Deutsche Börse Photography Foundation Prize 2024 @ the Photographers’ Gallery

The annual Deutsche Börse Photography Award celebrates outstanding bodies of work that have been exhibited or published in Europe in the previous twelve months. All the nominated artists are acknowledged for their major achievements and innovations in the field of photography and contemporary culture. All the entrants are whittled down to just four artists who are displayed every spring at the Photographers’ Gallery in Soho, Central London.

This year’s four finalists are Lebohang Kganye, Gauri Gill & Rajesh Vangad, Hrair Sarkissian and VALIE EXPORT.

Lebohang Kganye (born 1990, South Africa)

Kganye’s display is the simplest. It looks like a junior school project. She has selected photos from her family album, blown them up and then stuck them on plywood stands. She’s then arranged them into four groups. The overall title is Mohlokomedi wa Tara and the four settings are: the inside of her grandmother’s kitchen; an outdoor scene with her grandfather sitting in a chair; a landscape with a herd of cows; a farm landscape with a mud house in the background.

Installation view of  ‘Mohlokomedi wa Tara’ by Lebohang Kganye (2018) Photo by the author

You can’t possibly deduce it from the installation itself, but the piece is intended to commemorate, among other things, the fact that the family was forced to migrate and to change their surname by the Apartheid regime’s Land Acts and Apartheid laws. According to the curators:

Using her family archive, Kganye skilfully explores and reimagines notions of home and belonging. Her fusion of images and words not only navigates the complexity of the South African experience but also contributes to the process of decolonisation through the visualisation of personal and collective memories and knowledge.

When I was in the room before it, I noticed people going into the Kganye room and spending as little as a few seconds in it. In, look around for 10 or 15 seconds, out. There’s nothing more to see or interact with than these wooden stands displaying family photos. It’s a neat gimmick or brand, but do you think they’re contributing anything ‘to the process of decolonisation’ in South Africa?

Gauri Gill and Rajesh Vangad

This is the most complex display, spread across two spaces and 6 or 7 walls. It is a collaboration between the photographer Gauri Gill (born 1970, India) and the painter Rajesh Vangad (born 1975, India). Over the years Gill has taken photos of rural Indian life in and around the village of Advasi and Vangad has used the techniques of the Warli culture he was born into to paint over them. The results are a fusion of photography and painting, documentation and art. Or, recognisable photos of rural India with lots of fiddly lines and details drawn onto them.

Installation view of photos from ‘Fields of Sight’ by Gauri Gill and Rajesh Vangad (2023). Photo by the author

The criteria for inclusion in the prize are not only to be featured in an exhibition in Europe but also for any books of photography published in Europe during the previous twelve months and it’s for their joint book, published in 2023, that Gill and Vangad have been nominated, and copies of it are on display here.

Installation view of copies of ‘Fields of Sight’ by Gauri Gill and Rajesh Vangad (2023). Photo by the author

Tate have bought one of their photos, ‘The Eye in the Sky, and devote a long web page to it, which explains their aims and techniques better than I can.

Hrair Sarkissian (born 1973, Syria)

Sarkissian’s works is about war and conflict. As his name suggests, he is of Armenian heritage, scion of a family which lost members in the Armenian Genocide during the Great War and the trauma of war and state repression ring through his work. Thus one of his first major projects, Executions Squares (2008 to 2010) depicts deserted public spaces in Syrian cities which were once sites of execution. The two works on display here are on the same theme of state repression.

Last Seen (2018 to 2021) is a set of 50 photos showing the locations where 50 people who were removed, arrested, interned, disappeared or abducted were last seen by their loved ones. Sarkissian travelled far and wide to locations in Argentina, Brazil, Bosnia, Kosovo and Lebanon. Some images have the appearance of a shrine where every detail has been left exactly as it was when the loved one vanished.

‘Last Seen’ (2018 to 2021) by Hrair Sarkissian

The second work is an installation which contains no photographs at all. You pass into a smallish room which is complete darkness, the walls painted black, no light, so dark I worried I might bump into one of the other visitors. No visuals just audio. Speakers on the walls play a soundscape. You totally have to have read the wall label to understand what’s going on.

First of all it’s called Deathscape and it is the recordings of forensic archaeologists exhuming bodies from the mass graves of the Spanish Civil War (1936 to 1939). Over 2,000 mass graves survive from the period in which over 100,000 civilians are buried. The soundscape of the installation mixes the sounds of shovels breaking the soil with brushes clearing away the dirt mingled with the heavy breathing of the excavators.

Quite obviously this isn’t a photograph and doesn’t include any photographs so what it is doing in a photography prize exhibition is open to question. For the tragic seriousness of the themes this is the most important display, but weighed solely as photography, it’s probably the weakest.

Trigger warnings

More and more art galleries post warnings at the entrance to warn visitors about dangerous material which might ‘trigger’ them. There are visitor warnings at the Royal Academy slavery exhibition and there’s a warning at the entrance to this exhibition, too.

The exhibitions have potentially triggering content including nudity, depictions of violence, and other sensitive matter.

Nudity!? The naked human form is now regarded as dangerous because it might ‘trigger’ viewers? Wow. This growing super-sensitivity can’t help but feel like a big step backwards into the Victorian era. Maybe galleries should cover up the legs of their pianos in order to prevent any suggestive thoughts. Maybe books ought to be rewritten to remove offensive material and anything which might ‘call a blush into the cheek of a young person,’ as Dickens put it in 1864. But then it’s already happening – Roald Dahl books rewritten to remove language deemed offensive (Guardian).

There are no warnings about the warnings, though, to help people who are triggered by trigger warnings. These might read: ‘This is a warning that the exhibitions contain warnings which might trigger people who are triggered by warnings about being triggered.’

VALIE EXPORT (born 1940, Austria)

All these warnings are to prepare you for the room devoted to VALIE EXPORTt, a ‘radical’ feminist artist from the late 1960s and 1970s. EXPORT became notorious ‘for her radical performances and critical examination of women’s role in society and the arts’ i.e. taking her clothes off in order to subvert the male gaze, challenge the patriarchy, reclaim her agency etc etc or, as the curators put it:

‘Pointing out entrenched patriarchal structures in mass media image culture, her fearless artistic practice exposes the role representation plays in the construction of gender, sexuality and social norms. Through photographs, filmic works, performances and installations, EXPORT deals with key issues including the body and the gaze, performance and the image, and subject and environment. For over 50 years, VALIE EXPORT has influenced generations of female artists, contorting, cutting and deforming her body to expose the profound social oppression of women – a theme that continues to resonate today.’

The single most striking thing about the EXPORT display is how old it is. It amounts to about a dozen black-and-white photos from her golden era in the 1970s and one small video installation from 1983.

In some of the photos she is shown embracing the stone walls of libraries and public buildings, dramatising the way women are forced to bend and distort themselves to fit into Patriarchal Society (Body Configurations, 1972). In several others she’s stripped naked and is crawling through a maze of electrified wires set up in her studio, acting out the snares and mazes which women have to navigate in a Patriarchal Society (Hyperbulie, 1973).

In 1970 she had a tattoo of a garter belt done on her thigh, where the garter would actually be, and then had it photographed from different angles. This is BODY SIGN ACTION from 1970 and by:

‘juxtaposing the garter with her exposed body EXPORT confronts society’s notions of female sexuality as repressed and shameful. Her work demonstrates female sexuality as liberated and prompts discussions about gender equality and autonomy.’

A pretty clear indication that, for curators, whether a photo is well composed, well shot, well lit, well developed, well framed, whether it is beautiful, evocative, emotionally powerful or aesthetically pleasing are all irrelevant; all that matters is whether it prompts discussion.

Installation view of VALIE EXPORT at the Photographers’ Gallery, showing stills from ‘Hyperbulie’ (1973) on the left, and ‘BODY SIGN ACTION’ (1970) on the right. Photo by the author

The most striking image, probably EXPORT’s greatest hit, is from a shoot when she dressed up as a wild-haired terrorist holding a machine gun, dressed in Velvet Underground-era leather, apart from the crotch, which has been removed to display her pubic hair and pudenda.

‘Aktionshose: Genitalpanik, Motiv’ 1969/2001 by VALIE EXPORT

This is by far her most famous work, so much so that it’s on the front page of her website and all across the internet if you Google the word ‘Aktionhose’. The German title translates as ‘Action Pants: Genital Panic’. Action Pants. There’s an idea for Ann Summers or Victoria’s Secret, although it also sounds like a character from Viz.

The photo records a performance where she walked into an independent cinema dressed like this, her exposed pubes at everybody’s eye level. This intervention was intended as:

‘a critique of the sexist voyeurism in film and cinema…Her unwavering gaze into the camera amplifies her challenge against a culture that objectifies and oppresses women, transforming her rage into a bold statement of empowerment and resistance.’

She did this on 22 April 1969, a few months after The Beatles released The White Album, which raises a pretty obvious question which is, Why has an artist whose heyday was fifty years ago been entered in a competition about the best photography exhibitions of 2023? This is the kind of baby boomer cultural imperialism which drives my kids nuts and some of the younger people at work occasionally complain about, too. There’s nothing in EXPORT’s display more recent than the 1980s. I guess it’s like giving a worthy old actor a Lifetime’s Achievement Award at the Oscars.

(Incidentally, this is an award for photography not performance and yet most of the photos of EXPORT – crawling through the wires or showing off her garter tattoo or wearing her crotchless trousers – weren’t taken by her, but my male photographers, in the crotchless case by Peter Hassmann. No award for him.)

Your call

The winner of the £30,000 prize will be announced on 16 May 2024, with the other finalists each receiving £5,000. Who do you think should win and why?


Related link

Photographers’ Gallery reviews

The Rossettis @ Tate Britain

This is a spectacular exhibition, by turns absorbing, inspiring, fascinating and deeply educational about the individuals, their lives and their times. Not all the work on display is good, some is positively poor, but there are good things throughout, and it’s huge – featuring over 150 paintings and drawings as well as photography, design, wallpapers, furniture, rare books, printed and spoken poetry and more. And then, in the last few rooms, it turns into a spectacular celebration of Dante Gabriel Rossetti’s huge, sumptuous paintings of stunning pre-Raphaelite women, an orgy of masterpieces to leave you reeling. More than just an exhibition it feels like a sustained immersion in their lives and times.

I thought the exhibition might disintegrate into a general splurge about the extended network of artists and models which made up the Pre-Raphaelite Brotherhood – surely, the most written-about subject in British art – the gift shop is heaving with books about the Pre-Raphaelites.

But I was wrong. The exhibition remains very, very focused on the Rossetti family and, above all, on the favoured son, Gabriel. (Only in adult life did Gabriel move his middle name, Dante, to the front of his three names – maybe partly to catch up with triple-barrelled friends like John Everett Millais and William Holman Hunt – but the curators refer to him as Gabriel throughout and so shall I.)

Firsts

Tate owns a lot of Pre-Raphaelite paintings and drawings so it’s surprising to learn that this is the first retrospective of Rossetti ever held at Tate, and the largest exhibition of his iconic pictures in two decades. Less surprising to learn that this is also the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare watercolours and important drawings, because most of us have never hear of her.

The rooms devoted to them show how Gabriel and Elizabeth’s relationship and works intertwined and reflected each other. If you like reading about the lives of great artists, then this deep dive into biographical minutiae will be right up your street.

Immigrants

First of all, they were immigrants. Gabriele Rossetti (1783 to 1854) arrived in London in 1824, as a political refugee from Italy. More than that he was an Italian nobleman, poet, constitutionalist, scholar, and founder of the secret society, the Carbonari. A noted Dante scholar he secured the post of Professor of Italian at King’s College London from 1831 as well as teaching Italian at King’s College School. He and his wife Frances Polidori Rossetti had four children, two sons and two daughters. Raised in a home drenched in poetry and literature, all four children went on to become artists or writers in their own right. They were: the writer Maria Francesca Rossetti (1827 to 76); poet, artist and designer Gabriel Charles Dante Rossetti (1828 to 1882); artist and critic William Michael Rossetti (1829 to 1919); and poet Christina Rossetti (1830 to 1894).

The curators add into this gang of four the figure of Elizabeth Siddal, model, artist and poet, who posed for many of the Pre-Raphaelites (most famously as Ophelia in the classic painting by John Everett Millais) but who enjoyed a lengthy relationship with Gabriel, in which they drew and painted the same subjects, copying and learning from each other. They married in 1860 at which point she became Elizabeth Rossetti and this, from a naming point of view, justifies her inclusion in the exhibition.

Christina Rossetti

The curators do something genuinely bold and interesting which is to start a major art exhibition with a room devoted almost entirely to poetry. Never seen that before. They are mostly by Christina Rossetti and are not only printed directly onto the walls in very large font size but, if you stand in places marked by signs on the floor, you can hear the poems being recited by what must be very cleverly focused loudspeakers, which seem to be addressing you and you alone.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room One which features just three paintings because it is devoted to the poetry of Christina Rossetti, which are reproduced on all the walls. Photo by Madeleine Buddo © Tate

All four Rossetti children were artistic and wrote and drew from early ages, but it was Christina who had the earliest success, having a volume of 42 poems published when she was just 16, some of which were written when she was as young as 11!

Remember by Christina Rossetti

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

This bold start does two things. One, it fulfils Tate’s feminist aims of promoting women, bringing women out from the shadow of more famous men, giving women more of a voice etc (as the promotion of Elizabeth Siddal later in the show also does). Two, it vividly demonstrates the extraordinary combination of sensitivity and sensuality which, arguably, were to be distinguishing features of the family, and especially the arch-sensualist, Gabriel.

Christina’s talent peaked with the volume containing her most famous poem, Goblin Market, of 1859. During her career she published over 900 poems, a phenomenal output. Taking five minutes to read all the works written on the walls here, and let them alter and direct your thoughts towards her strange combination of Victorian piety, with astonishing sensuality, is a rare and lovely experience.

Early sketches

The narrow but scholarly depth of the exhibition’s focus is established in the second room which contains 30 or so very early drawings and sketches by the boy Gabriel, alongside some by his sister, and two by his brother William. They demonstrate his precocious skill and his enthusiasm for original voices like William Blake and Edgar Allan Poe. Gabriel was an early devotee of the small cult of Blake, who didn’t become widely known until the 1860s. And he did numerous illustrations of Edgar Allen Poe stories and poems, notably The Raven.

The Raven by Dante Gabriel Rossetti (1848) © Victoria and Albert Museum, London

These are very uneven: some have great verve but many of them are cranky and cramped. So I suppose the idea of a progression of beautiful young girl ghosts, on the left, is well done, but nothing about the figure on the right is good, his tangled legs, the odd posture of his hands. But they’re all very interesting in a dry, scholarly way. You rarely get to see the early beginnings of a major painter in such detail and for this reason alone I found myself taking the time to study each of the sketches. I liked two sketches drawn with thick black lines which reminded me of Goya, but these were exceptions.

Man with a Woman Wearing Trousers by Dante Gabriel Rossetti (1844)

To buck the curators a bit, possibly the best things in this room are two marvellous charcoal and white chalk drawings by brother William, studies of Yarmouth beach. These far exceed in sophistication, depth and technique anything by Gabriel. And they are outdoors, giving them an airiness and lightness unlike anything by brother Gabriel. I can’t find them anywhere on the internet 😦

Gabriel’s unevenness

Maybe it’s worth making the point now, early on, that Gabriel Rossetti is strangely patchy or uneven as an artist. Many of these sketches are positively poor. What I mean is their depiction of the human frame is awkward and cranky. Gabriel’s figures are often bent at improbable or at least uncomfortable angles. His faces are sometimes smooth and angelic but sometimes angular and amateurish.

Later on there’s a room devoted to the period he spent living and working with Elizabeth Siddal, originally a model but, as this exhibition goes to great lengths to demonstrate, an artist in her own right. The curators place sketches, drawings and small paintings by Gabriel and Siddal alongside each other but I had the same experience as in Room 2 i.e. a lot of both of their work seemed to me poor, amateurish, ungainly, badly modeled figures and badly drawn faces.

The sketches introduce another theme which is how cramped and confined so much of Gabriel’s art is. At one point the curators point out that The Artist In His Study was a recurring theme of Gabriel’s work, but it’s not just the artist trapped indoors. In sketch after drawing after painting, the subject (always people, never landscapes or still lifes) has to bend over, lean in, wry their neck into the claustrophobic confines of the framing space. Almost all of his people are indoors and in a very cluttered, cramped and confined indoors at that.

All these qualities are on display in Ecce Ancilla Domini. It’s indoors; in a very cramped narrow room, emphasised by the vertical line of the narrow bed and, of course, the standing figure. Look how tightly frame it is with the picture edge right up against the left side of the angel’s gown and the red stand on the right, and the terrified woman pressed up tight against the hard cold whitewashed wall. I can barely breathe.

Ecce Ancilla Domini (The Annunciation) by Dante Gabriel Rossetti (1850)
© Tate

What’s so odd as to be barely believable is that the artist who produced these small cramped images, up to and beyond his Pre-Raphaelite phase in the late 1840s and 50s, then blossomed into the artist of the big, lush, sensual masterpieces of the 1870s and 1880s. It’s as if they were two completely different people.

The Pre-Raphaelite Brotherhood (the PRBs)

The exhibition has to cover Gabriel’s involvement with the Pre-Raphaelite Brotherhood which he founded in 1848 along with soul mates William Holman Hunt, John Everett Millais, James Collinson, Frederic George Stephens and Thomas Woolner, but it keeps it under control, as it were, not splurging but maintaining its focus on Gabriel (and to a lesser extent Christina).

This room is the one place where the curators bring in other works, by Millais and Hunt in particular, in order to explain the shared aims of the group. The idea was to reject the shadowy forms and stylised poses of the Italian Mannerist artists who succeeded Raphael and Michelangelo. The PRBs believed the classical poses and elegant compositions of Raphael, in particular, had been a corrupting influence on the academic teaching of art, hence their ambition to go back before Raphael to recapture the clean, detailed and precise style of artists who preceded the High Renaissance.

This led to a kind of super-realism where you can make out every hair on the head of the figures, where the background isn’t shady and blurred to indicate distance, but everything is seen in full detail, sparkling with a kind of universal light. This is one of the 3 or 4 paintings that the curators include as examples of the early, radical style of the Pre-Raphaelite Brotherhood, a typical selection of a medieval subject by William Holman Hunt. Note the hallucinatory clarity of every detail, of the flowers at bottom centre, the hair of the horseman on the right, the loving detail of the light reflecting on all the armour.

Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions by William Holman Hunt (1849) Private collection of Mrs E. M. Clarke

Realists and rebels – or inventors of a new form of escapism

A comment on the wall caption made me smile. The curators state that ‘The men and women in the Pre-Raphaelites’ circle wanted to express themselves authentically, with art and poetry based on lived experience and nature.’ Elsewhere they talk about the PRB’s commitment to depict the life of their times, and imply that this or that painting is a piercing critique of Victorian sexism, social inequality, poverty and so on. And indeed some, a very small number of paintings and drawings, can be interpreted in this way.

But a wider truth is conveyed in the wall label’s very next sentence: ‘Their paintings and writings explored stories from the Bible and medieval books that resonated with their modern lives.’ That’s closer to the mark because what comes over is the PRB’s commitment to flee the social realities of their time. The curators themselves point out how Gabriel, his family and friends sought inspiration in anything but their own time, in stories from the Bible, fairy tales, folk tales, Greek myths and legends and, above all, by escaping into a beautifully rendered and idealised version of the Middle Ages.

The Decameron, The Canterbury Tales, The Roman de la Rose, the Arthurian legends and, above all of them, a lifelong obsession the 14th century Dante Alighieri – all this was about as far away as you could possibly get from the political, economic or social life of their times.

The PRB’s speciality was escapism, and in this they followed the other poets of their day who mined John Keats’s lush sensuality to produce the medievalising monologues of Robert Browning but above all the tremulous emissions of the presiding poet of the era, Alfred Lord Tennyson. Take Browning’s poem ‘Pippa Passes’, allegedly written ‘to speak for the masses … cuffed and huffed from morn to midnight’. but whose subject, Pippa, is a silkworker who walks through the medieval Italian town of Asolo, singing and inspiring good. Or Tennyson’s log work the ‘Idylls of the King’, the king in question being King Arthur. While the British army subjugated more and more parts of the world, Britain’s poets vapoured about knights and damsels. And the Rossettis? Well, could they have made more drawings, sketches and paintings of knights in armour and damsels in distress?

Arthur’s Tomb by Dante Gabriel Rossetti (1860) © Tate

No, for actual lived experience of the mid-Victorian period the Rossettis and Pre-Raphaelites are the very last source you would consult. You would look in the novelists – the poet laureate of London, Dickens, to a lesser extent Thackeray, or the gritty novels of Mrs Gaskell with their harrowing accounts of working class life.

So taken at face value the notion that the PRBs were radicals who sought ‘authenticity’ and to depict life  with a new realism in defiance of the conventions of the society around them and of the artistic establishment represented by the Royal Academy seems nonsensical.

But maybe I’m missing the point. I think PRB fans would point out that the realism and authenticity they were seeking was an emotional and psychological realism. In the subjects of their art they fled the reality of their times to Greek legends and medieval stories in order to capture complex, fleeting, intense and evanescent emotions which the banality of day-to-day living in industrialising London seemed to crush and stifle.

Thus Gabriel’s very strange painting of Arthur’s Tomb, above, is radical in the sense that it rejects the entire tradition of Salon art, of the huge Grand Historical or Mythological Subjects promoted by the founder of the Royal Academy, Sir Joshua Reynolds, with their grand gestures and beautiful finish. Instead the characteristically cramped and claustrophobic composition, the sense that both figures are being squashed by the tee above, the awkward bending of Lancelot, Guinevere’s hand fending him off – the cramped awkwardness of the entire thing conveys a very modern, complex psychological moment, fraught with tensions.

So the flight into the Middle Ages which is enacted in painting after painting, was it a flight from contemporary reality – or was it the adoption of distant subjects the more easily to convey complex modern psychological states? Discuss.

Elizabeth Siddal

Following new research, Elizabeth Siddal’s surviving watercolours are shown in a two-way dialogue with contemporary works by Gabriel, exploring modern love in jewel-like medieval settings. As a working­ class artist who was largely self-taught, Elizabeth’s work was highly original and inventive, but has often been overshadowed by her mythologisation as a tragic muse (see, for example, this BBC article, The tragedy of art’s greatest supermodel).

According to the curators Siddal and Gabriel’s work together marks a turning point from Pre-Raphaelitism to the new, more imaginative and expressive Aesthetic style which emerged in the 1870s.

Lady Affixing Pennant to a Knight’s Spear by Elizabeth Eleanor Siddal (1856) © Tate

Aestheticism – Gabriel’s second revolution

There’s such a huge difference between Gabriel’s often clunky, cramped compositions of the 1850s and the huge, gorgeous flowing masterpieces of the 1870s that it’s as if they’re by two completely different people. The curators clarify that, a generation after helping found the Pre-Raphaelite Brotherhood, Rossetti was at the epicentre of a second great artistic revolution, this time the Aesthetic Movement with its credo ‘Art for Art’s Sake’.

He went on to lead a new avant-garde group even more influential than the Pre-Raphaelites: the aesthetic movement. This would change ideas, art and design around the world.

Already in 1864 the hazy light, colour and heavy symbolism of Beata Beatrix looked forward to the Aestheticism and the international Symbolist movement later in the century.

Gabriel’s portraits [in the later 1860s and 1870s] reflected the aesthetic movement’s ideals of ‘art for art’s sake’ and a new modern beauty. He adapted the likenesses of working-class women of unconventional appearance, notably model Alexa Wilding, into fantasies of enchanting femininity. Inspired by Renaissance portraiture and mythological texts, these sensual portraits suggested touch, sound and scent as well as vision. They emphasised the pleasure of form and colour, looking ahead to the abstract art of the following century.

This is the thinking behind the final two rooms which amount to an orgy of spectacular Rossetti classics.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room Seven which features ten stunning paintings from Rossetti’s sensual prime. Photo by Madeleine Buddo © Tate

We learn about the art collector Frederick Leyland who owned the three paintings in the photo above plus two more which are hanging nearby. He displayed all five in the drawing room of his mansion at Princes Gate, London, and the exhibition features a contemporary photograph to prove it. Apparently it’s the first time all five paintings have been reunited in one space since Leyland’s heyday in the 1880s.

Originally from a modest background, Leyland rose to run one of the largest transatlantic shipping companies of his day. Because they see it as their job to take every opportunity to remind us of woke and feminist issues, the curators tell us that much of Leyland’s trade was based on the cotton that fed textile manufacturing in northern British towns and that the cotton came from the American South where exploitative labour continued long after the abolition of slavery.

Leyland used the money he made from his business to become a key figure in the aesthetic movement, transforming his Liverpool and London homes into palaces of modern art. It was Leyland who commissioned The Beguiling of Merlin by the Pre-Raphaelite painter Edward Burne-Jones and commissioned the architect Thomas Jeckyll and the American ‘aesthetic’ painter James McNeill Whistler to decorate his dining room, a commission which resulted in the Peacock Room, considered one of Whistler’s greatest works. A really key figure, then, and purchaser of some of Gabriel’s most stunning and sensuous portraits of beautiful, strong-jawed, thick-necked, frizzy-haired aesthetic beauties.

Monna Vanna by Dante Gabriel Rossetti (1866) © Tate

The femme fatale

Uneasy with these lush and opulent depictions of sensual, semi-erotic women, the curators take refuge in a familiar feminist trope. This is the notion that some of Gabriel’s paintings in his mature late style are of femmes fatales. This allows the curators to take refuge in familiar tropes about sexual objectifying of women and gender stereotyping and male anxiety about female sexuality, the usual shopping list.

Gabriel engaged with the idea of the dangerous, sexualised ‘fatal woman’ or the ‘femme fatale’. This usually negative figure of feminine power responded to Victorian anxieties about social change. It became a popular fantasy figure towards the end of the century, and persists in literature and art today.

Persists in literature and art today? Tut tut. And despite all the brave attempts of feminist curators to change the world. Shame. Sometimes I wonder how old art curators think their readers are. 10?

The kind of painting we’re talking about is Gabriel’s depiction of Lady Lilith. The ancient story has it that Lilith was Adam’s independent-minded first wife who he put away and replaced with Eve. In revenge, Lilith seduced and persuaded the serpent to tempt Eve which led to Adam and Eve’s expulsion from Eden’s bower and the fall of mankind. Naughty Lilith.

Lady Lilith by Dante Gabriel Rossetti (1866 to 1868) Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935

If you allow yourself to get worked up about millennia-old stories this is obviously a sexist trope designed to demean and blacken independent women everywhere. For those not so easily upset, it’s a pretext for a staggeringly sensual painting, rich in details of fabric, hair and flowers. Doesn’t look much like a denizen of prehistoric Mesopotamia, does she? Desert, snake, tree? The picture could, frankly, be given the name of almost any woman from myth and legend and make as much sense.

In fact, my view would be that this is a painting about money and luxury. These are the kind of extraordinarily richly coloured, beautifully detailed, dreamily luxurious images of extremely attractive women which Gabriel sold by the cartload to mega-rich patrons like Leyland. It is a luxurious depiction of luxury for those rich enough to live in luxury.

The magic of exhibitions like this is that we poor peasants, for the hour or so that we spend strolling round masterpieces like this, are also lifted into a realm of luxury, beauty, sensuality that has never existed with this kind of other-worldly perfection but which we, for a tenner, can for fleeting moments, enter and inhabit. The scent of the roses! The texture of that silk dress! The luxury of those endless tresses!

Lilith poem

As we’ve learned, Gabriel and many of his friends and lovers often wrote poems about the subjects they were painting or painted their poems, the two art forms interpenetrating. Thus next to this amazing painting there’s a striking sonnet by Gabriel. If you stand in the right spot (on one of the signs on the carpet) you magically trigger a reading of the poem in the lugubrious tones of actor Bill Nighy.

Lilith by Dante Gabriel Rossetti

Of Adam’s first wife, Lilith, it is told
(The witch he loved before the gift of Eve,)
That, ere the snake’s, her sweet tongue could deceive,
And her enchanted hair was the first gold.

And still she sits, young while the earth is old,
And, subtly of herself contemplative,
Draws men to watch the bright web she can weave,
Till heart and body and life are in its hold.

