Someone at the Young Ireland Society gave me a newspaper that I might read some article or letter.  I began idly reading verses describing the shore of Ireland as seen by a returning, dying emigrant.  My eyes filled with tears and yet I knew the verses were badly written ­vague, abstract words such as one finds in a newspaper.  I looked at the end and saw the name of some political exile who had died but a few days after his return to Ireland.  They had moved me because they contained the actual thoughts of a man at a passionate moment of life, and when I met my father I was full of the discovery.  We should write out our own thoughts in as nearly as possible the language we thought them in, as though in a letter to an intimate friend.  We should not disguise them in any way; for our lives give them force as the lives of people in plays give force to their words.  Personal utterance, which had almost ceased in English literature, could be as fine an escape from rhetoric and abstraction as drama itself.  My father was indignant, almost violent, and would hear of nothing but drama.  “Personal utterance was only egotism.”  I knew it was not, but as yet did not know how to explain the difference.  I tried from that on to write out of my emotions exactly as they came to me in life, not changing them to make them more beautiful, and to rid my syntax of all inversions and my vocabulary of literary words, and that made it hard to write at all.  It meant rejecting the words or the constructions that had been used over and over because they flow most easily into rhyme and measure.  Then, too, how hard it was to be sincere, not to make the emotion more beautiful and more violent or the circumstance more romantic.  “If I can be sincere and make my language natural, and without becoming discursive, like a novelist, and so indiscreet and prosaic,” I said to myself, “I shall, if good luck or bad luck make my life interesting, be a great poet; for it will be no longer a matter of literature at all.”  Yet when I re-read those early poems which gave me so much trouble, I find little but romantic convention, unconscious drama.  It is so many years before one can believe enough in what one feels even to know what the feeling is.