An Autobiography. Agatha Christie

blue eyes.

      An additional help to ‘the girls’ were bound copies of Royal Academy pictures which my grandmother had in the house in Ealing. She promised that they should belong to me one day, and I used to spend hours looking at them in wet weather, not so much for artistic satisfaction as for finding suitable pictures of ‘the girls’. A book that had been given me as a Christmas present, illustrated by Walter Crane–The Feast of Flora–represented flower pictures in human form. There was a particularly lovely one in it of forget-me-nots wreathed round a figure who was definitely Vera de Verte. Chaucer’s Daisy was Ella, and the handsome Crown Imperial striding along was Ethel.

      ‘The girls’, I may say, stayed with me for many years, naturally changing their characters as I myself matured. They participated in music, acted in opera, were given parts in plays and musical comedies. Even when I was grown up I spared them a thought now and then, and allocated them the various dresses in my wardrobe. I also designed model gowns for them in my mind. Ethel, I remember, looked very handsome in a dress of dark blue tulle with white arum lilies on one shoulder. Poor Annie was never given much to wear. I was fair to Isabel, though, and gave her some extremely handsome gowns–embroidered brocades, and satins usually. Even now, sometimes, as I put away a dress in a cupboard, I say to myself: ‘Yes, that would do well for Elsie, green was always her colour.’ Ella would look very nice indeed in that three-piece jersey suit.’ It makes me laugh when I do it, but there ‘the girls’ are still, though, unlike me, they have not grown old. Twenty-three is the oldest I have ever imagined them.

      In the course of time I added four more characters: Adelaide, who was the oldest of all, tall, fair and rather superior; Beatrice, who was a merry, dancing, little fairy, the youngest of them all; and two sisters, Rose and Iris Reed. I became rather romantic about those two. Iris had a young man who wrote poetry to her and called her ‘Iris of the Marshes’, and Rose was very mischievous, played tricks on everybody, and flirted madly with all the young men. They were, of course, in due time married off, or remained unmarried. Ethel never married but lived in a small cottage with the gentle Annie–very appropriate, I think now: it’s exactly what they would have done in real life.

      Soon after our return from abroad the delights of the world of music were opened to me by Fraulein Uder. Fraulein Uder was a short, wiry, formidable, little German woman. I don’t know why she was teaching music in Torquay, I never heard anything of her private life. My mother appeared one day in the Schoolroom with Fraulein Uder in tow, explaining she wanted Agatha to start learning the piano.

      ‘Ach!’ said Fraulein Uder with a rich German sound, though she spoke English perfectly. ‘Then we will at once to the piano go.’ To the piano we went–the schoolroom piano, of course, not the grand piano in the drawing-room.

      ‘Stand there,’ commanded Fraulein Uder. I stood as placed to the left of the piano. ‘That,’ she said, thumping the note so hard that I really thought something might happen to it, ‘is C Major. You understand? That is the note C. This is the scale of C Major.’ She played it. ‘Now we go back and play the chord of C, like that Now again–the scale. The notes are C, D, E, F, G, A, B, C. You understand?’

      I said yes. As a matter of fact I knew that much already.

      ‘Now,’ said Fraulein Uder, ‘you will stand there where you cannot see the notes and I play first C, then another note, and you shall tell me what the second is.’

      She hit C, and then hit another note with equal force.

      ‘What is that? Answer me.’

      ‘E,’ I said.

      ‘Quite right. Good. Now we will try again.’

      Once more she thumped C, and then another note. ‘And that?’ ‘A,’ I hazarded.

      ‘Ach, that it first class. Good. This child is musical. You have the ear, yes. Ach, we shall get on famously.’

      I certainly got off to a good start. I don’t think, to be honest, I had the least idea what the other notes were she was playing. I think it must have been an inspired guess. But anyway, having started on those lines we went ahead with plenty of good will on either side. Before long the houses resounded with scales, arpeggios, and in due course the strains of The Merry Peasant. I enjoyed my music lessons enormously. Both father and mother played the piano. Mother played Mendelssohn’s Songs Without Words and various other ‘pieces’ that she had learned in her youth. She played well, but was not, I think, a passionate music lover. My father was naturally musical. He could play anything by ear, and he played delightful American songs and negro spirituals and other things. To The Merry Peasant Fraulein Uder and I added Trdumerei, and other of Schumann’s delicate little tunes. I practised with zeal for an hour or two a day. From Schumann I proceeded to Greig, which I loved passionately–Erotique and the First Rustle of Spring were my favourites. When I finally progressed to being able to play the Peer Gynt Morgen I was transported with delight. Fraulein Uder, like most Germans, was an excellent teacher. It was not all playing of pleasant tunes; there were masses of Czerny’s Exercises, about which I was not quite so zealous, but Fraulein Uder was having no nonsense. ‘You must the good grounding have,’ she said. ‘These exercises, they are the reality, the necessity. The tunes, yes, they are pretty little embroideries, they are like flowers, they bloom and drop off, but you must have the roots, the strong roots and the leaves.’ So I had a good deal of the strong roots and the leaves and an occasional flower or two, and I was probably much more pleased with the result than the others in the house, who found so much practising somewhat oppressive.

      Then there was also dancing-class, which took place once a week, at something grandiosely called the Athenaeum Rooms, situated over a confectioner’s shop. I must have started going to dancing-class quite early–five or six, I think–because I remember that Nursie was still there and took me once a week. The young ones were started off with the polka. Their approach to it was to stamp three times: right, left, right–left, right, left–thump, thump, thump–thump, thump, thump. Very unpleasant it must have been for those having tea at the confectioner’s underneath. When I got home I was slightly upset by Madge, who said that that was not how the polka was danced. ‘You slide one foot, bring the next up to it, and then the first,’ she said, ‘like this.’ I was rather puzzled, but apparently it was Miss Hickey’s, the dancing-mistress’s idea of getting the rhythm of the polka before you did the steps.

      Miss Hickey, I remember, was a wonderful if alarming personality. She was tall, stately, had a pompadour of grey hair beautifully arranged, long flowing skirts, and to waltz with her–which happened, of course, much later–was a terrifying experience. She had one pupil teacher of about eighteen or nineteen, and one of about thirteen called Aileen. Aileen was a sweet girl, who worked hard, and whom we all liked very much. The older one, Helen, was slightly terrifying, and only took notice of the really good dancers.

      The procedure of dancing-class was as follows. It started with what were called ‘expanders’, which exercised your chest and arms. They were a sort of blue ribbon elastic with handles. You stretched these vigorously for about half an hour. There was then the polka, which was danced by all once they had graduated from thump, thump, thump–the older girls in the class dancing with the younger ones. ‘Have you seen me dance the polka? Have you seen my coat-tails fly?’ The polka was merry and unattractive. Then you had the grand march, in which, in pairs, you went up the middle of the room, round the sides, and into various figures of eight, the seniors leading, the juniors following up. You had partners for the march whom you engaged yourself, and a good deal of heart-burning took place over this. Naturally, everybody wished to have as partner either Helen or Aileen, but Miss Hickey saw to it that there were no particular monopolies. After the march the smaller ones were removed to the junior room, where they learned the steps of either the polka or, later, the waltz, or steps in their fancy dances at which they were particularly maladroit. The seniors did their fancy dance under the eye of Miss Hickey in the big room. This consisted of either a tambourine dance, a Spanish castanet dance, or a fan dance.

      Talking of the fan dance, I once mentioned to my daughter, Rosalind, and her friend Susan, when they were girls of eighteen or nineteen, that I used to do a fan dance in my youth. Their ribald laughter puzzled me.