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_ FOR my acquaintance with Voke Easeley -- --
(Hermione's reporter, and not Hermione
herself, is speaking now.) -- --
For my acquaintance with Voke Easeley and his
new art, I am indebted to Fothergil Finch.
Fothergil is a kind of genius hound. He scurries
sleuthing around the town ever on the scent of
something queer and caviar. He is well trained and
never kills what he catches himself; he takes it to
Hermione; and after Hermione has tired of it I
am at liberty to do what I please with it.
The most remarkable thing about Voke Easeley
at a casual glance is his Adam's apple. It is not
only the largest Adam's apple I have ever seen, and
the hardest looking one, and the most active one,
but it is also the most intelligent looking one. Voke
Easeley's face expresses very little. His eyes are
small and full and green. His mouth, while large,
misses significance. His nose, indeed, is big; but
it is mild; it is a tame nose; one feels no more
character in it than in a false nose. His chin
and forehead retreat ingloriously from the battle
of life.
But all the personality which his eyes should
show, all the force which should dwell in his
nose, all the temperamental qualities that should
reveal themselves in his mouth and chin, all the
genius which should illumine his brow -- these dwell
within his Adam's apple. The man has run entirely
to that feature; his moods, his emotions, his
thoughts, his passions, his appetites, his beliefs, his
doubts, his hopes, his fears, his resolves, his
despairs, his defeats, his exaltations -- all, all make
themselves known subtly in the eccentric motions
of that unusual Adam's apple.
When I saw him first in action I did not at once
get it. He stood stiffly erect in the center of
Hermione's drawing-room, surrounded by the serious
thinkers, with his head thrown back and his Adam's
apple thrust forward, and gave vent to a series of
strange noises. Beside him stood a very slender
lady, all dressed in apple green, with a long green
wand in her hand, and on the end of the wand
was an artificial apple blossom. This she waved
jerkily in front of Voke Easeley's eyes, and his
Adam's apple moved as the wand moved, and from
his mouth came the wild sounds in response to it.
Soon I realized that she was conducting him as
if he were an orchestra.
But still I did not get it. For it was not words,
it was nothing so articulate as speech, that Voke
Easeley uttered. Nor was it, to my ear, song. And
yet, as I listened, I began to see that a wild rhythm
pervaded the utterance; the Adam;'s apple leapt,
danced, swung round, twinkled, bounded, slid and
leapt again in time with a certain rough barbaric
measure; the sounds themselves were all discords,
but discords with a purpose; discords that took each
other by the hand and kicked and stamped their
brutal way together toward some objective point.
I led Fothergil into a corner.
"What is it?" I whispered. It is always well, at
one of Hermione's soul fights, to get your cue
before the conversation officially starts. If you don't
know what is going to be talked about before the
talk starts the chances are that you never will know
from the talk itself.
"A New Art!" said Fothergil. And then he led
me into the hall and explained.
What Gertrude Stein has done for prose, what
the wilder vers libre bards are doing for poetry,
what cubists and futurists are doing for painting
and sculpture, that Voke Easeley is doing for
vocal music.
"He is painting sound portraits with his larynx
now," said Fothergil. "And the beautiful part of
it is that he is absolutely tone deaf! He doesn't
know a thing about music. He tried for years to
learn and couldn't. The only way he knows when
you strike a chord on the piano is because he doesn't
like chords near as well as he does discords. He
has gone right back to the dog, the wolf, the cave
man, the tiger, the bear, the wind, the rock slide,
the thunder and the earthquake for his language.
He interprets life in the terms of natural sounds,
which are discords nearly always; but he has added
brains to them and made them all the moods of
the human soul!"
"And the lady in green?"
"That is his wife -- he can do nothing without
her. There is the most complete psychic accord
between them. It is beautiful! Beautiful!"
When we returned the lady in green was
announcing:
"The next selection is a Voke Easeley impression
of the Soul of Wagner gazing at the sunrise from
the peak of the Jungfrau."
The wand waved; the Adam's Apple leapt, and
they were off. What followed cannot be indicated
typographically. But if a cat were a sawmill, and
a dog were a gigantic cart full of tin cans bouncing
through a stone-paved street, and that dog and
that cat hated each other and were telling each
other so, it would sound much like it.
It was well received. Except by Ravenswood Wimble.
He always has to have his little critical fling.
"The peak of the Jungfrau!" he grumbled.
"Jungfrau indeed! It was Mont Blanc! It was very
wonderfully and subtly Mont Blanc! But the
Jungfrau -- never!"
"Hermione," I said, "what do you think of the
New Art?"
"It's wonderful!" she breathed, "just simply
wonderful! So esoteric, and yet so simple! But
there is one thing I am going to speak to Mrs. Voke
Easely about -- one improvement I am going to
suggest. His ears, you know -- don't you think they
are too large? Or too red, at least, for their size?
They catch the eye too much -- they take away from
the effect. Before he sings here again I will have
Mrs. Easeley bob them off a little." _
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