Point Counter Point

by Aldous Huxley

  ‘But what about clothes,’ said Illidge doubtfully. ‘I can’t come down like this.’ He looked down at himself. It had been a cheap suit at the best of times. Age had not improved it.

  ‘Oh, that doesn’t matter.’ A dog with the smell of rabbits in his nostrils could hardly have shown a more indecent eagerness than Lord Edward at the sound of Pongileoni’s flute. He took his assistant’s arm and hurried him out of the door, and along the corridor towards the stairs. ‘It’s just a little party,’ he went on. ‘I seem to remember my wife having said… Quite informal. And besides,’ he added, inventing new excuses to justify the violence of his musical appetite, ‘we can just slip in without… Nobody will notice.’

  Illidge had his doubts. ‘I’m afraid it’s not a very small party,’ he began; he had seen the motors arriving.

  ‘Never mind, never mind,’ interrupted Lord Edward, lusting irrepressibly for Bach.

  Illidge abandoned himself. He would look like a horrible fool, he reflected, in his shiny blue serge suit. But perhaps, on second thoughts, it was better to appear in shiny blue—straight from the laboratory, after all, and under the protection of the master of the house (himself in a tweed jacket), than in that old and, as he had perceived during previous excursions into Lady Edward’s luscious world, deplorably shoddy and illmade evening suit of his. It was better to be totally different from the rich and smart-a visitor from another intellectual planet—than a fourth-rate and snobbish imitator. Dressed in blue, one might be stared at as an oddity; in badly cut black (like a waiter) one was contemptuously ignored, one was despised for trying without success to be what one obviously wasn’t.

  Illidge braced himself to play the part of the Martian visitor with firmness, even assertively.

  Their entrance was even more embarrassingly conspicuous than Illidge had anticipated. The great staircase at Tantamount House comes down from the first floor in two branches which join, like a pair of equal rivers, to precipitate themselves in a single architectural cataract of Verona marble into the hall. It debouches under the arcades, in the centre of one of the sides of the covered quadrangle, opposite the vestibule and the front door. Coming in from the street, one looks across the hall and sees through the central arch of the opposite arcade the wide stairs and shining balustrades climbing up to a landing on which a Venus by Canova, the pride of the third marquess’s collection, stands pedestalled in an alcove, screening with a modest but coquettish gesture of her two hands, or rather failing to screen, her marble charms. It was at the foot of this triumphal slope of marble that Lady Edward had posted the orchestra; her guests were seated in serried rows confronting it. When Illidge and Lord Edward turned the corner in front of Canova’s Venus, tiptoeing, as they approached the music and the listening crowd, with steps ever more laboriously conspiratorial, they found themselves suddenly at the focus of a hundred pairs of eyes. A gust of curiosity stirred the assembled guests. The apparition from a world so different from theirs of this huge bent old man, pipe-smoking and tweed-jacketed, seemed strangely portentous. He had a certain air of the skeleton in the cupboard—broken loose; or of one of those monsters which haunt the palaces of only the best and most aristocratic families. The Beastie of Glamis, the Minotaur itself could hardly have aroused more interest than did Lord Edward. Lorgnons were raised, there was a general craning to left and right, as people tried to look round the well-fed obstacles in front of them. Becoming suddenly aware of so many inquisitive glances, Lord Edward took fright. A consciousness of social sin possessed him; he took his pipe out of his mouth and put it away, still smoking, into the pocket of his jacket. He halted irresolutely. Flight or advance? He turned this way and that, pivoting his whole bent body from the hips with a curious swinging motion, like the slow ponderous balancing of a camel’s neck. For a moment he wanted to retreat. But love of Bach was stronger than his terrors. He was the bear whom the smell of molasses constrains in spite of all his fears to visit the hunters’ camp; the lover who is ready to face an armed and outraged husband and the divorce court for the sake of an hour in his mistress’s arms. He went forward, tiptoeing down the stairs more conspiratorially than ever—Guy Fawkes discovered, but yet irrationally hoping that he might escape notice by acting as though the Gunpowder Plot were still unrolling itself according to plan. Illidge followed him. His face had gone very red with the embarrassment of the first moment; but in spite of this embarrassment, or rather because of it, he came downstairs after Lord Edward with a kind of swagger, one hand in his pocket, a smile on his lips. He turned his eyes coolly this way and that over the crowd. The expression on his face was one of contemptuous amusement. Too busy being the Martian to look where he was going, Illidge suddenly missed his footing on this unfamiliarly regal staircase with its inordinate treads and dwarfishly low risers. His foot slipped, he staggered wildly on the brink of a fall, waving his arms, to come to rest, however, still miraculously on his feet, some two or three steps lower down. He resumed his descent with such dignity as he could muster up. He felt exceedingly angry, he hated Lady Edward’s guests one and all, without exception.

