Книга - Mad World: Evelyn Waugh and the Secrets of Brideshead

Mad World: Evelyn Waugh and the Secrets of Brideshead
Paula Byrne


A terrifically engaging and original biography about one of England’s greatest novelists, and the glamorous, eccentric, debauched and ultimately tragic family that provided him with the most significant friendships of his life and inspired his masterpiece, ‘Brideshead Revisited’.Evelyn Waugh was already famous when ‘Brideshead Revisited’ was published in 1945. Written at the height of the war, the novel was, he admitted, of no ‘immediate propaganda value’. Instead, it was the story of a household, a family and a journey of religious faith – an elegy, in many ways, for a vanishing world and a testimony to a family he had fallen in love with a decade earlier.The Lygons of Madresfield were every bit as glamorous, eccentric and compelling as their counterparts in ‘Brideshead Revisited’. In this engrossing biography, Paula Byrne takes an innovative approach to her subject, setting out to capture Waugh through those friendships that mattered most to him. Far from the snobbish misanthropist of popular caricature, she uncovers a man as loving and complex as the family that inspired him – a family deeply traumatised when their father was revealed as a homosexual and forced to flee the country.This brilliantly original biography unlocks for the first time the extent to which Waugh’s great novel encoded and transformed his own experiences. In so doing, it illuminates the loves and obsessions that shaped his life, and brings us inevitably to a secret that dared not speak its name.









PAULA BYRNE

Mad World

Evelyn Waugh and the

Secrets of Brideshead










COPYRIGHT (#ulink_29b9aa12-cae8-5b67-b2c3-eec0bf2bbef0)


Harper Press

An imprint of HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF

www.harpercollins.co.uk (http://www.harpercollins.co.uk/)

This HarperPress paperback edition published 2010

First published in Great Britain by HarperPress in 2009

Copyright © Paula Byrne 2009

PS Section copyright © Sarah O’Reilly 2010, except ‘Other Worlds’ by Paula Byrne © Paula Byrne 2010

PS™ is a trademark of HarperCollinsPublishers Ltd.

Paula Byrne asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this ebook on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins ebooks

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication

Source ISBN: 9780007243778

Ebook Edition © NOVEMBER 2012 ISBN 9780007455478

Version: 2016-09-22




Contents


Cover (#ue8d62992-b449-5ff7-8a5d-5f4e2d3e4acb)

Title Page (#ua20e421d-3fcb-53fe-83f4-753e155158fb)

Copyright (#u5249eaa2-684a-5811-9566-7cfd29cc5ef9)

Prologue (#u248fd80a-63ed-5dfb-81a5-57fed9321994)

Chapter 1: A Tale of Two Childhoods (#u4ce872a2-4fc9-536a-9d01-f674db7e16b4)

Chapter 2: Lancing versus Eton (#uf68f0f23-01cb-5cea-b304-8fe371992ed6)

Chapter 3: Oxford: ‘… her secret none can utter’ (#u46e0bfa7-2ddb-570d-a0c7-b5e13525cdc3)

Chapter 4: The Scarlet Woman (#u0a66017b-82eb-5f8c-bd9e-8a9fa61d3724)

Chapter 5: In the Balance (#u735b494a-ebfd-5db5-ae15-00161dcc0496)

Chapter 6: The Lygon Heritage (#u04d0e5b2-9135-58f9-a332-81ef9252baa8)

Chapter 7: Untoward Incidents (#litres_trial_promo)

Chapter 8: Bright Young Things (#litres_trial_promo)

Chapter 9: The Busting of Boom (#litres_trial_promo)

Chapter 10: Madresfield Visited (#litres_trial_promo)

Chapter 11: The Beauchamp Belles (#litres_trial_promo)

Chapter 12: Christmas at Mad (#litres_trial_promo)

Chapter 13: An Encounter in Rome (#litres_trial_promo)

Chapter 14: Up the Amazon (#litres_trial_promo)

Chapter 15: A Gothic Man (#litres_trial_promo)

Chapter 16: Fiasco in the Arctic (#litres_trial_promo)

Chapter 17: Ladies and Lapdogs (#litres_trial_promo)

Chapter 18: A Year of Departures (#litres_trial_promo)

Chapter 19: Three Weddings and a Funeral (#litres_trial_promo)

Chapter 20: Waugh’s War (#litres_trial_promo)

Chapter 21: The Door to Brideshead (#litres_trial_promo)

Chapter 22: Brideshead Unlocked (#litres_trial_promo)

Keep Reading (#litres_trial_promo)

P.S. Ideas, interviews & features … (#litres_trial_promo)

About the Author (#litres_trial_promo)

The Waugh Generation: Sarah O’Reilly talks to Paula Byrne (#litres_trial_promo)

A Writing Life (#litres_trial_promo)

Life at a Glance (#litres_trial_promo)

About the Book (#litres_trial_promo)

Other Worlds by Paula Byrne (#litres_trial_promo)

Read On (#litres_trial_promo)

Have You Read? (#litres_trial_promo)

If You Loved This, You Might Like … (#litres_trial_promo)

Find Out More (#litres_trial_promo)

Coda: ‘Laughter and the Love of Friends’ (#litres_trial_promo)

Sources (#litres_trial_promo)

Index (#litres_trial_promo)

About the Author (#litres_trial_promo)

Praise (#litres_trial_promo)

Also by the Author (#litres_trial_promo)

About the Publisher (#litres_trial_promo)




PROLOGUE (#ulink_5b39428e-3d77-55ac-915d-2bb3adb0e446)


Early 1944 and Captain Evelyn Arthur St John Waugh has fallen out of love with the army. He has turned forty and is considering his options. To become a screenwriter? An overture to Alexander Korda comes to nothing. To join MI5, the intelligence service? He is turned down without an interview. Only one possibility remains: to revert to his pre-war occupation.

On 24 January he writes a letter to Colonel Ferguson, Officer Commanding, Household Cavalry Training Regiment. Copies are sent to the Secretary of State for War and to Brendan Bracken, Winston Churchill’s Minister of Information and string-puller in chief on behalf of Captain Waugh. ‘I have the honour to request,’ the letter begins, ‘that, for the understated reasons I may be granted leave of absence from duty without pay for three months.’ The understated reasons are various. That his previous service in the Royal Marines, the Commandos, the Special Services and the Special Air Service Regiment does not qualify him for his current position in a mechanised unit of the cavalry. That he no longer has the necessary physical agility for active service. That he is no good at admin, so can’t do a desk job. And that he doesn’t have the foreign languages to make him useful for the purposes of intelligence work.

Assurances are given: the novel to which he will devote his leave ‘will have no direct dealing with the war’. But expectations are dampened: ‘it is not pretended that it will have any immediate propaganda value’. The necessity of immediate action is stressed: ‘It is a peculiarity of the literary profession that, once an idea becomes fully formed in the author’s mind, it cannot be left unexploited without deterioration. If, in fact, the book is not written now it will never be written.’

Colonel Ferguson responds by ordering Waugh to go and train the Home Guard at Windsor. A less determined man than Evelyn might have capitulated and the book would never have been written. But he perseveres. By the end of January he has been granted his three months’ leave, qualified only by a commitment to a little light part-time work for the Ministry of Information. He leaves his comfortable billet in the Hyde Park Hotel and his military uniform with it.

On the morning of Tuesday 1 February 1944 he is settled in another hotel, deep in the West Country: Easton Court, Chagford, Devon – a thatched fourteenth-century farmhouse with low, dark rooms and small windows. He has been there before, in the late autumn of one of the momentous years of his life, 1931. It is a place that in his memory he cannot separate from a house and a family with which he had fallen in love that year.

In London he had regularly lain in till mid-morning. At Chagford he is up at 8.30 and at work by 10. By dinnertime on that first Tuesday, though his mind is ‘stiff’ from the tedium of army life, he has written and rewritten 1,300 words. He reports to his wife that he has made a good beginning on what he calls his ‘magnum opus’. He has ‘bought a very expensive concoction of calcium and halibut liver oil which the chemist thought would restore me to strength but on reading the label more closely I find it to be a cure for chilblains’. This may prove handy, since the lounge he has been given as a private room in which to write has a fire that smokes so badly that he has to choose between streaming eyes and frozen extremities.

By ‘close of play’ on Wednesday the score is ‘3,000 words odd’. Through the ensuing weeks he works steadily at the rate of up to 2,000 words a day, occasionally more. He revises arduously as he goes. In the end it takes him closer to five months than three, but the book that he knows in his heart he has to write is completed. The idea that had ‘become fully formed’ in his mind is ‘exploited without deterioration’.

What was that idea? The book’s original working title was ‘The Household of the Faith’. The story of a household, a family. A journey shaped by religious faith. These are its key themes. But the working title does not find its way into print. When the book is published the following year, its title page reads Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder: A Novel.

On the reverse side of that title page there is a notice to the effect that the volume has been ‘produced in complete conformity with the authorised economy standards’ of wartime publishing. You can tell that this is true when you hold a first edition in your hands and turn the coarse, rough-hewn pages.

Above the routine announcement concerning production standards, there is something more intriguing. A mysterious Author’s Note is signed ‘E. W.’, Evelyn Waugh. It reads: ‘I am not I: thou art not he or she: they are not they.’

‘I am not I’: yet Charles Ryder manifestly is Evelyn Waugh. Brideshead Revisited contains as large a dose of autobiography as Charles Dickens’s David Copperfield or Marcel Proust’s À la recherche du temps perdu. So who, then, was the ‘thou’ who was and was not ‘he or she’? The ‘they’ who were and were not ‘they’? What was ‘the household of the faith’ that was and was not Brideshead? What were the events that inspired the novel?

This biography sets out to find the hidden key to Waugh’s great novel, to unlock for the first time the full extent to which Brideshead encodes and subtly transforms the author’s own experiences. In so doing, it illuminates the obsessions that shaped his life: the search for an ideal family and the quest for a secure faith. The solution to the mystery can be found in that magical year of 1931. The hidden key will also unlock several of Waugh’s other major novels, including his very best one, A Handful of Dust. And it will bring us to a secret that dared not speak its name.

But we must begin with two very different childhoods. And then we must go, as Captain Charles Ryder does when he begins his recollections, to Oxford, in the years immediately after the Great War.




CHAPTER 1 A Tale of Two Childhoods (#ulink_635ab6ad-9b78-50d3-8bb3-7f4c341edef6)


‘My name is Evelyn Waugh I go to Heath Mount school I am in the Vth Form, Our Form Master is Mr Stebbing.’

So begins his first extant literary composition, a brief self-portrait called ‘My History’, written in September 1911, at the age of seven. It is the work of a boy of strong opinions and sharp wit:

We all hate Mr Cooper, our arith master. It is the 7th day of the Winter Term which is my 4th. Today is Sunday so I am not at school. We allways have sausages for breakfast on Sundays I have been watching Lucy fry them they do look funny befor their kooked. Daddy is a Publisher he goes to Chapman and Hall office it looks a offely dull plase. I am just going to Church. Alec, my big brother has just gorn to Sherborne. The wind is blowing dreadfuly I am afraid that when I go up to Church I shall be blown away. I was not blown away after all.

The child, William Wordsworth once said, is father to the man. Here is Evelyn Waugh the writer in embryo: a good hater of bad masters, a spectator of the world who can make ordinary things (like sausages) look funny. He is just going to church: eventually he will be blown in the direction of Rome. His household is comfortably middle class: prep school, domestic servants (Lucy in the kitchen with sausages), the home dominated by Daddy, with his important-sounding job (Publisher) in his dull London office. And a big brother who has just gone to a big, renowned public school: Sherborne. Some years later, an ill wind will blow dreadfully from there, redirecting Evelyn to another school.

Mother is not mentioned in this first little sketch. But Evelyn was closer to her than he was to his father, chiefly because Arthur Waugh, managing director of the publisher Chapman and Hall, idolised his first-born son Alec to an absurd degree. Albeit with good intentions: Arthur was determined not to be like his own father, a sadistic bully who rejoiced in the nickname ‘The Brute’. Arthur, educated at Sherborne School and then New College, Oxford, had married Catherine Raban, a gentle girl from an English colonial family originally hailing from Staffordshire, in 1893. Their first child, Alexander (‘Alec’) was born in 1898. Arthur called him ‘the son of my soul’ and, as the boy grew, developed a relationship with him that was intense, exclusive and all consuming.

Evelyn was born on 28 October 1903 at the family home in Hampstead. When Evelyn was four and the family moved to a larger house, closer to Golders Green, Alec left for boarding school. This might have been the moment when the younger son could have come out from under the wing of Mother and Nurse. But he didn’t. Evelyn’s relationship with his father always remained difficult. There is already a hint of irreverence in that early sketch, with its dismissal of Chapman and Hall’s offices as ‘a offely dull plase’. Evelyn would grow into a rebellious teenager who carefully cultivated a satirical, worldly, disengaged persona, not least in order to set himself against what he perceived to be his father’s nauseating sentimentality and histrionic tendencies.

Arthur Waugh, who was very well respected and connected in the London literary world, had the tastes of his age and class: Shakespeare, the King James Bible, Dickens and cricket (this was the era of the legendary Dr W. G. Grace). The Dickens copyright was the jewel in Chapman and Hall’s crown. Arthur Waugh was rotund, diminutive, with twinkling eyes and candyfloss white hair. Ellen Terry, the greatest actress of the age, had the perfect name for him: ‘that dear little Mr Pickwick’.

In such a literary household, it was probably inevitable that Evelyn should grow up literary – or at the very least that he should view his own family through the filter of books and plays. Arthur Waugh seemed to spend all his time acting out roles. When he greeted visitors, he was the over-hearty Mr Hardcastle of Oliver Goldsmith’s She Stoops to Conquer. In deploring the ingratitude of his sons, he was Shakespeare’s King Lear. Above all, he was Mr Pooter in George and Weedon Grossmith’s Diary of a Nobody. ‘Why, I am Lupin!’ Evelyn cried out delightedly when he first read the book, identifying instantly with Pooter’s rebellious, loutish and troublesome son. It remained a favourite book, which he regarded as the funniest in the English language. The hilarious clashes in values and attitude between the respectable lower-middle-class civil servant Pooter and his reckless, extravagant son mirrored to a tee Evelyn’s sense of his own disjointedness from his father. It is no coincidence that in Brideshead Revisited Lady Marchmain reads Diary of a Nobody aloud to lighten the tension generated by her son Sebastian’s drunken behaviour at dinner.

Evelyn later displayed his father’s gift for adopting theatrical roles, particularly in his middle age when the part that he cast for himself was, as he put it in his autobiographical novel The Ordeal of Gilbert Pinfold, ‘that of the eccentric don and testy colonel’: ‘he acted it strenuously, before his children … and his cronies in London, until it came to dominate his whole outward personality’.

Arthur Waugh would have been delighted by Ellen Terry’s Pickwick comparison. He often read Dickens aloud in his marvellously theatrical voice. Though Evelyn, ever the Lupin, affected to despise his father’s theatricality (‘his sighs would have carried to the back of the gallery at Drury Lane’), he also later acknowledged Arthur’s verbal gifts: ‘he read aloud with a precision of tone, authority and variety that I have heard excelled only by John Gielgud’. Had Evelyn lived to witness the celebrated 1981 Granada Television adaptation of Brideshead, he would have found it fitting that Gielgud stole the show with his performance in the role of Charles Ryder’s father. Arthur kept Evelyn and his friends enthralled with his readings of Dickens and Shakespeare and his favourite poets. In the autobiography A Little Learning Evelyn wrote of how his father’s love of English prose and verse ‘saturated my young mind, so that I never thought of English Literature as a school subject … but as a source of natural joy’.

The account of Waugh’s happy childhood in A Little Learning belies the common view that he was deeply ashamed of his middle-class, suburban upbringing. He paints a delightful picture of the pleasures of life at Underhill, the family home on the edge of Hampstead Heath. He felt lucky to be at a day school and not to be sent away to board: ‘it was a world of privacy and love very unlike the bleak dormitories to which most boys of my age and kind were condemned’.

He viewed Hampstead as something like an eighteenth-century pleasure garden. He loved the thrice-yearly fair, with its aromas of ‘orange-peel, sweat, beer, coconut, trampled grass, horses’ and the rowdy crowd of ‘costers’ from the East End of London, kitted out in pearl-buttoned caps and suits. Feared by some, they were creatures of fascination to the young boy who saw in them a ‘kind of Pentecostal exuberance which communicated nothing but goodwill’. It did not seem to matter that father was forever preoccupied with Alec’s triumphant exploits down in Dorset on the playing fields of Sherborne.

At the centre of this small boy’s ‘paradisal’ world were ‘two adored deities’: his mother and his nurse, Lucy. Mother was associated with ‘earthy wash-leather gloves and baskets of globe artichokes and black and red currants’. Lucy was a devout Christian, ‘strictly chapel’, who loved him unconditionally and was ‘never cross or neglectful’.

Equally adored was a trio of maiden aunts who lived at Midsomer Norton in Somerset. When visiting in the summer holidays, Evelyn nosed around their house. It was stuffed with Victoriana: cabinets of curiosities, fans, snuff boxes, nuts, old coins and medals. The smell of gas, fruit, oil and leather. The aunts’ life was like something out of the previous century, locked in aspic. A whirl of church bazaars, private theatricals, picnics and games, ‘the place captivated my imagination as my true home never did’.

‘Save for a few pale shadows’ – as, for example, when he almost choked to death on the yolk of a hard-boiled egg – Evelyn’s childhood was bathed, he claimed, in ‘an even glow of pure happiness’. Like nearly all literary recollections of times past, A Little Learning offers up the image of childhood as a paradise lost, an Eden from which the author has been expelled, a secret garden glimpsed through a door in the wall, an alternative world like the one into which the child tumbles in one of Evelyn’s favourite books, Alice in Wonderland. This theme of exile and exclusion from Arcadia would preoccupy him throughout his life and his work. He always felt as if he did not quite belong. That was what fired his imagination and his comic vision. Whether writing about a deranged provincial boarding school, or the exploits of London’s Bright Young Things, or the old Anglo-Catholic aristocracy, he was always the outsider looking in.

His sense of displacement from his own family was there from the start, despite all the genuine memories of a happy and stable early childhood. In later years he was never close to his parents and his brother. With Alec away at boarding school, he was drawn to other families. When Evelyn was six he watched three children, two girls and a boy his own age, playing in a nearby street. He befriended the family. In his autobiography he calls them the Rolands. They were actually called Fleming and they became the first of his substitute families, and remained so for more than a decade.

The children built themselves a fort and formed a gang called The Pistol Troop. They endured tests of courage, walking barefoot through stinging nettles, climbing dangerously high trees and signing their names in blood. Evelyn threw himself into these boisterous games. He was as physically brave as a young boy as he would be when a traveller and a soldier in later years.

The children also devised their own magazine and put on amateur dramatics, writing and acting in their own short plays. The magazine, containing one of Evelyn’s first stories, was typed and handsomely bound. So began his lifelong obsession with fine bindings. Whenever he finished writing a novel, he had the manuscript expensively bound, and most of his works were produced in not only a mass-market printing but also a beautiful hand-bound limited edition for presentation to friends.

Mrs Fleming thought that Evelyn was an only child, until she was put right by one of her own children: ‘Oh, but he isn’t, he has a brother at school whom he hates.’ He did not hate Alec. Rather, he accepted with seeming equanimity that the five years that separated him from his brother made ‘in childhood, a complete barrier’. Having no sister, he was drawn to female friends and held girls in high regard.

After an appendix operation at the age of nine, he spent time convalescing with a family called Talbot who lived near the Thames Estuary. He was drawn to their stuff – a banjo, old photograph albums, a phonograph, china vases and great coats – but it was the family that really captured his affections: ‘the household was extraordinarily Dickensian, an old new world to me. I was very happy there, so happy that I neglected to write home and received a letter of rebuke from my father … I returned home and this glimpse of another world was occluded.’

From this time on, he would always be drawn to glimpsed other worlds and large, seemingly happy families. The Talbots were not rich or grand. Far from it: the money they received for Evelyn’s board and lodging was used to release furniture from the local pawnshop. The father, an unemployed old sailor, was mildly drunk every night, but he was a jolly drunk. He built the children a makeshift tree house. It was there that Evelyn and the eldest Talbot girl, Muriel, exposed their private parts to each other.

Despite the idealisation of other families, the impression persists of Evelyn as a happy boy in the ‘lustrum between pram and prep school’, collecting microscopes and air-guns, squirrelling away ‘coins, stamps, fossils, butterflies, beetles, seaweed, wild flowers’. Like most boys he went through obsessive phases, one year with his chemistry set, another with magic tricks. He was drawn to dexterity, observing the local chemist melting wax to seal paper packages and the Hampstead shopkeepers working deftly with weights and scales, shovels and canisters, paper and string: ‘Always from my earliest memories I delighted in watching things well done.’

Years later, when his Oxford friend Henry Yorke took him to his family’s factory in Birmingham, he was able to appreciate the aesthetic beauty of the industrial plant, recording in his diary how impressed he was by the ‘manual dexterity of the workers … The brass casting peculiarly beautiful: green molten metal from a red cauldron.’ This is not to say that he was drawn to the white heat of a technological future. The manual dexterity of those workers was, he said, ‘nothing in the least like mass labour or mechanisation’. Rather, it was ‘pure arts and crafts’. His delight in watching things well done was bound up with a sense of custom and tradition. As he admits in A Little Learning, he was in love with the past. He longed for the loan of a Time Machine. Not to take him to the future (‘dreariest of prospects’), in the manner of H. G. Wells, whose The Time Machine was published just a few years before he was born, but rather ‘to hover gently back through the centuries’. To go back into the past ‘would be the most exquisite pleasure of which I can conceive’.

If the adult Evelyn had travelled on his Time Machine back to the childhood of one of the aristocrats who would become his Oxford contemporaries, he would have found – and been pleased to find – that little had altered over the years. Hugh Lygon and his siblings were typical products of a system that had endured for generations. For the boys, prep school, Eton and Oxford; for the girls, very little in the way of formal education – a governess who taught in the schoolroom at home and the use of a well-stocked library were deemed to suffice.

