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+The Project Gutenberg EBook of Eeldrop and Appleplex, by T.S. Eliot
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+Title: Eeldrop and Appleplex
+
+Author: T.S. Eliot
+
+Release Date: June, 2004  [EBook #5982]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on October 6, 2002]
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+Edition: 10
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+Language: English
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+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK, EELDROP AND APPLEPLEX ***
+
+
+
+
+Eeldrop and Appleplex
+
+T.S. Eliot
+
+
+
+
+I
+
+
+
+
+Eeldrop and Appleplex rented two small rooms in a disreputable part of
+town.  Here they sometimes came at nightfall, here they sometimes
+slept, and after they had slept, they cooked oatmeal and departed in
+the morning for destinations unknown to each other.  They sometimes
+slept, more often they talked, or looked out of the window.
+
+They had chosen the rooms and the neighborhood with great care.  There
+are evil neighborhoods of noise and evil neighborhoods of silence, and
+Eeldrop and Appleplex preferred the latter, as being the more evil.  It
+was a shady street, its windows were heavily curtained; and over it
+hung the cloud of a respectability which has something to conceal.  Yet
+it had the advantage of more riotous neighborhoods near by, and Eeldrop
+and Appleplex commanded from their windows the entrance of a police
+station across the way.  This alone possessed an irresistible appeal in
+their eyes.  From time to time the silence of the street was broken;
+whenever a malefactor was apprehended, a wave of excitement curled into
+the street and broke upon the doors of the police station.  Then the
+inhabitants of the street would linger in dressing-gowns, upon their
+doorsteps: then alien visitors would linger in the street, in caps;
+long after the centre of misery had been engulphed in his cell.  Then
+Eeldrop and Appleplex would break off their discourse, and rush out to
+mingle with the mob.  Each pursued his own line of enquiry.  Appleplex,
+who had the gift of an extraordinary address with the lower classes of
+both sexes, questioned the onlookers, and usually extracted full and
+inconsistent histories: Eeldrop preserved a more passive demeanor,
+listened to the conversation of the people among themselves, registered
+in his mind their oaths, their redundance of phrase, their various
+manners of spitting, and the cries of the victim from the hall of
+justice within.  When the crowd dispersed, Eeldrop and Appleplex
+returned to their rooms:  Appleplex entered the results of his
+inquiries into large notebooks, filed according to the nature of the
+case, from A (adultery) to Y (yeggmen).  Eeldrop smoked reflectively.
+It may be added that Eeldrop was a sceptic, with a taste for mysticism,
+and Appleplex a materialist with a leaning toward scepticism; that
+Eeldrop was learned in theology, and that Appleplex studied the
+physical and biological sciences.
+
+There was a common motive which led Eeldrop and Appleplex thus to
+separate themselves from time to time, from the fields of their daily
+employments and their ordinarily social activities.  Both were
+endeavoring to escape not the commonplace, respectable or even the
+domestic, but the too well pigeonholed, too taken-for-granted, too
+highly systematized areas, and,--in the language of those whom they
+sought to avoid--they wished "to apprehend the human soul in its
+concrete individuality."
+
+"Why," said Eeldrop, "was that fat Spaniard, who sat at the table with
+us this evening, and listened to our conversation with occasional
+curiosity, why was he himself for a moment an object of interest to
+us?  He wore his napkin tucked into his chin, he made unpleasant noises
+while eating, and while not eating, his way of crumbling bread between
+fat fingers made me extremely nervous: he wore a waistcoat cafe au
+lait, and black boots with brown tops.   He was oppressively gross and
+vulgar; he belonged to a type, he could easily be classified in any
+town of provincial Spain.  Yet under the circumstances--when we had
+been discussing marriage, and he suddenly leaned forward and exclaimed:
+'I was married once myself'--we were able to detach him from his
+classification and regard him for a moment as an unique being, a soul,
+however insignificant, with a history of its own, once for all.  It is
+these moments which we prize, and which alone are revealing.  For any
+vital truth is incapable of being applied to another case: the
+essential is unique.   Perhaps that is why it is so neglected: because
+it is useless.  What we learned about that Spaniard is incapable of
+being applied to any other Spaniard, or even recalled in words.  With
+the decline of orthodox theology and its admirable theory of the soul,
+the unique importance of events has vanished.  A man is only important
+as he is classed.  Hence there is no tragedy, or no appreciation of
+tragedy, which is the same thing.  We had been talking of young
+Bistwick, who three months ago married his mother's housemaid and now
+is aware of the fact.  Who appreciates the truth of the matter?  Not
+the relatives, for they are only moved by affection, by regard for
+Bistwick's interests, and chiefly by their collective feeling of family
+disgrace.  Not the generous minded and thoughtful outsider, who regards
+it merely as evidence for the necessity of divorce law reform.
