Tender is the Night. ФрÑнÑÐ¸Ñ Ð¡ÐºÐ¾Ñ‚Ñ‚ Фицджеральд
he blew a huge lung full of smoke towards the earth with incongruous supercaution.
“I fight because I like it, an’ God ain’t to blame for that, but when it’s death you’re talkin’ about I’ll tell you what I get an’ you don’t. Pere Dupont gets in front of the Frenchies an’ he says: ‘Allon, mes enfants!’ fine! an’ Father O’Brien, he says: ‘Go on in byes and bate the Luther out o’ them’—great stuff! But can you see the reverent Updike—Updike just out o’ Oxford—yellin’ ‘mix it up, chappies,’ or ‘soak ‘em blokes?’—NO, Captain, the best leader you ever get is a six foot rowin’ man that thinks God’s got a seat in the House o’ Commons. All sportin’ men have to have a bunch o’ cheerin’ when they die. Give an Englishman four inches in the sportin’ page this side of the whistle an’ he’ll die happy—but not O’Flaherty.”
But Clay’s thoughts were far away. Half delirious, his mind wandered to Eleanor. He had thought of nothing else for a week, ever since their parting at Rochester, and so many new sides of what he had learned were opening up. He had suddenly realized about Dick and Eleanor, they must have been married to all intents and purposes. Of course Clay had written to Eleanor from Paris, asking her to marry him on his return, and just yesterday he had gotten a very short, very kind, but definite refusal. And he couldn’t understand at all.
Then there was his sister—Eleanor’s words still rang in his ear. “They either put on trousers and act as chauffers all day or put on paint and dance with officers all night.” He felt perfectly sure that Clara was still well—virtuous. Virtuous—what a ridiculous word it seemed, and how odd to be using it about his sister. Clara had always been so painfully good. At fourteen she had been sent to Boston for a souvenir picture of Louisa M. Alcott to hang over her bed. His favorite amusement had been to replace it by some startling soubrette in tights, culled from the pages of the Pink Un. Well Clara, Eleanor, Dick, he himself, were all in the same boat, no matter what the actuality of their innocence or guilt. If he ever got back—
The Irishman, evidently sinking fast, was talking rapidly.
“Put your wishy-washy pretty clothes on everythin’ but it ain’t no disguise. If I get drunk it’s the flesh and the devil, if you get drunk it’s your wild oats. But you ain’t disguisin’ death, not to me you ain’t. It’s a damn serious affair. I may get killed for me flag, but I’m goin’ to die for meself. ‘I die for England’ he says. ‘Settle up with God, you’re through with England’ I says.”
He raised himself on his elbow and shook his fist toward the German trenches.
“It’s you an’ your damn Luther,” he shouted. “You been protestin’ and analyzin’ until you’re makin’ my body ache and burn like hell; you been evolvin’ like mister Darwin, an’ you stretched yourself so far that you’ve split. Everythin’s in-tan-gi-ble except your God. Honor an’ Fatherland an’ Westminster Abbey, they’re all in-tan-gi-ble except God an’ sure you got him tan-gi-ble. You got him on the flag an’ in the constitution. Next you’ll be writin’ your bibles with Christ sowin’ wild oats to make him human. You say he’s on your side. Onc’t, just onc’t, he had a favorite nation and they hung Him up by the hands and feet and his body hurt him and burn’t him,” his voice grew fainter. “Hail Mary, full of grace, the Lord is wit’ thee—” His voice trailed off, he shuddered and was dead.
The hours went on. Clayton lit another pipe, heedless of what German sharpshooters might see. A heavy March mist had come down and the damp was eating into him. His whole left side was paralyzed and he felt chill creep slowly over him. He spoke aloud.
“Damned old mist—damned lucky old Irishman—Damnation.” He felt a dim wonder that he was to know death but his thoughts turned as ever to England, and three faces came in sequence before him. Clara’s, Dick’s and Eleanor’s. It was all such a mess. He’d like to have gone back and finished that conversation. It had stopped at Rochester—he had stopped living in the station at Rochester. How queer to have stopped there—Rochester had no significance. Wasn’t there a play where a man was born in a station, or a handbag in a station, and he’d stopped living at—what did the Irishman say about cloaks, Eleanor said something about cloaks; too, he couldn’t see any cloaks, didn’t feel sentimental—only cold and dim and mixed up. He didn’t know about God—God was a good thing for curates—then there was the Y. M. C. A; God—and he always wore short sleeves, and bumpy Oxfords—but that wasn’t God—that was just the man who talked about God to soldiers. And then there was O’Flaherty’s God. He felt as if he knew him, but then he’d never called him God—he was fear and love, and it wasn’t dignified to fear God—or even to love him except in a calm respectable way. There were so many God’s it seemed—he had thought that Christianity was monotheistic, and it seemed pagan to have so many Gods.
Well, he’d find out the whole muddled business in about three minutes, and a lot of good it’d do anybody else left in the muddle.
Damned muddle—everything a muddle, everybody offside, and the referee gotten rid of—everybody trying to say that if the referee were there he’d have been on their side. He was going to go and find that old referee—find him—get hold of him, get a good hold—cling to him—cling to him—ask him—
— ◆ —
The Pierian Springs and the Last Straw.
Nassau Literary Magazine (October 1917)
My Uncle George assumed, during my childhood, almost legendary proportions. His name was never mentioned except in verbal italics. His published works lay in bright, interesting binding on the library table—forbidden to my whetted curiosity until I should reach the age of corruption. When one day I broke the orange lamp into a hundred shivers and glints of glass, it was in search of closer information concerning a late arrival among the books. I spent the afternoon in bed and for weeks could not play under the table because of maternal horror of severed arteries in hands and knees. But I had gotten my first idea of Uncle George—he was a tall, angular man with crooked arms. His opinion was founded upon the shape of the handwriting in which he had written “To you, my brother, with heartiest of futile hopes that you will enjoy and approve of this: George Rombert.” After this unintelligible beginning whatever interest I had in the matter waned, as would have all my ideas of the author, had he not been a constant family topic.
When I was eleven I unwillingly listened to the first comprehensible discussion of him. I was figeting on a chair in barbarous punishment when a letter arrived and I noticed my father growing stern and formidable as he read it. Instinctively I knew it concerned Uncle George—and I was right.
“What’s the matter Tom?—Some one sick?” asked my mother rather anxiously.
For answer father rose and handed her the letter and some newspaper clippings it had enclosed. When she had read it twice (for her naive curiosity could never resist a preliminary skim) she plunged—
“Why should she write to you and not to me?”
Father threw himself wearily on the sofa and arranged his long limbs decoratively.
“It’s getting tiresome, isn’t it? This is the third time he’s become—involved.” I started for I distinctively heard him add under his breath “Poor damn fool!”
“It’s much more than tiresome,” began my mother, “It’s disgusting; a great strong man with money and talent and every reason to behave and get married (she implied that these words were synonymous) playing around with serious women like a silly, conceited college boy. You’d think it was a harmless game!”
Here I put in my word. I thought that perhaps my being de trop in the conversation might lead to an early release.
“I’m here,” I volunteered.
“So I see,” said father in the tones he used to intimidate other young lawyers downtown; so I sat there and listened respectfully while they plumbed the iniquitous depths.
“It