The Kindly Ones - Anthony Powell [25]
‘I thought it was the end of the world,’ my mother said.
I do not know to what extent she intended this phrase, so far as her own amazement was concerned, to be taken literally. My mother’s transcendental beliefs were direct, yet imaginative, practical, though possessing the simplicity of complete acceptance. She may have meant to imply, no more, no less, that for a second of time she herself truly believed the Last Trump (unheard in the drawing-room) had sounded in the kitchen, instantly metamorphosing Billson into one of those figures – risen from the tomb, given up by the sea, swept in from the ends of the earth – depicted in primitive paintings of the Day of Judgment. If, indeed, my mother thought that, she must also have supposed some awful, cataclysmic division from on High just to have taken place, violently separating Sheep from Goats, depriving Billson of her raiment. No doubt my mother used only a figure of speech, but circumstances gave a certain aptness to the metaphor.
‘Joking apart,’ my mother used to say, ‘it was a dreadful moment.’
There can be no doubt whatever that the scene was disturbing, terrifying, saddening, a moment that summarised, in the unclothed figure of Billson, human lack of coordination and abandonment of self-control in the face of emotional misery. Was she determined, in the habit of neurotics, to try to make things as bad for others as for herself? In that, she largely succeeded. There seemed no solution for the people in the room, no way out of the problem so violently posed by Billson in the shape of her own nude person. My father always confessed afterwards that he himself had been utterly at a loss. He could throw no light whatever on the reason why such a thing should suddenly have happened in his drawing-room, see no way of cutting short this unspeakable crisis. In telling – and re-telling – the highlights of the story, he contributed only one notable phrase.
‘She was stark,’ he used to say, ‘absolutely stark.’
This was a relatively small descriptive ornament to the really vast saga that accumulated round the incident; at the same time, it was for some reason not without a certain narrative force.
‘I’ve come to give notice, m’m,’ Billson said. ‘I don’t want to stay if Albert is leaving your service, and besides, m’m, I can’t stand the ghosts no longer.’
Stonehurst, as I have said, was a ‘furnished’ house, the furniture, together with pictures, carpets, curtains, all distinctly on the seedy side, all part of the former home of people not much interested in what the rooms they lived in looked like. However, India, one way and another, provided a recurrent theme that gave a certain cohesion to an otherwise undistinguished, even anarchic style of decoration. In the hall, the brass gong was suspended from the horn or tusk of some animal; in the dining-room hung water-colours of the Ganges at Benares, the Old Fort at Calcutta, the Taj Mahal; in the smoking-room, a small revolving bookcase contained only four books: Marie Corelli’s Sorrows of Satan, St John Clarke’s Never to the Philistines, an illustrated volume of light verse called Lays of Ind, a volume of coloured pictures of Sepoy uniforms; in the drawing-room, the piano was covered with a Kashmir shawl of some size and fine texture, upon which, in silver frames, photographs of the former owner of Stonehurst (wearing a pith helmet surmounted with a spike) and his family (flanked by Indian servants) had