Hugh was the second son of William Lygon, the seventh Earl Beauchamp. His early childhood was as far removed from Evelyn’s middle-class background as could be imagined: a heady cocktail of aristocracy, eccentricity and piety. Evelyn was effectively an only child once Alec went away to school; Hugh was one of seven. The Lygon family consisted of William, known from his birth in 1903 as Lord Elmley, Hugh (born 1904), Lettice (1906), Sibell (1907), Mary (1910), Dorothy (1912) and Richard (1916). They divided their time between Madresfield Court, their ancestral home nestling beneath the Malvern Hills in Worcestershire, Halkyn House, their town residence in Belgrave Square (London’s smartest address), and Walmer Castle – which genuinely was an enormous castle in Kent, the earl’s official residence in his capacity as holder of the ancient office of Warden of the Cinque Ports. The family and their immediate entourage moved between houses in their own private train.

At the time of the 1911 census, shortly before Elmley and Hugh went off to board at prep school, the household at Madresfield included a butler, a valet, three footmen, two hallboys, a housekeeper, five housemaids, a nurse, three nursery maids, a cook and four kitchen maids. A coachman and two grooms lived in the stables, while a skeleton staff of four was retained at Halkyn House.

The family were very devout and when at Madresfield they all attended Anglo-Catholic services twice a day in the chapel. All the staff had to attend too, men on the right and maids on the left, with the family in front. High Church rituals were strictly observed: the candle on the right of the altar would always be lit before the one on the left. Each child had a leather-bound prayer book with their name on it, a flower emblem engraved in gold and a loving inscription from their father.

When they were at their London home, the Lygons would cross the city every Sunday to their favourite church in Primrose Hill. Rather surprisingly, they travelled by bus and the newly opened underground railway; Lord Beauchamp in top hat and morning coat, Lady Beauchamp in satin and fur bedecked with jewels. The earl considered taxies an extravagance and thought that Sundays should be a day of rest for cars as well as horses.

The Lygon children disliked their overbearing, pious mother. Lady Beauchamp always insisted on hiring a nanny who had a neat parting precisely in the middle of her head because this reminded her of the Madonna in Renaissance paintings. She instructed the children personally in religious education. One of her daughters described her mother as ‘very odd, a religious zealot’. Within the family, she was nicknamed ‘Tomo’, because her motto was ‘Tidiness, Order, Method and Organisation’. Lady Sibell, the longest-lived of the siblings, recalled that this mantra was ‘the secret of the house and she once made me write it out a hundred times’. She also remembered her mother saying: ‘I’m right because I’m always right and anyone who says I’m wrong is mad and wicked.’

Madresfield had so many staircases that if the children heard their mother coming up one of them they ‘could be sure to go down another’. Each child found him or herself displaced from the countess’ special affections when a new baby arrived. ‘I had quite a long innings,’ said Sibell, ‘because she had a miscarriage in 1908.’

The children were encouraged to be hardy and robust, to take regular outdoor exercise. The three boys were taught boxing and lawn tennis. Hunting was encouraged for the girls (side-saddle of course) as well as the boys. Sibell was put on a horse at the age of two and grew up to become a Master of Foxhounds. When riding out, the children were always accompanied by a groom dressed in black, with polished silver buttons and a black silk top hat.

They swam regularly both at Madresfield, where there was an outdoor pool, and at Walmer Castle, which was by the sea. The water in the Madresfield pool was never changed, so must have been somewhat stagnant. Rather than being taught to swim, the children were thrown in at the deep end and told to make movements. When the ladies had departed from a swimming party, Lord Beauchamp would announce that ‘Gentlemen may lower their costumes.’

The children loved Madresfield but heartily disliked Walmer Castle, where their mother forced them to swim in the freezing sea. Sibell’s birthday was in October. ‘Tomo’ asked her what she would like to choose as a birthday treat. ‘Not to bathe today’ was Sibell’s answer. The countess replied: ‘For that you will go in twice.’ When the girl was stung by a jellyfish, ‘Mother’s cure for that was to fill a bucket with jellyfish and throw them at me.’

Apart from God, the Countess Beauchamp’s great passion in life was food. According to her daughters, she would sit alone in the blue sitting room and eat through a mound of bananas, eggs, scones, sponge cake, Gentleman’s Relish, a bunch of grapes that had to be peeled and pipped by a lackey, and thick slices of toast cut through and turned inside out. Every afternoon the baker came on his pony to deliver a loaf with a special crust. He was told not to trot because it might disturb Her Ladyship’s rest. Sibell remembered her mother as ‘frightfully greedy … she would eat a whole chicken for dinner’. Lady Beauchamp was conscious of her heavy figure and when a family portrait was commissioned for the twenty-first birthday of her eldest son, the painter, William Ranken, tactfully airbrushed the countess to make her into a much slimmer and more glamorous figure than she really was.

Father, Lord Beauchamp, was a very different kind of parent. Whereas the countess’ preferred birthday present for the children was a church candle, the earl tracked down beautiful wooden toys and ordered gifts from Hamley’s. For all his love of grandeur and ritual, he was a loving and, as we would now say, very ‘hands-on’ father. His absorption in the lives of his children was highly unusual for his social class and his time. He may well have been compensating for his wife’s reserve and froideur, as well as trying to be different from his own religious and strict father. The Lygon children were devoted to their nanny, as was typical of many upper-class children, but they worshipped their father.

They called him ‘Boom’, purportedly because of his loud, booming voice, which resembled the sound of the foghorns off Walmer, warning ships to keep away from the treacherous Goodwin Sands. He insisted on formality at home, wearing his blue Knight of the Garter ribbon at dinner and referring to his children by their titles, Lord Elmley for his eldest son, the Lady Lettice, the Lady Dorothy and so on. They had other names for themselves: Lady Dorothy was Coote, Mary was Maimie, Hugh was always Hughie and little Richard was Dickie.

Boom took a keen interest in his children’s education and when he was home he read to them and tried to form their literary tastes. At luncheon, the children would have to take it in turns to speak to their father in French, while a footman dressed in livery stood behind each chair. Then when the clock struck two, the sisters would enter the library, greet His Lordship and listen as he read to them from Victorian historical novels, some of which included incidents in which family ancestors had played a part.

Outside his own private rooms, close to the nursery, the earl installed small toilets and basins. As he took his morning bath, the children would chat to him about religion, art and literature, but time was always made for personal troubles such as the death of a family pet or a hunting misadventure. In the evenings, Maimie would bring her father a cocktail while he was taking his bath. Many years later Evelyn Waugh complained that his own daughter’s devotion to him did not extend this far.

Politics were rarely discussed during ablutions, but the earl’s public career was such that an interest in politics was taken as read. Lord Beauchamp impressed upon his children their long and distinguished ancestry, and the obligations and responsibilities that came with privilege. But, just as he was a Liberal in politics, so he was liberal-minded: Lady Sibell recalled that the abiding lesson that her father taught the family was ‘tolerance’. This was a value that would be needed when crisis came.

The family did not weekend at other country houses: that was considered vulgar. Maimie, Coote and Sibell read avidly and played imaginative games. They hunted for birds’ nests along the four driveways that led to Madresfield. Lady Sibell remembered being sent out by their mother to collect plovers’ eggs in the grounds of the park. It was a trial not to tread on them because they were the colour of the earth. The children played with the chickens in the poultry yard and when the butler’s disabled son came to the house in his wheelchair they would take him for a spin around the gardens. They loved animals, especially horses and dogs. Baby Dickie was pushed around the house’s extensive grounds in a black pram to which two painted horses on springs were attached. A huge rocking horse was a favourite toy: all seven children could sit on it at once.

The children tended to be dressed shabbily in hand-me-downs from cousins. Their clothes were threadbare and when they were abroad they were mistaken for charity children, which was a source of great amusement. They were encouraged to be stoical in times of illness. Doctor’s orders were that champagne was the best cure for all ailments.

Each of the children had their own nursemaid. In their early years they were schooled in the nursery on the ground floor, a spacious room with five-barred sash windows. This was Nanny’s domain. Hugh’s schoolroom chair was painted blue with forget-me-nots, Maimie’s green with snowdrops and Coote’s grey with orange blossom. A succession of governesses came and went, with alarming frequency, and included one who taught the children to play Six-Pack Bezique, another called Miss Bryan who always used the word ‘deleterious’ without really understanding what it meant, and a Swiss woman called Mademoiselle Jenny who was terrified of cows (‘so we used to get in a field and drive all the cows at her’).

The children spent their time making fun behind the adults’ backs, speaking in their nursery patois, and inventing a secret language called ‘Iggy Piggy’, which involved ‘putting an egg behind every vowel’. In later life the girls expressed resentment at their mother’s seeming indifference to their needs. Lady Sibell was left-handed but was forced by the governess to write with her right hand. Coote, the youngest girl, was constantly slapped because she had difficulty in reading. In the end, her nanny begged Lady Beauchamp to take the girl to have her eyes tested. Coote was found to be extremely short-sighted and was prescribed thick spectacles. When Maimie contracted measles and she was forbidden contact with her siblings, her diary noted that it was her father who came to her room to read to her whilst she was in quarantine.

Hugh, adored by the sisters on account of his sweet nature, was not an academically gifted child. He preferred to spend time with his beloved horses. Boom despaired of his second son’s philistinism, but appreciated his warm, sensitive nature. Hugh, unlike his brother, Lord Elmley, was entirely without pretension and airs. Everyone loved him. Blond and blue-eyed, he was a beautiful young boy with delicate features, though his father’s insistence on physical exercise made him strong and robust.

The Lygon children were extremely close to each other, united in their dislike of their mother and adulation of their father. For all the formality of its aristocratic customs and the sanctity of its religious rituals, Madresfield brimmed with vitality and a sense of community. It was a very different place from Evelyn Waugh’s Underhill.



Evelyn’s day school, Heath Mount, was within walking distance of his home in Golders Green. It was a secure and pleasant environment. A clever and imaginative boy, he was a favourite of the headmaster, Mr Granville Grenfell (‘a name which would seem implausible in fiction’). Being a favourite did not stop him fantasising that the remains of the Head’s deceased wife were hidden in a locked chamber.

Evelyn loved his prep school and, looking back, realised how lucky he was: ‘When I read the accounts of my contemporaries of the enormities enacted at their preparatory school both by masters and boys, I admit that Heath Mount ‘‘had a good tone’’’ – though it could not be denied that some of the masters ‘liked little boys too little and some too much’. There was a tendency to fondle the boys ‘in a manner just short of indecency, smacking us and pulling our hair in a manner well short of cruelty’. Evelyn himself was capable of bullying tendencies. He picked on a small and beautiful boy called Cecil Beaton: ‘the tears on his long eyelashes used to provoke the sadism of youth’.

Even at a tender age, Evelyn was attracted to seemingly glamorous and sophisticated friends. ‘I was early drawn to panache,’ he declared, recalling the sangfroid and the louche lifestyle of a little rich boy whose nanny would stand in attendance at football games in order to refresh him with lemon squash from a flask. At the cinema (which Evelyn adored), the rich boy regaled his lowly friend with filthy schoolboy jokes and lurid tales of the private lives of actresses. In return, Evelyn, who was going through a pious phase, tried to interest his friend in Anglo-Catholicism. High Church rituals had captivated him at the age of eleven. His friend, however, had more worldly things on his mind.

Waugh edited a school magazine called The Cynic. He collected war relics from the Western Front: bits of shrapnel, shell cases and a German helmet. Academic work was less of a concern. As a day school, Heath Mount did not set its sights at all high. It was not like the boarding schools that existed to feed the great public schools. Heath Mount accordingly provided insufficient preparation ‘for the endurances of adolescence’. Waugh later claimed that if he had been sent to a better prep school, he would have been clever enough to win a scholarship to Eton or Winchester. The assumption was that he would go to Sherborne: his father’s school and his brother’s, a very respectable destination, if not in the top rank beside Eton, Harrow and the rest.

In 1912, nine-year-old Lord Elmley was sent to prep school. His younger brother Hugh followed him there two years later, just after the war began. The school was a new establishment called West Downs, just outside Winchester. Owned and run by a Wykehamist called Lionel Helbert, who had previously been a House of Commons clerk, it was a small, friendly place in which the boys were treated with great care and affection. Beatings were frowned upon. The boys wore knickerbocker suits on weekdays in winter and grey flannels in summer. Sunday best was Eton suits and top hats. L. H., as Helbert was known, always took a walk after morning chapel, wearing a morning coat, and linking arms with the boys. On Sunday afternoons in summer he read stories of derring-do to the pupils out of doors, while they ate bananas and ginger biscuits.

As an Oxford undergraduate, Helbert had been very keen on drama and music. The hall in the new building at West Downs was called ‘Shakespeare’ and putting on plays was always a major part of school life – boys would be cross-dressed for The Taming of the Shrew and one appeared with a sheet over his head as the ghost in Hamlet. Madame Calviou, the French mistress, took charge of plays in French. Here Hugh’s acting talents had their first opportunity to shine.

As at all English prep schools, sport was equally important, especially cricket. Sports Day, attended by parents who had to be addressed as ‘Mother’ and ‘Father’, was a highlight of the year, as was ‘Founder’s Day’, L. H.’s birthday, when he gave the whole school a break in the countryside. They would load up carts with picnics, and go up onto the downs or further afield.

The war was the constant shadow over Hugh’s prep school days. Many West Downs old boys were serving in the Army or Navy and the news of each death was felt by Helbert as a personal blow. The masters, too, were going off to the Western Front, leaving L. H. to shoulder the whole burden of the school himself. He felt that he must prepare the younger generation to go out and serve as soon as they were old enough. He therefore took up Scouting with great enthusiasm. The school was divided into five patrols and the West Downs boys could be seen in pairs going into the town on Scout duties, once even to London with a message for the War Office. Among Hugh’s contemporaries were the sons of a general, who wrote vivid letters from the front. These were read aloud to the entire school at Scouting pow-wows. Outside the school chapel, where prayers were said every morning and evening, Helbert put up a notice in large letters under the heading ‘Keep on Hopin’’:

Keep on lookin’ for the bright, bright skies,

Keep on hopin’ that the sun will rise,

Keep on singin’ when the whole world sighs,

And you’ll get there in the mornin’ …

The boys would sing this at the Wednesday singing class and at their autumn concert.

During the bad weather of late 1915, Hugh’s second year at West Downs, troops and horses were flooded out of the local military camp, with the result that the school was requisitioned by the Army in Helbert’s absence during the Christmas holidays. He returned to find the Welch Fusiliers sleeping in every room and even in the corridors and kit and equipment piled up on the expensive parquet floor of the new Shakespeare room. L. H. took it all in good humour.

Among Hugh’s contemporaries at West Downs was his cousin, a very tall boy called David Plunket Greene. They would go on to Oxford together and meet Evelyn Waugh there.



Evelyn’s enormous success as a writer and his assured place as one of the greatest English novelists of the twentieth century has obscured the fact that towards the end of the First World War his older brother became the most notorious young novelist in England. In 1917, Alec Waugh, still in his teens and awaiting active service, published a sensational semi-autobiographical account of school life called The Loom of Youth. He wrote it in just seven and a half weeks and it became a bestseller.

The book alluded to the forbidden subject of homosexual love in a boys’ boarding school. A storm of fury was unleashed and the novel was condemned by schoolmasters across the nation. Outraged letters were published in the newspapers. Bans were proclaimed in school libraries. Boys found with copies of it were threatened with caning. Anxious parents wrote to headmasters to ask whether such practices really did take place. The ban of course merely whetted the appetite of countless curious schoolboys who devoured the book looking for the offending material. As with D. H. Lawrence’s scandalous portrayal of anal sex in Lady Chatterley’s Lover, equally pored over by schoolchildren, you only had to blink and you missed it. Alec remembered a friend reading the book many years later and asking him ‘When do I reach ‘‘the scene’’?’ Alec looked over his friend’s shoulder and replied ‘You’ve passed it, ten pages past.’ The account seems innocent enough by today’s standards:

Thus did begin a friendship entirely different from any Gordon had ever known before. He did not know what his real sentiments were; he did not even attempt to analyse them. He only knew that when he was with Morecambe he was indescribably happy … Morecambe came up to Gordon’s study nearly every evening, and usually Foster left them alone together … During the long morning hours, when Gordon was supposed to be reading history, more than once there came over him a wish to plunge himself into the feverish waters of pleasure, and forget for a while the doubts and disappointments that overhung his life … he realised how easily he could slip into that life and be engulfed. No one would mind; his position would be the same; no one would think worse of him. Unless, of course, he was caught. Then probably everyone would turn round upon him; that was the one unforgivable sin – to be found out.

Nothing more than that.

Alec’s book was in part revenge for his expulsion from Sherborne. He had been a model student: prefect, house captain, editor of the school magazine, winner of the English Verse Prize and member of the first XV and first XI. But then he was discovered in a homosexual relationship with a fellow pupil and ‘asked to leave’. As The Loom of Youth made clear, the ‘unforgivable sin’ in such all-male establishments was not the act itself, but ‘to be found out’.

The trials of Oscar Wilde still lingered in public memory. Alec had been made a victim of what he and others saw as absurd public hypersensitivity and overreaction towards homosexuality. He was not ‘the immaculate exception’ and he was incensed by the ‘conspiracy of silence’ and the hypocrisy of those who refused to see such sexual experimentation as entirely common: ‘I wonder how many ex-public school boys would deny that at some point in their schooldays they indulged in homosexual practices; practices that had no lasting effect, that they instantly abandoned on finding themselves in an adult, heterosexual world,’ he later wrote.

The homosexual controversy, however, was only part of the scandal. An equally serious accusation was that Alec’s novel had dared to criticise the public school ethos, the very spirit of which was combating the Hun on the battlefields of France and Belgium. Alec later confessed that his intention had indeed been to expose the myth of the ideal public schoolboy venerated as a pillar of the British Empire. For many, this was his truly unforgivable sin.

English public schools had been undergoing significant transformation since the second half of the nineteenth century. Reforms by Thomas Arnold at Rugby and the bestselling novel Tom Brown’s Schooldays had popularised a new image of the great boarding schools as nurseries of gentlemanly behaviour and patriotic service. The public school ethos of self-sacrifice on behalf of King and Country, school and friend, reached its apogee in the Great War. On battlefields such as the Somme, the losses were disproportionately high among the public-school-educated officer class. To take Eton as an example. The school had an average of about 1,100 pupils. Imagine the serried ranks of boys in an annual school photograph; 1,157 Old Etonians were wiped out in the war: the equivalent of every child in that photograph. This is what people meant when they talked about the death of a generation.

The much-lauded image of the courageous public schoolboy, educated in a gentlemanly tradition of chivalry, honour, loyalty, sportsmanship and leadership, sacrificing his life for his country, was dealt a body blow by the publication of Alec Waugh’s novel. The passage in The Loom of Youth that really cut to the quick was not the brief flight of homosexual allusion but a sequence when a young soldier returns to his public school and smashes the ideals of the war: ‘All our generation has been sacrificed … At the beginning we were deceived by the tinsel of war. Romance dies hard. But we know now. We’ve done with fairy tales. There is nothing glorious in war; no good can come of it. It’s bloody, utterly bloody.’

Days after the novel’s publication the soldier novelist, still in his teens, was posted to France. All of this only increased interest in Alec Waugh and his novel. There were already many soldier-poets but he was the first soldier-novelist. He had achieved literary celebrity and sales that ought to have made his publisher father proud. But Arthur was devastated: illusions were shattered and friendships were broken. The son of his soul had betrayed the school that had nurtured them both.

For Evelyn, just thirteen, the immediate effect of his older brother’s disgrace was that Sherborne was barred to him just as he was about to go there. Instead he was sent to Lancing, a ‘small public school of ecclesiastical temper on the South Downs’. His father had never even seen the place and had no associations with it. Evelyn had an ecclesiastical temper of his own and had expressed hopes of becoming a parson. Perhaps he could do something to absolve the sins of his brother.




CHAPTER 2 Lancing versus Eton (#ulink_41b90add-3980-51c6-98b9-4318001daa90)


There was a scent of dust in the air; a thin vestige surviving in the twilight from the golden clouds with which before chapel the House Room fags had filled the evening sunshine. Light was failing. Beyond the trefoils and branched mullions of the windows the towering autumnal leaf was now flat and colourless … the first day of term was slowly dying.

So begins Evelyn Waugh’s unfinished story, Charles Ryder’s Schooldays, which was closely based on his experiences at Lancing College in Sussex. A scrim of nostalgia hazes his memory. It was not like this when he left for Lancing on a damp and overcast day in May 1917. Arriving in the summer term meant that it was very difficult for him to make friends. Furthermore, whereas most of the boys had been hardened to absence from home by prep school, for Evelyn it was his first experience of boarding. ‘I had lived too softly for my first thirteen years,’ he ruefully remarked.

The school itself was built high on the hills of the Sussex Downs, dominating the horizon with its huge chapel. ‘Lancing was monastic, indeed, and mediaeval in the full sense of the English Gothic revival; solitary, all of a piece, spread over a series of terraces sliced out of a spur of the downs.’ That is how Evelyn described it in his autobiography. Its solitariness was of a piece with his own.

Ascension Day fell four days after he arrived. Having no idea that it was a school holiday, Evelyn had made no arrangements for family visits. No meals were served and it rained all day. The House Room was locked. It was the worst day of his life and he never forgot how wretchedly lonely he felt. He would bring up his own children to ‘make a special intention at the Ascension Mass for all desolate little boys’.

Waugh kept a diary during his first two unhappy years at Lancing. He later destroyed it. In part, his unhappiness was a direct result of war deprivations: ‘the food in Hall would have provoked mutiny in a mid-Victorian poor-house and it grew steadily worse until the end of the war’. Milkless cocoa, small portions of tasteless margarine, bread and foul stew constituted the very best of the fare. School textbooks were war issue, printed on thin greyish paper and bound in greasy, limp oilcloth, something that offended his taste for fine binding and hand-printed paper.

Many of the best young masters were fighting in the war, and the boys were made conscious of the sacrifices made daily by old boys and schoolmasters: ‘On Sunday evenings the names were read of old boys killed in action during the week. There was seldom, if ever, a Sunday without its necrology. The chapel was approached by a passage in which their photographs were hung in ever-extending lines. I had not known them, but we were all conscious of these presences.’

