And if, Sir, pausing in England now, we turn on the wireless of the daily press we shall hear what answer the fathers who are infected with infantile fixation now are making to those questions now. ‘Homes are the real places of the women . . . Let them go back to their homes . . . The Government should give work to men. . . . A strong protest is to be made by the Ministry of Labour. . . . Women must not rule over men . . . There are two worlds, one for women, the other for men . . . Let them learn to cook our dinners . . . Women have failed . . . They have failed . . . They have failed . . .’
Even now the clamour, the uproar that infantile fixation is making even here is such that we can hardly hear ourselves speak; it takes the words out of our mouths; it makes us say what we have not said. As we listen to the voices we seem to hear an infant crying in the night, the black night that now covers Europe, and with no language but a cry, Ay, ay, ay, ay . . . But it is not a new cry, it is a very old cry. Let us shut off the wireless and listen to the past. We are in Greece now; Christ has not been born yet, nor St Paul either. But listen:
‘Whomsoever the city may appoint, that man must be obeyed, in little things and great, in just things and unjust . . . disobedience is the worst of evils . . . We must support the cause of order, and in no wise suffer a woman to worst us . . . They must be women, and not range at large. Servants, take them within.’ That is the voice of Creon, the dictator. To whom Antigone, who was to have been his daughter, answered, ‘Not such are the laws set among men by the justice who dwells with the gods below.’ But she had neither capital nor force behind her. And Creon said: ‘I will take her where the path is loneliest, and hide her, living, in a rocky vault.’ And he shut her not in Holloway or in a concentration camp, but in a tomb. And Creon we read brought ruin on his house, and scattered the land with the bodies of the dead. It seems, Sir, as we listen to the voices of the past, as if we were looking at the photograph again, at the picture of dead bodies and ruined houses that the Spanish Government sends us almost weekly. Things repeat themselves it seems. Pictures and voices are the same today as they were 2,000 years ago.
Such then is the conclusion to which our inquiry into the nature of fear has brought us — the fear which forbids freedom in the private house. That fear, small, insignificant and private as it is, is connected with the other fear, the public fear, which is neither small nor insignificant, the fear which has led you to ask us to help you to prevent war. Otherwise we should not be looking at the picture again. But it is not the same picture that caused us at the beginning of this letter to feel the same emotions — you called them ‘horror and disgust’; we called them horror and disgust. For as this letter has gone on, adding fact to fact, another picture has imposed itself upon the foreground. It is the figure of a man; some say, others deny, that he is Man himself,48 the quintessence of virility, the perfect type of which all the others are imperfect adumbrations. He is a man certainly. His eyes are glazed; his eyes glare. His body, which is braced in an unnatural position, is tightly cased in a uniform. Upon the breast of that uniform are sewn several medals and other mystic symbols. His hand is upon a sword. He is called in German and Italian Führer or Duce; in our own language Tyrant or Dictator. And behind him lie ruined houses and dead bodies — men, women and children. But we have not laid that picture before you in order to excite once more the sterile emotion of hate. On the contrary it is in order to release other emotions such as the human figure, even thus crudely in a coloured photograph, arouses in us who are human beings. For it suggests a connection and for us a very important connection. It suggests that the public and the private worlds are inseparably connected; that the tyrannies and servilities of the one are the tyrannies and servilities of the other. But the human figure even in a photograph suggests other and more complex emotions. It suggests that we cannot dissociate ourselves from that figure but are ourselves that figure. It suggests that we are not passive spectators doomed to unresisting obedience but by our thoughts and actions can ourselves change that figure. A common interest unites us; it is one world, one life. How essential it is that we should realize that unity the dead bodies, the ruined houses prove. For such will be our ruin if you, in the immensity of your public abstractions forget the private figure, or if we in the intensity of our private emotions forget the public world. Both houses will be ruined, the public and the private, the material and the spiritual, for they are inseparably connected. But with your letter before us we have reason to hope. For by asking our help you recognize that connection; and by reading your words we are reminded of other connections that lie far deeper than the facts on the surface. Even here, even now your letter tempts us to shut our ears to these little facts, these trivial details, to listen not to the bark of the guns and the bray of the gramophones but to the voices of the poets, answering each other, assuring us of a unity that rubs out divisions as if they were chalk marks only; to discuss with you the capacity of the human spirit to overflow boundaries and make unity out of multiplicity. But that would be to dream — to dream the recurring dream that has haunted the human mind since the beginning of time; the dream of peace, the dream of freedom. But, with the sound of the guns in your ears you have not asked