The rose and poppy are her flowers; for where
Is he not found, O Lilith, whom shed scent
And soft-shed kisses and soft sleep shall snare?

Lo! as that youth’s eyes burned at thine, so went
Thy spell through him, and left his straight neck bent
And round his heart one strangling golden hair.

The slightly knotty syntax takes a couple of readings to get quite straight (it took me a couple of goes to understand the importance od ‘not found in the 9th line) but then, wow. You could argue the slight entanglement of the lines deliberately mimics the strangling effect of Lilith’s golden hair.  Maybe. Presumably Lilith’s hair is golden in the poem because ‘golden’ sounds good, but orange-auburn in the painting because orange is such a dramatic and deeply luxurious colour as, for example, in Frederick Leighton’s famous painting, Flaming June.

Special attractions

Curators not only need a theme or pretext with which to concoct an art exhibitions but score extra points if they can come up with rare or unique or special features that make the show extra-special. The curators of this exhibition have excelled themselves with four or five of these ‘special features’ to look out for / be impressed by.

1. The wallpaper

Dante Gabriel Rossetti’s previously unrealised work as a designer is brought to life in The Rossettis. A wallpaper he designed 160 years ago has been created for the first time especially for Tate Britain’s exhibition. Intended to decorate the home that Dante Gabriel shared with Elizabeth Siddal after their marriage, the artist sketched and described the design for this unusual wallpaper in close detail but ever, it was never put into production and only existed as a drawing until now.

Now Tate Britain has worked with illustrator and designer llyanna Kerr to bring Rossetti’s design to life. The design depicts a grove of apple trees at dusk, with stars appearing in the deep blue sky above, in a style that looks forward to the Art Nouveau movement at the end of the 19th century.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room Five which showcases a wallpaper designed by Gabriel but never produced in his lifetime. Photo by Madeleine Buddo © Tate

And it’s not just wallpaper. This room also includes some big bits of furniture, namely a Rossetti-related cabinet, chair, and sofa.

Installation view of ‘The Rossettis’ at Tate Britain, showing King René’s Honeymoon Cabinet (photo by the author)

King René’s Honeymoon Cabinet (1861)

J.P. Seddon (1827 to 1906) designed this architect’s desk, including the metalwork and inlay, in 1861 for his own use. Seddon had the desk made at his father’s cabinet-making firm. He also commissioned ten painted panels depicting the Fine and Applied Arts from Morris, Marshall, Faulkner & Co. Ford Madox Brown, who also designed the panel representing ‘Architecture’, suggested the overall theme. The ‘Painting’ and ‘Sculpture’ panels were by Edward Burne-Jones, while Gabriel was responsible for ‘Music’ and ‘Gardening’. Morris designed the decorative background for each panel. (Text from the V&A article about the cabinet.)

Installation view of ‘The Rossettis’ at Tate Britain, showing chair and sofa designed and decorated by Gabriel (photo by the author)

The chair and sofa

The conspicuous consumption that characterised fashionable Victorian interior design did not suit Elizabeth and Gabriel’s ideal of a more authentic life. They sought out and adapted furniture that was basic and true to its materials and methods of making. They found beauty in handcraft rather than elaborate ornamentation and liked open, gracefully turned wood.

Gabriel collaborated with William Morris’s design firm to create rush-seated chairs like the one on display here, and this early-19th-century style sofa for his and Elizabeth’s home. On the sofa backrests are insets representing Love, the Loving or Lover, and the Beloved, painted by Gabriel.

Honeysuckle wallpaper

The big blue wallpaper isn’t the only one created specially for this exhibition. Room 8 has a wall covered in honeysuckle wallpaper made specially for this exhibition. It’s based on an embroidered hanging designed by William Morris and sewn by Jane Morris. Jane, her sister Bessie and her daughters May and Jenny played a key creative role in the making of textiles and embroideries for the family firm Morris & Co. This collective approach makes it difficult to identify individuals’ work. We know Jane was embroidering Honeysuckle around the end of Gabriel’s life. The finished embroidery was exhibited at the first Arts and Crafts exhibition in 1888.

Installation view of ‘The Rossettis’ at Tate Britain, showing the honeysuckle wallpaper in Room Eight. Photo by Madeleine Buddo © Tate

The blue wallpaper, the closet and the sofa had one overwhelming impact on me which was to get rid of them. ‘Chuck out your chintz’ as the old Ikea ad had it. This was precisely the kind of heavy, dark, wooden, over-decorated clutter which the Modernist designers of the Bauhaus had to reject in order to create the modern, clean, simple design aesthetic of the twentieth century. It has great historical interest, and kudos to Tate for recreating it, but I cordially disliked all of it.

2. A handwritten poem

A handwritten poem by Gabriel is exhibited for the first time, on loan from the University of Delaware Library, Museums and Press. Entitled The Portrait, this is believed to be one of the pages which were buried with Elizabeth Siddal’s body in Highgate Cemetery in 1862. The coffin was later exhumed in October 1869 to retrieve the pages when Gabriel was preparing to publish his first collection of poetry. The manuscript shows his frantic revisions ahead of its publication, including editing out some of the more sensual lines like ‘our hair had to be untangled when we rose’.

The poem describes the ability of a portrait painting to inspire memories of an absent lover and bring her to life. It is closely associated with Gabriel’s iconic painting of Elizabeth, Beata Beatrix, which was created at the time of the poem’s retrieval, seven years after her death. The two are now brought together in this show, and their paring is typical of the way both Gabriel and Elizabeth conceived of poems accompanying paintings and paintings made to accompany poems.

Beata Beatrix by Dante Gabriel Rossetti (1864) © Tate

3. Three Proserpines brought together

Tate’s famous Rossetti painting of Jane Morris as the mythological figure Proserpine has been brought together with two later paintings of the same subject, both on loan from private collections. They reveal the artist’s obsessive attention to detail and his fondness for revision and experimentation, developed over multiple versions spanning many years. The languid yet studied pose, and the amazing finish of the dress, went on to influence many modern artists who wanted to express emotion in art through colour and shape.

Proserpine by Dante Gabriel Rossetti (1874) © Tate

Gabriel first began depicting Jane as Proserpine around the time they became lovers in 1870. Her sadness and longing for the summer months is perhaps intended to evoke the time Jane and Dante Gabriel are not able to be together. The painting is also a study in melancholy, a subject the two often spoke about. The exhibition includes a book on the subject, Robert Burton’s famous ‘Anatomy of Melancholy’, which Dante Gabriel gave to Jane as a Christmas present in 1873. An ink drawing of her, intended for her eyes only, was hidden inside.

4. Portrait of Fanny Eaton

The exhibition is a rare opportunity to see one of Gabriel’s finest drawings. On loan from Stanford University in California, this portrait of Fanny Eaton is one of a series of portrait studies of working-class professional models whose likenesses reappear in paintings throughout the exhibition. Eaton was one of the most successful and sought-after of these models, often shown by other artists in expressive and dramatic roles, but Rossetti here depicts her in a private moment of quiet thought. It is one of the finest images in the show.

Born in 1835 in Surrey, Jamaica, probably the daughter of an enslaved mother, Eaton came to Britain after abolition and set up home with James Eaton, a coach driver. She bore him 10 children who she continued to provide for on her own after James died in his 40s. Her grave in Margravine Cemetery, Hammersmith, was finally marked with a headstone 6 months ago, followed by a blue plaque on her last home near Shepherd’s Bush.

Head of a Young Woman [Mrs. Eaton?] by Dante Gabriel Rossetti (1863 to 1865) © Cantor Arts Center, Stanford University

The Eaton study appears in a fascinating room, Room Six, which is devoted to just one painting, The Beloved.

The Beloved (‘The Bride’) by Dante Gabriel Rossetti (1866) © Tate

To quote the curators:

Gabriel’s composition for ‘The Beloved’ was inspired by Renaissance artist Titian’s painting ‘Woman with a Mirror’ (1515) conceived as a Venus figure surrounded by many mirrors. He adapted this into an image inspired by the biblical ‘Song of Solomon’, about a young woman meeting her bridegroom, surrounded by attendants. In his eyes, the seven figures represented a universal vision of female beauty’. Created at a time when Britain was more connected to the globe through travel and colonial expansion, ‘The Beloved’ is Gabriel’s only oil painting to include models of colour. The work was conceived during the American Civil War (1861 to 1865) when newspapers debated universal freedom and the liberation of Black people enslaved in the Southern US states. The figures, flowers and accessories in the painting are appropriated from cultures around the world, particularly those from Asia and North Africa. They represent an ‘orientalist’ fantasy which mis-imagined these areas as archaic, exotic and interchangeable.

There you have a good example of the censorious, scolding tone of modern art scholarship. The purpose of devoting a room to this one painting is that the curators have assembled Gabriel’s preparatory sketches for each of the six heads which appear in the finished painting. It’s in this context that the stunning Head of a Young Woman appears a study of Mrs Eaton who appears in the final work as the third head from the left, with a completely different expression.

Thus there’s also a study of the black boy at the front of the painting. We don’t know his name but, as you can imagine, the Tate curators are super-alert to all the possible negative implications of his appearance:

Little is known of this boy, a visitor to London. Gabriel met him outside a hotel. Children had few rights in Victorian times. In this case, Gabriel negotiated the boy’s modelling work with an American described as his ‘master’, suggesting he was a student, servant or born into slavery. His gaze engages the viewer strongly, but Gabriel’s main intention was aesthetic. He wanted a model with what he described as ‘pure’ African heritage to add a different skin tone to the composition [giving him a] decorative and dehumanising role…

They go on to say something which slightly puzzled me:

Little is known of the boy’s experience of sitting. Gabriel is believed to have said he was both playful and tearful, and wondered whether he missed his mother. Where the girl models were drawn clothed, the boy was required to pose partly undressed. This may have contributed to his discomfort, expressed, perhaps, in the serious gaze. For the artist, the nudity objectified his appearance, displayed his dark skin and removed him from the present to the archaic fantasy space.

The bit that puzzles me is the idea that just this one boy, because he is black, has suffered a unique and grievous crime in being removed ‘from the present to the archaic fantasy space.’ Hang on. Haven’t the other four models been just as removed ‘from the present to the archaic fantasy space’? In fact, a moment’s reflection suggests that pretty much every model who ever posed for Gabriel and his friends was removed from the gritty realities of 1860s London and magically recreated in, the generally medieval, ‘fantasy space’.

I was genuinely puzzled why this ‘removal to fantasy space’ is absolutely fine and not worthy of comment on the hundreds and hundreds of occasions when it happens to white models, but troubles the curators so much that they comment on it in two separate captions, when the subject is black.

5. Rarely seen photographs of Elizabeth Siddal’s lost drawings

After Elizabeth Siddal’s death, Gabriel collected her drawings, had them photographed, printed and pasted into albums. Three pages of these albums are on display for the first time in this exhibition, on loan from the Ashmolean Museum in Oxford. Many of the original drawings have since been lost, such as her evocative depictions of the knight’s enchantment with the femme fatale from Keats’ poem ‘La Belle Dame Sans Merci’. New research into these drawings has revealed the ‘call and response’ of ideas between Elizabeth and Gabriel, with poses she used in her work reappearing in his later work.

The inclusion of these dozen or so photos of Siddal drawings is important to the curators because it furthers their deep aim of boosting women in art, in this particular instance adding just that bit more evidence to their case for the importance of Elizabeth Siddal, as an artist in her own right, and as a creative partner with Gabriel. They’re not, to be honest, anything special, but I appreciate where the curators are coming from.

Summary

I’m not a particular fan of the PRBs nor of Rossetti but, even as a semi-sceptic, I was blown away. This is a lovingly assembled, deeply intelligent and learned exhibition, beautifully designed and laid out, which includes many fascinating digressions and diversions, before leading up to the final rooms packed with staggering masterpieces. Wonderful. Amazing.

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The Fatal Shore: A History of The Transportation of Convicts to Australia, 1787 to 1868 by Robert Hughes (1987)

Warra, warra
(First recorded words of the first indigenous people met by the captain of the first convict fleet to Australia in 1788. They mean: ‘Go away’)

Prime fact: The First Fleet of 11 ships transporting convicts from Britain to Australia landed at Botany Bay on 20 January 1788.

If you’re my age you might remember watching the Australian journalist and art critic Robert Hughes (1938 to 2012) presenting his ground-breaking TV series about modern art, ‘The Shock of the New’, back in 1980. He looked like a boxer and expressed feisty, sometimes controversial, opinions in a muscular, punchy prose style.

Seven years later Hughes published his epic study of the British penal colonies and early European settlement of Australia, ‘The Fatal Shore’ (1987). It became an international best-seller because there were few if any histories of Australia which presented the facts of the country’s early history with such a combination of solid research and journalistic brio.

‘The Founding of Australia by Captain Arthur Phillip RN, Sydney Cove, 26 January 1788’ by Algernon Talmage (1937) [The British flag was not officially planted until 7 February 1788, when possession was formally proclaimed]

The text is laid out in a pleasingly clear structure, proceeding logically topic by topic and exploring each of them thoroughly and convincingly.

The narrative starts dramatically with the arrival of the first shipload of convicts at Botany Bay on 20 January 1788. What was the land like that they had arrived at? Hughes gives us several pages description of the astonishingly weird and unique fauna of Australia (pages 3 to 7) and his narrative will go on to be peppered with periodic descriptions of the arid, sunburned, eucalyptus-riddled terrain.

Indigenous Australia

What were the people like that they met? He gives us a ten-page summary of what was then known (1980) about Aboriginal or indigenous culture (pages 7 to 18).

What comes over in his description is the really primitive nature of Aboriginal culture: the Aborigines hadn’t invented the bow and arrow, they had no buildings, they hadn’t even invented the tent (unlike American Indians) because they never stayed long in one place. Some made temporary lean-tos out of bark which the settlers quickly nicknamed ‘humpies’ but their entire way of life was based on firing the bush to catch wildlife, then moving on.

It’s now thought that Australia had been inhabited for over 60,000 years when the Brits arrived. Its  inhabitants had developed a patchwork of tribes and peoples and nations, each inhabiting large tracts of land (Australia is only fractionally smaller than the landmass of continental United States, 2,969,907 square miles to America’s 3,119,884 square miles). To this day scholars debate the precise number, but at least 300 languages and language families existed.

The AIATSIS map of Indigenous Australia attempts to represent the language, social or nation groups of indigenous Australia

The people who inhabited the area of south-east Australia where the Brits landed were called the Iora. They had no concept of private property so the Brits couldn’t barter with them. They didn’t wash, in fact they covered their bodies with fish guts as a prophylactic against disease and so stank to high heaven. They treated their women appallingly. Unwanted children were aborted by ingesting herbal medicines or simply thumping the pregnant woman’s stomach. Deformed babies were killed at birth. There was no room for the weak in the Indigenous people’s nomadic economy.

Hughes’s description of the Aborigines sets the tone of the entire book. It is going to be deliberately anti-Romantic, debunking myths, puncturing legends, showing that the reality is always more squalid and sordid than the rose-tinted stories he and his generation were told at school or prim progressives tell each other today about the noble savage. In this story, nobody is noble.

According to the estimates available to Hughes, when the Brits arrived in 1788 there were an estimated 300,000 Indigenous Australians across a continent the size of America. No wonder it felt almost ’empty’ to the Europeans: no towns, no villages, no buildings of any kind, no agriculture, nothing that registered with them as civilisation or culture.

(I wouldn’t be surprised if someone contacts me to say this description is unduly negative. Hughes makes every effort to be fair to the Indigenous Australians, and to depict their heart-breaking plight, but he was writing nearly 40 years ago, so I wouldn’t be surprised if some of his account is wrong and/or nowadays considered offensive. I apologise in advance if it is and am happy to be corrected.)

Georgian crime

Why was the transportation policy created by the British? Hughes gives a fascinating review of the growth of criminality in Georgian Britain (the long century from 1714 to 1830), which powerfully conveys the stink, poverty and abject misery endured by most of the population (pages 19 to 42).

The Georgians refused to set up a police service, as many nations on the continent had, because of an obstinate belief that it would infringe on the ‘liberty of the subject’ which they fetishised. (Plus the French had a form of police who had the right to enter and search private dwellings, so if the French had one, it must be bad.) But at the same time, the second half of the 18th century witnessed a population explosion which resulted in a surplus of young men who migrated from the country to the city, discovered there were no jobs for them, and so took to crime.

In the absence of a police force the Georgian authorities resorted to passing ever more draconian laws, an astonishing number of them carrying the ultimate sanction i.e. the death penalty. Eventually, there were some 200 statutes carrying the death penalty on the books and you could be hanged for burning a house or hut, a rick of corn, for poaching a rabbit, for damaging a fishpond, for cutting down an ornamental shrub of appearing on a high road with a sooty face (p.29). These were in fact provisions of a particular law, the Waltham Black Act of 1723, designed to stop agrarian unrest in Hampshire (the lawbreakers moved at night with blacked-up faces, hence the oddly specific provision). But most crime was urban and the result of poverty and starvation. As you read on you come across plenty of examples of people transported for life for stealing a loaf of bread, some butter, some bacon etc.

Middle-class people could be transported too. An architect was sentenced to death for forging a contract, commuted to transportation for 14 years (p.297). A satirical poet, Michael Massey Robinson, tried to blackmail an ironmonger by threatening to publish a scurrilous poem about him and was transported for life (p.300).

Hughes describes the rituals of hanging day and the long trek of the victims’ cart from Newgate prison to Tyburn ‘tree’, the sturdy wooden frame situated where Marble Arch is now, the route lined with cheering Londoners, the actual hangings witnessed by crowds of up to 30,000, drinking heavily, pullulating with pickpockets and whores, the whole thing, paradoxically, a festival of criminality, something which outraged moralists deplored in Boswell’s day (1760s and 70s) and Dickens was still complaining about in the 1850s (pages 31 to 36).

‘The Idle Prentice Executed at Tyburn’ by William Hogarth (1747)

In fact Hughes returns to the question of class and crime repeatedly throughout the book. I suppose it’s obvious but I hadn’t thought about the way the policy of transportation was merely one aspect of British penal policy. In other words, it was entirely dependent upon and reflected 80 years of British social and economic history. What was happening in Britain entirely dictated who was sent to Australia, and when and why and in what numbers.

In other words, the book is as much a social history of Britain during this period as it is of Australia. Thus there’s a lot more detail than you’d expect about, especially early on, about, for example, the geography, slums and criminal classes of Georgian London.

The hulks

Britain had no nationwide prison system, in fact at least half of the prisons were privately owned and run (p.37). There was no belief in rehabilitation, prisons were just regarded as dumping sites for toxic males to stew in their own juice.

By the 1770s the prisons had become so overcrowded that the authorities had the bright idea of sending the ever-increasing population of convicts to prison ships or ‘hulks’, the rotting shells of decommissioned navy ships moored in harbours like Portsmouth and Plymouth. In 1776 Parliament passed the ‘Hulks Act’ (16 Geo III, c.43) (p.41). These hulk-bound prisoners were used as labourers in the naval dockyards and, in the picture below, can be seen being taken by boat from a hulk to their work on the mainland.

Prison hulk at Deptford, London, after a painting by Samuel Prout (about 1826)

The American precedent

One of the little known facts about the period which I found fascinating is that the practice of transportation was already well established, but it was transportation to the American colonies. The Transportation Act of 1717 had begun the process of sending indentured servants to Britain’s colonies in the Americas 53 years before Australia was even discovered. Between 1717 and 1777 as many as 40,000 convicts were sent to America for seven or 14-year periods. They were sold to shipping contractors who then sold them on in America to plantation owners in the Caribbean or mainland in what Hughes describes as a ‘thinly-disguised form of slavery’ (pages 40 to 41).

But when they declared independence in 1776 the Americans refused to accept any more British criminals. Anyway, as Hughes points out, they didn’t need them. By the year of independence more African slaves were arriving in America every year (about 47,000) than white convicts had done in the previous 60 years put together (40,000) (p.41).

At first the British authorities thought the Americans would give up their fight for independence. It took until 1783 for the government to finally accept American independence and another few years for the full implications to be worked out for Britain’s overflowing prisons. By the early 1780s even the hulks were overflowing and William Pitt’s government was receiving angry demands from MPs for Plymouth and Portsmouth to do something about them. There began to be riots aboard the hulks, convicts rebelling against the disgusting conditions. In one riot aboard a prison hulk, in 1786, eight convicts were killed and 36 wounded (p.65).

It’s fascinating to read Hughes’s account of the way the mounting complaints of MPs with hulks in their constituencies became a real political problem for Pitt and drove him to appoint a commission to look into ways of disposing of the convicts which filled them – surprising that the problem of what to do with Britain’s surplus convict population became such a leading political issue. It crossed my mind it was a little like the refugee crisis of our own day: successive governments keep promising to do something decisive about it and keep dismally failing. And both involve boats and the problem of what to do with unwanted people…

The other side of the world

Fascinating to learn that, as a result, the British authorities were open to all suggestions, and that a number of entrepreneurs came up with bold and crazy schemes. One was to transport the convicts to the island of Lemane 400 miles up the River Gambia and set up an African penal colony there (p.64). Or how about a penal colony somewhere off the coast of South America?

Zeroing in on the continent which was eventually chose, Hughes gives us a potted history of European theories and encounters with the legendary southern continent before Captain Cook did his first definitive exploration of Australia’s eastern coast (pages 43 to 48). He describes the voyages of Magellan and various intrepid Dutchmen, mentions the Englishman, William Dampier, who touched on the north-west coast of Australia in 1688.

Captain Cook

Then, of course, Captain Cook. Hughes gives a typically factual, forthright and gripping account of Cook’s expeditions, devoting some space to the long-running problem for all seafarers of scurvy, and how Cook, a modern innovator in this as so many other things, lost not a single man from scurvy by the savvy use of anti-scorbutics. As Hughes puts it, with typical pith and wryness:

Malt-juice and pickled cabbage put Europeans in Australia, as microchip circuitry would put Americans on the moon. (p.49)

Hughes gives a characteristically thorough and vivid description of Cook’s voyage in the Endeavour (‘a converted Whitby trawler, small and brawny’, p.51). He devotes a fascinating few pages to the technical inventions which had just recently made such map-making voyages more precise and useful, namely John Harrison’s invention of the marine chronometer, a device for solving the problem of calculating longitude while at sea (pages 50 to 57).

The convict problem

Prisons overflowing with unreformable criminals? A newly discovered continent on the other side of the world? The British authorities put two and two together and realised that this was an opportunity to redirect the now-defunct American transportation policy, and on a far larger scale. Fascinating to learn that the policy was accompanied or swayed by a number of other considerations. For example, Admiralty strategists suggested that establishing a colony in Australia would aid in the ongoing conflict with France to establish naval supremacy in the Indian Ocean. Others pointed out the need to have a base in the Far East to compete with the well-established Dutch colonies out there.

Practically minded boosters claimed that the tall pine trees and flax plants Cook had noted on what he named Norfolk Island, 1,000 miles off the Australian coast, could quickly become a commercial business, capable of supplying Royal Navy ships with masts and sails. In the event, none of these pipe dreams were to work out. Sydney is, quite obviously, on the wrong side of the continent to be of use in patrolling the Indian Ocean and the ‘pine’ and ‘flax’ on Norfolk Island turned out to be commercially worthless.

The First Fleet

And so, after a great deal of prevaricating, and parliamentary committees, and bickering about the number of ships and who should captain them and how it should be paid for – typical British bumbling – the first convict convoy was dispatched to Australia in May 1787 and arrived in the place Cook had named Botany Bay, on the southeast coast of Australia, on 20 January 1788. It was commanded by Captain Arthur Phillip who was to become first governor of the new penal colony.

Hughes gives a characteristically thorough profile of this modest man (a ‘middle-aged nonentity’) who had had a patchy naval career and was in retirement when contacted by the Admiralty to carry out the policy which had finally been agreed by the government of William Pitt (pages 67 to 71). What comes over is Phillip’s professionalism. Hughes shows that he thought the equipping and provision for a fleet setting out to colonise an entire continent from scratch was hopelessly inadequate and bombarded ministers and Admiralty for more (p.71).

Of the 736 convicts sent at least 431 were guilty of ‘minor theft’ and Hughes gives examples of how pitifully trivial these might be (p.72). The oldest was Dorothy Handland, aged 83, a dealer in rags convicted for 7 years for perjury. The youngest was John Hudson, a chimney sweep aged 9 (p.73).

Hughes gives a characteristically thorough description of the challenges of the 8-month-long voyage (252 days) across 15,000 miles of ocean. Forty-right people died on the journey while 28 were born. All were to be confronted by the immense disappointment of Botany Bay when they finally arrived. Within days Phillips and his lieutenants had realised it was wholly impractical as a settlement, not least due to the thin sandy soil cluttered with eucalypt detritus. The bay was open and unprotected, the water was too shallow to allow the ships to anchor close to the shore, fresh water was scarce, and the soil was poor.

So they sailed up the coast to Port Jackson, the name given to the bay area where Phillip established a settlement he called Sydney, after the current Home Secretary ,Thomas Townshend, 1st Viscount Sydney (p.87).

The starvation years

Agricultural opportunities turned out to be very poor. Supplies were meagre and Phillip had to introduce rationing which got steadily tighter (p.96). Crops failed or wouldn’t take. The convicts became too tired and listless to work. The first couple of years were dire and some wondered if the entire colony would die of starvation, before the final arrival of the Second Fleet in June 1790.

The Second Fleet was notorious for the poor conditions aboard the vessels, and for cruelty and mistreatment of its convicts. A quarter of the 1,006 convicts transported aboard the fleet died during the voyage and around 40 per cent were dead within six months of arrival in Australia. Hughes describes in stomach-churning detail the disgusting conditions aboard the early convict ships. Not all ships in the fleets had the same standards. Those in which people suffered worse, were worse treated and with the highest death rates came to be called the ‘hell ships’.

First failed attempt to colonise Norfolk Island

Norfolk Island is about 1,000 miles east of the Australian coast. It turned out to be extremely inhospitable, the pine trees weren’t true pines, the flax couldn’t be woven, it was immensely difficult to clear the land for agriculture. A ship bringing supplies and more convicts sank, losing the supplies but adding hundreds of mouths to feed, making 959 in total. All that saved the first settlers from starvation was easy availability of tame mutton birds, Pterodroma melanopus which they slaughtered in their hundreds of thousands. By 1830 the settlers had driven the mutton bird to extinction (p.100).

Van Diemen’s Land and the genocide

He devotes a section to the settlement of Van Diemen’s Land off the south coast of Australia under the command of David Collins (pages 120 to 128). The island had named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s. In 1642 Tasman became the first known European to land on the shores of Tasmania but the Dutch never followed through on the discovery. Now, 150 years later, the British claimed it. The capital, Hobart, was named after the Secretary of State for the Colonies who was the patron of Collins’s expedition.

The island was initially perceived to be less fertile than the land around Sydney and early attempts at farming failed, so the colonists faced starvation. What saved them was the humble kangaroo which was far more common than around Sydney. Every able-bodied man was issued a gun to hunt and kill kangaroo for himself and dependents (wife or children).

As Hughes pithily puts it this reliance on hunting triggered social results, all of them bad. It installed the gun rather than the plough as the totem of survival on the island. It incentivised settlers to ignore long-term planning required for farming and live by day-to-day hunting. And as nearby roos were wiped out and the heavily white settlers ranged further afield it brought them into conflict with the native populations who, more often than not, they shot.

It soon created a fringe class of armed, uncontrollable bushmen, most of whom regarded Aborigines as vermin. (p.126)

With their guns and hinting dogs these men became completely independent of the authorities. They were the first bushrangers. And so were laid the foundations of what would be the only real genocide of the British Empire, the deliberate extermination of the entire native population of Tasmania.

Impact on Indigenous Australians

As to the natives, the government had explicitly ordered friendly treatment, enjoining Phillip to ‘conciliate their affections…[and] live in amity and kindness to them.’ At first this held, but what nobody knew was the white ships had brought white infectious diseases, endemic in Britain and entirely unknown in Australia, flu, cholera, smallpox, typhus, which quickly spread. it was a common sight for the early settlers to come across indigenous corpses huddled in the bush where they’d crawled to die. The British incomers were, literally, a plague.

As settlement spread out from Sydney, the Aborigines took to fighting back, raiding farms, killing livestock, singling out for assassination white farmers of community leaders who’d acquired reputations for killing them. Which triggered massacres of unarmed Aborigines by vigilante gangs, for example the Myall Creek massacre when at least 28 unarmed Indigenous Australians were executed by 12 armed colonists on 10 June 1838. Which triggered further revenge raids, and so on, in a deadly spiral downwards into a sustained ‘frontier war’ (pages 272 to 281).

