Brideshead Revisited - Evelyn Waugh [60]
She wrote her name and mine on the fly leaf, the date and place.
'I prayed for you, too, in the night,' she said.
I closed the door behind me, shutting out the bondieuserie, the low ceiling, the chintz, the lambskin bindings, the views of Florence, the bowls of hyacinth and potpourri, the petit-point, the intimate feminine, modern world, and was back under the coved and coffered roof, the columns and entablature of the central hall, in the august, masculine atmosphere of a better age.
I was no fool; I was old enough to know that an attempt had been made to suborn me and young enough to have found the experience agreeable.
I did not see Julia that morning, but just as I was leaving Cordelia ran to the door of the car and said: 'Will you be seeing Sebastian? Please give him my special love. Will you remember—my special love?'
In the train to London I read the book Lady Marchmain had given me. The frontispiece reproduced the photograph of a young man in Grenadier uniform, and I saw plainly revealed there the origin of that grim mask which, in Brideshead, overlaid the gracious features of his father's family; this was a man of the woods and caves, a hunter, a judge of the tribal council, the repository of the harsh traditions of a people at war with their environment. There were other illustrations in the book, snapshots of the three brothers on holiday, and in each I traced the same archaic lines; and remembering Lady Marchmain, starry and delicate, I could find no likeness to her in these sombre men.
She appeared seldom in the book; she was older than the eldest of them by nine years and had married and left home while they were schoolboys; between her and them stood two other sisters; after the birth of the third daughter there had been pilgrimages and pious benedictions in request for a son, for theirs was a wide property and an ancient name; male heirs had come late and, when they came, in a profusion which at the time seemed to promise continuity to the line which, in the tragic event, ended abruptly with them.
The family history was typical of the Catholic squires of England; from Elizabeth's reign till Victoria's they lived sequestered lives, among their tenantry and kinsmen, sending their sons to school abroad, often marrying there, inter-marrying, if not, with a score of families like themselves, debarred from all preferment, and learning, in those lost generations, lessons which could still be read in the lives of the last three men of the house.
Mr Samgrass's deft editorship had assembled and arranged a curiously homogeneous little body of writing—poetry, letters, scraps of a journal, an unpublished essay or two, which all exhaled the same high-spirited, serious, chivalrous, otherworldly air and the letters from their contemporaries, written after their deaths, all in varying degrees of articulateness, told the same tale of men who were, in all the full flood of academic and athletic success, of popularity and the promise of great rewards ahead, seen somehow as set apart from their fellows, garlanded victims, devoted to the sacrifice. These men must die to make a world for Hooper; they were the aborigines, vermin by right of law, to be shot off at leisure so that things might be safe for the travelling salesman, with his polygonal pince-nez, his fat wet hand-shake, his grinning dentures. I wondered, as the train carried me farther and farther from Lady Marchmain, whether perhaps there was not on her, too, the same blaze, marking her and hers for destruction by other ways than war. Did she see a sign in the red centre of her cosy grate and hear it in the rattle of creeper on the window-pane, this whisper of doom?
Then I reached Paddington and, returning home, found Sebastian there, and the sense of tragedy vanished, for he was gay and free as when I first met him.
'Cordelia