Evelyn’s natural fastidiousness and his love of panache also contributed to his unhappiness. He recoiled against the poor table manners of his schoolmates, as they dirtied their napkins and flicked pats of margarine to the high oak rafters. Afternoon bathing was another source of agony, as the boys were forced to share tepid muddy bath water. The latrines were ‘disgusting’ and lacking in privacy – they had no doors. Rather than waiting his turn, which involved shouting out ‘After you’ to boys from other Houses, Evelyn preferred to make himself excused during lesson time, for which he paid the punishment of writing twenty-five lines.

He was placed in Head’s House, the most prestigious in the school, with the headmaster H. T. Bowlby serving as housemaster, a privilege that cost an extra £10 per year. Evelyn found the school rules bewildering and absurd. For the first two years, boys were dressed in subfusc (black), then they wore coloured socks, then in the sixth form coloured ties. All first years were prohibited from walking with hands in pockets. For the second year they could be inserted, but with the jacket raised, not drawn back. Older boys in year two were permitted to link arms with a ‘one-year man’, but not the other way round. Only school prefects could walk in the Lower Quad. Treading on grass was generally forbidden. Many vivid details of this sort were captured in Charles Ryder’s Schooldays, together with schoolboy slang, such as ‘dibs’ for prayers and ‘pitts’ for bedrooms. Evelyn was distressed by the dearth of female company.

When the war came to an end, school life changed for the better. Evelyn felt more settled. Food, always of vital importance in the life of a schoolboy, improved greatly. The Grub Shop now offered whipped-cream walnuts, cream slices, ices, chocolate and buns of every kind. One of the privileges for older boys was the ‘settle-tea’ that each senior member of House Room gave in turn. Hot, buttered crumpets were served in abundance, followed by cake, pastries and, in season, strawberries and cream. Senior boys had their own private studies and tea ceremonies: ‘we were as nice in the brewing of tea as a circle of maiden aunts’. They ordered their teas from London and ‘tasted them with reverence, discoursing on their qualities as later we were to talk of wine’. They also ordered little pots of caviar and foie gras: ‘Fullness was all.’

Respected masters returned from the war. Among them was the legendary figure of J. F. Roxburgh, one of two greatly contrasting figures who dominated Evelyn’s adolescence. In his autobiography, he devoted a chapter to his ‘Two Mentors’. The other mentor was Francis Crease. Roxburgh and Crease represented the worldly versus the aesthetic life.

Evelyn’s interest in graphics – illuminated manuscripts, the design of borders and initials, calligraphy, elaborate scripts – led one of his tutors to approach local scribe, Francis Crease. Evelyn had already noticed Crease at chapel on Sundays. He was not a prepossessing figure. His high nose and pink and white skin made him seem mildly absurd. He was middle aged, effeminate and always dressed in soft tweeds. He had a delicate, mincing gait and spoke in a shrill voice. ‘Today,’ Waugh wrote in the more open era of the 1960s, ‘he would be identified as an obvious homosexual.’

Evelyn went to Crease’s home at Lychpole Farm for private lessons. He loved the visits, not only because they offered an escape from school, but also because he was drawn to Crease’s aesthetic creed. In the first lesson Crease threw up his hands and exclaimed: ‘You come to me wearing socks of the most vulgar colour and you have just written the most beautiful E since the book of Kells.’ This he clearly regarded as an inexplicable paradox. Thursdays became a high point of the week, not only for the lessons, but also for their aftermath: ‘the best part is when work is put away and we have tea in his beautiful blue and white china. It is such a relief to get into refined surroundings.’ Young Evelyn was especially impressed by this sensitive and highly cultured man’s devotion to his craft and his belief that ‘if one is ever going to do good work one has to give one’s life to it’.

Crease was invited to Underhill, the Waugh family home. A defining moment in Evelyn’s life came when he asked for Crease’s opinion of his father, Arthur Waugh. Crease replied: ‘Charming, entirely charming, and acting all the time.’ Evelyn asked his mother for her opinion and she ‘confirmed the judgement. My eyes were opened and I saw him, whom I had grown up to accept in complete simplicity, as he must have appeared to others.’

The relationship between mentor and pupil was terminated by what seemed to Evelyn a rather trivial incident. In Crease’s absence, he had used a quill knife and broken it. Crease had written a furious letter saying that he would never see him again and that Evelyn had broken not just his knife but, more importantly, his trust. A second letter came in the post, apologising for the first. But it was too late for Evelyn: ‘the wound did not heal … after the incident of the broken blade the old glad, confident morning light never shone on our friendship’.

But the person who really broke Crease’s spell was J. F. Roxburgh, upon whom Evelyn looked with unalloyed schoolboy hero-worship. He was as different a man from Crease as it was possible to imagine.

J. F. was a god to nearly all the Lancing boys. At the age of thirty-one he had returned from the war a hero, having been Mentioned in Dispatches and recommended for the Military Cross. He later became the first headmaster of Stowe. It was not difficult to see the attraction. He was handsome, willowy and elegant, and physically strong. Evelyn would always be drawn to this type of physique, so unlike his own. J. F. cut an immensely dashing figure with his colourful hand-woven ties and stylish suits. He liked to make a studied late entrance to chapel dressed in his Sorbonne robes. He was a man of great charisma: witty, charming and learned.

He had a beautiful, sonorous voice and it was a joy, said Evelyn, to hear him declaiming Latin ‘like a great Negro stamping out a tribal rhythm’. Over forty years later, in A Little Learning, Waugh remembered it as a voice that set up ‘reverberations in the adolescent head which a lifetime does not suffice to silence’. J. F. didn’t just walk into a room: his entry was always a moment of exhilaration. Evelyn, conversely, had a curiously ungainly walk, a kind of trudge that caused his friends to make jibes about trench foot.

Even whilst invigilating exams, J. F. was unlike the other teachers who sleepily turned over their textbooks. He, by contrast, appeared ‘always jaunty and fresh as a leading actor on the boards, in the limelight, commanding complete attention’. Evelyn was also drawn to J. F.’s love of language, his dislike of cliché and slang, his attention to precision in grammar. In the boys’ essays ‘oo’ in the margin stood for ‘orribel oxymoron’ and ‘ccc’ for ‘cliché, cant or commonplace’. Other comments would include a devastating ‘Excellent journalism, my dear fellow.’ J. F. used unusual words and phrases, to amuse as well as to educate the boys. Poor reading was a ‘concatenation of discordant vocables’. His examination papers were elegantly printed and instead of the perfunctory termly report, he wrote long letters home to parents on hand-woven paper embossed with his name. Evelyn’s lifelong disdain for printed as opposed to engraved postcards perhaps came from here.

‘Always, in whatever he did, was the panache.’ Evelyn was forever drawn to style, even if he felt that he lacked the quality himself. He loved good manners and civilised, cultured people, even though he himself could be rude and abrasive. This contradiction in his personality never changed – later in life, when he was asked why he was so vile despite his religious temperament he replied: ‘Imagine how much worse I would be if I wasn’t a Roman Catholic.’

J. F. was not overtly religious. He was ‘reticent about his scepticism’, though would throw in to the school debating society the occasional doubt about life after death that was bewildering to Evelyn. His doubts about God were rooted in the horrific sights he had seen on the Western Front. A stern moralist with a keen work ethic and no time for waste or frivolity, Roxburgh seemed rather like an eighteenth-century Anglican bishop without any of the theological baggage.

‘Most good schoolmasters – and, I suppose, schoolmistresses also – are homosexual by inclination,’ observed Waugh – ‘how else could they endure their work?’ His diary records an incident in which J. F. was supposedly caught embracing a boy in his study, but in his memoir he maintained that his teacher was not actively homosexual, though given to intense romantic friendships typical of the time. So called ‘Greek love’ could have a respectability and innocence, especially for a man such as Roxburgh, whose virility, military demeanour and style by no means conformed to the Wildean homosexual stereotype.

Evelyn was alert to the fallacy of sexual stereotyping: ‘Mr Crease … was effeminate in appearance and manner; J. F. was markedly virile, but it was he who was the homosexual.’ Waugh and his contemporaries believed that J. F. fell in love with individual boys, though without ‘physical release with any of his pupils’. One of those he loved was a ‘golden-haired Hyacinthus’. J. F. gave the boy a motorcycle. In no time the lad was thrown from it and facially disfigured. J. F. remained close to him until the boy’s premature death.

Evelyn was not a particular favourite, although J. F. invited him to tea before he ‘had any official position in the school’. In Charles Ryder’s Schooldays, A. A. Carmichael, the model for J. F., is ‘the splendid dandy, and wit … whom Charles worshipped from afar’. Evelyn got a bit closer than this: ‘I was always in awe of him, so that he was, in a sense, the courtier and I the courted as he sought to draw me into his confidence.’ The tea was a great honour: ‘I remember as the clock struck five he said ‘‘How delightful. We have nothing to do until chapel but eat éclairs and talk about poetry.’’’ Evelyn felt that he had not impressed, but as he went into chapel he was ‘giddy with the sense of having been in communion with the Most High’.

The tea with J. F. was another defining moment, a revelation as profound as that when Crease had opened Evelyn’s eyes to his father. On this very day, Crease happened to be at chapel in his ‘cape and soft cravat’. By comparison with J. F., Crease ‘seemed diminished. I did not exactly turn coat, but I knew that Mr Crease and J. F. were opposites and at about that time I transferred my allegiance to the more forceful and flamboyant person.’ Following a later afternoon tête-à-tête in which J. F. visited Evelyn and a friend, the friend expressed disappointment that the great man had failed to comment on the specially ordered tea. Evelyn had a more sophisticated reading of the lacuna: ‘You see how considerate he is. He never commented because he wanted us to believe that he knew perfectly well that we always drank it.’ That, to him, was style.

In later years, the now famous writer heard that J. F. ‘deplored my writing and what he heard of my conduct’. Yet he wrote Evelyn a letter, which was kept and treasured, in which he said that ‘if you use what the gods have given you, you will do as much as any single person I can think of to shape the course of your own generation’.



At Lancing Evelyn did not find the special friend he had longed for. Like many of his contemporaries, he was drawn to the memory of Rupert Brooke and the ideal of romantic friendship that he represented. Looking through a memoir of Brooke, he noted in his diary: ‘I felt very envious reading, particularly the parts about Rugby and friendship. I do honestly think that that is something that went out of the world in 1914, at least for one generation.’

This was a person for whom friendship would become an art, despite a lifelong tendency to infuriate and even to ostracise those who were closest to him. Yet, unlike most of his contemporaries, he made no really intimate friends at school. His intense and enduring friendships were formed at Oxford. Nor, as a schoolboy, was he prone to love affairs with pretty younger boys of the kind known at Lancing as ‘tweatles’ and at Eton as ‘bitches’. He granted that he ‘was susceptible to the prettiness of some fifteen-year-olds, but never fell victim to the grand passions which inflamed and tortured most of my friends (to whom I acted as astringent confidant)’.

On the whole, ‘indulgences were kept private’. Sexual activity was known as ‘filth’ and ‘was the subject of endless, tedious jokes, but not of boasting’. Evelyn assumed a rather aloof, amused stance to the agonies of his friends who ‘played a Restoration comedy of assignations, secret correspondence and complacent chaperones’. In his diary he confided: ‘I lead as pure a life as any Christian in the place, always excepting conversation of course.’ He advised his friends to show restraint, talking a close friend out of a night’s ‘whoring’ in the holidays.

He was drawn to charming, charismatic boys and was prone to hero-worship. But he despised boys who hero-worshipped him, such as a certain Dudley Carew, who appeared to have an insatiable taste for vulgarity, saying things like ‘there’s a delightful squalor about Shoreham’. Crease said of Evelyn: ‘You want a friend who is a thorn in the flesh, not an echo.’ Evelyn recognised the wisdom of the observation.

The closest he came to real friendship at Lancing was with Tom Driberg – later chairman of the Labour Party, and Hugh Molson – later talked about as a possible leader of the Conservative Party. Molson was nicknamed ‘Preters’ on account of the fact that when asked if he was interested in politics, he would reply ‘preternaturally so’. Flamboyant, highly intelligent and sophisticated, he dazzled with his ‘superb pomposity of manner and vocabulary’. Molson had, Evelyn noted in his diary, ‘the true aristocrat’s capacity of being perfectly at home in anyone’s company’. He was perhaps the first of the Sebastian type.

In the upper fifth, Evelyn and his friends formed a debating society called the Dilettanti, divided into three streams. Molson ran the Politics, a boy called Roger Fulford the Literary and Waugh the Arts. The society lasted a year, ‘during which time almost every leisure hour was spent in lecturing and heckling one another, in debates, in committee-meetings and in elections’.

As Evelyn’s confidence increased, he showed his sadistic side. One boy’s life was rendered particularly miserable by his cruel tauntings. Appeals for temperance were met with stony refusal. Evelyn noted in his journal that ‘in all these nasty manoeuvres there lay hidden the fear that I myself might at any moment fall from favour and become, as I had been in my first year, the object of contempt’.

Looking back, the mature Evelyn Waugh was appalled by what he read in his own early journals. In a moving letter to his son Auberon, who was unhappy at boarding school, Evelyn wrote that he had read through his own Lancing diaries in order to try to understand his son better. Instead, Evelyn was horrified by the priggish, selfish boy that he encountered amongst the journal’s pages. ‘Most adolescent diaries are naïve, trite and pretentious: mine lamentably so.’ But it was more than this. With his characteristic honesty and self-deprecation, he saw that he ‘was conceited, heartless and cautiously malevolent’:

The damning evidence is there, in sentence after sentence on page after page, of consistent caddishness. I feel no identity with the boy who wrote it. I believe I was a warm-hearted child. I know that as a man my affections, though narrow, are strong and constant. The adolescent who reveals himself in these pages seems not cold but quite lacking in sincerity.

The war had left its mark on Evelyn’s generation. Cynical and clever, he was determined to oppose the ‘imperialist trash about discipline and the capacity for leading’ that was the public school ethos. He was a rebellious boy, though his transgressions seem light by today’s standards (giving in homework written in blank verse to catch out his master, for example). Evelyn and his cronies were barred from senior school positions of authority. He gained a reputation as a subversive and was the leader of a group known as the ‘Bolshies’. They vented their spleen on those they felt were absurd or inferior. Science masters were treated with contempt and their laboratories were sabotaged by means of minor explosions generated by Bunsen burners.

The Bolshies’ contempt was greatest for the school’s Officer Training Corps (OTC), to which, like all the boys, they had to belong. Scornful of the school’s military ethos, they devised ‘rags’ – practical jokes – to make the OTC appear absurd. They would march in the platoon with one boot polished and the other muddy, or deliberately drop rifles or turn right instead of left. They were merely expressing what countless other schoolboys around the country felt: a strong reaction against militarism and what they considered to be the huge waste of the casualties of the war.

It was becoming fashionable not to be patriotic. Evelyn noted in his memoir that while the Bolshies made their protests felt through minor delinquencies, other schools expressed their objections to militarism differently: ‘At Eton there was a platoon which paraded in horn-rimmed spectacles and numbered off: ‘‘ten, Knave, Queen, King.’’ We did nothing as stylish as this, but we outraged local tradition.’ The Bolshies’ final act of defiance against the OTC was designed to show utter contempt for all that the corps held dear. Evelyn’s House (Heads) was well known for its incompetence in drill. His plan was to surprise the school by winning the Platoon Shield but then to have no part in the all-important ceremonial passing over of the shield. The scheme, however, failed as Heads was placed third.

Secretly, he longed for recognition. In Charles Ryder’s Schooldays, Charles is furious at being passed over for a position of authority in the Settle, just as Evelyn was at Lancing. His House tutor, Mr Woodard, cleverly brought him into conformity. He gave a choice: Evelyn could accept the House captaincy or he could leave. ‘I know that you often say and write a lot which you don’t really believe,’ said Woodard shrewdly. ‘Now what do you really think about it?’ Needless to say, Waugh chose the captaincy ‘and for the next two terms was segregated from my former cronies’. In looking back and assessing his motives, Evelyn concluded that it was not authority that he craved but ‘school offices I coveted, such as the editorship of the magazine and presidency of the debating society, which were held by House captains only’.

He knew that he was too much the individualist. But in his diary he showed self-disgust with the way that he had capitulated to authority: ‘My position is really impossible – a House-captain as a bribe to make me sober.’ It was ‘limited Bolshevism’ for him from now on. In reality, he felt lonely and dispirited. He was neither an insider nor outsider. Above all, he had not found the golden circle of friends that he craved.

Perhaps his diminutive height and his lack of conventional beauty contributed to his sexual insecurity. His brother Alec had had at least two passionate affairs at Sherborne, and had made his name through his illicit romances, but the most romantic of Evelyn’s encounters were late night solitary walks down to the sea with another prefect. The relationship was entirely innocent, but Arthur Waugh found out about it. Fearing a repetition of Alec’s disgrace, he wrote a furious letter, which Evelyn found rather bewildering, since he wasn’t in full possession of the facts about his brother. Still, at least there was uncharacteristic strength in his father’s outburst, with Evelyn commenting: ‘I am rather glad that he has taken a strong line against something at last.’



Evelyn’s final year at Lancing was more productive than those that had gone before, though not necessarily happier. He enjoyed the privileges of his seniority. He had his own ‘pitt’ or study, which he decorated in a tasteful blue – blue curtains, blue cushions on the window seat, blue upholstery for his desk. Arthur Waugh’s brass candlesticks stood on the desk and Medici prints hung on the walls. Evelyn worked hard for his scholarship to Oxford. ‘I must write prose or burst,’ he told his diary. He also started writing a novel: ‘the study of a man with two characters, by his brother’. He was becoming aware of ‘a detached, critical Hyde, who intruded his presence more and more often on the conventional, intolerant, subhuman, wholly respectable Dr Jekyll’. During his final months he edited and contributed to The Lancing Magazine, won the poetry prize and the Scarlyn Literature Prize, composed poetry and wrote a very successful three-act play, which was performed to the whole school. He was made president of the debating society, not to mention junior sacristan in chapel.

Outwardly he may have appeared to conform, but his play Conversion was aimed to show that he was still a ‘Bolshie’ at heart. It was a satire on public school values. Its hero, Townsend, clearly a self-portrait, is a rebel blackmailed into conformity. At this time Evelyn wrote in his diary with his usual perceptive candour: ‘I am beginning to think that there must be some malignant fate that makes me foul. I never think of the man behind at all. I spend all my attention on trying to get in front of the man in front.’

He half-jokingly toyed with the idea of suicide, drafting farewell notes to friends. Though he admired the beauty of Lancing’s enormous chapel (best appreciated, he decided, by lying outside on the grass staring up at the imposing stone and the sky), he felt a loss of faith, sparked by a dynamic divinity teacher called Mr Dawlinson: ‘This learned and devout man inadvertently made me an atheist. He explained to his divinity class that none of the books of the Bible were by their supposed authors; he invited us to speculate, in the manner of the fourth century, upon belief in God.’

Evelyn’s last term at school, a golden age for most of his friends, was a time of boredom and depression. Or so he remembered them. But there were happy moments. His last Ascension Day, so different from that first terrible day, was spent with Preters, who had borrowed a motor car. The boys drove to Chichester, got very drunk at luncheon and drove round and round the Market Cross shouting out to passers-by that they were looking for the nearest pub. He also enjoyed pleasant late afternoon sessions behind the chapel, smoking ‘sweet-smelling gold and silk-tipped Levantine cigarettes’.

The last term meant that he was exempt from all the rules. He was now free to walk on the lawns and wear a bow tie. But instead of revelling in his freedom, he founded the Corpse Club ‘for people who are bored stiff’. They wore black ties and black tassels in their buttonholes and wrote on mourning paper. Evelyn was the leader, or ‘Chief Undertaker’.

Evelyn’s anarchic sense of humour always sustained him, no matter how miserable he felt. His school friend Roger Fulford said that ‘without Evelyn’s forceful sense of the ridiculous, the spirit of our House would have been unworthy of recall’. Fulford remembers how they stole into a housemaster’s room to read his correspondence, only to find a hilarious letter concerning an impudent boy who had the temerity to eat pineapple chunks in class. This incident found its way into Waugh’s novel Decline and Fall. What Evelyn took particular delight in was the phrasing ‘he was pleased to belch rudely in my face’. He relished the choice of the words ‘pleased’ and ‘rudely’. This was the same delight as that he took in Roxburgh’s felicitous phrases and put-downs – and indeed in the language of the egregious Dudley Carew. He was honing the ear for dialogue that became so acute in his novels, where pompous people are forever saying serious things that are unintentionally wildly funny.

Even in his final months at Lancing he continued to be plagued by feelings of inadequacy, sensing that he was never first choice in anything, always a sloppy second. Alienated and depressed, generally unpopular, he considered running away: ‘I am burdened with failure this term, when I have been most successful really … Everything I have had has come to me shop-soiled and second hand.’

Evelyn had an almost pathological fear and loathing of the second-hand and the second-rate. For him, Lancing came into both categories. Even whilst writing about his sabotaging of the OTC, he was thinking wistfully of the stylishness of the Eton rebellion. In a sense, this was not Evelyn’s fault. He had already been indoctrinated at home into the view that Sherborne was a much better school than Lancing, and at school, the headmaster, Henry Bowlby, himself a former master at Eton, also impressed upon the boys the superiority of the place where he no longer taught: ‘We held him in some awe and he remained aloof from us, never dissembling the opinion, to which we all assented, that Lancing was a less important place than Eton.’

In his biography of Old Etonian theologian Ronald Knox, the adult Evelyn let slip the awe he felt for Eton. He describes Knox’s relationship with his school as ‘a life-long love’. Like many Old Etonians, Knox found Oxford a very poor second best. Eton, wrote Waugh, ‘was the scene of Ronald’s brilliant intellectual development and of his ardent and undying friendships’. Waugh went on to write that:

Most candid Englishmen recognise it as a school sui generis which marks the majority of its sons with a peculiar Englishry, genial, confident, humorous, and reticent; which gives to each as little or as much learning as his abilities and tastes demand; which, while correcting affectation, allows the genuine eccentric to go his own way unmolested; which nourishes its rare favourites … in a rich and humane traditional culture which admits no rival.

Lancing had not been like that. John Betjeman in his verse autobiography Summoned by Bells has one young man at Oxford saying to him ‘Spiritually, John, I was at Eton.’ The same might perhaps have been said of Evelyn Waugh. When Fulford came up to Oxford, Waugh recommended him not to talk so much about Lancing: ‘If you weren’t at Eton or Harrow or Winchester or Rugby, no-one minds much where you were.’

