Richard Papen Character Analysis

I suppose at one time in my life I might have had any number of stories, but now there is no other. This is the only story I will ever be able to tell.

Plano. The word conjures up drive-ins, tract homes, waves of heat rising from the blacktop. My years there created for me an expendable past, disposable as a plastic cup. Which I suppose was a great gift, in a way. On leaving home I was able to fabricate a new and far more satisfying history, full of striking, simplistic environmental influences; a colorful past, easily accessible to strangers.

The Greeks, you know, really weren’t very different from us. They were a very formal people, extraordinarily civilized, rather repressed. And yet they were frequently swept away en masse by the wildest enthusiasm—dancing, frenzies, slaughter, visions—which for us, I suppose would seem clinical madness, irreversible. Yet the Greeks—some of them, anyway—could go in and out of it as they pleased [. . .] The revelers were apparently hurled back into a non-rational, pre-intellectual state, where the personality was replaced by something completely different – and by ‘different’ I mean something to all appearances not mortal. Inhuman.

Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves?

Then Henry spoke. His words were low but deliberate and distinct. “Should I do what is necessary?”

To my surprise, Julian took both Henry’s hands in his own. “You should only, ever, do what is necessary,” he said.

The chronological sorting of memories in an interesting business. Prior to this first weekend in the country, my recollections of that fall are distant and blurry: from here on out, they come into a sharp, delightful focus. It is here that the stilted mannequins of my initial acquaintance begin to yawn and stretch and come to life. It was months before the gloss and mystery of newness, which kept me from seeing them with much objectivity, would wear entirely off [. . .] but it is here, in my memory, that they cease being totally foreign and begin to appear, for the first time, in shapes very like their bright old selves.

There is a recurrent scene from those dinners that surfaces again and again, like an obsessive undercurrent in a dream. Julian, at the head of the long table, rises to his feet and lifts his wineglass. “Live forever,” he says.

It was like a painting too vivid to be real—every pebble, every blade of grass sharply defined, the sky so blue it hurt me to look at it. Camilla was limp in Henry’s arms, her head thrown back like a dead girl’s, and the curve of her throat beautiful and lifeless.

Out on the lawn, Bunny had just knocked Henry’s ball about seventy feet outside the court. There was a ragged burst of laughter; faint, but clear, it floated back across the evening air. That laughter haunts me still.

If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon?

And the horrible thing was, somehow, that I did know. “You killed somebody,” I said, “didn’t you?”

“Good for you,” he said. “You’re just as smart as I thought you were. I knew you’d figure it out, sooner or later, that’s what I’ve told the others all along.”

Things started to come back. I looked down at my hand and saw it was covered in with blood, and worse than blood. Then Charles stepped forward and knelt at something at my feet, and I bent down, too, and saw that it was a man. He was dead. He was about forty years old and he had on a yellow plaid shirt—you know those woolen shirts they wear up here—and his neck was broken, and, unpleasant to say, his brains were all over his face. Really, I do not know how that happened. There was a dreadful mess. I was drenched in blood and there was even blood on my glasses.

“Tell me,” Bunny said, and I thought I detected for the first time a note of suspicion. “Just what the Sam Hill are you guys doing out here anyway?”

The woods were silent, not a sound.

Henry smiled. “Why, looking for new ferns,” he said, and took a step towards him.

Just for the record, I do not consider myself an evil person (though how like a killer that makes me sound!). Whenever I read about murders in the news I am struck by the dogged, almost touching assurance with which interstate stranglers, needle-happy pediatricians, the depraved and guilty of all descriptions fail to recognize the evil in themselves; feel compelled, even to assert a kind of spurious decency. “Basically I am a very good person.” This from the latest serial killer—destined for the chair, they say—who, with incarnadine axe, recently dispatched half a dozen registered nurses in Texas. I have followed his case with interest in the papers.

You see, then, how quick it was. And it is impossible to slow down this film, to examine individual frames. I see now what I saw then, flashing by with the swift, deceptive ease of an accident: shower of gravel, wind-milling arms, a hand that claws at a branch and misses. A barrage of frightened crows explodes from the underbrush, cawing and dark against the sky. Cut to Henry stepping back from the edge. Then the film flaps up in the projector and the screen goes black. Consummatum est.

Henry took a sip of his tea. “How,” he said, “can I possibly make the Dean of Studies understand that there is a divinity in our midst?”

He was looking over the hills, at all that grand cinematic expanse of men and wilderness and snow that lay beneath us; and though his voice was anxious there was a strange dreamy look on his face. The business had upset him, that I knew, but I also knew that there was something about the operatic sweep of the search which could not fail to appeal to him and that he was pleased, however obscurely, with the aesthetics of the thing.

