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JOSEPH HYNES*
*
Joseph Hynes, who teaches at the University of Oregon, has written about
Dickens, James, Greene, and other figures.
1The three novels are collected in one volume as Sword of Honor (London
1965). Originally and separately the novels were called Men at Arms (19S2),
Officers and Gentlemen (1955), and Unconditional Surrender (1961). This third
novel appeared in the United States
as The End of the Battle. At the outset, I
should like to emphasize that the
term "death wish" to have meant,
appears
for Waugh, "
very loosely and simply the wish to die "rather than the
extremely
technical and complex Freudian "death instinct" which Norman O. Brown,
among others, studies at length. I would prefer to avoid the term, because of the
confusion it may cause, but Waugh's own use of it, especially in the trilogy,
obliges one to deal with it.
65
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66 Joseph Hynes
figures' death wishes are intense enough to lead to suicide, the presum
able sign of despair. Simon Balcairn, Aimee Thanatogenos, and Briga
dier Ritchie-Hook may commit suicide, but they are not central char
acters and their attitudes do not finally control ours. In addition to
A Handful of Dust, an exception might be made of Vile Bodies, whose
tone is indeed hopeless; but this is an anomaly among Waugh's books
in that, despite Adam and Nina, it has no central character. At
really
any rate, whatever distinctions we may make, and whatever con
nections we may see, between a given book's tone and its characters'
attitudes, the death wish dominates Waugh's novels, while that inten
sity of death wish amounting to despair or hopelessness is rare.
Something usually sustains Waugh's central figures, if only in a
sort of living death. For instance, Paul Pennyfeather of Decline and
Fall retires into the past. That it is the theological past is probably
irrelevant; what matters is that theological study supports his seclusion
from time present. Again, the younger Basil Seal (of Black Mischief)
survives because (unlike Paul Pennyfeather) he is privileged, bright,
cynically irrepressible in his self-defensive commitment to impulse,
and never inclined to expect much good from the modern world; and
the older Basil Seal (like the early Guy Crouchback) avoids despair by
joining the army for the patriotic novelty of slaughtering Germans
(Put Out More Flags). William Boot (Scoop) runs from the outside
world back to his private flora and fauna; the title-figure of Scott
King's Modern Europe returns with his dyspepsia to the classroom and
his minor Latin authors; Dennis Barlow (of The Loved One, a book
soaked in death wish) turns from hideous modern American death
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Death Wish: Evelyn Waugh's Central Theme 67
seriously is a measure of how seriously his trouble, and that of all the
must be taken, and is a measure likewise of the
Bright Young People,
serious artist that Waugh
comic always was, as distinct from the
funny-frivolous entertainer whom so many seem to find (and prefer)
in the earlier novels.2
2See, for example, these: Steven Marcus, "Evelyn Waugh and the Art of
Entertainment," Partisan Review, XXIII (Summer 1956), 348-57; Peter Green,
"Du Cote de Chez Waugh," Review of English Literature (Leeds), II (April
1961), 89-100; Edmund Wilson, "'Never Apologize, Never Explain': The
Art of Evelyn Waugh," in Classics and Commercials (London, 1951), pp. 140-46;
Frederick R. Karl, The Contemporary English Novel (New York, 1962), pp.
167-82; Martin Green, "British Comedy and the British Sense of Humour: Shaw,
Waugh, and Amis," Texas Quarterly, IV (Autumn 1961), 217-27; Sean O'Faolain,
The Vanishing Hero: Studies in Novelists of the Twenties (London, 1956),
pp. 50-69; Conor Cruise O'Brien, Maria Cross: Imaginative Patterns in a Group
of Catholic Writers (Fresno, Calif., 1963), pp. vii, 109-23; A. E. Dyson, "Evelyn
Waugh and the Mysteriously Disappearing Hero," Critical Quarterly, II (Spring
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68 Joseph Hynes
1960), 72-79. James Hall, in The Tragic Comedians: Seven Modern British
Novelists (Bloomington, Ind., 1963), pp. 45-65, writes a most perceptive essay
on the earlier Waugh books, but leaves unexplained his reasons for thinking
" "
these his good novels," indeed his best novels." Although my essay and others
to which I shall refer should serve to counteract views of these writers, the
antidotally inclined might in the meantime see Leo Hines, "Waugh and His
Critics," Commonweal, LXXVI (April 13, 1962), 60-63, and Robert
Murray
Davis, "Evelyn Waugh on the Art of Fiction," Papers on Language and Litera
ture, II (Summer 1966), 243-52. This last retreats from a
implicitly dangerous
flirtation with the Early-vs.-Late School, in Mr. Davis's otherwise commendable
"Evelyn Waugh's Early Work: The Formation of a Method," Texas Studies
in Literature and Language, VII (Spring 1965), 97-108.
