Joyce, James 'The dead'-Xx-En-Sp-Sp James 'The...para manejarse bien, daba lecciones de música para...

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Joyce’s The dead tr. de Fernando Galván tr.de G. Cabrera-Infante

The dead

by

James Joyce

Release Date: Sep, 2001 [Etext#2814] [Most recently updated:January 10, 2002] Michael S.Hart <[email protected]>Prepared by David [email protected] [email protected] by Karol Pietrzak.

Lily, the caretaker ’sdaughter, was l i teral lyr u n o f f h e r f e e t .Hardly had she broughtone gent leman into thel i t t le pa n t r y b e h i n dt h e o f f i c e o n t h eg r o u n d f l o o r a n dh e l p e d h i m o f f w i t hh i s o v e r c o a t t h a nt h e wheezy ha l l -doorbell clanged again ands h e h a d t o s c a m p e ralong the bare hallwayto let in another guest.It was well for her shehad not to attend to thel a d i e s a l s o . But MissKate and Miss Julia hadthought of that and hadconverted the bathroomupstairs into a ladies’dressing-room. Miss Kateand Miss Julia were there,gossiping and laughingand f u s s i n g , w a l k i n ga f t e r each other to theh e a d o f t h e s t a i r s ,p e e r i n g d o w n o v e rt h e b a n i s t e r s a n dcalling down to Lily toask her who had come.

I t w a s a l w a y s ag r e a t a f f a i r , t h eM i s s e s M o r k a n ’sa n n u a l d a n c e .E v e r y b o d y w h o knew

‘Los muertos’

de

James Joyce

tr. de Fernando Galván

Cátedra, Madrid, 2002

Lily, la hija de la guardesa,tenía los p i e s l i t e r a l -m e n t e h e c h o s p o l v o .A p e n a s h a b í a c o n d u -cido a un caballero a lapequeña despensa juntoa l a c o c i n a e n e lp r i m e r p i s o ,_______ _______ ______________ _______ c u a n d oy a sonaba de nuevo la viejacampana de la puerta y teníaque atravesar corriendo e ld e s n u d o v e s t í b u l o p a r ad a r p a s o a o t r o i n v i t a d o .Menos mal que no era cosasuya atender también a lasdamas. Pensando en eso ,l a s e ñ o r i t a K a t e y l as e ñ o r i t a J u l i a h a b í a nconver t ido e l cua r to deb a ñ o d e a r r i b a e n u nvestidor de señoras. La señorita Katey la señorita Julia se encontrabanallí, chismorreando y riendo ym e t i e n d o b u l l a , y e n d ouna de t r á s de l a o t r a a l oa l t o d e l a e s c a l e r ap a r a a s o m a r s e s o b r el a b a r a n d i l l a y l lamara Lily y preguntarle quiénacababa de llegar.

E l b a i l e a n u a l d el a s s e ñ o r i t a s M o r k a ne r a s i e m p r e u n g r a na c o n t e c i m i e n t o .A s i s t í a n t o d o s s u s

‘Los muertos’

de

James Joyce

tr. de Guillermo Cabrera-Infante

Alianza, Madrid, 1974,…, 1991

Escaneado por: Hypnerotomachia Poliphili;Corregido por: Filobiblion

Lily, la hija del encargado,tenía los pies literalmentemuertos. No había toda-v í a a c a b a d o d e h a c e rpasar a un inv i tado a lcuarto de desahogo, de-trás de la oficina de laplanta baja, para ayudar-lo a quitarse el abrigo,cuando de nuevo sonabala quejumbrosa campa-na de la puerta y teníaque echar a correr por elzaguán vac ío para de jare n t r a r a o t r o . E r a u na l i v i o n o t e n e r q u eatender también a las in-vitadas. Pero Miss Kate yMiss Julia habían pensa-do en eso y convirtieronel baño de arriba en uncuarto de señoras. Allá es-taban Miss Kate y MissJ u l i a , r i é n d o s e yc h i s m e a n d o yaje treándose ________________una tras la o t r ah a sta el rellano de la es-calera, para mirar abajo_________ y p regun-t a r a L i l y q u i é na c a b a b a d e entrar.

E l b a i l e a n u a l d el a s M o r k a n e r a s i e m -p re l a g r a n o c a s i ó n .Ve n í a n t o d o s l o s c o -noc idos , l o s miembros

caretaker: portero, vigilante

run off her feet: so occupied that she could not sit fora moment; common among many people, particularly

those with Lily’s minimal educationhardly had she brought...than: she had just

guided...when

pantry: room adjacent to a kitchen, cuarto ropero

helped...off with aided to take off

wheezy: asthmatic, resollante, jadeante, sibilanteclanged: resounded

scamper: run rapidlybare: denuded

hallway: corridorlet in: admit

guest: person invitedwell for her: a common Irish phrase for «fortunate for her.»

had not to: was not obliged toattend to: assist, receive

thought of that: considered the problemconverted: transformed

bathroom upstairs: only the very best houses hadindoor bathrooms

o

gossiping: conversing familiarlyfussing: being agitated, atareadas

head: toppeering down over: trying to see from

banisters: balustrade, hand-rail

dance velada

always: invariablygreat affair: important ceremony

Lily: In choosing this name Joyce wants the readerto make the associations that the flower has with: 1)death (it is frequently used at funerals); 2) theArchangel Gabriel (it is symbolic of this guardianof the gates of death); and 3) Easter, and thus withrebirth. The reader will want to decide whether ornot there is a rebirth at the end of this story.

always a great affair:Note that the voice telling thestory is no longer Lily’s, but rather the voice of thepeople of a certain Dublin class who knew about andattended parties where their fellow guests would be,as they are at this party, writers, educators, musicians,lovers of the «finer» things Dublin has to offer.

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t h e m c a m e t o i t ,m e m b e r s o f t h efami ly, o ld f r i ends o ft h e f a m i l y , t h em e m b e r s o f J u l i a ’ sc h o i r , a n y o f K a t e ’sp u p i l s t h a t w e r eg r o w n u p e n o u g h ,a n d e v e n s o m e o fM a r y J a n e ’ s p u p i l stoo . Never once had i tfal len f lat . Fo r y e a r sa n d y e a r s i t h a dg o n e o f f i n s p l e n d i ds ty le, as long as anyonec o u l d r e m e m b e r ;e v e r s i n c e K a t e a n dJulia, after the death ofthe i r b ro the r Pa t , hadleft the house in StoneyBatter and taken MaryJane, their only niece,to l ive with them in theda rk , gaunt house onU s h e r ’ s I s l a n d , t h eu p p e r p a r t o f w h i c hthey had rented f romMr. Fulham, the corn-factoro n t h e g r o u n d f l o o r.T h a t w a s a g o o dt h i r t y y e a r s a g oi f i t w a s a d a y .M a r y J a n e , w h o w a sthen a little girl in shortc l o t h e s , w a s n o w t h em a i n p r o p o f t h ehousehold , for she hadthe organ in HaddingtonR o a d . S h e h a d b e e nthrough the Academya n d g a v e a p u p i l s ’conce r t eve ry yea r i nthe upper room of theAntient Concert Rooms.M a n y o f h e r p u p i l sbelonged to the better-c l a s s f a m i l i e s o n t h eKingstown and Dalkeyline. Old as they were,her aunts also did theirshare . Julia, though shewas quite grey, was stillthe leading soprano inAdam and Eve’s , a n dKate, being too feebleto go about much , gavem u s i c l e s s o n s t ob e g i n n e r s o n t h e o l ds q u a r e p i a n o i n t h eb a c k r o o m . L i l y, t h e

c o n o c i d o s , f a m i -l i a r e s , v i e j o s a m i g o sd e l a f a m i l i a , l o sm i e m b r o s d e l c o r od e J u l i a , c u a l q u i e r ad e l o s a l u m n o s d eK a t e c o n e d a d s u f i -c i e n t e e i n c l u s o t a m -b i é n a l g ú n a l u m n o d eMary Jane . Ni una so lav e z h a b í a d e j a d o d es e r u n é x i t o . A ñ o s yaños con un r e su l t adoesp lénd ido po r cuan tos e p u d i e r a r e c o r d a r ,i n c l u s o d e s d e q u eK a t e y J u l i a , t r a s l amuer t e de su he rmanoPa t , de j a ran l a ca sa enStoney Ba t t e r y se l l e -va ran a Mary Jane , suún ica sobr ina , a v iv i rcon ellas a la sombría ye s c u á l i d a c a s a d eU s h e r ’s I s l a n d c u y aparte superior les habíaa l q u i l a d o e l s e ñ o rFulham, el asentador de granoq u e v iv ía en e l piso deabajo. De eso hacía susb u e n o s t r e i n t a a ñ o s ,por poner una fecha .Mary Jane, que enton-ces era una chiquil la defalda corta, era ahora elprincipal sostén de lafamilia, pues se encar-g a b a d e l ó r g a n o e nHaddington Road. Ha-bía pasado por la Aca-demia y todos los añosdaba un concierto a losalumnos en la sala supe-rior del auditorio Antient.Muchos de sus alumnospertenecían a familias muybuenas, como los de la lí-nea Kingstown y Dalkey.A pesar de los años, sust ías también hacían losuyo. Con todos sus cabe-llos grises, Julia aún era lasoprano principal en laiglesia de Adán y Eva, yKate, demasiado delicadapara manejarse bien ,daba lecciones de músicapara principiantes en elviejo piano de mesa delcuarto de atrás. Lily, la

d e l a f a m i l i a , l o sv i e j o s a m i g o s d e l af a m i l i a , l o s i n t e -g r a n t e s d e l c o r o d eJ u l i a , c u a l q u i e ra l u m n a d e K a t e q u ef u e r a l o b a s t a n t e m a -y o r c i t a y h a s t a a l u m -n a s d e M a r y J a n et a m b i é n . N u n c aq u e d a b a m a l . P o ra ñ o s y a ñ o s y t a na t r á s c o m o s e t e n í am e m o r i a h a b í a r e s u l -t a d o u n a o c a s i ó n l u -c i d a ; d e s d e q u e K a t ey J u l i a , c u a n d o m u -r i ó s u h e r m a n o P a t ,d e j a r o n l a c a s a d eS t o n e y B a t t e r y s el l e v a r o n a M a r y J a n e ,l a ú n i c a s o b r i n a , av i v i r c o n e l l a s e n l as o m b r í a y e s p i g a d ac a s a d e l a i s l a d eUsher, cuyos a l tos a l -qui laban a Mr. Fulham,un comerciante en granosque v iv ía en los ba jos .E s o o c u r r i ó h a c e s u sb u e n o s t r e i n t a a ñ o s__ _ _ _ ______ _ _ _ _ _ _ _ .M a r y J a n e , e n t o n c e su n a n i ñ i t a v e s t i d a d ec o r t o , e r a a h o r a e lpr inc ipa l sos tén de l acasa , ya que t ocaba e lórgano en Hadd ing tonR o a d . H a b í a p a s a d opor la Academia y dabasu conc ie r to anua l dea lumnas en e l sa lón dear r iba de las Ant igu a sS a l a s d e C o n c i e r t o .M u c h a s d e s u s a l u m -n a s p e r t e n e c í a n a lasmejores familias de la rutade Kingstown y Dalke y .S u s t í a s , aunque v ie -j a s , con t r ibu ían con losuyo . Ju l i a , a pesa r desus cana s , t o d a v í a e r al a p r i mera soprano d eA d á n y E v a , l a i g l e -s i a , y Ka te , muy de l i -cada para sa l ir afuera ,d aba l ecc iones de mú-s i ca a p r inc ip ian tes ene l v i e jo p i ano ve r t i ca lde l fondo . L i ly, l a h i j a

choir: choral, societyany...that: all those who

grown up enough: sufficiently adultand even: but also never: on no occasion

fallen flat: been a fiasco, a flop

gone off: taken placelong: far in the past

ever since: exactly from the moment

left (leave, left, ): quitted

dark, gaunt: sombre, sinisterUsher’s Island: name of a quay along the river Liffey

rented: occupied in exchange for moneycorn-factor: a merchant agent who transacts business

for otherso

a good thirty...a day: thirty is a moderate numberago: in the past

thirty years ago if it was a day: Another example ofthe conversational style of Dubliners that takes part inJoyce’s narration.o

then: at that timeo clothes: costume

main prop: principal supporthousehold: family

for: becausehad the organ: was the organist of the church

been through the Academy: studied at the Academy of music

upper: situated upstairsAntient Concert Rooms: building where concerts

were given

better-class: distinguished

on the...line: in the direction ofold: aged

did their share: participatedthough: in spite of the fact that

grey: (her hair)leading: chief, first

Adam and Eve’s: name of a church

go about: circulate, go here and theremuch: considerably

square piano # concert pianoback: situated at the back

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care taker ’s daugh te r,did housemaid’s workfor them. Though theirl i f e was modes t , t heybelieved in eating well ;the best of everything:diamond-bone sirloins ,three-shi l l ing tea andthe best bot t led stout .But Lily seldom made amistake in the orders ,so that she got on wellw i t h h e r t h r e em i s t r e s s e s . T h e yw e r e f u s s y , t h a t w a sa l l . B u t t h e o n l yt h i n g t h e y w o u l dn o t s t a n d w a sb a c k a n swers .

Of course, they hadgood reason to be fussyon such a n ight . Andthen it was long after teno’c lock and yet the rewas no sign of Gabrieland h i s w i fe . Bes idest h e y w e r e d re a d f u l l ya f r a i d t h a t F r e d d yMalins might turn ups c re w e d . T h e y w o u l dnot wish for worlds thata n y o f M a r y J a n e ’spup i l s should see himunder the influence; andwhen he was like that itwas sometimes very hardto manage him. F r e d d yM a l i n s a l w a y s c a m el a t e , b u t t h e yw o n d e r e d w h a t c o u l db e k e e p i n g G a b r i e l :a n d t h a t w a s w h a tb r o u g h t t h e m e v e r yt w o m i n u t e s t o t h eb a n i s t e r s t o a s k L i l yhad Gabr ie l o r Freddycome.

“ O , M r. C o n r o y, ”s a i d L i l y t o G a b r i e lw h e n s h e o p e n e d t h ed o o r f o r h i m , “ M i s sK a t e a n d M i s s J u l i athought you were neverc o m i n g . G o o d - n i g h t ,Mrs. Conroy.”

“ I’ll engage they did, ”s a i d G a b r i e l , “ b u t

hija de la guardesa, tra-bajaba para ellas comoas i s t en t a . A u n q u e s uv i d a e r a m o d e s t a , l e sgustaba la buena comi-da , l o me jo r de t odo :solomillos impecables,té de a tres chelines y lamejor cerveza embote-l l ada . L i l y r a r a v e zs e e q u i v o c a b a e ns u s e n c a r g o s , d em o d o q u e s e l l e v a b ab i e n c o n e l l a s . L e sg u s t aba meter bulla, e s oe r a t o d o . L o ú n ico q u en o s o p o r t a b a ne r a q u e s e l e sr e p l i c a r a .

Tenían razón, natural-mente, para meter bullaen una noche como ésa.Y a d e m á s eran las diezbien pasadas, y Gabriely su mujer seguían sin darseñales de vida». Ademásestaban aterrorizadasante la posibilidad de queF r e d d y M a l i n s a p a r e -c i e r a b o r r a c h o . P o rn a d a d e l m u n d o q u e -rrían que algún alumnode Mary Jane le v ieraen semejante estado; ycuando e s t aba a s í e r am u y d i f í c i l h a c e r s ec o n é l . F r e d d yMalins l legaba siempretarde, pero se pregunta-ban lo que podía retra-sar a Gabrie l , y por esos e a b a l a n z a b a n c a d ad o s m i n u t o s s o b r e l ab a r a n d i l l a p a r a p r e -guntar a Li ly s i habíal l e g a d o G a b r i e l oFreddy.

—Oh, señor Conroy—di jo L i ly cuando l ea b r i ó l a p u e r t a — , l a sseñor i tas Kate y Ju l iapensaban que no iba allegar usted nunca. Bue-n a s n o c h e s , s e ñ o r aConroy.

—No me extraña —dijo Gabr ie l—, pero se

de l encargado , l e s ha -c í a l a l i m p i e z a . A u n -que l l evaban una v idam o d e s t a , l e s g u s t a b ac o m e r b i e n ; l o m e j o rde lo me jo r : cos t i l l a sd e r i ñ o n a d a , t é d e at r e s c h e l i n e s y s t o u te m b o t e l l a d o d e l b u e -n o . P e r o L i l y n u n c ah a c í a u n m a n d a d om a l , p o r l o q u e s el l e v a b a m u y b i e n c o nl a s s e ñ o r i t a s . E r a nquisquillosas, e s o e st o d o . L o ú n i c oq u e n o s o p o r t a -b a n e r a q u e l e sc o n t e s t a r a n .

[120] Claro que teníanrazón para dar t a n t a l a t ae n u n a n o c h e a s í ,p u e s e r a n m á s d el a s d i e z y n i s e ñ a sd e G a b r i e l y s u e s -p o s a . A d e m á s , q u et e n í a m u c h í s i m om i e d o d e q u e F r e d d yM a l i n s s e l e s a p a r e -c i e r a t o m a d o . P o rn a d a d e l m u n d oq u e r í a n que l a s a lum-n a s d e M a r y J a n e l ov ie ran en ese es tado ; ycuando e s t aba a s í e r amuy dif íc i l de manejar,a veces . Freddy Mal insl legaba s iempre ta rde ,p e r o s e p r e g u n t a b a np o r q u é s e d e m o r a r í aG a b r i e l : y e r a e s o l oque las hací a a s o m a r s e_____________ ____ a l ae s c a l e r a p a r a p r e -g u n t a r l e a L i l y s iG a b r i e l y F r e d d y h a -b í a n l l e g a d o .

— A h , M r . C o n r o y— l e d i j o L i l y aG a b r i e l c u a n d o l eabr ió la puer ta—, MissK a t e y M i s s J u l i acre ían que us ted ya novenía . Buenas noches ,Mrs . Conroy.

—Me apuesto a quecreían eso —di jo

did housemaid’s work: acted as a servant

believed: were sure of the value ofeating well: consuming good food

sirloin(s): best part of beefthree-shilling tea: The sirloin is of course an expensive cut,and good everyday tea sold for one-fourth of this price.

stout: strong beerseldom: rarely

mistake: errororder(s): command

so that: in consequencegot on well: had gopd relations

fussy: obsessed by details, exigentes, meticulosas

would not stand: did not tolerateback answer(s): impolite reply

back answers: Another example of a character’s voicebecoming the author’s voice. «Back answers» wouldbe tart or short tempered responses.

such a night: a night like thatlong: a long time

and yet: but

dreadfully afraid: terrified

might: possibilityturn up: arrive

screwed: full of alcohol; drunk, or fast on his way tobecoming drunk.

wish for worlds: desire at all

should: conditionalinfluence: of alcohol

sometimes: frequentlyhard: difficult

manage: control

late: after the usual time

wondered: wished to knowkeeping: stopping

that was what: it was the cause which

had Gabriel...come: if Gabriel...had come

were never coming: would never come

Good night: used as both hello and goodbye.

I’ll engage they did Seguro que lo estabanI’ll engage they did: I am convinced they thought that

I’ll engage they did: Gabriel frequently usespretentious and psuedo-elegant words in an attempt

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t h e y f o r g e t t h a t m yw i f e h e r e t a k e sthree mor ta l hours t od ress herse l f . ”

H e s t o o d o n t h em a t , s c r a p i n g t h es n o w f r o m h i sg o l o s h e s , w h i l e L i l yl e d h i s w i f e t o t h ef o o t o f t h e s t a i r s a n dc a l l e d o u t :

“ M i s s K a t e , h e r e ’sMrs. Conroy.”

K a t e a n d J u l i ac a m e t o d d l i n g d o w nt h e d a r k s t a i r s a to n c e . B o t h o f t h e mk i s s e d G a b r i e l ’ sw i f e , s a i d s h emust be perished alive,a n d a s k e d w a sG a b r i e l w i t h h e r.

“ H e r e I a m a sr i g h t a s t h e m a i l ,A u n t K a t e ! G o o nu p . I ’ l l f o l l o w , ”c a l l e d o u t G a b r i e lf r o m t h e d a r k .

H e c o n t i n u e ds c r a p i n g h i s f e e tv i g o r o u s l y w h i l e t h et h r e e w o m e n w e n tupstairs, laughing, to theladies’ dressing-room. Alight fringe of snow layl i k e a c a p e o n t h es h o u l d e r s o f h i so v e rc o a t a n d l i k et o e c a p s o n t h et o e s o f h i sg o l o s h e s; and, as thebuttons of his overcoats l i p p e d w i t h as q u e a k i n g n o i s et h r o u g h t h e s n o w -s t i f f e n e d f r i e z e , acold, fr a g ran t a i r f romout-of -doors e s c a p e df r o m c r e v i c e s a n df o l d s .

“ I s i t s n o w i n ga g a i n , M r. C o n r o y ? ”asked Lily.

o l v i d a n d e q u ea q u í , m i m u j e r, t a r d atr e s m o r t a l e s h o r a sen a r r eg la r se .

Se restregó los piescontra el felpudo paraquitarse la nieve de lasgalochas , y Lily condu-jo a su mujer al pie dela escalera, desde dondeavisó de su llegada.

—Señorita Kate, aquíestá la señora Conroy.

K a t e y J u l i a ba-jaron por la ____ escale-ra a la vez como si fue-sen chiquillas. Besarona la mujer de Gabriel, ledijeron que debía de es-tar muerta de frío y lepreguntaron si Gabriel seencontraba con ella.

— A q u í e s t o y, t a npuntual como el correo,t í a K a t e — g r i t óGabriel desde la oscu-r i d a d — . S u b i d , q u eahora voy.

Y s iguió r e s t r e -gándose vigorosamentelos pies mientras las tresmujeres subían la esca-l e r a r i é n d o s e hacia elvestidor de señoras. Unatenue capa de nieve se ex-tendía como una esclavi-na sobre los hombros desu abri g o , y c o m op u n t e r a s e n l o s e x -t r e m o s d e s u sg a l o c h a s . A l d e s a -b o t o n a r s e e l a b r i g o ,l a t e l a , t i e s a p o rl a n i e v e , c r u j i ó ye x h a l ó e n t r es u s p l i e g u e s yr e n d i j a s u n ah e l a d a f r a g a n -c i a a i n t e m p e -r i e .

—¿Está nevando denuevo, señor Conroy? —preguntó Lily.

Gabriel—, pero es que se ol-vidaron que acá mi mujer setoma tres horas mortalespara vestirse.

S e p a r ó s o b r e e lf e l p u d o a l i m p i a r s el a n i e v e d e l a sg a l o c h a s , m i e n t r a sL i l y c o n d u c í a a l am u j e r a l p i e d e l a e s -c a l e r a y g r i t a b a :

— M i s s K a t e , a q u íestá Mrs. Conroy.

Kate y Julia bajaronen seguida la oscura es-ca l e ra dando tumbos .L a s d o s b e s a r o n al a esposa de Gabriel , ledijeron que de b í a e s t a ra t e r i d a e n v i d a y l ep r e g untaron si Gabrielhabía venido con ella.

— A q u í e s t o y , t í aK a t e , ¡sin un rasguño!S u b a n u s t e d e s , q u ey o l a s a l c a n z o —g r i t ó Gabr i e l desde l ao s c u r i d a d .

S igu ió l impiándosel o s p i e s c o n v i g o rmient ras las t res muje-r e s sub ían l a s e sca l e -r a s , r i e n d o , h a c i a e lc u a r t o d e v e s t i r. U n al e v e f r a n j a d e n i e v er e p o s a b a s o b r e l o sh o m b r o s d e l a b r i g o ,como una esc lavina , yc o m o u n a p e z u ñ as o b r e e l e m p e i n e d el a s g a l o c h a s ; ya l d e s l i z a r l o sb o t o n e s c o n u nr u i d o c r i s p a n t e p o rlos ojales h e lados d e la b r i g o , d e e n t r es u s p l i e g u e s yd o b l e c e s s a l i ó e lv a h o f r a g a n t e d e l des-campado.

—¿Está nevando otravez, Mr. Conroy? —pre-guntó Lily.

forget # remember

wife: married womanthree mortal hours: Joyce does not have to strain forsymbols and allusions, but finds them in natural phrasesand objects. Here, a common expression carries with itovertones of life and death appropriate to this story.

dress herself: put on her clothes

mat: small strong carpet placed at the doorscraping: detaching by friction

goloshes: snow boots made of rubber, to put on overregular shoes.

led: went with

called out: announced audibly

toddling down: a nice touch on Joyce’s part to suggestthe childlike, even infantile, character of the two womenat walking in that manner with difficulty.

stairs: for passing from one floor to anotherat once: immediately

both: the two

perished alive: dead with coldmust be perished alive: again, a common expressionfurnishes associative effects.

right as the mail: Astonishing to us nowadays but theturn-of-the-century Dublin equivalent of email: fivepickups of mail and five deliveries each day! Regular,in order, like the post

follow : precedecalled out: cried

the dark: the obscurity

while: during the time that

laughing: showing their amusementdressing-room: where guests take off their coats

lay: rested

shoulders: upper part

toecap(s): cover protecting the front part of a shoe

as: whileovercoat: long coat used in winter

slipped—through: opened with a brief light sound

snow-stiffened: made rigid by the snowfrieze: tejido de la a espesa

fragrant: pleasant, odoriferous

crevices and folds: curves and lines of his overcoat

scraping the snow: Note how Gabriel is presented assomeone who tries to rid himself of nature, in contrastto the sympathetic and romantic Michael at theconclusion of the story who is presented as standingout in the rain. Throughout the story Gabriel observesthe snow and the weather through windows, and welearn that he makes his family wear goloshes.

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She had preceded himinto the pantry to helph i m o f f w i t h h i sovercoat. Gabriel smiledat the three syllables shehad given his surnameand glanced at her. Shewas a slim; growing girl,pale in complexion andwith hay-coloured hair.The gas in the pantrym a d e h e r l o o k s t i l lpa ler. Gabriel had knownh e r w h e n s h e w a s ac h i l d a n d u s e d t o s i to n t h e l o w e s t s t e pnursing a rag dol l .

“ Ye s , L i l y , ” h ea n s w e r e d , “ a n d It h i n k w e ’ r e i n f o r an i g h t o f i t . ”

He looked up at thepantry ceiling, w h i c hw a s s h a k i n g w i t h t h es t a m p i n g a n ds h u f f l i n g o f f e e t o nt h e f l o o r a b o v e ,l i s t e n e d f o r am o m e n t t o t h e p i a n oa n d t h e n g l a n c e d a tt h e g i r l , w h o w a sf o l d i n g h i s o v e r c o a tc a r e f u l l y a t t h e e n do f a s h e l f .

“Te l l me . L i ly, ” hesaid in a friendly tone,“ d o y o u s t i l l g o t oschool?”

“O no, sir,” sheanswered. “I’m doneschooling this year andmore.”

“ O , t h e n , ” s a i dGabriel gaily, “I supposewe’ll be going to yourwedd ing one o f t he sef i n e d a y s w i t h y o u ryoung man, eh? “

The girl glanced backat him over her shouldera n d s a i d w i t h g re a tbitterness:

“ T h e m e n t h a t i s

L e c o n d u j o a l adespensa para ayudarlea q u i t a r s e e l a b r i g o .Gabr ie l sonr ió por lastres sílabas con que ha-bía pronunciado su ape-llido y la miró. Era unachica delgada, en plenodesarrollo, de piel páli-da y pelo color heno. Elgas de la despensa ha-c ía que parec iese máspálida. Gabriel la cono-ció cuando era una niñaq u e s o l í a s e n t a r s e a lp i e d e l a e s c a l e r a yacunar una muñeca de trapo.

S í , L i l y — r e s p o n -dió—. Y me da la impre-sión de que tendremostoda una noche de nieve.

L e v a n t ó l a m i r a d aa l t e c h o d e l a d e s -p e n s a , q u e t r e p i d a b ap o r l o s ______ p a s o s ye l a r r a s t r a r d e p i e se n e l p i s o d e a r r i b a ,e s c u c h ó d u r a n t e u nm o m e n t o e l p i a n o , yd e s p u é s m i r ó a l am u c h a c h a , q u e c o l o -c a b a s u a b r i g o c u i d a -d o s a m e n t e d o b l a d oe n u n a n a q u e l .

— D i m e , L i l y —d i j o e n u n t o n o a m i s -t o s o — , ¿ v a s t o d a v í a al a e s c u e l a ?

— O h , n o , s e ñ o r —r e s p o n d i ó e l l a — . H et e r m i n a d o e s t e a ñ o ypara siempre.

— O h , e n t o n c e s— d i j o G a b r i e lj o v i a l m e n t e —s u p o n g o q u e u n d í ad e e s t o s i r e m o s________ a t u b o d a .

L a m u c h a c h a l em i r ó s o b r e e l h o m -b r o y d i j o c o n g r a na m a r g u r a :

— L o s h o m b r e s d e

S e l e h a b í a a d e l a n t a d ohasta el cuarto de desahogopara ayudarle a quitar-se el abrigo, y Gabrielsonrió al oír que añadía,una sí laba más a su ape-llido. Era una muchachadelgada que aún no habíaparado de crecer, de tezpál ida y pelo color depaja. El gas del cuarticol a h a c í a l u c i r l í v i d a .G a b r i e l l a c o n o c i ós i e n d o u n a n i ñ aq u e s e s e n t a b a e ne l ú l t i m o e s c a l ó n aacunar su muñeca de trapo.

—Sí , L i ly —le res -pondió—, y me pareceque tenemos para todala noche.

M i r ó a l c i e l or a s o , q u e t e m b l a -b a c o n l o st a c o n a z o s y e ld e s l i z a r s e d e p i e se n e l p i s o d e a r r i b a ,a t e n d i ó u n m o m e n t oa l p i a n o y l u e g oe c h ó u n a o j e a d a a l am u c h a c h a , q u e y ad o b l a b a s u a b r i g oc o n c u i d a d o a l f o n -d o d e l e s t a n t e .

—Dime , L i ly —di joe n t o n o a m i s t o s o — ,¿ v a s t o d a v í a a l a e s -c u e l a ?

— O h , n o , s e ñ o r— r e s p o n d i óe l l a — , y a n o m á sy n u n c a .

— A h , p u e s e n t o n -ces —di jo Gabr i e l , j o -v i a l— supongo que und í a d e é s t o s a s i s t i r e -mos a e s a b o d a contu nov io , ¿no?

[ 1 2 1 ] L a m u c h a -c h a l o m i r óe s q u i n a d a y d i j o c o nh o n d a a m a r g u r a :

— L o s h o m b r e s d e

pantry cuarto ropero

smiled at: was amused bythree syllables: Con-na-roy

given: pronouncedsurname: family name

glanced: looked quicklyslim # fat

growing: adolescent

with hay-coloured hair: blond

paler: more palehad known: pluperfect of know

used to: was accustomed tostep: element of stairs

nursing: having tenderly in her hands

we’re in for a night of it: it will continue to snow all night

ceiling: top of the roomshaking: trembling

stamping and shuffling: loud or soft sounds of feet

above: upstairs

folding: arranging in order

carefully: with great attentionend: extremity

shelf: plank

in a friendly tone: amicably

still: at the moment, now as in the past

I’m done schooling...: I finished school more than ayear ago

we’ll be going to: we will be present at (futurecontinuous)

wedding: marriage ceremony

one...days: in the futureyoung man: boyfriend, fiancé

glanced back: looked at him in returnover her shoulder: with her head turned

great bitterness: deep resentment

the men that is...: the men of my generation talk a lotand...

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n o w i s o n l y a l lpalaver and what theycan get out of you.”

G a b r i e l c o l o u r e d ,a s i f h e f e l t h e h a dm a d e a m i s t a k e a n d ,w i t h o u t l o o k i n g a th e r , k i c k e d o f f h i sg o l o s h e s a n d f l i c k e da c t i v e l y w i t h h i sm u ff l e r a t h i s p a t e n t -l e a t h e r s h o e s .

H e w a s a s t o u t ,tallish young man. Theh i g h c o l o u r o f h i scheeks pushed upwardse v e n t o h i s f o r e h e a d ,where it scattered itselfi n a f e w f o r m l e s spatches of pale red; ando n h i s h a i r l e s s f a c et h e r e s c i n t i l l a t e drest less ly the pol ishedlenses and the bright giltr i m s o f t h e g l a s s e sw h i c h s c r e e n e d h i sd e l i c a t e a n d r e s t l e s seyes. His glossy blackhair was par ted in themiddle and brushed in along curve beh ind h i se a r s w h e r e i t c u r l e ds l i g h t l y b e n e a t h t h egroove left by his hat.

W h e n h e h a df l i c k e d l u s t r e i n t oh i s s h o e s h e s t o o du p a n d p u l l e d h i sw a i s t c o a t d o w nm o r e t i g h t l y o n h i sp l u m p b o d y . T h e nh e t o o k a c o i nr a p i d l y f r o m h i sp o c k e t .

“ O L i l y, ” h e s a i d ,thrusting it into her hands,“it’s Christmastime, isn’ti t ? J u s t . . . h e r e ’s alittle....”

He walked rapidlytowards the door.

“ O n o , s i r ! ”c r i e d t h e g i r l ,f o l l o w i n g h i m .

hoy en día sólo saben deengatusamientos , y to-dos quieren lo mismo.

G a b r i e l e n r o j e c i ócomo si se percatara dehaber cometido una fal-ta y, sin mirarla, se qui-tó las galochas de sen-dos puntapiés, y repasócon enérgicos golpes dela bufanda el bri l lo desus zapatos de charol.

Era un hombre fuer-t e y un poco a l to . E lc o l o r s u b i d o d e s u smej i l l a s l l egaba has tala f ren te donde se es -p a r c í a e n u n a s p o c a sm a n c h a s i n c o n c r e t a sde un ro jo apagado . Ensu ros t ro imberbe cen-t e l l e a b a n i n c a n s a b l e slos pu l idos l en t e s y l at enue mon tu ra do radade l as ga fas que p ro te -g í a n s u s o j o s d e l i c a -dos e i n fa t igab le s . Subril lante pelo negro sed i v i d í a e n d o s l a rg a sondas has t a de t r á s desus ore jas , donde se r i -zaba l igeramente ba jola seña l de jada por e lsombrero .

C u a n d o s u s z a p a t o ses tuv i eron lus t rosos ,s e i rg u i ó y t i r ó d e s uc h a l e c o h a c i a a b a j op a r a a j u s t a r l o m e j o ra s u c u e r p o r e g o r d e -t e . S a c ó e n t o n c e s u n am o n e d a d e s u b o l s i -l l o y l a i n t r o d u j o e n l a smanos de la muchacha.

— E s N a v i d a d ,L i l y , ______ _____________ _____ d em o d o q u e . . . a q u ít i e n e s . . .

Y caminó rápidamen-te hacia la puerta.

— ¡ O h , n o , s e ñ o r !— g r i t ó l a m u c h a -c h a , s i g u i é n d o l e —

ahora no son más quelabia y lo que puedanechar mano.

G a b r i e l s e s o n ro j óc o m o s i c r e y e r a h a -b e r c o m e t i d o u ne r r o r y , s i n m i r a r l a ,s e s a c u d i ó l a sg a l o c h a s d e l o s p i e sy c o n s u b u f a n d af r o t ó f u e r t e s u s z a -p a t o s d e c h a r o l .

Era un hombre joven,más bien alto y robusto.El color encarnado desus mej i l l as le l l egabaa l a f r e n t e , d o n d e s eregaba en parches ro j i -zos y s in fo rma; y ensu cara desnuda br i l la -ban s in cesar los lentesy los aros de oro de lose s p e j u e l o s q u e a m p a -raban sus o jos inquie-tos y de l icados . Lleva-b a e l b r i l l a n t e p e l onegro par t ido a l medioy pe inado hac i a a t r á sen una la rga curva pord e t r á s d e l a s o r e j a s ,donde se ondeaba levedebajo de la es t r ía quel e d e j a b a m a r c a d a e lsombrero .

C u a n d o l e s a c ób a s t a n t e b r i l l o a l o sz a p a t o s , s e e n d e r e -z ó y s e a j u s t ó e lc h a l e c o t i r a n d o d eé l p o r s o b r e e lv i e n t r e r o l l i z o .L u e g o e x t r a j o c o nr a p i d e z u n a m o n e d ad e l b o l s i l l o .

— A h , L i l y — d i j o ,p o n i é n d o s e l a e n l am a n o — , e s N a v i d a d ,¿no es cierto? Aquí t ie-nes… esto…

Caminó rápido haciala puerta.

—¡Oh, no, señor! —pro tes tó l a muchacha ,c a y é n d o l e d e t r á s —.

can get out of you: try to take advantage of girlscoloured: became red perhaps because of the harshnessof Lily’s reply, perhaps because he recognizes that thewords could apply to him. He appears to be all wordsand no action.

felt : sensedwithout: not

kicked off: took off using his footflicked...at: brushed

muffler: scarfpatent leather: de cuero brillante

stout: big, corpulenttallish: not small

high # palecheeks: part of face under the eyes

pushed upwards: extended

scattered: separated irregularly

formless patches: indistinct marks

hairless: Gabriel has no moustache

restlessly: all the timelenses...rims: essential parts of a pair of glasses

screened: protectedrestless: nervousglossy: lustrousparted: divided

behind: at the back ofear(s): organ of hearingslightly: not very much

beneath: undergroove: line, trace

flicked lustre into his shoes: made his shoes lustrousby brushing them

pulled...down: adjustedwaistcoat: chaleco

plump: fat, stoutcoin: metal money

thrusting: putting rapidlyisn’t it: mini-question asking for approval

towards: in the direction of

The men that is now is only all palaver: Lily’s reply isan ungrammatical — plural noun and singular verb —but common usage among those of Lily’s educationalbackground. Palaver means «idle chatter», particularlywhen the aim is to charm, flatter, or beguile, and it isunclear whether this, or the sexual suggestion that follows,is what makes the remark so upsetting to Gabriel’s ears.

high colour: in the following sentences, through the phrase «flicked lustre» in the next paragraph, note the many words suggesting that Gabriel is the Archangel: among them, «scintillated», «bright», and «glossy».

[lo que puedan obtener de una.]

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“ R e a l l y , s i r , Iw o u l d n ’ t t a k e i t . ”

“ C h r i s t m a s - t i m e !C h r i s t m a s - t i m e ! ”s a i d G a b r i e l , a l m o s tt r o t t i n g t o t h e s t a i r sa n d w a v i n g h i s h a n dt o h e r i nd e p r e c a t i o n .

T h e g i r l , s e e i n gt h a t h e h a d g a i n e dt h e s t a i r s , c a l l e do u t a f t e r h i m :

“Well, thank you, sir.”

H e w a i t e d o u t s i d ethe drawing-room doorun t i l t he wa l t z shou ldf in i sh , l i s t en ing to thes k i r t s t h a t s w e p ta g a i n s t i t a n d t o t h es h u f f l i n g o f f e e t . H ewas s t i l l d i s composedby the g i r l ’s b i t t e r ands u d d e n r e t o r t . I t h a dcas t a g loom ove r h imw h i c h h e t r i e d t od i s p e l b y a r r a n g i n gh i s cu ff s and the bowso f h i s t i e . H e t h e nt o o k f r o m h i sw a i s t c o a t p o c k e t al i t t l e p a p e r a n dg l a n c e d a t t h ehead ings he had madefo r h i s speech . He wasu n d e c i d e d a b o u t t h el i n e s f r o m R o b e r tB r o w n i n g , f o r h ef e a r e d t h e y w o u l d b eabove the heads o f h i sh e a r e r s . S o m eq u o t a t i o n t h a t t h e ywou ld r ecogn i se f romS h a k e s p e a r e o r f r o mthe Melod ies would bebe t t e r . The i nde l i c a t ec l ack ing o f t he men’shee l s and the shufflingo f t h e i r s o l e sr e m i n d e d h i m t h a tthe i r g rade o f cu l tu red i f f e r ed f rom h i s . Hew o u l d o n l y m a k eh i m s e l f r i d i c u l o u s b yquot ing poe t ry to themw h i c h t h e y c o u l d n o tu n d e r s t a n d . T h e y

¡No es necesar io! ¡Deverdad, señor!

— ¡ E s N a v i d a d ¡ E sN a v i d a d ! — d i j oGabr ie l , t ro tando cas ihacia la escalera y qui-t a n d o i m p o r t a n c i a a la s u n t o c o n u n m o v i -miento de la mano.

— B u e n o . G r a c i a s ,s e ñ o r — g r i t ó l a m u -c h a c h a , v i e n d o q u eG a b r i e l a l c a n z a b a l ae s c a l e r a .

Gabriel se quedó jun-to a la puerta del salónesperando a que termina-ra el vals y escuchandolas faldas que se arras-traban por el suelo y elpataleo de los bai lar i -n e s , t o d a v í a d e s c o m -puesto por la súbi ta ya m a r g a r é p l i c a d e l am u c h a c h a , q u e h a b í ae j e r c i d o s o b r e é l u nefecto melancól ico quet r a t ó d e d i s i p a r a r r e -glándose los puños dela camisa y e l lazo del a c o r b a t a . D e s p u é ss a c ó d e l b o l s i l l o d e lcha leco un pape l i to ye c h ó u n v i s t a z o a lencabezamien to de sud i s c u r s o . N o a c a b a b ade decidirse en cuantoa las l íneas de Rober tB r o w n i n g p u e s t e m í aque quedaran fuera dela l cance de su aud i t o -r i o . Q u i z á r e s u l t a r í am e j o r a l g u n a c i t a d eS h a k e s p e a r e o d e l a sMelodías que pudieranreconocer. El indecoro-s o t r a q u e t e o d e l o stacones de los hombresy e l res tregar de sussue las con t ra e l sue lole recordaron el gradod e c u l t u r a q u e l ed i f e renc iaba de e l lo s .Sólo conseguir ía hacerel r idículo s i les c i tabauna poesía que no pu-d i e r a n c o m p r e n d e r .

De veras, señor, no creoque deba.

—¡Es Navidad! ¡Na-vidad! —di jo Gabr ie l ,casi t rotando hasta lase s c a l e r a s y m o v i e n d osus manos hacia ella in-d i c a n d o q u e n o t e n í aimportancia.

La muchacha, viendoque ya había ganado laescalera, gri tó tras él:

—Bueno, gracias en-tonces, señor.

E s p e r a b a f u e r a aq u e e l v a l s t e r m i n a -r a e n l a s a l a , e s c u -c h a n d o l a s f a l d a s yl o s p i e s q u e s ea r r a s t r a b a n , b a -r r i é n d o l a . T o d a v í as e s e n t í a d e s c o n c e r -t a d o p o r l a s ú b i t a ya m a r g a r é p l i c a d e l am u c h a c h a , q u e l oe n t r i s t e c i ó . T r a t ó d ed i s i p a r l o a r r e g l á n -d o s e l o s p u ñ o s y e ll a z o d e l a c o r b a t a .L u e g o s a c ó d e l b o l -s i l l o d e l c h a l e c o u np a p e l i t o y e c h ó u n ao j e a d a a l a l i s t a d et e m a s p a r a s u d i s -c u r s o . S e s e n t í a i n -d e c i s o s o b r e l o s v e r -s o s d e R o b e r tB r o w n i n g p o r q u e t e -m í a q u e e s t u v i e r a nm u y p o r e n c i m a d es u s o y e n t e s . S e r í am e j o r u n a c i t a q u ep u d i e r a n r e c o n o c e r ,d e S h a k e s p e a r e o d el a s M e l o d í a s d eT h o m a s M o o r e . E lg r o s e r o c l a q u e t e o d el o s t a c o n e s m a s c u l i -n o s y e l a r r a s t r e d es u e l a s l e r e c o r d óq u e e l g r a d o d e c u l -t u r a d e e l l o s d i f e r í ad e l s u y o . H a r í a e lr i d í c u l o s i c i t a b ap o e m a s q u e n o p u -d i e r a n e n t e n d e r .P e n s a r í a n q u e e s t a b a

wouldn’t take: can’t accept

almost: practicallytrotting: going at a rapid pace

waving: making a signal with his hand

deprecation: (he wanted Lily to accept the money)

waited outside: did not enterdrawing-room: room for reception

skirt(s): woman’s costumeswept against it: touched the door in turning around

rapidly during the dance

discomposed: troubled

retort: replycast a gloom...: invaded him with melancholy

dispel: dissipate cuff(s): puñosbows of his tie: his cravat

heading(s): notemade: written

speech: orators make speechesundecided: hesitating

lines: lines of verse

feared: had apprehension

hearers: audiencesome quotation: a certain passage

Melodies: poems by the Irish poet and composer Th. Mooreindelicate: vulgar

clacking: clack-clackheel(s): back part of shoe

sole(s): under surface of shoereminded him: made him conscious

his: his grade (degree) of culture

only: just by

quoting: if he citedwhich (relative object) = poetry

understand: comprehend

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w o u l d t h i n k t h a t h ewas a i r ing h is super iore d u c a t i o n . H e w o u l dfa i l w i th them jus t a she had f a i l ed wi th theg i r l i n t he pantry . H eh a d t a k e n u p aw r o n g t o n e . H i sw h o l e s p e e c h w a s am i s t a k e f r o m f i r s tt o l a s t , a n u t t e rf a i l u r e .

J u s t t h e n h i s a u n t sand his wife came outof the ladies’ dressing-room. H i s aun t s we ret w o s m a l l , p l a i n l yd r e s s e d o l d w o m e n .Aunt Jul ia was an incho r s o t h e t a l l e r . H e rh a i r , d r a w n l o w o v e rt h e t o p s o f h e r e a r s ,w a s g r e y ; a n d g r e ya l s o , w i t h d a r k e rshadows, was her largef l a c c i d f a c e . T h o u g hshe was s tout in bui lda n d s t o o d e r e c t , h e rs l o w e y e s a n d p a r t e dl i p s g a v e h e r t h eappearance of a womanw h o d i d n o t k n o wwhere she was or wheres h e w a s g o i n g . A u n tK a t e w a s m o r ev i v a c i o u s . H e r f a c e ,h e a l t h i e r t h a n h e rs i s t e r ’s , w a s a l lpu c k e r s a n d cr e a s e s ,l i k e a s h r i v e l l e d r e da p p l e , a n d h e r h a i r ,b r a i d e d i n t h e s a m eold-fashioned way, hadn o t l o s t i t s r i p e n u tcolour.

T h e y b o t h k i s s e dG a b r i e l f r a n k l y . H ew a s t h e i r f a v o u r i t enephew the son of theird e a d e l d e r s i s t e r ,El len, who had marr iedT. J . C o n r o y o f t h ePor t and Docks .

“ G r e t t a t e l l s m eyou’re not going to takea cab back to Monkstowntonight , Gabriel ,” said

P e n s a r í a n q u e e s t a b aevidenciando su mejoreducac ión . F r aca sa r í ac o n e l l o s c o m o h a b í af r a c a s a d o c o n l a m u -chacha en la despensa .Había adoptado un tonoe q u i v o c a d o . To d o s udiscurso era una equi-vocación del pr incipióal f in, un absoluto fra-caso.

_____ S u s t í a s y s um u j e r s a l i e r o n d e lv e s t i d o r d e s e ñ o r a s .Sus t ías e ran dos v ie -j e c i t a s s e n c i l l a m e n t eves t idas . T ía Ju l ia e rala más a l ta , una pulga-da más o menos. Su ca-be l lo , pe inado en mo-ñ o s s o b r e l a s o r e j a s ,e r a g r i s ; y g r i s e r at ambién , con sombrasmás oscuras , su f lácidor o s t r o a l a rg a d o . A u n -que era de const i tuciónf u e r t e y s e m a n t e n í ab i e n t i e s a , s u s o j o sm u e r t o s y s u s l a b i o sh e n d i d o s l e d a b a n e la s p e c t o d e u n a m u j e rque no sup i e r a dóndese encont raba o a dón-de se d i r ig ía . T ía Kateera más v ivaz . Su ros-t ro , más sano que e l des u h e r m a n a , e r a t o d opl iegues y rayas , comouna ro ja re ine ta , y suc a b e l l o , p e i n a d o d e lm i s m o m o d o a n t i c u a -do, no había perdido e lco lor de las ave l lanasmaduras .

Ambas le besaron encuanto le vieron. Era susobrino favorito, el hijode su difunta hermanamayor, Ellen, que se ha-b í a c a s a d o c o n T. J .Conroy del Puerto y losDiques

—Gretta me ha dichoque no vais a tomar uncoche pa ra r eg re sa r aMonkstown esta noche

a l a r d e a n d o d e s uc u l t u r a . C o m e t e r í au n e r r o r c o n e l l o sc o m o e l q u e c o m e t i óc o n l a m u c h a c h a e ne l cuarto de desahogo.S e e q u i v o c ó d et o n o . T o d o s u d i s -c u r s o e s t a b a e q u i -v o c a d o d e a r r i b aa b a j o . U n f r a c a s ot o t a l .

Fue en tonces cuan-do sus t ías y su mujersa l ie ron de l cuar to dev e s t i r . S u s t í a s e r a ndos anc ianas pequeñasque ves t ían con senc i -l l e z . T í a J u l i a e r acomo una pulgada mása l t a . L l e v a b a e l p e l ogr i s , hac ia a t rás , en un[122] moño a la a l turad e l a s o r e j a s ; y g r i st ambién , con sombraso s c u r a s , e r a s u l a rg aca ra f l ácc ida . Aunqueera robusta y caminabae rgu ida , l o s o jos l án -guidos y los lab ios en-t reabier tos le daban laapar ienc ia de una mu-je r que no sab ía dóndees taba n i a dónde iba .T í a K a t e s e v e í a m á sviva . Su cara , más sa-l u d a b l e q u e l a d e s uhermana , e ra toda bul-t o s y a r r u g a s , c o m ouna manzana ro ja perof r u n c i d a , y s u p e l o ,p e i n a d o t a m b i é n a l aan t igua , no había per-d ido su co lor de cas ta -ña madura .

L a s d o s b e s a r o n aGabriel , cariñosas . Erae l s o b r i n o p r e f e r i d o ,hi jo de la hermana ma-yor, la difunta El len, laque s e ca só con T. J .Conroy, de los Muellesdel Puerto .

—Gretta me acaba dedecir que no va a regre-s a r e n c o c h e aMonkstown esta noche,

airing: making an exhibition of, showing off

fail # make a successjust as: exactly in the manner that

taken up: adoptedwrong # correct, right

whole: entirefrom first to last: from the beginning to the end

utter: total, completefailure: fiasco

just then: at that precise moment

plainly: simply

an inch or so: one or two inchestaller: higher in stature

drawn low...: covered her ears and ended in achignon

darker shadow(s): more intense grey in parts

flaccid # firmbuild: proportions of her body

erect: rigid and dignifiedslow: moving slowly

parted lips: her mouth was half open

where she was going: in what direction she wanted to go

vivacious: animatedhealthier: more healthy or flourishing

puckers and creases: folds and crevicesshrivelled: old and dry braided: arranged in tresses

old-fashioned way: obsolete mannerlost # maintainedripe nut: auburn

frankly: cordially, afectuosamente

son: male childelder: senior

had married: was married to; # not with!

cab: vehicle pulled by a horseback: to return

Monkstown: about 8 km from the centre of Dublin

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Aunt Kate.

“No ,” sa id Gabr i e l ,t u r n i n g t o h i s w i f e ,“we had qu i t e enougho f t h a t l a s t y e a r ,hadn’ t we? Don’t youremember, Au n t K a t e ,w h a t a c o l d G r e t t ag o t o u t o f i t ? C a bw i n d o w s r a t t l i n ga l l t h e w a y, a n d t h ee a s t w i n d b l o w i n g i na f t e r w e p a s s e dMer r ion . Very jo l ly i tw a s . G r e t t a c a u g h t ad read fu l co ld . ”

A u n t K a t ef r o w n e d s e v e r e l ya n d n o d d e d h e rh e a d a t e v e r yw o r d .

“Quite right, Gabriel,qui te r ight ,” she sa id .“ Yo u c a n ’ t b e t o ocareful.”

“ B u t a s f o r G r e t t at h e r e , ” s a i dG a b r i e l , “ s h e ’ dw a l k h o m e i n t h es n o w i f s h e w e r el e t . ”

Mrs. Conroy laughed.“ D o n ’ t m i n d h i m ,

Aunt Ka te , ” she sa id .“He’s r ea l ly an awfu lbother, what with greenshades for Tom’s eyes atnight and making him dot h e d u m b - b e l l s , a n dforcing Eva to eat thes t i r a b o u t . T h e p o o rchi ld! And she s implyhates the sight of it!... O,but you’l l never guesswhat he makes me wearnow!”

She broke out into ap e a l o f l a u g h t e r a n dglanced at her husband,w h o s e a d m i r i n g a n dh a p p y e y e s h a d b e e nw a n d e r i n g f r o m h e rd r e s s t o h e r f a c e a n dh a i r . T h e t w o a u n t s

—dijo tía Kate.

— N o , y a t u v i m o sbastante con lo del añopasado, ¿no es así? —dijo Gabriel, volviéndo-s e h a c i a s u m u j e r — .¿ N o r e c u e r d a s , t í a ,Kate, el catarro que co-gió Gretta? Las venta-nas del coche sonabanc o m o c a r r a c a s y e lviento del este comenzóa soplar en cuanto pasa-mos Merrion. ¡Menudanochecita! Gretta cogióun catarro tremendo.

Tía Kate frunció se-v e r a m e n t e e l c e ñ o yasintió con la cabeza acada una de sus pa la -bras.

— A s í e s , G a b r i e l ,a s í e s — d i j o — . L a sp r e c a u c i o n e s n u n c as o n p o c a s .

— A u n q u e s i f u e r ap o r G r e t t a — d i j oG a b r i e l — , r e g r e s a r í aa ca sa caminando po rl a n i eve , s i l a de j á ra -mos .

—No le hagas caso ,t ía Kate —dijo la seño-ra Conroy, riendo—. Esun pejiguera horrible. ¡Deverdad! No permite a Tomque lea por las noches sinuna visera verde,_______________ _________yobliga a Eva a comerse to-das las gachas. ¡A la po-bre chica, que se ponemala en cuanto las ve!...Y n o o s i m a g i n á i s l oque me obl iga a poner-me.

S e r i ó c o n u n ac a r c a j a d a ym i r ó a s u m a r i d oc u y o s f e l i c e s ya d m i r a t i v o s o j o sr e c o r r í a n sus ropas ,su rostro y su pelo. Last ías r ieron cordia lmen-

Gabriel —dijo tía Kate.

—No —dijo Gabriel,volviéndose a su espo-sa—, ya tuvimos bastan-t e con e l año pasado ,¿no es así? ¿No te acuer-das, tía Kate, el catarroque cogió Gretta enton-ces? Con las puertas delc o c h e traqueteandot o d o e l v i a j e y e lv i e n t o del Este dándo-nos de lleno en cuanto pa-samos Merrion. Lindísi-m o . G r e t t a c o g i ó u nca ta rro de lo más malo.

T í a K a t ef r u n c í a e lc e ñ o y a s e n t í aa c a d a p a l a -b r a .

— M u y b i e n d i c h o ,Gabriel, muy bien dicho— d i j o — . N o h a y q u edescuidarse nunca.

—Pero en cuan to aGretta —dijo Gabriel—, ésta es capaz de regre-sar a casa a pie por en-tre la nieve, si por ellafuera.

Mrs. Conroy sonrió.— N o l e h a g a c a s o ,

t í a K a t e — d i j o — , q u ee s d e m a s i a d o p r e c a v i -d o : o b l igando a Tom ausar visera verde cuan-d o l e e d e n o c h e y ah a c e r e j e r c i c i o s , yf o r z a n d o a E v a a c o -m e r potaje . ¡Pobreci ta!¡ Q u e n o l o p u e d e n iv e r ! … A h , ¿ p e r o aq u e n o a d i v i n a n l oq u e m e o b l i g a a l l e -v a r a h o r a ?

S e d e s h i z oe n c a r c a j a d a sm i r a n d o a s u m a r i -d o , c u y o s o j o s a d m i -r a d o s y c o n t e n t o si b a n d e s u v e s t i d o as u c a r a y s u p e l o . L a sd o s t í a s r i e r o n t a m -

we had...of that: we do not want to repeat theexperience

last year: the year beforehadn’t we? Gabriel wants confirmation

cold: coryzagot: had

out of: because ofrattling: making sounds of vibration

all the way: all along the wayblowing in: penetrating

jolly: pleasant (said with irony)caught: got

dreadful: terrible

frowned: contracted her foreheadnodded: moved up and down in approbation

quite right: entirely correct

you can’t be too careful: every precaution isnecessary

as for Gretta: concerning Gretta personally

she’d: she would

if she were let: if she was permitted

mind: pay attention to

awful bother: annoying manwhat with: for example

shade(s): viseramaking him do: forcing him to usedumb-bells: pesas (de halterofilia)

stirabout: porridge, oatmeal

hates the sight...: looking at it disgusts herguess: find, discover

wear: put on (my body)

broke out into a peal of laughter: gave a long andmelodious expression of gaiety

whose...eyes: the eyes of whom (Gabriel)

wandering: moving successively

[ Todo el cuidado es poco.]

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laughed heartily, too, forGabriel’s solicitude wasa s t a n d i n g j o k e w i t hthem.

“ G o l o s h e s ! ” s a i dM r s . C o n r o y. “ T h a t ’st h e l a t e s t . W h e n e v e ri t ’s w e t u n d e r f o o t Im u s t p u t o n m ygaloshes. Tonight even,h e w a n t e d m e t o p u tt h e m o n , b u t Iw o u l d n ’ t . T h e n e x tthing he’ l l buy me wil lbe a diving sui t .”

G a b r i e l l a u g h e dn e r v o u s l y a n d p a t t e dh i s t i e r e a s s u r i n g l y,while Aunt Kate nearlyd o u b l e d h e r s e l f , s ohear t i ly d id she enjoyt h e j o k e . T h e s m i l esoon faded f rom AuntJ u l i a ’s f a c e a n d h e rm i r t h l e s s e y e s w e r ed i r e c t e d t o w a r d s h e rnephew’s face. After apause she asked:

“ A n d w h a t a r egoloshes, Gabriel?”

“ G o l o s h e s , J u l i a ! ”e x c l a i m e d h e r s i s t e r“Goodness me, don’t youknow what goloshes are?Yo u w e a r t h e m o v e ryour... over your boots,Gretta, isn’t it?”

“ Ye s , ” s a i d M r s .C o n r o y .“ G u t t a p e r c h at h i n g s . W e b o t hh a v e a p a i r n o w .G a b r i e l s a y se v e r y o n e w e a r s t h e mon the Cont inent .”

“ O , o n t h eCont inent ,” murmuredAunt Julia, nodding herhead slowly.

Gabrie l knitted hisbrows and said, as if hewere slightly angered:

t e t a m b i é n , p u e s l as o l i c i t u d d e G a b r i e le ra una broma normalent re e l las .

—¡Galochas! —dijola señora Conroy—. ¡Loú l t i m o ! E n c u a n t o e lp iso es tá húmedo , met e n g o q u e p o n e rgalochas. Incluso queríaque me las pusiera estanoche, pero me he nega-d o . E s t á d i s p u e s t o acomprarme un traje debuzo.

G a b r i e l r i ó n e r v i o -s amente y se tocó la cor-bata para tranquilizarse,mientras la tía Kate casis e p a r t í a d e r i s a . ________ ____ ____ __ __ ____________ La son r i s adesapareció rápidamentedel rostro de la tía Julia,y sus ojos sin vida se di-rigieron directamente a lacara de su sobrino. Hizouna pausa y preguntó:

— ¿ Y q u é s o ngalochas, Gabriel?

—¿Galochas? —ex-c l a m ó s u h e r m a n a — .Dios me bendiga ¿no sa-bes lo qué son galochas?Se ponen sobre... sobrel a s b o t a s , ¿ n o e s a s í ,Gretta?

— A s í e s — d i j o l as e ñ o r a C o n r o y — . S o nc o s a s d e g u t a p e r c h a .A h o r a t e n e m o s u n p a rc a d a u n o . G a b r i e ld i c e q u e t o d o e l m u n -d o l a s l l e v a e n e l c o n -t i n e n t e .

—Oh, en el continen-te —murmuró la tía Ju-l i a , a s in t i endo suave -mente con la cabeza.

Gabriel frunció las ce-jas como si estuviera lige-ramente enfadado, y dijo:

b i én con ganas, ya que las o l i c i t u d d e G a b r i e lformaba parte del reper-torio familiar.

—¡Galochas! —dijoMrs. Conroy—. La últ i-ma moda. Cada vez quee s t á e l s u e l o m o j a d ot e n g o q u e l l e v a rg a l o c h a s . Q u e r í a q u em e l a s p u s i e r a h a s t aesta noche, pero de eson a d a . S i m e d e s c u i d ome compra un traje debañista.

G a b r i e l s e r i ó n e r-vioso y, para darse con-f i a n z a , s e a r r e g l ó l aco rba t a , m ien t r a s quet ía Kate se doblaba dela r isa de tanto que legus t aba e l cuen to . Lasonrisa desapareció ensegu ida de l a ca ra det ía Jul ia y f i jó sus ojostr is tes en la cara de sus o b r i n o . D e s p u é s d euna pausa preguntó:

— ¿ Y q u é s o ngalochas, Gabriel?

—¡Ga lochas , Ju l i a !—exclamó su hermana—. Santo cielo, ¿tú no sa-bes lo que son galochas?Se ponen sobre los… so-bre las botas, ¿no es así,Gretta?

— S í — d i j o M r s .C o n r o y — . U n a s c o s a sd e g u t a p e r c h a . L o sd o s t e n e m o s [ 1 2 3 ] u np a r a h o r a . G a b r i e ld i c e q u e t o d o e l m u n -d o l a s u s a e n e l c o n t i -n e n t e .

— A h , e n e l c o n t i -n e n t e — m u r m u r ó t í aJ u l i a , m o v i e n d o l ac a b e z a l e n t a m e n t e .

Gab r i e l f r unc ió l a sc e j a s y d i j o , c o m o s ies tuv iera enfadado:

heartily: cordiallysolicitude cuidado, afán, ansiedad

standing joke: permanent source of amusement,pleasantry

latest: most recent ideawhenever: every time

it’s wet underfoot: the ground is humid

wanted me to: wanted that I (infinitive clause)

the next thing: after thisbuy me: offer me

diving suit: special costume for going under water

patted: tappedreassuringly: to disguise his embarrassment nearly:

almost

doubled herself: was convulsed with laughter enjoy:appreciate

soon faded: disappeared rapidly

mirthless: sad

pause: moment of silence

what are goloshes?: inversion of the verb (question)

goodness me: exclamation expressing surprise

what goloshes are: no inversion of the verb!over: on

GUTTAPERCHA Nowadays galoshes (overshoes) areusually plastic, but they were first made of rubber, andthus the word derives from the Malaysian for gum tree— getah percha.

both: Gabriel and I

everyone: everybodyon the Continent: in Europe; the Continentincludes all Europe except the British Isles

slowly: in a reflective manner

knitted his eyebrows: frowned

he were: he wasslightly angered: displeased but not extremely

displeased

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“ I t ’ s n o t h i n g v e r yw o n d e r f u l , b u tG r e t t a t h i n k s i t v e r yf u n n y b e c a u s e s h es a y s t h e w o r dr e m i n d s h e r o fC h r i s t y M i n s t r e l s . ”

“ B u t t e l l m e ,G a b r i e l , ” s a i d A u n tKa te , w i th b r i sk t ac t .“Of course, you’ve seenabout the room. Grettawas saying...”

