Joseph Hergesheimer
It would be absorbing to discover the present feminine attitude toward the profoundest compliment ever paid women by the heart and mind of men in league—the worshipping devotion conceived by Plato and elevated to a living faith in mediaeval France. Through that renaissance1 of a sublimated2 passion domnei was regarded as a throne of alabaster3 by the chosen figures of its service: Melicent, at Bellegarde, waiting for her marriage with King Theodoret, held close an image of Perion made of substance that time was powerless to destroy; and which, in a life of singular violence, where blood hung scarlet4 before men's eyes like a tapestry5, burned in a silver flame untroubled by the fate of her body. It was, to her, a magic that kept her inviolable, perpetually, in spite of marauding fingers, a rose in the blanched6 perfection of its early flowering.
The clearest possible case for that religion was that it transmuted7 the individual subject of its adoration8 into the deathless splendor9 of a Madonna unique and yet divisible in a mirage10 of earthly loveliness. It was heaven come to Aquitaine, to the Courts of Love, in shapes of vivid fragrant11 beauty, with delectable12 hair lying gold on white samite worked in borders of blue petals13. It chose not abstractions for its faith, but the most desirable of all actual—yes, worldly—incentives: the sister, it might be, of Count Emmerick of Poictesme. And, approaching beatitude not so much through a symbol of agony as by the fragile grace of a woman, raising Melicent to the stars, it fused, more completely than in any other aspiration14, the spirit and the flesh.
However, in its contact, its lovers' delight, it was no more than a slow clasping and unclasping of the hands; the spirit and flesh, merged15, became spiritual; the height of stars was not a figment…. Here, since the conception of domnei has so utterly16 vanished, the break between the ages impassable, the sympathy born of understanding is interrupted. Hardly a woman, to-day, would value a sigh the passion which turned a man steadfastly17 away that he might be with her forever beyond the parched18 forest of death. Now such emotion is held strictly20 to the gains, the accountability, of life's immediate21 span; women have left their cloudy magnificence for a footing on earth; but—at least in warm graceful22 youth—their dreams are still of a Perion de la Forêt. These, clear-eyed, they disavow; yet their secret desire, the most Elysian of all hopes, to burn at once with the body and the soul, mocks what they find.
That vision, dominating Mr. Cabell's pages, the record of his revealed idealism, brings specially23 to Domnei a beauty finely escaping the dusty confusion of any present. It is a book laid in a purity, a serenity24, of space above the vapors25, the bigotry26 and engendered27 spite, of dogma and creed28. True to yesterday, it will be faithful of to-morrow; for, in the evolution of humanity, not necessarily the turn of a wheel upward, certain qualities have remained at the center, undisturbed. And, of these, none is more fixed29 than an abstract love.
Different in men than in women, it is, for the former, an instinct, a need, to serve rather than be served: their desire is for a shining image superior, at best, to both lust30 and maternity31. This consciousness, grown so dim that it is scarcely perceptible, yet still alive, is not extinguished with youth, but lingers hopeless of satisfaction through the incongruous years of middle age. There is never a man, gifted to any degree with imagination, but eternally searches for an ultimate loveliness not disappearing in the circle of his embrace—the instinctively32 Platonic33 gesture toward the only immortality35 conceivable in terms of ecstasy36.
A truth, now, in very low esteem37! With the solidification38 of society, of property, the bond of family has been tremendously exalted39, the mere40 fact of parenthood declared the last sanctity. Together with this, naturally, the persistent41 errantry of men, so vulgarly misunderstood, has become only a reprehensible42 paradox43. The entire shelf of James Branch Cabell's books, dedicated44 to an unquenchable masculine idealism, has, as well, a paradoxical place in an age of material sentimentality. Compared with the novels of the moment, Domnei is an isolated45, a heroic fragment of a vastly deeper and higher structure. And, of its many aspects, it is not impossible that the highest, rising over even its heavenly vision, is the rare, the simple, fortitude46 of its statement.
