+Hielentman's your barleybree. Lang may your lum reek and your kailpot
+boil! My tipple. MERCI. Here's to us. How's that? Leg before wicket.
+Don't stain my brandnew sitinems. Give's a shake of peppe, you there.
+Catch aholt. Caraway seed to carry away. Twig? Shrieks of silence. Every
+cove to his gentry mort. Venus Pandemos. LES PETITES FEMMES. Bold bad
+girl from the town of Mullingar. Tell her I was axing at her. Hauding
+Sara by the wame. On the road to Malahide. Me? If she who seduced me had
+left but the name. What do you want for ninepence? Machree, macruiskeen.
+Smutty Moll for a mattress jig. And a pull all together. EX!
+
+Waiting, guvnor? Most deciduously. Bet your boots on. Stunned like,
+seeing as how no shiners is acoming. Underconstumble? He've got the chink
+AD LIB. Seed near free poun on un a spell ago a said war hisn. Us come
+right in on your invite, see? Up to you, matey. Out with the oof. Two bar
+and a wing. You larn that go off of they there Frenchy bilks? Won't wash
+here for nuts nohow. Lil chile velly solly. Ise de cutest colour coon
+down our side. Gawds teruth, Chawley. We are nae fou. We're nae tha fou.
+Au reservoir, mossoo. Tanks you.
+
+'Tis, sure. What say? In the speakeasy. Tight. I shee you, shir. Bantam,
+two days teetee. Bowsing nowt but claretwine. Garn! Have a glint, do.
+Gum, I'm jiggered. And been to barber he have. Too full for words. With a
+railway bloke. How come you so? Opera he'd like? Rose of Castile. Rows of
+cast. Police! Some H2O for a gent fainted. Look at Bantam's flowers.
+Gemini. He's going to holler. The colleen bawn. My colleen bawn. O,
+cheese it! Shut his blurry Dutch oven with a firm hand. Had the winner
+today till I tipped him a dead cert. The ruffin cly the nab of Stephen
+Hand as give me the jady coppaleen. He strike a telegramboy paddock wire
+big bug Bass to the depot. Shove him a joey and grahamise. Mare on form
+hot order. Guinea to a goosegog. Tell a cram, that. Gospeltrue. Criminal
+diversion? I think that yes. Sure thing. Land him in chokeechokee if the
+harman beck copped the game. Madden back Madden's a maddening back. O
+lust our refuge and our strength. Decamping. Must you go? Off to mammy.
+Stand by. Hide my blushes someone. All in if he spots me. Come ahome, our
+Bantam. Horryvar, mong vioo. Dinna forget the cowslips for hersel.
+Cornfide. Wha gev ye thon colt? Pal to pal. Jannock. Of John Thomas, her
+spouse. No fake, old man Leo. S'elp me, honest injun. Shiver my timbers
+if I had. There's a great big holy friar. Vyfor you no me tell? Vel, I
+ses, if that aint a sheeny nachez, vel, I vil get misha mishinnah.
+Through yerd our lord, Amen.
+
+You move a motion? Steve boy, you're going it some. More bluggy
+drunkables? Will immensely splendiferous stander permit one stooder of
+most extreme poverty and one largesize grandacious thirst to terminate
+one expensive inaugurated libation? Give's a breather. Landlord,
+landlord, have you good wine, staboo? Hoots, mon, a wee drap to pree. Cut
+and come again. Right. Boniface! Absinthe the lot. NOS OMNES BIBERIMUS
+VIRIDUM TOXICUM DIABOLUS CAPIAT POSTERIORIA NOSTRIA. Closingtime, gents.
+Eh? Rome boose for the Bloom toff. I hear you say onions? Bloo? Cadges
+ads. Photo's papli, by all that's gorgeous. Play low, pardner. Slide.
+BONSOIR LA COMPAGNIE. And snares of the poxfiend. Where's the buck and
+Namby Amby? Skunked? Leg bail. Aweel, ye maun e'en gang yer gates.
+Checkmate. King to tower. Kind Kristyann wil yu help yung man hoose frend
+tuk bungellow kee tu find plais whear tu lay crown of his hed 2 night.
+Crickey, I'm about sprung. Tarnally dog gone my shins if this beent the
+bestest puttiest longbreak yet. Item, curate, couple of cookies for this
+child. Cot's plood and prandypalls, none! Not a pite of sheeses? Thrust
+syphilis down to hell and with him those other licensed spirits. Time,
+gents! Who wander through the world. Health all! A LA VOTRE!
+
+Golly, whatten tunket's yon guy in the mackintosh? Dusty Rhodes. Peep at
+his wearables. By mighty! What's he got? Jubilee mutton. Bovril, by
+James. Wants it real bad. D'ye ken bare socks? Seedy cuss in the
+Richmond? Rawthere! Thought he had a deposit of lead in his penis.
+Trumpery insanity. Bartle the Bread we calls him. That, sir, was once a
+prosperous cit. Man all tattered and torn that married a maiden all
+forlorn. Slung her hook, she did. Here see lost love. Walking Mackintosh
+of lonely canyon. Tuck and turn in. Schedule time. Nix for the hornies.
+Pardon? Seen him today at a runefal? Chum o' yourn passed in his checks?
+Ludamassy! Pore piccaninnies! Thou'll no be telling me thot, Pold veg!
+Did ums blubble bigsplash crytears cos fren Padney was took off in black
+bag? Of all de darkies Massa Pat was verra best. I never see the like
+since I was born. TIENS, TIENS, but it is well sad, that, my faith, yes.
+O, get, rev on a gradient one in nine. Live axle drives are souped. Lay
+you two to one Jenatzy licks him ruddy well hollow. Jappies? High angle
+fire, inyah! Sunk by war specials. Be worse for him, says he, nor any
+Rooshian. Time all. There's eleven of them. Get ye gone. Forward, woozy
+wobblers! Night. Night. May Allah the Excellent One your soul this night
+ever tremendously conserve.
+
+Your attention! We're nae tha fou. The Leith police dismisseth us. The
+least tholice. Ware hawks for the chap puking. Unwell in his abominable
+regions. Yooka. Night. Mona, my true love. Yook. Mona, my own love. Ook.
+
+Hark! Shut your obstropolos. Pflaap! Pflaap! Blaze on. There she goes.
+Brigade! Bout ship. Mount street way. Cut up! Pflaap! Tally ho. You not
+come? Run, skelter, race. Pflaaaap!
+
+Lynch! Hey? Sign on long o' me. Denzille lane this way. Change here for
+Bawdyhouse. We two, she said, will seek the kips where shady Mary is.
+Righto, any old time. LAETABUNTUR IN CUBILIBUS SUIS. You coming long?
+Whisper, who the sooty hell's the johnny in the black duds? Hush! Sinned
+against the light and even now that day is at hand when he shall come to
+judge the world by fire. Pflaap! UT IMPLERENTUR SCRIPTURAE. Strike up a
+ballad. Then outspake medical Dick to his comrade medical Davy.
+Christicle, who's this excrement yellow gospeller on the Merrion hall?
+Elijah is coming! Washed in the blood of the Lamb. Come on you
+winefizzling, ginsizzling, booseguzzling existences! Come on, you dog-
+gone, bullnecked, beetlebrowed, hogjowled, peanutbrained, weaseleyed
+fourflushers, false alarms and excess baggage! Come on, you triple
+extract of infamy! Alexander J Christ Dowie, that's my name, that's
+yanked to glory most half this planet from Frisco beach to Vladivostok.
+The Deity aint no nickel dime bumshow. I put it to you that He's on the
+square and a corking fine business proposition. He's the grandest thing
+yet and don't you forget it. Shout salvation in King Jesus. You'll need
+to rise precious early you sinner there, if you want to diddle the
+Almighty God. Pflaaaap! Not half. He's got a coughmixture with a punch in
+it for you, my friend, in his back pocket. Just you try it on.
+
+
+    * * * * * * *
+
+
+THE MABBOT STREET ENTRANCE OF NIGHTTOWN, BEFORE WHICH STRETCHES AN
+UNCOBBLED TRAMSIDING SET WITH SKELETON TRACKS, RED AND GREEN WILL-O'-THE-
+WISPS AND DANGER SIGNALS. ROWS OF GRIMY HOUSES WITH GAPING DOORS. RARE
+LAMPS WITH FAINT RAINBOW FINS. ROUND RABAIOTTI'S HALTED ICE GONDOLA
+STUNTED MEN AND WOMEN SQUABBLE. THEY GRAB WAFERS BETWEEN WHICH ARE WEDGED
+LUMPS OF CORAL AND COPPER SNOW. SUCKING, THEY SCATTER SLOWLY. CHILDREN.
+THE SWANCOMB OF THE GONDOLA, HIGHREARED, FORGES ON THROUGH THE MURK,
+WHITE AND BLUE UNDER A LIGHTHOUSE. WHISTLES CALL AND ANSWER.
+
+THE CALLS: Wait, my love, and I'll be with you.
+
+THE ANSWERS: Round behind the stable.
+
+(A DEAFMUTE IDIOT WITH GOGGLE EYES, HIS SHAPELESS MOUTH DRIBBLING, JERKS
+PAST, SHAKEN IN SAINT VITUS' DANCE. A CHAIN OF CHILDREN 'S HANDS
+IMPRISONS HIM.)
+
+THE CHILDREN: Kithogue! Salute!
+
+THE IDIOT: (LIFTS A PALSIED LEFT ARM AND GURGLES) Grhahute!
+
+THE CHILDREN: Where's the great light?
+
+THE IDIOT: (GOBBING) Ghaghahest.
+
+(THEY RELEASE HIM. HE JERKS ON. A PIGMY WOMAN SWINGS ON A ROPE SLUNG
+BETWEEN TWO RAILINGS, COUNTING. A FORM SPRAWLED AGAINST A DUSTBIN AND
+MUFFLED BY ITS ARM AND HAT SNORES, GROANS, GRINDING GROWLING TEETH, AND
+SNORES AGAIN. ON A STEP A GNOME TOTTING AMONG A RUBBISHTIP CROUCHES TO
+SHOULDER A SACK OF RAGS AND BONES. A CRONE STANDING BY WITH A SMOKY
+OILLAMP RAMS HER LAST BOTTLE IN THE MAW OF HIS SACK. HE HEAVES HIS BOOTY,
+TUGS ASKEW HIS PEAKED CAP AND HOBBLES OFF MUTELY. THE CRONE MAKES BACK
+FOR HER LAIR, SWAYING HER LAMP. A BANDY CHILD, ASQUAT ON THE DOORSTEP
+WITH A PAPER SHUTTLECOCK, CRAWLS SIDLING AFTER HER IN SPURTS, CLUTCHES
+HER SKIRT, SCRAMBLES UP. A DRUNKEN NAVVY GRIPS WITH BOTH HANDS THE
+RAILINGS OF AN AREA, LURCHING HEAVILY. AT A COMER TWO NIGHT WATCH IN
+SHOULDERCAPES, THEIR HANDS UPON THEIR STAFFHOLSTERS, LOOM TALL. A PLATE
+CRASHES: A WOMAN SCREAMS: A CHILD WAILS. OATHS OF A MAN ROAR, MUTTER,
+CEASE. FIGURES WANDER, LURK, PEER FROM WARRENS. IN A ROOM LIT BY A CANDLE
+STUCK IN A BOTTLENECK A SLUT COMBS OUT THE TATTS FROM THE HAIR OF A
+SCROFULOUS CHILD. CISSY CAFFREY'S VOICE, STILL YOUNG, SINGS SHRILL FROM A
+LANE.)
+
+CISSY CAFFREY:
+
+
+    I GAVE IT TO MOLLY
+    BECAUSE SHE WAS JOLLY,
+    THE LEG OF THE DUCK,
+    THE LEG OF THE DUCK.
+
+
+(PRIVATE CARR AND PRIVATE COMPTON, SWAGGERSTICKS TIGHT IN THEIR OXTERS,
+AS THEY MARCH UNSTEADILY RIGHTABOUTFACE AND BURST TOGETHER FROM THEIR
+MOUTHS A VOLLEYED FART. LAUGHTER OF MEN FROM THE LANE. A HOARSE VIRAGO
+RETORTS.)
+
+THE VIRAGO: Signs on you, hairy arse. More power the Cavan girl.
+
+CISSY CAFFREY: More luck to me. Cavan, Cootehill and Belturbet. (SHE
+SINGS)
+
+
+    I GAVE IT TO NELLY
+    TO STICK IN HER BELLY,
+    THE LEG OF THE DUCK,
+    THE LEG OF THE DUCK.
+
+
+(PRIVATE CARR AND PRIVATE COMPTON TURN AND COUNTERRETORT, THEIR TUNICS
+BLOODBRIGHT IN A LAMPGLOW, BLACK SOCKETS OF CAPS ON THEIR BLOND CROPPED
+POLLS. STEPHEN DEDALUS AND LYNCH PASS THROUGH THE CROWD CLOSE TO THE
+REDCOATS.)
+
+PRIVATE COMPTON: (JERKS HIS FINGER) Way for the parson.
+
+PRIVATE CARR: (TURNS AND CALLS) What ho, parson!
+
+CISSY CAFFREY: (HER VOICE SOARING HIGHER)
+
+
+    SHE HAS IT, SHE GOT IT,
+    WHEREVER SHE PUT IT,
+    THE LEG OF THE DUCK.
+
+
+(STEPHEN, FLOURISHING THE ASHPLANT IN HIS LEFT HAND, CHANTS WITH JOY THE
+INTROIT FOR PASCHAL TIME. LYNCH, HIS JOCKEYCAP LOW ON HIS BROW, ATTENDS
+HIM, A SNEER OF DISCONTENT WRINKLING HIS FACE.)
+
+STEPHEN: VIDI AQUAM EGREDIENTEM DE TEMPLO A LATERE DEXTRO. ALLELUIA.
+
+(THE FAMISHED SNAGGLETUSKS OF AN ELDERLY BAWD PROTRUDE FROM A DOORWAY.)
+
+THE BAWD: (HER VOICE WHISPERING HUSKILY) Sst! Come here till I tell you.
+Maidenhead inside. Sst!
+
+STEPHEN: (ALTIUS ALIQUANTULUM) ET OMNES AD QUOS PERVENIT AQUA ISTA.
+
+THE BAWD: (SPITS IN THEIR TRAIL HER JET OF VENOM) Trinity medicals.
+Fallopian tube. All prick and no pence.
+
+(EDY BOARDMAN, SNIFFLING, CROUCHED WITH BERTHA SUPPLE, DRAWS HER SHAWL
+ACROSS HER NOSTRILS.)
+
+EDY BOARDMAN: (BICKERING) And says the one: I seen you up Faithful place
+with your squarepusher, the greaser off the railway, in his cometobed
+hat. Did you, says I. That's not for you to say, says I. You never seen
+me in the mantrap with a married highlander, says I. The likes of her!
+Stag that one is! Stubborn as a mule! And her walking with two fellows
+the one time, Kilbride, the enginedriver, and lancecorporal Oliphant.
+
+STEPHEN: (TRIUMPHALITER) SALVI FACTI SUNT.
+
+(HE FLOURISHES HIS ASHPLANT, SHIVERING THE LAMP IMAGE, SHATTERING LIGHT
+OVER THE WORLD. A LIVER AND WHITE SPANIEL ON THE PROWL SLINKS AFTER HIM,
+GROWLING. LYNCH SCARES IT WITH A KICK.)
+
+LYNCH: So that?
+
+STEPHEN: (LOOKS BEHIND) So that gesture, not music not odour, would be a
+universal language, the gift of tongues rendering visible not the lay
+sense but the first entelechy, the structural rhythm.
+
+LYNCH: Pornosophical philotheology. Metaphysics in Mecklenburgh street!
+
+STEPHEN: We have shrewridden Shakespeare and henpecked Socrates. Even the
+allwisest Stagyrite was bitted, bridled and mounted by a light of love.
+
+LYNCH: Ba!
+
+STEPHEN: Anyway, who wants two gestures to illustrate a loaf and a jug?
+This movement illustrates the loaf and jug of bread or wine in Omar. Hold
+my stick.
+
+LYNCH: Damn your yellow stick. Where are we going?
+
+STEPHEN: Lecherous lynx, TO LA BELLE DAME SANS MERCI, Georgina Johnson,
+AD DEAM QUI LAETIFICAT IUVENTUTEM MEAM.
+
+(STEPHEN THRUSTS THE ASHPLANT ON HIM AND SLOWLY HOLDS OUT HIS HANDS, HIS
+HEAD GOING BACK TILL BOTH HANDS ARE A SPAN FROM HIS BREAST, DOWN TURNED,
+IN PLANES INTERSECTING, THE FINGERS ABOUT TO PART, THE LEFT BEING
+HIGHER.)
+
+LYNCH: Which is the jug of bread? It skills not. That or the customhouse.
+Illustrate thou. Here take your crutch and walk.
+
+(THEY PASS. TOMMY CAFFREY SCRAMBLES TO A GASLAMP AND, CLASPING, CLIMBS IN
+SPASMS. FROM THE TOP SPUR HE SLIDES DOWN. JACKY CAFFREY CLASPS TO CLIMB.
+THE NAVVY LURCHES AGAINST THE LAMP. THE TWINS SCUTTLE OFF IN THE DARK.
+THE NAVVY, SWAYING, PRESSES A FOREFINGER AGAINST A WING OF HIS NOSE AND
+EJECTS FROM THE FARTHER NOSTRIL A LONG LIQUID JET OF SNOT. SHOULDERING
+THE LAMP HE STAGGERS AWAY THROUGH THE CROWD WITH HIS FLARING CRESSET.
+
+SNAKES OF RIVER FOG CREEP SLOWLY. FROM DRAINS, CLEFTS, CESSPOOLS, MIDDENS
+ARISE ON ALL SIDES STAGNANT FUMES. A GLOW LEAPS IN THE SOUTH BEYOND THE
+SEAWARD REACHES OF THE RIVER. THE NAVVY, STAGGERING FORWARD, CLEAVES THE
+CROWD AND LURCHES TOWARDS THE TRAMSIDING ON THE FARTHER SIDE UNDER THE
+RAILWAY BRIDGE BLOOM APPEARS, FLUSHED, PANTING, CRAMMING BREAD AND
+CHOCOLATE INTO A SIDEPOCKET. FROM GILLEN'S HAIRDRESSER'S WINDOW A
+COMPOSITE PORTRAIT SHOWS HIM GALLANT NELSON'S IMAGE. A CONCAVE MIRROR AT
+THE SIDE PRESENTS TO HIM LOVELORN LONGLOST LUGUBRU BOOLOOHOOM. GRAVE
+GLADSTONE SEES HIM LEVEL, BLOOM FOR BLOOM. HE PASSES, STRUCK BY THE STARE
+OF TRUCULENT WELLINGTON, BUT IN THE CONVEX MIRROR GRIN UNSTRUCK THE
+BONHAM EYES AND FATCHUCK CHEEKCHOPS OF JOLLYPOLDY THE RIXDIX DOLDY.
+
+AT ANTONIO PABAIOTTI'S DOOR BLOOM HALTS, SWEATED UNDER THE BRIGHT
+ARCLAMP. HE DISAPPEARS. IN A MOMENT HE REAPPEARS AND HURRIES ON.)
+
+BLOOM: Fish and taters. N. g. Ah!
+
+(HE DISAPPEARS INTO OLHAUSEN'S, THE PORKBUTCHER'S, UNDER THE DOWNCOMING
+ROLLSHUTTER. A FEW MOMENTS LATER HE EMERGES FROM UNDER THE SHUTTER,
+PUFFING POLDY, BLOWING BLOOHOOM. IN EACH HAND HE HOLDS A PARCEL, ONE
+CONTAINING A LUKEWARM PIG'S CRUBEEN, THE OTHER A COLD SHEEP'S TROTTER,
+SPRINKLED WITH WHOLEPEPPER. HE GASPS, STANDING UPRIGHT. THEN BENDING TO
+ONE SIDE HE PRESSES A PARCEL AGAINST HIS RIBS AND GROANS.)
+
+BLOOM: Stitch in my side. Why did I run?
+
+(HE TAKES BREATH WITH CARE AND GOES FORWARD SLOWLY TOWARDS THE LAMPSET
+SIDING. THE GLOW LEAPS AGAIN.)
+
+BLOOM: What is that? A flasher? Searchlight.
+
+(HE STANDS AT CORMACK'S CORNER, WATCHING)
+
+BLOOM: AURORA BOREALIS or a steel foundry? Ah, the brigade, of course.
+South side anyhow. Big blaze. Might be his house. Beggar's bush. We're
+safe. (HE HUMS CHEERFULLY) London's burning, London's burning! On fire,
+on fire! (HE CATCHES SIGHT OF THE NAVVY LURCHING THROUGH THE CROWD AT THE
+FARTHER SIDE OF TALBOT STREET) I'll miss him. Run. Quick. Better cross
+here.
+
+(HE DARTS TO CROSS THE ROAD. URCHINS SHOUT.)
+
+THE URCHINS: Mind out, mister! (TWO CYCLISTS, WITH LIGHTED PAPER LANTERNS
+ASWING, SWIM BY HIM, GRAZING HIM, THEIR BELLS RATTLING)
+
+THE BELLS: Haltyaltyaltyall.
+
+BLOOM: (HALTS ERECT, STUNG BY A SPASM) Ow!
+
+(HE LOOKS ROUND, DARTS FORWARD SUDDENLY. THROUGH RISING FOG A DRAGON
+SANDSTREWER, TRAVELLING AT CAUTION, SLEWS HEAVILY DOWN UPON HIM, ITS HUGE
+RED HEADLIGHT WINKING, ITS TROLLEY HISSING ON THE WIRE. THE MOTORMAN
+BANGS HIS FOOTGONG.)
+
+THE GONG: Bang Bang Bla Bak Blud Bugg Bloo.
+
+(THE BRAKE CRACKS VIOLENTLY. BLOOM, RAISING A POLICEMAN'S WHITEGLOVED
+HAND, BLUNDERS STIFFLEGGED OUT OF THE TRACK. THE MOTORMAN, THROWN
+FORWARD, PUGNOSED, ON THE GUIDEWHEEL, YELLS AS HE SLIDES PAST OVER CHAINS
+AND KEYS.)
+
+THE MOTORMAN: Hey, shitbreeches, are you doing the hat trick?
+
+BLOOM: (BLOOM TRICKLEAPS TO THE CURBSTONE AND HALTS AGAIN. HE BRUSHES A
+MUDFLAKE FROM HIS CHEEK WITH A PARCELLED HAND.) No thoroughfare. Close
+shave that but cured the stitch. Must take up Sandow's exercises again.
+On the hands down. Insure against street accident too. The Providential.
+(HE FEELS HIS TROUSER POCKET) Poor mamma's panacea. Heel easily catch in
+track or bootlace in a cog. Day the wheel of the black Maria peeled off
+my shoe at Leonard's corner. Third time is the charm. Shoe trick.
+Insolent driver. I ought to report him. Tension makes them nervous. Might
+be the fellow balked me this morning with that horsey woman. Same style
+of beauty. Quick of him all the same. The stiff walk. True word spoken in
+jest. That awful cramp in Lad lane. Something poisonous I ate. Emblem of
+luck. Why? Probably lost cattle. Mark of the beast. (HE CLOSES HIS EYES
+AN INSTANT) Bit light in the head. Monthly or effect of the other.
+Brainfogfag. That tired feeling. Too much for me now. Ow!
+
+(A SINISTER FIGURE LEANS ON PLAITED LEGS AGAINST O'BEIRNE'S WALL, A
+VISAGE UNKNOWN, INJECTED WITH DARK MERCURY. FROM UNDER A WIDELEAVED
+SOMBRERO THE FIGURE REGARDS HIM WITH EVIL EYE.)
+
+BLOOM: BUENAS NOCHES, SENORITA BLANCA. QUE CALLE ES ESTA?
+
+THE FIGURE: (IMPASSIVE, RAISES A SIGNAL ARM) Password. SRAID MABBOT.
+
+BLOOM: Haha. MERCI. Esperanto. SLAN LEATH. (HE MUTTERS) Gaelic league
+spy, sent by that fireeater.
+
+(HE STEPS FORWARD. A SACKSHOULDERED RAGMAN BARS HIS PATH. HE STEPS LEFT,
+RAGSACKMAN LEFT.)
+
+BLOOM: I beg. (HE SWERVES, SIDLES, STEPASIDE, SLIPS PAST AND ON.)
+
+BLOOM: Keep to the right, right, right. If there is a signpost planted by
+the Touring Club at Stepaside who procured that public boon? I who lost
+my way and contributed to the columns of the IRISH CYCLIST the letter
+headed IN DARKEST STEPASIDE. Keep, keep, keep to the right. Rags and
+bones at midnight. A fence more likely. First place murderer makes for.
+Wash off his sins of the world.
+
+(JACKY CAFFREY, HUNTED BY TOMMY CAFFREY, RUNS FULL TILT AGAINST BLOOM.)
+
+BLOOM: O
+
+(SHOCKED, ON WEAK HAMS, HE HALTS. TOMMY AND JACKY VANISH THERE, THERE.
+BLOOM PATS WITH PARCELLED HANDS WATCH FOBPOCKET, BOOKPOCKET, PURSEPOKET,
+SWEETS OF SIN, POTATO SOAP.)
+
+BLOOM: Beware of pickpockets. Old thieves' dodge. Collide. Then snatch
+your purse.
+
+(THE RETRIEVER APPROACHES SNIFFING, NOSE TO THE GROUND. A SPRAWLED FORM
+SNEEZES. A STOOPED BEARDED FIGURE APPEARS GARBED IN THE LONG CAFTAN OF AN
+ELDER IN ZION AND A SMOKINGCAP WITH MAGENTA TASSELS. HORNED SPECTACLES
+HANG DOWN AT THE WINGS OF THE NOSE. YELLOW POISON STREAKS ARE ON THE
+DRAWN FACE.)
+
+RUDOLPH: Second halfcrown waste money today. I told you not go with
+drunken goy ever. So you catch no money.
+
+BLOOM: (HIDES THE CRUBEEN AND TROTTER BEHIND HIS BACK AND, CRESTFALLEN,
+FEELS WARM AND COLD FEETMEAT) JA, ICH WEISS, PAPACHI.
+
+RUDOLPH: What you making down this place? Have you no soul? (WITH FEEBLE
+VULTURE TALONS HE FEELS THE SILENT FACE OF BLOOM) Are you not my son
+Leopold, the grandson of Leopold? Are you not my dear son Leopold who
+left the house of his father and left the god of his fathers Abraham and
+Jacob?
+
+BLOOM: (WITH PRECAUTION) I suppose so, father. Mosenthal. All that's left
+of him.
+
+RUDOLPH: (SEVERELY) One night they bring you home drunk as dog after
+spend your good money. What you call them running chaps?
+
+BLOOM: (IN YOUTH'S SMART BLUE OXFORD SUIT WITH WHITE VESTSLIPS,
+NARROWSHOULDERED, IN BROWN ALPINE HAT, WEARING GENT'S STERLING SILVER
+WATERBURY KEYLESS WATCH AND DOUBLE CURB ALBERT WITH SEAL ATTACHED, ONE
+SIDE OF HIM COATED WITH STIFFENING MUD) Harriers, father. Only that once.
+
+RUDOLPH: Once! Mud head to foot. Cut your hand open. Lockjaw. They make
+you kaputt, Leopoldleben. You watch them chaps.
+
+BLOOM: (WEAKLY) They challenged me to a sprint. It was muddy. I slipped.
+
+RUDOLPH: (WITH CONTEMPT) GOIM NACHEZ! Nice spectacles for your poor
+mother!
+
+BLOOM: Mamma!
+
+ELLEN BLOOM: (IN PANTOMIME DAME'S STRINGED MOBCAP, WIDOW TWANKEY'S
+CRINOLINE AND BUSTLE, BLOUSE WITH MUTTONLEG SLEEVES BUTTONED BEHIND, GREY
+MITTENS AND CAMEO BROOCH, HER PLAITED HAIR IN A CRISPINE NET, APPEARS
+OVER THE STAIRCASE BANISTERS, A SLANTED CANDLESTICK IN HER HAND, AND
+CRIES OUT IN SHRILL ALARM) O blessed Redeemer, what have they done to
+him! My smelling salts! (SHE HAULS UP A REEF OF SKIRT AND RANSACKS THE
+POUCH OF HER STRIPED BLAY PETTICOAT. A PHIAL, AN AGNUS DEI, A SHRIVELLED
+POTATO AND A CELLULOID DOLL FALL OUT) Sacred Heart of Mary, where were
+you at all at all?
+
+(BLOOM, MUMBLING, HIS EYES DOWNCAST, BEGINS TO BESTOW HIS PARCELS IN HIS
+FILLED POCKETS BUT DESISTS, MUTTERING.)
+
+A VOICE: (SHARPLY) Poldy!
+
+BLOOM: Who? (HE DUCKS AND WARDS OFF A BLOW CLUMSILY) At your service.
+
+(HE LOOKS UP. BESIDE HER MIRAGE OF DATEPALMS A HANDSOME WOMAN IN TURKISH
+COSTUME STANDS BEFORE HIM. OPULENT CURVES FILL OUT HER SCARLET TROUSERS
+AND JACKET, SLASHED WITH GOLD. A WIDE YELLOW CUMMERBUND GIRDLES HER. A
+WHITE YASHMAK, VIOLET IN THE NIGHT, COVERS HER FACE, LEAVING FREE ONLY
+HER LARGE DARK EYES AND RAVEN HAIR.)
+
+BLOOM: Molly!
+
+MARION: Welly? Mrs Marion from this out, my dear man, when you speak to
+me. (SATIRICALLY) Has poor little hubby cold feet waiting so long?
+
+BLOOM: (SHIFTS FROM FOOT TO FOOT) No, no. Not the least little bit.
+
+(HE BREATHES IN DEEP AGITATION, SWALLOWING GULPS OF AIR, QUESTIONS,
+HOPES, CRUBEENS FOR HER SUPPER, THINGS TO TELL HER, EXCUSE, DESIRE,
+SPELLBOUND. A COIN GLEAMS ON HER FOREHEAD. ON HER FEET ARE JEWELLED
+TOERINGS. HER ANKLES ARE LINKED BY A SLENDER FETTERCHAIN. BESIDE HER A
+CAMEL, HOODED WITH A TURRETING TURBAN, WAITS. A SILK LADDER OF
+INNUMERABLE RUNGS CLIMBS TO HIS BOBBING HOWDAH. HE AMBLES NEAR WITH
+DISGRUNTLED HINDQUARTERS. FIERCELY SHE SLAPS HIS HAUNCH, HER GOLDCURB
+WRISTBANGLES ANGRILING, SCOLDING HIM IN MOORISH.)
+
+MARION: Nebrakada! Femininum!
+
+(THE CAMEL, LIFTING A FORELEG, PLUCKS FROM A TREE A LARGE MANGO FRUIT,
+OFFERS IT TO HIS MISTRESS, BLINKING, IN HIS CLOVEN HOOF, THEN DROOPS HIS
+HEAD AND, GRUNTING, WITH UPLIFTED NECK, FUMBLES TO KNEEL. BLOOM STOOPS
+HIS BACK FOR LEAPFROG.)
+
+BLOOM: I can give you ... I mean as your business menagerer ... Mrs
+Marion ... if you  ...
+
+MARION: So you notice some change? (HER HANDS PASSING SLOWLY OVER HER
+TRINKETED STOMACHER, A SLOW FRIENDLY MOCKERY IN HER EYES) O Poldy, Poldy,
+you are a poor old stick in the mud! Go and see life. See the wide world.
+
+BLOOM: I was just going back for that lotion whitewax, orangeflower
+water. Shop closes early on Thursday. But the first thing in the morning.
+(HE PATS DIVERS POCKETS) This moving kidney. Ah!
+
+(HE POINTS TO THE SOUTH, THEN TO THE EAST. A CAKE OF NEW CLEAN LEMON SOAP
+ARISES, DIFFUSING LIGHT AND PERFUME.)
+
+THE SOAP:
+
+
+    We're a capital couple are Bloom and I.
+    He brightens the earth. I polish the sky.
+
+
+(THE FRECKLED FACE OF SWENY, THE DRUGGIST, APPEARS IN THE DISC OF THE
+SOAPSUN.)
+
+SWENY: Three and a penny, please.
+
+BLOOM: Yes. For my wife. Mrs Marion. Special recipe.
+
+MARION: (SOFTLY) Poldy!
+
+BLOOM: Yes, ma'am?
+
+MARION: TI TREMA UN POCO IL CUORE?
+
+(IN DISDAIN SHE SAUNTERS AWAY, PLUMP AS A PAMPERED POUTER PIGEON, HUMMING
+THE DUET FROM Don Giovanni.)
+
+BLOOM: Are you sure about that VOGLIO? I mean the pronunciati ...
+
+(HE FOLLOWS, FOLLOWED BY THE SNIFFING TERRIER. THE ELDERLY BAWD SEIZES
+HIS SLEEVE, THE BRISTLES OF HER CHINMOLE GLITTERING.)
+
+THE BAWD: Ten shillings a maidenhead. Fresh thing was never touched.
+Fifteen. There's no-one in it only her old father that's dead drunk.
+
+(SHE POINTS. IN THE GAP OF HER DARK DEN FURTIVE, RAINBEDRAGGLED, BRIDIE
+KELLY STANDS.)
+
+BRIDIE: Hatch street. Any good in your mind?
+
+(WITH A SQUEAK SHE FLAPS HER BAT SHAWL AND RUNS. A BURLY ROUGH PURSUES
+WITH BOOTED STRIDES. HE STUMBLES ON THE STEPS, RECOVERS, PLUNGES INTO
+GLOOM. WEAK SQUEAKS OF LAUGHTER ARE HEARD, WEAKER.)
+
+THE BAWD: (HER WOLFEYES SHINING) He's getting his pleasure. You won't get
+a virgin in the flash houses. Ten shillings. Don't be all night before
+the polis in plain clothes sees us. Sixtyseven is a bitch.
+
+(LEERING, GERTY MACDOWELL LIMPS FORWARD. SHE DRAWS FROM BEHIND, OGLING,
+AND SHOWS COYLY HER BLOODIED CLOUT.)
+
+GERTY: With all my worldly goods I thee and thou. (SHE MURMURS) You did
+that. I hate you.
+
+BLOOM: I? When? You're dreaming. I never saw you.
+
+THE BAWD: Leave the gentleman alone, you cheat. Writing the gentleman
+false letters. Streetwalking and soliciting. Better for your mother take
+the strap to you at the bedpost, hussy like you.
+
+GERTY: (TO BLOOM) When you saw all the secrets of my bottom drawer. (SHE
+PAWS HIS SLEEVE, SLOBBERING) Dirty married man! I love you for doing that
+to me.
+
+(SHE GLIDES AWAY CROOKEDLY. MRS BREEN IN MAN'S FRIEZE OVERCOAT WITH LOOSE
+BELLOWS POCKETS, STANDS IN THE CAUSEWAY, HER ROGUISH EYES WIDEOPEN,
+SMILING IN ALL HER HERBIVOROUS BUCKTEETH.)
+
+MRS BREEN: Mr ...
+
+BLOOM: (COUGHS GRAVELY) Madam, when we last had this pleasure by letter
+dated the sixteenth instant ...
+
+MRS BREEN: Mr Bloom! You down here in the haunts of sin! I caught you
+nicely! Scamp!
+
+BLOOM: (HURRIEDLY) Not so loud my name. Whatever do you think of me?
+Don't give me away. Walls have ears. How do you do? It's ages since I.
+You're looking splendid. Absolutely it. Seasonable weather we are having
+this time of year. Black refracts heat. Short cut home here. Interesting
+quarter. Rescue of fallen women. Magdalen asylum. I am the secretary ...
+
+MRS BREEN: (HOLDS UP A FINGER) Now, don't tell a big fib! I know somebody
+won't like that. O just wait till I see Molly! (SLILY) Account for
+yourself this very sminute or woe betide you!
+
+BLOOM: (LOOKS BEHIND) She often said she'd like to visit. Slumming. The
+exotic, you see. Negro servants in livery too if she had money. Othello
+black brute. Eugene Stratton. Even the bones and cornerman at the
+Livermore christies. Bohee brothers. Sweep for that matter.
+
+(TOM AND SAM BOHEE, COLOURED COONS IN WHITE DUCK SUITS, SCARLET SOCKS,
+UPSTARCHED SAMBO CHOKERS AND LARGE SCARLET ASTERS IN THEIR BUTTONHOLES,
+LEAP OUT. EACH HAS HIS BANJO SLUNG. THEIR PALER SMALLER NEGROID HANDS
+JINGLE THE TWINGTWANG WIRES. FLASHING WHITE KAFFIR EYES AND TUSKS THEY
+RATTLE THROUGH A BREAKDOWN IN CLUMSY CLOGS, TWINGING, SINGING, BACK TO
+BACK, TOE HEEL, HEEL TOE, WITH SMACKFATCLACKING NIGGER LIPS.)
+
+TOM AND SAM:
+
+
+    There's someone in the house with Dina
+    There's someone in the house, I know,
+    There's someone in the house with Dina
+    Playing on the old banjo.
+
+
+(THEY WHISK BLACK MASKS FROM RAW BABBY FACES: THEN, CHUCKLING, CHORTLING,
+TRUMMING, TWANGING, THEY DIDDLE DIDDLE CAKEWALK DANCE AWAY.)
+
+BLOOM: (WITH A SOUR TENDERISH SMILE) A little frivol, shall we, if you
+are so inclined? Would you like me perhaps to embrace you just for a
+fraction of a second?
+
+MRS BREEN: (SCREAMS GAILY) O, you ruck! You ought to see yourself!
+
+BLOOM: For old sake' sake. I only meant a square party, a mixed marriage
+mingling of our different little conjugials. You know I had a soft corner
+for you. (GLOOMILY) 'Twas I sent you that valentine of the dear gazelle.
+
+MRS BREEN: Glory Alice, you do look a holy show! Killing simply. (SHE
+PUTS OUT HER HAND INQUISITIVELY) What are you hiding behind your back?
+Tell us, there's a dear.
+
+BLOOM: (SEIZES HER WRIST WITH HIS FREE HAND) Josie Powell that was,
+prettiest deb in Dublin. How time flies by! Do you remember, harking back
+in a retrospective arrangement, Old Christmas night, Georgina Simpson's
+housewarming while they were playing the Irving Bishop game, finding the
+pin blindfold and thoughtreading? Subject, what is in this snuffbox?
+
+MRS BREEN: You were the lion of the night with your seriocomic recitation
+and you looked the part. You were always a favourite with the ladies.
+
+BLOOM: (SQUIRE OF DAMES, IN DINNER JACKET WITH WATEREDSILK FACINGS, BLUE
+MASONIC BADGE IN HIS BUTTONHOLE, BLACK BOW AND MOTHER-OF-PEARL STUDS, A
+PRISMATIC CHAMPAGNE GLASS TILTED IN HIS HAND) Ladies and gentlemen, I
+give you Ireland, home and beauty.
+
+MRS BREEN: The dear dead days beyond recall. Love's old sweet song.
+
+BLOOM: (MEANINGFULLY DROPPING HIS VOICE) I confess I'm teapot with
+curiosity to find out whether some person's something is a little teapot
+at present.
+
+MRS BREEN: (GUSHINGLY) Tremendously teapot! London's teapot and I'm
+simply teapot all over me! (SHE RUBS SIDES WITH HIM) After the parlour
+mystery games and the crackers from the tree we sat on the staircase
+ottoman. Under the mistletoe. Two is company.
+
+BLOOM: (WEARING A PURPLE NAPOLEON HAT WITH AN AMBER HALFMOON, HIS FINGERS
+AND THUMB PASSING SLOWLY DOWN TO HER SOFT MOIST MEATY PALM WHICH SHE
+SURRENDERS GENTLY) The witching hour of night. I took the splinter out of
+this hand, carefully, slowly. (TENDERLY, AS HE SLIPS ON HER FINGER A RUBY
+RING) LA CI DAREM LA MANO.
+
+MRS BREEN: (IN A ONEPIECE EVENING FROCK EXECUTED IN MOONLIGHT BLUE, A
+TINSEL SYLPH'S DIADEM ON HER BROW WITH HER DANCECARD FALLEN BESIDE HER
+MOONBLUE SATIN SLIPPER, CURVES HER PALM SOFTLY, BREATHING QUICKLY) VOGLIO
+E NON. You're hot! You're scalding! The left hand nearest the heart.
+
+BLOOM: When you made your present choice they said it was beauty and the
+beast. I can never forgive you for that. (HIS CLENCHED FIST AT HIS BROW)
+Think what it means. All you meant to me then. (HOARSELY) Woman, it's
+breaking me!
+
+(DENIS BREEN, WHITETALLHATTED, WITH WISDOM HELY'S SANDWICH- BOARDS,
+SHUFFLES PAST THEM IN CARPET SLIPPERS, HIS DULL BEARD THRUST OUT,
+MUTTERING TO RIGHT AND LEFT. LITTLE ALF BERGAN, CLOAKED IN THE PALL OF
+THE ACE OF SPADES, DOGS HIM TO LEFT AND RIGHT, DOUBLED IN LAUGHTER.)
+
+ALF BERGAN: (POINTS JEERING AT THE SANDWICHBOARDS) U. p: Up.
+
+MRS BREEN: (TO BLOOM) High jinks below stairs. (SHE GIVES HIM THE GLAD
+EYE) Why didn't you kiss the spot to make it well? You wanted to.
+
+BLOOM: (SHOCKED) Molly's best friend! Could you?
+
+MRS BREEN: (HER PULPY TONGUE BETWEEN HER LIPS, OFFERS A PIGEON KISS)
+Hnhn. The answer is a lemon. Have you a little present for me there?
+
+BLOOM: (OFFHANDEDLY) Kosher. A snack for supper. The home without potted
+meat is incomplete. I was at LEAH. Mrs Bandmann Palmer. Trenchant
+exponent of Shakespeare. Unfortunately threw away the programme. Rattling
+good place round there for pigs' feet. Feel.
+
+(RICHIE GOULDING, THREE LADIES' HATS PINNED ON HIS HEAD, APPEARS WEIGHTED
+TO ONE SIDE BY THE BLACK LEGAL BAG OF COLLIS AND WARD ON WHICH A SKULL
+AND CROSSBONES ARE PAINTED IN WHITE LIMEWASH. HE OPENS IT AND SHOWS IT
+FULL OF POLONIES, KIPPERED HERRINGS, FINDON HADDIES AND TIGHTPACKED
+PILLS.)
+
+RICHIE: Best value in Dub.
+
+(BALD PAT, BOTHERED BEETLE, STANDS ON THE CURBSTONE, FOLDING HIS NAPKIN,
+WAITING TO WAIT.)
+
+PAT: (ADVANCES WITH A TILTED DISH OF SPILLSPILLING GRAVY) Steak and
+kidney. Bottle of lager. Hee hee hee. Wait till I wait.
+
+RICHIE: Goodgod. Inev erate inall ...
+
+(WITH HANGING HEAD HE MARCHES DOGGEDLY FORWARD. THE NAVVY, LURCHING BY,
+GORES HIM WITH HIS FLAMING PRONGHORN.)
+
+RICHIE: (WITH A CRY OF PAIN, HIS HAND TO HIS BACK) Ah! Bright's! Lights!
+
+BLOOM: (POINTS TO THE NAVVY) A spy. Don't attract attention. I hate
+stupid crowds. I am not on pleasure bent. I am in a grave predicament.
+
+MRS BREEN: Humbugging and deluthering as per usual with your cock and
+bull story.
+
+BLOOM: I want to tell you a little secret about how I came to be here.
+But you must never tell. Not even Molly. I have a most particular reason.
+
+MRS BREEN: (ALL AGOG) O, not for worlds.
+
+BLOOM: Let's walk on. Shall us?
+
+MRS BREEN: Let's.
+
+(THE BAWD MAKES AN UNHEEDED SIGN. BLOOM WALKS ON WITH MRS BREEN. THE
+TERRIER FOLLOWS, WHINING PITEOUSLY, WAGGING HIS TAIL.)
+
+THE BAWD: Jewman's melt!
+
+BLOOM: (IN AN OATMEAL SPORTING SUIT, A SPRIG OF WOODBINE IN THE LAPEL,
+TONY BUFF SHIRT, SHEPHERD'S PLAID SAINT ANDREW'S CROSS SCARFTIE, WHITE
+SPATS, FAWN DUSTCOAT ON HIS ARM, TAWNY RED BROGUES, FIELDGLASSES IN
+BANDOLIER AND A GREY BILLYCOCK HAT) Do you remember a long long time,
+years and years ago, just after Milly, Marionette we called her, was
+weaned when we all went together to Fairyhouse races, was it?
+
+MRS BREEN: (IN SMART SAXE TAILORMADE, WHITE VELOURS HAT AND SPIDER VEIL)
+Leopardstown.
+
+BLOOM: I mean, Leopardstown. And Molly won seven shillings on a three
+year old named Nevertell and coming home along by Foxrock in that old
+fiveseater shanderadan of a waggonette you were in your heyday then and
+you had on that new hat of white velours with a surround of molefur that
+Mrs Hayes advised you to buy because it was marked down to nineteen and
+eleven, a bit of wire and an old rag of velveteen, and I'll lay you what
+you like she did it on purpose ...
+
+MRS BREEN: She did, of course, the cat! Don't tell me! Nice adviser!
+
+BLOOM: Because it didn't suit you one quarter as well as the other ducky
+little tammy toque with the bird of paradise wing in it that I admired on
+you and you honestly looked just too fetching in it though it was a pity
+to kill it, you cruel naughty creature, little mite of a thing with a
+heart the size of a fullstop.
+
+MRS BREEN: (SQUEEZES HIS ARM, SIMPERS) Naughty cruel I was!
+
+BLOOM: (LOW, SECRETLY, EVER MORE RAPIDLY) And Molly was eating a sandwich
+of spiced beef out of Mrs Joe Gallaher's lunch basket. Frankly, though
+she had her advisers or admirers, I never cared much for her style. She
+was ...
+
+MRS BREEN: Too ...
+
+BLOOM: Yes. And Molly was laughing because Rogers and Maggot O'Reilly
+were mimicking a cock as we passed a farmhouse and Marcus Tertius Moses,
+the tea merchant, drove past us in a gig with his daughter, Dancer Moses
+was her name, and the poodle in her lap bridled up and you asked me if I
+ever heard or read or knew or came across ...
+
+MRS BREEN: (EAGERLY) Yes, yes, yes, yes, yes, yes, yes.
+
+(SHE FADES FROM HIS SIDE. FOLLOWED BY THE WHINING DOG HE WALKS ON TOWARDS
+HELLSGATES. IN AN ARCHWAY A STANDING WOMAN, BENT FORWARD, HER FEET APART,
+PISSES COWILY. OUTSIDE A SHUTTERED PUB A BUNCH OF LOITERERS LISTEN TO A
+TALE WHICH THEIR BROKENSNOUTED GAFFER RASPS OUT WITH RAUCOUS HUMOUR. AN
+ARMLESS PAIR OF THEM FLOP WRESTLING, GROWLING, IN MAIMED SODDEN
+PLAYFIGHT.)
+
+THE GAFFER: (CROUCHES, HIS VOICE TWISTED IN HIS SNOUT) And when Cairns
+came down from the scaffolding in Beaver street what was he after doing
+it into only into the bucket of porter that was there waiting on the
+shavings for Derwan's plasterers.
+
+THE LOITERERS: (GUFFAW WITH CLEFT PALATES) O jays!
+
+(THEIR PAINTSPECKLED HATS WAG. SPATTERED WITH SIZE AND LIME OF THEIR
+LODGES THEY FRISK LIMBLESSLY ABOUT HIM.)
+
+BLOOM: Coincidence too. They think it funny. Anything but that. Broad
+daylight. Trying to walk. Lucky no woman.
+
+THE LOITERERS: Jays, that's a good one. Glauber salts. O jays, into the
+men's porter.
+
+(BLOOM PASSES. CHEAP WHORES, SINGLY, COUPLED, SHAWLED, DISHEVELLED, CALL
+FROM LANES, DOORS, CORNERS.)
+
+THE WHORES:
+
+    Are you going far, queer fellow?
+    How's your middle leg?
+    Got a match on you?
+    Eh, come here till I stiffen it for you.
+
+(HE PLODGES THROUGH THEIR SUMP TOWARDS THE LIGHTED STREET BEYOND. FROM A
+BULGE OF WINDOW CURTAINS A GRAMOPHONE REARS A BATTERED BRAZEN TRUNK. IN
+THE SHADOW A SHEBEENKEEPER HAGGLES WITH THE NAVVY AND THE TWO REDCOATS.)
+
+THE NAVVY: (BELCHING) Where's the bloody house?
+
+THE SHEBEENKEEPER: Purdon street. Shilling a bottle of stout. Respectable
+woman.
+
+THE NAVVY: (GRIPPING THE TWO REDCOATS, STAGGERS FORWARD WITH THEM) Come
+on, you British army!
+
+PRIVATE CARR: (BEHIND HIS BACK) He aint half balmy.
+
+PRIVATE COMPTON: (LAUGHS) What ho!
+
+PRIVATE CARR: (TO THE NAVVY) Portobello barracks canteen. You ask for
+Carr. Just Carr.
+
+THE NAVVY: (SHOUTS)
+
+    We are the boys. Of Wexford.
+
+PRIVATE COMPTON: Say! What price the sergeantmajor?
+
+PRIVATE CARR: Bennett? He's my pal. I love old Bennett.
+
+THE NAVVY: (SHOUTS)
+
+    The galling chain.
+    And free our native land.
+
+(HE STAGGERS FORWARD, DRAGGING THEM WITH HIM. BLOOM STOPS, AT FAULT. THE
+DOG APPROACHES, HIS TONGUE OUTLOLLING, PANTING)
+
+BLOOM: Wildgoose chase this. Disorderly houses. Lord knows where they are
+gone. Drunks cover distance double quick. Nice mixup. Scene at Westland
+row. Then jump in first class with third ticket. Then too far. Train with
+engine behind. Might have taken me to Malahide or a siding for the night
+or collision. Second drink does it. Once is a dose. What am I following
+him for? Still, he's the best of that lot. If I hadn't heard about Mrs
+Beaufoy Purefoy I wouldn't have gone and wouldn't have met. Kismet. He'll
+lose that cash. Relieving office here. Good biz for cheapjacks, organs.
+What do ye lack? Soon got, soon gone. Might have lost my life too with
+that mangongwheeltracktrolleyglarejuggernaut only for presence of mind.
+Can't always save you, though. If I had passed Truelock's window that day
+two minutes later would have been shot. Absence of body. Still if bullet
+only went through my coat get damages for shock, five hundred pounds.
+What was he? Kildare street club toff. God help his gamekeeper.
+
+(HE GAZES AHEAD, READING ON THE WALL A SCRAWLED CHALK LEGEND Wet Dream
+AND A PHALLIC DESIGN.) Odd! Molly drawing on the frosted carriagepane at
+Kingstown. What's that like? (GAUDY DOLLWOMEN LOLL IN THE LIGHTED
+DOORWAYS, IN WINDOW EMBRASURES, SMOKING BIRDSEYE CIGARETTES. THE ODOUR OF
+THE SICKSWEET WEED FLOATS TOWARDS HIM IN SLOW ROUND OVALLING WREATHS.)
+
+THE WREATHS: Sweet are the sweets. Sweets of sin.
+
+BLOOM: My spine's a bit limp. Go or turn? And this food? Eat it and get
+all pigsticky. Absurd I am. Waste of money. One and eightpence too much.
+(THE RETRIEVER DRIVES A COLD SNIVELLING MUZZLE AGAINST HIS HAND, WAGGING
+HIS TAIL.) Strange how they take to me. Even that brute today. Better
+speak to him first. Like women they like RENCONTRES. Stinks like a
+polecat. CHACUN SON GOUT. He might be mad. Dogdays. Uncertain in his
+movements. Good fellow! Fido! Good fellow! Garryowen! (THE WOLFDOG
+SPRAWLS ON HIS BACK, WRIGGLING OBSCENELY WITH BEGGING PAWS, HIS LONG
+BLACK TONGUE LOLLING OUT.) Influence of his surroundings. Give and have
+done with it. Provided nobody. (CALLING ENCOURAGING WORDS HE SHAMBLES
+BACK WITH A FURTIVE POACHER'S TREAD, DOGGED BY THE SETTER INTO A DARK
+STALESTUNK CORNER. HE UNROLLS ONE PARCEL AND GOES TO DUMP THE CRUBEEN
+SOFTLY BUT HOLDS BACK AND FEELS THE TROTTER.) Sizeable for threepence.
+But then I have it in my left hand. Calls for more effort. Why? Smaller
+from want of use. O, let it slide. Two and six.
+
+(WITH REGRET HE LETS THE UNROLLED CRUBEEN AND TROTTER SLIDE. THE MASTIFF
+MAULS THE BUNDLE CLUMSILY AND GLUTS HIMSELF WITH GROWLING GREED,
+CRUNCHING THE BONES. TWO RAINCAPED WATCH APPROACH, SILENT, VIGILANT. THEY
+MURMUR TOGETHER.)
+
+THE WATCH: Bloom. Of Bloom. For Bloom. Bloom.
+
+(EACH LAYS HAND ON BLOOM'S SHOULDER.)
+
+FIRST WATCH: Caught in the act. Commit no nuisance.
+
+BLOOM: (STAMMERS) I am doing good to others.
+
+(A COVEY OF GULLS, STORM PETRELS, RISES HUNGRILY FROM LIFFEY SLIME WITH
+BANBURY CAKES IN THEIR BEAKS.)
+
+THE GULLS: Kaw kave kankury kake.
+
+BLOOM: The friend of man. Trained by kindness.
+
+(HE POINTS. BOB DORAN, TOPPLING FROM A HIGH BARSTOOL, SWAYS OVER THE
+MUNCHING SPANIEL.)
+
+BOB DORAN: Towser. Give us the paw. Give the paw.
+
+(THE BULLDOG GROWLS, HIS SCRUFF STANDING, A GOBBET OF PIG'S KNUCKLE
+BETWEEN HIS MOLARS THROUGH WHICH RABID SCUMSPITTLE DRIBBLES. BOB DORAN
+FILLS SILENTLY INTO AN AREA.)
+
+SECOND WATCH: Prevention of cruelty to animals.
+
+BLOOM: (ENTHUSIASTICALLY) A noble work! I scolded that tramdriver on
+Harold's cross bridge for illusing the poor horse with his harness scab.
+Bad French I got for my pains. Of course it was frosty and the last tram.
+All tales of circus life are highly demoralising.
+
+(SIGNOR MAFFEI, PASSIONPALE, IN LIONTAMER'S COSTUME WITH DIAMOND STUDS IN
+HIS SHIRTFRONT, STEPS FORWARD, HOLDING A CIRCUS PAPERHOOP, A CURLING
+CARRIAGEWHIP AND A REVOLVER WITH WHICH HE COVERS THE GORGING BOARHOUND.)
+
+SIGNOR MAFFEI: (WITH A SINISTER SMILE) Ladies and gentlemen, my educated
+greyhound. It was I broke in the bucking broncho Ajax with my patent
+spiked saddle for carnivores. Lash under the belly with a knotted thong.
+Block tackle and a strangling pulley will bring your lion to heel, no
+matter how fractious, even LEO FEROX there, the Libyan maneater. A redhot
+crowbar and some liniment rubbing on the burning part produced Fritz of
+Amsterdam, the thinking hyena. (HE GLARES) I possess the Indian sign. The
+glint of my eye does it with these breastsparklers. (WITH A BEWITCHING
+SMILE) I now introduce Mademoiselle Ruby, the pride of the ring.
+
+FIRST WATCH: Come. Name and address.
+
+BLOOM: I have forgotten for the moment. Ah, yes! (HE TAKES OFF HIS HIGH
+GRADE HAT, SALUTING) Dr Bloom, Leopold, dental surgeon. You have heard of
+von Blum Pasha. Umpteen millions. DONNERWETTER! Owns half Austria. Egypt.
+Cousin.
+
+FIRST WATCH: Proof.
+
+(A CARD FALLS FROM INSIDE THE LEATHER HEADBAND OF BLOOM'S HAT.)
+
+BLOOM: (IN RED FEZ, CADI'S DRESS COAT WITH BROAD GREEN SASH, WEARING A
+FALSE BADGE OF THE LEGION OF HONOUR, PICKS UP THE CARD HASTILY AND OFFERS
+IT) Allow me. My club is the Junior Army and Navy. Solicitors: Messrs
+John Henry Menton, 27 Bachelor's Walk.
+
+FIRST WATCH: (READS) Henry Flower. No fixed abode. Unlawfully watching
+and besetting.
+
+SECOND WATCH: An alibi. You are cautioned.
+
+BLOOM: (PRODUCES FROM HIS HEARTPOCKET A CRUMPLED YELLOW FLOWER) This is
+the flower in question. It was given me by a man I don't know his name.
+(PLAUSIBLY) You know that old joke, rose of Castile. Bloom. The change of
+name. Virag. (HE MURMURS PRIVATELY AND CONFIDENTIALLY) We are engaged you
+see, sergeant. Lady in the case. Love entanglement. (HE SHOULDERS THE
+SECOND WATCH GENTLY) Dash it all. It's a way we gallants have in the
+navy. Uniform that does it. (HE TURNS GRAVELY TO THE FIRST WATCH) Still,
+of course, you do get your Waterloo sometimes. Drop in some evening and
+have a glass of old Burgundy. (TO THE SECOND WATCH GAILY) I'll introduce
+you, inspector. She's game. Do it in the shake of a lamb's tail.
+
+(A DARK MERCURIALISED FACE APPEARS, LEADING A VEILED FIGURE.)
+
+THE DARK MERCURY: The Castle is looking for him. He was drummed out of
+the army.
+
+MARTHA: (THICKVEILED, A CRIMSON HALTER ROUND HER NECK, A COPY OF THE
+Irish Times IN HER HAND, IN TONE OF REPROACH, POINTING) Henry! Leopold!
+Lionel, thou lost one! Clear my name.
+
+FIRST WATCH: (STERNLY) Come to the station.
+
+BLOOM: (SCARED, HATS HIMSELF, STEPS BACK, THEN, PLUCKING AT HIS HEART AND
+LIFTING HIS RIGHT FOREARM ON THE SQUARE, HE GIVES THE SIGN AND DUEGUARD
+OF FELLOWCRAFT) No, no, worshipful master, light of love. Mistaken
+identity. The Lyons mail. Lesurques and Dubosc. You remember the Childs
+fratricide case. We medical men. By striking him dead with a hatchet. I
+am wrongfully accused. Better one guilty escape than ninetynine
+wrongfully condemned.
+
+MARTHA: (SOBBING BEHIND HER VEIL) Breach of promise. My real name is
+Peggy Griffin. He wrote to me that he was miserable. I'll tell my
+brother, the Bective rugger fullback, on you, heartless flirt.
+
+BLOOM: (BEHIND HIS HAND) She's drunk. The woman is inebriated. (HE
+MURMURS VAGUELY THE PASS OF EPHRAIM) Shitbroleeth.
+
+SECOND WATCH: (TEARS IN HIS EYES, TO BLOOM) You ought to be thoroughly
+well ashamed of yourself.
+
+BLOOM: Gentlemen of the jury, let me explain. A pure mare's nest. I am a
+man misunderstood. I am being made a scapegoat of. I am a respectable
+married man, without a stain on my character. I live in Eccles street. My
+wife, I am the daughter of a most distinguished commander, a gallant
+upstanding gentleman, what do you call him, Majorgeneral Brian Tweedy,
+one of Britain's fighting men who helped to win our battles. Got his
+majority for the heroic defence of Rorke's Drift.
+
+FIRST WATCH: Regiment.
+
+BLOOM: (TURNS TO THE GALLERY) The royal Dublins, boys, the salt of the
+earth, known the world over. I think I see some old comrades in arms up
+there among you. The R. D. F., with our own Metropolitan police,
+guardians of our homes, the pluckiest lads and the finest body of men, as
+physique, in the service of our sovereign.
+
+A VOICE: Turncoat! Up the Boers! Who booed Joe Chamberlain?
+
+BLOOM: (HIS HAND ON THE SHOULDER OF THE FIRST WATCH) My old dad too was a
+J. P. I'm as staunch a Britisher as you are, sir. I fought with the
+colours for king and country in the absentminded war under general Gough
+in the park and was disabled at Spion Kop and Bloemfontein, was mentioned
+in dispatches. I did all a white man could. (WITH QUIET FEELING) Jim
+Bludso. Hold her nozzle again the bank.
+
+FIRST WATCH: Profession or trade.
+
+BLOOM: Well, I follow a literary occupation, author-journalist. In fact
+we are just bringing out a collection of prize stories of which I am the
+inventor, something that is an entirely new departure. I am connected
+with the British and Irish press. If you ring up ...
+
+(MYLES CRAWFORD STRIDES OUT JERKILY, A QUILL BETWEEN HIS TEETH. HIS
+SCARLET BEAK BLAZES WITHIN THE AUREOLE OF HIS STRAW HAT. HE DANGLES A
+HANK OF SPANISH ONIONS IN ONE HAND AND HOLDS WITH THE OTHER HAND A
+TELEPHONE RECEIVER NOZZLE TO HIS EAR.)
+
+MYLES CRAWFORD: (HIS COCK'S WATTLES WAGGING) Hello, seventyseven
+eightfour. Hello. FREEMAN'S URINAL and WEEKLY ARSEWIPE here. Paralyse
+Europe. You which? Bluebags? Who writes? Is it Bloom?
+
+(MR PHILIP BEAUFOY, PALEFACED, STANDS IN THE WITNESSBOX, IN ACCURATE
+MORNING DRESS, OUTBREAST POCKET WITH PEAK OF HANDKERCHIEF SHOWING,
+CREASED LAVENDER TROUSERS AND PATENT BOOTS. HE CARRIES A LARGE PORTFOLIO
+LABELLED Matcham's Masterstrokes.)
+
+BEAUFOY: (DRAWLS) No, you aren't. Not by a long shot if I know it. I
+don't see it that's all. No born gentleman, no-one with the most
+rudimentary promptings of a gentleman would stoop to such particularly
+loathsome conduct. One of those, my lord. A plagiarist. A soapy sneak
+masquerading as a litterateur. It's perfectly obvious that with the most
+inherent baseness he has cribbed some of my bestselling copy, really
+gorgeous stuff, a perfect gem, the love passages in which are beneath
+suspicion. The Beaufoy books of love and great possessions, with which
+your lordship is doubtless familiar, are a household word throughout the
+kingdom.
+
+BLOOM: (MURMURS WITH HANGDOG MEEKNESS GLUM) That bit about the laughing
+witch hand in hand I take exception to, if I may ...
+
+BEAUFOY: (HIS LIP UPCURLED, SMILES SUPERCILIOUSLY ON THE COURT) You funny
+ass, you! You're too beastly awfully weird for words! I don't think you
+need over excessively disincommodate yourself in that regard. My literary
+agent Mr J. B. Pinker is in attendance. I presume, my lord, we shall
+receive the usual witnesses' fees, shan't we? We are considerably out of
+pocket over this bally pressman johnny, this jackdaw of Rheims, who has
+not even been to a university.
+
+BLOOM: (INDISTINCTLY) University of life. Bad art.
+
+BEAUFOY: (SHOUTS) It's a damnably foul lie, showing the moral rottenness
+of the man! (HE EXTENDS HIS PORTFOLIO) We have here damning evidence, the
+CORPUS DELICTI, my lord, a specimen of my maturer work disfigured by the
+hallmark of the beast.
+
+A VOICE FROM THE GALLERY:
+
+    Moses, Moses, king of the jews,
+    Wiped his arse in the Daily News.
+
+BLOOM: (BRAVELY) Overdrawn.
+
+BEAUFOY: You low cad! You ought to be ducked in the horsepond, you
+rotter! (TO THE COURT) Why, look at the man's private life! Leading a
+quadruple existence! Street angel and house devil. Not fit to be
+mentioned in mixed society! The archconspirator of the age!
+
+BLOOM: (TO THE COURT) And he, a bachelor, how ...
+
+FIRST WATCH: The King versus Bloom. Call the woman Driscoll.
+
+THE CRIER: Mary Driscoll, scullerymaid!
+
+(MARY DRISCOLL, A SLIPSHOD SERVANT GIRL, APPROACHES. SHE HAS A BUCKET ON
+THE CROOK OF HER ARM AND A SCOURINGBRUSH IN HER HAND.)
+
+SECOND WATCH: Another! Are you of the unfortunate class?
+
+MARY DRISCOLL: (INDIGNANTLY) I'm not a bad one. I bear a respectable
+character and was four months in my last place. I was in a situation, six
+pounds a year and my chances with Fridays out and I had to leave owing to
+his carryings on.
+
+FIRST WATCH: What do you tax him with?
+
+MARY DRISCOLL: He made a certain suggestion but I thought more of myself
+as poor as I am.
+
+BLOOM: (IN HOUSEJACKET OF RIPPLECLOTH, FLANNEL TROUSERS, HEELLESS
+SLIPPERS, UNSHAVEN, HIS HAIR RUMPLED: SOFTLY) I treated you white. I gave
+you mementos, smart emerald garters far above your station. Incautiously
+I took your part when you were accused of pilfering. There's a medium in
+all things. Play cricket.
+
+MARY DRISCOLL: (EXCITEDLY) As God is looking down on me this night if
+ever I laid a hand to them oysters!
+
+FIRST WATCH: The offence complained of? Did something happen?
+
+MARY DRISCOLL: He surprised me in the rere of the premises, Your honour,
+when the missus was out shopping one morning with a request for a safety
+pin. He held me and I was discoloured in four places as a result. And he
+interfered twict with my clothing.
+
+BLOOM: She counterassaulted.
+
+MARY DRISCOLL: (SCORNFULLY) I had more respect for the scouringbrush, so
+I had. I remonstrated with him, Your lord, and he remarked: keep it
+quiet.
+
+(GENERAL LAUGHTER.)
+
+GEORGE FOTTRELL: (CLERK OF THE CROWN AND PEACE, RESONANTLY) Order in
+court! The accused will now make a bogus statement.
+
+(BLOOM, PLEADING NOT GUILTY AND HOLDING A FULLBLOWN WATERLILY, BEGINS A
+LONG UNINTELLIGIBLE SPEECH. THEY WOULD HEAR WHAT COUNSEL HAD TO SAY IN
+HIS STIRRING ADDRESS TO THE GRAND JURY. HE WAS DOWN AND OUT BUT, THOUGH
+BRANDED AS A BLACK SHEEP, IF HE MIGHT SAY SO, HE MEANT TO REFORM, TO
+RETRIEVE THE MEMORY OF THE PAST IN A PURELY SISTERLY WAY AND RETURN TO
+NATURE AS A PURELY DOMESTIC ANIMAL. A SEVENMONTHS' CHILD, HE HAD BEEN
+CAREFULLY BROUGHT UP AND NURTURED BY AN AGED BEDRIDDEN PARENT. THERE
+MIGHT HAVE BEEN LAPSES OF AN ERRING FATHER BUT HE WANTED TO TURN OVER A
+NEW LEAF AND NOW, WHEN AT LONG LAST IN SIGHT OF THE WHIPPING POST, TO
+LEAD A HOMELY LIFE IN THE EVENING OF HIS DAYS, PERMEATED BY THE
+AFFECTIONATE SURROUNDINGS OF THE HEAVING BOSOM OF THE FAMILY. AN
+ACCLIMATISED BRITISHER, HE HAD SEEN THAT SUMMER EVE FROM THE FOOTPLATE OF
+AN ENGINE CAB OF THE LOOP LINE RAILWAY COMPANY WHILE THE RAIN REFRAINED
+FROM FALLING GLIMPSES, AS IT WERE, THROUGH THE WINDOWS OF LOVEFUL
+HOUSEHOLDS IN DUBLIN CITY AND URBAN DISTRICT OF SCENES TRULY RURAL OF
+HAPPINESS OF THE BETTER LAND WITH DOCKRELL'S WALLPAPER AT ONE AND
+NINEPENCE A DOZEN, INNOCENT BRITISHBORN BAIRNS LISPING PRAYERS TO THE
+SACRED INFANT, YOUTHFUL SCHOLARS GRAPPLING WITH THEIR PENSUMS OR MODEL
+YOUNG LADIES PLAYING ON THE PIANOFORTE OR ANON ALL WITH FERVOUR RECITING
+THE FAMILY ROSARY ROUND THE CRACKLING YULELOG WHILE IN THE BOREENS AND
+GREEN LANES THE COLLEENS WITH THEIR SWAINS STROLLED WHAT TIMES THE
+STRAINS OF THE ORGANTONED MELODEON BRITANNIA METALBOUND WITH FOUR ACTING
+STOPS AND TWELVEFOLD BELLOWS, A SACRIFICE, GREATEST BARGAIN EVER...)
+
+(RENEWED LAUGHTER. HE MUMBLES INCOHERENTLY. REPORTERS COMPLAIN THAT THEY
+CANNOT HEAR.)
+
+LONGHAND AND SHORTHAND: (WITHOUT LOOKING UP FROM THEIR NOTEBOOKS) Loosen
+his boots.
+
+PROFESSOR MACHUGH: (FROM THE PRESSTABLE, COUGHS AND CALLS) Cough it up,
+man. Get it out in bits.
+
+(THE CROSSEXAMINATION PROCEEDS RE BLOOM AND THE BUCKET. A LARGE BUCKET.
+BLOOM HIMSELF. BOWEL TROUBLE. IN BEAVER STREET GRIPE, YES. QUITE BAD. A
+PLASTERER'S BUCKET. BY WALKING STIFFLEGGED. SUFFERED UNTOLD MISERY.
+DEADLY AGONY. ABOUT NOON. LOVE OR BURGUNDY. YES, SOME SPINACH. CRUCIAL
+MOMENT. HE DID NOT LOOK IN THE BUCKET NOBODY. RATHER A MESS. NOT
+COMPLETELY. A Titbits BACK NUMBER.)
+
+(UPROAR AND CATCALLS. BLOOM IN A TORN FROCKCOAT STAINED WITH WHITEWASH,
+DINGED SILK HAT SIDEWAYS ON HIS HEAD, A STRIP OF STICKINGPLASTER ACROSS
+HIS NOSE, TALKS INAUDIBLY.)
+
+J. J. O'MOLLOY: (IN BARRISTER'S GREY WIG AND STUFFGOWN, SPEAKING WITH A
+VOICE OF PAINED PROTEST) This is no place for indecent levity at the
+expense of an erring mortal disguised in liquor. We are not in a
+beargarden nor at an Oxford rag nor is this a travesty of justice. My
+client is an infant, a poor foreign immigrant who started scratch as a
+stowaway and is now trying to turn an honest penny. The trumped up
+misdemeanour was due to a momentary aberration of heredity, brought on by
+hallucination, such familiarities as the alleged guilty occurrence being
+quite permitted in my client's native place, the land of the Pharaoh.
+PRIMA FACIE, I put it to you that there was no attempt at carnally
+knowing. Intimacy did not occur and the offence complained of by
+Driscoll, that her virtue was solicited, was not repeated. I would deal
+in especial with atavism. There have been cases of shipwreck and
+somnambulism in my client's family. If the accused could speak he could a
+tale unfold--one of the strangest that have ever been narrated between
+the covers of a book. He himself, my lord, is a physical wreck from
+cobbler's weak chest. His submission is that he is of Mongolian
+extraction and irresponsible for his actions. Not all there, in fact.
+
+BLOOM: (BAREFOOT, PIGEONBREASTED, IN LASCAR'S VEST AND TROUSERS,
+APOLOGETIC TOES TURNED IN, OPENS HIS TINY MOLE'S EYES AND LOOKS ABOUT HIM
+DAZEDLY, PASSING A SLOW HAND ACROSS HIS FOREHEAD. THEN HE HITCHES HIS
+BELT SAILOR FASHION AND WITH A SHRUG OF ORIENTAL OBEISANCE SALUTES THE
+COURT, POINTING ONE THUMB HEAVENWARD.) Him makee velly muchee fine night.
+(HE BEGINS TO LILT SIMPLY)
+
+    Li li poo lil chile
+    Blingee pigfoot evly night
+    Payee two shilly ...
+
+(HE IS HOWLED DOWN.)
+
+J. J. O'MOLLOY: (HOTLY TO THE POPULACE) This is a lonehand fight. By
+Hades, I will not have any client of mine gagged and badgered in this
+fashion by a pack of curs and laughing hyenas. The Mosaic code has
+superseded the law of the jungle. I say it and I say it emphatically,
+without wishing for one moment to defeat the ends of justice, accused was
+not accessory before the act and prosecutrix has not been tampered with.
+The young person was treated by defendant as if she were his very own
+daughter. (BLOOM TAKES J. J. O'MOLLOY'S HAND AND RAISES IT TO HIS LIPS.)
+I shall call rebutting evidence to prove up to the hilt that the hidden
+hand is again at its old game. When in doubt persecute Bloom. My client,
+an innately bashful man, would be the last man in the world to do
+anything ungentlemanly which injured modesty could object to or cast a
+stone at a girl who took the wrong turning when some dastard, responsible
+for her condition, had worked his own sweet will on her. He wants to go
+straight. I regard him as the whitest man I know. He is down on his luck
+at present owing to the mortgaging of his extensive property at Agendath
+Netaim in faraway Asia Minor, slides of which will now be shown. (TO
+BLOOM) I suggest that you will do the handsome thing.
+
+BLOOM: A penny in the pound.
+
+(THE IMAGE OF THE LAKE OF KINNERETH WITH BLURRED CATTLE CROPPING IN
+SILVER HAZE IS PROJECTED ON THE WALL. MOSES DLUGACZ, FERRETEYED ALBINO,
+IN BLUE DUNGAREES, STANDS UP IN THE GALLERY, HOLDING IN EACH HAND AN
+ORANGE CITRON AND A PORK KIDNEY.)
+
+DLUGACZ: (HOARSELY) Bleibtreustrasse, Berlin, W.13.
+
+(J. J. O'MOLLOY STEPS ON TO A LOW PLINTH AND HOLDS THE LAPEL OF HIS COAT
+WITH SOLEMNITY. HIS FACE LENGTHENS, GROWS PALE AND BEARDED, WITH SUNKEN
+EYES, THE BLOTCHES OF PHTHISIS AND HECTIC CHEEKBONES OF JOHN F. TAYLOR.
+HE APPLIES HIS HANDKERCHIEF TO HIS MOUTH AND SCRUTINISES THE GALLOPING
+TIDE OF ROSEPINK BLOOD.)
+
+J.J.O'MOLLOY: (ALMOST VOICELESSLY) Excuse me. I am suffering from a
+severe chill, have recently come from a sickbed. A few wellchosen words.
+(HE ASSUMES THE AVINE HEAD, FOXY MOUSTACHE AND PROBOSCIDAL ELOQUENCE OF
+SEYMOUR BUSHE.) When the angel's book comes to be opened if aught that
+the pensive bosom has inaugurated of soultransfigured and of
+soultransfiguring deserves to live I say accord the prisoner at the bar
+the sacred benefit of the doubt. (A PAPER WITH SOMETHING WRITTEN ON IT IS
+HANDED INTO COURT.)
+
+BLOOM: (IN COURT DRESS) Can give best references. Messrs Callan, Coleman.
+Mr Wisdom Hely J. P. My old chief Joe Cuffe. Mr V. B. Dillon, ex lord
+mayor of Dublin. I have moved in the charmed circle of the highest ...
+Queens of Dublin society. (CARELESSLY) I was just chatting this afternoon
+at the viceregal lodge to my old pals, sir Robert and lady Ball,
+astronomer royal at the levee. Sir Bob, I said ...
+
+MRS YELVERTON BARRY: (IN LOWCORSAGED OPAL BALLDRESS AND ELBOWLENGTH IVORY
+GLOVES, WEARING A SABLETRIMMED BRICKQUILTED DOLMAN, A COMB OF BRILLIANTS
+AND PANACHE OF OSPREY IN HER HAIR) Arrest him, constable. He wrote me an
+anonymous letter in prentice backhand when my husband was in the North
+Riding of Tipperary on the Munster circuit, signed James Lovebirch. He
+said that he had seen from the gods my peerless globes as I sat in a box
+of the THEATRE ROYAL at a command performance of LA CIGALE. I deeply
+inflamed him, he said. He made improper overtures to me to misconduct
+myself at half past four p.m. on the following Thursday, Dunsink time. He
+offered to send me through the post a work of fiction by Monsieur Paul de
+Kock, entitled THE GIRL WITH THE THREE PAIRS OF STAYS.
+
+MRS BELLINGHAM: (IN CAP AND SEAL CONEY MANTLE, WRAPPED UP TO THE NOSE,
+STEPS OUT OF HER BROUGHAM AND SCANS THROUGH TORTOISESHELL QUIZZING-
+GLASSES WHICH SHE TAKES FROM INSIDE HER HUGE OPOSSUM MUFF) Also to me.
+Yes, I believe it is the same objectionable person. Because he closed my
+carriage door outside sir Thornley Stoker's one sleety day during the
+cold snap of February ninetythree when even the grid of the wastepipe and
+the ballstop in my bath cistern were frozen. Subsequently he enclosed a
+bloom of edelweiss culled on the heights, as he said, in my honour. I had
+it examined by a botanical expert and elicited the information that it
+was ablossom of the homegrown potato plant purloined from a forcingcase
+of the model farm.
+
+MRS YELVERTON BARRY: Shame on him!
+
+(A CROWD OF SLUTS AND RAGAMUFFINS SURGES FORWARD)
+
+THE SLUTS AND RAGAMUFFINS: (SCREAMING) Stop thief! Hurrah there,
+Bluebeard! Three cheers for Ikey Mo!
+
+SECOND WATCH: (PRODUCES HANDCUFFS) Here are the darbies.
+
+MRS BELLINGHAM: He addressed me in several handwritings with fulsome
+compliments as a Venus in furs and alleged profound pity for my
+frostbound coachman Palmer while in the same breath he expressed himself
+as envious of his earflaps and fleecy sheepskins and of his fortunate
+proximity to my person, when standing behind my chair wearing my livery
+and the armorial bearings of the Bellingham escutcheon garnished sable, a
+buck's head couped or. He lauded almost extravagantly my nether
+extremities, my swelling calves in silk hose drawn up to the limit, and
+eulogised glowingly my other hidden treasures in priceless lace which, he
+said, he could conjure up. He urged me (stating that he felt it his
+mission in life to urge me) to defile the marriage bed, to commit
+adultery at the earliest possible opportunity.
+
+THE HONOURABLE MRS MERVYN TALBOYS: (IN AMAZON COSTUME, HARD HAT,
+JACKBOOTS COCKSPURRED, VERMILION WAISTCOAT, FAWN MUSKETEER GAUNTLETS WITH
+BRAIDED DRUMS, LONG TRAIN HELD UP AND HUNTING CROP WITH WHICH SHE STRIKES
+HER WELT CONSTANTLY) Also me. Because he saw me on the polo ground of the
+Phoenix park at the match All Ireland versus the Rest of Ireland. My
+eyes, I know, shone divinely as I watched Captain Slogger Dennehy of the
+Inniskillings win the final chukkar on his darling cob CENTAUR. This
+plebeian Don Juan observed me from behind a hackney car and sent me in
+double envelopes an obscene photograph, such as are sold after dark on
+Paris boulevards, insulting to any lady. I have it still. It represents a
+partially nude senorita, frail and lovely (his wife, as he solemnly
+assured me, taken by him from nature), practising illicit intercourse
+with a muscular torero, evidently a blackguard. He urged me to do
+likewise, to misbehave, to sin with officers of the garrison. He implored
+me to soil his letter in an unspeakable manner, to chastise him as he
+richly deserves, to bestride and ride him, to give him a most vicious
+horsewhipping.
+
+MRS BELLINGHAM: Me too.
+
+MRS YELVERTON BARRY: Me too.
+
+(SEVERAL HIGHLY RESPECTABLE DUBLIN LADIES HOLD UP IMPROPER LETTERS
+RECEIVED FROM BLOOM.)
+
+THE HONOURABLE MRS MERVYN TALBOYS: (STAMPS HER JINGLING SPURS IN A SUDDEN
+PAROXYSM OF FURY) I will, by the God above me. I'll scourge the
+pigeonlivered cur as long as I can stand over him. I'll flay him alive.
+
+BLOOM: (HIS EYES CLOSING, QUAILS EXPECTANTLY) Here? (HE SQUIRMS) Again!
+(HE PANTS CRINGING) I love the danger.
+
+THE HONOURABLE MRS MERVYN TALBOYS: Very much so! I'll make it hot for
+you. I'll make you dance Jack Latten for that.
+
+MRS BELLINGHAM: Tan his breech well, the upstart! Write the stars and
+stripes on it!
+
+MRS YELVERTON BARRY: Disgraceful! There's no excuse for him! A married
+man!
+
+BLOOM: All these people. I meant only the spanking idea. A warm tingling
+glow without effusion. Refined birching to stimulate the circulation.
+
+THE HONOURABLE MRS MERVYN TALBOYS: (LAUGHS DERISIVELY) O, did you, my
+fine fellow? Well, by the living God, you'll get the surprise of your
+life now, believe me, the most unmerciful hiding a man ever bargained
+for. You have lashed the dormant tigress in my nature into fury.
+
+MRS BELLINGHAM: (SHAKES HER MUFF AND QUIZZING-GLASSES VINDICTIVELY) Make
+him smart, Hanna dear. Give him ginger. Thrash the mongrel within an inch
+of his life. The cat-o'-nine-tails. Geld him. Vivisect him.
+
+BLOOM: (SHUDDERING, SHRINKING, JOINS HIS HANDS: WITH HANGDOG MIEN) O
+cold! O shivery! It was your ambrosial beauty. Forget, forgive. Kismet.
+Let me off this once. (HE OFFERS THE OTHER CHEEK)
+
+MRS YELVERTON BARRY: (SEVERELY) Don't do so on any account, Mrs Talboys!
+He should be soundly trounced!
+
+THE HONOURABLE MRS MERVYN TALBOYS: (UNBUTTONING HER GAUNTLET VIOLENTLY)
+I'll do no such thing. Pigdog and always was ever since he was pupped! To
+dare address me! I'll flog him black and blue in the public streets. I'll
+dig my spurs in him up to the rowel. He is a wellknown cuckold. (SHE
+SWISHES HER HUNTINGCROP SAVAGELY IN THE AIR) Take down his trousers
+without loss of time. Come here, sir! Quick! Ready?
+
+BLOOM: (TREMBLING, BEGINNING TO OBEY) The weather has been so warm.
+
+(DAVY STEPHENS, RINGLETTED, PASSES WITH A BEVY OF BAREFOOT NEWSBOYS.)
+
+DAVY STEPHENS: MESSENGER OF THE SACRED HEART and EVENING TELEGRAPH with
+Saint Patrick's Day supplement. Containing the new addresses of all the
+cuckolds in Dublin.
+
+(THE VERY REVEREND CANON O'HANLON IN CLOTH OF GOLD COPE ELEVATES AND
+EXPOSES A MARBLE TIMEPIECE. BEFORE HIM FATHER CONROY AND THE REVEREND
+JOHN HUGHES S.J. BEND LOW.)
+
+THE TIMEPIECE: (UNPORTALLING)
+
+
+    Cuckoo.
+    Cuckoo.
+    Cuckoo.
+
+
+(THE BRASS QUOITS OF A BED ARE HEARD TO JINGLE.)
+
+THE QUOITS: Jigjag. Jigajiga. Jigjag.
+
+(A PANEL OF FOG ROLLS BACK RAPIDLY, REVEALING RAPIDLY IN THE JURYBOX THE
+FACES OF MARTIN CUNNINGHAM, FOREMAN, SILKHATTED, JACK POWER, SIMON
+DEDALUS, TOM KERNAN, NED LAMBERT, JOHN HENRY MENTON MYLES CRAWFORD,
+LENEHAN, PADDY LEONARD, NOSEY FLYNN, M'COY AND THE FEATURELESS FACE OF A
+NAMELESS ONE.)
+
+THE NAMELESS ONE: Bareback riding. Weight for age. Gob, he organised her.
+
+THE JURORS: (ALL THEIR HEADS TURNED TO HIS VOICE) Really?
+
+THE NAMELESS ONE: (SNARLS) Arse over tip. Hundred shillings to five.
+
+THE JURORS: (ALL THEIR HEADS LOWERED IN ASSENT) Most of us thought as
+much.
+
+FIRST WATCH: He is a marked man. Another girl's plait cut. Wanted: Jack
+the Ripper. A thousand pounds reward.
+
+SECOND WATCH: (AWED, WHISPERS) And in black. A mormon. Anarchist.
+
+THE CRIER: (LOUDLY) Whereas Leopold Bloom of no fixed abode is a
+wellknown dynamitard, forger, bigamist, bawd and cuckold and a public
+nuisance to the citizens of Dublin and whereas at this commission of
+assizes the most honourable ...
+
+(HIS HONOUR, SIR FREDERICK FALKINER, RECORDER OF DUBLIN, IN JUDICIAL GARB
+OF GREY STONE RISES FROM THE BENCH, STONEBEARDED. HE BEARS IN HIS ARMS AN
+UMBRELLA SCEPTRE. FROM HIS FOREHEAD ARISE STARKLY THE MOSAIC RAMSHORNS.)
