Public-domain ebook
Chivalry: Dizain des Reines
Language: en575 downloads on Project Gutenberg
Subjects
In: Fantasy·Historical Novels·Novels
Public-domain ebook sourced from Project Gutenberg #11752.
Public-domain ebook
Language: en575 downloads on Project Gutenberg
Subjects
In: Fantasy·Historical Novels·Novels
Public-domain ebook sourced from Project Gutenberg #11752.
The opening · free to read
Among the scant certainties vouchsafed us is that every age lives by its special catchwords. Whether from rebellion against the irking monotony of its inherited creeds or from compulsions generated by its own complexities, each age develops its code of convenient illusions which minimize cerebration in dilemmas of conduct by postulating an unequivocal cleavage between the current right and the current wrong. It works until men tire of it or challenge the cleavage, or until conditions render the code obsolete. It has in it, happily, a certain poetic merit always; it presents an ideal to be lived up to; it gives direction to the uncertain, stray impulses of life.
The Chivalric code is no worse than most and certainly it is prettier than some. It is a code peculiar to an age, or at least it flourishes best in an age wherein sentiment and the stuff of dreams are easily translatable into action. Its requirements are less of the intellect than of the heart. It puts God, honor, and mistress above all else, and stipulates that a knight shall serve these three without any reservation. It requires of its secular practitioners the holy virtues of an active piety, a modified chastity, and an unqualified obedience, at all events, to the categorical imperative. The obligation of poverty it omits, for the code arose at a time when the spiritual snobbery of the meek and lowly was not pressing the simile about the camel and the eye of the needle. It leads to charming manners and to delicate amenities. It is the opposite of the code of Gallantry, for while the code of Chivalry takes everything with a becoming seriousness, the code of Gallantry takes everything with a wink. If one should stoop to pick flaws with the Chivalric ideal, it would be to point out a certain priggishness and intolerance. For, while it is all very well for one to cherish the delusion that he is God's vicar on earth and to go about his Father's business armed with a shining rectitude, yet the unhallowed may be moved to deprecate the enterprise when they recall, with discomfort, the zealous vicarship of, say, the late Anthony J. Comstock.
But here I blunder into Mr. Cabell's province. For he has joined many graceful words in delectable and poignant proof of just that lamentable tendency of man to make a mess of even his most immaculate conceivings. When he wrote Chivalry, Mr. Cabell was yet young enough to view the code less with the appraising eye of a pawnbroker than with the ardent eye of an amateur. He knew its value, but he did not know its price. So he made of it the thesis for a dizain of beautiful happenings that are almost flawless in their verbal beauty.
It is perhaps of historical interest here to record the esteem in which Mark Twain held the genius of Mr. Cabell as it was manifested as early as a dozen years ago. Mr. Cabell wrote The Soul of Melicent, or, as it was rechristened on revision, Domnei, at the great humorist's request, and during the long days and nights of his last illness it was Mr. Cabell's books which gave Mark Twain his greatest joy. This knowledge mitigates the pleasure, no doubt, of those who still, after his fifteen years of writing, encounter him intermittently with a feeling of having made a great literary discovery. The truth is that Mr. Cabell has been discovered over and over with each succeeding book from that first fine enthusiasm with which Percival Pollard reviewed The Eagle's Shadow to that generous acknowledgment by Hugh Walpole that no one in England, save perhaps Conrad and Hardy, was so sure of literary permanence as James Branch Cabell.
With The Cream of the Jest, Beyond Life, and Figures of Earth before him, it is not easy for the perceptive critic to doubt this permanence. One might as sensibly deny a future to Ecclesiastes, The Golden Ass, Gulliver's Travels, and the works of Rabelais as to predict oblivion for such a thesaurus of ironic wit and fine fantasy, mellow wisdom and strange beauty as Jurgen. But to appreciate the tales of Chivalry is, it seems, a gift more frequently reserved for the general reader than for the professional literary evaluator. Certainly years before discussion of Cabell was artificially augmented by the suppression of Jurgen there were many genuine lovers of romance who had read these tales with pure enjoyment. That they did not analyse and articulate their enjoyment for the edification of others does not lessen the quality of their appreciation. Even in those years they found in Cabell's early tales what we find who have since been directed to them by the curiosity engendered by his later work, namely, a superb craftsmanship in recreating a vanished age, an atmosphere in keeping with the themes, a fluid, graceful, personal style, a poetic ecstasy, a fine sense of drama, and a unity and symmetry which are the hall-marks of literary genius.
BURTON RASCOE. New York City, September, 1921.
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