All Art Is Propaganda: Critical Essays Page 21

  "So it's knock out your pipes and follow me!

  And it's finish up your swipes and follow me!

  Oh, hark to the big drum calling,

  Follow me--follow me home!"9

  and again:

  "Cheer for the Sergeant's wedding--

  Give them one cheer more!

  Grey gun-horses in the lando,

  And a rogue is married to a whore!"10

  Here I have restored the aitches, etc. Kipling ought to have known better. He ought to have seen that the two closing lines of the first of these stanzas are very beautiful lines, and that ought to have overriden his impulse to make fun of a working-man's accent. In the ancient ballads the lord and the peasant speak the same language. This is impossible to Kipling, who is looking down a distorting class-perspective, and by a piece of poetic justice one of his best lines is spoiled--for "follow me 'ome" is much uglier than "follow me home." But even where it makes no difference musically the facetiousness of his stage Cockney dialect is irritating. However, he is more often quoted aloud than read on the printed page, and most people instinctively make the necessary alterations when they quote him.

  Can one imagine any private soldier, in the 'nineties or now, reading Barrack-Room Ballads and feeling that here was a writer who spoke for him? It is very hard to do so. Any soldier capable of reading a book of verse would notice at once that Kipling is almost unconscious of the class war that goes on in an army as much as elsewhere. It is not only that he thinks the soldier comic, but that he thinks him patriotic, feudal, a ready admirer of his officers and proud to be a soldier of the Queen. Of course that is partly true, or battles could not be fought, but "What have I done for thee, England, my England?" is essentially a middleclass query.11 Almost any working-man would follow it up immediately with "What has England done for me?" In so far as Kipling grasps this, he simply sets it down to "the intense selfishness of the lower classes" (his own phrase).12 When he is writing not of British but of "loyal" Indians he carries the "Salaam, sahib" motif to sometimes disgusting lengths. Yet it remains true that he has far more interest in the common soldier, far more anxiety that he shall get a fair deal, than most of the "liberals" of his day or our own. He sees that the soldier is neglected, meanly underpaid and hypocritically despised by the people whose incomes he safeguards. "I came to realise," he says in his posthumous memoirs, "the bare horrors of the private's life, and the unnecessary torments he endured."13 He is accused of glorifying war, and perhaps he does so, but not in the usual manner, by pretending that war is a sort of football match. Like most people capable of writing battle poetry, Kipling had never been in battle,14 but his vision of war is realistic. He knows that bullets hurt, that under fire everyone is terrified, that the ordinary soldier never knows what the war is about or what is happening except in his own corner of the battlefield, and that British troops, like other troops, frequently run away:

  "I 'eard the knives be'ind me, but I dursn't face my man,

  Nor I don't know where I went to, 'cause I didn't stop to see,

  Till I 'eard a beggar squealin' out for quarter as 'e ran,

  An' I thought I knew the voice an'--it was me!"15

  Modernize the style of this, and it might have come out of one of the debunking war books of the nineteen-twenties. Or again:

  "An' now the hugly bullets come peckin' through the dust,

  An' no one wants to face 'em, but every beggar must;

  So, like a man in irons, which isn't glad to go,

  They moves 'em off by companies uncommon stiff an' slow."16

  Compare this with:

  "Forward the Light Brigade!

  Was there a man dismayed?

  No! though the soldier knew

  Someone had blundered."17

  If anything, Kipling overdoes the horrors, for the wars of his youth were hardly wars at all by our standards. Perhaps that is due to the neurotic strain in him, the hunger for cruelty. But at least he knows that men ordered to attack impossible objectives are dismayed, and also that fourpence a day is not a generous pension.

