Volume 6
The Kindly Ones begins at Stonehurst near Aldershot, with a flashback to Jenkin's childhood in 1914, with the house staff: Albert, the cook; Billson, the parlourmaid; Bracey, and others. We learn of a domestic love-triangle. Billson loves Albert and Bracey loves Billson. Albert is not in love with anyone, but for some reason cannot resist the pressure of an unnamed "girl from Bristol," and gives notice to go marry her. On the day General and Mrs. Conyers are visiting, Billson, distraught, believing that she has seen a ghost, appears nude in the drawing room to give her notice. General Conyers covers her up and calms her down. As the Conyers are leaving, Uncle Giles appears, carrying news of the outbreak of WWI.
Jenkins and Isobel join Moreland and Matilda for a meal at Sir Magnus Donners' house. There they meet Templer and his new wife Betty. He now works for Donners. The dinner party turns into a photo-shoot recreation of the Seven Deady Sins. Widmerpool makes an apearance at the end of the chapter condemning them for their unconventional behavior. Jenkins learns of the death of Uncle Giles. He goes to the Bellevue, Albert's hotel, where Uncle Giles lived, to take care of funeral arrangements. There he runs into Bob Duport. They spend the evening together. Jenkins learns that Jean Duport has been more promiscuous than he knew. Jenkins and Duport free Dr. Trelawney -- also living at the Bellvue -- from the bathroom, where he is having an athesmatic attack. Eventually Ms. Erdleigh comes over to the Bellevue to give the doctor some "medicine." Jenkins tries to have General Conyers expedite his entrance into the army, unsuccessfully. Conyers reveals he is marrying Tuffy Weedon. Jenkins then visits Widmerpool, already in the army, but receives no help there. The two men see Gypsy Jones giving a revolutionary speech outdoors; Widmerpool is greatly embarrassed. He asks Jenkins to help him get a lodger for his mother; they go to the Jeavons's house, where the lodger turns out to be wife of Stanley Jeavons, Ted's brother. Stanley proves to be helpful in getting Jenkins called up from the list of reservists. |
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These are the major characters in this volume, organized by chapter: Chapter 1 Hugh Moreland - composer, Jenkins's best friend Albert - the Jenkinses' cook Bracey - Capt. Jenkins's servant-soldier Billson - the parlourmaid Edith - Jenkins's governess Capt. Jenkins - Jenkins's father, stationed at Aldershot Mrs. Jenkins -Jenkins's mother General Conyers - friend of the Jenkinses Bertha Conyers - wife of the general Dr. Trelawney - a mystic, leader of a cult Uncle Giles - Capt. Jenkins's brother Chapter 2 Matilda - Moreland's wife Isobel - Jenkins's wife Peter Templer - businessman, old school friend of Jenkins Betty - Templer's wife Sir Magnus Donners - wealthy industrialist Anne Stepney Umfraville - Donners's present mistress Widmerpool - businessman, at School with Jenkins, a Territorial officer Chapter 3 Bob Duport - Peter Templer's ex-brother-in-law Mrs. Erdleigh - friend of Uncle Giles, fortune-teller Chapter 4 Geraldine "Tuffy" Weedon - General Conyer's fiancee Gypsy Jones - left-wing revolutionary Molly Jeavons - aunt of Isobel Jenkins Ted Jeavons - Molly's husband Mrs. Widmerpool - Widmerpool's terrifying mother Stanley Jeavons - Ted's brother, an accountant |
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Doug Presley The theme of the arrival of war overarches The Kindly Ones. Repeatedly throughout the book, as news of both wars arrives, Nick refers to the Eumenides of Greek mythology, the Furies. Yet it is not the Furies of mythology that truly make the impact of the book and inspire the title, rather it is the few people who throughout Nick's life who seem to be pursued by the Kindly Ones. The best defined of the victims of the Furies in Nick's own life seems to be Bracey. While Bracey is not intentionally malicious or harmful, he carries about him an air of malignance that permeates all those he comes into contact with. The Kindly Ones "inflicted the vengeance of the gods by bringing in their train war, pestilence, dissension on earth; torturing too, by the string of conscience" (2). Where Bracey goes, all of these seem to follow. "Dissension" surrounds Bracey, a point most clearly made by the cake incident. Originally Albert was "lukewarm" on whether Billson should have given the stale cake to the ragged child, but after Bracey voiced his "gravest disapproval" it drove Albert "into more energetic support of Billson" (32). Where there