[This weekend is the Feast of Saint Nicholas. On the eve of his feast day on 6 December, we always send a poem to our friends from the Netherlands, who now live in Rhode Island. This year the theme of the poem is the legend of the three pickled boys, who are said to have been murdered by a butcher and hidden in a pickle tub. Saint Nicholas brought them back to life, and thanks to this miracle has always been recognised as the patron saint of children, the original Santa Claus. Mixed in with the miracle in this poem is the fact that we are currently moving house to a Victorian ground floor apartment, with all the labour that entails. You can find last year’s poem here.]
Three boys loitering
Underneath the floorboards
Eyes wide open
Staring at the dark.
Three boys leaning
On the broken plaster,
Staring at the brickwork,
Dreaming of the park.
Where’d they come from?
Not the slightest notion.
Somewhere warm, where
People knew their names.
Three boys crouching
By the broken hearthstone,
Cold and empty,
Staring at the flames.
Scrapers smooth fresh
Plaster on the wall.
From the empty kitchen,
Dust-clouds rise from
Living-room and hall.
Warming up the building,
Beating back the chills of
Loneliness and loss.
Scaffolding and laughter,
Sweeping off the cobwebs,
Scraping back the moss.
One bright morning,
Sunlight in the bedrooms,
Three boys floating
Near the bathroom floor
Heard a key-bunch
Rattle at the keyhole,
Saw a face peer
Round the open door.
Bright eyes gleaming
See them for the first time,
Hands stretch out and
Lift them till they stand.
Three boys gabbling
To the lofty stranger
Tell their story
Clinging to his hand.
Three boys smiling
Lead him to the fireplace
Sit him down on
Piles of dusty bricks.
Soon his face is
Shining like a chestnut
As he feeds the
Flames with broken sticks.
Notices the firelight
Through the window
Of the empty flat.
Peeps in softly,
Sees decay and mildew,
Long years later,
Wanderers in darkness
Note the gleam of
Firelight in the glass.
Hear sweet singing
Filter through the window,
See the flat quite
Empty as they pass.
Three boys don’t care
What the world is thinking,
As folks point and
Whisper to their friends.
Tall Saint Nicholas
In his crimson costume
Feeds them, loves them,
Till the winter ends.
[I was introduced to A High Wind in Jamaica by my high school history teacher, Dick Woollett, in the late 1970s. This post is dedicated to him. Warning: it contains references to subjects readers may find upsetting.]
Two of my recent posts looked at Lord Dunsany’s Irish fiction, which is rarely considered fantasy. In them I argued that all three of the novels I discussed were directly preoccupied with the way the ‘real’ world is dominated by the fantasies of its inhabitants, and that they could therefore be said to address fantasy directly as an integral part of Irish life in the 1930s. This does not make them fantasies as we usually understand the term, of course, since nothing fantastic is said to have happened in them – apart from the rising of an Irish peat bog against its industrial exploiters in The Curse of the Wise Woman (1933). But it suggests that the discussion of fantasy might benefit from being opened out a little, to reflect on the way the genre or mode exerts a gravitational pull on other kinds of narrative. The period between the wars is full of examples of ‘realist’ texts with fairy tales and fantasies embedded in them, as a means of identifying something crucial about contemporary culture and politics. Evelyn Waugh’s A Handful of Dust (1935), with its riffs on the Arthurian legends, examines the impact on masculinity of the Great War and the rise of capitalism, as well as the flagging potency of Victorian ideas in the age of Modernity. Waugh’s novel takes its title from Eliot’s Modernist masterpiece The Waste Land (1922), which also embeds Arthurian legend – reduced to broken verbal fragments, emblems of the fragments left of old certainties after the War – in the English landscape, pointing forward to the successive engagements with Arthurian narratives by Tolkien (who planned for a while to retell those tales as a myth for modern England), T. H. White (in the series of novels that became The Once and Future King), Charles Williams (in his poetry sequence Taliessin Through Logres) and C. S. Lewis (in That Hideous Strength). Meanwhile, the first section of Woolf’s To the Lighthouse (1927), ‘The Window’, centres on a mother reading a fairy tale to her son – the story of the Fisherman and his Wife, from the Household Tales of the brothers Grimm – which draws out the book’s concern with problems of communication between men and women as embodied in the Hebridean island where the action takes place, surrounded as it is by the severing sea. There’s a story to be told, I think, about the dialogue between the fantastic and the realistic at a time when fantasy was coming into its own as a distinct way of writing; and this story might help us account for the complex dialogue between the modes embedded in fantasy narratives of the 1950s, from The Lord of the Rings to the Narnian chronicles and the Borrowers books.
This post, too, is dedicated to a work of fiction that addresses the relationship between fantasy and the ‘real’ world: Richard Hughes’s A High Wind in Jamaica (1929). On the strength of his novel’s immense popularity between the wars, Hughes is often described as one of the most influential writers on childhood in the twentieth century. High Wind is said to have influenced Golding’s The Lord of the Flies (1954) in its debunking of the Victorian cult of the child, its merciless dissection of the myth of childhood innocence. What isn’t often mentioned, though, is that Hughes also wrote fine fantastic stories for children, and that one collection of these stories, The Spider’s Palace and Other Stories (1931), came out just two years after High Wind was published. High Wind self-consciously adopts an adult perspective on children’s thoughts and actions, narrated as it is by a sardonic Victorian commentator. The Spider’s Palace gives us direct access to the children’s imaginative world, makes us natives of it, so to speak. Setting the books side by side paints an arresting picture, I think, of Hughes’s ambivalent attitude to fantasy as it manifests itself in two different age groups: young children and adults. For Hughes, fantasy dominates the lives of adults as well as children, and in both cases this domination can be playful, seductive and lethal. In saying so he marks the radical break that has taken place between his own lifetime, on this side of the Great War, and the supposedly halcyon days of the British Empire in the middle years of the nineteenth century, when the Empire throve on waking dreams of power, order, racism, class divisions and segregation between the sexes, and when the so-called Golden Age of children’s fiction was in full flood. But he also points the way to a recognition of how the invasion of the ‘real world’ by murderous fantasies like those of fascism, which was taking place as he wrote his book, had roots in the Victorian culture of his own country.
The Spider’s Palace is one of the oddest children’s books from a decade of often highly experimental children’s writing. The 1930s, after all, saw the publication of Mary Poppins (1934), The Hobbit (1937), The Sword in the Stone (1938), J. B. S. Haldane’s scientific extravaganza My Friend Mr. Leakey (1937), and the radical Irish fantasies of Patricia Lynch such as The Turf-Cutter’s Donkey (1934) and The Grey Goose of Kilnevin (1939); but each of these narratives is profoundly comforting in comparison with Hughes’s bizarre collection. Described in some editions as a book of ‘modern fairy stories’, the collection dedicates itself to undermining the reader’s sense that they know what fairy stories are. The style is the most fairy-story thing about them, as terse as the language used by Joseph Jacobs or Andrew Lang, a thousand miles from the lyrical flourishes of Hans Christian Andersen or George MacDonald. The narratives are anarchic; anything at all can happen in them, and there’s simply no knowing how a story will end. At the end of the decade, Tolkien argued that fairy stories need to close with a eucatastrophe, a sense of something having been satisfactorily completed – as invoked by the famous formula ‘they lived happily ever after’. When Hughes obliquely refers to that formula, it becomes a source of strangeness as intense as a surrealist painting. In one story, for instance, a prematurely aged gardener (who works so hard he only gets one hour’s sleep a night) decides to chase an equally aged rabbit out of his garden – as if a minor character from Alice in Wonderland had decided to rebel against the monarchist system by tracking down the royal herald and subjecting it to vigilante justice. The rabbit is too fast for him, so the gardener decides to taste some of the rose leaves it has been eating, instead of cultivating or painting the roses like the obedient gardeners in Alice. On eating the leaves he finds that they make him young again, which enables him to chase the rabbit all the way to its burrow, where it has imprisoned twenty or thirty white elephants, which the gardener liberates by strangling the rabbit. The story ends with a ‘happy ever after’ that goes like this:
Now that he had all these white elephants the gardener, of course, was rich, and didn’t have to work in the garden any more. Instead he had a small but comfortable house for himself, and a perfectly enormous stable for all the white elephants: and there they lived happily together for ever after: and this was the strange thing, that though when the rabbit had eaten the rose leaf it had only made him young for one night, when the gardener ate his it made him young for ever, so that he never grew old again at all. (p. 37)
Expensive and useless things, which is the traditional definition of a white elephant, define their possessors as wealthy – and in this story they seem to attract riches to them by simply existing; but the gardener seems as egalitarian in the use of his riches as Hughes is in choosing an elderly gardener as his protagonist, providing the animals and himself with homes that are strictly proportionate to their needs. The ‘strange thing’ in the story, however, is not the gardener’s decision to set up a household with thirty elephants, or the rabbit’s transformation in its final fight with the gardener into a monster with fiery eyes and teeth like a tiger’s, or even the rose’s rejuvenating qualities, but the fact that the rose leaves do not work in the same way for the gardener as they did for the rabbit: the rabbit was only made young for a night, but the man remained young for ever, ‘so that he never grew old […] at all’. That, of course, is the literal meaning of ‘they lived happily ever after’; but it takes Richard Hughes to make the formula strange again by allowing it to work for some people in his story world but not for others. Something like this happens in conventional fairy stories, too – the villain never gets to live happily ever after, the hero always does – but Hughes points up the disparity by having both hero and villain consume the same magical food, and experience different results from its consumption. An imaginative tale that breaks its own rules is utterly unlike the traditional magic tale, which explains exactly how a spell or magic object operates and makes sure that this is how it works from beginning to end. Hughes’s fairy tales are full of such instances of rules that get broken arbitrarily – and in doing so they transplant their readers to a far more dangerous imaginative zone than the one they are familiar with from the fairy tale collections of the nineteenth and early twentieth centuries.
The happy-ever-after gets broken more disturbingly in the story of the title, ‘The Spider’s Palace’. In it a little girl gets invited home by a friendly spider, awaking echoes in the reader’s mind of the story of Bluebeard (will she be murdered like a fly?), or Beauty and the Beast, or Cupid and Psyche. The Bluebeard analogy comes closest at first, since the spider’s airborne palace is wholly transparent apart from one room, into which the spider creeps for an hour each day. The girl enjoys her time there, playing in clouds which support her weight, taking pleasure in the spider’s company; but of course she is desperately curious to find out what he does in the hidden room; and when she hides in the room one day she sees him change into a handsome prince, a shape he retains throughout the hour of his concealment. Once the transformation has been witnessed the spell is broken, and from that moment the spider ceases to be a spider, his see-through residence becomes a conventional palace on the ground, and the little girl and the handsome prince go on living together as if nothing has happened. Neither the prince nor the girl, we’re told, ever mentions the change in their living conditions that has taken place. But this is no Tolkienian eucatastrophe. The girl goes on hankering after the days when she lived in an airborne, see-through palace, where she could play among the clouds and do what she liked. Living with a prince in a conventional palace is just no substitute for living with a spider in its magical web. In this story the traditional fairy tale loses its loveliness and an altogether stranger narrative takes its place. It is both a challenge to the usual assumptions about fairy tales – that the conventional forms of happiness they contain will appeal to their readers – and an accurate summary of the reader’s feelings at the end of the story of Beauty and the Beast, which is that life in an ordinary marriage (even a fairy tale one) is not a patch on life in an enchanted castle with a mournful, mysterious, possibly murderous monster (at least, in the context of a story).
Other stories in the collection add further twists to Hughes’s demolition of the Tolkienian eucatastrophe. A little girl who can travel down telephone lines escapes her unpleasant step-parents and gets herself adopted by a strange couple, who have phoned her house by mistake and so inadvertently granted her access to their home. But she tyrannizes over the couple, taking over room after room in their house until they have only an attic left to live in, and later forcing them to remove the roof so she can let off fireworks in her room. Luckily the couple have a friend with a magic rocket; the little girl sets the rocket off on Bonfire Night and it promptly carries her back to her neglectful step-parents, where she lives unhappily ever after on a diet of silence, tapioca pudding and cold mutton. The theme of awkward cohabitation within an unevenly divided domestic space is further developed in the story ‘Inhaling’, in which two small children are given a mysterious substance by a huge policeman. The substance has the property of making things grow to giant proportions, like the Food of the Gods in Wells’s novel, and the two children turn into giants when they pour it into their bath and inhale the steam. Meanwhile the steam also affects their nurse and their father to different extents, while their mother – who inhales nothing – remains the same size. As a result, the mismatched family has to construct a strange new house as experimental as anything by a modernist architect: ‘The nursery, of course, was enormous,’ Hughes explains, ‘Then came the study for their father, that was just about double size […] But the poor little mother had just an ordinary-size drawing-room and bedroom, and had to be ever so careful, when she went into the nursery, that the children didn’t tread on her’ (p. 120). The over-sized nurse, meanwhile, is simply sent away as an inconvenience. As a model of a domestic hierarchy the household is as disturbing as it is strange, and Hughes gives no hint that the situation will ever change. Magical restorations of things to their proper proportions don’t always happen in his fairy tale landscape, any more than they do in the ‘real’ world the child reader will inherit.
The collection ends with two of Hughes’s most unsettling non-happy-endings. In ‘The Old Queen’ the titular monarch is granted the gift of eternal life, but her beloved husband is not, with the result that after his death she is left in dreary solitude in her palace, ‘reigning and reigning’ for ever after without hope of closure (p. 145). And in the final story, a couple of teachers find themselves without a school and are reduced to teaching one another until a lost little girl turns up at their door and they adopt her as both pupil and daughter. The girl proves marvelously biddable except in the matter of getting out of the bath; so in the end one of the teachers flushes her down the plughole, which prompts the last few sentences in the book:
‘OH, what have you done,’ cried the schoolmaster. ‘You have lost our only child!’
‘I don’t care!’ said the schoolmistress in a stern voice. ‘She should have got out of the bath when she was TOLD!’ (p. 158)
The typographic eccentricities of the final sentence (in the original, the last two words are in italic fonts of increasing size) mimic the eccentricity of the story, which breaks free from the traditions of British children’s narratives by subjecting the disobedient child not to chastisement and repentance but to a dreadful and irreversible doom. In the process, the tale provides an unhappy ending to the collection as a whole, which begins in a very different mood. The opening story tells of a determined little girl who decides to go and live in a whale – like an impenitent Jonah – free from any controls at all; but the final story ends with the re-imposition of absolute adult control over a recalcitrant youngster. At the same time, the schoolmistress who punishes the little girl can be seen as anarchic in her impulses, meting out a wholly disproportionate punishment to her disobedient adoptive daughter, who merely acts on a perfectly natural preference to stay in the comfortable bathwater for a few minutes longer than her new mother deems appropriate. Adult order is as much an illusion in this collection as the fantasies conjured up by the wildest child’s imagination; and the fact that the book is not cast as a dream, unlike its most obvious model, Alice in Wonderland, gives it an air of radicalism, of having something to say about the nonsensical nature of accepted conventions, that Carroll’s great novel never quite aspired to.
It’s perhaps for this reason that contemporary readers referred to the fables in Hughes’ collection as distinctively ‘modern’. The tales refuse to be bounded within the constraints of ordinary literature for the nursery, and refuse to suggest that the world they contain can be distinguished from the world beyond the book’s boundaries. Even the opening story segues very neatly from an everyday situation. An architect who has built a ‘model village’ in Wales (p. 9) – presumably Portmeirion – invites people everywhere to come and live in his country, and a little girl mistakes this for an invitation to live in whales, which is why she ends up moving into the belly of a seagoing mammal. Hughes does not differentiate between her eccentric choice of habitation (a whale) and the eccentric choice of habitation suggested by the architect (an Italianate model village on the Welsh coast). In the same way, the wild behaviour of the children in Hughes’s stories is not distinguished from the wild behaviour of the rabbit-wrestling, white-elephant-collecting, magic-rocket-owning adults. The Spider’s Palace was written before surrealism came to Britain, but its tacit acceptance of the domination of human culture by the riotous unconscious is entirely of a piece with the surrealist activities going on at the time in France.
Its politics, too, is at times as radical as that of the surrealists. Being a prince, a queen or a child does not guarantee its characters a happy ending, and cooks, maids, gardeners, farmers and poachers have as ready access to magic adventures as the youngest children of reigning monarchs. The most openly political story in the book is ‘The Glass-Ball Country’, which focuses on the political implications of ignoring limits and boundaries. A charcoal burner and his wife live in the almost inaccessible ruins of a castle on a cliff, where they shelter from the pointless wars being waged between the nations that surround them. At one point an elderly pedlar seeks shelter with them in the castle, and in their paranoia about discovery they almost kill him as a spy. Instead they reluctantly let him go free, and in return he gives them a glass ball as a present for their daughter. When a band of soldiers approaches the castle, threatening the charcoal-burner’s family with discovery and death, the little girl informs her parents that there is a country inside the glass ball, ‘only about an inch across’ (p. 60), where the family can hide from their military oppressors. They do so at once by reducing themselves to a suitable size, and live happily there for a while, until one of the soldiers decides to throw the ball from the castle window and watch it smash on the rocks below. The tiny country falls out of the globe and begins to grow, and as it grows the little girl invites a wounded soldier to take shelter with her family inside its expanding borders. The soldier soon reveals himself as the pedlar who gave her the ball, and explains that the land is called the Peace Country, a place where no citizen is permitted to fight. The Peace Country continues to expand, absorbing ‘farmers and other quiet people’ as it does so, and soon covers the whole of the ‘old warry country’, pushing its occupants into the ocean where they drown (p. 62). The charcoal burner and his wife are elected king and queen, while their daughter – now a princess – seeks out the soldier to be her husband as a way of sealing the happy ending, only to find that he has ‘disappeared for good’. The trajectory of this narrative is from confinement to liberation, from narrow limits to the removal of all unnecessary borders and constraints, a process orchestrated by a strange man who cannot be restricted to a single role (he is first a pedlar, then a soldier, then one of the ‘quiet people’, then an enigma) or time of life (he fluctuates between old age and youth). It provides a miniature working model – like the glass ball it describes – of a non-militaristic democratic community, whose exemption from the rules of physics and geography aligns it with anarchism. Anarchy here is liberating – just as elsewhere in the collection it is intimidating, allowing the spontaneous dissolution of restraints on the sometimes antisocial behaviour of children, adults and animals, such as rabbits, goats and spiders. The anarchist credentials of the collection are nowhere more evident than in its recognition that anarchy itself can be a force either for mutual support or for untrammeled Hobbesian brutality.
A High Wind in Jamaica pits the anarchy of childhood play against the most anarchic of adult communities, that of pirates. A group of white British children on their way to England from Jamaica – sent ‘home’ to prevent them being transformed into ‘savages’ by the joint influence of the tropics and emancipated Black slaves – gets accidentally abducted by pirates, and the story traces the relationship between these two sets of outlaws, ending with the execution of the entire pirate crew for a murder they did not commit. Innocence, then, is on trial in this narrative, as its original title (The Innocent Voyage) makes quite clear: the innocence of the children, the innocence of the pirates, both of which are problematic. The murder for which the buccaneers are executed was in fact committed by one of the children, but the pirates were certainly responsible for the accidental death of one child, the sexual assault of another, and the rape and attempted murder of a third. At the same time, the pirates are represented as in some ways more responsible and sympathetic in their treatment of the children than the respectable adults who had charge of them on land. Yet both pirates and respectable adults are united in their abhorrent treatment of the girl who is raped. The girl’s chief offence (it seems) is that she is adolescent, and therefore aware of sex and male violence in a way that the younger children are not; so she does not fit neatly into the categories of innocence and experience which govern the Victorian perception of childhood, and thus becomes an outcast both on the pirate ship and in the British society into which she is transplanted from her Caribbean birthplace. In this novel, the notion of innocence and experience, innocence and guilt, savagery and civilization, as simple binaries clearly distinguishable from one another by easily understood signs, is exposed as a pernicious fiction – even a fantasy, in that it cannot be safely applied to the complex business of existing in a stubbornly non-binary world.
Innocence, as a concept, tends to distract its loyal adherents from what is happening under their noses, and like The Spider’s Palace Hughes’s novel is designed to draw attention to the disparity between what’s expected or imagined by conventional minds and what ‘really’ takes place in both adult and childhood settings. The book explores a series of spaces that exist in the interstices between recognized structures or conceptual frameworks – the economy, class, gender, and especially race, as we shall see. Like the story collection it’s full of dwellings that get utterly transformed by the intransigent refusal of things to fit into the preconceived cultural shapes they are meant to occupy. A British house in Jamaica, with the delightfully Home Counties name of Ferndale, is abruptly torn to pieces by a violent hurricane on the same night that a half-tame cat called Tabby is torn to pieces by his wild cat-cousins. A pirate ship gets transformed into an elaborate playground-cum-circus by the children on board, then seamlessly transitions into a murder scene, much as a playground can imaginatively metamorphose into a scene of carnage or a circus into the setting for a horrific accident or a bloody assault by carnivores. The relative size or prominence of different characters in the book changes constantly, as different figures dominate a setting by becoming its focus, then recede into the background – sometimes disappearing entirely, as happens to the child called John when he falls to his death while watching a show and is at once expunged from the memory of his traumatized siblings. The land proves as unstable as the sea, with earthquakes and high winds shaking the ground and demolishing jungles. Victorian society conceives the world in terms of orderly hierarchies, clear divisions, architecturally rigid conceptual containers, all capable of being accommodated within the organized parameters of scientific, legal and philosophical discourses. The book’s world, by contrast – like the world of The Spider’s Palace – is in constant flux, and no philosophers or scientists exist who can make consistent sense of it.
This resistance to philosophical consistency or control is emphasized by the voice of Hughes’s narrator, who fades into and out of focus constantly, refusing ever to take up a stable position in relation to his characters or the events that overtake them. He identifies himself as Victorian in the opening chapter, where he tells us he hasn’t visited the Caribbean since 1860, ‘which is a long time ago now’ (p. 7); his text, then, is well out of date by the time High Wind was published in 1929. The phrase also implies that he is very old, since other comments in the text imply that he is still alive in the 1920s. The world-weary tone he adopts – together with his impatience for conventions he has too often seen flouted – confirms this impression. And his narrative style is torn between the stances of the 1860s and the 1920s. At times he seems to have the unimpeded spatial vision of the Victorian omniscient narrator, telling us exactly what the children’s parents are thinking, what the children are thinking, what the pirates are thinking, even when reporting incidents he could not possibly have had access to: as when John is the only child to catch a glimpse of an amateur operation on a ship’s monkey – an experience he could not possibly have conveyed to the narrator, since he dies a few pages later. At other times the narrator professes perfect ignorance, most often about the motives of the children in his story. He is dismissive of adult attempts to make sense of their actions and words, and freely confesses when he himself cannot explain why they do the opposite of what he might have anticipated. At one point he implies that there is simply ‘no means of knowing’ why children act as they do – why the youngest child Laura, for instance, conceives a passionate affection for the pirate Captain (pp. 99-100) – because adults have not yet learned to understand how a child’s mind works, caught as it is between the nascent consciousness of a human adult and the animal mind of a tiny baby: ‘babies have minds which work in terms and categories of their own which cannot be translated into the terms and categories of the human mind’ (p. 99). At the end of the novel the narrator withdraws completely from all his characters, becoming a detached observer who makes no claim to special knowledge about any of them, until in the final paragraph he loses sight even of his protagonist, the young girl Emily, professing himself quite unable to read ‘her deeper thoughts’ (p. 169), or even to distinguish her from the other children in the English boarding school where he leaves her. This fading out at the end balances the fading in that takes place at the beginning, where he describes the situation in Jamaica through a series of vignettes – the death of a pair of elderly plantation owners at the hands of former slaves, the gradual disintegration of the plantation buildings – then gradually homes in on the English family, the Bas-Thorntons, which will be his subject in the rest of the novel, as if his verbal picture of them will be just another vignette, or as if they are nothing more to him personally than the decaying buildings of the estate they live on. Overall, then, the narrator’s position is one of sceptical detachment, born from a recognition acquired over a long lifetime that most human ‘terms and categories’ are frankly inadequate as analytical instruments, knocked to pieces by (among other things) the publication of Darwin’s theory of Evolution in 1857, which smashed the biblical boundaries between humans and beasts.
The fluctuating world of the novel, whose terms and categories are always changing in response to changing circumstances, is underpinned by the references to stage performances with which it is filled. Each episode is cast as a piece of theatre: a pantomime (p. 61, p. 65), a peep-show (p. 68), a nativity-play (p. 69), a movie (p. 69), a religious ceremony (p. 122), a melodrama (pp. 23-4), a tragedy (p. 168) or a circus (p. 108). An earthquake witnessed by young Emily early in the novel takes place in a natural arena, a semi-circular bay called Exeter Rocks, and elicits an impromptu performance by the children who witness it: Emily breaks into a dance, John turns ‘head over heels on the damp sand, over and over in an elliptical course, till before he knew it he was in the water’ (p. 18). The attack of the wildcats on Tabby is played out before the children’s horrified eyes like a Roman gladiatorial combat, and Emily seeks to exorcise the horror of it from her mind by another kind of dramatic ‘performance’ (p. 25), retelling the tale of ‘her’ Earthquake to the ‘awed comments’ of an ‘imaginary English audience’. Meanwhile the hurricane destroying the house plays out as a ‘lightning-lit scene’ glimpsed through the ‘gaping frames’ of windows bereft of shutters – a melodrama seen through several proscenium arches. Mrs Thornton seeks to distract her children from it by reciting a poem by Walter Scott, the versified fairy tale The Lady of the Lake (p. 26). In each of these performances, however, the fourth wall of the theatre gets broken down. The children who witness the Earthquake are also in the middle of it, since the arena in which it happens ‘had no outside, it was solid world’ (p.17). The wildcats refuse to confine their murderous hunt for Tabby to the ‘lightning-lit scene’ of the garden, but burst through a skylight above the front door and land in the middle of the dining room table just as the family are settling down to dinner. The storm forces its way into the house, tearing shutters from windows and pictures from walls; while outside fairy tales get murderously enacted on members of the Thornton household, such as the nameless Black servant, a ‘fat old beldam’, who gets ‘blown clean away’ by the mounting wind, ‘bowling across fields and hedgerows like some one in a funny fairy-story, till she fetched up against a wall and was pinned there, unable to move’ (p. 26). We never find out if the ‘beldam’ survived being bowled like this, though we do know that another servant, Old Sam, has been killed by lightning, since his dead body is brought into the house by Mr Thornton. As the white man carries it in, the Black corpse becomes yet another spectacle; the children examine it in fascination, entranced by the old man’s limpness in death as compared with the arthritic stiffness of his limbs when he was alive. Like a circus audience they are ‘thrilled beyond measure’ by the unusual behaviour of his arms and legs (p. 24), and have no sense of him as a person whose life has just ended. By this time in their adventures, in fact, the distinction between performance and reality has fallen apart, with lethal consequences. And as the book goes on, those consequences get increasingly visited on the children.
The pirate schooner places the children at the centre of the performances rather than largely outside them. It makes them performers rather than spectators, in other words; and by the time this happens we should perhaps be conscious of the implications of this transition, since several performers – possibly the beldam, certainly Sam, the unfortunate Tabby and a sick ship’s monkey on the ship to England – have already been killed in shows like the ones the children now take part in. The schooner itself is a kind of performer, since it repeatedly masquerades as something it is not: an ordinary passenger ship full of attractive women, for instance, which is the pose it takes when it attacks the Clorinda, the ship that is carrying the children home; or a merchant ship called the Lizzie Green of Bristol, which is the guise it adopts when approaching a British steamship with the aim of persuading its reluctant captain to take the children off the pirates’ hands. And the captains of the vessels attacked by the schooner help to enhance its theatrical qualities. The pirates’ ship carries no guns, but the captains whose cargoes it purloins tend to reinvent it as a full-scale warship, capable of opening ‘ten or twelve disguised gun-ports’ and thereby unmasking ‘a whole broadside of artillery trained upon us’, as the master of the Clorinda puts it in his report to the children’s parents (p. 39). The behaviour of the pirates is also transformed in the report into the kind of casual brutality expected of marauders. The master asserts that they have murdered all the children in cold blood, and that he watched it happen; and this tendency to turn them into pantomime villains proves ultimately fatal to them in the arena of the courtroom.
Meanwhile the ship’s potential as a circus is first discovered by Emily’s brother John, who writes in a letter to his parents that he can ‘hang from the ratlines by my heels which the sailors say is very brave’ (p. 37). Later in the book he is killed by falling on his head from a height of forty feet, in the process neatly demonstrating the danger involved in hanging upside-down from the ratlines. John is an inveterate seeker after thrilling spectacles to witness as well as take part in: the operation on the gangrenous tail of the Clorinda’s monkey, for instance, which involves sailors plying the beast with rum until it’s so drunk it falls on its head and breaks its neck, in eerie anticipation of John’s demise; or the nativity play put on by a priest in the pirate town of Santa Lucia, which John also manages to be the only child to witness, burrowing through an excited crowd to reach his vantage point – then inadvertently completing the spectacle himself with his fatal dive. In between, John takes part in a spectacle mounted by the pirates when they auction off the goods taken from the Clorinda (he is the child who weighs the coffee offered for sale). This show begins as a ‘pantomime’ performed by the haughty Spanish-speaking dignitaries who come to view the goods on offer (p. 61), and the children are delighted when the mate of the schooner, Otto, decks them out in ‘fancy dress’ to join the performance (p. 63). But things later get unnerving as the adult actors consume a potent cocktail mixed by the pirate captain, Jonsen, until eventually there is ‘something a little nightmare-like in the whole scene’ (p. 67), and the children retreat from the drunken mob to the relative safety of the ship’s hold. In this incident the distinction between theatre and auditorium, performer and spectator blurs again, pointing the way to John’s terminal performance as actor-spectator. Later still, a circus spectacle completes the disintegration of the distinction between theatre and life, play and earnest. The pirates seize control of a ship full of circus animals and try to goad a couple of big cats into a fight for the children’s amusement. Eventually a tiger loses patience with Otto’s goading, and ‘Quicker than eye could see, it had cuffed him, rending half his face’ (p. 110). The first mate survives, none the worse for his ‘rending’; but the last performance he takes part in – the pirates’ trial for kidnapping, robbery and murder, avidly watched by the British public and the press – ends more drastically, largely as a result of a child’s dramatic departure from the prepared script she has been assigned, a spontaneous transition from an act of theatre to the articulation of inward trauma.
Each of these dramatic episodes summons up visions of the death of Tabby on the night when the high wind struck, a performance that ended in bloodshed and that reshaped Emily’s understanding of the world she lived in. As the book goes on, Emily finds herself increasingly conscious of her own affinity with poor Tabby: only half tamed, but deeply vulnerable to far wilder and more lethal forces than the ones she embodies. Her response is to defend herself by any means at her disposal, from telling herself stories to committing murder. One of the modern fairy tales in The Spider’s Palace provides an analogy for the various shifts she undergoes between passive audience and dynamic actor. It concerns a man with a bright green face who works in a circus and is horribly bullied by the circus owner, and who later teams up with a performing elephant and an engine driver to exact revenge. The story ends with the circus owner being magically transformed into a weird giraffe with the face of a man, then displayed to paying customers by his former victims, including the titular ‘Man with a Green Face’. ‘Everybody came to see him’, Hughes concludes,
and paid [a] whole shilling each; and they kept him in a cage. There were soon so many shillings that the man with the green face and the elephant and the engine driver got very rich indeed, and were ever so happy. (p. 45)
But the ending is not so happy, perhaps, for some of its readers. After all, it leaves them pretty much where it found them: in a world where performers are forced to take part in shows and where the happiness of one person is always obtained at the expense of another. A rich man with a green face who owns a slave is an authentic monster; conversely, a one-time bully trapped in a cage can be seen as a victim; and the grotesque institution of the circus freak show remains untouched by Hughes’s narrative, its function as a vehicle for justice hardly detracting from its nastiness or from the nastiness of the world that lets it exist. It’s a similar world to the one in which Emily finds herself, even if the physical laws that govern it – where some men have green faces and others can be turned into giraffes with human heads – seem very different.