+
+THE RECORDER: I will put an end to this white slave traffic and rid
+Dublin of this odious pest. Scandalous! (HE DONS THE BLACK CAP) Let him
+be taken, Mr Subsheriff, from the dock where he now stands and detained
+in custody in Mountjoy prison during His Majesty's pleasure and there be
+hanged by the neck until he is dead and therein fail not at your peril or
+may the Lord have mercy on your soul. Remove him. (A BLACK SKULLCAP
+DESCENDS UPON HIS HEAD.)
+
+(THE SUBSHERIFF LONG JOHN FANNING APPEARS, SMOKING A PUNGENT HENRY CLAY.)
+
+LONG JOHN FANNING: (SCOWLS AND CALLS WITH RICH ROLLING UTTERANCE) Who'll
+hang Judas Iscariot?
+
+(H. RUMBOLD, MASTER BARBER, IN A BLOODCOLOURED JERKIN AND TANNER'S APRON,
+A ROPE COILED OVER HIS SHOULDER, MOUNTS THE BLOCK. A LIFE PRESERVER AND A
+NAILSTUDDED BLUDGEON ARE STUCK IN HIS BELT. HE RUBS GRIMLY HIS GRAPPLING
+HANDS, KNOBBED WITH KNUCKLEDUSTERS.)
+
+RUMBOLD: (TO THE RECORDER WITH SINISTER FAMILIARITY) Hanging Harry, your
+Majesty, the Mersey terror. Five guineas a jugular. Neck or nothing.
+
+(THE BELLS OF GEORGE'S CHURCH TOLL SLOWLY, LOUD DARK IRON.)
+
+THE BELLS: Heigho! Heigho!
+
+BLOOM: (DESPERATELY) Wait. Stop. Gulls. Good heart. I saw. Innocence.
+Girl in the monkeyhouse. Zoo. Lewd chimpanzee. (BREATHLESSLY) Pelvic
+basin. Her artless blush unmanned me. (OVERCOME WITH EMOTION) I left the
+precincts. (HE TURNS TO A FIGURE IN THE CROWD, APPEALING) Hynes, may I
+speak to you? You know me. That three shillings you can keep. If you want
+a little more ...
+
+HYNES: (COLDLY) You are a perfect stranger.
+
+SECOND WATCH: (POINTS TO THE CORNER) The bomb is here.
+
+FIRST WATCH: Infernal machine with a time fuse.
+
+BLOOM: No, no. Pig's feet. I was at a funeral.
+
+FIRST WATCH: (DRAWS HIS TRUNCHEON) Liar!
+
+(THE BEAGLE LIFTS HIS SNOUT, SHOWING THE GREY SCORBUTIC FACE OF PADDY
+DIGNAM. HE HAS GNAWED ALL. HE EXHALES A PUTRID CARCASEFED BREATH. HE
+GROWS TO HUMAN SIZE AND SHAPE. HIS DACHSHUND COAT BECOMES A BROWN
+MORTUARY HABIT. HIS GREEN EYE FLASHES BLOODSHOT. HALF OF ONE EAR, ALL THE
+NOSE AND BOTH THUMBS ARE GHOULEATEN.)
+
+PADDY DIGNAM: (IN A HOLLOW VOICE) It is true. It was my funeral. Doctor
+Finucane pronounced life extinct when I succumbed to the disease from
+natural causes.
+
+(HE LIFTS HIS MUTILATED ASHEN FACE MOONWARDS AND BAYS LUGUBRIOUSLY.)
+
+BLOOM: (IN TRIUMPH) You hear?
+
+PADDY DIGNAM: Bloom, I am Paddy Dignam's spirit. List, list, O list!
+
+BLOOM: The voice is the voice of Esau.
+
+SECOND WATCH: (BLESSES HIMSELF) How is that possible?
+
+FIRST WATCH: It is not in the penny catechism.
+
+PADDY DIGNAM: By metempsychosis. Spooks.
+
+A VOICE: O rocks.
+
+PADDY DIGNAM: (EARNESTLY) Once I was in the employ of Mr J. H. Menton,
+solicitor, commissioner for oaths and affidavits, of 27 Bachelor's Walk.
+Now I am defunct, the wall of the heart hypertrophied. Hard lines. The
+poor wife was awfully cut up. How is she bearing it? Keep her off that
+bottle of sherry. (HE LOOKS ROUND HIM) A lamp. I must satisfy an animal
+need. That buttermilk didn't agree with me.
+
+(THE PORTLY FIGURE OF JOHN O'CONNELL, CARETAKER, STANDS FORTH, HOLDING A
+BUNCH OF KEYS TIED WITH CRAPE. BESIDE HIM STANDS FATHER COFFEY, CHAPLAIN,
+TOADBELLIED, WRYNECKED, IN A SURPLICE AND BANDANNA NIGHTCAP, HOLDING
+SLEEPILY A STAFF TWISTED POPPIES.)
+
+FATHER COFFEY: (YAWNS, THEN CHANTS WITH A HOARSE CROAK) Namine. Jacobs.
+Vobiscuits. Amen.
+
+JOHN O'CONNELL: (FOGHORNS STORMILY THROUGH HIS MEGAPHONE) Dignam, Patrick
+T, deceased.
+
+PADDY DIGNAM: (WITH PRICKED UP EARS, WINCES) Overtones. (HE WRIGGLES
+FORWARD AND PLACES AN EAR TO THE GROUND) My master's voice!
+
+JOHN O'CONNELL: Burial docket letter number U. P. eightyfive thousand.
+Field seventeen. House of Keys. Plot, one hundred and one.
+
+(PADDY DIGNAM LISTENS WITH VISIBLE EFFORT, THINKING, HIS TAIL
+STIFFPOINTCD, HIS EARS COCKED.)
+
+PADDY DIGNAM: Pray for the repose of his soul.
+
+(HE WORMS DOWN THROUGH A COALHOLE, HIS BROWN HABIT TRAILING ITS TETHER
+OVER RATTLING PEBBLES. AFTER HIM TODDLES AN OBESE GRANDFATHER RAT ON
+FUNGUS TURTLE PAWS UNDER A GREY CARAPACE. DIGNAM'S VOICE, MUFFLED, IS
+HEARD BAYING UNDER GROUND: Dignam's dead and gone below. TOM ROCHFORD,
+ROBINREDBREASTED, IN CAP AND BREECHES, JUMPS FROM HIS TWOCOLUMNED
+MACHINE.)
+
+TOM ROCHFORD: (A HAND TO HIS BREASTBONE, BOWS) Reuben J. A florin I find
+him. (HE FIXES THE MANHOLE WITH A RESOLUTE STARE) My turn now on. Follow
+me up to Carlow.
+
+(HE EXECUTES A DAREDEVIL SALMON LEAP IN THE AIR AND IS ENGULFED IN THE
+COALHOLE. TWO DISCS ON THE COLUMNS WOBBLE, EYES OF NOUGHT. ALL RECEDES.
+BLOOM PLODGES FORWARD AGAIN THROUGH THE SUMP. KISSES CHIRP AMID THE RIFTS
+OF FOG A PIANO SOUNDS. HE STANDS BEFORE A LIGHTED HOUSE, LISTENING. THE
+KISSES, WINGING FROM THEIR BOWERS FLY ABOUT HIM, TWITTERING, WARBLING,
+COOING.)
+
+THE KISSES: (WARBLING) Leo! (TWITTERING) Icky licky micky sticky for Leo!
+(COOING) Coo coocoo! Yummyyum, Womwom! (WARBLING) Big comebig! Pirouette!
+Leopopold! (TWITTERING) Leeolee! (WARBLING) O Leo!
+
+(THEY RUSTLE, FLUTTER UPON HIS GARMENTS, ALIGHT, BRIGHT GIDDY FLECKS,
+SILVERY SEQUINS.)
+
+BLOOM: A man's touch. Sad music. Church music. Perhaps here.
+
+(ZOE HIGGINS, A YOUNG WHORE IN A SAPPHIRE SLIP, CLOSED WITH THREE BRONZE
+BUCKLES, A SLIM BLACK VELVET FILLET ROUND HER THROAT, NODS, TRIPS DOWN
+THE STEPS AND ACCOSTS HIM.)
+
+ZOE: Are you looking for someone? He's inside with his friend.
+
+BLOOM: Is this Mrs Mack's?
+
+ZOE: No, eightyone. Mrs Cohen's. You might go farther and fare worse.
+Mother Slipperslapper. (FAMILIARLY) She's on the job herself tonight with
+the vet her tipster that gives her all the winners and pays for her son
+in Oxford. Working overtime but her luck's turned today. (SUSPICIOUSLY)
+You're not his father, are you?
+
+BLOOM: Not I!
+
+ZOE: You both in black. Has little mousey any tickles tonight?
+
+(HIS SKIN, ALERT, FEELS HER FINGERTIPS APPROACH. A HAND GLIDES OVER HIS
+LEFT THIGH.)
+
+ZOE: How's the nuts?
+
+BLOOM: Off side. Curiously they are on the right. Heavier, I suppose. One
+in a million my tailor, Mesias, says.
+
+ZOE: (IN SUDDEN ALARM) You've a hard chancre.
+
+BLOOM: Not likely.
+
+ZOE: I feel it.
+
+(HER HAND SLIDES INTO HIS LEFT TROUSER POCKET AND BRINGS OUT A HARD BLACK
+SHRIVELLED POTATO. SHE REGARDS IT AND BLOOM WITH DUMB MOIST LIPS.)
+
+BLOOM: A talisman. Heirloom.
+
+ZOE: For Zoe? For keeps? For being so nice, eh?
+
+(SHE PUTS THE POTATO GREEDILY INTO A POCKET THEN LINKS HIS ARM, CUDDLING
+HIM WITH SUPPLE WARMTH. HE SMILES UNEASILY. SLOWLY, NOTE BY NOTE,
+ORIENTAL MUSIC IS PLAYED. HE GAZES IN THE TAWNY CRYSTAL OF HER EYES,
+RINGED WITH KOHOL. HIS SMILE SOFTENS.)
+
+ZOE: You'll know me the next time.
+
+BLOOM: (FORLORNLY) I never loved a dear gazelle but it was sure to ...
+
+(GAZELLES ARE LEAPING, FEEDING ON THE MOUNTAINS. NEAR ARE LAKES. ROUND
+THEIR SHORES FILE SHADOWS BLACK OF CEDARGROVES. AROMA RISES, A STRONG
+HAIRGROWTH OF RESIN. IT BURNS, THE ORIENT, A SKY OF SAPPHIRE, CLEFT BY
+THE BRONZE FLIGHT OF EAGLES. UNDER IT LIES THE WOMANCITY NUDE, WHITE,
+STILL, COOL, IN LUXURY. A FOUNTAIN MURMURS AMONG DAMASK ROSES. MAMMOTH
+ROSES MURMUR OF SCARLET WINEGRAPES. A WINE OF SHAME, LUST, BLOOD EXUDES,
+STRANGELY MURMURING.)
+
+ZOE: (MURMURING SINGSONG WITH THE MUSIC, HER ODALISK LIPS LUSCIOUSLY
+SMEARED WITH SALVE OF SWINEFAT AND ROSEWATER) SCHORACH ANI WENOWACH,
+BENOITH HIERUSHALOIM.
+
+BLOOM: (FASCINATED) I thought you were of good stock by your accent.
+
+ZOE: And you know what thought did?
+
+(SHE BITES HIS EAR GENTLY WITH LITTLE GOLDSTOPPED TEETH, SENDING ON HIM A
+CLOYING BREATH OF STALE GARLIC. THE ROSES DRAW APART, DISCLOSE A
+SEPULCHRE OF THE GOLD OF KINGS AND THEIR MOULDERING BONES.)
+
+BLOOM: (DRAWS BACK, MECHANICALLY CARESSING HER RIGHT BUB WITH A FLAT
+AWKWARD HAND) Are you a Dublin girl?
+
+ZOE: (CATCHES A STRAY HAIR DEFTLY AND TWISTS IT TO HER COIL) No bloody
+fear. I'm English. Have you a swaggerroot?
+
+BLOOM:  (AS BEFORE) Rarely smoke, dear. Cigar now and then. Childish
+device. (LEWDLY) The mouth can be better engaged than with a cylinder of
+rank weed.
+
+ZOE: Go on. Make a stump speech out of it.
+
+BLOOM: (IN WORKMAN'S CORDUROY OVERALLS, BLACK GANSY WITH RED FLOATING TIE
+AND APACHE CAP) Mankind is incorrigible. Sir Walter Ralegh brought from
+the new world that potato and that weed, the one a killer of pestilence
+by absorption, the other a poisoner of the ear, eye, heart, memory, will
+understanding, all. That is to say he brought the poison a hundred years
+before another person whose name I forget brought the food. Suicide.
+Lies. All our habits. Why, look at our public life!
+
+(MIDNIGHT CHIMES FROM DISTANT STEEPLES.)
+
+THE CHIMES: Turn again, Leopold! Lord mayor of Dublin!
+
+BLOOM: (IN ALDERMAN'S GOWN AND CHAIN) Electors of Arran Quay, Inns Quay,
+Rotunda, Mountjoy and North Dock, better run a tramline, I say, from the
+cattlemarket to the river. That's the music of the future. That's my
+programme. CUI BONO? But our bucaneering Vanderdeckens in their phantom
+ship of finance ...
+
+AN ELECTOR: Three times three for our future chief magistrate!
+
+(THE AURORA BOREALIS OF THE TORCHLIGHT PROCESSION LEAPS.)
+
+THE TORCHBEARERS: Hooray!
+
+(SEVERAL WELLKNOWN BURGESSES, CITY MAGNATES AND FREEMEN OF THE CITY SHAKE
+HANDS WITH BLOOM AND CONGRATULATE HIM. TIMOTHY HARRINGTON, LATE THRICE
+LORD MAYOR OF DUBLIN, IMPOSING IN MAYORAL SCARLET, GOLD CHAIN AND WHITE
+SILK TIE, CONFERS WITH COUNCILLOR LORCAN SHERLOCK, LOCUM TENENS. THEY NOD
+VIGOROUSLY IN AGREEMENT.)
+
+LATE LORD MAYOR HARRINGTON: (IN SCARLET ROBE WITH MACE, GOLD MAYORAL
+CHAIN AND LARGE WHITE SILK SCARF) That alderman sir Leo Bloom's speech be
+printed at the expense of the ratepayers. That the house in which he was
+born be ornamented with a commemorative tablet and that the thoroughfare
+hitherto known as Cow Parlour off Cork street be henceforth designated
+Boulevard Bloom.
+
+COUNCILLOR LORCAN SHERLOCK: Carried unanimously.
+
+BLOOM: (IMPASSIONEDLY) These flying Dutchmen or lying Dutchmen as they
+recline in their upholstered poop, casting dice, what reck they? Machines
+is their cry, their chimera, their panacea. Laboursaving apparatuses,
+supplanters, bugbears, manufactured monsters for mutual murder, hideous
+hobgoblins produced by a horde of capitalistic lusts upon our prostituted
+labour. The poor man starves while they are grassing their royal mountain
+stags or shooting peasants and phartridges in their purblind pomp of pelf
+and power. But their reign is rover for rever and ever and ev ...
+
+(PROLONGED APPLAUSE. VENETIAN MASTS, MAYPOLES AND FESTAL ARCHES SPRING
+UP. A STREAMER BEARING THE LEGENDS Cead Mile Failte AND Mah Ttob Melek
+Israel SPANS THE STREET. ALL THE WINDOWS ARE THRONGED WITH SIGHTSEERS,
+CHIEFLY LADIES. ALONG THE ROUTE THE REGIMENTS OF THE ROYAL DUBLIN
+FUSILIERS, THE KING'S OWN SCOTTISH BORDERERS, THE CAMERON HIGHLANDERS AND
+THE WELSH FUSILIERS STANDING TO ATTENTION, KEEP BACK THE CROWD. BOYS FROM
+HIGH SCHOOL ARE PERCHED ON THE LAMPPOSTS, TELEGRAPH POLES, WINDOWSILLS,
+CORNICES, GUTTERS, CHIMNEYPOTS, RAILINGS, RAINSPOUTS, WHISTLING AND
+CHEERING THE PILLAR OF THE CLOUD APPEARS. A FIFE AND DRUM BAND IS HEARD
+IN THE DISTANCE PLAYING THE KOL NIDRE. THE BEATERS APPROACH WITH IMPERIAL
+EAGLES HOISTED, TRAILING BANNERS AND WAVING ORIENTAL PALMS. THE
+CHRYSELEPHANTINE PAPAL STANDARD RISES HIGH, SURROUNDED BY PENNONS OF THE
+CIVIC FLAG. THE VAN OF THE PROCESSION APPEARS HEADED BY JOHN HOWARD
+PARNELL, CITY MARSHAL, IN A CHESSBOARD TABARD, THE ATHLONE POURSUIVANT
+AND ULSTER KING OF ARMS. THEY ARE FOLLOWED BY THE RIGHT HONOURABLE JOSEPH
+HUTCHINSON, LORD MAYOR OF DUBLIN, HIS LORDSHIP THE LORD MAYOR OF CORK,
+THEIR WORSHIPS THE MAYORS OF LIMERICK, GALWAY, SLIGO AND WATERFORD,
+TWENTYEIGHT IRISH REPRESENTATIVE PEERS, SIRDARS, GRANDEES AND MAHARAJAHS
+BEARING THE CLOTH OF ESTATE, THE DUBLIN METROPOLITAN FIRE BRIGADE, THE
+CHAPTER OF THE SAINTS OF FINANCE IN THEIR PLUTOCRATIC ORDER OF
+PRECEDENCE, THE BISHOP OF DOWN AND CONNOR, HIS EMINENCE MICHAEL CARDINAL
+LOGUE, ARCHBISHOP OF ARMAGH, PRIMATE OF ALL IRELAND, HIS GRACE, THE MOST
+REVEREND DR WILLIAM ALEXANDER, ARCHBISHOP OF ARMAGH, PRIMATE OF ALL
+IRELAND, THE CHIEF RABBI, THE PRESBYTERIAN MODERATOR, THE HEADS OF THE
+BAPTIST, ANABAPTIST, METHODIST AND MORAVIAN CHAPELS AND THE HONORARY
+SECRETARY OF THE SOCIETY OF FRIENDS. AFTER THEM MARCH THE GUILDS AND
+TRADES AND TRAINBANDS WITH FLYING COLOURS: COOPERS, BIRD FANCIERS,
+MILLWRIGHTS, NEWSPAPER CANVASSERS, LAW SCRIVENERS, MASSEURS, VINTNERS,
+TRUSSMAKERS, CHIMNEYSWEEPS, LARD REFINERS, TABINET AND POPLIN WEAVERS,
+FARRIERS, ITALIAN WAREHOUSEMEN, CHURCH DECORATORS, BOOTJACK
+MANUFACTURERS, UNDERTAKERS, SILK MERCERS, LAPIDARIES, SALESMASTERS,
+CORKCUTTERS, ASSESSORS OF FIRE LOSSES, DYERS AND CLEANERS, EXPORT
+BOTTLERS, FELLMONGERS, TICKETWRITERS, HERALDIC SEAL ENGRAVERS, HORSE
+REPOSITORY HANDS, BULLION BROKERS, CRICKET AND ARCHERY OUTFITTERS,
+RIDDLEMAKERS, EGG AND POTATO FACTORS, HOSIERS AND GLOVERS, PLUMBING
+CONTRACTORS. AFTER THEM MARCH GENTLEMEN OF THE BEDCHAMBER, BLACK ROD,
+DEPUTY GARTER, GOLD STICK, THE MASTER OF HORSE, THE LORD GREAT
+CHAMBERLAIN, THE EARL MARSHAL, THE HIGH CONSTABLE CARRYING THE SWORD OF
+STATE, SAINT STEPHEN'S IRON CROWN, THE CHALICE AND BIBLE. FOUR BUGLERS ON
+FOOT BLOW A SENNET. BEEFEATERS REPLY, WINDING CLARIONS OF WELCOME. UNDER
+AN ARCH OF TRIUMPH BLOOM APPEARS, BAREHEADED, IN A CRIMSON VELVET MANTLE
+TRIMMED WITH ERMINE, BEARING SAINT EDWARD'S STAFF THE ORB AND SCEPTRE
+WITH THE DOVE, THE CURTANA. HE IS SEATED ON A MILKWHITE HORSE WITH LONG
+FLOWING CRIMSON TAIL, RICHLY CAPARISONED, WITH GOLDEN HEADSTALL. WILD
+EXCITEMENT. THE LADIES FROM THEIR BALCONIES THROW DOWN ROSEPETALS. THE
+AIR IS PERFUMED WITH ESSENCES. THE MEN CHEER. BLOOM'S BOYS RUN AMID THE
+BYSTANDERS WITH BRANCHES OF HAWTHORN AND WRENBUSHES.)
+
+BLOOM'S BOYS:
+
+
+    The wren, the wren,
+    The king of all birds,
+    Saint Stephen's his day
+    Was caught in the furze.
+
+
+A BLACKSMITH: (MURMURS) For the honour of God! And is that Bloom? He
+scarcely looks thirtyone.
+
+A PAVIOR AND FLAGGER: That's the famous Bloom now, the world's greatest
+reformer. Hats off!
+
+(ALL UNCOVER THEIR HEADS. WOMEN WHISPER EAGERLY.)
+
+A MILLIONAIRESS: (RICHLY) Isn't he simply wonderful?
+
+A NOBLEWOMAN: (NOBLY) All that man has seen!
+
+A FEMINIST: (MASCULINELY) And done!
+
+A BELLHANGER: A classic face! He has the forehead of a thinker.
+
+(BLOOM'S WEATHER. A SUNBURST APPEARS IN THE NORTHWEST.)
+
+THE BISHOP OF DOWN AND CONNOR: I here present your undoubted emperor-
+president and king-chairman, the most serene and potent and very puissant
+ruler of this realm. God save Leopold the First!
+
+ALL: God save Leopold the First!
+
+BLOOM: (IN DALMATIC AND PURPLE MANTLE, TO THE BISHOP OF DOWN AND CONNOR,
+WITH DIGNITY) Thanks, somewhat eminent sir.
+
+WILLIAM, ARCHBISHOP OF ARMAGH: (IN PURPLE STOCK AND SHOVEL HAT) Will you
+to your power cause law and mercy to be executed in all your judgments in
+Ireland and territories thereunto belonging?
+
+BLOOM: (PLACING HIS RIGHT HAND ON HIS TESTICLES, SWEARS) So may the
+Creator deal with me. All this I promise to do.
+
+MICHAEL, ARCHBISHOP OF ARMAGH: (POURS A CRUSE OF HAIROIL OVER BLOOM'S
+HEAD) GAUDIUM MAGNUM ANNUNTIO VOBIS. HABEMUS CARNEFICEM. Leopold,
+Patrick, Andrew, David, George, be thou anointed!
+
+(BLOOM ASSUMES A MANTLE OF CLOTH OF GOLD AND PUTS ON A RUBY RING. HE
+ASCENDS AND STANDS ON THE STONE OF DESTINY. THE REPRESENTATIVE PEERS PUT
+ON AT THE SAME TIME THEIR TWENTYEIGHT CROWNS. JOYBELLS RING IN CHRIST
+CHURCH, SAINT PATRICK'S, GEORGE'S AND GAY MALAHIDE. MIRUS BAZAAR
+FIREWORKS GO UP FROM ALL SIDES WITH SYMBOLICAL PHALLOPYROTECHNIC DESIGNS.
+THE PEERS DO HOMAGE, ONE BY ONE, APPROACHING AND GENUFLECTING.)
+
+THE PEERS: I do become your liege man of life and limb to earthly
+worship.
+
+(BLOOM HOLDS UP HIS RIGHT HAND ON WHICH SPARKLES THE KOH-I-NOOR DIAMOND.
+HIS PALFREY NEIGHS. IMMEDIATE SILENCE. WIRELESS INTERCONTINENTAL AND
+INTERPLANETARY TRANSMITTERS ARE SET FOR RECEPTION OF MESSAGE.)
+
+BLOOM: My subjects! We hereby nominate our faithful charger Copula Felix
+hereditary Grand Vizier and announce that we have this day repudiated our
+former spouse and have bestowed our royal hand upon the princess Selene,
+the splendour of night.
+
+(THE FORMER MORGANATIC SPOUSE OF BLOOM IS HASTILY REMOVED IN THE BLACK
+MARIA. THE PRINCESS SELENE, IN MOONBLUE ROBES, A SILVER CRESCENT ON HER
+HEAD, DESCENDS FROM A SEDAN CHAIR, BORNE BY TWO GIANTS. AN OUTBURST OF
+CHEERING.)
+
+JOHN HOWARD PARNELL: (RAISES THE ROYAL STANDARD) Illustrious Bloom!
+Successor to my famous brother!
+
+BLOOM: (EMBRACES JOHN HOWARD PARNELL) We thank you from our heart, John,
+for this right royal welcome to green Erin, the promised land of our
+common ancestors.
+
+(THE FREEDOM OF THE CITY IS PRESENTED TO HIM EMBODIED IN A CHARTER. THE
+KEYS OF DUBLIN, CROSSED ON A CRIMSON CUSHION, ARE GIVEN TO HIM. HE SHOWS
+ALL THAT HE IS WEARING GREEN SOCKS.)
+
+TOM KERNAN: You deserve it, your honour.
+
+BLOOM: On this day twenty years ago we overcame the hereditary enemy at
+Ladysmith. Our howitzers and camel swivel guns played on his lines with
+telling effect. Half a league onward! They charge! All is lost now! Do we
+yield? No! We drive them headlong! Lo! We charge! Deploying to the left
+our light horse swept across the heights of Plevna and, uttering their
+warcry BONAFIDE SABAOTH, sabred the Saracen gunners to a man.
+
+THE CHAPEL OF FREEMAN TYPESETTERS: Hear! Hear!
+
+JOHN WYSE NOLAN: There's the man that got away James Stephens.
+
+A BLUECOAT SCHOOLBOY: Bravo!
+
+AN OLD RESIDENT: You're a credit to your country, sir, that's what you
+are.
+
+AN APPLEWOMAN: He's a man like Ireland wants.
+
+BLOOM: My beloved subjects, a new era is about to dawn. I, Bloom, tell
+you verily it is even now at hand. Yea, on the word of a Bloom, ye shall
+ere long enter into the golden city which is to be, the new Bloomusalem
+in the Nova Hibernia of the future.
+
+(THIRTYTWO WORKMEN, WEARING ROSETTES, FROM ALL THE COUNTIES OF IRELAND,
+UNDER THE GUIDANCE OF DERWAN THE BUILDER, CONSTRUCT THE NEW BLOOMUSALEM.
+IT IS A COLOSSAL EDIFICE WITH CRYSTAL ROOF, BUILT IN THE SHAPE OF A HUGE
+PORK KIDNEY, CONTAINING FORTY THOUSAND ROOMS. IN THE COURSE OF ITS
+EXTENSION SEVERAL BUILDINGS AND MONUMENTS ARE DEMOLISHED. GOVERNMENT
+OFFICES ARE TEMPORARILY TRANSFERRED TO RAILWAY SHEDS. NUMEROUS HOUSES ARE
+RAZED TO THE GROUND. THE INHABITANTS ARE LODGED IN BARRELS AND BOXES, ALL
+MARKED IN RED WITH THE LETTERS: L. B. SEVERAL PAUPERS FILL FROM A LADDER.
+A PART OF THE WALLS OF DUBLIN, CROWDED WITH LOYAL SIGHTSEERS, COLLAPSES.)
+
+THE SIGHTSEERS: (DYING) MORITURI TE SALUTANT. (THEY DIE)
+
+(A MAN IN A BROWN MACINTOSH SPRINGS UP THROUGH A TRAPDOOR. HE POINTS AN
+ELONGATED FINGER AT BLOOM.)
+
+THE MAN IN THE MACINTOSH: Don't you believe a word he says. That man is
+Leopold M'Intosh, the notorious fireraiser. His real name is Higgins.
+
+BLOOM: Shoot him! Dog of a christian! So much for M'Intosh!
+
+(A CANNONSHOT. THE MAN IN THE MACINTOSH DISAPPEARS. BLOOM WITH HIS
+SCEPTRE STRIKES DOWN POPPIES. THE INSTANTANEOUS DEATHS OF MANY POWERFUL
+ENEMIES, GRAZIERS, MEMBERS OF PARLIAMENT, MEMBERS OF STANDING COMMITTEES,
+ARE REPORTED. BLOOM'S BODYGUARD DISTRIBUTE MAUNDY MONEY, COMMEMORATION
+MEDALS, LOAVES AND FISHES, TEMPERANCE BADGES, EXPENSIVE HENRY CLAY
+CIGARS, FREE COWBONES FOR SOUP, RUBBER PRESERVATIVES IN SEALED ENVELOPES
+TIED WITH GOLD THREAD, BUTTER SCOTCH, PINEAPPLE ROCK, billets doux IN THE
+FORM OF COCKED HATS, READYMADE SUITS, PORRINGERS OF TOAD IN THE HOLE,
+BOTTLES OF JEYES' FLUID, PURCHASE STAMPS, 40 DAYS' INDULGENCES, SPURIOUS
+COINS, DAIRYFED PORK SAUSAGES, THEATRE PASSES, SEASON TICKETS AVAILABLE
+FOR ALL TRAMLINES, COUPONS OF THE ROYAL AND PRIVILEGED HUNGARIAN LOTTERY,
+PENNY DINNER COUNTERS, CHEAP REPRINTS OF THE WORLD'S TWELVE WORST BOOKS:
+FROGGY AND FRITZ (POLITIC), CARE OF THE BABY (INFANTILIC), 50 MEALS FOR
+7/6 (CULINIC), WAS JESUS A SUN MYTH? (HISTORIC), EXPEL THAT PAIN (MEDIC),
+INFANT'S COMPENDIUM OF THE UNIVERSE (COSMIC), LET'S ALL CHORTLE
+(HILARIC), CANVASSER'S VADE MECUM (JOURNALIC), LOVELETTERS OF MOTHER
+ASSISTANT (EROTIC), WHO'S WHO IN SPACE (ASTRIC), SONGS THAT REACHED OUR
+HEART (MELODIC), PENNYWISE'S WAY TO WEALTH (PARSIMONIC). A GENERAL RUSH
+AND SCRAMBLE. WOMEN PRESS FORWARD TO TOUCH THE HEM OF BLOOM'S ROBE. THE
+LADY GWENDOLEN DUBEDAT BURSTS THROUGH THE THRONG, LEAPS ON HIS HORSE AND
+KISSES HIM ON BOTH CHEEKS AMID GREAT ACCLAMATION. A MAGNESIUM FLASHLIGHT
+PHOTOGRAPH IS TAKEN. BABES AND SUCKLINGS ARE HELD UP.)
+
+THE WOMEN: Little father! Little father!
+
+THE BABES AND SUCKLINGS:
+
+
+    Clap clap hands till Poldy comes home,
+    Cakes in his pocket for Leo alone.
+
+
+(BLOOM, BENDING DOWN, POKES BABY BOARDMAN GENTLY IN THE STOMACH.)
+
+BABY BOARDMAN: (HICCUPS, CURDLED MILK FLOWING FROM HIS MOUTH) Hajajaja.
+
+BLOOM: (SHAKING HANDS WITH A BLIND STRIPLING) My more than Brother!
+(PLACING HIS ARMS ROUND THE SHOULDERS OF AN OLD COUPLE) Dear old friends!
+(HE PLAYS PUSSY FOURCORNERS WITH RAGGED BOYS AND GIRLS) Peep! Bopeep! (HE
+WHEELS TWINS IN A PERAMBULATOR) Ticktacktwo wouldyousetashoe? (HE
+PERFORMS JUGGLER'S TRICKS, DRAWS RED, ORANGE, YELLOW, GREEN, BLUE, INDIGO
+AND VIOLET SILK HANDKERCHIEFS FROM HIS MOUTH) Roygbiv. 32 feet per
+second. (HE CONSOLES A WIDOW) Absence makes the heart grow younger. (HE
+DANCES THE HIGHLAND FLING WITH GROTESQUE ANTICS) Leg it, ye devils! (HE
+KISSES THE BEDSORES OF A PALSIED VETERAN) Honourable wounds! (HE TRIPS UP
+A FIT POLICEMAN) U. p: up. U. p: up. (HE WHISPERS IN THE EAR OF A
+BLUSHING WAITRESS AND LAUGHS KINDLY) Ah, naughty, naughty! (HE EATS A RAW
+TURNIP OFFERED HIM BY MAURICE BUTTERLY, FARMER) Fine! Splendid! (HE
+REFUSES TO ACCEPT THREE SHILLINGS OFFERED HIM BY JOSEPH HYNES,
+JOURNALIST) My dear fellow, not at all! (HE GIVES HIS COAT TO A BEGGAR)
+Please accept. (HE TAKES PART IN A STOMACH RACE WITH ELDERLY MALE AND
+FEMALE CRIPPLES) Come on, boys! Wriggle it, girls!
+
+THE CITIZEN: (CHOKED WITH EMOTION, BRUSHES ASIDE A TEAR IN HIS EMERALD
+MUFFLER) May the good God bless him!
+
+(THE RAMS' HORNS SOUND FOR SILENCE. THE STANDARD OF ZION IS HOISTED.)
+
+BLOOM: (UNCLOAKS IMPRESSIVELY, REVEALING OBESITY, UNROLLS A PAPER AND
+READS SOLEMNLY) Aleph Beth Ghimel Daleth Hagadah Tephilim Kosher Yom
+Kippur Hanukah Roschaschana Beni Brith Bar Mitzvah Mazzoth Askenazim
+Meshuggah Talith.
+
+(AN OFFICIAL TRANSLATION IS READ BY JIMMY HENRY, ASSISTANT TOWN CLERK.)
+
+JIMMY HENRY: The Court of Conscience is now open. His Most Catholic
+Majesty will now administer open air justice. Free medical and legal
+advice, solution of doubles and other problems. All cordially invited.
+Given at this our loyal city of Dublin in the year I of the Paradisiacal
+Era.
+
+PADDY LEONARD: What am I to do about my rates and taxes?
+
+BLOOM: Pay them, my friend.
+
+PADDY LEONARD: Thank you.
+
+NOSEY FLYNN: Can I raise a mortgage on my fire insurance?
+
+BLOOM: (OBDURATELY) Sirs, take notice that by the law of torts you are
+bound over in your own recognisances for six months in the sum of five
+pounds.
+
+J. J. O'MOLLOY: A Daniel did I say? Nay! A Peter O'Brien!
+
+NOSEY FLYNN: Where do I draw the five pounds?
+
+PISSER BURKE: For bladder trouble?
+
+BLOOM:
+
+
+    ACID. NIT. HYDROCHLOR. DIL., 20 minims
+    TINCT. NUX VOM., 5 minims
+    EXTR. TARAXEL. IIQ., 30 minims.
+    AQ. DIS. TER IN DIE.
+
+
+CHRIS CALLINAN: What is the parallax of the subsolar ecliptic of
+Aldebaran?
+
+BLOOM: Pleased to hear from you, Chris. K. II.
+
+JOE HYNES: Why aren't you in uniform?
+
+BLOOM: When my progenitor of sainted memory wore the uniform of the
+Austrian despot in a dank prison where was yours?
+
+BEN DOLLARD: Pansies?
+
+BLOOM: Embellish (beautify) suburban gardens.
+
+BEN DOLLARD: When twins arrive?
+
+BLOOM: Father (pater, dad) starts thinking.
+
+LARRY O'ROURKE: An eightday licence for my new premises. You remember me,
+sir Leo, when you were in number seven. I'm sending around a dozen of
+stout for the missus.
+
+BLOOM: (COLDLY) You have the advantage of me. Lady Bloom accepts no
+presents.
+
+CROFTON: This is indeed a festivity.
+
+BLOOM: (SOLEMNLY) You call it a festivity. I call it a sacrament.
+
+ALEXANDER KEYES: When will we have our own house of keys?
+
+BLOOM: I stand for the reform of municipal morals and the plain ten
+commandments. New worlds for old. Union of all, jew, moslem and gentile.
+Three acres and a cow for all children of nature. Saloon motor hearses.
+Compulsory manual labour for all. All parks open to the public day and
+night. Electric dishscrubbers. Tuberculosis, lunacy, war and mendicancy
+must now cease. General amnesty, weekly carnival with masked licence,
+bonuses for all, esperanto the universal language with universal
+brotherhood. No more patriotism of barspongers and dropsical impostors.
+Free money, free rent, free love and a free lay church in a free lay
+state.
+
+O'MADDEN BURKE: Free fox in a free henroost.
+
+DAVY BYRNE: (YAWNING) Iiiiiiiiiaaaaaaach!
+
+BLOOM: Mixed races and mixed marriage.
+
+LENEHAN: What about mixed bathing?
+
+(BLOOM EXPLAINS TO THOSE NEAR HIM HIS SCHEMES FOR SOCIAL REGENERATION.
+ALL AGREE WITH HIM. THE KEEPER OF THE KILDARE STREET MUSEUM APPEARS,
+DRAGGING A LORRY ON WHICH ARE THE SHAKING STATUES OF SEVERAL NAKED
+GODDESSES, VENUS CALLIPYGE, VENUS PANDEMOS, VENUS METEMPSYCHOSIS, AND
+PLASTER FIGURES, ALSO NAKED, REPRESENTING THE NEW NINE MUSES, COMMERCE,
+OPERATIC MUSIC, AMOR, PUBLICITY, MANUFACTURE, LIBERTY OF SPEECH, PLURAL
+VOTING, GASTRONOMY, PRIVATE HYGIENE, SEASIDE CONCERT ENTERTAINMENTS,
+PAINLESS OBSTETRICS AND ASTRONOMY FOR THE PEOPLE.)
+
+FATHER FARLEY: He is an episcopalian, an agnostic, an anythingarian
+seeking to overthrow our holy faith.
+
+MRS RIORDAN: (TEARS UP HER WILL) I'm disappointed in you! You bad man!
+
+MOTHER GROGAN: (REMOVES HER BOOT TO THROW IT AT BLOOM) You beast! You
+abominable person!
+
+NOSEY FLYNN: Give us a tune, Bloom. One of the old sweet songs.
+
+BLOOM: (WITH ROLLICKING HUMOUR)
+
+
+    I vowed that I never would leave her,
+    She turned out a cruel deceiver.
+    With my tooraloom tooraloom tooraloom tooraloom.
+
+
+HOPPY HOLOHAN: Good old Bloom! There's nobody like him after all.
+
+PADDY LEONARD: Stage Irishman!
+
+BLOOM: What railway opera is like a tramline in Gibraltar? The Rows of
+Casteele. (LAUGHTER.)
+
+LENEHAN: Plagiarist! Down with Bloom!
+
+THE VEILED SIBYL: (ENTHUSIASTICALLY) I'm a Bloomite and I glory in it. I
+believe in him in spite of all. I'd give my life for him, the funniest
+man on earth.
+
+BLOOM: (WINKS AT THE BYSTANDERS) I bet she's a bonny lassie.
+
+THEODORE PUREFOY: (IN FISHINGCAP AND OILSKIN JACKET) He employs a
+mechanical device to frustrate the sacred ends of nature.
+
+THE VEILED SIBYL: (STABS HERSELF) My hero god! (SHE DIES)
+
+(MANY MOST ATTRACTIVE AND ENTHUSIASTIC WOMEN ALSO COMMIT SUICIDE BY
+STABBING, DROWNING, DRINKING PRUSSIC ACID, ACONITE, ARSENIC, OPENING
+THEIR VEINS, REFUSING FOOD, CASTING THEMSELVES UNDER STEAMROLLERS, FROM
+THE TOP OF NELSON'S PILLAR, INTO THE GREAT VAT OF GUINNESS'S BREWERY,
+ASPHYXIATING THEMSELVES BY PLACING THEIR HEADS IN GASOVENS, HANGING
+THEMSELVES IN STYLISH GARTERS, LEAPING FROM WINDOWS OF DIFFERENT
+STOREYS.)
+
+ALEXANDER J DOWIE: (VIOLENTLY) Fellowchristians and antiBloomites, the
+man called Bloom is from the roots of hell, a disgrace to christian men.
+A fiendish libertine from his earliest years this stinking goat of Mendes
+gave precocious signs of infantile debauchery, recalling the cities of
+the plain, with a dissolute granddam. This vile hypocrite, bronzed with
+infamy, is the white bull mentioned in the Apocalypse. A worshipper of
+the Scarlet Woman, intrigue is the very breath of his nostrils. The stake
+faggots and the caldron of boiling oil are for him. Caliban!
+
+THE MOB: Lynch him! Roast him! He's as bad as Parnell was. Mr Fox!
+
+(MOTHER GROGAN THROWS HER BOOT AT BLOOM. SEVERAL SHOPKEEPERS FROM UPPER
+AND LOWER DORSET STREET THROW OBJECTS OF LITTLE OR NO COMMERCIAL VALUE,
+HAMBONES, CONDENSED MILK TINS, UNSALEABLE CABBAGE, STALE BREAD, SHEEP'S
+TAILS, ODD PIECES OF FAT.)
+
+BLOOM: (EXCITEDLY) This is midsummer madness, some ghastly joke again. By
+heaven, I am guiltless as the unsunned snow! It was my brother Henry. He
+is my double. He lives in number 2 Dolphin's Barn. Slander, the viper,
+has wrongfully accused me. Fellowcountrymen, SGENL INN BAN BATA COISDE
+GAN CAPALL. I call on my old friend, Dr Malachi Mulligan, sex specialist,
+to give medical testimony on my behalf.
+
+DR MULLIGAN: (IN MOTOR JERKIN, GREEN MOTORGOGGLES ON HIS BROW) Dr Bloom
+is bisexually abnormal. He has recently escaped from Dr Eustace's private
+asylum for demented gentlemen. Born out of bedlock hereditary epilepsy is
+present, the consequence of unbridled lust. Traces of elephantiasis have
+been discovered among his ascendants. There are marked symptoms of
+chronic exhibitionism. Ambidexterity is also latent. He is prematurely
+bald from selfabuse, perversely idealistic in consequence, a reformed
+rake, and has metal teeth. In consequence of a family complex he has
+temporarily lost his memory and I believe him to be more sinned against
+than sinning. I have made a pervaginal examination and, after application
+of the acid test to 5427 anal, axillary, pectoral and pubic hairs, I
+declare him to be VIRGO INTACTA.
+
+(BLOOM HOLDS HIS HIGH GRADE HAT OVER HIS GENITAL ORGANS.)
+
+DR MADDEN: Hypsospadia is also marked. In the interest of coming
+generations I suggest that the parts affected should be preserved in
+spirits of wine in the national teratological museum.
+
+DR CROTTHERS: I have examined the patient's urine. It is albuminoid.
+Salivation is insufficient, the patellar reflex intermittent.
+
+DR PUNCH COSTELLO: The FETOR JUDAICUS is most perceptible.
+
+DR DIXON: (READS A BILL OF HEALTH) Professor Bloom is a finished example
+of the new womanly man. His moral nature is simple and lovable. Many have
+found him a dear man, a dear person. He is a rather quaint fellow on the
+whole, coy though not feebleminded in the medical sense. He has written a
+really beautiful letter, a poem in itself, to the court missionary of the
+Reformed Priests' Protection Society which clears up everything. He is
+practically a total abstainer and I can affirm that he sleeps on a straw
+litter and eats the most Spartan food, cold dried grocer's peas. He wears
+a hairshirt of pure Irish manufacture winter and summer and scourges
+himself every Saturday. He was, I understand, at one time a firstclass
+misdemeanant in Glencree reformatory. Another report states that he was a
+very posthumous child. I appeal for clemency in the name of the most
+sacred word our vocal organs have ever been called upon to speak. He is
+about to have a baby.
+
+(GENERAL COMMOTION AND COMPASSION. WOMEN FAINT. A WEALTHY AMERICAN MAKES
+A STREET COLLECTION FOR BLOOM. GOLD AND SILVER COINS, BLANK CHEQUES,
+BANKNOTES, JEWELS, TREASURY BONDS, MATURING BILLS OF EXCHANGE, I. O. U'S,
+WEDDING RINGS, WATCHCHAINS, LOCKETS, NECKLACES AND BRACELETS ARE RAPIDLY
+COLLECTED.)
+
+BLOOM: O, I so want to be a mother.
+
+MRS THORNTON: (IN NURSETENDER'S GOWN) Embrace me tight, dear. You'll be
+soon over it. Tight, dear.
+
+(BLOOM EMBRACES HER TIGHTLY AND BEARS EIGHT MALE YELLOW AND WHITE
+CHILDREN. THEY APPEAR ON A REDCARPETED STAIRCASE ADORNED WITH EXPENSIVE
+PLANTS. ALL THE OCTUPLETS ARE HANDSOME, WITH VALUABLE METALLIC FACES,
+WELLMADE, RESPECTABLY DRESSED AND WELLCONDUCTED, SPEAKING FIVE MODERN
+LANGUAGES FLUENTLY AND INTERESTED IN VARIOUS ARTS AND SCIENCES. EACH HAS
+HIS NAME PRINTED IN LEGIBLE LETTERS ON HIS SHIRTFRONT: NASODORO,
+GOLDFINGER, CHRYSOSTOMOS, MAINDOREE, SILVERSMILE, SILBERSELBER,
+VIFARGENT, PANARGYROS. THEY ARE IMMEDIATELY APPOINTED TO POSITIONS OF
+HIGH PUBLIC TRUST IN SEVERAL DIFFERENT COUNTRIES AS MANAGING DIRECTORS OF
+BANKS, TRAFFIC MANAGERS OF RAILWAYS, CHAIRMEN OF LIMITED LIABILITY
+COMPANIES, VICECHAIRMEN OF HOTEL SYNDICATES.)
+
+A VOICE: Bloom, are you the Messiah ben Joseph or ben David?
+
+BLOOM: (DARKLY) You have said it.
+
+BROTHER BUZZ: Then perform a miracle like Father Charles.
+
+BANTAM LYONS: Prophesy who will win the Saint Leger.
+
+(BLOOM WALKS ON A NET, COVERS HIS LEFT EYE WITH HIS LEFT EAR, PASSES
+THROUGH SEVERAL WALLS, CLIMBS NELSON'S PILLAR, HANGS FROM THE TOP LEDGE
+BY HIS EYELIDS, EATS TWELVE DOZEN OYSTERS (SHELLS INCLUDED), HEALS
+SEVERAL SUFFERERS FROM KING'S EVIL, CONTRACTS HIS FACE SO AS TO RESEMBLE
+MANY HISTORICAL PERSONAGES, LORD BEACONSFIELD, LORD BYRON, WAT TYLER,
+MOSES OF EGYPT, MOSES MAIMONIDES, MOSES MENDELSSOHN, HENRY IRVING, RIP
+VAN WINKLE, KOSSUTH, JEAN JACQUES ROUSSEAU, BARON LEOPOLD ROTHSCHILD,
+ROBINSON CRUSOE, SHERLOCK HOLMES, PASTEUR, TURNS EACH FOOT SIMULTANEOUSLY
+IN DIFFERENT DIRECTIONS, BIDS THE TIDE TURN BACK, ECLIPSES THE SUN BY
+EXTENDING HIS LITTLE FINGER.)
+
+BRINI, PAPAL NUNCIO: (IN PAPAL ZOUAVE'S UNIFORM, STEEL CUIRASSES AS
+BREASTPLATE, ARMPLATES, THIGHPLATES, LEGPLATES, LARGE PROFANE MOUSTACHES
+AND BROWN PAPER MITRE) LEOPOLDI AUTEM GENERATIO. Moses begat Noah and
+Noah begat Eunuch and Eunuch begat O'Halloran and O'Halloran begat
+Guggenheim and Guggenheim begat Agendath and Agendath begat Netaim and
+Netaim begat Le Hirsch and Le Hirsch begat Jesurum and Jesurum begat
+MacKay and MacKay begat Ostrolopsky and Ostrolopsky begat Smerdoz and
+Smerdoz begat Weiss and Weiss begat Schwarz and Schwarz begat Adrianopoli
+and Adrianopoli begat Aranjuez and Aranjuez begat Lewy Lawson and Lewy
+Lawson begat Ichabudonosor and Ichabudonosor begat O'Donnell Magnus and
+O'Donnell Magnus begat Christbaum and Christbaum begat ben Maimun and ben
+Maimun begat Dusty Rhodes and Dusty Rhodes begat Benamor and Benamor
+begat Jones-Smith and Jones-Smith begat Savorgnanovich and Savorgnanovich
+begat Jasperstone and Jasperstone begat Vingtetunieme and Vingtetunieme
+begat Szombathely and Szombathely begat Virag and Virag begat Bloom ET
+VOCABITUR NOMEN EIUS EMMANUEL.
+
+A DEADHAND: (WRITES ON THE WALL) Bloom is a cod.
+
+CRAB: (IN BUSHRANGER'S KIT) What did you do in the cattlecreep behind
+Kilbarrack?
+
+A FEMALE INFANT: (SHAKES A RATTLE) And under Ballybough bridge?
+
+A HOLLYBUSH: And in the devil's glen?
+
+BLOOM: (BLUSHES FURIOUSLY ALL OVER FROM FRONS TO NATES, THREE TEARS
+FILLING FROM HIS LEFT EYE) Spare my past.
+
+THE IRISH EVICTED TENANTS: (IN BODYCOATS, KNEEBREECHES, WITH DONNYBROOK
+FAIR SHILLELAGHS) Sjambok him!
+
+(BLOOM WITH ASSES' EARS SEATS HIMSELF IN THE PILLORY WITH CROSSED ARMS,
+HIS FEET PROTRUDING. HE WHISTLES Don Giovanni, a cenar teco. ARTANE
+ORPHANS, JOINING HANDS, CAPER ROUND HIM. GIRLS OF THE PRISON GATE
+MISSION, JOINING HANDS, CAPER ROUND IN THE OPPOSITE DIRECTION.)
+
+THE ARTANE ORPHANS:
+
+
+    You hig, you hog, you dirty dog!
+    You think the ladies love you!
+
+
+THE PRISON GATE GIRLS:
+
+
+    If you see Kay
+    Tell him he may
+    See you in tea
+    Tell him from me.
+
+
+HORNBLOWER: (IN EPHOD AND HUNTINGCAP, ANNOUNCES) And he shall carry the
+sins of the people to Azazel, the spirit which is in the wilderness, and
+to Lilith, the nighthag. And they shall stone him and defile him, yea,
+all from Agendath Netaim and from Mizraim, the land of Ham.
+
+(ALL THE PEOPLE CAST SOFT PANTOMIME STONES AT BLOOM. MANY BONAFIDE
+TRAVELLERS AND OWNERLESS DOGS COME NEAR HIM AND DEFILE HIM. MASTIANSKY
+AND CITRON APPROACH IN GABERDINES, WEARING LONG EARLOCKS. THEY WAG THEIR
+BEARDS AT BLOOM.)
+
+MASTIANSKY AND CITRON: Belial! Laemlein of Istria, the false Messiah!
+Abulafia! Recant!
+
+(GEORGE R MESIAS, BLOOM'S TAILOR, APPEARS, A TAILOR'S GOOSE UNDER HIS
+ARM, PRESENTING A BILL)
+
+MESIAS: To alteration one pair trousers eleven shillings.
+
+BLOOM: (RUBS HIS HANDS CHEERFULLY) Just like old times. Poor Bloom!
+
+(REUBEN J DODD, BLACKBEARDED ISCARIOT, BAD SHEPHERD, BEARING ON HIS
+SHOULDERS THE DROWNED CORPSE OF HIS SON, APPROACHES THE PILLORY.)
+
+REUBEN J: (WHISPERS HOARSELY) The squeak is out. A split is gone for the
+flatties. Nip the first rattler.
+
+THE FIRE BRIGADE: Pflaap!
+
+BROTHER BUZZ: (INVESTS BLOOM IN A YELLOW HABIT WITH EMBROIDERY OF PAINTED
+FLAMES AND HIGH POINTED HAT. HE PLACES A BAG OF GUNPOWDER ROUND HIS NECK
+AND HANDS HIM OVER TO THE CIVIL POWER, SAYING) Forgive him his
+trespasses.
+
+(LIEUTENANT MYERS OF THE DUBLIN FIRE BRIGADE BY GENERAL REQUEST SETS FIRE
+TO BLOOM. LAMENTATIONS.)
+
+THE CITIZEN: Thank heaven!
+
+BLOOM: (IN A SEAMLESS GARMENT MARKED I. H. S. STANDS UPRIGHT AMID PHOENIX
+FLAMES) Weep not for me, O daughters of Erin.
+
+(HE EXHIBITS TO DUBLIN REPORTERS TRACES OF BURNING. THE DAUGHTERS OF
+ERIN, IN BLACK GARMENTS, WITH LARGE PRAYERBOOKS AND LONG LIGHTED CANDLES
+IN THEIR HANDS, KNEEL DOWN AND PRAY.)
+
+THE DAUGHTERS OF ERIN:
+
+
+    Kidney of Bloom, pray for us
+    Flower of the Bath, pray for us
+    Mentor of Menton, pray for us
+    Canvasser for the Freeman, pray for us
+    Charitable Mason, pray for us
+    Wandering Soap, pray for us
+    Sweets of Sin, pray for us
+    Music without Words, pray for us
+    Reprover of the Citizen, pray for us
+    Friend of all Frillies, pray for us
+    Midwife Most Merciful, pray for us
+    Potato Preservative against Plague and Pestilence, pray for us.
+
+
+(A CHOIR OF SIX HUNDRED VOICES, CONDUCTED BY VINCENT O'BRIEN, SINGS THE
+CHORUS FROM HANDEL'S MESSIAH ALLELUIA FOR THE LORD GOD OMNIPOTENT
+REIGNETH, ACCOMPANIED ON THE ORGAN BY JOSEPH GLYNN. BLOOM BECOMES MUTE,
+SHRUNKEN, CARBONISED.)
+
+ZOE: Talk away till you're black in the face.
+
+BLOOM: (IN CAUBEEN WITH CLAY PIPE STUCK IN THE BAND, DUSTY BROGUES, AN
+EMIGRANT'S RED HANDKERCHIEF BUNDLE IN HIS HAND, LEADING A BLACK BOGOAK
+PIG BY A SUGAUN, WITH A SMILE IN HIS EYE) Let me be going now, woman of
+the house, for by all the goats in Connemara I'm after having the father
+and mother of a bating. (WITH A TEAR IN HIS EYE) All insanity.
+Patriotism, sorrow for the dead, music, future of the race. To be or not
+to be. Life's dream is o'er. End it peacefully. They can live on. (HE
+GAZES FAR AWAY MOURNFULLY) I am ruined. A few pastilles of aconite. The
+blinds drawn. A letter. Then lie back to rest. (HE BREATHES SOFTLY) No
+more. I have lived. Fare. Farewell.
+
+ZOE: (STIFFLY, HER FINGER IN HER NECKFILLET) Honest? Till the next time.
+(SHE SNEERS) Suppose you got up the wrong side of the bed or came too
+quick with your best girl. O, I can read your thoughts!
+
+BLOOM: (BITTERLY) Man and woman, love, what is it? A cork and bottle. I'm
+sick of it. Let everything rip.
+
+ZOE: (IN SUDDEN SULKS) I hate a rotter that's insincere. Give a bleeding
+whore a chance.
+
+BLOOM: (REPENTANTLY) I am very disagreeable. You are a necessary evil.
+Where are you from? London?
+
+ZOE: (GLIBLY) Hog's Norton where the pigs plays the organs. I'm Yorkshire
+born. (SHE HOLDS HIS HAND WHICH IS FEELING FOR HER NIPPLE) I say, Tommy
+Tittlemouse. Stop that and begin worse. Have you cash for a short time?
+Ten shillings?
+
+BLOOM: (SMILES, NODS SLOWLY) More, houri, more.
+
+ZOE: And more's mother? (SHE PATS HIM OFFHANDEDLY WITH VELVET PAWS) Are
+you coming into the musicroom to see our new pianola? Come and I'll peel
+off.
+
+BLOOM: (FEELING HIS OCCIPUT DUBIOUSLY WITH THE UNPARALLELED EMBARRASSMENT
+OF A HARASSED PEDLAR GAUGING THE SYMMETRY OF HER PEELED PEARS) Somebody
+would be dreadfully jealous if she knew. The greeneyed monster.
+(EARNESTLY) You know how difficult it is. I needn't tell you.
+
+ZOE: (FLATTERED) What the eye can't see the heart can't grieve for. (SHE
+PATS HIM) Come.
+
+BLOOM: Laughing witch! The hand that rocks the cradle.
+
+ZOE: Babby!
+
+BLOOM: (IN BABYLINEN AND PELISSE, BIGHEADED, WITH A CAUL OF DARK HAIR,
+FIXES BIG EYES ON HER FLUID SLIP AND COUNTS ITS BRONZE BUCKLES WITH A
+CHUBBY FINGER, HIS MOIST TONGUE LOLLING AND LISPING) One two tlee: tlee
+tlwo tlone.
+
+THE BUCKLES: Love me. Love me not. Love me.
+
+ZOE: Silent means consent. (WITH LITTLE PARTED TALONS SHE CAPTURES HIS
+HAND, HER FOREFINGER GIVING TO HIS PALM THE PASSTOUCH OF SECRET MONITOR,
+LURING HIM TO DOOM.) Hot hands cold gizzard.
+
+(HE HESITATES AMID SCENTS, MUSIC, TEMPTATIONS. SHE LEADS HIM TOWARDS THE
+STEPS, DRAWING HIM BY THE ODOUR OF HER ARMPITS, THE VICE OF HER PAINTED
+EYES, THE RUSTLE OF HER SLIP IN WHOSE SINUOUS FOLDS LURKS THE LION REEK
+OF ALL THE MALE BRUTES THAT HAVE POSSESSED HER.)
+
+THE MALE BRUTES: (EXHALING SULPHUR OF RUT AND DUNG AND RAMPING IN THEIR
+LOOSEBOX, FAINTLY ROARING, THEIR DRUGGED HEADS SWAYING TO AND FRO) Good!
+
+(ZOE AND BLOOM REACH THE DOORWAY WHERE TWO SISTER WHORES ARE SEATED. THEY
+EXAMINE HIM CURIOUSLY FROM UNDER THEIR PENCILLED BROWS AND SMILE TO HIS
+HASTY BOW. HE TRIPS AWKWARDLY.)
+
+ZOE: (HER LUCKY HAND INSTANTLY SAVING HIM) Hoopsa! Don't fall upstairs.
+
+BLOOM: The just man falls seven times. (HE STANDS ASIDE AT THE THRESHOLD)
+After you is good manners.
+
+ZOE: Ladies first, gentlemen after.
+
+(SHE CROSSES THE THRESHOLD. HE HESITATES. SHE TURNS AND, HOLDING OUT HER
+HANDS, DRAWS HIM OVER. HE HOPS. ON THE ANTLERED RACK OF THE HALL HANG A
+MAN 'S HAT AND WATERPROOF. BLOOM UNCOVERS HIMSELF BUT, SEEING THEM,
+FROWNS, THEN SMILES, PREOCCUPIED. A DOOR ON THE RETURN LANDING IS FLUNG
+OPEN. A MAN IN PURPLE SHIRT AND GREY TROUSERS, BROWNSOCKED, PASSES WITH
+AN APE'S GAIT, HIS BALD HEAD AND GOATEE BEARD UPHELD, HUGGING A FULL
+WATERJUGJAR, HIS TWOTAILED BLACK BRACES DANGLING AT HEELS. AVERTING HIS
+FACE QUICKLY BLOOM BENDS TO EXAMINE ON THE HALLTABLE THE SPANIEL EYES OF
+A RUNNING FOX: THEN, HIS LIFTED HEAD SNIFFING, FOLLOWS ZOE INTO THE
+MUSICROOM. A SHADE OF MAUVE TISSUEPAPER DIMS THE LIGHT OF THE CHANDELIER.
+ROUND AND ROUND A MOTH FLIES, COLLIDING, ESCAPING. THE FLOOR IS COVERED
+WITH AN OILCLOTH MOSAIC OF JADE AND AZURE AND CINNABAR RHOMBOIDS.
+FOOTMARKS ARE STAMPED OVER IT IN ALL SENSES, HEEL TO HEEL, HEEL TO
+HOLLOW, TOE TO TOE, FEET LOCKED, A MORRIS OF SHUFFLING FEET WITHOUT BODY
+PHANTOMS, ALL IN A SCRIMMAGE HIGGLEDYPIGGLEDY. THE WALLS ARE TAPESTRIED
+WITH A PAPER OF YEWFRONDS AND CLEAR GLADES. IN THE GRATE IS SPREAD A
+SCREEN OF PEACOCK FEATHERS. LYNCH SQUATS CROSSLEGGED ON THE HEARTHRUG OF
+MATTED HAIR, HIS CAP BACK TO THE FRONT. WITH A WAND HE BEATS TIME SLOWLY.
+KITTY RICKETTS, A BONY PALLID WHORE IN NAVY COSTUME, DOESKIN GLOVES
+ROLLED BACK FROM A CORAL WRISTLET, A CHAIN PURSE IN HER HAND, SITS
+PERCHED ON THE EDGE OF THE TABLE SWINGING HER LEG AND GLANCING AT HERSELF
+IN THE GILT MIRROR OVER THE MANTELPIECE. A TAG OF HER CORSETLACE HANGS
+SLIGHTLY BELOW HER JACKET. LYNCH INDICATES MOCKINGLY THE COUPLE AT THE
+PIANO.)
+
+KITTY: (COUGHS BEHIND HER HAND) She's a bit imbecillic. (SHE SIGNS WITH A
+WAGGLING FOREFINGER) Blemblem. (LYNCH LIFTS UP HER SKIRT AND WHITE
+PETTICOAT WITH HIS WAND SHE SETTLES THEM DOWN QUICKLY.) Respect yourself.
+(SHE HICCUPS, THEN BENDS QUICKLY HER SAILOR HAT UNDER WHICH HER HAIR
+GLOWS, RED WITH HENNA) O, excuse!
+
+ZOE: More limelight, Charley. (SHE GOES TO THE CHANDELIER AND TURNS THE
+GAS FULL COCK)
+
+KITTY: (PEERS AT THE GASJET) What ails it tonight?
+
+LYNCH: (DEEPLY) Enter a ghost and hobgoblins.
+
+ZOE: Clap on the back for Zoe.
+
+(THE WAND IN LYNCH'S HAND FLASHES: A BRASS POKER. STEPHEN STANDS AT THE
+PIANOLA ON WHICH SPRAWL HIS HAT AND ASHPLANT. WITH TWO FINGERS HE REPEATS
+ONCE MORE THE SERIES OF EMPTY FIFTHS. FLORRY TALBOT, A BLOND FEEBLE
+GOOSEFAT WHORE IN A TATTERDEMALION GOWN OF MILDEWED STRAWBERRY, LOLLS
+SPREADEAGLE IN THE SOFACORNER, HER LIMP FOREARM PENDENT OVER THE BOLSTER,
+LISTENING. A HEAVY STYE DROOPS OVER HER SLEEPY EYELID.)
+
+KITTY: (HICCUPS AGAIN WITH A KICK OF HER HORSED FOOT) O, excuse!
+
+ZOE: (PROMPTLY) Your boy's thinking of you. Tie a knot on your shift.
+
+(KITTY RICKETTS BENDS HER HEAD. HER BOA UNCOILS, SLIDES, GLIDES OVER HER
+SHOULDER, BACK, ARM, CHAIR TO THE GROUND. LYNCH LIFTS THE CURLED
+CATERPILLAR ON HIS WAND. SHE SNAKES HER NECK, NESTLING. STEPHEN GLANCES
+BEHIND AT THE SQUATTED FIGURE WITH ITS CAP BACK TO THE FRONT.)
+
+STEPHEN: As a matter of fact it is of no importance whether Benedetto
+Marcello found it or made it. The rite is the poet's rest. It may be an
+old hymn to Demeter or also illustrate COELA ENARRANT GLORIAM DOMINI. It
+is susceptible of nodes or modes as far apart as hyperphrygian and
+mixolydian and of texts so divergent as priests haihooping round David's
+that is Circe's or what am I saying Ceres' altar and David's tip from the
+stable to his chief bassoonist about the alrightness of his almightiness.
+MAIS NOM DE NOM, that is another pair of trousers. JETEZ LA GOURME. FAUT
+QUE JEUNESSE SE PASSE. (HE STOPS, POINTS AT LYNCH'S CAP, SMILES, LAUGHS)
+Which side is your knowledge bump?
+
+THE CAP: (WITH SATURNINE SPLEEN) Bah! It is because it is. Woman's
+reason. Jewgreek is greekjew. Extremes meet. Death is the highest form of
+life. Bah!
+
+STEPHEN: You remember fairly accurately all my errors, boasts, mistakes.
+How long shall I continue to close my eyes to disloyalty? Whetstone!
+
+THE CAP: Bah!
+
+STEPHEN: Here's another for you. (HE FROWNS) The reason is because the
+fundamental and the dominant are separated by the greatest possible
+interval which ...
+
+THE CAP: Which? Finish. You can't.
+
+STEPHEN: (WITH AN EFFORT) Interval which. Is the greatest possible
+ellipse. Consistent with. The ultimate return. The octave. Which.
+
+THE CAP: Which?
+
+(OUTSIDE THE GRAMOPHONE BEGINS TO BLARE The Holy City.)
+
+STEPHEN: (ABRUPTLY) What went forth to the ends of the world to traverse
+not itself, God, the sun, Shakespeare, a commercial traveller, having
+itself traversed in reality itself becomes that self. Wait a moment. Wait
+a second. Damn that fellow's noise in the street. Self which it itself
+was ineluctably preconditioned to become. ECCO!
+
+LYNCH: (WITH A MOCKING WHINNY OF LAUGHTER GRINS AT BLOOM AND ZOE HIGGINS)
+What a learned speech, eh?
+
+ZOE: (BRISKLY) God help your head, he knows more than you have forgotten.
+
+(WITH OBESE STUPIDITY FLORRY TALBOT REGARDS STEPHEN.)
+
+FLORRY: They say the last day is coming this summer.
+
+KITTY: No!
+
+ZOE: (EXPLODES IN LAUGHTER) Great unjust God!
+
+FLORRY: (OFFENDED) Well, it was in the papers about Antichrist. O, my
+foot's tickling.
+
+(RAGGED BAREFOOT NEWSBOYS, JOGGING A WAGTAIL KITE, PATTER PAST, YELLING.)
+
+THE NEWSBOYS: Stop press edition. Result of the rockinghorse races. Sea
+serpent in the royal canal. Safe arrival of Antichrist.
+
+(STEPHEN TURNS AND SEES BLOOM.)
+
+STEPHEN: A time, times and half a time.
+
+(REUBEN I ANTICHRIST, WANDERING JEW, A CLUTCHING HAND OPEN ON HIS SPINE,
+STUMPS FORWARD. ACROSS HIS LOINS IS SLUNG A PILGRIM'S WALLET FROM WHICH
+PROTRUDE PROMISSORY NOTES AND DISHONOURED BILLS. ALOFT OVER HIS SHOULDER
+HE BEARS A LONG BOATPOLE FROM THE HOOK OF WHICH THE SODDEN HUDDLED MASS
+OF HIS ONLY SON, SAVED FROM LIFFEY WATERS, HANGS FROM THE SLACK OF ITS
+BREECHES. A HOBGOBLIN IN THE IMAGE OF PUNCH COSTELLO, HIPSHOT,
+CROOKBACKED, HYDROCEPHALIC, PROGNATHIC WITH RECEDING FOREHEAD AND ALLY
+SLOPER NOSE, TUMBLES IN SOMERSAULTS THROUGH THE GATHERING DARKNESS.)
+
+ALL: What?
+
+THE HOBGOBLIN: (HIS JAWS CHATTERING, CAPERS TO AND FRO, GOGGLING HIS
+EYES, SQUEAKING, KANGAROOHOPPING WITH OUTSTRETCHED CLUTCHING ARMS, THEN
+ALL AT ONCE THRUSTS HIS LIPLESS FACE THROUGH THE FORK OF HIS THIGHS) IL
+VIENT! C'EST MOI! L'HOMME QUI RIT! L'HOMME PRIMIGENE! (HE WHIRLS ROUND
+AND ROUND WITH DERVISH HOWLS) SIEURS ET DAMES, FAITES VOS JEUX! (HE
+CROUCHES JUGGLING. TINY ROULETTE PLANETS FLY FROM HIS HANDS.) LES JEUX
+SONT FAITS! (THE PLANETS RUSH TOGETHER, UTTERING CREPITANT CRACKS) RIEN
+VA PLUS! (THE PLANETS, BUOYANT BALLOONS, SAIL SWOLLEN UP AND AWAY. HE
+SPRINGS OFF INTO VACUUM.)
+
+FLORRY: (SINKING INTO TORPOR, CROSSING HERSELF SECRETLY) The end of the
+world!
+
+(A FEMALE TEPID EFFLUVIUM LEAKS OUT FROM HER. NEBULOUS OBSCURITY OCCUPIES
+SPACE. THROUGH THE DRIFTING FOG WITHOUT THE GRAMOPHONE BLARES OVER COUGHS
+AND FEETSHUFFLING.)
+
+THE GRAMOPHONE: Jerusalem!
+
+Open your gates and sing
+
+Hosanna ...
+
+(A ROCKET RUSHES UP THE SKY AND BURSTS. A WHITE STAR FILLS FROM IT,
+PROCLAIMING THE CONSUMMATION OF ALL THINGS AND SECOND COMING OF ELIJAH.
+ALONG AN INFINITE INVISIBLE TIGHTROPE TAUT FROM ZENITH TO NADIR THE END
+OF THE WORLD, A TWOHEADED OCTOPUS IN GILLIE'S KILTS, BUSBY AND TARTAN
+FILIBEGS, WHIRLS THROUGH THE MURK, HEAD OVER HEELS, IN THE FORM OF THE
+THREE LEGS OF MAN.)
+
+THE END OF THE WORLD: (WITH A SCOTCH ACCENT) Wha'll dance the keel row,
+the keel row, the keel row?
+
+(OVER THE POSSING DRIFT AND CHOKING BREATHCOUGHS, ELIJAH'S VOICE, HARSH
+AS A CORNCRAKE'S, JARS ON HIGH. PERSPIRING IN A LOOSE LAWN SURPLICE WITH
+FUNNEL SLEEVES HE IS SEEN, VERGERFACED, ABOVE A ROSTRUM ABOUT WHICH THE
+BANNER OF OLD GLORY IS DRAPED. HE THUMPS THE PARAPET.)
+
+ELIJAH: No yapping, if you please, in this booth. Jake Crane, Creole Sue,
+Dove Campbell, Abe Kirschner, do your coughing with your mouths shut.
+Say, I am operating all this trunk line. Boys, do it now. God's time is
+12.25. Tell mother you'll be there. Rush your order and you play a slick
+ace. Join on right here. Book through to eternity junction, the nonstop
+run. Just one word more. Are you a god or a doggone clod? If the second
+advent came to Coney Island are we ready? Florry Christ, Stephen Christ,
+Zoe Christ, Bloom Christ, Kitty Christ, Lynch Christ, it's up to you to
+sense that cosmic force. Have we cold feet about the cosmos? No. Be on
+the side of the angels. Be a prism. You have that something within, the
+higher self. You can rub shoulders with a Jesus, a Gautama, an Ingersoll.
+Are you all in this vibration? I say you are. You once nobble that,
+congregation, and a buck joyride to heaven becomes a back number. You got
+me? It's a lifebrightener, sure. The hottest stuff ever was. It's the
+whole pie with jam in. It's just the cutest snappiest line out. It is
+immense, supersumptuous. It restores. It vibrates. I know and I am some
+vibrator. Joking apart and, getting down to bedrock, A. J. Christ Dowie
+and the harmonial philosophy, have you got that? O. K. Seventyseven west
+sixtyninth street. Got me? That's it. You call me up by sunphone any old
+time. Bumboosers, save your stamps. (HE SHOUTS) Now then our glory song.
+All join heartily in the singing. Encore! (HE SINGS) Jeru ...
+
+THE GRAMOPHONE: (DROWNING HIS VOICE) Whorusalaminyourhighhohhhh ... (THE
+DISC RASPS GRATINGLY AGAINST THE NEEDLE)
+
+THE THREE WHORES: (COVERING THEIR EARS, SQUAWK) Ahhkkk!
+
+ELIJAH: (IN ROLLEDUP SHIRTSLEEVES, BLACK IN THE FACE, SHOUTS AT THE TOP
+OF HIS VOICE, HIS ARMS UPLIFTED) Big Brother up there, Mr President, you
+hear what I done just been saying to you. Certainly, I sort of believe
+strong in you, Mr President. I certainly am thinking now Miss Higgins and
+Miss Ricketts got religion way inside them. Certainly seems to me I don't
+never see no wusser scared female than the way you been, Miss Florry,
+just now as I done seed you. Mr President, you come long and help me save
+our sisters dear. (HE WINKS AT HIS AUDIENCE) Our Mr President, he twig
+the whole lot and he aint saying nothing.
+
+KITTY-KATE: I forgot myself. In a weak moment I erred and did what I did
+on Constitution hill. I was confirmed by the bishop and enrolled in the
+brown scapular. My mother's sister married a Montmorency. It was a
+working plumber was my ruination when I was pure.
+
+ZOE-FANNY: I let him larrup it into me for the fun of it.
+
+FLORRY-TERESA: It was in consequence of a portwine beverage on top of
+Hennessy's three star. I was guilty with Whelan when he slipped into the
+bed.
+
+STEPHEN: In the beginning was the word, in the end the world without end.
+Blessed be the eight beatitudes.
+
+(THE BEATITUDES, DIXON, MADDEN, CROTTHERS, COSTELLO, LENEHAN, BANNON,
+MULLIGAN AND LYNCH IN WHITE SURGICAL STUDENTS' GOWNS, FOUR ABREAST,
+GOOSESTEPPING, TRAMP FIST PAST IN NOISY MARCHING)
+
+THE BEATITUDES: (INCOHERENTLY) Beer beef battledog buybull businum barnum
+buggerum bishop.
+
+LYSTER: (IN QUAKERGREY KNEEBREECHES AND BROADBRIMMED HAT, SAYS
+DISCREETLY) He is our friend. I need not mention names. Seek thou the
+light.
+
+(HE CORANTOS BY. BEST ENTERS IN HAIRDRESSER'S ATTIRE, SHINILY LAUNDERED,
+HIS LOCKS IN CURLPAPERS. HE LEADS JOHN EGLINTON WHO WEARS A MANDARIN'S
+KIMONO OF NANKEEN YELLOW, LIZARDLETTERED, AND A HIGH PAGODA HAT.)
+
+BEST: (SMILING, LIFTS THE HAT AND DISPLAYS A SHAVEN POLL FROM THE CROWN
+OF WHICH BRISTLES A PIGTAIL TOUPEE TIED WITH AN ORANGE TOPKNOT) I was
+just beautifying him, don't you know. A thing of beauty, don't you know,
+Yeats says, or I mean, Keats says.
+
+JOHN EGLINTON: (PRODUCES A GREENCAPPED DARK LANTERN AND FLASHES IT
+TOWARDS A CORNER: WITH CARPING ACCENT) Esthetics and cosmetics are for
+the boudoir. I am out for truth. Plain truth for a plain man. Tanderagee
+wants the facts and means to get them.
+
+(IN THE CONE OF THE SEARCHLIGHT BEHIND THE COALSCUTTLE, OLLAVE, HOLYEYED,
+THE BEARDED FIGURE OF MANANAUN MACLIR BROODS, CHIN ON KNEES. HE RISES
+SLOWLY. A COLD SEAWIND BLOWS FROM HIS DRUID MOUTH. ABOUT HIS HEAD WRITHE
+EELS AND ELVERS. HE IS ENCRUSTED WITH WEEDS AND SHELLS. HIS RIGHT HAND
+HOLDS A BICYCLE PUMP. HIS LEFT HAND GRASPS A HUGE CRAYFISH BY ITS TWO
+TALONS.)
+
+MANANAUN MACLIR: (WITH A VOICE OF WAVES) Aum! Hek! Wal! Ak! Lub! Mor! Ma!
+White yoghin of the gods. Occult pimander of Hermes Trismegistos. (WITH A
+VOICE OF WHISTLING SEAWIND) Punarjanam patsypunjaub! I won't have my leg
+pulled. It has been said by one: beware the left, the cult of Shakti.
+(WITH A CRY OF STORMBIRDS) Shakti Shiva, darkhidden Father! (HE SMITES
+WITH HIS BICYCLE PUMP THE CRAYFISH IN HIS LEFT HAND. ON ITS COOPERATIVE
+DIAL GLOW THE TWELVE SIGNS OF THE ZODIAC. HE WAILS WITH THE VEHEMENCE OF
+THE OCEAN.) Aum! Baum! Pyjaum! I am the light of the homestead! I am the
+dreamery creamery butter.
+
+(A SKELETON JUDASHAND STRANGLES THE LIGHT. THE GREEN LIGHT WANES TO
+MAUVE. THE GASJET WAILS WHISTLING.)
+
+THE GASJET: Pooah! Pfuiiiiiii!
+
+(ZOE RUNS TO THE CHANDELIER AND, CROOKING HER LEG, ADJUSTS THE MANTLE.)
+
+ZOE: Who has a fag as I'm here?
+
+LYNCH: (TOSSING A CIGARETTE ON TO THE TABLE) Here.
+
+ZOE: (HER HEAD PERCHED ASIDE IN MOCK PRIDE) Is that the way to hand the
+POT to a lady? (SHE STRETCHES UP TO LIGHT THE CIGARETTE OVER THE FLAME,
+TWIRLING IT SLOWLY, SHOWING THE BROWN TUFTS OF HER ARMPITS. LYNCH WITH
+HIS POKER LIFTS BOLDLY A SIDE OF HER SLIP. BARE FROM HER GARTERS UP HER
+FLESH APPEARS UNDER THE SAPPHIRE A NIXIE'S GREEN. SHE PUFFS CALMLY AT HER
+CIGARETTE.) Can you see the beautyspot of my behind?
+
+LYNCH: I'm not looking
+
+ZOE: (MAKES SHEEP'S EYES) No? You wouldn't do a less thing. Would you
+suck a lemon?
+
+(SQUINTING IN MOCK SHAME SHE GLANCES WITH SIDELONG MEANING AT BLOOM, THEN
+TWISTS ROUND TOWARDS HIM, PULLING HER SLIP FREE OF THE POKER. BLUE FLUID
+AGAIN FLOWS OVER HER FLESH. BLOOM STANDS, SMILING DESIROUSLY, TWIRLING
+HIS THUMBS. KITTY RICKETTS LICKS HER MIDDLE FINGER WITH HER SPITTLE AND,
+GAZING IN THE MIRROR, SMOOTHS BOTH EYEBROWS. LIPOTI VIRAG,
+BASILICOGRAMMATE, CHUTES RAPIDLY DOWN THROUGH THE CHIMNEYFLUE AND STRUTS
+TWO STEPS TO THE LEFT ON GAWKY PINK STILTS. HE IS SAUSAGED INTO SEVERAL
+OVERCOATS AND WEARS A BROWN MACINTOSH UNDER WHICH HE HOLDS A ROLL OF
+PARCHMENT. IN HIS LEFT EYE FLASHES THE MONOCLE OF CASHEL BOYLE O'CONNOR
+FITZMAURICE TISDALL FARRELL. ON HIS HEAD IS PERCHED AN EGYPTIAN PSHENT.
+TWO QUILLS PROJECT OVER HIS EARS.)
+
+VIRAG: (HEELS TOGETHER, BOWS) My name is Virag Lipoti, of Szombathely.
+(HE COUGHS THOUGHTFULLY, DRILY) Promiscuous nakedness is much in evidence
+hereabouts, eh? Inadvertently her backview revealed the fact that she is
+not wearing those rather intimate garments of which you are a particular
+devotee. The injection mark on the thigh I hope you perceived? Good.
+
+BLOOM: Granpapachi. But ...
+
+VIRAG: Number two on the other hand, she of the cherry rouge and
+coiffeuse white, whose hair owes not a little to our tribal elixir of
+gopherwood, is in walking costume and tightly staysed by her sit, I
+should opine. Backbone in front, so to say. Correct me but I always
+understood that the act so performed by skittish humans with glimpses of
+lingerie appealed to you in virtue of its exhibitionististicicity. In a
+word. Hippogriff. Am I right?
+
+BLOOM: She is rather lean.
+
+VIRAG: (NOT UNPLEASANTLY) Absolutely! Well observed and those pannier
+pockets of the skirt and slightly pegtop effect are devised to suggest
+bunchiness of hip. A new purchase at some monster sale for which a gull
+has been mulcted. Meretricious finery to deceive the eye. Observe the
+attention to details of dustspecks. Never put on you tomorrow what you
+can wear today. Parallax! (WITH A NERVOUS TWITCH OF HIS HEAD) Did you
+hear my brain go snap? Pollysyllabax!
+
+BLOOM: (AN ELBOW RESTING IN A HAND, A FOREFINGER AGAINST HIS CHEEK) She
+seems sad.
+
+VIRAG: (CYNICALLY, HIS WEASEL TEETH BARED YELLOW, DRAWS DOWN HIS LEFT EYE
+WITH A FINGER AND BARKS HOARSELY) Hoax! Beware of the flapper and bogus
+mournful. Lily of the alley. All possess bachelor's button discovered by
+Rualdus Columbus. Tumble her. Columble her. Chameleon. (MORE GENIALLY)
+Well then, permit me to draw your attention to item number three. There
+is plenty of her visible to the naked eye. Observe the mass of oxygenated
+vegetable matter on her skull. What ho, she bumps! The ugly duckling of
+the party, longcasted and deep in keel.
+
+BLOOM: (REGRETFULLY) When you come out without your gun.
+
+VIRAG: We can do you all brands, mild, medium and strong. Pay your money,
+take your choice. How happy could you be with either ...
+
+BLOOM: With ...?
+
+VIRAG: (HIS TONGUE UPCURLING) Lyum! Look. Her beam is broad. She is
+coated with quite a considerable layer of fat. Obviously mammal in weight
+of bosom you remark that she has in front well to the fore two
+protuberances of very respectable dimensions, inclined to fall in the
+noonday soupplate, while on her rere lower down are two additional
+protuberances, suggestive of potent rectum and tumescent for palpation,
+which leave nothing to be desired save compactness. Such fleshy parts are
+the product of careful nurture. When coopfattened their livers reach an
+elephantine size. Pellets of new bread with fennygreek and gumbenjamin
+swamped down by potions of green tea endow them during their brief
+existence with natural pincushions of quite colossal blubber. That suits
+your book, eh? Fleshhotpots of Egypt to hanker after. Wallow in it.
+Lycopodium. (HIS THROAT TWITCHES) Slapbang! There he goes again.
+
+BLOOM: The stye I dislike.
+
+VIRAG: (ARCHES HIS EYEBROWS) Contact with a goldring, they say.
+ARGUMENTUM AD FEMINAM, as we said in old Rome and ancient Greece in the
+consulship of Diplodocus and Ichthyosauros. For the rest Eve's sovereign
+remedy. Not for sale. Hire only. Huguenot. (HE TWITCHES) It is a funny
+sound. (HE COUGHS ENCOURAGINGLY) But possibly it is only a wart. I
+presume you shall have remembered what I will have taught you on that
+head? Wheatenmeal with honey and nutmeg.
+
+BLOOM: (REFLECTING) Wheatenmeal with lycopodium and syllabax. This
+searching ordeal. It has been an unusually fatiguing day, a chapter of
+accidents. Wait. I mean, wartsblood spreads warts, you said ...
+
+VIRAG: (SEVERELY, HIS NOSE HARDHUMPED, HIS SIDE EYE WINKING) Stop
+twirling your thumbs and have a good old thunk. See, you have forgotten.
+Exercise your mnemotechnic. LA CAUSA E SANTA. Tara. Tara. (ASIDE) He will
+surely remember.
+
+BLOOM: Rosemary also did I understand you to say or willpower over
+parasitic tissues. Then nay no I have an inkling. The touch of a deadhand
+cures. Mnemo?
+
+VIRAG: (EXCITEDLY) I say so. I say so. E'en so. Technic. (HE TAPS HIS
+PARCHMENTROLL ENERGETICALLY) This book tells you how to act with all
+descriptive particulars. Consult index for agitated fear of aconite,
+melancholy of muriatic, priapic pulsatilla. Virag is going to talk about
+amputation. Our old friend caustic. They must be starved. Snip off with
+horsehair under the denned neck. But, to change the venue to the Bulgar
+and the Basque, have you made up your mind whether you like or dislike
+women in male habiliments? (WITH A DRY SNIGGER) You intended to devote an
+entire year to the study of the religious problem and the summer months
+of 1886 to square the circle and win that million. Pomegranate! From the
+sublime to the ridiculous is but a step. Pyjamas, let us say? Or
+stockingette gussetted knickers, closed? Or, put we the case, those
+complicated combinations, camiknickers? (HE CROWS DERISIVELY)
+Keekeereekee!
+
+(BLOOM SURVEYS UNCERTAINLY THE THREE WHORES THEN GAZES AT THE VEILED
+MAUVE LIGHT, HEARING THE EVERFLYING MOTH.)
+
+BLOOM: I wanted then to have now concluded. Nightdress was never. Hence
+this. But tomorrow is a new day will be. Past was is today. What now is
+will then morrow as now was be past yester.
