Souls Grown Deep like the Rivers: Black Artists from the American South @ the Royal Academy

From left to right: ‘Sarah Lockett’s Roses’ (1997) by Ronald Lockett, made from cut tin, nails and enamel on wood. ‘Stars of Everything’ (2004) by Thornton Dial, made from paint cans, plastic cans, spray-paint cans, clothing, wood, steel, carpet, plastic straws, rope, oil, enamel, spray paint and Splash Zone compound on canvas on wood. ‘Oklahoma’ by Ronald Lockett (1995) made from found sheet metal, tin, wire, paint and nails on wood in ‘Souls Grown Deep like the Rivers’ at the Royal Academy

1. The Souls Grown Deep Foundation

There are two important points to grasp about this exhibition. The main one is that ‘Souls Grown Deep’ isn’t a fancy name dreamed up by the curators but the name of an organisation in America. The Souls Grown Deep Foundation (SGDF) is based in Atlanta, Georgia. It:

  • advocates for the inclusion of Black artists from the South in the canon of American art history
  • fosters economic empowerment, racial and social justice, and educational advancement in the communities that gave rise to these artists

Founded by Atlanta collector William S. Arnett in 2010, Souls Grown Deep derives its name from a 1921 poem by Langston Hughes titled ‘The Negro Speaks of Rivers’. The poem is one of Hughes’s signature works which is worth printing in its entirety:

I’ve known rivers:
I’ve known rivers ancient as the world and older than the
flow of human blood in human veins.

My soul has grown deep like the rivers.

I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln
went down to New Orleans, and I’ve seen its muddy
bosom turn all golden in the sunset.

I’ve known rivers:
Ancient, dusky rivers.

My soul has grown deep like the rivers.

Souls Grown Deep Foundation stewards the largest and more eminent collection of works by Black artists from the Southern US. It originally totalled some 1,300 works by more than 160 artists, two-thirds of  them women.

Part of the foundation’s remit is publicise and promote these artists beyond America. To this end it energetically partners with galleries around the world and has placed more than 500 works from the  collection in 32 museums globally. So this is an example of the foundation’s global outreach program. They came to an arrangement to display a selection of their works at the prestigious Royal Academy in London.

What exactly do we mean by ‘The Deep South’?

Map of the South featured in ‘Souls Grown Deep like the Rivers’ at the Royal Academy

The artists live and work in this region, from communities in South Carolina to the Mississippi Delta, in isolated rural areas like Gee’s Bend, Alabama, and in urban centres like Atlanta, Memphis and Miami, all indicated on the map.

2. Outsider art

Obviously all the artists are Black Americans, that’s explained by point 1. But just as important is the idea that these artists, growing up in communities in the Deep South, come from outside the mainstream of American art schools and galleries. Some couldn’t afford art school, some were actively excluded on the basis of their colour, others didn’t know about the possibility or care.

So, with little access to formal art education, most of the works on display here were made by artists who developed their own artistic techniques and styles by learning from neighbours, friends and family. Both the foundation and individual artists make a big point of emphasising that these artists came from within very local traditions and communities. In this respect a bunch of photos at the entrance to the show capture the context and vibe of these works in their original settings.

Clockwise from top left: Ronald Lockett standing by ‘Sarah Lockett’s Rose’; Thornton Dial pointing at the camera; Doris Moseley and Mary Margaret Pettway working on a quilt; Purvis Young standing by a canvas; Lonnie Holley giving a thumbs up; Mary T Smith in the middle of a big yard show.

Some used skills they developed when working in industry, such as Thornton Dial and Joe Minter who were metalworkers. These skills were handed down – Dial trained his sons Thornton Dial Jr and Richard Dial and nurtured the talents of his younger cousin Ronald Lockett.

The women of Gee’s Bend, a remote settlement on the Alabama River, have handed down the skills of sewing and making quilts from generation to generation. Artist Loretta Pettway Bennett, featured here, recalls learning to sew by helping her mother and grandmother make quilts.

Raw materials

Coming from outside the mainstream art tradition, many of the artists here recycle and reuse materials available locally – like clay, driftwood, roots, soil, sawdust and all manner of cast-off items, old phones, bicycles, tools, shears, wire, trash and detritus. This gives almost all the works a rough and ready, hand-made appearance. For example this stunning work by Archie Byron (one of my favourites in the show) is made entirely from sawdust and glue!

Anatomy by Archie Byron

Or take these two sculptures, assembled from bits and pieces of bicycle (on the left) and an old tool box, spanner and wire (on the right).

Three-Way Bicycle by Charlie Lucas (c. 1985) made from bicycle wheels, metal machine parts and electrical wiring and Where is My Hammer? by Joe Minter (1996) made from welded found metal

The exhibition

The exhibition brings together 64 works by 34 artists from the mid-20th century to the present. There’s various media including assemblages, sculpture, paintings and drawings, reliefs, and video.

Artists

The artists include Thornton Dial, Lonnie Holley, Ronald Lockett, Joe Minter, Hawkins Bolden, Bessie Harvey, Charles Williams, Mary T. Smith, Purvis Young, Mose Tolliver, Nellie Mae Rowe, Mary Lee Bendolph, Marlene Bennett Jones, Martha Jane Pettway, Loretta Pettway, and Henry and Georgia Speller.

Room 1. Friendships and family ties

The first room is, arguably, the best and showcases work by artists connected by close familial relations and friendships. Lonnie Holley, who had been working as a gravedigger and cotton picker, began sculpting in 1979, when he carved grave markers for a young niece and nephew following their tragic deaths in a fire. Through a former girlfriend he met Thornton Dial, who had worked in farming and as a steelworker before he became an artist. Both artists worked with discarded and salvaged objects and organic materials, transforming them into impressive sculptures and assemblages rich in personal, social and political symbolism.

The most impressive pieces here are by Dial including the biggest piece in the show, the fabulous ‘Stars of Everything’ (see above). But it was the relatively small piece, ‘Keeping a Record of It (Harmful Music)’ by Lonnie Holley (1986) which the curators chose for the exhibition poster. Like all the assemblages here it is made from cannibalised waste and spare parts, in this case a salvaged phonograph top, a phonograph record and an animal skull.

Keeping a Record of It (Harmful Music) by Lonnie Holley (1986)

I don’t know what it’s saying, but it’s saying it very powerfully indeed, a brilliantly powerful, unnerving image.

Room 2. Personal stories, local sources

Working almost entirely without recognition from the wider art world, these southern Black artists drew inspiration from daily life and current events. The resulting works are intensely local in terms of materials, subject and audience, while also bringing out universal themes.

This room features the work of Sam Doyle, Henry Speller, Eldren M. Bailey,  Georgia Speller, Jimmy Lee Sudduth. Lack of access to conventional art materials and tools often led artists to repurpose what
was around them. Sculptors including Bessie Harvey found artworks ready to be ‘drawn out’ from the twisted organic forms of roots and dead wood, a practice that became a distinct regional tradition.

Instinct drove visually impaired artist Hawkins Bolden as he searched the streets for items he could sense felt right for his ‘scarecrow’ sculptures, giving new life to materials that others would class as trash.

 

Installation view of ‘Souls Grown Deep like the Rivers’ @ the Royal Academy

By and large the sculptures were much more interesting and effective than the paintings. Many of the ‘primitivist’ paintings were just too basic for my taste.

Paintings from room 2.

For example, I couldn’t get on with any of the big, puke-yellow paintings by Purvis Young. Apparently, his scenes are populated by wild horses, warriors, angels, pregnant women, boats and prison bars but I still don’t like them.

Paintings by Purvis Young

By contrast I found almost all the sculptures wonderfully effective. In part this is, I think, because I’ve seen much of this kind of thing before. Pablo Picasso made cubist sculptures before the First World War; Marcel Duchamps signed a urinal and put it in an art gallery in 1917; Dada artists created absurdist sculptures made from mash-up of street junk in the early 1920s. I know a bit more is going on here, but much of it reminded me of the Arte Povera movement of the 1970s which took industrial waste products and cast-offs and made them into abstract sculptures.

My point is simply that recycling street junk into imaginative or surreal sculptures is hardly new but, on the contrary, feels like a venerable and well explored strategy, which is why so many of the pieces here had an oddly familiar feel to them. I really, really liked this piece by Hawkins Bolden but that’s partly because it reminded me so strongly of Surrealist sculpture. Could be by Picasso or Max Ernst.

Untitled by Hawkins Bolden (1989) Pot, drainpipe, cans, muffin tin, rubber hoses, nails, wood and wire

Room 3. The yard show

As most of the artists did not have access to formal art spaces, often the only place they could display their work was in their own back yards. The ‘yard show’ is a deeply rooted Southern tradition where artists would arrange their sculptures, paintings, and assemblages on their property.

Joe Minter (b. 1943) is well known for creating a huge example, titled ‘African Village in America’, near Birmingham, Alabama and the show includes an impressive video showing a panoramic scan over this huge area full of ramshackle constructions.

Room 4. The quilt-makers of Gee’s Bend

Gee’s Bend, officially known as Boykin, is a remote settlement on a hair-pin bend of the Alabama River. The Bend’s residents are descendants of the enslaved people who worked on the cotton plantation established there in 1816 by Joseph Gee. After the American Civil War (1861 to 1865), many of the formerly enslaved people remained on the plantation working as sharecroppers, who were obliged to give part of their crop to the landowner, and many inhabitants today still bear the surnames of their ancestors’ enslavers. The community was able to remain intact due to Government loans provided during the Depression which enabled tenants to buy the land they farmed and protected them from forced evictions.

Installation view of Gee’s Bend quilts

This continuity allowed a unique tradition of quilt-making to survive and be passed down through  generations of women. Most Gee’s Bend quilts are improvisational or ‘my way’ quilts. Quiltmakers start with basic forms then head off ‘their way’ with unexpected patterns, unusual colours and surprising rhythms. Not originally conceived of as formal artworks, quilts were both decorative and necessary objects, keeping families warm and making use of fabric scraps.

More Gee’s Bend quilts

I appreciate the enormous amount of time and energy which goes into creating patchwork quilts like this. I appreciate the communal nature of the work, and the deep local tradition which the wall label explains in some detail. But, to be blunt, I wasn’t that impressed by the quilts. Maybe it’s just not my medium or genre. I quite liked the couple which were made from corduroy, because the texture of the fabric was so tactile, and my favourite was the one made entirely from denim patches, maybe because it approached closest to being a painting. Maybe I just don’t ‘get’ quilts and embroidery and sewn artefacts. My loss.

‘Triangles’ by Marlene Bennett Jones (2021). Denim, corduroy, and cotton © 2023 Marlene Bennett Jones

Marfa Stance and quilts for sale

It’s a relatively small display, but be warned that there’s an additional room devoted just to quilt. I couldn’t find it and had to be shown the way by one of the Royal Academy receptionists. In the Academicians’ Room on the first floor are displayed half a dozen more quilts from the Gee’s Bend quiltmakers and these ones are on sale. But be wared about the prices. The cheapest on is £25,000, the most expensive one £30,000.


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The Interpretation of Dreams by Sigmund Freud (1900)

‘Tell me some of your dreams and I will tell you about your inner self.’
(E. R. Pfaff, quoted on page 134 of The Interpretation of Dreams)

Long

The Interpretation of Dreams may be an epoch-making book but it is far too long, running to 871 pages in the Pelican Freud Library (783 of actual text, 86 of appendix, bibliographies, index of dreams, and general index).

The first quarter or so is a vast review of the many, many theories of dreams held by people throughout Western history (seers and prophets and oneiromancers, historical philosophers and writers, right up to present-day psychologists such as Havelock Ellis), with Freud’s own commentary designed to itemise and categorise all aspects of dreams (their confused illogical nature, how we forget them soon after waking and so on).

Only about page 200 does there come the decisive insight delivered via his own dream about a patient he names Irma, namely that every dream has meaning because every dream is a wish-fulfilment. This is followed from page 200 onwards by an equally extensive series of actual dreams derived from his patients, described in great detail each with a painstaking decipherment.

The literary focus

It isn’t till page 363 that Freud takes the further step of asserting that almost all the dreams of most of his patients ultimately derive from fantasies about their parents. Here he stop for three pages to describe the legend of Oedipus and then to assert that something like Oedipal feelings occur in all his patients.

No sooner has he finished making the shocking claim that all of us, to some extent or other, go through a phase of loving the parent of the opposite sex and hating the parent of the same sex, than he moves on to a similar version of the same story, retold thousands of years later, and culturally rearranged and overlaid, to become Hamlet, then going on to mention other Shakespeare plays, Goethe, German literary critics and so on. (Goethe and Shakespeare are both mentioned about 20 times in the text, along with writers as diverse as Schiller, Heine and Zola, Jonathan Swift and Rider Haggard, the Bible, poetry in general, the music of Wagner 3 times, Mozart 4 times, Offenbach and so on.)

In other words, right from the start Freud’s conceptions of the mind were heavily conditioned and shaped by literature and by cultural forms (myths, legends, religion, folk tales) as much as, or more than, by ‘science’.

It is entirely characteristic of Freud’s focus on culture as source and subject to be investigated that in the preface to the Third Edition, he speculates that new material for the book will not be generated by, say, widening the types of patients he treats or the fast-expanding number of analyses being carried out by his followers i.e. scientific evidence based on data. No, he says the next edition will have to:

afford a closer contact with the copious material presented in imaginative writing, in myths, in linguistic usage and in folklore.

Autobiographical

Also, it is astonishingly autobiographical. Freud shares a surprising number of important experiences in his life, starting with the place and date of his birth followed by quite a few important and poignant memories from his childhood and youth. More than that he shares, and analyses at length, upwards of 30 of his own dreams, many of which show him in a less than flattering light, which are embarrassingly candid about his ambitions, his delusions of grandeur, his sense of failure, and so on and so on.

The Interpretation of Dreams is one of the great autobiographical studies in the history of mankind; in it Freud drew freely on his inner life in an effort to construct a psychological system relevant for all of us.’ (Freud and His Followers by Paul Roazen, page 35)

For Roazen this over-sharing was a heroic achievement and sacrifice the great man made on our behalves. But many critics have pointed out the weakness of a theory which relies so very heavily on just one person’s life and experiences and feelings, and on his own interpretation of them, and then claims to extrapolate them into universal principles underpinning all of human nature.

Introduction of key concepts

The book is important because it represents Freud’s first full-length description of the unconscious and the vast role it plays in the mental life of human beings. His theories about the unconscious would be elaborated and developed right up to his death 40 years later, but this is the first, primal statement of its central role.

Freud wrote to his colleague and confidant Wilhelm Fliess, who played a vital role as sounding board for his developing ideas in the 1890s, that the Interpretation of Dreams was substantially finished by 1896. It was published in 1899 but Freud was careful to ensure that it had ‘1900’ on the title page; he was very aware of his image and reputation and that the arrival of a new century heralded the dawn of a new age. All these considerations were in the mind of this very ambitious man.

And yet, after all this careful planning, only 351 copies were sold in the first six years.

Freud began writing this immense book while on holiday in the summer of 1985 at the Schloss BelleVue near Grinzing in Austria. Later he jokingly wrote to Fliess suggesting that a plaque be put on the wall of this castle reading: ‘In this house on July 24 1895 the secret of dreams was revealed to Dr Sigmund Freud’. (Mentioned in a note by the editors on page 199.)

Early days

Personally, I find Freud’s theory of dreams, his confidence that every dream represents a wish and that virtually all dreams can be decoded into various kinds of libidinal fantasy, optimistic and implausible. There feels to be a lot of pseudo-science in it. It feels very dated. For Freud, though, his ‘discovery’ that dreams have meaning, that they were suppressed and distorted wishes, was his big intellectual breakthrough, and the existence of the unconscious was always tied up for him with the breakthrough of dream interpretation.

But when I came to Freud it was through the later metapsychological works and the second theory initiated by Beyond the Pleasure Principle. By comparison with the sophistication of the second theory, with the greater role it assigns to the Death Drive, the Nirvana Principle, the greater account taken of violence and aggression (prompted by the catastrophe of the First World War), the sociological theorisation of the psychology of groups and crowds – compared with all this, going back to his early dream theory seems a little embarrassing, almost childish.

The final 50 or 60 pages take us deep, deep into what is in effect a new theory of human nature and existence, which is visionary and strange. But the hundreds and hundreds of pages of sometimes clunky dream interpretation which precede them are often cringe-inducing. Specially when he makes his stock sexist comments about women and their innate inferiority to men…

Executive summary

The Interpretation is important because it introduces several central ideas of Freud’s theory, namely the unconscious as a reservoir of instinctual wishes and desires which have been repressed from the conscious mind by censorship. These repressed urges try to re-enter the mind when the censorship is relaxed during sleep, but even then can only do so in garbled and distorted form.

So all dreams have two layers or levels which Freud defines as manifest content and latent content (p.381).

The manifest content is the narrative or series of images which we remember on waking, maybe write down or recount to a therapist. The latent content refers to the underlying ‘meaning’ of the dream.

The work of psychotherapy is to dig below the surface or manifest content to try and establish the meaning of the latent content i.e. to discover the wish lying behind the dream.

Freud then categorises the ways in which the ‘censorship’ garbles the latent content of the dream. It does this through distinct processes which he labels as:

  • Condensation – can happen in many ways, for example many ideas or wishes may be represented in one dream, or two or more people or ideas may be combined in one representation
  • Displacement – the fundamental notion that latent content, the expression of the wish underlying all dreams, is distorted and ‘displaced’
  • Representation – a great variety of ways in which images, words, sounds, word and phrases can represent the dream-wish
  • Secondary revision – not part of the process of censorship, this is what happens as the mind returns to consciousness and, half-asleep, tries to ‘make sense’ of the half-remembered dream by rearranging its elements into something closer to a coherent narrative

The comprehensive nature of this rewriting of the repressed wish explains why people can often make no sense at all of their dreams, so completely censored and disguised have they been.

Using the talking cure, free association and dream interpretation, the therapist can analyse a patient’s dreams, uncovering the secret wish which lies behind them and find a way into the reservoir of all our drives and urges and the words and images and behaviours which have become attached to them. Hence Freud’s famous declaration:

The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.

THE INTERPRETATION OF DREAMS

The text is immensely schematic, divided and sub-divided and sub-sub-divided into numbered parts, sections, sub-sections, sub-sub-sections, as if to conceal the relative simplicity of what Freud was proposing under a mountain of academic apparatus. He recognised the work’s unmanageable length and published a much shorter version On Dreams in 1901, revised and expanded in 1911. The fact that the abbreviation is a mere slip of a thing at 53 pages in the English translation strongly hints at the redundancy of most of the material in the longer work. It’s there to bludgeon the reader into submission with the sheer quantity of ‘evidence’.

Part 1. The scientific literature dealing with the problems of dreams

The ancients had two theories: dreams as helpful messages from the supernatural or diabolical fantasy. These were said to emanate from gates of horn and of ivory, respectively.

A) The relation of dreams to waking life

Dreams seem at the same time totally removed from waking life yet continue many of the concerns of waking life.

B) The material of dreams: memory in dreams

Dreams often preserve memories much more clearly than waking life and yet what is remembered is often trivial.

C) The stimuli and sources of dreams

1. External sensory stimuli

For example, alarm clock prompts dreams of church bells etc. But why do the same external source prompts different dream-imagery?

2. Internal (subjective) sensory excitations

3. Internal organic somatic stimuli

News from internal organs, often warning of disease. But how are these messages conveyed?

4. Psychical sources of stimulation

Present definitions of psychical stimulation do not suffice.

D) Why dreams are forgotten after waking

Natural that the intensity of daytime experiences blots out dreams. More importantly, everyone proceeds to reconstruct partially remembered dreams, stringing together half-memories in usually very misleading ways.

E) The distinguishing psychological characteristics of dreams

Dreams perceived as immediate experience. Lack of critical self-consciousness. In dreams we don’t think, we experience.

Crazy chains of association. Logic and causation which we (mostly) demand in conscious life are conspicuous by their absence.

Regression to earlier impulses. The tremendous virtuoso intensity of dream experiences. Freud reviews a wide range of views about dreams, from total disparagement to hymns to dreams’ poetic intensity.

F) The moral sense in dreams

Some say people lose all moral sense in dreams and behave with shocking amorality; others say you act in dreams according to your character. Dreams often show us insight into our deeper feelings, unknown to our conscious selves. Dreams reveal illicit desires, as in saints’ confessions of being miserable sinners. In dreams our instinctual life is exposed. We acquiesce in desires we spend our waking lives controlling and resisting.

G) Theories of dreaming and its function

The ancients thought dreams are sent from the gods as a guidance to action. More recently three schools have emerged:

  1. Rational. The dream-mind works just like the conscious mind but deprived of the sense-data of consciousness
  2. Mechanistic. Sleep relaxes the conscious control and dreams are responses of different parts of the mind to the passing sensory stimulants of the night. Or dreams are the excrescence of all the semi-cogitated impressions and thoughts of the day.
  3. Dreams are a holiday for the mind. Rest and recuperation.

H) The relations between dreams and mental diseases

Patients sometimes cured during the day continue their pathological behaviour in dreams or while asleep. ‘The madman is a waking dreamer’ etc. Dreams and psychoses are both fulfilment of wishes.

2. The method of interpreting dreams: analysis of a specimen dream

The aim which I have set before myself is to show that dreams are capable of being interpreted. (p.167)

Lay interpretation confined to symbolic reading (for example, pharaoh’s seven fat and seven lean kine; also mentioned p.448) and decoding (treating dream-language as a code).

Outline of the technique of free association.

An extended analysis of Freud’s own dream, the ‘dream of Irma’s injection’ interpreted to show how it conflates evidence to justify Freud’s treatment of her, i.e. a wish to be impregnated (pages 180 to 199).

3. A dream is a fulfilment of a wish

Elaboration of Freud’s fundamental insight, that every dream is the symbolic fulfilment of an unconscious wish. Examples of children’s dreams. The point is dreams may express wishes, but so comprehensibly distorted and garbled as to usually be unrecognisable to the dreamer.

4. Distortions in dreams

If all dreams are wish-fulfilments, why do some present as the opposite – wishing the death of a loved-one, anxiety dreams etc?

Because the wish is distorted. There are thus at least two aspects to a dream, the manifest content (the coherent narrative we make from the dream imagery) and the latent content (the real concern), and there is always an element of repression or censorship. This is the dream-work, which translates latent content into the manifest content we experience and remember.

The similarity of distortion in dreams and the hallucinations or obsessions of neurotics.

5. The material and sources of dreams

A) Recent and indifferent material in dreams

Frequent occurrence of material from the day before, the ‘dream-day’; but radically disguised or itself masking other meanings. Thus the concept of displacement.

B) Infantile material as a source of dreams

The deeper one carries the analysis of a dream, the more often one comes upon the track of experiences from childhood which have played a part among the sources of that dream’s latent content.

C) The somatic sources of dreams

All dreams are in a sense dreams of convenience. They serve the purpose of managing the processing of unconscious content in such a way as to preserve sleep. Dreams are the guardians of sleep.

If dreams are prompted by internal somatic stimulation, why do we not dream continuously of flying (the working of the lungs) etc? Because somatic stimulation is brought into the formation of a dream only when it fits with the ideational content derived from the dream’s psychic sources; only when it’s needed.

D) Typical dreams

He reviews:

1. Embarrassing dreams of being naked

2. Dreams of the death of persons whom the dreamer likes (childhood rivalries)

It is in this section that Freud describes the fierce emotions and rivalries attributable to children, which can spill over into hostility against their parents:

Being in love with the one parent and hating the other are among the essential constituents of the stock of psychical impulses which is formed [n childhood] (p.362)

He starts to invoke the Greek myths and this leads up to page 363 on which he posits the central role of the Oedipus legend.

It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. (p.364)

3. Other typical dreams

4. Examination dreams

6. The dream-work

Freud reviews the different mental processes he claims are at work in dreams, which collectively he calls the ‘dream-work’:

A) The work of condensation

Seen at its clearest when it handles words and names. In dreams words are often treated like things, chopped up, compressed etc.

B) The work of displacement

A dream is often differently centred from the dream-thought which lies behind it. The work of displacement as well as condensation are the result of the censorship imposed on the unconscious wish material.

The kernel of my theory of dreams lies in my derivation of dream-distortion from the censorship. (p.418)

C) The means of representation in dreams

Dreams do not have any of the methods with which we construct narratives or logical arguments at their disposal.

The most striking example of absence of logic is the absence of the negative, meaning that no means yes, that something can be represented by its exact opposite: the process of reversal (p.429) This can apply to causality where normal cause and effect are reversed.

Or dream images can appear by a process of similarity or consonance of even a tiny part of it with something else (p.431).

The common sensation of running but never getting anywhere.

Dreams are completely egoistic. They deal with the dreamer and only the dreamer (p.434).

D) Considerations of representability

Some dreams make use of ‘primeval’ imagery, being similes reaching back to remote antiquity (p.462).

Wherever neuroses make use of such disguises they are following paths along which all humanity passed in the earliest days of civilisation. (p.463).

E) Symbols in dreams: some further typical examples

Tempting to think that recurrent symbols in dreams may be universal symbols, specially when they recur in ‘popular myths, legends, linguistic idioms, proverbial wisdom and current jokes’ (which gives you a good sense of Freud’s evidence base).

Freud proceeds to give a lexicon or handbook of symbols, starting with the King and Queen who are, of course, the dreamer’s parents, moving on to how playing with a little child, especially beating it, betokens masturbation, and so on.

  • a hat is symbolic of a man, or the male genitals
  • a little one is the penis
  • being run over is coitus
  • buildings, stairs and shafts represent the genitals
  • female genitals represented by a landscape
  • castration dreams
  • urinary symbolism
  • staircase dreams
  • flowers represent the genitals (p.496)
  • dreams of flying or floating have a very varied meaning

He makes the ‘shocking’ claim that psychoanalysis makes no qualitative distinction between normal and neurotic life i.e. there is no ‘normality’ i.e. we are all on a spectrum (p.493).

And the centrality of sex in all these hundreds and hundreds of examples:

The more one is concerned with the solution of dreams, the more one is driven to recognise that the majority of the dreams of adults deal with sexual material and give expression to erotic wishes. (p.520)

F) Some examples: calculations and speeches in dreams

The special significance of numbers in dreams.

Speech rarely makes sense in dreams, being recombinations of words or phrases taken from other sources.

G) Absurd dreams: intellectual activity in dreams

Obviously many dreams are absurd or absurdist in content, but Freud tries to identify different reasons for this, often to do with negative or contradictory elements in the motivating dream content.

The dream-work produces absurd dreams and dreams containing individual absurd elements if it is faced with the necessity of representing any criticism, ridicule or derision which may be present in the dream-thoughts. (p.576)

H) Affects in dreams

It is commonly observed that the mood induced by a dream lingers longer than most of the details into the waking day.

I) Secondary revision

This occurs at the end of the process of dream-construction and is the application of conscious thought processes to the dream material. Just before waking the renascent ego tries to gloss over inconsistencies in the dream narrative, trying to create sense out of absurdity.

So it’s not part of the censor’s work, not part of displacement and condensation; it comes after that and re-arranges elements of the dream, but has the practical effect of scrambling it even more, making dream interpretation even harder (pages 641 and 642).

7. The psychology of the dream process

The dream-work is not simply more careless, more irrational, more forgetful and more incomplete than waking thought; it is completely different from it qualitatively and for that reason not directly comparable with it. (p.650)

A) The forgetting of dreams

Forgetting details of a dream is a common experience. But Freud is convinced that more is retained than we commonly think and that in the therapeutic situation more can be reclaimed than you’d expect. And often the so-called ‘forgetting’ of a dream is really only the work of the censor and repression; with sensitive work it can be recalled.

Can we interpret every detail of a dream, or every dream? No. Because the power of repression and resistance is so severe. But you can interpret much more than you’d initially believe.

B) Regression

Freud works through a series of diagrams meant to convey the relationship between dream wishes, memories, the preconscious, the unconscious and so on. By ‘regression’ Freud means that, with the motor system i.e. active use of the body, shut down in sleep, wishes express their outcomes not in (sleeping) body but by bouncing back into the psyche. Regression refers to internally generated images which are fed backwards into the cortex as if they were coming from the outside. He goes on to distinguish three types of regression:

  1. topographical regression
  2. temporal regression, the harking back to earlier psychic structures
  3. formal regression, where primitive methods of expression and representation take the place of the usual ones (p.699)

He concludes by making the picturesque but now discredited claim that some element of dreams also connects us with primeval memories of our ancestors.

We may expect that the analysis of dreams will lead us to a knowledge of man’s archaic heritage, of what is psychically innate in him. Dreams and neuroses seem to have preserved more mental antiquities than we would have imagined possible; so that psychoanalysis may claim a high place among the sciences which are concerned with the reconstruction of the earliest and most obscure periods of the beginnings of the human race. (p.700)

C) Wish-fulfilment

It may be intuitively agreed that a dream expresses a wish, albeit heavily disguised by the censorship, but Freud goes on to address the paradox that anxiety and negative dreams can also express wishes. He devotes 2 pages to explaining the definition of a ‘wish’ as it first comes to be experienced by the screaming baby, considered as an inchoate organism seeking the most basic physical satisfactions.

