2. Inside The Whale
by George Orwell (1940)

When one says that a writer is fashionable one practically always means that he is admired by people under thirty. At the beginning of the period I am speaking of, the years during and immediately after the war, the writer who had the deepest hold upon the thinking young was almost certainly Housman. Among people who were adolescent in the years 1910-25, Housman had an influence which was enormous and is now not at all easy to understand. In 1920, when I was about seventeen, I probably knew the whole of the Shropshire Lad by heart. I wonder how much impression the Shropshire Lad makes at this moment on a boy of the same age and more or less the same cast of mind? No doubt he has heard of it and even glanced into it; it might strike him as cheaply clever — probably that would be about all. Yet these are the poems that I and my contemporaries used to recite to ourselves, over and over, in a kind of ecstasy, just as earlier generations had recited Meredith's 'Love in a Valley', Swinburne's 'Garden of Proserpine' etc., etc.

With rue my heart is laden
For golden friends I had,
For many a roselipt maiden
And many a lightfoot lad.

By brooks too broad for leaping
The lightfoot boys are laid;
The roselipt girls are sleeping
In fields where roses fade.

It just tinkles. But it did not seem to tinkle in 1920. Why does the bubble always burst? To answer that question one has to take account of the external conditions that make certain writers popular at certain times. Housman's poems had not attracted much notice when they were first published. What was there in them that appealed so deeply to a single generation, the generation born round about 1900?

In the first place, Housman is a 'country' poet. His poems are full of the charm of buried villages, the nostalgia of place-names, Clunton and Clunbury, Knighton, Ludlow, 'on Wenlock Edge', 'in summer time on Bredon', thatched roofs and the jingle of smithies, the wild jonquils in the pastures, the 'blue, remembered hills'. War poems apart, English verse of the 1910-25 period is mostly 'country'. The reason no doubt was that the rentier — professional class was ceasing once and for all to have any real relationship with the soil; but at any rate there prevailed then, far more than now, a kind of snobbism of belonging to the country and despising the town. England at that time was hardly more an agricultural country than it is now, but before the light industries began to spread themselves it was easier to think of it as one. Most middle-class boys grew up within sight of a farm, and naturally it was the picturesque side of farm life that appealed to them — the ploughing, harvesting, stack-thrashing and so forth. Unless he has to do it himself a boy is not likely to notice the horrible drudgery of hoeing turnip, milking cows with chapped teats at four o'clock in the morning, etc., etc. Just before, just after, and for that matter, during the war was the great age of the 'Nature poet', the heyday of Richard Jefferies and W. H. Hudson. Rupert Brooke's 'Grantchester', the star poem of 1913, is nothing but an enormous gush of 'country' sentiment, a sort of accumulated vomit from a stomach stuffed with place-names. Considered as a poem 'Grantchester' is something worse than worthless, but as an illustration of what the thinking middle-class young of that period felt it is a valuable document.

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 idealized rustic, in reality Strephon or Corydon brought up to date. This in itself had a deep appeal. Experience shows that over-civilized 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' novel of Sheila Kaye-Smith, etc. And at that time a middle-class boy, with his 'country' bias, would identify with an agricultural worker as he would never have done with a town worker. Most boys had in their minds a vision of an idealized ploughman, gipsy, 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', 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 Mascfield'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,
    Now the blood has dried;
And Maurice among the hay lies still
And my knife is in his side.

And again:

They hand us now in Shrewsbury jail
And whistles blow forlorn,
And trains all night groan on the rail
To men who die at morn.

It is all more or less in the same tune. Everything comes unstuck. 'Ned lies long in the churchyard and Tom 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,
These are the tears of morning,
That weeps, but not for thee.

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, the 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 over-rated a few years ago. Although one gets into trouble nowadays for saying so, there are a number of his 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, 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 Walpole 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 'high-brows'. 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 knight-hoods.

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 anti-pathetic, 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 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 civilization ('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 mechanized civilization, which is not going to happen. Therefore his exasperation with the present turns once more into idealization 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 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, Dostoievsky, and exiled counts driving taxi-cabs. Italy means picture-galleries, ruins, churches, and museums — but not Black-shirts. 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 a 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 '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 civilizations? 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, 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, 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, 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 1930-5, 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 'serious purpose'.

The differences between the two schools are discussed at some length in Mr Louis MacNeice's book Modern Poetry. 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 [Published 1932], 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, Alee 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'. 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 —p 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'. 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.