What Lancing schoolboys did have in common with their peers at major public schools such as Eton was the cynicism they felt with regard to the disasters of the Great War. They firmly blamed the ‘old men’, Arthur Waugh’s generation, who had betrayed the golden boys of Rupert Brooke’s generation. Evelyn used the phrase ‘old men’ for the first time in a speech he gave in his final year at Lancing. He would advert to it repeatedly throughout the next decade in his advocacy of the younger generation at odds with the old. This was his manifesto: ‘No generation has ever wreaked such disasters as the last. After numerous small indiscretions it had its fling of a war which has left the civilised world pauperised, ravaged, shaken to its foundations.’ Evelyn later described his last editorial for The Magazine, entitled ‘The Youngest Generation’, as ‘a preposterous manifesto of disillusionment’:

The men of Rupert Brooke’s generation are broken. Narcissus-like, they stood for an instant, amazedly aware of their own beauty; the war, which the old men made, has left them tired and embittered. What will the young men of 1922 be? … They will be, above all things, clear-sighted … very hard and analytical and unsympathetic … They will not be revolutionaries and they will not be poets and they will not be mystics … they will have … a very full sense of humour … They will watch themselves with … a cynical smile and often with a laugh … They will not be a happy generation.

He would become the voice of that unhappy generation.



Evelyn’s panegyric to Eton as a school sui generis was written at a time when his male friends were almost exclusively Old Etonians. Eton was then, and perhaps is still, considered to be the best public school in England. It had, and continues to have, an unsurpassed record of future prime ministers. Its aura of elegance and tradition was, and remains, the stuff of legend. Even George Orwell wrote of his old school that it had ‘one great virtue … a tolerant and civilised atmosphere which gives each boy a fair chance of developing his own individuality’.

When one of Evelyn’s friends, the writer Cyril Connolly (whom he nicknamed ‘Smarty Boots’), sat his entrance exam at the school, he was utterly entranced. Eton was ‘splendid and decadent … the huge stately elms, the boys in their many-coloured caps and blazers, the top hats, the strawberries and cream, the smell of wisteria’. When he overheard a boy with a top hat call out in a foppish drawl a remark to a passing sculler, it all seemed ‘the incarnation of elegance and maturity’. For Connolly it was a paradise built of ‘wine-dark brick’. He was mesmerised by a huge chestnut tree in Weston’s Yard. ‘I was long dominated by impressions of school,’ he wrote in his memoir Enemies of Promise; ‘The plopping of gas mantles in the classrooms, the refrain of psalm tunes, the smell of plaster on the stairs, the walk through the fields to the bathing places or to chapel across the cobbles of School Yard, evoked a vanished Eden of grace and security.’

Eton College was at the pinnacle of the English social system. It had received its royal charter in 1444. For many it embodied quintessential Englishness. ‘The Headmaster of Eton has more to do with the soul of England than the primate of Canterbury,’ quipped Winston Churchill’s Irish cousin, Shane Leslie. Running in and out of School Yard, dominated by Lupton’s Tower and the crumbling cloisters, the boys hurried past the statue of the school’s founder, Henry VI: ‘the past history was there … all this mellowness was continuously sinking into them, a beneficent influence’, recalled another old boy, Harold Acton. It was the school where the English aristocracy sent their boys. No school had a higher proportion of titled young men on the roll. It had close links with the royal family. Windsor Castle lies at the far end of the street.

The masters or ‘beaks’ were in many respects lesser beings than some of the boys. The more servile of them would long to be asked to the boys’ great homes, sometimes long even for the mere opportunity to talk to the most important boys.

Yet Cyril Connolly and Anthony Powell (another Old Etonian who would become a novelist and a friend of Waugh’s) both stressed that a boy’s status depended not on family money or rank, but rather ‘on a curious blend of elegance and vitality … and the gift of being amusing’. Powell thought that this made Eton different from Oxford, where he too went on to become an undergraduate: ‘I recall no sense of inferiority on account of many boys’ parents being richer and grander than my own, though of course many were. Indeed the first powerful impact of snobbery and money was brought home to me, not at Eton, but at Oxford.’

Nevertheless, this small and exclusive world existed on a finely graduated but keenly felt code of manners. Editorials appeared in the school magazine on such subjects as ‘The Top Hat’. Rules were strict. Boys were prohibited from driving in motor cars on Sundays, for example. One wonders at how many other schools a sufficient number of boys would have had motor cars to make such a rule worth writing.

The education of the Honourable Hugh Lygon and his older brother Lord Elmley at Eton and then Oxford followed a pattern that had endured in the family since the early nineteenth century. They were considered ‘important boys’ by the masters, since their father, Lord Beauchamp, was a prominent establishment figure. Despite the great wealth and social standing of their father, the boys were lacking in pretension and snobbishness. Anthony Powell thought that it was impossible to conceive a lord less snobbish than young Elmley.

Hugh Lygon went to Eton in 1918. Then as now, there were seventy scholars or ‘Collegers’, known as ‘tugs’. The fee-paying boys were ‘Oppidans’. Housemasters were called ‘m’tutor’. A ‘new-tit’ was a new boy. A ‘Scug’ was a boy who didn’t have his colours. A ‘dry bob’ played cricket, a ‘wet bob’ chose rowing, a ‘slack bob’ did neither. Each school term was known as a ‘half’. ‘Tuck’ was known as ‘sock’, ‘messing’ was cooking tea together in groups of three (who took turns to eat in each other’s rooms). There were no dormitories: each boy was given his own room simply furnished with a ‘bury’ – a chest of drawers with a desk on top, supporting a small bookcase. A fold-up bed was stowed behind a curtain. Boys were permitted to furnish their rooms to their own taste, typically with ottoman, armchair, boot box, brush box and pictures from Blundell’s.

The boys wore tailcoats and top hats, but if a boy was elected to ‘Pop’ he could wear flamboyant waistcoats, black and white check trousers, and white stick-up collars. Boys in the self-elected and elite group ‘Pop’ were permitted to beat younger boys. This ‘privilege’ did not extend to the schoolmasters. Pop was a body of twenty-eight boys, who exercised overall authority as prefects and were generally worshipped by the other boys. The group was based overwhelmingly on athletic prowess but members were sometimes admitted for their good looks, charm and wit. It was regarded as the summit of school distinction. Some boys never got over having been passed over for Pop. Julian Mitchell’s play Another Country is based on the not outrageous premise that Guy Burgess was so scarred by the experience of not getting into Pop that he turned against his country and became a Russian spy. One desperate boy offered his sister for sex if he were elected. Connolly observed that ‘Pop were the rulers of Eton, fawned on by masters and the helpless Sixth Form’. The Sixth Form Select, consisting of twenty or so academically gifted boys, followed Pop in status. The double-file procession of seniors – largely Pop and the Select – into chapel after everyone else was seated was known as the ‘Ram’.

Good looks, charm and wit may have been as important as social status, but it was best of all if the whole package came together. When it came to Pop, brains did not count for much. Hugh Lygon was typical of Pop in being admired for his floppy blond hair, his handsome face and his charming demeanour rather than his intellectual capacities, which were distinctly limited.

The dress code and the quasi-feudal system of ‘fags’ and ‘fagmasters’ – junior boys performing menial tasks for senior ones – conjure up images of Flashman in Tom Brown’s Schooldays, but many of the boys of Hugh Lygon’s generation had memories of kindly fagmasters. A fag’s duties included making boiled eggs and toast and running errands to the shops on Eton High Street. Some fagmasters of course abused their positions and, as Cyril Connolly put it, ‘developed into lifelong flagellants’. Connolly claimed that he was damaged for life by his beatings from older boys, often administered for being ‘generally uppish’. The small boys would be in their tin baths as they waited in fear for the summons of a ‘wanted’ man. When his name was called, the victim would be summoned to ‘the chair’, which would be placed in the middle of the room. The waiting was the worst part. Once the chair was in place, a storm of accusation broke out. It was advisable not to answer back. Then the boy would kneel on the chair, bottom outward and hands stretched over the back. The beating would begin: ‘Looking round we could see a monster rushing towards us with a cane in his hand, his face upside down and contorted.’ When it was over, one of the older boys would say ‘Goodnight’. ‘It was wise,’ Connolly reported, ‘to answer politely.’

A boy’s house was very important because Eton was so large, and the housemasters were both autocratic and independent. Each ran his house as he wished. Hugh Lygon boarded at Walpole House, a building of red brick that looked rather like a clinic. Run by Arthur Goodhart, its reputation was as the worst house in the school, with a low sporting record, its only silver trophy being the Lower Boys’ Singing Cup. Tolerant scepticism was the keynote. Goodhart was an eccentric, a repressed bisexual who had a fetish for ladies’ shoes. This he made no effort to disguise: he would encourage the boys to admire his latest volume of Feminine Footwear Through the Ages. In his fifties, with high forehead and walrus moustache, he had a ‘look of unreliable benevolence, an awareness of being always prepared for the worst, and usually experiencing it’. Anthony Powell described him as: ‘In certain respects a typical schoolmaster; in others, an exceptional example of his profession.’ He wore the Eton master’s uniform of black suit and white bow tie, and was old-fashioned enough to retain the starched shirt and cuffs of an earlier generation, often remarking that in his own time at Eton a boy who did not put on a clean stiff shirt every day was ‘an absolute scug’. Goodhart deplored special sports clothes and considered an ‘old tailcoat’ to be entirely suitable for the Wall Game (of which he was a star).

Goodhart was a classics teacher whose real love was music. The boys in his house were encouraged to sing a hymn at house prayers every night. Goodhart accompanied them on the harmonium. One night he chose ‘Good King Wenceslas’. They reached the verse: ‘Heat was in the very sod/ Which the saint had printed’. Goodhart observed a boy laughing. It was Lord Elmley. He kept him behind and gave him a dressing down. Powell takes up the story: ‘‘‘You were laughing at the word sod. Do you know what it means?’’ He was foaming by now. ‘‘It is in vulgar use as short for sodomism – the most loathsome form of dual vice’’.’ There was a certain amount of discussion amongst the boys afterwards as to what he regarded as the less loathsome forms of ‘dual vice’.

Powell says that ‘romantic passions’ were much discussed, though ‘physical contacts were rare’. He does nevertheless mention ‘brutal intimacies’ taking place. ‘The masters might look on the subject as one of unspeakable horror; the boys behaved much in the manner of public opinion as to homosexuality today; ranging from strong disapproval to unconcealed involvement.’

Goodhart was also responsible for bringing back theatrical performances by the boys, following a ban that had been in place for fifty years. There was no Eton Drama Society, but individual housemasters began to put on plays. In July 1919, Goodhart’s House Dramatic Society produced Doctor Faustus. Harold Acton remembered it as a ‘superlative performance’ of Christopher Marlowe’s play, with Lord David Cecil playing ‘a nervously saturnine Mephistopheles’ and Hugh Lygon as a ‘cherubic Helen of Troy’. The Eton College Chronicle singled out Hugh’s performance for praise and the success of this production gave Goodhart the courage to try The Importance of Being Earnest. Once again, Hugh played a female role, this time Cecily Cardew. Again, he was singled out for his abilities: ‘he proved an excellent ingénue and made more of the part than is usually possible in the circumstances’. The best moment of the play, said the Chronicle, was when Cecily filled Gwendolyn’s tea with sugar. Hugh may not have been a sporting boy, or a clever boy, but he was clearly gifted dramatically. His beauty made him a convincing female. A photograph of him cross-dressed as Cecily shows his delicate features.

At the time, Wilde’s masterpiece was considered to be a shocking play, especially when rendered by schoolboys. The author’s reputation had contaminated the comedy. The performance contributed to the whiff of deplorable morals that hung over Goodhart’s house.

Hugh was a good friend of Anthony Powell. They messed together and became a trio with Denys Buckley, a future High Court judge, until Hugh left to travel abroad before going up to Oxford. Boys were allowed to choose their own messmates, who would not be necessarily of the same year: Powell was a year below Lygon. As at Lancing, tea was the most important meal of the day. After Hugh’s departure, Powell messed with a boy called Hubert Duggan, whose glamorous mother (an American heiress) married Lord Curzon, Viceroy of India. The character of the charming, handsome, romantic, dissolute Stringham, who descends into drunken ruin in Powell’s A Dance to the Music of Time novel sequence, is usually said to be a portrait of Duggan. So he is, but he is also laced with a dash of Hugh Lygon.

Hubert and Hugh were two of a kind: dashing and moving in the highest social circles. They were also prone to melancholy as well as auto-destructive drunkenness. They embodied a type that would come to obsess both Waugh and Powell: the charismatic aristocrat who represents a gilded but decaying world, who lacks direction and is displaced by the grey modernity of a Widmerpool (Powell in A Dance to the Music of Time) or a Hooper (Waugh in Brideshead). In writing of Eton in his memoir Enemies of Promise, Cyril Connolly put forward his theory of ‘permanent adolescence’. He proposed that the experience of public school was so intense that it dominated the lives and arrested the development of those who underwent such an education.

Despite his Eton education, Hugh Lygon needed extra private coaching to get him into university. An Oxford don was brought down to Madresfield to tutor him. Another summons came to a successful actor called William Armstrong who served as a kind of dramatic coach-tutor to the family, though his real job was to keep an eye on Hugh’s drinking and other failings. Armstrong, who later turned from acting to directing and transformed the Liverpool Rep into the best regional theatre in the country, found it humiliating to have to sit at a separate table for dinner, like an upper servant. But he adored Hugh and always kept in touch. His time at Madresfield, which he remembered with the deer cropping the park and afternoon tea under the cedars on the immaculate lawn, remained one of the high points of his life.

Remember that the Eton Candle is our challenge – our first fruits – the first trumpet call of our movement – it is OURSELVES. (Brian Howard to Harold Acton)

Hugh Lygon’s Eton generation included boys of extraordinary talent and precocity. The Eton Society of Arts was run by sixth-formers Harold Acton, son of a cosmopolitan artist, and Brian Howard, an American boy born in Surrey who believed that he had Jewish blood. They edited the Society’s magazine, called the Eton Candle. It had a shocking pink cover. The Society devoted itself to modernism. Acton and Howard were leaders and rebels. Howard was nearly expelled for taking a toy engine into chapel. Acton was beaten for not knowing the football colours of the various houses: ‘Smack, smack, smack. I shifted round so that the blows might fall in a different place. ‘‘Keep still,’’ he shouted, ‘‘it’s my religion.’’ I said, ‘‘I’m turning the other cheek.’’’

Brian Howard was considered beautiful as well as brilliant. Connolly remembered his ‘distinguished impertinent face, a sensual mouth, and dark eyes with long eyelashes’. Others remarked upon his chalk-white skin and wavy jet-black hair. His eyes seemed to be heavily made-up. He was tall and lean. But it was his speech and mannerisms that made him so unique. Even at the age of thirteen, he seemed like a throwback to another era. He was camp personified, a fop out of a Restoration comedy. Many writers would attempt to capture his character, not only Evelyn Waugh. The Brian Howard voice is unmistakable: ‘My dear,’ he once said to Harold Acton, ‘I’ve just discovered a person who has something a little bit unusual, under a pimply and rather catastrophic exterior.’ Waugh caught the style perfectly in the figure of Anthony Blanche in Brideshead Revisited.

His parentage was mysterious. He was grandly named Brian Christian de Clavering Howard, but his friends discovered that his father’s real name was Gassaway. The ‘Howard’ was made up – and rather bad form, since there was no connection with the Howards of Castle Howard. An entirely exotic figure, Brian made no attempt to hide his homosexuality. Yet he was, says Connolly, ‘the most fashionable boy at school’.

Harold Acton was tall, with a long thin nose and a high-domed head that was sometimes compared to a peanut. His eyes were like black olives. He had a slightly swaying carriage. He was formal and courteous, with a touch of impishness. The two boys had similar parentage: American mothers, fathers who were art dealers with Italian affiliations. Acton’s family home was ‘La Pietra’, an exquisite Tuscan mansion stuffed with paintings and antiques. The Actons lived like characters out of a Henry James novel. Figures such as Diaghilev the ballet master and Leon Bakst the avant-garde stage designer visited them at La Pietra. Brian and Harold, then, were extremely sophisticated and precocious, the embodiment of cosmopolitan modernity, a culture that could hardly have been more removed from that of the old English aristocracy with their large, cold, shabby homes and annual routines of hunting and shooting.

The two boys cultivated exaggerated mannerisms of speech and gesture. Both had panache and charm. One of their Eton contemporaries described them at the theatre: ‘Brian and Harold walked into the stalls, in full evening dress, with long white gloves draped over one arm, and carrying silver-topped canes and top-hats, looking like a couple of Oscar Wildes.’ In thrall to Diaghilev and the Ballets Russes, they danced at Dyson’s to the pulsating tones of Stravinsky’s ballet music. Brian was a wonderful dancer, a worshipper of Nijinsky. They were stylish and elegant – theirs was an altogether far more nuanced rebellion than that of Evelyn Waugh’s ‘Bolshies’ and the ‘Corpse Club’.

They loved modernist painting, read Marcel Proust and Jean Cocteau. Edith Sitwell praised their schoolboy writings. They were described as the ‘cream of intellectual Eton’, full of promise, with their plans for theatre trips and magazines. Their American heritage and modernist radicalism liberated them from the constraints of the English. They despised ‘dull frowsy England – awful men in bowler hats and bad tempers trotting up and down wet pavements’. Rebelling against philistinism, as other boys walked up the Eton High Street towards Windsor, they wandered like Parisian flâneurs, heading in the opposite direction for Slough in pursuit of the ‘bourgeois macabre’. Howard fantasised outrageously about hidden perversions behind respectable facades.

The Eton Society of Arts’ sacred meeting place was the Studio, a room in the house of the drawing master. It was a retreat from the school, scruffy and stuffed with pots, jars and drawing implements. The Society comprised an extraordinary group of young men. Henry Yorke, who went on to write novels under the name Henry Green, was secretary; Anthony Powell and Robert Byron, who would become a superb travel writer, were also members, as was Alan Clutton-Brock who went on to be the art critic of The Times and then Slade Professor of Fine Arts at Cambridge.

But they were not all artists and intellectuals. The Honourable Hugh Lygon was a member, more on account of his looks than his intellect. He had no artistic pretensions whatsoever. By now he was a slim but muscular youth, always elegantly dressed. It is easy to see why Howard and Acton wanted him in their club. Some said he had a face out of Botticelli, while for Powell he was ‘fair-haired, nice mannered, a Giotto angel living in a narcissistic dream’. Unlike nearly everyone else in the Society of Arts, he was sporty and masculine, a boxer and an athlete. As a rule, Harold and his followers set themselves firmly against ‘macho hearties’. The code of aestheticism that they lived by was partly a reaction against the hearty public school ethos founded on games worship. But they were happy to make Hugh, with his beauty and his charm, an exception to their rule. There was a suspicion that he was only there because one of the more influential members of the group – Howard, perhaps, or Byron – thought that he was absolutely gorgeous and that he was not averse to their advances. An aura of raffishness, if not outright scandal, surrounded the group as they met on Saturday evenings and discussed such subjects as ‘Post-Impressionism’, ‘The Decoration of Rooms’ and ‘Oriental Art’.

The shocking pink Eton Candle for 1922 was indeed known to its detractors as the Eton Scandal. Extravagantly praised by Edith Sitwell, doyenne of high modernism, it was dedicated to the memory of Eton’s most notorious old boy, the arch-aesthete, prolific poet, republican radical and lifelong flagellant, Algernon Charles Swinburne. Beautifully printed on hand-made paper, with yellow endpapers, the Candle included a contribution by a young master called Aldous Huxley and an essay by Brian Howard entitled ‘The New Poetry’, which attacked the staid Georgian poets and praised the innovative verse of Ezra Pound. Like Evelyn Waugh at Lancing, Howard set himself against the ‘old men’ of the pre-war era who had murdered the golden boys of Rupert Brooke’s generation:

You were a great Young Generation …

And then you went and got murdered – magnificently

Went out and got murdered … because a parcel of damned old men

Wanted some fun or some power or something.

As Cyril Connolly put it, if you didn’t get on with your father in those days, you had all the glorious dead on your side.

Having conquered Eton, it was only a matter of time before the two young Turks took on Oxford. Howard once exclaimed to Acton: ‘Do you realise, Harold – please pay attention to this – that you and I are going to have a rather famous career at Oxford?’ Both boys seemed destined for great things, dazzling careers in literature or the arts. But it was Eton that made them. University was to be an enemy of promise: it came to seem something of a let down. Ironically, the person who assured their fame and who immortalised their Oxford turned out to be the Lancing boy.




CHAPTER 3 Oxford: ‘… her secret none can utter’ (#ulink_e143f630-24f8-518e-8a3c-5d8d16d6a3bb)


There is nothing like the aesthetic pleasure of being drunk and if you do it in the right way you can avoid being ill next day. That is the greatest thing Oxford has to teach.

(Evelyn Waugh, Diaries)

He was in love with my brother.

(Lady Sibell Lygon)

January 1922. ‘Half past seven and the Principal’s dead.’ Evelyn Waugh was in bed in his undergraduate rooms in Hertford College, Oxford. He was woken by this call from his servant or ‘scout’, Bateson, a melancholy man, whose job it was to change the chamber pots twice daily and bring jugs of shaving water every morning. Evelyn was eighteen years of age, and he had come up to Oxford at a different time of year from most undergraduates. He had won a scholarship to read History at Hertford. His original plan had been to spend time in France before Oxford, but his father was anxious for him to start university life without delay. Evelyn felt that it put him at a disadvantage. He was resentful. His rooms, up a poky staircase above the Junior Common Room Buttery, overlooking New College Lane, were modest. All the best ones had been taken in Michaelmas (autumn) term. Crockery rattled below and cooking smells drifted up to his rooms, though sometimes that meant a pleasant aroma of anchovy toast and honey buns.

It was not merely the inferior student rooms that Evelyn minded, but the fact that it was difficult to form friendships so late in the year. Looking back, as he wrote his memoirs, he remembered his younger self as a somewhat romantic ‘lone explorer’, a rover on the fringes of various groups (‘sets’) of like-minded students. His letters at the time show a much less self-confident figure, desperately lonely, shy and ill at ease.