During which he makes the kind of comment that I like, namely that ‘thought is after all nothing but a substitute for the basic physical wish’.

D) Arousal by dreams: the function of dreams: anxiety dreams

Further clarification of why anxiety dreams and other dreams with acutely negative affect are, nonetheless, expressions of a wish. The anxiety is an index of the force of the repression needed to keep the unacceptable wish material under wraps.

E) The primary and secondary processes: repression

In technical and difficult phraseology, Freud repeats the basic idea that the primary system (the unconscious) is concerned with securing the free discharge of the quantities of excitation which are troubling it, while the second system, attempts to inhibit this discharge (p.759).

The primary process endeavours to bring about a discharge of excitation in order that, with the help of the amount of excitation thus accumulated, it may establish a ‘perceptual identity’ with the experience of satisfaction. The secondary process, however, has abandoned this intention and taken on another in its place – the establishment of a ‘thought identity’ with that experience.

All thinking is no more than a circuitous path from the memory of a satisfaction (a memory which has been adopted as a purposive idea) to an identical cathexis of the same memory which it is hoped to attain once more through an intermediate stage of motor experiences. (pages 761 to 762)

These final pages take us deep, deep into Freud’s most theoretical musings about the nature of the mind and of thought, which tend to undermine the possibility of ‘reason’ at all, because he makes all the activities of the mind arise from a really primeval stratum of primitive needs, as transmuted into wishes, as repressed and distorted into a thousand and one memories, behaviour patterns, obsessions and so on. Nobody can think rationally, because this unconscious swamp is the basis of all human thought.

I’m not sure it’s worth reading the preceding 750 pages to get here, but they are in a sense the preface to a deep dive into a truly other vision of human nature, the human mind, human existence. All thinking is, in a sense, repeated attempts to recapture the primeval, primitive physical satisfactions of the baby which have been so thoroughly repressed that they can never be achieved. All humans are, in a sense, condemned to search endlessly for the unfindable. Hence [Freud doesn’t say this, I’m saying this] the universal notion of The Quest found across all human cultures.

F) The unconscious and consciousness: reality

The unconscious is vast and the basis of the psyche. The conscious mind is a small, fragile blip floating on the great unknown ocean of the unconscious.

The unconscious must be assumed to be the general basis of psychical life. The unconscious is the larger sphere which includes within it the smaller sphere of the conscious….The unconscious is the true psychic reality. (p.773)

Typically, Freud immediately goes on to say that this explains a lot of creative process too, with numerous poets and composers describing how their great works ‘came to them’ without planning, unexpectedly, whole and complete. Well…the unconscious!

The conscious mind is like a kind of sense organ for the perception of psychic qualities. It is entirely typical of Freud that this dense and difficult conceptualising gives way, on the page before last, to yet another reference to Greek mythology, and to the story of Zeus castrating his father, Kronos. Literature and myth are never far away in Freud’s writings. And are often a welcome respite from the more difficult technical passages.

And one of the oldest traditions of dreams, which he mentioned right at the start, 780 pages earlier, widely believed in the ancient world that they predict the future. Do they? No, not in a literal sense, no. And yet, in another sense:

By picturing our wishes as fulfilled, dreams are, after all, leading us into the future. But this future, which the dreamer pictures as the present, has been moulded by his indestructible wish into a perfect likeness of the past. (last sentences, page 783)

Criticism

The same period (1895 to 1900) saw the zenith of detectivehood in the fictional figure of Sherlock Holmes. Very widespread was the idea human personality as a mystery, a puzzle to be solved.

And the idea of psychic division into two opposing parts, light and dark, good and bad: the döppelgänger or split personality abounds in the stories of the time: Jeckyll and Hyde and The Secret Sharer and Dorian Gray and all the characters in Holmes leading respectable lives while concealing depths of vice and criminality.

After the long dull review of existing dream literature, Freud’s exposition his new theory of the interpretation of dreams contains steadily more and more personal material, including candid stories of antisemitism. He shares with us his identification with Hannibal; he describes himself as a conquistador; the narrative of the dream of Irma’s injection is above all a wish to be justified.

Surprisingly, maybe, there is no mention of the Oedipus Complex and little mention of childhood sexuality. He added notes about these to all the later editions, but reading the text as first published makes you realise how very bare of all his theories it is, or to put it another way, what a huge edifice of complex psychological theory it was to grow into.

Throughout the book you can see Freud extending the mechanisms revealed by his own dream analysis backward and forward in order to derive a psychology of all stages of life; in particular pushing the source of dreams back into childhood. The nature of childhood fantasy and its connection with childhood sexual feelings were become central to the development of the theory over the next five years.

Objects of Desire: Surrealism and Design 1924 to today @ the Design Museum

SURREALISM. Noun: Pure psychic automatism by which it is intended to express, either verbally or in writing, or otherwise, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral considerations.
(First Manifesto of Surrealism, 1924)

Surrealism is not a new or better means of expression, not even a metaphysic of poetry; it is a means of total liberation of the mind.
(Surrealist declaration, January 1925)

Introduction to surrealism

Surrealism is ‘a philosophical and artistic approach which violently rejects the notion of the Rational Mind and all its works’. For Surrealists, the True Mind, true human nature – ‘the true function of thought’ – is profoundly irrational.

The Surrealists thought the Rational Mind formed the basis of ‘bourgeois’ society, with its moral and sexual repressiveness, its worship of work and money, its fetishisation of capitalist greed, which had led both to the stifling conformity of Western society and to a series of petty wars over colonies which had themselves led up to the unprecedented calamity of the First World War.

In the Surrealists’ opinion, this entire mindset had proved to be a ghastly mistake. The Surrealists thought that we had to reject it lock, stock and barrel by returning to the pure roots of human nature in the fundamentally irrational nature of the human mind, liberating thought from all censorship and superficial, petty morality, seeking to capture ‘the true function of thought’ and creativity through the exploration of the fortuitous and the uncontrolled, the random and the unexpected, through dreams and coincidences.

The first Surrealist magazine was titled La Révolution surréaliste (1924 to 1929) not because it espoused a communist political line, but because it proposed that Surrealist writing and art would, by its radical dysjunctions and unexpectednesses, reveal to readers and viewers the true nature of unbounded thought and lead to a great social transformation.

Cadeau by Man Ray

Massive show, massive space

This is a huge exhibition containing nearly 350 objects, an overwhelming number, a flood of objects and information in the related wall captions.

Also, the exhibition space itself is big and capacious. Roomy. This allows for the display of lots of large objects, namely furniture, lots and lots of chairs and several striking sofas, mannekins wearing dresses, some enormous sculptures and so on. Not so many tables because tables tend to be enormous, but three or four petite coffee tables or tea tables.

Gae Aulenti by Tour (1993) Manufactured by FontanaArte, Glass; bicycle wheels. Vitra Design Museum

Of course this is because this is an exhibition about design rather than art or sculpture as such. The exhibition is about how the design of objects was impacted by the Surrealist approach and ‘look’ and style and fashion. Hence the need for more than paintings and photos (though there are plenty of these); of designed products.

Chronological

Surrealism was, for its first five years or so, from 1924 to 1929, a writers’ movement, led by the self-appointed pope or bully of Surrealism, André Breton. Only in 1929 when the Catalan Wunderkind Salvador Dalí joined it, did the visual arts come to play a more important role and, eventually, dominate the movement and people’s ideas about it.

The show, like almost all exhibitions, is chronological in structure covering nearly a century of Surrealism from the earliest automatic writing to its most recent manifestation in using artificial intelligence to create artworks.

Thus we start with Surrealism’s first writings and manifestos, and then the outburst of Surreal artworks in the 1930s led by Dalí but with scores of other visual artists, and there were so many of them – Hans Arp, Hans Bellmer, Brassaï, Giorgio de Chirico, Salvador Dalí, Paul Delvaux, Max Ernst, Alberto Giacometti, Paul Klee, Wifredo Lam, René Magritte, André Masson, Joan Miró, Meret Oppenheim, Pablo Picasso, Man Ray, Yves Tanguy and many more.

The strangeness of objects

The exhibition is divided into themes and begins with the importance of everyday objects. Surrealism took the revolutionary approach of investing the most everyday of everyday objects with an aura of mystery and strangeness.

.It starts with an examination of Surrealism’s beginnings from the 1920s and considers the crucial role that Everyday objects and interiors were embraced by the movement’s early protagonists, as artists sought to capture the aura or mysterious side of ordinary household objects. Cubism had looked at everyday objects – café table, newspaper, bottle of wine – from multiple angles. Surrealism looked at them from a sur-real angle, attributing them volumes of meaning never dreamed of by ordinary people, setting them in weird juxtapositions to jar us out of our everyday doze and jerk us into awareness of the strangeness of being alive and moving through this world of images and symbols.

What could be more normal and everyday than an apple, a businessman and a cloudy sky? Or, in the way René Magritte deploys them, more disturbing?

The Son of Man by Rene Magritte (1946)

The Son of Man by René Magritte (1946)

These ideas took a while to be developed and fully expressed. It was only the ‘Second Surrealist Manifesto’ of 1929 that introduced the notion of ‘the Surreal object’ – using art or writing to reveal ‘the remarkable symbolic life of quite ordinary, mundane objects’. This inspired artists including Dalí, Magritte, Meret Oppenheim and Man Ray to experiment with an entirely new form of sculpture, by creating absurd objects from found materials and items, revealing the bizarre potential of the everyday.

Object by Meret Oppenheim (1936)

This is the point of Marcel Duchamp’s famous ‘readymades’, objects he noticed amid the bric-a-brac of ordinary life and carefully selected to be placed within a gallery setting, in an exhibition in a gallery, where they acquired completely new resonances, the cheapest of mass-manufactured objects acquiring a holy aura, its entirely practical aspects magically converted into profound and mysterious statements about shape and dynamism and meaning.

Bottle Rack (Porte-Bouteilles) by Marcel Duchamp (1914/1959)

He was to some extent mocking the idea of ‘art’ and ‘the gallery’; but he was also discovering the numinous in the quotidien which was to inspire artists ever since. But this gesture also, as the curators pithily point out, prioritised concept over craft and conceptual art has been with us ever since.

Paintings

There are cases containing manifestos and magazines, key works by Breton such as Amour fou.

There are early paintings by Dalí, Le Corbusier (who was a painter before he became an architect), the mysterious desertscapes of Yves Tanguy, a couple of weird paintings by the English artist, Leonora Carrington who came on the scene a bit later, in the 1940s.

The Old Maids by Leonora Carrington (1947) © Estate of Leonora Carrington / ARS, NY and DACS, London 2022

Photos

There are lots of photos, maybe a hundred photos, performing its two functions, as documentary record and as artwork.

Among the documents are scads of photos of the founders and early protagonists, Breton and his Parisian colleagues, then the artists. There’s records of the famous 1936 Surrealism exhibition in London, of the Surrealist pavilion (the Dream of Venus’) Dalí created for the World Fair in 1939, and so on. There’s Max Ernst at home in his apartment surrounded by African and Oceanic masks and artefacts (a lovely photo by Hermann Landshoff). And so on.

In the section about ‘sex and desire’ (every art exhibition has to have a section about sex and desire) there’s a suite of photos of Surrealists cross-dressing or being deliberately androgynous, for example photos of Marcel Duchamp dressing as his female alter ego, Rrose Sélavy, in 1921, and Claude Cahun’s calculatedly androgynous photographic self-portraits, from 1928.

There are photos of works of art, such as the still-disturbing fetishistic mannekins created by Hans Bellmer, or the room full of a mile of string created by Marcel Duchamp for a 1942 exhibition in New York.

And there are photos which are works of art, such as pretty much anything by the genius Man Ray (born Emmanuel Radnitzky in 1890 in New York but who changed his name and moved to Paris where he spent most of his career).

Le Violon d’Ingres by Man Ray (1924) © Man Ray 2015 Trust/DACS, London 2022

Films

There are four or five films. There are early black and white silent Surrealist films, such as Entre’Acte by Rene Clair (1924), winningly described by the director as ‘visual babblings’.

Oddly, they didn’t have clips from the most super-famous experimental movies by Bunuel, Luis Buñuel’s ‘subversive’ early films Un Chien Andalou and L’Age d’Or.

Later in the show there’s a few art films from a generation later:

And a much later film by an African director:

But dominating one wall, not least because it has a loud musical soundtrack, is a screen showing Destino, a short Surrealist animated film which was an unlikely collaboration between Dalí and Walt Disney. It tells the love story of Chronos – the personification of time – and a shapeshifting woman. In fact the movie was never completed because war work took precedence, and the project was only revived in the 1990s when Disney animators competed it according to the original sketches and scenario.

The significance of the film is its indication of Dalí’s success and name recognition in the USA by the 1940s, and the way in which what, on the face of it, are a sequence of nonsensical absurd events, have been assimilated enough for a mainstream producer like Walt Disney to agree to it.

Partly this is down to the instant recognition of a relatively small number of surreal images associated with Dalí. The short 7-minute animation is a collection of greatest hits such as the desert landscape setting, melting clocks, ants appearing out of cracks, human faces or bodies moving into trompe l’oeil settings to cleverly morph into something else.

Also in America during the war, Dalí designed shop windows for the Bonwit Teller department story. Frederick Kiesler designed a new gallery for rich art collector Peggy Guggenheim in a Surrealist style with curving walls. Emerging designers like Ray Eames and Isamu Noguchi used the zoomorphic curves found in Surrealism to design more moulded products, such as chairs (Eames) and a chess table and baby monitor (Noguchi).

Was it during the war, when so many European artists were exiled in America, that Surrealism’s pre-war radicalism was neutralised and converted into one more among many styles and fashions?

Sculpture

There are some sculptures, especially from the early period, but not many and this is because of the focus of the exhibition which is not on art, per se, but on design. Therefore, instead of abstract art sculptures, what the rooms are full of is designed furniture.

Classic Surrealist furniture

If the 1930s was the decade when there was an explosion of Surrealist art and the movement broke through into the general consciousness via a series of well-publicised exhibitions (and carefully staged scandals and press events, such as Dalí attending the opening of the London exhibition wearing a deep-sea diver’s outfit) it was in the 1940s that designers began to incorporate elements of the style into their work.

The Surrealists themselves had led the way. If they started out by invoking the weirdness of everyday objects and thoroughly explored this in paintings, sculptures and photos throughout the 1930s, some had applied their deliberately, provocatively bizarre way of seeing to create bizarre household objects, tables, chairs, lamps.

The most florid early examples come from the joint venture between Dalí and the English collector and patron, Edward James. James had Dalí create an entirely Surrealist interior for his home at Monkton House, West Dean in Sussex, notably the famous sofa designed in a cartoon imitation of the lips of Hollywood actress Mae West.

Mae West’s Lips sofa by Salvador Dalí and Edward James (c. 1938) Royal Pavilion & Museums Trust, Brighton and Hove. © Salvador Dalí, Fundació Gala-Salvador Dalí, DACS 2022

Also on display is the famous lobster telephone, alongside less well-known objects such as the standard lamp made out of brass casts of a stack of champagne glasses (which ‘subverts’ the Victorian notion of a standard lamp); and, most obviously humorous, a carpet with human footprints cut out of it. These, we are told, were the footprints of his wife, the dancer Tilly Losch. When Tilly danced right out of his life, James commissioned a new carpet with the footprints of his dog in it, the dog making, he dryly remarked, ‘a more faithful friend’.

Other rich people commissioned Surrealist interiors:

  • Swiss architect Le Corbusier was commissioned by eccentric millionaire Carlos de Beistegui to design his Paris apartment in a style which combined fantastical elements with clean cut modern lines
  • clean Le Corbusier-designed furniture was included in Dali’s house in Portlligat, Spain
  • aristocrats Charles and Marie-Laure de Noailles commissioned Man Ray to shoot a Surrealist film at their modernist pad on the Riviera

By the late 1930s the new surreal style of interior design had been given a name, Fantasy Modernism.

This suite of objects amount to some of the greatest hits of first wave surrealism but they weren’t alone. Meret Oppenheim produced equally imaginative and talismanic sets of surreal objects such as the fur cup and saucer mentioned above, and her birds-leg tables.

Occasional table (1939) by Meret Oppenheim

Occasional table (1939) by Meret Oppenheim

Modern Surrealist furniture

Once you turn the corner into the post-war period, you encounter two big rooms full of more contemporary interpretations of surrealist furniture, by designers from the 1960s, 70s, 80s and through on to the present day. These include lamps, chandeliers, some tables, but above all a lot of weird, wacky, and humorous chairs.

Hand Chair by Pedro Friedeberg (about 1962; this version 1965) Vitra Design Museum

I find it very revealing that this chair started life as a throwaway, joking remark of Friedeberg’s to a carpenter. He thought it would be funny to try and make a chair shaped on a human hand. For me this little anecdote is symptomatic of the way Surrealism stopped being subversive and became a type of visual joke, more like a branch of comedy than an art movement.

There’s:

  • a chair made out of burned carbon i.e. has been burned to a crisp – Smoke Thonet chair number 209 by Maarten Baas (2019)
  • Capitello chair by Studio65, a chair shaped like the capital of a classical column only made of comfy styrofoam instead of marble
  • Ruth Francken’s Man Chair (1971), shaped like a man’s body, the legs the shape of real legs, the arms effigies of two real arms
  • a chair made out of two thick jagged slabs of grass held together by thick steel springs
  • La Momma, a feminist piece by Gaetano Pesce (1973), the ball and chain referencing the oppression of women in a patriarchal society
  • Due Più by Nanda Vigo (1971)
  • Conquest by Nina Saunders (2017)

There’s a chair by Sara Lucas, characteristically lowering the tone (not necessarily a bad thing) with its two boobs made of lots of cigarettes glued together. What I noticed was a) that’s a really basic, anonymous, institutional chair, the kind you get at a school or college, and b) the cigarettes are really nicely arranged, not just bodged together but arranged in a neat concentric circles which bring out what a visually pleasing thing a cigarette is, with its nice alternation between white tube and sandy brown filter; the brown matching the wood brown of the chair seat and back i.e. it’s a funny gag, ha ha, but it’s also a nice ensemble to look at, aesthetically.

Cigarette Tits [Idealized Smokers Chest II] by Sarah Lucas (1999) © Sarah Lucas. Courtesy of Sadie Coles HQ, London

Picking up on the sofa theme set by Mae West, there’s a bang up-to-date piece, wherein a classic Chesterfield sofa, covered in trademark buttons, has been ‘released’, set free, and ‘melted’ out of shape and over the floor, in the manner of Dali’s melting watches – Pools and Poof! by Robert Stadler (2019).

There are several chandeliers, including this striking piece by Ingo Maurer. It immediately made me think of Cornelia Parker‘s famous exploding works, and made me wonder which came first.

Porca Miseria by Ingo Maurer (2019 edition of 1994 design) Vitra Design Museum

And dominating one of the rooms, a life-sized model of a horse, cast in black plastic and with an everyday lamp coming out of its head.

Horse Lamp by Front Design (2006), manufactured by Moooi BV, Breda /Niederlande, Plastic; metal. Vitra Design Museum

When you learn that this comes in a suite of animal furniture including a rabbit lamp and a pig table, you realise the original impulse has become washed out into a kind of homely humour. It’s become about as ‘radical’ as Ikea.

Fashion

One of the most high profile aspects of design is fashion, which holds shows around the world on an annual basis at which dress and clothes designers compete feverishly to outdo each other with new and outlandish ways to ornament the (tall, skinny) female body.

The world of Surrealism overlapped the vast ocean of fashion design, events and, above all, magazines, from the start of the 1930s when, as I’ve described, the visual side of the movement took over from the purely literary.

Thus several surrealist artists also worked as fashion photographers, including Lee Miller and Man Ray. Some, like Dalí and de Chirico, created covers for fashion magazines such as Vogue (some are included here). The exhibition includes fashion photographs and vintage copies of fashion magazines to highlight these connections

Dalí’s collaboration with the French fashion designer Elsa Schiaparelli (who set up her haute couture house in 1927) resulted in several ground-breaking designs. Their first collaborative piece, the Telephone Dial Powder Compact of 1935, became very popular and was copied and bootlegged for the mass market.

Over in a side room is a dais with five shop-window mannekins sporting classic surrealist designs. One applies Schiaparelli’s signature pink to a minidress contoured to look like the chest and stomach of a very buff man. Another is a modern reworking of iconic Skeleton Dress. There’s a dress by contemporary designer Mary Katrantzou which, when you look closely, uses elements of a typewriter.

Typewriter’ Printed Silk Dress by Mary Katrantzou (2018) Courtesy of Mary Katrantzou

Alongside other designs by Maria Grazia Chuiri, Christian Dior, Iris van Herpen and emerging Afro-surrealist inspired fashion designer Yasmina Atta.

These are funny conceits well executed but I couldn’t help thinking they’ve reduced Surrealism to a gag, a gif, a meme, a one-liner. ‘Did you see the typewriter dress?’ ‘Yes, Wasn’t it funny?’

Generally, by the time something reaches the world of fashion its disruptive energy has, by definition. been neutered, for example punk. Nothing is disturbed. Everything remains in place, but with lolz for a million Zoolander clones.

From communism to consumerism

At around this point in the exhibition, where I encountered the absorption of the Surrealist impulse into the world of international jet-setting fashion, I began to have my doubts.

Breton wanted Surrealism to trigger a genuine revolution in society and perception. He thought bourgeois society could be smashed apart by ripping a great tear through reality and letting out deeper realities. He talked about ‘convulsive beauty’, he wanted a kind of stricken, epileptic aesthetic.

Breton and many other Surrealists became card-carrying communists during the wartorn 1930s. Their movement was a protest against a bourgeois industrial society which had reached the end of its useful life and needed to be torn down to create a free-er, fairer world.

Ironic, then to see the entire movement, the impetus for revolutionary change, utterly absorbed, neutralised, defanged, neutered and then absorbed into the world of the international haute bourgeoisie in the form of high fashion. For me high fashion is the acme of consumer capitalism with its relentless drive for novelty and new product to keep the profits rolling in.

Fashion is not only a forward post of consumer capitalism but at the cutting edge of unnecessary consumption, the epitome of built-in obsolescence whereby you simply have to buy this season’s must-have items and junk last year’s hideously out of date clothes, handbags etc. Epitome of the compulsive need to keep up, to buy the new thing, which we now know, without any ambiguity, is using up the earth’s finite resources and destroying the planet.

Nothing I say, do or write can dent the huge power of the destructive urge to buy buy buy ever-new stuff, but I despise it and, in a way, fear it, this hysterical need to use up all the planet’s resources in the neurotic pursuit of novelty. What will our grandchildren make of the urge to fly round the world from fashion show to fashion show, seeking endless novelty, encouraging the throwing away and junking of what we have, burning up the planet at an ever-increasing rate.

Is Surrealism dated?

Putting aside my antipathy to the world of fashion, by the end of the exhibition the plethora of objects had raised another, pretty basic question, which is: Does any of this shock and surprise any more, cause the kind of frisson of fear, unnerve the viewer, let the unconscious erupt from the conscious mind with shocking force etc, as the Breton’s manifestos hoped it would?

The short answer is, of course: No. No, it doesn’t. Surely Surrealism has been completely assimilated into our bourgeois, neo-liberal, consumer capitalist society. The famous icons, the lobster phone, the Mae West sofa, every painting by Dali, these have been around for nearly 90 years, and you see images of them in any number of art books or postcards in what my kids call bougie (pronounced ‘boozhee’) shops.

Take the series of plates by Piero Fornasetti which run variations on a wonderfully blank, idealised portrait of the Victorian opera singer Lina Cavalieri. I suppose if you were actually eating off one of these, then it might give you a frisson to scrape away at the mashed potato and slowly reveal an eye looking at you. But as an image and idea I feel I’ve seen this hundreds of times and, indeed, almost 400 variations exist, of which seven are on display in an appealing little set hanging on the wall.

Wall plates no. 116 from the series Tema e Variazioni by Piero Fornasetti (after 1950) Fornasetti Archive

In other words, surely most Surrealist art, these days, instead of conveying ‘the shock of the new’ is the precise opposite – reassuring and familiar. We smile or laugh when we see the lobster phone and go ‘oh yes’ with a pleasant feeling of recognition.

Art changes nothing. All art is swiftly assimilated into bourgeois society and loses the ability to shock or even make the viewer think. The simple act of being displayed in a gallery neutralises art, makes it into a mental commodity, to be discussed in highbrow conversations or namedropped to make you seem swanky. Or into an actual commodity, which can be safely hung on the walls of any investment banker or corporate lawyer, or bought by Arab or Russian billionaires and salted away in a vault in Switzerland as part of their diversified investment portfolio.

Thus, for example, the exhibition includes black and white photos recording the Surrealist display Dali created for the 1939 New York World’s Fair. Apparently you entered the suite of bizarrely decorated rooms by walking between models of a woman’s open legs and through a wall-sized vulva into a ‘womb’ containing a predictable congeries of Freudian imagery, complete with numerous scantily clad models arranged in alcoves or sprawling on a bed amid unlikely ‘Surreal’ bric a brac. Looking at these photos now, they seem like a standard chorus girl show with added lobsters.

A lot of the exhibition, in other words, feels warm and nostalgic, pretty much the opposite of what Breton et al originally had in mind.

Up-to-date exhibits

The curators promise, and the exhibition title indicates, a review from the 1920s up to the present day i.e. covering just about a century of Surrealism, and nearly a third of the objects on show are from the past 50 years.

Thus there are a lot of works from more recent times, the 80s, 90s, noughties, generally by artists I’d never heard of. This is particularly true of the big items of furniture, mostly chairs, which dominate the last few rooms or sections of the show, including:

  • Gae Aulenti’s Tour (1993), a table made from a glass top supported by four bicycle wheels set in chrome forks
  • Jasper Morrison’s ‘readymade’ Handlebar Table (1982)
  • Roberto Matta’s amusing MagriTTA Chair, a sofa style chair which is filled with an enormous green apple, obviously a nod to Magritte’s apple paintings
  • the cartoon chair of Fernando and Humberto Campana from 2007, a basic wide-angle modernistic chair which is then infested with cuddly toys based on Disney characters
  • Sella (1957), by brothers Achille and Pier Giacomo Castiglioni, which is composed of a bicycle saddle mounted on a post fixed into a hemispherical base, blurring the boundary between furniture and art
  • video of how contemporary designers Ronan and Erwan Bouroullec use an intuitive, automatic drawing process to discover new imagery and forms
  • sketch furniture which is created using motion capture cameras to capture the movements of a designer’s hand in the air, save this as a digital file and then use 3D printing technology to print out the object the designer originally sketched out in the air; there’s a video of the process and an actual life-sized chair designed and created using this approach

Or simpler things, Surrealist objects like this absurdist hairbrush spouting hair, worthy of Magritte.

Beauty Hairbrush by BLESS (2019 edition of 1999 design) Vitra Design Museum

Maybe I’m being unfair, maybe I lack taste or sympathy, but I found most of the works in the second half of the show, from the 1960s onwards, far less engaging than the material from the first, classic, era. Take three examples from towards the end of the exhibition.

Björk

The famous musician, composer, performer, singer, songwriter etc Björk, is represented by videos of three fairly recent tracks. Visitors pop on swish earphones and listen to the track while you watch the video. They are:

Well, they’re very well made indeed, both the music and the videos – deliberately different, eschewing visual and musical clichés, consciously innovative and imaginative. And yet…and yet…Björk Guðmundsdóttir, born in 1965, has been Björking for 40 years now (her first single was in 1983). She has become a byword in the pop/fashion/music video businesses for her wildly inventive outfits and compellingly original videos etc. Her oeuvre demonstrates the strengths and weaknesses of being a lifelong innovator in pop music. But whatever you think of her exactly, she doesn’t tear the veil of bourgeois convention from the world because thousands of pop and rock musicians and video makers have been doing similar or comparable things for decades.

Tilda Swinton

Over by the fashion mannekins are some photos of famous and award-winning actress Tilda Swinton wearing some bizarre / surreal jewellery.

Same as with Björk, Tilda, born in 1960, feels over familiar. She has been doing her brave androgynous schtick since she first appeared in Derek Jarman’s films in the mid-1980s i.e for nearly 40 years. Far from disturbing me, tearing the veil from my mad unconscious urges, Tim Walker’s photos of Swinton looked like standard Sunday supplement fashion shoot any time in the past 30 years, just with a particularly ‘arty’ kink.

Sarah Lucas

I went to the original Sensation exhibition at the Royal Academy of Arts back in 1997 and it was a genuinely transformative experience, to see so much vibrantly exciting and innovative artworks, all by a young generation of artists reflecting the ‘modern’ world, all in one place. But it’s been some time now since Damian Hirst’s sharks in a glass tank stopped being subversive or world-shattering and became a kind of joke, common enough knowledge to be used in popular cartoons.

