The Aylwins, page 1
Copyright & Information
The Aylwins
First published in 1966
Copyright: John Stewart Literary Management Ltd. 1966-2012
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
The right of J.I.M. Stewart to be identified as the author of this work has been asserted.
This edition published in 2012 by House of Stratus, an imprint of
Stratus Books Ltd., Lisandra House, Fore Street, Looe,
Cornwall, PL13 1AD, UK.
Typeset by House of Stratus.
A catalogue record for this book is available from the British Library and the Library of Congress.
EAN ISBN Edition
0755130340 9780755130344 Print
0755133145 9780755133147 Kindle
0755133455 9780755133451 Epub
This is a fictional work and all characters are drawn from the author’s imagination.
Any resemblance or similarities to persons either living or dead are entirely coincidental.
www.houseofstratus.com
About the Author
John Innes Mackintosh Stewart (who also wrote as Michael Innes) was born in Edinburgh where his father was Director of Education. He attended Edinburgh Academy before going up to Oriel College, Oxford where he was awarded a first class degree in English and won the Matthew Arnold Memorial Prize and was named a Bishop Frazer scholar. After a short interlude travelling with AJP Taylor in Austria, including studying Freudian psychoanalysis for a year, he embarked on an edition of Florio’s translation of Montaigne’s Essays. This subsequently helped him secure a post teaching English at Leeds University.
In 1932, Stewart married Margaret Hardwick, who practised medicine, and they subsequently had three sons and two daughters. By 1935, he had been awarded the Jury Chair at the University of Adelaide in Australia as Professor of English and had also completed his first detective novel, ‘Death at the President’s Lodging’, published under the pseudonym ‘Michael Innes’. This was an immediate success and part of a long running series centred on ‘Inspector Appleby’, his primary character when writing as ‘Innes’. There were almost fifty titles completed under the ‘Innes’ banner during his career.
In 1946, he returned to the UK and spent two years at Queen’s University in Belfast, before being appointed Student (Fellow and Tutor) at Christ Church, Oxford. He was later to hold the post of Reader in English Literature of Oxford University and upon his retirement was made an Emeritus Professor. Whilst never wanting to leave his beloved Oxford permanently, he did manage to fit into his busy schedule a visiting Professorship at the University of Washington and was also honoured by other Universities in the UK.
Stewart wrote many works under his own name, including twenty-one works of fiction (which contained the highly acclaimed quintet entitled ‘A Staircase in Surrey’, centred primarily in Oxford, but with considerable forays elsewhere, especially Italy), several short story collections, and over nine learned works on the likes of Shakespeare, Kipling and Hardy. He was also a contributor to many academic publications, including a major section on modern writers for the Oxford History of English Literature. He died in 1994, the last published work being an autobiography: ‘Myself and Michael Innes’.
J.I.M. Stewart’s fiction is greatly admired for its wit, plots and literary quality, whilst the non-fiction is acknowledged as being definitive.
Part One
CHAPTER I
The summer holidays began yesterday. The term has gone reasonably well, and there’s little in the way of arrears of work to bother me. This morning I spent at school, tidying my desk and attending to a few odds and ends with the sense of pleasure one gets from the conscious frittering away of a little time after a long spell of constant application. Now I’m as free as the boys are.
It’s true that in the next two months the place will make various calls upon me from time to time. One can’t be Head of the English Department in a large grammar school such as the Royal and expect one’s holidays to be entirely clear. But substantially they are so with me. For one thing, I’m a bachelor, and have no need to add to my income by examining for any of those external bodies which – through the medium of G.C.E. and the like – harry children’s lives during their later years at school. My narrative, it’s true, will brush this territory, but at least without exhibiting me blue pencil in hand. It’s agreeable to find any advantageousness in bachelordom, as Dr Johnson pointed out.