His contemporaries fell into two groups: those who were clever and dull, and those who were foolish and charming. Hertford College he found second-rate, respectable but dreary. It had none of the glamour of the more famous colleges such as Christ Church and Merton, though this had its advantages. It lacked the schoolboyish hooliganism of the larger colleges: ‘No one was ever debagged or had his rooms wrecked or his oak screwed up’ (undergraduate rooms had an inner door of baize and an outer of oak – if you did not wish to be disturbed, you closed the outer one, or ‘sported your oak’). A contemporary described Hertford as ‘rather earnest and lower-middle-class’. One of the main reasons Evelyn chose it was to save his father money.

This was not quite the romantic beginning that he had envisioned when as a schoolboy he had daydreamed about Oxford and prepared himself by reading novels such as Compton Mackenzie’s Sinister Street and Max Beerbohm’s Zuleika Dobson. For a sensitive boy with a strong aesthetic sensibility, Oxford had an irresistible aura of enchantment. He went up to the ‘varsity’ with his imagination aglow with literary associations. The sophisticated boys whom he came to know later treated Oxford with studied indifference and cool detachment. Their hearts had been left at Eton. For Evelyn, by contrast, product of a minor public school, there was magic in the beauty of Oxford, its ancient buildings of greys and golds, its tranquil, lush gardens and dreaming spires. ‘All I can say,’ he gushed to a friend shortly after his arrival, ‘is that it is immensely beautiful and immensely different from anything I have seen written about it except perhaps ‘‘Know you her secret none can utter?’’’

The quotation is the opening line of a poem called ‘Alma Mater’ by Arthur Quiller-Couch. Known as ‘Q’, he was the archetypal Oxford man of letters – who by Waugh’s time had, with great disloyalty, seated himself in the King Edward VII Chair of English Literature at Cambridge. A typical stanza from ‘Alma Mater’ reads:

Once, my dear – but the world was young then –

Magdalen elms and Trinity limes –

Lissom the blades and the backs that swung then,

Eight good men in the good old times –

Careless we, and the chorus flung then

Under St Mary’s chimes!

Though Evelyn was not the lissom type that might take to the river in a rowing eight, he shared Q’s rosy-tinted vision. Oxford was ‘mayonnaise and punts and cider cup all day long’. Charles Ryder’s voice is his own: ‘Oxford, in those days, was still a city of aquatint … her autumnal mists, her grey springtime, and the rare glory of her summer days … when the chestnut was in flower and the bells rang out high and clear over her gables and cupolas, exhaled the soft vapours of a thousand years of learning.’ Late in life, revising Brideshead for the last time, Waugh changed that last phrase to ‘exhaled the soft airs of centuries of youth’. Oxford ultimately stood for youth more than learning.

What would he have looked like to his fellow undergraduates? He was an attractive young man, short and slim with reddish, wavy hair, a sensuous mouth and a penetrating gaze. He had large hands, which he called craftsman hands. A wonderful hearty laugh, nearly an octave lower than his speaking voice. Those who knew him at this time testified to his peculiar charm, something that had not been nearly so apparent at Lancing. For some he was ‘faun-like’ – more an allusion to his light-footed energy than his diminutive stature. Despite the fierceness of his blue eyes and his slight swagger, there was an engaging air of vulnerability about him. Nevertheless, he could be impatient and cruel, especially to those less clever. He was not a kind young man, but he was generous and quick to see kindness in others.

For his first two terms he led a quiet and uneventful life. He claimed that he was content: ‘I have enough friends to keep me from being lonely and not enough to bother me,’ he wrote in a letter, adding that he did little work and dreamed a lot. But in other letters he lamented the lack of congenial friends. He complained of the ones he had met so far, ‘a gloomy scholar from some Grammar school who talked nothing, some aristocratic men who talked winter sports and motor cars’. The highlight of his first term was to buy finely bound editions of Rupert Brooke and A. E. Housman’s haunting homoerotic poetry collection A Shropshire Lad, volumes that he could ill afford. He reported the purchases with relish in letters to his school friend, Tom Driberg.

In his memoir of his early years, self-deprecatingly entitled A Little Learning, Waugh described the first part of his Oxford education as typical of a scholarship freshman from a minor public school. Subdued but happy, he purchased a cigarette box carved with the college arms, learned to smoke a pipe, got drunk for the first time, made a speech at the Union and did just enough work to scrape through his first year exams. ‘But all the time it seemed to me,’ he wrote, ‘that there was a quintessential Oxford which I knew and loved from afar and intended to find.’

He knew that he was in search of something, but he was not quite sure what it was.



In A Little Learning he quoted Q’s line about Oxford’s ‘secret none can utter’ once again. ‘It is not given to all her sons either to seek or find this secret,’ he commented, ‘but it was very near the surface in 1922.’ The clear implication is that he was on the brink of being let into the secret of the quintessential Oxford. At this point in his memoir he named one of his contemporaries: ‘Pembroke [College] harboured Hugh Lygon and certain other aristocratic refugees from the examination system.’ Pembroke was a college that had a reputation for welcoming the ‘cream’ of Oxford (rich and thick). Hugh was not the most intellectual of men, but after a period of study in Germany he had duly come up to Oxford. He would hardly have been turned away, given his pedigree.

Evelyn did not care in the least that the place was no meritocracy. Having won his scholarship to Hertford, he was determined to get through his three years with the minimum of work. Like many of his contemporaries, he subscribed to the notion that Oxford was a place ‘simply to grow up in’ rather than somewhere to gain an education or a step into a career path. More than anything, Oxford was the place where you met the friends that would be with you for life. Initially, it must have seemed to Evelyn that he was doomed to stay with the dull, middle-class friends of his first two terms. Glamorous aristocratic boys such as Hugh Lygon and Lord Elmley were as remote as Mars. They belonged to sets that seemed impossible to infiltrate, a world that was exclusive, elegant and composed almost entirely of Old Etonians.

In Oxford lore, 1922 and 1923 would come to be regarded as no ordinary years. When Evelyn came to write his own love poem to Oxford in Brideshead Revisited he was careful to be explicit that Charles Ryder was of this vintage. A revolution was afoot and two men were its instigators: Harold Acton and Brian Howard. Eton had already made them into legendary figures, thanks to the Candle. To begin with, Oxford regarded them as an odd couple: Harold with his tall stooping figure, peculiar gait and abnormally small head, Brian with his swarthy demeanour, slicked back hair, huge dark eyes, and pouting mouth. Flagrantly homosexual, eccentric, worldly and cosmopolitan: Oxford had seen nothing like them since the days of Oscar Wilde. Paradoxically, Acton and Howard themselves considered Wilde effete and second-rate: ‘Old Oscar screwed the last nail in the aesthete’s coffin’ was their view of the matter. They stood for a more robust aestheticism mingled with modernism. They read not Wilde and Swinburne, but Edith Sitwell, James Joyce and T. S. Eliot.

Acton’s mantra was plainly set out: ‘Now that the war was over, those who loved beauty had a mission, many missions. We should combat ugliness; we should create clarity where there was confusion; we should overcome mass indifference; and we should exterminate false prophets.’ In his memoirs, Acton described his group as ‘aesthetic hearties’: ‘There were no lilies and languors about us; on the whole we were pugnacious.’ They despised the very things of which they were so often accused: pretentiousness and affectation. As at Eton, Harold was the undisputed leader, on a mission to re-educate Oxford. But Brian was just as influential and it was sometimes hard to separate them. The two men were regarded as rivals, friends, enemies and ‘almost twins’.

Harold, to the amusement of his friends, stood on his balcony window with a megaphone, through which he recited poems (usually Eliot or Sitwell) to groups passing below in Christ Church Meadow. He painted his rooms in lemon and filled them with Victorian furniture, artificial flowers and wax fruit under bell jars. This love of Victoriana was a kind of retro kitsch, which almost began as a joke, a rebellion against classicism. These boys wanted modernism with an ironic twist.

News of the extraordinary pair spread like wildfire around drab post-war Oxford. Their highly distinctive turns of phrase were repeated at parties. ‘Your etchings are the messes of a miserable masturbator,’ Acton told one young man. Brian Howard remarked to a lovesick boy at a party: ‘My dear … I feel that your fly buttons will burst open any minute and a large pink dirigible emerge, dripping ballast at intervals.’

Most undergraduates wore three-piece broadcloth suits. Brian and Harold were noted for sartorial elegance that set them apart from the crowd. Their clothes were beautifully made, described by one fellow Old Etonian as ‘an intoxication’. They wore suits by Lesley & Roberts, cut in early Victorian style with high shoulders and big lapels. Their white double-breasted waistcoats were from Hawes & Curtis of Jermyn Street. They had monogrammed silk shirts, silver, mauve and pink trousers. Their casual wear included cashmere turtle-necked sweaters in bright colours, suede shoes, raspberry crepe-de-Chine shirts, green velvet trousers, and yellow hunting waistcoats. Harold wore a grey bowler, a trailing black coat and his infamous ‘Oxford bags’ (twenty-six inches wide at the knee and twenty-four at the ankle, covering the shoes).

Acton’s nomenclature for their set was deliberately provocative, since Oxford was traditionally divided between Aesthetes and Hearties. Henry Yorke offers a choice description of the braying hearties: ‘a rush of them through the cloisters, that awful screaming they affected when in motion imitating the cry when the fox is viewed, the sense curiously of remorse which comes over one who thinks he is to be hunted, the regret, despair and feeling sick the coward has.’ A scrum of drunken hearties from the rowing club ducked Harold Acton in his pyjamas in the Mercury Fountain in Christ Church’s Tom Quad. This is the origin of the incident in Brideshead where members of the notorious Bullingdon Club attempt to duck Anthony Blanche. On another occasion, thirty men – the equivalent of the first and the second rugby fifteens combined – assaulted Acton’s room. He recalled the incident: ‘I, tucked up in bed and contemplating the reflection of Luna on my walls, was immersed under showers of myriad particles of split glass, my hair powdered with glass dust and my possessions vitrified.’ Brian Howard received news of the attack from his mother, who heard it (at Edith Sitwell’s recitation of her poem Façade) from the mother of one of Harold’s assailants: ‘If I’d been there I’d have unloosed her corsets on the spot’ was his riposte.

Evelyn, feeling that something essential in Oxford was eluding him, did the minimum of academic work. He blamed his disillusion with academia on his bad relationship with his tutor, C. R. M. F. Cruttwell, who was also Dean of Hertford College. The bad feeling was mutual. Cruttwell disliked Evelyn, convinced that he was wasting his scholarship. He described his student as a ‘silly suburban sod with an inferiority complex and no palate’. Evelyn in return despised Cruttwell, describing him as ‘a wreck of the war’ who had ‘never cleaned himself of the muck of the trenches’.

In Evelyn’s third term he changed to a more spacious set of rooms on the ground floor of the front quad. This left him vulnerable to people dropping in to dump their bags or to cadge a drink and a cigarette. He decorated the rooms with Lovat Fraser prints and kept a human skull in a bowl, which he decorated with flowers. One night a group of ‘young bloods’ came into the quad drunk and looking for trouble. One of them leaned into Evelyn’s window and was violently sick.

Having failed to be invited to join any of the university’s famous drinking or dining clubs, Evelyn formed his own. He called it the ‘Hertford Underworld’. His friends would come to his rooms to drink sherry and eat bread and cheese. It all felt rather unglamorous.

His Oxford experience was transformed when he was befriended by the charming, though slightly mad, Terence Greenidge. It was Greenidge who was responsible for introducing him to a new circle of friends. Meeting him was the beginning of a sentimental education.

Greenidge’s habits included an obsession with tidiness. His pockets were often crammed with litter from the streets. In his person, by contrast, he was very untidy. He was a kleptomaniac, who filched any trifle that took his fancy: hairbrushes, keys, nail scissors, inkpots. He secreted his ill-gotten gains in orderly heaps behind books in the library. Evelyn was drawn to his zany humour and his child-like aura. Always in trouble with the college authorities, Greenidge loved practical jokes and declaimed Greek choruses loudly at night in the quad. He also invented nicknames that delighted Evelyn. Alec Waugh was ‘Baldhead who writes for the papers’, the night porter was ‘Midnight Badger’, another contemporary was ‘Philbrick the Flagellant’ (who on one occasion beat up Evelyn). Hugh Molson (Evelyn’s Lancing friend) was ‘Hotlunch’, since he often complained about the cold lunches.

Evelyn and Greenidge put about a rumour that Cruttwell was sexually attracted to dogs. They barked under his windows at night and bought a stuffed dog, which was put in the dean’s path as he walked home drunk after a college dinner. Greenidge developed a reputation as a dangerous influence. When Lord Beauchamp (‘no prude’, says Evelyn with typically mischievous understatement) found Greenidge in his elder son’s rooms, he took his boy down from the university for two terms, fearing that Elmley had got into a bad set.

Greenidge described Evelyn in his undergraduate days as having ‘the attractive appearance of a mischievous cherub’. He recalled him as a well-dressed figure, usually to be seen in a pale blue plus-four suit and carrying ‘a short stout stick which was almost like a cudgel’. He remembered that Evelyn’s ‘conversation, though emotional, always appeared reasonable, his assurance was remarkable, and his wit was remarkable’. The plus fours would become a trademark. Waistcoats were also favoured. Fellow Oxford undergraduate Peter Quennell remembered that the first time he met Evelyn, ‘he was small and neat, and dandified, wearing a bright yellow waistcoat’. There was a touch of Mr Toad about him.

Evelyn continued to be attracted to eccentric, anarchic characters. They brought out his own streak of zaniness. Greenidge later suffered from mental illness but nevertheless managed to hold down a job as a minor actor at the Shakespeare Memorial Theatre in Stratford-upon-Avon. He remembered Evelyn as slightly mad, but extremely kind and loyal. In later years, he lent Greenidge large sums of money, always sending it by return of post whenever he was asked for help. Evelyn was uninterested in money. Greenidge had ‘a feeling that he was aware unconsciously that his talent was – well – formidable. It is rather pleasant that to him who did not worry about it great wealth came.’

At a lecture given by G. K. Chesterton to a Catholic group, the Newman Society, Greenidge introduced Evelyn to Harold Acton. Evelyn and Acton became immediate and enduring friends. Acton began attending the Hertford Underworld in Evelyn’s rooms. Evelyn was convinced that the main reason for his appearance in such a humble setting was that he was infatuated with one of the Hertford men in the group. Refusing to drink beer and eat the plain fare, Acton would sip water and stare at the young Adonis. But in return he invited Evelyn to lunch and introduced him to his Eton friends, including Hugh Lygon.

Acton was now editing a new modernist literary magazine, a successor to the Eton Candle called the Oxford Broom. Waugh drew the cover for the second edition in spring 1923. Then he wrote a story for the third number, which was published in June 1923. Entitled ‘Antony, who sought things that were lost’, it concerns a beautiful young aristocrat, ‘born of a proud family’, who ‘seemed always to be seeking in the future for what had gone before’. He was perhaps the first fictional draft for the Sebastian type, created exactly at the time when Evelyn was beginning to be drawn to Hugh Lygon and his kind.

His Oxford life had truly begun.

Evelyn hero-worshipped Acton. He would eventually dedicate his first novel to him ‘in homage and affection’. They were an unlikely pair. Even Evelyn was puzzled as to what they had in common. Acton was worldly, sophisticated, cosmopolitan. Evelyn was self-confessedly ‘insular’: ‘At the age of nineteen I had never crossed the sea and knew no modern language.’ What drew them together, he said, was what he called gusto, a ‘zest for the variety and absurdity of life, a veneration of artists, a loathing of the bogus’. Acton was the leader and Evelyn the follower. Evelyn loved the slightly older man’s funniness, his cleverness, his eccentricity. ‘He loved to shock and then to conciliate with exaggerated politeness … he was himself shocked and censorious at any breach of his elaborate and idiosyncratic code of propriety.’

Harold Acton was equally enchanted. He described Evelyn as ‘an inseparable boon companion … I still see him as a prancing faun … wide apart eyes, always ready to be startled under raised eyebrows, the curved sensual lips, the hyacinthine locks of hair’. He detected something behind the shyness: ‘So demure and yet so wild.’ He loved the mischievous sparkle in his friend’s eyes, the capacity for joy, the jokes. Evelyn’s wit, charm and gift for irony compensated for the mood swings that Acton also observed: ‘Spontaneous, ebullient, vivacious, then silent, sullen, staring at the world with critical distaste … his apparent frivolity was the beginning of true wisdom.’ For Evelyn ‘a sense of the ludicrous’ was the essence of sanity.

Though intoxicated by Acton and the new set into which he was drawn, Evelyn was wary of Brian Howard, describing him as Lord Byron was famously described a century before: mad, bad and dangerous to know. Howard’s ‘ferocity of elegance’ seemed to belong to the age of Byron, not the present. Evelyn couldn’t quite cope with it. Or perhaps it was the sheer exhibitionism of Howard’s homosexuality that both fascinated and repelled him.



Harold Acton gave Evelyn an entry into the Hypocrites’ Club. There he discovered hard drinking and firm friendship: ‘it was the stamping ground of half my Oxford life and the source of friendships still warm today’. It was at the Hypocrites that he was introduced to Hugh Lygon and his elder brother Elmley.

The Hypocrites was one of many drinking clubs at the university – such clubs were necessary because undergraduates were banned from going into the city’s pubs, for fear of town versus gown fisticuffs or liaisons with unsuitable women. The most exclusive of the clubs was the famous Bullingdon, immortalised by Evelyn in his novel Decline and Fall, where it becomes the Bollinger Club, characterised by ‘the sound of the English county families baying for broken glass’. The Bullingdon was a top-secret (all male, of course) dining club, not strictly a drinking society. Then, as now, it drew its membership from the super rich. It was known then for champagne drinking, ritualised violence and a uniform that consisted of exquisite Oxford blue tailcoats offset with ivory silk lapel revers, brass monogrammed buttons, mustard waistcoat and sky blue bow tie. All members had to endure a humiliating initiation rite that included having their rooms trashed as champagne was binged upon and regurgitated. Freddy Smith, second Earl of Birkenhead (president of Pop at Eton, Christ Church man and future military colleague of Evelyn in Yugoslavia), captured the Bullingdon men with aplomb: ‘eldest sons from aristocratic families who drank champagne at breakfast and were often to be found flourishing hunting-whips and breaking windows in Peckwater Quad’.

Harold Acton was not the type (or the class) to have become a member of the Bullingdon. Brian Howard, on the other hand, being a huntsman as well as an aesthete, was once invited to one of their dinners, after which 256 panes of college glass were smashed. He followed up this adventure by spending, as he put it, ‘a tumultuous night between the sheets’ with a club member.

The Hypocrites’ Club did not have quite the same exclusivity, though it too was characterised by a love of fine dining and, most importantly, hard drinking. If the motto of the Bullingdon was an unequivocal ‘I love the sound of broken glass’, that of the Hypocrites was laced with neat irony: ‘water is best’. The watchwords were style and panache. Conversation turned on art and literature rather than deer-stalking and riding to hounds. The club was at this time in a state of transition. Its original members had been heavy drinking but somewhat sombre Rugbeians and Wykehamists (former pupils of Rugby and Winchester, the latter being generally regarded as the most academic of the great public schools). But as Evelyn arrived in Oxford it was in the process of ‘invasion and occupation by a group of wanton Etonians who brought it to speedy dissolution’. The Hypocrites’ Club was beginning to be associated with flamboyant dress and a manner that had the distinct smack of homosexuality. The name of the club came from the ancient Greek word for an actor: it was a place where you could pose and play roles. The president was Lord Elmley. As the sons of an earl, Elmley and Hugh were natural Bullingdon men. Their presence among the Hypocrites was intriguing and provocative.

‘At Oxford I was reborn into full youth,’ wrote Waugh apropos of his life once he had been initiated among the Hypocrites. He later denied that he had any ambitions to ingratiate himself with the wealthy or to ‘make influential friends who would prosper any future career’. He said that his interests were ‘as narrow as the ancient walls’. For Evelyn it was quite simple: he wanted to be loved and he wanted to live fully and freely – ‘I wanted to taste everything Oxford could offer and consume as much as I could hold.’

Gone were the days of bread, cheese and beer in the Hertford Underworld. Now it was abundant food and fine wines, claret followed by port. He quickly ran into debt and had to auction all his books.

In his capacity as club president, Elmley promulgated a rule that ‘Gentlemen may prance but not dance.’ Along with aestheticism and irony, a welcoming of overtly homosexual behaviour was one of the things that set the Hypocrites apart from the Bullingdon, let alone the rowing and rugger clubs.

The Hypocrites initiated Evelyn into the habit of hard drinking. Because of fear that American-style prohibition might be on the way to Britain, there was ‘an element of a Resistance group about the drunkards of the period’. The club premises – rooms above a bicycle shop – were described by one of Evelyn’s friends as a ‘noisy alcohol-soaked rat-warren by the river’. Evelyn remembered a Tudor half-timbered building with a steep and narrow staircase, smelling of onions and stewed meat. He said that the local police constable was usually to be found there, taking a break from his beat, standing in the kitchen, mug of beer in one hand and helmet in the other. The two large rooms beyond the kitchen were decorated with murals by Oliver Messel and Robert Byron. There was a large piano where members played jazz riffs or accompanied the singing of Victorian drawing-room ballads.

Though Evelyn portrayed the place as a den of iniquity, it was actually very civilised. Harold Acton said that there was always someone to talk to ‘with a congenial hobby or mania’, as if suggesting a tweedy discussion of stamp-collecting rather than a Bullingdon-style debauch. What Evelyn loved about the place was its conversation. He relished hearing Acton affect an Italian accent and say: ‘My dears, I want to go into the fields and slap raw meat with lilies.’

In his memoirs Evelyn gave a roll call of the names of famous people who were members of the club. The best and worst that the university had to offer were either members or guests. The club was beginning to get a reputation. Isis, the university newspaper, reported that its members were distinctly alarming on account of their dazzling intellectual catch-phrases and cultivated rudeness.

Evelyn’s new friends brought him into a circle that was altogether much grander than any he had hitherto known. He found himself among an extraordinary set of young men who would continue to make waves after they left Oxford. There were other pairs of brothers besides the aristocratic Lygons. First the Duggan boys, Alfred and Hubert. Alfred had the aura of a ‘full-blooded rake of the Restoration’ and his younger brother Hubert – Anthony Powell’s Eton messmate – was ‘a delicate dandy of the Regency’. Then there were the Plunket Greenes, David and Richard. Both were musical. David was a gentle giant who loved jazz. Many of these young men ended up as alcoholics or suicides (or both). But to young Evelyn they were glamour itself. He and most of his friends were often drunk, whereas Alfred Duggan was always drunk. The Duggans, stepsons of Lord Curzon, Chancellor of the University, had vast riches at their disposal.

