(‘Where have you come from?’ ‘How long have you been waiting?’) must surely have met more people than anyone else who ever lived. Yet, miraculously, the Queen has managed to avoid saying anything striking or memorable to anyone. This is an achievement, not a failing: it was her duty and destiny to be dull, to be as useful and undemonstrative as a postage stamp, her life dedicated to the near-impossible task of saying nothing of interest. Once, when Gore Vidal was gossiping with Princess Margaret, he told her that Jackie Kennedy had found the Queen ‘pretty heavy going’.
‘But that’s what she’s there for,’ explained the Princess.
* At present the headquarters of the mobile hairdresser ‘Haircare at Home by Sharon’. As it happens, HRH Princess Margaret was fond of visiting her own hairdresser, almost to the point of addiction, often popping in twice in one day.
In her distrust of the unexpected, the Queen has taken a leaf from her grandfather’s book. King George V liked only what was predictable, regarding everything else as an infernal nuisance. A typical diary entry begins with an account of the weather (‘a nice bright morning, but strong wind’), accompanied, where appropriate, by a frost report (‘seven degrees frost this morning’). It then chronicles the exact time he had breakfast (‘up at 6.45, breakfast at eight with May’), and briefly mentions anyone notable he has encountered, and any advances he has made with his 325 stamp albums (‘The Prime Minister came to see me and we had a long talk. Spent the afternoon with Bacon choosing more stamps’). And that’s it. He disdains any sort of detail, telling or otherwise, about people and places. World events play second fiddle to stamps, clocks, barometers and bedtime. ‘The poor archduke and his wife were assassinated this morning in Serbia. They were in a motorcar. Terrible shock for the Emperor …’ he writes on the evening of 28 June 1914. He then adds: ‘Stamps after lunch, bed at 11.30.’
Few people have ever transcribed a conversation with his eldest granddaughter. Some remember what they said to the Queen, but have no memory of what she said to them, or indeed if she said anything at all. Gyles Brandreth is one of the few exceptions. At a drinks party in 1990, he found himself alone with her in a corner of the room. ‘There was no obvious means of escape for either of us, and neither of us could think of anything very interesting to say.’
But he didn’t leave it there. When he got home, he recorded their exchange in his diary:
GB (GETTING THE BALL ROLLING): Had a busy day, Ma’am?
HM (WITH A SMALL SIGH): Yes, very.
GB: At the Palace?
HM (SUCKING IN HER LIPS): Yes.
GB: A lot of visitors?
HM (APPARENTLY BITING THE INSIDE OF HER LOWER LIP): Yes.
(PAUSE)
GB (BRIGHTLY): The Prime Minister? (John Major)
HM: Yes.
(PAUSE)
GB: He’s very nice.
HM (NODDING): Yes, very.
(LONG PAUSE)
GB (STRUGGLING): The recession’s bad.
HM (LOOKING GRAVE): Yes.
GB (TRYING TO JOLLY THINGS ALONG): I think this must be my third recession.
HM (NODDING): We do seem to get them every few years … and none of my governments seems to know what to do about them.
(A MOMENT OF TINKLY LAUGHTER FROM HM, A HUGE GUFFAW FROM GB, THEN TOTAL SILENCE)
GB (SUDDENLY FRANTIC): I’ve been to Wimbledon today.
HM (BRIGHTENING BRIEFLY): Oh, yes?
GB (DETERMINED): Yes.
HM: I’ve been to Wimbledon, too.
GB (NOW WE’RE GETTING SOMEWHERE): Today?
HM: No.
GB (OH WELL, WE TRIED): No, of course not. (PAUSE) I wasn’t at the tennis.
HM: No?
GB: No, I was at the theatre. (LONG PAUSE) Have you been to the theatre in Wimbledon?
(PAUSE)
HM: I imagine so.
(INTERMINABLE PAUSE)
GB (A LAST, DESPERATE ATTEMPT): You know, Ma’am, my wife’s a vegetarian.
HM (WHAT WILL SHE SAY?): That must be very dull.
GB (WHAT NEXT?): And one of my daughters is a vegetarian, too.
HM (OH NO!): Oh, dear.
Her technique is to let others do the talking. Often – perhaps more often than not – the dizzying experience of talking to a stranger more instantly recognisable than your own mother, a stranger the back of whose miniaturised face you have licked countless times, is enough to start you spouting a stream of gibberish. While you do so, Her Majesty may occasionally say, ‘Oh, really?’ or ‘That must be interesting,’ but most of the time she says nothing at all.
As a drama student in the mid-seventies, I found myself presented to her at a party, quite unexpectedly. Our host – who later explained that he thought she might want to meet one of the younger generation – told Her Majesty that I had recently had an article published in Punch, and then left us to it. ‘That must be interesting,’ she said. This was more than enough to convince me of her thirst to know more. Within seconds I was regaling her with my various complex and no doubt impenetrable theories of humour, while every now and then she was urging me on with an ‘Oh, really?’ or a ‘That must be interesting,’ and from there I proceeded to remind her of Bertolt Brecht’s theories of alienation (‘Oh, really?’), with particular reference to their application to comedy (‘That must be interesting’).
I have learned since that the way the Queen signals the end of a conversation is to take one step backwards, but I did not know this at the time. Friends who witnessed our meeting from the other side of the room told me that, during the final half of my discourse on Brecht, Her Majesty took first one step back, then another, then another, then another, but still found herself trapped: for each of her steps back I took a step forward.
Throughout her life, the Queen’s technique of giving nothing away has paid dividends. Nowadays, everyone seems content to interpret her silence as wisdom. The less she says, the more we believe she has something to say. Peter Morgan’s play The Audience and his film The Queen are both predicated on this paradox: her advisers and her prime ministers may prattle away, but, Buddha-like, it is Her Majesty the Queen, with her How long have you been heres? and her Have you come fars?, who remains the still, small voice of calm, radiating common sense.
But her younger sister was another matter. As the second-born, the also-ran, she was denied the Chauncey Gardiner option. She could never have been another whitewashed wall, there for people to see in her whatever they chose to see. To impress on people that she was royal, Princess Margaret had to take the only other path available to her: to act imperiously, to make her presence felt, to pull well-wishers up short, to set strangers at their unease. If I had tried to tell Margaret about Bertolt Brecht she would have interrupted me – ‘Too tiresome!’ – before I had got to the end of the ‘Bert –’. Like a grand guignol version of her elder sister, she took a perverse pleasure in saying the wrong thing, ruffling feathers, disarming, disdaining, making her displeasure felt. One socialite remembers seeing her at a party at Sotheby’s in 1997. By that stage, people were so reluctant to be snapped at by her that there was a sort of compulsory rota system in operation. A senior Sotheby’s figure told the socialite that he would guarantee him an invitation to every future Sotheby’s party attended by Princess Margaret if he would promise to talk to her for five minutes on each occasion.