I kept him by me at the funeral, for both the older Stauntons were now dead, and the Cruikshanks were so desolated themselves that they could only hold hands and weep. Association with the Cruikshanks had not been encouraged by Boy, so David was not really well known to them.
It was one of those wretched late autumn funerals, and though it did not actually rain everything was wet and miserable. There were not a great many present, for all the Stauntons’ friends were important people, and it seemed that all the important people were so busy fighting the war in one way or another that they could not come. But there were mountains of costly flowers, looking particularly foolish under a November sky.
One unexpected figure was at the graveside. Older, fatter, and unwontedly quiet though he was, I knew Milo Papple in an instant. As Woodiwiss read the committal, I found myself thinking that his own father had died at least twelve years before, and I had written to Milo at that time. But the Kaiser (whom Myron Papple had impersonated so uproariously at the hanging-in-effigy after the Great War) had lived, presumably untroubled by the hatred of Deptford and places like it, until 1941; had lived at Doorn, sawing wood and wondering what world madness had dethroned him, for twenty-three years after his fall. I pondered on the longevity of dethroned monarchs when I should have been taking farewell of Leola. But I well knew that I had taken leave of her, so far as any real feeling went, that Christmas afternoon when she had appealed to me for comfort and I had run away. Everything since had been a matter of duty.
Milo and I shook hands as we left the cemetery. “Poor Leola,” he said in a choked voice. “It’s the end of a great romance. You know we always thought her and Perse was the handsomest pair that ever got married in Deptford. And I know why you never got married. It must be tough on you to see her go, Dunny.”
My shame was that it was not tough at all. What was tough was to go with David back to that awful, empty house and talk to him until the servants gave us a poor dinner; then take him back to school and tell him I thought it better that he should go to his own room, as he must some time resume his ordinary life, and the sooner the better.
Boy was always fussing that David would not be a real man. He seemed a very real man to me through all this bad time. I could not have seen as much of him as I did if I had not been temporary Headmaster. When the war began our Head had rushed off to throw himself upon the foe from the midst of the Army’s education program; he stepped in front of a truck one night in the blackout, and the school mourned him as a hero. When he left, the Governors had to get a Headmaster in a hurry, but the war made good men so scarce that they appointed me, pro tem, without any increase in salary, as we must all shoulder our burdens without thought of self. It was taxing, thankless work, and I hated all the administrative side of it. But I bent to the task and did what I could until 1947, when I had a difficult conversation with Boy, who was now a C.B.E. (for his war work) and the Chairman of our Board of Governors.
“Dunny, you’ve done a superb job during the whole of the war, and long beyond. But it was fun, wasn’t it?”
“No, not fun. Damned hard slogging. Endless trouble getting and keeping staff. Managing with our old men and some young ones who weren’t fit for service—or teaching, if it comes to that. Problems with ‘war-guest’ boys who were homesick, or hated Canada, or thought they could slack because they weren’t in England. Problems with the inevitable hysteria of the school when the news was bad, and the worse hysteria when it was good. The fag of keeping up nearly all my own teaching and doing the administration as well. Not fun, Boy.”
“None of us had an easy war, Dunny. And I must say you look well on it. The question is, what are we to do now?”
“You’re the Chairman of the Board. You tell me.”
“You don’t want to go on being Head, do you?”
“That depends on the conditions. It might be much pleasanter now. I’ve been able to get a pretty good staff during the last eighteen months, and I suppose money will be more plentiful now that the Board can think about it again.”
“But you’ve just said you hated being Head.”
“In wartime—who wouldn’t? But, as I say, things are improving. I might get to like it very much.”
“Look, old man, let’s not make a long business of this. The Board appreciates everything you’ve done. They want to give you a testimonial dinner. They want to tell you in front of the whole school how greatly indebted they are to you. But they want a younger Headmaster.”
“How young? You know my age. I’m not quite fifty, like yourself. How young does a Headmaster have to be nowadays?”