At the end of the book, Emily herself becomes a performance, a stage show suffused with all the strangeness such shows can encompass. Her testimony is essential to the pirates’ wrongful conviction for murder, and she delivers much of it in the eerie sing-song tones of an amateur actor. But when she departs from the script written out for her by her lawyer she releases the dramatic potential that has been in her since her rescue. Her father sees this potential clearly before the trial; he thinks of her as ‘the stage of a great tragedy’ (the analogy coming naturally to him, since he works as a theatre critic), and while he pities her for what she has endured he would not have missed her performance in court ‘on any account’ (p. 168). Of course, actors in tragedies are never really the victims or perpetrators of the events they act out on stage, so the analogy does not in fact work for Emily. Her father is superimposing the tragedy on her body, so to speak, like a director organizing actors ahead of a show, or a puppet master investing his dolls with life. And when Emily departs from her script at the pirates’ trial, the audience – including her father – reads into her broken shrieks of horror (‘He was all lying in his blood… he was awful! He… he died, he said something and then he died’, p. 171) the hackneyed story they have in their heads: the pirates’ murderousness, the girl’s abuse, the children’s courage, all the ingredients of a Victorian melodrama. At the same time, like that of an actor Emily’s mind remains impenetrable to them despite her outburst, and their assumptions based on her shrieks are quite mistaken. The narrator knows this, and the father suspects it, half conscious that his view of her as tragic is no more than a symptom of his own ‘fantastic mind’ (p. 170). His knowledge that he has no real access to her thoughts and memories comes into focus when he admits, ‘with a sudden painful shock’, that he is in fact ‘afraid of her’ (p. 170). As a child subjected to experiences adults neither expect a child to suffer nor can really imagine her suffering, she poses a threat to the adult view of the world itself; and the theatrical metaphor can be seen as exposing the radical break between the way she acts and the way she thinks, or feels, or remembers, as well as the fantastic nature of most adult assumptions – about children, about pirates, or about the orderly, ethical, tranquil lives they themselves lead.
The relationship between A High Wind in Jamaica and fantasy is in fact a close one. Fairy tales intrude on the narrative several times. We’ve already witnessed Scott’s fairytale poem TheLady of the Lake play a crucial role in distracting the children from the hurricane. On another occasion the cross-dressing Cuban men who help the buccaneers fool the crew of the Clorinda into letting them on board are referred to as ‘Fairies’ (p. 59), rendering them strange as well as lovely in the children’s eyes. Later still, Emily is wandering around the pirate ship ‘thinking vaguely about some bees and a fairy queen’ (p. 85) when she is suddenly struck by a recognition of her own identity as a separate person, a distinct individual; after which she at once returns to the bees and the fairy queen, perhaps with a new awareness of the relationship between the hive’s lonely leader (also a queen) and her many subjects. At various points in the narrative the children tell themselves and one another fantastic stories to divert their attention from things they can’t cope with. At other times their occasional outbursts of random behaviour take on all the traits of a nonsense narrative, like Alice in Wonderland or Edward Lear’s extraordinary Story of the Four Little Children Who Went Round the World; and this randomness reflects their refusal on many occasions to acknowledge the cause-and-effect relationships between actions and their consequences – at least until the moment when Emily’s newly-acquired self-consciousness begins to change her attitude. Even then, however, she remains an enigma, like the stranger with the glass ball in The Spider’s Palace. A young woman on the steamship tries to get to know her, but when she dubs her a ‘Little Fairy-girl’ (p. 154) it’s not so much a piece of affectionate whimsy as an oblique acknowledgment of her oddness, the impenetrability of her mind, the possibility, even, that she is some sort of changeling, her conventional girl-nature switched on the pirate ship for something less comforting, less apparently familiar.
The strongest link in the book with fantasy, not surprisingly, is with a story that started out as a theatrical performance: J. M. Barrie’s Peter Pan. Hughes’s narrator shares with Barrie’s narrator in the novel of the play, Peter and Wendy, a willingness to shatter myths of childhood; and Barrie’s protagonist, Peter Pan, has a lot in common with the Thornton children. Peter is always forgetting things as he transfers his attention to new interests, and sometimes his forgetfulness is almost fatal to other people – as when he is flying with the Darlings on the long journey to the Neverland and keeps disappearing to take part in other adventures, leaving his inexperienced companions literally hanging in mid-air. In the same way, Hughes’s children are always changing tack, both imaginatively and physically, and their forgetfulness is sometimes fatal: not so much when they forget about John after his death as when they forget, or even consciously set aside, the pirates’ instructions not to say anything to the passengers on the steamship about their abduction. Peter’s delight in killing is transferred to Hughes’s Edward, who is constantly enacting in his mind far bloodier adventures than those of the buccaneers among whom he lives. The Darling children and the Lost Boys, meanwhile, are always changing affiliations and swapping roles in their games on Peter’s island – becoming pirates, Indians, or feral children as the mood takes them; and Hughes’s children too are always discarding and resuming loyalties, as when Emily spontaneously decides that all men and boys are disgusting – which makes her confidentially inform her new female friend aboard the steamship about the abduction – or when Edward stops describing his adventures on the pirate ship as if he were one of the pirates and instead starts to tell them as if he had heroically resisted his abductors. There are major differences, meanwhile, between Hughes’s Emily and Barrie’s Wendy. Wendy is cloyingly maternal, and this quality is transferred in A High Wind to one of Emily’s younger siblings, Rachel, who is always making babies out of random objects, and whose motherly instincts very nearly kill her older sister, when she accidentally drops a heavy spike she has been nursing and it slashes through Emily’s calf as it falls to the deck (in the process producing useful evidence of the pirates’ brutality for the trial). Emily, by contrast, likes to imagine herself as a pirate, though she is increasingly concerned that this career path may be closed to her because of her sex (p. 117). She also gets increasingly concerned that real-life pirates are much less easily contained than the pirates of her dreams – something that gets driven home to her when Captain Jonsen, in a drunken haze, tries to assault her, prompting her to bite his thumb and make her escape, like Peter Pan evading Hook (though in Barrie’s book it is Hook who bites Peter Pan, p. 150). The discrepancies between Emily’s imaginings and the cold hard facts of the adult world align her with Peter, too, in her mounting resistance to maturation: ‘Why must she grow up?’ she asks herself, ‘Why couldn’t she leave her life always in other people’s keeping, to order as if it was no concern of hers?’ (p. 118). Admittedly, Peter is deeply opposed to being ‘ordered’, but so too is Emily, as it turns out. Her resistance to adult control is what finally kills the pirates, just as Peter’s tendency to resist any limitations placed on his pleasure in violent play ends up by destroying Captain Hook, whose status as the villain of the piece means he can never, in Peter’s world, be granted mercy.
The grown-up characters in Hughes’s novel, meanwhile, both pay homage to and mock the adult characters in Barrie’s narrative. In Peter and Wendy, Mrs Darling has an almost supernatural insight into her children’s minds, to the extent that she can even tidy up their mental landscapes after putting them to bed (pp. 72-3). Mrs Bas-Thornton, on the other hand, is constantly making wrong assumptions about her children; in fact she is ‘constitutionally incapable of telling one end of a child from the other’ (p. 30), the narrator claims. She is certain the children idolize her, when in fact they feel much closer to the doomed cat, Tabby. When parting with her offspring on the ship bound for England she is convinced that her eldest son is too full of grief to say goodbye: compared with his sister Emily, she tells her husband, ‘John is so much the more sensitive’, since he is clearly ‘too full to speak’ (p. 37) at the point of parting. The narrator, meanwhile, has already told us that John’s silence stems from his eagerness to get away and climb the rigging. Mr Bas-Thornton, meanwhile, is very much like Mr Darling, not least in his poor head for business. Mr Darling spends long hours trying to calculate whether he and his wife can afford to have children, but his conclusions have little bearing on the final decision (pp. 70-71); while Mr Bas-Thornton has ‘every accomplishment, except two: that of primogeniture, and that of making a living’ (p. 30). Like Mr Darling he feels a great deal but cannot express his emotions freely without compromising his manhood, which means that both men are always breaking out in fits of temper and making sarcastic comments, sometimes to their own embarrassment and chagrin. Hughes’s pirates, meanwhile, are promiscuously constructed from Barrie’s crew of assorted misfits. Captain Jonsen is an amalgam of Captain Hook and his shipmates; like the mild-mannered bosun Smee he is genial but dangerous, shuffling around in home-made slippers wringing his hands and whimpering a little at times of crisis (p. 66), but capable too of a drunken assault on a ten-year-old girl – just as Smee is capable of tying up Wendy while insisting he will release her if she promises to be his mother. Jonsen’s appearance has the grotesqueness of the rest of Hook’s associates, with a ‘sad, silly face, […] great spreading feet’ and a perpetual stoop, ‘as if always afraid of banging his head on something’ (p. 47). Most distinctive of all, he carries ‘the backs of his hands forward, like an orang-outang’, which recalls Hook’s shipmate Noodler, whose hands are ‘fixed on backwards’ (p. 114). Jonsen is full of cunning stratagems, like Hook himself, and like Hook’s they all go wrong, most spectacularly his plan to return the children to their parents without revealing his complicity in their abduction. Like Hook, again, his origins are respectable – he has served on English vessels and acquired the language before quietly drifting into illegal habits. As with Hook, conventions plague him and can be said to be his downfall; Hook becomes convinced at Eton that he can never possess gentlemanly ‘good form’ or even understand what it is (pp. 188-9), while Jonsen is killed, in effect, by the myth that pirates behave less like gentlemen than legitimate sailors, as represented by the master of the Clorinda, whose report on the children’s abduction is a tissue of lies from start to finish.
Jonsen could even be said to be plagued by a crocodile. The Bas-Thornton children are fascinated by reptiles: Emily collects lizards in Jamaica, and when she and her siblings arrive at port to board the Clorinda they hear that crocodiles have been sighted in the vicinity, and keep peering around the town in the hope of spotting one (p. 33). Much later, when taken on board the English steamship, Emily borrows a baby alligator from a boy named Harold. The alligator’s baby teeth are harmless, but it snaps at Emily’s finger just as she snapped at Jonsen’s, and when the pair of them stare at one another the narrator stresses the resemblance between beast and child, and the reptilian inscrutability of both:
What possible meaning could Emily find in such an eye? Yet she lay there, and stared, and stared: and the alligator stared too. If there had been an observer it might have given him a shiver to see them so – well, eye to eye like that. (p. 146).
Alligators, the narrator concludes, are ‘utterly untameable’ (p. 147), and so are young children. Barrie implies something similar in the famous last sentence of Peter and Wendy: Peter’s adventures will go on, he tells us, for ever, ‘as long as children are gay and innocent and heartless’ (p. 226). Emily’s fascination with the predatory reptile suggests that she shares its untameable heartlessness at some level; and although she does grow up, unlike Peter Pan, the radical difference she exemplifies between adults and children – Hughes seems to suggest – will always remain. Which is not a promising prospect for adults or children.
Peter Pan is now recognized as a racist text, its hackneyed view of native Americans reaffirming the myths that sought to justify their oppression and erasure from history. High Wind, too, has racism at its core. The book’s central characters – a group of white British children – have imbibed racist assumptions from their infancy, and underpinning all their adventures is the contempt they have been taught to feel for Black Jamaicans. At the same time, as the book goes on they become increasingly identified with the African victims of the slave trade as well as its perpetrators. Violent episodes in the book point up the status of violence as the unacknowledged founding principle of the country that shaped them, and Hughes implies that this same violence continues to drive the British imperial machine decades after the purported ending of the slave trade. As the children mature – in particular the older girls, the teenager Margaret and ten-year-old Emily – their awareness of this fact increases, and they find themselves caught up in the cycle of violence and oppression, feeling it in and on their bodies just as Emily felt the Earthquake in her ears (‘a strange, rushing sound’, p. 17), her lungs (‘the children held their breath’, p. 18), her nervous system (‘things vibrated slightly’, p. 18) and her belly (afterwards Emily felt ‘like a child who has eaten too much even to be sick’, p. 21). The girls internalize British racism and imperialist violence in the course of the book, carrying it forward with them into adulthood, just as the heritage of Victorian colonialism gets carried forward into the time of the book’s composition, the second decade of the twentieth century.
The opening of the novel drifts across the landscape of Jamaica, noting the impact of emancipation on its geography (‘ruined slaves’ quarters, ruined sugar-grinding houses, ruined boiling houses’, p. 5) and its inhabitants (the narrator tells about the elderly white sisters, the old Miss Parkers, who were starved to death or possibly poisoned by their ‘three remaining faithful servants’, p. 5). Later, Black Jamaicans do their best to educate the Bas-Thornton children in aspects of African culture. Old Sam teaches them how to set snares for birds and tells them stories about the trickster-spider Anansi, which Emily remembers vividly later. The kids find out about duppies – vengeful spirits of the dead – a concept which they initially deride as a silly superstition, but which later returns to haunt them after the murder of the Dutch captain. On her tenth birthday Emily discovers a lost community of former slaves hidden in the jungle near her home. An elderly ex-slave tells her the history of the community, giving its name as Liberty Hill – a beacon of hope in a time of British tyranny; but Emily is interested only in the worship offered her by the community’s children, or what she takes as worship, though the narrator assures us they are not so much worshipping as vastly curious. Emily returns from this adventure confirmed in her conviction of her own importance: ‘Her heart bubbled up, she swelled with glory: and taking leave with the greatest condescension she trod all the long way home on veritable air’ (p. 13). The attitude that ranks Black families below white families and their pets is reflected in the Bas-Thornton children’s response to the deaths of several Black servants in the hurricane. The woman who gets blown away is merely comic, and even the death of Sam dwindles to nothing compared with the death of Tabby: as the narrator sums up, ‘there is, after all, a vast difference between a negro and a favourite cat’ (p. 29). The hurricane episode, in other words, underscores the endemic racism of the climate in which the children grew up, and sets itself against the sentimental vision of the relationship between Black adults and white children in a post-slavery setting in the hugely popular Uncle Remus books, which were still being read in vast numbers by British children between the wars.
As the book goes on, however, the children’s racism gets turned against them, much as the wild cats turn against Tabby, their half-tame relative – or as the children turn against the pirates in the final chapter. The process begins when the Bas-Thornton children are sent to meet another white family on the island, whose name – Fernandez – marks them out as not ‘purely’ Anglo-Saxon. The Fernandez family are Creoles, defined by the narrator as white families who have lived in the West Indies ‘for more than one generation’ (p. 13). They have been somehow contaminated by their long stay, the Bas-Thorntons believe: the children ‘would often run about barefoot like negroes’, and they have a governess ‘whose blood was possibly not pure’ as well as a ‘brown nurse’. The Fernandez child who most clearly suffers from the racist attitudes of the Thorntons is the girl Margaret, who at thirteen is three years older than Emily, and three years more knowledgeable, both about Jamaica and about the changing female body. Emily’s jealous contempt for this older girl is obvious from the moment they meet, when she is disgusted by Margaret’s finely-tuned sense of smell – another piece of evidence, as far as she is concerned, for her suspected racial ‘impurity’. Margaret can tell by smell that there is going to be an earthquake, and when the earthquake duly strikes shows little recognition of its massive impact on Emily’s feelings. Emily frames the older girl’s familiarity with earthquakes as a racialized sign of obtuseness: ‘How funny Creoles were! They didn’t seem to realize the difference it made to a person’s whole after-life to have been in an Earthquake’ (p. 20). She later associates it with Margaret’s ability to tell by smell which item in the family’s washing belongs to which family member. Ironically, Emily shares this ability – she can tell by smell, for instance, which towel belongs to her and which belongs to her older brother; but she doesn’t articulate such matters, and in her view ‘it just showed what sort of people Creoles were, to talk about Smell, in that open way’ (p. 19). Clearly the distinctions between the Bas-Thorntons and the Fernandez children are both minimal and vastly exaggerated by the British immigrants, in the interests of confirming their own sense of their superior position in Jamaica; a position which has been threatened both by the end of slavery and by their own financial precariousness, their uncertain position as middle-class landowners in a land that refuses to submit to their incompetent efforts to control it.
The racist perception of Margaret gets intensified on the pirate ship, where her Creole identity becomes mixed up in Emily’s mind with the older girl’s awareness of sex, and above all with her fear of rape. Non-Creole white people, Emily claimed, do not talk about bodily functions, and not talking becomes a prominent feature of the children’s life among the buccaneers – a way of imaginatively protecting themselves from danger by not mentioning it: not talking about a child’s death, not talking about sex, not talking too directly about the fact that the sailors on board might possibly be pirates (Emily tells the younger children they are in fact pilots, though she has only the vaguest notion of a pilot’s function). Margaret, by contrast, has the fear of rape in mind from the moment she sets foot on Captain Jonsen’s schooner. The girl’s awareness of erotic desire and its economics first emerges on the Clorinda when she notes the handsome appearance of Mr Bas-Thornton – come on board to see his children off – as well as his lack of money. When the children get transferred to the schooner, she is the only one aware of the sexual threat posed by their piratical captors. She sobs in the darkness of the fore-hold, and tells the others they are ‘too young to know’ why she is upset (p. 57) – but again not talking prevents her from stating exactly what they are too young to know. Later still, when the inebriated Captain Jonsen confirms her fears by entering the children’s quarters with rape in mind, Margaret alone has any inkling of what is going on. She turns as ‘yellow as cheese’ (as if to confirm her ‘racial difference’ from the other children), her eyes grow ‘large with terror’, and at that moment Emily remembers ‘how stupidly frightened Margaret had been the very first night on the schooner’ (p. 90). Afterwards, Emily finds her behaviour even more puzzling, as the older girl first seems ‘exaggeratedly frightened of all the men’, then takes to following them around like an affectionate dog, especially Otto, the first mate. She soon transfers all her possessions to the cabin Otto shares with Captain Jonsen, and from this moment her fate is sealed. She is no longer a ‘child’, and so no longer protected (however precariously) by the social obligation to support the weakest in the community. But she is also still somehow a child who has been ‘spoiled’ or rendered ‘impure’ by her sexual awareness. From this point in the book she ceases, in effect, to be part of the conversation between the pirates and the children. She loses her voice, both literally – in that she very seldom speaks – and symbolically – in that the pirates and later the law-abiding British rescuers of the children cease to listen to her. To save herself from rape she has ‘submitted’ to rape, thus ceasing to be ‘innocent’ in the eyes of the patriarchy, becoming instead invisible and inaudible, like a ghost; and nothing she says or does can restore her innocence.
This is largely a result of the consensual silence around what has happened to Margaret – that is, around the fact that she has now become Otto’s sexual partner or slave. The pirates never mention it, and neither do the children’s rescuers on the steamship, while both adult communities make it perfectly clear that they are always picturing for themselves the sordid details of this ‘debauchment’ – while always presuming that it was in some sense a willing act, that Margaret somehow ‘debauched’ or spoiled herself. Silence is also, of course, a widely practised response to the slave trade after abolition, a means of erasing all evidence of slavery from a country’s past in the interests of absolving its citizens from guilt: whether the silence of misnaming, such as describing the former slaves of the old white ladies who starved to death as ‘faithful servants’ (p. 5), or the silence of concealment, like the hiding of Liberty Hill in the heart of the jungle, or the silence of oblivion, like the silence that sidelines Sam from the children’s memories in favour of Tabby. The event that leads to the silencing of Margaret – Jonsen’s assault on Emily – is effectively described as if it, too, had been erased from history. The only episode in the novel that’s narrated in retrospect, out of its proper chronological position in the sequence of events that befall the Bas-Thornton children, it is placed immediately after the moment when Emily becomes self-conscious for the first time, as though her discovery of her independent mind and body were a direct result of the attack. The dawn of Emily’s self-awareness takes place at the beginning of Chapter 6 – pretty much in the middle of the novel – and is described as being ‘of considerable importance’ to her, occurring as it does after a period of time when things have apparently ‘ceased happening’, when Emily and the other children have simply ‘settled down […] to grow’. Only after gaining self-awareness does Emily recall the other event that happened recently, an event that an adult reader might well expect to have greater ‘importance’ in her mind, but which she has evidently suppressed. This is the moment, one week earlier, when the pirate Captain she worshipped betrayed her by coming down into the fore-hold and laying hands on her, lifting her chin and stroking her hair. That was when she bit him and made her escape, after which the other children refused to speak to her for several days, horrified by her unwarranted assault on their grown-up friend. Emily’s period of being sent to Coventry is only temporary, unlike Margaret’s; her ignorance of exactly what happened, of what the threat was to which she reacted, allows her to reintegrate herself quite quickly among her ignorant siblings. But it’s also the point in the book when she comes closest in her mind to the status of the slaves from whom she has been taught to consider herself entirely distinct – comes closest, in fact, to the historical facts that have been jettisoned by the culture that raised her.
The reason for Emily’s closer approach to the experience of slavery is the ongoing threat of violence exposed by Jonsen’s attack. The event in the fore-hold redefines the Captain in Emily’s mind as a deadly feral cat, a ‘waiting tiger’ rather than the bumbling be-slippered father-figure she has always thought him. In the process it reveals the endemic aggression that underpins not only the pirate’s trade but the wider culture inhabited by children, especially girls. As we’ve seen, Margaret was already aware of the presence of this aggression before the attack took place; and the teenager expresses this awareness in the tales she tells. Asked by the younger children for a story at bedtime, she conjures up a narrative more like a nightmare than a fairy tale,
A very stupid story about a princess who had lots and lots of clothes and was always beating her servant for making mistakes and shutting him up in a dark cupboard. The whole story, really had been nothing but clothes and beating, and Rachel had begged her to stop (p. 89).
‘Stupid’ though it may be, the tale proves prophetic. The attractive protagonist of fairy tale tradition, the princess, becomes a tyrant in it, and in the middle of the narrative the kindly Captain comes down the ladder with some other sailors, who are urging him to do something that fills his voice with ‘suppressed excitement’ – urging him, that is, to act the tyrant himself. Emily’s swift and violent response puts a stop to his actions; but all the same her world is turned upside down, her fairy tale existence transformed into something closer to Margaret’s house of horrors or the unpredictable tales of The Spider’s Palace. Biting the Captain makes her a ‘wicked girl’, one of her younger sisters tells her (p. 90) – though something tells Emily that the Captain too had been doing something ‘wicked’, which makes her own behaviour harder to judge. But the incident also changes the Captain’s attitude to Emily. The bite doesn’t lead to punishment or retribution; instead it fills Jonsen with remorse, so that for a long time – between his shame and Emily’s embarrassment – they cannot resume anything approaching friendly relations. The episode changes Margaret too, as we’ve seen – she becomes Otto’s silent, unacknowledged sexual partner; and about a week later it seems to effect a change in Emily herself. Part of her discovery of her own identity involves a new interest in her body: ‘The contact of her face and the warm bare hollow of her shoulder gave her a comfortable thrill, as if it were the caress of some kind friend’ (p. 86). The ‘thrill’ may seem ‘comfortable’ to her, but there’s an uncomfortable echo here, too, of Jonsen’s predatory touch in the fore-hold, which might also be described as the ‘caress of some kind friend’. Shortly afterwards, Emily’s awareness that she can decide things for herself without recourse to adult authority leads her to speculate that she might in fact be a kind of God. But the discovery of independence also brings fear. If her body is no longer organically connected to its surroundings – which can carry on without her when she is absent, as the life of the ship carries on without her when she’s aloft in the rigging – then when she comes down from the mast there might be ‘disasters’ waiting for her on deck, perhaps at the hands of stronger bodies like those of Otto and the Captain (p. 87). Being distinct from the other children makes her noticeable, and being noticeable puts her at risk; and when the narrator goes on to describe the attack in the fore-hold, we can see what has made her think so.
A little after the account of the attack, we learn how Emily now remembers her time in Jamaica. Suddenly the story of her life has become a sequence of connected events that provides a scenario for vivid nightmares. She recalls the Earthquake, and suddenly thinks it may have contributed to the collapse of the house at Ferndale. She recalls her visit to Liberty Hill ‘with a startling clearness’ (p. 95); but she also remembers the death of Tabby at the teeth and claws of his monstrous relatives. In her dreams, the wild cats become embodiments of the deep-seated fear of slaves experienced by slave-owners: they are ‘horrible black shapes’ which have ‘flown in through the fanlight and savaged [the tame cat] out into the bush’ (p. 95). Also in her dreams Tabby turns into Jonsen, staring at her ‘with the same horrible look on his face the captain had worn that time she bit his thumb’. Margaret, meanwhile, completes her transformation into the Black Jamaican she has always been associated with in the Bas-Thornton children’s minds. As Emily flees from Tabby down endless avenues of soaring cabbage-palms, ‘Margaret sat up an orange tree jeering at her, gone as black as a negro’. By this stage in her dream-life, the Captain’s attack has become for Emily a reenactment of the horrors of the British slave trade, with Emily the representative white girl against whom the former slaves seek retribution. Jonsen’s assault, then, leads not just to Emily’s self-recognition as an independent person but to a faint apprehension on her part of British atrocities in Jamaica; atrocities with which she has aligned herself by her treatment of Margaret.
As a result, Emily sees herself as both complicit with and potentially subject to the treatment she has always seen meted out to Black people in Jamaica. Her new sense of vulnerability gets confirmed when her leg is injured by a falling spike, accidentally dropped from the mast by her sister Rachel; and this in turn leads to her confinement in the ‘comfortable’ yet disturbing setting of the captain’s cabin. The cabin also happens to be the scene of Margaret’s rape, and hence the indirect cause of the older girl’s silencing and the mood of the crew that has turned against her ever since. This change of mood is exemplified when Jonsen carries the injured Emily into the cabin and snarls at the teenager ‘Get out!’ in a ‘low, brutal voice’ (p. 104). Margaret is mending clothes at the time, ‘humming softly and feeling deadly ill’, but the men show no interest in her illness, and when she disappears from the room the narrator can only proclaim his ignorance of her fate: ‘Heaven knows what hole [she] had been banished into’ (p. 105). This erasure of her experiences again aligns the teenager with the victims of the slave trade, and Margaret’s unwilling demonstration of what happens to a girl when she reaches puberty has already been preying on Emily’s unconscious. Then, soon after the younger girl’s instalment in the cabin, something happens that brings her fear of becoming a second Margaret to a crisis. The Dutch captain of a ship seized by the pirates is trussed up and left alone in the room with Emily, while the pirates set up a circus show on the captured vessel. The Dutchman is bound and helpless, but he resembles Jonsen to some extent – as a nautical ship’s master who is both funny and frightening in equal measure; and the fact that he’s a prisoner makes him somehow more of a threat than if he were free: ‘There is something much more frightening’, the narrator suggests, ‘about a man who is tied up than a man who is not tied up – I suppose it is the fear he might get loose’. A slave owner might well agree. Emily’s terror of the struggling captive contrasts with the pleasant feeling of power she felt as she approached the hidden Black community, Liberty Hill, on the day she turned ten. Entering the village behind a crowd of fleeing children, she felt ‘Encouraged by the comfortable feeling of inspiring fright’ (p. 12). In the cabin, by contrast, she herself is frightened, aware that the man on the floor may break his bonds, and that if he does he may prove as vindictive as Margaret was in her dream, as well as too strong for Emily to resist, even with her teeth. The scene becomes another ‘nightmare’ (p. 109), and Emily reacts for a second time with a burst of violence. Leaping from her bunk, she seizes a knife and stabs the captain ‘in a dozen places’ (p. 110). He dies under the horrified gazes of Emily and Margaret, who appears at this moment in the entrance to the room with her ‘dulled eyes staring out from her […] skull-like face’ (p. 111). Emily leaps back into bed and faints at once from the pain of her newly-opened wound. And soon afterwards it becomes clear that other old wounds have been newly opened by the murder: the wounds inflicted by the British slave trade.
The murder in the cabin, after all, has been the outcome of several forms of entrapment or bondage. In it, Emily is trapped in her bed by her injured leg, as well as by the subliminal fear of men that was planted in her by Jonsen’s betrayal. The Dutch captain is trapped on the floor by the ropes that bind him. Margaret is trapped in her role as the despised outsider, hovering in the entrance to the cabin, neither inside the room nor outside it, symbolically replicating her exclusion from both communities on the schooner – the adult community and that of the children. Emily’s violence, then, could be seen as springing from two causes: a desire to free herself from entrapment – entrapment by fear, entrapment by the risk of becoming Margaret – and a desire to stop the man she kills from gaining his freedom. Instead it entraps the pirates, who are doomed by it to atone with their lives for the crimes of the slave-trade, while also trapping Emily herself in the nightmare prison of her guilt.
Meanwhile, the two girls both suffer a further descent towards the condition of enslaved Black Africans in the earlier part of the Nineteenth Century. When the pirates discover Margaret at the scene of the murder, they assume at once that she is the murderer and toss her overboard in a fit of retribution, fear and disgust. The girl is only rescued by sheer chance when a passing boat, full of pirates who aren’t aware of the murder, finds her swimming in the ocean and returns her to the schooner, physically unharmed but emotionally traumatized. The episode recalls a number of notorious incidents in the history of the British slave trade, most notably the murder of more than 130 Africans by the crew of the slave ship Zong in 1781, who threw them overboard when the ship ran out of drinking water. After this, Margaret’s own erasure from history is complete, as adults increasingly assume (without much evidence) that she has been driven mad by her ordeal, and hence an unsafe witness of what happened on the schooner. Emily, meanwhile, takes refuge in telling stories as a means of blotting out the memory of murder; and the tales she tells are the ones she learned from Sam, the Black servant who died in the hurricane. ‘She could recall the Anansi stories Old Sam had told her,’ the narrator informs us, ‘and they often proved the point of departure for new ones of her own’ (p. 115). She recalls, too, the stories of duppies or vengeful spirits which she and her siblings had mocked when they first heard them in Jamaica. Her experience of violence makes the stories suddenly convincing, and she even catches herself ‘wondering what the Dutchman’s duppy would look like, all bloody, with its head turned backwards on its shoulders and clanking a chain’ (p. 115). But this kind of tale is of course less comforting than the trickster stories of Anansi, and she swiftly replaces them with an imperialist fairy tale in which she sits ‘on a golden throne in the remotest East’, as if in an Orientalist revision of the Thousand and One Nights. The narrator even refers to the Arabic classic, using it as an analogy for the endless stories the young girl conjures up in her bid to stave off nightmares (p. 114). But although the notion of occupying a throne may be pleasurable – a welcome return to the state of power she imagined for herself on her return from Liberty Hill – the situation of the storyteller Scheherazade is not so attractive, given that she told her tales as a means to stave off death. Emily’s nightmares accordingly come back with increasing frequency, and she responds by retreating from any kind of power, whether monarchic or simply adult, instead taking refuge in early childhood to the extent that any stranger who met her would have considered her, the narrator observes, ‘rather young for her age’ (p. 119). Despite this apparent immaturity, she is disturbing to Jonsen and Otto. She sings and shouts too loudly and too often, ‘like a larger, fiercer lark’ (p. 119), and the effect is presumably less like Shelleyan strains of unpremeditated art than the noise of a second madwoman on the schooner.
Jonsen’s disturbance at the girl’s behaviour may be partly at least the effect of guilt. Of course he is guilty of the attempted assault in the hold; but at other times, too, his actions bring him close to the caricature of the pirate captain from which he so assiduously seeks to dissociate himself. In one incident, soon after the murder, Captain Jonsen chases Emily’s younger brother Edward round the ship’s deck with an iron belaying-pin in hand, and is only prevented from doing him a fatal mischief by an unexpected display on the part of Edward’s sister Rachel (p. 122). Later, Jonsen tells Otto as a joke that he plans to murder all the children and drop them overboard (‘sew them up in little bags […] and put them over the side’, p. 137); and though he is chuckling as he says it, Otto half believes him, an assumption presumably based on the time when he and Jonsen threw the unfortunate Margaret into the sea. And all the time Jonsen harbours a terrible secret that gets mentioned only once, and with studied casualness, by the narrator. The pirate captain, it turns out, has first-hand experience of working on a slave ship – an illegal one, which was still shipping slaves after abolition. The sighting of a frigate recalls this time to his memory with sudden vividness: ‘He remembered another occasion, fifteen years before. The slaver of which he was then second mate was bowling along, the hatches down across her stinking cargo, all canvas spread, when right across the glittering path of the moon a frigate crossed, almost within gun-shot’ (p. 131). On that occasion the ship’s ‘stinking cargo’ had been men, women and children on their way from Africa to the Caribbean; this time it is abducted white children from Jamaica. Like the slaves, the children are stowed away in a hold as ‘hot as an oven’; and later in the book, when for reasons of his own the Captain again battens down the hatches, the heat makes the hold into a potentially lethal space, a latter-day ‘Black Hole’ (p. 135). The reference here is to the Black Hole of Calcutta, an incident when racial tension in British India led to the imprisoning of multiple British soldiers and Indian civilians in a cell meant for one or two prisoners, which resulted in the deaths of most of the incarcerated men and women. The phrase also recalls the narrator’s remark about Margaret’s new sleeping arrangements when banished from the cabin: ‘Heaven knows what hole [she] was banished to’ (p. 105). There are times, then, when the children’s experiences among the pirates explicitly echo major atrocities in British colonial history. And the echoes continue after their transference from the schooner to the British steamer. A British lady imagines the children on the pirate ship as being ‘Chained, probably, down in the darkness like blacks, with rats running over them, fed on bread and water’ (p. 151). For this white woman, even after abolition the natural place for ‘blacks’ is to be chained up in darkness, while the thought of white children being treated likewise is so appalling precisely because of the imagined difference between people from Britain and people from Africa. Representing their plight in these terms ensures that the lady continues to highlight the enduring presence of the British slave trade in British minds long after it has been expunged from British history books.