us to dream. You have not asked us what peace is; you have asked us how to prevent war. Let us then leave it to the poets to tell us what the dream is; and fix our eyes upon the photograph again: the fact. Whatever the verdict of others may be upon the man in uniform — and opinions differ — there is your letter to prove that to you the picture is the picture of evil. And though we look upon that picture from different angles our conclusion is the same as yours — it is evil. We are both determined to do what we can to destroy the evil which that picture represents, you by your methods, we by ours. And since we are different, our help must be different. What ours can be we have tried to show — how imperfectly, how superficially there is no need to say.49 But as a result the answer to your question must be that we can best help you to prevent war not by repeating your words and following your methods but by finding new words and creating new methods. We can best help you to prevent war not by joining your society but by remaining outside your society but in cooperation with its aim. That aim is the same for us both. It is to assert ‘the rights of all — all men and women — to the respect in their persons of the great principles of Justice and Equality and Liberty.’ To elaborate further is unnecessary, for we have every confidence that you interpret those words as we do. And excuses are unnecessary, for we can trust you to make allowances for those deficiencies which we foretold and which this letter has abundantly displayed.
To return then to the form that you have sent and ask us to fill up: for the reasons given we will leave it unsigned. But in order to prove as substantially as possible that our aims are the same as yours, here is the guinea, a free gift, given freely, without any other conditions than you choose to impose upon yourself. It is the third of three guineas; but the three guineas, you will observe, though given to three different treasurers are all given to the same cause, for the causes are the same and inseparable.
Now, since you are pressed for time, let me make an end; apologizing three times over to the three of you, first for the length of this letter, second for the smallness of the contribution, and thirdly for writing at all. The blame for that however rests upon you, for this letter would never have been written had you not asked for an answer to your own.
Notes and references
1. It is to be hoped that some methodical person has made a collection of the various manifestos and questionnaires issued broadcast during the years 1936-7. Private people of no political training were invited to sign appeals asking their own and foreign governments to change their policy; artists were asked to fill up forms stating the proper relations of the artist to the State, to religion, to morality; pledges were required that the writer should use English grammatically and avoid vulgar expressions; and dreamers were invited to analyse their dreams. By way of inducement it was generally proposed to pu
blish the results in the daily or weekly Press. What effect this inquisition has had upon governments it is for the politician to say. Upon literature, since the output of books is unstaunched, and grammar would seem to be neither better nor worse, the effect is problematical. But the inquisition is of great psychological and social interest. Presumably it originated in the state of mind suggested by Dean Inge (The Rickman Godlee Lecture, reported in The Times, 23 November 1937), ‘whether in our own interests we were moving in the right direction. If we went on as we were doing now, would the man of the future be superior to us or not? . . . Thoughtful people were beginning to realize that before congratulating ourselves on moving fast we ought to have some idea where we were moving to’: a general self-dissatisfaction and desire ‘to live differently’. It also points, indirectly, to the death of the Siren, that much ridiculed and often upper-class lady who by keeping open house for the aristocracy, plutocracy, intelligentsia, ignorantsia, etc., tried to provide all classes with a talking-ground or scratching- post where they could rub up minds, manners, and morals more privately, and perhaps as usefully. The part that the Siren played in promoting culture and intellectual liberty in the eighteenth century is held by historians to be of some importance. Even in our own day she had her uses. Witness W. B. Yeats —‘How often I have wished that he [Synge] might live long enough to enjoy that communion with idle, charming, cultivated women which Balzac in one of his dedications calls “the chief consolation of genius”!’ (Dramatis Personae, W. B. Yeats, p. 127.) Lady St Helier who, as Lady Jeune, preserved the eighteenth-century tradition, informs us, however, that ‘Plovers’ eggs at 2s. 6d. apiece, forced strawberries, early asparagus, petits poussins . . . are now considered almost a necessity by anyone aspiring to give a good dinner’ (1909); and her remark that the reception day was ‘very fatiguing . . . how exhausted I felt when half-past seven came, and how gladly at eight o’clock I sat down to a peaceful tête-à-tête dinner with my husband!’ (Memories of Fifty Years, by Lady St Helier, pp. 3, 5, 182) may explain why such houses are shut, why such hostesses are dead, and why therefore the intelligentsia, the ignorantsia, the aristocracy, the bureaucracy, the bourgeoisie, etc., are driven (unless somebody will revive that society on an economic basis) to do their talking in public. But in view of the multitude of manifestos and questionnaires now in circulation it would be foolish to suggest another into the minds and motives of the Inquisitors.