We are nothing
We have fallen
Into the dark and shall be destroyed.
Think though, that in this darkness
We hold the secret hub of an idea
Whose living sunlit wheel revolves in future years outside.(Spender, Trial of a Judge)

But at the same time, by being Marxized literature has moved no nearer to the masses. Even allowing for the time-lag, Auden and Spender are somewhat farther from being popular writers than Joyce and Eliot, let alone Lawrence. As before, there are many contemporary writers who are outside the current, but there is not much doubt about what is the current. For the middle and late thirties, Auden Spender & Co. are 'the movement', just as Joyce, Eliot & Co. were for the twenties. And the movement is in the direction of some rather ill-defined thing called Communism. As early as 1934 or 1935 it was considered eccentric in literary circles not to be more or less 'left'. Between 1935 and 1939 the Communist Party had an almost irresistible fascination for any writer under forty. It became as normal to hear that so-and-so had 'joined' as it had been a few years earlier, when Roman Catholicism was fashionable, to hear that So-and-so had 'been received'. For about three years, in fact, the central stream of English literature was more or less directly under Communist control. How was it possible for such a thing to happen? And at the same time, what is meant by 'Communism'? It is better to answer the second question first.

The Communist movement in Western Europe began, as a movement for the violent overthrow of capitalism, and degenerated within a few years into an instrument of Russian foreign policy. This was probably inevitable when this revolutionary ferment that followed the Great War had died down. So far as I know, the only comprehensive history of this subject in English is Franz Borkenau's book, The Communist International. What Borkenau's facts even more than his deductions make clear is that Communism could never have developed along its present lines if any revolutionary feeling had existed in the industrialized countries. In England, for instance, it is obvious that no such feeling has existed for years past. The pathetic membership figures of all extremist parties show this clearly. It is, only natural, therefore, that the English Communist movement should be controlled by people who are mentally sub-servient to Russia and have no real aim except to manipulate British foreign policy in the Russian interest. Of course such an aim cannot be openly admitted, and it is this fact that gives the Communist Party its very peculiar character. The more vocal kind of Communist is in effect a Russian publicity agent posing as an international socialist. It is a pose that is easily kept up at normal times, but becomes difficult in moments of crisis, because of the fact that the U.S.S.R. is no more scrupulous in its foreign policy than the rest of the Great Powers. Alliances, changes of front etc., which only make sense as part of the game of power politics have to be explained and justified in terms of international socialism. Every time Stalin swaps partners, 'Marxism' has to be hammered into a new shape. This entails sudden and violent changes of 'line', purges, denunciations, systematic destruction of party literature, etc., etc. Every Communist is in fact liable at any moment to have to alter his most fundamental convictions, or leave the party. The unquestionable dogma of Monday may become the damnable heresy of Tuesday, and so on. This has happened at least three times during the past ten years. It follows that in any Western country a Communist Party is always unstable and usually very small. Its long-term membership really consists of an inner ring of intellectuals who have identified with the Russian bureaucracy, and a slightly larger body of working-class people who feel a loyalty towards Soviet Russia without necessarily understanding its policies. Otherwise there is only a shifting membership, one lot coming and another going with each change of 'line'.

In 1930 the English Communist Party was a tiny, barely legal organization whose main activity was libelling the Labour Party. But by 1935 the face of Europe had changed, and left-wing politics changed with it. Hitler had risen to power and begun to rearm, the Russian five-year plans had succeeded, Russia had reappeared as a great military power. As Hitler's three targets of attack were, to all appearances, Great Britain, France, and the U.S.S.R., the three countries were forced into a sort of uneasy rapprochement. This meant that the English or French Communist was obliged to become a good patriot and imperialist-that is, to defend the very things he had been attacking for the past fifteen years. The Comintern slogans suddenly faded from red to pink. 'World revolution' and 'Social-Fascism' gave way to 'Defence of democracy' and 'Stop Hitler'. The years 1935-9 were the period of anti-Fascism and the Popular Front, the heyday of the Left Book Club, when red Duchesses and 'broadminded' deans toured the battlefields of the Spanish war and Winston Churchill was the blue-eyed boy of the Daily Worker. Since then, of course, there has been yet another change of 'line'. But what is important for my purpose is that it was during the 'anti-Fascist' phase that the younger English writers gravitated towards Communism.

The Fascism-democracy dogfight was no doubt an attraction in itself, but in any case their conversion was due at about that date. It was obvious that laissez-faire capitalism was finished and that there had got to be some kind of reconstruction; in the world of 1935 it was hardly possible to remain politically indifferent. But why did these young men turn towards anything so alien as Russian Communism? Why should writers be attracted by a form of socialism that makes mental honesty impossible? The explanation really lies in something that had already made itself felt before the slump and before Hitler: middle-class unemployment.

