The Death of the Gentleman and Brideshead Unvisited

The latest issue of  the St. Austin Review entitled “Evelyn Waugh Revisited” has now been published. See earlier post. An online announcement includes a full table of contents as well as the complete copy of an article by Frank Brownlow entitled “Waugh Mistaken and Brideshead Unvisited.”

In his article Brownlow, Professor Emeritus at Mount Holyoke College, starts by describing what he deems to be the death of the “gentleman,” which was foreseen by Waugh in his writings:

Things changed for everyone circa 1965, when overnight the likes of John Lennon and Mick Jagger became the role models for the young men whom people had formerly expected to grow up into some variety of gentlemanliness. Shortly afterwards, the women began to deprive gentlemen of their habitat by attending their schools and colleges and joining their clubs.

The generations coming of age since the gentleman’s demise have been bereft of the positive effects the concept had on their forebears. As an example of the damage this has done to the new generation of the “gentlemen-less,” Brownlow cites Christine Berberich’s The Image of the English Gentleman in Twentieth-Century Literature. He then deconstructs her interpretation of Waugh’s Decline and Fall and Brideshead Revisited:

…she is not only ignorant of what a gentleman is supposed to be, but she hasn’t the least inkling of what Evelyn Waugh intended his fictions to express. She and her fellow dons are all—in theory if not quite in practice—egalitarians. They look out upon the world, and they see no essential distinctions of status anywhere. The hierarchical principle—universally accepted until about seventy years ago—on which Evelyn Waugh based his whole view of the world makes no sense to them.

Finally, after approaching Brideshead Revisited with an appropriate “gentlemanly” understanding, Brownlow concludes:

Brideshead is not about snobbery and social ambition. It is about a whole false attitude to life swept away in a moment because a dying man makes the sign of the cross… [Charles Ryder] can be selfish, unfeeling, and cruel, and even Julia has to tell him not to talk “in that damned bounderish way”. What makes him tolerable, even admirable as a narrator, is that he tells his story in the light of his later conversion, and tells it honestly…

Individual copies of the journal are available as explained in the earlier post.

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U and Non-U Updated

In a posting on the academic weblog The Conversation, Professor of English Language and Literature at Oxford, Simon Horobin, has updated Nancy Mitford’s 1955 essay on class distinctions of usage in English speech and manners. Waugh’s contribution to the public debate that followed her essay’s publication is among those cited. He had warned that English usage was fluid among classes and was subject to constant adjustment. According to Horobin:

In his contribution to Noblesse Oblige, Evelyn Waugh observed that while most people have fixed ideas about proper usage, which they use to identify those who are NLO (“not like one”), these are often based on little more than personal prejudices and an innate sense of one’s own superiority. The cartoonist Osbert Lancaster, who supplied drawings for Noblesse Oblige, satirised this view through his creation Lady Littlehampton, who confidently pronounced: “If it’s Me, it’s U”.

Noblesse Oblige is the collection of essays on this topic published in 1956 in which there appeared, inter alia, both Mitford’s essay and Waugh’s cautionary rejoinder. Waugh’s essay (entitled “An Open Letter to the Hon. Mrs. Peter Rodd on a Very Serious Subject”) had first appeared in Encounter magazine for December 1955. An expanded and revised version was published in Mitford’s 1956 collection and is also included in Essays, Articles and Reviews; the portion cited by Prof. Horobin appears at pp. 499-500.

NOTE (13 January 2016): This article later appeared in the New Statesman on 12 January 2016.

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Mrs. Luce’s Dinner Party

The Spectator’s gossip columnist Taki Theodoracopulos recalls descriptions of a dinner party given by Waugh for Clare Boothe Luce. The column (“On the consolations of old age”) appears in the latest issue of a publication entitled Spectator Life which is available online and separate from the regular magazine:

I was reading about a dinner party Waugh gave for Clare Luce in November 1949 at the Hyde Park Hotel. He later wrote to Nancy Mitford complaining how much money the dinner had cost him, and how Clare — in my not so humble opinion the greatest woman of the 20th century — had failed to write a thank-you note.

Waugh was a hell of a writer but a pretty piss-poor human being. He was petty, a closeted tortured gay with seven children. And from what I’ve read, he was always down on his fellow man and on life in general. Pretty depressing stuff. Why give a dinner and then complain that it cost too much?

Waugh probably gave the party to thank Mrs. Luce for the extensive hospitality she has shown Waugh and his wife during their U.S. tours in 1948-49. The letter (dated 5 December 1949) to Nancy Mitford is reproduced in Letters of Nancy Mitford and Evelyn Waugh, pp. 158-59. Amends were apparently made between the Waughs and Mrs. Luce because she hosted them again on their short trip to the USA in October 1950. On that occasion, Laura Waugh wrote her a kind thank you letter (or “Collins” as Waugh would call it) which is archived in the Clare Boothe Luce Papers at the Library of Congress. Perhaps Waugh delegated the “Collins” to his wife due to lingering  froideur from the thankless dinner he had hosted in London the previous year.

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Quarreling with Waugh

In an interview posted earlier today by ABC (Australian Broadcasting Corporation) Clive James is asked by Mark Colvin for more insight into his recent rereading of Waugh’s Sword of Honour:

I’m always re-reading it. Always quarreling with him. But you always quarrel with Waugh because he makes Brideshead so seductive. You know that it’s a whole pile of reactionary romanticism and you hate yourself for being drawn into it, but these sandstone castles on the sweeping lawns – he had a way of putting that you want to just move into it. And I love his prose. I would have hated him very much and he wanted to be hated. He was a pig of a man, really, since he was greatly gifted.

Waugh comes up again when James is discussing Edward St. Aubyn whose Patrick Melrose series he is currently reading: “…he can do the social stuff better even than Evelyn Waugh and Anthony Powell could because Edward St Aubyn really is social. He had the background that those guys wanted.” And then again, when asked about critic John Carey:

He’s a great scholar, of course… But he has a social position and he does think that that whole era of people like Evelyn Waugh and Osbert Lancaster and Betjeman was simply overprivileged and far too servile towards the upper class, wanted to be part of the upper class. And he thought that that took art away from the people and he’s very keen – Carey is very keen that the people should be in possession of art. On the other hand, given all that and given his quite fierce stance on this, he is – he is capable of seeing that Evelyn Waugh’s little book Decline and Fall is one of the great achievements of the 20th Century and so – so that’s what I like about Carey. He can actually – he doesn’t let his prejudices warp his judgement.

An audio version of the interview is also available. Click the start arrow in the box on the left below the title of the program: “Summer Series: Clive James, in the face of death.”

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English Men of Letters

Critic and novelist D.J. Taylor’s new study The Prose Factory: Literary Life in England since 1918 is being reviewed in advance of its January 7th U.K. publication date. The book is primarily devoted to those who made their livings as men (or women) of letters in the 20th Century. Although that is a career which has been under threat, it does seem to survive, perhaps most noticeably in the person of Mr. Taylor himself who makes multiple appearances in print or broadcast media every month and publishes multiple works of fiction and non-fiction every year. So far as your correspondent knows, Taylor doesn’t have a day job.

Although the book’s contents and index are not yet available on the internet, the front cover itself names 20 some English writers active in the period since WWI. These include both those specializing in criticism such as F.R. Leavis, J.C. Squires, Cyril Connolly and William Empson and those active both as both novelists or poets and critics such as Waugh’s contemporaries Anthony Powell, T.S. Eliot, George Orwell and Virginia Woolf. Conspicuous by his absence is Evelyn Waugh who would seem to qualify as a man of letters. He wrote regularly in several genres including fiction, travel, biography and criticism and from an early age lived off his writings exclusively. Perhaps making his absence from the cover list even more poignant is the inclusion of his brother, Alec Waugh. Taylor has previously made allusions to Alec’s largely forgotten work.

According to one review already published, Waugh does at least get mentioned. This is from Saturday’s edition of the Times:

Every bit as interesting as the big themes are the vagaries of literary fame and fortune. Just after the First World War, Arnold Bennett, a novelist barely read now, was making the equivalent of 1 million pounds a year from his books and journalism. By 1930, the publication of Vile Bodies had made Evelyn Waugh an established society figure, a role he relished. As he noted in his diary, “after dinner I went to the Savoy Theatre and said, ‘I am Evelyn Waugh, please give me a seat.’ So they did.”

Although internet access to the Times requires a subscription, an excerpt from the review was helpfully posted on Twitter by a Waugh enthusiast. The quote is from Waugh’s Diaries for 26 May 1930 (p. 211).

NOTICE (12 January 2016): See later post.

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Brideshead Castle vs. Downton Abbey

Today’s Op-Ed pages in the New York Times carry a story (“The Stately Gift Shops of England”) about the English country house. This is by novelist Charles Lambert who credits this institution’s survival to the heritage industry and its primary advocate, the National Trust. Lambert also offers a comparison of two fictional country houses that achieved popularity on TV:

With due respect to the artistic abyss between the two, Mr. Fellowes’s classy period soap [Downton Abbey] reminds me of “Brideshead Revisited.” Evelyn Waugh’s stand-in narrator, Charles Ryder, is as dazzled by the aristocracy as Mr. Fellowes seems to be, as reluctant to admit that the kind of social stratification the house represents might not actually be worth preserving. Waugh’s famous regret, that “Brideshead” was “infused with a kind of gluttony,” is partial recognition of his own bulimic nostalgia. “Downton,” though, pretends egalitarianism isn’t even a threat, just as long as holes are punched in the box of class privilege to let in a little air…I don’t know what Waugh thought of the National Trust, although I can imagine him wrinkling his nose at the tea towels and fridge magnets and “homemade” marmalade that fill the gift shops annexed to most large houses…

Waugh’s quoted comments on his novel are contained in his preface to the 1960 revised edition. No one seems to have remarked on how these two country houses are mirror images of each other, in at least one respect. Brideshead is set in the South (Wiltshire) yet was filmed in the North at Castle Howard (Yorkshire). Downton on the other hand is set in the North (between Ripon and York) yet was filmed in the South at Highclere Castle (on the Berkshire-Hampshire border). In both cases, however, the house succeeds brilliantly in establishing itself as part of the story. Neither belongs to the National Trust and both are occupied by long-established families, although both have gift shops and are open to the public. Indeed, the occupants of Highclere are part of the Herbert family into which Laura Waugh was born. The family’s Italian villa near Portofino (where Waugh met Laura Herbert for the first time) was called Altachiara, which is roughly the Italian equivalent of Highclere.

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Sebastian’s New Year’s Resolution

The book publisher Quirk Books has posted a list of New Year’s resolutions recommended for adoption by literary characters. Here’s the one for Sebastian Flyte from Brideshead Revisited:

We love a good teddy bear as much as the next person, but we definitely recommend you ditch Aloysius. While we enjoy your talking to and for him, we think it gets a little creepy past elementary school age. It most certainly is not helping your game now that you are in university.

Similar advice is suggested for the heroine of Tennessee Williams’ The Glass Menagerie who is told to lose the glass figurines, especially the unicorn. Becky Sharp from Thackeray’s Vanity Fair is advised:  “You have an awesome voice; we think you should make a pop album. That is the way to win money and friends. It worked for Taylor Swift, so it should definitely work for you.” And George Wickham from Jane Austen’s Pride and Prejudice is told: “It is bad enough that you break hearts, but leave sibling relationships well enough alone. Also, it is time to drop that gambling thing. Just settle down and become a nice family man. Who has a very good financial advisor.” The recommended resolutions are written by Sarah Fox.

Brideshead Revisited scores another mention in yesterday’s Daily Mail. Celebrity interviewee, ITV sports presenter Adrian Chiles, is asked what book holds for him an everlasting interest and answers:

Evelyn Waugh’s Brideshead Revisited. I read it before I became Catholic in 2007 but even then it fascinated me because all the key figures in a British Catholic’s life are there: the devotee, the atheist, the mad priest and the penitent.

Chiles is presenting a program tomorrow (Sunday, 3 January) on BBC2 entitled My Mediterranean. He is half Croatian and may mention in that context Waugh’s WWII connections with that country from Unconditional Surrender.

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Waugh in Djibouti

The Daily Beast, an internet newspaper that it owes its title to Waugh, has run a background article on the small east African nation of Djibouti. Their correspondent Tim Mak made a trip to the country which is now host to armies from seven countries with sometimes competing interests in the area. This includes the U.S., Japan and China, as well as France which was the colonial power at the time of Waugh’s 1930s visit when it was called French Somaliland.

Mak reports, inter alia,  on the desolation of the city of Djibouti whose spookily empty streets, even at midday, remind him of Waugh’s description:

It’s 2:30 p.m. in downtown Djibouti, and it is a ghost town. The streets are deserted, even along the main roads leading to the city center. In the 1930s, when novelist Evelyn Waugh toured what was then known as French Somaliland, he bemoaned the area’s “intolerable desolation,” calling it a “country of dust and boulders, utterly devoid of any sign of life.” … Eighty-five years after Waugh’s remarks, the streets of the capital clear almost every afternoon. The heat is so incredibly intense that the workday starts and ends early, and then much of the population heads home to chew khat, a leafy plant that is engrained in local culture but banned in most of the West.

The quote from Waugh appears in his book Remote People (1931, p. 23, in the U.S. entitled They Still Were Dancing). Waugh passed through the country on his way to Abyssinia via the railroad that extended from the port at Djibouti to Addis Ababa.

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Date Announced for New Waugh Biography

The Daily Telegraph has announced the 31 March publication date for a new biography of Waugh:

March 31: Evelyn Waugh: A Life Revisited, by Philip Eade (Books)

There has been no full-length biography of Evelyn Waugh for 20 years. Ahead of the 50th anniversary of his death in April, Eade’s account asks how far the novelist hid his own experiences in his fiction.

The book, to be published by Weidenfield & Nicolson, is among the important cultural events noted by the Telegraph for the first quarter of 2016. Advance orders may be placed on Amazon at the link to the title above. According to Amazon’s description of the book (to which the publishers no doubt contributed):

Eade offers a more contemporary view than previous biographies, explaining why Waugh’s work continues to grow in popularity. It takes account of the most recent Waugh scholarship and makes use of extensive unseen primary sources that cast new light on many of the key phases and themes of Waugh’s life…

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Tanks, but No Tanks

A brief history of the Battle of Crete has been posted on a military history weblog. In it there is a brief mention of Waugh and his Commando unit in action. This occurs near the end of the battle:

After a day’s fierce fighting, Laycock decided to retreat under cover of night to nearby Beritiana. He was joined there by Captain Royal and the Māoris, who took up separate defensive positions and eventually made their fighting retreat. Laycock and his force, however, were cut off by superior German forces near the village of Babali Khani (Agioi Pandes). Pummelled from the air by dive bombers, Layforce Detachment was unable to get away. Laycock and his brigade major, the novelist Evelyn Waugh, were able to escape by crashing through German lines in a tank. Most of the other men of the detachment and their comrades from the 20th were either killed or captured. By the end of the operation about 600 of the 800 commandos sent to Crete were listed as killed, wounded or missing. Only 23 officers and 156 others managed to get off the island.

The account of Waugh making a break through enemy lines in a tank was something he had not mentioned in his war diary nor is Guy Crouchback involved in any such action in the fictional version. Waugh does describe in his war diary the use of a tank by men of his unit but he did not participate:

In an arbour of sweet jasmine I found Bob and Freddy and two brigadiers; they had had an adventure, being attacked at close quarters by tommmy-gunners. Bob had jumped into a tank and Ken Wiley, second-in-command of A Battalion redeemed the Commandos’ honour by leading a vigorous and successful counter-attack. A few New Zealanders, mostly Maoris, had rallied and were joining us in the rearguard.

Bob is Robert Laycock, commander of the Commando, and Freddy is F.C.C. Graham, then Laycock’s brigade major. Waugh was the intelligence officer, not brigade major as described in the Weblog, so the confusion may explain how Waugh was thought to have been in the tank. In his diary account, Waugh learns of this tank “adventure” shortly after his discovery of the dead British soldier in the churchyard. Afterwards, Waugh describes how he, Laycock and Graham drove in a truck back to the place where Waugh had left “Major Hound” cowering in a drain: “Bob as politely as possible relieved him of command saying ‘You’re done up. Ken will take over from you.'” According to the diary, this all took place near the village of Babali Hani (called by Waugh “Babali Inn”) (Diaries, p. 504).

Antony Beevor in his Crete: The Battle and the Resistance (p. 203, 2005), describes the involvement of two Matilda tanks which arrived from Heraklion just in time to save Laycock and Graham (but no mention of Waugh). This incident took place when German mountain troops cut the road between Stylos and Babali Hani. Although Beevor doesn’t mention a “break” through German lines, that would appear to be what happened after the tanks arrived. The incident, according to Beevor, helped “to stiffen the resistance at Babali Hani” where Laycock set up his brigade headquarters. It was apparently there that Waugh joined them (according to his diary) coming from the other direction.

There seems to be no counterpart of the tank “adventure” in Officers and Gentlemen, at least not in that part of the narrative that follows Guy’s discovery of the dead soldier (Penguin, pp. 206-12). In the novel, Guy finds himself among his old comrades from the Halberdiers and is rejoined by the Commandos who proceeded along the road from the German lines accompanied by some New Zealanders.

Thanks to Prof. Donat Gallagher for pointing out the diary entry where Waugh mentions the tank encounter.

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