Iona Mclaren

‘Spies, you are lights in state, but of base stuff,/ Who, when you’ve burnt yourselves down to the snuff,/ Stink, and are thrown away.’ Ben Jonson likened his fellow secret agents to a tallow candle: a grotty necessity, to be discarded without regret. Who now remembers Arthur Gregory, and his ‘admirable art of forcing the seal of a letter; yet so invisibly, that it still appeared a virgin to the exactest beholder’? Or the scrivener Peter Bales, so dainty with his quill that he could forge any handwriting, and who touted at Elizabeth I’s court the Renaissance equivalent of microfilm, a script so minuscule that he could fit the Lord’s Prayer, the Credo, the Ten Commandments, two short Latin prayers, his name, motto, and the date ‘within the circle of a single penny...

A circle of shell-shocked parents in a mansion flat; a dozen toddlers gripping minute, 16th-size violins, the concentration causing them to sway like drunks; the merciless sawing of their tiny bows; and a noise of indescribable horror – ‘Twinkle Twinkle Little Star’ reconceived as the hold music for Hell. These were the group violin lessons I remember (and enjoyed) as a disciple of the world-famous Suzuki method, devised in Japan in 1948 by an unworldly idealist called Shinichi Suzuki.