Volume 4
At Lady Molly's begins in London around the New Year of 1934. Jenkins, now working as a script-writer, is invited to a party at Lady Molly Jeavons's by his colleague, Chips Lovell. He recalls a childhood meeting with Mrs. Conyers, an old family friend and wife of General Conyers, and her sister, Mildred. At Lady Molly's he encounters Mrs. Conyers and discovers that the party is being held for her sister Mildred, now Haycock, now in her 40's, and her new fiance, Widmerpool.
Lunching at his club with Jenkins, Widmerpool asks advice about a premarital weekend with Mildred Haycock. Then Jenkins goes to tea with General and Mrs. Conyers, joined by Frederica Tolland Budd, all of whom ask about Widmerpool. Frederica gives him a lift, and they stop in to see Norah Tolland and Eleanor Walpole-Wilson. Finally Jenkins goes to a movie with an unnamed date; on the way in, they encounter Quiggin. Jenkins goes to visit Quiggin and Mona at their home, which turns out to be a guest cottage at Thrubworth, the Tollands' estate. They all go to visit Erridge for dinner. There Erridge and Quiggin discuss the financing of a planned magazine. Isobel and Susan arrive, and we learn of Susan's engagement to Roddy Cutts. Jenkins believes he will marry Isobel. The butler Smith's alcoholism is discovered, and we begin to see Mona's flirting with Erridge. Lovell describes Jeavons to Jenkins before they go to Molly's. There, Molly tells Nick that Widmerpool has jaundice, and Nick sees Mrs. Weedon, who is looking after Stringham. He leaves Molly's with Jeavons, who takes him to a club run by Dicky Umfraville. Templer arrives with Widmerpool, Mildred Haycock, and Templer's date, a woman named Betty. Max Pilgrim and Heather Hopkins perform. Jeavons reveals to Nick that during the war he spent a weekend with Mildred. Widmerpool goes home ill, but Mildred and Jeavons recognize each other and remain. At the end of the chapter Nick states that he "too, should be married soon enough." Jenkins visits with Lady Katherine Warminster and discusses Erridge and Mona's trip to China. Later, Lady Molly holds a party in honor of Jenkins' engagement to Isobel. At the party, Jenkins talks to Members, as well as General Conyers. The General pulls Jenkins aside, and eagerly tells him about Widmerpool's inability to perform sexually with Mildred. Widmerpool arrives at the end, seemingly unaffected by the cancellation of his wedding. |
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These are the major characters in this volume. Although they are mostly organized by chapter, members the Tolland family (who appear passim throughout the volume) are listed first, approximately in order of their birth: Alfred T., Lord Erridge, Earl of Warminster (called "Erry") - eldest brother, in his thirties, an eccentric, left-leaning peer Frederica T. Budd - distinguised, a Lady-in-Waiting Norah T. - a lesbian, living with Eleanor Walpole-Wilson George T. - was at school with Jenkins Blanche T. - "dotty," does good works Susan T. - about 25 or 26, becomes engaged to Roddy Cutts Robert T. - in business, "a bit of a mystery" Isobel T. - "highbrow," goes to nightclubs, becomes engaged to Jenkins Hugo T. - at university, somehow unsatisfactory Pricilla T. - not "out" yet, Chips Lovell's interest Chapter 1 Chips Lovell - scriptwriter, colleague and friend of Jenkins General Aylmer Conyers - Jenkins's family friend, eccentric, great military hero Bertha (Blaides) Conyers - his wife Mildred Blaides (later Haycock) - Bertha's sister, a nurse, "rackety," later engaged to Widmerpool Lady Molly (Ardglass) Sleaford Jeavons - aunt of the Tolland children, giver of informal parties Ted Jeavons - Molly's present husband, mild-mannered, not aristocratic Uncle Alfred Tolland - uncle of the Tolland children Smith - Erridge's dreadful butler, sometimes helps Lady Molly Widmerpool - engaged to Mildred Haycock Chapter 2 Eleanor Walpole-Wilson - old friend of Jenkins', living with Norah Tolland Heather Hopkins - neighbor of Eleanor and Norah, piano player J. G. Quiggin - Marxist critic, friend of Jenkins since university Chapter 3 Mona - Templer's ex-wife, presently living with Quiggin Chapter 4 Tuffy Weedon - looking after Stringham Mrs. Foxe - Stringham's mother Dicky Umfraville - nightclub owner, knew Stringham in Kenya Max Pilgrim - a gay entertainer |
