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diff --git a/old/62744.txt b/old/62744.txt deleted file mode 100644 index fa9804e..0000000 --- a/old/62744.txt +++ /dev/null @@ -1,1206 +0,0 @@ -The Project Gutenberg EBook of The Glebe 1913/12 (Vol. 1, No. 3): The -Azure Adder, by Charles Demuth - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Glebe 1913/12 (Vol. 1, No. 3): The Azure Adder - -Author: Charles Demuth - -Editor: Alfred Kreymborg - Man Ray - -Release Date: July 24, 2020 [EBook #62744] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GLEBE, VOL. 1, NO. 3, AZURE ADDER *** - - - - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at https://www.pgdp.net. This book was -produced from images made available by the Blue Mountain -Project, Princeton University. - - - - - - - The Azure Adder - - THE - GLEBE - - VOLUME 1 - NUMBER 3 - - DECEMBER - 1913 - - SUBSCRIPTION - Three Dollars Yearly - THIS ISSUE 35 CENTS - - By Charles Demuth - - -The only editorial policy of THE GLEBE is that embodied in its -declaration of absolute freedom of expression, which makes for a range -broad enough to include every temperament from the most radical to the -most conservative, the only requisite being that the work should have -unmistakable merit. Each issue will be devoted exclusively to one -individual, thereby giving him an opportunity to present his work in -sufficient bulk to make it possible for the reader to obtain a much more -comprehensive grasp of his personality than is afforded him in the -restricted space allotted by the other magazines. Published monthly, or -more frequently if possible, THE GLEBE will issue twelve to twenty books -per year, chosen on their merits alone, since the subscription list does -away with the need of catering to the popular demand that confronts -every publisher. Thus, THE GLEBE can promise the best work of American -and foreign authors, known and unknown. - -The price of each issue of THE GLEBE will vary with the cost of -publication, but the yearly subscription, including special numbers, is -three dollars. - - Editor Associates Business Manager - Alfred Kreymborg Leonard D. Abbott Charles Boni, Jr. - Albert Boni - Alanson Hartpence - Adolf Wolff - - - The Azure Adder - - - To R. E. L. - - - - - The Azure Adder - - - By - Charles Demuth - - - NEW YORK - ALBERT AND CHARLES BONI - 96 Fifth Avenue - 1913 - - - Copyright, 1913 - By - The Glebe - - - - - THE AZURE ADDER - - -SCENE. Studio of Vivian. Simplicity run riot is the keynote: white -against white; white walls and little furniture. The furniture is -painted gray, Vivian's gray--really white. - -TIME. The ultra-present. - -(The curtain rises. For a minute or two the stage is empty. Then enter -Vivian, through the door at the back of the stage, the only door in the -scene. He wears the dress of the ancient Greeks and is evidently just -coming from the bath, as shown by his damp hair. In one hand he carries -a few narcissi, while with the other he tries to arrange the folds of -drapery, which seem to hinder his movements. He arranges one or two -flowers in a jar, before the "Nike de Samothrace," whispering: "Yes, -narcissi, truly like Grecian things." He drops the rest of the flowers -upon the floor, removes the robe and starts to comb his hair before a -small mirror. This mirror is set in the back of a large framed -photograph of the "Venus de Milo" that hangs near the door. Vivian turns -the Venus photograph to the wall and we see the small piece of -looking-glass. He finally rouges his lips as a finishing touch to his -toilet. Putting on a coat but retaining the sandals, he moves towards -the door; on the way he picks up a hat, which he puts on carefully. As -he nears the door a knock is heard and the door is opened. Vivian takes -on the look of being in the higher heights of thought. Two girls are -discovered in the door-way. One, Yvonne, says: "Bon jour." The second, -Alice: "Hello." Both enter. Vivian passes them in the door-way without -speaking and softly closes the door.) - -VIVIAN (outside). I'm going out. (And more softly.) Wait, wait. - -(The girls remove their hats. Yvonne sinks on the floor, in front of the -couch.) - -YVONNE. Oh, I'm so tired. I painted for two hours yesterday. - -ALICE (sitting on the