"The term is the narrator's, in Decline and Fall; but see also Dyson, op. cit.
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Death Wish: Evelyn Waugh's Central Theme 69
4 more of
For some of the validi.e., literarycriticism Brideshead, see:
Bernard Bergonzi, "Evelyn Waugh's Gentleman," Critical Quarterly, V (Spring
pair and Orthodoxy Among Some Modern Writers (London, 1953), pp. 159-74;
A. A DeVitis, Roman Holiday: The Catholic Novels of Evelyn Waugh (New
York, 1956), pp. 40-53. Less reliably focused are: Rodney Delasanta and Mario
L. D'Avanzo, "Truth and Beauty in Brideshead Revisited," Modern Fiction
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70 Joseph Hynes
pp. 298-305. These pages virtually dismiss not only Brideshead, but Scott-King's
Modern Europe and The Loved One, in addition to looking at Edmund
sideways
Campion. The essay, of course, ends the Waugh-Wilson
honeymoon signified
by Wilson's earlier article, above.
8
For samples, consult: O'Faolain, Dyson, O'Brien, and Karl, all cited above;
"
Marston LaFrance, Context and Structure of Evelyn Brideshead
Waugh's
Revisited," Twentieth Century Literature, X (April 1964), 12-18; John Edward
Hardy, Man in the Modern Novel (Seattle and London, 1964), pp. 159-74;
Thomas Churchill, "The Trouble with Brideshead Revisited," Modern Lan
guage Quarterly, XXVIII (June 1967), 213-28; James F. Carens,
The Satiric Art
of Evelyn Waugh (Seattle and London, 1966), pp. 98-110. This is a convenient
place to note, incidentally, that a critic's position on religion seems
inadequate
to account for his attitude to Brideshead's matter. A look at
religious subject
my notes 4 and 6 will hardly encourage me to be "really"
anyone's supposing
insisting that only Catholics and their fellow travelers can read the later
Waugh,
or that only others misread him.
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Death Wish: Evelyn Waugh's Central Theme 71
something else with his days. The novel, then, is the process of a con
version that enables Ryder to defeat despair not by immersing him
self frantically in the present (as does Basil Seal) or by retreating
(in the manner of William Boot or Paul Pennyfeather) to a physical
embodiment of traditional values (Brideshead Castle), but by using
both and to transcend the even as
past present experience present
he keeps a jaundiced eye on Hooper's moment. In religious terms, he
co-operates with God's grace in order to live beyond time, now;
in psychological terms, he is shaped by his life's events to love Julia,
' "
On City" values in Waugh's books, see especially: Richard Wasson, "A
Handful of Dust: Critique of Victorianism," Modern Fiction Studies, VII (Winter
1961-62), 327-37; Kermode, op. citAlvin B. Kernan, "The Wall and the Jungle:
The Early Novels of Evelyn Waugh," Yale Review, LIII (Dec. 1963), 199-220;
Nigel Dennis, "Evelyn Waugh: The Pillar of Anchorage House," Partisan
Review, X (July-Aug. 1943), 350-61.
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72 Joseph Hynes
for whose sake he asks a favor of the God in Whose existence he thinks
he does not believe. When the favor is granted and Lord Marchmain
gives the sign that turns off Edmund Wilson, it is Ryder's love for
Julia (and his respect for her belief) that lets him accept a separation
from Julia which is at this point no requirement of his own belief.
Ryder is a dreadful person in many respects, but his snobbery, cruelty,
and other lapses from charity only emphasize that genuine love for
Julia (and his respect for her belief) that lets him accept a separation
eventual conversioneven though the psychological basis can never
substitute for that complete basis in which the narrator himself has
come to believe, and which must remain finally incomprehensible to
him and any other man.
