At Lady Molly's - Anthony Powell [66]
All the same, the story, even if untrue, impressed me as of interest in its bearing on a sense of strain suffered, perhaps continuously, by Jeavons himself. At worst, the supposed introduction of a ‘tart’ into his house was a myth somehow come into existence, which represented in highly coloured terms a long since vanquished husband’s vain efforts publicly to demonstrate his own independence from a wife’s too evident domination. The legend itself was a kind of tribute to Molly’s strength: a strength of which her first husband too, for all I knew, might in his time have been made equally aware; although Lord Sleaford, at least outwardly, was better equipped to control a wife of Molly’s sort.
‘I don’t think she was unhappy when she was married to Uncle John,’ Lovell used to say. ‘Of course, he was rather a dull dog. Still, lots of women have to put up with dull dogs—not to say dirty dogs—without the advantage of lots of money and a stately home. Besides, Ted is a dull dog, too. I suppose Aunt Molly prefers husbands like that.’
My own feeling was that Jeavons could not be described as ‘dull’: even though he had appeared so, in that very phrase, to Widmerpool equally with Lovell. On the contrary, Jeavons seemed to me a person oddly interesting.
‘Molly never really got on with her contemporaries,’ Lovell said. ‘The kind of people one associates with Lady Diana—and all that. She knew some of them, of course, very well, but she couldn’t be called one of that, or any other, set. I dare say Uncle John was afraid of his wife being thought “fast”. She was very shy, too, I believe, in those days. Quite different from what she is like now.’
A picture of Molly Jeavons was beginning to emerge: separateness from her ‘young married’ contemporaries: perhaps a certain recoil from their flamboyance: in any case, nothing in common with the fleeting interest in the arts of that new fashionable world. She might have the acquisitive instinct to capture from her first marriage (if that was indeed their provenance) such spoils as the Wilson and the Greuze, while remaining wholly untouched by the intellectual emancipation, however skin-deep, of her generation: the Russian Ballet: the painters of the Paris School: novels and poetry of the period: not even such a mournful haunt of the third-rate as the Celtic Twilight had played a part in her life. She had occupied a position many women must have envied, jogging along there for a dozen years without apparent dissatisfaction or a breath of scandal; then contentedly taking on an existence of such a very different kind, hardly noticing the change. All that was interesting. The fact was, perhaps, that her easy going, unambitious manner of life had passed unremarked in a vast house like Dogdene, organised in the last resort by the industrious Sleaford, who, according to Lovell, possessed rather a taste for interfering in domestic matters. While married to him, Molly remained a big, charming, noisy young woman, who had never entirely ceased to be a schoolgirl. When the Dogdene frame was removed, like the loosening of a corset of steel, the unconventional, the eccentric, even the sluttish side of her nature became suddenly revealed to the world.
So far as ‘getting on’ with her second husband was concerned, the strongest protest she ever seemed to make was: ‘Oh, Teddy, dear, do you ever catch hold of the right end of the stick?’, spoken kindly, and usually not without provocation; for Jeavons could be slow in grasping the point of a story. Some husbands might certainly take even that rebuke amiss, but Jeavons never seemed to question Molly’s absolute sway over