couch). How you work--and you would have painted -again to-day, if I hadn't stopped for you, no doubt. - -YVONNE. Well, I was thinking about it. - -ALICE. Ridiculous! Do you think that Beauty can be contemplated -constantly? One either becomes blind or mad--you painted for two hours -yesterday--ridiculous! - -YVONNE. I've seen nothing of yours of late. Don't you work; don't you -paint, I mean? - -ALICE. I'm waiting, waiting. For days, months really, I have felt as -though--how shall I put it--as though the scales were about to fall from -my eyes; at moments like these, as you know, when I really see the -thing, I paint. Between times, I wait, I wait. - -YVONNE. Couldn't you work and wait, too? - -ALICE. No, I must save all my energy for these supreme moments, when I -see Beauty in its essence. - -YVONNE. Then you really work less than I thought. - -ALICE (in an awed voice). Yvonne, how can you! I work constantly. The -air is my canvas, my nerves are the brushes. I work? God, how I do work! -To contemplate, to wait, to dream, is not this work? - -YVONNE. I suppose so--but-- - -ALICE. Oh, I know--you all think, except George, that I do nothing. -Well, rather that, if it were true, than what one generally sees on -canvas, every year, at the Academies. - -YVONNE. You think then that it is better not to paint at all and wait as -you say--than to do an inferior thing? - -ALICE. Undoubtedly. - -YVONNE. This waiting--what effect will it have--what will it do for you -or for Art? - -ALICE. I wait. "To feel is better than to know." - -YVONNE. If one really feels, perhaps, but to wait and wait and wait, you -know what the end will be? - -ALICE. I hope to become like Beauty, myself--a living creation, a work -of art--even though I do nothing ever in paint. - -YVONNE. Yes, that is the end--not really, however, because to change -Life directly to Art means--(The sentence is not finished, a knock being -heard at the door.) - -ALICE. Here's Maud; she said that she would meet me here and bring -George. (She goes and opens the door. Enter George with Maud, sister of -Alice.) - -GEORGE. Hello. I've just received a wire from Uncle Billy; he's coming -to talk over the magazine with us. - -ALICE. Will he back it? - -GEORGE (looking at Maud). He will if I can be with him and talk to him -for a day or two, I think. (They exchange meaning glances.) - -YVONNE. A magazine--you're starting one? - -ALICE. Yes, I forgot to tell you about it. Something like the "Yellow -Book." It will be covered in gray, though, printed on hand-made paper -with especially designed type--four numbers a year. Have you thought of -a name, as yet, for our child, the magazine, George? - -GEORGE. Yes, it will be called the "Azure Adder." Gray and blue will be -the colors of the cover. Blue the color of the Soul and gray the -coloring of the Eternal Background! - -MAUD. Wonderful--wonderful! - -GEORGE. It will be, I hope. (He then addresses the three girls, who are -now sitting on the couch.) Intense, too, I want it to be. The first look -at its covers must create a mood for what one is to find indoors. The -same as a perfect house affects one; the stones and vines of which, on -the outside, tell of the truffles which are to be served by the mad -butler at dinner, inside. (To himself: I must remember that last; it's -away above their heads, of course--it's one of my best.) Blue and -gray--the two unfinished colors, when arranged as my design, will call -up the proper mood: a mood intense but languid, caring nothing for -results. I hope to make this, this caring nothing for results, the aim -of our child, the "Azure Adder." To teach the public, our public even, -to be satisfied with the unfinished, the artistically unfinished; the -thing which has no definite start or finish, but which is beautiful, -beautiful, beautiful even in the shadow of its bud; a bud which can -never open because--because--a worm is its heart! (Yvonne changes her -position on the couch.) The size, too, of the book will help in creating -the mood--seven by thirteen--and the paper on which it is printed, also, -will help. A paper made in Japan, under water, which lasts only three -years. It then falls apart, insuring our child only a future, no past, -nor any permanency, except perhaps in the