52 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.
Content Warning: This section of the guide contains references to anti-gay attitudes typical of the period, alcohol misuse, religious intolerance, racism, and pregnancy loss.
Charles Ryder is the narrator and protagonist of Brideshead Revisited. Despite his father’s apparent wealth (Charles receives a higher-than-usual annual allowance as a student), Charles has been raised middle class. He initially undertakes a more practical degree in history before choosing to pursue art in Paris. Charles is scornful of social climbing in others (such as Rex Mottram) and often mimics the social mores of the aristocracy, as when he and Sebastian attempt to learn about wines together. Despite this, he longs to be part of Sebastian’s world (due to, the novel implies, his romantic and possibly sexual attraction to Sebastian). However, Charles grows frustrated with the upper class’s insistence on politeness and image over substance. He butts heads with Lady Marchmain over this issue when Sebastian’s alcohol misuse becomes problematic.
Charles is an agnostic who spends most of the novel baffled by his companions’ religious devotion. He frequently challenges the specific tenets of Catholicism as absurd. Charles is certain in the rightness of his own perspective, a matter that relates to his (ir)religious convictions and his patriotism. Though he does not explicitly name it as such, Charles frequently thinks or acts in ways that reveal his certainty that England is the center of the world.
Charles thus emerges as a character whose apparent certainty in “right” ways of being are belied by continual, unresolved tensions—between his own affective desires and compulsory heterosexuality, between class consciousness and the lure of aristocratic lifestyles, between individual freedom and family. Though his scene of religious conversion promises grace for Charles, the novel does not explore the effects of this conversion.
Sebastian Flyte is Charles’s closest friend during his Oxford years and the person who introduces Charles to Brideshead and the rest of the Flyte family. Sebastian is charming in a way that is linked to both youth and class. Sebastian makes friends wherever he goes, even after his alcohol misuse leads him to be frequently drunk and combative; his charm and social status permits him to affect potential queerness without risk of harm in a way that would be dangerous for others (as Anthony references in his dinner with Charles in Book 1). A central aspect of his charm is youth; Charles describes him as “entrancing, with that epicene beauty which in extreme youth sings aloud for love and withers at the first cold wind” (33). In the first part of the novel he carries a teddy bear named Aloysius with him in what is taken for a charming affectation.
Sebastian is selfish and jealous. He worries that Charles will prefer the other Flytes to him, and demands regular confirmation of Charles’s loyalty, which he does not offer in return. He both takes advantage of the privileges of his class and pretends they don’t exist (as when he laments his finances). He resents his family’s attempts to control him and blames them for his alcohol misuse.
Sebastian ultimately returns to the religion of his childhood, Catholicism, though during his university years he describes himself as “half-heathen.” When Cordelia describes his life as a “hanger-on” at a religious order, she characterizes it as a place where he will be cared for and accepted as he is. Sebastian’s version of happiness (mediated through his sister) is thus framed as a state analogous to perpetual childhood, lacking responsibilities and always possessing a source of care.
Julia Flyte is Sebastian’s sister and Charles’s eventual lover. For much of the novel, Julia shows little interest in her family’s wants and concerns, focusing instead on her self-image as a modern woman. She is pragmatic, accepting that her Catholicism will limit her in the social sphere of the English upper crust. She is also competitive and acquisitive, as suggested by her courtship of Rex Mottram, whom she eventually marries. She first becomes interested in Rex because he is unattainable (he has a long-term mistress), then falls in love with him because he refuses to have sex with her. Julia becomes focused on “attaining” Rex, to the point that she routinely calls Sebastian’s alcohol misuse “boring” and frames it as interfering with her courtship.
When Julia marries Rex, she must give up her attachment to her religion, since as a divorced man, Rex cannot be married in a Catholic church. Their marriage is not a happy one, she considers Rex less than a full person, and she regrets marrying him. She enters a multi-year affair with Charles. Julia returns to Catholicism after her father’s death, deciding, at the last moment, not to divorce Rex to marry Charles. This marks the end of their affair.
Anthony Blanche is a classmate of Charles and Sebastian at Oxford. Anthony represents a non-British, non-heterosexual Other in the novel, due to his South American heritage and his openness as a gay man. Anthony appears periodically throughout the novel, often to give Charles or Sebastian direction. He warns Charles against becoming too attached to upper-class Sebastian, cautioning him against “charm” as a substitute for substance. Charles will gradually come to agree with this idea.
Anthony occupies a curious space in relation to the text’s moralizing. On one hand, Anthony’s queerness is a point of contention for the novel’s (and Waugh’s) Catholic devotion. Though the novel is not explicitly against queer friendships, it does refer to queer sexuality as sinful, which stands against the novel’s clear preference for Catholic values. That Anthony allows his attachments to extend fully to sex presents a problem for Brideshead. Yet Anthony cannot be unilaterally dismissed, either. His observations about the dangers of politeness within upper-class society not only prove valuable to Charles but come to be the very views that Charles espouses.
Anthony thus stands on the edge of the novel’s moral sphere. His perspective as an outsider is presented as valuable to someone like Charles (who might be in danger of becoming Other if he does not behave appropriately), but his position is not one that the text condones.
By Evelyn Waugh