‘Still, he may grow out of it,’ said Le Bas.
‘Or them,’ I said; and, since Le Bas did not smile, added: ‘I stayed in the same French family as Widmerpool, the summer after I left.’
‘Ah yes, Widmerpool.’
Le Bas thought for a long time. He climbed up on to the fender, and began to lift himself by the edge of the mantelpiece. I thought for a moment that he might be going to hoist himself right on to the shelf; perhaps lie there.
‘I was never quite happy about Widmerpool,’ he admitted at last.
This statement did not seem to require an answer.
‘As you probably know,’ said Le Bas, ‘there were jokes about an overcoat in the early days.’
‘I remember being told something about it.’
‘Plenty of keenness, but somehow——’
‘He used to train hard.’
‘And a strong—well——’ Le Bas seemed rather at a loss, ending somewhat abruptly with the words: ‘Certain moral qualities, admirable so far as they went, but——’
I supposed he was thinking of the Akworth affair, which must have caused him a good deal of trouble.
‘He seemed to be getting on all right when I saw him in France.’
This statement seemed in the main true.
‘I am glad to hear it,’ said Le Bas. ‘Very glad. I hope he will find his level in life. Which college did you say?’
‘He didn’t go to the university.’
‘What is he going to be?’
‘A solicitor.’
‘Do none of my pupils consider a degree an advantage in life? I hope you will work hard for yours.’
Facetiously, I held up a copy of Stubbs’s Charters that happened to be lying at hand on the table.
‘Do you know Sillery?’ I asked.
‘Sillery? Sillery? Oh, yes, of course I know Sillery,’ Le Bas said; but he did not rise to this bait.
There was a pause.
‘Well, I have enjoyed our talk,’ Le Bas said. ‘I expect I shall see you on Old Boy Day.’
He got up from the chair, and stood for a few seconds, as if undecided whether or not to bring his visit to an end.
‘Friendships have to be kept up,’ he said, unexpectedly.
I suppose that his presence had recalled—though unconsciously—the day of Braddock alias Thorne; because for some reason, inexplicable to myself, I said: ‘Like Heraclitus.’
Le Bas looked surprised.
‘You know the poem, do you?’ he said. ‘Yes, I remember you were rather keen on English.’
Then he turned and made for the door, still apparently pondering the questions that this reference to Heraclitus had aroused in his mind. Having reached the door, he stopped. There was evidently some affirmation he found difficulty in getting out. After several false starts, he said: ‘You know, Jenkins, do always try to remember one thing—it takes all sorts to make a world.’
I said that I would try to remember that.
‘Good,’ said Le Bas. ‘You will find it a help.’
I watched him from the window. He walked quickly in the direction of the main entrance of the college: suddenly he turned on his heel and came back, very slowly, towards my staircase, at the foot of which he stopped for about a minute: then he moved off again at a moderate pace in another quarter: finally disappearing from sight, without leaving any impression of decision as to his next port of call. The episode of Braddock alias Thorne, called up by Le Bas’s visit, took on a more grotesque aspect than ever, when thought of now. I wondered whether Le Bas had himself truly accepted his own last proposition. Nothing in his behaviour had ever suggested that his chosen principles were built up on a deep appreciation of the diversity of human character. On the contrary, he had always demanded of his pupils certain easily recognisable conventions of conduct: though, at the same time, it occurred to me that the habit of making just such analyses of motive as this was precisely what Le Bas had a moment before so delicately deprecated in myself.
There are certain people who seem inextricably linked in life; so that meeting one acquaintance in the street means that a letter, without fail, will arrive in a day or two from an associate involuntarily harnessed to him, or her, in time. Le Bas’s appearance was one of those odd preludes that take place, and give, as it were, dramatic form to occurrences that have more than ordinary significance. It is as if the tempo altered gradually, so that too violent a change of sensation should not take place; in this case, that some of the atmosphere of school should be reconstructed, although only in a haphazard fashion, as if for an amateur performance, in order that I should not meet Stringham in his new surroundings without a reminder of the circumstances in which we had first known one another.