Sarah Lucas never reached Hirst-like levels of fame and notoriety, because she kept (I think) her visual metaphors to a much more modest scale and her works reek of laddish, pub culture, and schoolboy (or girl) jokes. Hence her cheap and cheerful work, Cigarette Tits.

Cigarette Tits by Sarah Lucas (1999)

Compare and contrast with Lucas’s fried eggs t-shirt which has become a popular postcard in the kind of bougie shops I mentioned earlier.

When has an art movement run its course?

This all raises the question: when do you recognise that – or admit that – a style has run its course, is worn out, has become pedestrian – has, in fact, become a cliché?

It’s a more relevant question for Surrealism than maybe any other art movement in history because Surrealism set out to be more shockingly subversive than any other art movement in history (with the possible exception, I suppose, of its parent, Dada).

So where are you, what are you to make of it, when the most deliberately bourgeois-bating, consciously ‘subversive’ art movement of the 20th century has long since arrived on the front of colour supplements, inspires high fashion dresses, is reduced to jokes and cartoons, has been done to death in TV, movies, comedy, in every channel of output, only to feature in calm and sedate and scholarly exhibitions like this one?

The curator’s view

Kathryn Johnson, the exhibition’s main curator, optimistically claims that:

“If you think Surrealism fizzled out in the 1960s, think again. This exhibition shows that it is still alive and well and that it never really went away. The early Surrealists were survivors of the First World War and the 1918 influenza pandemic, and their art was in part a reaction to those horrors. Today, in the context of dizzying technological change, war and another global pandemic, Surrealism’s spirit feels more alive than ever in contemporary design.”

Hmm. Are we in the midst of dizzying technological change? I mean, isn’t your laptop this year, or your smartphone, pretty much like the one you had one or five years ago? Maybe you can do a few more tricks on it, but isn’t it basically the same? And did the COVID-19 pandemic produce shattering changes in social structure and values? Not really. I don’t think so. And has the war in Ukraine turned Britain upside down, decimated a generation of young men, traumatised the western world? No, not really, not at all.

Like all curators, Johnson is paid to make the most powerful possible case for her show, and you can see how she’s roping in these adventitious historical events to try and do so, but…she doesn’t persuade me.

Did Surrealism have any impact on twentieth century design?

For the entire time I was at the gallery I was beguiled by the objects on display and spent all my mental energy reading the main wall labels, and then the many captions for each of the individual pieces. A labour of love or a fool’s errand, depending on your point of view.

It was only on the Tube home that something really struck me. The curators claim that Surrealism had a major impact on 20th century design but I’m not sure they prove it in this exhibition. They have gathered nearly 350 Surrealist exhibits, hundreds of which demonstrate how striking and powerful individual Surrealist objects, furniture, photos, films and so on can be. No doubt about it.

But whether Surrealist principles, the Surrealist aesthetic, actually impacted the broad range of 20th century design, that’s a lot less clear and the more I thought about it the less plausible it seemed.

Sure there were striking Surrealist chairs and lamps and chandeliers and some ‘Surreal dresses’, but…these are all one-offs. No-one is going to buy the melted Chesterfield sofa or the chair made out of two jagged slabs of glass, or the lamp sticking out of a horse (well, one or two wealthy people might).

My point is that pretty much all the designed objects in the show are one-offs, inspiring, amusing luxury artefacts or art objects, but…could any of them be mass produced and sold in significant numbers? Not really (the one notable exception is the Fornasetti plates, which have been mass produced).

The fad for adding Surreal elements to interior design was christened ‘Fantasy Modernism’ in the late 1930s, but how many homes did it every apply to? The curators name four. Not a large number, is it?

Compare and contrast with the impact of Art Nouveau or Art Deco. A glance at articles about them show that they mainly existed as styles of design: of lovely stained glass and furniture for cafes and restaurants for Art Nouveau; as an entire look in the 1930s which affected everything from blocks of flats to ocean liners.

Or take the impact of the Bauhaus. Without a shadow of a doubt the Bauhaus aesthetic of stripping away Victorian decoration to reveal the clean, geometric functional lines of everything from teapots to high rise buildings massively influenced mid-20th century design of everything, having a world-changing impact on, for example, the design of buildings all around the world for 50 years or so, from the 1930s to the 1980s. Nobody can doubt the profound impact the Bauhaus’s design principles had on all aspects of twentieth century design.

But Surrealism’s impact on design? Look around you. Is anything you can see in your house – interior design, table, chairs, sofa, workbench, laptop, sink, kettle, cups, or outside, the design of cars or bikes or buildings – does anything anywhere around you betray the slightest impact of the Surrealist impulse to yoke together the bizarre and the weird and the absurd? I don’t really think so.

Sure, there are a lot of Surreal works of art. Certainly a contemporary photographer or fashion designer can invoke or reference some aspects of the visual language worked out by Surrealist painters and photographers all those years ago. Movies can have Surreal dream sequences etc. But design? Mass market, mass produced, widely available objects which everyone could have in their house, mass produced styles of car design or architecture? No. Not at all.

Is the entire concept of design the opposite of Surrealism?

There’s a related point: designing anything and then converting the design into an actual object, especially an object produced through industrial manufacturing, obviously takes a lot of time, effort, precision of design and co-ordination of the manufacturing process.

Surrealism was committed to automatic writing, bizarre juxtapositions, spontaneous eruptions of the unconscious, savage breaks in reality. How could the weird, dissociative effects aimed at by Surrealism be reconciled with the careful calculation required of designing anything?

I wonder whether, by bombarding the visitor with 350 examples of Surrealist art works, photos, magazine covers, sculptures, paintings and so on, the curators somehow dodge the central point at issue. ‘Objects of Desire: Surrealism and Design 1924 to Today’ is a magnificent assembly of Surrealist works in all formats, and includes a lot of interesting, intriguing and amusing pieces from its origins right up to the present day. But does it make its case for the widespread influence of the Surrealist way of thinking on 20th century design. I was left wondering…

Top ten exhibits

The curators made a handy selection of top ten items. I might as well share it with you.

1. Lobster telephone by Salvador Dalí

One of the exhibition’s most iconic works and a key moment in Surrealism’s transition from art to design. Dalí designed it for the collector Edward James, and in the show it is positioned next to a Mae West sofa to bring to mind an image of James’ wild interiors. It is a fully functioning telephone, designed to give the impression that its user is kissing the lobster when speaking into the receiver. Dalí saw both lobsters and telephones as erotic objects, and his first designs for this object were titled the ‘Aphrodisiac Telephone.’

Lobster Telephone by Salvador Dalí (1938) Photo West Dean College of Arts and Conservation. © Salvador Dalí, Fundació Gala-Salvador Dalí, DACS 2022

2. Destino by Salvador Dalí

The cartoon animation collaboration with Walt Disney described above.

3. Porte-Bouteilles by Duchamp

A 1964 re-edition of Duchamp’s 1914 original Porte-Bouteilles or bottle rack. A ready-made sculpture, the original was bought at a department store in Paris. Duchamp didn’t think to keep it, and it was only when the piece became famous later on that he got an identical rack from the same store and remade it. Placing this mass-produced, industrial object in an artistic context was a hugely important gesture. It emphasised concept over craft, one of several gestures by Duchamp which in effect created ‘conceptual art’ which has been hugely influential ever since.

Bottle rack by Marcel Duchamp

4. Look 6 Haute Couture by Schiaparelli

Maison Schiaparelli’s shocking pink dress features a trompe-l’œil pattern embroidered by glass tubes, following the contours of a muscular (male?) body. This silhouette is echoed across Maison Schiaparelli’s Spring Summer 21 collection, and is modelled on Elsa Schiaparelli’s 1930s wooden mannequins – a pair called Pascal and Pascaline – that she showed in her shop window in Paris.

Look 6 Haute Couture by Schiaparelli (Spring/Summer 2021) Courtesy of Schiaparelli

5. Hay by Najla El Zein

Created by contemporary designer and sculptor El Zein, this is a piece of porcelain with hay inserted into the holes it to give the impression that it is growing out of the stone. Part of a series called ‘Sensorial Brushes’, this work plays with the transition between familiar and unfamiliar. El Zein’s imaginative use of materials, and the call to her audience to experience the world differently, places her firmly within the Surrealist canon.

6. Fur bracelet by Méret Oppenheim

Méret Oppenheim designed a fur-covered bracelet for Elsa Schiaparelli and reportedly wore the prototype when meeting up with fellow artists Pablo Picasso and Dora Maar at a Parisian café. They played with the idea that anything might be covered in fur, and Oppenheim soon afterwards created her widely celebrated Surrealist work ‘Luncheon in Fur / Object’ – a fur covered cup and saucer (see above) which ‘disrupts expectations’ by combining the domestic with the uncanny.

Fur bracelet by Meret Oppenheim

7. Cadeau by Man Ray

One of the first works you see in the show is called ‘Cadeau’ or ‘Gift’ by Man Ray. The story goes that Man Ray was on his way to one of the first Surrealist exhibitions in 1921 and needed to make a piece on the hoof to show. He went into an ironmonger and bought a flat iron and some nails, before proceeding to stick the nails to the flat iron with glue. Not only does it make the iron completely dysfunctional, it also has this aggressive, proto-punk edge. Instead of being a domestic tool for pressing clothes neatly, it becomes a weapon that could rip your clothes.

Cadeau by Man Ray

8. Sketch Chair by Front Studio

This ‘Sketch Chair’ is designed by literally sketching in mid-air with hand gestures. These gestures are captured using motion capture technology, then translated into 3D printed works. The 3D form captures the spontaneity and messiness of human movement in a functional piece of furniture.

It connects with Picasso’s light drawings, photographed by Gjon Mili, from 1949, shown in a photograph beside the Sketch Chair.

9. Photographs by Tim Walker

Tim Walker is known for using Surrealist imagery in his fashion photography. Both photographs in the exhibition featuring Tilda Swinton as a model are from a shoot for W magazine titled ‘Stranger than Paradise’. Walker and Swinton went to Mexico, to the architectural folly La Pazas, created by Edward James – the man who commissioned the lobster telephone and Mae West Lips sofa from Dalí.

They used the folly as a set for a fashion shoot inspired by Surrealist artists, referencing works by painters like Leonora Carrington and Leonor Fini. In the exhibition the photos are placed next to original paintings by Carrington (‘The old maids’, ‘The house opposite’) and Fini. Walker’s photography also features jewellery by Vicki Beamon, namely jewel-encrusted lips reminiscent of Dalí imagery.

10. Kosmos in Blue collection by Yasmina Atta

Working in the spirit of the rapidly expanding Afrosurrealist movement, Yasmina Atta’s Kosmos in Blue – from her graduate collection – derives from the confluence of different cultures, including the designer’s Nigerian heritage and her interest in Japanese manga and Gundam girls.

The piece on display here is a set of embellished leather wings that move intermittently. The foam harness attaching the wings to the wearer’s body has an intentionally DIY-feel, as it was made in Atta’s studio over COVID lockdown when her access to materials was limited. She wanted the final product to reflect this experience of constriction, and as a result the wings represent a more personal and ready-made brand of couture.


Related links

Other Design Museum review

Cornelia Parker @ Tate Britain

Cornelia Parker (CBE, RA) is a very well-known and successful figure in British art. Born in 1956, she’s become famous for her ‘immersive’ i.e. BIG works. Above all she is a conceptual artist. What is conceptual art? According to the Tate website:

Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s.

In some exhibitions you react to the painting or sculpture immediately, as an object in space which fills your visual cortex with sensations and impressions. You don’t necessarily have to read the wall labels. With conceptual art it is almost always vital to read the wall label in order to understand what you’re looking at. Sure, you could still respond naively and sensuously to the work’s appearance but you would be missing out on 99% of its meaning and intention.

The wonderful wall labels

This major retrospective of Parker’s career brings together almost 100 works, spanning the last 35 years. So that’s quite a lot of reading you have to do in order to understand almost every one of these pieces.

But a major feature of the exhibition is that the wall labels are written by Parker herself. Most wall labels at exhibitions are written by curators who, in our day and age, are obsessed with the same handful of issues around gender and ethnicity and lose no opportunity to bash the visitor over the head with reminders of Britain’s shameful, imperial, racist, slave-trading past etc etc.

So it is a major appeal of this exhibition that, instead of every single piece explained solely in terms of race or gender – as it would be if Tate curators had written them – Parker’s own wall labels are fantastically interesting, insightful, thought-provoking insights into her way of thinking and seeing the world. Instead of the world of art being reduced to a handful of worn-out ideas, Parker’s wall labels are as entertainingly varied as her subject matter, full of stories, anecdotes, bright ideas, explanations of technique, aims, collaborations.

They give you a really privileged insight into her worldview and into her decades’-long ability to be interested, curious, take everyday objects and have funny and creative ideas about how to transform them. After spending an hour and a half working through her thought processes for the different pieces, some of her creative spirit begins to rub off on you, you begin to see the everyday world the way she does, full of opportunities for disruptive and fun interventions. In this respect, this exhibition is one of the most genuinely inspiring I’ve ever been to.

Types of work

The exhibition includes immersive installations, sculptures, photographs, embroidery and drawings, as well as four large-scale, room-sized installations, and two rooms showing her art films. At the simplest, physical level, the pieces can be divided into two categories: Small and Large. Examples of the small will serve as an introduction to the large.

Introductory

In the downstairs atrium of Tate Britain stands a single sculpture, preparing you for the exhibition ahead.

The Distance (A Kiss with String Attached) by Cornelia Parker (2003) © Tate Photography

It is, of course, a life-size cast of Rodin’s sculpture, The Kiss, wrapped up in a mile of string. A vague symbolic gesture towards ‘the ties that bind’ people in relationships, maybe. In the nearby wall label Parker describes this as a ‘punk gesture’, which I found very significant. It’s the only time she mentions punk but she was just 20 when it hit, maybe at art school by then, so its attitude of really offensive, in-your-face irreverence must have taken her art school by storm. The point is, various later wall labels repeatedly say that she is interested in destruction and violence – but not violence against persons, against things. Her art does violence to inanimate objects in all kinds of inventive, creative and often very funny ways.

But there is, as so often, a further twist to the tail. Wrapping The Kiss in string is a relatively tame thing to do compared with Dada, Surrealist, Duchamp provocations from 100 years ago. It becomes more interesting when you learn that some opponents of conceptual art within the art world, fellow young irreverent artists, vandalised the original version of The Distance by cutting up the string into short sections, thus ‘liberating’ the sculpture.

And best of all, that Parker was undaunted and promptly gathered up all the cut-up pieces of string and tied them back together around a mysterious object at the centre, ‘a secret weapon’, which is unnamed and unknown.

‘The Distance (with concealed weapon)’ by Cornelia Parker (2003) © Cornelia Parker (Photo by the author)

Small

I’ll jump straight in and give examples.

‘The Negative of Words’ (1996)

Parker realised that when an engraver engraves words into silver, for example into a cup like the Wimbledon champion’s cups, tiny fragments or curls of silver are generated. This piece is a pile of the shavings thus created. Parker contacted a silversmith, who agreed to her proposal, and it took several months to accumulate enough shavings for her to create the little mound, with sprinkled outliers, which we see on display here. As she points out, each sliver represents a letter, is the trace of a letter, is the inverse of writing, of language. They are absences made solid. This idea really resonated with me as I admired this carefully created little mound and its sprinkled outliers.

‘The Negative of Words’ by Cornelia Parker (1996) © Cornelia Parker (Photo by the author)

‘Luck Runs out’ (1995)

In the case next to it is an old dictionary. Under careful supervision, Parker arranged for a shotgun loaded with dice to be fired into the back of the book. The die penetrated to different depths into the text and jammed most of the pages together. As it happens the post-shooting dictionary automatically fell open at a page about ‘luck’. Hence the title, The luck of the draw. The roll of the dice.

‘Luck Runs Out’ and ‘The Negative of Words’ by Cornelia Parker © Cornelia Parker (Photo by the author)

Apparently it’s part of a series titled ‘Avoided Objects’, so-called ‘object poems’ which ‘explore the fractured, unmade and unclassified’. The series explores ‘the denied and repressed’, which sounds a bit hackneyed and stale until she goes on to specify what that means in practice – the backs, underbellies or tarnished surfaces of things, which is much more interesting. Hence shooting this dictionary ‘in the back’.

‘Embryo Firearms’ (1995)

While in Hartford Connecticut, Parker asked to visit the factory where the famous Colt 45 handgun is made. She was surprised to discover the process began with blank featureless gun-shaped casts, before any working parts were added. She asked if she could have one and the Americans, obliging as ever, gave her two and gave them a nice smooth industrial polish. Adding the word ’embryo’ to firearm juxtaposes the birth of the gun with the general idea of the birth of a human being, alongside a tool which might potentially bring it to an end.

‘Embryo money’ (1996)

Fascinated by money, Parker asked permission to visit the Royal Mint in Pontyclun, Wales. She asked for some samples of coins before they were ‘struck’ i.e. had the monarch’s face, writing, value, corrugated edges and everything else added – just the blank dummy coins. Embryo money, before it has accrued any of the power which so dominates all our lives.

‘Embryo Firearms’ (1995) and ‘Embryo money’ (1996) by Cornelia Parker © Cornelia Parker (Photo by the author)

See what I mean by ‘conceptual’. You could relate to these just as intriguing objects, but the stories behind them – the anecdotes of Parker’s expeditions to interesting and unusual places to see industrial processes in action – add immeasurably to the enjoyment.

‘Exhaled cocaine’ (1996)

Parker developed a relationship with His Majesty’s Customs and Excise. She visited and got to know them at their Cardiff headquarters over a period of several months. One of the many, many types of contraband objects they confiscate are drugs. Parker persuaded them to let her have a seizure of cocaine after it had been incinerated. A million pounds worth of cocaine turned to ash, which is on display here, as a sad little pile.

In her wall label, Parker adds the coda, which you’d never have got from a curator, that she really loves the way Customs and Exercise destroy things in such a theatrical way, steamrollering fake Rolex watches or alcohol. ‘Like me, they are often symbolically killing things off.’ This kind of casual, candid opinion is a lovely insight into her way of thinking.

Inhaled cliffs’ (1996)

A personal favourite was ‘Inhaled cliffs’. She asked Customs about methods people use to smuggle stuff into the country, especially drugs, and discovered that some drugs can be used to ‘starch’ sheets, so a set of innocuous looking sheets turn out to be drenched in heroin, cocaine or other illicit substances which can be extracted once they’re safely in the country. This notion inspired ‘Inhaled cliffs’ in which Parker starched sheets with chalk from the white cliffs of Dover, ‘smuggling’ those great symbols of England into bed with her. She is tickled by the notion of ‘sleeping between cliffs’.

‘Exhaled cocaine’ (1996) and Inhaled cliffs’ (1996) by Cornelia Parker © Cornelia Parker (Photo by the author)

I’m focusing a bit much on these objects in cases. There were conventional things attached to the wall, prints, flat objects treated in various ways. Photographs, for example. On her way to her studio past Pentonville Prison she noticed workmen plastering cracks in the perimeter wall, creating vivid white abstract shapes. They then started to whitewash the wall as a whole so, before these irregular, crack-shaped gestures disappeared, she quickly took photos with her phone and developed a set of 12 prints which are hung here, titled ‘Prison Wall Abstract’.

Or the ‘Pornographic drawings’ (1996). As part of her ongoing conversations with HM Customs she asked for examples of contraband and they gave her (along with the bag of cocaine ashes) chopped up lengths of pornographic film. Parker dissolved the fragments in solvent to create her own ink. She used this ink to create Rorschach blots i.e. poured them on one side of a piece of folded paper, pressed the other side down on the inked side and reopened it to have a symmetrical image. For some reason, all the ones she made (or chose to display) came out ‘to be particularly explicit’.

It dawns on me that these works are beyond ‘conceptual’ in the sense that they might better be described as anecdotal. Often there isn’t a grand concept, project or goal behind them – there is happenstance and accident. Seeing an opportunity to do something interesting and seizing it.

The other obvious thing is that she’s about transforming objects from one state to another. She starts with ‘found objects’ – gun moulds, unstamped coins, porn movies, cocaine and so on – and, in the examples I’ve given, doesn’t even transform them herself, but recognises their artistic potential.

Medium

Using this technique of remodelling the existing and everyday, is a middle-sized work titled ‘Black Path (Bunhill Fields)’ from 2013. Parker describes playing hopscotch on pavements with her daughter. This led her to pay attention to pavements and to notice the antiquity of the old stone paving in Bunhill Fields near Old Street. She got permission to pour liquid rubber into the cracks in a path through Bunhill Fields. When the rubber dried she used the mould to make a metal cast, memorialising the captured cracks in bronze. She then suspended the mould on pins so that the cracks in the pavement hover a few inches above the floor, making it seem more spectral and ghostly. (It’s an accidental quirk that my photo of it features so many people’s feet.)

‘Black Path (Bunhill Fields)’ (2013) by Cornelia Parker © Cornelia Parker (Photo by the author)

Large

The interest in destruction I’ve mentioned earlier really comes to the fore in the three most famous room-sized installations in the exhibition. These are by way of being her greatest hits. They are:

  • Thirty Pieces of Silver (1988 to 89)
  • Cold Dark Matter: An Exploded View (1991)
  • Perpetual canon (2004)

Cold Dark Matter: An Exploded View (1991)

I’ll quote her wall label in its entirety:

We watch explosions daily, in action films, documentaries and on the news in never-ending reports of conflict. I wanted to create a real explosion, not a representation. I chose the garden shed because it’s the place where you store things you can’t quite throw away. The shed was blown up at the Army School of Ammunition. We used Semtex, a plastic explosive popular with terrorists. I pressed the plunger that blew the shed skywards. The soldiers helped me comb the field afterwards, picking up the blackened, mangled objects. In the gallery, as I suspended the objects one by one, they began to lose their aura of death and appeared reanimated. The light inside created huge shadows on the wall. The shed looked as if it was re-exploding or perhaps coming back together again. The first part of the title is a scientific term for all the matter in the universe that can’t be seen or measured. The second part describes a diagram in which a machine’s parts are laid out and labelled to show how it works.

I’ve seen photos of this many times. Seeing it in the flesh I realised several things:

  1. it is a mobile – a very complex mobile, but in principle the same kind of thing my son makes to hang his origami figures from his ceiling
  2. it has a cubic, rectangular shape i.e. it is the opposite of chaotically exploding outwards; it is very contained
  3. this is achieved by hanging multiple objects from the same string, not just one
  4. as people walk slowly respectfully round it the eddies of air they stir
  5. and placing a single light bulb at the centre of it means not only that is casts shadows on the wall, but as the string move gently, so a) your perspective through the multiple layers of debris shifts and changes b) the shadows they cast on the wall subtly change

Cold Dark Matter: An Exploded View (1991) by Cornelia Parker © Cornelia Parker (Photo by the author)

Perpetual canon (2004)

Again, I’ll give Parker’s words verbatim:

I was invited to make a work for a circular space with a beautiful domed ceiling. I first thought of filling it with sound. This evolved into the idea of a mute marching band, frozen breathlessly in limbo. Perpetual Canon is a musical term that means repeating a phrase over and over again. The old instruments had experienced thousands of breaths circulating through them in their lifetime. They had their last breath squeezed out of them when they were squashed flat. Suspended pointing upwards around a central light bulb, their shadows march around the walls. This shadow performance replaces the cacophonous sound of their flattened hosts. Viewers and their shadows stand in for the absent players.

Perpetual canon (2004) by Cornelia Parker © Cornelia Parker (Photo by the author)

The ghosts of music past. I was really taken by the idea that the shadows of us, the visitors, stand in for the long-dead players of these instruments.

Thirty Pieces of Silver (1988 to 1989)

Tate own this piece. In Tate’s words:

‘Thirty Pieces of Silver’ comprises over a thousand flattened silver objects, including plates, spoons, candlesticks, trophies, cigarette cases, teapots and trombones. All the objects were ceremoniously crushed by a steamroller at Cornelia Parker’s request. She then arranged the transformed silver artefacts into thirty disc-shaped groups, which are suspended about a foot from the floor by hundreds of fine wires. Each ‘disc’ is approximately ninety centimetres in diameter and they are always hung in orderly rows, although their overall configuration is adapted each time to the space in which the work is displayed. The title refers to the biblical story of how the apostle Judas Iscariot betrayed Jesus in return for thirty pieces of silver.

And in Parker’s own words:

Drawn to broken things, I decided it was time to give in to my destructive urges on an epic scale. I collected as much silver plate as I could from car-boot sales, markets and auctions. Friends even donated their wedding presents. All these objects, with their various histories, shared the same fate: they were all robbed of their third dimension on the same day, on the same dusty road, by a steamroller. I took the fragments and assembled them into thirty separate pools. Every piece was suspended to hover a few inches above the ground, resurrecting the objects and replacing their lost volume. Inspired by my childhood love of the cartoon ‘deaths’ of Roadrunner or Tom and Jerry, I thought I was abandoning the traditional seriousness of sculptural technique. But perhaps there was another unconscious reason for my need to squash things. My home in east London was due to be demolished to make way for the M11 link road. The sense of anxiety lingers even now.

‘Thirty Pieces of Silver’ by Cornelia Parker (1988 to1989) © Cornelia Parker (Photo by the author)

Newer works

‘War Room’ (2015)

The biggest thing in the show is a big long room entirely lined with red paper with holes in, titled ‘War Room’, from 2015. As usual, you need to read the wall label to understand what this is about.

‘War Room’ by Cornelia Parker (2015) © Cornelia Parker (Photo by the author)

In Parker’s own words:

I was invited to make a piece of work about the First World War. I had always wanted to go to the poppy factory in Richmond, London. Artificial poppies have been made there since 1922. They are sold to raise for money for ex-military personnel and their families. When I visited the factory, I saw this machine that had rolls of red paper with perforations where the poppies had been punched out. The fact that the poppies are absent is poignant, because obviously a lot of people didn’t come back from the First World War, and other wars since. In this room there’s something like 300,000 holes, and there’s many more lives lost than that. I decided to make War Room like a tent, suspending the material like fabric. It’s based on the magnificent tent which Henry VIII had made for a peace summit with the French king in 1520, known as the Field of the Cloth of Gold. About a year later they were at war again.

The story, the anecdote, is, as usual, interesting but the resulting work less so.. You walk in, you walk round, you walk out. Meh. A slightly shimmery effect is created by having two layers of hole-y red paper hanging everywhere but…this is a minimal effect.

‘Magna Carta (An Embroidery)’ (2015)

One work dominates the penultimate room. It is an enormous, thirteen-metre long, hand-sewn embroidery of the Wikipedia page about Magna Carta.

‘Magna Carta (An Embroidery)’ by Cornelia Parker (2015) © Cornelia Parker (Photo by the author)

It is a collaborative work which involved over 200 volunteers including public figures, human rights lawyers, politicians and prisoners. On the wall is a list of the worthies who signed up to be involved, an entertaining list of the usual suspects: media-friendly left-of-centre politicians (Tom Watson, 55), actors, psychotherapists (Susie Orbach, 75), academics (Germaine Greer, 83), other high profile artists (Antony Gormley, 72), writers (Jeanette Winterson, 63, Philip Pullman, 75) and so on.

What struck me was how old all these people are. Our generation is declining, now, Cornelia. We’ve trashed the planet, wrecked the economy and degraded the political system for our children: best to withdraw tactfully and not keep on shouting and marching and trying to dominate everything. We’ve had our time. Over to a younger generation and hope they can do better.

The videos

There are two rooms featuring 7 or 8 art videos running consecutively. The best thing in the first room is a new six-minute video titled ‘FLAG 2022’ and made specially for this exhibition. Very entertainingly this shows the creation of a Union Jack by seamstresses in a factory only run backwards – so we see the British flag being systematically unsown and unstitched. It’s accompanied by a straight orchestral rendition of the hymn Jerusalem. Shame. It would have been funnier if Jerusalem had been played backwards, too – but maybe that would be a bit too 1960s, too much like the old avant-garde.

The second film room is about America. Oh dear. That far away country of which we hear so little, which is so rarely in the news, whose cultural products we so rarely get to see. This room contains:

  • One film which Parker shot at the annual Halloween Parade in New York, that city we so rarely hear about. Personally, I’d have though New York has enough artists of its own to do this kind of thing.
  • Another film showing supporters of Donald Trump milling about in New York outside Trump Tower sometime during his election campaign. I don’t know whether you’ve heard of Donald Trump? He was quite big in America, apparently.

Frankly, these films are a let-down. It’s disappointing to see Parker genuflecting to God’s Own Country – as if New York or America need the slightest bit more coverage or publicity than the saturation exposure they already enjoy in the British media, TV, radio, films, academia, all across the internet and the toxic marshes of social media. There are other countries in the world, you know.

I’d like to have shared FLAG or any of the others in t his review, but I can’t find any of them on the internet.