2. ‘He did begin however on 13 May (1844) to lecture weekly at Queen’s College which Maurice and other professors at King’s had established a year before, primarily for the examination and training of governesses. Kingsley was ready to share in this unpopular task because he believed in the higher education of women.’ (Charles Kingsley, by Margaret Farrand Thorp, p. 65.)
3. The French, as the above quotation shows, are as active as the English in issuing manifestos. That the French, who refuse to allow the women of France to vote, and still inflict upon them laws whose almost medieval severity can be studied in The Position of Women in Contemporary France, by Frances Clark, should appeal to English women to help them to protect liberty and culture must cause surprise.
4. Strict accuracy, here slightly in conflict with rhythm and euphony, requires the word ‘port’. A photograph in the daily Press of ‘Dons in a Senior Common Room after dinner’ (1937) showed ‘a railed trolley in which the port decanter travels across a gap between diners at the fireplace, and thus continues its round without passing against the sun’. Another picture shows the ‘sconce’ cup in use. ‘This old Oxford custom ordains that mention of certain subjects in Hall shall be punished by the offender drinking three pints of beer at one draught . . .’ Such examples are by themselves enough to prove how impossible it is for a woman’s pen to describe life at a man’s college without committing some unpardonable solecism. But the gentlemen whose customs are often, it is to be feared, travestied, will extend their indulgence when they reflect that the female novelist, however reverent in intention, works under grave physical drawbacks. Should she wish, for example, to describe a Feast at Trinity, Cambridge, she has to ‘listen through the peephole in the room of Mrs Butler (the Master’s wife) to the speeches taking place at the Feast which was held in Trinity College’. Miss Haldane’s observation was made in 1907, when she reflected that ‘The whole surroundings seemed medieval.’ (From One Century to Another, by E. Haldane, p. 235.)
5. According to Whitaker there is a Royal Society of Literature and also the British Academy, both presumably, since they have offices and officers, official bodies, but what their powers are it is impossible to say, since if Whitaker had not vouched for their existence it would scarcely have been suspected.
6. Women were apparently excluded from the British Museum Reading- Room in the eighteenth century. Thus: ‘Miss Chudleigh solicits permission to be received into the reading-room. The only female student who as yet has honoured us was Mrs Macaulay; and your Lordship may recollect what an untoward event offended her delicacy.’ (Daniel Wray to Lord Harwicke, 22 October 1768. Nichols, Literary Anecdotes of the Eighteenth Century, vol. I, p. 137.) The editor adds in a footnote: ‘This alludes to the indelicacy of a gentleman there, in Mrs Macaulay’s presence; of which the particulars will not bear to be repeated.’
7. The Autobiography and Letters of Mrs M. O. W. Oliphant, arranged and edited by Mrs Harry Coghill. Mrs Oliphant (1825-97) ‘lived in perpetual embarrassment owing to her undertaking education and maintenance of her widowed brother’s children in addition to her own two sons . . .’ (Dictionary of National Biography.)
