Piffy, Bird & Bing Page 3

  The children were brought to their parents at the end of the day, washed, brushed and on their best behaviour. Good manners and above all quietness were instilled into them from an early age; Gerald was extremely sensitive to sound: even the singing of a blackbird could be too plangent for his peace of mind. As he and Muriel slept late and had a rest in the afternoon when they were working, Angela and Daphne, whose nursery was on the floor above their room, learnt to creep around and talk in whispers. When he was available to them, however, he was unusually interested in their young selves, endlessly inventive, funny and full of jokes and games. He was iconoclastic and mocking of others behind their backs and drew his daughters into the joke, though insisting at all times they maintain high standards of politeness and deference to adults, to their faces.

  Muriel finally gave up the stage when she was pregnant with her third baby – surely this time a boy. Angela had been praying for years for a baby brother, perhaps giving voice to the whole family’s hopes. She was just seven years old when Gerald and the doctor came into the nursery at lunchtime to tell them that they had a new baby sister. Angela, ever one to enjoy the dramatic in life and art, got down from the table (she had been eating cold beef and beetroot) and walked to an armchair where she knelt and gave thanks. Jeanne was born on 27 March 1911, the day after Gerald’s thirty-eighth birthday. Perhaps by now he was resigned to the lack of a son, for Muriel, at thirty, seemed unwilling, or unable, to add to their family.

  Luckily, Jeanne too was a pretty baby who managed to keep her crowd-pleasing charms; according to Angela, between the ages of two and six, Jeanne was the loveliest child she had ever seen. This verdict was not just a big sister’s pride, for the infant won a baby beauty contest. Having given up work during her pregnancy, it was not perhaps surprising that with more energy and time for her children Muriel’s youngest became her favourite. Gerald’s energies too had shifted. His career had been given greater propulsion when in 1910 he became an actor-manager by joining with partner Frank Curzon to manage Wyndham’s Theatre, in London’s West End. Although the current play there, Mr Jarvis, was a flop he was to have many more successes than failures and the family’s income and consequent standard of living rose dramatically.

  The girls’ childhoods were lastingly vivid to them, revisited often in memory and in the atmospheric energy of Angela’s and Daphne’s fiction. Their experiences, however, were very different. Angela was romantic and theatrical and easily gulled. Daphne was critical, detached and distrustful, even from young, of some of the stories told by the adults who cared for them. Angela was convinced that Father Christmas was real and, overcome with excitement, had swept the lowest curtsey possible when, aged seven, she came across an actor friend of her father’s in full fig of snowy beard, buckled red tunic and a throaty Yo ho ho. She was twelve when a friend’s insistence that the philanthropic old gent did not exist sent her to her mother in panic, certain she would be reassured: ‘When poor Mummie apologised and said, “I’m sorry darling, I’m afraid there isn’t,” [it] knocked the bottom out of childhood. With that bit of news went a bit of one’s trust.’ It was remarkable that she had maintained her belief almost into adolescence, testament to their isolation from other children, but also to Angela’s resolute romanticism and childlike sense of wonder.

  The maintaining of childish innocence, even ignorance, was positively encouraged by their father who loved having his family around him and dreaded his children growing up. Through his profession he conjured the theatrical template for Captain Hook, but in life he was a true Peter Pan, ever youthful, full of tricks; ‘gay, innocent and heartless’7 as the boy who was afraid to grow up. Nowhere was this enforced innocence more pernicious in its effects than in the area of sex. Angela was told some fantastical story of where babies come from involving angels descending from the sky bearing fluffy bundles; a common enough deception at the time, but one that the highly emotional Angela would take to heart. When she was enlightened with the real truth in graphic detail by a ‘Miss Know All’, she was disgusted. ‘My father would never do such a thing,’ Angela declared in alarm. But worse than the crude explanation was the realisation that she had been lied to by the people she trusted most.

