Ellis Peters - George Felse 06 - Black Is The Colour Of My True Love's Heart (3 page)

“Oh, like he looks. You-be-damned! Terribly independent, won’t compromise, won’t pretend, a real stormy petrel. The way I heard it, his agent and the recording people, and all the ones who have to work with him took to calling him Lucifer instead of Lucien.”

Lucifer leaned with folded arms against the wine-coloured damask panelling of the long gallery, under the carved black ceiling and the Venetian chandeliers. Rankly dramatised Cothercott portraits hung cloaked and hooded about him, the expensive, perilous and eclectic accumulations of generations of Cothercott collectors were elegantly displayed along the walls at his back, their often lovely and sometimes repulsive furniture fended off teen-age girls from too close contact with him. The dark, rich, Strawberry Hill colours, the heavy gilding, the assured and lavish use of black, all framed him like one of the family pictures. He looked at home here, and in his element, a little sinister, a little dangerous, treacherously winning, like the house itself.

“Now you can’t,” Dickie Meurice was saying persuasively, his incandescent smile trained at full-tooth-power on the warden’s niece, “you really
can’t
ask us to believe that all these characters were models of industry and virtue. Just take a look at ’em!” He waved a hand towards the family portraits deployed along the wall, and indeed half of them did look like romantic poets and half like conspirators. Even the ladies appeared somewhat overdressed in conscious merit, as though they had something to hide. “Every one of ’em straight out of the wanted file. There ought to be profiles alongside. Don’t tell me they got the fortune that built this pile out of honest trade.”

“Ah, but I think that’s just what they did,” said Felicity with animation, “and just what they didn’t want you to believe about them. They much preferred to put up on their walls something that looked like degenerate aristocrats who’d never done a day’s work in their lives.”

She had abandoned her usual recital already, derailed by Meurice’s facetious comments, and begun to indulge her own suppressed feelings about this formidable place; but it wasn’t at Meurice she was looking, and it wasn’t for him she was lighting up like a pale, flickering candle, her serious grey eyes warming into brilliance. She gazed wide-eyed at Lucifer, leaning there against the wall with his dark brightness dulling the painted faces on either side of his head, and her small, grave face reflected his slight, sardonic smile like a mirror. She was the teen-age fan with a temporary and precarious advantage, and she was using it for all she was worth, bent on catching and holding his attention now or never, and reckless as to how pathetically she showed off in the attempt. She had begun this tour, as on all the other similar occasions, very poised, very grownup, a world-weary sophisticate aged fifteen and a half, but the first time he had looked at her the shell had begun to melt, and let in upon her all the hurts and all the promises of the untasted world of maturity, and from the time that he had smiled at her she had thrown away everything else and bent herself to make an impression. Once for all, and now or never. She hated being fifteen, but she wouldn’t always be fifteen. She looked rather more, she hoped, even now. And he was only twenty-three himself. She knew all about him, he’d been written up lavishly since he became famous, and she hadn’t missed a single article about him if she could help it.

“Take this one – William Henry Cothercott the third. He looks like Byron turned bandit, I know, but he hadn’t a line of poetry or an act of violence in him. He made a pile out of the early railway boom, and he had some ships that weren’t too particular whether they carried slaves or not, when other cargoes didn’t offer, but that’s the worst we know about him. They even started collecting more curious things than harpsichords, just to give the impression they were a lot of romantic damned souls. There are some very naughty books you won’t get shown, but I doubt if they ever really read them. And all these rapiers and knives and things, here along the wall – those are part of the effect, too, just theatrical props. That fan – you wouldn’t know it had a dagger in it, would you? And this silver-headed walking-cane – look! The head pulls out, like this…” She showed them, in one rapid, guilty gesture, six inches of the slender blade that was hidden inside the ebony sheath, and slid it hurriedly back again. “Straight out of ‘The Romantic Agony’,” she said, purely for Lucien’s benefit, to show him how well-read she was, and how adult. “Only it doesn’t mean a thing, they were still nothing but stolid merchants. Not a mohawk among the lot of ’em. They never stuck so much as a pig.”

“And yet somebody put the devil in this house,” said Lucien with detached certainty.

“Maybe somebody here among us,” suggested Dickie Meurice, turning the famous smile on him, “brought that aura in with him.”

