TRILBY AND THE TRILBYITES.
APOTHEOSIZING THE PROSTITUTE. The Complete Works of Brann the Iconoclast, Volume 1 | ||
TRILBY AND THE TRILBYITES.
APOTHEOSIZING THE PROSTITUTE.
THE Trilby craze has overrun the land like the “grip” bacillus or the seven-year locust. Here in America it has become almost as disgusting as the plague of lice sent upon Egypt to eat the chilled steel veneering off the heart of Pharaoh the fickle. Everything is Trilby. We have Trilby bonnets and bonbons, poses and plays, dresses and drinks. Trilby sermons have been preached from prominent pulpits, and the periodicals, from penny-post to pretentious magazine, have Trilbyismus and have it bad. One would think that the world had just found Salvation, so loud and unctuous is its hosannah—that Trilby was some new Caaba-stone or greater Palladium floated down from Heaven on the wings of Du Maurier's transcendent genius; that after waiting and watching for six thousand—or million—years, a perfect exemplar had been bequeathed to the world.
I have read Du Maurier's foolish little book—as a disagreeable duty. The lot of the critic is an unenviable one. He must read everything, even such insufferable rot as “Coin's Financial School,” and those literary nightmares turned loose in rejoinder—veritable Rozinantes, each bearing a chop-logic Don Quixote with pasteboard helmet and windmill spear. I knew by the press comments—I had already surmised from its popularity with upper-tendom—that “Trilby” was simply a highly spiced story of female frailty; hence I appoached{sic} it with “long teeth”'—like a politician eating crow, or a country boy absorbing his first glass of lager beer. I had received a surfeit of the Camillean style of literature in my youth before I learned with Ecclesiastes the Preacher—or even with Parkhurst— that “all is vanity.”
So far as my experience goes the only story of a fallen woman that was worth the writing—and the reading—is that of Mary Magdalen; and it is not French. Her affaires d'amour appear to have ended with her repentance. She did not try to marry a duke, elevate the stage or break into swell society. After closing her maison de joie she ceased to be “bonne camarade et bonne fille” in the tough de tough quarter of the Judean metropolis. There were no more strolls on the Battery by moonlight alone love after exchanging her silken robe de chambre for an old-fashioned nightgown with never a ruffle. When she applied the soft pedal the Bacchic revel became a silent prayer. So far as we can gather, the cultured gentlemen of Judea did not fall over each other in a frantic effort to ensnare her with Hymen's noose. If the Apostles recommended her life to the ladies of their congregations as worthy emulation the stenographer must have been nodding worse than Homer. If the elite of Jerusalem named their daughters for her and made her the subject of public discussion,
“And behold, a woman in the city, which was a sinner, when she knew that Jesus sat at meat in the Pharisee's house, brought an alabaster box of ointment, and stood at his feet behind him weeping, and began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet and anointed them with ointment.”
How stale, flat and unprofitable the modern stories of semi-repentant prostitutes beside that pathetic passage, which shears down into the very soul— penetrates to the profoundest depths of the sacred Lake of Tears! And yet this ultra-orthodox age—which would suppress the ICONOCLAST if it could for poking fun at Poll Parrot preachers—has not become crazed over Mary Magdalen—has not so much as named a canal-boat or a cocktail for her
Du Maurier says of his heroine: “With her it was lightly come and lightly go and never come back again.
Trilby, the child of a bummy preacher and a bastard bar-maid, was born and bred in the slum of the wickedest
I confess my surprise at the phenomenal popularity of the book among people familiar with Dickens, Scott and Thackeray, triune transcendent of fiction. I had hoped when “Ben Hur” made its great hit that the golden age of flash fiction was past— that it could henceforth count among its patrons only stable boys and scullions; but the same nation that received “Ben Hur” with tears of thankfulness— thankfulness for a priceless jewel of spotless purity ablaze with the immortal fire of genius—has gone mad with joy over a dirty tale of bawdry that might have been better told by a cheap reporter bordering on the jimjams. Has the American nation suddenly declined into intellectual dotage—reached the bald-head and dizzy soubrette finale in the mighty drama of life?