  How complete or truthful a picture has Kipling left us of the long-service, mercenary army of the late nineteenth century? One must say of this, as of what Kipling wrote about nineteenth-century Anglo-India, that it is not only the best but almost the only literary picture we have. He has put on record an immense amount of stuff that one could otherwise only gather from verbal tradition or from unreadable regimental histories. Perhaps his picture of army life seems fuller and more accurate than it is because any middleclass English person is likely to know enough to fill up the gaps. At any rate, reading the essay on Kipling that Mr. Edmund Wilson has just published or is just about to publish, I was struck by the number of things that are boringly familiar to us and seem to be barely intelligible to an American. But from the body of Kipling's early work there does seem to emerge a vivid and not seriously misleading picture of the old pre-machine-gun army--the sweltering barracks in Gibraltar or Lucknow, the red coats, the pipeclayed belts and the pillbox hats, the beer, the fights, the floggings, hangings and crucifixions, the bugle-calls, the smell of oats and horse-piss, the bellowing sergeants with foot-long moustaches, the bloody skirmishes, invariably mismanaged, the crowded troopships, the cholera-stricken camps, the "native" concubines, the ultimate death in the workhouse. It is a crude, vulgar picture, in which a patriotic music-hall turn seems to have got mixed up with one of Zola's gorier passages, but from it future generations will be able to gather some idea of what a long-term volunteer army was like. On about the same level they will be able to learn something of British India in the days when motorcars and refrigerators were unheard of. It is an error to imagine that we might have had better books on these subjects if, for example, George Moore, or Gissing, or Thomas Hardy, had had Kipling's opportunities. That is the kind of accident that cannot happen. It was not possible that nineteenth-century England should produce a book like War and Peace, or like Tolstoy's minor stories of army life, such as Sebastopol or The Cossacks, not because the talent was necessarily lacking but because no one with sufficient sensitiveness to write such books would ever have made the appropriate contacts. Tolstoy lived in a great military empire in which it seemed natural for almost any young man of family to spend a few years in the army, whereas the British Empire was and still is demilitarised to a degree which continental observers find almost incredible. Civilised men do not readily move away from the centres of civilisation, and in most languages there is a great dearth of what one might call colonial literature. It took a very improbable combination of circumstances to produce Kipling's gaudy tableau, in which Private Ortheris and Mrs. Hauksbee pose against a background of palm trees to the sound of temple bells, and one necessary circumstance was that Kipling himself was only half civilised.

  Kipling is the only English writer of our time who has added phrases to the language. The phrases and neologisms which we take over and use without remembering their origin do not always come from writers we admire. It is strange, for instance, to hear the Nazi broadcasters referring to the Russian soldiers as "robots," thus unconsciously borrowing a word from a Czech democrat whom they would have killed if they could have laid hands on him.18 Here are half a dozen phrases coined by Kipling which one sees quoted in leaderettes in the gutter press or overhears in saloon bars from people who have barely heard his name. It will be seen that they all have a certain characteristic in common:

  "East is East, and West is West.

  The white man's burden.

  What do they know of England who only England know?

  The female of the species is more deadly than the male.

  Somewhere East of Suez.

  Paying the Dane-geld."19

  There are various others, including some that have outlived their context by many years. The phrase "killing Kruger with your mouth,"20 for instance, was current till very recently. It is also possible that it was Kipling who first let loose the use of the word "Huns" for Germa
ns; at any rate he began using it as soon as the guns opened fire in 1914. But what the phrases I have listed above have in common is that they are all of them phrases which one utters semi-derisively (as it might be "For I'm to be Queen o' the May, mother, I'm to be Queen o' the May"21), but which one is bound to make use of sooner or later. Nothing could exceed the contempt of the New Statesman, for instance, for Kipling, but how many times during the Munich period did the New Statesman find itself quoting that phrase about paying the Dane-geld? The fact is that Kipling, apart from his snack-bar wisdom and his gift for packing much cheap picturesqueness into a few words ("Palm and Pine"--"East of Suez"--"The Road to Mandalay"), is generally talking about things that are of urgent interest. It does not matter, from this point of view, that thinking and decent people generally find themselves on the other side of the fence from him. "White man's burden" instantly conjures up a real problem, even if one feels that it ought to be altered to "black man's burden." One may disagree to the middle of one's bones with the political attitude implied in "The Islanders,"22 but one cannot say that it is a frivolous attitude. Kipling deals in thoughts which are both vulgar and permanent. This raises the question of his special status as a poet, or verse-writer.

