The Acceptance World - Anthony Powell [70]
5
WHEN, in describing Widmerpool’s new employment, Templer had spoken of ‘the Acceptance World’, I had been struck by the phrase. Even as a technical definition, it seemed to suggest what we are all doing; not only in business, but in love, art, religion, philosophy, politics, in fact all human activities. The Acceptance World was the world in which the essential element—happiness, for example—is drawn, as it were, from an engagement to meet a bill. Sometimes the goods are delivered, even a small profit made; sometimes the goods are not delivered, and disaster follows; sometimes the goods are delivered, but the value of the currency is changed. Besides, in another sense, the whole world is the Acceptance World as one approaches thirty; at least some illusions discarded. The mere fact of still existing as a human being proved that.
I did not see Templer himself until later in the summer, when I attended the Old Boy Dinner for members of Le Bas’s house. That year the dinner was held at the Ritz. We met in one of the subterranean passages leading to the private room where we were to eat. It was a warm, rather stuffy July evening. Templer, like a Frenchman, wore a white waistcoat with his dinner-jacket, a fashion of the moment, perhaps by then already a little outmoded.
‘We always seem to meet in these gorgeous halls,’ he said.
‘We do.’
‘I expect you’ve heard that Mona bolted,’ he went on quickly. ‘Joined up with that friend of yours of the remarkable suit and strong political views.’
His voice was casual, but it had a note of obsession as if his nerves were on edge. His appearance was unchanged, possibly a little thinner.
Mona’s elopement had certainly been discussed widely. In the break-up of a marriage the world inclines to take the side of the partner with most vitality, rather than the one apparently least to blame. In the Templers’ case public opinion had turned out unexpectedly favourable to Mona, probably because Templer himself was unknown to most of the people who talked to me of the matter. Normal inaccuracies of gossip were increased by this ignorance. In one version, Mona was represented as immensely rich, ill treated by an elderly, unsuccessful stockbroker; another described Templer as unable to fulfil a husband’s role from physical dislike of women. A third account included a twenty- minute hand-to-hand struggle between the two men, at the end of which Quiggin had gained the victory: a narrative sometimes varied to a form in which Templer beat Quiggin unconscious with a shooting-stick. In a different vein was yet another story describing Templer, infatuated with his secretary, paying Quiggin a large sum to take Mona off his hands.
On the whole people are unwilling to understand even comparatively simple situations where husband and wife are concerned; indeed, a simple explanation is the last thing ever acceptable. Here, certainly, was something complicated enough, a striking reversal of what might be thought the ordinary course of events. Templer, a man undoubtedly attractive to women, loses his wife to Quiggin, a man usually ill at ease in women’s company: Mona, as Anna Karenin, directing her romantic feelings towards Karenin as a lover, rather than Vronsky as a husband. For me, the irony was emphasised by Templer being my first schoolboy friend to seem perfectly at home with the opposite sex; indeed, the first to have practical experience in that quarter. But conflict between the sexes might be compared with the engagement of boxers in which the best style is not always victorious.
‘What will they live on?’ Templer said. ‘Mona is quite