The Cords of Vanity: A Comedy of Shirking — Context and Discussion

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Cabell, James Branch, 1879-1958 Project Gutenberg 2006 Not confirmed
Authors -- Fiction; United States -- Social life and customs -- Fiction; Marriage -- Fiction Readers of public-domain and historical texts
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Words 92,007
Reading time 401 min
Text sections 8

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An editorial note on James Branch Cabell's 'The Cords of Vanity: A Comedy of Shirking,' focusing on its episodic structure, recurring motifs of vanity and evasion, and the shifting settings that mirror the narrator's romantic and literary pursuits.
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Stella was not uninfluenced, it may be, by Miss Van Orden's example, for even in girlhood the latter was a person of extraordinary beauty, whereas, as has been said, Stella's corners were then multitudinous; and it is probable that those two queer little knobs at the base of Stella's throat would be apt to render their owner uncomfortable and a bit abject before--let us say--more ample charms. In any event, Stella giggled and said she thought it would be just fine, and I presently conducted her to the third piazza of the hotel.

There we found a world that was new.

It was a world of sweet odors and strange lights, flooded with a kindly silence which was, somehow, composed of many lispings and trepidations and thin echoes. The night was warm, the sky all transparency. If the comparison was not manifestly absurd, I would liken that remembered sky's pale color to the look of blue plush rubbed the wrong way. And in its radiance the stars bathed, large and bright and intimate, yet blurred somewhat, like shop-lights seen through frosted panes; and the moon floated on it, crisp and clear as a new-minted coin. This was the full midsummer moon, grave and glorious, that compelled the eye; and its shield was obscurely marked, as though a Titan had breathed on its chill surface. Its light suffused the heavens and lay upon the earth beneath us in broad splashes; and the foliage about us was dappled with its splendor, save in the open east, where the undulant, low hills wore radiancy as a mantle.

For the trees, mostly maples of slight stature, clustered thickly about the hotel, and their branches mingled in a restless pattern of blacks and silvers and dim greens that mimicked the laughter of the sea under an April wind. Looking down from the piazza, over the expanse of tree-tops, all this was strangely like the sea; and it gave one, somehow, much the same sense of remote, unbounded spaces and of a beauty that was a little sinister. At times whippoorwills called to one another, eerie and shrill; and the distant dance-music was a vibration in the air, which was heavy with the scent of bruised growing things and was filled with the cool, healing magic of the moonlight.

Taking it all in all, we had blundered upon a very beautiful place. And there we sat for a while and talked in an aimless fashion. We did not know quite how one ought to "sit out" a dance, you conceive....

Then, moved by some queer impulse, I stared over the railing for a little at this great, wonderful, ambiguous world, and said solemnly:

"Yes," Stella agreed, in a curious, quiet and tiny voice, "it--it's very large, isn't it?" She looked out for a moment over the tree-tops. "It makes me feel like a little old nothing," she said, at last. "The stars are so big, and--so uninterested." Stella paused for an interval, and then spoke again, with an uncertain laugh. "I think I am rather afraid."

"Yes," she said, vaguely; "of--of everything."

I understood. Even then I knew something of the occasional insufficiency of words.

"It is a big world," I assented, "and lots of people are having a right hard time in it right now. I reckon there is somebody dying this very minute not far off."

"It's all--waiting for us!" Stella had forgotten my existence. "It's bringing us so many things--and we don't know what any of them are. But we've got to take them, whether we want to or not. It isn't fair. We've got to--well, got to grow up, and--marry, and--die, whether we want to or not. We've no choice. And it may not matter, after all. Everything will keep right on like it did before; and the stars won't care; and what we've done and had done to us won't really matter!"

"Well, but, Stella, you can have a right good time first, anyway, if you keep away from ugly things and fussy people. And I reckon you really go to Heaven afterwards if you haven't been really bad,--don't you?"

"Rob,--are you ever afraid of dying?" Stella asked, "very much afraid--Oh, you know what I mean."

I did. I was about ten once more. It was dark, and I was passing a drug-store, with huge red and green and purple bottles glistening in the gas-lit windows; and it had just occurred to me that I, too, must die, and be locked up in a box, and let down with trunk-straps into a hole, like Father was.... So I said, "Yes."

"And yet we've got to! Oh, I don't see how people can go on living like everything was all right when that's always getting nearer,--when they know they've got to die before very long. Because they dance and go on picnics and buy hats as if they were going to live forever. I--oh, I can't understand."