The System

Year by year the shipments came to be called ‘the System’, the process of sending shiploads of convicts to Australia, who had to build their own prisons and barracks for the soldiers who guarded them and pleasant houses for the civil authorities who supervised the whole thing.

Between 1787 and 1868 around 162,000 convicts were sent to Australia and Hughes goes on to give a fascinating and vivid description of every stage of the development of the System.

Hughes is at pains to dispel the stereotype of life under the convict system which he and his generation inherited, which is that it was a living hell on remote ‘secondary’ or punishment settlements on Van Diemen’s Island. On the contrary, most convicts served out their time, then were released to become citizens in the fast-growing new colony.

Only a fraction of the men and women transported to Australia spent any time in these ‘secondary’ settlements, which were as a rule reserved for prisoners who had committed second crimes while in the colony. Most served a few years of their sentences in assignment to a free settler or in government labour, never worse chains, got their tickets-of-leave and in due course were absorbed into colonial society as free citizens. (Introduction, page xiii)

He makes one simple but devastating riposte to the endless cheap jokes about Australia being a land of convicts:

Whatever other conclusions one might draw from our weird national origins, the post-colonial history of Australia utterly exploded the theory of genetic criminal inheritance. Here was a community of people, handpicked over decades for their ‘criminal propensities’ and for no other reason, whose offspring turned out to form one of the most law-abiding societies in the world.

Hell ships

Conditions on the first ten years or so of ships was so appalling they acquired the nickname of ‘hell ships’. Conditions of unbelievable squalor which people who’d sailed on both thought were worse than slave ships. And the condition of the survivors was no better. A propos slavery, an anonymous convict ballad from 1825 runs:

The very day we landed upon the Fatal Shore,
The planters stood around us, full twenty score or more;
They ranked us up like horses and sold us out of hand,
They chained us up to pull the plough, upon Van Dieman’s Land.

Conditions were dire. In the early years the entire colony nearly starved. But as the settlement at Sydney became established so did its reputation for appalling brutality. The descriptions of lashings and floggings which litter the book are quite nauseating, with prisoners’ backs being reduced to raw meat, bystanders being flecked with lumps of raw flesh.

Hughes devoted a passage to proving that conditions for the convicts were not literally slavery, not as practiced in the Caribbean or American South; convicts had legal rights and could take the masters they were assigned to to court (pages 282 to 287), if arrested they could invoke habeas corpus (p.346), something African slaves couldn’t do. But conditions were consistently atrocious and exploitative nonetheless. It’s difficult to imagine the primitiveness of the conditions.

Governor Macquarie’s Australia was more backward than Cromwell’s England. There was as yet no steam power; draft animals were few; and there were no streams near Sydney reliable enough to turn watermills. So every hole was dug, every log sawn, every rock quarried and every ton of rubble moved by that least efficient of engines, the human body toiling in gangs. (p.298)

Futile escapes

Obviously convicts tried to escape continually. The most shocking story is of a group of convicts that escaped in Van Diemen’s land (Tasmania) and ended up eating each other. There was a persistent folk belief that if you travelled north far enough you would get to China. In fact most escapees either perished in the Outback from starvation and thirst, were murdered by Aborigines, or stumbled back into government settlements more dead than alive. Hughes devotes a chapter to the more colourful escape attempts, notably that of Mary Bryant (pages 203 to 226).

New South Wales Corps

The New South Wales Corps were formed in 1789. Indisciplined and corrupt it quickly gained a reputation for lawlessness and corruption. In particular it acquired a monopoly of the importation and sale of rum to convicts and freemen alike, so much that it was nicknamed the Rum Corps. It repeatedly clashed with the civil governor, most flagrantly in the 1808 Rum Rebellion against governor Bligh who tried to assert civil power over them, see below.

Governors of New South Wales

1. Arthur Phillip 1788 to 1793

Commander of the epic First Fleet and settlement at Sydney, which he named. After guiding the colonists through the early starvation years as they struggled to establish agriculture and had to repeatedly reduce rations of the limited supplies they’d brought from Britain, Phillip was allowed to return home.

Lieutenant-Governorship of Francis Grose 1793 to 1795

For the next two years the military were in complete control of the fledgling colony under Lieutenant-General Francis Grose. The European population of New South Wales when Grose took over was 4,221, of whom 3,099 were convicts. Grose established military rule, abolished civil courts, and made generous land-grants to his officers. Grose unmercifully exploited the convicts and during his lieutenant-governorship a great traffic in alcoholic spirits (mostly rum) developed, managed and run by officers of the New South Wales Corps. This clique gained control of the courts and management of the lands, public stores, and convict labour, all led by John Macarthur, ‘British Army officer, racketeer, entrepreneur, grazier, usurper and politician’.

2. John Hunter 1795 to 1800

Hunter had been second in command on the First Fleet. He was appointed governor and tasked with combating the abuses of power built up by the New South Wales Corps, represented by their commander, John MacArthur, but was too mild and fair-minded to succeed. In fact the militarily cleverly sent letters back to the British ministers accusing Hunter of the very crime and peculation he was trying to stamp out, with the result that he was recalled in 1799 to defend himself.

3. Philip Gidley King 1800 to 1806

King helped develop livestock farming, whaling and mining, built many schools and launched the colony’s first newspaper but was forced to resign after conflicts with the military. He appointed Major Joseph Foveaux as Lieutenant-Governor of Norfolk Island where Foveaux ruled with extreme brutality and sadism.

4. William Bligh, 1806 to 1808

Chosen as the job because a strict disciplinarian who was tasked with taking on the military and their control of the hugely profitable rum trade. However his confrontational style led to the so-called Rum Rebellion of 1808, a coup d’état in which the New South Wales Corps arrested Bligh, keeping him first in confinement in Sydney, then aboard a ship off Hobart, Van Diemen’s Land, for the next two years.

Lieutenant-Governorship of Major George Johnston, 1808 to 1810

Johnston led the troops that deposed Governor William Bligh, assumed the title of lieutenant-governor, and illegally suspended the judge-advocate and other officials. The administration of justice became farcical, and there were signs of strong discontent among the settlers. He sailed back to Britain in 1809 where he was court-martialled but let off with the lenient sentence of being cashiered.

5. Lachlan Macquarie 1810 to 1821

Had a crucial influence on the transition of New South Wales from a penal colony to a free settlement and therefore to have played a major role in the shaping of Australian society in the early nineteenth century

The Irish

Like every subject he touches, Hughes gives the background to the arrival of the first Irish convicts with brisk authority. He gives a whistlestop review of the colonisation of Ireland by England, which had started back in the twelfth century, and led to the creation of a society divided between Protestant rulers who deprived the native Catholic majority of land and rights for centuries (pages 181 to 195).

The reason this is needed is because in 1798 a great rebellion broke out in Ireland which terrified the English ruling class because a) it united both Protestant and Catholic rebels and b) the rebel leaders allied with England’s traditional enemy, France, leaguing with a French force to land in the west of Ireland and combine with them against the British occupiers. Unfortunately, the plans were discovered and most of the rebel leaders arrested before the planned rising and invasion could take place.

Most of the rebel leadership was killed and estimates of the total death toll of the subsequent fighting have been put in the tens of thousands. Hundreds of the rebels were briskly tried and transported to Australia. Here they presented the authorities with a severe security problem. The English convicts, surly and disobedient and quick to escape, nonetheless were the same nationality as the authorities. The Irish, on the contrary, refused to accept the authority of any part of the System and took every opportunity to buck it. With the result that governors and leaders of the New South Wales Corps were doubly severe and brutal with them.

The Irish were ‘doubly’ convicts. At the slightest suspicion of ‘mutiny’ they were liable to severe punishment, for example when five suspected leaders were each given 500 lashes (p.187). The brutality of their treatment triggered the very mutiny the British authorities feared in the form of the Castle Hill revolt in 1804. On 4 March 1804 233 convicts, led by Philip Cunningham (a veteran of the rebellion of 1798, as well as a mutineer on the convict transport ship Anne), escaped from a prison farm intent on capturing ships to sail to Ireland. The authorities quickly declared martial law and despatched troops who surrounded the rebels on a hillock nicknamed Vinegar Hill on 5 March. While negotiating under a flag of truce Cunningham was arrested then the troops opened fire and decimated the rebels. Nine of the rebel leaders were executed and hundreds were punished with severe floggings.

This was the largest convict mutiny in Australian history but there were further small revolts and a continual atmosphere of sullen anger among the Irish and paranoia among the English. From 1815 to 1840 the Irish countryside was in a state of more or less continual civil war and, in total, some 30,000 Irish men and 9,000 Irish women were transported from Ireland to Australia. This was never forgotten in Irish communities who nursed the grievance of their persecution.

Hughes attributes a strong Irish flavour of bolshie independence to the Australian national character, especially to its working class culture. The long, bitter memories of the Irish community gave a permanent legacy of sectarianism to Australian politics.

Rebels and revolts

Transportation would deal with representatives of every British protest movement, rebellion, upheaval and agrarian revolt for the first half of the 19th century so Hughes’s account has the effect of shedding light on a whole series of political rebellions back in Britain. It’s like reading two histories side by side, that of Britain and that of Australia. British protest movements included:

  • the Scottish Martyrs – the first political agitators transported in the life of the System were convicted in Edinburgh in 1793 and were known as the Scottish Martyrs (pages 176 to 181)
  • the Irish rebellion 1798 – In 1798, an underground republican group known as the Society of United Irishmen instigated a major uprising against British rule in Ireland
  • English Jacobins i.e. sympathisers with the French Revolution, whose activities were increasingly persecuted after Britain and France went to war in 1793
  • frame-breaking Luddites 1812-13
  • food rioters from East Anglia 1816
  • members of the Pentridge Rising 1817
  • members of the Cato Street Conspiracy to which planned to assassinate the entire cabinet, 1820
  • radical weavers from Scotland, 1821
  • Bristol rioters 1831
  • Captain Swing – fictional author to whom threatening letters were attributed during the rural Swing Riots of 1830, when labourers rioted over the introduction of new threshing machines and the loss of their livelihoods (pages 198 to 200)
  • the Tolpuddle Martys, 1834
  • more than 100 Chartists, political activists associated with political campaigns surrounding the Great Charter, a set of demands to extend the franchise to the working class, which was inaugurated in 1839, then flared up periodically through to 1848
  • the Canadian Rebellions of 1837 and 1838 led to the execution of the ringleaders and the transportation to Australia of at least 100 convicts (p.261)

The colourful adventures of the first fleets and the starvation and the antics of the New South Wales Corps grab the reader’s attention, but the heyday of transportation was actually during the 1830s, which saw unparalleled poverty and suffering throughout rural Britain, an epidemic of disorder and crime, and so the peak numbers of transported convicts (p.197). So, throughout the book, the history of transportation is also a detailed history of English social and economic misfortunes.

Bushrangers

Though most attempts to escape were futile failures, plenty of convicts ran off into the wild and became known as ‘bolters’. As the colony expanded, agricultural land was created along with flocks of sheep so there was more for convicts living in the wild to steal. By the 1810s society was stratified enough between large landowners, often senior officials in the administration, judges and the like, and more ordinary smallholders, for convicts living in the wild to make a living stealing sheep or goods from rich landowners and secretly selling it onto the poor. These were the first whites to range through the uncultivated parts of the territory which the settlers had taken to calling ‘the Bush’ – hence ‘bushrangers’ (also known as ‘bolters’). With typically neat turn of phrase, Hughes says:

By taking to the bush, the convict left England and entered Australia. (p.243)

Hughes is as cynical and unillusioned about the bushwhackers as about everyone else in this sorry story. They gave rise to a legend which help inform Australian’s image of themselves as rebels and non-conformists and freedom fighters, who ran away rather than submit to injustice, as Robin Hoods stealing from the rich to give to the poor. The reality was, of course, both more complex and less idealised than that.

Colonial life

Population

The first formal census of New South Wales was made in 1828. It showed that for the first time the free population eclipsed the number of convicts, 20,870 free and 15,728 convicts = total of 36,598. Sydney had a population of 10,815 i.e. less than a third.

Contented convicts

In fact the peak of transportation due to English rural unrest leads to a counter-intuitive result; which is that, as Hughes showed, many of the convicts transported in the 1830s loved their new lives. He quotes many letters back to loved ones reassuring them that convict life was not at all the hell everybody believed it to be. Why? Because there was work, pay and food. These were the very basic elements of life the rural poor were rioting for during the 1830s and they were to be had in abundance in a now settled and well-organised colony.

The man assigned to a decent master in the country districts in the 1830s was, as Eyre pointed out, ‘in a better position than half the honest labourers of England’. (p.314)

And:

Convicts who found benevolent masters far preferred their assigned life to the miseries they had known in England. (p.316)

Class and snobbery

Hughes shows that, contrary to stereotypes of matey modern Australia, the early colony developed into a society obsessed with class. In particular the newly rich and free emigrants were desperate to distance themselves from ‘the stain’ of convictry. Names developed to describe the new colonial classes and the number of names for the same thing indicates the intensity with which people indicated their (or others’) origins:

  • Convict: British prisoner, generally sentenced to death back in Britain, who has their sentence remitted to either a 7-year or 14-year transportation
  • Government man: a convict
  • A ticket-of-leave man: a ticket of leave was a parole document issued to convicts who had shown they could be trusted with some limited freedoms
  • Emancipists: convicts who had completed their terms of imprisonment and were now free settlers
  • Exclusives: members of the sociopolitical faction of free settlers, officials, and military officers of the convict colony, who tried to copy English fashions and recreate a hierarchical class system
  • the Currency: ‘currency lads and lasses’ (collectively known as Currency or The Currency) were the first generations of native-born white Australians, the children of the British settlers and convicts; currency as in money, coins or notes that were ‘only good in the colony’ (p.354)
  • the Sterling: by contrast with the Currency, the Sterling was another name for free-born emigrants (p.355)
  • Merino: an early immigrant to Australia with no convict origins; a member of a leading family in Australian society; a person of fine breeding or good character
  • Specials: educated convicts, a relative rarity (probably fewer than a third of transported convicts could sign their own names, p.349)
  • Old hands: old former convicts who lived on into the era after transportation ended (p.594)

Sheep or seals

Hughes devotes a passage to describing the first sheep farms in Australia and profiling the men who imported and cross-bred the delicate merino strain with hardier breeds (pages 318 to 322, and 326 to 331). He explains how the isolation of shepherds sent off into the Outback to guard their master’s flocks, sometimes in pairs, helped develop the particularly strong Australian concept of ‘mateship’, i.e. sticking with your mate through thick and thin.

So it comes as a surprise to learn that for the first 50 years of its existence, the colony’s major trade was whale and seal catching (pages 331 to 336).

The end of transportation

Overall, the transportation System lasted from 1788 to 1868, during which period some 162,000 convicts were transported. By the 1830s Sydney was settled enough and large enough, with an increasingly free-born residents and settlers, that they lobbied the British government to end transportation. At the same time there was another force at work which is fascinating to learn about. I knew about the long-running opposition among British liberals and religious groups to slavery which became the abolitionist movement and which achieved its goal of having slavery made illegal within the British Empire in 1807. I didn’t realise the same group of people opposed transportation just as vehemently, and gained growing support in the 1800s as reports percolated back to Britain of the atrocities carried out against convicts in hellholes like Norfolk Island. Just as there was a movement to abolish slavery, so there was a movement to abolish transportation.

Thus with pressure from liberal Establishment figures in Britain combined with lobbying from the increasingly free and genteel population of New South Wales and led the government to cease transportation to New South Wales in 1840 (p.484). Transportation to Van Diemen’s land ceased in 1853 (p.402) 50 years to the day after the first settlement was founded at Risdon Cove (p.572).

Was the System a success or failure?

Over the life of the system the British government used about five reasons to justify the policy:

Strategic To protect against French influence in the Indian Ocean and Far East. In the event the French never tried to claim any part of Australia, the Dutch Empire was engaged by other means. No port in early Australia became an important naval station.

Regarding specifically crime, the System aimed to do four things: separate, deter, reform and colonise.

1. Separate

Separate the criminal classes from the general population on the analogy of amputating a diseased limb. This failed because it was based on the false premise that criminality is an inherited genetic attribute whereas, in almost all cases, it is the result of bad education, poor upbringing, childhood abuse and, in the great majority of transported convicts, the result of lack of work, lack of opportunity, poverty and starving.

2. Deterrence

This is always difficult to assess because it’s impossible to measure the number of crimes which weren’t committed. But the arguments against are a) contrary to the claims of its proponents, the crime rate in England did not drop after the policy of transportation was introduced (because its roots lay in gross inequality, crushing poverty and lack of opportunity) and b) for a lot of the English working classes, especially from the hunger years after the end of the Napoleonic Wars, Australia sounded like a land of opportunity. Hence the instructions given to governors like Brisbane, Darling and Arthur to apply relentless suffering to the convicts; hence the appalling brutality of the chain gangs and the barbaric cruelty of Macquarie Harbour, Norfolk Island and Moreton Bay. But it didn’t work. Increasing number of emigrants left for Australia of their own free will. The gold rush of 1851 crystallised the image of Australia as a place the poor and downtrodden of Britain could go to to make a fortune.

3. Reform

Hughes thinks chances are the system did actually ‘reform’ a lot of convicts, in the sense that they came out the other end as law-abiding citizens and, if so, this was down to the assignment system. Many masters were poor, brutal, some were sadistic; but the system did assign men to meaningful labour, which gave them some sort of self respect. It had many flaws but assignment did get many men back into society as self-sustaining workers.

4. Colonisation

Here the system was an undoubted success. Australia would never have been colonised without the forced labour of over 100,000 transported convicts. No sane free man would have emigrated there in 1788 or 1808. Although most of the first buildings they erected have been demolished and built over, convict labour created from nothing the settlements which now have populations of millions.

Hughes’ style

When he wants to be, Hughes can be a formidably vivid writer:

The sight of the hulks at Portsmouth, Deptford or Woolwich was deservedly famous. They lay anchored in files on the grey, heaving water, bow to stern, a rookery of sea-isolated crime. As the longboat bearing its prisoners drew near, the bulbous oak walls of these pensioned-off warships rose sheer out of the sea, patched and queered with excrescences, deckhouses, platforms, lean-tos sticking at all angles from the original hull. They had the look of slum tenements, with lines of bedding strung out to air between the stumps of the masts, and the gunports barred with iron lattices. They wallowed to the slap of the waves, and dark fleeces of weed streamed in the current from the rotting waterlines. (p.138)

The kind of purple descriptions a scholar, a professional historian, would never attempt. But his narrative is continually punctuated with dazzling displays of prose virtuosity.

Some convicts who tried to cross [the Blue Hills], thinking China lay beyond, died of hunger in their immense labyrinth of sandstone, where bellbirds chimed and long filaments of water fell, wreathing, from distant cliffs. (p.299)

And pages 373 (Macquarie Harbour), 399 (Port Arthur).

Slang and jargon

  • basil – an iron fetter worn on one leg only
  • a canary – 100 lashes (p.345)
  • buttock-and-twang – sex as practiced by prostitutes (p.255)
  • cramping box – punishment cell or room or box too small to sit or lie in (p.155)
  • a sandstone – weakling who crumbled under flogging (p.345)
  • stringy-back – wizened, poor farmer (p.256)
  • triced – secured by a rope or chain (p.155)

Placenames

Australia – since australis is Latin for ‘south’ terra australis was the name used for a hypothetical continent in the Southern Hemisphere since ancient times.

Botany Bay – named by Captain Cook as testament to the number of specimens collected by expedition scientist, Joseph Banks.

Brisbane – named after Major General Sir Thomas Makdougall Brisbane, 1st Baronet, British Army officer, administrator, and astronomer, and sixth governor of New South Wales, from 1821 to 1825.

Hobart – named after Robert Hobart, 4th Earl of Buckinghamshire aka Lord Hobart, secretary of state for the colonies who commissioned Captain David Collins’ expedition to settle Van Diemen’s Land.

Melbourne – founded in 1835 with the arrival of free settlers from Van Diemen’s Land and named after the then British Prime Minister, William Lamb, 2nd Viscount Melbourne.

Sydney – named after Home Secretary Thomas Townshend, 1st Viscount Sydney by Captain Arthur Phillip, leader of the first transport of convicts to Botany Bay, who moved location to the cove north of it, called Port Jackson by Cook, but renamed after Sydney.

Van Diemen’s Land – named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s.

Old joke

Australia was always destined for greatness because her population was chosen by the finest judges in England! (p.354)


Credit

The Fatal Shore by Robert Hughes was published by William Collins in 1986. References are to the 1987 Guild Publishing hardback edition.

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Martial Epigrams

Readers and listeners like my books,
Yet a certain poet calls them crude.
What do I care, I serve up food
To please my guests, not fellow cooks.
(Book 9, poem 81)

The first thing you discover in the 1964 Penguin Classics paperback edition of Martial’s epigrams, as translated by James Michie, is that this is very far from being a complete edition, in fact it represents only about ten per cent of Martial’s total output.

Martial biography

Martial’s full name was Marcus Valerius Martialis, the cognomen ‘Martialis’ indicating that he was born in March. He was born about 40 AD in the Roman province of Spain and came to Rome around 63, during the reign of Nero. Here, apparently, rather than embark on the cursus honorem or sequence of recognised public offices (quaestor, praetor, aedile, consul) or undertake a recognised profession such as lawyer and advocate, Martial preferred to live by his wits, making himself a witty entertainer and dinner party companion to rich patrons.

Amazingly, Martial seems to have been able to support himself this way for 35 years until he retired back to Spain about 98. (12.18 is a good-humoured song of praise to the simple life back in his home town far from the rigours of Roman life, apparently addressed to his friend, Juvenal the satirist.)

During all those years Martial was dependent on his wealthy friends and patrons for gifts of money, for his dinner, and even for his dress. According to the Encyclopedia Britannica, in his earlier career he used to accompany his patrons to their villas at Baiae or Tibur and to attend their morning levées. Later on, he owned a own small country house near Nomentum, and sent a poem, or a small volume of his poems, as his representative to the morning levée. He cultivated patrons far and wide and was especially proud at being invited to dinner with Domitian.

And yet, God, it was a shabby, humiliating and tiring sort of life, as his later poems convey:

Have mercy on me, Rome, a hired
Flatterer desperately tired of flattery…
(10.74)

Martial is best known for his twelve books of epigrams, published in Rome between 86 and 103, during the reigns of the emperors Domitian (81 to 96), Nerva (96 to 98) and Trajan (98 to 117). Martial wrote a rather terrifying total of 1,561 epigrams, of which 1,235 are in elegiac couplets. This Penguin selection contains only about 150 of them. A notable feature of the Penguin edition is that it contains the Latin original next to Michie’s translation of it (although this seems to be standard practice; the much more recent Oxford University Press selection does the same).

What is an epigram?

“An epigram is a short, pithy saying, usually in verse, often with a quick, satirical twist at the end. The subject is usually a single thought or event.” (Academy of American Poets)

It derives from the Greek epigraphein, meaning ‘to write on, to inscribe’ and originally referred to the inscriptions written on stone monuments in ancient Greece. Slowly the term became separated from the act of inscription and by 300 BC referred to any brief, pointed poem, generally about or addressed to someone.

In his 1,500 epigrams Martial is widely agreed to have taken the form to its highest point and every proponent of the epigram for the following 2,000 years to some extent echoes or copies him.

Two texts preface the selection, a 2-page translator’s note by James Michie and an 8-page introduction by scholar Peter Howell.

Translator’s note

In his translator’s note, Michie says the selection is not intended as ‘Martial’s greatest hits’. Rather, the entries were selected to demonstrate Martial’s variety. The texts of the twelve books of epigrams which have come down to us were not arranged logically or thematically, but to ‘reflect the odd juxtapositions of life itself’.

Thus a scatological squib is followed by a deeply felt epitaph (for his 6-year-old slave, Erotion mentioned twice, in 5.34 and 10.61; for the dexterous slave boy Pantagathus, 6.52; or for Pompey the Great, 5.74); contrived panegyrics to Domitian (for liking his poems 4.8; for having impressive fish 4.30; for widening Rome’s roads, 7.61) next to scabrous abuse of someone with bad breath (1.87); a pornographic poem about buggery (1.46) next to a poem lamenting the fickle condition of the dinner party hanger-on (2.27); extended descriptions of a country house (4.64) next to a vivid description of a sumptuous dinner (5.78); corruption at the chariot races (6.46) next to comic behaviour at a slave auction (6.66); insults to a rival poet (7.3) next to a jokey profile of a woman who seems doomed to marry only effeminate men (7.58); a bitter complaint against a noisy schoolmaster whose shouts wake him up early (school lessons started at dawn; 9.68) next to a shrewd criticism of a friend who’s always complaining the world is going to hell (9.70); a fond poem to a friend who’s mean and stingy but makes up for it by being a wonderful farter (10.15) next to the anecdote of the retired boatman who used his boat, filled with rocks, to plug a gap in the Tiber banks (10.85); a comic portrait of the superthief Hermogenes (12.28) next to a short but heartfelt summary of the Good Life (10.47). Variety.

There are a lot of poems about heirs and hangers-on waiting for the elderly to snuff it so they can inherit their money, a lot of anxiety about who cranky old people are favouring in their wills that’s reminiscent of Dickens:

If you were wise as well as rich and sickly
You’d see that every gift means, ‘Please die quickly!’
(8.27)

Or:

She longs for me to ‘have and hold’ her
In marriage. I’ve no mind to.
She’s old. If she were even older,
I might be half inclined to.
(10.8)

(In his fascinating introduction to the Penguin Classics edition of Juvenal’s satires, Peter Green says this was an obsessive subject for authors of this generation. Professional legacy hunters were called captatores and he reminds me that an entire chapter of Petronius’s Satyricon describes a visit to a town entirely populated by legacy hunters.)

There’s a recurring theme criticising the kind of affected connoisseur who dismisses the moderns and only values ‘the Classics’, a type the elegiac poets also despised:

Rigidly classical, you save
Your praise for poets in the grave.
Forgive me, it’s not worth my while
Dying to earn your critical smile.
(8.69)

Michie devotes half his note to an impressionistic prose summary of the cumulative portrait of late-first century Roman locations and people which Martial’s epigrams depict, the Rome of:

shops, amphitheatres, law courts, lavatories, temples, schools, tenements, gardens, taverns, and public baths, its dusty of muddy streets filled with traffic, religious processions, , and never-ending business, its slaves, millionaires, prostitutes, philosophers, quacks, bores, touts, dinner-cadgers, fortune-hunters, poetasters, politicians and layabouts. (Introduction, page 9)

Michie makes the point that the epigrammatist, rather like the satirist, has to pretend to be angry and full of bile, but that a cumulative reading of Martial makes you suspect this was just a pose – or the kind of sentiment appropriate to the genre. For, as you work through these scores of short sharp vignettes, what actually comes over is Martial’s ‘great capacity for fun and for friendship, and an evergreen curiosity about people’.

Michie doesn’t mention Chaucer, but Martial shares Chaucer’s fascination with the huge diversity of real people of his time, their names and occupations, and shapes and sizes and ages and habits and mannerisms and verbal tics and sex lives and businesses. Thus a poem about typical scenes through the hours of the day:

The first two hours of the morning tax
Poor clients; during the third advocates wax
Eloquent and hoarse; until the fifth hour ends
The city to her various trades attends;
At six o’clock the weary workers stop
For the siesta; all Rome shuts up shop
At seven; the hour from eight to nine supplies
The oiled wrestlers with their exercise;
The ninth invites us to recline full length,
Denting the cushions. At last comes the tenth…
(Book 4, poem 8)

Michie also doesn’t mention Baudelaire, but you could draw the comparison between the French poet’s fascination with the endlessly teeming life of Paris, and Martial’s endless snapshots of life in what was, at the time, the biggest city in the world, with its extremes of poverty and luxury, power and enslavements, stinks and smells and endlessly fascinating inhabitants. Maybe the thronged novels of Balzac are a better comparison and, in England, Dickens.

Introduction

The introduction is written by historian and editor of Martial, Peter Howell, who makes a number of points:

Spanish writers

Martial was one of a generation of talented writers who hailed from the fully Romanised province of Hispania, which included Seneca the Elder and Younger; the latter’s nephew, Lucan; Quintilian; and Columella.

