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Nathaniel Miller In Anthony Powell's At Lady Molly's the narrator, Nick, meets many members of the Tolland family, including Alfred Tolland, Earl of Warminster. Tolland is known to his family and acquaintances as Alf, Erridge, or Erry, in reference to his earlier position as Viscount Erridge. He owns a large manor house, known as Thrubworth Park, as well as much of the surrounding land and also has a peerage in the House of Lords. Erridge also possesses an extraordinary streak of eccentricities. He uses only a fraction of his house, which is minimally staffed. His appearance is disheveled. He is a communist interested in land redistribution. He decides to steal away to the Far East. In summary, he is a driven aristocratic peer, with an eccentric personality, a combination of which leads him from a stuffy and respectable, if unkempt, manor house to an almost comic adventure to the Far East. What is expected of Erridge, a stable life built on his inheritance of a peerage, stands in sharp contrast to his eccentric politics and dealings. Erridge, as the eldest of his generation of Tollands, became Viscount Erridge upon his grandfather's death, signifying that he would inherit the title of Earl of Warminster when his father died, along with Thrubworth Park, a peerage, and all the other privileges of that title. When Erridge does become Earl of Warminster, he makes little use of his inheritance, preferring to use a very small portion of the house, while the rest remains "under dust sheets" (151, LM). At the same time, Erridge greatly enjoys showing guests around the house, and knows a great deal of family history. There are only a few employees at Thrubworth Park, most prominently a cranky, drunkard butler, Smith, and he is often loaned out. Chips Lovell mentions that his aunt Molly, the title character, "sometimes borrows him from Erridge, when, for one reason or another, Thrubworth is closed down" (21, LM). Erridge's title, Earl of Warminster, also entitles him to a seat in the House of Lords, although the power such a seat commanded would have waned considerably by the 1930s. Nobility were still able to wield considerable influence, however, with much of it coming from the large yearly incomes a title guaranteed. Erridge, if he uses much of his income, does so in the service of various communist causes. The Marxist literary critic J.G. Quiggin mentions that Erridge has, "founded several societies and financed them… All very good causes… But sums that would make you gasp" (154, LM). When Erridge first appears in person, he and Quiggin are making plans to start a political magazine, as well as publishing some anti-fascist pamphlets. According to Quiggin, it is also Erridge's intention to turn Thrubworth Park, "into a collective farm with himself at the head of it" (115, LM). This is also a subtle rebuke of Erridge's reluctance to give up power, which he would have to do in a truly Marxist society. At this point, Erridge has just returned from a committee meeting on the Sedition Bill in London, which had been aborted due to the absence of another important member of the committee. Erridge's influential, almost ironically executive, presence in British communism contrasts with a determination to be like the people in many ways. He does not bother with his appearance or clothes, which are described by Nick as giving off, "a heavy, earthen smell as if he had lived out of them in all weathers for a long time" (115, LM). Quiggin informs Nick that Erridge has been, "collecting useful information about unemployment," (123, LM) and distributing pamphlets. However, these eccentricities are insignificant in comparison with Erridge's most astonishing decision: to travel overseas to the Far East in order to see the conditions in China during the Japanese invasion. This would not have been notable in and of itself because, as Nick notes, he was, "interested in the political implications of the situation" and, "could afford to buy a ticket for himself" (204, LM), however, at this time Erridge decides to leave Quiggin and travel with only Mona. Not only does this seriously threaten Erridge's relationship with Quiggin, it throws his family into a speculative turmoil. In many ways Erridge's trip to the Far East captures the essence of his character. Just when he seems completely outrageous, a communist aristocrat personally collecting data on unemployment, he makes that seem almost reasonable by running for the conflict ridden Far East with Mona in tow. He cannot stop his journey from the merely incongruous to the absurd in his, so far, short appearance. There seems not to be a logical progression to his oddities. For example, the Far East journey was first suggested by Quiggin. At the same time, Erridge seems to do take little action without a purpose. When he visits Quiggin's house, he does not care what he interrupts in order to bring up his magazine. He does things his own way, such as setting up water pumps in all the houses on his property, and is used to his own power and influence. He is willing to leave behind the comforts of an aristocratic life in order to achieve his goals. All this leads to his decision to temporarily abandon life at Thrubworth Park for the Far East, once again in sharp contrast with outside expectations, in order to chart his own journey in life. |
