Of Time and the River (48 page)
There were some painful memories, but Professor Hatcher had derived from them a wise forbearance. His hopes for Oswald Ten Eyck were fading fast, but he had determined to hold his judgment in abeyance until Oswald’s final play. But, as if to relieve his distinguished tutor from a painful choice, Ten Eyck himself decided it. After his third play there was no longer any doubt of the decision. For that play, which Oswald called “Dutch Fugue,” would more aptly have been entitled “No Return.”
It was a piece in four acts dealing with the quaintly flavoured life and customs of his own people, the Hudson River Dutch. The little man was hotly proud of his ancestry, and always insisted with a slight sneer of aristocratic contempt: “Not the Pennsylvania Dutch—Good God, no! THEY’RE not Dutch but German: the REAL Dutch, the OLD Dutch, CATSKILL Dutch!” And if Ten Eyck’s interest in food had been uncomfortably pronounced in his earlier work, in this final product of his curious genius, his sensual appetites became indecent in their unrestraint. It is doubtful if the long and varied annals of the stage have ever offered such a spectacle: the play became a sort of dramatic incarnation of the belly, acted by a cast of fourteen adults, male and female, all of whom were hearty eaters.
The central events of that extraordinary play, which were a birth, a death, a wedding, were all attended by eating, drinking, and the noises of the feast. Scene followed scene with kaleidoscopic swiftness: the jubilant merry-making of the christening had hardly died away before the stage was set, the trestles groaning, with the more sombre, sober and substantial victuals of the funeral; and the wheels of the hearse had hardly echoed away into the distance before the scene burst out in all the boisterous reel and rout and feasting of the wedding banquet. Of no play that was ever written could it be more aptly said that “the funeral baked meats did coldly furnish forth the marriage tables,” and what is more, they almost furnished forth the casket and the corpse as well. Finally, the curtain fell as it had risen, upon a groaning table surrounded by the assembled cast of fourteen famished gluttons—a scene in which apparently the only sound and action were provided by the thrust of jowl and smack of lip, a kind of symphonic gluttony of reach and grab, cadenced by the stertorous breathing of the eaters, the clash of crockery, and the sanguinary drip of rare roast beef— the whole a prophetic augury that flesh was grass and man’s days fleeting, that life would change and reappear in an infinite succession of births and deaths and marriages, but that the holy rites of eating and the divine permanence of good dinners and roast beef were indestructible and would endure for ever.
Ten Eyck read the play himself one Friday afternoon to Professor Hatcher and his assembled following. He read in a rapid high- pitched voice, turning the pages with a trembling claw, and thrusting his long fingers nervously through his disordered mop of jet-black hair. As he went on, the polite attention of the class was changed insensibly to a paralysis of stupefaction. Professor Hatcher’s firm thin lips became much firmer, thinner, tighter. A faint but bitter smile was printed at the edges of his mouth. Then, for a moment, when the playwright finished, there was silence: Professor Hatcher slowly raised his hand, detached his gold-rimmed glasses from his distinguished nose, and let them fall and dangle on their black silk cord. He looked around the class; his cultivated voice was low, controlled, and very quiet.
“Is there any comment?” Professor Hatcher said.
No one answered for a moment. Then Mr. Grey, a young patrician from Philadelphia, spoke:
“I think,” he said with a quiet emphasis of scorn, “I think he might very well get it produced in the Chicago Stock Yards.”
Mr. Grey’s remark was ill-timed. For the Stock Yards brought to Ten Eyck’s mind a thought of beef, and beef brought back a memory of his palmy days with Mr. Hearst when beef was plenty and the pay- cheques fat, and all these thoughts brought back the bitter memory of the day before which was the day when he had eaten last: a single meal, a chaste and wholesome dinner of spaghetti, spinach, coffee, and a roll. And thinking, Ten Eyck craned his scrawny neck convulsively along the edges of his fraying collar, looked desperately at Professor Hatcher, who returned his gaze inquiringly; ducked his head quickly, bit his nails and craned again. Then, suddenly, seeing the cold patrician features of young Mr. Grey, his blue shirt of costly madras, his limp crossed elegance of legs and pleated trousers, the little man half rose, scraping his chair back from the table round which the class was sitting, and with an inclusive gesture of his claw-like hand, screamed incoherently:
“These! These! . . . We have the English. . . . As for the Russians. . . . Take the Germans—Toller—Kaiser—the Expressionists. . . . But the Dutch, the Dutch, the CATSKILL Dutch. . . .” Pointing a trembling finger towards Mr. Grey, he shrieked: “The Philadelphia Cricket Club. . . . God! God!” he bent, racked with soundless laughter, his thin hands pressed against his sunken stomach. “That it should come to this!” he said, and suddenly, catching Professor Hatcher’s cold impassive eye upon him, he slumped down abruptly in his seat, and fell to biting his nails. “Well, I don’t know,” he said with a foolish little laugh. “Maybe—I guess . . .” his voice trailed off, he did not finish.
