I'm just saying that he might have been useing the character to say something about his ex wife
And I think that that is quite well understood, don’t worry!
But you did throw it into the mix with a call for people to tell you what they thought of your idea, so surely it isn’t necessary to be quite so defensive about it? Now it seems that you didn’t actually want anybody to put forward an alternative viewpoint.
It so happens that neither Balthazar or I have agreed with your premise - but that’s just our opinion, it doesn’t mean you are not entitled to your own position.
However, you have jumped from making an association that Peggy looked
like Germaine, so that she would therefore be a lampoon of his ex-wife, to one where although Peggy might not look like Germaine, she still is a lampoon of his ex-wife, and that this pre-supposes a herefore unknown animosity and hatred of her.
If you take the supposed resemblance out of the equation, what reason is there to assume that Peggy has anything to do with Hergé’s wife?
I would agree that he may have written a bit of Germaine into Castafiore (I’m sure the comparison has been made before), but he also put in his opera singing auntie too, but it’s just ribbing really, not malicious. Castafiore is a pain in many ways (she’s so self-centred), but she’s brave, loyal and helpful when pressed into action, and has a big heart.
He turned his brother Paul into Sponz, which is known to have irritated him no end, as did his earlier transformation into Tintin - but they didn’t hate each other, or even dislike one another - Paul was a source of military and equestrian info for his big brother.
Hergé turned his father and uncle into the Thom(p)sons - idiot clown detectives, but he did it because he was fond of them, to tease them, not to demean them.
It’s an interesting idea, but I’m not sure you can make it stand up, that’s all I’m saying.