Politics

From here onwards – in the second half of the exhibition – politics emerges as an increasingly dominant theme.

As well as the flag movie, the British film room includes a film made in the empty chamber of the House of Commons in 2018 using a camera attached to a drone, titled ‘Left Right and Centre’. Not only did they make this film, but they made a film about the making of the film, in which I caught Parker telling us how damn difficult it was to make because of health and safety, fire risk assessment etc. When artists start to think they are heroes…

I thought the result was very underwhelming. The drone hovered over the table you see in front of the Speaker of the House’s chair, set between the two front benches, which usually has the Mace on it – except in this film it had been covered with copies of England’s daily papers, which fluttered in the downdraft of the drone’s little rotors.

As with Donald Trump, I am sick to death of Parliament, the succession of incompetent politicians we have had leading our nation for the past 12 years, and the corrupt newspapers which lie and distort in order to keep the ruling party in power. Watching a 10-minute film on the wretched subject of contemporary British politics went a long way to destroying the happy, creative, open impression inspired by the first half of the exhibition.

In 2017 Parker was the first woman to be appointed official artist for the General Election. In this role, she observed the election campaign leading up to the 8 June vote, meeting with politicians, campaigners and voters and producing artworks in response. She made several films during this period including the aforementioned drone movie, and one titled ‘Election Abstract 2018’, a documentation of Parker’s observations during the campaign, posted on her Instagram account.

None of this, to my mind, is as funny or inventive as flattening a load of silverware with a steamroller, or displaying a little pile of incinerated cocaine, or soaking sheets in white cliff chalk, or taking a mould of Bunhill pavement. It just looks and sounds like the news, with little or no inventiveness and no particular insight. British politicians are idiots. Our newspapers are studies in bias and lies. So what’s new?

My heart sank even further when I read that another of her films is titled ‘Chomskian Abstract 2007’ and is an interview with the American social critic and philosopher Noam Chomsky, apparently about ‘the entwined relationship between ecological disaster and capitalism’.

Oh dear God. It’s not that Chomsky’s wrong or that hyper-capitalism driven on by American corporations and banks is not destroying the planet; it’s just that he is such a bleeding obvious choice for Great Man of the Left to interview. And so very, very, very old (born in 1928, Noam Chomsky turns 93 this year).

Is this the best Parker can do in the field of ‘radical’ or oppositional politics – interview a 93-year-old? It’s like waking up one morning and deciding you need to make a film about the environment and, after careful consideration, deciding you’d like to interview David Attenborough (aged 96) on the subject. Topics, and interviewees, don’t come more crashingly obvious than this.

Each year thousands and thousands of students in Britain graduate from international studies, politics or environmental courses. It would have been so much more interesting to interview the young, the future generation, and get their point of view rather than the done-to-death, decrepit old.

And he’s another Yank for God’s sake. What is it with the British cultural establishment and their cringing obeisance to American culture, artists, film-makers, politicians and intellectuals. Of the 200 contributors to the Magna Carta embroidery, in their summary of the show the curators single out just two – Wikipedia founder Jimmy Wales (who stitched ‘user’s manual’ into the embroidery) and Edward Snowden (who stitched the word ‘Liberty’).

Notice anything about them? Yes, they’re both American. Americans just seem carry more weight with Britain’s art establishment. They have a little more human value than mere Brits like you and me. More pizzazz, more glamour.

Lastly, what has Chomsky actually changed in his 50-odd years of railing against the American government and global capitalism? Nothing. Come to that, what good does getting 200 media-friendly worthies to contribute bits to a 13-metre-long embroidery achieve? Nothing. It’s a feel-good exercise for everyone involved and maybe it makes some of the gallery visitors feel warm and fuzzy and virtuous, too. Which is nice, but…

But meanwhile, out in the real world, Liz Truss and Kwasi Kwarteng are destroying the economy, ruining Britain’s standing in the financial world, and declaring war on the poor, the unwell, the vulnerable, even trashing support among their own middle-class, mortgage-paying supporters, in a zombie march of ideologues divorced from reality.

Flying a drone round the House of Commons or stitching a room-length embroidery are not only feeble responses to the world we live in but, worse, I found them imaginatively limiting and cramped. If you’re going to tackle the terrible world of contemporary politics, at least do it with some style and imagination. Old newspaper photos of Theresa May or Jeremy Corbyn didn’t take me anywhere new – unlike the pile of silver shavings or a cast of Bunhill pavement or most of the pieces in the first half of the show, which opened magic doors in my mind.

Maybe Parker should stick to what she does best – blowing things up. Guy Fawkes Night is coming. Just a thought…


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Virgil and the Christian World by T.S. Eliot (1951)

T.S. Eliot: a potted biography

The great Anglo-American poet, playwright and critic T.S. Eliot (1888 to 1965) came from America to England just before the First World War, published a small number of sensuous, ‘modernist’ poems displaying a sensibility in debt to French Symbolism. Soon after the Great War ended he published the seminal modernist poem, The Waste Land (1922), but also established a reputation as a deeply insightful and intelligent critic of much earlier English literature, particularly the Jacobean playwrights and metaphysical poets of the early 1600s.

His reputation was enhanced and his influence steadily spread, especially among the younger generation of writers and critics, due to his editorship of a literary and philosophical magazine, The Criterion, which he edited from 1922 to 1939. Readers of The Criterion came to realise that, far from being a youthful revolutionary who was set on overturning literary values, and despite the radical format of The Waste Land (collage, fragments, quotes from multiple foreign languages), Eliot was, in fact, a profoundly conservative thinker.

This was made explicit when in 1928, in the foreword to a book of essays titled ‘For Lancelot Andrewes’ (the Jacobean bishop and writer) Eliot ‘came out’, declaring himself ‘a classicist in literature, royalist in politics and Anglo-Catholic in religion,’ committing himself to hierarchy and order in all three fields.

He had already taken British citizenship. In the later 1930s he attempted to revive the verse drama of the Elizabethans which he had spent so much time analysing, on the modern stage, writing a series of plays in verse, starting with Murder in the Cathedral (1935).

During the Second World War Eliot worked as a reader for the publishers Faber & Faber during the day and a fire warden at night. The masterpiece of his maturity was the set of four longer poems collectively titled the Four Quartets (Burnt Norton, 1936, then East Coker, The Dry Salvages, and Little Gidding, published in 1940, 1941 and 1942, respectively).

After the war, Eliot settled into the position of Grand Old Man of Poetry, with a leading role at the leading publisher of poetry, Faber. He continued to write essays and make broadcasts on the radio. With his public conversion to Anglicanism he had achieved an ideological and psychological stability.

Having lived through two ruinous world wars, a lot of Eliot’s effort was now devoted towards helping to define and preserve the best of European civilisation. His early essays had been offshoots of a poet working through his own problems and interests; the later essays are a conscious effort to establish a canon of classic literature, trying to formulate universal categories to define and preserve it.

It is in this spirit that in 1951 he delivered a lecture on BBC radio titled ‘Virgil and the Christian World’, which was then printed in The Listener magazine and collected in the volume On Poetry and Poets.

Virgil and the Christian World

As befits radio this is not an address to a specialist audience of literary scholars but a more broad brush approach for a general audience. Eliot explains that he is not setting out to assert Virgil’s special value as a poet or moralist, but to pay attention to ‘those characteristics of Virgil which render him peculiarly sympathetic to the Christian mind’.

Straight away he addresses the notorious issue of the Virgil’s Fourth Eclogue. This, the fourth and final of Virgil’s set of lengthy poems about the countryside or ‘eclogues’, contains extravagant praise of the forthcoming birth of a special child, who, the poet claims, will bring a new golden age, the return of Saturn and the Virgin, the gift of divine life etc.

As early Christianity established itself, early Christian apologists ransacked all available texts, from old Jewish scriptures to the entire literature of the ancient world, looking for proofs and prophecies, any text anywhere which could be made to prefigure and predict the arrival of their messiah.

Thus the Fourth Eclogue was quickly adopted by these apologists and Virgil was made an honorary Christian before the fact because Christians claimed he had been gifted with spiritual prophecy to foresee the coming of the Christ. Throughout the entire Middle Ages and well into the Renaissance scholars and theologians genuinely believed that Virgil had predicted the coming of the Christ child.

Eliot makes clear right at the start that he in now way thinks that Virgil foresaw the birth of Christ (some 19 years after he himself died). Rather, Eliot thinks the Fourth Eclogue was written to a friend of his, Pollio, whose wife was expecting a baby.

[In fact, the notes to the OUP edition of the Eclogues which I recently read, suggest that this passage of the Fourth Eclogue was describing the hoped-for son of the recent marriage of Antony and Octavius’s sister, Octavia (in 40 BC), because contemporaries devoutly hoped that their union would usher in a final end to Rome’s endless civil wars.]

Eliot then ponders the meaning of the words prophet, prophecy and predict. He himself has no doubt that Virgil had no inkling of the coming of Christ. On the other hand, he suggests that if the word ‘inspiration’ means writing something the poet himself does not completely understand, and which he or she may themselves misinterpret once the ‘inspiration’ has passed, the maybe Virgil was ‘inspired’.

This is by way of preparing the way for some autobiography, for Eliot then paints an obvious portrait of himself and how his most famous poem, The Waste Land, which arose out of his purely private concerns, amazed him by going on to become the rallying cry for an entire generation of writers.

A poet may believe that he is expressing only his private experience; his lines may be for him only a means of talking about himself without giving himself away; yet for his readers what he has written may come to be the expression both of their own secret feelings and of the exultation or despair of a generation.

A poet need not know what his poetry will come to mean for others just as a prophet need not understand the meaning of their prophetic utterance. Thus there may be any number of secular, historical explanations for the Fourth Eclogue; but he repeats his definition of ‘inspiration’ as tapping into a force which defies all historical research.

Anyway the point is that the existence of the Fourth Eclogue which so many Christians mistakenly thought was divinely inspired, gave Virgil and his writing a kind of free pass into the new Christian order, opening ‘the way for his influence in the Christian world’, something mostly denied to other explicitly ‘pagan’ authors. On the face of it this is a lucky accident but Eliot doesn’t believe it was an ‘accident’.

Eliot anticipates Jackson Knight’s view, expressed in his Penguin translation of the Aeneid from a few years later (1956), that Virgil was the poet of the gateway, looking both back to the pagan world and forwards to the Christian dispensation.

So after these preliminaries, Eliot gets to the meat of his essay: In what way did Virgil anticipate the Christian West? Eliot tells us that, to answer his question, he is going to rely on a book by a German scholar, Theodor Haecker, titled Virgil: The Father of the West.

Before he gets started though, Eliot rather surprisingly devotes a page to autobiography, telling us that as a boy learning the Classics he much preferred Greek to Latin (and still does). However he found himself immediately more drawn to Virgil than Homer. The main reason was that the gods in Homer are so capricious, selfish and immoral and all the so-called ‘heroes’ are in fact coarse ruffians. The only decent character in the entire book is Hector.

Nowadays, if forced to explain his preference, he’d say he prefers the world of Virgil to the world of Homer: it was ‘a more civilised world of dignity, reason and order’. Eliot goes on to compare the Greek and Roman worlds, saying the culture of Athens was much superior in the arts, philosophy and pure science. Virgil made of Roman culture something better than it was. Then he quietly makes a very big leap in the argument, claiming that Virgil’s ‘sensibility was more nearly Christian than any other Roman or Greek poet’. How so?

He says he is going to follow Haeckel’s procedure of examining key words in the poem and highlights laborpietas and fatum. However, he immediately drops this plan and veers off into a consideration of the Georgics. What Virgil really intended the Georgics for remains a bit of a mystery: they’re not particularly useful as a handbook to farming, and they contain many digressions completely extraneous to their ostensible subject matter. After pondering Virgil’s motivation, Eliot concludes that Virgil intended to affirm the dignity of agricultural labour and the importance of the cultivation of the soil for the wellbeing of the state, both materially and spiritually.

The Greeks may have perfected the notion that the highest type of life is the contemplative life (Plato et al) but they tended to look down on manual labour. For Eliot the Georgics affirm the importance of manual labour on the land. Then he makes a leap to talk about the monastic movement which grew up within medieval Christendom and how the monastic orders combined both aspects, combining a life of contemplation with quite arduous labour, as both being essential for the life of the complete man.

It may be that the monks who read and copied Virgil’s manuscripts recognised their spirit in the Georgics.

Now onto the Aeneid. Eliot says this epic poem is:

concerned with the imperium romanum, with the extension and justification of imperial rule.

(quite unlike W.A. Camps with his silly claim that the Aeneid is not a work of propaganda.) But Eliot claims that Virgil’s ‘ideal of empire’ was founded on a devotion to the land, to the region, village, and family within the village. This brief explanation is his discussion of labor because Eliot now turns to the more important concept of pietas.

In English someone is called ‘pious’ if they make a great show of their religious faith. Eliot says that pietas for Virgil had much wider associations: it implies a respectful attitude to the individual, the family, the region, and towards ‘the imperial destiny of Rome’. Aeneas is also ‘pious’ in his respect towards the gods and punctilious observance of rites and offerings.

Eliot delves further into the meanings of the word. Piety to a father can, for example, mean not only affection for an individual but acceptance of a bond which one has not chosen. Piety towards the father is also an acceptance of the correct order of things, and so, obliquely, respect of the gods. After some shilly-shallying Eliot gets to the point he wants to make: all these forms of piety involve some form of humility and humility is a professedly Christian virtue. Aeneas is, in this respect, the polar opposite of Achilles or Odysseus, who have not a shred of humility about them.

[Interestingly, given the date of the essay, written soon after the end of the Second World War, Eliot describes Aeneas as the original Displaced Person, a fugitive from a ruined city and an obliterated society.]

Odysseus endures ten years of exile but eventually returns to his home hearth, to a loyal wife, a dutiful son, his slaves and faithful dog. Whereas Aeneas can’t go home: he is a man on a mission and accomplishing that mission, the poem makes repeatedly clear, is only the very beginning of the long history of Roman origins and rise. Odysseus’s story ends when he gets home (and kills the suitors); Aeneas’s entire journey is itself only an episode in the much larger history of Rome.

Therefore, Eliot asserts (with a bit of a stretch, in my view) Aeneas is ‘the prototype of a Chistian hero’. He accepts the duty laid on him by the gods regardless of the price to himself. He subjugates his own will and desires to his god-given task.

This brings Eliot to fatum (so, OK, we are proceeding via the key word process). There is an excess of words to cover this concept. Eliot says maybe the best translation is ‘destiny’ but then makes the polemical point that you cannot have ‘destiny’ in a purely mechanical universe.

Eliot then tries to give a Christian interpretation to Aeneas’s ‘destiny’. It is a burden and a responsibility rather than a reason for self glorification. It happens to some men and not others because some have the gifts and the responsibility but they did not make these; something external made these and the humble man accepts the gifts and the responsibility. Who made them? Not the anthropomorphised pagan gods who behave so selfishly and vulgarly in the poem. Some power much deeper.

He zeroes in on the entire Dido episode (book 4) in particular Aeneas’s shame at abandoning Dido, shame which is revived when he meets her shade in the underworld in book 6 and she refuses to look at him or speak. This, for Eliot, more than personal shame, symbolises how much Aeneas suffered to carry out his god-given destiny. Making his point completely explicit, he says: ‘it is a very heavy cross to bear.’

Eliot can think of no other pagan poet who could have created this situation with its emotional, psychological and philosophical subtlety.

What does this ‘destiny’ mean? For Virgil’s conscious mind, and his contemporary readers, not least the all-powerful Augustus, there’s no doubt it means the imperium romanum. But Eliot then makes some dubious and sweeping generalisations. He claims that Virgil proposed for his contemporaries a noble ideal of empire – personally, I don’t see that in the poem. There are Anchises’ lines reminding Romans they must rule well and there’s praise of Augustus for bringing peace and order, but that’s about it. Eliot stretches it by claiming that Virgil’s work proposed ‘the highest ideal’ for any secular empire. Personally, I just don’t see that. In my view what the Aeneid praises is military conquest, might and power. There might be a strong thread of regret and sadness running through it, but that is the poem’s overt message.

Eliot proceeds to claim that ‘we are all, so far as we inherit the civilisation of Europe, still citizens of the Roman Empire’. Is that true? I can see strong points on either side of the argument.

But he then goes on to claim that the Roman Empire Virgil imagined was ‘greater’ than the actual one of generals and proconsuls and businessmen. Eliot claims that Virgil invented this ideal and ‘passed [it] on to Christianity to develop and to cherish.’ I disagree on a number of levels.

First, I find the actual process of creating empire, as described in the Aeneid, to be hyper-violent and destructive, flagrantly contrary all Christian morality.

Second, part of the ideal which Eliot is describing must include the idealisation of the first Roman emperor Augustus. I can see why Virgil a) pinned his hopes for peace on b) sucked up to, the most powerful man in Rome, but in the end the entire poem amounts to the propagandistic adulation of a mass murderer, a man who achieved supreme power by liquidating all his enemies and then ensuring nobody could threaten his unique rule for the next 40 years. The Aeneid defends a military dictator.

So I just don’t agree when Eliot claims that it passed onto its Christian heirs any kind of noble model for how to run a spiritual empire. The exact opposite.

Eliot reiterates his claim that we are all still citizens the Roman Empire. Well, there are arguments both ways but ultimately I think he is incorrect. The state we inhabit in England in 2022 owes more to the non-Roman traditions of the pagan Danes and Anglo-Saxons and feudal Normans who each conquered this country, than to the Roman civilisation which they eclipsed. Our democracy owes nothing to Rome; it developed out of medieval feudalism, itself an import from Normandy, itself a colony of Vikings.

I think Eliot’s vision of a total European civilisation is erroneous and that his claim that this civilisation was in part inspired by Virgil is wrong.

Moreover, there is a blindingly obvious problem here, which is that Eliot is defending empire as an ideal form of government. Obviously this was considerably easier to do in 1951 than it would be nowadays. Millions of inhabitants of the former British Empire have immigrated to Britain and their children, in politics, in culture and in academia, have enthusiastically set about damning the British Empire, rubbishing any claim that it ever had anything positive about it. So just the sound of Eliot defending empire as a ‘noble ideal’ sounds badly in our time.

As to whether Virgil’s ideal of a suprahuman noble empire actually did inspire church authorities in the Middle Ages, I think you’d need a book examining the impact of the Virgilian ‘ideal’ on theologians, political thinkers, churchmen and statesmen throughout the Middle Ages and that would be a vast undertaking. I bet one exists, though. I’d love to read it.

This was, after all, only a half-hour radio lecture. Eliot’s sensitivity and insight and intellect bring out all kinds of aspects of Virgil’s achievement. And his thesis – that Virgil’s achievement of creating the notion of an ideal empire was to haunt the European imagination – is one of those ideas which is itself so big and vague that you can’t really prove or disprove it. But it’s an interesting perspective to add to the hundreds of other perspectives with which we can view Virgil’s epic poem.

Eliot concludes his essay with a page about a word which is missing from Virgil which is ‘love’. Amor does crop up, especially in the story of Dido and Aeneas. But it has nowhere near the force and central importance that it has for a Christian poet like Dante. It never has:

the same significance as a principle of order in the human soul, in society and in the universe that pietas is given.

Thus Eliot agrees (no surprise) with Dante’s positioning of Virgil in the Divine Comedy as an inspired teacher and guide right up to the barrier of belief, which he is not allowed to cross. In Eliot’s view Virgil mapped out a universe which in many ways anticipated the Christian universe, and handed many of its values onto later generations of Christian thinkers (and poets). But there is a line and Virgil doesn’t cross over into being a Christian. He can’t.

Instead, Virgil was limited by his position in history: the highest value he can conceive of, the value which underpins so much of the character and action of the Aeneid, was pietas, respect for father, family and fatherland.

But the highest value for the Christian poet Dante was love, the love which has created the entire universe and moves the sun and the stars and which we can all aspire to. Next to the gorgeous rose of Dante’s universe of love, Virgil’s pietas is a hard, iron sword, the colour of Roman imperialism.


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Introductions to the Aeneid – 1. W.F. Jackson Knight

‘The best poem of the best poet’
(John Dryden on Virgil’s Aeneid)

I own three English translations of the Aeneid:

  • the 1956 Penguin classics prose translation by W.F. Jackson Knight
  • the 1970 verse translation by Allen Mandelbaum
  • the 1991 Penguin classics prose translation by David West

The next three blog posts consist of detailed analyses of the introductions to each of these translations. The third one, about David West’s introduction, also give examples of each of the translators’ work.

1956 introduction by W.F. Jackson Knight

William Francis Jackson Knight (1895 to 1964) was an English classical scholar. After private school and Oxford he served in the First World War where he was badly wounded. You would expect this to give him to give him special insight into the brutal fighting in the Aeneid but it doesn’t. After returning to civilian life he taught Classics at another private school for ten years before securing a place at a university (Exeter) in 1936. He was elected as a Fellow of the Royal Society of Literature in 1945 and spent 4 years doing a translation of his beloved Aeneid, which was published by Penguin in 1954.

There’s a very full Wikipedia article about him. In it a contemporary, M.L. Clarke, is quoted as saying of him:

‘Knight had little gift for sustained and coherent argument and exposition, and he could, under the influence of whatever book or article he had just been reading, write what can only be described as nonsense.’

With friends like that… Even more striking, we learn that in later life Knight became consumed by a belief in spiritualism:

‘When he began his Penguin Aeneid translation, T.J. Haarhoff, ‘who had for years claimed spirit-contacts with Vergil himself…now put his powers at Jack’s service’… Vergil visited Haarhoff ‘every Tuesday evening’ and wrote out answers to questions raised by Knight, whom Vergil regularly called ‘Agrippa.’ ‘He still does,’ writes Haarhoff in January 1968… Vergil then began to contact Knight ‘directly at Exeter’ warning him ‘to go slow and be extra careful about the “second half.”‘ Knight gratefully dedicated his [Penguin] translation to Haarhoff. After Knight’s death … Haarhoff [was] assured by a medium that ‘Vergil met him when he went over.’ (Reminiscences of W.M. Calder, 1977)

So some aspects of Jackson Knight’s Penguin translation are influenced by what he thought Virgil told him. In person. This is a more interesting fact than anything in Jackson Knight’s introduction.

***********

Jackson Knight’s 20-page introduction to his translation of Aeneid is typical of a type of old bufferish, old fashioned, romantic, wishy-washy, gushing, hero worshipping and idea-free literary criticism which surrounded me as a boy in the 1960s. I read it before I read the Wikipedia article and so took JK’s frequent mentions of ‘the beyond’ and ‘eternal truths’ and the ‘deep truth’ and ‘truth to life’ to refer to Christian beliefs. Reading the Wikipedia section about his increasing obsession with spiritualism makes sense of the entire orientation of his introduction which is to make Virgil a great teacher of eternal values etc, and to take a soft-lens, romanticising view, emphasising Virgil’s gentleness and sweetness of spirit and thus completely ignoring the testosterone-fuelled hyper-masculine anger and violence which dominates the actual poem, rather than his rose-tinted version of it.

Here’s a summary of key points:

Jackson Knight calls the Aeneid the ‘gateway between the pagan and the Christian centuries’. ‘Virgil is the poet of the Gate.’

Rome rose from being an obscure town in the middle of Italy to running an empire which stretched all round the Mediterranean, slowly and arduously, over a period of some 500 years of continuous warfare.

As the Republic reached its height it was undermined by unparalleled wealth and bitter rivalries for power. Romans who lived through the increasing political violence of the last 50 years of the Republic (which is generally thought to have ended in 27 BC) looked back at what they took to be the noble virtues of their predecessors, their courage, their nobility, their civic high-mindedness. Educated Romans became increasingly interested in antiquarianism and the study of their city’s roots. By going right back to the very original roots of the city, by moulding a new, vastly powerful version of legends about Prince Aeneas of Troy, Virgil distilled this nostalgia and these feelings for a better, nobler world, into imperishable art – and helped to pass it on to the new Christian culture which began to rise soon after his death (in 19 BC). [This is all wish fulfilment. Obviously Christianity didn’t exist until after Jesus was executed in 33 AD, or until Paul began formulating his theories about it in the 40s, and was just one obscure oriental sect among many until well into the second century AD.]

It was on a journey accompanying Augustus to Greece that Virgil fell ill and died, aged just 51. He wished his literary executors, Varius and Tucca, to destroy the Aeneid but they talked him out of it. [The poem is, in my opinion, visibly unfinished, both in structure and many details, but thank God they succeeded.]

Jackson Knight (JK) rather naively claims that Virgil foresaw that Augustus would bring the Roman world peace and order, and supported him. That said, it may be one can read subtle criticisms of Augustus’ early brutal methods in some of Virgil’s poetry. JK optimistically says the influence of gentle Virgil and his friend, Horace, may have helped reform Augustus in later life. [Naiveté and rosy-tinted optimism are Jackson Knight’s key notes.]

JK thinks the Eclogues are full of charming thoughts and imagery. [It was reading statements like this that for years gave me a completely misleading impression of the Eclogues, which in actual fact contain passage of bitterness and emotional turmoil.]

JK’s description of the Georgics as ‘poetry of the farm’ containing advice to farmers about crops, trees and animals also omits the harsh punitive tone of some of them, the descriptions of total war, of a devastating plague, a denunciation of sexual passion, and the long mini epic which takes up half the fourth Georgic. Nothing at all of ‘the poetry of the farm’ about any of these bits.

JK limply defines an epic poem as a long narrative poem full of action which tells us about human life and makes us think about the relation between man and superhuman powers; featuring ‘heroes’ who are above ordinary mortals in skill and strength, while not being divine.

Epic poems consist of two types: oral poems developed by illiterate cultures; and written poems composed in literate cultures, but usually copying the form and conventions of their oral predecessors.

The legend that Aeneas escaped the sack of Troy, sailed the seas to Latium and founded a settlement near modern Rome was ancient. Virgil rewrote it at epic length for his own purposes.

JK points out, pretty obviously, that the entire story is threaded with divine appearances and admonitions with commands, advice and help from various gods. They work through dreams, visions, omens, the worlds of prophets and clairvoyants. Virgil gives the impression of literally believing the human world is subject to the powers of another world. [I wonder whether JK was a Christian. I wonder whether this is why he describes the poem in such positive glowing terms, ignoring the rage and hatred and bitterness and destruction.]

JK is confident that everything in the poem is ‘true to life’, as if that is the measure of an epic poem, when, quite obviously, the opposite is true. From its characters to its diction an epic poem is meant to be a supremely heightened and idealised vision of the lives of gods and heroes.

JK thinks the Aeneid contains many moral messages [as literary critics in the 1950s optimistically believed literature, in general, did.] He thinks the poem displays a Greek moral – avoid excess – and a Roman one – be true (to gods, homeland, family). This is a neat antithesis, but very simplistic.

Thus JK interprets book 4, the love affair with Dido, as describing an unwise relapse by both the protagonists into excessive love, which led them both to abandon their duties to their people and cities, and then led to an excessive counter-reaction when she killed herself at being jilted.

A comparable example of excess occurs at the bitter end of the poem when Aeneas lets his instinct for moderation and forgiveness be overwhelmed by bitterness at Turnus for killing sweet Pallas. This so blinds him with anger that he slaughters his opponent instead of forgiving him.

Following straight on from this observation, JK rather contradicts himself by going on to talk about Virgil’s sweetness and tenderness. He points out, accurately enough, that this quality can sometimes be found in the epic similes which sometimes provide homely human or natural imagery to counterpoint the extreme emotions of fierce battles. He singles out the epic simile which compares Vulcan hammering out the armour for Aeneas to a humble housewife who works all night weaving (8.407 to 415). JK says this is typical of the way Virgil’s deeper meanings ‘softly’ emerge from the text. [It’s a very tendentious example, because many of Virgil’s similes are the opposite of gentle and soft, and depict destructive natural forces, rampaging gods or wild animals.]

As an example of the subtlety and depth Virgil brings to so many aspects of the story, JK compares it with another poem which describes the sack of Troy which was published during his lifetime. In this one, Menelaus comes across Helen hiding from the attacking Greeks and is tempted to kill her – but Venus intervenes to say what a waste that would be since she will still make a perfectly good wife. JK says this is simple and blunt, almost humorously practical and limited.

But in Virgil’s version, it is Aeneas who comes across Helen hiding from the ransack and is momentarily tempted to kill her. By changing the male protagonist of this moment, the scene is transformed and now becomes charged with all kinds of poignancy, Aeneas having all kinds of mixed feelings about the woman responsible for the destruction of everything he holds dear. Then, when Venus intervenes, it is not just as the love goddess as she is in the earlier version, but as Aeneas’s mother, counselling motherly tenderness. She says no humans are to blame for any of this, not Helen nor Paris: it is entirely the gods’ concoction. Thus Venus evokes a complex broil of emotions in Aeneas to turn away anger and bring forgiveness. I thought JK is a Christian because he says this reimagined scene has ‘a moral depth and a certain universality which are almost Christian’ (page 16) and claims that Virgil gets ‘nearer to ultimate truth’ than any poet before him. JK is concerned to make Virgil a sensitive spiritual person, like himself.

