Hearing Secret Harmonies Part 3

'Amen, then. I resign St John Clarke to the makers of all things televisible.'

As a fellow ex-secretary of St John Clarke, Members would also have to be included in any programme about the novelist. That was no great matter. Members and Quiggin had been on goodish terms now for years, even admitting the kinship (second-cousins apparently), always alleged by Sillery, nowadays disputing with each other only who had enjoyed the more modest home. Both had come to look rather distinguished, Quiggin's dome-like forehead, spa.r.s.e hair, huge ears, gave him a touch of grotesquerie, not out of place in a prominent publisher. Members, his white hair worn long, face pale and lined, had returned to the Romantic Movement overtones of undergraduate days. His air was that of an eighteenth-century sage too highminded to wear a wig Blake, Benjamin Franklin, one of the Encyclopaedists suitable image for a figure of his eminence in the cultural world. When in London, his American wife, Lenore, fell in with this historical mood, doing so with easy a.s.surance. They remained married, though Lenore spent increasingly long spells in her own country, an arrangement that seemed to suit both of them.

A graver problem than Members, in relation to the St John Clarke programme, was Vernon Gainsborough now generally styled Dr Gainsborough, as holding an academic post in political theory who (under his original name of Wernher Guggenbuhl) had as a young man, finally displaced both Members and Quiggin in St John Clarke's employment. Quiggin (in those days writing letters to the papers in defence of the Stalinist purges) used to complain that Guggenbiihl (as he then was) had perverted St John Clarke to Trotskyism. Some sort of a rapprochement had taken place after the war, when the firm of Quiggin & Craggs had published the recantation of Gainsborough (as he had become) in his study Bronstein: Marxist or Mystagogue? Bronstein: Marxist or Mystagogue? Gainsborough could not, therefore, be omitted from the programme. The only other performer who had known St John Clarke in the flesh was L. O. Salvidge, the critic. In his early days, when in low water, Salvidge had done some devilling, when St John Clarke was without a secretary, collecting French Revolution material for Gainsborough could not, therefore, be omitted from the programme. The only other performer who had known St John Clarke in the flesh was L. O. Salvidge, the critic. In his early days, when in low water, Salvidge had done some devilling, when St John Clarke was without a secretary, collecting French Revolution material for Dust Thou Art Dust Thou Art. The cast was made up with several self-const.i.tuted friends of the deceased novelist, professional extras, who appeared in all such literary resuscitations on the TV screen.

Isobel and I watched this rescue job from the Valley of Lost Things, to which another small item was added by the opening shot, St John Clarke's portrait (b.u.t.terfly collar, floppy bow tie), painted by his old friend, Horace Isbister, RA. A few minutes later, Isbister's name appeared again, this time in an altogether unexpected connexion, only indirectly related to painting.

For some years now fashion had inclined to emphasize, rather than overlook, the s.e.xual habits of the dead. To unearth anything about a man so discreet as St John Clarke had proved impossible, but Salvidge ventured to put forward the possibility that the novelist's 'fabulous parsimony' had its origins in repressed h.o.m.os.e.xuality. Members then let off a mild bombsh.e.l.l. He suggested that the friendship with Isbister had been a h.o.m.os.e.xual one. The contention of Members was that the central figure in an early genre picture of Isbister's Clergyman eating an apple Clergyman eating an apple was not at all unlike St John Clarke himself as a young man, Members advancing the theory that Isbister could have possessed a fetishist taste for male lovers dressed in ecclesiastical costume. was not at all unlike St John Clarke himself as a young man, Members advancing the theory that Isbister could have possessed a fetishist taste for male lovers dressed in ecclesiastical costume.

Quiggin questioned this possibility on grounds that Isbister had finally married his often painted model, Morwenna. Members replied that Morwenna was a lesbian. Gainsborough who had never heard of Morwenna, and found some difficulty with the name attempted to shift the discussion to St John Clarke's politics. He was unsuccessful. Something of an argument ensued, Gainsborough's German accent thickening, as he became more irritable. St John Clarke, rather a prudish man in conversation, would have been startled to hear much surmised, before so large an audience, on the subject of his s.e.xual tastes. It was not a very exciting forty minutes, of which Ada was to be judged the star. Isbister's portrait of his friend perhaps more than friend flashed on the screen again as finale.

'Shall we stay for the News?'

'All right.'

There was some routine stuff: the Prime Minister in a safety helmet at a smelting plant; royalty launching a ship; strike pickets; tornado damage. Then, from out of the announcer's patter, a name brought attention '... Lord Widmerpool, where he was recently appointed the university's chancellor ...'

The last time I had seen Widmerpool, nearly ten years before, was soon after the troubles in which he had been involved: his wife's grim end; official enquiries into his own clandestine dealings with an East European power. We had met in Parliament Square. He said he was making for the House of Lords. He looked in poor shape, his manner wandering, distracted. We had talked for a minute or two, then parted. Whatever business he had been about that morning, must have been the last transacted by him for a longish period. The following week he disappeared for the best part of a year. He was probably on his way to wind up for the time being his House of Lords affairs.

