out tonight,’ he said, when he saw us. ‘It makes me ashamed to be one.’
‘Nobody guesses you are, Mark,’ said Moreland. ‘Not in that natty new suit. They think you are an actuary or an average adjuster.’
Members laughed his tinny laugh.
‘How is sweet music?’ he asked. ‘How are your pale tunes irresolute, Moreland? When is that opera of yours we hear so much about going to appear?’
‘I’ve knocked off work on the opera for the moment,’ said Moreland. ‘I’m concentrating on something slighter which I think should appeal to music-lovers of your temperament. It is to be called Music for a Maison de Passe: A Suite.’
We passed on to where Gossage was standing a short way off by the curtain that screened the foyer from the passage leading to the auditorium. Gossage was talking with a great display of respect to a lady dressed rather too exquisitely for the occasion; the audience that night, as Members had truly remarked, being decidedly unkempt. This lady, slight in figure, I recognised at once as Mrs Foxe, mother of my old friend, Charles Stringham. I had not seen Stringham since Widmerpool and I had put him to bed after too much to drink at an Old Boy Dinner. Mrs Foxe herself I had not set eyes on for ten years; the day she and Commander Foxe had lunched with Stringham in his rooms in college to discuss whether or not he should ‘go down’ before taking a degree.
Mrs Foxe was quite unchanged. Beautiful in early middle age, she remained still untouched by time. She was accompanied by a girl of seventeen or eighteen, and two young men who looked like undergraduates. Evidently she was hostess to this party, whom I supposed to be relations; connexions possibly of her first husband, Lord Warrington, or her third husband, Buster Foxe. Stringham, child of the intermediate marriage of this South African millionaire’s daughter, used to boast he had no relations; so they were presumably not cousins of his. Gossage, parting now from Mrs Foxe with many smiles and bows, nodded to Moreland with an air of considerable satisfaction as he hurried past. When we reached our seats I saw that Mrs Foxe and her party were sitting a long way away from us. Since I hardly supposed she would remember me, I decided not to approach her during the entr’actes. In any case, she and I had little in common except Stringham himself, of whom I then knew nothing except that his marriage had broken up and he was said to be still drinking too much. He had certainly drunk a lot the night Widmerpool and I had put him to bed. Another reason for taking no step in Mrs Foxe’s direction was that a stage in my life had been reached when I felt that to spend even a short time with a party of that kind would be ‘boring’. For the moment, I had put such things behind me. Perhaps at some future date I should return to them; for the time being I rather prided myself on preferring forms of social life where white ties were not worn. I was even glad there was no likelihood of chance recognition.
Julia, the Cardinal’s mistress in The Duchess of Malfi , does not come on to the stage until the fourth scene of the first act. Moreland was uneasy until that moment, fidgeting in his seat, giving deep breaths, a habit of his when inwardly disturbed. At the same time, he showed a great deal of enjoyment in Norman Chandler’s earlier speeches as Bosola. Chandler had brought an unexpected solidity to this insidious part. The lightness of his build, and general air of being a dancer rather than an actor, had prepared neither Moreland nor myself for the rendering he presented of ‘this fellow seven years in the galleys for a notorious murder’.
‘Do you think Norman talked like Bosola the night he was bargaining with Edgar Deacon about that statuette?’ said Moreland, in an undertone. ‘If so, he must have got the best of it. Did I ever tell you that he hadn’t been paid when Edgar died, so Norman nipped round to the shop and took the thing
‘Nobody guesses you are, Mark,’ said Moreland. ‘Not in that natty new suit. They think you are an actuary or an average adjuster.’
Members laughed his tinny laugh.
‘How is sweet music?’ he asked. ‘How are your pale tunes irresolute, Moreland? When is that opera of yours we hear so much about going to appear?’
‘I’ve knocked off work on the opera for the moment,’ said Moreland. ‘I’m concentrating on something slighter which I think should appeal to music-lovers of your temperament. It is to be called Music for a Maison de Passe: A Suite.’
We passed on to where Gossage was standing a short way off by the curtain that screened the foyer from the passage leading to the auditorium. Gossage was talking with a great display of respect to a lady dressed rather too exquisitely for the occasion; the audience that night, as Members had truly remarked, being decidedly unkempt. This lady, slight in figure, I recognised at once as Mrs Foxe, mother of my old friend, Charles Stringham. I had not seen Stringham since Widmerpool and I had put him to bed after too much to drink at an Old Boy Dinner. Mrs Foxe herself I had not set eyes on for ten years; the day she and Commander Foxe had lunched with Stringham in his rooms in college to discuss whether or not he should ‘go down’ before taking a degree.
Mrs Foxe was quite unchanged. Beautiful in early middle age, she remained still untouched by time. She was accompanied by a girl of seventeen or eighteen, and two young men who looked like undergraduates. Evidently she was hostess to this party, whom I supposed to be relations; connexions possibly of her first husband, Lord Warrington, or her third husband, Buster Foxe. Stringham, child of the intermediate marriage of this South African millionaire’s daughter, used to boast he had no relations; so they were presumably not cousins of his. Gossage, parting now from Mrs Foxe with many smiles and bows, nodded to Moreland with an air of considerable satisfaction as he hurried past. When we reached our seats I saw that Mrs Foxe and her party were sitting a long way away from us. Since I hardly supposed she would remember me, I decided not to approach her during the entr’actes. In any case, she and I had little in common except Stringham himself, of whom I then knew nothing except that his marriage had broken up and he was said to be still drinking too much. He had certainly drunk a lot the night Widmerpool and I had put him to bed. Another reason for taking no step in Mrs Foxe’s direction was that a stage in my life had been reached when I felt that to spend even a short time with a party of that kind would be ‘boring’. For the moment, I had put such things behind me. Perhaps at some future date I should return to them; for the time being I rather prided myself on preferring forms of social life where white ties were not worn. I was even glad there was no likelihood of chance recognition.
Julia, the Cardinal’s mistress in The Duchess of Malfi , does not come on to the stage until the fourth scene of the first act. Moreland was uneasy until that moment, fidgeting in his seat, giving deep breaths, a habit of his when inwardly disturbed. At the same time, he showed a great deal of enjoyment in Norman Chandler’s earlier speeches as Bosola. Chandler had brought an unexpected solidity to this insidious part. The lightness of his build, and general air of being a dancer rather than an actor, had prepared neither Moreland nor myself for the rendering he presented of ‘this fellow seven years in the galleys for a notorious murder’.
‘Do you think Norman talked like Bosola the night he was bargaining with Edgar Deacon about that statuette?’ said Moreland, in an undertone. ‘If so, he must have got the best of it. Did I ever tell you that he hadn’t been paid when Edgar died, so Norman nipped round to the shop and took the thing
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