The Line of Love; Dizain des Mariages — Edition Insights

(3 User reviews)   515
In Category - Medieval Stories
Cabell, James Branch, 1879-1958, Mencken, H. L. (Henry Louis), 1880-1956 [Author of introduction, etc.] Project Gutenberg 2005 Not confirmed
Historical fiction; Fantasy fiction; Middle Ages -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 60,961
Reading time 266 min
Text sections 6

The Line of Love; Dizain des Mariages — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 60,961 words, 4 hr 26 min estimated reading time, and 6 detected text sections.

The text analysis averages about 17.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on James Branch Cabell's 'The Line of Love; Dizain des Mariages', focusing on its structural use of a dizain framework, recurring imagery of roses and mignonette, and movement between medieval settings and introspective scenes, as evidenced in the François Villon excerpt.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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ce said then, "And now, young Florian, you who were once so dear to me, it is to your welfare I drink."

"I drink to yours, Tiburce."

Tiburce drank first: and Florian, having drunk in turn, cried out, "You have changed beyond recognition!"

"You have not changed," Tiburce d'Arnaye replied again. "Now let me tell you of our pastimes yonder."

With that he talked of exceedingly curious matters. And Florian began to grow dissatisfied, for Tiburce was no longer recognizable, and Tiburce whispered things uncomfortable to believe; and other eyes, as wild as his, but lit with red flarings from behind, like a beast's eyes, showed in the mists to this side and to that side, for unhappy beings were passing through the mists upon secret errands which they discharged unwillingly. Then, too, the appearance of a gray man now sat to the left of that which had been Tiburce d'Arnaye, and this newcomer was marked so that all might know who he was: and Florian's heart was troubled to note how handsome and how admirable was that desecrated face even now.

"But I must go," said Florian, "lest they miss me at Storisende, and Adelaide be worried."

"Surely it will not take long to toss off a third cup. Nay, comrade, who were once so dear, let us two now drink our last toast together. Then go, in Sclaug's name, and celebrate your marriage. But before that let us drink to the continuance of human mirth-making everywhere."

Florian drank first. Then Tiburce took his turn, looking at Florian as Tiburce drank slowly. As he drank, Tiburce d'Arnaye was changed even more, and the shape of him altered, and the shape of him trickled as though Tiburce were builded of sliding fine white sand. So Tiburce d'Arnaye returned to his own place. The appearances that had sat to his left and to his right were no longer there to trouble Florian with memories. And Florian saw that the mists of Walburga's Eve had departed, and that the sun was rising, and that the graveyard was all overgrown with nettles and tall grass.

He had not remembered the place being thus, and it seemed to him the night had passed with unnatural quickness. But he thought more of the fact that he had been beguiled into spending his wedding-night in a graveyard, in such questionable company, and of what explanation he could make to Adelaide.

2. _Of Young Persons in May_

The tale tells how Florian de Puysange came in the dawn through flowering gardens, and heard young people from afar, already about their maying. Two by two he saw them from afar as they went with romping and laughter into the tall woods behind Storisende to fetch back the May-pole with dubious old rites. And as they went they sang, as was customary, that song which Raimbaut de Vaqueiras made in the ancient time in honor of May's ageless triumph.

"_May shows with godlike showing To-day for each that sees May's magic overthrowing All musty memories In him whom May decrees To be love's own. He saith, 'I wear love's liveries Until released by death_.'

"_Thus all we laud May's sowing, Nor heed how harvests please When nowhere grain worth growing Greets autumn's questing breeze, And garnerers garner these-- Vain words and wasted breath And spilth and tasteless lees-- Until released by death._

"_Unwillingly foreknowing That love with May-time flees, We take this day's bestowing, And feed on fantasies Such as love lends for ease Where none but travaileth, With lean infrequent fees, Until released by death_."

And Florian shook his sleek black head. "A very foolish and pessimistical old song, a superfluous song, and a song that is particularly out of place in the loveliest spot in the loveliest of all possible worlds."

Yet Florian took no inventory of the gardens. There was but a happy sense of green and gold, with blue topping all; of twinkling, fluent, tossing leaves and of the gray under side of elongated, straining leaves; a sense of pert bird noises, and of a longer shadow than usual slanting before him, and a sense of youth and well-being everywhere. Certainly it was not a morning wherein pessimism might hope to flourish.

Instead, it was of Adelaide that Florian thought: of the tall, impulsive, and yet timid, fair girl who was both shrewd and innocent, and of her tenderly colored loveliness, and of his abysmally unmerited felicity in having won her. Why, but what, he reflected, grimacing--what if he had too hastily married somebody else? For he had earlier fancied other women for one reason or another: but this, he knew, was the great love of his life, and a love which would endure unchanged as long as his life lasted.