+
+VIRAG: (PROMPTS IN A PIG'S WHISPER) Insects of the day spend their brief
+existence in reiterated coition, lured by the smell of the inferiorly
+pulchritudinous fumale possessing extendified pudendal nerve in dorsal
+region. Pretty Poll! (HIS YELLOW PARROTBEAK GABBLES NASALLY) They had a
+proverb in the Carpathians in or about the year five thousand five
+hundred and fifty of our era. One tablespoonful of honey will attract
+friend Bruin more than half a dozen barrels of first choice malt vinegar.
+Bear's buzz bothers bees. But of this apart. At another time we may
+resume. We were very pleased, we others. (HE COUGHS AND, BENDING HIS
+BROW, RUBS HIS NOSE THOUGHTFULLY WITH A SCOOPING HAND) You shall find
+that these night insects follow the light. An illusion for remember their
+complex unadjustable eye. For all these knotty points see the seventeenth
+book of my Fundamentals of Sexology or the Love Passion which Doctor L.B.
+says is the book sensation of the year. Some, to example, there are again
+whose movements are automatic. Perceive. That is his appropriate sun.
+Nightbird nightsun nighttown. Chase me, Charley! (he blows into Bloom's
+ear) Buzz!
+
+BLOOM: Bee or bluebottle too other day butting shadow on wall dazed self
+then me wandered dazed down shirt good job I ...
+
+VIRAG: (HIS FACE IMPASSIVE, LAUGHS IN A RICH FEMININE KEY) Splendid!
+Spanish fly in his fly or mustard plaster on his dibble. (HE GOBBLES
+GLUTTONOUSLY WITH TURKEY WATTLES) Bubbly jock! Bubbly jock! Where are we?
+Open Sesame! Cometh forth! (HE UNROLLS HIS PARCHMENT RAPIDLY AND READS,
+HIS GLOWWORM'S NOSE RUNNING BACKWARDS OVER THE LETTERS WHICH HE CLAWS)
+Stay, good friend. I bring thee thy answer. Redbank oysters will shortly
+be upon us. I'm the best o'cook. Those succulent bivalves may help us and
+the truffles of Perigord, tubers dislodged through mister omnivorous
+porker, were unsurpassed in cases of nervous debility or viragitis.
+Though they stink yet they sting. (HE WAGS HIS HEAD WITH CACKLING
+RAILLERY) Jocular. With my eyeglass in my ocular. (HE SNEEZES) Amen!
+
+BLOOM: (ABSENTLY) Ocularly woman's bivalve case is worse. Always open
+sesame. The cloven sex. Why they fear vermin, creeping things. Yet Eve
+and the serpent contradicts. Not a historical fact. Obvious analogy to my
+idea. Serpents too are gluttons for woman's milk. Wind their way through
+miles of omnivorous forest to sucksucculent her breast dry. Like those
+bubblyjocular Roman matrons one reads of in Elephantuliasis.
+
+VIRAG: (HIS MOUTH PROJECTED IN HARD WRINKLES, EYES STONILY FORLORNLY
+CLOSED, PSALMS IN OUTLANDISH MONOTONE) That the cows with their those
+distended udders that they have been the the known ...
+
+BLOOM: I am going to scream. I beg your pardon. Ah? So. (HE REPEATS)
+Spontaneously to seek out the saurian's lair in order to entrust their
+teats to his avid suction. Ant milks aphis. (PROFOUNDLY) Instinct rules
+the world. In life. In death.
+
+VIRAG: (HEAD ASKEW, ARCHES HIS BACK AND HUNCHED WINGSHOULDERS, PEERS AT
+THE MOTH OUT OF BLEAR BULGED EYES, POINTS A HORNING CLAW AND CRIES) Who's
+moth moth? Who's dear Gerald? Dear Ger, that you? O dear, he is Gerald.
+O, I much fear he shall be most badly burned. Will some pleashe pershon
+not now impediment so catastrophics mit agitation of firstclass
+tablenumpkin? (HE MEWS) Puss puss puss puss! (HE SIGHS, DRAWS BACK AND
+STARES SIDEWAYS DOWN WITH DROPPING UNDERJAW) Well, well. He doth rest
+anon. (he snaps his jaws suddenly on the air)
+
+THE MOTH:
+
+
+    I'm a tiny tiny thing
+    Ever flying in the spring
+    Round and round a ringaring.
+    Long ago I was a king
+    Now I do this kind of thing
+    On the wing, on the wing!
+    Bing!
+
+
+(HE RUSHES AGAINST THE MAUVE SHADE, FLAPPING NOISILY) Pretty pretty
+pretty pretty pretty pretty petticoats.
+
+(FROM LEFT UPPER ENTRANCE WITH TWO GLIDING STEPS HENRY FLOWER COMES
+FORWARD TO LEFT FRONT CENTRE. HE WEARS A DARK MANTLE AND DROOPING PLUMED
+SOMBRERO. HE CARRIES A SILVERSTRINGED INLAID DULCIMER AND A LONGSTEMMED
+BAMBOO JACOB'S PIPE, ITS CLAY BOWL FASHIONED AS A FEMALE HEAD. HE WEARS
+DARK VELVET HOSE AND SILVERBUCKLED PUMPS. HE HAS THE ROMANTIC SAVIOUR'S
+FACE WITH FLOWING LOCKS, THIN BEARD AND MOUSTACHE. HIS SPINDLELEGS AND
+SPARROW FEET ARE THOSE OF THE TENOR MARIO, PRINCE OF CANDIA. HE SETTLES
+DOWN HIS GOFFERED RUFFS AND MOISTENS HIS LIPS WITH A PASSAGE OF HIS
+AMOROUS TONGUE.)
+
+HENRY: (IN A LOW DULCET VOICE, TOUCHING THE STRINGS OF HIS GUITAR) There
+is a flower that bloometh.
+
+(VIRAG TRUCULENT, HIS JOWL SET, STARES AT THE LAMP. GRAVE BLOOM REGARDS
+ZOE'S NECK. HENRY GALLANT TURNS WITH PENDANT DEWLAP TO THE PIANO.)
+
+STEPHEN: (TO HIMSELF) Play with your eyes shut. Imitate pa. Filling my
+belly with husks of swine. Too much of this. I will arise and go to my.
+Expect this is the. Steve, thou art in a parlous way. Must visit old
+Deasy or telegraph. Our interview of this morning has left on me a deep
+impression. Though our ages. Will write fully tomorrow. I'm partially
+drunk, by the way. (HE TOUCHES THE KEYS AGAIN) Minor chord comes now.
+Yes. Not much however.
+
+(ALMIDANO ARTIFONI HOLDS OUT A BATONROLL OF MUSIC WITH VIGOROUS
+MOUSTACHEWORK.)
+
+ARTIFONI: CI RIFLETTA. LEI ROVINA TUTTO.
+
+FLORRY: Sing us something. Love's old sweet song.
+
+STEPHEN: No voice. I am a most finished artist. Lynch, did I show you the
+letter about the lute?
+
+FLORRY: (SMIRKING) The bird that can sing and won't sing.
+
+(THE SIAMESE TWINS, PHILIP DRUNK AND PHILIP SOBER, TWO OXFORD DONS WITH
+LAWNMOWERS, APPEAR IN THE WINDOW EMBRASURE. BOTH ARE MASKED WITH MATTHEW
+ARNOLD'S FACE.)
+
+PHILIP SOBER: Take a fool's advice. All is not well. Work it out with the
+buttend of a pencil, like a good young idiot. Three pounds twelve you
+got, two notes, one sovereign, two crowns, if youth but knew. Mooney's en
+ville, Mooney's sur mer, the Moira, Larchet's, Holles street hospital,
+Burke's. Eh? I am watching you.
+
+PHILIP DRUNK: (IMPATIENTLY) Ah, bosh, man. Go to hell! I paid my way. If
+I could only find out about octaves. Reduplication of personality. Who
+was it told me his name? (HIS LAWNMOWER BEGINS TO PURR) Aha, yes. ZOE MOU
+SAS AGAPO. Have a notion I was here before. When was it not Atkinson his
+card I have somewhere. Mac Somebody. Unmack I have it. He told me about,
+hold on, Swinburne, was it, no?
+
+FLORRY: And the song?
+
+STEPHEN: Spirit is willing but the flesh is weak.
+
+FLORRY: Are you out of Maynooth? You're like someone I knew once.
+
+STEPHEN: Out of it now. (TO HIMSELF) Clever.
+
+PHILIP DRUNK AND PHILIP SOBER: (THEIR LAWNMOWERS PURRING WITH A RIGADOON
+OF GRASSHALMS) Clever ever. Out of it out of it. By the bye have you the
+book, the thing, the ashplant? Yes, there it, yes. Cleverever outofitnow.
+Keep in condition. Do like us.
+
+ZOE: There was a priest down here two nights ago to do his bit of
+business with his coat buttoned up. You needn't try to hide, I says to
+him. I know you've a Roman collar.
+
+VIRAG: Perfectly logical from his standpoint. Fall of man. (HARSHLY, HIS
+PUPILS WAXING) To hell with the pope! Nothing new under the sun. I am the
+Virag who disclosed the Sex Secrets of Monks and Maidens. Why I left the
+church of Rome. Read the Priest, the Woman and the Confessional. Penrose.
+Flipperty Jippert. (HE WRIGGLES) Woman, undoing with sweet pudor her belt
+of rushrope, offers her allmoist yoni to man's lingam. Short time after
+man presents woman with pieces of jungle meat. Woman shows joy and covers
+herself with featherskins. Man loves her yoni fiercely with big lingam,
+the stiff one. (HE CRIES) COACTUS VOLUI. Then giddy woman will run about.
+Strong man grapses woman's wrist. Woman squeals, bites, spucks. Man, now
+fierce angry, strikes woman's fat yadgana. (HE CHASES HIS TAIL) Piffpaff!
+Popo! (HE STOPS, SNEEZES) Pchp! (HE WORRIES HIS BUTT) Prrrrrht!
+
+LYNCH: I hope you gave the good father a penance. Nine glorias for
+shooting a bishop.
+
+ZOE: (SPOUTS WALRUS SMOKE THROUGH HER NOSTRILS) He couldn't get a
+connection. Only, you know, sensation. A dry rush.
+
+BLOOM: Poor man!
+
+ZOE: (LIGHTLY) Only for what happened him.
+
+BLOOM: How?
+
+VIRAG: (A DIABOLIC RICTUS OF BLACK LUMINOSITY CONTRACTING HIS VISAGE,
+CRANES HIS SCRAGGY NECK FORWARD. HE LIFTS A MOONCALF NOZZLE AND HOWLS.)
+VERFLUCHTE GOIM! He had a father, forty fathers. He never existed. Pig
+God! He had two left feet. He was Judas Iacchia, a Libyan eunuch, the
+pope's bastard. (HE LEANS OUT ON TORTURED FOREPAWS, ELBOWS BENT RIGID,
+HIS EYE AGONISING IN HIS FLAT SKULLNECK AND YELPS OVER THE MUTE WORLD) A
+son of a whore. Apocalypse.
+
+KITTY: And Mary Shortall that was in the lock with the pox she got from
+Jimmy Pidgeon in the blue caps had a child off him that couldn't swallow
+and was smothered with the convulsions in the mattress and we all
+subscribed for the funeral.
+
+PHILIP DRUNK: (GRAVELY) QUI VOUS A MIS DANS CETTE FICHUE POSITION,
+PHILIPPE?
+
+PHILIP SOBER: (GAILY) C'ETAIT LE SACRE PIGEON, PHILIPPE.
+
+(KITTY UNPINS HER HAT AND SETS IT DOWN CALMLY, PATTING HER HENNA HAIR.
+AND A PRETTIER, A DAINTIER HEAD OF WINSOME CURLS WAS NEVER SEEN ON A
+WHORE'S SHOULDERS. LYNCH PUTS ON HER HAT. SHE WHIPS IT OFF.)
+
+LYNCH: (LAUGHS) And to such delights has Metchnikoff inoculated
+anthropoid apes.
+
+FLORRY: (NODS) Locomotor ataxy.
+
+ZOE: (GAILY) O, my dictionary.
+
+LYNCH: Three wise virgins.
+
+VIRAG: (AGUESHAKEN, PROFUSE YELLOW SPAWN FOAMING OVER HIS BONY EPILEPTIC
+LIPS) She sold lovephiltres, whitewax, orangeflower. Panther, the Roman
+centurion, polluted her with his genitories. (HE STICKS OUT A FLICKERING
+PHOSPHORESCENT SCORPION TONGUE, HIS HAND ON HIS FORK) Messiah! He burst
+her tympanum. (WITH GIBBERING BABOON'S CRIES HE JERKS HIS HIPS IN THE
+CYNICAL SPASM) Hik! Hek! Hak! Hok! Huk! Kok! Kuk!
+
+(BEN JUMBO DOLLARD, RUBICUND, MUSCLEBOUND, HAIRYNOSTRILLED, HUGEBEARDED,
+CABBAGEEARED, SHAGGYCHESTED, SHOCKMANED, FAT- PAPPED, STANDS FORTH, HIS
+LOINS AND GENITALS TIGHTENED INTO A PAIR OF BLACK BATHING BAGSLOPS.)
+
+BEN DOLLARD: (NAKKERING CASTANET BONES IN HIS HUGE PADDED PAWS, YODELS
+JOVIALLY IN BASE BARRELTONE) When love absorbs my ardent soul.
+
+(THE VIRGINS NURSE CALLAN AND NURSE QUIGLEY BURST THROUGH THE RINGKEEPERS
+AND THE ROPES AND MOB HIM WITH OPEN ARMS.)
+
+THE VIRGINS: (GUSHINGLY) Big Ben! Ben my Chree!
+
+A VOICE: Hold that fellow with the bad breeches.
+
+BEN DOLLARD: (SMITES HIS THIGH IN ABUNDANT LAUGHTER) Hold him now.
+
+HENRY: (CARESSING ON HIS BREAST A SEVERED FEMALE HEAD, MURMURS) Thine
+heart, mine love. (HE PLUCKS HIS LUTESTRINGS) When first I saw ...
+
+VIRAG: (SLOUGHING HIS SKINS, HIS MULTITUDINOUS PLUMAGE MOULTING) Rats!
+(HE YAWNS, SHOWING A COALBLACK THROAT, AND CLOSES HIS JAWS BY AN UPWARD
+PUSH OF HIS PARCHMENTROLL) After having said which I took my departure.
+Farewell. Fare thee well. DRECK!
+
+(HENRY FLOWER COMBS HIS MOUSTACHE AND BEARD RAPIDLY WITH A POCKETCOMB AND
+GIVES A COW'S LICK TO HIS HAIR. STEERED BY HIS RAPIER, HE GLIDES TO THE
+DOOR, HIS WILD HARP SLUNG BEHIND HIM. VIRAG REACHES THE DOOR IN TWO
+UNGAINLY STILTHOPS, HIS TAIL COCKED, AND DEFTLY CLAPS SIDEWAYS ON THE
+WALL A PUSYELLOW FLYBILL, BUTTING IT WITH HIS HEAD.)
+
+THE FLYBILL: K. II. Post No Bills. Strictly confidential. Dr Hy Franks.
+
+HENRY: All is lost now.
+
+(VIRAG UNSCREWS HIS HEAD IN A TRICE AND HOLDS IT UNDER HIS ARM.)
+
+VIRAG'S HEAD: Quack!
+
+(EXEUNT SEVERALLY.)
+
+STEPHEN: (OVER HIS SHOULDER TO ZOE) You would have preferred the fighting
+parson who founded the protestant error. But beware Antisthenes, the dog
+sage, and the last end of Arius Heresiarchus. The agony in the closet.
+
+LYNCH: All one and the same God to her.
+
+STEPHEN: (DEVOUTLY) And sovereign Lord of all things.
+
+FLORRY: (TO STEPHEN) I'm sure you're a spoiled priest. Or a monk.
+
+LYNCH: He is. A cardinal's son.
+
+STEPHEN: Cardinal sin. Monks of the screw.
+
+(HIS EMINENCE SIMON STEPHEN CARDINAL DEDALUS, PRIMATE OF ALL IRELAND,
+APPEARS IN THE DOORWAY, DRESSED IN RED SOUTANE, SANDALS AND SOCKS. SEVEN
+DWARF SIMIAN ACOLYTES, ALSO IN RED, CARDINAL SINS, UPHOLD HIS TRAIN,
+PEEPING UNDER IT. HE WEARS A BATTERED SILK HAT SIDEWAYS ON HIS HEAD. HIS
+THUMBS ARE STUCK IN HIS ARMPITS AND HIS PALMS OUTSPREAD. ROUND HIS NECK
+HANGS A ROSARY OF CORKS ENDING ON HIS BREAST IN A CORKSCREW CROSS.
+RELEASING HIS THUMBS, HE INVOKES GRACE FROM ON HIGH WITH LARGE WAVE
+GESTURES AND PROCLAIMS WITH BLOATED POMP:)
+
+THE CARDINAL:
+
+
+    Conservio lies captured
+    He lies in the lowest dungeon
+    With manacles and chains around his limbs
+    Weighing upwards of three tons.
+
+
+(HE LOOKS AT ALL FOR A MOMENT, HIS RIGHT EYE CLOSED TIGHT, HIS LEFT CHEEK
+PUFFED OUT. THEN, UNABLE TO REPRESS HIS MERRIMENT, HE ROCKS TO AND FRO,
+ARMS AKIMBO, AND SINGS WITH BROAD ROLLICKING HUMOUR:)
+
+
+    O, the poor little fellow
+    Hihihihihis legs they were yellow
+    He was plump, fat and heavy and brisk as a snake
+    But some bloody savage
+    To graize his white cabbage
+    He murdered Nell Flaherty's duckloving drake.
+
+
+(A MULTITUDE OF MIDGES SWARMS WHITE OVER HIS ROBE. HE SCRATCHES HIMSELF
+WITH CROSSED ARMS AT HIS RIBS, GRIMACING, AND EXCLAIMS:)
+
+I'm suffering the agony of the damned. By the hoky fiddle, thanks be to
+Jesus those funny little chaps are not unanimous. If they were they'd
+walk me off the face of the bloody globe.
+
+(HIS HEAD ASLANT HE BLESSES CURTLY WITH FORE AND MIDDLE FINGERS, IMPARTS
+THE EASTER KISS AND DOUBLESHUFFLES OFF COMICALLY, SWAYING HIS HAT FROM
+SIDE TO SIDE, SHRINKING QUICKLY TO THE SIZE OF HIS TRAINBEARERS. THE
+DWARF ACOLYTES, GIGGLING, PEEPING, NUDGING, OGLING, EASTERKISSING, ZIGZAG
+BEHIND HIM. HIS VOICE IS HEARD MELLOW FROM AFAR, MERCIFUL MALE,
+MELODIOUS:)
+
+
+    Shall carry my heart to thee,
+    Shall carry my heart to thee,
+    And the breath of the balmy night
+    Shall carry my heart to thee!
+
+
+(THE TRICK DOORHANDLE TURNS.)
+
+THE DOORHANDLE: Theeee!
+
+ZOE: The devil is in that door.
+
+(A MALE FORM PASSES DOWN THE CREAKING STAIRCASE AND IS HEARD TAKING THE
+WATERPROOF AND HAT FROM THE RACK. BLOOM STARTS FORWARD INVOLUNTARILY AND,
+HALF CLOSING THE DOOR AS HE PASSES, TAKES THE CHOCOLATE FROM HIS POCKET
+AND OFFERS IT NERVOUSLY TO ZOE.)
+
+ZOE: (SNIFFS HIS HAIR BRISKLY) Hmmm! Thank your mother for the rabbits.
+I'm very fond of what I like.
+
+BLOOM: (HEARING A MALE VOICE IN TALK WITH THE WHORES ON THE DOORSTEP,
+PRICKS HIS EARS) If it were he? After? Or because not? Or the double
+event?
+
+ZOE: (TEARS OPEN THE SILVERFOIL) Fingers was made before forks. (SHE
+BREAKS OFF AND NIBBLES A PIECE GIVES A PIECE TO KITTY RICKETTS AND THEN
+TURNS KITTENISHLY TO LYNCH) No objection to French lozenges? (HE NODS.
+SHE TAUNTS HIM.) Have it now or wait till you get it? (HE OPENS HIS
+MOUTH, HIS HEAD COCKED. SHE WHIRLS THE PRIZE IN LEFT CIRCLE. HIS HEAD
+FOLLOWS. SHE WHIRLS IT BACK IN RIGHT CIRCLE. HE EYES HER.) Catch!
+
+(SHE TOSSES A PIECE. WITH AN ADROIT SNAP HE CATCHES IT AND BITES IT
+THROUGH WITH A CRACK.)
+
+KITTY: (CHEWING) The engineer I was with at the bazaar does have lovely
+ones. Full of the best liqueurs. And the viceroy was there with his lady.
+The gas we had on the Toft's hobbyhorses. I'm giddy still.
+
+BLOOM: (IN SVENGALI'S FUR OVERCOAT, WITH FOLDED ARMS AND NAPOLEONIC
+FORELOCK, FROWNS IN VENTRILOQUIAL EXORCISM WITH PIERCING EAGLE GLANCE
+TOWARDS THE DOOR. THEN RIGID WITH LEFT FOOT ADVANCED HE MAKES A SWIFT
+PASS WITH IMPELLING FINGERS AND GIVES THE SIGN OF PAST MASTER, DRAWING
+HIS RIGHT ARM DOWNWARDS FROM HIS LEFT SHOULDER.) Go, go, go, I conjure
+you, whoever you are!
+
+(A MALE COUGH AND TREAD ARE HEARD PASSING THROUGH THE MIST OUTSIDE.
+BLOOM'S FEATURES RELAX. HE PLACES A HAND IN HIS WAISTCOAT, POSING CALMLY.
+ZOE OFFERS HIM CHOCOLATE.)
+
+BLOOM: (SOLEMNLY) Thanks.
+
+ZOE: Do as you're bid. Here!
+
+(A FIRM HEELCLACKING TREAD IS HEARD ON THE STAIRS.)
+
+BLOOM: (TAKES THE CHOCOLATE) Aphrodisiac? Tansy and pennyroyal. But I
+bought it. Vanilla calms or? Mnemo. Confused light confuses memory. Red
+influences lupus. Colours affect women's characters, any they have. This
+black makes me sad. Eat and be merry for tomorrow. (HE EATS) Influence
+taste too, mauve. But it is so long since I. Seems new. Aphro. That
+priest. Must come. Better late than never. Try truffles at Andrews.
+
+(THE DOOR OPENS. BELLA COHEN, A MASSIVE WHOREMISTRESS, ENTERS. SHE IS
+DRESSED IN A THREEQUARTER IVORY GOWN, FRINGED ROUND THE HEM WITH
+TASSELLED SELVEDGE, AND COOLS HERSELF FLIRTING A BLACK HORN FAN LIKE
+MINNIE HAUCK IN Carmen. ON HER LEFT HAND ARE WEDDING AND KEEPER RINGS.
+HER EYES ARE DEEPLY CARBONED. SHE HAS A SPROUTING MOUSTACHE. HER OLIVE
+FACE IS HEAVY, SLIGHTLY SWEATED AND FULLNOSED WITH ORANGETAINTED
+NOSTRILS. SHE HAS LARGE PENDANT BERYL EARDROPS.)
+
+BELLA: My word! I'm all of a mucksweat.
+
+(SHE GLANCES ROUND HER AT THE COUPLES. THEN HER EYES REST ON BLOOM WITH
+HARD INSISTENCE. HER LARGE FAN WINNOWS WIND TOWARDS HER HEATED FACENECK
+AND EMBONPOINT. HER FALCON EYES GLITTER.)
+
+THE FAN: (FLIRTING QUICKLY, THEN SLOWLY) Married, I see.
+
+BLOOM: Yes. Partly, I have mislaid ...
+
+THE FAN: (HALF OPENING, THEN CLOSING) And the missus is master. Petticoat
+government.
+
+BLOOM: (LOOKS DOWN WITH A SHEEPISH GRIN) That is so.
+
+THE FAN: (FOLDING TOGETHER, RESTS AGAINST HER LEFT EARDROP) Have you
+forgotten me?
+
+BLOOM: Yes. Yo.
+
+THE FAN: (FOLDED AKIMBO AGAINST HER WAIST) Is me her was you dreamed
+before? Was then she him you us since knew? Am all them and the same now
+we?
+
+(BELLA APPROACHES, GENTLY TAPPING WITH THE FAN.)
+
+BLOOM: (WINCING) Powerful being. In my eyes read that slumber which women
+love.
+
+THE FAN: (TAPPING) We have met. You are mine. It is fate.
+
+BLOOM: (COWED) Exuberant female. Enormously I desiderate your domination.
+I am exhausted, abandoned, no more young. I stand, so to speak, with an
+unposted letter bearing the extra regulation fee before the too late box
+of the general postoffice of human life. The door and window open at a
+right angle cause a draught of thirtytwo feet per second according to the
+law of falling bodies. I have felt this instant a twinge of sciatica in
+my left glutear muscle. It runs in our family. Poor dear papa, a widower,
+was a regular barometer from it. He believed in animal heat. A skin of
+tabby lined his winter waistcoat. Near the end, remembering king David
+and the Sunamite, he shared his bed with Athos, faithful after death. A
+dog's spittle as you probably ... (HE WINCES) Ah!
+
+RICHIE GOULDING: (BAGWEIGHTED, PASSES THE DOOR) Mocking is catch. Best
+value in Dub. Fit for a prince's. Liver and kidney.
+
+THE FAN: (TAPPING) All things end. Be mine. Now,
+
+BLOOM: (UNDECIDED) All now? I should not have parted with my talisman.
+Rain, exposure at dewfall on the searocks, a peccadillo at my time of
+life. Every phenomenon has a natural cause.
+
+THE FAN: (POINTS DOWNWARDS SLOWLY) You may.
+
+BLOOM: (LOOKS DOWNWARDS AND PERCEIVES HER UNFASTENED BOOTLACE) We are
+observed.
+
+THE FAN: (POINTS DOWNWARDS QUICKLY) You must.
+
+BLOOM: (WITH DESIRE, WITH RELUCTANCE) I can make a true black knot.
+Learned when I served my time and worked the mail order line for
+Kellett's. Experienced hand. Every knot says a lot. Let me. In courtesy.
+I knelt once before today. Ah!
+
+(BELLA RAISES HER GOWN SLIGHTLY AND, STEADYING HER POSE, LIFTS TO THE
+EDGE OF A CHAIR A PLUMP BUSKINED HOOF AND A FULL PASTERN, SILKSOCKED.
+BLOOM, STIFFLEGGED, AGING, BENDS OVER HER HOOF AND WITH GENTLE FINGERS
+DRAWS OUT AND IN HER LACES.)
+
+BLOOM: (MURMURS LOVINGLY) To be a shoefitter in Manfield's was my love's
+young dream, the darling joys of sweet buttonhooking, to lace up
+crisscrossed to kneelength the dressy kid footwear satinlined, so
+incredibly impossibly small, of Clyde Road ladies. Even their wax model
+Raymonde I visited daily to admire her cobweb hose and stick of rhubarb
+toe, as worn in Paris.
+
+THE HOOF: Smell my hot goathide. Feel my royal weight.
+
+BLOOM: (CROSSLACING) Too tight?
+
+THE HOOF: If you bungle, Handy Andy, I'll kick your football for you.
+
+BLOOM: Not to lace the wrong eyelet as I did the night of the bazaar
+dance. Bad luck. Hook in wrong tache of her ... person you mentioned.
+That night she met ... Now!
+
+(HE KNOTS THE LACE. BELLA PLACES HER FOOT ON THE FLOOR. BLOOM RAISES HIS
+HEAD. HER HEAVY FACE, HER EYES STRIKE HIM IN MIDBROW. HIS EYES GROW DULL,
+DARKER AND POUCHED, HIS NOSE THICKENS.)
+
+BLOOM: (MUMBLES) Awaiting your further orders we remain, gentlemen, ...
+
+BELLO: (WITH A HARD BASILISK STARE, IN A BARITONE VOICE) Hound of
+dishonour!
+
+BLOOM: (INFATUATED) Empress!
+
+BELLO: (HIS HEAVY CHEEKCHOPS SAGGING) Adorer of the adulterous rump!
+
+BLOOM: (PLAINTIVELY) Hugeness!
+
+BELLO: Dungdevourer!
+
+BLOOM: (WITH SINEWS SEMIFLEXED) Magmagnificence!
+
+BELLO: Down! (HE TAPS HER ON THE SHOULDER WITH HIS FAN) Incline feet
+forward! Slide left foot one pace back! You will fall. You are falling.
+On the hands down!
+
+BLOOM: (HER EYES UPTURNED IN THE SIGN OF ADMIRATION, CLOSING, YAPS)
+Truffles!
+
+(WITH A PIERCING EPILEPTIC CRY SHE SINKS ON ALL FOURS, GRUNTING,
+SNUFFLING, ROOTING AT HIS FEET: THEN LIES, SHAMMING DEAD, WITH EYES SHUT
+TIGHT, TREMBLING EYELIDS, BOWED UPON THE GROUND IN THE ATTITUDE OF MOST
+EXCELLENT MASTER.)
+
+BELLO: (WITH BOBBED HAIR, PURPLE GILLS, FIT MOUSTACHE RINGS ROUND HIS
+SHAVEN MOUTH, IN MOUNTAINEER'S PUTTEES, GREEN SILVERBUTTONED COAT, SPORT
+SKIRT AND ALPINE HAT WITH MOORCOCK'S FEATHER, HIS HANDS STUCK DEEP IN HIS
+BREECHES POCKETS, PLACES HIS HEEL ON HER NECK AND GRINDS IT IN)
+Footstool! Feel my entire weight. Bow, bondslave, before the throne of
+your despot's glorious heels so glistening in their proud erectness.
+
+BLOOM: (ENTHRALLED, BLEATS) I promise never to disobey.
+
+BELLO: (LAUGHS LOUDLY) Holy smoke! You little know what's in store for
+you. I'm the Tartar to settle your little lot and break you in! I'll bet
+Kentucky cocktails all round I shame it out of you, old son. Cheek me, I
+dare you. If you do tremble in anticipation of heel discipline to be
+inflicted in gym costume.
+
+(BLOOM CREEPS UNDER THE SOFA AND PEERS OUT THROUGH THE FRINGE.)
+
+ZOE: (WIDENING HER SLIP TO SCREEN HER) She's not here.
+
+BLOOM: (CLOSING HER EYES) She's not here.
+
+FLORRY: (HIDING HER WITH HER GOWN) She didn't mean it, Mr Bello. She'll
+be good, sir.
+
+KITTY: Don't be too hard on her, Mr Bello. Sure you won't, ma'amsir.
+
+BELLO: (COAXINGLY) Come, ducky dear, I want a word with you, darling,
+just to administer correction. Just a little heart to heart talk, sweety.
+(BLOOM PUTS OUT HER TIMID HEAD) There's a good girly now. (BELLO GRABS
+HER HAIR VIOLENTLY AND DRAGS HER FORWARD) I only want to correct you for
+your own good on a soft safe spot. How's that tender behind? O, ever so
+gently, pet. Begin to get ready.
+
+BLOOM: (FAINTING) Don't tear my ...
+
+BELLO: (SAVAGELY) The nosering, the pliers, the bastinado, the hanging
+hook, the knout I'll make you kiss while the flutes play like the Nubian
+slave of old. You're in for it this time! I'll make you remember me for
+the balance of your natural life. (HIS FOREHEAD VEINS SWOLLEN, HIS FACE
+CONGESTED) I shall sit on your ottoman saddleback every morning after my
+thumping good breakfast of Matterson's fat hamrashers and a bottle of
+Guinness's porter. (HE BELCHES) And suck my thumping good Stock Exchange
+cigar while I read the LICENSED VICTUALLER'S GAZETTE. Very possibly I
+shall have you slaughtered and skewered in my stables and enjoy a slice
+of you with crisp crackling from the baking tin basted and baked like
+sucking pig with rice and lemon or currant sauce. It will hurt you. (HE
+TWISTS HER ARM. BLOOM SQUEALS, TURNING TURTLE.)
+
+BLOOM: Don't be cruel, nurse! Don't!
+
+BELLO: (TWISTING) Another!
+
+BLOOM: (SCREAMS) O, it's hell itself! Every nerve in my body aches like
+mad!
+
+BELLO: (SHOUTS) Good, by the rumping jumping general! That's the best bit
+of news I heard these six weeks. Here, don't keep me waiting, damn you!
+(HE SLAPS HER FACE)
+
+BLOOM: (WHIMPERS) You're after hitting me. I'll tell ...
+
+BELLO: Hold him down, girls, till I squat on him.
+
+ZOE: Yes. Walk on him! I will.
+
+FLORRY: I will. Don't be greedy.
+
+KITTY: No, me. Lend him to me.
+
+(THE BROTHEL COOK, MRS KEOGH, WRINKLED, GREYBEARDED, IN A GREASY BIB,
+MEN'S GREY AND GREEN SOCKS AND BROGUES, FLOURSMEARED, A ROLLINGPIN STUCK
+WITH RAW PASTRY IN HER BARE RED ARM AND HAND, APPEARS AT THE DOOR.)
+
+MRS KEOGH: (FEROCIOUSLY) Can I help? (THEY HOLD AND PINION BLOOM.)
+
+BELLO: (SQUATS WITH A GRUNT ON BLOOM'S UPTURNED FACE, PUFFING CIGARSMOKE,
+NURSING A FAT LEG) I see Keating Clay is elected vicechairman of the
+Richmond asylum and by the by Guinness's preference shares are at sixteen
+three quaffers. Curse me for a fool that didn't buy that lot Craig and
+Gardner told me about. Just my infernal luck, curse it. And that
+Goddamned outsider THROWAWAY at twenty to one. (HE QUENCHES HIS CIGAR
+ANGRILY ON BLOOM'S EAR) Where's that Goddamned cursed ashtray?
+
+BLOOM: (GOADED, BUTTOCKSMOTHERED) O! O! Monsters! Cruel one!
+
+BELLO: Ask for that every ten minutes. Beg. Pray for it as you never
+prayed before. (HE THRUSTS OUT A FIGGED FIST AND FOUL CIGAR) Here, kiss
+that. Both. Kiss. (HE THROWS A LEG ASTRIDE AND, PRESSING WITH HORSEMAN'S
+KNEES, CALLS IN A HARD VOICE) Gee up! A cockhorse to Banbury cross. I'll
+ride him for the Eclipse stakes. (HE BENDS SIDEWAYS AND SQUEEZES HIS
+MOUNT'S TESTICLES ROUGHLY, SHOUTING) Ho! Off we pop! I'll nurse you in
+proper fashion. (HE HORSERIDES COCKHORSE, LEAPING IN THE SADDLE) The lady
+goes a pace a pace and the coachman goes a trot a trot and the gentleman
+goes a gallop a gallop a gallop a gallop.
+
+FLORRY: (PULLS AT BELLO) Let me on him now. You had enough. I asked
+before you.
+
+ZOE: (PULLING AT FLORRY) Me. Me. Are you not finished with him yet,
+suckeress?
+
+BLOOM: (STIFLING) Can't.
+
+BELLO: Well, I'm not. Wait. (HE HOLDS IN HIS BREATH) Curse it. Here. This
+bung's about burst. (HE UNCORKS HIMSELF BEHIND: THEN, CONTORTING HIS
+FEATURES, FARTS LOUDLY) Take that! (HE RECORKS HIMSELF) Yes, by Jingo,
+sixteen three quarters.
+
+BLOOM: (A SWEAT BREAKING OUT OVER HIM) Not man. (HE SNIFFS) Woman.
+
+BELLO: (STANDS UP) No more blow hot and cold. What you longed for has
+come to pass. Henceforth you are unmanned and mine in earnest, a thing
+under the yoke. Now for your punishment frock. You will shed your male
+garments, you understand, Ruby Cohen? and don the shot silk luxuriously
+rustling over head and shoulders. And quickly too!
+
+BLOOM: (SHRINKS) Silk, mistress said! O crinkly! scrapy! Must I tiptouch
+it with my nails?
+
+BELLO: (POINTS TO HIS WHORES) As they are now so will you be, wigged,
+singed, perfumesprayed, ricepowdered, with smoothshaven armpits. Tape
+measurements will be taken next your skin. You will be laced with cruel
+force into vicelike corsets of soft dove coutille with whalebone busk to
+the diamondtrimmed pelvis, the absolute outside edge, while your figure,
+plumper than when at large, will be restrained in nettight frocks, pretty
+two ounce petticoats and fringes and things stamped, of course, with my
+houseflag, creations of lovely lingerie for Alice and nice scent for
+Alice. Alice will feel the pullpull. Martha and Mary will be a little
+chilly at first in such delicate thighcasing but the frilly flimsiness of
+lace round your bare knees will remind you ...
+
+BLOOM: (A CHARMING SOUBRETTE WITH DAUBY CHEEKS, MUSTARD HAIR AND LARGE
+MALE HANDS AND NOSE, LEERING MOUTH) I tried her things on only twice, a
+small prank, in Holles street. When we were hard up I washed them to save
+the laundry bill. My own shirts I turned. It was the purest thrift.
+
+BELLO: (JEERS) Little jobs that make mother pleased, eh? And showed off
+coquettishly in your domino at the mirror behind closedrawn blinds your
+unskirted thighs and hegoat's udders in various poses of surrender, eh?
+Ho! ho! I have to laugh! That secondhand black operatop shift and short
+trunkleg naughties all split up the stitches at her last rape that Mrs
+Miriam Dandrade sold you from the Shelbourne hotel, eh?
+
+BLOOM: Miriam. Black. Demimondaine.
+
+BELLO: (GUFFAWS) Christ Almighty it's too tickling, this! You were a
+nicelooking Miriam when you clipped off your backgate hairs and lay
+swooning in the thing across the bed as Mrs Dandrade about to be violated
+by lieutenant Smythe-Smythe, Mr Philip Augustus Blockwell M. P., signor
+Laci Daremo, the robust tenor, blueeyed Bert, the liftboy, Henri Fleury
+of Gordon Bennett fame, Sheridan, the quadroon Croesus, the varsity
+wetbob eight from old Trinity, Ponto, her splendid Newfoundland and Bobs,
+dowager duchess of Manorhamilton. (HE GUFFAWS AGAIN) Christ, wouldn't it
+make a Siamese cat laugh?
+
+BLOOM: (HER HANDS AND FEATURES WORKING) It was Gerald converted me to be
+a true corsetlover when I was female impersonator in the High School play
+VICE VERSA. It was dear Gerald. He got that kink, fascinated by sister's
+stays. Now dearest Gerald uses pinky greasepaint and gilds his eyelids.
+Cult of the beautiful.
+
+BELLO: (WITH WICKED GLEE) Beautiful! Give us a breather! When you took
+your seat with womanish care, lifting your billowy flounces, on the
+smoothworn throne.
+
+BLOOM: Science. To compare the various joys we each enjoy. (EARNESTLY)
+And really it's better the position ... because often I used to wet ...
+
+BELLO: (STERNLY) No insubordination! The sawdust is there in the corner
+for you. I gave you strict instructions, didn't I? Do it standing, sir!
+I'll teach you to behave like a jinkleman! If I catch a trace on your
+swaddles. Aha! By the ass of the Dorans you'll find I'm a martinet. The
+sins of your past are rising against you. Many. Hundreds.
+
+THE SINS OF THE PAST: (IN A MEDLEY OF VOICES) He went through a form of
+clandestine marriage with at least one woman in the shadow of the Black
+church. Unspeakable messages he telephoned mentally to Miss Dunn at an
+address in D'Olier street while he presented himself indecently to the
+instrument in the callbox. By word and deed he frankly encouraged a
+nocturnal strumpet to deposit fecal and other matter in an unsanitary
+outhouse attached to empty premises. In five public conveniences he wrote
+pencilled messages offering his nuptial partner to all strongmembered
+males. And by the offensively smelling vitriol works did he not pass
+night after night by loving courting couples to see if and what and how
+much he could see? Did he not lie in bed, the gross boar, gloating over a
+nauseous fragment of wellused toilet paper presented to him by a nasty
+harlot, stimulated by gingerbread and a postal order?
+
+BELLO: (WHISTLES LOUDLY) Say! What was the most revolting piece of
+obscenity in all your career of crime? Go the whole hog. Puke it out! Be
+candid for once.
+
+(MUTE INHUMAN FACES THRONG FORWARD, LEERING, VANISHING, GIBBERING,
+BOOLOOHOOM. POLDY KOCK, BOOTLACES A PENNY CASSIDY'S HAG, BLIND STRIPLING,
+LARRY RHINOCEROS, THE GIRL, THE WOMAN, THE WHORE, THE OTHER, THE ...)
+
+BLOOM: Don't ask me! Our mutual faith. Pleasants street. I only thought
+the half of the ... I swear on my sacred oath ...
+
+BELLO: (PEREMPTORILY) Answer. Repugnant wretch! I insist on knowing. Tell
+me something to amuse me, smut or a bloody good ghoststory or a line of
+poetry, quick, quick, quick! Where? How? What time? With how many? I give
+you just three seconds. One! Two! Thr ...
+
+BLOOM: (DOCILE, GURGLES) I rererepugnosed in rerererepugnant
+
+BELLO: (IMPERIOUSLY) O, get out, you skunk! Hold your tongue! Speak when
+you're spoken to.
+
+BLOOM: (BOWS) Master! Mistress! Mantamer!
+
+(HE LIFTS HIS ARMS. HIS BANGLE BRACELETS FILL.)
+
+BELLO: (SATIRICALLY) By day you will souse and bat our smelling
+underclothes also when we ladies are unwell, and swab out our latrines
+with dress pinned up and a dishclout tied to your tail. Won't that be
+nice? (HE PLACES A RUBY RING ON HER FINGER) And there now! With this ring
+I thee own. Say, thank you, mistress.
+
+BLOOM: Thank you, mistress.
+
+BELLO: You will make the beds, get my tub ready, empty the pisspots in
+the different rooms, including old Mrs Keogh's the cook's, a sandy one.
+Ay, and rinse the seven of them well, mind, or lap it up like champagne.
+Drink me piping hot. Hop! You will dance attendance or I'll lecture you
+on your misdeeds, Miss Ruby, and spank your bare bot right well, miss,
+with the hairbrush. You'll be taught the error of your ways. At night
+your wellcreamed braceletted hands will wear fortythreebutton gloves
+newpowdered with talc and having delicately scented fingertips. For such
+favours knights of old laid down their lives. (HE CHUCKLES) My boys will
+be no end charmed to see you so ladylike, the colonel, above all, when
+they come here the night before the wedding to fondle my new attraction
+in gilded heels. First I'll have a go at you myself. A man I know on the
+turf named Charles Alberta Marsh (I was in bed with him just now and
+another gentleman out of the Hanaper and Petty Bag office) is on the
+lookout for a maid of all work at a short knock. Swell the bust. Smile.
+Droop shoulders. What offers? (HE POINTS) For that lot. Trained by owner
+to fetch and carry, basket in mouth. (HE BARES HIS ARM AND PLUNGES IT
+ELBOWDEEP IN BLOOM'S VULVA) There's fine depth for you! What, boys? That
+give you a hardon? (HE SHOVES HIS ARM IN A BIDDER'S FACE) Here wet the
+deck and wipe it round!
+
+A BIDDER: A florin.
+
+(DILLON'S LACQUEY RINGS HIS HANDBELL.)
+
+THE LACQUEY: Barang!
+
+A VOICE: One and eightpence too much.
+
+CHARLES ALBERTA MARSH: Must be virgin. Good breath. Clean.
+
+BELLO: (GIVES A RAP WITH HIS GAVEL) Two bar. Rockbottom figure and cheap
+at the price. Fourteen hands high. Touch and examine his points. Handle
+him. This downy skin, these soft muscles, this tender flesh. If I had
+only my gold piercer here! And quite easy to milk. Three newlaid gallons
+a day. A pure stockgetter, due to lay within the hour. His sire's milk
+record was a thousand gallons of whole milk in forty weeks. Whoa my
+jewel! Beg up! Whoa! (HE BRANDS HIS INITIAL C ON BLOOM'S CROUP) So!
+Warranted Cohen! What advance on two bob, gentlemen?
+
+A DARKVISAGED MAN: (IN DISGUISED ACCENT) Hoondert punt sterlink.
+
+VOICES: (SUBDUED) For the Caliph. Haroun Al Raschid.
+
+BELLO: (GAILY) Right. Let them all come. The scanty, daringly short
+skirt, riding up at the knee to show a peep of white pantalette, is a
+potent weapon and transparent stockings, emeraldgartered, with the long
+straight seam trailing up beyond the knee, appeal to the better instincts
+of the BLASE man about town. Learn the smooth mincing walk on four inch
+Louis Quinze heels, the Grecian bend with provoking croup, the thighs
+fluescent, knees modestly kissing. Bring all your powers of fascination
+to bear on them. Pander to their Gomorrahan vices.
+
+BLOOM: (BENDS HIS BLUSHING FACE INTO HIS ARMPIT AND SIMPERS WITH
+FOREFINGER IN MOUTH) O, I know what you're hinting at now!
+
+BELLO: What else are you good for, an impotent thing like you? (HE STOOPS
+AND, PEERING, POKES WITH HIS FAN RUDELY UNDER THE FAT SUET FOLDS OF
+BLOOM'S HAUNCHES) Up! Up! Manx cat! What have we here? Where's your curly
+teapot gone to or who docked it on you, cockyolly? Sing, birdy, sing.
+It's as limp as a boy of six's doing his pooly behind a cart. Buy a
+bucket or sell your pump. (LOUDLY) Can you do a man's job?
+
+BLOOM: Eccles street ...
+
+BELLO: (SARCASTICALLY) I wouldn't hurt your feelings for the world but
+there's a man of brawn in possession there. The tables are turned, my gay
+young fellow! He is something like a fullgrown outdoor man. Well for you,
+you muff, if you had that weapon with knobs and lumps and warts all over
+it. He shot his bolt, I can tell you! Foot to foot, knee to knee, belly
+to belly, bubs to breast! He's no eunuch. A shock of red hair he has
+sticking out of him behind like a furzebush! Wait for nine months, my
+lad! Holy ginger, it's kicking and coughing up and down in her guts
+already! That makes you wild, don't it? Touches the spot? (HE SPITS IN
+CONTEMPT) Spittoon!
+
+BLOOM: I was indecently treated, I ... Inform the police. Hundred pounds.
+Unmentionable. I ...
+
+BELLO: Would if you could, lame duck. A downpour we want not your
+drizzle.
+
+BLOOM: To drive me mad! Moll! I forgot! Forgive! Moll ... We ... Still
+...
+
+BELLO: (RUTHLESSLY) No, Leopold Bloom, all is changed by woman's will
+since you slept horizontal in Sleepy Hollow your night of twenty years.
+Return and see.
+
+(OLD SLEEPY HOLLOW CALLS OVER THE WOLD.)
+
+SLEEPY HOLLOW: Rip van Wink! Rip van Winkle!
+
+BLOOM: (IN TATTERED MOCASSINS WITH A RUSTY FOWLINGPIECE, TIPTOEING,
+FINGERTIPPING, HIS HAGGARD BONY BEARDED FACE PEERING THROUGH THE DIAMOND
+PANES, CRIES OUT) I see her! It's she! The first night at Mat Dillon's!
+But that dress, the green! And her hair is dyed gold and he ...
+
+BELLO: (LAUGHS MOCKINGLY) That's your daughter, you owl, with a Mullingar
+student.
+
+(MILLY BLOOM, FAIRHAIRED, GREENVESTED, SLIMSANDALLED, HER BLUE SCARF IN
+THE SEAWIND SIMPLY SWIRLING, BREAKS FROM THE ARMS OF HER LOVER AND CALLS,
+HER YOUNG EYES WONDERWIDE.)
+
+MILLY: My! It's Papli! But, O Papli, how old you've grown!
+
+BELLO: Changed, eh? Our whatnot, our writingtable where we never wrote,
+aunt Hegarty's armchair, our classic reprints of old masters. A man and
+his menfriends are living there in clover. The CUCKOOS' REST! Why not?
+How many women had you, eh, following them up dark streets, flatfoot,
+exciting them by your smothered grunts, what, you male prostitute?
+Blameless dames with parcels of groceries. Turn about. Sauce for the
+goose, my gander O.
+
+BLOOM: They ... I ...
+
+BELLO: (CUTTINGLY) Their heelmarks will stamp the Brusselette carpet you
+bought at Wren's auction. In their horseplay with Moll the romp to find
+the buck flea in her breeches they will deface the little statue you
+carried home in the rain for art for art' sake. They will violate the
+secrets of your bottom drawer. Pages will be torn from your handbook of
+astronomy to make them pipespills. And they will spit in your ten
+shilling brass fender from Hampton Leedom's.
+
+BLOOM: Ten and six. The act of low scoundrels. Let me go. I will return.
+I will prove ...
+
+A VOICE: Swear!
+
+(BLOOM CLENCHES HIS FISTS AND CRAWLS FORWARD, A BOWIEKNIFE BETWEEN HIS
+TEETH.)
+
+BELLO: As a paying guest or a kept man? Too late. You have made your
+secondbest bed and others must lie in it. Your epitaph is written. You
+are down and out and don't you forget it, old bean.
+
+BLOOM: Justice! All Ireland versus one! Has nobody ...? (HE BITES HIS
+THUMB)
+
+BELLO: Die and be damned to you if you have any sense of decency or grace
+about you. I can give you a rare old wine that'll send you skipping to
+hell and back. Sign a will and leave us any coin you have! If you have
+none see you damn well get it, steal it, rob it! We'll bury you in our
+shrubbery jakes where you'll be dead and dirty with old Cuck Cohen, my
+stepnephew I married, the bloody old gouty procurator and sodomite with a
+crick in his neck, and my other ten or eleven husbands, whatever the
+buggers' names were, suffocated in the one cesspool. (HE EXPLODES IN A
+LOUD PHLEGMY LAUGH) We'll manure you, Mr Flower! (HE PIPES SCOFFINGLY)
+Byby, Poldy! Byby, Papli!
+
+BLOOM: (CLASPS HIS HEAD) My willpower! Memory! I have sinned! I have suff
+...
+
+(HE WEEPS TEARLESSLY)
+
+BELLO: (SNEERS) Crybabby! Crocodile tears!
+
+(BLOOM, BROKEN, CLOSELY VEILED FOR THE SACRIFICE, SOBS, HIS FACE TO THE
+EARTH. THE PASSING BELL IS HEARD. DARKSHAWLED FIGURES OF THE CIRCUMCISED,
+IN SACKCLOTH AND ASHES, STAND BY THE WAILING WALL. M. SHULOMOWITZ, JOSEPH
+GOLDWATER, MOSES HERZOG, HARRIS ROSENBERG, M. MOISEL, J. CITRON, MINNIE
+WATCHMAN, P. MASTIANSKY, THE REVEREND LEOPOLD ABRAMOVITZ, CHAZEN. WITH
+SWAYING ARMS THEY WAIL IN PNEUMA OVER THE RECREANT BLOOM.)
+
+THE CIRCUMCISED: (IN DARK GUTTURAL CHANT AS THEY CAST DEAD SEA FRUIT UPON
+HIM, NO FLOWERS) SHEMA ISRAEL ADONAI ELOHENU ADONAI ECHAD.
+
+VOICES: (SIGHING) So he's gone. Ah yes. Yes, indeed. Bloom? Never heard
+of him. No? Queer kind of chap. There's the widow. That so? Ah, yes.
+
+(FROM THE SUTTEE PYRE THE FLAME OF GUM CAMPHIRE ASCENDS. THE PALL OF
+INCENSE SMOKE SCREENS AND DISPERSES. OUT OF HER OAKFRAME A NYMPH WITH
+HAIR UNBOUND, LIGHTLY CLAD IN TEABROWN ARTCOLOURS, DESCENDS FROM HER
+GROTTO AND PASSING UNDER INTERLACING YEWS STANDS OVER BLOOM.)
+
+THE YEWS: (THEIR LEAVES WHISPERING) Sister. Our sister. Ssh!
+
+THE NYMPH: (SOFTLY) Mortal! (KINDLY) Nay, dost not weepest!
+
+BLOOM: (CRAWLS JELLILY FORWARD UNDER THE BOUGHS, STREAKED BY SUNLIGHT,
+WITH DIGNITY) This position. I felt it was expected of me. Force of
+habit.
+
+THE NYMPH: Mortal! You found me in evil company, highkickers, coster
+picnicmakers, pugilists, popular generals, immoral panto boys in
+fleshtights and the nifty shimmy dancers, La Aurora and Karini, musical
+act, the hit of the century. I was hidden in cheap pink paper that smelt
+of rock oil. I was surrounded by the stale smut of clubmen, stories to
+disturb callow youth, ads for transparencies, truedup dice and bustpads,
+proprietary articles and why wear a truss with testimonial from ruptured
+gentleman. Useful hints to the married.
+
+BLOOM: (LIFTS A TURTLE HEAD TOWARDS HER LAP) We have met before. On
+another star.
+
+THE NYMPH: (SADLY) Rubber goods. Neverrip brand as supplied to the
+aristocracy. Corsets for men. I cure fits or money refunded. Unsolicited
+testimonials for Professor Waldmann's wonderful chest exuber. My bust
+developed four inches in three weeks, reports Mrs Gus Rublin with photo.
+
+BLOOM: You mean PHOTO BITS?
+
+THE NYMPH: I do. You bore me away, framed me in oak and tinsel, set me
+above your marriage couch. Unseen, one summer eve, you kissed me in four
+places. And with loving pencil you shaded my eyes, my bosom and my shame.
+
+BLOOM: (HUMBLY KISSES HER LONG HAIR) Your classic curves, beautiful
+immortal, I was glad to look on you, to praise you, a thing of beauty,
+almost to pray.
+
+THE NYMPH: During dark nights I heard your praise.
+
+BLOOM: (QUICKLY) Yes, yes. You mean that I ... Sleep reveals the worst
+side of everyone, children perhaps excepted. I know I fell out of bed or
+rather was pushed. Steel wine is said to cure snoring. For the rest there
+is that English invention, pamphlet of which I received some days ago,
+incorrectly addressed. It claims to afford a noiseless, inoffensive vent.
+(HE SIGHS) 'Twas ever thus. Frailty, thy name is marriage.
+
+THE NYMPH: (HER FINGERS IN HER EARS) And words. They are not in my
+dictionary.
+
+BLOOM: You understood them?
+
+THE YEWS: Ssh!
+
+THE NYMPH: (COVERS HER FACE WITH HER HANDS) What have I not seen in that
+chamber? What must my eyes look down on?
+
+BLOOM: (APOLOGETICALLY) I know. Soiled personal linen, wrong side up with
+care. The quoits are loose. From Gibraltar by long sea long ago.
+
+THE NYMPH: (BENDS HER HEAD) Worse, worse!
+
+BLOOM: (REFLECTS PRECAUTIOUSLY) That antiquated commode. It wasn't her
+weight. She scaled just eleven stone nine. She put on nine pounds after
+weaning. It was a crack and want of glue. Eh? And that absurd orangekeyed
+utensil which has only one handle.
+
+(THE SOUND OF A WATERFALL IS HEARD IN BRIGHT CASCADE.)
+
+THE WATERFALL:
+
+
+    Poulaphouca Poulaphouca
+    Poulaphouca Poulaphouca.
+
+
+THE YEWS: (MINGLING THEIR BOUGHS) Listen. Whisper. She is right, our
+sister. We grew by Poulaphouca waterfall. We gave shade on languorous
+summer days.
+
+JOHN WYSE NOLAN: (IN THE BACKGROUND, IN IRISH NATIONAL FORESTER'S
+UNIFORM, DOFFS HIS PLUMED HAT) Prosper! Give shade on languorous days,
+trees of Ireland!
+
+THE YEWS: (MURMURING) Who came to Poulaphouca with the High School
+excursion? Who left his nutquesting classmates to seek our shade?
+
+BLOOM: (SCARED) High School of Poula? Mnemo? Not in full possession of
+faculties. Concussion. Run over by tram.
+
+THE ECHO: Sham!
+
+BLOOM: (PIGEONBREASTED, BOTTLESHOULDERED, PADDED, IN NONDESCRIPT JUVENILE
+GREY AND BLACK STRIPED SUIT, TOO SMALL FOR HIM, WHITE TENNIS SHOES,
+BORDERED STOCKINGS WITH TURNOVER TOPS AND A RED SCHOOLCAP WITH BADGE) I
+was in my teens, a growing boy. A little then sufficed, a jolting car,
+the mingling odours of the ladies' cloakroom and lavatory, the throng
+penned tight on the old Royal stairs (for they love crushes, instinct of
+the herd, and the dark sexsmelling theatre unbridles vice), even a
+pricelist of their hosiery. And then the heat. There were sunspots that
+summer. End of school. And tipsycake. Halcyon days.
+
+(HALCYON DAYS, HIGH SCHOOL BOYS IN BLUE AND WHITE FOOTBALL JERSEYS AND
+SHORTS, MASTER DONALD TURNBULL, MASTER ABRAHAM CHATTERTON, MASTER OWEN
+GOLDBERG, MASTER JACK MEREDITH, MASTER PERCY APJOHN, STAND IN A CLEARING
+OF THE TREES AND SHOUT TO MASTER LEOPOLD BLOOM.)
+
+THE HALCYON DAYS: Mackerel! Live us again. Hurray! (THEY CHEER)
+
+BLOOM: (HOBBLEDEHOY, WARMGLOVED, MAMMAMUFFLERED, STARRED WITH SPENT
+SNOWBALLS, STRUGGLES TO RISE) Again! I feel sixteen! What a lark! Let's
+ring all the bells in Montague street. (HE CHEERS FEEBLY) Hurray for the
+High School!
+
+THE ECHO: Fool!
+
+THE YEWS: (RUSTLING) She is right, our sister. Whisper. (WHISPERED KISSES
+ARE HEARD IN ALL THE WOOD. FACES OF HAMADRYADS PEEP OUT FROM THE BOLES
+AND AMONG THE LEAVES AND BREAK, BLOSSOMING INTO BLOOM.) Who profaned our
+silent shade?
+
+THE NYMPH: (COYLY, THROUGH PARTING FINGERS) There? In the open air?
+
+THE YEWS: (SWEEPING DOWNWARD) Sister, yes. And on our virgin sward.
+
+THE WATERFALL:
+
+
+    Poulaphouca Poulaphouca
+    Phoucaphouca Phoucaphouca.
+
+
+
+THE NYMPH: (WITH WIDE FINGERS) O, infamy!
+
+BLOOM: I was precocious. Youth. The fauna. I sacrificed to the god of the
+forest. The flowers that bloom in the spring. It was pairing time.
+Capillary attraction is a natural phenomenon. Lotty Clarke, flaxenhaired,
+I saw at her night toilette through illclosed curtains with poor papa's
+operaglasses: The wanton ate grass wildly. She rolled downhill at Rialto
+bridge to tempt me with her flow of animal spirits. She climbed their
+crooked tree and I ... A saint couldn't resist it. The demon possessed
+me. Besides, who saw?
+
+(STAGGERING BOB, A WHITEPOLLED CALF, THRUSTS A RUMINATING HEAD WITH HUMID
+NOSTRILS THROUGH THE FOLIAGE.)
+
+STAGGERING BOB: (LARGE TEARDROPS ROLLING FROM HIS PROMINENT EYES,
+SNIVELS) Me. Me see.
+
+BLOOM: Simply satisfying a need I ... (WITH PATHOS) No girl would when I
+went girling. Too ugly. They wouldn't play ...
+
+(HIGH ON BEN HOWTH THROUGH RHODODENDRONS A NANNYGOAT PASSES,
+PLUMPUDDERED, BUTTYTAILED, DROPPING CURRANTS.)
+
+THE NANNYGOAT: (BLEATS) Megeggaggegg! Nannannanny!
+
+BLOOM: (HATLESS, FLUSHED, COVERED WITH BURRS OF THISTLEDOWN AND
+GORSESPINE) Regularly engaged. Circumstances alter cases. (HE GAZES
+INTENTLY DOWNWARDS ON THE WATER) Thirtytwo head over heels per second.
+Press nightmare. Giddy Elijah. Fall from cliff. Sad end of government
+printer's clerk. (THROUGH SILVERSILENT SUMMER AIR THE DUMMY OF BLOOM,
+ROLLED IN A MUMMY, ROLLS ROTEATINGLY FROM THE LION'S HEAD CLIFF INTO THE
+PURPLE WAITING WATERS.)
+
+THE DUMMYMUMMY: Bbbbblllllblblblblobschbg!
+
+(FAR OUT IN THE BAY BETWEEN BAILEY AND KISH LIGHTS THE Erin's King SAILS,
+SENDING A BROADENING PLUME OF COALSMOKE FROM HER FUNNEL TOWARDS THE
+LAND.)
+
+COUNCILLOR NANNETII: (ALONE ON DECK, IN DARK ALPACA, YELLOWKITEFACED, HIS
+HAND IN HIS WAISTCOAT OPENING, DECLAIMS) When my country takes her place
+among the nations of the earth, then, and not till then, let my epitaph
+be written. I have ...
+
+BLOOM: Done. Prff!
+
+THE NYMPH: (LOFTILY) We immortals, as you saw today, have not such a
+place and no hair there either. We are stonecold and pure. We eat
+electric light. (SHE ARCHES HER BODY IN LASCIVIOUS CRISPATION, PLACING
+HER FOREFINGER IN HER MOUTH) Spoke to me. Heard from behind. How then
+could you ...?
+
+BLOOM: (PAWING THE HEATHER ABJECTLY) O, I have been a perfect pig. Enemas
+too I have administered. One third of a pint of quassia to which add a
+tablespoonful of rocksalt. Up the fundament. With Hamilton Long's
+syringe, the ladies' friend.
+
+THE NYMPH: In my presence. The powderpuff. (SHE BLUSHES AND MAKES A KNEE)
+And the rest!
+
+BLOOM: (DEJECTED) Yes. PECCAVI! I have paid homage on that living altar
+where the back changes name. (WITH SUDDEN FERVOUR) For why should the
+dainty scented jewelled hand, the hand that rules ...?
+
+(FIGURES WIND SERPENTING IN SLOW WOODLAND PATTERN AROUND THE TREESTEMS,
+COOEEING)
+
+THE VOICE OF KITTY: (IN THE THICKET) Show us one of them cushions.
+
+THE VOICE OF FLORRY: Here.
+
+(A GROUSE WINGS CLUMSILY THROUGH THE UNDERWOOD.)
+
+THE VOICE OF LYNCH: (IN THE THICKET) Whew! Piping hot!
+
+THE VOICE OF ZOE: (FROM THE THICKET) Came from a hot place.
+
+THE VOICE OF VIRAG: (A BIRDCHIEF, BLUESTREAKED AND FEATHERED IN WAR
+PANOPLY WITH HIS ASSEGAI, STRIDING THROUGH A CRACKLING CANEBRAKE OVER
+BEECHMAST AND ACORNS) Hot! Hot! Ware Sitting Bull!
+
+BLOOM: It overpowers me. The warm impress of her warm form. Even to sit
+where a woman has sat, especially with divaricated thighs, as though to
+grant the last favours, most especially with previously well uplifted
+white sateen coatpans. So womanly, full. It fills me full.
+
+THE WATERFALL:
+
+
+    Phillaphulla Poulaphouca
+    Poulaphouca Poulaphouca.
+
+
+THE YEWS: Ssh! Sister, speak!
+
+THE NYMPH: (EYELESS, IN NUN'S WHITE HABIT, COIF AND HUGEWINGED WIMPLE,
+SOFTLY, WITH REMOTE EYES) Tranquilla convent. Sister Agatha. Mount
+Carmel. The apparitions of Knock and Lourdes. No more desire. (SHE
+RECLINES HER HEAD, SIGHING) Only the ethereal. Where dreamy creamy gull
+waves o'er the waters dull.
+
+(BLOOM HALF RISES. HIS BACK TROUSERBUTTON SNAPS.)
+
+THE BUTTON: Bip!
+
+(TWO SLUTS OF THE COOMBE DANCE RAINILY BY, SHAWLED, YELLING FLATLY.)
+
+THE SLUTS:
+
+
+    O, Leopold lost the pin of his drawers
+    He didn't know what to do,
+    To keep it up,
+    To keep it up.
+
+
+BLOOM: (COLDLY) You have broken the spell. The last straw. If there were
+only ethereal where would you all be, postulants and novices? Shy but
+willing like an ass pissing.
+
+THE YEWS: (THEIR SILVERFOIL OF LEAVES PRECIPITATING, THEIR SKINNY ARMS
+AGING AND SWAYING) Deciduously!
+
+THE NYMPH: (her features hardening, gropes in the folds of her habit)
+Sacrilege! To attempt my virtue! (A LARGE MOIST STAIN APPEARS ON HER
+ROBE) Sully my innocence! You are not fit to touch the garment of a pure
+woman. (SHE CLUTCHES AGAIN IN HER ROBE) Wait. Satan, you'll sing no more
+lovesongs. Amen. Amen. Amen. Amen. (SHE DRAWS A PONIARD AND, CLAD IN THE
+SHEATHMAIL OF AN ELECTED KNIGHT OF NINE, STRIKES AT HIS LOINS) Nekum!
+
+BLOOM: (STARTS UP, SEIZES HER HAND) Hoy! Nebrakada! Cat o' nine lives!
+Fair play, madam. No pruningknife. The fox and the grapes, is it? What do
+you lack with your barbed wire? Crucifix not thick enough? (HE CLUTCHES
+HER VEIL) A holy abbot you want or Brophy, the lame gardener, or the
+spoutless statue of the watercarrier, or good mother Alphonsus, eh
+Reynard?
+
+THE NYMPH: (WITH A CRY FLEES FROM HIM UNVEILED, HER PLASTER CAST
+CRACKING, A CLOUD OF STENCH ESCAPING FROM THE CRACKS) Poli ...!
+
+BLOOM: (CALLS AFTER HER) As if you didn't get it on the double
+yourselves. No jerks and multiple mucosities all over you. I tried it.
+Your strength our weakness. What's our studfee? What will you pay on the
+nail? You fee mendancers on the Riviera, I read. (THE FLEEING NYMPH
+RAISES A KEEN) Eh? I have sixteen years of black slave labour behind me.
+And would a jury give me five shillings alimony tomorrow, eh? Fool
+someone else, not me. (HE SNIFFS) Rut. Onions. Stale. Sulphur. Grease.
+
+(THE FIGURE OF BELLA COHEN STANDS BEFORE HIM.)
+
+BELLA: You'll know me the next time.
+
+BLOOM: (COMPOSED, REGARDS HER) Passee. Mutton dressed as lamb. Long in
+the tooth and superfluous hair. A raw onion the last thing at night would
+benefit your complexion. And take some double chin drill. Your eyes are
+as vapid as the glasseyes of your stuffed fox. They have the dimensions
+of your other features, that's all. I'm not a triple screw propeller.
+
+BELLA: (CONTEMPTUOUSLY) You're not game, in fact. (HER SOWCUNT BARKS)
+Fbhracht!
+
+BLOOM: (CONTEMPTUOUSLY) Clean your nailless middle finger first, your
+bully's cold spunk is dripping from your cockscomb. Take a handful of hay
+and wipe yourself.
+
+BELLA: I know you, canvasser! Dead cod!
+
+BLOOM: I saw him, kipkeeper! Pox and gleet vendor!
+
+BELLA: (TURNS TO THE PIANO) Which of you was playing the dead march from
+SAUL?
+
+ZOE: Me. Mind your cornflowers. (SHE DARTS TO THE PIANO AND BANGS CHORDS
+ON IT WITH CROSSED ARMS) The cat's ramble through the slag. (SHE GLANCES
+BACK) Eh? Who's making love to my sweeties? (SHE DARTS BACK TO THE TABLE)
+What's yours is mine and what's mine is my own.
+
+(KITTY, DISCONCERTED, COATS HER TEETH WITH THE SILVER PAPER. BLOOM
+APPROACHES ZOE.)
+
+BLOOM: (GENTLY) Give me back that potato, will you?
+
+ZOE: Forfeits, a fine thing and a superfine thing.
+
+BLOOM: (WITH FEELING) It is nothing, but still, a relic of poor mamma.
+
+ZOE:
+
+
+    Give a thing and take it back
+    God'll ask you where is that
+    You'll say you don't know
+    God'll send you down below.
+
+
+BLOOM: There is a memory attached to it. I should like to have it.
+
+STEPHEN: To have or not to have that is the question.
+
+ZOE: Here. (SHE HAULS UP A REEF OF HER SLIP, REVEALING HER BARE THIGH,
+AND UNROLLS THE POTATO FROM THE TOP OF HER STOCKING) Those that hides
+knows where to find.
+
+BELLA: (FROWNS) Here. This isn't a musical peepshow. And don't you smash
+that piano. Who's paying here?
+
+(SHE GOES TO THE PIANOLA. STEPHEN FUMBLES IN HIS POCKET AND, TAKING OUT A
+BANKNOTE BY ITS CORNER, HANDS IT TO HER.)
+
+STEPHEN: (WITH EXAGGERATED POLITENESS) This silken purse I made out of
+the sow's ear of the public. Madam, excuse me. If you allow me. (HE
+INDICATES VAGUELY LYNCH AND BLOOM) We are all in the same sweepstake,
+Kinch and Lynch. DANS CE BORDEL OU TENONS NOSTRE ETAT.
+
+LYNCH: (CALLS FROM THE HEARTH) Dedalus! Give her your blessing for me.
+
+STEPHEN: (HANDS BELLA A COIN) Gold. She has it.
+
+BELLA: (LOOKS AT THE MONEY, THEN AT STEPHEN, THEN AT ZOE, FLORRY AND
+KITTY) Do you want three girls? It's ten shillings here.
+
+STEPHEN: (DELIGHTEDLY) A hundred thousand apologies. (HE FUMBLES AGAIN
+AND TAKES OUT AND HANDS HER TWO CROWNS) Permit, BREVI MANU, my sight is
+somewhat troubled.
+
+(BELLA GOES TO THE TABLE TO COUNT THE MONEY WHILE STEPHEN TALKS TO
+HIMSELF IN MONOSYLLABLES. ZOE BENDS OVER THE TABLE. KITTY LEANS OVER
+ZOE'S NECK. LYNCH GETS UP, RIGHTS HIS CAP AND, CLASPING KITTY'S WAIST,
+ADDS HIS HEAD TO THE GROUP.)
+
+FLORRY: (STRIVES HEAVILY TO RISE) Ow! My foot's asleep. (SHE LIMPS OVER
+TO THE TABLE. BLOOM APPROACHES.)
+
+BELLA, ZOE, KITTY, LYNCH, BLOOM: (CHATTERING AND SQUABBLING) The
+gentleman ... ten shillings ... paying for the three ... allow me a
+moment ... this gentleman pays separate ... who's touching it? ... ow!
+... mind who you're pinching ... are you staying the night or a short
+time?... who did?... you're a liar, excuse me ... the gentleman paid down
+like a gentleman ... drink ... it's long after eleven.
+
+STEPHEN: (AT THE PIANOLA, MAKING A GESTURE OF ABHORRENCE) No bottles!
+What, eleven? A riddle!
+
+ZOE: (LIFTING UP HER PETTIGOWN AND FOLDING A HALF SOVEREIGN INTO THE TOP
+OF HER STOCKING) Hard earned on the flat of my back.
+
+LYNCH: (LIFTING KITTY FROM THE TABLE) Come!
+
+KITTY: Wait. (SHE CLUTCHES THE TWO CROWNS)
+
+FLORRY: And me?
+
+LYNCH: Hoopla! (HE LIFTS HER, CARRIES HER AND BUMPS HER DOWN ON THE
+SOFA.)
+
+STEPHEN:
+
+
+    The fox crew, the cocks flew,
+    The bells in heaven
+    Were striking eleven.
+    'Tis time for her poor soul
+    To get out of heaven.
+
+
+BLOOM: (QUIETLY LAYS A HALF SOVEREIGN ON THE TABLE BETWEEN BELLA AND
+FLORRY) So. Allow me. (HE TAKES UP THE POUNDNOTE) Three times ten. We're
+square.
+
+BELLA: (ADMIRINGLY) You're such a slyboots, old cocky. I could kiss you.
+
+ZOE: (POINTS) Him? Deep as a drawwell. (LYNCH BENDS KITTY BACK OVER THE
+SOFA AND KISSES HER. BLOOM GOES WITH THE POUNDNOTE TO STEPHEN.)
+
+BLOOM: This is yours.
+
+STEPHEN: How is that? LES DISTRAIT or absentminded beggar. (HE FUMBLES
+AGAIN IN HIS POCKET AND DRAWS OUT A HANDFUL OF COINS. AN OBJECT FILLS.)
+That fell.
+
+BLOOM: (STOOPING, PICKS UP AND HANDS A BOX OF MATCHES) This.
+
+STEPHEN: Lucifer. Thanks.
+
+BLOOM: (QUIETLY) You had better hand over that cash to me to take care
+of. Why pay more?
+
+STEPHEN: (HANDS HIM ALL HIS COINS) Be just before you are generous.
+
+BLOOM: I will but is it wise? (HE COUNTS) One, seven, eleven, and five.
+Six. Eleven. I don't answer for what you may have lost.
+
+STEPHEN: Why striking eleven? Proparoxyton. Moment before the next
+Lessing says. Thirsty fox. (HE LAUGHS LOUDLY) Burying his grandmother.
+Probably he killed her.
+
+BLOOM: That is one pound six and eleven. One pound seven, say.
+
+STEPHEN: Doesn't matter a rambling damn.
+
+BLOOM: No, but ...
+
+STEPHEN: (COMES TO THE TABLE) Cigarette, please. (LYNCH TOSSES A
+CIGARETTE FROM THE SOFA TO THE TABLE) And so Georgina Johnson is dead and
+married. (A CIGARETTE APPEARS ON THE TABLE. STEPHEN LOOKS AT IT) Wonder.
+Parlour magic. Married. Hm. (HE STRIKES A MATCH AND PROCEEDS TO LIGHT THE
+CIGARETTE WITH ENIGMATIC MELANCHOLY)
+
+LYNCH: (WATCHING HIM) You would have a better chance of lighting it if
+you held the match nearer.
+
+STEPHEN: (BRINGS THE MATCH NEAR HIS EYE) Lynx eye. Must get glasses.
+Broke them yesterday. Sixteen years ago. Distance. The eye sees all flat.
+(HE DRAWS THE MATCH AWAY. IT GOES OUT.) Brain thinks. Near: far.
+Ineluctable modality of the visible. (HE FROWNS MYSTERIOUSLY) Hm. Sphinx.
+The beast that has twobacks at midnight. Married.
+
+ZOE: It was a commercial traveller married her and took her away with
+him.
+
+FLORRY: (NODS) Mr Lambe from London.
+
+STEPHEN: Lamb of London, who takest away the sins of our world.
+
+LYNCH: (EMBRACING KITTY ON THE SOFA, CHANTS DEEPLY) DONA NOBIS PACEM.
+
+(THE CIGARETTE SLIPS FROM STEPHEN 'S FINGERS. BLOOM PICKS IT UP AND
+THROWS IT IN THE GRATE.)
+
+BLOOM: Don't smoke. You ought to eat. Cursed dog I met. (TO ZOE) You have
+nothing?
+
+ZOE: Is he hungry?
+
+STEPHEN: (EXTENDS HIS HAND TO HER SMILING AND CHANTS TO THE AIR OF THE
+BLOODOATH IN THE Dusk of the Gods)
+
+
+    Hangende Hunger,
+    Fragende Frau,
+    Macht uns alle kaputt.
+
+
+ZOE: (TRAGICALLY) Hamlet, I am thy father's gimlet! (SHE TAKES HIS HAND)
+Blue eyes beauty I'll read your hand. (SHE POINTS TO HIS FOREHEAD) No
+wit, no wrinkles. (SHE COUNTS) Two, three, Mars, that's courage. (STEPHEN
+SHAKES HIS HEAD) No kid.
+
+LYNCH: Sheet lightning courage. The youth who could not shiver and shake.
+(TO ZOE) Who taught you palmistry?
+
+ZOE: (TURNS) Ask my ballocks that I haven't got. (TO STEPHEN) I see it in
+your face. The eye, like that. (SHE FROWNS WITH LOWERED HEAD)
+
+LYNCH: (LAUGHING, SLAPS KITTY BEHIND TWICE) Like that. Pandybat.
+
+(TWICE LOUDLY A PANDYBAT CRACKS, THE COFFIN OF THE PIANOLA FLIES OPEN,
+THE BALD LITTLE ROUND JACK-IN-THE-BOX HEAD OF FATHER DOLAN SPRINGS UP.)
+
+FATHER DOLAN: Any boy want flogging? Broke his glasses? Lazy idle little
+schemer. See it in your eye.
+
+(MILD, BENIGN, RECTORIAL, REPROVING, THE HEAD OF DON JOHN CONMEE RISES
+FROM THE PIANOLA COFFIN.)
+
+DON JOHN CONMEE: Now, Father Dolan! Now. I'm sure that Stephen is a very
+good little boy!
+
+ZOE: (EXAMINING STEPHEN'S PALM) Woman's hand.
+
+STEPHEN: (MURMURS) Continue. Lie. Hold me. Caress. I never could read His
+handwriting except His criminal thumbprint on the haddock.
+
+ZOE: What day were you born?
+
+STEPHEN: Thursday. Today.
+
+ZOE: Thursday's child has far to go. (SHE TRACES LINES ON HIS HAND) Line
+of fate. Influential friends.
+
+FLORRY: (POINTING) Imagination.
+
+ZOE: Mount of the moon. You'll meet with a ... (SHE PEERS AT HIS HANDS
+ABRUPTLY) I won't tell you what's not good for you. Or do you want to
+know?
+
+BLOOM: (DETACHES HER FINGERS AND OFFERS HIS PALM) More harm than good.
+Here. Read mine.
+
+BELLA: Show. (SHE TURNS UP BLOOM'S HAND) I thought so. Knobby knuckles
+for the women.
+
+ZOE: (PEERING AT BLOOM'S PALM) Gridiron. Travels beyond the sea and marry
+money.
+
+BLOOM: Wrong.
+
+ZOE: (QUICKLY) O, I see. Short little finger. Henpecked husband. That
+wrong?
+
+(BLACK LIZ, A HUGE ROOSTER HATCHING IN A CHALKED CIRCLE, RISES, STRETCHES
+HER WINGS AND CLUCKS.)
+
+BLACK LIZ: Gara. Klook. Klook. Klook.
+
+(SHE SIDLES FROM HER NEWLAID EGG AND WADDLES OFF)
+
+BLOOM: (POINTS TO HIS HAND) That weal there is an accident. Fell and cut
+it twentytwo years ago. I was sixteen.
+
+ZOE: I see, says the blind man. Tell us news.
+
+STEPHEN: See? Moves to one great goal. I am twentytwo. Sixteen years ago
+he was twentytwo too. Sixteen years ago I twentytwo tumbled. Twentytwo
+years ago he sixteen fell off his hobbyhorse. (HE WINCES) Hurt my hand
+somewhere. Must see a dentist. Money?
+
+(ZOE WHISPERS TO FLORRY. THEY GIGGLE. BLOOM RELEASES HIS HAND AND WRITES
+IDLY ON THE TABLE IN BACKHAND, PENCILLING SLOW CURVES.)
+
+FLORRY: What?
+
+(A HACKNEYCAR, NUMBER THREE HUNDRED AND TWENTYFOUR, WITH A
+GALLANTBUTTOCKED MARE, DRIVEN BY JAMES BARTON, HARMONY AVENUE,
+DONNYBROOK, TROTS PAST. BLAZES BOYLAN AND LENEHAN SPRAWL SWAYING ON THE
+SIDESEATS. THE ORMOND BOOTS CROUCHES BEHIND ON THE AXLE. SADLY OVER THE
+CROSSBLIND LYDIA DOUCE AND MINA KENNEDY GAZE.)
+
+THE BOOTS: (JOGGING, MOCKS THEM WITH THUMB AND WRIGGLING WORMFINGERS) Haw
+haw have you the horn?
+
+(BRONZE BY GOLD THEY WHISPER.)
+
+ZOE: (TO FLORRY) Whisper.
+
+(THEY WHISPER AGAIN)
+
+(OVER THE WELL OF THE CAR BLAZES BOYLAN LEANS, HIS BOATER STRAW SET
+SIDEWAYS, A RED FLOWER IN HIS MOUTH. LENEHAN IN YACHTSMAN'S CAP AND WHITE
+SHOES OFFICIOUSLY DETACHES A LONG HAIR FROM BLAZES BOYLAN'S COAT
+SHOULDER.)
+
+LENEHAN: Ho! What do I here behold? Were you brushing the cobwebs off a
+few quims?
+
+BOYLAN: (SEATED, SMILES) Plucking a turkey.
+
+LENEHAN: A good night's work.
+
+BOYLAN: (HOLDING UP FOUR THICK BLUNTUNGULATED FINGERS, WINKS) Blazes
+Kate! Up to sample or your money back. (HE HOLDS OUT A FOREFINGER) Smell
+that.
+
+LENEHAN: (SMELLS GLEEFULLY) Ah! Lobster and mayonnaise. Ah!
+
+ZOE AND FLORRY: (LAUGH TOGETHER) Ha ha ha ha.
+
+BOYLAN: (JUMPS SURELY FROM THE CAR AND CALLS LOUDLY FOR ALL TO HEAR)
+Hello, Bloom! Mrs Bloom dressed yet?
+
+BLOOM: (IN FLUNKEY'S PRUNE PLUSH COAT AND KNEEBREECHES, BUFF STOCKINGS
+AND POWDERED WIG) I'm afraid not, sir. The last articles ...
+
+BOYLAN: (TOSSES HIM SIXPENCE) Here, to buy yourself a gin and splash. (HE
+HANGS HIS HAT SMARTLY ON A PEG OF BLOOM'S ANTLERED HEAD) Show me in. I
+have a little private business with your wife, you understand?
+
+BLOOM: Thank you, sir. Yes, sir. Madam Tweedy is in her bath, sir.
+
+MARION: He ought to feel himself highly honoured. (SHE PLOPS SPLASHING
+OUT OF THE WATER) Raoul darling, come and dry me. I'm in my pelt. Only my
+new hat and a carriage sponge.
+
+BOYLAN: (A MERRY TWINKLE IN HIS EYE) Topping!
+
+BELLA: What? What is it?
+
+(ZOE WHISPERS TO HER.)
+
+MARION: Let him look, the pishogue! Pimp! And scourge himself! I'll write
+to a powerful prostitute or Bartholomona, the bearded woman, to raise
+weals out on him an inch thick and make him bring me back a signed and
+stamped receipt.
+
+BOYLAN: (clasps himself) Here, I can't hold this little lot much longer.
+(he strides off on stiff cavalry legs)
+
+BELLA: (LAUGHING) Ho ho ho ho.
+
+BOYLAN: (TO BLOOM, OVER HIS SHOULDER) You can apply your eye to the
+keyhole and play with yourself while I just go through her a few times.
+
+BLOOM: Thank you, sir. I will, sir. May I bring two men chums to witness
+the deed and take a snapshot? (HE HOLDS OUT AN OINTMENT JAR) Vaseline,
+sir? Orangeflower ...? Lukewarm water ...?
+
+KITTY: (FROM THE SOFA) Tell us, Florry. Tell us. What.
+
+(FLORRY WHISPERS TO HER. WHISPERING LOVEWORDS MURMUR, LIPLAPPING LOUDLY,
+POPPYSMIC PLOPSLOP.)
+
+MINA KENNEDY: (HER EYES UPTURNED) O, it must be like the scent of
+geraniums and lovely peaches! O, he simply idolises every bit of her!
+Stuck together! Covered with kisses!
+
+LYDIA DOUCE: (HER MOUTH OPENING) Yumyum. O, he's carrying her round the
+room doing it! Ride a cockhorse. You could hear them in Paris and New
+York. Like mouthfuls of strawberries and cream.
+
+KITTY: (LAUGHING) Hee hee hee.
+
+BOYLAN'S VOICE: (SWEETLY, HOARSELY, IN THE PIT OF HIS STOMACH) Ah!
+Gooblazqruk brukarchkrasht!
+
+MARION'S VOICE: (HOARSELY, SWEETLY, RISING TO HER THROAT) O!
+Weeshwashtkissinapooisthnapoohuck?
+
+BLOOM: (HIS EYES WILDLY DILATED, CLASPS HIMSELF) Show! Hide! Show! Plough
+her! More! Shoot!
+
+BELLA, ZOE, FLORRY, KITTY: Ho ho! Ha ha! Hee hee!
+
+LYNCH: (POINTS) The mirror up to nature. (HE LAUGHS) Hu hu hu hu hu!
+
+(STEPHEN AND BLOOM GAZE IN THE MIRROR. THE FACE OF WILLIAM SHAKESPEARE,
+BEARDLESS, APPEARS THERE, RIGID IN FACIAL PARALYSIS, CROWNED BY THE
+REFLECTION OF THE REINDEER ANTLERED HATRACK IN THE HALL.)
+
+SHAKESPEARE: (IN DIGNIFIED VENTRILOQUY) 'Tis the loud laugh bespeaks the
+vacant mind. (TO BLOOM) Thou thoughtest as how thou wastest invisible.
+Gaze. (HE CROWS WITH A BLACK CAPON'S LAUGH) Iagogo! How my Oldfellow
+chokit his Thursdaymornun. Iagogogo!