“ O , t h e r o o m i sa l l r i g h t , ” r e p l i e dG a b r i e l . “ I ’ v e t a k e no n e i n t h eG r e s h a m . ”

“ To b e s u r e , ” s a i dAunt Kate, “by far thebest thing to do. And thechildren, Gretta, you’ren o t a n x i o u s a b o u tthem?”

“O, fo r one n igh t , ”s a i d M r s . C o n r o y.“ B e s i d e s , B e s s i e w i l llook after them.”

“ To b e s u r e , ” s a i dAunt Kate again. “Whata comfort it is to have agir l l ike that , one youcan depend on! There’st h a t L i l y, I ’ m s u r e Id o n ’ t k n o w w h a t h a sc o m e o v e r h e r l a t e l y.She’s no t the g i r l shewas at all.”

Gabriel was about toa s k h i s a u n t s o m eq u e s t i o n s o n t h i sp o i n t , b u t s h e b r o k eo f f s u d d e n l y t o g a z ea f t e r h e r s i s t e r , w h oh a d w a n d e r e d d o w nt h e s t a i r s a n d w a scraning her neck overthe banis te rs .

“Now, I ask you,” shes a i d a l m o s t t e s t i l y ,“where is Jul ia going?Julia! Julia! Where areyou going?”

— N o s o n u n am a r a v i l l a , p e r oG r e t t a l o t o m a ar i s a p o r q u e l a p a -l a b r a l e s u e n ac o m o l o s c a n t o sd e n e g r o s .

—Pero dime, Gabriel—dijo la t ía Kate, ani-mada por la duda—, ha-b r á s b u s c a d o a l o j a -mien to , na tu ra lmen te .Gretta nos decía. . .

—Oh, el alojamientoestá resuelto —respon-dió Gabriel—. He reser-vado una habitación enel Gresham.

— H a s h e c h o l o m e -j o r — d i j o l a t í aK a t e — . P a r a m a y o rs e g u r i d a d . ¿ Y l o s n i -ñ o s , G r e t t a , n o o sp r e o c u p a n ?

—Oh, por una noche— d i j o l a s e ñ o r aConroy—. Además, estáBessie para cuidarles.

—Para mayor seguri-dad —dijo otra vez la tíaKate—. ¡Qué agradableresulta tener una chicaasí, en la que poder con-fiar! Ahí tenéis a Lily,que no sé muy bien loque le pasa últimamen-t e . N o e s l a c h i c a d esiempre.

G a b r i e l e s t a b a ap u n t o d e h a c e r a l g u -n a p r e g u n t a a l r e s -p e c t o c u a n d o s u t í as e l a n z ó s ú b i t a m e n t ed e t r á s d e s u h e r m a n aq u e b a j a b a r á p i d a -m e n t e p o r l a e s c a l e r as a c a n d o e l c u e l l o s o -b r e l a b a r a n d i l l a .

— Y a h o r a — d i j oc a s i e n o j a d a —¿ a d ó n d e v a J u l i a ?¡ J u l i a ! ¡ J u l i a !¿ a d ó n d e v a s ?

— N o s o n n a d a d e lotro mundo, pero Grettacree que son muy cómi-cas porque dice que ler e c u e r d a n a l o sm i n s t r e l s n e g r o s d eChristy.

— P e r o d i m e ,Gabr ie l —di jo t ía Katec o n t a c t o b r u s c o — .Claro que te ocupas tede l cuar to . Gre t ta noscontaba que…

— O h , l o d e l c u a r -t o e s t á r e s u e l t o — r e -p l i c ó G a b r i e l — .T o m é u n o e n e lG r e s h a m .

— C l a r o , c l a r o —di jo t í a Ka te—, lo me-j o r q u e p o d í a s h a b e rh e c h o . Y l o s n i ñ o s ,Gre t t a , ¿no t e p reocu-pan?

—Oh, no es más quep o r u n a n o c h e — d i j oM r s . C o n r o y — . A d e -más, Bessie los cuida.

— C l a r o , c l a r o —d i j o t í a K a t e d e n u e -v o - — . ¡ Q u é c o m o d i -d a d t e n e r u n a m u c h a -c h a a s í , e n q u i e n s ep u e d e c o n f i a r ! A h ít i e n e n a e s a L i l y, q u en o s é l o q u e l e p a s aú l t i m a m e n t e . N o e s l ad e a n t e s .

Gabriel estuvo a pun-to de hacer le una pre-gunta a su tía sobre esteasunto , pero e l la de jód e p r e s t a r l e a t e n c i ó npara observar a su her-mana, que se había es-currido escaleras abajo,sacando la cabeza porsobre la baranda.

—Ahora d ime tú —dijo ella, como molesta—, ¿dónde irá Julia aho-ra? ¡Julia! ¡Julia! ¿Dón-de vas tú?

it’s nothing very wonderful: there is nothingextraordinary in it

funny: amusing

Christy Minstrels: famous group of dancers andmusicians disguised as Blacks

with brisk tact: because Gabriel is annoyed shechanges subject rapidly

seen about: made arrangements for

all right: acceptable

the Gresham: first-class hotel in Dublin

to be sure: assuredlyby far: no comparison is possible

anxious about: feeling anxiety for

besides: in additionlook after: be responsible for, take care of

said...again: repeated

comfort: satisfaction # what a!one: a girl

depend on: have confidence in # place of onthere’s: considerI’m sure: really

come over her: influenced her suddenlylately: recently

was about to: was on the point of

broke off: stopped talkinggaze after: look fixedly at

wandered down: gone down in an uncertain manner

craning: extendingneck: support of the head

now: well!testily: irritably

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Julia, who had goneh a l f w a y d o w n o n ef l igh t , came back andannounced blandly:

“Here’s Freddy.”

At the same moment aclapping of hands and af i n a l f l o u r i s h o f t h ep i a n i s t t o l d t h a t t h ew a l t z h a d e n d e d . T h edrawing-room door wasopened from within andsome couples came out.Aunt Kate drew Gabriela s i d e h u r r i e d l y a n dwhispered into his ear:

“Slip down, Gabriel,like a good fellow and seeif he’s all right, and don’tlet him up if he’s screwed.I’m sure he’s screwed .I’m sure he is.”

Gabr ie l went to thestairs and l is tened overthe banis ters . He couldh e a r t w o p e r s o n sta lk ing in the pantry .T h e n h e r e c o g n i s e dFreddy Mal ins’ laugh .H e w e n t d o w n t h es ta i r s no is i ly.

“I t ’s such a re l ief ,”said Aunt Kate to Mrs.Conroy, “that Gabriel ish e r e . I a l w a y s f e e leasier in my mind whenh e ’s h e r e . . . . J u l i a ,there’s Miss Daly andM i s s P o w e r w i l l t a k es o m e r e f r e s h m e n t .T h a n k s f o r y o u rb e a u t i f u l w a l t z , M i s sD a l y. I t m a d e l o v e l ytime.”

A t a l l w i z e n - f a c e dm a n , w i t h a s t i f fgrizzled moustache andswarthy skin, who wasp a s s i n g o u t w i t h h i spartner, said:

“ A n d m a y w e h a v esome refreshment, too,

Julia, que ya andabacasi por la mitad de lae s c a l e r a , r e g r e s ó yanunció suavemente:

—Aquí está Freddy.

U n a p l a u s o y u n afloritura final del pianoanunciaron en ese mo-mento que el vals habíat e r m i n a d o . L a p u e r t adel salón se abrió y porella salieron unas cuan-t a s p a r e j a s . T í a K a t el levó apar te precipi ta-damente a Gabriel y lesusurró al oído:

Ve t e a b a j o c o m ou n b u e n c h i c o y m i r as i e s t á b i e n , y s i e s t áb ebido no le dejes subir.Estoy segura de que lo está.____________

Gabr ie l se acercó al a e sca l e r a y e scuchós o b r e l a b a r a n d i l l a .Pudo oír a dos personasq u e h a b l a b a n e n l adespensa. Reconoció larisa de Freddy Malins yb a j ó p o r l a e s c a l e r aruidosamente .

— M e n o s m a l q u eGabriel está aquí —dijola t ía Kate a la señoraConroy—. Siempre mes i e n t o m á s t r a n q u i l acuando está aquí. . . Ju-lia, aquí tienes a la se-ñorita Daly y a la seño-rita Power que tomaránalgún refresco. Graciaspor su hermoso vals, se-ñorita Daly. Ha sido ma-ravilloso.

U n h o m b r e a l t o d emustias facciones, pielatenazada y engominadob igo te en t r ecano , quepasaba con su pa re j a ,dijo:

—¿Podemos tomar unrefresco nosotros tam-

Julia, que había baja-do más de media esca-l e r a , r e g r e s ó a d e c i r ,zalamera :

—Ahí está Freddy.

En el mismo instanteunas palmadas y un flo-reo final del piano anun-ció que el vals acababade terminar. La puertade la sala se abrió desdedentro y salieron algu-nas parejas. Tía Kate sellevó a Gabriel apresu-radamente a un lado y lesusurró al oído:

—Sé bueno, Gabriel,y v e te a b a j o a v e r s iestá bien y no le dejessub i r s i e s t á tomado .Estoy segura de que está tomado.Segurísima.

Gabriel se llegó a laescalera y escuchó másal lá de la balaustrada.Podía oír dos personasconversando en el cuartode desahogo. Luego reco-noció la risa de FreddyMalins. Bajó las escale-ras haciendo ruido.

—Qué a l iv io —di jot í a K a t e a M r s .Conroy— que Gabr ie lesté aquí… Siempre mesiento más descansadam e n t a l m e n t e c u a n d oanda por aquí… Jul ia ,aquí están Miss Daly yMiss Power, que van at o m a r r e f r e s c o s . G r a -cias por e l l indo vals ,Miss Daly. Un ritmo en-cantador.

U n h o m b r e a l t o , d ec a r a m u s t i a , b i g o t ed e c e r d a s ________ ________ y piel oscura, quepasaba con su pare ja ,dijo:

—¿Podríamos tambiéntomar nosotros un refresco,

half-way: to the middle offlight: group of stairs

came back: returned to her sister upstairsblandly: calmly

clapping of hands: applausefinal flourish: ostentatious finale told: announced

from within: from the interior of the room

drew...aside: took, Gabriel aparthurriedly: with precipitation

whispered: murmured

slip down: go downstairs secretlylike a good fellow: if you please

all right: in an acceptable statelet him up: permit him to go upstairs

he could hear: can, could used with verbs ofperception (see, hear, smell, taste, feel)

noisily: with a lot of noise, not at all discreetly

such a: a greatrelief: assistance, aid, reassurance

feel easier in my mind: am less anxious

will take: who would like to take

some refreshment: a drink

it made lovely time: the rhythm was excellent

wizen-faced: looking shrivelledstiff grizzled: rigid and grey

swarthy: tanned

out: (of the drawing room)partner: dancing partner, woman he has been

waltzing with

may: expression of polite request (can is more usual)

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Miss Morkan?”

“ J u l i a , ” s a i d A u n tK a t e s u m m a r i l y, “ a n dh e r e ’ s M r . B r o w n ea n d M i s s F u r l o n g .Ta k e t h e m i n , J u l i a ,w i t h M i s s D a l y a n dM i s s P o w e r. ”

“ I ’ m t h e m a n f o rt h e l a d i e s , ” s a i d M r .B r o w n e , p u r s i n g h i sl i p s u n t i l h i sm o u s t a c h e b r i s t l e da n d s m i l i n g i n a l lh i s w r i n k l e s . “ Y o uk n o w , M i s sM o r k a n , t h e r e a s o nt h e y a r e s o f o n d o fm e i s — — ”

He did not f in ish hiss e n t e n c e , b u t , s e e i n gtha t Aunt Kate was outof earshot , a t once ledthe three young lad iesi n t o t h e b a c k r o o m .T h e m i d d l e o f t h eroom was occupied byt w o s q u a r e t a b l e sp laced end to end , andon these Aunt Jul ia andt h e c a r e t a k e r w e r es t r a i g h t e n i n g a n dsm o o t h i n g a l a r g ec l o t h . O n t h esideboard were arrayeddishes and p la tes , andglasses and bundles ofk n i v e s a n d f o r k s a n dspoons . The top of thec l o s e d s q u a r e p i a n os e r v e d a l s o a s as i d e b o a r d f o r v i a n d sa n d s w e e t s . A t as m a l l e r s i d e b o a r d i none corner two youngmen were standing, drinkinghop-bi t ters .

Mr. Browne l ed h i scha rges t h i t h e r a n di n v i t e d t h e m a l l ,in jest, to some lad ies ’punch , ho t , s t rong ands w e e t . A s t h e y s a i dt h e y n e v e r t o o ka n y t h i n g s t r o n g , h eo p e n e d t h r e e b o t t l e s

bién, señorita Morkan?

—Julia —dijo la t íaKate de modo tajante—, aqu í t i enes a l s eño rBrowne y a la señoritaFur long . L léva los conl a s s e ñ o r i t a s D a l y yPower.

—Yo me encargaré delas damas —dijo el se-ñor Browne, frunciendolos labios hasta que elbigote perdió su com-postura y la sonrisa seextendió por todos susp e l o s e r i z a d o s — . Yas a b e u s t e d , s e ñ o r i t aMorkan, que me apre-cian porque...

N o t e r m i n ó l a f r a s es i n o q u e , v i e n d o q u et í a K a t e e s t a b a l e j o spara escucharle, condu-jo a las t res jóvenes ala habi tación de at rás .Un par de mesas cua-dradas colocadas juntasocupaban la mitad de lah a b i t a c i ó n , s o b r e l a sq u e l a t í a J u l i a y l ag u a r d e s a e s t i r a b a ny a l i s a b a n u ne n o r m e m a n t e l .E n e l aparador se orde-naban fuentes y platos y cu-chillos y tenedores y cucha-ras sujetas en m a z o s .Una vez cerrado, la par-te super i o r d e l p i a n os e r v í a t a m b i é nc o m o a p a r a d o r p a r ad u l c e s y v i a n d a s .Junto a un aparador más pe-queño colocado en una esqui-na, se encontraban dos ___h o m b r e s b e b i e n d ocerveza amarga de lúpulo.

El señor Browne lle-vó hasta allí a las seño-ritas puestas a su cargoy, en broma, invitó a to-das a tomar un poco deldulce, fuerte y calientep o n c h e d e l a s d a m a s .Como dijeron que nun-ca tomaban nada fuerte,

Miss Morkan?

—Julia —dijo la t íaKate , sumariamente—,y a q u í e s t á n M r.Browne y Miss Furlong.Llévatelos adentro, Ju-l i a , c o n M i s s D a l y yMiss Power.

[ 1 2 4 ] — Yo m e e n -ca rgo de l a s damas —di jo Mr. Browne, apre-t ando sus l ab ios has t aque sus b igo tes se er i -zaron para sonre í r cont odas sus a r rugas .

—Sabe u s t ed , Mi s sMorkan, la razón por laque les caigo bien a lasmujeres es que…

N o t e r m i n ó l a f r a -s e , s i n o q u e , v i e n d oq u e l a t í a K a t e e s t a -b a y a f u e r a d e a l c a n -c e , e n s e g u i d a s e l l e -v ó a l a s t r e s m u j e r e sa l c u a r t o d e l f o n d o .D o s m e s a s c u a d r a d a sp u e s t a s j u n t a s o c u p a -b a n e l c e n t r o d e lc u a r t o , y l a t í a J u l i ay e l e n c a r g a d o e s t i -r a b a n y a l i s a b a n u nl a r g o m a n t e l s o b r ee l l a s . E n e l cristaleros e v e í a n e n e x h i b i -c i ó n p l a t o s y p l a t i l l o sy v a s o s y haces d e c u -c h i l l o s y t e n e d o r e s yc u c h a r a s . L a t a p a d e lp i a n o v e r t i c a l s e r v í ac o m o m e s a a u x i l i a rp a r a l o s e n t re m e s e s yl o s p o s t r e s . A n t e u na p a r a d o r p e q u e ñ oe n u n r i n c ó n d o s j ó -v e n e s b e b í a n d e p i emaltas amargas.

M r . B r o w n e d i r i -g i ó s u e n c o m i e n d ah a c i a e l l a y l a s i n v i -t ó , e n b r o m a , a t o m a ru n p o n c h e f e m e n i n o ,c a l i e n t e , f u e r t e yd u l c e . M i e n t r a s e l l a sp r o t e s t a b a n n o t o m a rt r a g o s f u e r t e s , é l l e s

summarily: briefly

take them in: make them enter the room where thebuffet was placed (buffet car on British Railways)

the man...ladies: a great admirer of women

pursing his lips: contracting his mouthuntil: so that

bristled: resembled a brush

wrinkle(s): line on the face due to age

fond of me: love me

sentence: what he was saying # a phrase is part of asentence

out of earshot: could not hearled (lead,): guided

back room: situated behind another room

square # roundend to end: touching, to form a long table caretaker:

straightening: arrangingsmoothing: making neat

cloth: table coversideboard: secondary table

arrayed: aligned

bundle(s): arrangement

viands (obsolete): food, nourishment sweet(s): dessertVIAND Joyce’s use of this rather dramatic, uncommonterm for «food» raises interesting questions. Unlike«food» it derives from the Latin vivere

hopbitters: sort of non-alcoholic beer or soft drink

charge(s): bajo su protecciónthither: in that direction

in jest: for a joketo: to drink

as: because # contrast as

strong: alcoholic

THITHER Again we wonder who is speaking here. Perhaps thesuccession of somewhat archaic terms (sideboard, viand,thither, and later «filled out» and «goodly measure») is meantto (re)construct the speech of Mr. Browne, or another characterfrom whom we haven’t heard (e.g. the caretaker).

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of l emonade fo r t hem.Then he a sked one o ft h e y o u n g m e n t om o v e a s i d e , a n d ,t a k i n g h o l d o f t h edecanter, f i l l ed out forh i m s e l f a g o o d l ym e a s u r e o f w h i s k y .T h e y o u n g m e n e y e dhim respec t fu l ly whi lehe took a t r i a l s ip .

“ G o d h e l p m e , ”h e s a i d , s m i l i n g ,“ i t ’ s t h e d o c t o r ’ so r d e r s . ”

H i s w i z e n e d f a c eb r o k e i n t o a b r o a d e rs m i l e , a n d t h e t h r e ey o u n g l a d i e s l a u g h e din mus ica l echo to h i sp l e a s a n t r y , s w a y i n gt h e i r b o d i e s t o a n df ro , wi th nervous jerksof the i r shoulders . Theboldes t sa id :

“O, now, Mr. Browne,I’m sure the doctor neverordered anything of thekind.”

M r. B r o w n e t o o ka n o t h e r s i p o f h i swhisky and sa id , withsidling mimicry:

“Well , you see , I ’ml i k e t h e f a m o u s M r s .Cassidy, who is reportedto have said: ‘Now, MaryGrimes, if I don’t take it,make me take i t , for Ifeel I want it.’”

H i s h o t f a c e h a dleaned forward a l i t t l etoo conf ident ia l ly andhe had assumed a veryl o w D u b l i n a c c e n t s otha t the young lad ies ,w i t h o n e i n s t i n c t ,rece ived h is speech ins i lence . Miss Fur long ,who was one o f MaryJ a n e ’s p u p i l s , a s k e dM i s s D a l y w h a t w a sthe name of the pre t tywal tz she had p layed ;

a b r i ó t r e s l i m o n a d a spara ellas. Después pi-dió a uno de los jóvenesque se apartara un pocoy, cogiendo un escancia-dor, se sirvió una consi-derable medida de whis-ky. Los jóvenes le mira-r o n r e s p e t u o s a m e n t emientras daba un sorbode prueba.

— P o r D i o s —d i j o , s o n r i e n d o — ,é s t a e s l a r e c e t a d e lm é d i c o .

Su rostro ajado se es-p o n j ó e n u n a a m p l i asonrisa, y las tres jóve-n e s r i e r o n e n u n e c omusical de su humorada,meciendo sus cuerpos deun lado para o t ro connerviosas sacudidas des u s h o m b r o s . L a m á sosada dijo:

—Oh, vamos , señorBrowne, estoy segura deque el médico jamás lerecetó nada de eso.

El señor Browne diootro sorbo a su whisky e,imitando sus movimien-tos con bufonería, dijo:

—Bueno, verá, yo soycomo la famosa señoraCassidy, de la que se diceque di jo: Ahora, MaryGrimes, si no lo tomo,haz que lo tome, puessiento que lo deseo.

S u r o s t r o c á l i d oi n c l i nado hacia adelan-te en un gesto de confi-dencia l igeramente ex-cesiva, y su utilizaciónde un acento dubl inésmuy bajo , hicieron quelas jóvenes a tendieranen si lencio a sus pala-bras . La señor i ta Fur-long, que era alumna deMary Jane, preguntó a laseñorita Daly cuál era elnombre del bonito vals

a b r í a t r e s b o t e l l a s d el i m o n a d a . L u e g o l e sp i d i ó a l o s j ó v e n e sq u e s e h i c i e r a n a u nl a d o y , t o m a n d o e lf r a s c o , s e s i r v i ó u nb u e n t r a g o d e w h i s -k y . L o s j ó v e n e s l om i r a r o n c o n r e s p e t om i e n t r a s p r o b a b a u ns o r b o .

—Alabado sea Dios—dijo, sonriendo—, talc o m o m e l o r e c e t ó e lmédico.

Su cara mustia se ex-t end ió en una son r i s aaún más abierta y las tresm u c h a c h a s r i e r o n h a -ciendo eco musical a suocurrencia, contoneandosus cuerpos en vaivén ydando nerviosos tironesa los hombros. La másaudaz dijo:

— A h , v a m o s , M r.Browne, estoy segura deque el médico nunca lerecetará una cosa así.

M r . B r o w n e t o m óo t r o s o r b o d e s uw h i s k y y d i j o c o nu n a m u e c a l a d e a d a :

—Bueno, ustedes sa-ben, yo soy como Mrs.Cassidy, que dicen qued i j o : « Va m o s , M a r yGrimes, s i no tomo unvasi to , dámelo tú , quees que lo necesi to . »

Su cara acalorada seinc l inó hac ia ade lan tee n g e s t o d e m a s i a d oconfidente y habló imi-tando un dejo de Dublíntan bajo que las mucha-chas, con idéntico ins-t into, escucharon su di-cho en s i l enc io . Mis sFurlong, que era una del a s a l u m n a s d e M a r yJane, le preguntó a MissDaly cuál era el nombred e e s e v a l s t a n l i n d o

aside: on the side, awaytaking hold of: seizing

decanter: carafefilled out: let fall in a glass

goodly: large eyed him: looked at him

took a trial sip: drank a small quantity to test thequality

God help me: good God

doctor’s orders: excellent panacea (literally:treatment ordered by doctor)

broke into...smile: accentuated his smile

laughed...to his pleasantry: answered his joke withmelodious laughter

swaying to and fro: inclining their busts forward andbackward

jerk(s): rapid movement

boldest: most intrepid now: exclamation ofreprobation

never: place of adverbanything of the kind: a thing of that sort

with sidling mimicry: imitating Mrs Cassidy’s voicein an insinuating manner; sidling con gestos furtivos,

escurridizos

I’m like: I resemblefamous: illustrious

Is reported to have said: said, but this may be arumour

it: whiskymake me: force me to

want: amusing amalgam of desire and necessity

hot: redleaned: been inclined

confidentially: in an intimate mannerassumed: taken

low Dublin accent: vulgar regional accent

with one instinct: in a common reaction

pretty: charmingplayed: on the piano

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a n d M r . B r o w n e ,s e e i n g t h a t h e w a si g n o r e d , t u r n e dp r o m p t l y t o t h e t w oy o u n g m e n w h o w e r emore apprec ia t ive .

A red- faced y o u n gw o m a n , d r e s s e d i np a n s y , c a m e i n t o t h er o o m , e x c i t e d l yclapping her hands andcrying:

“ Q u a d r i l l e s !Quadrilles!”

C lose on he r hee l scame Aunt Kate, crying:

“Two gentlemen andthree ladies, Mary Jane!”

“ O , h e r e ’ s M r .B e r g i n a n d M r.K e r r i g a n , ” s a i d M a r yJ a n e . “ M r. K e r r i g a n ,w i l l y o u t a k e M i s sPower? Miss Fur long ,may I get you a partner,Mr. Berg in . O, tha t ’ l ljus t do now.”

“Three ladies, MaryJane,” said Aunt Kate.

T h e t w o y o u n gg e n t l e m e n a s k e d t h eladies if they might havethe pleasure, and MaryJ a n e t u r n e d t o M i s sDaly.

“ O , M i s s D a l y ,y o u ’ r e r e a l l y a w f u l l ygood, a f te r p lay ing fort h e l a s t t w o d a n c e s ,b u t r e a l l y w e ’ r e s os h o r t o f l a d i e stonight .”

“ I d o n ’ t m i n d i nt h e l e a s t , M i s sM o r k a n . ”

“ B u t I ’ v e a n i c ep a r t n e r f o r y o u , M r.B a r t e l l D ’ A r c y, t h etenor. I’ll get him to singlater on. All Dublin is

que había interpretado;y el señor Browne, vien-do que era ignorado, sevolvió rápidamente ha-cia los dos jóvenes, másapreciativos.

U n a m u c h a c h a d ec a r a r o j a , v e s t i d a d ev io l e t a , en t ró muy ex -c i tada en la hab i tac ióny, dando pa lmas , g r i -t ó :

—¡Contradanza! ¡Con-tradanza!.

La tía Kate llegó pisán-dole los talones, gritando:

— D o s c a b a l l e r o s ytres damas, Mary Jane.

—Oh, señor Bergin yseñor Ker r igan —di joM a r y J a n e — . S e ñ o rKerrigan ¿bailará ustedcon la señorita Power?Señorita Furlong, ¿pue-do empare ja r la con e lseñor Bergin? Así estábien.

—Tres damas, MaryJane —dijo la tía Kate.

L o s d o s j ó v e n e s r e -q u i r i e r o n d e l a s d a -m a s e l p l a c e r d ea c o m p a ñ a r l a s , y M a r yJ a n e s e v o l v i ó a l a s e -ñ o r i t a D a l y.

—Oh, señorita Daly,de verdad que ha estadousted maravillosa en lasdos piezas que acaba dein te rpre ta r, pero es ta -mos tan cortas de damasesta noche.

—Me añadiré s in e lm á s m í n i m o i n c o n v e -niente, señorita Morkan.

—Tengo una magnífi-ca pareja para usted. Elseñor Bartell d’Arcy, eltenor. Le he pedido quecante después. Es el de-

que acababa de tocar, yMr. Browne, viendo quelo ignoraban , se volvióprontamente a los jóve-nes , que pod ían ap re -ciarlo mejor.

U n a m u c h a c h a d ec a r a r o j a y v e s t i d ov i o l e t a e n t r ó e n e lc u a r t o , d a n d o p a l m a -d a s e x c i t a d a s y g r i -t a n d o :

— ¡ C o n t r a d a n z a !¡Contradanza!

Pisándole los talonesentró tía Kate, llamando:

—¡Dos cabal leros ytres damas, Mary Jane!

—Ah, aquí están Mr.Bergin y Mr. Kerr igan— d i j o M a r y J a n e .[125] —Mr. Ker r igan ,¿quiere usted escoltar aM i s s P o w e r ? M i s sFur long , ¿puedo dar lede pareja a Mr. Bergin?Ah, ya está bien así .

—Tres damas, MaryJane —dijo t ía Kate.

L o s d o s j ó v e n e sl e s p i d i e r o n a s u sd a m a s q u e s i p o d r í a nt e n e r e l g u s t o , yM a r y J a n e s e v o l v i óa M i s s D a l y :

— O h , M i s s D a l y ,fue u s t ed t an condes -cend ien te a l t oca r l a sd o s ú l t i m a s p i e z a s ,pe ro , r ea lmente , e s ta -mos tan cor tas de mu-je res es ta noche…

— N o m e m o l e s t ae n l o m á s m í n i m o ,M i s s M o r k a n .

— P e r o l e t e n g o u ncompañero muy agrada-ble, Mr. Bartell D’Arcy,el tenor. Después voy aver si canta. Dublín en-

he was ignored: the girls refused to give attention to him

appreciative: disposed to appreciate him

red-faced: rubicund

pansy: mauveexcitedly: frenetically

QUADRILLES Originally a card game played by fourpersons with forty cards (the 8s, 9s, and 10s wereremoved), here it refers to a square dance in which fourcouples (three are identified here) engage in five separatefigures; a complicated dance.

close on her heels: just after her

will you: indicates firm request

may I: indicates polite invitationget: give

that’ll just do now: well, that is perfect

three ladies: Aunt Kate repeats three, not two

might: past tense of mayhave the pleasure: pleasure of dancing with them

awful good: awfully good, extremely obliging

so short of ladies: the number of women is veryinsufficient

I don’t mind in the least: I have no objection at all

get him to: try to make himlater on: not at present but after some time this evening;

sing later on prolepsis o anticipación

PANSY Probably a combination of purple, yellow andwhite after the flower Viola tricolor (also called«heartsease»!), this red-faced woman — do we ever findour her name? — dressed in pansy seems the antidoteto Mr. Browne, and perhaps to the funereal tempo ofthe evening as well.

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raving about him.”

“ L o v e l y v o i c e ,l o v e l y v o i c e ! ” s a i dA u n t K a t e .

A s t h e p i a n o h a dt w i c e b e g u n t h ep r e l u d e t o t h e f i r s tf i g u re M a r y J a n e l e dh e r r e c r u i t s q u i c k l yf r o m t h e r o o m . T h e yhad hardly gone whenA u n t J u l i a w a n d e r e ds lowly in to the room,look ing beh ind he r a tsomething.

“ W h a t i s t h em a t t e r , J u l i a ? ” a s k e dA u n t K a t e a n x i o u s l y.“ W h o i s i t ? ”

J u l i a , w h o w a scarrying in a column oftable-napkins, turned toh e r s i s t e r a n d s a i d ,simply, as if the questionhad surprised her:

“ I t ’s o n l y F r e d d y,Kate, and Gabriel withhim.”

In fact r ight behindh e r G a b r i e l c o u l d b es e e n p i l o t i n g F r e d d yM a l i n s a c r o s s t h el a n d i n g . T h e l a t t e r, ay o u n g m a n o f a b o u tforty, was of Gabriel’ssize and build, with veryr o u n d s h o u l d e r s . H i sf a c e w a s f l e s h y a n dp a l l i d , t o u c h e d w i t hcolour only at the thickhanging lobes of his earsand at the wide wings ofhis nose. He had coarsefeatures, a blunt nose, ac o n v e x a n d r e c e d i n gb r o w, t u m i d a n dp r o t r u d e d l i p s . H i sheavy- l idded eyes andthe disorder of his scantyha i r made h im looksleepy. He was laughingheartily in a high key ata story which he had beente l l ing Gabr ie l on the

lirio de todo Dublín.

—¡Maravillosa voz!— d i j o l a t í a K a t e — .¡Maravillosa voz!

Mary Jane sacó a suleva rápidamente de lahabitación, pues el pia-n o y a c o m e n z a b a p o rsegunda vez el preludiode la primera f igura .Apenas habían sa l ido ,t í a J u l i a r e c o r r i ól e n t a m e n t e l a h a -b i t a c i ó n e n b u s c ad e a l g o .

—¿Qué pasa , Jul ia?—preguntó ansiosamen-t e l a t í a K a t e — . ¿ Aquién buscas?

Julia , que acarreabauna pila de servilletas,se volvió a su hermanay dijo llanamente, comos i l a p r e g u n t a l a s o r-prendiera:

—A F r e d d y , K a t e ,y a G a b r i e l q u e e s t ác o n é l .

Justo a su espalda po-día verse a Gabriel con-duciendo a Freddy a tra-vés del rellano. Este úl-t imo, un hombre jovende unos cuarenta años,era del tamaño y hechu-ra de Gabriel, y muy car-g a d o d e h o m b r o s . S urostro era carnoso y pá-lido, con apenas unos to-q u e s d e c o l o r e n s u slóbulos colgantes y enlas anchas aletas de sunariz. Era de rasgos toscos,con una nariz roma, unaf r en t e convexa y e l e -vada y unos labios pro-minentes y sensuales .S u s o j o s d e p e s a d o spárpados y e l desordende su pe lo ra lo le da-b a n u n a i r esomnol ien to . Se re ía acarcajadas de lo que lehabía contado a Gabriel

tero está loco por él.

— ¡ B e l l a v o z , b e l l av o z ! — d i j o l a t í aK a t e .

Cuando el piano co-m e n z a b a p o r s e g u n d av e z e l p r e l u d i o d e l aprimera f igura , MaryJane sacó a sus reclutasdel salón rápidamente.N o a c a b a b a n d e s a l i rcuando entró al cuar toJu l ia , l en tamente , mi -r a n d o h a c i a a t r á s p o ralgo.

— ¿ Q u é p a s a , J u -l i a ? — p r e g u n t ó t í aK a t e , a n s i o s a — .¿ Q u i é n e s ?

J u l i a , q u e c a r g a b auna p i la de serv i l le tas ,se vo lv ió a su hermanay d i j o , s i m p l e m e n t e ,como s i l a pregunta lasorprendiera :

— N o e s m á s q u eFreddy, Kate, y Gabrielque viene con él .

De hecho detrás de ellase podía ver a Gabrielpiloteando a Freddy Malinspor el rellano de la escale-ra. El último, que tenía unoscuarenta años, era de lamisma estatura y del mis-mo peso de Gabriel, perode hombros caídos. Sucara era mofletuda y páli-da, con toques de colorsólo en los colgantes lóbu-los de las orejas y en lasanchas aletas n a s a l e s .Tenía facciones toscas ,n a r i z r o m a , f r e n t ec o n v e x a y a l t a yl a b i o s h i n c h a d o s yp r o t u b e r a n t e s . L o sojos de párpados pesa-dos y e l desorden de sue sca so pe lo l e hac í anparecer soñol ien to . Ser e í a c o n g a n a s d e u ncuento que le venía ha-c iendo a Gabr ie l por la

raving about: having great enthusiasm for

lovely: superb

FIRST FIGURE The first figure of the quadrille (thereare five in all), and Mary Jane’s leading her «recruits»from the room seems to casts (or refocus) a laboriouslight on the proceedings. The lively, colorful call forthe quadrille is further displaced by the colorless,trance-like entrance of Aunt Julia.

recruit(s): freshly enrolled personfrom: out of

wandered slowly into: note the insistence on heruncertain and slow actions

behind # in front of

what is the matter?: what is the problem, what iswrong

who: what person

carrying in: entering the room with a pile ofserviettes in her hands

as if: giving the impression that and as

only: just

could be seen: passive voice; one could see Gabriel

across: from one side to the otherthe latter: the person just mentioned (Freddy)

Gabriel’s size and build: tallish and stout, like Gabriel

fleshy: round and flaccid

thick: big and heavyhanging: falling

wide: largewing(s): side

coarse: vulgarfeature(s): traitblunt # pointed

receding brow: inclined foreheadtumid...protruded: tumescent...protuberant

tumid swollen, inflated

lidded: lid: cover of eyescanty # abundant

sleepy: somnolenthigh key: piercing tone

had been telling: had just narrated to

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s ta i rs and a t the samet ime rubb ing theknuckles of his left fistbackwards and forwardsinto his left eye.

“ G o o d - e v e n i n g ,Freddy,” said Aunt Julia.

Freddy Malins badet h e M i s s e s M o r k a ngood-even ing in wha ts e e m e d a n o f f h a n dfashion by reason of theh a b i t u a l c a t c h i n h i svoice and then, seeingt h a t M r. B r o w n e w a sgrinning at him from thesideboard, crossed theroom on r a the r shakylegs and began to repeati n a n u n d e r t o n e t h estory he had just told toGabriel.

“He’s not so bad, ishe?” said Aunt Kate toGabriel.

G a b r i e l ’ s b r o w sw e r e d a r k b u t h er a i s e d t h e m q u i c k l ya n d a n s w e r e d :

“ O , n o , h a r d l ynoticeable.”

“ N o w, i s n ’ t h e at e r r i b l e f e l l o w ! ” s h es a i d . “ A n d h i s p o o rmother made him taket h e p l e d g e o n N e wYear’s Eve. But come on,G a b r i e l , i n t o t h edrawing-room.”

B e f o r e l e a v i n g t h eroom wi th Gab r i e l shes i g n a l l e d t o M r .B r o w n e b y f r o w n i n ga n d s h a k i n g h e rf o r e f i n g e r i n w a r n i n gt o a n d f r o . M r .B r o w n e n o d d e d i na n s w e r a n d , w h e n s h eh a d g o n e , s a i d t oF r e d d y M a l i n s :

“Now, then , Teddy,I’m going to fill you out

e n l a s e s c a l e r a s y, a lmismo t iempo, se frota-ba el ojo izquierdo conlos nudillos de su puñoizquierdo .

—Buenas t a rdes ,Freddy —dijo la tía Julia.

Freddy Malins dio lasbuenas tardes a las seño-ritas Morkan en lo que,p o r e l h a b i t u a l t o n ogangoso de su voz, pare-ció un saludo desatento,y a continuación, viendolas muecas que le hacíael señor Browne desde elaparador, cruzó la habi-tación con un paso másbien vacilante, y comen-zó a repe t i r en voz ba jalo que acababa de con-t a r a Gabr i e l .

—¿No está tan mal ,verdad? —preguntó latía Kate a Gabriel.

G a b r i e l a n i m ó r á -p i d a m e n t e s u f r e n t es o m b r í a y c o n -t e s t ó :

—Oh no. Apenas sele nota.

—¡ Q u é c h i c o t a nt e r r i b l e ! — d i j oe l l a — . Y s u p o b r em a d r e q u e l e h i z oj u r a r l e l a v í s p e r ad e A ñ o N u e v o .P e r o v a m o s ,G a b r i e l , a l s a l ó n .

Antes de abandonarl a h a b i t a c i ó n c o nGabriel, arrugó el ceñohacia el señor Browne,a d v i r t i é n d o l e c o n u nademán del dedo índice.El señor Browne respon-dió con un movimientode cabeza y cuando ellase hubo ido, se dirigió aFreddy Malins.

— Y a h o r a , Te d d y,voy a servirte un buen

e s c a l e r a , a l m i s m ot iempo qu e s e f r o t a -b a u n o j o c o n l o sn u d i l l o s d e l p u ñ oi z q u i e r d o .

— B u e n a s n o c h e s ,Freddy —dijo t ía Julia.

F r e d d y M a l i n sd i o l a s b u e n a s n o -c h e s a l a s s e ñ o r i t a sM o r kan de una maneraque pareció desdeñosaa c a u s a d e l t o n oh a b i t u a l ________ desu voz, y luego, viendoque Mr. Browne le son-reía desde el aparador,cruzó el cuarto con pasovacilante y em p e z ó d en u e v o e l c u e n t o q u ea c a b a b a d e h a c e r l e aGabr i e l .

—No se ve tan mal,¿no es verdad? —dijo latía Kate a Gabriel.

Las cejas de Gabrielvenían fruncidas, pero,las despejó en seguidapara responder:

— O h , n o , n i s e l enota.

— ¡ E s u n t e r r i -b l e ! — d i j o e l l a — .Y s u p o b r e m a d r eq u e l o o b l i g ó a h a -c e r u n a p r o m e s ae l F i n d e A ñ o . P e r op o r q u é n o p a s a m o sa l s a l ó n , G a b r i e l .

A n t e s d e d e j a r e lc u a r t o c o n G a b r i e l ,t í a K a t e l e h i z o s e -ñ a s a M r . B r o w n e ,p o n i e n d o m a l a c a r ay s a c u d i e n d o e ld e d o í n d i c e . M r .B r o w n e a s i n t i ó y ,c u a n d o e l l a s e h u b oi d o , l e d i j o a F r e d d yM a l i n s :

[126] —Vamos a ver,Teddy, que te voy a dar

rubbing: pressingknuckle(s): finger joint

fist: closed handbackwards and forwards: with a repeated

movement this way and that

bade...goodevening: said “good evening” to theMorkan sisters

off-hand fashion: in a negligent manner

catch: hesitation, entrecortado

grinning: smiling, showing his teethcrossed: walked across rather: more or less

shaky: unstable, unsteady

in an undertone: in a whisper

so bad: in a very bad stateis he?: asking for approval

Gabriel’s brows were dark: he was frowningsombrely

raised: lifted, moved upwards (to a more relaxedposition)

hardly noticeable: not really evidentO NO, HARDLY NOTICEABLE Gabriel is being polite here,but it’s indicative of his general desire to avoidconflict that he tries to downplay what is clearly rudeand even confrontational behavior.

take the pledge: promise solemnly (to cease drinking)

New Year’s Eve: the day before January 1st

signalled: made signals

shaking her forefinger...to and fro: signalling “no”with her index

fill you out: serve you

THE PLEDGE Signed documents provided by temperanceorganizations in which one gave a religious oath to stopdrinking.

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a good glass of lemonadejust to buck you up.”

Freddy Malins, whowas nearing the climaxof his story, waved theoffer aside impatientlybut Mr. Browne, havingf i r s t c a l l e d F r e d d yMal ins’ a t ten t ion to ad i s a r r a y i n h i s d r e s s ,f i l l ed ou t and handedh i m a f u l l g l a s s o fl e m o n a d e . F r e d d yM a l i n s ’ l e f t h a n da c c e p t e d t h e g l a s smechanically, his righthand being engaged int h e m e c h a n i c a lr e a d j u s t m e n t o f h i sd r e s s . M r. B r o w n e ,w h o s e f a c e w a s o n c em o r e w r i n k l i n g w i t hm i r t h , p o u r e d o u t f o rhimself a glass of whiskyw h i l e F r e d d y M a l i n sexploded, before he hadwell reached the climaxof his story, in a kink ofhigh-pitched bronchiticl a u g h t e r a n d , s e t t i n gdown his untasted andoverflowing glass, beganto rub the knuckles of hisleft fist backwards andfo rwards in to h i s l e f teye, repeating words ofhis last phrase as well ashis fit of laughter wouldallow him.

G a b r i e l c o u l d n o tl is ten while Mary Janew a s p l a y i n g h e rAcademy piece , ful l ofr u n s a n d d i f f i c u l tpassages, to the hushedd r a w i n g - r o o m . H el i k e d m u s i c b u t t h epiece she was p layinghad no melody for himand he doubted whetheri t had any melody fort h e o t h e r l i s t e n e r s ,though they had beggedM a r y J a n e t o p l a ysomething. Four youngm e n , w h o h a d c o m efrom the refreshment-ro o m t o s t a n d i n t h e

vaso de l imonada paraque te recompongas.

Freddy Mal ins , quese acercaba a la culmi-nac ión de su h i s to r ia ,rechazó el ofrecimientocon un gesto de impa-c ienc ia , pe ro e l señorBrowne, que ya le habíallamado la atención so-bre la descompostura desu traje, le pasó el vasol l e n o d e l i m o n a d a .F reddy Mal ins acep tómecánicamente el vasocon la mano izquierda,mientras dedicaba la de-recha a la recomposturamecánica de su traje. Els e ñ o r B r o w n e , c o n e lrostro de nuevo jovial,_______ _______ __________ se sirvió un vasode whisky mientras queFreddy Malins , s in al-canzar siquiera el finalde su historia, rompía areír con una caprichosa ye s t r i d e n t e c a r c a j a d abronquítica y, depositan-do su rebosante vaso queno había tocado, comen-zaba a frotarse el ojo iz-quierdo con los nudillosde su puño izquierdo, re-pitiendo palabras de suúltima frase en la medidaen que se lo permitía suataque de risa.

Gabriel no podía es-cuchar mien t ra s MaryJane interpretaba ante ele n m u d e c i d o s a l ó n s uacadémica pieza, l lenade escalas y momentosdifíci les. Le gustaba lam ú s i c a p e r o l a p i e z aque ella tocaba carecíade me lod í a pa ra é l , ydudaba que tuviera me-lodía alguna para el res-to del auditorio, a pesard e h a b e r i m p l o r a d o aMary Jane que tocasea l g o . C u a t r o j ó v e n e sque habían salido de lahabi tac ión de los re -frescos para atender el

un buen vaso de l imo-nada para entonar te .

Freddy Mal ins , quees t aba ace rcándose a ldesenlace de su cuento,rechazó la oferta con ungesto impaciente, peroMr. Browne, después dehaberle llamado la aten-ción sobre lo desgarbadode su atuendo, le llenóun vaso de limonada y sel o e n t r e g ó . F r e d d yMal ins aceptó e l vasomecánicamente con lamano izquierda, mien-tras que su mano derechase encargaba de ajustars u s r o p a s m e c á n i c a -m e n t e . . M r . B r o w n e ,c u y a c a r a s e c o l m a b ade r e g o c i j a d a s a r r u -g a s , s e l l enó un vasod e w h i s k y m i e n t r a sFreddy Mal ins es ta l la -ba , an t e s de l l ega r a lm o m e n t o c u l m i n a n t ede su h is tor ia , en unae x p l o s i ó n d e c a r c a j a -das bronquia les , y de-jando a un lado su vasorebosado s in tocar, em-pezó a f ro ta rse los nu-d i l l o s de su mano i z -qu i e rda sob re un o jo ,rep i t iendo las pa labrasd e s u ú l t i m a f r a s ecuando se lo pe rmi t í ae l a taque de r i sa .

Gabr ie l no sopor ta -ba la p ieza que tocabaa h o r a M a r y J a n e , t a na c a d é m i c a , l l e n a d egl i ssandi y de pasa jesdif íc i les para un públ i -co respetuoso . Le gus-taba la mús ica , pero lap i e z a q u e e l l a t o c a b an o t e n í a m e l o d í a , s e -gún é l , y dudaba que latuviera pa r a l o s d e m á so y e n t e s , a u n q u e l eh u b i e r a n p e d i d o aM a r y J a n e q u e l e s t o -c a r a a l g o . C u a t r o j ó -v e n e s q u e v i n i e r o ndel refector io a parar-s e e n l a p u e r t a , t a n

buck you up: restore your morale, cheer you up

nearing: approaching, coming close toclimax: most important part

waved...aside: made a gesture of refusal

called: attracted

disarray: disorderdress: costume

handed him: passed him, gave him

ACCEPTED THE GLASS MECHANICALLY Joyce continues tocall our attention to the metaphorical meanings of«deadness.» In this portrayal of the grotesque FreddyMalins, we find someone clearly intoxicated to the pointof unconsciousness, his pale bloated appearanceaccompanied by automatic actions and reactions thateven fail mechanically

engaged in: occupied bymechanical: note the comic effect of the repetition

whose: of whom (relative)once more: again

wrinkling with mirth: showing his hilarity

while: at the same time as well: really

reached: arrived atkink: sudden irruption

high-pitched: in a high keysetting: putting

overflowing: full to the point of going overto rub...: note again the effect of repetition

last phrase: what he had just saidwell: adequately

fit: spasmallow: permit

listen: concentrate his attention on the music

Academy piece: the one she had for her examinationrun(s): brilliant rapid passage

hushed: now silentACADEMY PIECE As the next phrase suggests, the piecehad to demonstrate the pianist’s skills as a musicteacher. In reporting Gabriel’s dislike for the piece,and his finding the formal runs without true melody,Joyce gives a hint that Gabriel is more complex thanmost of the characters that inhabit «The Dead.»

doubted whether: was uncertain if...or not # not that!

though: in spite of the fact thatbegged: asked with great insistence, prayed

who had come from: who had deserted

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doorway a t t he soundof the piano, had goneaway quietly in couplesa f t e r a f e w m i n u t e s .The only persons whos e e m e d t o f o l l o w t h emusic were Mary Janeh e r s e l f , h e r h a n d srac ing a long the key -board or l i f ted from i ta t the pauses l ike thoseo f a p r i e s t e s s i nmomentary imprecation,and Aunt Kate s tandingat her e lbow to turn thepage.

G a b r i e l ’ s e y e s ,i r r i t a t ed by the f loo r,w h i c h g l i t t e r e d w i t hb e e s w a x u n d e r t h eh e a v y c h a n d e l i e r ,w a n d e r e d t o t h e w a l la b o v e t h e p i a n o . Apic ture of the ba lconys c e n e i n R o m e o a n dJu l i e t hung t he r e andbes ide i t was a p ic tureo f t h e t w o m u r d e r e dp r i n c e s i n t h e To w e rw h i c h A u n t J u l i a h a dw o r k e d i n r e d , b l u eand brown wools whens h e w a s a g i r l .Probably in the schoolt h e y h a d g o n e t o a sg i r l s tha t k ind of workh a d b e e n t a u g h t f o rone year . H i s mothe rhad worked for h im asa b i r t h d a y p r e s e n t aw a i s t c o a t o f p u r p l et a b i n e t , w i t h l i t t l ef o x e s ’ h e a d s u p o n i t ,l ined wi th brown sa t ina n d h a v i n g r o u n dm u l b e r r y b u t t o n s . I tw a s s t r a n g e t h a t h i sm o t h e r h a d h a d n omus ica l t a l en t t houghAunt Kate used to ca l lher the brains carr ierof the Morkan fami ly.Both she and Ju l ia hada lways seemed a l i t t l eproud of the i r se r iousa n d m a t r o n l y s i s t e r .Her pho tog raph s toodb e f o r e t h e p i e r g l a s s .She he ld an open book

sonido del piano desdela puerta del salón, des-aparec ie ron empare ja -dos y silenciosamente, alos pocos minutos. Lasúnicas personas que pa-recían seguir la músicaeran Mary Jane misma,cuyas manos recorr íanel teclado o se alzabansobre él como las de unasacerdot i sa en un mo-mento de imprecación, yla tía Kate que se encon-traba a su lado para pa-sar la página.

Los ojos de Gabriel ,irri tados por el resplan-d o r de l p i so enceradobajo la luz de la pesadaaraña que colgaba del te-cho, vagaron por la pa-red más allá del piano, enla que colgaba un cuadrocon la escena del balcónen Romeo y Jul ie ta yjunto a é l o t ro cuadrocon l o s dos p r í nc ipe sasesinados en la Torreb o r d a d o e n l a n a m a -rrón, azul y roja por latía Julia cuando era jo-v e n . U n t r a b a j o q u eprobab lemen te hab íanaprendido en la escuela_________ a la que fue-ron cuando eran jóve-nes , pues su madre l ebordó una vez como re-g a l o d e c u m p l e a ñ o su n c h a l e c o d et a b i n e t e p ú r p u r a c o ncabeci tas de zorro, fo-r rado de satén marrón yc o n b o t o n e s q u e p a -r e c í a n m o r a s . E r ar a r o q u e s u m a d r ec a r e c i e r a d e talentomusical, a pesar de estarconsiderada por la tía Katecomo el soporte cerebralde la fami l ia Morkan .Ella y Julia siempre es-t u v i e r o n l i g e r a m e n t eorgullosas de su seria ydigna hermana. Su foto-grafía descansaba anteel espejo de pared . Te-nía un l ibro abierto so-

pronto como empezó asonar e l p iano , se a le -ja ron de dos en dos yen s i lenc io después deunos acordes . Las úni -cas personas que pare-c í an s egu i r l a mús i caeran Mary Jane , cuyasmanos recor r ían e l t e -c lado o se a lzaban enlas pausas como las deuna sacerdot i sa en unaimprecac ión momentá-nea , y t í a Kate , de p iea su lado vol teando laspáginas .

L o s o j o s d eG a b r i e l , i r r i t a d o s p o re l p i s o q u e b r i l l a b ae n c e r a d o d e b a j o d e lm a c i z o c a n d e l a b r o ,vaga ron has t a l a pa reds o b r e e l p i a n o . C o l g a -b a a l l í u n c r o m o c o nl a e s c e n a d e l b a l c ó nd e R o m e o y J u l i e t a ,j un to a una reproduc-c i ó n d e l a s e s i n a t o d elos principitos en la To-rre que t ía Jul ia habíabo rdado en l ana ro j a ,azul y carmelita cuandoniña. Probablemente lesenseñaban a hacer esal a b o r e n l a e s c u e l a________ a q u e f u e r o nd e n i ñ a s , p o r q u eu n a v e z s u m a d r el e b o r d ó , p a r ac u m p l e a ñ o s , u nc h a l e c o e nt a b i n e t e p ú r p u r a c o nc a b e c i t a s d e z o r r o ,f e stoneado de raso cas-taño y con botones re-dondos imitando moras.Era raro que su madre notuviera talento musical,porque tía K a t e a c o s -t u m b r a b a a d e c i r q u ee r a e l cerebro de la fami-lia Morkan. Tan to e l l acomo Julia habían pare-cido siempre bastante or-gullosas de su hermana,tan matriarcal y tan seria.Su fotografía se veía de-lante del tremó . T e n í au n l i b r o a b i e r t o s o -

to stand in the doorway: to stop at the entranceat the sound...: when the piano had begun

gone away: disappeared follow: appreciate andunderstand

racing along: playing rapidly up and downkeyboard: where the pianist places her hands

lifted from it: suspended

in momentary imprecation: pronouncing briefmagic formulas

at her elbow: at her side

glittered: was brilliant # with, not of!beeswax: polish

under: under the light of

wandered to: looked vaguely atabove: higher than, over # under

hung was, suspendedbeside it: on, the side of it

two murdered princes: assassinated by Richard IIITower: Tower of London

worked in...wools: made in tapestry

when she was a girl: in her adolescence

they: where theygone to: been pupils

kind: sorttaught: part of their education

worked: madeas: for

birthday: anniversaryWAISTCOAT OF PURPLE TABINET Tabinet is damask-like,similar to poplin. tabinet: Irish poplin

fox(es): rewardlined: covered inside

mulberry: dark purplehad had: had + past participle; past perfect

call: namebrains carrier: one who possessed intelligence

BRAINS CARRIER Said to be one of Joyce’s father’sfavorite expressions

a little proud of: to have a certain admiration for

matronly: dignified

before: in front ofpier-glass: large mirror

PIER-GLASS a long narrow mirror, usually fixed to thewall between two windows.

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on he r knees and waspoint ing out somethingi n i t t o C o n s t a n t i n ewho, dressed in a man-o -war su i t , l ay a t he rf e e t . I t w a s s h e w h ohad chosen the name ofh e r s o n s f o r s h e w a sv e r y s e n s i b l e o f t h edigni ty of fami ly l i fe .T h a n k s t o h e r ,C o n s t a n t i n e w a s n o ws e n i o r c u r a t e i nBalbr igan and , thanksto her, Gabr ie l h imsel fhad taken his degree inthe Roya l Un ive r s i t y.A shadow passed overh i s f a c e a s h eremembered her su l leno p p o s i t i o n t o h i sm a r r i a g e . S o m es l i gh t ing p h r a s e s s h ehad used s t i l l rankledi n h i s m e m o r y ; s h eh a d o n c e s p o k e n o fG r e t t a a s b e i n gc o u n t r y c u t e a n dt h a t w a s n o t t r u e o fG r e t t a a t a l l . I t w a sGretta who had nursed herduring all her last longil lness in their house atMon k s t o w n .

He knew tha t MaryJane mus t be nea r t hee n d o f h e r p i e c e f o rshe was p l ay ing aga int h e o p e n i n g m e l o d yw i t h r u n s o f s c a l e sa f t e r e v e r y b a r a n dw h i l e h e w a i t e d f o rthe end the resentmentdied down i n h i s hea r t .The p i ece ended wi tha t r i l l o f oc taves in thet r eb le and a f ina l deepo c t a v e i n t h e b a s s .G r e a t a p p l a u s eg ree t ed Mary Jane a s ,b l u s h i n g a n d r o l l i n gu p h e r m u s i cnervous ly, she escapedf r o m t h e r o o m . T h em o s t v i g o r o u sc l a p p i n g c a m e f r o mthe fou r young men int h e d o o r w a y w h o h a dg o n e a w a y t o t h e

bre las rodil las y seña-laba algo a Constantineque, vestido de marino,se sen taba a sus p ies .E r a e l l a q u i e n h a b í ae l e g i d o e l n o m b r e d esus hijos, siempre sen-sible hacia lo que tuvie-ra que ver con la digni-dad de la vida familiar.G r a c i a s a e l l a ,Cons tan t ine e ra ahorac u r a p á r r o c o e nBalbriggan, y gracias aella Gabriel había podi-d o g r a d u a r s e e n l aRoyal Univers i ty. Unasombra atravesó su ros-tro al recordar la adus-ta oposición que adop-tó ante su matrimonio.A l g u n a s f r a s e s d emenosprecio util izadaspor su madre aún produ-c í an r e sen t imien to ensu memoria; una vez ha-bló de Gretta como de unachica muy cuca del campo,y eso no era cierto en ab-soluto. Fue Gretta quiencuidó de su madre duran-te toda su p ro longadaenfermedad en la casade Monkstown.

E n t e n d i ó q u e M a r yJ a n e d e b í a d e e s t a r ap u n t o d e c o n c l u i r s upieza porque tocaba den u e v o l a m e l o d í a d eapertura, llena de esca-las detrás de cada com-pás, y mientras aguarda-ba el final se disipó elr e s e n t i m i e n t o d e s ucorazón. La pieza termi-nó con un gorgorito de oc-tavas en el sobreagudo yuna octava grave en el bajo.Una salva de aplausosagradeció la interpreta-ción de Mary Jane que,ruborizada, enrolló ner-viosamente la partituray escapó de la habi ta-ción. Los aplausos másv i g o r o s o s p r o c e d í a nd e l o s c u a t r o j ó v e n e sde l a pue r t a que se ha -b í a n m a r c h a d o a l a

b r e l a s r o d i l l a s y l es e ñ a l a b a a l g o e n é la C o n s t a n t i n e , q u e ,v e s t i d o d e m a r i n o ,e s t a b a t u m b a d o as u s p i e s . F u e e l l aq u i e n p u s o n o m b r e as u s h i j o s , s e n s i b l ec o m o e r a a l p r o t o -c o l o f a m i l i a r . G r a -c i a s a e l l a ,C o n s t a n t i n e e r a a h o r ae l c u r a p á r r o c o d eB a l b r i g g a n , y, [ 1 2 7 ]g r ac i a s a e l l a , Gabr i e lp u d o g r a d u a r s e e n l aU nivers idad Real . Un as o m b r a p a s ó s o b r e s uc a r a a l r e c o r d a r s ua m a r g a o p o s i c i ó n as u m a t r i m o n i o .A l g u n a s f r a s e sp e y o r a t i v a s q u e u s óv i b r a b a n t o d a -v í a e n s u m e m o -r i a ; u n a v e zd i j o q u e G r e t t ae r a u n a r ubia ruraly n o e r a v e r d a dn a d a . Fue Gretta quienla atendió sol íc i ta du-rante su larga enferme-dad f inal en la casa deMonkstown.

Sabía que Mary Janedebía de andar cerca delfinal de la pieza porqueestaba tocando otra vez lamelodía del comienzo consus escalas sucesivas des-pués de cada compás, ymientras esperó a queacabara, el resentimientose ext inguió en su co-r a z ó n . L a p i e z a t e r -m i n ó c o n u n t r i n o d eo c t a v a s a g u d a s y u n ao c t a v a f i n a l g r a v e .A t r o n a d o r e s a p l a u s o sacogieron a Mary Janeal ruborizarse mientrase n r o l l a b a n e r v i o s a -m e n t e l a p a r t i t u r a , ysa l ió cor r iendo de l sa -lón. Las pa lmadas másf u e r t e s p r o c e d í a n d ec u a t r o m u c h a c h o n e sp a r a d o s e n l a p u e r t a ,l o s m i s m o s q u e s e

pointing out: showing with her finger

man-o’-war suit: child’s costume like naval uniformlay: was sitting

it was she: his mother alonechosen: selected

for: becausewas very sensible of: gave great importance to

thanks to: because of

senior curate: first :’assistant to the parish priest (Vicar)

taken his degree: obtained a diploma

as he remembered: at the memory ofsullen: obstinate slighting: insulting

rankled: made him suffer bitterly

once: on one occasion

country cute: astute like a peasantnot true: erroneous, false

nursed her: given her all the necessary ‘medical attention

last: final, mortalillness: bad physical condition, malady

opening melody: preludescale(s): set of notes in orderbar: measure end: final notes

resentment: acrimonydied down: expired

in the treble: played at the top of the keyboard, treblebass

greeted: honouredblushing: becoming red in the face

music: music pages

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r e f r e s h m e n t - r o o m a tt h e b e g i n n i n g o f t h ep i e c e b u t h a d c o m eb a c k w h e n t h e p i a n ohad s topped .

L a n c e r s w e r ea r ranged . Gabriel foundhimself partnered withMiss Ivors . She was af r a n k - m a n n e r e dta lkat ive young l ady,with a freckled face andprominent brown eyes.S h e d i d n o t w e a r alow-cut bodice and thelarge brooch which wasfixed in the front of hercollar bore on it an Irishdevice and motto.

When they had takent h e i r p l a c e s s h e s a i dabruptly:

“ I h a v e a c ro w t op l u c k w i t h y o u . ”

“With me?” said Gabriel.

S h e n o d d e d h e rh e a d g r a v e l y.

“ W h a t i s i t ? ”a s k e d G a b r i e l ,s m i l i n g a t h e rs o l e m n m a n n e r .

“Who i s G. C . ?”answered Mis s Ivo r s ,tu rn ing her eyes uponhim.

G a b r i e l c o l o u r e dand was about to kn i this brows, as i f he didn o t u n d e r s t a n d , w h e nshe said blunt ly:

“O, innocent Amy! Ihave found out that youw r i t e f o r T h e D a i l yE x p re s s . N o w, a r e n ’ ty o u a s h a m e d o fyourself?”

“ W h y s h o u l d I b ea s h a m e d o f m y s e l f ? ”asked Gabriel , blinkinghis eyes and t ry ing to

h a b i t a c i ó n d e l o s r e -f r e s c o s a l i n i c i a r s e l ap i e z a , r e g r e s a n d oc u a n d o c e s ó e l s o n i d od e l p i a n o .

Se o rgan izó un ba i -l e de l ance ros . Gabr ie lse encont ró empar e j a -d o c o n l a s e ñ o r i t aI v o r s , u n a j o v e nhabladora y de modalesfrancos, con una cara pecosay prominentes ojos castaños.V e s t í a u n c o r p i -ñ o s i n e s c o t e y e lprendedor con e l ques e s u j e t a b a e lc u e l l o l u c í a u n adiv i sa ____ i r l andesa .

Una vez que estuvie-ron en sus s i t ios , e l ladijo abruptamente:

—Tengo un cuervo quedesplumar con usted.

—¿Conmigo? —dijo Gabriel.

E l l a a s i n t i ó g r a v e -mente con la cabeza.

—¿De qué se trata? —p r e g u n t ó G a b r i e l ,re m e d a n d o l o s moda lesde la dama con su sonrisa.

—¿Quién es G.C.? —r e s p o n d i ó l a s e ñ o r i t aIvors, con los ojos fijosen él.

