The Mystical Setting and Atmosphere of The Ebony Tower
Written by: Tóth Tünde
David Williams’s arrival at Coetminais is specified by an
unexpected, mystical notion even at the very beginning. The French-
sounding area involves him in the atmosphere of the old European
romances, which seems to be not only a journey into a more natural
past, but also a discovery of his own weaknesses, as well as his own
choices.
The setting is similar to that of a legend, he enters in the
back of beyond, where, unexpectedly alone first, he finds himself in
the pleasant illusion of bachelor freedom. He is not a man of
accidents he has planned this arrival well in advance, he has exact
intentions why to come here. He is not free from constraints, either, as
a wife is left somewhere waiting for his return. However unknown,
Beth acts as a sort of predetermination, a hard root which pulls back
whatever belongs to it. Predetermination is felt again, when we get to
know that what is thought to be bachelor freedom is nothing more
than illusion.
Anyway, he enjoys himself having realized the sweet sense
of discovery. Fabulous pieces of the countryside are passed by while
he gets closest and closest to deeper and deeper forests, where he
finally decides to get through the gates. What he finds inside is
unexpected again: less aristocratic and spectacular sight, but making a
good solid feel.
After some long moments spent looking around it is high
time for David to announce himself, because in the mystical forest
silence nobody knows he is there. The first people he catches sight of
are two young naked ladies lying in the sun. They are uniformly
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brown, but as it turns out later it is the only thing they have in
common. He does not intrude them, but goes back to find and ring the
bell he has missed before.
David’s coming and intention to interview the appreciated,
aged painter, Henry Breasley is marked by a heavy feeling of
defeatism: Breasley may not have realized that he, David was a
painter, as well as a writer on art. David is one of the non-figurative
painters, a fully abstract artist with a technical precision. However,
Brealey’s view that full abstraction has been the wrong way is widely
known among men of art. Both Williams and Breasley will have to
soften the rhetoric if such a question can not be avoided, or else two
completely different issues will have to come up against. These are the
prejudices of David when left alone for a short time until Mr. Breasley
is ready to welcome him.
During the tea Henry shows his lion’s claws, his savage style
and manner. He also insists the girls to be involved and pay attention
to the talk. Diana (she is also called ”the Mouse”) still shows some
interest, but Anne (who is often called ” the Freak”) opens her book
and stays away from the subject as soon as possible right after she is
warned to listen to the conversation. Breasley humiliates Anne in his
words and attitude − David can easily make sure of it. He also thinks
that the girls are well paid for their services. The presence of them in
some way irritates David, he suspects a secret they do not want him to
know. The Mouse clears up his remaining illusions: she and Anne do
not deny Henry the little bit of sex-life he can still manage.
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Art, of course, is one of the main themes of the conversation
during dinner. Henry Breasley’s attitude towards abstraction is
revealed again, as well as that of David’s. The duel between David’s
insistence on his point of view and the old artist’s firm belief is fought
both verbally and non-verbally. David attempts to have the courage of
his convictions, he seems not so strictly sure : ”…he is just afraid…”
David tries to keep the conversation off art. Talking about
French cooking and the amazing landscape around the manner house,
David has time to observe the two girls. He becomes sure that it is
only the Freak who gives sexual services to the old ”lifelong exile”.
Although the Freak is the one to read all the time, always seeming
deep in thought, the Mouse turns out to be much more intellectual and
qualified. David feels a serious difference between them: the tattoos
and Anne’s offending style warn him to keep the distance.
Anyway, David can not help giving up trying to keep pace
with his host, when a second battle breaks out. His sentence sounds
like a manifestation: ”Most of us feel abstraction has become a
meaningless term. Since our conception of reality has changed so
much this last fifty years.” Henry’s one is like the opposite: ”I call it
betrayal.”
The Mouse acts as a communicational medium, sets as a
neutral interpreter. What she says first refers to only full abstraction
that is a flight from human and social responsibility. But next she
simply translates the essence: ”You (David) are afraid of the human
body.” Bloody is a favourite word of Breasley and he often prefers
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turning the conversation towards sex when he is firmly in the saddle.
He also tends to be rude and provocative.
According to David choosing abstraction stands for a kind of
freedom people may have. In Breasley’s opinion abstraction can not
approach the real word that should be the primary object of life. Henry
claims that life and art have to be natural to see its valuable
completeness. That is why he chose this life-style and form of art.
Although Henry’s interpretation concerning the essence of human
existence touches David, but he has to return to the world he belongs
to.
