Produced by Suzanne Shell, Virginia Paque, Anuradha Valsa, and Project Gutenberg Distributed Proofreaders THE CORDS OF VANITY A Comedy of Shirking Revised and Expanded Edition by JAMES BRANCH CABELL with INTRODUCTION by WILSON FOLLETT To GABRIELLE BROOKE MONCURE _Plus sapit vulgus, quia tantum, quantum opus est, sapit._ AN INTRODUCTION by Wilson Follett Mr. Cabell, in making ready this second or intended edition of THE CORDS OF VANITY, performs an act of reclamation which is at the same time an act of fresh creation. For the purely reclamatory aspect of what he has done, his reward (so far as that can consist in anything save the doing) must come from insignificantly few directions; so few indeed that he, with a wrily humorous exaggeration, affects to believe them singular. The author of this novel has been pleased to describe the author of this introduction as "the only known purchaser of the book" and, further, as "the other person to own a CORDS OF VANITY". I could readily enough acquit myself, with good sound legal proofs, of any such singularity as stands charged in this soft impeachment--and that without appeal to _The Cleveland Plain Dealer_ of eleven years ago ("slushy and disgusting"), or to _The New York Post_ ("sterile and malodorous ... worse than immoral--dull"), or to _Ainslee's Magazine_ ("inconsequent and rambling ... rather nauseating at times"). These devotees of the adjective that hunts in pairs are hardly to be discussed, I suppose, in connection with any rewards except such as accrue to the possessors of a certain obtuseness, who always and infallibly reap at least the reward of not being hurt by what they do not know--or, for that matter, by what they do know. He who writes such a book as THE CORDS OF VANITY is committing himself to the supremely irrational faith that this dullness is somehow not the ultimate arbiter; and for him the pronouncements of this dullness simply do not figure among either his rewards or his penalties. So, it is not exactly to these tributes of the press that one reverts in noting that THE CORDS OF VANITY, on its publication eleven years ago, promptly became a book which there were--almost--none to praise and very few to love. After all, its author's computation of that former audience of his--his actual individual voluntary readers of a decade ago--appears to be but slightly and pardonably exaggerated on the more modest side of the fact. If there were a Cabell Club of membership determined solely by the number of those who, already possessing THE CORDS OF VANITY in its first edition, recognize it as the work of a serious artist of high achievement and higher capacity, I suspect that the smallness of that club would be in inordinate disproportion to everything but its selectness and its members' pride in "belonging". Be that as it may, the economist-author, on the eve of his book's emergence from the limbo of "out of print", prefers that it come into its redemption carrying a foreword by someone who knew it without dislike in its former incarnation. No contingent liability, it seems, can dissuade Mr. Cabell from this preference. An author who once elected to precede a group of his best tales with an introduction eloquently setting forth reasons why the collection ought not to be published at all, is hardly to be deterred now by the mere inexpediency of hitching his star to a farm-wagon. His own graciously unreasonable insistence must be the excuse, such as it is, for the present introduction, such as it is. If there may be said to exist a sort of charter membership in Mr. Cabell's audience, this document is to be construed as representing its very enthusiastic welcome to the later and vastly larger elective membership. And if, weighed as such a welcome, it proves hopelessly inadequate, at least it provides a number of possible compensations by the way. For instance, that _New York World_ critic who damned the book but praised its frontispiece of 1909, has now a uniquely pat opportunity to balance his ledger by praising the book and damning this foreword, which, more or less, replaces the frontispiece. Similarly, the more renowned critic and anthologist who so well knows the "originals" of the verses in _From the Hidden Way_, can now render poetically perfect justice to all who will care by perceiving that both the earlier edition of this book and the author of this foreword are but figments of Mr. Cabell's slightly puckish invention. But these pages must not be, like those which follow, a comedy of shirking. They will have flouted a plain duty unless they speak of the sense and the degree in which this novel, during the process of reclaiming it, has been actually recreated. Perhaps the matter can be packed most succinctly into the statement that Mr. Cabell's hero has been subjected to such a process of growth as has made him commensurate in stature with the other two modern writers of Mr. Cabell's invention. As _The Cream of the Jest_ is essentially the book of Felix Kennaston and _Beyond Life_ that of John Charteris, so THE CORDS OF VANITY is essentially the book of Robert Etheridge Townsend. Now, this Townsend has accomplished a deal of growing since 1909. By this I do not mean that he is taken at a later period of his own imagined life, or that he fails to act consonantly with the extreme youth imputed to him: I mean that he is the creation of a more mature mind, a deeper philosophy, a more probing insight into the implications of things. A given youth of twenty-five will be very differently interpreted by an observer of thirty and by the same observer at forty, very much as a given era of the past will be understood differently by a single historian before and after certain cycles of his own social and political experience. The past never remains to us the same past; it grows up along with us; the physical facts