34 pages • 1 hour read
Evelyn WaughA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
During a rough crossing over the English Channel on a ferry, passengers from cosmopolitan English society have each prepared a different cure for seasickness. A Christian evangelist named Mrs. Melrose Ape travels with a bevy of young women, each named after a Christian virtue, in a touring show; she implores them to begin singing if they feel queasy. A young pair named Miles Malpractice and Agatha Runcible tape their stomachs, while a pair of well-heeled middle-aged women named Throbbing and Blackwater drink champagne to cure their seasickness. They gossip about the sexual proclivities of fellow passenger Walter Outrage, who recently retired from his job as Prime Minister.
Young novelist Adam Fenwick-Symes boards at the last minute, carrying in his luggage a completed manuscript and several books. He meets Father Rothschild, who recognizes him and congratulates him on his recent engagement to Nina Blount. He warns Adam to avoid Mrs. Ape. As predicted, everyone suffers through seasickness for the duration of the journey—except for the crew, who declare they are happy with the uneventful, smooth sailing and clear weather. Adam, mostly unaffected by the movement of the ship, plays cards and endures a conversation with a dull journalist. Mrs. Ape, after ordering a double rum, commands everyone at the bar to start singing Christian hymns. Some passengers interpret the singing as a sign that the ship will soon sink. Mrs. Ape passes the hat, earning nearly two pounds, and soon the ferry successfully docks at the Dover harbor.
The passengers disembark and each is stopped by a pair of rough customs officers. After a long wait, they search Adam’s luggage. The customs officers don’t seem to recognize the books, which include works by Dante and Aristotle, but they view them with suspicion, especially when they discover Adam’s manuscript. In a back office, the customs chief declares, over Adam’s weak objections, that he will confiscate most of the books and burn Adam’s manuscript immediately. Agatha Runcible is strip-searched. Adam leaves with Mrs. Runcible and a small group of “Bright Young People,” who inform him of a party later that night, to be held by a social climber named Archie Schwert, and complain that since the war, everything has been falling apart.
Once in London, Adam checks into his usual room at Shepheard’s Hotel and then visits a junior director at his publisher’s office, who is busy either censoring or “gingering up” (enlivening) the novels he edits (33). Upon learning that Adam’s manuscript has been burned, the junior director informs the penniless Adam that he’ll have to pay back his fifty-pound advance. Since that is impossible, the junior director draws up a predatory contract committing Adam to 12 more books at a miniscule percentage of the royalties.
Adam calls Nina Blount, whom he has not yet met in person, to inform her that he is broke and cannot marry her after all. She calls him boring and tells him she’ll see him at the party. Adam picks up a paper, which is full of gossip about the English peerage.
Lottie Crump is the proprietor of Shepheard’s Hotel. Both she and the hotel represent an outdated Edwardian style. The parlor is filled with signed photographs of European royalty, and many of the staff and residents are elderly and associated with titled families that have deteriorated. The residents mingle in the parlor and talk about anarchism and democracy as if they were interchangeable phenomena. They drink copious amounts of champagne with Adam and struggle to remember the current Prime Minister’s name. Adam plays a game involving the spatial arrangement of coins with a wealthy, drunk man and walks away with a thousand pounds (worth approximately 70 thousand pounds in 2022). Adam calls Nina Blount to inform her that, due to his new fortune, he can marry her after all.
Agatha Runcible appears to collect Adam for the party and stays to talk to Lottie Crump. A drunken Major convinces Adam to bet his money on a racehorse called Indian Runner and Adam, equally drunk, happily hands over his thousand pounds, so that the Major can place the bet for him. He calls to tell Nina the good news and Nina informs him that Indian Runner is well known to be a terrible racehorse. When Adam returns to the parlor, he finds that the Major is gone, and that moreover, no one there has heard of him.
Agatha tells Lottie about her experience with the customs officers. Offended on Agatha’s behalf, and demanding satisfaction from the highest authority, Lottie calls up to the room of Walter Outrage, the former Prime Minister, even though there is now a new Prime Minister, named John Brown. Soon, the party in Shepheard’s Hotel breaks up.
For his part, Walter Outrage is disappointed that his dinner with the Baroness Yoshiwara, the wife of a Japanese diplomat, has been interrupted. Father Rothschild calls to inform him that Outrage’s dalliance with Yoshiwara could create trouble at the Japanese embassy. Baroness Yoshiwara, meanwhile, finds Outrage’s behavior off-putting. Both anticipated a romantic evening, but they find one another’s social cues confusing.
At Archie Schwert’s party, two English peers named Lord Vanburgh and Simon Balcairn call the gossip columns for their respective papers to report on the party. They complain to each other about seeing the same faces over and over, and then call it a night. Photographers go from room to room taking pictures that are accompanied by loud explosions of flash powder.
Most of the people who were on the ferry appear at the party, including Mrs. Melrose Ape and her entourage of evangelical young women. Jane Brown, the innocent young daughter of the current Prime Minister, is there with a young socialite. She regrets not dressing up as a “savage,” as many of the partygoers have done, following a suggestion on the invitation.
Nina and Adam meet in person for the first time. Neither is sure any longer whether they are engaged. Nina suggests that the two of them go see her father, Colonel Blount, and talk to him about Adam’s money problems. Drunkenly, he falls asleep on her lap.
Later, a dozen dedicated partygoers, including Nina and Adam, go out in search of more fun. They find the lobby at Shepheard’s Hotel closed, and in Judge Skrimp’s hotel room they find a scene of disaster: A young woman has attempted to swing on a chandelier and is now unconscious. Finally, Jane Brown speaks up and says they can all go to her house. There, the partygoers ransack the kitchen and pass out all over the house. Miss Brown is delighted to have the cream of London society in her home.
In the morning, the Prime Minister and his family awake to find people staying in their large house and the kitchen in a riotous state. Many of the revelers are dressed as “savages,” which adds to the confusion. The Prime Minister reads reports in the morning paper of “Midnight Orgies” taking place in his own home. When Agatha Runcible leaves that morning, there is a throng of reporters outside the Prime Minister’s house.
Waugh sets up a world of constant churn and activity where daily life intermingles parties, death, money, and international politics. His novel takes place just after the First World War and during the advent of a dizzying array of technological innovations in transportation and communication. These events, in busy London, leave little time for reflection or for the comforts of tradition. The result is that parties take on the dull, energy-eroding qualities of wartime and politics, while politics take on the frivolity and absurdity of parties. Waugh flattens the meaning of major social and political events, suggesting that nothing in culture is capable of reaching an elevated point of trustworthiness or constancy.
Stylistically, the novel is cut up into short chapters and the attention of the narrator flits from person to person, giving little attention to any one character’s internal life. Sometimes the narrator digresses altogether, such as when observing the senseless repetition of advertising slogans as viewed from a moving train. Waugh’s writing style is modern in that it established a rapid pace and does not linger on description: The chapters are presented quickly, with whiplash turns of attention, and dialogue scenes present snappy conversations made up of short lines. The effect is to involve the reader’s senses in the fast-paced world of the novel.
The characters, too, are archetypically modern. They are not particularly psychologically interesting on their own, and they do not pursue noble quests of identity or community; instead, they represent their generations at large and attract interest due to the tumult of sensation around them. At the center of this bustling scenario, Adam Fenwick-Symes seems to maintain a sense of English reticence, even when his manuscript—representing years of his life and the means of his future employment and marriage—is confiscated and marked for burning. In this sense, he provides a neutral viewpoint from which the reader can observe, along with Adam, his tumultuous and nonsensical world.
By Evelyn Waugh