God’s Fugitive. Andrew Taylor

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СКАЧАТЬ is nothing in the nature of a biography; nor could there, that I can see, be any utility in it. I was born in ’43 and left an orphan when a little child. I am now rather an invalid …

      Letter to S. C. Cockerell, Christmas Day 1918

      The solid, square flint tower of St Mary’s Church, Martlesham, is almost hidden among the Suffolk trees. It stands a couple of miles away from the modern village – easy to miss for the casual visitor.

      Inside are the haphazard treasures of thousands of English country churches: a fifteenth-century wall painting of St Christopher, lovingly preserved; an ancient family pew recessed into a wall of the chancel, and now used to store cleaning materials; a stone font from the fifteenth century and a carved oak pulpit from the seventeenth; an ancient chest, and a few pieces of medieval stained glass gathered into a single panel. And along the walls, the carved memorials that say everything and nothing about the long-dead members of a local family – in this case, the Doughtys.

      There are George Doughty, died 1798, and his wife Ann; their son Chester, who died in 1802; Major Ernest Christie Doughty, DSO, of the Suffolk Regiment, who died in 1928; his grandfather, Frederic Ernest, Rector of Martlesham for nearly thirty years. Outside, more Doughtys are at rest in the graveyard: Rear-Admiral Frederick Proby Doughty, who died in 1892, and his wife, the former Mary Arnold, with their child Beatrice May, lie there among their relatives.

      Of Charles Montagu Doughty, for whom as a child Martlesham was closer to being a home than anywhere else, there is nothing: his memorial is far away, in a London crematorium. And yet the atmosphere of the simple little church, its unimpeachable, unassuming Englishness and its dignified reserve, reflect one facet of his character. As in churches all over the country, it is the list as a whole, rather than the individual names, which tells the story; of specific characters, particular lives, the memorials are all but silent. There are names, dates, an occasional mention of a life’s work, but it is the tradition, the history, not the individual, which counts.

      And that, without the slightest doubt, is what Charles Doughty would have thought the proper attitude.

      He always backed away from curiosity about his biography or his early life – and indeed, many Victorian children must have shared his experience of childhood as time spent in a foreign and not particularly friendly country. Even for the offspring of a family with lands, traditions and inheritances on each side going back for generations, it could be an unpredictable and precarious existence.

      Doughty was born into a world of privilege and high expectations. His father, also Charles Montagu, was a clergyman, the squire of Theberton in Suffolk, and owner of family estates and properties all over the county – but it was only a few months after his birth on 19 August 1843 that the young Charles Doughty suffered the first of a series of devastating blows. His mother, Frederica, never recovered from the strain of childbirth and, at less than a year old, Doughty was motherless. He himself had not been expected to survive. ‘It is a long time since I came into the world, and so obviously a dying infant life, that I was christened by my own father almost immediately,’ he said later.¹

      But it was the mother, and not the child, who died, and for the rest of his life, the few people who talked to Doughty about his childhood commented on his abiding sense of bereavement. Within a year of his own marriage forty-three years later came a mirror-image of the tragedy, with his own stillborn first child carried off to the churchyard while his invalid wife lay and struggled back to health. Small wonder that later, as he gathered together in his painstaking fashion thousands of word-associations and jottings for use in his writing, among the first under the Latin heading ‘Mater’ would be ‘mother’s yearning’, ‘longing’, ‘smiling tears’ and ‘yearning love’.²

      One of the first and most lasting lessons for the young Charles Doughty was that love was something that was brutally wrenched away – an ache, not a consolation.

      At the end of his life, then, his writing drew not just on six decades of dedicated study, not just on the travels through Arabia which had been his formative experience, but also, crucially, upon the sense of loss which had surrounded his earliest memories. The theme repeatedly comes back to haunt him – in his last poem, Mansoul, for instance, he describes how he faced his own ‘private grief’ on his journey around the underworld. ‘Death cannot dim thy vision,’ he declares at his mother’s grave.

      Long cold be those dead lips, that word ne’er spake

      Unworth, unsooth; those dying lips, that kissed,

      Once kisst (thy nature’s painful travail past)

      This last new-born on thy dear breast, alas! …

      Mother of my life’s breath, I living lift

      O’er thee, these prayer-knit hands … ³

      And the grief runs deeper than that simple, almost formalized Victorian sentimentality. In The Dawn in Britain, the story is told of the baby Cusmon, who was abandoned by his mother, the immortal nymph Agygia, but watched over by her throughout his life. Eventually, after his hundredth birthday, they are reunited at his death.

      She stooped, and dearly kissed

      That bowed down, aged man, and long embraced … ⁴

      When he wrote that, Doughty himself was in his seventies. He is a child again, his lost mother restored, and a lifelong sense of bereavement finds its devoutly longed-for but hollow and insubstantial resolution in an old man’s dream. It is significant that he angrily denied suggestions in reviews that this was his own version of an ancient tale: ‘There is no such myth, and there is no such version,’ he declared. ‘The original is that in The Dawn in Britain itself.’⁵ The story clearly remained important to him: he could mourn the loss of his mother, but emotionally, he could never quite accept it.

      Materially, though, both Doughty and his elder brother Henry were well provided for, their place in society apparently fixed by generations of affluence and family tradition. On both sides, the family were well-to-do, landowning gentry: the census return for Theberton for 1841, just two years before Charles’s birth and Frederica’s death, shows the Doughtys with the three-month-old Henry and five adult servants. It was a comfortable life in the sheltered and undemanding tradition of the prosperous Church of England.

      The Doughtys of Suffolk had built up extensive lands over the centuries, and occupied a succession of livings; Frederica’s relatives, the Hothams of East Yorkshire, had produced six admirals, three generals, a bishop, a judge and a colonial governor. It was a family that drank in unquestioning patriotism and the peculiarly restrained devotion of the Established Church with its mother’s milk – the sort of family on which the empire had relied for generations.

      But it seems, too, to have been a family where the idea of pride and duty replaced any open show of affection. Doughty’s cousin, the Rear-Admiral Frederick Proby Doughty who now lies in Martlesham churchyard, wrote a journal in which he recorded his memories of the various members of his family – and on the Doughtys’ side at least, there does not seem to have been much obvious emotional closeness. ‘We were badly off as children in the matter of relatives – no grandfathers or grandmothers, or relatives that were disposed to do the correct and orthodox “uncle and aunt” business.’⁶ The family would perhaps have been scandalized СКАЧАТЬ