There’s no sign, however, that the slave trade ever gets mentioned in so many words by anyone in the book – no more than that the word ‘rape’ gets uttered in relation to Margaret. Shrouded in silence, slavery acquires the status of a childish fantasy – a nightmare or a fairy tale, the sort of thing that only happens in the Thousand and One Nights. Children, however, the narrator tells us, are supremely good at keeping secrets, despite adult assumptions that they are not: ‘A child can hide the most appalling secret without the least effort, and is practically secure against detection’ (p. 88). They know far more than adults give them credit for, and are far better at keeping their knowledge to themselves. Children, meanwhile, believe that adults are even better liars. As Emily contemplates Jonsen and Otto in the cabin, she thinks: ‘It would be so easy for adult things like them to dissemble to her. Suppose they really intended to kill her: they could so easily hide it’ (p. 118). The narrator is not so sure, believing that ‘Grown-ups embark on a life of deception with considerable misgiving, and generally fail’ (p. 88). In fact, however, both adults and children fail and succeed with equal frequency to keep their secrets in Hughes’s novel. Emily spills out verbal evidence of her act of murder at the trial, but it isn’t properly heard; Margaret’s behaviour convinces her rescuers she has been raped, but this is not acted on; Captain Jonsen fails to keep his identity as a buccaneer under his hat, his scheme to get the children to say nothing about it falling apart with fatal rapidity. The slave trade, too, is both silenced – kept under hatches, like the slaves or the children in the schooner’s hold – and constantly issuing stark reminders of its enduring presence. The fairy story of British imperial history that keeps it suppressed, stressing only the role of Britain in its abolition, cannot be sustained in face of the evidence of persistent racist attitudes. In The Spider’s Palace, a little girl can attend a clandestine party thrown by mice in an upside-down palace, and return to her bed without being detected (‘no one heard her’, p. 106). In High Wind, fairy stories like the Anansi tales or the Thousand and One Nights are circumstantial proof of past atrocities and their survival in the storyteller’s imagination. Few white British writers of the twentieth century better illustrate these things than Richard Hughes.
It’s worth ending, I think, with a few more thoughts on race in Hughes’s novel and story collection, with special reference to cooks. Almost the last word in High Wind uttered by anyone but the narrator is almost the first word uttered in the book by a Black character. When the pirates are led out to execution, it’s the ship’s cook who shows the greatest courage, according to a report Hughes quotes from The Times. Until now, the narrator has barely mentioned the cook except as the man who accidentally threw his whetstone overboard in a misguided attempt to rescue a pig, and on that occasion the colour of his skin was never mentioned. Suddenly, however, the Black sailor’s story comes to the fore in the final chapter, with an effect as startling as if Margaret had suddenly been invited to utter her opinion of her life at sea. In The Times’s account, the cook has eloquence and wisdom as well as courage, though neither can save him from execution – despite the fact that several other members of the crew were ‘reprieved and transported’ at the last minute. These are his words – translated, it’s implied, from his native Spanish:
We shall certainly end our lives in this place: nothing can save us. But in a few years we should die in any case. In a few years the judge who condemned us, all men now living, will be dead. You know that I die innocent: anything I have done, I was forced to do by the rest of you. But I am not sorry. I would rather die now, innocent, than in a few years perhaps guilty of some great sin. (p. 173)
The cook’s execution, this implies, is the final murder in the book that can reasonably be ascribed to the toxic influence of the slave trade. He was effectively enslaved by the pirates, forced to work for them against his will, and his innocence has been noted by the law-abiding Britons working for a major newspaper, though not by the magistrate who condemn him. The other pirates, then, may be innocent of the murder for which they are hanged, but they are not innocent of practising slavery. The British legal system, too, is not innocent, being more guilty of murder than Jonsen: the Captain only attempts to execute Margaret, while the judges successfully execute an entire shipload of foreign nationals. The passage reminds us, then, that innocence is an unstable term; but it also emphasizes the fact that criminal acts have long been practised by the British state, and that institutional racism is a major factor in such acts. By 1929, seizing the opportunity to die with a clear conscience had never been trickier for white British subjects.
In The Spider’s Palace, cooks are deeply implicated in the racism of 1920s British society. In the story ‘Nothing’, a cook chooses to conceal the fact that seven children living in a white middle-class household have among their toys a ‘dead Chinaman’ and a ‘live Chinaman’, in defiance of the wishes of their parents. The erasure from scrutiny of these unsettling possessions is referred to in the story’s title, and while the presence of two Chinese people in the list of the children’s playthings is clearly meant to be comic, their concealment by the cook – who ‘hid them under her apron, and when the father and mother were gone […] gave them back to the seven children’ (p. 67) – might invoke for a twenty-first century adult reader the concealment of racist incidents in British history from adult knowledge, through their exclusion from the curriculum in schools and universities as well as from family anecdotes. In another story, ‘The Dark Child’, a boy who exudes darkness when he stands upright and brilliant light when he stands on his hands is saved from his condition by a resourceful cook, who mixes the darkness and light together in a bowl with a wooden spoon, thus rendering the child completely ‘ordinary’ (p. 22). The child is definitely not Black, the narrator tells us: ‘He wasn’t just black like a Negro, either: he was much blacker than that’ (p. 17). Indeed, he spreads darkness around him like a miasma, to the consternation of his relatives, and it’s implied that his restoration to ‘ordinariness’ involves a return to the condition of being a white middle-class schoolboy, a state that makes his family ‘pleased as pleased as pleased’ (p. 22). A twenty-first century reader of this story might well think about racism in white middle-class families, as exemplified in the covering up of interracial relationships and their offspring that took place in white households in the early twentieth century. The presence of a cook in both these stories that touch on race points towards the inside knowledge of private family affairs acquired by these working-class interlopers in middle-class homes, the kitchen servant in each case being privy to awkward racial facts that have been shunted aside or covered up – much like, in historical terms, the scandalous fact of British interference in the Chinese economy from the Opium Wars to the 1920s, or the widespread refusal in the same period to acknowledge Black citizens as fully British. It seems appropriate, then, that it’s a cook who ensures that the narrative of High Wind ends with a focus on race as well as gender. Of all people in the bourgeois household, the cook has the most unfettered access to the various ingredients that go into the occupants’ bodies. Hughes’s cooks also have unfettered access to the contents of middle-class minds. As a result, they are acutely conscious of the disconnect between the rules by which British society claims to abide and the hidden prejudices and obsessions that really drive its actions. Hidden, often, in the basement of the family home – its ‘hold’, so to speak, or underground regions – kitchen servants gain a unique insight into what has been suppressed and silenced by their masters and mistresses. Hughes enjoins us to listen closely to what they have to say.
J. M. Barrie, Peter Pan in Kensington Gardens and Peter and Wendy, ed. Peter Hollindale, Oxford World Classics (Oxford: Oxford University Press, 1999).
Richard Hughes, A High Wind in Jamaica (aka The Innocent Voyage) (St Albans: Triad/Panther Books, 1976).
Richard Hughes, The Spider’s Palace and Other Stories (Harmondsworth: Penguin Books, 1974).
[My father’s funeral took place last week, and I couldn’t go because of Covid.For a long time I hesitated over putting his eulogy on this blog; I wanted to mark his death in some way, to make some statement about it, but what I’d written felt too personal. In the end I decided to put it here after all, because my Dad was one of the people who gave me my love of books, SFF in particular. Ursula le Guin was one of his heroes, and without his love of her work I wouldn’t have discovered them as young as I did and they wouldn’t have shaped me. For this, as for everything else he did, I want to record my thanks and love.]
It’s hard to know how to make a eulogy for anyone, let alone your father. How to summarize a life in a few words – a life about which you only know fragments, each of which means a great deal to you but might not even feature in another person’s memory of him? Hirokazu Koreeda made a wonderful film in 1998 called After Life, about the place where people go when they’ve died, which is a dilapidated old school occupied by hard-working administrators, male and female, young and old, whose task it is to help the dead choose a single memory from their lives to take with them into whatever happens next. Just one memory, no more, no less. That’s something we could all do now, everyone who knew him: think of a single memory that encapsulates John Maslen from our point of view. But which?
A father’s children know a number of definite things about him: how it feels to hug him, the smell of his shirt, the texture of his hair, the look of his long, slim hands, the funny noises he makes in his sleep, the way he hums or mutters as he does things. They know how well he reads books aloud. Dad’s skill in reading the Tintin comics was legendary, and he made a brilliant Captain Haddock, which is why we were always nagging at him to grow a beard (he did, of course). They know his nasal laugh, and how much he likes laughing; he spent a lot of time in our company laughing, at least in my memory. We loved making him laugh. I remember once, at his flat in Brussels, I wrote a kind of radio play based on the epic poem Beowulf – we called it Beolamb – and we spent several days recording it, with my best friend Brook working with me on the special effects. We had to keep stopping the recording because we couldn’t stop laughing at Dad’s impression of Peter Sellers as the numskull Bluebottle on the Goon Show. This love of laughter was nothing new; as a boy his favourite book was Jerome K. Jerome’s Three Men in a Boat, and this embarrassed him at times on public transport because he couldn’t stop himself laughing aloud at the funny bits.
They know about his love of food. I may be wrong, but my impression is that if you read his diaries – and he always kept dairies, written in the tiny script he used for making his endless lists – my impression is that he wrote down everything he’d had to eat, every single day without exception. When someone came to interview him a few years back about the European Union’s negotiations with China in the 1970s, he was able to identify every meeting he’d had with the Chinese delegation from the record in his diaries of the meals he’d eaten with them in Chinese restaurants all over Brussels. Whenever he came to visit us from Belgium, and when he went home afterwards – sometimes taking a few of us with him as luggage – he would sit down in the dining area before the ferry left port and eat steadily throughout the crossing until it docked on the other side. That was his recipe, he said, for avoiding seasickness. Sometimes his love of food had unfortunate consequences. When I visited a Spanish village with him in 1980 we ate sucking pig at eleven, as the Spanish do, and lay in bed for most of the night with acute indigestion, groaning at each other like pigs ourselves. I’ve often suspected that his description of food in his diaries might be some sort of secret code, and that if we could read those entries properly every mention of Brussels sprouts would have a hidden meaning. If you want to know how to cook Brussels sprouts, by the way, here’s the recipe he gave me: boil them for exactly seven minutes in lightly salted water. When he cooked for himself in his Brussels flat he ate Brussels sprouts every night for weeks on end, with cold ham and reconstituted powdered mashed potatoes. Delicious!
His children know about his love of birds. I believe it was Mum who put him onto this hobby, as a way of getting him to take some exercise, and he took to it like a duck to water. His bird book, too – the Collins Field Guide to the Birds of the World, if I’m not mistaken – became a kind of diary; he entered all his sightings in it, and could tell you the exact dates he was in any country in the world by looking up the dates when he spotted a hornbill in Costa Rica, or a thick-knee in Sydney, or a hoopoe in Pedraza. Was there a code in the birds, I wonder? They were part of the language of his love of looking at things, of being a witness to beautiful landscapes, or works of art, or ancient buildings, or the battlefield at Waterloo. But the birds didn’t have to be fancy; just looking at them out of the back window of his house was enough. He would sit there happily for hours, crumbling stale bread between his fingers for the bird table, scanning trees and gardens to see if he could spot a jay or a bluetit. He always had a pair of binoculars with him. He was very much a looker, though he was a listener too; he loved classical music, and his Brussels flat was always full of it. He had a particular fondness for Mozart, baroque music of any kind, and the music of Johann Nepomuk Hummel – though I think he mainly liked Hummel because of his name.
His children know how he loves to read. Dad was always reading, and we read too, in his flat in Brussels and his house, often picking up the books from his bookshelves – Edgar Rice Burroughs, Ursula Le Guin, the Asterix books (he had all of them), the Tintin books (ditto), the Peanuts strips which he carefully cut out from a magazine called the Bulletin. In his turn he would read the books we’d brought in our luggage, finishing them off in only a day or two, far faster than we could. Almost any book would do, though he loved science fiction (Le Guin was a favourite) and novels set in ancient times (especially Mary Renault). He liked factual books about trees and history, and Michelin guidebooks, and The Economist, and ghost stories, especially real ones. There was a science fiction story he loved, in which an alien is accused of poisoning a human being and asks how he could possibly have known that the man’s pathetic digestive system couldn’t cope with a hearty meal of ‘wholesome polystyrenes’. That phrase delighted him, and he would often repeat it – ‘wholesome polystyrenes’ – especially when faced by an unusually disgusting dish in the canteen of the Berlaymont Building where he worked.
His children know about his love of languages, and how this shapes everything he does and the way he thinks. Dad started collecting languages in his childhood, and he went on doing it for most of his life. He could speak Russian fluently, and German, and French – though when he first started working in Brussels he spoke French like the seventeenth-century playwright Jean Racine. He spoke Polish well, and Spanish a little, and a bit of Mandarin. He also spoke Danish – of necessity, because he had Danish relatives through his wife, Lise – though he could never make himself understood by Lise’s aged mother. In fact he could turn his hand, or rather his tongue, to almost anything. When we went on holiday to the Adriatic Coast he learned Italian. With Lise he learned Flemish. Confronted by border guards in Yugoslavia in the 1950s he spoke Serbo-Croat. He helped Mum translate a novel by the Polish novelist Marian Pankowski, and write an article about the linguistic jokes in Karel Capek’s famous novel War with the Newts, which was written in Czech. He helped his friends among the Brazilian spiritists of Brussels to translate some of the key texts of their faith from Portuguese into French. When he read us the Moomin comics, he translated them spontaneously from Swedish into English – and I still remember my outrage when I learned to read for myself, and at once rushed off to read those comics, only to find that they were indecipherable, full of words and even letters that didn’t exist in English. Dad’s linguistic brilliance was enhanced by his understanding of the links between languages. He was fascinated by etymology: the history of words and the relations between them. He devised his own phonetic system for writing down words in obscure dialects; and he worked for most of his life on a kind of universal history of all the languages in the world, and how the links between one form of speech and another could be used to trace migrating populations across the planet, from prehistoric times to the present. He respected the speakers of every language in the world, and as a result he was, to the best of my knowledge, completely bereft of racism – something unusual in British diplomats of his generation, I think. For him, everyone in the world spoke a language, every language in the world was interesting, and he wanted to learn them all, and discover the cultures they reflected.
He also helped people rediscover their own languages. When he began to get frail, various people from different countries came to his house to help him with everyday routines. On one occasion he asked a Congolese nurse what language she had spoken in her childhood, and she told him where it came from and the name of the small community that spoke it. He went at once to one of his books and was able to show her a few sentences of her language printed in it, as recorded by a missionary long ago. She burst into tears; it was the first time she’d ever seen her language written down.
He showed me many things, one of which was how to admit when I don’t know something – a crucial skill for a scholar. I confess I haven’t always practised it as well as he did.
Has this been a eulogy? I haven’t said anything about his official life: his schooldays, his early training by military intelligence, his work as a diplomat, his work for the European Union. I haven’t talked about his parents, or his love of his wives – Elizabeth and Lise – or his children and their spouses, his grandchildren, relatives, friends. I’ve been trying to pick a memory of him to carry forward into whatever life may be coming next. We all have many memories to choose from; these are some of mine.
The single memory I’ve chosen is a simple one: lying on the sofa reading a book, while Dad sits and reads at the dining-room table. He smiles from time to time. I think he’s enjoying himself.
He was a modest, kind, funny, loving, learned man. This set of facts is embedded in every memory each of us has of him. That’s what his children, grandchildren and friends have taken from his life. It’s enough, I think.
[Enter CLARISSA, MELISSA, FRANCHISSA, DOCTOR and PROFESSOR.]
CLARISSA: We had too much excitement
Last night, Melissa. We’re too old
For gallivanting round in forests.
MELISSA: O woe! O woe!
The Palace walls are melting into the floor,
There’s no difference between one room and another.
When I’m in bed I can’t sleep; when I’m awake I dream.
CLARISSA: Alas! There’s nothing lovely left in the land.
FRANCHISSA: My handsome Prince is gone.
CLARISSA: My poor Franchissa, yours is the deepest sorrow.
MELISSA: Don’t cry, Franchissa – I’ll give you my cosmetics –
Any of my best dresses, only don’t cry!
DOCTOR: I can’t understand it. My experiments
Have lost all lustre since the Prince was killed.
PROFESSOR: All night I was hungry, but now food tastes like ash.
Ladies, we’ve acted like a pair of pigs.
CLARISSA: You certainly have!
MELISSA: O please don’t blame them, dear Clarissa!
We must try to comfort one another.
EMPEROR: Doctor, Professor, I’ve made a decision –
I’ve finally made a decision of my own.
Henceforth you’re relieved of the government!
PROFESSOR: Take it back, sire, with our thanks.
EMPEROR: But O, it wasn’t mine to give away!
Every trust I was given I betrayed;
Why didn’t the Dragon gobble me
Instead of my daughter, the sweetest, brightest girl
Ever to brew her father’s cocoa?
[Enter NURSE, bandaged.]
NURSE: It’s been the worst night I remember.
The wind howled, the raindrops were so huge
They smashed the window in the butler’s pantry.
EMPEROR: My poor dear Nurse, what has become of you?
NURSE: A clap of thunder made me fall downstairs.
I hurt my right arm, my left leg and my chin.
Hark! There’s the doorbell!
EMPEROR: I’ll answer it myself.
DOCTOR: Who can be calling at this hour?
I gave strict orders no one was to leave his bed
Till noon. The streets are empty. Only ash
Stirs here or there in little eddies.
[Re-enter EMPEROR with DRAGON.]
EMPEROR: So I wasn’t drunk when I saw you last!
Ladies and gentlemen, may I introduce
This battered newt of my acquaintance.
DRAGON: Delighted to meet the company, I’m thure.
Forgive my lithp. In my panic thith morning
I fell down a coal-thute and knocked out all my teef.
CALRISSA: You were the beast
Who tried to murder the Prince!
MELISSA: You wanted us all to die in the forest –
I’ve half a mind to knock your brains out too!
DRAGON: Ladieth, it’th true I’ve been a thcoundrel –
Though I made nobody do anyfing
That wathn’t in their natureth –
But now, believe me, I’m an honetht Dragon,
Completeley reformed by my exthperientheth.
Without my teef I wouldn’t latht
Ten thecondth ath a villain anyway.
Tho I’ve come to athk if you have any
Thituathion for a willing reptile
Who will acthept the motht modetht thalary
With almotht thycophantic gratitude.
For inthtanth, I thtew thuper thauthageth!
EMPEROR: Snake, in the past my hearth has welcomed you
Too readily; but if you’re really reformed
And promise not to break the glasses when you’re cross,
You can be the thirty-first assistant chef.
DRAGON: I’m thtricken by your generothity.
[Doorbell rings again.]
NURSE: Hark! The doorbell again!
Who would have thought so many would be stirring
So early in the day?
PROFESSOR: This time I’ll go.
It’ll help to keep my stomach quiet.
[Exit PROFESSOR. Re-enter with CAT.]
See who it is! A black cat on two legs!
CAT: Emperor, could you spare a fishbone?
I’ve lost my friends, my happiness and my bet
And I’m almost dead with hunger.
CLARISSA: Come, poor Cat,
Lie down on this soft rug and lick your paws.
CAT: I’m sorry I bonked your nose, your Majesty.
EMPEROR: I earned it, Cat. You may do it again if you like.
[Doorbell rings again.]
NURSE: Will that doorbell never stop ringing?
DOCTOR: By the law of averages it’s my turn to answer.
EMPEROR: I wish we could invite the whole country,
All the people, horses, cats and dogs
Into the Palace to warm themselves by the fire;
All the trees to take root in the carpets,
The fields to sprout from the ceilings,
The rivers to run down the staircases
And the stars to illuminate the chandeliers.
Then, perhaps, if they would come,
The Palace might be bright again at last!
DOCTOR: By all that’s statistically improbable!
I’ll throw my logarithms in the lake!
Ladies and gentlemen, see who was at the door!
[Enter GEORGE, PAMELA and CHIEF OF POLICE.]
EMPEROR: All the miracles that ever were,
The cows, the cats, the forests and the stars
Dwindle to nothing beside this miracle!
FRANCHISSA: My constable! Where have you been?
CHIEF: We’ve been fighting the Dragon.
GEORGE: We defeated it.
PAMELA: It came leaping and squawking in this direction –
We were afraid it might have squashed the Palace.
EMPEROR: Come in, sit down, recover your breath,
Speak, breathe, move, show that you’re alive!
My daughter I thought I’d never see again!
Prince George, what can I say? Can you forgive me
What I shall never forgive myself?
PROFESSOR: Or I, Prince George?
DOCTOR: I can hardly define the word ‘forgive’,
But I surrender to your judgement, Prince.
GEORGE: My dear friends, there’s nothing to forgive;
I’m overjoyed to see you safe and sound.
EMPEROR: Your kindness shames us more than anger would.
MELISSA: But dear Princess, won’t you describe the fight?
CLARISSA: Yes, yes, describe the triumph of virtue!
If only my lumbago
Hadn’t prevented me from joining in!
PAMELA: There’s not a lot to tell.
The smoke and flame from the Dragon’s throat
Hid us as we ran towards it;
The Chief of Police reached the monster first
And struck it on the chin so hard
That its teeth snapped shut like the Palace gates.
MELISSA (hitting EMPEROR): What a blow that was! O, sorry, your Majesty!
CHIEF: Then I fell down and it gripped me
In its right foreclaw; the Prince rushed forward
And stabbed the claw so fiercely it let go.
CLARISSA (hitting DOCTOR): Well smitten, Prince! O, sorry, Doctor!
GEORGE: The Dragon twisted round to deal with me,
But the Chief Constable had dropped his knife
Which Princess Pamela snatched up –
Just as the cavernous jaws stretched to engulf us
She stabbed it on the left hind leg!
EMPEROR (hitting PROFESSOR): Coward that I am! What heroism!
Sorry, Professor, are you hurt?
PAMELA: It gave a bellow like a bursting oil-rig
And crashed away through the trees
Raising solid walls of smoke on either side,
Throwing up hillocks with its scrabbling claws,
Driving away the louds with its dreadful yells,
Its blood staining the earth bright red.
CHIEF: And as it went, colour came back to the land.
GEORGE: The hillocks grew to hills and mountains.
CHIEF: The scales that flaked off as it ran
Took root and sprouted into meadows.
GEORGE: The blood became carpets of scarlet flowers,
The tears it wept flowed down the hills like brooks,
The fire became copper beeches and maple trees,
The smoke became little white clouds
Drifting across the blue of its outstretched wings.
PAMELA: We followed it as far as we could.
CHIEF: And before we knew it
There we stood on the Palace’s front doorstep,
Panting for breath, still smarting from the heat.
FRANCHISSA: And welcome as raindrops to the desert!
PAMELA: There are still stretches of ash about,
Still a lot to do before the land is green,
But the change has begun!
GEORGE: I shall paint cows in the meadows again!
DOCTOR: And I shall smash my terrible machine
And apply my genius to healing the damage I’ve done,
A task as jolly as dissecting frogs!
CLARISSA: Melissa, Franchissa and I shall take our dusters
And polish every corner till there’s not a grain
Of ash left in the kingdom.
PROFESSOR: The lizard and I shall join talents to prepare a feast!
EMPEROR: I proclaim this day a public holiday!
I shall have to tell the people what that means.
CAT: And I shall spend a busy time
Licking my tired paws by the fire.
NURSE: My dears, a word before you begin.
Because you’ve made it clear
You can think of others besides yourselves
I can now tell the true story
Of how I hurt my arm, my leg and my chin.
PAMELA: Sit down and rest yourself while you speak.
NURSE: I’ve often told you how I watched
The Emperor’s ancestors fight with the scabulous beasts
Which have plagued this land since it rose from the sea.
Have you ever wondered how your old Nurse
Could have seen so many battles?
The truth is, I was the baleful Bish,
I was the Snipe snicked by the Emperor’s Uncle,
The garrulous Gargle that choked on his Grandpapa,
The streperous Tock with its purple-blotchy hide,
And moreover, I was the Beast in the vegetable patch
And the Dragon you chopped in the forest last night.
GEORGE: But that’s impossible! You’re our beloved Nurse!
NURSE: Haven’t you learnt yet
Never to judge by outward appearances?
I am the guardian of this little land.
In times of prosperity I wear human form
And hire myself as a baby-minder.
EMPEROR: To think I hired a fiend to mind my daughter!
NURSE: But when darkness clutched the land
Or ash plugged men’s ears and made their children sneeze,
Whenever colours faded, or the sky
Was smothered with evil-smelling fumes,
It was my doom to become a monster
And slither to the woods to fight a hero.
As long as someone would fight me,
As long as I was defeated, the land would live,
The fields grow lush, the pear-trees blossom;
But if once a hero failed to meet my challenge
Or fled when he felt the flame of my roar,
The dust would clog your ears and eyes for ever,
The land become a grave, and I be left alone,
A solitary worm wriggling in hollow places.
CAT: So when I tried to dissuade the Prince from fighting
I put the land in danger of destruction!
EMPEROR: And when I plotted the Prince’s murder
I was plotting the murder of my kingdom!
PROFESSOR: How precious a single life must be.
Perhaps when we squash a fly
A star bursts, or a planet detonates!
CLARISSA: Then how many solar systems died
When we wiped out mosquitoes?
DOCTOR: I kept a pair of mosquitoes in a test tube.
If I set them free, in a year or two
There’ll be as many as before.
CLARISSA: Then free them, Doctor dear!
Mosquitoes have such shapely legs, I feel;
Their bites are worth it just to watch them dance!
GEORGE: Nurse, forgive my bluntness,
But how can we tell if your tale is true?
NURSE: The truth is always changing;
Like a mosquito, it never stays in one spot.
But if you need proof, for what it’s worth,
Look at the battle-scars you gave me.
GEORGE: In exactly the places where we struck the Dragon!
Every word of your tale was true!
Come, Nurse, let’s celebrate with a feast!
NURSE: First let me prophesy that by the year’s end
There’ll be six weddings to sing about;
But who will marry whom I leave to you!
Marriage has nothing at all to do with magic.
[Exeunt ALL except CAT and DRAGON]
CAT: So, Dragon, after all I won my bet.
It’s always best to end with a feast and a dance.
You said I could have anything I wanted.
DRAGON: That wath when I fought I had thomefing to give!
CAT: I wonder now; she said six marriages;
And if my calculations are correct
Two people are needed to make each pair.
Twelve people in the Palace, six marriages.
I’ll tell you what I want at the year’s end!
Come now and help me decorate the Hall –
We’ll make it the first bright room in the Kingdom!
NURSE: I’ve not seen a Prince off on an adventure
Since the present Emperor’s father
Set off to slaughter the streperous Tock!
The bells have all struck midnight;
The people have been told to stay indoors
So that the land is empty. Only moonbeams
Stalk dusty streets and stare between branches.
We’ve come to the forest’s edge
To see the Prince and Princess on their way;
I wonder if we’ll ever see them more?
[Enter EMPEROR, CHIEF OF POLICE, DOCTOR, PROFESSOR, CLARISSA, MELISSA, FRANCHISSA, PAMELA, GEORGE.]
EMPEROR: I’ve liked this plot less and less
Since what happened in the cabbage plot.
DOCTOR: We assure your Majesty that by our calculations
And by the hoofprints in the earth
The beast was nothing bigger than a goat.
EMPEROR: A ghost, you say?
DOCTOR: A goat!
MELISSA: Of course I wasn’t scared, Clarissa.
CLARISSA: Nor I, of course, Melissa. It was a test.
We wanted to try our lovers’ courage!
MELISSA: We knew from the first it was a goat –
But we never guessed what goats the men would prove!
CLARISSA: Franchissa, what’s that object in your hair?
FRANCHISSA: A daisy, a daisy, I picked it by the way!
MELISSA: Why look, the ground is carpeted with daisies
Round the outskirts of the wood.
I haven’t seen daisies since I was a child
Before they were smothered by the ashes!
CLARISSA: Throw it away, at once, my dear,
You don’t know where it’s been.
If you want a flower to stick in your hair
You can have one from the Doctor’s greenhouse.
PAMELA: Aren’t you pleased with the shine on your sword?
GEORGE: Yes, but why can’t I use a gun instead?
PAMELA: Do you think a bullet could pierce a Dragon’s hide?
Only the strength of your arm can do that.
Besides, it wouldn’t be fair play!
GEORGE: You don’t think just a friendly pat would do…
EMPEROR: Ladies and gentlemen, we have arrived.
The time has come to wish my nephew luck
And send him in after the goat, I mean Dragon.
Well, goodbye, young man, and may you get
What you deserve. Believe me, if I were younger,
Or you were older, or my daughter wasn’t mine,
Or the state of the country wasn’t what it is,
You, and I, and the country, and my daughter
Would be in different places, as it were.
DOCTOR: In the name of progress, massacre the monster!
CLARISSA: I wish I could lend an ounce of my virtue
To strengthen your arm!
FRANCHISSA: Good luck, good luck!
NURSE: Remember, if you’re eaten
We’ll have a beautiful funeral waiting!
GEORGE: Before I go, let me say this.
I haven’t been a very dutiful nephew,
But I’ve loved you all in different ways.
MELISSA: A secret apology meant for us!
CLARISSA: I could almost forgive him his rudeness!
GEORGE: I’d like to hope that if I killed the Dragon
The land would be green again, and happy,
But I can’t make that happen on my own.
DOCTOR: He wants us to revert to barbarism!
GEORGE: All I mean is, killing the Dragon hardly matters.
EMPEROR: He means it’s more important to kill me!
How right the Doctor was!
GEORGE: I’m trying to kill my Dragon,
But we all have Dragons to kill.
CLARISSA: He can’t surely mean he wants our help!
PROFESSOR: What a long speech!
Did anyone bring anything to eat?
PAMELA: Come along, George, they don’t understand.
Their heads are buried in the dust.
Goodbye everyone! Our quest has started.
[Exeunt PAMELA and GEORGE]
EMPEROR: At last they’ve gone. Now you all know your parts?
Chief of Police, you have your knife;
I have my blunderbuss; Professor and Doctor,
You have the map of the forest and a torch;
Then each to his position. Goodness me!
I’m enjoying this more than I expected!
Giving orders I feel almost like an Emperor!
DOCTOR [aside]: Tomorrow you won’t feel anything at all.
[Exeunt EMPEROR, DOCTOR, PROFESSOR and CHIEF]
MELISSA: These flowers give me the loveliest idea!
When I was a girl there was something we did
Each Midsummer Eve: we used to dress in green
And go singing and dancing through the forest;
We called it ‘maying’.
CLARISSA: No, no, that was in May.
MELISSA: Maying or Juning, I can’t remember which;
But this was the rather mad idea I had:
Why not pretend this is Midsummer’s Night
And dance and gambol as we did when young?
I’m sure I don’t feel a day older than fifty!
FRANCHISSA: Let’s go prancing, let’s go dancing!
CLARISSA: But Melissa, what about the Dragon?
MELISSA: The Doctor says it was a goat,
And the Doctor knows everything.
CLARISSA: The Professor says it was a cow,
And the Professor knows even more.
MELISSA: Whatever it is, it can’t hurt us.
My dear Melissa, surely you’re not scared?
CLARISSA: Melissa, I only had your nerves in mind –
You shouldn’t strain them at your age.
MELISSA: Of course, you know more about such things
Seeing you’ve six years’ more experience!
CLARISSA: Six! Five and a half at most, my dear Melissa.
MELISSA: Then follow me, my doves; just for tonight
We’ll run mad in white linen
And draw pictures in the sand!
[Exeunt MELISSA, CLARISSA and FRANCHISSA]
NURSE: So the forest has swallowed them all.
I’ve heard say woods can change folks overnight;
But this gadding about is for younger bones
Or crackpots like those crazy ladies.
It’s bitter cold at night in these wastes
And anything can happen in the dark.
No one knows that better than I!
I’ll home to bed with a cup of cocoa.
[Enter DRAGON disguised as CAT. Then enter GEORGE and PAMELA]
GEORGE: How dismal the trees are in their mossy cloaks;
This place is arched like an underground dungeon.
PAMELA: At least they’re well spaced out.
GEORGE: Don’t tread on dead leaves,
They sound like thunder.
PAMELA: It’s odd, but there are no dead leaves.
Everything’s clean as if it had been swept.
Have you noticed how the trees have changed?
Near the forest borders they were stooped and dead,
A tangle of charred fingers clutching the stars;
But here the trees are taller, straighter,
With little hand-like sprays of leaves.
Where should we start looking for the Dragon?
GEORGE: I don’t care where, so long as we don’t find him!
Some of these treetrunks are the weirdest shapes,
Almost like people, almost like reptiles…
Ouch! Pamela, I touched one and it moved!
PAMELA: That’s no tree, it’s someone dressed in black!
Whoever you are, don’t move an inch!
GEORGE: So still and silent;
Under the folds of his cloak his eyes are green.
Keep behind me, Pamela, I see claws!
DRAGON: Greetings, your Royal Highnesses!
PAMELA: Why, it’s only the Cat we met in the Palace.
What are you doing in this wilderness?
Hurry back to your warm hearthrug
Before your fur gets singed with Dragon-fire!
GEORGE: I don’t trust Cats with scaly noses.
What are those lights beyond the trees?
