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Evelyn Waugh Newsletter and Stud EVELYN WAUGH NEWSLETTER AND STUD EVELYN WAUGH NEWSLETTER AND STUDIES Vol. 39, No. 1 Spring 2008 “Beefsteak Mind” and “Greatest Sonneteer since Shakespeare”: Evelyn Waugh, Marie Stopes and Lord Alfred Douglas by Donat Gallagher James Cook University On 25 May 1939, Evelyn Waugh wrote to Marie Stopes.[1] Coming across a reference to his letter in a catalogue, I imagined a sharp missive about birth control or Black Mischief, for Waugh lampoons Stopes (the then leading advocate of birth control) in Black Mischief, and Stopes eagerly joined in The Tablet’s condemnation of the novel. Some years later, in 1943, Stopes would attack, and Waugh defend, Catholic schools. Imagine my surprise (as they say) when Waugh’s 1939 letter turned out to be a polite note agreeing to put his name to a petition organized by Stopes seeking a civil list pension for Lord Alfred Douglas, “Bosie” of Oscar Wilde fame. Stopes’s papers reveal that Lord Alfred had been living on a small allowance from a kinsman, which the kinsman could no longer afford. Lord Alfred faced destitution. Stopes, a woman of advanced views, was nevertheless a close friend and voluminous correspondent of Lord Alfred, a Catholic and conservative far to the Right of Evelyn Waugh. Stopes believed that Lord Alfred’s contribution to English literature was such as to warrant a civil list pension, and she set about trying to persuade the Prime Minister, Neville Chamberlain, to provide one. Part of the campaign involved enlisting eminent literary figures to testify to Lord Alfred’s outstanding contribution to English poetry. At this period, as is well known, the dominant influences on English poetry were Eliot and Auden, whereas Lord Alfred’s sonnets were metrical, musical and nineteenth-century in theme; in short, highly unfashionable. His principal literary admirers, like Sir Arthur Quiller-Couch, then Professor of English Literature at Oxford, came from the Men of Letters generation; but some Moderns, like Virginia Woolf, signed the petition. The argument was that Lord Alfred’s poetry was a permanently valuable contribution to the national literature. Much was made of the fact, if it is a fact, that he was the only English poet for a century whose entire corpus the French had thought worthwhile to translate. Waugh, though respectful of the early Eliot, did not like contemporary verse and famously pronounced poetry “one of the arts which has died in the last eighty years. Poets now have as much connection with poetry as the Fishmongers’ Company has with fish. They carry on the name and the banquets but have retired from trade generations ago.”[2] So he might well have been sympathetic to Douglas’s traditional mode; but, as will emerge, he did not share the extravagant overestimates of his work held by some fellow petitioners. In his letter to Stopes, Waugh does not mention poetry. He is simply “sorry to hear of Lord Alfred Douglas’s distressed condition” and “glad” to do anything he could “to advance his claim to public recognition.” He goes on to suggest an application to the Royal Literary Fund: “My brother … is a member of the Committee and would be sympathetic, I am sure, if you approached him.” Waugh’s name was on the list of sixteen literary figures that went to the Prime Minister seeking the civil list pension. Chamberlain refused the request. Lord Alfred took the refusal in good part and, when Chamberlain was later ousted by Churchill, wrote to Chamberlain lamenting that the Prime Ministership was no longer held by “a gentleman.” An echo of this incident may be heard in Waugh’s puzzling (to me) diary entry for 26 April 1946, about a year after Lord Alfred died. Waugh says he had received a letter from Evan Tredegar (Evan Morgan 2nd Viscount Tredegar, poet, occultist, eccentric and Papal Chamberlain) asking him “to join a committee consisting of [Tredegar], Marie Stopes and … ‘we hope Harold Nicolson’ to proclaim Alfred Douglas the greatest sonneteer since file:////uol.le.ac.uk/...c144/My%20Documents/Evelyn%20Waugh/Evelyn%20Waugh%20Studies/Newsletters/Newsletters/Newsletter_39.1.htm[04/12/2013 14:45:05] EVELYN WAUGH NEWSLETTER AND STUD Shakespeare.” To this Waugh replied that “considering Milton and Wordsworth I could not agree with the judgement and that anyway I thought Marie Stopes a preposterous person to propose it.” Shortly afterwards, at the Beefsteak club, Waugh met Harold Nicolson, who had also refused Tredegar, using the very same words as had Waugh. This level of conformity with a conventional literary figure seems to have shocked Waugh, who asked himself worriedly: “Am I developing a Beefsteak mind?”