Unemployment is not merely a matter of not having a job. Most people can get a job of sorts, even at the worst of times. The trouble was that by about 1930 there was no activity, except perhaps scientific research, the arts, and left-wing politics, that a thinking person could believe in. The debunking of Western civilization had reached its Climax and 'disillusionment' was immensely widespread. Who now could take it for granted to go through life in the ordinary middle-class way, as a soldier, a clergyman, a stockbroker, an Indian Civil Servant, or what-not? And how many of the values by which our grandfathers lived could not be taken seriously? Patriotism, religion, the Empire, the family, the sanctity of marriage, the Old School Tie, birth, breeding, honour, discipline [Tradition]— anyone of ordinary education could turn the whole lot of them inside out in three minutes. But what do you achieve, after all, by getting rid of such primal things as patriotism and religion? You have not necessarily got rid of the need for something to believe in. There had been a sort of false dawn a few years earlier when numbers of young intellectuals, including several quite gifted writers (Evelyn Waugh, Christopher Hollis, and others), had fled into the Catholic Church. It is significant that these people went almost invariably to the Roman Church and not, for instance, to the C. of E., the Greek Church, or the Protestants sects. They went, that is, to the Church with a world-wide organization, the one with a rigid discipline, the one with power and prestige behind it. Perhaps it is even worth noticing that the only latter-day convert of really first-rate gifts, Eliot, has embraced not Romanism but Anglo-Catholicism, the ecclesiastical equivalent of Trotskyism. But I do not think one need look farther than this for the reason why the young writers of the thirties flocked into or towards the Communist Party. If was simply something to believe in. Here was a Church, an army, an orthodoxy, a discipline. Here was a Fatherland and — at any rate since 1935 or thereabouts — a Füehrer. All the loyalties and superstitions that the intellect had seemingly banished could come rushing back under the thinnest of disguises. Patriotism, religion, empire, military glory — all in one word, Russia. Father, king, leader, hero, saviour — all in one word, Stalin. God — Stalin. The devil — Hitler. Heaven — Moscow. Hell — Berlin. All the gaps were filled up. So, after all, the 'Communism' of the English intellectual is something explicable enough. It is the patriotism of the deracinated.

But there is one other thing that undoubtedly contributed to the cult of Russia among the English intelligentsia during these years, and that is the softness and security of life in England itself. With all its injustices, England is still the land of habeas corpus, and the over-whelming majority of English people have no experience of violence or illegality. If you have grown up in that sort of atmosphere it is not at all easy to imagine what a despotic régime is like. Nearly all the dominant writers of the thirties belonged to the soft-boiled emancipated middle class and were too young to have effective memories of the Great War. To people of that kind such things as purges, secret police, summary executions, imprisonment without trial etc., etc., are too remote to be terrifying. They can swallow totalitarianism because they have no experience of anything except liberalism. Look, for instance, at this extract from Mr Auden's poem 'Spain' (incidentally this poem is one of the few decent things that have been written about the Spanish war):

To-morrow for the young, the poets exploding like bombs,
The walks by the lake, the weeks of perfect communion;
            To-morrow the bicycle races
Through the suburbs on summer evenings. But to-day the struggle.

To-day the deliberate increase in the chances of death,
The conscious acceptance of guilt in the necessary murder;
            To-day the expending of powers
On the flat ephemeral pamphlet and the boring meeting.

The second stanza is intended as a sort of thumb-nail sketch of a day in the life of a 'good party man'. In the morning a couple of political murders, a ten-minutes' interlude to stifle 'bourgeois' remorse, and then a hurried luncheon and a busy afternoon and evening chalking walls and distributing leaflets. All very edifying. But notice the phrase 'necessary murder'. It could only be written by a person to whom murder is at most a word. Personally I would not speak so lightly of murder. It so happens that I have seen the bodies of numbers of murdered men — I don't mean killed in battle, I mean murdered. Therefore, I have some conception of what murder means — the terror, the hatred, the howling relatives, the post-mortems, the blood, the smells. To me, murder is something to be avoided. So it is to any ordinary person. The Hitlers and Stalins find murder necessary, but they don't advertise their callousness, and they don't speak of it as murder; it is 'liquidation', 'elimination', or some other soothing phrase. Mr Auden's brand of amoralism is only possible, if you are the kind of person who is always somewhere else when the trigger is pulled. So much of left-wing thought is a kind of playing with fire by people who don't even know that fire is hot. The warmongering to which the English intelligentsia gave themselves up in the period 1935-9 was largely based on a sense of personal immunity. The attitude was very different in France, where the military service is hard to dodge and even literary men know the weight of a pack.