Gabr ie l enro jec ió yestaba a punto de frun-cir las cejas como si noentendiese, cuando elladijo sin mayor rodeo:

—Oh, inocente Amy!He descubierto que es-c r i b e u s t e d p a r a T h eDaily Express. ¿Qué medice? ¿No se avergüenzade sí mismo?

—¿Por qué habría dea v e rg o n z a r m e d e m ím i s m o ? — p r e g u n t óGabriel, parpadeando y

f u e r o n a r e f r e s c a rcuando empezó l a p i e -z a y q u e r e g r e s a r o nt a n p r o n t o e l p i a n o s eq u e d ó c a l l a d o .

A l g u i e n o r g a n i z óu n a d a n z a d e l a n c e -r o s , y G a b r i e l s e e n -c o n t r ó d e p a r e j a c o nM i s s I v o r s . E r a u nadamita franca y habladora ,c o n c a r a p e c o s a yg r a n d e s o j o s c a s t a -ñ o s . N o l l e v a b a e s -c o t e , y e l l a r g ob r o c h e a l f r e n -t e d e l c u e l l ot e n í a u n m o t i -v o ____ irlandés.

C u a n d o o c u p a r o ns u s p u e s t o s , e l l a d i j od e p ro n t o :

—Tiene usted una cuen-ta pendiente conmigo.

—¿Yo? —dijo Gabriel.

E l l a a s i n t i ó c o ng r a v e d a d .

— ¿ Q u é c o s a e s ? —p r e g u n t ó G a b r i e l ,s o n r i é n d o s e a n t e s us o l e m n i d a d .

— ¿ Q u i é n e s G. C . ?— r e s p o n d i ó M i s sIvors , vo lv iéndose ha -c i a é l .

Gabriel se sonrojó, yya iba a fruncir las ce-jas como si no hubieraentendido, cuando el lale dijo abiertamente:

— ¡ Ay, i n o c e n t eAmy! Me enteré de quee s c r i b e u s t e d p a r a e lD a i l y E x p r e s s . Yb i e n , ¿ n o l e d a v e r -g ü e n z a ?

— ¿ Y p o r q u é m ei b a a d a r ? — p r e -g u n t ó G a b r i e l , p e s -t a ñ e a n d o , t r a t a n d o

refreshment-room: buffet

LANCERS A quadrille for more than four couples.Even more than «quadrille» the term evokes militaryassociations that cast a primitive if not predatorylight on the four young men in the doorway.

lancers: variant of the quadrillefound himself: discovered that he was

frank-mannered: with frank, direct manners talkative: voluble

freckled: covered with small brown marks

she did not wear: her dress had notbodice: upper part of a woman’s dress. Her severe

(for a Christmas party) dress matches her serious andsevere personality. On the other hand, it also sets her apart,

to her advantage, from the women we’ve met so far.

bore on it: had on it, showeddevice and motto: emblem. A Nationalist enthusiasm

for Celtic language, history, and literature beganin the 1890s and is reflected here by the wearing

of reproductions of Celtic jewelry; one of thesebrooches carried the inscription «Tir agus

Teanga»: «Country and Language».

abruptly: in a brusque manner

a crow to pluck with: The Irish equivalent of «a boneto pick.». A reproach to make to; a crow is a large blackbird; to pluck is to pull off the feathers of a dead bird

before cooking it

G.C.: Gabriel Conroy’s initials

her eyes upon him: looking at him attentively

coloured: blushed

knit his brows: frown

bluntly: without circumlocution, frankly

innocent Amy: hypocrite. Another popular Irishexclamation, implying uninformed gullibility.

found out: discovered

Daily Express: anti-Nationalist newspaper

ashamed of yourself: repentant

should: must (must is more commanding than should)

blinking his eyes: shutting and opening his eyesrestlessly; his restless eyes

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smile .

“ W e l l , I ’ ma s h a m e d o f y o u , ”s a i d M i s s I v o r sf r a n k l y . “ T o s a yy o u ’ d w r i t e f o r ap a p e r l i k e t h a t .I d idn’t th ink you werea West Briton .”

A l o o k o fp e r p l e x i t y a p p e a r e do n G a b r i e l ’s f a c e . I tw a s t r u e t h a t h e w r o t ea l i t e r a r y c o l u m ne v e r y We d n e s d a y i nT h e D a i l y E x p r e s s ,f o r w h i c h h e w a s p a i df i f t e e n s h i l l i n g s . B u tt h a t d i d n o t m a k e h i ma We s t B r i t o n s u r e l y.The books he r ece ivedf o r r e v i e w w e r ea l m o s t m o r e w e l c o m et h a n t h e p a l t r yc h e q u e . H e l o v e d t of e e l t h e c o v e r s a n dt u r n o v e r t h e p a g e s o fn e w l y p r i n t e d b o o k s .N e a r l y e v e r y d a yw h e n h i s t e a c h i n g i nt h e c o l l e g e w a s e n d e dh e u s e d t o w a n d e rd o w n t h e q u a y s t o t h es e c o n d - h a n db o o k s e l l e r s , t oH i c k e y ’ s o nB a c h e l o r ’ s Wa l k , t oWe b ’s o r M a s s e y ’s o nA s t o n ’s Q u a y , o r t oO ’ C l o h i s s e y ’s i n t h eb y s t r e e t . H e d i d n o tk n o w h o w t o m e e t h e rc h a rg e . H e w a n t e d t osay t ha t l i t e r a tu r e wasa b o v e p o l i t i c s . B u tt h e y w e r e f r i e n d s o fm a n y y e a r s ’ s t a n d i n ga n d t h e i r c a r e e r s h a db e e n p a r a l l e l , f i r s t a tt h e U n i v e r s i t y a n dt h e n a s t e a c h e r s : h ec o u l d n o t r i s k ag r a n d i o s e p h r a s e w i t hh e r . H e c o n t i n u e db l i n k i n g h i s e y e s a n dt r y i n g t o s m i l e a n dm u r m u r e d l a m e l y t h a th e s a w n o t h i n g

tratando de sonreír.

—B u e n o , y o m eavergüenzo de us ted —d i j o l a s e ñ o r i t a I v o r sf r a n c a m e n t e — . M i r aque escr ibir para seme-jan te per iodicucho. Ig-noraba que fuera ustedpro británico.

La pe rp le j idad h i zoac to de apar ic ión en e lros t ro de Gabr i e l . E rac ie r to que escr ib ía unac o l u m n a l i t e r a r i a t o -d o s l o s m i é r c o l e s e nThe Dai ly Express , porl a q u e l e p a g a b a nq u i n c e c h e l i n e s . P e r oe s o e n m o d o a l g u n ohac ía de é l un p ro b r i -t án ico . Los l i b ros querec ib í a pa ra su c r í t i cae ran cas i más b i enve -n idos que e l miserablecheque . Le gus t aba e lt ac to de l a s cub ie r t a sy ho jea r l o s l i b ros r e -c i é n i m p r e s o s . C a s itodos lo s d í a s , a l t e r-minar sus c l a ses , so l í av a g a b u n d e a r p o r l o sm u e l l e s h a c i a l a s l i -b r e r í a s d e s e g u n d am a n o , a H i c k e y ’s e nB a c h e l o r ’ s Wa l k , aWe b b ’s o a M a s s e y ’sQ u a y , o aO ’ C l o h i s s e y ’s e n l ac a l l e j u e l a . N o s a b í acómo responder a l a ta -que . Le hub ie ra gus t a -do dec i r que l a l i t e r a -tu ra es taba por enc imad e l a p o l í t i c a . P e r oe r a n a m i g o s d e m u -chos años y sus ca r r e -r a s s e h a b í a n d e -s a r r o l l a d o c o n s i m u l -t a n e i d a d , p r i m e r o e nla Un ive r s idad y des -pués como p ro feso res :c o n e l l a n o q u e r í aa r r i e s g a r u n a f r a s egrandi locuente . S iguióp a r p a d e a n d o e i n t e n -t a n d o s o n r e í r, y m u r -m u r ó d é b i l m e n t e q u en o v e í a n a d a p o l í t i c o

d e s o n r e í r .

— B u e n o , a m í m ed a p e n a — d i j o M i s sI v o r s c o n f r a n q u e z a —. Y p e n s a r q u e e s c r i -b e u s t e d p a r a e s e b a -g a z o . N o s a b í a q u e s eh a b í a v u e l t o u s t e dpro-inglés .

U n a m i r a d a p e r -p l e j a a p a r e c i ó e n e lr o s t r o d e G a b r i e l .E r a v e r d a d q u e e s c r i -b í a u n a c o l u m n a l i t e -r a r i a e n e l D a i l yE x p r e s s l o s m i é r c o -l e s . P e r o e s o n o l oc o n v e r t í a e n p r o - i n -g l é s . L o s l i b r o s q u el e d a b a n a c r i t i c a re r a n c a s i m e j o rb i e n v e n i d o s q u e e lm e z q u i n o c h e q u e , y aq u e l e d e l e i t a b a p a l -p a r l a c u b i e r t a y h o -j e a r l a s p á g i n a s d e u nl i b r o r e c i é n i m p r e s o .C a s i t o d o s l o s d í a s ,n o b i e n t e r m i n a b a l a sc l a s e s e n e l i n s t i t u t o ,s o l í a r e c o r r e r e l m a -l e c ó n e n b u s c a d e l a sl i b r e r í a s d e v i e j o , ys e i b a a H i c k e y ’s , e ne l Paseo de l Sol te ro , ya Webb’s o a Massey’s,en e l muell e de As ton ,o a O ’ C l o h i s s e y s , e nu n a c a l l e l a t e r a l . N osupo cómo af rontar laacusac ión . Le hub ie rag u s t a d o d e c i r [ 1 2 8 ]q u e l a l i t e r a t u r a e s t ámuy por enc ima de lost r a j i n e s p o l í t i c o s .P e r o e r a n a m i g o s d em u c h o s a ñ o s , c o nc a r r e r a s p a r a l e l a se n l a u n i v e r s i d a dp r i m e r o y d e s p u é sd e m a e s t r o s : n o p o -d í a , p u e s , u s a r c o ne l l a u n a f r a s e p o m -p o s a . S i g u i ó p e s t a -ñ e a n d o y t r a t a n d o d es o n r e í r h a s t a q u em u r m u r ó a p e n a s q u en o v e í a n a d a p o l í t i -

to say: (it is deplorable) to admit thatyou’d write: you write

West Briton: derogatory term to someone loyal toBritish rule in Ireland. The appellation comes from thefact that Ireland lies to the west of England; the highly

derogatory term referred to inhabitants of Ireland whoseallegiance was more to England than to Ireland.

look: expression

true: exact, correct

column: article

for which: for writing his articleshilling: obsolete fraction of the pound sterling

FIFTEEN SHILLINGS This was a considerable sum of money,the weekly earnings of many workers in Ireland.

for review: to write an article on their interest and valuemore welcome: accepted with more pleasure

paltry: minimal

feel: touch, handle

newly: recentlyprinted: published

nearly: approximately, almostteaching: lessons

used to: had the habit ofwander down: err

quays: along the river Liffeysecond-hand booksellers: people who sell old books

Bachelor’s Walk: name of a Dublin avenue

O’Clohissey’s: O’Clohissey’s bookshop

by-street: small streethow to meet her charge: how to respond to her

accusation

above: superior tofriends of many years’ standing: old companions

grandiose: pompous, grandiloquent

continued blinking: -ing after continue, go on, stop,finish, give up etc.

lamely: without conviction

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p o l i t i c a l i n w r i t i n gr e v i e w s o f b o o k s .

W h e n t h e i r t u r n t oc r o s s h a d c o m e h ew a s s t i l l p e r p l e x e da n d i n a t t e n t i v e .M i s s I v o r sp r o m p t l y t o o k h i sh a n d i n a w a r mg r a s p a n d s a i d i n as o f t f r i e n d l y t o n e :

“ O f c o u r s e , I w a so n l y j o k i n g . C o m e ,w e c r o s s n o w . ”

W h e n t h e y w e r etogether again she spokeo f t h e U n i v e r s i t yq u e s t i o n a n d G a b r i e lf e l t m o r e a t e a s e . Afriend of hers had shownh e r h i s r e v i e w o fBrowning’s poems. Thatwas how she had foundout the secret : but shel i k e d t h e r e v i e wi m m e n s e l y. T h e n s h esaid suddenly:

“O, Mr. Conroy, willy o u c o m e f o r a nexcurs ion to the AranIsles this summer? We’reg o i n g t o s t a y t h e r e awhole month. It will bes p l e n d i d o u t i n t h eAtlantic . You ought toc o m e . M r. C l a n c y i scoming, and Mr. Kilkellyand Kathleen Kearney. Itwould be sp lendid forGretta too if she’d come.She ’s f rom Connach t ,isn’t she?”

“Her people are,” saidGabriel shortly.

“ B u t y o u w i l lc o m e , w o n ’ t y o u ? ”s a i d M i s s I v o r s ,l a y i n g h e r a r m h a n de a g e r l y o n h i s a r m .

“ T h e f a c t i s , ” s a i dG a b r i e l , “ I h a v e j u s tarranged to go——”

en esc r ib i r c r í t i ca s del ib ros .

Todavía se encontra-ba desconcertado y per-plejo cuando les llegó elt u rno de c ruza r se . Laseñori ta Ivors le tomópuntua l y cá l idamentede l a mano y, con untono suave y amistoso,dijo:

— E r a s ó l o u n ab r o m a . V a m o s ah a c e r e l c r u c e .

Cuando se encontra-ron de nuevo, ella hablóde la cuestión universi-tar ia , y Gabriel se en-contró más a gusto. Unamigo de el la le habíaenseñado su cr í t ica del o s p o e m a s d eB r o w n i n g . A s í h a b í aquedado al descubiertos u s e c r e t o , a u n q u e l acrítica le había gustadomuchísimo.

—Oh, señor Conroy—dijo e l la súbi tamen-te—, ¿vendrá este vera-no a una excusión a lasislas Aran?. Vamos a es-t a r a l l í t o d o u n m e s .Será espléndido asomar-s e a l A t l á n t i c o . D e b eus ted veni r. Vienen e lseñor Clancy y el señorK i l k e l l y y K a t h l e e nKearney. Sería estupen-do que Gre t t a v in i e r at a m b i é n . E l l a e s d eConnacht, ¿no es así?

—Su familia es de allí—dijo Gabriel, tajante.

—Pero us ted vendrá— d i j o l a s e ñ o r i t aIvo r s , posando ans io -s a m e n t e s u c á l i d amano sobre la de é l .

—El caso —dijoGabriel— es que ya me hecomprometido a ir...

c o e n h a c e r c r í t i c ad e l i b r o s .

C u a n d o l e s l l e g óe l t u r n o d e c r u z a r s et o d a v í a e s t a b a d i s -t r a í d o y p e r p l e j o .M i s s I v o r s t o m ó s um a n o e n u n a p r e t ó nc á l i d o y d i j o e nt o n o s u a v e m e n t ea m i s t o s o :

—Por supuesto, no esmás que una broma. Venga,que nos toca cruzar ahora.

C u a n d o s e j u n t a r o nd e n u e v o , e l l a h a b l ód e l p r o b l e m a u n i v e r -s i t a r i o y G a b r i e l s es i n t i ó m á s c ó m o d o .U n a m i g o l e h a b í a e n -s e ñ a d o a e l l a s u c r í t i -c a d e l o s p o e m a s d eB r o w n i n g . F u e a s ícomo se en t e ró de l s e -c r e t o ; p e r o l e g u s t óm u c h í s i m o l a c r í t i c a .D e p r o n t o d i j o :

— O h , M r. C o n r o y,¿ p o r q u é n o v i e n e e nn u e s t r a e x c u r s i ó n al a i s l a d e A r a n e s t ev e r a n o ? Va m o s a p a -s a r a l l á u n m e s . S e r áe s p l é n d i d o e s t a r e np l e n o A t l á n t i c o . D e -b í a v e n i r . Vi e n e n M r.C l a n c y y M r. K i l k e l yy K a t h l e e n K e a r n e y.S e r í a f o r m i d a b l e q u eG r e t t a v i n i e r a t a m -b i é n . E l l a e s d eC o n n a c h t , ¿ n o ?

—Su fami l ia —di joGabriel , corto .

— P e r o v e n d r á n l o sdos, ¿no es as í? —dijoM i s s I v o r s , p o s a n d ouna mano cál ida sobresu brazo , ansiosa.

—Lo cierto es que —d i j o G a b r i e l — y o h equedado en ir…

in: in the fact ofTURN TO CROSS A reference to a particular point in the dance, but ofcourse Gabriel’s turn to «cross» Miss Ivors has already come and hehas missed, or decided to forego it. Gabriel is described interestinglyhere as «unresponsive,» which describes him too well in the scenesthat follow. When Miss Ivors prompts him to «cross now» in the nextsentence, we can’t help but find irony in the phrase; Gabriel seemsunable to decide both whether and when to engage himself.

cross: exchange sides during the dance

in a warm grasp: holding his hand in her handamicably

only joking: not speaking seriously

together again: reunited after the figure of the dance

university question: problem of admitting Catholicstudents

friend of hers: one of her friendsshown her: made her read

immensely: enormously, extremely

Aran Isles: small islands on the West coast of Irelandwhere the old Celtic culture was rigorously respected

whole: entire

ought to: expresses obligation, exhortation

Connacht: province of Ireland including five counties:Galway, Leitrim, Mayo, Roscommon and Sligo

people: familyshortly: impatiently, not politely

laying her...hand on: touching with her handeagerly: with enthusiasm (note Miss Ivors’ permanent

warmth and enthusiasm; she is a militant nationalist) X

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“Go where?” a skedMiss Ivors.

“ We l l , y o u k n o w,e v e r y y e a r I g o f o r acycling tour with somefellows and so——”

“ B u t w h e r e ? ”a s k e d M i s s I v o r s .

“ We l l , w e u s u a l l yg o t o F r a n c e o rB e l g i u m o r p e r h a p sG e r m a n y , ” s a i dG a b r i e l a w k w a r d l y.

“And why do you goto France and Belgium,”said Miss Ivors, “insteado f v i s i t i n g y o u r o w nland?”

“ W e l l , ” s a i dG a b r i e l , “ i t ’ s p a r t l yt o k e e p i n t o u c hw i t h t h e l a n g u a g e sa n d p a r t l y f o r ac h a n g e . ”

“ A n d h a v e n ’ ty o u y o u r o w nl a n g u a g e t o k e e pi n t o u c h w i t h —I r i s h ? ” a s k e dM i s s I v o r s .

“Well,” said Gabriel,“if it comes to that, youknow, I r i sh i s no t mylanguage.”

Their neighbours hadturned to l i s ten to thec r o s s - e x a m i n a t i o n .G a b r i e l g l a n c e d r i g h tand left nervously andtr ied to keep his goodhumour under the ordealw h i c h w a s m a k i n g ab l u s h i n v a d e h i sforehead.

“ A n d h a v e n ’ t y o uyour own land to visit,”con t inued Miss Ivors ,“that you know nothingo f , y o u r o w n p e o p l e ,and your own country?”

— ¿ A d ó n d e ? — p r e -guntó la señorita Ivors.

—Bueno, me voy to-dos los años a viajar enbicicleta con unos ami-gos...

—Pero, ¿adónde? —pre-guntó la señorita Ivors.

— B u e n o , s o l e m o si r a F r a n c i a o a B é l -g i c a o q u i z á a A l e -m a n i a — d i j o G a b r i e lt o r p e m e n t e .

—¿Y por qué va usteda Francia y a Bélgica —dijo la señorita Ivors—,en vez de visitar su pro-pia tierra?

—B u e n o — d i j oGabr ie l— por un ladopara mantener v ivo e lcontac to con los id io-m a s , y p o r o t r o p a r acambiar.

—¿No tiene usted sup r o p i o i d i o m a c o n e lque mantenerse en con-t a c t o , e l i r l a n d é s ? —p r e g u n t ó l a s e ñ o r i t aIvors.

— B u e n o — d i j oGabr ie l—, pues tas as ílas cosas, el irlandés noes mi idioma.

Las pare jas vec inasse hab ían vue l to pa raescuchar el interrogato-r io . Gabr ie l miró ner-viosamente a derecha ei z q u i e r d a y t r a t ó d emantener el buen humorbajo la orda l ía que semanifestaba en el ruborde su frente.

—¿Y no t iene ustedsu propia tierra que vi-sitar? —continuó la se-ñorita Ivors. _______ _ __ _ _________ _______ ___ _ __ ____________

—¿A dónde? —pregun-tó Miss Ivors.

—Bueno, ya sabe ustedque todos los años hagouna gira ciclista con varioscompañeros, así que…

—Pero ¿por dónde?—preguntó Miss Ivors.

—Bueno, casi s iem-pre vamos por Francia‘o Bélgica, tal vez porA l e m a n i a — d i j oGabriel torpemente.

—¿Y por qué va us -t ed a F ranc ia y a Bé l -g i c a — d i j o M i s sIvors— en vez de v i s i -t a r su p rop io pa í s?

— B u e n o — d i j oG a b r i e l — , e n p a r t ep a r a m a n t e n e r m e e nc o n t a c t o c o n o t r o sidiomas y en par te pordar un cambio.

— ¿ Y n o t i e n e u s t e ds u p r o p i o i d i o m a c o nq u e m a n t e n e r s e e nc o n t a c t o , e l i r l a n d é s ?— l e p r e g u n t ó M i s sI v o r s .

— B u e n o — d i j oGabriel—, en ese casoel irlandés no es mi len-gua, como sabe.

Sus vecinos se vol -vieron a escuchar el in-t e r r o g a t o r i o . G a b r i e lmiró a diestra y sinies-tra, nervioso, y trató deman tene r su buen hu-mor durante aquella in-quisición que hacía queel rubor le invadiera lafrente.

—¿Y no t iene ustedsu t ierra natal que visi-t a r — s i g u i ó M i s sIvo r s—, de l a que nosabe usted nada, su pro-pio pueblo, su patria?

go where?: note how Miss Ivors makes Gabriel feelguilty (innocent)

go for a cycling tour: visit a place on a bicycle

some fellows: one or two friendsso: consequently

usually: habitually

perhaps: not certainly

awkwardly: lamely (note all the signs of Gabriel’stimidity and embarrassment)

instead of: in place of # of + -ingland: country (Ireland)

keep in touch with: continue to practise

for a change: to do something different

to keep in touch with: with which you must keep intouch

if it comes to that: if you start on that subject (Gabriel’sexpression shows that he is on the defensive)

neighbours: the people around them

cross-examination: insistent questioning

keep: maintaingood humour: serenity

under the ordeal: during this difficult experience

blush: red colour

own: which is your property, your responsibility(note the repetition

know nothing of: don’t know at all

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“O, to tell you the truth,”r e t o r t e d G a b r i e lsudden ly, “ I ’m s i ck o fmy own coun t ry, s i ckof i t ! ”

“ W h y ? ” a s k e dM i s s I v o r s .

G a b r i e l d i d n o ta n s w e r f o r h i s r e t o r thad heated him.

“ W h y ? ” r e p e a t e dMiss Ivors.

T h e y h a d t o g ov i s i t i n g t o g e t h e ra n d , a s h e h a d n o ta n s w e r e d h e r ,M i s s I v o r s s a i dw a r m l y :

“Of course, you’ve noanswer.”

G a b r i e l t r i e d t ocover his ag i ta t ion byt a k i n g p a r t i n t h ed a n c e w i t h g r e a tenergy. He avoided hereyes for he had seen asour express ion on herf a c e . B u t w h e n t h e ymet in the long chainh e w a s s u r p r i s e d t of e e l h i s h a n d f i r m l ypressed . She looked a th i m f r o m u n d e r h e rb r o w s f o r a m o m e n tq u i z z i c a l l y u n t i l h es m i l e d . T h e n , j u s t a sthe cha in was about tos t a r t aga in , she s toodon tiptoe and whisperedin to h is ear :

“West Briton!”

W h e n t h e l a n c e r swere over Gabriel wenta w a y t o a r e m o t ec o r n e r o f t h e r o o mwhere Freddy Mal ins ’m o t h e r w a s s i t t i n g .She was a s tou t feeb leo ld woman wi th whi teha i r. He r vo i ce had ac a t c h i n i t l i k e h e rson’s and she s tu t te red

—Oh, si he de decirla verdad —replicó sú-bitamente Gabriel—, mipropio país me pone en-fermo. ¡Enfermo!

—¿Por qué? —preguntóla señorita Ivors.

Gabriel no quiso res-ponder bajo la exci ta-ción de su réplica.

—¿Por qué? —repitióa señorita Ivors.

Te n í a n q u e s e g u i rb a i l a n d o j u n t o s y ,c o m o n o h a b í a r e -c i b i d o r e s p u e s t a , l as e ñ o r i t a I v o r s d i j ofogosamente .

—Claro, no tiene us-ted respuesta.

Gabr i e l t r a tó de d i -s i m u l a r s u a g i t a c i ó ne n t r e g á n d o s e a l b a i l econ una g ran ene rg ía ,e v i t a n d o s u s o j o s ,p u e s h a b í a v i s t o u n aag r i a exp res ión en surostro. Pero cuando seencontraron en la largacadena, se sorprendió alsentir cómo ella apreta-ba su mano con firmeza.La señorita Ivors le miróde soslayo con unos ojoszumbones que le hicieronsonreír. Y entonces, cuan-do la cadena estaba a pun-to de iniciarse nuevo, sealzó de puntillas y susurróen su oído:

—¡Pro británico!

Cuando la danza ter-minó, Gabriel se fue auna remota esquina de lahabitación, en la que es-taba sentada la madre deFreddy Malins. Era unamujer resuelta y delica-da, con el pelo blanco.Su voz tenía el mismotono gangoso que la desu hijo, y tartamudeaba

—Pues , a dec i r ver-dad —rep l i có Gabr i e ls ú b i t a m e n t e — , e s t o yh a r t o d e e s t e p a í s ,¡har to!

[129] —¿Y por qué? —preguntó Miss Ivors.

G a b r i e l n o r e s p o n -dió: su réplica lo habíaalterado.

—¿Por qué? —repitióMiss Ivors.

Tenían que hacer laronda de visi tas los dosahora, y, como todavíano había él respondido,Miss Ivors le dijo, muyacalorada :

— P o r s u p u e s t o , n otiene qué decir.

G a b r i e l t r a t ó d eocultar su agitación en-tregándose al baile congran energía. Evitó losojos de ella porque ha-b ía no tado una expre-s ión agr ia en su cara .Pero cuando se encon-t ra ron de nuevo en l acadena, se sorprendió alsent ir su mano apretarf i rme la suya . E l l a lomiró de soslayo con cu-r i o s i d a d m o m e n t á n e ah a s t a q u e é l s o n r i ó .Luego, como la cadenaiba a trenzarse de nue-vo, ella se alzó en pun-t i l l a s y l e s u s u r r ó a loído:

—¡Pro-inglés!

Cuando la danza del a n c e r o s a c a b ó ,Gabr i e l s e fue a l r in -cón más remoto de l sa-lón , donde es taba sen-t a d a l a m a d r e d eF r e d d y M a l i n s . E r auna mujer rechoncha yfofa y blanca en canas. Te-nía la misma voz t o m a d ade su hijo y tartamudeaba

tell the truth: give my true opininretorted: riposted, answered back

sick of: disgusted with, fed up with

retort: riposteheated him: made him exasperated

had to go visiting: it was their turn to do the visitingfigure (they are still dancing)

GO VISITING TOGETHER Part of the dance, in which acouple crosses over to another couple.

warmly: Miss Ivors is always warm!

you’ve no answer: you have...; you can’t answer me

tried: made effortscover: dissimulate

by taking: by + -ing expresses how somethinghappened

sour: unfriendly, acerbic

met: were together againlong chain: farandole

THE LONG CHAIN Another formation in the dance.

from under her brows: in an inquisitive manner

quizzically: in a mocking wayas: at the moment when

stood on tiptoe: lifted herself on the points of her feet(she is smaller than he)

the lancers were over: the quadrille was finished

remote: distant

stout: corpulentfeeble: incapable of physical effort

catch entrecortadoson’s: son’s voice

stuttered: spoke with difficultyXX

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s l igh t ly. She had beent o l d t h a t F r e d d y h a dcome and tha t he wasn e a r l y a l l r i g h t .G a b r i e l a s k e d h e rwhether she had had ag o o d c r o s s i n g . S h el ived wi th her marr iedd a u g h t e r i n G l a s g o wand came to Dubl in ona v is i t once a year. Sheanswered p lac id ly tha tshe had had a beaut i fu lc r o s s i n g a n d t h a t t h ecapta in had been mosta t t e n t i v e t o h e r. S h es p o k e a l s o o f t h eb e a u t i f u l h o u s e h e rd a u g h t e r k e p t i nGlasgow, and of a l l thef r iends they had there .W h i l e h e r t o n g u er a m b l e d o n G a b r i e lt r i e d t o b a n i s h f r o mhis mind al l memory ofthe unpleasant incidentw i t h M i s s I v o r s . O fc o u r s e t h e g i r l o rw o m a n , o r w h a t e v e rs h e w a s , w a s a ne n t h u s i a s t b u t t h e r ew a s a t i m e f o r a l lt h i n g s . P e r h a p s h eo u g h t n o t t o h a v eanswered her l ike tha t .But she had no r igh t toca l l h im a West Br i tonbefore people , even injoke . She had t r ied tom a k e h i m r i d i c u l o u sb e f o r e p e o p l e ,h e c k l i n g h i m a n ds ta r ing a t h im wi th herrabbi t ’s eyes .

H e s a w h i s w i f emaking her way towardshim through the waltzingc o u p l e s . W h e n s h er e a c h e d h i m s h e s a i dinto his ear:

“ G a b r i e l . A u n tK a t e w a n t s t o k n o ww o n ’ t y o u c a r v e t h eg o o s e a s u s u a l . M i s sD a l y w i l l c a r v e t h eh a m a n d I ’ l l d o t h ep u d d i n g . ”

ligeramente. Le habíandicho que Freddy habíal l e g a d o y q u e e s t a b ac a s i p e r f e c t a m e n t e .Gabr ie l le preguntó s ihabía tenido una buenatravesía . El la vivía enGlasgow, con su hija ca-sada, y visitaba Dublínuna vez al año. Respon-d i ó p l á c i d a m e n t e q u ehabía tenido una hermo-sa travesía y que el ca-pitán había estado de lomás atento con ella. Ha-bló también de la bonitacasa que tenía su hija enGlasgow y de todos losbuenos amigos de porallí. Mientras su lenguas e i b a p o r l a s r a m a s ,Gabrie l t ra taba de bo-r ra r de su memor ia e ldesagradable incidentecon la señorita Ivors. Set r a t aba , en e f ec to , deuna muchacha o de unamujer, o de lo que fueraque fuese , en tus i a s t a ,pe ro hay un momentop a r a t o d a s l a s c o s a s .Quizá no debió haberlere s p o n d i d o c o m o l oh a b í a h e c h o . P e r o n ot e n í a d e r e c h o a l l a -m a r l e p r o b r i t á n i c od e l a n t e d e l o s d e m á s ,n i s i q u i e r a e n b r o m a .H a b í a i n t e n t a d o d e -j a r l e e n r i d í c u l o d e -l a n t e d e l o s d e m á s ,i n t e r r u m p i é n d o l e d e u nm o d o m o r d a z y m i r ándo l econ sus ojos de conejo.

V i o a s u m u j e ra v a n z a n d o h a c i a é l at r a v é s d e l a s p a r e j a sq u e b a i l a b a n v a l s .C u a n d o l e a l c a n z ó , l ed i j o a l o í d o :

— G a b r i e l , t í aK a t e q u i e r e s a b e r s iv a s a t r i n c h a r l a o c ac o m o s i e m p r e . L a s e -ñ o r i t a D a l y c o r t a r áe l j a m ó n y y o s e r r ée l b u d í n .

bastante. Le habían ase-gurado fue Freddy ha-bía l legado y que esta-b a b a s t a n t e b i e n .Gabriel l e p r e g u n t ó s it u v o u n a b u e n at r a v e s í a . Vi v í a c o ns u h i j a c a s a d a e nG l a s g o w y v e n í a aD u b l í n d e v i s i t a u n av e z a l a ñ o . R e s p o n d i óp l á c i d a m e nte que habíasido un viaje muy lindoy que el capitán estuvode lo más atento. Tam-bién habló de la l indacasa que su hija tenía enGlasgow y de los bue-nos amigos que ten íana l l á . Mie n t r a s e l l a l ed a b a a l a l e n g u a ,G a b r i e l t r a t ó d e d e s -t e r r a r e l r e c u e r d o d e ld e s a g r a d a b l e i n c i d e n -t e c o n M i s s I v o r s .P o r s u p u e s t o q u e l am u c h a c h a o l a m u -j e r o l o q u e f u e s ee r a u n a f a n á t i c a ,p e r o h a b í a u n l u g a rp a r a c a d a c o s a .Q u i z á n o d e b i ó é lr e s p o n d e r l e c o m ol o h i z o . P e r o e l l an o t e n í a d e r e c h o al l a m a r l o p r o - i n g l é sd e l a n t e d e l a g e n t e ,n i a u n e n b r o m a .T r a t ó d e h a c e r l oq u e d a r e n r i d í c u l od e l a n t e d e l a g e n -t e , a c u c i á n d o l o yc l a v á n d o l e s u s o j o sd e c o n e j o .

Vi o a s u m u j e rabr iéndose paso hac iaél por entre las parejasque va l saban . Cuandollegó a su lado le dijo aloído:

—Gabr i e l , t í a Ka t equiere saber si no vas atrinchar el ganso comod e c o s t u m b r e . M i s sDaly va a cortar el ja-món y yo voy a ocupar-me del pudín.

whether: ifcrossing: voyage over the Irish Sea

on a visit: on not in

beautiful: marvellous

most attentive to: full of consideration for

kept : had, possessed, owned

her tongue rambled on: she pursued heruninteresting and disorganized conversation

whatever she was: it was not important to know ifshe was young or old

a time for all things: an appropriate moment foreverything

he ought not it was bad of him

she had no right: it was unjust of her

heckling: provokingstaring: looking with insolence

rabbit: conejo

making her way: trying to find a passagetowards him: in his direction

reached: was close to

won’t you: if you willcarve: cut into pieces

goose: pata

ham: jamóndo: cut and serve

pudding: Christmas pudding, probably; generally apudding is a dessert

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“ A l l r i g h t , ” s a i dGabriel.

“ S h e ’s s e n d i n g i nt h e y o u n g e r o n e s f i r s ta s s o o n a s t h i s w a l t zi s o v e r s o t h a t w e ’ l lh a v e t h e t a b l e t oo u r s e l v e s . ”

“Were you dancing?”asked Gabriel.

“ O f c o u r s e Iw a s . D i d n ’ t y o us e e m e ? W h a t r o wh a d y o u w i t hM o l l y I v o r s ? ”

“No row . Why? Didshe say so?”

“ S o m e t h i n g l i k ethat . I ’m t ry ing to getthat Mr. D’Arcy t o s i n g .H e ’ s f u l l o fc o n c e i t , It h i n k . ”

“ T h e r e w a s n or o w , ” s a i d G a b r i e lm o o d i l y , “ o n l y s h ew a n t e d m e t o g o f o ra t r i p t o t h e w e s t o fI r e l a n d a n d I s a i d Iw o u l d n ’ t . ”

His wife clasped herhands excitedly and gavea little jump.

“ O , d o g o ,G a b r i e l , ” s h e c r i e d .“ I ’ d l o v e t o s e eG a l w a y a g a i n . ”

“You can go i f youl i k e , ” s a i d G a b r i e lcoldly.

She looked at him for amoment, then turned toMrs. Malins and said:

“ T h e r e ’ s a n i c ehusband fo r you , Mrs .Ma l in s . ”

W h i l e s h e w a sthreading her way back

— M u y b i e n — d i j oGabriel.

— C o m e n z a r á n c o nl o s m á s j ó v e n e s e nc u a n t o a c a b e e s t eva l s , de modo que t en -d r e m o s l a m e s a p a r an o s o t r o s .

—¿Has ba i l ado? —preguntó Gabriel.

— C l a r o q u e s í .¿ N o m e v i s t e ?¿ Q u é t e h a p a s a d oc o n l a s e ñ o r i t aI v o r s ?

— N a d a . ¿ P o r q u é ?¿Ha dicho algo?

—Algo ha dicho. Voya ver s i consigo hacercantar al señor D’Arcy.Me da la impresión deque es un hombre muyengreído.

—No pasó nada —d i j o G a b r i e l ,pensativo—. Sólo queríaque me añadiera a una ex-cursión por el oeste de Ir-landa, y le dije que no meera posible.

S u m u j e r p a l m o t e óe x c i t a d a , d a n d o u nsaltito .

— O h , v a m o s ,G a b r i e l — g r i t ó — . M eencan ta r í a ve r Ga lwayd e n u e v o .

— T ú p u e d e s i r s iquieres —dijo Gabriel,fríamente.

Ella le miró un mo-mento, se volvió hacia laseñora Malins y dijo:

—He aquí un bonitomarido para usted, seño-ra Malins.

Y a t r a v e s ó e l s a -l ó n v o l v i e n d o s o b r e

— E s t a b i e n — d i j oGabriel .

—Van a dar de comerprimero a los jóvenes,tan pronto como termi-ne es te va ls , para quetengamos la mesa paranosotros solos.

—¿Bai l a s t e? —pre -guntó Gabriel .

—Por supuesto. ¿Nome v i s t e? ¿Tuv i s t e t úu n a s p a l a b r a s c o nMolly Ivors por casua-lidad?

— N i n g u n a . ¿ P o rqué? ¿Dijo ella eso?

—Más o menos. Estoyt ra tando de hacer queMr. D’Arcy cante algo.M e p a r e c e q u ee s d e l o m á sv a n i d o s o .

— N o c a m b i a m o sp a l a b r a s — d i j oG a b r i e l , i r r i t a d o — ,s i n o q u e e l l a q u e r í a[ 1 3 0 ] q u e y o f u e r a aI r l a n d a d e l O e s t e yl e d i j e q u e n o .

S u m u j e r j u n t ó l a smanos, excitada, y dioun saltico :

— ¡ O h , v a m o s ,Gabriel! —gritó—. Mee n c a n t a r í a v o l v e r aGalway de nuevo.

— V e t ú s i q u i e -r e s — d i j o G a b r i e lf r í a m e n t e .

El la lo miró un ins-tante , se volvió luego aMrs. Malins y di jo:

— E s o e s l o q u e s el lama un hombre agra-dable , Mrs. Malins .

M i e n t r a s e l l a s ee s c u r r í a a t r a v é s d e l

sending in: inviting to enterones: people

as soon as: immediately after

to ourselves: for our own usage

row: dispute, quarrelsay so: say that we had a row

like that: not exactly that but approximatelyget: convince

full of conceit: extremely pleased with himself,pretentious

row: note his repetition of the unpleasant wordmoodily: morosely

wanted me to: verb -I- object + infinitive

trip: short journey, excursion

wouldn’t: did not want to go clasped: joined

gave a little jump: bounded, expressing her joy

Galway: main town and seaport of County Galwaywhere Gretta’s family come from

if you like: if it is your wish

coldly # warmly

turned to: looked at

there’s a...for you: you have an example of a nicehusband

threading her way back: returning with manychanges of direction

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a c r o s s t h e r o o m M r s .M a l i n s , w i t h o u ta d v e r t i n g t o t h einterruption, went on tot e l l G a b r i e l w h a tbeau t i fu l p l aces the rew e r e i n S c o t l a n d a n dbeaut i fu l scenery. Hers o n - i n - l a w b r o u g h tthem every year to thelakes and they used togo fishing. Her son-in-l a w w a s a s p l e n d i df i s h e r . O n e d a y h ecaugh t a beau t i fu l b igf i s h a n d t h e m a n i nt h e ho te l cooked i t fo rthe i r d inne r.

Gabriel hardly heardwhat she said. Now thats u p p e r w a s c o m i n gnear he began to thinkagain about his speecha n d a b o u t t h eq u o t a t i o n . W h e n h es a w F r e d d y M a l i n scoming across the roomt o v i s i t h i s m o t h e rGabr i e l l e f t t he cha i rfree for him and ret iredinto the embrasure ofthe window . The roomhad already cleared andf r o m t h e b a c k r o o mc a m e t h e c l a t t e r o fp l a t e s a n d k n i v e s .T h o s e w h o s t i l lremained in the drawingr oom seem ed t i r ed o fd a n c i n g a n d w e r ec o n v e r s i n g q u i e t l y i nli t t le groups. Gabriel’swarm trembling fingerstapped the cold pane ofthe window. How coolit must be outside! Howpleasant i t would be tow a l k o u t a l o n e , f i r s ta long by the r iver andthen through the park!T h e s n o w w o u l d b ely ing on the b rancheso f t h e t r e e s a n dforming a bright cap ont h e t o p o f t h eWell ington Monument .H o w m u c h m o r ep l e a s a n t i t w o u l d b et h e r e t h a n a t t h e

s u s p a s o s . L a s e ñ o -r a M a l i n s , q u e n o s eh a b í a e n t e r a d o d e l ai n t e r r u p c i ó n , s i g u i óh a b l a n d o a G a b r i e ld e l a b e l l e z a d e lp a i s a j e y l o s l u -g a r e s d e E s c o c i a .S u y e r n o l a s l l e v a b at o d o s l o s a ñ o s a l o sl a g o s y s o l í a n i r ap e s c a r . _______ ______________ ___________________ _______ Un díacogió un pez, un hermo-so pez grande grande, ye l s e ñ o r d e l h o t e l l ococió para la cena.

G a b r i e l a p e n a s o í al o q u e e l l a d e c í a .Ahora que se ace rcabal a c e n a c o m e n z ó ap e n s a r d e n u e v o e n s ud i s c u r s o y s o b r e l ac i t a . C u a n d o v i o aF r e d d y M a l i n s a t r a v e -s a r e l s a l ó n p a r a s a l u -d a r a s u m a d r e ,G a b r i e l l e d e j ó l i b r el a s i l l a y s e r e t i r ó a la l f é i za r de l a ven t ana .E l s a l ó n s e h a b í a d e s -a h o g a d o y d e l a h a b i -t a c i ó n d e a t r á s l l e g a -ba e l r u ido de p l a to s yc u b i e r t o s . Q u i e n e sp e r m a n e c í a n e n e l s a -l ó n p a r e c í a n c a n s a d o sd e b a i l a r , y c o n v e r s a -b a n t r a n q u i l a m e n t e e ng r u p i t o s . L o s d e d o sc a l i e n t e s y t e m b l o r o -s o s d e G a b r i e l r o z a -r o n e l f r í o c r i s t a l d el a v e n t a n a . ¡ Q u é f r í od e b í a d e h a c e r a h íf u e r a ! ¡ C u á n a g r a d a -b l e s e r í a d a r u n p a s e os o l i t a r i o , p r i m e r o a l ol a r g o d e l r í o y d e s -p u é s a t r a v é s d e l p a r -q u e . L a n i e v e e s t a r í ac o l g a n d o d e l a s r a m a sd e l o s á r b o l e s y f o r -m a r í a u n a t e n u e c a p ae n l o a l t o d e l m o n u -m e n t o a We l l i n g t o n .¡Mucho más ag radab leq u e e n c o n t r a r s e e n l a

s a l ó n , M r s . M a l i n s ,c o m o s i n o l a h u b i e -r a n i n t e r r u m p i d o , s i -g u i ó c o n t á n d o l e aG a b r i e l s o b r e l o sl i n d o s l a r e s d e E s c o -c i a y s u s e s c e n a r i o sn a t u r a l e s , p r e c i o -s o s . S u y e r n o l a sl l e v a b a c a d a a ñ o al o s l a g o s y s a l í a n d ep e s q u e r í a . ___________ ________ _____ ____ ___ Un díacogió él un pescado, lin-dísimo, así de grande, yel hombre del hotel se loguisó para la cena.

G a b r i e l n i o í a l oq u e e l l a d e c í a . A h o r aq u e s e a c e r c a b a l ah o r a d e l a c o m i d a e m -p e z ó a p e n s a r d e n u e -v o e n s u d i s c u r s o y e nl a s c i t a s . C u a n d o v i oq u e F r e d d y M a l i n sa t r a v e s a b a e l s a l ó np a r a v e n i r a v e r a s um a d r e , G a b r i e l l e d i os u s i l l a y s e r e t i r ó a lpoyo de l a ven t ana . E ls a l ó n e s t a b a y a v a c í o ,y d e l c u a r t o d e l f o n d ol l e g a b a u n r u m o r d ep l a t o s y c u b i e r t o s .L o s p o c o s q u e q u e d a -b a n e n l a s a l a p a r e -c í an ha r to s de ba i l a r yc o n v e r s a b a n q u e d a -m e n t e e n g r u p i t o s .L o s c á l i d o s d e d o st e m b l o r o s o s d eG a b r i e l r e p i c a r o n s o -b r e e l f r í o c r i s t a l d el a v e n t a n a . ¡ Q u é f r e s -c o d e b í a h a c e r f u e r a !¡ L o a g r a d a b l e q u e s e -r í a s a l i r a c a m i n a rs o l o p o r l a o r i l l a d e lr í o y d e s p u é s a t r a v e -s a r e l p a r q u e ! L a n i e -v e s e v e í a a m o n t o n a -d a s o b r e l a s r a m a s d el o s á r b o l e s y p o n i e n -d o u n g o r r o r e f u l g e n -t e a l m o n u m e n t o aWe l l i n g t o n . ¡ C u á n t om á s g r a t o s e r í a e s t a ra l l á f u e r a q u e c e n a n -

without adverting to: ignoring

went on: continued

beautiful: repetition!

scenery: environment

son-in-law: daughter’s husbandbrought them: took them

go fishing: try to capture fish (salmon etc.)splendid: remarkable

caught (catch,): captured

cooked: grilled or poached

hardly heard: did not really hear (in fact, he was notlistening)

coming near: imminentthink...about: consider in his head

visit: have a polite conversation withleft the chair free for: stood up and offered his chair to

EMBRASURE OF THE WINDOW Although this is theappropriate name for the narrow part of the windowrecess on the side, Joyce uses it here to draw our attentionGabriel’s discomfort with the people around him.the room had...cleared: most people had left the room

clatter: continuous confused sound

those: the personsstill remained: were present now

tired of: to have become uninterested in

quietly: calmlyTAPPED THE COLD PANE Changed from «tipped.» Joyce wantsthis to be proleptic for both the sound of the gravel MichaelFurey throws against Gretta’s bedroom window and the wayGabriel hears the snow coming against the hotel window: «Afew light taps upon the pane made him turn to the window.»

pane: transparent part made of glasscool: pleasantly cold

how pleasant it would be: it would be so pleasant

along by: (walk) alongthrough: (walk) through

the snow would be lying: he imagines the snow resting...As noted earlier, we will delay a discussion of theambiguous symbolism of snow until we reach the

final paragraph of the story.

bright: scintillatingcap: cover

Wellington: Duke of Wellington, born in Dublin,hero of the battle of Waterloo

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supper- table!

H e r a n o v e r t h eheadings of his speech:I r i s h h o s p i t a l i t y, s a dm e m o r i e s , t h e T h r e eG r a c e s , P a r i s , t h eq u o t a t i o n f r o mBrowning. He repeatedto himself a phrase heh a d w r i t t e n i n h i sreview: “One feels thato n e i s l i s t e n i n g t o at h o u g h t - t o r m e n t e dmusic .” Miss Ivors hadpraised the review. Wass h e s i n c e r e ? H a d s h ereally any life of her ownb e h i n d a l l h e rp r o p a g a n d i s m ? T h e r ehad never been any ill-f e e l i n g b e t w e e n t h e mu n t i l t h a t n i g h t . I tunnerved him to thinkthat she would be at thesupper-table, looking upat him while he spokewith her critical quizzingeyes. Perhaps she wouldnot be sorry to see himfa i l in h i s speech . Anidea came into his mindand gave him courage.He would say, alludingto Aunt Kate and AuntJ u l i a : “ L a d i e s a n dG e n t l e m e n , t h egeneration which is nowon the wane among usmay have had its faultsbut for my part I think ithad certain qualities ofhospitali ty, of humour,of humanity, which thenew and very serious andh y p e r e d u c a t e dg e n e r a t i o n t h a t i sg rowing up a round usseems to me to lack .”Very good: that was onefor Miss Ivors. What didhe ca re tha t h i s aun tswere only two ignorantold women?

A m u r m u r i n t h er o o m a t t r a c t e d h i sa t t e n t i o n . M r. B r o w n ew a s a d v a n c i n g f r o mt h e d o o r , g a l l a n t l y

m e s a d e l a c e n a !

Repasó las notas desu discurso: la hospi ta-l idad ir landesa, recuer-d o s t r i s t e s , l a s T r e sGrac ias , Par i s , l a c i tad e B r o w n i n g . R e p i t i ópara s í mismo una fra-se que había escr i to ensu c r í t i ca : Uno s ien teque está escuchando lam ú s i c a d e u n a m e n t eatormentada. La seño-r i ta Ivors había a laba-d o s u c r í t i c a . ¿ H a b í as i d o s i n c e r a ? ¿ S a b í ae l l a a l g o d e u n a v i d am á s a l l á d e t o d o s up r o s e l i t i s m o ? N u n c ah a b í a h a b i d o m a l o ss e n t i m i e n t o s e n t r eel los hasta aquel la no-c h e . L e d e s a l e n t a b apensar en ella sentada ala mesa, mirándole consus cr í t icos o jos zum-bones mien t ras hab la -ba. Quizá no le doler íaverle equivocarse en sudiscurso. Se le ocurr ióuna idea que le infun-dió valor. Aludiendo al a t í a K a t e y a l a t í aJulia , podría decir : Da-m a s y c a b a l l e r o s : l agenerac ión que ahoradecl ina entre nosotrospudo haber tenido susfal tas, pero pienso, pormi parte , que hay unasc i e r t a s c u a l i d a d e scomo la hosp i ta l idad ,el humor y la humani-dad de las que carecel a n u e v a g e n e r a c i ó n ,t a n s e r i a ehipereducada, que cre-ce entre nosotros. Muybien. Un capón para laseñori ta Ivors . ¿Qué leimportaba que sus t íasfueran tan sólo un parde viejas ignorantes?

U n m u r m u l l o a t r a j os u a t e n c i ó n . E l s e ñ o rB r o w n e a v a n z a b ad e s d e l a p u e r t a e s c o l -t a n d o c o n g a l a n t e r í a

d o !

Repasó los t emas desu d i scu r so : l a hosp i -t a l idad i r l andesa , t r i s -t e s r ecue rdos , l a s TresGrac ia s , Pa r í s , l a c i t ade Browning . Se r ep i -t i ó u n a f r a s e q u e e s -c r i b i ó e n s u c r í t i c a :«Uno s i en t e que e scu -c h a u n a m ú s i c a a c u -c i a d a p o r l a s i d e a s . »Miss Ivo r s hab ía e lo -g iado la c r í t ica . ¿Ser ías i n c e r a ? ¿ Te n d r í a s uv ida p rop ia ocu l t a t r a st an ta p ropaganda? Noh a b í a h a b i d o n u n c aan imos idad en t re e l losan te s de e s t a ocas ión .L o e n e r v a b a p e n s a rque e l l a e s t a r í a s en ta -da a l a mesa , mi rándo-lo mient ras é l hablaba ,c o n s u s c r í t i c o s o j o sin t e r rogan te s . Ta l vezno le desagradar ía ver-lo f r acasa r en su d i s -cu r so . Le d io va lo r l ai d e a q u e l e v i n o a l amen te . D i r í a , a lud ien -d o a t í a K a t e y a t í aJu l i a : «Damas y caba -l l e r o s , l a g e n e r a c i ó nque ahora se ha l l a enre t i rada en t re noso t rosh a b r á t e n i d o s u s f a l -t a s , pe ro po r mi pa r t eyo c reo que tuvo c i e r -t a s cua l idades de hos -p i t a l i d a d , d e h u m o r ,d e h u m a n i d a d , d e l a sq u e l a n u e v a g e n e r a -c i ó n , t a n s e r i a ys u p e r e d u c a d a , q u ec rece ahora en nues t roseno , me pa rece ca re -ce r.» Muy b i en d i cho :q u e a p r e n d a M i s sIvor s . ¿Qué l e impor -taba s i sus t í a s no e ranmás que dos v i e j a s i g -no ran te s?

U n r u m o r e n l as a l a a t r a j o s u a t e n -c i ó n . M r . B r o w n ev e n í a d e s d e l a p u e r -t a l l e v a n d o g a l a n t e

ran over: recapitulatedheadings: main points, key words

sad happy

the Three Graces: Greek goddesses (allusion to Julia,Kate and Mary Jane)

PARIS This son of Priam, King of Troy

his review: the article he had written about RobertBrowning

THOUGHT-TORMENTED MUSIC This depiction of Gabrielrehersing and fondly recalling his own words, lendssupport to an interpretation of Gabriel as a ratherpretentious, self-absorbed and alienated young man. ButJoyce may be using Gabriel’s pretentious words againsthim, as a prolepsis for the torment that will be causedGabriel by a song (Lass of Aughrim) later that evening.

praised: expressed her admiration for

life of her own: personal, private lifebehind: masked by

there had never been any ill-feeling: no hostility hadever existed

unnerved: discouraged

looking up: she would be sitting, Gabriel would bestanding quizzing: mocking

would not be sorry: would have no regret, on thecontrary, would be pleased

alluding to: making an allusion to

on the wane: decliningamong: in the middle of

may have had: has possibly hadfault(s): imperfection

for my part: in my opinion

growing up: emergingto lack: not to have

one: a remark, an insinuation

what did he care: it did not matter to him, it was ofno importance to him

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e s c o r t i n g A u n t J u l i a ,w h o l e a n e d u p o n h i sa r m , s m i l i n g a n dh a n g i n g h e r h e a d . A ni r r e g u l a r m u s k e t r y o fa p p l a u s e e s c o r t e d h e ra l s o a s f a r a s t h ep i a n o a n d t h e n , a sM a r y J a n e s e a t e dh e r s e l f o n t h e s t o o l ,a n d A u n t J u l i a , n ol o n g e r s m i l i n g , h a l ft u r n e d s o a s t o p i t c hh e r v o i c e f a i r l y i n t ot h e r o o m , g r a d u a l l yc e a s e d . G a b r i e lr e c o g n i s e d t h ep r e l u d e . I t w a s t h a t o fa n o l d s o n g o f A u n tJ u l i a ’s — A r r a y e d f o rt h e B r i d a l . H e r v o i c e ,s t r o n g a n d c l e a r i nt o n e , a t t a c k e d w i t hg r e a t s p i r i t t h e r u n sw h i c h e m b e l l i s h t h ea i r a n d t h o u g h s h es a n g v e r y r a p i d l y s h ed i d n o t m i s s e v e n t h es m a l l e s t o f t h e g r a c en o t e s . To f o l l o w t h ev o i c e , w i t h o u tl o o k i n g a t t h es i n g e r ’s f a c e , w a s t of e e l a n d s h a r e t h ee x c i t e m e n t o f s w i f ta n d s e c u r e f l i g h t .G a b r i e l a p p l a u d e dl o u d l y w i t h a l l t h eo t h e r s a t t h e c l o s e o ft h e s o n g a n d l o u da p p l a u s e w a s b o r n e i nf r o m t h e i n v i s i b l es u p p e r - t a b l e . I ts o u n d e d s o g e n u i n et h a t a l i t t l e c o l o u rs t r u g g l e d i n t o A u n tJ u l i a ’ s f a c e a s s h eb e n t t o r e p l a c e i n t h em u s i c - s t a n d t h e o l dl e a t h e r - b o u n ds o n g b o o k t h a t h a d h e ri n i t i a l s o n t h e c o v e r.F r e d d y M a l i n s , w h oh a d l i s t e n e d w i t h h i sh e a d p e r c h e ds i d e w a y s t o h e a r h e rb e t t e r , w a s s t i l la p p l a u d i n g w h e ne v e r y o n e e l s e h a dc e a s e d a n d t a l k i n g

a l a t í a J u l i a q u e s ea p o y a b a e n s u b r a -z o , s o n r i e n d o c a -b i z b a j a . U n a i r r e -g u l a r m o s q u e t e r í ad e a p l a u s o s l e d i ot a m b i é n e s c o l t ah a s t a e l p i a n o e nc u y o t a b u r e t e s es e n t a b a M a r y J a n e .L a t í a J u l i a d e j ó d es o n r e í r y d i o m e -d i a v u e l t a p a r a c o -l o c a r p e r f e c t a m e n -t e s u v o z e n e l s a -l ó n . G a b r i e lr e c o n o c i ó e l p r e l u -d i o . E r a u n a v i e j ac a n c i ó n d e t í a J u l i a :A t a v i a d a p a r a l ab o d a - . S u v o z , f u e r -t e y d e c l a r a e n t o n a -c i ó n , a t a c ó c o n v i -g o r l a s e s c a l a s q u ee m b e l l e c i e r o n l am e l o d í a , y a u n q u ec a n t ó m u y r á p i d o ,n o p e r d i ó n i l a m á sm í n i m a n o t a d ea d o r n o . S e g u i r a q u e -l l a v o z s i n m i r a r e lr o s t r o d e l a c a n t a n -t e , e r a c o m o s e n t i r yc o m p a r t i r l a e x c i t a -c i ó n d e u n v u e l or a u d o y s e g u r o .C u a n d o t e r m i n ó l ac a n c i ó n , G a b r i e lu n i ó s u s c a l u r o s o sa p l a u s o s a l o s d e la u d i t o r i o y a l o sp r o c e d e n t e s d e l a i n -v i s i b l e m e s a d e l ac e n a . A q u e l l o s o n ót a n g e n u i n o q u e u nl i g e r o r u b o r s e a p o -d e r ó d e l r o s t r o d e l at í a J u l i a a l i n c l i n a r s ep a r a r e t i r a r d e l a t r i ll a v i e j a c a r p e t a d ep a r t i t u r a s e n c u a d e r -n a d a e n c u e r o c o n s u si n i c i a l e s e n l a c u b i e r -t a . F reddy Mal ins , quela había escuchado s inm o v e r l a c a b e z a d e llado por e l que o ía me-jo r, segu ía ap laud ien-d o c u a n d o t o d o s l o sd e m á s h a b í a n d e j a d o

d e l b r a z o a l a t í a J u -l i a , q u e s o n r e í a c a -b i z b a j a . U n a s a l v ai r r e g u l a r d e a p l a u -s o s l a e s c o l t ó h a s t ae l p i a n o y l u e g o ,c u a n d o M a r y J a n e s es e n t ó e n l a b a n q u e t ay l a t í a J u l i a , d e j a n -d o d e s o n r e í r , d i om e d i a [ 1 3 1 ] v u e l t ap a r a m e j o r p r o y e c t a rs u v o z h a c i a e l s a -l ó n , c e s a r o n g r a -d u a l m e n t e . G a b r i e lr e c o n o c i ó e l p r e l u -d i o . E r a u n a v i e j ac a n c i ó n d e l r e p e r -t o r i o d e t í a J u l i a ,A t a v i a d a p a r a e l c a -s o r i o . S u v o z ,c l a r a y s o n o r a ,a t a c ó l o sg o r g o r i t o s q u ea d o r n a b a n l a t o -n a d a , y a u n q u ec a n t ó m u y r á p i d o ,n o s e c o m i ó n iu n a f i o r i t u r a .O í r l a v o z s i nm i r a r l a c a r a d e l ac a n t a n t e e r as e n t i r y c o m p a r -t i r l a e x c i t a c i ó nd e u n v u e l o r á -p i d o y s e g u r o .G a b r i e l a p l a u d i ór u i d o s a m e n t e j u n t oc o n l o s d e m á s c u a n -d o l a c a n c i ó n a c a b ó ,y a t r o n a d o r e s a p l a u -s o s l l e g a r o n d e l am e s a i n v i s i b l e . S o -n a b a n t a n g e n u i n o s ,q u e a l g o d e r u b o r s ee s f o r z a b a p o r s a l i r l ea l a c a r a a t í a J u l i a ,c u a n d o s e a g a c h a b ap a r a p o n e r s o b r e e la t r i l e l v i e j o c a n -c i o n e r o e n c u a d e r n a -d o e n c u e r o c o n s u si n i c i a l e s e n l a p o r t a -d a . F r e d d y M a l i n s ,q u e h a b í a l a d e a d ol a c a b e z a p a r a o í r -l a m e j o r , a p l a u d í at o d a v í a c u a n d ot o d o e l m u n d o h a -b í a d e j a d o y a d e

leaned upon his arm: used his arm as a support

hanging: inclining with modestymusketry: explosions, salvo

escorted her also: she was doubly escortedas far as: to

stool: piano stool, special seat for pianists

no longer: not now so as to: in order to

pitch: project

ceased: the applause ceased

that of: the prelude of

Julia’s: Julia’s repertoirearrayed for the bridal: dressed splendidly for the

nuptial ceremony

great spirit: much ardour, determination

though: in spite of the fact that

miss: let fall, omitgrace note(s): appogiatura

to follow the voice: to listen to her voicewithout: but not

was to: was similar toshare...flight: participate in the exalting sensation of

rapidity and security a bird has in the air

loud: noisy, energetic

was borne in from: came from

it sounded so genuine: the sound of the applause wassincere to the point

struggled into: came imperceptibly

bent: inclined (her body)music-stand: music cabinet

leather-bound: covered with leather

perched sideways # erectto hear the better: to be in a position to hear well

everyone else: all the others

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a n i m a t e d l y t o h i sm o t h e r w h o n o d d e dh e r h e a d g r a v e l y a n ds l o w l y i na c q u i e s c e n c e . A t l a s t ,when he could clap nom o r e , h e s t o o d u ps u d d e n l y a n d h u r r i e dacross the room to AuntJ u l i a w h o s e h a n d h eseized and held in bothh i s h a n d s , s h a k i n g i twhen words f a i l e d h i mo r t h e c a t c h i n h i sv o i c e p r o v e d t o om u c h f o r h i m .

“ I w a s j u s t t e l l i n gmy mother,” he said, “In e v e r h e a r d y o u s i n gs o w e l l , n e v e r. N o , Inever heard your voices o g o o d a s i t i st o n i g h t . N o w ! Wo u l dyou be l ieve tha t now?That ’s the t ru th . Uponm y w o r d a n d h o n o u rthat’s the t ruth . I neverheard your voice sounds o f r e s h a n d s o . . . s oc l e a r a n d f r e s h ,never.”

A u n t J u l i a s m i l e dbroad ly and murmureds o m e t h i n g a b o u tc o m p l i m e n t s a s s h ere leased her hand f romhi s g ra sp . Mr. Brownee x t e n d e d h i s o p e nhand towards he r andsa id to those who werenear h im in the mannero f a s h o w m a nin t roduc ing a p rod igyto an aud ience :

“ M i s s J u l i aM o r k a n , m y l a te s td i s c o v e r y ! ”

H e w a s l a u g h i n gv e r y h e a r t i l y a t t h i sh i m s e l f w h e n F r e d d yM a l i n s t u r n e d t o h i mand said:

“ We l l , B r o w n e , i fy o u ’ r e s e r i o u s y o um i g h t m a k e a w o r s e

de hacerlo, mientras ha-blaba animadamente consu madre que movía la ca-beza en grave y lentaaquiescencia . Al f inal ,cuando ya no podía aplau-dir más, se puso en pie sú-bitamente y atravesó co-rriendo el salón hasta al-canzar a la tía Julia, cuyamano cogió y mantuvo en-tre las suyas, estrechándo-la cuando le faltaban pa-labras o la gangosidadde su voz se mostraba su-perior a sus fuerzas .