A career choice

In their writings both Martial and Juvenal give the impression that they were forced by a social system which made if impossible for middle-class, well-educated men to earn a living by respectable means to become the hangers-on and flatterers of the rich, living from hand to mouth. But this was largely false. Friends urged Martial to take up the law or stand for public office, but he turned down both options.

Patrons and clients

The relation of patron and client evolved during the history of Rome. At the beginning it meant the relationship between a full Roman citizen and foreigners who wanted favours done for them within the legal and political system. By Martial’s time a wealthy, well-connected patron prided himself on having large numbers of dependents, clients or hangers-on. The client acquired protection (for example, from lawsuits) and welfare (most often in the form of being invited to lavish dinners) but in return the patron claimed the client’s support, in law courts, at election time, at social events, and their general flattery at all times:

Labullus, I court you,
I escort you, I support you
By lending an ear to your chatter,
And everything you say or do I flatter…
(11.24)

Clients were expected to be at their patron’s house early in the morning to greet them, then accompany them on their day of social duties, at the end of the day receiving maybe a little cash, preferably an invite to dinner. (See poem 2.27 quoted below.)

Hence the many poems Martial writes about the lamentable plight of the humiliated client and the expressions ‘parasite’, ‘dinner cadger’ and ‘hanger-on’ which Michie uses to describe this social type, known in Latin (and in Roman theatre) as the parasitus.

For hours, for a whole day, he’ll sit
On every public toilet seat.
It’s not because he needs a shit:
He wants to be asked out to eat.
(11.77)

The parasite as poet

Martial was a cut above the average parasitus because he quite early became famous as a poet. The earliest surviving work of his is called Liber Spectaculorum, written to celebrate the opening of the Flavian amphitheatre (what came to be called the Colosseum) in 80 AD. But it was the terse, witty epigrams which he appeared to be able to knock out at will, many either flattering a specific client or appealing to their sense of humour, which kept him in free dinners for 35 years.

How Roman authors made money

A Roman author didn’t make money by selling copies of a work. Copies had to be written out by hand and so remained limited in number. Instead there appear to have been two sources of income for an author:

  1. Dedicate your work to a patron who would respond in kind with gifts – the ultimate patron being the emperor, the classic example being Augustus who worked through his minister, Maecenas, to give both Virgil and Horace gifts of property, land and slaves which made them comfortable for life.
  2. It seems that some notable ‘publishers’ would pay an author for the privilege of having first dibs at copying a work they estimated would be popular and which they could guarantee selling copies of.

Thus by the time he came to publish what is conventionally known as Epigrams Book 1, in about 85, Martial must have been writing poetry for about 20 years and so is able to refer to himself as well known, even if all the other works he was known for, appear to have disappeared.

A Roman book

When all these authors refer to what is translated into English as ‘a book’, they mean a cylindrical roll of papyrus whose ends were often smoothed with pumice-stone and the whole roll wrapped in vellum (note, page 192). The wooden stave round which the papyrus was wrapped often had carved knobs at each end to secure the roll and make it easier to handle. The back of the papyrus was dyed yellow with cedar oil to preserve it from mould and moths (note, page 196). According to poem 1.117 a ‘book’ of Martial’s cost 5 dinarii.

Reasons for Martial’s popularity

Most contemporary poetry was long and long-winded, written about stock mythological subjects in elaborate and stylised verse. Thus Virgil’s Aeneid gave rise to poets who tried to ape his success with long epics such as Valerius Flaccus, Statius and Silius Italicus.

By contrast Martial developed a form which was not just short but very short, but which managed to create drama in a very small number of lines (sometimes as few as two lines). Despite their shortness the epigrams, when collected into books, were arranged to offer a pleasing sense of variety and range.

Martial’s epigrams are sometimes contrived in the sense of carefully structured to make a joke or damning point; but never contrived in the sense of striving to be grand and pompous. They are never pretentious.

No real people are skewered

The short poems of Catullus are packed with gleeful abuse of real individuals. The satires of his friend and contemporary, Juvenal, very much flay real life individuals, albeit under pseudonyms. But Martial, scathing though some of them may be, categorically states that he has not satirised any real people, even under fictitious names. Hence the large number of characters in the poem named Flaccus and Labulla and Lesbia and Cinna and Galla and Postumus. They’re just bland common names used as pegs for the jokes.

Obscenity

Many of the poems are what used to be called ‘obscene’ and still was at the date of this translation (1964). In one of the first poems he uses the same argument that Catullus and Ovid had, namely that although his verse may be pornographic his life is pure.

Roman sexual attitudes

The attitude towards sex that emerges from Martial is one of cheerful permissiveness but not wild and orgiastic promiscuousness. (Introduction, p.16)

Sex is acceptable (unlike in, say, Victorian England) and prostitution is widespread. Adultery is theoretically forbidden but in practice also widespread. Homosexuality and bisexuality are regarded as natural, especially with teenage boys. The active role in male gay sex was through acceptable but for an adult man to take the passive role was more shameful. Poem 12.75 is an amusing squib listing all the types of gay boys he’d prefer to ‘some bitch/Who’d make me miserably rich’ (12.75). The poem about the woman who weighs men’s penises erect and flaccid (10.55) is amusing but the long one complaining that his ‘wife’ isn’t sexually adventurous enough is genuinely funny because so outrageous (11.104).

Domitian

Howell entertainingly speaks up for the emperor Domitian (reigned 81 to 96). He says that Domitian had (as of 1964) the reputation of a Hitler (!) but claims this is the result of the works of Tacitus, Juvenal and ‘other biased writers’. Apart from his paranoid vendetta against the senatorial class (which Tacitus and Juvenal and the other biased writers wrote for) Howell claims Domitian’s rule was for everyone else ‘calm and prosperous, marked by beneficial social and moral legislation’ (p.16).

But Domitian liked Martial and awarded him the privileges of a father of 3 children although Martial was never, as far as we know, actually married and had no children. Hence Martial’s numerous poems sucking up to Domitian (as Virgil and Horace and Ovid shamelessly sucked up to Augustus) (I especially like the panegyric to the imperial fish, 4.30); although Howell disapproves of how, following Domitian’s assassination in 96, Martial quickly knocked off poems saying he’d never liked him anyway and praising the new regime.

Rhyming couplets

The great majority of Martial’s poems were written in elegiac couplets, one hexameter followed by a pentameter, such as we’ve encountered in all the elegiac poets (Tibullus, Propertius, Ovid). The most important single thing about Michie’s translation is he chooses to translate every poem he selects into rhyming couplets, quatrains or other rhyming forms. The precise metre varies from poem to poem, but pretty much all of them rhyme.

It’s a bold decision. It aligns Michie’s versions with the rhyming couplets of the Augustan Age of English verse, very roughly from the 1680s to the 1750s. On the upside rhyme in English poetry creates opportunity for humour and often prompts the author to ingeniously amusing collocations. Rhyme is associated with limericks and light verse of all types. On the down side, ‘serious’ modern poetry abandoned rhyme around the time of the First World War so the solid use of rhyme for all the translations signals and lack of…a lack of seriousness or depth, which, from what both Howell and Miche say about Martial, is maybe not appropriate in every instance.

The epigrams

There are all kinds of ways of grouping and categorising them, starting with the 12 books which Martial himself used as a structuring device. Very broadly there are two types of Martial epigram – ones you ‘get’, which have an appealing twist or sting or point which you can understand; and those which don’t have such an obvious payoff, which presumably made sense in their time but seem flat or pointless or even incomprehensible to us today, even with extensive notes. If a joke needs extensive notes to explain it, it isn’t a very good joke.

Themes

The poet as celebrity and showman

May I present myself – the man
You read, admire and long to meet,
Known the world over for his neat
And witty epigrams? The name
Is Martial. Thank you, earnest fan,
For having granted me the fame
Seldom enjoyed by a dead poet
While I’m alive and here to know it.
(Book 1, poem 1)

Insufferable amateur poets

Whether or not Apollo fled from the table
Thyestes ate his sons at, I’m unable
To say: what I can vouch for is our wish
To escape your dinner parties. Though each dish
Is lavish and superb, the pleasure’s nil
Since you recite your poems! To hell with brill,
Mushrooms and two-pound turbots, I don’t need
Oysters: give me a host who doesn’t read.
(3.45)

To Domitian, pleading his moral probity

Caesar, if you should chance to handle my book,
I hope that you’ll relax the frowning look
That rules the world. Soldiers are free to mock
The triumphs of you emperors – there’s no shame
In a general being made a laughing-stock.
I beg you, read my verses with the same
Face as you watch Latinus on the stage
Or Thymele the dancer. Harmless wit
You may, as Censor, reasonably permit:
My life is strict, however lax my page.
(1.4)

Heterosexual sex

Lesbia, why are your amours
Always conducted behind open, unguarded doors?
Why do you get more excitement out of a voyeur than a lover?
Why is pleasure no pleasure when it’s under cover?
Whores us a curtain, a bolt or a porter
To bar the public – you won’t find many chinks in the red-light quarter.
Ask Chione or Ias how to behave:
Even the cheapest tart conceals her business inside a monumental grave.
If I seem too hard on you, remember my objection
Is not to fornication, but to detection.
(1.34)

inside a monumental grave‘?

Gay sex

think what’s going on is the narrator is buggering a boy who, as a result, is on the edge of orgasm. I’m happy to be corrected if I’ve misunderstood.

When you say, ‘Quick, I’m going to come,’
Hedylus, I go limp and numb.
But ask me to hold back my fire,
And the brake accelerates desire.
Dear boy, if you’re in such a hurry,
Tell me to slow up, not to worry.
(1.46)

Slave or paedophile sex

The eroticism of being blocked or prevented is taken a step further in this poem:

The only kisses I enjoy
Are those I take by violence, boy.
Your anger whets my appetite
More than your face, and so to excite
Desire I give you a good beating
From time to time: a self-defeating
Habit – what do I do it for?
You neither fear nor love me more.
(5.46)

Heterosexual smears

Lesbia claims she’s never laid
Without good money being paid.
That’s true enough; when she’s on fire
She’ll always pay the hose’s hire.
(11.62)

Thumbnail sketches

Diaulus, recently physician,
Has set up now as a mortician:
No change, though, in his clients’ condition.
(1.47)

Or:

You’re an informer and a tool for slander,
A notorious swindler and a pander,
A cocksucker, gangster and a whore…
So how is it, Vacerra, you’re so poor?
(11.66)

Chaucerian physicality

Hoping, Fescennia, to overpower
The reek of last night’s drinking, you devour
Cosmus’ sweet-scented pastilles by the gross.
But though they give your teeth a whitish gloss
They fail to make your breath any less smelly
When a belch bubbles up from your abyss-like belly.
In fact, blended with the lozenges, it’s much stronger;
It travels farther and it lingers longer.
(1.87)

His cheap lodgings in a block of flats

Lupercus, whenever you meet me
You instantly greet me
With, ‘Is it alright by you if I send
My slave to pick up your book of epigrams? It’s only to lend:
I’ll return it when I’ve read it.’ There’s no call
To trouble your boy. It’s a long haul
To the Pear-tree district, and my flat
Is up three flights of stairs, steep ones at that…
(1.117)

Behaviour of a hanger-on and dinner cadger

When Selius spreads his nets for an invitation
To dinner, if you’re due to plead a cause
In court or give a poetry recitation,
Take him along, he’ll furnish your applause:
‘Well said!’ ‘Hear, hear!’ ‘Bravo!’ ‘Shrewd point!’ ‘That’s good!’
Till you say, ‘Shut up now, you’ve earned your food.’
(2.27)

Or this poem about not only being a client, but being a client’s client.

I angle for your dinner invitations (oh the shame
Of doing it, but I do it). You fish elsewhere. We’re the same.
I attend the morning levée and they tell me you’re not there,
But gone to wait on someone else. We make a proper pair.
I’m your spaniel, I’m the toady to your every pompous whim.
You court a richer patron. I dog you and you dog him.
To be a slave is bad enough but I refuse to be
A flunkey’s flunkey, Maximum. My master must be free.
(2.18)

Miniatures of abuse

You ask me what I get
Out of my country place.
The profit, gross or net,
Is never having to see your face.
(2.38)

And:

Marius’s earhole smells.
Does that surprise you, Nestor?
The scandal that you tell’s
Enough to make it fester.
(3.28)

Crude humour

If from the baths you hear a round of applause
Maron’s giant prick is bound to be the cause.
(9.33)

Or:

Why poke the ash of a dead fire?
Why pluck the hairs from your grey fanny?
That’s a chic touch that men admire
In girls, not in a flagrant granny…
(10.90)

Sarcasm about his readers

Caedicianus, if my reader
After a hundred epigrams still
Wants more, then he’s a greedy feeder
Whom no amount of swill can fill.
(1.118)

Self portrait in retirement

Poor morning client (you remind me
Of all I loathed and left behind me
In Rome), if you had any nous,
Instead of calling on my house
You’d haunt the mansions of the great.

I’m not some wealthy advocate
Blessed with a sharp, litigious tongue,
I’m just a lazy, far from young
Friend of the Muses who likes ease
And sleep. Great Rome denied me these:
If I can’t find them here in Spain,
I might as well go back again.
(12.68)


Credit

The Epigrams of Martial, translated by James Michie with an introduction by Peter Howell, was published by Penguin Books in 1973.

Related links

Roman reviews

History as biography

The following thoughts were prompted by a reading of Shakespeare’s plays, Julius Caesar and Antony and Cleopatra. The point is that, apart from all other considerations of literature and so on, both plays demonstrate the enduring human tendency to attribute all social change, all meaning in the flow of historical events, to Great and Eminent Personages. To humanise the flow of events and to attribute praise and blame for everything to a handful of Top Dogs.

The confusing world

It’s difficult for any of us to understand what is happening, what is going on in our own lives, let alone in the wider world. There is a natural tendency to humanise everything, to reduce everything to the behaviour of named individuals in order to make our lives manageable, graspable, bearable. If we can attribute everything to individuals then we can relapse into the standard human response of naming and shaming and blaming them. We can blame America’s ills on Donald Trump and Britain’s ills on Boris Johnson.

But on numerous levels, I think this is wrong, not morally wrong, just factually inaccurate. Even in my little family I can see how individuals are swayed by social trends and pressures. I can see how the economic outlook for my children’s generation shapes their attitudes. Multiply this by millions and you, fairly obviously, have a host of broad social, economic, technological and cultural trends which affect everything we hear, and so repeat, discuss, believe, argue about.

At the ‘highest’ level (if you want to visualise it as a hierarchy) are the cultural and ideological trends – the changing things people believe in, think about, argue about.

Beneath them you have economic trends – in our day and age drastic rises in oil and gas prices which affect the cost of fertiliser and transport which threaten severe food shortages this autumn and winter. In my country and time another huge factor is the failure of successive governments to build enough accommodation for the spiralling population, leading to the never-ending rises in house prices, and the dispirited resignation of both my kids that they will never own a home like their parents did.

Economic trends are strongly influenced by technological developments – the most obvious one in my lifetime being the enormous increase in the computerisation of all aspects of life, from high finance to finding a partner, almost everything seems to done via the internet, smart phones and social media, with all kinds of consequences, the most obvious being that people spend a huge amount of time on their phones and are immensely influenced by what they read coming through their social media feeds.

And at a deeper level there are the basic facts of geography and biology – the most important single one being the rapid heating up of the planet which is making severe drought more common, accompanied by the manmade destruction of all manner of ecosystems which we rely on for food and water, which will  greatly exacerbate the situation.

At a more individual level we are subject to our genetic inheritances which program whether we are tall or short, fat or thin, male or female, predisposed to heart disease, cancer, dementia and a host of bodily infirmities.

And then, of course, there is the constant threat of infections from outside, something most people are much more aware of since COVID-19 brought the world to a halt.

All this is hard enough to take in, and it’s only a superficial sketch of the multi-layered ‘reality’ we inhabit, or more accurately, the overlapping realities. Our minds inhabit a complex matrix of biochemistry, ever-changing sensory perceptions, the permanent wash of emotions and an endless tide of discourse and words which have no boundaries because all of these issues are, in effect, endless: discourses about the importance of oil prices on civilisation, assessing the impact of global warming, considering the effect of infectious disease on societies, explaining the importance of genetics in human behaviour, these are just a handful out of thousands of serious topics and no-one fully understands them. Vast subjects, impenetrably complex – and, when you start to begin to combine them, impossible for any individual to fully grasp.

The Great Man theory

And so it is much, much easier to think of society and what is happening in terms of a handful of powerful individuals. And this explains why most cultures, for most of human history, have done just that – attributed everything that happens to the eternal gods or, on the human plane, to Eminent Men and Women, to kings and queens and emperors and empresses and the like.

As far back as we have written records, they record the wars and acts of Great Men, emperors of China or India or Assyria or Egypt and the earliest histories which emerge from simple annals or chronologies likewise focused entirely on the doings of great men (and occasional empresses or queens).

The earliest histories had just two explanations for everything: 1. the wise or foolish behaviour of great leaders, and sitting above them, 2. the capricious interventions of the gods. 3. any unexpected turn of events could be attributed to the vague catch-all category, ‘Fortune’.

And 4. hovering behind all accounts was the primitive assumption that the present age is uniquely corrupt and degraded, a sad falling-away from some unspecified previous times when men were all upright, pure and noble.

Boris Johnson and the wheel of fortune

Armed with these four concepts you can, at a pinch, explain everything, right up to the present day. Using this template, Boris Johnson is a Great Man who Got Brexit Done, oversaw the fastest vaccine rollout of any western nation, and was leading this great country of ours onwards to greater things, when his treacherous colleagues, jealous of his achievements, conspired to stab him in the back and bring him down. To quote a Latin tag attributed to Cicero, ‘O tempora, O mores!’ meaning: ‘Oh the times! Oh the customs!’ But then again – a medieval commentator would say – no-one, even of Boris’s majesty and stature, can defy the turn of Fortune’s wheel, which is destined to bring even the highest and mightiest low.

One of the thousands and thousands of medieval depictions of the wheel of fortune bring the mighty low (Illustration by Jean Miélot to Christine de Pizan’s Epitre d’Othéa: Les Sept Sacrements de l’Eglise, about 1455)

See? Anything can be explained using these primitive concepts. Maybe more accurate to say, these concepts can be attributed to almost any events and the impression given that they’ve been explained, a completely spurious impression.

The Great Men theory in ancient authors

So it comes as no surprise when we get to the histories of the ancient (western) world, to discover that Plutarch or Sallust or Suetonius take a moralising approach to history, focusing on the character of the great men of the times they describe, and interpreting their behaviour in terms of the strengths and weaknesses. If this doesn’t completely explain the events they are chronicling, they could always add a knowing reference to Fortune which inscrutably intervenes to wreck the affairs of men.

I sometimes find it odd that the editors and translators of the editions of these ancient authors feel the need to explain the Great Men ideology of their authors, since it has been the default setting of most of mankind for most of history.

As John Wilders writes in his introduction to the Arden edition of Antony and Cleopatra, Plutarch was a very congenial source for Shakespeare’s dramas about the ancient world because, although living 1,500 years apart:

both men wrote on the assumption that the course of history was shaped by the actions of men in power and, for that reason, both were curious to penetrate into the subtleties of human character… (Antony and Cleopatra, Arden edition, 1995, page 57)

QED. It is only very recently that more objective, non-Great Men theories – broadly speaking, concepts to do with economics and sociology – have been developed. We can date this new development in human thought to the period vaguely referred to as the Enlightenment of the 18th century. Maybe we can pick an arbitrary date of 1776, the year Adam Smith published ‘An Inquiry into the Nature and Causes of the Wealth of Nations’, which introduced readers to the notion that we are all members of a globalised system of trade and production, and that our lives – whether we have jobs, what we can afford to buy, eat or wear – subject to events in faraway countries and forces beyond our control. Just as everyone in this country is going to suffer because of Russia’s invasion of Ukraine. A revolutionary new way of thinking about societies and human existence.

This new, economics-based and sociological way of looking at society definitely accompanied the development of the industrial revolution as all manner of authors tried to understand the sweeping changes transforming society without anybody explicitly planning or wanting them.

We find Dickens objecting to the dominance of the new breed of ‘economists’ who want to reduce all human life to economic statistics (Hard Times, 1854), and Karl Marx, obviously, was writing works which engaged with the earlier sociological theories of Hegel, in Germany, and the post-French Revolution school of theorists in France. The revolution crystallised, accelerated and disseminated all manner of new political and social theories, kick-starting the feverish debates of the nineteenth century, Hegel, Marx, Bakunin, Comte and so on.

In the more pragmatic mercantile Anglosphere the industrial revolution prompted an explosion of social and economic theorists following Smith’s lead, Malthus, Bentham, John-Stuart Mill and so on. We still, to a large extent, live in this world, a world awash with ideologies and theories, none of which completely work or explain everything and so are subject to the endless updating, revising, revisiting and rethinking etc which fill so many books and political journals.

I’m not trying to recapitulate the history of modern political and economic theory, I’m interested in the way that, despite the jungle of modern social theorisation, the Great Man / Fortune’s Wheel theory of history persists and flourishes.

Julius Caesar and Antony and Cleopatra

And so to what prompted these thoughts, Shakespeare’s plays Julius Caesar and Antony and Cleopatra  which I read after reading about 30 texts from ancient Rome about history (Plutarch, Suetonius, Sallust, Cicero). When characters in these plays describe the lead figures, or the lead figures describe themselves, as world-bestriding colossi, they are doing two things.

First of all, they are reinforcing the Great Man theory of history, stymying any attempt to think beyond it and countenance less simplistic explanations. Again and again, reading ancient literature, you come up across this brick wall, this closed door. Nobody could think beyond it. it makes you realise how immensely intellectually free and liberated we are, in our age. Even if we don’t have all the answers, the answers we do have are infinitely more sophisticated, responsive than anything the ancients had.

But secondly, these old tropes continue to thrill us. The rhetoric surrounding great men in Shakespeare’s plays is wonderfully vivid and exciting:

CASSIUS: Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves…
(Julius Caesar, Act 1, scene 2)

This is my final point: that the vicarious thrill to be experienced in the vivid rhetoric of power deployed throughout Shakespeare’s political plays is not necessarily a good thing. Food manufacturers add salt and sugar to processed food because the human palate is designed to respond favourably to their taste. The touch of salt or sugar on the palate fires basic, primitive nerves which release endorphins in the brain. because, during the course of human evolution, edible sources of salt or sugar were so extremely rare that our palates had to be sensitive enough to detect them. In our hyper-industrialised societies, manufacturers now exploit this basic human functionality and stuff so much salt and sugar in their products that the taste pleasure can become addictive. Hence the epidemic of obesity in the western world, due to the addiction of large number of consumers to products packed with unhealthy levels of salt and sugar.

Same with the Great Man Theory. It is the default setting of the human mind, it is the crudest possible way of thinking about politics and history and social change. Listen to vox pops of supporters of either Donald Trump or Boris Johnson and you realise that most people still cleave to a theory of society which predates the ancient Egyptians. “Don-ald! Don-ald! Don-ald!” Chimpanzees picking each others’ fleas are more sophisticated.

I’m exaggerating for effect, but the conclusion I’m leading up to is that a good deal of the pleasure derived from watching plays like Julius Caesar and Antony and Cleopatra is comparable to the guilty pleasure of pigging out on junk food.

The author invites us to thrill to the rhetoric of power embodied in the many descriptions of ‘the triple pillar of the world’ (Philo on Antony 1.1) and ‘the greatest soldier of the world’ (Cleopatra describing Antony 1.3) or great men each owning ‘a third of the world’ (Antony of Caesar 2.2), becoming ‘lord of all the world’ (Menas to Pompey 2.7), to great men playing with half of the world as they pleased (Antony 3.11) or quartering the whole world with his sword (Antony 4.14) or deserving ‘the worship of the whole world’ (Eros of Antony 4.14), being ‘the greatest prince o’ the world’ (Antony on himself 4.15), and ‘his legs bestrid the ocean: his rear’d arm crested the world’ (Cleopatra on Antony 5.2).

My point is that to thrill to this kind of rhetoric, to enjoy it, to be excited by it, is, intellectually speaking, the equivalent of wolfing down a Big Mac with large fries and a king-sized Coke. It is the basic, primitive , lowest-level human response to the society around us and abrogates the difficult but complex knowledge of the world we know we possess and know we ought to be employing if we’re ever to escape the mess we’ve got ourselves into.


Related reviews

A Handful of Dust by Evelyn Waugh (1934)

Brenda and Tony

Five or six years ago Brenda Rex married Tony Last. She is Lord St Cloud’s daughter, ‘very fair, [with an] underwater look’. They lived in a flat in London till Tony’s father died two years later, and left him an impressive Victorian country house, Hetton, loving described in a page of purple prose. But what with the upkeep of the big draughty place and wages for the fifteen or so servants (including the butler, Ambrose), they don’t have much disposable income and can’t afford to go up to London very often.

They have a simply adorable little boy, John Andrew, who has a tut-tutting nanny. One of the other servants is a riding master, Ben Hacket, who’s teaching the boy how ride and jump fences on his pony, Thunderclap (and in a comic recurring theme, also exposing the boy to rather fruity phrases which nanny considers wholly inappropriate).

Enter John Beaver

One weekend, John Beaver, a non-descript young man comes to stay. He has no money and no title and no relatives. One night when Tony was up in town he found himself in the bar of his club, Bratts, almost alone except for this Beaver fellah, and they had a few drinks and then dinner and Tony, out of politeness, asked him to come down to stay at the country place. Never dreamed he would. But here he was, having caught the train down.

There are no other guests so he and Brenda put a brave face on entertaining the young man, carefully assigning him the coldest spare bedroom (Sir Galahad; with Victorian heaviness, all the bedrooms are named after characters from the King Arthur stories) with the most uncomfortable bed, in a bid to get rid of him asap.

During the day Tony makes excuses to go out on estate business, see to his tenants, pop into the local town, go to church on Sunday morning and generally avoid young Beaver. So it falls to Brenda to engage him in conversation and try to keep him entertained.

At first, when Beaver has gone to dress for dinner or whatever, when she is alone with Tony, she complains about how tiresome he is. But Beaver is used to staying at country places, he’s the non-descript, unimportant chaps who makes up the numbers at countless society parties and weekends, and so he puts on a good display of conversation and pretends to be interested in the house and ends up staying an extra night. By the time he leaves on Monday morning Brenda is describing him as quite tolerable, you know.

Their affair begins

Thus begins the slow slide by which Brenda Last commences an adulterous affair with bland John Beaver, to her own surprise, the amazement of her sister, Marjorie, and the delight of gossip-starved wider society.

(Brenda’s sister, Marjorie is married to Allan, ‘the prospective Conservative candidate for a South London constituency of strong Labour sympathies’. They are hard up, too hard up to afford a baby, but popular. They live in a little house in the neighbourhood of Portman Square, very convenient for Paddington Station and they own a Pekingese dog named Djinn, who various other characters find objectionable.)

John’s backstory

John’s backstory is that his father is dead and he was laid off from the one job he’s ever had, in an advertising company, during the Slump. Now he lives with his mother, Mrs Beaver, in her small house in Sussex Gardens. He calls her ‘mumsy’. She runs a small business providing furnishings for the London homes of the rich. He has the dark little sitting-room (on the ground floor, behind the dining-room) and his own telephone. His clothes are looked after by an elderly parlourmaid.

Beaver has one distinction – he is a universal backstop guest for posh parties. If a society hostess is arranging a smart dinner party and a male guest lets her down at the last minute, John is the man she calls. Thus John spends the early part of every evening sitting beside his phone, waiting for a call, and is rarely disappointed. Someone, somewhere, needs a presentable man at short notice and, from his base in Sussex Gardens, he can walk or catch a cab to be with his hostess in as little as fifteen minutes, sometimes arriving just as the guests are going in to dine, sometimes after they’ve completed their first course.

Tony the model squire

Tony Last’s distinguishing feature is his immense love for his rambling old house, Hetton, and the plans continually revolving round his head of how to renovate and improve it. He attends church every Sunday (sitting in the family box pew his father had specially built, which is big enough to hold an armchair!), chats with the rather gaga vicar (‘the Reverend Tendril’) after the service, makes friendly conversation with the villagers, many of whom are his tenants. He is a sentimentalised vision of the modern squire, hard up in the modern way, forced to scrimp and save, but benevolently patriarchal and well meaning. His quiet, rural integrity stands in time-honoured opposition to the shallow, immoral infidelities represented by the big bad city.