For some reason, during the following day in London, I found myself thinking all the time of Le Bas’s visit; although it was long before I came to look upon such transcendental manipulation of surrounding figures almost as a matter of routine. The weather was bad. When the time came, I was glad to find myself in the Donners-Brebner building, although the innate dejection of spirit of that part of London was augmented by regarding its landscape from this huge and shapeless edifice, recently built in a style as wholly without ostensible order as if it were some vast prehistoric cromlech. Stringham’s office was on one of the upper storeys, looking north over the river. It was dark now outside, and lights were reflected in the water, from the oppressive and cheerless, as well as beautiful, riverside. Stringham looked well: better than I had seen him for a long time.
‘Let’s get out of here,’ he said.
‘I’m a bit late.’
‘We’ll have a drink.’
‘Where shall we make for?’
For a brief second, for an inexpressibly curtailed efflux of time, so short that its duration could be appreciated only in recollection, being immediately engulfed at the moment of birth, I was conscious of a sensation I had never before encountered: an awareness that Stringham was perhaps a trifle embarrassed. He took a step forward, and made as if to pat my head, as one who makes much of an animal.
‘There, there,’ he said. ‘Good dog. Don’t growl. The fact is I am cutting your date. Cutting it in slow motion before your eyes.’
‘Well?’
‘It is an absolutely inexcusable thing to do. I’ve been asked to rather a good party at short notice—and have to dine and go to a play first. As the party can hardly fail to be rather fun, I thought you wouldn’t mind.’
‘Of course not.’
‘An intolerable act, I admit.’
‘Not if it’s a good party.’
‘I thought the thing to do would be for you to come back and talk while I changed. Then I could drop you wherever you are going to dine.’
‘Let’s do that.’
I could pretend to Stringham that I did not mind: within, I was exceedingly annoyed. This was quite unlike him. A rearrangement of plans would now be necessary. His car was parked outside. We drove northward.
‘How are things at the old coll.?’
‘Le Bas visited me yesterday.’
‘Our former housemaster?’
‘Braddock alias Thorne.’
‘Good heavens, I had forgotten all about that.’
‘I wonder if he has.’
‘Did you tell him how it happened?’
‘No.’
‘How extraordinary for him to swim to the surface.’
‘He asked about you.’
‘No?’
Stringham was not interested. Le Bas was scarcely a memory. I began to realise that considerable changes had indeed been taking place.
‘What is it like in London?’
‘I’m rather enjoying myself. You must come and live here soon.’
‘I suppose I shall in due course.’
‘Can’t you get sent down? No one could stand three years of university life.’
We arrived at the house, and, passing between the pillars of the doorway, collected drinks in the dining-room
. Then we went upstairs. The place seemed less gloomy than on my earlier visit. Stringham’s bedroom was a rather comfortless apartment, looking out on to the roofs of another row of large houses.
‘Who are you dining with?’
‘The Bridgnorths.’
‘Haven’t I seen pictures of a rather captivating daughter called Lady Peggy Stepney?’
‘The last photograph was taken at Newmarket. I’ve been wondering whether it wasn’t time for her to get married and settle down,’ said Stringham. ‘I seem to have been a bachelor an awfully long time.’
‘What does Lady Peggy think about it?’
‘There are indications that she does not actively dislike me.’
‘Why not, then?’
We talked in a desultory way, Stringham walking to and fro, wearing only a stiff shirt, and some black silk socks, while he washed his hands, and brushed his hair. I did not know how serious he might be with regard to the Bridgnorths’ daughter. The idea of one of my friends getting married had scarcely occurred to me, even as a possibility. I saw now that such a thing was not absolutely out of the question. From time to time a footman appeared, offering different collars, because Stringham could find none he liked.
‘I suppose this must be one of Buster’s,’ he said, at last accepting a collar that satisfied him. ‘I shall sell the rest of mine off cheap to the clergy to wear back-to-front.’
He slipped on his tail-coat, pulling at the cuffs of his shirt.
‘Come on,’ he said; ‘we’ll have another drink on the way out.’
‘Where is your dinner-party?’
‘Grosvenor Square. Where shall I drop you?’
