LITMIR.BIZ

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Maurier was a celebrated illustrator, Punch cartoonist and bestselling novelist. His most famous creation was Trilby and this sensational novel enhanced his fame and made him rich: it gave the world the ‘trilby’ hat and made his anti-hero, the mesmerist Svengali, part of the English language as a byword for a sinister, controlling presence. It was his first novel, Peter Ibbetson, however, that impressed his granddaughters most, insinuating into their own lives and imagination its haunting theme that by ‘dreaming true’ one could realise the thing one most desired. The sisters attempted in their different ways to practise this art in life and incorporate the idea in aspects of their work.

      George’s grandfather, Robert, had expressed his love for fantasy by inventing aristocratic connections for his descendants and adding ‘du Maurier’ to the humble family name of Busson. His own mother Ellen, great-grandmother to the sisters, was filled also with the sense she was not a duckling but a swan. As the daughter of the sharp-witted adventuress Mary Anne Clarke, she was brought up with the tantalising thought that her father might not be the undistinguished Mr Clarke, but the Duke of York, the fat spoiled son of George III. Such stories, lovingly polished through generations, contributed to the family’s sense of pride and place. Only Ellen’s great-granddaughter Daphne, with her cold detached eye, was not seduced. She recognised the destructive power of this pretension: ‘She will wander through life believing she has royal blood in her veins, and it will poison her existence. The germ will linger until the third or fourth generation. Pride is the besetting sin of mankind!’¹ Yet the du Maurier story ensnared her too.

      The family myths centred on these three tellers of tall tales: Mary Anne, Robert and the sisters’ grandfather George du Maurier. If imagination and creativity ran like a silver thread through the du Mauriers, so did emotional volatility and lurking depression. In some this darkened into madness, with George’s uncle confined to an asylum and his father so subject to bi-polar delusions (he believed he could build a machine to take his family to the moon) that he lived a life of impossible ambition and frustrated dreams. Some of these soaring flights of fancy would find alternative modes of expression in subsequent generations.

      George’s elder son, Guy, like George himself with Trilby, was overtaken in 1909 by an extraordinary flaring fame with An Englishman’s Home, a patriotic play he casually wrote before going to serve as a soldier in Africa. This was five years before the start of the Great War and he satirised his country’s unpreparedness. Sudden international celebrity was followed too soon by Guy’s heroic death in the world war he had foretold. George’s youngest child, Gerald, became an actor whose naturalistic lightness of touch changed the face of acting, where life and art seemed to combine in an effortless brilliance. Gerald made memorable the character of Raffles, the gentleman thief, and was the first actor to play J. M. Barrie’s Mr Darling and Captain Hook in Peter Pan. His portrayal of this unpredictable cavalier pirate set the template for that character’s appearance and behaviour in subsequent productions. This was the father of the du Maurier sisters, Angela, Daphne and Jeanne.

      As with all sisters, the du Mauriers’ relationship with each other was an indissoluble link to their childhood: for them that meant above all a link with their father and with Peter Pan. The play’s creator, J. M. Barrie – Uncle Jim to the girls – was a prolific and successful Scottish author and playwright who, nearly a generation older than their father, had been influential in Gerald’s early career and become a friend. Ever since they could first walk, the girls were taken on the annual pilgrimage to see the play performed at their father’s theatre, Wyndham’s. There, as the pampered children of the proprietor, they sat dressed in Edwardian satin and lace in their special box, saluted by the theatre staff and stars. They were celebrity children.

      Throughout their childhood the sisters would re-enact the play in their nursery, the words and ideas becoming engraved deep into their psyches. Daphne was always Peter; Angela was more than happy to play Wendy, while Jeanne filled in with whatever part Daphne assigned her. Peter Pan excited their imaginations and intruded on every aspect of their lives. Their father was closely identified with the double personae of Mr Darling and Captain Hook, and Peter himself, brought to life the same year Angela was born, remained the seductive ageless boy. While the du Maurier sisters reluctantly accepted that they had to grow up, Peter Pan lived on in an unchanging loop of militant childishness, mockingly reminding them of what they had lost. The excitement and wonder of the theatre, however, was something they never lost. It informed their lives, finding expression in their work, in the dramatic character of their houses and their attraction to those with a touch of stardust in their blood.

      Angela claimed Peter Pan as the biggest influence in her childhood: she saw it first performed when she was two and then finally played the role of Wendy in the theatre when she was nineteen. Her steadfast belief in fairies and prolonged childhood was encouraged by the play’s compelling messages. But the influence on Daphne was profound, for her own imagination and longings so nearly matched the ethos of the story: the thrill of fantasy worlds without parents; the recoil from growing into adulthood and the fear of loss of the imaginative power of the child. The tragic spirit of the Eternal Boy plucked at the du Mauriers, just as he did the Darling children who left him to enter the real world stripped of magic. The place between waking and dreaming would be very real to Daphne all her life and her phenomenally fertile imagination propelled her into her own Neverland, whose inhabitants were completely under her control.

      Neverland was never far away. Daphne still referred to Peter Pan as a metaphor when she was old, considering her children’s empty beds and imagining the Darling children having flown to adventures that she could not share. Her powerful identification with this world of make-believe fuelled her spectacular fame and riches and an intense life of the mind, but held her back in her growth to full maturity as a woman. Her sisters, excited by the same theatricality in their childhoods, responded very differently. Angela, never quite taking flight, was shadowed by her sense of earthbound failure, yet she had the courage to grow up and risk her heart in surprising ways. Jeanne largely cast it off to go her independent way and turned to the down-to-earth pleasures of gardening, and the sensuous realities of paint. These evocative childhood experiences brought the sisters not only the comfort of familiarity – ‘routes’ in du Maurier code – but nostalgia too for the past they had so variously shared. Just a word could transport them back to the thrill of the darkened theatre of their youth, full of anticipation of the big adventure about to begin. ‘On these magic shores [of Neverland] children at play are for ever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.’²

      These du Maurier girls were born as Edwardians in the brilliant shaft of light between the death in 1901 of the old Queen Victoria and the beginning of the First World War. It was a time when new ways of being seemed possible: pent-up feelings erupted into exuberant hope in the dawn of the twentieth century. Under a new and jovial king, the longing for pleasure and freedom replaced Victorian propriety and constraint, and this energy infected the nation. Such optimism extended to a young theatrical couple who married in 1903. Gerald du Maurier, as an actor and then theatrical manager, was already on a trajectory that would bring him fame, riches and a knighthood. His wife was the young actress Muriel Beaumont, cast with him in a comic play, The Admirable Crichton, a great hit in the West End. She was very young when responsibility and care for him was passed ceremonially to her from his mother (for whom he would remain always her precious pet ‘ewe lamb’) together with a list of his likes and dislikes. Muriel was a pretty actress who eventually gave up her career to be the wife of a great man and the mother of his children. Her two elder children would recall her impatience and irritability when they were young, her lack of humour, and her beauty, always her beauty.

      On cue, just over a year after their marriage, on 1 March 1904 a plump baby girl was born in No. 5 Chester Place, a terraced Regency house close to London’s Regent’s Park. While Muriel laboured in childbirth with their first child, Gerald managed to upstage her. Suffering a serious bout of diphtheria, a potentially fatal respiratory disease, for which the cat was blamed, he lay in isolation on the floor above and, it seemed, at death’s door.

      When Gerald had recovered and could at last see his firstborn he was delighted to have a daughter. Girls were a rarity in this generation

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