Many members of the Hypocrites, including Evelyn, became members of another fraternity, The Railway Club – motto: ‘There is no smoke without fire.’ Its founder was John Sutro, a Trinity College undergraduate from a wealthy Jewish family. His home was where Evelyn first tasted plovers’ eggs. He became a true friend. Evelyn remembered his loyalty and hospitality, describing him as ‘above all humorous; a mimic of genius … he has never wearied of a friend or quarrelled with one’.

The Railway was so called because Sutro was an aficionado of nighttime journeys on steam trains. Club members would travel around the country, dining on the outward leg and sharing post-prandial drinks in the train bar on the return to Oxford. Dinner jackets were always worn. Hugh Lygon was a member. Even after Oxford, the club continued to hold dinners. Over time, the menus grew more and more elaborate, while, in order to accommodate them, the journeys became longer and more adventurous.



Hugh Lygon’s Oxford career was not devoted to academic study. An evening in Magdalen, recorded in detail by Terence Greenidge in his book Degenerate Oxford?, may serve as the epitome of the Lygon brothers’ life among the dreaming spires.

Elmley was something of a fish out of water. He had matriculated at Magdalen, a college renowned for aristocratic breeding and sporting endeavour. But he disliked rowing intensely and thought that hunting was cruel – a belief translated by Waugh into a trait of Sebastian Flyte’s older brother ‘Bridey’, who refuses to ride to hounds. It was this unorthodox streak in Elmley’s character that took him among the Hypocrites, where Hugh was happy to join him. Elmley was clearly recognisable as Hugh’s brother, with similar but not such classical features. Even as an undergraduate he had a tendency towards the portly. Evelyn described him as ‘a solid, tolerant, highly respectable’ Magdalen man. But there is a dig in his observation that Elmley was ‘voluntarily rusticating with the yeomanry’.

One evening, in a spirit of mischief, Elmley invited a group of his bohemian Hypocrite friends to a Magdalen ‘wine’ – a college entertainment evening dominated by the Athletes. Harold Acton turned up in a high-necked scarlet jumper, David Plunket Greene in flowing trousers and a broad-brimmed hat, Terence Greenidge in a black sports coat with Russian-style fur-embroidered edges. Robert Byron – who shared Evelyn’s love for all things Victorian – dressed as Prince Albert, and Hugh was as Hugh always was, a representative, in Greenidge’s words, of ‘the slightly effeminate, elegant type of jeunesse dorée’. No sooner had they arrived than a Magdalen undergrad pointed at Terence’s fur collar and said ‘Jesus Christ, what’s that?’

In hall, they drank fine port and joined in with some enthusiastic singing. But Harold insisted on leaning over the chair in front of him and loudly addressing Hugh as ‘darling’. To which an Athlete countered: ‘None of your tricks here!’

There was then a break, during which they all went down into the Oxford night for ‘a breather’. Six members of the rowing crew spotted Elmley and Plunket Greene in the quad. ‘Here are two of those bloody Aesthetes,’ they said; ‘Let’s chuck them in the river.’ But Elmley was a burly six-footer and Plunket Greene even taller. The rowers had second thoughts and retreated, saying: ‘Let’s have another drink first, and chuck them in the river afterwards.’ At the end of the evening, Elmley had to hurry his friends out of the college in order to save them from a large group of now very drunk Athletes. Hugh just drifted away. He was, according to Greenidge, more secure than the others ‘because the jeunesse dorée type is not considered pre-eminently Aesthetic and Athletes are apt to respect a man with an Honourable in front of his name’.

Hugh’s life at Oxford developed into one of idleness alleviated by pranks. On one occasion he and a group of friends staged a mock duel, complete with pistols and seconds, having previously leaked the news of it to the editor of the Oxford Times in an effort to provide a lively story to increase the paper’s flagging circulation. Stephen McKenna, a gentleman of leisure who wrote popular fiction about aristocratic life, used the incident as the basis for a novel, published in 1925, called An Affair of Honour. He dedicated it ‘To Hugh Lygon, to whom I am indebted for the seed of truth from which this tree of fantasy has grown’.

‘The record of my life there,’ wrote Waugh of his Oxford years, ‘is essentially a catalogue of friendships.’ In his view, what undergraduates learned they learned from one another, not from the dons: ‘the lessons were in no curriculum of scholarship or morals’. He also admitted that ‘Drinking had a large part in it.’

Evelyn was a noisy drunk. Once when asked why he was so aggressively loud, he responded: ‘I have to make a noise because I am so poor.’ This reply delighted his new friends: it had the right sort of panache. Shared drunkenness became a bond. Beer was cheap at the Hypocrites (8 pence a pint), enabling Evelyn to indulge himself to excess. The sight of a drunken Evelyn became familiar: ‘very pink in the cheeks, small, witty and fierce, quite alarming, but fascinating’. He lit up the gloomy room like ‘a bright spark from the fire’, though once he got into trouble for smashing up the furniture with that cudgel-like stick of his.

He was appointed Hypocrites club secretary at his very first meeting. He performed no duties in the role. Alfred Duggan, who was frequently rendered speechless with drink, began to invite Evelyn to luncheon parties. At last the boy from suburban Golders Green and minor public school Lancing was moving among the wealthy, the aristocratic and the debauched. Duggan instructed his scout always to lay an extra place at the luncheon table just in case he had invited someone when he was drunk. The place was always occupied. There were often thirty or forty guests and the parties went on for most of the day. In winter, they drank mulled claret followed by port until long after dusk. Waugh learnt how to finger long-stemmed glasses, sniff the wine and hold it up to the light that slanted in through the narrow Gothic windows. Often Duggan had to be put to bed by his friends.

The Hypocrites’ Club found a friend in John Fothergill, proprietor of an old inn called the Spreadeagle at Thame, a town about fifteen miles from Oxford. This was a location where club members could indulge in gaudy nights far from the patrols of the ‘bulldogs’ (the university’s bowler-hatted private police force). Fothergill was an eccentric former art dealer and historian who was very sympathetic to Harold Acton and his set, though less kind to more run-of-the-mill guests. He once charged a party extra money for being ugly. He seemed especially partial to the antics of the Hypocrites; their aristocratic connections no doubt added to their allure.

Fothergill wanted to make the Spreadeagle ‘an Eton or Stowe of public houses’. He had a reputation for being an incorrigible snob who bullied his working-class clientele while being ‘all over’ the aristocrats. But in fact it was appearance, intelligence and style that mattered more to him. His motto was ‘not only to have proper and properly cooked food but to have only either intelligent, beautiful or well-bred people to eat it’. The inn was furnished like a home rather than a hotel, filled with Georgian and early Victorian furniture and fine china. As a gentleman innkeeper, he was exactly the sort of man Evelyn admired: rude to those he despised, determined to maintain the standards of a better age. On the publication of his first novel, Decline and Fall, Waugh sent a copy personally inscribed to ‘John Fothergill, Oxford’s only civilising influence’. Fothergill chained it up in the loo and said that it was ‘the best comedy in the English language’.

In 1924, Elmley held a twenty-first birthday party at the Spreadeagle for sixty young men, including all members of the Hypocrites’ Club. It doubled as a wake for the demise of the club, which had been closed down by the proctors after complaints by the neighbours about riotous behaviour and noise. They went down from Oxford in a fleet of hearses. Elmley, dressed in a purple velvet suit, provided the champagne. Harold Acton made a speech about the beauties of the male body; Evelyn got silently drunk; Robert Byron (wearing lace) passed out and the evening ended in dancing, persimmons thrown against the wall, and couples (all male) having sex in the hearse. In his memoirs, Fothergill noted the impressive amount of champagne that was consumed. Among his abiding memories were Terence Greenidge looking ‘quite mad’ and after-dinner dancing that reminded him of ‘wild goats and animals leaping in the air’.



Evelyn enjoyed heavy drinking because it made him uninhibited. He later acknowledged to his first biographer, Christopher Sykes, that he experienced an acute homosexual phase at Oxford. For the short time it lasted, his homosexual activity ‘was unrestrained, emotionally and physically’. This was not at all unusual for male students at Oxford. There were few women at the university (undergraduettes were kept in purdah with the exception of eight weeks) and other heterosexual relationships were frowned upon because they usually meant consorting with the undesirables of the town. Some of Evelyn’s friends went up to London for sexual experiences, coming back on the last train, which was known as the ‘fornicator’. But in the main, homosexual encounters were more common.

Homosexuality was considered by many to be a passing phase, which young men would grow out of once they had left Oxford and begun to meet young women. In those days it was chic to be ‘queer’ in the same way that it was chic to have a taste for atonal music and Cubist painting. Even old Arthur Waugh acknowledged as much: ‘Alec called on me the other day with a new friend of his, a sodomite, but Alec tells me it is the coming thing.’

‘Everyone in Oxford was homosexual at that time,’ said John Betjeman, who was there. Though homosexuality was illegal, many senior members of the university, most notably the flamboyant don Maurice Bowra, actively encouraged it, sometimes acting as go-between in setting up assignations for their pupils. Tom Driberg enjoyed soixante-neuf with a young don in the rooms where more cerebral tutorials were supposed to take place. The Hypocrites’ Club was the epicentre of what would now be called the university’s gay scene. According to Sykes, who knew Waugh extremely well, Evelyn was never shocked by homosexuality and remained very interested in the subject. He was, after all, ‘interested in all things which shed light on human character’. But later in life he would worry about his son discovering his past indiscretions.

In the spring of 1924, Evelyn informed his old school friend, Dudley Carew, that his life had become ‘quite incredibly depraved morally’. Drunkenness at the Hypocrites was part of the story, but hardly sufficient to qualify as incredible depravity. Something else was being hinted at. Tom Driberg, dancing with a fellow member, saw a drunken Evelyn rolling on the sofa with another boy, ‘with (as one of them later said) their tongues licking each others’ tonsils’. Anthony Powell’s first encounter with Evelyn was a sighting of him at the Hypocrites sitting on the knee of another member, Christopher Hollis. A club guest, Isaiah Berlin, also saw him on a settee kissing a friend. Evelyn later teased Christopher Sykes for not having had a homosexual phase, saying that he had missed out on something special.

But it was not just sexual experimentation. There were genuine love affairs. When the staunchly heterosexual Henry Yorke read Brideshead Revisited, he told Evelyn that it made him regret not falling in love at Oxford himself: ‘I see now what I have missed.’ What he missed was what Waugh experienced: real passion. Evelyn’s sexual abstinence at school seemed to make his Oxford love affairs even more intense.

Though Evelyn relished the companionship of eccentric and slightly crazed friends like Terence Greenidge and Harold Acton, romantically he was drawn to fragile, beautiful boys. Before being seduced by the Hypocrites, he had become intimate with a shy and scholarly left-wing Wykehamist from Balliol called Richard Pares. Evelyn described him as ‘abnormally clever’. In a later letter to Nancy Mitford, he also described Pares as ‘my first homosexual love’.

Pares was pale skinned, with a mop of fair hair and large blue eyes that somehow seemed blank. Their affair began in the summer of 1922. Evelyn later recalled: ‘I loved him dearly, but an excess of wine nauseated him and this made an insurmountable barrier between us. When I felt most intimate, he felt queasy.’ In other words, Waugh needed to be very drunk to release his strongest emotions, whereas Pares could not hold his drink. Nevertheless the young men spent two intense terms together. They only drifted apart when Waugh developed his ‘indiscriminate bonhomie’ among the Hypocrites. Being drunk was becoming his greatest ‘aesthetic pleasure’, whereas Pares was more interested in his research on the West Indian sugar trade. He was duly rescued from Bohemia by a homosexual don called Urquhart (known as ‘Sligger’), Dean of Balliol, who encouraged him to become an academic. He took a first and was elected to a fellowship of All Souls. Evelyn always remembered him with great affection and late in life Pares, happily married and respectable, remembered the affair as one of the most passionate and intense of his life.

Christopher Hollis, on whose knee Anthony Powell had first spotted Evelyn at the Hypocrites, wrote a memoir of Oxford in the Twenties, in which he said that Waugh had two homosexual lovers, first Richard Pares and then Alastair Graham. In A Little Learning, Waugh records that Richard Pares’ successor as what he called ‘the friend of my heart’ was a boy that ‘I will call Hamish Lennox’. ‘Hamish’ is described as ‘no scholar’: he ‘soon went down to take a course in architecture in London; but he continued to haunt Oxford and for two or three years we were inseparable or, if separated, in almost daily communication, until like so many of my generation, he heard the call of the Levant and went to live abroad’. ‘Hamish,’ says Waugh, ‘had no repugnance to the bottle and we drank deep together. At times he was as gay as any Hypocrite, but there were always hints of the spirit that in later years has made him a recluse.’ This account precisely fits Alastair Graham and Waugh’s relationship with him.

The two boys drank deep together of both alcohol and love. In one of his letters Alastair enclosed a naked photo of himself, leaning against a rock face, with arms outstretched, buttocks in full view, along with a description of the best way to drink fine wine: ‘You must take a peach and peel it, and put it in a finger bowl, and pour the Burgundy over it. The flavour is exquisite.’ The letter ended: ‘With love from Alastair, and his poor dead heart.’

Alastair came from the Scottish borders. His father was dead, his mother ‘high-tempered, possessive, jolly and erratic’. A southern belle from Savannah, she was the model for the character of Lady Circumference in Decline and Fall. She had settled in Warwickshire for the sake of the hunting. She devoted herself to frenzied gardening, disingenuously claiming that she was keeping the place on solely for the sake of Alastair (who in reality was no huntsman).

Alastair invited Evelyn home. His mother’s residence in the village of Barford, between Stratford-upon-Avon and Warwick, gave Evelyn his first taste of country-house living. Though on nothing like the scale of Madresfield, Barford House is much the grandest building in the village. It still stands behind a high wall. Albeit more shabby genteel than aristocratic grand, it was still a world away from Underhill. There was a ballroom that had been built especially for Alastair’s coming-of-age party.

Alastair, like Hugh Lygon, was a dreamer. He loved lying in the garden looking at flowers, or searching the fields for edible fungi. He drove his mother mad. She befriended Evelyn in the hope that he would persuade her son to cut down on his drinking and start living a less indolent life. He did not oblige.



Though Alastair frequently visited Evelyn in Oxford, he was resident in London. So did Evelyn have another undergraduate lover? Most biographers follow Hollis in identifying only Pares and Graham, but according to the Oxford don A. L. Rowse, Evelyn had three lovers at Oxford. The third man was Hugh Lygon. Rowse was convinced that Evelyn was bisexual and that as a novelist he ‘made use of every little scrap of his experience – he wasted nothing’. He remembered a conversation with Lady Sibell, eldest of the three Lygon sisters, who knew Evelyn well. ‘He was in love with my brother,’ she recalled.

Evelyn’s three lovers were of a very similar type: pale and beautiful, with the aura of Rupert Brooke. Richard and Hugh were both blond. After Oxford he fell in love with women of the same ethereal beauty: Diana Mitford, Teresa Jungman, Diana Cooper, Laura Herbert.

Evelyn was drawn to Alastair and Hugh not only because of their delicate beauty and gentility, but also because they were hard-drinking and self-destructive. He liked their child-like qualities and their lack of intellectual fervour (he never fell in love with Harold Acton or Brian Howard, much as he admired their abilities). He definitely had a type: the objects of his desire were invariably richer and better-looking, though never funnier, than he was. They had a dreaminess about them and a fragility that he found irresistible. They brought out his protective instincts. Waugh was speaking equally of himself when he wrote in his biography of the theologian Ronald Knox that he was susceptible to good looks and drawn to those with an air of sadness, of ‘tristesse’. Hugh Lygon had exactly this quality. He drifted round Oxford like a lost boy, a Peter Pan who refused to grow up. Terence Greenidge remembered him carrying a teddy bear.

Greenidge, a fervent socialist, admired Hugh’s classical good looks and thought he had ‘charm and elegance’, but said that he was ‘rather empty’. But Evelyn found him full of humour. The same things made them laugh. He loved Hugh’s eccentricities and was impressed by his lack of snobbery.

Hugh, along with Robert Byron, Patrick Balfour and Brian Howard, was regarded as one of the most sexually active of the Hypocrites. Harold Acton wrote to Evelyn after the publication of A Little Learning to reprove him for singling out his homosexuality, whilst failing to mention ‘Robert’s, Patrick’s, Brian’s and Hugh’s promiscuities’. Evelyn himself called Hugh the ‘lascivious Mr Lygon’.

Tamara Abelson (later Talbot Rice) was an exotic White Russian exile, who knew Evelyn at Oxford where she was one of the rare under-graduettes. As far as she was concerned, ‘everyone knew that Evelyn and Hugh Lygon had an affair’. She reported that John Fothergill let Evelyn have rooms in the Spreadeagle at Thame at a special midweek rate so that he and Hugh could meet in private.

Not everyone approved of Evelyn’s translation to a new set. His brother Alec came to remonstrate about his dissipated lifestyle. But Evelyn was not going to give it up and go back to the loneliness that he had felt as a child. He had found a surrogate family and he had found glamour, wit and intelligence: the ‘congenial people’ for whom he had longed. No amount of lecturing from an older brother to whom he had never been particularly close was going to change anything. Among the Hypocrites he had found the love that he had been longing for all his life. He was happy.

But there was an element of bravado about his entry into the world of cigars, champagne and Charvet silk ties. In his heart he knew that he did not really belong there. Rather like one of his heroes, Toad of Toad Hall, he had a child-like quality that manifested itself in acute mood swings between hilarious gaiety and sullen gloom. He often felt that he was being treated as a specimen, even a freak. His friendships flared brightly and intensely, but sometimes burned themselves out. He was still the outsider looking in, glimpsing rather than actually passing through the low door in the wall that opened on an enclosed and enchanted garden.

Intimate as they were at Oxford, Hugh did not invite Evelyn to visit his ancestral home while they were still undergraduates. Nor was he invited to Lord Elmley’s lavish twenty-first birthday celebrations at Madresfield in August 1924. That was a high-society occasion, very different from the celebration of the same event at the Spreadeagle. Evelyn was never very close to Elmley, who had a more pronounced sense of his status than Hugh.

Evelyn took his final examinations in the summer of 1924, but since he had come up a term late, he was supposed to return to Oxford for a further term in the autumn, so as to fulfil the residence requirement necessary for him to receive his degree. He planned to share lodgings with Hugh Lygon in Merton Street. They were going to take an expensive little house next to the tennis courts. With no exams to worry about, it would be a term of ‘pure pleasure’ and ‘comparative seclusion’.

The plan was aborted with the news that Evelyn had obtained a third-class result. His scholarship was not renewed for the further term and his father did not think that a third was worth the cost of the extra term. Evelyn therefore left Oxford without completing his degree.

Of Evelyn’s three Oxford lovers, Hugh Lygon is the one about whom he was most reticent in A Little Learning. The name Lygon only appears fleetingly in the book. An aura of concealment hangs over that first naming of Hugh in the passage where Quiller-Couch’s line ‘Know you her secret none can utter?’ is quoted, together with the mysterious remark that it is not given to all Oxford’s sons ‘either to seek or find this secret, but it was very near the surface in 1922’. What was the secret none could utter? In the context of an aspiring writer and a beautiful young aristocrat, could it have been something reminiscent of Oscar Wilde and Lord Alfred Douglas? ‘I am the Love that dare not speak its name.’

Hugh Lygon’s name appears last in Evelyn’s list of his fellow Hypocrites: ‘Hugh Lygon, Elmley’s younger brother, always just missing the happiness he sought, without ambition, unhappy in love, a man of the greatest sweetness; and many others …’ The wistfulness and the drift into ellipses suggest that something is being left unsaid. Why was it, when Evelyn could be comparatively open about Richard Pares and Alastair Graham, that his love for Hugh dared not speak its name? We may find an answer when Hugh’s family story is known.




CHAPTER 4 The Scarlet Woman (#ulink_bd13536d-861b-5a0c-b4f8-68657e5a22c0)


After Evelyn’s humiliating departure from Oxford, he returned home to Underhill. For a few happy weeks, he hung out with Alastair. They wandered around greater London like Parisian flâneurs. But then Alastair departed for Kenya, leaving Evelyn with nothing to look forward to save ‘heart-breaking dreariness’. He anticipated ‘bills, over-fastidious tastes and a completely hopeless future’.

Evelyn was bored. He resented his father, missed his friends and most of all missed Oxford. He made an abortive attempt to kick-start a career in art, enrolling in a course at Heatherley’s Art School in Chelsea. His first assignment was to draw a thin man sitting cross-legged ‘with no clothes but a bag about his genitalia’. The place was full of girls in gaudy overalls, who, Evelyn thought, drew badly and distracted the young men who were hoping to make commercial careers for themselves in advertising or ‘by illustrating Punch’. The model for a ‘quick sketch’ class was ‘a young girl with a very graceful body and a face rather like Hugh Lygon’s when very drunk’.

He also began, but soon abandoned, a novel called ‘The Temple at Thatch’. It was about an undergraduate who inherited a property of which nothing was left except an eighteenth-century classical folly where he set up house and practised black magic. Later, he destroyed the manuscript, so we will never know whether the (presumably aristocratic) protagonist was in any way inspired by Hugh Lygon or whether a line can be traced from the classical temple at Thatch to the Catholic chapel at Brideshead.

Every morning he walked to Hampstead tube station, hiding pennies along the way, which he then collected on the way home to alleviate boredom. This new life was a shock after the intensity of Oxford. He complained to friends about the dull routine of dinner and early nights after desultory conversation with ‘Chapman and Hall’ (his nickname for his father). His social life only improved when his brother Alec took him in hand, inviting him to parties and nightclubs. He became a parasite upon his more successful sibling. In his fragmentary second volume of autobiography, he acknowledged his debt to Alec ‘as a host who introduced me to the best restaurants of London, on whom I sponged, bringing my friends to his flat and, when short of money, sleeping on his floor until the tubes opened when I would at dawn sway home to Hampstead in crumpled evening dress among the navvies setting out for their day’s work’. In fact, home was not Hampstead but Golders Green – Evelyn would walk to a pillar box in Hampstead so that the postmark would not be Golders Green. Alec once remarked that ‘there is no stronger deterrent to one’s enjoyment of an evening than the knowledge that one has to at the end of it to get to Golders Green’.