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Andy Clay Throughout the first four novels of Anthony Powell's Dance to the Music of Time, Nicholas Jenkins, the narrator, remains unattached and open-minded regarding political and international issues. In most instances, the novel's plot overshadows its historical context. Nonetheless, there are a plethora of references to historical events in England and Europe, such as the "slump" and the lead up to the Second World War. Many of the characters, excluding Nick, hold strong political views regarding these events and, in turn, attempt to sway other characters to their respective philosophies. Nick, however, remains an observer and rarely takes sides on political issues. It would be incorrect to assume he is uninformed regarding political issues. As Quiggin reveals, Nick has "a degree in history" (AW, 95). Thus, it is more logical to assume that Nick fails to reveal his beliefs, leaving other characters and the reader to wonder. By the end of the novel, however, he appears to have two political philosophies - one for his aristocratic lifestyle and the other for the literary and artistic world he works in. Outside of his profession, Nick mostly associates with members of the British aristocracy and upper class, such as Peter Templer and Charles Stringham. One of the most politically active characters he interacts with in this group is Widmerpool. Once an outcast at Eton, Widmerpool is successful in business and expresses his political views explicitly, though sometimes incomprehensibly. Widmerpool's relatively moderate ideas agree with his upper-middle class upbringing and current lifestyle. At a luncheon with Nick, Widmerpool expresses his opinions of Hitler and the Third Reich after overhearing a couple speaking in French about Dollfus, the Austrian chancellor killed by the Nazis in 1934 because of his opposition to the unification of Austria and Germany. On the issue of Germany, Widmerpool says, "What is much more likely to be productive is to settle things around a table. Business men of the right sort. Prominent trade unionists. Sir Magnus Donners could probably play his part" (ALM, 64). This speech reveals Widmerpool's conservative outlook on political and international issues. Even though he says, "my opinions have moved steadily to the left of late years," Widmerpool is still relatively conservative compared to other characters, such as J.G. Quiggin and Alfred Tolland (ALM, 63). In any case, the conversation is one sided and Nick does not respond after Widmerpool finishes. Furthermore, there is no indication as to whether Nick agrees or disagrees with Widmerpool. Nick's continued association with people like Widmerpool, who have relatively conservative opinions, however, suggests he has similar views. The other world that Nick interacts with is the literary and artistry world. One of the most prominent characters he meets in this world is J.G. Quiggin, who remains a Marxist throughout the first four novels. Quiggin's communistic beliefs make sense considering his lower class upbringing in the North Country. Nick's continued sociable association with Quiggin suggests that his leftist principles do not bother him. While he is staying over at Quiggin's flat on the grounds of Thrubworth Park, however, certain ideological differences between the two characters become evident. When Nick looks out at the landscape surrounding Quiggin's house, he says, "You have a nice landscape here" (ALM, 107). Quiggin responds by saying, "Do you think it nice...You know these days I scarcely notice such things. Once I might have done - should have done, certainly, in my romantic period. I suppose by `nice' you mean undeveloped. Give me something a bit more practical…As it is, I would much rather be looking at a well-designed power station" (ALM, 107). Thus, Nick is clearly not as far left as Quiggin. More importantly, this exchange suggests that Nick is a romantic. Again, however, he neither disagrees nor agrees with Quiggin, thereby maintaining his role as an observer. It is clear that Nick does not hold any prejudices towards the political philosophies of either Widmerpool or Quiggin, two oppositely minded individuals. Nick's aristocratic, military upbringing suggests that he is conservative. His exchange with Quiggin, contrastingly, suggests that he is a romantic and more liberal. This dual-minded political philosophy makes sense because of the two lifestyles that he lives. On one hand, Nick associates himself with many members of the British aristocracy and upper class. The characters in this group, with a few minor exceptions such as Erridge, are conservative. On the other hand, while working in the artistic and literary world, Nick is a romantic and associates with people opposed to aristocratic and political norms. At the end of At Lady Molly's, Nick's political beliefs, though clearer, are still uncertain. In this way, he maintains his role as an unbiased observer in the novel. At the moment, he seems to be deciding between two opposite ideologies, one for each of two lifestyles he lives. The two philosophies sharply contrast and clash vehemently. Nick's continued secrecy to the reader regarding all of his feelings, not just his political thoughts, is due to his timidity. When they first meet in The Acceptance World, Ms. Erdleigh describes Nick as "half-way between dissipation and diffidence" (AW, 19). Thus, it would be incorrect to say Nick does not have any political beliefs. He has, however, yet to reveal them to the reader. |
