At Lady Molly's - Anthony Powell [86]
In these sagas, Lovell’s ‘second Sleaford uncle’ (to give him his nephew’s initial label) played a surprisingly small part. That was altogether unexpected. Lovell liked talking about Dogdene, but not about his uncle. The fact was that Lord Sleaford lived a very secluded life there, undertaking in the neighbourhood a bare minimum of such duties as were expected of a landowner of his magnitude. He would give a small shooting party from time to time (‘shepherd’s pie for luncheon,’ Lovell said, ‘and not enough sprouts’), existing on the whole outside, or at best on the edge of any given world of recognisable social activity; especially that of a kind to be treated at any degree of sensationalism in print. In quite a different way, he sounded almost as much a recluse as Erridge.
Lovell himself was in a manner proud of this honourable, uncorrupted twilight in which Lord Sleaford had his being, infinitely removed from the gossip-column renown so dear to his own heart; but he also felt, perhaps reasonably enough, that the historical and architectural magnificence of Dogdene was all the time being wasted as a setting for great events.
‘I know there is a lot to be said for a peer being quiet and well behaved,’ he used to say. ‘But really Uncle Geoffrey goes too far. When you think of the house parties they used to have at Dogdene, it is a bit depressing. You know, when George IV came to stay, they painted the place white and gold from top to bottom, including the Chinese Chippendale commodes. Even Aunt Molly, who never showed the slightest desire to cut a dash, quite often used to entertain royalty there. Then there was the occasional literary lion too. I believe Henry James was at Dogdene once. St. John Clarke was there just before the war. It wasn’t the complete morgue it is now. The fact is, Uncle Geoffrey is a very dull man. Aunt Alice, though she does her best, isn’t much better. If Uncle John hadn’t died, I don’t believe either of them would have married anybody—Uncle Geoffrey wouldn’t have been able to afford a wife, anyway. As it is, they just potter about and read the newspapers and listen to the wireless—and that is the extent of it.’
The general impression of Lord Sleaford that emerged from these fragments of information was certainly that of a person rather unusually lacking in any quality of liveliness or distinction. Dispiriting years as a younger son had destroyed in him any enterprise or geniality he might once have possessed. That was Lovell’s theory. Like Alfred Tolland, he had consistently failed to make a career for himself, while at the same time lacking the philosophic detachment which gave Alfred Tolland a certain moral dignity: even a kind of saintliness. Inheritance of Dogdene had come too late to alter his routine, set, no doubt congenially, in an unimaginative mould. Such was the portrait painted by Lovell, in which Lord Sleaford lived in my imagination with a certain rugged reality of his own; although I sometimes wondered whether, in this individual case, the uncompromising monochrome of Lovell’s pigment might be tinged by the possibility that Lord Sleaford himself did not greatly care for his nephew: perhaps openly disapproved of him. That was a contingency to be borne in mind.
Lady Sleaford, as depicted by Lovell, possessed for me, on the other hand, none of her husband’s clarity of outline. She was given no highlights, except the crumb of praise that she