Last Updated on May 6, 2015, by eNotes Editorial. Word Count: 2634
James Branch Cabell’s art rests on a paradox. On one hand, the author contends that man is idealistic and must therefore create dreams to sustain himself. On the other, he mocks man’s tendency “to play the ape to his dreams”—that is, to seek the unattainable foolishly. Manipulating the polarities of romance and comedy, Cabell responded to the predominant intellectual trend of the early twentieth century—naturalism. From a cosmic perspective, he had no difficulty accepting the premise that man is like a bit of flotsam in a deterministic universe, subject to environmental forces but unable to control or understand them. From a humanistic point of view, however, he could not tolerate the limitations that naturalism imposed on the human mind. For Cabell, man does not survive because he adapts to biological, social, or economic forces, but rather because he persists in believing in the products of his own imagination—what Cabell terms “dynamic illusions.” These illusions, according to Cabell, emanate from the demiurge, or psyche, yet they are rooted in man’s primitive, animal instincts. Their source of energy is the libido. Cabell’s protagonists thus move between two realms of experience: They are romantic questers after ideal beauty, perfection, and salvation; they are also comic bumblers whose lusts, vanities, and misconceptions entangle them in a web of complexities. Cabell’snarratives follow a Hegelian pattern. His thesis is that man desires to escape from the dull, routine world of actuality. His antithesis is that such a desire can never be attained; disillusionment is inevitable. In the synthesis, however, man achieves a degree of satisfaction. He learns that his ideals are illusions but also that they should be cherished, for in the realm of the imagination, dreams themselves have a reality.
Cabell’s background explains his propensity for blending the romantic and the comic. Quite early, he developed a love for myth and legend. As a child, he delighted in such books as Old Greek Stories Simply Told, Stories of Old Rome, Book of Bible Stories, and Stories of the Days of King Arthur. Cabell gained a strong sense of aristocratic pride—an appreciation of the southern characteristics of chivalry and gallantry—yet he was no dreamy-eyed romantic. He saw the ironic underside of life. In growing up, he heard frank gossip, as well as heroic tales, from his elders. In college, Cabell became interested in the Restoration comedy of manners, which heightened his awareness of the hypocrisies and absurdities of human behavior. Such weaknesses became more immediately apparent when, as a bachelor in his twenties and early thirties, he vacationed at the Virginia resort of Rockbridge Alum. There, he witnessed and participated in affairs that assumed the facade of chaste, genteel encounters but were actually indulgences in lust. From his various experiences, Cabell developed a dichotomous concept of the artist, appropriate to his blending of romance and comedy. The artist assumes an exalted status, painting beautiful visions of life as it ought to be. Ironically, however, because of this detached, godlike perspective, skepticism intrudes. The world that the artist portrays becomes a caricature; it mocks and contradicts the idealistic presentation. For Cabell, the ideal and the real coexist.
The Biography of the Life of Manuel
Cabell’s major literary achievement is his eighteen-volume The Biography of the Life of Manuel, which he wished readers to regard as a single book. In 1915, Cabell conceived the idea of bringing together his writings into one vast architectural construct, and for the next fifteen years, he strove to achieve his plan: revising published works, deciding on a logical arrangement, and writing new tales and romances to clarify his design. The result was the Storisende Edition of The Works of James Branch Cabell, bound in green and gold. Cabell’s magnum opus represents an ingenious application of his genealogical talents to the realm of fiction. Spanning seven centuries and moving from the imaginary medieval realm of Poictesme to modern Virginia, it celebrates the life force passed on by Manuel to his descendants.
The design of The Biography of the Life of Manuel is best viewed in musical terms. Whether one considers it to be a fugue or a sonata, it revolves on three themes and their variations. These themes are three philosophies of life: the chivalrous, the gallant, and the poetic. The chivalrous attitude views life as a testing; dominated by the will, it represents an ideal tradition in which men revere first God and then noble women. Quite the opposite, the gallant attitude views life as a toy; its social principle is hedonism. This attitude emphasizes the intelligence and is thus skeptical. Celebrating both chivalry and gallantry, the final attitude, the poetic, views life as raw material out of which it creates something that transcends life. It is controlled by the imagination.