Familiar plot

In fact the outline of the plot is time-honoured and traditional. Young society girl marries nice chap with house in country, moves to country, produces son and heir, becomes bored, then very bored, then has fling with first halfway eligible man who crosses her path.

Obviously there’s lots of precisely imagined and described detail, both of the affair and the London high society it takes place amongst. One of the striking things for a modern reader is how Brenda and Beaver make no attempt to hide their affair. They attend the usual round of high society parties so that within days their names are being bandied about over dinner party tables and morning phone calls. Very quickly everyone knows they’re having an affair, everyone except poor Tony.

Waugh indulges in a little editorialising, repeating the idea floated in Vile Bodies that people read gossip columns, and gossip generally, in order live fuller lives via other people. The key word is ‘vicariously’, which occurs here and in the similar passage in Bodies:

The morning telephone buzzed with news of her; even people with whom she had the barest acquaintance were delighted to relate that they had seen her and Beaver the evening before at a restaurant or cinema. It had been an autumn of very sparse and meagre romance; only the most obvious people had parted or come together, and Brenda was filling a want long felt by those whose simple, vicarious pleasure it was to discuss the subject in bed over the telephone. (p.57)

Gossip is a key part of Waugh’s fiction. Waugh is the poet laureate of gossip.

A love nest in London

The affair takes a step up when Brenda persuades Tony that she needs a little flat in town, a pied a terre, an idea suggested by Mrs Beaver who is converting a Victorian house into stylish bedsits containing a bedroom and ensuite bathroom. Tony reluctantly lets Brenda rent one and then accedes to her sudden desire to spend rather a lot of time at it. For a front she claims to want to take an adult degree in economics, it will help her manage accounts at Hetton. Tony innocently believes this obvious lie.

For his part, John is chuffed to be treated with new respect by the polite society which he has previously only been on the fringes of.

And Beaver, for the first time in his life, found himself a person of interest and, almost, of consequence. Women studied him with a new scrutiny, wondering what they had missed in him; men treated him as an equal, even as a successful fellow competitor. ‘How on earth has he got away with it?’ they may have asked themselves, but now, when he came into Bratt’s, they made room for him at the bar and said, ‘Well, old boy, how about one?’ (p.58)

So the plot – bored married woman has affair – may be pretty run of the mill, the pleasure comes from: Waugh’s beautiful style; a thousand and one acute observations about the people and posh lifestyles he’s describing; and, more subtly, the precise way Waugh conceives and records the slow change in Brenda’s attitude and in the climate of her marriage. If you want to drag ‘morality’ into literature, then it is a moral decline, but recorded, annotated, measured, in psychological details.

‘Princess’ Abdul Akbar

Brenda stays away from Hetton more and more. When she comes back to Hetton Tony is pitifully glad to see her. Our sympathies harden against Brenda when she conspires to palm off a free single woman on Tony. With atrocious misunderstanding of her husband, she thinks if she can push him into having an affair, then they’ll be morally equal.

So Brenda comes down to Hetton with two posh society friends and Mrs Beaver, who is now offering to do up the main rooms in the house (to Tony’s dismay). But the point of the visit is an extended comic passage about a ‘Princess’ Abdul Akbar (real name Jenny), a heavily made-up and over-scented vamp who Brenda and the other women take every opportunity to leave alone with Tony, as she flirts with him, gives him a silly nickname, hints at her tragic past, declares she simply loves the house and in every way tries to tempt him into an affair which will then justify Brenda’s brazen, heartless adultery. But it is a comic fail. They’ve all underestimated Tony’s good, true, faithful heart.

The Shameless Blonde

Tony’s best friend, Jock Grant-Menzies, comes for the weekend bringing his latest girlfriend, a thoroughly modern divorcée who the two men have nicknamed ‘the shameless blonde’. Her actual name is Mrs Rattery and she was American by origin but is now thoroughly internationalised, having lived for years in the best hotels in capital cities around the world. She turns out to be supremely capable and flies in her own plane to Hetton, which she lands in the park, climbing out, tall and limber in her flying outfit, the model of a 1930s, Art Deco, über-woman.

Next day is the big fox hunt which young John Andrew has been excitedly looking forward to for months. Waugh describes the buildup and hunt with the same thoroughness and accuracy that he brings to any subject if he sets his mind to it (compare the numerous factual descriptions in his travel books). For me, fox hunting doesn’t become any the less ludicrous the more the traditions and rituals surrounding it, are described. Most Londoners get more foxes in their gardens than the Pigstanton Hunt gets in this novel. But it is an important symbol of the life of the country squire, that sense of deep English heritage which also informs, say, the novels of Saki or Siegfried Sassoon.

Death of John Andrew

Half way through the book comes its devastating shock. Little John Andrew is really enjoying the hunt but his father made Ben promise to bring him back before 1pm and as 1 approaches, despite John’s whines to be allowed to ride some more, Ben tells him they must return.

All morning there have, of course, been numerous other riders and horses. The most notable was Miss Ripon riding a very difficult, temperamental bay horse her father has been trying to get rid of for years. She’s packed in following the hunt and joins them on the ride along the road back to the stables, with John to her right and Ben on the outside. At a bend in the lane one of the country buses unexpectedly appears coming the other way but slows right down and pulls over. Bit nerve-making but OK. But, alas, Miss Tendril, the vicar’s niece, has come up behind the horses on her fashionable motor bike and at that precise moment it backfires with a terrific, loud report.

Miss Ripon’s horse starts and panics, rearing sideways and knocking John Andrew off his mount and onto the tarmac road. Ben yells at Miss Ripon to whip her horse, which she does and it regains focus and shoots off down the road. But not before it lashes out with a powerful rear hoof which connects with John Andrew’s head and sends him flying into the ditch where he lies perfectly still. He is killed instantly.

The impact of John’s death

In his previous novels Waugh had deliberately underplayed the deaths of various characters, they happened peripherally, that was a deliberate tactic in creating the sense of the brittle, heartless high society he wanted to portray.

Here, it is the opposite. We arrive back at Hetton to find Tony has been informed of his son’s abrupt, tragic and quite meaningless death. Like the stiff upper lip English gent he is (or fancies he is, or Waugh fancies he is) he is dealing capably with all the social obligations and arrangements which a death in the family entails. The workmen redecorating the drawing room have been sent home. Mr Tendril the vicar pays a sombre visit. With typical empath and selflessness, Tony is most concerned about Miss Ripon who was in a terribly emotional state and kept blaming herself. Ben arrives and gives his side of the story. Jock arrives and is with Tony alone.

Everybody agrees it was nobody’s fault, no one is to blame. This phrase is echoed again and again by various characters and with each iteration becomes more meaningless. It is a cruel, shocking insight into a universe with absolutely no purpose or concern for anybody.

Tony is most worried who will tell Brenda. He’s phoned her at her London flat umpteen times but no reply. Jock, who, like everyone else, knows about Brenda’s affair with Beaver, volunteers to go to London and tell her. Initially Mrs Rattan, the  brisk, effective American divorcée, offers to fly them both up to London but something in Tony’s tone makes her change her mind. It is notable that, out of all the characters, it is the only non-English person, the American divorcée, who grasps just how deeply Tony is in shock, that he is on the verge of going completely to pieces. So she says she will stay with him, overriding all his objections, meaning Jock will take the train up to London. And stay she does during the long empty afternoon of his newly desolate life, trying to distract him with numerous different card games. The understated power of this passage brought tears to my eyes.

Brenda’s reaction

Meanwhile, there is another scene designed to shock. Jock makes it to London, knocks on the door of Brenda’s flat, only for her neighbour to open, none other than the vampish, self-dramatising ‘Princess’ Abdul Akbar’. She knows where Brenda is, at Polly Cockpurse’s place where a gaggle of posh ladies are having their fortunes read by the latest fashionable fortune reader. When Brenda emerges from her session she sees from her friends’ faces that something bad has happened and she rushes downstairs to see Jock. He tells her to prepare herself and then tells her that John is dead.

Brenda goes white and has to sit down. But as Jock begins to tell the details of the death, about the hunt and the horse, Brenda becomes confused, perplexed – and then realises Jock isn’t talking about John Beaver, he is referring to her son, John Andrew. At which point the novel screeches off its hinges into a terrible moment of moral indictment. In that split second of realisation, Brenda is relieved that it was only her son who was killed, not her adulterous lover.

[Jock] ‘I’ve been down at Hetton since the week-end.’
[Brenda] ‘Hetton?’
‘Don’t you remember? John was going hunting to-day.’
She frowned, not at once taking in what he was saying. ‘John… John Andrew… I… oh, thank God…’ Then she burst into tears.
She wept helplessly, turning round in the chair and pressing her forehead against its gilt back. (p.118)

God. Has any fictional character ever been so totally skewered? She is relieved to learn that it’s only her son who’s died. And realises it in the same moment, realises what a terrible terrible thing that is to have thought and felt.

Jock drives Brenda back to her flat, sits while she packs her things in shock, drives her to the station to catch the train down to Hetton. She makes a feeble attempt to excuse herself, saying she didn’t know what she was saying. Jock says bluntly: ‘You know what you said.’ He drives to his club. He stands at the bar saying nothing to anyone.

A few days later, when Jock goes down to Hetton to keep Tony company, he listens as Tony explains why Brenda told him she had to get away from the house, how deeply upset she must be, how he wishes he could help her. Jock says nothing. He doesn’t tell anyone what she said. God, the buttoned-up, repressed, tight-lippedness of these people.

Brenda and Tony attend the inquest. Afterwards she moves slowly, mechanically. Sits in a daze. Stares out the window. This is really beautifully conveyed, her sleep-walking dazedness. She tells Tony it’s all over, she must get away. He doesn’t understand. Not till she writes him a letter from back in London saying she is in love with John Beaver and wants a divorce. Tony is incredulous. He… he trusted her.

The divorce

An entire chapter is devoted to a detailed description of the absurd lengths one had to go to in the 1930s to gain a divorce. Because Tony is a gentleman he ‘does the right thing’ which is arrange to be the guilty party. He contacts a divorce solicitors who organise the usual procedure, which is that he goes to a hotel somewhere (he chooses Brighton) with a woman of his choice (Jock and Tony give this a lot of thought and then go visit a dingy ‘nightclub’ they’d visited one very drunk night earlier in the story, and alight on the blowsy prostitute, Milly). They explain the deal to Milly, explaining it will be purely a business transaction, no sex required. When Milly asks if she can bring her 8-year-old daughter, Winnie, Tony briskly refuses. Nonetheless, when Milly arrives at the station to meet Tony for the train to Brighton a few days later, she has brought Winnie who proves to be a world class pain in the butt during the following tortuous weekend.

So they catch a train together to Brighton, accompanied at a distance by the two private detectives hired by the divorce solicitors who will testify to Tony’s adultery in court and so win the divorce. Winnie keeps whining, wanting ‘ices’ and insists on being taken to see the sea despite there being a howling rainstorm. Tony outrages his detectives’ sense of professional propriety by socialising with them, buying them drinks and then cocking up the all-important ‘morning after’ scene by having such an early breakfast in the hotel restaurant with whining Winnie that it is an effort to then put a dressing gown on (over his other clothes) and clamber into a big double bed with Milly (who’s tired and grumpy) so they can be served by hotel staff who will later testify to finding them in bed together etc.

An unpleasant obligation, required by his impeccable good manners and sense of responsibility, is finally completed.

Payback

Back in London Tony is visited by Brenda’s elder brother, Reggie, an obese archaeologist. At this point it gets nasty.

It should probably be pointed out that Waugh himself was betrayed by his first wife and went through a very painful divorce. They were married for precisely one year before she revealed she was having an affair with a good friend of both of theirs. It is not difficult to see the passage that follows, this scene with Brenda’s adipose brother Reggie, as cold-blooded revenge. Waugh shows very clearly how Tony’s honesty and fidelity and good manners are systematically traduced by every member of her family and all her friends.

The humiliating ordeal he put himself through in Brighton and his offer of £500 a year settlement are thrown back in his face as bullyingly insufficient. The brother, Reggie, tells Tony that Brenda wants at least £2,000 a year. Lots of relatives think Tony is behaving badly by refusing to take Brenda back. Give it a year, suggests Marjorie, and she’ll get over Beaver and be ready to come back. Tony should wait. He should be forgiving.

In a cold fury at Reggie’s demands Tony phones Brenda and asks if this is really what she wants. £2,000 a year. She admits that John Beaver put her up to it. Beaver’s pointed out they’ll both be quite hard up so will need Tony’s money to live on. Tony asks her if she understands that this will mean he’ll have to sell Hetton. She stumbles and hesitates and starts crying and tells him to stop bullying her, but then admits, yes, she knew.

That’s all he needed to know. He puts the phone down and strides back into the restaurant where Reggie is waiting. And tells him he can fuck off. He’s cancelling the divorce, the whole trip to Brighton was a sham and he has witnesses to prove it. He’s not going to divorce Brenda or give her a penny. Tough. He gets up and walks out. The reader is meant to be on their feet, cheering. The worm has finally turned. After a long narrative of being betrayed, lied to and laughed at behind his back, Tony rejects the whole stinking lot of them.

On a journey

The final quarter of the novel presents another surprise. The scene has moved utterly from England. We find Tony aboard a ship heading for South America (!). Why? How?

Avoiding his former clubs, Bratts and Brown’s, for fear of running into Beaver or indeed anyone he knows, Tony had taken to frequenting the third club he’s a member of, the Greville Club. This is a more highbrow, donnish place, and it is here that he meets the short, brown figure of Dr Messinger. Tony had been leafing through travel brochures toying with going on a long journey with no particular idea where. Over lunch Dr Messinger tells him about his ongoing quest for a lost Shining City in the Amazon, which he has various maps and native accounts of. By the end of lunch Tony has agreed to accompany him. Why not?

And so there follows a long beautifully described sea voyage from the cold grey English Channel through the big waves of the Atlantic and on to the azure seas of the Caribbean. Descriptions of fellow passengers and a brief flirtation with the 18-year-old daughter of an eminent Trinidadian family.

Then he arrives at a port on the coast of South America, rendezvous with Messinger and they set off upriver into Amazonia with a team of eight blacks, chugging upstream in a shallow boat for ten days. At this point they leave the boat and make a stash of supplies – base camp – before walking to a nearby Indian village. Here they recruit a dozen or so men and women to carry their supplies for a week or more further into the interior. These people are from the Macushi tribe. They go so far but , after a week’s tramping, refuse to go further because it means crossing into Pie-Wie territory. Dr Messinger hopes these remote Pie-Wie people will be able to guide them to the Lost City.

Waugh himself went on a three-month long expedition into Amazonia which he described in Ninety-Two Days. Much of the detail of Tony and Messinger’s trip is based on that, not least a) descriptions of the umpteen different type of fly, mosquito, jiggers and even vampire bats which assail them during the day and are a serious menace by night and b) precise descriptions of the black crew on the boat and then the indigenous Indian porters, silent, self-contained movements, their  unconquerable fear of the other tribe.

Vivid descriptions of each stage of the Amazon journey are juxtaposed with developments back in London, namely the rather inevitable falling out of the adulterous lovers Brenda and John. Beaver tires of Brenda’s clinginess, Brenda, with no support from Tony, becomes desperate for money, lowers herself to ask for a job at Mrs Beaver’s shop and is mortified at being turned down.

Final developments

To summarise, beneath the impressively authentic details of Amazonian natives and fauna, key things happen:

1. Tony comes down with fever – Messinger nurses him for days.

2. Their food runs low and Messinger is forced to leave feverish, hallucinating Tony and set off for help, in the canoe, down the river. Unfortunately, he is swept over a waterfall and drowned.

3. Tony’s pitiful weakness is powerfully described. The way he tries to fill the empty lantern with paraffin but is so weak he knocks the can over and listens helplessly as the precious liquid gouts out into the soil, weeping helplessly, was very affecting.

4. The scene cuts to some days later when an exhausted, fever-ridden, delirious Tony stumbles out of the jungle. Indians spot him and take him, shambling, covered in bites and rashes and cuts, to the only educated man in the area, a Mr Todd.

The bleak ending

Mr Todd nurses Tony slowly back to health, but when Tony mentions it is time for him to leave, Mr Todd makes excuses. Things take a sinister turn. Mr Todd has a collection of mouldy, ant-eaten old books, including a complete set of Charles Dickens. He asks Tony to read to him for a few hours every afternoon. He used to have another man staying with him who did this. He shows Tony the poor wretch’s grave. Slowly Tony realises the other man was stuck there, trapped, a slave, forced to read Dickens in exchange for food. He realises Todd intends to keep him there in the same way, nursing him, feeding him, but never letting him go.

Tony is stuck because Mr Todd’s shack is so isolated. He lives off food provided to him by the native Indians and a few items of livestock. For scores of miles in every direction there is only barren savannah where Tony would starve and parch to death, or the impenetrable rainforest he stumbled out of. If he tried to escape in either direction it would be without food or water and so, as Tony realises, he would die within days. And so he is forced to stay

One day a European explorer stumbles into the clearing. Todd makes sure he is never alone with Tony but before the explorer continues on his way, Tony slips him a note saying he is alive and well. The explorer disappears back into the forest and Tony spends months and months in hope his message will percolate down to the coast and someone will come looking for him.

One afternoon Mr Todd tells Tony the villagers are having a feast, it might interest him to observe and take part. So they spend the evening at the little local village eating cooked meat and drinking generously from the home brewed alcohol. Tony wakes with a terrible hangover to discover his watch has gone from his wrist. Mr Todd comes into his room in the shack and informs him that a search party of Europeans had come looking for him. The native feast was a ruse to drug Tony and hide him out of the way so that when the search party arrived, Mr Todd was able to tell them that Tony had, alas, perished, to show them the grave of Tony’s predecessor saying it contained Tony, and to give them Tony’s watch as proof. Thus they were sent away with bearing a conclusive account of Tony’s sad death in a faraway country back to all his friends and family in England.

Mr Todd calmly explains all this to Tony and it is a sign of Waugh’s tremendous technique that he doesn’t give us Tony’s reaction at all. We don’t see him, hear him utter a word, share his thoughts, there is no description of his response to the fact that he is now doomed to spend the rest of his life, stuck in a crappy clearing in the middle of nowhere, eating the same awful subsistence food day after day, and forced, in order to survive, to read the complete works of Charles Dickens to a madman.

Coda

With new of Tony’s death Hetton passes to his nearest relatives, the ‘poor Lasts’, a cadet branch of the family we had heard about a few times earlier in the narrative. They are decent people but have to downsize the domestic staff and energetically set about expanding the farming operation, specially of lucrative silver foxes, bred for their fur.

Brenda, as a widow, is free to marry. John Beaver had, some time earlier, heartlessly abandoned her in order to accompany his mother on a business trip to America. From this nadir of her fortunes, she manages to recover herself and brings off the coup of marrying Tony’s old friend Jock Grant-Menzies. It speaks volumes about both of them that Jock notoriously heard her first reaction when told that ‘John’ had died, and so fully knows what a heartless , selfish bitch she is – and yet goes ahead with the marriage.

Author’s message

The world is cruel and pointless. Human life, by itself, is meaningless.

For a month now [Tony] had lived in a world suddenly bereft of order; it was as though the whole reasonable and decent constitution of things, the sum of all he had experienced or learned to expect, were an inconspicuous, inconsiderable object mislaid somewhere on the dressing table; no outrageous circumstance in which he found himself, no new, mad thing brought to his notice, could add a jot to the all-encompassing chaos that shrieked about his ears.

Religion is rarely mentioned in the book, none of the characters take it seriously, it only features in the form of the slightly gaga comedy vicar, with his comic name, Mr Tendril. And yet anyone who knows that Waugh converted to Catholicism in 1930, can sense that the more he emphasises the cruel, amoral heartlessness of the world, the more this vision of despair cries out for a countervailing force, for a force which will restore meaning and purpose and morality to the shabby lives of these broken puppets. Without mentioning Catholicism once, it can be interpreted as a deeply religious book.

Waugh’s way with words

London:

Dawn broke in London, clear and sweet, dove grey and honey, with promise of good weather; the lamps in the streets paled and disappeared; the empty streets ran with water, and the rising sun caught it as it bubbled round the hydrants; the men in overalls swung the nozzles of their hoses from side to side and the water jetted and cascaded in a sparkle of light. (p.190)

The day of the inquest:

A day of fitful sunshine and blustering wind; white and grey clouds were scarcely moving, high overhead, but the bare trees round the house swayed and shook and there were swift whirlpools of straw in the stable yard. Ben changed from the Sunday suit he had worn at the inquest and went about his duties. Thunderclap, too, had been kicked yesterday and was very slightly lame in the off fore.
Brenda took off her hat and threw it down on a chair in the hall. ‘Nothing to say, is there?’

The way the eloquent description is capped off by the taut, abbreviated dialogue is masterly. The desolate scene in the stable yard echoes, mirrors, symbolises or represents Brenda’s state of mind. So that all is needed by way of dialogue is not a long speech of anguish but the opposite, a short taut sentence saying it all.  It’s not rocket science, it’s not a new technique in the novel; it’s just done very, very well.

Tony aboard a cheap steamer heading in bad weather down the English Channel, which is carrying one other passenger:

The wash of the ship was quickly lost in the high waves. They were steaming westward down the Channel. As it grew to be night, lighthouses appeared flashing from the French coast. Presently a steward walked round the bright, upper deck striking chimes on a gong of brass cylinders, and the genial passenger went below to prepare himself for dinner in hot sea water which splashed from side to side of the bath and dissolved the soap in a thin, sticky scum. He was the only man to dress that evening: Tony sat in the mustering darkness until the second bell. Then he left his greatcoat in the cabin and went down to dinner.

For me it is a physical, imaginative and psychological pleasure greater than anything a movie or TV adaptation could possibly give me, to read words like this. The precision of what they describe, the precision of their vocabulary, the fluency of their expression, the contrasting rhythms between the opening three relatively short sentences and then the long middle one which rolls and rights itself like the ship it describes. The subject matter may be bitter and grim, but it is always an immense pleasure to read Waugh’s beautifully clear and expressive prose.


Related links

Evelyn Waugh reviews

Ninety-Two Days by Evelyn Waugh (1934)

It is by crawling on the face of it that one learns a country; by the problems of transport that its geography becomes a reality and its inhabitants real people…[by describing them one offers one’s reader] a share in the experience of travel, for these checks and hesitations constitute the genuine flavour.
(Ninety-Two Days, page 170)

Waugh had a reason for going to Ethiopia, the subject of his previous travel book, Remote People – to cover the coronation of Haile Selassie. The journey described in this book, by contrast, had a much more ramshackle provenance. He chose to go to British Guiana, the colony tucked up on the north coast of South America, north of Brazil, more or less because few other people did. Unlike India or Kenya or Egypt he could find no books on the place and nobody else who’d been there.

By sea to South America

So off he went on a cheap steamer down the English Channel, across the rambunctuous Atlantic, to the fragrant West Indies and so on to dock at Georgetown, capital of British Guiana. Here he is looked after by the Governor and introduced to Mr Bain, the Commissioner for the district, who supervises the purchase of a large number of supplies for his trip and accompanies him by train along the coast to New Amsterdam at the mouth of the River Berbice.

But what exactly is the purpose of his trip? Waugh doesn’t know, even after he’s got back to Blighty, which partly explains why the book opens not with him aboard ship or setting off into the jungle, but domiciled in a nice English house in the country, preparing his desk with nice clean foolscap paper and a pen and ink and then himself wondering… what was that all about?

Quick summary

Well, the basic outline is easily conveyed. From New Amsterdam, Waugh headed by boat up the Berbice River, pausing at various settlements, then leaving the river to trek on foot or horseback through the jungle, crossing the border into Brazil and northern Amazonia, before hiking north along the Ireng River, stopping at isolated ranches and remote settlements, then taking to boat again on the River Essequibo, skirting various waterfalls, including the famous Kaieteur Falls, then a short train east across country to the Demarara River, and so by boat back to Georgetown where the river debouches into the Atlantic.

To Kurupukari

First stop was Kurupukari, 100 miles south. Half the journey is by paddle steamer along the Berbice River (p.33). Then they land and go by horse along a cattle track, These are tracks the vaqueiros use to drive cattle from the savannahs of the interior down to market at the coast. The journey takes six days travelling at 15 miles a day, through rain forest he describes with awe, huge columned trees rearing a hundred feet overhead (p.40).

After talking about it every day of their 6-day hike, Waugh is surprised to find it consists of… a flagpole lying in the grass (it isn’t finished yet and they don’t have a flag) and one bungalow built in a clearing. Not even a jetty, not even native mud huts (p.44). This extreme sparseness of population characterises the entire trip.

Kurupukari is on the Essequibo river and they are awaiting a boat laden with supplies to meet them. Waugh describes the staple foods of the interior which are farine, a tasteless and rather disgusting vegetable product made from the cassava root, and tasso, made from salted wind-dried strips of dead cow.

On this first part of the trip he is accompanied by the talkative Mr Bain and a plan of sorts had evolved, that Waugh proceed in stages along the cattle track, visiting various small settlements along the way, until reaching the larger settlement of Bon Success, from which he could head west to Boa Vista, ‘next to Manaos the most important town in the Amazonas’. Mr Bain paints a picture of a city of inexpressible grandeur, complete with boulevards and opera houses. Sounds great. Waugh adopts the plan. The reader knows with certainty that he is going to be bitterly disappointed.

To Kurupukari and beyond

Bain remains at the primitive government station at Kurupukari. Once the boat with its supplies arrive, they’re unloaded then distributed among several horses, then early the next morning Waugh and his group of 4 servants/natives (Yetto, Price, Sinclair, Jagger) cross the river and set off on horseback. The dominant figure of this section is the egregious Yetto, a black man of surpassing ugliness, but a solid support who he becomes deeply attached to.

There follow 6 days riding along a traditional cattle track, occasionally meeting one or two vaqueiros driving a handful of cattle, sometimes coming across the corpses of cattle, which don’t endure the journey to the coast very well, dying of insect-borne diseases or sometimes attack by large animals. He learns more about his travelling companions.

Jagger is an enigma, a civilised man from a notable family on the coast, he was educated in Scotland. According to Yetto he was ruined in lawsuits with his family and has degenerated into one of the ‘race of tramps who wander the cattle country, there and in Brazil, living indefinitely off the open hospitality of the cattle ranches’ (p.53). He attaches himself to Waugh’s party for a while, then is too ill to keep up the pace and stays behind at one of their temporary camps, never to be heard of again.

He meets half a dozen vaqueiros driving 50 cattle. Next day they meet three Englishmen travelling in the other direction, towards the coast.

On the third day they cross a dry creek and come into a little savannah (i.e. open area of sand and scrubby thorn bushes) named Suranna. There is a native settlement. Waugh explains something about size and scale. A dozen or so mud and thatched huts constitutes a ‘large’ settlement. More than 20 mud huts is exceptional. The largest he ever saw apparently contained 22, though he arrived too late at night to see this vast metropolis. Next day they arrive at Annai which consists of precisely one house (p.58).

In other words the entire region, both the settlements in the savannahs, the so-called ranches, the white ‘settlements’ – all are characterised by emptiness and very sparse population.

After a long hot ride across the parched savannah, he arrives at Christie’s ranch (p.62). Christie is an old black guy who has religious visions and agreeably lunatic ideas. He’s been preaching to the local Indians for thirty years and hasn’t made a single conversion.

Next stop is a ranch owned by Georgetown Chinese named Mr Wong and run by Daguar (p.67). The ranch consists of three wattle and mud huts in a wired enclosure. Primitive, isn’t it? The ranch is on the River Ireng and Waugh is surprised to find this forms an international border. Across the muddy river is Brazil. He describe the pestilential effects of the cabouri fly, whose bite you don’t feel till it’s gorged itself and dropped off, and ticks which burrow into the skin, and bêtes rouges, little red creatures which burrow under your skin and cause unbearable itching.

(Later he tells us the rivers contain stingrays, electric eels and carnivorous fish, p.77. Why were these areas never settled or developed? There’s your answer.)