"They get used to the idea, I reckon. We're sort of like the rats in the trap at home, in our stable," I suggested, poetically. "We can bite the wires and go crazy, like lots of them do, if we want to, or we can eat the cheese and kind of try not to think about it. Either way, there's no getting out till they come to kill us in the morning."

"Yes," sighed Stella; "I suppose we must make the best of it."

"It's the only sensible thing to do, far as I can see."

"But it is all so big--and so careless about us!" she said, after a little. "And we don't know--we can't know!--what is going to happen to you and me. And we can't stop its happening!"

"We'll just have to make the best of that, too," I protested, dolefully.

Stella sighed again, "I hope so," she assented; "still, I'm scared of it."

"I think I am, too--sort of," I conceded, after reflection. "Anyhow, I am going to have as good a time as I can."

There was now an even longer pause. Pitiable, ridiculous infants were pondering, somewhat vaguely but very solemnly, over certain mysteries of existence, which most of us have learned to accept with stolidity. We were young, and to us the miraculous insecurity and inconsequence of human life was still a little impressive, and we had not yet come to regard the universe as a more or less comfortable place, well-meaningly constructed anyhow--by Somebody--for us to reside in.

Therefore we moved a trifle closer together, Stella and I, and were commonly miserable over the _Weltschmerz_. After a little a distant whippoorwill woke me from a chaos of reverie, and I turned to Stella, with a vague sense that we two were the only people left in the whole world, and that I was very, very fond of her.

Stella's head was leaned backward. Her lips were parted, and the moonlight glinted in her eyes. Her eyes were blue.

"Don't!" said Stella, faintly.

It was a matter out of my volition, out of my planning. And, oh, the wonder, and sweetness, and sacredness of it! I thought, even in the instant; and, oh, the pity that, after all, it is slightly disappointing....

Stella was not angry, as I had half expected. "That was dear of you," she said, impulsively, "but don't try to do it again." There was the wisdom of centuries in this mandate of Stella's as she rose from the bench. The spell was broken, utterly. "I think," said Stella, in the voice of a girl of fifteen, "I think we'd better go and dance some more."

In the crude morning I approached Stella, with a fatuous smile. She apparently both perceived and resented my bearing, although she never once looked at me. There was something of great interest to her in the distance, apparently down by the springhouse; she was flushed and indignant; and her eyes wouldn't, couldn't, and didn't turn for an instant in my direction.

"If," said she, impersonally, "if you believe it was because of _you_, you are very much mistaken. It would have been the same with anybody. You don't understand, and I don't either. Anyhow, I think you are a mess, and I hate you. Go away from me!"

And she stamped her foot in a fine rage.

For the moment I entertained an un-Christian desire that Stella had been born a boy. In that case, I felt, I would, just then, have really enjoyed sitting upon the back of her head, and grinding her nose into the lawn, and otherwise persuading her to cry "'Nough." These virile pleasures being denied me, I sought for comfort in discourteous speech.

"Umph-huh!" said I, "and you think you're mighty smart, don't you? Well, I don't want you pawing around me any more, either. I won't have it, do you understand! That was what I was going to tell you anyhow, you kissing-bug, even if you hadn't acted so smart. And you can just stick that right in your pipe and smoke it, you old Miss Smart Alec."

Thereupon I--wisely--departed without delay. A rock struck me rather forcibly between the shoulder blades, but I did not deign to notice this phenomenon.

"You can't fight girls with fists," I reflected. "You've just got to talk to them in the right way."

_He Loves Extensively_

I saw no more of Stella for a lengthy while, since within two days of the events recorded it pleased my mother to seek out another summer resort.

"For in September," she said, "I really must have perfect quiet and unimpeachable butter, and falling leaves, and only a very few congenial people to be melancholy with,--and that sort of thing, you know. I find it freshens one up so against the winter."

It was a signal feature of my mother's conversation that you never understood, precisely, what she was talking about.

Thus in her train the silly, pretty woman drew otherwhither her hobbledehoy son, as indeed Claire Bulmer Townsend had aforetime drawn an armament of more mature and stolid members of my sex. I was always proud of my handsome mother, but without any aspirations, however theoretical, toward intimacy; and her periods of conscientious if vague affection, when she recollected its propriety, I endured with consolatory foreknowledge of an impendent, more agreeable era of neglect.