— S e l o e s t a b a d i -c i endo a mi madre —dijo—. Jamás la habíao í d o c a n t a r t a n b i e n .Jamás. Nunca, jamás lahab ía o ído can ta r conuna voz tan bel la comol a d e e s t a n o c h e . j a -más! Créame. Es la ver-dad . Por mi pa labra ypor mi honor que es laverdad. Jamás oí sonarsu voz de un modo tanfresco y tan. . . tan cla-ro .________

La tía Julia le respon-dió con una amplia son-risa y murmuró unas pa-labras de agradecimien-to , r ecupe rando l a l i -berad de la mano. El se-ñor Browne extendió sumano abierta hacia ellay se dirigió a quienes lerodeaban con los moda-l e s de un p re sen tado rque ofrece un prodigio asu audiencia.

— L a s e ñ o r i t a J u l i aMorkan, mi último des-cubrimiento.

Y s e e s t a b a r i e n d ocordialmente de lo queh a b í a d i c h o c u a n d oFreddy Malins se volvióhacia él.

— D e v e r d a d ,Browne, podía usted ha-ber hecho un descubri-

h a c e r l o y h a b l a b aa n i m a d o c o n s u m a -d r e , q u e a s e n t í a g r a -v e y l en t a en aqu ie s -cenc ia . Al f in , no pu-d i e n d o a p l a u d i r m á s ,se levantó de pronto ya t ravesó e l sa lón a l acarrera para l legar has-ta t í a Ju l ia y tomar sumano en t re l a s suyas ,sacudiéndola cuando lefa l ta ron las pa labras oc u a n d o e l f r e n o d es u v o z s e h i z o i n -s o p o r t a b l e .

— L e e s t a b a d i c i e n -d o y o a m i m a d r e —d i j o — q u e n u n c a l ah a b í a o í d o c a n t a r t a nb i e n , ¡ n u n c a ! N o ,n u n c a s o n ó t a n b i e ns u v o z c o m o e s t a n o -c h e . ¡ Va y a ! ¿ A q u e n ol o c r e e ? P e r o e s l ave rdad . Pa labra de ho-nor que e s l a pu ra ve r -d a d . N u n c a s o n ó s uv o z t a n f r e s c a y t a n …t a n c l a r a y t a n f r e s c a ,¡ n u n c a !

L a t í a J u l i a s o n r i óampl iamente y murmu-r ó a l g o s o b r e a q u e lcumpl ido mient ras sa -caba la mano del apr ie-to . Mr. Browne ex ten-d i ó u n a m a n o a b i e r t ahac ia e l la y d i jo a losque es taban a su a l re -dedor, como un an ima-d o r q u e p r e s e n t a u np o r t e n t o a l a a m a b l econcur renc ia :

— ¡ M i s s J u l i aMorkan, mi últ imo des-cubrimiento!

S e r e í a c o n g a n a sd e s u c h i s t e c u a n d oF r e d d y M a l i n s s ev o l v i ó a é l p a r a d e -c i r l e :

—Bueno, Browne, sihablas en serio podríashaber hecho otro descu-

animatedly: with animationnodded her head...in acquiescence: made signs of

approval with her head

could clap no more: could not clap any more

hurried across: crossed the room in haste

whose hand he seized: he seized her handheld: retained, kept

failed: escapedcatch voz entrecortada

proved too much for him: was impossible to control

sing: heard you sing (not to after hear, see, feel, etc.)

now: tell me!believe: be convinced of

the truth: veritableupon my word and honour: you have my word of

honour

sound: be (to the ear)

smiled broadly: had a big, large, smile

compliments: compliments in general

released: liberated, set freegrasp: pressed hands

those who were near: his neighbours

showman: presenter in a circus

audience: spectators

latest: most recent

very heartily: with great forcethis: this joke

you’re serious: if you are talking seriouslyworse discovery: discovery of an inferior quality #

bad worse, the worst

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d i s c o v e r y. A l l I c a ns a y i s I n e v e r h e a r dh e r s i n g h a l f s o w e l la s l o n g a s I a mc o m i n g h e r e . A n dt h a t ’ s t h e h o n e s tt r u t h . ”

“Neither did I,” saidMr. Browne. “I think herv o i c e h a s g r e a t l yimproved.”

Aunt Julia shruggedher shoulders and saidwith meek pride:

“Thi r ty years ago Ihadn’t a bad vo ice a svoices go.”

“I often told Julia ,”s a i d A u n t K a t eemphatically, “that shewas simply thrown awayin tha t cho i r. Bu t shenever would be said byme.”

S h e t u r n e d a s i ft o a p p e a l t o t h eg o o d s e n s e o f t h eo t h e r s a g a i n s t ar e f r a c t o r y c h i l dw h i l e A u n t J u l i ag a z e d i n f r o n t o fh e r , a v a g u e s m i l eo f r e m i n i s c e n c ep l a y i n g o n h e r f a c e .

“ N o , ” c o n t i n u e dA u n t K a t e , “ s h ew o u l d n ’ t b e s a i d o rl e d b y a n y o n e ,s l a v i n g t h e r e i n t h a tc h o i r n i g h t a n d d a y,n i g h t a n d d a y . S i xo ’ c l o c k o n C h r i s t m a sm o r n i n g ! A n d a l l f o rw h a t ? ”

“Well, isn’t it for theh o n o u r o f G o d , A u n tK a t e ? ” a s k e d M a r yJane, twisting round ont h e p i a n o - s t o o l a n dsmiling.

A u n t K a t e t u r n e dfiercely on her niece and

m i e n t o p e o r. To d o l oque puedo decir es quejamás la había oído can-tar la mitad de bien des-de que vengo por aquí.Y esa es la más honestaverdad.

—Tampoco yo —dijoel señor Browne—. Creoque su voz ha mejoradomucho.

La tía Julia se enco-gió de hombros y di jocon humilde orgullo:

Hace treinta años mivoz , como t a l , no e ramala.

—Siempre le he di -cho que malgastaba sut iempo en ese coro —dijo la t ía Kate apasio-n a d a m e n t e — . P e r on u n c a m e h a h e c h ocaso.

Pronunció sus pa la -bras como s i apelara a lbuen ju ic io de los de-m á s f r e n t e a u n n i ñ orecalcitrante , mientrasla tía Julia, con una son-r i sa de reminiscenc ia ,dejaba que su mirada seperdiera en algún puntofrente a ella.

— N o — s i g u i ó l at í a K a t e — , n u n c ah i z o c a s o n i a d m i t i ól o s c o n s e j o s d e n a -d i e . . . E s c l a v i z a d a e na q u e l c o r o n o c h e yd í a . ¡ A l a s s e i s d e l am a ñ a n a e l d í a d e N a -v i d a d ! Y t o d o ¿ p a r aq u é ?

— B u e n o , ¿ n o e spara a labar a Dios , t í aK a t e ? — p r e g u n t óM a r y J a n e , g i r a n d ocon una sonr i sa en e ltabure te de l p iano .

La tía Kate se volvióhac i a su sob r ina pa r a

brimiento peor. Todo loque puedo decir es quen u n c a l a h a b í a o í d ocantar tan bien ningunade las veces que he es-tado antes aquí. Y es lapura verdad.

—Ni yo tampoco —d i j o M r. B r o w n e — .Creo que de voz ha me-jorado mucho.

Tía Julia se encogióde hombros y dijo contímido orgullo:

—Hace t re in ta añosmi voz, como tal, no eramala.

—Le he d i cho a Ju -l i a m u c h a s v e c e s —d i j o t í a K a t e e n f á t i -ca— que e s t á ma lgas -tando su ta len to en esec o r o . P e r o n u n c a m equ ie re o í r.

S e v o l v i ó c o m o s iqu is ie ra ape la r a l buensen t ido de lo s de m á sf r e n t e a u n n i ñ oincorregible , mientrastía Julia, una vaga son-r i s a r e m i n i s c e n t eesbozándose en sus la-bios, miraba alelada alfrente.

— P e r o n o — s i g u i ótía Kate—, no deja quenadie la convenza ni lad i r i j a , can tando comouna esclava de ese coronoche y día, día y no-che . ¡Desde [132] l a sseis de la mañana el díad e N a v i d a d ! ¿ Y t o d opara qué?

— B u e n o , ¿ n o s e r í ap o r l a h o n r a d e l S e -ñ o r , t í a K a t e ? — p r e -g u n t ó M a r y J a n e , g i -r a n d o e n l a b a n q u e t a ,s o n r i e n d o .

La t ía Kate se volvióa su sobrina como una

as long as I am coming: since I first came, during allthe time I have been coming

neither did I: approval of a negative clause; and Inever heard her

greatly improved: a considerably better quality

shrugged: made a movement of doubt with hershoulders

meek pride: a mixture of self-satisfaction andhumility ago: in the past

as voices go: speaking of voices in general

I often told: I frequently said to

emphatically: with forceshe was...thrown away: her talent was devalued

choir: choral societywould be said by me: wanted to listen to me. Theverb «to say» had a much earlier meaning: to take

direction or advice; i.e., here she is saying that Juliawould never take advice (or direction) from her.

to appeal: she wanted to make an appeal

refractory: rebellious, unruly

gazed: looked fixedly

of reminiscence: expressing that she was thinking ofthe past

she wouldn’t be said or led by anyone: nobodycould advise or guide her; (lead, led —)

slaving: working like a slave, a servant

six o’clock: at six o’clock in the morning

for the honour to honourGod: the Creator

twisting round: pivoting

turned...on: attacked suddenlyfiercely: with violence

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said:

“I know all about theh o n o u r o f G o d , M a r yJ a n e , b u t I t h i n k i t ’sn o t a t a l l h o n o u r a b l efor the pope to turn outthe women ou t o f t hechoirs that have s lavedthere al l their l ives andp u t l i t t l e w h i p p e r -snappers of boys overthe i r heads . I supposei t is for the good of theChurch if the pope doesi t . B u t i t ’ s n o t j u s t ,Mary Jane, and i t ’s notr ight .”

S h e h a d w o r k e dhe r se l f i n to a pas s iona n d w o u l d h a v ec o n t i n u e d i n d e f e n c eof he r s i s t e r fo r i t wasa so re sub jec t wi th he rbu t Mary Jane , s ee ingt h a t a l l t h e d a n c e r sh a d c o m e b a c k ,i n t e r v e n e dpac i f i ca l ly :

“ N o w, A u n t K a t e ,you’re giving scandal toMr. Browne who is ofthe other persuasion.”

A u n t K a t e t u r n e dt o M r . B r o w n e , w h ow a s g r i n n i n g a t t h i sa l l u s i o n t o h i sr e l i g i o n , a n d s a i dh a s t i l y :

“O, I don’t quest ionthe pope’s being r ight .I ’m on ly a s tup id o ldwoman and I wouldn’tp re sume to do such athing. But there’s sucha t h i n g a s c o m m o ne v e r y d a y p o l i t e n e s sand grat i tude. And i f Iw e r e i n J u l i a ’s p l a c eI ’ d t e l l t h a t F a t h e rH e a l e y s t r a i g h t u p t ohis face. . .”

“ A n d b e s i d e s ,A u n t K a t e , ” s a i dM a r y J a n e , “ w e

decir con vehemencia:

— S é t o d o l o q u econcierne a la a labanzad e D i o s , M a r y J a n e ,p e r o n o c r e o q u e s e amuy honorable por par-te del Papa echar de loscoros a las mujeres queh a n d a d o t o d o p o rel los , para sust i tu i r lasp o r u n o s n i ñ o smeque t re fes . Supongoque s i e l Papa lo haceserá por e l b ien de laIglesia . Pero no es jus-to , Mary Jane, ni es locorrecto .

Había entrado en có-lera y hubiera prolonga-do la defensa de su her-mana en aque l a sun toque tan doloroso le re-s u l t a b a , d e n o h a b e rsido porque Mary Jane,viendo que los bailari-nes se acercaban, inter-vino para poner algo depaz.

—Ahora, tía Kate, noe s c a n d a l i c e s a l s e ñ o rBrowne, que tiene otrascreencias .

Tía Kate se volvió alseñor Browne, que esta-ba haciendo muecas des-de que se mencionara sureligión, y se apresuró adecir:

—Oh, no he pues toe n d u d a l a r a z ó n d e lPapa . No soy más queu n a v i e j a e s t ú p i d a , yj a m á s m e a t r e v e r í a ah a c e r t a l c o s a . P e r oh a y a l g o t a n n o r m a lc o m o l a c o r t e s í a y l ag ra t i t ud . Y s i yo e s tu -v i e r a e n e l l u g a r d eJu l i a s e l o d i r í a a e sep a d r e H e a l y d i r e c t a -men te a l a ca ra .

—Y, además, tía Kate—dijo Mary Jane—, es-tamos todos verdadera-

fiera y le dijo:

— ¡ Yo m e s é m u yb i e n q u é c o s a e s l ahonra de l Señor, MaryJane! Pero no c reo ques e a m u y h o n r a d o d epar te de l Papa sacar deu n c o r o a u n a m u j e rque se ha esc lav izadoen é l toda su v ida parap a s a r l e p o r e n c i m a achiqui l los malcr iados .Supongo que el Papa loh a r á p o r l a h o n r a d e lSeñor, pero no es jus -t o , M a r y J a n e , y n oes tá nada b ien .

S e h a b í a f e r m e n -t a d o a p a s i o n a d a m e n -t e y h u b i e r a c o n t i -n u a d o d e f e n d i e n d o as u h e r m a n a p o r q u el e d o l í a , p e r o M a r yJ a n e , v i e n d o q u e l o sb a i l a d o r e s r e g r e s a -b a n y a a l s a l ó n , i n -t e r v i n oa p a c i g u a n t e :

—Vamos , t í a Ka te ,que está usted escandali-zando a Mr. Browne, quetiene otras creencias.

T í a K a t e s e v o l -v i ó a M r . B r o w n e ,q u e s o n r e í a a n t ee s t a a l u s i ó n a s ur e l i g i ó n , y d i j oa p r e s u r a d a :

— O h , p e r o y o n op o n g o e n d u d a q u e e lP a p a t e n g a r a z ó n . N os o y m á s q u e u n a v i e -j a e s t ú p i d a y n o p r e -s u m o d e o t r a c o s a .P e r o h a y e s o q u e s el l a m a g r a t i t u d y c o r -t e s í a c o t i d i a n a e n l av i d a . Y s i y o f u e r aJ u l i a i b a y s e l o d e c í aa l p a d r e H e a l y e n s um i s m a c a r a …

— Y, a d e m á s , t í aK a t e — d i j o M a r yJane—, que estamos to-

for the Pope to turn out: when the Pope turns out;turn out: eject, sack

that: who

put-over their heads: replace them withwhipper-snappers: pretentious young boys (Pius X

had just proclaimed the exclusion of women from thechurch choirs)

right: morally correct

had worked herself into a passion: little by little shehad become very irritated

for: becausesore:- painful, distressing

with: for

come back: from the refreshment-room to thedrawing-room

giving scandal: shocking

persuasion: religion (Protestantism)

hastily: in haste, quickly

question: have doubtsthe Pope being right: that the Pope is right

presume to do such a thing: take the liberty of doingthat

there’s such a thing as: this thing is important

I were: were or was are used after ifI’d: I would

that: the individual calledstraight up to his face: directly and clearly

besides: in addition to that

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r e a l l y a r e a l l h u n g r ya n d w h e n w e a r eh u n g r y w e a r e a l lv e r y q u a r r e l s o m e . ”

“ A n d w h e n w e a r et h i r s t y w e a r e a l s oq u a r r e l s o m e , ”a d d e d M r . B r o w n e .

“ S o t h a t w e h a db e t t e r g o t o s u p p e r , ”s a i d M a r y J a n e , “ a n df i n i s h t h e d i s c u s s i o nafterwards.”

O n t h e l a n d i n go u t s i d e t h e d r a w i n g -r o o m G a b r i e l f o u n dh i s w i f e a n d M a r yJ a n e t r y i n g t op e r s u a d e M i s s I v o r st o s t a y f o r s u p p e r .B u t M i s s I v o r s , w h oh a d p u t o n h e r h a ta n d w a s b u t t o n i n gh e r c l o a k , w o u l d n o ts t a y . S h e d i d n o tf e e l i n t h e l e a s th u n g r y a n d s h e h a da l r e a d y o v e r s t a y e dh e r t i m e .

“ B u t o n l y f o r t e nm i n u t e s , M o l l y , ”s a i d M r s . C o n r o y .“ T h a t w o n ’ t d e l a yy o u . ”

“ T o t a k e a p i c ki t s e l f , ” s a i d M a r yJ a n e , “ a f t e r a l ly o u r d a n c i n g . ”

“ I rea l ly cou ldn’ t , ”said Miss Ivors.

“ I a m a f r a i d y o udidn’t enjoy yourself ata l l , ” s a i d M a r y J a n ehopelessly.

“ E v e r s o m u c h ,I a s s u r e y o u , ”s a i d M i s s I v o r s ,“ b u t y o u r e a l l ym u s t l e t m er u n o f f n o w . ”

“ B u t h o w c a n y o u

m e n t e h a m b r i e n t o s , yc u a n d o e s t a m o s h a m -br i en tos nos ponemosmuy pendencieros.

—Y cuando estamossedientos también nosponemos pendencieros—añadió e l señor Browne.

—Así que lo mejor esque vayamos a cenar —dijo Mary Jane— y de-jemos la discusión paraluego.

A l c r u z a r e l s a l ó np a r a s a l i r , G a b r i e l s eencontró con su mujer yMary Jane que intenta-ban persuadir a la seño-r i t a Ivors para que sequedara a cenar. Pero laseñor i ta Ivors , que yase había puesto el som-b re ro y e s t aba abo to -nándose la capa, no ibaa quedarse. No tenía lamás mínima hambre yy a s e h a b í a q u e d a d omás t iempo del que dis-ponía.

— P e r o e s c u e s t i ó nd e d i e z m i n u t o s ,Mol ly —di jo l a s eño-ra Conroy—. Eso no teva a r e t r a sa r.

—Tan sólo para tomarun bocado —dijo MaryJane— después de todolo que has bailado.

—De verdad que no pue-do —dijo la señorita Ivors.

—Me temo que no selo ha pasado bien —dijoMary Jane, sin esperan-za alguna.

— M e l o h e p a s a d omuy bien, se lo aseguroa ustedes —dijo la seño-rita Ivors—, pero ahorahan de permitir que mevaya.

— P e r o ¿ c ó m o v a a

dos con mucha hambre,y cuando tenemos ham-b r e s o m o s t o d o s m u ybelicosos.

— Y c u a n d o e s t a -m o s s e d i e n t o s t a m -b i é n s o m o s b e l i c o s o s—añadió Mr. Browne. .

—Así que más va leque vayamos a cenar —dijo Mary Jane— y deje-mos la d i scus ión paramás tarde.

En e l r e l l ano de l as a l i d a d e l a s a l a ,Gabr ie l encon t ró a suesposa y a Mary Janetratando de convencer aMiss Ivors para que sequedara a cena r. Pe roMiss Ivors , que se ha-bía pues to ya su som-brero y se abotonaba ela b r i g o , n o s e q u e r í aquedar. No se sent ía lomás mínimo con apet i -to y, además, que ya sehabía quedado más delo que debía .

—Pero si no son másq u e d i e z m i n u t o s ,M o l l y — d i j o M r s .Conroy—. No es tantala demora.

—Para que comas unb o c a d o — d i j o M a r yJane— después de tan-to bailoteo .

—No puedo, de veras—dijo Miss Ivors.

—Me parece que nolo pasaste nada bien —dijo Mary Jane con des-al iento.

— S í , m u y b i e n ,s e l o a s e g u r o —d i j o M i s s I v o r s — ,p e r o a h o r a d e b e nd e j a r m e i r c o -r r i e n d o .

—Pero ¿cómo vas a

are...hungry: need to eat

quarrelsome: looking for quarrels, disputes

are thirsty: need to drink

so that: in conclusionwe had better go: it would be better for us, we ought

to go

landing: space at the top of stairs

trying: making efforts

put on # taken off

cloak: ample sleeveless cape used as an overcoat

in the least: at all

already: now, at this momentoverstayed her time: stayed longer than the time she

had fixed

for only ten minutes: ten minutes, no more

delay you: make you late

take a pick itself: have a little something to eat

all your dancing: all the dances you had # gerund(verb + -ing) used as a noun

didn’t enjoy yourself at all: you didn’t have apleasant evening

hopelessly: in a disappointed manner

ever so much: enormously, immensely

let: allow, permitrun off: go quickly

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g e t h o m e ? ” a s k e dM r s . C o n r o y .

“ O , i t ’ s o n l yt w o s t e p s u p t h eq u a y . ”

Gab r i e l he s i t a t ed amoment and said:

“If you will allow me,Miss Ivors, I’ll see youhome if you are reallyobliged to go.”

But Miss Ivors brokeaway from them.

“I won’t hear of it,”s h e c r i e d . “ F o rgoodness’ sake go in toyour suppers and don’tmind me. I’m quite wella b l e t o t a k e c a r e o fmyself.”

“ We l l , y o u ’ r e t h ec o m i c a l g i r l , M o l l y, ”s a i d M r s . C o n r o yf r a n k l y .

“ B e a n n a c h t l i b h , ”cried Miss Ivors, with alaugh, as she ran downthe staircase.

M a r y J a n e g a z e da f t e r h e r , a m o o d yp u z z l e d e x p r e s s i o no n h e r f a c e , w h i l eM r s . C o n r o y l e a n e do v e r t h e b a n i s t e r st o l i s t e n f o r t h eh a l l - d o o r . G a b r i e la s k e d h i m s e l f w a sh e t h e c a u s e o f h e ra b r u p t d e p a r t u r e .B u t s h e d i d n o t s e e mt o b e i n i l l h u m o u r :s h e h a d g o n e a w a yl a u g h i n g . H e s t a r e db l a n k l y d o w n t h es t a i r c a s e .

A t t h e m o m e n tA u n t K a t e c a m et o d d l i n g o u t o f t h es u p p e r - r o o m , a l m o s tw r i n g i n g h e r h a n d s i nd e s p a i r .

llegar a su casa? —pre-guntó la señora Conroy.

—Oh, está a un parde pasos subiendo porel muelle.

Gabriel vaciló un mo-mento y dijo:

— C o n s u p e r m i s o ,señorita Ivors, la acom-pañaré a casa si en ver-dad ha de irse.

Pero la señorita Ivorsse alejó de ellos.

— D e e s o n i h a b l a r— g r i t ó — . P o r e l a m o rd e D i o s , v a y a n a s uc e n a y n o s e p r e o c u -p e n d e m í . S o y m u yc a p a z d e v a l e r m e p o rm í m i s m a .

—Se e s t á pon iendoen evidencia, Molly —dijo francamente la se-ñora Conroy.

—Beannacht l ibh —gritó la señorita Ivors,mientras bajaba, riéndo-se, la escalera.

M a r y J a n e l a v i om a r c h a r c o n u n a e x -p r e s i ó n t r i s t e y c o n -f u n d i d a e n s u r o s t r o ,m i e n t r a s l a s e ñ o r aC o n r o y s e i n c l i n a b as o b r e l a b a r a n d i l l ap a r a o í r l a p u e r t a d e lv e s t í b u l o . G a b r i e l s ep r e g u n t ó s i e r a é l l ar a z ó n d e s u b r u s c as a l i d a . P e r o l a d a m an o p a r e c í a e s t a r d em a l h u m o r : s e h a b í ai d o r i e n d o . Y s e q u e -d ó m i r a n d o l a e s c a l e -r a , c o n f u s o .

T í a K a t e s a l i ó d e lsalón en ese momento,con pasitos de niño pe-queño y exprimiéndosecas i l a s manos de de-sesperación.

llegar? —preguntó Mrs.Conroy.

— O h , n o s o n m á sque unos pasos malecónarriba.

Gabriel dudó por unmomento y dijo:

—Si me lo permite ,Miss Ivors, yo la acompa-ño. Si de veras tiene que[133] marcharse usted.

P e r o M i s s I v o r s s esoltó de entre ellos.

— D e n i n g u n a m a -n e r a — e x c l a m ó — .P o r e l a m o r d e D i o s ,v a y a n a c e n a r y n os e o c u p e n d e m í . Yas é c u i d a r m e m u yb i e n .

— M i r a , M o l l y ,q u e t ú e r e s r a r a —d i j o M r s . C o n r o y c o nf r a n q u e z a .

—Beannacbt l ibh —gritó Miss Ivors, entrec a r c a j a d a s , m i e n t r a sbajaba la escalera.

Mary Jane se quedómirándola , una expre-s ión preocupada en sur o s t r o , m i e n t r a s M r s .Conroy se inc l inó porsobre l a ba randa pa raoír si cerraba la puertadel zaguán. Gabriel sepreguntó s i ser ía é l lacausa de que ella se fue-r a t a n a b r u p t a m e n t e .P e r o n o p a r e c í a e s t a rd e m a l h u m o r : s e h a -b í a i d o r i é n d o s e ac a r c a j a d a s . S e q u e d óm i r a n d o l a s e s c a l e r a sd i s t r a í d o .

E n e s e m o m e n t o l at í a K a t e s a l i ó d e lc o m e d o r dando tumbos,c a s i e x p r i m i é n d o s el a s m a n o s d e d e s -e s p e r o .

get home: go back home (to your place)

two steps up: a very short distance to walk along.Not too fgar away

see you home: accompany you to your home

broke away from them: extricated herself from thegroup

I won’t hear of it: not on your life!

for goodness’ sake: I pray yougo into: go and have

mind: pay attention toable: capable

take care of myself: conduct my affairs without theaid of others

YOU’RE THE COMICAL GIRL, MOLLY A friendly,colloquial expression meaning unusual, in this case,independent. Note also the friendliness in Gretta’scalling her «Molly» rather than «Miss Ivors.»

BEANNACHT LIBH Irish for «blessing to ye,» used as«goodbye.» This exchange establishes a connectionbetween Miss Ivors and Gretta that points to questionsabout the relationship between Gretta and Gabriel. Ifwe think of Miss Ivors as having been one of the few«live» persons at a generally dead party, then perhapsthis liveliness is now passed (perhaps ambiguously) toGretta, in the form of an Irish blessing said with a laughand a cry.

moody: morose

leaned: craned her neckbanister(s): handrail

for the hall-door: for the front door when shutting

in ill humour: in a bad disposition, bad temper

stared: looked for a long timeblankly: with a disconcerted expression

at the: at that

toddling: making short unstable stepssupper-room: dining-room

wringing: pressing nervously

X

X

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“ W h e r e i sG a b r i e l ? ” s h e c r i e d .“ W h e r e o n e a r t h i sG a b r i e l ? T h e r e ’ se v e r y o n e w a i t i n g i nt h e r e , s t a g e t o l e t ,a n d n o b o d y t o c a r v et h e g o o s e ! ”

“ H e r e I a m , A u n tK a t e ! ” c r i e dG a b r i e l , w i t h s u d d e na n i m a t i o n , “ r e a d y t oc a r v e a f l o c k o fg e e s e , i f n e c e s s a r y. ”

A f a t b r o w ng o o s e l a y a t o n e e n do f t h e t a b l e a n d a tt h e o t h e r e n d , o n ab e d o f c r e a s e dp a p e r s t r e w n w i t hs p r i g s o f p a r s l e y ,l a y a g r e a t h a m ,s tr ipped o f i t s ou te rs k i n a n d p e p p e r e do v e r w i t h c r u s tc r u m b s , a n e a t p a p e rf r i l l round i t s sh in andb e s i d e t h i s w a s around o f sp iced bee f .B e t w e e n t h e s e r i v a lends r an pa ra l l e l l i neso f s i d e - d i s h e s : t w ol i t t l e m i n s t e r s o fj e l l y , r ed and ye l low;a sha l low d i sh fu l l o fb locks o f b l ancmangea n d r e d j a m , a l a r g egreen l ea f - shaped d i shw i t h a s t a l k - s h a p e dh a n d l e , o n w h i c h l a yb u n c h e s o f p u r p l er a i s i n s a n d p e e l e da lmonds , a compan iond i s h o n w h i c h l a y as o l i d r e c t a n g l e o fSmyrna f ig s , a d i sh o fc u s t a r d t o p p e d w i t hgrated nutmeg, a sma l lb o w l f u l l o fchoco la t e s and swee t sw r a p p e d i n g o l d a n ds i l v e r p a p e r s a n d ag l a s s v a s e i n w h i c hs tood some t a l l ce l e rys ta lks . In the cen t re o fthe t ab l e t he re s tood ,a s s en t r i e s t o a f ru i t -

— ¿ D ó n d e e s t áG a b r i e l ? — g r i t ó — .¿ D ó n d e s e h a m e t i d oGabriel? Todo el mundol e e s t á e s p e r a n d o ,preparados para comen-z a r, y n o h a y q u i e ntrinche la oca.

— A q u í e s t o y , t í aKa te —gr i tó Gab r i e l ,s ú b i t a m e n t e a n i m a -d o — , l i s t o p a r atr inchar una bandada deocas, si es el caso.

Una g r u e s a o c a m a -r r ó n r e p o s a b a e n u ne x t r e m o d e l a m e s a , ye n e l o t r o , s o b r e u nl e c h o d e p a p e l a r r u -g a d o y r a m a s d e p e -r e j i l , d e s c a n s a b a u ne n o r m e j a m ó n d e s p e -l l e j a d o y c u b i e r t o d em i g a s f r i t a s , c o n u np a p e l l i m p i o e s c a r o -l a d o a l r e d e d o r d e l ac a n i l l a , j u n t o a lq u e s e e x t e n d í a unaban ico de ca rne e spec iada.E n t r e e s o s d o s e x t r e -mos r ivales corr ían l í -neas paralelas de entre-m e s e s : d o s p e q u e ñ a scatedrales de gelat ina,roja y amari l la , un pla-to l lano repleto de blo-ques de manjar blanco ycompota ro ja , un granplato verde en forma dehoja con un asa en for-ma de tallo, que conte-nía racimos de pasas co-lor púrpura, un plato si-m i l a r c o n u n m o n t ó nrectangular de higos deEsmirna, un plato de na-t i l l as espolvoreado denueces rayadas , un pe-queño cuenco de bom-bones y caramelos en-vueltos en papel de oroy plata, y un vaso de vi-drio en el que se soste-nían unos cuantos tallosde apio. En el centro dela mesa, como centine-las del frutero que sus-

— ¿ D ó n d e e s t áG a b r i e l ? — g r i t ó — .¿ D ó n d e e s q u e e s t áGabriel? Todo el mundoestá esperando ahí den-t ro con t odo l i s t o ; ¡ yn a d i e q u e t r i n c h e e lganso!

—¡Aquí estoy yo, tíaK a t e ! — e x c l a m óGabriel con súbita ani-m a c i ó n — . L i s t o p a r atrinchar una bandada degansos si fuera necesario.

U n g a n s o g o r d o ypa rdo descansaba a unex t r emo de l a mesa , ya l o t ro ex t r emo , sob reun l echo de pape l p l e -gado adornado con r a -mi t a s de pe re j i l , r epo -saba un j amón g rande ,despe l l e jado y roc i a -d o d e m i g a j a s , l a sc a n i l l a s g u a r n e c i -d a s c o n p r i m o r o -s o s f l e c o s d e p a -p e l y j u s t o a l l adorodajas de carne condimentada.E n t r e e s t o s e x t r e m o sr iva l e s co r r í an h i l e r a spa ra l e l a s de en t r eme-ses : dos seos de ge l a -t i n a , r o j a y a m a r i l l a ;un p l a to l l eno de b lo -ques de man ja r b l ancoy j a l ea ro j a ; un l a rg opla to en forma de hojacon su ta l lo como man-go , donde hab ía mon-tones de pasas moradasy d e a l m e n d r a s p e l a -d a s ; u n p l a t o g e m e l oc o n u n r e c t á n g u l o d ehigos de Esmirn io en-c i m a ; u n p l a t o d enat i l la rebozada con pol-vo de n u e z - m o s c a d a ;u n p e q u e ñ o b o l l l e n ode choco l a t e s y ca r a -melos envuel tos en pa-pe l do rado y p l a t eado ;y u n b ú c a r o d e l q u es a l í a n t a l l o s d e a p i o .E n e l c e n t r o d e l amesa , como cen t ine la sde l f ru t e ro , que t en í a

where on earth: where (with emphasis)

waiting in there: not doing anything, insideSTAGE TO LET available for performance.

flock: group of small animals. Technically, a «gaggle»of geese; Joyce again uses a slightly odd substitution

to provide hints about Gabriel’s thoughts.geese: plural of goose

fat: big, plumpbrown: well-roasted

lay: rested

end: extremitycreased: not flat

strewn: lightly coveredsprigs of parsley: herbs

ham: jamónstripped of its outer skin: denuded

peppered...crumbs: strewn with particles of bread

frill: decorationshin: bone

round of beef: piece of roast beefrival: equally attractive

ran...lines of: were aligned

MINSTERS OF JELLY As in Westminster, etc., from theAnglo-Saxon for «monastery.» In other words, the jellywas formed into architectural peaks.

shallow # deepblancmange: sort of jelly made with milk

leaf-shaped: in the form of a leafstalk: branch

bunch(es): arrangementraisins: raisins are dry, grapes are fresh

almonds: sort of nutscompanion dish: the second of a pair of dishes

topped with: surmounted by

grated nutmeg: muscade râpéebowl: round container wrapped

in: each enclosed in

stood: were placed, arrangedtall: long

stalk(s): branch, stick

sentries: guards

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s t a n d w h i c h u p h e l d ap y r a m i d o f o r a n g e sand Amer i can app l e s ,t w o s q u a t o l d -fash ioned decan te r s o fc u t g l a s s , o n ec o n t a i n i n g p o r t a n dthe o the r da rk she r ry.O n t h e c l o s e d s q u a r ep i a n o a p u d d i n g i n ah u g e y e l l o w d i s h l a yin wa i t ing and beh indi t were th ree squads ofb o t t l e s o f s t o u t a n da l e a n d m i n e r a l s ,d r awn up acco rd ing tot h e c o l o u r s o f t h e i run i fo rms , the f i r s t twob lack , w i th brown andr e d l a b e l s , t h e t h i r da n d s m a l l e s t s q u a dwhi t e , w i th t r ansve r segreen sashes .

G a b r i e l t o o k h i ss e a t b o l d l y a t t h eh e a d o f t h e t a b l e a n d ,h a v i n g l o o k e d t o t h ee d g e o f t h e c a r v e r ,p l u n g e d h i s f o r kf i r m l y i n t o t h e g o o s e .H e f e l t q u i t e a t e a s en o w f o r h e w a s a ne x p e r t c a r v e r a n dl i k e d n o t h i n g b e t t e rt h a n t o f i n d h i m s e l fa t t h e h e a d o f a w e l l -l a d e n t a b l e .

“ M i s s F u r l o n g ,w h a t s h a l l I s e n dy o u ? ” h e a s k e d . “ Aw i n g o r a s l i c e o ft h e b r e a s t ? ”

“Just a small slice ofthe breast.”

“Miss Higgins, whatfor you?”

“O, anything a t a l l ,Mr. Conroy.”

W h i l e G a b r i e l a n dM i s s D a l y e x c h a n g e dp l a t e s o f g o o s e a n dp l a t e s o f h a m a n dsp iced beef L i ly wentf r o m g u e s t t o g u e s t

tentaba una pirámide den a r a n j a s y m a n z a n a samericanas, se situabandos rechonchos escanciadoresant iguos de cristal talla-do, el uno con oporto yel otro con jerez oscuro.Sobre el piano cerradoa g u a r d a b a u n e n o r m eplato amari l lo l leno deb u d í n , t r a s e l q u e s edesplegaban tres escua-dras de botel las de cer-veza —stout y ale— yde agua m i n e r a l , s e -g ú n e l c o l o r d e s u su n i f o r m e s , l a s d o sp r i m e r a s c o n s u s e t i -q u e t a s r o j a s y m a -r r o n e s , y l a t e r c e r a ym á s p e q u e ñ a c o n s u sb a n d a s v e r d e s t r a n s -v e r s a l e s .

Gabriel tomó resuel-tamente asiento a la ca-becera de la mesa y, trasechar un vistazo al filodel cuchillo, hundió fir-memente e l t r inchantee n l a o c a . S e s e n t í aperfectamente a sus an-c h a s , p u e s e r a u nt r i n c h a d o r e x p e r t o ynada le gustaba más queverse a la cabecera deuna mesa bien dispues-ta.

—Señor i ta Fur long ,¿qué quiere usted que les i r v a ? — p r e g u n t ó — .¿Un ala o una loncha depechuga?

—Sólo una pequeñaloncha de pechuga.

—¿Y para usted, se-ñorita Higgins?

—Oh, cualquier cosa,señor Conroy.

M i e n t r a s G a b r i e li n t e r c a m b i a b a c o n l aseñorita Daly platos deoca y de jamón y de car-ne especiada, Li ly ibade invitado en invitado

u n a p i r á m i d e d e n a -r a n j a s y m a n z a n a samer i canas , hab ía dosg a r r a f a s a c h a t a d a s ,an t iguas , de c r i s t a l t a -l l ado , una con opor toy l a o t r a c o n j e r e zabocado . Sobre e l p i a -n o c e r r a d o a g u a r d a b aun pud ín en un enormep l a t o a m a r i l l o , y d e -t r á s hab ía t r e s pe lo to -n e s d e b o t e l l a s d es tou t , de a l e y de aguam i n e r a l , a l i n e a d a s d eacuerdo con el color desu uniforme: los prime-ros dos pe lo tones ne -gros, con etiquetas ro-jas y marrón; el terce-r o , e l m á s p e q u e ñ o ,t o d o d e b l a n c o c o nvírgu la s ve rdes .

G a b r i e l t o m óa s i e n t o d e c i d i d o a l ac a b e c e r a d e l a m e s ay, d e s p u é s d e r e v i s a re l f i l o d e l t r i n c h e ,h u n d i ó s u t e n e d o rc o n f i r m e z a e n e lg a n s o . S e s e n t í a a s u sa n c h a s , y a q u e e r at r i n c h a d o r e x p e r t o , yn a d a l e g u s t a b a t a n t oc o m o s e n t a r s e a l ac a b e c e r a d e u n a m e s ab i e n p u e s t a .

— M i s s F u r l o n g .¿ q u é l e d o y ? — p r e -g u n t ó — . ¿ U n a l a ou n a l a s c a d e p e c h u g a[ 1 3 4 ] ?

— U n a l a s q u i t a d epechuga.

— ¿ Y p a r a u s t e d ,Miss Higgins?

—-Oh, lo que ustedquiera, Mr. Conroy.

M i e n t r a s G a b r i e l yM i s s D a l yin te rcambiaban p la tosd e g a n s o y p l a t o s d ejamón y de carne ade-rezada , L i ly iba de un

squat: thickold-fashioned # modern

cut glass: crystal

huge: enormousin waiting: ready to be served

squad(s): group in military order

MINERALS Mineral water.drawn up: aligned

according to: depending on

the first two: the two lines in front

BROWN AND RED LABELS Brown indicates that the stoutis Guiness; red that the ale is Bass.

sash(es): ceremonial military ornament

boldly: bravelyhead: seat of honourlooked to: examined

edge: cutting partcarver: carving knife

liked nothing better than: preferred to everything

well-laden table: table with large amounts of food onit

send you: pass over to you, offer you

wing: alaslice: piece

breast: pechuga

what for you: what will you have

anything at all: any piece you like plate(s): smallround individual dish

guest: invited person

LAY IN WAITING......SQUAD Notice the reappearance ofmilitary terminology in this paragraph («rival ends,»«sentries to fruit stands»), leading to this comparisonof the arrangement to a battle formation.

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w i t h a d i s h o f h o tf l o u r y p o t a t o e sw r a p p e d i n a w h i t enapkin . This was MaryJane’s idea and she hada l s o s u g g e s t e d a p p l esauce for the goose butA u n t K a t e h a d s a i dtha t p la in roas t goosew i t h o u t a n y a p p l esauce had a lways beeng o o d e n o u g h f o r h e ra n d s h e h o p e d s h emight never ea t worse .M a r y J a n e w a i t e d o nher pupi ls and saw thatthey got the bes t s l icesa n d A u n t K a t e a n dAunt Ju l ia opened andcarr ied across f rom thep iano bo t t l e s o f s tou ta n d a l e f o r t h egent lemen and bo t t l eso f m i n e r a l s f o r t h el a d i e s . T h e r e w a s agreat deal of confusionand laughter and noise ,the noise of orders andc o u n t e r - o r d e r s , o fk n i v e s a n d f o r k s , o fc o r k s a n d g l a s s -s t o p p e r s . G a b r i e lbegan to carve secondhelp ings as soon as heh a d f i n i s h e d t h e f i r s tround wi thout se rv ingh i m s e l f . E v e r y o n ep r o t e s t e d l o u d l y s ot h a t h e c o m p ro m i s e db y t a k i n g a l o n gdraught of s tou t for hehad found the carv ingh o t w o r k . M a r y J a n eset t led down quie t ly toh e r s u p p e r b u t A u n tK a t e a n d A u n t J u l i aw e r e s t i l l t o d d l i n gr o u n d t h e t a b l e ,w a l k i n g o n e a c ho t h e r ’s h e e l s , g e t t i n gi n e a c h o t h e r ’ s w a yand g iv ing each o therunheeded orde r s . Mr.B r o w n e b e g g e d o ft h e m t o s i t d o w n a n de a t t h e i r s u p p e r s a n dso d id Gabr ie l but theys a i d t h e r e w a s t i m ee n o u g h , s o t h a t , a tl a s t , F r e d d y M a l i n s

con un plato de patatasca l ien tes envuel tas enservil letas blancas. Erauna idea de Mary Jane,que también había suge-rido una salsa de man-zana como acompaña-miento de la oca, a loq u e l a t í a K a t e h a b í adicho que una oca sim-plemente asada sin sal-sa de manzana resulta-ba suficiente para ella,y que esperaba no ver-se nunca comiendo algopeor. Mary Jane sirvió asus alumnos, cerciorán-dose de que recibían lasmejores tajadas, y la t íaK a t e y l a t í a J u l i aabrieron y t ra jeron delp iano bote l las de cer-veza para los cabal le -ros y de agua minera lpa ra l a s damas . Hubou n b a r u l l o d e r i s a s ysonidos, los sonidos deórdenes y con t raórde-nes , de cuchi l los y te-nedores , de tapones decorcho y tapones de vi-dr io . Gabrie l comenzóa c o r t a r s e g u n d a s r a -ciones tan pronto comoacabó con las primeras,sin servirse a sí mismo.La protesta general fuet a n e s t e n t ó r e a q u eno tuvo otro remedio quedetenerse un momento parabeber un largo trago de cer-veza, pues el trabajo detrinchar le tenía sofocado.Mary Jane se sentó tranqui-lamente a cenar, pero la tíaKat e y la t ía Jul ia s i -guieron moviéndose tor-pemente a l rededor dela mesa, pisándose unaa otra, t ropezando unac o n o t r a y d á n d o s eu n a a o t r a ó r d e n e sincumplidas . El señorBrowne les rogó que sesen ta ran y tomaran l acena, y también lo hizoGabriel , pero ellas dije-ron que tenían tiempo su-ficiente para ello, hastaque al fin Freddy Malins

huésped a l o t ro con unp la to de ca l i en tes pa -pas boronosas envuel -t a s e n u n a s e r v i l l e t ab l a n c a . H a b í a s i d oi d e a d e M a r y J a n e , ye l l a s u g i r i ó t a m b i é nsa lsa de manzana parae l ganso , pero t ía Cated i jo que había comidosiempre e l ganso asados i m p l e , s i n n a d a d es a l s a d e m a n z a n a , yque esperaba no tenerq u e c o m e r n u n c a u n ac o s a p e o r. M a r y J a n ea tendía a sus a lumnasy s e o c u p a b a , d e q u eobtuvieran las mejoreslonjas , y t í a Kate y t íaJ u l i a a b r í a n y t r a í a nd e l p i a n o u n a b o t e l l at ras o t ra de s tou t y depara los hombres y deagua mine ra l pa ra l a smujeres . Reinaba granconfus ión y r i sa y ru i -do: una a lharaca de pe-t i c i o n e s yc o n t r a p e t i c i o n e s , d ecuchi l los y tenedores ,d e c o r c h o s y t a p o n e sde v idr io . Gabr ie l em-pezó a t r inchar porc io-n e s e x t r a s t a n p r o n t ocomo cor tó las in ic ia -les , s in servi rse . Todosp r o t e s t a r o n t a n a l t oq u e n o l e q u e d ó m á sremed io que t r ans ig i rbebiendo un la rgo t ra -go de s tou t , ya que ha-l ló que t r inchar lo so-f o c a b a . M a r y J a n e s esentó a comer t ranqui -la , pero t ía Kate y t íaJ u l i a t o d a v í a d a b a ntumbos a l r e d e d o r d el a m e s a , p i s á n d o s em u t u a m e n t e l o s t a -l o n e s y d á n d o s e u n aa l a o t r a ó r d e n e sque ninguna obedecía .Mr. Browne les rogó quese sen taran a cenar, ylo mismo hizo Gabr ie l ,p e r o e l l a s r e s p o n d i e -ron que ya habría t iem-p o d e s obra para ello.F i n a l m e n t e , F re d d y

floury: soft and powdery

napkin: serviette

apple sauce: apples cooked and crushed, sort ofcompote

plain: simplegood enough: sufficient, adequate

never eat worse: always eat as well-

waited on: servedsaw that: saw to it that, made sure

got: had

opened and carried...: opened bottles of...and carriedthem across for...

stout and ale: types of beer

a great deal of: a lot of, muchnoise: loud disorderly sounds

cork(s)...glass-stopper(s): covers of bottles

helping(s): portion

round: servicewithout: not; without + -ing

loudly: with forceso that: by consequence

compromised: made a concession

draught: a good quantity

hot work: an activity that had made him hotsettled down...to: installed herself...for

getting in each other’s way: coming mutually intocollision

unheeded: neglectedbegged of: prayed, asked with insistence

so did Gabriel: Gabriel repeated the same thing

there was time enough: they had plenty of time

at last: in the end

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s t o o d u p a n d ,c a p t u r i n g A u n t K a t e ,plumped her down onher cha i r amid genera llaughte r.

W h e n e v e r y o n eh a d b e e n w e l ls e r v e d G a b r i e ls a i d , s m i l i n g :

“ N o w, i f a n y o n ewants a l i t t l e more ofwhat vulgar people callstuffing let him or herspeak.”

A cho rus o f vo i ce si n v i t e d h i m t o b e g i nh i s o w n s u p p e r a n dL i l y c a m e f o r w a r dw i t h t h r e e p o t a t o e sw h i c h s h e h a drese rved fo r h im.

“ Ve r y w e l l , ” s a i dG a b r i e l a m i a b l y , a sh e t o o k a n o t h e rp r e p a r a t o r y d r a u g h t ,“ k i n d l y f o r g e t m ye x i s t e n c e , l a d i e s a n dg e n t l e m e n , f o r a f e wminu tes . ”

He set to his supperand took no par t in thec o n v e r s a t i o n w i t hwhich the table coveredL i ly ’s r emova l o f t hep la tes . The sub jec t o ft a l k w a s t h e o p e r ac o m p a n y w h i c h w a st h e n a t t h e T h e a t r eR o y a l . M r . B a r t e l lD ’ A r c y, t h e t e n o r , ad a r k - c o m p l e x i o n e dyoung man with a smartm o u s t a c h e , p r a i s e dvery highly the leadingc o n t r a l t o o f t h ec o m p a n y b u t M i s sF u r l o n g t h o u g h t s h eh a d a r a t h e r v u l g a rs t y l e o f p r o d u c t i o n .F r e d d y M a l i n s s a i dt h e r e w a s a N e g r ochieftain singing in thes e c o n d p a r t o f t h eGaiety pantomime whoh a d o n e o f t h e f i n e s t

s e l e v a n t ó ycap t u ra n d o a l a t í aK a t e , l a d e p o s i t ó e ns u s i l l a e n t r e l a r i s ag e n e r a l .

Cuando todo el mun-do estuvo perfectamen-te servido, Gabriel son-rió y dijo:

—Y ahora, si alguienquiere un poco más de loque la gente vulgar lla-m a a l i m e n t o , q u e l odiga.

Un coro de voces sealzó para instarle a quediera cuenta de su pro-pia cena, y Lily se ade-lantó para llevarle trespatatas que había reser-vado para él.

—Damas y caballeros—dijo Gabriel amable-m e n t e , s e g ú n t o m a b ao t r o t r a g o p r e p a r a t o -rio—, les ruego que ten-gan a bien olvidarse demi ex i s t enc i a du ran t eunos minutos.

S e s e n t ó a c e n a r yn o i n t e r v i n o e n l ac h a r l a q u e s e a d u e ñ ód e l a m e s a e n c u a n t oL i ly s e l l evó lo s p l a -t o s . E l t e m a d e c o n -ve r sac ión e ra l a com-pañía de ópera que a las a z ó n a c t u a b a e n e lThea t r e Roya l . E l s e -ño r Ba r t e l l D’Arcy, e lt enor, un joven de p ie loscura con un pequeñom o s t a c h o , h a b l ó m u yb i e n d e l a p r i m e r acon t ra l to de l a compa-ñ ía , aunque l a s eñor i -t a F u r l o n g o p i n a b aq ue su presencia en es-cena era más bien vul-gar. Freddy Malins di joque había un caudi l lonegro que cantaba en las e g u n d a p a r t e d e l apan tomima de l Gaie tycon una de las mejores

M a l i n s s e l e v a n t ó v,capturando a t í a Kate ,la arre l lanó en su s i -l la en medio de l rego-c i jo genera l .

C u a n d o t o d o e lm u n d o e s t u v o b i e ns e r v i d o , d i j oG a b r i e l , s o n r i e n d o :

—Ahora , s i a lgu ienquiere un poco más delo que la gente vulgarl l a m a r e l l e n o , q u e l odiga él o ella.

U n c o r o d e v o c e sl o c o n m i n ó ae m p e z a r s uc e n a , y L i l y s ea d e l a n t ó c o n t r e sp a p a s q u e l e h a b í ar e s e r v a d o .

— M u y b i e n — d i j oGabrie l , amable , mien-t ras tomaba o t ro sorbopre l iminar—, hagan e lf avo r de o lv ida r se deque exis to, damas y ca-ba l le ros , por unos mi-nutos .

S e p u s o a c o m e r yn o t o m ó p a r t e e n l ac o n v e r s a c i ó n q u e c u -b r i ó e l r u i d o d e l av a j i l l a a l l l e v á r s e l aL i l y. E l t e m a e r a l ac o m p a ñ í a d e ó p e r aq u e a c t u a b a e n e lT e a t r o R e a l . E l t e -n o r , M r . B a r t e l lD ’ A r c y , h o m b r e d et e z o s c u r a y f i n o b i -g o t e , e l o g i ó m u c h o al a p r i m e r a c o n t r a l t od e l a c o m p a ñ í a , p e r oa M i s s F u r l o n g l e p a -r e c í a q u e é s t a t e n í au n a p r e s e n c i ae s c é n i c a m á s b i e nv u l g a r. F r e d d y M a l i n sd i j o q u e h a b í a u n n e -g r o c a n t a n d o p r i n c i -p a l e n l a s e g u n d at a n d a d e l a p a n t o m i -m a d e l G a i e t y q u e t e -n í a u n a d e l a s m e j o -

plump her down: made her fall down comicallyamid: in the middle of

anyone: a person; interrogative form of somebody

what: the thingstuffing: mixture placed inside the goose

let: permitLET HIM OR HER SPEAK from the marriage ceremony.

came forward with: came and offered

another: a secondpreparatory: preliminary

kindly: will you, please

for a few minutes: during a moment

set: settled down

the table: the people at tableLily’s removal of the plates: the noise made by Lily

taking the plates away, clearing the table

Theatre Royal: one of Dublin’s theatres

dark-complexioned: looking bronzed, sun-tanned

smart: elegantpraised very highly: spoke with great admiration of

style of production: quality of voice

chieftain: chief

Gaiety pantomime: pantomime of the Gaiety Theatre(another of Dublin’s theatres)

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t e n o r v o i c e s h e h a dever heard.

“ H a v e y o u h e a r dh i m ? ” h e a s k e d M r.Bar te l l D’Arcy acrossthe table.

“No,” answered Mr.B a r t e l l D ’ A r c ycarelessly.

“ B e c a u s e , ” F r e d d yMalins explained, “nowI’d be cur ious to hearyour opinion of him. It h i n k h e h a s a g r a n dvoice.”

“ I t t a k e s Te d d y t ofind out the really goodt h i n g s , ” s a i d M r.B r o w n e f a m i l i a r l y t othe table.

“ A n d w h y c o u l d n ’ th e h a v e a v o i c e t o o ? ”a s k e d F r e d d y M a l i n ss h a r p l y . “ I s i tb e c a u s e h e ’s o n l y ab l a c k ? ”

N o b o d y a n s w e r e dth is ques t ion and MaryJane led the tab le backt o t h e l e g i t i m a t eo p e r a . O n e o f h e rpup i l s had g iven he r ap a s s f o r M i g n o n . O fc o u r s e i t w a s v e r yf i n e , s h e s a i d , b u t i tmade her th ink of poorG e o r g i n a B u r n s . M r.Browne cou ld go backfa r the r s t i l l , t o the o ldI t a l i an compan ies t ha tu s e d t o c o m e t oD u b l i n — T i e t j e n s ,I l m a d e M u r z k a ,C a m p a n i n i , t h e g r e a tT r e b e l l i , G i u g l i n i ,R a v e l l i , A r a m b u r o .T h o s e w e r e t h e d a y s ,h e s a i d , w h e n t h e r ew a s s o m e t h i n g l i k es ing ing to be hea rd inDub l in . He to ld too o fhow the top ga l l e ry o fthe o ld Roya l u sed tobe packed n igh t a f t e r

voces de tenores que élhabía oído.

—¿Le ha oído usted?—preguntó a través dela mesa al señor BartellD’Arcy.

—No —dijo el señorBartell D’Arcy cautelo-samente.

— E s q u e m e g u s -t a r í a c o n o c e r s u o p i -n i ó n — e x p l i c óF r e d d y M a l i n s — .C r e o q u e t i e n e u n ag r a n v o z .

— T e d d y s i e m p r ed a c o n l a s c o s a s r e a l -m e n t e b u e n a s — d i j oe l s e ñ o r B r o w n e at o d a l a m e s a .

— ¿ Y p o r q u é n oh a d e t e n e r u n a v o z ?— p r e g u n t óm o r d a z m e n t e F r e d d yM a l i n s — . ¿ A c a s op o r q u e e s n e g r o ?

N a d i e r e s p o n d i ó aa q u e l l o y M a r y J a n eh izo que l a conver sa -ción regresara a la ópe-ra de verdad. Uno de susalumnos le había conse-guido una entrada paraMignon. Era muy hermo-sa, dijo, pero suscitabaen ella el recuerdo de lapobre Georgina Burns.El señor Browne podíar e m o n t a r s e a ú n m á satrás en su memoria yl legar has ta las v ie jasc o m p a ñ í a s q u e s o l í a np a s a r p o r D u b l í n :Ti e t j e n s , I l m a d eMurzka, Campanini, elgran Trebelli, Giuglini,R a v e l l i , A r a m b u r oA q u e l l o s d í a s , d i j o ,cuando en Dublín se po-día escuchar algo pare-cido al canto y el galli-nero del viejo Royal, seponía de bo te en bo tetodas las noches, y con-

r e s v o c e s d e t e n o rq u e é l h a b í a o í d o .

— ¿ L o h a o í d o u s -t e d ? — l e p r e g u n t óa M r . B a r t e l lD ’ A r c y .

— N o — d i j o M r .Bartel l D’Arcy s in dar-le importancia .

—Porque —exp l i cóFreddy Malins— tengocuriosidad por conocersu [135] opinión. A mím e p a r e c e q u e t i e n euna gran voz.

— Y Te d d y s a b e l oq u e e s b u e n o — d i j oM r. B rowne , con f i an -zudo , a l a concu r r en -c ia .

—¿Y por qué no vaa tener é l t ambién unabuena voz? —preguntóFreddy Mal ins en tonob r u s c o — . ¿ P o r q u e n oes más que un negro?

N a d i e r e s p o n d i ó as u p r e g u n t a , y M a r yJ a n e p a s t o r e ó l a c o n -v e r s a c i ó n d e r e g r e s oa l a ó p e r a s e r i a . U n ad e s u s a l u m n a s l e h a -b í a d a d o u n p a s ep a r a M i g n o n . C l a r oq u e e r a m u y b u e n a ,d i j o , p e r o l e r e c o r -d a b a a l a p o b r eG e o r g i n a B u r n s . M r .B r o w n e s e f u e a ú nm á s l e j o s , a l a s v i e -j a s c o m p a ñ í a s i t a l i a -n a s q u e s o l í a n v i s i -t a r a D u b l í n :T i e t j e n s , I l m a d eM u j z a , C a m p a n i n i ,e l g r a n T r e b i l l i ,G i u g l i n i , R a v e l l i ,A r a m b u r o . Q u é t i e m -p o s a q u e l l o s , d i j o ,c u a n d o s e o í a e nD u b l í n l o q u e s e p o -d í a l l a m a r b e l c a n t o .C o n t ó c ó m o l a t e r t u -l i a d e l v i e j o R e a l e s -

ever: in all his life, at any time

across: over, from the other side of

carelessly: as if he was not interested (he is a tenorhimself!

I’d be: I would be

grand: magnificent, splendid

it takes: there is nobody. likefind out: discover

table: guests

a voice: a fine voice

ONLY A BLACK The term here is used much the same asit is today in the U.S. — as an accepted descriptive termrather than a term of derision.

led the table back:, made the conversation returnlegitimate: classical, authentic pass: non-paying

ticket

of corse: certainly

made her think of: evoked in her memory

go back farther still: remember even more ancientthings

used to come: would come regularlyTietjens: Theresa Tietjens, Ilma de Murzka, both

sopranos

Giuglini: Antonio Giuglini, tenorAramburo: Zelia Aramburo, soprano. All real singers

of the 19th century

something like: really good

told...of how: narrated thattop gallery: popular place

packed: full of people encore(s): repetitiondemanded by applause

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n i g h t , o f h o w o n en igh t an I t a l i an t eno rhad sung f ive encorest o L e t m e l i k e aS o l d i e r f a l l ,i n t r o d u c i n g a h i g h Cevery t ime, and of howthe ga l le ry boys woulds o m e t i m e s i n t h e i ren thus iasm unyoke theh o r s e s f r o m t h eca r r i age o f some g rea tp r ima donna and pu l lh e r t h e m s e l v e sth rough the s t r ee t s t oh e r h o t e l . W h y d i dt h e y n e v e r p l a y t h eg rand o ld ope ras now,h e a s k e d , D i n o r a h ,L u c r e z i a B o r g i a ?B e c a u s e t h e y c o u l dn o t g e t t h e v o i c e s t os i n g t h e m : t h a t w a swhy.

“Oh, well ,” said Mr.B a r t e l l D ’ A r c y, “ Ip r e s u m e t h e r e a r e a sgood s ingers today asthere were then.”

“ W h e r e a r e t h e y ? ”a s k e d M r . B r o w n edefiantly.

“ I n L o n d o n , P a r i s ,M i l a n , ” s a i d M r .B a r t e l l D ’ A r c yw a r m l y . “ I s u p p o s eCaruso, for example, isq u i t e a s g o o d , i f n o tbe t te r than any of them e n y o u h a v ement ioned .”

“ M a y b e s o , ” s a i dM r . B r o w n e . “ B u t Im a y t e l l y o u I d o u b ti t s t r o n g l y. ”

“ O , I ’ d g i v ea n y t h i n g t o h e a rC a r u s o s i n g , ” s a i dM a r y J a n e .

“ F o r m e , ” s a i dA u n t K a t e , w h oh a d b e e n p i c k i n g ab o n e , “ t h e r e w a so n l y o n e t e n o r . T o

tó que hubo una nocheen que un tenor italianorepitió cinco veces LetMe Like a Soldier dan-do un do de pecho cadavez, y que los mucha-chos del gallinero se de-jaban llevar a veces desu entusiasmo hasta elpun to de desunc i r l o scaballos del carruaje dea l g u n a g r a n p r i m ad o n n a p a r a l l e v a r l aellos mismos por las ca-lles de Dublín hasta suhotel. ¿Por qué ya no seinterpretaban las gran-d e s ó p e r a s a n t i g u a s ,p r e g u n t ó , c o m oD i n o r a h o L u c re c i aBorgia? Porque ya nohab í a modo de r eun i rl a s v o c e s n e c e s a r i a spara ello: por eso.

—Oh, bueno —dijo elseñor Bartell D’Arcy—,supongo que hoy en díahay tan buenos cantan-tes como entonces.

—¿Dónde es tán? —p r e g u n t ó e l s e ñ o rBrowne, desafiante.

— E n L o n d r e s , P a r í s ,Mi l án —di jo e l s eño rB a r t e l l D ’ A r c y, e n t u -s ias ta—. Supongo queCaruso, por ejemplo, estan bueno, si no mejor,que cua lqu ie ra de l o shombres que ha mencio-nado usted.

—Puede ser —dijo elseñor Browne—, pe rodebo decirle que lo dudomucho.

—Oh, daría cualquierc o s a p o r o í r c a n t a r aC a r u s o — d i j o M a r yJane.

— P a r a m í — d i j ol a t í a K a t e d e s p u é sd e r o e r u n h u e s o —s ó l o h u b o u n t e n o r .Q u e m e a g r a d a r a ,

t a b a s i e m p r e d e b o t ee n b o t e , n o c h e t r a sn o c h e ; c ó m o u n a n o -c h e u n t e n o r i t a l i a n oh a b í a d a d o c i n c ob i s e s d e D é j a m e c a e rc o m o c a e u n s o l d a d o ,d a n d o e l d o d e p e c h oe n c a d a o c a s i ó n , yc ó m o l a g a l e r í a e n s ue n t u s i a s m o s o l í ad e s e n g a n c h a r l o s c a -b a l l o s d e l c a r r u a j ed e u n a g r a n p r i m ad o n n a p a r a t i r a r e l l o sd e l c o c h e p o r l a s c a -l l e s h a s t a e l h o t e l .¿ P o r q u é y a n o c a n t a -b a n l a s g r a n d e s ó p e -r a s , p r e g u n t ó , c o m oD i n a r a h , L u c r e z i aB o r g i a ? P o r q u e y a n oh a b í a v o c e s p a r a c a n -t a r l a s , p o r e s o .

— A h , p e r o — d i j oMr. Ba r t e l l D’Arcy—,a mi en tende r, hay t anb u e n o s c a n t a n t e s h o ycomo en tonces .