[GEORGE wanders off]
DRAGON: My last warning didn’t help you much,
So I’ve come to help you find your precious Dragon.
PAMELA: So you’ve decided Dragons do exist?
DRAGON: Not the big sort.
This Dragon’s little, but he’s deadly.
He doesn’t eat people, only their minds;
Nor burn haystacks, but withers corn at the root,
Nor squash palaces, but he froze the heart
That sold the palace bricks to build a prison.
PAMELA: Now there’s a foe worth fighting!
Where does he live, Cat?
DRAGON: In a slimy cave not far from here
Thick with the bitter chemicals he thrives on.
PAMELA: This time, Cat, you’d better be telling the truth!
Come quickly now, we must stick together –
It’s easy to get lost in the dark. Prince George?
What’s so funny, Cat? Where are you, Prince?
DRAGON: My poor girl, nothing can save him now;
You’ll never see the oaf again.
For all your eagerness to find the Dragon
You never guessed you were staring him in the teeth!
Look at me closely, girl! I am the beast!
PAMELA: You tatty bit of snakeskin!
Wait till I get my hands on your mouldy snout!
DRAGON: Stand back, or I’ll bite our fingers off! O dear,
I’m sorry I spoke so rudely, but I’m sure
We’ll meet in happier circumstances soon.
I didn’t lie, my cave’s not far away,
And I beg you to consider yourself invited
To breakfast there tomorrow morning.
You’ll make an excellent dessert
After a main course of Cat!
Goodbye for now; I’m off to watch the Prince
Being kippered by the Emperor and his men!
PAMELA: Don’t think you’ll get away with this –
My nails are sharper than your scaly eyes!
[Exit DRAGON, pursued by PAMELA]
[Enter PROFESSOR and DOCTOR]
PROFESSOR: Doctor Thumbscrew, let me see the map.
DOCTOR: Professor Dumbstew, I gave the map to you.
PROFESSOR: I’ve never touched it in my life.
DOCTOR: Then we must have dropped it somewhere. Hand me the torch.
PROFESSOR: But the torch was yours;
It was one of your inventions with a beam that went round corners.
DOCTOR: I deny that assertion;
It was one of your inventions, without a beam at all.
PROFESSOR: What a labyrinth this forest is!
I feel like a rat in one of my own experiments.
We should never have let it stand.
DOCTOR: First thing tomorrow we shall have it down.
Lucky I know the place like the back of my scalpel!
We sent the Prince in that direction;
Therefore, if we construct a triangle
With angle forty-five degrees at corner B –
PROFESSOR: Good thing my memory’s better than yours,
Otherwise by now we’d be in the Gulf of Bong!
My dear Doctor, the Prince went that way,
Along a radius X of circle Y
Which converges with diameter Z at angle Q…
DOCTOR: Professor, your geometry’s inadequate.
PROFESSOR: Doctor, your trigonometry needs examining.
DOCTOR: How dare you criticize my trigonometry!
It’s healthier than yours!
PROFESSOR: I had mine refurbished only last month.
DOCTOR: Then I have a simple solution. Since you’re so clever
You go your way to find Prince George
And I’ll go mine.
PROFESSOR: Simple but brilliant.
Your empiricism is unequalled;
Pity about the trigonometry!
DOCTOR: The first to see Prince George must whistle thrice.
Come quickly when you hear me whistle!
PROFESSOR: Except of course that I shall whistle first.
[Exeunt PROFESSOR and DOCTOR]
[Enter EMPEROR and CHIEF OF POLICE]
EMPEROR: Chief Constable, don’t walk so fast!
CHIEF: We’ll never catch him at this rate, sire.
EMPEROR: Don’t shout, Chief Constable. Give me the torch!
You never know what slinking thing
You might awaken in the depths.
O curse the dark! If I were Emperor
I’d plant steel rods across the plain
With light bulbs at the tips in clusters
And banish night to shadows under furniture.
CHIEF: But you’re already Emperor, sire!
EMPEROR: Why so I am, and you wouldn’t believe
How tedious it is!
Peace and quiet – what’s that noise?
CHIEF: Stop here a moment, sire. I’ll run and see.
EMPEROR: Don’t leave me alone!
CHIEF: Be calm, your Majesty. It might be the Prince.
You have your blunderbuss and the torch;
In fifteen seconds I’ll be back
With the Prince’s head in my hand, perhaps.
EMPEROR: How true. I have the gun. I must be brave.
I think these trees would like to strange me
In their knobbly arms. I find I’ve got the map,
But lines on paper make no sense
In this wilderness. The torch only makes shadows
Leap at me angrily from either side.
These trees are the last in the kingdom;
They hate me for the death of their families!
Go away, trees! It wasn’t my fault!
I wish I was safe at home by a blazing fire.
See how they bristle when I mention fire!
The terrible things I didn’t prevent
Frighten me worse than the things I did.
Listen! Footsteps! Constable, is that you?
[Enter PRINCE GEORGE]
GEORGE: In the name of the Emperor, Dragon, show yourself!
EMPEROR [hiding behind CAT as tree]: The Prince! Quick – off with the torch –
Load up the blunderbuss – horseshoes, tintacks,
Nails, ball-bearings, hooks, electric plugs…
GEORGE: I hear the clatter of its metal scales!
EMPEROR: Aim in the direction of his voice,
Bracing the barrel on this useful branch,
This useful branch attached to this furry stump,
This furry stump with glowing eyes
And seven rows of yellow teeth – O help!
GEORGE: The Dragon’s roaring! Heaven preserve me!
EMPEROR: I’m leaning on a monstrous bear!
Save me, Chief Constable! Come back, come back!
GEORGE: Here it comes! Protect me, Pamela!
[Re-enter CHIEF OF POLICE]
CHIEF: Emperor! Emperor! Where have you gone?
Feels like another thunderstorm is brewing!
CAT: Not even a Cat can see in this darkness
Filled with roots and hissing twigs.
We can only follow our noses
And hope for near misses.
Why, here the Misses come!
[Enter CLARISSA, MELISSA and FRANCHISSA, singing]
MELISSA: This life is so jolly! The charms of spring!
FRANCHISSA: Hey diddle diddle the Cat and the Dragon!
CLARISSA: Cuckoo, jug-jug, peewit, tuwhit-tuwhoo!
MELISSA: I wish I could still get into that dress
I bought when I turned sixty.
Don’t you miss the colours there were then?
CLARISSA: Never, dear Melissa; we’re better off as we are.
No colour is more distinguished than grey,
And no girls greyer or handsomer than we.
At our age, we are versed in every accomplishment –
Really, the young hardly deserve their youth!
Let us join hands in celebration
That we are what we are, and nothing less!
MELISSA: There were so many useless things when we were young.
I always thought the Doctor’s greatest triumph
Was the powder that wiped out mosquitoes.
A shame it wiped out all the birds as well,
But it was worth it just to be rid of mosquitoes!
FRANCHISSA: See how thick the flowers are at our feet!
CLARISSA: I never liked flowers. I suffer from hay-fever.
Bless the Professor! He couldn’t cure my hay-fever,
So instead he went to all the trouble
Of wiping out the flowers and butterflies.
So considerate! I wonder how this place was missed?
MELISSA: The Doctor says that by nine tomorrow morning
The world will be perfect. Isn’t that nice?
O Clarissa, why do I feel so sad?
CLARISSA: Yes, I could almost weep for joy myself.
FRANCHISSA: Sing hey, sing hey, the thrush and the jay!
CLARISSA: Franchissa recalls us to our merriment.
I know just the game we could play!
MELISSA: O bully!
CLARISSA: It’s a charm for finding out our future husbands.
MELISSA: My dear, what a simply mad idea!
CLARISSA: At school they called me ‘wild Clarissa’!
Here’s the charm; you have to do the actions.
Seven times we spin around,
Cross our legs and touch the ground,
Throw a daisy in the air,
Follow where it blows, and there,
If the moon is right above
You shall find your only love!
Can you sing that?
MELISSA: Of course!
[They sing it.]
CLARISSA: But it only works if we’re exactly
Underneath the moon. We should be
Further to the West, I think.
MELISSA: Isn’t this thrilling, dear Franchissa?
FRANCHISSA: I’ve already had three husbands.
CLARISSA: Follow me, my merry girls!
Skipping westwards in the moonbeams
To work our wild midsummer magic!
[Exeunt CLARISSA, MELISSA and FRANCHISSA]
GEORGE: I seem to have trudged these woods for years,
Calling for Pamela, looking for the Dragon,
Starting at every footfall, falling at every foot.
I’m so hot my cloak is suffocating me;
I’ll leave it here for mice to nest in.
There was a cave a little way back;
I’ll retrace my steps and hide in that.
Heaven protect my poor Princess!
[Exit GEORGE, leaving his cloak on the ground. Enter EMPEROR.]
EMPEROR: Somewhere along this path I dropped the map,
So now I must retrace my steps to find it,
While every bush I pass becomes a bear.
Why, what on earth is this?
A cloak, just like the one the Prince had on!
The best way to escape nightmares
Is to wrap your head in a blanket.
I’m fed up with running from bears, so here I’ll lie
And wait in piece for daybreak.
[EMPEROR lies down. Enter from different directions DOCTOR and PROFESSOR]
PROFESSOR: I know I’m hot on the Prince’s heels –
My tummy’s rumbling, a sure sign
That my prey is close. I’ve brought this ladle
To mash him with…
DOCTOR: I found a map a while ago,
But couldn’t read it in the dark
So I threw it in the brambles. But my calculations
Tell me the Prince is almost in my clutches…
PROFESSOR: I see a shadow over there
As tall and skinny as the Prince…
DOCTOR: Just where I expected, I see a silhouette
As short and chubby as Prince George!
PROFESSOR: He’s no idea what I’m about to do!
DOCTOR: He can’t foresee what he’s about to get!
PROFESSOR: Take that, barbarian! [Hitting the DOCTOR.]
DOCTOR: Take that, you anarchist! [Hitting the PROFESSOR.]
PROFESSOR: O my stomach!
DOCTOR: O my head!
PROFESSOR: Why, I recognize that voice!
DOCTOR: Professor Dumbstew!
PROFESSOR: Doctor Thumbscrew!
BOTH: What the Dragon do you think you’re doing?
PROFESSOR: It’s lucky you didn’t bludgeon me to death!
DOCTOR: No thanks to you I’m not a jellied pulp!
PROFESSOR: Then where in the name of Science is the Prince?
DOCTOR: Our common senses tell us he’s nearby.
We have only to search this glade
With our weapons and our wits alert…
PROFESSOR [Discovering the EMPEROR in PRINCE GEORGE’s cloak]: What’s that bundle like a pickled herring?
DOCTOR: It has a look of homo sapiens about it.
PROFESSOR: Isn’t it wrapped in the Prince’s cloak?
DOCTOR: I can’t see whether it’s breathing or not.
PROFESSOR: Shall I mash it?
DOCTOR: Shall I strangle it?
PROFESSOR: But – O Doctor Thumbscrew, what if it isn’t the Prince?
What if something crawled out of a hole
And knobbled him while we were in the dark?
DOCTOR: Nonsense, Professor, that’s illogical.
EMPEROR [Sitting up]: What men or beasts are these?
PROFESSOR: Thumbscrew! It spoke!
DOCTOR: Dumbstew! It’s not the Prince! It’s eyes are green!
[EMPEROR switches on the torch.]
PROFESSOR: O Lord, its left nostril has lighted up!
DOCTOR: Run, run, in the name of Science!
[Exeunt DOCTOR and PROFESSOR.]
EMPEROR: What a noise! Those must have been the ghosts
Of trees! I’ll wrap my head up in this cloak
And never be tempted to look out again!
[EMPEROR lies down again. Enter PAMELA.]
PAMELA: I think the Dragon was telling the truth
When he said I’d never see Prince George again.
If only someone would help me search!
What’s this? I tripped over a bundle.
No, it’s a body; in the Prince’s clothes!
Prince George? Prince George! No movement;
Stiff and cold…
He’s dead! Pistols and razorblades! I’m alone!
Why didn’t I bring my battle-axe? Where’s the Dragon?
[Exit PAMELA. EMPEROR gets up again.]
EMPEROR: It’s no good, I can’t sleep.
I thought I heard someone weeping beside me.
If only I had a friend to share my dreams with!
I used to think my nephew was my friend.
Well, I must find the Doctor and Professor
And ask them to report his death.
[Enter CHIEF OF POLICE.]
CHIEF: What luck to have found this map in the brambles!
I climbed a tree and read it by moonlight,
So here I am alone at the mouth of a cave.
I think I see the Prince inside; but traitor as he is
I can’t bring myself to use my knife. What’s that?
[Enter DOCTOR and PROFESSOR, running.]
PROFESSOR: Help, help! I hear the monster’s claws!
DOCTOR: Save me! Its breath is frazzling my hair!
PROFESSOR: Beware, Doctor, here’s another!
DOCTOR: Get out of my way, you clumsy pumpkin!
CHIEF: Professor Dumbstew, Doctor Thumbscrew, wait!
It’s only me, the Chief of Police.
PROFESSOR: Come back, Thumbscrew. He’s a colleague!
DOCTOR: O, it’s you, is it? No need to shout.
Any news of the monster, I mean Prince?
CHIEF: He’s in that cave, he can’t escape us.
But now we have him, why not let him live?
Life is precious in this wilderness.
DOCTOR: Don’t be a fool, Chief Constable.
This nation is on the very verge
Of a major technological leap.
Only the Prince stands in my way.
So draw your knife and follow me!
CHIEF: Stop! Do you hear that awful wailing?
DOCTOR: It’s coming this way!
PROFESSOR: There’s no escape!
[Enter CLARISSA, MELISSA and FRANCHISSA.]
MELISSA: Hi diddle umkum tarum tantum!
FRANCHISSA: The snake and the pussy-cat went to sea!
CLARISSA: Hickory dickory dock!
Here we are, girls! The moon is directly
Overhead. Are you ready to chant?
MELISSA: Dear Clarissa, my heart is chanting already!
CLARISSA: Then all together, for our future husbands!
Seven times we spin around,
Cross our legs and touch the ground,
Throw a daisy in the air,
Follow where it blows, and there,
If the moon is right above,
You shall find your only love!
CHIEF: What do you think they are?
PROFESSOR: Just listen to the racket!
DOCTOR: Watch their behaviour! Whatever they may be
They’re clearly suffering from lunacy.
I suggest we go about our business
As quickly and quietly as possible.
CLARISSA: Melissa, Franchissa, there stand our husbands!
Run, girls, and catch them! It’s part of the spell!
FRANCHISSA: Run, run, as fast as you can!
MELISSA: See who I’ve caught! The Doctor!
CLARISSA: Mine’s the Professor!
FRANCHISSA: And mine’s a handsome Prince!
CHIEF: I’m not a handsome Prince! Let go!
DOCTOR: We have important business to transact.
CLARISSA: Don’t let them out of your clutches, girls!
The spell says we must dance with them all night!
MELISSA: The moonbeam magic holds you fast,
You won’t escape till morning dawns,
So relax, my dears, and enjoy the fun!
DOCTOR: You’re treading on my corns!
[Exeunt CLARISSA, MELISSA, FRANCHISSA, DOCTOR and PROFESSOR.]
CAT: The Prince has never been in greater danger.
Excited though they are, the three old ladies
Can’t keep the murderers occupied for long;
And now the murderers know where he’s sleeping.
The Emperor’s approaching from the South,
The Dragon has mounted guard at the cave
To prevent me warning the Prince of his peril,
Princess Pamela I can’t find,
And over all there’s a feeling of tautness
As if an earthquake were about to burst.
I can do nothing on my own!
I begin to wonder whether any of us
Will survive the night.
DRAGON: Cat! Run away before my patience snaps!
My plans work beautifully; all’s confusion!
The Prince has twice escaped his enemies,
But their next meeting shall be the last,
And you shall witness it! Here’s the Emperor.
EMPEROR: I heard a sound of revelry
Which took me back to my giddy youth
When I wasn’t so fond of peace and quiet.
DRAGON: I should avoid him, Cat;
He hasn’t forgotten that bonk on the nose.
I am invisible to the oaf, of course.
Next the Princess.
PAMELA: I was so eager to rush Prince George to his death!
I’ll never wish anything dead except myself
Ever again! If I meet the Dragon now
I’ll taste like sawdust in his mouth.
DRAGON: Poor girl! What a state she’s in.
Rest here, my dear, till breakfast-time.
By now the scientists have broken free;
Here they come puffing, hotter than ever for blood!
[Enter DOCTOR and PROFESSOR]
PROFESSOR: That’s twice he’s made us look fools!
DOCTOR: I have a thousand lingering poisons
In a cabinet at home;
Would I had brought the most painful of all
To pay him back for the pain in my corns!
PROFESSOR: Keep quiet, Doctor, I hear the mad ladies.
DRAGON: That’s the way, friends; hide behind this tree.
Here comes a party of spectators
For the climax of my masterpiece.
CLARISSA: Girls, as soon as you see them, pounce!
We must marry them now to preserve our virtues.
CHIEF: Madam, in the name of the Law release me!
FRANCHISSA: Anything for my handsome Prince!
[She releases him and he falls flat.]
DRAGON: And now for the last item in my entertainment,
The spark that’ll set off the gunpowder:
Ladies and gentlemen, I present – Prince George!
[Enter PRINCE GEORGE.]
GEORGE: I fell asleep listening to the mutter
Of a stream in the depths of the cave;
I woke, and dawn was yawning in the East.
Perhaps I shall see sunrise after all!
DOCTOR [advancing]: I’m afraid there’s little chance of that, Prince George.
PROFESSOR: But there’s one comfort: you won’t be needing breakfast!
PAMELA: Prince George alive! Then I can breathe!
Ruffians, keep your pincers to yourselves;
I’ll never let him out of my sight again!
EMPEROR [advancing]: I suppose this is the moment to act,
Before I begin to regret my decision.
Doctor, let’s get the foul deed over.
CHIEF [advancing]: I can’t stand by and see my master murdered.
He’s better than the three of you put together!
DRAGON: Then I see I shall have to interfere
And finish the tragedy myself.
CAT: No you don’t, Dragon. You’ve cheated once too often!
I trust you remember my claws!
VOICE [from offstage]: Excuse my interruption,
But has everyone forgotten the real Dragon?
ALL: The real Dragon?
DRAGON: What do you mean, impostor? I’m the only Dragon here!
VOICE: You, a Dragon? You’re just an overgrown tadpole!
DRAGON: Cat, this is some trick of yours!
VOICE: This is no trick, earthworm, unhappily for you.
You silly bunch of guinea pigs
Have blundered about my property all night,
Trampling my flower-beds, screaming and wailing
At every glimpse of imagined danger
Without a thought for the danger that’s real.
I was asleep here in my cave
When you woke me with your endless squabbling.
DRAGON: Why, that’s my cave, you fraud!
I don’t believe you’re bigger than a blue tit.
If you’re so grand, come out and show yourself!
VOICE: Here I am, lizard; look at me well!
MELISSA: Out of the cave-mouth a snout is gliding,
Longer than a bus, smoke pouring from the nostrils!
CLARISSA: A pair of eyes like swimming-pools…
PRINCESS: An endless neck…
CHIEF: A body big as the North Wing of the Palace,
Bloated and warty, squeezing between the rocks…
EMPEROR: Hooves sharp as atom bombs…
CAT: A tail that could crush a ship…
And to think I didn’t believe in old-fashioned Dragons!
VOICE: Can you all see me clearly? Aren’t I handsome?
DOCTOR: I’ll burn my books!
This monster defies all natural laws!
PROFESSOR: This monster could eat a forest in an hour!
DRAGON: This monster will eat me for my impudence!
Have mercy upon me, King of Dragons!
PAMELA: Prince, this is the moment we’ve been waiting for!
GEORGE: I’m so scared I can hardly breathe,
But I won’t shame my ancestors! Prepare yourself, monster!
PAMELA: Wait for me, George! I’m at your heels!
CHIEF: I shan’t watch them eaten unaided!
[Exeunt GEORGE, PAMELA and CHIEF OF POLICE.]
VOICE: Not since the death of the Emperor’s father
Have I met such impudence!
EMPEROR: Come back, you fools, there’s nothing you can do!
CLARISSA: The Dragon’s rearing up on its hind legs –
Its mouth is wider than a railway tunnel –
The three of them are running straight
Towards its lower lip! A gush of smoke
Sucks them out of sight – they’re gone –
Run for your lives, girls! All is lost!
[Exeunt CLARISSA, MELISSA and FRANCHISSA.]
EMPEROR: Back to the Palace before it’s too late!
DOCTOR: Back to the metal-walled laboratory!
PROFESSOR: Which way out of this dreadful wood?
DRAGON: Don’t hesitate! Run! My tail’s on fire!
[Exeunt EMPEROR, PROFESSOR, DOCTOR and DRAGON. Loud roaring recedes into distance.]
CAT: How could I have been so blind?
All the while I bickered with the lizard
The real Dragon crouched behind the scenes
With embers throbbing on his tongue.
I was too clever to see past my own whiskers,
And now the morning has broken to bits,
My friends are dead and I’ve lost my bet.
I’m not fit for a Dragon’s dishcloth!
The birds are singing.
I only hear birdsong when I hold my breath,
The endless music that reminds me
We’ll meet again when the dance is done,
For the planets are still spinning round the sun
Like honey-bees around a giant flower.
I’ve lost my bet. I must give myself up to the lizard.
[This play was performed by children in the Barn Theatre at Cumnor House School, Danehill, Sussex, in Winter 1983, under the direction of the Headteacher, Nick Milner Gulland. Nick invited me to write it, and I finished it in the summer vacation after completing my degree.
I tried at the time to achieve a measure of gender equality in the cast list, giving an equal number of parts to girls and boys. The focus on climate change remains relevant. But there are attitudes and assumptions here you might want to change in a 2020 performance: play about with the gendering of the couples, give a stronger active role to the Princess, offer a positive view of science to offset the negative ones, slot in some songs – Nick wanted songs! – etc. etc.
The verse was inspired by Ted Hughes’s use of verse in his plays for children, especially The Coming of the Kings. The plot draws heavily on my love of A Midsummer Night’s Dream, which I’ve acted in twice: once at High School, and once in the open air theatre at Cumnor House under the direction of Nick’s father, Hal. I put it here in memory of Hal and Nick, with thanks for everything they did for me.
All pictures are by the inestimable Robin Jacques.]
In order of Appearance
CHIEF OF POLICE
ACT ONE: THE PALACE
[Enter CAT, with DRAGON behind]
CAT: O, they’re spreading miles of tablecloth
And lighting chandeliers like palaces;
The ceiling hisses with paper-chains
And the goblets bubble with golden light.
But it’s a sad occasion just the same;
The servants go about with doleful faces
Because the Great Hall is the last bright room in the Kingdom,
And this is the last banquet
The Great Hall shall ever see.
It’s all the fault of that pestiferous Dragon!
DRAGON: What are you doing in my play, Cat?
Get out before I gobble you up!
CAT: I’m sorry to disappoint you, Dragon,
But this play doesn’t belong to you.
Go roast potatoes with your smelly breath!
DRAGON: Impudent hussy, you’re out of date!
Go back to your silly pantomimes
And leave the high art forms to Dragons.
CAT: You call yourself a Dragon!
You’re no bigger than a mouse.
Dragons are as big as palaces,
They shrivel haystacks and gobble princesses,
And what’s more, they’ve been extinct for centuries.
DRAGON: A popular misapprehension.
The giant, palace-burning kind
May be extinct, for all I know,
But these days Dragons are of another ilk
Of which I humbly propose myself
As a not infelicitous example,
Modestly scaled, sophisticated, suave,
With top credentials from the Dragon School.
Just look at my achievements in this land!
From a desert choked with trees and flowers
I’ve transformed it to a recreation-ground,
Flattened the hills, erected endless fences
And softened the vulgar shades of blue and green
To elegant tones of black and white.
Such are the powers of the modern mind. In fact,
The only way I’m like old-fashioned Dragons
Is, that I like to GOBBLE PUSSY-CATS!
CAT: Fiddle, I’m not afraid of lizards.
Go nibble maggots in your hole!
She who speaks the Prologue writes the Play,
And I’ve decided to make this play a comedy.
DRAGON: A comedy! Just hear the creature!
These days nobody wants to laugh!
Moonlight murders and noontime massacres,
These days that’s what draws the crowds.
But I like your cheek, Cat. Let’s make a bet.
If you can make the play end happily
I’ll give you anything you ask.
But if it ends badly, even for one person,
I’ll have your flesh for dinner. Is it a deal?
CAT: Shake hands, crocodile.
I’ll win this bet if it’s my last act.
DRAGON: It will be, Cat, it will be.
Ouch! You forgot to sheathe your claws!
CAT: Just wanted to remind you they were there.
The Emperor passes this way to the Hall;
We’ll wait for him in the broom cupboard!
[Exeunt CAT and DRAGON]
[Enter NURSE, followed by PRINCESS PAMELA and PRINCE GEORGE]
NURSE: Come in and let me see you both, my ducks.
O Princess Pamela, I do declare
You’ll taste better than plum cake!
PAMELA: Just let that monster bite my little toe!
It’s about time they changed that stupid rule
That girls are only allowed to watch;
I’d love to belt a Dragon round the chops!
GEORGE: Don’t mention chops, Pamela. I’m not well.
NURSE: And such a handsome Prince!
You’ll make a lovely corpse, if I may say so.
I watched the Emperor’s great-great-grandpapa
Carried home on his shield after bashing the baleful Bish;
So cold and handsome! I cried a fortnight after.
GEORGE: Dear Nurse, don’t talk like that. I’m ill!
PAMELA: I’ve never been so happy in my life!
Think of all those years they taught us
That Dragons don’t exist, and we must concentrate
On Maths and French and Physics; when hey presto!
Out pops a Dragon like a jack-in-the-box
And threatens to eat me up, the lovely creature!
How vexing I can’t bash it. Well, at least
I’ll get a grandstand view of the fight.
GEORGE: My tummy aches when I think what a grandstand view
I’ll get of the Dragon’s tummy!
[Enter CLARISSA, MELISSA and FRANCHISSA]
MELISSA: Clarissa, dear, you look enchanting.
And to think you’re seventy-seven years old last Friday!
How have you kept so young and fresh?
CLARISSA: I’ve kept my virtue, dear Melissa,
Which was better for my skin than ass’s milk.
Imagine, we’re invited to a banquet!
It’ll be almost like old times again.
FRANCHISSA: We’re going to a blanket, we’re going to a blanket!
MELISSA: A banquet, dear Franchissa. Do stop capering
And remember you’re the Emperor’s aunt.
CLARISSA: Remember your age, Franchissa:
Eighty-seven if it’s a day.
Thanks heaven I have tend years left
Before I can call myself old!
MELISSA: Look there! The Prince and Princess, with their nurse!
CLARISSA: How fine the Prince looks in his velvet coat!
How can he bear to look at that plain Princess?
MELISSA: Have you noticed how young the girls are nowadays?
Pamela behaves like a two-year-old.
CLARISSA: Melissa, one need never be ashamed of looking mature!
[Exeunt CLARISSA, MELISSA and FRANCHISSA]
PRINCESS: It’s the first bit of fun we’ve had since the land went grey.
Isn’t being eaten better than emptiness?
Once there were colours, animals and flowers,
But now they’ve gone. This is the last chance!
There’s one dance left, the dance of battle,
One colour left, the colour of battle,
One monster left to battle, the Dragon –
And no hope left at all, except the Dragon.
If you won’t fight the beast, I will!
GEORGE: You’re right, of course, Princess. I’ll fight.
But I’d rather paint pictures of cows!
NURSE: Now ducks, the feast’s about to begin,
So hurry along or you’ll miss the soup.
And for afters there’s a juicy sucking pig
Born and bred in the Doctor’s test-tubes,
All in honour of our handsome hero!
GEORGE: O goodness! Soup and sucking pig! My head!
[Exeunt GEORGE, PAMELA and NURSE]
[Enter DOCTOR THUMBSCREW and PROFESSOR DUMBSTEW]
DOCTOR: Ah, Professor Dumbstew, are you heading for the feast?
A word while we’re alone.
PROFESSOR: Doctor Thumbscrew, let it be short.
My tummy’s rumbling like a washing-machine.
DOCTOR: Professor Dumbstew, we have much
To congratulate ourselves upon.
PROFESSOR: We’ve suffered for science, Doctor Thumbscrew.
I haven’t eaten for at least an hour!
DOCTOR: Think of the state the realm was in
Before we came, five years ago!
Wherever there weren’t mountains there were seas,
Wherever there weren’t flowers there were trees –
There were no rules! It was chaos!
But we soon changed all that with our golden rules.
Do you remember mine?
PROFESSOR: Could I forget it?
Every-man-is-a-cog-in-the-great-machine, you used to say.
And have you forgotten mine?
DOCTOR: That every-man-is-a-drop-in-the-primal-stew?
I have it engraved on a pedestal in my brain.
Why, these two rules transformed the land!
PROFESSOR: The air became soup!
DOCTOR: The fields became perfect squares!
PROFESSOR: The sun and the moon were lost in a permanent gravy.
But what was out reward?
Not so much as an extra course at dinner.
DOCTOR: Not so much as a peasant or two
To experiment on in the peace of our laboratories.
Yet we brought our research to fruition –
We invented that great machine in which every man is a cog.
From now on everything anyone does
Shall be a miracle of efficiency!
PROFESSOR: A triumph of taste!
DOCTOR: We simply plug them into our new machine
And nobody shall think, laugh, cry,
Eat sweets, or do anything that’s bad for them
For ever and ever. It’ll be Paradise!
Everyone in the world shall be a cog
Excepting you and I, Professor Dumbstew,
Whose task it will be to oil the joints.
PROFESSOR: But the Emperor will never let his people
Be plugged into this marvelous mechanism!
DOCTOR: The Emperor is one of the last of the backward race
We found when we first arrived in this backward land.
But Prince George is a different kettle of fish.
The lad is sharp – I tutored him myself –
But his consciousness has been preconditioned
To outmoded notions of morality.
I have therefore arranged for him to disappear.
This feast is the last Prince George shall ever taste!
PROFESSOR: The Emperor’s death will be easy to fix,
A drop of something in his porridge oats,
And then I shall marry his elderly aunt –
DOCTOR: And I shall marry his beautiful daughter –
PROFESSOR: And the rest shall be plugged into the machine –
DOCTOR: And I shall be King, and you shall be Queen!
PROFESSOR: And I shall be King, and you shall be Prime Minister.
DOCTOR: Not a word about this to anyone.
PROFESSOR: We mustn’t spill the beans. Look, here he comes!
[Enter CHIEF OF POLICE, followed by EMPEROR]
CHIEF: Make way for his Imperial Majesty!
EMPEROR: I wish you wouldn’t shout, Chief Constable!
Everywhere I go, make way, make way.
Peace and quiet, peace and quiet, all I want is peace and quiet!
DOCTOR: Good evening, sire. Is all prepared?
EMPEROR: The banquet’s ready, if that’s what you mean.
DOCTOR: No, your Majesty, I meant the affair of the Prince.
Will he be in the forest tonight, alone?
EMPEROR: Yes, unless he’s too frightened, in which case
He’ll run through seven kingdoms before he stops,
Which will serve our purpose just as well.
DOCTOR: Then by tomorrow, Emperor,
You may be assured of peace and quiet.
PROFESSOR: Yes, by tomorrow, Emperor,
For you, all will be silent as plum cake!
Come, Doctor, let us hurry to the table!
[Exeunt DOCTOR and PROFESSOR]
EMPEROR: Now I wonder what those two were discussing
So privately when I came in?
Since I put the government in their hands
I’ve hated to see them talking on their own.
Thank you, Chief Constable. Leave me alone.
CHIEF: To hear is to obey!
[Exit CHIEF OF POLICE]
EMPEROR: I wish you wouldn’t shout, Chief Constable!
Now what I need is a drop of medicine
To strengthen me for the dirty deed ahead.
[Enter CAT and DRAGON]
CAT: Good day, and better days to come, your Majesty.
DRAGON: Don’t mind the Cat, your Majesty. Good day!
EMPEROR: Goodness this alcohol works quickly!
I hope I haven’t overdone it.
CAT: Did I hear something about a dirty deed?
DRAGON: Sounds exciting! Tell us more.
EMPEROR: O, it’s not exactly a dirty deed.
I’m going to kill my nephew in a forest.
CAT: I thought there weren’t any forests left.
DRAGON: Of course there’s a forest, you ignorant Cat –
A single forest in the North of the Kingdom,
A dark damp forest fit for dark damp deeds.
Don’t mind the Cat, your Majesty. Go on!
EMPEROR: I’m sending him to save my daughter from a Dragon,
Though the last Dragon in the Kingdom died
By choking on my Grandpapa
And Dragons are therefore now extinct.
DRAGON: Except we subtle Dragons of the mind.
CAT: Shut up, fossil! Go on, Emperor.
EMPEROR: Well, though there are no Dragons left,
The air has gone so grey, the earth so ashy,
The trees so stunted and the rain so bitter
That one would think a Dragon had been ravaging the land.