Lucien turned his head and looked him over again at leisure, without any apparent reaction. He knew who he was, of course. Who didn’t? He had even worked with him on two occasions. It couldn’t be said that he had ever really noticed him until now, and even now he wasn’t particularly interested. In such a narrow gallery, however, you can’t help noticing someone who is so full of quicksilver movement without meaning, and makes so much noise saying nothing. Lucien, when not singing, was a dauntingly silent person, and spoke only to the point.

“I doubt it,” he said indifferently. “This is built-in. More likely to have been the architect. What was he like? Who
was
he? Do they know?”

“His name was Falchion. Nobody knows much about him, there are only two other houses known to be his work. We think he must have died young. There’s a story,” said Felicity, recklessly improvising, and looking even more passionately truthful and candid than usual, “that he was in love with one of the Cothercott daughters.
That
one… ” She pointed out, with deceptive conviction, the best-looking of the collection, confident that no one would notice that she belonged to a later generation. “She died about the time the house was finished, and he was broken-hearted. They used to meet in this gallery while he was working on the features in the grounds, and she’s supposed to haunt here.”

She had Lucien’s attention, and she didn’t care whether he knew she was lying or whether he believed her. Maybe it would be even more interesting to be seen to be lying. In many ways this whole set-up was a lie, even though Uncle Edward was a genuine scholar and a genuine musician, devoted and content with his sphere. In a sense, only what was utterly and joyously false had any right to exist in this setting, phantasms were the only appropriate realities in this shameless fantasy.

“She comes in daylight, not at night,” said Felicity, loosing the rein of her imagination, but holding fast to Lucien Galt’s black and moody stare. “She comes to meet him, and she doesn’t know she’s dead, and she can’t understand why he never comes. She’s still in love with him, but she’s angry, too, and she’s only waiting to meet him again and take it out of him for leaving her deserted so long…”

“She’s making it up as she goes along,” said Tossa very softly in Dominic’s ear. “What a gorgeous little liar!”

“It’s this place,” Dominic whispered back. “It would get anybody.”

“Has anyone actually seen her?” asked Peter Crewe, round-eyed.

“Oh, yes, occasionally, but it only happens to people in love.” Felicity turned, and began to pace slowly and delicately towards the great oak door at the end of the gallery; and they all caught the infection and walked solemnly after her, their steps soundless in the deep carpet. “You may be walking along here some day, just like this, going to put fresh flowers in that stone vase there on the pedestal. Not thinking about anything like ghosts. With the sun shining in, even, though it could be just at dusk, like this. And you’re just approaching this door when it suddenly opens, and there she is, confronting you…”

And suddenly the oak door opened, flung wide by a hand not accustomed to doing things by halves, and there she was confronting them indeed, with head up and eyes challenging, a tall, brown, imperious girl with a great plait of dark hair coiled like an attendant serpent over one shoulder, and a guitar-case in her hand.

Felicity rocked back on her heels, startled into a sharp and childish giggle of embarrassment. The procession at her back halted as abruptly, with a succession of soft, clumsy collisions, like a Bank-Holiday queue of ambling cars suddenly forced to brake sharply. It would all have been a little ridiculous, but for the composure with which the newcomer marched into the gallery and looked them over, undisturbed and unimpressed. Her glance passed over the whole group in one sweep, riding over their heads and rejecting all but the tallest. She found Lucien, alert, dark and still against the wall. There she fixed, and looked no farther.

Tossa, watching from the fringe of the group, literally saw the flash and felt the shock as their eyes locked, and her fingers reached for Dominic’s sleeve. The tension between those two set everyone quivering, even those who were too insensitive to understand why. And yet they could hardly have maintained a more stony assurance, calmer faces or stiller bodies. Only for the briefest instant had the daggers shown in two pairs of eyes now veiled, and cool. The girl’s face wore a newcomer’s polite, perfunctory smile, she was looking clean through Lucien and failing to see him, she had excised him from her field of vision. But the pressure of Tossa’s fingers, alert and excited, directed attention rather to Lucien himself. So far from crossing the stranger out of his notice, he was staring at her frankly and directly, trying to see deep into her and read some significance into what he saw; but if he was getting much information out of that closed and aloof face, thought Tossa, he must be clairvoyant. The glint in his eyes might have been alarm, or animosity or, curiously, elation. He might, for that matter, be the kind of person who would find a certain elation in the promise of a stand-up fight.

