On the technical side alone, it is easy to establish Cabell's poetic6 standing7. There are, first of all, the quantity of original rhymes that are scattered8 through the dozen volumes which Cabell has latterly (and significantly) classified as Biography. Besides these interjections which do duty as mottoes, chapter-headings, tailpieces, dedications9, interludes and sometimes relevant songs, there is the volume of seventy-five "adaptations" in verse, From the Hidden Way, published in 1916. Here Cabell, even in his most natural rôle, declines to show his face and amuses himself with a new set of masks labelled Alessandro de Medici, Antoine Riczi, Nicolas de Caen, Theodore Passerat and other fabulous10 minnesingers whose verses were created only in the mind of Cabell. It has pleased him to confuse others besides the erudite reviewer of the Boston Transcript11 by quoting the first lines of the non-existent originals in Latin, Italian, Provençal—thus making his skilful12 ballades, sestinas and the less mediæval narratives13 part of a remarkably14 elaborate and altogether successful hoax15.
And, as this masquerade of obscure Parnassians betrayed its creator, Cabell—impelled by some fantastic reticence—sought for more subtle makeshifts to hide the poet. The unwritten thesis, plunging16 abruptly17 into the realm of analytical18 psychology19, will detail the steps Cabell has taken, as a result of early associative disappointments, to repress or at least to disguise, the poet in himself—and it will disclose how he has failed. It will burrow20 through the latest of his works and exhume21 his half-buried experiments in rhyme, assonance and polyphony. This part of the paper will examine Jurgen and call attention to the distorted sonnet22 printed as a prose soliloquy on page 97 of that exquisite23 and ironic24 volume. It will pass to the subsequent Figures of Earth and, after showing how the greater gravity of this volume is accompanied by a greater profusion25 of poetry per se it will unravel26 the scheme of Cabell's fifteen essays in what might be called contrapuntal prose. It will unscramble all the rhymes screened in Manuel's monologue27 beginning on page 294, quote the metrical innovations with rhymed vowels28 on page 60, tabulate29 the hexameters that leap from the solidly set paragraphs and rearrange the brilliant fooling that opens the chapter "Magic of the Image Makers30." This last is in itself so felicitous31 a composite of verse and criticism—a passage incredibly overlooked by the most meticulous32 of Cabell's glossarians—that it deserves a paper for itself. For here, set down prosaically33 as "the unfinished Rune of the Blackbirds" are four distinct parodies—including two insidious34 burlesques35 of Browning and Swinburne—on a theme which is familiar to us to-day in les mots justes of Mother Goose. "It is," explains Freydis, after the thaumaturgists have finished, "an experimental incantation in that it is a bit of unfinished magic for which the proper words have not yet been found: but between now and a while they will be stumbled on, and then this rune will live perpetually." And thus the poet, speaking through the mouth-piece of Freydis, discourses36 on the power of words and, in one of Cabell's most eloquent37 chapters, crystallizes that high mood, presenting the case for poetry as it has been pleaded by few of her most fervid38 advocates.
Here the thesis will stop quoting and argue its main contention39 from another angle. It will consider the author in a larger and less technical sense: disclosing his characters, his settings, his plots, even the entire genealogical plan of his works, to be the design of a poet rather than a novelist. The persons of Cabell's imagination move to no haphazard strains; they create their own music. And, like a set of modulated40 motifs41, they combine to form a richer and more sonorous42 pattern. With its interrelation of figures and interweaving of themes, the Cabellian "Biography" assumes the solidity and shapeliness of a fugue, a composition in which all the voices speak with equal precision and recurring43 clarity.
And what, the diagnostician may inquire, of the characters themselves? They are, it will be answered, motivated by pity and irony44; the tolerant humor, the sympathetic and not too distant regard of their Olympian designer agitate45 them so sensitively that we seldom see what strings46 are twitched47. These puppets seem to act of their own conviction—possibly because their director is careful not to have too many convictions of his own. It may have been pointed48 out before this that there are no undeviating villains49 in his masques and, as many an indignant reviewer has expostulated, few untarnished heroes. Cabell's, it will be perceived, is a frankly50 pagan poetry. It has no texts with which to discipline beauty; it lacks moral fervor51; it pretends to no divinity of dogmatism. The image-maker is willing to let his creatures ape their living models by fluctuating between shifting conventions and contradictory52 ideals; he leaves to a more positive Author the dubious53 pleasure of drawing a daily line between vice54 and virtue55. If Cabell pleads at all, he pleads with us not to repudiate56 a Villon or a Marlowe while we are reviling57 the imperfect man in a perfect poet. "What is man, that his welfare be considered?" questions Cabell, paraphrasing58 Scripture59, "an ape who chatters60 to himself of kinship with the archangels while filthily61 he digs for groundnuts…. Yet do I perceive that this same man is a maimed god…. He is under penalty condemned62 to compute63 eternity64 with false weights and to estimate infinity65 with a yardstick—and he very often does it."
