all trousers and collar. However, you’re lucky his sister isn’t accompanying him. She’s worse!’
‘What’s his subject?’ They were back in Fielding’s study.
‘Subject! I’m afraid we don’t have subjects here. None of us has read a word on any subject since we left University.’ He lowered his voice and added darkly, ‘That’s if we went to University. D’Arcy teaches French. D’Arcy is Senior Tutor by election, bachelor by profession, sublimated pansy by inclination …’ he was standing quite still now, his head thrown back and his right hand stretched out towards Smiley, ‘… and his subject is other people’s shortcomings. He is principally, however, self-appointed majordomo of Carne protocol. If you wear a gown on a bicycle, reply incorrectly to an invitation, make a fault in the placement of your dinner guests or speak of a colleague as “Mister”, D’Arcy will find you out and admonish you.’
‘What are the duties of Senior Tutor, then?’ Smiley asked, just for something to say.
‘He’s the referee between the classicists and the scientists; arranges the timetable and vets the exam. results. But principally, poor man, he must reconcile the Arts with the Sciences.’ He shook his head sagely. ‘And it takes a better man than D’Arcy to do that. Not, mind you,’ he added wearily, ‘that it makes the least difference who wins the extra hour on Friday evenings. Who cares? Not the boys, poor dears, that’s certain.’
Fielding talked on, at random and always in superlatives, sometimes groping in the air with his hand as if to catch the more elusive metaphors; now of his colleagues with caustic derision; now of boys with compassion if not with understanding; now of the Arts with fervour – and the studied bewilderment of a lonely disciple.
‘Carne isn’t a school. It’s a sanatorium for intellectual lepers. The symptoms began when we came down from University; a gradual putrefaction of our intellectual extremities. From day to day our minds die, our spirits atrophy and rot. We watch the process in one another, hoping to forget it in ourselves.’ He paused, and looked reflectively at his hands.
‘In me the process is complete. You see before you a dead soul, and Carne is the body I live in.’ Much pleased by this confession, Fielding held out his great arms so that the sleeves of his gown resembled the wings of a giant bat; ‘the Vampire of Carne,’ he declared, bowing deeply. ‘ Alcoolique et poète! ’ A bellow of laughter followed this display.
Smiley was fascinated by Fielding, by his size, his voice, the wanton inconstancy of his temperament, by his whole big-screen style; he found himself attracted and repelled by this succession of contradictory poses; he wondered whether he was supposed to take part in the performance, but Fielding seemed so dazzled by the footlights that he was indifferent to the audience behind them. The more Smiley watched, the more elusive seemed the character he was trying to comprehend: changeful but sterile, daring but fugitive; colourful, unbounded, ingenuous, yet deceitful and perverse. Smiley began to wish he could acquire the material facts of Fielding – his means, his ambitions and disappointments.
His reverie was interrupted by Miss Truebody. Felix D’Arcy had arrived.
No candles, and a cold supper admirably done by Miss Truebody. Not claret, but hock, passed round like port. And at last, at long last, Fielding mentioned Stella Rode.
They had been talking rather dutifully of the Arts and the Sciences. This would have been dull (for it was uninformed) had not D’Arcy constantly been goaded by Fielding, who seemed anxious to exhibit D’Arcy in his worst light. D’Arcy’s judgements of people and problems were largely coloured by what he considered ‘seemly’ (a favourite word) and by an effeminate malice towards his colleagues. After a while Fielding asked who was replacing Rode during his absence, to which D’Arcy said,
‘What’s his subject?’ They were back in Fielding’s study.
‘Subject! I’m afraid we don’t have subjects here. None of us has read a word on any subject since we left University.’ He lowered his voice and added darkly, ‘That’s if we went to University. D’Arcy teaches French. D’Arcy is Senior Tutor by election, bachelor by profession, sublimated pansy by inclination …’ he was standing quite still now, his head thrown back and his right hand stretched out towards Smiley, ‘… and his subject is other people’s shortcomings. He is principally, however, self-appointed majordomo of Carne protocol. If you wear a gown on a bicycle, reply incorrectly to an invitation, make a fault in the placement of your dinner guests or speak of a colleague as “Mister”, D’Arcy will find you out and admonish you.’
‘What are the duties of Senior Tutor, then?’ Smiley asked, just for something to say.
‘He’s the referee between the classicists and the scientists; arranges the timetable and vets the exam. results. But principally, poor man, he must reconcile the Arts with the Sciences.’ He shook his head sagely. ‘And it takes a better man than D’Arcy to do that. Not, mind you,’ he added wearily, ‘that it makes the least difference who wins the extra hour on Friday evenings. Who cares? Not the boys, poor dears, that’s certain.’
Fielding talked on, at random and always in superlatives, sometimes groping in the air with his hand as if to catch the more elusive metaphors; now of his colleagues with caustic derision; now of boys with compassion if not with understanding; now of the Arts with fervour – and the studied bewilderment of a lonely disciple.
‘Carne isn’t a school. It’s a sanatorium for intellectual lepers. The symptoms began when we came down from University; a gradual putrefaction of our intellectual extremities. From day to day our minds die, our spirits atrophy and rot. We watch the process in one another, hoping to forget it in ourselves.’ He paused, and looked reflectively at his hands.
‘In me the process is complete. You see before you a dead soul, and Carne is the body I live in.’ Much pleased by this confession, Fielding held out his great arms so that the sleeves of his gown resembled the wings of a giant bat; ‘the Vampire of Carne,’ he declared, bowing deeply. ‘ Alcoolique et poète! ’ A bellow of laughter followed this display.
Smiley was fascinated by Fielding, by his size, his voice, the wanton inconstancy of his temperament, by his whole big-screen style; he found himself attracted and repelled by this succession of contradictory poses; he wondered whether he was supposed to take part in the performance, but Fielding seemed so dazzled by the footlights that he was indifferent to the audience behind them. The more Smiley watched, the more elusive seemed the character he was trying to comprehend: changeful but sterile, daring but fugitive; colourful, unbounded, ingenuous, yet deceitful and perverse. Smiley began to wish he could acquire the material facts of Fielding – his means, his ambitions and disappointments.
His reverie was interrupted by Miss Truebody. Felix D’Arcy had arrived.
No candles, and a cold supper admirably done by Miss Truebody. Not claret, but hock, passed round like port. And at last, at long last, Fielding mentioned Stella Rode.
They had been talking rather dutifully of the Arts and the Sciences. This would have been dull (for it was uninformed) had not D’Arcy constantly been goaded by Fielding, who seemed anxious to exhibit D’Arcy in his worst light. D’Arcy’s judgements of people and problems were largely coloured by what he considered ‘seemly’ (a favourite word) and by an effeminate malice towards his colleagues. After a while Fielding asked who was replacing Rode during his absence, to which D’Arcy said,
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