The instant of surprise and silence was gone almost before they had recorded it. The girl with the guitar turned to Felicity, and was opening her lips to speak when the high, self-confident voice of Dickie Meurice gave tongue smoothly and joyously:

“Well, well, well! Just look who’s here!” And he danced forward with arms outspread, took the girl’s hands in his, guitar and all, and pumped and pressed them enthusiastically. Her dark brows rose slightly, but she tolerated the liberty without protest.

“Hullo, Dickie, I didn’t know you were going to be here.”

“I didn’t know
you
were. For goodness sake, why didn’t they have your name on the prospectus?”

“They didn’t know I was coming, and I’m not here to perform. I came as a student, like anybody else.”

“Come off it!” said Meurice, laughing, and tapped the guitar-case. “You think you’re the sort of girl who can take her harp to a party without anybody asking her to play? Not while I’m around!” He laid an arm familiarly about her shoulders, and turned her to face the company. “Don’t you know who we’ve got here? Just about the greatest ballad-singer this side of the Atlantic, that’s who. Ladies and gentlemen, I’m proud to present to you none other than the great Liri Palmer.”

EDWARD ARUNDALE made his speech of welcome in the small drawing-room before dinner, against the sombre splendour of black, white and heavy gilt décor that might have been specially designed to render him more impressive. He expressed his pleasure at having so intelligent and enthusiastic a company beneath the roof of his college, outlined the origin and history of the Follymead foundation, wished them a very pleasant and productive week-end, and deeply regretted that he himself wouldn’t be able to enjoy the whole of it with them, since to-morrow afternoon he had to leave to fulfil two speaking engagements in Birmingham, and would not be back until Sunday evening. After this evening, therefore, he would be handing over direction of the course to his deputy, Henry Marshall, – Mr. Marshall, who was young, anxious and only too well aware of being on trial, smiled nervously – and Professor Roderick Penrose, whose name and reputation were certainly known to everyone interested in folk-music. Mr. Arundale wouldn’t claim that folk-music was the professor’s subject; he would prefer to describe it as his passion and if he held some unusual and controversial opinions on it, the discussion during the week-end would be all the livelier.

Professor Penrose, who was seventy-five, bursting with energy, and just beginning to take full advantage of the privileges of age, notably its irresponsibility and licence, grinned happily, fluffed up his clown’s-tufts of grey hair with eager fingers, and licked his lips in anticipation. He couldn’t wait to get his carnivorous teeth into all the sacred cows of the cult.

Then they trooped in to dinner in the neo-Gothic vaulted hall, still hung with Cothercott tapestries and lit by great torches (electric now) jutting from the gold and scarlet walls. Audrey Arundale, dazzlingly fair in her plain black dress, sat beside her husband, looked beautiful, kept a careful watch on the conversation, and said and did all the right things at all the right moments. That is what the wives of the Edward Arundales are for, though they may also, incidentally, be loved helplessly and utterly, as Audrey was loved.

She was fifteen years his junior, and looked even younger. He had never grown tired of looking at her, never lost the power to feel again the knife-thrust of astonishment, anguish and delight that possession of her beauty gave him. He still hated to leave her even for a day.

“I wish you were coming with me,” he said impulsively in her ear. The young people were getting into their stride, you could gauge the potential success of a course by the crescendo of noise at their first meal together. He smiled at her quickly and reassuringly. “No, I know you can’t, of course. I wouldn’t take you away from this, I know how much you’re going to enjoy it.”

“It’s just that I really began it,” she said apologetically. Her voice had something of the quality of her eyes, hesitant and faintly anxious, as though even after twenty years of backing him up loyally, first as the revered head of Bannerets and now here, she was still in doubt of her own powers, and still constantly braced to please. “I’ve really got to see it through, after getting Professor Penrose and all those others into it, haven’t I?”

“Of course, my dear, I know. But I shall miss you. Never mind,” he said, letting his hand rest for a moment on hers, “let’s enjoy this first concert together, anyhow. It looks as if you’re going to have a success on your hands, by all the signs.”

The noise by then was almost deafening but there were those who observed that Lucien Galt wasn’t contributing much to it, and neither was Liri Palmer.

