Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-swr86 Total loading time: 0 Render date: 2024-07-16T16:23:44.293Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

8 - Brideshead Revisited 1945

Ann Pasternak-Slater
Affiliation:
Senior Research Fellow at St Anne's College, Oxford
Get access

Summary

As Waugh's disillusion with the war intensified, his next step in defence of embattled Christendom logically took him to its invisible heart, the soul of the individual. In a later essay on Saint Helena, he identifies the conviction that underlies both Brideshead Revisited, and the subsequent war trilogy:

What we can learn from Helena is something about the workings of God; that He wants a different thing from each of us, laborious or easy, conspicuous or quite private, but something which only we can do and for which we were created. (Holy Places 13)

Waugh would have liked to achieve something conspicuous as a soldier. Even his loudest detractors freely admit his bravery. He was perfectly ready and seriously expected to sacrifice his life fighting for the survival of Christianity. For him personally, the Second World War, even more than its Abyssinian overture, was ‘a disappointing war’. His assignments after the fall of Crete were humdrum. In 1943 a heaven-sent accident during a practice parachute drop – literally a happy fall – brought him injury, sick-leave, and finally official permission for three months’ unpaid leave in order to write Brideshead Revisited. His magnum opus. Something which only he could do.

In his letter applying for leaveWaugh said his projected novel would not deal directly with the war; nor could it be pretended to have any propaganda value, but ‘it may cause innocent amusement and relaxation’ to its readers (D 557, n.1). Most readers respond innocently and pleasurably to Ryder's two love stories, for Sebastian, and his sister Julia. Contemporaries were also quick to identify the originals Waugh denied in his prefatory Author's note: ‘I am not I: thou art not he or she: they are not they.’ As Nancy Mitford wrote to Waugh, everyone was saying that Lord Marchmain was the Seventh Earl Beauchamp and the Flytes were his friends, the Lygon children. However, this easy identification ignores a central difference between the two families. Lord Beauchamp had to leave England because of his homosexuality; Lord Marchmain took up voluntary exile because of his adultery. Lady Marchmain's Catholicism makes divorce impossible; in Marchmain's Venetian palazzo and continental watering-places her estranged husband, a lapsed Catholic, maintains a ménage of quiet propriety with his mistress, Cara.

Type
Chapter
Information
Evelyn Waugh
, pp. 98 - 127
Publisher: Liverpool University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×