These attitudes of the chivalrous, the gallant, and the poetic determine the structure of Cabell’s work. In Beyond Life, the prologue to The Biography of the Life of Manuel, he defines them. Then, in Figures of Earth, Cabell presents the life of Manuel of Poictesme, who at various times is affected by all three codes, and follows it with The Silver Stallion, which traces the development of the legend of Manuel the Redeemer. The fourth volume—composed of Domnei and The Music from Behind the Moon—treats one aspect of the chivalric code: woman worship. Cabell then elaborates on the subject in his short-story collection titled Chivalry. He next examines the gallant attitude in Jurgen; inserts The Line of Love, which treats all three attitudes; then returns to gallantry in The High Place and the short-story collection The Certain Hour. The next four volumes move to the modern world: The Cords of Vanity presents Robert Townsend, a gallant; From the Hidden Way offers Townsend’s verses; The Rivet in Grandfather’s Neck portrays a chivalrous character; and The Eagle’s Shadow examines the poet. Finally, The Biography of the Life of Manuel circles back on itself, as the soul of Felix Kennaston, the protagonist of The Cream of the Jest, journeys back to Poictesme through his dreams. Cabell’s vast design concludes with an epilogue, Straws and Prayer-Books, and Townsend of Lichfield, containing notes and addenda.
Figures of Earth
Figures of Earth, one of Cabell’s finest novels, follows its author’s typical tripartite pattern of quest, ensuing disillusionment, and final transcendence, as it traces the career of the swineherd Manuel. Subtitled A Comedy of Appearances, it is a complex allegorical work peopled with supernatural and preternatural beings who reside in the imaginary medieval land of Poictesme. The tale begins when Miramon Lluagor, the master of dreams, appears to Manuel at the pool of Haranton. There, he convinces Manuel to abandon his job as a swineherd—that is, to rebel against the elemental forces of life—and to pursue knight-errantry in seeking the beautiful yet unattainable Lady Gisele. Eager to make a fine figure in the world, Manuel repudiates his lover Suskind, a mysterious creature who represents the unconscious desires of the libido, and sets forth, unaware that he is being victimized by Horvendile, the diabolical spirit of romance. On his journey, he has a series of encounters with allegorical women. He first meets Niafer, a rather plain kitchen servant, who symbolizes worldly wisdom and domesticity. Dressed as a boy, she accompanies Manuel on his quest until, when faced with his own death unless he gives up Niafer, Manuel decides to sacrifice her to Grandfather Death. His next encounter is with the Princess Alianora, who represents political power, worldly position, and the undercurrent of sexual excitement that accompanies them. Manuel surrenders to lust, but eventually rejects Alianora, discovering the limitations of self-seeking gallantry. His third important encounter is with the supernal Queen Freydis, who symbolizes creative inspiration. Using magic, Manuel persuades her to leave her realm of Audela and enter the ordinary world. She does so out of love for him and animates a set of clay figures that he sculpted as a swineherd. These eventually enter history as major writers.
Manuel soon discovers that Freydis cannot give him fulfillment; only Niafer can, so he submits to thirty years of slavery to The Head of Misery to bring Niafer back from the dead. Then he settles down to a comfortable existence as a husband, father, and the Count of Poictesme. One day, however, while watching his wife and daughter through the window of Ageus (Usage) in his palace study, he discovers to his horror that their figures are only scratched on the glass—that beyond the window is a chaos containing the images of preexistence, including the disturbing Suskind. Manuel must then choose whether to die himself or to allow his child Melicent to die in his place, while he resumes his relationship with Suskind. Acting decisively, he murders Suskind, bricks up the study window, and departs with Grandfather Death. In the last chapter, Grandfather Death accompanies him to the River Lethe, where he watches the images of his life as they sweep by him. Then the scene blurs, as Cabell moves his readers back to the pool of Haranton where Manuel began his quest. He repeats the dialogue of the first chapter, in which Miramon refers to Count Manuel, who has just died. Thus, Cabell ends with an appropriate reminder of his view of life as a cycle in which one life passes into other lives through heredity.
Manuel is Cabell’s man of action, driven by dreams of a better life than that of a swineherd, yet the pursuit of dreams proves frustrating. Even in the mythical realm of Poictesme, Cabell constantly emphasizes through allegory the realities of death, misery, and madness. Life, Manuel learns, is full of obligations: to Alianora, Melicent, and especially to Niafer. Indeed, Cabell underscores this lesson by structuring his episodes into five books titled “Credit,” “Spending,” “Cash Accounts,” “Surcharge,” and “Settlement.” It is in confronting his obligations, however, that Manuel finds fulfillment. The romantic quest results in a comic exposure of man’s limitations, but the final picture is of human dignity in accepting those limitations. Manuel can never completely obliterate discontent, but he decides that the human possessions of a kingdom, a wife, and a family, even if they are illusions, are better than a return to the primitive unconsciousness. Thus, although he never achieves the object of his initial quest, he does transcend experience through belief in his destined role as the Redeemer of Poictesme and his ultimate rejection of lust for love.