And similarly, there’s at least a limited blessing in having missed a headship, as I have now undoubtedly done. Nowadays a headmaster is hounded by his job right through the year. I’m lucky to have escaped that. It wouldn’t suit me, since I have nothing of the administrator in my make up. Nor would it go well with what I’ll risk calling my literary pursuits. Of course there’s a certain mild discomfort in growing old in a subordinate post. But here I have my plans. My savings are what would in these parts be respectfully termed ‘tidy’. Moreover I have lately received a generous legacy from my Aunt Agatha, the widow of an unassuming but prosperous ironmonger in this city, to whom she unhappily bore no children. There’s no reason why I should not retire at the age of sixty. Even sixty is, I know, late in the day. But it’s my hope that when that birthday comes round, as it very soon will, it will find me not without projects and ambitions.
I’ve just bought this new manuscript book. As usual, I write my name on an early page. Frank Deasy. Frank Albert Deasy, to speak the whole truth of the matter. My origins are as simple as those of my ironmongering uncle, and I’ve sometimes imagined that, professionally, my advancement has been just about as far as fits comfortably with them. But perhaps there’s little in this; indeed, self-examination tells me there isn’t. I’ve never felt awkward, for example, in the higher academic circles I shall presently be going on to describe. Paradoxically, I’ve moved in them more easily – upon the infrequent occasions upon which I’ve moved in them at all – than has my far more accomplished friend Arthur Aylwin, whose environment they have constituted throughout his adult life – and whose affairs I’m now going to write about.
I hope that these preliminary remarks don’t give the effect of a man making anxious claims to a contentment he doesn’t securely feel. That they are faithful enough will, I believe, appear later. And now I must say a word about the ambition of which I’ve spoken. I would dearly love to write two or three reasonably good historical novels. For this is a kind of fiction which has not, to my mind, been well served in the present age. I think I may fairly claim to have some ideas about it, and to have done a good deal of reading which should assist me in my attempt. But that’s for the future. At present, and in summer holidays in particular, I merely exercise my powers of composition. I frequently do so, moreover, upon contemporary themes. For I’m conscious of a certain stiffness in my writing, which altogether lacks the enviable flexibility commanded by professional novelists. Something of the disability may already have appeared since I took up my pen a few minutes ago. In historical narrative and dialogue, I’m sure, it is something particularly undesirable, since a wooden and stick-like effect is the great danger of that kind of writing. So I turn at times to attempting familiar chronicle of matters within my own experience. That’s what I’m going to do here – and at a length which may see the greater part of the summer holidays slip by. I believe I’ve a story to tell, and so I hope that the result won’t appear too tedious. To myself, I mean. It’s hardly necessary to note down here that I’ve no notion of attempting to publish these pages.
If I were thinking to publish, the question of just where to begin would be an urgent one. Indeed it is so now, if I’m aiming, even for myself alone, at anything approximating to the novelist’s art. Character, I believe, is paramount in the novel, so there’s a case for beginning with that. I should attempt to delineate the character of my principal personage, who, as I’ve said, is my old friend Arthur Aylwin. But I’d be running the risk of appearing very old-fashioned if I were to set about this in terms of general statement. A developed fiction has to reveal character obliquely in the course of action. I remember some sophisticated late-Victorian novelist as recording in his working notes the constant need to find ‘a small illustrative action’. The point is obvious enough. To pupils with whom I’m studying the novel at an advanced level, I frequently recommend the reading of the first eight hundred words of Plutarch’s Life of Julius Caesar. These (I point out) tell us three things about Caesar: that he was fearless; that he was possessed of a histrionic streak and fond of making speeches; that he was ruthless. And all this through the medium of swiftly moving narrative! It’s clear that an eye for the effective and defining incident is to a novelist or dramatist a veritable gift of the gods. But if one hasn’t been granted it one must make do without, not pretending to endowments beyond one’s star. If I were Plutarch I’d be off to a flying start by now, wouldn’t you say?
Perhaps I ought simply to begin with what comes first into my head. This will at least be unpretentious – nor will it be wholly irrelevant, as Julius Caesar rather comically is. Very well: Frank Albert Deasy and Arthur Fitzosbern Sackville Aylwin. What’s in a name? There can be more candour, one may reply, in one than another, and it’s possible that mi
We arrived at school together, and became friends almost at once. Ours was a grammar school rather like the one I now teach in, although not so large or in such good scholastic repute. (My own results, I may fairly claim, have been remarkably good for some years, and lately the Royal has been beginning to do very well in science too.) In time we became rivals as well as friends, and our final terms found us competing for top place in the History Sixth. This never occasioned the least bad blood between us, nor did the manner in which our careers later diverged. The ultimate point of that divergence—only a minute divergence, if considered in the context of the human species as a whole!—may most readily be indicated, perhaps, by a purely topographical note.