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Travis Pantin Throughout the first four books of Powell's Dance to the Music of Time, Nick Jenkins, the narrator, is seemingly surrounded by an all-encompassing conflict between a way of life characterized by well-defined and forceful "assertions of the will", and another way of life characterized by a tendency towards circumlocution and inaction. Many important characters in Dance lean towards one such group or the other, and can thereby be divided into two opposing categories. These groups create series of conflicting opposites throughout the book: the business world and the art world, interest in politics and political indifference, professional advancement and professional stagnation, romantic action and inaction. The friction these conflicts create sheds light on many of Powell's important characters. Women play a key role in determining which characters belong to which group, creating significant contrast between Widmerpool and Jenkins. Widmerpool, through his "vigorous and instantaneous assertion[s] of the will" (ABM 69) seems to attempt to dominate the women with whom he is infatuated. This becomes especially apparent when Widmerpool chooses Mildred as a wife, and Mr. Conyers comments, "a man who marries Mildred must be a man with a will of his own." (ALM 74) Jenkins on the other hand, seems content with taking a less dominant role in his relationships. It appears that he gets involved with Gypsy only because of her "lack of demur" (ABM 256), and surely didn't take a truly dominant role in his relationship with Jean. The professional lives of Powell's characters also help us categorize them. Widmerpool, Sir Magnus, and General Conyers all have enjoyed professional success, whereas Mr. Deacon, Jenkins, Uncle Giles, and Bill Truscott have not. Powell explicitly designates both Conyers and Widmerpool as "men of the will" (ALM 74, ABM 239) and definitely implies something to the same effect with Sir Magnus. In all three of these cases, their will becomes most clearly manifested through professional endeavors. Jenkins though, appears to feel estranged from this group, and does not actively peruse professional advancement in publishing (79) or in screenwriting. Interestingly, Jenkins seems to distinguish between men who exert their will on others (people like Widmerpool and Quiggin), and those who seem to exert their will on themselves (Conyers). Throughout Dance, Jenkins repeatedly reflects negatively on people who exhibit this "forceful will" but, once he meets Conyers, begins to admire a second type of "introverted will." Powell thus illustrates that the will, in itself is neither good nor bad, but when used forcefully, it can create a Widmerpool. |
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Luke Spears At Lady Molly's represents a new beginning beyond being the first novel of the second movement of the Dance - it describes Nick's final push into the adult world. Nick completes his passage to manhood through what he describes as his first true "act of the will": his marriage to Isobel Tolland. In addition, through the many new friends and acquaintances he makes in the book (more than in the three previous novels), he establishes for himself both a new, more mature social sphere, and a large group of familiar in-laws. It seems probable that Nick will continue to operate within this social sphere throughout the following few books of the Dance, rather than return to his associations with people like the Walpole-Wilsons, Milly Andriadis, and Sir Magnus Donners. Despite the passive, "introverted" nature that Nick shows in the first trilogy of the Dance, he manages to take a proactive leap forward into the world of marriage and adulthood in At Lady Molly's. Though we receive little concrete information about Nick's life in the Dance, what we do see indicates that he is somewhat submissive to the wills of others, and shows no interest in advocating the importance of his own will. Indeed, Mrs. Erdleigh describes him as "half-way between dissipation and diffidence" in The Acceptance World (15). Because of this nature, it is all the more surprising that he abruptly marries Isobel Tolland. Not only is the marriage an "act of the will," as he says, but an action that shows a strong willingness for both commitment and somewhat dramatic change in his life: a willingness for two things that we had little idea existed, in part due to his strange secrecy with his personal feelings, before he began mentioning the possibility of marriage. This secrecy persists, most notably, in his refusal to say anything of substance about his marriage or about Isobel. Nevertheless, marriage is a big step for him, marking the end of his days as a bachelor and hurtling him into the world of adult concerns that he was formerly - as a passive unmarried man with his few friends divided between two social classes - only half a part of. By the end of the first movement of the Dance, Nick seems to have few, if any, good friends. His contact with old school-buddies Stringham and Templer is waning, and his relations with Members, Quiggin, and Widmerpool, though cordial, are not especially intimate. In addition, Nick's acquaintances in general, since the death of Mr. Deacon, are nearly all of his own generation, with the exceptions of Mrs. Erdleigh and Uncle Giles, whom he sees only occasionally. At Lady Molly's sees the introduction of a great number of relatively important and diverse characters, characters that will probably continue to associate with Nick, especially because most of them become his in-laws with his marriage to Isobel. In General