Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: It is true, of course, that like the fruit of the tree of life, Mr. Cabell's artistic progeny sprang from a first conceptual germ — "In the beginning was the Word." That animating idea is the assumption that if life may be said to have an aim it must be an aim to terminate in success and splendor. It postulates the high, fine importance of excess, the choice or discovery of an overwhelming impulse in life and a conscientious dedication to its fullest realization. It is the quality and intensity of the dream only which raises men above the biological norm; and it is fidelity to the dream which differentiates the exceptional figure, the man of heroic stature, from the muddling, aimless mediocrities about him. What the dream is, matters not at all — it may be a dream of sainthood, kingship, love, art, asceticism or sensual pleasure — so long as it is fully expressed with all the resources of self. It is this sort of completion which Mr. Cabell has elected to depict in all his work: the complete sensualist in Demetrios, the complete phrase-maker in Felix Kennaston, the complete poet in Marlowe, the complete lover in Perion. In each he has shown that this complete self-expression is achieved at the expense of all other possible selves, and that herein lies the tragedy of the ideal. Perfection is a costly flower and is cultured only by an uncompromising, strict husbandry.
“Once we understand the fundamentals of Mr. Cabell's artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity's sacred books, just as in Jurgen he gave us a stupendous analogue of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul.”
Introduction to Chivalry (1921) by James Branch Cabell, later published in Prometheans : Ancient and Modern (1933), p. 279
Context: Once we understand the fundamentals of Mr. Cabell's artistic aims, it is not easy to escape the fact that in Figures of Earth he undertook the staggering and almost unsuspected task of rewriting humanity's sacred books, just as in Jurgen he gave us a stupendous analogue of the ceaseless quest for beauty. For we must accept the truth that Mr. Cabell is not a novelist at all in the common acceptance of the term, but a historian of the human soul. His books are neither documentary nor representational; his characters are symbols of human desires and motives. By the not at all simple process of recording faithfully the projections of his rich and varied imagination, he has written thirteen books, which he accurately terms biography, wherein is the bitter-sweet truth about human life.
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Burton Rascoe 10
American writer 1892–1957Related quotes
Afterpiece : a hidden inscription on the Sigil of Scoteia (and so spelled, in a peculiar modification of Roman capital letters)
The Cream of the Jest (1917)
Context: James Branch Cabell made this book so that he who wills may read the story of mans eternally unsatisfied hunger in search of beauty. Ettarre stays inaccessible always and her lovliness is his to look on only in his dreams. All men she must evade at the last and many ar the ways of her elusion.
Source: Art, 1912, Ch. II. To the artist, all in nature is beautiful, p. 47-48
Source: The Road Less Traveled: A New Psychology of Love, Traditional Values, and Spiritual Growth
Source: A Room with a View (1908), Ch. 3
Graham Greene reviewing Follow the Fleet in The Spectator 1936 and quoted in Thomas, Bob. Astaire, the Man, The Dancer. Weidenfeld & Nicolson, London, 1985. ISBN 0297784021 , p. 81.
“God gave the Angels wings and humans chocolate.
Mrs. Miracle”
Source: Mrs. Miracle
Source: Think Big (1996), p. 84