Free Beautiful and Damned (Barnes & Noble Classics Series) by F. Scott Fitzgerald Page A

talking about liquor.
    ANTHONY: We never pass out, my beardless boy.
    MAURY: We never go home with ladies we meet when we’re lit.
    ANTHONY: All in all our parties are characterized by a certain haughty distinction.
    DICK: The particularly silly sort who boast about being “tanks”! Trouble is you’re both in the eighteenth century. School of the Old English Squire. Drink quietly until you roll under the table. Never have a good time. Oh, no, that isn’t done at all.
    ANTHONY: This from Chapter Six, I’ll bet.
    DICK: Going to the theatre?
    MAURY: Yes. We intend to spend the evening doing some deep thinking over of life’s problems. The thing is tersely called “The Woman.” I presume that she will “pay.”
    ANTHONY: My God! Is that what it is? Let’s go to the Follies again.
    MAURY: I’m tired of it. I’ve seen it three times. (To DICK) The first time, we went out after Act One and found a most amazing bar. When we came back we entered the wrong theatre.
    ANTHONY: Had a protracted dispute with a scared young couple we thought were in our seats.
    DICK: ( As though talking to himself ) I think—that when I’ve done another novel and a play, and maybe a book of short stories, I’ll do a musical comedy. 6
    MAURY: I know—with intellectual lyrics that no one will listen to. And all the critics will groan and grunt about “Dear old Pinafore.” And I shall go on shining as a brilliantly meaningless figure in a meaningless world.
    DICK: (Pompously) Art isn’t meaningless.
    MAURY: It is in itself. It isn’t in that it tries to make life less so.
    ANTHONY: In other words, Dick, you’re playing before a grand stand peopled with ghosts.
    MAURY: Give a good show anyhow.
    ANTHONY: (To MAURY) On the contrary, I’d feel that it being a meaningless world, why write? The very attempt to give it purpose is purposeless.
    DICK: Well, even admitting all that, be a decent pragmatist and grant a poor man the instinct to live. Would you want every one to accept that sophistic rot?
    ANTHONY: Yeah, I suppose so.
    MAURY: No, sir! I believe that every one in America but a selected thousand should be compelled to accept a very rigid system of morals—Roman Catholicism, for instance. I don’t complain of conventional morality. I complain rather of the mediocre heretics who seize upon the findings of sophistication and adopt the pose of a moral freedom to which they are by no means entitled by their intelligences.
    (Here the soup arrives and what MAURY might have gone on to say is lost for all time.)

Night
    Afterward they visited a ticket speculator and, at a price, obtained seats for a new musical comedy called “High Jinks.” In the foyer of the theatre they waited a few moments to see the first-night crowd come in. There were opera-cloaks stitched of myriad, many-colored silks and furs; there were jewels dripping from arms and throats and ear-tips of white and rose; there were innumerable broad shimmers down the middles of innumerable silk hats; there were shoes of gold and bronze and red and shining black; there were the high-piled, tight-packed coiffures of many women and the slick, watered hair of well-kept men—most of all there was the ebbing, flowing, chattering, chuckling, foaming, slow-rolling wave effect of this cheerful sea of people as to-night it poured its glittering torrent into the artificial lake of laughter....
    After the play they parted—Maury was going to a dance at Sherry’s, Anthony homeward and to bed.
    He found his way slowly over the jostled evening mass of Times Square, which the chariot-race and its thousand satellites made rarely beautiful and bright and intimate with carnival. Faces swirled about him, a kaleidoscope of girls, ugly, ugly as sin—too fat, too lean, yet floating upon this autumn air as upon their own warm and passionate breaths poured out into the night. Here, for all their vulgarity, he thought, they were faintly and subtly mysterious. He inhaled carefully, swallowing into his