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Kim Sugarman In the beginning of At Lady Molly's by Anthony Powell, the reader is given a glance into Nick's life as a film writer. He continues to mention his profession throughout the book to different receptions. Nick's story is similar to that of Powell's own life. Both wind up writing film scripts, an opportunity that probably would not have occurred without the quota. As American movies came to dominate the film industry in England, the government required that for every American movie shown, a certain amount of British films had to be played. The American movies were more popular, so the British government set up the ratio for the quota in order to protect the film industry. As a result, many writers wound up working for film companies and changing British film forever. The British film quota was created in 1927 when Parliament passed the Cinematograph Films Act. At the time, the British cinema culture was growing, helped by the founding of The Film Society of London in 1925 and more reviews in the papers. Movies are mentioned in the books several times such as when Mona and Jean go to the film that Templer believes is "about lesbians." Nick takes part in the increasing popularity of movies, mentioning that he often stands in a film queue with different girls. American film was being exported in large amounts at this time, and was beginning to dominate the film scene. In 1925, Britain only produced 33 films. In 1926, more than 600 American films were shown in England. Since the movies had already made a profit in the United States, they were cheap to go see. As a result of the influx of American films, the quota was developed and many writers, actors, and directors were given jobs. Many American corporations, such as Paramount, Warner Brothers, and Fox, set up subsidiaries in England to produce cheap films. A film counted as British if at least 75 percent of the salaries went to citizens of Britain, including the writer. They also had to be produced in Britain. Since these films had to be produced quickly, they were often of poor quality and did not require large investments. They gained the title of "quota quickies," which is still used in reference to low-quality movies made during the 1930s. Often these movies were produced for less than £1 per foot; one producer was able to complete an entire film for this price in ten days. This is the type of team that Nick mentions in his story. The group of him, Chips Lovell, Hegarty, and Feingold had already produced nine "treatments" between them, even though they had been in the industry only a short time. As a result, these films can be quite boring, but they also provided an outlet for less mainstream plots. Others were very successful and, since they did not have to pay the stars as much, it was easier to make a profit. Some were indistinguishable from the costlier productions. One actor said that they often filmed the films at a country house the producer was using for vacation, and often without rehearsals. When Nick goes to visit Quiggin and Mona at their cottage, it becomes apparent that the reason for the invitation is to discuss Mona's prospects as a film star. This is very optimistic of the couple because Nick wrote only for the quota, which did not make use of major stars. He worked for a company that produced second-feature films. Nick says that "to be `an author' was, of course a recognized path of approach to this means of livelihood; so much so, indeed, at that period, that to serve a term as a script-writer was almost a routine stage in literary life" (12). However, Widmerpool takes a different view on this, commenting on Nick's "unusual ways…to earn a living" (52). Nick had previously written several novels and writing for films was a good way to keep working during the Slump. People in the film industry were often paid very little, one company "never paid more than £150 to a screenwriter, or £250 to a star." Nick had to work long hours, as evidenced by his staying late regularly with Lovell. Quiggin mentions the fact that Mona "has made more than one appearance on the screen in the past" (110). However, Nick replies that it will be difficult for him to introduce her to any directors since he is on the scenario side. He told the Jeavons that he "had little to no contact with the acting side of the business" (111). When Widmerpool inquires whether Nick likes the work, he replies curtly with "not greatly" (52), and receives the familiar reply that it might lead to something better. Anthony Powell worked for Warner Brothers Studio in Teddington. He was a script-writer- a similar position to Nick's- who helped write the second feature. Also similar to Nick's job, the hours were long, but it paid fairly well. Powell's contract expired after six months and was not renewed, and none of his scripts were ever turned into a movie. However, the film quota was an important part of British film history. Without the ability to mass produce films, many of the actors and directors never would have gained the experience that made them famous in later years. The quota was success as more and more people went to watch British films. Eventually the quota act changed to improve the quality of the films by requiring a certain amount of money be spent on each foot of film, and British film became even more popular. Sources Sweet, Matthew. "Fancy a Quickie?." The Guardian 2 Jan 2007 11 Dec 2007 < http://www.film.guardian.co.uk >. "In Praise of the Quota." British Pictures. 10 Dec 2007 < http://www.britishpicutres.com >. "Great Britain: Quotas, Quota Quickies, and Sound." Film Reference. 11 Dec 2007 < http://www.filmreference.com >. |
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Nicole Duddy A Dance to the Music of Time portrays two different lifestyles- that of an artist and that of a businessman. In a book filled with numerous characters possessing so much willpower, everyone, at one point or another, tastes some form of success. However, success is a very subjective term. It becomes clear that an artist's ambitions do not match those of the businessman. If men of the market do not see eye to eye with the painters and writers, that does not mean that either lifestyle is more or less successful than the other. Kenneth Widermpool is the embodiment of the ambitious workaholic: "Much better to get down to work right away," he said and so from the very beginning, he was "always looking towards wider horizons in business and politics" (QU, 132). He first works for a firm of solicitors, and then persists his way into