Pamela Widmerpool's death, in itself, had caused less stir than might be supposed. Apart from the bare fact that she had taken an overdose in an hotel bedroom, nothing specially scandalous had come to light. Admittedly the hotel as Widmerpool had complained in Parliament Square had been a sordid one. Russell Gwinnett, the man with whom Pamela was believed to be in love, was staying there, but Gwinnett had an explicable reason for doing so, the place being a haunt of the novelist, X. Trapnel, whose biography he was writing. Pamela had occupied a room of her own. In any case her behaviour had long burst the sound barrier of normal gossip. It was thought even possible that, having heard of the hotel through Gwinnett, she had booked a room there as a suitably anonymous setting to close her final act. Sympathetic comment gave Pamela credit for that.

From the point of view of 'news', Gwinnett's scholarly affiliations, adding a touch of drabness, detracted from such public interest as the story possessed. The suicide of a life peer's wife obviously called for some coverage. That was likely to be diminished by the addition of professorial research work on a novelist unknown to the general public. The coroner went out of his way to express regret that a young American academic's visit to London should have been clouded by such a mishap. Gwinnett had apparently made an excellent impression at the inquest. In short, the whole business was consigned to the ragbag of memories too vague to remain at all dear in the mind. That was equally true of Widmerpool's dubious international dealings, regarding which, by now, no one could remember whether he was the villain or the hero.

'People say he was framed by the CIA,' said Lenore Members. 'The CIA may have fixed his wife's death too.'

By the time that theory had been put forward and largely accepted Widmerpool himself had recovered sufficiendy to have crossed the Adantic, reappearing in the United States after his year's withdrawal from the world. Whether by luck, or astute manipulations, no one seemed to know, he had been offered an appointment of some kind at the Inst.i.tute for Advanced Study of an Ivy League university; ideal post for making a dignified retreat for a further period from everyday life in London. His years of engagement on the Eastern Seaboard were succeeded by a Westward pilgrimage. He was next heard of established at a noted Californian centre for political research. That was where Lenore Members had come across him. Widmerpool had impressed her as a man who had 'been through' a great deal. That was now his own line about himself, she said, one that could not reasonably be denied. Lenore Members was a woman with considerable descriptive powers. She conveyed a picture of undoubted change. Among other things, Widmerpool had spoken with contempt of parliamentary inst.i.tutions. In public addresses he had been very generally expressing his scorn for such a vehicle of government. In his opinion the remedy lay in the hands of the young.

'Lord Widmerpool said he was working on a book that puts forward his views. It's to be called Pogrom of Youth Pogrom of Youth.'

'How does he go down in the States?'

'He has strong adherents strong opponents too. There's a pressure group to put his name forward for the n.o.bel Prize. Others say he's crazy.'

'You mean actually mad?'

'Mentally disturbed.'

'How long is he going to stay in the US?'

'He said he might be taking out naturalization papers.'

Whatever the reason, Widmerpool's vision of American citizenship must have been abandoned. He had returned to England. How, in general, he had been occupying himself, I did not know. During the past two or three years since arriving back there had been fairly regular appearances on television. These were usually in connexion with the sort of subjects Lenore Members had indicated as his latest interest, his new axis for power focus. He had played no part in the Labour administration of 1964. He may not even have been back in England by then. I had not watched any of his TV appearances, nor heard about this appointment to a university chancellorship. The post would not be at all inconsistent with the latest line he seemed to be designing for himself. I had no idea what were its duties and powers, probably a job that was much what the holder made of it.

The university to which Widmerpool had been nominated was a newish one. Malcolm Crowding (main authority on the last hours of X. Trapnel) taught English there. Crowding was not to be observed in the procession of capped and gowned figures on the screen; nor, for that matter, was Widmerpool. They had just reached the foot of a flight of steps. In the background were buildings in a contemporary style of scholastic architecture. The persons composing the crocodile of dons and recipients of honorary degrees were preceded by a man in uniform bearing a mace. The cortege was making its way across an open s.p.a.ce, shut in by what were probably lecture-halls. A fairly large crowd, students of both s.e.xes, parents, friends, onlookers of one sort or another, stood on either side of the route, watching the ceremony. It was probably a more grandiose affair than usual owing to the installation of the new chancellor. I did not pick out Widmerpool immediately, my attention being caught for a moment by a black notability in national dress of his country, walking between two academically gowned ladies, all three recipients of doctoral degrees. Then Widmerpool came into sight. As he did so there was scarcely time to take in more of him than that he was wearing a mortarboard and gold brocaded robe, its train held up by a page.

Widmerpool, advancing towards the camera, had turned to say a word to this small boy, apparently complaining that the hinder part of his official dress was being borne in a manner inconvenient to its wearer, when the scene suddenly took on a new and starding aspect. What followed was acted out so quickly that only afterwards was it possible to disentangle specific incident from overall confusion. On different sides of the path, at two points, the watching crowd seemed to part. From each of these gaps figures of indeterminate s.e.x briefly emerged, then withdrew themselves again. Some sort of a scuffle arose. An object, perhaps two objects, shot up in the air. In the background a flimsy poster, inscribed with illegible words outlined in shaky capital letters, fluttered for a second in the air, hoisted on the end of a long pole, then appeared to collapse. All these things, flitting by too quickly to be taken into proper account, were accompanied by the sound of singing or chanting. By the time I had grasped the fact that some sort of a demonstration was afoot, Widmerpool was no longer in sight.