+
+BLOOM: (SMILES YELLOWLY AT THE THREE WHORES) When will I hear the joke?
+
+ZOE: Before you're twice married and once a widower.
+
+BLOOM: Lapses are condoned. Even the great Napoleon when measurements
+were taken next the skin after his death ...
+
+(MRS DIGNAM, WIDOW WOMAN, HER SNUBNOSE AND CHEEKS FLUSHED WITH DEATHTALK,
+TEARS AND TUNNEY'S TAWNY SHERRY, HURRIES BY IN HER WEEDS, HER BONNET
+AWRY, ROUGING AND POWDERING HER CHEEKS, LIPS AND NOSE, A PEN CHIVVYING
+HER BROOD OF CYGNETS. BENEATH HER SKIRT APPEAR HER LATE HUSBAND'S
+EVERYDAY TROUSERS AND TURNEDUP BOOTS, LARGE EIGHTS. SHE HOLDS A SCOTTISH
+WIDOWS' INSURANCE POLICY AND A LARGE MARQUEE UMBRELLA UNDER WHICH HER
+BROOD RUN WITH HER, PATSY HOPPING ON ONE SHOD FOOT, HIS COLLAR LOOSE, A
+HANK OF PORKSTEAKS DANGLING, FREDDY WHIMPERING, SUSY WITH A CRYING COD'S
+MOUTH, ALICE STRUGGLING WITH THE BABY. SHE CUFFS THEM ON, HER STREAMERS
+FLAUNTING ALOFT.)
+
+FREDDY: Ah, ma, you're dragging me along!
+
+SUSY: Mamma, the beeftea is fizzing over!
+
+SHAKESPEARE: (WITH PARALYTIC RAGE) Weda seca whokilla farst.
+
+(THE FACE OF MARTIN CUNNINGHAM, BEARDED, REFEATURES SHAKESPEARE'S
+BEARDLESS FACE. THE MARQUEE UMBRELLA SWAYS DRUNKENLY, THE CHILDREN RUN
+ASIDE. UNDER THE UMBRELLA APPEARS MRS CUNNINGHAM IN MERRY WIDOW HAT AND
+KIMONO GOWN. SHE GLIDES SIDLING AND BOWING, TWIRLING JAPANESILY.)
+
+MRS CUNNINGHAM: (SINGS)
+
+
+    And they call me the jewel of Asia!
+
+
+MARTIN CUNNINGHAM: (GAZES ON HER, IMPASSIVE) Immense! Most bloody awful
+demirep!
+
+STEPHEN: ET EXALTABUNTUR CORNUA IUSTI. Queens lay with prize bulls.
+Remember Pasiphae for whose lust my grandoldgrossfather made the first
+confessionbox. Forget not Madam Grissel Steevens nor the suine scions of
+the house of Lambert. And Noah was drunk with wine. And his ark was open.
+
+BELLA: None of that here. Come to the wrong shop.
+
+LYNCH: Let him alone. He's back from Paris.
+
+ZOE: (RUNS TO STEPHEN AND LINKS HIM) O go on! Give us some parleyvoo.
+
+(STEPHEN CLAPS HAT ON HEAD AND LEAPS OVER TO THE FIREPLACE WHERE HE
+STANDS WITH SHRUGGED SHOULDERS, FINNY HANDS OUTSPREAD, A PAINTED SMILE ON
+HIS FACE.)
+
+LYNCH: (POMMELLING ON THE SOFA) Rmm Rmm Rmm Rrrrrrmmmm.
+
+STEPHEN: (GABBLES WITH MARIONETTE JERKS) Thousand places of entertainment
+to expense your evenings with lovely ladies saling gloves and other
+things perhaps hers heart beerchops perfect fashionable house very
+eccentric where lots cocottes beautiful dressed much about princesses
+like are dancing cancan and walking there parisian clowneries extra
+foolish for bachelors foreigns the same if talking a poor english how
+much smart they are on things love and sensations voluptuous. Misters
+very selects for is pleasure must to visit heaven and hell show with
+mortuary candles and they tears silver which occur every night. Perfectly
+shocking terrific of religion's things mockery seen in universal world.
+All chic womans which arrive full of modesty then disrobe and squeal loud
+to see vampire man debauch nun very fresh young with DESSOUS TROUBLANTS.
+(HE CLACKS HIS TONGUE LOUDLY) HO, LA LA! CE PIF QU'IL A!
+
+LYNCH: VIVE LE VAMPIRE!
+
+THE WHORES: Bravo! Parleyvoo!
+
+STEPHEN: (GRIMACING WITH HEAD BACK, LAUGHS LOUDLY, CLAPPING HIMSELF)
+Great success of laughing. Angels much prostitutes like and holy apostles
+big damn ruffians. DEMIMONDAINES nicely handsome sparkling of diamonds
+very amiable costumed. Or do you are fond better what belongs they
+moderns pleasure turpitude of old mans? (HE POINTS ABOUT HIM WITH
+GROTESQUE GESTURES WHICH LYNCH AND THE WHORES REPLY TO) Caoutchouc statue
+woman reversible or lifesize tompeeptom of virgins nudities very lesbic
+the kiss five ten times. Enter, gentleman, to see in mirror every
+positions trapezes all that machine there besides also if desire act
+awfully bestial butcher's boy pollutes in warm veal liver or omlet on the
+belly PIECE DE SHAKESPEARE.
+
+BELLA: (CLAPPING HER BELLY SINKS BACK ON THE SOFA, WITH A SHOUT OF
+LAUGHTER) An omelette on the ... Ho! ho! ho! ho! ... omelette on the ...
+
+STEPHEN: (MINCINGLY) I love you, sir darling. Speak you englishman tongue
+for DOUBLE ENTENTE CORDIALE. O yes, MON LOUP. How much cost? Waterloo.
+Watercloset. (HE CEASES SUDDENLY AND HOLDS UP A FOREFINGER)
+
+BELLA: (LAUGHING) Omelette ...
+
+THE WHORES: (LAUGHING) Encore! Encore!
+
+STEPHEN: Mark me. I dreamt of a watermelon.
+
+ZOE: Go abroad and love a foreign lady.
+
+LYNCH: Across the world for a wife.
+
+FLORRY: Dreams goes by contraries.
+
+STEPHEN: (EXTENDS HIS ARMS) It was here. Street of harlots. In Serpentine
+avenue Beelzebub showed me her, a fubsy widow. Where's the red carpet
+spread?
+
+BLOOM: (APPROACHING STEPHEN) Look ...
+
+STEPHEN: No, I flew. My foes beneath me. And ever shall be. World without
+end. (HE CRIES) PATER! Free!
+
+BLOOM: I say, look ...
+
+STEPHEN: Break my spirit, will he? O MERDE ALORS! (HE CRIES, HIS VULTURE
+TALONS SHARPENED) Hola!  Hillyho!
+
+(SIMON DEDALUS' VOICE HILLOES IN ANSWER, SOMEWHAT SLEEPY BUT READY.)
+
+SIMON: That's all right. (HE SWOOPS UNCERTAINLY THROUGH THE AIR,
+WHEELING, UTTERING CRIES OF HEARTENING, ON STRONG PONDEROUS BUZZARD
+WINGS) Ho, boy! Are you going to win? Hoop! Pschatt! Stable with those
+halfcastes. Wouldn't let them within the bawl of an ass. Head up! Keep
+our flag flying! An eagle gules volant in a field argent displayed.
+Ulster king at arms! Haihoop! (HE MAKES THE BEAGLE'S CALL, GIVING TONGUE)
+Bulbul! Burblblburblbl! Hai, boy!
+
+(THE FRONDS AND SPACES OF THE WALLPAPER FILE RAPIDLY ACROSS COUNTRY. A
+STOUT FOX, DRAWN FROM COVERT, BRUSH POINTED, HAVING BURIED HIS
+GRANDMOTHER, RUNS SWIFT FOR THE OPEN, BRIGHTEYED, SEEKING BADGER EARTH,
+UNDER THE LEAVES. THE PACK OF STAGHOUNDS FOLLOWS, NOSE TO THE GROUND,
+SNIFFING THEIR QUARRY, BEAGLEBAYING, BURBLBRBLING TO BE BLOODED. WARD
+UNION HUNTSMEN AND HUNTSWOMEN LIVE WITH THEM, HOT FOR A KILL. FROM SIX
+MILE POINT, FLATHOUSE, NINE MILE STONE FOLLOW THE FOOTPEOPLE WITH KNOTTY
+STICKS, HAYFORKS, SALMONGAFFS, LASSOS, FLOCKMASTERS WITH STOCKWHIPS,
+BEARBAITERS WITH TOMTOMS, TOREADORS WITH BULLSWORDS, GREYNEGROES WAVING
+TORCHES. THE CROWD BAWLS OF DICERS, CROWN AND ANCHOR PLAYERS,
+THIMBLERIGGERS, BROADSMEN. CROWS AND TOUTS, HOARSE BOOKIES IN HIGH WIZARD
+HATS CLAMOUR DEAFENINGLY.)
+
+THE CROWD:
+
+
+    Card of the races. Racing card!
+    Ten to one the field!
+    Tommy on the clay here! Tommy on the clay!
+    Ten to one bar one! Ten to one bar one!
+    Try your luck on Spinning Jenny!
+    Ten to one bar one!
+    Sell the monkey, boys! Sell the monkey!
+    I'll give ten to one!
+    Ten to one bar one!
+
+
+(A DARK HORSE, RIDERLESS, BOLTS LIKE A PHANTOM PAST THE WINNINGPOST, HIS
+MANE MOONFOAMING, HIS EYEBALLS STARS. THE FIELD FOLLOWS, A BUNCH OF
+BUCKING MOUNTS. SKELETON HORSES, SCEPTRE, MAXIMUM THE SECOND, ZINFANDEL,
+THE DUKE OF WESTMINSTER'S SHOTOVER, REPULSE, THE DUKE OF BEAUFORT'S
+CEYLON, PRIX DE PARIS. DWARFS RIDE THEM, RUSTYARMOURED, LEAPING, LEAPING
+IN THEIR, IN THEIR SADDLES. LAST IN A DRIZZLE OF RAIN ON A BROKENWINDED
+ISABELLE NAG, COCK OF THE NORTH, THE FAVOURITE, HONEY CAP, GREEN JACKET,
+ORANGE SLEEVES, GARRETT DEASY UP, GRIPPING THE REINS, A HOCKEYSTICK AT
+THE READY. HIS NAG ON SPAVINED WHITEGAITERED FEET JOGS ALONG THE ROCKY
+ROAD.)
+
+THE ORANGE LODGES: (JEERING) Get down and push, mister. Last lap! You'll
+be home the night!
+
+GARRETT DEASY: (BOLT UPRIGHT, HIS NAILSCRAPED FACE PLASTERED WITH
+POSTAGESTAMPS, BRANDISHES HIS HOCKEYSTICK, HIS BLUE EYES FLASHING IN THE
+PRISM OF THE CHANDELIER AS HIS MOUNT LOPES BY AT SCHOOLING GALLOP)
+
+PER VIAS RECTAS!
+
+(A YOKE OF BUCKETS LEOPARDS ALL OVER HIM AND HIS REARING NAG A TORRENT OF
+MUTTON BROTH WITH DANCING COINS OF CARROTS, BARLEY, ONIONS, TURNIPS,
+POTATOES.)
+
+THE GREEN LODGES: Soft day, sir John! Soft day, your honour!
+
+(PRIVATE CARR, PRIVATE COMPTON AND CISSY CAFFREY PASS BENEATH THE
+WINDOWS, SINGING IN DISCORD.)
+
+STEPHEN: Hark! Our friend noise in the street.
+
+ZOE: (HOLDS UP HER HAND) Stop!
+
+PRIVATE CARR, PRIVATE COMPTON AND CISSY CAFFREY:
+
+
+    Yet I've a sort a
+    Yorkshire relish for ...
+
+
+ZOE: That's me. (SHE CLAPS HER HANDS) Dance! Dance! (SHE RUNS TO THE
+PIANOLA) Who has twopence?
+
+BLOOM: Who'll ...?
+
+LYNCH: (HANDING HER COINS) Here.
+
+STEPHEN: (CRACKING HIS FINGERS IMPATIENTLY) Quick! Quick! Where's my
+augur's rod? (HE RUNS TO THE PIANO AND TAKES HIS ASHPLANT, BEATING HIS
+FOOT IN TRIPUDIUM)
+
+ZOE: (TURNS THE DRUMHANDLE) There.
+
+(SHE DROPS TWO PENNIES IN THE SLOT. GOLD, PINK AND VIOLET LIGHTS START
+FORTH. THE DRUM TURNS PURRING IN LOW HESITATION WALTZ. PROFESSOR GOODWIN,
+IN A BOWKNOTTED PERIWIG, IN COURT DRESS, WEARING A STAINED INVERNESS
+CAPE, BENT IN TWO FROM INCREDIBLE AGE, TOTTERS ACROSS THE ROOM, HIS HANDS
+FLUTTERING. HE SITS TINILY ON THE PIANOSTOOL AND LIFTS AND BEATS HANDLESS
+STICKS OF ARMS ON THE KEYBOARD, NODDING WITH DAMSEL'S GRACE, HIS BOWKNOT
+BOBBING)
+
+ZOE: (TWIRLS ROUND HERSELF, HEELTAPPING) Dance. Anybody here for there?
+Who'll dance? Clear the table.
+
+(THE PIANOLA WITH CHANGING LIGHTS PLAYS IN WALTZ TIME THE PRELUDE OF My
+Girl's a Yorkshire Girl. STEPHEN THROWS HIS ASHPLANT ON THE TABLE AND
+SEIZES ZOE ROUND THE WAIST. FLORRY AND BELLA PUSH THE TABLE TOWARDS THE
+FIREPLACE. STEPHEN, ARMING ZOE WITH EXAGGERATED GRACE, BEGINS TO WALTZ
+HER ROUND THE ROOM. BLOOM STANDS ASIDE. HER SLEEVE FILLING FROM GRACING
+ARMS REVEALS A WHITE FLESHFLOWER OF VACCINATION. BETWEEN THE CURTAINS
+PROFESSOR MAGINNI INSERTS A LEG ON THE TOEPOINT OF WHICH SPINS A SILK
+HAT. WITH A DEFT KICK HE SENDS IT SPINNING TO HIS CROWN AND JAUNTYHATTED
+SKATES IN. HE WEARS A SLATE FROCKCOAT WITH CLARET SILK LAPELS, A GORGET
+OF CREAM TULLE, A GREEN LOWCUT WAISTCOAT, STOCK COLLAR WITH WHITE
+KERCHIEF, TIGHT LAVENDER TROUSERS, PATENT PUMPS AND CANARY GLOVES. IN HIS
+BUTTONHOLE IS AN IMMENSE DAHLIA. HE TWIRLS IN REVERSED DIRECTIONS A
+CLOUDED CANE, THEN WEDGES IT TIGHT IN HIS OXTER. HE PLACES A HAND LIGHTLY
+ON HIS BREASTBONE, BOWS, AND FONDLES HIS FLOWER AND BUTTONS.)
+
+MAGINNI: The poetry of motion, art of calisthenics. No connection with
+Madam Legget Byrne's or Levenston's. Fancy dress balls arranged.
+Deportment. The Katty Lanner step. So. Watch me! My terpsichorean
+abilities. (HE MINUETS FORWARD THREE PACES ON TRIPPING BEE'S FEET) TOUT
+LE MONDE EN AVANT! REVERENCE! TOUT LE MONDE EN PLACE!
+
+(THE PRELUDE CEASES. PROFESSOR GOODWIN, BEATING VAGUE ARMS SHRIVELS,
+SINKS, HIS LIVE CAPE FILLING ABOUT THE STOOL. THE AIR IN FIRMER WALTZ
+TIME SOUNDS. STEPHEN AND ZOE CIRCLE FREELY. THE LIGHTS CHANGE, GLOW, FIDE
+GOLD ROSY VIOLET.)
+
+THE PIANOLA:
+
+
+    Two young fellows were talking about their girls, girls, girls,
+    Sweethearts they'd left behind ...
+
+
+(FROM A CORNER THE MORNING HOURS RUN OUT, GOLDHAIRED, SLIMSANDALLED, IN
+GIRLISH BLUE, WASPWAISTED, WITH INNOCENT HANDS. NIMBLY THEY DANCE,
+TWIRLING THEIR SKIPPING ROPES. THE HOURS OF NOON FOLLOW IN AMBER GOLD.
+LAUGHING, LINKED, HIGH HAIRCOMBS FLASHING, THEY CATCH THE SUN IN MOCKING
+MIRRORS, LIFTING THEIR ARMS.)
+
+MAGINNI: (CLIPCLAPS GLOVESILENT HANDS) CARRE! AVANT DEUX! Breathe evenly!
+BALANCE!
+
+(THE MORNING AND NOON HOURS WALTZ IN THEIR PLACES, TURNING, ADVANCING TO
+EACH OTHER, SHAPING THEIR CURVES, BOWING VISAVIS. CAVALIERS BEHIND THEM
+ARCH AND SUSPEND THEIR ARMS, WITH HANDS DESCENDING TO, TOUCHING, RISING
+FROM THEIR SHOULDERS.)
+
+HOURS: You may touch my.
+
+CAVALIERS: May I touch your?
+
+HOURS: O, but lightly!
+
+CAVALIERS: O, so lightly!
+
+THE PIANOLA:
+
+
+    My little shy little lass has a waist.
+
+
+(ZOE AND STEPHEN TURN BOLDLY WITH LOOSER SWING. THE TWILIGHT HOURS
+ADVANCE FROM LONG LANDSHADOWS, DISPERSED, LAGGING, LANGUIDEYED, THEIR
+CHEEKS DELICATE WITH CIPRIA AND FALSE FAINT BLOOM. THEY ARE IN GREY GAUZE
+WITH DARK BAT SLEEVES THAT FLUTTER IN THE LAND BREEZE.)
+
+MAGINNI: AVANT HUIT! TRAVERSE! SALUT! COURS DE MAINS! CROISE!
+
+(THE NIGHT HOURS, ONE BY ONE, STEAL TO THE LAST PLACE. MORNING, NOON AND
+TWILIGHT HOURS RETREAT BEFORE THEM. THEY ARE MASKED, WITH DAGGERED HAIR
+AND BRACELETS OF DULL BELLS. WEARY THEY CURCHYCURCHY UNDER VEILS.)
+
+THE BRACELETS: Heigho! Heigho!
+
+ZOE: (TWIRLING, HER HAND TO HER BROW) O!
+
+MAGINNI: LES TIROIRS! CHAINE DE DAMES! LA CORBEILLE! DOS A DOS!
+
+(ARABESQUING WEARILY THEY WEAVE A PATTERN ON THE FLOOR, WEAVING,
+UNWEAVING, CURTSEYING, TWIRLING, SIMPLY SWIRLING.)
+
+ZOE: I'm giddy!
+
+(SHE FREES HERSELF, DROOPS ON A CHAIR. STEPHEN SEIZES FLORRY AND TURNS
+WITH HER.)
+
+MAGINNI: BOULANGERE! LES RONDS! LES PONTS! CHEVAUX DE BOIS! ESCARGOTS!
+
+(TWINING, RECEDING, WITH INTERCHANGING HANDS THE NIGHT HOURS LINK EACH
+EACH WITH ARCHING ARMS IN A MOSAIC OF MOVEMENTS. STEPHEN AND FLORRY TURN
+CUMBROUSLY.)
+
+MAGINNI: DANSEZ AVEC VOS DAMES! CHANGEZ DE DAMES! DONNEZ LE PETIT BOUQUET
+A VOTRE DAME! REMERCIEZ!
+
+THE PIANOLA:
+
+
+    Best, best of all,
+    Baraabum!
+
+
+KITTY: (JUMPS UP) O, they played that on the hobbyhorses at the Mirus
+bazaar!
+
+(SHE RUNS TO STEPHEN. HE LEAVES FLORRY BRUSQUELY AND SEIZES KITTY. A
+SCREAMING BITTERN'S HARSH HIGH WHISTLE SHRIEKS. GROANGROUSEGURGLING
+TOFT'S CUMBERSOME WHIRLIGIG TURNS SLOWLY THE ROOM RIGHT ROUNDABOUT THE
+ROOM.)
+
+THE PIANOLA:
+
+
+    My girl's a Yorkshire girl.
+
+
+ZOE:
+
+
+    Yorkshire through and through.
+
+
+Come on all!
+
+(SHE SEIZES FLORRY AND WALTZES HER.)
+
+STEPHEN: PAS SEUL!
+
+(HE WHEELS KITTY INTO LYNCH'S ARMS, SNATCHES UP HIS ASHPLANT FROM THE
+TABLE AND TAKES THE FLOOR. ALL WHEEL WHIRL WALTZ TWIRL. BLOOMBELLA
+KITTYLYNCH FLORRYZOE JUJUBY WOMEN. STEPHEN WITH HAT ASHPLANT FROGSPLITS
+IN MIDDLE HIGHKICKS WITH SKYKICKING MOUTH SHUT HAND CLASP PART UNDER
+THIGH. WITH CLANG TINKLE BOOMHAMMER TALLYHO HORNBLOWER BLUE GREEN YELLOW
+FLASHES TOFT'S CUMBERSOME TURNS WITH HOBBYHORSE RIDERS FROM GILDED SNAKES
+DANGLED, BOWELS FANDANGO LEAPING SPURN SOIL FOOT AND FALL AGAIN.)
+
+THE PIANOLA:
+
+
+    Though she's a factory lass
+    And wears no fancy clothes.
+
+
+(CLOSECLUTCHED SWIFT SWIFTER WITH GLAREBLAREFLARE SCUDDING THEY
+SCOOTLOOTSHOOT LUMBERING BY. BARAABUM!)
+
+TUTTI: Encore! Bis! Bravo! Encore!
+
+SIMON: Think of your mother's people!
+
+STEPHEN: Dance of death.
+
+(BANG FRESH BARANG BANG OF LACQUEY'S BELL, HORSE, NAG, STEER, PIGLINGS,
+CONMEE ON CHRISTASS, LAME CRUTCH AND LEG SAILOR IN COCKBOAT ARMFOLDED
+ROPEPULLING HITCHING STAMP HORNPIPE THROUGH AND THROUGH. BARAABUM! ON
+NAGS HOGS BELLHORSES GADARENE SWINE CORNY IN COFFIN STEEL SHARK STONE
+ONEHANDLED NELSON TWO TRICKIES FRAUENZIMMER PLUMSTAINED FROM PRAM FILLING
+BAWLING GUM HE'S A CHAMPION. FUSEBLUE PEER FROM BARREL REV. EVENSONG LOVE
+ON HACKNEY JAUNT BLAZES BLIND CODDOUBLED BICYCLERS DILLY WITH SNOWCAKE NO
+FANCY CLOTHES. THEN IN LAST SWITCHBACK LUMBERING UP AND DOWN BUMP MASHTUB
+SORT OF VICEROY AND REINE RELISH FOR TUBLUMBER BUMPSHIRE ROSE. BARAABUM!)
+
+(THE COUPLES FALL ASIDE. STEPHEN WHIRLS GIDDILY. ROOM WHIRLS BACK. EYES
+CLOSED HE TOTTERS. RED RAILS FLY SPACEWARDS. STARS ALL AROUND SUNS TURN
+ROUNDABOUT. BRIGHT MIDGES DANCE ON WALLS. HE STOPS DEAD.)
+
+STEPHEN: Ho!
+
+(STEPHEN'S MOTHER, EMACIATED, RISES STARK THROUGH THE FLOOR, IN LEPER
+GREY WITH A WREATH OF FADED ORANGEBLOSSOMS AND A TORN BRIDAL VEIL, HER
+FACE WORN AND NOSELESS, GREEN WITH GRAVEMOULD. HER HAIR IS SCANT AND
+LANK. SHE FIXES HER BLUECIRCLED HOLLOW EYESOCKETS ON STEPHEN AND OPENS
+HER TOOTHLESS MOUTH UTTERING A SILENT WORD. A CHOIR OF VIRGINS AND
+CONFESSORS SING VOICELESSLY.)
+
+THE CHOIR:
+
+
+    Liliata rutilantium te confessorum ...
+    Iubilantium te virginum ...
+
+
+(FROM THE TOP OF A TOWER BUCK MULLIGAN, IN PARTICOLOURED JESTER'S DRESS
+OF PUCE AND YELLOW AND CLOWN'S CAP WITH CURLING BELL, STANDS GAPING AT
+HER, A SMOKING BUTTERED SPLIT SCONE IN HIS HAND.)
+
+BUCK MULLIGAN: She's beastly dead. The pity of it! Mulligan meets the
+afflicted mother. (HE UPTURNS HIS EYES) Mercurial Malachi!
+
+THE MOTHER: (WITH THE SUBTLE SMILE OF DEATH'S MADNESS) I was once the
+beautiful May Goulding. I am dead.
+
+STEPHEN: (HORRORSTRUCK) Lemur, who are you? No. What bogeyman's trick is
+this?
+
+BUCK MULLIGAN: (SHAKES HIS CURLING CAPBELL) The mockery of it! Kinch
+dogsbody killed her bitchbody. She kicked the bucket. (TEARS OF MOLTEN
+BUTTER FALL FROM HIS EYES ON TO THE SCONE) Our great sweet mother! EPI
+OINOPA PONTON.
+
+THE MOTHER: (COMES NEARER, BREATHING UPON HIM SOFTLY HER BREATH OF WETTED
+ASHES) All must go through it, Stephen. More women than men in the world.
+You too. Time will come.
+
+STEPHEN: (CHOKING WITH FRIGHT, REMORSE AND HORROR) They say I killed you,
+mother. He offended your memory. Cancer did it, not I. Destiny.
+
+THE MOTHER: (A GREEN RILL OF BILE TRICKLING FROM A SIDE OF HER MOUTH) You
+sang that song to me. LOVE'S BITTER MYSTERY.
+
+STEPHEN: (EAGERLY) Tell me the word, mother, if you know now. The word
+known to all men.
+
+THE MOTHER: Who saved you the night you jumped into the train at Dalkey
+with Paddy Lee? Who had pity for you when you were sad among the
+strangers? Prayer is allpowerful. Prayer for the suffering souls in the
+Ursuline manual and forty days' indulgence. Repent, Stephen.
+
+STEPHEN: The ghoul! Hyena!
+
+THE MOTHER: I pray for you in my other world. Get Dilly to make you that
+boiled rice every night after your brainwork. Years and years I loved
+you, O, my son, my firstborn, when you lay in my womb.
+
+ZOE: (FANNING HERSELF WITH THE GRATE FAN) I'm melting!
+
+FLORRY: (POINTS TO STEPHEN) Look! He's white.
+
+BLOOM: (GOES TO THE WINDOW TO OPEN IT MORE) Giddy.
+
+THE MOTHER: (WITH SMOULDERING EYES) Repent! O, the fire of hell!
+
+STEPHEN: (PANTING) His noncorrosive sublimate! The corpsechewer! Raw head
+and bloody bones.
+
+THE MOTHER: (HER FACE DRAWING NEAR AND NEARER, SENDING OUT AN ASHEN
+BREATH) Beware! (SHE RAISES HER BLACKENED WITHERED RIGHT ARM SLOWLY
+TOWARDS STEPHEN'S BREAST WITH OUTSTRETCHED FINGER) Beware God's hand! (A
+GREEN CRAB WITH MALIGNANT RED EYES STICKS DEEP ITS GRINNING CLAWS IN
+STEPHEN'S HEART.)
+
+STEPHEN: (STRANGLED WITH RAGE) Shite! (HIS FEATURES GROW DRAWN GREY AND
+OLD)
+
+BLOOM: (AT THE WINDOW) What?
+
+STEPHEN: AH NON, PAR EXEMPLE! The intellectual imagination! With me all
+or not at all. NON SERVIAM!
+
+FLORRY: Give him some cold water. Wait. (SHE RUSHES OUT)
+
+THE MOTHER: (WRINGS HER HANDS SLOWLY, MOANING DESPERATELY) O Sacred Heart
+of Jesus, have mercy on him! Save him from hell, O Divine Sacred Heart!
+
+STEPHEN: No! No! No! Break my spirit, all of you, if you can! I'll bring
+you all to heel!
+
+THE MOTHER: (IN THE AGONY OF HER DEATHRATTLE) Have mercy on Stephen,
+Lord, for my sake! Inexpressible was my anguish when expiring with love,
+grief and agony on Mount Calvary.
+
+STEPHEN: NOTHUNG!
+
+(HE LIFTS HIS ASHPLANT HIGH WITH BOTH HANDS AND SMASHES THE CHANDELIER.
+TIME'S LIVID FINAL FLAME LEAPS AND, IN THE FOLLOWING DARKNESS, RUIN OF
+ALL SPACE, SHATTERED GLASS AND TOPPLING MASONRY.)
+
+THE GASJET: Pwfungg!
+
+BLOOM: Stop!
+
+LYNCH: (RUSHES FORWARD AND SEIZES STEPHEN'S HAND) Here! Hold on! Don't
+run amok!
+
+BELLA: Police!
+
+(STEPHEN, ABANDONING HIS ASHPLANT, HIS HEAD AND ARMS THROWN BACK STARK,
+BEATS THE GROUND AND FLIES FROM THE ROOM, PAST THE WHORES AT THE DOOR.)
+
+BELLA: (SCREAMS) After him!
+
+(THE TWO WHORES RUSH TO THE HALLDOOR. LYNCH AND KITTY AND ZOE STAMPEDE
+FROM THE ROOM. THEY TALK EXCITEDLY. BLOOM FOLLOWS, RETURNS.)
+
+THE WHORES: (JAMMED IN THE DOORWAY, POINTING) Down there.
+
+ZOE: (POINTING) There. There's something up.
+
+BELLA: Who pays for the lamp? (SHE SEIZES BLOOM'S COATTAIL) Here, you
+were with him. The lamp's broken.
+
+BLOOM: (RUSHES TO THE HALL, RUSHES BACK) What lamp, woman?
+
+A WHORE: He tore his coat.
+
+BELLA: (HER EYES HARD WITH ANGER AND CUPIDITY, POINTS) Who's to pay for
+that? Ten shillings. You're a witness.
+
+BLOOM: (SNATCHES UP STEPHEN'S ASHPLANT) Me? Ten shillings? Haven't you
+lifted enough off him? Didn't he ...?
+
+BELLA: (LOUDLY) Here, none of your tall talk. This isn't a brothel. A ten
+shilling house.
+
+BLOOM: (HIS HEAD UNDER THE LAMP, PULLS THE CHAIN. PULING, THE GASJET
+LIGHTS UP A CRUSHED MAUVE PURPLE SHADE. HE RAISES THE ASHPLANT.) Only the
+chimney's broken. Here is all he ...
+
+BELLA: (SHRINKS BACK AND SCREAMS) Jesus! Don't!
+
+BLOOM: (WARDING OFF A BLOW) To show you how he hit the paper. There's not
+sixpenceworth of damage done. Ten shillings!
+
+FLORRY: (WITH A GLASS OF WATER, ENTERS) Where is he?
+
+BELLA: Do you want me to call the police?
+
+BLOOM: O, I know. Bulldog on the premises. But he's a Trinity student.
+Patrons of your establishment. Gentlemen that pay the rent. (HE MAKES A
+MASONIC SIGN) Know what I mean? Nephew of the vice-chancellor. You don't
+want a scandal.
+
+BELLA: (ANGRILY) Trinity. Coming down here ragging after the boatraces
+and paying nothing. Are you my commander here or? Where is he? I'll
+charge him! Disgrace him, I will! (SHE SHOUTS) Zoe! Zoe!
+
+BLOOM: (URGENTLY) And if it were your own son in Oxford? (WARNINGLY) I
+know.
+
+BELLA: (ALMOST SPEECHLESS) Who are. Incog!
+
+ZOE: (IN THE DOORWAY) There's a row on.
+
+BLOOM: What? Where? (HE THROWS A SHILLING ON THE TABLE AND STARTS) That's
+for the chimney. Where? I need mountain air.
+
+(HE HURRIES OUT THROUGH THE HALL. THE WHORES POINT. FLORRY FOLLOWS,
+SPILLING WATER FROM HER TILTED TUMBLER. ON THE DOORSTEP ALL THE WHORES
+CLUSTERED TALK VOLUBLY, POINTING TO THE RIGHT WHERE THE FOG HAS CLEARED
+OFF. FROM THE LEFT ARRIVES A JINGLING HACKNEY CAR. IT SLOWS TO IN FRONT
+OF THE HOUSE. BLOOM AT THE HALLDOOR PERCEIVES CORNY KELLEHER WHO IS ABOUT
+TO DISMOUNT FROM THE CAR WITH TWO SILENT LECHERS. HE AVERTS HIS FACE.
+BELLA FROM WITHIN THE HALL URGES ON HER WHORES. THEY BLOW ICKYLICKYSTICKY
+YUMYUM KISSES. CORNY KELLEHER REPLIES WITH A GHASTLY LEWD SMILE. THE
+SILENT LECHERS TURN TO PAY THE JARVEY. ZOE AND KITTY STILL POINT RIGHT.
+BLOOM, PARTING THEM SWIFTLY, DRAWS HIS CALIPH'S HOOD AND PONCHO AND
+HURRIES DOWN THE STEPS WITH SIDEWAYS FACE. INCOG HAROUN AL RASCHID HE
+FLITS BEHIND THE SILENT LECHERS AND HASTENS ON BY THE RAILINGS WITH FLEET
+STEP OF A PARD STREWING THE DRAG BEHIND HIM, TORN ENVELOPES DRENCHED IN
+ANISEED. THE ASHPLANT MARKS HIS STRIDE. A PACK OF BLOODHOUNDS, LED BY
+HORNBLOWER OF TRINITY BRANDISHING A DOGWHIP IN TALLYHO CAP AND AN OLD
+PAIR OF GREY TROUSERS, FOLLOW FROM FIR, PICKING UP THE SCENT, NEARER,
+BAYING, PANTING, AT FAULT, BREAKING AWAY, THROWING THEIR TONGUES, BITING
+HIS HEELS, LEAPING AT HIS TAIL. HE WALKS, RUNS, ZIGZAGS, GALLOPS, LUGS
+LAID BACK. HE IS PELTED WITH GRAVEL, CABBAGESTUMPS, BISCUITBOXES, EGGS,
+POTATOES, DEAD CODFISH, WOMAN'S SLIPPERSLAPPERS. AFTER HIM FRESHFOUND THE
+HUE AND CRY ZIGZAG GALLOPS IN HOT PURSUIT OF FOLLOW MY LEADER: 65 C, 66
+C, NIGHT WATCH, JOHN HENRY MENTON, WISDOM HELY, V. B. DILLON, COUNCILLOR
+NANNETTI, ALEXANDER KEYES, LARRY O'ROURKE, JOE CUFFE MRS O'DOWD, PISSER
+BURKE, THE NAMELESS ONE, MRS RIORDAN, THE CITIZEN, GARRYOWEN,
+WHODOYOUCALLHIM, STRANGEFACE, FELLOWTHATSOLIKE, SAWHIMBEFORE,
+CHAPWITHAWEN, CHRIS CALLINAN, SIR CHARLES CAMERON, BENJAMIN DOLLARD,
+LENEHAN, BARTELL D'ARCY, JOE HYNES, RED MURRAY, EDITOR BRAYDEN, T. M.
+HEALY, MR JUSTICE FITZGIBBON, JOHN HOWARD PARNELL, THE REVEREND TINNED
+SALMON, PROFESSOR JOLY, MRS BREEN, DENIS BREEN, THEODORE PUREFOY, MINA
+PUREFOY, THE WESTLAND ROW POSTMISTRESS, C. P. M'COY, FRIEND OF LYONS,
+HOPPY HOLOHAN, MANINTHESTREET, OTHERMANINTHESTREET, FOOTBALLBOOTS,
+PUGNOSED DRIVER, RICH PROTESTANT LADY, DAVY BYRNE, MRS ELLEN M'GUINNESS,
+MRS JOE GALLAHER, GEORGE LIDWELL, JIMMY HENRY ON CORNS, SUPERINTENDENT
+LARACY, FATHER COWLEY, CROFTON OUT OF THE COLLECTOR-GENERAL'S, DAN
+DAWSON, DENTAL SURGEON BLOOM WITH TWEEZERS, MRS BOB DORAN, MRS KENNEFICK,
+MRS WYSE NOLAN, JOHN WYSE NOLAN,
+HANDSOMEMARRIEDWOMANRUBBEDAGAINSTWIDEBEHINDINCLONSKEATRAM, THE BOOKSELLER
+OF Sweets Of Sin, MISS DUBEDATANDSHEDIDBEDAD, MESDAMES GERALD AND
+STANISLAUS MORAN OF ROEBUCK, THE MANAGING CLERK OF DRIMMIE'S, WETHERUP,
+COLONEL HAYES, MASTIANSKY, CITRON, PENROSE, AARON FIGATNER, MOSES HERZOG,
+MICHAEL E GERAGHTY, INSPECTOR TROY, MRS GALBRAITH, THE CONSTABLE OFF
+ECCLES STREET CORNER, OLD DOCTOR BRADY WITH STETHOSCOPE, THE MYSTERY MAN
+ON THE BEACH, A RETRIEVER, MRS MIRIAM DANDRADE AND ALL HER LOVERS.)
+
+THE HUE AND CRY: (HELTERSKELTERPELTERWELTER) He's Bloom! Stop Bloom!
+Stopabloom! Stopperrobber! Hi! Hi! Stophim on the corner!
+
+(AT THE CORNER OF BEAVER STREET BENEATH THE SCAFFOLDING BLOOM PANTING
+STOPS ON THE FRINGE OF THE NOISY QUARRELLING KNOT, A LOT NOT KNOWING A
+JOT WHAT HI! HI! ROW AND WRANGLE ROUND THE WHOWHAT BRAWLALTOGETHER.)
+
+STEPHEN: (WITH ELABORATE GESTURES, BREATHING DEEPLY AND SLOWLY) You are
+my guests. Uninvited. By virtue of the fifth of George and seventh of
+Edward. History to blame. Fabled by mothers of memory.
+
+PRIVATE CARR: (TO CISSY CAFFREY) Was he insulting you?
+
+STEPHEN: Addressed her in vocative feminine. Probably neuter. Ungenitive.
+
+VOICES: No, he didn't. I seen him. The girl there. He was in Mrs Cohen's.
+What's up? Soldier and civilian.
+
+CISSY CAFFREY: I was in company with the soldiers and they left me to
+do--you know, and the young man run up behind me. But I'm faithful to the
+man that's treating me though I'm only a shilling whore.
+
+STEPHEN: (CATCHES SIGHT OF LYNCH'S AND KITTY'S HEADS) Hail, Sisyphus. (HE
+POINTS TO HIMSELF AND THE OTHERS) Poetic. Uropoetic.
+
+VOICES: Shes faithfultheman.
+
+CISSY CAFFREY: Yes, to go with him. And me with a soldier friend.
+
+PRIVATE COMPTON: He doesn't half want a thick ear, the blighter. Biff him
+one, Harry.
+
+PRIVATE CARR: (TO CISSY) Was he insulting you while me and him was having
+a piss?
+
+LORD TENNYSON: (GENTLEMAN POET IN UNION JACK BLAZER AND CRICKET FLANNELS,
+BAREHEADED, FLOWINGBEARDED) Theirs not to reason why.
+
+PRIVATE COMPTON: Biff him, Harry.
+
+STEPHEN: (TO PRIVATE COMPTON) I don't know your name but you are quite
+right. Doctor Swift says one man in armour will beat ten men in their
+shirts. Shirt is synechdoche. Part for the whole.
+
+CISSY CAFFREY: (TO THE CROWD) No, I was with the privates.
+
+STEPHEN: (AMIABLY) Why not? The bold soldier boy. In my opinion every
+lady for example ...
+
+PRIVATE CARR: (HIS CAP AWRY, ADVANCES TO STEPHEN) Say, how would it be,
+governor, if I was to bash in your jaw?
+
+STEPHEN: (LOOKS UP TO THE SKY) How? Very unpleasant. Noble art of
+selfpretence. Personally, I detest action. (HE WAVES HIS HAND) Hand hurts
+me slightly. ENFIN CE SONT VOS OIGNONS. (TO CISSY CAFFREY) Some trouble
+is on here. What is it precisely?
+
+DOLLY GRAY: (FROM HER BALCONY WAVES HER HANDKERCHIEF, GIVING THE SIGN OF
+THE HEROINE OF JERICHO) Rahab. Cook's son, goodbye. Safe home to Dolly.
+Dream of the girl you left behind and she will dream of you.
+
+(THE SOLDIERS TURN THEIR SWIMMING EYES.)
+
+BLOOM: (ELBOWING THROUGH THE CROWD, PLUCKS STEPHEN'S SLEEVE VIGOROUSLY)
+Come now, professor, that carman is waiting.
+
+STEPHEN: (TURNS) Eh? (HE DISENGAGES HIMSELF) Why should I not speak to
+him or to any human being who walks upright upon this oblate orange? (HE
+POINTS HIS FINGER) I'm not afraid of what I can talk to if I see his eye.
+Retaining the perpendicular.
+
+(HE STAGGERS A PACE BACK)
+
+BLOOM: (PROPPING HIM) Retain your own.
+
+STEPHEN: (LAUGHS EMPTILY) My centre of gravity is displaced. I have
+forgotten the trick. Let us sit down somewhere and discuss. Struggle for
+life is the law of existence but but human philirenists, notably the tsar
+and the king of England, have invented arbitration. (HE TAPS HIS BROW)
+But in here it is I must kill the priest and the king.
+
+BIDDY THE CLAP: Did you hear what the professor said? He's a professor
+out of the college.
+
+CUNTY KATE: I did. I heard that.
+
+BIDDY THE CLAP: He expresses himself with such marked refinement of
+phraseology.
+
+CUNTY KATE: Indeed, yes. And at the same time with such apposite
+trenchancy.
+
+PRIVATE CARR: (PULLS HIMSELF FREE AND COMES FORWARD) What's that you're
+saying about my king?
+
+(EDWARD THE SEVENTH APPEARS IN AN ARCHWAY. HE WARS A WHITE JERSEY ON
+WHICH AN IMAGE OF THE SACRED HEART IS STITCHED WITH THE INSIGNIA OF
+GARTER AND THISTLE, GOLDEN FLEECE, ELEPHANT OF DENMARK, SKINNER'S AND
+PROBYN'S HORSE, LINCOLN'S INN BENCHER AND ANCIENT AND HONOURABLE
+ARTILLERY COMPANY OF MASSACHUSETTS. HE SUCKS A RED JUJUBE. HE IS ROBED AS
+A GRAND ELECT PERFECT AND SUBLIME MASON WITH TROWEL AND APRON, MARKED
+made in Germany. IN HIS LEFT HAND HE HOLDS A PLASTERER'S BUCKET ON WHICH
+IS PRINTED Defense d'uriner. A ROAR OF WELCOME GREETS HIM.)
+
+EDWARD THE SEVENTH: (SLOWLY, SOLEMNLY BUT INDISTINCTLY) Peace, perfect
+peace. For identification, bucket in my hand. Cheerio, boys. (HE TURNS TO
+HIS SUBJECTS) We have come here to witness a clean straight fight and we
+heartily wish both men the best of good luck. Mahak makar a bak.
+
+(HE SHAKES HANDS WITH PRIVATE CARR, PRIVATE COMPTON, STEPHEN, BLOOM AND
+LYNCH. GENERAL APPLAUSE. EDWARD THE SEVENTH LIFTS HIS BUCKET GRACIOUSLY
+IN ACKNOWLEDGMENT.)
+
+PRIVATE CARR: (TO STEPHEN) Say it again.
+
+STEPHEN: (NERVOUS, FRIENDLY, PULLS HIMSELF UP) I understand your point of
+view though I have no king myself for the moment. This is the age of
+patent medicines. A discussion is difficult down here. But this is the
+point. You die for your country. Suppose. (HE PLACES HIS ARM ON PRIVATE
+CARR'S SLEEVE)  Not that I wish it for you. But I say: Let my country die
+for me. Up to the  present it has done so. I didn't want it to die. Damn
+death. Long live life!
+
+EDWARD THE SEVENTH: (LEVITATES OVER HEAPS OF SLAIN, IN THE GARB AND WITH
+THE HALO OF JOKING JESUS, A WHITE JUJUBE IN HIS PHOSPHORESCENT FACE)
+
+
+    My methods are new and are causing surprise.
+    To make the blind see I throw dust in their eyes.
+
+
+STEPHEN: Kings and unicorns! (HE FILLS BACK A PACE) Come somewhere and
+we'll ... What was that girl saying? ...
+
+PRIVATE COMPTON: Eh, Harry, give him a kick in the knackers. Stick one
+into Jerry.
+
+BLOOM: (TO THE PRIVATES, SOFTLY) He doesn't know what he's saying. Taken
+a little more than is good for him. Absinthe. Greeneyed monster. I know
+him. He's a gentleman, a poet. It's all right.
+
+STEPHEN: (NODS, SMILING AND LAUGHING) Gentleman, patriot, scholar and
+judge of impostors.
+
+PRIVATE CARR: I don't give a bugger who he is.
+
+PRIVATE COMPTON: We don't give a bugger who he is.
+
+STEPHEN: I seem to annoy them. Green rag to a bull.
+
+(KEVIN EGAN OF PARIS IN BLACK SPANISH TASSELLED SHIRT AND PEEP-O'-DAY
+BOY'S HAT SIGNS TO STEPHEN.)
+
+KEVIN EGAN: H'lo! BONJOUR! The VIEILLE OGRESSE with the DENTS JAUNES.
+
+(PATRICE EGAN PEEPS FROM BEHIND, HIS RABBITFACE NIBBLING A QUINCE LEAF.)
+
+PATRICE: SOCIALISTE!
+
+DON EMILE PATRIZIO FRANZ RUPERT POPE HENNESSY: (IN MEDIEVAL HAUBERK, TWO
+WILD GEESE VOLANT ON HIS HELM, WITH NOBLE INDIGNATION POINTS A MAILED
+HAND AGAINST THE PRIVATES) Werf those eykes to footboden, big grand
+porcos of johnyellows todos covered of gravy!
+
+BLOOM: (TO STEPHEN) Come home. You'll get into trouble.
+
+STEPHEN: (SWAYING) I don't avoid it. He provokes my intelligence.
+
+BIDDY THE CLAP: One immediately observes that he is of patrician lineage.
+
+THE VIRAGO: Green above the red, says he. Wolfe Tone.
+
+THE BAWD: The red's as good as the green. And better. Up the soldiers! Up
+King Edward!
+
+A ROUGH: (LAUGHS) Ay! Hands up to De Wet.
+
+THE CITIZEN: (WITH A HUGE EMERALD MUFFLER AND SHILLELAGH, CALLS)
+
+
+    May the God above
+    Send down a dove
+    With teeth as sharp as razors
+    To slit the throats
+    Of the English dogs
+    That hanged our Irish leaders.
+
+
+THE CROPPY BOY: (THE ROPENOOSE ROUND HIS NECK, GRIPES IN HIS ISSUING
+BOWELS WITH BOTH HANDS)
+
+
+    I bear no hate to a living thing,
+    But I love my country beyond the king.
+
+
+RUMBOLD, DEMON BARBER: (ACCOMPANIED BY TWO BLACKMASKED ASSISTANTS,
+ADVANCES WITH GLADSTONE BAG WHICH HE OPENS) Ladies and gents, cleaver
+purchased by Mrs Pearcy to slay Mogg. Knife with which Voisin dismembered
+the wife of a compatriot and hid remains in a sheet in the cellar, the
+unfortunate female's throat being cut from ear to ear. Phial containing
+arsenic retrieved from body of Miss Barron which sent Seddon to the
+gallows.
+
+(HE JERKS THE ROPE. THE ASSISTANTS LEAP AT THE VICTIM'S LEGS AND DRAG HIM
+DOWNWARD, GRUNTING THE CROPPY BOY'S TONGUE PROTRUDES VIOLENTLY.)
+
+THE CROPPY BOY:
+
+
+    Horhot ho hray hor hother's hest.
+
+
+(HE GIVES UP THE GHOST. A VIOLENT ERECTION OF THE HANGED SENDS GOUTS OF
+SPERM SPOUTING THROUGH HIS DEATHCLOTHES ON TO THE COBBLESTONES. MRS
+BELLINGHAM, MRS YELVERTON BARRY AND THE HONOURABLE MRS MERVYN TALBOYS
+RUSH FORWARD WITH THEIR HANDKERCHIEFS TO SOP IT UP.)
+
+RUMBOLD: I'm near it myself. (HE UNDOES THE NOOSE) Rope which hanged the
+awful rebel. Ten shillings a time. As applied to Her Royal Highness. (HE
+PLUNGES HIS HEAD INTO THE GAPING BELLY OF THE HANGED AND DRAWS OUT HIS
+HEAD AGAIN CLOTTED WITH COILED AND SMOKING ENTRAILS) My painful duty has
+now been done. God save the king!
+
+EDWARD THE SEVENTH: (DANCES SLOWLY, SOLEMNLY, RATTLING HIS BUCKET, AND
+SINGS WITH SOFT CONTENTMENT)
+
+
+    On coronation day, on coronation day,
+    O, won't we have a merry time,
+    Drinking whisky, beer and wine!
+
+
+PRIVATE CARR: Here. What are you saying about my king?
+
+STEPHEN: (THROWS UP HIS HANDS) O, this is too monotonous! Nothing. He
+wants my money and my life, though want must be his master, for some
+brutish empire of his. Money I haven't. (HE SEARCHES HIS POCKETS VAGUELY)
+GAVE IT TO SOMEONE.
+
+PRIVATE CARR: Who wants your bleeding money?
+
+STEPHEN: (TRIES TO MOVE OFF) Will someone tell me where I am least likely
+to meet these necessary evils? CA SE VOIT AUSSI A PARIS. Not that I ...
+But, by Saint Patrick ...!
+
+(THE WOMEN'S HEADS COALESCE. OLD GUMMY GRANNY IN SUGARLOAF HAT APPEARS
+SEATED ON A TOADSTOOL, THE DEATHFLOWER OF THE POTATO BLIGHT ON HER
+BREAST.)
+
+STEPHEN: Aha! I know you, gammer! Hamlet, revenge! The old sow that eats
+her farrow!
+
+OLD GUMMY GRANNY: (ROCKING TO AND FRO) Ireland's sweetheart, the king of
+Spain's daughter, alanna. Strangers in my house, bad manners to them!
+(SHE KEENS WITH BANSHEE WOE) Ochone! Ochone! Silk of the kine! (SHE
+WAILS) You met with poor old Ireland and how does she stand?
+
+STEPHEN: How do I stand you? The hat trick! Where's the third person of
+the Blessed Trinity? Soggarth Aroon? The reverend Carrion Crow.
+
+CISSY CAFFREY: (SHRILL) Stop them from fighting!
+
+A ROUGH: Our men retreated.
+
+PRIVATE CARR: (TUGGING AT HIS BELT) I'll wring the neck of any fucker
+says a word against my fucking king.
+
+BLOOM: (TERRIFIED) He said nothing. Not a word. A pure misunderstanding.
+
+THE CITIZEN: ERIN GO BRAGH!
+
+(MAJOR TWEEDY AND THE CITIZEN EXHIBIT TO EACH OTHER MEDALS, DECORATIONS,
+TROPHIES OF WAR, WOUNDS. BOTH SALUTE WITH FIERCE HOSTILITY.)
+
+PRIVATE COMPTON: Go it, Harry. Do him one in the eye. He's a proboer.
+
+STEPHEN: Did I? When?
+
+BLOOM: (TO THE REDCOATS) We fought for you in South Africa, Irish missile
+troops. Isn't that history? Royal Dublin Fusiliers. Honoured by our
+monarch.
+
+THE NAVVY: (STAGGERING PAST) O, yes! O God, yes! O, make the kwawr a
+krowawr! O! Bo!
+
+(CASQUED HALBERDIERS IN ARMOUR THRUST FORWARD A PENTICE OF GUTTED
+SPEARPOINTS. MAJOR TWEEDY, MOUSTACHED LIKE TURKO THE TERRIBLE, IN
+BEARSKIN CAP WITH HACKLEPLUME AND ACCOUTREMENTS, WITH EPAULETTES, GILT
+CHEVRONS AND SABRETACHES, HIS BREAST BRIGHT WITH MEDALS, TOES THE LINE.
+HE GIVES THE PILGRIM WARRIOR'S SIGN OF THE KNIGHTS TEMPLARS.)
+
+MAJOR TWEEDY: (GROWLS GRUFFLY) Rorke's Drift! Up, guards, and at them!
+Mahar shalal hashbaz.
+
+PRIVATE CARR: I'll do him in.
+
+PRIVATE COMPTON: (WAVES THE CROWD BACK) Fair play, here. Make a bleeding
+butcher's shop of the bugger.
+
+(MASSED BANDS BLARE Garryowen AND God save the king.)
+
+CISSY CAFFREY: They're going to fight. For me!
+
+CUNTY KATE: The brave and the fair.
+
+BIDDY THE CLAP: Methinks yon sable knight will joust it with the best.
+
+CUNTY KATE: (BLUSHING DEEPLY) Nay, madam. The gules doublet and merry
+saint George for me!
+
+STEPHEN:
+
+
+    The harlot's cry from street to street
+    Shall weave Old Ireland's windingsheet.
+
+
+PRIVATE CARR: (LOOSENING HIS BELT, SHOUTS) I'll wring the neck of any
+fucking bastard says a word against my bleeding fucking king.
+
+BLOOM: (SHAKES CISSY CAFFREY'S SHOULDERS) Speak, you! Are you struck
+dumb? You are the link between nations and generations. Speak, woman,
+sacred lifegiver!
+
+CISSY CAFFREY: (ALARMED, SEIZES PRIVATE CARR'S SLEEVE) Amn't I with you?
+Amn't I your girl? Cissy's your girl. (SHE CRIES) Police!
+
+STEPHEN: (ECSTATICALLY, TO CISSY CAFFREY)
+
+
+    White thy fambles, red thy gan
+    And thy quarrons dainty is.
+
+
+VOICES: Police!
+
+DISTANT VOICES: Dublin's burning! Dublin's burning! On fire, on fire!
+
+(BRIMSTONE FIRES SPRING UP. DENSE CLOUDS ROLL PAST. HEAVY GATLING GUNS
+BOOM. PANDEMONIUM. TROOPS DEPLOY. GALLOP OF HOOFS. ARTILLERY. HOARSE
+COMMANDS. BELLS CLANG. BACKERS SHOUT. DRUNKARDS BAWL. WHORES SCREECH.
+FOGHORNS HOOT. CRIES OF VALOUR. SHRIEKS OF DYING. PIKES CLASH ON
+CUIRASSES. THIEVES ROB THE SLAIN. BIRDS OF PREY, WINGING FROM THE SEA,
+RISING FROM MARSHLANDS, SWOOPING FROM EYRIES, HOVER SCREAMING, GANNETS,
+CORMORANTS, VULTURES, GOSHAWKS, CLIMBING WOODCOCKS, PEREGRINES, MERLINS,
+BLACKGROUSE, SEA EAGLES, GULLS, ALBATROSSES, BARNACLE GEESE. THE MIDNIGHT
+SUN IS DARKENED. THE EARTH TREMBLES. THE DEAD OF DUBLIN FROM PROSPECT AND
+MOUNT JEROME IN WHITE SHEEPSKIN OVERCOATS AND BLACK GOATFELL CLOAKS ARISE
+AND APPEAR TO MANY. A CHASM OPENS WITH A NOISELESS YAWN. TOM ROCHFORD,
+WINNER, IN ATHLETE'S SINGLET AND BREECHES, ARRIVES AT THE HEAD OF THE
+NATIONAL HURDLE HANDICAP AND LEAPS INTO THE VOID. HE IS FOLLOWED BY A
+RACE OF RUNNERS AND LEAPERS. IN WILD ATTITUDES THEY SPRING FROM THE
+BRINK. THEIR BODIES PLUNGE. FACTORY LASSES WITH FANCY CLOTHES TOSS REDHOT
+YORKSHIRE BARAABOMBS. SOCIETY LADIES LIFT THEIR SKIRTS ABOVE THEIR HEADS
+TO PROTECT THEMSELVES. LAUGHING WITCHES IN RED CUTTY SARKS RIDE THROUGH
+THE AIR ON BROOMSTICKS. QUAKERLYSTER PLASTERS BLISTERS. IT RAINS DRAGONS'
+TEETH. ARMED HEROES SPRING UP FROM FURROWS. THEY EXCHANGE IN AMITY THE
+PASS OF KNIGHTS OF THE RED CROSS AND FIGHT DUELS WITH CAVALRY SABRES:
+WOLFE TONE AGAINST HENRY GRATTAN, SMITH O'BRIEN AGAINST DANIEL O'CONNELL,
+MICHAEL DAVITT AGAINST ISAAC BUTT, JUSTIN M'CARTHY AGAINST PARNELL,
+ARTHUR GRIFFITH AGAINST JOHN REDMOND, JOHN O'LEARY AGAINST LEAR O'JOHNNY,
+LORD EDWARD FITZGERALD AGAINST LORD GERALD FITZEDWARD, THE O'DONOGHUE OF
+THE GLENS AGAINST THE GLENS OF THE O'DONOGHUE. ON AN EMINENCE, THE CENTRE
+OF THE EARTH, RISES THE FELDALTAR OF SAINT BARBARA. BLACK CANDLES RISE
+FROM ITS GOSPEL AND EPISTLE HORNS. FROM THE HIGH BARBACANS OF THE TOWER
+TWO SHAFTS OF LIGHT FALL ON THE SMOKEPALLED ALTARSTONE. ON THE ALTARSTONE
+MRS MINA PUREFOY, GODDESS OF UNREASON, LIES, NAKED, FETTERED, A CHALICE
+RESTING ON HER SWOLLEN BELLY. FATHER MALACHI O'FLYNN IN A LACE PETTICOAT
+AND REVERSED CHASUBLE, HIS TWO LEFT FEET BACK TO THE FRONT, CELEBRATES
+CAMP MASS. THE REVEREND MR HUGH C HAINES LOVE M. A. IN A PLAIN CASSOCK
+AND MORTARBOARD, HIS HEAD AND COLLAR BACK TO THE FRONT, HOLDS OVER THE
+CELEBRANT'S HEAD AN OPEN UMBRELLA.)
+
+FATHER MALACHI O'FLYNN: INTROIBO AD ALTARE DIABOLI.
+
+THE REVEREND MR HAINES LOVE: To the devil which hath made glad my young
+days.
+
+FATHER MALACHI O'FLYNN: (TAKES FROM THE CHALICE AND ELEVATES A
+BLOODDRIPPING HOST) CORPUS MEUM.
+
+THE REVEREND MR HAINES LOVE: (RAISES HIGH BEHIND THE CELEBRANT'S
+PETTICOAT, REVEALING HIS GREY BARE HAIRY BUTTOCKS BETWEEN WHICH A CARROT
+IS STUCK) My body.
+
+THE VOICE OF ALL THE DAMNED: Htengier Tnetopinmo Dog Drol eht rof,
+Aiulella!
+
+(FROM ON HIGH THE VOICE OF ADONAI CALLS.)
+
+ADONAI: Dooooooooooog!
+
+THE VOICE OF ALL THE BLESSED: Alleluia, for the Lord God Omnipotent
+reigneth!
+
+(FROM ON HIGH THE VOICE OF ADONAI CALLS.)
+
+ADONAI: Goooooooooood!
+
+(IN STRIDENT DISCORD PEASANTS AND TOWNSMEN OF ORANGE AND GREEN FACTIONS
+SING Kick the Pope AND Daily, daily sing to Mary.)
+
+PRIVATE CARR: (WITH FEROCIOUS ARTICULATION) I'll do him in, so help me
+fucking Christ! I'll wring the bastard fucker's bleeding blasted fucking
+windpipe!
+
+OLD GUMMY GRANNY: (THRUSTS A DAGGER TOWARDS STEPHEN'S HAND) Remove him,
+acushla. At 8.35 a.m. you will be in heaven and Ireland will be free.
+(SHE PRAYS) O good God, take him!
+
+(THE RETRIEVER, NOSING ON THE FRINGE OF THE CROWD, BARKS NOISILY.)
+
+BLOOM: (RUNS TO LYNCH) Can't you get him away?
+
+LYNCH: He likes dialectic, the universal language. Kitty! (TO BLOOM) Get
+him away, you. He won't listen to me.
+
+(HE DRAGS KITTY AWAY.)
+
+STEPHEN: (POINTS) EXIT JUDAS. ET LAQUEO SE SUSPENDIT.
+
+BLOOM: (RUNS TO STEPHEN) Come along with me now before worse happens.
+Here's your stick.
+
+STEPHEN: Stick, no. Reason. This feast of pure reason.
+
+CISSY CAFFREY: (PULLING PRIVATE CARR) Come on, you're boosed. He insulted
+me but I forgive him. (SHOUTING IN HIS EAR) I forgive him for insulting
+me.
+
+BLOOM: (OVER STEPHEN'S SHOULDER) Yes, go. You see he's incapable.
+
+PRIVATE CARR: (BREAKS LOOSE) I'll insult him.
+
+(HE RUSHES TOWARDS STEPHEN, FIST OUTSTRETCHED, AND STRIKES HIM IN THE
+FACE. STEPHEN TOTTERS, COLLAPSES, FALLS, STUNNED. HE LIES PRONE, HIS FACE
+TO THE SKY, HIS HAT ROLLING TO THE WALL. BLOOM FOLLOWS AND PICKS IT UP.)
+
+MAJOR TWEEDY: (LOUDLY) Carbine in bucket! Cease fire! Salute!
+
+THE RETRIEVER: (BARKING FURIOUSLY) Ute ute ute ute ute ute ute ute.
+
+THE CROWD: Let him up! Don't strike him when he's down! Air! Who? The
+soldier hit him. He's a professor. Is he hurted? Don't manhandle him!
+He's fainted!
+
+A HAG: What call had the redcoat to strike the gentleman and he under the
+influence. Let them go and fight the Boers!
+
+THE BAWD: Listen to who's talking! Hasn't the soldier a right to go with
+his girl? He gave him the coward's blow.
+
+(THEY GRAB AT EACH OTHER'S HAIR, CLAW AT EACH OTHER AND SPIT)
+
+THE RETRIEVER: (BARKING) Wow wow wow.
+
+BLOOM: (SHOVES THEM BACK, LOUDLY) Get back, stand back!
+
+PRIVATE COMPTON: (TUGGING HIS COMRADE) Here. Bugger off, Harry. Here's
+the cops!
+
+(TWO RAINCAPED WATCH, TALL, STAND IN THE GROUP.)
+
+FIRST WATCH: What's wrong here?
+
+PRIVATE COMPTON: We were with this lady. And he insulted us. And
+assaulted my chum. (THE RETRIEVER BARKS) Who owns the bleeding tyke?
+
+CISSY CAFFREY: (WITH EXPECTATION) Is he bleeding!
+
+A MAN: (RISING FROM HIS KNEES) No. Gone off. He'll come to all right.
+
+BLOOM: (GLANCES SHARPLY AT THE MAN) Leave him to me. I can easily ...
+
+SECOND WATCH: Who are you? Do you know him?
+
+PRIVATE CARR: (LURCHES TOWARDS THE WATCH) He insulted my lady friend.
+
+BLOOM: (ANGRILY) You hit him without provocation. I'm a witness.
+Constable, take his regimental number.
+
+SECOND WATCH: I don't want your instructions in the discharge of my duty.
+
+PRIVATE COMPTON: (PULLING HIS COMRADE) Here, bugger off Harry. Or
+Bennett'll shove you in the lockup.
+
+PRIVATE CARR: (STAGGERING AS HE IS PULLED AWAY) God fuck old Bennett.
+He's a whitearsed bugger. I don't give a shit for him.
+
+FIRST WATCH: (TAKES OUT HIS NOTEBOOK) What's his name?
+
+BLOOM: (PEERING OVER THE CROWD) I just see a car there. If you give me a
+hand a second, sergeant ...
+
+FIRST WATCH: Name and address.
+
+(CORNY KELLEKER, WEEPERS ROUND HIS HAT, A DEATH WREATH IN HIS HAND,
+APPEARS AMONG THE BYSTANDERS.)
+
+BLOOM: (QUICKLY) O, the very man! (HE WHISPERS) Simon Dedalus' son. A bit
+sprung. Get those policemen to move those loafers back.
+
+SECOND WATCH: Night, Mr Kelleher.
+
+CORNY KELLEHER: (TO THE WATCH, WITH DRAWLING EYE) That's all right. I
+know him. Won a bit on the races. Gold cup. Throwaway. (HE LAUGHS) Twenty
+to one. Do you follow me?
+
+FIRST WATCH: (TURNS TO THE CROWD) Here, what are you all gaping at? Move
+on out of that.
+
+(THE CROWD DISPERSES SLOWLY, MUTTERING, DOWN THE LANE.)
+
+CORNY KELLEHER: Leave it to me, sergeant. That'll be all right. (HE
+LAUGHS, SHAKING HIS HEAD) We were often as bad ourselves, ay or worse.
+What? Eh, what?
+
+FIRST WATCH: (LAUGHS) I suppose so.
+
+CORNY KELLEHER: (NUDGES THE SECOND WATCH) Come and wipe your name off the
+slate. (HE LILTS, WAGGING HIS HEAD) With my tooraloom tooraloom tooraloom
+tooraloom. What, eh, do you follow me?
+
+SECOND WATCH: (GENIALLY) Ah, sure we were too.
+
+CORNY KELLEHER: (WINKING) Boys will be boys. I've a car round there.
+
+SECOND WATCH: All right, Mr Kelleher. Good night.
+
+CORNY KELLEHER: I'll see to that.
+
+BLOOM: (SHAKES HANDS WITH BOTH OF THE WATCH IN TURN) Thank you very much,
+gentlemen. Thank you. (HE MUMBLES CONFIDENTIALLY) We don't want any
+scandal, you understand. Father is a wellknown highly respected citizen.
+Just a little wild oats, you understand.
+
+FIRST WATCH: O. I understand, sir.
+
+SECOND WATCH: That's all right, sir.
+
+FIRST WATCH: It was only in case of corporal injuries I'd have to report
+it at the station.
+
+BLOOM: (NODS RAPIDLY) Naturally. Quite right. Only your bounden duty.
+
+SECOND WATCH: It's our duty.
+
+CORNY KELLEHER: Good night, men.
+
+THE WATCH: (SALUTING TOGETHER) Night, gentlemen. (THEY MOVE OFF WITH SLOW
+HEAVY TREAD)
+
+BLOOM: (BLOWS) Providential you came on the scene. You have a car? ...
+
+CORNY KELLEHER: (LAUGHS, POINTING HIS THUMB OVER HIS RIGHT SHOULDER TO
+THE CAR BROUGHT UP AGAINST THE SCAFFOLDING) Two commercials that were
+standing fizz in Jammet's. Like princes, faith. One of them lost two quid
+on the race. Drowning his grief. And were on for a go with the jolly
+girls. So I landed them up on Behan's car and down to nighttown.
+
+BLOOM: I was just going home by Gardiner street when I happened to ...
+
+CORNY KELLEHER: (LAUGHS) Sure they wanted me to join in with the mots.
+No, by God, says I. Not for old stagers like myself and yourself. (HE
+LAUGHS AGAIN AND LEERS WITH LACKLUSTRE EYE) Thanks be to God we have it
+in the house, what, eh, do you follow me? Hah, hah, hah!
+
+BLOOM: (TRIES TO LAUGH) He, he, he! Yes. Matter of fact I was just
+visiting an old friend of mine there, Virag, you don't know him (poor
+fellow, he's laid up for the past week) and we had a liquor together and
+I was just making my way home ...
+
+(THE HORSE NEIGHS.)
+
+THE HORSE: Hohohohohohoh! Hohohohome!
+
+CORNY KELLEHER: Sure it was Behan our jarvey there that told me after we
+left the two commercials in Mrs Cohen's and I told him to pull up and got
+off to see. (HE LAUGHS) Sober hearsedrivers a speciality. Will I give him
+a lift home? Where does he hang out? Somewhere in Cabra, what?
+
+BLOOM: No, in Sandycove, I believe, from what he let drop.
+
+(STEPHEN, PRONE, BREATHES TO THE STARS. CORNY KELLEHER, ASQUINT, DRAWLS
+AT THE HORSE. BLOOM, IN GLOOM, LOOMS DOWN.)
+
+CORNY KELLEHER: (SCRATCHES HIS NAPE) Sandycove! (HE BENDS DOWN AND CALLS
+TO STEPHEN) Eh! (HE CALLS AGAIN) Eh! He's covered with shavings anyhow.
+Take care they didn't lift anything off him.
+
+BLOOM: No, no, no. I have his money and his hat here and stick.
+
+CORNY KELLEHER: Ah, well, he'll get over it. No bones broken. Well, I'll
+shove along. (HE LAUGHS) I've a rendezvous in the morning. Burying the
+dead. Safe home!
+
+THE HORSE: (NEIGHS) Hohohohohome.
+
+BLOOM: Good night. I'll just wait and take him along in a few ...
+
+(CORNY KELLEHER RETURNS TO THE OUTSIDE CAR AND MOUNTS IT. THE HORSE
+HARNESS JINGLES.)
+
+CORNY KELLEHER: (FROM THE CAR, STANDING) Night.
+
+BLOOM: Night.
+
+(THE JARVEY CHUCKS THE REINS AND RAISES HIS WHIP ENCOURAGINGLY. THE CAR
+AND HORSE BACK SLOWLY, AWKWARDLY, AND TURN. CORNY KELLEHER ON THE
+SIDESEAT SWAYS HIS HEAD TO AND FRO IN SIGN OF MIRTH AT BLOOM'S PLIGHT.
+THE JARVEY JOINS IN THE MUTE PANTOMIMIC MERRIMENT NODDING FROM THE
+FARTHER SEAT. BLOOM SHAKES HIS HEAD IN MUTE MIRTHFUL REPLY. WITH THUMB
+AND PALM CORNY KELLEHER REASSURES THAT THE TWO BOBBIES WILL ALLOW THE
+SLEEP TO CONTINUE FOR WHAT ELSE IS TO BE DONE. WITH A SLOW NOD BLOOM
+CONVEYS HIS GRATITUDE AS THAT IS EXACTLY WHAT STEPHEN NEEDS. THE CAR
+JINGLES TOORALOOM ROUND THE CORNER OF THE TOORALOOM LANE. CORNY KELLEHER
+AGAIN REASSURALOOMS WITH HIS HAND. BLOOM WITH HIS HAND ASSURALOOMS CORNY
+KELLEHER THAT HE IS REASSURALOOMTAY. THE TINKLING HOOFS AND JINGLING
+HARNESS GROW FAINTER WITH THEIR TOORALOOLOO LOOLOO LAY. BLOOM, HOLDING IN
+HIS HAND STEPHEN'S HAT, FESTOONED WITH SHAVINGS, AND ASHPLANT, STANDS
+IRRESOLUTE. THEN HE BENDS TO HIM AND SHAKES HIM BY THE SHOULDER.)
+
+BLOOM: Eh! Ho! (THERE IS NO ANSWER; HE BENDS AGAIN) Mr Dedalus! (THERE IS
+NO ANSWER) The name if you call. Somnambulist. (HE BENDS AGAIN AND
+HESITATING, BRINGS HIS MOUTH NEAR THE FACE OF THE PROSTRATE FORM)
+Stephen! (THERE IS NO ANSWER. HE CALLS AGAIN.) Stephen!
+
+STEPHEN: (GROANS) Who? Black panther. Vampire. (HE SIGHS AND STRETCHES
+HIMSELF, THEN MURMURS THICKLY WITH PROLONGED VOWELS)
+
+
+    Who ... drive... Fergus now
+    And pierce ... wood's woven shade? ...
+
+(HE TURNS ON HIS LEFT SIDE, SIGHING, DOUBLING HIMSELF TOGETHER.)
+
+BLOOM: Poetry. Well educated. Pity. (HE BENDS AGAIN AND UNDOES THE
+BUTTONS OF STEPHEN'S WAISTCOAT) To breathe. (HE BRUSHES THE WOODSHAVINGS
+FROM STEPHEN'S CLOTHES WITH LIGHT HAND AND FINGERS) One pound seven. Not
+hurt anyhow. (HE LISTENS) What?
+
+STEPHEN: (MURMURS)
+
+
+    ... shadows ... the woods
+    ... white breast... dim sea.
+
+
+(HE STRETCHES OUT HIS ARMS, SIGHS AGAIN AND CURLS HIS BODY. BLOOM,
+HOLDING THE HAT AND ASHPLANT, STANDS ERECT. A DOG BARKS IN THE DISTANCE.
+BLOOM TIGHTENS AND LOOSENS HIS GRIP ON THE ASHPLANT. HE LOOKS DOWN ON
+STEPHEN'S FACE AND FORM.)
+
+BLOOM: (COMMUNES WITH THE NIGHT) Face reminds me of his poor mother. In
+the shady wood. The deep white breast. Ferguson, I think I caught. A
+girl. Some girl. Best thing could happen him. (HE MURMURS) ... swear that
+I will always hail, ever conceal, never reveal, any part or parts, art or
+arts ... (HE MURMURS) ... in the rough sands of the sea ... a cabletow's
+length from the shore ... where the tide ebbs ... and flows ...
+
+(SILENT, THOUGHTFUL, ALERT HE STANDS ON GUARD, HIS FINGERS AT HIS LIPS IN
+THE ATTITUDE OF SECRET MASTER. AGAINST THE DARK WALL A FIGURE APPEARS
+SLOWLY, A FAIRY BOY OF ELEVEN, A CHANGELING, KIDNAPPED, DRESSED IN AN
+ETON SUIT WITH GLASS SHOES AND A LITTLE BRONZE HELMET, HOLDING A BOOK IN
+HIS HAND. HE READS FROM RIGHT TO LEFT INAUDIBLY, SMILING, KISSING THE
+PAGE.)
+
+BLOOM: (WONDERSTRUCK, CALLS INAUDIBLY) Rudy!
+
+RUDY: (GAZES, UNSEEING, INTO BLOOM'S EYES AND GOES ON READING, KISSING,
+SMILING. HE HAS A DELICATE MAUVE FACE. ON HIS SUIT HE HAS DIAMOND AND
+RUBY BUTTONS. IN HIS FREE LEFT HAND HE HOLDS A SLIM IVORY CANE WITH A
+VIOLET BOWKNOT. A WHITE LAMBKIN PEEPS OUT OF HIS WAISTCOAT POCKET.)
+
+
+    -- III --
+
+
+Preparatory to anything else Mr Bloom brushed off the greater bulk of the
+shavings and handed Stephen the hat and ashplant and bucked him up
+generally in orthodox Samaritan fashion which he very badly needed. His
+(Stephen's) mind was not exactly what you would call wandering but a bit
+unsteady and on his expressed desire for some beverage to drink Mr Bloom
+in view of the hour it was and there being no pump of Vartry water
+available for their ablutions let alone drinking purposes hit upon an
+expedient by suggesting, off the reel, the propriety of the cabman's
+shelter, as it was called, hardly a stonesthrow away near Butt bridge
+where they might hit upon some drinkables in the shape of a milk and soda
+or a mineral. But how to get there was the rub. For the nonce he was
+rather nonplussed but inasmuch as the duty plainly devolved upon him to
+take some measures on the subject he pondered suitable ways and means
+during which Stephen repeatedly yawned. So far as he could see he was
+rather pale in the face so that it occurred to him as highly advisable to
+get a conveyance of some description which would answer in their then
+condition, both of them being e.d.ed, particularly Stephen, always
+assuming that there was such a thing to be found. Accordingly after a few
+such preliminaries as brushing, in spite of his having forgotten to take
+up his rather soapsuddy handkerchief after it had done yeoman service in
+the shaving line, they both walked together along Beaver street or, more
+properly, lane as far as the farrier's and the distinctly fetid
+atmosphere of the livery stables at the corner of Montgomery street where
+they made tracks to the left from thence debouching into Amiens street
+round by the corner of Dan Bergin's. But as he confidently anticipated
+there was not a sign of a Jehu plying for hire anywhere to be seen except
+a fourwheeler, probably engaged by some fellows inside on the spree,
+outside the North Star hotel and there was no symptom of its budging a
+quarter of an inch when Mr Bloom, who was anything but a professional
+whistler, endeavoured to hail it by emitting a kind of a whistle, holding
+his arms arched over his head, twice.
+
+This was a quandary but, bringing common sense to bear on it, evidently
+there was nothing for it but put a good face on the matter and foot it
+which they accordingly did. So, bevelling around by Mullett's and the
+Signal House which they shortly reached, they proceeded perforce in the
+direction of Amiens street railway terminus, Mr Bloom being handicapped
+by the circumstance that one of the back buttons of his trousers had, to
+vary the timehonoured adage, gone the way of all buttons though, entering
+thoroughly into the spirit of the thing, he heroically made light of the
+mischance. So as neither of them were particularly pressed for time, as
+it happened, and the temperature refreshing since it cleared up after the
+recent visitation of Jupiter Pluvius, they dandered along past by where
+the empty vehicle was waiting without a fare or a jarvey. As it so
+happened a Dublin United Tramways Company's sandstrewer happened to be
+returning and the elder man recounted to his companion A PROPOS of the
+incident his own truly miraculous escape of some little while back. They
+passed the main entrance of the Great Northern railway station, the
+starting point for Belfast, where of course all traffic was suspended at
+that late hour and passing the backdoor of the morgue (a not very
+enticing locality, not to say gruesome to a degree, more especially at
+night) ultimately gained the Dock Tavern and in due course turned into
+Store street, famous for its C division police station. Between this
+point and the high at present unlit warehouses of Beresford place Stephen
+thought to think of Ibsen, associated with Baird's the stonecutter's in
+his mind somehow in Talbot place, first turning on the right, while the
+other who was acting as his FIDUS ACHATES inhaled with internal
+satisfaction the smell of James Rourke's city bakery, situated quite
+close to where they were, the very palatable odour indeed of our daily
+bread, of all commodities of the public the primary and most
+indispensable. Bread, the staff of life, earn your bread, O tell me where
+is fancy bread, at Rourke's the baker's it is said.
+
+EN ROUTE to his taciturn and, not to put too fine a point on it, not yet
+perfectly sober companion Mr Bloom who at all events was in complete
+possession of his faculties, never more so, in fact disgustingly sober,
+spoke a word of caution re the dangers of nighttown, women of ill fame
+and swell mobsmen, which, barely permissible once in a while though not
+as a habitual practice, was of the nature of a regular deathtrap for
+young fellows of his age particularly if they had acquired drinking
+habits under the influence of liquor unless you knew a little jiujitsu
+for every contingency as even a fellow on the broad of his back could
+administer a nasty kick if you didn't look out. Highly providential was
+the appearance on the scene of Corny Kelleher when Stephen was blissfully
+unconscious but for that man in the gap turning up at the eleventh hour
+the finis might have been that he might have been a candidate for the
+accident ward or, failing that, the bridewell and an appearance in the
+court next day before Mr Tobias or, he being the solicitor rather, old
+Wall, he meant to say, or Mahony which simply spelt ruin for a chap when
+it got bruited about. The reason he mentioned the fact was that a lot of
+those policemen, whom he cordially disliked, were admittedly unscrupulous
+in the service of the Crown and, as Mr Bloom put it, recalling a case or
+two in the A division in Clanbrassil street, prepared to swear a hole
+through a ten gallon pot. Never on the spot when wanted but in quiet
+parts of the city, Pembroke road for example, the guardians of the law
+were well in evidence, the obvious reason being they were paid to protect
+the upper classes. Another thing he commented on was equipping soldiers
+with firearms or sidearms of any description liable to go off at any time
+which was tantamount to inciting them against civilians should by any
+chance they fall out over anything. You frittered away your time, he very
+sensibly maintained, and health and also character besides which, the
+squandermania of the thing, fast women of the DEMIMONDE ran away with a
+lot of l.s.d. into the bargain and the greatest danger of all was who you
+got drunk with though, touching the much vexed question of stimulants, he
+relished a glass of choice old wine in season as both nourishing and
+bloodmaking and possessing aperient virtues (notably a good burgundy
+which he was a staunch believer in) still never beyond a certain point
+where he invariably drew the line as it simply led to trouble all round
+to say nothing of your being at the tender mercy of others practically.
+Most of all he commented adversely on the desertion of Stephen by all his
+pubhunting CONFRERES but one, a most glaring piece of ratting on the part
+of his brother medicos under all the circs.
+
+--And that one was Judas, Stephen said, who up to then had said nothing
+whatsoever of any kind.
+
+Discussing these and kindred topics they made a beeline across the back
+of the Customhouse and passed under the Loop Line bridge where a brazier
+of coke burning in front of a sentrybox or something like one attracted
+their rather lagging footsteps. Stephen of his own accord stopped for no
+special reason to look at the heap of barren cobblestones and by the
+light emanating from the brazier he could just make out the darker figure
+of the corporation watchman inside the gloom of the sentrybox. He began
+to remember that this had happened or had been mentioned as having
+happened before but it cost him no small effort before he remembered that
+he recognised in the sentry a quondam friend of his father's, Gumley. To
+avoid a meeting he drew nearer to the pillars of the railway bridge.
+
+--Someone saluted you, Mr Bloom said.
+
+A figure of middle height on the prowl evidently under the arches saluted
+again, calling:
+
+--NIGHT!
+
+Stephen of course started rather dizzily and stopped to return the
+compliment. Mr Bloom actuated by motives of inherent delicacy inasmuch as
+he always believed in minding his own business moved off but nevertheless
+remained on the QUI VIVE with just a shade of anxiety though not funkyish
+in the least. Though unusual in the Dublin area he knew that it was not
+by any means unknown for desperadoes who had next to nothing to live on
+to be abroad waylaying and generally terrorising peaceable pedestrians by
+placing a pistol at their head in some secluded spot outside the city
+proper, famished loiterers of the Thames embankment category they might
+be hanging about there or simply marauders ready to decamp with whatever
+boodle they could in one fell swoop at a moment's notice, your money or
+your life, leaving you there to point a moral, gagged and garrotted.
+
+Stephen, that is when the accosting figure came to close quarters, though
+he was not in an over sober state himself recognised Corley's breath
+redolent of rotten cornjuice. Lord John Corley some called him and his
+genealogy came about in this wise. He was the eldest son of inspector
+Corley of the G division, lately deceased, who had married a certain
+Katherine Brophy, the daughter of a Louth farmer. His grandfather Patrick
+Michael Corley of New Ross had married the widow of a publican there
+whose maiden name had been Katherine (also) Talbot. Rumour had it (though
+not proved) that she descended from the house of the lords Talbot de
+Malahide in whose mansion, really an unquestionably fine residence of its
+kind and well worth seeing, her mother or aunt or some relative, a woman,
+as the tale went, of extreme beauty, had enjoyed the distinction of being
+in service in the washkitchen. This therefore was the reason why the
+still comparatively young though dissolute man who now addressed Stephen
+was spoken of by some with facetious proclivities as Lord John Corley.
+
+Taking Stephen on one side he had the customary doleful ditty to tell.
+Not as much as a farthing to purchase a night's lodgings. His friends had
+all deserted him. Furthermore he had a row with Lenehan and called him to
+Stephen a mean bloody swab with a sprinkling of a number of other
+uncalledfor expressions. He was out of a job and implored of Stephen to
+tell him where on God's earth he could get something, anything at all, to
+do. No, it was the daughter of the mother in the washkitchen that was
+fostersister to the heir of the house or else they were connected through
+the mother in some way, both occurrences happening at the same time if
+the whole thing wasn't a complete fabrication from start to finish.
+Anyhow he was all in.
+
+--I wouldn't ask you only, pursued he, on my solemn oath and God knows
+I'm on the rocks.
+
+--There'll be a job tomorrow or next day, Stephen told him, in a boys'
+school at Dalkey for a gentleman usher. Mr Garrett Deasy. Try it. You may
+mention my name.
+
+--Ah, God, Corley replied, sure I couldn't teach in a school, man. I was
+never one of your bright ones, he added with a half laugh. I got stuck
+twice in the junior at the christian brothers.
+
+--I have no place to sleep myself, Stephen informed him.
+
+Corley at the first go-off was inclined to suspect it was something to do
+with Stephen being fired out of his digs for bringing in a bloody tart
+off the street. There was a dosshouse in Marlborough street, Mrs
+Maloney's, but it was only a tanner touch and full of undesirables but
+M'Conachie told him you got a decent enough do in the Brazen Head over in
+Winetavern street (which was distantly suggestive to the person addressed
+of friar Bacon) for a bob. He was starving too though he hadn't said a
+word about it.
+
+Though this sort of thing went on every other night or very near it still
+Stephen's feelings got the better of him in a sense though he knew that
+Corley's brandnew rigmarole on a par with the others was hardly deserving
+of much credence. However HAUD IGNARUS MALORUM MISERIS SUCCURRERE DISCO
+etcetera as the Latin poet remarks especially as luck would have it he
+got paid his screw after every middle of the month on the sixteenth which
+was the date of the month as a matter of fact though a good bit of the
+wherewithal was demolished. But the cream of the joke was nothing would
+get it out of Corley's head that he was living in affluence and hadn't a
+thing to do but hand out the needful. Whereas. He put his hand in a
+pocket anyhow not with the idea of finding any food there but thinking he
+might lend him anything up to a bob or so in lieu so that he might
+endeavour at all events and get sufficient to eat but the result was in
+the negative for, to his chagrin, he found his cash missing. A few broken
+biscuits were all the result of his investigation. He tried his hardest
+to recollect for the moment whether he had lost as well he might have or
+left because in that contingency it was not a pleasant lookout, very much
+the reverse in fact. He was altogether too fagged out to institute a
+thorough search though he tried to recollect. About biscuits he dimly
+remembered. Who now exactly gave them he wondered or where was or did he
+buy. However in another pocket he came across what he surmised in the
+dark were pennies, erroneously however, as it turned out.
