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diff --git a/5982.txt b/5982.txt new file mode 100644 index 0000000..957da0e --- /dev/null +++ b/5982.txt @@ -0,0 +1,703 @@ +The Project Gutenberg EBook of Eeldrop and Appleplex, by T.S. Eliot + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Eeldrop and Appleplex + +Author: T.S. Eliot + +Release Date: June, 2004 [EBook #5982] +Posting Date: March 28, 2009 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK EELDROP AND APPLEPLEX *** + + + + +Produced by An Anonymous Volunteer + + + + + + + + +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 of Eeldrop and Appleplex, by T.S. Eliot + +*** END OF THIS PROJECT GUTENBERG EBOOK EELDROP AND APPLEPLEX *** + +***** This file should be named 5982.txt or 5982.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/5/9/8/5982/ + +Produced by An Anonymous Volunteer + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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