‘Is this really true? Are you sure it’s Carolo? Musical types often resemble each other facially, especially violinists. I’ve noticed when conducting.’
Audrey Maclintick would have none of that.
‘I lived with the man for three years, didn’t I? Why should I say he was substitute Violin, if he wasn’t I got to know him by sight, even if he didn’t spend much time in the house.
Her fluster about the matter was unforeseen. On the whole, one would have been much more prepared for complete indifference. Objecting to the presence of Matilda was another matter. The intensity of feeling that bound Audrey Maclintick to Moreland was all at once momentarily revealed. Moreland made a face in my direction. He must have been wondering whether Matilda — actually married to Carolo for a short period in her early life — had also noticed the presence of her former husband. All this talk caused Gossage to suffer one of his most severe conjunctions of embarrassment. Like a man playing an invisible piano, he made wriggling movements in the air with fingers of both hands, while he mused aloud in a kind of aside.
‘I did hear Carolo was not so very prosperous some years ago. No reason why he shouldn’t have substituted tonight, prosperous or not. Did it to oblige, I expect.’
Chandler disagreed.
‘Who ever heard of Carolo being obliging, since the days when he was fiddling away at Vieuxtemps, in a black velvet suit and lace collar? He’s not dressed like that tonight, is he? Now that we’re none of us so young, I’m wearing quieter clothes myself.’
That gave Moreland a chance to deflect the conversation.
‘Nonsense, Norman, you’re known as London’s most eminent Teddy Boy.’
The measure was successful so far as putting an end to further discussion about Carolo, until time to return to the marquee. On the way there, Gossage was still muttering to himself.
‘They’ve got polish. Vivacity.’
That was safely to relegate Carolo to a collective group. The orchestra could not be seen from where we sat. So far as I know, direct contact was never made during the further course of the evening between Carolo and his former ladies, but, at the termination of the opera, expression was given to a kind of apotheosis of the situation. This juncture, brief but striking, to be appreciated only by those conversant with Carolo’s earlier fame, was too dramatic, too trite, to be altogether good art. Nevertheless, it had its certain splendour, however banal. This happened when, praise of the Pasha’s renunciation of revenge chanted to a close, the curtain fell to much applause; then rose again for the reappearance of the cast. The audience was enthusiastic. The curtain rose, fell again, several times. The cast bowed their way off. It was the turn of the orchestral players. They trooped on to the stage.
‘Which is Carolo?’ whispered Isobel.
I was not sure I should have recognized him among the Violins without prompting. That was not because Carolo’s appearance had become in any manner less picturesque than when younger. On the contrary, the romantic raven locks, now snow white, had been allowed to grow comparatively long, in the manner of Liszt, to whom Carolo bore some slight resemblance. His whole being continued to proclaim the sufferings of the artist, just as in days gone by, in the basement dining-room of the Maclinticks. He bowed repeatedly (without the warmth of the old singer in Venice) to the charity-performance guests, with his colleagues, the general acknowledgment of the orchestra.
Then the orchestral players turned, in unison, towards the side of the auditorium, where Rosie and Stevens sat, together with Matilda, the Cabinet Minister and his wife. To these, as begetters of the show, Carolo and his fellows now made a personal tribute, Matilda, of necessity, included in this profound obeisance. The faint smile she gave, while she clapped, was not, I think, illusory. It marked her recognition that rôles had changed since Carolo, young and promising musician, had picked up, married, a little girl from the provinces, just managing to keep afloat as an actress. Matilda’s attitude, more philosophic than Audrey Maclintick’s, had not been of the temperament to remain married to Moreland. A few minutes later, illustration was provided of unlikely ties that can, on the other hand, keep a couple together, without marriage, probably without sexual relationship. This took place on the way to the supper-room. Odo Stevens came up with two people for whom he wanted to find a place.
‘Do you remember, when you and I lived in that block of flats during the war — just before I went off with my Partisans? Of course you do. Here’s Myra Erdleigh, who was there too, and this is Mr Stripling. Jimmy Stripling is teaching me a lot about my new passion I was talking about in Venice, vintage cars. Let’s find a table.’
Age — goodness knows how old she was — had exalted Mrs Erdleigh’s unsubstantially. She looked very old indeed, yet old in an intangible, rather than corporeal sense. Lighter than air, disembodied from a material world, the swirl of capes, hoods, stoles, scarves, veils, as usual encompassed her from head to foot, all seeming of so light a texture that, far from bringing an impression of accretion, their blurring of hard outlines produced a positively spectral effect, a Whistlerian nocturne in portraiture, sage greens, sombre blues, almost frivolous greys, sprinkled with gold.
Jimmy Stripling, certainly a lot younger than Mrs Erdleigh, had become old in a different, more conventional genre. Tall, shambling, what remained of his hair grey, rather greasy, his bulky figure, which took up more room than ever, was shapeless and bent. Even so, he seemed in certain respects less broken down, morally speaking, than in his middle period. To be old suited him better, gave excuse to a bemused demeanour, pulled it together. Stevens was delighted with both of them.
‘Myra and I met again in Venice. That was after you’d left. We talked a lot about those wartime flats, and the people who lived there. All those Belgians. Myra told my fortune then. She predicted a belle guerre for me. I didn’t have too bad a one, so she prophesied right.’
Mrs Erdleigh took my hand. As in the past, her touch brought a sense of intercommunication, one conveyed by vibrations that imposed themselves almost more by not-being, than by being. They emphasized the inexistence of the flesh, rather than, by direct contact, extending its pressures and undercurrents.
‘We have not met since that night of dangers.’
She smiled her otherworldly smile, misted hazel eyes roaming over past and future, apportioning to each their substance and shadow, elements to herself one and indivisible. I asked if she had been staying at the Bragadin palace. She shook her head in a faraway manner.
‘I went only a few times to see Baby Clarini. She is a very old friend. Under Scorpio, like that other lady at the Palazzo, who is here tonight. Baby has had a sad life. She has never delved down to those eternal foundations, of which Thomas Vaughan speaks — Eugenius Philalethes, as we know him — that transform the hard stubborn flints of the world into chrysolites and jasper.’
She did not seem at all surprised when I told her Dr Brightman had also, speaking of Borage and Hellebore, invoked the name of Thomas Vaughan in Venice.