JK goes on to generalise about the nature of great poetry. He claims the great poets collect an ‘enormous amount of observations of life’ and then condense it under strong pressure so that when they compose even a few words, they have a great power of suggestion and persuasion. JK claims this is one way in which Virgil developed a style capable of communicating ‘universal truth’.

And it is this which allowed Virgil to condense into a single statement the experience of many generations, in fact of the entire civilisations of the Greeks and the Romans.

JK elaborates this thought by pointing out that Virgil read very widely and remembered everything he read, and so was able to keep in touch with many people, past and present, and ‘be friends with them’. [It feels mean ganging up on a man who was severely injured in the Great War, but this is baby talk.]

Thus JK claims Virgil ‘lived in an ideal world of poetry’. He reorganised the existing ‘poetic thought-world’. Which is why his poetry is so allusive, and works on so many levels.

JK then declines into the kind of hero worship which afflicts so much older Shakespeare criticism. He claims Virgil was sensitive ‘to all points of view’ and all kinds of people, ‘even wicked ones’. Only he could reach the underlying sense of his story. His allusive method helped him tell ‘the truth of art’ not ‘the trivial truth of fact’ [a trite antithesis which, I think, comes from F.R. Leavis].

JK claims Virgil created portraits with a few ‘inspired brush strokes’ rather than detailed realism showing every wrinkle.

Virgil’s wide reading meant that every line and character and plot development contains multiple references to all previous narratives. Thus Virgil’s Aeneas contains bits of the Aeneas who appears in Homer, plus aspects of Homer’s Achilles, Odysseus, Hector, some of Hercules, and also flashes of Augustus.

JK says Virgil uses ‘hundreds’ of phrases of Epicurus in the Aeneid but violently disagreed with Epicurus’s fiercely materialistic philosophy and so sometimes uses Epicurus’s phrases to describe the idealist notions of his philosophical enemy, Plato.

He describes the way the golden bough which Aeneas has to find and pluck in order to visit the underworld almost certainly is a quote from a Greek poem published during Virgil’s lifetime, in which the works of Plato are described as a ‘golden bough, sparkling all round with every virtue’. JK says this is indicative of the importance, for Virgil, of moral goodness leading to ‘spiritual discernment’. [Recurrence of JK’s central obsession with morality and spirituality.]

Virgil spent 11 years writing the Aeneid. He intended to devote a further 3 years to revising it, but died before he could do so. He was a perfectionist. Sometimes he wrote only one line a day. JK points out there are many places in the poem which require a final revision and completion, places where ‘a period of time or a distance’ contradicts what he says elsewhere. [I’ve flagged up some of these discrepancies in my summaries.]

There are discrepancies of fact, like how the Trojans managed to transport the vast amount of treasure and household gods and fabrics and so on which are regularly described, in just 20 ships which they knocked together after the sack of Troy. The reason is the imagery and symbolism are more important than any practical consideration. After all [JK banally comments] it’s not as if anyone believes any of this is true!

And the battle scenes sometimes contain irreconcilable details, techniques and weapons. Specifically, sometimes the warriors fight like Homeric heroes, sometimes like Caesar’s legions. This anachronism, says JK, is deliberate. Virgil is like a portrait painter who tries to capture not the face in front of him but all previous stages of the sitter’s life. And so his poem tries to capture all previous phases of warfare, up to and including the present, in so doing reaching down to show ‘what all war is like.’

The reader new to epic poetry may be taken aback by the exaggerations, of the heroes’ size and strength. But JK hastens to assure us these are not ‘childish’, no, no, they are ‘serious and important symbolic means’ ‘for expressing deep and true meanings.’

[By this stage you can see how JK’s fetishising of the concept of the ‘true’, assigning it ‘depth’ and ‘universal’ meaning, are a kind of magnet. Whatever point he sets out to make, his discourse is drawn back to the magnetic pole of what a genius Virgil is, how he expresses ‘deep’ and ‘universal’ truths. How these truths anticipate the ‘universal truth’ of Christianity. How he encapsulates all time, how he understands all types of people. This is, to be blunt, an inadequate mental system or ideology with which to describe such a vast multifaceted work of art. It is sentimental because it keeps relapsing back into the same comforting hymns of praise. Often JK’s introduction reads like a eulogy. It is more compliments than criticism, in any analytical sense.]

JK picks two moments which distinguish the two protagonists: Turnus holds a bowl of water and it boils over into steam. He is too fiery. Aeneas hold a bowl of water and it reflects rays of light off it; as the water settles the rays settle. Turnus is described as emitting flames and sparks when he gets ferocious for battle. He will burn bright and burn out.

JK points to the many descriptions of dawn or nightfall to illustrate how Virgil used the same basic event but cast it in an infinite variety of words, the start or endings of words being chosen for their sound and how they complement similar words nearby.

Virgil employed several types of rhythm, some governed by long and short syllables, some by stress accents, some by vowel sounds. The delicate interplay of these different systems across numerous lines creates ‘the music of Virgil’.

The translator knows more than anyone that Virgil’s art is subtle because it is often difficult to understand exactly what he means. Often his elliptical and allusive statements need to be expanded in prose in order to convey the full richness of implication and the challenge for the translator is knowing when to hold back and not fully explicate the allusions or implications which he is aware of.

JK tells us Virgil is capable of great variety of tone from ‘apocalyptic majesty’ to a ‘still, small voice’ [characteristic of JK to use a Christian phrase]. Virgil’s general tone is of dignity and formality but he sometimes uses colloquialism and, rarely, something like slang.

The aim of JK’s translation is to let the story tell itself in an impersonal English, removing his own personal style as much as anyone can. But oddities are sometimes permitted because Virgil himself is sometimes ‘odd’. In his day, using Latin for literature was still experimental and hadn’t become as smooth as it was to be even a generation later, for Ovid, for example. It is hard to know exactly how some of the unevennesses in his poems were received in his time, and so difficult to know exactly how to translate them in modern English.

Suddenly JK switches tack from a narrow consideration of Latin style to consider the poem’s place in the entire Western tradition. He announces that the Aeneid was the principle and best known secular book in the Western world. Soon after his death, Virgil began to be worshipped as a divinity. He was awarded a place in Christian worship and art as soon as such things came to be arranged. His imagery in the Eclogues – the picture of a shepherd sitting under a tree piping love songs – influenced every European literature.

The compactness of some of Virgil’s sayings led to the Sortes Vergilianae, where people opened a page of Virgil at random and place their finger blindly on the text and then interpreted its secret meaning. Apparently, Charles I did this before the Battle of Naseby.

On the final page JK’s introduction collapses into hero-worshipping cliché and waffle. ‘The power of Virgil’s poem is like a seed in the ground pushing up into the light; and it is still growing‘ – the force of that last clause meant to convey the impression that the author is ‘still growing’ with it, as if he is part of this great triumphal procession. This is high-sounding bilge.

JK notes that some critics, even in Virgil’s day, wrote against him – this could be interesting if JK quoted any of them and explained what Virgil’s critics said against him, but instead JK collapses into inexcusably weak poetic prose, here, as throughout his introduction, preferring his high-sounding references and allusions to any solid ideas or analysis. Yes, there have been critics of his adored hero, but:

disparagement of Virgil’s overwhelming reputation has always sooner or later collapsed like the walls of Jericho.

This is brainless hero worship. JK compounds this descent into humanistic hogwash by saying it is likely that ‘Virgil, the poet of fidelity, still likes mankind’s fidelity to him‘. This is dire sentimentality devoid of meaning or interest.

In the short introduction to his thorough and useful glossary (pages 343 to 361) JK makes the interesting point that the Aeneid contains nearly 900 names, most of them names of human beings or divinities, though many are place names. Typical of JK not to be precise enough to say how many in each category, which might have led onto interesting analysis. Interesting but doesn’t follow through.

Summary

Over-ripe, out-of-date impressionistic tripe, all-too-pleased with the sound of its own references (the walls of Jericho etc), while palming the reader off with hardly any hard ideas and a dogged determination to make Virgil sound like a gentle, high-minded spiritualist instead of the far more complex, contradictory, daunting and unpleasant poet he actually is, Jackson Knight’s introduction is a typical slice of the high-minded tripe which dominated conservative criticism in the 1950s and 60s.


Roman reviews

Vile Bodies by Evelyn Waugh (1930)

 At Archie Schwert’s party the fifteenth Marquess of Vanburgh, Earl Vanburgh de Brendon, Baron Brendon, Lord of the Five Isles and Hereditary Grand Falconer to the Kingdom of Connaught, said to the eighth Earl of Balcairn, Viscount Erdinge, Baron Cairn of Balcairn, Red Knight of Lancaster, Count of the Holy Roman Empire and Chenonceaux Herald to the Duchy of Aquitaine, ‘Hullo,’ he said. ‘Isn’t this a repulsive party? What are you going to say about it?’ for they were both of them, as it happened, gossip writers for the daily papers.

I tend to prefer older novels to contemporary novels and poetry because they are more unexpected, diverting, free from our narrow and oppressive modern morality and better written. Go any distance into the past and the characters will have better manners and the narrator write a more grammatically  correct English than you get nowadays. There will also be old phrases which I dimly remember from my youth which have now vanished, swamped by all-conquering Americanisms. And, sometimes, you just get scenes which are odder and more unexpected than earnest, issue-led modern fiction can allow itself. Thus, at the opening of Evelyn Waugh’s beautifully written, impeccably well mannered, but ultimately devastating 1932 novel, Vile Bodies, we read:

High above his head swung Mrs Melrose Ape’s travel-worn Packard car, bearing the dust of three continents, against the darkening sky, and up the companion-way at the head of her angels strode Mrs Melrose Ape, the woman evangelist.

Not the kind of sentence you read every day.

Crossing the Channel

Vile Bodies opens on a cross-channel ferry packed with an assortment of Waugh-esque eccentrics, including a seen-it-all-before Jesuit priest, Father Rothschild, a loud and brash American woman evangelist, Mrs Melrose Ape, and her flock of young followers; some members of the fashionable ‘Bright Young People’ aka ‘the Younger Set’ (Miles Malpractice, ‘brother of Lord Throbbing’, and the toothsome Agatha Runcible, ‘Viola Chasm’s daughter’); two tittering old ladies named Lady Throbbing and Mrs Blackwater; the recently ousted Prime Minister, The Right Honourable Walter Outrage, M.P.; and a hopeful young novelist Adam Fenwick-Symes, who has been writing a novel in Paris.

Although there are passages of narrative description what becomes quickly obvious is that Waugh is experimenting with the novel form in a number of ways. One is by presenting short snatches of conversation and dialogue between a lot of groups of characters briskly intercut. No narratorial voice gives a setting or description, there is only the barest indication who’s talking, sometimes no indication at all. You’re meant to recognise the speakers by the style and content of what they say. It’s like the portmanteau movies of the 1970s, like a Robert Altman movie, briskly cutting between short scenes of  busy dialogue.

The book as a whole is a concerted satire on the generation of ‘Bright Young Things’, the privileged young British aristocrats and upper-middle-class public schoolboys who were adolescents during the Great War and who graduated from Oxford or Cambridge in the early 1920s, throwing themselves into a lifestyle of wild abandon and endless partying in the rich man’s quarter of London, Mayfair.

As you might expect, we not only get accounts of their activities, but the point of view of their disapproving elders and betters. Here’s the former Prime Minister, who we often find in conclave with Lord Metroland and Father Rothschild:

‘They had a chance after the war that no generation has ever had. There was a whole civilization to be saved and remade — and all they seem to do is to play the fool. Mind you, I’m all in favour of them having a fling. I dare say that Victorian ideas were a bit strait-laced. Saving your cloth, Rothschild, it’s only human nature to run a bit loose when one’s young. But there’s something wanton about these young people to-day.’

The younger generation’s frivolity is exemplified in the way Adam’s engagement with his fiancée, Nina Blount, is on again, off again, on again, their breaking up and making up punctuating the novel right till the end, in a running gag.

To start it off, Adam telephones Nina to tell her that the customs officials at Dover confiscated his novel and burned it for obscenity. She is sad but has to dash off to a party. In London he checks into the eccentric Shepheards Hotel (note the posh spelling), Dover Street, run by the blithely forgetful owner, Lottie Crump, who can never remember anyone’s name (‘”‘You all know Lord Thingummy, don’t you?’ said Lottie”). Lottie was, apparently, based, as Waugh tells us in his preface, on ‘Mrs Rosa Lewis and her Cavendish Hotel’.

Here Adam discovers the posh and eccentric clientele, including the ex-king of Ruritania (my favourite), assembled in the bar (the parlour) and wins a thousand pounds on a silly bet with a fellow guest. So he rushes to phone up Nina to tell her their wedding is back on again. She is happy but has to rush off to a party, as she always does.

Adam goes back to the group of guests, all getting drunk, and an older chap who calls himself ‘the Major’ offers the advice that the best way to invest his money is bet on a horse. In fact, he knows a dead cert, Indian Runner, running in the forthcoming November Handicap at twenty to one. So Adam drunkenly hands over his newly-won thousand pounds to the Major to put on this horse. The reader little suspects that this, also, will become a running gag for the rest of the book.

Then Adam stumbles back to the phone in the hallway and rings up Nina to ask her about this horse.  It is a comic premise of the novel that the world it portrays is minuscule and everybody knows everybody else, so it comes as no surprise that Nina just happens to know the horse’s posh owner and tells him it’s an absolute dog and will never win anything. When Adam explains that he’s just handed over his £1,000 to a Major to bet on it, Nina says well, that was foolish but she must dash for dinner and rings off. As usual.

Phone dialogue

A propos Adam and Nina’s conversations, Waugh prided himself that this was the first novel to include extended passages of dialogue carried out on the phone. Something about the phone medium offers the opportunity to make the characters sound even more clipped, superficial and silly than face-to-face conversation would:

‘Oh, I say. Nina, there’s one thing – I don’t think I shall be able to marry you after all.’
‘Oh, Adam, you are a bore. Why not?’
‘They burnt my book.’
‘Beasts. Who did?’

Beasts and beastly. Dreadful bores. Ghastly fellows. I say, old chap. That would be divine, darling. Everyone speaks like that, and focusing on the dialogue brings this out.

Gossip columns and the press

Vile Bodies is wall to wall posh. That was its selling point. Waugh tells us that the ‘Bright Young People’ were a feature in the popular press of the time, as the characters in Made In Chelsea or Love Island might be in ours. Hmm maybe the comparison with a TV show is not quite right. After all, the characters appear in the gossip columns of the papers and some of the characters are themselves part of the set who make a career on the side writing about their friends.

When I was younger there were gossip columns by Taki in the Spectator and Nigel Dempster in the Express and Daily Mail. I imagine the same kind of thing persists today. Obviously people like to read about the goings-on of the rich and privileged with a mixture of mockery and jealousy. That’s very much the mix Waugh was catering to. He’s well aware of it. He overtly describes the ‘kind of vicarious inquisitiveness into the lives of others’ which gossip columns in all ages satisfy.

But over and above the permanent interest in the comings and goings of the very rich, the subject of the dissolute younger generation just happened to be in the news at the time and so Waugh’s novel happened to be addressing a hot topic at just the right moment. He was instantly proclaimed the ‘voice’ of that generation and Vile Bodies was picked up and reviewed, and articles and profiles and interviews were spun off it, and it sold like hot cakes. His reputation was made.

Interesting that right from the start of his writing career, it was deeply involved in the press, in the mediaVile Bodies is, on one level, about the rivalry between two gossip columnists for popular newspapers, and feature scenes in newsrooms and even with the editor of the main paper. Two of his books from the mid-30s describe how he was hired by a newspaper as a temporary foreign correspondent, the two factual books, Remote People and Waugh in Abyssinia. And he used the experiences and material from both books as material for his satirical masterpiece about the press, Scoop (1938). If we look back at Decline and Fall with this in mind, we notice that a number of key moments in that book are caused by newspaper reports, and that many of the events are picked up and reported by and mediated by the Press.

Waugh’s 1930s novels are famous for their bright and often heartlessly comic depiction of the very highest of London high society, but it’s worth pointing out how the topic of the Press runs through all of them, and the extent to which his characters perform their roles and are aware of themselves as performers (see below).

Bright Young People

Anyway, back to Vile Bodies, it is a masterpiece of deliberately brittle superficial satire, the text’s fragmentation into snippets of speech enacting the snippets of apparently random, inconsequent conversation overheard at a party, the world it comes from being one of endless parties, endless frivolity, which he captures quite brilliantly.

‘Who’s that awful-looking woman? I’m sure she’s famous in some way. It’s not Mrs Melrose Ape, is it? I heard she was coming.’
‘Who?’
‘That one. Making up to Nina.’
‘Good lord, no. She’s no one. Mrs Panrast she’s called now.’
‘She seems to know you.’
‘Yes, I’ve known her all my life. As a matter of fact, she’s my mother.’
‘My dear, how too shaming.’

It’s a set, a group, a clique. They all know each other and many are related, couples, parents, children, aunts, cousins. Waugh’s novels themselves partake of this cliqueyness by featuring quite a few recurring characters. Figures we first met in the previous novel, Decline and Fall, include Lord Circumference and Miles Malpractice, little David Lennox the fashionable society photographer. Lord Vanbrugh the gossip columnist is presumably the son of the Lady Vanbrugh who appeared in D&F and Margot Maltravers, formerly Mrs Beste-Chetwynde who was a central character in the same novel, also makes an appearance under her new name, Lady Metroland, hosting a fashionable party. (She confirms her identity by whispering to a couple of Mrs Ape’s angels that she can get them a job in South America if she wishes, the reader of the previous novel knowing this would be at one of Lady M’s string of brothels there). And quite a few of these characters go on to appear in Waugh’s later novels. The effect is to create a comically complete ‘alternative’ version of English high society, with its narrow interconnectedness.

Thus we know from Decline and Fall that Lord Metroland married Margot Beste-Chetwynde. She was heiress to the Pastmaster title. Therefore her son, Peter Beste-Chetwynde, in time becomes Lord Pastmaster. Margot caused a great stir in Decline and Fall by going out with a stylish young black man.  Here in Vile Bodies there is a sweet symmetry in discovering that her son is going out with a beautiful black woman. Hence Lord Metroland’s grumpy remark:

‘Anyhow,’ said Lord Metroland, ‘I don’t see how all that explains why my stepson should drink like a fish and go about everywhere with a negress.’
‘My dear, how rich you sound.’
‘I feel my full income when that young man is mentioned.’

Sociolect

The snobbery is enacted in the vocabulary of the text. Various social distinctions are, of course, directly indicated by possession of a title or one’s family. But also, of course, by how one speaks. Obviously there’s the question of accent, the way the upper class distinguish themselves from the middle and lower classes. But it’s also a specific vocabulary which marks one off as a member of the chosen, its sociolect – not only its slang but a very precise choice of key words which mark off a group, signal to other members one’s membership of the group and of course, signal to everyone else their very definite exclusion. Thus:

Divine Mrs Mouse thinks a party should be described as lovely. When her daughter describes the party she’s just been to as divine her mother tut tuts because that single word betokens the class above theirs, indicates that her daughter is getting above her station.

‘It was just too divine,’ said the youngest Miss Brown.
‘It was what, Jane?’

Because it is a word very much associated with the hardest core of the upper classiest of the Bright Young Things, represented in this book by the wild and heedless party animal, Miss Agatha Runcible.

Miss Runcible said that she had heard of a divine night club near Leicester Square somewhere where you could get a drink at any hour of the night.

Bogus This is another word much in vogue to mean simply ‘bad’ with the obvious overtone of fake:

  • ‘Oh, dear,’ she said, ‘this really is all too bogus.’
  • Miss Runcible said that kippers were not very drunk-making and that the whole club seemed bogus to her.

In fact their use of ‘bogus’ is cited by Father Rothschild as one of the things he notices about the younger generation. He takes a positive view of it, suggesting to his buddies Mr Outrage and Lord Metroland that the young actually have very strict morals and find the post-war culture they’ve inherited broken and shallow and deceitful. (In this way ‘bogus’ for the 1920s was similar to what  ‘phoney’ was to be for Americans in the 1950s as popularised by Catcher In The Rye, ‘square’ was for hippies, and ‘gay’ is for modern schoolchildren).

Too ‘Too’ is an adverb of degree, indicating excess. Most of us use it in front of adjectives as a statement of fact, for example ‘This tea is too hot’. But the upper classes use it as one among many forms of exaggeration, indicating the simply superlative nature of their experiences, their lives and their darling selves. Used like this, ‘too’ doesn’t convey factual information but is a class marker; in fact its very factual emptiness, its semantic redundancy, highlights its role as a marker of membership:

  • ‘I think it’s quite too sweet of you…’
  • ‘Isn’t this too amusing?’
  • ‘Isn’t that just too bad of Vanburgh?’

‘It was just too divine’ contains a double superlative, the adverb ‘too’ but also the adjective ‘divine’ itself, which is obviously being used with frivolous exaggeration. The party was divine. You are divine. I am divine. We are divine.

Such and so Grammatically ‘such’ is a determiner and ‘so’ is an adverb. So ‘so’ should be used in front of an adjective, ‘such’ in front of a noun phrase. In this narrow society, they are both used in much the same way as ‘too’, to emphasise that everything a speaker is talking about is the absolute tip top. After listening to someone telling us they had such a good time at such a wonderful party and spoke to such a lovely man, and so on, we quickly get the picture that the speaker lives a very superior life. To get the full effect it needs to be emphasised:

  • Such a nice stamp of man.’
  • ‘It seems such a waste.’
  • Such nice people.’
  • Such a nice bright girl.’

There’s an element of risk in talking like this. Only a certain kind of person can carry it off. Trying it on among people who don’t buy into the entire elite idea, or among the real elite who know that you are not a member, risks ridicule.

So talking like this is a kind of taunt – I can get away with this ridiculous way of speaking but you can’t. The epitome of this verbal bravado is Miss Runcible, whose every word is littered with mannered vocabulary and superlatives, flaunting her superlative specialness, daring anyone else to compete.

Simply Paradoxically, for a very self-conscious elite, the pose is one of almost idiotic simplicity. Consider Bertie Wooster. His idiocy underpins his membership of the toff class. He is too stupid to do anything practical like have a job and his upper class idiocy is a loud indicator that he doesn’t need a job, but lives a life of privilege. Well one indicator of this attitude is use of the word simply.

  • ‘I simply do not understand what has happened’
  • ‘Nina, do you ever feel that things simply can’t go on much longer?’
  • ‘Now they’re simply thrilled to the marrow about it .’
  • ‘She’d simply loathe it, darling.’
  • ‘Of course, they’re simply not gentlemen, either of them.’

Darling Preferably drawled, a usage only the very confident and suave can get away with.

‘Darling, am I going to be seduced?’
‘I’m afraid you are. Do you mind terribly?’
‘Not as much as all that,’ said Nina, and added in Cockney, ‘Charmed, I’m sure.’

Terribly Another denoter of frivolous giddy poshness, since the time of Oscar Wilde at least, via Saki and Noel Coward. Terribly and frightfully.

  • ‘No, really, I think that’s frightfully nice of you. Look, here’s the money. Have a drink, won’t you?’
  • ‘I say, you must be frightfully brainy.’

-making Many of these elements have survived the past 90 years, they continued into the equally frivolous Swinging Sixties and on into our own times, though often mocked, as in the TV series Absolutely Fabulous (1992 to 1996). A locution which is a bit more specific to this generation, or certainly to this book, is creating phrases by adding ‘-making’ to the end of an adjective. Thus:

  • ‘Too, too sick-making,’ said Miss Runcible.
  • ‘As soon as I get to London I shall ring up every Cabinet Minister and all the newspapers and give them all the most shy-making details.’
  • Miss Runcible said that kippers were not very drunk-making and that the whole club seemed bogus to her.
  • ‘Wouldn’t they be rather ill-making?’
  • ‘Very better-making,’ said Miss Runcible with approval as she ate her haddock.

The usage occurs precisely 13 times in the novel, mostly associated with the most daring character, fearless Miss Runcible, and Waugh pushes it to a ludicrous extreme when he has her say:

‘Goodness, how too stiff-scaring….’ (p.174)

This locution made enough of an impression that Waugh singled it out in his preface to the 1964 edition of the novel for being widely commented on, and even taken up by a drama critic who included it in various reviews: ‘”Too sick-making”, as Mr Waugh would say.’ Did people actually say it, or was it a very felicitous invention?

Cockney

In my review of Decline and Fall I noted how much Waugh liked describing Cockney or working class characters and revelled in writing their dialogue. Same here. Thus a taxi driver tells Adam:

‘Long way from here Doubting ‘All is. Cost you fifteen bob…If you’re a commercial, I can tell you straight it ain’t no use going to ‘im.’

This turns out not to be a personal foible of Waugh’s. In Vile Bodies we learn that mimicking Cockney accents was highly fashionable among the creme de la creme of the Bright Young Things.

  • ‘Go away, hog’s rump,’ said Adam, in Cockney,
  • ‘Pretty as a picture,’ said Archie, in Cockney, passing with a bottle of champagne in his hand.
  • ‘Look,’ said Adam, producing the cheque. ‘Whatcher think of that?’ he added in Cockney.
  • ‘Good morning, all,’ she said in Cockney.

At university I knew very posh public schoolboys who had a cult of suddenly dropping into very thick Jamaican patois which they copied from hard-core reggae music (the extreme Jamaican pronunciation of ‘nay-shun’ kept recurring). Same kind of thing here – upper class types signalling their mockery and frivolity by mimicking the accents of the people about as far away from them on the social spectrum as possible.

Alcohol

Everyone’s either drunk, getting drunk or hungover. Their catchphrase is ‘Let’s have a drink’.

‘How about a little drink?’ said Lottie.

The American critic Edmund Wilson made the same comment about the literary types he knew in 1920s New York, and in general about ‘the Roaring Twenties’, ‘the Jazz Era’. Everyone drank like fish.

They went down the hill feeling buoyant and detached (as one should if one drinks a great deal before luncheon). (p.173)

Everyone was nursing a hangover. Everyone needed one for the road or a pick-me-up the next morning, or a few drinks before lunch, and during lunch, and mid-afternoon, and something to whet the whistle before dinner, and then onto a club for drinks and so on into the early hours. At luncheon with Nina’s father:

First they drank sherry, then claret, then port.

It goes without saying that these chaps and chapesses are not drinking beer or lager. Champagne is the unimpeachable, uncritisable, eternal choice for toffs and all occasions.

  • (Unless specified in detail, all drinks are champagne in Lottie’s parlour.)
  • Archie Schwert, as he passed, champagne bottle in hand, paused to say, ‘How are you, Mary darling?’
  • Adam hurried out into the hall as another bottle of champagne popped festively in the parlour.

Drinking heavily and one more for the road and still partying at dawn are fine if you’re in your 20s (and well off and good looking). Give it 40 years and you end up looking and talking like the Major in Fawlty Towers as so many of these bright young things eventually did.

Ballard Berkeley as Major Gowen in Fawlty Towers

The extended scene at the motor races (Chapter Ten) contains a very funny description of four posh people becoming very drunk. Their progressive inebriation is conveyed entirely via their speech patterns, which become steadily more clipped and the subject matter steadily more absurd, so that when a race steward comes round to enquire where the  driver of the car they’re supporting has gone to (his arm was hurt in an accident so he’s pulled into the pits and his car is empty) they immediately reply that he’s been murdered. When the steward asks if there’s a replacement driver, they immediately reply, straight faced, that he’s been murdered too.

‘Driver’s just been murdered,’ said Archie. ‘Spanner under the railway bridge. Marino.’
‘Well, are you going to scratch? Who’s spare driver?’
‘I don’t know. Do you, Adam? I shouldn’t be a bit surprised if they hadn’t murdered the spare driver, too.’

Since they each drink a bottle of champagne before lunch, the three posh friends start to come down at teatime and Waugh is as good on incipient hangovers as on inebriation.

The effect of their drinks had now entered on that secondary stage, vividly described in temperance handbooks, when the momentary illusion of well-being and exhilaration gives place to melancholy, indigestion and moral decay. (p.177)

More on this scene below.

Politics

The satirical point of view extends up into political circles, one of the jokes being that several of the most extreme and disreputably hedonistic of the Bright Young People are, with a certain inevitability, the sons and daughter of the leaders of the main parties and, since one or other of them is in power at any given moment, children of the Prime Minister.

In fact the mockery extends to the novel’s cheerfully satirical notion that the British government falls roughly every week. In the opening chapter we meet the Prime Minister who’s just been ousted, Outrage, and in the same chapter the supremely modish Miss Runcible. Only slowly does it become clear that she is, with a certain inevitability, the daughter of the current Prime Minister (Sir James Brown).