Before the scene changed which it did in a flash I had just time to recollect Moreland's words, uttered at Stourwater nearly thirty years before. It was the night we had all dressed up as the Seven Deadly Sins, and been photographed by Sir Magnus Donners, with whom we were dining 'One is never a student at all in England, except possibly a medical student or an art student. Undergraduates have nothing in common with what is understood abroad by a student young men for ever rioting, undertaking political a.s.sa.s.sination, overturning governments.'

Moreland had offered that opinion about the time of 'Munich'. Sir Magnus Donners had not shown much interest. Perhaps the innate shrewdness of his own instincts in such matters already told him that, within a few decades, Moreland's conviction about students would fall badly out of date, an epoch not far distant when the sort of student Moreland adumbrated would be accepted as a matter of course. This Stourwater memory had scarcely time to formulate, dissolve, before the announcer's voice drew attention to a close-up of Widmerpool, now standing alone.

'Lord Widmerpool, newly installed chancellor, wishes to give his own comments on what happened.'

At first sight, so ghastly seemed Widmerpool's condition that it was a wonder he was alive, much less able to stand upright and address an audience. He had evidently been the victim of an atrocious a.s.sault. His wounds were appalling. Dark stains, apparently blood, covered the crown of his bald head (now capless), streaking down the side of his face, dripping from shoulder and sleeve of the gold embroidered robe. When he raised his hands, they too were smeared with the dark sticky marks of gore. Nevertheless, mangled as the fingers must have been to display this condition, he removed his bespattered spectacles. It was amazing that he had the strength to do so.

'Not the smallest resentment. Even glad this has taken place. Let me congratulate those two girls on being such excellent shots with the paint pot ...'

All was explained. There were no wounds. The dark clots, at first seeming to flow from dreadful gashes, were no more than paint. Widmerpool was covered with paint. Paint spread all over him, shining in the sun, dripping off face and clothes, since it was not yet dry. He ignored altogether the inconceivable mess he was in. Now the origin of his condition was revealed he looked like a clown, a clown upon whom divine afflatus had suddenly descended. He was in a state of uncontrolled excitement, gesticulating wildly in a manner quite uncharacteristic of himself. It was like revivalist frenzy. Face gaunt, eyes sunk into the back of his head, he had lost all his former fleshiness. What Lenore Members had tried to convey was now apparent. He said a few words more. They were barely intelligible owing to excitement. It was noticeable that his delivery had absorbed perceptibly American intonations and technique, superimposed on the old hearty unction that had formerly marked his style. Before more could be a.s.similated, the scene, like the previous one, was wiped away, the announcer's professional tones taking over again, as the News moved on to other topics.

'That was livelier than the St John Clarke programme.'

'It certainly was.'

Setting aside the occasion a very different one when Glober had hit him after the Stevenses' musical party, the last time Widmerpool had suffered physical a.s.sault at all comparable with the paint-throwing was, so far as I knew, forty years before, the night of the Huntercombes' dance, when Barbara Goring had poured sugar over his head. More was to be noted in this parallel than that, on the one hand, both a.s.saults were at the hands of young women; on the other, paint created a far more injurious deluge than castor sugar. The measure of the latest incident seemed to be the extent to which the years had taught Widmerpool to cope with aggressions of that kind. In many other respects, of course, the circ.u.mstances were far from identical. Widmerpool had been in love with Barbara Goring; for the girls who had thrown the paint he had spoken of them as girls there was no reason to suppose that he felt more than general approval of a politico-social intention on their part. Possibly love would follow, rather than precede, persecution at their hands. Yet even if it were argued that all the two attacks possessed in common was personal protest against Widmerpool himself, the fact remained that, while he had endured the earlier onslaught with unconcealed wretchedness, he had now learnt to convert such occasions possibly always s.e.xually gratifying to good purpose where other ends were concerned.

What would have been the result, I wondered, had he been equipped with that ability forty years before? Would he have won the heart of Barbara Goring, proposed to her, been accepted, married, produced children by her? On the whole such a train of events seemed unlikely, apart from objections the Goring parents might have raised in days before Widmerpool had launched himself on a career. Probably nothing would have altered the fates of either Widmerpool or Barbara (whose seventeen-year-old granddaughter had recently achieved some notoriety by marrying a celebrated Pop star), and the paint-throwing incident, like the cascade of sugar, was merely part of the pattern of Widmerpool's life. It was not considered of sufficient importance to be reported in any newspaper. On running across L. O. Salvidge in London, I heard more of its details.

'I enjoyed your appearance in the St John Clarke programme.'

Salvidge, who had a gla.s.s eye always impossible to tell which laughed about the occasion. He seemed well satisfied with the figure he had cut.

'I was glad to have an opportunity to say what I thought about the old fraud. Did you watch the News that night, see the Quiggin twins throw red paint over the chancellor of their university?'

'It was the Quiggin twins?'

'The famous Amanda and Belinda. What a couple. I was talking about it to JG yesterday. At least I tried to, but he would not discuss it. He changed the subject to the Magnus Donners Prize. He's got a grievance that no book published by his firm has ever won the award. Who are you giving it to this year?'