minds of its readers, perhaps, -perhaps. The "Azure Adder" will have double pages like the books of the -Japanese, printed on one side, so that the mere reading of it will be -made difficult for the uninitiated--people whom it is not meant for -anyway. The first number must strike the note--the ultra-future note--so -I will give to our public my dance-poem, "The Candle and the Black Water -Lily." A poem, have I told you, which I hope to have danced sometime. It -must be danced by one person while a chorus of men and boys chant the -words, in place of music for the dancer. How it will appeal, simply -alone, in the book, I don't know, without its proper atmosphere. It -almost required a new language, I felt, when I wrote it. Still, it must -be the first of our first number--ultra-modern and a new art--think, a -new art! And the illustrations, what a chance you will be, "Azure -Adder," for the artist illustrator! A sweep of a brush, a tone, a dot is -enough for our purpose; when Beauty is sitting by the side of the -reader. Yes, I see a revolution in book illustration, a glorious one, an -upheaval, one never-to-be-forgotten revolution, which, looked back upon -from the far distant future, will have at its base, forgotten or -remembered, who cares, the "Azure Adder"! - -MAUD and ALICE. Ah! - -(Yvonne rises, walks towards the large window at the back, a sky-light -really, opens it and leans out during the following.) - -ALICE. If we can only get it started--we know very little about such -work. - -MAUD. That makes no difference. We all paint and all great art is one in -its complete state. We can surely run a magazine. If only Uncle, -George's Uncle Billy, will start it financially! - -GEORGE. Oh, he will, I'm sure. (Smiles.) - -ALICE. Whose stuff will we print in it besides our own? If we could only -get something from some of the great living ones! But we can't hope for -more than one or two things from them, at most, perhaps nothing, unless -we prove a great success. - -GEORGE. You doubt our success? You lack egotism, my dear. I have already -a poem, by one of our greatest living English poets. It's written in -Italian. - -MAUD. Of course it's beautiful. - -GEORGE. Of course, everything of his is. - -ALICE. Strange that he should send you a poem written in Italian. It's -beautiful, you say--I didn't know that you read Italian? - -GEORGE. I don't--Palidino read it to me. I asked him what it meant, what -it was about. He said that he did not understand its meaning--but the -sound of it, as he was reading it, was magnificent. It is a masterpiece! -Its meaning is clear to me--Palidino understands nothing which is really -fine. The poem tells by its sound that the poet writes of love, the love -which is perfected by death. - -MAUD (to herself). "The Triumph of Death." - -ALICE (softly). George, you are wonderful; it is fine to feel as finely -as you do--I mean it, really I do, George. - -GEORGE. You are beautiful. (Pause.) - -MAUD. Still, it seems that we ought to have more people to write for us. -I can think of only a few, one or two, who do good stuff, really fine -things--impressions. - -GEORGE. Oh, that will be all right. We have enough material for our -first number. The demand will create the material. We will get plenty of -stuff sent in from unknowns, I think, for our future numbers. - -MAUD. If not, we can all write things for it. I know that we all do -write on the quiet while posing as painters! Don't you write, Yvonne? - -YVONNE (from window). No, I only paint. - -MAUD (with a sneer). But--oh, well--you do read Kipling and Whitman; -that's the reason you don't write, I suppose. - -(No answer from Yvonne.) - -ALICE (angrily). Maud! - -MAUD. Yes, that is what I mean. Art is not the glorification of the -beef-steak! "Good red blood" is what you hear their admirers talking -about principally. "Healthy" is another one of their pet words, also -"men and women." They are all meat--they forget the swaying sea-weed, -the waxen asphodel, the rose which is sick. - -GEORGE. Yes, you are right. If they had their way, nothing would remain -but the normal. And as normal beings act usually in a commonplace and -unchanging manner, birth, love, death, literature, would finally lose -all material for existence and both schools