“It isn’t entirely that. You’re making this awfully tough for me. You’re unmarried. A Headmaster needs a wife.”
“When I needed a wife, I found that you needed her even more.”
“That’s hitting below the belt. Anyhow, Leo wouldn’t have—never mind. You have no wife.”
“Perhaps I could find one in a hurry. Miss Gostling, at our sister school, Bishop Cairncross’s, has been giving me the glad eye in an academic way for two or three years.”
“Be serious. It’s not just the wife. Dunny, we have to face it. You’re queer.”
“The Sin of Sodom, you mean? If you knew boys as I do, you would not suggest anything so grotesque. If Oscar Wilde had pleaded insanity, he would have walked out of court a free man.”
“No, no, no! I don’t mean kid-simple, I mean queer—strange, funny, not like other people.”
“Ah, that’s very interesting. How am I queer? Do you remember poor old Iremonger who had a silver plate in his head and used to climb the waterpipes in his room and address his class from the ceiling? Now he was queer. Or that unfortunate alcoholic Bateson who used to throw a wet boxing glove at inattentive boys and then retrieve it on a string? I always thought they added something to the school—gave boys a knowledge of the great world that the state schools dare not imitate. Surely you do not think I am queer in any comparable way?”
“You are a fine teacher. Everybody knows it. You are a great scholarship-getter, which is quite another thing. You have a reputation as an author. But there it is.”
“There is what?”
“It’s this saint business of yours. Of course your books are splendid. But if you were a father, would you want to send your son to a school headed by a man who was an authority on saints? Even more, would you do it if you were a mother? Women hate anything that’s uncanny about a man if they think of entrusting a son to him. Religion in the school is one thing; there is a well-understood place for religion in education. But not this misty world of wonder-workers and holy wizards and juiceless women. Saints aren’t in the picture at all. Now I’m an old friend, but I am also Chairman of the Board, and I tell you it won’t do.”
“Are you kicking me out?”
“Certainly not. Don’t be extreme. You surely understand that you are a tremendous addition to the school as a master—well-known writer on a difficult subject, translated into foreign languages, amusingly eccentric, and all that—but you would be a disaster as a peacetime Headmaster.”
“Eccentric? Me!”
“Yes, you. Good God, don’t you think the way you rootle in your ear with your little finger delights the boys? And the way you waggle your eyebrows—great wild things like moustaches, I don’t know why you don’t trim them—and those terrible Harris tweed suits you wear and never have pressed. And that disgusting trick of blowing your nose and looking into your handkerchief as if you expected to prophesy something from the mess. You look ten years older than your age. The day of comic eccentrics as Heads has gone. Parents nowadays want somebody more like themselves.”
“A Headmaster created in their own image, eh? Well, you obviously have somebody virtually hired or you wouldn’t be in such a rush to get rid of me. Who is it?”
(Boy named you, Headmaster. I had never heard of you then, so there can be no malice in reporting this conversation.)
We haggled a little more, and I made
Boy squirm a bit, for I felt I had been shabbily used. But at last I said, “Very well, I’ll stay on as chief of history and Assistant Head. I don’t want your testimonial dinner, but I should like you, as Chairman, to address the school and make it very clear that I have not been demoted as soon as you could get somebody their parents like better. It will be a lie, but I want my face saved. Say the demands of my writing made me suggest this decision and I pledge my full support to the new man. And I want six months’ leave of absence, on full pay, before I return to work.”
“Agreed. You’re a good sport, Dunny. Where will you go for your six months?”
“I have long wanted to visit the great shrines of Latin America. I shall begin in Mexico, with the Shrine of the Virgin of Guadalupe.”
“There you go, you see! You go right on with the one thing that really stood between you and a Headmaster’s job.”
“Certainly. You don’t expect me to pay attention to the opinion of numskulls like you and your Board and the parents of a few hundred cretinous boys, do you?”
