I had various women friends on whom I would call towards five o'clock, mainly to discuss my thoughts that I could not bring to a man without meeting some competing thought, but partly because their tea & toast saved my pennies for the 'bus ride home; but with women, apart from their intimate exchanges of thought, I was timid and abashed. I was sitting on a seat in front of the British Museum feeding pigeons, when a couple of girls sat near and began enticing my pigeons away, laughing and whispering to one another, and I looked straight in front of me, very indignant, and presently went into the Museum without turning my head towards them. Since then I have often wondered if they were pretty or merely very young. Sometimes I told myself very adventurous love stories with myself for hero, and at other times I planned out a life of lonely austerity, and at other times mixed the ideals and planned a life of lonely austerity mitigated by periodical lapses. I had still the ambition, formed in Sligo in my teens, of living in imitation of Thoreau on Innisfree, a little island in Lough Gill, and when walking through Fleet Street very homesick I heard a little tinkle of water and saw a fountain in a shop window which balanced a little ball upon its jet and began to remember lake water. From the sudden remembrance came my poem 'Innisfree,' my first lyric with anything in its rhythm of my own music. I had begun to loosen rhythm as an escape from rhetoric, and from that emotion of the crowd that rhetoric brings, but I only understood vaguely and occasionally that I must, for my special purpose, use nothing but the common syntax. A couple of years later I would not have written that first line with its conventional archaism - 'Arise and go' - nor the inversion in the last stanza. Passing another day by the new Law Courts, a building that I admired because it was Gothic, - 'It is not very good,' Morris had said, 'but it is better than any thing else they have got and so they hate it.' - I grew suddenly oppressed by the great weight of stone, and thought, 'There are miles and miles of stone and brick all round me,' and presently added, 'If John the Baptist, or his like, were to come again and had his mind set upon it, he could make all these people go out into some wilderness leaving their buildings empty,' and that thought, which does not seem very valuable now, so enlightened the day that it is still vivid in the memory. I spent a few days at Oxford copying out a seventeenth century translation of Poggio's Liber Facetiarum or the Hypneroto-machia of Poliphili for a publisher; I forget which, for I copied both; and returned very pale to my troubled family. I had lived upon bread and tea because I thought that if antiquity found locust and wild honey nutritive, my soul was strong enough to need no better. I was always planning some great gesture, putting the whole world into one scale of the balance and my soul into the other, and imagining that the whole world somehow kicked the beam. More than thirty years have passed and I have seen no forcible young man of letters brave the metropolis without some like stimulant; and all, after two or three, or twelve or fifteen years, according to obstinacy, have understood that we achieve, if we do achieve, in little diligent sedentary stitches as though we were making lace. I had one unmeasured advantage from my stimulant: I could ink my socks, that they might not show through my shoes, with a most haughty mind, imagining myself, and my torn tackle, somewhere else, in some far place 'under the canopy ... i' the city of kites and crows.'
In London I saw nothing good, and constantly remembered that Ruskin had said to some friend of my father's - 'As I go to my work at the British Museum I see the faces of the people become daily more corrupt.' I convinced myself for a time, that on the same journey I saw but what he saw. Certain old women's faces filled me with horror, faces that are no longer there, or if they are, pass before me unnoticed: the fat blotched faces, rising above double chins, of women who have drunk too much beer and eaten too much meat. In Dublin I had often seen old women walking with erect heads and gaunt bodies, talking to themselves in loud voices, mad with drink and poverty, but they were different, they belonged to romance: Da Vinci has drawn women who looked so and so carried their bodies.