8. Macaulay’s History of England, vol. III, p. 278 (standard edition).
9. Mr Littlewood, until recently dramatic critic of the Morning Post, described the condition of Journalism at Present at a dinner given in his honour, 6 December 1937. Mr Littlewood said: ‘that he had in season and out of season fought for more space for the theatre in the columns of the London daily papers. It was Fleet Street where, between eleven and half-past twelve, not to mention before and after, thousands of beautiful words and thoughts were systematically massacred. It had been his lot for at least two out of his four decades to return to that shambles every night with the sure and certain prospect of being told that the paper was already full with important news, and that there was no room for any sanguinary stuff about the theatre. It had been his luck to wake up the next morning to find himself answerable for the mangled remains of what was once a good notice . . . It was not the fault of the men in the office. Some of them put the blue pencil through with tears in their eyes. The real culprit was that huge public who knew nothing about the theatre and could not be expected to care.’ The Times, 6 December 1937.
Mr Douglas Jerrold describes the treatment of politics in the Press. ‘In those few brief years [between 1928-33] truth had fled from Fleet Street. You could never tell all the truth all the time. You never will be able to do so. But you used at least to be able to tell the truth about other countries. By 1933, you did it at your peril. In 1928 there was no direct political pressure from advertisers. Today it is not only direct but effective.’
Literary criticism would seem to be in much the same case and for the same reason: ‘There are no critics in whom the public have any more confidence. They trust, if at all, to the different Book Societies, and the selections of individual newspapers, and on the whole they are wise . . . The Book Society are frankly book sellers, and the great national newspapers cannot afford to puzzle their readers. They must all choose books which have, at the prevailing level of public taste, a potentially large sale.’ (Georgian Adventure, by Douglas Jerrold, pp. 282, 283, 298.)
10. While it is obvious that under the conditions of journalism at present the criticism of literature must be unsatisfactory, it is also obvious that no change can be made, without changing the economic structure of society and the psychological structure of the artist. Economically, it is necessary that the reviewer should herald the publication of a new book with his town-crier’s shout �
�O yez, O yez, O yez, such and such a book has been published; its subject is this, that or the other.’ Psychologically, vanity and the desire for ‘recognition’ are still so strong among artists that to starve them of advertisement and to deny them frequent if contrasted shocks of praise and blame would be as rash as the introduction of rabbits into Australia: the balance of nature would be upset and the consequences might well be disastrous. The suggestion in the text is not to abolish public criticism; but to supplement it by a new service based on the example of the medical profession. A panel of critics recruited from reviewers (many of whom are potential critics of genuine taste and learning) would practise like doctors and in strictest privacy. Publicity removed, it follows that most of the distractions and corruptions which inevitably make contemporary criticism worthless to the writer would be abolished; all inducement to praise or blame for personal reasons would be destroyed; neither sales nor vanity would be affected; the author could attend to criticism without considering the effect upon public or friends; the critic could criticize without considering the editor’s blue pencil or the public taste. Since criticism is much desired by the living, as the constant demand for it proves, and since fresh books are as essential for the critic’s mind as fresh meat for his body, each would gain; literature even might benefit. The advantages of the present system of public criticism are mainly economic; the evil effects psychologically are shown by the two famous Quarterly reviews of Keats and Tennyson. Keats was deeply wounded; and ‘the effect . . . upon Tennyson himself was penetrating and prolonged. His first act was at once to withdraw from the press The Lover’s Tale . . . We find him thinking of leaving England altogether, of living abroad.’ (Tennyson, by Harold Nicolson, p. 118.) The effect of Mr Churton Collins upon Sir Edmund Gosse was much the same: ‘His self-confidence was undermined, his personality reduced . . . was not everyone watching his struggles regarding him as doomed? . . . His own account of his sensations was that he went about feeling that he had been flayed alive.’ (The Life and Letters of Sir Edmund Gosse, by Evan Charteris, p. 196.)
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