  The twelve-year-old worked out that the reason for these lies was ‘because the truth was so HORRIBLE that they couldn’t bear to tell it to me’. Inevitably, the parents got to hear of the schoolgirl chatter and Angela, somehow singled out as the source of this taboo revelation, and overcome with fear and shame, faced her appalled mother. Muriel ‘harangued [her] like the devil for having learned the truth’,8 and histrionically declared she could never trust her daughter again. Angela’s anger and dismay were still alive three and a half decades later when she wrote in her memoir how it was inevitable that she concluded, ‘“all that” [sexual intercourse] was horrible, unnatural, repulsive, disgusting and ugly’.9 It came close to blighting her emotional future, she explained; her youth, her whole life even, ‘came near to ruin’,10 through this particular piece of evasion and the shame-filled aftermath.

  Daphne was never so blindly trusting of those closest to her. Nor was she ever as naïve. When she was six, and Angela nine, she saw through Nanny’s pretence that there were fairies on the lawn who made the fairy-ring of flowers and wrote little notes addressed to both girls by name in tiny fairy writing:

  Angela, eyes wide open in wonder, smiled delightedly. I stared at the circle. I must pretend to be pleased too, but the trouble was I did not believe in them … ‘They [the adults] wrote it themselves,’ I said after we got back.

  ‘They wouldn’t! Of course it was real.’ Angela was indignant.

  I shook my head. ‘It’s the sort of thing grown-ups do.’11

  All three du Maurier sisters were taken to the theatre from babyhood, to proper adult plays in which their father starred. They were treated by the cast and the theatre staff as special mascots: the glamour of the performance and the excitement when the lights went down deeply impressed these little girls and the memory stayed with them for life. Only once did Angela go as a small child to a pantomime, but she was so horrified by the harlequinade at the end – ‘something about a sausage shocked me at four’12 – that she would not subject herself to another until she was nearly grown up.

  The girls regularly saw their father and mother dress up, put on make-up and become other people. It was the most natural thing to do. They visited Gerald in his dressing room after performances to find him high with adrenaline, charismatic, laughing and talking animatedly to the hordes of friends and acquaintances that always surrounded him, wiping the greasepaint off his face to return in stages to a heightened version of himself. It was thrilling and confusing and somehow conspiratorial, this almost magical transformation. Most of the family friends were also actors and actresses and they too practised this occult art. They seemed to live more intensely, their lives shiny with colour and light but speeded up, and soon over. The excitement fuelled childish imaginations and the glamour and theatricality of their existence blurred the boundaries between truth and fantasy. But if childhood certainties were proved no longer safe, what other truths would disappear as the lights went up?

  For Daphne, the fantasy world she inhabited was created by her own imagination, a refuge from a world in which she felt alien and adrift. She remembered that at only five years old, after being bullied in nearby Park Square Gardens by a seven-year-old called John Poynton, she came to the cheerless realisation that everyone was ultimately alone. From very young, feelings of powerlessness and being misunderstood made her long to be a boy and therefore stronger, braver, and more important – not this outer, more vulnerable, female self. She discovered that she, like her parents, could dress up and pretend to be someone else, but for her it was a private thing, a protection from a real world in which she was a stranger. Assuming the persona of another made it less painful when surrounded by unknown adults and their expectations. It ‘stopped the feeling of panic when visitors came’.13
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  Although Angela recalled her first eight years as being blissfully happy in the secure love and care of Nanny, ‘all my very happy early childhood can be laid at [her] door’,14 this was brought to a traumatic halt when, completely without warning or explanation, Angela saw this precious mother figure leave the house never to return. ‘I can see Nanny now,’ she wrote at nearly fifty, ‘going down the top flight of stairs and carefully shutting the gate behind her, tears pouring down her face, and only then myself being told she was going for ever.’ Eight-year-old Angela’s cheerful spirits were replaced with ‘a horrible sense of loneliness’.15 Daphne remembered this unhappy incident too but with much greater detachment: she was puzzled to see Nanny in tears because surely grown-ups don’t cry. Already, at five, she was aware that adults should never lose their dignity and she herself would very rarely cry, even as a child.