I lodge with a Mrs Cowley, the widow of a deceased colleague, and the desk at which I’m now writing stands in the window of my comfortable sitting-room, overlooking the garden. Between high stone walls – soot-darkened as always here, but solid and mature – the ground drops in untidy terraces to a tennis-court which I can remember, in poor Cowley’s lifetime, as kept just usable in an unassuming family way. Beyond the garden, the slope grows steeper: too steep to have been built on economically, so that one can tumble down weedy zigzag paths to the residual discouraged stream that runs past a derelict mill, scratched-up poultry runs, rhubarb patches, inexplicable outcrops of crumbled brick wall, broken fencing, a rusty desolation of abandoned machinery, and rubbish dumps which appear to have been the creation of dogged private enterprise.
That’s my immediate prospect. But on its farther side, the valley, although only a little less steep, is scarred with terraced houses stepped up in endless parallel lines diagonally disposed, their brick and slated harshness softened only by a perpetual drift of smoke. Above and beyond this the city rises to a skyline sparsely topped by works of greater architectural pretension: the dome of the Town Hall, the two nineteenth-century cathedrals, the Victorian Gothic tower of the old university building and the hulking cliffs of the new. Only if one looks far to the right there’s a larger vista: a spreading industrial landscape which seems by day like grey cloud-rack anchored uneasily to earth, and which at night turns lurid and magical, the sprawled and twinkling and flaring conurbation showing like a disordered and topsy-turvy planetarium.
At this moment an almost wintry sunshine is filtering uncertainly through a grey sky. Here and there – from a factory, a line of back-to-back houses, a forlorn conservatory – the light is caught by grimy glass and tossed to me across the valley. Sometimes I can pick out the Royal in this way: the town school in which I am passing my working life. Without doubt I’ve become attached to the Royal, for as I sit here in holiday periods I often find myself wandering around its jumbled courts in fancy. The foundation is an ancient one – but there remain no ancient foundations in any literal sense. The oldest buildings are in a gloomy classical taste; windows peer out half-heartedly from behind heavy pillars of blackened stone, and above are bleakly empty triangular spaces, which should, in fact, hold honey-coloured gods and goddesses, fighting warriors, the heads of horses rising out of the sea. After these there are red brick buildings from the time of the early railway stations, though in the little history of the school which I was required to produce upon the occasion of its quarter centenary, I stretch a point and describe them as ‘Venetian Gothic’. Then, down one side of the main yard, there are hideous huts put up during the war and never taken down again. Finally there’s a big new building fabricated almost entirely of glass, and looking like a stack of gigantic aquariums in a pet-shop: a structure in which everybody can see everybody else from one end to the other, so that its function might be supposed penological rather than educational, like the celebrated ‘panopticon’ of Jeremy Bentham. This last building is variously convenient, nevertheless, and I rather like it. Most of the boys hate it – apparently as being undistinguishable from what has been put up all over the country for secondary modern schools and similar places low in the scale of scholastic esteem. Grammar school boys are inclined to be snobbish, and I believe ours feel that their Doric temples and Victorian brick palazzi are a link, if not with Westminster and Winchester (of which they may scarcely have heard), at least with Greyfriars and similar imaginary public schools which still occupy a substantial place in their reading.
