‘I called my book Death’s-head Swordsman, because X. Trapnel’s sword-stick symbolized the way he faced the world. The book’s epigraph — spoken as you will recall, by an actor holding a skull in his hands — emphasizes that Death, as well as Life, can have its beauty.
‘Whether our death be good
Or bad, it is not death, but life that tries.
He lived welclass="underline" therefore, questionless, well dies.’
Gwinnett stopped. He sat down. The audience, myself included, supposing he was going to elaborate the meaning of the quotation, draw some analogy, waited to clap. Whatever significance he attached to the lines, they remained unexpounded. After the moment of uncertainty some applause was given. Emily Brightman whispered approval.
‘Good, didn’t you think? I impressed on Russell not to be prosy.’
Conversation became general. In a minute or two people would begin to move from their seats — a few were doing so already — and the party break up. I turned over in my mind the question of seeing, or not seeing, Gwinnett, while he remained in England. Now that his work on Trapnel was at an end we had no special tie, although in an odd way I had always felt well disposed towards him, even if his presence imposed a certain strain. The matter was likely to lie in Gwinnett’s hands rather than mine, and in any case, he was only to stay a week. It could be put off until research brought him over here again.
‘In the end we decided against the Bahamas,’ said the director’s lady.
At the far end of the dining-room a guest at one of the tables had begun to talk in an unusually loud voice, probably some author, publisher or reviewer, who had taken too much to drink. There had been enough on supply, scarcely an amount to justify anything spectacular in the way of intoxication. Whoever was responsible for making so much row had probably arrived tipsy, or, during the time available, consumed an exceptional number of pre-dinner drinks. Members, for instance — who put away more than he used — was rather red in the face, no more than that. Conceivably, the noise was simply one of those penetrative conversational voices with devastating carrying power. Then a thumping on the table with a fork or spoon indicated a call for silence. Somebody else wanted to make a speech. There was going to be another unplanned oration, probably on the lines of Alaric Kydd’s tribute to the memory of the homosexual politician, whose biography had received the Prize that year.
‘Look — Lord Widmerpool is going to speak. He was awfully good when I heard him on telly. He talked of all sorts of things I didn’t know about in the most interesting way. He’s not at all conventional, you know. In fact he said he hated all conventions. The American was rather dull, wasn’t he?’
The moment inevitably recalled that when, at a reunion dinner of Le Bas’s Old Boys, Widmerpool had risen to give his views on the current financial situation. I had seen little or nothing of his later career as a public man, so this occasion could have been far from unique. Even if he made a practice nowadays of impromptu speaking, the present gathering was an extraordinary one to choose to draw attention to himself.
‘Magnus Donners Prize winner, judges and guests, there is more than one reason why I am addressing you tonight without invitation.’
The parallel with the Old Boy dinner underlined the changes taken place in Widmerpool’s oratory. In former days a basic self-assurance had been tempered with hesitancy of manner, partly due to thickness of utterance, partly to consciousness of being on uneasy terms with his contemporaries. All suggestion of unsureness, of irresolution, was gone. When a sentence was brought out too quickly, one word, rasping over the next in a torrent of excited assertion, the meaning might become blurred, but, on the whole, the diction had become more effective with practice, and a changed accentuation.
‘I address you in the first place as the once old friend and business colleague of the late Magnus Donners himself, the man we commemorate tonight by the award of the Prize named after him, and by the dinner we have just eaten. In spite of this, no more than a few words have been spoken of Donners, as public man or private individual. In certain respects that is justified. Donners represented in his public life all that I most abhor. Let me at once go on record as expressing this sentiment towards him. All that I hold most pernicious characterized Donners, and his doings, in many different ways, and in many parts of the world. Nevertheless Donners put me in charge, many years ago, of the sources from which the monies derive that make up the amount of the Prize, and pay for our dinner tonight. That, as I say, was many years ago. I do not wish to speak more of my own work than that. It was hard work, work scrupulously done. I make these introductory remarks only to convince you that I have strong claims to be given a hearing.’
Widmerpool paused. He gazed round. The room was quite silent, except for the Quiggin twins, who, paying no attention whatever to Widmerpool’s words, were muttering and giggling together. No one could blame them for that. It looked as if we were in for a longish harangue. Quiggin, from a table over the way, kept an eye on his daughters. On the other hand, Ada seemed riveted by Widmerpool himself. Half smiling, she sat staring at him, possibly musing how extraordinary that Pamela Flitton, her old friend, should once have been his wife. Matilda was watching Widmerpool too. Her face had assumed a look of conventional stage surprise, one appropriate to an actress, no longer young, playing a quizzical role in comedy or farce. This expression remained unchanged throughout Widmerpool’s strictures on Sir Magnus. The dark profile of Delavacquerie, grave, firm, rather sad in repose, gave nothing away. Nor did Gwinnett, either by look or movement, show any reaction. Gwinnett might have been listening to the most banal of congratulatory addresses, delivered by the official representative of some academic body. Widmerpool passed his hand inside the neck of his sweater. He was working himself up.
‘We are often told we must establish with certainty the values of the society in which we live. That is a right and proper ambition, one to be laid down without reticence as to yea or nay. Let me say at once what I stand for myself. I stand for the dictatorship of free men, and the catalysis of social, physical and spiritual revolution. I claim the right to do so in the name of contemporary counterculture, no less than in my status as trustee of the fund of which I have already spoken. But — let me make this very plain — neither of these claims do I regard as paramount. I have yet another that altogether overrides the second, and expresses in an intrinsic and individual formula a point of contact to be looked upon as the veritable hub of the first.’
Widmerpool again stopped speaking. He was sweating hard, though the night was far from warm. He took a long drink of water. No one interrupted — as some of the more impatient had done in the course of Alaric Kydd’s extempore harangue — probably kept silent from sheer surprise. Widmerpool also managed to give the impression he was coming on to something that might be worth hearing. In fact the Donners-Brebner director’s wife had been to some extent justified in her assessment.
‘There are persons here tonight aware that I am myself referred to — even if not by name — in the biography that has received this year’s Magnus Donners Memorial award, the work we have come together to celebrate at this dinner. For the benefit of those not already in possession of that information — those who do not know that, under the cloak of a specious anonymity, the story of my own married life is there recorded — I take the opportunity to announce that fact. I was the husband of the woman who destroyed the wretched author Trapnel’s manuscript book — or whatever it was of his literary work that she destroyed — one of the steps on the downfall of Trapnel, and of herself.’