  CHAPTER IV

  Pongileoni surpassed himself in the final Badinerie. Euclidean axioms made holiday with the formulae of elementary statics. Arithmetic held a wild saturnalian kermesse; algebra cut capers. The music came to an end in an orgy of mathematical merry-making. There was applause. Tolley bowed, with all his usual grace; Pongileoni bowed, even the anonymous fiddlers bowed. The audience pushed back its chairs and got up. Torrents of pent-up chatter broke loose.

  ‘Wasn’t the Old Man too marvellously funny?’ Polly Logan had found a friend.

  ‘And the little carroty man with him.’

  ‘Like Mutt and Jeff.’

  ‘I thought I should die of laughing,’ said Norah.

  ‘Such an old magician!’ Polly spoke in a thrilling whisper, leaning forward and opening her eyes very wide, as though to express in dramatic pantomime as well as words the mysteriousness of the magical old man. ‘A wizard.’

  ‘But what does he do up there?’

  ‘Cuts up toads and salamanders and all that,’ Polly answered.

  ‘Eye of newt and toe of frog,

  Wool of bat and tongue of dog…’

  She recited with gusto, intoxicated by the words. ‘And he takes guinea-pigs and makes them breed with serpents. Can you imagine it—a cross between a cobra and a guinea-pig?’

  ‘Ugh!’ the other shuddered. ‘But why did he ever marry her, if that’s the only sort of thing he’s interested in? That’s what I always wonder.’

  ‘Why did she marry him?’ Polly’s voice dropped again to a stage whisper. She liked to make everything sound exciting-as exciting as she still felt everything to be. She was only twenty. ‘There were very good reasons for that.’

  ‘Yes, I suppose so.’

  ‘And she was a Canadian, remember, which made the reasons even more cogent.’

  ‘One wonders how Lucy ever…’

  ‘Sh-sh.’

  The other looked round. ‘Wasn’t Pongileoni splendid,’ she exclaimed very loudly, and with altogether too much presence of mind.

  ‘Too wonderful!’ Polly bawled back, as though she were on the stage at Drury Lane. ‘Ah, there’s Lady Edward.’ They were both enormously surprised and delighted. ‘We were just saying how marvellous Pongileoni’s playing was.’

  ‘Were you?’ said Lady Edward smiling and looking from one to the other. She had a deep rich voice and spoke slowly, as though everything she said were very serious and important. ‘That was very nice of you.’ The ‘r’ was most emphatically rolled. ‘He’s an Italian,’ she added, and her face was now quite grave and unsmiling. ‘Which makes it even more wonderful.’ And she passed on, leaving the two young girls haggardly looking into one another’s blushing face.

  Lady Edward was a small, thin woman, with an elegance of figure that, in a low-cut dress, was visibly beginning to run to bones and angles, as were also the aquiline good looks of a rathe
r long and narrow face. A French mother and perhaps, in these later days, the hairdresser’s art accounted for the jetty blackness of her hair. Her skin was whitely opaque. Under arched black eyebrows her eyes had that boldness and insistence of regard which is the characteristic of all very dark eyes set in a pale face. To this generic boldness Lady Edward added a certain candid impertinence of fixed gaze and bright ingenuous expression that was entirely her own. They were the eyes of a child, ‘mais d’un enfant terrible,’ as John Bidlake had warned a French colleague whom he had taken to see her. The French colleague had occasion to make the discovery on his own account. At the luncheon table he found himself sitting next to the critic who had written of his pictures that they were the work either of an imbecile or of a practical joker. Wide-eyed and innocent, Lady Edward had started a discussion on art…. John Bidlake was furious. He drew her aside when the meal was over and gave her a piece of his mind.

