Charles Maddox 03 - A Treacherous Likeness

by Lynn Shepherd

  The butler frowns slightly. ‘I will see if my master or my lady is at home.’

  The door closes, and Charles stamps up and down for five minutes on the steps trying to keep warm, not much bothered that the noise must be perfectly audible from inside the house.

  The door opens again, and the butler reappears.

  ‘If you would come with me.’

  Charles dutifully follows him along the hall and up the stairs. His eyes are, to all appearances, courteously averted, but his great-uncle has taught him well and he is extremely proficient at discerning a great deal from the seemingly trivial. Houses, animals and clothes often tell him more about the people who own them than those owners ever do (and we might reflect in passing how much we’ve already learned of Charles from his eccentric collection of specimens, his complete lack of interest in his personal appearance, and his care for his cat). As for this house, it is conventionally laid-out and conventionally furnished, in what the occupants no doubt consider to be good taste, but Charles, for one, considers it to be just a little too over-embellished, and a mite too ponderous. Exactly the same conclusions, as a matter of fact, as he drew from that small piece of cardboard two inches by three, which is all he’s had to go on up till now. He can see likewise that the brightly coloured fabrics and upholstery in this house are actually of rather inferior quality, and the furniture probably second-hand. There seems, indeed, to be an intriguing tension between a desire for flamboyance and a reluctance to pay for it, and he wonders if perhaps those two sentiments are a reflection of the master and mistress of this house, and if so, which is which.

  The butler opens the drawing-room door to let him in, then closes it quietly behind him. It is a blue room, this one, though the blues are not all quite the same tone, as if individual pieces have been bought from different sales. There are not the shelves of books Charles would have expected to find in a house owned by this family, and the cabinets at either side of the fireplace are congested instead with ornaments and china figurines, and here and there a porcelain-faced doll. The only books visible in the room are in two glass-fronted cases placed directly beneath a portrait, accorded pride of place between the long windows giving onto the square. Charles takes a pace or two towards it and finds himself face to face not with the man he has come to see, but with his father. Or, at least, with his likeness. Framed in over-ornate gold, the painting hangs above a pier-table, which, along with the books, holds an arrangement of wax lilies under a glass dome, and a candle in a silver chamberstick. The candle is lit, even in broad day, and someone has carefully pasted dark blue paper spangled with stars to the back of the bookcases. The overall effect is unsettlingly shrine-like, and far too queasily mawkish for Charles, but he’s drawn to the portrait none the less. He’s seen it before somewhere – no doubt reproduced as a frontispiece – but he looks at it now with a more professional interest. From a purely technical perspective the painting has little to recommend it, but it is the subject, not the style, that will make this one of the century’s most recognized portraits. The dark jacket and the white shirt open at the neck; the unruly curls and the intense gaze; the pen held poised in the long, slender fingers. When this man died he was an exile and a pariah, ‘an outcast from human society’, denounced for his beliefs and reviled for his conduct, his works condemned and largely unread. And yet by the end of the century this image will have become an icon of all it means to be ‘Romantic’ – all it means to be a poet, and a genius, and an unacknowledged legislator of the world. An appropriate quotation that, because the man this portrait shows – as the inscription confirms – is none other than

  Percy Bysshe Shelley

  4th August 1792 – 8th July 1822

  He has outsoared the shadow of our night:

  Envy and calumny, and hate and pain,

  And that unrest which men miscall delight,

  Can touch him not and torture not again.

  Charles moves closer, struck by the dates. The poet was not quite thirty, then, when he died, and this likeness must have been produced some time before that, but there is all the same an oddly childlike quality to the faint, almost girlish flush, and the pink bud of a mouth. And if he was not quite thirty in 1822, that means (as Charles quickly calculates), his son must be about that age now.

  ‘They all do that.’

  Charles swings round, too absorbed in the picture to have heard the encroaching steps. ‘I’m sorry?’