Whatever dissent47 the philosophy of Perion and Melicent may breed, no one can fail to admire the steady courage with which it is upheld. Aside from its special preoccupation, such independence in the face of ponderable threat, such accepted isolation48, has a rare stability in a world treacherous49 with mental quicksands and evasions50. This is a valor51 not drawn52 from insensibility, but from the sharpest possible recognition of all the evil and Cyclopean forces in existence, and a deliberate engagement of them on their own ground. Nothing more, in that direction, can be asked of Mr. Cabell, of anyone. While about the story itself, the soul of Melicent, the form and incidental writing, it is no longer necessary to speak.
The pages have the rich sparkle of a past like stained glass called to life: the Confraternity of St. Médard presenting their masque of Hercules; the claret colored walls adorned53 with gold cinquefoils of Demetrios' court; his pavilion with porticoes54 of Andalusian copper55; Theodoret's capital, Megaris, ruddy with bonfires; the free port of Narenta with its sails spread for the land of pagans; the lichen-incrusted glade56 in the Forest of Columbiers; gardens with the walks sprinkled with crocus and vermilion and powdered mica57 … all are at once real and bright with unreality, rayed with the splendor of an antiquity58 built from webs and films of imagined wonder. The past is, at its moment, the present, and that lost is valueless. Distilled59 by time, only an imperishable romantic conception remains60; a vision, where it is significant, animated61 by the feelings, the men and women, which only, at heart, are changeless.
They, the surcharged figures of Domnei, move vividly62 through their stone galleries and closes, in procession, and—a far more difficult accomplishment—alone. The lute63 of the Bishop64 of Montors, playing as he rides in scarlet, sounds its Provençal refrain; the old man Theodoret, a king, sits shabbily between a prie-dieu and the tarnished65 hangings of his bed; Mélusine, with the pale frosty hair of a child, spins the melancholy66 of departed passion; Ahasuerus the Jew buys Melicent for a hundred and two minae and enters her room past midnight for his act of abnegation. And at the end, looking, perhaps, for a mortal woman, Perion finds, in a flesh not unscarred by years, the rose beyond destruction, the high silver flame of immortal34 happiness.
So much, then, everything in the inner questioning of beings condemned67 to a glimpse of remote perfection, as though the sky had opened on a city of pure bliss68, transpires69 in Domnei; while the fact that it is laid in Poictesme sharpens the thrust of its illusion. It is by that much the easier of entry; it borders—rather than on the clamor of mills—on the reaches men explore, leaving' weariness and dejection for fancy—a geography for lonely sensibilities betrayed by chance into the blind traps, the issueless barrens, of existence.
JOSEPH HERGESHEIMER.
CRITICAL COMMENT
And Norman Nicolas at hearté meant
(Pardie!) some subtle occupation
In making of his Tale of Melicent,
That stubbornly desiréd Perion.
So long process, so many a sly cautel,
For to obtain a silly damosel!
—THOMAS UPCLIFFE.