had once been very little conflict, Bracey's involvement escalated the incident until it became "a matter of bitter controversy in the kitchen" (32). Bracey's "funny days" are yet another method through which the Furies seem to enact their wrath upon him. During his funny days, when asked if he would like a plate of soup, Bracey would respond that he would have some "only if it is my right" (13). These "periodic vexation[s] of spirit" (12), while difficult for the rest of the house, take the largest toll on Bracey himself, as he begins to question his most basic rights, namely the right to food. The fact that during his funny days, Bracey speaks "as if reiterating some charm or magical formula" (13) also presents his melancholy in a mystical light, as if it were thrust upon him from some outside source, and only his spell can break the curse. Bracey's funny days are not intentional; rather they are forced upon him by the ever present Furies. Bracey certainly is closely associated with war. Not only is he a private in the Army, but he also holds the view that Britain will undoubtedly go to war with Germany (WWI) . He tells Nick of how he does not need a bayonet, except for "when the Germans come" (23). While to Nick and his family a German invasion seems a "humorous possibility," Bracey is perfectly open about his opinion of war's inevitability (23). When the war finally does come, Bracey is sent abroad to fight, and not unexpectedly is killed in battle on the "retreat" (74). The idea that Bracey was retreating when killed should not strike us as unusual, for throughout his life Bracey has been in constant retreat from the Furies. Nick also directly relates the misfortunes of the Kindly Ones as following in Bracey's wake. Thinking back about Bracey, Nick refers to him as "a man ... pursued by the Furies" (158). In concluding his description of the riding mishaps of his father, Nick concludes that "evil influences - possibly the demons of Stonehurst or even the Furies themselves - seemed malignantly at work. However, that was no fault of Bracey's" (27-28). The Furies seemed to always have been hot on Bracey's tail. He was constantly surrounded by War, not only through his participation but also through his profession as a soldier. As a member of the household, he seemed to engender argument and cause immeasurable stress through his "funny days," especially to Billson through her tortured self-conscience. In the end, Bracey's fate seems appropriate; he dies retreating from battle, just as he has spent his entire life. The Furies were after him, and they finally got what they wanted. |
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Katherine Leonard While attending a dinner party at the home of Sir Magnus Donners, his guests partake in a modern day reenactment of the Seven Deadly Sins. Nick, Moreland, Isobel, Matilda, Templer, Anne and Betty are all assigned sins that `suit' them, and they are to recreate these misdeeds in photographs that Sir Magnus will take. Sir Magnus is the only one not to appear in the photographs, claiming that "myself as a subject would make me nervous" (TKO, 123); however, it is hard to believe that anything would make Sir Magnus nervous; considering he is such an open person. Why then, does he chose not to participate? The answer to this lies within the sins he commits. Sir Magnus is a man of great wealth, a man of great luxuries and a man of great indulgences. From his excessive collections in his home to his collection of women, Sir Magnus has it all-and then some. "The exuberance of the armor, tapestries, pictures, china, [and] furniture" (109) is omnipresent is Sir Magnus' home. His countless mistresses, including Matilda and Baby Wentworth, are also a manifestation of his extravagance. Sir Magnus is the epitome of Gluttony: the act of indulging in something excessively (American Heritage Dictionary). "Nobody warned me it was made of cardboard," (106) Isobel comments. The `castle' was an "absurd unreality against a background of oaks" (106) Nick describes. The house was a façade, an attempt to look more grand than it truly is. Magnus has an "immoderate desire for wealth" (American Heritage Dictionary), which makes him guilty of Avarice. The number of women that Sir Magnus has had is immeasurable. He never seems to get his fill. His "intense [and] unrestrained sexual craving" (American Heritage Dictionary) is obvious to those around him. Sir Magnus is a victim of what seems an insatiable Lust. In Sir Magnus' possessions, his women, his home, he takes a great deal of Pride. He