may remain admittedly the same, but our understanding accents them differently, finds more in them at some points and less at others. So Robert Etheridge Townsend remains an example of that special temperament which, being unable to endure the contact of unhappiness, consistently shirks every responsibility that entails or threatens discomfort; and the truth about him, taking him as an example of just that temperament, is still inexorably told. But his weakness as a man becomes much more tolerable in this second version, because it is much more intimately and poignantly correlated with his strength as an artist. One is made to feel that he, like Charteris, may the better consummate in his art the auctorial virtues of distinction and clarity, beauty and symmetry, tenderness and truth and urbanity, precisely because his personal life is bereft of those virtues. Less than before, the accent is on the wastrel in Townsend; more than before, it is on the potential creator of beauty in him. The earlier readers will hardly count it as a fault that Mr. Cabell has contrived to make his novel, without detriment to any truth whatsoever, a far less unpleasant book. Sardonic it still is, by a necessary implication, but not wantonly, and with a mellowness. The irony, which at its harshest was capable of rasping the nerves, has become capable of wringing the heart. Other reasons there are, too, for holding that THE CORDS OF VANITY is certain to make its second appeal to a many times multiplied audience. Since divers momentous transactions of the years just gone, the whole world stands in a moral position extraordinarily well adapted to the comprehension of just such a comedy of shirking; and especially the world of thought has received a powerful impulsion toward the area long occupied by Mr. Cabell's romantic pessimism. There is perhaps somewhat more demand for satire, or at least a growing toleration of it. Moreover, by sheer patience and reiteration Mr. Cabell has procured no little currency for some of his most characteristic ideas. Chivalry and gallantry, as he analyzes them, are concepts which play their part in the inevitable present re-editing of social and literary history. _The Rivet in Grandfather's Neck_, _The Cream of the Jest_, and _The Certain Hour_ have somewhat to say to the discriminating, even on other than purely aesthetic grounds; _Beyond Life_ is on the threshold of its day as the _Sartor Resartus_ of one side, the aesthetic side, of modernism; "_Of_ Jurgen _eke they maken mencion";_ and THE CORDS OF VANITY is but the first of the earlier books to be reissued in the format of the uniform and accessible Intended Edition. While THE CORDS OF VANITY was out of print, a fresh copy is known to have been acquired for twenty-five cents. Copies of a more recent work by the same hand--a tale which has been rendered equally unavailable to the public, though by slightly different considerations--have fetched as much as one hundred times that sum. This arithmetic may be, in part, the gauge of an unsought and distasteful notoriety; but that very notoriety, by the most natural of transitions, will lead the curious on from what cannot be obtained to what can, and some who have begun by seeking one particular work of a great artist will end by discovering the artist. In short, it is rational to expect that the fortunes hereafter of this rewritten novel will very excellently illustrate the uses of adversity. Not, I repeat, that any great part of the reward for such writing can come from without. According to Robert Etheridge Townsend, "a man writes admirable prose not at all for the sake of having it read, but for the more sensible reason that he enjoys playing solitaire"--a not un-Cabellian saying. And, even of the reward from without, it may be questioned whether the really indispensable part ever comes from the multitude. A lady with whose more candid opinions the writer of this is more frequently favored nowadays than of old has said: "Every time I hear of somebody who has wanted one of these books without being able to get it, or who, having got it, has conceded it nothing better than the disdain of an ignoramus, I feel as if I must forthwith get out the copy and read it through again and again, until I have read it once for every person who has rejected it or been denied it." One may feel reasonably sure that it is this kind of solicitude, rather than any possible sanction from the crowd, which would be thought of by the author of this book as "the exact high prize through desire of which we write". WILSON FOLLETT. CHESHIRE, CONNECTICUT _May, 1920_ CONTENTS: THE PROLOGUE I HE SITS OUT A DANCE II HE LOVES EXTENSIVELY III HE EARNS A STICK-PIN IV HE TALKS WITH CHARTERIS V HE REVISITS FAIRHAVEN AND THE PLAY VI HE CHATS OVER A HEDGE VII HE GOES MAD IN A GARDEN VIII HE DUELS WITH A STUPID WOMAN IX HE PUTS HIS TONGUE IN HIS CHEEK X HE SAMPLES NEW EMOTIONS XI HE POSTURES AMONG CHIMNEY-POTS XII HE FACES HIMSELF AND REMEMBERS XIII HE BAITS UPON THE JOURNEY XIV HE PARTICIPATES IN A BRAVE JEST XV HE DECIDES TO AMUSE HIMSELF XVI HE SEEKS FOR COPY XVII HE PROVIDES COPY XVIII HE SPENDS AN AFTERNOON IN ARDEN XIX HE PLAYS THE IMPROVIDENT FOOL XX HE DINES OUT, IMPEDED BY SUPERSTITIONS XXI HE IS URGED TO DESERT HIS GALLEY XXII HE CLEANS THE SLATE XXIII HE REVILES DESTINY AND CLIMBS A WALL XXIV HE RECONCILES SENTIMENT AND REASON XXV HE ADVANCES IN THE ATTACK ON SELWOODE XXVI HE ASSISTS IN THE DIVERSION OF BIRDS XXVII HE CALLS, COUNSELS, AND CONSIDERS XXVIII HE PARTICIPATES IN SUNDRY CONFIDENCES XXIX HE ALLOWS THE MERITS OF IMPERFECTION XXX HE GILDS THE WEATHER-VANE THE EPILOGUE: WHICH SUGGESTS THAT SECOND THOUGHTS-- THE PROLOGUE _"In the house and garden of his dream he saw a child moving, and could divide the main streams at least of the winds that had played on him, and study so the first stage in that mental journey."