  ‘Damn it all,’ he said, ‘the man’s my friend. I bring him to see you. And this is how you treat him. It’s a bit thick.’

  Lady Edward’s bright black eyes had never been more candid, nor her voice more disarmingly French-Canadian (for she could modify her accent at will, making it more or less colonial according as it suited her to be the simple-hearted child of the North American steppe or the English aristocrat). ‘But what’s too thick?’ she asked. ‘What have I done this time?’

  ‘None of your comedy with me,’ said Bidlake.

  ‘But it isn’t a comedy. I’ve no idea what’s thick. No idea.’

  Bidlake explained about the critic. ‘You knew as well as I do,’ he said.’ And now I come to think of it, we were talking about his article only last week.’

  Lady Edward frowned, as though trying to recapture a vanished memory. ‘so we were!’ she cried at last, and looked at him with an expression of horror and repentance. ‘Too awful! But you know what a hopeless memory I have.’

  ‘You have the best memory of any person I know,’ said Bidlake.

  ‘But I always forget,’ she protested.

  ‘Only what you know you ought to remember. It’s a damned sight too regular to be accidental. You deliberately remember to forget.’

  ‘What nonsense!’ cried Lady Edward.

  ‘If you had a bad memory,’ Bidlake went on, ‘you might occasionally forget that husbands oughtn’t to be asked to meet the notorious lovers of their wives; you might sometimes forget that anarchists and leader writers in the Morning Post aren’t likely to be the best friends, and that pious Catholics don’t much enjoy listening to blasphemy from professional atheists. You might occasionally forget, if your memory were bad. But, I assure you, it needs a first-class memory to forget every time. A first-class memory and a first-class love of mischief.’

  For the first time since the conversation had begun Lady Edward relaxed her ingenuous seriousness. She laughed. ‘You’re too absurd, my dear John.’

  Talking, Bidlake had recovered his good humour; he echoed her laughter. ‘Mind you,’ he said, ‘I don’t in the least object to your playing practical jokes on other people. I enjoy it. But I do draw the line at having them played on me.’

  ‘I’ll do my best to remember next time,’ she said meekly and looked at him with an ingenuousness that was so impertinent, that he had to laugh.

  That had been many years before; she had kept her word and played no more tricks on him. But with other people, she was just as embarrassingly innocent and forgetful as ever. Throughout the world in which she moved her exploits were proverbial. People laughed. But there were too many victims; she was feared, she was not liked. But her parties were always thronged; her cook, her wine merchant and caterer were of the first class. Much was forgiven her for her husband’s wealth. Besides, the company at Tantamount House was always variously and often eccentrically distinguished. People accepted her invitations and took their revenge by speaking ill of her behind her back. They called her, among other things, a snob and a lion hunter. But a snob, they had to admit to her defenders, who laughed at the pomps and grandeurs for which she lived. A hunter who collected lions in order that she might bait them. Where a middle-class Englishwoman would have been serious and abject, Lady Edward was mockingly irreverent. She hailed from the New World; for her the traditional hierarchies were a joke—but a picturesque joke and one worth living for.

  ‘She might have been the heroine of that anecdote,’ old Bidlake had once remarked of her, ‘that anecdote about the American and the two English peers. You remember? He got into conversation with two Englishmen in the train, liked them very much, wanted to renew the acquaintance later and asked their names. “My name,” says one of them, “is the Duke of Hampshire and this is my friend the Master of Ballantrae.” “Glad to meet you,” says the American. “Allow me to present my son Jesus Christ.” That’s Hilda all over. And yet her whole life consists precisely in asking and being asked out by the people whose titles seem to her so comic. Queer.’ He shook his head.’very queer indeed.’

  Turning way from the two discomfited young girls, Lady Edward was almost run down by a very tall and burly man, who was hurrying with dangerous speed across the crowded room.

  ‘Sorry,’ he said without looking down to see who it was he had almost knocked over. His eyes were following the movements of somebody at the other end of the room; he was only aware of a smallish obstacle, presumably human, since all the obstacles in the neighbourhood were human. He checked himself in mid career and took a step to the side, so as to get round the obstacle. But the obstacle was not of the kind one circumvents as easily as that.