+Bistwick is classed among the unhappily married.  But what Bistwick
+feels when he wakes up in the morning, which is the great important
+fact, no detached outsider conceives.  The awful importance of the ruin
+of a life is overlooked.  Men are only allowed to be happy or miserable
+in classes.  In Gopsum Street a man murders his mistress.  The
+important fact is that for the man the act is eternal, and that for the
+brief space he has to live, he is already dead.  He is already in a
+different world from ours.  He has crossed the frontier.  The important
+fact is that something is done which can not be undone--a possibility
+which none of us realize until we face it ourselves.  For the man's
+neighbors the important fact is what the man killed her with?  And at
+precisely what time?  And who found the body?  For the 'enlightened
+public' the case is merely evidence for the Drink question, or
+Unemployment, or some other category of things to be reformed.  But the
+mediaeval world, insisting on the eternity of punishment, expressed
+something nearer the truth."
+
+"What you say," replied Appleplex, "commands my measured adherence.  I
+should think, in the case of the Spaniard, and in the many other
+interesting cases which have come under our attention at the door of
+the police station, what we grasp in that moment of pure observation on
+which we pride ourselves, is not alien to the principle of
+classification, but deeper.  We could, if we liked, make excellent
+comment upon the nature of provincial Spaniards, or of destitution (as
+misery is called by the philanthropists), or on homes for working
+girls.  But such is not our intention.  We aim at experience in the
+particular centres in which alone it is evil.  We avoid
+classification.  We do not deny it. But when a man is classified
+something is lost.  The majority of mankind live on paper currency:
+they use terms which are merely good for so much reality, they never
+see actual coinage."
+
+"I should go even further than that," said Eeldrop.  "The majority not
+only have no language to express anything save generalized man; they
+are for the most part unaware of themselves as anything but generalized
+men.  They are first of all government officials, or pillars of the
+church, or trade unionists, or poets, or unemployed; this cataloguing
+is not only satisfactory to other people for practical purposes, it is
+sufficient to themselves for their 'life of the spirit.' Many are not
+quite real at any moment.  When Wolstrip married, I am sure he said to
+himself: 'Now I am consummating the union of two of the best families
+in Philadelphia.'"
+
+"The question is," said Appleplex, "what is to be our philosophy.  This
+must be settled at once.  Mrs. Howexden recommends me to read Bergson.
+He writes very entertainingly on the structure of the eye of the frog."
+
+"Not at all," interrupted his friend.  "Our philosophy is quite
+irrelevant. The essential is, that our philosophy should spring from
+our point of view and not return upon itself to explain our point of
+view.  A philosophy about intuition is somewhat less likely to be
+intuitive than any other.  We must avoid having a platform."
+
+"But at least," said Appleplex, "we are. . ."
+
+"Individualists.  No!! nor anti-intellectualists.  These also are
+labels.  The 'individualist' is a member of a mob as fully as any other
+man:  and the mob of individualists is the most unpleasing, because it
+has the least character.  Nietzsche was a mob-man, just as Bergson is
+an intellectualist.  We cannot escape the label, but let it be one
+which carries no distinction, and arouses no self-consciousness.
+Sufficient that we should find simple labels, and not further exploit
+them.  I am, I confess to you, in private life, a bank-clerk. . . ."
