Hearing Secret Harmonies - Anthony Powell [41]
‘Thanks for your letter, and congratulations. I didn’t reply. I was pretty sure I’d be seeing you, after what Mr Delavacquerie told me.’
‘It was only meant as a line to say how much I’d enjoyed the book, Russell. Delighted it won the Prize. Also glad to see you over here again. You haven’t met Isobel. You’re sitting next to each other at dinner.’
Giving her a long searching look, Gwinnett took Isobel’s hand. He remained unsmiling. When I had last seen him, his appearance seemed young for his age, then middle thirties. Now, in middle forties, he might have been considered older than that. He had also added to his personality some not at once definable characteristics, a greater compactness than before. Perhaps that impression was due only to a changed exterior. All physical slightness was gone. Gwinnett was positively heavy now in build. He had shaved off the thin line of moustache, and was totally bald. Such hair as might have remained above his ears had been rigorously clipped away. Below were allowed two short strips of whisker. The shaven skull – which made one think at once of his book’s title – conferred a tougher look than formerly. He had always something of the professional gymnast. The additional fleshiness might have been that of a retired lightweight boxer or karate instructor. Pale blue lenses, once worn in his spectacles, had been exchanged for large rimless circles of glass girdered with steel.
‘I’ve heard a lot about you, Mr Gwinnett.’
Gwinnett slightly inclined his head. He wholly accepted Isobel must have heard a lot about him, that others in the room might have heard a lot about him too. Such was what his manner suggested. It was surprising how little to be regarded as authentic was available even now. The Pamela Widmerpool episode apart, he was scarcely less enigmatic than when I had first sat next to him at one of the luncheons of the Venice conference, and we had talked of the Sleaford Veronese. Delavacquerie returned, bringing with him Emily Brightman and Members, the last of whom had not previously met Gwinnett. Old friend as she was, Emily Brightman had observed Gwinnett’s arrival no more than myself. She, too, may have found him unrecognizable. If so, she covered that by the warmth of greeting when she took his hand. I think, in her way, she was much attached to him. If she felt doubts about some of the complexities of Gwinnett’s nature, she put into practice her belief that certain matters, even if known to be true, are not necessarily the better for being said aloud.
‘How are you, Russell? Why have you never written and told me about yourself for all these years? Wasn’t it nice that we were able to give you the Prize? You have produced a work to deserve it. How long are you remaining in this country?’
‘Just a week, Emily. I’ll be back again next year. I’ve got research to do over here.’
‘Another great work?’
‘I guess so.’
‘What’s the subject. Or is that a secret?’
‘No secret at all – The Gothic Symbolism of Mortality in the Texture of Jacobean Stagecraft.’
Gwinnett, always capable of bringing off a surprise, did so this time. Neither Emily Brightman nor I were quite prepared for the title of his new book.
‘Some people – I think you among them, Emily – judged X. Trapnel a little lightweight as a theme. I do not think so myself, but that has been suggested. I decided to look around for a new focus. I see the Jacobean project as in some ways an extension, rather than change, of subject matter. Trapnel had much in common with those playwrights.’
This offered yet another reason for the epigraph introducing Death’s-head Swordsman. Gwinnett had been speaking with the enthusiasm that would suddenly, though rarely, come into his voice. Members, who had no reason to be greatly interested in Gwinnett’s academic enterprises, strayed off to examine the new Mrs Salvidge. There was a pause. Even Emily Brightman seemed to have no immediate comment to make on the Jacobean dramatists. Gwinnett had the characteristic of imposing silences. He did so now. I broke it with a piece of seventeenth-century pedantry that seemed at least an alternative to this speechlessness.