_ _The Prologue: Which Deals with the Essentials_ _1--Writing_ It appeared to me that my circumstances clamored for betterment, because never in my life have I been able to endure the contact of unhappiness. And my mother was always crying now, over (though I did not know it) the luckiest chance which had ever befallen her; and that made me cry too, without understanding exactly why. So the child, that then was I, procured a pencil and a bit of wrapping-paper, and began to write laboriously: "DEAR LORD "You know that Papa died and please comfort Mama and give Father a crown of Glory Ammen "Your lamb and very sincerely yours "ROBERT ETHERIDGE TOWNSEND." This appeared to the point as I re-read it, and of course God would understand that children were not expected to write quite as straight across the paper as grown people. The one problem was how to deliver this, my first letter, most expeditiously, because when your mother cried you always cried too, and couldn't stop, not even when you wanted to, not even when she promised you five cents, and it all made you horribly uncomfortable. I knew that the big Bible on the parlor table was God's book. Probably God read it very often, since anybody would be proud of having written a book as big as that and would want to look at it every day. So I tiptoed into the darkened parlor. I use the word advisedly, for there was not at this period any drawing-room in Lichfield, and besides, a drawing-room is an entirely different matter. Everywhere the room was cool, and, since the shades were down, the outlines of the room's contents were uncomfortably dubious; for just where the table stood had been, five days ago, a big and oddly-shaped black box with beautiful silver handles; and Uncle George had lifted me so that I could see through the pane of glass, which was a part of this funny box, while an infinity of decorous people rustled and whispered.... I remember knowing they were "company" and thinking they coughed and sniffed because they were sorry that my father was dead. In the light of knowledge latterly acquired, I attribute these actions to the then prevalent weather, for even now I recall how stiflingly the room smelt of flowers--particularly of magnolia blossoms--and of rubber and of wet umbrellas. For my own part, I was not at all sorry, though of course I pretended to be, since I had always known that as a rule my father whipped me because he had just quarreled with my mother, and that he then enjoyed whipping me. I desired, in fine, that he should stay dead and possess his crown of glory in Heaven, which was reassuringly remote, and that my mother should stop crying. So I slipped my note into the Apocrypha.... I felt that somewhere in the room was God and that God was watching me, but I was not afraid. Yet I entertained, in common with most children, a nebulous distrust of this mysterious Person, a distrust of which I was particularly conscious on winter nights when the gas had been turned down to a blue fleck, and the shadow of the mantelpiece flickered and plunged on the ceiling, and the clock ticked louder and louder, in prediction (I suspected) of some terrible event very close at hand. Then you remembered such unpleasant matters as Elisha and his bears, and those poor Egyptian children who had never even spoken to Moses, and that uncomfortably abstemious lady, in the fat blue-covered _Arabian Nights_, who ate nothing but rice, grain by grain--in the daytime.... And you called Mammy, and said you were very thirsty and wanted a glass of water, please. To-day, though, while acutely conscious of that awful inspection, and painstakingly careful not to look behind me, I was not, after all, precisely afraid. If God were a bit like other people I knew He would say, "What an odd child!" and I liked to have people say that. Still, there was sunlight in the hall, and lots of sunlight, not just long and dusty shreds of sunlight, and I felt more comfortable when I was back in the hall. 2--_Reading_ I lay flat upon my stomach, having found that posture most conformable to the practice of reading, and I considered the cover of this slim, green book; the name of John Charteris, stamped thereon in fat-bellied letters of gold, meant less to me than it was destined to signify thereafter. A deal of puzzling matter I found in this book, but in my memory, always, one fantastic passage clung as a burr to sheep's wool. That fable, too, meant less to me than it was destined to signify thereafter, when the author of it was used to declare that he had, unwittingly, written it about me. Then I read again this _Fable of the Foolish Prince_ "As to all earlier happenings I choose in this place to be silent. Anterior adventures he had known of the right princely sort. But concerning his traffic with Schamir, the chief talisman, and how through its aid he won to the Sun's Sister for a little while; and concerning his dealings with the handsome Troll-wife (in which affair the cat he bribed with butter and the elm-tree he had decked with ribbons helped him); and with that beautiful and dire Thuringian woman whose soul was a red mouse: we have in this place naught to do. Besides, the Foolish Prince had put aside such commerce when the Fairy came to guide him; so he, at least, could not in equity have grudged the same privilege to his historian. "Thus, the Fairy leading, the Foolish Prince went skipping along his father's highway. But the road was bordered by so many wonders--as here a bright pebble and there an anemone, say, and, just beyond, a brook which babbled an entreaty to be tasted,--that many folk had presently overtaken and had passed the loitering Foolish Prince. First came a grandee, supine in his gilded coach, with half-shut eyes, uneagerly meditant upon yesterday's statecraft or to-morrow's gallantry; and now three yokels, with ruddy cheeks and much dust upon their shoulders; now a haggard man in black, who constantly glanced backward; and now a corporal with an empty sleeve, who whistled as he went. "A butterfly guided every man of them along the highway. 