+
+"And should, according to your own view, have a wife, three children,
+and a vegetable garden in a suburb," said Appleplex.
+
+"Such is precisely the case," returned Eeldrop, "but I had not thought
+it necessary to mention this biographical detail.  As it is Saturday
+night, I shall return to my suburb.  Tomorrow will be spent in that
+garden. . . ."
+
+"I shall pay my call on Mrs. Howexden," murmured Appleplex.
+
+
+
+
+II
+
+
+
+
+The suburban evening was grey and yellow on Sunday; the gardens of the
+small houses to left and right were rank with ivy and tall grass and
+lilac bushes; the tropical South London verdure was dusty above and
+mouldy below; the tepid air swarmed with flies.  Eeldrop, at the
+window, welcomed the smoky smell of lilac, the gramaphones, the choir
+of the Baptist chapel, and the sight of three small girls playing cards
+on the steps of the police station.
+
+"On such a night as this," said Eeldrop, "I often think of
+Scheherazade, and wonder what has become of her."
+
+Appleplex rose without speaking and turned to the files which contained
+the documents for his "Survey of Contemporary Society." He removed the
+file marked London from between the files Barcelona and Boston where it
+had been misplaced, and turned over the papers rapidly.  "The lady you
+mention," he rejoined at last, "whom I have listed not under S. but as
+Edith, alias Scheherazade, has left but few evidences in my
+possession.  Here is an old laundry account which she left for you to
+pay, a cheque drawn by her and marked 'R/D,' a letter from her mother
+in Honolulu (on ruled paper), a poem written on a restaurant bill--'To
+Atthis'--and a letter by herself, on Lady Equistep's best notepaper,
+containing some damaging but entertaining information about Lady
+Equistep.  Then there are my own few observations on two sheets of
+foolscap."
+
+"Edith," murmured Eeldrop, who had not been attending to this
+catalogue, "I wonder what has become of her.  'Not pleasure, but
+fulness of life. . .  to burn ever with a hard gem-like flame,' those
+were her words.  What curiosity and passion for experience!  Perhaps
+that flame has burnt itself out by now."
+
+"You ought to inform yourself better," said Appleplex severely, "Edith
+dines sometimes with Mrs. Howexden, who tells me that her passion for
+experience has taken her to a Russian pianist in Bayswater.  She is
+also said to be present often at the Anarchist Tea Rooms, and can
+usually be found in the evening at the Cafe de l'Orangerie."
+
+"Well," replied Eeldrop, "I confess that I prefer to wonder what has
+become of her.  I do not like to think of her future.  Scheherazade
+grown old!  I see her grown very plump, full-bosomed, with blond hair,
+living in a small flat with a maid, walking in the Park with a
+Pekinese, motoring with a Jewish stock-broker.  With a fierce appetite
+for food and drink, when all other appetite is gone, all other appetite
+gone except the insatiable increasing appetite of vanity; rolling on
+two wide legs, rolling in motorcars, rolling toward a diabetic end in a
+seaside watering place."
+
+"Just now you saw that bright flame burning itself out," said
+Appleplex, "now you see it guttering thickly, which proves that your
+vision was founded on imagination, not on feeling.  And the passion for
+experience--have you remained so impregnably Pre-Raphaelite as to
+believe in that?  What real person, with the genuine resources of
+instinct, has ever believed in the passion for experience?  The passion
+for experience is a criticism of the sincere, a creed only of the
+histrionic.  The passionate person is passionate about this or that,
+perhaps about the least significant things, but not about experience.
+But Marius, des Esseintes, Edith. . ."
+
+"But consider," said Eeldrop, attentive only to the facts of Edith's
+history, and perhaps missing the point of Appleplex's remarks, "her
+unusual career.  The daughter of a piano tuner in Honolulu, she secured
+a scholarship at the University of California, where she graduated with
+Honors in Social Ethics.  She then married a celebrated billiard
+professional in San Francisco, after an acquaintance of twelve hours,
+lived with him for two days, joined a musical comedy chorus, and was
+divorced in Nevada.  She turned up several years later in Paris and was
+known to all the Americans and English at the Cafe du Dome as Mrs.