James Branch Cabell's The Line of Love; Dizain des Mariages is structured as a series of ten tales, each introduced by a verse and linked by the theme of marriage. The excerpt featuring François Villon reveals a characteristic pattern: a character caught between squalor and aspiration, voiced through internal debate and sensory detail. The narrative moves from a tavern setting to a window overlooking Paris, using the contrast between the black night and the scent of roses and mignonette to mark a turning point. This interplay of external setting and internal conflict recurs throughout the work, as characters weigh love against self-destruction.

The Dizain as Structural Frame

The title announces a dizain, a set of ten, and the book's six text sections likely correspond to a subset of these tales. Each story appears to operate as a self-contained narrative while contributing to an overarching meditation on marriage. The Villon excerpt, for instance, stands alone as a vignette but echoes themes of choice and consequence that likely recur across the collection. The frame allows Cabell to shift between historical periods and characters without losing coherence, using the repeated pattern of a protagonist confronting a pivotal decision. The structure itself becomes a commentary on the cyclical nature of love and folly.

Recurring Images: Roses, Mignonette, and the Window

In the Villon passage, the scent of roses and mignonette rises from the garden, triggering memory and desire. This olfactory detail is not merely atmospheric; it functions as a catalyst for Villon's internal struggle. The window serves as a threshold between the interior space of reflection and the exterior world of Paris—a city described as 'laughing, tragic.' Cabell uses such thresholds repeatedly to mark moments of choice. The blackness of the night outside contrasts with the warmth of the room, emphasizing the isolation of the character. These images recur across the tales, grounding abstract moral dilemmas in concrete sensory experience.

Movement Between Scenes: From Tavern to Soliloquy

The excerpt moves abruptly from the tavern's garrulous host to Villon's private debate at the window. Cabell does not linger on transitional description; instead, he cuts directly to the character's thoughts. This technique creates a rhythm of external action followed by internal reckoning. Villon's speech is punctuated by physical gestures—spitting, turning, staring—that anchor his mental turmoil. The narrative voice shifts between third-person observation and free indirect discourse, drawing the reader into the character's conflicted mind. This pattern of movement from communal space to solitary reflection likely structures many of the tales, emphasizing the isolation of the individual facing a moral crossroads.

Voice and Diction: The Collision of Registers

Cabell's prose in the Villon excerpt mixes archaic formality with colloquial bluntness. Villon addresses the woman with courtly phrasing—'I only know that I love you'—but later calls himself 'a hog with a voice.' This juxtaposition of registers reflects the character's divided nature: a poet capable of nobility yet mired in vice. The dialogue is peppered with exclamations and rhetorical questions, conveying urgency. The narrative voice itself shifts between lyrical description and sardonic commentary, as when Villon muses that 'Fate must have her jest.' This stylistic range suggests that Cabell uses voice to delineate character and theme, with each tale likely employing a distinct tonal palette suited to its protagonist.

Readers approaching The Line of Love will find it rewarding to attend to the recurring motifs of thresholds—windows, doors, and the boundary between public and private self. The dizain structure invites comparison across tales, so noting how similar images (roses, darkness, the city) reappear in different contexts may illuminate Cabell's design. The work rewards close attention to shifts in register and setting, as these often signal the moments of greatest dramatic tension.

I kept returning to the Villon excerpt in The Line of Love, that quiet ache beneath the medieval flourish. It made me think of another dizain, where the roses are heavier, more spectral. I found myself holding both volumes, wondering if Cabell ever noticed how his queens and his lovers share the same wistful glance backward. The mignonette scent lingered, and I recalled Chivalry: Dizain des Reines — Reading Companion with a similar fondness, as if I were closing a familiar book all over again.

William Scott
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Owen Green
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    James Alexander - 1 month ago
    {'rating': 2, 'text': "The Line of Love suffers from the same pretentiousness as Cabell's other works. The stories are formulaic, with the same cynical view of love repeated ad nauseam. The prose is ornate but shallow, and the historical characters are merely puppets for the author's witty observations. I found the whole enterprise wearying and uninspired. A little goes a long way, and this was too much."}

  • ...
    Cindy Shawn Moore - 1 month ago
    {'rating': 4, 'text': "The Line of Love is an enjoyable collection that blends humor and romance with a touch of cynicism. The stories are well-crafted and the prose is polished. However, the theme of marriage as a battle of wits can feel repetitive, and the characters sometimes blend together. Overall, a clever and engaging read, but not Cabell's strongest work."}

  • ...
    Janet Adams - 2 weeks ago
    {'rating': 5, 'text': "In 'The Line of Love', Cabell again demonstrates his mastery of the romantic fable. These interconnected stories about marriage and love are witty, wise, and delightfully subversive. The writing is sharp and elegant, and the historical settings come alive. Each tale offers a new perspective on the eternal dance between the sexes, making this a delightful read for anyone who appreciates intelligent, playful fiction."}


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