by
Iris Murdoch
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I must work harder on these portraits. Perhaps that is what this book will turn out to be, simply my life told in a series of portraits of the people I have known. What a funny heterogeneous crew: Clement, Rosina, Wilfred, Sidney, Peregrine, Rita, Fritzie, Jeanne, Al Bull … I must write about Clement. She is the main theme. How mad and bad she became at the end when she had lost her beauty and was losing her wits. And what a bitchy old bore she was, telling the same scandalous obscene stories over and over again. That terrible atmosphere in her flat, the smell of drink, the smell of tears and hysterics. Her deep sonorous drunken voice droned on in endless recrimination. Did I face it well? I think I did. Forgiveness and mercy were so ready to hand as soon as I knew that she was doomed. That sounds cynical. I always loved her; and we were rewarded. At the very end we were both perfect. Poor Clement. That is a dreadful land, old age. I shall soon be entering it myself. Is that why I feel I need Lizzie?
Hartley made a permanent metaphysical crisis of my life by refusing me for moral reasons. Did this lead me to make immorality my mask? Such pompous speculations are of course a kind of nonsense and I surprise myself by writing them down. What were Hartley’s ‘reasons’? I shall never know. It is possible that some demonic sense of a surrender of innocence entered into my affair with Clement, as if I were saying to Hartley: You did not trust me. Well, I will show you, now and forever after, how right you were! Perhaps all my love affairs have been vicious attempts to show Hartley that she was right after all. But she was only right because she left me. You die at heart from a withdrawal of love. My mother’s threats of such a withdrawal made me utterly vulnerable to Hartley’s crime. Hartley destroyed my innocence, she and the demon of jealousy. She made me faithless. But with her I would have been faithful, with her my whole life would have been different, less rootless, less empty. Do I then think my life has been empty, my life? A ridiculous judgment! Could Hartley really have thought the youth that I then was ‘a worldly man’? If so she was more like my mother than I ever suspected. She made me a worldly man by rejecting me, that failure ruined me morally. Did she think I would be ‘lost’ in the theatre? She never said that. It was her rejection that made me lose my way. Would I have been faithful? How could I not have been, if she had lived with me, sewed for me, cooked for me. We would have become one, and the holiness of marriage would have been our safety and our home forever. She was a part, an evidence, of some pure uncracked un-fissured confidence in the good which was never there for me again.
Even now I shake and tremble as I write. Memory is too weak a name for this terrible evocation. Oh Hartley, Hartley, how timeless, how absolute love is. My love for you is unaware that I am old and you perhaps are dead.
Gilbert was wearing a light-weight black suit with a striped shirt and flowery tie. When he saw me he took off his hat. It was three or four years since I had seen Gilbert and he had aged a lot. The mysterious awful changes which alter the human face from youth to age may gently dally and delay, then act decisively all at once. Gilbert in young middle age looked rosy and boyish. Now he was all wrinkled and humorous and dry, with that faint air of quizzical cynicism which clever elderly people often instinctively put on, and which may be quite new to them, a final defence. When I last saw him he still wore a fresh unselfconscious air of childish conceit. Now his face was full of wary watchful anxiety masquerading as worldly detachment, as if he were cautiously trying out his new wrinkles as a mask. Though podgier, he still contrived to look handsome, and his white curly hair still had a jaunty look, had not learnt to seem old.
As for my stern policy with Lizzie, I really have nothing to lose. If she delays too long I shall go and fetch her. If she still tries to say no I shall not take it for an answer. My threats of ‘never again’ are empty of course, but she will not think so. If she really decides in the end not to come then that will prove she is not worthy of me. In spite of it all I can let Lizzie go. If she won’t, she won’t.
ha this is basically what i wrote from neil's perspective about eve
‘Look here, just stop this, will you. I forget what I said exactly but it was momentary emotional nonsense, as you perfectly well know. One can’t bind oneself like that and I’m not bound. Those were just words, not a promise.’
‘Promises are words. You are bound, Charles. Bound.’ She repeated the word softly with an intense emphasis.
‘Rosina, don’t talk rubbish. People say all sorts of things during love affairs which they don’t mean, you know that. Or if you prefer, all right I promised, but I shall break my promise just as soon as it suits me, like everybody else.’
‘You got married, didn’t you—are you still—I mean is your husband still—have you got a—husband—now—?’
‘Yes, yes, oh yes. My husband is alive—he’s with me, yes—we live—we live here.’
I was silent while a whole world of possibilities gradually folded themselves up, like some trick of stagecraft, quietly collapsing, folding, merging, becoming very small and vanishing. So that—was that—at any rate. And I would have to think, to invent, in a new way, to exist in this situation which was now, I realized, whatever was the case with Hartley, the continuing and only situation for me, the final state of affairs, the world centre.
‘Hartley, please, stay here please, I must go on talking to you, tell me—oh—tell me, what did your husband do, sell, before he retired?’ I must just keep on asking questions.
‘Fire extinguishers. He was in fire extinguishers.’ She added, ‘He was always so tired in the evenings.’
This sudden vista of her evenings, years and years of her evenings, led me on blunderingly to ask, ‘And are you happily married, Hartley, have you had a good life?’
‘Oh God—’ So cunning and vile is the human soul that I felt instantly glad that Hartley had this understandable cause of grief and had told me about it and was weeping about it in my presence. Suddenly there was sympathy, communication.
But I did sleep and I dreamed that Hartley was a ballet dancer and was circling a huge stage sur les points dressed in a black tutu and a head-dress of sparkling diamonds and black feathers. Now and then she would leap, and I would say to myself, but she stays in the air, it’s uncanny, it’s like levitation, she just stays there. And as I watched I said to myself in a complacent way, isn’t it wonderful that we’re both so young and we have all our lives before us. How can old people be happy? We’re young and we know that we’re young, whereas most young people just take it for granted. Then the stage was a forest and a prince also dressed in black came and carried Hartley away, and her head hung back over his shoulder as if her neck was broken. I stayed there still thinking, how wonderful that I’m young; I had a bad dream and thought that I was old. And I’m sure, I’m sure, that on the other side of those trees there is a lake, or perhaps it is the sea. I woke up in the sunshine, and whereas in my other wakings I had understood at once where I was, this time I was very startled, and could still see Hartley’s dead face, her head hanging limply in that terrible way; and I felt a foreboding and a horror which I had not felt in the dream. I pushed myself up on my elbow and only gradually worked out why I was here, lying on the rock, in the bright sunlight in front of a blue muttering sea. I got up slowly, and then felt a pang of sadness as I remembered being so pleased about being young in my dream. I looked at my watch. It was six thirty. It was only then that I thought: if there is no letter this morning I shall go to the bungalow. That is settled.