'For the Lord of the Fields is a whimsical person,' said the Fairy,' and such is his very old enactment concerning the passage even of his cowpath; but princes each in his day and in his way may trample this domain as prompt their will and skill.' "'That now is excellent hearing,' said the Foolish Prince; and he strutted. "'Look you,' said the Fairy, 'a man does not often stumble and break his shins in the highway, but rather in the byway.'.... "Thus, the Fairy leading, the Foolish Prince went skipping on his allotted journey, though he paused once in a while to shake his bauble at the staring sun. "'The stars,' he considered, 'are more sympathetic.... "And thus, the Fairy leading, they came at last to a tall hedge wherein were a hundred wickets, all being closed; and those who had passed the Foolish Prince disputed before the hedge and measured the hundred wickets with thirty-nine articles and with a variety of instruments, and each man entered at his chosen wicket, and a butterfly went before him; but no man returned into the open country. "'Now beyond each wicket,' said the Fairy, 'lies a great crucible, and by ninety and nine of these crucibles is a man consumed, or else transmuted into this animal or that animal. For such is the law in these parts and in human hearts.' "The Prince demanded how if one found by chance the hundredth wicket? But she shook her head and said that none of the Tylwydd Teg was permitted to enter the Disenchanted Garden. Rumor had it that within the Garden, beyond the crucibles, was a Tree, but whether the fruit of this Tree were sweet or bitter no person in the Fields could tell, nor did the Fairy pretend to know what happened in the Garden. "'Then why, in heaven's name, need a man test any of these wickets?' cried the Foolish Prince; 'with so much to lose and, it may be, nothing to gain? For one, I shall enter none of them.' "But once more she shook her glittering head. 'In your House and in your Sign it was decreed. Time will be, my Prince; to-day the kid gambols and the ox chews his cud. Presently the butcher cries, _Time is!_ Comes the hour and the power, and the cook bestirs herself and says, _Time was!_ The master has his dinner, either way, all say, and every day.' "And the Fairy vanished as she talked with him, her radiances thinning into the neutral colors of smoke, and thence dwindling a little by a little into the vaulting spiral of a windless and a burnt-out fire, until nothing remained of her save her voice; and that was like the moving of dead leaves before they fall. "'Truly,' said the Foolish Prince, 'I am compelled to consider this a vexatious business. For, look you, the butterfly I just now admire flits over this wicket, and then her twin flutters over that wicket, and between them there is absolutely no disparity in attraction. Hoo! here is a more sensible insect.' "And he leaped and cracked his heels together and ran after a golden butterfly that drifted to the rearward Fields. There was such a host of butterflies about that presently he had lost track of his first choice, and was in boisterous pursuit of a second, and then of a third, and then of yet others; but none of them did he ever capture, the while that one by one he followed divers butterflies of varying colors, and never a golden butterfly did he find any more. "When it was evening, the sky drew up the twilight from the east as a blotter draws up ink, and stars were kindling everywhere like tiny signal-fires, and a light wind came out of the murky east and rustled very plaintively in places where the more ambiguous shadows were; and the Foolish Prince shivered, for the air was growing chill, and the tips of his fingers were aware of it. "'A crucible,' he reflected, 'possesses the minor virtue of continuous warmth.' "And before the hedge he found a Rational Person, led hither by a Clothes' Moth, working out the problem of the hundred wickets in consonance with the most approved methods. 'I have very nearly solved it,' the Rational Person said, in genteel triumph, 'but this evening grows too dark for any further ciphering, and again I must wait until to-morrow. I regret, sir, that you have elected to waste the day, in pursuit of various meretricious Lepidoptera.' "'A happy day, my brother, is never wasted." "'That appears to me to be nonsense,' said the Rational Person; and he put up his portfolio, preparatory to spending another night under his umbrella in the Fields. "'Indeed, my brother?' laughed the Foolish Prince. 'Then, farewell, for I am assured that yonder, as here, our father makes the laws, and that to dispute his appreciation of the enticing qualities of butterflies were an impertinence.' "Thereafter, pushing open the wicket nearest to his hand, the Foolish Prince tucked his bauble under his left arm and skipped into the Disenchanted Garden; and as he went he sang, not noting that, from somewhere in the thickening shadows, had arisen a golden butterfly which went before him through the wicket. "Sang the Foolish Prince: "'Farewell to Fields and Butterflies And levities of Yester-year! For we espy, and hold more dear, The Wicket of our Destinies. "'Whereby we enter, once for all, A Garden which such fruit doth yield As, tasted once, no more Afield We fare where Youth holds carnival. "'Farewell, fair Fields, none found amiss When laughter was a frequent noise And golden-hearted girls and boys Appraised the mouth they meant to kiss. "'Farewell, farewell! but for a space We, being young, Afield might stray, That in our Garden nod and say, _Afield is no unpleasant place.'"