Half way through the book this Prime Minister is ousted because of stories about the wild party held at Number 10 which climaxed with his half-naked daughter, dressed as a Hawaiian dancer, stumbling drunkenly out the front steps of Number 10 and straight into the aim of numerous press photographers and journalists. Disreputable parties held by Tory toffs at Number 10? Well, it seems that in this, as so many other aspects of British life, nothing has really changed since the 1930s.

Moments of darkness

The best comedy, literary comedy as opposed to gag fests, hints at darker undertones. Shakespeare’s comedies tread, briefly, close to genuine cruelty or torment as, for example, in the hounding of Malvolio in Twelfth Night. Comedy generally is an unstable genre. For a generation or more we’ve had the comedy of cruelty or humiliation or embarrassment. I find a lot of modern comedy, such as The Office too embarrassing and depressing to watch.

Waugh’s comedy goes to extremes. It often includes incidents of complete tragedy which are played for laughs, or flicker briefly in the frivolous narrative as peripheral details, which are glossed over with comic nonchalance but which, if you pause to focus on them, are very dark.

It’s there in Decline and Fall when little Lord Tangent has his foot grazed by a shot from the starting gun at school sports day, the wound gets infected and he has to have the foot amputated. A lot later we learn, in a throwaway remark, that he has died.

Flossie’s death

Something similar happens here when a young woman, Florence or Flossie Ducane, involved in a drunken party in the room of one of the posh guests at the posh Shepheard’s Hotel attempts to swing from a chandelier which snaps and she falls to the floor and breaks her neck. Adam sees a brief report about it in the newspaper:

Tragedy in West-End Hotel.
‘The death occurred early this morning at a private hotel in Dover Street of Miss Florence Ducane, described as being of independent means, following an accident in which Miss Ducane fell from a chandelier which she was attempting to mend.

1. All kinds of things are going on here. One is the way moments of real tragedy provide a foil for the gay abandon of most of the characters. Each of these momentary tragedies is a tiny, flickering memento of the vast disaster of the First World War which looms over the entire decade like a smothering nightmare – all those dead husbands and brothers and fathers who everyone rushes round brightly ignoring.

(There’s a famous moment in the story, when Adam is hurrying to Marylebone station to catch a train out to the country pile of Nina’s father [Doubting Hall, Aylesbury], when the clock strikes 11 and everyone all over London, all over the country is still and quiet for 2 minutes because it is Remembrance Sunday. Then the 2 minutes are up and everybody’s hurly burly of life resumes. When I was young I read the handful of sentences which describe it as an indictment of the shallowness of Adam and the world, barely managing their perfunctory 2 minutes’ tribute. Now I see it as a momentary insight into the darkness which underlies everything, which threatens all values.)

2. On another level, the way Adam reads about Flossie’s death in a newspaper epitomises the way all the characters read about their own lives in the press; their lives are mediated by the media, written up and dramatised like performances. They read out to each other the gossip column reports about their behaviour at the latest party like actors reading reviews of their performances, and then, in turn, give their opinions on the columnists/critics’s writing up, creating a closed circle of mutual admiration and/or criticism.

3. On another, more obviously comic, level, what you could call the PR level, Adam smiles quietly to himself at how well the owner of the Shepheard’s Hotel, Lottie Crump, handled the police and journalists who turned up to cover Flossie’s death, smooth-talking them, offering them all champagne, and so managing to steer them all away from the fact that the host of the party where the death occurred was a venerable American judge, Judge Skimp. His name has been very successfully kept out of the papers. Respect for Lottie.

Simon Balcairn’s suicide

Then there’s another death, much more elaborately explained and described. Simon, Earl of Balcairn, has his career as a leading gossip columnist (writing the ‘Chatterbox’ column in the Daily Excess) ruined after he is boycotted by Margot Metroland and blacklisted from the London society through whom he makes his living. He gets Adam to phone Margot and plead to be admitted to her latest party, one she is giving for the fashionable American evangelist, Mrs Ape, but she obstinately refuses. He even dresses up in disguise with a thick black beard and gatecrashes, but is detected and thrown out.

Convinced that his career, and so his life is over, Simon phones in one last great story to his newspaper, the Daily Excess, a completely fictitious account of Margot’s party in which he makes up uproarious scenes of half London’s high society falling to their knees amid paroxysms of religious guilt and renunciation (all completely fictitious) – then, for the first time completely happy with his work, lays down with his head in his gas oven, turns on the gas, inhales deeply, and dies. It is, and is meant to be, bleak.

This feel for the darkness which underlies the giddy social whirl, and the complicated psychological effect which is produced by cleverly counterpointing the two tones, becomes more evident in Waugh’s subsequent novels, Black Mischief (1932) and A Handful of Dust (1934). In this novel he describes it as

that black misanthropy…which waits alike on gossip writer and novelist…

And it appears more and more as the novel progresses, like water seeping through the cracks in a dam. Nina starts the novel as the model of a social butterfly, utterly empty-headed and optimistic. After she and Adam have a dirty night in Arundel i.e. sex i.e. she loses her virginity, she ceases being so much fun. She finds the parties less fun. She starts to squabble with Adam. About half way through the novel she is, uncoincidentally, the peg for an extended passage which sounds a note of disgust at the book’s own subject matter (which is where, incidentally, the title comes from):

‘Oh, Nina, what a lot of parties.’
(…Masked parties, Savage parties, Victorian parties, Greek parties, Wild West parties, Russian parties, Circus parties, parties where one had to dress as somebody else, almost naked parties in St John’s Wood, parties in flats and studios and houses and ships and hotels and night clubs, in windmills and swimming baths, tea parties at school where one ate muffins and meringues and tinned crab, parties at Oxford where one drank brown sherry and smoked Turkish cigarettes, dull dances in London and comic dances in Scotland and disgusting dances in Paris–all that succession and repetition of massed humanity…. Those vile bodies…)

Waugh cannily sprinkles among the witty dialogue and endless parties a slowly mounting note of disgust and revulsion.

Comedy is adults behaving like children

From the moment of her deflowering Nina grows steadily more serious, almost depressed. You realise it’s because, in having sex, she’s become an adult. Things aren’t quite so much bright innocent fun any more. At which point I realised that the appeal of the Bright Young Things is, in part, because they behave like children, drunk and dancing and singing (OK, so the drinking is not exactly like young children) but at its core their behaviour is childish, persistently innocent and naive.

The Bright Young People came popping all together, out of some one’s electric brougham like a litter of pigs, and ran squealing up the steps.

Much comedy is based on adults behaving like children. It’s a very reliable way of getting a comic effect in all kinds of works and movies and TV shows. It occurs throughout this book. There’s a funny example when, at Margot Metroland’s party, the ageing ex-Prime Minister, Mr Outrage, gets caught up in the exposure of Simon Balcairn infiltrating the party in disguise but, because of the obscure way the thing is revealed with a variety of pseudonyms and disguises, the PM becomes increasingly confused, like a child among adults and he is reduced to childishly begging someone to explain to him what is going on. The comic effect is then extended when he is made to confess he experiences the same bewildering sense of being out of his depth even in his own cabinet meetings.

‘I simply do not understand what has happened…. Where are those detectives?… Will no one explain?… You treat me like a child,’ he said. It was all like one of those Cabinet meetings, when they all talked about something he didn’t understand and paid no attention to him.

Mr Chatterbox

Balcairn’s suicide creates a vacancy for a new ‘Mr Chatterbox’ and Adam happens to be dining in the same restaurant (Espinosa’s, the second-best restaurant in London) as the features editor of the Daily Excess, they get into conversation and so, with the casualness so typical of every aspect of these people’s lives, he is offered the job on the spot. ‘Ten pounds a week and expenses.’

Adam’s (brief) time as a gossip columnist turns into a comic tour de force. Just about everyone Simon mentioned in his last great fictitious account of Margot’s party (mentioned above) sues the Daily Excess (’62 writs for libel’!) with the result that the proprietor, Lord Monomark, draws up a list of them all and commands that none of them must ever, ever be mentioned in the paper again. This presents Adam with a potentially ruinous problem because the list includes ‘everyone who is anyone’ and so, on the face of it, makes his job as gossip columnist to London’s high society impossible.

He comes up with two solutions, the first fairly funny, the second one hilarious. The first one is to report the doings of C-listers, remote cousins and distant relatives of the great and good, who are often ailing and hard done by. The column’s readers:

learned of the engagement of the younger sister of the Bishop of Chertsey and of a dinner party given in Elm Park Gardens by the widow of a High Commissioner to some of the friends she had made in their colony. There were details of the blameless home life of women novelists, photographed with their spaniels before rose-covered cottages; stories of undergraduate ‘rags’ and regimental reunion dinners; anecdotes from Harley Street and the Inns of Court; snaps and snippets about cocktail parties given in basement flats by spotty announcers at the B.B.C., of tea dances in Gloucester Terrace and jokes made at High Table by dons.

This has the unexpected benefit of creating new fans of the column who identify with the ailments or  afflictions of these ‘resolute non-entities’.

The second and more radical solution is simply to make it up. Like a novelist, Adam creates a new set of entirely fictional high society characters. He invents an avant-garde sculptor called Provna, giving him such a convincing back story that actual works by Provna start to appear on the market, and go for good prices at auction. He invents a popular young attaché at the Italian Embassy called Count Cincinnati, a dab hand at the cello. He invents Captain Angus Stuart-Kerr the famous big game hunter and sensational ballroom dancer.

Immediately his great rival gossip columnist, Vanbrugh, starts featuring the same (utterly fictional characters) in his column, and then other characters begin to mention them in conversation (‘Saw old Stuart-Kerr at Margot’s the other day. Lovely chap’) and so on. This is funny because it indicates how people are so desperate to be in the swim and au courant that they will lie to themselves about who they’ve seen or talked to. It indicates the utter superficiality of the world they inhabit which can be interpreted, moralistically, as a bad thing; but can also be seen as a fun and creative thing: why not make up the society you live in, if the real world is one of poverty and war?

But Adam’s masterpiece is the divinely slim and attractive Mrs Imogen Quest, the acme of social desirability, to whom he attributes the height of social standing. She becomes so wildly popular that eventually the owner of the Daily Excess, Lord Monomark, sends down a message saying he would love to meet this paragon. At which point, in a mild panic, Adam quickly writes a column announcing the unfortunate news that Mrs Quest had sailed to Jamaica, date of return unknown.

You get the idea. Not rocket science, but genuinely funny, inventive, amusing.

Father Rothschild as moral centre

Adam and Nina are invited to a bright young party held in a dirigible i.e. airship.

On the same night their more staid parents, politicians and grandees attend a much more traditional party for the older generation at Anchorage House. The main feature of this is the Jesuit Father Rothschild sharing with Mr Outrage and Lord Metroland a surprisingly mild, insightful and sympathetic view of the behaviour of the young generation. They have come into a world robbed of its meaning by the war, a world where the old values have been undermined and destroyed and yet nothing new has replaced them. A decade of financial and political crises ending up in a great crash. No wonder they make a point of not caring about anything. Genuinely caring about someone or something only risks being hurt. Hence the vehemence of the display of aloofness, nonchalance, insouciance, darling this and divine that and frightfully the other, and refusing point blank to ever be serious about anything.

In fact, Father Rothschild is given an almost apocalyptic speech:

‘Wars don’t start nowadays because people want them. We long for peace, and fill our newspapers with conferences about disarmament and arbitration, but there is a radical instability in our whole world-order, and soon we shall all be walking into the jaws of destruction again, protesting our pacific intentions.’

And this was written a few years before Hitler even came to power. Everyone knew it. Everyone sensed it. The coming collapse. The bright young things are laughing in the dark.

A touch of Auden

W.H. Auden often gets the credit for introducing industrial landscapes and landscapes blighted by the Great Depression into 1930s poetry, but it’s interesting to notice Waugh doing it here in prose. In a plane flying to the South of France, Nina looks down through the window:

Nina looked down and saw inclined at an odd angle a horizon of straggling red suburb; arterial roads dotted with little cars; factories, some of them working, others empty and decaying; a disused canal; some distant hills sown with bungalows; wireless masts and overhead power cables; men and women were indiscernible except as tiny spots; they were marrying and shopping and making money and having children.

One episode in the sad and dreary strand of English poetry and prose through the middle half of the twentieth century, E.M. Foster’s lament for the cancerous growth of London in the Edwardian era, D.H. Lawrence’s horrified descriptions of the mining country, John Betjeman’s comic disgust at light industrial towns like Slough, Philip Larkin’s sad descriptions of windswept shopping centres. But during the 1930s it had an extra, apocalyptic tone because of the sense of deep economic and social crisis.

Other scenes

The movie

Adam goes back to visit Nina’s father for a second time to try and borrow money, but is amazed to walk into the surreal scene of a historical drama being filmed at her father’s decaying country house (Doubting Hall, set in extensive grounds) by a dubious film company The Wonderfilm Company of Great Britain, run by an obvious shyster, a Mr Isaacs. (Worth noting, maybe, that Waugh has the leading lady of the movie, use what would nowadays be an unacceptable antisemitic epithet. Waugh himself has  some of his characters, on very rare occasions, disparage Jews, but then they disparage the middle classes, politicians, the authorities and lots of other groups. Their stock in trade is amused contempt for everyone not a member of their social circle. Waugh comes nowhere near the shocking antisemitism which blackens Saki’s short stories and novels.)

Isaac is such a shyster he offers to sell Adam the complete movie, all the rushes and part-edited work for a bargain £500. Adam recognises a crook when he sees one. But his prospective father-in-law doesn’t, and it’s a comic thread that, towards the end of the novel, old Colonel Blount has bought the stock off Isaacs and forces his reluctant neighbour, the Rector of his church, to stage an elaborate and disastrous showing of what is obviously a terrible film.

(It is maybe worth noting that Waugh had himself tried his hand at making a film, with some chums from Oxford soon after he left the university, in 1922. It was a version of The Scarlet Woman and shot partly in the gardens at Underhill, his parents’ house in Hampstead.)

The motor race and Agatha

Adam, Agatha Runcible, Miles Malpractice and Archie Schwert pile into Archie’s car for a long drive to some remote provincial town to watch a motorcar race which a friend of Miles’ is competing in. It’s mildly comic that all the good hotels are packed to overflowing so they end up staying in a very rough boarding house, sharing rooms with bed which are alive with fleas. Early next morning they do a bunk.

The car race is described at surprising length, with various comic details (in the pits Agatha keeps lighting up a cigarette, being told to put it out by a steward, and chucking it perilously close to the open cans of petrol; this is very cinematic in the style of Charlie Chaplin).

There is a supremely comic scene where Miles’s friend brings his car into the pits and goes off to see a medic – one of the competitors threw a spanner out his car which hit our driver in the arm. A race steward appears and asks if there’s a replacement driver for the car. Now, in order to smuggle his pals into the pits in the first place, Miles’ friend had handed them each a white armband with random job titles on, such as Mechanic. The one given to Agatha just happened to read SPARE DRIVER so now, drunk as a lord, she points to it and declares: ‘I’m spare driver. It’s on my arm.’ The race steward takes down her name and she drunkenly gets into the racing car (she’s never driven a car before) her friends ask if that’s quite wise, to drive plastered, but she replies: ‘I’m spare driver. It’s on my arm’ and roars off down the course.

There then follow a sequence of comic announcements over the race tannoy as it is announced that Miss Runcible’s car (‘No 13, the English Plunket-Bowse’) has a) finished one lap in record time b) been disqualified for the record as it is now known she veered off the road and took a short cut c) has left the race altogether, taking a left instead of a right turn at a hairpin corner and last seen shooting off across country.

Our three buddies repair to the drinks tent where they carry on getting drunk. When ‘the drunk major’ turns up, promising to pay Adam the £35,000 that he owes him thanks to the bet he promised to make on a racehorse, they each have a bottle of champagne to celebrate.

Eventually it is reported that the car has been spotted in a large village fifteen miles away, town where it has crashed into the big stone market cross (‘ (doing irreparable damage to a monument already scheduled for preservation by the Office of Works)’).

Our threesome hire a taxi to take them there and witness the car wreck, mangled against the stone post and still smoking. Villagers report that a woman was seen exiting the car and stumbling towards the railway station. They make their way to the railway station and the ticket seller tells them he sold a ticket to London to a confused young woman.

(It may be worth noting that this entire chapter, with its extended and detailed description of competitive car racing, was almost certainly based on a real visit to a car race Waugh made, to support his pal David Plunket Greene. The real life race, which took place in 1929, is described, with evocative contemporary photos, in this excellent blog.)

Agatha’s end

To cut a long story short, after interruptions from other strands, we learn that Agatha sustained serious enough injuries in her car smash to be sent to hospital. But that’s not the worst of it. She had concussion and has periodic delusions, so she is referred on to ‘the Wimpole Street nursing home’. Here, in Waugh’s telegraphic style, we are given impressionistic snippets into her nightmares in which she is driving always faster, faster! and the comforting voice of her nurse trying to calm her as she injects her with a tranquiliser.

There’s a final scene in this strand where several of her pals pop round to visit her, bringing flowers but also a little drinky-wink, then some other appear and before you know it there’s a full scale party going on in her room, someone brings a gramophone, they all dance to the latest jazz tune. They even bribe the staid nurse with a few drinks and things are getting rowdy when, inevitably, the stern matron arrives and kicks them all out. Carry on Bright Young Things.

But, long story short, the excitement exacerbates Agatha’s shredded nerves and, towards the end of the narrative, we learn in a typically throwaway comment from one the characters, that Agatha died. Adam:

‘Did I tell you I went to Agatha’s funeral? There was practically no one there except the Chasms and some aunts. I went with Van, rather tight, and got stared at. I think they felt I was partly responsible for the accident…’

The fizzy bubbles mood of the opening half of the novel feels well and truly burst by this stage. Characters carry on partying and behaving like children but it feels like the moral and psychological wreckage is mounting up like a cliff teetering over them all.

Nina’s infidelities

The on again, off again relationship between Nina and Adam comes to a head when she declares she’s in love with a newcomer in their social circle, a man who speaks in even more outrageous posh boy phrases than anyone else. In fact, she casually informs Adam, she and Ginger got married this morning. Oh.

But this is where it gets interesting because Nina is such an airhead that she can’t really decide, she can’t make up her mind between Adam and Ginger. She goes off on a jolly honeymoon to the Med with him, but doesn’t like it one bit, he’s off playing golf most of the day. If you recall, Adam and Nina had had sex, at the hotel in Arundel, so there’s a more than emotional bond between them. Anyway, long and the short of it is she agrees to see him, to come and stay with him and, in effect, to start an affair with him as soon as she gets back to London.

It is all done for laughs but Waugh doesn’t need to draw the moral, to go on about psychological consequences, to editorialise or point out the moral implications for Nina and her set. All of this is conspicuous by its absence. It is left entirely to the reader to draw their own conclusions. Waugh’s text has the chrome-covered sleekness of an Art Deco statuette, slender, stylish, quick, slickly up to date.

He is the English F. Scott Fitzgerald, giving a highly stylised depiction of a generation in headlong pursuit of fun, drinks, drinks and more drinks, endless parties, with the shadow of the coming psychological crash looming closer and closer over his narratives.

The completely unexpected ending

The cinema show

Comedy of a sort continues up to the end, with the scene I mentioned before, of gaga old Colonel Blount, accompanied by Nina and Adam who are staying with him for Christmas, insisting on taking his cinematographic equipment round to the much put-upon local Rector, spending an age setting it up, and then blowing his entire household fuses in showing the terrible rubbish film which the director Isaacs has flogged to him.

It is a great comic scene if, to my mind, no longer as laugh out loud funny as the early scenes, because my imagination has been tainted by a silly death (Flossie), a suicide (Simon Balcairn), the nervous breakdown and death of pretty much the leading figure int he narrative (Agatha).

Anyway, after the power cut, the Colonel, Adam and Nina motor back to Doubting Hall for Christmas dinner and are in the middle of boozy toasts when the Rector phones them with the terrible news. War has broken out. War?

The last world war

In an extraordinary leap in subject matter and style, a startling break with everything which went before it, the very last scene discovers Adam, dressed as a soldier, amid a vast landscape of complete destruction, a barbed wire and mud nightmare derived from the grimmest accounts of the Great War and stretching for as far as the eye can see in every direction. It is the new war, the final war, the war Father Rothschild warned against, the war they all knew was coming and which, in a way, justified their heartless frivolity. Nothing matters. Jobs don’t matter, relationships don’t matter, sobriety or drunkenness, wild gambling, fidelity or infidelity, nothing matters, because they know in their guts that everything, everything, will be swept away.

Waugh’s humour continues till the end, but it is now a grim, bleak humour. For floundering across the mud landscape towards Adam comes a gas-masked figure. For a moment it looks as if they will attack each other, the unknown figure wielding a flame thrower, Adam reaching for one of the new Huxdane-Halley bomb (for the dissemination of leprosy germs) he keeps in his belt. God. Germ warfare. The utter ruined bottom of the pit of a bankrupt civilisation.

Only at the last minute do they realise they’re both British and then, when they take their masks off, Adam recognises the notorious Major, the elusive figure who took his money off him at Shepheard’s all those months (or is it years) ago, to bet on a horse, who he briefly met at the motor racing meet, and now gets talking to him, in that upper class way, as if nothing had happened at all.

‘You’re English, are you?’ he said. ‘Can’t see a thing. Broken my damned monocle.’

Now the Major invites him into the sanctuary of his ruined Daimler car, sunk past its axles in mud.

‘My car’s broken down somewhere over there. My driver went out to try and find someone to help and got lost, and I went out to look for him, and now I’ve lost the car too. Damn difficult country to find one’s way about in. No landmarks…’

It is the landscape of Samuel Beckett’s post-war plays, an unending landscape of utter devastation, dotted with wrecks of abandoned machinery and only a handful of survivors.

Once they’ve clambered into the car’s, the Major opens a bottle of champagne (what else?) and reveals a dishevelled girl wrapped in a great coat, ‘woebegone fragment of womanhood’. On closer examination this turns out to be one of Mrs Apes’ young girls, the laughably named Chastity. When quizzed, Chastity ends the narrative with a page-long account of her trials. It turns out that Margot Metroland did manage to persuade her to leave Mrs Ape’s religious troupe and go and work in one of her South American bordellos –so this fills in the details of the 3 or 4 girls we met during Decline and Fall who were being dispatched to the same fate.

Only with the outbreak of war, she returned to Europe and now presents in a breathless paragraph the story of her employment at a variety of brothels, being forced into service with a variety of conquering or retreating troops of all nations. The Major opens another bottle of champagne and starts chatting her up. Adam watches the girl start flirtatiously playing with his medals as he drifts into an exhausted sleep.

So, Waugh is pretty obviously saying, all of Western civilisation comes down to this: a shallow adulterer, a philandering old swindler, and a well-worn prostitute, holed up in a ruined car in a vast landscape of waste and destruction.

Aftershocks

Vile Bodies is marketed as a great comic novel and it is, and is often very funny, but as my summary suggests, it left me reeling and taking a while to absorb its psychological shocks. The deaths of Flossie, Simon and Agatha, and Nina’s slow metamorphosis into a thoughtless adulterer, all steadily darken the mood, but nothing whatsoever prepares you for the last chapter, which is surely one of the most apocalyptic scenes in the literary canon.

I had various conflicting responses to it, and still do, but the one I’m going to write down takes a negative view.

Possibly, when I was young and impressionable and first read this book, I took this devastating finale to be an indictment of the hollowness of the entire lifestyle depicted in the previous 200 pages. Subject to teenage moodswings which included the blackest despair, I took this extreme vision of the complete annihilation of western civilisation at face value and thought it was a fitting conclusion to a novel which, from one point of view, is ‘about’ the collapse of traditional values (restraint, dignity, sexual morality).

But I’m older now, and now I think it represents an artistic copout. It is so extreme that it ruins the relative lightness of the previous narrative. All the light touches which preceded it are swamped by this huge sea of mud.

And it’s disappointing in not being very clever. Up to this point any reader must be impressed, even if they don’t sympathise with the posh characters, by the style and wit with which Waugh writes, at the fecundity of his imagination, and the countless little imaginative touches and verbal precision with which he conveys his beautifully brittle scenarios.

And then this. Subtle it is not. It feels like a letdown, it feels like a copout. It’s not a clever way to end a noel which had, hitherto, impressed with its style and cleverness. It feels like a suburban, teenage Goth ending. It’s not much above the junior school essay level of writing ‘and then I woke up and it was all a dream’.

A more mature novel might have ended with the funeral of Agatha Runcible and recorded, in his precise, malicious way, the scattered conversations among the usual characters, momentarily brought down to earth and forced to confront real feelings, before swiftly offering each other and drink and popping the champagne. In this scenario the Major might have turned up as a fleeting character Adam still can’t get to meet, Nina unfaithful thoughts could have been skewered, Margot Metroland’s society dominance reasserted despite heartbreak over her dead daughter, Lord Monomark appointing yet another bright young thing as Mr Chatterbox, the ousted Prime Minister Mr Outrage still utterly confused by what’s going on, and maybe a last word given to sage and restrained Father Rothschild. That’s what I’d have preferred.

Instead Waugh chose to go full Apocalypse Now on the narrative and I think it was a mistake – an artistic error which became more evident as the years passed and the world headed into a second war, which he was to record much more chastely, precisely, and therefore more movingly, in the brilliant Sword of Honour trilogy.


Credit

Vile Bodies by Evelyn Waugh was published in 1930 by Chapman and Hall. All references are to the 1983 Penguin paperback edition.

Related links

Evelyn Waugh reviews

Congolese soldiers in the world wars

Congo: The Epic History of a People by David Van Reybrouck is a wonderland of a book. The accounts he gives of the involvement of Congolese soldiers in the two world wars are so remarkable and so little known that it’s worth recording them in a standalone blog post.

In his characteristic style, van Reybrouck interweaves traditional, factual history with first-hand, eye-witness memories by veterans or the families of veterans, which add colour and human scale to such huge abstract events.

First World War (pages 129 to 139)

Congo as a buffer state

At the Congress of Vienna in 1815 Belgium itself was conceived as a sort of buffer state between the powers, between France and Prussia. In a similar way, at the Berlin Conference of 1885, King Leopold  persuaded the powers that his seizure of this huge chunk of Africa would serve as a sort of buffer between territory controlled by the old rivals Britain and France in west Africa and the territory claimed in east Africa by the new kid on the block, Germany.

The final agreement of colonial borders in Africa meant that Congo shared a 430-mile-long border with German East Africa. Given that the Germans owned Cameroon to the north-west of Congo, it made sense for them to ponder seizing a corridor through the Belgian colony in order to link German East and West Africa. In fact, just before war broke out, the German foreign office actually approached the British with the suggestion of dividing Congo between them, which the British wisely rejected.

Germany attacks

After war broke out in Europe in August 1914, the colonial authorities expected Congo to remain neutral, which it did for all of 11 days, until Germany attacked. A steamship crossed Lake Tanganyika from the German side and shelled the Congo port of Mokolubu, sinking some canoes, then German soldiers landed and cut the telephone wire. A week later the Germans attacked the lakeside port of Lukuga, too.

Main battle zones

Because of the lack of roads and infrastructure, the First World War in Africa wasn’t fought along huge fronts, as in Europe, but was a matter of seizing strategic points and roads. Congolese forces ended up fighting on three fronts, Cameroon, Rhodesia and East Africa.

1. In 1914 a handful of Belgian officers and 600 Congolese troops were sent to help the British in the battle for Cameroon where German resistance to British, French and Belgian colonial units finally ended in March 1916.

2. By mid-1915 South African troops had secured the surrender of German South-West Africa but German forces threatened Rhodesia and so the Belgian government in exile (in Le Havre) ordered seven Belgian and 283 Congolese soldiers to help the British defend it.

Battle of the lakes

3. But the most intense Congo-German engagement was in the East. Here the border between Congo and German East Africa had only been finalised as late as 1910. In 1915 German forces led by Paul von Lettow-Vorbeck made repeated attempts to move into Kivu district (to the west of Lake Kivu, which formed part of the border between Belgian and German territory), with a view to pushing on north to seize the Kilo-Moto gold mines of the Ituri rain forest.

The Germans took initial control of lakes Kivu and Tanganyika which they patrolled with armed steamships. In reply the Allies i.e. the British, organised the transport of steamships broken up into parts all the way up the Congo and then across land to the lakes. They also sent four aquaplanes, which undertook a campaign to bomb and sink the German ships.

The Tabora campaign

Meanwhile, a large infantry force of 15,000 soldiers was assembled on the east Congo border under Force Publique commander, General Charles Tombeur. An important fact to remember is that, in the absence of decent roads, almost all the materiel needed for these campaigns had to be carried by porters, just as in Victorian times. It’s estimated that for every soldier who went into battle there were seven porters. In total, throughout the war years, it’s estimated that some 260,000 native porters were recruited or dragooned, out of a total population of less than ten million. This disruption had a negative impact on local economies and food production, but the conditions of the porters weren’t much better, with all experiencing inadequate food, shelter and little drinking water. As usual in every conflict, disease became rife and about one in ten of the porters died on active service, a total of some 26,000, compared to 2,000 soldiers.