(2)
So there I was, a few months later, sitting in a corner of the huge, nineteenth-century Byzantine basilica at Guadalupe, watching the seemingly endless crowd of men and women, old and young, as it shuffled forward on its knees to get as near as possible to the miraculous picture of the Virgin.
The picture was a surprise to me. Whether it was because I had some ignorant preconception about the tawdriness of everything Mexican, or the extravagantly Latin nature of the legend, I had expected something artistically offensive. I was by now in a modest way a connoisseur in holy pictures, ranging from catacombs and the blackened and glaring Holy Face at Lucca to the softest Raphaels and Murillos. But here was a picture reputedly from no mortal hand—not even that of St Luke—that had appeared miraculously on the inside of a peasant’s cloak.
In 1531 the Virgin had appeared several times on this spot to Juan Diego and bidden him to tell Bishop Zumárraga that a shrine in her honour should be built here; when Zumárraga very naturally asked for some further evidence of Juan Diego’s authority, the Virgin filled the peasant’s cloak with roses though it was December; and when he opened his cloak before the Bishop, not only were the roses there, but also, on the inner side of it, this painting, before which the Bishop fell on his knees in wonderment.
As unobtrusively as possible (for I try hard not to be objectionable when visiting shrines) I examined the picture through a powerful little pocket telescope. Certainly it was painted on cloth of a very coarse weave, with a seam up the middle of it that deviated from the straight just enough to avoid the Virgin’s face. The picture was in the mode of the Immaculate Conception; the Virgin, a peasant girl of about fifteen, stood on a crescent moon. The painting was skilled, and the face beautiful, if you dismiss from your mind the whorish mask that modern cosmetics have substituted for beauty and think of the human face. Why was the right eye almost closed, as though swollen? Very odd in a holy picture. But the colours were fine, and the gold, though lavish, was not barbarically splashed on. Spain might be proud of such a picture. And the proportions—the width would go about three and a half times into the length—were those of a tilma such as I had seen peasants wearing outside the city. A very remarkable picture indeed.
The picture was not my chief concern, however. My eyes were on the kneeling petitioners, whose faces had the beauty virtually every face reveals in the presence of the goddess of mercy, the Holy Mother, the figure of divine compassion. Very different, these, from the squinnying, lip-biting, calculating faces of the art lovers one sees looking at Madonnas in galleries. These petitioners had no conception of art; to them a picture was a symbol of something else, and very readily the symbol became the reality. They were untouched by modern education, but their government was striving with might and main to procure this inestimable benefit for them; anticlericalism and American bustle would soon free them from belief in miracles and holy likenesses. But where, I ask myself, will mercy and divine compassion come from then? Or are such things necessary to people who are well fed and know the wonders that lie concealed in an atom? I don’t regret economic and educational advance; I just wonder how much we shall have to pay for it, and in what coin.
Day after day I sat in the basilica for a few hours and wondered. The sacristans and nuns who gave out little prints of the miraculous picture grew accustomed to me; they thought I must be a member of that tiny and eccentric group, the devout rich, or perhaps I was writing an article for a tourist magazine. I put something in every out-thrust box and was left alone. But I am neither rich nor conventionally devout, and what I was writing, slowly, painstakingly, and with so many revisions that the final version was not even in sight, was a sort of prologue to a discussion of the nature of faith. Why do people all over the world, and at all times, want marvels that defy all verifiable fact? And are the marvels brought into being by their desire, or is their desire an assurance rising from some deep knowledge, not to be directly experienced and questioned, that the marvellous is indeed an aspect of the real?
Philosophers have tackled this question, of course, and answered it in ways highly satisfactory to themselves; but I never knew a philosopher’s answer to make much difference to anyone not in the trade. I was trying to get at the subject without wearing either the pink spectacles of faith or the green spectacles of science. All I had managed by the time I found myself sitting in the basilica of Guadalupe was a certainty that faith was a psychological reality, and that where it was not invited to fasten itself on things unseen, it invaded and raised bloody hell with things seen. Or in other words, the irrational will have its say, perhaps because “irrational” is the wrong word for it.
