Complete Works of F. Scott Fitzgerald (Illustrated) (29 page)

SEPTEMBER

Amory selected a blade of grass and nibbled at it scientifically.

“I never fall in love in August or September,” he proffered.

“When then?”

“Christmas or Easter. I’m a liturgist.”

“Easter!” She turned up her nose. “Huh! Spring in corsets!”

“Easter
would
bore spring, wouldn’t she? Easter has her hair braided, wears a tailored suit.”

  “Bind on thy sandals, oh, thou most fleet.

   Over the splendor and speed of thy feet — “

quoted Eleanor softly, and then added: “I suppose Hallowe’en is a better day for autumn than Thanksgiving.”

“Much better — and Christmas eve does very well for winter, but summer...”

“Summer has no day,” she said. “We can’t possibly have a summer love. So many people have tried that the name’s become proverbial. Summer is only the unfulfilled promise of spring, a charlatan in place of the warm balmy nights I dream of in April. It’s a sad season of life without growth.... It has no day.”

“Fourth of July,” Amory suggested facetiously.

“Don’t be funny!” she said, raking him with her eyes.

“Well, what could fulfil the promise of spring?”

She thought a moment.

“Oh, I suppose heaven would, if there was one,” she said finally, “a sort of pagan heaven — you ought to be a materialist,” she continued irrelevantly.

“Why?”

“Because you look a good deal like the pictures of Rupert Brooke.”

To some extent Amory tried to play Rupert Brooke as long as he knew Eleanor. What he said, his attitude toward life, toward her, toward himself, were all reflexes of the dead Englishman’s literary moods. Often she sat in the grass, a lazy wind playing with her short hair, her voice husky as she ran up and down the scale from Grantchester to Waikiki. There was something most passionate in Eleanor’s reading aloud. They seemed nearer, not only mentally, but physically, when they read, than when she was in his arms, and this was often, for they fell half into love almost from the first. Yet was Amory capable of love now? He could, as always, run through the emotions in a half hour, but even while they revelled in their imaginations, he knew that neither of them could care as he had cared once before — I suppose that was why they turned to Brooke, and Swinburne, and Shelley. Their chance was to make everything fine and finished and rich and imaginative; they must bend tiny golden tentacles from his imagination to hers, that would take the place of the great, deep love that was never so near, yet never so much of a dream.

One poem they read over and over; Swinburne’s “Triumph of Time,” and four lines of it rang in his memory afterward on warm nights when he saw the fireflies among dusky tree trunks and heard the low drone of many frogs. Then Eleanor seemed to come out of the night and stand by him, and he heard her throaty voice, with its tone of a fleecy-headed drum, repeating:

   “Is it worth a tear, is it worth an hour,

      To think of things that are well outworn;

    Of fruitless husk and fugitive flower,

      The dream foregone and the deed foreborne?”

They were formally introduced two days later, and his aunt told him her history. The Ramillys were two: old Mr. Ramilly and his granddaughter, Eleanor. She had lived in France with a restless mother whom Amory imagined to have been very like his own, on whose death she had come to America, to live in Maryland. She had gone to Baltimore first to stay with a bachelor uncle, and there she insisted on being a debutante at the age of seventeen. She had a wild winter and arrived in the country in March, having quarrelled frantically with all her Baltimore relatives, and shocked them into fiery protest. A rather fast crowd had come out, who drank cocktails in limousines and were promiscuously condescending and patronizing toward older people, and Eleanor with an esprit that hinted strongly of the boulevards, led many innocents still redolent of St. Timothy’s and Farmington, into paths of Bohemian naughtiness. When the story came to her uncle, a forgetful cavalier of a more hypocritical era, there was a scene, from which Eleanor emerged, subdued but rebellious and indignant, to seek haven with her grandfather who hovered in the country on the near side of senility. That’s as far as her story went; she told him the rest herself, but that was later.

Often they swam and as Amory floated lazily in the water he shut his mind to all thoughts except those of hazy soap-bubble lands where the sun splattered through wind-drunk trees. How could any one possibly think or worry, or do anything except splash and dive and loll there on the edge of time while the flower months failed. Let the days move over — sadness and memory and pain recurred outside, and here, once more, before he went on to meet them he wanted to drift and be young.