Donners-Brebner Company. He only continues to move up, into what is called the "Acceptance World," and expects others to recognize his accomplishments. The highlight of Widmerpool's ambition certainly is his economics speech at the Old Boy dinner: "It was likely that he wanted to impress La Bas's Old Boys- those former schoolfellows who had so greatly disregarded him- with the fact that he was getting on in the world despite of them; that he had already become a person to be reckoned with" (AW, 194). His egotism and cravings for success are in due part to separate himself from his identity at Eton- the awkward, unpopular boy without many talents. Now, however, he "[has] become ... a person of authority" (AW, 209). According to others, Widermpool is "too serious-minded" (BM, 264) and Nick notes, "He had devoted so much energy to achieving his present position in the world that even golf had been discarded" (LM, 62). Thus, Widmerpool does not hold leisure activities and the arts with high regard. He criticizes Nick's occupation, claiming that selling art books "doesn't sound like a very serious job" and that he "can't see it leading to much" (BM, 79). He even goes so far as to advise Nick to "avoid all that set" (BM, 272), referring to the artists, trying to steer Nick away from what he deems an unfavorable lifestyle. But is Widmerpool happy? Love is the one element he misses in his life, unsuccessful in all his attempts, including his recent failed engagement to Mrs. Haycock. Another businessman, Peter Templer, is the suave, successful ladies' man. After going right into business from Eton, Templer plays the part of a handsome stockbroker who carries himself with "an air distinctly prosperous" (AW, 36). Set in his social niche, "he liked his friends to be rich and engrossed in whatever business occupied them. They had to be serious about money, though relatively dissipated in their private lives; to posses no social ambitions whatever, though at the same time to be disfigured by no grave social defects" (AW, 39). Mona does notice that Nick is "not much like most of Peter's usual friends" (AW, 62). Templer, too, does not show much appreciation for the arts for he "disliked anything that could be labeled `bohemian'" (AW, 39). In general, he does not take interest in artsy films, such as Mädchen in Uniform, and takes a crack at Nick when he sees Quiggin's clothing, for example, "Did you see his shirt too? I expect you know lots of people like that Nick" (AW, 60). He even tries to sell painting of his father by the well-known Horace Isbister, R.A, clearly not recognizing its artistic value. For now, Templer is at low point after he lost his wife, Mona, to Quiggin and a bit of money caused by the economic slump. But to be successful again, he just has to continue to work hard and be his usual "great one with the girls" (LM, 186). On the other hand, there are the artists, such as Nick's friends Barnby and Mr. Deacon. Barnby is a third generation artist, so one might say his lifestyle runs in the family. Nick suggests this fact gives Barnby's judgment "a scope rather unusual among those who practice the arts" (BM, 173). Easy-going and amiable, he lives by painting portraits and pursing many love interests. Nick proposes that "in terms of literature, Barnby might have found a place among Stendhal's heroes, those power-conscious young men, anxious to achieve success with women without the banal expedient of `falling in love': a state, of course, necessarily implying, on the part of the competitor, a depletion, if not entire abrogation, of `the will.' Barnby was, on the whole, more successful that his Stendhalian prototypes, he was certainly often `in love'" (AW, 24). And Barnby also has his fair share of success in his career, "his own reputation as a painter steadily rising during the previous two or three years" (AW, 24), even sparking the interests of Sir Magnus Donners. Overall, he does not have many complaints in life. When Nick asks, "Do you wish to change your identity?" Barnby responds, "Not in the least. Merely to improve my situation in certain specific directions" (BM, 252). Within Barnby lies the desire to improve small areas of concern, such as his love life, not the desire for an overly ambitious change of lifestyle. Mr. Deacon is not quite as successful a painter but he is still able to live an enjoyable life. His lack of immense wealth never held him back from enjoying his interests of traveling, cooking, collecting antiques, and political involvement. In fact, "Mr. Deacon's persuasions could be regarded with tolerance as part of the stock-in-trade of a professional artist, by no means a failure in life, and to be accepted, however unwillingly, as the inevitable adjunct of a Bohemian profession; even valuable in their way as illustrating another side of human experience" (BM, 7). Indeed on occasion, "one of [Mr. Deacon's] minor works [paintings] found its way into the ironmaster's local art gallery, a fulfillment which evidently gave great satisfaction to the painter" (BM, 4). His successes may be small, but he nevertheless remains an adventurer pursing the "Good Life": "a figure almost Promethean in spirit… following ideals of his own, far from the well-worn tracks of fellow men" (BM, 227). This brings us to Nick Jenkins. Since he was young, our narrator has had an interest in writing though he was not set in any particular direction. His first job was selling art books with a publisher, and considered not keeping regular hours "a great advantage" (BM, 79). For a time, he lived in Shepherd's Market, a distasteful part of town, but not once does he suggest of being unhappy. Nick has now moved on to writing film scripts, and has already released a novel. He is also happily married to Isobel Tolland after various meaningless dates and an affair with Jean Duport. Despite all