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THE USES of GAMES in BRIDESHEAD REVISITED by Daryl Holmes (Nicholls State University)

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THE USES of GAMES in BRIDESHEAD REVISITED by Daryl Holmes (Nicholls State University) EVELYN WAUGH NEWSLETTER AND STUDIES Volume 30, Number 2 Autumn, 1996 THE USES OF GAMES IN BRIDESHEAD REVISITED By Daryl Holmes (Nicholls State University) While Evelyn W••wgh's Brideshead Revisited has been approached from a variety of perspectives with particular emphasis on the novel as a romance, as an apology for Catholicism, and as an indication of forties sensibilities as infor:ned by the two World Wars, another approach to the novel arises from the striking number of references to James. In addition to the more general references to parlour games, garden games, general post and cards, there are nineteen references to specific games, most of which are either card games or board games. The question of the significance of the game references can be answered by studying the rules of the indi·Jidual games. Of the games actua!!y set up or played, badminton and golf, for 3Xample, are mentioned in passing but neither set up nor ~layed, particular games are chosen to indicate characters' personalities, traits, motivations, and class. They are also used to reinforce the movement of the plot. Further, these games along with psychological games are the finer threads of the larger fabric of the structure of the novel. Games help the narrator to structure his experience within the framework of the World Wars, during and after wrich the narrator along with the other charact8rs in the novel and the people in the world were (and still are) trying to organize their experience. The framework of World War II is in turn part of a larger framework-- the ancient and ongoing cosmic wa.r between good and evil. Because such attention is called to individual games, it is possible to see the larger frameworks a.s larger games themselves and to see the entire structuring ol the novel as a game within a game within a game. Beginning with the types of games that primarily involve objects rather tL,:l people as their playing pieces, the first reference to a game ~ccurs in the opening pages of the first chapter c''.Jring which we are introduced to Sebastian Flyte via his Teddy bear, Aloysius. At first, we imagine the bear a charming eccentricity which marks Sebastian as a member of the upper class, as does the barber (28), but our very first sight of the toy foreshadows a darker motivation for Sebastian's "play" than simple, calculated eccentricity. "Sebastian's Teddy-bear sat at the wheel" (23): the first implication of this image is that Sebastian is attempting to relinquish control, and the second, derived from the first, is that he is attempting to relinquish control to childhood fantasy. The fact that his destination that day that the Teddy bear sat at the wheel was to visit Nanny Hawkins and to de it at a time during which he believes he can avoid seeing any of his family begins to indicate Sebastian's more complex motivation of trying to avoid growing up. The other three games in which Sebastian participates lead us from this exterior and relatively minor indication of a problem to, first, the gateway and, second, the heart of the problem, the increasing complexity of the games coinciding with both the increased knowledge of the problem and the rapid r:.ovement from the inconsequentiality to the extreme seriousness of Sebastian's attempts to escape growing up. The game that acts as a gateway for the narrator and reader into the center of Sebastian's problem is the croquet game in which Sebastian breaks his ankle. In terms of plot movement, it brings Charles from the exterior world of Oxford to the lawn of the Flyte-Marchmain home, closer to the center of the problem. In symbolic terms, the fact that Sebastian brec.i\s his ankle while playing a game, and a game that suggests the lei1:'ured classes, indicates the limits of his flight from adulthood via childhood games. The physical break corresponds to a psychological break from childhooc if not from the tries to escape adulthood and the responsibilities of his class and of being a Catholic. The broken ankle marks the beginning of the end of the idyllic, childhood time. Charles, who has just arrived to nurse Sebastian, notes at the beginning of chapter four: The langour of Youth-- how unique and quintessential it is! How quickly, how irrecoverably, lost! ... It is thus I like to remember Sebastian, as he was that summer, when we wandered alone together through that enchanted palace; ... Sebastian hobbling, with a pantomime of difficulty, to the old nurseries, sitting beside me on the thread-bare, flowered carpet with the toy cupboard empty about us 2 and Nanny Haw~ins stitching complacently in the corner saying, "You're one as bad as the other; 2 pair of children the two of you. Is that what they teach you in college?"