would either cease or write -literature about literature. A fine end this would be for their good, -red blood. No fear, though; there are always plenty on the other side, -like us, to make the scales balance, perhaps even tip our way. Meat, the -glorified beef-steak, as you call it, Maud, has had its day. It has made -a good fight throughout the centuries, but it is going, going--and to -us--whom it called abnormal, sick, degenerate, will soon remain the -field--yes, through what it called our weakness we shall conquer! - -(Maud leans forward. Alice looks hurt. Maud is about to speak when a -knock is heard at the door.) - -MAUD. I'll go. (Goes and opens the door.) Camele! (She embraces and -kisses Camele in the door-way.) Camele! - -(They come down to Alice and George. Camele is carrying canvases, -painting materials, a kimona and a suit case.) - -ALICE and GEORGE. Hello! - -GEORGE. Let me take some of your things. (Takes her suit case.) Lord, -how heavy! - -CAMELE (sinking upon the couch). Heavy--I have everything in it that I -own. I couldn't stand it any longer--last night it reached a -climax--it's all over, my married life--all over, girls! I've left Jack! -Last night he struck me! (Sobs.) - -MAUD (to George). The glorified beef-steak variety--how common! - -GEORGE. Common, perhaps. (To himself: One can strike a woman for lots of -reasons.) - -(Yvonne comes from the window.) - -ALICE. Poor Camele--lie down. Let me take off your hat. - -YVONNE. What can we give her? Let us make some tea. - -MAUD. Yes, do. You and Alice make tea. I'll sit with her a while. - -(George, Alice and Yvonne busy themselves making tea at the extreme -right, leaving Camele and Maud at the extreme left, on the couch. No one -speaks for a moment.) - -MAUD (sitting at Camele's head strokes her hair). Poor girl. - -CAMELE. Maud? - -MAUD. Yes, dear. - -CAMELE. You were right; Jack is a brute. - -MAUD. All men are. - -CAMELE. So you have often said, but I thought that he was different. - -MAUD. Brutes, beasts. - -CAMELE. But we were so happy at first--the first months-- - -MAUD. Really happy? - -CAMELE. Yes, I was happy. I painted and Jack was with me between -times--yes, I was happy and calm. - -MAUD. You only thought so; I knew that it couldn't last. I know you too -well. - -CAMELE. Yes, you were right, I suppose. - -MAUD. And what now? - -CAMELE. I don't know--I broke with the family when I married him, as you -know--now, I don't know. - -GEORGE (from the tea table, to Alice and Yvonne). I'll go for some -lemons. (He goes out.) - -MAUD. What a mistake to have married, Camele! - -CAMELE. No, it was not a mistake. I'm not sorry even now. (Sits up.) - -MAUD. Camele, Camele! - -CAMELE. Well, it's the truth, I'm not. - -MAUD. But what will you do--where will you live? - -CAMELE. I don't know yet. - -MAUD (after a pause, in a pleading voice). Come with us for a while. - -CAMELE. Maud, all right--to-night--just to-night until I have time to -think. - -MAUD. As long as you like--Alice is used to me protecting widows and -children. (She puts her arm around Camele.) - -CAMELE. Just for a day or two; I'll hunt for a position to-morrow. - -MAUD. You had much better write to your family. They'll forgive you when -they know that you have left the brute. To think of him striking you! -Where did he strike you? - -CAMELE. Strike me? What do you mean--where did he strike me? - -MAUD. Why, you said when you came in that Jack had struck you last -night. - -CAMELE. How common of you, Maud--I thought that you would understand. I -didn't know that any of you took things literally--you didn't used to, -when I knew you before my marriage, and I knew you all very well. - -MAUD. Very well, indeed--so he didn't strike you? - -CAMELE. Yes, he did. - -MAUD. Eh? - -CAMELE. Yes and no. You see, Jack had been away for a week. I had been -painting rather hard and was very interested in an arrangement of blacks -I was trying to get. Subtle--blacks against blacks. It was coming along -well; I liked it in parts very much. It was finished almost, yesterday, -before he came home. Then, last night, he returned. I was tired, but -decided to show him the canvas, as he asked what I had been doing. We -went up to the studio. "Stand there," I said, and turned the canvas -toward