Brideshead Revisited
Evelyn Waugh
Preface
THIS novel, which is here re-issued with many small additions and some substantial cuts, lost me such esteem as I once enjoyed among my contemporaries and led me into an unfamiliar world of fan-mail and press photographers. Its theme — the operation of divine grace on a group of diverse but closely connected characters — was perhaps presumptuously large, but I make no apology for it. I am less happy about its form, whose more glaring defects may be blamed on the circumstances in which it was written.
In December 1943 1 had the good fortune when parachuting to incur a minor injury which afforded me a rest from military service. This was extended by a sympathetic commanding officer, who let me remain unemployed until June 1944 when the book was finished. I wrote with a zest that was quite strange to me and also with impatience to get back to the war. It was a bleak period of present privation and threatening disaster — the period of soya beans and Basic English — and in consequence the, book is infused with a kind of gluttony, for food and wine, for the splendours of the recent past, and for rhetorical and ornamental language, which now with a full stomach I find distasteful. I have modified the grosser passages but have not obliterated them because they are an essential part of the book.
I have been in two minds as to the treatment of Julia’s outburst about mortal sin and Lord Marchmain’s dying soliloquy. These passages were never of course, intended to report words actually spoken. They belong to a different way of writing from, say, the early scenes between Charles and his father. I would not now introduce them into a novel which elsewhere aims at verisimilitude. But I have retained them here in something near their original form because, like the Burgundy (misprinted in many editions) and the moonlight they were essentially of the mood of writing; also because many readers liked them, though that is not a consideration of first importance.
It was impossible to foresee, in the spring of 1944, the present cult of the English country house. It seemed then that the ancestral seats which were our chief national artistic achievement were doomed to decay and spoliation like the monasteries in the sixteenth century. So I piled it on rather, with passionate sincerity. Brideshead today would be open to trippers, its treasures rearranged by expert hands and the fabric better maintained than it was by Lord Marchmain. And the English aristocracy has maintained its identity to a degree that then seemed impossible. The advance of Hooper has been held up at several points. Much of this book therefore is a panegyric preached over an empty coffin. But it would be impossible to bring it up to date without totally destroying it. It is offered to a younger generation of readers as a souvenir of the Second War rather than of the twenties or of the thirties, with which it ostensibly deals.
E.W.
Combe Florey 1959
PROLOGUE
Brideshead Revisited
WHEN I reached ‘C’ Company lines, which were at the top of the hill, I paused and looked back at the camp, just coming into full view below me through the grey mist of early morning. We were leaving that day. When we marched in, three months before, the place was under snow; now the first leaves of spring were unfolding. I had reflected then that, whatever scenes of desolation lay ahead of us, I never feared one more brutal than this, and I reflected now that it had no single happy memory for me.
Here love had died between me and the army.
Here the tram lines ended, so that men returning fuddled from Glasgow could doze in their seats until roused by their journey’s end. There was some way to go from the tram-stop to the camp gates a quarter of a mile in which they could button their blouses and straighten their caps before passing the guard-room, quarter of a mile in which concrete gave place to grass at the road’s edge. This was the extreme limit of the city. Here the close, homogeneous territory of housing estates and cinemas ended and the hinterland began.
The camp stood where, until quite lately, had been pasture and ploughland; the farmhouse still stood in a fold of the hill and had served us for battalion offices; ivy still supported part of what had once been the walls of a fruit garden; half an acre of mutilated old trees behind the wash-houses survived of an orchard. The place had been marked for destruction before the army came to it. Had there been another year of peace, there would have been no farmhouse, no wall, no apple trees. Already 5 half a mile of concrete road lay between bare clay banks and on open ditches showed where the municipal contractors had designed a system of drainage. Another year of peace would have made the place part of the neighbouring suburb. Now the huts where we had wintered waited their turn for destruction.
Over the way, the subject of much ironical comment, half hidden even in winter by its embosoming trees, lay the municipal lunatic asylum, whose cast-iron railings and noble gates put our rough wire to shame. We could watch the madmen, on clement days, sauntering and skipping among the trim gravel walks and pleasantly planted lawns; happy collaborationists who had given up the unequal struggle, all doubts resolved, all duty done, the undisputed heirs-at-law of a century of progress, enjoying the heritage at their ease. As we marched past, the men used to shout greetings to them through the railings — ‘Keep a bed warm for me, chum. I shan’t be long’ — but Hooper, my newest-joined platoon-commander, grudged them their life of privilege; ‘Hitler would put them in a gas chamber,’ he said; ‘I reckon we can learn a thing or two from him.’