THE FLY by Katherine Mansfield

'Y'are very snug in here,' piped old Mr Woodifield, and he peered out of the great, green leather armchair by his friend the boss's desk as a baby peers out of its pram. His talk was over; it was time for him to be off. But he did not want to go. Since he had retired, since his... stroke, the wife and the girls kept him boxed up in the house every day of the week except Tuesday. On Tuesday he was dressed and brushed and allowed to cut back to the City for the day. Though what he did there the wife and girls couldn't imagine. Made a nuisance of himself to his friends, they supposed.... Well, perhaps so. All the same, we cling to our last pleasures as the tree clings to its last leaves. So there sat old Woodifield, smoking a cigar and staring almost greedily at the boss, who rolled in his once chair, stout, rosy, five years older than he, and still going strong, still at the helm. It did one good to see him.

Wistfully, admiringly, the old voice added, 'It's snug in here--upon my word!'

'Yes, it's comfortable enough,' agreed the boss, and he nipped the Financial Times with a paper-knife. As a matter of fact he was proud of his room; he liked to have it admired, especially by old Woodifield. It gave him a feeling of deep, solid satisfaction to be planted there in the midst of it in full view of that frail old figure in the muffler.

'I've had it done up lately,' he explained, as he had explained for the past--how many?--weeks. 'New carpet,' and he pointed to the bright red carpet with a pattern of large white rings. 'New furniture,' and he nodded towards the massive bookcase and the table with legs like twisted treacle. 'Electric heating!' He waved almost exultantly towards the five transparent, pearly sausages glowing so softly in the tilted copper pan.

But he did not draw old Woodifield's attention to the photograph over the table of a grave-looking boy in uniform standing in one of those spectral photographers' parks with photographers' storm-clouds behind him. It was not new. It had been there for over six years.

'There was something I wanted to tell you,' said old Woodifield, and his eyes grew dim remembering. 'Now what was it? I had it in my mind when I started out this morning.' His hands began to tremble, and patches of red showed above his beard.

Poor old chap, he's on his last pins, thought the boss. And, feeling kindly, he winked at the old man, and said jokingly, 'I tell you what. I've got a little drop of something here that'Il do you good before you go out into the cold again. It's beautiful stuff. It wouldn't hurt a child.' He took a key off his watch-chain, unlocked a cupboard below his desk, and drew forth a dark, squat bottle. 'That's the medicine,' said he. 'And the man from whom I got it told me on the strict Q.T. it came from the cellars at Windsor Cassel.'

Old Woodifield's mouth fell open at the sight. He couldn't have looked more surprised if the boss had produced a rabbit.

'It's whisky, ain't it?' he piped, feebly.

The boss turned the bottle and lovingly showed him the label. Whisky it was.

'D'you know,' said he, peering up at the boss wonderingly, 'they won't let me touch it at home.' And he looked as though he was going to cry.

'Ah, that's where we know a bit more than the ladies,' cried the boss, swooping across for two tumblers that stood on the table with the water-bottle, and pouring a generous finger into each. 'Drink it down. It'll do you good. And don't put any water with it. It's sacrilege to tamper with stuff like this. Ah!' He tossed off his, pulled out his handkerchief, hastily wiped his moustaches, and cocked an eye at old Woodifield, who was rolling his in his chaps.

The old man swallowed, was silent a moment, and then said faintly, 'It's nutty!'

But it warmed him; it crept into his chill old brain--he remembered.

'That was it,' he said, heaving himself out of his chair. 'I thought you'd like to know. The girls were in Belgium last week having a look at poor Reggie's grave, and they happened to come across your boy's. They're quite near each other, it seems.'

Old Woodifield paused, but the boss made no reply. Only a quiver in his eyelids showed that he heard.

'The girls were delighted with the way the place is kept,' piped the old voice. 'BeautifuIly looked after. Couldn't be better if they were at home. You've not been across, have yer?'

'No, no!' For various reasons the boss had not been across.

'There's miles of it,' quavered old Woodifield, 'and it's all as neat as a garden. Flowers growing on all the graves. Nice broad paths.' It was plain from his voice how much he liked a nice broad path.

The pause came again. Then the old man brightened wonderfully.

'D'you know what the hotel made the girls pay for a pot of jam?' he piped. 'Ten francs! Robbery, I call it. It was a little pot, so Gertrude says, no bigger than a half-crown. And she hadn't taken more than a spoonful when they charged her ten francs. Gertrude brought the pot away with her to teach 'em a lesson. Quite right, too; it's trading on our feelings. They think because we're over there having a look round we're ready to pay anything. That's what it is.' And he turned towards the door.

'Quite right, quite right!' cried the boss, though what was quite right he hadn't the least idea. He came round by his desk, followed the shuffling footsteps to the door, and saw the old fellow out. Woodifield was gone.