Nicolas de Caen, one of the most eminent71 of the early French writers of romance, was born at Caen in Normandy early in the 15th century, and was living in 1470. Little is known of his life, apart from the fact that a portion of his youth was spent in England, where he was connected in some minor72 capacity with the household of the Queen Dowager, Joan of Navarre. In later life, from the fact that two of his works are dedicated to Isabella of Portugal, third wife to Philip the Good, Duke of Burgundy, it is conjectured73 that Nicolas was attached to the court of that prince . . . . Nicolas de Caen was not greatly esteemed74 nor highly praised by his contemporaries, or by writers of the century following, but latterly has received the recognition due to his unusual qualities of invention and conduct of narrative75, together with his considerable knowledge of men and manners, and occasional remarkable76 modernity of thought. His books, therefore, apart from the interest attached to them as specimens77 of early French romance, and in spite of the difficulties and crudities of the unformed language in which they are written, are still readable, and are rich in instructive detail concerning the age that gave them birth . . . . Many romances are attributed to Nicolas de Caen. Modern criticism has selected four only as undoubtedly78 his. These are—(1) Les Aventures d'Adhelmar de Nointel, a metrical romance, plainly of youthful composition, containing some seven thousand verses; (2) Le Roy Amaury, well known to English students in Watson's spirited translation; (3) Le Roman de Lusignan, a re-handling of the Melusina myth, most of which is wholly lost; (4) Le Dizain des Reines, a collection of quasi-historical novellino interspersed79 with lyrics80. Six other romances are known to have been written by Nicolas, but these have perished; and he is credited with the authorship of Le Cocu Rouge81, included by Hinsauf, and of several Ovidian translations or imitations still unpublished. The Satires82 formerly83 attributed to him Bülg has shown to be spurious compositions of 17th century origin.
—E. Noel Codman, Handbook of Literary Pioneers.
Nicolas de Caen est un représentant agréable, naïf, et expressif de cet âge que nous aimons à nous représenter de loin comme l'âge d'or du bon vieux temps … Nicolas croyait à son Roy et à sa Dame84, il croyait surtout à son Dieu. Nicolas sentait que le monde était semé à chaque pas d'obscurités et d'embûches, et que l'inconnu était partout; partout aussi était le protecteur invisible et le soutien; à chaque souffle qui frémissait, Nicolas croyait le sentir comme derrière le rideau. Le ciel par19-dessus ce Nicolas de Caen était ouvert, peuplé en chaque point de figures vivantes, de patrons attentifs et manifestes, d'une invocation directe. Le plus intrépide guerrier alors marchait dans un mélange habituel de crainte et de confiance, comme un tout85 petit enfant. A cette vue, les esprits les plus émancipés d'aujourd'hui ne sauraient s'empêcher de crier, en tempérant leur sourire par le respect: Sancta simplicitas!
—Paul Verville, Notice sur la vie de Nicolas de Caen.
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1 renaissance | |
n.复活,复兴,文艺复兴 | |
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2 sublimated | |
v.(使某物质)升华( sublimate的过去式和过去分词 );使净化;纯化 | |
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3 alabaster | |
adj.雪白的;n.雪花石膏;条纹大理石 | |
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4 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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5 tapestry | |
n.挂毯,丰富多采的画面 | |
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6 blanched | |
v.使变白( blanch的过去式 );使(植物)不见阳光而变白;酸洗(金属)使有光泽;用沸水烫(杏仁等)以便去皮 | |
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7 transmuted | |
v.使变形,使变质,把…变成…( transmute的过去式和过去分词 ) | |
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8 adoration | |
n.爱慕,崇拜 | |
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9 splendor | |
n.光彩;壮丽,华丽;显赫,辉煌 | |
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10 mirage | |
n.海市蜃楼,幻景 | |
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11 fragrant | |
adj.芬香的,馥郁的,愉快的 | |
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12 delectable | |
adj.使人愉快的;美味的 | |
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13 petals | |
n.花瓣( petal的名词复数 ) | |
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14 aspiration | |
n.志向,志趣抱负;渴望;(语)送气音;吸出 | |
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15 merged | |
(使)混合( merge的过去式和过去分词 ); 相融; 融入; 渐渐消失在某物中 | |
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16 utterly | |
adv.完全地,绝对地 | |
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17 steadfastly | |
adv.踏实地,不变地;岿然;坚定不渝 | |
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18 parched | |
adj.焦干的;极渴的;v.(使)焦干 | |
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19 par | |
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的 | |
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20 strictly | |
adv.严厉地,严格地;严密地 | |
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21 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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22 graceful | |
adj.优美的,优雅的;得体的 | |
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23 specially | |
adv.特定地;特殊地;明确地 | |
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24 serenity | |
n.宁静,沉着,晴朗 | |
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25 vapors | |
n.水汽,水蒸气,无实质之物( vapor的名词复数 );自夸者;幻想 [药]吸入剂 [古]忧郁(症)v.自夸,(使)蒸发( vapor的第三人称单数 ) | |
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26 bigotry | |
n.偏见,偏执,持偏见的行为[态度]等 | |