  Mr. Eliot describes Kipling's metrical work as "verse" and not "poetry," but adds that it is "great verse," and further qualifies this by saying that a writer can only be described as a "great verse-writer" if there is some of his work "of which we cannot say whether it is verse or poetry." Apparently Kipling was a versifier who occasionally wrote poems, in which case it was a pity that Mr. Eliot did not specify these poems by name. The trouble is that whenever an aesthetic judgment on Kipling's work seems to be called for, Mr. Eliot is too much on the defensive to be able to speak plainly. What he does not say, and what I think one ought to start by saying in any discussion of Kipling, is that most of Kipling's verse is so horribly vulgar that it gives one the same sensation as one gets from watching a third-rate music-hall performer recite "The Pigtail of Wu Fang Fu" with the purple limelight on his face, and yet there is much of it that is capable of giving pleasure to people who know what poetry means. At his worst, and also his most vital, in poems like "Gunga Din" or "Danny Deever,"23 Kipling is almost a shameful pleasure, like the taste for cheap sweets that some people secretly carry into middle life. But even with his best passages one has the same sense of being seduced by something spurious, and yet unquestionably seduced. Unless one is merely a snob and a liar it is impossible to say that no one who cares for poetry could get any pleasure out of such lines as:

  "For the wind is in the palm-trees, and the temple-bells they say,

  'Come you back, you British soldier; come you back to

  Mandalay!'"24

  and yet those lines are not poetry in the same sense as "Felix Randal" or "When icicles hang by the wall" are poetry. One can, perhaps, place Kipling more satisfactorily than by juggling with the words "verse" and "poetry," if one describes him simply as a good bad poet. He is as a poet what Harriet Beecher Stowe was as a novelist.25 And the mere existence of work of this kind, which is perceived by generation after generation to be vulgar and yet goes on being read, tells one something about the age we live in.

  There is a great deal of good bad poetry in English, all of it, I should say, subsequent to 1790. Examples of good bad poems--I am deliberately choosing diverse ones--are "The Bridge of Sighs," "When all the World is Young, Lad," "The Charge of the Light Brigade," Bret Harte's "Dickens in Camp," "The Burial of Sir John Moore," "Jenny Kissed Me," "Keith of Ravelston," "Casablanca."26 All of these reek of sentimentality, and yet--not these particular poems, perhaps, but poems of this kind, are capable of giving true pleasure to people who can see clearly what is wrong with them. One could fill a fair-sized anthology with good bad poems, if it were not for the significant fact that good bad poetry is usually too well known to be worth reprinting. It is no use pretending that in an age like our own, "good" poetry can have any genuine popularity. It is, and must be, the cult of a very few people, the least tolerated of the arts. Perhaps that statement needs a certain amount of qualification. True poetry can sometimes be acceptable to the mass of the people when it disguises itself as something else. One can see an example of this in the folk-poetry that England still possesses, certain nursery rhymes and mnemonic rhymes, for instance, and the songs that soldiers make up, including the words that go to some of the bugle-calls. But in general ours is a civilisation in which the very word "poetry" evokes a hostile snigger or, at best, the sort of frozen disgust that most people feel when they hear the word "God." If you are good at playing the concertina you could probably go into the nearest public bar and get yourself an appreciative audience within five minutes. But what would be the attitude of that same audience if you suggested reading them Shakespeare's sonnets, for instance? Good bad poetry, however, can get across to the most unpromising audiences if the right atmosphere has been worked up beforehand. Some months back Churchill produced a great effect by quoting Clough's "Endeavour"27 in one of his broadcast speeches. I listened to this speech among people who could certainly not be accused of caring for poetry, and I am convinced that the lapse into verse impressed them and did not embarrass them. But not even Churchill could have got away with it if he had quoted anything much better than this.