I can account for the success of Du Maurier's book only on the hypothesis that “like takes to like”—that the world is full of frail Trilbys and half-baked duffers like Little Billee, who, Nareissuslike, worship their own image. They don't mind the contradictions and absurdities with which the book abounds; in fact, those who read up-to-date French novels are seldom gifted with sufficient continuity of thought to detect contradictions if they appear two pages apart. The book is ultra-bizarre, a thin intellectual soup served in grotesque, even impossible dishes and highly flavored with vulgar animalism—just the mental pabulum craved by those whose culture is artificial, mentality weak and morals mere matter of form. The plot was evidently loaded to scatter. It is about as probable as Jack and the Beanstalk, and is worked out with the skill of a country editor trying to “cover” a national convention. The
His characters resemble the distorted freaks of nature in a dime museum. They may all be possible, but not one of them probable. Taffy and Gecko are the best of the lot. The first is a big, good-natured Englishman who wants to see his sweetheart married to his friend, weds another and
Then he informs us that a naked woman is such a fright “that Don Juan himself were fain to hide his eyes in sorrow and disenchantment and fly to other climes.” How thankful Cupid must be that he was born blind! Still the most of us are willing to risk one eye on the average “altogether” model. Du Maurier—who is a somewhat better artist than author— illustrates his own book. He gives us several portraits of Trilby, all open-mouthed, with a vacant stare. Strange that he did not draw his heroine nude as she sat on the bed hugging and kissing the Laird—that he did not hang up “on the floor every weapon” by which Venus herself “can pierce to the grosser passions of men.” But perchance he was afraid the Laird would “hide his eyes in sorrow and disenchantment and fly to other climes.” He could not be spared just yet. Despite his plea for the nude, I think he exercised excellent judgment in leaving Trilby “clothed and in her right mind”—such as it was—while the Laird roosted on her couch in that attic bedroom and was—to us a Tennysonianism—mouthed and mumbled. Even New York's “four hundred” might have felt a little squeamish at seeing this pair of platonic turtle doves hid away in an obscure corner of naughty Paris in puris naturalibus even if “there is nothing so chaste as nudity.”
Du Maurier says that Trilby never sat to him for “the altogether,” and adds: “I would as soon have asked the Queen of Spain to let me paint her legs.” If nudity be so chaste, and Trilby didn't mind the exposure even a little bit, why should he hesitate? And why should he not paint the legs of the Queen of Spain—or even the underpinning of the Queen of Hawaii—as well as her arms? But if we
Little Billee is a very nice young man who has been kept too close to his mother's apron-strings for his own good—a girlish, hysterical kind of boy, who should be given spoon-victuals and put to bed early. Of course he wants to marry Trilby, for he is of that age when the swish of a petticoat makes us seasick. She is perfectly willing to become his mistress—although she had “repented” of her sins and been “forgiven” but a few days before. She has sense enough—despite Du Maurier's portraits of her—to know that she is unworthy to become a gentleman's wife, to be mated with a he-virgin like Little Billee. But she is overpersuaded—as usual—and consents. Then the young calf's mother comes on the scene and asks her to spare her little pansy blossom—not to blight his life with the frost of her follies. And of course she consents again. She's the great consenter—always in the hands of friends, like an American politician. “The difficulty of saying nay to earnest pleading” prevents a mesalliance. Trilby skips the trala and Little Billee—who has no chance to secure a reconsideration cries himself sick, but recovers,—comes up smiling like a cotton-patch after a spring shower. He is taken to England, but fails to find that “absence makes the heart grow fonder.” He gets wedded to his art quite prettily, and even thinks of turning Mormon and taking the vicar's daughter for a second bride, but slips up on an atheistical orange peel, something has gone wrong with his head. Where his bump of amativeness should stick out like a walnut there is a discouraging depression which alarms him greatly, and worries the reader not a little. But finally he sees Trilby again, and, the wheel in his head, which has stuck fast for five years, begins to whizz around
Of course there is now nothing for Trilby to do but to die. They could be paired off in a kind of morganatic marriage; but it is customary in novels where the heroine has been too frolicsome, for her to get comfortably buried instead of happily married,—and perhaps it is just as well. Even a French novelist must make some little mock concession to the orthodox belief that the wage of sin is death. So Trilby sinks into the grave with a song like the dying swan, and Little Billee follows suit—upsets the entire Christian religion by dying very peaceably as an Atheist, without so much as a shudder on the brink of that outer darkness where there's supposed to be weeping and wailing and gnashing of teeth. Svengali has also fallen by the wayside, a number of characters have been very happily forgotten, so the story drags along to the close on three not very attractive legs, Taffy, the Laird and Gecko. It is a bad drama worse staged, with an ignorant bawd for heroine, a weak little thing for leading man, an impossible Caliban for heavy villain and Atheism for moral. Such is the wonderful work that has given this alleged land of intelligence a case of literary mania á potu, set it to singing the praises of a grimy grisette more melodiously than she warbled, “mironton, mirontaine” at the bidding of the villainous Svengali. Such is this new lion of literature who has set American maids and matrons to paddling about home barefoot and posing in public with open mouths—flattering themselves that they resemble a female whom they would scald if she ventured into their back yard.
TRILBY AND THE TRILBYITES.
APOTHEOSIZING THE PROSTITUTE. The Complete Works of Brann the Iconoclast, Volume 1 | ||