this, Nick receives various criticisms, accused of having to make a greater effort in life. However, Nick's will is not fueling him to become a banker, a stockbroker, or a trader- Nick wants to be a writer. To others it may look like he's drifting along, but he's not. He is steadily making progress, instead of experiencing social and economic highs and lows. Nicks works within publishing companies and gets to write for his job. He uses his downtime to enjoy films, go to art galleries and auctions, attend social events and meet people of all sorts- all contributing to his life's experiences and creativity. Like the artists, Barnby and Mr. Deacon, he does not seek a radical change of pace or to prove to anyone he is successful. Nick certainly gets along, and his happiness is not based on what he makes, who he knows or how he's viewed. He may not experience success in a businessman's terms, but it is still success nonetheless, and hopefully his successes will bring him all the happiness in the world. |
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Kym Louie From the time Jenkins meets Widmerpool at Eton, Widmerpool is socially awkward and continually trying to fit in. Jenkins does not even consider the possibility of Widmerpool having an interest in a woman until he confesses his feelings for Barbara to Jenkins. Jenkins says, "somehow I had never been able to picture his life as an adult; idly fancying him, if thought of at all, forever floundering towards the tape in races never won (ABM, 30)." Though Widmerpool pursues women, he is not very interested in having romantic relationships with women, except to appear normal in society. The first time Jenkins sees Widmerpool take an interest in a woman is at the ball at the Huntercombes'. At the time, "Widmerpool still represented in my mind a kind of embodiment of thankless labour and unsatisfied ambition (ABM, 30)." Widmerpool is supposed to dance with Barbara when she insists on leaving the Huntercombes' ball with Jenkins, Widmerpool and Tompsitt. He is "by no means prepared to give in at once, though his struggles to keep Barbara to himself were feeble enough, and quite ineffectual (ABM, 66)." Widmerpool is outraged at this, but makes no show of it. Later that night, Widmerpool grabs Barbara's writs to prevent her from leaving, and Jenkins notes that Widmerpool had always been "inclined to shrink from physical contact," and while in France had "started violently [as she touched his arm], almost as if Berthe's fingers were red-hot (ABM, 69)." Widmerpool's action is not one of adoration nor affection; he is clearly only trying to prevent her from leaving him for the evening. Widmerpool reacts to Barbara's pouring sugar over his head with a fury that is clearly because of his humiliation, not disappointment in the prospect of Barbara showing no romantic interest in him. Jenkins reflects that he "used to think that people who looked and behaved like Widmerpool had really no right to fall in love at all (ABM, 80)." Widmerpool and Jenkins leave and immediately run into Gypsy Jones and Mr. Deacon. Widmerpool does not take an immediate interest in Gypsy, but as the night wears on, he becomes more and more attentive to her. Gypsy herself turns out to not be actively pursuing a romantic relationship, as she reveals that Widmerpool payed for her abortion because "somebody had to cough up (ABM, 249)." Jenkins sees nothing in Gypsy that he expects to be particularly attractive to Widmerpool and thinks that he might take a fancy to Gypsy 'on the rebound' from Barbara. Despite the major differences between the two girls, Nick notices that they share a kind of "sociological preoccupation." Widmerpool certainly is not very sociable himself, nor is he interested in spending large amounts of time at social activities, so he is not interested in doing that long-term with either of the girls. However, if they go out often he is seen as successful in attaining a woman. Jenkins later finds out from General Conyers that Widmerpool is incapable of performing sexually with his fiancé, so it is unlikely that in the case of Gypsy there was any physical relationship between the two. Widmerpool only provides an abortion for Gypsy, which he calls "an almost insanely indiscreet thing about the girl you introduced me to (ABM, 207)," showing that it he does not have feelings for her strong enough to justify his actions and the amount of money it cost him. Jenkins does not report Widmerpool having any relationships with women until he learns of Widmerpool's engagement to Mildred Blaides. Mildred, like Barbara and Gypsy, is a socialite. Widmerpool tells Jenkins of his plans to go with Mildred to Dogdene, showing how analytical he is being about the entire relationship, and that the two of them have most probably not been physically intimate at all. General Conyers reveals that at Dogdene, he noticed that "half the time [Widmerpool] was being obsequious, behaving as if he was applying for the job as a footman, the other half, he was telling Geoffrey Sleaford and myself how to run our own affairs. [...] It was with Mildred there was some awkwardness. [...] The fact was, Mildred did not think he was paying her enough attention (ALM, 229)." This shows that Widmerpool is not very interested in Mildred herself, even though she is his fiancé. Furthermore, Widmerpool is unable to perform sexually with her. When she calls off the wedding, Widmerpool is anything but devastated. He is actually relieved at this turn of events, because, as Nick notes throughout the books, Widmerpool is awkward and uncomfortable around women. Though having a wife may have made him appear more professional, his relief at his separation with Mildred shows that being close with a woman is by far not his top priority. Initially Widmerpool appears to Jenkins as undeserving of any relationships with women, and, as time progresses, Widmerpool acts as if relationships are not for him. His relationships, or lack thereof, with Barbara, Gypsy, and Mildred show that he is only publicly close with any women, and the actual relationships mean little to him. |