+
+--Those are halfcrowns, man, Corley corrected him.
+
+And so in point of fact they turned out to be. Stephen anyhow lent him
+one of them.
+
+--Thanks, Corley answered, you're a gentleman. I'll pay you back one
+time. Who's that with you? I saw him a few times in the Bleeding Horse in
+Camden street with Boylan, the billsticker. You might put in a good word
+for us to get me taken on there. I'd carry a sandwichboard only the girl
+in the office told me they're full up for the next three weeks, man. God,
+you've to book ahead, man, you'd think it was for the Carl Rosa. I don't
+give a shite anyway so long as I get a job, even as a crossing sweeper.
+
+Subsequently being not quite so down in the mouth after the two and six
+he got he informed Stephen about a fellow by the name of Bags Comisky
+that he said Stephen knew well out of Fullam's, the shipchandler's,
+bookkeeper there that used to be often round in Nagle's back with O'Mara
+and a little chap with a stutter the name of Tighe. Anyhow he was lagged
+the night before last and fined ten bob for a drunk and disorderly and
+refusing to go with the constable.
+
+Mr Bloom in the meanwhile kept dodging about in the vicinity of the
+cobblestones near the brazier of coke in front of the corporation
+watchman's sentrybox who evidently a glutton for work, it struck him, was
+having a quiet forty winks for all intents and purposes on his own
+private account while Dublin slept. He threw an odd eye at the same time
+now and then at Stephen's anything but immaculately attired interlocutor
+as if he had seen that nobleman somewhere or other though where he was
+not in a position to truthfully state nor had he the remotest idea when.
+Being a levelheaded individual who could give points to not a few in
+point of shrewd observation he also remarked on his very dilapidated hat
+and slouchy wearing apparel generally testifying to a chronic
+impecuniosity. Palpably he was one of his hangerson but for the matter of
+that it was merely a question of one preying on his nextdoor neighbour
+all round, in every deep, so to put it, a deeper depth and for the matter
+of that if the man in the street chanced to be in the dock himself penal
+servitude with or without the option of a fine would be a very rara avis
+altogether. In any case he had a consummate amount of cool assurance
+intercepting people at that hour of the night or morning. Pretty thick
+that was certainly.
+
+The pair parted company and Stephen rejoined Mr Bloom who, with his
+practised eye, was not without perceiving that he had succumbed to the
+blandiloquence of the other parasite. Alluding to the encounter he said,
+laughingly, Stephen, that is:
+
+--He is down on his luck. He asked me to ask you to ask somebody named
+Boylan, a billsticker, to give him a job as a sandwichman.
+
+At this intelligence, in which he seemingly evinced little interest, Mr
+Bloom gazed abstractedly for the space of a half a second or so in the
+direction of a bucketdredger, rejoicing in the farfamed name of Eblana,
+moored alongside Customhouse quay and quite possibly out of repair,
+whereupon he observed evasively:
+
+--Everybody gets their own ration of luck, they say. Now you mention it
+his face was familiar to me. But, leaving that for the moment, how much
+did you part with, he queried, if I am not too inquisitive?
+
+--Half a crown, Stephen responded. I daresay he needs it to sleep
+somewhere.
+
+--Needs! Mr Bloom ejaculated, professing not the least surprise at the
+intelligence, I can quite credit the assertion and I guarantee he
+invariably does. Everyone according to his needs or everyone according to
+his deeds. But, talking about things in general, where, added he with a
+smile, will you sleep yourself? Walking to Sandycove is out of the
+question. And even supposing you did you won't get in after what occurred
+at Westland Row station. Simply fag out there for nothing. I don't mean
+to presume to dictate to you in the slightest degree but why did you
+leave your father's house?
+
+--To seek misfortune, was Stephen's answer.
+
+--I met your respected father on a recent occasion, Mr Bloom
+diplomatically returned, today in fact, or to be strictly accurate, on
+yesterday. Where does he live at present? I gathered in the course of
+conversation that he had moved.
+
+--I believe he is in Dublin somewhere, Stephen answered unconcernedly.
+Why?
+
+--A gifted man, Mr Bloom said of Mr Dedalus senior, in more respects than
+one and a born RACONTEUR if ever there was one. He takes great pride,
+quite legitimate, out of you. You could go back perhaps, he hasarded,
+still thinking of the very unpleasant scene at Westland Row terminus when
+it was perfectly evident that the other two, Mulligan, that is, and that
+English tourist friend of his, who eventually euchred their third
+companion, were patently trying as if the whole bally station belonged to
+them to give Stephen the slip in the confusion, which they did.
+
+There was no response forthcoming to the suggestion however, such as it
+was, Stephen's mind's eye being too busily engaged in repicturing his
+family hearth the last time he saw it with his sister Dilly sitting by
+the ingle, her hair hanging down, waiting for some weak Trinidad shell
+cocoa that was in the sootcoated kettle to be done so that she and he
+could drink it with the oatmealwater for milk after the Friday herrings
+they had eaten at two a penny with an egg apiece for Maggy, Boody and
+Katey, the cat meanwhile under the mangle devouring a mess of eggshells
+and charred fish heads and bones on a square of brown paper, in
+accordance with the third precept of the church to fast and abstain on
+the days commanded, it being quarter tense or if not, ember days or
+something like that.
+
+--No, Mr Bloom repeated again, I wouldn't personally repose much trust in
+that boon companion of yours who contributes the humorous element, Dr
+Mulligan, as a guide, philosopher and friend if I were in your shoes. He
+knows which side his bread is buttered on though in all probability he
+never realised what it is to be without regular meals. Of course you
+didn't notice as much as I did. But it wouldn't occasion me the least
+surprise to learn that a pinch of tobacco or some narcotic was put in
+your drink for some ulterior object.
+
+He understood however from all he heard that Dr Mulligan was a versatile
+allround man, by no means confined to medicine only, who was rapidly
+coming to the fore in his line and, if the report was verified, bade fair
+to enjoy a flourishing practice in the not too distant future as a tony
+medical practitioner drawing a handsome fee for his services in addition
+to which professional status his rescue of that man from certain drowning
+by artificial respiration and what they call first aid at Skerries, or
+Malahide was it?, was, he was bound to admit, an exceedingly plucky deed
+which he could not too highly praise, so that frankly he was utterly at a
+loss to fathom what earthly reason could be at the back of it except he
+put it down to sheer cussedness or jealousy, pure and simple.
+
+--Except it simply amounts to one thing and he is what they call picking
+your brains, he ventured to throw o.ut.
+
+The guarded glance of half solicitude half curiosity augmented by
+friendliness which he gave at Stephen's at present morose expression of
+features did not throw a flood of light, none at all in fact on the
+problem as to whether he had let himself be badly bamboozled to judge by
+two or three lowspirited remarks he let drop or the other way about saw
+through the affair and for some reason or other best known to himself
+allowed matters to more or less. Grinding poverty did have that effect
+and he more than conjectured that, high educational abilities though he
+possessed, he experienced no little difficulty in making both ends meet.
+
+Adjacent to the men's public urinal they perceived an icecream car round
+which a group of presumably Italians in heated altercation were getting
+rid of voluble expressions in their vivacious language in a particularly
+animated way, there being some little differences between the parties.
+
+--PUTTANA MADONNA, CHE CI DIA I QUATTRINI! HO RAGIONE? CULO ROTTO!
+
+--INTENDIAMOCI. MEZZO SOVRANO PIU ...
+
+--DICE LUI, PERO!
+
+--MEZZO.
+
+--FARABUTTO! MORTACCI SUI!
+
+--MA ASCOLTA! CINQUE LA TESTA PIU ...
+
+Mr Bloom and Stephen entered the cabman's shelter, an unpretentious
+wooden structure, where, prior to then, he had rarely if ever been
+before, the former having previously whispered to the latter a few hints
+anent the keeper of it said to be the once famous Skin-the-Goat
+Fitzharris, the invincible, though he could not vouch for the actual
+facts which quite possibly there was not one vestige of truth in. A few
+moments later saw our two noctambules safely seated in a discreet corner
+only to be greeted by stares from the decidedly miscellaneous collection
+of waifs and strays and other nondescript specimens of the genus HOMO
+already there engaged in eating and drinking diversified by conversation
+for whom they seemingly formed an object of marked curiosity.
+
+--Now touching a cup of coffee, Mr Bloom ventured to plausibly suggest to
+break the ice, it occurs to me you ought to sample something in the shape
+of solid food, say, a roll of some description.
+
+Accordingly his first act was with characteristic SANGFROID to order
+these commodities quietly. The HOI POLLOI of jarvies or stevedores or
+whatever they were after a cursory examination turned their eyes
+apparently dissatisfied, away though one redbearded bibulous individual
+portion of whose hair was greyish, a sailor probably, still stared for
+some appreciable time before transferring his rapt attention to the
+floor. Mr Bloom, availing himself of the right of free speech, he having
+just a bowing acquaintance with the language in dispute, though, to be
+sure, rather in a quandary over VOGLIO, remarked to his PROTEGE in an
+audible tone of voice A PROPOS of the battle royal in the street which
+was still raging fast and furious:
+
+--A beautiful language. I mean for singing purposes. Why do you not write
+your poetry in that language? BELLA POETRIA! It is so melodious and full.
+BELLADONNA. VOGLIO.
+
+Stephen, who was trying his dead best to yawn if he could, suffering from
+lassitude generally, replied:
+
+--To fill the ear of a cow elephant. They were haggling over money.
+
+--Is that so? Mr Bloom asked. Of course, he subjoined pensively, at the
+inward reflection of there being more languages to start with than were
+absolutely necessary, it may be only the southern glamour that surrounds
+it.
+
+The keeper of the shelter in the middle of this TETE-A-TETE put a boiling
+swimming cup of a choice concoction labelled coffee on the table and a
+rather antediluvian specimen of a bun, or so it seemed. After which he
+beat a retreat to his counter, Mr Bloom determining to have a good square
+look at him later on so as not to appear to. For which reason he
+encouraged Stephen to proceed with his eyes while he did the honours by
+surreptitiously pushing the cup of what was temporarily supposed to be
+called coffee gradually nearer him.
+
+--Sounds are impostures, Stephen said after a pause of some little time,
+like names. Cicero, Podmore. Napoleon, Mr Goodbody. Jesus, Mr Doyle.
+Shakespeares were as common as Murphies. What's in a name?
+
+--Yes, to be sure, Mr Bloom unaffectedly concurred. Of course. Our name
+was changed too, he added, pushing the socalled roll across.
+
+The redbearded sailor who had his weather eye on the newcomers boarded
+Stephen, whom he had singled out for attention in particular, squarely by
+asking:
+
+--And what might your name be?
+
+Just in the nick of time Mr Bloom touched his companion's boot but
+Stephen, apparently disregarding the warm pressure from an unexpected
+quarter, answered:
+
+--Dedalus.
+
+The sailor stared at him heavily from a pair of drowsy baggy eyes, rather
+bunged up from excessive use of boose, preferably good old Hollands and
+water.
+
+--You know Simon Dedalus? he asked at length.
+
+--I've heard of him, Stephen said.
+
+Mr Bloom was all at sea for a moment, seeing the others evidently
+eavesdropping too.
+
+--He's Irish, the seaman bold affirmed, staring still in much the same
+way and nodding. All Irish.
+
+--All too Irish, Stephen rejoined.
+
+As for Mr Bloom he could neither make head or tail of the whole business
+and he was just asking himself what possible connection when the sailor
+of his own accord turned to the other occupants of the shelter with the
+remark:
+
+--I seen him shoot two eggs off two bottles at fifty yards over his
+shoulder. The lefthand dead shot.
+
+Though he was slightly hampered by an occasional stammer and his gestures
+being also clumsy as it was still he did his best to explain.
+
+--Bottles out there, say. Fifty yards measured. Eggs on the bottles.
+Cocks his gun over his shoulder. Aims.
+
+He turned his body half round, shut up his right eye completely. Then he
+screwed his features up someway sideways and glared out into the night
+with an unprepossessing cast of countenance.
+
+--Pom! he then shouted once.
+
+The entire audience waited, anticipating an additional detonation, there
+being still a further egg.
+
+--Pom! he shouted twice.
+
+Egg two evidently demolished, he nodded and winked, adding
+bloodthirstily:
+
+
+  --BUFFALO BILL SHOOTS TO KILL,
+    NEVER MISSED NOR HE NEVER WILL.
+
+
+A silence ensued till Mr Bloom for agreeableness' sake just felt like
+asking him whether it was for a marksmanship competition like the Bisley.
+
+--Beg pardon, the sailor said.
+
+--Long ago? Mr Bloom pursued without flinching a hairsbreadth.
+
+--Why, the sailor replied, relaxing to a certain extent under the magic
+influence of diamond cut diamond, it might be a matter of ten years. He
+toured the wide world with Hengler's Royal Circus. I seen him do that in
+Stockholm.
+
+--Curious coincidence, Mr Bloom confided to Stephen unobtrusively.
+
+--Murphy's my name, the sailor continued. D. B. Murphy of Carrigaloe.
+Know where that is?
+
+--Queenstown harbour, Stephen replied.
+
+--That's right, the sailor said. Fort Camden and Fort Carlisle. That's
+where I hails from. I belongs there. That's where I hails from. My little
+woman's down there. She's waiting for me, I know. FOR ENGLAND, HOME AND
+BEAUTY. She's my own true wife I haven't seen for seven years now,
+sailing about.
+
+Mr Bloom could easily picture his advent on this scene, the homecoming to
+the mariner's roadside shieling after having diddled Davy Jones, a rainy
+night with a blind moon. Across the world for a wife. Quite a number of
+stories there were on that particular Alice Ben Bolt topic, Enoch Arden
+and Rip van Winkle and does anybody hereabouts remember Caoc O'Leary, a
+favourite and most trying declamation piece by the way of poor John Casey
+and a bit of perfect poetry in its own small way. Never about the runaway
+wife coming back, however much devoted to the absentee. The face at the
+window! Judge of his astonishment when he finally did breast the tape and
+the awful truth dawned upon him anent his better half, wrecked in his
+affections. You little expected me but I've come to stay and make a fresh
+start. There she sits, a grasswidow, at the selfsame fireside. Believes
+me dead, rocked in the cradle of the deep. And there sits uncle Chubb or
+Tomkin, as the case might be, the publican of the Crown and Anchor, in
+shirtsleeves, eating rumpsteak and onions. No chair for father. Broo! The
+wind! Her brandnew arrival is on her knee, POST MORTEM child. With a high
+ro! and a randy ro! and my galloping tearing tandy, O! Bow to the
+inevitable. Grin and bear it. I remain with much love your brokenhearted
+husband D B Murphy.
+
+The sailor, who scarcely seemed to be a Dublin resident, turned to one of
+the jarvies with the request:
+
+--You don't happen to have such a thing as a spare chaw about you?
+
+The jarvey addressed as it happened had not but the keeper took a die of
+plug from his good jacket hanging on a nail and the desired object was
+passed from hand to hand.
+
+--Thank you, the sailor said.
+
+He deposited the quid in his gob and, chewing and with some slow
+stammers, proceeded:
+
+--We come up this morning eleven o'clock. The threemaster ROSEVEAN from
+Bridgwater with bricks. I shipped to get over. Paid off this afternoon.
+There's my discharge. See? D. B. Murphy. A. B. S.
+
+In confirmation of which statement he extricated from an inside pocket
+and handed to his neighbour a not very cleanlooking folded document.
+
+--You must have seen a fair share of the world, the keeper remarked,
+leaning on the counter.
+
+--Why, the sailor answered upon reflection upon it, I've circumnavigated
+a bit since I first joined on. I was in the Red Sea. I was in China and
+North America and South America. We was chased by pirates one voyage. I
+seen icebergs plenty, growlers. I was in Stockholm and the Black Sea, the
+Dardanelles under Captain Dalton, the best bloody man that ever scuttled
+a ship. I seen Russia. GOSPODI POMILYOU. That's how the Russians prays.
+
+--You seen queer sights, don't be talking, put in a jarvey.
+
+--Why, the sailor said, shifting his partially chewed plug. I seen queer
+things too, ups and downs. I seen a crocodile bite the fluke of an anchor
+same as I chew that quid.
+
+He took out of his mouth the pulpy quid and, lodging it between his
+teeth, bit ferociously:
+
+--Khaan! Like that. And I seen maneaters in Peru that eats corpses and
+the livers of horses. Look here. Here they are. A friend of mine sent me.
+
+He fumbled out a picture postcard from his inside pocket which seemed to
+be in its way a species of repository and pushed it along the table. The
+printed matter on it stated: CHOZA DE INDIOS. BENI, BOLIVIA.
+
+All focussed their attention at the scene exhibited, a group of savage
+women in striped loincloths, squatted, blinking, suckling, frowning,
+sleeping amid a swarm of infants (there must have been quite a score of
+them) outside some primitive shanties of osier.
+
+--Chews coca all day, the communicative tarpaulin added. Stomachs like
+breadgraters. Cuts off their diddies when they can't bear no more
+children.
+
+See them sitting there stark ballocknaked eating a dead horse's liver
+raw.
+
+His postcard proved a centre of attraction for Messrs the greenhorns for
+several minutes if not more.
+
+--Know how to keep them off? he inquired generally.
+
+Nobody volunteering a statement he winked, saying:
+
+--Glass. That boggles 'em. Glass.
+
+Mr Bloom, without evincing surprise, unostentatiously turned over the
+card to peruse the partially obliterated address and postmark. It ran as
+follows: TARJETA POSTAL, SENOR A BOUDIN, GALERIA BECCHE, SANTIAGO, CHILE.
+There was no message evidently, as he took particular notice. Though not
+an implicit believer in the lurid story narrated (or the eggsniping
+transaction for that matter despite William Tell and the Lazarillo-Don
+Cesar de Bazan incident depicted in MARITANA on which occasion the
+former's ball passed through the latter's hat) having detected a
+discrepancy between his name (assuming he was the person he represented
+himself to be and not sailing under false colours after having boxed the
+compass on the strict q.t. somewhere) and the fictitious addressee of the
+missive which made him nourish some suspicions of our friend's BONA FIDES
+nevertheless it reminded him in a way of a longcherished plan he meant to
+one day realise some Wednesday or Saturday of travelling to London via
+long sea not to say that he had ever travelled extensively to any great
+extent but he was at heart a born adventurer though by a trick of fate he
+had consistently remained a landlubber except you call going to Holyhead
+which was his longest. Martin Cunningham frequently said he would work a
+pass through Egan but some deuced hitch or other eternally cropped up
+with the net result that the scheme fell through. But even suppose it did
+come to planking down the needful and breaking Boyd's heart it was not so
+dear, purse permitting, a few guineas at the outside considering the fare
+to Mullingar where he figured on going was five and six, there and back.
+The trip would benefit health on account of the bracing ozone and be in
+every way thoroughly pleasurable, especially for a chap whose liver was
+out of order, seeing the different places along the route, Plymouth,
+Falmouth, Southampton and so on culminating in an instructive tour of the
+sights of the great metropolis, the spectacle of our modern Babylon where
+doubtless he would see the greatest improvement, tower, abbey, wealth of
+Park lane to renew acquaintance with. Another thing just struck him as a
+by no means bad notion was he might have a gaze around on the spot to see
+about trying to make arrangements about a concert tour of summer music
+embracing the most prominent pleasure resorts, Margate with mixed bathing
+and firstrate hydros and spas, Eastbourne, Scarborough, Margate and so
+on, beautiful Bournemouth, the Channel islands and similar bijou spots,
+which might prove highly remunerative. Not, of course, with a hole and
+corner scratch company or local ladies on the job, witness Mrs C P M'Coy
+type lend me your valise and I'll post you the ticket. No, something top
+notch, an all star Irish caste, the Tweedy-Flower grand opera company
+with his own legal consort as leading lady as a sort of counterblast to
+the Elster Grimes and Moody-Manners, perfectly simple matter and he was
+quite sanguine of success, providing puffs in the local papers could be
+managed by some fellow with a bit of bounce who could pull the
+indispensable wires and thus combine business with pleasure. But who?
+That was the rub.  Also, without being actually positive, it struck him a
+great field was to be opened up in the line of opening up new routes to
+keep pace with the times APROPOS of the Fishguard-Rosslare route which,
+it was mooted, was once more on the TAPIS in the circumlocution
+departments with the usual quantity of red tape and dillydallying of
+effete fogeydom and dunderheads generally. A great opportunity there
+certainly was for push and enterprise to meet the travelling needs of the
+public at large, the average man, i.e. Brown, Robinson and Co.
+
+It was a subject of regret and absurd as well on the face of it and no
+small blame to our vaunted society that the man in the street, when the
+system really needed toning up, for the matter of a couple of paltry
+pounds was debarred from seeing more of the world they lived in instead
+of being always and ever cooped up since my old stick-in-the-mud took me
+for a wife. After all, hang it, they had their eleven and more humdrum
+months of it and merited a radical change of VENUE after the grind of
+city life in the summertime for choice when dame Nature is at her
+spectacular best constituting nothing short of a new lease of life. There
+were equally excellent opportunities for vacationists in the home island,
+delightful sylvan spots for rejuvenation, offering a plethora of
+attractions as well as a bracing tonic for the system in and around
+Dublin and its picturesque environs even, Poulaphouca to which there was
+a steamtram, but also farther away from the madding crowd in Wicklow,
+rightly termed the garden of Ireland, an ideal neighbourhood for elderly
+wheelmen so long as it didn't come down, and in the wilds of Donegal
+where if report spoke true the COUP D'OEIL was exceedingly grand though
+the lastnamed locality was not easily getatable so that the influx of
+visitors was not as yet all that it might be considering the signal
+benefits to be derived from it while Howth with its historic associations
+and otherwise, Silken Thomas, Grace O'Malley, George IV, rhododendrons
+several hundred feet above sealevel was a favourite haunt with all sorts
+and conditions of men especially in the spring when young men's fancy,
+though it had its own toll of deaths by falling off the cliffs by design
+or accidentally, usually, by the way, on their left leg, it being only
+about three quarters of an hour's run from the pillar. Because of course
+uptodate tourist travelling was as yet merely in its infancy, so to
+speak, and the accommodation left much to be desired. Interesting to
+fathom it seemed to him from a motive of curiosity, pure and simple, was
+whether it was the traffic that created the route or viceversa or the two
+sides in fact. He turned back the other side of the card, picture, and
+passed it along to Stephen.
+
+--I seen a Chinese one time, related the doughty narrator, that had
+little pills like putty and he put them in the water and they opened and
+every pill was something different. One was a ship, another was a house,
+another was a flower. Cooks rats in your soup, he appetisingly added, the
+chinks does.
+
+Possibly perceiving an expression of dubiosity on their faces the
+globetrotter went on, adhering to his adventures.
+
+--And I seen a man killed in Trieste by an Italian chap. Knife in his
+back. Knife like that.
+
+Whilst speaking he produced a dangerouslooking claspknife quite in
+keeping with his character and held it in the striking position.
+
+--In a knockingshop it was count of a tryon between two smugglers. Fellow
+hid behind a door, come up behind him. Like that. PREPARE TO MEET YOUR
+GOD, says he. Chuk! It went into his back up to the butt.
+
+His heavy glance drowsily roaming about kind of defied their further
+questions even should they by any chance want to.
+
+--That's a good bit of steel, repeated he, examining his formidable
+STILETTO.
+
+After which harrowing DENOUEMENT sufficient to appal the stoutest he
+snapped the blade to and stowed the weapon in question away as before in
+his chamber of horrors, otherwise pocket.
+
+--They're great for the cold steel, somebody who was evidently quite in
+the dark said for the benefit of them all. That was why they thought the
+park murders of the invincibles was done by foreigners on account of them
+using knives.
+
+At this remark passed obviously in the spirit of WHERE IGNORANCE IS BLISS
+Mr B. and Stephen, each in his own particular way, both instinctively
+exchanged meaning glances, in a religious silence of the strictly ENTRE
+NOUS variety however, towards where Skin-the-Goat, ALIAS the keeper, not
+turning a hair, was drawing spurts of liquid from his boiler affair. His
+inscrutable face which was really a work of art, a perfect study in
+itself, beggaring description, conveyed the impression that he didn't
+understand one jot of what was going on. Funny, very!
+
+There ensued a somewhat lengthy pause. One man was reading in fits and
+starts a stained by coffee evening journal, another the card with the
+natives CHOZA DE, another the seaman's discharge. Mr Bloom, so far as he
+was personally concerned, was just pondering in pensive mood. He vividly
+recollected when the occurrence alluded to took place as well as
+yesterday, roughly some score of years previously in the days of the land
+troubles, when it took the civilised world by storm, figuratively
+speaking, early in the eighties, eightyone to be correct, when he was
+just turned fifteen.
+
+--Ay, boss, the sailor broke in. Give us back them papers.
+
+The request being complied with he clawed them up with a scrape.
+
+--Have you seen the rock of Gibraltar? Mr Bloom inquired.
+
+The sailor grimaced, chewing, in a way that might be read as yes, ay or
+no.
+
+--Ah, you've touched there too, Mr Bloom said, Europa point, thinking he
+had, in the hope that the rover might possibly by some reminiscences but
+he failed to do so, simply letting spirt a jet of spew into the sawdust,
+and shook his head with a sort of lazy scorn.
+
+--What year would that be about? Mr B interrogated. Can you recall the
+boats?
+
+Our SOI-DISANT sailor munched heavily awhile hungrily before answering:
+
+--I'm tired of all them rocks in the sea, he said, and boats and ships.
+Salt junk all the time.
+
+Tired seemingly, he ceased. His questioner perceiving that he was not
+likely to get a great deal of change out of such a wily old customer,
+fell to woolgathering on the enormous dimensions of the water about the
+globe, suffice it to say that, as a casual glance at the map revealed, it
+covered fully three fourths of it and he fully realised accordingly what
+it meant to rule the waves. On more than one occasion, a dozen at the
+lowest, near the North Bull at Dollymount he had remarked a superannuated
+old salt, evidently derelict, seated habitually near the not particularly
+redolent sea on the wall, staring quite obliviously at it and it at him,
+dreaming of fresh woods and pastures new as someone somewhere sings. And
+it left him wondering why. Possibly he had tried to find out the secret
+for himself, floundering up and down the antipodes and all that sort of
+thing and over and under, well, not exactly under, tempting the fates.
+And the odds were twenty to nil there was really no secret about it at
+all. Nevertheless, without going into the MINUTIAE of the business, the
+eloquent fact remained that the sea was there in all its glory and in the
+natural course of things somebody or other had to sail on it and fly in
+the face of providence though it merely went to show how people usually
+contrived to load that sort of onus on to the other fellow like the hell
+idea and the lottery and insurance which were run on identically the same
+lines so that for that very reason if no other lifeboat Sunday was a
+highly laudable institution to which the public at large, no matter where
+living inland or seaside, as the case might be, having it brought home to
+them like that should extend its gratitude also to the harbourmasters and
+coastguard service who had to man the rigging and push off and out amid
+the elements whatever the season when duty called IRELAND EXPECTS THAT
+EVERY MAN and so on and sometimes had a terrible time of it in the
+wintertime not forgetting the Irish lights, Kish and others, liable to
+capsize at any moment, rounding which he once with his daughter had
+experienced some remarkably choppy, not to say stormy, weather.
+
+--There was a fellow sailed with me in the Rover, the old seadog, himself
+a rover, proceeded, went ashore and took up a soft job as gentleman's
+valet at six quid a month. Them are his trousers I've on me and he gave
+me an oilskin and that jackknife. I'm game for that job, shaving and
+brushup. I hate roaming about. There's my son now, Danny, run off to sea
+and his mother got him took in a draper's in Cork where he could be
+drawing easy money.
+
+--What age is he? queried one hearer who, by the way, seen from the side,
+bore a distant resemblance to Henry Campbell, the townclerk, away from
+the carking cares of office, unwashed of course and in a seedy getup and
+a strong suspicion of nosepaint about the nasal appendage.
+
+--Why, the sailor answered with a slow puzzled utterance, my son, Danny?
+He'd be about eighteen now, way I figure it.
+
+The Skibbereen father hereupon tore open his grey or unclean anyhow shirt
+with his two hands and scratched away at his chest on which was to be
+seen an image tattooed in blue Chinese ink intended to represent an
+anchor.
+
+--There was lice in that bunk in Bridgwater, he remarked, sure as nuts. I
+must get a wash tomorrow or next day. It's them black lads I objects to.
+I hate those buggers. Suck your blood dry, they does.
+
+Seeing they were all looking at his chest he accommodatingly dragged his
+shirt more open so that on top of the timehonoured symbol of the
+mariner's hope and rest they had a full view of the figure 16 and a young
+man's sideface looking frowningly rather.
+
+--Tattoo, the exhibitor explained. That was done when we were Iying
+becalmed off Odessa in the Black Sea under Captain Dalton. Fellow, the
+name of Antonio, done that. There he is himself, a Greek.
+
+--Did it hurt much doing it? one asked the sailor.
+
+That worthy, however, was busily engaged in collecting round the. Someway
+in his. Squeezing or.
+
+--See here, he said, showing Antonio. There he is cursing the mate. And
+there he is now, he added, the same fellow, pulling the skin with his
+fingers, some special knack evidently, and he laughing at a yarn.
+
+And in point of fact the young man named Antonio's livid face did
+actually look like forced smiling and the curious effect excited the
+unreserved admiration of everybody including Skin-the-Goat, who this time
+stretched over.
+
+--Ay, ay, sighed the sailor, looking down on his manly chest. He's gone
+too. Ate by sharks after. Ay, ay.
+
+He let go of the skin so that the profile resumed the normal expression
+of before.
+
+--Neat bit of work, one longshoreman said.
+
+--And what's the number for? loafer number two queried.
+
+--Eaten alive? a third asked the sailor.
+
+--Ay, ay, sighed again the latter personage, more cheerily this time with
+some sort of a half smile for a brief duration only in the direction of
+the questioner about the number. Ate. A Greek he was.
+
+And then he added with rather gallowsbird humour considering his alleged
+end:
+
+
+    --AS BAD AS OLD ANTONIO,
+    FOR HE LEFT ME ON MY OWNIO.
+
+
+The face of a streetwalker glazed and haggard under a black straw hat
+peered askew round the door of the shelter palpably reconnoitring on her
+own with the object of bringing more grist to her mill. Mr Bloom,
+scarcely knowing which way to look, turned away on the moment flusterfied
+but outwardly calm, and, picking up from the table the pink sheet of the
+Abbey street organ which the jarvey, if such he was, had laid aside, he
+picked it up and looked at the pink of the paper though why pink. His
+reason for so doing was he recognised on the moment round the door the
+same face he had caught a fleeting glimpse of that afternoon on Ormond
+quay, the partially idiotic female, namely, of the lane who knew the lady
+in the brown costume does be with you (Mrs B.) and begged the chance of
+his washing. Also why washing which seemed rather vague than not, your
+washing. Still candour compelled him to admit he had washed his wife's
+undergarments when soiled in Holles street and women would and did too a
+man's similar garments initialled with Bewley and Draper's marking ink
+(hers were, that is) if they really loved him, that is to say, love me,
+love my dirty shirt. Still just then, being on tenterhooks, he desired
+the female's room more than her company so it came as a genuine relief
+when the keeper made her a rude sign to take herself off. Round the side
+of the Evening Telegraph he just caught a fleeting glimpse of her face
+round the side of the door with a kind of demented glassy grin showing
+that she was not exactly all there, viewing with evident amusement the
+group of gazers round skipper Murphy's nautical chest and then there was
+no more of her.
+
+--The gunboat, the keeper said.
+
+--It beats me, Mr Bloom confided to Stephen, medically I am speaking, how
+a wretched creature like that from the Lock hospital reeking with disease
+can be barefaced enough to solicit or how any man in his sober senses, if
+he values his health in the least. Unfortunate creature! Of course I
+suppose some man is ultimately responsible for her condition. Still no
+matter what the cause is from ...
+
+Stephen had not noticed her and shrugged his shoulders, merely remarking:
+
+--In this country people sell much more than she ever had and do a
+roaring trade. Fear not them that sell the body but have not power to buy
+the soul. She is a bad merchant. She buys dear and sells cheap.
+
+The elder man, though not by any manner of means an old maid or a prude,
+said it was nothing short of a crying scandal that ought to be put a stop
+to INSTANTER to say that women of that stamp (quite apart from any
+oldmaidish squeamishness on the subject), a necessary evil, w ere not
+licensed and medically inspected by the proper authorities, a thing, he
+could truthfully state, he, as a PATERFAMILIAS, was a stalwart advocate
+of from the very first start. Whoever embarked on a policy of the sort,
+he said, and ventilated the matter thoroughly would confer a lasting boon
+on everybody concerned.
+
+--You as a good catholic, he observed, talking of body and soul, believe
+in the soul. Or do you mean the intelligence, the brainpower as such, as
+distinct from any outside object, the table, let us say, that cup. I
+believe in that myself because it has been explained by competent men as
+the convolutions of the grey matter. Otherwise we would never have such
+inventions as X rays, for instance. Do you?
+
+Thus cornered, Stephen had to make a superhuman effort of memory to try
+and concentrate and remember before he could say:
+
+--They tell me on the best authority it is a simple substance and
+therefore incorruptible. It would be immortal, I understand, but for the
+possibility of its annihilation by its First Cause Who, from all I can
+hear, is quite capable of adding that to the number of His other
+practical jokes, CORRUPTIO PER SE and CORRUPTIO PER ACCIDENS both being
+excluded by court etiquette.
+
+Mr Bloom thoroughly acquiesced in the general gist of this though the
+mystical finesse involved was a bit out of his sublunary depth still he
+felt bound to enter a demurrer on the head of simple, promptly rejoining:
+
+--Simple? I shouldn't think that is the proper word. Of course, I grant
+you, to concede a point, you do knock across a simple soul once in a blue
+moon. But what I am anxious to arrive at is it is one thing for instance
+to invent those rays Rontgen did or the telescope like Edison, though I
+believe it was before his time Galileo was the man, I mean, and the same
+applies to the laws, for example, of a farreaching natural phenomenon
+such as electricity but it's a horse of quite another colour to say you
+believe in the existence of a supernatural God.
+
+--O that, Stephen expostulated, has been proved conclusively by several
+of the bestknown passages in Holy Writ, apart from circumstantial
+evidence.
+
+On this knotty point however the views of the pair, poles apart as they
+were both in schooling and everything else with the marked difference in
+their respective ages, clashed.
+
+--Has been? the more experienced of the two objected, sticking to his
+original point with a smile of unbelief. I'm not so sure about that.
+That's a matter for everyman's opinion and, without dragging in the
+sectarian side of the business, I beg to differ with you IN TOTO there.
+My belief is, to tell you the candid truth, that those bits were genuine
+forgeries all of them put in by monks most probably or it's the big
+question of our national poet over again, who precisely wrote them like
+HAMLET and Bacon, as, you who know your Shakespeare infinitely better
+than I, of course I needn't tell you. Can't you drink that coffee, by the
+way? Let me stir it. And take a piece of that bun. It's like one of our
+skipper's bricks disguised. Still no-one can give what he hasn't got. Try
+a bit.
+
+--Couldn't, Stephen contrived to get out, his mental organs for the
+moment refusing to dictate further.
+
+Faultfinding being a proverbially bad hat Mr Bloom thought well to stir
+or try to the clotted sugar from the bottom and reflected with something
+approaching acrimony on the Coffee Palace and its temperance (and
+lucrative) work. To be sure it was a legitimate object and beyond yea or
+nay did a world of good, shelters such as the present one they were in
+run on teetotal lines for vagrants at night, concerts, dramatic evenings
+and useful lectures (admittance free) by qualified men for the lower
+orders. On the other hand he had a distinct and painful recollection they
+paid his wife, Madam Marion Tweedy who had been prominently associated
+with it at one time, a very modest remuneration indeed for her
+pianoplaying. The idea, he was strongly inclined to believe, was to do
+good and net a profit, there being no competition to speak of. Sulphate
+of copper poison SO4 or something in some dried peas he remembered
+reading of in a cheap eatinghouse somewhere but he couldn't remember when
+it was or where. Anyhow inspection, medical inspection, of all eatables
+seemed to him more than ever necessary which possibly accounted for the
+vogue of Dr Tibble's Vi-Cocoa on account of the medical analysis
+involved.
+
+--Have a shot at it now, he ventured to say of the coffee after being
+stirred.
+
+ Thus prevailed on to at any rate taste it Stephen lifted the heavy mug
+from the brown puddle it clopped out of when taken up by the handle and
+took a sip of the offending beverage.
+
+--Still it's solid food, his good genius urged, I'm a stickler for solid
+food, his one and only reason being not gormandising in the least but
+regular meals as the SINE QUA NON for any kind of proper work, mental or
+manual. You ought to eat more solid food. You would feel a different man.
+
+--Liquids I can eat, Stephen said. But O, oblige me by taking away that
+knife. I can't look at the point of it. It reminds me of Roman history.
+
+Mr Bloom promptly did as suggested and removed the incriminated article,
+a blunt hornhandled ordinary knife with nothing particularly Roman or
+antique about it to the lay eye, observing that the point was the least
+conspicuous point about it.
+
+--Our mutual friend's stories are like himself, Mr Bloom APROPOS of
+knives remarked to his CONFIDANTE SOTTO VOCE. Do you think they are
+genuine? He could spin those yarns for hours on end all night long and
+lie like old boots. Look at him.
+
+Yet still though his eyes were thick with sleep and sea air life was full
+of a host of things and coincidences of a terrible nature and it was
+quite within the bounds of possibility that it was not an entire
+fabrication though at first blush there was not much inherent probability
+in all the spoof he got off his chest being strictly accurate gospel.
+
+He had been meantime taking stock of the individual in front of him and
+Sherlockholmesing him up ever since he clapped eyes on him. Though a
+wellpreserved man of no little stamina, if a trifle prone to baldness,
+there was something spurious in the cut of his jib that suggested a jail
+delivery and it required no violent stretch of imagination to associate
+such a weirdlooking specimen with the oakum and treadmill fraternity. He
+might even have done for his man supposing it was his own case he told,
+as people often did about others, namely, that he killed him himself and
+had served his four or five goodlooking years in durance vile to say
+nothing of the Antonio personage (no relation to the dramatic personage
+of identical name who sprang from the pen of our national poet) who
+expiated his crimes in the melodramatic manner above described. On the
+other hand he might be only bluffing, a pardonable weakness because
+meeting unmistakable mugs, Dublin residents, like those jarvies waiting
+news from abroad would tempt any ancient mariner who sailed the ocean
+seas to draw the long bow about the schooner HESPERUS and etcetera. And
+when all was said and done the lies a fellow told about himself couldn't
+probably hold a proverbial candle to the wholesale whoppers other fellows
+coined about him.
+
+--Mind you, I'm not saying that it's all a pure invention, he resumed.
+Analogous scenes are occasionally, if not often, met with. Giants, though
+that is rather a far cry, you see once in a way, Marcella the midget
+queen. In those waxworks in Henry street I myself saw some Aztecs, as
+they are called, sitting bowlegged, they couldn't straighten their legs
+if you paid them because the muscles here, you see, he proceeded,
+indicating on his companion the brief outline of the sinews or whatever
+you like to call them behind the right knee, were utterly powerless from
+sitting that way so long cramped up, being adored as gods. There's an
+example again of simple souls.
+
+However reverting to friend Sinbad and his horrifying adventures (who
+reminded him a bit of Ludwig, ALIAS Ledwidge, when he occupied the boards
+of the Gaiety when Michael Gunn was identified with the management in the
+FLYING DUTCHMAN, a stupendous success, and his host of admirers came in
+large numbers, everyone simply flocking to hear him though ships of any
+sort, phantom or the reverse, on the stage usually fell a bit flat as
+also did trains) there was nothing intrinsically incompatible about it,
+he conceded. On the contrary that stab in the back touch was quite in
+keeping with those italianos though candidly he was none the less free to
+admit those icecreamers and friers in the fish way not to mention the
+chip potato variety and so forth over in little Italy there near the
+Coombe were sober thrifty hardworking fellows except perhaps a bit too
+given to pothunting the harmless necessary animal of the feline
+persuasion of others at night so as to have a good old succulent tuckin
+with garlic DE RIGUEUR off him or her next day on the quiet and, he
+added, on the cheap.
+
+--Spaniards, for instance, he continued, passionate temperaments like
+that, impetuous as Old Nick, are given to taking the law into their own
+hands and give you your quietus doublequick with those poignards they
+carry in the abdomen. It comes from the great heat, climate generally. My
+wife is, so to speak, Spanish, half that is. Point of fact she could
+actually claim Spanish nationality if she wanted, having been born in
+(technically) Spain, i.e. Gibraltar. She has the Spanish type. Quite
+dark, regular brunette, black. I for one certainly believe climate
+accounts for character. That's why I asked you if you wrote your poetry
+in Italian.
+
+--The temperaments at the door, Stephen interposed with, were very
+passionate about ten shillings. ROBERTO RUBA ROBA SUA.
+
+--Quite so, Mr Bloom dittoed.
+
+--Then, Stephen said staring and rambling on to himself or some unknown
+listener somewhere, we have the impetuosity of Dante and the isosceles
+triangle miss Portinari he fell in love with and Leonardo and san Tommaso
+Mastino.
+
+--It's in the blood, Mr Bloom acceded at once. All are washed in the
+blood of the sun. Coincidence I just happened to be in the Kildare street
+museum today, shortly prior to our meeting if I can so call it, and I
+was just looking at those antique statues there. The splendid proportions
+of hips, bosom. You simply don't knock against those kind of women here.
+An exception here and there. Handsome yes, pretty in a way you find but
+what I'm talking about is the female form. Besides they have so little
+taste in dress, most of them, which greatly enhances a woman's natural
+beauty, no matter what you say. Rumpled stockings, it may be, possibly
+is, a foible of mine but still it's a thing I simply hate to see.
+
+Interest, however, was starting to flag somewhat all round and then the
+others got on to talking about accidents at sea, ships lost in a fog, goo
+collisions with icebergs, all that sort of thing. Shipahoy of course had
+his own say to say. He had doubled the cape a few odd times and weathered
+a monsoon, a kind of wind, in the China seas and through all those perils
+of the deep there was one thing, he declared, stood to him or words to
+that effect, a pious medal he had that saved him.
+
+So then after that they drifted on to the wreck off Daunt's rock, wreck
+of that illfated Norwegian barque nobody could think of her name for the
+moment till the jarvey who had really quite a look of Henry Campbell
+remembered it PALME on Booterstown strand. That was the talk of the town
+that year (Albert William Quill wrote a fine piece of original verse of
+distinctive merit on the topic for the Irish TIMES), breakers running
+over her and crowds and crowds on the shore in commotion petrified with
+horror. Then someone said something about the case of the S. S. LADY
+CAIRNS of Swansea run into by the MONA which was on an opposite tack in
+rather muggyish weather and lost with all hands on deck. No aid was
+given. Her master, the MONA'S, said he was afraid his collision bulkhead
+would give way. She had no water, it appears, in her hold.
+
+At this stage an incident happened. It having become necessary for him to
+unfurl a reef the sailor vacated his seat.
+
+--Let me cross your bows mate, he said to his neighbour who was just
+gently dropping off into a peaceful doze.
+
+He made tracks heavily, slowly with a dumpy sort of a gait to the door,
+stepped heavily down the one step there was out of the shelter and bore
+due left. While he was in the act of getting his bearings Mr Bloom who
+noticed when he stood up that he had two flasks of presumably ship's rum
+sticking one out of each pocket for the private consumption of his
+burning interior, saw him produce a bottle and uncork it or unscrew and,
+applying its nozzle to his lips, take a good old delectable swig out of
+it with a gurgling noise. The irrepressible Bloom, who also had a shrewd
+suspicion that the old stager went out on a manoeuvre after the
+counterattraction in the shape of a female who however had disappeared to
+all intents and purposes, could by straining just perceive him, when duly
+refreshed by his rum puncheon exploit, gaping up at the piers and girders
+of the Loop line rather out of his depth as of course it was all
+radically altered since his last visit and greatly improved. Some person
+or persons invisible directed him to the male urinal erected by the
+cleansing committee all over the place for the purpose but after a brief
+space of time during which silence reigned supreme the sailor, evidently
+giving it a wide berth, eased himself closer at hand, the noise of his
+bilgewater some little time subsequently splashing on the ground where it
+apparently awoke a horse of the cabrank. A hoof scooped anyway for new
+foothold after sleep and harness jingled. Slightly disturbed in his
+sentrybox by the brazier of live coke the watcher of the corporation
+stones who, though now broken down and fast breaking up, was none other
+in stern reality than the Gumley aforesaid, now practically on the parish
+rates, given the temporary job by Pat Tobin in all human probability from
+dictates of humanity knowing him before shifted about and shuffled in his
+box before composing his limbs again in to the arms of Morpheus, a truly
+amazing piece of hard lines in its most virulent form on a fellow most
+respectably connected and familiarised with decent home comforts all his
+life who came in for a cool 100 pounds a year at one time which of course
+the doublebarrelled ass proceeded to make general ducks and drakes of.
+And there he was at the end of his tether after having often painted the
+town tolerably pink without a beggarly stiver. He drank needless to be
+told and it pointed only once more a moral when he might quite easily be
+in a large way of business if--a big if, however--he had contrived to
+cure himself of his particular partiality.
+
+All meantime were loudly lamenting the falling off in Irish shipping,
+coastwise and foreign as well, which was all part and parcel of the same
+thing. A Palgrave Murphy boat was put off the ways at Alexandra basin,
+the only launch that year. Right enough the harbours were there only no
+ships ever called.
+
+There were wrecks and wreckers, the keeper said, who was evidently AU
+FAIT.
+
+What he wanted to ascertain was why that ship ran bang against the only
+rock in Galway bay when the Galway harbour scheme was mooted by a Mr
+Worthington or some name like that, eh? Ask the then captain, he advised
+them, how much palmoil the British government gave him for that day's
+work, Captain John Lever of the Lever Line.
+
+--Am I right, skipper? he queried of the sailor, now returning after his
+private potation and the rest of his exertions.
+
+That worthy picking up the scent of the fagend of the song or words
+growled in wouldbe music but with great vim some kind of chanty or other
+in seconds or thirds. Mr Bloom's sharp ears heard him then expectorate
+the plug probably (which it was), so that he must have lodged it for the
+time being in his fist while he did the drinking and making water jobs
+and found it a bit sour after the liquid fire in question. Anyhow in he
+rolled after his successful libation-CUM-potation, introducing an
+atmosphere of drink into the SOIREE, boisterously trolling, like a
+veritable son of a seacook:
+
+
+    --THE BISCUITS WAS AS HARD AS BRASS
+      AND THE BEEF AS SALT AS LOT'S WIFE'S ARSE.
+      O, JOHNNY LEVER!
+      JOHNNY LEVER, O!
+
+
+After which effusion the redoubtable specimen duly arrived on the scene
+and regaining his seat he sank rather than sat heavily on the form
+provided. Skin-the-Goat, assuming he was he, evidently with an axe to
+grind, was airing his grievances in a forcible-feeble philippic anent the
+natural resources of Ireland or something of that sort which he described
+in his lengthy dissertation as the richest country bar none on the face
+of God's earth, far and away superior to England, with coal in large
+quantities, six million pounds worth of pork exported every year, ten
+millions between butter and eggs and all the riches drained out of it by
+England levying taxes on the poor people that paid through the nose
+always and gobbling up the best meat in the market and a lot more surplus
+steam in the same vein. Their conversation accordingly became general and
+all agreed that that was a fact. You could grow any mortal thing in Irish
+soil, he stated, and there was that colonel Everard down there in Navan
+growing tobacco. Where would you find anywhere the like of Irish bacon?
+But a day of reckoning, he stated CRESCENDO with no uncertain voice,
+thoroughly monopolising all the conversation, was in store for mighty
+England, despite her power of pelf on account of her crimes. There would
+be a fall and the greatest fall in history. The Germans and the Japs were
+going to have their little lookin, he affirmed. The Boers were the
+beginning of the end. Brummagem England was toppling already and her
+downfall would be Ireland, her Achilles heel, which he explained to them
+about the vulnerable point of Achilles, the Greek hero, a point his
+auditors at once seized as he completely gripped their attention by
+showing the tendon referred to on his boot. His advice to every Irishman
+was: stay in the land of your birth and work for Ireland and live for
+Ireland. Ireland, Parnell said, could not spare a single one of her sons.
+
+Silence all round marked the termination of his FINALE. The impervious
+navigator heard these lurid tidings, undismayed.
+
+--Take a bit of doing, boss, retaliated that rough diamond palpably a bit
+peeved in response to the foregoing truism.
+
+To which cold douche referring to downfall and so on the keeper concurred
+but nevertheless held to his main view.
+
+--Who's the best troops in the army? the grizzled old veteran irately
+interrogated. And the best jumpers and racers? And the best admirals and
+generals we've got? Tell me that.
+
+--The Irish, for choice, retorted the cabby like Campbell, facial
+blemishes apart.
+
+--That's right, the old tarpaulin corroborated. The Irish catholic
+peasant. He's the backbone of our empire. You know Jem Mullins?
+
+While allowing him his individual opinions as everyman the keeper added
+he cared nothing for any empire, ours or his, and considered no Irishman
+worthy of his salt that served it. Then they began to have a few
+irascible words when it waxed hotter, both, needless to say, appealing to
+the listeners who followed the passage of arms with interest so long as
+they didn't indulge in recriminations and come to blows.
+
+From inside information extending over a series of years Mr Bloom was
+rather inclined to poohpooh the suggestion as egregious balderdash for,
+pending that consummation devoutly to be or not to be wished for, he was
+fully cognisant of the fact that their neighbours across the channel,
+unless they were much bigger fools than he took them for, rather
+concealed their strength than the opposite. It was quite on a par with
+the quixotic idea in certain quarters that in a hundred million years the
+coal seam of the sister island would be played out and if, as time went
+on, that turned out to be how the cat jumped all he could personally say
+on the matter was that as a host of contingencies, equally relevant to
+the issue, might occur ere then it was highly advisable in the interim to
+try to make the most of both countries even though poles apart. Another
+little interesting point, the amours of whores and chummies, to put it in
+common parlance, reminded him Irish soldiers had as often fought for
+England as against her, more so, in fact. And now, why? So the scene
+between the pair of them, the licensee of the place rumoured to be or
+have been Fitzharris, the famous invincible, and the other, obviously
+bogus, reminded him forcibly as being on all fours with the confidence
+trick, supposing, that is, it was prearranged as the lookeron, a student
+of the human soul if anything, the others seeing least of the game. And
+as for the lessee or keeper, who probably wasn't the other person at all,
+he (B.) couldn't help feeling and most properly it was better to give
+people like that the goby unless you were a blithering idiot altogether
+and refuse to have anything to do with them as a golden rule in private
+life and their felonsetting, there always being the offchance of a
+Dannyman coming forward and turning queen's evidence or king's now like
+Denis or Peter Carey, an idea he utterly repudiated. Quite apart from
+that he disliked those careers of wrongdoing and crime on principle. Yet,
+though such criminal propensities had never been an inmate of his bosom
+in any shape or form, he certainly did feel and no denying it (while
+inwardly remaining what he was) a certain kind of admiration for a man
+who had actually brandished a knife, cold steel, with the courage of his
+political convictions (though, personally, he would never be a party to
+any such thing), off the same bat as those love vendettas of the south,
+have her or swing for her, when the husband frequently, after some words
+passed between the two concerning her relations with the other lucky
+mortal (he having had the pair watched), inflicted fatal injuries on his
+adored one as a result of an alternative postnuptial LIAISON by plunging
+his knife into her, until it just struck him that Fitz, nicknamed Skin-
+the-Goat, merely drove the car for the actual perpetrators of the outrage
+and so was not, if he was reliably informed, actually party to the ambush
+which, in point of fact, was the plea some legal luminary saved his skin
+on. In any case that was very ancient history by now and as for our
+friend, the pseudo Skin-the-etcetera, he had transparently outlived his
+welcome. He ought to have either died naturally or on the scaffold high.
+Like actresses, always farewell positively last performance then come up
+smiling again. Generous to a fault of course, temperamental, no
+economising or any idea of the sort, always snapping at the bone for the
+shadow. So similarly he had a very shrewd suspicion that Mr Johnny Lever
+got rid of some l s d. in the course of his perambulations round the
+docks in the congenial atmosphere of the OLD IRELAND tavern, come back to
+Erin and so on. Then as for the other he had heard not so long before the
+same identical lingo as he told Stephen how he simply but effectually
+silenced the offender.
+
+--He took umbrage at something or other, that muchinjured but on the
+whole eventempered person declared, I let slip. He called me a jew and in
+a heated fashion offensively. So I without deviating from plain facts in
+the least told him his God, I mean Christ, was a jew too and all his
+family like me though in reality I'm not. That was one for him. A soft
+answer turns away wrath. He hadn't a word to say for himself as everyone
+saw. Am I not right?
+
+ He turned a long you are wrong gaze on Stephen of timorous dark pride at
+the soft impeachment with a glance also of entreaty for he seemed to
+glean in a kind of a way that it wasn't all exactly.
+
+--EX QUIBUS, Stephen mumbled in a noncommittal accent, their two or four
+eyes conversing, CHRISTUS or Bloom his name is or after all any other,
+SECUNDUM CARNEM.
+
+--Of course, Mr B. proceeded to stipulate, you must look at both sides of
+the question. It is hard to lay down any hard and fast rules as to right
+and wrong but room for improvement all round there certainly is though
+every country, they say, our own distressful included, has the government
+it deserves. But with a little goodwill all round. It's all very fine to
+boast of mutual superiority but what about mutual equality. I resent
+violence and intolerance in any shape or form. It never reaches anything
+or stops anything. A revolution must come on the due instalments plan.
+It's a patent absurdity on the face of it to hate people because they
+live round the corner and speak another vernacular, in the next house so
+to speak.
+
+--Memorable bloody bridge battle and seven minutes' war, Stephen
+assented, between Skinner's alley and Ormond market.
+
+Yes, Mr Bloom thoroughly agreed, entirely endorsing the remark, that was
+overwhelmingly right. And the whole world was full of that sort of thing.
+
+--You just took the words out of my mouth, he said. A hocuspocus of
+conflicting evidence that candidly you couldn't remotely ...
+
+All those wretched quarrels, in his humble opinion, stirring up bad
+blood, from some bump of combativeness or gland of some kind, erroneously
+supposed to be about a punctilio of honour and a flag, were very largely
+a question of the money question which was at the back of everything
+greed and jealousy, people never knowing when to stop.
+
+--They accuse, remarked he audibly.
+
+He turned away from the others who probably and spoke nearer to, so as
+the others in case they.
+
+--Jews, he softly imparted in an aside in Stephen's ear, are accused of
+ruining. Not a vestige of truth in it, I can safely say. History, would
+you be surprised to learn, proves up to the hilt Spain decayed when the
+inquisition hounded the jews out and England prospered when Cromwell, an
+uncommonly able ruffian who in other respects has much to answer for,
+imported them. Why? Because they are imbued with the proper spirit. They
+are practical and are proved to be so. I don't want to indulge in any
+because you know the standard works on the subject and then orthodox as
+you are. But in the economic, not touching religion, domain the priest
+spells poverty. Spain again, you saw in the war, compared with goahead
+America. Turks. It's in the dogma. Because if they didn't believe they'd
+go straight to heaven when they die they'd try to live better, at least
+so I think. That's the juggle on which the p.p's raise the wind on false
+pretences. I'm, he resumed with dramatic force, as good an Irishman as
+that rude person I told you about at the outset and I want to see
+everyone, concluded he, all creeds and classes PRO RATA having a
+comfortable tidysized income, in no niggard fashion either, something in
+the neighbourhood of 300 pounds per annum. That's the vital issue at
+stake and it's feasible and would be provocative of friendlier
+intercourse between man and man. At least that's my idea for what it's
+worth. I call that patriotism. UBI PATRIA, as we learned a smattering of
+in our classical days in ALMA MATER, VITA BENE. Where you can live well,
+the sense is, if you work.
+
+Over his untastable apology for a cup of coffee, listening to this
+synopsis of things in general, Stephen stared at nothing in particular.
+He could hear, of course, all kinds of words changing colour like those
+crabs about Ringsend in the morning burrowing quickly into all colours of
+different sorts of the same sand where they had a home somewhere beneath
+or seemed to. Then he looked up and saw the eyes that said or didn't say
+the words the voice he heard said, if you work.
+
+--Count me out, he managed to remark, meaning work.
+
+The eyes were surprised at this observation because as he, the person who
+owned them pro tem. observed or rather his voice speaking did, all must
+work, have to, together.
+
+--I mean, of course, the other hastened to affirm, work in the widest
+possible sense. Also literary labour not merely for the kudos of the
+thing. Writing for the newspapers which is the readiest channel nowadays.
+That's work too. Important work. After all, from the little I know of
+you, after all the money expended on your education you are entitled to
+recoup yourself and command your price. You have every bit as much right
+to live by your pen in pursuit of your philosophy as the peasant has.
+What? You both belong to Ireland, the brain and the brawn. Each is
+equally important.
+
+--You suspect, Stephen retorted with a sort of a half laugh, that I may
+be 1160 important because I belong to the FAUBOURG SAINT PATRICE called
+Ireland for short.
+
+--I would go a step farther, Mr Bloom insinuated.
+
+--But I suspect, Stephen interrupted, that Ireland must be important
+because it belongs to me.
+
+--What belongs, queried Mr Bloom bending, fancying he was perhaps under
+some misapprehension. Excuse me. Unfortunately, I didn't catch the latter
+portion. What was it you ...?
+
+Stephen, patently crosstempered, repeated and shoved aside his mug of
+coffee or whatever you like to call it none too politely, adding:  1170
+
+--We can't change the country. Let us change the subject.
+
+At this pertinent suggestion Mr Bloom, to change the subject, looked down
+but in a quandary, as he couldn't tell exactly what construction to put
+on belongs to which sounded rather a far cry. The rebuke of some kind was
+clearer than the other part. Needless to say the fumes of his recent orgy
+spoke then with some asperity in a curious bitter way foreign to his
+sober state. Probably the homelife to which Mr B attached the utmost
+importance had not been all that was needful or he hadn't been
+familiarised with the right sort of people. With a touch of fear for the
+young man beside him whom he furtively scrutinised with an air of some
+consternation remembering he had just come back from Paris, the eyes more
+especially reminding him forcibly of father and sister, failing to throw
+much light on the subject, however, he brought to mind instances of
+cultured fellows that promised so brilliantly nipped in the bud of
+premature decay and nobody to blame but themselves. For instance there
+was the case of O'Callaghan, for one, the halfcrazy faddist, respectably
+connected though of inadequate means, with his mad vagaries among whose
+other gay doings when rotto and making himself a nuisance to everybody
+all round he was in the habit of ostentatiously sporting in public a suit
+of brown paper (a fact). And then the usual DENOUEMENT after the fun had
+gone on fast and furious he got 1190 landed into hot water and had to be
+spirited away by a few friends, after a strong hint to a blind horse from
+John Mallon of Lower Castle Yard, so as not to be made amenable under
+section two of the criminal law amendment act, certain names of those
+subpoenaed being handed in but not divulged for reasons which will occur
+to anyone with a pick of brains. Briefly, putting two and two together,
+six sixteen which he pointedly turned a deaf ear to, Antonio and so
+forth, jockeys and esthetes and the tattoo which was all the go in the
+seventies or thereabouts even in the house of lords because early in life
+the occupant of the throne, then heir apparent, the other members of the
+upper ten and other high personages simply following in the footsteps of
+the head of the state, he reflected about the errors of notorieties and
+crowned heads running counter to morality such as the Cornwall case a
+number of years before under their veneer in a way scarcely intended by
+nature, a thing good Mrs Grundy, as the law stands, was terribly down on
+though not for the reason they thought they were probably whatever it was
+except women chiefly who were always fiddling more or less at one another
+it being largely a matter of dress and all the rest of it. Ladies who
+like distinctive underclothing should, and every welltailored man must,
+trying to make the gap wider between them by innuendo and give more of a
+genuine filip to acts of impropriety between the two, she unbuttoned his
+and then he untied her, mind the pin, whereas savages in the cannibal
+islands, say, at ninety degrees in the shade not caring a continental.
+However, reverting to the original, there were on the other hand others
+who had forced their way to the top from the lowest rung by the aid of
+their bootstraps. Sheer force of natural genius, that. With brains, sir.
+
+For which and further reasons he felt it was his interest and duty even
+to wait on and profit by the unlookedfor occasion though why he could not
+exactly tell being as it was already several shillings to the bad having
+in fact let himself in for it. Still to cultivate the acquaintance of
+someone of no uncommon calibre who could provide food for reflection
+would amply repay any small. Intellectual stimulation, as such, was, he
+felt, from time to time a firstrate tonic for the mind. Added to which
+was the coincidence of meeting, discussion, dance, row, old salt of the
+here today and gone tomorrow type, night loafers, the whole galaxy of
+events, all went to make up a miniature cameo of the world we live in
+especially as the lives of the submerged tenth, viz. coalminers, divers,
+scavengers etc., were very much under the microscope lately. To improve
+the shining hour he wondered whether he might meet with anything
+approaching the same luck as Mr Philip Beaufoy if taken down in writing
+suppose he were to pen something out of the common groove (as he fully
+intended doing) at the rate of one guinea per column. MY EXPERIENCES, let
+us say, IN A CABMAN'S SHELTER.
+
+The pink edition extra sporting of the TELEGRAPH tell a graphic lie lay,
+as luck would have it, beside his elbow and as he was just puzzling
+again, far from satisfied, over a country belonging to him and the
+preceding rebus the vessel came from Bridgwater and the postcard was
+addressed A. Boudin find the captain's age, his eyes went aimlessly over
+the respective captions which came under his special province the
+allembracing give us this day our daily press. First he got a bit of a
+start but it turned out to be only something about somebody named H. du
+Boyes, agent for typewriters or something like that. Great battle, Tokio.
+Lovemaking in Irish, 200 pounds damages. Gordon Bennett. Emigration
+Swindle. Letter from His Grace. William. Ascot meeting, the Gold Cup.
+Victory of outsider THROWAWAY recalls Derby of '92 when Capt. Marshall's
+dark horse SIR HUGO captured the blue ribband at long odds. New York
+disaster. Thousand lives lost. Foot and Mouth. Funeral of the late Mr
+Patrick Dignam.
+
+So to change the subject he read about Dignam R. I. P. which, he
+reflected, was anything but a gay sendoff. Or a change of address anyway.
+
+--THIS MORNING (Hynes put it in of course) THE REMAINS OF THE LATE MR
+PATRICK DIGNAM WERE REMOVED FROM HIS RESIDENCE, NO 9 NEWBRIDGE AVENUE,
+SANDYMOUNT, FOR INTERMENT IN GLASNEVIN. THE DECEASED GENTLEMAN WAS A MOST
+POPULAR AND GENIAL PERSONALITY IN CITY LIFE AND HIS DEMISE AFTER A BRIEF
+ILLNESS CAME AS A GREAT SHOCK TO CITIZENS OF ALL CLASSES BY WHOM HE IS
+DEEPLY REGRETTED. THE OBSEQUIES, AT WHICH MANY FRIENDS OF THE DECEASED
+WERE PRESENT, WERE CARRIED OUT (certainly Hynes wrote it with a nudge
+from Corny) BY MESSRS H. J. O'NEILL AND SON, 164 NORTH STRAND ROAD. THE
+MOURNERS INCLUDED: PATK. DIGNAM (SON), BERNARD CORRIGAN (BROTHER-IN-LAW),
+JNO. HENRY MENTON, SOLR, MARTIN CUNNINGHAM, JOHN POWER, .)EATONDPH 1/8
+ADOR DORADOR DOURADORA (must be where he called Monks the dayfather about
+Keyes's ad) THOMAS KERNAN, SIMON DEDALUS, STEPHEN DEDALUS B. ,4., EDW. J.
+LAMBERT, CORNELIUS T. KELLEHER, JOSEPH M'C HYNES, L. BOOM, CP M'COY,--
+M'LNTOSH AND SEVERAL OTHERS.
+
+ Nettled not a little by L. BOOM (as it incorrectly stated) and the line
+of bitched type but tickled to death simultaneously by C. P. M'Coy and
+Stephen Dedalus B. A. who were conspicuous, needless to say, by their
+total absence (to say nothing of M'Intosh) L. Boom pointed it out to his
+companion B. A. engaged in stifling another yawn, half nervousness, not
+forgetting the usual crop of nonsensical howlers of misprints.
+
+--Is that first epistle to the Hebrews, he asked as soon as his bottom
+jaw would let him, in? Text: open thy mouth and put thy foot in it.
+
+--It is. Really, Mr Bloom said (though first he fancied he alluded to the
+archbishop till he added about foot and mouth with which there could be
+no possible connection) overjoyed to set his mind at rest and a bit
+flabbergasted at Myles Crawford's after all managing to. There.
+
+While the other was reading it on page two Boom (to give him for the
+nonce his new misnomer) whiled away a few odd leisure moments in fits and
+starts with the account of the third event at Ascot on page three, his
+side. Value 1000 sovs with 3000 sovs in specie added. For entire colts
+and fillies. Mr F. Alexander's THROWAWAY, b. h. by RIGHTAWAY, 5 yrs, 9 st
+4 lbs (W. Lane) 1, lord Howard de Walden's ZINFANDEL (M. Cannon) z, Mr W.
+Bass's SCEPTRE 3. Betting 5 to 4 on ZINFANDEL, 20 to 1 THROWAWAY (off).
+SCEPTRE a shade heavier, 5 to 4 on ZINFANDEL, 20 to 1 THROWAWAY (off).
+THROWAWAY and ZINFANDEL stood close order. It was anybody's race then the
+rank outsider drew to the fore, got long lead, beating lord Howard de
+Walden's chestnut colt and Mr W. Bass's bay filly SCEPTRE on a 2 1/2 mile
+course. Winner trained by Braime so that Lenehan's version of the
+business was all pure buncombe. Secured the verdict cleverly by a length.
+1000 sovs with 3000 in specie. Also ran: J de Bremond's (French horse
+Bantam Lyons was anxiously inquiring after not in yet but expected any
+minute) MAXIMUM II. Different ways of bringing off a coup. Lovemaking
+damages. Though that halfbaked Lyons ran off at a tangent in his
+impetuosity to get left. Of course gambling eminently lent itself to that
+sort of thing though as the event turned out the poor fool hadn't much
+reason to congratulate himself on his pick, the forlorn hope. Guesswork
+it reduced itself to eventually.
+
+--There was every indication they would arrive at that, he, Bloom, said.
+
+--Who? the other, whose hand by the way was hurt, said.
+
+One morning you would open the paper, the cabman affirmed, and read:
+RETURN OF PARNELL. He bet them what they liked. A Dublin fusilier was in
+that shelter one night and said he saw him in South Africa. Pride it was
+killed him. He ought to have done away with himself or lain low for a
+time after committee room no 15 until he was his old self again with no-
+one to point a finger at him. Then they would all to a man have gone down
+on their marrowbones to him to come back when he had recovered his
+senses. Dead he wasn't. Simply absconded somewhere. The coffin they
+brought over was full of stones. He changed his name to De Wet, the Boer
+general. He made a mistake to fight the priests. And so forth and so on.
+
+All the same Bloom (properly so dubbed) was rather surprised at their
+memories for in nine cases out of ten it was a case of tarbarrels and not
+singly but in their thousands and then complete oblivion because it was
+twenty odd years. Highly unlikely of course there was even a shadow of
+truth in the stones and, even supposing, he thought a return highly
+inadvisable, all things considered. Something evidently riled them in his
+death. Either he petered out too tamely of acute pneumonia just when his
+various different political arrangements were nearing completion or
+whether it transpired he owed his death to his having neglected to change
+his boots and clothes-after a wetting when a cold resulted and failing to
+consult a specialist he being confined to his room till he eventually
+died of it amid widespread regret before a fortnight was at an end or
+quite possibly they were distressed to find the job was taken out of
+their hands. Of course nobody being acquainted with his movements even
+before there was absolutely no clue as to his whereabouts which were
+decidedly of the ALICE, WHERE ART THOU order even prior to his starting
+to go under several aliases such as Fox and Stewart so the remark which
+emanated from friend cabby might be within the bounds of possibility.
+Naturally then it would prey on his mind as a born leader of men which
+undoubtedly he was and a commanding figure, a sixfooter or at any rate
+five feet ten or eleven in his stockinged feet, whereas Messrs So and So
+who, though they weren't even a patch on the former man, ruled the roost
+after their redeeming features were very few and far between. It
+certainly pointed a moral, the idol with feet of clay, and then
+seventytwo of his trusty henchmen rounding on him with mutual
+mudslinging. And the identical same with murderers. You had to come back.
+That haunting sense kind of drew you. To show the understudy in the title
+ROLE how to. He saw him once on the auspicious occasion when they broke
+up the type in the INSUPPRESSIBLE or was it UNITED IRELAND, a privilege
+he keenly appreciated, and, in point of fact, handed him his silk hat
+when it was knocked off and he said THANK YOU, excited as he undoubtedly
+was under his frigid exterior notwithstanding the little misadventure
+mentioned between the cup and the lip: what's bred in the bone. Still as
+regards return. You were a lucky dog if they didn't set the terrier at
+you directly you got back. Then a lot of shillyshally usually followed,
+Tom for and Dick and Harry against. And then, number one, you came up
+against the man in possession and had to produce your credentials like
+the claimant in the Tichborne case, Roger Charles Tichborne, BELLA was
+the boat's name to the best of his recollection he, the heir, went down
+in as the evidence went to show and there was a tattoo mark too in Indian
+ink, lord Bellew was it, as he might very easily have picked up the
+details from some pal on board ship and then, when got up to tally with
+the description given, introduce himself with: EXCUSE ME, MY NAME IS SO
+AND SO or some such commonplace remark. A more prudent course, as Bloom
+said to the not over effusive, in fact like the distinguished personage
+under discussion beside him, would have been to sound the lie of the land
+first.
+
+--That bitch, that English whore, did for him, the shebeen proprietor
+commented. She put the first nail in his coffin.
+
+--Fine lump of a woman all the same, the SOI-DISANT townclerk Henry
+Campbell remarked, and plenty of her. She loosened many a man's thighs. I
+seen her picture in a barber's. The husband was a captain or an officer.
+
+--Ay, Skin-the-Goat amusingly added, he was and a cottonball one.
+
+This gratuitous contribution of a humorous character occasioned a fair
+amount of laughter among his ENTOURAGE. As regards Bloom he, without the
+faintest suspicion of a smile, merely gazed in the direction of the door
+and reflected upon the historic story which had aroused extraordinary
+interest at the time when the facts, to make matters worse, were made
+public with the usual affectionate letters that passed between them full
+of sweet nothings. First it was strictly Platonic till nature intervened
+and an attachment sprang up between them till bit by bit matters came to
+a climax and the matter became the talk of the town till the staggering
+blow came as a welcome intelligence to not a few evildisposed, however,
+who were resolved upon encompassing his downfall though the thing was
+public property all along though not to anything like the sensational
+extent that it subsequently blossomed into. Since their names were
+coupled, though, since he was her declared favourite, where was the
+particular necessity to proclaim it to the rank and file from the
+housetops, the fact, namely, that he had shared her bedroom which came
+out in the witnessbox on oath when a thrill went through the packed court
+literally electrifying everybody in the shape of witnesses swearing to
+having witnessed him on such and such a particular date in the act of
+scrambling out of an upstairs apartment with the assistance of a ladder
+in night apparel, having gained admittance in the same fashion, a fact
+the weeklies, addicted to the lubric a little, simply coined shoals of
+money out of. Whereas the simple fact of the case was it was simply a
+case of the husband not being up to the scratch, with nothing in common
+between them beyond the name, and then a real man arriving on the scene,
+strong to the verge of weakness, falling a victim to her siren charms and
+forgetting home ties, the usual sequel, to bask in the loved one's
+smiles. The eternal question of the life connubial, needless to say,
+cropped up. Can real love, supposing there happens to be another chap in
+the case, exist between married folk? Poser. Though it was no concern of
+theirs absolutely if he regarded her with affection, carried away by a
+wave of folly. A magnificent specimen of manhood he was truly augmented
+obviously by gifts of a high order, as compared with the other military
+supernumerary that is (who was just the usual everyday FAREWELL, MY
+GALLANT CAPTAIN kind of an individual in the light dragoons, the l8th
+hussars to be accurate) and inflammable doubtless (the fallen leader,
+that is, not the other) in his own peculiar way which she of course,
+woman, quickly perceived as highly likely to carve his way to fame which
+he almost bid fair to do till the priests and ministers of the gospel as
+a whole, his erstwhile staunch adherents, and his beloved evicted tenants
+for whom he had done yeoman service in the rural parts of the country by
+taking up the cudgels on their behalf in a way that exceeded their most
+sanguine expectations, very effectually cooked his matrimonial goose,
+thereby heaping coals of fire on his head much in the same way as the
+fabled ass's kick. Looking back now in a retrospective kind of
+arrangement all seemed a kind of dream. And then coming back was the
+worst thing you ever did because it went without saying you would feel
+out of place as things always moved with the times. Why, as he reflected,
+Irishtown strand, a locality he had not been in for quite a number of
+years looked different somehow since, as it happened, he went to reside
+on the north side. North or south, however, it was just the wellknown
+case of hot passion, pure and simple, upsetting the applecart with a
+vengeance and just bore out the very thing he was saying as she also was
+Spanish or half so, types that wouldn't do things by halves, passionate
+abandon of the south, casting every shred of decency to the winds.
+
+--Just bears out what I was saying, he, with glowing bosom said to
+Stephen, about blood and the sun. And, if I don't greatly mistake she was
+Spanish too.
+
+--The king of Spain's daughter, Stephen answered, adding something or
+other rather muddled about farewell and adieu to you Spanish onions and
+the first land called the Deadman and from Ramhead to Scilly was so and
+so many.
+
+--Was she? Bloom ejaculated, surprised though not astonished by any
+means, I never heard that rumour before. Possible, especially there, it
+was as she lived there. So, Spain.
+
+Carefully avoiding a book in his pocket SWEETS OF, which reminded him by
+the by of that Cap l street library book out of date, he took out his
+pocketbook and, turning over the various contents it contained rapidly
+finally he.
+
+--Do you consider, by the by, he said, thoughtfully selecting a faded
+photo which he laid on the table, that a Spanish type?
+
+Stephen, obviously addressed, looked down on the photo showing a large
+sized lady with her fleshy charms on evidence in an open fashion as she
+was in the full bloom of womanhood in evening dress cut ostentatiously
+low for the occasion to give a liberal display of bosom, with more than
+vision of breasts, her full lips parted and some perfect teeth, standing
+near, ostensibly with gravity, a piano on the rest of which was IN OLD
+MADRID, a ballad, pretty in its way, which was then all the vogue. Her
+(the lady's) eyes, dark, large, looked at Stephen, about to smile about
+something to be admired, Lafayette of Westmoreland street, Dublin's
+premier photographic artist, being responsible for the esthetic
+execution.
+
+--Mrs Bloom, my wife the PRIMA DONNA Madam Marion Tweedy, Bloom
+indicated. Taken a few years since. In or about ninety six. Very like her
+then.
+
+Beside the young man he looked also at the photo of the lady now his 1440
+legal wife who, he intimated, was the accomplished daughter of Major
+Brian Tweedy and displayed at an early age remarkable proficiency as a
+singer having even made her bow to the public when her years numbered
+barely sweet sixteen. As for the face it was a speaking likeness in
+expression but it did not do justice to her figure which came in for a
+lot of notice usually and which did not come out to the best advantage in
+that getup. She could without difficulty, he said, have posed for the
+ensemble, not to dwell on certain opulent curves of the. He dwelt, being
+a bit of an artist in his spare time, on the female form in general
+developmentally because, as it so happened, no later than that afternoon
+he had seen those Grecian statues, 1450 perfectly developed as works of
+art, in the National Museum. Marble could give the original, shoulders,
+back, all the symmetry, all the rest. Yes, puritanisme, it does though
+Saint Joseph's sovereign thievery alors (Bandez!) Figne toi trop. Whereas
+no photo could because it simply wasn't art in a word.
+
+The spirit moving him he would much have liked to follow Jack Tar's good
+example and leave the likeness there for a very few minutes to speak for
+itself on the plea he so that the other could drink in the beauty for
+himself, her stage presence being, frankly, a treat in itself which the
+camera could not at all do justice to. But it was scarcely professional
+etiquette so. Though it was a warm pleasant sort of a night now yet
+wonderfully cool for the season considering, for sunshine after storm.
+And he did feel a kind of need there and then to follow suit like a kind
+of inward voice and satisfy a possible need by moving a motion.
+Nevertheless he sat tight just viewing the slightly soiled photo creased
+by opulent curves, none the worse for wear however, and looked away
+thoughtfully with the intention of not further increasing the other's
+possible embarrassment while gauging her symmetry of heaving EMBONPOINT.
+In fact the slight soiling was only an added charm like the case of linen
+slightly soiled, good as new, much better in fact with the starch out.
+Suppose she was gone when he? I looked for the lamp which she told me
+came into his mind but merely as a passing fancy of his because he then
+recollected the morning littered bed etcetera and the book about Ruby
+with met him pike hoses (SIC) in it which must have fell down
+sufficiently appropriately beside the domestic chamberpot with apologies
+to Lindley Murray.
+
+The vicinity of the young man he certainly relished, educated, DISTINGUE
+and impulsive into the bargain, far and away the pick of the bunch though
+you wouldn't think he had it in him yet you would. Besides he said the
+picture was handsome which, say what you like, it was though at the
+moment she was distinctly stouter. And why not? An awful lot of
+makebelieve went on about that sort of thing involving a lifelong slur
+with the usual splash page of gutterpress about the same old matrimonial
+tangle alleging misconduct with professional golfer or the newest stage
+favourite instead of being honest and aboveboard about the whole
+business. How they were fated to meet and an attachment sprang up between
+the two so that their names were coupled in the public eye was told in
+court with letters containing the habitual mushy and compromising
+expressions leaving no loophole to show that they openly cohabited two or
+three times a week at some wellknown seaside hotel and relations, when
+the thing ran its normal course, became in due course intimate. Then the
+decree NISI and the King's proctor tries to show cause why and, he
+failing to quash it, NISI was made absolute. But as for that the two
+misdemeanants, wrapped up as they largely were in one another, could
+safely afford to ignore it as they very largely did till the matter was
+put in the hands of a solicitor who filed a petition for the party
+wronged in due course. He, B, enjoyed the distinction of being close to
+Erin's uncrowned king in the flesh when the thing occurred on the
+historic FRACAS when the fallen leader's, who notoriously stuck to his
+guns to the last drop even when clothed in the mantle of adultery,
+(leader's) trusty henchmen to the number of ten or a dozen or possibly
+even more than that penetrated into the printing works of the
+INSUPPRESSIBLE or no it was UNITED IRELAND (a by no means by the by
+appropriate appellative) and broke up the typecases with hammers or
+something like that all on account of some scurrilous effusions from the
+facile pens of the O'Brienite scribes at the usual mudslinging occupation
+reflecting on the erstwhile tribune's private morals. Though palpably a
+radically altered man he was still a commanding figure though carelessly
+garbed as usual with that look of settled purpose which went a long way
+with the shillyshallyers till they discovered to their vast discomfiture
+that their idol had feet of clay after placing him upon a pedestal which
+she, however, was the first to perceive. As those were particularly hot
+times in the general hullaballoo Bloom sustained a minor injury from a
+nasty prod of some chap's elbow in the crowd that of course congregated
+lodging some place about the pit of the stomach, fortunately not of a
+grave character. His hat (Parnell's) a silk one was inadvertently knocked
+off and, as a matter of strict history, Bloom was the man who picked it
+up in the crush after witnessing the occurrence meaning to return it to
+him (and return it to him he did with the utmost celerity) who panting
+and hatless and whose thoughts were miles away from his hat at the time
+all the same being a gentleman born with a stake in the country he, as a
+matter of fact, having gone into it more for the kudos of the thing than
+anything else, what's bred in the bone instilled into him in infancy at
+his mother's knee in the shape of knowing what good form was came out at
+once because he turned round to the donor and thanked him with perfect
+APLOMB, saying: THANK YOU, SIR, though in a very different tone of voice
+from the ornament of the legal profession whose headgear Bloom also set
+to rights earlier in the course of the day, history repeating itself with
+a difference, after the burial of a mutual friend when they had left him
+alone in his glory after the grim task of having committed his remains to
+the grave.
+
+On the other hand what incensed him more inwardly was the blatant jokes
+of the cabman and so on who passed it all off as a jest, laughing 1530
+immoderately, pretending to understand everything, the why and the
+wherefore, and in reality not knowing their own minds, it being a case
+for the two parties themselves unless it ensued that the legitimate
+husband happened to be a party to it owing to some anonymous letter from
+the usual boy Jones, who happened to come across them at the crucial
+moment in a loving position locked in one another's arms, drawing
+attention to their illicit proceedings and leading up to a domestic
+rumpus and the erring fair one begging forgiveness of her lord and master
+upon her knees and promising to sever the connection and not receive his
+visits any more if only the aggrieved husband would overlook the matter
+and let bygones be bygones with tears in her eyes though possibly with
+her tongue in her fair cheek at the same time as quite possibly there
+were several others. He personally, being of a sceptical bias, believed
+and didn't make the smallest bones about saying so either that man or men
+in the plural were always hanging around on the waiting list about a
+lady, even supposing she was the best wife in the world and they got on
+fairly well together for the sake of argument, when, neglecting her
+duties, she chose to be tired of wedded life and was on for a little
+flutter in polite debauchery to press their attentions on her with
+improper intent, the upshot being that her affections centred on another,
+the cause of many LIAISONS between still attractive married women getting
+on for fair and forty and younger men, no doubt as several famous cases
+of feminine infatuation proved up to the hilt.
+
+It was a thousand pities a young fellow, blessed with an allowance of
+brains as his neighbour obviously was, should waste his valuable time
+with profligate women who might present him with a nice dose to last him
+his lifetime. In the nature of single blessedness he would one day take
+unto himself a wife when Miss Right came on the scene but in the interim
+ladies' society was a CONDITIO SINE QUA NON though he had the gravest
+possible doubts, not that he wanted in the smallest to pump Stephen about
+Miss Ferguson (who was very possibly the particular lodestar who brought
+him down to Irishtown so early in the morning), as to whether he would
+find much satisfaction basking in the boy and girl courtship idea and the
+company of smirking misses without a penny to their names bi or triweekly
+with the orthodox preliminary canter of complimentplaying and walking out
+leading up to fond lovers' ways and flowers and chocs. To think of him
+house and homeless, rooked by some landlady worse than any stepmother,
+was really too bad at his age. The queer suddenly things he popped out
+with attracted the elder man who was several years the other's senior or
+like his father but something substantial he certainly ought to eat even
+were it only an eggflip made on unadulterated maternal nutriment or,
+failing that, the homely Humpty Dumpty boiled.
+
+--At what o'clock did you dine? he questioned of the slim form and tired
+though unwrinkled face.
+
+--Some time yesterday, Stephen said.
+
+--Yesterday! exclaimed Bloom till he remembered it was already tomorrow
+Friday. Ah, you mean it's after twelve!
+
+--The day before yesterday, Stephen said, improving on himself.
+
+Literally astounded at this piece of intelligence Bloom reflected. Though
+they didn't see eye to eye in everything a certain analogy there somehow
+was as if both their minds were travelling, so to speak, in the one train
+of thought. At his age when dabbling in politics roughly some score of
+years previously when he had been a QUASI aspirant to parliamentary
+honours in the Buckshot Foster days he too recollected in retrospect
+(which was a source of keen satisfaction in itself) he had a sneaking
+regard for those same ultra ideas. For instance when the evicted tenants
+question, then at its first inception, bulked largely in people's mind
+though, it goes without saying, not contributing a copper or pinning his
+faith absolutely to its dictums, some of which wouldn't exactly hold
+water, he at the outset in principle at all events was in thorough
+sympathy with peasant possession as voicing the trend of modern opinion
+(a partiality, however, which, realising his mistake, he was subsequently
+partially cured of) and even was twitted with going a step farther than
+Michael Davitt in the striking views he at one time inculcated as a
+backtothelander, which was one reason he strongly resented the innuendo
+put upon him in so barefaced a fashion by our friend at the gathering of
+the clans in Barney Kiernan's so that he, though often considerably
+misunderstood and the least pugnacious of mortals, be it repeated,
+departed from his customary habit to give him (metaphorically) one in the
+gizzard though, so far as politics themselves were concerned, he was only
+too conscious of the casualties invariably resulting from propaganda and
+displays of mutual animosity and the misery and suffering it entailed as
+a foregone conclusion on fine young fellows, chiefly, destruction of the
+fittest, in a word.
