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Post-war Waugh 493 in London, working for a time in the Ministry of Information. This gave rise to his novel The Ministry of Fear (1943). But it is his 1940 novel The Power and the Glory which remains – with Brighton Rock (see page 438) – his classic of this period. Again, the fascination with guilt and salvation is reflected in his thrillers just as much as in his more serious novels. In the world of spies violence, betrayal, treachery and human weakness are brought into play in terms of plot before they become moral or spiritual issues. So, although his ‘shockers’ are superficially novels of escape, like Maugham’s influential Ashenden stories (1928) or Buchan’s Richard Hannay novels, they reveal a more serious purpose. His work creates an identifiable ‘Greeneland’ – a world of constant anxiety rather than easy excitements. Greene’s technique – his strengths in plotting and cutting from one scene to the next – and the sinister atmosphere of the thriller were influenced by his time spent as a cinema critic in the late 1930s. Greene’s late fables, such as Doctor Fischer of Geneva or The Bomb Party (1980), take the anxiety level of Greeneland to a new pitch: greed and total amorality threaten the superficial veneer of civilised behaviour, as they have done in all the threatened landscapes Greene has visited, as traveller, critic or novelist. From West Africa to Indo-China, Brighton to Cuba, wartime London to the Stamboul Train, the threats of betrayal are the same. In A World of My Own: A Dream Diary (1992), published after his death, Greene makes a close analysis of how dreams and anxieties are related throughout his long writing career, leaving us with the thought, ‘God is suffering the same evolution as we are, perhaps with more pain’. POST-WAR WAUGH In the Second World War, Evelyn Waugh served in the Royal Marines and this provided him with material for a satirical trilogy about the English at war: Men at Arms (1952); Officers and Gentlemen (1955), and Unconditional Surrender (1961), published together as Sword of Honour in 1965. In this trilogy, considered by some critics to be the best English fiction about the Second World War, the hero, Guy Crouchback, always tries to do his moral best but ends up doing something foolish or inconsequential. The publication of Brideshead Revisted (1945) had introduced a more sustained note of seriousness into
494 The twentieth century: 1945 to the present Waugh’s work. It is a novel about a fascinating but decadent aristocratic family and the powerful influence on them of the Roman Catholic faith. The house of Brideshead, similarly to Howards End in the novel of the same name by E.M. Forster, represents a part of English society – the aristocracy – which was disappearing from the post-war world. Waugh is widely recognised as the pre-eminent novelist who charted that decline and fall. Something of the emptiness of English bravado can be seen in this scene, together with the note of time passing, and regret. ‘We’ll give Europe a good strong line. Europe is waiting for a speech from Rex.’ ‘And a speech from me.’ ‘And a speech from me. Rally the freedom-loving peoples of the world. Germany will rise; Austria will rise. The Czechs and the Slovaks are bound to rise.’ ‘To a speech from Rex and a speech from me.’ ‘What about a rubber? How about a whisky? Which of you chaps will have a big cigar? Hullo, you two going out?’ ‘Yes, Rex,’ said Julia. ‘Charles and I are going into the moonlight.’ We shut the windows behind us and the voices ceased; the moonlight lay like hoar-frost on the terrace and the music of the fountain crept in our ears; the stone balustrade of the terrace might have been the Trojan walls, and in the silent park might have stood the Grecian tents where Cressid lay that night. ‘A few days, a few months.’ ‘No time to be lost.’ ‘A lifetime between the rising of the moon and its setting. Then the dark.’ (Brideshead Revisited) The Second World War did not stimulate the enormous explosion of major writing produced during and after the First World War. Among the reasons for this is the fact that, for the first time, many more of the soldiers who fought in the First World War were able to record and write home about their experiences. The Second World War was much more dominated by the broadcast media: the cinema, both for information and for escapist entertainment, and the radio, which allowed direct contact
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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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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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