_ 3--_Arithmetic_ In such disconnected fashion, as hereafter, I record the moments of my life which I most vividly remember. For it is possible only in the last paragraphs of a book, and for a book's people only, to look back upon an ordered and proportionate progression to what one has become; in life the thing arrives with scantier dignity; and one appears, in retrospection, less to have marched toward any goal than always to have jumped and scrambled from one stepping-stone to another because, however momentarily, "just this or that poor impulse seemed the sole work of a lifetime." Well! at least I have known these moments and the rapture of their dominance; and I am not lightly to be stripped of recollection of them, nor of the attendant thrill either, by any cheerless hour wherein, as sometimes happens, my personal achievements confront me like a pile of flimsy jack-straws. What does it all amount to?--I do not know. There may be some sort of supernal bookkeeping, somewhere, but very certainly it is not conformable to any human mathematics. _THE CORDS OF VANITY "His has been the summer air, and the sunshine, and the flowers; and gentle ears have listened to him, and gentle eyes have been upon him. Let others eat his honey that please, so that he has had his morsel and his song."_ 1. _He Sits Out a Dance_ When I first knew Stella she was within a month of being fifteen, which is for womankind an unattractive age. There were a startling number of corners to her then, and she had but vague notions as to the management of her hands and feet. In consequence they were perpetually turning up in unexpected places and surprising her by their size and number. Yes, she was very hopelessly fifteen; and she was used to laugh, unnecessarily, in a nervous fashion, approximating to a whinny, and when engaged in conversation she patted down her skirts six times to the minute. It seems oddly unbelievable when I reflect that Rosalind--"daughter to the banished Duke"--and Stella and Helen of Troy, and all the other famous fair ones of history, were each like that at one period or another. As for myself, I was nine days younger than Stella, and so I was at this time very old--much older than it is ever permitted anyone to be afterward. I cherished the most optimistic ideas as to my impendent moustache, and was wont in privacy to encourage it with the manicure-scissors. I still entertained the belief that girls were upon the whole superfluous nuisances, but was beginning to perceive the expediency of concealing this opinion, even in private converse with my dearest chum, where, in our joyous interchange of various heresies, we touched upon this especial sub-division of fauna very lightly, and, I now suspect, with some self-consciousness. 2 All this was at a summer resort, which was called the Green Chalybeate. Stella and I and others of our age attended the hotel hops in the evening with religious punctuality, for well-meaning elders insisted these dances amused us, and it was easier to go than to argue the point. At least, that was the feeling of the boys. Stella has since sworn the girls liked it. I suspect in this statement a certain parsimony as to the truth. They giggled too much and were never entirely free from that haunting anxiety concerning their skirts. We danced together, Stella and I, to the strains of the last Sousa two-step (it was the _Washington Post_), and we conversed, meanwhile, with careful disregard of the amenities of life, since each feared lest the other might suspect in some common courtesy an attempt at--there is really no other word--spooning. And spooning was absurd. Well, as I once read in the pages of a rare and little known author, one lives and learns. I asked Stella to sit out a dance. I did this because I had heard Mr. Lethbury--a handsome man with waxed mustachios and an absolutely piratical amount of whiskers,--make the same request of Miss Van Orden, my just relinquished partner, and it was evident that such whiskers could do no wrong. Stella was not uninfluenced, it may be, by Miss Van Orden's example, for even in girlhood the latter was a person of extraordinary beauty, whereas, as has been said, Stella's corners were then multitudinous; and it is probable that those two queer little knobs at the base of Stella's throat would be apt to render their owner uncomfortable and a bit abject before--let us say--more ample charms. In any event, Stella giggled and said she thought it would be just fine, and I presently conducted her to the third piazza of the hotel. There we found a world that was new. 3 It was a world of sweet odors and strange lights, flooded with a kindly silence which was, somehow, composed of many lispings and trepidations and thin echoes. The night was warm, the sky all transparency. If the comparison was not manifestly absurd, I would liken that remembered sky's pale color to the look of blue plush rubbed the wrong way. And in its radiance the stars bathed, large and bright and intimate, yet blurred somewhat, like shop-lights seen through frosted panes; and the moon floated on it, crisp and clear as a new-minted coin. This was the full midsummer moon, grave and glorious, that compelled the eye; and its shield was obscurely marked, as though a Titan had breathed on its chill surface. Its light suffused the heavens and lay upon the earth beneath us in broad splashes; and the foliage about us was dappled with its splendor, save in the open east, where the undulant, low hills wore radiancy as a mantle. For the trees, mostly maples of slight stature, clustered thickly about the hotel, and their branches mingled in a restless pattern of blacks and silvers and dim greens that mimicked the laughter of the sea under an April wind. Looking down from the piazza, over the expanse of tree-tops, all this was strangely like the sea; and it gave one, somehow, much the same sense of remote, unbounded spaces and of a beauty that was a little sinister. At times whippoorwills called to one another, eerie and shrill; and the distant dance-music was a vibration in the air, which was heavy with the scent of bruised growing things and was filled with the cool, healing magic of the moonlight. Taking it all in all, we had blundered upon a very beautiful place. And there we sat for a while and talked in an aimless fashion. We did not know quite how one ought to "sit out" a dance, you conceive.... 