appears to put in a lot of time and effort into his reputation, and he enjoys the fruits of his over-consumption. "`I find it impossible to persuade professionals to take pictures of my collections in the way I want them taken. That was why I decided to do it myself. The results, I say it, are as good, if not better" (117), he brags. Sir Magnus himself also states that "No one could object to Pride" (126). Certainly he does not object to it; it is an old friend. Sir Magnus does not take on one particular sin in the pictures because he personifies so many. Lust, Gluttony, Avarice and Pride are all aspects of his personality. Sir Magnus does not want to be in the pictures because he does not want to have his true colors come out through the photos. Sir Magnus is a man of many sins, just as everyone else is; he is just more dynamic than most. |
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Gauri Kirloskar After reading At Lady Molly's, we notice a change in our opinion of Widmerpool. Although Jenkins was never particularly fond of him, in the first five books Widmerpool has gone from being the school nerd to a respected and admired businessman to a buffoon in the bedroom. In The Kindly Ones our opinions of Widmerpool advance to another level. This time, they start to travel ominously downward. He comes off as arrogant and pompous, even threatening, especially in the second half of the book. We first run into Widmerpool at the end of the fancy dress at Stourwater. Widmerpool, like a wet blanket, douses the life out of Sir Magnus Donners' party. "He appeared to be standing at attention, a sinister, threatening figure, calling the world to arms. It was Widmerpool" (133). The Jenkinses, the Morelands, Templer and Anne Stepney are all decked out in their imitations of the Seven Deadly Sins when Widmerpool walks into the room in his military uniform and sobers their spirits with his seriousness. Consequently when Templer asks him if he is going to make them "form fours," Widmerpool "smile[s] at his pitiful error" (135). Templer has always ridiculed Widmerpool before; it is now Widmerpool's turn. Further along in the book, we come to know of Widmerpool's business problems with Duport. Duport tells Nick about how Widmerpool cancelled his credit without informing him, putting him in "an unenviable position" (174). Later, when Widmerpool himself talks to Jenkins about the Duport deal, he says that Duport "must be in a difficult position financially, owing to his reckless conduct" (225). Widmerpool blames Duport for the mess and is even sorry that he is doing better. This is a bizarre incident, for there has been no reason for Widmerpool to do such a thing. Our respect for him lowers in terms of his business dealings. At first, he was interested in his progress only, but now he doesn't care if he moves on at the expense of someone else's job. The perfect example of Widmerpool's pompousness shows through when Jenkins calls his office to talk about the Territorials. Widmerpool calls him "my boy," tells him to "bring his own beer," and asks him not to expect too much of his time because he was "up to [his] arse in bumph"(219). Jenkins talks about how he is "annoyed" because he doesn't think Widmerpool has "earned the right to use [such terms]" especially not to him. (219) At the meeting itself Widmerpool shows a great deal of self-importance by "puffing out his cheeks" and generally making little things a big deal. Instead of giving Jenkins advice, he criticizes him for the fact that he did not "look ahead" and join the Territorials before the war. Jenkins' statement on page 222 - "I almost admired him for making so little effort to conceal his lack of interest ... waiting his time to demand something of myself" - reinforces the idea that Widmerpool is only interested in taking time to improve his own situation, and even to feed off of others when necessary. "You come and ask me for advice about getting into the army, Nicholas ... you think I have nothing more serious to occupy me than your own trivial problems," he says, but later Jenkins remarks "Perhaps he also feared that, if he went too far in his reproofs, I might excuse myself from accompanying him to the Jeavonses" (230). Widmerpool has ulterior motives for meeting with Jenkins; he has absolutely no interest in his personal problems. Widmerpool's change for being the one with a "slavish expression" on his face after the banana incident at Eton, to being in an enviable business position is a great one. He has had no success with women, and no improvement in his social skills, but financially, he is the most stable of the Eton group. His character is still made fun of, though in a more subtle way, with his problems with the boils, for example, but ironically he is the most successful and powerful of them all. |