—¿Dónde es tán? —preguntó Mr. Browne ,desaf ian te .

— E n L o n d r e s , P a -r í s , M i l á n — d i j o M r.Bar te l l D’Arcy, aca lo-r a d o — . P a r a m í ,C a r u s o , p o r e j e m p l o ,es tan bueno s i no me-jo r que cua lqu i e r a delos cantantes que us tedha mencionado.

—Tal vez sea as í —d i j o M r . B r o w n e — .Pero tengo que dec i r leque lo dudo mucho.

—Ay, yo dar ía cua l -quier cosa por o í r can-t a r a C a r u s o — d i j oMary Jane .

—Para mí —dij o t í aK a t e , q u e e s t a b al impiando un hueso—no ha habido más queun tenor. Quiero dec i r,

“let me...”: from the opera Maritana

introducing: incorporatinghigh C: contre-ut

gallery boys: the young men of the top galleryunyoke: detach

carriage: vehicle pulled by horsespull her...through: transported her along

Dinorah: opera by MeyerbeerLucrezia Borgia: by Donizetti get: obtain, find

that was why: you have the explanation

presume: think, supposeas...as: comparative of equal degree

then: at that time, in the past

defiantly: in a provocative manner

warmly: with enthusiasmCaruso: Italian tenor who was alive then

better than: comparative of higher degree; superior to

maybe: possiblyso: as you say

may: may is here an expression of politenessstrongly: firmly

picking a bone: eating with her fingers a piece of thegoose to please me: to my taste

X

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p l e a s e m e , I m e a n .B u t I s u p p o s e n o n eo f y o u e v e r h e a r do f h i m . ”

“ W h o w a s h e , M i s sM o r k a n ? ” a s k e d M r .B a r t e l l D ’ A r c yp o l i t e l y.

“ H i s n a m e , ” s a i dA u n t K a t e , “ w a sP a r k i n s o n . I h e a r dhim when he was in hisp r i m e a n d I t h i n k h eh a d t h e n t h e p u r e s tt e n o r v o i c e t h a t w a seve r pu t i n to a man’sthroa t .”

“Strange,” said Mr.Bartell D’Arcy. “I nevereven heard of him.”

“ Y e s , y e s , M i s sM o r k a n i s r i g h t , ”s a i d M r . B r o w n e .“ I r e m e m b e rh e a r i n g o f o l dP a r k i n s o n b u th e ’ s t o o f a r b a c kf o r m e . ”

“A beau t i f u l , pu re ,sweet , mellow Englishtenor,” said Aunt Katewith enthusiasm.

G a b r i e l h a v i n gf i n i s h e d , t h e h u g ep u d d i n g w a st r a n s f e r r e d t o t h et a b l e . T h e c l a t t e r o fforks and spoons begana g a i n . G a b r i e l ’s w i f es e r v e d o u t s p o o n f u l so f t h e p u d d i n g a n dpassed the p la tes downt h e t a b l e . M i d w a yd o w n t h e y w e r e h e l dup by Mary Jane , whoreplen ished them wi thr a s p b e r r y o r o r a n g ej e l l y o r w i t hb l a n c m a n g e a n d j a m .T h e p u d d i n g w a s o fA u n t J u l i a ’s m a k i n ga n d s h e r e c e i v e dpra ises for i t f rom a l lq u a r t e r s S h e h e r s e l f

q u i e r o d e c i r . P e r os u p o n g o q u e n i n g u n od e u s t e d e s h a b r áo í d o h a b l a r d e é l .

—¿Quién era, señori-ta Morkan? —preguntóc o r t é s m e n t e e l s e ñ o rBartell D’Arcy.

—Su nombre —dijol a t í a K a t e — e r aParkinson. Le oí cuandocomenzaba su Barrera, ypienso que tenía la máspura voz de tenor quejamás haya hab ido engarganta masculina al-guna.

—Qué raro —dijo elseñor Bartell D’Arcy—.Jamás oí hablar de él.

—Sí, sí —dijo el se-ñor Browne—. La seño-rita Morkan tiene razón.Recuerdo haber oído ha-blar del viejo Parkinson,aunque pertenezca a unaépoca demasiado lejanapara mí.

—Un hermoso, puro,dulce y melodioso tenoringlés —dijo la tía Katecon entusiasmo.

El enorme budín sel levó a la mesa una vezque Gabr ie l hubo t e r-minado. El ru ido de te-nedores y cucharas d iocomienzo de nuevo. Lamuje r de Gabr i e l s e r-v ía cucharadas de bu-d ín y pasaba los p la tosa l a m e s a , s i e n d or e e m p l a z a d a a m i t a dd e c a m i n o p o r M a r yJane , que los re l lenabacon ge la t ina de f r am-buesa- o de naran ja oc o n m a n j a r b l a n c o ycompota . E l budín e raobra de la t í a Ju l ia , aquien todos fe l ic i ta ronpo r e l l o . En cuan to ae l la , se l imi tó a dec i rq u e n o l o e n c o n t r a b a

q u e a m í m e g u s t e .Pero supongo que n in-g u n o d e u s t e d e s h aoído hablar de é l .

—¿Quién es é l , MissM o r k a n ? — p r e g u n t óM r . B a r t e l l D ’ A r c y ,cor tésmente .

—Su nombre —di jot í a K a t e — e r aParkinson. Lo oí cantarc u a n d o e s t a b a e n s uapogeo y c reo que te -n ía la más pura voz det eno r que j amás sa l ióde una garganta huma-na .

— Q u é r a r o — d i j oMr. Bar te l l D’Arcy—.Nunca oí hablar de él .

— S í , s í , t i e n e r a -z ó n M i s s M o r k a n —d i j o M r . B r o w n e — .R e c u e r d o h a b e r o í d oh a b l a r d e l v i e j oP a r k i n s o n . P e r o e s of u e m u c h o a n t e s d em i é p o c a .

— U n a b e l l a , p u r a ,dulce y suave voz de te-nor inglés —dijo la t íaKate entusiasmada.

C o m o G a b r i e l h a -b í a t e r m i n a d o , s et r a s l a d ó e l e n o r m ep u d í n a l a m e s a . E ls o n i d o d e c u b i e r t o sc o m e n z ó o t r a v e z . L am u j e r d e G a b r i e l p a r -t í a p o r c i o n e s d e lp u d í n y p a s a b a l o sp l a t i l l o s m e s a a b a j o .A m e d i o c a m i n o l o s[ 1 3 6 ] d e t e n í a M a r yJ a n e , q u i e n l o s r e l l e -n a b a c o n g e l a t i n a d ef r a m b u e s a s o d e n a -r a n j a o c o n m a n j a rb l a n c o o j a l e a . E lp u d í n h a b í a s i d o h e -c h o p o r t í a J u l i a yé s t a r e c i b i ó e l o g i o sd e t o d a s p a r t e s . P e r oe l l a d i j o q u e n o h a b í a

none: not anyone

who was he: what was his name

Parkinson: English tenor, who really existed,contrary to what Bartell D’Arcy thinks

prime: age of best performance

ever: (note the nostalgic repetition of ever and never)throat: part of the body; source of the voice

never: on no occasionheard of him: heard somebody speak of him; # heard

him: heard his voice

right: exact, correct

too far back for me: at such a great distance in thepast that I cannot remember

sweet: melodious, harmoniousmellow: soft and warm

finished: finished eating his dinner

spoonful(s): quantity contained in a spoon

down: from his place to the other end ofmidway down: in the middle of their transfer

held up: stopped

raspberry: framboise

jam: marmalade is a variety of jamwas of...making: had been made by Julia

praises: complimentsquarters: sides

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s a i d t h a t i t w a s n o tquite brown enough .

“ W e l l , I h o p e ,M i s s M o r k a n , ”s a i d M r .B r o w n e , “ t h a tI ’ m b r o w ne n o u g h f o r y o ub e c a u s e , y o uk n o w , I ’ m a l lb r o w n . ”

A l l t h e g e n t l e m e n ,e x c e p t G a b r i e l , a t es o m e o f t h e p u d d i n go u t o f c o m p l i m e n t t oAun t Ju l i a . As Gabr i e ln e v e r a t e s w e e t s t h ec e l e r y h a d b e e n l e f tf o r h i m . F r e d d yM a l i n s a l s o t o o k as t a lk o f ce l ery and a t ei t w i t h h i s p u d d i n g .H e h a d b e e n t o l d t h a tc e l e r y w a s a c a p i t a lt h i n g f o r t h e b l o o da n d h e w a s j u s t t h e nu n d e r d o c t o r ’s c a r e .M r s . M a l i n s , w h o h a db e e n s i l e n t a l lt h r o u g h t h e s u p p e r ,s a i d t h a t h e r s o n w a sg o i n g d o w n t o M o u n tM e l l e r a y i n a week o rso . The t able then spokeof M o u n t M e l l e r a y ,h o w bracing t h e a i rw a s d o w n t h e r e , h o wh o s p i t a b l e t h e m o n k sw e r e a n d h o w t h e yn e v e r a s k e d f o r ap e n n y - p i e c e f r o mt h e i r g u e s t s .

“ A n d d o y o u m e a nt o s a y , ” a s k e d M r .Browne incredulous ly,“ t h a t a c h a p c a n g odown there and put upt h e r e a s i f i t w e r e ah o t e l a n d l i v e o n t h efat of the land and thenc o m e a w a y w i t h o u tpaying anyth ing?”

“ O , m o s t p e o p l eg i v e s o m e d o n a t i o n t ot h e m o n a s t e r y w h e nt h e y l e a v e . ” s a i d

s u f i c i e n t e m e n t e t o s -tado .

— B u e n o , s e ñ o r i t aMorkan —dijo el señorB r o w n e — e s p e r o q u eacepte usted la autori-dad que mi apellido meconfiere al respecto, yen ese sentido creo queme encontrará bastantetostado para su gusto.

To d o s l o s c a b a l l e -ros , excepto Gabr ie la ,p r o b a r o n e l b u d í n e ndeferenc ia a la t í a Ju-l i a . E l a p i o s e h a b í ap r e p a r a d o p a r aGabr ie l , que nunca to-m a b a p o s t r e . F r e d d yMal ins cog ió t ambiénun ta l lo de apio y se locomió junto con su bu-d í n . L e h a b í a n d i c h oque el apio era a lgo ca-p i ta l para la sangre , yé l s e encon t r aba ba jotratamiento médico. Laseñora Mal ins , ca l ladad u r a n t e t o d a l a c e n a ,d i jo que su h i jo iba apasar a l rededor de unas e m a n a e n M o n t eM e l l e r a y. L a m e s a s epuso a hablar en toncesde Monte Mel le ray, delo toni f icante que re -su l t aba e l a i r e de pora l l í , d e l a h o s p i t a l i -d a d d e l o s m o n j e s yd e q u e j a m á s c o b r a -b a n u n p e n i q u e a s u shuéspedes .

—¿Quieren decir us-tedes —preguntó el se-ñor Browne, con un tonode incredul idad— queun t ipo l lega a l l í y seinstala como si estuvie-ra en un hotel y vive delproducto de la t ierra ydespués se va sin pagarun céntimo?

—Oh, algunas perso-nas dejan algún donati-vo para e l monas te r ioc u a n d o s e v a n — d i j o

q u e d a d o l o b a s t a n t e« b r u n o » .

— B u e n o , c o n f í o ,M i s s M o r k a n —d i j o M r . B r o w n e —, e n q u e y o s e a l ob a s t a n t e « b r u n o »p a r a s u g u s t o , p o r -q u e , c o m o y a s a b e ,y o s o y t o d ob r o w n o .

Los hombres , con laexcepc ión de Gabr ie l ,l e h ic ie ron e l honor a lp u d í n d e l a t í a J u l i a .C o m o G a b r i e l n u n c acomía pos t re , l e de ja -ron a e l todo e l ap io .Freddy Mal ins tambiéncogió un ta l lo y se loc o m i ó j u n t o c o n s upudín. Alguien le habíad i cho que e l ap io e r al o m e j o r q u e h a b í apara la sangre , y comoes taba ba jo t ra tamien-t o m é d i c o … M r s .M a l i n s , q u e n o h a b í ah a b l a d o d u r a n t e l acena , d i jo que en unas e m a n a o c o s a as í s uhijo ingresaría en Mon-te Melleray. Los concu-rrentes todos hablaronde Monte Melleray, delo reconst i tuyente queera e l a i re a l l á , d e l oh o s p i t a l a r i o s q u ee r a n l o s m o n j e s yc ó m o n u n c a c o b r a bann i u n p e n i q u e a s u shuéspedes .

— ¿ Y m e q u i e r eu s t e d d e c i r — p r e -g u n t ó M r . B r o w n e ,i n c r é d u l o — q u eu n o v a a l l á , y s eh o s p e d a c o m o e nu n h o t e l , y v i v e d el o m e j o r , y s e v as i n p a g a r u np e n i q u e ?

— O h , l a m a y o -r í a d o n a a l g o a lm o n a s t e r i o a n t e sd e i r s e — d i j o

quite brown enough: sufficiently brown, darkcoloured. A puzzle, perhaps involving the punchline of a joke, or a play on his name, or perhapsanother reference to the minstrel performers of

the period.

ate some: had a little pieceout of compliment: to show their consideration

as: because sweet(s)

left: reserved

he had been told: someone had told himcapital: excellent blood: red fluid circulating in the

body

doctor’s care: medical control

all through: during all

going down to: going south toMount Melleray: Cistercian abbey in County

Waterford, in the South of Irelanda week or so: about a week

MOUNT MELLERAY The popular name for a Cistercian(Trappist) abbey, the Abbey of St Bernard de Trappe,in southeastern Ireland famous as a retreat for the cureof alcoholics. bracing: invigorating

hospitable: friendly, generousmonk(s): member of religious community

asked for a penny-piece: demanded the smallestamount of money

chap: mandown: down because it is south of Dublin.

put up: reside, staywere: was

on the fat of the land: in great comfort with plenty to eatcome away: quit

most people: nearly everybody

leave: come away, depart

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M a r y J a n e .

“ I w i s h w e h a da n i n s t i t u t i o nl i k e t h a t i n o u rC h u r c h , ” s a i dM r . B r o w n ec a n d i d l y .

H e w a s a s t o n i s h e dt o h e a r t h a t t h em o n k s n e v e r s p o k e ,g o t u p a t t w o i n t h em o r n i n g a n d s l e p ti n t h e i r c o f f i n s . Heasked what they d id i tfo r.

“Tha t ’s the ru le o ft h e o r d e r, ” s a i d A u n tKate firmly.

“ Y e s , b u tw h y ? ” a s k e d M r .B r o w n e .

Aun t Ka te r epea t edt h a t i t w a s t h e r u l e ,t h a t w a s a l l . M r .B r o w n e s t i l l s e e m e dn o t t o u n d e r s t a n d .F r e d d y M a l i n se x p l a i n e d t o h i m , a sbes t he cou ld , t ha t t hemonks we re t r y ing t om a k e u p f o r t h e s i n sc o m m i t t e d b y a l l t h es inne r s i n t he ou t s idew o r l d . T h ee x p l a n a t i o n w a s n o tv e r y c l e a r f o r M r .B r o w n e g r i n n e d a n ds a id :

“I l ike that idea verym u c h b u t w o u l d n ’ t acomfortable spr ing bedd o t h e m a s w e l l a s acoff in?”

“ T h e c o f f i n , ” s a i dM a r y J a n e , “ i s t or e m i n d t h e m o f t h e i rlast end.”

A s t h e s u b j e c t h a dgrown lugubrious it wasbur ied in a s i l ence o fthe table during whichMrs . Ma l in s cou ld be

Mary Jane.

— Ya m e g u s t a r í aq u e n u e s t r a I g l e s i at u v i e r a u n a i n s t i -t u c i ó n s e m e j a n t e —d i j o e l s e ñ o r B r o w n econ un tono sincero.

Y se quedó estupefac-to cuando oyó que losmonjes no hablaban, selevantaban a las dos dela madrugada y dormíanen sus féretros. Pregun-t ó l a r a z ó n d e t a lcomportamiento.

—Es l a r eg l a de l aorden —dijo la tía Katetajantemente .

—Sí, pero ¿por qué?— p r e g u n t ó e l s e ñ o rBrowne.

L a t í a K a t e r e p i t i óq u e t a l e r a l a r e g l a ,e s o e r a t o d o . E l s e -ñ o r B r o w n e p a r e c i ón o e n t e n d e r l o .F r e d d y M a l i n s l e e x -p l i c ó l o m e j o r q u ep u d o q u e l o s m o n j e st r a t a b a n d e e n m e n d a rl o s p e c a d o s c o m e t i -d o s p o r t o d o s l o s p e -c a d o r e s d e l m u n d oe x t e r i o r. L a e x p l i c a -c i ó n n o r e s u l t ó m u yc l a r a , p u e s e l s e ñ o rB r o w n e h i z o u n am u e c a y d i j o :

— M e g u s t a m u c h oesa idea, pero una camaconfortable ¿no les ven-dr ía tan bien como unféretro?

— E l f é r e t r o — d i j oMary Jane— es para querecuerden las Postrime-rías.

Como e l t ema se ha-bía puesto lúgubre , fuesepul tado en un s i len-c io duran te e l cua l seo y ó c ó m o l a s e ñ o r a

M a r y J a n e .

— Ya q u i s i e r a y oq u e t u v i é r a m o s u n ai n s t i t u c i ó n a s í e nn u e s t r a I g l e s i a —d i j o M r . B r o w n econ franqueza .

S e a s o m b r ó d e s a -b e r q u e l o s m o n j e sn u n c a h a b l a b a n , q u es e l e v a n t a b a n a l a sd o s d e l a m a ñ a n a yq u e d o r m í a n e n u na t a ú d . P r e g u n t ó q u ep o r q u é .

—Son p recep tos del a o r d e n — d i j o t í aKate con f i rmeza .

—Sí , pero ¿por qué?— p r e g u n t ó M r .Browne.

L a t í a K a t e r e p i t i óq u e e r a n l o s p r e c e p -t o s y a s í e r a n . A p e -s a r d e t o d o , M r .B r o w n e p a r e c í a n oc o m p r e n d e r . F r e d d yM a l i n s l e e x p l i c ó t a nb i e n c o m o p u d o q u el o s m o n j e s t r a t a b a nd e e x p i a r l o s p e c a d o sc o m e t i d o s p o r t o d o sl o s p e c a d o r e s d e lm u n d o e x t e r i o r . L ae x p l i c a c i ó n n o q u e d óm u y c l a r a p a r a M r .B r o w n e , q u i e n , s o n -r i e n d o , d i j o :

— M e g u s t a l a i d e a ,p e r o ¿ n o s e r v i r í a u n ac ó m o d a c a m a d e m u e -l l e s t a n b i e n c o m o u na t a ú d ?

— E l a t a ú d — d i j oM a r y J a n e — e s p a r aque no o lv iden su ú l t i -mo des t ino .

C o m o l a c o n v e r s a -c i ó n s e h i z o f ú n e -b r e , s e l a e n t e r r ó e ne l s i l e n c i o , e n m e d i od e l c u a l s e p u d o o í r

I wish we had: I wish that we had

Mr. Browne is protestant.

candidly: honestly, frankly

astonished: stupefied, filled with great surprise

spoke: said a wordgot up: were out of bed

slept: spent the nightSLEPT IN THEIR COFFINS An popular exaggeration.(Coffins, however, were not used for burial.)

what...for: why

rule: code of disciplinethe order: the Cistercian order of the strict

observance, the Trappists

still: spite of these explanationsunderstand: comprehend

best: clearly

make up for: compensatesin(s): offence, error, iniquity

sinner(s): one who commits sinsoutside: exterior (to the monastery)

wouldn’t: would not; conditional interro-negativespring: with a good suspension

do them: satisfy them

remind them of: make them rememberlast end: death, judgement, heaven and hell (term usedin theology)

grown: becomelugubrious: depressing

buried in: covered by (like a corpse interred in a tomb)BURIED IN THE SILENCE OF THE TABLE Since the topic ofconversation is coffins, perhaps Joyce is up to his usualsly jokes.

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h e a r d s a y i n g t o h e rn e i g h b o u r i n a nindistinct undertone:

“They are very goodmen , the monks , ve rypious men.”

T h e r a i s i n s a n da l m o n d s a n d f i g s a n da p p l e s a n d o r a n g e sa n d c h o c o l a t e s a n ds w e e t s w e r e n o wp a s s e d a b o u t t h et a b l e a n d A u n t J u l i ai n v i t e d a l l t h e g u e s t st o h a v e e i t h e r p o r t o rs h e r r y . A t f i r s t M r .B a r t e l l D ’ A r c yr e f u s e d t o t a k e e i t h e rb u t o n e o f h i sn e i g h b o u r s n u d g e dh i m a n d w h i s p e r e ds o m e t h i n g t o h i mu p o n w h i c h h ea l l o w e d h i s g l a s s t ob e f i l l e d . G r a d u a l l ya s t h e l a s t g l a s s e sw e r e b e i n g f i l l e d t h ec o n v e r s a t i o n c e a s e d .A p a u s e f o l l o w e d ,b r o k e n o n l y b y t h en o i s e o f t h e w i n e a n db y u n s e t t l i n g s o fc h a i r s . T h e M i s s e sM o r k a n , a l l t h r e e ,l o o k e d d o w n a t t h et a b l e c l o t h . S o m e o n ec o u g h e d o n c e o rt w i c e a n d t h e n a f e wg e n t l e m e n p a t t e d t h et a b l e g e n t l y a s as i g n a l f o r s i l e n c e .T h e s i l e n c e c a m e a n dG a b r i e l p u s h e d b a c kh i s c h a i r .

The pa t t ing a t onceg r e w l o u d e r i ne n c o u r a g e m e n t a n dthen ceased a l together.Gabr ie l l eaned h is tent r e m b l i n g f i n g e r s o nt h e t a b l e c l o t h a n dsmiled nervously at thec o m p a n y . M e e t i n g arow of up turned facesh e r a i s e d h i s e y e s t ot h e c h a n d e l i e r . T h ep i a n o w a s p l a y i n g a

M a l l i n s l e d e c í a c o nt o n o m o n o c o r d e a s uvec ino de mesa .

— S o n m u y b u e n a sp e r s o n a s l o s m o n j e s ,muy píos.

Las pa sa s y l a s a l -mendras y los higos ylas manzanas y las na-ranjas y los chocolatesy los caramelos c i rcu-laron por la mesa, y lat ía Julia invitó a sus in-vi tados a que el igieranoporto o jerez. El señorBar te l l D’Arcy rehusótomar nada en un pr i -mer momento, pero unode sus vecinos le dio unc o d a z o y l e s u s u r r óa l g o q u e l e h i z oadelantar su vaso paraque se lo l lenaran. Laconversación cesó pocoa poco según se l lena-ban los úl t imos vasos.Siguió una pausa, rotaúnicamente por e l rui-do del vino y el cruj i rde las s i l las . Las seño-r i tas Morkan, las t res ,hundieron sus miradase n e l m a n t e l d e l am e s a . A l g u i e n t o s i óu n a o d o s v e c e s , y acont inuación unos po-cos caba l l e ros t ambo-r i learon suavemente enla mesa como una señald e a t e n c i ó n . L a a t e n -c i ó n s e p r o d u j o , yG a b r i e l e c h ó h a c i aat rás su mesa y se le-vantó.

E l t a m b o r i l e o s eh i z o m a y o r p a r a a n i -mar le , y después cesós ú b i t a m e n t e . G a b r i e lapoyó sus diez temblo-r o s o s d e d o s s o b r e e lm a n t e l , y s o n r i ó n e r -v i o s a m e n t e a l o scomensales cuyos ros-tros se alzaban para mi-rar le , de modo que le-v a n t ó l a m i r a d a a l aaraña que co lgaba de l

a M r s . M a l i n s d e c i ra s u v e c i n a e n u n s e -c r e t o a v o c e s :

— S o n m u y b u e n a sp e r s o n a s l o s m o n j e s ,muy re l ig iosos .

L a s p a s a s , y l a s a l -m e n d r a s , y l o s h i g o s ,y l a s m a n z a n a s , y l a sn a r a n j a s , y l o s c h o c o -l a t e s , y l o s c a r a m e -l o s , p a s a r o n d e m a n oe n m a n o , y t í a J u l i ai n v i t ó a l o s h u é s p e -d e s a b e b e r o p o r t o oj e r e z . A l p r i n c i p i o ,M r . B a r t e l l D ’ A r c yn o q u i s o b e b e r n a d a ,p e r o u n o d e s u s v e c i -n o s l e l l a m ó l a a t e n -c i ó n c o n [ 1 3 7 ] e lc o d o y l e s u s u r r ó a l g oa l o í d o , a n t e l o c u a la q u é l p e r m i t i ó q u e l el l e n a r a n s u c o p a .G r a d u a l m e n t e , s e g ú ns e l l e n a b a n l a s c o p a s ,l a c o n v e r s a c i ó n s ed e t u v o . S i g u i ó u n ap a u s a , r o t a s ó l o p o re l r u i d o d e l v i n o y l a ss i l l a s a l m o v e r s e . L a sM o r k a n , l a s t r e s , b a -j a r o n l a v i s t a a l m a n -t e l . A l g u i e n t o s i ó u n ao d o s v e c e s y l u e g ou n o s c u a n t o s c o m e n -s a l e s t o c a r o n e n l am e s a s u a v e m e n t e p i -d i e n d o s i l e n c i o .C u a n d o s e h i z o e l s i -l e n c i o , G a b r i e l e c h ós u s i l l a h a c i a a t r á s ys e l e v a n t ó .

E l t a b l e t e o c r e c i ó ,a l e n t a d o r , y l u e g oc e s ó d e l t o d o .G a b r i e l a p o y ó s u sd i e z d e d o s t e m b l o r o -s o s e n e l m a n t e l ys o n r i ó , n e r v i o s o , as u p ú b l i c o . A l e n -f r e n t a r s e a l a f i l a d ec a b e z a s v o l t e a d a s l e -v a n t ó s u v i s t a a l al á m p a r a . E l p i a n o t o -c a b a u n v a l s y p u d o

her neighbour: the person sitting at her sideundertone: murmur

about: around

either...or: the choice between...andat first: at the beginning

either: (not) one and (not) the other

nudged him: pushed him discreetly

upon which: consequentlyallowed: did not refuse

his glass to be filled: to be served with sherry or port

followed: resulted from the silencebroken: interrupted

unsettling: commotion

all three: the three of them

tablecloth: cover on the tablecoughed: said “ahem, ahem”

once or twice one or two timespatted: tapped

gently: lightly, softlyfor: to obtain

pushed back: disengaged himself from

louder: more audible

altogether: completelyleaned: pressed

company: guestsmeeting: seeing

row: lineupturned: turned upwards to look at him

raised: directed upwards

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w a l t z t u n e a n d h ec o u l d h e a r t h e s k i r t ss w e e p i n g a g a i n s t t h ed r a w i n g - r o o m d o o r .People , perhaps , weres t a n d i n g i n t h e s n o wo n t h e q u a y o u t s i d e ,g a z i n g u p a t t h el i g h t e d w i n d o w s a n dl i s t en ing to t he wa l t zm u s i c . T h e a i r w a sp u r e t h e r e . I n t h ed i s t a n c e l a y t h e p a r kw h e r e t h e t r e e s w e r ew e i g h t e d w i t h s n o w.T h e We l l i n g t o nM o n u m e n t w o r e ag leaming cap of snowtha t f l a shed wes twardover the whi te f ie ld ofFi f teen Acres .

He began:

“ L a d i e s a n dGentlemen,

“ I t has f a l l en to mylo t t h i s even ing , a s i nyea r s pas t , t o pe r fo rma v e r y p l e a s i n g t a s kbu t a t a sk fo r wh ich Ia m a f r a i d m y p o o rp o w e r s a s a s p e a k e ra r e a l l t o oinadequa te . ”

“ N o , n o ! ” s a i dM r . B r o w n e .

“ B u t , h o w e v e r t h a tmay be , I can only askyou ton ight to take thewill for the deed and tolend me your a t ten t ionf o r a f e w m o m e n t sw h i l e I e n d e a v o u r t oe x p r e s s t o y o u i nw o r d s w h a t m yf e e l i n g s a r e o n t h i soccas ion .

“ L a d i e s a n dGentlemen, i t is not thefirst t ime that we havegathered together undert h i s h o s p i t a b l e r o o f ,around th is hospi tableboard. I t is not the firstt ime that we have been

techo. El piano tocabaun aire de vals , y podíaescuchar e l roce de lasfaldas contra la puer tadel salón. Quizá habíagente fuera , en el mue-l le , parada en la nievey m i r a n d o a l a si l u m i n a d a s v e n t a n a s ,o y e n d o l a m ú s i c a d e lva l s . E l a i r e e ra puroa l l í . A lo le jos se ex-tendía e l parque dondelos árboles soportabanel peso de la nieve. Labri l lante capa de nievesobre e l monumento aWell ington lanzaba susdestel los hacia e l oes-te sobre el campo blan-co de Fif teen Acres

Comenzó:

—Damas y caba l le -ros:

C o m o e n a ñ o sa n t e r i o r e s , m e h ac a í d o e n s u e r t eu n a m u y a g r a d a b l et a r e a , a u n q u e s e au n a t a r e a p a r a l aq u e m e t e m o s e rm u y p o c o a d e c u a -d o .

—¡No, no! —dijo elseñor Browne.

— P e r o , s e a c o m osea , só lo puedo pedi r-les que tomen e l deseop o r l a r e a l i d a d , y m epresten su a tención du-rante unos escasos mo-mentos durante los quet r a t a ré de expresa r l e se n p a l a b r a s l o q u es i e n t o e n o c a s i o n e scomo és ta .

—Damas y caba l le -ros: no es esta la prime-ra vez que nos reunimosba jo e s t e hosp i t a l a r iotecho, alrededor de estahospitalaria mesa. No esla primera vez que nosc o n s t i t u i m o s e n

o í r l a s f a l d a s f r o t a rc o n t r a l a p u e r t a d e lc o m e d o r. Ta l v e z h a -b í a a l g u i e n a f u e r a e nl a c a l l e , b a j o l a n i e -v e , m i r a n d o a l a sv e n t a n a s a l u m b r a d a sy o y e n d o l a m e l o d í ad e l v a l s . A l a i r e l i -b r e , p u r o . A l o l e j o ss e v e r í a e l p a r q u ec o n s u s á r b o l e s c a r -g a d o s d e n i e v e . E lm o n u m e n t o aW e l l i n g t o n t e n d r í au n b r i l l a n t e g o r r on e v a d o r e f u l g i e n d oh a c i a e l P o n i e n t e ,s o b r e l o s b l a n c o sc a m p o s d e Q u i n c eA c r e s .

Comenzó:

—Damas y caba l le -ros :

Hame tocado en suer tee s t a n o c h e , c o m o e naños an t e r io re s , cum-pl i r una ta rea muy gra-t a , p a r a l a c u a l m etemo, empero , que mipobre capacidad ora to-r ia no sea lo bas tan teadecuada .

—¡De ninguna mane-ra! —dijo Mr. Browne.

— B i e n , s e a c o m osea , só lo puedo pedi r-les es ta noche que to-m e n l o d i c h o p o r l ohecho y me pres ten sua m a b l e a t e n c i ó n p o runos minutos , mientrast r a t o d e e x p r e s a r l e sc o n p a l a b r a s c u á l e ss o n m i s s e n t i m i e n t o sen es ta ocas ión .

—Damas y caba l l e -ros : No e s l a p r imeravez que nos r eun imosba jo e s t e hosp i t a l a r iot e c h o , a l r e d e d o r d ees ta mesa hospi ta lar ia .N o e s l a p r i m e r a v e zq u e h e m o s s i d o

tune air

perhaps: maybestanding in: their feet in

gazing up: their heads raised to looklighted: illuminated

weighted: heavily covered

flashed westwards: scintillated to the westwhite: covered with snow

Fifteen Acres: name of a part of Phoenix Park (“thepark”); the statue of Wellington stands at the entrance

of the park

has fallen to my lot: is my lot

years past: the past yearsperform a...task: do a., job

poor powers as a speaker: bad quality of my oratoryall too: completely

inadequate: insufficient (note Gabriel’s pompousstyle!)

however that may be: in spite of that

take...deed: consider the intention not the result

lend: give momentarily

endeavour: try, make efforts

feelings: sentiments

gathered together: assembled

board: table

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t h e r e c i p i e n t s — o rp e r h a p s , I h a d b e t t e rsay, the victims—of theh o s p i t a l i t y o f c e r t a i ngood ladies.”

H e m a d e a c i r c l e i nt h e a i r w i t h h i s a r ma n d p a u s e d . E v e r y o n el a u g h e d o r s m i l e d a tA u n t K a t e a n d A u n tJ u l i a a n d M a r y J a n ew h o a l l t u r n e dc r i m s o n with pleasure.G a b r i e l w e n t o n m o r eb o l d l y :

“ I f e e l m o r es t r o n g l y w i t h e v e r yr e c u r r i n g y e a r t h a to u r c o u n t r y h a s n ot r a d i t i o n w h i c h d o e si t s o m u c h h o n o u r a n dw h i c h i t s h o u l d g u a r ds o j e a l o u s l y a s t h a t o fi t s h o s p i t a l i t y. I t i s at r a d i t i o n t h a t i su n i q u e a s f a r a s m ye x p e r i e n c e g o e s ( a n dI h a v e v i s i t e d n o t af e w p l a c e s a b r o a d )a m o n g t h e m o d e r nn a t i o n s . S o m e w o u l ds a y , p e r h a p s , t h a tw i t h u s i t i s r a t h e r af a i l i n g t h a n a n y t h i n gt o b e b o a s t e d o f . B u tg r a n t e d e v e n t h a t , i ti s , t o m y m i n d , ap r i n c e l y f a i l i n g , a n do n e t h a t I t r u s t w i l ll o n g b e c u l t i v a t e da m o n g u s . O f o n et h i n g , a t l e a s t , I a ms u r e . A s l o n g a s t h i so n e r o o f s h e l t e r s t h eg o o d l a d i e sa f o r e s a i d — a n d I w i s hf r o m m y h e a r t i t m a yd o s o f o r m a n y a n dm a n y a l o n g y e a r t oc o m e — t h e t r a d i t i o no f g e n u i n e w a r m -h e a r t e d c o u r t e o u sI r i s h h o s p i t a l i t y ,w h i c h o u r f o r e f a t h e r sh a v e h a n d e d d o w n t ou s a n d w h i c h w e i nt u r n m u s t h a n d d o w nt o o u r d e s c e n d a n t s ,

recipiendarios —o quizádebería decir mejor, envíctimas— de la hospi-talidad de ciertas buenasseñoras.

Hizo un círculo en elaire con sus brazos y seq u e d ó e n s i l e n c i o u ninstante. Todos rieron osonrieron al ver que latía Kate y la tía Julia yMary Jane se ponían co-l o r a d a s d e p l a c e r.Gabriel siguió adelante,más animado.

—Cada año que pasasiento de un modo másní t ido que nuestro paísno t iene t radición a laque deba más honor yc o n l a q u e s e s i e n t am á s c e l o s a m e n t ecompromet ido que esaque procede de su hos-p i t a l i d a d . U n a t r a d i -ción que es única entrelas naciones modernas ,según me dicta mi ex-per iencia (y he vis i ta-do no pocos lugares delextranjero). Quizá hayaquien diga que se t ra tade una fa l t a más b ienque de a lgo de lo quedebamos eno rgu l l ece -mos . Pero inc luso ad-m i t i e n d o t a l c o s a , s eme ocurre que se t ra tad e u n a f a l t aprincipesca, de una fal-ta que confío en que sevea largamente cult iva-da en t r e noso t ros . Deuna cosa , por los me-n o s , e s t o y s e g u r o .Mientras es te techo décobi jo a las damas su-sodichas —y deseo decorazón que así sea porl o s a ñ o s v e n i d e r o s — ,la t r ad i c ión de l a ge -nuina, calurosa y cortéshospi ta l idad i r landesa,t r a n s m i t i d a p o r n u e s -t ros antepasados a no-so t ros , qu ienes de t a lmodo la transmitiremosa nuestros descendien-

rec ipenda r ios —o qu i -z á s e a m e j o r d e c i r« v í c t i m a s » — d e l ahosp i ta l idad de c ie r tasa lmas bondadosas .

D i b u j ó u n c í r c u l oe n e l a i r e c o n s u sb r a z o s y s e d e t u v o .To d o e l m u n d o r i ó os o n r i ó h a c i a t í aK a t e , t í a J u l i a yM a r y J a n e , q u e s er u b o r i z a r o n d e j ú b i -l o . G a b r i e l p r o s i g u i óc o n m á s a u d a c i a :

— C a d a a ñ o q u ep a s a s i e n t o c o n m a y o rf u e r z a q u e n u e s t r op a í s n o t i e n e o t r a t r a -d i c i ó n q u e h o n r e m e -j o r y g u a r d e c o n m a -y o r c e l o q u e l a h o s p i -t a l i d a d . E s u n a t r a d i -c i ó n ú n i c a e n m i e x -p e r i e n c i a ( y h e v i s i -t a d o n o p o c o s p a í s e se x t r a n j e r o s ) e n t r e l a sn a c i o n e s m o d e r n a s .A l g u n o s d i r í a n , t a lv e z , q u e e s m á s d e -f e c t o q u e v i r t u d d ec u a l v a n a g l o r i a r s e .P e r o , a u n s i c o n c e -d i é r a m o s q u e f u e r aa s í , s e t r a t a , a m i e n -t e n d e r , d e u n d e f e c t op r i n c i p e s c o , q u e c o n -f í o q u e c u l t i v e m o sp o r m u c h o s a ñ o s p o rv e n i r . D e u n a c o s a ,p o r l o m e n o s , e s t o ys e g u r o . M i e n t r a s e s t et e c h o c o b i j e a l a sb u e n a s a l m a s m e n c i o -n a d a s a n t e s — y d e s e od e s d e e l f o n d o d e m ic o r a z ó n q u e s e a a s íp o r m u c h o s a ñ o s ym u c h o s a ñ o s p o rt r a n s c u r r i r — l a t r a d i -c i ó n d e g e n u i n a , c á l i -d a m e n t e e n t r a ñ a b l e yc o r t é s h o s p i t a l i d a di r l a n d e s a , q u e n u e s -t r o s a n t e p a s a d o s n o sl e g a r o n y q u e a s u v e zd e b e m o s l e g a r a n u e s -t r o s d e s c e n d i e n t e s ,

recipient(s): beneficiaryhad better: should

made: traced

paused: stopped for a moment

turned crimson: became redwent on: continued

more boldly: with more audacity, confidence

more strongly: with more intensity

recurring: returning regularly

does it somuch honour: honours it more

so jealously: more preciously

that: the tradition

as far as my...goes: in the limits of my experience

not a few: manyabroad: in other countries

among: in the group ofsome: some people

rather: more exactlyfailing: fault

anything to be boasted of: a glorious trait

granted: admittingto my mind: in my opinion

princely: splendidtrust: firmly hope among us: in our society

at least: if only one thing

one: particular (emphatic form)shelters: protects

aforesaid: mentioned before

do so: protect the good ladiesmany a long year to come: many long years in the

futuregenuine: sincere

warm-hearted: generous

forefathers: ancestorshanded down: transmitted

in turn: when our turn comes

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i s s t i l l a l i v e a m o n gu s . ”

A hearty murmur ofa s s e n t r a n r o u n d t h et ab l e . I t sho t t h roughG a b r i e l ’s m i n d t h a tM i s s I v o r s w a s n o tthere and that she hadg o n e a w a ydiscourteously: and hesaid with confidence inhimself:


“ A n e w g e n e r a t i o ni s g r o w i n g u p i n o u rm i d s t , a g e n e r a t i o nac tua t ed by new ideasand new p r inc ip l e s . I ti s s e r i o u s a n den thus i a s t i c fo r t he sen e w i d e a s a n d i t se n t h u s i a s m , e v e nwhen i t i s misd i rec ted ,i s , I b e l i e v e , i n t h em a i n s i n c e r e . B u t w ea r e l i v i n g i n ascep t i ca l and , i f I mayu s e t h e p h r a s e , at h o u g h t - t o r m e n t e da g e : a n d s o m e t i m e s If e a r t h a t t h i s n e wg e n e r a t i o n , e d u c a t e dor hype reduca ted a s i ti s , w i l l l a c k t h o s equa l i t i e s o f human i ty,o f h o s p i t a l i t y , o fk i n d l y h u m o u r w h i c hb e l o n g e d t o a n o l d e rday. L i s t en ing ton igh tt o t h e n a m e s o f a l lt hose g rea t s inge r s o ft h e p a s t i t s e e m e d t om e , I m u s t c o n f e s s ,t ha t we were l i v ing ina l e s s s p a c i o u s a g e .T h o s e d a y s m i g h t ,wi thou t e x a g g e r a t i o n ,b e c a l l e d s p a c i o u sd a y s : a n d i f t h e y a r eg o n e b e y o n d r e c a l ll e t u s h o p e , a t l e a s t ,t h a t i n g a t h e r i n g ss u c h a s t h i s w e s h a l ls t i l l s p e a k o f t h e mw i t h p r i d e a n da f f e c t i o n , s t i l l

t e s , v i v i r á e n t r e n o -sotros .

Un cordial murmullode aqu ie scenc ia r eco -rr ió la mesa. La ausen-cia de la señori ta Ivorsy su extemporánea mar-cha a t ravesó como unr a y o l a m e n t e d eGabriel , que prosiguiócon mayor confianza ensí mismo:


»Una nueva genera-c ión c rece en t re noso-t r o s , u n a g e n e r a c i ó na n i m a d a p o r n u e v a sideas y nuevos pr inc i -p ios , se r ia y en tus ias -mada por e sas nuevasi d e a s , c o n u n e n t u -s i a s m o q u e , i n c l u s ocuando se t o rna e r ró -neo , es , en mi opin ión ,p l e n a m e n t e s i n c e r o .P e r o v i v i m o s e n u n aépoca escépt ica y, s i seme permi te usar la f ra -s e , d e m e n t e s a t o r -m e n t a d a s ; a v e c e st e m o q u e e s t a n u e v agenerac ión , t an educa-da o h ipereducada , ca-rezca de aque l las cua-l i d a d e s h u m a n i t a r i a s ,hospi ta la r ias y bonda-dosas que proceden delayer. Oyendo es ta no-c h e l o s n o m b r e s d eaque l los g randes can-tan tes de l pasado, tuvel a i m p r e s i ó n , h e d econfesar lo , de que v i -v imos en una época dem e n o r a m p l i t u d .Aquel los t i empos pue-den ser cal i f icados, s ine x a g e r a c i ó n , d e a m -pl ios . S i aque l los d íasse han ido de un modoi r r e v o c a b l e , e s p e r e -m o s , p o r l o s m e n o s ,que en reuniones comoés ta hablemos de e l losc o n o rg u l l o y a f e c t o ,a b r i g a n d o e n n u e s t r o

[ 1 3 8 ] p a l p i t a t o d a v í ae n t r e n o s o t r o s .

U n c o r d i a l m u r m u -l l o d e a s e n s o c o r r i óp o r l a m e s a . L e p a s óp o r l a m e n t e aG a b r i e l q u e M i s sI v o r s n o e s t a b a p r e -s e n t e y q u e s e h a b í ai d o c o n d e s c o r t e s í a ,y d i j o c o n c o n f i a n z ae n s í m i s m o :

—Damas y caba l le -ros .

— U n a n u e v a g e n e -ración crece en nuestros e n o , u n a g e n e r a c i ó nm o t i v a d a p o r i d e a l e snuevos y nuevos pr in-c ip ios . Es és ta se r ia ye n t u s i a s t a d e e s t o sn u e v o s i d e a l e s , y s uentus iasmo, aun s i es tám a l e n d e r e z a d o , e s ,c r e o , e m i n e n t e m e n t es ince ro . Pe ro v iv imosen t i empos escép t icosy, s i se me permi te laf rase , en una e ra acu-c iada por las ideas , y aveces me temo que estanueva generación, edu-c a d a o h i p e r e d u c a d ac o m o e s , c a r e c e r á d eaquel las cua l idades dehumanidad, de hospita-l idad , de generoso hu-mor que pe r t enecen ao t r o s t i e m p o s . E s c u -chando es ta noche losnombres de esos gran-des cantantes del pasa-d o m e p a r e c i ó , d e b oc o n f e s a r l o , q u e v i v i -m o s e n é p o c a m e n o sespaciosa . Aquel los sepueden l lamar, s in exa-geración, d ías espacio-sos ; y s i desaparec ie -ron s in ser recordados ,esperemos que , por lom e n o s , e n r e u n i o n e scomo és ta todavía ha-b la remos de e l los cono rg u l l o y c o n a f e c t o ,que todavía a tesorare-mos en nues t ros cora-

still alive: active in the past and active now

hearty: cordialassent: approval, agreement

it shot through: the idea entered suddenly; (shoot,)

discourteously: without courtesy, politenessconfidence in himself: self-assurance, boldness

actuated: motivatedit: the new generation

misdirected: oriented in a wrong direction

in the main: to a large degree, chiefly

phrase: expressionthought-tormented age: period troubled by politicaland economical ideologies (Gabriel is expressing the

same ideas in a more pompous manner)

older day: more ancient epochto-night this evening

were: were nowless spacious: having less space; space suggests

liberty, generositythose days: that ancient time

are gone: have disappearedbeyond recall: irrevocably

gathering(s): assemblysuch as this: like this one

pride # humility

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c h e r i s h i n o u r h e a r t st h e m e m o r y o f t h o s ed e a d a n d g o n e g r e a to n e s w h o s e f a m e t h ew o r l d w i l l n o tw i l l i n g l y l e t d i e . ”

“ H e a r , h e a r ! ” s a i dMr. Browne loud ly.

“ B u t y e t , ”c o n t i n u e d G a b r i e l ,h i s v o i c e f a l l i n g i n t oa s o f t e r i n f l e c t i o n ,“ t h e r e a r e a l w a y s i ng a t h e r i n g s s u c h a st h i s s a d d e r t h o u g h t st h a t w i l l r e c u r t o o u rm i n d s : t h o u g h t s o ft h e p a s t , o f y o u t h , o fc h a n g e s , o f a b s e n tf a c e s t h a t w e m i s sh e r e t o n i g h t . O u rp a t h t h r o u g h l i f e i ss t r e w n w i t h m a n ys u c h s a d m e m o r i e s :a n d w e r e w e t o b r o o du p o n t h e m a l w a y s w ec o u l d n o t f i n d t h eh e a r t t o g o o nb r a v e l y w i t h o u rw o r k a m o n g t h el i v i n g . We h a v e a l l o fu s l i v i n g d u t i e s a n dl i v i n g a f f e c t i o n sw h i c h c l a i m , a n dr i g h t l y c l a i m , o u rs t r e n u o u se n d e a v o u r s .

“ T h e r e f o r e , I w i l ln o t l i n g e r o n t h ep a s t . I w i l l n o t l e ta n y g l o o m ym o r a l i s i n g i n t r u d eu p o n u s h e r e t o n i g h t .H e r e w e a r e g a t h e r e dt o g e t h e r f o r a b r i e fm o m e n t f r o m t h eb u s t l e a n d r u s h o fo u r e v e r y d a y r o u t i n e .We a r e m e t h e r e a sf r i e n d s , i n t h e s p i r i to f g o o d - f e l l o w s h i p ,a s c o l l e a g u e s , a l s o t oa c e r t a i n e x t e n t , i nt h e t r u e s p i r i t o fc a m a r a d e r i e , a n d a st h e g u e s t s o f — w h a ts h a l l I c a l l t h e m ? —

corazón la memor ia dea q u e l l o s g r a n d e s q u em u r i e r o n y d e s a p a r e -c i e r o n , c u y a f a m a e lm u n d o n o p e r m i t i r áque se d i s ipe .

—¡Eso es ! ¡Eso es !—dijo en voz alta el se-ñor Browne.

—Sin embargo —conti-n u ó G a b r i e l , c o n u n ai n f l e x i ó n m á s d e l i c a -d a — , l a s r e u n i o n e sc o m o é s t a n o p u e d e nevitar el acoso de pensa-mientos más tr istes,rememoraciones del pasa-do, de la juventud, dec a m b i o s , d e r o s t r o sq u e e s t a n o c h e e c h a -mos de menos . Nuestropaso por la vida es táprofusamente sembradod e tan tristes memorias,a las que acudimo s c o nm e l a n c o l í a s i e m p r eq u e n o s r e s u l t ai m p o sible hallar el modode afrontar con corajenuestra lab o r e n t r e l o sv i v o s . T o d o s t e n e -m o s d e b e r e s ya f e c t o s q u e r e -c l a m a n , __________________ c o n r a z ó n ,n u e s t r o e s f u e r z o m á se x t r e m o .

»De modo que no meent re tendré en e l pasa-d o . N o p e r m i t i r é q u en i n g ú n t é t r i c omoral ismo se int roduz-ca es ta noche ent re no-so t ros . Nos hemos re -unido aquí por un mo-m e n t o , l e j o s d e l a j e -t r e o y e l b u l l i c i o d en u e s t r a s r u t i n a s c o t i -d ianas . Nos encon t ra -mos aquí como amigos,c o m o c o m p a ñ e r o s ,t a m b i é n , h a s t a c i e r t op u n t o , c o m o c o l e g a s ,en un verdadero espír i -tu de camarader ie , in -v i t a d o s p o r l a s —¿cómo habr ía de re fe-

z o n e s l a m e m o r i a d elos grandes , muer tos yd e s a p a r e c i d o s , p e r ocuya fama e l mundo nod e j a r á p e r e c e r n u n c ade motu propio .

—¡Así se hab la ! —di jo Mr. Browne b i ena l to .

—Pero como todo —continuó Gabriel, su vozcobrando una entonaciónmás suave—, siempre hayen reuniones como éstapensamientos tristes quevendrán a nuestra mente:recuerdos del pasado, denuestra juventud, de l o scambios , de e sas ca rasa u s e n t e s q u e e c h a m o sd e m e n o s e s t a n o c h e .N u e s t r o p a s o p o r l av i d a e s t á c u b i e r t o d et a l e s m e m o r i a s d o l o -r o s a s , y s i f u é r a m o s ac a v i l a r s o b r e l a s m i s -m a s , n o t e n d r í a m o sá n i m o p a r a c o n t i n u a rva le rosos nues t r a v idaco t id i ana en t r e l o s s e -r e s v i v i e n t e s . Te n e -m o s t o d o s d e b e r e s v i -v o s y v i v o s a f e c t o sq u e r e c l a m a n , y c o nr a z ó n r e c l a m a n , n u e s -t ro es fue rzo más cons -t a n t e y t e n a z .

— P o r t a n t o , n o m edemoraré en e l pasado.No permi t i ré que n in-guna lúgubre re f lex iónm o r a l i z a n t e s ee n t r o m e t a e n t r e n o ses ta noche . Aquí es ta -m o s r e u n i d o s p o r u nbreve ins tante ext ra ídode los t ra j ines y e l a je-t reo de la ru t ina co t i -d i a n a . N o s e n c o n t r a -mos aquí como amigos,en espí r i tu de f ra ternalc o m p a ñ e r i s m o , c o m ocolegas , y has ta c ie r topunto en verdadero es -p í r i t u d e « c a m a r a d e -r ía» , y como invi tadosde —¿cómo podr ía l la -

dead and gone great ones: great men now dead andgone for ever

whose fame: the glory of whom

willingly: easilylet die: forget, fall into oblivion

falling into: changing tosofter: more moderate

sadder: more melancholy

mind(s): memoryyouth: young days, juvenile years

miss: regret

path through: road all long

strewn: markedmemories: things remembered

were we: if we hadbrood upon: ruminate on

heart: couragego on...with: continue

the living: the people alive nowliving duties: obligations concerning people alive now

claim: demand

strenuous endeavours: intense efforts

therefore: for that reasonlinger: prolong my reflections

gloomy moralizing: sad sermonintrude upon: invade, make an intrusion

from: separated, protected frombustle: noisy activity

rush: haste

met: assembled, gatheredin the spirit of good-fellowship: with the intention of

being good companions

extent degreewhat shall I call: what name can I give to

X X

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t h e T h r e e G r a c e s o ft h e D u b l i n m u s i c a lw o r l d . ”

T h e t a b l e b u r s ti n t o a p p l a u s e a n dl a u g h t e r a t t h i sa l l u s i o n . A u n t J u l i av a i n l y a s k e d e a c h o fh e r n e i g h b o u r s i nt u r n t o t e l l h e r w h a tG a b r i e l h a d s a i d .

“He says we are theT h r e e G r a c e s , A u n tJul ia ,” said Mary Jane.

A u n t J u l i a d i d n o tu n d e r s t a n d b u t s h elooked up, smi l ing, a tGabriel , who continuedin the same vein:


“ I w i l l n o t a t t e m p tt o p l a y t o n i g h t t h ep a r t t h a t P a r i s p l a y e do n a n o t h e r o c c a s i o n . Iw i l l n o t a t t e m p t t oc h o o s e b e t w e e n t h e m .T h e t a s k w o u l d b e a ni n v i d i o u s one and oneb e y o n d m y p o o rp o w e r s . F o r w h e n Iv i e w t h e m i n t u r n ,w h e t h e r i t b e o u rc h i e f h o s t e s sh e r s e l f , w h o s e g o o dh e a r t , w h o s e t o og o o d h e a r t , h a sb e c o m e a b y w o r dw i t h a l l w h o k n o wh e r , o r h e r s i s t e r ,w h o s e e m s t o b eg i f t e d w i t h p e r e n n i a ly o u t h a n d w h o s es i n g i n g m u s t h a v eb e e n a s u r p r i s e a n d ar e v e l a t i o n t o u s a l lt o n i g h t , o r , l a s t b u tn o t l e a s t , w h e n Ic o n s i d e r o u ry o u n g e s t h o s t e s s ,t a l e n t e d , c h e e r f u l ,h a r d - w o r k i n g a n d t h eb e s t o f n i e c e s , Ic o n f e s s , L a d i e s a n dG e n t l e m e n , t h a t I d o

r i r m e a e l l a s ? — Tr e sGracias del mundo mu-s ica l de Dubl ín .

L a m e s a e s t a l l ó e naplausos y risas ante esaocurrencia. La tía Juliat ra tó infructuosamentede conseguir que sus ve-cinos de mesa le conta-ran lo que Gabriel habíadicho.

—Dice que somos lasTres Gracias , t ía Jul ia—dijo Mary Jane.

T í a J u l i a n o e n -t e n d i ó , p e r o m i r ós o n r i e n d o a G a b r i e l ,q u e c o n t i n u ó e n l am i s m a v e n a .


» N o v o y a i n t e r -p r e t a r e s t a n o c h e e lp a p e l d e s e m p e ñ a d op o r P a r i s e n o t r a o c a -s i ó n . N o v o y a i n t e n -t a r e s c o g e r e n t r ee l l a s . E s a l a b o r s e r í aodiosa y es tar ía fueradel a lcance de mis po-b r e s f u e r z a s . P u e scuando las contemplo,y v e o a l a d e c a n a d en u e s t r a s a n f i t r i o n a s ,c u y o b u e n c o r a z ó n ,c u y o d e m a s i a d o b u e ncorazón se ha convert i -do en una perogrul ladap a r a t o d o s l o s q u e l aconocen, o a su herma-n a , q u e p a r e c e g o z a rdel don de la juventudperenne , y cuyas can-c i o n e s p u e d e n h a b e rsido una sorpresa y unarevelación para quienesla han oído esta noche,o —la úl t ima, pero nola menos importante—c u a n d o c o n s i d e r o anuestra anf i t r iona másjoven, hábil , jovial , ha-cendosa y la mejor delas sobrinas , confieso,d a m a s y c a b a l l e r o s ,

m a r l a s ? — l a s T r e sGrac ias de la v ida mu-s ica l de Dubl ín .

L a c o n c u r r e n c i ar o m p i ó e n r i s a s yaplausos an te ta l sa l i -da . T ía Ju l ia p id ió envano a cada una de susvecinas , por turno, quel e d i j e r a n l o q u eGabr ie l había d icho .

—Dice que somos lasTres Gracias , t ía Jul ia—dijo Mary Jane.

L a t í a J u l i a n o e n -tendió , pero levantó lav i s t a , s o n r i e n d o , aGabr ie l , que pros iguióen la misma vena:

— D a m a s y c a b a l l e -r o s [ 1 3 9 ]

— N o i n t e n t o i n -t e r p r e t a r e s t a n o c h ee l p a p e l q u e P a r í sj u g ó e n o t r a o c a -s i ó n . N o i n t e n t a r és i q u i e r a e s c o g e r e n -t r e e l l a s . L a t a r e as e r í a i n g r a t a y f u e r ad e l a l c a n c e d e m i sp o b r e s a p t i t u d e s , p o r-q u e c u a n d o l a s c o n -t e m p l o u n a a u n a ,b i e n s e a n u e s t r aa n f i t r i o n a m a y o r ,c u y o b u e n c o r a z ó n ,d e m a s i a d o b u e n c o r a -z ó n , s e h a c o n v e r t i d oe n e s t r i b i l l o d e t o d o sa q u e l l o s q u e l a c o n o -c e n , o s u h e r m a n a ,q u e p a r e c e p o s e e r e ld o n d e l a e t e r n a j u -v e n t u d y c u y o c a n t od e b í a h a b e r c o n s t i t u i -d o u n a s o r p r e s a y u n ar e v e l a c i ó n p a r a n o s o -t r o s e s t a n o c h e , o ,l a s t b u t n o t l e a s t ,c u a n d o c o n s i d e r o an u e s t r a a n f i t r i o n am á s j o v e n , t a l e n t o s a ,a n i m o s a y t r a b a j a d o -r a , l a m e j o r d e l a s s o -b r i n a s , c o n f i e s o , d a -

the Three Graces: allusion to the Greek myth inwhich three goddesses asked Paris to choose the most

beautiful among them

understand: comprehend

looked up: raised her eyes

attempt: endeavour

play...the part: execute the role

task: enterpriseinvidious: odious, undesirable

beyond: surpassing

view: consider, examine

whether it be: as regardschief hostess: Aunt Kate

good heart: generosity, kindness

byword: notable exampleor: whether...or...or of line

be gifted with: have the talent of possessingperennial youth: eternal freshness

last but not least: enumerated at the end but equal tothe other two

youngest: superlative of youngcheerful: vivacious, lively

hard-working: working with all her force,industrious

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n o t k n o w t o w h i c h o ft h e m I s h o u l d a w a r dt h e p r i z e . ”

G a b r i e l g l a n c e ddown a t h i s aun t s and ,see ing the l a rge smi l eo n A u n t J u l i a ’ s f a c ea n d t h e t e a r s w h i c hh a d r i s e n t o A u n tKa te ’s eyes , ha s t enedto h i s c lo se . He r a i sedh i s g l a s s o f p o r tga l lant ly , wh i l e eve rym e m b e r o f t h ec o m p a n y f i n g e r e d ag l a s s expec tan t ly, andsa id loud ly :

“Let us toast them allth ree toge the r. Le t usd r i n k t o t h e i r h e a l t h ,w e a l t h , l o n g l i f e ,h a p p i n e s s a n dprosperity and may theylong con t inue to ho ldthe proud and self-wonp o s i t i o n w h i c h t h e yhold in their professiona n d t h e p o s i t i o n o fh o n o u r a n d a f f e c t i o nwhich they hold in ourhearts.”

A l l t h e g u e s t ss t o o d u p , g l a s s i nh a n d , a n d t u r n i n gt o w a r d s t h e t h r e es e a t e d l a d i e s , s a n g i nu n i s o n , w i t h M r .B r o w n e a s l e a d e r :

For they are jolly gay fellows,For they are jolly gay fellows,For they are jolly gay fellows,Which nobody can deny.

A u n t K a t e w a smaking frank use of herhandkerchief and evenA u n t J u l i a s e e m e dmoved. Freddy Malinsb e a t t i m e w i t h h i sp u d d i n g - f o r k a n d t h esingers turned towardso n e a n o t h e r, a s i f i nmelodious conference ,w h i l e t h e y s a n g w i t hemphasis:

q u e n o s é a c u á l d eel las habr ía de conce-der e l premio

G a b r i e l m i r ó a s u st í a s y, v i e n d o l a g r a ns o n r i s a d e l a t í a J u -l i a y l a s l á g r i m a sq u e b r o t a b a n d e l o so j o s d e l a t í a K a t e ,a p r e s u r ó e l f i n a l d es u d i s c u r s o . __ _________ ____ ___ ___ _ _______ ____ ________ _______ ____ ____ ___ ___ _______ __ __ ____ ___ _____ _____ ____ ____ ___ _____ _____ ____

—Brindemos por to-das el las. Bebamos a susa lud , por su r iqueza ,por su la rga v ida , pors u f e l i c i d a d , p o r s up r o s p e r i d a d y p o r e lm a n t e n i m i e n t o d e l amuy digna y bien gana-da posición que han sa-bido labrarse en sus la-bores , y por la muy ho-norable y afectuosa quet ienen en nuest ros co-razones.

Todos los invitados selevantaron con el vaso enla mano y, volviéndosehacia las tres damas sen-tadas, cantaron al uníso-no, bajo la dirección delseñor Browne.

For the, are jolly gay fellows,For they are jolly gay fellows,For they are jolly gay fellows,Which nobody, can deny.

L a t í a K a t e u t i l i z ósin tapujos su pañuelo, yhasta la tía Julia parecióc o n m o v i d a . F r e d d yMalins marcó el r i tmocon su tenedor para elbudín , y los cantantesgiraron los unos hacialos otros, como en unareunión canora , mien-tras cantaban con acentocategórico:

m a s y c a b a l l e r o s , q u en o s a b r í a a q u i é n c o n -c e d e r e l p r e m i o .

G a b r i e l e c h ó u n ao j e a d a a s u s t í a s , yv iendo l a enorme son-r i s a e n l a c a r a d e t í aJ u l i a y l a s l á g r i m a sque bro taron a los o josde t í a Ka te , s e ap resu -ró a t e r m i n a r. L e v a n -t ó s u c o p a d e o p o r t o ,g a l a n t e , m i e n t r a s l o sc o n c u r s a n t e s p a l p a -b a n s u s r e s p e c t i v a sc o p a s e x p e c t a n t e s , yd i j o e n a l t a v o z :

— B r i n d e m o s p o rl a s t r e s j u n t a s . B e b a -m o s a s u s a l u d , p r o s -p e r i d a d , l a r g a v i d a ,f e l i c i d a d y v e n t u r a , yo j a l á q u e c o n t i n ú e np o r l a rg o t i e m p o m a n -t e n i e n d o l a p o s i c i ó ns o b e r a n a y b i e n g a n a -d a q u e t i e n e n e nn u e s t r a p r o f e s i ó n , yl a h o n r a y e l a f e c t oq u e s e h a n g a n a d o e nn u e s t r o s c o r a z o n e s .

Todos los huéspedesse levantaron , copa enmano, y, volv iéndose al a s t r e s d a m a s s e n t a -das , can taron a l un íso-n o , c o n M r . B r o w n ecomo guía :

Pues son jocosas y u fanas ,Pues son jocosas y u fanas ,Pues son jocosas y u fanas ,¡Nadie lo puede negar !