‘Grosvenor Square will do for me.’
‘But what will you do?’
‘Dine with an uncle of mine.’
‘Does he live there?’
‘No—but he isn’t expecting me just yet.’
‘He was expecting you then?’
‘A standing invitation.’
‘So I really haven’t left you too high and dry?’
‘Not in the least.’
‘You are jolly lucky to have relations you can drop in on at any time,’ said Stringham. ‘My own are much too occupied with their own affairs to care for that.’
‘You met Uncle Giles once. He suddenly arrived one night when we were having tea. It was the day of Peter’s “unfortunate incident”.’
Stringham laughed. He said: ‘I remember about Peter, but not about your uncle.’
We reached the car again, and drove for a time in silence. ‘We’ll meet soon,’ Stringham said. ‘I suppose you are going back tonight—otherwise we might have lunched tomorrow.’
‘I’ll be up in a week or two.’
‘We will get together then.’
We had reached Grosvenor Square, and he slowed up.
‘Now where?’
‘I’ll climb down here.’
‘I expect it will be a really frightful party, and Peggy will have decided not to turn up.’
He waved, and I waved, as the car went on to the far side of the square.
The evening was decidedly cool, and rain was half-heartedly falling. I knew now that this parting was one of those final things that happen, recurrently, as time passes: until at last they may be recognised fairly easily as the close of a period. This was the last I should see of Stringham for a long time. The path had suddenly forked. With regret, I accepted the inevitability of circumstance. Human relationships flourish and decay, quickly and silently, so that those concerned scarcely know how brittle, or how inflexible, the ties that bind them have become. Lady Bridgnorth, by her invitation that night, had effortlessly snapped one of the links—for practical purposes the main one—between Stringham and myself; just as the accident in Templer’s car, in a rather different manner, had removed Templer from Stringham’s course. A new epoch was opening: in a sense this night was the final remnant of life at school.
I was glad to have remembered Uncle Giles. It was, I suppose, justification of the family as a social group that, upon such an occasion, my uncle’s company seemed to offer a restorative in the accidental nature of our relationship and the purely formal regard paid by him to the fact that I was his nephew. Finding a telephone box, I looked up the address of the Trouville Restaurant, which turned out to be in Soho. It was fairly early in the evening. Passing slowly through a network of narrow streets, and travelling some distance, I came at last to the Trouville. The outside was not inviting. The restaurant’s façade was boarded up with dull, reddish shutters. At the door hung a table d’hôte menu, slipped into a brass frame that advertised Schweppes’ mineral waters—Blanchailles—Potage Solférino—Sole Bercy—Côtelettes d’Agneau Reform—Glace Néapolitaine—Café. The advertised charge seemed very reasonable. The immense depression of this soiled, claret-coloured exterior certainly seemed to meet the case; for there is always something solemn about change, even when accepted.
Within, the room was narrow, and unnaturally long, with a table each side, one after another, stretching in perspective into shadows that hid the service lift: which was set among palms rising from ornate brass pots. The emptiness, dim light, silence—and, to some extent, the smell—created a faintly ecclesiastical atmosphere; so that the track between the tables might have been an aisle, leading, perhaps, to a hidden choir. Uncle Giles himself, sitting alone at the far end of this place, bent over a book, had the air of a sleepy worshipper, waiting for the next service to begin. He did not look specially pleased to see me, and not at all surprised.
‘You’re a bit late,’ he said. ‘So I started.’
It had not occurred to him that I should do otherwise than come straight up to London, so soon as informed that there was an opportunity to see him again. He put his book face-downwards on the tablecloth. I saw that it was called Some Things That Matter. We discussed the Trust until it was time to catch my train.
A Buyer’s Market
For Osbert and Karen
1.