the light. It really looked good: the tone was the best that I -had ever had in any of my canvases. He looked at it, and I at him. He -seemed to understand, at last, my work, I thought. He had never done so -before, which I realized only after we were married, and which came to -worry me more and more. "You do like it?" I asked. "Yes," he said--"it -looks like a Sargent!" - -GEORGE (returns). Here are the lemons. - -MAUD. You did right--come with us! To live with him now would be -impossible. Strike you--he did more--he tried to kill you--your soul. He -wanted you to go--he knew what he was saying and how it would affect -you. How you must have suffered before the final crash of last night -came! - -CAMELE. Yes, and no, again. I don't believe that I hate him half as much -now as I did last evening. - -MAUD. Camele, he has spoiled you completely. To hear you say that, after -what has happened between you, horrifies me. - -CAMELE. You were never married. - -MAUD. Meat! Meat! - -YVONNE. Come, have some tea. Come, Camele. - -(Maude and Camele, arm in arm, move towards the tea table, while George, -followed by Alice, comes and sits on the couch. The others sit around -the table.) - -GEORGE. Why do you insist on following me? Stay with the girls over -there--hear the joys of married life. - -ALICE. Joys--I am more interested in knowing why you did not come to see -me, as you promised last night? - -GEORGE. I didn't promise--I said "probably." - -ALICE. That's your word--but you usually come. Why not last night? You -knew that I wanted to see you very much. - -GEORGE. I had something to do. I couldn't get away. - -ALICE. Then why not have telephoned to me? Maud had opera tickets given -her--I missed "Tristan," waiting for you. - -GEORGE. At last we have the real cause of your bad humor, which is not -on account of my non-appearance but your missing "Tristan und Isolde." - -ALICE. You know, George, that that isn't true. - -GEORGE. You started this argument--why cry if you are hurt? - -ALICE. Cry? - -GEORGE. It's the same as crying--and tears, you know how I hate them. - -ALICE. Unless they be sprinkled on withered rose leaves, yes! - -GEORGE. It's always the same thing; you constantly insult my taste and -brain. - -ALICE. No, not your real taste and brain--they are fine and great. I -only insult the veneer. I try to show you yourself,--this part I will -save for you and sometime return to its owner intact. - -GEORGE. Save?--how can you save something which you have never had? - -ALICE. That is my affair. - -MAUD (from the tea table, her voice raised in an exciting discussion). -Bernard Shaw-- - -GEORGE (to himself). Bernard Shaw? (To Alice.) Well, save yourself the -trouble, I will never accept that from anyone--my real self. -(Nervously.) Alice, don't bother about me--I don't want you to, do you -understand? - -ALICE (laughs). You dare to command me? Well, let us both play the same -game. Tell me--why didn't you come to see me last night--what did you -do? - -GEORGE. I did nothing. I wished to be alone. Solitude and silence -produce great art, I believe. - -ALICE. Not when one is our age! - -GEORGE. Alice, I don't understand you to-day. For some time I've been -thinking that you were changing; losing the fine sense of appreciation -which you have always had for so many things in life and in art. Now, I -am sure of it. - -ALICE. Don't you understand? Well, as I said--solitude is for the aged. - -GEORGE. Solitude and silence, two wonderful words. What they call up in -my mind! Solitude for the physical and silence for the mind. It is in -these states that Art flourishes in its greatest form. Art is turning -back to the works of the primitive artists, early Italians principally. -And it is here that it should turn--it should turn back to Art and not -to Nature, which only holds it back. And we who expect to figure in this -new Renaissance must live as our masters, cloistered, alone, removed -from the material, within ourselves--as Angelico or as Fra Filippo -Lippi. For from the cave of Silence comes the flame of creation, and we -who hope to receive a spark of this flame must worship in solitude, as -monks and as nuns. - -ALICE (smiling). But have I not heard something about a rope ladder in -connection with Fra Filippo