A Dance to the Music of Time: 2nd Movement

by Anthony Powell

  ‘Tell me, do tell me, Lady Widmerpool, where did you get those quite delectable sandals?’

  Pamela accepted the tribute. They went into the question together. I explained to Glober how we had met before.

  ‘Do you remember—the Augustus John drawing?’

  He thought for a moment, then began to laugh loudly. Putting a hand on my shoulder, he continued to laugh.

  ‘This warms me like news from home. Is it really thirty years? I just don’t believe you. The charming Mrs Pontner. It was a privilege to meet her. How is she?’

  ‘No more with us, I’m afraid.’

  ‘Passed on?’

  ‘Yes.’

  Glober shook his head in regret.

  ‘Was that recently?’

  ‘During the war. I hadn’t seen her for ages, even by then. She’d married Lilienthal, the bookseller with the beard, who came to your party too. When Pontner died, Mopsy went to help in the bookshop. Then Xenia went off with an Indian doctor, and Mopsy married Lilienthal.’

  ‘Mrs Lilienthal was the little redhead with the bad cold?’

  Glober certainly possessed astonishing powers of recall. I could hardly bring his guests to mind myself, the facts just offered having come from Moreland a comparatively short time before. Otherwise, I should never have remembered (nor indeed known about) most of what I had just related. Whenever we met, which was not often, Moreland loved to talk of that period of his life, days before marriage, ill health, living with Mrs Maclintick, had all, if not overwhelmed him, made existence very different. On that particular meeting, he had dredged up the story of Mopsy Pontner’s sad end; for sad it had been. Glober shook his head, and sighed.

  ‘Mrs Pontner, too. I recall her so well.

  The forehead and the little ears

  Have gone where Saturn keeps the years.’

  ‘You didn’t produce that extempore?’

  ‘Edwin Arlington Robinson.’

  I was glad to hear a representative quotation from a poet named by Dr Brightman as contributing a small element to Gwinnett’s makeup, and wondered how often, when obituary sentiments were owed in connexion with just that sort of personal reminiscence, Glober had found the tag apposite. Frequently, his promptness suggested. The possibility in no manner abated its felicity. We talked for a minute or two about other aspects of that long past London visit of his. I told him Tokenhouse now lived in Venice, but Glober did not rise to that, reasonably enough. The strange thing was how much he remembered. This conversation did not please Pamela. Abandoning an apparently amicable chat about footgear with Dr Brightman, she now pointed to the ceiling.

  ‘You haven’t explained yet what’s happening up there.’

  When she addressed Glober, the tone suggested proprietary rights. One of the paradoxes about Pamela was a sexuality, in one sense almost laughably ostentatious, the first thing you noticed about her; in another, something equally connected with sex that seemed reluctant, extorted, a possession she herself utterly refused to share with anyone.

  ‘What’s happening? That’s what I want to know.’

  She stood, legs thrust apart, staring upward. White trousers, thin as gauze, stretched skintight across elegantly compact small haunches, challengingly exhibited, yet neatly formed; hard, pointed breasts, no less contentious and smally compassed, under a shirt patterned in crimson and peacock blue, stuck out like delicately shaped bosses of a shield. These colours might have been expressly designed—by dissonance as much as harmony—for juxtaposition against those pouring down in brilliant rays of light from the Tiepolo; subtle yet penetrating pinks and greys, light blue turning almost to lavender, rich saffrons and cinnamons melting into bronze and gold. Pamela’s own tints hinted that she herself, only a moment before, had floated down out of those cloudy vertical perspectives, perhaps compelled to do so by the artist himself, displeased that her crimson and peacock shades struck too extravagant a note, one that disturbed rather than enriched a composition, which, for all its splendour, remained somehow tenebrous too. If so, reminder of her own expulsion from the scene, as she contemplated it again, increasingly enraged her.

  ‘Can’t anybody say anything?’

  Glober, half turning in her direction, and smiling tolerantly, parodied the speech of a tourist.

