Put Out More Flags (Penguin Modern Classics)

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So what? It means that the financial modellling can distinguish between relevant data (that multiplied by “1”) and irrelevant data (that multiplied by “0”) . Useful if your core data runs beyond the period of the financial model. Or if you wish to flex the period of the financial model: change the end date and all your flags update accordingly. Now she had a son to offer her country…Basil—her wayward and graceless and grossly disappointing Basil, whose unaccountable taste for low company had led him into so many vexatious scrapes in the last ten years…who had stolen her emeralds and made Mrs. Lyne (Basil’s mistress) distressingly conspicuous—Basil, his peculiarities merged in the manhood of England, at last entering on his inheritance. She must ask Jo about getting him a commission in a decent regiment. They were both silent, and in the silence Angela knew, by an intuition which defied any possible doubt, exactly what her maid was thinking. She was thinking, “Supposing Mr. Seal gets himself killed. Best thing really for all concerned.”

After a single date flag: the data series contains consecutive “ 1”s that start only once a single date is reached. All prior cells contain zero. Used to identify periods starting after a single event e.g. post-operations period flag. Basil’s attempts at war heroism are far less successful than his money-making endeavors. When he flunks an interview for a privileged position in the army (“arranged” by his mother begging a favor of a prominent government official), Basil tries to interest the Ministry of Information into the strategic wisdom of annexing Liberia. When that too fails, he finagles a job in the War Office. But the job is without promise, so Basil executes a plan to persuade a close friend to write material resembling German propaganda—and then betrays his friend to the authorities. However, guilt then compels Basil to effect his friend’s escape to Ireland. In 1924 Waugh left Oxford without taking his degree. After inglorious stints as a school teacher (he was dismissed for trying to seduce a school matron and/or inebriation), an apprentice cabinet maker and journalist, he wrote and had published his first novel, “Decline and Fall” in 1928.Basil represents the intersection of the decline of British Empire with the chaos of WWII. The absurdity of the elitist arrogance of the British upper class as it faces the very real threat of defeat at the hands of Germany is brilliantly presented. Basil's mother stubbornly ignores sheltering during the blitz of London. Basil's wealthy mistress's husband vaults headlong into enemy fire more concerned about paperwork than death. An inept aristocratic navy officer named Cedric Lyne does his best to avoid any real wartime responsibility only to fail at his first test of leadership. Waugh provides many examples of the affluent British characters laughably failing to adapt to wartime conditions. Waugh worries about the softness of the British nobility and leaders as they encounter the gritty challenges of 20th century globalism and more urgently the war with Germany. The protagonist in this instance is Basil Seal who, in the language of his day would be labeled a rascal and a bounder, or a cad and a scoundrel, someone who, despite his mischief and misdemeanors, is a likeable fellow overall. The time period is the early days of World War II, and Basil is consumed with two driving ambitions: making money and becoming a war hero. War has been declared and the the privileged Upper Classes, already feeling the pinch, must now draw in their horns even further, and lay off their domestic servants and reduce the number of butlers, footmen and gardeners. But some of their more enterprising staff have already seen their opportunity war presents, and Barbara Seal’s maids at Malfrey display plenty of get-up-and-go, “Edith and Olive and me have talked it over and we want to go and make aeroplanes”.

The characters are aristocratic dilettantes. The setting is WWII England. The competition for the most extravagant and memorable of the colorful cast is easily won by the 30-something Basil Seal. Basil is a favorite character of Waugh. He is the adult upper-class British equivalent of Tom Sawyer. Now, it’s not that Basil’s family is impoverished by any means. On the contrary, his mother provides him a generous allowance for his personal indulgences, but still finds herself frequently paying off his debts when they become over-indulgences. Accordingly, the allowance is suspended. In terms of war heroism, Basil only thinks of achieving this without actually doing anything remotely dangerous or life-threatening—soldierly trench warfare, for example. And so he begins his creative endeavors.