+
+Anyhow upon weighing up the pros and cons, getting on for one, as it was,
+it was high time to be retiring for the night. The crux was it was a bit
+risky to bring him home as eventualities might possibly ensue (somebody
+having a temper of her own sometimes) and spoil the hash altogether as on
+the night he misguidedly brought home a dog (breed unknown) with a lame
+paw (not that the cases were either identical or the reverse though he
+had hurt his hand too) to Ontario Terrace as he very distinctly
+remembered, having been there, so to speak. On the other hand it was
+altogether far and away too late for the Sandymount or Sandycove
+suggestion so that he was in some perplexity as to which of the two
+alternatives. Everything pointed to the fact that it behoved him to avail
+himself to the full of the opportunity, all things considered. His
+initial impression was he was a shade standoffish or not over effusive
+but it grew on him someway. For one thing he mightn't what you call jump
+at the idea, if approached, and what mostly worried him was he didn't
+know how to lead up to it or word it exactly, supposing he did entertain
+the proposal, as it would afford him very great personal pleasure if he
+would allow him to help to put coin in his way or some wardrobe, if found
+suitable. At all events he wound up by concluding, eschewing for the
+nonce hidebound precedent, a cup of Epps's cocoa and a shakedown for the
+night plus the use of a rug or two and overcoat doubled into a pillow at
+least he would be in safe hands and as warm as a toast on a trivet he
+failed to perceive any very vast amount of harm in that always with the
+proviso no rumpus of any sort was kicked up. A move had to be made
+because that merry old soul, the grasswidower in question who appeared to
+be glued to the spot, didn't appear in any particular hurry to wend his
+way home to his dearly beloved Queenstown and it was highly likely some
+sponger's bawdyhouse of retired beauties where age was no bar off Sheriff
+street lower would be the best clue to that equivocal character's
+whereabouts for a few days to come, alternately racking their feelings
+(the mermaids') with sixchamber revolver anecdotes verging on the
+tropical calculated to freeze the marrow of anybody's bones and mauling
+their largesized charms betweenwhiles with rough and tumble gusto to the
+accompaniment of large potations of potheen and the usual blarney about
+himself for as to who he in reality was let x equal my right name and
+address, as Mr Algebra remarks PASSIM. At the same time he inwardly
+chuckled over his gentle repartee to the blood and ouns champion about
+his god being a jew. People could put up with being bitten by a wolf but
+what properly riled them was a bite from a sheep. The most vulnerable
+point too of tender Achilles. Your god was a jew. Because mostly they
+appeared to imagine he came from Carrick-on-Shannon or somewhereabouts in
+the county Sligo.
+
+--I propose, our hero eventually suggested after mature reflection while
+prudently pocketing her photo, as it's rather stuffy here you just come
+home with me and talk things over. My diggings are quite close in the
+vicinity. You can't drink that stuff. Do you like cocoa? Wait. I'll just
+pay this lot.
+
+The best plan clearly being to clear out, the remainder being plain
+sailing, he beckoned, while prudently pocketing the photo, to the keeper
+of the shanty who didn't seem to.
+
+--Yes, that's the best, he assured Stephen to whom for the matter of that
+Brazen Head or him or anywhere else was all more or less.
+
+All kinds of Utopian plans were flashing through his (B's) busy brain,
+education (the genuine article), literature, journalism, prize titbits,
+up to date billing, concert tours in English watering resorts packed with
+hydros and seaside theatres, turning money away, duets in Italian with
+the accent perfectly true to nature and a quantity of other things, no
+necessity, of course, to tell the world and his wife from the housetops
+about it, and a slice of luck. An opening was all was wanted. Because he
+more than suspected he had his father's voice to bank his hopes on which
+it was quite on the cards he had so it would be just as well, by the way
+no harm, to trail the conversation in the direction of that particular
+red herring just to.
+
+The cabby read out of the paper he had got hold of that the former
+viceroy, earl Cadogan, had presided at the cabdrivers' association dinner
+in London somewhere. Silence with a yawn or two accompanied this
+thrilling announcement. Then the old specimen in the corner who appeared
+to have some spark of vitality left read out that sir Anthony MacDonnell
+had left Euston for the chief secretary's lodge or words to that effect.
+To which absorbing piece of intelligence echo answered why.
+
+--Give us a squint at that literature, grandfather, the ancient mariner
+put in, manifesting some natural impatience.
+
+--And welcome, answered the elderly party thus addressed.
+
+The sailor lugged out from a case he had a pair of greenish goggles which
+he very slowly hooked over his nose and both ears.
+
+--Are you bad in the eyes? the sympathetic personage like the townclerk
+queried.
+
+--Why, answered the seafarer with the tartan beard, who seemingly was a
+bit of a literary cove in his own small way, staring out of seagreen
+portholes as you might well describe them as, I uses goggles reading.
+Sand in the Red Sea done that. One time I could read a book in the dark,
+manner of speaking. THE ARABIAN NIGHTS ENTERTAINMENT was my favourite and
+RED AS A ROSE IS SHE.
+
+Hereupon he pawed the journal open and pored upon Lord only knows what,
+found drowned or the exploits of King Willow, Iremonger having made a
+hundred and something second wicket not out for Notts, during which time
+(completely regardless of Ire) the keeper was intensely occupied
+loosening an apparently new or secondhand boot which manifestly pinched
+him as he muttered against whoever it was sold it, all of them who were
+sufficiently awake enough to be picked out by their facial expressions,
+that is to say, either simply looking on glumly or passing a trivial
+remark.
+
+To cut a long story short Bloom, grasping the situation, was the first to
+rise from his seat so as not to outstay their welcome having first and
+foremost, being as good as his word that he would foot the bill for the
+occasion, taken the wise precaution to unobtrusively motion to mine host
+as a parting shot a scarcely perceptible sign when the others were not
+looking to the effect that the amount due was forthcoming, making a grand
+total of fourpence (the amount he deposited unobtrusively in four
+coppers, literally the last of the Mohicans), he having previously
+spotted on the printed pricelist for all who ran to read opposite him in
+unmistakable figures, coffee 2d, confectionery do, and honestly well
+worth twice the money once in a way, as Wetherup used to remark.
+
+--Come, he counselled to close the SEANCE.
+
+Seeing that the ruse worked and the coast was clear they left the shelter
+or shanty together and the ELITE society of oilskin and company whom
+nothing short of an earthquake would move out of their DOLCE FAR NIENTE.
+Stephen, who confessed to still feeling poorly and fagged out, paused at
+the, for a moment, the door.
+
+--One thing I never understood, he said to be original on the spur of the
+moment. Why they put tables upside down at night, I mean chairs upside
+down, on the tables in cafes. To which impromptu the neverfailing Bloom
+replied without a moment's hesitation, saying straight off:
+
+--To sweep the floor in the morning.
+
+So saying he skipped around, nimbly considering, frankly at the same time
+apologetic to get on his companion's right, a habit of his, by the bye,
+his right side being, in classical idiom, his tender Achilles. The night
+air was certainly now a treat to breathe though Stephen was a bit weak on
+his pins.
+
+--It will (the air) do you good, Bloom said, meaning also the walk, in a
+moment. The only thing is to walk then you'll feel a different man. Come.
+It's not far. Lean on me.
+
+Accordingly he passed his left arm in Stephen's right and led him on
+accordingly.
+
+--Yes, Stephen said uncertainly because he thought he felt a strange kind
+of flesh of a different man approach him, sinewless and wobbly and all
+that.
+
+Anyhow they passed the sentrybox with stones, brazier etc. where the
+municipal supernumerary, ex Gumley, was still to all intents and purposes
+wrapped in the arms of Murphy, as the adage has it, dreaming of fresh
+fields and pastures new. And APROPOS of coffin of stones the analogy was
+not at all bad as it was in fact a stoning to death on the part of
+seventytwo out of eighty odd constituencies that ratted at the time of
+the split and chiefly the belauded peasant class, probably the selfsame
+evicted tenants he had put in their holdings.
+
+So they turned on to chatting about music, a form of art for which Bloom,
+as a pure amateur, possessed the greatest love, as they made tracks arm
+in arm across Beresford place. Wagnerian music, though confessedly grand
+in its way, was a bit too heavy for Bloom and hard to follow at the first
+go-off but the music of Mercadante's HUGUENOTS, Meyerbeer's SEVEN LAST
+WORDS ON THE CROSS and Mozart's TWELFTH MASS he simply revelled in, the
+GLORIA in that being, to his mind, the acme of first class music as such,
+literally knocking everything else into a cocked hat. He infinitely
+preferred the sacred music of the catholic church to anything the
+opposite shop could offer in that line such as those Moody and Sankey
+hymns or BID ME TO LIVE AND I WILL LIVE THY PROTESTANT TO BE. He also
+yielded to none in his admiration of Rossini's STABAT MATER, a work
+simply abounding in immortal numbers, in which his wife, Madam Marion
+Tweedy, made a hit, a veritable sensation, he might safely say, greatly
+adding to her other laureis and putting the others totally in the shade,
+in the jesuit fathers' church in upper Gardiner street, the sacred
+edifice being thronged to the doors to hear her with virtuosos, or
+VIRTUOSI rather. There was the unanimous opinion that there was none to
+come up to her and suffice it to say in a place of worship for music of a
+sacred character there was a generally voiced desire for an encore. On
+the whole though favouring preferably light opera of the DON GIOVANNI
+description and MARTHA, a gem in its line, he had a PENCHANT, though with
+only a surface knowledge, for the severe classical school such as
+Mendelssohn. And talking of that, taking it for granted he knew all about
+the old favourites, he mentioned PAR EXCELLENCE Lionel's air in MARTHA,
+M'APPARI, which, curiously enough, he had heard or overheard, to be more
+accurate, on yesterday, a privilege he keenly appreciated, from the lips
+of Stephen's respected father, sung to perfection, a study of the number,
+in fact, which made all the others take a back seat. Stephen, in reply to
+a politely put query, said he didn't sing it but launched out into
+praises of Shakespeare's songs, at least of in or about that period, the
+lutenist Dowland who lived in Fetter lane near Gerard the herbalist, who
+ANNO LUDENDO HAUSI, DOULANDUS, an instrument he was contemplating
+purchasing from Mr Arnold Dolmetsch, whom B. did not quite recall though
+the name certainly sounded familiar, for sixtyfive guineas and Farnaby
+and son with their DUX and COMES conceits and Byrd (William) who played
+the virginals, he said, in the Queen's chapel or anywhere else he found
+them and one Tomkins who made toys or airs and John Bull.
+
+On the roadway which they were approaching whilst still speaking beyond
+the swingchains a horse, dragging a sweeper, paced on the paven ground,
+brushing a long swathe of mire up so that with the noise Bloom was not
+perfectly certain whether he had caught aright the allusion to sixtyfive
+guineas and John Bull. He inquired if it was John Bull the political
+celebrity of that ilk, as it struck him, the two identical names, as a
+striking coincidence.
+
+By the chains the horse slowly swerved to turn, which perceiving, Bloom,
+who was keeping a sharp lookout as usual, plucked the other's sleeve
+gently, jocosely remarking:
+
+--Our lives are in peril tonight. Beware of the steamroller.
+
+They thereupon stopped. Bloom looked at the head of a horse not worth
+anything like sixtyfive guineas, suddenly in evidence in the dark quite
+near so that it seemed new, a different grouping of bones and even flesh
+because palpably it was a fourwalker, a hipshaker, a blackbuttocker, a
+taildangler, a headhanger putting his hind foot foremost the while the
+lord of his creation sat on the perch, busy with his thoughts. But such a
+good poor brute he was sorry he hadn't a lump of sugar but, as he wisely
+reflected, you could scarcely be prepared for every emergency that might
+crop up. He was just a big nervous foolish noodly kind of a horse,
+without a second care in the world. But even a dog, he reflected, take
+that mongrel in Barney Kiernan's, of the same size, would be a holy
+horror to face. But it was no animal's fault in particular if he was
+built that way like the camel, ship of the desert, distilling grapes into
+potheen in his hump. Nine tenths of them all could be caged or trained,
+nothing beyond the art of man barring the bees. Whale with a harpoon
+hairpin, alligator tickle the small of his back and he sees the joke,
+chalk a circle for a rooster, tiger my eagle eye. These timely
+reflections anent the brutes of the field occupied his mind somewhat
+distracted from Stephen's words while the ship of the street was
+manoeuvring and Stephen went on about the highly interesting old.
+
+--What's this I was saying? Ah, yes! My wife, he intimated, plunging IN
+MEDIAS RES, would have the greatest of pleasure in making your
+acquaintance as she is passionately attached to music of any kind.
+
+He looked sideways in a friendly fashion at the sideface of Stephen,
+image of his mother, which was not quite the same as the usual handsome
+blackguard type they unquestionably had an insatiable hankering after as
+he was perhaps not that way built.
+
+Still, supposing he had his father's gift as he more than suspected, it
+opened up new vistas in his mind such as Lady Fingall's Irish industries,
+concert on the preceding Monday, and aristocracy in general.
+
+Exquisite variations he was now describing on an air YOUTH HERE HAS END
+by Jans Pieter Sweelinck, a Dutchman of Amsterdam where the frows come
+from. Even more he liked an old German song of JOHANNES JEEP about the
+clear sea and the voices of sirens, sweet murderers of men, which boggled
+Bloom a bit:
+
+
+    VON DER SIRENEN LISTIGKEIT
+    TUN DIE POETEN DICHTEN.
+
+
+These opening bars he sang and translated EXTEMPORE. Bloom, nodding, said
+he perfectly understood and begged him to go on by all means which he
+did.
+
+A phenomenally beautiful tenor voice like that, the rarest of boons,
+which Bloom appreciated at the very first note he got out, could easily,
+if properly handled by some recognised authority on voice production such
+as Barraclough and being able to read music into the bargain, command its
+own price where baritones were ten a penny and procure for its fortunate
+possessor in the near future an ENTREE into fashionable houses in the
+best residential quarters of financial magnates in a large way of
+business and titled people where with his university degree of B. A. (a
+huge ad in its way) and gentlemanly bearing to all the more influence the
+good impression he would infallibly score a distinct success, being
+blessed with brains which also could be utilised for the purpose and
+other requisites, if his clothes were properly attended to so as to the
+better worm his way into their good graces as he, a youthful tyro in--
+society's sartorial niceties, hardly understood how a little thing like
+that could militate against you. It was in fact only a matter of months
+and he could easily foresee him participating in their musical and
+artistic CONVERSAZIONES during the festivities of the Christmas season,
+for choice, causing a slight flutter in the dovecotes of the fair sex and
+being made a lot of by ladies out for sensation, cases of which, as he
+happened to know, were on record--in fact, without giving the show away,
+he himself once upon a time, if he cared to, could easily have. Added to
+which of course would be the pecuniary emolument by no means to be
+sneezed at, going hand in hand with his tuition fees. Not, he
+parenthesised, that for the sake of filthy lucre he need necessarily
+embrace the lyric platform as a walk in life for any lengthy space of
+time. But a step in the required direction it was beyond yea or nay and
+both monetarily and mentally it contained no reflection on his dignity in
+the smallest and it often turned in uncommonly handy to be handed a
+cheque at a muchneeded moment when every little helped. Besides, though
+taste latterly had deteriorated to a degree, original music like that,
+different from the conventional rut, would rapidly have a great vogue as
+it would be a decided novelty for Dublin's musical world after the usual
+hackneyed run of catchy tenor solos foisted on a confiding public by Ivan
+St Austell and Hilton St Just and their GENUS OMNE. Yes, beyond a shadow
+of a doubt he could with all the cards in his hand and he had a capital
+opening to make a name for himself and win a high place in the city's
+esteem where he could command a stiff figure and, booking ahead, give a
+grand concert for the patrons of the King street house, given a backerup,
+if one were forthcoming to kick him upstairs, so to speak, a big IF,
+however, with some impetus of the goahead sort to obviate the inevitable
+procrastination which often tripped -up a too much feted prince of good
+fellows. And it need not detract from the other by one iota as, being his
+own master, he would have heaps of time to practise literature in his
+spare moments when desirous of so doing without its clashing with his
+vocal career or containing anything derogatory whatsoever as it was a
+matter for himself alone. In fact, he had the ball at his feet and that
+was the very reason why the other, possessed of a remarkably sharp nose
+for smelling a rat of any sort, hung on to him at all.
+
+The horse was just then. And later on at a propitious opportunity he
+purposed (Bloom did), without anyway prying into his private affairs on
+the FOOLS STEP IN WHERE ANGELS principle, advising him to sever his
+connection with a certain budding practitioner who, he noticed, was prone
+to disparage and even to a slight extent with some hilarious pretext when
+not present, deprecate him, or whatever you like to call it which in
+Bloom's humble opinion threw a nasty sidelight on that side of a person's
+character, no pun intended.
+
+The horse having reached the end of his tether, so to speak, halted and,
+rearing high a proud feathering tail, added his quota by letting fall on
+the floor which the brush would soon brush up and polish, three smoking
+globes of turds. Slowly three times, one after another, from a full
+crupper he mired. And humanely his driver waited till he (or she) had
+ended, patient in his scythed car.
+
+Side by side Bloom, profiting by the CONTRETEMPS, with Stephen passed
+through the gap of the chains, divided by the upright, and, stepping over
+a strand of mire, went across towards Gardiner street lower, Stephen
+singing more boldly, but not loudly, the end of the ballad.
+
+
+    UND ALLE SCHIFFE BRUCKEN.
+
+
+The driver never said a word, good, bad or indifferent, but merely
+watched the two figures, as he sat on his lowbacked car, both black, one
+full, one lean, walk towards the railway bridge, TO BE MARRIED BY FATHER
+MAHER. As they walked they at times stopped and walked again continuing
+their TETE-A-TETE (which, of course, he was utterly out of) about sirens
+enemies of man's reason, mingled with a number of other topics of the
+same category, usurpers, historical cases of the kind while the man in
+the sweeper car or you might as well call it in the sleeper car who in
+any case couldn't possibly hear because they were too far simply sat in
+his seat near the end of lower Gardiner street AND LOOKED AFTER THEIR
+LOWBACKED CAR.
+
+
+    * * * * * * *
+
+
+What parallel courses did Bloom and Stephen follow returning?
+
+Starting united both at normal walking pace from Beresford place they
+followed in the order named Lower and Middle Gardiner streets and
+Mountjoy square, west: then, at reduced pace, each bearing left,
+Gardiner's place by an inadvertence as far as the farther corner of
+Temple street: then, at reduced pace with interruptions of halt, bearing
+right, Temple street, north, as far as Hardwicke place. Approaching,
+disparate, at relaxed walking pace they crossed both the circus before
+George's church diametrically, the chord in any circle being less than
+the arc which it subtends.
+
+Of what did the duumvirate deliberate during their itinerary?
+
+Music, literature, Ireland, Dublin, Paris, friendship, woman,
+prostitution, diet, the influence of gaslight or the light of arc and
+glowlamps on the growth of adjoining paraheliotropic trees, exposed
+corporation emergency dustbuckets, the Roman catholic church,
+ecclesiastical celibacy, the Irish nation, jesuit education, careers, the
+study of medicine, the past day, the maleficent influence of the
+presabbath, Stephen's collapse.
+
+Did Bloom discover common factors of similarity between their respective
+like and unlike reactions to experience?
+
+Both were sensitive to artistic impressions, musical in preference to
+plastic or pictorial. Both preferred a continental to an insular manner
+of life, a cisatlantic to a transatlantic place of residence. Both
+indurated by early domestic training and an inherited tenacity of
+heterodox resistance professed their disbelief in many orthodox
+religious, national, social and ethical doctrines. Both admitted the
+alternately stimulating and obtunding influence of heterosexual
+magnetism.
+
+Were their views on some points divergent?
+
+Stephen dissented openly from Bloom's views on the importance of dietary
+and civic selfhelp while Bloom dissented tacitly from Stephen's views on
+the eternal affirmation of the spirit of man in literature. Bloom
+assented covertly to Stephen's rectification of the anachronism involved
+in assigning the date of the conversion of the Irish nation to
+christianity from druidism by Patrick son of Calpornus, son of Potitus,
+son of Odyssus, sent by pope Celestine I in the year 432 in the reign of
+Leary to the year 260 or thereabouts in the reign of Cormac MacArt (died
+266 A.D.), suffocated by imperfect deglutition of aliment at Sletty and
+interred at Rossnaree. The collapse which Bloom ascribed to gastric
+inanition and certain chemical compounds of varying degrees of
+adulteration and alcoholic strength, accelerated by mental exertion and
+the velocity of rapid circular motion in a relaxing atmosphere, Stephen
+attributed to the reapparition of a matutinal cloud (perceived by both
+from two different points of observation Sandycove and Dublin) at first
+no bigger than a woman's hand.
+
+Was there one point on which their views were equal and negative?
+
+The influence of gaslight or electric light on the growth of adjoining
+paraheliotropic trees.
+
+Had Bloom discussed similar subjects during nocturnal perambulations in
+the past?
+
+In 1884 with Owen Goldberg and Cecil Turnbull at night on public
+thoroughfares between Longwood avenue and Leonard's corner and Leonard's
+corner and Synge street and Synge street and Bloomfield avenue.
+
+In 1885 with Percy Apjohn in the evenings, reclined against the wall
+between Gibraltar villa and Bloomfield house in Crumlin, barony of
+Uppercross. In 1886 occasionally with casual acquaintances and
+prospective purchasers on doorsteps, in front parlours, in third class
+railway carriages of suburban lines. In 1888 frequently with major Brian
+Tweedy and his daughter Miss Marion Tweedy, together and separately on
+the lounge in Matthew Dillon's house in Roundtown. Once in 1892 and once
+in 1893 with Julius (Juda) Mastiansky, on both occasions in the parlour
+of his (Bloom's) house in Lombard street, west.
+
+What reflection concerning the irregular sequence of dates 1884, 1885,
+1886, 1888, 1892, 1893, 1904 did Bloom make before their arrival at their
+destination?
+
+He reflected that the progressive extension of the field of individual
+development and experience was regressively accompanied by a restriction
+of the converse domain of interindividual relations.
+
+As in what ways?
+
+From inexistence to existence he came to many and was as one received:
+existence with existence he was with any as any with any: from existence
+to nonexistence gone he would be by all as none perceived.
+
+What act did Bloom make on their arrival at their destination?
+
+At the housesteps of the 4th Of the equidifferent uneven numbers, number
+7 Eccles street, he inserted his hand mechanically into the back pocket
+of his trousers to obtain his latchkey.
+
+Was it there?
+
+It was in the corresponding pocket of the trousers which he had worn on
+the day but one preceding.
+
+Why was he doubly irritated?
+
+Because he had forgotten and because he remembered that he had reminded
+himself twice not to forget.
+
+What were then the alternatives before the, premeditatedly (respectively)
+and inadvertently, keyless couple?
+
+To enter or not to enter. To knock or not to knock.
+
+Bloom's decision?
+
+A stratagem. Resting his feet on the dwarf wall, he climbed over the area
+railings, compressed his hat on his head, grasped two points at the lower
+union of rails and stiles, lowered his body gradually by its length of
+five feet nine inches and a half to within two feet ten inches of the
+area pavement and allowed his body to move freely in space by separating
+himself from the railings and crouching in preparation for the impact of
+the fall.
+
+Did he fall?
+
+By his body's known weight of eleven stone and four pounds in avoirdupois
+measure, as certified by the graduated machine for periodical
+selfweighing in the premises of Francis Froedman, pharmaceutical chemist
+of 19 Frederick street, north, on the last feast of the Ascension, to
+wit, the twelfth day of May of the bissextile year one thousand nine
+hundred and four of the christian era (jewish era five thousand six
+hundred and sixtyfour, mohammadan era one thousand three hundred and
+twentytwo), golden number 5, epact 13, solar cycle 9, dominical letters C
+B, Roman indiction 2, Julian period 6617, MCMIV.
+
+Did he rise uninjured by concussion?
+
+Regaining new stable equilibrium he rose uninjured though concussed by
+the impact, raised the latch of the area door by the exertion of force at
+its freely moving flange and by leverage of the first kind applied at its
+fulcrum, gained retarded access to the kitchen through the subadjacent
+scullery, ignited a lucifer match by friction, set free inflammable coal
+gas by turningon the ventcock, lit a high flame which, by regulating, he
+reduced to quiescent candescence and lit finally a portable candle.
+
+What discrete succession of images did Stephen meanwhile perceive?
+
+Reclined against the area railings he perceived through the transparent
+kitchen panes a man regulating a gasflame of 14 CP, a man lighting a
+candle of 1 CP, a man removing in turn each of his two boots, a man
+leaving the kitchen holding a candle.
+
+Did the man reappear elsewhere?
+
+After a lapse of four minutes the glimmer of his candle was discernible
+through the semitransparent semicircular glass fanlight over the
+halldoor. The halldoor turned gradually on its hinges. In the open space
+of the doorway the man reappeared without his hat, with his candle.
+
+Did Stephen obey his sign?
+
+Yes, entering softly, he helped to close and chain the door and followed
+softly along the hallway the man's back and listed feet and lighted
+candle past a lighted crevice of doorway on the left and carefully down a
+turning staircase of more than five steps into the kitchen of Bloom's
+house.
+
+What did Bloom do?
+
+He extinguished the candle by a sharp expiration of breath upon its
+flame, drew two spoonseat deal chairs to the hearthstone, one for Stephen
+with its back to the area window, the other for himself when necessary,
+knelt on one knee, composed in the grate a pyre of crosslaid resintipped
+sticks and various coloured papers and irregular polygons of best Abram
+coal at twentyone shillings a ton from the yard of Messrs Flower and
+M'Donald of 14 D'Olier street, kindled it at three projecting points of
+paper with one ignited lucifer match, thereby releasing the potential
+energy contained in the fuel by allowing its carbon and hydrogen elements
+to enter into free union with the oxygen of the air.
+
+Of what similar apparitions did Stephen think?
+
+Of others elsewhere in other times who, kneeling on one knee or on two,
+had kindled fires for him, of Brother Michael in the infirmary of the
+college of the Society of Jesus at Clongowes Wood, Sallins, in the county
+of Kildare: of his father, Simon Dedalus, in an unfurnished room of his
+first residence in Dublin, number thirteen Fitzgibbon street: of his
+godmother Miss Kate Morkan in the house of her dying sister Miss Julia
+Morkan at 15 Usher's Island: of his aunt Sara, wife of Richie (Richard)
+Goulding, in the kitchen of their lodgings at 62 Clanbrassil street: of
+his mother Mary, wife of Simon Dedalus, in the kitchen of number twelve
+North Richmond street on the morning of the feast of Saint Francis Xavier
+1898: of the dean of studies, Father Butt, in the physics' theatre of
+university College, 16 Stephen's Green, north: of his sister Dilly
+(Delia) in his father's house in Cabra.
+
+What did Stephen see on raising his gaze to the height of a yard from the
+fire towards the opposite wall?
+
+Under a row of five coiled spring housebells a curvilinear rope,
+stretched between two holdfasts athwart across the recess beside the
+chimney pier, from which hung four smallsized square handkerchiefs folded
+unattached consecutively in adjacent rectangles and one pair of ladies'
+grey hose with Lisle suspender tops and feet in their habitual position
+clamped by three erect wooden pegs two at their outer extremities and the
+third at their point of junction.
+
+What did Bloom see on the range?
+
+On the right (smaller) hob a blue enamelled saucepan: on the left
+(larger) hob a black iron kettle.
+
+What did Bloom do at the range?
+
+He removed the saucepan to the left hob, rose and carried the iron kettle
+to the sink in order to tap the current by turning the faucet to let it
+flow.
+
+Did it flow?
+
+Yes. From Roundwood reservoir in county Wicklow of a cubic capacity of
+2400 million gallons, percolating through a subterranean aqueduct of
+filter mains of single and double pipeage constructed at an initial plant
+cost of 5 pounds per linear yard by way of the Dargle, Rathdown, Glen of
+the Downs and Callowhill to the 26 acre reservoir at Stillorgan, a
+distance of 22 statute miles, and thence, through a system of relieving
+tanks, by a gradient of 250 feet to the city boundary at Eustace bridge,
+upper Leeson street, though from prolonged summer drouth and daily supply
+of 12 1/2 million gallons the water had fallen below the sill of the
+overflow weir for which reason the borough surveyor and waterworks
+engineer, Mr Spencer Harty, C. E., on the instructions of the waterworks
+committee had prohibited the use of municipal water for purposes other
+than those of consumption (envisaging the possibility of recourse being
+had to the impotable water of the Grand and Royal canals as in 1893)
+particularly as the South Dublin Guardians, notwithstanding their ration
+of 15 gallons per day per pauper supplied through a 6 inch meter, had
+been convicted of a wastage of 20,000 gallons per night by a reading of
+their meter on the affirmation of the law agent of the corporation, Mr
+Ignatius Rice, solicitor, thereby acting to the detriment of another
+section of the public, selfsupporting taxpayers, solvent, sound.
+
+What in water did Bloom, waterlover, drawer of water, watercarrier,
+returning to the range, admire?
+
+Its universality: its democratic equality and constancy to its nature in
+seeking its own level: its vastness in the ocean of Mercator's
+projection: its unplumbed profundity in the Sundam trench of the Pacific
+exceeding 8000 fathoms: the restlessness of its waves and surface
+particles visiting in turn all points of its seaboard: the independence
+of its units: the variability of states of sea: its hydrostatic
+quiescence in calm: its hydrokinetic turgidity in neap and spring tides:
+its subsidence after devastation: its sterility in the circumpolar
+icecaps, arctic and antarctic: its climatic and commercial significance:
+its preponderance of 3 to 1 over the dry land of the globe: its
+indisputable hegemony extending in square leagues over all the region
+below the subequatorial tropic of Capricorn: the multisecular stability
+of its primeval basin: its luteofulvous bed: its capacity to dissolve and
+hold in solution all soluble substances including millions of tons of the
+most precious metals: its slow erosions of peninsulas and islands, its
+persistent formation of homothetic islands, peninsulas and
+downwardtending promontories: its alluvial deposits: its weight and
+volume and density: its imperturbability in lagoons and highland tarns:
+its gradation of colours in the torrid and temperate and frigid zones:
+its vehicular ramifications in continental lakecontained streams and
+confluent oceanflowing rivers with their tributaries and transoceanic
+currents, gulfstream, north and south equatorial courses: its violence in
+seaquakes, waterspouts, Artesian wells, eruptions, torrents, eddies,
+freshets, spates, groundswells, watersheds, waterpartings, geysers,
+cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its
+vast circumterrestrial ahorizontal curve: its secrecy in springs and
+latent humidity, revealed by rhabdomantic or hygrometric instruments and
+exemplified by the well by the hole in the wall at Ashtown gate,
+saturation of air, distillation of dew: the simplicity of its
+composition, two constituent parts of hydrogen with one constituent part
+of oxygen: its healing virtues: its buoyancy in the waters of the Dead
+Sea: its persevering penetrativeness in runnels, gullies, inadequate
+dams, leaks on shipboard: its properties for cleansing, quenching thirst
+and fire, nourishing vegetation: its infallibility as paradigm and
+paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow,
+hail: its strength in rigid hydrants: its variety of forms in loughs and
+bays and gulfs and bights and guts and lagoons and atolls and
+archipelagos and sounds and fjords and minches and tidal estuaries and
+arms of sea: its solidity in glaciers, icebergs, icefloes: its docility
+in working hydraulic millwheels, turbines, dynamos, electric power
+stations, bleachworks, tanneries, scutchmills: its utility in canals,
+rivers, if navigable, floating and graving docks: its potentiality
+derivable from harnessed tides or watercourses falling from level to
+level: its submarine fauna and flora (anacoustic, photophobe),
+numerically, if not literally, the inhabitants of the globe: its ubiquity
+as constituting 90 percent of the human body: the noxiousness of its
+effluvia in lacustrine marshes, pestilential fens, faded flowerwater,
+stagnant pools in the waning moon.
+
+Having set the halffilled kettle on the now burning coals, why did he
+return to the stillflowing tap?
+
+To wash his soiled hands with a partially consumed tablet of Barrington's
+lemonflavoured soap, to which paper still adhered, (bought thirteen hours
+previously for fourpence and still unpaid for), in fresh cold
+neverchanging everchanging water and dry them, face and hands, in a long
+redbordered holland cloth passed over a wooden revolving roller.
+
+What reason did Stephen give for declining Bloom's offer?
+
+That he was hydrophobe, hating partial contact by immersion or total by
+submersion in cold water, (his last bath having taken place in the month
+of October of the preceding year), disliking the aqueous substances of
+glass and crystal, distrusting aquacities of thought and language.
+
+What impeded Bloom from giving Stephen counsels of hygiene and
+prophylactic to which should be added suggestions concerning a
+preliminary wetting of the head and contraction of the muscles with rapid
+splashing of the face and neck and thoracic and epigastric region in case
+of sea or river bathing, the parts of the human anatomy most sensitive to
+cold being the nape, stomach and thenar or sole of foot?
+
+The incompatibility of aquacity with the erratic originality of genius.
+
+What additional didactic counsels did he similarly repress?
+
+Dietary: concerning the respective percentage of protein and caloric
+energy in bacon, salt ling and butter, the absence of the former in the
+lastnamed and the abundance of the latter in the firstnamed.
+
+Which seemed to the host to be the predominant qualities of his guest?
+
+Confidence in himself, an equal and opposite power of abandonment and
+recuperation.
+
+What concomitant phenomenon took place in the vessel of liquid by the
+agency of fire?
+
+The phenomenon of ebullition. Fanned by a constant updraught of
+ventilation between the kitchen and the chimneyflue, ignition was
+communicated from the faggots of precombustible fuel to polyhedral masses
+of bituminous coal, containing in compressed mineral form the foliated
+fossilised decidua of primeval forests which had in turn derived their
+vegetative existence from the sun, primal source of heat (radiant),
+transmitted through omnipresent luminiferous diathermanous ether. Heat
+(convected), a mode of motion developed by such combustion, was
+constantly and increasingly conveyed from the source of calorification to
+the liquid contained in the vessel, being radiated through the uneven
+unpolished dark surface of the metal iron, in part reflected, in part
+absorbed, in part transmitted, gradually raising the temperature of the
+water from normal to boiling point, a rise in temperature expressible as
+the result of an expenditure of 72 thermal units needed to raise 1 pound
+of water from 50 degrees to 212 degrees Fahrenheit.
+
+What announced the accomplishment of this rise in temperature?
+
+A double falciform ejection of water vapour from under the kettlelid at
+both sides simultaneously.
+
+For what personal purpose could Bloom have applied the water so boiled?
+
+To shave himself.
+
+What advantages attended shaving by night?
+
+A softer beard: a softer brush if intentionally allowed to remain from
+shave to shave in its agglutinated lather: a softer skin if unexpectedly
+encountering female acquaintances in remote places at incustomary hours:
+quiet reflections upon the course of the day: a cleaner sensation when
+awaking after a fresher sleep since matutinal noises, premonitions and
+perturbations, a clattered milkcan, a postman's double knock, a paper
+read, reread while lathering, relathering the same spot, a shock, a
+shoot, with thought of aught he sought though fraught with nought might
+cause a faster rate of shaving and a nick on which incision plaster with
+precision cut and humected and applied adhered: which was to be done.
+
+Why did absence of light disturb him less than presence of noise?
+
+Because of the surety of the sense of touch in his firm full masculine
+feminine passive active hand.
+
+What quality did it (his hand) possess but with what counteracting
+influence?
+
+The operative surgical quality but that he was reluctant to shed human
+blood even when the end justified the means, preferring, in their natural
+order, heliotherapy, psychophysicotherapeutics, osteopathic surgery.
+
+What lay under exposure on the lower, middle and upper shelves of the
+kitchen dresser, opened by Bloom?
+
+On the lower shelf five vertical breakfast plates, six horizontal
+breakfast saucers on which rested inverted breakfast cups, a
+moustachecup, uninverted, and saucer of Crown Derby, four white
+goldrimmed eggcups, an open shammy purse displaying coins, mostly copper,
+and a phial of aromatic (violet) comfits. On the middle shelf a chipped
+eggcup containing pepper, a drum of table salt, four conglomerated black
+olives in oleaginous paper, an empty pot of Plumtree's potted meat, an
+oval wicker basket bedded with fibre and containing one Jersey pear, a
+halfempty bottle of William Gilbey and Co's white invalid port, half
+disrobed of its swathe of coralpink tissue paper, a packet of Epps's
+soluble cocoa, five ounces of Anne Lynch's choice tea at 2/- per lb in a
+crinkled leadpaper bag, a cylindrical canister containing the best
+crystallised lump sugar, two onions, one, the larger, Spanish, entire,
+the other, smaller, Irish, bisected with augmented surface and more
+redolent, a jar of Irish Model Dairy's cream, a jug of brown crockery
+containing a naggin and a quarter of soured adulterated milk, converted
+by heat into water, acidulous serum and semisolidified curds, which added
+to the quantity subtracted for Mr Bloom's and Mrs Fleming's breakfasts,
+made one imperial pint, the total quantity originally delivered, two
+cloves, a halfpenny and a small dish containing a slice of fresh
+ribsteak. On the upper shelf a battery of jamjars (empty) of various
+sizes and proveniences.
+
+What attracted his attention lying on the apron of the dresser?
+
+Four polygonal fragments of two lacerated scarlet betting tickets,
+numbered 8 87, 88 6.
+
+What reminiscences temporarily corrugated his brow?
+
+Reminiscences of coincidences, truth stranger than fiction, preindicative
+of the result of the Gold Cup flat handicap, the official and definitive
+result of which he had read in the EVENING TELEGRAPH, late pink edition,
+in the cabman's shelter, at Butt bridge.
+
+Where had previous intimations of the result, effected or projected, been
+received by him?
+
+In Bernard Kiernan's licensed premises 8, 9 and 10 little Britain street:
+in David Byrne's licensed premises, 14 Duke street: in O'Connell street
+lower, outside Graham Lemon's when a dark man had placed in his hand a
+throwaway (subsequently thrown away), advertising Elijah, restorer of the
+church in Zion: in Lincoln place outside the premises of F. W. Sweny and
+Co (Limited), dispensing chemists, when, when Frederick M. (Bantam) Lyons
+had rapidly and successively requested, perused and restituted the copy
+of the current issue of the FREEMAN'S JOURNAL AND NATIONAL PRESS which he
+had been about to throw away (subsequently thrown away), he had proceeded
+towards the oriental edifice of the Turkish and Warm Baths, 11 Leinster
+street, with the light of inspiration shining in his countenance and
+bearing in his arms the secret of the race, graven in the language of
+prediction.
+
+What qualifying considerations allayed his perturbations?
+
+The difficulties of interpretation since the significance of any event
+followed its occurrence as variably as the acoustic report followed the
+electrical discharge and of counterestimating against an actual loss by
+failure to interpret the total sum of possible losses proceeding
+originally from a successful interpretation.
+
+His mood?
+
+He had not risked, he did not expect, he had not been disappointed, he
+was satisfied.
+
+What satisfied him?
+
+To have sustained no positive loss. To have brought a positive gain to
+others. Light to the gentiles.
+
+How did Bloom prepare a collation for a gentile?
+
+He poured into two teacups two level spoonfuls, four in all, of Epps's
+soluble cocoa and proceeded according to the directions for use printed
+on the label, to each adding after sufficient time for infusion the
+prescribed ingredients for diffusion in the manner and in the quantity
+prescribed.
+
+What supererogatory marks of special hospitality did the host show his
+guest?
+
+Relinquishing his symposiarchal right to the moustache cup of imitation
+Crown Derby presented to him by his only daughter, Millicent (Milly), he
+substituted a cup identical with that of his guest and served
+extraordinarily to his guest and, in reduced measure, to himself the
+viscous cream ordinarily reserved for the breakfast of his wife Marion
+(Molly).
+
+Was the guest conscious of and did he acknowledge these marks of
+hospitality?
+
+His attention was directed to them by his host jocosely, and he accepted
+them seriously as they drank in jocoserious silence Epps's massproduct,
+the creature cocoa.
+
+Were there marks of hospitality which he contemplated but suppressed,
+reserving them for another and for himself on future occasions to
+complete the act begun?
+
+The reparation of a fissure of the length of 1 1/2 inches in the right
+side of his guest's jacket. A gift to his guest of one of the four lady's
+handkerchiefs, if and when ascertained to be in a presentable condition.
+
+Who drank more quickly?
+
+Bloom, having the advantage of ten seconds at the initiation and taking,
+from the concave surface of a spoon along the handle of which a steady
+flow of heat was conducted, three sips to his opponent's one, six to two,
+nine to three.
+
+What cerebration accompanied his frequentative act?
+
+Concluding by inspection but erroneously that his silent companion was
+engaged in mental composition he reflected on the pleasures derived from
+literature of instruction rather than of amusement as he himself had
+applied to the works of William Shakespeare more than once for the
+solution of difficult problems in imaginary or real life.
+
+Had he found their solution?
+
+In spite of careful and repeated reading of certain classical passages,
+aided by a glossary, he had derived imperfect conviction from the text,
+the answers not bearing in all points.
+
+What lines concluded his first piece of original verse written by him,
+potential poet, at the age of 11 in 1877 on the occasion of the offering
+of three prizes of 10/-, 5/- and 2/6 respectively for competition by the
+SHAMROCK, a weekly newspaper?
+
+
+    AN AMBITION TO SQUINT
+    AT MY VERSES IN PRINT
+    MAKES ME HOPE THAT FOR THESE YOU'LL FIND ROOM.
+    IF YOU SO CONDESCEND
+    THEN PLEASE PLACE AT THE END
+    THE NAME OF YOURS TRULY, L. BLOOM.
+
+
+Did he find four separating forces between his temporary guest and him?
+
+Name, age, race, creed.
+
+What anagrams had he made on his name in youth?
+
+
+    Leopold Bloom
+    Ellpodbomool
+    Molldopeloob
+    Bollopedoom
+    Old Ollebo, M. P.
+
+
+What acrostic upon the abbreviation of his first name had he (kinetic
+poet) sent to Miss Marion (Molly) Tweedy on the 14 February 1888?
+
+    POETS OFT HAVE SUNG IN RHYME
+    OF MUSIC SWEET THEIR PRAISE DIVINE.
+    LET THEM HYMN IT NINE TIMES NINE.
+    DEARER FAR THAN SONG OR WINE.
+    YOU ARE MINE. THE WORLD IS MINE.
+
+
+What had prevented him from completing a topical song (music by R. G.
+Johnston) on the events of the past, or fixtures for the actual, years,
+entitled IF BRIAN BORU COULD BUT COME BACK AND SEE OLD DUBLIN NOW,
+commissioned by Michael Gunn, lessee of the Gaiety Theatre, 46, 47, 48,
+49 South King street, and to be introduced into the sixth scene, the
+valley of diamonds, of the second edition (30 January 1893) of the grand
+annual Christmas pantomime SINBAD THE SAILOR (produced by R Shelton 26
+December 1892, written by Greenleaf Whittier, scenery by George A.
+Jackson and Cecil Hicks, costumes by Mrs and Miss Whelan under the
+personal supervision of Mrs Michael Gunn, ballets by Jessie Noir,
+harlequinade by Thomas Otto) and sung by Nelly Bouverist, principal girl?
+
+Firstly, oscillation between events of imperial and of local interest,
+the anticipated diamond jubilee of Queen Victoria (born 1820, acceded
+1837) and the posticipated opening of the new municipal fish market:
+secondly, apprehension of opposition from extreme circles on the
+questions of the respective visits of Their Royal Highnesses the duke and
+duchess of York (real) and of His Majesty King Brian Boru (imaginary):
+thirdly, a conflict between professional etiquette and professional
+emulation concerning the recent erections of the Grand Lyric Hall on
+Burgh Quay and the Theatre Royal in Hawkins street: fourthly, distraction
+resultant from compassion for Nelly Bouverist's non-intellectual, non-
+political, non-topical expression of countenance and concupiscence caused
+by Nelly Bouverist's revelations of white articles of non-intellectual,
+non-political, non-topical underclothing while she (Nelly Bouverist) was
+in the articles: fifthly, the difficulties of the selection of
+appropriate music and humorous allusions from EVERYBODY'S BOOK OF JOKES
+(1000 pages and a laugh in every one): sixthly, the rhymes, homophonous
+and cacophonous, associated with the names of the new lord mayor, Daniel
+Tallon, the new high sheriff, Thomas Pile and the new solicitorgeneral,
+Dunbar Plunket Barton.
+
+What relation existed between their ages?
+
+16 years before in 1888 when Bloom was of Stephen's present age Stephen
+was 6. 16 years after in 1920 when Stephen would be of Bloom's present
+age Bloom would be 54. In 1936 when Bloom would be 70 and Stephen 54
+their ages initially in the ratio of 16 to 0 would be as 17 1/2 to 13
+1/2, the proportion increasing and the disparity diminishing according as
+arbitrary future years were added, for if the proportion existing in 1883
+had continued immutable, conceiving that to be possible, till then 1904
+when Stephen was 22 Bloom would be 374 and in 1920 when Stephen would be
+38, as Bloom then was, Bloom would be 646 while in 1952 when Stephen
+would have attained the maximum postdiluvian age of 70 Bloom, being 1190
+years alive having been born in the year 714, would have surpassed by 221
+years the maximum antediluvian age, that of Methusalah, 969 years, while,
+if Stephen would continue to live until he would attain that age in the
+year 3072 A.D., Bloomwould have been obliged to have been alive 83,300
+years, having been obliged to have been born in the year 81,396 B.C.
+
+What events might nullify these calculations?
+
+The cessation of existence of both or either, the inauguration of a new
+era or calendar, the annihilation of the world and consequent
+extermination of the human species, inevitable but impredictable.
+
+How many previous encounters proved their preexisting acquaintance?
+
+Two. The first in the lilacgarden of Matthew Dillon's house, Medina
+Villa, Kimmage road, Roundtown, in 1887, in the company of Stephen's
+mother, Stephen being then of the age of 5 and reluctant to give his hand
+in salutation. The second in the coffeeroom of Breslin's hotel on a rainy
+Sunday in the January of 1892, in the company of Stephen's father and
+Stephen's granduncle, Stephen being then 5 years older.
+
+Did Bloom accept the invitation to dinner given then by the son and
+afterwards seconded by the father?
+
+Very gratefully, with grateful appreciation, with sincere appreciative
+gratitude, in appreciatively grateful sincerity of regret, he declined.
+
+Did their conversation on the subject of these reminiscences reveal a
+third connecting link between them?
+
+Mrs Riordan (Dante), a widow of independent means, had resided in the
+house of Stephen's parents from 1 September 1888 to 29 December 1891 and
+had also resided during the years 1892, 1893 and 1894 in the City Arms
+Hotel owned by Elizabeth O'Dowd of 54 Prussia street where, during parts
+of the years 1893 and 1894, she had been a constant informant of Bloom
+who resided also in the same hotel, being at that time a clerk in the
+employment of Joseph Cuffe of 5 Smithfield for the superintendence of
+sales in the adjacent Dublin Cattle market on the North Circular road.
+
+Had he performed any special corporal work of mercy for her?
+
+He had sometimes propelled her on warm summer evenings, an infirm widow
+of independent, if limited, means, in her convalescent bathchair with
+slow revolutions of its wheels as far as the corner of the North Circular
+road opposite Mr Gavin Low's place of business where she had remained for
+a certain time scanning through his onelensed binocular fieldglasses
+unrecognisable citizens on tramcars, roadster bicycles equipped with
+inflated pneumatic tyres, hackney carriages, tandems, private and hired
+landaus, dogcarts, ponytraps and brakes passing from the city to the
+Phoenix Park and vice versa.
+
+Why could he then support that his vigil with the greater equanimity?
+
+Because in middle youth he had often sat observing through a rondel of
+bossed glass of a multicoloured pane the spectacle offered with continual
+changes of the thoroughfare without, pedestrians, quadrupeds,
+velocipedes, vehicles, passing slowly, quickly, evenly, round and round
+and round the rim of a round and round precipitous globe.
+
+What distinct different memories had each of her now eight years
+deceased?
+
+The older, her bezique cards and counters, her Skye terrier, her
+suppositious wealth, her lapses of responsiveness and incipient catarrhal
+deafness: the younger, her lamp of colza oil before the statue of the
+Immaculate Conception, her green and maroon brushes for Charles Stewart
+Parnell and for Michael Davitt, her tissue papers.
+
+Were there no means still remaining to him to achieve the rejuvenation
+which these reminiscences divulged to a younger companion rendered the
+more desirable?
+
+The indoor exercises, formerly intermittently practised, subsequently
+abandoned, prescribed in Eugen Sandow's PHYSICAL STRENGTH AND HOW TO
+OBTAIN IT which, designed particularly for commercial men engaged in
+sedentary occupations, were to be made with mental concentration in front
+of a mirror so as to bring into play the various families of muscles and
+produce successively a pleasant rigidity, a more pleasant relaxation and
+the most pleasant repristination of juvenile agility.
+
+Had any special agility been his in earlier youth?
+
+Though ringweight lifting had been beyond his strength and the full
+circle gyration beyond his courage yet as a High school scholar he had
+excelled in his stable and protracted execution of the half lever
+movement on the parallel bars in consequence of his abnormally developed
+abdominal muscles.
+
+Did either openly allude to their racial difference?
+
+Neither.
+
+What, reduced to their simplest reciprocal form, were Bloom's thoughts
+about Stephen's thoughts about Bloom and about Stephen's thoughts about
+Bloom's thoughts about Stephen?
+
+He thought that he thought that he was a jew whereas he knew that he knew
+that he knew that he was not.
+
+What, the enclosures of reticence removed, were their respective
+parentages?
+
+Bloom, only born male transubstantial heir of Rudolf Virag (subsequently
+Rudolph Bloom) of Szombathely, Vienna, Budapest, Milan, London and Dublin
+and of Ellen Higgins, second daughter of Julius Higgins (born Karoly) and
+Fanny Higgins (born Hegarty). Stephen, eldest surviving male
+consubstantial heir of Simon Dedalus of Cork and Dublin and of Mary,
+daughter of Richard and Christina Goulding (born Grier).
+
+Had Bloom and Stephen been baptised, and where and by whom, cleric or
+layman?
+
+Bloom (three times), by the reverend Mr Gilmer Johnston M. A., alone, in
+the protestant church of Saint Nicholas Without, Coombe, by James
+O'Connor, Philip Gilligan and James Fitzpatrick, together, under a pump
+in the village of Swords, and by the reverend Charles Malone C. C., in
+the church of the Three Patrons, Rathgar. Stephen (once) by the reverend
+Charles Malone C. C., alone, in the church of the Three Patrons, Rathgar.
+
+Did they find their educational careers similar?
+
+Substituting Stephen for Bloom Stoom would have passed successively
+through a dame's school and the high school. Substituting Bloom for
+Stephen Blephen would have passed successively through the preparatory,
+junior, middle and senior grades of the intermediate and through the
+matriculation, first arts, second arts and arts degree courses of the
+royal university.
+
+Why did Bloom refrain from stating that he had frequented the university
+of life?
+
+Because of his fluctuating incertitude as to whether this observation had
+or had not been already made by him to Stephen or by Stephen to him.
+
+What two temperaments did they individually represent?
+
+The scientific. The artistic.
+
+What proofs did Bloom adduce to prove that his tendency was towards
+applied, rather than towards pure, science?
+
+Certain possible inventions of which he had cogitated when reclining in a
+state of supine repletion to aid digestion, stimulated by his
+appreciation of the importance of inventions now common but once
+revolutionary, for example, the aeronautic parachute, the reflecting
+telescope, the spiral corkscrew, the safety pin, the mineral water
+siphon, the canal lock with winch and sluice, the suction pump.
+
+Were these inventions principally intended for an improved scheme of
+kindergarten?
+
+Yes, rendering obsolete popguns, elastic airbladders, games of hazard,
+catapults. They comprised astronomical kaleidoscopes exhibiting the
+twelve constellations of the zodiac from Aries to Pisces, miniature
+mechanical orreries, arithmetical gelatine lozenges, geometrical to
+correspond with zoological biscuits, globemap playing balls, historically
+costumed dolls.
+
+What also stimulated him in his cogitations?
+
+The financial success achieved by Ephraim Marks and Charles A. James, the
+former by his 1d bazaar at 42 George's street, south, the latter at his
+6-1/2d shop and world's fancy fair and waxwork exhibition at 30 Henry
+street, admission 2d, children 1d: and the infinite possibilities
+hitherto unexploited of the modern art of advertisement if condensed in
+triliteral monoideal symbols, vertically of maximum visibility (divined),
+horizontally of maximum legibility (deciphered) and of magnetising
+efficacy to arrest involuntary attention, to interest, to convince, to
+decide.
+
+Such as?
+
+K. II. Kino's 11/- Trousers. House of Keys. Alexander J. Keyes.
+
+Such as not?
+
+Look at this long candle. Calculate when it burns out and you receive
+gratis 1 pair of our special non-compo boots, guaranteed 1 candle power.
+Address: Barclay and Cook, 18 Talbot street.
+
+Bacilikil (Insect Powder). Veribest (Boot Blacking). Uwantit (Combined
+pocket twoblade penknife with corkscrew, nailfile and pipecleaner).
+
+Such as never?
+
+What is home without Plumtree's Potted Meat?
+
+Incomplete.
+
+With it an abode of bliss.
+
+Manufactured by George Plumtree, 23 Merchants' quay, Dublin, put up in 4
+oz pots, and inserted by Councillor Joseph P. Nannetti, M. P., Rotunda
+Ward, 19 Hardwicke street, under the obituary notices and anniversaries
+of deceases. The name on the label is Plumtree. A plumtree in a meatpot,
+registered trade mark. Beware of imitations. Peatmot. Trumplee. Moutpat.
+Plamtroo.
+
+Which example did he adduce to induce Stephen to deduce that originality,
+though producing its own reward, does not invariably conduce to success?
+
+His own ideated and rejected project of an illuminated showcart, drawn by
+a beast of burden, in which two smartly dressed girls were to be seated
+engaged in writing.
+
+What suggested scene was then constructed by Stephen?
+
+Solitary hotel in mountain pass. Autumn. Twilight. Fire lit. In dark
+corner young man seated. Young woman enters. Restless. Solitary. She
+sits. She goes to window. She stands. She sits. Twilight. She thinks. On
+solitary hotel paper she writes. She thinks. She writes. She sighs.
+Wheels and hoofs. She hurries out. He comes from his dark corner. He
+seizes solitary paper. He holds it towards fire. Twilight. He reads.
+Solitary.
+
+What?
+
+In sloping, upright and backhands: Queen's Hotel, Queen's Hotel, Queen's
+Hotel. Queen's Ho...
+
+What suggested scene was then reconstructed by Bloom?
+
+The Queen's Hotel, Ennis, county Clare, where Rudolph Bloom (Rudolf
+Virag) died on the evening of the 27 June 1886, at some hour unstated, in
+consequence of an overdose of monkshood (aconite) selfadministered in the
+form of a neuralgic liniment composed of 2 parts of aconite liniment to I
+of chloroform liniment (purchased by him at 10.20 a.m. on the morning of
+27 June 1886 at the medical hall of Francis Dennehy, 17 Church street,
+Ennis) after having, though not in consequence of having, purchased at
+3.15 p.m. on the afternoon of 27 June 1886 a new boater straw hat, extra
+smart (after having, though not in consequence of having, purchased at
+the hour and in the place aforesaid, the toxin aforesaid), at the general
+drapery store of James Cullen, 4 Main street, Ennis.
+
+Did he attribute this homonymity to information or coincidence or
+intuition?
+
+Coincidence.
+
+Did he depict the scene verbally for his guest to see?
+
+He preferred himself to see another's face and listen to another's words
+by which potential narration was realised and kinetic temperament
+relieved.
+
+Did he see only a second coincidence in the second scene narrated to him,
+described by the narrator as A PISGAH SIGHT OF PALESTINE OR THE PARABLE
+OF THE PLUMS?
+
+It, with the preceding scene and with others unnarrated but existent by
+implication, to which add essays on various subjects or moral apothegms
+(e.g. MY FAVOURITE HERO OR PROCRASTINATION IS THE THIEF OF TIME) composed
+during schoolyears, seemed to him to contain in itself and in conjunction
+with the personal equation certain possibilities of financial, social,
+personal and sexual success, whether specially collected and selected as
+model pedagogic themes (of cent per cent merit) for the use of
+preparatory and junior grade students or contributed in printed form,
+following the precedent of Philip Beaufoy or Doctor Dick or Heblon's
+STUDIES IN BLUE, to a publication of certified circulation and solvency
+or employed verbally as intellectual stimulation for sympathetic
+auditors, tacitly appreciative of successful narrative and confidently
+augurative of successful achievement, during the increasingly longer
+nights gradually following the summer solstice on the day but three
+following, videlicet, Tuesday, 21 June (S. Aloysius Gonzaga), sunrise
+3.33 a.m., sunset 8.29 p.m.
+
+Which domestic problem as much as, if not more than, any other frequently
+engaged his mind?
+
+What to do with our wives.
+
+What had been his hypothetical singular solutions?
+
+Parlour games (dominos, halma, tiddledywinks, spilikins, cup and ball,
+nap, spoil five, bezique, twentyfive, beggar my neighbour, draughts,
+chess or backgammon): embroidery, darning or knitting for the policeaided
+clothing society: musical duets, mandoline and guitar, piano and flute,
+guitar and piano: legal scrivenery or envelope addressing: biweekly
+visits to variety entertainments: commercial activity as pleasantly
+commanding and pleasingly obeyed mistress proprietress in a cool dairy
+shop or warm cigar divan: the clandestine satisfaction of erotic
+irritation in masculine brothels, state inspected and medically
+controlled: social visits, at regular infrequent prevented intervals and
+with regular frequent preventive superintendence, to and from female
+acquaintances of recognised respectability in the vicinity: courses of
+evening instruction specially designed to render liberal instruction
+agreeable.
+
+What instances of deficient mental development in his wife inclined him
+in favour of the lastmentioned (ninth) solution?
+
+In disoccupied moments she had more than once covered a sheet of paper
+with signs and hieroglyphics which she stated were Greek and Irish and
+Hebrew characters. She had interrogated constantly at varying intervals
+as to the correct method of writing the capital initial of the name of a
+city in Canada, Quebec. She understood little of political complications,
+internal, or balance of power, external. In calculating the addenda of
+bills she frequently had recourse to digital aid. After completion of
+laconic epistolary compositions she abandoned the implement of
+calligraphy in the encaustic pigment, exposed to the corrosive action of
+copperas, green vitriol and nutgall. Unusual polysyllables of foreign
+origin she interpreted phonetically or by false analogy or by both:
+metempsychosis (met him pike hoses), ALIAS (a mendacious person mentioned
+in sacred scripture).
+
+What compensated in the false balance of her intelligence for these and
+such deficiencies of judgment regarding persons, places and things?
+
+The false apparent parallelism of all perpendicular arms of all balances,
+proved true by construction. The counterbalance of her proficiency of
+judgment regarding one person, proved true by experiment.
+
+How had he attempted to remedy this state of comparative ignorance?
+
+Variously. By leaving in a conspicuous place a certain book open at a
+certain page: by assuming in her, when alluding explanatorily, latent
+knowledge: by open ridicule in her presence of some absent other's
+ignorant lapse.
+
+With what success had he attempted direct instruction?
+
+She followed not all, a part of the whole, gave attention with interest
+comprehended with surprise, with care repeated, with greater difficulty
+remembered, forgot with ease, with misgiving reremembered, rerepeated
+with error.
+
+What system had proved more effective?
+
+Indirect suggestion implicating selfinterest.
+
+Example?
+
+She disliked umbrella with rain, he liked woman with umbrella, she
+disliked new hat with rain, he liked woman with new hat, he bought new
+hat with rain, she carried umbrella with new hat.
+
+Accepting the analogy implied in his guest's parable which examples of
+postexilic eminence did he adduce?
+
+Three seekers of the pure truth, Moses of Egypt, Moses Maimonides, author
+of MORE NEBUKIM (Guide of the Perplexed) and Moses Mendelssohn of such
+eminence that from Moses (of Egypt) to Moses (Mendelssohn) there arose
+none like Moses (Maimonides).
+
+What statement was made, under correction, by Bloom concerning a fourth
+seeker of pure truth, by name Aristotle, mentioned, with permission, by
+Stephen?
+
+That the seeker mentioned had been a pupil of a rabbinical philosopher,
+name uncertain.
+
+Were other anapocryphal illustrious sons of the law and children of a
+selected or rejected race mentioned?
+
+Felix Bartholdy Mendelssohn (composer), Baruch Spinoza (philosopher),
+Mendoza (pugilist), Ferdinand Lassalle (reformer, duellist).
+
+What fragments of verse from the ancient Hebrew and ancient Irish
+languages were cited with modulations of voice and translation of texts
+by guest to host and by host to guest?
+
+By Stephen: SUIL, SUIL, SUIL ARUN, SUIL GO SIOCAIR AGUS SUIL GO CUIN
+(walk, walk, walk your way, walk in safety, walk with care).
+
+By Bloom: KIFELOCH, HARIMON RAKATEJCH M'BAAD L'ZAMATEJCH (thy temple amid
+thy hair is as a slice of pomegranate).
+
+How was a glyphic comparison of the phonic symbols of both languages made
+in substantiation of the oral comparison?
+
+By juxtaposition. On the penultimate blank page of a book of inferior
+literary style, entituled SWEETS OF SIN (produced by Bloom and so
+manipulated that its front cover carne in contact with the surface of the
+table) with a pencil (supplied by Stephen) Stephen wrote the Irish
+characters for gee, eh, dee, em, simple and modified, and Bloom in turn
+wrote the Hebrew characters ghimel, aleph, daleth and (in the absence of
+mem) a substituted qoph, explaining their arithmetical values as ordinal
+and cardinal numbers, videlicet 3, 1, 4, and 100.
+
+Was the knowledge possessed by both of each of these languages, the
+extinct and the revived, theoretical or practical?
+
+Theoretical, being confined to certain grammatical rules of accidence and
+syntax and practically excluding vocabulary.
+
+What points of contact existed between these languages and between the
+peoples who spoke them?
+
+The presence of guttural sounds, diacritic aspirations, epenthetic and
+servile letters in both languages: their antiquity, both having been
+taught on the plain of Shinar 242 years after the deluge in the seminary
+instituted by Fenius Farsaigh, descendant of Noah, progenitor of Israel,
+and ascendant of Heber and Heremon, progenitors of Ireland: their
+archaeological, genealogical, hagiographical, exegetical, homiletic,
+toponomastic, historical and religious literatures comprising the works
+of rabbis and culdees, Torah, Talmud (Mischna and Ghemara), Massor,
+Pentateuch, Book of the Dun Cow, Book of Ballymote, Garland of Howth,
+Book of Kells: their dispersal, persecution, survival and revival: the
+isolation of their synagogical and ecclesiastical rites in ghetto (S.
+Mary's Abbey) and masshouse (Adam and Eve's tavern): the proscription of
+their national costumes in penal laws and jewish dress acts: the
+restoration in Chanah David of Zion and the possibility of Irish
+political autonomy or devolution.
+
+What anthem did Bloom chant partially in anticipation of that multiple,
+ethnically irreducible consummation?
+
+
+    KOLOD BALEJWAW PNIMAH
+    NEFESCH, JEHUDI, HOMIJAH.
+
+
+Why was the chant arrested at the conclusion of this first distich?
+
+In consequence of defective mnemotechnic.
+
+
+How did the chanter compensate for this deficiency?
+
+By a periphrastic version of the general text.
+
+
+In what common study did their mutual reflections merge?
+
+The increasing simplification traceable from the Egyptian epigraphic
+hieroglyphs to the Greek and Roman alphabets and the anticipation of
+modern stenography and telegraphic code in the cuneiform inscriptions
+(Semitic) and the virgular quinquecostate ogham writing (Celtic). Did the
+guest comply with his host's request?
+
+Doubly, by appending his signature in Irish and Roman characters.
+
+
+What was Stephen's auditive sensation?
+
+He heard in a profound ancient male unfamiliar melody the accumulation of
+the past.
+
+
+What was Bloom's visual sensation?
+
+He saw in a quick young male familiar form the predestination of a future.
+
+
+What were Stephen's and Bloom's quasisimultaneous volitional
+quasisensations of concealed identities?
+
+Visually, Stephen's: The traditional figure of hypostasis, depicted by
+Johannes Damascenus, Lentulus Romanus and Epiphanius Monachus as
+leucodermic, sesquipedalian with winedark hair. Auditively, Bloom's: The
+traditional accent of the ecstasy of catastrophe.
+
+What future careers had been possible for Bloom in the past and with what
+exemplars?
+
+In the church, Roman, Anglican or Nonconformist: exemplars, the very
+reverend John Conmee S. J., the reverend T. Salmon, D. D., provost of
+Trinity college, Dr Alexander J. Dowie. At the bar, English or Irish:
+exemplars, Seymour Bushe, K. C., Rufus Isaacs, K. C. On the stage modern
+or Shakespearean: exemplars, Charles Wyndham, high comedian Osmond Tearle
+(died 1901), exponent of Shakespeare.
+
+Did the host encourage his guest to chant in a modulated voice a strange
+legend on an allied theme?
+
+Reassuringly, their place, where none could hear them talk, being
+secluded, reassured, the decocted beverages, allowing for subsolid
+residual sediment of a mechanical mixture, water plus sugar plus cream
+plus cocoa, having been consumed.
+
+Recite the first (major) part of this chanted legend.
+
+
+    LITTLE HARRY HUGHES AND HIS SCHOOLFELLOWS ALL
+    WENT OUT FOR TO PLAY BALL.
+    AND THE VERY FIRST BALL LITTLE HARRY HUGHES PLAYED
+    HE DROVE IT O'ER THE JEW'S GARDEN WALL.
+    AND THE VERY SECOND BALL LITTLE HARRY HUGHES PLAYED
+    HE BROKE THE JEW'S WINDOWS ALL.
+
+
+How did the son of Rudolph receive this first part?
+
+With unmixed feeling. Smiling, a jew he heard with pleasure and saw the
+unbroken kitchen window.
+
+Recite the second part (minor) of the legend.
+
+
+    THEN OUT THERE CAME THE JEW'S DAUGHTER
+    AND SHE ALL DRESSED IN GREEN.
+    "COME BACK, COME BACK, YOU PRETTY LITTLE BOY,
+    AND PLAY YOUR BALL AGAIN."
+
+    "I CAN'T COME BACK AND I WON'T COME BACK
+    WITHOUT MY SCHOOLFELLOWS ALL.
+    FOR IF MY MASTER HE DID HEAR
+    HE'D MAKE IT A SORRY BALL."
+
+    SHE TOOK HIM BY THE LILYWHITE HAND
+    AND LED HIM ALONG THE HALL
+    UNTIL SHE LED HIM TO A ROOM
+    WHERE NONE COULD HEAR HIM CALL.
+
+    SHE TOOK A PENKNIFE OUT OF HER POCKET
+    AND CUT OFF  HIS LITTLE HEAD.
+    AND NOW HE'LL PLAY HIS BALL NO MORE
+    FOR HE LIES AMONG THE DEAD.
+
+
+How did the father of Millicent receive this second part?
+
+With mixed feelings. Unsmiling, he heard and saw with wonder a jew's
+daughter, all dressed in green.
+
+Condense Stephen's commentary.
+
+One of all, the least of all, is the victim predestined. Once by
+inadvertence twice by design he challenges his destiny. It comes when he
+is abandoned and challenges him reluctant and, as an apparition of hope
+and youth, holds him unresisting. It leads him to a strange habitation,
+to a secret infidel apartment, and there, implacable, immolates him,
+consenting.
+
+Why was the host (victim predestined) sad?
+
+He wished that a tale of a deed should be told of a deed not by him
+should by him not be told.
+
+Why was the host (reluctant, unresisting) still?
+
+In accordance with the law of the conservation of energy.
+
+Why was the host (secret infidel) silent?
+
+He weighed the possible evidences for and against ritual murder: the
+incitations of the hierarchy, the superstition of the populace, the
+propagation of rumour in continued fraction of veridicity, the envy of
+opulence, the influence of retaliation, the sporadic reappearance of
+atavistic delinquency, the mitigating circumstances of fanaticism,
+hypnotic suggestion and somnambulism.
+
+From which (if any) of these mental or physical disorders was he not
+totally immune?
+
+From hypnotic suggestion: once, waking, he had not recognised his
+sleeping apartment: more than once, waking, he had been for an indefinite
+time incapable of moving or uttering sounds. From somnambulism: once,
+sleeping, his body had risen, crouched and crawled in the direction of a
+heatless fire and, having attained its destination, there, curled,
+unheated, in night attire had lain, sleeping.
+
+Had this latter or any cognate phenomenon declared itself in any member
+of his family?
+
+Twice, in Holles street and in Ontario terrace, his daughter Millicent
+(Milly) at the ages of 6 and 8 years had uttered in sleep an exclamation
+of terror and had replied to the interrogations of two figures in night
+attire with a vacant mute expression.
+
+What other infantile memories had he of her?
+
+15 June 1889. A querulous newborn female infant crying to cause and
+lessen congestion. A child renamed Padney Socks she shook with shocks her
+moneybox: counted his three free moneypenny buttons, one, tloo, tlee: a
+doll, a boy, a sailor she cast away: blond, born of two dark, she had
+blond ancestry, remote, a violation, Herr Hauptmann Hainau, Austrian
+army, proximate, a hallucination, lieutenant Mulvey, British navy.
+
+What endemic characteristics were present?
+
+Conversely the nasal and frontal formation was derived in a direct line
+of lineage which, though interrupted, would continue at distant intervals
+to more distant intervals to its most distant intervals.
+
+What memories had he of her adolescence?
+
+She relegated her hoop and skippingrope to a recess. On the duke's lawn,
+entreated by an English visitor, she declined to permit him to make and
+take away her photographic image (objection not stated). On the South
+Circular road in the company of Elsa Potter, followed by an individual of
+sinister aspect, she went half way down Stamer street and turned abruptly
+back (reason of change not stated). On the vigil of the 15th anniversary
+of her birth she wrote a letter from Mullingar, county Westmeath, making
+a brief allusion to a local student (faculty and year not stated).
+
+Did that first division, portending a second division, afflict him?
+
+Less than he had imagined, more than he had hoped.
+
+What second departure was contemporaneously perceived by him similarly,
+if differently?
+
+A temporary departure of his cat.
+
+Why similarly, why differently?
+
+Similarly, because actuated by a secret purpose the quest of a new male
+
+(Mullingar student) or of a healing herb (valerian). Differently, because
+of different possible returns to the inhabitants or to the habitation.
+
+In other respects were their differences similar?
+
+In passivity, in economy, in the instinct of tradition, in
+unexpectedness.
+
+As?
+
+Inasmuch as leaning she sustained her blond hair for him to ribbon it for
+her (cf neckarching cat). Moreover, on the free surface of the lake in
+Stephen's green amid inverted reflections of trees her uncommented spit,
+describing concentric circles of waterrings, indicated by the constancy
+of its permanence the locus of a somnolent prostrate fish (cf
+mousewatching cat).
+
+Again, in order to remember the date, combatants, issue and consequences
+of a famous military engagement she pulled a plait of her hair (cf
+earwashing cat). Furthermore, silly Milly, she dreamed of having had an
+unspoken unremembered conversation with a horse whose name had been
+Joseph to whom (which) she had offered a tumblerful of lemonade which it
+(he) had appeared to have accepted (cf hearthdreaming cat). Hence, in
+passivity, in economy, in the instinct of tradition, in unexpectedness,
+their differences were similar.
+
+In what way had he utilised gifts 1) an owl, 2) a clock, given as
+matrimonial auguries, to interest and to instruct her?
+
+As object lessons to explain: 1) the nature and habits of oviparous
+animals, the possibility of aerial flight, certain abnormalities of
+vision, the secular process of imbalsamation: 2) the principle of the
+pendulum, exemplified in bob, wheelgear and regulator, the translation in
+terms of human or social regulation of the various positions of clockwise
+moveable indicators on an unmoving dial, the exactitude of the recurrence
+per hour of an instant in each hour when the longer and the shorter
+indicator were at the same angle of inclination, VIDELICET, 5 5/11
+minutes past each hour per hour in arithmetical progression.
+
+In what manners did she reciprocate?
+
+She remembered: on the 27th anniversary of his birth she presented to him
+a breakfast moustachecup of imitation Crown Derby porcelain ware. She
+provided: at quarter day or thereabouts if or when purchases had been
+made by him not for her she showed herself attentive to his necessities,
+anticipating his desires. She admired: a natural phenomenon having been
+explained by him to her she expressed the immediate desire to possess
+without gradual acquisition a fraction of his science, the moiety, the
+quarter, a thousandth part.
+
+What proposal did Bloom, diambulist, father of Milly, somnambulist, make
+to Stephen, noctambulist?
+
+To pass in repose the hours intervening between Thursday (proper) and
+Friday (normal) on an extemporised cubicle in the apartment immediately
+above the kitchen and immediately adjacent to the sleeping apartment of
+his host and hostess.
+
+What various advantages would or might have resulted from a prolongation
+of such an extemporisation?
+
+For the guest: security of domicile and seclusion of study. For the host:
+rejuvenation of intelligence, vicarious satisfaction. For the hostess:
+disintegration of obsession, acquisition of correct Italian
+pronunciation.
+
+Why might these several provisional contingencies between a guest and a
+hostess not necessarily preclude or be precluded by a permanent
+eventuality of reconciliatory union between a schoolfellow and a jew's
+daughter?
+
+Because the way to daughter led through mother, the way to mother through
+daughter.
+
+To what inconsequent polysyllabic question of his host did the guest
+return a monosyllabic negative answer?
+
+If he had known the late Mrs Emily Sinico, accidentally killed at Sydney
+Parade railway station, 14 October 1903.
+
+What inchoate corollary statement was consequently suppressed by the
+host?
+
+A statement explanatory of his absence on the occasion of the interment
+of Mrs Mary Dedalus (born Goulding), 26 June 1903, vigil of the
+anniversary of the decease of Rudolph Bloom (born Virag).
+
+Was the proposal of asylum accepted?
+
+Promptly, inexplicably, with amicability, gratefully it was declined.
+What exchange of money took place between host and guest?
+
+The former returned to the latter, without interest, a sum of money
+(1-7-0), one pound seven shillings sterling, advanced by the latter to
+the former.
+
+What counterproposals were alternately advanced, accepted, modified,
+declined, restated in other terms, reaccepted, ratified, reconfirmed?
+
+To inaugurate a prearranged course of Italian instruction, place the
+residence of the instructed. To inaugurate a course of vocal instruction,
+place the residence of the instructress. To inaugurate a series of static
+semistatic and peripatetic intellectual dialogues, places the residence
+of both speakers (if both speakers were resident in the same place), the
+Ship hotel and tavern, 6 Lower Abbey street (W. and E. Connery,
+proprietors), the National Library of Ireland, 10 Kildare street, the
+National Maternity Hospital, 29, 30 and 31 Holles street, a public
+garden, the vicinity of a place of worship, a conjunction of two or more
+public thoroughfares, the point of bisection of a right line drawn
+between their residences (if both speakers were resident in different
+places).
+
+What rendered problematic for Bloom the realisation of these mutually
+selfexcluding propositions?
+
+The irreparability of the past: once at a performance of Albert Hengler's
+circus in the Rotunda, Rutland square, Dublin, an intuitive particoloured
+clown in quest of paternity had penetrated from the ring to a place in
+the auditorium where Bloom, solitary, was seated and had publicly
+declared to an exhilarated audience that he (Bloom) was his (the clown's)
+papa. The imprevidibility of the future: once in the summer of 1898 he
+(Bloom) had marked a florin (2/-) with three notches on the milled edge
+and tendered it m payment of an account due to and received by J. and T.
+Davy, family grocers, 1 Charlemont Mall, Grand Canal, for circulation on
+the waters of civic finance, for possible, circuitous or direct, return.
+
+Was the clown Bloom's son?
+
+No.
+
+Had Bloom's coin returned?
+
+Never.
+
+Why would a recurrent frustration the more depress him?
+
+Because at the critical turningpoint of human existence he desired to
+amend many social conditions, the product of inequality and avarice and
+international animosity.
+
+He believed then that human life was infinitely perfectible, eliminating
+these conditions?
+
+There remained the generic conditions imposed by natural, as distinct
+from human law, as integral parts of the human whole: the necessity of
+destruction to procure alimentary sustenance: the painful character of
+the ultimate functions of separate existence, the agonies of birth and
+death: the monotonous menstruation of simian and (particularly) human
+females extending from the age of puberty to the menopause: inevitable
+accidents at sea, in mines and factories: certain very painful maladies
+and their resultant surgical operations, innate lunacy and congenital
+criminality, decimating epidemics: catastrophic cataclysms which make
+terror the basis of human mentality: seismic upheavals the epicentres of
+which are located in densely populated regions: the fact of vital growth,
+through convulsions of metamorphosis, from infancy through maturity to
+decay.
+
+Why did he desist from speculation?
+
+Because it was a task for a superior intelligence to substitute other
+more acceptable phenomena in the place of the less acceptable phenomena
+to be removed.
+
+Did Stephen participate in his dejection?
+
+He affirmed his significance as a conscious rational animal proceeding
+syllogistically from the known to the unknown and a conscious rational
+reagent between a micro and a macrocosm ineluctably constructed upon the
+incertitude of the void.
+
+Was this affirmation apprehended by Bloom?
+
+Not verbally. Substantially.
+
+What comforted his misapprehension?
+
+That as a competent keyless citizen he had proceeded energetically from
+the unknown to the known through the incertitude of the void.
+
+In what order of precedence, with what attendant ceremony was the exodus
+from the house of bondage to the wilderness of inhabitation effected?
+
+
+Lighted Candle in Stick borne by
+BLOOM
+Diaconal Hat on Ashplant borne by
+STEPHEN:
+
+
+With what intonation secreto of what commemorative psalm?
+
+The 113th, MODUS PEREGRINUS: IN EXITU ISRAEL DE EGYPTO: DOMUS JACOB DE
+POPULO BARBARO.
+
+
+What did each do at the door of egress?
+
+Bloom set the candlestick on the floor. Stephen put the hat on his head.
+
+
+For what creature was the door of egress a door of ingress?
+
+For a cat.
+
+
+What spectacle confronted them when they, first the host, then the guest,
+emerged silently, doubly dark, from obscurity by a passage from the rere
+of the house into the penumbra of the garden?
+
+The heaventree of stars hung with humid nightblue fruit.
+
+With what meditations did Bloom accompany his demonstration to his
+companion of various constellations?
+
+Meditations of evolution increasingly vaster: of the moon invisible in
+incipient lunation, approaching perigee: of the infinite lattiginous
+scintillating uncondensed milky way, discernible by daylight by an
+observer placed at the lower end of a cylindrical vertical shaft 5000 ft
+deep sunk from the surface towards the centre of the earth: of Sirius
+(alpha in Canis Maior) 10 lightyears (57,000,000,000,000 miles) distant
+and in volume 900 times the dimension of our planet: of Arcturus: of the
+precession of equinoxes: of Orion with belt and sextuple sun theta and
+nebula in which 100 of our solar systems could be contained: of moribund
+and of nascent new stars such as Nova in 1901: of our system plunging
+towards the constellation of Hercules: of the parallax or parallactic
+drift of socalled fixed stars, in reality evermoving wanderers from
+immeasurably remote eons to infinitely remote futures in comparison with
+which the years, threescore and ten, of allotted human life formed a
+parenthesis of infinitesimal brevity.
+
+Were there obverse meditations of involution increasingly less vast?
+
+Of the eons of geological periods recorded in the stratifications of the
+earth: of the myriad minute entomological organic existences concealed in
+cavities of the earth, beneath removable stones, in hives and mounds, of
+microbes, germs, bacteria, bacilli, spermatozoa: of the incalculable
+trillions of billions of millions of imperceptible molecules contained by
+cohesion of molecular affinity in a single pinhead: of the universe of
+human serum constellated with red and white bodies, themselves universes
+of void space constellated with other bodies, each, in continuity, its
+universe of divisible component bodies of which each was again divisible
+in divisions of redivisible component bodies, dividends and divisors ever
+diminishing without actual division till, if the progress were carried
+far enough, nought nowhere was never reached.
+
+Why did he not elaborate these calculations to a more precise result?
+
+Because some years previously in 1886 when occupied with the problem of
+the quadrature of the circle he had learned of .the existence of a number
+computed to a relative degree of accuracy to be of such magnitude and of
+so many places, e.g., the 9th power of the 9th power of 9, that, the
+result having been obtained, 33 closely printed volumes of 1000 pages
+each of innumerable quires and reams of India paper would have to be
+requisitioned in order to contain the complete tale of its printed
+integers of units, tens, hundreds, thousands, tens of thousands, hundreds
+of thousands, millions, tens of millions, hundreds of millions, billions,
+the nucleus of the nebula of every digit of every series containing
+succinctly the potentiality of being raised to the utmost kinetic
+elaboration of any power of any of its powers.
+
+Did he find the problems of the inhabitability of the planets and their
+satellites by a race, given in species, and of the possible social and
+moral redemption of said race by a redeemer, easier of solution?
+
+Of a different order of difficulty. Conscious that the human organism,
+normally capable of sustaining an atmospheric pressure of 19 tons, when
+elevated to a considerable altitude in the terrestrial atmosphere
+suffered with arithmetical progression of intensity, according as the
+line of demarcation between troposphere and stratosphere was approximated
+from nasal hemorrhage, impeded respiration and vertigo, when proposing
+this problem for solution, he had conjectured as a working hypothesis
+which could not be proved impossible that a more adaptable and
+differently anatomically constructed race of beings might subsist
+otherwise under Martian, Mercurial, Veneral, Jovian, Saturnian, Neptunian
+or Uranian sufficient and equivalent conditions, though an apogean
+humanity of beings created in varying forms with finite differences
+resulting similar to the whole and to one another would probably there as
+here remain inalterably and inalienably attached to vanities, to vanities
+of vanities and to all that is vanity.
+
+And the problem of possible redemption?
+
+The minor was proved by the major.
+
+Which various features of the constellations were in turn considered?
+
+The various colours significant of various degrees of vitality (white,
+yellow, crimson, vermilion, cinnabar): their degrees of brilliancy: their
+magnitudes revealed up to and including the 7th: their positions: the
+waggoner's star: Walsingham way: the chariot of David: the annular
+cinctures of Saturn: the condensation of spiral nebulae into suns: the
+interdependent gyrations of double suns: the independent synchronous
+discoveries of Galileo, Simon Marius, Piazzi, Le Verrier, Herschel,
+Galle: the systematisations attempted by Bode and Kepler of cubes of
+distances and squares of times of revolution: the almost infinite
+compressibility of hirsute comets and their vast elliptical egressive and
+reentrant orbits from perihelion to aphelion: the sidereal origin of
+meteoric stones: the Libyan floods on Mars about the period of the birth
+of the younger astroscopist: the annual recurrence of meteoric showers
+about the period of the feast of S. Lawrence (martyr, lo August): the
+monthly recurrence known as the new moon with the old moon in her arms:
+the posited influence of celestial on human bodies: the appearance of a
+star (1st magnitude) of exceeding brilliancy dominating by night and day
+(a new luminous sun generated by the collision and amalgamation in
+incandescence of two nonluminous exsuns) about the period of the birth of
+William Shakespeare over delta in the recumbent neversetting
+constellation of Cassiopeia and of a star (2nd magnitude) of similar
+origin but of lesser brilliancy which had appeared in and disappeared
+from the constellation of the Corona Septentrionalis about the period of
+the birth of Leopold Bloom and of other stars of (presumably) similar
+origin which had (effectively or presumably) appeared in and disappeared
+from the constellation of Andromeda about the period of the birth of
+Stephen Dedalus, and in and from the constellation of Auriga some years
+after the birth and death of Rudolph Bloom, junior, and in and from other
+constellations some years before or after the birth or death of other
+persons: the attendant phenomena of eclipses, solar and lunar, from
+immersion to emersion, abatement of wind, transit of shadow, taciturnity
+of winged creatures, emergence of nocturnal or crepuscular animals,
+persistence of infernal light, obscurity of terrestrial waters, pallor of
+human beings.
+
+His (Bloom's) logical conclusion, having weighed the matter and allowing
+for possible error?
+
+That it was not a heaventree, not a heavengrot, not a heavenbeast, not a
+heavenman. That it was a Utopia, there being no known method from the
+known to the unknown: an infinity renderable equally finite by the
+suppositious apposition of one or more bodies equally of the same and of
+different magnitudes: a mobility of illusory forms immobilised in space,
+remobilised in air: a past which possibly had ceased to exist as a
+present before its probable spectators had entered actual present
+existence.
+
+Was he more convinced of the esthetic value of the spectacle?
+
+Indubitably in consequence of the reiterated examples of poets in the
+delirium of the frenzy of attachment or in the abasement of rejection
+invoking ardent sympathetic constellations or the frigidity of the
+satellite of their planet.
+
+Did he then accept as an article of belief the theory of astrological
+influences upon sublunary disasters?
+
+It seemed to him as possible of proof as of confutation and the
+nomenclature employed in its selenographical charts as attributable to
+verifiable intuition as to fallacious analogy: the lake of dreams, the
+sea of rains, the gulf of dews, the ocean of fecundity.
+
+What special affinities appeared to him to exist between the moon and
+woman?