  ‘Oh, boy, it sure is a marvellous picture, that Tee-ay-po-lo.’

  All of us, even Dr Brightman, fixed attention once more on the ceiling, as if with the sole object of producing an answer to Pamela’s urgent enquiry. There was plenty on view up there. Pamela’s desire to have more exact information, even if ungraciously expressed, was reasonable enough once you considered the picture. Dr Brightman took up her former exposition, now delivered to a larger audience.

  ‘The Council of Ten made trouble at the time. Objection was not, so many believe, to danger of corrupting morals in the private residence of a grandee, so much as to the fact that the subject itself was known to bear reference to the habits of one of the most Serene Republic’s chief magistrates, another patrician, with whom the Bragadin who owned this palace had quarrelled. The artist has illustrated the highspot of the story’s action.’

  The scene above was enigmatic. A group of three main figures occupied respectively foreground, middle distance, background, all linked together by some intensely dramatic situation. These persons stood in a pillared room, spacious, though apparently no more than a bedchamber, which had unexpectedly managed to float out of whatever building it was normally part—some palace, one imagined—to remain suspended, a kind of celestial ‘Mulberry’ set for action in the upper reaches of the sky. The skill of the painter brought complete conviction to the phenomena round about. Only a sufficiently long ladder—expedient perhaps employed for banishing Pamela from on high—seemed required to reach the apartment’s so trenchantly pictured dimension; to join the trio playing out whatever game had to be gambled between them by dire cast of the Fates. That verdict was manifestly just a question of time. Meanwhile, an attendant team of intermediate beings—cupids, tritons, sphinxes, chimaeras, the passing harpy, loitering gorgon—negligently assisted stratospheric support of the whole giddy structure and its occupants, a floating recess perceptibly cubist in conception, the view from its levels far outdoing anything to be glimpsed from the funicular; moreover, if so nebulous a setting could be assigned mundane location, a distant pinnacle, or campanile, three-quarters hidden by cloud, seemed Venetian rather than Neapolitan in feeling.

  ‘Who’s the naked man with the stand?’ asked Pamela.

  An unclothed hero, from his appurtenances a king, reclined on the divan or couch that was the focus of the picture. One single tenuous fold of gold-edged damask counterpane, elsewhere slipped away from his haughtily muscular body, undeniably emphasized (rather than concealed) the physical anticipation to which Pamela referred, of pleasure to be enjoyed in a few seconds time; for a lady, also naked, tall and fair haired, was moving across the room to join him where he lay. To guess what was in the mind of the King—if king he were—seemed at first sight easy enough, but closer examination revealed an unforeseen subtlety of expression. Proud, self-satisfied, thoughtful, more than a little amused, he seemed to be experiencing mixed emotions; feelings that went a long way beyond mere expectant sensuality. No doubt the King was ardent, not to say randy, in the mood for a romp; he was experiencing another relish too.

  The lady—perhaps the Queen, perhaps a mistress—less intent on making love, anxious to augment pending pleasure by delicious delay, suddenly remembering her own neglect of some desirable adjunct, or necessary precaution, incident on what was about to take place, had paused. Her taut posture, arrested there in the middle of the bedchamber, immediately proposed to the mind these, and other possibilities; that she was utterly frigid, not at all looking forward to what lay ahead; that—like Pamela herself—she was frigid but wanted a lot of it all the same; that her excitement was no less than the King’s, but her own attention had been suddenly deflected from the matter in hand by a dist
urbing sound or movement, heard, perceived, sensed, in the shadows of the room. She had scented danger. This last minute retardation in coming to bed had, at the same time, something of all women about it; the King’s anticipatory complacence, something of all men.