Lippi? - -GEORGE. Legends--inventions of the common mind which sometimes are -chronicled by still commoner ones--and thus accepted finally as facts. - -ALICE. Truths, I should say. - -GEORGE (jumping up). I am going out! - -CAMELE (in a boisterous voice). Schopenhauer, I prefer De Mau--(Her -voice is lost as Alice's is heard speaking to George.) - -ALICE. Don't run away, George, I want to talk with you. I think that you -are beginning to understand the change in me, the new Alice, let us -say--and I want to make sure of it. - -GEORGE (sitting down). No, I do not understand the new Alice. - -ALICE. You will not, would not be nearer the truth, I think. - -GEORGE. No, I do not is exactly what I mean. - -ALICE. I will try again to show you then, George. (She moves closer to -him. George starts to move away from her but changes his mind evidently -and sits still.) - -GEORGE. I'm ready for the revelation, Alice. Make it as long as you -like. It will probably be our last real talk together. - -ALICE. Why? - -GEORGE. Because--because we have nothing in common--this new Alice -pose--I can't think of it as anything else but as a pose--has or will -come between us and break up our friendship. - -ALICE. And in breaking up our friendship it will produce something much -finer. - -GEORGE. Finer? that is the finest thing in life--friendship. - -ALICE. It is the beginning only of the finest thing in life. - -GEORGE. Alice, you don't mean to say--Alice!--Lord!--you're not -making--(She blushes and turns away her eyes.) - -MAUD (from the tea table). They give "Parsifal" next week. (George tries -to become composed.) - -ALICE (speaking across the stage to the group). I know one of the -"Flower Maidens." I get "comps." - -(Alice glances at George, who has failed to become composed.) - -ALICE (after a pause). George? - -GEORGE (weakly). Well? - -ALICE. Do you like my pose as you call it? - -GEORGE (looking at her). Is it a pose? - -ALICE (after they look intently at each other, drops her glance). Yes. -(Meaning no!--and adds more excitedly.) Yes, yes!--I was only acting to -see what you would do. (But she takes his hand.) - -GEORGE (noticing it but showing no objection). Alice, what is happening -to us? Here we sit hand-in-hand! It's like bad vaudeville! - -ALICE (smiles). I don't know--what do you think? - -GEORGE. Don't ask me. I don't understand. I can't think. I don't know. -Perhaps we are about to have a new George! - -ALICE (in a suppressed tone). You understand!--a new George--you shall -come to-night! - -GEORGE. Yes! - -ALICE (looking away but tightening her hold on George's hand). Mine. - -GEORGE. What did you say? - -ALICE. Oh nothing, nothing. - -GEORGE. Alice--to-night. Now, let us go over to the tea table. Maud is -watching us. - -ALICE. Do you want to go? - -GEORGE (rising from the couch). No. - -(Alice rises also, and they both move towards the table, George -following. He carries their cups.) - -MAUD. Well, have you been talking magazine--"Azure Adder"? - -GEORGE and ALICE. Yes. - -ALICE. We were arranging details. We will have all the titles of stories -and poems printed in red. Don't you think that that will be good? - -MAUD. Not red, blue I should say. - -GEORGE. Well, in some color, red or blue. - -MAUD. Blue is the better. - -YVONNE (rising). I must be going--is anyone coming my way? - -GEORGE. We all must be going, I suppose. I must go to the station and -meet Uncle Billy. - -(Yvonne crosses the stage; the door at the back is opened suddenly and -Jack, husband of Camele, is seen.) - -CAMELE (starts up from the tea table and looks frightened, saying in a -whisper to George). Hide my suit case. - -JACK (in the door-way). Oh, I beg your pardon--is Vivian in? - -ALICE. Hello, Jack--come in. Vivian is out. - -JACK. I wanted to see him. He wishes to rent the studio for several -months, I hear. - -ALICE. You can wait for him, we are just about to leave. - -JACK (coming down stage, sees Camele at the tea table). Hello, Cam, what -are you doing here? - -YVONNE (from the window). What a sun-set! Come and see. (They all, -except Camele and Jack, go to the window.) - -CAMELE. Maud asked me to lend her my kimona. She wants to do some -Japanese dances--I brought it to her. - -JACK. I didn't know that you were friendly since