  The man before him is stout, rather paunchy, and a good three inches shorter than Charles. He has watery hangdog eyes, a beaky nose, and a sandy nondescript beard that is in need of a good trim. ‘Nondescript’ rather sums him up, in fact, since there is nothing remotely unusual or distinctive about him. So much so, indeed, that Charles initially assumes he must be some or other household retainer – a secretary or steward – but as the man starts talking it becomes obvious how wrong that assumption was.

  ‘The painting. Everyone who comes here looks at it like that. Copy, of course. Real one’s in the mater’s room. But I’m told this ain’t bad. Wouldn’t know myself. Never did have an eye for art.’

  He talks in the clipped, tight way so redolent of a public-school education, and for all that he looks nearer fifty than thirty there is still something of the overgrown schoolboy about him. Part of it, no doubt, is down to his rather gawky awkwardness – something that most men in his position outgrow long before their majority, and which suggests to Charles that he was not always destined to hold the title his father never lived to inherit, and the money that title brought with it has come to him late, after years of stringency. Which may, now Charles thinks about it, go a long way to explaining the character of this house. Meanwhile, the man in question has wandered over to a table in the centre of the room, and begun to fiddle absent-mindedly with a scale model of a sailing-boat. Charles stares at it, and at him, for a brief, dumbfounded moment, for Shelley drowned aboard just such a vessel as that, and in all probability it was the unstable and extravagant design of that boat, and his failure to recognize it, and make allowances in the rigging of it, that drove him and the two men with him to their deaths. But that being the case, how can his widow and son bear such a reminder, every day, every time they enter this room? But here, yet again, his host wrong-foots him.

  ‘A peach, isn’t she?’ he says, gesturing Charles to a chair. ‘The Eirene. Had her namesake built for me at Mallaby’s in Putney in ’forty-seven. Took her to Norway that year too. Lovely mover. Takes the wind like a swallow. Mater can’t bear the sight of it. Can’t blame her, I suppose. Always was a worrier. Specially about sailing.’

  ‘Well,’ stammers Charles, ‘I suppose that’s only to be expected.’

  ‘Odd, though, ain’t it? That a fellow should enjoy nothing more than pottering about in boats when his pater drowned in one. Never have been able to explain it.’ He sets the boat back on its stand and comes over to the sopha opposite the one where Charles has taken a seat. He sits down rather heavily and stares at Charles, rubbing his beard. He seems rather ill at ease, and keeps glancing at the door as if expecting someone else.

  ‘Look here,’ he says eventually, ‘Maddox, is it? This is rather a rum do, and that’s a fact.’

  Charles waits, not knowing what encouragement is required. ‘I am quite accustomed,’ he ventures, after a moment or two, ‘to dealing with matters of a sensitive nature. I know that a man in your position—’

  Sir Percy waves his hand. ‘Quite so, quite so. Not that. Not that at all. Thing is—’

  And now the door does indeed open, and a woman enters the room with all the briskness of a career housekeeper. She is certainly dressed like one, in a sensible plain dress long past its first wearing and a pair of practical shoes, but Charles has wised up now and deduces – correctly – that this is the lady of the house, even if it is clear to him in an instant that she, too, was not born to the rank she now enjoys. And seeing that, he is on his feet at once, knowing from experience that a woman in such a situat
ion will insist on her due recognition all the more ardently.

  ‘My apologies, Percy,’ she says, taking a seat beside her husband. ‘Dear Madre is rather unwell this morning and couldn’t bear to have me leave her.’

  Sir Percy, meanwhile, looks visibly relieved at being released from a task that was clearly giving him a good deal of difficulty and, having made the introductions, sinks back into the sopha to take what Charles guesses to be his accustomed secondary position.

  ‘Sir Percy has told you of our predicament?’ she begins, looking Charles up and down with no apparent embarrassment. She is sitting as far forward on the sopha as her husband is behind. ‘Perched’ is the word that comes irresistibly to mind, and she does indeed look rather bird-like sitting there. Charles searches for a species and suppresses a superior smile as he settles on a squab. A rather unkind analogy, but undeniably apt for a woman so plump, grey, and pigeon-breasted and who is, to all appearances, bright-eyed without being particularly bright-minded. The look fits, certainly, but whether it will lead our young man dangerously to underestimate her intelligence, we shall have to wait and see.