(79-80). The c~d of the idyll is foreshadowed by Charles's wistful words about lost youth and by the second of the aforementioned games, Sebastian's pantomime, " subtle indication of a growing awareness of pretense. By the end of chapter four, Sebastian's problem is no longer indicated with subtlo hints. Cara articulates it directly: "Sebastian is in love with his own childhood. That will make him very unhappy. His Teddy-bear, his Nanny ... and he is nineteen years old ..." (1 03). And bv the opening pages of chapter five, the idyll is over, the problem is apparent to everyone and Charles himself articulates Sebastian's motivations: With Sebastian it was different. His year of anarchy had filled a deep, interior need of his, the escape from reality, and as he found himself increasingly hemmed in, where he once felt himself free, he became at times listless and morose, even with rne. (1 07). The last game in which Sebast;an takes part, the fox-hunt, symbolizes in its complexity, intensity, and pace the core of Sebastian's feelings as he attempts to escape his family and the responsibilities they remind him of. Sebastian is the hunted fox, alone against many hounds and hunters, in search of a place to hide and escape, and finding temporary sheltei in drunkenness in a hotel rather tha:l in a hole in a h~.."~dgerow. This particular game informs the remainder of Sebastian's life. In moments he takes 'he hunter's position, pursuing God and a sense of his own identity, but more often he is the haunted, hunted f'}X. cr,ronologically, the second reference to games toward the beginning of the novel occurs just after Charles arrives to nurse Sebastian and Julia is about to leave. Julia says, "I promised Nanny a last game of halma" (78). Since it is Nanny Hawkins who has requested this game, the game is revealing of her character. In examining the object and rules of the game, we notice that it is a V3ry simple game to play. The objcc.t of the game -- Each player (2-4) triE}s to move all of his pieces across the board to the corner enclosure diagonally opposite that from which he started. The first player to do so wins the game. .. As in Checkers, the hopping move once started may be contained as long as the piece finds others to jump. But in Halma, a piece may hop over friendly as well as enemy pieces and the pieces jumped over are not captured. No pieces are ever removed from the board. Furthermore, it is not cumpulsory to jump when able; having started a series of hops, the piece may come to rest at any time the player wic'iled, though additional hops would be possible. (Scarne 538) Halma is a game that requires minimal thinking and as such is indicative of class. As Scarne notes, it is similar to, thoug~, requires even less thought and strategy than, Checkers, and Checkers itself is associated in the novel with lower classes of people: " ... small Greek traders ... played draughts and listened to the wireless" (304). Not only by its association with checkers do we know that the game is intended to indicate something ot clas.s characteristics. The very fact Nanny Hawkins is a nanny, a servant, indicates that she is not of the aristocracy, and Charles twice makes reference to her class. At one point he notes, "[i]t was ever Nanny Hawkins belief that the upper classes spen' most of their leisure evenings in the ballroom" (1 51). Later he describes her speech as "the soft, peasant tones of its origin" (348). Further, Halma is a "gentle" game, one that blurs the distinction between "friend" and "enemy" by imposing no penalties for neglecting or deliberately determining not to make a possible move and by imposing no penalties like removal from the board for being an "enemy." Such "gentleness" is again indicative of class. the lower classes not being ahle to distinguish good from bad, friend from enemy, let alone cope with the necessary strategies for competing in the serious affairs of ruling and fighting, according to the aristocratic view -- and is also particularly indicative of Nanny Hawkins' trait of wanting to see her charges as they once were-- simple, innocent children-- not as the complex adults they have become: Nanny did not particularly wish to be talked to; she like visitors best when they paid no attention to her and let her knit away, and watch their faces and think of them as small children; thei> present goings­ on did not signify much beside those early illnesses and c:imes. ('i51) The third reference to a game occurs when Charles accompanies Sebe~stian to Venice to see Sebastian's father, Lord March main.
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