Few of the more astute1 critics who have appraised2 the work of James Branch Cabell have failed to call attention to that extraordinary cohesion3 which makes his very latest novel a further flowering of the seed of his very earliest literary work. Especially among his later books does the scheme of each seem to dovetail into the scheme of the other and the whole of his writing take on the character of an uninterrupted discourse4. To this phenomenon, which is at once a fact and an illusion of continuity, Mr. Cabell himself has consciously contributed, not only by a subtly elaborate use of conjunctions, by repetition, and by reintroducing characters from his other books, but by actually setting his expertness in genealogy5 to the genial6 task of devising a family tree for his figures of fiction.
If this were an actual continuity, more tangible7 than that fluid abstraction we call the life force; if it were merely a tireless reiteration8 and recasting of characters, Mr. Cabell’s work would have an unbearable9 monotony. But at bottom this apparent continuity has no more material existence than has the thread of lineal descent. To insist upon its importance is to obscure, as has been obscured, the epic10 range of Mr. Cabell’s creative genius. It is to fail to observe that he has treated in his many books every mainspring of human action and that his themes have been the cardinal11 dreams and impulses which have in them heroic qualities. Each separate volume has a unity12 and harmony of a complete and separate life, for the excellent reason that with the consummate13 skill of an artist he is concerned exclusively in each book with one definite heroic impulse and its frustrations14.
It is true, of course, that like the fruit of the tree of life, Mr. Cabell’s artistic15 progeny16 sprang from a first conceptual germ—“In the beginning was the Word.” That animating17 idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor19. It postulates20 the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious21 dedication22 to its fullest realization23. It is the quality and intensity24 of the dream only which raises men above the biological norm; and it is fidelity25 to the dream which differentiates26 the exceptional figure, the man of heroic stature27, from the muddling28, aimless mediocrities about him. What the dream is, matters not at all—it may be a dream of sainthood, kingship, love, art, asceticism29 or sensual pleasure—so long as it is fully30 expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict31 in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly32 flower and is cultured only by an uncompromising, strict husbandry.
All this is, we see, the ideational gonfalon under which surge the romanticists; but from the evidence at hand it is the banner to which life also bears allegiance. It is in humanity’s records that it has reserved its honors for its romantic figures. It remembers its Caesars, its saints, its sinners. It applauds, with a complete suspension of moral judgment33, its heroines and its heroes who achieve the greatest self-realization. And from the splendid triumphs and tragic34 defeats of humanity’s individual strivings have come our heritage of wisdom and of poetry.
Once we understand the fundamentals of Mr. Cabell’s artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity’s sacred books, just as in Jurgen he gave us a stupendous analogue35 of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul. His books are neither documentary nor representational; his characters are symbols of human desires and motives36. By the not at all simple process of recording37 faithfully the projections38 of his rich and varied39 imagination, he has written thirteen books, which he accurately40 terms biography, wherein is the bitter-sweet truth about human life.
II
Among the scant41 certainties vouchsafed42 us is that every age lives by its special catchwords. Whether from rebellion against the irking monotony of its inherited creeds43 or from compulsions generated by its own complexities44, each age develops its code of convenient illusions which minimize cerebration in dilemmas45 of conduct by postulating46 an unequivocal cleavage between the current right and the current wrong. It works until men tire of it or challenge the cleavage, or until conditions render the code obsolete47. It has in it, happily, a certain poetic48 merit always; it presents an ideal to be lived up to; it gives direction to the uncertain, stray impulses of life.
The Chivalric49 code is no worse than most and certainly it is prettier than some. It is a code peculiar50 to an age, or at least it flourishes best in an age wherein sentiment and the stuff of dreams are easily translatable into action. Its requirements are less of the intellect than of the heart. It puts God, honor, and mistress above all else, and stipulates51 that a knight52 shall serve these three without any reservation. It requires of its secular53 practitioners54 the holy virtues55 of an active piety56, a modified chastity, and an unqualified obedience57, at all events, to the categorical imperative58. The obligation of poverty it omits, for the code arose at a time when the spiritual snobbery59 of the meek60 and lowly was not pressing the simile61 about the camel and the eye of the needle. It leads to charming manners and to delicate amenities62. It is the opposite of the code of Gallantry, for while the code of Chivalry63 takes everything with a becoming seriousness, the code of Gallantry takes everything with a wink64. If one should stoop to pick flaws with the Chivalric ideal, it would be to point out a certain priggishness and intolerance. For, while it is all very well for one to cherish the delusion65 that he is God’s vicar on earth and to go about his Father’s business armed with a shining rectitude, yet the unhallowed may be moved to deprecate the enterprise when they recall, with discomfort66, the zealous67 vicarship of, say, the late Anthony J. Comstock.