In the war Lrouchback, as a cradle Catholic, has no
trilogy, Guy
need to learn Ryder's kind of lesson. Guy is a believer who
prac
tices his faith; but the trilogy is Waugh's most extensive handling of
temptations to despair, belief or no belief. Besides being Waugh's
last work, the trilogy fittingly recapitulates much of his earlier work
and constitutes a last effort to credit various kinds of life wish. For
these several relevant reasons, I wish to consider the trilogy in some
detail.8
8
Despite the difference of my approach and my emphasis on a single Waugh
theme, I am obviously indebted to the criticism building up around Waugh's
last work. Some of this criticism was written before the trilogy's in
completion
1961, while its authors were therefore at a disadvantage; but I include such
work in gratitude for insights it has See, then, these:and
provided. Bergonzi
Hines, both as cited; Carens, pp. 157-73; Stopp, pp. 46, 158-78, 210; DeVitis,
pp. 68-84; Bradbury, pp. 106-15; Andrew Rutherford, "Waugh's Sword of Hon
our," in Maynard Mack and Ian Gregor (eds.), Imagined Worlds-. on
Essays
Some English Novels and Novelists in Honour of John Butt (London, 1968), pp.
441-60; Robert Kiely, "The Craft of DespondencyThe Traditional Novelists,"
Daedalus, XCII (Spring 1963), 220-37; Peter Hinchcliffe, "Fathers and Children
in the Novels of Evelyn Waugh," University of Toronto XXXV
Quarterly,
"
(April 1966), 293-310; Kenneth Parker, 'Quantitative Judgements Don't Apply,"'
English Studies in Africa, IX (Sept. 1966), 192-201; Patricia Corr, "Evelyn
Waugh: Sanity and Catholicism," Studies
(Dublin), LI (Autumn 1962), 388-99;
Richard J. Voorhees, "Evelyn Waugh's War Novels," Queen's LXV
Quarterly,
(Spring 1958), 53-63; H. E. Semple, "Evelyn Modern
Waugh's Crusade," Eng
lish Studies in Africa, XI (March 1968), 47-59; George Greene, with
"Scapegoat
Style: The Status of Evelyn Waugh," Queen's LXXI (Winter 1964
Quarterly,
65), 485-95. For my understanding of Waugh's achievement in the and
trilogy
elsewhere, I am indebted not least to discussions with Carl Wooton, friend and
former doctoral student at the University of Oregon. See his to
"Responses
the Modern World: A Study of Evelyn "
Waugh's Novels Doc
(Unpublished
coral Dissertation. University of Oregon, 1967). See also his
essay "Evelyn
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Death Wish: Evelyn Waugh s Central Theme 73
spelled out as "the Modern Age in arms." But while Put Out More
Flags ends on Basil's sword-waving, optimistic note, and Brideshead
ends with Ryder's optimistically folding the temporal into the pocket
of the eternal, Guy begins his quest where these two end theirs:
he begins with faith and patriotism, never loses either of these, and
must therefore find something else to ward off his growing temptation
to despair.
Since the point of view is omniscient, the narrator provides more
detailed reason for despair than even Guy knows about. But the
three volumes nevertheless engage Guy's Christian attention suffi
tried. In the course of Men at Arms
ciently for us to see him sorely
sees army life as adolescent; grows more and more
Guy increasingly
conscious of cutting a middle-aged figure in a young man's business;
feels the justice of his ex-wife's regarding him as a human slug for his
to measure himself con
attempts to use her sexually; is compelled
blow
sistently against the foil-figure Apthorpea ludicrous, pitiable
hard of an age with Guy; is semi-betrayed by his hero Ritchie-Hook;
and eventually learns that his just cause and everyone else's politically
in common. When the
pragmatic reasons for fighting have nothing
first volume ends, Guy returns to England deflated after his single
armed engagementa pointless, irresponsible assault on Dakar, directed,
against orders, by Ritchie-Hook. Apthorpe is dead, inadvertently
killed by Ritchie-Hook's sadism and Guy's carelessness. Ritchie-Hook,
who looks a dangerous ass to the reader, is still Guy's hero, precisely
because (as the third volume will make clear to Guy and the reader)
he closes his mind and charges with his death wish into whatever
fray happens to hand.
In Officers and Gentlemen, therefore, matters and motives are obvi
less simple for Guy. So much has been pulled from under
ously
Brideshead Revisited: War and Limited Hope," The Midwest Quarterly,
Waugh's
X (Summer 1969), 359-75.