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Cassidy Carpenter By 1935 world renowned psychologists Carl Jung and Sigmund Freud had both published their first works. Freud proclaimed his leadership in the psychoanalytic movement with his "History of the Psychoanalytic Movement" in 1914. Seven years later in Switzerland, Jung published his "Theory of Psychoanalysis" where he details his ideas on psychological typing. Freud and Jung's ideas came together to form the psychoanalytic movement. General Conyers uses these terms and readings of psychoanalysis to deduce that Widmerpool is an intuitive-extrovert and the Nick is an intuitive-introvert. These two character types are from Jung's definition of psychological typing. An introvert is more interested in the inner world, compared to an extrovert who is more interested to the outer world. Both characters are described as intuitive. Intuition as described by Jung is, "certain attitude of expectation, a perceptive and penetrating vision," which is more common in men than women. These intuitive natures play out differently in their extroverted and introverted personalities. As an intuitive-extrovert Widmerpool is typed as someone who keen in perceiving things that will flourish but his "consideration for the welfare of his neighbors is weak" (Jung 464). A perfect example of this is when Nick asks Widmerpool about his shift from Donner's-Brebner to the "acceptance world," he responds by degrading his profession in art books and neglects to ask what the name of Nick's newly published book was. Nick describes him as seeming "disinterested" in his affairs (AW 179). As always Widermerpool is keen on preoccupied with anticipating market trends and profitable business endeavors. He is always looking to put himself before others, as when he joins the party at Stourwater in A Buyers Market. At the time Widmerpool states that his reason for visiting is to deliver, "the draft for the speech for the Incorporated Metals dinner. I am spending the weekend with my mother, and knew the Chief would like to see the wording as soon as possible…" (BM 205). Widmerpool just happens to be staying near his superior for the weekend so that he can personally deliver his work early. His determination and relentless self-advancing nature has him "already positively blossoming" in the Donner's-Brebner company (BM 205). Just as Jung's typography predicts as soon as Widmrpool finds something bigger and better, he completely disowns himself from his former work at Donner's-Brebner (AW 179). It is fitting that traits of an intuitive-extrovert are commonly employed as merchants, contractors, speculators, agents, and politicians, all of which relate to his strong business motivations (Jung 465). As General Conyers quotes Jung, "Nothing disturbs feeling as much as thinking," and here in-lies the core of Widmerpool's problems. Widmerpool is always thinking before acting, and this prevents true emotions in his relations with Mildred Haycock. Widmerpool invites Nick to lunch for two seemingly inconsequential reasons. The first is to ask Nick to forget his confession of love for Barbara Goring (ALM 55). He stutters and stumbles as if his countless thoughts on the subject prevent him from phrasing his request correctly. Widmerpool's asks Nick's advice in a very roundabout way to whether it is socially acceptable to sleep with Mrs. Haycock once the wedding date is set. Two full pages are dedicated to the rambling of thoughts that have filled Widmerpool's head on the subject. Nick confirms Widmerpool's ponderings on this subject to General Conyers, "I'm sure Widmerpool thought a lot about this particular matter. Indeed, I know I did. He spoke to me about it quite soon after he became to Mrs. Haycock" (ALM 233). General Conners concedes that he, "probably thought about it a great deal too much. It doesn't do to think about anything like that too much. Need a bit of relaxation from time to time. Everlastingly talks about his work too" (234). Widmerpool and Mrs. Haycock's engagement is called off when Widmerpool is unable to "perform" due to his over thinking. This is where Widmerpool's intuitive-extroverted type causes problems, his unrelenting focus on work and the proper execution of his social activities thwart his efforts of normal social interaction. His constant analysis of his relationship with Mrs. Haycock prevents deep feelings for her, which ultimately leads to their demise. In contrast to Widmerpool, Nick Jenkins is an intuitive-introvert. Under Jung's character typing, this is a person who "if an artist, reveals extraordinary, remote things in his art, which in iridescent profusion embrace both the significant and that banal, the lovely and the grotesque, the whimsical and sublime" (Jung 509). Nick is an artist who is able to recount both sides of the story of his life. He makes specific conclusions about characters' personalities in both a positive and negative light. Nick attempts to artfully recount the multidimensional complexities of his life and interactions, which are typical of his intuitive-introvert type. This type of person often becomes one sided because, "he exclusively rely's upon his vision, his moral effort becomes one-sided; he makes himself and his life symbolic, adapted" (510). Anthony's Powell's life is symbolized in his book by Nick, his life has been adapted to encompass both the positive and dark sides of life. Staying true to Powell and Nick's character, the story is still one sided. There is one narrator and one side of the story. It would be wrong to expect