Brideshead Revisited: Part 3, Chapter 3 Summary & Analysis

Charles and Julia keep up a public façade for the sake of propriety. This suggests that British society is willing to turn a blind eye to infidelity, but thinks it is improper for an unmarried couple to live together openly. Lord Marchmain knows about the affair and does not care, since he, too, has rejected British society and lives openly with his mistress in Italy. This suggests that, although Charles and Julia try to flout social authority, they still exist within its boundaries.

The fact that Charles does not want to detract from the beauty of the sunset to plan for the future clearly suggests that he feels the same way about his affair with Julia. He believes the beauty of their relationship will be spoiled when they make it official rather than focusing on enjoying what they have in the present moment. Going through processes like divorce and marriage will effectively make their relationship part of the real world, and it will no longer be an escape for them. The intrusion of another person upon their sanctuary at Brideshead further implies the end of their peace and solitude.

Brideshead is a comic figure because he is so dull. He is not ashamed of his interests, however, and is clearly tolerant of other people’s quirks. He accepts Julia and Charles’s affair without comment, even though this goes against his own beliefs. Brideshead is old-fashioned because he does not want the servants to know family business. Brideshead seems to feel no pressure to adapt to modernity and does not care that his perspective is irrelevant.

Brideshead intends to give some of Lady Marchmain’s jewelry to his fiancée. In a way, Brideshead (although he is old fashioned and separate from the modern world in some ways) is more current and open-minded than Charles because he is willing to marry below his own class, whereas Charles dislikes anything, or anyone, he sees as common.

Although Brideshead tolerates Julia and Charles, he does believe that their lifestyle is sinful, according to Catholicism, and feels that Beryl will be offended by it. Brideshead’s tendency to view life in strictly religious terms makes him oblivious to other people’s feelings, and he therefore does not seem to understand why Julia is upset.

Although Julia is no longer a Catholic, she feels guilty because she has broken the rules of Catholicism. “Living in sin” suggests she is a fallen woman and that she cannot be redeemed unless she gives up Charles. Even a divorce will not redeem her, as Catholics are not allowed to divorce. Charles, who has never been Catholic, does not understand the nuances of the faith and assumes that, since Julia is no longer Catholic, she no longer believes in any of its ideas.

Although Julia puts a brave face on things, she feels guilty and worries that she is a bad person. She feels that the renunciation of her faith proves she is sinful, and she compares herself to her mother, who was extremely pious. She also feels guilty because she upset her mother before her death. The dead body refers to Christ and his burial in a tomb after his crucifixion—Julia feels that, for her, Christ stays dead and does not rise again because she has forsaken her faith. This suggests that she has no hope of life after death without her faith, and that she may convert back to Catholicism.

Julia’s behavior is erratic and strange to Charles. She is used to hiding her true feelings, and this makes Charles feel cut off from her. Rex does not appreciate the house aesthetically or emotionally in the way that Charles does. Charles views Brideshead as a symbol of a better time, both in his life and in society, whereas, for Rex, it represents social advancement and nothing more. Rex, who symbolizes modernity, represents a threat to everything that Charles feels Brideshead represents.

Although Julia is no longer a Catholic, she still believes that Catholicism is true and that it is she who is in the wrong. This suggests that even if one leaves the Church, one cannot simply forget one’s faith.

Julia finds Charles detached and cold. He does not view things in a personal way and sees everything as though it is art or literature: like it is happening to someone else. Julia is frustrated by this because she wants something tangible from their relationship (a second marriage and children), and she can tell that Charles does not. This suggests that, although Charles believes that he is in the present with Julia and is happy with her, in reality he loves her because she represents a period from his past (his first love with Sebastian).

Charles does not realize the extent of Julia’s frustration. Julia is surprised, too, at the force of her emotions. Charles can see that Julia wants to return to the Catholic church, although she does not know it yet. She regrets her loss of faith and has not found a satisfactory replacement for it, even in her love affair with Charles.

Rex is an opportunist and seeks to benefit from the war. He aspires to be a politician and thinks that war will make people more likely to vote for someone radical, like himself. This attitude was reflected in this period in Europe through the rise of extreme political movements, such as fascism and communism. For Charles, these represent quintessentially modern problems. The “Trojan camp” is a reference to the Trojan War in Greek mythology. This demonstrates that Charles thinks of the war as something heroic rather than realistic. Julia has a much more ominous feeling about it: the war is associated with darkness and death for her.