Figures of Earth, because of its confusing cast of characters—some of whom are figures of earth and some unearthly—and the artificialities of Cabell’s prose, makes difficult reading. The effort is rewarding, however, for Cabell offers some intriguing insights into man’s values: that the demands of the family and the aspirations of the individual often conflict; that the world is duplicitous; and that the search for perfection involves paradoxically the self-realization of imperfection. The work is thought-provoking and timely.
Jurgen follows the same movement as Figures of Earth: the pursuit of perfection, the discovery that it does not exist, and then the satisfaction achieved through accepting actuality; it merely views these ideas from a different perspective. The controlling concept is justice, which to Cabell’s title character, a poetry-producing pawnbroker, means that in the universe, every idealistic desire should have a means of being fulfilled. Jurgen’s problem, however, is that existence is unjust; since man’s intellect increases as his physical prowess diminishes, he can never completely realize his potential. Granting Jurgen a temporary respite from his dilemma, Cabell allows his middle-aged poet to retain his youthful body and then lets his reader see the subsequent effects on his protagonist’s values.
Jurgen began as a tale titled “Some Ladies and Jurgen,” which Cabell published in The Smart Set in 1918. His novel simply expands on the narrative of that story. The hero meets a monk, who curses the devil for causing him to trip over a stone. Jurgen, playing the devil’s advocate, defends evil. Shortly thereafter, he meets a black gentleman who thanks him for the defense and expresses the hope that his life will be carefree. When Jurgen replies that such a life is impossible, since he is married, the stranger promises to reward him. The reward turns out to be the disappearance of Jurgen’s wife, Dame Lisa. When he returns home, she is gone; he later learns that she has been seen near a cave outside town. Feeling an obligation, he goes there, only to encounter the black gentleman—who, he learns, is Koshchei the Deathless, the controller of the universe. Koshchei tempts Jurgen by evoking three women that he feels would be more suitable for a poet: Queen Guenevere, Queen Anaïtis, and Queen Helen—standing respectively for faith, desire, and vision. Jurgen rejects each, however, and asks for Dame Lisa back. She appears, lectures him, and then leaves for home. In response, Jurgen praises her as a source of poetic inspiration more valuable than faith, desire, and vision, and then follows her home.
Expanding his narrative for the novel, Cabell added two fantasy sequences that would explain Jurgen’s ultimate attraction to Lisa. In the first, Jurgen visits the Garden between Dawn and Sunrise, where he relives falling in love with Dorothy la Désirée, one of the daughters of Manuel. She destroys his romantic bliss when she marries the wealthy Heitman Michael and then engages in adulterous affairs. Because of Dorothy’s behavior, Jurgen marries Lisa. In the second episode, Jurgen, having been granted by Mother Sereda the recovery of a bygone Wednesday, fantasizes about how his relationship with Dorothy might have developed. He imagines himself killing Heitman Michael and claiming her, but as the Wednesday ends, he finds himself embracing the Dorothy of reality, an aged femme fatale.
Cabell also expanded his original tale by depicting Jurgen’s adventures in five realms: Glathion, Cocaigne, Leukê, Hell, and Heaven. Throughout these episodes, Jurgen assumes the roles of charlatan and womanizer, as he tests historical systems of values. In Glathion, he examines the medieval tradition of Christian chivalry, but rejects it as being irrational. In Cocaigne, he becomes equally dissatisfied with hedonistic paganism. Leukê, a stronghold of the Hellenic tradition, teaches him the danger of the realm of utilitarian Philistia. In Hell, Jurgen learns of the sin of pride, and in Heaven he encounters selfless love. Feeling the shadow of worldly wisdom trailing him, Jurgen finally decides to give up his youthful body and return to the domestic comforts that Dame Lisa can provide. He trades the ideal for the actual, yet in so doing bestows romantic value on his ordinary existence and his ordinary wife.
Although entertaining, Jurgen lacks clarity of design. The reader who is steeped in mythology may enjoy Cabell’s manipulation of the legends of Faust, Don Juan, King Arthur, Troilus and Cressida, and Ulysses and Penelope, but somehow, the integration of the hero’s adventures with the narrative line exploring the feelings between husband and wife is incomplete. The episodic looseness of the novel is distracting. Thus, modern readers, like those titillated readers of the 1920’s, may be absorbed by Jurgen’s amorous exploits without fully considering Cabell’s analysis of the values that make life worth living.
Cabell’s great achievement is that he celebrated the illusion-making capacity of the mind while simultaneously exposing man’s follies in pursuing dreams. He merged the traditions of humanism and skepticism. Reacting against naturalism, Cabell had the courage to present a transcendent view of life—one that acknowledged not man’s impotency, but his potential. A meticulous craftsman, a daring iconoclast, an imaginative thinker, Cabell deserves recognition as a major writer of the twentieth century.
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