Category Archives: history

Dashing off downhill.

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“There was an actress who wore a white dress with a circle cut in it just above her navel so that her skin could be seen, which looked very pink. Against the white, it was as if she had dropped a slice of ham on her lap; but it showed good feeling and willingness to think out new ways of pleasing.”

The actress appears at a party in New York, in the last pages of Cousin Rosamund by Rebecca West. At the end of the third novel in the Aubrey Trilogy, Rose is talking about her visit with her sister Mary to the United States during the Great Depression; West herself did visit many times, not as a musician but as a journalist and author. What she does in these books I think of as the best kind of historical fiction, the autobiographical kind; when I do my time travel I like to go about with a friend who knows the places and people well, who is observant, analytical, and attentive to every detail.

“Since the crash in America Mary and I were not offered nearly such good tours… but we could not keep away, and we felt a longing… to be with our friends again. They were so friendly and they were so violently engaged in life; being with them was like getting on a toboggan behind somebody one liked, putting one’s arms round them, and dashing off downhill over the spurting snow.”

“On the boat the American passengers told us stories of ruin, but with an upward, hopeful inflection that made them hard to consider: it was as if we were trying to look into the eyes of someone who wore brightly polished spectacles.”

“…these people spoke always of general ruin, which had not touched them yet but must, of this paralysis, spread further. They spoke too of prescriptions to end it, and showed themselves naked and newborn in their innocence, as unaware that blood ran in their bodies as they were of bandages and tourniquets.

“’They are like us when Papa went away,’ said Mary, as we drove home. ‘Do you remember how we talked about going into factories, we did not know which, and making enough to keep the house going?’

“’They are like us in other ways,’ I said. ‘They speak of the stock market as something that has an independent existence and sometimes gave them lots of money. It was their father, they are like us, they are gambled children.’”

Warned by their music.

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By the end of the second novel in Rebecca West’s Aubrey Trilogy, This Real Night, the children are grown up, and our narrator Rose is often discussing with herself the meaning of world events and human behavior. The narrator’s inner dialogue is just one of the ways that I think the author expresses her own wonderings and certainties; the reader also learns from discussions between the characters, often in emphatic statements that one or another makes out loud or privately in silence, on any number of topics, from fashion to politics and philosophy, from the motives of others to the failings of herself.

The constant revelation of what goes on in her highly analytical mind, her wanting to understand the meaning of things, and her sureness that there is something numinous behind the visible world, all draw me to the stories. (She makes me love just being with the characters — I never want to leave them — which is probably a greater reason, but it deserves its own post.)

I don’t know how to describe the elements of her prose style that makes every other sentence seem worth reading a second or third time — so I keep posting samples. I can say that each page is rich in metaphors that somehow are more than metaphorical: they convey an understanding that there is something more than meets the eye; much of the truth of things is underneath, and beyond.

She is quoted as having said, “Writing has nothing to do with communication between person and person, only with communication between different parts of a person’s mind.” She didn’t complete This Real Night until almost 30 years after The Fountain Overflows, and it was published in 1984, the year after her death. Here are a couple of passages from the last chapters:

“We were not surprised when the war came, for we had heard our father prophesying it all through our childhood… We had also been warned by our music. Great music is in a sense serene; it is certain of the values it asserts. But it is also in terror, because those values are threatened, and it is not certain whether they will triumph in this world, and of course music is a missionary effort to colonise earth for imperialistic heaven. So we were not so sorely stricken by August, 1914, as many other people. Indeed we had our consolations. It was proved to us that music was not making a fuss about nothing, and that the faces of our parents had been distorted out of common placidity not by madness but by the genuine spirit of prophecy.”

Soon, however, their only brother Richard Quin enlists, and after a few months of training in England, during which his family sees him often, he ships off to the Continent, and they accompany him to Victoria Station in London.

“The space around the station had become one of those areas which, like cemeteries and the corridors of hospitals, are swinging on a turntable between the worlds… myriads of men in uniform, deformed by the weight of the kitbags on their backs, of women and children scurrying by their sides, those also deformed, by the weight of grief and stoicism… Above, a great dimly lit illuminated clock said that this was the hour. The occasion was the annulment of life, for what is life but being able to move according to the will?

“But the people who got out of the taxis and cars, all the men bent under their kitbags, were doing what their will would never want them to do, which it could never let them do, were it not in the custody of something outside them not certified to be wise or loyal. The clock said that there was not time to start that argument….”

Hovering over the meadow.

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Our Orthodox commemoration of the Three Holy Hierarchs and Ecumenical Teachers was instituted as a result of 11th-century debates about which of them was the greatest. They themselves had to intervene by means of a vision given to St. John Bishop of Euchaita, who chose January 30 for their feast.

These three gifts to the Church are Basil the Great (330-379), Gregory the Theologian (329-389), and John Chrysostom (347-407). Each has his own feast day, but they are held in such esteem that it isn’t too much for us to remember them again together, they who in the words of a hymn, “have enlightened the world with the rays of their divine doctrines. They are sweetly-flowing rivers of wisdom filling all creation with springs of heavenly knowledge.”

A hymn of Matins on their feast day echoes a theme that runs through hagiography generally; it is the sweetness of true theology and and God’s Word imparted to us.

Like bees hovering over the meadow of scriptures,
You embraced the wonderful pollen of their flowers.
Together you have produced for all the faithful
The honey of your teachings for their complete delight.
Therefore as we each enjoy this,
We cry out with gladness:
Blessed ones, even after death,
Be advocates for us who praise you!

Light itself was permanently stained.

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When in the novel The Fountain Overflows Rose Aubrey accompanies her father to the House of Commons to persuade a particular MP to help his current cause, we find out just how wily a politician he is. We also get a glimpse of the glory of the architecture:

“…I looked down for the first time on Westminster Hall. We had entered a Victorian building and had come on Shakespeare. The stone chamber was splendid like blank verse, the golden angels who held up the roof matched the poetry of earth with heavenly hymns, great embodiments of the passions had gone out a minute before, trailing their gold and crimson cloaks on the staircase that leads up the wall and into the end of the play.”

… and of the drabness of the age, mused upon while waiting in the Central Lobby:

“It was like sitting in the midst of a tureen full of gravy soup. I was growing up at the end of an age which, partly by necessity and partly by choice, was very brown. In the towns chimneys poured out smoke from open fires and kitchen ranges, and light itself was permanently stained; and town-dwellers, who then so largely set the way of thinking, romanticized the obscurity to which they grew accustomed. Such sights as a narrow shaft of light struggling over a broad dark passage aroused none of the impatience we would feel today, but rather a sense that here was something as acceptable as a succession of major chords or a properly scanned line of verse.

“The House of Commons was a supreme effort of brownness. I can remember looking at one such needle-broad shaft of sunlight that afternoon, struggling through an interior brown in itself, what with brown wood, brown paint, and brown upholstery, and made more brown because the struggling rays of defeated natural light were supplemented by the molasses of shaded gaslight.”

The Central Lobby no longer lit by gas.

Originally I had planned for the photo just above to end my post, but then I saw Susan Branch’s recent exploration with lovely illustrations of BROWN. I am drawn to Rebecca West’s descriptions as an intimate peek into another time and place, but not having lived through that dimness to see the brightening of it, Susan’s take on Brown is closer to my own!