He turned to her, and his voice changed. "Oh, I was wrong, all wrong, and chance is kindlier than I deserve. For I have wandered after unprofitable gods, like a man blundering through a day of mist and fog, and I win home now in its golden sunset. I have laughed very much, my dear, but I was never happy until to-night. The Dream, as I now know, is not best served by making parodies of it, and it does not greatly matter after all whether a book be an epic or a directory. What really matters is that there is so much faith and love and kindliness which we can share with and provoke in others, and that by cleanly, simple, generous living we approach perfection in the highest and most lovely of all arts. . . . But you, I think, have always comprehended this. My dear, if I were worthy to kneel and kiss the dust you tread in I would do it. As it happens, I am not worthy. Pauline, there was a time when you and I were young together, when we aspired, when life passed as if it were to the measures of a noble music--a heart-wringing, an obdurate, an intolerable music, it might be, but always a lofty music. One strutted, no doubt--it was because one knew oneself to be indomitable. Eh, it is true I have won all I asked of life, very horribly true. All that I asked, poor fool! oh, I am weary of loneliness, and I know now that all the phantoms I have raised are only colorless shadows which belie the Dream, and they are hateful to me. I want just to recapture that old time we know of, and we two alone. I want to know the Dream again, Pauline,--the Dream which I had lost, had half forgotten, and have so pitifully parodied. I want to know the Dream again, Pauline, and you alone can help me."
"Oh, if I could! if even I could now, my dear!" Pauline Romeyne left him upon a sudden, crying this. And "So!" said Mr. Charteris.
He had been deeply shaken and very much in earnest; but he was never the man to give for any lengthy while too slack a rein to emotion; and so he now sat down upon the bench and lighted a cigarette and smiled. Yet he fully recognized himself to be the most enviable of men and an inhabitant of the most glorious world imaginable--a world wherein he very assuredly meant to marry Pauline Romeyne say, in the ensuing September. Yes, that would fit in well enough, although, of course, he would have to cancel the engagement to lecture in Milwaukee. . . . How lucky, too, it was that he had never actually committed himself with Anne Willoughby! for while money was an excellent thing to have, how infinitely less desirable it was to live perked up in golden sorrow than to feed flocks upon the Grampian Hills, where Freedom from the mountain height cried, "I go on forever, a prince can make a belted knight, and let who will be clever. . . ."
"--and besides, you'll catch your death of cold," lamented Rudolph Musgrave, who was now shaking Mr. Charteris' shoulder.
"Eh, what? Oh, yes, I daresay I was napping," the other mumbled. He stood and stretched himself luxuriously. "Well, anyhow, don't be such an unmitigated grandmother. You see, I have a bit of rather important business to attend to. Which way is Miss Romeyne?"
"Pauline Romeyne? why, but she married old General Ashmeade, you know. She was the gray-haired woman in purple who carried out her squalling brat when Taylor was introducing you, if you remember. She told me, while the General was getting the horses around, how sorry she was to miss your address, but they live three miles out, and Mrs. Ashmeade is simply a slave to the children. . . . Why, what in the world have you been dreaming about?"
"Eh, what? Oh, yes, I daresay I was only napping," Mr. Charteris observed. He was aware that within they were still playing a riotous two-step.
_BALLAD OF PLAGIARY_
"_Frres et matres, vous qui cultivez_"--PAUL VERVILLE.
Hey, my masters, lords and brothers, ye that till the fields of rhyme, Are ye deaf ye will not hearken to the clamor of your time?
Still ye blot and change and polish--vary, heighten and transpose-- Old sonorous metres marching grandly to their tranquil close.
Ye have toiled and ye have fretted; ye attain perfected speech: Ye have nothing new to utter and but platitudes to preach.
And your rhymes are all of loving, as within the old days when Love was lord of the ascendant in the horoscopes of men.
Still ye make of love the utmost end and scope of all your art; And, more blind than he you write of, note not what a modest part
Loving now may claim in living, when we have scant time to spare, Who are plundering the sea-depths, taking tribute of the air,--
Whilst the sun makes pictures for us; since to-day, for good or ill, Earth and sky and sea are harnessed, and the lightnings work our will.
Hey, my masters, all these love-songs by dust-hidden mouths were sung That ye mimic and re-echo with an artful-artless tongue,--
Sung by poets close to nature, free to touch her garments' hem Whom to-day ye know not truly; for ye only copy them.
Them ye copy--copy always, with your backs turned to the sun, Caring not what man is doing, noting that which man has done.
_We are talking over telephones, as Shakespeare could not talk;_ _We are riding out in motor-cars where Homer had to walk;_
_And pictures Dante labored on of mediaeval Hell_ _The nearest cinematograph paints quicker, and as well._
But ye copy, copy always;--and ye marvel when ye find This new beauty, that new meaning,--while a model stands behind,
Waiting, young and fair as ever, till some singer turn and trace Something of the deathless wonder of life lived in any place.
Hey, my masters, turn from piddling to the turmoil and the strife! Cease from sonneting, my brothers; let us fashion songs from life.
_Thus I wrote ere Percie passed me. . . . Then did I epitomize_ _All life's beauty in one poem, and make haste to eulogize_ _Quite the fairest thing life boasts of, for I wrote of Percie's eyes._
EXPLICIT DECAS POETARUM
CHIVALRY
JAMES BRANCH CABELL
TO ANNE BRANCH CABELL
"AINSI A VOUS, MADAME, A MA TRS HAULTE ET TRS NOBLE DAME, A QUI J'AYME A DEVOIR ATTACHEMENT ET OBISSANCE, J'ENVOYE CE LIVRET."
Introduction
Few of the more astute critics who have appraised the work of James Branch Cabell have failed to call attention to that extraordinary cohesion 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 discourse. 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