As to the campaign itself, in March 1916 General Tombeur led his army across the border into Rwanda and seized the capital, Kigali, on 6 May. They then marched the 370 miles south-east to Tabora, which had been a key staging post for the explorers of the 1870s and 1880s and was now the nexus of German administration. It was the largest engagement of the campaign. Tombeur’s forces joined with another army which had marched from Lake Tanganyika and, after ten days and nights of intense fighting, Tabora fell to the Belgian-Congo forces on 19 September 1916. The Belgian flag was raised in the town centre amid widespread celebrations.

In 1917 Tabora was used as a staging post for a campaign to capture Mahenge, 300 miles to the south, but the battle of Tabora was the one which went down in colonial memory. Tombeur was given a peerage and songs were written about his famous victory.

Interview with Martin Kabuya

Typical of van Reybrouck’s method of humanising history, he tracks down an army veteran, Martin Kabuya, whose grandfather fought in the Tabora campaign and, he claims, provided cover for the soldier who raised the Belgian flag in the  conquered town square (p.135). And then talks to Hélène Nzimbu Diluzeti, 94-year-old widow of Thomas Masamba Lumoso, a Great War veteran who served in the TSF or telégraphie sans fils (i.e. wireless) section from 9 August 1914 to 5 October 1918, so for only a weeks short of the entire duration of the war (pages 135 to 137).

Here’s the map van Reybrouck provides. You can see the black arrows indicating movement of Congolese forces through the two small unnamed states of Rwanda and Burundi towards Tabora in what is now called Tanzania but was then German East Africa. On the top left of the map you can see the borders of Cameroon and understand how German strategists, at one point, might have fantasised about annexing northern Congo in order to for a corridor of German colonial territory from Tanzania through north Congo and joining up with Cameroon. One of many colonial pipe dreams.

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The Congolese in Belgium

Not many Congolese soldiers had time to be transported to Belgium before it fell to the Germans’ swift advance in August 1914. Van Reybrouck tells us the stories of two of them, Albert Kudjabo and Paul Panda Farnana, members of the Congolese Volunteer Corps. They were among the tens of thousands deployed to defend the Belgian city of Namur but the Germans swiftly captured it and these two Africans who spent the next four years in various prisoner of war camps. Among transfers between camps, forced labour and various humiliations, they were interviewed by the Royal Prussian Phonographic Committee which recorded Kudjabo singing traditional songs. The recordings survive to this day (p.138).

Van Reybrouck returns to the two POWs on page 178 to describe their chagrin and anger when they were finally repatriated to from Germany to Belgium only to read commentators in the press saying the likes of them should be packed off as soon as possible back to the land of bananas (p.178). They had fought side by side with their Belgian brothers to protect the motherland. Where was the gratitude? It left a legacy of bitterness.

Paul Panda Farnana

We know a lot about Farnana in particular because he played a central role in founding the Union Congolaise in August 1919, an organisation set up to assist ‘the moral and intellectual development of the Congolese race’. The Union called for greater involvement of the natives in the colonial administration and opened branches across Belgium.

In December 1920 Farnana addressed the first National Colonial Congress in Brussels and then took part in the second Pan-African Congress organised by American civil rights activist W.E.B du Bois. In 1929 Farnana returned to Congo and settled in his native village, but died there, unmarried and childless in 1932. He is often considered the first Congolese intellectual, but his was a very isolated voice. It would take another world war and decades of simmering discontent before real change could be affected.

Consequences of the Great War

After Germany’s defeat its African colonies were parcelled out to the allies. England took German East Africa which was renamed Tanganyika (and then Tanzania, on independence in 1961). Belgium was handed the two small states on the eastern borders of Congo, Rwanda and Burundi.

Earlier in the book van Reybrouck described the process whereby colonial administrators defined and helped to create tribal identities. Originally much more fluid and overlapping, these names and categories hardened when the authorities issued identity cards on which every Congolese had to match themselves to a limited list of bureaucratic tribal ‘identities’.

When they took over Rwanda, the Belgian authorities applied the same technique, insisting that the previously fluid and heterogenous Rwandans define themselves as one of three categories, Tutsi, Hutu or Twas (pygmy), an enforced European categorisation which was to bitterly divide the country and lead, ultimately, to the calamitous Rwandan genocide of 1994.

Although the war disrupted societies and led to significant native casualties in the eastern part of the country, the mining regions such as Katanga experienced an economic boom and huge explosion of jobs which increased urbanisation. But after the war there was a sudden drop in demand which led to layoffs, unrest and strikes.

Second World War (pages 182 to 189)

And then it happened all over again, except on a bigger scale, in 1940. In 18 days the German army rolled through Belgium as part of its conquest of France, Belgium was defeated and occupied. While the Belgian government fled to England, King Leopold III was taken prisoner to Germany. For a while there was uncertainty in the colony about which way it would jump – support the victorious Nazis or align with the humiliated government in exile? The decision was taken by the man on the scene, Governor General Pierre Ryckmans who to his great credit decided the Belgian Congo would align with the allies and fight fascism.

Ethiopia

Mussolini had invaded Haile Selassie’s Abyssinia in 1935. In 1940 Churchill sent troops from British Kenya into Ethiopia to neutralise the Italian threat. Starting in February 1941 the Brits were reinforced by the eleventh battalion of the Congo Force Publique. This consisted of 3,000 Congolese soldiers and 2,000 bearers.

They drove across British-controlled Sudan in blistering heat but had to manage the mountainous west of Ethiopia mostly on foot. From scorching heat it started to rain and the troops found themselves mired in mud. The Congolese took the small towns of Asosa and Gambela but faced a stiffer challenge at the fortified garrison town of Saio. After heavy shelling, on 8 June 1941, the town surrendered. Congo forces took nine Italian generals including the commander of all Italian forces in East Africa, 370 Italian officers, 2,574 noncoms and 1,533 native soldiers, along with a huge amount of munitions and equipment.

Van Reybrouck makes the droll point that the expulsion of the Italians (who had only held Ethiopia for 6 years) allowed the return of the emperor Haile Selassie, which gave renewed vigour to the small sect of Rastafarians in faraway Jamaica who had started worshipping the emperor as a deity during the 1930s. Thus Congolese soldiers helped in creating the spiritual side of reggae!

What Tabora had been in World War One, Saio was in World War Two, a resounding victory for African troops. More than that, for the first time in history an African nation had been liberated by African troops (p.185).

Nigeria

Van Reybrouck interviews Congo veterans who fought in the campaign, Louis Ngumbi and André Kitadi. He takes a path through the complicated wartime events in north Africa through the career of Kitadi. Having routed the Italians in the East, the focus switched to West Africa. Kitadi was a radio operator in the Congo army. In autumn 1942 he was shipped up to Nigeria and trained for 6 months in readiness to take Dahomey (modern Benin) from the Vichy French. However during the training period, Dahomey switched to General de Gaulle’s Free French and so the focus now switched to Libya where German forces under Rommel were based and repeatedly threatened to invade Egypt.

Kitadi and the other Congolese soldiers travelled across the desert of Chad (a French colony run by a black governor allied to de Gaulle). Van Reybrouck dovetails Kitadi’s story with that of Martin Kabuya, another radio operator in the Force Publique, who had also been shipped to Nigeria, but now found himself sent by sea right around Africa and up through the Suez Canal.

Egypt

Kitadi spent a year in a camp outside Alexandria. There were lots of Italian prisoners of war, kept in barbed wire POW camps. The Arabs stole everything. Kabuya was stationed at Camp Geneva near the Suez Canal, intercepting enemy Morse code messages. Once he was attacked by a big SS man who he stabbed in the gut with a bayonet and killed.

Palestine

When fighting in Europe ended, both men stayed in the army and were moved to Palestine to help with the new British mandate there (p.188).

The paradox of scale

Paradoxically, although the scale and reach of the Second World War was dramatically larger than the first, the involvement of Congolese was significantly smaller for the simple reason that the army no longer needed bearers and porters – they had trucks and lorries. So the number of Congolese directly involved in the war was nothing like the 260,000 Congolese porters dragooned into service in 1914-18, with the results that casualties were correspondingly much smaller.

The odyssey of Libert Otenga

The strength of van Reybrouck’s approach is demonstrated by the story of Libert Otenga. Otenga joined a mobile medical unit of Belgian doctors and Congolese medics.

The Belgian field hospital became known as the tenth BCCS, the tenth Belgian Congo Casualty Clearing Station. It had two operating tents and a radio tent. In the other tents there were beds for thirty patients and stretchers for two hundred more. During the war, the unit treated seven thousand wounded men and thirty thousand who had fallen ill. Even at the peak of its activities it consisted of only twenty-three Belgians, including seven doctors, and three hundred Congolese. Libert Otenga was one of them.

Van Reybrouck tracks down an ageing Otenga in Kinshasa to hear his story. First the medical unit was sent to Somalia. Then they went with British-Belgian troops to Madagascar, where they tended German prisoners of war. After Madagascar, the unit went by ship to Ceylon, where the medical unit was reorganised, and then on to India, to the Ganges delta in modern Bangladesh, a long way up the river Brahmaputra and then overland to the border with Burma, a British colony which the Japanese had captured in 1942. This was their longest posting, they treated soldiers and civilians, they had an air ambulance at their disposal. As van Reybrouck remarks:

The fact that Congolese paramedics cared for Burmese civilians and British soldiers in the Asian jungle is a completely unknown chapter in colonial history, and one that will soon vanish altogether. (p.189)

The travels of Congolese forces during the Second World War

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Congo and the atom bomb

The uranium in the Big Boy bomb dropped on Hiroshima contained uranium mined in the mineral-rich Katanga province of Congo (p. 190).

Edgar Sengier, then managing director of Union Minière, saw to it that Congo’s uranium reserves did not fall into the wrong hands. Shinkolobwe had the world’s largest confirmed deposit of uranium. When the Nazi threat intensified just before the war, he had had 1,250 metric tons (1,375 U.S. tons) of uranium shipped to New York, then flooded his mines. Only a tiny stock still present in Belgium ever fell into German hands. (p.190)

The Cold War

During the war the Congo had come to America’s attention as an important source of raw materials for war goods. By 1942 the Japanese had captured most of the Far East, so new sources were needed. the Congo turned out to be a vital source of metals like copper, wolfram, tin and zinc, and of vegetable products such as rubber, copal, cotton, quinine, palm oil for soap and, surprisingly, use in the vital steel industry. (p.191)

This was before the scientists of the Manhattan Project discovered how to make an atom bomb at which point uranium became a vital resource of strategic significance. All this explains America’s interest in the Congo in the 15 years after the war, and then its intense involvement in the events surrounding independence and its support of the dictator Mobutu through the entire Cold War period.

Conclusion

One way of seeing these events are as colourful sidelights on the two world wars and then the low level capitalist-communist antagonism which followed and van Reybrouck’s focus on individual experiences helps the reader understand how all our lives are determined and shaped by vast impersonal historic forces.

Another way of looking at it, is to reflect that from the moment it was first mapped and explored by Stanley in the late 1870s, the second largest country in Africa has never been free of interference, control and exploitation by Europe and America.

Credit

Congo: the epic history of a people by David Van Reybrouck was published in Dutch by De Bezige Bij in 2010. All references are to the paperback version of the English translation by Sam Garrett, published by Fourth Estate in 2015.

Surprisingly for a contemporary book, Congo: The Epic History of a People is available online in its entirety.


Africa-related reviews

History

Fictions set wholly or partly in Africa

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Congo: the epic history of a people by David Van Reybrouck (2010)

In Africa an archaic social organisation collides with the supremacy of a technical civilisation that causes the former to fall apart without replacing it…simply by being ourselves , we destroy traditions that were sometimes hard but venerable, and we offer as a replacement only white trousers and dark glasses, in addition to a little knowledge and a vast longing.
(from the diary of Vladimir Drachoussoff, a Russo-Belgian agriculture engineer in the 1940s)

Kimbanguism

Simon Kimbangu was born the son of a traditional Congolese healer in 1899. Taken in by British Baptist missionaries, he became a catechist i.e. highly instructed in the faith, before, in 1921, having a revelation that he himself had miraculous powers, given directly by Jesus Christ. Simon healed a dying woman (named Kintondo, p.146) and stories about his healing powers spread like wildfire, that he healed the deaf and blind, that he even raised a woman from the dead. From all over the region people abandoned their fields and markets and flocked to behold the saviour.

The authorities in the shape of district commissioner Léon Morel quickly became alarmed, van Reybrouck saying the Protestant missionaries (who had trained Simon) took a moderate and sympathetic view of his teachings, but the Catholics lined up with the colonial authorities to find Kimbangu a threat to order and conformity (p.149).

Kimbagu was arrested and put through a show trial, without the benefit of a defence lawyer. Van Reybrouck gives us extensive quotes from the transcript of the trial and points out its similarities to the trial of Jesus Christ, another religious zealot shopped by the religious establishment who the prosecuting authorities found difficult to convict of any particular crime. The part of Pilate was played by commander Amadeo De Rossi (p.149). The result was a foregone conclusion and Kimbagu was sentenced to death when, to everyone’s surprise, he was given a personal reprieve by the Belgian monarch, King Albert, the sentence commuted to life imprisonment, and he did indeed spend the rest of his life in a Belgian prison, most of it in solitary confinement, 30 years in a small cell, longer than Nelson Mandela.

The authorities tries to suppress Kimbagu’s followers, arresting them, sending them to remote parts of the Congo, outlawing his sect, sending his chief followers to camps fenced with barbed wire where they were subjected to forced labour, as many as one in five dying in the process (p.152). But this policy had the perverse result of spreading the faith throughout the country, with witnesses appearing all over to testify to miracles and healings performed by the imprisoned master. The result is that Kimbaguism has become a solidly established religion, a spinoff from Christianity in the style of the Jehovah’s Witnesses or Mormons. Today around 10% of the population of the Congo are followers, with devotees and churches established in many other countries.

Van Reybrouck not only devotes an extended passage to Kimbagu’s biography and trial but makes a personal pilgrimage to what has become the Kimbanguists’ holy city, Nkamba, where he describes the peaceful atmosphere, and then interviews a leading figure in the church, Papa Wanzungasa, one hundred years old and still going strong. Indeed Kimbanguism is now a recognised religion. Some 10% of the population of Congo are followers. Papa Wanzungasa tells van Raybrouck about the early days of the movement, and describes how his own family members were forced to convert to Catholicism or sent to labour camps in the 20s and 30s, how the true believers held secret conventicles in the jungle, using coded messages to rendezvous at safe spots like the early Christians meeting underground in ancient Rome (p.153).

Van Reybrouck broadens the story out to place the Kimbanguists in context among a number of other charismatic religions which broke out in the Congo between the wars: Ngunzism, a spinoff from Kimbanguism which was overtly anti-colonial; Mpadism, founded by Simon-Pierre Mpadi, whose followers engaged in ecstatic dances; Matswanism, founded by First World War veteran André Matdwa; the Kitawala, the name a corruption of the Jehovah’s Witnesses’ magazine, the Watchtower; and many more.

And then van Reybrouck gives a brilliant sociological explanation for all this, explaining that the new charismatic sects arose in precisely the parts of Congo where traditional life and beliefs had been most disrupted by European intervention, Kimbanguism in the coastal region of Bas (or Lower) Congo, the Kitawala (which grew to become the second largest indigenous religion after Kimbanguism), in the highly developed mining region of Katanga, in the far south-east of the country.

In all instances, then, it was a response to the disruption or destruction of the old tribal beliefs and social systems, their very imperfect replacement by zealous but thin Christianity, and maybe most important of all, to the simple fact that most Congolese, after half a century of promises, remained second rate citizens in their own country, most of them caught up in conditions of semi-forced labour to vast European mining and agricultural businesses, which ruthlessly exploited them and their entire families, uprooting villages, relocating entire populations, with no hope of any end in sight.

All these charismatic native religions offered hope to their adherents that a new and better life, one the colonial authorities had completely failed to deliver, was at hand. The Tupelepele (meaning the Floaters) followed Matemu a Kelenge (known to his followers as Mundele Funji, or ‘White Storm’) who hoped for a return to the time of the ancestors who would restore balance and prosperity for all. Its followers threw their identity papers, tax receipts, bank notes and all the other symbols of the European capitalist system which had ensnared them into the river in anticipation of a Great Liberation (p.162).

David Van Reybrouck’s history of the Congo is a brilliant and stunning achievement, a history like no other, and his extended treatment of Kimbanguism (pages 142 to 154) exemplifies many of its many strong points.

1. Van Reybrouck is not British

Van Reybrouck is not British. Much of the writing about the nineteenth century explorers is by British chaps about British chaps and, despite its best intentions, can’t help falling back into the gravitational pull of admiration for the plucky epic exploits of someone like Livingstone or Burton or Stanley. Van Reybrouck is completely clean of all this cricket and tiffin cultural baggage. He is Belgian. It’s quite a relief to read a book about colonial Africa in which the British are barely mentioned. In this book the European power which takes centre stage are the Belgians, their kings, parliaments and civil service, with walk-on parts for the French, Germans and Portuguese.

(I was pleased to read the first hand account of a Congolese who fought in the Second World War describing his initial transfer to British-run Nigeria where he found that local Africans were treated hugely better than they were in the Congo – properly fed, treated with respect, and he was amazed to discover that black Africans held senior posts in the Nigerian army, something still unthinkable in the segregated Belgian Congo of the 1940s).

2. Van Reybrouck is not a historian

Van Reybrouck is not a historian, at least not by training. He trained as an archaeologist and his first publication was of his doctoral dissertation, From Primitives to Primates. A history of ethnographic and primatological analogies in the study of prehistory, in 2010. Since then he has gone on to write historical fiction, literary non-fiction, novels, poetry and plays, but somehow this archaeological background helps or might explain why his book feels open to a far wider range of influences and sources than a more narrow and conventional history by a professional historian would.

For example, it explains the brilliant and illuminating passage in the Introduction where he imagines five slides, each depicting the life of a 12-year-old boy in the Congo at widely separated moments of time, namely:

  1. 90,000 years ago on the shore of Lake Edward (the time and place where the bones of a group of prehistoric humans have indeed been found)
  2. a Pygmy boy in the rainforest two and a half thousand years before Christ
  3. AD 500 as the slow spread of agriculture (specifically, the fast growing ‘new’ crop, the plaintain) as well as basic iron tools arrive at the village where our 12-year-old lives
  4. 1560, when the 12-year-old lives in a society where small isolated villages have given way to clans of villages, themselves building up, especially on the savannah, into complex societies which can be called kingdoms, like those of the Kongo, the Lunda, the Luba and the Kuba
  5. 1780, when there’s a fair chance our village 12-year-old will have been trafficked by enemy tribes down to the coast and bought by European slavers who ship him off under terrible conditions to Brazil, the Caribbean or the American South

So by just page 23 van Reybrouck has already given us a breath-taking sense of the historical and geographic scope of his account, that it will be a wide-ranging and, above all, beautifully imaginative and creative history.

3. Van Reybrouck is interested in byways

A conventional historian might mention the rise of charismatic sects and religious leaders in the 1920s and 30s as a result of the ongoing deracination of the Congolese population, but it is distinctive of van Reybrouck that he finds the story or angle which brings such a theoretical topic to vivid life. He not only gives us transcripts of the trial of Simon Kimbangu but then travels to the Kimbanguists’ holy city to interview leading adherents for himself.

What I’m driving at is that van Reybrouck’s account not only covers the conventional history and dates and events, but turns over all kinds of odds and ends and details and fragments and insights which bring the country, the Congo, and its people, really vividly to life.

He stumbles across the huge statue of Stanley which used to dominate the main square in Leopoldville, now taken down and dumped inside one of Stanley’s own early steamers in a junk yard in Kinshasa (p.99).

He explains the origins of the pop music and jazz which took Kinshasa by storm between the wars, and its mix of African languages and American jazz with the (rather surprising) importation of Cuban rhythms and sounds to create what is called Congo rumba. He tells us about Camille Feruzi, the great accordion virtuoso of Congolese music, and Wendo Kolosoyi whose guitar playing laid the basis of Congo rumba ‘the most influential musical style in the sub-Saharan Africa of the twentieth century’ (p.168). African Jazz ‘the most popular band in the Congo on the 1950s’ led by Joseph Kabasele.

He mentions the godfather of Congolese literature, Paul Lomami-Tshibamba, who published elegant essays immediately after the Second World War questioning colonialism and was arrested and beaten in prison for his trouble before fleeing into exile in the (French-controlled) Republic of Congo, across the river (p.170). I immediately went looking for his first novel, Ngando, and am very irked to discover it has never been translated into English.

His book is studded with scores of other facts and byways and insights about Congo and its social and cultural and musical and artistic and social life which combine to build up a much more vivid and colourful portrait of the country than any purely ‘historical’ account could do.

4. Van Reybrouck has carried our many interviews

Van Reybrouck makes the commonly made observation that so many histories of Africa omit the voices of actual Africans – the difference is that he has done something about it. From his first trip to Congo in 2003, van Reybrouck sought out and interviewed the oldest people he could find, eye witnesses who saw at first hand the events they describe, or had them from parents or grandparents.

It is typical of van Reybrouck that he travelled to the Kimbanguist holy city to see for himself. Historians working from colonial records in libraries and archives don’t do that. Van Reybrouck combines history with the vivid sense of journey and place of a good travel writer. And then, the qualities of a good journalist who knows how to make an interviewee at ease and extract the good stuff from a wide range of old timers.

So there are two types of Congolese testimony, written and oral.

a) People van Reybrouck spoke to

One had informants who had seen a lot but had little to say, and one had informants who had little to say but talked a lot anyway. (p.220)

‘Étienne’ Nkasi (introduced page 6), over a hundred years old, who remembered the name of Stanley as a living presence, who knew Simon Kimbangu when he was a boy, who remembered the building of the first railway from Matadi to Stanley Pool, and much more. His story weaves in and out of the main narrative so he appears on page 117, witnessing the early development of Kinshasa.

Victor Masundi (introduced page 75), aged 87 and blind, grew up in the Scheutist mission in Boma, and Camille Mananga (page 76) aged 73 recounted his grandfather’s memories of first being taken into a Christian mission.

Colonel Eugène Yoka, a former air force colonel, tells van Reybrouck about his father who had been a soldier who served in World War 1, and that his grandfather, a Bangal tribesman from Équateur province, had been one of the first recruits to the Force Publique (p.77).

Albert Kudjabo and Paul Panda Farnana, two Congolese who volunteered to fight in the Great War to defend the ‘motherland’ Belgium and were promptly captured by the Germans and spent four long years in a prisoner of war camp. Liberated after the war, Farnana lived for a while in Brussels where he eloquently made the case for the Congolese being treated as adults in their own country (pages 138 and 178).

André Kitardi, veteran of the First World War (pp.129 onwards) and again on pages 185 and 199 where he ends up serving in Palestine. Libert Otenga, the Congolese medic who was transported north into Egypt, then the Middle East, to India and ended up serving in Burma (p.188). Louis Ngumbi who fought for the Allies during World War Two (p.185).

Martin Kabuya, 92, whose grandfather took part in the Sudan campaign, who enrolled in the Congo army, describes his rgandfather’s experiences in the Great War (p.135) and his own role as a Morse code operator in the Second War (p.187).

Hélène Nzimbu Diluzeti, mother of Colonel Yoka, 94-year-old widow of Thomas Masamba Lumoso, a Great War veteran who served for only a few weeks short of the entire duration of the war (pp.135 onwards).

Père Henri de  la Kéthulle de Ryhove, a Jesuit missionary in his 80s, nephew of the most famous Belgian missionary to the Congo, Raphaël de la Kéthulle who shares memories of his famous uncle who, alongside schools, built soccer stadiums, swimming pools and the huge Stade Roi Baudouin (pages 172 to 175).

Longin Ngwadi, aged 80 when van Reybrouck speaks to him in Kikwit, largest city of Kwilu Province, in the southwestern part of Congo, born in 1928, baptised by Jesuits, who wanted to become a priest but was rejected by the church hierarchy, so drifted to Kinshasa like so many young men in the 1930s and went on to become one of the first black professional footballers (pages 207 to 211).

Sister Apolline, also 80, a mixed race Congolese nun who started her career as a schoolteacher (p.211). Victoria Ndjoli, the first Congolese woman to get a driving licence (p.212).

Jamais Kolonga subject of a famous Congo rumba song, who’d had a long and varied life, who worked on the docks at Kinshasa as a young man, how his grandfather was converted to Catholicism and sent away two of his three wives, how his father was sent to Catholic school, taught to read and write and got a job with the Belgian company Otraco as manager of the housing district for the native workers, inspected their homes, made speeches to visiting directors and dignitaries and, once, even the king! Appointed to the Otraco works council and then the local council he was one of the first Congolese to have even a slight say in the administration (p.222). Jamais was born in 1935. At home he spoke French with his father, Kikongo with his mother, and Lingala with everyone else (p.223). Jamais went to work for Otraco in 1953 (pages 219 to 224).

b) Written texts recording African testimony and voices

Disasi Makuli (introduced page 29) was born in the early 1870s, son of tribalpeople, grew up in the tribal world and, aged ten, first heard rumours of outsiders raiding into their territory, who they nicknamed the Batambatamba, meaning the slave traders (p.41). Disasi was kidnapped by a gang led by the famous slave trader Tippu Tip. Then he is purchased by Stanley and set free, handed over to the case of the Englishman Anthony Swinburne who managed the small early settlement at Leopoldville. When Swinburne died he aged just 30 in 1889, Disasi found a new home with the British Baptist missionary Anthony Grenfell (p.68). In 1902 he set up one of the first black-run missions in Congo, at Yalemba (p.71). He witnessed at first hand atrocities caused by the Red Rubber Terror (p.89) and had many more adventures before dictating his life story to one of his sons before his death in 1941.

In 1895 a young man named Butungu left for England with a Baptist missionary, John Weeks. A year later he returned home with tall tales of sailing ships and salt water and the miracles he’d seen in London and wrote his stories down in Boloki. ‘It is the only known text by a Congolese from the nineteenth century’ (p.65).

Testimony recorded in official reports about the rubber terror: for example given by Eluo, a man from Esanga, about red rubber atrocities (p.89).

The long and colourful life of Lutunu, born at the end of the nineteenth century, as recorded by Belgian artist Jeanne Maquiet-Tombeau (The Life of the Congolese Chief Lutunu, 1952), given as a slave by chief Makitu to Stanley (p.102).

The memories of Joseph Njoli, a man from Équateur province, as recorded by a missionary and describing the imposition of the heavy tax burden on native workers levied from after the Great War (p.128).

Excerpts from the articles of Paul Lomami-Tshibamba (pages 170 and 216). An editorial from one of the colony’s most popular papers, L’Avenir Colonial (p.177).

The memoirs of André Yav, who worked all his life as a ‘boy’ in Elizabethville and wrote his recollections in the 1960s (p.123). He is quoted remembering the big miners strike during the war, which was violently suppressed by the authorities in December 1941 and the long and bitter legacy it left (p.192).

The wonderfully insightful diaries of wartime Congo kept by Vladi Souchard, pen name of Vladimir Drachoussoff, ‘a young Belgian agricultural engineer of Russian extraction’, pages 194 to 199.

Chapters

The quickest way to convey the structure of the book is to list its chapters. Each one has a ‘colourful’ title, such as a quote, and then a factual sub-title indicating the period covered. Here are the factual sub-titles and dates covered:

  1. Central Africa draws the attention of the East and West 1870 to 1885
  2. Congo under Leopold II 1885 to 1908
  3. The early years of the colonial regime 1908 to 1921
  4. Growing unrest and mutual suspicion in peacetime 1921 to 1940
  5. The war and the deceptive calm that followed 1940 to 1955
  6. A belated colonisation, a sudden independence 1955 to 1960
  7. [Assassination of Patrice Lumumba 1960]
  8. The turbulent years of the first republic 1960 to 1965
  9. Mobutu gets down to business 1965 to 1975
  10. A marshal’s madness 1975 to 1990
  11. Democratic opposition and military confrontation 1990 to 1997
  12. The Great War of Africa 1997 to 2002
  13. New players in a wasted land 2002 to 2006
  14. Hope and despair in a newborn democracy 2006 to 2010

Between the wars

All the books I’ve read recently were about the Victorian explorers of central Africa and ended around 1910 with the death of King Leopold and his handing over the Congo to the Belgian state to become a proper colony. It’s the period after that which interests me, from the Edwardians to independence and van Reybrouck’s does a wonderful job of explaining that period, both in terms of conventional history, but also with his extensive use of individual biographies, memories, interviews and anecdotes.

The period saw the real entrenchment of colonialism but also the development and changing phases of that colonialism. Much happened but the key strands were:

Incorporation into global capitalist economy

In the 1890s the economy was a barter one. Even King Leopold’s rapacious Force Publique in effect bartered for rubber or paid forced labour exclusively with rations. The period through and after the First World War saw the introduction of money, Congo was incorporated into the global capitalist economy, with the introduction of contracts and wages (pages 127 and 157).

