The Alexandria Quartet - Lawrence Durrell [243]
‘Liza, my darling?’ said the poet.
‘Brandy and soda.’ She replied with her placid blankness in a voice at once clear and melodious — a voice which might have given some such overtone to the words ‘Honey and nectar’. They seated themselves somewhat awkwardly while the drinks were dispensed. Brother and sister sat side by side, which gave them a somewhat defensive air. The blind girl put one hand in the brother’s pocket. So began, in rather a halting fashion, the conversation which lasted them far into the evening and which he afterwards transcribed so accurately to Leila, thanks to his formidable memory.
‘He was somewhat shy at first and took refuge in a pleasant diffidence. I found to my surprise that he was earmarked for a Cairo posting next year and told him a little about my friends there, offering to give him a few letters of introduction, notably to Nessim. He may have been a little intimidated by my rank but this soon wore off; he hasn’t much of a head for drinks and after the second began to talk in a most amusing and cutting fashion. A rather different person now emerged — odd and equivocal as one might expect an artist to be — but with pronounced views on a number of subjects, some of them not at all to my taste. But they had an oddly personal ring. One felt they were deduced from experience and not worked out simply to épater. He is, for example, rather an old-fashioned reactionary in his outlook, and is con-sequently rather mal vu by his brother craftsmen who suspect
him of Fascist sympathies; the prevailing distemper of left-wing thought, indeed all radicalism is repugnant to him. But his views were expressed humorously and without heat. I could not, for example, rouse him on the Spanish issue. (“All those little beige people trooping off to die for the Left Book Club!”)’
Mountolive had indeed been rather shocked by opinions as clear-cut as they were trenchant, for he at the time shared the prevailing egalitarian sympathies of the day — albeit in the anodyne liberalized form then current in The Office. Pursewarden’s royal contempts made him rather a formidable person. ‘I confess’
Mountolive wrote ‘that I did not feel I had exactly placed him in any one category. But he expressed views rather than attitudes, and I must say he said a number of striking things which I mem-orized for you, as: “The artist’s work constitutes the only satis-factory relationship he can have with his fellow-men since he seeks his real friends among the dead and the unborn. That is why he can’t dabble in politics, it isn’t his job. He must concen-trate on values rather than policies. Today it all looks to me like a silly shadow-play, for ruling is an art, not a science, just as a society is an organism, not a system. Its smallest unit is the family and really royalism is the right structure for it — for a Royal Family is a mirror image of the human, a legitimate idolatry. I mean, for us, the British, with our essentially quixotic temperament and mental sloth. I don’t know about the others. As for capitalism, its errors and injustices are all remediable, by fair taxation. We should be hunting not for an imaginary equality among men, but simply for a decent equity. But then Kings should be manu-facturing a philosophy of sorts, as they did in China; and absolute Monarchy is