For a long moment the boss stayed, staring at nothing, while the grey-haired office messenger, watching him, dodged in and out of his cubby hole like a dog that expects to be taken for a run. Then: 'I'll see nobody for half an hour, Macey,' said the boss. 'Understand? Nobody at all.'

'Very good, sir.'

The door shut, the firm heavy steps recrossed the bright carpet, the fat body plumped down in the spring chair, and leaning forward, the boss covered his face with his hands. He wanted, he intended, he had arranged to weep....

It had been a terrible shock to him when old Woodifield sprang that remark upon him about the boy's grave. It was exactly as though the earth had opened and he had seen the boy lying there with Woodifield's girls staring down at him. For it was strange. Although over six years had passed away, the boss never thought of the boy except as lying unchanged, unblemished in his uniform, asleep for ever. 'My son!' groaned the boss. But no tears came yet. In the past, in the first months and even years after the boy's death, he had only to say those words to be overcome by such grief that nothing short of a violent fit of weeping could relieve him. Time, he had declared then, he had told everybody, could make no difference. Other men perhaps might recover, might live their loss down, but not he. How was it possible? His boy was an only son. Ever since his birth the boss had worked at building up this business for him; it had no other meaning if it was not for the boy. Life itself had come to have no other meaning. How on earth could he have slaved, denied himself, kept going all those years without the promise for ever before him of the boy's stepping into his shoes and carrying on where he left off?

And that promise had been so near being fulfilled. The boy had been in the office learning the ropes for a year before the war. Every morning they had started off together; they had come back by the same train. And what congratulations he had received as the boy's father! No wonder; he had taken to it marvellously. As to his popularity with the stag, every man jack of them down to old Macey couldn't make enough of the boy. And he wasn't in the least spoilt. No, he was just his bright, natural self, with the right word for everybody, with that boyish look and his habit of saying, 'Simply splendid.'

But all that was over and done with as though it never had been. The day had come when Macey had handed him the telegram that brought the whole place crashing about his head. 'Deeply regret to inform you....' And he had left the office a broken man, with his life in ruins.

Six years ago, six years.... How quickly time passed! It might have happened yesterday. The boss took his hands from his face; he was puzzled. Something seemed to be wrong with him. He wasn't feeling as he wanted to feel. He decided to get up and have a look at the boy's photograph. But it wasn't a favourite photograph of his; the expression was unnatural. It was cold, even stern-looking. The boy had never looked like that.

At that moment the boss noticed that a fly had fallen into his broad inkpot, and was trying feebly but desperately to clamber out again. Help! help! said those struggling legs. But the sides of the inkpot were wet and slippery; it till back again and began to swim. The boss took up a pen, picked the fly out of the ink, and shook it on to a piece of blotting-paper. For a fraction of a second it lay still on the dark patch that oozed round it. Then the front legs waved, took hold, and, pulling its small, sodden body up it began the immense task of cleaning the ink from its wings. Over and under, over and under, went a leg along a wing, as the stone goes over and under the scythe. Then there was a pause, while the fly, seeming to stand on the tips of its toes, tried to expand first one wing and then the other. It succeeded at last, and, sitting down, it began, like a minute cat, to clean its face. Now one could imagine that the little front legs rubbed against each other lightly, joyfully. The horrible danger was over; it had escaped; it was ready for life again.

But just then the boss had an idea. He plunged his pen back into the ink, leaned his thick wrist on the blotting paper, and as the fly tried its wings down came a great heavy blot. What would it make of that? What indeed! The little beggar seemed absolutely cowed, stunned, and afraid to move because of what would happen next. But then, as if painfully, it dragged itself forward. The front legs waved, caught hold, and, more slowly this time, the task began from the beginning.

He's a plucky little devil, thought the boss, and he felt a real admiration for the fly's courage. That was the way to tackle things; that was the right spirit. Never say die; it was only a question of.... But the fly had again finished its laborious task, and the boss had just time to refill his pen, to shake fair and square on the new cIeaned body yet another dark drop. What about it this time? A painful moment of suspense followed. But behold, the front legs were again waving; the boss felt a rush of relief. He leaned over the fly and said to it tenderly, 'You artful little b... ' And he actually had the brilliant notion of breathing on it to help the drying process. All the same, there was something timid and weak about its efforts now, and the boss decided that this time should be the last, as he dipped the pen deep into the inkpot.

It was. The last blot fell on the soaked blotting-paper, and the draggled fly lay in it and did not stir. The back legs were stuck to the body; the front legs were not to be seen.

'Come on,' said the boss. 'Look sharp!' And he stirred it with his pen--in vain. Nothing happened or was likely to happen. The fly was dead.