It is generally and uncritically accepted these days that A Handful of Dust (1934) was the greatest of Evelyn Waugh's novels, fulfilling the early promise of Decline and Fall (1928), and that his career as a writer gradually ran downhill from there. There is some truth to this, but it falsifies the value of a writer whose creative life, unlike that of so many twentieth-century writers, possessed not only a first act but a second and third as well. The first act, whose theme was a dazzling, sardonic irreverence toward the crumbling Empire between the wars, came to an end in 1942; the second, more dourly preoccupied with the Second War and its fatal consequences for the English upper class -- with the striking, farcical exception of The Loved One (1948) -- ended with the completion of The Sword of Honour trilogy in 1962; the third, short and glorious, overlapped the second, including the brilliant Ordeal of Gilbert Pinfold (1957) and the unfinished autobiography, A Little Learning (1964). In the week which preceded the outbreak of the Second World War—days of surmise and apprehension which cannot, without irony, be called the last days of “peace”—and on the Sunday morning when all doubts were finally resolved and misconceptions corrected, three rich women thought first and mainly of Basil Seal. They were his sister, his mother and his mistress.” For him there was no ‘they’. England was at war; he, Alastair Trumpington was at war. It was not the business of any politician to tell him when or how he should fight. But he could not put this into words Alastair Trumpington endures the petty bureaucracy of life in the ranks. Ambrose Silk is working at the Ministry of Information, worried that even fellow-travellers might be at risk. Angela Lyne has shut down her home and is enduring a lonely existence in a Grosvenor Square flat. Alastair Trumpington is involved in absurd training exercises. Sir Joseph Mainwaring believes all the myths and rumours circulating about the war. Alastair is posted to coastal defence and wishes for more excitement. Rampole reads ‘light fiction’ in prison, and Basil joins a special service unit.

Up to and including a single date flag: the data series contains consecutive “ 1”s that end once a single date is reached. All other cells contain zero. Used to identify periods running up to and including a single event e.g. pre-construction period end flag . After the total expulsion of the British from the continent, special forces are set up to harass the victorious Germans. Alastair Trumpington joins them and Peter Pastmaster recruits Basil Seal, who marries the widowed Angela and looks forward at last to action: "There's only one serious occupation for a chap now, that's killing Germans. I have an idea I shall rather enjoy it." IMDB recently updated the archival information in its database relating to two little-known BBC TV adaptations of Waugh’s works from 1970. These are Vile Bodies and Put Out More Flags. Both were 90-minute productions on BBC2, but some archival information is still incomplete. Freddy: “If there’d been more like us and fewer like Basil there’d never have been a war. You can’t blame Ribbentrop for thinking us decadent when he saw people like Basil about. I don’t suppose they’ll have much use for him in the Army. He’s thirty-six. He might get some sort of job connected with censorship. He seems to know a lot of languages.” The incorrigible Basil Seal is typical of many of his class, a fellow dilettante like the pompous Alastair Digby-Vaine Trumpington, they are ‘networking’ and using connections being kept busy seeking cosy sinecures, or commissions into respectable regiments as long as they don’t get posted overseas or anywhere likely to see front line action. Their amusing escapades make enjoyable reading and Waugh writes elegantly and with breathtaking ease describing their mishaps, like when Basil Seal seeks to exploit the opportunity to billet some insufferable and undisciplined working class children on local gentile society. He is not amiss to some nefarious wartime profiteering..and as with all Evelyn Waugh’s brilliant satires there is plenty of absurdity and jiggery-pokery, and tom-foolery, and lampooning, but also some poignant melancholia, for instance the pathetic and diminishing Mrs Angela Lynne, forced to return from the South of France at the outbreak of war, and let down by her lovers, she descends into alcoholism.Angela's husband visits her with their child before embarking with the ill-equipped and ill-organised British forces for Norway, where he dies in combat. For a projected literary magazine, Ambrose Silk writes about his lost love, a Brownshirt named Hans who is now in a Nazi concentration camp. Basil persuades him to leave out Hans' fate, so that the article appears to praise the SA. He then shows it to his boss as evidence of a cell of allegedly dangerous fascists. The publisher is jailed, but Ambrose escapes to neutral Ireland, disguised as a Jesuit priest. Basil takes over his luxurious flat and adds to it Susie, his boss's luscious secretary. So, amidst all the absurdity and tomfoolery in the rest of the novel, Waugh displays a mature touch as a writer in creating characters who change in time, who are not two-dimensional or vehicles for fun. Another example is Alastair Digby-Vaine Trumpington. He first appeared in the very opening scene of Decline and Fall, a Hooray Henry at Oxford, and he has lived a very conventional upper-class life ever since. Very rich, slightly naive, yet maintaining a ‘schoolboy’ sense of honour: And true to his principles, whilst the other characters are all trying to scuttle into cosy government sinecures or soft commissions as officers, Alastair volunteers to join the ranks. He endures the miseries of basic training without complaint (although he makes sure his wife Sonia has booked a comfortable nearby hotel for weekends). And in the end he is volunteering for Special Services – though it does seem to be the Boy’s Own Adventure prospects which appeal to him. But he is a character who develops, and he obviously represents what Waugh sees as the remaining strand of decency in upper-class values. Poppet Green is a feather-brained ‘artist’ who follows whatever the latest fad happens to be – which in 1939 was surrealism. Her subjects are: Ambrose eventually morphs into a slightly tragic figure – exiled in Ireland – which rescues him from being a two-dimensional character. The same is true of Angela Lyne, Basil’s ‘so-called’ lover. She is estranged from her husband the dilettante architect Cedric, and at the outset of the novel she is returning from the south of France where she has been fruitlessly waiting for Basil.

