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

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