This Side of Paradise [113]
living isn't a seeking for the grail it may be a damned amusing game."
For a minute neither spoke and then the big man asked:
"What was your university?"
"Princeton."
The big man became suddenly interested; the expression of his goggles altered slightly.
"I sent my son to Princeton."
"Did you?"
"Perhaps you knew him. His name was Jesse Ferrenby. He was killed last year in France."
"I knew him very well. In fact, he was one of my particular friends."
"He was-a-quite a fine boy. We were very close." Amory began to perceive a resemblance between the father and the dead son and he told himself that there had been all along a sense of familiarity. Jesse Ferrenby, the man who in college had borne off the crown that he had aspired to. It was all so far away. What little boys they had been, working for blue ribbons- The car slowed up at the entrance to a great estate, ringed around by a huge hedge and a tall iron fence.
"Won't you come in for lunch?" Amory shook his head.
"Thank you, Mr. Ferrenby, but I've got to get on." The big man held out his hand. Amory saw that the fact that he had known Jesse more than outweighed any disfavor he had created by his opinions. What ghosts were people with which to work! Even the little man insisted on shaking hands.
"Good-by!" shouted Mr. Ferrenby, as the car turned the corner and started up the drive. "Good luck to you and bad luck to your theories."
"Same to you, sir," cried Amory, smiling and waving his hand.
"OUT OF THE FIRE, OUT OF THE LITTLE ROOM"
Eight hours from Princeton Amory sat down by the Jersey roadside and looked at the frost-bitten country. Nature as a rather coarse phenomenon composed largely of flowers that, when closely inspected, appeared moth-eaten, and of ants that endlessly traversed blades of grass, was always disillusioning; nature represented by skies and waters and far horizons was more likable. Frost and the promise of winter thrilled him now, made him think of a wild battle between St. Regis and Groton, ages ago, seven years agoand of an autumn day in France twelve months before when he had lain in tall grass, his platoon flattened down close around him, waiting to tap the shoulders of a Lewis gunner. He saw the two pictures together with somewhat the same primitive exaltationtwo games he had played, differing in quality of acerbity, linked in a way that differed them from Rosalind or the subject of labyrinths which were, after all, the business of life.
"I am selfish," he thought.
"This is not a quality that will change when I 'see human suffering' or 'lose my parents' or 'help others.'
"This selfishness is not only part of me. It is the most living part.
"It is by somehow transcending rather than by avoiding that selfishness that I can bring poise and balance into my life. "There is no virtue of unselfishness that I cannot use. I can make sacrifices, be charitable, give to a friend, endure for a friend, lay down my life for a friendall because these things may be the best possible expression of myself; yet I have not one drop of the milk of human kindness."
The problem of evil had solidified for Amory into the problem of sex. He was beginning to identify evil with the strong phallic worship in Brooke and the early Wells. Inseparably linked with evil was beauty-beauty, still a constant rising tumult; soft in Eleanor's voice, in an old song at night, rioting deliriously through life like superimposed waterfalls, half rhythm, half darkness. Amory knew that every time he had reached toward it longingly it had leered out at him with the grotesque face of evil. Beauty of great art, beauty of all joy, most of all the beauty of women.
After all, it had too many associations with license and indulgence. Weak things were often beautiful, weak things were never good. And in this new loneness of his that had been selected for what greatness he might achieve, beauty must be relative or, itself a harmony, it would make only a discord. In a sense this gradual renunciation of beauty was the second step after his
For a minute neither spoke and then the big man asked:
"What was your university?"
"Princeton."
The big man became suddenly interested; the expression of his goggles altered slightly.
"I sent my son to Princeton."
"Did you?"
"Perhaps you knew him. His name was Jesse Ferrenby. He was killed last year in France."
"I knew him very well. In fact, he was one of my particular friends."
"He was-a-quite a fine boy. We were very close." Amory began to perceive a resemblance between the father and the dead son and he told himself that there had been all along a sense of familiarity. Jesse Ferrenby, the man who in college had borne off the crown that he had aspired to. It was all so far away. What little boys they had been, working for blue ribbons- The car slowed up at the entrance to a great estate, ringed around by a huge hedge and a tall iron fence.
"Won't you come in for lunch?" Amory shook his head.
"Thank you, Mr. Ferrenby, but I've got to get on." The big man held out his hand. Amory saw that the fact that he had known Jesse more than outweighed any disfavor he had created by his opinions. What ghosts were people with which to work! Even the little man insisted on shaking hands.
"Good-by!" shouted Mr. Ferrenby, as the car turned the corner and started up the drive. "Good luck to you and bad luck to your theories."
"Same to you, sir," cried Amory, smiling and waving his hand.
"OUT OF THE FIRE, OUT OF THE LITTLE ROOM"
Eight hours from Princeton Amory sat down by the Jersey roadside and looked at the frost-bitten country. Nature as a rather coarse phenomenon composed largely of flowers that, when closely inspected, appeared moth-eaten, and of ants that endlessly traversed blades of grass, was always disillusioning; nature represented by skies and waters and far horizons was more likable. Frost and the promise of winter thrilled him now, made him think of a wild battle between St. Regis and Groton, ages ago, seven years agoand of an autumn day in France twelve months before when he had lain in tall grass, his platoon flattened down close around him, waiting to tap the shoulders of a Lewis gunner. He saw the two pictures together with somewhat the same primitive exaltationtwo games he had played, differing in quality of acerbity, linked in a way that differed them from Rosalind or the subject of labyrinths which were, after all, the business of life.
"I am selfish," he thought.
"This is not a quality that will change when I 'see human suffering' or 'lose my parents' or 'help others.'
"This selfishness is not only part of me. It is the most living part.
"It is by somehow transcending rather than by avoiding that selfishness that I can bring poise and balance into my life. "There is no virtue of unselfishness that I cannot use. I can make sacrifices, be charitable, give to a friend, endure for a friend, lay down my life for a friendall because these things may be the best possible expression of myself; yet I have not one drop of the milk of human kindness."
The problem of evil had solidified for Amory into the problem of sex. He was beginning to identify evil with the strong phallic worship in Brooke and the early Wells. Inseparably linked with evil was beauty-beauty, still a constant rising tumult; soft in Eleanor's voice, in an old song at night, rioting deliriously through life like superimposed waterfalls, half rhythm, half darkness. Amory knew that every time he had reached toward it longingly it had leered out at him with the grotesque face of evil. Beauty of great art, beauty of all joy, most of all the beauty of women.
After all, it had too many associations with license and indulgence. Weak things were often beautiful, weak things were never good. And in this new loneness of his that had been selected for what greatness he might achieve, beauty must be relative or, itself a harmony, it would make only a discord. In a sense this gradual renunciation of beauty was the second step after his