I fancy that at bottom I was without suspecting it lonely. I was an only child; my father had died, as has been hinted, when I was in kilts.... No, I must have graduated from kilts into "knee-pants" when the Democracy of Lichfield celebrated Grover Cleveland's first election as President, for I was seven years old then, and was allowed to stay up ever so late after supper to watch the torchlight parade. I recollect being rather pleasantly scared by the yells of all those marching people and by the glistening of their faces as the irregular flaring torches heaved by; and I recollect how delightfully the cold night air was flavored with kerosene. In any event, it was on this generally festive November night that my father again took too much to drink, and, coming home toward morning, lay down and went to sleep in the vestibule between our front-door and the storm-doors; and five days later died of pneumonia...In that era I was accounted an odd boy; given to reading and secretive ways, and, they record, to long silences throughout which my lips would move noiselessly. "Just talking to one of my friends," they tell me I was used to explain; though it was not until my career at King's College that I may be said to have pretended to intimacy with anybody.

For in old Fairhaven I spent, of course, a period of ostensible study, as four generations of my fathers had done aforetime. But in that leisured, slatternly and ancient city I garnered a far larger harvest of (comparatively) innocuous cakes and ale than of authentic learning, and at my graduation carried little of moment from the place save many memories of Bettie Hamlyn.... Her father taught me Latin at King's College, while Bettie taught me human intimacy--almost. Looking back, I have not ever been intimate with anybody....

Not but that I had my friends. In particular I remember those four of us who always called ourselves--in flat defiance, just as Dumas did, of mere arithmetic--"The Three Musketeers." I think that we loved one another very greatly during the four years we spent together in our youth. I like to believe we did, and to remember the boys who were once unreasonably happy, even now. It does not seem to count, somehow, that Aramis has taken to drink and every other inexpedient course, I hear, and that I would not recognize him today, were we two to encounter casually--or Athos, either, I suppose, now that he has been so long in the Philippines.

And as for D'Artagnan--or Billy Woods, if you prefer the appellation which his sponsors gave him,--why we are still good friends and always will be, I suppose. But we are not particularly intimate; and very certainly we will never again read _Chastelard_ together and declaim the more impassioned parts of it,--and in fine, I cannot help seeing, nowadays, that, especially since his marriage, Billy has developed into a rather obvious and stupid person, and that he considers me to be a bit of a bad egg. And in a phrase, when we are together, just we two, we smoke a great deal and do not talk any more than is necessary.

And once I would have quite sincerely enjoyed any death, however excruciating, which promoted the well-being of Billy Woods; and he viewed me not dissimilarly, I believe.... However, after all, this was a long, long while ago, and in a period almost antediluvian.

And during this period they of Fairhaven assumed I was in love with Bettie Hamlyn; and for a very little while, at the beginning, had I assumed as much. More lately was my error flagrantly apparent when I fell in love with someone else, and sincerely in love, and found to my amazement that, upon the whole, I preferred Bettie's companionship to that of the woman I adored. By and by, though, I learned to accept this odd, continuing phenomenon much as I had learned to accept the sunrise.

Once Bettie demanded of me, "I often wonder what you really think of me? Honest injun, I mean."

I meditated, and presently began, with leisure:

"Miss Hamlyn is a young woman of considerable personal attractions, and with one exception is unhandicapped by accomplishments. She plays the piano, it is true, but she does it divinely and she neither crochets nor embroiders presents for people, nor sketches, nor recites, nor sings, or in fine annoys the public in any way whatsoever. Her enemies deny that she is good-looking, but even her friends concede her curious picturesqueness and her knowledge of it. Her penetration, indeed, is not to be despised; she has even grasped the fact that all men are not necessarily fools in spite of the fashion in which they talk to women. It must be admitted, however, that her emotions are prone to take precedence of her reasoning powers: thus she is not easily misled from getting what she desires, save by those whom she loves, because in argument, while always illogical, she is invariably convincing--"

Miss Hamlyn sniffed. "This is, perhaps, the inevitable effect of twenty cigarettes a day," was her cryptic comment. "Nevertheless, it does affect me with ennui."

"--For, the mere facts of the case she plainly demonstrates, with the abettance of her dimples, to be an affair of unimportance; the real point is what she wishes done about it. Yet the proffering of any particular piece of advice does not necessarily signify that she either expects or wishes it to be followed, since had she been present at the Creation she would have cheerfully pointed out to the Deity His various mistakes, and have offered her co-operation toward bettering matters, and have thought a deal less of Him had He accepted it; but this is merely a habit--" "Yes?" said Bettie, yawning; and she added: "Do you know, Robin, the saddest and most desolate thing in the world is to practise an _etude_ of Schumann's in nine flats, and the next is to realize that a man who has been in love with you has recovered for keeps?"