Conyers and Jeavons Nick finds two older friends, quite different from someone like Templer, who may serve as role models of a sort. Also, unlike the characters of the previous novels, those of At Lady Molly's are closely connected with one another, either through family ties, or through Lady Molly. The book in some sense revolves around Lady Molly, because even though she is in only two scenes, her parties and her reputation serve as a common ground for nearly all the characters of the book. By the end of At Lady Molly's, Nick finds himself in entirely different circumstances from those he was in at the end of The Acceptance World - he has taken the proactive step of getting married, and has established himself in a new social sphere and a new family. In addition, he has retained some relations with the more important of his acquaintances of his past. Nick seems to have gained a certain confidence and maturity in At Lady Molly's, and by its end he has truly reached adulthood. |
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Doug Presley Erridge is caught in the middle in his struggle between his heritage and his political leanings. He has a very strong sense of being a member of the upper crust, yet he also wants to support the political views of the working man and laborer. Erridge tries to conceal his inner self, but is not always successful, as throughout the book At Lady Molly's his actions and characteristics are compared to the old style aristocracy -- a life he only half wants to distance himself from. While referred to by many different names, the eldest of the Tolland siblings chooses to follow family traditon and remain known as Erridge. His choice of name reflects his inability to decide between the two worlds he is a part of, as he chooses the most neutral of his three titles. To conceal his association with the aristocracy, he chooses to remain known as Erridge, rather than using the more prestigious title of Earl of Warminster. While he rejects the more aristocratic of his titles, he also chooses the name "Erridge" over his given name of Alfred Tolland. To Lady Molly, that he has his own family and friends refer to him by his title always seemed "rather pompous" (28). While Erridge hopes to maintain this balance between two identities, Quiggin seems unwilling to let him. Throughout our first meeting with Erridge, Quiggin refers to him as Alf, choosing to use not only Erridge's given name, but a contraction of it. This appears a deliberate attempt on Quiggins part to try and cover up the fact that while Alf purports to be a supporter of the Left, he still holds ties to the Aristocracy. In our first meeting with Erridge his reluctance completely to embrace the lifestyle of the common man shows through in more than his choice of name. When discussing the struggle against fascism with Quiggin, Erridge states that he "doesn't always think like the rest of [Quiggin's compatriots]" (119). He then quickly moves conversation to the Marxist magazine they are planning, however once again refusing to take either side fully. During their first meeting, Jenkins also gets the impression that "whatever his political views, whatever the social changes, Erridge would remain in a comfortable position" (116). Erridge's inability to leave behind his heritage shows through even more once Jenkins visits Thrubworth, and has a chance to see Erridge in his own environment. Even about the most basic of issues, Erridge manages, consciously or not, to give off an air of high-class life. When debating whether any champagne was left in the cellar, Jenkins hears in his voice the "faint murmur of ancestral voices answering for the Government some awkward question raised by the Opposition" (141). The tour of Thrubworth reveals even more about the mansion's owner. When Isobel comments that "Dukes are much more cunning than Earls," Erridge, an Earl himself, takes offense and Jenkins becomes "conscious of the bones of an old world pomposity displayed beneath the skin of advanced political thought" (150). A little later, Jenkins notices within Erridge the "guilty enjoyment" of showing off his house (151). As Much as he may try and hide it, Thrubworth and the title that comes with it excite Erridge. The characters, specifically the Tolland family, are left to speculate as to why Erridge has abandoned his title of Lord Warminster. Nick, however, seems to have hit it directly on the mark: guilt. Erridge wants to embrace his heritage, but he also feels guilty for being wealthy. In order to appease his guilt, Erridge not only gives generously to those who ask for it (153), but he also tries to conceal his aristocratic leanings. By remaining neutral in the battle between his conscience and his desires, he puts himself in a position of safety and security, even if it becomes obvious that he is not entirely committed to either side. |