+
+Her antiquity in preceding and surviving successive tellurian
+generations: her nocturnal predominance: her satellitic dependence: her
+luminary reflection: her constancy under all her phases, rising and
+setting by her appointed times, waxing and waning: the forced
+invariability of her aspect: her indeterminate response to inaffirmative
+interrogation: her potency over effluent and refluent waters: her power
+to enamour, to mortify, to invest with beauty, to render insane, to
+incite to and aid delinquency: the tranquil inscrutability of her visage:
+the terribility of her isolated dominant implacable resplendent
+propinquity: her omens of tempest and of calm: the stimulation of her
+light, her motion and her presence: the admonition of her craters, her
+arid seas, her silence: her splendour, when visible: her attraction, when
+invisible.
+
+What visible luminous sign attracted Bloom's, who attracted Stephen's,
+gaze?
+
+In the second storey (rere) of his (Bloom's) house the light of a
+paraffin oil lamp with oblique shade projected on a screen of roller
+blind supplied by Frank O'Hara, window blind, curtain pole and revolving
+shutter manufacturer, 16 Aungier street.
+
+How did he elucidate the mystery of an invisible attractive person, his
+wife Marion (Molly) Bloom, denoted by a visible splendid sign, a lamp?
+
+With indirect and direct verbal allusions or affirmations: with subdued
+affection and admiration: with description: with impediment: with
+suggestion.
+
+Both then were silent?
+
+Silent, each contemplating the other in both mirrors of the reciprocal
+flesh of theirhisnothis fellowfaces.
+
+Were they indefinitely inactive?
+
+At Stephen's suggestion, at Bloom's instigation both, first Stephen, then
+Bloom, in penumbra urinated, their sides contiguous, their organs of
+micturition reciprocally rendered invisible by manual circumposition,
+their gazes, first Bloom's, then Stephen's, elevated to the projected
+luminous and semiluminous shadow.
+
+Similarly?
+
+The trajectories of their, first sequent, then simultaneous, urinations
+were dissimilar: Bloom's longer, less irruent, in the incomplete form of
+the bifurcated penultimate alphabetical letter, who in his ultimate year
+at High School (1880) had been capable of attaining the point of greatest
+altitude against the whole concurrent strength of the institution, 210
+scholars: Stephen's higher, more sibilant, who in the ultimate hours of
+the previous day had augmented by diuretic consumption an insistent
+vesical pressure.
+
+What different problems presented themselves to each concerning the
+invisible audible collateral organ of the other?
+
+To Bloom: the problems of irritability, tumescence, rigidity, reactivity,
+dimension, sanitariness, pilosity.
+
+To Stephen: the problem of the sacerdotal integrity of Jesus circumcised
+(I January, holiday of obligation to hear mass and abstain from
+unnecessary servile work) and the problem as to whether the divine
+prepuce, the carnal bridal ring of the holy Roman catholic apostolic
+church, conserved in Calcata, were deserving of simple hyperduly or of
+the fourth degree of latria accorded to the abscission of such divine
+excrescences as hair and toenails.
+
+What celestial sign was by both simultaneously observed?
+
+A star precipitated with great apparent velocity across the firmament
+from Vega in the Lyre above the zenith beyond the stargroup of the Tress
+of Berenice towards the zodiacal sign of Leo.
+
+How did the centripetal remainer afford egress to the centrifugal
+departer?
+
+By inserting the barrel of an arruginated male key in the hole of an
+unstable female lock, obtaining a purchase on the bow of the key and
+turning its wards from right to left, withdrawing a bolt from its staple,
+pulling inward spasmodically an obsolescent unhinged door and revealing
+an aperture for free egress and free ingress.
+
+How did they take leave, one of the other, in separation?
+
+Standing perpendicular at the same door and on different sides of its
+base, the lines of their valedictory arms, meeting at any point and
+forming any angle less than the sum of two right angles.
+
+What sound accompanied the union of their tangent, the disunion of their
+(respectively) centrifugal and centripetal hands?
+
+The sound of the peal of the hour of the night by the chime of the bells
+in the church of Saint George.
+
+What echoes of that sound were by both and each heard?
+
+By Stephen:
+
+
+    LILIATA RUTILANTIUM. TURMA CIRCUMDET.
+    IUBILANTIUM TE VIRGINUM. CHORUS EXCIPIAT.
+
+
+By Bloom:
+
+
+    HEIGHO, HEIGHO,
+    HEIGHO, HEIGHO.
+
+
+Where were the several members of the company which with Bloom that day
+at the bidding of that peal had travelled from Sandymount in the south to
+Glasnevin in the north?
+
+Martin Cunningham (in bed), Jack Power (in bed), Simon Dedalus (in bed),
+Ned Lambert (in bed), Tom Kernan (in bed), Joe Hynes (in bed), John Henry
+Menton (in bed), Bernard Corrigan (in bed), Patsy Dignam (in bed), Paddy
+Dignam (in the grave).
+
+Alone, what did Bloom hear?
+
+The double reverberation of retreating feet on the heavenborn earth, the
+double vibration of a jew's harp in the resonant lane.
+
+Alone, what did Bloom feel?
+
+The cold of interstellar space, thousands of degrees below freezing point
+or the absolute zero of Fahrenheit, Centigrade or Reaumur: the incipient
+intimations of proximate dawn.
+
+Of what did bellchime and handtouch and footstep and lonechill remind
+him?
+
+Of companions now in various manners in different places defunct: Percy
+Apjohn (killed in action, Modder River), Philip Gilligan (phthisis,
+Jervis Street hospital), Matthew F. Kane (accidental drowning, Dublin
+Bay), Philip Moisel (pyemia, Heytesbury street), Michael Hart (phthisis,
+Mater Misericordiae hospital), Patrick Dignam (apoplexy, Sandymount).
+
+What prospect of what phenomena inclined him to remain?
+
+The disparition of three final stars, the diffusion of daybreak, the
+apparition of a new solar disk.
+
+Had he ever been a spectator of those phenomena?
+
+Once, in 1887, after a protracted performance of charades in the house of
+Luke Doyle, Kimmage, he had awaited with patience the apparition of the
+diurnal phenomenon, seated on a wall, his gaze turned in the direction of
+Mizrach, the east.
+
+He remembered the initial paraphenomena?
+
+More active air, a matutinal distant cock, ecclesiastical clocks at
+various points, avine music, the isolated tread of an early wayfarer, the
+visible diffusion of the light of an invisible luminous body, the first
+golden limb of the resurgent sun perceptible low on the horizon.
+
+Did he remain?
+
+With deep inspiration he returned, retraversing the garden, reentering
+the passage, reclosing the door. With brief suspiration he reassumed the
+candle, reascended the stairs, reapproached the door of the front room,
+hallfloor, and reentered.
+
+What suddenly arrested his ingress?
+
+The right temporal lobe of the hollow sphere of his cranium came into
+contact with a solid timber angle where, an infinitesimal but sensible
+fraction of a second later, a painful sensation was located in
+consequence of antecedent sensations transmitted and registered.
+
+Describe the alterations effected in the disposition of the articles of
+furniture.
+
+A sofa upholstered in prune plush had been translocated from opposite the
+door to the ingleside near the compactly furled Union Jack (an alteration
+which he had frequently intended to execute): the blue and white checker
+inlaid majolicatopped table had been placed opposite the door in the
+place vacated by the prune plush sofa: the walnut sideboard (a projecting
+angle of which had momentarily arrested his ingress) had been moved from
+its position beside the door to a more advantageous but more perilous
+position in front of the door: two chairs had been moved from right and
+left of the ingleside to the position originally occupied by the blue and
+white checker inlaid majolicatopped table.
+
+Describe them.
+
+One: a squat stuffed easychair, with stout arms extended and back slanted
+to the rere, which, repelled in recoil, had then upturned an irregular
+fringe of a rectangular rug and now displayed on its amply upholstered
+seat a centralised diffusing and diminishing discolouration. The other: a
+slender splayfoot chair of glossy cane curves, placed directly opposite
+the former, its frame from top to seat and from seat to base being
+varnished dark brown, its seat being a bright circle of white plaited
+rush.
+
+What significances attached to these two chairs?
+
+Significances of similitude, of posture, of symbolism, of circumstantial
+evidence, of testimonial supermanence.
+
+What occupied the position originally occupied by the sideboard?
+
+A vertical piano (Cadby) with exposed keyboard, its closed coffin
+supporting a pair of long yellow ladies' gloves and an emerald ashtray
+containing four consumed matches, a partly consumed cigarette and two
+discoloured ends of cigarettes, its musicrest supporting the music in the
+key of G natural for voice and piano of LOVE'S OLD SWEET SONG (words by
+G. Clifton Bingham, composed by J. L. Molloy, sung by Madam Antoinette
+Sterling) open at the last page with the final indications AD LIBITUM,
+FORTE, pedal, ANIMATO, sustained pedal, RITIRANDO, close.
+
+With what sensations did Bloom contemplate in rotation these objects?
+
+With strain, elevating a candlestick: with pain, feeling on his right
+temple a contused tumescence: with attention, focussing his gaze on a
+large dull passive and a slender bright active: with solicitation,
+bending and downturning the upturned rugfringe: with amusement,
+remembering Dr Malachi Mulligan's scheme of colour containing the
+gradation of green: with pleasure, repeating the words and antecedent act
+and perceiving through various channels of internal sensibility the
+consequent and concomitant tepid pleasant diffusion of gradual
+discolouration.
+
+His next proceeding?
+
+From an open box on the majolicatopped table he extracted a black
+diminutive cone, one inch in height, placed it on its circular base on a
+small tin plate, placed his candlestick on the right corner of the
+mantelpiece, produced from his waistcoat a folded page of prospectus
+(illustrated) entitled Agendath Netaim, unfolded the same, examined it
+superficially, rolled it into a thin cylinder, ignited it in the
+candleflame, applied it when ignited to the apex of the cone till the
+latter reached the stage of rutilance, placed the cylinder in the basin
+of the candlestick disposing its unconsumed part in such a manner as to
+facilitate total combustion.
+
+What followed this operation?
+
+The truncated conical crater summit of the diminutive volcano emitted a
+vertical and serpentine fume redolent of aromatic oriental incense.
+
+What homothetic objects, other than the candlestick, stood on the
+mantelpiece?
+
+A timepiece of striated Connemara marble, stopped at the hour of 4.46
+a.m. on the 21 March 1896, matrimonial gift of Matthew Dillon: a dwarf
+tree of glacial arborescence under a transparent bellshade, matrimonial
+gift of Luke and Caroline Doyle: an embalmed owl, matrimonial gift of
+Alderman John Hooper.
+
+What interchanges of looks took place between these three objects and
+Bloom?
+
+In the mirror of the giltbordered pierglass the undecorated back of the
+dwarf tree regarded the upright back of the embalmed owl. Before the
+mirror the matrimonial gift of Alderman John Hooper with a clear
+melancholy wise bright motionless compassionate gaze regarded Bloom while
+Bloom with obscure tranquil profound motionless compassionated gaze
+regarded the matrimonial gift of Luke and Caroline Doyle.
+
+What composite asymmetrical image in the mirror then attracted his
+attention?
+
+The image of a solitary (ipsorelative) mutable (aliorelative) man.
+
+Why solitary (ipsorelative)?
+
+
+    BROTHERS AND SISTERS HAD HE NONE.
+    YET THAT MAN'S FATHER WAS HIS GRANDFATHER'S SON.
+
+
+Why mutable (aliorelative)?
+
+From infancy to maturity he had resembled his maternal procreatrix. From
+maturity to senility he would increasingly resemble his paternal
+procreator.
+
+What final visual impression was communicated to him by the mirror?
+
+The optical reflection of several inverted volumes improperly arranged
+and not in the order of their common letters with scintillating titles on
+the two bookshelves opposite.
+
+
+Catalogue these books.
+
+THOM'S DUBLIN POST OFFICE DIRECTORY, 1886.
+Denis Florence M'Carthy's POETICAL WORKS (copper beechleaf bookmark
+  at p. 5).
+Shakespeare's WORKS (dark crimson morocco, goldtooled).
+THE USEFUL READY RECKONER (brown cloth).
+THE SECRET HISTORY OF THE COURT OF CHARLES II (red cloth, tooled
+  binding).
+THE CHILD'S GUIDE (blue cloth).
+The Beauties of Killarney (wrappers).
+WHEN WE WERE BOYS by William O'Brien M. P. (green cloth, slightly faded,
+  envelope bookmark at p. 217).
+THOUGHTS FROM SPINOZA (maroon leather).
+THE STORY OF THE HEAVENS by Sir Robert Ball (blue cloth).
+Ellis's THREE TRIPS TO MADAGASCAR (brown cloth, title obliterated).
+THE STARK-MUNRO LETTERS by A. Conan Doyle, property of the City of
+  Dublin Public Library, 106 Capel street, lent 21 May (Whitsun Eve)
+  1904, due 4 June 1904, 13 days overdue (black cloth binding, bearing
+  white letternumber ticket).
+VOYAGES IN CHINA by "Viator" (recovered with brown paper, red ink title).
+PHILOSOPHY OF THE TALMUD (sewn pamphlet).
+Lockhart's LIFE OF NAPOLEON (cover wanting, marginal annotations,
+  minimising victories, aggrandising defeats of the protagonist).
+SOLL UND HABEN by Gustav Freytag (black boards, Gothic characters,
+  cigarette coupon bookmark at p. 24).
+Hozier's HISTORY OF THE RUSSO-TURKISH WAR (brown cloth, a volumes, with
+  gummed label, Garrison Library, Governor's Parade, Gibraltar, on verso
+  of cover).
+LAURENCE BLOOMFIELD IN IRELAND by William Allingham (second edition,
+  green cloth, gilt trefoil design, previous owner's name on recto of
+  flyleaf erased).
+A HANDBOOK OF ASTRONOMY (cover, brown leather, detached, S plates,
+  antique letterpress long primer, author's footnotes nonpareil, marginal
+  clues brevier, captions small pica).
+THE HIDDEN LIFE OF CHRIST (black boards).
+IN THE TRACK OF THE SUN (yellow cloth, titlepage missing, recurrent title
+  intestation).
+PHYSICAL STRENGTH AND HOW TO OBTAIN IT by Eugen Sandow (red cloth).
+SHORT BUT YET PLAIN ELEMENTS OF GEOMETRY written in French by F. Ignat.
+  Pardies and rendered into English by John Harris D. D. London,
+  printed for R. Knaplock at the Bifhop's Head, MDCCXI, with dedicatory
+  epiftle to his worthy friend Charles Cox, efquire, Member of
+  Parliament for the burgh of Southwark and having ink calligraphed
+  statement on the flyleaf certifying that the book was the property of
+  Michael Gallagher, dated this 10th day of May 1822 and requefting the
+  perfon who should find it, if the book should be loft or go aftray,
+  to reftore it to Michael Gallagher, carpenter, Dufery Gate,
+  Ennifcorthy, county Wicklow, the fineft place in the world.
+
+
+What reflections occupied his mind during the process of reversion of the
+inverted volumes?
+
+The necessity of order, a place for everything and everything in its
+place: the deficient appreciation of literature possessed by females: the
+incongruity of an apple incuneated in a tumbler and of an umbrella
+inclined in a closestool: the insecurity of hiding any secret document
+behind, beneath or between the pages of a book.
+
+Which volume was the largest in bulk?
+
+Hozier's HISTORY OF THE RUSSO-TURKISH WAR.
+
+What among other data did the second volume of the work in question
+contain?
+
+The name of a decisive battle (forgotten), frequently remembered by a
+decisive officer, major Brian Cooper Tweedy (remembered).
+
+Why, firstly and secondly, did he not consult the work in question?
+
+Firstly, in order to exercise mnemotechnic: secondly, because after an
+interval of amnesia, when, seated at the central table, about to consult
+the work in question, he remembered by mnemotechnic the name of the
+military engagement, Plevna.
+
+What caused him consolation in his sitting posture?
+
+The candour, nudity, pose, tranquility, youth, grace, sex, counsel of a
+statue erect in the centre of the table, an image of Narcissus purchased
+by auction from P. A. Wren, 9 Bachelor's Walk.
+
+What caused him irritation in his sitting posture? Inhibitory pressure of
+collar (size 17) and waistcoat (5 buttons), two articles of clothing
+superfluous in the costume of mature males and inelastic to alterations
+of mass by expansion.
+
+How was the irritation allayed?
+
+He removed his collar, with contained black necktie and collapsible stud,
+from his neck to a position on the left of the table. He unbuttoned
+successively in reversed direction waistcoat, trousers, shirt and vest
+along the medial line of irregular incrispated black hairs extending in
+triangular convergence from the pelvic basin over the circumference of
+the abdomen and umbilicular fossicle along the medial line of nodes to
+the intersection of the sixth pectoral vertebrae, thence produced both
+ways at right angles and terminating in circles described about two
+equidistant points, right and left, on the summits of the mammary
+prominences. He unbraced successively each of six minus one braced
+trouser buttons, arranged in pairs, of which one incomplete.
+
+What involuntary actions followed?
+
+He compressed between 2 fingers the flesh circumjacent to a cicatrice in
+the left infracostal region below the diaphragm resulting from a sting
+inflicted 2 weeks and 3 days previously (23 May 1904) by a bee. He
+scratched imprecisely with his right hand, though insensible of
+prurition, various points and surfaces of his partly exposed, wholly
+abluted skin. He inserted his left hand into the left lower pocket of his
+waistcoat and extracted and replaced a silver coin (I shilling), placed
+there (presumably) on the occasion (17 October 1903) of the interment of
+Mrs Emily Sinico, Sydney Parade.
+
+Compile the budget for 16 June 1904.
+
+DEBIT                                           CREDIT
+                         L--s--d                                   L--s--d
+1 Pork kidney            0--0--3 Cash in Hand                      0--4--9
+1 Copy FREEMAN'S JOURNAL 0--0--1 Commission recd FREEMAN'S JOURNAL 1--7--6
+1 Bath And Gratification 0--1--6 Loan (Stephen Dedalus)            1--7--0
+Tramfare                 0--0--1
+1 In Memoriam
+Patrick Dignam           0--5--0
+2 Banbury cakes          0--0--1
+1 Lunch                  0--0--7
+1 Renewal fee for book   0--1--0
+1 Packet Notepaper
+and Envelopes            0--0--2
+1 Dinner
+and Gratification        0--2--0
+I Postal Order
+and Stamp                0--2--8
+Tramfare                 0--0--1
+1 Pig's Foot             0--0--4
+1 Sheep's Trotter        0--0--3
+1 Cake Fry's
+Plain Chocolate          0--0--1
+1 Square Soda Bread      0--0--4
+1 Coffee and Bun         0--0--4
+Loan (Stephen Dedalus)
+refunded                 1--7--0
+
+BALANCE                 0--17--5
+                        2--19--3                                  2--19--3
+
+
+Did the process of divestiture continue?
+
+Sensible of a benignant persistent ache in his footsoles he extended his
+foot to one side and observed the creases, protuberances and salient
+points caused by foot pressure in the course of walking repeatedly in
+several different directions, then, inclined, he disnoded the laceknots,
+unhooked and loosened the laces, took off each of his two boots for the
+second time, detached the partially moistened right sock through the fore
+part of which the nail of his great toe had again effracted, raised his
+right foot and, having unhooked a purple elastic sock suspender, took off
+his right sock, placed his unclothed right foot on the margin of the seat
+of his chair, picked at and gently lacerated the protruding part of the
+great toenail, raised the part lacerated to his nostrils and inhaled the
+odour of the quick, then, with satisfaction, threw away the lacerated
+ungual fragment.
+
+Why with satisfaction?
+
+Because the odour inhaled corresponded to other odours inhaled of other
+ungual fragments, picked and lacerated by Master Bloom, pupil of Mrs
+Ellis's juvenile school, patiently each night in the act of brief
+genuflection and nocturnal prayer and ambitious meditation.
+
+In what ultimate ambition had all concurrent and consecutive ambitions
+now coalesced?
+
+Not to inherit by right of primogeniture, gavelkind or borough English,
+or possess in perpetuity an extensive demesne of a sufficient number of
+acres, roods and perches, statute land measure (valuation 42 pounds), of
+grazing turbary surrounding a baronial hall with gatelodge and carriage
+drive nor, on the other hand, a terracehouse or semidetached villa,
+described as RUS IN URBE or QUI SI SANA, but to purchase by private
+treaty in fee simple a thatched bungalowshaped 2 storey dwellinghouse of
+southerly aspect, surmounted by vane and lightning conductor, connected
+with the earth, with porch covered by parasitic plants (ivy or Virginia
+creeper), halldoor, olive green, with smart carriage finish and neat
+doorbrasses, stucco front with gilt tracery at eaves and gable, rising,
+if possible, upon a gentle eminence with agreeable prospect from balcony
+with stone pillar parapet over unoccupied and unoccupyable interjacent
+pastures and standing in 5 or 6 acres of its own ground, at such a
+distance from the nearest public thoroughfare as to render its
+houselights visible at night above and through a quickset hornbeam hedge
+of topiary cutting, situate at a given point not less than 1 statute mile
+from the periphery of the metropolis, within a time limit of not more
+than 15 minutes from tram or train line (e.g., Dundrum, south, or Sutton,
+north, both localities equally reported by trial to resemble the
+terrestrial poles in being favourable climates for phthisical subjects),
+the premises to be held under feefarm grant, lease 999 years, the
+messuage to consist of 1 drawingroom with baywindow (2 lancets),
+thermometer affixed, 1 sittingroom, 4 bedrooms, 2 servants' rooms, tiled
+kitchen with close range and scullery, lounge hall fitted with linen
+wallpresses, fumed oak sectional bookcase containing the Encyclopaedia
+Britannica and New Century Dictionary, transverse obsolete medieval and
+oriental weapons, dinner gong, alabaster lamp, bowl pendant, vulcanite
+automatic telephone receiver with adjacent directory, handtufted
+Axminster carpet with cream ground and trellis border, loo table with
+pillar and claw legs, hearth with massive firebrasses and ormolu mantel
+chronometer clock, guaranteed timekeeper with cathedral chime, barometer
+with hygrographic chart, comfortable lounge settees and corner fitments,
+upholstered in ruby plush with good springing and sunk centre, three
+banner Japanese screen and cuspidors (club style, rich winecoloured
+leather, gloss renewable with a minimum of labour by use of linseed oil
+and vinegar) and pyramidically prismatic central chandelier lustre,
+bentwood perch with fingertame parrot (expurgated language), embossed
+mural paper at 10/- per dozen with transverse swags of carmine floral
+design and top crown frieze, staircase, three continuous flights at
+successive right angles, of varnished cleargrained oak, treads and
+risers, newel, balusters and handrail, with steppedup panel dado, dressed
+with camphorated wax: bathroom, hot and cold supply, reclining and
+shower: water closet on mezzanine provided with opaque singlepane oblong
+window, tipup seat, bracket lamp, brass tierod and brace, armrests,
+footstool and artistic oleograph on inner face of door: ditto, plain:
+servants' apartments with separate sanitary and hygienic necessaries for
+cook, general and betweenmaid (salary, rising by biennial unearned
+increments of 2 pounds, with comprehensive fidelity insurance, annual
+bonus (1 pound) and retiring allowance (based on the 65 system) after 30
+years' service), pantry, buttery, larder, refrigerator, outoffices, coal
+and wood cellarage with winebin (still and sparkling vintages) for
+distinguished guests, if entertained to dinner (evening dress), carbon
+monoxide gas supply throughout.
+
+What additional attractions might the grounds contain?
+
+As addenda, a tennis and fives court, a shrubbery, a glass summerhouse
+with tropical palms, equipped in the best botanical manner, a rockery
+with waterspray, a beehive arranged on humane principles, oval flowerbeds
+in rectangular grassplots set with eccentric ellipses of scarlet and
+chrome tulips, blue scillas, crocuses, polyanthus, sweet William, sweet
+pea, lily of the valley (bulbs obtainable from sir James W. Mackey
+(Limited) wholesale and retail seed and bulb merchants and nurserymen,
+agents for chemical manures, 23 Sackville street, upper), an orchard,
+kitchen garden and vinery protected against illegal trespassers by
+glasstopped mural enclosures, a lumbershed with padlock for various
+inventoried implements.
+
+As?
+
+Eeltraps, lobsterpots, fishingrods, hatchet, steelyard, grindstone,
+clodcrusher, swatheturner, carriagesack, telescope ladder, 10 tooth rake,
+washing clogs, haytedder, tumbling rake, billhook, paintpot, brush, hoe
+and so on.
+
+What improvements might be subsequently introduced?
+
+A rabbitry and fowlrun, a dovecote, a botanical conservatory, 2 hammocks
+(lady's and gentleman's), a sundial shaded and sheltered by laburnum or
+lilac trees, an exotically harmonically accorded Japanese tinkle gatebell
+affixed to left lateral gatepost, a capacious waterbutt, a lawnmower with
+side delivery and grassbox, a lawnsprinkler with hydraulic hose.
+
+What facilities of transit were desirable?
+
+When citybound frequent connection by train or tram from their respective
+intermediate station or terminal. When countrybound velocipedes, a
+chainless freewheel roadster cycle with side basketcar attached, or
+draught conveyance, a donkey with wicker trap or smart phaeton with good
+working solidungular cob (roan gelding, 14 h).
+
+What might be the name of this erigible or erected residence?
+
+Bloom Cottage. Saint Leopold's. Flowerville.
+
+Could Bloom of 7 Eccles street foresee Bloom of Flowerville?
+
+In loose allwool garments with Harris tweed cap, price 8/6, and useful
+garden boots with elastic gussets and wateringcan, planting aligned young
+firtrees, syringing, pruning, staking, sowing hayseed, trundling a
+weedladen wheelbarrow without excessive fatigue at sunset amid the scent
+of newmown hay, ameliorating the soil, multiplying wisdom, achieving
+longevity.
+
+What syllabus of intellectual pursuits was simultaneously possible?
+
+Snapshot photography, comparative study of religions, folklore relative
+to various amatory and superstitious practices, contemplation of the
+celestial constellations.
+
+What lighter recreations?
+
+Outdoor: garden and fieldwork, cycling on level macadamised causeways
+ascents of moderately high hills, natation in secluded fresh water and
+unmolested river boating in secure wherry or light curricle with kedge
+anchor on reaches free from weirs and rapids (period of estivation),
+vespertinal perambulation or equestrian circumprocession with inspection
+of sterile landscape and contrastingly agreeable cottagers' fires of
+smoking peat turves (period of hibernation). Indoor: discussion in tepid
+security of unsolved historical and criminal problems: lecture of
+unexpurgated exotic erotic masterpieces: house carpentry with toolbox
+containing hammer, awl nails, screws, tintacks, gimlet, tweezers,
+bullnose plane and turnscrew. Might he become a gentleman farmer of field
+produce and live stock?
+
+Not impossibly, with 1 or 2 stripper cows, 1 pike of upland hay and
+requisite farming implements, e.g., an end-to-end churn, a turnip pulper
+etc.
+
+What would be his civic functions and social status among the county
+families and landed gentry?
+
+Arranged successively in ascending powers of hierarchical order, that of
+gardener, groundsman, cultivator, breeder, and at the zenith of his
+career, resident magistrate or justice of the peace with a family crest
+and coat of arms and appropriate classical motto (SEMPER PARATUS), duly
+recorded in the court directory (Bloom, Leopold P., M. P., P. C., K. P.,
+L. L. D. (HONORIS CAUSA), Bloomville, Dundrum) and mentioned in court and
+fashionable intelligence (Mr and Mrs Leopold Bloom have left Kingstown
+for England).
+
+What course of action did he outline for himself in such capacity?
+
+A course that lay between undue clemency and excessive rigour: the
+dispensation in a heterogeneous society of arbitrary classes, incessantly
+rearranged in terms of greater and lesser social inequality, of unbiassed
+homogeneous indisputable justice, tempered with mitigants of the widest
+possible latitude but exactable to the uttermost farthing with
+confiscation of estate, real and personal, to the crown. Loyal to the
+highest constituted power in the land, actuated by an innate love of
+rectitude his aims would be the strict maintenance of public order, the
+repression of many abuses though not of all simultaneously (every measure
+of reform or retrenchment being a preliminary solution to be contained by
+fluxion in the final solution), the upholding of the letter of the law
+(common, statute and law merchant) against all traversers in covin and
+trespassers acting in contravention of bylaws and regulations, all
+resuscitators (by trespass and petty larceny of kindlings) of venville
+rights, obsolete by desuetude, all orotund instigators of international
+persecution, all perpetuators of international animosities, all menial
+molestors of domestic conviviality, all recalcitrant violators of
+domestic connubiality.
+
+Prove that he had loved rectitude from his earliest youth.
+
+To Master Percy Apjohn at High School in 1880 he had divulged his
+disbelief in the tenets of the Irish (protestant) church (to which his
+father Rudolf Virag (later Rudolph Bloom) had been converted from the
+Israelitic faith and communion in 1865 by the Society for promoting
+Christianity among the jews) subsequently abjured by him in favour of
+Roman catholicism at the epoch of and with a view to his matrimony in
+1888. To Daniel Magrane and Francis Wade in 1882 during a juvenile
+friendship (terminated by the premature emigration of the former) he had
+advocated during nocturnal perambulations the political theory of
+colonial (e.g. Canadian) expansion and the evolutionary theories of
+Charles Darwin, expounded in THE DESCENT OF MAN and THE ORIGIN OF
+SPECIES. In 1885 he had publicly expressed his adherence to the
+collective and national economic programme advocated by James Fintan
+Lalor, John Fisher Murray, John Mitchel, J. F. X. O'Brien and others, the
+agrarian policy of Michael Davitt, the constitutional agitation of
+Charles Stewart Parnell (M. P. for Cork City), the programme of peace,
+retrenchment and reform of William Ewart Gladstone (M. P. for Midlothian,
+N. B.) and, in support of his political convictions, had climbed up into
+a secure position amid the ramifications of a tree on Northumberland road
+to see the entrance (2 February 1888) into the capital of a demonstrative
+torchlight procession of 20,000 torchbearers, divided into 120 trade
+corporations, bearing 2000 torches in escort of the marquess of Ripon and
+(honest) John Morley.
+
+How much and how did he propose to pay for this country residence?
+
+As per prospectus of the Industrious Foreign Acclimatised Nationalised
+Friendly Stateaided Building Society (incorporated 1874), a maximum of 60
+pounds per annum, being 1/6 of an assured income, derived from giltedged
+securities, representing at 5 percent simple interest on capital of 1200
+pounds (estimate of price at 20 years' purchase), of which   to be paid
+on acquisition and the balance in the form of annual rent, viz. 800
+pounds plus 2 1/2 percent interest on the same, repayable quarterly in
+equal annual instalments until extinction by amortisation of loan
+advanced for purchase within a period of 20 years, amounting to an annual
+rental of 64 pounds, headrent included, the titledeeds to remain in
+possession of the lender or lenders with a saving clause envisaging
+forced sale, foreclosure and mutual compensation in the event of
+protracted failure to pay the terms assigned, otherwise the messuage to
+become the absolute property of the tenant occupier upon expiry of the
+period of years stipulated.
+
+What rapid but insecure means to opulence might facilitate immediate
+purchase?
+
+A private wireless telegraph which would transmit by dot and dash system
+the result of a national equine handicap (flat or steeplechase) of I or
+more miles and furlongs won by an outsider at odds of 50 to 1 at 3 hr 8 m
+p.m. at Ascot (Greenwich time), the message being received and available
+for betting purposes in Dublin at 2.59 p.m. (Dunsink time). The
+unexpected discovery of an object of great monetary value (precious
+stone, valuable adhesive or impressed postage stamps (7 schilling, mauve,
+imperforate, Hamburg, 1866: 4 pence, rose, blue paper, perforate, Great
+Britain, 1855: 1 franc, stone, official, rouletted, diagonal surcharge,
+Luxemburg, 1878), antique dynastical ring, unique relic) in unusual
+repositories or by unusual means: from the air (dropped by an eagle in
+flight), by fire (amid the carbonised remains of an incendiated edifice),
+in the sea (amid flotsam, jetsam, lagan and derelict), on earth (in the
+gizzard of a comestible fowl). A Spanish prisoner's donation of a distant
+treasure of valuables or specie or bullion lodged with a solvent banking
+corporation loo years previously at 5 percent compound interest of the
+collective worth of 5,000,000 pounds stg (five million pounds sterling).
+A contract with an inconsiderate contractee for the delivery of 32
+consignments of some given commodity in consideration of cash payment on
+delivery per delivery at the initial rate of 1/4d to be increased
+constantly in the geometrical progression of 2 (1/4d, 1/2d, 1d, 2d, 4d,
+8d, 1s 4d, 2s 8d to 32 terms). A prepared scheme based on a study of the
+laws of probability to break the bank at Monte Carlo. A solution of the
+secular problem of the quadrature of the circle, government premium
+1,000,000 pounds sterling.
+
+Was vast wealth acquirable through industrial channels?
+
+The reclamation of dunams of waste arenary soil, proposed in the
+prospectus of Agendath Netaim, Bleibtreustrasse, Berlin, W. 15, by the
+cultivation of orange plantations and melonfields and reafforestation.
+The utilisation of waste paper, fells of sewer rodents, human excrement
+possessing chemical properties, in view of the vast production of the
+first, vast number of the second and immense quantity of the third, every
+normal human being of average vitality and appetite producing annually,
+cancelling byproducts of water, a sum total of 80 lbs. (mixed animal and
+vegetable diet), to be multiplied by 4,386,035, the total population of
+Ireland according to census returns of 1901.
+
+Were there schemes of wider scope?
+
+A scheme to be formulated and submitted for approval to the harbour
+commissioners for the exploitation of white coal (hydraulic power),
+obtained by hydroelectric plant at peak of tide at Dublin bar or at head
+of water at Poulaphouca or Powerscourt or catchment basins of main
+streams for the economic production of 500,000 W. H. P. of electricity. A
+scheme to enclose the peninsular delta of the North Bull at Dollymount
+and erect on the space of the foreland, used for golf links and rifle
+ranges, an asphalted esplanade with casinos, booths, shooting galleries,
+hotels, boardinghouses, readingrooms, establishments for mixed bathing. A
+scheme for the use of dogvans and goatvans for the delivery of early
+morning milk. A scheme for the development of Irish tourist traffic in
+and around Dublin by means of petrolpropelled riverboats, plying in the
+fluvial fairway between Island bridge and Ringsend, charabancs, narrow
+gauge local railways, and pleasure steamers for coastwise navigation
+(10/- per person per day, guide (trilingual) included). A scheme for the
+repristination of passenger and goods traffics over Irish waterways, when
+freed from weedbeds. A scheme to connect by tramline the Cattle Market
+(North Circular road and Prussia street) with the quays (Sheriff street,
+lower, and East Wall), parallel with the Link line railway laid (in
+conjunction with the Great Southern and Western railway line) between the
+cattle park, Liffey junction, and terminus of Midland Great Western
+Railway 43 to 45 North Wall, in proximity to the terminal stations or
+Dublin branches of Great Central Railway, Midland Railway of England,
+City of Dublin Steam Packet Company, Lancashire and Yorkshire Railway
+Company, Dublin and Glasgow Steam Packet Company, Glasgow, Dublin and
+Londonderry Steam Packet Company (Laird line), British and Irish Steam
+Packet Company, Dublin and Morecambe Steamers, London and North Western
+Railway Company, Dublin Port and Docks Board Landing Sheds and transit
+sheds of Palgrave, Murphy and Company, steamship owners, agents for
+steamers from Mediterranean, Spain, Portugal, France, Belgium and Holland
+and for Liverpool Underwriters' Association, the cost of acquired rolling
+stock for animal transport and of additional mileage operated by the
+Dublin United Tramways Company, limited, to be covered by graziers' fees.
+
+Positing what protasis would the contraction for such several schemes
+become a natural and necessary apodosis?
+
+Given a guarantee equal to the sum sought, the support, by deed of gift
+and transfer vouchers during donor's lifetime or by bequest after donor's
+painless extinction, of eminent financiers (Blum Pasha, Rothschild
+Guggenheim, Hirsch, Montefiore, Morgan, Rockefeller) possessing fortunes
+in 6 figures, amassed during a successful life, and joining capital with
+opportunity the thing required was done.
+
+What eventuality would render him independent of such wealth?
+
+The independent discovery of a goldseam of inexhaustible ore.
+
+For what reason did he meditate on schemes so difficult of realisation?
+
+It was one of his axioms that similar meditations or the automatic
+relation to himself of a narrative concerning himself or tranquil
+recollection of the past when practised habitually before retiring for
+the night alleviated fatigue and produced as a result sound repose and
+renovated vitality.
+
+His justifications?
+
+As a physicist he had learned that of the 70 years of complete human life
+at least 2/7, viz. 20 years are passed in sleep. As a philosopher he knew
+that at the termination of any allotted life only an infinitesimal part
+of any person's desires has been realised. As a physiologist he believed
+in the artificial placation of malignant agencies chiefly operative
+during somnolence.
+
+What did he fear?
+
+The committal of homicide or suicide during sleep by an aberration of the
+light of reason, the incommensurable categorical intelligence situated in
+the cerebral convolutions.
+
+What were habitually his final meditations?
+
+Of some one sole unique advertisement to cause passers to stop in wonder,
+a poster novelty, with all extraneous accretions excluded, reduced to its
+simplest and most efficient terms not exceeding the span of casual vision
+and congruous with the velocity of modern life.
+
+What did the first drawer unlocked contain?
+
+A Vere Foster's handwriting copybook, property of Milly (Millicent)
+Bloom, certain pages of which bore diagram drawings, marked PAPLI, which
+showed a large globular head with 5 hairs erect, 2 eyes in profile, the
+trunk full front with 3 large buttons, 1 triangular foot: 2 fading
+photographs of queen Alexandra of England and of Maud Branscombe, actress
+and professional beauty: a Yuletide card, bearing on it a pictorial
+representation of a parasitic plant, the legend MIZPAH, the date Xmas
+1892, the name of the senders: from Mr + Mrs M. Comerford, the versicle:
+MAY THIS YULETIDE BRING TO THEE, JOY AND PEACE AND WELCOME GLEE: a butt
+of red partly liquefied sealing wax, obtained from the stores department
+of Messrs Hely's, Ltd., 89, 90, and 91 Dame street: a box containing the
+remainder of a gross of gilt "J" pennibs, obtained from same department
+of same firm: an old sandglass which rolled containing sand which rolled:
+a sealed prophecy (never unsealed) written by Leopold Bloom in 1886
+concerning the consequences of the passing into law of William Ewart
+Gladstone's Home Rule bill of 1886 (never passed into law): a bazaar
+ticket, no 2004, of S. Kevin's Charity Fair, price 6d, 100 prizes: an
+infantile epistle, dated, small em monday, reading: capital pee Papli
+comma capital aitch How are you note of interrogation capital eye I am
+very well full stop new paragraph signature with flourishes capital em
+Milly no stop: a cameo brooch, property of Ellen Bloom (born Higgins),
+deceased: a cameo scarfpin, property of Rudolph Bloom (born Virag),
+deceased: 3 typewritten letters, addressee, Henry Flower, c/o. P. O.
+Westland Row, addresser, Martha Clifford, c/o. P. O. Dolphin's Barn: the
+transliterated name and address of the addresser of the 3 letters in
+reversed alphabetic boustrophedonic punctated quadrilinear cryptogram
+(vowels suppressed) N. IGS./WI. UU. OX/W. OKS. MH/Y. IM: a press cutting
+from an English weekly periodical MODERN SOCIETY, subject corporal
+chastisement in girls' schools: a pink ribbon which had festooned an
+Easter egg in the year 1899: two partly uncoiled rubber preservatives
+with reserve pockets, purchased by post from Box 32, P. O., Charing
+Cross, London, W. C.: 1 pack of 1 dozen creamlaid envelopes and
+feintruled notepaper, watermarked, now reduced by 3: some assorted
+Austrian-Hungarian coins: 2 coupons of the Royal and Privileged Hungarian
+Lottery: a lowpower magnifying glass: 2 erotic photocards showing a)
+buccal coition between nude senorita (rere presentation, superior
+position) and nude torero (fore presentation, inferior position) b) anal
+violation by male religious (fully clothed, eyes abject) of female
+religious (partly clothed, eyes direct), purchased by post from Box 32,
+P. O., Charing Cross, London, W. C.: a press cutting of recipe for
+renovation of old tan boots: a Id adhesive stamp, lavender, of the reign
+of Queen Victoria: a chart of the measurements of Leopold Bloom compiled
+before, during and after 2 months' consecutive use of Sandow-Whiteley's
+pulley exerciser (men's 15/-, athlete's 20/-) viz. chest 28 in and 29 1/2
+in, biceps 9 in and 10 in, forearm 8 1/2 in and 9 in, thigh 10 in and 12
+in, calf 11 in and 12 in: 1 prospectus of The Wonderworker, the world's
+greatest remedy for rectal complaints, direct from Wonderworker, Coventry
+House, South Place, London E C, addressed (erroneously) to Mrs L. Bloom
+with brief accompanying note commencing (erroneously): Dear Madam.
+
+Quote the textual terms in which the prospectus claimed advantages for
+this thaumaturgic remedy.
+
+It heals and soothes while you sleep, in case of trouble in breaking
+wind, assists nature in the most formidable way, insuring instant relief
+in discharge of gases, keeping parts clean and free natural action, an
+initial outlay of 7/6 making a new man of you and life worth living.
+Ladies find Wonderworker especially useful, a pleasant surprise when they
+note delightful result like a cool drink of fresh spring water on a
+sultry summer's day. Recommend it to your lady and gentlemen friends,
+lasts a lifetime. Insert long round end. Wonderworker.
+
+Were there testimonials?
+
+Numerous. From clergyman, British naval officer, wellknown author, city
+man, hospital nurse, lady, mother of five, absentminded beggar.
+
+How did absentminded beggar's concluding testimonial conclude?
+
+What a pity the government did not supply our men with wonderworkers
+during the South African campaign! What a relief it would have been!
+
+What object did Bloom add to this collection of objects?
+
+A 4th typewritten letter received by Henry Flower (let H. F. be L. B.)
+from Martha Clifford (find M. C.).
+
+What pleasant reflection accompanied this action?
+
+The reflection that, apart from the letter in question, his magnetic
+face, form and address had been favourably received during the course of
+the preceding day by a wife (Mrs Josephine Breen, born Josie Powell), a
+nurse, Miss Callan (Christian name unknown), a maid, Gertrude (Gerty,
+family name unknown).
+
+What possibility suggested itself?
+
+The possibility of exercising virile power of fascination in the not
+immediate future after an expensive repast in a private apartment in the
+company of an elegant courtesan, of corporal beauty, moderately
+mercenary, variously instructed, a lady by origin.
+
+What did the 2nd drawer contain?
+
+Documents: the birth certificate of Leopold Paula Bloom: an endowment
+assurance policy of 500 pounds in the Scottish Widows' Assurance Society,
+intestated Millicent (Milly) Bloom, coming into force at 25 years as with
+profit policy of 430 pounds, 462/10/0 and 500 pounds at 60 years or
+death, 65 years or death and death, respectively, or with profit policy
+(paidup) of 299/10/0 together with cash payment of 133/10/0, at option: a
+bank passbook issued by the Ulster Bank, College Green branch showing
+statement of a/c for halfyear ending 31 December 1903, balance in
+depositor's favour: 18/14/6 (eighteen pounds, fourteen shillings and
+sixpence, sterling), net personalty: certificate of possession of 900
+pounds, Canadian 4 percent (inscribed) government stock (free of stamp
+duty): dockets of the Catholic Cemeteries' (Glasnevin) Committee,
+relative to a graveplot purchased: a local press cutting concerning
+change of name by deedpoll.
+
+Quote the textual terms of this notice.
+
+I, Rudolph Virag, now resident at no 52 Clanbrassil street, Dublin,
+formerly of Szombathely in the kingdom of Hungary, hereby give notice
+that I have assumed and intend henceforth upon all occasions and at all
+times to be known by the name of Rudolph Bloom.
+
+What other objects relative to Rudolph Bloom (born Virag) were in the 2nd
+drawer?
+
+An indistinct daguerreotype of Rudolf Virag and his father Leopold Virag
+executed in the year 1852 in the portrait atelier of their (respectively)
+1st and 2nd cousin, Stefan Virag of Szesfehervar, Hungary. An ancient
+haggadah book in which a pair of hornrimmed convex spectacles inserted
+marked the passage of thanksgiving in the ritual prayers for Pessach
+(Passover): a photocard of the Queen's Hotel, Ennis, proprietor, Rudolph
+Bloom: an envelope addressed: TO MY DEAR SON LEOPOLD.
+
+What fractions of phrases did the lecture of those five whole words
+evoke?
+
+Tomorrow will be a week that I received... it is no use Leopold to be ...
+with your dear mother ... that is not more to stand ... to her ... all
+for me is out ... be kind to Athos, Leopold ... my dear son ... always
+... of me ... DAS HERZ ... GOTT ... DEIN ...
+
+What reminiscences of a human subject suffering from progressive
+melancholia did these objects evoke in Bloom?
+
+An old man, widower, unkempt of hair, in bed, with head covered, sighing:
+an infirm dog, Athos: aconite, resorted to by increasing doses of grains
+and scruples as a palliative of recrudescent neuralgia: the face in death
+of a septuagenarian, suicide by poison.
+
+Why did Bloom experience a sentiment of remorse?
+
+Because in immature impatience he had treated with disrespect certain
+beliefs and practices.
+
+As?
+
+The prohibition of the use of fleshmeat and milk at one meal: the
+hebdomadary symposium of incoordinately abstract, perfervidly concrete
+mercantile coexreligionist excompatriots: the circumcision of male
+infants: the supernatural character of Judaic scripture: the ineffability
+of the tetragrammaton: the sanctity of the sabbath.
+
+How did these beliefs and practices now appear to him?
+
+Not more rational than they had then appeared, not less rational than
+other beliefs and practices now appeared.
+
+What first reminiscence had he of Rudolph Bloom (deceased)?
+
+Rudolph Bloom (deceased) narrated to his son Leopold Bloom (aged 6) a
+retrospective arrangement of migrations and settlements in and between
+Dublin, London, Florence, Milan, Vienna, Budapest, Szombathely with
+statements of satisfaction (his grandfather having seen Maria Theresia,
+empress of Austria, queen of Hungary), with commercial advice (having
+taken care of pence, the pounds having taken care of themselves). Leopold
+Bloom (aged 6) had accompanied these narrations by constant consultation
+of a geographical map of Europe (political) and by suggestions for the
+establishment of affiliated business premises in the various centres
+mentioned.
+
+Had time equally but differently obliterated the memory of these
+migrations in narrator and listener?
+
+In narrator by the access of years and in consequence of the use of
+narcotic toxin: in listener by the access of years and in consequence of
+the action of distraction upon vicarious experiences.
+
+What idiosyncracies of the narrator were concomitant products of amnesia?
+
+Occasionally he ate without having previously removed his hat.
+Occasionally he drank voraciously the juice of gooseberry fool from an
+inclined plate. Occasionally he removed from his lips the traces of food
+by means of a lacerated envelope or other accessible fragment of paper.
+
+What two phenomena of senescence were more frequent?
+
+The myopic digital calculation of coins, eructation consequent upon
+repletion.
+
+What object offered partial consolation for these reminiscences?
+
+The endowment policy, the bank passbook, the certificate of the
+possession of scrip.
+
+Reduce Bloom by cross multiplication of reverses of fortune, from which
+these supports protected him, and by elimination of all positive values
+to a negligible negative irrational unreal quantity.
+
+Successively, in descending helotic order: Poverty: that of the outdoor
+hawker of imitation jewellery, the dun for the recovery of bad and
+doubtful debts, the poor rate and deputy cess collector. Mendicancy: that
+of the fraudulent bankrupt with negligible assets paying 1s. 4d. in the
+pound, sandwichman, distributor of throwaways, nocturnal vagrant,
+insinuating sycophant, maimed sailor, blind stripling, superannuated
+bailiffs man, marfeast, lickplate, spoilsport, pickthank, eccentric
+public laughingstock seated on bench of public park under discarded
+perforated umbrella. Destitution: the inmate of Old Man's House (Royal
+Hospital) Kilmainham, the inmate of Simpson's Hospital for reduced but
+respectable men permanently disabled by gout or want of sight. Nadir of
+misery: the aged impotent disfranchised ratesupported moribund lunatic
+pauper.
+
+With which attendant indignities?
+
+The unsympathetic indifference of previously amiable females, the
+contempt of muscular males, the acceptance of fragments of bread, the
+simulated ignorance of casual acquaintances, the latration of
+illegitimate unlicensed vagabond dogs, the infantile discharge of
+decomposed vegetable missiles, worth little or nothing, nothing or less
+than nothing.
+
+By what could such a situation be precluded?
+
+By decease (change of state): by departure (change of place).
+
+Which preferably?
+
+The latter, by the line of least resistance.
+
+What considerations rendered departure not entirely undesirable?
+
+Constant cohabitation impeding mutual toleration of personal defects. The
+habit of independent purchase increasingly cultivated. The necessity to
+counteract by impermanent sojourn the permanence of arrest.
+
+What considerations rendered departure not irrational?
+
+The parties concerned, uniting, had increased and multiplied, which being
+done, offspring produced and educed to maturity, the parties, if not
+disunited were obliged to reunite for increase and multiplication, which
+was absurd, to form by reunion the original couple of uniting parties,
+which was impossible.
+
+What considerations rendered departure desirable?
+
+The attractive character of certain localities in Ireland and abroad, as
+represented in general geographical maps of polychrome design or in
+special ordnance survey charts by employment of scale numerals and
+hachures.
+
+In Ireland?
+
+The cliffs of Moher, the windy wilds of Connemara, lough Neagh with
+submerged petrified city, the Giant's Causeway, Fort Camden and Fort
+Carlisle, the Golden Vale of Tipperary, the islands of Aran, the pastures
+of royal Meath, Brigid's elm in Kildare, the Queen's Island shipyard in
+Belfast, the Salmon Leap, the lakes of Killarney.
+
+Abroad?
+
+Ceylon (with spicegardens supplying tea to Thomas Kernan, agent for
+Pulbrook, Robertson and Co, 2 Mincing Lane, London, E. C., 5 Dame street,
+Dublin), Jerusalem, the holy city (with mosque of Omar and gate of
+Damascus, goal of aspiration), the straits of Gibraltar (the unique
+birthplace of Marion Tweedy), the Parthenon (containing statues of nude
+Grecian divinities), the Wall street money market (which controlled
+international finance), the Plaza de Toros at La Linea, Spain (where
+O'Hara of the Camerons had slain the bull), Niagara (over which no human
+being had passed with impunity), the land of the Eskimos (eaters of
+soap), the forbidden country of Thibet (from which no traveller returns),
+the bay of Naples (to see which was to die), the Dead Sea.
+
+Under what guidance, following what signs?
+
+At sea, septentrional, by night the polestar, located at the point of
+intersection of the right line from beta to alpha in Ursa Maior produced
+and divided externally at omega and the hypotenuse of the rightangled
+triangle formed by the line alpha omega so produced and the line alpha
+delta of Ursa Maior. On land, meridional, a bispherical moon, revealed in
+imperfect varying phases of lunation through the posterior interstice of
+the imperfectly occluded skirt of a carnose negligent perambulating
+female, a pillar of the cloud by day.
+
+What public advertisement would divulge the occultation of the departed?
+
+5 pounds reward, lost, stolen or strayed from his residence 7 Eccles
+street, missing gent about 40, answering to the name of Bloom, Leopold
+(Poldy), height 5 ft 9 1/2 inches, full build, olive complexion, may have
+since grown a beard, when last seen was wearing a black suit. Above sum
+will be paid for information leading to his discovery.
+
+What universal binomial denominations would be his as entity and
+nonentity?
+
+Assumed by any or known to none. Everyman or Noman.
+
+What tributes his?
+
+Honour and gifts of strangers, the friends of Everyman. A nymph immortal,
+beauty, the bride of Noman.
+
+Would the departed never nowhere nohow reappear?
+
+Ever he would wander, selfcompelled, to the extreme limit of his cometary
+orbit, beyond the fixed stars and variable suns and telescopic planets,
+astronomical waifs and strays, to the extreme boundary of space, passing
+from land to land, among peoples, amid events. Somewhere imperceptibly he
+would hear and somehow reluctantly, suncompelled, obey the summons of
+recall. Whence, disappearing from the constellation of the Northern Crown
+he would somehow reappear reborn above delta in the constellation of
+Cassiopeia and after incalculable eons of peregrination return an
+estranged avenger, a wreaker of justice on malefactors, a dark crusader,
+a sleeper awakened, with financial resources (by supposition) surpassing
+those of Rothschild or the silver king.
+
+What would render such return irrational?
+
+An unsatisfactory equation between an exodus and return in time through
+reversible space and an exodus and return in space through irreversible
+time.
+
+What play of forces, inducing inertia, rendered departure undesirable?
+
+The lateness of the hour, rendering procrastinatory: the obscurity of the
+night, rendering invisible: the uncertainty of thoroughfares, rendering
+perilous: the necessity for repose, obviating movement: the proximity of
+an occupied bed, obviating research: the anticipation of warmth (human)
+tempered with coolness (linen), obviating desire and rendering desirable:
+the statue of Narcissus, sound without echo, desired desire.
+
+What advantages were possessed by an occupied, as distinct from an
+unoccupied bed?
+
+The removal of nocturnal solitude, the superior quality of human (mature
+female) to inhuman (hotwaterjar) calefaction, the stimulation of
+matutinal contact, the economy of mangling done on the premises in the
+case of trousers accurately folded and placed lengthwise between the
+spring mattress (striped) and the woollen mattress (biscuit section).
+
+What past consecutive causes, before rising preapprehended, of
+accumulated fatigue did Bloom, before rising, silently recapitulate?
+
+The preparation of breakfast (burnt offering): intestinal congestion and
+premeditative defecation (holy of holies): the bath (rite of John): the
+funeral (rite of Samuel): the advertisement of Alexander Keyes (Urim and
+Thummim): the unsubstantial lunch (rite of Melchisedek): the visit to
+museum and national library (holy place): the bookhunt along Bedford row,
+Merchants' Arch, Wellington Quay (Simchath Torah): the music in the
+Ormond Hotel (Shira Shirim): the altercation with a truculent troglodyte
+in Bernard Kiernan's premises (holocaust): a blank period of time
+including a cardrive, a visit to a house of mourning, a leavetaking
+(wilderness): the eroticism produced by feminine exhibitionism (rite of
+Onan): the prolonged delivery of Mrs Mina Purefoy (heave offering): the
+visit to the disorderly house of Mrs Bella Cohen, 82 Tyrone street, lower
+and subsequent brawl and chance medley in Beaver street (Armageddon)-
+nocturnal perambulation to and from the cabman's shelter, Butt Bridge
+(atonement).
+
+What selfimposed enigma did Bloom about to rise in order to go so as to
+conclude lest he should not conclude involuntarily apprehend?
+
+The cause of a brief sharp unforeseen heard loud lone crack emitted by
+the insentient material of a strainveined timber table.
+
+What selfinvolved enigma did Bloom risen, going, gathering multicoloured
+multiform multitudinous garments, voluntarily apprehending, not
+comprehend?
+
+Who was M'Intosh?
+
+What selfevident enigma pondered with desultory constancy during 30 years
+did Bloom now, having effected natural obscurity by the extinction of
+artificial light, silently suddenly comprehend?
+
+Where was Moses when the candle went out?
+
+What imperfections in a perfect day did Bloom, walking, charged with
+collected articles of recently disvested male wearing apparel, silently,
+successively, enumerate?
+
+A provisional failure to obtain renewal of an advertisement: to obtain a
+certain quantity of tea from Thomas Kernan (agent for Pulbrook, Robertson
+and Co, 5 Dame Street, Dublin, and 2 Mincing Lane, London E. C.): to
+certify the presence or absence of posterior rectal orifice in the case
+of Hellenic female divinities: to obtain admission (gratuitous or paid)
+to the performance of Leah by Mrs Bandmann Palmer at the Gaiety Theatre,
+46, 47, 48, 49 South King street.
+
+What impression of an absent face did Bloom, arrested, silently recall?
+
+The face of her father, the late Major Brian Cooper Tweedy, Royal Dublin
+Fusiliers, of Gibraltar and Rehoboth, Dolphin's Barn.
+
+What recurrent impressions of the same were possible by hypothesis?
+
+Retreating, at the terminus of the Great Northern Railway, Amiens street,
+with constant uniform acceleration, along parallel lines meeting at
+infinity, if produced: along parallel lines, reproduced from infinity,
+with constant uniform retardation, at the terminus of the Great Northern
+Railway, Amiens street, returning.
+
+What miscellaneous effects of female personal wearing apparel were
+perceived by him?
+
+A pair of new inodorous halfsilk black ladies' hose, a pair of new violet
+garters, a pair of outsize ladies' drawers of India mull, cut on generous
+lines, redolent of opoponax, jessamine and Muratti's Turkish cigarettes
+and containing a long bright steel safety pin, folded curvilinear, a
+camisole of batiste with thin lace border, an accordion underskirt of
+blue silk moirette, all these objects being disposed irregularly on the
+top of a rectangular trunk, quadruple battened, having capped corners,
+with multicoloured labels, initialled on its fore side in white lettering
+B. C. T. (Brian Cooper Tweedy).
+
+What impersonal objects were perceived?
+
+A commode, one leg fractured, totally covered by square cretonne cutting,
+apple design, on which rested a lady's black straw hat. Orangekeyed ware,
+bought of Henry Price, basket, fancy goods, chinaware and ironmongery
+manufacturer, 21, 22, 23 Moore street, disposed irregularly on the
+washstand and floor and consisting of basin, soapdish and brushtray (on
+the washstand, together), pitcher and night article (on the floor,
+separate).
+
+Bloom's acts?
+
+He deposited the articles of clothing on a chair, removed his remaining
+articles of clothing, took from beneath the bolster at the head of the
+bed a folded long white nightshirt, inserted his head and arms into the
+proper apertures of the nightshirt, removed a pillow from the head to the
+foot of the bed, prepared the bedlinen accordingly and entered the bed.
+
+How?
+
+With circumspection, as invariably when entering an abode (his own or not
+his own): with solicitude, the snakespiral springs of the mattress being
+old, the brass quoits and pendent viper radii loose and tremulous under
+stress and strain: prudently, as entering a lair or ambush of lust or
+adders: lightly, the less to disturb: reverently, the bed of conception
+and of birth, of consummation of marriage and of breach of marriage, of
+sleep and of death.
+
+What did his limbs, when gradually extended, encounter?
+
+New clean bedlinen, additional odours, the presence of a human form,
+female, hers, the imprint of a human form, male, not his, some crumbs,
+some flakes of potted meat, recooked, which he removed.
+
+If he had smiled why would he have smiled?
+
+To reflect that each one who enters imagines himself to be the first to
+enter whereas he is always the last term of a preceding series even if
+the first term of a succeeding one, each imagining himself to be first,
+last, only and alone whereas he is neither first nor last nor only nor
+alone in a series originating in and repeated to infinity.
+
+What preceding series?
+
+Assuming Mulvey to be the first term of his series, Penrose, Bartell
+d'Arcy, professor Goodwin, Julius Mastiansky, John Henry Menton, Father
+Bernard Corrigan, a farmer at the Royal Dublin Society's Horse Show,
+Maggot O'Reilly, Matthew Dillon, Valentine Blake Dillon (Lord Mayor of
+Dublin), Christopher Callinan, Lenehan, an Italian organgrinder, an
+unknown gentleman in the Gaiety Theatre, Benjamin Dollard, Simon Dedalus,
+Andrew (Pisser) Burke, Joseph Cuffe, Wisdom Hely, Alderman John Hooper,
+Dr Francis Brady, Father Sebastian of Mount Argus, a bootblack at the
+General Post Office, Hugh E. (Blazes) Boylan and so each and so on to no
+last term.
+
+What were his reflections concerning the last member of this series and
+late occupant of the bed?
+
+Reflections on his vigour (a bounder), corporal proportion (a
+billsticker), commercial ability (a bester), impressionability (a
+boaster).
+
+Why for the observer impressionability in addition to vigour, corporal
+proportion and commercial ability?
+
+Because he had observed with augmenting frequency in the preceding
+members of the same series the same concupiscence, inflammably
+transmitted, first with alarm, then with understanding, then with desire,
+finally with fatigue, with alternating symptoms of epicene comprehension
+and apprehension.
+
+With what antagonistic sentiments were his subsequent reflections
+affected?
+
+Envy, jealousy, abnegation, equanimity.
+
+Envy?
+
+Of a bodily and mental male organism specially adapted for the
+superincumbent posture of energetic human copulation and energetic piston
+and cylinder movement necessary for the complete satisfaction of a
+constant but not acute concupiscence resident in a bodily and mental
+female organism, passive but not obtuse.
+
+Jealousy?
+
+Because a nature full and volatile in its free state, was alternately the
+agent and reagent of attraction. Because attraction between agent(s) and
+reagent(s) at all instants varied, with inverse proportion of increase
+and decrease, with incessant circular extension and radial reentrance.
+Because the controlled contemplation of the fluctuation of attraction
+produced, if desired, a fluctuation of pleasure.
+
+Abnegation?
+
+In virtue of a) acquaintance initiated in September 1903 in the
+establishment of George Mesias, merchant tailor and outfitter, 5 Eden
+Quay, b) hospitality extended and received in kind, reciprocated and
+reappropriated in person, c) comparative youth subject to impulses of
+ambition and magnanimity, colleagual altruism and amorous egoism, d)
+extraracial attraction, intraracial inhibition, supraracial prerogative,
+e) an imminent provincial musical tour, common current expenses, net
+proceeds divided.
+
+Equanimity?
+
+As as natural as any and every natural act of a nature expressed or
+understood executed in natured nature by natural creatures in accordance
+with his, her and their natured natures, of dissimilar similarity. As not
+so calamitous as a cataclysmic annihilation of the planet in consequence
+of a collision with a dark sun. As less reprehensible than theft, highway
+robbery, cruelty to children and animals, obtaining money under false
+pretences, forgery, embezzlement, misappropriation of public money,
+betrayal of public trust, malingering, mayhem, corruption of minors,
+criminal libel, blackmail, contempt of court, arson, treason, felony,
+mutiny on the high seas, trespass, burglary, jailbreaking, practice of
+unnatural vice, desertion from armed forces in the field, perjury,
+poaching, usury, intelligence with the king's enemies, impersonation,
+criminal assault, manslaughter, wilful and premeditated murder. As not
+more abnormal than all other parallel processes of adaptation to altered
+conditions of existence, resulting in a reciprocal equilibrium between
+the bodily organism and its attendant circumstances, foods, beverages,
+acquired habits, indulged inclinations, significant disease. As more than
+inevitable, irreparable.
+
+Why more abnegation than jealousy, less envy than equanimity?
+
+From outrage (matrimony) to outrage (adultery) there arose nought but
+outrage (copulation) yet the matrimonial violator of the matrimonially
+violated had not been outraged by the adulterous violator of the
+adulterously violated.
+
+What retribution, if any?
+
+Assassination, never, as two wrongs did not make one right. Duel by
+combat, no. Divorce, not now. Exposure by mechanical artifice (automatic
+bed) or individual testimony (concealed ocular witnesses), not yet. Suit
+for damages by legal influence or simulation of assault with evidence of
+injuries sustained (selfinflicted), not impossibly. Hushmoney by moral
+influence possibly. If any, positively, connivance, introduction of
+emulation (material, a prosperous rival agency of publicity: moral, a
+successful rival agent of intimacy), depreciation, alienation,
+humiliation, separation protecting the one separated from the other,
+protecting the separator from both.
+
+By what reflections did he, a conscious reactor against the void of
+incertitude, justify to himself his sentiments?
+
+The preordained frangibility of the hymen: the presupposed intangibility
+of the thing in itself: the incongruity and disproportion between the
+selfprolonging tension of the thing proposed to be done and the
+selfabbreviating relaxation of the thing done; the fallaciously inferred
+debility of the female: the muscularity of the male: the variations of
+ethical codes: the natural grammatical transition by inversion involving
+no alteration of sense of an aorist preterite proposition (parsed as
+masculine subject, monosyllabic onomatopoeic transitive verb with direct
+feminine object) from the active voice into its correlative aorist
+preterite proposition (parsed as feminine subject, auxiliary verb and
+quasimonosyllabic onomatopoeic past participle with complementary
+masculine agent) in the passive voice: the continued product of
+seminators by generation: the continual production of semen by
+distillation: the futility of triumph or protest or vindication: the
+inanity of extolled virtue: the lethargy of nescient matter: the apathy
+of the stars.
+
+In what final satisfaction did these antagonistic sentiments and
+reflections, reduced to their simplest forms, converge?
+
+Satisfaction at the ubiquity in eastern and western terrestrial
+hemispheres, in all habitable lands and islands explored or unexplored
+(the land of the midnight sun, the islands of the blessed, the isles of
+Greece, the land of promise), of adipose anterior and posterior female
+hemispheres, redolent of milk and honey and of excretory sanguine and
+seminal warmth, reminiscent of secular families of curves of amplitude,
+insusceptible of moods of impression or of contrarieties of expression,
+expressive of mute immutable mature animality.
+
+The visible signs of antesatisfaction?
+
+An approximate erection: a solicitous adversion: a gradual elevation: a
+tentative revelation: a silent contemplation.
+
+Then?
+
+He kissed the plump mellow yellow smellow melons of her rump, on each
+plump melonous hemisphere, in their mellow yellow furrow, with obscure
+prolonged provocative melonsmellonous osculation.
+
+The visible signs of postsatisfaction?
+
+A silent contemplation: a tentative velation: a gradual abasement: a
+solicitous aversion: a proximate erection.
+
+What followed this silent action?
+
+Somnolent invocation, less somnolent recognition, incipient excitation,
+catechetical interrogation.
+
+With what modifications did the narrator reply to this interrogation?
+
+Negative: he omitted to mention the clandestine correspondence between
+Martha Clifford and Henry Flower, the public altercation at, in and in
+the vicinity of the licensed premises of Bernard Kiernan and Co, Limited,
+8, 9 and 10 Little Britain street, the erotic provocation and response
+thereto caused by the exhibitionism of Gertrude (Gerty), surname unknown.
+Positive: he included mention of a performance by Mrs Bandmann Palmer of
+LEAH at the Gaiety Theatre, 46, 47, 48, 49 South King street, an
+invitation to supper at Wynn's (Murphy's) Hotel, 35, 36 and 37 Lower
+Abbey street, a volume of peccaminous pornographical tendency entituled
+SWEETS OF SIN, anonymous author a gentleman of fashion, a temporary
+concussion caused by a falsely calculated movement in the course of a
+postcenal gymnastic display, the victim (since completely recovered)
+being Stephen Dedalus, professor and author, eldest surviving son of
+Simon Dedalus, of no fixed occupation, an aeronautical feat executed by
+him (narrator) in the presence of a witness, the professor and author
+aforesaid, with promptitude of decision and gymnastic flexibility.
+
+Was the narration otherwise unaltered by modifications?
+
+Absolutely.
+
+Which event or person emerged as the salient point of his narration?
+
+Stephen Dedalus, professor and author.
+
+What limitations of activity and inhibitions of conjugal rights were
+perceived by listener and narrator concerning themselves during the
+course of this intermittent and increasingly more laconic narration?
+
+By the listener a limitation of fertility inasmuch as marriage had been
+celebrated 1 calendar month after the 18th anniversary of her birth (8
+September 1870), viz. 8 October, and consummated on the same date with
+female issue born 15 June 1889, having been anticipatorily consummated on
+the lo September of the same year and complete carnal intercourse, with
+ejaculation of semen within the natural female organ, having last taken
+place 5 weeks previous, viz. 27 November 1893, to the birth on 29
+December 1893 of second (and only male) issue, deceased 9 January 1894,
+aged 11 days, there remained a period of 10 years, 5 months and 18 days
+during which carnal intercourse had been incomplete, without ejaculation
+of semen within the natural female organ. By the narrator a limitation of
+activity, mental and corporal, inasmuch as complete mental intercourse
+between himself and the listener had not taken place since the
+consummation of puberty, indicated by catamenic hemorrhage, of the female
+issue of narrator and listener, 15 September 1903, there remained a
+period of 9 months and 1 day during which, in consequence of a
+preestablished natural comprehension in incomprehension between the
+consummated females (listener and issue), complete corporal liberty of
+action had been circumscribed.
+
+How?
+
+By various reiterated feminine interrogation concerning the masculine
+destination whither, the place where, the time at which, the duration for
+which, the object with which in the case of temporary absences, projected
+or effected.
+
+What moved visibly above the listener's and the narrator's invisible
+thoughts?
+
+The upcast reflection of a lamp and shade, an inconstant series of
+concentric circles of varying gradations of light and shadow.
+
+In what directions did listener and narrator lie?
+
+Listener, S. E. by E.: Narrator, N. W. by W.: on the 53rd parallel of
+latitude, N., and 6th meridian of longitude, W.: at an angle of 45
+degrees to the terrestrial equator.
+
+In what state of rest or motion?
+
+At rest relatively to themselves and to each other. In motion being each
+and both carried westward, forward and rereward respectively, by the
+proper perpetual motion of the earth through everchanging tracks of
+neverchanging space.
+
+In what posture?
+
+Listener: reclined semilaterally, left, left hand under head, right leg
+extended in a straight line and resting on left leg, flexed, in the
+attitude of Gea-Tellus, fulfilled, recumbent, big with seed. Narrator:
+reclined laterally, left, with right and left legs flexed, the index
+finger and thumb of the right hand resting on the bridge of the nose, in
+the attitude depicted in a snapshot photograph made by Percy Apjohn, the
+childman weary, the manchild in the womb.
+
+Womb? Weary?
+
+He rests. He has travelled.
+
+With?
+
+Sinbad the Sailor and Tinbad the Tailor and Jinbad the Jailer and Whinbad
+the Whaler and Ninbad the Nailer and Finbad the Failer and Binbad the
+Bailer and Pinbad the Pailer and Minbad the Mailer and Hinbad the Hailer
+and Rinbad the Railer and Dinbad the Kailer and Vinbad the Quailer and
+Linbad the Yailer and Xinbad the Phthailer.
+
+When?
+
+Going to dark bed there was a square round Sinbad the Sailor roc's auk's
+egg in the night of the bed of all the auks of the rocs of Darkinbad the
+Brightdayler.
+
+Where?
