Not
everything worth reading is hot off the press. In this section, we recommend "something old" that is still well worth
reading. "Something old" can mean anything from a venerable and antique
classic to a good book first published four or more years ago.
“THE LOST STRADIVARIUS” by J. Meade Falkner
(first published 1895)
I
know it will be a big surprise to you, but there have been times when I have
come close to being a literary snob. When I was a kid, I thoroughly enjoyed
Stevenson’s Treasure Island and
later, as a parent, I had great fun reading it a number of times to various of
my children and merrily overdoing the “Arr, Jim lad!” hamminess of Long John
Silver. But had you asked me what was the best boys’ book of that period
adventure sort, I might have said J.Meade Falkner’s Moonfleet. It is the stirring tale of a young lad’s initiation into
smuggling on the Dorset coast and his years in slavery in the Netherlands, for
much of the time mentored by an older man who plays father figure to him. I
read Moonfleet to various of my
children too.
Now
the fact is, I do not really regard Moonfleet
as being better than Treasure Island
– they are both excellent adventure stories for boys with the right sort of
temperament. It would have been sheer snobbery for me to say that it was better:
the awareness that fewer people had read Moonfleet,
and that therefore it seemed a more educated choice. It partly had to do with
the connoisseur’s reputation which had been acquired by John Meade Falkner
(1858-1932).
An Oxford
graduate from an impoverished background, Falkner was by trade an industrialist.
For much of his working life he chaired a major armaments company, which must
have been very exhausting for such a retiring chap during the First World War.
On the side, Falkner was an antiquarian, the author of county guidebooks, and a
novelist, although he wrote only three novels. (There is the story that the
manuscript of a fourth was lost on a railway journey and Falkner decided to
write no more). Far and away the best-known, and the most-often reprinted, is Moonfleet (1898). The one that real
Falkner aficionados go on about is his last, The Nebuly Coat (1903), which I admit I have never read. However it
is with the first of Falkner’s three novels, The Lost Stradivarius (1895), that I choose to deal here, partly
because it is so representative of its age
A
ghost story, mainly told by the spinster Sophia Maltravers to her nephew
Edward, The Lost Stradivarius
concerns the haunting and subsequent death of Edward’s father John Maltravers.
An enthusiastic
musician when he is a student in the 1840s at Magdalene College, Oxford, John
Maltravers discovers in his college room a century-old manuscript of Italian
music. But when he plays the galliard therein, he is certain that he hears a
ghost enter the room. Later, in a long-sealed cupboard in the same room, he
discovers a Stradivarius. It apparently belonged to the 18th century
rake Adrian Temple, who was also a Magdalene man.
John Maltravers becomes
obsessed with the violin, with the ghostly music he can play, and with the
memory of Adrian Temple. Apparently it is because of this obsession that he marries
Constance, a descendant of the Temple family, and has a son by her.
But almost from
the completion of their honeymoon in Italy, he begins to degenerate.
He deserts his
wife and lives in Italy and seems to be involved in some nameless debaucheries
in the places where Adrian Temple once lived.
He dies
gibbering after he is brought back to England.
Thus
runs Sophie Maltravers’ narrative, which takes up most of the novel.
But
the last twenty pages are narrated by a fellow student of John’s, William
Gaskell, who reveals that John Maltravers discovered not only the Stradivarius
in the cupboard, but also the intimate diaries of Adrian Temple. We are led to
believe that these diaries seduced John into tremendous evils (apparently
Adrian Temple was stabbed for seducing another man’s wife at an orgy). The
ultimate evil was a necromantic spell that allowed him to see a vision of pure
evil.
Adrian Temple
also died gibbering.
I
suppose in one sense ghost stories are like detective stories. The set-up is
more intriguing than the pay-off. The best scenes in this late-Victorian effort
are the early ones where the chair creaks as the music is being played and we
are beguiled for a moment into thinking that the mood of the uncanny can be
sustained. Nothing later in the novel recaptures this moment and its mood.
Published three years before Henry James’ The
Turn of the Screw, this much lesser novel has at least one thing in common
with James’ story. Most of it is told by a timid and proper spinster, so that
her shudders and her evasions and her inability to call things as they are
named can be more easily justified. When we switch to the very different
narration of William Gaskell, we switch from somebody who believes in ghosts
and the supernatural to somebody who is bluff, commonsensical and very moral.
There is also
that thing about “nameless” evil and debauchery. Because the evil is not
actually described, it becomes more monstrous. I can’t help wondering though
if, as in The Picture of Dorian Gray
(published four years earlier in 1891) the real question isn’t homosexuality.
In The Lost Stradivarius, there are all
those references to the Italian “paganism” that corrupts John Maltravers, and
this is easily read as code for something else.
The Lost Stradivarius was
first published in the year of Oscar Wilde’s arrest and trial. For the record,
the website of the J. Meade Falkner Society informs me that Falkner married at
40 and had no children; that his marriage was a “passionless affair” and that he was a “natural celibate”. You can make of this what you will. It may
simply mean that he wasn’t interested in sex.
What, then, do
we have here? A not bad ghost story with a few genteel, and not too scandalous,
“decadent” touches in tune with the 1890s. With the Stradivarius at its centre,
it also has to opportunity to do a little aesthetic theorising on the
relationship of music to beauty and morality, and to their opposites. A quick
check of Wikipedia reminds me that it was the sort of subject (“evil invested in an object”) which just
a few years later M.R.James would make the subject of his many short stories. The Lost Stradivarius is a short novel (little
longer than a novella), but I am again left wondering, as I was in my piece on Sheridan Le Fanu’s Green Tea [look it up on the index at right] if the gothic and
macabre doesn’t work better in short stories than in novels. Or even novella.
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