This, then, is my own local habitation. Contrastingly, the Aylwins’ house, which has for long been quite familiar to me, is on Boars Hill, outside Oxford. It’s a house which, in itself and its immediate surroundings, would strike a foreigner as not altogether different from Mrs Cowley’s. It’s neither old nor beautiful, and there’s a good deal that is untidy and in indifferent repair. Boars Hill was much favoured, a generation or two ago, by such Oxford dons and professors as were not without substantial means quite apart from their academic emoluments. These were, I fancy, a fairly numerous class. The houses are large, and stand in spacious grounds more or less elaborately laid out. Life in them depended on an abundance of labour, and even upon an abundant application of fresh paint. The economic basis for this has now departed – but in a gentle and indecisive fashion which blends with the state of affairs in the university city itself: a fabric to be described, like Wordsworth’s Alpine forest, as ‘decaying, never to be decayed’. Many of the houses on Boars Hill have been turned in a rough and ready fashion into flats. At the time my narrative opens, however, the Aylwins had their house to themselves, even although it was a good deal too big for them. A big house pleased Arthur. His wife Mary possessed a private income (small but useful, I imagined it to be) and had inherited numerous pieces of furniture which required space for their proper setting off. The large house was thus in some measure justified – although Mary, to my mind, had far too much work in the running of it.
Like Mrs Cowley’s, this house of the Aylwins (called Greyswood) enjoys a notable view. Much of the land immediately in front of it has been kept clear of all encroachment by some fund or trust of the kind that Oxford can always organise for such purposes; and it’s over green fields, therefore, that the windows look straight down upon the distant colleges and churches of the city. These – the towers and domes and spires, with dispersed among them quadrangles, gardens, gently monastic vistas part to be guessed at and part seen – constitute what a guidebook would undoubtedly term one of the finest prospects in Europe. I’m very fond of it. Particularly within recent years, when the university (again calling piety and charity to its aid) has refaced or rebuilt these noble structures on a generous scale, the appearance of a mediaeval centre of learning sailing pristine through the centuries can be breathtakingly beautiful. For my own part, I like it better by day than by night. Not many organised tours of England, I imagine, on however tight a schedule they are contrived in the interest of huddled American vacations, would venture to miss out Oxford. This must be why, during a substantial part of the year, the city is dramatically floodlit through the earlier hours of darkness. Viewed from close at hand, there’s something aesthetically disturbing about the result. Like the poet Nashe, mediaeval architects took it for granted that brightness falls from the air, and they made no provision for the preservation of a pleasing effect when it beats up from the pavement or runs beneath colonnades. But from Boars Hill the spectacle has its undeniable enchantment, and it’s perhaps wrong-headed in me still to hanker after something a little more subdued. Matthew Arnold’s ‘line of festal light in Christ Church hall’ is said to have been provided by nothing more striking – or even romantic – than a recently installed apparatus of gas lamps. No doubt even that innovation was resented in its time, and the Scholar Gipsy himself is on record as turning away from it to battle with the snow on Hinksey’s wintry ridge. What he would have made of all this electrical effulgence it’s impossible to tell. But I’m not an Oxford man, and so am scarcely entitled to whimsical speculation of this sort. I’ve merely to record, before that impressive view, a certain obstinate preference for my own more familiar nocturnal spectacle. For if I return to this desk after supper – as I may well do, since the task of writing absorbs me once I’ve entered upon it – the spine of the industrial town before me will slowly become a serrated silhouette against a luminous sky. At the same time the lights begin to come out. It’s as if, from behind the scenes, somebody is pricking through the dusky spectacle with a needle. The pin-holes are distinct and cold, but here and there a diffused warm splash shines where a roundabout is flooded with amber light. For long the sky will remain empty – except that, straight above the little hump of the Town Hall, Venus will blaze green and enormous. It will be hard to believe that the planet is natural; that what shines down upon the vast industrial terrain all around me is not, appropriately, an artificial satellite. Over two-thirds of the horizon, certainly, man-made flames will faintly yet luridly flicker – serving night-long manufacturing purposes which have remained, through all these years, obstinately beyond my comprehension. My night-piece is full of mystery, therefore, and the hinted diversity and extension of the spectacle (for only in one quarter is there a darkness telling of moorland and near solitude) speaks to me warmingly and movingly (I confess it) of all the ‘numberless goings-on of human life’ – a phrase of Coleridge’s, if I remember aright. Magdalen Tower and the spire of the Church of St Mary the Virgin (I tell myself as I look) are all very well in their way, even when the subtle artistic sense of the craftsman who designed them has been violated, as I have suggested, by a beating artificial light coming from angles they could never have conceived. But this common face of the northern world I live in, the world into which I was born and in which I grew up, could never do other than remain more dear to me by a long way.