Next morning’s ride brings him to a village marked on the maps as Pirara but which in fact simply doesn’t exist. The name has been transferred to a ranch five miles away, owned by an American named Hart. This actually amounts to more than one building, with facilities such as a shower room, with very decent meals cooked by the wife, a Creole nanny for the children and – mirabile dictu – a truck, which had been manhandled this far up the trail, didn’t have much petrol and no regular roads to travel.

Waugh explains that South American countries are notorious for going to war over remote bits of territory. Britain nearly went to war with Brazil and Venezuela about different bits of remote savannah. He learns maps are largely invented, and based on rumoured natural features (such as rivers) which often don’t exist. He gives a mocking account of a boundary commission which is meant to be working with Brazilian officials on defining the border (p.71).

Next day’s journey brings them to the ranch of Bon Success owned by Mr Teddy Melville, one of Mrs Hart’s brothers. They drive there in the famous motor van. It is very bumpy (p.73). They have breakfast with Teddy and his charming wife, before driving beside the River Takuru to the missionary settlement of St Ignatius, where Waugh is hosted by the lovely Father Mather. Waugh pays off Price (who’s going on to the station at Bon Success, Yetto and Sinclair (who turn and head back down the trail). Part one of the journey is over.

Again, Waugh remarks on its bareness and lack of people. All over Africa he saw missions, schools and churches packed out with native pupils, congregations, teachers and pupils. Here, almost nobody. A tin and thatch church, and a primitive schoolhouse which holds, at most, a dozen Indian children. The mission building has a second story (first one he’s seen) and, amazingly, a reading lamp. Great relief (p.75).

Most of the scattered ranchers and all the Brazilians across the river are Catholics. Father Mather ministers to them all. There is one shop, the only one for 200 miles in any direction, kept by an affable Portuguese named Mr Figuiredo, who dresses comfortably in pyjamas, treats them to a feast, and charges exorbitant prices for everything (p.79). He is taken to visit local Indians including a charming tattooed witch.

After a delightful restful week, on 1 February he sets off with a guide, David, and his Brazilian brother-in-law Francesco, to cross the river and so the invisible border into Brazil and ride the 3 days to Boa Vista (p.81). They stop for the nights at primitive mud and thatch huts, with a few other travellers kipping in a shack full of hammocks, served weak revolting tasso stew by sleepy womenfolk.

Next day is the longest, hardest, hottest of them all. Waugh is struck by the way the locals carry no water at all, presumably because the land is criss-crossed with streams. Except they’re all dried up and the sun is fierce. Twelve hours without a drink and he hallucinates walking into his club and ordering glass after glass of iced orange juice. At dusk they reach an actual stream and drink mug after mug of freezing water.

Next day they enter the inhabited Rio Branco district and come upon a well organised sugar mill, where they are welcomed and well fed. Teams of workers and passers-though eat in series at a long bench. Next day they reach the Rio Branco opposite which stands the legendary Boa Vista he’s heard so much about.

(It might be worth noting that Boa Vista is simply the Portuguese for ‘Good View’, bom and boa being equivalent to the French bon and bonne i.e. ‘good’, depending on whether the noun is male or female. Rio means river and branco means white. So they arrive at Good View on the White River. Pretty basic, isn’t it?)

Boa Vista

Of course Boa Vista turns out to be nothing like the gaudy fantasies he’s concocted on the tiring journey there. It is a shabby collection of ramshackle buildings laid out on an ambitious grid pattern with a broad muddy high street and cross streets which peter out into bare savannah a few hundred yards in either direction. Population maybe a thousand skinny, scrawny, malnourished, sulky, listless people.

The inhabitants of the entire Brazilian region of the Amazonas were, apparently, descended from convicts sent there as punishment. Waugh found a low, sullen, suspicious atmosphere everywhere. There was an atmosphere of homicide, everyone has guns, there have been well publicised murders. He finds it: ‘a squalid camp of ramshackle cut-throats’ (p.92).

And the population insisting on eating the same monotonous, revolting farine and tasso as everywhere else, despite the achievement of the local nuns in having a very diverse vegetable garden.

Waugh stays at the Benedictine Mission, led by Father Alcuin, and is predictably complimentary about the monks and nuns’ level of quiet, constructive civilisation.

Three things

1. Waugh is easily Bored

According to these books, Waugh had a great capacity for getting very, very bored. He describes sauntering round town to the 4 or 5 people he knows and watching them work, staring at the sky. Attending church is by far the most colourful and interesting thing to do, not only for him but for many of the inhabitants, what with its colour, decorations, smells of incense and singing, no matter how ragged. He gets so bored he reads an edition of Bossuet’s sermons and lives of the saints in French (p.98).

At which point I remembered the almost identical descriptions of his crushing boredom which appear in Remote People. There he gives a comic description of being stuck between trains in the dusty town of Dirre-Dowa, resorting to reading a volume of Alexander Pope’s poems and then, even more desperate, a French dictionary. In his later travelogue, Waugh in Abyssinia, Waugh gets so bored in Addis Ababa waiting for war to actually break out that he buys a baboon!

The point is, Waugh is obviously quickly and easily bored. It would help if he had any hobbies but the issue of boredom highlights two others.

2. Music

He has no ear for music. None at all. He doesn’t enjoy hearing music and, at one point, when he is in a particularly good mood riding among beautiful scenery, he says he’d like to sing, but doesn’t know how. Having no sensitivity at all for music means living in a greatly reduced world of experience.

3. Waugh is no naturalist

Waugh is walking, riding or taking boats through exotic and varied country (savannah and rainforest) and yet his observations of the natural world are rudimentary. He notes the way rainforest consists of enormous tree trunks like columns with all the interesting stuff way at the top. He notes the 3 or 4 super-irritating bugs (the carouba fly et al). He gives detailed notes on all the horses he rents, hires, buys, and that he and his various colleagues ride at various times.

Apart from that – nada. Nothing about the birds or rodents. Occasional general references to blossom but no detail about the flowers, flowering bushes and so on. Maybe the savannah is parched and sandy as he describes, but still.

Pondering these absences makes you realise what is present in his writing. Thinking about what isn’t in the travelogues, made me reflect on what is. Which is people. He’s interested in people, characters, what they look like, how they behave, and really interested in how they talk.

Every single person he meets on a trip like this is foreign, non-English. True, many of them speak a form of English, but generally mangled and contorted, creoles or stumbling phrases. Or they don’t speak English at all and he has to struggle by with his schoolboy French. And then he observes other people who don’t speak each others’ languages struggling to communicate by talking pidgen Portuguese or German to each other (p.96).

What emerges from this little ponder is that Waugh is interested in – and devotes his energies to – people and how they speak. Thus he gives a peremptory description of Boa Vista, but his account only comes to life when he is describing people. People such as Mr Figuiredo who keeps the only decent store for hundreds of miles around, the mysterious German, Herr Steingler (p.95), Father Alcuin who is convinced England is run by freemasons (p.97), the little Brazilian Boundary Commissioner (p.99), Martinez the low-spirited manager of the town’s main story (p.100), Eusebio, a plum native of the Macushi tribe who is striking for not having one belonging in the world (p.117), Mr Hart the kindly middle-aged American with a lovely wife and a Creole nanny who looked like Josephine Baker (p.119).

It is a significant moment right at the end of the book when, assessing what he had learned or seen and done on the trip, he says he has added the religious visionary Mr Christie ‘to my treasury of eccentrics’ (p.168). And:

In Georgetown I met an agreeable character named ‘Professor’ Piles who lived by selling stuffed alligators. (p.168)

Evelyn Waugh’s ‘treasury of eccentrics’. Quite.

And where his ears really prick up is with gossip and the way people are inter-connected. There isn’t that much to say about a man who lives by himself or who you encounter on his own. But a man and his wife are immediately more interesting to gossip and speculate about, and a man and wife and various children, hopefully by different wives, gives you a lovely, juicy subject to explore. Thus, in this account, Waugh comes to life when he discovers that so and so is married to Mr Hart’s sister. Or that Teddy Melville is a legendary man of the area with countless children and grand-children. People are his thing: stories, gossip, the quirks of how they behave and talk. This is what makes his famous diaries so wonderful, a lifetime of observing people and giving little anecdotes.

The turning point

After a week he is desperate to get away from Boa Vista and reckons on taking boat with the Brazilian Boundary Commissioner who is steaming down the River Branco and so will be able to take him to the legendary metropolis of Manaos. Except that, after days of waiting, the Boundary Commissioner refuses to take him (p.99). By now Waugh is quite concerned about catching malaria – everyone he meets has malaria and suffers malarial fever for half the week, starting with his host Father Alcuin who is wretchedly ill during his entire stay.

So  he decides to stop trying to penetrate further south into Brazil, but to turn about and retrace his steps back across the river and into British Guiana. Back to St Ignatius Mission, Bon Success, Pirara and Daguar’s ranch BUT, at that point, instead of completely retracing his route i.e. a long trek through the rainforest back to Takama, turning north-north-west and taking a new route, through forest hugging the border with Brazil and then beside the River Potaro with its many waterfalls, to where it joins the mighty Essequibo river, fifty miles or so along this, and then by train east to join the smaller Demarara River which runs down to the sea at Georgetown.

Highlights of the return journey

After crossing back into Guiana, Waugh gets wildly lost and rides his horse north instead of east, stumbling by chance over the shack of an old Indian who very kindly leads him back to the proper trail and so on to St Ignatius’ Mission. Here he stays with kindly Father Mather for ten days, as he assembles the goods which will be needed for the new route home.

Calling the travel bluff, myths of travel (pages 114 to 116)

Here he includes an amusing digression in which he sets out to debunk some of the myths which surround solitary travelling, such as:

You feel free

On the contrary every single item you want to take becomes an encumbrance which slows you down and there are very often only two possible directions along long lonely trails, forward or back. He often feels trapped by limitations of time, energy, money and distance.

You are untrammeled by convention

On the contrary, Waugh feels he knows a wide range of eccentrics, bohemians who dress and behave in all kinds of florid ways back in England. It’s true that you meet a wide range of people on a trip like this, and some of them are very scruffy, and the native Indians may be almost naked, and so on. But you aren’t. Conventions must be maintained, especially in the Tropics where, if you begin to slip, it’s easy to go completely to pieces.

You have a hearty appetite and sleep the sleep of the blessed

Rubbish. The food is inedible, everywhere they go the monotonous inevitability of farine and tasso nearly drives him mad. Often he can barely eat what villagers offer and prefers to go hungry.

And the ‘beds’ are generally hammocks or, if you’re lucky, lumpy tin beds, or a thin sheet on stony savannah. Either way, the Tropics, specially the rainforest, are filled with noise, the endless racket of hooting wild animals. And then there are the mosquitoes, flies and ticks which mean a moment’s lack of attention can lead to any numbers of bites and then the whole night spent itching and tossing and turning. And then, when you’re at the end of your tether, it starts to rain and you get soaked to the skin (p.141).

River baths

If there was one thing he definitely enjoyed and was unique to the trip, it was bathing in cool river waters, ducking under waterfalls, lying in pools near waterfalls. Nothing in England could match the sheer physical bliss of this experience, particularly after a long day’s horse ride or trek.

Karasabai

The primitive little village of Karasabai which prompts an extended meditation on the character of the Amazonian Indians. He ropes in recent books about the existence of primitive matriarchal societies, and throws in some general cultural speculation about the noble savage, the myths of the garden of Eden and so on. Very run-of-the-mill. What came over for me was the Amazon Indian’s listlessness. Their flat, unemotional, morose affect.

He has an interesting passage explaining that the Indians have no hierarchy at all, no words for sir or servant, no words conveying superior or inferior status. They do things when  they want to, and stop when they don’t and nobody can make force them.

The Indian villagers stare at him but never move, never say anything, never display any real curiosity. He unpacks various marvels from his bag and then goes for a wash and when he comes back the things and the Indians are in the same position.

He compares this with the blacks he met in Africa who all showed far more energy and creativity and inventiveness and would have pinched everything in his bag if he turned his back. The Indian women wear shabby little linen dresses and try to hide in them. He contrasts them with what he calls ‘the swagger and provocation of a Negress’ (p.124). When they take a shallow boat down the river, the two blacks with him enjoy strenuously rowing and showing off their strength. The little Indian family with them have a vague got at it, dangle paddles in the water, uninterested, then give up and huddle together.

The Indians are divided into ‘peoples’ and refuse point blank to cross from the territory of their people into another people’s, or to have anything to do with other peoples. Peoples Waugh meets include the Macushi, Kopinang Indians, the Patamonas. (Wikipedia suggests the correct term is ‘indigenous tribes’ and lists nine residing in Guyana: the Wai Wai, Macushi, Patamona, Lokono, Kalina, Wapishana, Pemon, Akawaio and Warao.)

You could choose to interpret the Indians’ listlessness and incuriosity to a special spiritual understanding of the world, lack of interest in material goods or the white man’s worldview. Waugh doesn’t comment much till the very end when he is driven to deep dislike of the selfish Indian family who share the paddled boat down the river. They can’t be bothered to walk a few hundred yards to see the Kaieteur Falls, one of the wonders of the world, and Waugh bluntly ascribes it to ‘mere stupidity and lack of imagination’ (p.158).

Tipuru

At the village of Tipuru they catch up with the Catholic priest Father Keary who is going his rounds of the villages. After his initial surprise at meeting a posh young English Catholic rider, Keary agrees they can travel on together. This makes everything much easier for Waugh, for Keary understands the people, the language, has his own resources and, of course, can speak English so Waugh will have someone to talk to.

So they set off accompanied by a new servant, Antonio, his wive and four native bearers. A sequence of villages, Shimai with five houses, one hut by itself inhabited by an old black woman, an unnamed village of three huts, Karto with three huts, Kurikabaru a metropolis of thirteen huts on a bleak hilltop, and so on. Sparse and empty country. Isolated Indians who are, however, wonderfully hospitable, laying out supplies of cassiri drink, peppers, cassava bread and sometimes milk. (To this day Guyana remains ‘one of the world’s most sparsely populated countries.’)

Mikrapuru

And so via a series of tiny settlements over the watershed which divides Amazonia from the Caribbean rivers and so down out of the rainforest to Mikrapuru, 15 or so miles from the river Essequibo and home to the civilised and hospitable Mr Winter. Waugh had met Winter at a social do back in Georgetown on the coast.

Winter has set up a camp here and employs native Indians to wash for alluvial diamonds in the river Potaro. Waugh describes the ingenious series of filters fed by dammed creek water into which Indians employed for the purpose pour, throughout the day, gravel and mud, in the hope the filters will reveal either river gold or diamonds. Winter had kept his camp for three years. It is very isolated, the few white neighbours who once lived within reasonable reach have all left, and the Indians work for him for a while, to earn simple gewgaws and then, with their own mysterious timing, melt back into the forest. Waugh contrasts the Indians’ wispiness, their ghostliness and general lack of interest, with the bullish enthusiasm of the blacks he sees. Winter’s foreman is black. Coming from the coast they have a better sense of work and discipline.

Journey to the river

After ten days or so, Waugh has exhausted his own provisions and Winter was low on them to start with, so it’s time to leave. He will ride with Winter’s foreman down to the River Potaro to board the first of three boats which will take him the stages between the impassible waterfalls which punctuate the river (being the big one, Kaieteur Falls, then Waratuk Falls and Amatuk Falls).

Haunting description of Holmia which had once been an extensive European plantation, built for the balatá trade (balatá is ‘a hard rubber-like material made by drying the milky juice produced principally by the bully tree). Holmia fell into poverty and ruin, has been abandoned for decades and now largely reclaimed by the jungle.

He describes the 700-foot fall of the waterfall at Kaieteur (p.155). Wikipedia tells me it is ‘the world’s largest single drop waterfall by the volume of water flowing over it’. It is ‘about four and a half times the height of Niagara Falls…and about twice the height of Victoria Falls.’ As you might expect, it prompts Waugh to a burst of lyricism:

I lay on the overhanging ledge watching the light slowly fail, the colour deepen and disappear. The surrounding green was of density and intenseness that can neither be described nor reproduced; a quicksand of colour, of shivering surface and unplumbed depth, which absorbed the vision, sucking it down and submerging it. (p.156)

After they’ve scrambled down the side of Kaieteur Falls, it’s a morning’s boat ride to Waratuk, where they unload the goods and Waugh watches the two blacks lower the boat through gaps in the huge boulders which make up the rapids with astonishing skill, and then 3 hours or so on to Amatuk, where the river is impassible and the boat has to be secured, ready for Winter’s foreman to recover it in 4 or 5 days time after he’s completed the journey to Georgetown to buy stores.

There is something approaching a guesthouse at Amatuk, opened by a Mrs McTurk for tourists who never came, and Waugh pays the old black housekeeper a dollar to sleep in something like a real bed and sit in an armchair and read a book. He is nearly back in civilisation.

There follows a complicated sequence of lorry journeys, two more boat journeys from landing point to landing point, and then the journey east along what I now learn was an abandoned railway from the Essequibo to the Demarara river.

This is a peg for the general point makes which is that the area he was visiting was past its boom years. Twenty years earlier there had been boom times for plantations of ballata, and gold and diamond sieving. But the ballata trees were all used, the gold and diamonds never appeared in sufficient quantities, now Waugh’s journey is through a degraded and stagnating landscape, or a beautiful jungle landscape punctuated with wrecks and ruins. The government is building a proud new road to open up the interior but Waugh gives an impressive list of reasons why this is too little, too late (p.163). If the road fails, then maybe the colony will revert to being just a coastal strip and a couple of coastal towns and the interior will revert to its primitive integrity.

And so by slow boat down the ever-widening Essequibo to Rockstone. This is another settlement which has collapsed, with most of the buildings lying empty and rotten (p.166). It’s the terminus of the railway which runs 50 miles east to Wismar on the Demarara River but it no longer functions as a railway. People walk along it and there is an old tractor which pulls an empty carriage, if anyone can be found to drive it.

He uses all his persuasiveness, and five dollars, to persuade of the boat that brought him and the ‘stationmaster’ to beat the tractor into life and, at midnight, he and other passengers are roused from sleeping on the platform, mount into the open carriage and it shunts off slowly and perilously along the rail line. After a few hours it starts to hiss down and everyone is soaked.

At dawn he arrives at the railway’s terminus at Wismar on the Demarara River where the boat is, mirabile dictu, waiting, and he boards it for a pleasant sail down the river and back to civilisation (of a sort) in Georgetown. Where he looks up friends, buys a ticket and waits to catch the next boat back to England.

The Dickens connection

While staying with Father Mather at the Mission he discovers a passion for reading and discovers that good father has a library of all Charles Dickens’s novels. These make good big chunky reading and Waugh borrows some volumes for the journey to the coast. This, obviously, is the germ of the fate of Tony Last at the grim climax of A Handful of Dust.


Credit

Ninety-Two Days by Evelyn Waugh was published by Duckworth in 1934. All references are to the 1985 Penguin paperback edition.

Evelyn Waugh reviews

Other travel books

The Age of Capital: 1848 to 1875 by Eric Hobsbawm (1975)

The astonishing world-wide expansion of capitalism in the third quarter of the [nineteenth] century…
(The Age of Capital, page 147)

Eric Hobsbawn (1917 to 2012) was one of Britain’s leading historians. A lifelong Marxist, his most famous books are the trilogy covering what he himself termed ‘the long 19th century’, i.e. from the outbreak of the French Revolution in 1789 to the Great War in 1914. These three books are:

  • The Age of Revolution: Europe 1789–1848 (1962)
  • The Age of Capital: 1848–1875 (1975)
  • The Age of Empire: 1875–1914 (1987)

To which he later appended his account of the ‘short’ 20th century, The Age of Extremes: The Short Twentieth Century, 1914 to 1991 (1994).

The Age of Capital: 1848 to 1875

The Age of Capital: 1848 to 1875 does what it says on the tin and provides a dazzlingly panoramic overview of the full economic, political and social events right across Europe and indeed around the world, from the famous year of revolutions (1848) through to his cutoff point 27 years later.

In his preface Hobsbawm says that the end of the era can be taken as 1873, which marked the start of what contemporaries came to call the Great Depression, a decades-long slump in trade and industry which is usually taken to have lasted from 1873 to 1896. Maybe he and the publishers chose the slightly later date of 1875 so as to end it precisely 100 years before the book’s publication date. Certainly nothing specifically important happened in 1875, it’s just a convenient marker.

General response

When I was a student in the 1980s I much preferred Hobsbawm’s rip-roaring and colourful trilogy to his dry economic volume, Industry and Empire: From 1750 to the Present Day (1968). Now the situation is reversed. I like the earlier book because it is more factual, which makes the central proposition of its first part – that the vital spur to the industrial revolution was Britain’s position at the centre of a complex global network of colonies which allowed it to import raw materials from some and export finished products to others at great profit – all the more powerful and persuasive.

By contrast, The Age of Capital is much more overtly a) Marxist and b) rhetorical and, after a while, both these aspects began to seriously detract from my enjoyment.

1. Very dated Marxism

Hobsbawm loses no opportunity to bang on about the bourgeoisie and the proletariat. These are both foreign words, French and German, respectively, and, for me, they began to really stick out from the text. I began to circle them in pencil, along with his other buzzwords, ‘capitalism’ and ‘revolution’, and this helped to visually confirm my sense that some passages of the book are entirely constructed from this dusty Marxist rhetoric. ‘The demands of the bourgeoisie…’, ‘The bourgeois market…’, ‘The business and domestic needs of the bourgeoisie…’, literally hundreds of times.

Back in the 1980s it didn’t stick out so much because a) as a humanities student I moved in an atmosphere permanently coloured with excitable student rhetoric about ‘the revolution’ and the overthrow of ‘capitalism’ and so on, and b) this reflected the rhetoric’s widespread use in the public domain, where you heard a lot more of this sort of terminology coming out of the 1980s Labour Party in the era of the Miners Strike and the Militant Tendency and so on.

But when the Soviet Union collapsed in 1991, all the steam went out of international socialism. Up till then the rhetoric of revolution had a genuine sense of threat or menace – not that there was necessarily going to be a revolution tomorrow, but there had been, and there could be again, and so it felt like some kind of communist revolution was, at the very least, a real, conceptual possibility. And this sense of possibility and threat was reinforced by the number of genuinely communist governments around the world, all 15 Soviet states, all of China, half of Europe, much of south-east Asia, as well as the various Marxist guerrilla groups across Africa and Latin America. It was a rhetoric, a set of ideas and a mindset you couldn’t help engaging with every day if you watched the news or read newspapers.

File:Communist countries 1979-1983.png

Communist countries 1979 to 1983. Source: Wikipedia

These terms had real-world presence and possibilities because they were the official rhetoric of half the governments of the world. The Soviet Union, Chinese or Cuban governments routinely made pronouncements condemning the ‘capitalist countries’, attacking ‘bourgeois liberalism’, criticising ‘western imperialists’ and so on.

Now, decades later, all this has disappeared. Gross injustice there still is, and sporadic outbreaks of left-wing-sounding movements for fairness. But they lack the intellectual cohesion and above all the sense of confidence (and funding) and threat which ‘revolutionary’ movements were given in the 1960s, 70s and 80s by the vast presence and threat of the Soviet Union and the Eastern bloc. John Le Carré’s thrillers had such an impact because behind the small number of spies battling it out there was the real sense that a war might break out, that espionage might play a role in the actual undermining of the West.

What I’m driving at is that Hobsbawm’s relentless focus on the political movements of the workers of his era, of the proletariat and radicals and socialists and so on of the 1860s and 1870s, now looks quaint and dated. Of course 1848 to 1875 was the era of the triumph of capitalism and the response of workers and workers parties and liberals and intellectuals all across Europe was often couched in terms of socialism and even communism, and Karl Marx and Friedrich Engels were alive and organising and writing, yes, of course.

But this book’s relentless focus on the plight of ‘the workers’ and the formation of ‘the proletariat’ is not only obviously biased and parti pris but now, in our post-communist era, comes over as dated and contrived. He was writing in the mid-1970s to a widespread acceptance of very left-wing politics which was common not only among academics but in trade unions and major political parties all across Europe and which has now… vanished.

And comes over as boring. I got bored of the way Hobsbawm casually labels the working classes or the populations of non-western countries as ‘victims’, as if absolutely everyone in 1860s China or Persia or Egypt or Africa were helpless children.

I’m just reading a passage where he lambasts the Victorian bourgeoisie for its ‘prejudices’ but his own worldview is just as riddled with prejudice, clichés and stereotypes – the ‘bourgeoisie’ is always 100% powerful exploiters; everyone else is always 100% helpless ‘victims’; only Karl Marx understood what was going on; the holy quest for ‘revolution’ went into abeyance during these years but was to revive and flourish in the 1880s, hurrah!

He repeats certain phrases, such as ‘bourgeois liberalism’, so many times that they eventually become empty of meaning, little more than slogans and boo words.

‘Here is the hypocrite bourgeois in the bosom of his smug family while the workers slave away in his factory’, BOO!

‘Here are the socialist intellectuals and more educated workers seeking to organise labour and planning for the revolutionary overthrow of bourgeois society and the seizure of the means of production by the workers’, HOORAY!

‘Here are the Great Thinkers of the period, Auguste Comte and Herbert Spencer, whose writings supported raw capitalism, racism and eugenics’, BOO!

‘Here are Karl Mark and Friedrich Engels, noble humanitarians who were the only ones to grasp the scale of the socio-economic changes the industrialised world was undergoing’, HOORAY!

2. Hobsbawm’s superficial treatment prevents understanding

This brings me to the other major flaw in the book which is that it reads to me, now, as so superficial on almost all the specific events it covers, as to be actively misleading.

As a starry-eyed and fairly uneducated student it came as a dazzling revelation to learn just how many huge and momentous events took place during this packed 25-year period. It was my first introduction to the 1848 revolutions and the Paris Commune, to the Taiping Rebellion and the American Civil War and so on, all of which stretched my historical understanding and broadened my perspectives on world history.

However, rereading it now, 30 years later, I think Hobsbawm’s presentation of many of these subjects is so brief and is so skewed by the way he forces everything into his Marxist worldview – everything is shoehorned into the same framework of capitalism and proletariat and bourgeoisie – as to be actively misleading.

Because every event he covers is described in terms of the triumph of the liberal-capitalist bourgeoisie over either their own proletariat or entire foreign nations (for example, China or India) everything ends up sounding very samey. He doesn’t distinguish between the enormous cultural, economic, legal and historical differences between nations – between, for example the ‘bourgeoisie’ of America, Britain and Germany, all very different things – he doesn’t pay attention to the complexities and unexpected turns and ironies which defy Marxism’s neat patterns and limited repertoire of concepts.

This generalising tendency makes a lot of the events of the era sound the same and this actively prevents a proper understanding of history’s complexities and strangeness. It was only when I read specific books on some of the events he describes that I came to really understand the complexity and specificity of events which Hobsbawm, for all his verve and rhetoric, often leaves badly unexplained.

For example, I’ve just read Hobsbawm’s description of the Paris Commune (pages 200 to 202) and am profoundly unimpressed. He skimps on the historical detail or the actual events of the Commune, preferring to give a shallow, teenage account of how much it scared the European bourgeoisie and how they took fright at the sight of workers running their own government etc.

Its [the Commune’s] actual history is overlaid by the enormously powerful myth it generated, both in France itself and (through Karl Marx) in the international socialist movement; a myth which reverberates to this day, notably in the Chinese People’s Republic… If it did not threaten the bourgeois order seriously, it frightened the wits out of it by its mere existence. Its life and death were surrounded by panic and hysteria, especially in the international press, which accused it of instituting communism, expropriating the rich and sharing their wives, terror, wholesale massacre, chaos, anarchy and whatever else haunted the nightmares of the respectable classes – all, needless to say, deliberately plotted by the International. (p.201)

See what I mean by rhetoric? Heavy on rhetoric and references to Marx, the International, communist China, revolution, bourgeois order and so on. But where are the facts in that passage? There aren’t any.

Hobsbawm fails to explain the context of the Franco-Prussian War or the complex sequence of events which led to the declaration of the Commune. He glosses over the way the workers’ government came into being, the disagreements among various factions, the executions of hostages which introduced a note of terror and violence into the situation, which was then amply repaid by the French government forces when they retook Paris arrondissement by arrondissement and the mass executions of communards which followed. I only came to properly appreciate the Commune’s grim complexity when, many decades later, I read The Fall of Paris by Alistair Horne (1965)

Same with the Crimean War, which Hobsbawm dismisses as a notorious fiasco and more or less leaves at that (p.96). It wasn’t until I read The Crimean War by Orlando Figes (2010) a few years ago that I for the first time understood the long-term geopolitical forces at work (namely the Ottoman Empire’s decay and the fierce ambition of Russia to seize the Straits and extend their territory all the way to Constantinople), the complicated sequence of events which led up to the outbreak of war, and the multiple ways in which it was, indeed, a mismanaged disaster.

