All Art Is Propaganda Read online

  Housman, however, did not enthuse over the rambler roses in the week-ending spirit of Brooke and the others. The "country" motif is there all the time, but mainly as a background. Most of the poems have a quasi-human subject, a kind of idealised rustic, in reality Strephon or Corydon brought up to date. This in itself had a deep appeal. Experience shows that over-civilised people enjoy reading about rustics (key-phrase, "close to the soil") because they imagine them to be more primitive and passionate than themselves. Hence the "dark earth" novels of Sheila Kaye-Smith,13 etc. And at that time a middle-class boy, with his "country" bias, would identify with an agricultural worker as he would never have thought of doing with a town worker. Most boys had in their minds a vision of an idealised ploughman, gypsy, poacher, or gamekeeper, always pictured as a wild, free, roving blade, living a life of rabbit-snaring, cockfighting, horses, beer and women. Masefield's Everlasting Mercy,14 another valuable period-piece, immensely popular with boys round about the war years, gives you this vision in a very crude form. But Housman's Maurices and Terences could be taken seriously where Masefield's Saul Kane could not; on this side of him, Housman was Masefield with a dash of Theocritus. Moreover all his themes are adolescent—murder, suicide, unhappy love, early death. They deal with the simple, intelligible disasters that give you the feeling of being up against the "bedrock facts" of life:

  The sun burns on the half-mown hill,

  By now the blood has dried;

  And Maurice amongst the hay lies still

  And my knife is in his side.

  And again:

  They hang us now in Shrewsbury jail:

  And whistles blow forlorn,

  And trains all night groan on the rail

  To men that die at morn.

  It is all more or less in the same tune. Everything comes unstuck. "Dick lies long in the churchyard and Ned lies long in jail." And notice also the exquisite self-pity—the "nobody loves me" feeling:

  The diamond drops adorning

  The low mound on the lea,

  Those are the tears of morning,

  That weeps, but not for thee.15

  Hard cheese, old chap! Such poems might have been written expressly for adolescents. And the unvarying sexual pessimism (the girl always dies or marries somebody else) seemed like wisdom to boys who were herded together in public schools and were half-inclined to think of women as something unattainable. Whether Housman ever had the same appeal for girls I doubt. In his poems the woman's point of view is not considered, she is merely the nymph, the siren, the treacherous half-human creature who leads you a little distance and then gives you the slip.

  But Housman would not have appealed so deeply to the people who were young in 1920 if it had not been for another strain in him, and that was his blasphemous, antinomian, "cynical" strain. The fight that always occurs between the generations was exceptionally bitter at the end of the Great War; this was partly due to the war itself, and partly it was an indirect result of the Russian Revolution, but an intellectual struggle was in any case due at about that date. Owing probably to the ease and security of life in England, which even the war hardly disturbed, many people whose ideas were formed in the 'eighties or earlier had carried them quite unmodified into the nineteen-twenties. Meanwhile, so far as the younger generation was concerned, the official beliefs were dissolving like sand-castles. The slump in religious belief, for instance, was spectacular. For several years the old—young antagonism took on a quality of real hatred. What was left of the war generation had crept out of the massacre to find their elders still bellowing the slogans of 1914, and a slightly younger generation of boys were writhing under dirty-minded celibate schoolmasters. It was to these that Housman appealed, with his implied sexual revolt and his personal grievance against God. He was patriotic, it was true, but in a harmless old-fashioned way, to the tune of red coats and "God save the Queen" rather than steel helmets and "Hang the Kaiser." And he was satisfyingly anti-Christian—he stood for a kind of bitter, defiant paganism, a conviction that life is short and the gods are against you, which exactly fitted the prevailing mood of the young; and all in charming fragile verse that was composed almost entirely of words of one syllable.

  It will be seen that I have discussed Housman as though he were merely a propagandist, an utterer of maxims and quotable "bits." Obviously he was more than that. There is no need to under-rate him now because he was overrated a few years ago. Although one gets into trouble nowadays for saying so, there is a number of poems ("Into my heart an air that kills," for instance, and "Is my team ploughing?") that are not likely to remain long out of favour. But at bottom it is always a writer's tendency, his "purpose," his "message," that makes him liked or disliked. The proof of this is the extreme difficulty of seeing any literary merit in a book that seriously damages your deepest beliefs. And no book is ever truly neutral. Some or other tendency is always discernible, in verse as much as in prose, even if it does no more than determine the form and the choice of imagery. But poets who attain wide popularity, like Housman, are as a rule definitely gnomic writers.

