Abstracts of Japanese Essays on Evelyn Waugh, 1948-1959

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S. Y. "Evelyn Waugh no Ninki―Sekaibungakutsushin (Igirisu)" ["Popularity of Evelyn Waugh--World Literary Correspondence (Britain)"]. Sekaibungaku [World Literature] 25 (1948): 24-25.

Abstract: To say nothing of venerable authors such as Forster or Maugham, from central writers such as A. J. Cronin, Hilton Pritchett, and Graham Greene to rising writers such as Monica Dickens, Malcolm Lowry, Margery Sharp, and Elizabeth Gouge, the U.K. literary world is in full swing these days. But it is a central writer, Evelyn Waugh, 45 years old this year, who attracts the most attention in the world today. Waugh already had considerable popularity with Decline and Fall and Vile Bodies. These works hardly attracted attention from critics, but he continued presenting ludicrous and satirical works one after another. A Handful of Dust lacked the cheerful color of the early novels, because in spite of the devilish destruction, he is an extreme conservative. Combining the ridicule of his comedy and a pious manner, Brideshead Revisited was a deeply impressive work. The Loved One and Scott-King's Modern Europe followed. Waugh is in his prime and active in both Britain and the United States. His works will very much become a problem in future as one of the oddest satirists of the middle of the twentieth century.

Ueno, Naozo. "Aisuruhito Korewa Shinin no Daimeishi Desu--Evelyn Waugh no Fuushishousetu." Sekaijin 6 (1949): 20-26.

Abstract: Evelyn Waugh's satirical novel The Loved One, published last June, severely attacks American feelings about the English. However, Waugh's most severe attack is aimed at the fraudulence of American culture. The attack is tactically veiled with humor. Readers are unable to decide whether they should laugh or be angry. This novel instantly became a bestseller because it is so much fun. The Loved One was based on Waugh's experience in Hollywood while filming his Brideshead Revisited. Naturally Hollywood is the first target and inside facts are uncovered. But his cynical remarks about American death and love show his colossal talent. He points out the basic error of the American way of thinking about these two subjects. His satire, sharp wit and speed differ from the steadiness of Sinclair Lewis and the pessimism of Swift. Though it sharply attacks American culture, The Loved One is filled with the brightness of American life.

Nakanishi, Hidezo. "Evelyn Waugh no Fuushi―Fuushiseishin wa Aijo to Ryouritu Shinai?" ["Satire of Evelyn Waugh--Can the satirical spirit coexist with love?"]. Albion 24 (1954): 54-57.

George Orwell satirizes communist revolution tactfully by using the form of an animal fable in Animal Farm. However, Waugh's object of satire is individuals to the last. They share faults with the readers. The readers' loud laughter sometimes turns into slight, wry smiles, and then cools down to barefaced self-mockery. Or readers brood with serious faces. Roughly speaking, Waugh's satirical world includes such cynical laughter. Waugh can describe the upper class only. He cannot describe the poor or the bourgeoisie. The description of aristocrats' lives is marvelous. It has sharp satire, but his satire reveals aristocrats' corruption. His mind does not recognize social progress. From the start, he has no intention to criticize aristocratic society from the class viewpoint. In Brideshead Revisited, his excellent lampoonery suddenly declines. It's not because he uses first-person narrative. As usual, he keeps his distance from the object. But he seems to feel deep love of the Marchmains. Satirical spirit doesn't coexist with love. Satire is a kind of disclosure, and love is something to embrace.

Saeki, Shoichi. "Evelyn Waugh Ron--Niryu Sakka no Ikikata." ["A Theory about Evelyn Waugh--The Way of the Second-Rate Writer"]. Oberon 1.2 (1954): 37-56.

Evelyn Waugh began as a writer just by learning basic ideas of Huxley and Eliot. He tried to find unique literal techniques to digest them, and that was his problem. …