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Zachary Smotherman Jenkins's more reserved, detached personality, as described by Ms. Erdleigh in The Acceptance World, permits him to develop some unique perspectives on relationships prior to his entering into marriage . He can view his impending nuptials almost from a third-person perspective. Jenkins emotionally removes himself in such a way that allows him to see the marital relationship from a more individual perspective versus a more awestruck, enmeshed perspective, of anticipated marital bliss. This characteristic of being able to emotionally remove himself is evident in his speech at the close of chapter four. He says, "I passed through the empty streets, thinking that I too, should be married soon, a change that presented itself in terms of action rather than reflection, the mood in which even the most prudent often marry: a crisis of delight and anxiety, excitement and oppression ." (ALM, 202) In Jenkins's approach-avoidance perspective of marriage, he views it as an action one takes in life, like an unwanted oppressive stage of development, that will culminate in some joyful states of being. He demonstrates in this speech that he has contrasting views on the state of one's mind prior to marriage. These result from his observing the different marriages of his friends. He goes through his life remaining detached, simply watching those around him, contemplating their actions, and only afterwards becoming a participant himself. He learns the positives from the Jeavons' marriage and the negatives from Widmerpool's impending one. This discrepancy causes Jenkins to have contrasting feelings towards marriage of both highs and lows. Jenkins cannot understand what Mrs. Haycock sees in Widmerpool and why she would want to marry him. He says, "I record these speculations not for their subtlety, but to emphasize the difficulty in understanding, even remotely, why people behave the way they do." (ALM, 67) With this remark Jenkins recognizes that people's actions are often difficult to figure out, especially surrounding love. Jenkins's observations of his friends' marriages are crucial as he sculpts his own perceptions on marriage. Jeavons, whom Jenkins has grown attached to, and Widmerpool, his longtime acquaintance, have entered or are in the process of entering into marriages though the course of this book. Both of the men are asserting their will and marrying up, into the aristocracy. Jenkins will also marry up into the aristocracy, following the example set by his friends. He views their marriages as trial-runs for his own. He is learning from the mistakes made by both Jeavons and Widmerpool. General Conyers says that Widmerpool makes the mistake of delaying. He states, "If he wanted to marry her, he ought to have got down to matter and done it. No good delaying in things of that sort." As Jenkins observes the actions of others, he makes assumptions about marriage as a whole. Jenkins says that those entering marriage often feel "a crisis of delight and anxiety, excitement and oppression." Jenkins is correct in describing marriage with these two contrasting views. The state of mind of one who is about to enter into the life-long bond of marriage is full of turmoil and contrasting thoughts. The emotions are difficult to describe and therefore Jenkins is unable to find one word to convey the feelings he is experiencing. Jenkins finds delight in the Jeavons's marriage, with the comment that "the strongest protest she (Molly) ever seemed to make was: 'Oh Teddy, dear do you ever catch hold of the right end of the stick?"(ALM, 159) and anxiety in Widmerpool's marriage with his remark, "I should not wish to appear backward in display of affection"(ALM, 60). Jenkins also describes marriage as a "form of action, of violence almost: an assertion of the will." He is correct in this sense as well because marriage is a violent action in terms of the emotional roller coaster that one experiences. He has observed these two different marital situations and learned from both, creating a more well rounded view of the highs and lows of marriage. Jenkins's proclivity to observe relationships from an undemonstrative perspective, removed from current circumstances, works to his advantage as he prepares himself for marriage. His unique personality and approach to life and relationships informs and readies him for marriage in a way that is well beyond his years. Under the present circumstances, with Jenkins entering into marriage and many around him doing the same, his reserved nature and tendency to observe are a helpful tool in preparing him for marriage. The fact that he observes and doesn't jump in immediately, allows him to gain knowledge. This reserved nature that is his strength in leading up to marriage could become his greatest weakness if he doesn't open up once he enters into marriage. |