"--It must not be imagined, however, that Miss Hamlyn is untruthful, for when driven by impertinences into a corner she conceals her real opinion by voicing it quite honestly as if she were joking. Thereupon you credit her with the employment of irony and the possession of every imaginable and super-angelical characteristic--"

"Unless we come to a better understanding," Miss Hamlyn crisply began, "we had better stop right here before we come to a worse--"

"--Miss Hamlyn, in a word, is possessed of no insufferable virtues and of many endearing faults; and in common with the rest of humanity, she regards her disapproval of any proceeding as clear proof of its impropriety." This was largely apropos of a fire-new debate concerning the deleterious effects of cigarette-smoking; and when I had made an end, and doggedly lighted another one of them, Bettie said nothing.... She minded chiefly that one of us should have thought of the other without bias. She said it was not fair. And I know now that she was right.

But of Bettie Hamlyn, for reasons you may learn hereafter if you so elect, I honestly prefer to write not at all. Four years, in fine, we spent to every purpose together, and they were very happy years. To record them would be desecration.

Meantime, during these years, I had fallen in and out of love assiduously. Since the Anabasis of lad's love traverses a monotonous country, where one hill is largely like another, and one meadow a duplicate of the next to the last daffodil, I may with profit dwell upon the green-sickness lightly. It suffices that in the course of these four years I challenged superstition by adoring thirteen girls, and, worse than that, wrote verses of them.

I give you their names herewith--though not their workaday names, lest the wives of divers people be offended (and in many cases, surprised), but the appellatives which figured in my rhymes. They were Heart's Desire, Florimel, Dolores, Yolande, Adelais, Sylvia, Heart o' My Heart, Chloris, Felise, Ettarre, Phyllis, Phyllida, and Dorothy. Here was a rosary of exquisite names, I even now concede; and the owner of each _nom de plume_ I, for however brief a period, adored for this or that peculiar excellence; and by ordinary without presuming to mention the fact to any of these divinities save Heart o' My Heart, who was, after all, only a Penate.

Outside the elevated orbits of rhyme she was called Elizabeth Hamlyn; and it afterward became apparent to me that I, in reality, wrote all the verses of this period solely for the pleasure of reading them aloud to Bettie, for certainly I disclosed their existence to no one else--except just one or two to Phyllida, who was "literary."

And the upshot of all this heart-burning is most succinctly given in my own far from impeccable verse, as Bettie Hamlyn heard the summing-up one evening in May. It was the year I graduated from King's College, and the exact relation of the date to the Annos Domini is trivial. But the battle of Manila had just been fought, and off Santiago Captain Sampson and Commander Schley were still hunting for Cervera's "phantom fleet." And in Fairhaven, as I remember it, although there was a highly-colored picture of Commodore Dewey in the barber-shop window, nobody was bothering in the least about the war except when Colonel Snawley and Dr. Jeal foregathered at Clarriker's Emporium to denounce the colossal errors of "imperialism"....

"Thus, then, I end my calendar Of ancient loves more light than air;-- And now Lad's Love, that led afar In April fields that were so fair, Is fled, and I no longer share Sedate unutterable days With Heart's Desire, nor ever praise Felise, or mirror forth the lures Of Stella's eyes nor Sylvia's, Yet love for each loved lass endures.

"Chloris is wedded, and Ettarre Forgets; Yolande loves otherwhere, And worms long since made bold to mar The lips of Dorothy and fare Mid Florimel's bright ruined hair; And Time obscures that roseate haze Which glorified hushed woodland ways When Phyllis came, as Time obscures That faith which once was Phyllida's,-- Yet love for each loved lass endures.

The narrator of The Cords of Vanity announces himself as Robert Townsend, but the novel’s structure resists a straightforward confession. Cabell arranges the story in titled sections—such as “He Provides Copy”—that break the narrative into discrete episodes, each framed as a comic or ironic set piece. The opening encounter with Marian Winwood, for instance, unfolds through rapid, bantering dialogue and a staged exit, while the narrator’s aside about his “two watches” hints at a self-conscious performance. This episodic design, paired with the subtitle “A Comedy of Shirking,” suggests that the novel’s true subject is not romance but the narrator’s elaborate evasions.

Episodes as Evasions

The novel’s chapter-like sections often begin with a declarative title that promises action—such as “He Provides Copy”—but the content that follows tends to circle around the promised event. In the excerpt, the narrator recounts his summer at the Green Chalybeate, describing croquet, crawfish, and subscription euchres, yet the actual “copy” he provides is a digressive portrait of the resort’s faded gentility. This pattern recurs: the narrator deflects from direct confession into anecdote, as when he notes that the hotel’s writing paper lists “a solid column of strange maladies” he never finished reading. The structure itself becomes a form of shirking, with each section delaying or displacing the expected revelation.