“To-morrow,” said Professor Penrose, rubbing his hands, “will be time enough to begin haggling about all the usual questions, such as definition and standards, what’s permissible and what isn’t, who has it right and who has it wrong. To-night we’re going to enjoy ourselves. We have here with us a number of recognised artists in the field, whose judgement of their material
ought
to command respect. Let’s ask them, not to tell us, but to show us. We’ll get them to sing their favourites, songs they take as beyond question or reproach. And then we’ll examine the results together, and see what we find.”

“Now you got me scared,” said Peter Crewe plaintively, and got a mild laugh from under Dickie Meurice’s nose; but his time was coming.

“Mr. Crewe, you are probably the safest person around here. We shall see! Don’t let me cast any shadows. I’m retiring into the audience as of now.” The professor, a born chameleon, was taking on colouring, from his American artist without even realising it. “Here and now I hand over this session to an expert at putting people through hoops. Mr. Meurice, take over.”

Mr. Meurice rose like a trout to a fly, and took over gleefully. The professor retired to a quiet corner beside the warden and his wife, and sat on the small of his back, legs crossed, looking at his specimens between his skidding glasses and his shaggy brows, and grinning wolfishly.

“There’s really no need of any introductions at all tonight,” said Dicke Meurice, beaming. “If you people down there didn’t know all about all these people up here, you wouldn’t be here at all. All they need me for is to name them in order, and you could tell me everything I could tell you about them. Maybe more! I dare say there’s something even I could learn, this weekend. So let’s not waste time listening to me, but get on to the music. Ladies first! Celia, will you lead the way? You all know Celia Whitwood, the girl with the harp. It makes a change from guitars, doesn’t it?”

It got a ripple of delight from his fans, but it was a very gentle joke for Dickie Meurice. “I thought he’d be cruder,” Tossa confided in a whisper.

“He probably will,” returned Dominic as softly, “before he’s done. Just feeling his way. He’s no fool. This needs a different approach from a disc-jockey session.”

Celia Whitwood settled her instrument comfortably, and sang “Two Fond Hearts” and “By the Sea-Shore,” both in Welsh, translating the words for those who did not know them. She had a small, shy voice, and at first was uncertain of the acoustics in the great yellow drawing-room, but by the end of the first song she had the feel of the space about her, and was using it confidently. She followed with “The Jute-Mill Song,” and made her harp do the mill noises for her. Peter Crewe sang “Times are Getting Hard.” “I’m Going Away” and “The Streets of Laredo”; Andrew Callum contributed two Tyne-side colliery songs and “The Bonny Earl of Moray” from across the border. And Dickie Meurice continued bland, bright and considerate, as though his judgement, too, was on trial.

“
All
playing safe,” remarked Tossa disapprovingly.

The Rossignol twins began with a ballad-like thriller, grim and dramatic, “Le Roi a fait battre tambour.” They were twenty, flame-headed, of rather girlish prettiness but more than male toughness and impudence, and decidedly disturbing to watch, for one of them was left-handed, and one right, and they amused themselves by trading on this mirror-image appearance to such an extent that it had now become second nature. They followed with a lullaby in a dialect so thick it was plain they felt sure not even Professor Penrose would understand a word of it. “Quarrel with that!” said their innocent smiles. Then they consulted each other by means of two flicks of the eyebrows, cast a wicked glance at the professor, and broke into the honeyed, courtly melody of the fifteen-century “L’Amour de Moi.” They sang it like angels, with melting harmonies as gracious as the flowers they sang about. The professor nodded his ancient head and continued to smile.

“Well, they trailed their coats, anyhow,” said Dominic.

Lucien Galt began with “Helen of Kirkconnell.” There was no doubt from the opening that here was an artist of stature, first because nature had given him a voice of great beauty, a warm, flexible baritone that would have been attractive even without art, and second, because he had the rare gift of total absorption in what he did, so that he lost them utterly while the song lasted. He
was
the bereaved lover hunting Helen’s murderer along the water-side, and hacking him in pieces for her sake. The voice that had been all honey and grief over her body could find gravel and hate when it needed them. He was all the more compelling because everything he did was understated, but the passion vibrated behind the quietness with an intensity that had them holding their breath. He seemed surprised when they applauded him; probably for the duration, of that experience he had forgotten they were there.

Next he sang “The Croppy Boy,” a venturesome choice for somebody without a drop of Irish blood; nor did he attempt to put on the Irish. He sang it like an Englishman possessed by the guilt of England past, and with an unexpected simplicity that made the child-soldier’s last innocent confession almost unendurably touching: