Let my voice stiffen, masterfully. “No, sir, I don’t believe I do know your meaning.”
“Spare me your bashfulness, boy!” Ayrs leant nearer. “Has my wife ever made advances? I have a right to know!”
Avoided a nervous giggle, by a whisker. “I find your question distasteful in the extreme.” Jocasta’s breath dampened my thigh. She must have been roasting alive under the covers. “I wouldn’t call any ‘friend’ who spread such muck around by that name. In Mrs. Crommelynck’s case, frankly, I find the notion as unthinkable as it is unpalatable. If, if, through some, I don’t know, nervous collapse, she were to behave so inappropriately, well, to be honest, Ayrs, I’d probably ask for Dhondt’s advice, or speak to Dr. Egret.” Sophistry makes a fine smoke screen.
“So you’re not going to give me a one-word answer?”
“You shall have a two-word answer. ‘Emphatically, no!’ And I very much hope the subject is now closed.”
Ayrs let long moments fall away. “You’re young, Frobisher, you’re rich, you’ve got a brain, and by all accounts you’re not wholly repugnant. I’m not sure why you stay on here.”
Good. He was getting mawkish. “You’re my Verlaine.”
“Am I, young Rimbaud? Then where is your Saison en Enfer?”
“In sketches, in my skull, in my gut, Ayrs. In my future.”
Couldn’t say if Ayrs felt humor, pity, nostalgia, or scorn. He left. Locked the door and climbed into bed for the third time that night. Bedroom farce, when it actually happens, is intensely sad. Jocasta seemed angry with me.
“What?” I hissed.
“My husband loves you,” said the wife, dressing.
Zedelghem’s a-stirring. Plumbing makes noises like elderly aunts. Been thinking of my grandfather, whose wayward brilliance skipped my father’s generation. Once, he showed me an aquatint of a certain Siamese temple. Don’t recall its name, but ever since a disciple of the Buddha preached on the spot centuries ago, every bandit king, tyrant, and monarch of that kingdom has enhanced it with marble towers, scented arboretums, gold-leafed domes, lavished murals on its vaulted ceilings, set emeralds into the eyes of its statuettes. When the temple finally equals its counterpart in the Pure Land, so the story goes, that day humanity shall have fulfilled its purpose, and Time itself shall come to an end.
To men like Ayrs, it occurs to me, this temple is civilization. The masses, slaves, peasants, and foot soldiers exist in the cracks of its flagstones, ignorant even of their ignorance. Not so the great statesmen, scientists, artists, and most of all, the composers of the age, any age, who are civilization’s architects, masons, and priests. Ayrs sees our role is to make civilization ever more resplendent. My employer’s profoundest, or only, wish is to create a minaret that inheritors of Progress a thousand years from now will point to and say, “Look, there is Vyvyan Ayrs!”
How vulgar, this hankering after immortality, how vain, how false. Composers are merely scribblers of cave paintings. One writes music because winter is eternal and because, if one didn’t, the wolves and blizzards would be at one’s throat all the sooner.
Sincerely,
R.F.
ZEDELGHEM
14th—IX—1931
Sixsmith,
Sir Edward Elgar came to tea this afternoon. Even you’ve heard of him, you ignoramus. Now, usually, if one asks Ayrs what he thinks of English music he’ll say, “What English music? There is none! Not since Purcell!” and sulk all day, as if the Reformation were one’s own doing. This hostility was forgotten in a trice when Sir Edward telephoned from his hotel in Bruges this morning, wondering if Ayrs might be able to spare him an hour or two. Ayrs made a show of curmudgeonliness, but I could tell by the way he badgered Mrs. Willems about the arrangements for tea, he was pleased as the cat who got the cream. Our celebrated guest arrived at half past two, dressed in a dark green Inverness cape despite the clement weather. The man’s state of health isn’t much better than V.A.’s. J. & I welcomed him on the steps of Zedelghem. “So you’re Vyv’s new pair of eyes, are you?” he said to me, as we shook hands. Said I’d seen him conduct a dozen times at the festival, which pleased him. Guided the composer into the Scarlet Room, where Ayrs was waiting. They greeted each other warmly, but as if wary of bruises. Elgar’s sciatic pain bothers him greatly, and even on good days, V.A. looks pretty frightful at first sight, still worse at the second. Tea was served, and they talked shop, mostly ignoring J. & me, but it was fascinating to be a fly on the wall. Sir E. glanced at us now and then to make sure he was not wearing out his host. “Not at all.” We smiled back. They fenced over such topics as saxophones in orchestras, whether Webern is Fraudster or Messiah, the patronage and politics of music. Sir E. announced he is at work on a Third Symphony after a long hibernation:—he even played us sketches of a molto maestoso and an allegretto on the upright. Ayrs most eager to prove that he isn’t ready for his coffin either, and had me run through some recently completed piano sketches—rather lovely. Several dead bottles of Trappist beer later, I asked Elgar about the Pomp and Circumstance marches. “Oh, I needed the money, dear boy. But don’t tell anyone. The King might want my baronetcy back.” Ayrs went into laughter spasms at this! “I always say, Ted, to get the crowd to cry Hosanna, you must first ride into town on an ass. Backwards, ideally, whilst telling the masses the tall stories they want to hear.”
Sir E. had heard about “Todtenvogel” ’s reception in Cracow (all London has, it would seem), so V.A. sent me off to fetch a score. Back in the Scarlet Room, our guest took our death-bird to the window seat and read it with the aid of a monocle while Ayrs and I pretended to busy ourselves. “A man at our time of life, Ayrs”— E. spoke at last—“has no right to such daring ideas. Where are you getting ’em from?”
V.A. puffed up like a smug hornyback. “I suppose I’ve won a rearguard action or two in my war against decrepitude. My boy Robert here is proving a valuable aide-de-camp.”
Aide-de-camp? I’m his bloody general and he’s the fat old Turk reigning on the memory of faded glories! Smiled sweetly as I could (as if the roof over my head depended on it. Moreover, Sir E. might be useful one day so it won’t do to create an obstreperous impression). During tea, Elgar contrasted my position at Zedelghem favorably with his first job as a musical director at a lunatic asylum in Worcestershire. “Excellent prep for conducting the London Philharmonic, what?” quipped V.A. We laughed and I half-forgave the ratty old selfish crank for being himself. Put another log or two in the hearth. In the smoky firelight the two old men nodded off like a pair of ancient kings passing the aeons in their tumuli. Made a musical notation of their snores. Elgar is to be played by a bass tuba, Ayrs a bassoon. I’ll do the same with Fred Delius and Trevor Mackerras and publish ’em all together in a work entitled The Backstreet Museum of Stuffed Edwardians.