L a t í a K a t e h a c í au s o d e s c a r a d o d e s up a ñ u e l o , y h a s t a t í aJu l ia parec ía conmovi-d a . F r e d d y M a l i n smarcaba e l t i empo consu tenedor de pos t re , ylos can tan te s s e mi ra -ron ca ra a ca ra , comoen melodioso concurso,m ien t r a s can taban conénfas i s :

which of them: what particular one (of the three)should: obligation

award the prize: give the palm

glanced down # compare with looked up

tears: liquid from the eyesrisen (rise, rose, ): come

hastened to his close: concluded rapidlyraised: lifted

fingered: had in their handsexpectantly: in anticipation

let us: imperative, 1st person pluraltoast: drink a toast in honour of

health: vigourwealth # poverty

may they long: let us wish that for a long time theywill

won: gained; self-won: acquired by their merits

hold: occupy, possess

stood up (stand): raised themselves, got to their feet

seated: sitting

as leader: at their head

was making frank use of: did not use furtively

handkerchief: (for drying her tears)

beat time (beat, —, beaten): marked the tempo

in melodious conference: they were making musicalconversation

while: during the time thatemphasis: force

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U n l e s s h e t e l l s a l i e ,Unless he tells a l ie,

Then , t u rn ing oncemore t owards t he i rhostesses, they sang:

For they are jolly gay fellows,For they are jolly gay fellows,For they are jolly gay fellows,Which nobody can deny.

T h e a c c l a m a t i o nw h i c h f o l l o w e d w a st a k e n u p b e y o n d t h ed o o r o f t h e s u p p e r -r o o m b y m a n y o f t h eo t h e r g u e s t s a n dr e n e w e d t i m e a f t e rt i m e , F r e d d y M a l i n sac t ing as o f f i ce r wi thhis fork on high.

T h e p i e r c i n gm o r n i n g a i r c a m ei n t o t h e h a l l w h e r et h e y w e r e s t a n d i n gs o t h a t A u n t K a t es a i d :

“ C l o s e t h e d o o r ,somebody. Mrs. Malinsw i l l g e t h e r d e a t h o fcold.”

“Browne is out there,Aunt Kate,” said MaryJane.

“ B r o w n e i severywhere,” said AuntK a t e , l o w e r i n g h e rvoice.

Mary Jane laughed ather tone.

“ R e a l l y, ” s h e s a i da r c h l y , “ h e i s v e r yattentive.”

“He has been laid onhere l ike the gas,” saidAunt Kate in the samet o n e , “ a l l d u r i n g t h eChristmas.”

She laughed herself thistime good-humouredly and

U n l e s s h e t e l l s a l i e ,Unless he tells a lie.

Después, vueltos unav e z m á s h a c i a s u sanfitrionas, cantaron:

For they are jolly gay fellows,For they are jolly gay fellows,For they are jolly gay fellows,Which nobody can deny

L a a c l a m a c i ó n q u ev i n o d e s p u é s s eengrandeció con la dem u c h o s d e l o s o t r o sinvitados más allá de lapuerta del comedor, y serepit ió una y otra vez,d i r i g i d a p o r F r e d d yMalins con el tenedor enalto.

E l a i r e p e n e t r a n t ede l a mañana i r rumpióe n e l v e s t í b u l o e n e lq u e s e e n c o n t r a b a n ,d e m o d o q u e l a t í aK a t e d i j o :

—Que alguien cierrel a p u e r t a . L a s e ñ o r aMalins se va a morir defrío.

— B r o w n e e s t á a h ífue ra , t í a Ka te —di joMary.

— B r o w n e e s t á a h ífue ra , t í a Ka te —di joMary Jane , ba jando lavoz.

Mary Jane se r ió a loírla en ese tono.

—En verdad que esm u y s o l í c i t o — d i j ojocosamente .

—Se ha extendido poraquí como si fuera el gas—dijo la tía Kate en elmismo tono— duran tetodas las Navidades.

E s t a v e z s e r i ó d eb u e n a g a n a , p a r a

A menos que d iga men t i r a ,A menos que d iga men t i r a ,

Y v o l v i é n d o s e u n av e z m á s a s u sanf i t r ionas , entonaron:

Pues son jocosas y u fanas ,Pues son jocosas y u fanas ,Pues son jocosas y u fanas ,¡Nadie lo puede negar!

L a a c l a m a c i ó n q u es i g u i ó f u e a c o g i d a -m á s a l l á d e l a s p u e r -t a s d e l c o m e d o r p o rm u c h o s o t r o s i n v i t a -d o s y r e n o v a d a u n a yo t r a v e z , c o n F r e d d yM a l i n s d e t a m b o r m a -y o r , t e n e d o r e nr i s t r e .

[140 ] E l f r í o y pe -ne t ran te a i r e de l a ma-d rugada se co ló en e ls a l ó n e n q u e e s p e r a -b a n , p o r l o q u e t í aKa te d i jo :

— Q u e a l g u i e n c i e -r r e e s a p u e r t a , M r s .M a l i n s s e v a a m o r i rde f r ío .

—Browne es t á fue -r a , t í a K a t e — d i j oMary Jane .

— B r o w n e e s t á e nt o d a s p a r t e s — d i j ot í a K a t e , b a j a n d o l av o z .

Mary Jane se rió de sutono de voz.

— ¡ V a y a — d i j os o c a r r o n a — s ie s a t e n t o !

—Se nos ha expan-d i d o c o m o e l g a s —di jo l a t í a Ka te en e lmi smo tono— por t o -das l a s Nav idades .

S e r i ó d e b u e n ag a n a e s t a v e z y a ñ a -

unless: except on the condition thatlie: something which is not true

turning once more...: (note the repetitive banality ofthe song which closes Gabriel’s speech, itself full ofcliches. This is an example of Joyce’s insistence on

“the significance of trivial things”)

which: a fact thatdeny: refuse to admit

taken up: continuedbeyond the door of: outside

other guests: (the younger ones who had dinnerbefore them

renewed: repeatedtime after time: again and again

officer: conductor (of an orchestra)with...on high: brandishing his fork

piercing: penetrating, very coldTHE PIERCING MORNING AIR The story falls neatly intothree acts: the arrivals; the dinner; and the departures.

so that: and consequently

somebody: a personget her death of cold: is going to perish with cold

is out there: has gone out, in the streeteverywhere: in all places

lowering: making her voice less audible, whispering

laughed at: at, not of

archly: with humourvery attentive: full of consideration

laid on...gas: installed here permanently (allusion to“gas and electricity laid on” which appeared on the

facades of modern houses at the beginning of the 19thcentury)

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then added quickly:

“ B u t t e l l h i m t oc o m e i n , M a r y J a n e ,a n d c l o s e t h e d o o r. Ih o p e t o g o o d n e s s h edidn’t hear me.”

At tha t moment theh a l l - d o o r w a s o p e n e dand Mr. Browne camei n f r o m t h e d o o r s t e p ,l a u g h i n g a s i f h i sh e a r t w o u l d b r e a k . Hewas dressed in a longgreen overcoat with mocka s t r a k h a n c u f f s a n dcollar and wore on hishead an oval fur cap. Hepointed down the snow-c o v e r e d q u a y f r o mwhere the sound of shrillprolonged whistling wasborne in.

“ T e d d y w i l l h a v ea l l t h e c a b s i n D u b l i no u t , ” h e s a i d .

G a b r i e l a d v a n c e dfrom the l i t t le pantryb e h i n d t h e o f f i c e ,s t r u g g l i n g i n t o h i sovercoa t and , look inground the hall , said:

“ G r e t t a n o t d o w nyet?”

“She’s getting on herth ings , Gabr i e l , ” s a idAunt Kate.

“ W h o ’s p l a y i n g u pt h e r e ? ” a s k e dG a b r i e l .

“Nobody. They’re allgone.”

“ O n o , A u n t K a t e , ”s a i d M a r y J a n e .“ B a r t e l l D ’ A r c y a n dM i s s O ’ C a l l a g h a na r e n ’ t g o n e y e t . ”

“Someone is foolinga t the p iano anyhow,”said Gabriel .

a ñ a d i r r á p i d a m e n t e :

— P e r o d i l e q u ee n t r e , M a r y J a n e , yc i e r r a l a p u e r t a . D i o squ i e r a que no me hayao í d o .

L a p u e r t a d e lv e s t í b u l o s e a b r i ó e ne s e m o m e n t o , d a n d opaso al señor Browne,q u e e n t r ó d e s t e r n i -l l á n d o s e d e r i s a . S ec u b r í a c o n u n l a r g oabrigo verde con cuelloy p u ñ o s d e f a l s oas t racán , y l levaba enl a c a b e z a u n a g o r r aovalada de piel . Señalóe l mue l l e cub i e r t o denieve, del que l legó unestridente y prolongadosi lbido, y di jo:

—Teddy está dispuesto areunir ahí fuera a todos loscoches de punto de Dublín.

G a b r i e l s a l i ó d e l apequeña despensa juntoa la cocina, peleándosecon su abr igo. Echó unvis tazo por e l vest íbu-lo y di jo:

—¿Aún no ha bajadoGretta?

— E s t á c o g i e n d os u s c o s a s — d i j o l at í a K a t e .

— ¿ Q u i é n e s t ácantando allí arriba? —preguntó Gabriel.

—Nadie. Se han idotodos.

—Oh, no, tía Kate —d i j o M a r y J a n e — .B a r t e l l D ’ a r c y y l aseñorita O’Callaghan nose han ido todavía.

—En cualquier caso,alguien está aporreando elpiano —dijo Gabriel.

d i ó e n s e g u i d a :

— P e r o d i l e q u ee n t r e , M a r y J a n e , yc i e r r a l a p u e r t a .O j a l á q u e n o m eh a y a o í d o .

E n e s e m o m e n t os e a b r i ó l a p u e r t ad e l z a g u á n y d e lp o r t a l y e n t r ó M r .B r o w n e d e s t e r n i -l l á n d o s e d e r i s a .Ve s t í a u n l a rg o g a b á nv e r d e c o n c u e l l o yp u ñ o s d e i m i t a c i ó n d ea s t r a k á n , y l l e v a b a e nl a c a b e z a u n g o r r o d ep i e l o v a l a d o . S e ñ a l óp a r a e l m a l e c ó n n e v a -d o , d e d o n d e v e n í a u ns o n i d o p e n e t r a n t e d es i l b i d o s .

—Teddy va a hacervenir todos los cochesde Dublín —dijo.

G a b r i e l a v a n z ó d e ld e s v á n d e t r á s d e l ao f i c i n a , l u c h a n d o p o rm e t e r s e e n s u a b r i g o ,y, m i r a n d o a l r e d e d o r,d i j o :

— ¿ N o b a j ó y aGre t ta?

— E s t á r e c o g i e n d os u s c o s a s , G a b r i e l —di jo t í a Kate .

— ¿ Q u i é n t o c a a r r i -b a ? — p r e g u n t óG a b r i e l .

— N a d i e . To d o s s ehan ido ya.

—Oh, no, t ía Kate —d i j o M a r y J a n e — .Bartel l D’Arcy y MissO’Cal laghan no se hanido todavía .

—En todo caso , a l -g u i e n t e c l e a a l p i a n o—di jo Gabr ie l .

to goodness: (expression of anxiety; goodness is usedin place of God

doorstep: entrance to the house

break: stopwas dressed in: had put on

mock: imitationcuff(s): manchette

pointed down: showed with his finger a distant partof shrill: piercing

whistling: high clear soundborne in: came to them

Teddy: Freddyhave... out: make...go out

advanced: emerged

struggling into: trying to put onlooking round: inspecting

not down yet: has not come down now

getting on: putting onthings: personal effects (coat etc.)

playing: playing the pianoup there: upstairs

nobody: no person, # somebodyare...gone: have departed (go, went, —)

someone: somebodyfooling: amusing himself

anyhow: in any case

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M a r y J a n e g l a n c e da t G a b r i e l a n d M r .B r o w n e a n d s a i dw i t h a s h i v e r :

“ I t m a k e s m ef e e l c o l d t o l o o ka t y o u t w og e n t l e m e n m u f f l e du p l i k e t h a t . Iw o u l d n ’ t l i k e t of a c e y o u r j o u r n e yh o m e a t t h i sh o u r . ”

“ I ’ d l i k e n o t h i n gb e t t e r t h i s m i n u t e , ”s a i d M r . B r o w n es t o u t l y , “ t h a n ar a t t l i n g f i n e w a l ki n t h e c o u n t r y o r af a s t d r i v e w i t h ag o o d s p a n k i n g g o e rb e t w e e n t h es h a f t s . ”

“We used to have av e r y g o o d h o r s e a n dt r a p a t h o m e , ” s a i dAunt Julia sadly.

“The never-to-be-forgotten Johnny,” saidMary Jane, laughing.

A u n t K a t e a n dG a b r i e l l a u g h e d t o o .

“ W h y , w h a tw a s w o n d e r f u la b o u t J o h n n y ? ”a s k e d M r .B r o w n e .

“ T h e l a t el a m e n t e d P a t r i c kM o r k a n , o u rg r a n d f a t h e r , t h a ti s , ” e x p l a i n e dG a b r i e l , “ c o m m o n l yk n o w n i n h i s l a t e ry e a r s a s t h e o l dg e n t l e m a n , w a s ag l u e - b o i l e r . ”

“ O , n o w ,G a b r i e l , ” s a i dA u n t K a t e ,l a u g h i n g , “ h e h a da s t a r c h m i l l . ”

M a r y J a n e m i r ó aG a b r i e l y e l s e ñ o rBrowne, y dijo con unescalofrío:

— D a n u s t e d e sf r í o s ó l o d ev e r l e s t a ne n c a p o t a d o s .N o m e h a r í an i n g u n a g r a c i at e n e r q u e i r ac a s a a e s t a sh o r a s .

— P u e s a m í — d i j oresue l tamente e l señorB r o w n e — n a d a m egusta más, precisamente aes tas horas , que unhermoso paseo bien ligerop o r e l c a m p o o________________ c o nu n r a u d o t r o t ó ne n t r e l a s v a r a s .

En casa teníamos unca r rua j e y un caba l loe s tupendo —di jotristemente la tía Julia.

—El nunca olvidadoJ o h n n y — d i j o M a r yJane, riéndose.

La tía Kate y Gabrielse rieron también.

—¿Cómo es eso? —p r e g u n t ó e l s e ñ o rBrowne—. ¿Qué ten íad e m a r a v i l l o s o e l t a lJohnny?

— E l d i f u n t o yl l o r a n d o P a t r i c kM o r k a n , e s d e c i r ,n u e s t r o a b u e l o —e x p l i c ó G a b r i e l — ,comúnmente conoc idoe n s u s ú l t i m o s a ñ o sc o m o e l v i e j oc a b a l l e r o , e r a u nfabricante de cola.

—Oh, vamos, Gabriel— d i j o l a t í a K a t e ,r i é n d o s e — , t e n í a u nm o l i n o p a r a f a b r i c a ralmidón.

M a r y J a n e m i r ó aG a b r i e l y a M r .B r o w n e y d i j o , t i r i -t a n d o :

— M e d a f r í o n a d amás de mirar los a us te-d e s , c a b a l l e r o s , a b r i -gados as í como es tán .N o m e g u s t a r í a n a d atener que hacer e l v ia -je que van a hacer us -tedes de vue l ta a casaa es ta hora .

— N a d a m e g u s -t a r í a m á s e n e s t em o m e n t o — d i j oM r . B r o w n e , a t l é -t i c o — q u e u n ac r u j i e n t e c a m i n a t ap o r e l c a m p o o_________ u n a c a r r e r ac o n u n b u e n t r o t ó nen t r e l a s v a r a s .

—Antes teníamos unc a b a l l o m u y b u e n o yc o c h e e n c a s a — d i j ot ía Ju l ia con t r i s teza .

—El Nunca Olv ida-do Johnny —di jo MaryJane , r iendo .

La tía Kate y Gabrielrieron también.

— V a y a , ¿ y q u ét e n í a d e e x t r a o r d i -n a r i o e s t e J o h n n y ?— p r e g u n t ó M r .B r o w n e .

— E l M u y M a l o -g r a d o P a t r i c kM o r k a n , e s d e c i r ,n u e s t r o a b u e l o — e x -pl icó [141] Gabr ie l—,comúnm e n t e c o n o c i -d o e n s u e d a dp r o v e c t a c o m o e lc a b a l l e r o v i e j o , f a -b r i c a b a c o l a .

— A h , v a m o s ,G a b r i e l — d i j o t í aK a t e , r i e n d o — , t e -n í a u n a f á b r i c a d ea l m i d ó n .

with a shiver: trembling with cold

it makes me...two: just looking at you two makes mecold

muffled up: enveloped

face: have the perspective ofyour journey home: your expedition for returning to

your house

I’d like...minute: nothing would give me morepleasure just now

stoutly: resolutelyrattling: energetic

fast drive: rapid expeditionspanking goer: fast horse

shafts: bars between which a horse is attached

trap: cabriolet

never-to-be-forgotten: unforgettable

wonderful: extraordinary, remarkable

late: now deceasedlamented: regretted

that is: that is to say, in other words

in his later years: towards the end of his lifeas: by the name of

glue-boiler: fabricante de cola.GLUE-BOILER Glue was made from dead horses.

now: (exclamation of reproach)

starch mill: fábrica de almidónmill = fábrica & molino

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“ We l l , g l u e o rs t a r ch , ” s a id Gabr i e l ,“ t h e o l d g e n t l e m a nh a d a h o r s e b y t h en a m e o f J o h n n y. A n dJ o h n n y u s e d t o w o r kin the o ld gen t l eman’sm i l l , w a l k i n g r o u n dand round in o rde r t od r i v e t h e m i l l . T h a twas a l l ve ry we l l ; bu tnow com es t he t r ag i cp a r t a b o u t J o h n n y .O n e f i n e d a y t h e o l dg e n t l e m a n t h o u g h the ’d l i ke to d r ive ou tw i t h t h e q u a l i t y t o ami l i t a ry r ev iew in thepa rk . ”

“ T h e L o r d h a v emercy on his soul,” saidA u n t K a t ecompassionately.

“ A m e n , ” s a i dG a b r i e l . “ S o t h e o l dg e n t l e m a n , a s I s a i d ,h a r n e s s e d J o h n n ya n d p u t o n h i s v e r yb e s t t a l l h a t a n d h i sv e r y b e s t s t o c kc o l l a r a n d d r o v e o u ti n g r a n d s t y l e f r o mh i s a n c e s t r a lm a n s i o n s o m e w h e r en e a r B a c k L a n e , It h i n k . ”

E v e r y o n el a u g h e d , e v e n M r s .M a l i n s , a t G a b r i e l ’ sm a n n e r a n d A u n tK a t e s a i d :

“O, now, Gabriel , hed i d n ’ t l i v e i n B a c kLane, rea l ly. Only themill was there.”

“ O u t f r o m t h em a n s i o n o f h i sforefathers ,” continuedGabriel , “he drove withJohnny. And everythingw e n t o n b e a u t i f u l l yu n t i l J o h n n y c a m e i ns i g h t o f K i n g B i l l y ’sstatue: and whether he

— B u e n o , c o l a oa l m i d ó n — d i j oG a b r i e l — . E l v i e j oc a b a l l e r o t e n í a u nc a b a l l o d e n o m b r eJohnny. Y Johnny sol íat r a b a j a r e n e l m o l i n od e l v i e j o c a b a l l e r o ,dando vueltas y vueltaspara moverlo. Todo esoi b a m u y b i e n , p e r oa h o r a v i e n e e l l a d ot rágico de Johnny. Unb u e n d í a e l v i e j ocabal lero decidió darseun paseo con la gentede prosapia para ver und e s f i l e m i l i t a r e n e lparque.

— E l S e ñ o r t e n g apiedad de su alma —dijol a t í a K a t e ,misericordiosamente.

— A m é n — d i j oG a b r i e l — . D e m o d oq u e , t a l c o m o d i g o ,l e p u s o e l a r n é s aJ o h n n y y, l u c i e n d o s umejor sombrero de c o p ay s u m e j o r c u e l l od u r o , s a l i ó c o n g r a np r o s o p o p e y a d e s uc a s a s o l a r i e g a e na l g ú n l u g a r c e r c a n oa B a c k L a n e ,s u p o n g o .

To d o s , i n c l u s o l aseñora Malins, se rierona n t e e l m o d o e n q u eGabriel contaba aquello,y la tía Kate dijo:

—Oh no, Gabriel. Élno v iv ía rea lmente enB a c k L a n e . A l l í s ó l oestaba el molino.

—S a l i ó d e l am a n s i ó n d e s u sa n t e p a s a d o s a l o m o sde Johnny —con t inuóGabr i e l—. Y todo fuem u y b i e n h a s t a q u eJohnny v io l a e s t a tuade l r ey B i l l y, y fue raq u e J o h n n y s e

— B i e n , a l m i d ó n ocola —di jo Gabr ie l—,el cabal lero vie jo teníaun caba l lo que respon-d í a a l n o m b r e d eJohnny. Y Johnny t ra -bajaba en el molino delcaba l le ro v ie jo , dandovue l t a s y vue l t a s a l anor ia . Has ta aquí todov a b i e n , p e r o a h o r aviene la t rág ica h is to-r ia de Johnny. Un buendía se le ocur r ió a l ca-b a l l e r o v i e j o i r a d a run paseo en coche conla gente de post ín a veruna parada en e l bos -que .

— E l S e ñ o r t e n g ap i e d a d d e s u a l m a— d i j o t í a K a t e ,c o m p a s i v a .

— A m é n — d i j oG a b r i e l — . A s í , e l c a -b a l l e r o v i e j o , c o m od i j e , l e p u s o e l a r n é sa J o h n n y y s e p u s o é ls u m e j o r c h i s t e r a y s um e j o r c u e l l o d u r o ysacó su coche con mu-c h o e s t i l o d e s u m a n -s i ó n a n c e s t r a l c e r c ad e l c a l l e j ó n d e B a c kL a ñ e , s i n o m e e q u i -v o c o .

To d o s r i e r o n , h a s -t a M r s . M a l i n s , d e l am a n e r a e n q u eG a b r i e l l o d i j o , y t í aK a t e d i j o :

—Oh, vaya, Gabriel,que no v iv í a en BackLañe, vamos. Nada másque tenía allí su fábrica.

—De la casa de susa n t e p a s a d o s — c o n t i -n u ó G a b r i e l — s a l i ó ,p u e s , e l c o c h e t i r a d opor Johnny. Y todo ibad e l o m á s b i e n h a s t aque Johnny vio la es ta-tua de Gui l lermi to : seap o r q u e s e e n a m o r a r a

by the name of: named, called

used to work: usually worked

walking round and round: moving repeatedly in acircle-

in order to drive the mill: with the purpose ofmaking the mill turn

fine: beautifulthought he’d like: decided it would be pleasant

drive out: go out with his carriagequality: rich people, upper class

the Lord: Godhave mercy: take pity

soul: spirit

compassionately: with compassion, commiseration

amen: (note the vocabulary used in mockery of theIrish Catholic church)

very best: most elegantstock collar: cravat

mansion: large and noble residenceBack Lane: small street along the river Liffey

BACK LANE Not exactly a fashionable area.

laughed: (laughed at the contrast between thegrandfather’s modest position and the grandiloquence

of Gabriel’s narration)

MANSION OF HIS FOREFATHERS Another biblical allusion.See John 14:2. Jesus is speaking: «In my Father’shouse are many mansion. In this mansion therewere many forefathers.»

went on: proceeded

in sight of: in the proximity ofKing Billy: William III (of Orange)

whether...or whether: alternative

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f e l l i n l o v e w i t h t h ehorse King Billy sits onor whether he thoughthe was back again in themill , anyhow he begant o w a l k r o u n d t h estatue.”

G a b r i e l p a c e d i n ac i r c l e r o u n d t h e h a l li n h i s g o l o s h e s a m i dt h e l a u g h t e r o f t h eo t h e r s .

“ R o u n d a n d r o u n dh e w e n t , ” s a i dG a b r i e l , “ a n d t h e o l dg e n t l e m a n , w h o w a s av e r y p o m p o u s o l dgen t l eman , was h igh lyi n d i g n a n t . ‘ G o o n ,s i r ! W h a t d o y o um e a n , s i r ? J o h n n y !J o h n n y ! M o s tex t r ao rd ina ry conduct!C a n ’ t u n d e r s t a n d t h ehorse!”

T h e p e a l o fl a u g h t e r w h i c hf o l l o w e d G a b r i e l ’ si m i t a t i o n o f t h ei n c i d e n t w a s i n t e r r u p t e dby a resounding knockat the ha l l doo r. M a r yJ a n e r a n t o o p e n i ta n d l e t i n F r e d d yM a l i n s . F r e d d yM a l i n s , w i t h h i s h a tw e l l b a c k o n h i s h e a da n d h i s s h o u l d e r sh u m p e d w i t h c o l d ,w a s p u f f i n g a n ds t e a m i n g a f t e r h i se x e r t i o n s .

“ I c o u l d o n l y g e to n e c a b , ” h e s a i d .

“ O , w e ’ l l f i n da n o t h e r a l o n g t h eq u a y , ” s a i dG a b r i e l .

“ Ye s , ” s a i d A u n tK a t e . “ B e t t e r n o tk e e p M r s . M a l i n ss t a n d i n g i n t h ed r a u g h t . ”

enamora ra de l caba l lod e l r e y B i l l y o f u e r aque pensó encon t r a r sede nuevo en e l mol ino ,e l ca so e s que se pusoa dar vuel tas a l rededorde l a e s t a tua .

G a b r i e l d i o u n avuelta por el vestíbulocon las galochas puestasy entre las risas de losdemás.

—Venga a dar vueltasy v u e l t a s — d i j oG a b r i e l — , a n t e l as o b e r a n a i n d i g n a c i ó ndel viejo caballero, queera un v ie jo cabal le rom u y p o m p o s o . P e ro ,s e ñ o r, ¿ e s t o q u é e s ?¿ Q u é s i g n i f i c a e s t o ,s e ñ o r ? ¡ J o h n n y !¡Johnny! ¡Qué conductatan extraordinaria! ¡Noentiendo a este caballo!

E l e s t r u e n d o d el a s r i s a s q u es i g u i e r o n a l ap a r o d i a d e G a b r i e ls e i n t e r r u m p i ó a n t eu n g o l p e r e s o n a n t ee n l a p u e r t a d e lv e s t í b u l o . M a r y J a n ec o r r i ó a a b r i r l a yd e j ó p a s a r a F r e d d yM a l i n s , q u i e n , c o n e ls o m b r e r o s o b r e l an u c a y l o s h o m b r o se n c o g i d o s p o r e lf r í o , r e s o p l a b a ye c h a b a v a p o r a c a u s ad e s u s e s f u e r z o s .

—Sólo he podido conseguirun coche —dijo.

— B u e n o — d i j oG a b r i e l — ,encontraremos otro a lolargo del muelle.

— S í — d i j o l a t í aKate—. Es mejor que nod e j é i s a l a s e ñ o r aMalins en medio de lacorriente.

d e l c a b a l l o d eG u i l l e r m i t o e l r e y oporque se c reyera quees taba de regreso en lafábr ica , l a cues t ión esq u e e m p e z ó a d a r l evuel tas a la es ta tua .

G a b r i e l t r o t ó e nc í r c u l o s c o n s u sg a l o c h a s e n m e d i od e l a c a r c a j a d a g e -n e r a l .

—Vuel tas y vue l tasl e d a b a — d i j oGabr ie l—, has ta que e lc a b a l l e r o v i e j o , q u eera un v ie jo caba l le rom u y p o m p o s o , s e i n -d i g n ó t e r r i b l e m e n t e :«¡Vamos , señor! ¿Peroq u é e s e s o d e s e ñ o r ?¡Johnny! ¡Johnny! ¡Ex-t raño compor tamiento!¡No comprendo a es tecaba l lo! »

L a s r i s o t a d a s q u es i g u i e r o n a l a i n t e r -p re t ac ión que Gabr i e ld i o a l i n c i d e n t e q u e -d a r o n i n t e r r u m p i d a spor un r e sonan te go l -pe en l a pue r t a de l za -g u á n . M a r y J a n e c o -r r ió a ab r i r l a pa ra de -j a r e n t r a r a F r e d d yMal in s , qu i en , con e lsombre ro b i en echadohac ia a t r á s en l a cabe -za y los hombros enco-g idos de f r ío , so l t abav a p o r d e s p u é s d e s e -me jan te e s fue rzo .

—No consegu í másque un coche —di jo .

—Bueno , encon t r a -r e m o s n o s o t r o s o t r opor e l malecón —di joGabr ie l .

— S í — d i j o , t í aKate—. Lo mejor es evi-tar que Mrs. Malins sequede ahí parada en lacorriente.

fell in love with: became enamoured ofsits on: (...the horse on which King Billy is sitting)

paced: walked

amid: among, in the middle of

pompous: solemn, imposinghighly indignant: full of vehement indignation

sir: sir is generally used respectfully when speakingto a man; here it expresses surprised anger

resounding: loudly resonantknock: tap

ran: (run, —, run): went hastily

well back: displaced backwardsshoulders lumped with: body contracted because of

puffing-his exertions: exhaling vapour after all hisefforts

find: get

better not keep: it would be preferable not to detain

draught current of cold air

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M r s . M a l i n s w a she lped down the f ron ts t e p s b y h e r s o n a n dMr. Browne and , a f t e rm a n y m a n o e u v r e s ,h o i s t e d i n t o t h e c a b .F r e d d y M a l i n sc l ambered in a f t e r he rand spen t a l ong t imes e t t l i n g h e r o n t h es e a t , M r . B r o w n eh e l p i n g h i m w i t hadvice . At las t she wass e t t l e d c o m f o r t a b l ya n d F r e d d y M a l i n si n v i t e d M r . B r o w n ei n t o t h e c a b . T h e r ew a s a g o o d d e a l o fc o n f u s e d t a l k , a n dt h e n M r. B r o w n e g o ti n t o t h e c a b . T h ecabman se t t l ed h i s rugo v e r h i s k n e e s , a n db e n t d o w n f o r t h ea d d r e s s . T h ec o n f u s i o n g r e wg r e a t e r a n d t h ec a b m a n w a s d i r e c t e dd i f f e r en t l y by F reddyM a l i n s a n d M r .Browne , each of whomh a d h i s h e a d o u tt h r o u g h a w i n d o w o fthe cab . The d i ff i cu l tywas to know where tod r o p M r . B r o w n ea l o n g t h e r o u t e , a n dAun t Ka te , Aun t Ju l i aand Mary Jane he lpedt h e d i s c u s s i o n f r o mt h e d o o r s t e p w i t hc r o s s - d i r e c t i o n s a n dc o n t r a d i c t i o n s a n dabundance of laughter.As fo r F reddy Mal insh e w a s s p e e c h l e s sw i t h l a u g h t e r . H epopped h is head in ando u t o f t h e w i n d o we v e r y m o m e n t t o t h eg r e a t d a n g e r o f h i sh a t , a n d t o l d h i sm o t h e r h o w t h ed i s c u s s i o n w a sp r o g r e s s i n g , t i l l a tl a s t M r . B r o w n es h o u t e d t o t h ebewilde r ed cabman abovet h e d i n o f e v e r ybo d y ’ sl a u g h t e r :

La señora Malins bajólas escaleras del portalcon la ayuda de su hijo ydel señor Browne, y, trasmuchas maniobras, fuealzada has ta e l coche .Freddy Malins se enca-ramó tras ella, y perdióun largo rato colocándolaen su a s i en to con l aayuda del señor Browne,que acudió en cuanto serequirieron sus servicios.Al f in quedó colocadad e l m o d o m á sconfo r t ab le , y F reddyMalins invi tó a l señorBrowne a que subiera alcoche. Hubo una buenad o s i s d e c h a r l o t e oconfuso y, a l cabo , e lseñor Browne subió alc o c h e . E l c o c h e r oa r r e g l ó l a m a n t a q u el l e v a b a s o b r e l a srodillas y se inclinó parao í r a d ó n d e , t e n í a q u edirigirse. La confusiónse hizo mayor. FreddyM a l i n s y e l s e ñ o rBrowne, sacando cadau n o l a c a b e z a p o r l av e n t a n i l l ac o r r e s p o n d i e n t e ,dirigieron al cochero al u g a r e s d i s t i n t o s . L adificultad estribaba en elpunto donde había quedejar al señor Browne, yla tía Kate, la tía Julia yM a ry Jane in tentaronresolverla desde el portalmedian te d i recc ionescruzadas, contradiccionesy profus ión de r i sas .Freddy Malins no podíah a b l a r p o r l a r i s a .Sacaba y metía la cabezapor l a ven tana a cadam o m e n t o , c o n g r a nr i e s g o p a r a s usombrero, y describía asu madre la marcha dela discusión hasta que,f i n a l m e n t e , e l s e ñ o rB r o w n e s e d i r i g i ó a la t u r d i d o c o c h e r o ,a l z a n d o l a v o z s o b r et o d o e l r i s u e ñ oalboroto.

S u h i j o y M r .B r o w n e a y u d a r o n aM r s . M a l i n s a b a j a re l q u i c i o d e l a p u e r -t a y , d e s p u é s d e m u -c h a s m a n i o b r a s , l aa l z a r o n h a s t a e l c o -c h e . F r e d d y M a l i n ss e e n c a r a m ó d e t r á sd e e l l a y e s t u v o m u -c h o t i e m p o c o l o c á n -d o l a e n s u a s i e n t o ,a y u d a d o p o r l o s c o n -s e j o s d e M r .B r o w n e . P o r f i n s ea c o m o d ó e l l a yF r e d d y M a l i n s i n v i -t ó a M r . B r o w n e as u b i r a l c o c h e . S eo y ó u n a c o n v e r s a -c i ó n [ 1 4 2 ] c o n f u s a ,y d e s p u é s M r .B r o w n e e n t r ó a l c o -c h e . E l c o c h e r o s ea r r e g l ó l a m a n t a s o -b r e e l r e g a z o y s e i n -c l i n ó a p r e g u n t a r l ad i r e c c i ó n . L a c o n f u -s i ó n s e h i z o m a y o r, yF r e d d y M a l i n s y M r.B r o w n e , s a c a n d o c a d au n o l a c a b e z a p o r l av e n t a n i l l a , d i r i g i e r o na l c o c h e r o e n d i r e c -c i o n e s d i s t i n t a s . E lp r o b l e m a e r a s a b e rd ó n d e e n e l c a m i n oh a b í a q u e d e j a r a M r.B r o w n e , y t í a K a t e ,t í a J u l i a y M a r y J a n ec o n t r i b u í a n a l a d i s -cus ión desde e l po r t a lcon d i recc iones c ruza-das y con t r ad icc ionesy ca rca jadas . En cuan-to a F reddy Mal ins , nop o d í a h a b l a r p o r l ar i s a . S a c a b a l a c a b e -z a d e v e z e n c u a n d op o r l a v e n t a n i l l a ,c o n - m u c h o r i e s g o d ep e r d e r e l s o m b r e r o , yl u e g o l e c o n t a b a a s um a d r e c ó m o i b a l ad i s c u s i ó n , h a s t a q u e ,f i n a l m e n t e , M r .B r o w n e l e d i o u n g r i -t o a l c o n f u n d i d o c o -c h e r o p o r s o b r e e lr u i d o d e l a s r i s a s .

was helped down...by: descended...with theassistance of

her son: Freddy

hoisted: transported

clambered in: entered with difficulty

spent: passedsettling her: placing her comfortably

Browne helping...advice: with the verbal assistanceof Browne

into : to come intoa good deal = a great deal

talk: discussiongot into: entered

cabman: cab driverrug: plaid

bent: inclined his bodyfor: to take

grew greater: augmented, increased

was directed differently by: received differentinstructions from

each of whom: the two of themout: out of the cab

drop Mr Browne: let Mr B get out of the cabroute: itinerary

helped: contributed to

cross-directions: contradictory instructionsas for: concerning

speechless: unable to speakwith: because of

popped...in and out: took in, put out quickly andsuddenly

every: at every

told: informed

progressing: advancing, developing

shouted: said loudlybewildered: very surprised

above: dominatingdin: loud and confused noise

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“ D o y o u k n o wTrinity College?”

“Yes , s i r, ” sa id thecabman.

“ W e l l , d r i v ebang up against TrinityCollege gates,” said Mr.B r o w n e , “ a n d t h e nwe’ll tel l you where tog o . Yo u u n d e r s t a n dnow?”

“Yes , s i r, ” sa id thecabman.

“Make like a bird forTrinity College.”

“ R i g h t , s i r , ” s a i dt h e c a b m a n .

T h e h o r s e w a sw h i p p e d u p a n d t h ec a b r a t t l e d o f f a l o n gt h e q u a y a m i d ac h o r u s o f l a u g h t e ra n d a d i e u s .

Gabriel had not gonet o t h e d o o r w i t h t h eothers. He was in a darkpart of the hall gazingup the s ta ircase . Aw o m a n w a s s t a n d i n gnear the top of the firstf l i g h t , i n t h e s h a d o walso. He could not seehe r f ace bu t he cou ldsee the terra-cotta andsalmon-pink panels ofh e r s k i r t w h i c h t h es h a d o w m a d e a p p e a rblack and white. I t wash i s w i f e . S h e w a sl e a n i n g o n t h eban is te r s , l i s t en ing tosomething. Gabriel wass u r p r i s e d a t h e rs t i l l n e s s a n d s t r a i n e dh i s ea r to l i s t en a l so .But he could hear l i t t les a v e t h e n o i s e o flaughter and dispute onthe f ron t s t eps , a f ewc h o r d s s t r u c k o n t h epiano and a few noteso f a m a n ’s v o i c e

—¿Sabe usted dóndeestá Trinity College?

—Sí, señor —dijo elcochero.

—Pues tire usteddirectamente hastaestamparse en las puertasdel Trinity College —dijo elseñor Browne—, y entoncesle diré adónde debe ir. ¿Meha entendido?


—P u e s r a u d o c o m oun pájaro.

—A la orden, señor—gritó el cochero.

E l c a b a l l o r e c i b i óu n l a t i g a z o y e lc o c h e e c h ó a r o d a rp o r e l m u e l l e e n t r eu n c o r o d e r i s a s ya d i o s e s .

Gabriel no había salidoal portal con los demás.Estaba en una zona oscuradel vest íbulo, mirandohacia arriba de la escalera.Una mujer se encontrabae n l o a l t o d e l p r i m e rt r a m o d e e s c a l o n e s ,t a m b i é n e n l aoscuridad. No podía vers u c a r a , p e r o s í l o spliegues color terracotay salmón rosado de sufalta que en la penumbraparecía blanca y negra.Era su esposa . Es tabai n c l i n a d a s o b r e l abarandil la , escuchandoa l g o . G a b r i e l s esorprendió ante su quie-tud, y aguzó el oído parae s c u c h a r t a m b i é n .P e r o s ó l o o y ó l a sr i s a s y d i s p u t a s e n e lp o r t a l , u n o s p o c o sa c o r d e s e n e l p i a n oy u n a s c u a n t a s n o t a sd e u n a c a n c i ó nc a n t a d a p o r u n

—¿Sabe usted dóndequeda Tr in i ty Col lege?


— M u y b i e n , s i g aentonces derecho hastadar contra la portada deTr in i ty Col lege —di joMr. Browne—, y ya lediré yo por dónde coger.¿Entiende ahora?


— Vo l a n d o h a s t aTr i n i t y C o l l e g e .

— E n t e n d i d o , s e ñ o r—gritó el cochero.

Unos foe tazos a l ca-b a l l o y e l c o c h et raqueteó por la or i l lade l r ío en medio de uncoro de r isas y de adio-ses .

Gabr ie l no había sa -l ido a la puer ta con losdemás . Se quedó en l ao s c u r i d a d d e l z a g u á nmi rando hac ia l a e sca -l e ra . Hab ía una muje rp a r a d a e n l o a l t o d e lp r i m e r d e s c a n s o , e nl a s s o m b r a s t a m b i é n .No pod ía ve r l e a e l l al a ca ra , pe ro pod ía ve rr e t a z o s d e l v e s t i d o ,c o l o r t e r r a c o t a y s a l -món , que l a o scu r idadhac ía pa rece r b l anco yn e g r o . E r a s u m u j e r.S e a p o y a b a e n l a b a -r a n d a , o y e n d o a l g o .Gabr i e l s e so rp rend iód e s u i n m o v i l i d a d yaguzó e l o ído pa ra o í ré l t a m b i é n . P e r o n op o d í a o í r m á s q u e e lru ido de l a s r i s a s y del a d i s c u s i ó n d e l p o r -t a l , u n o s p o c o s a c o r-des de l p i ano y l a s no -t a s d e u n a c a n c i ó nc a n t a d a p o r u n h o m -

Trinity College: (the place is so central and so wellknown that the question is ridiculous)

drive bang up...gates: go directly to the entrance ofTrinity College

then: at that moment

make like a bird...: drive to... as rapidly as a bird

right: all right, OK

whipped up: stimulated with a whip (fouet)rattled off: departed with a lot of noise

chorus: concert

door: hall door

dark: obscuregazing up: looking from the foot of

flight: group of stairs between one floor and the nextshadow: darkness, obscurity

terra-cotta: red-brownsalmon-pink: rose-orange

panels: parts

leaning on the banisters: using the banisters as asupport

at: note the preposition

stillness: immobilitystrained his ears: made efforts

little: not muchsave: except

dispute: discussions

chord(s): notes played simultaneouslystruck: played

HE WAS IN A DARK PART OF THE HALL GAZING UP THESTAIRCASE The beginning of a striking scene thatreveals so much about Gabriel. First of all, he cannotsee Gretta’s face, suggesting that he has never reallyknown Gretta; second, he sees only her lower body,the site of sexual organs, and we see in the final sceneof this story that Gabriel’s lust takes precedence overhis desire for honestly sharing Gretta’s mind.Moreover, she hears in this scene a music of love thathe can never hear, or, as the text says, «strained hisear to listen» to. He hears only the everyday, thequotidian, as evidenced by the text’s calling attentionto the fact that he only hears noise, not music.

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singing.

He s tood s t i l l i n t heg l o o m o f t h e h a l l ,t ry ing to ca t ch the a i rt h a t t h e v o i c e w a ss ing ing and gaz ing upa t h i s w i fe . The re wasg r a c e a n d m y s t e r y i nh e r a t t i t u d e a s i f s h ew e r e a s y m b o l o fs o m e t h i n g . H e a s k e dh i m s e l f w h a t i s awoman s tanding on thes t a i r s i n t h e s h a d o w,l i s t e n i n g t o d i s t a n tmus ic , a symbol o f . I fh e w e r e a p a i n t e r h ewould pa in t her in tha ta t t i t ude . Her b lue f e l th a t w o u l d s h o w o f ft he b ronze o f he r ha i ra g a i n s t t h e d a r k n e s sand the da rk pane l s o fh e r s k i r t w o u l d s h o wo f f t h e l i g h t o n e s .D i s t a n t M u s i c h ewou ld ca l l t he p i c tu rei f he were a pa in t e r.

T h e h a l l - d o o r w a sc l o s e d ; a n d A u n tK a t e , A u n t J u l i a a n dM a r y J a n e c a m e d o w nt h e h a l l , s t i l ll a u g h i n g .

“ Wel l , i sn ’ t F reddyt e r r i b l e ? ” s a i d M a r yJ a n e . “ H e ’s r e a l l yterrible.”

G a b r i e l s a i dn o t h i n g b u t p o i n t e du p t h e s t a i r s t o w a r d sw h e r e h i s w i f e w a ss t a n d i n g . N o w t h a tt h e h a l l - d o o r w a sc l o s e d t h e v o i c e a n dt h e p i a n o c o u l d b eh e a r d m o r e c l e a r l y .G a b r i e l h e l d u p h i sh a n d f o r t h e m t o b es i l e n t . T h e s o n gs e e m e d t o b e i n t h eo l d I r i s h t o n a l i t ya n d t h e s i n g e rs e e m e d u n c e r t a i nb o t h o f h i s w o r d sa n d o f h i s v o i c e .

h o m b r e .

P e r m a n e c i ó e n l a stinieblas del vestíbulo,t r a t a n d o d e c a p t a r l amelodía y mirando a sum u j e r , c u y a a c t i t u dl l e n a d e g r a c i a ym i s t e r i o h a c í a q u epareciera el símbolo dealgo. Se preguntó de quépodía ser s ímbolo unam u j e r d e p i e e n l ao s c u r i d a d d e u n ae s c a l e r a , o y e n d o u n am ú s i c a d i s t a n t e . S ihubiera sido un pintor lehabría gustado pintarlaen aque l l a ac t i tud . E lf i e l t r o a z u l d e s usombrero mos t ra r ía e lcontraste del bronce des u p e l o c o n t r a l a o s -curidad, y los pliegueso s c u r o s d e s u f a l d ac o n t r a s t a r í a n c o n l o siluminados. Si fuera unpintor l lamaría Músicadistante a ese cuadro.

L a p u e r t a d e lvestíbulo se cerró; y lat ía Kate, la t ía Julia yMary Jane atravesarone l v e s t í b u l o , t o d a v í aentre risas.

— E s e F r e d d y e stremendo, ¿no es así? —d i j o M a r y J a n e — .Realmente tremendo.

Gabr ie l pe rmanec ióen s i lencio , señalandoh a c i a l o a l t o d e l ae s c a l e r a , d o n d e s ee n c o n t r a b a s u m u j e r.Ahora que la puerta delv e s t í b u l o e s t a b acerrada, la voz y el pia-n o s e o í a n m á sc l a r a m e n t e . G a b r i e llevantó una mano paraque las mujeres guardans i l e n c i o . L a c a n c i ó nparecía plegarse a unaa n t i g u a t o n a l i d a dirlandesa, y el cantanteparec ía indec iso tan toe n l a v o z c o m o e n l a

b re .

S e q u e d ó i n m ó v i le n e l z a g u á n s o m b r í o ,t r a t a n d o d e c a p t a r l ac a n c i ó n q u e c a n t a b aa q u e l l a v o z y e s c u d r i -ñ a n d o a s u m u j e r. H a -b í a m i s t e r i o y g r a c i ae n s u p o s e , c o m o s if u e r a e l l a e l s í m b o l od e a l g o . S e p r e g u n t ód e q u é p o d í a s e r s í m -b o l o u n a m u j e r d e p i ee n u n a e s c a l e r a o y e n -d o u n a m e l o d í a l e j a -n a . S i f u e r a p i n t o r l ap i n t a r í a e n e s a m i s m ap o s i c i ó n . E l s o m b r e r od e f i e l t r o a z u l d e s t a -c a r í a e l b r o n c e d e s up e l o r e c o r t a d o e n l as o m b r a , y l o s f r a g -m e n t o s o s c u r o s d e s ut r a j e p o n d r í a n l a sp a r t e s c l a r a s d e r e l i e -v e . L e j a n a m e l o d í al l a m a r í a é l a l c u a d r os i f u e r a p i n t o r.

C e r r a r o n l a p u e r -t a d e l f r e n t e , y t í aK a t e , t í a J u l i a yM a r y J a n e r e g r e s a -r o n a l z a g u á n r i e n -d o t o d a v í a .

— ¡ Va y a c o n e s eFreddy, es te r r ib le ! —di jo Mary Jane—. ¡Te-r r ib le !

G a b r i e l n o d i j on a d a , s i n o q u e s e ñ a l óh a c i a l a s e s c a l e r a s ,h a c i a d o n d e e s t a b ap a r a d a s u m u j e r. A h o -r a , c o n l a p u e r t a d e lz a g u á n c e r r a d a , s ep o d í a n o í r m á s c l a r o sl a v o z y e l p i a n o .G a b r i e l l e v a n t ó l am a n o e n s e ñ a l d e[ 1 4 3 ] s i l e n c i o . L ac a n c i ó n p a r e c í a e s t a re n e l a n t i g u o t o n o i r -l a n d é s y e l c a n t a n t en o p a r e c í a e s t a r s e g u -r o d e l a l e t r a n i d e s uv o z . L a v o z , q u e s o -

stood still: remained immobilegloom: darkness

catch: seize

and: and at the same time

what is a woman...a symbol of: what can awoman...symbolize; the symbol ‘that Gabriel is

looking for is possibly Eurydice

DISTANT MUSIC An awkwardly worded sentence anda trite expression; the phrase was frequently used as atitle for paintings.

would: conditional

felt: (de) fieltroshow off: make more apparent

against: in contrast withdarkness...dark: (note in this passage all the words

expressing obscurity and immobility. Remember thatthe title of this story is The Dead)

came down: went from the entrance to the back of

terrible: extremely bad, awful (# terrific excellent,very good)

could be heard: passive voice; one could hear the voice...

held up...be silent: made a sign to stop theirconversation

old Irish tonality: tonality of the ancient Irish musicTHE OLD IRISH TONALITY Not until around the seventeenthcentury were sixth and seventh tones added to the five-tone scale of early Irish music. European music is basedupon an eight-tone octave, and when early Irish music isadapted to this scale it produces strange effects totwentieth-century ears.

his words: the text of the song

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T h e v o i c e , m a d ep l a i n t i v e b yd i s t a n c e a n d b y t h es i n g e r ’s h o a r s e n e s s ,f a i n t l y i l l u m i n a t e dt h e c a d e n c e o f t h ea i r w i t h w o r d se x p r e s s i n g g r i e f :

O, the rain falls on myheavy locksAnd the dew wets my sk in ,My babe l ies cold. . .

“O,” exclaimed MaryJ a n e . “ I t ’s B a r t e l lD’Arcy singing and hew o u l d n ’ t s i n g a l l t h enight. O, I’l l get him tos ing a song before hegoes.”

“O, do, Mary Jane,”said Aunt Kate.

M a r y J a n e b r u s h e dpast the others and rant o t h e s t a i r c a s e , b u tb e f o r e s h e r e a c h e d i tthe singing stopped andt h e p i a n o w a s c l o s e dabruptly .

“O, what a pity!” shec r i e d . “ I s h e c o m i n gdown, Gretta?”

G a b r i e l h e a r d h i sw i f e a n s w e r y e s a n ds a w h e r c o m e d o w nt o w a r d s t h e m . A f e wsteps behind her wereMr. Bartell D’Arcy andMiss O’Callaghan.

“ O , M r .D ’ A r c y , ” c r i e dM a r y J a n e , “ i t ’ sd o w n r i g h t m e a n o fy o u t o b r e a k o f fl i k e t h a t w h e n w ew e r e a l l in rap tureslistening to you.”

“ I h a v e b e e n a th i m a l l t h e e v e n i n g , ”s a i d M i s sO ’ C a l l a g h a n , “ a n dM r s . C o n r o y , t o o ,a n d h e t o l d u s h e h a d

d i c c i ó n . L a v o z ,q u e j u m b r o s a p o r l ad i s t a n c i a y p o r l aronquera del cantante ,iluminaba tenuemente lacadencia de la melodíac o n p a l a b r a s q u eexpresaban dolor.

La lluvia cae sobre mispesados rizos.Y el rocío humedece mi piel.Mi niño yace aterido....

— O h — e x c l a m óMary Jane—. Es BartellD’Arcy quien canta, sinhaber quer ido hacer loen toda la noche. Haréque cante una canciónantes de irse.

— O h , h a z l o , M a r yJane —dijo la tía Kate.

M a r y J a n e l a s d e j óa t r á s y c o r r i ó h a c i al a e s c a l e r a , p e r oa n t e s d e q u e l aa l c a n z a r a c e s ó e lc a n t o y e l p i a n o s ec e r r ó b r u s c a m e n t e .

—Oh, ¡qué pena ! —gr i tó—. ¿Le ves ba j a r,Gre t t a?

Gabr i e l oyó a suesposa decir que sí y lav io ba j a r hac i a e l l o s .Unos pocos e sca lonesde t r á s apa rec i e ron e lseñor Bartell D’Arcy y laseñorita O’Callaghan.

—Oh, señor D’Arcy—gritó Mary Jane— esmuy desconsiderado porsu parte dejar de cantarc o m o l o h a h e c h o ,justamente cuando todosl o e s c u c h á b a m o sembelesados.

—Le he ins i s t idodurante toda la velada —di jo l a señor i taO’Callaghan—, y tambiénla señora Conroy, y nosha d icho que ten ía un

n a b a p l a ñ i d e r a p o r l ad i s t a n c i a y l a r o n q u e -r a d e l c a n t a n t e , s u -b r a y a b a d é b i l m e n t el a s c a d e n c i a s d ea q u e l l a c a n c i ó n c o np a l a b r a s q u e e x p r e s a -b a n t a n t o d o l o r :

Oh, la lluvia cae sobre mipesado peloY el rocío moja la piel de mi cara,Mi hijo yace aterido de frío…

— Ay — e x c l a m óM a r y J a n e — . E sBarte l l D’Arcy cantan-do y no quiso cantar entoda la noche . Ah, voya hacer le que cante unacanción an tes de i r se .

—Oh, s í , Mary Jane—di jo t ía Kate .

Mary Jane pasó ro-zando a los o t ros y co-r r ió hac ia la esca le ra ,p e r o a n t e s d e l l e g a ra l lá la mús ica de jó deoírse y a lguien cerró e lp iano de un golpe .

—¡Ay, qué pena! —sel a m e n t ó — . ¿ Ya v i e n epara abajo, Gretta?

G a b r i e l o y ó a s um u j e r d e c i r q u e s í yl a v i o b a j a r h a c i ae l l o s . U n o s p a s o sd e t r á s v e n í a nB a r t e l l D ’ A r c y yM i s s O ’ C a l l a g h a n .

— ¡ O h , M r .D ’ A r c y — e x c l a m óM a r y J a n e — , m u ye g o í s t a d e s u p a r -t e a c a b a r a s í d ep r o n t o c u a n d o t o -d o s l e o í a m o sa r r o b a d o s !

— H e e s t a d o d e t r á sde él toda la noche —d i j o M i s sO’Callaghan—, y tam-bién Mrs. Conroy, y nosdecía que t iene un cata-

hoarseness # mellownessfaintly...of the air: vaguely illustrated the melody

grief: suffering

lock(s): small piece of hair, curldew: humidity from the night

wets: covers with waterbabe: baby

lies: restscold: (her baby is dead) 0, the rain is the refrain of an

old Irish ballad “The Lass of Aughrim”

do: do that (make him sing)

brushed past the others: passed in front of the otherswith some brusqueness

reached: gained

what a pity: (exclamation expressing regret orirritation)

it’s downright mean of you: it is frankly veryungenerous break off: stop singing

raptures: ravishment, ecstasy

been at him: tormenting himus: me and Mrs Conroy # us is the object form of we

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a d r e a d f u l c o l d a n dc o u l d n ’ t s i n g . ”

“ O , M r. D ’ A r c y, ”sa id Aun t Ka te , “nowthat was a great f ib totel l .”

“ C a n ’ t y o u s e e t h a tI ’ m a s h o a r s e a s ac r o w ? ” s a i d M r .D ’ A r c y r o u g h l y.

H e w e n t i n t o t h epantry hasti ly and puto n h i s o v e r c o a t . T h eothers, t aken aback byhis rude speech , couldf i n d n o t h i n g t o s a y .A u n t K a t e w r i n k l e dh e r b r o w s a n d m a d es igns to the o the r s tod r o p t h e s u b j e c t . M r.D’Arcy s tood swathinghis neck carefu l ly andf rowning .

“ I t ’s t h e w e a t h e r , ”said Aunt Julia, after apause.

“ Y e s , e v e r y b o d yh a s c o l d s , ” s a i dA u n t K a t e r e a d i l y ,“ e v e r y b o d y . ”

“ T h e y s a y , ” s a i dM a r y J a n e , “ w eh a v e n ’ t h a d s n o wl i k e i t f o r t h i r t yy e a r s ; a n d I r e a d t h i sm o r n i n g i n t h en e w s p a p e r s t h a t t h es n o w i s g e n e r a l a l lo v e r I r e l a n d . ”

“ I l ove the look o fsnow,” said Aunt Juliasadly.

“ S o d o I , ” s a i dM i s s O ’ C a l l a g h a n . “ It h i n k C h r i s t m a s i sn e v e r r e a l l yC h r i s t m a s u n l e s s w eh a v e t h e s n o w o n t h eg r o u n d . ”

“ B u t p o o r M r.D’Arcy doesn’t l ike thesnow,” said Aunt Kate,

c a t a r r o h o r r i b l e y n opodía cantar.

— M e n u d oe m b u s t e , s e ñ o rD ’ A r c y — d i j o l at í a K a t e .

—¿Acaso no ve quee s t o y r o n c o c o m o u ncuervo? —dijo el señorD’Arcy con a spe reza ,apresurándose hacia ladespensa para ponersee l ab r igo . Los demás ,desconcer tados por sum o d o t a n r u d o d ehablar, no encontraronqué decir. La t ía Katefrunció las cejas e hizoseñas de que lo dejaranestar. El señor D’Arcyse tapó cuidadosamenteel cuello con un aire en-furruñado.

—Es el tiempo —dijola tía Julia, tras un ratode silencio.

—En efecto, todo el mundoestá acatarrado —dijo la tíaKate rápidamente—. Todoel mundo.

— D i c e n q u e n oh a b í a m o s t e n i d o u n an e v a d a c o m o e s t a e ntreinta años —dijo MaryJane—. Y he leído estam a ñ a n a e n l o speriódicos que la nievec u b r e p o r i g u a l t o d aIrlanda.

— M e g u s t a v e r l anieve —dijo la tía Julia,tristemente.

— Y a m í — d i j o l as e ñ o r i t aO ’ C a l l a g h a n — . L aNavidad no me parecer e a l m e n t e N a v i d a d am e n o s q u e h a y a u n abuena nevada .

—Pero al pobre señorD’Arcy no le gus ta lanieve —dijo la tía Kate,

rro terrible y no podíacantar.

— A h , M r . D ’ A r c y— d i j o l a t í a K a t e — ,mire que dec i r t a l em-bus te .

—¿No se dan cuentade que estoy más roncoq u e u n a r a n a ? — d i j oMr. D’Arcy, grosero.

E n t r ó a p u r a d o a lc u a r t o d e d e s a h o g o ap o n e r s e s u a b r i g o .L o s d e m á s , p a s m a d o sa n t e s u r u d a r e s p u e s -t a , n o h a l l a b a n q u éd e c i r. T í a K a t e e n c o -g i ó l a s c e j a s y l e sh i z o s e ñ a s a t o d o s d eque o lv ida ran e l a sun -t o . M r. D ’ A r c y, c e ñ u -do , s e ab r igaba l a ga r -g a n t a c o n c u i d a d o .

— E s e l t i e m p o —di jo t ía Ju l ia , luego deuna pausa .

—Sí , todo e l mundot iene ca ta r ro —di jo t íaK a t e e n s e g u i d a — ,todo e l mundo.

— D i c e n — d i j oM a r y J a n e — q u en o h a b í a m o s t e n i -d o u n a n e v a d a a s íe n t r e i n t a a ñ o s ; yl e í e s t a m a ñ a n ae n l o s p e r i ó d i c o sq u e n i e v a e n t o d aI r l a n d a .

—A mí me gusta verla nieve —dijo t ía Ju-l ia con t r is teza.

— Y a m í — d i j oM i s s O ’ C a l l a g h a n — .Yo c reo que l a s Nav i -d a d e s n o s o n n u n c ave rdade ra s Nav idadess i e l sue lo no e s t á ne -vado .

— P e r o a l p o b r e d eMr. D’Arcy no le gus-t a l a n i e v e — d i j o t í a

dreadful: terrible, very badcold: inflammation of the. nose and throat causing

distorsion of the voice

fib: something false, not true; a fib is a smallunimportant lie hoarse

crow: the crow is known for its loud shrill cryroughly: brusquely, curtly

taken back: shocked, disconcertedrude: impolite

speech: manner of speaking

wrinkled her brows: frowned

drop: abandon, give upswathing: enveloping

carefully: meticulously

weather: temperature, atmospheric conditions

readily: promptly, without hesitation

haven’t had: present perfect for a period of time upto now

for: during

read: preterite for an action and a period of timecompleted, past

the look of: to see

so do I: I also love the snow

unless: except if

poor: no article

SNOW LIKE IT FOR THIRTY YEARS...GENERAL ALL OVERIRELAND Proleptic for the final paragraph, where Joycedoes something unusual, strange, and new for fiction:he takes a line from dialogue here («snow is general allover Ireland») and transfers it— with a verb change —to the narration in the final paragraph («snow was generalall over Ireland.»

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smiling.

M r . D ’ A r c y c a m efrom the pantry , fu l lyswathed and but toned,and in a repentant tonetold them the history ofh i s c o l d . E v e r y o n eg a v e h i m a d v i c e a n dsaid i t was a great pi tya n d u r g e d h i m t o b ev e r y c a r e f u l o f h i sthroat in the night a i r.G a b r i e l w a t c h e d h i swife , who did not joini n t h e c o n v e r s a t i o n .She was s tanding r ightu n d e r t h e d u s t yfanlight and the f lameo f t h e g a s l i t u p t h er ich bronze of her hair,which he had seen herdrying at the f ire a fewdays before. She was inthe same att i tude andseemed unaware of theta lk about her. At las ts h e t u r n e d t o w a r d sthem and Gabr ie l sawtha t the re was co louron her cheeks and thather eyes were shining.A s u d d e n t i d e o f j o ywent leaping out of hishear t .

“ M r. D ’ A r c y, ” s h esaid, “what is the nameof tha t song you weresinging?”

“It’s called The Lasso f Aughrim , ” sa id Mr.D’Arcy, “but I couldn’tr emember i t p roper ly.Why? Do you know it?”

“ T h e L a s s o fAughrim,” she repeated.“I couldn’t think of thename.”

“ I t ’ s a v e r y n i c ea i r , ” s a i d M a r yJ a n e . “ I ’ m s o r r yy o u w e r e n o t i nv o i c e t o n i g h t . ”

“ N o w, M a r y J a n e , ”s a i d A u n t K a t e ,

sonriendo.

E l s e ñ o r D ’ A r c yvolvió de la despensa ,t o d o a b r i g a d o yabotonado, y en un tonocontrito explicó cómo sehabía acatarrado. Todosle dieron consejos y ledijeron que era una granpena y le urgieron a quetuviera mucho cuidadocon su ga rgan ta en e laire de la noche. Gabrielmiró a su mujer, que noi n t e r v i n o e n l ac o n v e r s a c i ó n , d e p i eb a j o l a p o l v o r i e n t abóveda de abanico. Lallama del gas iluminabael hermoso bronce de sucabello que él le habíavisto secar al fuego unosp o c o s d í a s a n t e s .G u a r d a b a l a m i s m aa c t i t u d y p a r e c í a n otener nada que ver conla conversación. Al finse volvió hacia ellos, yGabr ie l v io que hab íacolor en sus mejillas yque sus ojos bril laban.U n a s ú b i t a o l e a d a d ea l e g r í a b r o t ó d e s ucorazón.

— S e ñ o r D ’ A r c y —d i j o e l l a — , ¿ c ó m o s el lama esa canción quecantaba usted?

