Then again, and forgetting for a moment the disreputable and licentious angle, it should be noted that there were a number of other surprising facets to Oswald’s character that in themselves made him a rather intriguing person. There was, for example, very little that he did not know about nineteenth-century Italian opera, and he had written a curious little manual upon the three composers Donizetti, Verdi and Ponchielli. In it, he listed by name all the important mistresses that these men had had during their lives, and he went on to examine, in a most serious vein, the relationship between creative passion and carnal passion, and the influence of the one upon the other, particularly as it affected the works of these composers.
Chinese porcelain was another of Oswald’s interests, and he was acknowledged as something of an international authority in this field. The blue vases of the Tchin-Hoa period were his special love, and he had a small but exquisite collection of these pieces.
He also collected spiders and walking-sticks.
His collection of spiders, or more accurately, his collection of Arachnida, because it included scorpions and pedipalps, was possibly as comprehensive as any outside a museum, and his knowledge of the hundreds of genera and species was impressive. He maintained, incidentally (and probably correctly), that spiders’ silk was superior in quality to the ordinary stuff spun by silkworms, and he never wore a tie that was made of any other material. He possessed about forty of these ties altogether, and in order to acquire them in the first place, and in order also to be able to add two new ties a year to his wardrobe, he had to keep thousands and thousands of Arana and Epeira diademata (the common English garden spiders) in an old conservatory in the garden of his country house outside Paris, where they bred and multiplied at approximately the same rate as they ate one another. From them, he collected the raw thread himself – no one else would enter that ghastly glasshouse – and sent it to Avignon, where it was reeled and thrown and scoured and dyed and made into cloth. From Avignon, the cloth was delivered directly to Sulka, who were enchanted by the whole business, and only too glad to fashion ties out of such a rare and wonderful material.
‘But you can’t really like spiders?’ the women visitors would say to Oswald as he displayed his collection.
‘Oh, but I adore them,’ he would answer. ‘Especially the females. They remind me so much of certain human females that I know. They remind me of my very favourite human females.’
‘What nonsense, darling.’
‘Nonsense? I think not.’
‘It’s rather insulting.’
‘On the contrary, my dear, it is the greatest compliment I could pay. Did you not know, for instance, that the female spider is so savage in her love-making that the male is very lucky indeed if he escapes with his life at the end of it all. Only if he is exceedingly agile and marvellously ingenious will he get away in one piece.’
‘Now, Oswald!’
‘And the crab spider, my beloved, the teeny-weeny little crab spider is so dangerously passionate that her lover has to tie her down with intricate loops and knots of his own thread before he dares to embrace her …’
‘Oh, stop it, Oswald, this minute!’ the women would cry, their eyes shining.
Oswald’s collection of walking-sticks was something else again. Every one of them had belonged either to a distinguished or a disgusting person, and he kept them all in his Paris apartment, where they were displayed in two long racks standing against the walls of the passage (or should one call it the highway?) which led from the living-room to the bedroom. Each stick had its own little ivory label above it, saying Sibelius, Milton, King Farouk, Dickens, Robespierre, Puccini, Oscar Wilde, Franklin Roosevelt, Goebbels, Queen Victoria, Toulouse-Lautrec, Hindenburg, Tolstoy, Laval, Sarah Bernhardt, Goethe, Voroshiloff, Cézanne, Tojo … There must have been over a hundred of them in all, some very beautiful, some very plain, some with gold or silver tops, and some with curly handles.
‘Take down the Tolstoy,’ Oswald would say to a pretty visitor. ‘Go on, take it down … that’s right … and now … now rub your own palm gently over the knob that has been worn to a shine by the great man himself. Is it not rather wonderful, the mere contact of your skin with that spot?’
‘It is, rather, isn’t it.’
‘And now take the Goebbels and do the same thing. Do it properly, though. Allow your palm to fold tightly over the handle … good … and now … now lean your weight on it, lean hard, exactly as the little deformed doctor used to do … there … that’s it … now stay like that for a minute or so and then tell me if you do not feel a thin finger of ice creeping all the way up your arm and into your chest.’
‘It’s terrifying!’
‘Of course it is. Some people pass out completely. They keel right over.’
Nobody ever found it dull to be in Oswald’s company, and perhaps that, more than anything else, was the reason for his success.
We come now to the Sinai episode. Oswald, during that month, had been amusing himself by motoring at a fairly leisurely pace down from Khartoum to Cairo. His car was a superlative prewar Lagonda which had been carefully stored in Switzerland during the war years, and as you can imagine, it was fitted with every kind of gadget under the sun. On the day before Sinai (23 August 1946), he was in Cairo, staying at Shepheard’s Hotel, and that evening, after a series of impudent manoeuvres, he had succeeded in getting hold of a Moorish lady of supposedly aristocratic descent, called Isabella. Isabella happened to be the jealously guarded mistress of none other than a certain notorious and dyspeptic Royal Personage (there was still a monarchy in Egypt then). This was a typically Oswaldian move.
But there was more to come.
