Straws and prayer-books; dizain des diversions — John Shaqi
Straws and prayer-books; dizain des diversionsCabell, James Branch
Philosophy
Straws and prayer-books; dizain des diversions
Cabell, James Branch
Authorship
The lines of Pope that I have quoted elsewhere dwell truthfully
enough upon life's endless playing,--upon the playing of the child
with straws and rattles, of the young man with his mistresses, of the
mature with wealth and worldly honors, and of the aged with rosaries
and prayer-books. But the solace, the true virtue, of these playthings
arises from the fiction that the player tells to himself about them. No
child plays with a straw: he brandishes a sword that has just chopped
off a dragon's head. The young man, exultant, terrified, touches and
uncovers, not an expanse of epidermis and small hairs and sweat glands,
but the body of a goddess. The banker is reveling in that romance
about Strasburg, Virginia: and the aged clasp not a prayer-book but the
key to eternal bliss. Everywhere, in fine, the creating romantic who
lives in every human being is either composing or else borrowing the
kind of romance which most potently diverts him, and prevents his going
mad.
§ 15
Well, it is the privilege of the novelist--I mean, at last, the
novelist who is frankly listed as such in Who's Who--to aid according
to his abilities in this old world-wide effort, so to delude mankind
that nobody from birth to death need ever really bother about his, upon
the whole, unpromising situation in the flesh. It is the privilege of
the novelist who happens also to be an artist, to blaze a trail upon
which his readers may follow, and be delighted by the by-products of
his hedonism. For it is his higher privilege to divert his own thoughts
from unprofitable and rational worrying; and to lead such as may choose
to follow him in one more desperate sortie from that ordered living and
from the selves of which all men are tired.
So I suspect there must always be, to the last digit, precisely as many
"methods" as there are novelists. For the endeavor of the novelist,
even by the lowest and most altruistic motives, is to tell untruths
that will be diverting: and of their divertingness he needs, and
in fact can have (prior to the receipt of royalty statements), no
touchstone save only the response which these untruths evoke from him.
His primary endeavor must therefore, upon merely rational and sordid
grounds, be to divert, not any possible reader, but himself.
Public-domain text, read in full here on John Shaqi.
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