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Will Story Throughout life people encounter other people by chance. Sometimes they know those they meet, sometimes they don't. Sometimes they talk and sometimes they merely pass each other with only a moment of visual contact. There are many times in Dance when two characters randomly meet and the story twists due to this coincidental encounter. One crucial example of such a meeting occurs between Nick and Isobel at Erridge's house in At Lady Molly's, when they fall in love. In The Kindly Ones there are chance encounters that have a real impact on the story. Nick takes on the responsibility of dealing with Uncle Giles's possessions and funeral arrangements, when his father is "in no state" (147) to do so. When Nick arrives at Albert's hotel in Bellevue he packs Giles few possessions into two bags. Then he attends dinner. As Nick looks around the room he sees Bob Duport. Nick, "had not set eyes on Duport since [he] was an undergraduate," (163 Nick doesn't introduce himself to Duport; instead he acts as if he doesn't see him. However, the other man recognizes him, and they end up spending the evening together. This unexpected encounter enlightens Nick about a few things. He finds out that Jean has been more promiscuous than he thought. He finds out that Widmerpool has become a power-hungry, backstabbing businessman. This image of Widmerpool that Duport gives is very different from the first image that Nick gives us when he was at school in A Question of Upbringing, although we have seen Widmerpool evolving in this direction. A second more significant chance encounter occurs toward the end of The Kindly Ones. Nick, like everyone else in England, wants to help out Great Britain during World War II. Nick was registered with the Territorial Reserve, but he wants to be commissioned into the armed forces. Nick turns to General Conyers for advice on how to get commissioned, but Conyers is powerless at this point in his life. Nick becomes so desperate that he goes to Widmerpool for help. Widmerpool tells him that there is little he can do; however he asks Nick to accompany him to the Jeavons' flat. Nick reluctantly goes with Widmerpool, hoping that this favor will give him a better chance of getting help from Widmerpool. Jeavons' brother, Stanley is staying with the Jeavonses when Nick and Widmerpool get there. Stanley's job is sorting out which Territorial Reservists will be called up for duty. Nick asks Stanley if the process of "finding my name ... could be speeded up?" (252). Stanley tells him that it "might take a week or two" (253). This is more than Nick can ever have hoped for. Nick's life is changed simply, because he happened to go with Widmerpool to the Jeavons' house. Meeting Stanley is a fluke event in Nick's life, but a very welcome one. Powell uses the Greek technique of making Stanley a "Deus ex Machina" to try up all of the loose ends in this book. These and other encounters that Nick has in The Kindly Ones and the other books in Dance cut the path for the story. Nick's life is much more interesting to read about, because of these sudden twists and turns. For the reader this story is more realistic, because chance encounters do occur in real life. So as Nick runs into old friends or strangers, his lifeline is not straight; it curves like a river. |
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Madeleine Fawcett One of the most memorable scenes occurs in the sixth volume of A Dance to the Music of Time. Nick Jenkins, Isobel, Hugh Moreland, Matilda, Anne Umfraville, Betty Templer, and Peter Templer decide to pose in tableaux and have Sir Magnus Donners photograph them. The chosen themes are the Seven Deadly Sins: Sloth, Pride, Gluttony, Envy, Anger, Avarice, and Lust. Each person, with the exception of Sir Magnus surprisingly, is given one of the Sins to act out and to be photographed. How accurately are the Seven Sins dealt out? How much relevance do they have to each person's personality? Do all of the Sins apply, in some way or another, to each character? "To prevent argument," Sir Magnus takes it upon himself to dole out the Sins; "It will be my privilege as host." (126) Lust is the first Sin mentioned when Anne states that it is the most obvious and well known. Magnus assigns Lust to Peter Temple. He