‘Lord Widmerpool said he was working on a book that puts forward his views. It’s to be called 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 Nobel 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 space, shut in by what were probably lecture-halls. A fairly large crowd, students of both sexes, 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 sex 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 assassination, 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 assault. 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 assimilated, 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 assault 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 assaults 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 circumstances 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 sexually 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 b
efore? 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 glass 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 glassy 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 reconstituted, 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, 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, no less when watching Ida Rubinstein in 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 when young, Matilda would now have passed 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 sexes 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 instituted.
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 th
e affairs of the Company. Undoubtedly she liked him. That could very well have been all there was to the association.
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 constitution 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.
Hearing Secret Harmonies Page 5