  ‘I was just getting to all that, my love,’ murmurs her husband, ‘when you came in.’

  ‘Ah, well,’ she says quickly, ‘in that case, it may save time if I give you these notes I have prepared. They are, needless to say, completely confidential, and not to be divulged or copied without our express permission.’

  Charles is taken aback, for the third time already in that house: this is quite definitely the first occasion that a client has ever prepared him a briefing in advance. He takes the papers she is holding out, but she gives him no more than a minute to start reading before speaking again.

  ‘As you see, our dear Madre has been the subject of several previous incidents of the like shameful nature. Rogues and charlatans who have attempted to abuse her gentle nature, and exploit her absolute devotion to the Dear Departed for their own mercenary ends.’

  Charles looks up from the paper, struck as much by her portentous tone as by what she says. Evidently both the poet and his wife are only to be spoken of in Capital Letters, and he knows now whose idea that shrine on the table was, and who – in this house – is the literal and metaphorical keeper of the flame. He clears his throat, ‘These notes will be most useful as an aide-memoire, Lady Shelley, but perhaps you could start by giving me an account – in your own words – of the “predicament” you mentioned. If you would be so good?’

  Lady Shelley glances at her husband, then turns to Charles. ‘Well,’ she commences, ‘you may know that in the early years of her marriage Madre spent a good deal of time travelling on the Continent, and also lived in a number of different houses in England. It was unfortunate therefore, but perhaps inevitable, that papers would sometimes go astray, or be left behind, and some of these have since fallen into unscrupulous hands.’

  Charles nods, perceiving that some reaction is necessary, and she takes a breath and plunges on.

  ‘In recent years, as the reputation of the Dear Departed has grown and the world is finally coming to appreciate the exalted quality of his Genius, certain individuals have come forward claiming to be in possession of those missing papers.’

  This is all starting to sound suspiciously like a prepared speech and Charles wonders how many others of his calling have sat here and heard it.

  ‘Some of these papers,’ she continues, ‘have proved to be genuine, and most of these Madre has purchased. Others have been the most infamous impostures.’

  Charles glances down at the notes. ‘I take it you are referring to the incident mentioned here – concerning George Byron?’

  Lady Shelley snorts with disdain. ‘He called himself that and claimed the descent, even if illegitimately, but believe me, he is no more Lord Byron’s son than I am—’ she looks around, seemingly in need of an even more outrageous and unbelievable comparison ‘—or you are.’

  Charles is irrationally piqued by this observation, and there is perhaps just the slightest sharpness in his reply: ‘Legitimate or not, it appears from these notes that the man did indeed possess some of Mrs Shelley’s papers.’

  Lady Shelley lifts her nose, as if troubled by a bad smell. ‘Some were genuine, yes. We never did discover how that scoundrel laid hands upon them. But most of those he tried to sell poor dear Madre were outright forgeries.’

  ‘I see,’ says Charles. ‘And the second case? The memoir?’

  There is a sudden rattle as the wind hurls at the window and the candle burning beneath the portrait dips and wavers, throwing ghastly shadows up over the poet’s face. Lady Shelley is on her feet in an instant, rushing to the table and holding her hand close about the flame until it straightens and gathers strength.

  ‘The servants are under strict instructions,’ she says, as she returns to the sopha. ‘The candle is never to be allowed to die.’

  ‘You were saying, Lady Shelley? About the memoir?’

  Her face darkens, and she purses her thin lips. ‘That was of a rather different order. A cousin of the Poet’s, one Thomas Medwin, sought to make money from their slight connection when mere boys by publishing what he impudently termed a “Life”. It was nothing but a base attempt at villainous extortion.’

  Charles frowns. ‘I’m not sure I follow – how could he use such a memoir to extract money?’

  ‘By offering not to publish it, of course!’ retorts Lady Shelley, somewhat shrilly. ‘He told Madre she could prevent it appearing if she paid him two hundred and fifty pounds. Which she did not have, and would not have paid, even if she had.’