— L a d o n c e l l a d eAughrim —dijo el señorD ’ A r c y — , p e r o n o l ar e c u e r d o b i e n . ¿ P o rqué? ¿La conoce?

— L a d o n c e l l a d eA u g h r i m — r e p i t i óella—. No podía dar conel nombre.

— E s u n a c a n c i ó nmuy bella —dijo MaryJane—. S ien to que noesté usted bien de vozesta noche.

—No impor tunes a ls e ñ o r D ’ A r c y, M a r y

Kate sonr ien te .

M r . D ’ A r c y s a l i óde l cuarto de desaho-g o t o d o a b r i g a d o yabotonado, y en son dea r r e p e n t i m i e n t o l e sh izo l a h i s to r i a de suc a t a r r o . C a d a u n o l edio un consejo diferen-t e , l e d i j e ron que e r auna verdadera l ás t imay l o u rg i e r o n [ 1 4 4 ] aque se cu ida ra muchola garganta de l se reno .G a b r i e l m i r a b a a s umujer, que no se mez-cló en la conversación.E s t a b a d e p i e d e b a j ode l reverbero y la l l a -ma de l ga s i l uminabae l v i v o b r o n c e d e s upe lo , que é l había v is -to a e l la secar a l fuegounos días antes . Seguíaen su ac t i tud y parec íano es ta r consc ien te del a c o n v e r s a c i ó n a s ua l rededor. F ina lmente ,s e v o l v i ó y G a b r i e lpudo ver que ten ía lasm e j i l l a s c o l o r a d a s ylos o jos br i l losos . Unasúbi ta marca de a legr íainundó su corazón .

—Mr. D’Arcy —dijoe l l a — , ¿ c u á l e s e lnombre de esa canc iónque us ted can tó?

—Se llama La jovende Aughrim —dijo Mr.D’Arcy—, pe ro no l apuedo recordar muy bien.¿Por qué? ¿La conoce?

— L a j o v e n d eA u g h r i m — r e p i t i óe l la—. No podía recor-dar e l nombre .

—Linda melodía —di jo Mary Jane—. Quépena que no es tuvieraus t ed en voz e s t a no -che .

—Vamos, Mary Jane—di jo t í a Ka t e—. No

fully: completely

repentant: (he was sorry to have been rude)

advice: counsels

urged him: suggested with force to him, pressed himbe very careful of: give serious attention to

watched: observed, looked attentively atjoin: take part, participate

dusty: greyfanlight: small window over the door

FANLIGHT Semicircular panes of glass, divided intosections like the ribs of a fan, that form the architectureof front door in many Dublin houses. (They are alsofound over windows.)THE FLAME OF THE GAS The gaslight over the door castlight both outside and inside the house.

which: refers to her hairdrying: making dry (after washing)

fire: at the fire: in front of the flames of the fireplace

THE SAME ATTITUDE As she stood on the stair earlier,listening to the music.

about: around

COLOR ON HER CHEEKS AND THAT HER EYES WERE SHININGGabriel apparently does not realize that her eyes arestill wet from her emotional response to the song.

shining: full of light, brighta sudden tide...of his heart: his heart was suddenly

submerged with joy

lass: girlAughrim: name of an Irish village in County Galway

properly: correctly

think of: remember I’m sorry: I regret

X

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“ d o n ’ t a n n o y M r .D ’ A r c y. I w o n ’ t h a v eh i m a n n o y e d . ”

S e e i n g t h a t a l lw e r e r e a d y t o s t a r ts h e s h e p h e r d e d t h e mt o t h e d o o r , w h e r eg o o d - n i g h t w a s s a i d :

“ We l l , g o o d - n i g h t ,Aunt Kate , and thanksf o r t h e p l e a s a n tevening.”

“ G o o d - n i g h t ,G a b r i e l . G o o d - n i g h t ,G r e t t a ! ”

“ G o o d - n i g h t , A u n tKate , and thanks evers o m u c h . G o o d n i g h t ,Aunt Julia.”

“ O , g o o d - n i g h t ,G r e t t a , I d i d n ’ t s e eyou.”

“ G o o d - n i g h t , M r .D ’ A r c y. G o o d - n i g h t ,Miss O’Cal laghan .”

“ G o o d - n i g h t , M i s sMorkan.”

“ G o o d - n i g h t ,a g a i n . ”

“ G o o d - n i g h t , a l l .S a f e h o m e . ”

“ G o o d - n i g h t .G o o d n i g h t . ”

T h e m o r n i n g w a ss t i l l d a r k . A d u l l ,y e l l o w l i g h t b r o o d e do v e r t h e h o u s e s a n dt h e r i v e r ; a n d t h es k y s e e m e d t o b ed e s c e n d i n g . I t w a ss l u s h y u n d e r f o o t ;a n d o n l y s t r e a k s a n dp a t c h e s o f s n o w l a yo n t h e r o o f s , o n t h ep a r a p e t s o f t h e q u a ya n d o n t h e a r e ar a i l i n g s . T h e l a m p sw e r e s t i l l b u r n i n gr e d l y i n t h e m u r k y

Jane —dijo la tía Kate—. N o q u i e r o v e r l eembarazado .

Y viendo que estabant o d o s l i s t o s , l o spastoreó hasta la puerta,d o n d e s e d i e r o n l a sbuenas noches.

— B i e n , b u e n a sn o c h e s , t í a K a t e , yg r a c i a s p o r t a nagradable velada.

— B u e n a s n o c h e s ,Gabriel. Buenas noches,Gretta.

— B u e n a s n o c h e s , t í aK a t e , y m u c h í s i m a sgracias. Buenas noches,tía Julia.

— O h , b u e n a sn o c h e s , G r e t t a , n o t ev e í a .

—Buenas noches, señorD’Arcy. Buenas noches,señorita O’Callaghan.

— B u e n a s n o c h e s ,señoritas Morkan.

—Buenas noches otravez.

—Buenas noches. Quelleguéis bien á casa.

— B u e n a s n o c h e s .Buenas noches.

L a m a ñ a n a e s t a b ao s c u r a t o d a v í a . U n ad e s v a í d a l u z a m a r i l l arumiaba sobre las casasy e l r í o ; y e l c i e l op a r e c í a e n c o r v a r s e .E l s u e l o e s t a b aembarrado ; y tan sólou n a s c o s t u r a s y u n o sremiendos de nieve seextendían sobre los tejados,sobre los parapetos delmuelle y sobre las verjas delos alrededores. Las farolasardían todavía con una luzrojiza en el lúgubre

i m p o r t u n e s a M r.D’Arcy. No q u i e r o quese vaya a poner bravo.

Viendo que es tabant o d os l i s tos para i rse ,comenzó a pastorearloshac ia la puer ta , dondese desp id ie ron:

— B u e n o , t í a K a t e ,b u e n a s n o c h e s y g r a -c i a s p o r l a v e l a d at a n g r a t a .

— B u e n a s n o c h e s ,G a b r i e l . ¡ B u e n a s n o -ches , Gre t ta !

— B u e n a s n o c h e s ,t í a K a t e , y u n m i l l ó nde grac ias . Buenas no-ches , t í a Ju l ia .

— A h , b u e n a s n o -ches , Gre t ta , no te ha-b ía v is to .

— B u e n a s n o c h e s ,Mr. D’Arcy. Buenas no-ches, Miss O’Callaghan.

— B u e n a s n o c h e s ,Miss Morkan.

—Buenas noches denuevo.

—Buenas noches a to-dos. Vayan con Dios.

— B u e n a s n o c h e s .B u e n a s n o c h e s .

To d a v í a e r a o s c u -r o . U n a p a l i d e z c e -t r i n a s e c e r n í a s o b r el a s c a s a s y e l r í o ; ye l c i e l o p a r e c í a e s -t a r b a j a n d o . E l s u e -l o s e h a c í a f a n g ob a j o l o s p i e s y s ó l oq u e d a b a n r e t a z o s d en i e v e s o b r e l o s t e -c h o s , e n e l m u r o d e lm a l e c ó n y e n l a s b a -r a n d a s d e l o s a l r e d e -d o r e s . L a s l á m p a r a sa r d í a n t o d a v í a c o nu n f u l g o r r o j o e n e l

annoy: importune, harass, pesterI won’t...him annoyed: nobody will annoy him, I

don’t want it ready to start: prepared to go

shepherded: guided, escorted

was said: passive voice

pleasant: agreeable, charming

ever so much: very, very muchgood night: note the repetitive platitude of those goodnights and also their premonitory resonance. Through

the ordinariness of life, separation and death arebecoming more and more present

safe home: go home safely

dull: pale, indistinctbrooded: floated oppressively

it was slushy underfoot: they walked in melted,watery snow streak(s): long line

patch(es): irregular tracelay: rested area railings: balustrades surrounding the

front gardens burning redly: giving a red light

ON THE AREA RAILINGS Metal fences, usually with spear-shaped tops; the image is thus proleptic for the finalparagraph, where Gabriel imagines the «spears of thelittle gate» of the cemetery where Michael Furey isburied.

murky: obscure, gloomy

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a i r a n d , a c r o s s t h er i v e r , t h e p a l a c e o ft h e F o u r C o u r t ss t o o d o u tm e n a c i n g l y a g a i n s tt h e h e a v y s k y .

S h e w a s w a l k i n go n b e f o r e h i m w i t hM r . B a r t e l l D ’ A r c y ,h e r s h o e s i n a b r o w np a r c e l t u c k e d u n d e ro n e a r m a n d h e rh a n d s h o l d i n g h e rs k i r t u p f r o m t h es l u s h . S h e h a d n ol o n g e r a n y g r a c e o fa t t i t u d e , b u tG a b r i e l ’ s e y e s w e r es t i l l b r i g h t w i t hh a p p i n e s s . T h e b l o o dw e n t b o u n d i n g a l o n gh i s v e i n s ; a n d t h et h o u g h t s w e n t r i o t i n gt h r o u g h h i s b r a i n ,p r o u d , j o y f u l , t e n d e r,v a l o r o u s .

She was walking onb e f o r e h i m s o l i g h t l ya n d s o e r e c t t h a t h elonged to run after herno i se l e s s ly, ca t ch he rb y t h e s h o u l d e r s a n dsay someth ing foo l i sha n d a f f e c t i o n a t e i n t oher ear. She seemed toh i m s o f r a i l t h a t h el o n g e d t o d e f e n d h e ragains t something andthen to be a lone wi thher. Moments of the i rs e c r e t l i f e t o g e t h e rburst like stars upon hismemory. A he l i o t ropee n v e l o p e w a s l y i n gb e s i d e h i s b r e a k f a s t -c u p a n d h e w a sc a r e s s i n g i t w i t h h i sh a n d . B i r d s w e r etwittering in the ivy andt h e s u n n y w e b o f t h ec u r t a i n w a sshimmering a long thef l o o r : h e c o u l d n o te a t f o r h a p p i n e s s .T h e y w e r e s t a n d i n go n t h e c r o w d e dp l a t f o r m a n d h e w a sp l a c i n g a t i c k e t

ambiente y, al otro lado delrío, el pa lac io de FourC o u r t s a l z a b a s ua m e n a z a d o r a s i l u e t ac o n t r a e l o p r e s i v ofirmamento.

E l l a c a m i n a b ad e l a n t e d e é l , j u n t o a ls e ñ o r B a r t e l l D ’ A r c y,c o n s u s z a p a t o s e n u np a q u e t e m a r r ó n q u ea p r e t a b a b a j o e lb r a z o , r e c o g i é n d o s el a f a l d a p a r a e v i t a r e lb a r ro . Ya n o h a b í ag r a c i a a l g u n a e n s uactitud, pero los ojos deGabriel aún brillaban def e l i c i d a d . L a s a n g r ecorría palpitante por susvenas, y los pensamientosse ag lome r a b a nt u m u l t u o s o s e n s uc e r e b r o : o rg u l l o s o s ,r e g o c i j a d o s , d u l c e s ,intrépidos.

E l l a c a m i n a b ad e l a n t e d e é l d e u nmodo t an l i ge ro y a i -r o s o q u e l e a p e t e c i ócor rer s in hacer ru idot r a s e l l a , c o g e r l a p o rlos hombros y dec i r lea lgo loco y a fec tuosoa l o ído . Le parec ió tanf r á g i l q u e d e s e ódefender la cont ra a lgoy d e s p u é s q u e d a r s e as o l a s c o n e l l a .M o m e n t o s d e l a v i d asecre ta que compart íana r d i e r o n c o m oe s t r e l l a s e n s um e m o r i a . U n s o b r ec o l o r h e l i o t r o p odescansaba jun to a sutaza pa ra e l desayuno ,y é l l o aca r i c i aba conl a m a n o . L o s p á j a r o sg o r j e a b a n e n l ah i ed ra , y l a t e l a de l ac o r t i n a b r i l l a b at r émula a lo l a rgo de ls u e l o : l a f e l i c i d a d l ei m p e d í a c o m e r . S ee n c o n t r a b a n e n e lmul t i tud inar io andén yé l l e pon ía l a en t r ada

a i r e l ó b r e g o y , a lo t r o l a d o d e l r í o , e lp a l a c i o d e l a s C u a -t r o C o r t e s s e e r g u í aa m e n a z a d o r c o n t r ae l c i e l o o n e r o s o .

C a m i n a b a e l l ad e l a n t e d e é l c o nM r . B a r t e l lD ’ A r c y , s u s z a p a -t o s e n u n c a r t u -c h o b a j o e l b r a z o ,s u s m a n o s l e v a n -t a n d o l a f a l d a d e lf a n g o . N o t e n í a y au n a p o s e g r a c i o s a ,p e r o l o s o j o s d eG a b r i e l b r i l l a b a n d ef e l i c i d a d . L a s a n g r eg o l p e a b a e n s u s v e -n a s y l o s p e n s a -m i e n t o s s e a m o t i n a -b a n e n s u c e r e b r o :o r g u l l o s o s , r e g o c i -j a d o s , t i e r n o s , v a l e -r o s o s .

C a m i n a b a e l l a d e -lan te tan leve y tan e r-g u i d a q u e é l d e s e ócaer le det rás s in ru ido,t o m a r l a p o r l o s h o m -bros y dec i r le a l o ídoalgo tonto y afec tuoso .L e p a r e c í a t a n f r á g i lque que r í a de fender l ade cua lquier cosa paral u e g o q u e d a r s e s o l ocon e l la . Momentos desu v ida secre ta jun tosfu lguraron [145] comoes t re l las en su memo-r ia . Junto a la taza deté de l desayuno, un so-b r e c o l o r h e l i o t r o p oque é l a ca r i c i aba cons u m a n o . L o s p á j a r o sp iaban en la enredade-ra y la luminosa t e l a -r a ñ a d e l c o r t i n a j ec a b r i l l e a b a s o b r e e lp i so ; e r a t an f e l i z queno pod ía p roba r boca -d o . E s t a b a n e n l ac o n c u r r i d a p l a t a f o r -m a y é l d e s l i z a b a u nb i l l e t e e n l a c á l i d ap a l m a r e c ó n d i t a d e s um a n o e n g u a n t a d a . E s -

the Four Courts: Dublin’s courts of justicestood out...against: contrasted...with

heavy: low, dark (note the funereal atmosphere)

before: in front of

parcel: bagtucked: placed

from the slush: to preserve it from the slush (meltingsnow)

she had...grace of attitude: all the grace of herattitude had disappeared

went bounding along: ran violently in

went rioting through: traversed tumultuouslybrain: head

proud: exaltedvalorous: courageous

so lightly: with such agilityerect: majestic

longed: wanted very muchnoiselessly: silently

say...into her ear: whisperfoolish: ridiculous, stupid

frail: fragile

secret life together: intimacyburst...his memory: came suddenly into his memory

like an illuminationheliotrope: mauve

beside: on the side of

twittering: singingivy: yedra

sunny: full of sunweb: delicate tissue

shimmering: scintillatinghe could not eat for happiness: his happiness had

taken away his appetite

crowded: full of peopleplatform: (along the train)

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i n s i d e t h e w arm pa lmo f h e r g l o v e . H e w a ss t a n d i n g w i t h h e r i nt h e c o l d , l o o k i n g i nt h r o u g h a g r a t e dw i n d o w a t a m a nm a k i n g b o t t l e s i n aroaring furnace . I t wasv e r y c o l d . H e r f a c e ,fragrant in the cold air,was qui te c lose to h i s ;and suddenly he ca l ledou t t o t he man a t t hefurnace :

“ I s t h e f i r e h o t ,s i r ? ”

B u t t h e m a n c o u l dn o t h e a r w i t h t h en o i s e o f t h e f u r n a c e .I t w a s j u s t a s w e l l .H e m i g h t h a v ea n s w e r e d r u d e l y .

A w a v e o f y e t m o r et e n d e r j o y e s c a p e df r o m h i s h e a r t a n dw e n t c o u r s i n g i nw a r m f l o o d a l o n g h i sa r t e r i e s . L i k e t h et e n d e r f i r e o f s t a r sm o m e n t s o f t h e i r l i f et o g e t h e r , t h a t n o o n ek n e w o f o r w o u l de v e r k n o w o f , b r o k eu p o n a n d i l l u m i n e dh i s m e m o r y . H el o n g e d t o r e c a l l t oh e r t h o s e m o m e n t s ,t o m a k e h e r f o rg e t t h ey e a r s o f t h e i r d u l le x i s t e n c e t o g e t h e ra n d r e m e m b e r o n l yt h e i r m o m e n t s o fe c s t a s y . F o r t h ey e a r s , h e f e l t , h a d n o tq u e n c h e d h i s s o u l o rh e r s . T h e i r c h i l d r e n ,h i s w r i t i n g , h e rh o u s e h o l d c a re s h a dn o t q u e n c h e d a l l t h e i rs o u l s ’ t e n d e r f i r e . I no n e l e t t e r t h a t h e h a dw r i t t e n t o h e r t h e n h eh a d s a i d : “ W h y i s i tt h a t w o r d s l i k e t h e s es e e m t o m e s o d u l la n d c o l d ? I s i tb e c a u s e t h e r e i s n o

en l a cá l ida pa lma desu guan te . Es taba cone l l a a l a i n t e m p e r i e ,m i r a n d o a t r a v é s d eu n a v e n t a n a e n r e j a d aa l h o m b r e q u ef a b r i c a b a b o t e l l a s e nu n h o r n o r u g i e n t e .H a c í a m u c h o frío. Elrostro de su mujer, fraganteen e l f r ío , es taba muycerca del suyo.Súbitamente ella se dirigióal hombre del horno.

— ¿ E s t á c a l i e n t e e lfuego, señor?

P e r o e l r u i d o d e lh o r n o i m p i d i ó q u e e lhombre la oyera. Menosm a l . Q u i z á h u b i e r ar e s p o n d i d o d e m a l amanera.

U n a o l e a d a d ea l e g r í a a ú n m á s d u l c eb r o t ó d e s u c o r a z ó n yr e c o r r i ó s u s a r t e r i a se n c á l i d o t o r r e n t e .M o m e n t o s d e s u v i d aj u n t o s , d e l o s q u en a d i e s a b í a n i s a b r í an u n c a , s u r g i e r o nc o m o e l d u l c e f u e g od e l a s e s t r e l l a s ei l u m i n a r o n s umemor i a . Le ape t ec iór e m e m o r a r l o s c o ne l l a , h a c e r l e o l v i d a rl o s a ñ o s d e s ui n s í p i d a e x i s t e n c i aj u n t o s y r e c o r d a rs ó l o a q u e l l o sm o m e n t o s d eé x t a s i s . P u e s s e n t í aque los años no habíancolmado su alma ni lad e e l l a . L o s h i j o s d eambos, los escritos deél, las labores domésticasde ella, no habían asfixiadoel dulce fuego de sus almas.En una c a r t a q u e é ll e h a b í a e s c r i t o ,d e c í a : ¿ P o r q u épalabras como estas meparecen tan desvaídas yf r í a s ? ¿Es porque no haypalabra suficientemente

t a b a d e p i e c o n e l l a al a i n t e m p e r i e , m i r a n -do por en t re los ba r ro -t e s d e u n a v e n t a n a au n h o m b r e h a c i e n d obo te l l a s an t e un ho rnor u g i e n t e . H a c í a m u -c h o f r í o . S u c a r a , r e -l u c i e n t e p o r e l v i e n t oh e l a d o , e s t a b a m u yc e r c a d e l a s u y a ; y d ep r o n t o e l l a l e l l a m ó l aa t e n c i ó n a l h o m b r ed e l h o r n o :

—Señor, ¿ese fuegoestá caliente?

Pero el hombre no lapudo oír con el ruido quehacía la fornalla. Másvalía así. Con toda segu-ridad le habría respondi-do groseramente.

U n a o l a d e u n a a l e -g r í a m á s t i e r n a e s c a -p ó d e s u c o r a z ó n p a r ac o r r e r l e e n c á l i d o t o -r r e n t e p o r l a s a r t e -r i a s . C o m o e l t i e r n oc a l o r d e l a s e s t r e l l a s ,r o m p i e r o n a i l u m i n a rs u m e m o r i a m o m e n t o sd e s u v i d a j u n t o s q u en a d i e c o n o c í a , q u en a d i e s a b r í a n u n c a .A n h e l a b a h a c e r l e r e -c o r d a r a e l l a t o d o se s o s m o m e n t o s p a r ah a c e r l e o l v i d a r s ua b u r r i d a e x i s t e n c i aj u n t o s y q u er e m e m o r a r a s o l a m e n -t e l o s m o m e n t o s d eé x t a s i s . Ya q u e l o sa ñ o s , s e n t í a é l , n o h a -b í a n c o l m a d o l a s edde su alma o la de e l la .Los hi jos , sus escritos,su labor de ama de casa, nohabían apagado el t ier-no fuego de sus almas.En una carta que le es-cribió por aquel tiempo,él le decía: «¿Por q u ép a l a b r a s c o m o é s t a sm e p a r e c e n t a n so sa sy f r í a s? ¿Es po rque noh a y u n a p a l a b r a t a n

warm: pleasantly hotglove: (which covered her hand)

cold: cold weather

in: (from the outside)grated: protected by a grille

roaring furnace: extremely hot fire making a loudnoise

fragrant: perfumedclose to his: very near his face

called out: cried, shouted

with: because of

might have: suggests possibility in the pastrudely: in a rude manner

wave: flowyet more tender: more tender than the one before

TENDER Joyce makes extensive use of chiasmus — therepetition of images. «Tender» occurs four times in thisparagraph.

went coursing...his arteries: ran in his arteries like awarm torrent

fire of stars: stellar lightmoments: certain moments

broke: burst

recall to her: bring back to her memory, make herremember # forget

dull: monotonous, prosaic

ecstasy: enchantment, rapturefor: because

quenched : neutralized

writing: literary workhousehold cares: domestic responsabilies

then: at that time (when they were young)why is it that words: why do words

dull...cold...tender: (note how many times wordsevoking darkness (death) and light (life) are repeated;

note the -evocation of nostalgia)

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w o r d t e n d e r e n o u g ht o b e y o u r n a m e ? ”

L i k e d i s t a n t m u s i cthese words that he hadw r i t t e n y e a r s b e f o r ewere borne towards himf r o m t h e p a s t . H elonged to be alone withh e r. W h e n t h e o t h e r shad gone away, when hea n d s h e w e r e i n t h eroom in the hotel , thent h e y w o u l d b e a l o n etogether. He would callher softly:

“Gretta!”

P e r h a p s s h e w o u l dn o t h e a r a t o n c e : s h ew o u l d b e u n d r e s s i n g .Then something in hisvoice would strike her.She would turn and lookat him.. . .

A t t h e c o r n e r o fW i n e t a v e r n S t r e e tt h e y m e t a c a b . H ew a s g l a d o f i t sr a t t l i n g n o i s e a s i ts a v e d h i m f r o mconve r sa t i on . She wasl o o k i n g o u t o f t h ew i n d o w a n d s e e m e dt i r e d . T h e o t h e r ss p o k e o n l y a f e ww o r d s , p o i n t i n g o u ts o m e b u i l d i n g o rs t r e e t . T h e h o r s eg a l l o p e d a l o n gw e a r i l y u n d e r t h em u r k y m o r n i n g s k y,d r a g g i n g h i s o l dr a t t l i n g b o x a f t e r h i sh e e l s , a n d G a b r i e lw a s a g a i n i n a c a bw i t h h e r, g a l l o p i n g t oc a t c h t h e b o a t ,g a l l o p i n g t o t h e i rh o n e y m o o n .

A s t h e c a b d r o v ea c r o s s O ’ C o n n e l lB r i d g e M i s sO’Callaghan said:

“They say you nevercross O’Connell Bridge

dulce como para llamartecon ella?

A q u e l l a s p a l a b r a se s c r i t a s a ñ o s a n t e sb r o t a r o n d e l p a s a d ohac ia é l como mús icadistante. Deseaba estarso lo con e l la . Cuandol o s o t r o s s e h u b i e r a ni d o , c u a n d o é l y e l l ae s t u v i e r a n e n s uh a b i t a c i ó n d e l h o t e l ,e n t o n c e s e s t a r í a n as o l a s . L a l l a m a r í asuavemente:

—¡Gretta!

Q u i z á s e l l a n o l eoye ra l a p r imera vez .Se es tar ía desnudando.Luego , a lgo en su vozl l a m a r í a s u a t e n c i ó n .S e v o l v e r í a y l emi ra r í a . . .

Encontraron un cochede punto en la esquinade Witnetavern Street .A g r a d e c i ó s u r u i d otraqueteando , pues lee v i t ó a ñ a d i r s e a l ac o n v e r s a c i ó n . E l l a s ep u s o a m i r a r p o r l aventani l la con un a i rec a n s a d o . L o s d e m á sc a m b i a r o n s ó l o u n a sp o c a s p a l a b r a s ,señalando alguna calle oa l g ú n e d i f i c i o . E lc a b a l l o g a l o p óp e s a d a m e n t e b a j o e lsombrío cielo matinal ,a r r a s t r a n d o s u v i e j ofurgón traqueteando, yGabriel se encontró denuevo en un coche dep u n t o c o n e l l a ,g a l o p a n d o h a c i a e lbarco, galopando haciasu luna de miel.

C u a n d o e l c o c h ec r u z ó e l p u e n t eO’Connel l , la señor i taO’Callaghan dijo:

— D i c e n q u e n u n c ac r u z a s e l p u e n t e

t i e r n a q u e s e a c a p a zd e s e r t u n o m b r e ? »

Como una melodía le-jana, estas palabras quehabía escrito años atrásle llegaron desde el pa-sado . Deseaba es t a r asolas con e l la . Cuandotodos se hubieran ido ,cuando es tuv ie ran so -los é l y e l la en la ha-b i tac ión de l ho te l , en-tonces es ta r í an jun tosy a so las . La l lamar íaquedamente :

—¡Gre t ta !

Tal vez no lo oyerae l la en seguida : se es -tar ía desnudando. Lue-go a lgo en su voz l la -mar ía su a t enc ión . Sevo lve r í a e l l a a mi ra r-lo…

E n l a e s q u i n a d eW i n e t a v e r n S t r e e te n c o n t r a r o n u n c o -c h e . S e a l e g r ó d e q u eh i c i e r a t a n t o r u i d o ,p u e s a h o r r a b a l ac o n v e r s a c i ó n . E l l am i r a b a p o r l a v e n -t a n a y p a r e c í a c a n -s a d a . L o s o t r o s h a -b l a b a n a p e n a s , s e -ñ a l a n d o a u n e d i f i -c i o o a u n a c a l l e .E l c a b a l l o t r o t a b ad e s g a n a d o b a j o e lc i e l o s o m b r í o , t i -r a n d o d e l a c a j ac r u j i e n t e t r a s s u sc a s c o s , y G a b r i e le s t a b a d e n u e v o e nu n c o c h e c o n e l l a ,g a l o p a n d o a a l c a n -z a r e l b a r c o , g a l o -p a n d o h a c i a s u l u n ad e m i e l .

C u a n d o e l c o c h ea t r a v e s a b a e l p u e n t ed e O ’ C o n n e l l , M i s sCa l l aghan d i jo :

— D i c e n q u e n a d i ec r u z a e l p u e n t e d e

borne: (bear, bore, ): carried

when...had gone: note the use of the pluperfect (notthe past conditional) after when

when...where: note the use of the preterite (not theconditional) after when

at once: immediatelyundressing: taking off her clothes

strike her: attract her attention

met: foundglad of: pleased with

saved him from conversation: made it unnecessaryfor him to talk

tired: fatiguedspoke: pronounced

a few: a small number ofpointing out: attracting the attention to, indicating

wearily: with lassitude

dragging: pullingbox: cab

after: behind

again: (thinking of the past)

catch: be in time for

honeymoon: holiday taken by newly married couples

O’Connell Bridge: most important bridge in centralDublin

they say: people say that

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without seeing a whitehorse.”

“ I s e e a w h i t e m a nt h i s t i m e , ” s a i dG a b r i e l .

“Where?” asked Mr.Bartell D’Arcy.

G a b r i e l p o i n t e d t ot h e s t a t u e , o n w h i c hl a y p a t c h e s o f s n o w.T h e n h e n o d d e df a m i l i a r l y t o i t a n dw a v e d h i s h a n d .

“Good-night , Dan , ”he said gaily.

W h e n t h e c a b d r e wu p b e f o r e t h e h o t e l ,G a b r i e l j u m p e d o u ta n d , i n s p i t e o f M r .B a r t e l l D ’ A r c y ’ sp r o t e s t , p a i d t h ed r i v e r . H e g a v e t h em a n a s h i l l i n g o v e rh i s f a r e . T h e m a ns a l u t e d a n d s a i d :

“A prosperous NewYear to you, sir.”

“The same to you,”said Gabriel cordially.

S h e l e a n e d f o r amoment on h is a rm inge t t ing out of the caband whi l e s t and ing a tthe curbstone , b iddingthe o thers good- n ight .She l eaned l i gh t ly onh i s a rm, a s l i gh t ly a sw h e n s h e h a d d a n c e dwi th h im a f ew hoursb e f o r e . H e h a d f e l tproud and happy then ,happy that she was his ,proud of her grace andw i f e l y c a r r i a g e . B u tnow, a f te r the k indl inga g a i n o f s o m a n ym e m o r i e s , t h e f i r s tt o u c h o f h e r b o d y ,m u s i c a l a n d s t r a n g ea n d p e r f u m e d , s e n tt h r o u g h h i m a k e e np a n g o f l u s t . U n d e r

O ’ C o n n e l l s i n v e r u ncaballo blanco.

—Esta vez he v is toun hombre blanco —dijoGabriel.

—¿Dónde? —preguntóel señor Bartell D’Arcy.

Gabr ie l seña ló a l aes ta tua cub ie r ta deparches de nieve. Despuésla sa ludó con unmovimiento de cabeza yagitó la mano hacia ella.

— B u e n a s n o c h e s ,Dan —dijo alegremente.

C u a n d o e l c o c h e s ed e t u v o a n t e e l h o t e l ,G a b r i e l s e b a j ó d e u ns a l t o y, a p e s a r d e l a sp r o t e s t a s d e l s e ñ o rB a r t e l l D ’ A r c y, p a g óa l c o c h e r o , d á n d o l eu n c h e l í n d e p r o p i n a .E l h o m b r e l e s a l u d ó yd i j o :

—Que tenga un prósperoAño Nuevo, señor.

—Lo mismo le deseo —dijo Gabriel cordialmente.

E l l a s e a p o y ó u nm o m e n t o e n s ub r a z o p a r a s a l i r d e lc o c h e y , d e p i e e nl a acera, se despidió del o s demás. Se apoyóligeramente en su brazo,tan l igeramente comocuando habían bai ladojuntos unas pocas horasantes. Él se había sentidoorgulloso y feliz; felizporque era suya, orgullosode su gracia y de su portede mujer casada. P e r oahora , t ras e l repe t idoa r d o r d e t a n t o sr e c u e r d o s , e l p r i m e rr o c e d e s u c u e r p o ,m u s i c a l , a j e n o yperfumado, le a t ravesócon una aguda punzadad e l u j u r i a . A m p a r a d o

O ’ D o n n e l l s i n v e r u ncaba l lo b l anco .

—Yo veo un hombreblanco esta vez —dijoGabriel .

—¿Dónde? —pregun-tó Mr. Bartell D’Arcy.

[146] Gabr ie l seña-l ó a l a e s t a t u a , e n l aq u e h a b í a p a r c h e s d enieve . Luego la sa ludófami l ia rmente y levan-tó la mano.

— B u e n a s n o c h e s ,Daniel —dijo, a legre .

C u a n d o e l c o c h ea r r i m ó a n t e e l h o t e l .Gabr i e l s a l tó a fue ra v,a p e s a r d e l a s p r o t e s -t a s d e M r . B a r t e l lD ’ A r c y, p a g ó a l c o -c h e r o . L e d i o a l h o m -b r e u n c h e l í n p o r e lv i a j e . E l h o m b r e l os a l u d ó y d i j o :

—Próspero Año Nue-vo, señor.

—Igualmente —di joGabr ie l , cord ia l .

E l l a s e a p o y ó u ni n s t a n t e e n s u b r a z oa l s a l i r d e l c o c h e , yl u e g o , d e p i e e n l aa c e r a , d á n d o l e s l a sb u e n a s n o c h e s a l o sd e m á s . S e s u j e t a b al e v e a s u b r a z o , t a nl evemen te como cuan -d o b a i l ó c o n é l a n t e s .S e s i n t i ó o rg u l l o s o yf e l i z e n t o n c e s : f e l i zd e e s t a r c o n e l l a , o r -g u l l o s o d e s u g r a c i a ys u p o r t e s e ñ o r i a l .P e r o a h o r a , d e s p u é sd e r e a v i v a r t a n t o s r e -c u e r d o s , e l p r i m e rc o n t a c t o c o n s u c u e r -p o , a r m o n i o s o y e x -t r a ñ o y p e r f u m a d o ,p r o d u j o e n é l u n a g u -d o l a t i d o d e l u j u r i a .

without seeing: without + -ing (the gerund is usedafter all prepositions except to)

pointed to: showed with his finger

nodded: inclined his head as a salute

waved: made a signal with

Dan: the affectionate diminutive given to DanielO’Connell (1775-1847) who won Catholic

emancipation for Ireland in 1829

jumped out: got out in an athletic manner

over his fare: more than the price asked

saluted: (because of the money given in addition)

a prosperous New Year to you: Happy New Yearand prosperity

the same: reciprocally

while: as she waskerb-stone: border of the pavement

others: other persons

as...as: expression of equality

she was his: he possessed, owned her

wifely carriage: dignity of a married womankindling again: returning fire, resuscitation

touch of: contact with

keen pang of lust: intense pain of concupiscenceunder cover of: protected by

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cover of her s i lence hep r e s s e d h e r a r mc l o s e l y t o h i s s i d e ;a n d , a s t h e y s t o o d a tthe hote l door, he fe l ttha t they had escapedf r o m t h e i r l i v e s a n dd u t i e s , e s c a p e d f r o mhome and f r i ends andrun away together wi thwild and radiant hear tsto a new adventure .

A n o l d m a n w a sd o z i n g i n a g r e a th o o d e d c h a i r i n t h eh a l l . H e l i t a c a n d l ei n t h e o f f i c e a n dw e n t b e f o r e t h e m t ot h e s t a i r s . T h e yf o l l o w e d h i m i ns i l e n c e , t h e i r f e e tf a l l i n g i n s o f t t h u d so n t h e t h i c k l yc a r p e t e d s t a i r s . S h em o u n t e d t h e s t a i r sb e h i n d t h e p o r t e r , h e rh e a d b o w e d i n t h ea s c e n t , h e r f r a i ls h o u l d e r s c u r v e d a sw i t h a b u r d e n , h e rsk i r t g i r t t i gh t ly abou th e r . H e c o u l d h a v ef l u n g h i s a r m s a b o u th e r h i p s a n d h e l d h e rs t i l l , f o r h i s a r m sw e r e t r e m b l i n g w i t hd e s i r e t o s e i z e h e ra n d o n l y t h e stress ofh i s n a i l s a g a i n s t t h ep a l m s o f h i s h a n d sh e l d t h e w i l d i m p u l s eo f h i s b o d y i n c h e c k .T h e p o r t e r h a l t e d o nt h e s t a i r s t o s e t t l eh i s g u t t e r i n g c a n d l e .T h e y h a l t e d , t o o , o nt h e s t e p s b e l o w h i m .I n t h e s i l e n c e G a b r i e lc o u l d h e a r t h e f a l l i n go f t h e m o l t e n w a xi n t o t h e t r a y a n d t h et h u m p i n g o f h i s o w nh e a r t a g a i n s t h i sr i b s .

The po r t e r l ed thema l o n g a c o r r i d o r a n do p e n e d a d o o r . T h e nh e s e t h i s u n s t a b l e

e n s u s i l e n c i o ,p r e s i o n ó e l b r a z oc o n t r a s u c o s t a d o ; y,f r en t e a l a pue r t a de lhotel , s int ió que ambosescapaban de sus v idasy d e b e r e s , e s c a p a b a nd e l h o g a r y d e l o samigos y corrían juntos,co razones r ad i an te s ys a l v a j e s , h a c i a u n anueva aventura.

En e l ves t íbu lo de lhotel un viejo dormitabaen un enorme sillón concapirote. Encendió unave la en e l despacho ymarchó delante de elloshacia la escalera. Le si-gu i e ron en s i l enc io ,hundiendo con un ruidosuave l o s p i e s en l aespesa a l fombra de l aescalera. Ella subió lasescaleras tras el portero,con la cabeza inclinadaen l a a scens ión , su sf r ág i l e s hombroscurvados como bajo unpeso, y la falda ciñéndolaap re t adamen te . É lhub ie ra ex t end ido lo sbrazos para atrapar suscaderas y detenerla, puessu brazos temblaban bajoel deseo de poseerla, ysólo la violencia de susuñas contra la palma desus manos mantuvo e lcontrol de su cuerpo bajoaquel salvaje impulso. Elpo r t e ro s e de tuvo enmedio de la escalera parapone r b i en l a ve l ago tean t e . E l lo s s edetuvieron también, unoscuantos escalones detrás.En aque l s i l enc io ,Gabriel oyó caer la ceraderretida en el platillo del a pa lma to r i a , y e lre tumbar de su propioco razón con t r a su scostillas.

E l p o r t e r o l e scondujo a lo largo de unc o r r e d o r y a b r i ó u n ap u e r t a . D e j ó s u

Aprovechándose de sus i l e n c i o , l e a p r e t ó e lb r a z o a s u c o s t a d o ; ya l d e t e n e r s e a l a p u e r-t a d e l h o t e l s i n t i ó q u ese hab ían e scapado a susvidas y a sus deberes, esca-pado de la familia y de losamigos, y se habían fugadojuntos, sus corazones vi-brantes y salvajes, en bus-ca de una aventura nueva.

U n v i e j o d o r m i t a b ae n u n o d e l o s g r a n d e ss i l l o n e s d e o r e j a s e ne l ves t íbu lo . Encend ióé l u n a v e l a e n l a o f i -c ina y los p reced ió e s -c a l e r a s a r r i b a . L o s i -g u i e r o n e n s i l e n c i o ,s u s p i e s p i s a n d o s o r-d a m e n t e l o s m u l l i d o se s c a l o n e s a l f o m b r a -d o s . E l l a s u b í a d e t r á sd e l p o r t e r o , s u c a b e z ad o b l e g a d a p o r e l a s -c e n s o , s u s f r á g i l e sh o m b r o s e n c o r v a d o sc o m o p o r u n a p e s a d ac a rg a , s u f a l d a e n t a -l l ándo la ceñ ida . Echa-r í a l o s b r a z o s a l r e d e -d o r d e s u s c a d e r a sp a r a o b l i g a r l a a d e t e -n e r s e , p u e s l e t e m b l a -b a n d e d e s e o d e p o -s e e r l a , y s o l a m e n t e l ap r e s i ó n d e s u s u ñ a sc o n t r a l a p a l m a d e s um a n o m a n t e n í a b a j oc o n t r o l e l i m p u l s o d es u c u e r p o . E l p o r t e r os e p a r ó e n l a s e s c a l e -r a s a ende reza r l a ve l aq u e c h o r r e a b a . S e d e -t u v i e r o n d e t r á s d e é l .E n e l s i l e n c i o ,G a b r i e l p o d í a o í r l ae s p e r m a d e r r e t i d ac a e r g o t e a n d o e n l ap a l m a t o r i a , t a n t oc o m o e l l a t i d o d e l c o -r a z ó n g o l p e a n d o s u sc o s t i l l a s .

E l po r t e ro lo s con-du jo a l o l a rgo de unp a s i l l o y a b r i ó u n apuer ta . Luego puso su

lives and duties: careers and obligations

run away: gone away furtivelywild: impetuous

radiant: illuminatedto: towards

dozing: half asleepgreat hooded chair: big armchair with a covering that

protected him from the lightlit (light, — or lighted — or lighted)

falling in soft thuds: making quiet soundsthickly carpeted stairs: stairs covered with thick

carped

bowed: inclined as with a burden: as if she hadsomething heavy on her back girt tightly: encircled

closely at the waist

held about her: adhered to her body

hip(s): caderahe held her still (hold, —, held): immobilised her

stress: pressureSTRESS OF HIS NAILS AGAINST THE PALMS OF HIS HANDSProleptic for the image of the crucifixion in the finalparagraph of the story.

held...check: stopped, restrained

halted: stoppedsettle: stabilise

guttering: letting fall its liquid

below: under

falling of...wax: liquefied wax falling

tray: flat receptacle thumping of...heart: his ownheart beating with force

ribs: part of thorax where the heart is enclosed

set...down (set, —, set): placed

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c a n d l e d o w n o n ato i l e t - tab le and a skeda t what hour they weret o b e c a l l e d i n t h emorn ing .

“ E i g h t , ” s a i dGabriel .

The porter pointed tothe tap of the electric-l i g h t a n d b e g a n amut te red apo logy, bu tGabriel cut him short .

“We don’t want anyl i g h t . We h a v e l i g h tenough from the street .And I say,” he added,pointing to the candle,“you might remove thathandsome article, l ike agood man.”

T h e p o r t e r t o o k u ph i s c a n d l e a g a i n , b u ts l o w l y , f o r h e w a ss u r p r i s e d b y s u c h an o v e l i d e a . T h e n h em u m b l e d g o o d - n i g h tand wen t ou t . Gabr i e lsho t t he lock to .

A ghastly l ight fromthe street lamp lay in al o n g s h a f t f r o m o n ew i n d o w t o t h e d o o r.G a b r i e l t h r e w h i sovercoa t and ha t on acouch and crossed ther o o m t o w a r d s t h ew i n d o w. H e l o o k e ddown in t o t h e s t r e e tin order that his emotionmight ca lm a l i t t l e .T h e n h e t u r n e d a n dl e a n e d a g a i n s t ac h e s t o f d r a w e r s w i t hh i s b a c k to the l ight .She had t aken off herhat and cloak and wasstanding before a larges w i n g i n g m i r r o r ,unhooking her waist .Gabriel paused for a fewmoments, watching her,and then said:

“Gretta!”

i n e s t a b l e v e l a e n u n amesa de tocador, y lesp r e g u n t ó a q u é h o r aq u e r í a n q u e l e s l l a -masen.

—A las ocho —dijoGabriel.

El portero señaló lac o n e x i ó n d e l a l u ze léc t r ica y comenzó arezongar una excusa queGabriel interrumpió.

— N o q u e r e m o s l u za l g u n a . Te n e m o s l u zsuficiente con la de lac a l l e . Y l e d i r é —a ñ a d i ó , s e ñ a l a n d o l av e l a — q u e p u e d el levarse ese agradableaparato, sea buen chico.

E l po r t e ro cog ió l avela de nuevo, aunquec o n l a l e n t i t u d d e l asorpresa que le producíauna idea tan novedosa.M a s c u l l ó l a s b u e n a snoches y se fue. Gabrielechó el cerrojo.

La luz espectral de lac a l l e a t r a v e s a b a l ah a b i t a c i ó n c o m o u n alarga saeta entre una delas ventanas y la puerta.Gabriel tiró su abrigo ysu sombre ro sob re uns o f á y c r u z ó l ah a b i t a c i ó n h a c i a l av e n t a n a . M i r ó a b a j o ,hacia la calle, para quesu emoción se sosegarau n p o c o . D e s p u é s s ev o l v i ó y s e r e c o s t ócontra una cómoda conla espalda hacia la luz.Ella se había quitado els o m b r e r o y l a c a p a yestaba frente a un grane s p e j o g i r a t o r i o ,desabrochándose la blusa.Gabriel dejó pasar unosmomentos, mirándola, yluego dijo:

—¡Gretta!

i n e s t a b l e v e l a e n u n amesi ta de noche y pre-g u n t ó q u e a q u é h o r aq u e r í a n l o s s e ñ o r e sdesper ta rse .

—A las ocho —di joGabr ie l .

E l p o r t e r o s e ñ a l ópara e l bo tón de la luzy empezó a murmura ru n a d i s c u l p a , p e r oGabr ie l lo de tuvo.

— N o q u e r e m o s l u z .Hay bas tan te con l a del a c a l l e . Y y o d i r í a —d i j o , s e ñ a l a n d o l av e l a — q u e p u e d e u s -t e d , a m i g o m í o , l i -b r a r n o s d e t a n o r o n d oi n s t r u m e n t o .

El portero cargó conla ve la o t ra vez , pe rosin pr isa , ya que se ha-bía sorprendido de ideat a n n o v e d o s a . L u e g om u r m u r ó l a s b u e n a snoches y sal ió . Gabrielpasó el pest i l lo .

L a f a n t a s m a l l u zd e l a l u m b r a d o p ú b l i -c o i l u m i n a b a e l t r a -m o d e l a v e n t a n a[ 1 4 7 ] a l a p u e r t a .G a b r i e l a r r o j ó a b r i g oy s o m b r e r o s o b r e u ns o f á y c r u z ó e l c u a r -t o e n d i r e c c i ó n a l av e n t a n a . M i r ó a b a j oh a c i a l a c a l l e p a r ac a l m a r s u e m o c i ó n u nt a n t o . L u e g o s e v o l -v i ó a a p o y a r s e e n u na r m a r i o , d e e s p a l -d a s a l a l u z . E l l a s eh a b í a q u i t a d o e ls o m b r e r o y l a c a p a ys e p a r ó d e l a n t e d e u ng r a n e s p e j o m o v i b l ea z a f a r s e e l v e s t i d o .G a b r i e l s e d e t u v o am i r a r l a u n m o m e n t oy d e s p u é s d i j o :

—¡Gre t ta !

were to: wanted to, intended to

dresser

be called: stop sleeping, be awakened

eight: eight o’clock

tap: (obsolete) commutator, switchTAP OF THE ELECTRIC LIGHT Term for the light switch,but also a reminder of the tip-tapping against the windowpane that Gabriel noticed earlier and will notice again.

muttered apology: obscure excusecut him short: interrupted him in an abrupt way

light enough: enough, sufficient lightthe street: the street lamps

REMOVE THAT HANDSOME ARTICLE Joyce is continuingthe ghost story atmosphere, by having the scene takeplace only in the subdued light from the window.

might: canremove: take with you

handsome article: beautiful objectman: like a good man: it would be nice of you (ironically)

slowly # rapidlysuch a novel idea: an idea so original

mumbled: said indistinctly, muttered

shot the lock to: closed the door with a key

ghastly: spectral, extremely paleGHOSTLY Some editions make a textual error in printing «ghastly.»

lay: extendedshaft: ray, beam

threw (throw, —, thrown): abandoned

couch: sofacrossed: walked through

in order that...calm: in order to calm down hisemotion

chest of drawers: cómodato: turned to

large: bigswinging-mirror: psyche

unhooking her waist: unbuttoning her skirt at thewaist (her middle)

X

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S h e t u r n e d a w a yf r o m t h e m i r r o rs l o w l y a n d w a l k e da l o n g t h e s h a f t o fl i g h t t o w a r d s h i m .H e r f a c e l o o k e d s ose r ious and weary tha tt h e w o r d s w o u l d n o tp a s s G a b r i e l ’ s l i p s .N o , i t w a s n o t t h em o m e n t y e t .

“You looked t i red ,”he said.

“ I am a l i t t l e , ” sheanswered.

“You don’t feel i l l orweak?”

“ N o , t i r e d : t h a t ’ sal l .”

She wen t on to thew i n d o w a n d s t o o dt h e r e , l o o k i n g o u t .G a b r i e l w a i t e d a g a i nand then, fearing tha tdiffidence was about toc o n q u e r h i m , h e s a i dabruptly :

“By the way, Gretta!”

“What is i t?”

“You know that poorfellow Malins?” he saidquickly.

“Yes. What about him?”

“ Wel l , poor f e l low,h e ’s a d e c e n t s o r t o fc h a p , a f t e r a l l , ”cont inued Gabriel in afa l se vo ice . “He gaveme back that sovereignI lent him, and I didn’texpect i t , real ly. I t ’s ap i ty he wouldn’t keepa w a y f r o m t h a tBrowne , because he ’sn o t a b a d f e l l o w,real ly.”

H e w a s t r e m b l i n gn o w w i t h a n n o y a n c e .W h y d i d s h e s e e m s o

Ella se volvió desdee l e s p e j o , y c a m i n ólentamente hacia él, a lolargo de la saeta de luz.S u r o s t r o e s t a b a t a nserio y fatigado que losl a b i o s d e G a b r i e l n of u e r o n c a p a c e s d epronunciar una palabra.No, aún no era el mo-mento.

—Pareces cansada —dijo.

— U n p o c o —respondió ella.

—¿Te encuentras malo débil?

—No. Cansada. Esoes todo.

Ella caminó hasta laventana y se quedó allí,mirando afuera. Gabriela g u a r d ó d e n u e v o y,t e m i e n d o v e r s esuperado por la falta deconfianza en sí mismo,dijo súbitamente:

—Por cierto, Gretta...

—Dime.

—¿Viste a ese pobred i a b l o d e M a l i n s ? —dijo él rápidamente.

—Sí. ¿Qué le ocurre?

— B u e n o , p o b r ediablo, es un buen tipod e s p u é s d e t o d o —c o n t i n u ó G a b r i e l c o nvoz inc ie r ta—. Me hadevuelto aquel soberanoque le presté y que ya noesperaba recuperar. Esuna pena que no sepamantenerse a le jado deese tal Browne, porqueno es en verdad un malchico.

A h o r a t e m b l a b a d ed i sgus to . ¿Por qué sum u j e r p a r e c í a t a n

S e v o l v i ó e l l a l e n -t a m e n t e d e l e s p e j o ya t r a v e s ó e l c u a d r o d el u z p a r a a c e r c a r s e .S u c a r a l u c í a t a n s e -r i a y f a t i g a d a q u e l a sp a l a b r a s n o a c e r t a -b a n a s a l i r d e l o s l a -b i o s d e G a b r i e l . N o ,n o e r a e l m o m e n t ot o d a v í a .

— S e t e v e c a n s a d a—di jo é l .

—Lo estoy un poco —respondió ella.

—¿No te sientes en-ferma ni débil?

—No, cansada ; e soes todo .

S e f u e a l a v e n t a -n a y s e q u e d ó a l l á ,m i r a n d o p a r a f u e r a .G a b r i e l e s p e r ó d en u e v o y l u e g o , t e -m i e n d o q u e l o g a n a -r a l a i n d e c i s i ó n ,d i j o , a b r u p t o :

—¡Por cierto, Gretta!

—¿Qué es?

—¿Tú conoces a esepobre t ipo Mal ins? —di jo ráp ido .

—Sí . ¿Qué le pasa?

— N a d a , q u e e l p o -b r e e s d e l o m á s d e -c e n t e , d e s p u é s d et o d o — s i g u i óG a b r i e l c o n v o z f a l -s a — . M e d e v o l v i ó e ls o b e r a n o q u e l ep r e s t é , y n o m e l oe s p e r a b a e n a b s o l u -t o . E s u n a p e n a q u en o s e a l e j e d e e s et i p o B r o w n e , p u e sn o e s m a l a p e r s o n a .

Te m b l a b a , m o l e s -t o . ¿ P o r q u é p a r e -c í a e l l a t a n d i s t r a í -

away from: her back to

looked: seemedweary: tired

lips: mouthit was not the moment yet: the moment to show his

love had not come

I am a little: I am a little tired

weak: feeble

went on: continued to walk

out: at the streetwaked: pausedfearing: afraid

difidence: timidityabout to conqueer: on the point of invading

by the way: incidentally, in passing (transition oftenused to introduce another subject)

fellow: man

what about him: what has happened to him

decent: honourablechap: man, boy, fellow

in a false voice: in a tone that sounded false

gave me back: reimbursed mesovereign: gold coin

lent: gaveexpect it: hope for it

wouldn’t: couldn’tkeep away from: avoid

annoyance: displeasure

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abs t r ac ted? He d id no tk n o w h o w h e c o u l db e g i n . Wa s s h ea n n o y e d , t o o , a b o u ts o m e t h i n g ? I f s h ew o u l d o n l y t u r n t oh i m o r c o m e t o h i m o fh e r o w n a c c o r d ! Tot a k e h e r a s s h e w a sw o u l d b e b r u t a l . N o ,h e m u s t s e e s o m ea r d o u r i n h e r e y e sf i r s t . H e l o n g e d t o b em a s t e r o f h e r s t r a n g em o o d .

“ W h e n d i d y o ul e n d h i m t h ep o u n d ? ” s h e a s k e d ,a f t e r a p a u s e .

G a b r i e l s t r o v e t or e s t r a i n h i m s e l f f r o mb r e a k i n g o u t i n t ob r u t a l l a n g u a g e a b o u tthe so t t i sh Mal ins andh i s p o u n d . H e l o n g e dt o c r y t o h e r f ro m h i ss o u l , t o c r u s h h e rb o d y a g a i n s t h i s , t oo v e r m a s t e r h e r . B u th e s a i d :

“ O , a t C h r i s t m a s ,w h e n h e o p e n e d t h a tl i t t l e C h r i s t m a s -c a r d s h o p i n H e n r yS t r e e t . ”

H e w a s i n s u c h afever of rage and desirethat he did not hear hercome from the window.She s t ood be fo r e h imfor an instant , lookingat him strangely. Then,suddenly raising herselfo n t i p t o e a n d r e s t i n gher hands l ightly on hiss h o u l d e r s , s h e k i s s e dhim.

“You are a verygenerous person, Gabriel,”she said.

G a b r i e l , t r e m b l i n gw i t h d e l i g h t a t h e rs u d d e n k i s s a n d a tt h e q u a i n t n e s s o f h e r

a b s t r a í d a ? N o s a b í asiquiera cómo empezar.¿ Q u i z á e s t a b adisgustada, además, poralgo? ¡Si tan sólo se vol-viera hacia él o avanzaraespontáneamente haciaél! Tomarla en aquellas i tuac ión hubiera s idob r u t a l . N o , p r i m e r odebía haber algún ardoren sus ojos. Le hubieragustado ser el dueño ys e ñ o r d e s u e x t r a ñ oestado de ánimo.

—¿Cuándo le hicistee s e p r é s t a m o ? —preguntó el la , despuésde una pausa.

G a b r i e l s e e s f o r z óp o r c o n t e n e r s e y n od e c i r u n a b a r b a r i d a ds o b r e e l b o r r a c h o d eM a l i n s y s u d i n e r o .H u b i e r a q u e r i d omostrarle el llanto de sua lma , hub ie ra quer idoe s t r e c h a r s u c u e r p oc o n t r a e l s u y o ,dominarla. Pero dijo:

— O h , e n N a v i d a d ,c u a n d o a b r i ó e s ap e q u e ñ a t i e n d a d etarjetas de Navidad enHenry Street.

Estaba tan arrebatadopor la rabia y el deseoque no la oyó avanzardesde la ventana. Ella sed e t u v o a n t e é l u ninstante , mirándole deun modo extraño. Despuésse alzó súbitamente depuntillas y, descansandoligeramente las m a n o se n s u s h o m b r o s , l ebesó .

—Eres una pe r sonamuy generosa, Gabriel—dijo.

Te m b l a n d o d ed e l e i t e a n t e a q u e ls ú b i t o b e s o j u n t o au n a f r a s e t a n

d a ? N o s a b í a p o rd ó n d e e m p e z a r .¿ E s t a r í a m o l e s t ae l l a t a m b i é n p o ra l g o ? ¡ S i s o l a m e n t es e v o l v i e r a o v i n i e -r a h a c i a é l p o r s ím i s m a ! To m a r l a a s íc o m o e s t a b a s e r í ab e s t i a l . N o , t e n í aq u e n o t a r u n p o c od e p a s i ó n e n s u so j o s . D e s e a b a d o -m i n a r s u e x t r a ñ oe s t a d o d e á n i m o .

—¿Cuándo l e p r e s -t a s t e l a l i b r a ? — p r e -gun tó e l l a después deuna pausa .

G a b r i e l l u c h ó p o rc o n t e n e r s e y n oa r r a n c a r a m a l d e c i rb r u t a l m e n t e a l e s t ú -p i d o d e M a l i n s y s ul i b r a . A n h e l a b a g r i -t a r l e d e s d e e l f o n d od e s u a l m a , e s t r u j a rs u c u e r p o c o n t r a e ls u y o , d o m i n a r l a .P e r o d i j o :

—Oh, por Navidad ,c u a n d o a b r i ó s ut i e n d e c i t a d e t a r j e t a sd e f e l i c i t a c i o n e s e nHenry St ree t .

Su f r í a t a l f i eb re der a b i a y d e d e s e o q u en o l a o y ó a c e r c a r s e ,desde l a ven tana . E l l as e d e t u v o f r e n t e a é lun ins tan te , mi rándo lode modo ex t raño . Lue-g o , p o n i é n d o s e d ep r o n t o e n p u n t i l l a s yp o s a n d o s u s m a n o s ,l eve , en sus hombros ,lo besó .

— E r e s t a n g e n e -r o s o , G a b r i e l —d i j o .

G a b r i e l , t e m b l a n d od e d e l e i t e a n t e s ub e s o s ú b i t o y l a r a r e -z a d e s u f r a s e , l e p u s o

abstracted: absent, absorbed in her own thoughtsannoyed...about: displeased...with

take: possessas she was: the state she was in

brutal: indelicate, bestial

mood: disposition, state of mind

pound: sovereignpause: silence

strove: made effortsrestrain himself—into: not to explode and use

brutal: rude

sottish: alcoholicSOTTISH drunk, with implications that this is a frequentcondition

from his soul: deep down in his heart

crush: press hard

overmaster her: be her total master, dominate her

Christmas-card shop: business for selling Christmascards

hear her come: verb of perception + infinitivewithout to

raising herself on tiptoe: standing on tiptoe

kissed him: touched his face with her lips

delight: joyat: because of

quaintness: strangeness

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p h r a s e , p u t h i s h a n d so n h e r h a i r a n d b e g a ns m o o t h i n g i t b a c k ,s c a r c e l y t o u c h i n g i tw i t h h i s f i n g e r s . T h ew a s h i n g h a d m a d e i tf i n e a n d b r i l l i a n t .H i s h e a r t w a sb r i m m i n g o v e r w i t hh a p p i n e s s . J u s t w h e nh e w a s w i s h i n g f o r i ts h e h a d c o m e t o h i mo f h e r o w n a c c o r d .P e r h a p s h e r t h o u g h t sh a d b e e n r u n n i n gw i t h h i s . P e r h a p s s h eh a d f e l t t h ei m p e t u o u s d e s i r e t h a tw a s i n h i m , a n d t h e nt h e y i e l d i n g m o o dh a d c o m e u p o n h e r .N o w t h a t s h e h a df a l l e n t o h i m s oe a s i l y , h e w o n d e r e dw h y h e h a d b e e n s od i f f i d e n t .

H e s t o o d , h o l d i n gh e r h e a d b e t w e e n h i shands . Then , s l i pp ingone arm swif t ly abouther body and drawingh e r t o w a r d s h i m , h esaid softly:

“Gretta, dear, what areyou thinking about?”

S h e d i d n o ta n s w e r n o r y i e l dw h o l l y t o h i s a r m .He sa id aga in , sof t ly :

“ Te l l m e w h a t i t i s ,G r e t t a . I t h i n k I k n o ww h a t i s t h e m a t t e r . D oI k n o w ? ”

S h e d i d n o t a n s w e ra t o n c e . T h e n s h es a i d i n a n o u t b u r s to f t e a r s :

“ O , I a m t h i n k i n ga b o u t t h a t s o n g , T h eLass of Aughrim.”

S h e b r o k e l o o s ef r o m h i m a n d r a n t othe bed and , th rowing

e x q u i s i t a , G a b r i e ll evan tó l a s manos hastaa c a r i c i a r s u c a b e l l o ,f i n o y b r i l l a n t e ,e c h á n d o s e l o h a c i aa t r á s c a s i s i n t o c a r l o .S u c o r a z ó n r e b o s a b ad e f e l i c i d a d . E l l a s eh a b í a m o v i d o h a c i aé l p o r s u p r o p i av o l u n t a d p r e -c i s a m e n t e c u a n d o é la s í l o d e s e a b a .Q u i z á l o s p e n s a m i e n-tos de su mujer corríanparejos con los suyos. Quizás u mujer había sucumbidoa l i m p e t u o s o d e s e o ____ _____ ____ ___ __ __ ____ ___ _____ _______ ______ q u e l e p o s e í a .A h o r a q u e s e l em o s t r a b a r e n d i d a , s ep r e g u n t a b a e l p o r q u éd e s u f a l t a d econfianza en sí mismo.

________ To m ó s ucabeza ent re las manosy d e s l i z ó u n b r a z os u a v e m e n t e a l r e d e d o rd e s u c u e r p o ,e s t r echándo la . _ _ __ ___ __ _ _ _

— ¿ E n q u é p i e n s a s ,querida Gretta?

E l l a n o r e s p o n d i ón i s e d e j ó l l e v a r p o rl a p r e s i ó n d e s ub r a z o .

— D i m e d e q u é s et r a t a — d i j o é l ,suavemen te—. Quie rosaber lo que ocurre.

E l l a t a r d ó e ncontestar y, de repente,s e v i o e n v u e l t a e nllanto.

—Me acuerdo de esacanción, La doncella deAughrim.

S e s e p a r ó d e é lp a r a d e j a r s e c a e r e nl a c a m a , c r u z a n d o

u n a m a n o s o b r e e lp e l o y e m p e z ó aa l i s á r s e l o h a c i a a t r á s ,t o c á n d o l o a p e n a s c o nl o s d e d o s . E l l a v a d os e l o h a b í a p u e s t of i n o y b r i l l a n t e . S uc o r a z ó n d e s b o r d a b ad e f e l i c i d a d . J u s t oc u a n d o l o d e s e a b ah a b í a v e n i d o e l l a p o rs u p r o p i a v o l u n t a d .Q u i z á s u s p e n s a -m i e n t o s c o r r í a na c o r d e s [ 1 4 8 ] c o nl o s s u y o s . Q u i z á e l l as i n t i e r a e l i m p e t u o s od e s e o q u e é l g u a r d a -b a d e n t r o y s u e s t a -d o de án imo imper io -so la hab ía subyugado.Ahora que ella se le ha-bía entregado tan fáci l-men te , se p regun tó é lpor qué había s ido tanpusi lánime .

