Barchester Revisited

Novelist and critic Philip Hensher in today’s Daily Telegraph previews a new TV series adapted by Julian Fellowes based on a novel by Anthony Trollope. This is Doctor Thorne, the third novel in the Barchester Chronicles, which begins a three-part broadcast Sunday in the UK. In his article, Hensher contrasts the Victorians’ views of class distinctions, as evidenced in Trollope’s works, with those of today’s Englishmen, as exemplified by Julian Fellowes and Evelyn Waugh. According to Hensher, although Trollope wrote during a period of rising wealth from trade and industry, he identified a person’s class as “a thing determined by birth.” Today, on the other hand, “social class would increasingly be seen as revealed not by birth or parentage but by intricately observed behavior.” Hensher offers one example, in the person of a character from Waugh’s novel Brideshead Revisited, where “the nouveau riche Rex Mottram reveals his social class and is roundly condemned for drinking brandy out of too large a glass.” (Penguin, p. 171) 

Hensher goes on to compare the Victorian industrial age, in which Trollope wrote, to 1940s and 1950s, both periods of great social mobility. It was the latter period

that produced Waugh’s baroque studies of aristocratic behaviour. as well as Nancy Mitford’s U and Non-U, which taught a generation not to say “pardon” or “settee”. The eighties were inspired by a famous dramatisation of Brideshead Revisited, the Sloane Ranger Handbook, and Jilly Cooper’s book Class, which among other observations taught us thet Tchaikovsky and Grieg were lower-middle-class composers. It is the conviction that external behaviour marks social class that distinguishes Trollope’s Doctor Thorne from Fellowes’.

The Fellowes adaptation of Doctor Thorne begins Sunday (7 March)  on ITV at 9pm GMT and may thereafter be viewed online with itvPlayer. A proxy server will be needed to view it online outside the UK.

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Brideshead and Rhodes Must Fall

Timothy Garton Ash, Profesor of European Studies at Oxford and author of several books, mostly about Eastern Europe, has brought Brideshead Revisited into the debate about removing a statue of Cecil Rhodes from Oriel College. The demand for removal was led by an ad hoc group called Rhodes Must Fall. In his article in the Guardian, Prof. Ash says both the movement and Oriel have made a valid point: 

It was a brilliant stroke of student activism to identify that obscure statue as the target. Every newspaper could print photographs of the honeystone facade in which it stands, looking Brideshead Revisited-cliché Oxford. Dave Spart biffs Evelyn Waugh.

Daily Telegraph readers would predictably chunter and international media pick up the story. The statue was just big enough to command attention and just small enough for there to be a sporting chance of something being done. In the event, Oriel College first said it was going to have a big debate about it and then, reportedly under pressure from donors, abruptly declared the statue would not be taken down – thus giving the Rhodes Must Fall activists an even better story. I foresee a bright political future for these guys.

David Spart is a left-wing activist well known in Britain but does not seem to have been directly involved in the Rhodes Must Fall movement. In this case, he has become a metaphor rather than an actual rouser of Oxonian rabble. Prof. Ash goes on to support Oriel’s decision to leave the statue undisturbed but credits the students with forcing Oxford to face the issue of its historic support for imperialiam. The statue is in fact rather unimposing, as it is set into the High Street facade of Oriel well above street level and rather hard to notice unless one is intent on finding it. See photos and video in this Daily Telegraph article by Harry Mount, also supporting Oriel’s decision. 

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Whiskey Tango Foxtrot Scoop

The New York ticket website ZEALnyc has compared the new film Whiskey Tango Foxtrot to Waugh’s novel Scoop. The film is based on the memoir Taliban Shuffle by foreign correspondent Kim Baker and stars TV actress Tina Fey. I must tell you that the comparison is not a favorable one.

What really aches is that this female-driven comedy, written and directed for the screen by men, is part of the tradition perfected by the great Evelyn Waugh in his 1938 novel Scoop. In that, in a clever plot twist, a mild-mannered country garden columnist, William Boot, gets kicked to Africa as a war reporter. In the fictional East African state of Ishmaelia, Boot encounters the war correspondent crazy culture and trips over the conflict’s biggest scoop. What’s the difference between Waugh’s fish out of water novel and Whiskey Tango Foxtrot? The former is hysterically funny and enduring; the latter delivers an occasional chuckle before disappearing to video.