it to be written differently, as this precisely reflects his character type. General Conyer's personality typing of Widmerpool and Nick are startlingly accurate. Despite fitting their predicted professions as a business man and artist, their personalities fit their personality typing as well. Though there is not detailed account of how an inutive-introvert might interact in a romantic situation, Nick in-turn does not provide us with details of his one truly intimate relationship, his wife Isobel. It is unclear whether Widmerpool's personality is based off of Jung's typology first, or off the personality of a friend of Powell's. Either way both Widmerpool's and Nick's personalities reflect the specifications of an intuitive-extrovert and an intuitive-introvert just as General Conyers predicts. Resources: Jung, Carl. Theory of Psychoanalysis. Translation, H. Godwyn Baynes, 1923. Sweden, 1921. |
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Corey Simpson In Anthony Powell's At Lady Molly's, the reader is given the opportunity to reevaluate various familiar characters in the context of their romantic relationships. It is especially interesting to observe Widmerpool as he struggles to reconcile his own self-love with his obvious insecurities about marriage; he does indeed, as General Conyers suggests, possess "a touch of exaggerated narcissism." (232) Widmerpool's egotism is his guiding principle, and his every action indicates that his chief concern is presenting himself in a good light. As with any other character, this egotism naturally manifests itself in self-promotion and barely-disguised bragging, but Widmerpool also occasionally tells undeniable lies to save face, to the point where he seems to believe his own fabrications. Nick's first encounter with Widmerpool in this book occurs at the Jeavons house immediately following his realization that Widmerpool is engaged to Mildred Haycock. To Nick, this information is in itself astounding, as he remembers Mildred from his youth as being somewhat dashing and mysterious, which Widmerpool is most emphatically not. Nick appreciates the incongruity of the relationship quite as well as the reader does, but Widmerpool, predictably, seems to be ignoring it. Always eager to share his superiority with the world, Widmerpool has now been given yet another weapon in his war for social acceptance-the existence of an apparently successful romance. When Nick offers Widmerpool his congratulations, Widmerpool replies with a complacent "time to settle down." (45) His comment suggests that he was deliberately holding off on marriage until he felt ready to give up his lifestyle, and manages to excuse his lack of previous romantic relationships and imply that he leads an exciting life all in one misleading statement. Nick then recalls that, after his encounter with Gypsy Jones, Widmerpool vowed to "never again have anything to do with a woman who `took his mind off his work,'" (46)-again, an attempt to pass off the outcome of a romance as entirely his own choice. Towards the end of the party, Widmerpool invites Nick to lunch with him the next week, and Nick is surprised to learn the name of his club, with its "mild suggestion of cosmopolitan life and high card stakes." (48) Nick considers "only an atmosphere of quiet hard work and dull, serious conversation were appropriate to him ... [but] these sentiments were utterly at variance with Widmerpool's own view of himself; a view that would obviously play the chief part in his choice of a club-or, for that matter, of wife." (48) When they meet for luncheon the next week, Nick is immediately subjected to a "lengthy cross-examination," (51) which "seemed somehow to gratify [Widmerpool's] own egotism." (52) Widmerpool then proceeds to comment on the unfortunate inability of Stringham and Templer to remain married (seemingly oblivious to the possibility that his own romance might wind up the same way), and then smugly informs Nick of his role in rescuing Duport's career and marriage. Finally returning to the subject of his own impending wedding, Widmerpool informs Nick that "my lady mother thinks well of my choice," (54) which in Widmerpool's world is the highest possible praise. Later comments, however, indicate that the relationship between mother and fiancée is not so smooth as he claims, but he does not seem to acknowledge this fact consciously; he is too much under his mother's thumb to deliberately defy her, so he simply pretends that no conflict exists. He then moves on to the more serious business; he wants his two previous romantic encounters-if they can be called that-completely forgotten, warning Nick "one cannot be too careful." (56) With the approach of his marriage, Widmerpool is desperate to erase the few questionable aspects of his past, clearly afraid to disturb his public image as a serious businessman. At this point, Nick has had just about enough of Widmerpool, observing that he is beginning to feel "imprisoned by [Widmerpool's] own self-preoccupation. He positively forced one to agree that his own affairs were intensely important; indeed, the only existing question of any real interest." (56) At the end of the book, Nick discovers that Widmerpool and Mildred have broken off their engagement, and General Conyers relates the explanation that Mildred gave him at Dogdene: "Widmerpool had been in her room the night before. Things hadn't gone at all well. Made up her mind he wasn't going to be any use as a husband." (231) Widmerpool, however, tells Nick "Mildred and I decided in the end it would be better not. We talked things over quietly, and came to the same conclusion. I think it was all for the best." (238) Widmerpool then goes on to justify the dissolution of the engagement, saying that he would not have wanted to live in France, that he was concerned about the age difference, and that he was "not anxious to take on those two sons of hers." (238) This account is directly contradictory to Mildred's story, and undoubtedly shows Widmerpool in a much better light. Widmerpool has always been ridiculed for his social ineptitude; mocked as a schoolboy, he continues to suffer socially even when his peers have accepted him as a serious businessman. The same self-concern that has enabled him to pursue a successful career is sabotaging his ability to interact with others, whether in friendship or in romance. Everything he has done to alienate his peers throughout the series can be traced back to his tendency to focus solely on himself; ironically, it would be in his greatest self-interest to ignore his self-interest altogether. |