+Short.  She reappeared in London as Mrs. Griffiths, published a small
+volume of verse, and was accepted in several circles known to us.  And
+now, as I still insist, she has disappeared from society altogether."
+
+"The memory of Scheherazade," said Appleplex, "is to me that of Bird's
+custard and prunes in a Bloomsbury boarding house.  It is not my
+intention to represent Edith as merely disreputable.  Neither is she a
+tragic figure.  I want to know why she misses.  I cannot altogether
+analyse her 'into a combination of known elements' but I fail to touch
+anything definitely unanalysable.
+
+"Is Edith, in spite of her romantic past, pursuing steadily some hidden
+purpose of her own?  Are her migrations and eccentricities the sign of
+some unguessed consistency?  I find in her a quantity of shrewd
+observation, an excellent fund of criticism, but I cannot connect them
+into any peculiar vision.  Her sarcasm at the expense of her friends is
+delightful, but I doubt whether it is more than an attempt to mould
+herself from outside, by the impact of hostilities, to emphasise her
+isolation.  Everyone says of her, 'How perfectly impenetrable!' I
+suspect that within there is only the confusion of a dusty garret."
+
+"I test people," said Eeldrop, "by the way in which I imagine them as
+waking up in the morning.  I am not drawing upon memory when I imagine
+Edith waking to a room strewn with clothes, papers, cosmetics, letters
+and a few books, the smell of Violettes de Parme and stale tobacco.
+The sunlight beating in through broken blinds, and broken blinds
+keeping out the sun until Edith can compel herself to attend to another
+day.  Yet the vision does not give me much pain.  I think of her as an
+artist without the slightest artistic power."
+
+"The artistic temperament--" began Appleplex.
+
+"No, not that." Eeldrop snatched away the opportunity.  "I mean that
+what holds the artist together is the work which he does; separate him
+from his work and he either disintegrates or solidifies.  There is no
+interest in the artist apart from his work.  And there are, as you
+said, those people who provide material for the artist.  Now Edith's
+poem 'To Atthis' proves beyond the shadow of a doubt that she is not an
+artist.  On the other hand I have often thought of her, as I thought
+this evening, as presenting possibilities for poetic purposes.  But the
+people who can be material for art must have in them something
+unconscious, something which they do not fully realise or understand.
+Edith, in spite of what is called her impenetrable mask, presents
+herself too well.  I cannot use her; she uses herself too fully.
+Partly for the same reason I think, she fails to be an artist: she does
+not live at all upon instinct.  The artist is part of him a drifter, at
+the mercy of impressions, and another part of him allows this to happen
+for the sake of making use of the unhappy creature.  But in Edith the
+division is merely the rational, the cold and detached part of the
+artist, itself divided.  Her material, her experience that is, is
+already a mental product, already digested by reason.  Hence Edith (I
+only at this moment arrive at understanding) is really the most orderly
+person in existence, and the most rational.  Nothing ever happens to
+her; everything that happens is her own doing."
+
+"And hence also," continued Appleplex, catching up the thread, "Edith
+is the least detached of all persons, since to be detached is to be
+detached from one's self, to stand by and criticise coldly one's own
+passions and vicissitudes.  But in Edith the critic is coaching the
+combatant."
+
+"Edith is not unhappy."
+
+"She is dissatisfied, perhaps."
+
+"But again I say, she is not tragic: she is too rational.  And in her
+career there is no progression, no decline or degeneration.  Her
+condition is once and for always.  There is and will be no
+catastrophe.
+
+"But I am tired.  I still wonder what Edith and Mrs. Howexden have in
+common.  This invites the consideration (you may not perceive the
+connection) of Sets and Society, a subject which we can pursue tomorrow
+night."
+
+Appleplex looked a little embarrassed.  "I am dining with Mrs.
+Howexden," he said.  "But I will reflect upon the topic before I see
+you again."
+
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, EELDROP AND APPLEPLEX ***
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