First, he concocts a scheme, which involves masquerading as a billeting officer responsible for placing three wildly errant evacuee children into the country homes of wealthy, unsuspecting gentry. Then, when the juvenile delinquents’ unruly behavior becomes intolerable to the hosts, Basil offers to remove the children—for a hefty price, of course. Even when discovered, Basil manages to sell his ingenious scheme to another enterprising man for mutual secrecy and a good sum of money to boot. For servants, the pay would be better working in a manufacturing industry, but they would also have more personal liberty and be free of the patronising and authoritarian discipline imposed by traditional upper-class employers. They would be free of the stifling deference required by the landed gentry who for generations had regarded themselves as superior beings. Nineteen seventy-two marks the thirtieth anniversary of the publication of a novel that nobody seems to read these days, a novel of breathtaking symmetry, grace, craft, and discipline, a novel from which many of our younger writers of self-indulgent, sprawling, amorphous fiction could learn the structure of their art.One of Evelyn Waugh’s favourite targets for satire in his early novels was contemporary fashions in the arts. In Decline and Fall the society Margot Beste-Chetwynde (later Lady Metroland) destroys a historic Tudor building to put in its place a monstrosity of plate glass, leather walls, and modernist furniture. In Put Out More Flags Waugh aims at the literary world. Much mention is made of the two proletarian poets Parsnip and Pimpernel. larger part of the action turns: Ambrose Silk, Basil Seal, his sister, Barbara, and his mistress, Angela Lyne. A later film adaptation of Vile Bodies by Steven Fry was released in 2003 under the title Bright Young Things. The IMDB also records a 1939 BBC TV series called Table d’Hote in which one episode was entitled “Doubting Hall”. The information on this is sketchy but several characters listed also appear in Vile Bodies. There was also a stage version of that novel in the early 1930s which Waugh mentions. But this 1970 BBC TV production may be the only film version of Put Out More Flags ever made. Barbara: “You’ll see…Basil will be covered with medals while your silly old yeomanry are still messing in a Trust House and waiting for your tanks.”