Vita Sackville-West, The Edwardians

Vita Sackville-West, The Edwardians. Virago Modern Classics paperback, 2004. First published 1930

Vita Sackville-West’s first novel was written, says Victoria Glendinning in her introduction to this edition, ‘for fun, and to make money.’ It achieved both ends, becoming a best-seller for the Woolfs at Hogarth Press, and succeeding as the author hoped in making everybody ‘seriously annoyed.’

Sackville-West Edwardians coverThis is because it’s a gleeful exposition of the shallow hypocrisy, duplicity and decadence of the Edwardian upper classes – a superficially glamorous world she knew well, having been raised in the stately home of Knole, upon which Chevron in this novel is based, an equally lavish and vast country estate that had belonged to the Sackvilles since Elizabethan times. Virginia Woolf’s Orlando (1929) is a thinly disguised fantasy about Vita’s ambivalent sexuality and personality in the context of this dynasty.

In order to write such an exposé, she needed to create some characters who could provide an outsider’s critical view. The first of these is the flimsily-drawn, implausible polar explorer with the exotic name of Leonard Anquetil. He views this privileged party of ‘easily-pleased’ house-guests balefully: they are, he sees, ‘surely spoilt by the surfeits of entertainment that life had always offered them’, yet never tiring of the endless series of frivolously tedious events like this one, or showing any inclination to ‘vary the programme’ they’d followed every weekend since schooldays. Anquetil reflects:

to take their place in a world where pleasure fell like a ripened peach for the outstretching of a hand…All their days were the same; had been the same for an eternity of years…With what glamour this scheme is invested, insolent imposture! and upon what does it base its pretensions? [ he could see that none of them] were in any way remarkable, nor that their conversation was in any way worthy or exciting the interest of an eager man. He listened carefully, tabulating their topics. They were more interested, he observed, in facts than ideas. A large proportion of their conversation seemed to consist in asking one another what they had thought of such-and-such an entertainment, and whether they were going to such-and-such another.

Money is their other obsession, and ‘other people’s incomes’. Politics features only to provide an opportunity to show off which prominent figures they knew in that world.

Their chief desire was to cap one another’s information. So this is the great world, thought Anquetil; the world of the élite…If this is Society…God help us, for surely no fraud has ever equalled it. These are the people who ordain the London season, glorify Ascot, make or unmake the fortune of small Continental watering-places, inspire envy, emulation, and snobbishness – well, thought Anquetil, with a shrug, they spend money, and that is the best that can be said for them.

I’ve quoted at length to give an idea of the lush, pleasing prose style and genial viciousness of the narrative. Two more key characters also have a jaundiced view of this  world: the handsome duke, Sebastian, who is master of Chevron at 19 (his father died when he was young), and his younger sister, Viola. Both are disillusioned with and ultimately reject this privileged world, with its sham ‘code’ of conduct that involves deception, infidelity and treachery, concealed beneath a veneer of gentility, respectability and brittle honour. It disgusts the siblings, and they rebel – although Sebastian has a deep and genuine love of Chevron; it’s the people who he has to mix with that disillusion him.

Sackville-West clearly had enormous fun writing this, and it’s great fun to read. But ultimately, like the superficial characters it depicts, it doesn’t sustain. It’s true that she makes the best of such an easy target: boring, selfish, superficial snobs. But the characters who she presents as embodying the values of decency and integrity, chiefly Anquetil, Sebastian and Viola, aren’t fully rounded. Like the rest of the cast of characters, they’re more like caricatures.

But I enjoyed this gleeful demolition job and finished it in a couple of binge-reads. It’s like Downton Abbey written as a comical horror story. The prose style, as noted already, is smooth, with occasional poetic touches; here’s the first description of Sebastian’s first lover, the ‘professional beauty’, Lady Roehampton:

[she] was moving idly about the room looking like a loosened rose; she was wrapped in grey satin edged with swansdown.

I’m not sure this visual image quite works; maybe that’s why Sackville-West’s friends and publishers, the Woolfs, didn’t rate her highly as a writer (though they relished the revenue she generated). As an entertainer she’s great fun.

There’s some unfortunate casual anti-Semitism that’s sadly characteristic of the times in which it was written, but one redeeming feature is its foreshadowing of the disastrous slaughter of World War I that was about to happen. We know that whatever summary justice is handed out by the novelist to these shallow, self-indulgent creatures and their social circus, history was to deliver far worse.

I posted on Vita Sackville-West’s 1931 novel All Passion Spent HERE

Liz at her blog Adventures in Reading, Running and Working wrote about it HERE with links to more reviews.