This, the thesis will contend, is the only possible attitude to the mingled66 apathy67 and abandon of existence—and it is, in fine, the poetic attitude. Romantic it is, without question, and I imagine Cabell would be the last to cavil68 at the implication. For, mocked by a contemptuous silence gnawing69 beneath the howling energy of life, what else is there for the poet but the search for some miracle of belief, some assurance in a world of illimitable perplexities? It is the wish to attain70 this dream which is more real than reality that guides the entire Cabell epos—"and it is this will that stirs in us to have the creatures of earth and the affairs of earth, not as they are, but as 'they ought to be.'"
Such a romantic vision, which concludes that glowing testament71, Beyond Life, is the shining thread that binds72 the latest of Cabell's novels with the earliest of his short stories. It is, in effect, one tale he is telling, a tale in which Poictesme and the more local Lichfield are, for all their topographical dissimilarities, the same place, and all his people interchangeable symbols of the changeless desires of men. Whether the allegory is told in the terms of Gallantry with its perfumed lights, its deliberate artifice73 and its technique of badinage74, or presented in the more high-flying mood of Chivalry75 with its ready passions and readier rhetoric76, it prefigures the subsequent pageant77 in which the victories might so easily be mistaken for defeats. In this procession, amid a singularly ordered riot of color, the figure of man moves, none too confidently but with stirring fortitude78, to an unrealized end. Here, stumbling through the mazes79 of a code, in the habiliments of Ormskirk or de Soyecourt, he passes from the adventures of the mind (Kennaston in The Cream of the Jest, Charteris in Beyond Life) through the adventures of the flesh (Jurgen) to the darker adventures of the spirit (Manuel in Figures of Earth). Even this Gallantry, the most candidly80 superficial of Cabell's works, is alive with a vigor81 of imagination and irony. It is not without significance that the motto on the new title-page is: "Half in masquerade, playing the drawing-room or garden comedy of life, these persons have upon them, not less than the landscape among the accidents of which they group themselves, a certain light that we should seek for in vain upon anything real."
The genealogically inclined will be happy to discover that Gallantry, for all its revulsion from reality, deals with the perpetuated82 life of Manuel in a strangely altered milieu83. The rest of us will be quicker to comprehend how subtly this volume takes its peculiar84 place in its author's record of struggling dreams, how, beneath, a surface covered with political finery and sentimental85 bric-à-brac, the quest goes on, stubbornly and often stupidly, in a forgotten world made suddenly animate86 and as real as our own.
And this, the thesis will conclude, is because Cabell is not as much a masquerader as he imagines himself to be. None but a visionary could wear so constantly upon his sleeve the desire "to write perfectly87 of beautiful happenings." None but the poet, shaken with the strength of his vision, could cry to-day, "It is only by preserving faith in human dreams that we may, after all, perhaps some day make them come true." For poetry, to which all literature aspires88, is not the shadow of reality but the image of perfection, the light of disembodied beauty toward which creation gropes. And that poetic consciousness is the key to the complex and half-concealed art of James Branch Cabell.
LOUIS UNTERMEYER.
New York City, April, 1922.
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1 dignified | |
a.可敬的,高贵的 | |
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2 haphazard | |
adj.无计划的,随意的,杂乱无章的 | |
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3 persistent | |
adj.坚持不懈的,执意的;持续的 | |
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4 lapse | |
n.过失,流逝,失效,抛弃信仰,间隔;vi.堕落,停止,失效,流逝;vt.使失效 | |
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5 jargon | |
n.术语,行话 | |
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6 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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7 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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8 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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9 dedications | |
奉献( dedication的名词复数 ); 献身精神; 教堂的)献堂礼; (书等作品上的)题词 | |
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10 fabulous | |
adj.极好的;极为巨大的;寓言中的,传说中的 | |
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11 transcript | |
n.抄本,誊本,副本,肄业证书 | |
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12 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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13 narratives | |
记叙文( narrative的名词复数 ); 故事; 叙述; 叙述部分 | |
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14 remarkably | |
ad.不同寻常地,相当地 | |
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15 hoax | |
v.欺骗,哄骗,愚弄;n.愚弄人,恶作剧 | |
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16 plunging | |
adj.跳进的,突进的v.颠簸( plunge的现在分词 );暴跌;骤降;突降 | |
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17 abruptly | |
adv.突然地,出其不意地 | |
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18 analytical | |
adj.分析的;用分析法的 | |
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19 psychology | |
n.心理,心理学,心理状态 | |
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20 burrow | |
vt.挖掘(洞穴);钻进;vi.挖洞;翻寻;n.地洞 | |
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21 exhume | |
v.掘出,挖掘 | |
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22 sonnet | |
n.十四行诗 | |
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23 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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24 ironic | |
adj.讽刺的,有讽刺意味的,出乎意料的 | |
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25 profusion | |
n.挥霍;丰富 | |