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John Bukawyn In the opening weeks of school, Mr. Gould revealed that A Dance to the Music of Time by Anthony Powell is about how Nick' life intertwines with others and how the others change. Stringham changes dramatically over the course of the first four novels, but unlike other characters, Stringham's life stops interweaving with Nick's. From his days at Eton College, to Miss Weedon's update in the fourth book Stringham spirals downward and it is his personality, his bi-polarity, and his drunkenness that causes him to push away close friends. In his high school days at Eton College, Stringham's oscillating personality is noticeable. Stringham changes into a completely different person on a whim during the "Braddock alias Thorne" incident. At first Stringham seems rather content and engaged with Le Bas while they converses about poetry, but for a mysterious reason he turns against Le Bas and calls the police on him. Upon returning to school, however, this side of Stringham quickly fades because moments later he has regrets: "I am afraid it was all in rather doubtful taste…One is such a creature of impulse" (49, AQoU). This reaction makes him decline into a bout of depression because Nick notices that, "his cheeks had lost the flush they had taken on during the excitement…he looked grave" (50, AQoU). At one moment Stringham is on a high, and at another he is at a low. Similar depression due to personality change befalls Stringham later in the first novel at Oxford. Upon his arrival to the University, he immediately dislikes the place, remaining confined to his room. Evidently Stringham's trip to Kenya changes his personality because Nick mentions that, "some inward metamorphosis was no doubt the cause of Stringham's melancholia" (173, AQoU) and Miss Weedon similarly says, "he was never the same afterwards" (162, ALM). Regardless of this fact, his melancholy causes him to push Peter Templer away. During the car fiasco, Stringham gets extremely upset with Templer, acting as if it was Peter's fault for crashing the car. His personality changes immediately and becomes very short and sarcastic with Peter. From this incident, Nick deduced that, "they would not meet soon; and that this was a final parting" (200, AQoU). Stringham eventually goes down from the University, and Nick does not see him until their chance meeting at the London coffee stall. Upon seeing Stringham, years later, it is clear that his melancholy fits trouble him to a greater degree. With a larger alcohol presence and intimate relationships as factors, his personality can peak higher, but also fall so much further. Unfortunately Stringham is mostly depressed at this time because he says, "I might be in tolerable form for the festivities-instead of the limp rag one feels most of the time" (95, ABM). Being depressed, he now does not fall on friends for support like he could at Eton, but rather depends on alcohol. Nick notices that Stringham, "consumed a few drinks before meeting us," (94, ABM) in preparation for Milly's party. Even later, after the group arrives at the party, Stringham continues to consume alcohol: Nick's suggests that, "he had had a good deal to drink" (145, ABM). At the end of the party, his personality changes, which his drunkenness caused, and in depression he drives Milly away. In the same way he drives his wife, Peggy, away. At the Old Boy dinner, which Stringham enters completely intoxicated and worse than he was at Milly's, he reveals that Peggy, "couldn't take it" (199, TAW). "It" most likely refers to his drinking problem, which lead to his depression and eventually driving Peggy away. At the Old Boy dinner, is the most recent time that Nick saw Stringham. Even though Stringham does not appear in At Lady Molly's, Miss Weedon and Nick converse about him. Miss Weedon remarks bluntly, "You probably know he drinks too much-really much too much. I am trying to help him about that" (163, ALM). Since his drinking problem is all that Miss Weedon says about Stringham, this must dominate his life, and because he now needs help his condition must have grown worse from the Old Boy dinner. With this problem persisting, his personality must continue to fluctuate, and therefore he must be driving someone away. This someone is Nick because at this point in the fourth novel it has been two or three years since Nick last saw Stringham and for the remainder of the novel the two do not meet. Although the two were close friends at Eton, Stringham's problems cause a break between the two men. Driving his friends away because of his depression, which his continually changing personality caused, leads to the downfall of Stringham. He will, however, recover later in the series with Miss Weedon's help. Nick makes an observation of her, "undoubted strength of will," which means that Stringham will not be able to push her away, but rather she will be persistent and eventually drive his drinking problem away. Once this happens, Nick and Stringham will mend their relationship to the level at closeness at Eton. |