Such speculation cannot fill the whole of one’s day. I used to rise early and go to the shrine in the morning. After luncheon I followed the local custom and slept. I explored the city until dinner. After dinner, what? I could not sit in the public rooms in my hotel for they were uncomfortable after the Spanish fashion. The writing-room was dominated by a large painting of the Last Supper, a more than usually gloomy depiction of that gloomiest of parties; apparently nobody had been able to touch a bite, and a whole lamb, looking uncomfortably alive though flayed, lay on a platter in the middle of the table with its eyes fixed reproachfully on Judas.
I tried the theatre and found myself sitting through a drama that I identified as Sardou’s Frou Frou, heavily Hispanicized and given a further Mexican flavour. It was slow going. I went to one or two films, American pieces with Spanish sound tracks. With relief I discovered from a morning paper that a magician might be seen at the Teatro Chueca, and I booked a seat through my hotel.
Enthusiasm for magic had never wholly died in me, and I had seen the best illusionists of my time—Thurston, Goldin, Blackstone, the remarkable German who called himself Kalanag, and Harry Houdini, not long before his death. But the name of the man who was to perform in Mexico was unknown to me; the advertisement announced that Magnus Eisengrim would astonish Mexico City after having triumphantly toured South America. I assumed that he was a German who thought it impolitic to appear in the States at present.
Very soon after the curtain rose I knew that this was a magic entertainment unlike any I had ever seen. In the twentieth century stage magicians have always been great jokers; even Houdini grinned like a film star through most of his show. They kept up a run of patter designed to assure the audience that they were not to be taken seriously as wonder-workers; they were entertainers and mighty clever fellows, but their magic was all in fun. Even when they included a little hypnotism—as Blackstone did so deftly—nobody was given any cause for alarm.
Not so Magnus Eisengrim. He did not wear ordinary evening clothes, but a beautiful dress coat with a velvet collar, and silk knee breeches. He began his show by appearing in the middle of the stage out of nowhere; he plucked a wand from the air and, wrapping himself in a black cloak, suddenly became transparent; members of his company—girls dressed in fanciful costumes??
?seemed to walk through him; then, after another flourish of the cloak, he was present in the flesh again, and four of the girls were sufficiently ghostly for him to pass his wand through them. I began to enjoy myself; this was the old Pepper’s Ghost illusion, familiar enough in principle but newly worked up into an excellent mystery. And nobody on the stage cracked a smile.
Eisengrim now introduced himself to us. He spoke in elegant Spanish, and it was clear at once that he did not present himself as a funny-man but as one who offered an entertainment of mystery and beauty, with perhaps a hint of terror as well. Certainly his appearance and surroundings were not those of the usual stage magician; he was not tall, but his bearing was so impressive that his smallness was unimportant. He had beautiful eyes and an expression of dignity, but the most impressive thing about him was his voice; it was much bigger than one would expect from a small man, and of unusual range and beauty of tone. He received us as honoured guests and promised us an evening of such visions and illusions as had nourished the imagination of mankind for two thousand years—and a few trifles for amusement as well.
This was a novelty—a poetic magician who took himself seriously. It was certainly not the role in which I had expected to re-encounter Paul Dempster. But this was Paul, without a doubt, so self-assured, so polished, so utterly unlike the circus conjurer with the moustache and beard and shabby clothes whom I had met in Le grand Cirque forain de St Vite more than fifteen years before, that it was some time before I could be sure it was he. How had he come by this new self, and where had he acquired this tasteful, beautiful entertainment?
It was so elegantly presented that I doubt if anyone in the Teatro Chueca but myself realized how old it was in essence. Paul did not do a single new trick; they were all classics from the past, well known to people who were interested in the history of this curious minor art and craft.