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By Root 3314 0

long delayed action, possibly from a foreign country. Alternatively, more picturesquely, the hundred pounds was said to be a legacy left to Trapnel’s father, the celebrated jockey, as one of the items in the eccentric will of a grateful backer of the winning horse, ridden by Trapnel père, at a long forgotten Egyptian race-meeting. By slow but workmanlike processes of the law, the bequest had in due course been deflected to Trapnel himself as heir and successor, the sum delivered to him. If the latter origin were true, the whimsical testator must either have had a long memory, or omitted to overhaul his will for a great many years. In either ease, almost equally surprising, Trapnel was traced, the money handed over in cash. The only colourable explanation was that Trapnel, improbable as that might seem, having found his way personally to the intermediary – lawyer, accountant, publisher, agent – by his old skill induced whoever was in charge to accept a receipt for notes. If so, that final mustering of Trapnel’s long dormant forces proved dramatically, in a sense appropriately, fatal.

Were the hypothesis of the female guardian a correct one (situation reminiscent of Miss Weedon curing Stringham of drink), she would in the normal course of things certainly intercept any money Trapnel might earn, or, more credibly, derive from ‘public assistance’. Even in his less calamitous days, there had been interludes in the past of signing on at ‘the Labour’ – the Labour Exchange – though what trade or vocation Trapnel claimed at such emergencies was never revealed. When, so transcendentally, the hundred pounds in cash materialized into his hands in the manner of a highly proficient conjuror, Trapnel (like Stringham) must have evaded his keeper, reverted to type in the traditional manner, decided, now the money had come his way in this utterly unforeseen manner, to squander it gloriously in The Hero of Acre.

Malcolm Crowding’s account of Trapnel’s apotheosis in The Hero was likely to be the most reliable. He had been there in person. Besides, his own works proclaimed him a writer of little or no imagination. He could never have invented such a story. By that time he had ceased to publish verse, and was lecturing on English literature at a newly-founded provincial university, in fact spending the night in London in connexion with the editing of a textbook. He approached the subject of Trapnel, like his own academic work, in a spirit of the severest literary puritanism. On impulse, a wish to call up old times, he had dropped in that night to The Hero.

‘I expect he hoped to pick up a boy-friend,’ said Evadne Clapham. ‘The Hero was full of queers when I was taken there last. It was much against my will in any case. They were all standing round wide-eyed watching that old wretch Heather Hopkins giving an imitation of John Foster Dulles in his galoshes.’

Whatever Malcolm Crowding’s original intention, Trapnel’s arrival in The Hero offered something worth while; in fact supplied a story to become, ever after, Crowding’s most notable set-piece.

‘It was Lazarus coming back from the Dead. Better than that, because Lazarus didn’t buy everyone a drink – at least there’s no mention of that in Holy Writ.’

Somebody present – probably Evadne Clapham again, bent on disorganizing the side-effects of Crowding’s story – suggested that free drinks were to be inferred on the earlier resurrectionary occasion from Tennyson:

‘When Lazarus left his charnel-cave …

The streets were filled with joyful sound.’

Crowding refused to allow his narrative to be obstructed by inconclusive pedantry of that sort. He merely increased the vibrant note of his rather shrill voice. Evadne Clapham, or whoever else it was interrupting, ceased to argue. Crowding, feeling the Tennysonian phrase appropriate enough for Trapnel’s sojourn in outer darkness, developed new metaphor in the direction of Shelley.

‘The charnel cave was put behind him. It was Trapnel Unbound.’

There were present in The Hero old stagers who had endured in that spot since Trapnel’s own great days, when,