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Authors: Iris Murdoch

The Italian Girl

BOOK: The Italian Girl
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Iris Murdoch

To Patsy and John Grigg


Part One

A Moonlight Engraving

Otto's Laughter

Isabel Feeds the Fire

Otto and Innocence

Flora and Experience

The Magic Brothel

Two Kinds of Jew

Otto Confesses

Edmund is Tempted

Part Two

Uncle Edmund
in Loco Parentis

A Modern Ballet

Isabel Confesses

Edmund runs to Mother

Otto Selects a Victim

Lydia's Sense of Humour

Elsa's Fire Dance

Edmund in the Enchanted Wood

Part Three

Elsa's Rings


Isabel in a long Perspective


A Biography of Iris Murdoch

Part One

1. A Moonlight Engraving

I pressed the door gently. It had always been left open at night in the old days. When I became quite certain that it was locked, I stepped back into the moonlight and looked up at the house. Although it was barely midnight, there was not a light showing. They were all abed and asleep. I felt a resentment against them. I had expected a vigil, for her, and for me.

I moved through a soft tide of groundsel and small thistles to try the two front casements, but they were both firm and a greater blackness breathed at me from within. Calling out or throwing stones at windows in such a silence, these were abhorrent things. Yet to wait quietly in the light of the moon, a solitary excluded man, an intruder, this was abhorrent too. I walked a little, with dewy steps, and my shadow, thin and darkest blue, detached itself from the bulk of the house and stealthily followed. At the side it was all dark too and protected by such a dense jungle of ash saplings and young elder trees that it would have been impossible to reach a window, even had there been one unlatched. I measured, by the growth of these rank neglected plants, how long it was since I had last been in the north: it must be all of six years.

It had been foolish, entirely foolish, to come. I ought to have come earlier when she was ill, earlier when she wanted me and wrote in letters which for anger and guilt I could scarcely bear to read, come, come, come. To have come then would have made sense in the light of the last abstract consideration I had for her: after all she was my mother. But to come now that she was dead, to come merely to bury her, to stand in her dead presence with those half-strangers, my brother and my sister-in-law, this was senseless, a mere self-punishment.

I returned across the lawn, following my own tracks in the dew. The clouded moon had spread a luminous transparent limb across the sky, and showed me the silhouettes of the great trees which surrounded the house. It was still the skyline I knew best in the world. I felt for a moment almost tempted to go away, to try the door once again and then to go, like the mysterious traveller of the poem. ‘Tell them I came and no one answered.’ I looked again at the familiar shapes of the trees and shivered at the sudden proximity of my childhood. These were the old June smells, the wet midsummer night smells, the sound of the river and the distant waterfall. An owl hooted, slowly, deliberately, casting out one inside the other his expanding rings of sound. That too I remembered.

The thought that I might go away and leave them all there asleep made me pause with a sort of elation. There was an air of vengeance about it. That would be to leave them forever, since if I went away now I was sure I would never return. Indeed, whatever happened I would probably never, after this one time, return. My mother’s existence here had been the reason for my not coming. Now her non-existence would provide an even stronger reason.

I must have been standing there for some time in a sad reverie when I saw what for a weird second looked like a reflection of myself. I had so vividly, I now realized, pictured myself as a dark figure upon that silver expanse that when I saw, emerged into the dim light in front of me, another such figure I thought it could only be me. I shivered, first with this weird intuition, and the next moment with a more ordinary nervousness of this second night intruder. I knew at once from the outline of the man that it was not my brother Otto. Otto and I are both very big men, but Otto is bigger, although his stooping six foot three may pass for no more than my upright six foot one. The figure that now slowly advanced towards me was small and slim.

Although I am not especially a coward I have always been afraid of the dark and of things that happen in the dark: and this night illumination was worse than darkness. The sense that I was also frightening the other man simply made me more alarmed. In a horrible silence I moved slowly towards him until we were near enough to catch a glint from each other’s eyes.

A soft voice said, ‘Ah – you must be the brother.’

‘Yes. Who are you?’

‘I am your brother’s apprentice. My name is David Levkin. For a moment you frightened me. Are you locked out?’

‘Yes.’ I hated saying this to him, and suddenly all my old love for the place, my old patriotism for it, filled me with pain. I was locked out. It was monstrous.

‘Don’t worry. I’ll let you in. They are all gone to bed.’

He moved across the lawn to the shadow of the house and I followed him. The moonlight fell in streaks through the overgrown lattice of the porch, weighed down with honeysuckle, and revealed the fumbling hand and the key. Then the door gave softly to show the thick waiting blackness of the house, and I followed the boy out of the honeysuckle fragrance into the old stuffy foxy darkness of the hall. The door closed and he turned on a light and we looked at each other.

I recalled now that my sister-in-law Isabel, the news-giver of the family, had written to me some time ago about a new apprentice. Otto’s apprentices were something of a sad tale and a cause of scandal always to my mother. With unerring care he had attracted to himself a notable sequence of juvenile delinquents, each one worse than the last. I scanned the boy, but could not for the moment recall anything Isabel had said about him. He seemed about twenty. He did not look English. He was slim and long-necked, with big prominent lips and a lot of very straight brown hair. His nose was wide with big suspicious nostrils and he eyed me now with narrow eyes, very doubtfully, his lips apart. Then he smiled, and as the eyes almost vanished the cheeks broadened out in great wreaths of welcome. ‘So you have come.’

