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Early Greene and Waugh 439 are no easy solutions: Pinkie’s death at the end of Brighton Rock does not bring his evil influence to an end; the Devil is always with us. Evelyn Waugh’s career as a novelist, like Graham Greene’s, spanned the central years of the twentieth century – from the Jazz age to the 1960s. Waugh’s work may be divided into two periods: in the first period he wrote brilliant satires on the lives of the wealthy upper classes; in the second period he explores the place of Catholicism in the modern world with deep seriousness while always retaining a satirical eye for human absurdity. His best-known earlier novels are Decline and Fall (1928), Vile Bodies (1930), and A Handful of Dust (1934). Decline and Fall depicts the innocent adventures of a young man, Paul Pennyfeather, who becomes a schoolteacher in a seedy school in North Wales. The novel satirises public school life (Paul’s fellow teachers are either petty criminals or mad) by showing how the characters of the ruling classes are formed. ‘Silence!’ said Paul again. The ten boys stopped talking and sat perfectly still staring at him. He felt himself getting hot and red under their scrutiny. ‘I suppose the first thing I ought to do is to get your names clear. What is your name?’ he asked, turning to the first boy. ‘Tangent, sir.’ ‘And yours?’ ‘Tangent, sir,’ said the next boy. Paul’s heart sank. ‘But you can’t both be called Tangent.’ ‘No, sir, I’m Tangent. He’s just trying to be funny.’ ‘I like that. Me trying to be funny! Please, sir, I’m Tangent, sir; really I am.’ ‘If it comes to that,’ said Clutterbuck from the back of the room, ‘there is only one Tangent here, and that is me. Anyone else can jolly well go to blazes.’ Paul felt desperate. ‘Well, is there anyone who isn’t Tangent?’ Four or five voices instantly arose. ‘I’m not, sir; I’m not Tangent. I wouldn’t be called Tangent, not on the end of a barge pole.’ In Vile Bodies the emptiness and lack of values in the lives of the ‘bright young things’ – the younger generation in the inter-war years –
440 The twentieth century: 1900–45 are cruelly exposed. A Handful of Dust (the title is a quotation from T.S. Eliot) is the story of the break-up of a marriage against the background of the dissolution of an ancient country estate. A contrast is established between a cynical and frivolous modern world and the gradual disappearance of a world of order and stability associated with an aristocratic past. Unlike Jane Austen or Henry Fielding, however, Waugh does not normally use irony and satire to judge or offer solutions, but presents the world as black comedy. THIRTIES NOVELISTS The three Powys brothers wrote several massive, complex and ambitious novels which achieved great critical regard, but never reached a wide readership. They used the West Country as a background and examined themes of vast scope in complex and controversial ways. John Cowper Powys’s Wolf Solent (1929), A Glastonbury Romance (1933), and Weymouth Sands (1934) include the eternal struggle between good and evil and the legends associated with the West of England. T.F. Powys’s Mr Weston’s Good Wine (1927) is an allegory of God’s coming to earth in an English village. This kind of personification is found throughout T.F. Powys’s work and is his way of handling the huge themes found in the works of all three brothers. Llewelyn Powys was perhaps the most prolific of the three. Impassioned City (1931) is his most all-encompassing account of humanity’s predicament and, like Love and Death (1939), confronts the extremes of experience in a way that brings together the concerns of Thomas Hardy with a vision close to that of Samuel Beckett: the whole imbued with the vast compass of reference to myth, religion, and cosmology, which identifies all the Powys brothers’ writing. Several writers looked forward rather than back in their novels, tackling new themes or experimenting with form in an innovative way. Christopher Isherwood, a friend of and collaborator with W.H. Auden, uses cinematic techniques in his Berlin novels Mr Norris Changes Trains (1935) and Goodbye to Berlin (1939). The narrator says ‘I am a camera’ and proceeds to tell his stories with the kind of distanced objectivity a camera can lend. These novels remain valuable impressions of Germany at a crucial time in its history, and the lack of
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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100 The Renaissance 1485-1660 And s
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102 The Renaissance 1485-1660 I all
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104 The Renaissance 1485-1660 In mu
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106 The Renaissance 1485-1660 my he
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108 The Renaissance 1485-1660 Thou
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110 The Renaissance 1485-1660 Trahe
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112 The Renaissance 1485-1660 Old T
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114 The Renaissance 1485-1660 misun
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116 The Renaissance 1485-1660 from
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118 The Renaissance 1485-1660 The t
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120 The Renaissance 1485-1660 Middl
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122 The Renaissance 1485-1660 GIOVA
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124 The Renaissance 1485-1660 SIR B
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126 The Renaissance 1485-1660 The s
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Thy wars brought nothing about; Thy
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Contexts and conditions 131 Sea; no
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Early Milton 133 Revolution was the
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Early Milton 135 good and evil as t
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Early Milton 137 the hero from the
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Restoration drama 139 many lives as
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Restoration drama 141 Revenge! PIER
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Restoration drama 143 One of the fi
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Restoration drama 145 prohibiting
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Restoration drama 147 LOVELESS No,
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Restoration drama 149 PRIM Do they
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Rochester 151 The Theatres Licensin
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Dryden 153 what it saw as the highe
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Dryden 155 his best, and his transl
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Pope 157 POPE True wit is nature to
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Journalism 159 And, spite of pride,
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Scottish Enlightenment, diarists an
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The novel 167 and the social awaren
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The novel 169 Each serial volume of
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The novel 171 paraphrase Pope: what
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The novel 173 polemic comes when he
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The novel 175 That kingdom he hath
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The novel 177 opportunity to set fo
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The novel 179 sentence of death. He
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Criticism 181 to do with that work.
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Johnson 183 (1712). Swift took the
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Johnson 185 There are some hostile
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Sterne, Smollett and Scottish voice
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Drama after 1737 195 MISS HARDCASTL
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Poetry after Pope 197 Thomas Gray
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Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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490 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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