This piece was performed at the University of East Anglia on the 6th December, 2014 as part of an event entitled ‘An Afternoon with Iris: Life, Thought, Writing’.
Murdoch concludes her essay ‘The Sublime and the Beautiful Revisited’ (1959) with a very expressive metaphor: ‘a novel must be a house fit for free characters to live in; and to combine form with a respect for reality with all its odd contingent ways is the highest art of prose.’ Surely we see this in The Sandcastle? Moreover, she never again explored the subject of portrait painting or indeed school-teaching in such depth, though we see in her next great novel The Bell a further development of an enclosed society with its tensions between sacred and profane love.
Murdoch’s great love of the Flaying of Marsyas ignited Phillips’ inspiration. ‘When the National Portrait Gallery commissioned me to paint her portrait I recalled our conversation’, he said, and he ‘started a fairly hasty copy of the picture to act as a backdrop so that she might sit in front of the head of Marsyas.’ Phillips sketched in the Titian with broad brushstrokes; in contrast, he rendered the image of Murdoch herself with great precision and imbued it with a translucent, otherworldly light
I discovered Iris Murdoch’s novels around the same time that I was becoming immersed in Powell. I had read a few in England, starting with The Bell, before my move to Japan in the mid-1980s. And so, I became a Murdochian as well as a Powellian.