  The last possibility—that the lady had noticed an untoward happening in the background of the bedchamber—was the explanation. Her eyes were cast on the ground, while she seemed to contemplate looking back over her shoulder to scrutinize further whatever dismayed her. Had she glanced behind, she might, or might not, have been in time to mark down in the darkness the undoubted source of her uneasiness. A cloaked and helmeted personage was slipping swiftly, unostentatiously, away from the room towards a curtained doorway behind the pillars, presumably an emergency exit into the firmament beyond. At that end of the sky, an ominous storm was plainly blowing up, dark clouds already shot with coruscations of lightning and tongues of flame (as if an air-raid were in progress), their glare revealing, in the shadows of the bedchamber, an alcove, where this tall onlooker had undoubtedly lurked a moment beforehand. Whether or not the lady was categorically aware of an intruding presence threatening the privacy of sexual embrace, whether her suspicions had been only partially aroused, was undetermined. There was no doubt whatever some sort of apprehension had passed through her mind. That was all of which to be certain. The features of the cloaked man, now in retreat, were for the most part hidden by the jutting vizor of the plumed helmet he wore, so that his own emotions were invisible. The calmly classical treatment of the scene, breathtaking in opulence of shapes and colours, imposed at the same time a sense of awful tension, imminent tragedy not long to be delayed.

  ‘I wonder whether the model was the painter’s wife,’ said Dr Brightman. ‘She occurs so often in his pictures. I must look into that. If so, she was Guardi’s sister. Gyges looks rather like the soldier in The Agony in the Garden, who so much resembles General Rommel.’

  ‘I don’t remember the story. Didn’t Gyges possess a magic ring?’

  ‘That was my strong conviction too,’ said Glober.

  Dr Brightman offered no apology for settling down to the comportment of a professional lecturer, one she fulfilled with distinction.

  ‘Candaules was king of Lydia—capital, Sardis, of the New Testament—Gyges his chief officer and personal friend. Candaules was always boasting to Gyges of the beauty of his wife. Finding him, as the King thought, in-sufficiently impressed, Candaules suggested that Gyges should conceal himself in their bedroom in such a manner that he had opportunity to see the Queen naked. Gyges made some demur at that, public nakedness being a state the Lydians considered particularly scandalous.’

  ‘The Lydians sound just full of small-town prejudices,’ said Glober.

  ‘On the contrary,’ said Dr Brightman.’ The Greeks did not know what being rich meant until they came in contact with the Lydians, now thought to be ancestors of the Etruscans.’

  I remembered the text, from the Book of Revelation, inscribed in gothic lettering on the walls of the chapel that had been the Company’s barrack-room, when I first joined. Now it seemed particularly apt.

  ‘Thou hast a few names even in Sardis which have not defiled their garments, and they shall walk with me in white, for they are worthy.’

  ‘Exactly,’ said Dr Brightman. ‘Gyges tried to be one of the worthy at first, but Candaules insisted, so he gave in, and was hidden in the royal bedchamber. Unfortunately for her husband, the Queen noticed the reluctant voyeur stealing away—we see her doing so above—and was understandably incensed. She sent for Gyges the following day, and presented him with two alternatives: either he could kill Candaules, and marry her en secondes noces, or—no doubt a simple undertaking in their respective circumstances at the Lydian court—she would arrange for Gyges himself to be done away with. In the latter event, familiarity with her unclothed beauty would die with him; in the former, become a perfectly proper aspect of a respectably married man’s—or rather married king’s—matrimonial relationship. Gyges chose the former course of action. His friend and sovereign, Candaules, was liquidated by him, he married the Queen, and ruled Lydia with credit for forty years.’

  There was pause after Dr Brightman’s terse recapitulation of the story. Everyone seemed to be thinking it over. Glober was the first to speak.

  ‘Then the owner of the magic ring was another guy—another Gyges rather? Not the same Gyges that saw the lady nude?’

  Dr Brightman gave the smile reserved for promising pupils.