4 Then, moved by some queer impulse, I stared over the railing for a little at this great, wonderful, ambiguous world, and said solemnly: "It is good." "Yes," Stella agreed, in a curious, quiet and tiny voice, "it--it's very large, isn't it?" She looked out for a moment over the tree-tops. "It makes me feel like a little old nothing," she said, at last. "The stars are so big, and--so uninterested." Stella paused for an interval, and then spoke again, with an uncertain laugh. "I think I am rather afraid." "Afraid?" I echoed. "Yes," she said, vaguely; "of--of everything." I understood. Even then I knew something of the occasional insufficiency of words. "It is a big world," I assented, "and lots of people are having a right hard time in it right now. I reckon there is somebody dying this very minute not far off." "It's all--waiting for us!" Stella had forgotten my existence. "It's bringing us so many things--and we don't know what any of them are. But we've got to take them, whether we want to or not. It isn't fair. We've got to--well, got to grow up, and--marry, and--die, whether we want to or not. We've no choice. And it may not matter, after all. Everything will keep right on like it did before; and the stars won't care; and what we've done and had done to us won't really matter!" "Well, but, Stella, you can have a right good time first, anyway, if you keep away from ugly things and fussy people. And I reckon you really go to Heaven afterwards if you haven't been really bad,--don't you?" "Rob,--are you ever afraid of dying?" Stella asked, "very much afraid--Oh, you know what I mean." I did. I was about ten once more. It was dark, and I was passing a drug-store, with huge red and green and purple bottles glistening in the gas-lit windows; and it had just occurred to me that I, too, must die, and be locked up in a box, and let down with trunk-straps into a hole, like Father was.... So I said, "Yes." "And yet we've got to! Oh, I don't see how people can go on living like everything was all right when that's always getting nearer,--when they know they've got to die before very long. Because they dance and go on picnics and buy hats as if they were going to live forever. I--oh, I can't understand." "They get used to the idea, I reckon. We're sort of like the rats in the trap at home, in our stable," I suggested, poetically. "We can bite the wires and go crazy, like lots of them do, if we want to, or we can eat the cheese and kind of try not to think about it. Either way, there's no getting out till they come to kill us in the morning." "Yes," sighed Stella; "I suppose we must make the best of it." "It's the only sensible thing to do, far as I can see." "But it is all so big--and so careless about us!" she said, after a little. "And we don't know--we can't know!--what is going to happen to you and me. And we can't stop its happening!" "We'll just have to make the best of that, too," I protested, dolefully. Stella sighed again, "I hope so," she assented; "still, I'm scared of it." "I think I am, too--sort of," I conceded, after reflection. "Anyhow, I am going to have as good a time as I can." There was now an even longer pause. Pitiable, ridiculous infants were pondering, somewhat vaguely but very solemnly, over certain mysteries of existence, which most of us have learned to accept with stolidity. We were young, and to us the miraculous insecurity and inconsequence of human life was still a little impressive, and we had not yet come to regard the universe as a more or less comfortable place, well-meaningly constructed anyhow--by Somebody--for us to reside in. Therefore we moved a trifle closer together, Stella and I, and were commonly miserable over the _Weltschmerz_. After a little a distant whippoorwill woke me from a chaos of reverie, and I turned to Stella, with a vague sense that we two were the only people left in the whole world, and that I was very, very fond of her. Stella's head was leaned backward. Her lips were parted, and the moonlight glinted in her eyes. Her eyes were blue. "Don't!" said Stella, faintly. I did.... It was a matter out of my volition, out of my planning. And, oh, the wonder, and sweetness, and sacredness of it! I thought, even in the instant; and, oh, the pity that, after all, it is slightly disappointing.... Stella was not angry, as I had half expected. "That was dear of you," she said, impulsively, "but don't try to do it again." There was the wisdom of centuries in this mandate of Stella's as she rose from the bench. The spell was broken, utterly. "I think," said Stella, in the voice of a girl of fifteen, "I think we'd better go and dance some more." 5 In the crude morning I approached Stella, with a fatuous smile. She apparently both perceived and resented my bearing, although she never once looked at me. There was something of great interest to her in the distance, apparently down by the springhouse; she was flushed and indignant; and her eyes wouldn't, couldn't, and didn't turn for an instant in my direction. I fidgeted. "If," said she, impersonally, "if you believe it was because of _you_, you are very much mistaken. It would have been the same with anybody. You don't understand, and I don't either. Anyhow, I think you are a mess, and I hate you. Go away from me!" And she stamped her foot in a fine rage. For