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Gauri Kirloskar Throughout the first movement, Widmerpool is portrayed as a "nerd," an outcast from society. Nick relates specific incidents such as the banana and the sugar incidents, which heighten this impression of him. However, in the fourth book, Widmerpool's status is lifted to one of admiration, even respect. Nick describes him as "energetic, able, successful" (44), things that he never was in the past. His will and determination have always shown through, but these qualities have only tainted his reputation further - by portraying him as a person who tries hard but does not succeed. Now however, these qualities have brought him success, so much so that the characters that used to make fun of him now admire him. We notice the difference in Nick's opinion of Widmerpool on page 43 when he says, (after comparing him to a rubber fish) "There was something a little frightening about him." Widmerpool used to be the object of ridicule and therefore unintimidating but Jenkins' description of him informs us that he is a changed man. His comparison of Widmerpool to an artificial object suggests that something about him was amiss; that he isn't the usual awkward figure he used to be. Widmerpool has just walked into the room surrounded by an aura of confidence, a picture that Nick would probably have deemed impossible in his earlier Eton days. "He was always prepared to embark on a lengthy cross-examination.... This process seemed somehow to gratify his own egotism" (52). Earlier, it seemed that Widmerpool was trying hard to please everybody. After the banana incident, instead of being angry, he had an almost "slavish" expression and did not retaliate at all. Here however, it seems he is not interested in anyone but himself. He has moved from caring about what other people think of him, to being obsessed by his success only. He was egoistical and cared greatly about wealth and being around people of a higher financial class, as shown on page 108: "Widmerpool would genuinely possess no opinion as to whether the view from the cottage window was good or bad .... He would be concerned only with the matter of who owned the land." There are various times in the fourth novel that Nick compares other characters to Widmerpool. Surprisingly, in contrast to before, these comparisons do not hurt our opinions of the characters; rather, they make a favorable impression. When comparing him to Quiggin (108), Jenkins calls Widmerpool "a man of the will", which suggests that Widmerpool has an admirable amount of determination and potential. This again is in contrast of our earlier impressions of him in that although he was determined, he hardly ever succeeded. In Jenkins' comparison of Erridge and Widmerpool, he says that Widmerpool does "not care for eating and drinking" (132). This tells us that even though Widmerpool is exposed to luxuries, he does not take advantage of them. This is an admirable quality that again adds to our changed impression of him. "Another, far less expected party came in ..., and Widmerpool had helped Bob Duport to get a job" (84). This is the incident that proves that Widmerpool's Eton peers have a changed opinion of him. Peter Templer was the one that used to ridicule him but now he "no longer regarded Widmerpool with derision." Templer has a newfound respect for him because of the job that he obtains for Duport. Widmerpool is now a successful businessman with presitigious business connections such as Magnus Donners. Unexpectedly, he is the one who gets Bill Truscott, the man predicted to be very successful, sacked from Donners-Brebner. This just proves the extent of Widmerpool's accomplishments. Widmerpool, first portrayed as a loser, is now the most successful of the Eton group. He has moved from being ridiculed, to being admired, and even respected. Although he still has a lot to learn when it comes to associating with members of the female sex, his success with his career provides us with more hope for his future relationships. |
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Will Story General Conyers opens and closes At Lady Molly's. He isn't like most characters in The Dance. While he possesses some of the traits common to them, he is much more unusual than most. Conyers is an eccentric. One favorite theory is, "that poodles, owing to their keen natural intelligence, could profitably be trained as gun dogs," (4, ALM). The thought of poodles as gun dogs is ridiculous. Poodles are paraded around with fancy haircuts,wearing bows. This idea of Conyers is totally off the wall. Conyers also plays the `cello. Even though he lacks any real skill, he practices daily. He is so bad that when Nick is visiting Conyers and Conyers is playing "Ave Maria" (a well known song at that time) Nick hardly recognizes it. Most people would give up if they were that bad, but since Conyers is eccentric, he doesn't care and continues on playing. Uncle Giles doesn't think much about Conyers. Giles believes that Conyers's success is due to the fact that Conyers was, "not entirely friendless in high places ... Conyers always knew the right people," (1, ALM). The fact is Conyers was a hero. He