[3] Notes [1] Marie Stopes Papers, Add. 58494, Folio 81, British Library. [2] Excerpt from letter to Cyril Connolly quoted in editor’s “Comment,” Horizon 4 (Nov. 1941), 300-01. [3] Michael Davie, ed. The Diaries of Evelyn Waugh (London: Weidenfeld and Nicolson, 1976), 649. Abstracts of Essays on Waugh in Eigo Seinen/Rising Generation by Yoshiharu Usui Eigo Seinen/Rising Generation is one of the leading literary journals in Japan. The issue for November 2003 included eight essays in Japanese on Evelyn Waugh. Below are abstracts for each essay. Sasaki, Toru (Kyoto University). “Dikenzu o yomu Uo” [“Waugh Reading Dickens”]. Eigo Seinen/Rising Generation 149.8 (Nov. 2003). 458-60. Abstract: Waugh’s view of Dickens in A Handful of Dust seems to be personal. In Waugh’s mind, reading Dickens’s works is connected with his father. Waugh’s father was good at reading aloud. Even though Waugh is familiar with Dickens, the junior writer refuses to accept Dickens meekly. Though he can find comedy in any circumstances and his sense of human grotesques was raised by Dickens, Waugh had to deny Dickens first, then cultivate a different sense of humor and eliminate sentiment from his works. Most of Waugh’s descriptions of Dickens are sarcastic or negative. There was only one surrender to Dickens’s magnetism, in Ninety-two Days. Waugh writes that he hadn’t found time to read books for the last ten years, but at Father Mather’s residence, he read Nicholas Nickleby. Waugh needs to go back to the spirit of boyhood to enjoy Dickens. He couldn’t get that without entering the jungle in South America. Koyama, Taichi (Wayo Women’s University). “Ivurin Uo to komedi no kukan” [“Evelyn Waugh and the Space of Comedy”]. Eigo Seinen/Rising Generation 149.8 (Nov. 2003): 461-63. Abstract: The principal object of Decline and Fall seems to be to create autonomous comic spaces that are not ruled by time and where unrealistic characters live. In Sword of Honour, absurd comedy, sad realism, melancholy and unhealed romanticism strangely mix. Ritchie- Hook reminds us of hot-blooded, loose laughter in Decline and Fall, but the slapstick comedy is out of place in war, filled with stagnation, compromise and betrayal. At the beginning, the trilogy has an Arcadian atmosphere and indecent laughter. With the death of Apthorpe, the pleasure of Arcadian comedy diminishes. A Handful of Dust is a key to analyzing the change. The episode of Mr. Todd in A Handful of Dust is a stampede of comical imagination, but the characters don’t have limitless movement like the characters in Decline and Fall. Waugh, a slapstick writer, was heading beyond reason. Eyeing the boredom of the real world, Waugh etches the free vitality of comical academia with the acid of satire. Waugh’s creation alternates between romantic conversion to the beautiful tradition of Charles Ryder and Guy Crouchback and pure comedy in Ritchie-Hook and Ludovic. Fujikawa, Yoshiyuki (Komazawa University). “Uo, Wairudo, Fabanku: Biishiki no keisei.” [“Waugh, Wilde, Firbank: The Form of Beauty”]. Eigo Seinen/Rising Generation 149.8 (Nov. file:////uol.le.ac.uk/...c144/My%20Documents/Evelyn%20Waugh/Evelyn%20Waugh%20Studies/Newsletters/Newsletters/Newsletter_39.1.htm[04/12/2013 14:45:05] EVELYN WAUGH NEWSLETTER AND STUD 2003): 464-65. Abstract: ‘Let us return to the nineties but not to Oscar Wilde’ is an interesting essay for analyzing the sense of beauty Waugh formed when young. He says we should ignore the intelligent snobbism of the upper class, who started the boom of the 1890s. He does not reject Wilde’s comedy of manners, but he does reject the ‘overdressed, pompous, snobbish, sentimental and vain’ Wilde. Waugh loved to read Firbank. They treated almost the same materials, such as lives of wealthy, decadent people, with traditional cultures, grand operas, art galleries, and courts forming their background. Waugh says that the newness of Firbank was a way of being released from nineteenth-century novels of manners. Not ignoring the literary tradition or his readers, Firbank could write ‘modern’ novels without being bound by the chains of causal relations. Though incidents seem to happen by chance, the functions are revealed as the story develops. Firbank is a ‘structural’ writer. Waugh says that Wilde is a sentimental person, and his wit is decorative. He claims that Wilde is Rococo and Firbank is Baroque. Waugh prefers Baroque to Rococo. He must have been influenced by people with Baroque taste like Harold Acton and the Sitwells. One more innovation of Firbank was the concise conversational technique. Waugh says it affected Ernest Hemingway. He especially liked Hemingway in American literature. Hirose, Masahiro (late of Osaka University). “Edomando Kyanpion: Shinko to dannen to” [“Edmund Campion: Faith and Resignation”]. Eigo Seinen/Rising Generation 149.8 (Nov. 2003): 466-67. Abstract: Waugh is a cruel writer. Those who have different religious views he describes thoroughly cynically. Campion has the same religion, and though the tone of Waugh’s satire is lowered, his description is also cruel.
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