'Nothing suitable has turned up at present. Something may appear in the autumn. Has JG's firm got anything special? We'll see it, no doubt, if they have. It's my last year on the Magnus Donners panel. Do you want to take my place there?'

'Not me.'

Both Salvidge's eyes looked equally gla.s.sy at the suggestion. That was no surprise. Almost as veteran a figure on literary prize committees as Mark Members, Salvidge always had a dozen such commissions on hand. They took up more time than might be supposed. I was glad of my own approaching release from the board of the Magnus Donners judges. This was my fourth and final year.

The origins of the Magnus Donners Memorial Prize went back a long way, in fact to the days when Sillery used to speculate about a project of Sir Magnus Donners to endow certain university scholarships for overseas students, young men drawn from places where the Company's interests were paramount. They were to be called Donners-Brebner Fellowships. Such a possibility naturally opened up a legitimate field for academic intrigue, Sillery in the forefront, if the fellowships were to take practical shape. Sillery (in rivalry, he lamented, with at least three other dons) made no secret of his aim to control the patronage. He had entangled in this matter Prince Theodoric (lately deceased in Canada, where his business ventures, after exile, had been reasonably successful), in those days always anxious to draw his country into closer contacts with Great Britain.

The Donners-Brebner Fellowships were referred to in Sillery's obituary notices (highly laudatory in tone, as recording a sole survivor of his own genus, who had missed his century only by a year or two), where it appeared that the project had been to some extent implemented before the outbreak of war in 1939. Post-war changes in the international situation prevented much question of the fellowships' revival in anything like their original form. Sir Magnus himself, anxious to re-establish a benefaction of a similar kind, seems to have been uncertain how best it should be reconst.i.tuted, leaving behind several contradictory memoranda on the subject. In practice, this fund seems to have been administered in a rather haphazard fashion after his death, a kind of all-purposes charitable trust in Donners-Brebner gift. That, any rate, was the version of the story propagated by his widow, Matilda Donners, when she first asked me to sit as one of the judges at the initiation of the Prize. That was four years before. Now as I had told Salvidge my term on the Prize committee was drawing to an end.

In Matilda's early days of widowhood it looked as if the memory of Sir Magnus was to be allowed to fade. She continued to circulate for some years in the world of politics and big business to which he had introduced her, to give occasional parties in rivalry with Rosie Stevens, more musically, less politically inclined, than herself. Latterly Matilda had not only narrowed down her circle of friends, but begun to talk of Sir Magnus again. She also moved to smaller premises. Sir Magnus had left her comfortably off, if in command of far smaller resources than formerly, bequeathing most of his considerable fortune to relations, and certain public benefactions. No doubt such matters had been gone into at the time of their marriage, Matilda being a practical person, one of the qualities Sir Magnus had certainly admired in her. Moreland, too, had greatly depended on that practical side of Matilda as a wife. In short, disappointment at having received less than expected at the demise of Sir Magnus was unlikely to have played any part in earlier policy that seemed to consign him to oblivion.

Then there was a change. Matilda began, so to speak, to play the part of Ariosto's swans, bringing the name of Donners she had always referred to him by his surname into the conversation. A drawing of him, by Wyndham Lewis, was resurrected in her sitting-room. She was reported to play the music he liked Parsifal Parsifal, for instance, Norman Chandler said and to laugh about the way he would speak of having shed tears over the sufferings of the Chinese slavegirl in Turandot Turandot, no less when watching Ida Rubinstein in The Martyrdom of St Sebastian The Martyrdom of St Sebastian. Chandler remarked that, at one time, Matilda would never have referred to 'that side' of Sir Magnus. No doubt this new mood drew Matilda's attention to the more or less quiescent fund lying at Donners-Brebner. On investigation it appeared to be entirely suitable, anyway a proportion of it, for consecration to a memorial that would bear the name of its originator. One of the papers left on the file seemed even to envisage something of the sort. Matilda went to the directors of Donners-Brebner, with whom she had always kept up. They made no difficulties, taking the view that an award of that nature was not at all to be disregarded in terms of publicity.

Why Matilda waited not much less than fifteen years to commemorate Sir Magnus was never clear. Perhaps it was simply a single aspect of the general reconstruction of her life, desire for new things to occupy her as she grew older. Regarded as a jolie laide jolie laide when young, Matilda would now have pa.s.sed as a former 'beauty'. That was not undeserved. Relentless discipline had preserved her appearance, especially her figure. Once fair hair had been dyed a darker colour, a tone that suited the green eyes a feature shared with Sir Magnus, though his eyes lacked her sleepy power which had once captivated Moreland. A touch of 'stageyness' in Matilda's clothes was not out of keeping with her personality. when young, Matilda would now have pa.s.sed as a former 'beauty'. That was not undeserved. Relentless discipline had preserved her appearance, especially her figure. Once fair hair had been dyed a darker colour, a tone that suited the green eyes a feature shared with Sir Magnus, though his eyes lacked her sleepy power which had once captivated Moreland. A touch of 'stageyness' in Matilda's clothes was not out of keeping with her personality.