led a successful charge during the Boer War. His bravery got him where he is; the reason he has done well is due to that quality, even if Giles believes otherwise. Conyers is strategic in what he says. He chooses to tell Nick about the story of Widmerpool and Mildred's breakup. Conyers is psychoanalyzing Widmerpool and he wants to know more information about him so that he can confirm his own beliefs. He realizes that Nick, Widmerpool's old schoolmate, will be useful to him in getting the information he wants. Conyers spends a lot of time thinking, developing his ideas fully. When the Conyers question Nick about Widmerpool, the general thinks about everything Nick says. He psychoanalyzes Widmerpool and his conclusions are correct. Conyers believes that Widmerpool is, "Keen on a thing for a moment, but never satisfied. Wants to get onto something else," (230, ALM). This can be seen in Widmerpool's job experience. He is always trying to work his way up to a bigger and better job. Whenever he gets a new job, he immediately works on getting a new, better one. Conyers is a character with many unusual qualities. His presence in At Lady Molly's adds a lot to the story. Powell's use of Conyers keeps the reader interested in the story as it progresses. |
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Ash Verdery The title of Anthony Powell's At Lady Molly's highlights the theme of two conjoining worlds in the novel. The "Lady" in Lady Molly's name represents one world, the aristocratic world, because it evokes a sense of formality; Dictionary.com lists these definitions for lady: "1. A well-mannered and considerate woman with high standards of proper behavior... 6. Chiefly British. A general feminine title of nobility and other rank." This definition contrasts with the definition of the second half of her name: "A pet or colloquial name for Mary." This half represents the bourgeois world, because of its informal nature. Powell assigns these two worlds symbolic genders; female characters like Isobel and Mildred Haycock embody the aristocratic world, while male characters like Nick and Widmerpool embody the bourgeois world. The pairs originate and exist in the worlds they represent, and in At Lady Molly's these pairs join. By intermarrying these two metaphorically engendered worlds, Powell creates a metaphoric kiss between the aristocratic and bourgeois worlds in At Lady Molly's, where the two worlds unite. Powell equates the aristocratic world with women in two characters: Mildred Haycock, and Isabel. Mrs. Weedon describes Mrs. Haycock, formerly "the honorable Mildred Blaides", as "not badly off" (176, 166). She is an aristocrat, the daughter of Lord Vowchurch. This position compares with Isabel, who is one of the ten Tolland children, children of The Earl of Warminster. Both girls descend from aristocratic families, and both are considerably well off: "[Mildred Haycock] is very extravagant"(166). These two characters constitute one of the worlds that join in At Lady Molly's, and, because they are both females, their gender represents their natal world, the aristocratic world. Powell equates the causal and bourgeois world with men in two characters: Widmerpool and Nick. Widmerpool's father sold liquid manure, and Widmerpool himself strives to gain status and power; a willful effort to advance socially motivates his marriage to Mrs. Haycock. Nick associates in the same world as Widmerpool, although he exists in the bohemian rather than the financial or political part. These characters, and their male gender, represent the middle-class world, because they derive from and exist in it. These two engendered worlds meet in At Lady Molly's; symbolically, they kiss in this novel because they lovingly unite in marriage. Powell constructs the linkage between the two worlds in the title through the contrasting connotations of the words "Lady" and "Molly", because that linkage happens at Lady Molly's house, which "was a hinterland where none of the ordinary rules seemed to apply and persons of every sort could encounter" (155). Aristocrats such as Molly and Stringham associate with bourgeois such as Max Pilgrim and Mrs. Weedon. |
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Jason Myung Throughout the Dance thus far, up to At Lady Molly's the reader sees a number of scenes of Widmerpool being embarrassed and making a fool of himself. However, at each occasion, he handles the incident coolly and is more composed each time. The true question is whether Widmerpool is learning how to deal with these embarrassments or whether he is just developing a tough hide. Looking at all of Widmerpool's major embarrassments, we first have the incident where a banana thrown by Budd explodes all over Widmerpool's face in the beginning of the first book, A Question of Upbringing. Widmerpool's reaction is not severe nor is he actually embarrassed. His reaction is, oddly, almost glad. Charles says that, "an absolutely slavish look came to Widmerpool's