we were married, Cam. I -was surprised when I saw you. - -CAMELE. Don't call me Cam, Jack. Try to call me Camele, here. And make -the "a" long. - -JACK. Does it shock them? They make me--(seeing her canvases and paint -box). What are you doing with your canvases and paint box? - -CAMELE. I was painting in the park. The canvases--the canvases--oh, I -was taking them to be framed. - -JACK. All those? - -CAMELE. Yes, it will be cheaper having them all framed at one -time--don't you think? - -JACK. I hope so. We are so hard up at present. - -CAMELE. Are we? Well, they can wait--the canvases, I mean. - -JACK. I must have some clothes. - -CAMELE. Again? - -JACK. Again? Look at these. - -CAMELE (coming close to him). You look all right, I think. (She puts her -hands on his shoulders.) - -JACK. Are you ready to go? I'll not wait for Vivian. - -CAMELE. Kiss me, Jack. - -JACK. What for--what's the matter with you? You look tired and pale. - -CAMELE. Nothing--kiss me. (They kiss. Maud, looking back into the room, -sees them. She turns quickly, picks up her hat, puts it on and hurries -out.) - -CAMELE. Let us go. - -JACK. All right. - -CAMELE (putting on her hat). I'm going. (The others come from the -window.) - -GEORGE. Yes? - -CAMELE. Yes! - -JACK. Here's your kimona. - -CAMELE. That is for Maud. - -ALICE. Where is she? - -CAMELE. She went out--she'll be back, I guess. - -CAMELE and JACK (moving towards the door). Good-bye! - -ALL. Good-bye! - -YVONNE (following them). Good-bye. - -ALICE and GEORGE. Good-bye. - -GEORGE (after a nervous silence). I'll see you to-night, Alice; now I -must go to meet Uncle Billy. - -ALICE. Then you can't see me to-night if he is in town. You will have to -arrange about the "Azure Adder." - -GEORGE. The "Azure Adder"--my life's work--my magazine. How I do wish to -get it started! Think what it means! A perfect magazine given to the -world after years of darkness. A book perfect in printing, arrangement -and in illustration--as beautiful to look at as a masterpiece of -painting or sculpture. What a standard it will create when it is -published! It will stand alone--nothing but what will suffer when -compared to it. It will be above other publications; above them as a -golden star over a world of night and ignorance--all will be beneath it! -And I who have conceived it will be lost in its splendor. Like a -bumble-bee is lost in a lily of silver. Laboring, laboring on for it to -the end, through old age, perhaps from beyond the grave. What a -life--yes, "Azure Adder," I give to you my time, my energy and my -talents. (He grows more and more excited and is now speaking to -himself.) I will make of you an aesthetic standard, an artistic gauge -and a religion! A new religion whose one and only Goddess will be -Beauty--Beauty veiled, alone and sterile! And we who work for you will -be its first priests--the priests of a new religion! You know what that -means? It always has meant, and will mean in this case, I hope, -martyrdom and perhaps death! Death for our gracious goddess--to whom I -give my mind and my body! Yes, great and awful goddess, they are yours! -(He stands, with his arms outstretched, against the door at the back.) -Do as you will! (In a loud ringing voice.) They are yours forever!! - -ALICE (smiling, walks up to him). Thank you. - -GEORGE (in the same voice). To you, great goddess, I give my mind and-- - -ALICE (facing him, puts her arms around his neck). George! - -GEORGE (relaxing. In a softer voice). Great godd-- - -ALICE (drawing him closer). Now, George! - -GEORGE (wilting. His arms slowly closing around Alice. In a whisper). -Great goddess-- - - Curtain. - - - The January issue will - present "Love of One's - Neighbor," by Leonid - Andreyev. - - - - - Transcriber's Notes - - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. - - - - - -End of the Project Gutenberg EBook of The Glebe 1913/12 (Vol. 1, No. 3): The -Azure Adder, by Charles Demuth - -*** END OF THIS PROJECT GUTENBERG EBOOK THE GLEBE, VOL. 1, NO. 3, AZURE ADDER *** - -***** This file should be named 62744.txt or 62744.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/7/4/62744/ - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at https://www.pgdp.net. 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