Poems List

Now, O Now in This Brown Land

Now, O Now in This Brown Land

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


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


Now, O now, we hear no more
The vilanelle and roundelay!
Yet will we kiss, sweetheart, before
We take sad leave at close of day.
Grieve not, sweetheart, for anything -- -
The year, the year is gathering.
165

My Love Is in a Light Attire

My Love Is in a Light Attire

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


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


And where the sky's a pale blue cup
Over the laughing land,
My love goes lightly, holding up
Her dress with dainty hand.
217

Love Came to Us

Love Came to Us

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


We were grave lovers. Love is past
That had his sweet hours many a one;
Welcome to us now at the last
The ways that we shall go upon.
173

I Would in That Sweet Bosom Be

I Would in That Sweet Bosom Be

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


I would be ever in that heart
(O soft I knock and soft entreat her!)
Where only peace might be my part.
Austerities were all the sweeter
So I were ever in that heart.
215

Lean Out of the Window

Lean Out of the Window

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


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


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


Singing and singing
A merry air,
Lean out of the window,
Goldenhair.
155

Gentle Lady, Do Not Sing

Gentle Lady, Do Not Sing

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


Sing about the long deep sleep
Of lovers that are dead, and how
In the grave all love shall sleep:
Love is aweary now.
166

He Who Hath Glory Lost

He Who Hath Glory Lost

He who hath glory lost, nor hath
Found any soul to fellow his,
Among his foes in scorn and wrath
Holding to ancient nobleness,
That high unconsortable one ---
His love is his companion.
159

Dear Heart, Why Will You Use Me So?

Dear Heart, Why Will You Use Me So?

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


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


And soon shall love dissolved be
When over us the wild winds blow -- -
But you, dear love, too dear to me,
Alas! why will you use me so?
196

Flood

Flood


Goldbrown upon the sated flood
The rockvine clusters lift and sway;
Vast wings above the lambent waters brood
Of sullen day.


A waste of waters ruthlessly
Sways and uplifts its weedy mane
Where brooding day stares down upon the sea
In dull disdain.


Uplift and sway, O golden vine,
Your clustered fruits to love's full flood,
Lambent and vast and ruthless as is thine
Incertitude!
180

Be Not Sad

Be Not Sad

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


They are sadder than all tears;
Their lives ascend as a continual sigh.
Proudly answer to their tears:
As they deny, deny.
201

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Identification and basic context

James Joyce, an Irish novelist, short story writer, poet, and literary critic, is renowned for his experimental works, particularly his stream-of-consciousness technique. His most famous works include *Dubliners* (1914), *A Portrait of the Artist as a Young Man* (1916), the collection of short stories *Exiles* (1918), and the revolutionary novels *Ulysses* (1922) and *Finnegans Wake* (1939). He was born in Rathgar, Dublin, Ireland, on February 2, 1882, and died in Zurich, Switzerland, on January 13, 1941. Joyce's family background was middle-class Catholic, and he maintained a complex relationship with his Irish heritage and Catholic upbringing throughout his life. He wrote primarily in English.

Childhood and education

Joyce was born into a rapidly changing Ireland, marked by the decline of Catholic political dominance and the rise of Irish nationalism. His father, John Stanislaus Joyce, was a medical graduate and civil servant, but later faced financial difficulties. Joyce received a rigorous Catholic education, attending the Jesuit-run Belvedere College and subsequently University College Dublin, where he studied modern languages. Despite his academic prowess, he often clashed with the strictures of the Irish Catholic educational system. His early intellectual development was shaped by his extensive reading in Irish and European literature, philosophy, and theology.

Literary trajectory

Joyce's literary career began in his youth with poetry and critical essays. His early prose, such as *A Portrait of the Artist as a Young Man*, charts the spiritual and intellectual awakening of a fictional alter ego, Stephen Dedalus. The collection *Dubliners* offered a starkly realistic portrayal of urban life in Dublin, focusing on themes of paralysis and disillusionment. *Ulysses* marked a significant departure, employing a complex structure and stream-of-consciousness technique to chronicle a single day in the lives of Leopold Bloom and Stephen Dedalus, mirroring Homer's *Odyssey*. His final work, *Finnegans Wake*, is known for its extreme linguistic experimentation and dense, multilingual wordplay.