So tonight the Prince goes off to the forest
To fight a beast that doesn’t exist,
And when he’s dead I shall have peace at last.
Now let me drink my medicine in peace.
Explanations give me a headache.
CAT: But why do you want to kill the Prince at all?
DRAGON: Remember, curiosity killed the Cat!
EMPEROR: If you must know, the Doctor says he’s dangerous.
Is that enough for you?
CAT: And you believe whatever the Doctor says?
EMPEROR: Anything for peace and quiet.
CAT: That’s not fair. In fact, it’s dictatorial!
DRAGON: Dictatorial! Where did she learn that word?
Did you hear the Cat, your majesty? Dictatorial!
EMPEROR: I can hear you both, crocodile. I’m not deaf.
DRAGON: But insult of insults! A common Cat!
Dictatorial, You? She should be shot!
EMPEROR: Nobody respects me any more.
The other day my daughter called me Pugface.
DRAGON: If I were Emperor I wouldn’t stand it.
After all the good you’ve done your country!
EMPEROR: By Jove, lizard, you’re right!
Her insolence has turned my medicine sour.
Why, I’ve never hurt a fly in all my life!
I’ll have the cheeky creature boiled and stuffed!
CAT: You wooden-headed puppet of an Emperor!
EMPEROR: O my heart! An insult!
CAT: Here you sit, dreaming of peace and quiet
While your kingdom turns to cobwebs round your feet!
I’ll give you medicine. Take that, and that!
EMPEROR: My nose! Chief Constable! Fire! Murder! Help!
[Exeunt CAT and DRAGON. Enter CHIEF OF POLICE]
CHIEF: No need to shout, your Majesty. I’m here.
EMPEROR: There was a Cat-thing and a Lizard-thing,
And the Cat-thing upped and bonked me on the beak!
O! I have caught an everlasting cold!
CHIEF: You’ve taken too much medicine, sire, that’s all.
Your medicine always makes your nose go red.
A Lizard-thing, you say? That’s odd.
Earlier this evening, as I did the rounds
In a dark passage in the North Wing of the Palace,
I glimpsed a strange phenomenon at the window…
EMPEROR: What sort of strange phenomenon?
CHIEF: There was a fierce dust-storm at the time,
And you know when the dust blows these days
Nobody dares to leave the house;
It looked like clouds of smoke rolling from Earth to Heaven.
Yet there was another movement in the smoke,
As if the night were shifting in its sleep,
And the floor trembled under my feet.
EMPEROR: No doubt an earthquake.
There’ve been more since we went progressive.
CHIEF: That’s what I thought. I approached the window
And suddenly I could have sworn I saw
A scaly eye blinking among the dust-clouds.
EMPEROR: You’re not employed to swear.
CHIEF: I knew I was dreaming, because if it had been real
The creature would have been bigger than a haystack,
Bigger than the North Wing of the Palace.
EMPEROR: Don’t mention wings! The Dragons are extinct –
Only the Prince thinks Dragons still exist.
Your part in my plot is confusing your brains!
Is your dagger sharp? I’d hate to think
You were untrustworthy.
CHIEF: True as steel, your Majesty. I won’t mention it again.
EMPEROR: Then escort me to the feast, Chief Constable.
I must ask the Doctor to change my prescription;
This stuff’s too strong for my tender head.
[Exeunt EMPEROR and CHIEF OF POLICE. Re-enter CAT and DRAGON]
DRAGON: You see, Cat? You’re ineffectual.
I hear they need a Puss-in-Boots at Haywards Heath;
Why not apply for the job? They can only refuse!
CAT: Very clever, Dragon, but I’m not finished yet!
The Emperor’s a mouse hardly worth catching –
I’m after bigger fish.
DRAGON: Just keep out of my path,
Or I might find myself too hungry
To leave my dinner to the final Act!
[Exeunt CAT and DRAGON]
NURSE: Bless my soul, can you hear the banquet?
Between the soup and sucking-pig there’s salmon,
Rosy-pink salmon on silver platters,
And eighteen different puddings that nobody will touch,
Made of a new kind of edible plastic
Invented by the Doctor.
But it’s a solemn banquet just the same;
People laugh with eyes glazed like jellies
As they did on the night the Emperor’s Uncle
(The one the poets nicknamed Beolamb)
Went out in his armour to savage the sedulous Snipe.
I’m here to light the ballroom lamps;
I haven’t waltzed since my second husband died!
[Enter CHIEF OF POLICE, EMPEROR, PAMELA, GEORGE, CLARISSA, MELISSA, FRANCHISSA, DOCTOR, PROFESSOR, and behind them, CAT]
CHIEF: Ladies and gentlemen, take your partners for the waltz!
EMPEROR: I wish that fellow wouldn’t shout!
Well, Aunt, we had better set an example.
Madam, will you dance?
FRANCHISSA: With all my heart!
GEORGE: I feel a little better now, Pamela.
Will you dance? We may not get another chance.
MELISSA: Did you see, Clarissa? I’ve been snubbed!
There I stood on the other side of the room,
Waiting for a partner, radiant with beauty,
When George took the hand of that saucy trollop!
CLARISSA: Melissa, thank Heaven you saw him for what he was
Before your virtue was endangered.
Myself, I knew him rotten to the core
Since the first course of the banquet,
When he passed the rolls to Pamela
Before passing them to me.
MELISSA: Tush! We can do without the young.
Now observe that Doctor Thumbscrew in the corner;
Wouldn’t a woman break her heart for him?
CLARISSA: A dashing figure! But my tastes
Incline towards the thoughtful Professor.
Beauty and Virtue offer themselves to Science!
BOTH: Good evening, gentlemen! Will you join the dance?
EMPEROR: My goodness, Aunt, how quickly you can waltz!
CAT: Round and round the Prince and Princess whirl;
Somehow I must speak to them before the evening ends.
The lizard is wolfing salmon scraps in the kitchen,
But the Doctor keeps an eye fixed on the Prince.
CHIEF: It’s odd, I feel a crackling in the air
As though a thunderstorm were building up.
Yet the dust has settled,
And the moon for once is clear as ice.
I think I’ll go the rounds again
To see that the guards are keeping their eyes peeled.
CLARISSA: What do you think of Dragons, dear Professor?
PROFESSOR: A mythical beast reputed to swallow Princesses.
It must have had an excellent digestion;
I fear I’ve eaten too much sucking-pig!
CLARISSA: I think of Dragons whenever my virtue’s in peril.
A thousand Dragons dance with me tonight!
MELISSA: How rude the young are these days, Doctor Thumbscrew!
They need ruling with an iron rod.
DOCTOR: How pleasant to find we share an opinion!
You must visit my chambers one day and examine my blueprints!
[Re-enter CHIEF OF POLICE and NURSE]
CHIEF: Sound the alarm! There’s something in the garden!
NURSE: Call out the guards! It’s trampling the cabbages!
CHIEF: The second-best kitchen is on fire!
EMPEROR: Report to me in the cellar, Chief Constable!
[Exeunt in different directions EMPEROR, NURSE and CHIEF OF POLICE]
PAMELA: Come on, Prince George, we’ll chop its tail to shreds!
[Exeunt PAMELA and GEORGE]
CLARISSA: Save me, Professor Dumbstew!
MELISSA: Protect me, Doctor Thumbscrew!
DOCTOR: Dumbstew, you have the keys to the laboratories –
The walls are fireproof, we can hide in there.
PROFESSOR: Women aren’t allowed in the laboratories,
You’ll have to hide elsewhere.
MELISSA: But Doctor, the words that passed between us!
CLARISSA: Professor, the whispers we exchanged!
PROFESSOR: Now don’t be difficult, ladies.
We great men have a duty to survive
So that when all else is destroyed
We can restore celestial Civilization.
DOCTOR: Civilization has no need of women.
We hope the fire display is to your liking.
[Exeunt DOCTOR and PROFESSOR]
CLARISSA: You basilisks! We’ll scratch your eyes out!
[Exeunt CLARISSA, MELISSA and FRANCHISSA]
CAT: Now I wonder what this monster is,
Since you and I know Dragons don’t exist…
At least the alarm has broken up the party
So there’s more chance of speaking to Prince George.
[Re-re-enter CHIEF OF POLICE]
CHIEF: This is dreadful! The guards have run away
Swearing they won’t protect a cowardly Emperor,
All the Royal Family
Except the Prince and Princess Pamela
Are hidden in different cupboards in the cellar,
And the Doctor and Professor are locked in their laboratory
Refusing to answer the door. It’s chaos!
[Re-enter PAMELA and GEORGE]
PAMELA: We put the fire out in the kitchen, Chief Constable.
GEORGE: I burnt my finger. Look, it’s gone red!
NURSE: Thank Heaven I’ve found the three of you at last!
I’ve looked in every cupboard in the Palace.
CHIEF: I left you watching from an upstairs window.
What news of the monster? Did you see it clearly?
PRINCESS: Did it have wings?
GEORGE: Did it look poorly at all?
NURSE: I saw the baleful Bish bashed by the Emperor’s ancestor,
And the garrulous Gargle that choked on his Grandpapa,
And the sedulous Snipe skewered by his valiant Uncle,
But my sight’s not as good as it was;
I didn’t see the monster in the garden clearly.
I saw a pair of shining horns and two pairs of cloven hooves,
I heard its fearful bellow and the cracking of its teeth –
It was bigger than the North Wing of the Palace!
But I didn’t get a closer glimpse
Before it lolloped roaring back to the forest
Sending up clouds of ash at every stride.
PAMELA: How annoying of it to run off
Before we could give it a reason for running!
CHIEF: It’s gone! We’re rescued! Come on, Nurse,
We’ll inform the Emperor at once.
[Exeunt NURSE and CHIEF OF POLICE]
PAMELA: Wasn’t it fun to feel the beast so close?
I hope it wasn’t frightened by our racket;
It’ll be a shame if the beast’s too scared to fight.
GEORGE: It wasn’t too terrifying, was it, after all?
I thought I was quite plucky in the fire.
Do you think I’m getting braver, Pamela?
I’m almost looking forward to – O help!
CAT: Good evening, your Royal Highnesses.
GEORGE: A talking Cat on hind legs! It’s a werewolf!
CAT: No, not a werewolf, just unspeakably clever.
I’ve come to warn you of a plot!
PAMELA: Are you the plot?
CAT: No, I’m the Cat, I tell you.
There’s no time for discussion, you’re in danger.
Listen: the Dragon you’re to fight tonight
Doesn’t exist, it’s merely a device
To get you in the forest on your own
And have you horribly murdered in the dark!
Prince George, don’t leave the Palace walls tonight!
GEORGE: The Dragon doesn’t exist? Then how do you explain
The monster Nurse saw in the cabbage-bed
With horns and cloven hooves?
CAT: What else has horns and cloven hooves?
GEORGE: A cow.
But I love painting what few cows are left
In their ashy meadows, and I know cows don’t breathe flames.
How could a cow set a house alight?
CAT: Kitchens are always catching fire;
Cook probably left a bun loaf in the oven.
PAMELA: But what about its size?
Cows aren’t as big as haystacks, let alone
As big as the North Wing of the Palace!
CAT: The Nurse was frightened, she exaggerated.
Besides, she said herself her sight is poor.
O Pamela, trust me for the Prince’s sake!
PAMELA: How can we tell you’re an honest Cat?
You’re probably trying to make us miserable
Like everyone else in this wretched Palace!
Nurse never told an untruth in her life.
CAT: Princess. It’s George’s life at stake;
You’d better let him decide.
Look at me, Prince! You know I’m telling the truth!
GEORGE: Certainly what you say sounds reasonable.
It’s possible she could have been mistaken;
And the Emperor hasn’t addressed me for several days.
PAMELA: O George, don’t trust the Cat!
What shall we do if we don’t go into the forest?
Shall we sit around and moulder like the Emperor?
Or murder the flowers like the Doctor?
Or sit at home pulling off spiders’ legs!
CAT: The Prince must make up his own mind, Princess.
Will you go to the forest and meet your doom?
GEORGE: Don’t think I doubt your goodness, Cat,
But it seems to me that whether I believe you or not
I’m likely to end up eaten or murdered;
And I’d rather act than sit in a dither at home.
I only hope I give the Dragon heartburn!
PRINCESS: Then you’ll fight after all! I knew you would!
O George, I love you better than a left to the jaw!
Come along, I’ll polish your armour to sunbeams!
[Exeunt PAMELA and GEORGE. Enter DRAGON]
DRAGON: Why, Cat, you’re looking down-in-the-mouth!
Have you failed again? Perhaps I should eat you now
And save you any further misery!
CAT: Shut up, serpent. You’re not playing fair!
I knew all along there wasn’t a cow in the garden,
Because the eye the Chief Constable saw
From the window of the North Wing corridor
Had scales! You’ve been up to your tricks again!
DRAGON: Now don’t you act the injured innocent!
I’ve been in the kitchen all the time
Picking the salmon bones. The cabbage-bed monster
Was you yourself, dressed in a Dragon suit,
Trying to scare the Prince into staying at home!
CAT: Don’t try to fool me, Dragon. It was you!
DRAGON: I’d scorn to lie to a Cat. I’d eat you first.
CAT: Then – what was in the cabbage bed tonight?
DRAGON: Suddenly I feel prickles all over my hide.
We sophisticated Dragons
Don’t like unexplained phenomena.
CAT: We Cats don’t like mysteries we can’t solve.
DRAGON: If I find you’ve been lying –
CAT: If I find you’re a double-crosser –
DRAGON: Well, we won’t discuss it now.
Whatever the answer to this riddle
It’s plain you’re rapidly losing the bet.
Soon the Prince will be stumbling through the forest,
And the forest is my kingdom, Cat!
CAT: There you go again, claiming what isn’t yours.
Anything can happen in the dark. Remember,
I said I’d win if it was my last act.
[This is the script for a five-minute talk I gave at the launch of the Glasgow Centre for Fantasy and the Fantastic on 16 September 2020. Ellen Kushner gave the keynote, which was followed by a discussion panel featuring Brian Attebery, Terri Windling and myself.]
Once upon a time there was a child who loved to read. He only read stories about things that could never happen, often set in lands or worlds that never existed, full of creatures unknown to science. He liked these stories because he was at boarding school and they took him far away from the life he led there, in dormitories and classrooms and corridors smelling of cabbage.
As he got older he went on reading stories about impossible things, but he did it in secret, because such stories were for younger children. He found there were also stories for adults of this kind, often of great beauty and complexity, though people told him that this sort of story was less grown up than other kinds.
When he grew up he wrote a doctoral thesis about stories written in the sixteenth century. This was considered a serious subject because the stories were old, but they carried him away to lands that felt as if they had been invented, full of magic, and strange creatures, and vivid pictures painted in delightful words. He got a job at Glasgow University.
Later still he went to America, where he was allowed to teach a course on the books he most liked reading, about things that never existed and never could exist. When he got back he set up a course exactly like that, for undergraduates. His friend Alice Jenkins suggested he set up a Masters programme to teach the books to graduate students and encourage the world to take them seriously.
People like him from all over the world came to study on the programme. He hadn’t realized how many people there were like him in the world: people who loved thinking about invented places and things and creatures and asking questions about them, such as why they had been invented, what needs they fulfilled at different times in history, and how they might shape the world we live in.
Glasgow University saw how many people were interested in impossible things and created more jobs in the area. He was joined by new companions from places far away and magical to him, such as Greece and Wales and the British Library. The fellowship of staff and students grew quietly from year to year.
Together we invented new ways to share the pleasure of the impossible. Night at the Museum, where imaginary people and things took over the Hunterian Museum for an evening. Glasgow International Fantasy Conversations, where more people were invited to join us and talk about books and films and comics and games. A conference for imagining climate change. Fantasy Reading Parties, where we could share the stories, scripts and poems we had written. Symposiums where we plotted events for the future.
Five years after the founding of the Glasgow Fantasy MLitt programme, here we are again, setting up a Glasgow Centre for Fantasy and the Fantastic, designed to make it easier to share ideas and dreams about the impossible with everyone who cares to join in.
Perhaps the impossible is not so impossible after all? Perhaps things can really be done with fantasy and the fantastic, and to the hearts and minds of people who enjoy such things? Perhaps fantasy and the fantastic can change the way we think of the world or the country or the town or the house we live in? Perhaps together we can build a future where the impossible becomes a template for the possible?
[This is the second of two blog posts on Dunsany’s Irish Fiction; the first can be found here.]
Dunsany’s Irish novel of 1939, The Story of Mona Sheehy, is one of a pair, both of which can be read as Quixotic, like the earlier Chronicles of Rodriguez. The first of these is Rory and Bran (1936), about a teenage boy and his dog who are entrusted by the boy’s parents with the daunting task of driving a small herd of cattle to the local market without supervision. The boy is Rory and the dog is Bran, and their mission is rendered more challenging by the fact that the boy is widely regarded as having learning difficulties (his parents agonize for a long time over whether or not he has the ‘wits’ to get the cattle safe to Gurtnaroonagh, pp. 1-5). The narrator, however, is of a different opinion. He often celebrates Bran’s abilities, for instance, and never even mentions till the final chapter the fact that Bran is not a human being; so he clearly does not share the view of intelligence which scorns the idiosyncrasies of eccentric or unusual thinkers. And he makes it clear from the opening pages that Rory’s wits are not so much wanting as sharply focused. The boy is obsessed with the heroes of medieval romance, though his heroes are continental rather than Irish – Roland, Charlemagne, Don Quixote and Arthur of Britain; and he sets out on his adventures determined to prove a latter-day Quixote, with the dog Bran as his Sancho Panza. In this he succeeds, and in doing so offers a model of eccentric but effective dealings with the world to his fellow Irish citizens, a model designed to challenge the homogenizing processes that threaten to subdue 1930s culture to drab and sometimes deadly uniformity.
Ranged against Bran and Rory in their quest to get the cattle to market are a couple of tricksters, reminiscent of the fox and the cat in Collodi’s Pinocchio: a cheating jockey named Fagan and a combative traveller named the O’Harrigan. Between them, these men purloin the cattle from Rory several times and promptly lose them back to him again, often through the intervention of the resourceful Bran. On Rory’s side stands a nameless tinker or traveller, who claims to derive his powers from the moon and who takes the young man under his wing as a kind of apprentice, and a dreamy young girl named Oriana, whose name identifies her with the lover of the medieval hero Amadis de Gaul, so admired of Quixote. But Fagan and the O’Harrigan are as fantastical in their imaginings as Rory, Oriana and the moonstruck tinker. O’Harrigan, for instance, claims to be hereditary lord of a ruined castle overlooking a bog, which gives him in Rory’s eyes ‘an almost knightly status’ (p. 41); while Fagan supplies Rory with the colourful, quasi-medieval clothes of a jockey and an old horse to be his Rosinante, thereby exalting him to a ‘splendid position’ in his own eyes, if nobody else’s (p. 55). In addition, both men’s inability to derive any long-term benefit from their scams renders them as Quixotic as Dunsany’s young protagonist. Much more sinister is Rory’s Aunt Bridget, who plots to have the other-worldly Oriana committed to the Mullingar Asylum, a genuine institution in Dunsany’s own County Meath where certified lunatics could be shut away from the eyes of uneasy relatives. Shut away with them are their dreams, which resemble those conjured up by Rory’s reading: dreams woven from the Irish landscape and the Irish weather, just as Mrs Marlin’s dreams in The Curse of the Wise Woman were woven from the bog. In Rory’s eyes, his heroes Roland, Arthur and the rest are connected with the slopes of the local mountain, Slievenamona (as Dunsany writes it in this novel). The magic that invokes them is linked to the constantly changing light and the gradual or rapid changes that take place throughout the year in response to the changing seasons. Oriana’s imprisonment in Mullingar would in effect rob the landscape itself of the magic she sees in it, as does Rory. It’s appropriate, then, that she should be rescued on her way to the Asylum by Rory, still in his gorgeous jockey’s silks, and his fellow dreamers, the tinker, the jockey and the O’Harrigan, by this stage working together as a superpowered team like an Irish Avengers. The tinker is bound up with the landscape thanks to his belief that all roads are his property, as well as all rabbits, chickens, cows and clothes he may find by the wayside; while the O’Harrigan is part of the landscape thanks to his attachment to his ruined castle; and their collective rescue of Oriana represents a triumph for an imaginative commitment to the Irish countryside that stands in danger of being lost in the 1930s, consigned to the categories of the romantic, the useless and the impossible that blind the sceptic’s eye to the haunting loveliness of the fields, bogs, mountains and woods of rural Ireland.
Rory and Bran and The Story of Mona Sheehy are often described as ‘realistic’ novels, but a glance at a passage or two from either of them will undermine that assumption. Rory in the first is our hero, and for him the chivalric heroes he imagines are all around him. When he sets out from home for the first time as a drover they seem to fill his house: ‘He rose and dressed, and went downstairs reluctantly, for in the shadows all over his room there seemed to be lingering yet the shapes of paladins, shadows only themselves, but shadows with a brightness about them’ (p. 8). Shadows, of course, form part of the landscape too, and their mystery is an integral part of what gives a landscape or a building its attraction. Later, after being swindled by the jockey and the O’Harrigan, Rory settles down to sleep beside Bran on Sleivenamona, and finds himself in a dream conversation with the lord of the paladins himself, Charlemagne of France:
[I]n the brief sleep he got […] Charlemagne came to see him, and spoke to him gravely, his huge beard grey as the skirts of the clouds that touched Slievenamona, and told him not to trouble over the loss of money or cattle, the splendours of the hills (‘where we walk unseen,’ he said) and the splendours of Time, ‘where we walk in the sight of all men,’ being enough. (p. 108)
Charlemagne here can be dismissed as a figment, his beard woven out of the beard-like clouds Rory has been immersed in as he climbed the mountain; but the words he speaks are wise, and point up the close link between what is ‘unseen’ and what is plainly visible to ‘the sight of all men’, while highlighting the illusory and transient, cloudlike nature of possessions and riches. Material and immaterial things are set side by side, and the narrator invites the reader to consider, at least, the possibility of consenting to Charlemagne’s judgment that immaterial things or shadows are more worth having.
But it’s Rory’s encounter with the tinker that finally brings him into the orbit of a philosopher worthy of his personal vision. The tinker is from one point of view a madman, with his literally lunatic trust in the moon as a kind of generator for his waxing and waning energies. He plays on his fiddle tunes he claims to have learned at the fairy court, and he possesses a charm called the Stone of the Sea, a piece of glass in which he professes to read the future. Yet at the same time he is an acknowledged expert in the practical business of earning a living. He knows that predicting the future is a kind of sham, but knows too that folk of all kinds love to be fooled, and gives the Stone of the Sea to Rory – the certified fool – as a means of keeping himself alive when he is on the road, since the boy is clearly unsuited to the trade of drover. The tinker, then, nurtures Rory, and in the process nurtures the reader, who allows herself to be fooled for a time by Rory’s adventures, even as the adventures themselves chart the grey area between self-deception and belief.
Dunsany articulates the symbiotic relationship between imagined things and solid objects in a passage that gives a clear sense of Rory’s function, and of the tinker’s role in helping him fulfil it:
As Rory rode away he passed the tinker’s donkey, grazing the land that for the purposes of agricultural returns was always classified as bare mountain. Between him and the tinker, by the side of the road, [so] draped with a profusion of old clothing and bedding as to suggest a monument set up in those hills to Untidiness, Rory saw the donkey’s cart. One might have imagined upon it the figure of Untidiness herself, hidden by all those cloths and pieces of canvas that were her full regalia. Rory as he glanced at it imagined nothing; such tawdry subjects as that were not for him; the music of the tinker’s violin, the sight of the further peaks, all solemn at evening, the mist that closed high valleys against the eye and opened their golden gates to imagination, those were the things for Rory. To some extent he goes for us as an ambassador, from the world that is all around us to the world we should like to know more of; often losing himself on the way, and lost for good but for Bran; and yet a link of a sort between us and Roland. (pp. 120-1)
A range of visions combine in this passage. There is Rory with his dreams; there is the tinker and his material effects, the cart and the donkey; there is the sophisticated writer who comments on both; and there is the reader who, like the writer, can enjoy all these perspectives. Each of these visions is connected to the others by the rural space they occupy, with Rory moving through it like a tutelary spirit, enabling all four visions as he goes – his own, the tinker’s, the writer’s, ours. The landscape that contains him is defined as valueless by the documents pertaining to agricultural returns, which mark the place where we find ourselves as waste or liminal ground, a no-man’s-land standing idle between profitable patches. The tinker and his donkey make productive use of this unproductive zone, for grazing, for mending broken pans, for living in – and above all, perhaps, for appreciating, both at close quarters and at a distance (it’s a good place to enjoy ‘the sight of the further peaks’ in, as the tinker observes). The writer, meanwhile, makes use of the tinker’s cart as a source of material for his allegorical figure of Untidiness, a being that recalls the eighteenth-century passion for eccentric personifications, a passion shared by Dunsany in his earliest short stories where he used it to conjure up an ancient world full of exiled monarchs, lost cities and forgotten gods. Finally there is Rory, who is wholly committed to the world of dreams as shaped into stories by romance, where the ‘high valleys’ of the hills have ‘golden gates’ that equip them for the needs of high adventure. In ending with Rory’s vision, the passage traces a continuity between the mess of the tinker’s cart and the heroic deeds that preoccupy the boy; for Rory these deeds and their doers share the scene with him and us, and the scene is transfigured by them. Dunsany’s description of him as an ‘ambassador’ between different perspectives lends him a seriousness he does not possess in the eyes of Aunt Bridget, or of the strangers who pass him by in his ridiculous outfit, shakily perched on a half-dead horse. An ambassador’s status sets up Rory’s imagination as something that can co-exist, if properly respected, with the other perspectives, and can even be seen as the more exalted vision, the perspective that lends the whole scene a dignity it would not otherwise have.
Fantasy, then, in this mimetic novel, has what might be described as a material function. It makes things happen, unlike poetry – at least, unlike poetry as described in Auden’s three-part elegy on Dunsany’s friend Yeats, which was published in February 1939. Auden’s famously ambiguous statement occurs in the middle section of his elegy:
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its saying where executives
Would never want to tamper; it flows south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
Auden’s poetry, as wielded by Yeats, here both ‘makes nothing happen’ and represents ‘a way of happening’ – which suggests that the nothing it spoke of earlier happens after all, in places overlooked by the executives, liminal places like rural valleys, raw towns and ‘ranches of isolation’. Dunsany’s fantasy has this in common with Auden’s poetry: its ambiguous effectiveness. Rory’s rescue of Oriana, for instance, does not ‘really’ happen, in the sense that it is a fictional episode invented by Dunsany, which is itself invested in the book with the glamour of romance by a teenage boy’s overactive imagination. But the rescue is brought to life by the writer’s account of it; and it is the first practical thing Rory does in the book which is an unqualified success, marking the moment when he discovers the trick of surviving, despite his dreams, in the rural valley where he was born. In addition, the episode involves chivalric heroism, in that four self-appointed knights errant (the tinker, the jockey, the trickster and the boy) successfully free a young woman from her draconian oppressors. And Rory’s eventual marriage to Oriana seals his tale as a chivalric romance, rather than a tragicomedy like that of his closest literary relative, Quixote. The couple then bequeath romance to future generations in the form of their children, one of whom (we’re told) ‘took a prominent part in Irish politics’ and had the distinction of getting a bill passed which identified the Phoenix – that ‘most national of Irish birds’ – as a protected species (pp. 320-1). The Irish imagination, in other words, as embodied in Rory, Oriana and their descendants, is alive and well in the institutions of the Free State, Dunsany suggests, thriving even in its highest executive body, the Dáil. And it makes things happen by leaving its mark on the landscape as well as the law.
The Phoenix is not in fact the ‘most national of Irish birds’, though as Dunsany points out there have been monuments erected to it in Ireland – most notably the Phoenix Column in Dublin’s famous Phoenix Park. Ironically, the Phoenix Column was erected by an Englishman, the Earl of Chesterfield, and represents a name for the park that stems from a mishearing of the Irish ‘fionn uisce’, meaning ‘clear water’. Rory’s heroes, too, are for the most part not Irish – though when he has a vision of the drovers at Gurtnaroonagh as mythical heroes he sees Finn and Cuchulain among them (pp. 172 and 177). By mingling these Irish demi-gods with French, Spanish and British heroes (Rory thinks of Arthur as King of Little Britain, that is, Brittany) Dunsany frees the young man’s dreams from nationalist politics, attaching them instead to the material spaces and solid objects – constantly changing in Ireland’s weather – which furnish the needs of all political parties, regardless of their members’ conflicting visions of the nation’s future.
If Rory and Bran presents us with a quasi-fantastic, secluded Ireland beyond the reach of party politics, its companion piece, The Story of Mona Sheehy, puts that Ireland in dialogue with the other land of Dunsany’s dreams: England, where both books were originally published. Dunsany grew up at his family’s homes in Kent and London as well as County Meath. Kent provided him with the setting for his novel The Blessing of Pan (1928), in which he shut away part of the county in a permanent state of pagan preservation, shielded for ever from the toxic developments (as he saw them) of industrialization. The Story of Mona Sheehy, on the other hand, represents his dream Ireland as existing at the edge of the damaging dreams of free market capitalism, teetering on the brink of being overwhelmed by them, in a drastic reversal of the overwhelming of Erl by the dreams of Elfland. The quest of the novel is to find a way of coexisting with modernity without succumbing to it, of living in a world that acknowledges the metropolitan wonders of London while at the same time allowing rural Ireland to maintain its independence from the British capital, preserving the particular wonders of its culture and landscape against the depredations of social and technological change. Change takes place in it, of course, and is not represented as an unqualified evil, as it sometimes is in the work of Tolkien; but Dunsany protects his rural Irish community from the worst excesses of twentieth-century progress, preserving it in a kind of imaginative neutrality that anticipates Ireland’s real-life neutrality in the Second World War.
At the heart of the novel is a distinction between the idea of choice, which is the motor that drives the capitalist economy, and inclusivity, which Dunsany sees as the defining feature of his dream Ireland. Capitalism urges its subjects to make frequent selective decisions: between commodities, between homes and jobs, between winning and losing (in a horserace or a financial speculation), between high social status and obscurity. Dunsany’s dream Ireland, by contrast, is resistant to hard and fast choices, preferring to permit its inhabitants to harbour two or more points of view simultaneously and hold them in a delicate but stable equipoise as they go about their daily business. In 1939, such inclusivity was threatened on all sides, in Ireland as much as in totalitarian states elsewhere in Europe. As a result Dunsany’s book is in effect a political project, despite its explicit resistance to party politics, since it is concerned to stress what unifies his country, as against the divisive forces that could dismantle Irish culture (as he sees it) in perpetuity. In The Story of Mona Sheehy Ireland becomes a Quixotic nation, nurturing the dreams of its inhabitants in the face of unimaginative governments – including its own – and the looming threat of global war.
Inclusivity in this book is exemplified by the young protagonist, who for the first time in Dunsany’s novels is a woman (or rather a teenage girl). Having a female protagonist could itself be seen as a political act on the part of an Irish writer in the 1930s, given that Ireland had been figured as female since at least the time of Cathleen Ni Houlihan (1902), the influential one-act play by Yeats and Lady Gregory. In the play, a wandering old woman is revealed as the personification of Ireland in the final scene. Her homelessness and frailty designates the state of the country under British rule, while her eventual transformation into a strong young girl ‘with the walk of a queen’ represents what the liberated country might eventually become. Mona Sheehy’s link with the Queen of the Shee, which is enshrined in her unusual surname, marks her out as a potential avatar for the regal younger version of Cathleen. She was even born around the time of the play’s first performance, since we are told that she turns sixteen in the year the Great War comes to an end. At the same time, her link with the Shee marks her out as a threat to the community, since the Queen of those troublesome people can be as dangerous as she is beautiful, bringing ruin on persons or populations who invoke her name without due caution. Mona’s status as a source of both local pride and occasional terror confirms her as the embodiment of Ireland, and in particular of Ireland’s capacity for accommodating several contradictory points of view at once, the quality for which Dunsany most loves his imagined country.
Like Ireland, too, Mona’s identity is under debate from the day of her birth. Is she or is she not the descendant of a supernatural entity, as her name suggests? Her neighbours in the village of Athroonagh think she is, and for the most part she agrees with them. The narrator, meanwhile, knows she is not, and lays out the evidence against her fairy origins with exemplary thoroughness in the opening chapter. Yet he also clearly delights in the villagers’ readiness to accommodate fairies in their world view – against all the resources of reason and science – as a metaphor (among other things) for everything that can’t be measured or articulated. Throughout the book, belief in Mona’s supernatural origins competes with disbelief, in her mind and the minds of others, without either position winning a final victory. And although in the closing chapter her mortal birth seems to have been confirmed, there remains a lingering uncertainty over the sources of her beauty, so that the victory remains as ambiguous as Auden’s claim that poetry makes nothing happen. As one experienced traveller puts it on the final page: ‘I’ve seen such beauty before, but nowhere in this world’ (p. 334). As a result, the air of mystery about Mona is never dispelled, and can be bequeathed at the end of the book to her Irish descendants, a guarantee that they will go on accommodating multiple perspectives in the face of the laws of governments, scientists, lawyers and Church authorities in time to come.
