That glance would follow the cheerful sea-Hyperion with a settled meditative and melancholy expression, his eyes strangely suffused with incipient feverish tears. Then would Claggart look like the man of sorrows. Yes, and sometimes the melancholy expression would have in it a touch of soft yearning, as if Claggart could even have loved Billy but for fate and ban. But this was an evanescence, and quickly repented of, as it were, by an immitigable look, pinching and shrivelling the visage into the momentary semblance of a wrinkled walnut.
ROBERT RYAN AND TERENCE STAMP IN PETER USTINOV'S "BILLY BUDD" (1962)