  ‘Versions vary in all such legends. According to Plato, Gyges descended into the earth, where he found a brazen horse, within which lay the body of a huge man wearing a brazen ring on his finger. Gyges took the ring, which had the property of rendering its wearer invisible. This attribute may well have facilitated the regicide. The Hollow Horse, you remember, is a widespread symbol of Death and Rebirth. You probably came across that in the works of Thomas Vaughan, the alchemist, Mr Jenkins, in the course of your Burton researches. The historical Gyges may well have excavated the remains of some Bronze Age chieftain, buried within a horse’s skin or effigy. Think of the capture of Troy. I don’t doubt they will find horses ritually buried round Sardis one of these days, where a pyramid tomb may still be seen, traditionally of Gyges—whose voyeurism brought him such good fortune.’

  This was getting a long way from Tiepolo, but, seasoned in presentation of learning, Dr Brightman had dominated her audience. Even Pamela, who might have been expected to interrupt or walk away, had listened with attention. So far from becoming restless or rebellious, she too showed signs of being impressed, in hèr own way stimulated, by the many striking features of the Candaules/Gyges story. Her cheeks had become less pale. Glober responded to the legend too, though in quite a different manner. He seemed almost cowed by its implications.

  ‘That’s a great tale,’ he said. ‘David and Uriah the other way round.’

  ‘An excellent definition,’ said Dr Brightman. ‘You mean Candaules, by so to speak encouraging a Peeping Tom, put himself, without foreseeing that, in the forefront of the battle. One thinks of Vashti and Ahasuerus too, where much less was required. Nowadays such a treat would be in no way comparable. You need to go no further than the Lido to contemplate naked bodies—all but naked at least—but in Lydia, Judah too for that matter, the bikini would not have been tolerated.’

  ‘There’s a difference between a bikini, and nothing at all, Dr Brightman,’ said Glober. ‘You’ve got to grant that much.’

  Pamela was full of contempt for such a comment. Now she showed herself getting back to her more normal form.

  ‘What are you talking about? What the King wanted was to be watched screwing.’

  If she supposed that observation likely to discompose Dr Brightman, Pamela made a big mistake, though she was herself by then likely to be beyond such primitive essays in shocking. She had always spoken out exactly as she felt on any given occasion; at least exactly as it suited her to give public expression to whatever she wished to pass as her own feelings. In this particular case, she seemed genuinely interested in the true aim of Candaules, the theory put forward, a matter of psychological accuracy, rather than lubricious humour. Dr Brightman did not hesitate to take up the challenge.

  ‘Others, as well as yourself, have supposed mere nakedness an insufficient motif, Lady Widmerpool. Gautier, in his conte written round the legend, characteristically adumbrates a melancholy artist-king, intoxicated by the beauty of his artist-model queen, whom he displays secretly to his friend Gyges, drawn as a French lieutenant of cavalry. Gide, on the other hand, takes quite a different view, somewhat reorganizing the story. Gide’s Gyges is a poor fisherman, who delivers to the King’s table a fish, in which the ring of invisibility is found. Candaules, a liberal, forward-looking, benevolent monarch—no less melancholy than Gautier’s prince, though not, like him, a mere Ivory Tower aesthete—decides as a matter of social conscience to bestow on his impoverished subject, the fisherman, some of t
he privilege a king enjoys. Among such treats is the sight of the Queen naked. To this end, Candaules lends Gyges the ring. Gyges, once invisible, is master of the situation. He spends a night with the wife of Candaules, who thinks her husband in unusually high spirits. Naturally, Gyges slays his benefactor in the end, taking over Queen and Kingdom.’

  ‘That taught His Majesty to brag about his luck,’ said Glober. ‘He went that much too far.’

  Dr Brightman allowed such a point of view.

  ‘Gide’s political undertones insinuate that Candaules represents a too tolerant ruling class, over anxious to share personal advantages, some of which are perhaps better left unshared, anyway that sharing, in the case of Candaules, led to disaster. You must remember the play was written nearly half a century ago. I need hardly add that both Gautier and Gide treat the theme in essentially French terms, as if the particular events described could have taken place only in France.’