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27 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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28 creed | |
n.信条;信念,纲领 | |
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29 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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30 lust | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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31 maternity | |
n.母性,母道,妇产科病房;adj.孕妇的,母性的 | |
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32 instinctively | |
adv.本能地 | |
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33 platonic | |
adj.精神的;柏拉图(哲学)的 | |
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34 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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35 immortality | |
n.不死,不朽 | |
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36 ecstasy | |
n.狂喜,心醉神怡,入迷 | |
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37 esteem | |
n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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38 solidification | |
凝固 | |
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39 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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40 mere | |
adj.纯粹的;仅仅,只不过 | |
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41 persistent | |
adj.坚持不懈的,执意的;持续的 | |
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42 reprehensible | |
adj.该受责备的 | |
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43 paradox | |
n.似乎矛盾却正确的说法;自相矛盾的人(物) | |
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44 dedicated | |
adj.一心一意的;献身的;热诚的 | |
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45 isolated | |
adj.与世隔绝的 | |
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46 fortitude | |
n.坚忍不拔;刚毅 | |
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47 dissent | |
n./v.不同意,持异议 | |
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48 isolation | |
n.隔离,孤立,分解,分离 | |
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49 treacherous | |
adj.不可靠的,有暗藏的危险的;adj.背叛的,背信弃义的 | |
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50 evasions | |
逃避( evasion的名词复数 ); 回避; 遁辞; 借口 | |
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51 valor | |
n.勇气,英勇 | |
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52 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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53 adorned | |
[计]被修饰的 | |
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54 porticoes | |
n.柱廊,(有圆柱的)门廊( portico的名词复数 ) | |
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55 copper | |
n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的 | |
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56 glade | |
n.林间空地,一片表面有草的沼泽低地 | |
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57 mica | |
n.云母 | |
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58 antiquity | |
n.古老;高龄;古物,古迹 | |
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59 distilled | |
adj.由蒸馏得来的v.蒸馏( distil的过去式和过去分词 );从…提取精华 | |
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60 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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61 animated | |
adj.生气勃勃的,活跃的,愉快的 | |
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62 vividly | |
adv.清楚地,鲜明地,生动地 | |
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63 lute | |
n.琵琶,鲁特琴 | |
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64 bishop | |
n.主教,(国际象棋)象 | |
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65 tarnished | |
(通常指金属)(使)失去光泽,(使)变灰暗( tarnish的过去式和过去分词 ); 玷污,败坏 | |
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66 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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67 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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68 bliss | |
n.狂喜,福佑,天赐的福 | |
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69 transpires | |
(事实,秘密等)被人知道( transpire的第三人称单数 ); 泄露; 显露; 发生 | |
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70 perils | |
极大危险( peril的名词复数 ); 危险的事(或环境) | |
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71 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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72 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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73 conjectured | |
推测,猜测,猜想( conjecture的过去式和过去分词 ) | |
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74 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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75 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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76 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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77 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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78 undoubtedly | |
adv.确实地,无疑地 | |
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79 interspersed | |
adj.[医]散开的;点缀的v.intersperse的过去式和过去分词 | |
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80 lyrics | |
n.歌词 | |
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81 rouge | |
n.胭脂,口红唇膏;v.(在…上)擦口红 | |
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82 satires | |
讽刺,讥讽( satire的名词复数 ); 讽刺作品 | |
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83 formerly | |
adv.从前,以前 | |
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84 dame | |
n.女士 | |
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85 tout | |
v.推销,招徕;兜售;吹捧,劝诱 | |
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