Another change had been a new inclination towards female friends. Matilda had always been on good terms with Isobel, other wives of men Moreland had known, but in those days, anyway ostensibly, she seemed to possess no female circle of her own. Now she had begun to show a taste for ladies high-powered as herself. They did not exactly take the place of men in her life, but the s.e.xes were more evenly balanced. With men she had always been discreet. There had been no stories circulated about her when married to Sir Magnus. In widowhood there had been the brief affair with Odo Stevens, before his marriage to Rosie Manasch; that affair thought more to tease Rosie than because she specially liked Stevens. Hardly any other adventure had even been lightly attributed.

Some people believed Gibson Delavacquerie had been for a short time Matilda's lover. That was not my own opinion, although a closer relationship than that of friends was not entirely to be ruled out as a possibility. Matilda was, of course, appreciably the elder of the two. If there were anything in such gossip, its truth would have suggested a continued preference for the sort of man with whom her earlier life had been spent, rather than those who had surrounded her in middle years. She had certainly known Delavacquerie quite well before the Magnus Donners Prize was inst.i.tuted.

His job Delavacquerie was employed on the public relations side of Donners-Brebner offered a good listening-post for Matilda to keep in touch with the affairs of the Company. Undoubtedly she liked him. That could very well have been all there was to the a.s.sociation.

This Delavacquerie connexion may well have played a part in the eventual decision to raise a memorial in literary form. Books were by no means the first interest of Sir Magnus. Notwithstanding Moreland's story that, as a young man, believing himself on the brink of an early grave, 'Donners had spoken of steeping himself in all that was best in half-a-dozen literatures', his patronage had always been directed in the main towards painting and music. According to Matilda various alternative forms of remembrance were put forward, a literary prize thought best, as easiest to administer. Delavacquerie may not only have influenced that conclusion, but, once the principle was established, carried weight as to the type of book to be encouraged.

In the end it was settled that the Prize (quite a handsome sum) should be presented annually for a biographical study dealing with (not necessarily written by) a British subject, male or female, born not earlier than the date of Sir Magnus's own birth. I think discretion was allowed to the judges, if the birth was reasonably close, the aim being to begin with the generation to which Sir Magnus himself belonged. Just how this choice was arrived at I do not know. It is worth bearing in mind that an official 'life' of Sir Magnus himself had not yet appeared. Possibly Matilda or the Company hoped that a suitable biographer might come to light through this const.i.tution of the Prize. Any such writer would have to be equal to dealing with formidable perplexities, if the biography was to be attempted during the lifetime of its subject's widow; especially in the light of new freedoms of expression, nowadays to be expected, in the manner of the St John Clarke TV programme.

The possibility that a Donners biographer might be sought was borne out by the additional condition that preference would be given to works dealing with a man of affairs, even though representatives of the arts and sciences were also specifically mentioned in the terms of reference.

Delavacquerie, known to me only casually when Matilda opened up the question of the Magnus Donners committee, was then in his middle forties. He was peculiarly fitted to the role in which he found himself that is to say a sort of unofficial secretary to the board of judges having been one of the few, possibly the sole candidate, to have benefited by a Donners-Brebner fellowship, when these first came into being. This had brought him to an English university (he had somehow slipped through Sillery's fingers) just before the outbreak of war. During the war he had served, in the Middle East and India, with the Royal Signals; after leaving the army, working for a time in a shipping firm. No doubt earlier connexion with the Company, through the fellowship, played a part in ultimately securing him a job at Donners-Brebner. Although a British subject, Delavacquerie was of French descent, a family settled in the Caribbean for several generations. He would speak of that in his characteristically dry manner.

'They've been there a century and a half. An established family. You understand there are no good families. The island does not run to good families. The Gibsons were an established family too.'

Small, very dark, still bearing marks of French origins, Delavacquerie talked in a quick, harsh, oddly attractive voice. Between bouts of almost crippling inertia according to himself he was immensely energetic in all he did. We had met before, on and off, but became friends through the Magnus Donners Prize committee. By that time Delavacquerie had achieved some fame as a poet; fame, that is, over and above what he himself always called his 'colonial' affiliations. Matilda a.s.serted, no doubt truly, that the Company was rather proud of employing in one of its departments a poet of Delavacquerie's distinction. She reported that a Donners-Brebner director had a.s.sured her that Delavacquerie displayed the same grasp of business matters that he certainly brought to literary criticism, on the comparatively rare occasions when he wrote articles or reviews, there being no easy means of measuring business ability against poetry. This same Donners-Brebner tyc.o.o.n had added that Delavacquerie could have risen to a post of considerably greater responsibility in the Company had he wished. A relatively subordinate position, more congenial in the nature of its duties, tied him less to an office, allowing more time for his 'own work'. Moreland not long before he died had spoken appreciatively of Delavacquerie's poetry, in connexion with one of Moreland's favourite themes, the artist as businessman.

'I never pay my insurance policy,' Moreland said, 'without envisaging the doc.u.ments going through the hands of Aubrey Beardsley and Kafka, before being laid on the desk of Wallace Stevens.'