Same with the American Civil War (pages 170 to 173). Hobsbawn gives a breath-takingly superficial sketch (‘For four years the civil war raged’) and, surprisingly for such a left-wing writer, doesn’t really give slavery its due weight. He is more interested in the way victory for the North was victory for American capitalism, which was the view of Marx himself.

Anyway, it wasn’t until I read James McPherson’s epic history of the American Civil War, decades later, that I really understood the long-term causes of the war, the huge conceptual frameworks within which it took place (I’m still awed at the ambition of some of the southern slavers to create a new and completely separate nation which would include all the Caribbean and most of Central America), the terrible, appalling, mind-searing horrors of slavery, the strong case made by the southern states for secession, and the technological reasons (development of better guns) why it went on so long and caused such immense casualties (620,000 dead).

Here are books on specific events or figures from the period, which I would strongly in preference to Hobsbawm if you really want to fully understand key events from the period:

Same on the domestic front. By limiting his description of British society to concepts of capital, capitalists, bourgeoisie and proletariat, Hobsbawm, in his concern with identifying the structural and economic parallels between all the capitalist nations of the West, loses most of the details which make history, and life, interesting.

I came to this book immediately after reading Richard Shannon’s book, The Crisis of Imperialism, 1865 to 1915 which is a long, sometimes rather turgid, but nonetheless fascinating and detailed analysis of the high politics of Britain during the period, which views them almost entirely in terms of the complicated challenges faced by successive British leaders in trying to keep the various factions in their parties onside while they negotiated the minefields of domestic and international politics. Among other things, Shannon’s book brilliantly conveys the matrix of intellectual and political traditions which politicians like Gladstone and Disraeli sought to harness, and how they both were trying to preserve visions of a past equilibrium or social balance which probably never existed, while the world hurried them relentlessly onwards.

By contrast, Hobsbawm’s account gives you no idea at all of the characters and worldviews of the leading politicians of the day; they are all just representatives of the ‘bourgeoisie’, taken as, for all intents and purposes, identical, whether in America, Britain, France, Germany, Italy and so on. (The one possible exception is Bismarck, who emerges with a very clear political agenda, all of which he achieved, and so impresses Hobsbawm.)

The book’s strengths

Where the book does score, what made its reputation when it was published and has maintained it ever since, is the bravura confidence with which Hobsbawm leaps from one continent to another, mimicking in the structure of his text the phenomenal spread of the industrial revolution and the new capitalist ways of managing production, new social relations, a new economy, and new trading relations, new and unprecedented ways of doing things which spread like wildfire around the world. The first half of the book is crammed with raw facts and statistics about the West’s astonishing feats of industrialisation and engineering. Here are some highlights:

1848, the ‘springtime of peoples’

1848 saw political revolution across Europe. I have summarised these in a review of 1848: Year of Revolution by Mike Rapport (2008). The revolutions of 1848 generated a huge amount of rhetoric, primarily by middle class nationalists and liberals, but also from ideologists for the new ideas of socialism and communism.

But the key thing about the 1848 revolutions and the so-called ‘springtime of peoples’ is that they failed. Within a year, year and a half at most, they had all been crushed. Some political gains were made, serfdom was abolished in Hungary, but broadly speaking, within two years the kings and emperors were back in control.

All except in the most politically unstable country of Europe, France, which overthrew its king, endured three years of unstable democracy and then elected a buffoon, the nephew of Napoleon Bonaparte, to become their emperor, Napoleon III (Napoleon counted his father as Napoleon II, hence the way he named himself the third Napoleon). The French replaced an inept king with a populist buffoon. The left was decisively crushed for nearly 40 years, only reviving in the harsher environment of the 1880s.

The labour movement [across Europe] had not so much been destroyed as decapitated by the failure of the 1848 revolutions and the subsequent decades of economic expansion. (p.133)

Boom years of the 1850s

The 1848 revolutions were bitterly fought, there was a lot of bloodshed which amounted to civil war in some parts of Europe, but apart from the fact that they all failed in their aims of establishing liberal republics, the other key thing about them that Hobsbawm brings out is they were the end of a process, not the beginning.

The 1840s are often referred to as the Hungry Forties because of the malign impact of industrialisation on many populations, combined with a run of bad harvests. BUT 1850 saw all this change, with a sudden industrial boom which lasted most of the rest of the 1850s and a run of good harvests.

With the result that the ‘working class militancy’ so beloved of a Marxist like Hobsbawm fizzled out. Chartism, which had at one point threatened the state in Britain, disappeared and the same with the other movements across Europe. All except for the nationalist movements in Germany and Italy, which were by no means socialist or for the workers. The unification of Germany was brought about by Bismarck, the opposite of a socialist.

1848 gold rush

Much more important for the global economy was the discovery, in the same year, 1848, of gold in California. This is the kind of thing Hobsbawm is good at, because he has the figures at his fingertips to show how dramatically the gold rush drew the Pacific world closer together. An unprecedented number of Chinese crossed the sea to find their fortunes in California, part of the huge influx of migrants who boosted San Francisco’s population from 812 in 1848 to 35,000 just 4 years later (p.79).

Crews of ships docking in San Francisco regularly absconded in their entirety, leaving the wooden ships to rot, many of them eventually being torn up and used as building materials. Such was the pull of gold and the mushroom wealth it created, that fleets and food were attracted up the coast from faraway Chile.

The gold rush also acted as a financial incentive for the completion of the transcontinental railways being built at the time (the line right across America was completed in 1869). Previously California had been cut off by the huge Rocky mountains. Now there was the incentive of gold to complete a transport link to it, allowing the traffic of food from the mid-West.

Globalisation

The gold rush in California (shortly followed by one in Australia) is a good example of one of the overall themes of the book, which is that this era saw the advent of Globalisation.

The interdependence of the world economy could hardly be better demonstrated. (p.79)

Due to the railway, the steamer and the telegraph…the geographical size of the capitalist economy could suddenly multiply as the intensity of its business transactions increased. The entire globe became part of this economy. This creation of a single expanded world is probably the most significant development of our period…for practical purposes an entirely new economic world was added to the old and integrated into it. (p.48)

In this industrial capitalism became a genuine world economy and the globe was therefore transformed from a geographical expression into a constant operational reality. History from now on became world history. (p.63)

No wonder that observers saw the economic world not merely as a single interlocking complex, but as one where each part was sensitive to what happened elsewhere, and through which money, goods and men moved smoothly and with increasing rapidity, according to the irresistible stimuli of supply and demand, gain and loss and with the help of modern technology. (p.82)

…the ever-tightening network of global communications, whose most tangible result was a vast increase in the flow of international exchanges of goods and men… (p.85)

For the historian the great boom of the 1850s marks the foundation of a global industrial economy and a single world history. (p.88)

… the extraordinary widening and deepening  of the world economy which forms the basic theme of world history at this period. (p.207)

Second industrial revolution

There are varying opinions about how many industrial revolutions there were. From Hobsbawm’s accounts here and in Industry and Empire it seems clear the first industrial revolution centred on cotton production, took place in Lancashire, and relied on British dominance of international trade, since 100% of the raw material was imported (from the American South) and a huge percentage was then exported (to Africa and India).

There was a slump in the textile economy in the 1830s and Hobsbawm briefly entertains the counter-factual possibility that the process of industrialisation, which had, after all, only touched a relatively tiny part of the world’s surface, might have sputtered out and died altogether.

But it was saved by a second wave of renewed industrial activity leading to phenomenal growth in production of coal and iron, with accompanying technical innovations, which were catalysed by the new technology connected with the railway (which Hobsbawm tells us Karl Marx thought of as capitalism’s ‘crowning achievement’, p.48).

Railway mania

Hobsbawm explains how the railway mania, at first in Britain, then in other industrialising nations, was driven by financial factors, namely the need for capitalists who had acquired large amounts of capital for something to invest in.

Hobsbawm has some lyrical passages, the kind of thing most readers of this book long remember, describing the astonishing feats of finance and engineering and labour which flung huge lengths of iron railroad across the continents of the world between the 1840s and the 1870s, connecting coasts with hinterlands, linking the world together as never before. Many readers remember Hobsbawm’s awed descriptions of the astonishing achievements of individual railway entrepreneurs such as Thomas Brassey, who at one point was employing 80,000 men on five continents (pages 70 to 73).

Such men thought in continents and oceans. For them the world was a single unit, bound together with rails of iron and steam engines, because the horizons of business were like their dreams, world-wide. (p.74)

He points out that Jules Verne’s famous novel of 1873, Around the World in Eighty Days, was fantastically topical to its time. In effect its protagonist, Phileas Fogg, was testing and showcasing the spread of the new railway technology which had girdled the earth (p.69).

Map of the trip

Map of Philea Fogg’s route in Around the World in Eighty Days by Jules Verne (Map created by Roke. Source: Wikipedia)

The electric telegraph

Even more dramatic than railways was the development of the electric telegraph which Hobsbawm describes in detail on pages 75 to 78. It was the telegraph which created the first and definitive communications revolution. In 1848 you had to wait months for letters to arrive from another continent. By 1875 news could be telegraphed from England to America in minutes. It was a transformation in human relations, perception and psychology.

Hobsbawm goes on to make the interesting point that this globalisation was still very limited and focused on high profit areas and routes. Only a hundred miles from the railway and telegraph, billions of people still lived with more or less feudal technology, the fastest vehicle being the ox-cart.

Right from the beginning the process of globalisation created an even bigger zone of unglobalisation, what is now often called the ‘left behind’. So Phileas Fogg’s famous journey has this additional interpretation, that it was a journey along the frontier between the newly globalised and the still untouched. In the novel Phileas travels a kind of borderline between the deep past and the ever-accelerating future.

Production figures

Britain produced 2.5 million tons of iron in 1850, in 1870 6 million tons, or about half the world’s total. Over the same period world production of coal increased by two and a half times, world output of iron four times. Global steam power increased from an estimated 4 million horsepower in 1850 to 18.5 million HP by 1870. In 1859 2,000 million barrels of oil were produced in the USA, in 1874, 11 million barrels. The book ends with a dozen pages of tables conveying these and many other examples of the explosion in productivity and output, and maps showing the spread of trade routes and emigration movements around the world.

The industrialisation of the German Federation between 1850 and 1870 had major geopolitical implications, creating the industrial might which helped Bismarck win three wars in succession and create a united Germany, which has been a decisive force in Europe ever since (p.56).

World fairs

As their economic system, businesses and military might spread around the world, what Hobsbawm calls the ‘liberal bourgeoisie’ celebrated in a series of world’s fairs, starting with the famous Great Exhibition at the Crystal Palace in London at which no fewer than 14,000 firms exhibited (1851), followed by Paris 1855, London 1862, Paris 1867, Vienna 1873 and Philadelphia 1875 (p.47).

Mass migration

The third quarter of the nineteenth century saw the largest migrations in human history to that point. Between 1846 and 1875 more than 9 million people left Europe, mostly for America (p.228). Between 1851 and 1880 about 5.3 million people left the British Isles (3.5 million to the USA, 1 million to Australia, half a million to Canada).

More subtly, maybe, there was large scale inner migration from the countryside to the new mushroom towns and cities of the industrial revolution, creating vast acreages of appallingly squalid, over-crowded slums without any sanitation, water etc. These were to be the settings for the poverty literature and government reports of the 1880s and 1890s which brought about sweeping changes in town planning at the end of the century and into the 1900s.

The challenge to the developing world

The corollary of the notion that industrial ‘liberal capitalism’ spread its tentacles right around the world during this period, drawing all nations and peoples and places into its ravenous quest for profit, was the challenge this represented to all the non-Western nations and other cultures. Hobsbawn has sections describing the responses of the Ottoman Empire, the world of Islam, the Chinese Empire, the Persian Empire and the Japanese to the growing challenge from what he glibly calls ‘the West’.

His passages on these nations suffer from the same shortcomings I’ve listed above, namely that they are brief and superficial. To really understand what happened in China during this period, I would recommend The Penguin History of Modern China: The Fall and Rise of a Great Power, 1850 to the Present by Jonathan Fenby (2013). For an overview of why the non-Western empires and cultures proved incapable of matching the West’s dynamism, I recommend the outstanding After Tamerlane: The Rise and Fall of Global Empires 1400 to 2000 by John Darwin. For descriptions of the internal crises the transformation sparked, generally leading to the overthrow of the old regimes, in the Ottoman Empire, China, Japan in a controlled way, I would recommend you to find books specifically about those countries.

Wars

It was an era of wars. Which era hasn’t been?

  • The Second Carlist War (1846 to 1849) was a minor Catalan uprising
  • The Taiping Rebellion aka the Taiping Civil War or the Taiping Revolution, 1850 to 1864
  • The Crimean War, October 1853 to February 1856
  • American Civil War, 12 April 1861 to 9 April 1865
  • The Unification of Germany involved:
    • The Second Schleswig War aka Prusso-Danish War Feb to October 1864
    • The Austro-Prussian War or Seven Weeks’ War, June to July 1866
    • The Franco-Prussian War War, 19 July 1870 to 28 January 1871
  • The Unification of Italy involved:
    • The Second Italian War of Independence aka the Austro-Sardinian War, April to 12 July 1859
      (2 months, 2 weeks and 2 days)
    • The Third Italian War of Independence between the Kingdom of Italy and the Austrian Empire, June and August 1866
  • The Paraguayan War aka the War of the Triple Alliance, 1864 to 1870
  • The Third Carlist War, in Spain, 1872 to 1876

Famines

Less newsworthy than wars, less painted, less celebrated, producing fewer statues and medals, but many times more people died in famines than conflicts. As Hobsbawm points out, one of the fundamental differences between the ‘civilised world’ and the rest is that the industrial world can (by and large) feed its populations, whereas the undeveloped world is susceptible to failures of harvest and distribution.

  • 1848: Java ravaged by famine
  • 1849: maybe 14 million died in the Chinese famine
  • 1854 to 1864 as many as 20 million died in prolonged famine in China
  • 1856: one in ten of the population of Orissa died in the famine
  • 1861 to 1872: a fifth the population of Algeria died of starvation
  • 1868 to 1870: up to a third the population of Rajputana
  • 3 and a half million perished in Madras
  • 1871 to 1873: up to 2 million, a third the population of Persia, died of starvation
  • 1876 to 1878: 1 million in Mysore

Hobsbawm tries to reclaim human dignity i.e. give these catastrophes some semblance of meaning, by blaming some of this on the colonial powers (especially the British in India; as a British Marxist he is duty bound to reserve most of his scorn and contempt for the British authorities). But the effect of this list is not to make me ‘blame’ anyone, it just overwhelms me with the misery and suffering most of humanity have experienced throughout most of human history.

American states

In the post-civil war era, America continued to grow, adding states to its roster, having now settled the central issue of the war, which was whether they would be slave states of free states. The North’s victory in 1865 meant they would all be ‘free’ states.

  • Wisconsin became a state in 1848
  • California 1850
  • Minnesota 1858
  • Oregon 1859
  • Kansas 1861
  • West Virginia 1863
  • Nevada 1864
  • Nebraska 1867
  • Russia sold America Alaska 1867
  • Colorado 1876

Colonies

The original European colonial powers were Portugal and Spain. Spain lost control of its colonies in Central and South America in the early 1800s. Portugal hung on longer to a handful of territories in Latin America, a few coastal strips in Africa and Goa in India (p.145). The Dutch created a sizeable foreign empire in the 17th and 18th centuries. The French had ambitions to control North America and India but lost out during the 18th century to the British. So that the nineteenth century belonged to Britain, which ruled the world’s oceans and developed an unprecedented web of international, ocean-carried trade and this, Hobsbawm argues, was the bedrock reason for Britain pioneering the industrial revolution.

In a nutshell, the idea is that a fully developed capitalist system must be continually looking for new markets in order to maintain its growth. Where markets don’t exist in its native country, the system creates needs and markets through advertising. Or it conquers new parts of the world and new populations which it can drag into its mesh of trade and sales, extracting its raw materials at the cheapest cost, and turning them into manufactured items which it sells back to colonial peoples at the maximum profit.

Although there continued to be expeditions and territorial claims during this period, it was really a prelude to the frenzy of imperial conquest which characterised the final quarter of the nineteenth century, and which is the subject of the third book in the trilogy, the sequel to this one, Age of Empire.

In a word

Hobsbawm’s book impressed when it was published, and still does now, with its sheer range and scope, with its blizzard of facts and data, with its rhetorical conjuring of a world for the first time embraced and joined together by new technologies (railway, steamship, telegraph).

But its strength is its weakness, for its breadth means it sacrifices subtlety and insight for dogma, and becomes increasingly bogged down in sweeping generalisations about the wicked bourgeoisie and hypocritical capitalists (‘In general capitalists of the first generation were philistines…’, p.334).

By the end of the book I was sick to death of the sight of the word ‘bourgeois’. Hobsbawm sounds like a fairground toy: put a penny in the slot and watch it jerk to life and start spouting endless slogans about the vicious, hypocritical, exploitative ‘bourgeoisie’, especially in the long and profoundly dim final  sections of the book in which, God help us, an ageing Marxist historian shares his banal and  predictable views about the intellectual and artistic achievements of the period. For example:

  • The novel can be considered the one genre which found it possible to adapt itself to that bourgeois society….p.326
  • When one considers the orgy of building into which a prosperous bourgeois society threw itself…326
  • Few societies have cherished the works of creative genius… more than that of the nineteenth-century bourgeoisie. p.327
  • The demands of the bourgeoisie were individually more modest, collectively far greater. (p.330)
  • The business and domestic needs of the bourgeoisie made the fortunes of plenty of architects… (p.330)
  • The bourgeois market was new only insofar as it was now unusually large and increasingly prosperous. (p.330)
  • We can certainly discover those who, for various reasons, resisted or tried to shock a bourgeois public… (p.332)
  • For bourgeois society [the artist] represented ‘genius’…
  • Bourgeois tourists could now hardly avoid that endless and footsore pilgrimage to the shrines of the arts which is still in progress along the hard floors of the Louvre, Uffizi and San Marco. (p.335)
  • [Artists] did not have to conform to the mores of the normal bourgeois… (p.335)
  • Here again Richard Wagner showed a faultless appreciation of the bourgeois artist. (p.335)
  • Did the bourgeois actually enjoy the arts? (p.335)
  • Aestheticism did not become a bourgeois fashion until the late 1870s and 1880s. (p.336)
  • The bourgeoisie of the mid-nineteenth century was torn by a dilemma which its triumph made even more acute. (p.340)
  • At best the bourgeois version of ‘realism’ was a socially suitable selection… (p.340)
  • [Naturalism] normally implied a conscious political critique of bourgeois society… (p.340)
  • The insatiable demands of the bourgeoisie, and especially the petty-bourgeoisie, for cheap portraits provided the basis of [photography]’s success. (p.341)
  • Torn between the idealism and the realism of the bourgeois world, the realists also rejected photography… (p.342)
  • The Impressionists are important not for their popular subject matter – Sunday outings, popular dances, the townscapes and city scenes of cities, the theatres, race-courses and brothels of the bourgeois society’s half world – but for their innovation of method. (p.344)
  • If science was one basic value of bourgeois society, individualism and competition were others. (p.345)
  • [The birth of the avant-garde] represents the collapse of the attempt to produce an art intellectually consistent with (though often critical of) bourgeois society… (p.346)
  • This breakdown affected the marginal strata of the bourgeois world more than its central core: students and young intellectuals, aspiring writers and artists, the general boheme of those who refused to accept (however temporarily) to adopt the ways of bourgeois respectability… (p.347)
  • [French artists] were united, like the Romantics before 1848, only by a common dislike of the bourgeoisie… (p.348)
  • Until 1848 these spiritual Latin Quarters of bourgeois society had hope of a republic and social revolution…. (p.348)
  • Flaubert’s Sentimental Education (1869) is that story of the hope in the hearts of the world-storming young men of the 1840s and its double disappointment, by the 1848 revolution itself and by the subsequent era in which the bourgeoisie triumphed… (p.348)
  • With the collapse of the dream of 1848 and the victory of the reality of Second Empire France, Bismarckian Germany, Palmerstonian and Gladstonian Britain and the Italy of Victor Emmanuel, the western bourgeois arts starting with painting and poetry therefore bifurcated into those appealing to the mass public and those appealing to a self-defined minority. They were not quite as outlawed by bourgeois society as the mythological history of the avant-garde arts has it… (p.349)
  • [Music] could oppose the bourgeois world only from within, an easy task, since the bourgeois himself was unlikely to recognise when he was being criticised. (p.350)
  • Richard Wagner succeeded…in convincing the most financially solvent cultural authorities and members of the bourgeois public that they themselves belonged to the spiritual elite… (p.350)
  • Prose literature, and especially that characteristic art form of the bourgeois era, the novel, flourished for exactly the opposite reason. (p.350)
  • It would be unfair to confine the discussion of the arts in the age of bourgeois triumph to masters and masterpieces… (p.351)

Eventually, by dint of endless relentless repetition, the word ‘bourgeois’ becomes almost entirely emptied of meaning, and the endless conflating of everything bad, vicious, exploitative, hypocritical and philistine under this one mindless label eventually obliterates all Hobsbawm’s attempts to analyse and shed light. It does the opposite.

He nowhere makes clear that, as the fact that it is a French word implies, this venomous hatred of the ‘bourgeoisie’ had special French origins and significances in a politically unstable country which had a revolution more or less every generation throughout the century. These conditions were very particular and couldn’t be applied in the same way in Germany, Britain let alone America. Tennyson didn’t hate the English ‘bourgeoisie’, Dickens didn’t despise the English ‘bourgeoisie’, as much as their French counterparts, Baudelaire and Flaubert hated the French ‘bourgeoisie’. The hatred, the concept and the cultural context are all French and have never made nearly as much sense in Britain, let alone in America, as Marx learned to his bitter disappointment.

The passages describing the astonishing achievements of entrepreneurs, inventors, engineers and industrial innovators during this period remain thrilling and eye-opening, but they make up a minority of the text. Struggling through the long, doctrinaire Marxist and tediously banal second half is like being trapped in a corner of a party by a slobbering bore who asks you to hang on while he just tells you 20 more reasons why the Victorian bourgeoisie were so despicable. ‘Yes, grandad. I get it.’

The Age of Capital is arguably, in its overall tendency and rigidly doctrinaire interpretations, more a relic of its own time, the right-on, Marxisant 1970s, than a reliable guide to the era it claims to describe.

Ad hominem

On one occasion only have I been in a traditional London gentleman’s club, when a TV producer invited me to lunch at his club, the Garrick. He pointed out a few famous members in the packed dining room, including the distinctive features of the agèd and lanky Hobsbawm over at one of the tables.

It struck me how very English it was that this fire-breathing, ‘radical’, ‘Marxist’ historian enjoyed all the benefits of the English Establishment, membership of top clubs, numerous honours (Companion of Honour, Fellow of the Royal Society of Literature, Fellow of the British Academy and so on), enjoying a tasty lunch at the Garrick before strolling back to the library to pen another excoriating attack on the hypocrisy, philistinism, greed, ruthlessness and cruelty of the ancestors of the jolly chaps he’d just been sitting among, confident that his ‘bourgeois’ publishers would do a good job producing and promoting his next book, that the ‘bourgeois’ bookshops would display and sell it, that the ‘bourgeois’ press would give it glowing reviews, and he would be awarded another chestful of honours by a grateful monarch.

It’s not really even hypocrisy, it’s something odder: that academic communities across the Western world happily employed, paid and promoted humanities academics and writers who systematically castigated their employers, their nations and their histories, and cheerfully proclaimed their allegiance to foreign powers (the USSR, China) who made no secret of their intention to overthrow the West in violent revolution.

Well, history has had its revenge on the Marxist historians. As I slotted Age of Capital back onto my shelf I thought I heard the sound of distant laughter.


Credit

The Age of Capital: 1848 to 1875 by Eric Hobsbawm was published in 1975 by Weidenfeld and Nicholson. All references are to the 1985 Abacus paperback.

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Ill Seen Ill Said by Samuel Beckett (1981)

For the last time at last for to end yet again…

Ill Seen Ill Said is a short prose text by Samuel Beckett. It’s 33 pages long in the modern Faber paperback edition. It was first published in French as Mal vu mal dit in 1981, and then published in Beckett’s own English translation in 1982.

Its immediate predecessor in Beckett’s prose works, Company, consisted of 59 paragraphs, printed with enough space between them to create the sense that each paragraph is almost a freestanding unit. Ill Seen Ill Said continues this layout, with 61 paragraphs in total. A revealing aspect of this paragraph-ness is that it’s quite difficult to quote individual sentences from the piece. They all read much better when given in the full context of their entire paragraph, testament to the way each paragraph is carefully crafted and assembled.

Late Beckett prose style

The paragraphs sort of describe, or appear to describe, an old woman alone in a cabin, who, at various points, watches the evening and the morning star, and ventures out apparently only to visit a grave. But that gives the completely misleading impression that there is some kind of a plot. There isn’t, not at all. But the point is not the plot or story (which doesn’t exist). The points are, or include:

  • Beckett’s late-in-life, continuing experiments with a prose which is pared to the bone, and yet dominated by the repetition of key words or phrases, images and… strange perceptions
  • a sort of muted fantasia of other elements which infest the ostensible ‘story’, for example, the recurrence of a sort of all-seeing ‘eye’ through which we see much of the changing scene, or the occasional presence of a mysterious set of twelve ‘guardians’
  • above all, a sustained obliqueness of approach to the entire concept of ‘narrative’ which means that, although the words flow by in an apparently orderly fashion, quite regularly and sometimes for long stretches, the reader has no idea what is going on

Late Beckett prose is pared to the bone. The text is not made of long, rangey, descriptive sentences, no sir. Commas and all other punctuation except full stops are conspicuous by their absence. Instead the text is built of generally very short sentences, often with their subject surgically removed.

There was a time when she did not appear in the zone of stones. A long time. Was not therefore to be seen going out or coming in. When she appeared only in the pastures. Was not therefore to be seen leaving them. Save as though by enchantment.

These relatively simple omissions create a version of what used to be called telegraphese (which the internet defines as: ‘the terse, abbreviated style of language used in telegrams’ ) and that’s certainly an obvious and negative effect, the removal of unnecessary words.

But there are positive effects too. Removing pronouns and unnecessary words highlights what remains and contributes to what you could call a kind of cluttering effect created by the deployment of unexpected syntactical patterns. The text enjoys staging little car crashes of nouns and pronouns, often deliberately creating difficulties or ambiguities.

She is drawn to a certain spot. At times. There stands a stone. It it is draws her. Rounded rectangular block three times as high as wide. Four. Her stature now. Her lowly stature. When it draws she must to it.

‘It it is draws her.’ Presumably this means: ‘It is this which draws her to the spot’, and you can imagine traditional authors, from Dickens to Hardy, elaborating further: ‘It is this worn and weathered ancient stone which attracts the lonely old woman to his bleak and isolated location…’ or some such colourful locutions.

But for Beckett, in 1981, this has been worn down to just: ‘It it is draws her’. The language itself has been worn and weathered down to a kind of stump.

And making sense of those five words requires the reader to stop and parse the syntax. The repetition if ‘it’ causes the mind to stumble for a moment, till it gets its bearings, and a lot of the text is like this – like the mind stumbling over very uneven terrain, strewn with rocks, continually having to come to a dead stop and work out the way forward.

I suppose a sentence like ‘It it is draws’ can also be categorised as a sort of word game. Repeating a word or phrase, one after the other, but with a different syntactical weight.

Last example the flagstone before her door that by dint by dint her little weight has grooved.

Saying ‘dint by dint’ would make a sort of sense, albeit an unusual phrase. But ‘by dint by dint’ really forces you to stop and work out the syntax of what is going on in these four short little words.

So Beckett makes his prose sparser and barer by:

  • using short sentences
  • removing verbs
  • removing pronouns
  • removing the definite or indefinite article (‘the’ or ‘a’)
  • unusual repetition of the remaining elements to create numerous syntactical challenges

All of which result in a really strange, super-charged prose.