face," and that Widmerpool's response, "I don't mind ... It doesn't matter in the least," (AQOU, 11) brought a deathly silence to the entire room. This is definitely not the effect that Widmerpool had most likely been hoping for. Widmerpool's reaction to the second incident is not nearly as understanding. Having dinner, Widmerpool is particularly unhappy at the fact that he has lost the chance to dance with Barbara, and in response to Widmerpool's bad mood, Barbara pretends to pour sugar on him because he is acting sour and "needs some sweetening." However, this little joke backfires as the lid of the sugar castor falls off and all the sugar inside pours all over Widmerpool's head, leaving him looking like he has turned "white with shock." Wordlessly, Widmerpool merely shakes the sugar off of himself and removes his glasses, wiping them at the same time. The third embarrassing moment occurs with at the dinner party with the old boys. Here Widmerpool makes an uninvited speech and makes a fool of himself when he continues making his speech even after many people tell him to sit down and shut up. This speech is cut short when Le Bas has a stroke but strangely, the scene doesn't embarrass Widmerpool at all. The latest embarrassment to Widmerpool involves his engagement to Mildred Haycock, a woman described as someone who has "been around," indicating that she has slept with many men. This may be a key point in the break up of Widmerpool's engagement to Mildred. Although it isn't exactly stated explicitly in the text, one can gather that the reason Mildred broke off her engagement to Widmerpool is because Widmerpool either could not perform in bed at all or just not very well. General Conyers relates that Mildred claimed that Widmerpool "wasn't going to be any use as a husband." With Mildred's reputation, one must wonder whether this is an evaluation of Widmerpool's sexual ability or of his true merits as a husband. However, instead of actually looking embarrassed, Widmerpool actually looks happy with the result. But General Conyers tells Jenkins that Widmerpool had in fact stormed all over Dogdene, packing up his belongings, making several phone calls, and leaving the house in quite a huff. While all these incidents support the notion that Widmerpool is in fact developing a thick skin, impervious to most insults, he still is not without his vulnerable spots, or rather, a soft underbelly that is open to attack. Widmerpool seems to have developed a pattern of taking the embarrassment very well when it is dished out by a man, but when it comes to women, he can't seem to deal with it very well. This is most likely a result of a sexual infirmity that has been developing throughout his life. He doesn't seem to be comfortable around women sexually and this obviously bothers him greatly. Widmerpool tries not to let this appear to be so obvious but his attempts fail miserably. For instance, after the meeting with Gypsy Jones and paying for his abortion, Widmerpool begs Jenkins at Stourwater not to tell anyone, and even when it is mentioned years later; he is still touchy about the subject as he was when it first occurred. Also, when Barbara pours the sugar all over him, Widmerpool's later reaction is more extreme, with his proclamation that he will not see Barbara again and that her actions were cruel. Indeed, Widmerpool takes embarrassment more to heart when it comes from or is a result of a woman. In short, while Widmerpool has indeed come a long way with his ability to deal with the periodic embarrassments that pop up, he still has his soft spots. I can't really ever see Widmerpool ever being as comfortable as he would like to be around the opposite sex. There is actually a scene in the story so far that may suggest that Widmerpool is actually a homosexual. The phallic banana, possibly a representation of a penis, bursting all over Widmerpool's face, with Widmerpool's response of a smile and then wiping the mess off his face is obviously suggestive. However this remains the only instance where the possibility of homosexuality arises. Widmerpool, I fear, will never have the ability to thicken his skin when it comes to ladies, leaving the reader to wonder what he will do later in the story. |
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Enjoyed the LM papers, also just read the Acceptance World ones for the first time. I liked the political and economic ones--sometimes it's good to take a step back from the text and fill in the background, and the point about W's prescient Keynesianism is a needed one. Good work all around. best Nick John ... Three or four of us were discussing your class and their essays over lunch today at The Wallace Collection Lunch. A couple of people expressed surprise and admiration that you're teaching 'Dance' at all, especially to late-teenagers, and that they were getting something from it. And those of us who have read any of the essays were all surprised and delighted at their quality. Keith Marshall |