There were days when Amory resented that life had changed from an even progress along a road stretching ever in sight, with the scenery merging and blending, into a succession of quick, unrelated scenes — two years of sweat and blood, that sudden absurd instinct for paternity that Rosalind had stirred; the half-sensual, half-neurotic quality of this autumn with Eleanor. He felt that it would take all time, more than he could ever spare, to glue these strange cumbersome pictures into the scrap-book of his life. It was all like a banquet where he sat for this half-hour of his youth and tried to enjoy brilliant epicurean courses.

Dimly he promised himself a time where all should be welded together. For months it seemed that he had alternated between being borne along a stream of love or fascination, or left in an eddy, and in the eddies he had not desired to think, rather to be picked up on a wave’s top and swept along again.

“The despairing, dying autumn and our love — how well they harmonize!” said Eleanor sadly one day as they lay dripping by the water.

“The Indian summer of our hearts — “ he ceased.

“Tell me,” she said finally, “was she light or dark?”

“Light.”

“Was she more beautiful than I am?”

“I don’t know,” said Amory shortly.

One night they walked while the moon rose and poured a great burden of glory over the garden until it seemed fairyland with Amory and Eleanor, dim phantasmal shapes, expressing eternal beauty in curious elfin love moods. Then they turned out of the moonlight into the trellised darkness of a vine-hung pagoda, where there were scents so plaintive as to be nearly musical.

“Light a match,” she whispered. “I want to see you.”

Scratch! Flare!

The night and the scarred trees were like scenery in a play, and to be there with Eleanor, shadowy and unreal, seemed somehow oddly familiar. Amory thought how it was only the past that ever seemed strange and unbelievable. The match went out.

“It’s black as pitch.”

“We’re just voices now,” murmured Eleanor, “little lonesome voices. Light another.”

“That was my last match.”

Suddenly he caught her in his arms.

“You
are
mine — you know you’re mine!” he cried wildly... the moonlight twisted in through the vines and listened... the fireflies hung upon their whispers as if to win his glance from the glory of their eyes.

THE END OF SUMMER

“No wind is stirring in the grass; not one wind stirs... the water in the hidden pools, as glass, fronts the full moon and so inters the golden token in its icy mass,” chanted Eleanor to the trees that skeletoned the body of the night. “Isn’t it ghostly here? If you can hold your horse’s feet up, let’s cut through the woods and find the hidden pools.”

“It’s after one, and you’ll get the devil,” he objected, “and I don’t know enough about horses to put one away in the pitch dark.”

“Shut up, you old fool,” she whispered irrelevantly, and, leaning over, she patted him lazily with her riding-crop. “You can leave your old plug in our stable and I’ll send him over to-morrow.”

“But my uncle has got to drive me to the station with this old plug at seven o’clock.”

“Don’t be a spoil-sport — remember, you have a tendency toward wavering that prevents you from being the entire light of my life.”

Amory drew his horse up close beside, and, leaning toward her, grasped her hand.

“Say I am —
quick
, or I’ll pull you over and make you ride behind me.”

She looked up and smiled and shook her head excitedly.

“Oh, do! — or rather, don’t! Why are all the exciting things so uncomfortable, like fighting and exploring and ski-ing in Canada? By the way, we’re going to ride up Harper’s Hill. I think that comes in our programme about five o’clock.”

“You little devil,” Amory growled. “You’re going to make me stay up all night and sleep in the train like an immigrant all day to-morrow, going back to New York.”

“Hush! some one’s coming along the road — let’s go! Whoo-ee-oop!” And with a shout that probably gave the belated traveller a series of shivers, she turned her horse into the woods and Amory followed slowly, as he had followed her all day for three weeks.

The summer was over, but he had spent the days in watching Eleanor, a graceful, facile Manfred, build herself intellectual and imaginative pyramids while she revelled in the artificialities of the temperamental teens and they wrote poetry at the dinner-table.

  When Vanity kissed Vanity, a hundred happy Junes ago, he

  pondered o’er her breathlessly, and, that all men might ever

  know, he rhymed her eyes with life and death:

  “Thru Time I’ll save my love!” he said... yet Beauty

  vanished with his breath, and, with her lovers, she was dead...