Before we knew each other at all well, Delavacquerie mentioning army service in India, I asked whether he had ever come across Bagshaw or Trapnel, both of whom had served in the subcontinent in RAF public relations, Bagshaw as squadron-leader, Trapnel as orderly-room clerk. It was a long shot, no contacts had taken place, but Bagshaw, Delavacquerie said, had published one of his earlier poems in Fission Fission, and Trapnel had been encountered in a London pub. Although I had read other Delavacquerie poems soon after that period, I had no recollection of that which had appeared when I had been 'doing the books' for the magazine. I had then liked his poetry in principle, without gaining more than a rough idea where he stood among the young emergent writers of the post-war era. Most of his early verse had been written in the army, most of it rhymed and scanned. Trapnel, prepared to lay down the law on poets and poetry, as much as any other branch of literature, a great commentator on his own contemporaries, had never mentioned Delavacquerie's name. At that period, before Delavacquerie's reputation began to take shape kept busy earning a living he was not often to be seen about. Trapnel, living in a kaleidoscope world of pub and party frequenters, must have forgotten their own meeting. Perhaps he had not taken in Delavacquerie's name.

'When I was working in the shipping firm I didn't know London at all well. I wanted to explore all its possibilities and of course meet writers.'

Delavacquerie made a slight grimace when he said that.

'Somebody told me The Hero of Acre was a pub where you found artists and poets. I went along there one night. Trapnel was at the bar, with his beard, and swordstick mounted with the ivory skull. I thought him rather a Ninetyish figure, and was surprised when his work turned out to be good. He was about the only one in the pub to qualify as a writer at all. Even he had only published a few stories then. Still, to my colonial eyes, it was something that he looked the part, even the part as played fifty years before. I didn't talk to him that night, but on another occasion we discussed Apollinaire over a bitter, a drink I have never learned to like. Trapnel's dead, isn't he?'

'Died in the early nineteen-fifties.'

This conversation between Delavacquerie and myself had taken place several years before Matilda's invitation to join the Magnus Donners Prize committee, which at first I refused, on general grounds of reducing such commitments to a minimum. Matilda, explaining she wanted to start off with a panel known to her personally, was more pressing than expected. She added that she was determined to get as much fun out of the Prize as possible, one aspect of that being a committee made up of friends.

'One never knows how long one's going to last,' she said.

I still declined. Matilda added an inducement. It was a powerful one.

'I've found the photographs Donners took, when we all impersonated the Seven Deadly Sins at Stourwater in 1938. I'll show them to you, if you join the committee. Otherwise not.'

In supposing these doc.u.ments from a bygone age would prove irresistible as the Sins themselves, Matilda was right. I accepted the bribe. With some people it might have been possible to refuse, then persuade them to produce the photographs in any case. Matilda was not one of those. The board met twice annually at a luncheon provided by the Company. The judges, as const.i.tuted in the first instance, were Dame Emily Brightman, Mark Members, and myself. Delavacquerie sat with us, representing the Company, supplying a link with Matilda, acting as secretary. He arranged for publishers to submit books (or proofs of forthcoming books), kept in touch with the press, undertook all the odd jobs required. These were the sort of duties in which he took comparative pleasure, carried out with notable efficiency. He did not himself vote on final decisions about works that came up for judgment, though he joined in discussions, his opinions always useful. He particularly enjoyed arguing with Emily Brightman (created DBE a couple of years before for her work on The Triads, and polemical study of Boethius), who would allow Delavacquerie more range of teasing than was her usual custom, though sometimes he might receive a sharp rebuke, if he went too far.

Members, on the other hand (once publicly admonished by Dame Emily for a slip about the Merovingians), was rather afraid of her. His inclusion was almost statutory in a.s.sembling a body of persons brought together to judge a literary award of any type, quite apart from his own long acquaintance with Matilda Donners. It was from this semiofficial side of his life, rather than the verse and other writings, that he had come to know Matilda, whose interests had always been in the Theatre, rather than books. Members had been included in her parties when Sir Magnus was alive. Emily Brightman, in contrast, was a more recent acquisition, belonging to that sorority of distinguished ladies Matilda now seemed to seek out. It was clear, at the first of these Magnus Donners luncheons, that Emily Brightman (whom I had seen only once or twice since the Cultural Conference in Venice, where Pamela Widmerpool first met Gwinnett) had lost none of her energy. The un.o.btrusive smartness of her clothes also remained unaltered.

'I have a confession to make. It should be avowed in the Dostoevskian fashion on the knees. You will forgive me if I dispense with that. To kneel would cause too much stir in a restaurant of this type. During our Venetian experience, you will remember visiting Jacky Bragadin's palazzo our host didn't long survive our visit, did he? the incomparable Tiepolo ceiling? Candaules showing Gyges his naked wife? How it turned out that Lord Widmerpool such an unattractive man had done much the same thing, if not worse? You remember, of course. That poor little Lady Widmerpool. I took quite a fancy to her, in spite of her naughtinesses.'

Emily Brightman paused; at the thought of those perhaps.