says, "I don't think we can offer such a sin to a lady." (126) It seems fitting that Templer gets to act this sin out because, after all, he is well known for his courtships with women. Sir Magnus then assigns Anger to Anne Umfraville. This does apply to Anne in some respects; however it slightly contradicts her "improved" personality. Jenkins tells us that she seems "far less truculent." (120) "She no longer contradicted, as a matter of principle, every word spoken to her; her demeanour was friendly, rather than the reverse." (120) People who are angry tend to be unpleasant. Jenkins points out that Anne has changed-- she is not so unpleasant anymore. But she did, at one point, possess a certain amount of temper which most likely caused her to be unpleasant. So this, too, seems to fit Anne. Matilda is the next person to receive a sin: Envy. Matilda is displayed as a somewhat envious character. This is interesting because there are many incidents in which Moreland seems to be envious of Matilda's past life as Sir Magnus's mistress. However, Matilda also shows traces of envy. In the first years of their marriage, Matilda did not like attending the parties that Moreland did. She was bored by his musical friends, and she wanted his attention. The roles seem to switch and that is evident when she brings up the idea of going to Stourwater. She is now anxious to get out and be in the company of others. Envy seems to work with Matilda, whether it defines her as being envious, or of others being envious of her. Sir Magnus then asks "Lady Isobel" to present Pride. This fits in some ways and not in others. Isobel should posess a certain amount of pride because she was able to enchant Nick so powerfully at first glance. He expresses a most explicit description of his feelings for her which is something he does not do often. He falls so hard for her that he never thinks of another choice for his wife. The incident that put a damper on her sense of pride was the miscarriage. Although it is not discussed to a great extent, the miscarriage may be very scarring to her. But her portrayal of this Sin seems to impress everyone, as she "looked the personification of Pride." (128) Betty Templer is the next person to be dealt a Sin. Magnus tells her that portraying Avarice "is a very easy one, making no demands on your powers as an actress." (126) As the reader has just recently been introduced to Betty, it is difficult to say how well this Sin applies to her, however the description that is given of her slightly contradicts this Sin. Betty is nearing the end of her tether, for reasons not completely known. Nick speculates that Templer displaced his sadness from Mona's departure with Betty, who devotes herself to him. She is not "equipped to cope with her husband, to stand up to Templer's armour-plated egotism as a 'ladies' man.'" (121) She is not very greedy for him to change his lifestyle. She accepts Templer as he is, regardless of whether it drives her farther from sanity. Moreland faces the task of presenting Gluttony. Gluttony is closely correlated with the word "excessive." Moreland is gluttonous in many respects. Sir Magnus comments that "I have often heard you praise the pleasure of the table above all others." (126) However, this Sin does not fit him as well as some of the other Sins fit the others. Nick Jenkins is handed Sloth. This Sin seems to be appropriate for him. His portrayal of this further supports this; very simple, he takes a few cushions and sprawls himself across them. His is the shortest presentation. Jenkins, as we know, is not very expressive. He is, in a sense, almost lazy when it comes to describing his own feelings. Sloth is appropriate to Nick's persona. The Sins that everyone is given are, for the most part, appropriate. Some fit better than others, but the one very questionable aspect of the assignments of the Sins is why Magnus did not assign himself one. He, instead, decides to photograph the presentations of these Sins. Magnus, perhaps is serving as a culmination of all the Sins, combined. The reader knows that he is not a very "good" person, and it seems fitting that he is not defined by one Sin in particular, but rather the reader can deduct that he represents all of the Sins. |