Mona’s ambiguous origins stand at odds, in fact, with rigid rules of all kinds. The few details we are given about the circumstances of her birth point towards a trespass against the laws of the Church, in that she’s clearly illegitimate. But they also hint at a potential infringement of one of the more draconian laws passed by the contemporary Irish government: its right to censor printed texts, as asserted in the Censorship of Publications Act, 1929. Representing explicit sexual acts could get a book banned in 1930s Ireland, and Dunsany is surely playing a game with the censors’ prudishness in the prevarications over Mona’s conception that open the novel. The book begins with a question of sex, as two priests engage in an urgent debate over whether or not the five-year-old Mona is a ‘mortal child’ – in other words, whether she is human. In the opening sentence, the older priest asserts unequivocally that she is: ‘I never saw a more mortal child’ (p. 1), and he repeats the assertion in the final sentence of the book, at Mona’s wedding (p. 334). But in between, the joke is that this assertion can coexist in Ireland with a conviction that the girl could indeed be immortal, whatever the Church asserts or the priests conclude among themselves. And the priests’ concern with the child’s mortality or humanness seems in any case to erase from their minds the mortal sin committed at her conception – the sin that would have been of overriding concern to the government censors. Institutions may have rigid views about the boundaries of legitimacy, but mortals do not, and Mona’s presence in the Athroonagh community serves as a focus for all the ambiguities and plural standards its members embrace on a daily basis.
Indeed, the uncertainty surrounding Mona’s conception helps to cement her status as a representative or ‘ambassador’ for her community. No one knows for sure who her mother is – and even if she were confirmed to be the fairy queen the doubt would remain, since no one is entirely sure what a fairy is. As it happens there is also doubt over her father’s identity, the choice being between a peasant farmer called Dennis O’Flanagan and a self-serving upper-class entrepreneur called Peevers (and one might add to these two Father Kinnehy, the young parish priest of Athroonagh, who is her spiritual father). In the end, no choice is made as to which of these two paternities is more probable, and both men have a hand in her upbringing, which leads to a series of complications which cannot be resolved until Mona’s fate is finally placed in her own hands. The girl’s illegitimacy, then, implicates the whole of Athroonagh and its environs in her making, from the local dignitaries Lady Gurtrim and her husband to the gossips Mrs Ryan and Mrs O’Kelly, who assume a kind of authority over the child on behalf of the local community, the tinker couple who adopt her when she runs away from home, and the mysterious tramp who seems to have strange insights into the minds of both young Mona and Lady Gurtrim. Mona’s presence looms over her neighbours like the mountain Slieve-na-mona from which her first name was taken – the mountain that also happens to be the place of her conception. This means that the novel from beginning to end is dominated by an illicit act of sex, in defiance of the government ban on explicit treatment of this topic in Irish fiction. None of the events in it would have happened if Mona had been born within the pale of legitimacy. In other words, the book itself is illegitimate, and celebrates illegitimacy as a kind of counter to the various forms of tyranny that threaten to constrain the actions of Mona – and by extension of the local and national populations she represents – both in the novel and in the world of the 1930s.
Unlike the Irish censors or the higher Church authorities, the priests who discuss Mona’s birth in the opening chapter are flexible enough to recognize that there is more than one way of representing the act of sex. Refreshingly pragmatic about how their parishioners see the truth, they refuse in the end to take an absolutist stance on the question of Mona’s parentage. Having concluded that both her father and mother were human, they decide not to communicate this conclusion to their parishioners, for the simple reason that the people of Athroonagh would refuse to believe it if they did: ‘And it’s best for us not to be telling them things they would disbelieve,’ as the older priest puts it, because ‘You don’t know where they would stop’ (p. 2). The clergy, then, keep their opinions about Mona to themselves, in deference to the villagers’ reluctance to forfeit any one of their many rival and often contradictory convictions at the behest of those in charge. And the novel’s narrator takes a similar stance. Although he shares the priests’ opinion on the girl’s mortality, he also shares their understanding and sympathy for the villagers’ perspective. This is borne out by the bipartite structure of the opening chapter, which begins with the priests’ discussion of Mona’s parentage and goes on to describe the night of her conception. Just as the discussion ends inconclusively, despite the priests’ clear statement of their views, so too does the story of that night somehow end up simultaneously supporting both the view that Mona is mortal and the perception that there is something magical about her. This is because the narrator describes the facts with some precision, while at the same time investing them with a magical air that fully explains, even while it doesn’t endorse, the villagers’ conviction that supernatural forces were at work on the night in question. He gives us what he calls the ‘story’ of Mona’s birth (p. 2), and in the process places the telling of stories, and the various levels of belief invested in them, at the centre of this novel, which is itself a Story.
The atmosphere and location of the ‘story’ are wholly magical, however unmagical the processes involved. A local dignitary, Lady Gurtrim, is on her way home from an unsatisfactory ball, and is therefore dressed in her finest clothes, with a tiara on her head fit for a queen. She stops her coach on the slopes of Slieve-na-mona, a mountain traditionally linked to the fairies, and steps out for a moment to take the air. She dances dreamily on the slopes, enjoying the movement she did not get the chance to enjoy at the party, to which her dancing partner and adulterous lover, the contemptible Peevers, failed to show up. A local farmer chances by, takes her for the Queen of the Fairies, and proceeds to dance with her by starlight – after which they ‘dance’ together in a different way. Lady Gurtrim knows full well that the farmer believes her to be a fairy, and knows of course that the young man is mistaken; yet at the same time his mistake seems wholly reasonable to her, since ‘she was the daughter of a squireen in lonely hills in Kilkenny, and had never quite made out, from the various tales of her childhood, what actually haunted the hills and what did not’ (p. 5). She therefore plays the role of the Queen of the Fairies with the authenticity of someone who really believes there might be such a person. For the Church authorities, there are ordinary mortals and supernatural beings, but a person (apart from Christ) cannot be both. For governments, there are those who adhere to the laws and those who break them, but you can’t do both in the selfsame act. But for the priests and people of Athroonagh, a girl can somehow be both mortal and immortal, both illegitimate and of high ancestry, both a Christian child and a pagan, both magical and mundane, both on the margins of the community and at the centre of it; and it’s this capacity to sustain a simultaneous belief in two or more incompatible systems that makes these people so well worth celebrating at a time of dictatorship and mechanised conflict.
As it turns out, there are many ways in which the people of Athroonagh can sustain their existence in a liminal place between radically different worlds. If their priests can achieve a delicate balance between two incompatible convictions, so too can those bastions of the law the members of the Royal Irish Constabulary. When interrogated several chapters later on Mona’s identity, the police sergeant at Athroonagh refuses to be drawn on ‘religion and politics’, but will still affirm that he has ‘seen strange things in the course of [his] duties’ (p. 79), which means that she may or may not be what people think she is: a child of the Shee. The sergeant’s views are at once endorsed by his traditional enemy, a passing tramp; and the postmistress adds that the existence of fairies may be a wonder, but so too is that scientific miracle the telegraph, ‘a thing that can talk from the ends of the earth’ (p. 80); and after its invention how can anyone question the validity of other kinds of miracles? The schoolmaster, meanwhile – whose task it is to instil immutable truths in his young charges, and who is instructed by the priest to treat Mona like an ordinary human being – is outraged by the daft pretence that has thus been forced upon him, since he considers it a ‘silly game […] to treat one who came of those mighty forces that roamed the mountain at night, and sometimes shrilled with great voices between the roof and the stars, as a common and mortal child’ (p. 19). As these instances of parallel convictions multiply, Athroonagh begins to look like the most capacious of receptacles for the conflicting paradoxes of twentieth-century existence, a receptacle rendered potent by its unlimited credulity – or to put it another way, by its unusually rich capacity for belief.
The local gamekeeper, too, finds himself torn between contradictory positions. His task is to police the boundaries between public land and private property, but when confronted by Mona Sheehy at twilight he finds himself unable to deny her access to the woods he guards. When she points out that last time they met in the woods he chased her home, he tells her:
‘Ah, sure I have my duty to do by day […] but I don’t forget the ancient powers for that, nor the children of them. And, begob, when the moon’s like that and the woods are still, sure Ireland isn’t any longer under the Government then. It’s under the power of Her Majesty that does be reigning behind Slieve-na-mona. Doesn’t even my dog know it?’ (p. 30).
The gamekeeper’s conflicted state of mind has a political dimension, as this speech suggests. One queen can displace another quite easily in his imagination, and his affiliation to political movements can change just as easily, despite his insistence that Mona needs to choose between being a mortal girl and the child of a fairy. ‘It’s either the top of Slieve-na-mona looking down on the centuries,’ he pronounces, ‘or else it’s our bits of houses and our human ways and the sins we sin and the hopes we have. It can’t be both’ (p. 31). But the choices available to the gamekeeper seem less fixed than this pronouncement tends to suggest, shifting in response to the time of day, the shifting seasons, the changing weather. ‘In that light and at that hour,’ Dunsany assures us,
he would himself have enlisted as one of the bodyguard of the Queen of the Shee, had he been asked to do so by any supernatural power coming from Slieve-na-Mona. And at another hour he would have joined the Fenians, and maybe died in prison for doing it. And in another light and at some other hour he might have enlisted in the Brigade of Guards, being the right height for them, and would have carried into old age tales of their battles as well as tales of the Shee.
At different times of day, Dunsany suggests, the convictions of the Fenians and those of the Unionists might take the upper hand in the gamekeeper’s personality, though both seem equally compatible with ‘tales of the Shee’. The borders set by political parties are always moving in Ireland, like the borders of Elfland in Dunsany’s most famous novel, and affiliates of opposing Irish parties have more that unites them than divides them in Dunsany’s fiction.
The borders of the country were shifting too, of course, around the time when the novel is set – 1919 to 1920 – and at the end of the novel the police sergeant, despite all his efforts to steer clear of religion and politics, is forced to hurry over the border to the newly-established Northern Ireland to avoid paying a heavy price for his membership of an imperialist police force. Making a choice of any kind, it would seem, gets you involved in politics, so that avoiding choices, too, could be a political decision, a means of steering carefully between the deadly shoals of opposing factions.
The borders between purportedly distinct populations of Athroonagh are highly permeable. The villagers live in a symbiotic relationship with the people who live without houses, the traveler or tinker community, who mend their pots, supply their gambling needs, and provide them with false coins when the need arises. The tinkers’ capacity for crossing borders and breaching limits is merely an extension of the villagers’ refusal to be contained within the boundaries of legitimacy. Property laws are largely irrelevant to the tinkers – except where it comes to donkeys (p. 139) – and they treat the whole of Ireland as their household, with all its contents available for them to use at their pleasure, including chickens, rabbits, cows and crops, regardless of legal ownership. The same is true (though to a lesser extent) of the villagers, which is why there’s a need for a gamekeeper in Athroonagh. And while the tinkers have no interest in property, they are also willing (Dunsany suggests) to stake an exclusive claim to the possession of certain individuals, such as Mona Sheehy once she has been cast out by the village community. The two populations may be distinguished by different customs, but they have more in common than either population is willing to concede, and the whole structure of Dunsany’s book has been devised to draw this out.
The tinkers’ criminal activities, too, are coterminous with the secret crimes of the villagers. In Rory and Bran the only tinker was a friendly visionary; but in Mona Sheehy Dunsany represents the tinker community as dangerously as well as delightfully anarchic. Murders, rapes and abductions can be committed among them with impunity, and they have an unsettling habit of stowing dead bodies in the false bottoms of their carts along with the other doubtfully legal goods they carry. Yet the tinkers’ relative lawlessness is never judged, either by the tinkers themselves, the people of Athroonagh or the narrator. This is partly because they exist on a continuum between the fantastic and the real, a mobile state of being that involves radical moral shifts as well as geographical ones; it’s inevitable, then, that they should share the dangerous aspects of the fairies they dream of, as well as their knowledge, musicality, charm, and appreciation of mortal beauty such as Mona’s. In addition, the tinkers’ crimes are committed with equal enthusiasm by the villagers. The gamekeeper’s son, young Peter, commits a murder for Mona’s sake, killing a tinker who plans to rape her; and Mona’s living body is disposed of repeatedly by other people than the tinkers in the course of the novel – from the villagers, who cast her out of the village as a danger to it, to Lady Gurtrim’s lover Peevers, who sends her to London for purposes of his own, to Mona’s ‘true’ father Dennis O’Flanagan and his sister, who forbid her to marry the young man she loves – without considering the girl’s own wishes. Like Mona herself, then, the tinkers could be said to represent the state of continuous fluctuation which is the atmosphere of Athroonagh, and Dunsany celebrates them because they represent the reverse of the rigid lines that separate state from state and right from wrong in the minds of less inclusive populations.
Like the gamekeeper at Athroonagh, the tinkers’ identity fluctuates depending on the time of day and their state of mind. As the wise woman tinker Mrs Joyce tells Mona at one point, the young men of her community can be ‘a bit wicked sometimes’, especially after one of them has killed another in a fight; and on such occasions the wickedness persists ‘until anything happens to make them forget about it’ (pp. 164-5). Even in this, though, they are little different from the villagers. After killing the tinker who wishes to rape Mona – bashing his head in with his shillelagh in a fair but illegal fight – the gamekeeper’s son, young Peter, flees to the hills for a while until the fuss about the death has died down, where he joins the IRA, ‘a band of young men that drilled at night […] and carried a rifle with them’ (p. 256). But he soon returns to his work as a gamekeeper’s assistant for a local landowner, Lord Harahanstown – presumably one of the members of the Anglo-Irish aristocracy that the IRA has sworn to drive out. Peter’s political commitments change with the changing weather, as his father’s do, and his opinions about Mona – whom he loves and courts – change likewise as the weather changes, growing uneasy about her fairy blood when the day grows dark. Peter’s fight with the tinker, in other words, is governed by non-legalistic rules both parties abide by, and the tinkers are as careful to conceal the evidence of Peter’s act of murder as they were to conceal the murder committed by a member of their own community in a fight over Mona the night before.
The tinkers exist on a continuum of belief that runs between the fairies at one end and the police at the other, between anarchy and the long arm of the law; and they maintain an ambiguous understanding with the people at both ends of that continuum. The tinker Joyce, for instance, who takes in Mona when she runs away from Athroonagh, asks her to deliver a message to her mother, the Queen of the Fairies, apologising for his obtuseness in failing to understand her messages throughout his lifetime (pp. 48-50). He does his best to do the Queen’s will, he explains, but was left by his negligent mother with an imperfect knowledge of the many distinctive languages fairies speak. Meanwhile he and his fellow tinkers have their own distinctive way of talking to the police, a form of language designed to delay their investigations for as long as possible through repeated calls for clarification, before eventually sending them off in the wrong direction. The fairies, of course, must be similarly misdirected – no one must name them openly, for fear of attracting their attention (‘Will you not speak that name,’ Mrs Joyce tells Mona when she mentions her putative mother, ‘and bring bad luck down on the tinkers’, p. 140). But this in turn is an extension of the unwritten rules for conversation in Dunsany’s Ireland. Questions from anyone in that country will be met with prevarications, indicative of productive indecision or two-mindedness as much as of a desire to mislead. The tinkers’ discourse is riddled with circumlocutions: ‘I’m not saying they’re not right’ (p. 175), ‘I’m not saying you will’ (p. 49), ‘I’m not saying I saw either, nor I’m not saying I didn’t’ (p. 171), ‘I wouldn’t say it was […] nor I wouldn’t say it wasn’t’ (p. 185). And in using this roundabout way of speaking the tinkers simply take the ways of Athroonagh to a new level. The gamekeeper, for example, shares their liking for circuitous sentences: ‘I’m not saying who’s immortal and who’s not’, he tells his son with reference to Mona (p. 73), and does so ‘with an Irishman’s anxiety not to be definite’. Even the most opinionated villagers reserve the right to change their minds at a moment’s notice. The gossips Mrs Ryan and Mrs O’Kelly do so multiple times in the course of the novel, on one occasion pronouncing the doom that expels poor Mona from the village, on another affirming with equal certainty the rightness and necessity of her return; first denying her the right to marry Peter, then implicitly confirming that the same marriage is entirely appropriate by attending the wedding, and spending the ceremony in making careful comparisons with all the other weddings they have seen in their lifetimes, ‘drawing a moral from any differences that were observed’ (p. 333). Any statement made by the villagers or the tinkers, then, is constructed in such a way as to enable them to retract its assertions whenever necessary, in response to the changing contours of the political, social or emotional landscape.
The continuum of belief, supported by flexible forms of discourse, finds a counterpart in the invisible map of Ireland constructed by the movements of the tinkers around the country. In Rory and Bran, the madhouse at Mullingar was a destination reserved for tinkers who could no longer disguise their insane dependence on the moon, or young women who show too much faith in the wild romantic dreams of mad young men. In The Story of Mona Sheehy it has become a regular stop on the tinkers’ route from town to town – though it also remains an institution for the incarceration of crazy tramps (p. 263). The Joyces tell Mona that their annual wanderings take them ‘along the roads between Galway and Mullingar’ (p. 49), or ‘between Dublin and Mullingar’ (p. 50), naming points at the extreme West and East of Ireland in relation to the town that contains the asylum, roughly in the middle. Distances are variable – somewhere ‘not far’ might be a week away or more, as a donkey goes (p. 145), while the mysterious tramp who crops up periodically through the novel claims to have travelled through the whole world ‘and other places besides’ (p. 79). For the Joyces and the tramp, space is as relative as the truth, since the whole of the outdoors is their living room, the side of a road their kitchen, the ground their bed.
Science is present in Mona Sheehy as it is not in Rory and Bran, but Dunsany invests it with magical qualities, using similar techniques to the ones he used to enchant the night of Mona’s conception. Mona’s banishment from Athroonagh occurs on the night when she goes to the mountain to find her supernatural mother, which happens also to be the night when the Northern Lights appear in the sky. The villagers assume that these strange celestial lights are manifestations of her mother’s wrath, and drive Mona away to ensure that the consequences of that wrath will not be visited on their community. When the bishops hears of her banishment he sends the villagers a detailed scientific explanation of the meteorological conditions that produce the aurora borealis: ‘they are of the nature of an electrical meteor appearing most frequently in high latitudes in the form of luminous clouds, arches and rays, of which the latter sometimes meet at a point near the zenith’ (p. 158). But the bishop’s explanation itself becomes for the villagers a magic spell of tremendous power against the fairies: ‘Bits of that letter are quoted in Athroonagh to this day,’ Dunsany tells us, ‘and many a frightened man hearing steps behind him at night has muttered to himself “or in other words to the curves of the magnetic force,” and found that the sound of the steps would disappear’ (p. 159). Science has its place on the same continuum that links the fairies to the police, and a scientific publication can become a spell in Athroonagh as easy as blinking.
Mona’s earthly mother is linked with science, just as her supernatural mother is, in this case through her love of cars. The car is a machine whose movements are restricted by the narrow limits of the tarmacked roads along which it travels, as well as the capacities of its engine. Yet it too is invested with magic by the villagers and travellers it passes after dark:
And the hum of a large car disturbed the night, and the radiant light called more trees out of the darkness to show their midday greenery for a moment. The golden flood swept rapidly over the hedges and a huge car went by, and ashes and scraps of paper from the Joyces’ fire ran after it, and the light and the noise were swallowed up by the dark and silent night. It was Lady Gurtrim taking her great car to the coast. (p. 267)
For the Joyces who watch as the car sweeps by, it is as supernatural an event as Lady Gurtrim dancing in the moonlight seemed to the farmer Dennis O’Flanagan more than sixteen years before. At the same time, for Lady Gurtrim her machine is a strictly private obsession, something that cuts her off from the dreams and stories of her neighbours, and prevents her from participating in their generously inclusive systems of belief. She is as narrowly focused on her driving as her ‘great car’ is narrowly constrained and bounded by the road; when sitting at the wheel of her Grostyn-Dhobler she has no eyes or ears or thought for anything else. So it seems appropriate that her obsession with driving should bring about her death, since it divorces her from the community she is part of – the people of Athroonagh, her unacknowledged daughter, her kindly husband. Her car, in fact, cuts her off from life long before it kills her; it’s a symbol of her ‘selfish’ conduct (p. 284), as she acknowledges in the split second before she dies.
In Rory and Bran, Lord Dunsany indulged himself in painting a picture of the class to which he belonged – the Irish aristocracy – as an extension of the country’s landscape and an integral part of its ancient culture. When travelling with the moon-worshipping tinker, Rory learns from him that a certain local landowner is a generous patron of travelling folk, and will provide them with a character reference with heartwarming ease. Sure enough, Rory obtains a reference from the baronet Sir Frank of Ardmona House, and uses it to beg a warm coat from Sir Frank’s near neighbour, the landlord Mr Percival, thereby confirming the symbiotic relationship between the ruling classes and the peasantry in rural Ireland before the Great War. In The Story of Mona Sheehy, by contrast, the aristocracy seems on the verge of extinction. The alienation of Lady Gurtrim from Lord Gurtrim means that they have no children, and since Lady Gurtrim never officially acknowledges her relationship to Mona, this means that when both have died they leave no heirs. The couple die separately, each in pursuit of their own hobby: Lord Gurtrim while hunting a fox to hounds, Lady Gurtrim while racing her car. Lord Gurtrim’s hobby is a communal one, since for Dunsany ‘love of the hunt is […] in the Irish blood, and to watch a fox-hunt is as natural to Irish people as to hear tales of the Shee’ (p. 114). His love of hunting, too, is connected in the chapter about his death with his fabled generosity, from which Mona hopes to benefit when she runs away from Athroonagh. He is clearly of a piece with Rory’s benefactor, Sir Frank, in Rory and Bran, because it is widely know that ‘no one in distress appealed in vain to Lord Gurtrim’ (p. 112). His death, then, could be read as a symbol of the end of an era, with Lady Gurtrim and her lover Peevers its cause: Lord Gurtrim thinks about Peevers as he dies, and describes him as a ‘Nasty little rat’ (p.119). Lady Gurtrim, on the other hand, is alone as she dies, and looks back on her life as a selfish one. Her death, however, makes ‘some amends’ for this selfishness (p. 284). While still officially in mourning for her husband, Lady Gurtrim drives her Grostyn-Dhobler to a race in England, and in the middle of the race a little girl runs out of the crowd in front of her car. Lady Gurtrim thinks for a moment that the foolish child deserves to die, then makes ‘The Choice’ which is referred to in the chapter’s title. The choice is a simple one: drive straight on, keeping to the road as her machine is designed to do, and kill the girl; or swerve aside to avoid the child, thus taking the car on a trajectory that will be fatal to its driver. In terms of the rules of the race and of Newtonian motion, the second choice does not exist; and its impossibility is signalled by the presence at the edge of the road of a containing parapet, a ‘cement balustrade that was imitating marble’ (pp. 283-4). But Lady Gurtrim takes it anyway, steering away from the only legitimate or regular course available to her. In the process she steers herself back into a sense of community, and at the same time into local mythology. As the car flashes past the astonished child it seems to her ‘wonderful’, and as it bursts through the parapet the Grostyn-Dobler takes on the appearance of a second meteorological apparition, a firework display on a par with the Northern Lights that shocked the village a few chapters earlier: ‘The balustrade of sham marble burst into dust, and the Grostyn-Dhobler, catching light at once, went over the tree-tops in one long stream of fire’ (p. 285). Lady Gurtrim thereby passes into legend – just as the hunt in which Lord Gurtrim died passes into legend (we are told) among the hunting community of the county. In the process, the aristocracy of Ireland passes into legend too, to be replaced, perhaps, by the born survivor: Lady Gurtrim’s lover Peevers, the ‘Nasty little rat’ who deserts every sinking ship he boards with shameless aplomb.
Peevers represents the extension of selfish principles to society as a whole, as embodied in free market capitalism, which is founded on providing an increasing number of choices to consumers while a diminishing number of providers stand to benefit from these choices. Choice itself, as Lady Gurtrim discovers in the end, involves shutting down certain possibilities for ever. So when Peevers encourages Mona to bet all her money on a horse at the Rathmoon races – as he does himself – she loses all of it, and so diminishes the range of choice available to her in terms of her life after leaving Athroonagh. Peevers himself, of course, has more money than she does, so that his own range of choices is hardly narrowed at all by his loss. His response to the loss illustrates the free market capitalist’s attitude to projects that fail: fault for the failure is anyone else’s but his own, and in this case it is that of the rider, which introduces a second act of choice: ‘a comparison between his own intelligence and the folly of a jockey’ (p. 203). Each choice Peevers offers in the book is similarly weighted in his favour and against the wellbeing of other choosers. When he suggests that Mona should go to London to work for an advertising company, presenting it as a choice, the suggestion brings a range of benefits for him: Lady Gurtrim will be impressed by his ability to deal with intransigent problems, such as how to provide for her illegitimate daughter without the need to acknowledge her, while the manager of the firm will be impressed by Peevers’s ability to ‘supply him with the kind of material for employment that he rather thought he wanted’ (p. 199). For Mona, however, it brings no benefits at all, however extravagantly Peevers talks up the likelihood that it will make her ‘a good deal of money’ (p. 198). Being underage, she has no choice over whether or not she goes to London; the decision is made for her by her rival fathers, Dennis O’Flanagan and Peevers, who in this case speak with one voice, as if to emphasize the choicelessness of the market system they are urging her to join. She is unhappy when she gets to London, and grows unhappier as time goes by. And London turns out to be a world where her range of choices grows progressively narrower, until she can find no escape at all from the maze-like circuit of its streets. The choice of goods in the city’s shop windows, the choice of company in its streets, the choice of destinations its stations offer to well-heeled travellers – all are closed to her owing to her poverty and inexperience. From the moment she arrives there, then, she begins to shrink, reduced from the queenly daughter of the Shee to an indigent worker trudging the route from work to lodgings, from lodgings to work from day to day without hope of change. The subtle changes of the Irish landscape have been barred to her, and she is reduced to seeking escape from her situation in a place where any escape is merely a route to another dead end.
The progressive narrowing of Mona’s choices is summed up by the culture of the firm she works for, the World Improvement Publicity Company. The aim of the firm is to invent for its customers needs they did not think they had, such as the overwhelming need for a new, expensive form of mustard, which is sprayed on your food in a fine transparent mist, as against the yellow, lumpy condiment everyone uses as things stand. The aim of the firm is first to present the spray-on mustard as a superior choice to the lumpy kind, then to ensure that in the end it is the only kind available, and that its manufacturers are the only people to benefit from it. The idea for the mustard comes from a man with the unfortunate name of Snerooth, the son of the firm’s owner, whose monopoly over the product gives him a monopoly over any profits it might bring. Snerooth seeks a similar monopoly over Mona, and when he proposes marriage to her he presents the proposal – like his mustard – as a choice which in the end is no choice at all. If she refuses, she will be condemned to work for the World Improvement Publicity Company for the rest of her life; if she takes it, he will possess her along with the rest of the company’s assets. Snerooth presents to Mona, in fact, a ready made destiny, whereby her life will continue to be shaped by insidious forces beyond her capacity to affect. In this he resembles the odious Peevers, who has a ‘strange desire for a reputation for being able to control destinies’ (p. 199), and who offers choices which are no choices to everyone he meets. For Snerooth and Peevers, money offers choice; but this choice turns out to be as illusory as the choices offered by advertising. The riches promised to Mona by Peevers turn out to be a salary so small that she will take years to build up the capital to do what she wants, go home to Ireland. And when she is left money by Lady Gurtrim in her will, her new wealth means she can finally go home, but once there she is forbidden to marry the man she loves – young Peter, the gamekeeper’s son – because he is now ‘beneath’ her, socially speaking. The mythical gold with which the streets of London are paved is in fact a gold that has no value, just as the mustard devised by Snerooth will have no flavour or colour or substance. Instead it forces on its users a destiny – a single path from which it’s impossible to turn aside – that is not worth having, the polar opposite of the freedom of the Irish roads.
Throughout the London section of the novel, the differences between the metropolis and Athroonagh are repeatedly brought home to us. As Mona travels to London, for instance, Ireland shows herself in her most attractive colours, putting herself in competitive dialogue with the gilded thoroughfares of the capital:
The gorse at the height of its glory beamed upon her. Almost it seems strange that Earth, which has so little gold, could send forth such an abundance of gorse: flowers planted upon a stratum of gold and nurtured by gold dust could not have been more yellow. Catkins shone from the willows and sometimes a blackthorn flashed; and kingcups, which she knew she was leaving, nearly brought tears to her eyes (p. 205).
Here the gold of the Irish countryside offers itself in generous abundance to every passer by, not restricting its loveliness to a small elite. There is no need for jealousy of its possession, as there is (for instance) among the girls at the London firm for Mona’s luck in catching the heart of the owner’s heir. Later, the ‘intrusiveness and the tirelessness’ of advertising in London, which drowns out the subtle, distinctive ‘message’ of the city, is contrasted with the cheerful invitations to passers-by offered up by the tinkers at the Rathmoon races, which attracted players to Mr Joyce’s roulette board ‘of their own accord’ – by a genuine choice (p. 213) – as against the spurious sense of need imposed by publicity. The restricted nature of London’s wealth is emphasized by the suspicious store detectives who police the shop windows, draining them of the seductive ‘magic’ Mona found in them at first, the only magic she found in the capital apart from its power of drawing people to it against their will. The smell of petrol replaces ‘the smell of the flowers that the wind blew over the fields of Athroonagh’ (p. 221), and the ‘sight of immensities’ such as Slieve-na-mona is narrowed down to occasional fleeting glimpses of the clouds:
Sometimes the sky would flash at her down a long street, showing her wandering clouds, and for a moment the world was again a world she was born to live in; and then she was once more under the steep houses, and a shadow fell on her spirit that was so easily shadowed. (p. 221).
Earlier in the book, shadows seen from the height of Slieve-na-mona represented the infinite possibilities of mystery embedded in the Irish landscape (‘she saw even in that broad daylight blue folds of the ground and dark ridges, and patches hidden by mist, which the child decided might well be haunted by the hosts of the people of legend’, p. 69). Shadow Ireland lay all around her, summoning to it the shadows of myth and legend that spoke to Rory. In London however, shadows are simply shadows, and Mona’s ability to talk and think about the ‘hosts of the people of legend’ is taken away (p. 228), leaving her a shadow of her former self. The streets, too, hemmed in by ‘steep houses’, contrast with the ‘wandering’ country lanes of Ireland, along which wayfarers pass with the insouciance of clouds. In this passage, Mona finds herself at the end of the road, her direction permanently fixed for her, in stark opposition to her unknown path of travel when she first set out from Athroonagh, without a destiny, a destination or even the vaguest plan of action, like a wandering knight in an old romance.
Her personality, too, is fixed in London, as it never was in Ireland, where she effectively changes her species as the novel goes on. As a daughter of the Shee she is seen by her fellow villagers as a phoenix, akin to the national bird of Ireland commemorated by the statue in Phoenix Park. As Lady Grutrim’s daughter, heir to twenty or forty thousand pounds depending on the whim of rumour, she becomes for the villagers a bird of paradise, a burst of bright feathers of the kind fine ladies put on their hats. In the final chapter of the book, when Peevers has succeeded in frittering away the fortune left her by Lady Gurtrim by investing it all in business prospects that fail – including the ersatz mustard of Snerooth – Mona is reduced, we’re told, to a ‘mere hen, which there was no reason now for grudging to Peter’ (pp. 329-30). At all times, though, she is a bird, and therefore akin to the blackbirds, cuckoos, swallows and thrushes that haunt the woods where she wanders with her young man, singing ‘of magic to her, and the fairy people, and the royal race of the Shee’ (p. 72). And her ability to transform herself by her own powers, and to be transformed into strange new shapes by events beyond her control, suggests that her destiny will not be determined or ordered for her in Athroonagh, as it seemed to be in London when the city consumed her.
The Story of Mona Sheehy offers its readers Lord Dunsany’s final thoughts on Ireland and fantasy before the outbreak of the Second World War. Like Rory and Bran it finds the ‘message’ of Ireland in the Irish countryside round Slieve-na- mona, and more specifically in Irish country roads, which link the country together in an elaborate network along which travellers and tinkers move with the freedom of birds. In doing so it attaches itself to the work of James Stephens, whose novels The Crock of Gold (1912) and The Demi-Gods (1914) concern themselves with the traveller’s life in Ireland, offering it up as a working model for the nation’s road to independence. This attachment – which would have been obvious to readers in the 30s, when the popularity of Stephens’s novels was at its height – suggests (I think) that in these two books Dunsany works out his own imaginative reconciliation with the idea of an independent Ireland, in defiance of his own political stance as a Conservative Unionist. Mona Sheehy in particular, which pictures Ireland on the cusp of the War of Independence, seems to celebrate Ireland’s imminent self-detachment from a destiny bound up with that of London. Mona’s return to Ireland and the loss of her fortune – which parallels the economic ruin predicted by many Unionists to be the inevitable consequence of Irish independence – permits the continuation of the ‘golden romance’ that surrounded her birth (p. 331); a romance that sets itself in opposition to the mineral gold so prized by capitalism, and is conserved not by banks but by the travellers who attend Mona’s marriage ceremony, playing ‘strange music suited well to the wedding of one, whose royal and elfin pretensions were remembered still by the tinkers’ (p. 333).