  After the war, after Housman and the Nature-poets, there appears a group of writers of completely different tendency—Joyce, Eliot, Pound, Lawrence, Wyndham Lewis, Aldous Huxley, Lytton Strachey. So far as the middle and late 'twenties go, these are "the movement," as surely as the Auden—Spender group have been "the movement" during the past few years. It is true that not all of the gifted writers of the period can be fitted into the pattern. E. M. Forster, for instance, though he wrote his best book in 1923 or thereabouts, was essentially pre-war, and Yeats does not seem in either of his phases to belong to the 'twenties. Others who were still living, Moore, Conrad, Bennett, Wells, Norman Douglas,16 had shot their bolt before the war ever happened. On the other hand, a writer who should be added to the group, though in the narrowly literary sense he hardly "belongs," is Somerset Maugham. Of course the dates do not fit exactly; most of these writers had already published books before the war, but they can be classified as post-war in the same sense that the younger men now writing are post-slump. Equally of course, you could read through most of the literary papers of the time without grasping that these people are "the movement." Even more then than at most times the big shots of literary journalism were busy pretending that the age-before-last had not come to an end. Squire ruled the London Mercury, Gibbs and Walpole17 were the gods of the lending libraries, there was a cult of cheeriness and manliness, beer and cricket, briar pipes and monogamy, and it was at all times possible to earn a few guineas by writing an article denouncing "highbrows." But all the same it was the despised highbrows who had captured the young. The wind was blowing from Europe, and long before 1930 it had blown the beer-and-cricket school naked, except for their knighthoods.

  But the first thing one would notice about the group of writers I have named above is that they do not look like a group. Moreover several of them would strongly object to being coupled with several of the others. Lawrence and Eliot were in reality antipathetic, Huxley worshipped Lawrence but was repelled by Joyce, most of the others would have looked down on Huxley, Strachey and Maugham, and Lewis attacked everyone in turn; indeed, his reputation as a writer rests largely on these attacks. And yet there is a certain temperamental similarity, evident enough now, though it would not have been so a dozen years ago. What it amounts to is pessimism of outlook. But it is necessary to make clear what is meant by pessimism.

  If the keynote of the Georgian poets was "beauty of Nature," the keynote of the post-war writers would be "tragic sense of life." The spirit behind Housman's poems, for instance, is not tragic, merely querulous; it is hedonism disappointed. The same is true of Hardy, though one ought to make an exception of The Dynasts. But the Joyce—Eliot group come later in time, puritanism is not their main adversary, they are able from the start to "see through" most of the things that their predecessors had fought for. All of them are temperamentally hostile to the notion of "progress"; it is felt that progress not
only doesn't happen, but ought not to happen. Given this general similarity, there are, of course, differences of approach between the writers I have named as well as very different degrees of talent. Eliot's pessimism is partly the Christian pessimism, which implies a certain indifference to human misery, partly a lament over the decadence of Western civilisation ("We are the hollow men, we are the stuffed men," etc., etc.), a sort of twilight-of-the-gods feeling, which finally leads him, in "Sweeney Agonistes," for instance, to achieve the difficult feat of making modern life out to be worse than it is. With Strachey it is merely a polite eighteenth-century scepticism mixed up with a taste for debunking. With Maugham it is a kind of stoical resignation, the stiff upper lip of the pukka sahib somewhere East of Suez, carrying on with his job without believing in it, like an Antonine Emperor. Lawrence at first sight does not seem to be a pessimistic writer, because, like Dickens, he is a "change-of-heart" man and constantly insisting that life here and now would be all right if only you looked at it a little differently. But what he is demanding is a movement away from our mechanised civilisation, which is not going to happen, and which he knows is not going to happen. Therefore his exasperation with the present turns once more into idealisation of the past, this time a safely mythical past, the Bronze Age. When Lawrence prefers the Etruscans ( his Etruscans) to ourselves it is difficult not to agree with him, and yet, after all, it is a species of defeatism, because that is not the direction in which the world is moving. The kind of life that he is always pointing to, a life centring round the simple mysteries—sex, earth, fire, water, blood—is merely a lost cause. All he has been able to produce, therefore, is a wish that things would happen in a way in which they are manifestly not going to happen. "A wave of generosity or a wave of death," he says, but it is obvious that there are no waves of generosity this side of the horizon. So he flees to Mexico, and then dies at forty-five, a few years before the wave of death gets going. It will be seen that once again I am speaking of these people as though they were not artists, as though they were merely propagandists putting a "message" across. And once again it is obvious that all of them are more than that. It would be absurd, for instance, to look on Ulysses as merely a show-up of the horror of modern life, the "dirty Daily Mail era," as Pound put it. Joyce actually is more of a "pure artist" than most writers. But Ulysses could not have been written by someone who was merely dabbling with word-patterns; it is the product of a special vision of life, the vision of a Catholic who has lost his faith. What Joyce is saying is "Here is life without God. Just look at it!" and his technical innovations, important though they are, are there primarily to serve this purpose.