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Ash Verdery Tetherless, Uncle Giles wanders through Anthony Powell's series A Dance to the Music of Time; his visits, unexpected and often importunate, framing many of the books and accompanying Nick's development. He first appears in the series "through the narrow space released between the door and the wall" of Stringham's room at Eton (14, AQOU). In this scene he remains "cautious of assuming as a matter of course that his company would be welcome anywhere" (15, AQOU); his arrival precurses the first adventure at Eton that Nick relates, when the housemaster, Le Bas, smells the smoke from Giles's "turkish" ciggarette. When Le Bas tells Nick that he must write to Giles to affirm that neither Stringham nor Nick smoked, Nick replies, "but I don't know his address, sir. All I know is that he was on his way to Reading" (28, AQOU). This unexpected and unwelcome arrival, and the subsequent adventure betray Giles's untethered existence. Nick sumarizes this existence in a simple phrase regarding Giles's funeral; he says "fire was the element appropriate to his obsequies, the funeral pyre traditional to the nomad" (147, TKO). Nick's comment epitomizes Giles; it metaphorically characterizes his wandering existence and defines him as an unsettled traveler. His residences provide the major example of Giles's undomesticated nature, because they act more as "battered caravenersais," as he calls them, then as permanent locations (141, TKO). Nick puts Giles in the "the proud, anonymous, secretive race that dwell in residential hotels;" two of these hotels are the Ufford in London, and the Bellevue in Bayswater (149, TKO). He describes both hotels as "battleship-grey... resolutely attempting to set out to sea" (149, TKO). This description demonstrates the transience of Giles's homes, because they, like him, seem ready to "ship anchor and float... on the sluggish Bayswater tide" (149, TKO). Giles's appearances-- his unpredictable habit of popping up in random places at odd times-- further exemplify his nomadic nature. When he telegrams Nick's parents asking "Can you house me Sunday night?" is one example of these appearances (46, TKO). He unexplainedly arrived to "talk business" from Aldershot (46, TKO). This indefinite starting point and terminus portray the unattached quality of his nature. Throughout the novel Giles surfaces in random places; these wanderings demonstrate another aspect of his transient existence. Giles's last effects, his bag left at the Bellevue, embody the third example of the propriety of Nick's nomad metaphor. Because, symbolically, all of his posessions can be contained in a Gladstone bag, Giles could travel anywhere unencumbered. He has lived a life on the move, his "residue" contained in suitcases left in residential hotels (154, TKO). Nick's comment applies to Giles, because, like a nomad, he lacked a home, was able to travel unencumbered, and constantly wandered. Giles's life was filled with random acquaintances such as Trelawney and Mrs. Erdleigh, and unexplained locations such as Reading and Aldershot. He rambled in and out of Nick's life in pursuit of financial success. In the end, cremation really "was the element appropriate to his obsequies," because he truly was a nomad (147, TKO). |
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Zachary Smotherman In The Kindly Ones, the military atmosphere under which Jenkins matures as a young boy has shaped his personality and more reserved nature. Jenkins's character is influenced through his observation of his father, a military officer, his father's assistant, Private Bracey, and his family's friend, General Conyers. The Jenkins household, Stonehurst, is ruled by his father, a captain in the army, who, "had an absolute passion for power.... In his own house, only he himself was allowed to criticize."(38) The military lifestyle at home is a highly structured environment with high standards for behavior and conduct. In the first chapter, young Nicholas Jenkins embraces the military world of the adults around him and acts as if he is a soldier himself. His father "was never greatly at ease with other men,... avoiding friendship, too close personal ties which can handicap freedom of ascent."(38) This suggests that Jenkins is not exposed to many close adult male relationships as he grows up, but rather those of a more formal military style; and therefore he has little basis to form his own close friendships as he matures. Jenkins is invited to a football match by Bracey, the soldier-servant of his father. He is very excited to go to the match because he will be able to experience more military life. Bracey has dressed up in his military attire for the excursion and this further intrigues young Jenkins. He says, " I was greatly interested in football but more on account of the closer contact the jaunt offered with military life."