Works, style, and literary characteristics

Joyce's major works include *Dubliners* (1914), *A Portrait of the Artist as a Young Man* (1916), *Ulysses* (1922), and *Finnegans Wake* (1939). His dominant themes often revolve around Irish identity, the city of Dublin, exile, paralysis, consciousness, and the human condition. He is most famous for his stream-of-consciousness technique, which attempts to represent the flow of thoughts, feelings, and sensations in the mind. Joyce experimented extensively with form and structure, often challenging traditional narrative conventions. His language is characterized by its density, allusiveness, and innovative use of neologisms and multilingual puns. He embraced both tradition, as seen in his engagement with classical mythology in *Ulysses*, and radical modernity in his linguistic and structural experiments.

Cultural and historical context

Joyce lived through a period of immense social and political upheaval in Ireland, including the Irish Home Rule crisis, the Easter Rising of 1916, and the subsequent War of Independence and Civil War. His work reflects this turbulent context, often offering critiques of Irish nationalism and clericalism. He was part of a generation of Irish writers, including W. B. Yeats and Lady Gregory, who sought to forge a distinct Irish literary identity, though Joyce's exile positioned him somewhat apart from the mainstream. His writings were often controversial and faced censorship due to their perceived obscenity and challenging themes.

Personal life

Joyce's personal life was deeply intertwined with his artistic endeavors. His relationship with Nora Barnacle, whom he met in 1904, was central to his life and work; she became his lifelong partner and muse. They lived in continental Europe for most of their adult lives, in cities like Trieste, Zurich, and Paris, largely by choice, though often in financial hardship. This self-imposed exile profoundly influenced his perspective on Ireland. He struggled with eye diseases for much of his adult life, undergoing numerous surgeries. His relationships with his children, Giorgio and Lucia, were also complex and often fraught.

Recognition and reception

Joyce's work was met with considerable controversy and censorship during his lifetime, particularly *Ulysses*. However, it gradually gained international acclaim and critical recognition. He is now considered one of the most important literary figures of the 20th century. His influence on subsequent generations of writers is immense, and his works are subjects of constant academic study and debate. While popular recognition might be limited by the demanding nature of his later works, his academic and critical standing is unparalleled.

Influences and legacy

Joyce was influenced by a wide range of authors, including Dante Alighieri, Giambattista Vico, Homer, and Henrik Ibsen. His experimental techniques, particularly stream of consciousness, have had a profound impact on modern literature worldwide. He is credited with revolutionizing the novel form and pushing the boundaries of literary expression. His legacy lies in his radical innovation, his intricate explorations of human consciousness, and his enduring fascination with the city of Dublin.

Interpretation and critical analysis

Joyce's works are subjects of continuous critical interpretation. His use of myth, symbolism, and complex narrative structures invites multiple readings. The philosophical and existential themes in his work, such as the nature of identity, the search for meaning, and the experience of exile, continue to be analyzed. Debates often center on the accessibility and ultimate meaning of his most experimental texts, particularly *Finnegans Wake*.

Curiosities and lesser-known aspects

Joyce had a remarkable memory for detail and a keen interest in languages. He was also a talented singer with a baritone voice. His writing habits were intense and disciplined, often involving meticulous research and planning. The sheer linguistic density of *Finnegans Wake* has led to countless attempts at decipherment and interpretation, a testament to its unique and challenging nature.

Death and memory

James Joyce died in Zurich, Switzerland, in 1941, following complications from surgery. His legacy is cemented in literary history, with his works studied extensively and his name synonymous with literary modernism and innovation. Dublin, the city he immortalized, continues to be a pilgrimage site for Joycean scholars and enthusiasts.