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26 unravel | |
v.弄清楚(秘密);拆开,解开,松开 | |
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27 monologue | |
n.长篇大论,(戏剧等中的)独白 | |
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28 vowels | |
n.元音,元音字母( vowel的名词复数 ) | |
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29 tabulate | |
v.列表,排成表格式 | |
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30 makers | |
n.制造者,制造商(maker的复数形式) | |
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31 felicitous | |
adj.恰当的,巧妙的;n.恰当,贴切 | |
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32 meticulous | |
adj.极其仔细的,一丝不苟的 | |
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33 prosaically | |
adv.无聊地;乏味地;散文式地;平凡地 | |
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34 insidious | |
adj.阴险的,隐匿的,暗中为害的,(疾病)不知不觉之间加剧 | |
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35 burlesques | |
n.滑稽模仿( burlesque的名词复数 );(包括脱衣舞的)滑稽歌舞杂剧v.(嘲弄地)模仿,(通过模仿)取笑( burlesque的第三人称单数 ) | |
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36 discourses | |
论文( discourse的名词复数 ); 演说; 讲道; 话语 | |
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37 eloquent | |
adj.雄辩的,口才流利的;明白显示出的 | |
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38 fervid | |
adj.热情的;炽热的 | |
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39 contention | |
n.争论,争辩,论战;论点,主张 | |
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40 modulated | |
已调整[制]的,被调的 | |
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41 motifs | |
n. (文艺作品等的)主题( motif的名词复数 );中心思想;基本模式;基本图案 | |
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42 sonorous | |
adj.响亮的,回响的;adv.圆润低沉地;感人地;n.感人,堂皇 | |
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43 recurring | |
adj.往复的,再次发生的 | |
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44 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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45 agitate | |
vi.(for,against)煽动,鼓动;vt.搅动 | |
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46 strings | |
n.弦 | |
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47 twitched | |
vt.& vi.(使)抽动,(使)颤动(twitch的过去式与过去分词形式) | |
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48 pointed | |
adj.尖的,直截了当的 | |
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49 villains | |
n.恶棍( villain的名词复数 );罪犯;(小说、戏剧等中的)反面人物;淘气鬼 | |
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50 frankly | |
adv.坦白地,直率地;坦率地说 | |
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51 fervor | |
n.热诚;热心;炽热 | |
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52 contradictory | |
adj.反驳的,反对的,抗辩的;n.正反对,矛盾对立 | |
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53 dubious | |
adj.怀疑的,无把握的;有问题的,靠不住的 | |
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54 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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55 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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56 repudiate | |
v.拒绝,拒付,拒绝履行 | |
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57 reviling | |
v.辱骂,痛斥( revile的现在分词 ) | |
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58 paraphrasing | |
v.释义,意译( paraphrase的现在分词 ) | |
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59 scripture | |
n.经文,圣书,手稿;Scripture:(常用复数)《圣经》,《圣经》中的一段 | |
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60 chatters | |
(人)喋喋不休( chatter的第三人称单数 ); 唠叨; (牙齿)打战; (机器)震颤 | |
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61 filthily | |
adv.污秽地,丑恶地,不洁地 | |
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62 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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63 compute | |
v./n.计算,估计 | |
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64 eternity | |
n.不朽,来世;永恒,无穷 | |
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65 infinity | |
n.无限,无穷,大量 | |
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66 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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67 apathy | |
n.漠不关心,无动于衷;冷淡 | |
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68 cavil | |
v.挑毛病,吹毛求疵 | |
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69 gnawing | |
a.痛苦的,折磨人的 | |
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70 attain | |
vt.达到,获得,完成 | |
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71 testament | |
n.遗嘱;证明 | |
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72 binds | |
v.约束( bind的第三人称单数 );装订;捆绑;(用长布条)缠绕 | |
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73 artifice | |
n.妙计,高明的手段;狡诈,诡计 | |
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74 badinage | |
n.开玩笑,打趣 | |
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75 chivalry | |
n.骑士气概,侠义;(男人)对女人彬彬有礼,献殷勤 | |
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76 rhetoric | |
n.修辞学,浮夸之言语 | |
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77 pageant | |
n.壮观的游行;露天历史剧 | |
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78 fortitude | |
n.坚忍不拔;刚毅 | |
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79 mazes | |
迷宫( maze的名词复数 ); 纷繁复杂的规则; 复杂难懂的细节; 迷宫图 | |
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80 candidly | |
adv.坦率地,直率而诚恳地 | |
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81 vigor | |
n.活力,精力,元气 | |
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82 perpetuated | |
vt.使永存(perpetuate的过去式与过去分词形式) | |
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83 milieu | |
n.环境;出身背景;(个人所处的)社会环境 | |
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84 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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85 sentimental | |
adj.多愁善感的,感伤的 | |
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86 animate | |
v.赋于生命,鼓励;adj.有生命的,有生气的 | |
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87 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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88 aspires | |
v.渴望,追求( aspire的第三人称单数 ) | |
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