THE LAST TIME I saw any examples of Mr. Deacon’s work was at a sale, held obscurely in the neighbourhood of Euston Road, many years after his death. The canvases were none of them familiar, but they recalled especially, with all kind of other things, dinner at the Walpole-Wilsons’, reviving with a jerk that phase of early life. They made me think of long-forgotten conflicts and compromises between the imagination and the will, reason and feeling, power and sensuality; together with many more specifically personal sensations, experienced in the past, of pleasure and of pain. Outside, the spring weather was cool and sunny: Mr. Deacon’s favourite season of the year. Within doors, propped against three sides of a washstand, the oil-paintings seemed, for some reason, appropriate to those surroundings, dusty, though not displeasing; even suggesting, in their way, the kind of home Mr. Deacon favoured for himself and his belongings: the sitting-room over the shop, for example, informal, not too permanent, more than a trifle decayed. His haunts, I remembered, had bordered on these northern confines of London.
Accumulations of unrelated objects brought together for auction acquire, in their haphazard manner, a certain dignity of their own: items not to be tolerated in any inhabited dwelling finding each its own level in these expansive, anonymous caverns, where, making no claim to individual merit, odds and ends harmonise quietly with each other, and with the general sobriety of background. Such precincts have something of museums about them, the roving crowd on the whole examining the assembled relics with an expert, unselfconscious intensity, not entirely commercial or acquisitive.
On these particular premises almost every man-made thing seemed represented. Comparatively new mowing machines: scabbardless and rusty cavalry sabres: ebony fragments of African fetish: a nineteenth-century typewriter, poised uncertainly on metal stilts in the midst of a tea-set in Liverpool ware, the black-and-white landscapes of its design irreparably chipped. Several pillows and bolsters covered with the Union Jack gave a disturbing hint that, somewhere beneath, a corpse awaited b
urial with military honours. Farther off, high rolls of linoleum, coloured blue, green and pink, were ranged against the wall like pillars, a Minoan colonnade from which wicker arm-chairs and much-used pieces of luggage formed a semicircle. Within this open space, placed rather like an emblem arranged for worship, stood the washstand round which the pictures were grouped. On its marble top rested an empty bird-cage, two men-at-arms in lead, probably German, and a dog-eared pile of waltz music. In front of a strip of Axminster carpet, displayed like faded tapestry from the side of a nearby wardrobe in pitch pine, a fourth painting stood upside down.
All four canvases belonged to the same school of large, untidy, exclusively male figure compositions, light in tone and mythological in subject: Pre-Raphaelite in influence without being precisely Pre-Raphaelite in spirit: a compromise between, say, Burne-Jones and Alma-Tadema, with perhaps a touch of Watts in method of applying the paint. One of them—ripping away from its stretcher at the top—was dated 1903. A decided weakness of drawing was emphasised by that certitude—which overtakes, after all, some of the greatest artists—that none of Mr. Deacon’s pictures could possibly have been painted at any epoch other than its own: this hallmark of Time being specially attributable to the painter’s inclination towards large, blank expanses of colour, often recklessly laid on. Yet, in spite of obvious imperfections, the pictures, as I have said, were not utterly unsympathetic in that situation. Even the forest of inverted legs, moving furiously towards their goal in what appeared to be one of the running events of the Olympic Games, were manifested to what might easily have been greater advantage in that reversed position, conveying, as they did, an immense sense of nervous urgency, the flesh tints of the athletes’ straining limbs contrasting strangely with pink and yellow contours of three cupids in debased Dresden who tripped alongside on top of a pedestal cupboard.
In due course two bucolic figures in cloth caps, shirtsleeves, and green baize aprons held up Mr. Deacon’s pictures, one by one, for examination by a small knot of dealers: a depressed gang of men, looking as if they had strayed into that place between more congenial interludes on the race-course. I was not sure how this display might strike other people, and was glad, when exposure took place, that no unfriendly comment was aroused. The prodigious size of the scenes depicted might in itself reasonably have provoked laughter; and, although by that time I knew enough of Mr. Deacon to regard his painting as nothing more serious than one of a number of other warring elements within him, open ridicule of his work would have been distressing. However, all four elevations were received, one after another, in apathetic silence; although the ‘lot’ was finally knocked down for a few pounds only, bidding was reasonably brisk: possibly on account of the frames, which were made of some black substance, ornamented with gold in a floral pattern, conceivably of the painter’s own design.