(23) The Jenkins's home is secluded from daily military proceedings, because it is on a hill away from where the soldiers are stationed so Jenkins does not get as much exposure to the military world as he craves. When he asks his father if he can attend the football match, he says, " Permission was asked for the projected excursion. It was accorded by authority."(23) Jenkins describes the permission from his father with very formal language, as if he is an officer asking permission for a brief leave of service. With this remark he demonstrates that he enthusiastically accepts the military world and seizes all opportunities to exercise the formalities of military life. This interaction between Jenkins and his father also reveals the formal nature of Jenkins relationship with his father, his first male relationship in life. Jenkins runs out the gate very excitedly to greet the Conyers as they arrive at Stonehurst to visit his family. As they approached he comments on the General's old fashion goggles and hat, saying that they were ritualistic like the mannerisms of the army. General Conyers questions Jenkins as to whether or not he attends school. Jenkins responds, "Not yet. I have lessons with Miss Orchard"(51) and goes on to name each child Miss Orchard teaches and to inform the General of their father's position in the army. General Conyers then says to Jenkins, "An exceedingly well informed report. You have given yourself a trouble to go into matters thoroughly, I see. That is one of the secrets of success in life."(51) This interaction gives Jenkins great pleasure because General Conyers treats him as an adult in their conversation and Jenkins is truly able to fulfill the role of a soldier reporting to a higher officer. Jenkins has followed this rule up to this point in the entire novel, analyzing and observing every situation down to the finest detail before acting. Through the observations of the military men around Jenkins, as he grows up at Stonehurst and as a result of his desire to imitate them and act like an adult soldier at a young age, he develops into an emotional reserved character who did not have a lot of very close personal friends. Jenkins learns to love the structure of military life from his early childhood. He tries to cling to this structure and way of life as he proceeded through his adult life. Jenkins's rigid, military style, standards for friendship and behavior that he learns at Stonehurst, affect his ability to interact socially. The upper class society, that Jenkins pursues as a young adult, creates a world of more uncertainty, more unclearly defined in terms of expectations in comparison to his more rigidly defined military background. Jenkins has difficulty freeing himself from the more rigid standards of his military upbringing, finding more emotionally distant relationships safer than the vulnerability that he might experience in a more intimate one. |
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Enjoyed the KINDLY ONES papers--very few people have picked up on the Stanley Jeavons angle, and the chance meetings really meaning something to the plot. As you mentioned at the lunch, the students are a lot more open-minded towards Widmerpool than most adult readers, which makes for an interesting effect, as Widmerpool's evil is more of a revelation. And the essay on Bracey was written with a classical elegance and seemed to have a good sense of how catastrophic the war was for people of that era. The Giles essay was entertaining, and it and the military essay had the virtue of isolating certain strands in the narrative and focusing on them intensely, which is really a hard thing for the critic to do as the narrative is so interwoven. I feel the Seven Deadly Sins episode is the most unsettling in the entire sequence, and full of hidden meanings. I think, for instance, Sir Magnus assigns Isobel "Pride" partially because he knows she, Isobel, is the kind of woman who would never give him the item of day. But the students' approach to it was very game. Continued admirable work all around. Nick The photo supplement on Seven Deadly Sins was interesting. Whereas the TV version's choice of idiom was wholly appropriate for its purported time - my first thoughts on seeing that were for Beaton, but reflection changed my mental focus onto the work of Madame Yevonde, another society photographer of the period - the students by their very artlessness landed exactly on a style of art photography current in today's terms. Intended or not, excellent! Regards, Philip Stokes |