The locution might have been impertinent or merely foreign. I could not see his face properly. My mother, intensely mean with money, had always insisted on using the weakest possible electric light bulbs, so that there was scarcely more to be seen within than by the light of the moon. It was a weak, dirty, weary sort of dimness. I wished to be rid of him, and said, ‘Thank you. I can look after myself now.’

‘I do not sleep in the house.’ He said it solemnly and now with a perceptible foreignness. ‘You will know where to go?’

‘Yes, thank you. I can always wake my brother.’

‘He does not sleep in the house now either.’ I felt unable to discuss this.

I felt suddenly utterly tired and ill-used. ‘Well, good night, and thank you for letting me in.’

‘Good night.’ He was gone, dissolving in the pale, uncertain, yellow light, and the door was closing. I turned and began to go slowly up the stairs with my suitcase.

At the top of the stairs I paused as the familiar pattern of the house seemed to enter into my body magnetically: Otto’s room, my room
my father’s room, my mother’s room. I turned toward my own room, where I assumed a bed would have been made up for me; and then I paused. I had not yet really conceived of her as dead. I had thought about journeys and times, about the cremation which was to take place tomorrow, about the nature of the ceremony, about Otto, even about the property, but not about her. My thoughts, my feelings about her belonged to some other dimension of time, belonged to before whatever it was that had happened to her twenty-four or thirty-six hours ago. The sense of her mortality invaded me now, and it became inevitable that I should enter her room.

The dim electric light revealed the big landing, the oak chest and the fern which never grew but never died either, the fine but entirely threadbare Shiraz rug, the picture which might have been by Constable but wasn’t which my father had got in a sale at a price for which my mother never forgave him: and the closed silent doors of the rooms. Before the sick feeling should make me feel positively faint I went to my mother’s door and quickly opened it and turned on the light within.

I had not expected her face to be uncovered. I closed the door behind me and leaned back against it with a violently beating heart. She lay, raised up rather high upon the pillows, her eyes closed and her hair undone. She could not have been sleeping, though it would have been hard to say quite how this was evident. Her face was a yellowish white and narrowed, shrunk already away from life, altogether smaller. But her long hair which had been bronze once, now a dark brown striped with grey, seemed vital still, as if the terrible news had not yet come to it. It seemed even to move a little at my entrance, perhaps in a slight draught from the door. Her dead face had an expression which I had known upon it in life, a sort of soft crazed expression, like a Grünewald Saint Antony, a look of elated madness and suffering.

My mother’s name was Lydia, and she had always insisted that we call her by this name. This had displeased my father, but he did not cross her in this or indeed in anything else. My mother’s affections had early turned away from her husband and focused with rapacious violence upon her sons, with whom she had had, as it were, a series of love-affairs, transferring the centre of her affection to and fro between us: so that our childhood passed in an alternate frenzy of jealousy and of suffocation. In my first memories she was in love with Otto, who is my senior by two years. When I was six she loved me passionately, and again when I was ten, and again in my later years at school; and perhaps later too, and most fiercely of all, when she felt me slipping from her grasp. It was when it was at last clear to her that I had escaped, that I had run away and would not come back, that she turned her emotions on to her last love, her granddaughter Flora, Otto and Isabel’s only child. She would often say that no one but she could control the little girl. It was true; Lydia had seen to it that it was true.

She was a small woman. She had been so proud when we were at art school, of her two huge, talented sons. I can recall her walking between us and looking up at each in turn with a proud possessive leer, while we stared ahead and affected not to notice. She was, in some way, a great spirit; all that power, with some turn of the screw, might have organized some notable empire. There was nothing of the artist in her. Yet with this she was a timid woman, convinced of the hostility of the world and incapable of crossing a hotel lounge without believing that everyone there was staring at her and talking maliciously about her.

Isabel had put up but little fight. She lost Otto almost at once and withdrew herself into a sad sarcastic remoteness. Almost the last serious talk I had had with my brother, many years ago now, had been when I implored him, on his marriage, to get away from Lydia. I can recall the paralysed look with which he said that it was impossible. Shortly after that I departed myself. It was perhaps the spectacle of Lydia’s ruthlessness to Isabel which finally sickened me and made me feel for my mother at last the positive hatred which was a necessity for my escape. Yet Lydia never destroyed Isabel: Isabel was strong too in her own way, another ruined person, but strong.

It was scarcely credible that all that power had simply ceased to be, that the machine worked no longer. My father had passed from us almost unnoticed, we believed in his death long before it came. Yet my father had not been a nonentity. When he was the young and famous John Narraway, Narraway the socialist, the free-thinker, the artist, the craftsman, the saint, the exponent of the simple life, the redeemer of toil, he must have impressed my mother, he must indeed have been an impressive person, a talented and perhaps a fine person. Yet my early memories are not of my father, but of my mother one day saying to us: your father is not a good man, he is merely a timid man with unworldly tastes. We felt for him a faint contempt and later pity. He never beat us. It was Lydia who did that. He passed on to us only, in some measure, his talents. He had been a sculptor, a painter, an engraver, a stone mason. He left us behind, two lesser men, Otto the stone mason and I, Edmund, the engraver.

BOOK: The Italian Girl
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