Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/186

 again, fruitlessly. Perhaps that first hasty confession wrung from him by the fear of hell had not been good? Perhaps, concerned only for his imminent doom, he had not had sincere sorrow for his sin? But the surest sign that his confession had been good and that he had had sincere sorrow for his sin was, he knew, the amendment of his life.

—I have amended my life, have I not? he asked himself.—

The director stood in the embrasure of the window, his back to the light, leaning an elbow on the brown crossblind, and, as he spoke and smiled, slowly dangling and looping the cord of the other blind, Stephen stood before him, following for a moment with his eyes the waning of the long summer daylight above the roofs or the slow deft movements of the priestly fingers. The priest's face was in total shadow, but the waning daylight from behind him touched the deeply grooved temples and the curves of the skull. Stephen followed also with his ears the accents and intervals of the priest's voice as he spoke gravely and cordially of indifferent themes, the vacation which had just ended, the colleges of the order abroad, the transference of masters. The grave and cordial voice went on easily with its tale, and in the pauses Stephen felt bound to set it on again with respectful questions. He knew that the tale was a prelude and his mind waited for the sequel. Ever since the message of summons had come for him from the director his mind had struggled to find the meaning of the message; and, during the long restless time he had sat in the college parlour waiting for the director to come in, his eyes had wandered from one sober picture to another [178]