His gaze—helpless, wild—hit me like a blackjack. Suddenly, and for the first time, really, I was struck by the bitter, irrevocable truth of it; the evil of what we had done. It was like running full speed into a brick wall. I let go of his collar, feeling completely helpless. I wanted to die. “Oh, God,” I mumbled, “God help me, I’m sorry—”

Slowly, slowly, with a drugged, fathomless calm, Henry bent and picked up a handful of dirt. He held it over the grave and let it trickle from his fingers. Then, with terrible composure, he stepped back and absently dragged the hand across his chest, smearing mud upon his lapel, his tie, the starched immaculate white of his shirt.

Do you know how hard that was? Do you think Henry would lower himself to do something like that? No. It was all right, of course, for me to do it but he couldn’t be bothered. Those people had never seen anything like Henry in their lives. I’ll tell you the sort of thing he worried about. Like if he was carrying around the right book, if Homer would make a better impression than Thomas Aquinas.

I had always thought Henry’s coldness essential, to the marrow, and Julian’s only a veneer for what was, at bottom, a warm, kind-hearted nature. But the twinkle in Julian’s eye as I looked at him now, was mechanical and dead. It was as if the charming theatrical curtain had dropped away and I saw him for the first time as he really was: not the benign old sage, the indulgent and protective good-parent of my dreams, but ambiguous, a moral neutral, whose beguiling trappings concealed a being watchful, capricious, and heartless.

It has always been hard for me to talk about Julian without romanticizing him. In many ways, I loved him the most of all; and it is with him that I am most tempted to embroider, to flatter, to basically reinvent. I think that is because Julian himself was constantly in the process of reinventing the people and events around him, conferring kindness, or wisdom, or bravery, or charm, on actions which contained nothing of the sort. It was one of the reasons I loved him: for that flattering light in which he saw me, for the person I was when I was with him, for what it was he allowed me to be.

“I can’t marry you [. . .] because I love Henry.”

“Henry’s dead.”

“I can’t help it. I still love him.”

I loved him, too,” I said.

For a moment, I thought I felt her waver. But then she looked away.

“I know you did,” she said. “But it’s not enough.”

“Are you happy here?” I said at last.

He considered this for a moment. “Not particularly,” he said. “But you’re not very happy where you are, either.”

I suppose at one time in my life I might have had any number of stories, but now there is no other. This is the only story I will ever be able to tell.

Plano. The word conjures up drive-ins, tract homes, waves of heat rising from the blacktop. My years there created for me an expendable past, disposable as a plastic cup. Which I suppose was a great gift, in a way. On leaving home I was able to fabricate a new and far more satisfying history, full of striking, simplistic environmental influences; a colorful past, easily accessible to strangers.

The Greeks, you know, really weren’t very different from us. They were a very formal people, extraordinarily civilized, rather repressed. And yet they were frequently swept away en masse by the wildest enthusiasm—dancing, frenzies, slaughter, visions—which for us, I suppose would seem clinical madness, irreversible. Yet the Greeks—some of them, anyway—could go in and out of it as they pleased [. . .] The revelers were apparently hurled back into a non-rational, pre-intellectual state, where the personality was replaced by something completely different – and by ‘different’ I mean something to all appearances not mortal. Inhuman.

Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves?

Then Henry spoke. His words were low but deliberate and distinct. “Should I do what is necessary?”

To my surprise, Julian took both Henry’s hands in his own. “You should only, ever, do what is necessary,” he said.

The chronological sorting of memories in an interesting business. Prior to this first weekend in the country, my recollections of that fall are distant and blurry: from here on out, they come into a sharp, delightful focus. It is here that the stilted mannequins of my initial acquaintance begin to yawn and stretch and come to life. It was months before the gloss and mystery of newness, which kept me from seeing them with much objectivity, would wear entirely off [. . .] but it is here, in my memory, that they cease being totally foreign and begin to appear, for the first time, in shapes very like their bright old selves.

There is a recurrent scene from those dinners that surfaces again and again, like an obsessive undercurrent in a dream. Julian, at the head of the long table, rises to his feet and lifts his wineglass. “Live forever,” he says.

It was like a painting too vivid to be real—every pebble, every blade of grass sharply defined, the sky so blue it hurt me to look at it. Camilla was limp in Henry’s arms, her head thrown back like a dead girl’s, and the curve of her throat beautiful and lifeless.

Out on the lawn, Bunny had just knocked Henry’s ball about seventy feet outside the court. There was a ragged burst of laughter; faint, but clear, it floated back across the evening air. That laughter haunts me still.

If I threw myself off, I thought, who would find me in all that white silence? Might the river beat me downstream over the rocks until it spat me out in the quiet waters, down behind the dye factory, where some lady would catch me in the beam of her headlights when she pulled out of the parking lot at five in the afternoon?