Se puso en pie, soste-niendo su cabeza entrelas manos. Luego, desli-zando un brazo rápida-mente a l rededor de sucuerpo y atrayéndola ha-cia él, dijo en voz baja:

— G r e t t a q u e r i d a ,¿en qué p iensas?

N o r e s p o n d i ó e l l an i c e d i ó a s u a b r a z op o r e n t e r o . D e n u e v oh a b l ó é l , q u e d o :

— D i m e q u é e s ,G r e t t a . C r e o q u es é l o q u e t e p a s a .¿ L o s é ?

N o r e s p o n d i ó e l l ae n s e g u i d a . L u e g od i j o e n u n a t a q u e d el l a n t o :

—Oh, p ienso en esac a n c i ó n , L a j o v e n d eAughr im.

S e s o l t ó d e s ua b r a z o y c o r r i ó h a s -t a l a c a m a , y t i r a n d o

phrase: expression

smoothing it back: caressing it ; begin + -ingscarcely: hardly, almost not

washing: fact that it had been washed

brimming over: inundated, overflowing

with wishing for: desiring

her thoughts...with his: her reflections bad beengoing in the same direction as his own thoughts

then: consequentlythe yielding...her: she had felt disposed to submit

herself to his desire

fallen to: ceased to resist

wondered: asked himself

diffident: timid, shy

holding: retaining

slipping...body: capturing her body with big arm

drawing her towards him: pulling, bringing her to him

yield: abandon herselfwholly: completely

to: to the pressure of

what is the matter: the cause of your strange mood

outburst of tears: sudden expression of grief

broke loose from: escaped

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h e r a r m s a c r o s s t h ebed-rai l , h id her face .G a b r i e l s t o o ds t o c k s t i l l f o r am o m e n t i nas tonishment and thenf o l l o w e d h e r . A s h ep a s s e d i n t h e w a y o ft h e c h e v a l - g l a s s h ecaught s ight of h imselfi n f u l l l e n g t h , h i sb r o a d , w e l l - f i l l e ds h i r t - f r o n t , t h e f a c ew h o s e e x p r e s s i o na l w a y s p u z z l e d h i mw h e n h e s a w i t i n am i r r o r , a n d h i sg l i m m e r i n g g i l t -r i m m e d e y e g l a s s e s .He ha l ted a few pacesf rom her and sa id :

“ W h a t a b o u t t h es o n g ? W h y d o e s t h a tmake you cry?”

S h e r a i s e d h e rh e a d f r o m h e r a r m sa n d d r i e d h e r e y e sw i t h t h e b a c k o f h e rh a n d l i k e a c h i l d . Ak i n d e r n o t e t h a n h eh a d i n t e n d e d w e n ti n t o h i s v o i c e .

“ W h y, G r e t t a ? ” h ea s k e d .

“ I a m t h i n k i n ga b o u t a p e r s o n l o n gago who used t o s i ngtha t song .”

“ A n d w h o w a s t h eperson long ago?” askedGabriel, smiling.

“It was a person I usedto know in Galway whenI was l i v ing w i th mygrandmother,” she said.

T h e s m i l e p a s s e da w a y f r o m G a b r i e l ’sface. A dull anger beganto gather again at the backof his mind and the dullfires of his lust beganto glow angr i ly in h isveins.

l o s b r a z o s s o b r e l aa lmohada y ocultando s ur o s t r o . G a b r i e l s eq u e d ó i n m ó v i ld u r a n t e u n i n s t a n t e ,e s t u p e f a c to, y desp u é sl a s i g u i ó . A l p a s a ra n t e e l e s p e j os e v i o d e c u e r p oe n t e r o , l aa j u s t a d ap e c h e r a d e l ac a m i s a , e l r o s t r oc u y a e x p r e s i ó ns iempre le sor p r e n d í ac u a n d o l o v e í a e nu n e s p e j o , e l b r i l l od o r a d o d e s u sg a f a s . S e d e t u v o au n o s p a s o s d e e l l ay p r e g u n t ó :

— ¿ Q u é t i e n e e s ac a n c i ó n ? ¿ P o r q u é t ehace llorar?

Ella levantó la cabezade entre sus brazos y ses e c ó l o s o j o s c o n e ldorso de la mano, comosi fuera una chiquilla.

— ¿ P o r q u é ,G r e t t a ? — p r e g u n t óé l c o n u n t o n o m á sa m a b l e d e l o q u ep r e t e n d í a .

—Me acuerdo de unapersona que solía cantare s a c a n c i ó n , h a c etiempo.

—¿Y quién era esapersona de hace tiempo? —preguntó Gabriel sonriendo.

—Una persona que yos o l í a v e r e n G a l w a ycuando vivía allí con miabuela —dijo ella.

La sonrisa desapareciódel rostro de Gabriel. Unaira sorda comenzó aacumularse en el fondo de sumente, y el fuego empañadode su deseo comenzó afosforescer agriamente ensus venas.

los b razos por sobre l ab a r a n d a , e s c o n d i ó l ac a r a . G a b r i e l s eq u e d ó p a r a l i z a d od e a s o m b r o u nm o m e n t o y l u e g ol a s i g u i ó . C u a n d oc r u z ó f r e n t e a l e s -p e j o g i r a t o r i o s ev i o d e l l e n o : e la n c h o p e c h o d el a c a m i s a , r e l l e -n o ; l a c a r a , c u y ae x p r e s i ó n s i e m -p r e l o i n t r i g a b ac u a n d o l a v e í a e n u ne s p e j o , y s u s r e l u -c i e n t e s e s p e j u e l o sd e a r o s d e o r o . S ed e t u v o a p o c o s p a s o sd e e l l a y l e d i j o :

— ¿ Q u é o c u r r e c o nesa canc ión? ¿Por quéte hace l lo ra r?

Ella levantó la cabe-za de en t re los brazosy se secó los o jos cone l d o r s o d e l a m a n o ,c o m o u n n i ñ o . U n anota más bondadosa delo que hubiera quer idose in t rodujo en su voz :

—¿Por qué, Gretta? —preguntó.

— P i e n s o e n u n ap e r s o n a q u e c a n t a b ae s a c a n c i ó n h a c et i e m p o .

— ¿ Y q u i é n e s e s ap e r s o n a ? — p r e g u n t óGabr ie l , sonr iendo.

— U n a p e r s o n a q u ey o c o n o c í e n G a l w a yc u a n d o v i v í a c o n m iabuela — di jo e l la .

La sonrisa se esfumóde la cara de Gabr ie l .Una rabia sorda le cre-cía de nuevo en el fondodel cerebro y el apagadofuego del deseo empezóa quemarle con furia enlas venas.

bed-rail: metal bar of the bedhid (hide, —, hidden): covered

stock-still: immobile

astonishment: stupor

the way of: in front ofcheval-glass: swinging mirror

CHEVAL-GLASS Free standing full-length mirrorcaught sight: had a brief view

broad: largewell-filled: prominent

puzzled: intrigued, perplexed

glimmering: scintillatinggilt-rimmed: circled with gold

paces (a few paces): at a little distance

what about: in what manner does that song concernyou?

cry: have tears in your eyes, weep

dried her eyes: made her eyes dry (# humid)back # palm

kinder: more kind, more gentlenote: intonation

intended: had the intention to use

long ago: a long time in the past

passed away: disappeared

dull: vague, diffuseanger: rage

gather: accumulateat the back—mind: in his head, but not clearly

fires: hot pangsglow: radiate, burn

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“ S o m e o n e y o uw e r e i n l o v e w i t h ? ”h e a s k e d i r o n i c a l l y.

“It was a young boyI u s e d t o k n o w, ” s h ea n s w e r e d , “ n a m e dMichael Furey. He usedto s ing that song, TheL a s s o f A u g h r i m . H ewas very delicate .”

G a b r i e l w a ss i l e n t . H e d i d n o tw i s h h e r t o t h i n kt h a t h e w a si n t e r e s t e d i n t h i sd e l i c a t e b o y.

“ I c a n s e e h i m s op l a i n l y , ” s h e s a i d ,a f t e r a m o m e n t .“ S u c h e y e s a s h eh a d : b i g , d a r k e y e s !A n d s u c h a ne x p r e s s i o n i n t h e m —a n e x p r e s s i o n ! ”

“O, then, you are inl o v e w i t h h i m ? ” s a i dGabriel .

“ I u s e d t o g o o u twalking with him,” shes a i d , “ w h e n I w a s i nGalway.”

A t h o u g h t f l e wacross Gabriel’s mind.

“ P e r h a p s t h a t w a swhy you wanted to got o G a l w a y w i t h t h a tI v o r s g i r l ? ” h e s a i dcoldly.

S h e l o o k e d a t h i mand asked in surprise:

“What for?”

H e r e y e s m a d eGabriel feel awkward .H e s h r u g g e d h i sshoulders and said:

“How do I know? Tosee him, perhaps.”

S h e l o o k e d a w a y

—¿Alguien de quienes tabas enamorada? —preguntó con i ron ía .

— U n m u c h a c h ol l a m a d o M i c h a e lF u r e y . É l s o l í ac a n t a r e s a c a n c i ó n ,L a d o n c e l l a d eA u g h r i m . E r a m u yt i e r n o .

G a b r i e lp e r m a n e c i ó e ns i l e n c i o . N o q u e r í as u g e r i r i n t e r é sa l g u n o e n a q u e lt i e r n o m u c h a c h o .

—Le puedo ve r t anclaramente —dijo ella,a l c a b o d e u nmomento—. Con aquellosojos que tenía. ¡Unos gran-des ojos oscuros! Y aquellaexpresión... ¡Aquella expre-sión!

— O h , e n t o n c e s¿estabas enamorada deél? —dijo Gabriel.

— S a l í a a p a s e a rc o n é l — d i j o e l l a — ,c u a n d o e s t a b a e nG a l w a y.

Una idea atravesó lamente de Gabriel.

— Q u i z á p o r e s oq u e r í a s i r aG a l w a y c o n l aI v o r s e s a — d i j of r í a m e n t e .

E l l a l e m i r ó ypreguntó sorprendida:

—¿Para qué?

Sus ojos hicieron queG a b r i e l s e s i n t i e r ae m b a r a z a d o . E n c o g i ólos hombros y dijo:

— ¿ C ó m o l o v o y asaber? Para verle, quizá.

Ella retiró los ojos de

—¿Algu ien de qu i en e s -t u v i s t e e n a m o r a d a ? — p r e -gun tó i r ón i camen te .

—Un muchacho queyo conocí —respondióe l l a— que se l l amabaMichae l Furey. Canta-ba esa canc ión , La jo-v e n d e A u g h r i m . E r atan del icado .

G a b r i e l s e q u e d óc a l l a d o . N o q u e r í aq u e e l l a s u p i e r aq u e e s t a b a i n t e r e -s a d o e n s u m u c h a -c h o d e l i c a d o .

— T a l c o m o s i l oe s t u v i e r a v i e n d o —d i j o u n m o m e n t od e s p u é s — . ¡ Q u é o j o st e n í a : g r a n d e s , n e -g r o s ! ¡ Y q u é e x p r e -s i ó n e n e l l o s … , q u ée x p r e s i ó n !

—Ah, ¿entonces es -tabas enamorada de é l?—di jo Gabr ie l .

— S a l í a c o n é l ap a s e a r — d i j o e l l a —c u a n d o v i v í a e nG a l w a y.

Un pensamien to pa sópor el cerebro de Gabriel.

—¿Tal vez fuera pore s o q u e q u e r í a s i r aG a l w a y c o n e s a m u -c h a c h a I v o r s ? — d i j of r íamente .

El la le miró y le pregun-tó , sorprendida : [149]

—¿Para qué?

S u s o j o s h i c i e r o nq u e G a b r i e l s i n t i e r ad e s a z ó n . E n c o g i e n d olos hombros , d i jo :

—¿Cómo voy a saber-lo yo? Para verlo, ¿no?

R e t i r ó l a m i r a d a

were in love with: love

I used to: (note the insistent repetition of used toexpressing things that existed in the past but no

longer exist, and the omnipresence of the past

DELICATE A word in use to indicate not weakness butrather susceptibility to illness.

he was...boy: this...boy interested him # interested in

him: his imageplainly: clearly, distinctly

such eyes as he had: those eyes!

you are: note the implication of the change fromwere, 194, 27, to are

GO OUT WALKING WITH The phrase used for dating, withthe suggestion that they were in full view of thecommunity and thus were engaged in acceptablebehavior.

flew across: passed across rapidly

was: was the reason

that Ivors girl: (rude way of naming Miss Ivors)

coldly # gently, in a friendly manner

what for: for what reason, why

awkward: embarrassedshrugged: moved his shoulders up and down (as a

sign of doubt)

do I know: can I answer

she looked...along: her eyes left him to follow

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f r o m h i m a l o n g t h eshaf t o f l igh t towardsthe window in si lence.

“ H e i s d e a d , ” s h esaid at length. “He diedw h e n h e w a s o n l ys e v e n t e e n . I s n ’ t i t aterrible thing to die soyoung as that?”

“ W h a t w a s h e ? ”a s k e d G a b r i e l , s t i l li ronically.

“ H e w a s i n t h egasworks ,” she said.

G a b r i e l f e l th u m i l i a t e d b y t h efai lure of h is i rony andb y t h e e v o c a t i o n o ft h i s f i g u r e f r o m t h ed e a d , a b o y i n t h eg a s w o r k s . W h i l e h eh a d b e e n f u l l o fm e m o r i e s o f t h e i rs e c r e t l i f e t o g e t h e r ,fu l l o f t enderness andjoy and des i re , she hadbeen compar ing h im inher mind wi th another.A s h a m e f u lc o n s c i o u s n e s s o f h i so w n p e r s o n a s s a i l e dhim. He saw himself asa l u d i c r o u s f i g u r e ,ac t ing a s a pennyboyf o r h i s a u n t s , anervous , wel l -meaningsent imenta l i s t , o ra t ingt o v u l g a r i a n s a n di d e a l i s i n g h i s o w nc l o w n i s h l u s t s , t h epi t iab le fa tuous fe l lowh e h a d c a u g h t ag l i m p s e o f i n t h em i r r o r . I n s t i n c t i v e l yh e t u r n e d h i s b a c kmore to the l igh t l e s ts h e m i g h t s e e t h es h a m e t h a t b u r n e dupon his forehead.

He tried to keep up histone of cold interrogation,but h is voice when hespoke was humble andindifferent.

él y siguió con la miradaen silencio la flecha deluz hacia la ventana.

— E s t á m u e r t o —d i j o a l c a b o — . M u r i óc o n t a n s ó l od i e c i s i e t e a ñ o s . ¿ N oe s t e r r i b l e m o r i r t a nj o v e n ?

—¿A qué se dedicaba?—preguntó Gabriel sincejar en su ironía.

—Trabajaba en lafábrica de gas —dijo ella.

G a b r i e l s e s i n t i óhumillado por el fiascod e s u i r o n í a y p o r l ae v o c a c i ó n d e a q u e l l ai m a g e n d e e n t r e l o smuertos , un muchachod e l a f á b r i c a d e g a s .Mientras él rebosaba der e c u e r d o s d e s u v i d asecreta juntos, lleno deternura, alegría y deseo,e l l a l e h a b í a e s t a d oc o m p a r a n d o m e n t a l -m e n t e c o n o t r o . U n avergonzosa concienciade su propia persona seapoderó de él. Se vio as í m i s m o c o m o u n aimagen r id ícula , comoel correveidi le de sust í a s , u n s e n t i m e n t a ln e r v i o s o yb i e n p e n s a n t e , u nchar l i s t a adocenado yu n i d e a l i s t a d e s u sp r o p i o s , a n h e l o s d epayaso, el fatuo sujetom u y d i g n o d e p i e d a dq u e h a b í a v i s t oreflejado en el espejo.Inst int ivamente volvióla espalda a la luz, pormiedo a que ella pudieraver la vergüenza q u eardía en su frente.

Trató de mantener elt o n o d e f r í ain ter rogación , pero suv o z s o n ó s u m i s a yapática.

p a r a r e c o r r e r c o n l o so j o s e l r a y o d e l u zhas t a l a ven tana .

—El es tá muer to —dijo e l la a l ra to—. Mu-r ió cuando apenas t e -n í a d i e c i s i e t e a ñ o s .¿ N o e s t e r r i b l e m o r i ras í t an joven?

— ¿ Q u é e r a é l ? —preguntó Gabr ie l , i ró-n ico todavía .

— T r a b a j a b a e n e lgas —di jo e l la .

G a b r i e l s e s i n t i óh u m i l l a d o p o r e l f r a -c a s o d e s u i r o n í a ya n t e l a e v o c a c i ó n d ee s t a f i g u r a d e e n t r el o s m u e r t o s : u n m u -c h a c h o q u e t r a b a j a b ae n e l g a s . M i e n t r a s é lh a b í a e s t a d o l l e n o d er e c u e r d o s d e s u v i d as e c r e t a e n c o m ú n , l l e -n o d e t e r n u r a y d e s e o ,e l l a l o c o m p a r a b am e n t a l m e n t e c o n e lo t r o . L o a s a l t ó u n av e r g o n z a n t e c o n c i e n -c i a d e s í m i s m o . S ev i o c o m o u n a f i g u r ar i d í c u l a , a c t u a n d oc o m o re c a d e ro d e s u st í a s , u n n e r v i o s o yb i e n i n t e n c i o n a d o s e n -t i m e n t a l , a l a r d e a n d od e o r a d o r c o n l o s h u -m i l d e s , i d e a l i z a n d oh a s t a s u v i s i b l e l u j u -r i a : e l l amen tab l e t i pof a t u o q u e h a b í a v i s t om o m e n t á n e a m e n t e e ne l e s p e j o . I n s t i n t i v a m e n t ed i o l a e s p a l d a a l al u z , n o f u e r a q u e e l l ap u d i e r a v e r l a v e r -g ü e n z a q u e l e q u e m a -b a e l r o s t r o .

T r a t ó d e m a n t e n e rs u t o n o f r í o , d e i n t e -r r o g a t o r i o , p e r o c u a n -d o h a b l ó s u v o z e r aind i f e ren te y humi lde .

dead: deceased, not livingdied: lost his life

when he was...seventeen: at the age of seventeen

to die: compare to die and to be dead

what was he: what was his job

gasworks: place where gas for use in the home is madeGASWORKS An unhealthy place to work, for this was aplant where burning coal was turned into gas to be usedfor light and heat in Dublin. Probably the cause ofMichael’s tuberculosis.

failure: ineffectiveness

from: come from, raised fromthe dead: the people now deadwhile: during all the time that

had been: pluperfect that expresses anteriority in thepast

in her mind: mentallya shameful...assailed him: he was suddenly invaded

by a feeling of his own ignominy

ludicrous: ridiculous

penny-boy: occasional servantPENNYBOY FOR HIS AUNTS Made himself ridiculous inhis behavior at the party.

well-meaning: full of good intentionsorating: haranguing

vulgarians: vulgar people

clownish: (obsolete) brutalfatuous: pretentious

caught a glimpse of: seen briefly, caught sight of

lest: in case; lest + might or shouldburned upon his forehead: covered his face with red

keep up: maintain

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“I suppose you werei n l o v e w i t h t h i sMichael Furey, Gretta,”he said.

“ I w a s g r e a t w i t hh i m a t t h a t t i m e , ”s h e s a i d .

H e r v o i c e w a sv e i l e d a n d s a d .G a b r i e l , f e e l i n g n o whow va in i t wou ld bet o t r y t o l e a d h e rw h i t h e r h e h a dp u r p o s e d , c a r e s s e do n e o f h e r h a n d s a n dsa id , a l so sad ly :

“And what did he die ofso y o u n g , G r e t t a ?Consumption, was it?”

“I think he died forme,” she answered.

A v a g u e t e r r o rs e i z e d G a b r i e l a tt h i s a n s w e r, a s i f , a tt h a t h o u r w h e n h eh a d h o p e d t ot r i u m p h , s o m ei m p a l p a b l e a n dv i n d i c t i v e b e i n g w a sc o m i n g a g a i n s t h i m ,g a t h e r i n g f o r c e sa g a i n s t h i m i n i t sv a g u e w o r l d . B u t h eshook h imse l f f ree o fi t w i t h a n e f f o r t o fr e a s o n a n d c o n t i n u e dt o c a r e s s h e r h a n d .H e d i d n o t q u e s t i o nh e r a g a i n , f o r h e f e l tt h a t s h e w o u l d t e l lh i m o f h e r s e l f . H e rh a n d w a s w a r m a n dm o i s t : i t d i d n o tr e s p o n d t o h i s t o u c h ,b u t h e c o n t i n u e d t oc a r e s s i t j u s t a s h eh a d c a r e s s e d h e r f i r s tl e t t e r t o h i m t h a ts p r i n g m o r n i n g .

“ I t w a s i n t h ew i n t e r , ” s h e s a i d ,“ a b o u t t h e b e g i n n i n go f t h e w i n t e r w h e n Iwas going to leave my

— S u p o n g o , G r e t t a ,que estabas enamoradade ese Michael Furey —dijo.

—Me lo pasaba muybien con él entonces —dijo ella.

S u v o z s o n ó v e l a d ay t r i s t e . C o n s c i e n t ed e c u á n e n v a n oh a b í a e s t a d o t r a t a n d od e c o n d u c i r l a p o rd o n d e s e p r o p o n í a ,G a b r i e l l e a c a r i c i ó l am a n o y d i j o , t a m b i é nt r i s t e m e n t e :

—¿Y por qué muriót a n j o v e n , G r e t t a ?¿D e a g o t a m i e n t o ?

—Creo que murió pormí —respondió ella.

Un terror indefinidose apoderó de Gabr ie la l o í r s e m e j a n t erespues ta , como s i enla hora en que hubierae s p e r a d o t r i u n f a r ,a lgún ser in tangib le yvengador se l e echaraencima con las fuerzasq u e e n s u c o n t r ahubiera podido sacar des u m u n d o i n d e f i n i d o .Pero se sobrepuso conun esfuerzo de la razóny s iguió acar ic iando sumano . No le p reguntóde nuevo porque se diocuenta de que el la se locontar ía todo. Su manoe s t a b a c a l i e n t e yh ú m e d a ; n o h u b or e s p u e s t a a s u r o c e ,p e r o é l l a s i g u i óacariciando como habíaa c a r i c i a d o a q u e l l amañana de primavera lapr imera car ta que e l lale enviara .

—Fue en el invierno— d i j o e l l a — , a lprincipio del invierno,c u a n d o y o e s t a b a apunto de irme de la casa

—Supongo que es ta-r ías enamorada de és teMichae l Furey, Gre t ta— di jo .

— M e s e n t í a m u ybien con él entonces —di jo e l la .

Su voz sonaba ve la -d a y t r i s t e . G a b r i e l ,s i n t i e n d o a h o r a l ov a n o q u e s e r í a t r a t a rd e l l e v a r l a m á s l e j o sde lo que se p ropuso ,acarició una de sus ma-nos y d i jo , é l t ambiént r i s t e :

— ¿ Y d e q u é m u r i ót a n j o v e n , G r e t t a ?Tuberculoso , supongo.

—Creo que murió pormí —respondió ella.

U n t e r r o r v a g o s ea p o d e r ó d e G a b r i e la n t e s u r e s p u e s t a ,c o m o s i , e n e l m o -m e n t o e n q u e c o n f i a -b a t r i u n f a r, a l g ú n s e ri m p a l p a b l e y v e n g a t i -v o s e a b a l a n z a r a s o -b r e é l , r e u n i e n d o l a sf u e r z a s d e s u m u n d ot e n u e p a r a e c h á r s e l ee n c i m a . P e r o s e s a c u -d i ó l i b r e c o n u n e s -f u e r z o d e s u r a c i o c i -n i o y c o n t i n u ó a c a r i -c i á n d o l e a e l l a l am a n o . N o l a i n t e r r o g óm á s p o r q u e s e n t í a q u es e l o c o n t a r í a e l l at o d o p o r s í m i s m a . S um a n o e s t a b a h ú m e d ay c á l i d a , n o r e s p o n d í aa s u c a r i c i a , p e r o é lc o n t i n u a b a a c a r i c i á n -d o l a t a l c o m o h a b í aa c a r i c i a d o s u p r i m e r ac a r t a a q u e l l a m a ñ a n ad e p r i m a v e r a .

— E r a e n i n v i e r n o— d i j o e l l a — , c o m oa l c o m i e n z o d e l i n -v i e r n o , e n q u e y oi b a a d e j a r a m i

I was great with him: we were great friends, very closefriendsGREAT As used at the time, the word suggested suggestedcloseness rather than love.

lead her...purposed: guide her to the point where he hadintended to take her (the moment when she would desire him)WHITHER HE HAD PURPOSED Another example of Joyce’searly use of stylistic infection, of the words or phrasesof a character inserting themselves into the narration.

did he die of: was the cause of his death

consumption: tuberculosis (of the lungs)

I THINK HE DIED FOR ME We have seen numerous instances earlierin the story (see Gretta’s complaint about the galoshes and Gabriel’soverprotective behavior) of Gretta’s strength of character,independence, and rejection of many of the demeaning (especiallyfor women) currents of her Dublin. This statement is crucial,as we now see that Gretta herself has been unable to escapethe sentimentality, the nostalgia for the past, and — most ofall — the romanticism that has, in Joyce’s view, damagedthe Irish soul and spirit. Michael did not die for her, or evenbecause he stood out in the rain beneath her window: he died oftuberculosis, of a physical, not an emotional condition.

at this answer: when he heard this answerhour when: when after an expression of time

some: an (unspecified)

being: person

against him: to attack him

its: neuter: the being is neither male nor female

shook himself free of it: eliminated it, got rid of it(his terror)

of herself: spontaneously

moist # dryrespond: react / touch: contact

just: exactly in the same manner that

X

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g r a n d m o t h e r ’s a n dc o m e u p h e r e t o t h ec o n v e n t . A n d h e w a si l l a t t h e t i m e i n h i sl o d g i n g s i n G a l w a ya n d w o u l d n ’ t b e l e tou t , and h is people inO u g h t e r a r d w e r ewr i t t en to . He was indec l i ne , t hey s a id , o rsometh ing l ike tha t . Inever knew r igh t ly.”

S h e p a u s e d f o r amoment and sighed.

“ P o o r f e l l o w, ” s h esaid. “He was very fondof me and he was sucha gentle boy . We usedt o g o o u t t o g e t h e r ,w a l k i n g , y o u k n o w,G a b r i e l , l i k e t h e w a ythey do in the country.He was going to studys i n g i n g o n l y f o r h i shea l th . He had a veryg o o d v o i c e , p o o rMichael Furey.”

“ We l l ; a n d t h e n ? ”asked Gabriel .

“ A n d t h e n w h e n i tc a m e t o t h e t i m e f o rm e t o l e a v e G a l w a ya n d c o m e u p t o t h ec o n v e n t h e w a s m u c hw o r s e a n d I w o u l d n ’ tb e l e t s e e h i m s o Iw r o t e h i m a l e t t e rsay ing I was go ing upt o D u b l i n a n d w o u l dbe back in the summer,a n d h o p i n g h e w o u l dbe be t t e r t hen . ”

S h e p a u s e d f o r amoment to get her voiceunder control , and thenwent on:

“ T h e n t h e n i g h tbe fo re I l e f t , I was inm y g r a n d m o t h e r ’ shouse in Nuns ’ I s l and ,p a c k i n g u p , a n d Ih e a r d g r a v e l t h r o w nup against the window.T h e w i n d o w w a s s o

de mi abuela para veniral convento de aquí. Éle s t a b a t o d o e l r a t oenfermo en su pensiónd e G a l w a y y n o l ed e j a b a n s a l i r y y ah a b í a n a v i s a d o a s u sp a r i e n t e s e nOughterard. Decían queestaba consumido o algoa s í . N u n c a l o s u p e aciencia cierta.

G u a r d ó s i l e n c i o u nmomento y suspiró.

— P o b r e m u c h a c h o—di jo—. Era tan buenc h i c o y m e a p r e c i a b at a n t o . S o l í a m o s s a l i rjuntos , a pasear, ya sa-b e s , G a b r i e l , l a scos tumbres de l campo.E l q u e r í a e s t u d i a rcanto , pero su sa lud nos e l o p e r m i t í a . Te n í auna voz muy hermosa ,e l p o b r e M i c h a e lFurey.

—Bien, y ¿entonces?__________

Y entonces , cuandol l e g ó e l d í a d eabandonar Galway paravenirme al convento, éls e e n c o n t r a b a m u c h opeor y no me de ja ronverle, así que le escribíuna carta diciéndole queme iba a Dublín y queregresaría en verano yq u e e s p e r a b a q u ee s t u v i e r a m e j o r p a r aentonces.

S e d e t u v o u nmomento para hacersec o n e l d o m i n i o d e s uvoz, después prosiguió:

—L a n o c h e d e l avíspera de mi partida yoestaba en la casa de miabuela en Nuns’ Island,preparando mi equipaje,cuando oí que echabanunas chinitas contra lav e n t a n a . L a v e n t a n a

a b u e l a p a r a v e n i ra c á a l c o n v e n t o . Yé l e s t a b a e n f e r m os i e m p r e e n s u h o s -p e d a j e d e G a l w a y yn o l o d e j a b a n s a l i r ,y y a l e h a b í a n e s -c r i t o a s u g e n t e e nO u g h t e r a r d . E s t a b ad e c a í d o , d e c í a n , oc o s a a s í . N u n c as u p e a d e r e c h a s .

H i z o u n a p a u s ap a r a s u s p i r a r .

[ 1 5 0 ] — E l p o b r e— d i j o — . M e t e n í am u c h o c a r i ñ o y e r at a n g e n t i l . S a l í a m o sa c a m i n a r , t ú s a b e s ,G a b r i e l , c o m o h a c e ne n e l c a m p o . H u b i e -r a e s t u d i a d o c a n t od e r i ó h a b e r s i d op o r s u s a l u d . Te n í am u y b u e n a v o z e lp o b r e M i c h a e lF u r e y .

—Bien, ¿y entonces?—preguntó Gabriel.

—Y entonces , cuan-do v ino la hora de de-ja r yo Galway y veni racá pa ra e l conven to ,é l es taba mucho peor yno me de jaban n i i r aver lo , por lo que le es -cr ib í una car ta d ic ién-d o l e q u e m e i b a aDubl ín y regresaba enel verano y que espera-ba que es tuviera mejorpara en tonces .

H i z o u n a p a u s ap a r a c o n t r o l a r s uv o z y l u e g o s i -g u i ó :

— E n t o n c e s , l a n o -c h e a n t e s d e i r m e , y oe s t a b a e n l a c a s a d em i a b u e l a e n l a I s l ad e l a s M o n j a s , h a -c i e n d o l a s m a l e t a s ,c u a n d o o í q u e t i r a -b a n g u i j a r r o s a l a

grandmother’s: grandmother’s house, place

convent: religious schoolill: not well

lodgings: chambre meubléewouldn’t be let out: had the order to stay in his room

people: family

written to: were informed by letterin decline: declining (his health was deteriorating)

rightly: precisely

sighed: inhaled deeply (as a sign of sadness)

fellow: boywas very fond of me: loved me very much

WAS SUCH A GENTLE BOY In the manuscript, «had such agentle manner.»

like the way they do: as it is the custom to walk

only for his health: but his bad health made itimpossible

good: beautiful / poor: no article

then: after that

it came to the time: the moment arrived

he was much worse: his state of health wasaggravated considerably

wouldn’t be let: I was not permitted toso: consequently

be back: have returned (to Galway)

be better be worse # better, worse, comparatives ofwell, bad

get her voice under control: control, master hervoice (which was touched with emotion)

went on: continued

Nuns’ Island: on the west coastpacking up: assembling my luggage

thrown up against: directed at wet: covered withGRAVEL THROWN UP AGAINST THE WINDOW Cited in aprevious annotation where Gabriel is standing at the windowin the party scene and we get a proleptic tapping.

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wet I cou ldn’t s ee , soI r a n d o w n s t a i r s a s Iw a s a n d s l i p p e d o u tt h e b a c k i n t o t h eg a r d e n a n d t h e r e w a sthe poor f e l low a t t hee n d o f t h e g a r d e n ,sh iver ing . ”

“And did you not tellhim to go back?” askedGabriel .

“ I i m p l o r e d o f h i mt o g o h o m e a t o n c ea n d t o l d h i m h e w o u l dg e t h i s d e a t h i n t h er a i n . B u t h e s a i d h ed i d n o t w a n t t o l i v e . Ic a n s e e h i s e y e s a sw e l l a s w e l l ! H e w a ss t a n d i n g a t t h e e n d o ft h e w a l l w h e r e t h e r ew a s a t r e e . ”

“ A n d d i d h e g ohome?” asked Gabriel .

“ Ye s , h e w e n thome . And when I waso n l y a w e e k i n t h ec o n v e n t h e d i e d a n dh e w a s b u r i e d i nOugh te r a rd , whe re h i sp e o p l e c a m e f r o m . O ,t h e d a y I h e a r d t h a t ,t h a t h e w a s d e a d ! ”

S h e s t o p p e d ,c h o k i n g w i t h s o b s ,a n d , o v e r c o m e b yemot ion , f l ung he r se l ff ace downward on theb e d , s o b b i n g i n t h equ i l t . Gabr i e l he ld he rh a n d f o r a m o m e n tl o n g e r , i r r e s o l u t e l y ,a n d t h e n , s h y o fin t rud ing on he r g r i e f ,l e t i t f a l l g e n t l y a n dwa lked qu i e t l y t o t hewindow.

S h e w a s f a s ta s l eep .

G a b r i e l , l e a n i n g o nh i s e l b o w, l o o k e d f o ra f e w m o m e n t su n re s e n t f u l l y o n h e r

estaba tan húmeda queno puede ve r, a s í quebajé las escaleras y, sinh a c e r r u i d o , a b r í l apuerta del jardín, y allíe s t a b a e l p o b r emuchacho, al f inal deljardín, tiritando de frío.

—¿Y no le dijiste queregresa ra? —pregun tóGabriel.

— L e i m p l o r é q u er e g r e s a r a a s u c a s a yl e d i j e q u e a q u e l l al l u v i a l e i b a a m a t a r.P e r o é l m e d i j o q u en o q u e r í a v i v i r .P u e d o v e r s u s o j o st a n b i e n , ¡ t a n b i e n !E s t a b a d e p i e a l f i n a ld e l a v a l l a , d o n d eh a b í a u n á r b o l .

—¿Y él se fue a casa?—preguntó Grabiel.

—Sí, se fue a casa. Ycuando yo l levaba unasemana tan só lo en e lconvento, murió y fueenterrado en Oughterard,de donde era su familia.¡Oh , e l d í a en que l osupe, el día en que supeque había muerto!

D e j ó d e h a b l a r,s a c u d i d a p o r l o sso l lozos , y, dominadapor la emoción, se echóde bruces sobre la cama,s o l l o z a n d o e n e le d r e d ó n . G a b r i e ls o s t u v o s u m a n o u nmomento más, sin saberqué hacer, y después ladejó caer, temeroso deinmiscuirse en su pena,y s e a l e jó l en t amen tehacia la ventana.

Ella estaba profundamentedormida.

Gabriel , apoyado ene l c o d o , v a c í o d er e s e n t i m i e n t o , m i r óu n o s i n s t a n t e s s u

v e n t a n a . E l c r i s t a le s t a b a t a n a n e g a d oq u e n o p o d í a v e r, p o rl o q u e c o r r í a b a j o a s íc o m o e s t a b a y s a l í a lp a t i o , y a l l í e s t a b a e lp o b r e a l f i n a l d e lj a r d í n , t i r i t a n d o .

—¿Y no le dijiste quese fuera para su casa? —preguntó Gabriel.

—Le rogué que r e -gresara en seguida y led i j e que se iba a mor i rcon t an ta l l uv ia . Pe roé l me d i jo que no que -r í a s e g u i r v i v i e n d o .¡ P u e d o v e r s u s o j o sa h í m i s m o , « a h í m i s -mo»! Es t aba pa rado a lf ina l de l j a rd ín , dondehab ía un á rbo l .

—¿Y se fue? —pre-guntó Gabr ie l .

—Sí, se fue. Y cuan-do yo no l l evaba másque una semana en e lc o n v e n t o s e m u r i ó , yl o e n t e r r a r o n e nOugh te ra rd , de dondeera su fami l ia . ¡Ay, e ld ía que supe que se ha-b ía muer to!

Se de tuvo , ahogadaen l lanto, y, sobrecogi-da por l a emoción , set i r ó e n l a c a m ab o c a b a j o , a s o l l o z a rs o b r e l a c o l c h a .G a b r i e l s o s t u v o s umano du ran t e un r a tos in saber qué hacer, yluego , temeroso de en-t rometerse en su pena ,l a d e j ó c a e rg e n t i l m e n t e y s e f u e ,quedo, a la ventana .

El la dormía profun-damente .

G a b r i e l , a p o y a d oe n u n c o d o , m i r ó p o ru n r a t o y s i n r e s e n -t i m i e n t o s u p e l o r e -

as I was: (not properly dressed)slipped out the back: went out furtively by the back

door

end: extremity, bottom

shivering: trembling with colddid you not: interro-negative form back: back home,

to his MOM

rain: water falling from the cloudsas well: so well, so clearly

when I was...convent: I had been in theconvent only for a week when

buried: interredOughterard: a village north of Galway

came from: had their origins

choking with sobs: suffocating with griefovercome: defeated, vanquished

flung (fling, —, flung): threwface downwards...in the quilt: her face hidden ... in

the bedcover

shy of intruding on: hesitating to invade (withimportunate questions)

let it fall: abandoned it (on the bed)

fast asleep: sleeping profoundly

elbow: articulation of the arm

resentfully: without rancour, resentment

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t a n g l e d h a i r a n d h a l f -o p e n m o u t h , l i s t e n i n gt o h e r d e e p - d r a w nb r e a t h . S o s h e h a dh a d t h a t r o m a n c e i nh e r l i f e : a m a n h a dd i e d f o r h e r s a k e . I th a r d l y p a i n e d h i mn o w t o t h i n k h o wp o o r a p a r t h e , h e rh u s b a n d , h a d p l a y e di n h e r l i f e . H ew a t c h e d h e r w h i l es h e s l e p t , a s t h o u g hh e a n d s h e h a d n e v e rl i v e d t o g e t h e r a s m a na n d w i f e . His cur iouseyes res ted long uponh e r f a c e a n d o n h e rh a i r : a n d , a s h et h o u g h t o f w h a t s h em u s t h a v e b e e n t h e n ,in tha t t ime of her f i r s tg i r l i s h b e a u t y , as t r a n g e , f r i e n d l y p i t yf o r h e r e n t e r e d h i ssoul . He did not l ike tos a y e v e n t o h i m s e l ft h a t h e r f a c e w a s n ol o n g e r b e a u t i f u l , b u the knew tha t i t was nol o n g e r t h e f a c e f o rw h i c h M i c h a e l F u r e yhad braved dea th .

Perhaps she had notto ld h im a l l the s tory.His eyes moved to thec h a i r o v e r w h i c h s h eh a d t h r o w n s o m e o fher c lothes . A pet t icoats t r i n g d a n g l e d t o t h ef loo r. One boo t s toodupr ight , i t s l imp upperfal len down: the fel lowof i t l ay upon i t s s ide .H e w o n d e r e d a t h i sr io t o f emot ions of anh o u r b e f o r e . F r o mwhat had i t proceeded?F r o m h i s a u n t ’ ss u p p e r, f r o m h i s o w nf o o l i s h s p e e c h , f r o mthe wine and danc ing ,t h e m e r r y - m a k i n gw h e n s a y i n g g o o d -n i g h t i n t h e h a l l , t h ep l e a s u r e o f t h e w a l ka long the r ive r in thesnow. Poor Aunt Ju l ia !

enmarañado cabello y sub o c a e n t r e a b i e r t a ,escuchando su profundar e s p i r a c i ó n . D e m o d oque había habido aquelromance en su vida: unh o m b r e h a b í a m u e r t opor el la. Ahora apenasl e d o l í a p e n s a r e n e le s c a s o p a p e l q u e l ehabía tocado desempe-ñar, como marido, en suv i d a . L a c o n t e m p l ómientras dormía como siella y él jamás hubieranv i v i d o j u n t o s c o m om a r i d o y m u j e r. S u sávidos ojos descansarone n s u r o s t r o y e n s uc a b e l l o ; y, e n t o n c e s ,p e n s a n d o e n l o q u ed e b í a d e h a b e r s i d oa q u e l l a s u p r i m e r abelleza juvenil, su almase s in t ió invadida poru n a e x t r a ñ a p i e d a damistosa. No se hubierad icho n i s iqu ie ra a s ímismo que su rostro yan o e r a h e r m o s o , p e r osabía que ya no era elr o s t r o p o r e l q u eMichael Furey desafió ala muerte.

Q u i z á n o l e h a b í ac o n t a d o t o d a l ah i s t o r i a . S u s o j o s s emovieron has ta la s i l l ae n l a q u e e l l a h a b í at i r a d o a l g o d e r o p a .Una c in ta de la enaguac o l g a b a d e l a s i e n t o .Una bo ta se man ten íae n p i e , c o n l a c a ñ amust ia ; su pare ja yacíaa su lado . Se preguntóp o r s u s t u m u l t u o s a semociones de una horaa n t e s . ¿ D e d ó n d eh a b í a n s a l i d o ? D e l acena de sus t í as , de sup r o p i o y e s t ú p i d od i s c u r s o , d e l v i n o yd e l b a i l e , d e l a sb r o m a s a l d e s p e d i r s ee n e l v e s t í b u l o , d e lagradable paseo por lan i e v e a l o l a r g o d e lr í o . ¡ P o b r e t í a J u l i a !

v u e l t o y s u b o c a e n -t r e a b i e r t a , o y e n d o s ur e s p i r a c i ó n p r o f u n -d a . D e m a n e r a q u ee l l a t u v o u n a m o r a s íe n l a v i d a : u n h o m -b r e h a b í a m u e r t o p o rs u c a u s a . A p e n a s l ed o l í a a h o r a p e n s a re n l a p o b r e p a r t e q u eé l , s u m a r i d o , h a b í aj u g a d o e n s u v i d a . L am i r ó m i e n t r a s d o r -m í a c o m o s i e l l a y é ln u n c a h u b i e r a n s i d om a r i d o y m u j e r . S u so j o s c u r i o s o s s e p o -s a r o n u n g r a n r a t o e ns u c a r a y s u p e l o , y,m i e n t r a s p e n s a b ac ó m o h a b r í a s i d oe l l a e n t o n c e s , p o r e lt i e m p o d e s u p r i m e r ab e l l e z a l o z a n a , u n ae x t r a ñ a y a m i s t o s al á s t i m a p o r e l l a p e -n e t r ó e n s u a l m a . N oq u e r í a d e c i r s e a s ím i s m o q u e y a n o e r ab e l l a , p e r o s a b í a q u es u c a r a n o e r a l a c a r ap o r l a q u e M i c h a e lF u r e y d e s a f i ó l am u e r t e .

Quizá el la no le hizoa él todo el cuento. Suso jos se movie ron a l as i l l a sobre la que e l lahabía t i rado algunas des u s r o p a s . U n c o r d ó ndel corp iño [151] co l -gaba has ta e l p iso . Unab o t a s e m a n t e n í a e np i e , s u c a ñ a f l á c c i d ac a í d a ; s u c o m p a ñ e r ay a c í a r e c o s t a d a a s ul a d o . S e e x t r a ñ ó a n t esus emociones en t ro-pe l de una hora a t rás .¿De dónde provenían?De la cena de su t ía , desu misma arenga id io-ta , de l v ino y de l ba i -l e , d e a q u e l l a a l e g r í af a b r i c a d a a l d a r l a sb u e n a s n o c h e s e n e lpa s i l l o , de l p l ace r dec a m i n a r j u n t o a l r í ob a j o l a n i e v e . ¡ P o b r e

tangled: confused mass of

deep-drawn breath: profound respiration

romance: love affair

for her sake: because of herit hardly pained him: he did not suffer much

how poor a part: what a poor part, what a minor role

as though: as if

never: place of the adverb

man and wife: a married couplehis curious eyes rested long upon...: he looked for a

long time with curiosity at...

must have been: had certainly beenfirst girlish beauty: beauty when she was a young

girl

say: admit

no longer beautiful: beautiful in the past but not now

it was no longer the face for which: it was not forthat (older) face that

petticoat: faldastring: narrow cord

dangled: was hanging boot: lady’s half boot

upright: vertical / limp upper: supple upper partfellow of it: other boot

wondered at his riot: was surprised at the tumultof: that he had

proceeded: originated

merry-making: laughing and enjoyment

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S h e , t o o , w o u l d s o o nb e a s h a d e w i t h t h es h a d e o f P a t r i c kMorkan and h is horse .H e h a d c a u g h t t h a thaggard look upon herf a c e f o r a m o m e n twhen she was s ing ingArrayed for the Br idal .S o o n , p e r h a p s , h ewould be s i t t ing in thats a m e d r a w i n g - r o o m ,d r e s s e d i n b l a c k , h i ss i lk ha t on h i s knees .T h e b l i n d s w o u l d b edrawn down and AuntKate would be s i t t ingbes ide h im, c ry ing andb lowing he r nose andte l l i ng h im how Ju l i ah a d d i e d . H e w o u l dcas t about in h i s mindf o r s o m e w o r d s t h a tmight console her, andwou ld f i nd on ly l ameand use less ones . Yes ,yes : tha t would happenvery soon .

The air of the roomch i l l ed h i s shou lde r s .H e s t r e t c h e d h i m s e l fcautiously along underthe sheets and lay downbeside his wife. One byo n e , t h e y w e r e a l lb e c o m i n g s h a d e s .Better pass boldly intothat other world, in thef u l l g l o r y o f s o m epassion, than fade andw i t h e r d i s m a l l y w i t hage. He thought of howshe who lay beside himhad locked in her heartfor so many years thati m a g e o f h e r l o v e r ’seyes when he had toldher that he did not wishto l ive.

G e n e r o u s t e a r sf i l l e d G a b r i e l ’s e y e s .He had never fe l t l iket h a t h i m s e l f t o w a r d sa n y w o m a n , b u t h ek n e w t h a t s u c h af e e l i n g m u s t b e l o v e .T h e t e a r s g a t h e r e dm o r e t h i c k l y i n h i s

E l l a , t a m b i é n , s e r í apronto una sombra conl a s o m b r a d e P a t r i c kM o r k a n y s u c a b a l l o .E l h a b í a p e r c i b i d odurante un ins tante esea s p e c t o m a c i l e n t o e ns u r o s t r o c u a n d ocantaba Ataviada parala boda. Pronto , quizá ,se ver ía é l sen tado ene l m i s m o s a l ó n ,ves t ido de negro , cons u s o m b r e r o d e s e d asob re l a s r od i l l a s . Seh a b r í a n e c h a d o l a spers ianas y la t í a Katese sen tar ía jun to a é l ,l l o r a n d o y s o n á n d o s el a n a r i z y c o n t á n d o l ec ó m o h a b í a m u e r t oJul ia . Él buscar ía en sumente pa labras que les i rv ie ran de consue lo ,y l a s q u e e n c o n t r a s er e s u l t a r í a n i n ú t i l e s yr o m a s . S í , s í : e s oocurr i r ía muy pronto .

E l a i r e d e l ahab i tac ión le he ló losh o m b r o s . S e e s t i r óc u i d a d o s a m e n t e b a j olas sábanas y descansójunto a su mujer. Unopor uno conver t idos ens o m b r a s . M e j o r p a s a rt e m e r a r i a m e n t e a e s eo t r o m u n d o , e n p l e n ag l o r i a d e a l g u n ap a s i ó n , q u e d e c a e r ya j a r s e f u n e s t a m e n t econ la edad . Pensó enc ó m o l a q u e y a c í aj u n t o a é l h a b í aguardado en e l corazónaquel la imagen de loso j o s d e s u a m a n t e a ldec i r le que no deseabaviv i r.

Lágr imas generosasc o l m a r o n l o s o j o s d eG a b r i e l . J a m á s h a b í asen t i do a lgo pa rec idohacia mujer alguna, peros a b í a q u e t a lsentimiento había de seramor. Las lágr imas sehicieron más espesas en

t ía Ju l ia ! El la tambiéns e r í a m u y p r o n t o u n asombra jun to a la som-bra de Pa t r ick Morkany s u c a b a l l o . H a b í aatrapado al vuelo aquelaspec to abotargado desu ros t ro mient ras can-taba Atav iada para e lcasor io . Pronto , quizá ,se sen ta r ía en aque l lamisma sa la , ves t ido delu to , e l negro sombre-ro de seda sobre las ro-d i l las , l as cor t inas ba-jas y la t í a Kate sen ta-da a su lado , l lo randoy sop l ándose l a na r i zmient ras le contaba deq u é m a n e r a h a b í amuer to Ju l ia . Buscar íaél en su cabeza algunaspa l ab ra s de consue lo ,p e r o n o e n c o n t r a r í am á s q u e l a s u s u a l e s ,i n ú t i l e s y t o r p e s . S í ,s í , ocur r i rá muy pron-to .

El a i re de l cuar to leh e l a b a l a e s p a l d a . S eest i ró con cuidado bajolas sábanas y se echóa l l a d o d e s u e s p o s a .Uno a uno se iban con-v i r t i e n d o a m b o s e ns o m b r a s . M e j o r p a s a raudaz a l o t ro mundo ene l a p o g e o d e u n a p a -s i ó n q u e m a r c h i t a r s ec o n s u m i d o f u n e s t a -mente por la vida. Pen-só cómo la muje r qued e s c a n s a b a a s u l a d oh a b í a e v o c a d o e n s ucorazón , durante años ,l a imagen de los o josde su amante e l d ía queé l le d i jo que no que-r ía segui r v iv iendo.

L á g r i m a s g e n e r o -s a s c o l m a r o n l o s o j o sd e G a b r i e l . N u n c a h a -b í a s e n t i d o a q u e l l op o r n i n g u n a m u j e r ,p e r o s u p o q u e e s es e n t i m i e n t o t e n í a q u es e r a m o r. A s u s o j o sl a s l á g r i m a s c r e c i e -

soon: in a short timeshade: spectre, ghost

caught: notedlook: air, expression

for a moment: which she had for a moment

perhaps, he would: anticipation of a possiblesituation

blind(s): roll of cloth pulled down to cover a windowdrawn down: pulled down

beside him: at his side, near him

blowing her nose: using a handkerchief castabout...for: try desperately to find

might: perhaps would lam ineffective, inadequate

ones: ones avoids the repetition of words

chilled his shoulders: made his shoulders very coldstretched...along: extended his body with precaution

sheets: bed-linenlay down: lie down: put one’s body in a position of

complete rest

better: it was better toboldly: bravely world: (world of the dead)

fade: become etiolated, weak wither become dessicateddismally: miserably

how she: the manner in which the woman

locked: enclosed, kept secret

lover: boyfriend, admirer

felt like that himself: experienced that feelingpersonally

gathered more thickly: became more abundant

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eyes and in the par t ia lda rknes s he imag inedh e s a w t h e f o r m o f ay o u n g m a n s t a n d i n gunder a dr ipp ing t ree .Other forms were near.H i s s o u l h a dapproached tha t regionw h e r e d w e l l t h e v a s thos t s o f the dead . Hewas consc ious o f , bu tc o u l d n o t a p p r e h e n d ,t h e i r w a y w a r d a n df l i c k e r i n g e x i s t e n c e .H i s o w n i d e n t i t y w a sfading out in to a greyimpalpab le wor ld : thes o l i d w o r l d i t s e l f ,wh ich these dead hado n e t i m e r e a r e d a n dl i v e d i n , w a sd i s s o l v i n g a n ddwindl ing .

A f e w l i g h t t a p su p o n t h e p a n e m a d eh i m t u r n t o t h ew i n d o w . I t h a db e g u n t o s n o wa g a i n . H e w a t c h e ds l e e p i l y t h e f l a k e s ,s i l v e r a n d d a r k ,f a l l i n g o b l i q u e l ya g a i n s t t h el a m p l i g h t . T h e t i m eh a d c o m e f o r h i m t os e t o u t o n h i sj o u r n e y w e s t w a r d .Ye s , t h e n e w s p a p e r sw e r e r i g h t : s n o ww a s g e n e r a l a l l o v e rI r e l a n d . I t w a sf a l l i n g o n e v e r y p a r to f t h e d a r k c e n t r a lp l a i n , o n t h et r e e l e s s h i l l s ,f a l l i n g s o f t l y u p o nt h e B o g o f A l l e na n d , f a r t h e rw e s t w a r d , s o f t l yf a l l i n g i n t o t h e d a r km u t i n o u s S h a n n o nw a v e s . I t w a sf a l l i n g , t o o , u p o ne v e r y p a r t o f t h el o n e l y c h u r c h y a r do n t h e h i l l w h e r eM i c h a e l F u r e y l a yb u r i e d . I t l a y t h i c k l yd r i f t e d o n t h e

s u s o j o s , y e n l apenumbra imaginó quev e í a l a i m a g e n d e u njoven bajo un árbol go-t e a n t e . H a b í a o t r a sf o r m a s c e r c a n a s . S ua l m a h a b í a a l c a n z a d oe s a r e g i ó n e n l a q u emoran las vastas huestesd e l o s m u e r t o s . E r aconsciente de ello peroincapaz de aprehendersus aviesas y vacilantesexis tenc ias . Su propiaidentidad se disolvía enu n m u n d o g r i si n t a n g i b l e : e lm i s m í s i m o s ó l i d omundo en e l que esosm u e r t o s s e h a b í a nerguido y donde habíanv i v i d o , s e b o r r a b a yconsumía.

U n o s r o c e s e n e lc r i s t a l l e h i c i e r o nv o l v e r s e h a c i a l av e n t a n a . H a b í acomenzado de nuevo an e v a r . C o n t e m p l ósomnol iento los copos ,p l a t e a d o s y o s c u r o s ,cayendo ob l icuamentec o n t r a l a l u z d e l af a r o l a . H a b í a l l e g a d oe l m o m e n t o d e q u ee m p r e n d i e r a e l v i a j ehac ia e l oes te . S í , losp e r i ó d i c o s t e n í a nrazón: nevaba de igua lm o d o s o b r e t o d aI r landa . La n ieve ca íasobre todos los lugaresd e l a o s c u r a l l a n u r ac e n t r a l , s o b r e l a sc o l i n a s s i n á r b o l e s ,ca ía du lcemente sobree l Pantano de Al len y,m á s h a c i a e l o e s t e ,ca ía suavemente en laso s c u r a s o l a sa m o t i n a d a s d e lShannon. Caía tambiénsobre todos los lugaresd e l s o l i t a r i ocementer io en la col inad o n d e M i c h a e l F u r e yy a c í a e n t e r r a d o » .Ya c í a a p e l m a z a d a e nl a s c r u c e s y l á p i d a s

r o n e n l a o s c u r i d a dp a r c i a l d e l c u a r t o ys e i m a g i n ó q u e v e í au n a f i g u r a d e h o m b r e ,j o v e n , d e p i e b a j o u ná r b o l a n e g a d o . H a b í ao t r a s f o r m a s p r ó x i -m a s . S u a l m a s e h a b í aa c e r c a d o a e s a r e g i ó nd o n d e m o r a n l a sh u e s t e s d e l o s m u e r -t o s . E s t a b a c o n s c i e n -t e , p e r o n o p o d í aa p r e h e n d e r s u s a v i e -s a s y t e n u e s p r e s e n -c i a s . S u p r o p i a i d e n -t i d a d s e e s f u m a b a au n m u n d o i m p a l p a b l ey g r i s : e l s ó l i d o m u n -d o e n q u e e s t o s m u e r -t o s s e c r i a r o n y v i v i e -r o n s e d i s o l v í a c o n s u -m i é n d o s e .

L e v e s t o q u e s e ne l v i d r i o l o h i c i e -r o n v o l v e r s e h a c i al a v e n t a n a . D en u e v o n e v a b a . S o -ñ o l i e n t o , v i o c ó m ol o s c o p o s , d e p l a t ay d e s o m b r a s ,c a í a n o b l i c u o s h a -c i a l a s l u c e s . H a -b í a l l e g a d o l a h o r ad e v a r i a r s u r u m b oa l P o n i e n t e . S í , l o sd i a r i o s e s t a b a n e nl o c i e r t o : n e v a b ae n t o d a I r l a n d a .C a í a n i e v e e n c a d az o n a d e l a o s c u r ap l a n i c i e c e n t r a l ye n l a s c o l i n a s c a l -v a s , c a í a s u a v e s o -b r e e l m é g a n o d eA l l e n y , m á s a lO e s t e , s u a v e c a í as o b r e l a s s o m b r í a s ,s e d i c i o s a s a g u a sd e S h a n n o n . C a í aa s í e n t o d o e l d e -s o l a d o c e m e n t e r i od e l a l o m a d o n d ey a c í a M i c h a e lF u r e y , m u e r t o . R e -p o s a b a , e s p e s a , a la z a r , s o b r e u n ac r u z c o r v a y s o b r eu n a l o s a , s o b r e l a s

partial: half, semi

he saw: that he saw

dripping; wet with rain

dwell: reside

hosts: cohortsthe dead: the + adj = plural

was conscious of: recognizedapprehend: comprehend, understand

wayward and flickering: erratic and intermittent

fading out: dissolving, disappearing

solid: material, visible

one time: during a certain timereared: constructed, built

lived in: inhabited

dwindling: diminishing, shrinkingpane: window-pane

turn: turn his head

sleepily: with sleepy eyesflakes: flakes of snow

set out on: embark on, engage in, beginjourney: expedition

westward: to the West (is it a region, old age, death?)snow was general...: note the melancholy repetition

treeless: denuded, without treeshill(s): small mountain

farther: at a more distant pointsoftly: gently, delicately

lonely: solitarychurchyard: cemetery

it: (the snow)thickly drifted: in great piles

82

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c r o o k e d c r o s s e s a n dh e a d s t o n e s , o n t h es p e a r s o f t h e l i t t l eg a t e , o n t h e b a r r e nt h o r n s . H i s s o u lswooned s lowly as heheard the snow fal l ingf a i n t l y t h r o u g h t h eu n i v e r s e a n d f a i n t l yfall ing, l ike the descentof their las t end, u p o na l l t h e l i v i n g a n d t h ed e a d .

End of The Project GutenbergEtext of Dubliners by JamesJoyce The Project GutenbergEtext of Dubliners by JamesJoyce (#1 in our series by JamesJoyce)

to rc idas , en las lanzasde la pequeña cance la ,e n l o s a b r o j o se s t é r i l e s . S u a l m a s edesvanec ió len tamentea l e s c u c h a r e l d u l c edescenso de la n ieve at ravés de l un iverso , sud u l c e c a í d a , c o m o e ldescenso de l a ú l t imap o s t r i m e r í a , s o b r et o d o s l o s v i v o s y l o smuer tos .

l a n z a s d e l a c a n c e -l a y s o b r e l a s e s p i -n a s y e r m a s . S u a l m ac a í a l e n t a e n l ad u e r m e v e l a a l o í rc a e r l a n i e v e l e v es o b r e e l u n i v e r s o yc a e r l e v e l a n i e v e ,c o m o e l d e s c e n s od e s u ú l t i m o o c a s o ,s o b r e t o d o s l o s v i -v o s y s o b r e l o sm u e r t o s . [ 1 5 2 ]

NOTA BENE:Esta traducción de Dubliners se

hizo ut i l izando e l texto corregidop o r e l e r u d i t o j o y c e a n o R o b e r tScholes, quien reprodujo con la ma-yo r f i de l i dad l a ve r s ión idea l deJames Joyce, siguiendo escrupulosa-m e n t e s u p u n t u a c i ó n p r e f e r i d a yadoptando muchos de los cambiosque el propio Joyce anotara en laspruebas de página de la pseudo-edi-ción de Grant Richards, que, comose sabe, se perdieron «sin dejar hue-lla»! Sin embargo, ha sido posibleintroducir —en la edición definiti-va en inglés del l ibro tanto como enesta traducción— decisivos cambiosde vocabulario, de completo acuer-do con los deseos expresos del au-tor. La edición inglesa usada por eltraductor fue la impresa por la edi-tora Jonathan Cape de Londres en1968. Es necesario aclarar que nin-guna de las anteriores traduccionesde Dubliners ni muchas de sus últi-mas impresiones en inglés —nota-blemente, las ediciones de PenguinBooks desde 1956 hasta 1968, pore jemplo— respetan las constantessupersticiones tipográficas del irlan-dés ni las imprescindibles correccio-nes queridas «por aquel que en vidaadmirara a Parnell». [153]

crooked: deformedheadstone(s): stele

spears: pointed endsgate: barrier

thorn(s): espinoswooned: lost consciousness, fainted

faintly: slightly and silently

last end: note the musicality of these last lines

The final paragraph is generally concededto be one of the most ambiguous. It openswith the sound of the snow tapping againstthe pane, uniting and contrasting the scenewith the earlier occasion of Gabriel at thewindow during the party and, of course, ofMichael Furey’s «tapping» on Gretta’swindow with the pebbles. Gabriel is describedas watching «sleepily,» and in westernliterature there is tradionally a closeconnection between sleep and death. We haveseen in the preceding paragraphs that Gabrielis being visited by the shades of the dead, andthe implication is that, because of the eventsof this night, he has come to realize not onlythat he is a ridiculous figure, but that he hasnever known what true love is, and, moreover,that Gretta felt more for someone in her earlierlife than she has for him. The crux of theproblem of interpretation is the meaning of«The time had come for him to set out on hisjourney westward.» Certainly to go west is atime-honored trope in literature for death, forthe setting of the sun; however, in this storythe west (Galway, the Aran Isles) hassymbolized the life force (the Gaelic, the trueroots of Ireland, the sturdy peasantry, the lifeforce of Michael Furey). Consequently, therehas been considerable disagreement overwhether Gabriel is now irretrievably deadspiritually or that he is realizing here that histrue regeneration lies in the renewal of lifethat can come from seeking out his roots, ofno longer being a «West Briton.» The readerwill have to make a choice or, in the spirit ofcontemporary literary theory, decide that thereis no choice, that the contradictions renderthe sentence meaningless. On the other hand,one can accept both meanings, revel in theambiguity, attempt to hold two contradictoryinterpretations in the mind at the same timewithout trying to resolve them. A finalpossibility is that Joyce himself had not settledon a meaning, that he himself is leavingGabriel’s spiritual state torn between twocontradictions. The other major problem ofinterpretation is presented by the image ofthe snow, which is falling all over Ireland(including the Bog of Allen, some twenty-five miles southwest of Dublin). Does itrepresent death, is all Ireland covered by thespirit of the dead, is there no physical orspiritual fire in Ireland? Attempts to determinean unassailable interpretation are furtherconfounded by the final images of death (thegraveyard) and yet a death with promise ofresurrection, as we are given allusions to thecrucifixion of Christ with the «crosses» onthe headstones, and the «spears» and the«thorns.» So, is Gabriel incontrovertiblyspiritually dead or is there the suggestion thathe will be renewed. All we know is that hissoul is fainting (has «swooned») and that thesnow — whether death or rebirth is «fallingfaintly» not only «upon all the living and thedead,» but on all the readers of this timelessstory.

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