Iris Murdoch - The Sea, the Sea

Then I thought, my candle is shining into her room, making a faint ghostly light in her room. What dreads and fears did she have, poor captive, if she woke in the night? Did she climb on a chair to peer into the dim empty moonlit drawing room? Did she very quietly try the locked door, hoping and fearing to be able to creep downstairs and run away into the dark night? I hurriedly returned to my bedroom and closed the door. I sat on my bed shuddering and looked at my watch. It was half-past two. What was I doing, or rather what was happening to me? I held my head in my hands. I was totally vulnerable and helpless. I had lost control of my life and of the lives with which I was meddling. I felt dread and a terrible fatalism; and bitter grief, grief such as I had never felt in my life since Hartley had left me so many years ago. I had wakened some sleeping demon, set going some deadly machine; and what would be would be.

The next morning something did happen, which was that Rosina turned up.

I had, after my horrible night interlude, managed to sleep. Perhaps sheer fatalism sent me to sleep. Let Ben come, let him set fire to the house, let him kill me. I deserved to die. I felt a good deal less fatalistic and more anxious when I woke up in the morning. It seemed urgently necessary to make a decision, but there was no material, no data, no evidence on which a decision could be made. I passionately wanted to take Hartley away, to London, to anywhere, or rather I wanted to want it enough to be able to do it now. But against her will, should I, could I? Could I pull a resisting, screaming woman into Gilbert’s car and have her driven off? Could I deceive her into thinking she was going home? Would Gilbert let me? Would Titus let me? If I took her away by force, it might harden her against me, and impede that precious movement of her will for which I was so impatiently waiting.

Yet could the situation go on? And if not what else could possibly come of it? I felt it absolutely unthinkable to let Hartley go back to that man, especially after what she had said yesterday about how he would never, never believe her now. Suppose I let her go back and he killed her? I would have murdered her. Could I imagine myself opening the door and saying, all right, I give up, you can go home? No. The only piece of rational discourse which I could hang on to, and it was of great value, was what Hartley had said about the miracle in her mind which had not come about. If she could even utter such words, did not this indicate that her mind was divided and that she had some grain of hope that was favourable to me, some tiny pure inclination to make herself want what I wanted? But she must want to be free and happy, everybody did. She must, somewhere in her tormented soul, want me to take her away, out of misery, out of servitude. She must be moved by the idea of Titus, and the redemption of her love for him, a new family, a new world. She had only to open her eyes and stretch out her hand and say yes. There were vast liberating forces pent up somewhere which were bound to break out. It was just a matter of waiting and keeping her here and letting time enlighten her will.

I had given her breakfast and tried to talk to her and to explain what I have just written here, only she kept saying that she wanted to go home. Her ringed eyes and puffy face and the unnerving languor of her bearing made me wonder if she were not really ill, and whether I should call a doctor. Then, more exasperated than pitying, I wondered if I could not better serve my cause by being brusque, and I left her rather abruptly, and then was sorry. I was standing beside the bead curtain and touching it, uncertain what to do next, when I heard a sudden loud outburst of laughter from down below, followed by some part-singing with a female voice.

I ran down to the kitchen. Rosina was sitting on the table swinging her legs and being (there is no other word for it) worshipped by Gilbert and Titus. She was wearing a dark grey very fine check, very smart lightweight coat and skirt and a white silk blouse and very long wrinkled white high-heeled boots. Her glossy glowing dark hair had been cut or piled by a clever hairdresser into a rounded segmented composition which looked both complex and casual. (Horace would have liked it.) Her intense animal face was blazing with health and vitality and feral curiosity. She was entirely in control of a situation where the other two, perhaps as a result of prolonged strain, had now broken down into helpless crazy giggling and fou rire. My appearance provoked another outburst of slightly hysterical laughter, and they all spontaneously broke into song again. They sang in round, and showed no sign of stopping, an Italian catch whose words I can remember since Titus and Gilbert had been singing it obsessively in the preceding days. Titus taught it to Gilbert and now Rosina had got it too. It went Eravamo tredici, siamo rimasti dodici, sei facevano rima, e sei facevan’ pima-poma-pima-poma. God knows what it was supposed to be about. Singing is of course a form of aggression. The wet open mouths and glistening teeth of the singers are ardent to devour the victim-hearer. Singers crave hearers as animals crave their prey. Intoxicated by their own voices they now roared it out, round and round, Gilbert’s fruity baritone, Titus’s pseudo-Neapolitan tenor and Rosina’s strong rather harsh contralto. I shouted ‘Stop! Stop! Stop that bloody row!’ But they went on singing at me, their bright eyes, moist with laughter, fixed upon me, waving their arms in time to the tune; until at last they wearied, stopped, and went off into another crazy laughing fit.

I sat on a chair and watched them.

Coherent at last, Rosina said, wiping her eyes, ‘Charles, you’re so funny, you are an endless source of amusement to your friends. I hear you’ve got your lady-love here, hidden away upstairs! You really are priceless!’

‘Why the hell did you have to tell her?’ I said to Gilbert and Titus.

Gilbert, attempting unsuccessfully to erase the laughter wrinkles from his face, avoided my look. He started rolling and swinging his eyes.

Titus said rather sulkily, ‘You didn’t say not to tell.’ Then he caught Rosina’s eye and beamed.

Gilbert had of course met Rosina before and knew her slightly. He had hitherto regarded her with the prudish hostility which some male homosexuals instinctively feel towards very feminine predatory women (whereas with gentle sweet women such as Lizzie they got on very well). However he seemed now to have suffered an instant conversion. Titus was simply a boy absolutely thrilled to see a famous actress in the flesh and to find that she not only noticed him but appreciated the charms of his youth. They kept eyeing each other, he shyly, she with bold amusement. Titus’s appearance had profited, as Gilbert’s had, from sun and sea. His reddish blond hair had been burnished and enlivened into a halo of fine wire, and his shirt, scarcely buttoned, showed the glowing skin and blazing red curls of his chest. His trousers were rolled up to reveal long elegant bronzed legs. He was barefoot. The scarred lip gave a twisted male force to his pretty mouth. Rosina was at her sleekest, delighted and amused by her exercise of power. As she held court, her piercing cross-eyed glance kept moving encouragingly from one of the bemused enthralled men and back again. They seemed to be quite dazed by her attractions. It was certainly a change from the increasingly charnel house atmosphere of Shruff End.

‘What do you want, Rosina?’

‘What do you mean, “What do you want?” What a way to greet a visitor. “What do you want?” ’ She mimicked me. ‘What sort of a question is that?’

The other two roared with laughter. They seemed to find everything Rosina said vastly clever and funny.