+
+
+    * * * * * * *
+
+
+Yes because he never did a thing like that before as ask to get his
+breakfast in bed with a couple of eggs since the CITY ARMS hotel when he
+used to be pretending to be laid up with a sick voice doing his highness
+to make himself interesting for that old faggot Mrs Riordan that he
+thought he had a great leg of and she never left us a farthing all for
+masses for herself and her soul greatest miser ever was actually afraid
+to lay out 4d for her methylated spirit telling me all her ailments she
+had too much old chat in her about politics and earthquakes and the end
+of the world let us have a bit of fun first God help the world if all the
+women were her sort down on bathingsuits and lownecks of course nobody
+wanted her to wear them I suppose she was pious because no man would look
+at her twice I hope Ill never be like her a wonder she didnt want us to
+cover our faces but she was a welleducated woman certainly and her gabby
+talk about Mr Riordan here and Mr Riordan there I suppose he was glad to
+get shut of her and her dog smelling my fur and always edging to get up
+under my petticoats especially then still I like that in him polite to
+old women like that and waiters and beggars too hes not proud out of
+nothing but not always if ever he got anything really serious the matter
+with him its much better for them to go into a hospital where everything
+is clean but I suppose Id have to dring it into him for a month yes and
+then wed have a hospital nurse next thing on the carpet have him staying
+there till they throw him out or a nun maybe like the smutty photo he has
+shes as much a nun as Im not yes because theyre so weak and puling when
+theyre sick they want a woman to get well if his nose bleeds youd think
+it was O tragic and that dyinglooking one off the south circular when he
+sprained his foot at the choir party at the sugarloaf Mountain the day I
+wore that dress Miss Stack bringing him flowers the worst old ones she
+could find at the bottom of the basket anything at all to get into a mans
+bedroom with her old maids voice trying to imagine he was dying on
+account of her to never see thy face again though he looked more like a
+man with his beard a bit grown in the bed father was the same besides I
+hate bandaging and dosing when he cut his toe with the razor paring his
+corns afraid hed get bloodpoisoning but if it was a thing I was sick then
+wed see what attention only of course the woman hides it not to give all
+the trouble they do yes he came somewhere Im sure by his appetite anyway
+love its not or hed be off his feed thinking of her so either it was one
+of those night women if it was down there he was really and the hotel
+story he made up a pack of lies to hide it planning it Hynes kept me who
+did I meet ah yes I met do you remember Menton and who else who let me
+see that big babbyface I saw him and he not long married flirting with a
+young girl at Pooles Myriorama and turned my back on him when he slinked
+out looking quite conscious what harm but he had the impudence to make up
+to me one time well done to him mouth almighty and his boiled eyes of all
+the big stupoes I ever met and thats called a solicitor only for I hate
+having a long wrangle in bed or else if its not that its some little
+bitch or other he got in with somewhere or picked up on the sly if they
+only knew him as well as I do yes because the day before yesterday he was
+scribbling something a letter when I came into the front room to show him
+Dignams death in the paper as if something told me and he covered it up
+with the blottingpaper pretending to be thinking about business so very
+probably that was it to somebody who thinks she has a softy in him
+because all men get a bit like that at his age especially getting on to
+forty he is now so as to wheedle any money she can out of him no fool
+like an old fool and then the usual kissing my bottom was to hide it not
+that I care two straws now who he does it with or knew before that way
+though Id like to find out so long as I dont have the two of them under
+my nose all the time like that slut that Mary we had in Ontario terrace
+padding out her false bottom to excite him bad enough to get the smell of
+those painted women off him once or twice I had a suspicion by getting
+him to come near me when I found the long hair on his coat without that
+one when I went into the kitchen pretending he was drinking water 1 woman
+is not enough for them it was all his fault of course ruining servants
+then proposing that she could eat at our table on Christmas day if you
+please O no thank you not in my house stealing my potatoes and the
+oysters 2/6 per doz going out to see her aunt if you please common
+robbery so it was but I was sure he had something on with that one it
+takes me to find out a thing like that he said you have no proof it was
+her proof O yes her aunt was very fond of oysters but I told her what I
+thought of her suggesting me to go out to be alone with her I wouldnt
+lower myself to spy on them the garters I found in her room the Friday
+she was out that was enough for me a little bit too much her face swelled
+up on her with temper when I gave her her weeks notice I saw to that
+better do without them altogether do out the rooms myself quicker only
+for the damn cooking and throwing out the dirt I gave it to him anyhow
+either she or me leaves the house I couldnt even touch him if I thought
+he was with a dirty barefaced liar and sloven like that one denying it up
+to my face and singing about the place in the W C too because she knew
+she was too well off yes because he couldnt possibly do without it that
+long so he must do it somewhere and the last time he came on my bottom
+when was it the night Boylan gave my hand a great squeeze going along by
+the Tolka in my hand there steals another I just pressed the back of his
+like that with my thumb to squeeze back singing the young May moon shes
+beaming love because he has an idea about him and me hes not such a fool
+he said Im dining out and going to the Gaiety though Im not going to give
+him the satisfaction in any case God knows hes a change in a way not to
+be always and ever wearing the same old hat unless I paid some
+nicelooking boy to do it since I cant do it myself a young boy would like
+me Id confuse him a little alone with him if we were Id let him see my
+garters the new ones and make him turn red looking at him seduce him I
+know what boys feel with that down on their cheek doing that frigging
+drawing out the thing by the hour question and answer would you do this
+that and the other with the coalman yes with a bishop yes I would because
+I told him about some dean or bishop was sitting beside me in the jews
+temples gardens when I was knitting that woollen thing a stranger to
+Dublin what place was it and so on about the monuments and he tired me
+out with statues encouraging him making him worse than he is who is in
+your mind now tell me who are you thinking of who is it tell me his name
+who tell me who the german Emperor is it yes imagine Im him think of him
+can you feel him trying to make a whore of me what he never will he ought
+to give it up now at this age of his life simply ruination for any woman
+and no satisfaction in it pretending to like it till he comes and then
+finish it off myself anyway and it makes your lips pale anyhow its done
+now once and for all with all the talk of the world about it people make
+its only the first time after that its just the ordinary do it and think
+no more about it why cant you kiss a man without going and marrying him
+first you sometimes love to wildly when you feel that way so nice all
+over you you cant help yourself I wish some man or other would take me
+sometime when hes there and kiss me in his arms theres nothing like a
+kiss long and hot down to your soul almost paralyses you then I hate that
+confession when I used to go to Father Corrigan he touched me father and
+what harm if he did where and I said on the canal bank like a fool but
+whereabouts on your person my child on the leg behind high up was it yes
+rather high up was it where you sit down yes O Lord couldnt he say bottom
+right out and have done with it what has that got to do with it and did
+you whatever way he put it I forget no father and I always think of the
+real father what did he want to know for when I already confessed it to
+God he had a nice fat hand the palm moist always I wouldnt mind feeling
+it neither would he Id say by the bullneck in his horsecollar I wonder
+did he know me in the box I could see his face he couldnt see mine of
+course hed never turn or let on still his eyes were red when his father
+died theyre lost for a woman of course must be terrible when a man cries
+let alone them Id like to be embraced by one in his vestments and the
+smell of incense off him like the pope besides theres no danger with a
+priest if youre married hes too careful about himself then give something
+to H H the pope for a penance I wonder was he satisfied with me one thing
+I didnt like his slapping me behind going away so familiarly in the hall
+though I laughed Im not a horse or an ass am I I suppose he was thinking
+of his fathers I wonder is he awake thinking of me or dreaming am I in it
+who gave him that flower he said he bought he smelt of some kind of drink
+not whisky or stout or perhaps the sweety kind of paste they stick their
+bills up with some liqueur Id like to sip those richlooking green and
+yellow expensive drinks those stagedoor johnnies drink with the opera
+hats I tasted once with my finger dipped out of that American that had
+the squirrel talking stamps with father he had all he could do to keep
+himself from falling asleep after the last time after we took the port
+and potted meat it had a fine salty taste yes because I felt lovely and
+tired myself and fell asleep as sound as a top the moment I popped
+straight into bed till that thunder woke me up God be merciful to us I
+thought the heavens were coming down about us to punish us when I blessed
+myself and said a Hail Mary like those awful thunderbolts in Gibraltar as
+if the world was coming to an end and then they come and tell you theres
+no God what could you do if it was running and rushing about nothing only
+make an act of contrition the candle I lit that evening in Whitefriars
+street chapel for the month of May see it brought its luck though hed
+scoff if he heard because he never goes to church mass or meeting he says
+your soul you have no soul inside only grey matter because he doesnt know
+what it is to have one yes when I lit the lamp because he must have come
+3 or 4 times with that tremendous big red brute of a thing he has I
+thought the vein or whatever the dickens they call it was going to burst
+though his nose is not so big after I took off all my things with the
+blinds down after my hours dressing and perfuming and combing it like
+iron or some kind of a thick crowbar standing all the time he must have
+eaten oysters I think a few dozen he was in great singing voice no I
+never in all my life felt anyone had one the size of that to make you
+feel full up he must have eaten a whole sheep after whats the idea making
+us like that with a big hole in the middle of us or like a Stallion
+driving it up into you because thats all they want out of you with that
+determined vicious look in his eye I had to halfshut my eyes still he
+hasnt such a tremendous amount of spunk in him when I made him pull out
+and do it on me considering how big it is so much the better in case any
+of it wasnt washed out properly the last time I let him finish it in me
+nice invention they made for women for him to get all the pleasure but if
+someone gave them a touch of it themselves theyd know what I went through
+with Milly nobody would believe cutting her teeth too and Mina Purefoys
+husband give us a swing out of your whiskers filling her up with a child
+or twins once a year as regular as the clock always with a smell of
+children off her the one they called budgers or something like a nigger
+with a shock of hair on it Jesusjack the child is a black the last time I
+was there a squad of them falling over one another and bawling you
+couldnt hear your ears supposed to be healthy not satisfied till they
+have us swollen out like elephants or I dont know what supposing I risked
+having another not off him though still if he was married Im sure hed
+have a fine strong child but I dont know Poldy has more spunk in him yes
+thatd be awfully jolly I suppose it was meeting Josie Powell and the
+funeral and thinking about me and Boylan set him off well he can think
+what he likes now if thatll do him any good I know they were spooning a
+bit when I came on the scene he was dancing and sitting out with her the
+night of Georgina Simpsons housewarming and then he wanted to ram it down
+my neck it was on account of not liking to see her a wallflower that was
+why we had the standup row over politics he began it not me when he said
+about Our Lord being a carpenter at last he made me cry of course a woman
+is so sensitive about everything I was fuming with myself after for
+giving in only for I knew he was gone on me and the first socialist he
+said He was he annoyed me so much I couldnt put him into a temper still
+he knows a lot of mixedup things especially about the body and the inside
+I often wanted to study up that myself what we have inside us in that
+family physician I could always hear his voice talking when the room was
+crowded and watch him after that I pretended I had a coolness on with her
+over him because he used to be a bit on the jealous side whenever he
+asked who are you going to and I said over to Floey and he made me the
+present of Byron's poems and the three pairs of gloves so that finished
+that I could quite easily get him to make it up any time I know how Id
+even supposing he got in with her again and was going out to see her
+somewhere Id know if he refused to eat the onions I know plenty of ways
+ask him to tuck down the collar of my blouse or touch him with my veil
+and gloves on going out I kiss then would send them all spinning however
+alright well see then let him go to her she of course would only be too
+delighted to pretend shes mad in love with him that I wouldnt so much
+mind Id just go to her and ask her do you love him and look her square in
+the eyes she couldnt fool me but he might imagine he was and make a
+declaration to her with his plabbery kind of a manner like he did to me
+though I had the devils own job to get it out of him though I liked him
+for that it showed he could hold in and wasnt to be got for the asking he
+was on the pop of asking me too the night in the kitchen I was rolling
+the potato cake theres something I want to say to you only for I put him
+off letting on I was in a temper with my hands and arms full of pasty
+flour in any case I let out too much the night before talking of dreams
+so I didnt want to let him know more than was good for him she used to be
+always embracing me Josie whenever he was there meaning him of course
+glauming me over and when I said I washed up and down as far as possible
+asking me and did you wash possible the women are always egging on to
+that putting it on thick when hes there they know by his sly eye blinking
+a bit putting on the indifferent when they come out with something the
+kind he is what spoils him I dont wonder in the least because he was very
+handsome at that time trying to look like Lord Byron I said I liked
+though he was too beautiful for a man and he was a little before we got
+engaged afterwards though she didnt like it so much the day I was in fits
+of laughing with the giggles I couldnt stop about all my hairpins falling
+out one after another with the mass of hair I had youre always in great
+humour she said yes because it grigged her because she knew what it meant
+because I used to tell her a good bit of what went on between us not all
+but just enough to make her mouth water but that wasnt my fault she didnt
+darken the door much after we were married I wonder what shes got like
+now after living with that dotty husband of hers she had her face
+beginning to look drawn and run down the last time I saw her she must
+have been just after a row with him because I saw on the moment she was
+edging to draw down a conversation about husbands and talk about him to
+run him down what was it she told me O yes that sometimes he used to go
+to bed with his muddy boots on when the maggot takes him just imagine
+having to get into bed with a thing like that that might murder you any
+moment what a man well its not the one way everyone goes mad Poldy anyhow
+whatever he does always wipes his feet on the mat when he comes in wet or
+shine and always blacks his own boots too and he always takes off his hat
+when he comes up in the street like then and now hes going about in his
+slippers to look for 10000 pounds for a postcard U p up O sweetheart May
+wouldnt a thing like that simply bore you stiff to extinction actually
+too stupid even to take his boots off now what could you make of a man
+like that Id rather die 20 times over than marry another of their sex of
+course hed never find another woman like me to put up with him the way I
+do know me come sleep with me yes and he knows that too at the bottom of
+his heart take that Mrs Maybrick that poisoned her husband for what I
+wonder in love with some other man yes it was found out on her wasnt she
+the downright villain to go and do a thing like that of course some men
+can be dreadfully aggravating drive you mad and always the worst word in
+the world what do they ask us to marry them for if were so bad as all
+that comes to yes because they cant get on without us white Arsenic she
+put in his tea off flypaper wasnt it I wonder why they call it that if I
+asked him hed say its from the Greek leave us as wise as we were before
+she must have been madly in love with the other fellow to run the chance
+of being hanged O she didnt care if that was her nature what could she do
+besides theyre not brutes enough to go and hang a woman surely are they
+
+theyre all so different Boylan talking about the shape of my foot he
+noticed at once even before he was introduced when I was in the D B C
+with Poldy laughing and trying to listen I was waggling my foot we both
+ordered 2 teas and plain bread and butter I saw him looking with his two
+old maids of sisters when I stood up and asked the girl where it was what
+do I care with it dropping out of me and that black closed breeches he
+made me buy takes you half an hour to let them down wetting all myself
+always with some brandnew fad every other week such a long one I did I
+forgot my suede gloves on the seat behind that I never got after some
+robber of a woman and he wanted me to put it in the Irish times lost in
+the ladies lavatory D B C Dame street finder return to Mrs Marion Bloom
+and I saw his eyes on my feet going out through the turning door he was
+looking when I looked back and I went there for tea 2 days after in the
+hope but he wasnt now how did that excite him because I was crossing them
+when we were in the other room first he meant the shoes that are too
+tight to walk in my hand is nice like that if I only had a ring with the
+stone for my month a nice aquamarine Ill stick him for one and a gold
+bracelet I dont like my foot so much still I made him spend once with my
+foot the night after Goodwins botchup of a concert so cold and windy it
+was well we had that rum in the house to mull and the fire wasnt black
+out when he asked to take off my stockings lying on the hearthrug in
+Lombard street west and another time it was my muddy boots hed like me to
+walk in all the horses dung I could find but of course hes not natural
+like the rest of the world that I what did he say I could give 9 points
+in 10 to Katty Lanner and beat her what does that mean I asked him I
+forget what he said because the stoppress edition just passed and the man
+with the curly hair in the Lucan dairy thats so polite I think I saw his
+face before somewhere I noticed him when I was tasting the butter so I
+took my time Bartell dArcy too that he used to make fun of when he
+commenced kissing me on the choir stairs after I sang Gounods AVE MARIA
+what are we waiting for O my heart kiss me straight on the brow and part
+which is my brown part he was pretty hot for all his tinny voice too my
+low notes he was always raving about if you can believe him I liked the
+way he used his mouth singing then he said wasnt it terrible to do that
+there in a place like that I dont see anything so terrible about it Ill
+tell him about that some day not now and surprise him ay and Ill take him
+there and show him the very place too we did it so now there you are like
+it or lump it he thinks nothing can happen without him knowing he hadnt
+an idea about my mother till we were engaged otherwise hed never have got
+me so cheap as he did he was 10 times worse himself anyhow begging me to
+give him a tiny bit cut off my drawers that was the evening coming along
+Kenilworth square he kissed me in the eye of my glove and I had to take
+it off asking me questions is it permitted to enquire the shape of my
+bedroom so I let him keep it as if I forgot it to think of me when I saw
+him slip it into his pocket of course hes mad on the subject of drawers
+thats plain to be seen always skeezing at those brazenfaced things on the
+bicycles with their skirts blowing up to their navels even when Milly and
+I were out with him at the open air fete that one in the cream muslin
+standing right against the sun so he could see every atom she had on when
+he saw me from behind following in the rain I saw him before he saw me
+however standing at the corner of the Harolds cross road with a new
+raincoat on him with the muffler in the Zingari colours to show off his
+complexion and the brown hat looking slyboots as usual what was he doing
+there where hed no business they can go and get whatever they like from
+anything at all with a skirt on it and were not to ask any questions but
+they want to know where were you where are you going I could feel him
+coming along skulking after me his eyes on my neck he had been keeping
+away from the house he felt it was getting too warm for him so I
+halfturned and stopped then he pestered me to say yes till I took off my
+glove slowly watching him he said my openwork sleeves were too cold for
+the rain anything for an excuse to put his hand anear me drawers drawers
+the whole blessed time till I promised to give him the pair off my doll
+to carry about in his waistcoat pocket O MARIA SANTISIMA he did look a
+big fool dreeping in the rain splendid set of teeth he had made me hungry
+to look at them and beseeched of me to lift the orange petticoat I had on
+with the sunray pleats that there was nobody he said hed kneel down in
+the wet if I didnt so persevering he would too and ruin his new raincoat
+you never know what freak theyd take alone with you theyre so savage for
+it if anyone was passing so I lifted them a bit and touched his trousers
+outside the way I used to Gardner after with my ring hand to keep him
+from doing worse where it was too public I was dying to find out was he
+circumcised he was shaking like a jelly all over they want to do
+everything too quick take all the pleasure out of it and father waiting
+all the time for his dinner he told me to say I left my purse in the
+butchers and had to go back for it what a Deceiver then he wrote me that
+letter with all those words in it how could he have the face to any woman
+after his company manners making it so awkward after when we met asking
+me have I offended you with my eyelids down of course he saw I wasnt he
+had a few brains not like that other fool Henny Doyle he was always
+breaking or tearing something in the charades I hate an unlucky man and
+if I knew what it meant of course I had to say no for form sake dont
+understand you I said and wasnt it natural so it is of course it used to
+be written up with a picture of a womans on that wall in Gibraltar with
+that word I couldnt find anywhere only for children seeing it too young
+then writing every morning a letter sometimes twice a day I liked the way
+he made love then he knew the way to take a woman when he sent me the 8
+big poppies because mine was the 8th then I wrote the night he kissed my
+heart at Dolphins barn I couldnt describe it simply it makes you feel
+like nothing on earth but he never knew how to embrace well like Gardner
+I hope hell come on Monday as he said at the same time four I hate people
+who come at all hours answer the door you think its the vegetables then
+its somebody and you all undressed or the door of the filthy sloppy
+kitchen blows open the day old frostyface Goodwin called about the
+concert in Lombard street and I just after dinner all flushed and tossed
+with boiling old stew dont look at me professor I had to say Im a fright
+yes but he was a real old gent in his way it was impossible to be more
+respectful nobody to say youre out you have to peep out through the blind
+like the messengerboy today I thought it was a putoff first him sending
+the port and the peaches first and I was just beginning to yawn with
+nerves thinking he was trying to make a fool of me when I knew his
+tattarrattat at the door he must have been a bit late because it was l/4
+after 3 when I saw the 2 Dedalus girls coming from school I never know
+the time even that watch he gave me never seems to go properly Id want to
+get it looked after when I threw the penny to that lame sailor for
+England home and beauty when I was whistling there is a charming girl I
+love and I hadnt even put on my clean shift or powdered myself or a thing
+then this day week were to go to Belfast just as well he has to go to
+Ennis his fathers anniversary the 27th it wouldnt be pleasant if he did
+suppose our rooms at the hotel were beside each other and any fooling
+went on in the new bed I couldnt tell him to stop and not bother me with
+him in the next room or perhaps some protestant clergyman with a cough
+knocking on the wall then hed never believe the next day we didnt do
+something its all very well a husband but you cant fool a lover after me
+telling him we never did anything of course he didnt believe me no its
+better hes going where he is besides something always happens with him
+the time going to the Mallow concert at Maryborough ordering boiling soup
+for the two of us then the bell rang out he walks down the platform with
+the soup splashing about taking spoonfuls of it hadnt he the nerve and
+the waiter after him making a holy show of us screeching and confusion
+for the engine to start but he wouldnt pay till he finished it the two
+gentlemen in the 3rd class carriage said he was quite right so he was too
+hes so pigheaded sometimes when he gets a thing into his head a good job
+he was able to open the carriage door with his knife or theyd have taken
+us on to Cork I suppose that was done out of revenge on him O I love
+jaunting in a train or a car with lovely soft cushions I wonder will he
+take a 1st class for me he might want to do it in the train by tipping
+the guard well O I suppose therell be the usual idiots of men gaping at
+us with their eyes as stupid as ever they can possibly be that was an
+exceptional man that common workman that left us alone in the carriage
+that day going to Howth Id like to find out something about him l or 2
+tunnels perhaps then you have to look out of the window all the nicer
+then coming back suppose I never came back what would they say eloped
+with him that gets you on on the stage the last concert I sang at where
+its over a year ago when was it St Teresas hall Clarendon St little chits
+of missies they have now singing Kathleen Kearney and her like on account
+of father being in the army and my singing the absentminded beggar and
+wearing a brooch for Lord Roberts when I had the map of it all and Poldy
+not Irish enough was it him managed it this time I wouldnt put it past
+him like he got me on to sing in the STABAT MATER by going around saying
+he was putting Lead Kindly Light to music I put him up to that till the
+jesuits found out he was a freemason thumping the piano lead Thou me on
+copied from some old opera yes and he was going about with some of them
+Sinner Fein lately or whatever they call themselves talking his usual
+trash and nonsense he says that little man he showed me without the neck
+is very intelligent the coming man Griffiths is he well he doesnt look it
+thats all I can say still it must have been him he knew there was a
+boycott I hate the mention of their politics after the war that Pretoria
+and Ladysmith and Bloemfontein where Gardner lieut Stanley G 8th Bn 2nd
+East Lancs Rgt of enteric fever he was a lovely fellow in khaki and just
+the right height over me Im sure he was brave too he said I was lovely
+the evening we kissed goodbye at the canal lock my Irish beauty he was
+pale with excitement about going away or wed be seen from the road he
+couldnt stand properly and I so hot as I never felt they could have made
+their peace in the beginning or old oom Paul and the rest of the other
+old Krugers go and fight it out between them instead of dragging on for
+years killing any finelooking men there were with their fever if he was
+even decently shot it wouldnt have been so bad I love to see a regiment
+pass in review the first time I saw the Spanish cavalry at La Roque it
+was lovely after looking across the bay from Algeciras all the lights of
+the rock like fireflies or those sham battles on the 15 acres the Black
+Watch with their kilts in time at the march past the 10th hussars the
+prince of Wales own or the lancers O the lancers theyre grand or the
+Dublins that won Tugela his father made his money over selling the horses
+for the cavalry well he could buy me a nice present up in Belfast after
+what I gave him theyve lovely linen up there or one of those nice kimono
+things I must buy a mothball like I had before to keep in the drawer with
+them it would be exciting going round with him shopping buying those
+things in a new city better leave this ring behind want to keep turning
+and turning to get it over the knuckle there or they might bell it round
+the town in their papers or tell the police on me but theyd think were
+married O let them all go and smother themselves for the fat lot I care
+he has plenty of money and hes not a marrying man so somebody better get
+it out of him if I could find out whether he likes me I looked a bit
+washy of course when I looked close in the handglass powdering a mirror
+never gives you the expression besides scrooching down on me like that
+all the time with his big hipbones hes heavy too with his hairy chest for
+this heat always having to lie down for them better for him put it into
+me from behind the way Mrs Mastiansky told me her husband made her like
+the dogs do it and stick out her tongue as far as ever she could and he
+so quiet and mild with his tingating cither can you ever be up to men the
+way it takes them lovely stuff in that blue suit he had on and stylish
+tie and socks with the skyblue silk things on them hes certainly well off
+I know by the cut his clothes have and his heavy watch but he was like a
+perfect devil for a few minutes after he came back with the stoppress
+tearing up the tickets and swearing blazes because he lost 20 quid he
+said he lost over that outsider that won and half he put on for me on
+account of Lenehans tip cursing him to the lowest pits that sponger he
+was making free with me after the Glencree dinner coming back that long
+joult over the featherbed mountain after the lord Mayor looking at me
+with his dirty eyes Val Dillon that big heathen I first noticed him at
+dessert when I was cracking the nuts with my teeth I wished I could have
+picked every morsel of that chicken out of my fingers it was so tasty and
+browned and as tender as anything only for I didnt want to eat everything
+on my plate those forks and fishslicers were hallmarked silver too I wish
+I had some I could easily have slipped a couple into my muff when I was
+playing with them then always hanging out of them for money in a
+restaurant for the bit you put down your throat we have to be thankful
+for our mangy cup of tea itself as a great compliment to be noticed the
+way the world is divided in any case if its going to go on I want at
+least two other good chemises for one thing and but I dont know what kind
+of drawers he likes none at all I think didnt he say yes and half the
+girls in Gibraltar never wore them either naked as God made them that
+Andalusian singing her Manola she didnt make much secret of what she
+hadnt yes and the second pair of silkette stockings is laddered after one
+days wear I could have brought them back to Lewers this morning and
+kicked up a row and made that one change them only not to upset myself
+and run the risk of walking into him and ruining the whole thing and one
+of those kidfitting corsets Id want advertised cheap in the Gentlewoman
+with elastic gores on the hips he saved the one I have but thats no good
+what did they say they give a delightful figure line 11/6 obviating that
+unsightly broad appearance across the lower back to reduce flesh my belly
+is a bit too big Ill have to knock off the stout at dinner or am I
+getting too fond of it the last they sent from ORourkes was as flat as a
+pancake he makes his money easy Larry they call him the old mangy parcel
+he sent at Xmas a cottage cake and a bottle of hogwash he tried to palm
+off as claret that he couldnt get anyone to drink God spare his spit for
+fear hed die of the drouth or I must do a few breathing exercises I
+wonder is that antifat any good might overdo it the thin ones are not so
+much the fashion now garters that much I have the violet pair I wore
+today thats all he bought me out of the cheque he got on the first O no
+there was the face lotion I finished the last of yesterday that made my
+skin like new I told him over and over again get that made up in the same
+place and dont forget it God only knows whether he did after all I said
+to him Ill know by the bottle anyway if not I suppose Ill only have to
+wash in my piss like beeftea or chickensoup with some of that opoponax
+and violet I thought it was beginning to look coarse or old a bit the
+skin underneath is much finer where it peeled off there on my finger
+after the burn its a pity it isnt all like that and the four paltry
+handkerchiefs about 6/- in all sure you cant get on in this world without
+style all going in food and rent when I get it Ill lash it around I tell
+you in fine style I always want to throw a handful of tea into the pot
+measuring and mincing if I buy a pair of old brogues itself do you like
+those new shoes yes how much were they Ive no clothes at all the brown
+costume and the skirt and jacket and the one at the cleaners 3 whats that
+for any woman cutting up this old hat and patching up the other the men
+wont look at you and women try to walk on you because they know youve no
+man then with all the things getting dearer every day for the 4 years
+more I have of life up to 35 no Im what am I at all Ill be 33 in
+September will I what O well look at that Mrs Galbraith shes much older
+than me I saw her when I was out last week her beautys on the wane she
+was a lovely woman magnificent head of hair on her down to her waist
+tossing it back like that like Kitty OShea in Grantham street 1st thing I
+did every morning to look across see her combing it as if she loved it
+and was full of it pity I only got to know her the day before we left and
+that Mrs Langtry the jersey lily the prince of Wales was in love with I
+suppose hes like the first man going the roads only for the name of a
+king theyre all made the one way only a black mans Id like to try a
+beauty up to what was she 45 there was some funny story about the jealous
+old husband what was it at all and an oyster knife he went no he made her
+wear a kind of a tin thing round her and the prince of Wales yes he had
+the oyster knife cant be true a thing like that like some of those books
+he brings me the works of Master Francois Somebody supposed to be a
+priest about a child born out of her ear because her bumgut fell out a
+nice word for any priest to write and her a--e as if any fool wouldnt
+know what that meant I hate that pretending of all things with that old
+blackguards face on him anybody can see its not true and that Ruby and
+Fair Tyrants he brought me that twice I remember when I came to page 50
+the part about where she hangs him up out of a hook with a cord
+flagellate sure theres nothing for a woman in that all invention made up
+about he drinking the champagne out of her slipper after the ball was
+over like the infant Jesus in the crib at Inchicore in the Blessed
+Virgins arms sure no woman could have a child that big taken out of her
+and I thought first it came out of her side because how could she go to
+the chamber when she wanted to and she a rich lady of course she felt
+honoured H R H he was in Gibraltar the year I was born I bet he found
+lilies there too where he planted the tree he planted more than that in
+his time he might have planted me too if hed come a bit sooner then I
+wouldnt be here as I am he ought to chuck that Freeman with the paltry
+few shillings he knocks out of it and go into an office or something
+where hed get regular pay or a bank where they could put him up on a
+throne to count the money all the day of course he prefers plottering
+about the house so you cant stir with him any side whats your programme
+today I wish hed even smoke a pipe like father to get the smell of a man
+or pretending to be mooching about for advertisements when he could have
+been in Mr Cuffes still only for what he did then sending me to try and
+patch it up I could have got him promoted there to be the manager he gave
+me a great mirada once or twice first he was as stiff as the mischief
+really and truly Mrs Bloom only I felt rotten simply with the old
+rubbishy dress that I lost the leads out of the tails with no cut in it
+but theyre coming into fashion again I bought it simply to please him I
+knew it was no good by the finish pity I changed my mind of going to Todd
+and Bums as I said and not Lees it was just like the shop itself rummage
+sale a lot of trash I hate those rich shops get on your nerves nothing
+kills me altogether only he thinks he knows a great lot about a womans
+dress and cooking mathering everything he can scour off the shelves into
+it if I went by his advices every blessed hat I put on does that suit me
+yes take that thats alright the one like a weddingcake standing up miles
+off my head he said suited me or the dishcover one coming down on my
+backside on pins and needles about the shopgirl in that place in Grafton
+street I had the misfortune to bring him into and she as insolent as ever
+she could be with her smirk saying Im afraid were giving you too much
+trouble what shes there for but I stared it out of her yes he was awfully
+stiff and no wonder but he changed the second time he looked Poldy
+pigheaded as usual like the soup but I could see him looking very hard at
+my chest when he stood up to open the door for me it was nice of him to
+show me out in any case Im extremely sorry Mrs Bloom believe me without
+making it too marked the first time after him being insulted and me being
+supposed to be his wife I just half smiled I know my chest was out that
+way at the door when he said Im extremely sorry and Im sure you were
+
+yes I think he made them a bit firmer sucking them like that so long he
+made me thirsty titties he calls them I had to laugh yes this one anyhow
+stiff the nipple gets for the least thing Ill get him to keep that up and
+Ill take those eggs beaten up with marsala fatten them out for him what
+are all those veins and things curious the way its made 2 the same in
+case of twins theyre supposed to represent beauty placed up there like
+those statues in the museum one of them pretending to hide it with her
+hand are they so beautiful of course compared with what a man looks like
+with his two bags full and his other thing hanging down out of him or
+sticking up at you like a hatrack no wonder they hide it with a
+cabbageleaf that disgusting Cameron highlander behind the meat market or
+that other wretch with the red head behind the tree where the statue of
+the fish used to be when I was passing pretending he was pissing standing
+out for me to see it with his babyclothes up to one side the Queens own
+they were a nice lot its well the Surreys relieved them theyre always
+trying to show it to you every time nearly I passed outside the mens
+greenhouse near the Harcourt street station just to try some fellow or
+other trying to catch my eye as if it was I of the 7 wonders of the world
+O and the stink of those rotten places the night coming home with Poldy
+after the Comerfords party oranges and lemonade to make you feel nice and
+watery I went into r of them it was so biting cold I couldnt keep it when
+was that 93 the canal was frozen yes it was a few months after a pity a
+couple of the Camerons werent there to see me squatting in the mens place
+meadero I tried to draw a picture of it before I tore it up like a
+sausage or something I wonder theyre not afraid going about of getting a
+kick or a bang of something there the woman is beauty of course thats
+admitted when he said I could pose for a picture naked to some rich
+fellow in Holles street when he lost the job in Helys and I was selling
+the clothes and strumming in the coffee palace would I be like that bath
+of the nymph with my hair down yes only shes younger or Im a little like
+that dirty bitch in that Spanish photo he has nymphs used they go about
+like that I asked him about her and that word met something with hoses in
+it and he came out with some jawbreakers about the incarnation he never
+can explain a thing simply the way a body can understand then he goes and
+burns the bottom out of the pan all for his Kidney this one not so much
+theres the mark of his teeth still where he tried to bite the nipple I
+had to scream out arent they fearful trying to hurt you I had a great
+breast of milk with Milly enough for two what was the reason of that he
+said I could have got a pound a week as a wet nurse all swelled out the
+morning that delicate looking student that stopped in no 28 with the
+Citrons Penrose nearly caught me washing through the window only for I
+snapped up the towel to my face that was his studenting hurt me they used
+to weaning her till he got doctor Brady to give me the belladonna
+prescription I had to get him to suck them they were so hard he said it
+was sweeter and thicker than cows then he wanted to milk me into the tea
+well hes beyond everything I declare somebody ought to put him in the
+budget if I only could remember the I half of the things and write a book
+out of it the works of Master Poldy yes and its so much smoother the skin
+much an hour he was at them Im sure by the clock like some kind of a big
+infant I had at me they want everything in their mouth all the pleasure
+those men get out of a woman I can feel his mouth O Lord I must stretch
+myself I wished he was here or somebody to let myself go with and come
+again like that I feel all fire inside me or if I could dream it when he
+made me spend the 2nd time tickling me behind with his finger I was
+coming for about 5 minutes with my legs round him I had to hug him after
+O Lord I wanted to shout out all sorts of things fuck or shit or anything
+at all only not to look ugly or those lines from the strain who knows the
+way hed take it you want to feel your way with a man theyre not all like
+him thank God some of them want you to be so nice about it I noticed the
+contrast he does it and doesnt talk I gave my eyes that look with my hair
+a bit loose from the tumbling and my tongue between my lips up to him the
+savage brute Thursday Friday one Saturday two Sunday three O Lord I cant
+wait till Monday
+
+frseeeeeeeefronnnng train somewhere whistling the strength those engines
+have in them like big giants and the water rolling all over and out of
+them all sides like the end of Loves old sweeeetsonnnng the poor men that
+have to be out all the night from their wives and families in those
+roasting engines stifling it was today Im glad I burned the half of those
+old Freemans and Photo Bits leaving things like that lying about hes
+getting very careless and threw the rest of them up in the W C Ill get
+him to cut them tomorrow for me instead of having them there for the next
+year to get a few pence for them have him asking wheres last Januarys
+paper and all those old overcoats I bundled out of the hall making the
+place hotter than it is that rain was lovely and refreshing just after my
+beauty sleep I thought it was going to get like Gibraltar my goodness the
+heat there before the levanter came on black as night and the glare of
+the rock standing up in it like a big giant compared with their 3 Rock
+mountain they think is so great with the red sentries here and there the
+poplars and they all whitehot and the smell of the rainwater in those
+tanks watching the sun all the time weltering down on you faded all that
+lovely frock fathers friend Mrs Stanhope sent me from the B Marche paris
+what a shame my dearest Doggerina she wrote on it she was very nice whats
+this her other name was just a p c to tell you I sent the little present
+have just had a jolly warm bath and feel a very clean dog now enjoyed it
+wogger she called him wogger wd give anything to be back in Gib and hear
+you sing Waiting and in old Madrid Concone is the name of those exercises
+he bought me one of those new some word I couldnt make out shawls amusing
+things but tear for the least thing still there lovely I think dont you
+will always think of the lovely teas we had together scrumptious currant
+scones and raspberry wafers I adore well now dearest Doggerina be sure
+and write soon kind she left out regards to your father also captain
+Grove with love yrs affly Hester x x x x x she didnt look a bit married
+just like a girl he was years older than her wogger he was awfully fond
+of me when he held down the wire with his foot for me to step over at the
+bullfight at La Linea when that matador Gomez was given the bulls ear
+these clothes we have to wear whoever invented them expecting you to walk
+up Killiney hill then for example at that picnic all staysed up you cant
+do a blessed thing in them in a crowd run or jump out of the way thats
+why I was afraid when that other ferocious old Bull began to charge the
+banderilleros with the sashes and the 2 things in their hats and the
+brutes of men shouting bravo toro sure the women were as bad in their
+nice white mantillas ripping all the whole insides out of those poor
+horses I never heard of such a thing in all my life yes he used to break
+his heart at me taking off the dog barking in bell lane poor brute and it
+sick what became of them ever I suppose theyre dead long ago the 2 of
+them its like all through a mist makes you feel so old I made the scones
+of course I had everything all to myself then a girl Hester we used to
+compare our hair mine was thicker than hers she showed me how to settle
+it at the back when I put it up and whats this else how to make a knot on
+a thread with the one hand we were like cousins what age was I then the
+night of the storm I slept in her bed she had her arms round me then we
+were fighting in the morning with the pillow what fun he was watching me
+whenever he got an opportunity at the band on the Alameda esplanade when
+I was with father and captain Grove I looked up at the church first and
+then at the windows then down and our eyes met I felt something go
+through me like all needles my eyes were dancing I remember after when I
+looked at myself in the glass hardly recognised myself the change he was
+attractive to a girl in spite of his being a little bald intelligent
+looking disappointed and gay at the same time he was like Thomas in the
+shadow of Ashlydyat I had a splendid skin from the sun and the excitement
+like a rose I didnt get a wink of sleep it wouldnt have been nice on
+account of her but I could have stopped it in time she gave me the
+Moonstone to read that was the first I read of Wilkie Collins East Lynne
+I read and the shadow of Ashlydyat Mrs Henry Wood Henry Dunbar by that
+other woman I lent him afterwards with Mulveys photo in it so as he see I
+wasnt without and Lord Lytton Eugene Aram Molly bawn she gave me by Mrs
+Hungerford on account of the name I dont like books with a Molly in them
+like that one he brought me about the one from Flanders a whore always
+shoplifting anything she could cloth and stuff and yards of it O this
+blanket is too heavy on me thats better I havent even one decent
+nightdress this thing gets all rolled under me besides him and his
+fooling thats better I used to be weltering then in the heat my shift
+drenched with the sweat stuck in the cheeks of my bottom on the chair
+when I stood up they were so fattish and firm when I got up on the sofa
+cushions to see with my clothes up and the bugs tons of them at night and
+the mosquito nets I couldnt read a line Lord how long ago it seems
+centuries of course they never came back and she didnt put her address
+right on it either she may have noticed her wogger people were always
+going away and we never I remember that day with the waves and the boats
+with their high heads rocking and the smell of ship those Officers
+uniforms on shore leave made me seasick he didnt say anything he was very
+serious I had the high buttoned boots on and my skirt was blowing she
+kissed me six or seven times didnt I cry yes I believe I did or near it
+my lips were taittering when I said goodbye she had a Gorgeous wrap of
+some special kind of blue colour on her for the voyage made very
+peculiarly to one side like and it was extremely pretty it got as dull as
+the devil after they went I was almost planning to run away mad out of it
+somewhere were never easy where we are father or aunt or marriage waiting
+always waiting to guiiiide him toooo me waiting nor speeeed his flying
+feet their damn guns bursting and booming all over the shop especially
+the Queens birthday and throwing everything down in all directions if you
+didnt open the windows when general Ulysses Grant whoever he was or did
+supposed to be some great fellow landed off the ship and old Sprague the
+consul that was there from before the flood dressed up poor man and he in
+mourning for the son then the same old bugles for reveille in the morning
+and drums rolling and the unfortunate poor devils of soldiers walking
+about with messtins smelling the place more than the old longbearded jews
+in their jellibees and levites assembly and sound clear and gunfire for
+the men to cross the lines and the warden marching with his keys to lock
+the gates and the bagpipes and only captain Groves and father talking
+about Rorkes drift and Plevna and sir Garnet Wolseley and Gordon at
+Khartoum lighting their pipes for them everytime they went out drunken
+old devil with his grog on the windowsill catch him leaving any of it
+picking his nose trying to think of some other dirty story to tell up in
+a corner but he never forgot himself when I was there sending me out of
+the room on some blind excuse paying his compliments the Bushmills whisky
+talking of course but hed do the same to the next woman that came along I
+suppose he died of galloping drink ages ago the days like years not a
+letter from a living soul except the odd few I posted to myself with bits
+of paper in them so bored sometimes I could fight with my nails listening
+to that old Arab with the one eye and his heass of an instrument singing
+his heah heah aheah all my compriments on your hotchapotch of your heass
+as bad as now with the hands hanging off me looking out of the window if
+there was a nice fellow even in the opposite house that medical in Holles
+street the nurse was after when I put on my gloves and hat at the window
+to show I was going out not a notion what I meant arent they thick never
+understand what you say even youd want to print it up on a big poster for
+them not even if you shake hands twice with the left he didnt recognise
+me either when I half frowned at him outside Westland row chapel where
+does their great intelligence come in Id like to know grey matter they
+have it all in their tail if you ask me those country gougers up in the
+City Arms intelligence they had a damn sight less than the bulls and cows
+they were selling the meat and the coalmans bell that noisy bugger trying
+to swindle me with the wrong bill he took out of his hat what a pair of
+paws and pots and pans and kettles to mend any broken bottles for a poor
+man today and no visitors or post ever except his cheques or some
+advertisement like that wonderworker they sent him addressed dear Madam
+only his letter and the card from Milly this morning see she wrote a
+letter to him who did I get the last letter from O Mrs Dwenn now what
+possessed her to write from Canada after so many years to know the recipe
+I had for pisto madrileno Floey Dillon since she wrote to say she was
+married to a very rich architect if Im to believe all I hear with a villa
+and eight rooms her father was an awfully nice man he was near seventy
+always goodhumoured well now Miss Tweedy or Miss Gillespie theres the
+piannyer that was a solid silver coffee service he had too on the
+mahogany sideboard then dying so far away I hate people that have always
+their poor story to tell everybody has their own troubles that poor Nancy
+Blake died a month ago of acute neumonia well I didnt know her so well as
+all that she was Floeys friend more than mine poor Nancy its a bother
+having to answer he always tells me the wrong things and no stops to say
+like making a speech your sad bereavement symphathy I always make that
+mistake and newphew with 2 double yous in I hope hell write me a longer
+letter the next time if its a thing he really likes me O thanks be to the
+great God I got somebody to give me what I badly wanted to put some heart
+up into me youve no chances at all in this place like you used long ago I
+wish somebody would write me a loveletter his wasnt much and I told him
+he could write what he liked yours ever Hugh Boylan in old Madrid stuff
+silly women believe love is sighing I am dying still if he wrote it I
+suppose thered be some truth in it true or no it fills up your whole day
+and life always something to think about every moment and see it all
+round you like a new world I could write the answer in bed to let him
+imagine me short just a few words not those long crossed letters Atty
+Dillon used to write to the fellow that was something in the four courts
+that jilted her after out of the ladies letterwriter when I told her to
+say a few simple words he could twist how he liked not acting with
+precipat precip itancy with equal candour the greatest earthly happiness
+answer to a gentlemans proposal affirmatively my goodness theres nothing
+else its all very fine for them but as for being a woman as soon as youre
+old they might as well throw you out in the bottom of the ashpit.
+
+Mulveys was the first when I was in bed that morning and Mrs Rubio
+brought it in with the coffee she stood there standing when I asked her
+to hand me and I pointing at them I couldnt think of the word a hairpin
+to open it with ah horquilla disobliging old thing and it staring her in
+the face with her switch of false hair on her and vain about her
+appearance ugly as she was near 80 or a 100 her face a mass of wrinkles
+with all her religion domineering because she never could get over the
+Atlantic fleet coming in half the ships of the world and the Union Jack
+flying with all her carabineros because 4 drunken English sailors took
+all the rock from them and because I didnt run into mass often enough in
+Santa Maria to please her with her shawl up on her except when there was
+a marriage on with all her miracles of the saints and her black blessed
+virgin with the silver dress and the sun dancing 3 times on Easter Sunday
+morning and when the priest was going by with the bell bringing the
+vatican to the dying blessing herself for his Majestad an admirer he
+signed it I near jumped out of my skin I wanted to pick him up when I saw
+him following me along the Calle Real in the shop window then he tipped
+me just in passing but I never thought hed write making an appointment I
+had it inside my petticoat bodice all day reading it up in every hole and
+corner while father was up at the drill instructing to find out by the
+handwriting or the language of stamps singing I remember shall I wear a
+white rose and I wanted to put on the old stupid clock to near the time
+he was the first man kissed me under the Moorish wall my sweetheart when
+a boy it never entered my head what kissing meant till he put his tongue
+in my mouth his mouth was sweetlike young I put my knee up to him a few
+times to learn the way what did I tell him I was engaged for for fun to
+the son of a Spanish nobleman named Don Miguel de la Flora and he
+believed me that I was to be married to him in 3 years time theres many a
+true word spoken in jest there is a flower that bloometh a few things I
+told him true about myself just for him to be imagining the Spanish girls
+he didnt like I suppose one of them wouldnt have him I got him excited he
+crushed all the flowers on my bosom he brought me he couldnt count the
+pesetas and the perragordas till I taught him Cappoquin he came from he
+said on the black water but it was too short then the day before he left
+May yes it was May when the infant king of Spain was born Im always like
+that in the spring Id like a new fellow every year up on the tiptop under
+the rockgun near OHaras tower I told him it was struck by lightning and
+all about the old Barbary apes they sent to Clapham without a tail
+careering all over the show on each others back Mrs Rubio said she was a
+regular old rock scorpion robbing the chickens out of Inces farm and
+throw stones at you if you went anear he was looking at me I had that
+white blouse on open in the front to encourage him as much as I could
+without too openly they were just beginning to be plump I said I was
+tired we lay over the firtree cove a wild place I suppose it must be the
+highest rock in existence the galleries and casemates and those frightful
+rocks and Saint Michaels cave with the icicles or whatever they call them
+hanging down and ladders all the mud plotching my boots Im sure thats the
+way down the monkeys go under the sea to Africa when they die the ships
+out far like chips that was the Malta boat passing yes the sea and the
+sky you could do what you liked lie there for ever he caressed them
+outside they love doing that its the roundness there I was leaning over
+him with my white ricestraw hat to take the newness out of it the left
+side of my face the best my blouse open for his last day transparent kind
+of shirt he had I could see his chest pink he wanted to touch mine with
+his for a moment but I wouldnt lee him he was awfully put out first for
+fear you never know consumption or leave me with a child embarazada that
+old servant Ines told me that one drop even if it got into you at all
+after I tried with the Banana but I was afraid it might break and get
+lost up in me somewhere because they once took something down out of a
+woman that was up there for years covered with limesalts theyre all mad
+to get in there where they come out of youd think they could never go far
+enough up and then theyre done with you in a way till the next time yes
+because theres a wonderful feeling there so tender all the time how did
+we finish it off yes O yes I pulled him off into my handkerchief
+pretending not to be excited but I opened my legs I wouldnt let him touch
+me inside my petticoat because I had a skirt opening up the side I
+tormented the life out of him first tickling him I loved rousing that dog
+in the hotel rrrsssstt awokwokawok his eyes shut and a bird flying below
+us he was shy all the same I liked him like that moaning I made him blush
+a little when I got over him that way when I unbuttoned him and took his
+out and drew back the skin it had a kind of eye in it theyre all Buttons
+men down the middle on the wrong side of them Molly darling he called me
+what was his name Jack Joe Harry Mulvey was it yes I think a lieutenant
+he was rather fair he had a laughing kind of a voice so I went round to
+the whatyoucallit everything was whatyoucallit moustache had he he said
+hed come back Lord its just like yesterday to me and if I was married hed
+do it to me and I promised him yes faithfully Id let him block me now
+flying perhaps hes dead or killed or a captain or admiral its nearly 20
+years if I said firtree cove he would if he came up behind me and put his
+hands over my eyes to guess who I might recognise him hes young still
+about 40 perhaps hes married some girl on the black water and is quite
+changed they all do they havent half the character a woman has she little
+knows what I did with her beloved husband before he ever dreamt of her in
+broad daylight too in the sight of the whole world you might say they
+could have put an article about it in the Chronicle I was a bit wild
+after when I blew out the old bag the biscuits were in from Benady Bros
+and exploded it Lord what a bang all the woodcocks and pigeons screaming
+coming back the same way that we went over middle hill round by the old
+guardhouse and the jews burialplace pretending to read out the Hebrew on
+them I wanted to fire his pistol he said he hadnt one he didnt know what
+to make of me with his peak cap on that he always wore crooked as often
+as I settled it straight H M S Calypso swinging my hat that old Bishop
+that spoke off the altar his long preach about womans higher functions
+about girls now riding the bicycle and wearing peak caps and the new
+woman bloomers God send him sense and me more money I suppose theyre
+called after him I never thought that would be my name Bloom when I used
+to write it in print to see how it looked on a visiting card or
+practising for the butcher and oblige M Bloom youre looking blooming
+Josie used to say after I married him well its better than Breen or
+Briggs does brig or those awful names with bottom in them Mrs Ramsbottom
+or some other kind of a bottom Mulvey I wouldnt go mad about either or
+suppose I divorced him Mrs Boylan my mother whoever she was might have
+given me a nicer name the Lord knows after the lovely one she had Lunita
+Laredo the fun we had running along Williss road to Europa point twisting
+in and out all round the other side of Jersey they were shaking and
+dancing about in my blouse like Millys little ones now when she runs up
+the stairs I loved looking down at them I was jumping up at the pepper
+trees and the white poplars pulling the leaves off and throwing them at
+him he went to India he was to write the voyages those men have to make
+to the ends of the world and back its the least they might get a squeeze
+or two at a woman while they can going out to be drowned or blown up
+somewhere I went up Windmill hill to the flats that Sunday morning with
+captain Rubios that was dead spyglass like the sentry had he said hed
+have one or two from on board I wore that frock from the B Marche paris
+and the coral necklace the straits shining I could see over to Morocco
+almost the bay of Tangier white and the Atlas mountain with snow on it
+and the straits like a river so clear Harry Molly darling I was thinking
+of him on the sea all the time after at mass when my petticoat began to
+slip down at the elevation weeks and weeks I kept the handkerchief under
+my pillow for the smell of him there was no decent perfume to be got in
+that Gibraltar only that cheap peau despagne that faded and left a stink
+on you more than anything else I wanted to give him a memento he gave me
+that clumsy Claddagh ring for luck that I gave Gardner going to south
+Africa where those Boers killed him with their war and fever but they
+were well beaten all the same as if it brought its bad luck with it like
+an opal or pearl still it must have been pure 18 carrot gold because it
+was very heavy but what could you get in a place like that the sandfrog
+shower from Africa and that derelict ship that came up to the harbour
+Marie the Marie whatyoucallit no he hadnt a moustache that was Gardner
+yes I can see his face cleanshaven Frseeeeeeeeeeeeeeeeeeeefrong that
+train again weeping tone once in the dear deaead days beyondre call close
+my eyes breath my lips forward kiss sad look eyes open piano ere oer the
+world the mists began I hate that istsbeg comes loves sweet
+sooooooooooong Ill let that out full when I get in front of the
+footlights again Kathleen Kearney and her lot of squealers Miss This Miss
+That Miss Theother lot of sparrowfarts skitting around talking about
+politics they know as much about as my backside anything in the world to
+make themselves someway interesting Irish homemade beauties soldiers
+daughter am I ay and whose are you bootmakers and publicans I beg your
+pardon coach I thought you were a wheelbarrow theyd die down dead off
+their feet if ever they got a chance of walking down the Alameda on an
+officers arm like me on the bandnight my eyes flash my bust that they
+havent passion God help their poor head I knew more about men and life
+when I was I S than theyll all know at 50 they dont know how to sing a
+song like that Gardner said no man could look at my mouth and teeth
+smiling like that and not think of it I was afraid he mightnt like my
+accent first he so English all father left me in spite of his stamps Ive
+my mothers eyes and figure anyhow he always said theyre so snotty about
+themselves some of those cads he wasnt a bit like that he was dead gone
+on my lips let them get a husband first thats fit to be looked at and a
+daughter like mine or see if they can excite a swell with money that can
+pick and choose whoever he wants like Boylan to do it 4 or 5 times locked
+in each others arms or the voice either I could have been a prima donna
+only I married him comes looooves old deep down chin back not too much
+make it double My Ladys Bower is too long for an encore about the moated
+grange at twilight and vaunted rooms yes Ill sing Winds that blow from
+the south that he gave after the choirstairs performance Ill change that
+lace on my black dress to show off my bubs and Ill yes by God Ill get
+that big fan mended make them burst with envy my hole is itching me
+always when I think of him I feel I want to I feel some wind in me better
+go easy not wake him have him at it again slobbering after washing every
+bit of myself back belly and sides if we had even a bath itself or my own
+room anyway I wish hed sleep in some bed by himself with his cold feet on
+me give us room even to let a fart God or do the least thing better yes
+hold them like that a bit on my side piano quietly sweeeee theres that
+train far away pianissimo eeeee one more song
+
+that was a relief wherever you be let your wind go free who knows if that
+pork chop I took with my cup of tea after was quite good with the heat I
+couldnt smell anything off it Im sure that queerlooking man in the
+porkbutchers is a great rogue I hope that lamp is not smoking fill my
+nose up with smuts better than having him leaving the gas on all night I
+couldnt rest easy in my bed in Gibraltar even getting up to see why am I
+so damned nervous about that though I like it in the winter its more
+company O Lord it was rotten cold too that winter when I was only about
+ten was I yes I had the big doll with all the funny clothes dressing her
+up and undressing that icy wind skeeting across from those mountains the
+something Nevada sierra nevada standing at the fire with the little bit
+of a short shift I had up to heat myself I loved dancing about in it then
+make a race back into bed Im sure that fellow opposite used to be there
+the whole time watching with the lights out in the summer and I in my
+skin hopping around I used to love myself then stripped at the washstand
+dabbing and creaming only when it came to the chamber performance I put
+out the light too so then there were 2 of us goodbye to my sleep for this
+night anyhow I hope hes not going to get in with those medicals leading
+him astray to imagine hes young again coming in at 4 in the morning it
+must be if not more still he had the manners not to wake me what do they
+find to gabber about all night squandering money and getting drunker and
+drunker couldnt they drink water then he starts giving us his orders for
+eggs and tea and Findon haddy and hot buttered toast I suppose well have
+him sitting up like the king of the country pumping the wrong end of the
+spoon up and down in his egg wherever he learned that from and I love to
+hear him falling up the stairs of a morning with the cups rattling on the
+tray and then play with the cat she rubs up against you for her own sake
+I wonder has she fleas shes as bad as a woman always licking and lecking
+but I hate their claws I wonder do they see anything that we cant staring
+like that when she sits at the top of the stairs so long and listening as
+I wait always what a robber too that lovely fresh place I bought I think
+Ill get a bit of fish tomorrow or today is it Friday yes I will with some
+blancmange with black currant jam like long ago not those 2 lb pots of
+mixed plum and apple from the London and Newcastle Williams and Woods
+goes twice as far only for the bones I hate those eels cod yes Ill get a
+nice piece of cod Im always getting enough for 3 forgetting anyway Im
+sick of that everlasting butchers meat from Buckleys loin chops and leg
+beef and rib steak and scrag of mutton and calfs pluck the very name is
+enough or a picnic suppose we all gave 5/- each and or let him pay it and
+invite some other woman for him who Mrs Fleming and drove out to the
+furry glen or the strawberry beds wed have him examining all the horses
+toenails first like he does with the letters no not with Boylan there yes
+with some cold veal and ham mixed sandwiches there are little houses down
+at the bottom of the banks there on purpose but its as hot as blazes he
+says not a bank holiday anyhow I hate those ruck of Mary Ann coalboxes
+out for the day Whit Monday is a cursed day too no wonder that bee bit
+him better the seaside but Id never again in this life get into a boat
+with him after him at Bray telling the boatman he knew how to row if
+anyone asked could he ride the steeplechase for the gold cup hed say yes
+then it came on to get rough the old thing crookeding about and the
+weight all down my side telling me pull the right reins now pull the left
+and the tide all swamping in floods in through the bottom and his oar
+slipping out of the stirrup its a mercy we werent all drowned he can swim
+of course me no theres no danger whatsoever keep yourself calm in his
+flannel trousers Id like to have tattered them down off him before all
+the people and give him what that one calls flagellate till he was black
+and blue do him all the good in the world only for that longnosed chap I
+dont know who he is with that other beauty Burke out of the City Arms
+hotel was there spying around as usual on the slip always where he wasnt
+wanted if there was a row on youd vomit a better face there was no love
+lost between us thats 1 consolation I wonder what kind is that book he
+brought me Sweets of Sin by a gentleman of fashion some other Mr de Kock
+I suppose the people gave him that nickname going about with his tube
+from one woman to another I couldnt even change my new white shoes all
+ruined with the saltwater and the hat I had with that feather all blowy
+and tossed on me how annoying and provoking because the smell of the sea
+excited me of course the sardines and the bream in Catalan bay round the
+back of the rock they were fine all silver in the fishermens baskets old
+Luigi near a hundred they said came from Genoa and the tall old chap with
+the earrings I dont like a man you have to climb up to to get at I
+suppose theyre all dead and rotten long ago besides I dont like being
+alone in this big barracks of a place at night I suppose Ill have to put
+up with it I never brought a bit of salt in even when we moved in the
+confusion musical academy he was going to make on the first floor
+drawingroom with a brassplate or Blooms private hotel he suggested go and
+ruin himself altogether the way his father did down in Ennis like all the
+things he told father he was going to do and me but I saw through him
+telling me all the lovely places we could go for the honeymoon Venice by
+moonlight with the gondolas and the lake of Como he had a picture cut out
+of some paper of and mandolines and lanterns O how nice I said whatever I
+liked he was going to do immediately if not sooner will you be my man
+will you carry my can he ought to get a leather medal with a putty rim
+for all the plans he invents then leaving us here all day youd never know
+what old beggar at the door for a crust with his long story might be a
+tramp and put his foot in the way to prevent me shutting it like that
+picture of that hardened criminal he was called in Lloyds Weekly news 20
+years in jail then he comes out and murders an old woman for her money
+imagine his poor wife or mother or whoever she is such a face youd run
+miles away from I couldnt rest easy till I bolted all the doors and
+windows to make sure but its worse again being locked up like in a prison
+or a madhouse they ought to be all shot or the cat of nine tails a big
+brute like that that would attack a poor old woman to murder her in her
+bed Id cut them off him so I would not that hed be much use still better
+than nothing the night I was sure I heard burglars in the kitchen and he
+went down in his shirt with a candle and a poker as if he was looking for
+a mouse as white as a sheet frightened out of his wits making as much
+noise as he possibly could for the burglars benefit there isnt much to
+steal indeed the Lord knows still its the feeling especially now with
+Milly away such an idea for him to send the girl down there to learn to
+take photographs on account of his grandfather instead of sending her to
+Skerrys academy where shed have to learn not like me getting all IS at
+school only hed do a thing like that all the same on account of me and
+Boylan thats why he did it Im certain the way he plots and plans
+everything out I couldnt turn round with her in the place lately unless I
+bolted the door first gave me the fidgets coming in without knocking
+first when I put the chair against the door just as I was washing myself
+there below with the glove get on your nerves then doing the loglady all
+day put her in a glasscase with two at a time to look at her if he knew
+she broke off the hand off that little gimcrack statue with her roughness
+and carelessness before she left that I got that little Italian boy to
+mend so that you cant see the join for 2 shillings wouldnt even teem the
+potatoes for you of course shes right not to ruin her hands I noticed he
+was always talking to her lately at the table explaining things in the
+paper and she pretending to understand sly of course that comes from his
+side of the house he cant say I pretend things can he Im too honest as a
+matter of fact and helping her into her coat but if there was anything
+wrong with her its me shed tell not him I suppose he thinks Im finished
+out and laid on the shelf well Im not no nor anything like it well see
+well see now shes well on for flirting too with Tom Devans two sons
+imitating me whistling with those romps of Murray girls calling for her
+can Milly come out please shes in great demand to pick what they can out
+of her round in Nelson street riding Harry Devans bicycle at night its as
+well he sent her where she is she was just getting out of bounds wanting
+to go on the skatingrink and smoking their cigarettes through their nose
+I smelt it off her dress when I was biting off the thread of the button I
+sewed on to the bottom of her jacket she couldnt hide much from me I tell
+you only I oughtnt to have stitched it and it on her it brings a parting
+and the last plumpudding too split in 2 halves see it comes out no matter
+what they say her tongue is a bit too long for my taste your blouse is
+open too low she says to me the pan calling the kettle blackbottom and I
+had to tell her not to cock her legs up like that on show on the
+windowsill before all the people passing they all look at her like me
+when I was her age of course any old rag looks well on you then a great
+touchmenot too in her own way at the Only Way in the Theatre royal take
+your foot away out of that I hate people touching me afraid of her life
+Id crush her skirt with the pleats a lot of that touching must go on in
+theatres in the crush in the dark theyre always trying to wiggle up to
+you that fellow in the pit at the Gaiety for Beerbohm Tree in Trilby the
+last time Ill ever go there to be squashed like that for any Trilby or
+her barebum every two minutes tipping me there and looking away hes a bit
+daft I think I saw him after trying to get near two stylishdressed ladies
+outside Switzers window at the same little game I recognised him on the
+moment the face and everything but he didnt remember me yes and she didnt
+even want me to kiss her at the Broadstone going away well I hope shell
+get someone to dance attendance on her the way I did when she was down
+with the mumps and her glands swollen wheres this and wheres that of
+course she cant feel anything deep yet I never came properly till I was
+what 22 or so it went into the wrong place always only the usual girls
+nonsense and giggling that Conny Connolly writing to her in white ink on
+black paper sealed with sealingwax though she clapped when the curtain
+came down because he looked so handsome then we had Martin Harvey for
+breakfast dinner and supper I thought to myself afterwards it must be
+real love if a man gives up his life for her that way for nothing I
+suppose there are a few men like that left its hard to believe in it
+though unless it really happened to me the majority of them with not a
+particle of love in their natures to find two people like that nowadays
+full up of each other that would feel the same way as you do theyre
+usually a bit foolish in the head his father must have been a bit queer
+to go and poison himself after her still poor old man I suppose he felt
+lost shes always making love to my things too the few old rags I have
+wanting to put her hair up at I S my powder too only ruin her skin on her
+shes time enough for that all her life after of course shes restless
+knowing shes pretty with her lips so red a pity they wont stay that way I
+was too but theres no use going to the fair with the thing answering me
+like a fishwoman when I asked to go for a half a stone of potatoes the
+day we met Mrs Joe Gallaher at the trottingmatches and she pretended not
+to see us in her trap with Friery the solicitor we werent grand enough
+till I gave her 2 damn fine cracks across the ear for herself take that
+now for answering me like that and that for your impudence she had me
+that exasperated of course contradicting I was badtempered too because
+how was it there was a weed in the tea or I didnt sleep the night before
+cheese I ate was it and I told her over and over again not to leave
+knives crossed like that because she has nobody to command her as she
+said herself well if he doesnt correct her faith I will that was the last
+time she turned on the teartap I was just like that myself they darent
+order me about the place its his fault of course having the two of us
+slaving here instead of getting in a woman long ago am I ever going to
+have a proper servant again of course then shed see him coming Id have to
+let her know or shed revenge it arent they a nuisance that old Mrs
+Fleming you have to be walking round after her putting the things into
+her hands sneezing and farting into the pots well of course shes old she
+cant help it a good job I found that rotten old smelly dishcloth that got
+lost behind the dresser I knew there was something and opened the area
+window to let out the smell bringing in his friends to entertain them
+like the night he walked home with a dog if you please that might have
+been mad especially Simon Dedalus son his father such a criticiser with
+his glasses up with his tall hat on him at the cricket match and a great
+big hole in his sock one thing laughing at the other and his son that got
+all those prizes for whatever he won them in the intermediate imagine
+climbing over the railings if anybody saw him that knew us I wonder he
+didnt tear a big hole in his grand funeral trousers as if the one nature
+gave wasnt enough for anybody hawking him down into the dirty old kitchen
+now is he right in his head I ask pity it wasnt washing day my old pair
+of drawers might have been hanging up too on the line on exhibition for
+all hed ever care with the ironmould mark the stupid old bundle burned on
+them he might think was something else and she never even rendered down
+the fat I told her and now shes going such as she was on account of her
+paralysed husband getting worse theres always something wrong with them
+disease or they have to go under an operation or if its not that its
+drink and he beats her Ill have to hunt around again for someone every
+day I get up theres some new thing on sweet God sweet God well when Im
+stretched out dead in my grave I suppose Ill have some peace I want to
+get up a minute if Im let wait O Jesus wait yes that thing has come on me
+yes now wouldnt that afflict you of course all the poking and rooting and
+ploughing he had up in me now what am I to do Friday Saturday Sunday
+wouldnt that pester the soul out of a body unless he likes it some men do
+God knows theres always something wrong with us 5 days every 3 or 4 weeks
+usual monthly auction isnt it simply sickening that night it came on me
+like that the one and only time we were in a box that Michael Gunn gave
+him to see Mrs Kendal and her husband at the Gaiety something he did
+about insurance for him in Drimmies I was fit to be tied though I wouldnt
+give in with that gentleman of fashion staring down at me with his
+glasses and him the other side of me talking about Spinoza and his soul
+thats dead I suppose millions of years ago I smiled the best I could all
+in a swamp leaning forward as if I was interested having to sit it out
+then to the last tag I wont forget that wife of Scarli in a hurry
+supposed to be a fast play about adultery that idiot in the gallery
+hissing the woman adulteress he shouted I suppose he went and had a woman
+in the next lane running round all the back ways after to make up for it
+I wish he had what I had then hed boo I bet the cat itself is better off
+than us have we too much blood up in us or what O patience above its
+pouring out of me like the sea anyhow he didnt make me pregnant as big as
+he is I dont want to ruin the clean sheets I just put on I suppose the
+clean linen I wore brought it on too damn it damn it and they always want
+to see a stain on the bed to know youre a virgin for them all thats
+troubling them theyre such fools too you could be a widow or divorced 40
+times over a daub of red ink would do or blackberry juice no thats too
+purply O Jamesy let me up out of this pooh sweets of sin whoever
+suggested that business for women what between clothes and cooking and
+children this damned old bed too jingling like the dickens I suppose they
+could hear us away over the other side of the park till I suggested to
+put the quilt on the floor with the pillow under my bottom I wonder is it
+nicer in the day I think it is easy I think Ill cut all this hair off me
+there scalding me I might look like a young girl wouldnt he get the great
+suckin the next time he turned up my clothes on me Id give anything to
+see his face wheres the chamber gone easy Ive a holy horror of its
+breaking under me after that old commode I wonder was I too heavy sitting
+on his knee I made him sit on the easychair purposely when I took off
+only my blouse and skirt first in the other room he was so busy where he
+oughtnt to be he never felt me I hope my breath was sweet after those
+kissing comfits easy God I remember one time I could scout it out
+straight whistling like a man almost easy O Lord how noisy I hope theyre
+bubbles on it for a wad of money from some fellow Ill have to perfume it
+in the morning dont forget I bet he never saw a better pair of thighs
+than that look how white they are the smoothest place is right there
+between this bit here how soft like a peach easy God I wouldnt mind being
+a man and get up on a lovely woman O Lord what a row youre making like
+the jersey lily easy easy O how the waters come down at Lahore
+
+who knows is there anything the matter with my insides or have I
+something growing in me getting that thing like that every week when was
+it last I Whit Monday yes its only about 3 weeks I ought to go to the
+doctor only it would be like before I married him when I had that white
+thing coming from me and Floey made me go to that dry old stick Dr
+Collins for womens diseases on Pembroke road your vagina he called it I
+suppose thats how he got all the gilt mirrors and carpets getting round
+those rich ones off Stephens green running up to him for every little
+fiddlefaddle her vagina and her cochinchina theyve money of course so
+theyre all right I wouldnt marry him not if he was the last man in the
+world besides theres something queer about their children always smelling
+around those filthy bitches all sides asking me if what I did had an
+offensive odour what did he want me to do but the one thing gold maybe
+what a question if I smathered it all over his wrinkly old face for him
+with all my compriments I suppose hed know then and could you pass it
+easily pass what I thought he was talking about the rock of Gibraltar the
+way he put it thats a very nice invention too by the way only I like
+letting myself down after in the hole as far as I can squeeze and pull
+the chain then to flush it nice cool pins and needles still theres
+something in it I suppose I always used to know by Millys when she was a
+child whether she had worms or not still all the same paying him for that
+how much is that doctor one guinea please and asking me had I frequent
+omissions where do those old fellows get all the words they have
+omissions with his shortsighted eyes on me cocked sideways I wouldnt
+trust him too far to give me chloroform or God knows what else still I
+liked him when he sat down to write the thing out frowning so severe his
+nose intelligent like that you be damned you lying strap O anything no
+matter who except an idiot he was clever enough to spot that of course
+that was all thinking of him and his mad crazy letters my Precious one
+everything connected with your glorious Body everything underlined that
+comes from it is a thing of beauty and of joy for ever something he got
+out of some nonsensical book that he had me always at myself 4 and 5
+times a day sometimes and I said I hadnt are you sure O yes I said I am
+quite sure in a way that shut him up I knew what was coming next only
+natural weakness it was he excited me I dont know how the first night
+ever we met when I was living in Rehoboth terrace we stood staring at one
+another for about 10 minutes as if we met somewhere I suppose on account
+of my being jewess looking after my mother he used to amuse me the things
+he said with the half sloothering smile on him and all the Doyles said he
+was going to stand for a member of Parliament O wasnt I the born fool to
+believe all his blather about home rule and the land league sending me
+that long strool of a song out of the Huguenots to sing in French to be
+more classy O beau pays de la Touraine that I never even sang once
+explaining and rigmaroling about religion and persecution he wont let you
+enjoy anything naturally then might he as a great favour the very 1st
+opportunity he got a chance in Brighton square running into my bedroom
+pretending the ink got on his hands to wash it off with the Albion milk
+and sulphur soap I used to use and the gelatine still round it O I
+laughed myself sick at him that day I better not make an alnight sitting
+on this affair they ought to make chambers a natural size so that a woman
+could sit on it properly he kneels down to do it I suppose there isnt in
+all creation another man with the habits he has look at the way hes
+sleeping at the foot of the bed how can he without a hard bolster its
+well he doesnt kick or he might knock out all my teeth breathing with his
+hand on his nose like that Indian god he took me to show one wet Sunday
+in the museum in Kildare street all yellow in a pinafore lying on his
+side on his hand with his ten toes sticking out that he said was a bigger
+religion than the jews and Our Lords both put together all over Asia
+imitating him as hes always imitating everybody I suppose he used to
+sleep at the foot of the bed too with his big square feet up in his wifes
+mouth damn this stinking thing anyway wheres this those napkins are ah
+yes I know I hope the old press doesnt creak ah I knew it would hes
+sleeping hard had a good time somewhere still she must have given him
+great value for his money of course he has to pay for it from her O this
+nuisance of a thing I hope theyll have something better for us in the
+other world tying ourselves up God help us thats all right for tonight
+now the lumpy old jingly bed always reminds me of old Cohen I suppose he
+scratched himself in it often enough and he thinks father bought it from
+Lord Napier that I used to admire when I was a little girl because I told
+him easy piano O I like my bed God here we are as bad as ever after 16
+years how many houses were we in at all Raymond terrace and Ontario
+terrace and Lombard street and Holles street and he goes about whistling
+every time were on the run again his huguenots or the frogs march
+pretending to help the men with our 4 sticks of furniture and then the
+City Arms hotel worse and worse says Warden Daly that charming place on
+the landing always somebody inside praying then leaving all their stinks
+after them always know who was in there last every time were just getting
+on right something happens or he puts his big foot in it Thoms and Helys
+and Mr Cuffes and Drimmies either hes going to be run into prison over
+his old lottery tickets that was to be all our salvations or he goes and
+gives impudence well have him coming home with the sack soon out of the
+Freeman too like the rest on account of those Sinner Fein or the
+freemasons then well see if the little man he showed me dribbling along
+in the wet all by himself round by Coadys lane will give him much
+consolation that he says is so capable and sincerely Irish he is indeed
+judging by the sincerity of the trousers I saw on him wait theres Georges
+church bells wait 3 quarters the hour l wait 2 oclock well thats a nice
+hour of the night for him to be coming home at to anybody climbing down
+into the area if anybody saw him Ill knock him off that little habit
+tomorrow first Ill look at his shirt to see or Ill see if he has that
+French letter still in his pocketbook I suppose he thinks I dont know
+deceitful men all their 20 pockets arent enough for their lies then why
+should we tell them even if its the truth they dont believe you then
+tucked up in bed like those babies in the Aristocrats Masterpiece he
+brought me another time as if we hadnt enough of that in real life
+without some old Aristocrat or whatever his name is disgusting you more
+with those rotten pictures children with two heads and no legs thats the
+kind of villainy theyre always dreaming about with not another thing in
+their empty heads they ought to get slow poison the half of them then tea
+and toast for him buttered on both sides and newlaid eggs I suppose Im
+nothing any more when I wouldnt let him lick me in Holles street one
+night man man tyrant as ever for the one thing he slept on the floor half
+the night naked the way the jews used when somebody dies belonged to them
+and wouldnt eat any breakfast or speak a word wanting to be petted so I
+thought I stood out enough for one time and let him he does it all wrong
+too thinking only of his own pleasure his tongue is too flat or I dont
+know what he forgets that wethen I dont Ill make him do it again if he
+doesnt mind himself and lock him down to sleep in the coalcellar with the
+blackbeetles I wonder was it her Josie off her head with my castoffs hes
+such a born liar too no hed never have the courage with a married woman
+thats why he wants me and Boylan though as for her Denis as she calls him
+that forlornlooking spectacle you couldnt call him a husband yes its some
+little bitch hes got in with even when I was with him with Milly at the
+College races that Hornblower with the childs bonnet on the top of his
+nob let us into by the back way he was throwing his sheeps eyes at those
+two doing skirt duty up and down I tried to wink at him first no use of
+course and thats the way his money goes this is the fruits of Mr Paddy
+Dignam yes they were all in great style at the grand funeral in the paper
+Boylan brought in if they saw a real officers funeral thatd be something
+reversed arms muffled drums the poor horse walking behind in black L Boom
+and Tom Kernan that drunken little barrelly man that bit his tongue off
+falling down the mens W C drunk in some place or other and Martin
+Cunningham and the two Dedaluses and Fanny MCoys husband white head of
+cabbage skinny thing with a turn in her eye trying to sing my songs shed
+want to be born all over again and her old green dress with the lowneck
+as she cant attract them any other way like dabbling on a rainy day I see
+it all now plainly and they call that friendship killing and then burying
+one another and they all with their wives and families at home more
+especially Jack Power keeping that barmaid he does of course his wife is
+always sick or going to be sick or just getting better of it and hes a
+goodlooking man still though hes getting a bit grey over the ears theyre
+a nice lot all of them well theyre not going to get my husband again into
+their clutches if I can help it making fun of him then behind his back I
+know well when he goes on with his idiotics because he has sense enough
+not to squander every penny piece he earns down their gullets and looks
+after his wife and family goodfornothings poor Paddy Dignam all the same
+Im sorry in a way for him what are his wife and 5 children going to do
+unless he was insured comical little teetotum always stuck up in some pub
+corner and her or her son waiting Bill Bailey wont you please come home
+her widows weeds wont improve her appearance theyre awfully becoming
+though if youre goodlooking what men wasnt he yes he was at the Glencree
+dinner and Ben Dollard base barreltone the night he borrowed the
+swallowtail to sing out of in Holles street squeezed and squashed into
+them and grinning all over his big Dolly face like a wellwhipped childs
+botty didnt he look a balmy ballocks sure enough that must have been a
+spectacle on the stage imagine paying 5/- in the preserved seats for that
+to see him trotting off in his trowlers and Simon Dedalus too he was
+always turning up half screwed singing the second verse first the old
+love is the new was one of his so sweetly sang the maiden on the hawthorn
+bough he was always on for flirtyfying too when I sang Maritana with him
+at Freddy Mayers private opera he had a delicious glorious voice Phoebe
+dearest goodbye sweetheart SWEETheart he always sang it not like Bartell
+Darcy sweet tart goodbye of course he had the gift of the voice so there
+was no art in it all over you like a warm showerbath O Maritana wildwood
+flower we sang splendidly though it was a bit too high for my register
+even transposed and he was married at the time to May Goulding but then
+hed say or do something to knock the good out of it hes a widower now I
+wonder what sort is his son he says hes an author and going to be a
+university professor of Italian and Im to take lessons what is he driving
+at now showing him my photo its not good of me I ought to have got it
+taken in drapery that never looks out of fashion still I look young in it
+I wonder he didnt make him a present of it altogether and me too after
+all why not I saw him driving down to the Kingsbridge station with his
+father and mother I was in mourning thats 11 years ago now yes hed be 11
+though what was the good in going into mourning for what was neither one
+thing nor the other the first cry was enough for me I heard the
+deathwatch too ticking in the wall of course he insisted hed go into
+mourning for the cat I suppose hes a man now by this time he was an
+innocent boy then and a darling little fellow in his lord Fauntleroy suit
+and curly hair like a prince on the stage when I saw him at Mat Dillons
+he liked me too I remember they all do wait by God yes wait yes hold on
+he was on the cards this morning when I laid out the deck union with a
+young stranger neither dark nor fair you met before I thought it meant
+him but hes no chicken nor a stranger either besides my face was turned
+the other way what was the 7th card after that the 10 of spades for a
+journey by land then there was a letter on its way and scandals too the 3
+queens and the 8 of diamonds for a rise in society yes wait it all came
+out and 2 red 8s for new garments look at that and didnt I dream
+something too yes there was something about poetry in it I hope he hasnt
+long greasy hair hanging into his eyes or standing up like a red Indian
+what do they go about like that for only getting themselves and their
+poetry laughed at I always liked poetry when I was a girl first I thought
+he was a poet like lord Byron and not an ounce of it in his composition I
+thought he was quite different I wonder is he too young hes about wait 88
+I was married 88 Milly is 15 yesterday 89 what age was he then at Dillons
+5 or 6 about 88 I suppose hes 20 or more Im not too old for him if hes 23
+or 24 I hope hes not that stuckup university student sort no otherwise he
+wouldnt go sitting down in the old kitchen with him taking Eppss cocoa
+and talking of course he pretended to understand it all probably he told
+him he was out of Trinity college hes very young to be a professor I hope
+hes not a professor like Goodwin was he was a potent professor of John
+Jameson they all write about some woman in their poetry well I suppose he
+wont find many like me where softly sighs of love the light guitar where
+poetry is in the air the blue sea and the moon shining so beautifully
+coming back on the nightboat from Tarifa the lighthouse at Europa point
+the guitar that fellow played was so expressive will I ever go back there
+again all new faces two glancing eyes a lattice hid Ill sing that for him
+theyre my eyes if hes anything of a poet two eyes as darkly bright as
+loves own star arent those beautiful words as loves young star itll be a
+change the Lord knows to have an intelligent person to talk to about
+yourself not always listening to him and Billy Prescotts ad and Keyess ad
+and Tom the Devils ad then if anything goes wrong in their business we
+have to suffer Im sure hes very distinguished Id like to meet a man like
+that God not those other ruck besides hes young those fine young men I
+could see down in Margate strand bathingplace from the side of the rock
+standing up in the sun naked like a God or something and then plunging
+into the sea with them why arent all men like that thered be some
+consolation for a woman like that lovely little statue he bought I could
+look at him all day long curly head and his shoulders his finger up for
+you to listen theres real beauty and poetry for you I often felt I wanted
+to kiss him all over also his lovely young cock there so simple I wouldnt
+mind taking him in my mouth if nobody was looking as if it was asking you
+to suck it so clean and white he looks with his boyish face I would too
+in 1/2 a minute even if some of it went down what its only like gruel or
+the dew theres no danger besides hed be so clean compared with those pigs
+of men I suppose never dream of washing it from I years end to the other
+the most of them only thats what gives the women the moustaches Im sure
+itll be grand if I can only get in with a handsome young poet at my age
+Ill throw them the 1st thing in the morning till I see if the wishcard
+comes out or Ill try pairing the lady herself and see if he comes out Ill
+read and study all I can find or learn a bit off by heart if I knew who
+he likes so he wont think me stupid if he thinks all women are the same
+and I can teach him the other part Ill make him feel all over him till he
+half faints under me then hell write about me lover and mistress publicly
+too with our 2 photographs in all the papers when he becomes famous O but
+then what am I going to do about him though
+
+no thats no way for him has he no manners nor no refinement nor no
+nothing in his nature slapping us behind like that on my bottom because I
+didnt call him Hugh the ignoramus that doesnt know poetry from a cabbage
+thats what you get for not keeping them in their proper place pulling off
+his shoes and trousers there on the chair before me so barefaced without
+even asking permission and standing out that vulgar way in the half of a
+shirt they wear to be admired like a priest or a butcher or those old
+hypocrites in the time of Julius Caesar of course hes right enough in his
+way to pass the time as a joke sure you might as well be in bed with what
+with a lion God Im sure hed have something better to say for himself an
+old Lion would O well I suppose its because they were so plump and
+tempting in my short petticoat he couldnt resist they excite myself
+sometimes its well for men all the amount of pleasure they get off a
+womans body were so round and white for them always I wished I was one
+myself for a change just to try with that thing they have swelling up on
+you so hard and at the same time so soft when you touch it my uncle John
+has a thing long I heard those cornerboys saying passing the comer of
+Marrowbone lane my aunt Mary has a thing hairy because it was dark and
+they knew a girl was passing it didnt make me blush why should it either
+its only nature and he puts his thing long into my aunt Marys hairy
+etcetera and turns out to be you put the handle in a sweepingbrush men
+again all over they can pick and choose what they please a married woman
+or a fast widow or a girl for their different tastes like those houses
+round behind Irish street no but were to be always chained up theyre not
+going to be chaining me up no damn fear once I start I tell you for their
+stupid husbands jealousy why cant we all remain friends over it instead
+of quarrelling her husband found it out what they did together well
+naturally and if he did can he undo it hes coronado anyway whatever he
+does and then he going to the other mad extreme about the wife in Fair
+Tyrants of course the man never even casts a 2nd thought on the husband
+or wife either its the woman he wants and he gets her what else were we
+given all those desires for Id like to know I cant help it if Im young
+still can I its a wonder Im not an old shrivelled hag before my time
+living with him so cold never embracing me except sometimes when hes
+asleep the wrong end of me not knowing I suppose who he has any man thatd
+kiss a womans bottom Id throw my hat at him after that hed kiss anything
+unnatural where we havent I atom of any kind of expression in us all of
+us the same 2 lumps of lard before ever Id do that to a man pfooh the
+dirty brutes the mere thought is enough I kiss the feet of you senorita
+theres some sense in that didnt he kiss our halldoor yes he did what a
+madman nobody understands his cracked ideas but me still of course a
+woman wants to be embraced 20 times a day almost to make her look young
+no matter by who so long as to be in love or loved by somebody if the
+fellow you want isnt there sometimes by the Lord God I was thinking would
+I go around by the quays there some dark evening where nobodyd know me
+and pick up a sailor off the sea thatd be hot on for it and not care a
+pin whose I was only do it off up in a gate somewhere or one of those
+wildlooking gipsies in Rathfarnham had their camp pitched near the
+Bloomfield laundry to try and steal our things if they could I only sent
+mine there a few times for the name model laundry sending me back over
+and over some old ones odd stockings that blackguardlooking fellow with
+the fine eyes peeling a switch attack me in the dark and ride me up
+against the wall without a word or a murderer anybody what they do
+themselves the fine gentlemen in their silk hats that K C lives up
+somewhere this way coming out of Hardwicke lane the night he gave us the
+fish supper on account of winning over the boxing match of course it was
+for me he gave it I knew him by his gaiters and the walk and when I
+turned round a minute after just to see there was a woman after coming
+out of it too some filthy prostitute then he goes home to his wife after
+that only I suppose the half of those sailors are rotten again with
+disease O move over your big carcass out of that for the love of Mike
+listen to him the winds that waft my sighs to thee so well he may sleep
+and sigh the great Suggester Don Poldo de la Flora if he knew how he came
+out on the cards this morning hed have something to sigh for a dark man
+in some perplexity between 2 7s too in prison for Lord knows what he does
+that I dont know and Im to be slooching around down in the kitchen to get
+his lordship his breakfast while hes rolled up like a mummy will I indeed
+did you ever see me running Id just like to see myself at it show them
+attention and they treat you like dirt I dont care what anybody says itd
+be much better for the world to be governed by the women in it you
+wouldnt see women going and killing one another and slaughtering when do
+you ever see women rolling around drunk like they do or gambling every
+penny they have and losing it on horses yes because a woman whatever she
+does she knows where to stop sure they wouldnt be in the world at all
+only for us they dont know what it is to be a woman and a mother how
+could they where would they all of them be if they hadnt all a mother to
+look after them what I never had thats why I suppose hes running wild now
+out at night away from his books and studies and not living at home on
+account of the usual rowy house I suppose well its a poor case that those
+that have a fine son like that theyre not satisfied and I none was he not
+able to make one it wasnt my fault we came together when I was watching
+the two dogs up in her behind in the middle of the naked street that
+disheartened me altogether I suppose I oughtnt to have buried him in that
+little woolly jacket I knitted crying as I was but give it to some poor
+child but I knew well Id never have another our 1st death too it was we
+were never the same since O Im not going to think myself into the glooms
+about that any more I wonder why he wouldnt stay the night I felt all the
+time it was somebody strange he brought in instead of roving around the
+city meeting God knows who nightwalkers and pickpockets his poor mother
+wouldnt like that if she was alive ruining himself for life perhaps still
+its a lovely hour so silent I used to love coming home after dances the
+air of the night they have friends they can talk to weve none either he
+wants what he wont get or its some woman ready to stick her knife in you
+I hate that in women no wonder they treat us the way they do we are a
+dreadful lot of bitches I suppose its all the troubles we have makes us
+so snappy Im not like that he could easy have slept in there on the sofa
+in the other room I suppose he was as shy as a boy he being so young
+hardly 20 of me in the next room hed have heard me on the chamber arrah
+what harm Dedalus I wonder its like those names in Gibraltar Delapaz
+Delagracia they had the devils queer names there father Vilaplana of
+Santa Maria that gave me the rosary Rosales y OReilly in the Calle las
+Siete Revueltas and Pisimbo and Mrs Opisso in Governor street O what a
+name Id go and drown myself in the first river if I had a name like her O
+my and all the bits of streets Paradise ramp and Bedlam ramp and Rodgers
+ramp and Crutchetts ramp and the devils gap steps well small blame to me
+if I am a harumscarum I know I am a bit I declare to God I dont feel a
+day older than then I wonder could I get my tongue round any of the
+Spanish como esta usted muy bien gracias y usted see I havent forgotten
+it all I thought I had only for the grammar a noun is the name of any
+person place or thing pity I never tried to read that novel cantankerous
+Mrs Rubio lent me by Valera with the questions in it all upside down the
+two ways I always knew wed go away in the end I can tell him the Spanish
+and he tell me the Italian then hell see Im not so ignorant what a pity
+he didnt stay Im sure the poor fellow was dead tired and wanted a good
+sleep badly I could have brought him in his breakfast in bed with a bit
+of toast so long as I didnt do it on the knife for bad luck or if the
+woman was going her rounds with the watercress and something nice and
+tasty there are a few olives in the kitchen he might like I never could
+bear the look of them in Abrines I could do the criada the room looks all
+right since I changed it the other way you see something was telling me
+all the time Id have to introduce myself not knowing me from Adam very
+funny wouldnt it Im his wife or pretend we were in Spain with him half
+awake without a Gods notion where he is dos huevos estrellados senor Lord
+the cracked things come into my head sometimes itd be great fun supposing
+he stayed with us why not theres the room upstairs empty and Millys bed
+in the back room he could do his writing and studies at the table in
+there for all the scribbling he does at it and if he wants to read in bed
+in the morning like me as hes making the breakfast for I he can make it
+for 2 Im sure Im not going to take in lodgers off the street for him if
+he takes a gesabo of a house like this Id love to have a long talk with
+an intelligent welleducated person Id have to get a nice pair of red
+slippers like those Turks with the fez used to sell or yellow and a nice
+semitransparent morning gown that I badly want or a peachblossom dressing
+jacket like the one long ago in Walpoles only 8/6 or 18/6 Ill just give
+him one more chance Ill get up early in the morning Im sick of Cohens old
+bed in any case I might go over to the markets to see all the vegetables
+and cabbages and tomatoes and carrots and all kinds of splendid fruits
+all coming in lovely and fresh who knows whod be the 1st man Id meet
+theyre out looking for it in the morning Mamy Dillon used to say they are
+and the night too that was her massgoing Id love a big juicy pear now to
+melt in your mouth like when I used to be in the longing way then Ill
+throw him up his eggs and tea in the moustachecup she gave him to make
+his mouth bigger I suppose hed like my nice cream too I know what Ill do
+Ill go about rather gay not too much singing a bit now and then mi fa
+pieta Masetto then Ill start dressing myself to go out presto non son piu
+forte Ill put on my best shift and drawers let him have a good eyeful out
+of that to make his micky stand for him Ill let him know if thats what he
+wanted that his wife is I s l o fucked yes and damn well fucked too up to
+my neck nearly not by him 5 or 6 times handrunning theres the mark of his
+spunk on the clean sheet I wouldnt bother to even iron it out that ought
+to satisfy him if you dont believe me feel my belly unless I made him
+stand there and put him into me Ive a mind to tell him every scrap and
+make him do it out in front of me serve him right its all his own fault
+if I am an adulteress as the thing in the gallery said O much about it if
+thats all the harm ever we did in this vale of tears God knows its not
+much doesnt everybody only they hide it I suppose thats what a woman is
+supposed to be there for or He wouldnt have made us the way He did so
+attractive to men then if he wants to kiss my bottom Ill drag open my
+drawers and bulge it right out in his face as large as life he can stick
+his tongue 7 miles up my hole as hes there my brown part then Ill tell
+him I want LI or perhaps 30/- Ill tell him I want to buy underclothes
+then if he gives me that well he wont be too bad I dont want to soak it
+all out of him like other women do I could often have written out a fine
+cheque for myself and write his name on it for a couple of pounds a few
+times he forgot to lock it up besides he wont spend it Ill let him do it
+off on me behind provided he doesnt smear all my good drawers O I suppose
+that cant be helped Ill do the indifferent l or 2 questions Ill know by
+the answers when hes like that he cant keep a thing back I know every
+turn in him Ill tighten my bottom well and let out a few smutty words
+smellrump or lick my shit or the first mad thing comes into my head then
+Ill suggest about yes O wait now sonny my turn is coming Ill be quite gay
+and friendly over it O but I was forgetting this bloody pest of a thing
+pfooh you wouldnt know which to laugh or cry were such a mixture of plum
+and apple no Ill have to wear the old things so much the better itll be
+more pointed hell never know whether he did it or not there thats good
+enough for you any old thing at all then Ill wipe him off me just like a
+business his omission then Ill go out Ill have him eying up at the
+ceiling where is she gone now make him want me thats the only way a
+quarter after what an unearthly hour I suppose theyre just getting up in
+China now combing out their pigtails for the day well soon have the nuns
+ringing the angelus theyve nobody coming in to spoil their sleep except
+an odd priest or two for his night office or the alarmclock next door at
+cockshout clattering the brains out of itself let me see if I can doze
+off 1 2 3 4 5 what kind of flowers are those they invented like the stars
+the wallpaper in Lombard street was much nicer the apron he gave me was
+like that something only I only wore it twice better lower this lamp and
+try again so as I can get up early Ill go to Lambes there beside
+Findlaters and get them to send us some flowers to put about the place in
+case he brings him home tomorrow today I mean no no Fridays an unlucky
+day first I want to do the place up someway the dust grows in it I think
+while Im asleep then we can have music and cigarettes I can accompany him
+first I must clean the keys of the piano with milk whatll I wear shall I
+wear a white rose or those fairy cakes in Liptons I love the smell of a
+rich big shop at 7 1/2d a lb or the other ones with the cherries in them
+and the pinky sugar 11d a couple of lbs of those a nice plant for the
+middle of the table Id get that cheaper in wait wheres this I saw them
+not long ago I love flowers Id love to have the whole place swimming in
+roses God of heaven theres nothing like nature the wild mountains then
+the sea and the waves rushing then the beautiful country with the fields
+of oats and wheat and all kinds of things and all the fine cattle going
+about that would do your heart good to see rivers and lakes and flowers
+all sorts of shapes and smells and colours springing up even out of the
+ditches primroses and violets nature it is as for them saying theres no
+God I wouldnt give a snap of my two fingers for all their learning why
+dont they go and create something I often asked him atheists or whatever
+they call themselves go and wash the cobbles off themselves first then
+they go howling for the priest and they dying and why why because theyre
+afraid of hell on account of their bad conscience ah yes I know them well
+who was the first person in the universe before there was anybody that
+made it all who ah that they dont know neither do I so there you are they
+might as well try to stop the sun from rising tomorrow the sun shines for
+you he said the day we were lying among the rhododendrons on Howth head
+in the grey tweed suit and his straw hat the day I got him to propose to
+me yes first I gave him the bit of seedcake out of my mouth and it was
+leapyear like now yes 16 years ago my God after that long kiss I near
+lost my breath yes he said I was a flower of the mountain yes so we are
+flowers all a womans body yes that was one true thing he said in his life
+and the sun shines for you today yes that was why I liked him because I
+saw he understood or felt what a woman is and I knew I could always get
+round him and I gave him all the pleasure I could leading him on till he
+asked me to say yes and I wouldnt answer first only looked out over the
+sea and the sky I was thinking of so many things he didnt know of Mulvey
+and Mr Stanhope and Hester and father and old captain Groves and the
+sailors playing all birds fly and I say stoop and washing up dishes they
+called it on the pier and the sentry in front of the governors house with
+the thing round his white helmet poor devil half roasted and the Spanish
+girls laughing in their shawls and their tall combs and the auctions in
+the morning the Greeks and the jews and the Arabs and the devil knows who
+else from all the ends of Europe and Duke street and the fowl market all
+clucking outside Larby Sharons and the poor donkeys slipping half asleep
+and the vague fellows in the cloaks asleep in the shade on the steps and
+the big wheels of the carts of the bulls and the old castle thousands of
+years old yes and those handsome Moors all in white and turbans like
+kings asking you to sit down in their little bit of a shop and Ronda with
+the old windows of the posadas 2 glancing eyes a lattice hid for her
+lover to kiss the iron and the wineshops half open at night and the
+castanets and the night we missed the boat at Algeciras the watchman
+going about serene with his lamp and O that awful deepdown torrent O and
+the sea the sea crimson sometimes like fire and the glorious sunsets and
+the figtrees in the Alameda gardens yes and all the queer little streets
+and the pink and blue and yellow houses and the rosegardens and the
+jessamine and geraniums and cactuses and Gibraltar as a girl where I was
+a Flower of the mountain yes when I put the rose in my hair like the
+Andalusian girls used or shall I wear a red yes and how he kissed me
+under the Moorish wall and I thought well as well him as another and then
+I asked him with my eyes to ask again yes and then he asked me would I
+yes to say yes my mountain flower and first I put my arms around him yes
+and drew him down to me so he could feel my breasts all perfume yes and
+his heart was going like mad and yes I said yes I will Yes.
+
+
+
+Trieste-Zurich-Paris
+1914-1921
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Ulysses, by James Joyce
+
+*** END OF THE PROJECT GUTENBERG EBOOK ULYSSES ***
+
+This file should be named ulyss12.txt or ulyss12.zip
+Corrected EDITIONS of our eBooks get a new NUMBER, ulyss11.txt
+VERSIONS based on separate sources get new LETTER, ulyss10a.txt
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+This etext was prepared by Col Choat <colchoat@yahoo.com.au>.
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diff --git a/examples/word_count/word_count.rb b/examples/word_count/word_count.rb
new file mode 100644
index 0000000..059e543
--- /dev/null
+++ b/examples/word_count/word_count.rb
@@ -0,0 +1,53 @@
+require File.dirname(__FILE__) + '/../../couchrest'
+
+couch = CouchRest.new("http://localhost:5984")
+db = couch.database('word-count-example')
+db.delete! rescue nil
+db = couch.create_db('word-count-example')
+
+['da-vinci.txt', 'outline-of-science.txt', 'ulysses.txt'].each do |book|
+  title = book.split('.')[0]
+  puts title
+  File.open(File.join(File.dirname(__FILE__),book),'r') do |file|
+    lines = []
+    chunk = 0
+    while line = file.gets
+      lines << line
+      if lines.length > 100
+        db.save({
+          :title => title,
+          :chunk => chunk, 
+          :text => lines.join('')
+        })
+        chunk += 1
+        lines = []
+      end
+    end
+  end
+end
+ 
+word_count = {
+  :map => 'function(doc){
+    var words = doc.text.split(/\W/);
+    words.forEach(function(word){
+      if (word.length > 0) emit([word,doc.title],1);
+    });
+  }',
+  :reduce => 'function(key,combine){
+    return sum(combine);
+  }'
+}
+
+db.delete db.get("_design/word_count") rescue nil
+
+db.save({
+  "_id" => "_design/word_count",
+  :views => {
+    :count => word_count,
+    :words => {:map => word_count[:map]}
+  }
+})
+
+puts "The books have been stored in your CouchDB. To initiate the MapReduce process, visit http://localhost:5984/_utils/ in your browser and click 'word-count-example', then select view 'words' or 'count'. The process could take around an hour on an average MacBook."
+
+
diff --git a/examples/word_count/word_count_query.rb b/examples/word_count/word_count_query.rb
new file mode 100644
index 0000000..508c3db
--- /dev/null
+++ b/examples/word_count/word_count_query.rb
@@ -0,0 +1,34 @@
+require File.dirname(__FILE__) + '/../../couchrest'
+
+couch = CouchRest.new("http://localhost:5984")
+db = couch.database('word-count-example')
+
+puts "Now that we've parsed all those books into CouchDB, the queries we can run are incredibly flexible."
+
+puts "\nThe simplest query we can run is the total word count for all words in all documents:"
+puts db.view('word_count/count').inspect
+
+puts "\nWe can also narrow the query down to just one word, across all documents. Here is the count for 'flight':"
+word = 'flight'
+params = {
+  :startkey => [word], 
+  :endkey => [word,'Z']
+  }
+
+puts db.view('word_count/count',params).inspect
+
+puts "\nWe scope the query using startkey and endkey params to take advantage of CouchDB's collation ordering. Here are the params for the last query:"
+puts params.inspect
+
+puts "\nWe can also count words on a per-title basis."
+title = 'da-vinci'
+params = {
+  :key => [word, title]
+  }
+puts db.view('word_count/count',params).inspect
+puts "\nHere are the params for 'flight' in the da-vinci book:"
+puts params.inspect
+puts
+puts 'The url looks like this:'
+puts 'http://localhost:5984/word-count-example/_view/word_count/count?key=["flight","da-vinci"]'
+puts "\nTry dropping that in your browser..."
\ No newline at end of file