The “boudoir” opened into the small smoking-room, where Jonathan permitted a telephone and a radio set, but which, he explained, had in other respects remained unaltered since his father died. Here were leather chairs, a collection of sporting prints flanked by a collection of weapons and by fading groups of Jonathan and his Cambridge friends in the curious photographic postures of the nineties. Above the mantelpiece hung a trout-rod, complete with cast and fly.
“Sweet-scented tobacco plants, you see,” said Jonathan, “in pots. A trifle obvious, but I couldn’t resist them. Now the library.”
The library opened out of the smoking-room. It had an air of being the most used room in the house, and indeed it was here that Jonathan could generally be found amid a company of books that bore witness to generations of rather freakish taste and to the money by which such taste could be gratified. Jonathan had added lavishly to the collection. His books ranged oddly from translations of Turkish and Persian verse to the works of the most inscrutable of the moderns and text-books on criminology and police detection. He had a magpie taste in reading, but it was steadied by a constancy of devotion to the Elizabethans.
“Here,” he said, “I was troubled by an embarrassment of riches. A Shakespearian nosegay seemed a little vieux jeu, but on the other hand it had the advantage of being easily recognized. I was tempted by Leigh Hunt’s conceit of ‘saying all one feels and thinks in clever daffodils and pinks; in puns of tulips and in phrases, charming for their truth, of daisies.’ Unfortunately the glass-houses were not equal to Leigh Hunt in midwinter, but here, you see, is the great Doctor’s ensign of supreme command, the myrtle; and here, after all, is most of poor Ophelia’s rather dreary little collection. The sombre note predominates. But upstairs I have let myself go again. A riot of snowdrops for Chloris (you take the allusion to William Stone’s charming conceit?), tuberoses and even some orchids for Madame Lisse, and so on.”
“And for Mrs. Compline?”
“A delightful arrangement of immortelles.”
“Aren’t you rather cruel?”
“Dear me, I don’t think so,” said Jonathan, with a curious glance at his guest. “I hope you admire the really superb cactus on your window-sill, Aubrey. John Nash might pause before it, I believe, and begin to plan some wonderful arrangement of greys and elusive greens. And now I must telephone to Sandra Compline and after that to Dr. Hart. I am making the bold move of suggesting he drive Madame Lisse. Hersey has her own car. Will you excuse me?”
“One moment. What flowers have you put in your own room?”
“Honesty,” said Jonathan.
Mrs. Compline, her son William, and his fiancée Chloris Wynne, arrived by car at four o’clock. Mandrake discovered himself to be in almost as high a state of excitement as his host. He was unable to decide whether Jonathan’s party would prove to be disastrous, amusing, or merely a bore, but the anticipation, at least, was enthralling. He had formed a very precise mental picture of each of the guests. William Compline, he decided, would present the most interesting subject-matter. The exaggerated filial devotion, hinted at by Jonathan, brought him into the sphere of Mandrake’s literary interest. And muttering “mother-fixation” to himself, he wondered if indeed he should find in William the starting point for a new dramatic poem. Poetically, Mrs. Compline’s disfigurement might best be conveyed by a terrible mask, seen in the background of William’s spoken thoughts. “Perhaps in the final scene,” thought Mandrake, “I should let them turn into the semblance of animals. Or would that be a little banal?” For not the least of a modern poetic dramatist’s problems lies in the distressing truth that where all is strange nothing escapes the imputation of banality. But in William Compline with his dullish appearance, his devotion to his mother, his dubious triumph over his brother, Mandrake hoped to find matter for his art. He was actually picturing an opening scene in which William, standing between his mother and his fiancée, appeared against a sky composed of cubes of greenish light, when the drawing-room door opened and Caper announced them.
They were, of course, less striking than the images that had grown so rapidly in Mandrake’s imagination. He had seen Mrs. Compline as a figure in a sombre robe, and here she was in Harris tweeds. He had envisaged a black cowl, and he saw a countrified hat with a trout-fly in the band. But her face, less fantastic than his image, was perhaps more distressing. It looked as if its maker had given it two or three vicious tweaks. Her eyes, large and lack-lustre, retained something of their original beauty, her nose was short and straight, but the left corner of her mouth dropped and her left cheek fell into a sort of pocket, so that she looked as though she had hurriedly stowed a large mouthful into one side of her face. She had the exaggeratedly dolorous expression of a clown. As Jonathan had told him, there was a cruelly comic look. When Jonathan introduced them, Mandrake was illogically surprised at her composure. She had a cold, dry voice.
Miss Chloris Wynne was about twenty-three, and very, very pretty. Her light gold hair was pulled back from her forehead and moulded into cusps, so rigidly placed that they might have been made of any material rather than hair. Her eyes were wide apart and beautifully made-up, her mouth was large and scarlet, and her skin flawless. She was rather tall, and moved in a leisurely fashion, looking gravely about her. She was followed by William Compline.
In William, Mandrake saw what he had hoped to see — the commonplace faintly touched by a hint of something that was disturbing. He was in uniform and looked perfectly tidy but not quite smart. He was fair and should have been good-looking, but the lines of his features were blunted and missed distinction, He was like an unsuccessful drawing of a fine subject. There was an air of uneasiness about him and he had not been long in the room before Mandrake saw that whenever he turned to look at his fiancée, which was very often, he first darted a glance at his mother, who never returned it. Mrs. Compline talked easily and with the air of an old friend to Jonathan, who continually drew the others into their conversation. Jonathan was in grand form. “A nice start,” thought Mandrake, “with plenty in reserve.” And he turned to Miss Wynne with the uneasy feeling that she had said something directly to him.
“… I didn’t in the least understand it, of course,” Miss Wynne was saying, “but it completely unnerved me and that’s always rather fun.”
“Ah,” thought Mandrake, “one of my plays.”
“Of course,” Miss Wynne continued, “I don’t know if you were thinking, when you wrote it, what I was thinking when I saw it; but if you were, I’m surprised you got past the Lord Chamberlain.”
“The Lord Chamberlain,” said Mandrake, “is afraid of me and for a similar reason. He doesn’t know whether it’s my dirty mind or his, so he says nothing.”
“Ah,” cried Jonathan, “is Miss Wynne a devotee, Aubrey?”
“A devotee of what?” asked Mrs. Compline in her exhausted voice.
“Of Aubrey’s plays. The Unicorn is to reopen with Aubrey’s new play in March, Sandra, if all goes well. You must come to the first night. It’s called ‘Bad Black-out’ and is enormously exciting.”
“A war play?” asked Mrs. Compline. It was a question that for some reason infuriated Mandrake, but he answered with alarming politeness that it was not a war play but an experiment in two-dimensional formulism. Mrs. Compline looked at him blankly and turned to Jonathan.
“What does that mean?” asked William. He stared at Mandrake with an expression of offended incredulity. “Two-dimensional? That means flat, doesn’t it?”