But now, now, the deficiency which I note in chief (like the superior officer of a disastrously6 wrecked7 crew) lies in the fact that what I had meant to be the main "point" of "Figures of Earth," while explicitly8 enough stated in the book, remains9 for every practical end indiscernible.... For I have written many books during the last quarter of a century. Yet this is the only one of them which began at one plainly recognizable instant with one plainly recognizable imagining. It is the only book by me which ever, virtually, came into being, with its goal set, and with its theme and its contents more or less pre-determined throughout, between two ticks of the clock.
Egotism here becomes rather unavoidable. At Dumbarton Grange the library in which I wrote for some twelve years was lighted by three windows set side by side and opening outward. It was in the instant of unclosing one of these windows, on a fine afternoon in the spring of 1919, to speak with a woman and a child who were then returning to the house (with the day's batch10 of mail from the post office), that, for no reason at all, I reflected it would be, upon every personal ground, regrettable if, as the moving window unclosed, that especial woman and that particular child proved to be figures in the glass, and the window opened upon nothingness. For that, I believed, was about to happen. There would be, I knew, revealed beyond that moving window, when it had opened all the way, not absolute darkness, but a gray nothingness, rather sweetly scented11.... Well! there was not. I once more enjoyed the quite familiar experience of being mistaken. It is gratifying to record that nothing whatever came of that panic surmise12, of that second-long nightmare—of that brief but over-tropical flowering, for all I know, of indigestion,—save, ultimately, the 80,000 words or so of this book.
For I was already planning, vaguely13, to begin on, later in that year, "the book about Manuel." And now I had the germ of it,—in the instant when Dom Manuel opens the over-familiar window, in his own home, to see his wife and child, his lands, and all the Poictesme of which he was at once the master and the main glory, presented as bright, shallow, very fondly loved illusions in the protective glass of Ageus. I knew that the fantastic thing which had not happened to me,—nor, I hope, to anybody,—was precisely14 the thing, and the most important thing, which had happened to the gray Count of Poictesme.
So I made that evening a memorandum15 of that historical circumstance; and for some months this book existed only in the form of that memorandum. Then, through, as it were, this wholly isolated16 window, I began to grope at "the book about Manuel,"—of whom I had hitherto learned only, from my other romances, who were his children, and who had been the sole witness of Dom Manuel's death, inasmuch as I had read about that also, with some interest, in the fourth chapter of "Jurgen"; and from the unclosing of this window I developed "Figures of Earth," for the most part toward, necessarily, anterior17 events. For it seemed to me—as it still seems,—that the opening of this particular magic casement18, upon an outlook rather more perilous19 than the bright foam20 of fairy seas, was alike the climax21 and the main "point" of my book.
Yet this fact, I am resignedly sure, as I nowadays appraise22 this seven-year-old romance, could not ever be detected by any reader of "Figures of Earth," In consequence, it has seemed well here to confess at some length the original conception of this volume, without at all going into the value of that conception, nor into, heaven knows, how this conception came so successfully to be obscured.
So I began "the book about Manuel" that summer,—in 1919, upon the back porch of our cottage at the Rockbridge Alum Springs, whence, as I recall it, one could always, just as Manuel did upon Upper Morven, regard the changing green and purple of the mountains and the tall clouds trailing northward23, and could observe that the things one viewed were all gigantic and lovely and seemed not to be very greatly bothering about humankind. I suppose, though, that, in point of fact, it occasionally rained. In any case, upon that same porch, as it happened, this book was finished in the summer of 1920.
And the notes made at this time as to "Figures of Earth" show much that nowadays is wholly incomprehensible. There was once an Olrun in the book; and I can recall clearly enough how her part in the story was absorbed by two of the other characters,—by Suskind and by Alianora. Freydis, it appears, was originally called Hlif. Miramon at one stage of the book's being, I find with real surprise, was married en secondes noces to Math. Othmar has lost that prominence24 which once was his. And it seems, too, there once figured in Manuel's heart affairs a Bel-Imperia, who, so near as I can deduce from my notes, was a lady in a tapestry25. Someone unstitched her, to, I imagine, her destruction, although I suspect that a few skeins of this quite forgotten Bel-Imperia endure in the Radegonde of another tale.