the moment I entertained an un-Christian desire that Stella had been born a boy. In that case, I felt, I would, just then, have really enjoyed sitting upon the back of her head, and grinding her nose into the lawn, and otherwise persuading her to cry "'Nough." These virile pleasures being denied me, I sought for comfort in discourteous speech. "Umph-huh!" said I, "and you think you're mighty smart, don't you? Well, I don't want you pawing around me any more, either. I won't have it, do you understand! That was what I was going to tell you anyhow, you kissing-bug, even if you hadn't acted so smart. And you can just stick that right in your pipe and smoke it, you old Miss Smart Alec." Thereupon I--wisely--departed without delay. A rock struck me rather forcibly between the shoulder blades, but I did not deign to notice this phenomenon. "You can't fight girls with fists," I reflected. "You've just got to talk to them in the right way." 2. _He Loves Extensively_ I saw no more of Stella for a lengthy while, since within two days of the events recorded it pleased my mother to seek out another summer resort. "For in September," she said, "I really must have perfect quiet and unimpeachable butter, and falling leaves, and only a very few congenial people to be melancholy with,--and that sort of thing, you know. I find it freshens one up so against the winter." It was a signal feature of my mother's conversation that you never understood, precisely, what she was talking about. Thus in her train the silly, pretty woman drew otherwhither her hobbledehoy son, as indeed Claire Bulmer Townsend had aforetime drawn an armament of more mature and stolid members of my sex. I was always proud of my handsome mother, but without any aspirations, however theoretical, toward intimacy; and her periods of conscientious if vague affection, when she recollected its propriety, I endured with consolatory foreknowledge of an impendent, more agreeable era of neglect. I fancy that at bottom I was without suspecting it lonely. I was an only child; my father had died, as has been hinted, when I was in kilts.... No, I must have graduated from kilts into "knee-pants" when the Democracy of Lichfield celebrated Grover Cleveland's first election as President, for I was seven years old then, and was allowed to stay up ever so late after supper to watch the torchlight parade. I recollect being rather pleasantly scared by the yells of all those marching people and by the glistening of their faces as the irregular flaring torches heaved by; and I recollect how delightfully the cold night air was flavored with kerosene. In any event, it was on this generally festive November night that my father again took too much to drink, and, coming home toward morning, lay down and went to sleep in the vestibule between our front-door and the storm-doors; and five days later died of pneumonia...In that era I was accounted an odd boy; given to reading and secretive ways, and, they record, to long silences throughout which my lips would move noiselessly. "Just talking to one of my friends," they tell me I was used to explain; though it was not until my career at King's College that I may be said to have pretended to intimacy with anybody. 2 For in old Fairhaven I spent, of course, a period of ostensible study, as four generations of my fathers had done aforetime. But in that leisured, slatternly and ancient city I garnered a far larger harvest of (comparatively) innocuous cakes and ale than of authentic learning, and at my graduation carried little of moment from the place save many memories of Bettie Hamlyn.... Her father taught me Latin at King's College, while Bettie taught me human intimacy--almost. Looking back, I have not ever been intimate with anybody.... Not but that I had my friends. In particular I remember those four of us who always called ourselves--in flat defiance, just as Dumas did, of mere arithmetic--"The Three Musketeers." I think that we loved one another very greatly during the four years we spent together in our youth. I like to believe we did, and to remember the boys who were once unreasonably happy, even now. It does not seem to count, somehow, that Aramis has taken to drink and every other inexpedient course, I hear, and that I would not recognize him today, were we two to encounter casually--or Athos, either, I suppose, now that he has been so long in the Philippines. And as for D'Artagnan--or Billy Woods, if you prefer the appellation which his sponsors gave him,--why we are still good friends and always will be, I suppose. But we are not particularly intimate; and very certainly we will never again read _Chastelard_ together and declaim the more impassioned parts of it,--and in fine, I cannot help seeing, nowadays, that, especially since his marriage, Billy has developed into a rather obvious and stupid person, and that he considers me to be a bit of a bad egg. And in a phrase, when we are together, just we two, we smoke a great deal and do not talk any more than is necessary. And once I would have quite sincerely enjoyed any death, however excruciating, which promoted the well-being of Billy Woods; and he viewed me not dissimilarly, I believe.... However, after all, this was a long, long while ago, and in a period almost antediluvian. And during this period they of Fairhaven assumed I was in love with Bettie Hamlyn; and for a very little while, at the beginning, had I assumed as much. More lately was my error flagrantly apparent when I fell in love with someone else, and sincerely in love, and found to my amazement that, upon the whole, I preferred Bettie's companionship to that of the woman I adored. By and by, though, I learned to accept this odd, continuing phenomenon much as I had learned to accept the sunrise. 