Ireland’s ‘message’, for Dunsany – its distinctive voice – comes from its commitment to dreams, those never-failing sources of the fantastic imagination. His way of dealing with dreams is what distinguishes Dunsany’s fantasy from Tolkien’s. Tolkien was interested in immersive fantasy, the kind that enables its reader to forget completely for a time the ‘real’ world she lives in. Dunsany’s fantasy after the Great War, by contrast, is always conscious of the ‘real’ world it holds at arm’s length. Rodriguez looks into it from his chronicles through an enchanter’s window; Alveric’s son Orion bequeaths enchantment to it in the form of a unicorn’s horn, which ends up in the real-world royal treasury of France; while in Dunsany’s Irish novels it is the substance through which the shadows of the impossible drift, never quite dispersing. Brian Attebery wrote in Strategies of Fantasy about the idea that fantasy exists on a continuum between two poles; one pole being the purest fantastic, which is dominated by impossible events and beings, such as Alice in Wonderland or the nonsense stories of Edward Lear; and the other being ‘purely’ realist texts such as Barry Hines’s A Kestrel for a Knave, into which the fantastic or impossible only intrudes as dream or metaphor. Dunsany’s fiction between the wars self-consciously slides along this continuum, celebrating the persistence of fantastic romance even while it acknowledges its fictionality. Rory and Bran and Mona Sheehy have no ‘really’ impossible events in them, unlike The Curse of the Wise Woman; but they concern themselves very seriously with belief in the impossible, and contain many characters who cannot rid themselves of the suspicion that the impossible happens, at particular times and in certain places. For Dunsany, the certainty that they do not is something that belongs to the sinister people who wish to profit from others, not share things with them. Such people exist in London and Ireland as well as in the fascist regimes of Italy, Germany and Spain. And the balancing act he achieves in keeping impossible things alive and free in the face of such restrictive opposition remains worth thinking about, I think.
Auden, W. H., The English Auden: Poems, Essays and Dramatic Writings 1927-1939, ed. Edward Mendelson (London and Boston: Faber and Faber, 1986)
Dunsany, Lord, Rory and Bran (London and Toronto: William Heinemann, 1936)
Dunsany, Lord, The Story of Mona Sheehy (London and Toronto: William Heinemann, 1939)
 The novel can be dated pretty precisely from two statements: the first, that the four-year Great War has finished by the time the main action begins (p. 83); the second, that the year that followed her adventures involved ‘anxious months’ for members of the Royal Irish Constabulary – seen by nationalists as the instruments of British oppression (see p. 333) – thanks to the outbreak of the Irish War of Independence. At the same time, Dunsany insists that his book is ‘no history of the greater world, whose faith is in phosgene’ (p. 83) – that is, in a poisonous gas used as a weapon in World War I.
 Brian Attebery, Strategies of Fantasy (Bloomington and Indianapolis: Indiana University Press, 1992), pp. 2-4.
Irish fantasy was as fertile as British fantasy between the wars, and in many cases as well known in Britain as in Ireland. This is partly because most of the major fantasy texts were published in or near London. Lord Dunsany’s fantasy novels of the 1920s, for example, were published in the British capital by the American publisher G. P. Putnam’s Sons, and his Irish books – beginning with The Curse of the Wise Woman – by the British firm Heinemann, often bound in green cloth to advertise their Irish content. James Stephens migrated to London in 1925, where he gained great popularity as a broadcaster from 1937 onwards; most of his books were published by Macmillan. Eimar O’Duffy (who also migrated to London in 1925) published his satirical Cuanduine trilogy, King Goshawk and the Birds (1926), The Spacious Adventures of the Man in the Street (1928) and Asses in Clover (1933), with Macmillan and Putnam’s, while Flann O’Brien’s equally satirical At Swim-Two-Birds (1939) was published by Longman’s. Patricia Lynch’s novels of the 1930s were all published by Dent. There was, then, a constant exchange of fantastic ideas between Ireland and the United Kingdom, not to mention the European continent (where Joyce was based) and the United States (where Padraic Colum lived, though he was also in Paris in the early 30s). Irish fantasy fiction needed to take account of a readership in Ireland, Britain and the United States, not to mention France. And in 1939 – as Britain plunged into the Second World War while Ireland and the United States remained neutral – one imagines that it might have been read in very different ways in all three countries, and within each country, too, depending on the political stances of their readers.
For Irish readers, for instance, the dictatorial author Trellis in Flann O’Brien’s At Swim-Two-Birds is a much more complex phenomenon than the many British dictators in contemporary fiction, from the Hitler-like Hillier in Storm Jameson’s In the Second Year (1936) to the Mosley-esque Jagger in R C Sherriff’s The Hopkins Manuscript (1939). This is because Trellis belongs to one of the ‘oppressed peoples’ championed by the Iranian conqueror of Europe, General Selim, at the end of Sherriff’s novel. As the native of a country that existed under foreign rule for many centuries, Trellis’s mistreatment of his characters – and his characters’ savage revenge on him, which involves protracted torture – spring from an experience of colonization which makes it impossible to describe him simply as a ‘home-grown tyrant’, as one might describe Hillier, Jagger, or Clemence Dane’s scarecrow-dictator White Ben. The unique status of Ireland among the islands of the Western Archipelago seems to be underscored by the fact that At Swim-Two-Birds is not exactly a fantasy, and is therefore rarely considered as such in histories of the genre, and yet is also hard to describe as anything else. The fantastic plot of the novel, in which characters in a work of fiction rebel against their author, can be read as a subplot of the realistic scenario that opens the novel, where a first-person narrator, a student at University College Dublin, begins to write an experimental novel with three distinct openings and three concurrent narratives. But as the book goes on the three narratives cross-fertilize, breaking down the generic and stylistic distinctions between them. The student writer is soon joined as ‘author’ of the novel first by the fictional author Dermot Trellis, then by Trellis’s illegitimate son (fathered on another fictional character), a young man called Orlick. And the novel ends – in the third of three conclusions to its three narrative threads – not with the ‘realistic’ narrative about the student but with an anecdote about a German fantasist, who like the student is strangely obsessed with the number three. The man’s obsession leads him to commit an unusual act of suicide in the final paragraph: ‘He went home one evening and drank three cups of tea with three lumps of sugar in each, cut his jugular with a razor three times and scrawled with a dying hand on a picture of his wife good-bye, good-bye, good-bye’ (p. 218). The story of the suicidal German is offered to the reader as an explanation of Trellis’s conviction that the characters in his novel have rebelled against him; perhaps, the narrative voice at this point implies, Trellis was a victim of the same sort of delusion as the one that killed the German, that his life was wholly under control by forces he himself had put in motion. But the obsession with threes, and another personality trait of Trellis’s – the tendency to spend too much time in bed – is as characteristic of the student narrator as of his invented author-figure. And of course another writer – Flann O’Brien, himself a stand-in for the Irish civil servant Brian O’Nolan – is responsible for all the author figures in At Swim-Two-Birds. Fantasies, then – such as the conviction that a certain form of ritual behaviour will have a material effect on the universe – bleed not only into each other but into the substance of the world itself, and lead to suicidal acts of self-damage which by 1939 could be clearly seen to include the imminent outbreak of war in Europe. And the causal links that lead from one author figure to another – from O’Nolan to O’Brien to the student to Trellis to Orlick – can be seen as standing in for the complex links between Ireland, Britain and continental Europe, as well as America (among the cast of the novel is a posse of Dublin cowboys). Writing fiction, psychological delusions and political power are bound together in tangled chains of cause and effect, rendered yet more tangled by the student author’s willingness to practise plagiarism, lifting whole sections of his book from other people’s writings. The notion of the home-grown dictator, O’Nolan implies, is pretty much unsustainable for Irish writers of the period. Too many of the influences on an Irish dictator in the 1930s would have been absentees or foreigners of one sort or another; being home-grown is barely an option, and when it is, the notion of ‘home’ is in any case contaminated by colonialism.
Ireland’s relationship with fantasy itself was both rich and vexed. Yeats, for example, described the leaders of the 1916 Easter Rising, which was meant to restore Irish independence, as a collection of sleepwalkers who ‘dreamed and are dead’, and whose dreams effectively killed them. Yet veterans of the Easter Rising played a practical and very central role in the establishment of a fully independent Republic of Ireland in 1937, and included the first Taoiseach, Éamon de Valera. Two great Irish fantasy writers had a close relationship with the Rising’s leaders – James Stephens and Padraic Colum; and Stephens’s hugely popular The Crock of Gold (1912) is a kind of rallying cry for a peaceful version of the Insurrection in Dublin (as Stephens called the Easter Rising), providing a vision of a secular, socialist, liberal Ireland very different from the Free State when it came. Nowhere in Europe, then, was it clearer than in Ireland that national identity was a kind of fantasy, the product of a collective feat of the imagination. And nowhere was it clearer that such fantasies could be hijacked for their own purposes by competing political and economic interest groups, with sometimes devastating consequences in the real world.
Two versions of these competing dreams found expression in books of Irish fantasy published by British printers in 1939. These are The Story of Mona Sheehy, by Lord Dunsany, and The Grey Goose of Kilnevin, by Patricia Lynch. The writers of both books were present at the Easter Rising, with affiliations to different sides. Dunsany was a Captain in the British Army, who got shot and captured by the insurrectionists, while Lynch was a young reporter sympathetic to the nationalist cause, eager to put across women’s experience of the Rising in her report for the paper she worked for: The Worker’s Dreadnought, edited by the suffragist Sylvia Pankhurst. Dunsany’s and Lynch’s novels of 1939, then, between them provide an example of how the medium of fantastic fiction could be used to put forward different visions of Irish nationhood.
At the same time, the differences between the two novels are perhaps less obvious than their similarities. Both writers chose to set their books in rural Ireland, placing the Irish traveller community at its heart. Both chose to put forward a version of Ireland that’s to some extent at odds with the nation as it was at the end of the 30s. Both chose women (or rather girls) as their protagonists. And the debt both authors owe to the nationalist James Stephens – whose Crock of Gold also inspired Brian O’Nolan’s second novel, The Third Policeman (1940) – confirms the status of Stephens’s novel as a taproot text for fantastic fiction in Ireland, regardless of one’s political position. I’ll be looking at Lynch’s book in a separate blog post, but mention it here to underscore the point that Dunsany’s Irish fantasies – often represented as uncomplicatedly conservative and unionist – have an affinity with the socialist fantasies of his Irish contemporaries, which confirms the strange position they hold in the history of Irish literature. This strange position may well account for the neglect they have fallen into, despite their obvious literary qualities (obvious, at least, to enthusiasts like me).
Dunsany’s politics was much more complicated than simple Unionism – though he remained a professed Conservative Unionist all his life. In an earlier blog post I summed it up as follows:
He was a Unionist, but his family name of Plunkett was intimately associated with the nationalist cause. His uncle, the agricultural reformer Sir Horace Plunkett, began as a unionist but ended as a prominent advocate of Home Rule, while another of his close relatives, Joseph Plunkett, was one of the leaders of the Easter Rising. Dunsany’s friend the poet Francis Ledwidge was another nationalist, who wrote one of the most celebrated verse responses to the Rising, ‘Lament for the Poets’, which transforms the leaders – three of whom were poets like himself – into blackbirds whose songs have been extinguished for ever. Dunsany’s religious affiliations, too, were mixed. He was raised a Protestant, but many of his relatives were Catholic, including George Noble Plunkett, a Papal Count and the father of Joseph.
One suspects that it’s partly as a result of this mixed religious and political background that Dunsany largely steered clear of Irish subjects in the first half of his career, between 1900 and 1930 or so. When he did come to write fiction set in Ireland – beginning with The Curse of the Wise Woman in 1933 – his representation of the relationship between the Nationalist and Unionist positions was very carefully managed. It’s best summed up by the strangely symbiotic relationship between the protagonist of the Curse, Charles – the teenage son of an Irish peer, whose father is the target of an assassination attempt on the part of the nationalists – and the four IRA hitmen sent to kill Charles’s father, known as the ‘Duke’, at his family home. The boy earns the respect of the assassins when he first refuses to disclose the Duke’s whereabouts, then seeks to distract their attention by talking about the sport of shooting geese on the nearby boglands. A few weeks later, Charles hides the hitmen from the police, using the same method his father used to evade his assassins: a hidden passage in the house’s library. In return for this act of mercy one of the assassins chooses to die at the hands of his fellow nationalists rather than break his promise not to hunt the boy’s father down (p. 176), and decades later another of the assassins – now a ‘very prominent member of the Council of the League of Nations’ (p. 322) – secures an overseas ministerial post for Charles under the Irish Free State. The complex dance of give-and-take between the boy from an ambiguously unionist family and the four nationalists is conducted in a peculiarly Irish language of diplomacy, whereby nothing is said directly apart from the oaths taken by both parties at different times on a holy relic of the True Cross which is kept in Charles’s home (the boy swears he is telling the truth about his father’s location, the assassins later swear that they will not kill his father, and both keep their promises as best they can).
Dunsany gives us an example of the indirect discourse of Irish politics in an incident that occurs a few days after the Duke has been finally killed by assassins in Paris. At once the four hitmen send Charles a message to let him know they were not responsible. A little boy brings it to Charles, who asks:
‘Who is it from?’
‘They said you’d know,’ he answered.
‘But what were their names?’
‘I don’t know.’
‘What’s the message?’
‘“It wasn’t us”,’ he said.
‘Was there anything more?’
‘They just said: “It wasn’t us,”’ the boy answered, and was gone over the wall. (p. 199)
The message, like many political messages in occupied Ireland, is carefully shrouded in obscurity, but its meaning is understood at once by the recipient – an understanding that cannot be shared by people outside the country. Master Charles, like Dunsany himself, is a schoolboy at Eton, where Irish pupils ‘come by the habit […] of avoiding talk in public about religion or politics’ – which means they talk very little of home, since ‘so much in Ireland comes under those two headings’ (p. 197). Even Charles’s favourite sport, the shooting of geese over the local boglands, gets mixed up with politics. One of the assassins gives him a tip on how best to shoot them, just as he’s leaving the house after failing to find the Duke. A goose, he tells him, ‘takes a long time to get his pace up. Don’t aim so much in front of a goose as you do at other birds’ (p. 15). And he adds, ominously: ‘if it ever comes to it, and God knows the world’s full of trouble, aim a foot in front of a man walking, at a hundred yards’. The advice is more pertinent to Dunsany’s political career than it is to Charles’s. During the Easter Rising Dunsany was wounded by a nationalist bullet, and pointed out in his autobiography that if the rifleman had known to ‘aim a foot in front of a man walking, at a hundred yards’ he would never have lived to tell the tale. To talk about Ireland is to talk about religion, politics, and family, all of which are woven together in complicated skeins. Hence Dunsany’s avoidance of writing fiction about his country before the thirties, and his care in writing about it when he did.
There’s another side to Ireland which Dunsany finds endlessly fascinating: its association with the imagination. But the imagination too is political in a country so long colonized; so that Dunsany laboured hard in the first half of his career to keep his imagination un-Irish (his literary models were classical literature, the Thousand and One Nights and the Authorized version of the Bible). The rare cases where he mentions Ireland represent the country as a land of dreams. In the fine short story ‘Idle Days on the Yann’, the narrator tells of his journey through exotic lands only visited in sleep: Kyph, Pir, Mandaroon, Perdóndaris, Nen, and the rest. All these places are chock-full of wonders, such as a city gate fashioned from the tooth of some giant carnivore; but when the narrator tells his fellow-travellers about his own country, ‘Ireland, which is of Europe’ (p. 264), they dismiss the two locations as excessively fanciful: ‘There are no such places,’ they tell him, ‘in all the land of dreams’. And the description of Ireland he gives at the end of the story places it firmly on the border of dreamland, like the Kingdom of Erl in his most famous book, The King of Elfland’s Daughter (1924):
…and I to find my way by strange means back to those hazy fields that all poets know, wherein stand small mysterious cottages through whose windows, looking westwards, you may see the fields of men, and looking eastwards see glittering elfin mountains, tipped with snow, going range on range into the region of Myth, and beyond it into the kingdom of Fantasy, which pertain to the Lands of Dream. (p. 281)
The description of Ireland’s topography given here offers a clue to Dunsany’s technique when he wrote about the country in the 1930s. The distinction between Irish Myth, which is the stock-in-trade of the nationalist movement, and the adjoining Lands of Fantasy and Dream, is an important one. The lands surrounding the river Yann in Dunsany’s story are lands of Dream, with names conjured up by the writer’s fancy, not derived from any extant mythology, Irish or otherwise. Dunsany’s Irish novels, too, contain few references to specific literary and mythical stories of old Ireland; and when they do touch on them, ensure that they are largely kept apart from party politics, though not from religion.
In The Curse of the Wise Woman, for example, there are two great visionaries, mother and son – Mrs Marlin and Marlin – who live together at the edge of the bog where the geese come in Spring. Both are worshippers of the bog and of the seasonal transformations that come over it as the year goes round. Both associate these transformations with distant dream countries; but each of their dreamlands is subtly different. For the son, the country in question is Tir-nan-Og, the mythical Irish Land of Youth across the Western sea, and he fears that his commitment to this pagan Paradise will finally damn his immortal soul in the eyes of the Church. Marlin’s political knowledge is sophisticated. He knows why the assassins targeted Charles’s father (the Duke had warned an ex-policeman about an IRA plot against his life, pp. 28-9), and can interpret the secret meaning that underlies the Duke’s coded letter to his son, where Charles himself cannot. But Marlin’s obsession with Tir-nan-Og is not political but personal, and the language he uses to describe it is entirely his own, as when he identifies the moon as a visitor from his dream country:
It comes up huge […] on the hills of Tir-nan-Og, rising up in the West as it sets here, and larger than the shield of the oldest giant, and brighter than we have seen it and full of music. And they hear its music in the Land of Youth. […] Not all the gold of the cities […] nor the gold that is still in the earth, can equal the glow of the blossoms of Tir-nan-Og when the orchards answer the moonlight. It’s for the Land of the Young that it’s shining. (p. 160)
For Mrs Marlin, meanwhile, the dream country evoked by the bog is her beloved Ireland, but an Ireland of the future, far removed from the country she now inhabits, and equally far removed from anything in old Irish literature. The language in which she speaks of it will be familiar to any reader of Dunsany’s early stories, such as ‘Idle Days on the Yann’. ‘There’ll be a day,’ she informs young Charles,
When Ireland’s ships, putting out from all our rivers, will crowd every sea. And they’ll see no grander ships in all their journeys. […] And the ambassadors from foreign lands, coming to greet us, will pass up our rivers and anchor under the walls of the Irish cities, and see their ships go dark from the shade of our towers and humble from the glow of our cities’ pride. And when they ask of our wealth and trade that we do with the other great nations of the world, our singers will tell them, coming down to the harbour’s edge with trumpets and gonfalons and telling the men of strange lands of Ireland’s glory. And the ambassadors will go back wistful into their own lands, telling what they have seen in the West, and all the nations will send costly gifts to welcome us, and to win from us treaties with far Indian kings (pp. 86-7).
So dedicated are mother and son to their own particular visions of a distant dreamland that in the end they sacrifice their lives for them, both vanishing into the bog and thus cutting themselves off along with their visions from the modern Ireland of the 1930s. Their disappearance, however, is not absolute. Both end up buried in the land they loved, and the implication is that their visions live on, partly in the memory of Charles, who is writing the story, and partly in the identity of modern Ireland, an idea that gets more fully explained in Dunsany’s later Irish novels.
Meanwhile The Curse of the Wise Woman carefully keeps the specifics of history at arm’s length. The dates of the events it relates remain uncertain; the narrator insists he is no good with calendars and has never kept a proper journal, though at one point he does inform us that the events he is describing took place around the time of the Siege of Khartoum (1885). Largely unmoored from the markers of chronology, the novel also unmoors itself from political partisanship, transforming nineteenth-century Ireland into a distant place like Tir-nan-Og, whose rivalries, tensions and deeds of violence have melted into the landscape with the establishment of the Free State. One should add, perhaps, that the protagonist of The Curse of the Wise Woman is Catholic, unlike Dunsany himself, so that his relationship with unionism is even more ambiguous than the writer’s, as I hinted earlier. Charles goes to an English school – Eton – and like his father is on good terms with the police, those embodiments of British imperialism (they supply him with a personal bodyguard after the assassins’ visit). Yet his faith is that of the nationalists, and he shares with the Marlins a deep respect for the old stories and myths that inspire their visions, to the extent that he shares Marlin’s fear of being drawn by them towards paganism and damnation. He represents a middle ground in Irish political identity, much as County Meath (where Dunsany Castle stands) occupies the middle ground in Ireland, its name being derived by the antiquarian Edmund Campion from the Latin ‘media’, meaning middle.
All of Dunsany’s Irish novels (apart from one, Up in the Hills , which I’m not discussing here) are set in the days before the Free State, and share with The Curse of the Wise Woman the sense that they inhabit a time now lost, disconnected from the present by major shifts in Irish culture. The most significant of these shifts is the embracing of capitalism, as represented in The Curse of the Wise Woman by the Peat Development (Ireland) Syndicate, which aims to exploit the resources of the bog on an industrial scale. The Syndicate’s plans for the bog – to bring ‘wheels and rails and machinery, and all the unnatural things that the factory was even then giving the world’, and use it to ‘Compress the turf [i.e. peat] by machinery and sell it as coal’ (pp. 211-2) – are designed to bring handsome profits to its shareholders through the wholesale destruction of the natural order. Against this form of destruction-for-profit stand the visions of Marlin and his mother. Mrs Marlin’s fabulously wealthy future Ireland is firmly rooted in the bog she adores and the rivers that feed it, its prosperity assured by a web of treaties with equally fabulous foreign powers, most of them associated with the fantastical Orient of the Thousand and One Nights which inspired so many of Dunsany’s early stories and plays. Mrs Marlin’s potent cursing of the Syndicate – the wise woman’s curse of the title – represents a triumph of the Irish imagination over the industrial capitalist menace, since it brings about the one fantastic incident in the novel, when the bog rises to overwhelm the wheels and cutting machines of Ireland’s ‘real’ future in the name of her imagined one. The curse itself aligns the wise woman’s vision with the natural world, as against the details of Irish mythology. She summons the wind, for instance, to her assistance, ‘with all the strength of the North and the might and splendor of winter’ (p. 306), the rain harvested from the ‘ancient ice of the mountains’ (p. 309), and the clouds which are the nameless ‘kings of the sky, proud riders’ (p. 309) – as against the legendary Irish kings. In summoning these elements she appeals to the weather conditions and seasonal processes that for many contemporary folklorists, as Tolkien points out, lay at the root of all myths. And in the process Dunsany aligns his own fantasies – the fantasies invoked by Mrs Marlin in her vision of the glorious cities of future Ireland – with the natural processes that must be acknowledged and worked with by all political factions, ideologies, empires, no matter how different the convictions or cultures they embody.
In setting themselves against the self-styled financial pragmatists of the future, Mrs Marlin and her son can be seen as eccentric loners, representatives of nostalgia – though Marlin’s political knowhow makes him hard to dismiss as altogether out of touch. The overwhelming of the Syndicate’s machinery by the bog, on the other hand, suggests that the Marlins’ eccentricity is potent; it can make things happen. In fact, it’s one example among many of the efficacious eccentricity of Irish people in Dunsany’s Irish novels, and this stress on the triumph of the marginalized and mocked imagination makes these novels direct successors of the Quixotic novels Dunsany wrote in the 1920s. I suspect this emphasis on Quixotism in his work is a legacy of the Great War, springing from the widespread sense in the wake of that slaughter that governments had lost all respect, if they ever had any, for moral courage, courtesy, honesty and open-handedness. Dunsany’s fiction before the War did not feature Quixote figures, although there are mortals who defy Time and the gods in a number of narratives – most notably King Karnith Zo in ‘The Land of Time’ (1906), who leads an army against the country of the title and is wiped out with all his men by that country’s ruler, Time himself. The first of Dunsany’s genuine Quixotes is the young protagonist of his first novel, The Chronicles of Rodriguez (1922), who sets out on his adventures in search of a war because he hopes to win a castle in it, armed only with his father’s sword and supported by a Sancho Panza figure called Morano. But Rodriguez soon discovers that war is quite different from what it seemed in the old romances that shaped his character. At one point in the book, he is given a glimpse of past and future conflicts through the magic windows of an enchanter’s house, and sees the horrors of the fields of France which Dunsany witnessed at first hand:
Rodriguez lifted his eyes and glanced from city to city, to Albert, Bapaume, and Arras, his gaze moved over a plain with its harvest of desolation lying forlorn and ungathered, lit by the flashing clouds and the moon and peering rockets. He turned from the window and wept (p. 84).
Despite this vision of what’s ‘real’, the young man somehow preserves his romantic outlook on life, and retires at last to the castle of his dreams, a hidden fortress in a forest built for him by a band of Spanish Robin Hoods, who adopt him as their leader. In this way Rodriguez takes his place among the romantic visions of the past that inspired his own quixotic journey. The young man lives on with his lover in that fortress, located in a Shadow Valley whose name suggests it represents the secret spaces of the mind: the Freudian or Jungian unconscious, unacknowledged but hugely potent in the lives of later men and women. His glimpse of the Great War through the enchanter’s window makes him in some sense Dunsany’s contemporary, despite his anachronistic weapons and outlook; and his continuing presence in the shadows, as recorded in the Chronicles, identifies continuing Quixotism (a willingness to cleave to one’s romantic ideals in the teeth of mechanical, militaristic and totalitarian change) as a feature of the modern landscape as much as it was of early modern Spain.
Another Quixote figure of this period is Alveric in The King of Elfland’s Daughter (1924), who persists in his quest for Elfland despite the growing scepticism of his travelling companions as to its existence, and whose faith is rewarded by the eventual merging of his country, Erl, with the elusive land of the Elves. Unlike Rodriguez, Alveric is considered mad by many who meet him, obsessed as he is with finding a place he may only have imagined. Mrs Marlin too is considered mad by the English workers of the Peat Development (Ireland) Syndicate, who in this assessment of her show themselves unfamiliar both with the workings of the Irish imagination and the attractions of Quixotism, which in Cervantes’s text too draws accusations of lunacy. If Rodriguez is innocent or ignorant on account of his youth – which puts him at risk of death at the hands of callous warlords – Alveric’s and Mrs Marlin’s insanity puts them at risk of being cast out from their communities, their visions forgotten, their histories erased. In Dunsany’s novels of the 1930s, Quixote figures get threatened with the madhouse, a location that excludes its inmates from participation in the life of the nation – like the cage in which Quixote is imprisoned at the end of Part One. But in each case Dunsany takes care to reintegrate them into modern Ireland, as Rodriguez was effectively reabsorbed into the landscape of Spain and Mrs Marlin into the landscape of the bog.
The Chronicles of Rodriguez is set in a fantastical Golden Age Spain, as is its successor The Charwoman’s Shadow (1926). The King of Elfland’s Daughter takes place in an alternative England, and like the Chronicles with its glimpse through the window into the future is linked with the annals of ‘actual’ history on just one occasion. The horn of a unicorn killed by Alveric’s hunter son, Orion, is said to have been presented by the Pope to King Francis of France in 1530, as recorded in the autobiography of the irascible goldsmith Benvenuto Cellini (pp. 166-7). The games played in these three novels of the 1920s with the connections between the fantastic and the historical – a unicorn’s horn and the King of France, an enchanter’s house and the Great War – continue in the Irish novels of the 1930s, making of Dunsany’s Ireland a ‘Shadow Ireland’ reminiscent of the Shadow Valley where Rodriguez makes his home. And just as the Spain inhabited by Don Quixote – full of giants in need of slaying and knights available and willing to slay them – is a better, simpler world than the actual Golden Age Spain, with its imperial conquests, sordid wars and Inquisition, so Dunsany’s simple Ireland is clearly meant as a better world than the politically complex Ireland he grew up in. Yet the later Irish novels are also designed to draw his Shadow Ireland and modern Ireland closer together, in the spirit of The Curse of the Wise Woman, which aims to reconcile all shades of the nationalist and unionist parties through its explicit rejection of factionalism.
As I suggested, Mrs Marlin and her son in The Curse of the Wise Woman could be read as Quixote figures, who self-consciously turn away from the real in favour of the dreamlands they have constructed in their minds, based on the landscape they inhabit. In this they resemble Alveric in his wanderings in quest of Elfland, which take him through landscapes strangely littered with the lost toys and elusive memories of his childhood; and they also resemble Alveric in that despite their eccentricity they finally get what they desire from both their dreamlands. Marlin is preserved from damnation by giving himself up to the Land of Youth, as embodied in the bog; but Mrs Marlin’s triumph is more spectacular. The overwhelming of the industrial peat-cutting syndicate in response to her curse destroys her along with the machines she despises – both are swallowed up by the ancient peat. But something grander seems to take place as the bog rises, which is that two worlds are brought together, Mrs Marlin’s fantastic future Ireland and the Free State Ireland of the early 1930s. Her triumph resembles the climactic moment in The King of Elfland’s Daughter, when Elfland magically merges with Alveric’s homeland, the mortal land of Erl, giving to each the special properties of the other: the immemorial beauty and stasis of Elfland, the subtle changes wrought on Erl by the operations of time, seasons and weather. Mrs Marlin is buried underground by the peat she incites to destroy the work of her industrialist enemies; and in this she resembles the ancient Tuatha Dé Danann of Ireland, who were defeated by the iron-wielding Milesians from Spain at Tailtiu or Teltown in Dunsany’s own County Meath, and afterwards literally went underground, becoming the aes sídhe or hill-dwelling people known as the fairies. Dunsany makes very little of this alignment of the two Marlins with the Sidhe, but Charles tells us in the book’s last chapter that her memory eclipses in his mind the spectacular events that have overwhelmed the world since her death, including the Great War (‘four and a quarter years of [man’s] greatest violence’) and the invention of the radio (p. 319). She has become a powerful undercurrent in his personal history, and similar undercurrents form a major theme of Dunsany’s later Irish novels, imaginatively shaping Irish identity in defiance of the scorn of the imagination that dominates modern capitalist culture.
Dunsany, Lord, ‘Idle Days on the Yann’, Time and the Gods, Fantasy Masterworks (London: Gollancz, 2003)
Dunsany, Lord, The Chronicles of Don Rodriguez (London and New York: G. P. Putnam’s Sons, 1922)
Dunsany, Lord, The Curse of the Wise Woman (London: William Heinemann, 1933)
Dunsany, Lord, The King of Elfland’s Daughter (London and New York: G. P. Putnam’s Sons, 1924)
O’Brien, Flann, At Swim-Two-Birds (Harmondsworth: Penguin Books, 1983)
 See my essay ‘Fantastic Economies: James Stephens and Flann O’Brien’, Flann O’Brien: Problems with Authority, ed. Ruben Borg, Paul Fagan and John McCourt (Cork: Cork University Press, 2017), pp. 136-51. ISBN 978-1-78205-230-2.
 For a detailed analysis of Dunsany’s political position see Patrick Maume, ‘Dreams of Empire, Empire of Dreams: Lord Dunsany Plays the Game’, in S. T. Joshi (ed.), Critical Essays on Lord Dunsany (Lanham, Toronto and Plymouth: The Scarecrow Press, 2013), pp. 53-71.
 The big exception here is Up in the Hills (1935), whose satire of the Irish Civil War is well analysed by Maume.
 See Richard Marsh, Meath Folk Tales (Dublin: The History Press, 2013), Introduction, p. 9.
 ‘At one time it was a dominant view that all such matter was derived from “nature-myths”. The Olympians were personifications of the sun, of dawn, of night, and so on, and all the stories told about them were originally myths (allegories would have been a better word) of the greater elemental changes and processes of nature’. ‘On Fairy-Stories’, Tree and Leaf (London: HarperCollins, 2001), p. 23.
Understanding the text of Maurice Collis’s Quest for Sita as the work of an Irish nationalist enables one to read it in political terms (see the previous post for details). But what of the drawings that accompany Collis’s narrative? Peake’s association with Ireland came through his wife, Maeve Gilmore, whose father was an Irish Catholic doctor; but Peake’s politics were those of an artist, whose work is to represent the world with fidelity to his own artistic vision, in defiance of the many pressures – financial, cultural, personal, political – to adapt their style in response to the latest fashion or movement. Could his drawings in Quest for Sita be understood as a commentary on the problem of this kind of fidelity to one’s vision in the 1940s, when illusions of many kinds, from propaganda to more insidious kinds of indoctrination, competed for attention with accurate representations of people, things, ideas and feelings as the artist saw them? Collis describes the pictures as ‘a quest of [Peake’s] own to show Sita to us’ (p. vii), and the impression this gives is that ‘showing’ Sita is a process fraught with difficulty. The puzzling nature of Peake’s drawings confirms this impression, not least because it’s not easy to be sure what some of them show. Thinking about them may give a number of clues as to why he chose to offer them as puzzles rather than as a simple visual response to Collis’s text.