Towards the end of Mr Cyril Connolly's recent book, Enemies of Promise, there occurs an interesting and revealing passage. The first part of the book, is, more or less, an evaluation of present-day literature. Mr Connolly belongs exactly to the generation of the writers of 'the movement', and with not many reservations their values are his values. It is interesting to notice that among prose-writers he admires chiefly those specialising in violence — the would-be tough American school, Hemingway, etc. The latter part of the book, however, is autobiographical and consists of an account, fascinatingly accurate, of life at a preparatory school and Eton in the years 1910-20. Mr Connolly ends by remarking:

Were I to deduce anything from my feelings on leaving Eton, it might be called The Theory of Permanent Adolescence. It is the theory that the experiences undergone by boys at the great public schools are so intense as to dominate their lives and to arrest their development.

When you read the second sentence in this passage, your natural impulse is to look for the misprint. Presumably there is a 'not' left out, or something. But no, not a bit of it! He means it! And what is more, he is merely speaking the truth, in an inverted fashion. 'Cultured' middle-class life has reached a depth of softness at which a public-school education — five years in a lukewarm bath of snobbery — can actually be looked back upon as an eventful period. To nearly all the writers who have counted during the thirties, what more has ever happened than Mr Connolly records in Enemies of Promise? It is the same pattern all the time; public school, university, a few trips abroad, then London. Hunger, hardship, solitude, exile, war, prison, persecution, manual labour — hardly even words. No wonder that the huge tribe known as 'the right left people' found it so easy to condone the purge-and-OGPU side of the Russian régime and the horrors of the first Five-Year Plan. They were so gloriously incapable of understanding what it all meant.

By 1937 the whole of the intelligentsia was mentally at war. Left-wing thought had narrowed down to 'anti-Fascism', i.e. to a negative, and a torrent of hate-literature directed against Germany and the politicians supposedly friendly to Germany was pouring from the Press. The thing that, to me, was truly frightening about the war in Spain was not such violence as I witnessed, nor even the party feuds behind the lines, but the immediate reappearance in left-wing circles of the mental atmosphere of the Great War. The very people who for twenty years had sniggered over their own superiority to war hysteria were the ones who rushed straight back into the mental slum of 1915. All the familiar wartime idiocies, spy-hunting, orthodoxy-sniffing (Sniff, sniff. Are you a good anti-Fascist?), the retailing of atrocity stories, came back into vogue as though the intervening years had never happened. Before the end of the Spanish war, and even before Munich, some of the better of the left-wing writers were beginning to squirm. Neither Auden nor, on the whole, Spender wrote about the Spanish war in quite the vein that was expected of them. Since then there has been a change of feeling and much dismay and confusion, because the actual course of events has made nonsense of the left-wing orthodoxy of the last few years. But then it did not need very great acuteness to see that much of it was nonsense from the start. There is no certainty, therefore, that the next orthodoxy to emerge will be any better than the last.

On the whole the literary history of the thirties seems to justify the opinion that a writer does well to keep out of politics. For any writer who accepts or partially accepts the discipline of a political party is sooner or later faced with the alternative: toe the line, or shut up. It is, of course, possible to toe the line and go on writing — after a fashion. Any Marxist can demonstrate with the greatest of ease that 'bourgeois' liberty of thought is an illusion. But when he has finished his demonstration there remains the psychological fact that without this 'bourgeois' liberty the creative powers wither away. In the future a totalitarian literature may arise, but it will be quite different from anything we can now imagine. Literature as we know it is an individual thing, demanding mental honesty and a minimum of censorship. And this is even truer of prose than of verse. It is probably not a coincidence that the best writers of the thirties have been poets. The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature. How many Roman Catholics have been good novelists? Even the handful one could name have usually been bad Catholics. The novel is practically a Protestant form of art; it is a product of the free mind, of the autonomous individual. No decade in the past hundred and fifty years has been so barren of imaginative prose as the nineteen-thirties. There have been good poems, good sociological works, brilliant pamphlets, but practically no fiction of any value at all. From 1933 onwards the mental climate was increasingly against it. Anyone sensitive enough to be touched by the zeitgeist was also involved in politics. Not everyone, of course, was definitely in the political racket, but practically everyone was on its periphery and more or less mixed up in propaganda campaigns and squalid controversies. Communists and near-Communists had a disproportionately large influence in the literary reviews. It was a time of labels, slogans, and evasions. At the worst moments you were expected to lock yourself up in a constipating little cage of lies; at the best a sort of voluntary censorship ('Ought I to say this? Is it pro-Fascist?') was at work in nearly everyone's mind. It is almost inconceivable that good novels should be written in such an atmosphere. Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened. This brings me back to Henry Miller.