3 Once Bettie demanded of me, "I often wonder what you really think of me? Honest injun, I mean." I meditated, and presently began, with leisure: "Miss Hamlyn is a young woman of considerable personal attractions, and with one exception is unhandicapped by accomplishments. She plays the piano, it is true, but she does it divinely and she neither crochets nor embroiders presents for people, nor sketches, nor recites, nor sings, or in fine annoys the public in any way whatsoever. Her enemies deny that she is good-looking, but even her friends concede her curious picturesqueness and her knowledge of it. Her penetration, indeed, is not to be despised; she has even grasped the fact that all men are not necessarily fools in spite of the fashion in which they talk to women. It must be admitted, however, that her emotions are prone to take precedence of her reasoning powers: thus she is not easily misled from getting what she desires, save by those whom she loves, because in argument, while always illogical, she is invariably convincing--" Miss Hamlyn sniffed. "This is, perhaps, the inevitable effect of twenty cigarettes a day," was her cryptic comment. "Nevertheless, it does affect me with ennui." "--For, the mere facts of the case she plainly demonstrates, with the abettance of her dimples, to be an affair of unimportance; the real point is what she wishes done about it. Yet the proffering of any particular piece of advice does not necessarily signify that she either expects or wishes it to be followed, since had she been present at the Creation she would have cheerfully pointed out to the Deity His various mistakes, and have offered her co-operation toward bettering matters, and have thought a deal less of Him had He accepted it; but this is merely a habit--" "Yes?" said Bettie, yawning; and she added: "Do you know, Robin, the saddest and most desolate thing in the world is to practise an _etude_ of Schumann's in nine flats, and the next is to realize that a man who has been in love with you has recovered for keeps?" "--It must not be imagined, however, that Miss Hamlyn is untruthful, for when driven by impertinences into a corner she conceals her real opinion by voicing it quite honestly as if she were joking. Thereupon you credit her with the employment of irony and the possession of every imaginable and super-angelical characteristic--" "Unless we come to a better understanding," Miss Hamlyn crisply began, "we had better stop right here before we come to a worse--" "--Miss Hamlyn, in a word, is possessed of no insufferable virtues and of many endearing faults; and in common with the rest of humanity, she regards her disapproval of any proceeding as clear proof of its impropriety." This was largely apropos of a fire-new debate concerning the deleterious effects of cigarette-smoking; and when I had made an end, and doggedly lighted another one of them, Bettie said nothing.... She minded chiefly that one of us should have thought of the other without bias. She said it was not fair. And I know now that she was right. But of Bettie Hamlyn, for reasons you may learn hereafter if you so elect, I honestly prefer to write not at all. Four years, in fine, we spent to every purpose together, and they were very happy years. To record them would be desecration. 4 Meantime, during these years, I had fallen in and out of love assiduously. Since the Anabasis of lad's love traverses a monotonous country, where one hill is largely like another, and one meadow a duplicate of the next to the last daffodil, I may with profit dwell upon the green-sickness lightly. It suffices that in the course of these four years I challenged superstition by adoring thirteen girls, and, worse than that, wrote verses of them. I give you their names herewith--though not their workaday names, lest the wives of divers people be offended (and in many cases, surprised), but the appellatives which figured in my rhymes. They were Heart's Desire, Florimel, Dolores, Yolande, Adelais, Sylvia, Heart o' My Heart, Chloris, Felise, Ettarre, Phyllis, Phyllida, and Dorothy. Here was a rosary of exquisite names, I even now concede; and the owner of each _nom de plume_ I, for however brief a period, adored for this or that peculiar excellence; and by ordinary without presuming to mention the fact to any of these divinities save Heart o' My Heart, who was, after all, only a Penate. Outside the elevated orbits of rhyme she was called Elizabeth Hamlyn; and it afterward became apparent to me that I, in reality, wrote all the verses of this period solely for the pleasure of reading them aloud to Bettie, for certainly I disclosed their existence to no one else--except just one or two to Phyllida, who was "literary." And the upshot of all this heart-burning is most succinctly given in my own far from impeccable verse, as Bettie Hamlyn heard the summing-up one evening in May. It was the year I graduated from King's College, and the exact relation of the date to the Annos Domini is trivial. But the battle of Manila had just been fought, and off Santiago Captain Sampson and Commander Schley were still hunting for Cervera's "phantom fleet." And in Fairhaven, as I remember it, although there was a highly-colored picture of Commodore Dewey in the barber-shop window, nobody was bothering in the least about the war except when Colonel Snawley and Dr. Jeal foregathered at Clarriker's Emporium to denounce the colossal errors of "imperialism".... "Thus, then, I end my calendar Of ancient loves more light than air;-- And now Lad's Love, that led afar In April fields that were so fair, Is fled, and I no longer share Sedate unutterable days With Heart's Desire, nor ever praise Felise, or mirror forth the lures Of Stella's eyes nor Sylvia's, Yet love for each loved lass endures. "Chloris is wedded,
{'title': 'The Cords of Vanity: A Comedy of Shirking by James Branch Cabell', 'source': 'Project Gutenberg', 'lang': 'en'}