But here I blunder into Mr. Cabell’s province. For he has joined many graceful68 words in delectable69 and poignant70 proof of just that lamentable71 tendency of man to make a mess of even his most immaculate conceivings. When he wrote Chivalry, Mr. Cabell was yet young enough to view the code less with the appraising72 eye of a pawnbroker73 than with the ardent74 eye of an amateur. He knew its value, but he did not know its price. So he made of it the thesis for a dizain of beautiful happenings that are almost flawless in their verbal beauty.
III
It is perhaps of historical interest here to record the esteem75 in which Mark Twain held the genius of Mr. Cabell as it was manifested as early as a dozen years ago. Mr. Cabell wrote The Soul of Melicent, or, as it was rechristened on revision, Domnei, at the great humorist’s request, and during the long days and nights of his last illness it was Mr. Cabell’s books which gave Mark Twain his greatest joy. This knowledge mitigates76 the pleasure, no doubt, of those who still, after his fifteen years of writing, encounter him intermittently77 with a feeling of having made a great literary discovery. The truth is that Mr. Cabell has been discovered over and over with each succeeding book from that first fine enthusiasm with which Percival Pollard reviewed The Eagle’s Shadow to that generous acknowledgment by Hugh Walpole that no one in England, save perhaps Conrad and Hardy78, was so sure of literary permanence as James Branch Cabell.
With The Cream of the Jest, Beyond Life, and Figures of Earth before him, it is not easy for the perceptive79 critic to doubt this permanence. One might as sensibly deny a future to Ecclesiastes, The Golden Ass18, Gulliver’s Travels, and the works of Rabelais as to predict oblivion for such a thesaurus of ironic80 wit and fine fantasy, mellow81 wisdom and strange beauty as Jurgen. But to appreciate the tales of Chivalry is, it seems, a gift more frequently reserved for the general reader than for the professional literary evaluator. Certainly years before discussion of Cabell was artificially augmented82 by the suppression of Jurgen there were many genuine lovers of romance who had read these tales with pure enjoyment83. That they did not analyse and articulate their enjoyment for the edification of others does not lessen84 the quality of their appreciation85. Even in those years they found in Cabell’s early tales what we find who have since been directed to them by the curiosity engendered86 by his later work, namely, a superb craftsmanship87 in recreating a vanished age, an atmosphere in keeping with the themes, a fluid, graceful, personal style, a poetic ecstasy88, a fine sense of drama, and a unity and symmetry which are the hall-marks of literary genius.
BURTON RASCOE. New York City, September, 1921.
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1 astute | |
adj.机敏的,精明的 | |
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2 appraised | |
v.估价( appraise的过去式和过去分词 );估计;估量;评价 | |
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3 cohesion | |
n.团结,凝结力 | |
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4 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
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5 genealogy | |
n.家系,宗谱 | |
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6 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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7 tangible | |
adj.有形的,可触摸的,确凿的,实际的 | |
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8 reiteration | |
n. 重覆, 反覆, 重说 | |
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9 unbearable | |
adj.不能容忍的;忍受不住的 | |
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10 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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11 cardinal | |
n.(天主教的)红衣主教;adj.首要的,基本的 | |
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12 unity | |
n.团结,联合,统一;和睦,协调 | |
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13 consummate | |
adj.完美的;v.成婚;使完美 [反]baffle | |
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14 frustrations | |
挫折( frustration的名词复数 ); 失败; 挫败; 失意 | |
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15 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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16 progeny | |
n.后代,子孙;结果 | |
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17 animating | |
v.使有生气( animate的现在分词 );驱动;使栩栩如生地动作;赋予…以生命 | |
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18 ass | |
n.驴;傻瓜,蠢笨的人 | |
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19 splendor | |
n.光彩;壮丽,华丽;显赫,辉煌 | |
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20 postulates | |
v.假定,假设( postulate的第三人称单数 ) | |
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21 conscientious | |
adj.审慎正直的,认真的,本着良心的 | |
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22 dedication | |
n.奉献,献身,致力,题献,献辞 | |
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23 realization | |
n.实现;认识到,深刻了解 | |
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24 intensity | |
n.强烈,剧烈;强度;烈度 | |
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25 fidelity | |
n.忠诚,忠实;精确 | |
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26 differentiates | |
区分,区别,辨别( differentiate的第三人称单数 ); 区别对待; 表明…间的差别,构成…间差别的特征 | |
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27 stature | |
n.(高度)水平,(高度)境界,身高,身材 | |
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28 muddling | |
v.弄乱,弄糟( muddle的现在分词 );使糊涂;对付,混日子 | |
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29 asceticism | |
n.禁欲主义 | |