Scoop is also cited in posting on a British football weblog where the blogger compares the owner and former manager of the Chelsea FC to Lord Copper of the Daily Beast because their employees seem to provide them advice only “up to a point.” The case in question is their failure to reach a settlement with the medical doctor Eva Carneiro who is seeking wrongful dismissal compensation arising from the incident where she went onto a live football pitch to aid an injured player:

It was Evelyn Waugh who caught the situation perfectly in the novel Scoop! in which the insanely rich and powerful Lord Copper (part Lord Northcliffe, part Lord Beaverbrook) runs the Daily Beast in order to fulfil his political and egomaniac dreams. Working as his underling is Mr Salter, who cannot ever disagree with anything his boss says, and Lord Copper is thus immune to the realities of the world…I rather saw Chelsea like this, only doubly so, because it has often struck me that both Mourinho and Abramovich, were completely beyond reality and surrounded by people who say “yes” or “up to a point.”

It should not go unmentioned that the blogger is an Arsenal supporter.

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Names (Yet More)

In today’s Daily Express there is another story inspired by Time magazine’s recent misclassification of Evelyn Waugh. The story begins with a short review of Wavian names:

The late author of Brideshead Revisited might have been tickled by the error. He always loathed the name Evelyn. “In America it is used only for girls and from time to time even in England it has caused confusion as to my sex,” he lamented in his autobiography. Mind you, he called his own son Auberon – also a rather twisted writer – who bizarrely waged war on the name Glenda, declaring that the very thought of Glenda Jackson turned men homosexual.

In his autobiography from which the quote is taken, Waugh also explained that his first name, Arthur, which he never used, was from his father, and his second name, Evelyn, was a “whim” of his mother. The source of his third name, St. John, no doubt pronounced “Sinjin”,

was absurd. I had a High Church godfather who insisted that I must be given the name of a saint. They might have left it plain John, but instead added the prefix of sanctity, thus seeming to claim a spurious family connection (A Little Learning, p 27).

Auberon would appear to have been named for his maternal uncle, Auberon Herbert, although the matter is not without controversy. As Auberon explained in his autobiography:

It was curious that my father ever agreed to my being called Auberon since he had never enjoyed very cordial relations with my Uncle Auberon who, as head of my mother’s immediate family, might have been flattered by the choice. From quite an early stage, my father announced that I had been called not after my mother’s brother but after her first cousin once removed, the Auberon (“Bron”) Herbert who, as Lord Lucas, died a hero’s death over the German lines on 3 November 1916 (Will This Do?, p. 32). 

The story in the Express online edition is headed by a photo of Evelyn and his wife, Laura. This is from November 1950 and was taken at the Plymouth docks on their arrival back from their last trip to America aboard the Ile de France. Martin Stannard, Evelyn Waugh: The Later Years, following p. 108, identifying a different photo from the same session.

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Hooper, Rex Mottram and Modern Education

 Author and journalist Joseph Pearce has published an essay about the shortcomings of modern education on The Imaginative Conservative weblog. This is a follow up to an earlier posting on G.K. Chesterton’s views relating to the same subject in which the importance of the moral dimension of education is stressed. In this latest post, Pearce considers, inter alia, Waugh’s comments on this topic as expressed in the persons of two of his characters:

Evelyn Waugh, in his magnum opus, Brideshead Revisited, a novel which was itself inspired by a line in one of Chesterton’s Father Brown stories, lampoons the “hollow men” produced by the modern academy in his portrayal of Hooper and Rex Mottram. Hooper had “no special illusions distinguishable from the general, enveloping fog from which he observed the universe:”

“Hooper had wept often, but never for Henry’s speech on St. Crispin’s day, nor for the epitaph at Thermopylae. The history they taught him had had few battles in it but, instead, a profusion of detail about humane legislation and recent industrial change. Gallipoli, Balaclava, Quebec, Lepanto, Bannockburn, Roncesvales, and Marathon—these, and the Battle in the West where Arthur fell, and a hundred such names whose trumpet-notes, even now in my sere and lawless state, called to me irresistibly across the intervening years with all the clarity and strength of boyhood, sounded in vain to Hooper
”

Like Hooper, the character of Rex Mottram serves to personify the “hollow man,” the crass product of the modern, disintegrated academy. In the words of Julia, his wife, he is not only ignorant but also, and even worse, he is utterly ignorant of his ignorance:

“You know Father Mowbray hit on the truth about Rex at once, that it took me a year of marriage to see. He simply wasn’t all there. He wasn’t a complete human being at all. He was a tiny bit of one, unnaturally developed
 I thought he was a sort of primitive savage, but he was something absolutely modern and up-to-date that only this ghastly age could produce. A tiny bit of a man pretending he was whole
”

Pearce cites the quotes from Waugh’s novel to the Everyman’s Library edition (New York, 1993) pp. 8-9, 181-82. He might also have cited Scott-King’s views on this subject. See previous post. The line from Chesterton’s Father Brown story is used for the title of Book Three of the novel’s revised edition (“A Twitch Upon the Thread”).  Pearce concludes his article: “If the twenty-first century is to produce more great men and more great books, it will have to restore a true education; and a true education is an education as if truth mattered.”

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Brideshead First Exceeds Estimate

The first edition of Brideshead Revisited inscribed by Waugh to Deborah Devonshire (nee Mitford) and her husband Andrew sold today at auction for ÂŁ52,500 ($78,400). According to one report, this was more than double the estimate. The identity of the buyer has not been announced. This was one of 50 copies distributed by Waugh to his friends in December 1944. It preceded publication and was substantially edited by Waugh before the final version appeared a few months later.

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Renishaw Reviewed

The current issue of the New Criterion carries a review of Renishaw Hall: The Story of the Sitwells by Desmond Seward. The review by Brooke Allen notes the importance of the Sitwells and their house to Evelyn Waugh:

According to Evelyn Waugh, [the Sitwells] “radiated an aura of high spirits, elegance, impudence, unpredictability, above all of sheer enjoyment. They declared war on dullness.”… Seward, a close friend of Sir Reresby and his wife Penelope, is hardly the first to fall besottedly in love with Renishaw and its famous gardens. The artist Rex Whistler considered it “the most exciting house in England.” Evelyn Waugh, who visited the Hall often as Osbert’s guest, grew to care for it even more than he did for Madresfield Court, the model for his fictional Brideshead.

The bracketed reference is to the siblings Edith, Osbert and Sacheverell Sitwell who occupied the house during Waugh’s lifetime. The quote is from a profile Waugh wrote on Osbert for the New York Times Magazine (30 November 1952). It is reprinted in Essays, Articles and Reviews, p. 423. 

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Brideshead Cover Art on Display

A Roman Catholic quarterly literary magazine (Dappled Things) has kindly posted the cover art from copies of Brideshead Revisited dating back to the first editions. It does not claim to be complete and does not include any foreign language editions. But it does seem to include most (possibly all) Penguin paperbacks. Missing are most notably the Australian first edition and the several U.S. editions published by Dell (although none of those rival Penguin in artistic quality or variety). The article (compiled by Jonathan McDonald) concludes by noting that:

… the cover designers kept coming back around to the spirit of the original edition’s ornate design. This is a good instinct, and it shows that there remains a perennial understanding of the book’s nature.

It is certainly worth a look. To view it click here.

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Waugh Foresaw Time Error

An article in the City Journal, a leading urban policy magazine, describes the recent inability of Time magazine’s editors to spot the recent misallocation of Evelyn Waugh’s writings to a survey of women authors, as an example of the failure of America’s educational system. Stefan Kanfer writes:

When the dustup hit the Net, one of Twitter’s most popular commentators, Matthew Yglesias, owned up to his ignorance like a man—an unlettered man. “Confession time,” he wrote. “Until today I thought Evelyn Waugh was a woman, because his name is ‘Evelyn’ and that is typically a woman’s name.” Whereupon, a derisive Twitterer asked, “Have you ever read anything?” Answering in kind, Yglesias shot back, “Yes, several books but none by Evelyn Waugh.” Very amusing, but Yglesias isn’t your average blogger. He’s a graduate of Dalton—a tony Manhattan progressive school—and attended Harvard where he graduated magna cum laude in 2003… 

Waugh saw all this coming more than 50 years ago. In Scott-King’s Modern Europe, a fatuous headmaster declares, “Parents are not interested in producing the ‘complete man’ anymore. They want to qualify their boys for jobs in the public world. You can hardly blame them, can you?” Scott-King, Waugh’s mouthpiece, responds: “I can and do. I think it would be very wicked indeed to do anything to fit a boy for the modern world.”

Waugh’s novella Scott-King’s Modern Europe is also available in Waugh’s Complete Short Stories. Thanks to Dave Lull for forwarding this article.  

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Details Announced of Waugh Anniversary Event in Leeds

The Complete Works of Evelyn Waugh project has announced the details of an event at the University of Leeds on 23 March to mark the 50th anniversary of Waugh’s death later this year.  Here’s the schedule and venue:

Event Schedule
Host: Professor Michael Brennan, Leeds
13.00-13.30: Selected collection items available for viewing in the Sheppard Room
13.30-14.00: An introduction to the Waugh Collection with Sarah Prescott
14.00-14.45: Waugh’s juvenilia with Alexander Waugh
14.45-15.00: Tea break
15.00-15.30: A Little Learning, Waugh’s autobiography, with Barbara Cooke
15.30-16.00: The Vile Bodies manuscript with Martin Stannard
Questions and summing up
WHEN
Wednesday, 23 March 2016 from 13:00 to 16:00 (GMT) – Add to Calendar
WHERE
Treasures of the Brotherton Gallery – Parkinson Building. Woodhouse Lane. University of Leeds LS2 9JT GB

Members of the public are invited. For more information click here.

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