Mysteries

Then there are moments, many moments when, by combining this fairly familiar set of tricks, he makes the prose suddenly mysterious and unfathomable.

What is it defends her? Even from her own. Averts the intent gaze. Incriminates the dearly won. Forbids divining her. What but life ending. Hers. The other’s. But so otherwise. She needs nothing. Nothing utterable. Whereas the other. How need in the end? But how? How need in the end?

‘The other’s’? What other? What other’s?

This paragraph goes right over the edge into new territory. I don’t understand any of the sentences. I mean I can read them, but I have no idea what they’re referring to. They don’t seem to refer to anything in the preceding text apart from ‘her’, the ostensible female subject.

But language can never be empty, its purpose is to convey meaning, so each word conveys meaning – can be read – it’s just that arrangement of words into these sentences conveys no clear or definable meaning. Therefore you end up in this situation where you can read it – easily read it because there are no hard words involved – but have no idea what it really means.

This is why I sometimes use the word incantation or spell about Beckett’s prose because, although you can understand the individual words, the way they are combined works to evoke or create a kind of uncanny otherspace in your mind. Personally, I find this rather delirious and quite addictive sensation is often almost unrelated to the ostensible subject matter of the prose (although it obviously helps that the subject matter is spare and bare and bleak and simple). The subject matter, in its colourless, passionless minimalism abstractness is merely the vehicle which enables the prose to reach out into their entirely unexplored, strange and hypnotic otherspace.

Imagery

As to the piece’s content and imagery, this interests me quite a bit less than the language, not least because so many of the images are actually repeats. A few reviews ago, I looked at Beckett’s short prose piece One Evening in which an old woman dressed in black has ventured out to pick flowers to adorn the tomb of her husband and comes across the body of a young man, dead in the grass. Well, here in Ill Seen Ill Said we have another old woman dressed in black fussing about the tomb of her husband.

Beckett published One Evening about the same time as another short prose piece, Heard In the dark 1, which describes a narrator going out for a long walk in the snow and mentions the lambs which have just been born, a passage which was incorporated entire into the longer, later work, Company. Well, here in Ill Seen Ill Said we have another solitary figure trudging through snowy fields empty except for a few lambs.

In Fizzle 7 a man sits at a window in a small upright wicker chair with armrests, just like the narrator in As the story was told who also describes himself as sitting in a cane chair with armrests. Well, in Ill Seen Ill Said the old woman spends at least some of the time sitting in a comfy chair looking out of the window, or one of the two windows there seem to be in her room.

Sitting in a chair looking out the window. Trudging through the snow. A gravestone. The young lambs – all these images recur in Ill Seen, Ill Said, reshuffled, tumbled into a slightly new order. It is a reminder that the subject matter in Beckett is often stupefyingly banal, almost bland. A woman sits in a chair in her ‘cabin’ and likes to see the evening star rise. During the cold days she goes walking in the snow. It comes as no surprise to learn that the manuscript was initially titled, very simply, ‘The Evening or the night’.

Bear in mind this was written in 1980, Mrs Thatcher, Ronald Reagan, a huge social shift to the right in politics, re-ignition of the Cold War, mass unemployment and social unrest across the Western world, strikes and race riots. But in Beckettworld… he conceives images of this old woman at night in her cabin staring out the window, during the day trudging to the grave of her dead husband, a ring of 12 ‘guardians’ sometimes appearing to maybe menace her… and, stepping up from that level, the text appears to comment on itself, describing some sort of ‘eye’ which is observing the action, or contributing to it, although at other moments it seems to simply be the eye of the old lady herself as she shuts it to go to sleep or doze or opens it to take in the sight of her bare room in the gathering dusk.

In other words, Ill Seen Ill Said is, first and foremost, an imaginary landscape utterly detached from the real world. And what is clear from a bare consideration of just the imagery, the non-existence of any ‘plot’, and the flatness of the original title, is the immense amount of effort Beckett must have put in to transforming a set of very banal images and half a dozen gestures (looking out the window, going for a walk in the snow, eating from a bowl) into the strange, very challenging and delirious experimental prose piece it has become.

The author struggling

As with so many other Beckett texts, this one appears to include the author as a figure struggling to make sense of his own creation. In this paragraph he appears to be saying how much simpler it all would be – thinking and writing about her – if she were just a pure figment, a fictional construct, ‘cooped up’ in ‘the madhouse of the skull’ along with ‘the rest’.

Already all confusion. Things and imaginings. As of always. Confusion amounting to nothing. Despite precautions. If only she could be pure figment. Unalloyed. This old so dying woman. So dead. In the madhouse of the skull and nowhere else. Where no more precautions to be taken. No precautions possible. Cooped up there with the rest. Hovel and stones. The lot. And the eye. How simple all then. If only all could be pure figment. Neither be nor been nor by any shift to be. Gently gently. On. Careful.

I take ‘madhouse of the skull’ to be Beckettian hyperbole for the confusion within the creating mind which, at times, borders on mental illness. And I take ‘with the rest’ to refer to all the other creations of his mind, and half expect him to rattle off the list of familiar characters, Murphy, Watt, Malone, Molloy and so on.

But she can’t, she can’t be this simple. The authorial voice shares with us how much he is struggling to manage his material and then… makes what is probably the Beckettian manoeuvre: declares he must go on. He wants it to stop, the living, the breathing, the voices, the questions, God he wants it all to stop:

If there may not be no more questions let there at least be no more answers…

But, as Beckett characters have been declaring ever since he gave the notion its classic formulation at the end of The Unnamable (1953), something in him fights to continue, to go on:

I can’t go on, I’ll go on.

Only it is 30 years later and that ringing statement has been worn down like her husband’s gravestone, and like Beckett’s prose, to the bare stump:

On.

The eye

One way of going on is to move sideways and stop taking responsibility for the text. Thus the text slowly begins to mention the presence of some kind of ‘eye’, as if there is an organ of visual perception which is observing the action and the creation of the text enacting the action, but which at the same time is detached from the author, as such, and from the narrating voice and, apparently, from any other entity within the text.

The ‘eye’ becomes a kind of freestanding device with which the author can shuffle off his responsibility to own or control or complete the text:

  • Let the eye from its vigil be distracted a moment…
  • The eye rivets the bare window…
  • The eye breathes again but not for long. For slowly it emerges again. Rises from the floor and slowly up to lose itself in the gloom…
  • Here without having to close the eye sees her afar…

At some moments it seems to be the old lady’s eye, looking up at the ceiling in the gloom of the cabin? But then the difference is made clear:

  • Weary of the inanimate the eye in her absence falls back on the twelve…
  • While the eye digests its pittance. In its private dark…

Whose eye? How can it have a private dark of its own?

‘The eye’ is like another character, or another point, another focus. Having read Beckett’s later television plays, and the screenplay for his one and only film, Film, I know how very very precise he was at envisioning the camera’s precise position vis-a-vis the action, and how much effort he clearly out into visualising the events he was creating, first from this point of view, then from that, and so on. Well, that’s what the appearance of this ‘eye’ in the text reminds me of, at some moments, anyway: a kind of TV director’s point of view.

  • The eye closes in the dark and sees her in the end.
  • Seated on the stones she is seen from behind.
  • The hands. Seen from above. They rest on the pubis intertwined. Strident white.

And this feeling is reinforced in a couple of places where Beckett uses explicitly filmic terminology:

  • Close-up of a dial. Nothing else.

But it would be wrong to give the impression this screenplay terminology is consistent or easily comprehensible. The metaphor of the eye only sometimes appears to be televisual or filmic. In the text its precise meaning swims all over the place, from being, at one extreme, the actual eye of the old lady, at the other, the mechanical eye of a camera, while in other places it is sort of the eye of the narrator. Its definition and meaning are, in other words, radically uncertain, and one more factor destabilising the text and the reader’s efforts to situate themselves within it.

The intrusive author gives up

The intrusive author is traditionally associated with comedy, with the comic interventions into their own plots of novelists such as Laurence Sterne or Henry Fielding or early Dickens or William Thackeray.

Beckett reinvents the tradition as the voice of an author within the text, as he struggles to manage his own content, struggling to understand what he is seeing or hearing or experiencing. This explains, for example, the repeated one-word sentence ‘careful’. I take this to be the voice of the author telling himself to proceed carefully, as if the narrative itself is proceeding on a knife-edge, is in peril. As if it is dicing with dangerous material…

  • Was there once a time she did? Careful.
  • Gently gently. On. Careful.
  • What if not her do they ring around? Careful.
  • What forbids? Careful.
  • Dead still on her back evening and night. The bed. Careful.
  • With what one word convey its change? Careful.

The narrator is quite clearly telling himself to be careful about the way he conjures details into existence – but, as these details are by and large very banal, it’s clearly not them, the details, which are at stake.

South gable no problem. But the other. That door. Careful.

Here’s an example where he shares with us his indecision about precisely what posture to place the woman in:

Suddenly in a single gesture she snatches aside the coat and to again on a sky as black as it. And then? Careful. Have her sit? Lie? Kneel? Go?…

Thus the repeated phrase ‘careful’ builds up the sense that the narrator’s mind is in a very fragile state and that any sudden shocks or unexpected… slips in what he is fabricating, in what he is writing, inventing and describing, might tip him over the edge. But what edge? And why?

This sense of authorial jeopardy becomes especially vivid in one paragraph where the author appears to give up altogether, dismissing the whole attempt to write anything, to imagine anything, as a pitiful fiasco, dismissing all the details then the solar system itself, the entire universe he has invented, as a pitiful waste of time.

Such – such fiasco that folly takes a hand. Such bits and scraps. Seen no matter how and said as seen. Dread of black. Of white. Of void. Let her vanish. And the rest. For good. And the sun. Last rays. And the moon. And Venus. Nothing left but black sky. White earth. Or inversely. No more sky or earth. Finished high and low. Nothing but black and white. Everywhere no matter where. But black. Void. Nothing else. Contemplate that. Not another word…

Except that… there is always another word. Beckett’s characters and Beckett the author may repeatedly express the devout wish to cease, to end, to reach the end, to achieve completion. But humans can’t do that, the human condition is endless flux, consciousness won’t let up, the words won’t stop, the voices won’t be silent.

And so, after this moment of authorial collapse, this moment of authorial panic, the narrative picks up the pieces and carries on, doing what Beckett likes to do in moments of crisis, which is move to a systematic description of something trivial, in this instance the appearance of the old woman’s hands in her lap as she sits still:

Panic past pass on. The hands. Seen from above. They rest on the pubis intertwined. Strident white…

‘Panic past’. And so it continues, because it has to, like life.

Ghost stories

In my reviews of works like Eh Joe, Footfalls and Rockaby I’ve developed the notion that Beckett was writing ghost stories. Not deliberately, he is not consciously invoking the tradition of M.R. James et al. But in my opinion, although starting from a very different place, although starting from the rumbustious comic tradition of Rabelais which combines excessive interest in bodily functions with mockery and parodies of high philosophy, nonetheless Beckett has arrived in a place where he is obsessed with the evanescence of existence, with consciousnesses passing in and out of perception, of minds aware of multiple minds within themselves, containing multitudes of voices, voices in the darkness, voices from within the skull and maybe from elsewhere, who knows…

Times when she is gone. Long lapses of time. At crocus time it would be making for the distant tomb. To have that on the imagination! On top of the rest. Bearing by the stem or round her arm the cross or wreath. But she can be gone at any time. From one moment of the year to the next suddenly no longer there. No longer anywhere to be seen. Nor by the eye of flesh nor by the other. Then as suddenly there again. Long after. So on. Any other would renounce. Avow, No one. No one more. Any other than this other. In wait for her to reappear. In order to resume. Resume the – what is the word? What the wrong word?

A lot is going on in this paragraph but for my purposes I want to focus on:

But she can be gone at any time. From one moment of the year to the next suddenly no longer there. No longer anywhere to be seen. Nor by the eye of flesh nor by the other. Then as suddenly there again. Long after.

Someone appears to be watching the cabin where the old lady lives and knows that she disappears, or appears to disappear (this playing with words is contagious!) for periods of time. In my mind’s eye I see this filmically, dissolves with snow falling over an isolated rural cottage, and it appearing empty most of the time, only for the old woman, somehow, spookily, to reappear.

She is there. Again. Let the eye from its vigil be distracted a moment. At break or close of day. Distracted by the sky. By something in the sky. So that when it resumes the curtain may be no longer closed. Opened by her to let her see the sky. But even without that she is there. Without the curtain’s being opened. Suddenly open. A flash. The suddenness of all! She still without stopping. On her way without starting. Gone without going. Back without returning. Suddenly it is evening. Or dawn. The eye rivets the bare window. Nothing in the sky will distract it from it more. While she from within looks her fill. Pfft occulted. Nothing having stirred.

‘Gone without going. Back without returning.’ Creepy! Later on she seems to disappear even as we’re watching her, in the middle of eating from a bowl, she simply fades away.

But before she can proceed she fades and disappears. Nothing now for the staring eye but the chair in its solitude…

Or take the paragraph describing the buttonhook the old lady uses to lace up her boots before going out. The point is that:

It trembles faintly without cease. As if here without cease the earth faintly quaked…

Just this one object, alone in the whole cabin, very faintly, continually trembles. Why? It is like the detail from countless ghost/horror movies, he scene where you see otherwise inconsequential household objects suddenly start to shake…

And then there is the role played by ‘the twelve’. There are twelve, twelve somethings, presumably humans. Who, what why? They appear. They seem to circle the lady. Why?

What if not her do they ring around? Careful. She who looks up no more looks up and sees them. Some among them. Still or receding. Receding. Those too closely seen who move to preserve their distance. While at the same time others advance. Those in the wake of her wandering. She never once saw one come toward her. Or she forgets. She forgets. Now some do. Toward but never nearer. Thus they keep her in the centre. More or less. What then if not her do they ring around? In their ring whence she disappears unhindered.

Being circled, being at the centre of a ring of spooky, ghostly, spectral beings is another classic ghost story trope. Later they are suddenly referred to as ‘the guardians’, an even more obvious, spooky trope:

The guardians – the twelve are there but not at full muster.

The twelve are guardians? Of whom, of what? Why? Mystery. There is a great deal of text about stones, about the stoniness of the environs of the lady’s cabin, about how white bleached stone is encroaching on the pasture. Possibly the twelve are menhirs, dolmen, ancient standing stones and their movement closer and further is something to do with fog or mist. Or maybe with the old lady’s failing eyesight. Eye. Sight.

My suspicions about ghost story were bolstered when another ghost story word makes an unusual appearance, unusually explicit, short-circuiting the often impenetrable vagueness of the text with a bolt of obviousness:

The long white hair stares in a fan. Above and about the impassive face. Stares as if shocked still by some ancient horror…

‘Ancient horror’ eh. Sounds like Bram Stoker or Conan Doyle at their cheesiest.

Time slowing down. A haunted cottage. An old woman at the centre of a ring of twelve silent guardians. Staring as if shocked by some ancient horror…

It’s not by any means all that’s going on in this text, and it may well not have been Beckett’s primary concern or intention at all… But I think Ill Seen Ill Said takes its place in what I’m coming to think of as Beckett’s late-period ghost stories…

The title

The phrases ‘ill seen’ and ‘ill said’ are dropped into the text with increasing frequency as it moves towards its ending, and have complex resonances, not least because ‘ill’ can be both an adverb and a noun, so that ‘ill seen’ can mean both ‘something evil which is observed’ and ‘badly seen’.

But, to take ‘ill’ as an adverb one fairly obvious interpretation, is that ‘things’, ‘it’, ‘the world’, ‘reality’, can never be perfectly seen (or understood) and never perfectly expressed. Any human perception is necessarily very imperfect and incomplete. The world, in other words, can only, at best, be ‘ill seen’. And all human expression is similarly partial, incomplete, doomed to inadequacy. Even the best words can only hope to be ‘ill said’.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

A Piece of Monologue by Samuel Beckett (1980)

Never but the one matter. The dead and gone. The dying and the going. From the word go

A Piece of Monologue is a short play by Samuel Beckett written between 1977 and 1979 specifically for the American actor David Warrilow. It consists of five pages of text in the Faber Collected Shorter Plays edition and lasts about 20 minutes in performance.

A Piece of Monologue contrasts with the immediately preceding plays (That Time, Footfalls, Ghost Trio, …but the clouds…) in that it is, as the title indicates, a remarkably simple monologue, just a block of continuous, uninterrupted text, as if cut whole from The Beckett Trilogy, very unlike the previous three or four plays which – as I’ve shown – had reached a kind of extreme of hyper-detailed, mathematical, almost computer-algorithm levels of precise and numbered stage directions. Obviously there are some stage directions, but they are kept to an unusual minimum. Here they are:

Curtain.
Faint diffuse light.
Speaker stands well off centre downstage audience left.
White hair, white nightgown, white socks.
Two metres to his left, same level, same height, standard lamp, skull-sized white globe, faintly lit.
just visible extreme right, same level, white foot of pallet bed.
Ten seconds before speech begins.
Thirty seconds before end of speech lamplight begins to fail.
Lamp out. Silence. SPEAKER, globe, foot of pallet, barely visible in diffuse light.
Ten seconds.
Curtain.

Note the repetition of the period of ten seconds, the same interval as occurs in other plays, as if a magic number, a luminous interlude of half-lit silence.

A Piece of Monologue consists of yet another solo figure talking, yet another old man, bereft, talking about loss and loneliness, the usual cheerful subject matter, a man facing a blank wall where the photos of his family used to hang – until he tore them all down, and then prey to increasingly feverish memories of endless funerals he’s attended.

Nothing there either. Nothing stirring there either. Nothing stirring anywhere. Nothing to be seen anywhere. Nothing to be heard anywhere…

To quote the YouTube summary, ‘The play dramatises a successive loss of company: firstly, in an account of the destruction of photographs and secondly, in the memories of a funeral in the rain.’

Repetitions

A Piece of Monologue uses the kind of verbal repetitions to structure and anchor it, and give it a mounting ghostly atmosphere,

which had characterised Beckett’s work ever since the Trilogy. Key repeated phrases include:

  • Birth was the death of him
  • From funeral to funeral
  • Hard to believe so few
  • Gropes to window and stares out. Stands there staring out. Stock still staring out
  • Faint light in room. Whence unknown
  • Dwells thus as if unable to move again. Or no will left to move again. Not enough will left to move again
  • Once white. Hair white to take faint light… Once white to take faint light.
  • Thirty thousand lights…
  • Black vast
  • Fade. Gone. Again and again. Again and again gone.
  • Fade

The Beckett Companion points out the opening sentence is itself a variation on a sentence from the short story First Love, ‘What finished me was the birth’. It is what you could call a stock piece of Beckettian paradox.

And it’s obviously not only the words which repeat, but the narrator himself, who seems stuck in an endless cycle of repetitive actions, triggered by the word ‘birth’. Each time the word ‘birth’ is uttered, the speaker is forced, once again (‘Again and again. Again and again gone’), into the routine of noticing the fading light through the window, lighting the lamp with three matches, stepping to the wall and staring at the blank spaces where the photographs used to hang, again and again and again without surcease.

In particular, the word ‘gone’ starts to recur like the clanging of a church bell in a horror film and in fact the piece was originally titled Gone, in line with Beckett’s long established practice of naming pieces after one, talismanic, much-repeated key word for example ‘ping’ in the piece of that name or ‘that time’, named for the repetition of that phrase in the play of the same name.

Stands there stock still staring out as if unable to move again. Or gone the will to move again. Gone.

The increasing focus on the words ‘go’ and ‘gone’ reminds us of the much-quoted end of The Unnamable:

You must go on. I can’t go on. I’ll go on.

Back then, in the late 1940s, Beckett’s narrator heroically vows to go on despite the odds. Now, thirty years later, that struggle feels like it is over – his family and all the living, are gone. Past. The play’s keyword (‘gone’) is a past participle, denoting an action finished and over.

The dead and gone. The dying and the going. From the word go. The word begone. Such as the light going now. Beginning to go. In the room. Where else? Unnoticed by him staring beyond. The globe alone. Not the other. The unaccountable. From nowhere. On all sides nowhere. Unutterably faint. The globe alone. Alone gone.

On one level, Beckett’s oeuvre amounts to the adventures of the verb ‘to go’.

Bleakness

Obviously, someone new to Beckett would be most struck by the unremitting negativity of the text, the old man having ripped up the photos of his family, who he dismisses, one by one, as ‘grey voids’ (charming!) and, by the emphasis in the second part on the subject of death and funerals, and throughout by the continual use of nihilistic phrases such as:

  • Dying on. No more no less. No. Less. Less to die. Ever less
  • There alone. He alone. So on. Not now. Forgotten. All gone so long. Gone…
  • Sun long sunk behind the larches. Light dying. Soon none left to die. No…

Readers familiar with Beckett, however, know this is his schtick, like Dickens and comic grotesques, Graham Greene and sin, Somerset Maugham and settlers in Malaya, Franz Kafka and anxiety or T.S. Eliot and Anglicanism. It’s his flavour. It’s his brand.

Beyond that black beyond. Ghost light. Ghost nights. Ghost rooms. Ghost graves. Ghost

It’s part of the pleasure of Beckett, in the same way that anyone who hadn’t tried whiskey before, at their first sip would spit it out for burning their mouth… But a slow, gentle introduction, in moderate sips, with explanations of the different distilleries, with explanation of the flavour given by the local peat and moss, will eventually make anyone into a connoisseur, someone who takes the basic alcoholic ‘hit’ of the thing for granted, but comes to savour and enjoy the subtle differences from malt to malt or – back to Beckett – takes the big central nihilism in their stride, and instead focuses on the differences of construction and emphasis from work to work.

Beckett and counting

And numbers. Numbers are to Beckett what religion or symbolism are to other authors, a permanent, objective system of thought with which to order, structure, calm and console the speaker, the narrator, the text.

  • Two and a half billion seconds. Again. Two and a half billion seconds
  • Thirty thousand nights
  • Thirty seconds. To add to the two and a half billion odd

Beckett’s rule is: If in doubt – count. Putting key aspects of human life into numbers (how many breaths inhaled, how many steps taken) simultaneously highlight the vast futility of human existence and yet is also, somehow, consoling.

You could say that 1) the incantatory repetition of a dozen or so key phrases, and 2) the obsessive counting and enumerating of the most banal activities, are what Beckett has instead of plot.

The Beckett on Film version

Here’s the Beckett on Film version, featuring Stephen Brennan as the Speaker and directed by Robin Lefevre. The obvious thing, as with so many TV adaptations of Beckett, is how much his detailed stage directions are not so much omitted as superseded by the medium of TV or film which can, quite simply, be far more visually and aurally inventive that theatre.

Thus the dominant and dominating image of the filmed version is the rain, introduced from the start drizzling down the outside of the window and so distorting our view of the solitary old man in his room, and sounding very loud, so aurally dominating our perception. Whereas in Beckett’s meticulous stage directions there is no mention of rain or the sound of rain (although there is, obviously, in the text, from which the effect is taken).

It’s also easy to overlook the fact that, like so many of the Beckett on Film productions, it’s in black and white, as Beckett almost always, naturally, feels like it should be.

Thoughts

Performance

I’m afraid I didn’t really like Stephen Brennan’s performance. He’s good but, like Susan Fitzgerald in Footfalls, I just didn’t warm to his voice, his accent or articulation. Compare and contrast with Patrick Magee’s show-stopping performance in Cascando or Niall Buggy in That Time both of which blow me away every time. But the great thing about plays is they live to fight another day. Directors and actors can bend their ingenuity to fail again, fail better, indefinitely, just like Beckett’s characters.

In fact a lot of Beckett’s metaphors about repetition – forcing his protagonists to endlessly perform the same action over and again (and again) – and his scenarios in which a voice is telling someone what to do and how to move – these can both be viewed as extensions of theatrical practice. Many of his prose pieces instantly become more accessible if you reimagine the guiding voice as a director telling his actors just what to say and how to say it, how to move and what to do onstage.

Indeed, half way through A Piece of Monologue, the play makes this subtext explicit and the monologue turns into full-on stage directions, the monologue including the kind of instructions you get in stage directions or a screenplay. The narrating voice turns into a directorial voice, at the moment when, about half way through, the piece starts over again, as if born again, from instance of the much-repeated word, ‘Birth’ which Robin Lefevre chooses to give a big booming echo to, to fade the screen to black, and then restart the film as if it is now being staged by the onscreen protagonist.

… slow fade up of a faint form….

It is a deliberate confusion or mixing of stage directions with content, the latter morphing into the former:

Hand with spill disappears. Second hand disappears. Chimney alone in gloom. Hand reappears with globe. Globe back on. Turns wick low. Disappears. Pale globe alone in gloom. Glimmer of brass bedrail. Fade.

‘Fade’. This is a stage or scrip instruction which, from this point onwards, appears about 20 times, foregrounding the artifice of the piece, making what had previously been monologue now read exactly like the stage directions to the half dozen preceding plays, as do the deliberate inclusions of several other explicit stage directions:

White foot of pallet edge of frame stage left.

The monologue dramatises its own staging.

Beckett’s late prose

I think I don’t like Beckett’s later prose. After a while I’ve realised that the stage directions and the pieces themselves are both written in the same artificially contracted, abbreviated style, deliberately omitting prepositions and pronouns and copulas.

Faint light in room. Whence unknown. None from window.

Morphing the spoken text into stage directions half way through is clever and creates a whole new level of spectral spooky repetition, but has the – for me – negative impact of accentuating its staginess.

Beckett had evolved over 30 years from the Trilogy to this very distinctive style of prose poetry, replacing properly written-out sentences with abbreviated snippet which are compulsively repeated, as a way of conveying meaning – but I think it was more effective in the plays and prose from the mid-1960s through the 70s. Maybe I’ve read too much Beckett, but, to my ear, by this point, in Company and here, it has become a mannerism, and a rather irritating one.

There is no internal logic why sentences such as:

Match goes out. Strikes a second as before. Takes off chimney. Smoke-clouded. Holds it in left hand. Match goes out. Strikes a third as before and sets it to wick. Puts back chimney. Match goes out. Puts back globe. Turns wick low…

Plenty of works of literature foreground their own artifice, but often with style or humour. For me the excitement and verve of the pieces from the 1960s has degenerated into a manner and an irritating one at that. At 4 minutes 50 seconds into the Beckett on Film production, he says:

So stands there facing blank wall.

For me, the omission of ‘a’ – ‘stands there facing a blank wall’ – draws attention to itself. It is not only semantically odd but it is oddly incongruous for any idea of any variety of ‘real’ person speaking. No-one would say ‘So stands there facing blank wall’. That is a stage direction not a piece of speech. As is:

Lamp smoking though wick turned low. Strange. Faint smoke issuing through vent in globe

I don’t mind any kind of experimentalism or stylisation, go for it, try it, see what happens. But in practice, for me, this late style seems pretentious and contrived. There is no rulebook, no right or wrong about these things, the only question is, ‘Does it work?’ and for me, it doesn’t. It doesn’t help build and augment the experience, the elliptical, telegraphese of the prose continually distracts from its aims.

Thinking about it further, I think we can make a distinction between where Beckett uses this style to convey weird, spectral, other-worldly psychological states, for example the final passage:

Treating of other matters. Trying to treat of other matters. Till half hears there are no other matters. Never were
other matters. Never two matters. Never but the one matter. The dead and gone. The dying and the going. From the word go. The word begone. Such as the light going now. Beginning to go. In the room. Where else? Unnoticed by him staring beyond. The globe alone. Not the other. The unaccountable. From nowhere. On all sides nowhere. Unutterably faint. The globe alone. Alone gone.

Here, for me, the style works, because it is creating strange psychological states by its use of clipped sentences which both leap from place to place and also repeat key phrases, as if examining the states from many angles, à la cubism. Applied to psychological states, I still enjoy it and find it weirdly liberating and intoxicating.

It’s when he applies it to physical actions, which you feel ought to be – could be – much more straightforwardly described, that I find it forced, mannered and clumsy. I almost feel embarrassed for Beckett at finding himself constrained to write ‘So stands there facing blank wall’ ‘So he stands there facing a blank wall’.

Ripped from the wall and torn to shreds one by one. Over the years. Years of nights. Nothing on the wall now but the pins. Not all. Some out with the wrench. Some still pinning a shred. So stands there facing blank wall.

For me, the thumping banality of the actual stage directions threatens to destroy much of the spectral, barely perceivable subtlety of the more psychological passages.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969