Nor can I make anything whatever of my notes about Guivret (who seems to have been in no way connected with Guivric the Sage), nor about Biduz, nor about the Anti-Pope,—even though, to be sure, one mention of this heresiarch yet survives in the present book. I am wholly baffled to read, in my own penciling, such proposed chapter headings as "The Jealousy26 of Niafer" and "How Sclaug Loosed the Dead,"—which latter is with added incomprehensibility annotated27 "(?Phorgemon)." And "The Spirit Who Had Half of Everything" seems to have been exorcised pretty thoroughly28.... No; I find the most of my old notes as to this book merely bewildering; and I find, too, something of pathos30 in these embryons of unborn dreams which, for one cause or another, were obliterated31 and have been utterly32 forgotten by their creator, very much as in this book vexed33 Miramon Lluagor twists off the head of a not quite satisfactory, whimpering design, and drops the valueless fragments into his waste-basket.... But I do know that the entire book developed, howsoever helterskelter, and after fumbling34 in no matter how many blind alleys35, from that first memorandum about the troubling window of Ageus. All leads toward—and through—that window.
The book, then, was published in the February of 1921. I need not here deal with its semi-serial appearance in the guise36 of short stories: these details are recorded elsewhere. But I confess with appropriate humility37 that the reception of "Figures of Earth" by the public was, as I have written in another place, a depressing business. This romance, at that time, through one extraneous38 reason and another, disappointed well-nigh everybody, for all that it has since become, so near as I can judge, the best liked of my books, especially among women. It seems, indeed, a fact sufficiently39 edifying40 that, in appraising41 the two legendary42 heroes of Poictesme, the sex of whom Jurgen esteemed43 himself a connoisseur44, should, almost unanimously, prefer Manuel.
For the rest,—since, as you may remember, this is the third preface which I have written for this book,—I can but repeat more or less what I have conceded elsewhere. This "Figures of Earth" appeared immediately following, and during the temporary sequestration of, "Jurgen." The fact was forthwith, quite unreticently, discovered that in "Figures of Earth" I had not succeeded in my attempt to rewrite its predecessor45: and this crass46 failure, so open, so flagrant, and so undeniable, caused what I can only describe as the instant and overwhelming and universal triumph of "Figures of Earth" to be precisely what did not occur. In 1921 Comstockery still surged, of course, in full cry against the imprisoned47 pawnbroker48 and the crimes of his author, both literary and personal; and the, after all, tolerably large portion of the reading public who were not disgusted by Jurgen's lechery49 were now, so near as I could gather, enraged50 by Manuel's lack of it.
It followed that—among the futile51 persons who use serious, long words in talking about mere29 books,—aggrieved reproof52 of my auctorial malversations, upon the one ground or the other, became in 1921 biloquial and pandemic. Not many other volumes, I believe, have been burlesqued53 and cried down in the public prints by their own dedicatees.... But from the cicatrix of that healed wound I turn away. I preserve a forgiving silence, comparable to that of Hermione in the fifth act of "A Winter's Tale": I resolve that whenever I mention the names of Louis Untermeyer and H.L. Mencken it shall be in some connection more pleasant, and that here I will not mention them at all.
Meanwhile the fifteen or so experiments in contrapuntal prose were, in particular, uncharted passages from which I stayed unique in deriving54 pleasure where others found bewilderment and no tongue-tied irritation55: but, in general, and above every misdemeanor else, the book exasperated56 everybody by not being a more successfully managed re-hashing of the then notorious "Jurgen."
Since 1921, and since the rehabilitation57 of "Jurgen," the notion has uprisen, gradually, among the more bold and speculative58 thinkers, that perhaps I was not, after all, in this "Figures of Earth" attempting to rewrite "Jurgen": and Manuel has made his own friend.