And the horrible thing was, somehow, that I did know. “You killed somebody,” I said, “didn’t you?”

“Good for you,” he said. “You’re just as smart as I thought you were. I knew you’d figure it out, sooner or later, that’s what I’ve told the others all along.”

Things started to come back. I looked down at my hand and saw it was covered in with blood, and worse than blood. Then Charles stepped forward and knelt at something at my feet, and I bent down, too, and saw that it was a man. He was dead. He was about forty years old and he had on a yellow plaid shirt—you know those woolen shirts they wear up here—and his neck was broken, and, unpleasant to say, his brains were all over his face. Really, I do not know how that happened. There was a dreadful mess. I was drenched in blood and there was even blood on my glasses.

“Tell me,” Bunny said, and I thought I detected for the first time a note of suspicion. “Just what the Sam Hill are you guys doing out here anyway?”

The woods were silent, not a sound.

Henry smiled. “Why, looking for new ferns,” he said, and took a step towards him.

Just for the record, I do not consider myself an evil person (though how like a killer that makes me sound!). Whenever I read about murders in the news I am struck by the dogged, almost touching assurance with which interstate stranglers, needle-happy pediatricians, the depraved and guilty of all descriptions fail to recognize the evil in themselves; feel compelled, even to assert a kind of spurious decency. “Basically I am a very good person.” This from the latest serial killer—destined for the chair, they say—who, with incarnadine axe, recently dispatched half a dozen registered nurses in Texas. I have followed his case with interest in the papers.

You see, then, how quick it was. And it is impossible to slow down this film, to examine individual frames. I see now what I saw then, flashing by with the swift, deceptive ease of an accident: shower of gravel, wind-milling arms, a hand that claws at a branch and misses. A barrage of frightened crows explodes from the underbrush, cawing and dark against the sky. Cut to Henry stepping back from the edge. Then the film flaps up in the projector and the screen goes black. Consummatum est.

Henry took a sip of his tea. “How,” he said, “can I possibly make the Dean of Studies understand that there is a divinity in our midst?”

He was looking over the hills, at all that grand cinematic expanse of men and wilderness and snow that lay beneath us; and though his voice was anxious there was a strange dreamy look on his face. The business had upset him, that I knew, but I also knew that there was something about the operatic sweep of the search which could not fail to appeal to him and that he was pleased, however obscurely, with the aesthetics of the thing.

His gaze—helpless, wild—hit me like a blackjack. Suddenly, and for the first time, really, I was struck by the bitter, irrevocable truth of it; the evil of what we had done. It was like running full speed into a brick wall. I let go of his collar, feeling completely helpless. I wanted to die. “Oh, God,” I mumbled, “God help me, I’m sorry—”

Slowly, slowly, with a drugged, fathomless calm, Henry bent and picked up a handful of dirt. He held it over the grave and let it trickle from his fingers. Then, with terrible composure, he stepped back and absently dragged the hand across his chest, smearing mud upon his lapel, his tie, the starched immaculate white of his shirt.

Do you know how hard that was? Do you think Henry would lower himself to do something like that? No. It was all right, of course, for me to do it but he couldn’t be bothered. Those people had never seen anything like Henry in their lives. I’ll tell you the sort of thing he worried about. Like if he was carrying around the right book, if Homer would make a better impression than Thomas Aquinas.

I had always thought Henry’s coldness essential, to the marrow, and Julian’s only a veneer for what was, at bottom, a warm, kind-hearted nature. But the twinkle in Julian’s eye as I looked at him now, was mechanical and dead. It was as if the charming theatrical curtain had dropped away and I saw him for the first time as he really was: not the benign old sage, the indulgent and protective good-parent of my dreams, but ambiguous, a moral neutral, whose beguiling trappings concealed a being watchful, capricious, and heartless.

It has always been hard for me to talk about Julian without romanticizing him. In many ways, I loved him the most of all; and it is with him that I am most tempted to embroider, to flatter, to basically reinvent. I think that is because Julian himself was constantly in the process of reinventing the people and events around him, conferring kindness, or wisdom, or bravery, or charm, on actions which contained nothing of the sort. It was one of the reasons I loved him: for that flattering light in which he saw me, for the person I was when I was with him, for what it was he allowed me to be.

“I can’t marry you [. . .] because I love Henry.”

“Henry’s dead.”

“I can’t help it. I still love him.”

I loved him, too,” I said.

For a moment, I thought I felt her waver. But then she looked away.

“I know you did,” she said. “But it’s not enough.”

“Are you happy here?” I said at last.

He considered this for a moment. “Not particularly,” he said. “But you’re not very happy where you are, either.”