  ‘So he was aware from the start that Mrs Shelley would not want such a memoir to appear?’

  ‘That or any other. Madre has always maintained that if the Poet’s life is to be written she will do it herself. But now is not yet the time. The world is not yet ready.’

  Charles is willing to wager this is another of Lady Shelley’s prepared speeches, and her cheeks have now gone rather red. And he can understand why. There are aspects of Shelley’s life that are far less palatable in 1850 than they would have been in the rather more broad-minded first quarter of the nineteenth century. Indeed, one would be hard put to come up with two notions more utterly repugnant to the strait-laced mid-Victorian bourgeoisie than Atheism and Free Love.

  ‘So she tried to persuade this Medwin to forbear?’

  ‘Quite so – in fact I believe “forbearance and reserve” were exactly her words. But the blackguard took no notice. Poor Madre was nearly frantic with worry, wondering what he might say.’

  ‘Complete bounder,’ mutters Sir Percy. ‘Country’s going to the dogs.’

  Charles looks from one to the other. ‘And the memoir itself, did it appear?’

  Lady Shelley has regained her composure. ‘Some three years ago. It was not, as it turned out, quite as detrimental to the fame of the Poet as Madre had feared, but it was still quite deplorably inaccurate on many points of moment, and seemingly written with the sole purpose of endowing the author with a significance in the Poet’s life he most certainly did not possess.’

  And how could she know that, wonders Charles, since she cannot possibly have ever met him? But he elects to let it pass. ‘I believe you said there were other similar instances?’

  Sir Percy shifts in his seat. ‘Well, there was that Gatteschi fellow, but that was back in ’forty-five—’

  His wife gives him a sharp glance, and a silent message passes between them. This time Charles decides he will push, just a little, and see what results.

  ‘Gatteschi?’

  Lady Shelley takes out her handkerchief and waves it, as if to swat away such unpleasantness. ‘It was rather distressing at the time, but nothing came of it in the end, God be thanked. Madre met him in Paris. Very handsome, very dashing, but quite without principles. Dear Madre has always been so trusting, and this dreadful man preyed upon it. He inveigled himself into her confidence and ended up in receipt of some letters relating to her past l
ife that would apparently have had most unfortunate consequences if they had been made public.’

  ‘Letters from Shelley?’

  ‘No,’ she says, flushing again. ‘They were letters Madre had written to Gatteschi herself.’

  How very interesting, thinks Charles. Why would she have unburdened herself of such damaging details to an all-but stranger? And what could she possibly have divulged that the world does not already know – and condemn?

  ‘But as I said,’ Lady Shelley continues, ‘a dependable friend was happily on hand, and the police proved surprisingly efficient – for the French. All the papers were seized and safely destroyed. But the whole affair caused Madre the most dreadful torment. Thankfully she has me to protect her now. And I will absolutely not allow anything of the kind to happen again.’

  Charles wonders if she realizes what a dim light this casts on the man she married – who should surely be the one to protect his widowed mother, if such a role is required – but if either of them is aware of it they give no sign. Perhaps Sir Percy is so used to hearing the like observations that he scarcely notices any more.

  Husband and wife are both silent for a time, then he gives a feeble cough and she wipes her eyes. The mere thought of the Poet and his widow appears to raise Lady Shelley to a pitch of breathless emotion that her own husband has never succeeded in exciting. The Victorians have no word for ‘groupie’, but Charles is in the presence of one all the same. He waits a moment longer, having learned from his great-uncle what a weapon silence can be, and how swiftly most people will rush to fill it. But these two seem to be the exception.

  ‘Am I to understand that you asked me to come here because something of the kind has indeed happened again?’

  Lady Shelley looks up, and now her plain round face is suffused with indignation. ‘It is infamous – quite infamous. It has come to our attention that a connection of Madre’s from many years ago has returned unexpectedly to London, and may even now be hawking the Poet’s private papers around London, in an attempt to sell them to the highest bidder.’