  But what is noticeable about all these writers is that what "purpose" they have is very much up in the air. There is no attention to the urgent problems of the moment, above all no politics in the narrower sense. Our eyes are directed to Rome, to Byzantium, to Montparnasse, to Mexico, to the Etruscans, to the Subconscious, to the solar plexus—to everywhere except the places where things are actually happening. When one looks back at the 'twenties, nothing is queerer than the way in which every important event in Europe escaped the notice of the English intelligentsia. The Russian Revolution, for instance, all but vanishes from the English consciousness between the death of Lenin and the Ukraine famine—about ten years. Throughout those years Russia means Tolstoy, Dostoievski and exiled counts driving taxi-cabs. Italy means picture-galleries, ruins, churches and museums—but not Blackshirts. Germany means films, nudism and psychoanalysis—but not Hitler, of whom hardly anyone had heard till 1931. In "cultured" circles art-for-art's-saking extended practically to a worship of the meaningless. Literature was supposed to consist solely in the manipulation of words. To judge a book by its subject-matter was the unforgivable sin, and even to be aware of its subject-matter was looked on as a lapse of taste. About 1928, in one of the three genuinely funny jokes that Punch has produced since the Great War, an intolerable youth is pictured informing his aunt that he intends to "write." "And what are you going to write about, dear?" asks the aunt. "My dear aunt," says the youth crushingly, "one doesn't write about anything, one just writes." The best writers of the 'twenties did not subscribe to this doctrine, their "purpose" is in most cases fairly overt, but it is usually a "purpose" along moral-religious-cultural lines. Also, when translatable into political terms, it is in no case "left." In one way or another the tendency of all the writers in this group is conservative. Lewis, for instance, spent years in frenzied witch-smellings after "Bolshevism," which he was able to detect in very unlikely places. Recently he has changed some of his views, perhaps influenced by Hitler's treatment of artists, but it is safe to bet that he will not go very far leftward. Pound seems to have plumped definitely for Fascism, at any rate the Italian variety. Eliot has remained aloof, but if forced at the pistol's point to choose between Fascism and some more democratic form of Socialism, would probably choose Fascism. Huxley starts off with the usual despair-of-life, then, under the influence of Lawrence's "dark abdomen," tries something called Life-Worship, and finally arrives at pacifism—a tenable position, and at this moment an honourable one, but probably in the long run involving rejection of Socialism. It is also noticeable that most of the writers in this group have a certain tenderness for the Catholic Church, though not usually of a kind that an orthodox Catholic would accept.

  The mental connexion between pessimism and a reactionary outlook is no doubt obvious enough. What is perhaps less obvious is just why the leading writers of the 'twenties were predominantly pessimistic. Why always the sense of decadence, the skulls and cactuses, the yearning after lost faith and impossible civilisations? Was it not, after all, because these people were writing in an exceptionally comfortable epoch? It is just in such times that "cosmic despair" can flourish. People with empty bellies never despair of the universe, nor even think about the universe, for that matter. The whole period 1910–30 was a prosperous one, and even the war years were physically tolerable if one happened to be a non-combatant in one of the Allied countries. As for the 'twenties, they were the golden age of the rentier-intellectual, a period of irresponsibility such as the world had never before seen. The war was over, the new totalitarian states had not arisen, moral and religious tabus of all descriptions had vanished, and the cash was rolling in. "Disillusionment" was all the fashion. Everyone with a safe £500 a year turned highbrow and began training himself in taedium vitae. It was an age of eagles and of crumpets,18 facile despairs, backyard Hamlets, cheap return tickets to the end of the night. In some of the minor characteristic novels of the period, books like Told by an Idiot,19 the despair-of-life reaches a Turkish-bath atmosphere of self-pity. And even the best writers of the time can be convicted of a too Olympian attitude, a too great readiness to wash their hands of the immediate practical problem. They see life very comprehensively, much more so than those who come immediately before or after them, but they see it through the wrong end of the telescope. Not that that invalidates their books, as books. The first test of any work of art is survival, and it is a fact that a great deal that was written in the period 1910–30 has survived and looks like continuing to survive. One has only to think of Ulysses, Of Human Bondage,20 most of Lawrence's early work, especially his short stories, and virtually the whole of Eliot's poems up to about 1930, to wonder what is now being written that will wear so well.