“Is there any other comment?” said Professor Hatcher.
There was none.
“Then,” said Professor Hatcher, “the class is dismissed until next Monday.”
Professor Hatcher did not look up as Ten Eyck went out.
When Oswald got out into the corridor, he could hear the last footfalls of the departing class echoing away around the corner. For a moment, he leaned against the wall: he felt hollow, weak, and dizzy: his knees bent under him like rubber, and his head, after its recent flood of blood and passion, felt swollen, light, and floating as a toy balloon. Suddenly he remembered that it was Friday. Saturday, the day on which he could next allow himself to take a little from his dwindling hoard—for such was the desperate resolution made at the beginning and adhered to ever since— Saturday shone desperately far away, a small and shining disc of light at the black mouth of an interminable tunnel, and all giddy, weak, and hollow as he was, he did not see how he could wait! So he surrendered. He knew that if he hurried now he would be just in time for old Miss Potter’s Friday afternoon. And torn between hunger and disgust, Ten Eyck gave in again to hunger as he had done a score of times before, even when he knew that he must face again that crowning horror of modern life, the art party.
Miss Potter was a curious old spinster of some property, and she lived, with a companion, in a pleasant house on Garden Street, not far from the University. Miss Potter’s companion was also an aged spinster: her name was Miss Flitcroft; the two women were inseparable. Miss Potter was massively constructed; a ponderous woman who moved heavily and with wheezing difficulty, and whose large eyes bulged comically out of a face on which a strange fixed grin was always legible.
Miss Flitcroft was a wren of a woman, with bony little hands, and an old withered, rather distinguished-looking face: she wore a band of velvet around her stringy neck. She was not only a companion, she was also a kind of nurse to Miss Potter, and she could give relief and comfort to the other woman as no one else could.
For Miss Potter was really very ill: she had a savage love of life, a desperate fear of death, and she knew that she was dying. But even the woman’s sufferings, which were obviously intense, were touched by that grotesque and ridiculous quality that made Ten Eyck want to howl with explosive laughter, even when he felt a rending pity for her. Thus, at table sometimes, with all her tribe of would-be poets, playwrights, composers, novelists, painters, critics, and enfeebled litterateurs gathered around her, putting away the delicious food she had so abundantly provided, Miss Potter would suddenly begin to choke, gasp, and cough horribly; her eyes would bulge out of her head in a fish-like stare, and looking desperately at Miss Flitcroft with an expression of unutterable terror, she would croak: . . . “Dying! Dying! I tell you I’m dying!”
“Nonsense!” Miss Flitcroft would answer tartly, jumping up and running around behind Miss Potter’s chair. “You’re no such thing! . . . You’ve only choked yourself on something you have eaten! There!” and she would deliver herself straightway of a resounding whack upon Miss Potter’s meaty, mottled back (for on these great Friday afternoons, Miss Potter came out sumptuously in velvet, which gave ample glimpses of her heavy arms and breasts and the broad thick surface of her shoulders).
“If you didn’t eat so fast these things would never happen!” Miss Flitcroft would say acidly, as she gave Miss Potter another resounding whack on her bare shoulders. “Now you get over this nonsense!” . . . whack! “There’s nothing wrong with you—do you hear?” . . . whack! “You’re frightened half out of your wits,” . . . whack! . . . “just because you’ve tried to stuff everything down your throat at once!” whack! whack!
And by this time Miss Potter would be on the road to recovery, gasping and panting more easily now, as she continued to look up with a fixed stare of her bulging eyes at Miss Flitcroft, with an expression full of entreaty, dawning hopefulness, apology, and pitiable gratitude.
As for Ten Eyck, his pain and embarrassment when one of these catastrophes occurred were pitiable. He would scramble to his feet, stand helplessly, half-crouched, casting stricken glances toward the most convenient exit as if contemplating the possibility of a sudden and inglorious flight. Then he would turn again toward the two old women, his dark eyes fixed on them in a fascinated stare in which anguish, sympathy, helplessness and horror were all legible.
For several years, in spite of her ill health, Miss Potter had fiddled around on the edges of Professor Hatcher’s celebrated course at the university. She had written a play or two herself, took a passionate interest in what she called “the work,” was present at the performances of all the plays, and was a charter member of Professor Hatcher’s carefully selected and invited audiences. Now, whether by appointment or self-election, she had come to regard herself as a kind of ambassadress for Professor Hatcher’s work and was the chief sponsor of its social life.
The grotesque good old woman was obsessed by that delusion which haunts so many wealthy people who have no talent and no understanding, but who are enchanted by the glamour which they think surrounds the world of art. Miss Potter thought that through these Friday afternoons she could draw together all the talent, charm, and brilliance of the whole community. She thought that she could gather here not only Professor Hatcher’s budding dramatists and some older representatives of the established order, but also poets, painters, composers, philosophers, “radical thinkers,” people “who did interesting things,” of whatever kind and quality. And she was sure that from his mad mélange everyone would derive a profitable and “stimulating” intercourse.
Here, from the great “art community” of Cambridge and Boston, came a whole tribe of the feeble, the sterile, the venomous and inept— the meagre little spirits of no talent and of great pretensions: the people who had once got an essay printed in The Atlantic Monthly or published “a slender volume” of bad verse; the composers who had had one dull academic piece performed a single time by the Boston Symphony; the novelists, playwrights, painters, who had none of the “popular success” at which they sneered and which they pretended to despise, but for which each would have sold his shabby little soul; the whole wretched poisonous and embittered crew of those who had “taken” someone’s celebrated course, or had spent a summer at the MacDowell Colony—in short, the true philistines of art—the true enemies of the artist’s living spirit, the true defilers and betrayers of creation—the impotent fumbling little half-men of the arts whose rootless, earthless, sunless lives have grown underneath a barrel, and who bitterly nurse their fancied injuries, the swollen image of their misjudged worth, and hiss and sting in all the impotent varieties of their small envenomed hate; who deal the stealthy traitor’s blow in darkness at the work and talent of far better men than they.
Usually, when Ten Eyck went to Miss Potter’s house he found several members of Professor Hatcher’s class who seemed to be in regular attendance on all these Friday afternoons. These others may have come for a variety of reasons: because they were bored, curious, or actually enjoyed these affairs, but the strange, horribly shy and sensitive little man who bore the name of Oswald Ten Eyck came from a kind of desperate necessity, the ravenous hunger of his meagre half-starved body, and his chance to get his one good dinner of the week.
It was evident that Ten Eyck endured agonies of shyness, boredom, confusion, and tortured self-consciousness at these gatherings, but he was always there, and when they sat down at the table he ate with the voracity of a famished animal. The visitor to Miss Potter’s reception room would find him, usually backed into an inconspicuous corner away from the full sound and tumult of the crowd, nervously holding a tea-cup in his hands, talking to someone in the strange blurted-out desperate fashion that was characteristic of him, or saying nothing for long periods, biting his nails, thrusting his slender hands desperately through his mop of black disordered hair, breaking from time to time into a shrill, sudden, almost hysterical laugh, blurting out a few volcanic words, and then relapsing into his desperate hair-thrusting silence.
The man’s agony of shyness and tortured nerves was painful to watch: it made him say and do sudden, shocking and explosive things that could suddenly stun a gathering such as this, and plunge him back immediately into a black pit of silence, self-abasement and despair. And as great as his tortured sensitivity was, it was greater for other people than for himself. He could far better endure a personal affront, a wounding of his own quick pride, than see another person wounded. His anguish, in fact, when he saw this kind of suffering in other people would become so acute that he was no longer responsible for his acts: he was capable of anything on such an occasion.