  Sadly grown-ups did cry. Tragedies befell the du Maurier family during the earliest years of the girls’ childhoods and it shadowed their father’s careless gaiety. First, Uncle Arthur Llewelyn Davies, married to their beautiful and gentle Aunt Sylvia, died after a long battle with a painful and disfiguring cancer of the jaw. He was only forty-four and his death in 1907, the year Daphne was born, left his wife with five young sons to bring up and educate.

  The Llewelyn Davies boys had been the inspiration for Peter Pan and J. M. Barrie, this lonely, childless man who shrank from the harsher elements of adult life, now stepped in to help Sylvia financially and practically with the education of her boys. However, the family’s ills were not over and Sylvia herself had not long to live. Not even the needs of her young family could anchor her to life and three years later she slipped away, aged forty-four, the same age as her dear Arthur. She was Gerald’s favourite sister and he and his family were broken-hearted for she was much loved by all who knew her.

  Yet this was not the end of their suffering for only three years later their eldest aunt, Trixie, died unexpectedly aged fifty leaving three mostly grown-up children of her own. She was the most energetic and forthright of them all. It seemed unbelievable that her vibrant spirit had been snuffed out so easily. Only their Aunt May, their father Gerald and the hero-uncle Guy remained of George’s five distinctive children. The Great War was further to devastate this diminishing band of du Mauriers.

  In 1914, Lieutenant Colonel Guy du Maurier was waved off by his family at Waterloo Station and headed to war. His mother, Big Granny to the three sisters, was overcome with emotion and collapsed in a dead faint on the platform. Angela and Daphne watched transfixed by the sight of their formal grandmother stretched out, her long black dress decorously pulled round her ankles and her white hair escaping from her bonnet. Within months she too had fallen ill, with heart failure, endured an operation urged on her by her children, and never recovered. According to Daphne, she died in the arms of both her sons. Her death undid the family, and Gerald, her spoiled youngest, particularly felt the loss of her devotion. She had been such a central controlling presence. Her children had deferred to her, written every day while away, sought to please her and been offered all-encompassing love in return.

  Only nine weeks later, while everyone was still rapt with grief, Uncle Guy, loved by his troops and his family alike and rumoured to be due promotion to brigadier general the following day, was killed as he evacuated his battalion from the front line. He was not quite fifty. Both Angela and Daphne were possessive of his love and attention for, although he was Angela’s godfather, Daphne shared his birthday. Unhappiness overwhelmed the family once more. Angela was mortified that she had not written to him while he was at the front, despite being his godchild. She was put out that Daphne had sent him letters and felt that somehow this made their hero-uncle, her godfather, belong more to her sister than to her.

  The most anguished though was Gerald. He had received the telegram while he was in the middle of his evening performance of the play Raffles and had to go the moment the curtain fell to tell Guy’s widow, Gwen, the awful news. Guy had been the epitome of the heroic elder son. Attractive to everyone for his breezy good humour, he had engaged in the manly things that mattered, and given his life for King and Country. He had also created An Englishman’s Home, the play that seemed to grasp the spirit of the age and for an extraordinary moment take by storm the theatre-going world on both sides of the Atlantic. His success as a writer had somehow proved to Gerald that their father’s genius had not died with him but lived on in Guy, until extinguished tragically too soon.

  Guy had added his own robust heroism to his father’s creative flame. All Gerald had done so far was pretend to be other people and provide a few hours’ distraction while momentous events happened elsewhere. He was overcome with regret at having taken his big brother for granted, for not writing often enough; he despaired at the apparent futility of his own life. The devoted family who had loved Gerald as their baby, protected and spoilt him, had been lost to him within a period of only five years. ‘Poor darling D[addy],’ Daphne wrote, ‘had none of his family left but Aunt May.’16 Gerald and May, whose health had never been good, had been considered the weaklings and now they were all who remained from the close-knit and glamorous du Maurier clan.

  The next tragedy, just a few days later, was made no less painful by the knowledge that personal catastrophe had become commonplace: young men with all their promise before them were dying in their thousands in filthy trenches in a foreign land. The sisters’ cousin, George Llewelyn Davies, one of the orphaned boys, had excelled at Eton and just gone up to Trinity College Cambridge when he joined the Army on the outbreak of war. Less than a week after his Uncle Guy’s death, George, a second lieutenant with the Rifle Brigade, was killed at the front, aged just twenty-one. Everywhere were families overborne by grief.