'It turns out that I was scandalously misinformed, accordingly misleading, in supposing Gautier to have invented the name Nysia for Candaules's queen. The one he exhibited in so uncalled for a manner. Nysia was indeed the name of the nude lady in Tiepolo's picture. I came on the fact, quite by chance, last year, when I was reading in bed one night. She is categorically styled Nysia in the New History New History of Ptolemy Chennus first century, as you know, so respectably far back and I was up half the night establishing the references. In fact I wandered about almost as lightly clad as Nysia herself. I hope there was no Gyges in the College at that hour. It was sweltering weather, I had not been able to sleep, and allowed myself a gin and tonic, with some ice in it, while I was doing so. I found that Nicholas of Damascus calls her Nysia, too, in his of Ptolemy Chennus first century, as you know, so respectably far back and I was up half the night establishing the references. In fact I wandered about almost as lightly clad as Nysia herself. I hope there was no Gyges in the College at that hour. It was sweltering weather, I had not been able to sleep, and allowed myself a gin and tonic, with some ice in it, while I was doing so. I found that Nicholas of Damascus calls her Nysia, too, in his Preparatory Exercises Preparatory Exercises. He also ridicules the notion of an oriental potentate of the Candaules type becoming enamoured of his own wife. I thought that showed the narrowness of Greek psychology in dealing with a subtle people like the Lydians. Another matter upon which Nicholas of Damascus wasn't he Herod the Great's secretary? throws doubt is the likelihood of the ladies of Sardis undressing before they went to bed. He may have a point there.'

'Perhaps the sheer originality of his queen undressing was what so enthralled Candaules,' said Members. 'I can never sufficiently regret having missed that Conference. Ada Leintwardine and Quentin Shuckerly talk of it to this day. What was the name of the American who got so involved with Kenneth Widmerpool's wife there?'

'Russell Gwinnett. An old friend of mine. He was put in an unfortunate position.'

Emily Brightman said that rather sharply. Members took the hint. I asked if she had seen anything of Gwinnett lately.

'Not a word from him personally. Another American friend, former colleague of both of us, said Russell was back in academic life again. The name of his college escapes me.'

'Has he returned to the book he was writing about X. Trapnel?'

'There was no mention of what he was writing, if anything. I had myself always thought Trapnel, as a subject, a little lightweight. I hear, by the way, that Matilda Donners has some amusing photographs of the Seven Deadly Sins, in which you yourself figure. I must persuade her to produce them for me.'

Matilda had made good her promise by showing the photographs to Isobel and myself a few weeks before. The Eaton Square flat, where she lived (on the upper floors of a house next door to the former Walpole-Wilson residence, now an African emba.s.sy), was neither large, nor outstandingly luxurious, except for some of the drawings and small oil paintings. Matilda had sold the larger canvases bequeathed to herself. Apart from the high quality of what remained, the flat bore out that law which causes people to retain throughout life the same general characteristics in any place they inhabit. Matilda's Eaton Square flat at once called to mind the garret off the Gray's Inn Road, where she had lived when married to Moreland. The similarities of decoration may even have been deliberate. Moreland had certainly remained a little in love with Matilda until the end of his days. Something of the sort may have been reciprocally true of herself. Unlike Matilda's long silence about Sir Magnus, she had never been unwilling to speak of Moreland, often talking of their doings together, which seemed, some of them, happy in retrospect.

'Norman Chandler's coming to see the photographs. I thought he would enjoy the Sins. They belong to his period. Norman was always such a support to Hugh, when there was anything to do with the Theatre. The Theatre was never really Hugh's thing. He wasn't at all at ease there, even when he used to come round and see me after the performance. I particularly didn't want Norman to miss Hugh's splendid interpretation of Gluttony.'

'What's Norman directing now?'

'Polly Duport's new play. I haven't seen it yet. It sounds rather boring. Do you know her? She was here the other night. Polly's having a very worrying time. Her mother's married to a South American more or less head of the government, I believe and there are a lot of upheavals there. Here's Norman. Norman, my pet, how are you? We were just saying how famous you'd become. That new fringe makes you look younger than ever like Claudette Colbert. And what a suit. Where did you get it?'

Chandler, whose air, even in later life, was of one dancing in a perpetual ballet, was not at all displeased by these comments on his personal appearance. He looked down critically at what he was wearing.

'This little number? It's from the Boutique of the Impenitent Bachelor Vests & Transvests, we regular customers call the firm. The colour's named Pale Galilean. To tell the truth I can hardly sit down in these trousers.'

'Our brother-in-law, d.i.c.ky Umfraville, always refers to his tailor as Armpits & Crotch.'

'Their cutter must have moved over to the Boutique. How are you both? Oh, Isobel, I can't tell you how much I miss your uncle, Ted Jeavons. Watching the telly will never be the same without his comments. Still, with that piece of shrapnel, or whatever it was from the first war, inside him, he never thought he'd last as long as he did. Ted was always saying how surprised he was to be alive.'

Inhabiting flats, both of them, in what had formerly been the Jeavons house in South Kensington, Chandler and Jeavons had developed an odd friendship, one chiefly expressed in watching television together. Jeavons, who had always possessed romantic feelings about theatrical life, used to listen in silence, an expression of deep concentration on his face, while Chandler rattled on about actors, directors, producers, stage designers, most of whose names could have meant little or nothing to Jeavons. Umfraville who always found Jeavons a bore used to pretend there was a h.o.m.os.e.xual connexion between them, weaving elaborate fantasies in which they indulged in hair-raising orgies at the South Kensington house. Umfraville himself did not change much as the years advanced, spells of melancholy alternating with bursts of high spirits, the last latterly expressed by a rather good new impersonation of himself as an old-fashioned drug-fiend.