James Branch Cabell
Richmond-in-Virginia
30 April 1927
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1 paradox | |
n.似乎矛盾却正确的说法;自相矛盾的人(物) | |
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2 strictly | |
adv.严厉地,严格地;严密地 | |
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3 secondly | |
adv.第二,其次 | |
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4 affixed | |
adj.[医]附着的,附着的v.附加( affix的过去式和过去分词 );粘贴;加以;盖(印章) | |
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5 illustrated | |
adj. 有插图的,列举的 动词illustrate的过去式和过去分词 | |
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6 disastrously | |
ad.灾难性地 | |
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7 wrecked | |
adj.失事的,遇难的 | |
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8 explicitly | |
ad.明确地,显然地 | |
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9 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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10 batch | |
n.一批(组,群);一批生产量 | |
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11 scented | |
adj.有香味的;洒香水的;有气味的v.嗅到(scent的过去分词) | |
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12 surmise | |
v./n.猜想,推测 | |
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13 vaguely | |
adv.含糊地,暖昧地 | |
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14 precisely | |
adv.恰好,正好,精确地,细致地 | |
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15 memorandum | |
n.备忘录,便笺 | |
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16 isolated | |
adj.与世隔绝的 | |
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17 anterior | |
adj.较早的;在前的 | |
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18 casement | |
n.竖铰链窗;窗扉 | |
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19 perilous | |
adj.危险的,冒险的 | |
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20 foam | |
v./n.泡沫,起泡沫 | |
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21 climax | |
n.顶点;高潮;v.(使)达到顶点 | |
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22 appraise | |
v.估价,评价,鉴定 | |
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23 northward | |
adv.向北;n.北方的地区 | |
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24 prominence | |
n.突出;显著;杰出;重要 | |
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25 tapestry | |
n.挂毯,丰富多采的画面 | |
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26 jealousy | |
n.妒忌,嫉妒,猜忌 | |
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27 annotated | |
v.注解,注释( annotate的过去式和过去分词 ) | |
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28 thoroughly | |
adv.完全地,彻底地,十足地 | |
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29 mere | |
adj.纯粹的;仅仅,只不过 | |
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30 pathos | |
n.哀婉,悲怆 | |
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31 obliterated | |
v.除去( obliterate的过去式和过去分词 );涂去;擦掉;彻底破坏或毁灭 | |
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32 utterly | |
adv.完全地,绝对地 | |
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33 vexed | |
adj.争论不休的;(指问题等)棘手的;争论不休的问题;烦恼的v.使烦恼( vex的过去式和过去分词 );使苦恼;使生气;详细讨论 | |
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34 fumbling | |
n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理 | |
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35 alleys | |
胡同,小巷( alley的名词复数 ); 小径 | |
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36 guise | |
n.外表,伪装的姿态 | |
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37 humility | |
n.谦逊,谦恭 | |
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38 extraneous | |
adj.体外的;外来的;外部的 | |
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39 sufficiently | |
adv.足够地,充分地 | |
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40 edifying | |
adj.有教训意味的,教训性的,有益的v.开导,启发( edify的现在分词 ) | |
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41 appraising | |
v.估价( appraise的现在分词 );估计;估量;评价 | |
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42 legendary | |
adj.传奇(中)的,闻名遐迩的;n.传奇(文学) | |
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43 esteemed | |
adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 );敬重;认为;以为 | |
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44 connoisseur | |
n.鉴赏家,行家,内行 | |
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45 predecessor | |
n.前辈,前任 | |
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46 crass | |
adj.愚钝的,粗糙的;彻底的 | |
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47 imprisoned | |
下狱,监禁( imprison的过去式和过去分词 ) | |
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48 pawnbroker | |
n.典当商,当铺老板 | |
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49 lechery | |
n.好色;淫荡 | |
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50 enraged | |
使暴怒( enrage的过去式和过去分词 ); 歜; 激愤 | |
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51 futile | |
adj.无效的,无用的,无希望的 | |
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52 reproof | |
n.斥责,责备 | |
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53 burlesqued | |
v.(嘲弄地)模仿,(通过模仿)取笑( burlesque的过去式和过去分词 ) | |
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54 deriving | |
v.得到( derive的现在分词 );(从…中)得到获得;源于;(从…中)提取 | |
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55 irritation | |
n.激怒,恼怒,生气 | |
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56 exasperated | |
adj.恼怒的 | |
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57 rehabilitation | |
n.康复,悔过自新,修复,复兴,复职,复位 | |
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58 speculative | |
adj.思索性的,暝想性的,推理的 | |
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