The most popular of the nightclubs that they frequented was the Cave of Harmony in Charlotte Street, run by Harold Scott and his partner, Elsa Lanchester. She was a fragile, red-haired beauty who was trying to become an actress. Later, she would become famous for playing the title role in The Bride of Frankenstein. The Cave of Harmony was patronised by journalists and actors, who drank late and tried out their short plays and cabaret acts. Alec went there every Saturday night, taking his brother with him. They befriended Elsa, and Evelyn persuaded her to take part in an amateur film that he was making with his Oxford friend Terence Greenidge.

Greenidge had bought a 16-millimetre camera and become a keen amateur cinematographer, casting his fellow Hypocrites in outrageous roles. The first we hear from Evelyn himself of his involvement with this activity is in a diary entry of 5 July 1924, when he and Christopher Hollis go to see one of Terence’s films at a dive in Great Ormond Street. Lured by the expectation of seeing Hugh Lygon there, Evelyn was disappointed to find instead ‘a sorry congregation of shits’.

Greenidge’s short films had been shot under the aegis of the Hypocrites and the Oxford Labour Club in the summer term of 1924. They had such enticing titles as 666, The Mummers, Bar Sinister and The City of the Plain. The latter was subtitled A Story of the Oxford Underworld. A ‘burlesque of the American moralising melodrama’, it was a celebration of the immorality of the Hypocrites.

Evelyn had acted in at least two of these films, alongside such friends as Hugh Lygon and Chris Hollis. Greenidge was especially impressed with Hugh’s performances, especially the lead role he played in The City of the Plain. All the reels are, alas, lost: they were last glimpsed in the hands of the Official Receiver in the late 1960s, when Greenidge was a bankrupted dying actor. Little is known of their content, but the biblical titles are suggestive: 666 is the number of the Beast, while ‘the City of the Plain’ is evidently an allusion to Sodom in the Old Testament. Sin, and sexual ‘beastliness’ in particular, must have been the (suitably Hypocritical) subject matter. There may also have been some dabbling in black magic, another Hypocrite preoccupation. In one of the films Waugh played the part of a lecherous black clergyman, wearing what Greenidge remembered as ‘horrible scarlet make-up, which came out black in those early days’.

Homosexuality certainly seems to have been on Waugh’s mind at this time. A few days after the evening in Great Ormond Street when they watched one of Greenidge’s films, he recorded an anecdote of Hollis’s in his diary:

Chris turned up in the morning and told me a good story. Mr Justice Phillimore was trying a sodomy case and brooded greatly whether his judgment had been right. He went to consult [Lord] Birkenhead. ‘Excuse me, my Lord, but could you tell me – What do you think one ought to give a man who allows himself to be buggered?’ ‘Oh, 30 s[hillings] or £2 – anything you happen to have on you.’

The Hypocrites’ flirtation with early cinema continued over the summer of 1924. Evelyn, whose most significant early short story (‘The Balance’) was written in the style of a film script, wrote the screenplay for a new Terence Greenidge production. Entitled The Scarlet Woman: An Ecclesiastical Melodrama, it was rediscovered in the 1960s and can now be seen on DVD. The outlandish plot turned on an attempt by ‘Sligger’ Urquhart, Dean of Balliol (the man who had returned Richard Pares to the academic straight and narrow), to convert England to Roman Catholicism by exercising his dastardly Papist influence on the Prince of Wales. The title plays on the fact that ‘scarlet woman’ was a colloquial expression for both a prostitute and the Church of Rome. A favourable review in the Oxford student newspaper, Isis, had particular praise for Waugh’s method of introducing the audience to the leading characters:

Each figure in this drama of intrigue is disclosed indulging in his favourite sport. So we have a scene in the Papal gardens with the Papal whisky and its owner, the private chamber of the King and the royal gin, the Count of Montefiasco with the Romish cognac, and the eminent Catholic layman [Sligger] with his academic vodka. This convivial introduction had the effect of making us feel that we had known the characters for years.

Filming took place in July, shooting locations being Oxford, Hampstead Heath and Arthur Waugh’s back garden. Elsa Lanchester played the heroine, an evangelical cabaret singer called Beatrice who saves the day by drawing the Prince from Urquhart’s clutches. Evelyn, kitted out in a blond wig, played Sligger, alluding freely to the dean’s homosexuality by fondling the Prince of Wales (played by Greenidge’s brother John, known as ‘the Bastard’). John Sutro was Cardinal Montefiasco and Alec Waugh the cardinal’s mother. Elmley played the Lord Chamberlain, whose real life counterpart would without doubt have banned the script had there been an attempt to release it commercially. Old Arthur Waugh enjoyed the shenanigans immensely.

Evelyn also doubled in the role of a penniless peer called Lord Borrowington who appears to be a cocaine addict. He was unapologetic about advertising the setting of some scenes in the distinctly unglamorous location of North End Road, Golders Green. Elmley was less eager to advertise himself: he acted under the assumed name Michael Murgatroyd for fear of offending his father, who was close to becoming leader of the Liberals in the House of Lords. An officer in the Guards, who played the part of the king, also hid behind an assumed name. Elsa (who later married Charles Laughton) took no fee, only free lunches. The main purpose of the film was to poke fun at Sligger Urquhart for being ‘Roman Catholic and a snob’. We do not know if he ever saw The Scarlet Woman but it was shown at the Oxford University Dramatic Society (OUDS) in 1925. Greenidge came to believe that the film had caught the subversive spirit of Oxford in the twenties, and represented ‘an Evelyn who had seen through Roman Catholicism and the British aristocracy’ – something that could not exactly be said of Brideshead Revisited. The script undoubtedly reveals Evelyn’s interest in religion, his gift for farce and his early attraction to the more glamorous aspects of modernity embodied in the world of movie-making. The film also features a very fine motor car, which probably belonged to Elmley.

The Scarlet Woman was acted in a style that would now be called high camp. Greenidge was an active homosexual, and the entire film-making project was clearly deeply bound up with the Hypocrites’ willingness to push at the boundaries of taste, decency and the law.

Terence Greenidge later remembered Evelyn’s mother telling him that her son had changed profoundly by this time, that as a child he was loving, fun and trusting, but that something had happened to put him on his guard. Yet he was always, according to Greenidge, ‘joyously, healthily rude, as was the great Dr Johnson’. The combination of guarded watchfulness and unabashed smuttiness may suggest that Evelyn was simultaneously attracted to and repelled by the world in which he found himself.



The bohemian gatherings he attended with Alec were often ‘bottle parties’ in ‘unfashionable areas’. He hankered instead for the statelier world of engraved visiting cards and black velvets. The bohemian set didn’t really suit him. The parties were full of actors, painters, and men just down from the university who had no idea of what to do with their lives. Men, in other words, who were all too like himself.

In his diary he recalled one particularly memorable party at Mrs Cecil Chesterton’s flat in Fleet Street, at which ‘pansies, prostitutes and journalists and struggling actors’ all got ‘quite quite drunk and in patches lusty’. Among the guests he singled out a certain ‘Peter Pusey with whom Hugh Lygon sodomises’. Hugh’s taste for the crime that took its name from the City of the Plain was no secret. Alec, meanwhile, turned up late and a little drunk, then proceeded to carry off ‘the ugliest woman in the room’.

At another party Evelyn was so drunk that he ended up playing football with the butler’s top hat. Parties in private houses were followed by hard drinking at nightclubs, but there was a seedy and unglamorous feel to it all. All the promise of his Oxford days seemed to have evaporated. The Scarlet Woman had been a reprieve, but Evelyn had no prospects. It seemed that all his richer friends had places to go after graduating, whereas he sensed himself becoming a hanger-on on the fringes of the artistic world, or, even worse, a sponger (the kind of character he would represent so mercilessly in the character of John Beaver in A Handful of Dust).

He was yearning for his lost paradise. Spiritually he was still at Oxford. Its lure, the knowledge that the city of dreams was ‘still full of friends’, made him quit art school. Invited to an Oxford party by John Sutro, he accepted gratefully, eager to be reminded of what he was missing. His unexpected attendance was greeted warmly. All the old Hypocrites were there: Harold Acton, Hugh Lygon, Robert Byron, even his first lover Richard Pares. It was a luncheon party that seemed to stretch on for ever, as in the old days. They ate hot lobster, partridges and plum pudding, drank sherry, mulled claret and ‘a strange rum-like liqueur’. Hugh, as usual, was drinking too much. Evelyn left in time for a tea party and then a beer at the New Reform Club with Lord Elmley and Terence Greenidge. A message then came from Hugh, by this time installed in the bar of the Dramatic Society, proposing a trip to Banbury. But instead they reconvened in the old Hypocrites’ rooms, where they drank whisky and watched The Scarlet Woman. Evelyn’s recollection of the rest of the evening was hazy: all he could remember was that he got hold of a sword and escaped from Balliol via a window after the college had been locked for the night.

The next morning he started drinking again with Hugh, and then they had lunch together. An umbilical cord connected him still to his alma mater. He found himself dressing as an undergraduate again, sporting the latest fashion of turtleneck sweater and broad trousers. He was delighted with the roll-neck top – it was ‘convenient for lechery because it dispenses with all unromantic gadgets like studs and ties’. The garment also served to hide the boils on the necks of dermatologically challenged young gentlemen.

The Jazz Age had come to Oxford. Cars full of flappers came up from London every weekend. There was a new smart set. They danced to the Harlem Blues and the strains of Gershwin. Evelyn threw himself into the rowdy, partying atmosphere. He returned every weekend. But he knew that he was becoming self-destructive. He was often in the company of Hugh. Once he was drunk for three days – a condition that for Hugh was perfectly normal. After lunching together they would continue drinking until they were too drunk to stand.

The only way out from this alcoholic spiral was to get a proper job. And the only job that seemed suitable for an Oxford man who had failed to achieve Honours and who had no inclination for either physical labour or further study was schoolmastering. With great reluctance, he began to look for a position.



Before descending into the teaching profession, Evelyn fell in love again. This time, though, it was not with a fellow undergraduate but with an entire family. They were the Plunket Greenes. For Evelyn, they would prove to be the forerunners of the Lygons.

He of course knew David and Richard Plunket Greene from Oxford. They were members of the Hypocrites and very hard to miss: David was six foot seven inches tall and Richard a powerfully built young man. David, a ‘languid dandy devoted to all that was fashionable’, would die a heroin addict at a tragically early age. Coote (Lady Dorothy) Lygon remembered that he took drugs at a time when that was a very fast thing to do. When Hugh brought him home to Madresfield she used to swoon at the very sight of him. She developed a huge crush.

Evelyn became close friends with Richard, eventually serving as best man at his wedding. The boys’ father, Harry, was a singer and their mother a gifted amateur violinist. Harry Plunket Greene was friendly with England’s leading composer, Edward Elgar. He sang the baritone part in the first performance of Elgar’s Dream of Gerontius and was the first to sing settings of A. E. Housman’s poems, A Shropshire Lad. He frequently appeared in events at Elgar’s Malvern Concert Club. This brought him into contact with the Lygons, who were Malvern’s most famous family and leading patrons of the festival. Elgar was supposed to have composed the most enigmatic of his famous Enigma Variations as a musical portrait of Hugh’s aunt, Mary. When Plunket Greene married Gwen Ponsonby, he came into a family relationship with the Lygons, who were cousins to the Ponsonbys.

David was soon to marry and in short order divorce Babe McGustie, the gold-digging stepdaughter of a prominent bookie. Richard fascinated Evelyn with his eccentricities and his tinge of melancholy. He was piratical in appearance, sporting earrings and a cravat, while smoking strong, dark tobacco. Evelyn described him as ‘good with boats’ and passionate in the way he threw himself into everything: ‘he brought to the purchase of a pipe or a necktie the concentration of a collector’. One moment he would be a connoisseur of wine, the next a racing motorist, then a jazz lover, and before long an aspiring writer of detective fiction. But he was never a bore with his passions. He brought to each new hobby ‘the infectious absorption of an adolescent’. Not a bore and always amusing: for Evelyn, this was the highest praise.

Evelyn’s admiration of the handsome Plunket Greene brothers in his Oxford years transferred itself into infatuation with their sister, Olivia. He lacked the experience and ‘force of purpose’ to conduct a proper courtship, so the relationship became instead an ‘intimate friendship’ of a kind that established a pattern for a succession of future liaisons with upper-class, sexually unavailable women. The pattern was always the same: ‘doting but unaspiring on my part, astringent on hers’. One cannot help but think of the adventures in unrequited love of Bertie Wooster’s friend Bingo Little.

Harold Acton said that Olivia had ‘minute pursed lips and great goo-goo eyes’. Evelyn considered this description unfair. She was not a conventional beauty (which her mother was), but she was fashionable and graceful, dressing in black and heavily made up with cosmetics that enhanced her enormous eyes in a pixie-like face. Evelyn loved her personality. He thought that she combined ‘the elegance of David with the concentration of Richard’. What drew him to her was the very quality that had drawn him to her brothers: her capacity for passionate but short-lived enthusiasms. She lived every moment to the full.

Some saw a mad streak in her, though for Evelyn this was always tempered by her essential delicacy and fundamental shyness. She did not seek others out: people were drawn to her. Evelyn accepted that she could be a nag and a bully, that she suffered from ‘morbid self-consciousness’ and was ‘incapable of the ordinary arts of pleasing’. Perhaps he loved her because these deficiencies were also his own. ‘A little crazy; truth loving and in the end holy’, she was his first true heterosexual love. But she made him miserable.

Fiercely loyal to those he loved, Evelyn withheld from his autobiography the information that Olivia went on to have a very unhappy life. She became an alcoholic and died a recluse, unmarried. It was no coincidence or mere ill fortune that so many of Evelyn’s friends fell victim to alcoholism: the art of heavy drinking was virtually a prerequisite for his friendship. In sharp contrast to his first male love, Richard Pares, Olivia could hold as much liquor as Evelyn. Like him, she lost her inhibitions when under the influence. Her aura of melancholy made her more like Hugh and Alastair: it added lustre to her beauty, but its corollary was alcoholic dependency and despair.

They met at pubs for lunch and spent days at Underhill. Once he turned up to see her, already drunk, carrying three bottles of champagne under his arm, which they proceeded to consume out of teacups and various pots and other china receptacles that they found around the place. He liked her extremes, her melancholy and wild excesses. They got drunk together, they quarrelled, they read Browning, Plato and Dostoyevsky. She teased him, she loved his intelligence, but she did not want to go to bed with him (even though she was highly sexed, rating her lovers on their performance and counting Paul Robeson among her conquests). ‘A ghost with a glass of gin in her hand’, she was also in love with religion – to a degree that later became maniacal. She once wrote Evelyn a ‘raving sixteen page letter describing a recent visit to heaven’.

Evelyn acknowledged in his autobiography that his feelings for Olivia were a projection of his love for all the Plunket Greenes, who were so different from the Waughs: ‘I had in fact fallen in love with a whole family, and, rather as Mr E. M. Forster describes in Howards End, had focused the sentiment upon the only appropriate member, an eighteen-year-old daughter.’

Harry Greene, whom Evelyn described as a ‘very handsome Irishman’, was only occasionally on the scene, having left to live with his mistress. The person who truly cast a spell over him was the matriarch of this magnetic though flawed family, Gwen Plunket Greene. Evelyn encountered her on New Year’s Day in 1925. He wrote in his diary: ‘I met Mrs Greene for the first time and loved her.’ She was a first draft for the magnificent but monstrous Lady Marchmain. Gwen exerted a magic spell over him with her beauty, poise and humour. He later realised that her serenity was a consequence of a ‘hidden life of prayer’. She would later convert to Roman Catholicism and was already heading in that direction.

Evelyn’s diary records countless invitations to tea, dinner parties and family holidays with the Plunket Greenes. They were unsettled and moved house five times in ten years – ‘during which’, noted Evelyn, ‘I was practically a member of the family’. That the family was on the point of converting to Catholicism may have been an additional attraction.



Richard Plunket Greene was in the same position as Evelyn: ‘workless and penurious’. In his case, the position was aggravated by his desire to get married. His decision to apply for a position as a schoolmaster had prompted Evelyn to follow suit. It was the obvious option. As Evelyn once wrote to his school friend, Dudley Carew, ‘no one in our class need ever starve because he can always go as a prep school master, not a pleasant job but all roads lead to Sodom’.

The usual route was to sign up with the scholastic agency Gabbitas and Thring (W. H. Auden nicknamed them ‘Rabbitarse and String’). Evelyn Waugh, John Betjeman, Graham Greene and the fictional Paul Penny-feather of Decline and Fall all passed through its door. Greene said that to do so was to ‘pawn yourself instead of your watch’.

In early January 1925, Evelyn was interviewed by the headmaster of the prep school Arnold House. The name may have been evocative of the great Thomas Arnold of Rugby, but the location was less promising: it was in Denbighshire in North Wales, which could hardly have been further from Oxford.

Mr Banks, the head, ‘a tall old man with stupid eyes’, offered the post forthwith. He was desperate and, if Evelyn is to be believed (he is probably not to be), only one question was asked: ‘Did he possess a dinner jacket?’ This was necessary to entertain the wealthier parents. With only a couple of weeks to go before the start of term, Evelyn threw himself into a farewell whirl of socialising with the Plunket Greenes.

There was a disastrous evening at the Café Royal, where champagne cocktails were drunk, followed by oysters and chablis. Olivia disgraced herself. A few days later Evelyn noted in his diary that he had attended a dinner party of his brother Alec’s that was ‘almost wholly spoiled by the abominable manners of the Greene family, who arrived fifty minutes late’. After dinner they went to the theatre and then on to a nightclub where, drunk again, Olivia began kissing a handsome fellow called Tony Bushell. Evelyn tried unsuccessfully to get equally drunk himself. He was very rude to Olivia, but she was in no condition to take offence. The next day, ‘with a glowing resentment against the Greene family’, he sent word that he was leaving ‘for the country’. But that evening he spoiled his gesture by getting drunk and calling at the Plunket Greenes’ in the early hours of the morning, accompanied by two friends. He said that he would not leave until Olivia knelt down and apologised to him. She declined and he broke a gramophone record. A version of the episode was later incorporated into his novel A Handful of Dust.

Amends were made before he went north. Olivia came to see him at Underhill where she told him that he was a great artist and should not become a schoolmaster. He was upset at the thought that she was finally beginning to show interest just at the moment when he was leaving for North Wales: ‘I went to bed feeling more desolate than I had felt since the embarkation of Alastair.’ Whilst he knew that marriage was out of the question, he felt that he was getting close to a romantic and sexual relationship. Women, he was beginning to discover, were far more complex and tricky than men.

He left for Arnold House on 23 January 1925. When he arrived there he found a telegram awaiting him from Hugh Lygon and John Sutro. It read ‘On, Evelyn, On’.




CHAPTER 5 In the Balance (#ulink_c7d90802-270b-5cb0-a186-68458aa7f4d6)


Despite his misgivings, Evelyn enjoyed his brief experience as a schoolmaster. When John Betjeman was forced to turn to teaching, Evelyn assured him that ‘You will remember these schooldays as the happiest time of your life … not entirely facetiously.’ More importantly, the time at Arnold House, in all its glorious awfulness, gave Waugh the inspiration for his first novel.

A letter to his mother on his arrival described the haphazard management of the establishment: ‘it is the most curiously run school that ever I heard of. No timetables nor syllabuses nor nothing. Banks [headmaster] just wanders into the common room and says ‘‘There are some boys in that classroom. I think they are the first or perhaps the fourth. Will someone go and teach them Maths or Latin or something’’ and someone goes and I go on making a wood engraving.’ The wood engraving was for Olivia, whose hold still consumed him. He felt cut off. The school was in Llanddulas, a tiny town sandwiched between Rhyl and Colwyn Bay.

His wit made him popular with the boys and he in turn found them amusing, usually unintentionally so. ‘Yesterday in a history paper,’ reads a diary entry written on a cold February night, ‘the boy Howarth wrote: ‘‘In this year James II gave birth to a son but many people refused to believe it and said it had been brought to him in a hot water bottle’’.’

One of the new masters was itching to start a mutiny against the amiable and ineffectual headmaster. ‘I hope there will be trouble,’ responded Evelyn. He found some of the boys ghastly, but warmed to others among them. He let the clever ones read racy French novels whilst he did his own work. When they asked what he was writing, he would reply: ‘A history of the Eskimos.’ He continued to dress somewhat in the manner of Mr Toad – in plus fours, a tweed jacket and a roll-neck sweater with a check collar peeping out. He took to wearing spectacles and smoking a pipe. He also grew a moustache. Like his fictional alter ego Paul Pennyfeather, Evelyn gave organ lessons despite being not in the least musical.

Though he made the best of the place, he was low in spirits, missing the Plunket Greenes and thinking of his past life. He was desperate for news from the city of his dreams, writing to Harold Acton and pleading for updates on the Hypocrites.

When he returned to London in the holidays he saw a lot of Olivia. As usual, her company was synonymous with heavy drinking and committed party-going. One party in particular ended up with Evelyn under arrest (an incident that turns up in Brideshead). Evelyn and Olivia gave a party, to which her cousin Matthew Ponsonby was invited. He came in his car and was sent out to buy more drink with Evelyn, who was, by this time, already drunk. The men stopped off for drinks along the way and were arrested for driving the wrong way around a traffic island. Matthew and Evelyn, ‘Drunk and Incapable’, were put into police cells. The next day, Evelyn was bound over at the cost of £2. It was far more serious for Matthew, who was the driver of the car. Though his father (the Under Secretary of State for Foreign Affairs) bailed him out, Matthew came extremely close to a prison sentence. In the end he was banned from driving for a year and given a large fine, half of which Evelyn offered to pay: ‘After all I was rather more than half to blame and I got off so lightly myself.’

The Ponsonbys blamed Evelyn for the whole business. They described him as a ‘disreputable friend of the Greenes’. Their son had been led astray out of his ‘good nature’. Evelyn, they contended, was an irresponsible drunk who had appeared at Mrs Plunket Greene’s house already inebriated. He had proceeded to decant a bottle of champagne into Gwen’s white china ducks, persuading his friends to drink from them. But Ponsonby was far from blameless; he was an incorrigible drink-driver. Before long, there was another, much worse incident, also hushed up, in which he knocked over and ‘killed or at least seriously injured’ a young boy.