  In so far as a writer of verse can be popular, Kipling has been and probably still is popular. In his own lifetime some of his poems travelled far beyond the bounds of the reading public, beyond the world of school prize-days, Boy Scout singsongs, limp-leather editions, pokerwork and calendars, and out into the yet vaster world of the music halls. Nevertheless, Mr. Eliot thinks it worth while to edit him, thus confessing to a taste which others share but are not always honest enough to mention. The fact that such a thing as good bad poetry can exist is a sign of the emotional overlap between the intellectual and the ordinary man. The intellectual is different from the ordinary man, but only in certain sections of his personality, and even then not all the time. But what is the peculiarity of a good bad poem? A good bad poem is a graceful monument to the obvious. It records in memorable form--for verse is a mnemonic device, among other things--some emotion which very nearly every human being can share. The merit of a poem like "When all the world is young, lad" is that, however sentimental it may be, its sentiment is "true" sentiment in the sense that you are bound to find yourself thinking the thought it expresses sooner or later; and then, if you happen to know the poem, it will come back into your mind and seem better than it did before. Such poems are a kind of rhyming proverb, and it is a fact that definitely popular poetry is usually gnomic or sententious. One example from Kipling will do:

  "White hands cling to the tightened rein,

  Slipping the spur from the booted heel,

  Tenderest voices cry 'Turn again,'

  Red lips tarnish the scabbarded steel,

  High hopes faint on a warm hearth-stone--

  He travels the fastest who travels alone."

  There is a vulgar thought vigorously expressed. It may not be true, but at any rate it is a thought that everyone thinks. Sooner or later you will have occasion to feel that he travels the fastest who travels alone, and there the thought is, ready made and, as it were, waiting for you. So the chances are that, having once heard this line, you will remember it.

  One reason for Kipling's power as a good bad poet I have already suggested--his sense of responsibility, which made it possible for him to have a world-view, even though it happened to be a false one. Although he had no direct connection with any political party, Kipling was a Conservative, a thing that does not exist nowadays. Those who now call themselves Conservatives are either Liberals, Fascists or the accomplices of Fascists. He identified himself with the ruling power and not with the opposition. In a gifted writer this seems to us strange and even disgusting, but it did have the advantage of giving Kipling a certain grip on reality. The ruling power is always faced with the question, "In such and such circumstance
s, what would you do?," whereas the opposition is not obliged to take responsibility or make any real decisions. Where it is a permanent and pensioned opposition, as in England, the quality of its thought deteriorates accordingly. Moreover, anyone who starts out with a pessimistic, reactionary view of life tends to be justified by events, for Utopia never arrives and "the gods of the copybook headings," as Kipling himself put it, always return.28 Kipling sold out to the British governing class, not financially but emotionally. This warped his political judgment, for the British ruling class were not what he imagined, and it led him into abysses of folly and snobbery, but he gained a corresponding advantage from having at least tried to imagine what action and responsibility are like. It is a great thing in his favour that he is not witty, not "daring," has no wish to epater les bourgeois. He dealt largely in platitudes, and since we live in a world of platitudes, much of what he said sticks. Even his worst follies seem less shallow and less irritating than the "enlightened" utterances of the same period, such as Wilde's epigrams or the collection of cracker-mottoes at the end of Man and Superman.

  T. S. Eliot

  Poetry (London), October--November 1942

  This review article discusses Eliot's Burnt Norton, East Coker, and The Dry Salvages, each of which was published separately.

  There is very little in Eliot's later work that makes any deep impression on me. That is a confession of something lacking in myself, but it is not, as it may appear at first sight, a reason for simply shutting up and saying no more, since the change in my own reaction probably points to some external change which is worth investigating.