Cords of Vanity

Branch Cabell James

Description

American author James Branch Cabell developed into a well-known fantasy writer later in his literary career, but his early novels focused on documenting (and slyly commenting upon) the lives of the American aristocracy in the early twentieth century. The Cords of Vanity follows the travails of a troubled protagonist whose creative aspirations slowly begin to tear him apart.

Informations

• Publié par: The Floating Press
• Date de parution: 01 juin 2012
• Nombre de lectures: 0
• EAN13: 9781775459705
• Langue: English

Extrait

THE CORDS OF VANITY
A COMEDY OF SHIRKING
* * *
JAMES BRANCH CABELL
Contributions by
WILLSON FOLLETT
 
*
The Cords of Vanity A Comedy of Shirking First published in 1909 ISBN 978-1-77545-970-5 © 2012 The Floating Press and its licensors. All rights reserved. While every effort has been used to ensure the accuracy and reliability of the information contained in The Floating Press edition of this book, The Floating Press does not assume liability or responsibility for any errors or omissions in this book. The Floating Press does not accept responsibility for loss suffered as a result of reliance upon the accuracy or currency of information contained in this book. Do not use while operating a motor vehicle or heavy equipment. Many suitcases look alike. Visit www.thefloatingpress.com
Contents
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An Introduction The Prologue 1 - He Sits Out a Dance 2 - He Loves Extensively 3 - He Earns a Stick-Pin 4 - He Talks with Charteris 5 - He Revisits Fairhaven and the Play 6 - He Chats Over a Hedge 7 - He Goes Mad in a Garden 8 - He Duels with a Stupid Woman 9 - He Puts His Tongue in His Cheek 10 - He Samples New Emotions 11 - He Postures Among Chimney-Pots 12 - He Faces Himself and Remembers 13 - He Baits Upon the Journey 14 - He Participates in a Brave Jest 15 - He Decides to Amuse Himself 16 - He Seeks for Copy 17 - He Provides Copy 18 - He Spends an Afternoon in Arden 19 - He Plays the Improvident Fool 20 - He Dines Out, Impeded by Superstitions 21 - He is Urged to Desert His Galley 22 - He Cleans the Slate 23 - He Reviles Destiny and Climbs a Wall 24 - He Reconciles Sentiment and Reason 25 - He Advances in the Attack on Selwoode 26 - He Assists in the Diversion of Birds 27 - He Calls, and Counsels, and Considers 28 - He Participates in Sundry Confidences 29 - He Allows the Merits of Imperfection 30 - He Gilds the Weather-Vane The Epilogue - Which Suggests that Second Thoughts—
*
To
GABRIELLE BROOKE MONCURE
Plus sapit vulgus, quia tantum, quantum opus est, sapit.
An Introduction
*
by Wilson Follett
Mr. Cabell, in making ready this second or intended edition of THECORDS OF VANITY, performs an act of reclamation which is at the sametime an act of fresh creation.
For the purely reclamatory aspect of what he has done, his reward (sofar as that can consist in anything save the doing) must come frominsignificantly few directions; so few indeed that he, with a wrilyhumorous exaggeration, affects to believe them singular. The author ofthis novel has been pleased to describe the author of thisintroduction as "the only known purchaser of the book" and, further,as "the other person to own a CORDS OF VANITY". I could readily enoughacquit myself, with good sound legal proofs, of any such singularityas stands charged in this soft impeachment—and that without appeal to The Cleveland Plain Dealer of eleven years ago ("slushy anddisgusting"), or to The New York Post ("sterile and malodorous ...worse than immoral—dull"), or to Ainslee's Magazine ("inconsequentand rambling ... rather nauseating at times"). These devotees of theadjective that hunts in pairs are hardly to be discussed, I suppose,in connection with any rewards except such as accrue to the possessorsof a certain obtuseness, who always and infallibly reap at least thereward of not being hurt by what they do not know—or, for thatmatter, by what they do know. He who writes such a book as THE CORDSOF VANITY is committing himself to the supremely irrational faith thatthis dullness is somehow not the ultimate arbiter; and for him thepronouncements of this dullness simply do not figure among either hisrewards or his penalties. So, it is not exactly to these tributes ofthe press that one reverts in noting that THE CORDS OF VANITY, on itspublication eleven years ago, promptly became a book which therewere—almost—none to praise and very few to love. After all, itsauthor's computation of that former audience of his—his actualindividual voluntary readers of a decade ago—appears to be butslightly and pardonably exaggerated on the more modest side of thefact. If there were a Cabell Club of membership determined solely bythe number of those who, already possessing THE CORDS OF VANITY in itsfirst edition, recognize it as the work of a serious artist of highachievement and higher capacity, I suspect that the smallness of thatclub would be in inordinate disproportion to everything but itsselectness and its members' pride in "belonging".
Be that as it may, the economist-author, on the eve of his book'semergence from the limbo of "out of print", prefers that it come intoits redemption carrying a foreword by someone who knew it withoutdislike in its former incarnation. No contingent liability, it seems,can dissuade Mr. Cabell from this preference. An author who onceelected to precede a group of his best tales with an introductioneloquently setting forth reasons why the collection ought not to bepublished at all, is hardly to be deterred now by the mereinexpediency of hitching his star to a farm-wagon. His own graciouslyunreasonable insistence must be the excuse, such as it is, for thepresent introduction, such as it is. If there may be said to exist asort of charter membership in Mr. Cabell's audience, this document isto be construed as representing its very enthusiastic welcome to thelater and vastly larger elective membership.
And if, weighed as such a welcome, it proves hopelessly inadequate, atleast it provides a number of possible compensations by the way. Forinstance, that New York World critic who damned the book but praisedits frontispiece of 1909, has now a uniquely pat opportunity tobalance his ledger by praising the book and damning this foreword,which, more or less, replaces the frontispiece. Similarly, the morerenowned critic and anthologist who so well knows the "originals" ofthe verses in From the Hidden Way , can now render poetically perfectjustice to all who will care by perceiving that both the earlieredition of this book and the author of this foreword are but figmentsof Mr. Cabell's slightly puckish invention.
But these pages must not be, like those which follow, a comedy ofshirking. They will have flouted a plain duty unless they speak of thesense and the degree in which this novel, during the process ofreclaiming it, has been actually recreated. Perhaps the matter can bepacked most succinctly into the statement that Mr. Cabell's hero hasbeen subjected to such a process of growth as has made himcommensurate in stature with the other two modern writers of Mr.Cabell's invention. As The Cream of the Jest is essentially the bookof Felix Kennaston and Beyond Life that of John Charteris, so THECORDS OF VANITY is essentially the book of Robert Etheridge Townsend.Now, this Townsend has accomplished a deal of growing since 1909. Bythis I do not mean that he is taken at a later period of his ownimagined life, or that he fails to act consonantly with the extremeyouth imputed to him: I mean that he is the creation of a more maturemind, a deeper philosophy, a more probing insight into theimplications of things. A given youth of twenty-five will be verydifferently interpreted by an observer of thirty and by the sameobserver at forty, very much as a given era of the past will beunderstood differently by a single historian before and after certaincycles of his own social and political experience. The past neverremains to us the same past; it grows up along with us; the physicalfacts may remain admittedly the same, but our understanding accentsthem differently, finds more in them at some points and less atothers. So Robert Etheridge Townsend remains an example of thatspecial temperament which, being unable to endure the contact ofunhappiness, consistently shirks every responsibility that entails orthreatens discomfort; and the truth about him, taking him as anexample of just that temperament, is still inexorably told. But hisweakness as a man becomes much more tolerable in this second version,because it is much more intimately and poignantly correlated with hisstrength as an artist. One is made to feel that he, like Charteris,may the better consummate in his art the auctorial virtues ofdistinction and clarity, beauty and symmetry, tenderness and truth andurbanity, precisely because his personal life is bereft of thosevirtues. Less than before, the accent is on the wastrel in Townsend;more than before, it is on the potential creator of beauty in him. Theearlier readers will hardly count it as a fault that Mr. Cabell hascontrived to make his novel, without detriment to any truthwhatsoever, a far less unpleasant book. Sardonic it still is, by anecessary implication, but not wantonly, and with a mellowness. Theirony, which at its harshest was capable of rasping the nerves, hasbecome capable of wringing the heart.
Other reasons there are, too, for holding that THE CORDS OF VANITY iscertain to make its second appeal to a many times multiplied audience.Since divers momentous transactions of the years just gone, the wholeworld stands in a moral position extraordinarily well adapted to thecomprehension of just such a comedy of shirking; and especially theworld of thought has received a powerful impulsion toward the arealong occupied by Mr. Cabell's romantic pessimism. There is perhapssomewhat more demand for satire, or at least a growing toleration ofit. Moreover, by sheer patience and reiteration Mr. Cabell hasprocured no little currency for some of his most characteristic ideas.Chivalry and gallantry, as he analyzes them, are concepts which playtheir part in the inevitable present re-editing of social and literaryhistory. The Rivet in Grandfather's Neck , The Cream of the Jest ,and The Certain Hour have somewhat to say to the discriminating,even on other than purely aesthetic grounds; Beyond Life is on thethreshold of its day as the Sartor Resartus of one side, theaesthetic side, of modernism;
" Of Jurgen eke they maken mencion";
and THE CORDS OF VANITY is but the first of t