  The sisters could not turn to the comforts of religion and the belief that the beloved dead would be reunited at last, for Gerald had no faith and was an emphatic atheist. Although their mother Muriel and her family were conventionally religious, Gerald’s lack of belief set the tone for the du Maurier children: ‘the Church was a World Apart to us’.17 Angela, however, remembered the occasional treat of attending a very high Anglican Mass with her Aunt Billy (her mother’s sister Sybil) where, she admitted, the scent of incense and the ritual ringing of little bells appealed to her emotionalism and theatricality. The rituals of the Anglo-Catholic Church would become a solace to last a lifetime, long after the appeal of Peter Pan had faded.

  As for most children, however, the full impact of these family tragedies did not strike as hard, for the routines of daily life continued, offering comfort and entertaining distractions. London was milling with soldiers and their songs penetrated the genteel portals of Cumberland Terrace. Angela, Daphne and Jeanne marched and sang, as the troops did, memorable ditties like Who-Who-Who’s Your Lady Friend? Angela had overheard someone tell their nurse that in wartime everyone made eyes at the soldiers. She interpreted this to mean that it was a patriotic duty and so the girls would practise ‘making eyes’. Daphne thought that the soldiers in Regent’s Park, rewarded with an encouraging smirk and sidelong squint, luckily did not notice.

  Their father Gerald, however, was not as emotionally resilient as his children. His mercurial character had found easy expression in his early years through acting. His capricious and light-hearted delivery had pioneered a new informal, conversational style, refreshing after the more self-conscious theatricality of the older generation of actors like Henry Irving and Sir Herbert Tree. Easily bored, Gerald needed constant diversion and had already been tiring of his stage work. However, even the greater challenges in becoming an increasingly successful actor-manager, sharing the responsibilities of selecting plays and cast, directing the acting and reaping the not inconsiderable rewards when a show was a hit, did not banish entirely the sense of ennui that sometimes overcame him.

  With the approach of middle age and the harsh realities of death all around, Gerald’s facile emotions as readily flipped into existent
ial gloom. This volatile seesaw of elation and depression ran in the family; his father had sought comfort in his wife and children and a wide circle of artistic friends, and Gerald did the same. To evade the abyss he filled his leisure hours with an endless round of social activity, handled with aplomb by Muriel, whose only desire apparently was to make him happy. Family holidays often involved a small party of friends and hangers-on, largely funded by Gerald whose capacity to earn money increased dramatically along with his readiness to spend it.

  He was a demanding and devoted father and, given his emotional nature and love of fun and practical jokes, became the shining sun in his young daughters’ universe. He was a regular in their nursery, ready to play games with them, read stories and preside over mock trials when squabbles broke out between his daughters. More than once he brought J. M. Barrie up to the nursery where the du Maurier girls, without any self-consciousness, acted out for him the whole of Peter Pan: Daphne as Peter, Angela as Wendy and Mrs Darling, and when necessary a pirate or two, while Jeanne was Michael and any other part as necessary. Gerald slipped into his old blood-curdling role of Hook. The girls would slither as mermaids on the floor and fly from chair to chair, thrillingly immersed in their own fantasy of Neverland. In fact for years Angela liked to believe that the lights in Regent’s Park were fairy lights, ‘like those in the last scene of Peter Pan’.18

  All three sisters pretended to be characters other than themselves throughout their childhood. It seemed that everyone they knew did the same. Histrionics were a way of life. It was not just Angela who screamed she was being murdered if the nurse got soap in her eyes when washing her hair. With Gerald, emotions were magnified; from the anchoritic groans of a man in despair he could become the clown in the nursery or a capriciously domineering Hook. Amongst the children, Daphne was already in thrall to her imagination and became the main mover in the sisters’ dramatic reconstructions of history (executions and torture were popular) or action scenes from books of adventure and derring-do.