Recurring Images of Vanity and Display

Cabell threads the novel with images that literalize vanity: the narrator’s exhibition of his watch, the “pink and green icing” of the ballroom ceiling, and the “haggard entertainer” at the euchre parties. These details accumulate into a pattern of surface-level performance. The narrator’s self-deprecating asides—such as his blush at mentioning croquet—are themselves a kind of display, a calculated modesty. Even the setting, the Green Chalybeate, is described as a place where invalids drink “nauseous waters” while others lament the dull season, a tableau of futile social ritual. The novel’s comedy arises from the gap between these polished surfaces and the narrator’s unspoken motives.

Movement Between Scenes: The Resort as Stage

The narrative shifts fluidly between the hotel piazza, the woods, the ballroom, and the lawn, each location functioning as a stage for the narrator’s performances. The initial meeting with Marian occurs in the woods, a setting that allows for a private, almost theatrical exchange; the narrator then “galloped back to the hotel,” a swift transition that underscores his eagerness to prolong the encounter. Later, the croquet lawn is described with painterly attention to light and shadow—“the grass is greener than it is by ordinary, and the shadows are long”—but this idyllic scene is undercut by the narrator’s admission that he blushes to write of it. These movements between public and private spaces mirror the narrator’s oscillation between sincerity and artifice.

The Narrator’s Self-Conscious Voice

Townsend’s narration is marked by parenthetical asides, ironic qualifications, and a tendency to address the reader directly. When he describes the chaperones “lined up as closely as was possible to the door, as if in preparation for the hotel’s catching fire any moment,” the simile is both vivid and self-mocking. He also inserts retrospective commentary, as when he notes that he and Marian “talked over the book I was going to write in the autumn”—a meta-fictional gesture that aligns the novel’s composition with its content. This voice, at once confiding and evasive, keeps the reader at a distance, inviting us to question the narrator’s reliability even as we enjoy his wit.

The Comedy of Shirking as Structural Principle

The subtitle “A Comedy of Shirking” is not merely descriptive but structural: the novel’s episodes are organized around acts of avoidance. The narrator shirks direct confession, shirks the expected romantic plot, and shirks the role of a conventional hero. Even the introduction by Wilson Follett, included in this edition, frames the book as a reclaimed artifact, one that was “almost—none to praise and very few to love.” This framing echoes the narrator’s own self-deprecation. Readers should attend to the gaps between what the narrator says and what he does, and to the way Cabell uses the resort setting as a microcosm of social performance.

Readers approaching The Cords of Vanity will find a novel that rewards attention to its formal quirks: the titled sections, the digressive anecdotes, and the narrator’s wry asides. Cabell’s comedy depends on the tension between the story Townsend tells and the story he avoids telling. The Green Chalybeate, with its faded elegance and ritualized leisure, provides a fitting backdrop for this dance of evasion. To read the novel is to watch a master of shirking at work.

I’ve often thought that Cabell’s book, with its elegant dodging of life’s commitments, whispers to a quieter neighbor. That unhurried Sunday piece holds its own gentle pause from the world’s demands, a mutual understanding between different centuries. There is a comfort in Sunday at Home (From "Twice Told Tales") — Edition Insights that feels like an old friend’s nod, Sunday at Home (From "Twice Told Tales") — Edition Insights, and their kinship rests in shared, deliberate stillness.

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  • ...
    Karen Ashley Robbins - 1 month ago
    The book has its moments of charm and wit, especially in its portrayal of societal expectations. However, the pacing is slow in the middle, and some jokes don't land as well as they could. Still, it's a decent read for those interested in early 20th-century satire, and the character development is fairly strong.

  • ...
    Elizabeth Gabriel Gomez - 4 weeks ago
    I was expecting a sharper comedy, but 'The Cords of Vanity' feels dated and lacks a compelling narrative. The protagonist's self-indulgent musings become tiresome, and the plot meanders without a clear direction. While the writing is competent, it fails to engage the modern reader. The humor often falls flat, making it a challenging read.

  • ...
    Ronald Cannon - 1 week ago
    A witty and insightful comedy that cleverly satirizes the concept of shirking responsibility. The protagonist's journey is both humorous and thought-provoking, with sharp dialogue that keeps the reader engaged. The author's prose is elegant, and the social commentary remains relevant even today. A delightful read for those who appreciate intelligent humor.


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