  — Ever his wit and not her eyes, ever his art and not her hair:

  “Who’d learn a trick in rhyme, be wise and pause before his

  sonnet there”...  So all my words, however true, might sing

  you to a thousandth June, and no one ever
know
that you were

  Beauty for an afternoon.

So he wrote one day, when he pondered how coldly we thought of the “Dark Lady of the Sonnets,” and how little we remembered her as the great man wanted her remembered. For what Shakespeare
must
have desired, to have been able to write with such divine despair, was that the lady should live... and now we have no real interest in her.... The irony of it is that if he had cared
more
for the poem than for the lady the sonnet would be only obvious, imitative rhetoric and no one would ever have read it after twenty years....

This was the last night Amory ever saw Eleanor. He was leaving in the morning and they had agreed to take a long farewell trot by the cold moonlight. She wanted to talk, she said — perhaps the last time in her life that she could be rational (she meant pose with comfort). So they had turned into the woods and rode for half an hour with scarcely a word, except when she whispered “Damn!” at a bothersome branch — whispered it as no other girl was ever able to whisper it. Then they started up Harper’s Hill, walking their tired horses.

“Good Lord! It’s quiet here!” whispered Eleanor; “much more lonesome than the woods.”

“I hate woods,” Amory said, shuddering. “Any kind of foliage or underbrush at night. Out here it’s so broad and easy on the spirit.”

“The long slope of a long hill.”

“And the cold moon rolling moonlight down it.”

“And thee and me, last and most important.”

It was quiet that night — the straight road they followed up to the edge of the cliff knew few footsteps at any time. Only an occasional negro cabin, silver-gray in the rock-ribbed moonlight, broke the long line of bare ground; behind lay the black edge of the woods like a dark frosting on white cake, and ahead the sharp, high horizon. It was much colder — so cold that it settled on them and drove all the warm nights from their minds.

“The end of summer,” said Eleanor softly. “Listen to the beat of our horses’ hoofs — ‘tump-tump-tump-a-tump.’ Have you ever been feverish and had all noises divide into ‘tump-tump-tump’ until you could swear eternity was divisible into so many tumps? That’s the way I feel — old horses go tump-tump.... I guess that’s the only thing that separates horses and clocks from us. Human beings can’t go ‘tump-tump-tump’ without going crazy.”

The breeze freshened and Eleanor pulled her cape around her and shivered.

“Are you very cold?” asked Amory.

“No, I’m thinking about myself — my black old inside self, the real one, with the fundamental honesty that keeps me from being absolutely wicked by making me realize my own sins.”

They were riding up close by the cliff and Amory gazed over. Where the fall met the ground a hundred feet below, a black stream made a sharp line, broken by tiny glints in the swift water.

“Rotten, rotten old world,” broke out Eleanor suddenly, “and the wretchedest thing of all is me — oh,
why
am I a girl? Why am I not a stupid — ? Look at you; you’re stupider than I am, not much, but some, and you can lope about and get bored and then lope somewhere else, and you can play around with girls without being involved in meshes of sentiment, and you can do anything and be justified — and here am I with the brains to do everything, yet tied to the sinking ship of future matrimony. If I were born a hundred years from now, well and good, but now what’s in store for me — I have to marry, that goes without saying. Who? I’m too bright for most men, and yet I have to descend to their level and let them patronize my intellect in order to get their attention. Every year that I don’t marry I’ve got less chance for a first-class man. At the best I can have my choice from one or two cities and, of course, I have to marry into a dinner-coat.

“Listen,” she leaned close again, “I like clever men and good-looking men, and, of course, no one cares more for personality than I do. Oh, just one person in fifty has any glimmer of what sex is. I’m hipped on Freud and all that, but it’s rotten that every bit of
real
love in the world is ninety-nine per cent passion and one little soupcon of jealousy.” She finished as suddenly as she began.

“Of course, you’re right,” Amory agreed. “It’s a rather unpleasant overpowering force that’s part of the machinery under everything. It’s like an actor that lets you see his mechanics! Wait a minute till I think this out....”