The boss lifted the corpse on the end of the paper-knife and flung it into the waste-paper basket. But such a grinding feeling of wretchedness seized him that he felt positively frightened. He started forward and pressed the bell for Macey.

'Bring me some fresh blotting-paper,' he said, sternly, 'and look sharp about it.' And while the old dog padded away he fell to wondering what it was he had been thinking about before. What was it? It was.... He took out his handkerchief and passed it inside his colIar. For the life of him he could not remember.

[N.B.: This story is subject to copyright. It is posted here for educational purposes only.]

WHAT I FEEL

   Katherine Mansfield's 'The Fly' which appears in her second volume of short stories entitled 'The Dove's Nest' has been described as one of the finest short stories ever written in English. The story is like a lyric poem where every word, every detail is active and relevant to the understanding of the psychological complexity of the character of the Boss, or rather modern man who is often lonely and battered by the circumstances of life. The entire action is internal, the action that takes place within the Boss's psyche. In fact, the story is an attempt to reveal a moment is one's life through which the hidden recesses of the mind are illuminated.

   The fly episode takes us to the very core of the Boss's consciousness. Here, the fly is the instrument through which the Boss's pain, suffering and emptiness of heart are laid bare to the readers. Some critics have seen the fly as a symbol of the Boss's son's struggle to survive in the war. Some others have found in the story the Boss's own struggles against the battering blows of life. The story can also be read as the inevitable tragedy of modern man who appears to be the Boss of life by virtue of his technological endeavour.Mansfield chooses the fly as an apt symbol to show that man is seldom master of his own fate, as Shakespeare in King Lear wrote: "As flies to wanton boys are we to the gods,/They kill us for their sport".

   The episode shows that in spite of his iron will to remain unnerved by the tragedy of his son's death, the Boss is still weak whenever his son's memory flashes back. Perhaps to cover up the emptiness of the heart, the Boss displays wealth in the form of loud and ostentious decoration of his luxurious office. In this story Mansfield shows that perhaps the Boss finds in the fly the same struggle against the blows of life that he himself has gone through. The Boss's authority is exercised only in a limited sphere, elsewhere all men are subject to the authority of the Eternal Boss. His character attains a tragic stature with this realization that we are all merely puppets in the hand of fate.

ARABY by James Joyce

NORTH RICHMOND STREET being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.

The former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communnicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister.

When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side.

Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.

Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.

One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: "O love! O love!" many times.

At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me was I going to Araby. I forgot whether I answered yes or no. It would be a splendid bazaar, she said she would love to go.

"And why can't you?" I asked.

While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.

"It's well for you," she said.

"If I go," I said, "I will bring you something."

What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.

On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:

"Yes, boy, I know."

As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart misgave me.

When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and. when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.

When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn't wait any longer, but it was after eight o'clock and she did not like to be out late as the night air was bad for her. When she had gone I began to walk up and down the room, clenching my fists. My aunt said:

"I'm afraid you may put off your bazaar for this night of Our Lord."

At nine o'clock I heard my uncle's latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go to the bazaar. He had forgotten.

"The people are in bed and after their first sleep now," he said.

I did not smile. My aunt said to him energetically:

"Can't you give him the money and let him go? You've kept him late enough as it is."

My uncle said he was very sorry he had forgotten. He said he believed in the old saying: "All work and no play makes Jack a dull boy." He asked me where I was going and, when I had told him a second time he asked me did I know The Arab's Farewell to his Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.

I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous house and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.

I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognised a silence like that which pervades a church after a service. I walked into the centre of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Cafe Chantant were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins.

Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered . At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.

"O, I never said such a thing!"

"O, but you did!"

"O, but I didn't!"

"Didn't she say that?"

"Yes. I heard her."

"0, there's a ... fib!"

Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:

"No, thank you."

The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.

I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.

Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.

WHAT I FEEL:

   'Araby' is the third story of Joyce's collection of stories entitled 'Dubliners'. The stories of 'Dubliners' are far more comprehensible than his novels which gradually became more and more complex and incomprehensible. The stories of 'Dubliners' have a special charm of their own. They announce the emergence of a master novelist. 'Araby' is a symbolic story centered around a boy-hero who considered Araby (actually an Oriental fair held in Dublin from 14th to 19th May, 1894) a wonderland of Eastern beauties. He is fascinated with his friend Mangan's sister and planned to impress her with the help of a gift which he would buy from Araby. But he could reach the fair ground at a late hour when most of the stalls were closed. The darkness, conventionality, commercialism (for example, the sale-girl's dull behaviour with the boy) frustrated him. He could buy nothing for his dream-girl. He was disillusioned. Truly said Ezra Pound, the modernist poet, "[Araby] is not a mere story; it is much better than a story; it is a vivid waiting." Araby symbolizes that ideal beauty which we can dream of but can never grasp.