Temporary Kings - Anthony Powell [83]
If Gwinnett wanted to ‘understand’ Trapnel, two aspects emerged, one general, the other peculiar to Trapnel himself. There was the larger question, why writers, with apparent reserves of energy and ideas, after making a good start, collapse, or fizzle out in inferior work. In Trapnel’s case, that might have been inevitable. On the other hand, its consideration as an isolated instance unavoidably led to Pamela. Gwinnett’s approach, not uncommon among biographers, seemed to be to see himself, at greater or lesser range, as projection of his subject. He aimed, anyway to some extent, at reconstructing in himself Trapnel’s life, getting into Trapnel’s skin, ‘becoming’ Trapnel. Accordingly, if, in the profoundest sense, he were to attempt to discover why Trapnel broke down, failed to surmount troubles, after all, not greatly worse than many other writers had borne – and mastered – the inference could not be dodged that Gwinnett himself must have some sort of a love affair with Pamela. So far as he had revealed his plans, Gwinnett appeared to aim at getting into Trapnel’s skin, but not to that extent. In fact everything about Gwinnett suggested that he did not at all intend to have a love affair with Pamela. If he accepted the possibility, he was playing his cards with subtlety, holding them close to his chest. It was, of course, possible something of the sort had already taken place. Instinctively, one felt that had not happened.
This conjecture was endorsed – anyway in one sense – in an odd manner. To express how things fell out is to lean heavily on hearsay. That is unavoidable. Trapnel himself, speaking as a critic, used to insist that every novel must be told from a given point of view. An extension of that fact is that every story one hears has to be adjusted, in the mind of the listener, to prejudices of the teller; in practice, most listeners increasing, reducing, discarding, much of what they have been told. In this case, the events have to be seen through the eyes of Bagshaw’s father. What Bagshaw himself later related was not necessarily untrue. Bagshaw was in a position to get the first and best account. He must also have been the main channel to release details, even if other members of the household added to the story’s volume. Nevertheless, Bagshaw’s father, in his son’s phrase ‘the man on the spot’, was the only human being who really knew the facts, he himself only some of them.
The first indication that Gwinnett had accepted Bagshaw’s offer, gone to live in the house, was a story purporting to explain why he had left. This was towards Christmas. It looks as if the alleged happenings were broadcast to the world almost immediately after taking place, but only a long time later did I hear them from Bagshaw’s own lips. Dating is possible, because, on that occasion, Bagshaw made a great point of the Christmas decorations being up, imparting a jovial grotesqueness to the scene. Knowledge of the Christmas decorations did certainly add something. Through thick and thin, Bagshaw always retained vestiges of a view of life suggesting a thwarted artist, no doubt the side that finally brought him where he was.
‘My father enacted the whole extraordinary incident under a sprig of mistletoe. In the middle of it all, some of the holly came down, with that extraordinary scratchy noise holly makes.’
Although I had not expected Bagshaw’s father to be descending the stairs in his dressing-gown, when I called at the house, I had, in the distant past, more than once heard Bagshaw speak of him. They were on good terms. Even in those days, that had seemed a matter of interest in the light of the manner Bagshaw himself used to go on. Bagshaw senior