Though he felt guilty about his responsibility for the Plunket Greenes being dragged into the ‘Drunk and Incapable’ affair, he still spent Easter with them at the disused lighthouse they were renting on Lundy Island. Lady Plunket, as Evelyn called Gwen, met him and Olivia off the boat. In the evening she read aloud to them, while David drew caricatures. Richard and his fiancée Elizabeth were also there, as was Terence Greenidge (revisiting one of his filming locations from the previous year). Evelyn was still unable to cure himself of his love for Olivia: ‘While I was in Denbighshire I had hoped that I only loved her as a personification of all the jolly things I had left behind, but here I am with Terence mouthing Kant into a pint glass and David making endless jokes about Lesbos and lavatories, and Richard rowing unseaworthy boats in fearnought trousers, and Lady Plunket serene over it all, but I am still sad and uneasy and awkward whenever I am with Olivia.’

He felt inhibited, not to say mildly disgusted, by the sexual freedoms of the party. One night, after some earnest conversation with Richard’s fiancée, he joined the others only to find a girl called Anne, almost naked, ‘being slapped on the buttocks and enjoying herself ecstatically’. Another house guest, Julia Strachey (niece of the biographer Lytton Strachey), was looking on. Julia, rather like Evelyn, was a misfit and a writer who drifted through life attempting, as she put it in an unfinished memoir, to ‘find some family love after all’. Olivia allowed Evelyn no sexual liberties, but Lady Plunket’s madcap world on Lundy was a welcome change from both home and school.

Back at Arnold House after the Easter holidays, things began to look up. Evelyn had applied for a new job as secretary to C. K. Scott Moncrieff, the translator of Marcel Proust. He was assured that he would be successful. It apparently did not matter that he could not type and did not know the languages out of which Moncrieff translated. The position would mean relocation to Pisa: Moncrieff was a homosexual and a Roman Catholic convert who felt more comfortable in Italy than England.

The thought that he would only have to endure one more term as a schoolmaster spurred Evelyn on. He was also pleased with the progress he was making with his novel ‘The Temple at Thatch’. ‘I am making the first chapter a cinema film,’ he reported, ‘and have been writing furiously ever since. I honestly think that it is going to be rather good.’ Furthermore, the arrival of a new schoolmaster, Dick Young, brightened the picture considerably.

Dick loved to drink and in the local pub would tell the other masters of his transgressions. He had been expelled from Wellington, sent down from Oxford, forced to resign his commission in the Army, ‘has left four schools precipitately, three in the middle of the term through his being taken in sodomy and one through his being drunk six nights in succession. And yet he goes on getting better and better jobs.’ The reason was that whenever he left a school in disgrace, he always took with him very good references, since no headmaster dared to confess that he had hired a pederast.

Evelyn recorded a day’s outing to Snowdonia, which was a bore for all the masters, except for Young. He claimed that he had enjoyed the day enormously. ‘Enjoyed yourself?’ asked Evelyn. ‘What did you find to enjoy?’

‘Knox minor,’ Young replied with what Evelyn called ‘radiant simplicity’. ‘I felt the games a little too boisterous, so I took Knox minor away behind some rocks. I removed his boot and stocking, opened my trousers, put his dear little foot there and experienced a most satisfying emission.’

In his autobiography, Evelyn tactfully referred to Dick Young under the pseudonym of ‘Grimes’. He describes him as ‘monotonously pederastic and talks only of the beauty of sleeping boys’. He himself had grown fond of the boys and was pleased that they had done well in their history examination.

For a short time during that summer term, his happiness increased. He handed in his notice in the ‘benign contemplation of a year abroad drinking chianti under olive trees’. But then news reached him that the job was not his after all. More bad news came with Harold Acton’s reaction to his novel, ‘The Temple at Thatch’. The verdict was negative: ‘Too English for my exotic taste. Too much nid-nodding over port.’ Evelyn promptly burnt the manuscript in the school boiler room and went down to the seaside. He took off his clothes and left them in a pile on the beach, accompanied by a suicide note consisting of a quotation from Euripides (in the original Greek, which he had taken the trouble to verify in a school textbook). Then he began swimming out to sea, intending to end it all. But he encountered a shoal of jellyfish, was stung on the shoulder and turned back.



The school year came to an end and Evelyn left Arnold House for London, with no job prospects and no money. He was at his lowest in these months. All his friends seemed to be developing their careers while his was going nowhere. There appeared to be no alternative but to seek another teaching post. Richard Plunket Greene told him about a vacancy at the school where he was teaching. Located at Aston Clinton near Aylesbury in Buckinghamshire, it was within striking distance of both London and Oxford. And Richard would be a colleague. He got the job.

Evelyn was determined to enjoy his summer before starting there in the autumn. Alastair Graham was back from Africa. They renewed their bond. At the end of August, Evelyn stayed with Alastair in Barford for a week. He heard Mass in a hideous church in Leamington Spa. He took a bus over to Stratford-upon-Avon, where Alastair was learning the art of hand-press book printing. They had cocktails at one hotel and luncheon at another, after which Evelyn went to the theatre and found the ‘audience most bardolatrous, laughing religiously at the most pathetic puns’. Afterwards, he met up with Alastair again. They had tea together, then returned to Barford ‘where we dined in high-necked jumpers and did much that could not have been done if Mrs Graham had been here’. She had left home in a rage on discovering that her son was guaranteeing Evelyn’s overdraft.

Several letters from Alastair survive from this time. ‘My dear Evelyn,’ one of them begins,

Thank you for your letter. Evelyn, it was very serious for a poor, careless, happy person like me. Of course I want you to treat me like your nature wishes to. I don’t understand how one could treat anyone otherwise without being insincere. Travail [?] is a charming spiced memory that I am most pleased to think of in my quiet moments. It is those memories that I live on.

Another one reads:

My dearest Evelyn, I feel very lonely now. But you have made me so happy. Please come back soon … My love to you, Evelyn; I want you back again so much.

Though ‘The Temple at Thatch’ had been consigned to the boiler of Arnold House, its opening chapter in the style of a film seems to have been recycled in a short story called ‘The Balance’, which Evelyn finished by the end of that summer of 1925. He thought sufficiently well of it to send it to Leonard Woolf at the Hogarth Press and Geoffrey Whitworth at Chatto & Windus.

The cinematic beginning has four unattributed voices. This kind of dialogue – like the telephone conversation – became one of Waugh’s literary trademarks. Each voice reveals the character of the speaker with precision and economy. In creating such voices, Evelyn was finding his own literary voice for the first time.

The main narrative is presented as a silent film whose captions are commented upon by a cinema audience that includes two housemaids and a Cambridge undergraduate. Evelyn drew upon much of his own experience for the hero, Adam Doure (the surname should presumably be pronounced to rhyme with ‘Waugh’). Physically, though, the character is created more in the image of Alastair than Evelyn.

Adam, like his creator, is a student at a London art school. He is still spiritually attached to Oxford, from where he has graduated and where his friends still reside. And he tries to commit suicide, leaving a self-dramatising note (albeit in Latin as opposed to Greek). His suicide attempt is thwarted when he vomits up the poison he has administered himself. Adam decides, on balance, that pursuit of his art is better than suicide.

There are other autobiographical details woven into the narrative: Evelyn’s sense of not belonging, his sadness, his unrequited love for Olivia (who becomes the excellently named Imogen Quest). Even his sale of his Oxford books is included. Adam’s library is ‘remarkable for a man of his age and means’, consisting of admirably bound volumes, some of them rare editions. Like Evelyn, Adam returns to Oxford in search of his friends and the happiness of his undergraduate existence. The Oxford scene is headed with the line from Quiller-Couch that Evelyn quoted so often: ‘KNOW YOU HER SECRET NONE CAN UTTER?’ The camera is imagined following Adam from the station through the city of dreaming spires to King Edward Street. Adam is visiting a special friend:

LORD BASINGSTOKE’S ROOMS. KING EDWARD STREET.

Interior of Lord Basingstoke’s rooms. On the chimney-piece are photographs of Lord Basingstoke’s mother and two of Lord Basingstoke’s friends, wearing that peculiarly inane and serene smile only found during the last year at Eton and then only in photographs. Some massive glass paperweights and cards of invitation.

On the walls are large coloured caricatures of Basil Hay drawn by himself at Eton, an early nineteenth-century engraving of Lord Basingstoke’s home; two unfinished drawings by Ernest Vaughan of the Rape of the Sabines and a wool picture of two dogs and a cat.

Lord Basingstoke, contrary to all expectation, is neither drinking, gaming, nor struggling with his riding boots; he is engaged on writing a Collections Paper for his tutor.

Lord Basingstoke’s paper in a pleasant, childish handwriting.

‘BRADLAUGH v. GOSSETT. THIS FAMOUS TEST CASE FINALLY ESTABLISHED THE DECISION THAT MARSHAL LAW IS UNKNOWN IN ENGLAND.’

He crosses out ‘marshal’ and puts ‘martial’; then sits biting his pen sadly.

‘Adam, how lovely; I had no idea you were in Oxford.’

They talk for a little while.

‘RICHARD, CAN YOU DINE WITH ME TO-NIGHT. YOU MUST. I’M HAVING A FAREWELL BLIND.’ Richard looks sadly at his Collections Paper and shakes his head.

‘My dear, I simply can’t. I’ve got to get this finished by tonight. I’m probably going to be sent down as it is.’

Adam returns to his taxi.

In this poignant little scene, Hugh Lygon enters the fictional world of Evelyn Waugh. His mother is a dominating spirit, as, by way of that nineteenth-century engraving, is Madresfield. Hugh’s passions are captured: drinking, gaming, riding. As is his academic weakness: the childish handwriting, the inability to spell ‘martial’. But hanging over the pen portrait are the qualities that Evelyn so loved. On the one hand, the capacity for friendship – the photographs of fellow Old Etonians, the invitations revealing that everyone wants his company. And on the other, the sense of sadness and hopelessness. In the flesh, Lord Basingstoke is Hugh Lygon. In the imagination, he is Sebastian Flyte in embryo.

As Waugh developed as a writer, he perfected a technique of combining the characteristics of his friends, enemies and acquaintances in order to create composite characters. His later portraits of Hugh are not of Hugh alone. In that sense, the glimpse of Lord Basingstoke in his Oxford rooms, so clearly evocative of Hugh and no one else, is the closest we ever come to the most elusive of Evelyn’s lovers.

Another aspect of Waugh’s creative sophistication was his way of splitting his own identity into more than one character. The full extent of this practice has not always been noticed by his critics and biographers. They have seen that Adam Doure is a self-portrait, but a second double has escaped observation. Adam goes around Oxford trying to find an old friend to dine with. Everyone is engaged. But then as a last resort he calls on a certain Ernest Vaughan. This E. V. has ugly rooms in a second-rate college. They are situated (symbolically) between ‘the lavatories and the chapel’. Caricatures and messy drawings line his walls. Among them is an ‘able drawing of the benign Basingstoke’. Ernest is carefully described, sitting in his wicker chair as he mends darts ‘with unexpected dexterity’. He is ‘a short, sturdy man, with fierce little eyes and a well-formed forehead’. His well-made tweeds are stained with drink and paint. The two men proceed to get drunk over dinner. Ernest sketches Adam. Later, after more drinking in another Oxford pub, Ernest ‘beset by two panders, is loudly maintaining the abnormality of his tastes’. Then with ‘swollen neck and staring eye’, Ernest almost gets into a fight with Imogen Quest’s brother. He is violently sick at the last minute, foreshadowing Adam’s reprieve when he vomits up the poison.

The story ends with a conversation between the Quests and some aristocratic Oxford friends who pass judgement on the hapless Vaughan: ‘Just the most awful person in the world … Isn’t he short and dirty with masses of hair.’

Imogen, bored and repelled by Adam, is intrigued by a glimpse she has had of the awful Ernest: ‘I think he looked very charming. I want to meet him properly.’

‘Imogen, you can’t, really. He is too awful.’

The story ends with Imogen determined to persuade Adam to orchestrate a meeting with his funny little friend. Ernest Vaughan is on his way to becoming an unlikely romantic hero.

Adam Doure is Evelyn Waugh, but so is Ernest Vaughan. On returning to Oxford, Adam meets his own other self, a doppelganger who is also drawn to Basingstoke/Hugh, and who becomes a device for Waugh to fantasise about succeeding in his doomed quest for the love of Imogen/Olivia. Many things are in the balance in this most accomplished of Waugh’s early stories: not only the choice between life and death, but also the question of sexual orientation and the writer’s need to hold together his personal experience and his gift for fantastical invention.


(#ulink_d96e705f-ff2b-5b7d-85b9-d63409eed863)

September 1925 and the new term at Aston Clinton beckoned. It was time once again for Evelyn to say goodbye to Alastair. He felt more ready on this occasion. Alastair and his friend Christopher Hollis were beginning to bore him with their endlessly rehashed conversations about just two subjects, ‘Catholicism’ and ‘the Colonies’.

Aston Clinton did not meet expectation. Its common room (always the key to a teacher’s happiness) was ‘frightful’. The boys were ‘mad’ and ‘diseased’ (i.e. spotty). It was no more than a crammer for the rich and thick. There was a pub close by, which was something. ‘Taught the poor mad boys and played football with them’ is a typical diary entry. Or ‘Taught lunatics. Played rugby football. Drank at Bell.’ Evelyn was trapped here for the next seventeen months. The one compensation was that he was closer to his friends.

Most weekends were spent at Oxford or London. In October, Evelyn and Richard Plunket Greene returned to Oxford, where they dined with Hugh Lygon and John Sutro: ‘they gave us champagne and we gave them brandy’.

He was disappointed when he hosted an early birthday dinner and not one of his Oxford friends turned up. The day before his birthday, he began a drawing intended as a present for Hugh on his twenty-first, which was to be a week later. Richard, meanwhile, had got a new job at Evelyn’s old school, Lancing. The prospect of Aston Clinton without a real friend in the common room was grim.

He was not invited to Hugh’s twenty-first birthday party at Madresfield. But around the same time, Evelyn and Richard had a party of their own. Three carloads of Oxford friends came down to play a rugby match against the schoolboys. It was a great success. The grown-ups won, though not by such a large margin as Evelyn had feared that they would. He even scored a few tries himself, which would have been an unusual sight. In the course of the drunken evening that followed, Arthur Tandy, a Magdalen man of a thespian bent who hung around on the fringes of their Oxford set, ‘made love’ to Evelyn – that is to say, professed his love for him. He spoke in no uncertain terms: ‘Everything that I said about him cut him to the very soul; throughout the giddy whirligig of his life – and he had been up against things, in his time, face to face with the scalding realities of existence – the one constant thing that had remained inviolate in spite of all else had been his love of me.’ This all took time to say and, according to Evelyn, it bored him inexpressibly. Tandy eventually became British ambassador to the European Economic Community.

Two days later, at the beginning of half term, Evelyn headed for Oxford. He had promised to act in Terence Greenidge’s latest film. They were filming in the Woodstock Road but Evelyn was cross about the other actors, who were people he couldn’t stand: ‘After an hour I could bear it no more and when we came to a scene in which a taxi was to be used I got in it and drove away, rather to everyone’s annoyance.’ That evening he went with friends to the George Bar. A scandal ensued from the night’s activities, though Evelyn managed to escape all the trouble.

A party was in full swing. But not solely with the usual Oxford set. A gang of wealthy homosexual stockbrokers and businessmen had come to Oxford to see Hugh Lygon. There was a rumour that one of them owned 107 newspapers and wore platinum braces. When they arrived, they discovered that Hugh was not there. He was still at Madresfield, celebrating his coming of age. His failure to turn up for the party to which he had invited the stockbrokers was characteristic: Hugh was notorious for bad time-keeping, always arriving late, or sometimes not appearing at all, despite assurances given when arrangements were made. So great was his laxness in this regard that a considerable number of his friends and family had the same idea for a twenty-first birthday present: he was overwhelmed with numerous gifts of clocks and watches of all sizes and designs.

Robert Byron, one of the most active homosexuals among the Hypocrites, opportunistically took Hugh’s place and enjoyed a wild night with the Londoners. Writing to Patrick Balfour with a graphic account of their activities, he cautioned him not to leave the letter lying about. There was, according to Anthony Powell, a fear that the police might become involved. Though homosexuality was tolerated when indulged in privately by undergraduates, group encounters between gentlemen and stockbrokers were a step too far in an era that had not forgotten the trials of Oscar Wilde.

Evelyn was in at the start of the evening, but not its climax. The ‘syndicate of homosexual businessmen’ stood him champagne cocktails at the George, but he then went off to another bar, the Clarendon, with some friends of his cousin, Claud Cockburn. He was then pursued by Richard Plunket Greene and his fiancée, Elizabeth. Feeling perverse, he didn’t want their company. In order to escape them, he climbed out of a window and broke his ankle on his descent.




(#ulink_4a701780-a053-53ce-b6cf-e4fc161b791a) There seem to be two private jokes for Hugh Lygon’s benefit in the story’s names. ‘Ernest’ inevitably evokes Oscar Wilde’s play: Evelyn would have known of Hugh’s triumph at Eton in the role of Cecily, who is in love with ‘Ernest’. And in Gilbert and Sullivan’s well-known comic opera Ruddigore, ‘Basingstoke’ is famously used as a code word by Sir Despard Murgatroyd to soothe his new wife, Mad Margaret, when she seems in danger of relapsing into madness – the name of Lord Basingstoke is thus linked to the Lygons by way of the code name ‘Murgatroyd’ used by Elmley when they filmed The Scarlet Woman.




CHAPTER 6 The Lygon Heritage (#ulink_989c05d6-0cdb-51ed-b243-c08615ba5b94)


‘A party of queer men from London arrived to see Hugh yesterday,’ wrote Robert Byron to his mother from Oxford. ‘As he is at Madresfield celebrating his majority with becoming pomp, I looked after them.’

A night in their company provided some compensation for his not being at Hugh’s party himself. The previous year, by contrast, Byron had attended the coming-of-age party of Hugh’s older brother, Elmley. He had been overwhelmed by the sheer scale of the event, and deeply impressed by the organisation of Lord Beauchamp, who had conducted the celebrations as if they were a military campaign. Hugh’s coming-of-age party was also held at Madresfield Court. Once again, no expense was spared – even though Hugh was the ‘spare’ and not the ‘heir’.

Until Evelyn Waugh appeared at Madresfield in 1931, Robert Byron was the most favoured Oxford friend of the aristocratic Lygons. He had known them since Eton. During the summer months he stayed with them at Walmer Castle in Kent, where Lord Beauchamp put in an annual stint in his capacity as Warden of the Cinque Ports. It was there that the earl acquired his family nickname (only to be used behind his back) ‘Boom’. At Walmer, Byron met the striking Lygon sisters. Lettice, the oldest of them, was particularly lovely. He judged her ‘the most beautiful human being I have ever seen – oversize feet and yet the most lovely figure’. Byron in turn made a lasting impression on eleven-year-old Coote: she never forgot his ‘café au lait suit’ and his pince-nez spectacles.

In 1923, Lord Beauchamp invited Byron to accompany him and his sons on a tour of Italy during the Easter vacation. Byron later credited Hugh’s father as the man who opened his eyes to the world and the wonders of foreign travel. He himself became a renowned travel writer. Many critics consider his book The Road to Oxiana (1937) to be the foundation stone of the modern genre of literary travel-writing.

Byron kept a diary, and his remarks about the earl shed light on how someone of Evelyn’s generation (with their well-documented anger at their fathers) saw this rather unusual patriarch. Venice was Lord and Lady Beauchamp’s favourite Italian city, so the travel party went there first before moving on to the historic towns of northern Italy, after which they headed south to Naples and the island of Capri.

Byron remembered that Hugh’s father was an indefatigable sightseer ‘who maps out every moment of every day, weeks beforehand’. Whilst they were in Venice their travel bible was Ruskin. In Florence and Rome, it was Augustus Hare. Byron’s diary details the churches and galleries they visited, as well as the obscure little restaurants that Lord Beauchamp insisted upon frequenting – he had a passion for local Italian dishes. Byron was suspicious that the secondi piatti sometimes consisted of horse meat.

It was this visit that first inspired Byron’s love for Byzantine art, and he had the most knowledgeable of teachers in Lord Beauchamp. Byron’s greatness as a travel writer came from his way of finding the essence of a culture in a magical alchemy of its architectural history and the customs of its people. It was Beauchamp who sharpened the young man’s eye, wherever he went, for both the buildings and the locals. For his part, the earl was delighted to have a boy in the party who shared his interests and enthusiasms. Hugh was emphatically uninterested in culture – his boredom was an endless source of exasperated amusement to the other men. Lord Elmley took a little more interest, but Robert was the passionate sightseer. He was the kind of son for whom Beauchamp had longed. In Florence the party dined with Harold Acton at his exquisite family home, La Pietra. Acton took them to the famous tea-rooms, Doney’s, and to the nightclub, Raiola’s. This was the first time that Hugh became animated.

Byron recalled his wonder as the party climbed to the top of Giotto’s bell tower in Florence. Hugh showed little interest in the magnificent view. He stood reading the Daily Sketch whilst Robert was overcome by the view of the Duomo and the other historic buildings. Hugh was more interested in the racing news and the gossip column report on the London party scene.

In Assisi, Lord Beauchamp and Robert Byron inspected in minute detail Cimabue’s frescoes in the vault of the upper basilica of the church of St Francis. Hugh complained about missing breakfast and then moaned about the luncheon menu. Doting father that he was, Beauchamp could not help calling his adored second son ‘something of a little philistine’. But Hugh, tall, languid and charming, could get away with anything.

They had arrived in Florence by train. Having exhausted the sights of the city, Beauchamp hired an enormous motor car for the drive south to Assisi and Rome. By this time they were all beginning to be fatigued by their exertions with Ruskin and Baedeker in hand. After ten days’ recuperation on the island of Capri, they left for England.





Конец ознакомительного фрагмента. Получить полную версию книги.


Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию (https://www.litres.ru/paula-byrne/mad-world-evelyn-waugh-and-the-secrets-of-brideshead/) на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.