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. 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 rôle 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 asserted, 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 assured 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 tycoon 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 documents 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, 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 Dormers 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 documents 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 constituted 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 assembling a body of persons broug
ht 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 unobtrusive 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 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. 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 embassy), 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, Dicky 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 homosexual 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 Lust, 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 competitive 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.
Dance to the Music of Time, Volume 4 Page 56