As Peter Winnington has pointed out, Peake’s pictures diverge from Collis’s text on many occasions, some of them not even referring to an identifiable incident or character in the adjacent pages. This can’t, I think, be said of his illustrations for other publications, all of which testify to a meticulous close reading of the texts they embellish. Peake explains why he reads so carefully in a talk on ‘Book Illustration’, first given for the BBC radio show ‘As I See It’ in 1947. After embarking on a study of the major illustrators, Peake tells us – the Englishmen Rowlandson, Cruikshank, Hogarth and Blake, the Frenchman Doré, the German Dürer and Goya, the Spaniard:
I began to realize that these men had more than a good eye, a good hand, a good brain. These qualities were not enough. Nor was their power as designers, as draughtsmen. Even passion was not enough. Nor was compassion, nor irony. All this they must have, but above all things there must be the power to be identified with author, character, and atmosphere, the power to slide into another man’s soul. A new and hectic art seemed to have been opened up to me; a new world.
There is something unsettling about the italicized phrase with which this passage climaxes, the power to slide into another man’s soul; a hint at demonic possession that perhaps explains why so many of Peake’s finest illustrating projects involve dark magic, or the suspicion of magic – his images for Christina Hole’s Witchcraft in England (1945), for instance, or Stevenson’s Doctor Jekyll and Mr Hyde (1948), or Dorothy Haynes’s Thou Shalt Not Suffer a Witch (1949). The unsettling tone is taken up by the phrase he uses to describe book illustration, a ‘hectic art’ – hectic often being used to describe out-of-control activity, especially the behaviour and appearance of a fever victim (sufferers from tuberculosis are often said to possess a ‘hectic beauty’). And Quest for Sita, in which a person may well be very different from what they appear – and identities are always available to be changed, as Ravana’s very nearly is by his admiration for his captive – makes the possibility of being possessed by someone else, sliding into another person’s soul, or being gripped by a fever of desire, uncomfortably real. Moreover, in the central portion of the book sliding into the ‘soul’ of the author is a complicated task, since the author is both the Irishman Maurice Collis and the Sanskrit poet Valmiki, from whose text he adapts his version of the Ramayana. It’s striking, then, that Peake chooses only to illustrate this central portion; the part of the text where magic is most active, illusions are omnipresent, and beings from the Three Worlds (earthly, divine, infernal) interact openly with one another, as they do not in the frame narrative. Peake is concerned solely with Swallow’s adventures as Sita, the dream sequence (as Collis presents it) when Swallow is occupying the body of the legendary princess. Sita’s body in this central section of the text is always under threat, in danger of being replaced with the body of Ravana’s sister, Surpanakha, in Rama’s bed, or of having Ravana replace Rama in her own. She is seized and subjected to successive spells of illusion and psychological coercion by the Demon King, his guards and his enchanters. Sita’s identity itself, in fact, is under siege – not just by Ravana but also by Rama, who disbelieves her assertions of her own constancy – while the identity of the demons who abduct her is even more unstable than hers. Peake’s drawings visualize this predicament, which explains why they are so unlike conventional illustrations.
Peake’s drawings are executed with exemplary control, as they had to be, given the simplicity of the drawing style he chose for them. Peter Winnington describes Peake’s three principal drawing styles in Mervyn Peake: The Man and his Art:
his illustrations […] fall into three groups. In the first […] the illustrations are based on a single line, drawn with pen and ink, that outlines or silhouettes objects, without recourse to shading or cross-hatching. […] The second group […] is characterized by cross-hatching. […] Works in the third group […] were executed with a brush rather than a pen.
The drawings in Quest for Sita fall into the first group: pen and ink work based on a single line unsupported by cross-hatching. And as Winnington points out, it’s among the most ‘spare and economical’ examples of this group, where the ‘continuous thin line endows the space that it encloses with an extraordinary sense of three-dimensional volume and weight’, so that the ‘figures have a sculpturesque fullness and roundness at the same time as an ethereal beauty’, but with ‘nothing of the cold perfection of marble’. Peake never in fact uses a single continuous line in the book – one can easily identify the places where the artist must have lifted his nib from the paper to execute a new line – but Winnington is right in saying that this is frequently the impression these drawings give. The restless curving movements of the pen, the sinuousness of the trail it leaves behind, endow the apparently continuous line of ink with a metamorphic quality which perfectly suits the tale of Sita’s abduction. A few years after completing this commission Peake expressed his delight in the metamorphic possibilities hidden in a continuous line of ink by producing sketches for a never-realized television cartoon called Just a Line (early 1950s), about a straight line that yearns to achieve the sorts of sculpturesque effects with which the Quest for Sita is filled. ‘Sometimes I feel quite frantic,’ the line exclaims at one point, ‘when I think what I might be’ – such as a ‘wonderful land full of strange shapes and sounds and peculiar creatures and broken statues’, perhaps Collis’s India. Liberated from its straightness the line would be able to transform itself into anything it likes, from a tiny mouse to an imaginary landscape, and the impression of continuousness put across by Peake’s serpentine lines in Quest for Sita suggests that they could undergo just as many transformations at the will of the magician-artist. Each drawing can be understood as existing on the verge of becoming something else; and this impression is only enhanced by the reader’s uncertainty in many cases as to what exactly the images refer to in the text – if anything at all. This uncertainty transports the reader into the magic-filled world of the pre-Golden Age, so that we share Swallow’s uncertainty as to who she can trust, how she is to read the bodies that present themselves to her, and indeed, who she herself may be. The notion that each drawing may be controlled by a different personality in the text – sometimes Sita, often Ravana and his enchanters, sometimes perhaps even the great archer Rama, whose skills with another sort of line, his bowstring, are legendary – is reinforced by the thematic echoes that link picture to picture (extravagant headwear, the nudity of both male and female figures, the strange creatures they contain). Unlike the line in Peake’s projected cartoon, the line in these drawings is continually changing, and may be possessed by any number of souls at different points in the visual narrative.
As I’ve just indicated, one of the ways in which Peake diverges from Collis’s text is to represent most of the male and female figures in the book as nudes, modeled sometimes on the sensuous nudes of Indian, Burmese or Indonesian sculpture in wood or stone (which Collis could have shown him), sometimes on the erotic line drawings of Aubrey Beardsley, often on neither of these things. Each figure looks much like all the other figures of the same gender in the book, the women rounded and flexible, the men well muscled and angular, though some figures blur these gender distinctions, like the androgynous figure clutching a bird on p. 107. They have little or no context – only a little ground beneath their feet, sometimes supplemented with a few lines composing a background – to help us place them in the narrative. Stripped down to the basics, the figures wear headdresses whose extravagance is intensified by the blank spaces all around them and the nakedness of the figures they crown. Reminiscent of the towering royal headdress of South-East Asia known as the makuta, as I said in the previous post, none of these pieces is ever repeated between one picture and another. Each, then, could be taken to represent the current mood of its wearer: aggressive, sad and contemplative, sexually aroused, acquisitive, sly and so on. This is most vividly suggested by the claws that burgeon from Surpanakha’s crown as she performs her dance of seduction on p. 49, suggesting her predatory intentions towards the royal couple, or the daggers and pneumatic drill that spring from its apex when she takes on her monstrous true form on p. 51, just before launching her attack on Sita. The complicated ornamentation on these makutas suggests they are made from gold, which links them to the illusions that envelop Ravana’s gold-filled fortress of Lanka, and to Ravana’s vision of mortals, sprites and gods as so many expensive items to be added to his personal treasury. The sensuality of so many of the pictures, too, suggests that we are looking at them through the eyes of the Demon King; they represent, in other words, the dangers that beset Swallow in her role as Sita, and suggest the ease with which we, the reader-viewers, might have given in to the seductions she resists.
This association of the drawings with the dangers posed by Ravana is first suggested by the very first picture we encounter in the book (not including the one on the dustjacket, the sketch of Sita stamped on the cloth-bound hard front cover of my edition, or the nude dancer on the title page). This first picture appears at the point in the narrative when Ravana’s presence is first revealed to Rama and Sita, two chapters after Swallow’s trance-transition to the Golden Age. The Chapter in which it appears is aptly called ‘The Apparition’, announcing the entrance of magic into the story in the person of Surpanakha; and the drawing shows an old man – presumably an anchorite – squeezing water out of his beard at the edge of a cliff, while looking nervously around as if to spot one of the demons who have been troubling his solitary existence since Rama and Sita came to live nearby (p. 45). The old man is fully dressed and wears an umbrella-like hat, and if the dampness of his beard is at first hard to account for – there is no suggestion in the text that the anchorites were unusually wet when the royal couple first met them – it may be explained by the words of the ‘ancient recluse’ who describes the recent depredations of Ravana’s demons:
Taking many forms, both of men and animals, they issue from the forest and haunt us incessantly. […] At dead of night their vast laughter bursts out when we are practicing our penances. Or flooding down they will foul our altars, which at dawn we find to be drenched with blood. (p. 46).
The wetness of the old man’s beard, in other words, may show the after-effect of the demons ‘flooding down’ on himself and his fellow recluses; the liquid he wrings out of it may be blood. As for the cliff, it may represent the precipice of danger at the edge of which the couple find themselves as the old man speaks. Many of the pictures that follow give the impression that we have fallen off this precipice and are leaping, dancing or tumbling through space. This impression is enhanced by the dynamic movement of the male and female figures in the book, who launch themselves through the air, balance on their hands on the backs of beasts, or fling themselves from their foaming steeds in ecstatic agony. Their bodies twist, their arms and legs gesticulate wildly, and they often seem off kilter, always on the verge of taking up a new position, a new life or a new identity. Peake’s series of drawings begins with the entrance of Ravana into the story, so that they seem to be ‘of Ravana’s party without knowing it’, to adapt the famous words of William Blake about John Milton.
The old man in that first picture has a creature near him, a diminutive lizard which is taking an obvious interest in the drops coming out of his beard. Many of the pictures contain birds and beasts, often looking on in surprise or curiosity, like this lizard. Again, these creatures have a source in Collis’s text, where they crop up from time to time to stare in amazement or consternation at the actions of gods, sprites, mortals and demons. During the battle between Ravana and the divine vulture Jatayus, the ‘sylvan deities of tree and stream and hill’ manifest themselves and utter cries of encouragement for the vulture (p. 68). Later Sita’s abduction is witnessed by a throng of forest animals, which follow the shadow of Ravana’s chariot in their various ways – ‘galloping, bounding, swinging, a-wing’ – spurred on by their sense that a ‘great wrong [is] being consummated’ (p. 72). Animals also play a major role in the story, of course, in the form of the warrior monkey Hanuman, his king Sugriva, and the vulture brothers Jatayus and Sampati. But these significant beasts, the ones with major roles, are often hard to identify in the drawings. The birds on pp. 67 and 69, for instance, whose pictures sit alongside Collis’s account of the fight between Ravana and Jatayus, have hooked beaks and decorative plumage, but seem not to be the vulture of the text, who is ‘divinely brave, divinely strong, and divinely beautiful’ (p. 66). Instead they are small, their expressions goofy.
The animal on p. 63, meanwhile, seems clearly to represent one of the vampiric donkeys that draw Ravana’s chariot, according to Collis; it has protruding fangs, grotesquely puckered lips, and batwing ears, and the drawing of it is positioned very close to Collis’s description of the ‘asses with the faces of vampires’ (p. 64). But the animal’s tail is not much like that of a donkey (Peake could draw donkeys with great accuracy, having ridden one to school in his childhood). And the quadruped that appears a few pages later, in one of the two pictures that accompany the fight between Ravana and Jatayus (p. 67), looks very unlike the vampire ass of p. 63. It has a headdress made of something like coral, square teeth, strange pointed hooves, and an expression even more goofy than that of the bird perched on Sita’s wrist (if the woman in the picture is indeed Sita).
The next picture shows a carnivore – perhaps a tiger – with a woman balancing upside down on its back, another small bird perched on her ankle (p. 69). By no stretch of the imagination can the picture be said to represent Sita struggling to free herself from Ravana’s grasp, as she does in the facing text; while the bird on her ankle can hardly be said to have ‘claws as large as pruning hooks’ (p. 68). It also looks rather different from the bird in the previous drawing, which may also be intended to represent Jatayus. What, then, does the picture on p. 69 stand for? The tiger may be some sort of embodiment of Ravana, but the gleeful expression of the woman on his back seems quite inappropriate for Sita, who should be watching for the outcome of the fight with some anxiety. We seem to be in the presence, then, of a visual fantasy in which the battle between Ravana, Jatayus and the vampire asses, as witnessed by Sita, is replayed as an erotic juggling act watched by an appreciative audience consisting of a charmingly decorated snake and a lizard with wings. Is this Ravana’s way of seeing the combat? Or are we in the alternative universe of Peake’s art, the ‘world’, as Collis described it, which is ‘pervaded by a mood unlike that of any writer or painter working today’, and where the fight has a different meaning from the one it has for Collis? We simply don’t know; the drawing is enigmatic.
At times, then, Peake’s animal drawings can’t be linked with any confidence to particular details in Collis’s text; and this is most obvious in the case of the monkeys. The monkeys (if they are indeed all monkeys) change their appearance radically on at least three occasions. The most obviously simian figure in the book is the one on p. 143 (see end of post), which may be Hanuman with his bow and spear and elaborately ornamented sword. The short legs, long arms, mobile lips and small, closely-set eyes suggest an orang utan from Burma, while the foliage pouring from its helmet suggests the jungle where it feels at home. The picture on p. 139 may or may not represent Hanuman’s monarch, King Sugriva, because Collis describes him wearing a ‘fantastical battle-cap’ (p. 145), and the creature is certainly wearing the most fantastical of all the crazy bits of headgear in Peake’s illustrations. The crown has what looks like the capital of a stone column incorporated into it, surmounted by a kind of vase containing three hands, one of which supports a wheel, on top of which balances a vase with a single flower in it. But this monster could just as easily be a manifestation of Ravana, who is ten-headed but is always changing his appearance to conceal his decacephalic nature (decacephalic is one of Collis’s favourite words). The picture occurs alongside Rama’s account of how he saw Sita – or her double – lolling in Ravana’s lap before the final battle; so perhaps it represents the Demon King as Rama sees him. Its face might be that of a leonine baboon, and hence suitable for a monkey king; but it might just as easily be the face of a lion, perched on top of a humanoid body, the sort of hybrid shape Ravana might be expected to delight in. Again, we just don’t know.
The third monkey image, if it is one, appears on p. 101. The monster in the picture, which has a naked woman crouching on its back, doesn’t look anything like a monkey or an ape – it’s more like a Chinese lion, tiger or dragon; but in my edition it sits alongside the part of the text where the captive Sita refuses to ride on Hanuman’s back to escape from Lanka, because she thinks that certain observers would find this mode of travel unseemly for a woman of her rank. I am tempted to think of it as a representation of what her husband Rama might think if Sita were to agree to escape in this way – an imaginative response, that is, to the words she uses to describe his potential reaction:
What will people think of me riding on a monkey? Will Rama be pleased to see me appear embracing such a mount as your Honour’s self? […] Rama would be glad to have me back, no doubt, but at the same time might condemn the manner of my return, flying over the sea and between the worlds, not like the wife for whom he mourns but like a wild thing, a witch or ghost (p. 100).
Certainly the woman in the picture looks decidedly wild, with her legs spread wide apart, her face smiling impishly, and a telltale skull embedded in her hat. The skull, too, appears to be smiling. And the monster she rides is smiling too, its lips bared in a grin that displays its blunt teeth and long curved tusks. Its six-pronged tail stands erect, perilously close to the woman’s haunches. My reading, then, makes some sort of sense, but the picture doesn’t support it by, for instance, showing the monster as in any way apelike. It’s a riddle, like all the other drawings in Peake’s part of the volume.
Other animals in the pictures have no relation at all to anything in Collis’s text. The androgynous person on p. 107, for instance, has a lion ramping behind them, and occurs at a point in the text where the monkey Hanuman is running riot in Ravana’s palace. Is the lion an image of Hanuman’s ferocity? The woman on p. 131 is holding a grotesque sort of Pekinese dog, with tufts like sea anemones on its elbows. There’s no dog mentioned in the text. All in all, the birds and beasts have more in common with Swallow’s retrospective description of her adventures in the Golden Age than with any particular episode she took part in. As she tells the old man Ho after waking from her trance, ‘I saw birds, and dragonish persons who were birdlike, and beasts that were like birds, and birds that were like men’ (p. 147). The sentence might vaguely describe her various meetings with talking vultures and a flying monkey, but they also suggest a world in which people, beasts and spirits are always mixing, melding and changing appearance, as if in the throes of a particularly hectic fever dream.
In this procession of uncertain images, the quest for Sita is a challenging one for the reader as well as the artist. The nudity of the women in the drawings does not accord with what we know about the princess, who bedecked herself with finery before her abduction. It’s possible that she lost these clothes in the course of the journey to Lanka, since at one point she flung her ‘yellow silk mantle’ to some monkeys in the hope that they would take it to Rama and show him which way she went. Alternatively, or in addition, Sita’s nudity may be intended to suggest her subjection to the predatory gaze of the Demon King and his monstrous cohorts. Certainly it aligns her with the female nudes in Collis’s text, all of whom are Ravana’s dancers, who ‘had a likeness to dryads, being clad only in gems and the sparkle of gems, as such nymphs are in dew-drops and mottled sun-light’ (p. 78). Some of Peake’s drawings correspond quite closely to Collis’s account of these dancers. They are ‘led by midgets and contortionists’, and Peake represents the dancers’ attendants in several images of Beardsley-esque dwarfs, some of them clutching the legs of women, and in two images of contortionists or acrobats (pp. 83 and 85). Some dancers wear ‘round their waists […] a belt of bells’, and here the distinction between them and Sita blurs still further. The dancer on p. 91 wears a belt that might well be made of bells; but so does the woman standing in front of a horse or ass in the drawing on p. 67, which is positioned alongside the textual description of Ravana’s fight with Jatayus. Most of the dancers have bodies that resemble Sita’s, though some are distinguished from the rest by the length of their claw-like fingernails. Their faces are often like hers, too: heart-shaped, with large, wide-set eyes, full lips and long lashes, like the face of Peake’s favourite model, his wife Maeve. As a result, it’s impossible to be certain in any given picture of a full-length female nude if we’re looking at Sita or one of the dancers. The problem is compounded by the fact that three pictures I’ve already discussed as possible representations of Sita have little connection to Collis’s text (pp. 67, 69 and 101). The hallucinatory quality of the drawings, in other words, is as evident in the human figures they contain as in their birds and animals. They float in a space or world adjacent to the verbal narrative, and only occasionally seem fully to converge with it.
Most of the men in the drawings are as hard to identify as the women. There are a couple of exceptions, such as the image on p. 123, which self-evidently shows the beheading of Rama, since this is the only decollation mentioned in Collis’s text. To confirm the identification, the picture occurs on the page before Sita is shown her husband’s ‘freshly severed head’ (p. 124), so the reader is likely to make the connection between the dead man and Rama very soon after the picture has appeared. The head in the drawing, however, has no distinguishing features, and its identity is in any case rendered questionable by the fact that Rama has not in fact been beheaded; his decollation is a lie spread by Ravana’s enchanters. And other possible representations of Rama in Peake’s drawings are not so certain. It’s not clear, for instance, whether the archer shown in the drawing on p. 111 is the bowman Rama as described in Collis text on p. 110 (‘the most famous archer among the mortals’), or is instead one of Ravana’s soldiers, whose ‘bows are the strongest in the Three Worlds’ (p. 109). The bowman in the picture is mounted on a horse, whereas Rama and Ravana ride chariots in their final showdown – so the drawing might show a member of Ravana’s ‘cavalry’ (p. 111). The same uncertainty surrounds another archer, who appears on p. 135, standing in front of a horse. Could this be Rama, standing in front of one of the white horses that draw his chariot, as the text informs us (p. 134)? The cruelty of the man’s expression suggests he is not the prince; but if it’s Ravana, he’s disguised as a human or a god, since Ravana’s true form, as we know, has ten heads. More even than the women, it would seem, the men in the pictures are hard to name, because Ravana has spun his webs of enchantment round them in his bid to mislead Sita into infidelity.
The men in Peake’s pictures are mostly naked, as I’ve already mentioned, like the women, and in the men’s case this nudity seems to emphasize their vulnerability: their capacity to be subdued by a woman’s qualities, like the Demon King Ravana, and to lose their grasp on the characteristics of patriarchal masculinity: strength, decisiveness, vigorous activity, control over women. The first man we meet in the drawings is the elderly anchorite, who is fully dressed but fearful, damp and threatened (p. 46). After this we are shown only women, until we reach Chapter 19, which describes the temptation of Sita in Ravana’s palace. Here suddenly a succession of men step onto the paper stage; and the order in which these drawings appear may be significant. The first picture shows a giant of a man who is carrying a tray as if it were laden with heavy objects, although the only thing on the tray is a pot with a solitary flower in it (p. 75). This was the picture, or something very like it, that impelled Collis to approach Peake to make the drawings for Quest for Sita; and here the man forms part of a parade of entertainers that follows Ravana as he comes to seduce his captive on the night after her arrival. Most of the parade is made up of dancers, but it closes with ‘a rout of dwarfs and buffoons, who pretended to carry yet other dainties, with show of effort supporting a dish on which was nothing but a stone or a common flower’ (p. 76). The man, then, is clearly a buffoon, his muscles straining for no purpose at all, symbolically demonstrating the emptiness of the show in which he takes part. The next men to appear in the drawings are a pair of male dwarfs who seem to be fighting over a single place between the legs of a female dancer. One eyes the other, brandishing a phallic snake and making a threatening gesture, as if preparing to shove him away from where he stands clutching the woman’s calf. A few pages later, another dwarf holds up a goofy bird while flouncing a tail between his own buttocks. When at last we get a drawing of the King of Demons, then – in Chapter 20, titled ‘Moonlight in the Park of Spring’ – he has been heralded by a series of satirical versions of maleness: the frightened hermit, the ridiculous muscle-man, the lecherous dwarfs. Men in Peake’s drawings are fragile, and seem to be striving to impose their will on women in a bid to convince themselves of their own forcefulness.
Ravana is the other male figure who is easily identified among Peake’s images. Near the beginning of Chapter 20 Collis describes him in some detail, dressed in ‘a scarlet cloak, open in front, floating as he came like the foam of ambrosia, and sown with flowers’ (p. 88). The Demon King is ‘lustful and proud, elated with wine, and glorying in the night’; his face is ‘a mask’, like the masks of the goldfish in his pond (p. 88). But Sita resists him, and at the end of the chapter he is forced to replace her in his bed with one of his dancers, a former favourite who assures him that ‘You will get ill loving one who loves you not’ (p. 92). And Peake pictures him on p. 89 in such a way as to hint at his abject failure to subdue his captive. Gliding along ‘as though on an air current’ (as Collis puts it), his feet suspended above the ground, voluminous cloak thrown back to reveal his naked body, he appears weightless despite the power of his muscular frame beneath the cloak – the exact reverse of the strangely weighty flower we saw a few pages earlier. Muscular though he is, his body is hairless, as if to suggest that he has not yet achieved complete maturity. His face is fishlike, as if to stress the lack of thought going on behind it. His crown looks like a garden ornament. The male gaze may have shaped the bodies of the naked women we have seen in Peake’s drawings up to this point, but men themselves, it seems, are feeble, unable to exploit their power for any greater purpose than to please the eyes. They are decorative, not practical, and thus ill suited for the martial feats they are expected to engage in.
As the parade of drawings goes on, the men in them get increasingly fragile. The series of drawings that represent the final fight between Ravana and Rama show men as always dangerously off balance, from the mounted bowman on p. 111, who seems to be sliding off a melting horse, to the beheaded warrior on p. 123, who has lost his body altogether, to the seeming delight of the ferocious mount that stands behind him. After this picture they begin to fall and die, pierced through by arrows, snarling in pain and rage as they writhe towards death. A rearing horse flings its furious rider into space, its mane and tail blazing (p. 127). A dying swordsman drops his fantastically ornate sword, its quillons fashioned in the shape of wings as if to confirm its intention to elude his grasp (p. 133). The man throws back his head in angry ecstasy as an arrow transfixes his chest. The arrow-pierced rider on p. 137 seems to have been mounted by his horse, in an ironic reversal of the hoped-for mounting of Sita by her abductor. The Demon King intended his seduction of the princess to culminate in a ritual, orgiastic penetration; instead he and his men are penetrated by his rival, and flap the air as they die with great limp hands.
Ravana and his warriors are closely akin to many other men Peake drew in wartime: the young soldier who seems to die while involved in a homoerotic affair with a centaur, in a set of recently discovered sketches; the naked youths suspended in space which he used to illustrate his first collection of poems, Shapes and Sounds (1942); the Ancient Mariner, who throws out his chest in mute expectation that it will be struck by some supernatural arrow sent to avenge his piercing of the albatross. In Peake’s war drawings men tumble, slump, recline and sag, borne along like flotsam on the tides of a global conflict they cannot control. The tumbling, wounded men in Quest for Sita are located in the Second World War by their affinity with these vulnerable predecessors. They proclaim, too, their affinity with the men in Peake’s wartime novel, Titus Groan, who have been read as uniquely vulnerable by Matt Sangster in a revealing essay.
Peake, like Collis, seems to imply that the women in Sita’s story are more powerful in body and mind than the men who compete for their attention. They are also more closely attended to in his drawings, as in Collis’s narrative. In among the full-length images I’ve looked at so far, Peake presents us with a series of portraits, whose positioning in the text implies they show Sita. The first comes in Chapter 16, after the chapter where Sita sends Rama away from her in pursuit of the wonderful gazelle, followed closely by his brother Lakshmana. At this point in the narrative she is alone, and for the first time unsure of her behaviour: ‘With the departure of Lakshmana,’ Chapter 16 begins, ‘Sita remained bowed and weeping […] uncertain whether she had acted rightly or no’ (p. 58). The portrait on the page opposite (p. 59) doesn’t show her in this state; the woman in it is not weeping. Instead she looks sad and thoughtful, much as Sita does when Ravana sees her for the first time, in the chapter’s third paragraph. On hearing a sound outside, Collis tells us, Sita ‘raised her head’ and ‘overwhelmed with joy ran to the door’; but on seeing who it is (Ravana disguised as a religious mendicant) ‘She looked at him askance, grievously disappointed’, while the mendicant looks back ‘with open admiration’. This is no surprise, Collis tells us, because ‘in her court silks, jeweled and tyred, her lovely face reflecting like a mirror her troubled heart, she was a vision hardly imaginable at the door of the mountain retreat’ (p. 58). If the picture opposite shows Sita at this moment, in other words, she is being seen by the Demon King. But she is not seeing him; she looks through or beyond him, seeking her husband. The male gaze may seek to subjugate her face and body to its pleasure, but after the opening chapters of the Ramayana section of the novel, the man who interests her is always elsewhere. As she looks out of the page, he is behind the reader’s shoulder, so to speak. No other man can match him.
Ravana is Sita’s abductor and would-be seducer, and we might expect this to be reflected in how he sees her. At the same time, the Dark Angel’s gaze in Collis’s narrative begins to change him, subjecting him to the power of Sita’s personality, awaking in him an admiration of her inward qualities as well as her body. This split perception of Sita is well represented in Peake’s portraits. She is physically attractive in a conventional way, with large eyes, full lips, tilted eyebrows, curling lashes and a heart-shaped face. In several portraits she is nude or semi-clad, underscoring the Demon-King’s erotic obsession with her; and in all of them she is also ‘bejewelled and tyred’, sporting elaborate earrings and a version of the makuta or crown on her head (that, at least, is what I think Collis means by ‘tyred’, though the OED is not very helpful in supporting my reading of ‘tyre’ as a variant of ‘tiara’). In some drawings, including the first portrait, she wears make-up, with a tilaka or third eye painted between her eyebrows and floral patterns on her cheeks. But if she is represented as physically attractive, she is also represented as strong; her neck, in particular, is extraordinarily powerful, supporting her head on a pillar of muscle that defies the conventions of anatomy, as in this first example. Her expression is always serious in these portraits – whereas the women in the full-length pictures often look gleeful, ecstatic, or coquettish. The portraits are often placed in the first UK and US editions alongside moments in Collis’s text when Sita exerts her power. The first (p. 59) comes at the moment when Ravana begins to admire her; in it she looks at Ravana in disappointment, so that the reader as well as the Demon King is aware that he means nothing to her.
The second (p. 97) comes at one of Sita’s weaker moments, when she confesses that she sent Rama after the gazelle on a ‘stupid whim’ (p. 96); but the confession confirms her power over her husband and his brother, and Sita’s expression in the drawing shows no remorse.
The third portrait (p. 113) occurs when Ravana’s initial impression of Sita is replaced by ‘a new and more violent feeling’, which makes him aspire to achieve ‘paradise’ for her – to win a place in the world of the immortals – in defiance of his own demonic nature. In this portrait she is not looking at the viewer at all, her thoughts again being clearly occupied with something else.
The fourth portrait (p. 131) comes at the point when Sita gains control of her Amazonian guards, who beg her to protect them against Rama’s allies, Hanuman’s army of warrior monkeys. In this picture Sita is holding the bizarre creature I mentioned earlier, some sort of fanged Pekinese. Her nails are long and pointed, like the nails of Surpanakha in Peake’s picture of her. She is looking away from the viewer, as well as the creature, and the impression she gives is that of a woman who can tame any monster without even thinking about it – which is exactly what happens in the text.
The last portrait (p. 141) faces the moment in the story when Sita makes her solemn declaration that Rama was mistaken in thinking he had seen her on the final battlefield in Ravana’s chariot, ‘covering him with kisses’, as the Dark Angel sped towards his fatal final encounter with Sita’s husband (p. 140). The tilaka between her eyebrows looks as though it has burst into flame, and her eyebrows too are jagged, as if to indicate her anger at the accusation. Her makuta has a protective cloth attached to it behind, like the helmets worn by the male warriors in Peake’s drawings of them – most notably in the portrait of Ravana. She looks directly at the viewer, as if to confirm her words, and her neck is like a column or tower of flesh. This is the final image we are given of Sita, and it couldn’t be more obviously intended to leave us with the sense that she knows now exactly who she is, and intends us to know it too. In Peake’s terms we have slid into her soul, and are ready to return to the mortal world in the last three chapters, armed with a familiarity with this seminal figure in Indian myth that will enable us to look with new eyes on the countries and cultures in Asia that embraced it.
Clearly my interpretations of Peake’s drawings are largely conjectural – stories I’ve made up about them, based on their location at certain points in Collis’s narrative. We have not been given a verbal commentary to help us read them, and other individuals will read them very differently from me. Our scrutiny of these drawings, in fact – our awareness of how they diverge in many details from the text they accompany – makes us collaborators in the business of bringing Sita back to life, the quest for Sita. We are writers and artists as well as readers. Between them, text and drawings ensure that the book is a creative process, since it’s for us to interpret the dialogue in progress between them. And Collis’s preface, with its acknowledgement of the constantly changing texture of the great stories, confirms that this is exactly what both artists – writer and illustrator – set out to do. Their theme was independence, and text and drawings perform that theme as well as any artwork I can think of.
 Peake explains his philosophy of art in the introduction to The Drawings of Mervyn Peake (Grey Walls Press, 1949), reproduced in Mervyn Peake: Writings and Drawings, ed. Maeve Gilmore and Shelagh Johnson (London: Academy Editions, 1974), pp. 80-82.
 Maurice Collis, Quest for Sita (New York: The John Day Company, 1947). All references are to this edition.
Mervyn Peake: The Man and his Art (London and Chester Springs: Peter Owen Books, 2006), compiled Sebastian Peake and Alison Eldred, ed. G. Peter Winnington, p. 107: ‘there are no captions to Mervyn Peake’s drawings, for (as here) they often do not correspond to a specific character or moment’. The picture mentioned is the one of the old man, the first drawing in the body of the text, discussed below.
 Quoted from Mervyn Peake: Oscar Wilde (London: Sidgwick and Jackson, 1980), Foreword by Maeve Gilmore, p. 9.
 Winnington (ed.), Mervyn Peake: The Man and his Art, Chapter 7, pp. 101-103.
 See Mervyn Peake: Writings and Drawings, ed. Gilmore and Johnson, pp. 93-96.
 ‘The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devils party without knowing it.’ William Blake, The Marriage of Heaven and Hell (1790), in The Poetical Works of William Blake, ed. John Sampson (London etc.: Oxford University Press, 1914), p. 249.
 Matthew Sangster, ‘Peake and Vulnerability’, Miracle Enough: Papers on the Works of Mervyn Peake, ed. G. Peter Winnington, introd. William Gray (Newcastle: Cambridge Scholars Press, 2013), pp. 105-116.