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30 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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31 depict | |
vt.描画,描绘;描写,描述 | |
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32 costly | |
adj.昂贵的,价值高的,豪华的 | |
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33 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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34 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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35 analogue | |
n.类似物;同源语 | |
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36 motives | |
n.动机,目的( motive的名词复数 ) | |
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37 recording | |
n.录音,记录 | |
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38 projections | |
预测( projection的名词复数 ); 投影; 投掷; 突起物 | |
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39 varied | |
adj.多样的,多变化的 | |
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40 accurately | |
adv.准确地,精确地 | |
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41 scant | |
adj.不充分的,不足的;v.减缩,限制,忽略 | |
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42 vouchsafed | |
v.给予,赐予( vouchsafe的过去式和过去分词 );允诺 | |
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43 creeds | |
(尤指宗教)信条,教条( creed的名词复数 ) | |
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44 complexities | |
复杂性(complexity的名词复数); 复杂的事物 | |
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45 dilemmas | |
n.左右为难( dilemma的名词复数 );窘境,困境 | |
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46 postulating | |
v.假定,假设( postulate的现在分词 ) | |
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47 obsolete | |
adj.已废弃的,过时的 | |
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48 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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49 chivalric | |
有武士气概的,有武士风范的 | |
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50 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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51 stipulates | |
n.(尤指在协议或建议中)规定,约定,讲明(条件等)( stipulate的名词复数 );规定,明确要求v.(尤指在协议或建议中)规定,约定,讲明(条件等)( stipulate的第三人称单数 );规定,明确要求 | |
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52 knight | |
n.骑士,武士;爵士 | |
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53 secular | |
n.牧师,凡人;adj.世俗的,现世的,不朽的 | |
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54 practitioners | |
n.习艺者,实习者( practitioner的名词复数 );从业者(尤指医师) | |
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55 virtues | |
美德( virtue的名词复数 ); 德行; 优点; 长处 | |
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56 piety | |
n.虔诚,虔敬 | |
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57 obedience | |
n.服从,顺从 | |
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58 imperative | |
n.命令,需要;规则;祈使语气;adj.强制的;紧急的 | |
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59 snobbery | |
n. 充绅士气派, 俗不可耐的性格 | |
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60 meek | |
adj.温顺的,逆来顺受的 | |
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61 simile | |
n.直喻,明喻 | |
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62 amenities | |
n.令人愉快的事物;礼仪;礼节;便利设施;礼仪( amenity的名词复数 );便利设施;(环境等的)舒适;(性情等的)愉快 | |
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63 chivalry | |
n.骑士气概,侠义;(男人)对女人彬彬有礼,献殷勤 | |
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64 wink | |
n.眨眼,使眼色,瞬间;v.眨眼,使眼色,闪烁 | |
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65 delusion | |
n.谬见,欺骗,幻觉,迷惑 | |
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66 discomfort | |
n.不舒服,不安,难过,困难,不方便 | |
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67 zealous | |
adj.狂热的,热心的 | |
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68 graceful | |
adj.优美的,优雅的;得体的 | |
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69 delectable | |
adj.使人愉快的;美味的 | |
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70 poignant | |
adj.令人痛苦的,辛酸的,惨痛的 | |
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71 lamentable | |
adj.令人惋惜的,悔恨的 | |
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72 appraising | |
v.估价( appraise的现在分词 );估计;估量;评价 | |
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73 pawnbroker | |
n.典当商,当铺老板 | |
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74 ardent | |
adj.热情的,热烈的,强烈的,烈性的 | |
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75 esteem | |
n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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76 mitigates | |
v.减轻,缓和( mitigate的第三人称单数 ) | |
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77 intermittently | |
adv.间歇地;断断续续 | |
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78 hardy | |
adj.勇敢的,果断的,吃苦的;耐寒的 | |
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79 perceptive | |
adj.知觉的,有洞察力的,感知的 | |
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80 ironic | |
adj.讽刺的,有讽刺意味的,出乎意料的 | |
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81 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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82 Augmented | |
adj.增音的 动词augment的过去式和过去分词形式 | |
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83 enjoyment | |
n.乐趣;享有;享用 | |
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84 lessen | |
vt.减少,减轻;缩小 | |
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85 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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86 engendered | |
v.产生(某形势或状况),造成,引起( engender的过去式和过去分词 ) | |
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87 craftsmanship | |
n.手艺 | |
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88 ecstasy | |
n.狂喜,心醉神怡,入迷 | |
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