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    Immortal Youth A Study in the Will to Create
    Immortal Youth A Study in the Will to Create
    Immortal Youth A Study in the Will to Create
    Ebook87 pages1 hour

    Immortal Youth A Study in the Will to Create

    By Lucien Price

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    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    Immortal Youth A Study in the Will to Create

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      Book preview

      Immortal Youth A Study in the Will to Create - Lucien Price

      The Project Gutenberg EBook of Immortal Youth, by Lucien Price

      This eBook is for the use of anyone anywhere 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/license

      Title: Immortal Youth

             A Study in the Will to Create

      Author: Lucien Price

      Release Date: April 1, 2012 [EBook #39330]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK IMMORTAL YOUTH ***

      Produced by Charlene Taylor, Matthew Wheaton and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive/American Libraries.)

      IMMORTAL YOUTH

      A Study in the

      Will to Create

      Behold my most beautiful work:

      the souls that I have sculptured.

      These they cannot destroy. Let

      the wood burn! The soul is mine.

      —Romain Rolland: Colas Breugnon

      IMPRINTED MCMXIX

      McGRATH-SHERRILL PRESS

      GRAPHIC ARTS BUILDING

      BOSTON

      COPYRIGHT NINETEEN NINETEEN

      LUCIEN PRICE

      The first printing of this memoir is one thousand copies. When these are gone, those who wish more can obtain them from McGrath-Sherrill Press, the publisher, Graphic Arts Building, Boston, Massachusetts, for one dollar a copy.

      Select to hear music.

      Transcriber's Note:

      This quotation from Parsifal is given in the form of a piano reduction which does not convey well the flourish of muted horns, remote, mysterious. Therefore, the piano reduction is followed by just the treble clef as it would sound played by horns.

      IN the third act of Wagner's last music-drama there comes a flourish of muted horns, remote, mysterious. In it sounds the grandeur of that quest which never ends—the quest of the Holy Grail. The phrase is repeated, and over the flower-starred meadow under the April sun of Good Friday morning comes a knight in dark armor, his visor down, carrying the holy spear. It is Parsifal. His errand is the errand of aspiring youth in all lands and all ages. I set that phrase of music, compact with the poetry and pain of idealism, at the beginning of these pages in token of the spiritual brotherhood.

      Portrait of the artist by himself

      IMMORTAL YOUTH

      Give me that man

      That is not passion's slave, and I will wear him

      In my heart's core, ay, in my heart of heart,

      As I do thee.

      —Hamlet

      I

      THERE was a humble restaurant on Charles Street where cabmen and chauffeurs could be induced to tell the story of their lives over a combination-supper of lamb chop and two fried eggs costing (that was in 1912), with coffee and rolls, twenty-five cents. Across the table one evening in the spring of that year sat a young man about twenty-four years old. Anyone would have taken a second look at him; also a third, a fourth, and as many more as good manners would permit. What was there about him that attracted attention? It was hard to say. The dark eyes with a somber light burning in them? The rugged features and swarthy complexion with a ruddy glow of health in each jowl? The hands; very large and finely muscled? (I have never seen a more beautiful pair of hands on a human being.) It was all of these things and none of them. Rather it was the look of one with immense forces in reserve, bound on an errand.

      Impossible to guess anything from his clothes: dark suit, shirt of gray flannel, and black knitted tie. Chauffeur? Hardly. Well then, what? Who?

      (This is no isolated personal impression. Wherever he went people felt the same intense curiosity about him. Sometimes they stared at him so that he asked me if his face was smudged.)

      Was this stranger conversible? He was. Presently he was speaking of the colonial doorways on Chestnut Street with a discrimination which suggested the architect. No. It appeared that he was studying under Mr. Tarbell at the Boston Museum School of Fine Arts. Next, that he came from Pittsburgh. Here was a bond in common. As two young Middle Westerners we resented the social cold storage which New England imposes as a probationary period of acquaintance. We condoled. We fraternized. We were as neighbors meeting in a foreign land. At last somebody with whom it was safe to scrape acquaintance in the good old-fashioned Middle Western way without incurring suspicion of designs on one another's souls, bodies, or estates.

      He climbed Beacon Hill with me to the house where I lived, carrying a paper bag which, he explained modestly, contained his breakfast: two bananas and a shredded wheat biscuit.

      The evening was mild. Windows stood open to the breeze which rumpled the leaves of an old linden where it spread its boughs in the brick-walled court.

      He promptly took off his coat, displaying in the rays of a green-shaded student lamp a pair of forearms worthy of the hands which went with them. Summer and winter he wore his sleeves rolled above his elbows. His wrists resented cuffs as wild creatures resent cages. He stretched out his long legs on a cot which did duty by the fireplace as a sofa; pushed his hair off his

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