Anthony Powell
Casanova’s Chinese Restaurant
The fifth book in the Dance to the Music of Time series, 1960
1
CROSSING THE ROAD by the bombed-out public house on the corner and pondering the mystery which dominates vistas framed by a ruined door, I felt for some reason glad the place had not yet been rebuilt. A direct hit had excised even the ground floor, so that the basement was revealed as a sunken garden, or site of archaeological excavation long abandoned, where great sprays of willow herb and ragwort flowered through cracked paving stones; only a few broken milk bottles and a laceless boot recalling contemporary life. In the midst of this sombre grotto five or six fractured steps had withstood the explosion and formed a projecting island of masonry on the summit of which rose the door. Walls on both sides were shrunk away, but along its lintel, in niggling copybook handwriting, could still be distinguished the word Ladies. Beyond, on the far side of the twin pillars and crossbar, nothing whatever remained of that promised retreat, the threshold falling steeply to an abyss of rubble; a triumphal arch erected laboriously by dwarfs, or the gateway to some unknown, forbidden domain, the lair of sorcerers.
Then, all at once, as if such luxurious fantasy were not already enough, there came from this unexplored country the song, strong and marvellously sweet, of the blonde woman on crutches, that itinerant prima donna of the highways whose voice I had not heard since the day, years before, when Moreland and I had listened in Gerrard Street, the afternoon he had talked of getting married; when we had bought the bottle labelled Tawny Wine (port flavour) which even Moreland had been later unwilling to drink. Now once more above the rustle of traffic that same note swelled on the grimy air, contriving a transformation scene to recast those purlieus into the vision of an oriental dreamland, artificial, if you like, but still quite alluring under the shifting clouds of a cheerless Soho sky.
‘Pale hands I loved beside the Shalimar,
Where are you now? Who lies beneath your spell?’
In the end most things in life – perhaps all things – turn out to be appropriate. So it was now, for here before me lay the vestigial remains of the Mortimer where we had first met, the pub in which our friendship had begun. As an accompaniment to Moreland’s memory music was natural, even imperative, but the repetition of a vocal performance so stupendously apt was scarcely to be foreseen. A, floorless angle of the wall to which a few lumps of plaster and strips of embossed paper still adhered was all that remained of the alcove where we had sat, a recess which also enclosed the mechanical piano into which, periodically, Moreland would feed a penny to invoke one of those fortissimo tunes belonging to much the same period as the blonde singer’s repertoire. She was closer now, herself hardly at all altered by the processes of time – perhaps a shade plumper – working her way down the middle of the empty street, until, framed within the rectangle of the doorway, she seemed to be gliding along under the instrumentality of some occult power and about to sail effortlessly through its enchanted portal:
‘Pale hands, pink-tipped, like lotus buds that float
On those cool waters where we used to dwell…’
Moreland and I had afterwards discussed the whereabouts of the Shalimar, and why the locality should have been the haunt of pale hands and those addicted to them.
‘A nightclub, do you think?’ Moreland had said. ‘A bordel, perhaps. Certainly an establishment catering for exotic tastes – and I expect not very healthy ones either. How I wish there were somewhere like that where we could spend the afternoon. That woman’s singing has unsettled me. What nostalgia. It was really splendid. “Whom do you lead on Rapture’s roadway far?” What a pertinent question. But where can we go? I feel I must be amused. Do have a brilliant idea. I am in the depths of gloom to be precise. Let’s live for the moment.’
‘Tea at Casanova’s Chinese Restaurant? That would be suitably oriental after the song.’
‘What do you think? I haven’t been there for ages. It wasn’t very exciting on my last visit. Besides, I never felt quite the same about Casanova’s after that business of Barnby and the waitress. It would be cheaper to drink tea at home – and no less Chinese as I have a packet of Lapsang.’
‘As you like.’
‘But why did they dwell on the cool waters? I can’t understand the preposition. Were they in a boat?’
A habit of Moreland’s was to persist eternally with any subject that caught his fancy, a characteristic to intensify in him resolute approach to a few things after jettisoning most outward forms of seriousness; a love of repetition sometimes fatiguing to friends, when Moreland would return unmercifully to some trivial matter less amusing to others than to himself.
‘Do you think they were in a boat?’ he went on. ‘The poem is called a Kashmiri Love Song. My aunt used to sing it. Houseboats are a feature of Kashmir, aren’t they?’
‘Kipling characters go up there to spend their leave.’
‘When we lived in Fulham my aunt used to sing that song to the accompaniment of the pianoforte.’
He paused in the street and offered there and then a version of the piece as loudly trilled by his aunt, interrupting himself once or twice to emphasise contrast with the rendering we had just heard. Moreland’s parents had died when he was a child. This aunt, who played a large part in his personal mythology, had brought him up. Oppressed, no doubt, by her nephew’s poor health and by thought of the tubercular complaint that had killed his father (who had some name as teacher of music), she was said to have ‘spoiled’ Moreland dreadfully. There were undeniable signs of something of the sort. She had probably been awed, too, by juvenile brilliance; for although Moreland had never been, like Carolo, an infant prodigy – that freakish, rather uncomfortable humour of only musical genius – he showed alarming promise as a boy. The aunt was also married to a musician, a man considerably older than herself whose generally impecunious circumstances had not prevented shadowy connexions with a more sublime world than that in which most of his daily life was spent. He had heard Wagner conduct at the Albert Hall; Liszt play at the Crystal Palace, seen the Abbé’s black habit and shock of iron-grey hair pass through Sydenham; drunk a glass of wine with Tchaikowsky at Cambridge when the Russian composer had come to receive an honorary degree. These peaks are not to be exaggerated. Moreland had been brought up impecuniously too, but in a tradition of hearing famous men discussed on familiar terms; not merely prodigies read of in books, but also persons having to knock about the world like everyone else. The heredity was not unlike Barnby’s, with music taking the place of the graphic arts.
‘Perhaps this was a houseboat of ill fame.’
‘What an enjoyable idea,’ Moreland said. ‘At the rapturous moments referred to in the lyric one would hear the water, if I may be so nautical, lapping beneath the keel. An overwhelming desire for something of the sort besets me this afternoon. Active emotional employment – like chasing an attractive person round some wet laurels.’
‘Out of the question, I’m afraid.’
‘What a pity London has not got a Luna Park. I should like to ride on merry-go-rounds and see freaks. Do you remember when we went on the Ghost Railway – when you dash towards closed doors and tear down hill towards a body across the line?’
In the end we decided against Casanova’s Chinese Restaurant that day, instead experimenting, as I have said, with the adventitious vintages of Shaftesbury Avenue, a thoroughfare traversed on the way to Moreland’s flat, which lay in an undistinguished alley on the far side of Oxford Street, within range of Mr Deacon’s antique shop. Once there, after climbing an interminable staircase, you found an unexpectedly neat room. Unconformist, without discipline in many ways, Moreland had his precise, tidy side, instilled in him perhaps by his aunt; mirrored – so Maclintick used to say – in his musical technique. The walls were hung with framed caricatures of dancers in Diaghilev’s early ballets, coloured pictures drawn by the Legat brothers, found by Moreland in a portfolio outside a second-hand book shop; Pavlova; Karsavina; Fokine; others, too, whom I have forgotten. The few books in a small bookcase by the bed included a tattered paper edition of Apollinaire’s Alcools; one of the Sherlock Holmes volumes; Grinling’s History of the Great Northern Railway. An upright piano stood against one wall, although Moreland, so he always insisted, was no great performer on that instrument. There were always flowers in the vase on the table when Moreland could afford them, which in those days was not often.