  But quite suddenly, in the years 1930–35, something happens. The literary climate changes. A new group of writers, Auden and Spender and the rest of them, has made its appearance, and although technically these writers owe something to their predecessors, their "tendency" is entirely different. Suddenly we have got out of the twilight of the gods into a sort of Boy Scout atmosphere of bare knees and community singing. The typical literary man ceases to be a cultured expatriate with a leaning towards the Church, and becomes an eager-minded schoolboy with a leaning towards Communism. If the keynote of the writers of the 'twenties is "tragic sense of life," the keynote of the new writers is "s
erious purpose."

  The differences between the two schools are discussed at some length in Mr. Louis MacNeice's book Modern Poetry.21 This book is, of course, written entirely from the angle of the younger group and takes the superiority of their standards for granted. According to Mr. MacNeice:

  The poets of New Signatures,* unlike Yeats and Eliot, are emotionally partisan. Yeats proposed to turn his back on desire and hatred; Eliot sat back and watched other people's emotions with ennui and an ironical self-pity ... The whole poetry, on the other hand, of Auden, Spender and Day-Lewis implies that they have desires and hatreds of their own and, further, that they think some things ought to be desired and others hated.

  And again:

  The poets of New Signatures have swung back ... to the Greek preference for information or statement. The first requirement is to have something to say, and after that you must say it as well as you can.

  In other words, "purpose" has come back, the younger writers have "gone into politics." As I have pointed out already, Eliot & Co. are not really so non-partisan as Mr. MacNeice seems to suggest. Still, it is broadly true that in the 'twenties the literary emphasis was more on technique and less on subject-matter than it is now.

  The leading figures in this group are Auden, Spender, Day-Lewis, MacNeice, and there is a long string of writers of more or less the same tendency, Isherwood, John Lehmann, Arthur Calder-Marshall, Edward Upward, Alec Brown, Philip Henderson, and many others. As before, I am lumping them together simply according to tendency. Obviously there are very great variations in talent. But when one compares these writers with the Joyce—Eliot generation, the immediately striking thing is how much easier it is to form them into a group. Technically they are closer together, politically they are almost indistinguishable, and their criticisms of one another's work have always been (to put it mildly) good natured. The outstanding writers of the 'twenties were of very varied origins, few of them had passed through the ordinary English educational mill (incidentally, the best of them, barring Lawrence, were not Englishmen), and most of them had had at some time to struggle against poverty, neglect, and even downright persecution. On the other hand, nearly all the younger writers fit easily into the public-school—university—Bloomsbury pattern. The few who are of proletarian origin are of the kind that is declassed early in life, first by means of scholarships and then by the bleaching-tub of London "culture." It is significant that several of the writers in this group have been not only boys but, subsequently, masters at public schools. Some years ago I described Auden as "a sort of gutless Kipling."22 As criticism this was quite unworthy, indeed it was merely a spiteful remark, but it is a fact that in Auden's work, especially his earlier work, an atmosphere of uplift—something rather like Kipling's "If" or Newbolt's "Play up, Play up, and Play the Game!"—never seems to be very far away. Take, for instance, a poem like "You're leaving now, and it's up to you boys."23 It is pure scoutmaster, the exact note of the ten-minutes' straight talk on the dangers of self-abuse. No doubt there is an element of parody that he intends, but there is also a deeper resemblance that he does not intend. And of course the rather priggish note that is common to most of these writers is a symptom of release. By throwing "pure art" overboard they have freed themselves from the fear of being laughed at and vastly enlarged their scope. The prophetic side of Marxism, for example, is new material for poetry and has great possibilities: