She carries herself artificially
well, as women were taught to do as a part of good manners by dancing
masters and reclining boards before these were superseded by the modern
artistic cult of beauty and health. Her hair, a flaxen hazel fading
into white, is crimped, and parted in the middle with the ends plaited
and made into a knot, from which observant people of a certain age infer
that Mrs. Clandon had sufficient individuality and good taste to stand
out resolutely against the now forgotten chignon in her girlhood. In
short, she is distinctly old fashioned for her age in dress and manners.
But she belongs to the forefront of her own period (say 1860-80) in a
jealously assertive attitude of character and intellect, and in being a
woman of cultivated interests rather than passionately developed
personal affections. Her voice and ways are entirely kindly and humane;
and she lends herself conscientiously to the occasional demonstrations
of fondness by which her children mark their esteem for her; but
displays of personal sentiment secretly embarrass her: passion in her is
humanitarian rather than human: she feels strongly about social
questions and principles, not about persons. Only, one observes that
this reasonableness and intense personal privacy, which leaves her
relations with Gloria and Phil much as they might be between her and the
children of any other woman, breaks down in the case of Dolly.
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