Anthony Powell - Temporary Kings

‘Look — Candaules and Gyges .’

At our immediate entry the room had seemed empty. A second later, the presence of two other persons was revealed. The unconventional position both had chosen to assume, for a brief moment concealed, as it were camouflaged, their supine bodies, one male, the other female. In order the better to gaze straight ahead at the Tiepolo in a maximum of comfort, they were lying face upwards, feet towards each other, on two of the stone console seats, set on either side of the recess of a high pedimented window. The brightness of the sun flowing in had helped to make this couple invisible. At first sight, the pair seemed to have fainted away; alternatively, met not long before with sudden death in the vicinity, its abruptness requiring they should be laid out in that place as a kind of emergency mortuary, just to get the bodies out of the way pending final removal. Dr Brightman, noticing these recumbent figures too, gave a quick disapproving glance, but, without comment on their posture, began to speak aloud her exposition on the ceiling.

‘As Russell Gwinnett said, one is a little reminded of Iphigenia in the Villa Valmarana, or the Mars and Venus there. The usual consummate skill in handling aerial perspectives. The wife of Candaules — Gautier calls her Nyssia, but I suspect the name invented by him — is obviously the same model as Pharaoh’s daughter in Moses saved from the water at Edinburgh, also the lady in all the Antony and Cleopatra sequences, such as those at the Labia Palace, which I was once lucky enough to see.’

To make no mistake, I took another swift look at the couple lying on the ledges under the window. There was no mistake. They were sufficiently far away to convey quietly to Dr Brightman that we were in the presence of her ‘very bedworthy gentlewoman’, heroine, by implication, of ‘L’après-midi d’un monstre’. The horizontal figure on the left was certainly Pamela Widmerpool; the man on the right, lying like an effigy of exceptional length on a tomb, was not known to me. Dr Brightman as usual kept her head. Adjusting her spectacles, so as to make a more thorough survey of Pamela when the moment came, she continued to gaze for a few seconds upwards, her tone, at the same time, showing the keen interest she felt in this disclosure.

‘Lady Widmerpool? Indeed? I’ll curb my aesthetic enthusiasms in a moment in order to scan her surreptitiously.’

She concentrated for at least a minute on the Tiepolo, before making an inspection in her own time and manner. Leaving her to do that, I crossed the floor to where Pamela had brought her body into almost upright position in order to cast a disdainful glance on whoever had entered the room. As I advanced she gave one of her furious looks, then, without smiling, accepted that we knew each other.

‘Hullo, Pamela.’

‘Hullo.’

Much of the beauty of her younger days remained in her late thirties. She had allowed her hair to go grey, perhaps deliberately engineered the process, silver tinted, with faint highlights of strawberry pink that glistened when caught by sunlight. She looked harder, more angular in appearance, undiminished in capacity for putting less aggressive beauties in the shade. Apart from the instant warning of general hostility to all comers that her personality automatically projected, an unspoken declaration that no man or woman could remain unthreatened by her presence, she did not appear displeased at this encounter, merely indifferent. Even indifference was qualified by a certain sense of suppressed nervous excitement, suggesting tensions almost compliant to interruption of whatever she was doing. Usually her particular form of self-projection excluded conceding an inch in making contacts easier, outward expression, no doubt, of an inner sexual condition. She was like a royal personage, prepared to converse, but not bestowing the smallest scrap of assistance to the interlocutor, from whom all effort, every contribution of discursive vitality, must come. Now, on the other hand, she unbent a little.

‘Jacky didn’t mention you were staying. I suppose you arrived in that ghastly middle-of-the-night plane. Who’s the old girl? One of Jacky’s dykes?’

That was about the furthest I had ever heard Pamela go in the way of taking conversational initiative, for that matter, in showing interest in other people’s doings. I explained that neither Dr Brightman nor myself was the latest addition to the Bragadin house-party; for fun, subjoining a word about Dr Brightman’s academic celebrity. Pamela did not answer. She had the gift of making silence as vindictive as speech. Dr Brightman continued to examine the ceiling, while at the same time she moved discreetly in our direction. When she was near enough I introduced them. Dr Brightman’s manner was courteously firm, Pamela in no way uncivil, though she did not attempt to name the man with her. He, also risen from the flat of his back, had now manifestly put himself into an attitude preparatory for meeting strangers. Evidently he was familiar with Pamela’s distaste for social convention of any kind, in any case well able to look after himself. After giving her a statutory moment or two to make his identity known, he announced himself without her help. The intonation, deep and pleasant, was American.

‘Louis Glober.’

He held out a large white hand, much manicured. The voice came back over the years, the tone just the same, quiet in pitch, masterful, friendly, full of hope. Otherwise hardly a trace remained of the smooth dominating young man who had interviewed Tokenhouse about the Cubist series, given the dinner-party for the John drawing, ‘done’ Mopsy Pontner on the dinner-table in the private suite of that defunct Mayfair hotel. He was still tall, of course, no less full of assurance, though that assurance took rather a different form. It was in one sense less flowing — less like, say, Sunny Farebrother’s determination to charm — in another, tougher, more outwardly ruthless. What Glober had lost, physically speaking (a good deal, including, naturally enough, all essentially youthful adjuncts), was to a certain extent counterbalanced by transmutation into a different type of distinguished appearance. The young Byzantine emperor had become an old one; Herod the Tetrarch was perhaps nearer the mark than Byzantine emperor; anyway a ruler with a touch of exoticism in his behaviour and tastes. What was left of Glober’s hair, scarcely more than a suggestion he once had owned some, was still black — possibly from treatment artificial as Pamela’s — his handsome, sallow pouchy face become richly senatorial. Never particularly ‘American’ in aspect (not, at least, American as pictured by Europeans), now he might have come from Spain, Italy, any of the Slav countries. A certain glassiness about the eyes recalled Sir Magnus Donners, though Glober was, in general, quite another type of tycoon. Before I could reintroduce myself to him, Dr Brightman went into attack with Pamela.

‘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.’