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74 Joseph Hynes
Guy's feet that he has only his surviving admiration for the reportedly
dead Ritchie-Hook, and the present example of Ivor Claire (England's
finest flower, on whom Hitler supposedly has not reckoned), to pull
him through the drudgery of the English humiliation on Crete. These
strengths are inadequate, for as this second volume ends Ritchie-Hook
and his fighting spirit are absent, Major Fido Hound has helped rein
force the disillusionment of Men at Arms, and Ivor Claire and Julia
Stitch have combined to betray Guy's innocent faith in traditional
aristocratic British honor. Guy drags himself back again to England
and glumly hangs on by the tips of his militarily disciplined fingers.
The third volume finishes the narrator's comments on Guy's war
long quest: pragmatism and cynicism control both sides of what
Guy had naively supposed to be a black and white opposition. All
good times of the Basil Seal variety die with Virginia; Major Ludovic
is brought forward from volume two, to exude his guiltily oppor
tunistic maliceunnecessarily joined to vague communistic and homo
sexual tendenciesand to unite with the figures of Lieutenant Padfield
and Trimmer (the Hoopers of the trilogy) in establishing what forces
have survived the war; Guy is even compelled, in the line of duty that
he has volunteered for, to cooperate with the British and Americans
in establishing a communist regime in Yugoslavia, and in the process
to bring communistic bureaucratic wrath upon a pair of Jewish dis
placed persons whom he had tried to aid.
Thus, in the public realm all is bureaucratically political and eco
nomic: Guy's war ends with his having done nothing to defeat
and with his Russia a on eastern
Germany helping get grip Europe.
"
The Modern
Age in arms" had been Guy's idea of the enemy, and
thus Unconditional Surrender refers primarily to the defeat of his
own honorable cause rather than to the historians' view of events in
1945. What Guy surrenders is any lingering possibility that his own
sense of the honorable will anywhere make any public impression
again, if in fact that romantic sense of honor ever prevailed in the
world at large. His attitude here is not one of
superiority, for he
knows his own moral puniness and his friend Madame
Kanyi has
helped him to see that honor, as motive, merely rationalized a death
wish in turn motivated by self-loathing and the compulsion to
justify
privilege and sloth. Moreover, classes and nations no longer impress
him: cowards, fools, charlatans, and bullies range from Claire to
Gilpin
to Trimmer, from the Nazi operators of displaced-person trains to
Lord Ian Kilbannock to American soldiers and journalists. What
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Death Wish: Evelyn Waugh s Central Theme 75
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76 Joseph Hynes
commitment with private charity. He is cut off from the system, but,
thanks to his father, alive at last to God and individual persons more
convincingly than was Ryder, and in a way that only Helena, among
Waugh's other
protagonists, would share. Like all Waugh's pro
tagonists, then, Guy retreats into seclusion and retains his death wish.
But whereas Basil Seal's immersion in the moment and Paul Penny
feather's fading out of the moment both signify survival by cutting
away from other men, Guy's seclusion is his only possible means of
sustaining human relationships. Guy is certainly no saint, as he hardly
needs anyone to remind him; and therefore he is more accurately
described as being in the process of becoming his father. But if he
ever achieves sainthood he will do so by following his death wish
into the practice of private Christian charity.
In therefore, the in the confessional
retrospect, anonymous priest
appears to have put the trilogy and Waugh's recurring central theme
into final form for Waugh; the death wish, far from being a sin, is
normal and perhaps even the sign of a good man. The important
qualification is that one must use the death wish to avoid despair and
to make life possible for oneself and others, on two levels. Give
cigarettes and pensions to the needy, and pray for them too. One
cannot imagine Basil's or Paul's survival inducing activity on either
such level, and of course it is not part of the narrative point to pursue
the consequences of Ryder's conversion. With Helena, then, Guy
remains Waugh's best fictional example of a character balancing his
life-giving commitment to God and man with his equally uncom
promised sense of the loathsome world men make when for
unexplored
reasons share no such commitment with the What
they protagonist.
was wrong with Guy, as Madame Kanyi movingly tells him, was
that his self-detestation and chauvinism supported a sick and selfish
death wish (see the earlier protagonists); what is right is a death wish
supported by the motives and conduct of Guy's father.
On the way to an appreciation of his father, Guy has occasion
to recall someone's once "
remarking that all differences are theological
differences." Without or otherwise rewriting Waugh's fic
distorting
tion, we can see that this generalization lights up all of Waugh's
books, and also that it explains the kind of criticism the later Waugh
has often attracted.
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Death Wish: Evelyn Waugh s Central Theme 77
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