Themes and Meanings

(Critical Guide to British Fiction)

Evelyn Waugh’s aesthetic sensibility, the product of centuries of upper-class British breeding, did not permit him to advocate directly the values and customs in which he believed, but his strong moral sense, culminating in his conversion to Catholicism in 1930, was at the root of his writing. His casual racism, xenophobia, snobbery, and superciliousness are the trappings of a serious mind at its most trivial, and their expression in comic thrusts is a part of a dazzling surface that does not prevent the reach and depth of his thinking from coming through in his best work. His relish for satirizing the ethnic absurdities of peculiar local customs is balanced by his glee in rendering comparable British idiocies, and while his dismissal of anything un-British as inferior is a cultural vice his background made inevitable, it is his concentration on what he believed were failures of his own nation that is most enduring in his work. While his attitudes toward the non-British seem stupidly condescending today, they are still a side issue. It is the British who matter for him, and it is their pretensions that most disturb him. Native or European folly is unimportant, as these people, for Waugh, are not really important. Thus, the title Black Mischief is partly ironic since the “mischief” is often lethal, but mischief nevertheless, not evil.

According to his standards, which are very high, when the British fail as a result of deficiencies of character, education, or cultural shortcomings, then, for Waugh, civilized values—all that England should stand for—are in danger. Natives...

(The entire section is 651 words.)