  Lady Edward reached out and caught him by the sleeve. ‘Webley!’ Pretending not to have felt the hand on his sleeve, not to have heard the calling of his name, Everard Webley still moved on; he had no wish and no leisure to talk to Lady Edward. But Lady Edward would not be shaken off; she suffered herself to be dragged along, still tugging, at his side.

  ‘Webley!’ she repeated.’Stop! Woa!’ And her imitation of a country carter was so loud and so realistically rustic that Webley was compelled to listen, for fear of attracting the laughing attention of his fellow guests.

  He looked down at her. ‘Oh, it’s you,’ he said gruffly. ‘Sorry I hadn’t noticed.’ The annoyance, expressed in his frown and his ill-mannered words, was partly genuine, partly assumed. Many people, he had found, are frightened of anger; he cultivated his natural ferocity. It kept people at a distance, saved him from being bothered.

  ‘Goodness!’ exclaimed Lady Edward with an expression of terror that was frankly a caricature.

  ‘Did you want anything?’ he demanded in the tone in which he might have addressed an importunate beggar in the street.

  ‘You do look cross.’

  ‘If that was all you wanted to say to me, I think I might as well…’

  ‘Lady Edward, meanwhile, had been examining him critically out of her candidly impertinent eyes.

  ‘You know,’ she said, interrupting him in the middle of his sentence, as though unable to delay for a moment longer the announcement of her great and sudden discovery,’ you ought to play the part of Captain Hook in Peter Pan. Yes, really. You have the ideal face for a pirate king. Hasn’t he, Mr. Babbage?’ She caught at Illidge as he was passing, disconsolately alien, through the crowd of strangers.

  ‘Good evening,’ he said. The cordiality of Lady Edward’s smile did not entirely make up for the insult of his unremembered name.

  ‘Webley, this is Mr. Babbage, who helps my husband with his work.’ Webley nodded a distant acknowledgment of Illidge’s existence. ‘But don’t you think he’s like a pirate king, Mr. Babbage? ‘ Lady Edward went on. ‘Look at him now.’

  Illidge uncomfortably laughed. ‘Not that I’ve seen many pirate kings,’ he said.

  ‘But of course,’ Lady Edward cried out, ‘I’d forgotten; he is a pirate king. In real life. Aren’t you, Webley?’

  Everard Webley laughed.’Oh, certainly, certainly.’

  ‘Because, you s
ee,’ Lady Edward explained, turning confidentially to Illidge, ‘this is Mr. Everard Webley. The head of the British Freemen. You know those men in the green uniform? Like the male chorus at a musical comedy.’

  Illidge smiled maliciously and nodded. So this, he was thinking, was Everard Webley. The founder and the head of the Brotherhood of British Freemen—the B.B.F.’s, the ‘B—y, b—ing, f—s,’ as their enemies called them. Inevitably; for, as the extremely well-informed correspondent of the Figaro once remarked in an article devoted to the Freemen, ‘les initiales B.B.F. ont, pour le public anglais, une signification plutot pejorative.’ Webley had not thought of that, when he gave his Freemen their name. It pleased Illidge to reflect that he must be made to think of it very often now.

  ‘If you’ve finished being funny,’ said Everard, ‘I’ll take my leave.’

  Tinpot Mussolini, Illidge was thinking. Looks his part, too. (He had a special personal hatred of anyone who was tall and handsome, or who looked in any way distinguished. He himself was small and had the appearance of a very intelligent street Arab, grown up.) Great lout!’

  ‘But you’re not offended by anything I said, are you?’ Lady Edward asked with a great show of anxiety and contrition.

  Illidge remembered a cartoon in the Daily Herald. ‘The British Freemen,’ Webley had had the insolence to say, ‘exist to keep the world safe for intelligence.’ The cartoon showed Webley and half a dozen of his uniformed bandits kicking and bludgeoning a workman to death. Behind them a top-hatted company-director looked on approvingly. Across his monstrous belly sprawled the word: INTELLIGENCE.

  ‘Not offended, Webley?’ Lady Edward repeated.

  ‘Not in the least. I’m only rather busy. You see,’ he explained in his silkiest voice, ‘ I have things to do. I work, if you know what that means.’