When Matilda spread out the photographs on a table the manner in which the actual photography 'dated' was immediately noticeable; their peculiarity partly due to the individual technique of Sir Magnus as photographer, efficient at everything he did, but altogether unversed in any approach to the camera prompted by art. This was especially true of his figure subjects. Painfully clear in outline (setting aside the superimposed exoticism of the actions portrayed), they might have been taken from the pages of a mail-order catalogue, the same suggestion of waxworks, in this case, rather sinister waxworks. Details of costume scrupulously distinct, the character of the models was scarcely at all transmitted. This method did not at all diminish the interest of the pictures themselves. Sir Magnus had remarked at the time that he had taken up photography with a view to depicting his own collections china, furniture, armour in the manner he himself wished them photographically recorded, something in which no professional photographer had ever satisfied him. One speculated whether the Seven Deadly Sins pointing the way he had later developed this hobby in a manner to include his own tastes as a voyeur. A certain harshness of technique would not necessarily have vitiated that sphere of interest. That Sir Magnus had actually introduced Widmerpool to the practices of which Pamela had so publicly accused her husband at Venice, was less likely, though there, too, photography, of a dubious intention, was alleged. Matilda set out the photographs, as if playing a game of Patience.

'So few of one's friends qualify for all the Sins. Quite a lot of people can offer six, then break down at the seventh. They're full of l.u.s.t, Envy, Gluttony, Pride, Anger, Sloth then fall down on Avarice. One knows plenty of good performers at Avarice, but they so often lack Gluttony or Sloth. Of course it helps if you're allowed to include drink, in place of food, for Gluttony.'

She picked up the picture of herself as Envy.

'It was unjust of Donners to make me take on Envy. I'm not at all an envious person.'

That was probably true, notwithstanding her green eyes. Matilda had never shown any strong signs of being envious. Then one thought of her rivalry with Rosie Stevens. Even that was scarcely Envy in the consuming sense that certain persons display the trait. It was compet.i.tive jealousy, something rather different, even if partaking of certain envious strains too. Matilda liked her friends to be successful, rather than the reverse. That in itself was a rare characteristic.

'I suppose Donners thought I was envious of that silly girl he was then having one of his fancies for. What is she called now? Her maiden name was Lady Anne Stepney. She's married to a Negro much younger than herself, rather a successful psychedelic painter. Donners knew at the time that Anne was conducting a romance with your friend Peter Templer. Do you remember? You and Isobel were staying at our cottage. This man, Peter Templer, picked us up in his car, and drove us over to Stourwater for dinner that night? There's Anne herself, as Anger, which wasn't bad. She had a filthy temper. Here she is again, with Isobel as Pride. That's not fair on Isobel either, anyway not the wrong sort of Pride. And Sloth's absurd for you, Nick. Look at all those books you've written.'

'Sloth means Accidie too. Feeling fed up with life. There are moments when I can put forward claims.'

'Hugh, too, I can a.s.sure you. Better ones than yours, I feel certain. But Hugh was so good as Gluttony, one wouldn't wish him doing anything else. Look at him.'

Even the lifeless renderings of Sir Magnus's photography had failed to lessen the magnificence of Mordand's Gluttony. He had climbed right on top of the dining-room table, where he was lying supported on one elbow, gripping the neck of a bottle of Kiimmel. He had already upset a full gla.s.s of the liqueur to the visible disquiet of Sir Magnus the highlights of the sticky pool on the table's surface caught by the lens. Moreland, surrounded by fruit that had rolled from an overturned silver bowl, was laughing inordinately. The spilt liqueur gla.s.s recalled the story told by Mopsy Pontner (whom Moreland had himself a little fancied), her romp on another dining-room table with the American film producer, Louis Glober. That was a suitable inward reminiscence to lead on to the photographs of Templer as l.u.s.t; three in number, since he had insisted on representing the Sin's three ages, Youth, Middle Years, Senility.

'It was Senile l.u.s.t that so upset that unfortunate wife of his. She rushed out of the room. What was her name? Donners made her play Avarice. The poor little thing wasn't in the least avaricious. Probably very generous, if given a chance. Somebody had to do Avarice, as we were only seven all told. She might have seen that without kicking up such a to-do. Of course she was pretty well nuts by then. Peter Templer as a husband had sent her up the wall. Donners insisted she should go through with Avarice. That was Donners at his worst. He could be very s.a.d.i.s.tic, unless you stood up to him, then he might easily become m.a.s.o.c.h.i.s.tic. Betty that's what she was called. She ought to have seen it was only a game, and numbers were short. I believe she had to be put away altogether for a time, but came out after her husband was killed, and had lots of proposals. You know how men adore mad women.'

'Women like mad men, too, Matty, you must admit that. Besides, she wasn't really mad. Did she accept any of the Proposals?'

'She married a man in the Foreign Office, and became an amba.s.sadress. They were very happy, I believe. He's retired now. Most of these pictures are pretty mediocre. Hugh's the only star.'

Chandler turned the pictures over.

'I think they're wonderful, Matty. What fun it all was in those days.'