The budding industrialisation of Congo led not only to an initial form of urbanisation and proletarianisation, but also to a far-reaching process of monetisation. (p.127)

And once you have money i.e. once you have transitioned a population from barter and traditional forms of exchange, to money, the state can control huge aspects of life, starting with contracts for wages, all kinds of laws about commercial dealings. Previously individuals worked out their own forms of exchange; now the state intervened in everything. Most of all, the state can now introduce and collect taxes. Taxes for what? Why, to pay for the state.

These economic, trade, financial practices had been introduced across Europe over centuries (think of the evolution of money and banking) and so, like the frog in the slowly heating up saucepan, everyone in the West had not only got used to them but regarded them as ‘natural’.

It’s only when you see all these instruments of state and social control being imposed on a completely virgin society that you realise how exploitative and controlling they were.

Industrialisation and proletarianisation

Industralisation and ‘development’ all sound fine until you realise their inevitable concomitant, which is the creation of a proletariat. Again, since many of the workers in the new factories or in the huge mines being created in the east of the country or on the vast new plantations growing coffee, cotton, tobacco and other export crops were only one generation removed from illiterate tribal villagers living on subsistence agriculture, the process was all the more dramatic and defined (p.125).

Between 1908 and 1921…Congo experienced its first wave of industrialisation, thereby prompting the proletarianisation of its inhabitants. (p.125)

You can see why Marxist ideology gained such traction in the developing world or Third World as it came up to independence. In Europe and America capitalism had developed a very large middle and lower middle class which benefited from it, which enjoyed a standard of living to which the more skilled workers aspired. These acted as a kind of social ballast, meaning that the industrial proletariat or working class, whatever you call it, even at their most radicalised, were never in a majority, never had the potential to overthrow the state.

Whereas in most countries coming up to independence, the clear majority of the population was treated as second class citizens and the great majority of them exploited by European employers and screwed for ever higher taxes by a state biased entirely to protecting Europeans and maximising their wealth.

When you add in the race aspect, the notion that whites exploited blacks, so that when the whites were overthrown and blacks were in power, paradise would come – and you have a very heady mix of ideas and ideologies and hopes.

Population explosion

Schools, hospitals, better nutrition, a more varied diet and medical advances such as inoculation against the worst tropical diseases, meant that the 1930s and 40s saw a population explosion (p.164). This took a very particular form, namely the explosive growth of cities. Word spread there were jobs, decent housing, money and all the excitements of modern urban life just a hundred miles from the traditional village where you lived. The village denoted crushing poverty, a corrupt chieftain and wizened elders who married all the young women. Farming was back breaking work and the crops grown were specified by the state according to unknown plans or you might be dragooned into one of the mandatory road building schemes.

So you upped sticks and hitched to the city to take your chances. Between 1920 and 1940 the population of Kinshasa doubled to 50,000. (Remember that Stanley founded it from nothing and named it Léopoldville just 40 years earlier, in 1881.) Elizabethville (named after the wife of King Albert of Belgium), centre of the mining industry in the south-east of the country, double in size between 1923 and 1929, from 16,000 to 23,000. Huge investments in the 1920s in both the mining industry and in transport infrastructure  led to Katanga province becoming one of the world’s major copper ore producers.

In 1919 the big Union Minière de Haut-Katanga corporation based in Katanga employed 8,500 workers; by 1928 it was 17,000. In 1920 there were 123,000 salaried black in the country; in 1929 there were 450,000 (p.127). By 1945, what with the huge demand for metals and foodstuffs generated by the war, the number of payrolled workers had risen to 800,000, possibly as many as 1 million (p.191).

Van Reybrouck uses the decision of Union Minière to allow workers to bring their wives to the workers’ accommodation as a symbolic moment when many black employees stopped being transitory single men on short term contracts and began to become families with careers. Black men acquired the skills required by a modern urban economy, carpenters, masons, woodworkers, as well as white collar roles such as nurses, clerks, warehouse foremen. And bar and music hall owners and the new jazz musicians who played in them. In the late 1930s the first pensions were introduced by some of the corporations. It was during the 30s, 40s and 50s that a Congolese society was created. The Boy Scouts were introduced. Football. Music.

Repression

As the colonial state extended its grasp out across all regions of the country, it faced two kinds of revolt: one the old traditional, rural one from the country and the other a new, urban one, fomented by workers and unions. This explains why ‘almost all the prisons in Congo were built between 1930 and 1935 (p.160).

When a young Belgian named Maximilien Balot, visiting a village in Pende country to collect taxes, mishandled the situation, was murdered and his body hacked to pieces, the colonial government sent in soldiers who killed at least 400 natives, probably more (p.163).

Elsewhere, strikes among mine workers or dockers were put down with force, although actual unions weren’t very active. Most were set up by the white employers and so were another symbol of repression rather than vehicles of protest and negotiation. As late as 1955, of about 1.2 million Congolese on payrolls, only 6,160 belonged to a union (p.214).

What is an évolué?

Against this background of industrialisation and modernisation, the rapid growth of urban centres with all the features of urban life i.e. modern jobs, modern accommodation, electricity, telephones and entertainment in the form of clubs and bars and cinemas, it’s no surprise that an educated black bourgeoisie emerged. The Belgian authorities used the French term ‘évolué’ meaning, literally, people who had evolved from their primitive illiterate tribal culture to become well educated, assimilated urbanites, people who dressed, walked and talked like Europeans.

An évolué had benefited from post-primary school education, had a good income, was serious about his work, monogamous (polygamy was one of the great indicators of the tribal mindset), dressed, walked and talked in the European manner. He was proud of owning Western consumer goods like a bicycle or record player (p.215).

Like any other class rising up into one above, they were very conscious of their new status and formed groups, clubs and circles to protect it. They read and they wrote. The first Congolese writers come from this caste such as Paul Lomami-Tshibamba. But they were in the classic piggy-in-the-middle position. After the Second World War they wrote the first tentative essays about greater equality and autonomy for blacks but deep down they wanted to live like whites and be treated like whites. The irony was that, after the war, more white women came and settled in the Congo, a new white middle class came into being, more consumer orientated, with big villas and chauffeur-driven cars and children at private school.

And at exactly the historic moment when a new black middle class and intelligentsia reached out to them, van Reybrouck portrays white bourgeoisie as withdrawing into its gated communities and enforcing a new, more unbreakable colour bar. If a white journalist took a black colleague into a European bar, conversation stopped. Trains were segregated into black and white. If a black man dived into a swimming pool at a European club, the whites got out (p.216).

They had done everything asked of them, but still the évolués were treated as second class citizens. Van Reybrouck quotes a plaintive petition from the évolués of the small town of Lulabourg, who describe themselves as ‘a new social class…which constitutes a new sort of native middle class’ and concludes plaintively: ‘It is painful to be received as a savage, when one is full of good will’ (p.217).

The authorities made what, in retrospect seem like pitiful attempts to mollify these pleas. In 1948 they declared the évolués could apply for a ‘certificate of civil merit’. Holders of this grand certificate would no longer be administered corporal punishment and, if charged with an offence, be tried before a European judge. They had access to white wards in hospitals and were allowed to walk through white neighbourhoods after 6pm (!).

Unsurprisingly this was met with resentment and so the authorities introduced the carte d’immatriculation in 1952 which gave the évolué exactly the same civil rights as Europeans, most notably the ability to send their children to European schools. However, in order to qualify you had to submit to a humiliating inspection of your home life, which scrutinised every aspect of your home from the sleeping arrangements right down to the state of the cutlery and the kitchen.

Very few évolués volunteered to undergo this humiliation and even fewer passed the stringent criteria with the result that, in 1958, from a population of 14 million, only 1,557 civil merits were handed out and only 217 registration cards (p.219).

All of which explains why so many of the early leaders of the African nationalist parties in the Belgian Congo were members of the frustrated évolué class.

A succession of raw materials

Congo was victim of a kind of ironic curse: the conquering Europeans discovered the country possessed a whole series of raw materials which brought the exploiting whites vast wealth but very little benefit and a lot of forced labour and misery for the native population. Van Reybrouck points out these raw materials formed a kind of relay race: just as one material ran dry or ceased to be needed by Western countries, another took its place (p.119).

Thus ivory was the commodity which attracted traders to Congo in the 1870s and 80s. But just as supplies of ivory were being exhausted in the 1890s, there was a sudden explosion of demand for rubber sparked by the invention of pneumatic tyres for bicycles and cars and Congo turned out to be home to millions of wild rubber vines, which the population was terrorised into milking throughout the 1890s and 1900s.

Then the rubber boom collapsed because so many rubber tree plantations were opening in the Far East. In 1901 rubber had accounted for 87% of Congo’s exports, by 1928 just 1% (p.119). But just as the bottom fell out of the rubber market, Congo was discovered to be one of the world’s great sources of precious metals and minerals, chiefly copper, which underwent an explosion of demand during the First World War.

The British and American shells fired at Passendale, Ypres, Verdun and on the Somme had brass casings made from 75% copper mined in the east Congo region of Katanga. The bullet shells were made of nickel, which is 80% copper (p.137). There was steady demand between the wars, and then another huge spike 1939 to 1945.

And then, just when demand for copper dropped following WW2, its extensive supplies of uranium made Congo’s mines out east of permanent interest to the Americans (p.191). And when demand for this fell with the end of the Cold War in 1990, a new demand was opened up with the spread of personal computers and then mobile phones, which require cobalt and other rare metals which are found in the eastern part of the country.

Conclusion

My reading of Eric Hobsbawm’s history of the industrial revolution and the age of capital is that the industrial revolution was a kind of catastrophe. Contemporaries marvelled at the power and size of the new machines, especially the new railway engines unleashed on the world in the 1840s, but were puzzled and horrified at how such incredible ingenuity and engineering prowess seemed to make a large part of the population poorer than it had been before, the puzzle Karl Marx set out to solve and which his devotee Hobsbawm echoed 100 years later.

Nobody knew then what we know now about the cyclical nature of capitalist boom and bust, about successive waves of technological, consumer and marketing innovation. After the second industrial revolution provided a cornucopia of new inventions into the 1870s and 80s it was possible to believe that the new sciences of economics and sociology would guide society towards a technological utopia.

What is quite obvious is that nobody at the time understood the forces driving Western societies and the entire world forward with such relentless energy to a series of disasters: from the prolonged depression of the 1870s and 1880s which nobody understood, through to the gathering rivalries of the 1900s which led to the unprecedented cataclysm of the Great War and then to the thirty years of chaos which followed – the instability in Europe, America and Asia crystallised by the collapse of the entire financial system in 1929 followed by the rise of totalitarian regimes in Europe and Asia which ten stricken years later plunged the world into an even greater cataclysm.

My point is that Stanley and Leopold and the sadists in the Force Publique and then much of the colonial administration and the white Belgian masters certainly made countless mistakes, indulged in lies, extortion, torture and murder, or the relentless humiliation of colonial racism. And I’m not suggesting we ‘forgive’ them or let them off the hook. But at the same time this epic account, for me, brings out how humans in all areas, at all levels of society, don’t really know what’s going on. How could we? We can’t see the future from whose perspective the general trends of things even begin to make some sort of sense.

Who today can really predict the long-term impact of the digital revolution, of COVID-19 or global warming? After all the colour and vibrancy of van Reybrouck’s brilliant account I was left with a profound sense of humanity’s helplessness, a blinkered inability to understand the situation or manage ourselves which the next sections of the book – about the rush to independence, followed by civil war, military coups, corrupt dictatorship, political chaos, catastrophic war and social collapse are not, I suspect, going to do anything to disabuse me of.

Credit

Congo: the epic history of a people by David Van Reybrouck was published in Dutch by De Bezige Bij in 2010. All references are to the paperback version of the English translation by Sam Garrett, published by Fourth Estate in 2015.


Africa-related reviews

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The Crisis of Imperialism 1865 to 1915 by Richard Shannon (1974)

The Crisis of Imperialism 1865 to 1915 was written to be the eighth in the ‘Paladin History of England’ series. I read it at university back in the 1980s as background to the literature of the period.

A month ago I took it off my shelf to remind myself about the run-up to the Edwardian period (1901 to 1914) and insofar as it sheds light on the worldview of the noted Edwardian satirist, Saki, who I’ve been reading and whose stories often refer to social and political events of the 1900s.

This is a slightly odd, rather idiosyncratic book which I found strange but beguiling.

Shannon’s view of history – desperate men grappling with blind forces

Most histories describe the major events which took place during the period they cover, explain their origin and build-up, with pen portraits of the key figures involved in each issue, explaining in more or less detail who did what, what happened, what its after-effects were and why it matters. That’s the approach taken in, say, Crossroads of Freedom by James M. McPherson.

Shannon’s approach is strikingly different. If you know the board game Risk you’ll know it consists of a board representing the entire world, divided up into 40 or so territories. The aim of the game is for the 2, 3 or 4 players to seize all the territories and push the other player(s) off the board. Winner takes all.

Shannon applies a Risk approach to history. Key incidents from this crucial half century (for example, the rise of trade unions at home, the annexation of Egypt abroad, Britain’s response to Bismarck’s wars, the issue of educating the poor which became more pressing everywhere in the second half of the century) are mentioned only fleetingly, often only in passing, often barely explained, because they are not at all where Shannon’s interest lies. Shannon’s interest lies overwhelmingly in the Great Game played by the most senior political leaders throughout the period of winning power and staying in power.

Disraeli’s calculations logically centred on…immediate parliamentary advantage. (p.66)

Shannon doesn’t see politics as a set of logical and understandable events which can be clearly explained, which were clearly understood at the time, and to which rational solutions were offered. Instead he sees human history as the product of blind, inchoate forces – economic, industrial, financial, cultural and demographic – which propel societies forward, willy-nilly, whether planned or understood or not.

The aim of politics, in Shannon’s view, is to harness chaotic human events in order to stay in power.

From time to time Shannon does sound for a few pages like a ‘traditional’ historian. He gives a brisk summary of some of these social changes, with an appropriate blizzard of statistics, particularly in the short opening introduction which is a handy anthology of stats about population increase, migration abroad or into British cities, the rise in agricultural wages and productivity, the doubling of GNP per capita and much more, during his chosen period. It is, for example, striking to learn that during the 1860s, in the UK, agricultural workers and the labouring poor ceased to make up the majority of the population for the first time in any country, ever; for the first time in human history (p.30). All very interesting, but then he gets back to his real, underlying worldview:

These were the blind forces at work, unconscious and undirected. Conscious or directed aspects of the social system – broadly, ‘politics’ – did not relate to these blind forces in a neat one-to-one ratio. Very often indeed the relationship was at best tangential…

And:

The picture as a whole is not that of a society moving surely and confidently in self-possession of its destiny. Rather, it is the story of a society at odds with itself, the blind forces working very often at cross-purposes with the conscious wishes and efforts of those who felt it their task to define the ends, the purposes, to which the ‘movement’ would best be directed…

And:

During the fifty years before the outbreak of the First World War in 1914, the forces of conscious purpose and design in Britain struggled to avert the threats of the blind, largely uncontrollable internal forces and of the dangerously uncontrolled external forces. (Pages 15 to 16)

And:

Domestic debate ceased comparatively to be free as the blind forces moving society imposed irresistible pressures. (p.36)

Why I mention Risk is because, for any one of the five decades his book covers, Shannon’s focus is almost entirely on the highest of high politics and on the handful of men who clawed their way to the top of the main political parties (being the Conservative and Unionist Party and the Liberal Party) only to find themselves caught up in the melée, in the maelstrom of these ‘blind’ forces and thrown into the high stakes game of risk management, opportunity and gamble, which is how Shannon conceptualises all high politics. He sees all of political history as a very complicated game of Risk. All tactics are permitted. Winner takes all.

Shannon’s fundamental idea is that people like Gladstone and Disraeli (the famous antagonists from the early part of his period) came to power with little or no idea what to do with it. They came to power by exploiting the forces at large:

  1. internationally
  2. within British society with its changing and emerging economic and political forces
  3. within British political society i.e. within the complex and often contradictory traditions and ideologies of the nation’s two ruling parties
  4. within the intensely power-hungry, jostling Machiavellian milieu of Parliament itself (made up of the very different institutions of the House of Commons and the House of Lords)

Gladstone, Disraeli and their successors were caught up in a game much more complicated than Risk, more byzantine than three-dimensional chess, a terrifyingly complex game in which the rules are continually changing and all the goalposts move overnight. Shannon makes a number of references to chess, talking about the pieces ‘on the political board’ and how those who had scrabbled into positions of power sought to move them to their best advantage.

For example, the book opens with the death of Lord Palmerston in 1865. Palmerston’s death ‘opened up the board’ after 10 years of his political dominance.

Palmerston acted as checkmate. His position on the political board was such that so long as he remained a force no other forces were either strong enough or sufficiently motivated to free the board for manoeuvres. (p.20)

And:

This situation on the political board is the key to all the complicated manoeuvrings of 1866 and 1867. (p.22)

So what makes this book unusual, distinctive and even a little odd are two things: one, Shannon’s casual disinterest in what actually happened (i.e. the events of the period) in preference for extended descriptions of the Great Game of Westminster politics.

And the second thing is Shannon’s extreme scepticism about the effectiveness of these Westminster politics, his belief that society is moved by blind, inchoate social forces which no-one understands, least of all the men who manipulate their way to the top of the greasy pole.

Shannon goes to great lengths to show that even when they get there, Britain’s politicians often had no idea what is really going on, generally act according to old fashioned ideas, out of date notions, either their own or their party’s, in the search for a correct alignment or balance of social forces which repeatedly turns out to be a chimera, a delusion.

Disraeli imagined that there was a ‘normal’ posture of things which could be got back to without too much trouble. The story of Disraeli’s great ministry is how both kinds of normality evaded him… (p.102)

Lowe’s misguided fears of 1866 were the consequences of applying middle-class intellectual calculations to working-class situations. (p.104)

They certainly take advantage of political opportunities to create new coalitions and alliances, to co-opt elements of broader society or of the seething Westminster cauldron to secure power and then try to pass laws or formulate foreign policy. Shannon describes at length the continual manoeuvring and regrouping of political forces, of conjunctions and alignments of different interest groups, he even talks at one point about ‘the Gladstonian matrix’ (p.53).

And then he tries to assess whether their ‘solutions’ are adequate to the challenges and problems thrown up by a society undergoing continual massive social and economic change. And concludes, on the whole, that no, the politicians were heirs to complex political traditions and alliances, moved in a world of sophisticated political theorists and commentators (John Bright, John Stuart Mill, Walter Bagehot) and yet routinely failed to understand what was really going on or to solve the problems they faced. It is a chronicle of bungling and muddling through.

Like dinosaurs at the onset of a new and uncongenial epoch, the generation at its prime in the 1860s, still at the head of affairs in the 1870s and 1880s, groped about in the wreckage of their familiar landscape, already being transformed and imposing new conditions of adaptation and survival. (p.199)

Domestic versus foreign affairs

At several points Shannon distinguishes between the relative limitedness of the chaos in the domestic as opposed to the international sphere. Put simply, there was less scope for choice or disagreement about domestic policy: by 1870 something quite obviously needed to be done about educating the general population, extending the vote, regulating the power of trade unions, about providing sewerage and clean water to the unhygienic cities and so on. In the big picture, the squabbles between parties about these were often trivial.

It was in foreign affairs that there was real scope for differing opinions. As Shannon puts it, Britain was not ‘free’ to begin to lay the foundations of what later became known as the welfare state (all European nations were doing something similar; something similar obviously had to be done here) in the same way that it was ‘free’ to choose whether to go to war in  South Africa in 1899 or with Germany in 1914, in both of which we had the ability to say No right up till the last minute (p.36).

This greater scope in foreign affairs for a variety of choices and actions is one reason why the period from the 1880s to 1914 saw foreign affairs acquire a greater and greater importance and intrude its issues and decisions more and more into domestic political considerations.

A token of this was the rise of the word ‘imperialism’, which only took on its modern meaning during this period, specifically in the 1890s, and whose claims became a major dividing line between the parties, and between different factions within each of the parties (p.77).

Above all, Shannon presents the high politics of the period not as something carried out by powerful men in full command of the facts who had a well-worked-out series of policies to enact; but as the shambling attempts of men under tremendous pressure to keep their parties and supporters onside while responding to events whose significance they often didn’t understand at all.

They were almost always motivated by the quixotic attempt to restore some kind of equilibrium or political stability which they remembered from their youths, but in most instances were laughably out of date and irrelevant. Thus:

An analysis of British foreign policy between 1865 and 1885 reveals essentially the persistence of received traditions and attitudes, attempts to reassert policies based on assumptions inherited from the past… [There was] an inability to understand why policies which had hitherto appeared to answer requirements with complete satisfaction had suddenly ceased to carry conviction and credibility. (p.41)

Documenting the search by politicians of this period for this illusory balance or equilibrium is the key theme of Shannon’s account.

Avoiding teleology

The 1860s, 70s and 80s were not straining to become the 1890s and 1900s. They had no idea what the future held in store. With hindsight many things are obvious to us, now. Nobody knew them, then. Shannon’s attempt is to recreate the mindset of each decade, each year, in order to make clear the context in which the politicians fought for power.

One must above all be careful to avoid teleological assumptions about the nineteenth century… It is obvious, looking back from the twentieth century, that the blind forces at work in the nineteenth century inevitably caused profound changes in political behaviour… But this was not at all the context of consciousness in which the debate of 1866-7 took place… 1867 was not a promise to the future that happened; it was an attempt to settle questions left over from the past, and a promise in another sense to a future that aborted, that never happened. (p.59)

Their concerns are not our concerns. In fact we struggle to make sense of their concerns. The debates around the extension of the franchise in 1867 didn’t see it (as almost all of us today do) as a stepping stone to the nirvana of universal suffrage, but instead were around finding a new equilibrium which would generate the best outcomes for the ‘national interest’ and avoid pandering to narrow class interests. One recurring argument put by people on all sides was that the 1832 settlement had produced a nice balance between the interests of the landed aristocracy, the new business-based bourgeoisie, and the skilled working class. It wasn’t extending the franchise to the lower middle classes and rest of the working class they objected to, it was upsetting this delicate balance by giving too much prominence to one particular part of the population.

Shannon sheds a brilliant bolt of light on our present situation by saying that almost all mid-19th century thinkers would have been appalled at the late 20th and 21st century assumption that democratic politics is about governments bribing particular sections of the electorate with promises of tax cuts or benefit increases and so on. That would have been seen as the ultimate in political immorality.

Their debates were about how best to arrive at the best expression of the ‘national interest’, debates which, of course, clashed over the notion of what the national interest was and who was best qualified to identify it and to implement it. Disraeli knew what it was: the landed aristocracy who he had glamorised in his novels of the 1830s:

Like Palmerson, Disraeli wanted to be able to call on the support of many interests as a means of preserving the one great interest, ‘the national interest’, which he identified centrally with land. (p.68)

I was very interested to learn that the famous social philosopher John Stuart Mill (who himself became an MP) did not want universal suffrage; he wanted a limited suffrage arranged in such a way that the balance of power would shift from (what he regarded as) a limited, unintelligent and reactionary landed aristocracy to a well-educated, modern, business-minded intelligentsia.

Shannon’s warning not to think teleologically makes explicit the notion that we live amongst the countless ruins of the plans and ideas and schemes and manifestos to build a better country and a better political system which have been worked out and proposed with such passion and sincerity by so many of our ancestors, and which came to nothing. So many futures, which never took place.

Disraeli

We can illustrate Shannon’s approach in his portrayal of Benjamin Disraeli (1804-1881; leader of the Conservative Party from 1868 till his death in 1881). Shannon paints Disraeli as a man who started his political career facing one central political challenge which was how to repair the catastrophic fragmentation of the Conservative Party caused by the highly divisive campaign to repeal the Corn Laws which reached its climax in 1846 (p.48).

Conditions…since 1847 had made a Conservative majority virtually impossible. (p.73)

The Corn Law campaign had split the Conservative Party down the middle and the chaotic political scene which ensued was exploited by Lord Palmerston who rose to become Prime Minster for the next 9 or so years. Palmerston had combined elements of different political traditions in order to create a very distinctive power base held together by the force of his personality. When he died this particular matrix of forces collapsed leaving a vacuum which presented a complex opportunity for his successors (most notably the two ‘coming men’ of the younger generation, William Gladstone and Benjamin Disraeli) to reorganise and redefine the various political strands and traditions into new combinations.

Disraeli wanted to be a politician, he wanted to be a success, he wanted to be prime Minister, but following Palmerston’s death, he faced the huge challenge of trying to give the Conservative Party a new identity or direction whereby it could once again represent the entire ‘nation’ and represent what Shannon calls the ‘national’ policy.

Disraeli’s task was to manoeuvre the Conservative Party into the posture of natural and legitimate exponent of the ‘national’ policy. (p.52)

In the coming years, Disraeli would scavenge solutions to this challenge from anywhere; he would use any opportunity to try and repair the breaches among the ruling class opened the Corn Law debacle and create a workable majority in the House of Commons and consolidate the in-built Conservative majority in the House of Lords.

For Disraeli, and therefore for Shannon, it doesn’t matter what these issues are, whether it be the administration of India after the great rebellion of 1857, the correct line to take towards the American Civil War (1861 to 1865) or to Bismarck’s series of wars starting with Prussia’s war with Denmark in 1864.

Disraeli’s approach wasn’t about taking a consistent or principled line. It was about analysing each event or crisis and assessing what was the best outcome for the Conservative Party and for himself. What would play best among the (still very limited) electorate? How would a given policy play to the landed aristocrats in the House of Lords? Could it be reconciled with the need to win over support among the factory owners in the House of Commons?

The governing Liberals were traditionally the party of small government and non-intervention abroad. Classical Liberalism, as defined by the Manchester school of Richard Cobden and John Bright, thought that left to itself, universal free trade would connect all nations in fair and equal economic arrangements and thus war would not be required. That is why they had founded the Anti-Corn Law League in 1838, in order to abolish the restrictive tariffs which kept the price of corn artificially high (in order to benefit the landed aristocracy) thus making the price of food substantially cheaper in order to feed the populations of the new industrial cities.

By contrast with the Liberals’ boring ideas of universal free trade, as the 1860s turned into the 1870s Disraeli realised there was a big opportunity here to position the Conservatives as the party of imperial adventure and derring-do. Thus Disraeli is most remembered for two flashy, publicity-seeking gestures, buying up shares in the Suez Canal when the owner, the Khedive of Egypt went bankrupt in 1875, and awarding Queen Victoria the title Empress of India, much to her satisfaction, in 1876. Both hugely popular, both the swift seizure of opportunities.

But none of this implies that Disraeli had a fully-worked out foreign policy. Far from it. These were mere chance opportunities which he grabbed with the instinct of a true opportunist. Only later would succeeding leaders and theorists of the Conservative Party (Disraeli died in 1881) concoct the convenient idea that Disraeli had formulated some Grand Theory of Imperialism. Disraeli had no such thing. And his heirs only did this because this fiction helped them in their times (the 1880s through the 1900s) try to make sense of the ‘blind forces’ at work in the domestic and international spheres of their era. They were looking backwards for clues and ideas, just as Disraeli had been, in his day.

Similarly, when the Liberals brought forward plans to extend the franchise (the vote) from about 1.4 million men to 2.4 million men in 1866, Disraeli again spotted an opportunity, first of all to defeat the Liberals by assembling coalitions of reactionary forces against them. And then, quite hilariously, once the Liberal government resigned after losing a vote on the  reform bill, and the Queen was forced to appoint Disraeli her Prime Minister, he brought forward more or less the same bill, this time persuading reactionaries in the Commons and Lords that a carefully defined and carefully managed extension of the vote wouldn’t hand it to the illiterate mob but would do the opposite; would win over for the Conservatives the grateful lower-middle-class and skilled working class who would benefit from it. And that is, in fact what happened, once the new Reform Act was passed in 1867.

So Victorian politics wasn’t about ‘principle’, having grand theories and manifestos. It was all about shrewdness and adaptability, and adeptness at climbing to the top of what Disraeli very aptly described as ‘the greasy pole’ – and then using any event, and harnessing whatever social forces, and rethinking whatever traditions and schools of thought necessary, to stay in power.

A propos the 1867 Reform Act I was a little staggered to learn that in the election which followed, in 1868, only about half the seats were contested by both parties. We are talking about in which the interest of the Conservatives in country constituencies and of the Liberals in urban constituencies, was so definitive, that it wasn’t even worth contesting half the seats (p.73). Although it later came to be seen as highly symbolic that the high-minded, if eccentric, Liberal John Stuart Mill, lost his Westminster seat to W.H. Smith, the news agent, a harbinger of the rise of the new suburban middle and lower middle class vote which was to become a mainstay of Conservative elections and flavour much of national culture going into the 1880s and 1890s (p.73).

Power politics

Hopefully this example gives you a flavour of the way Shannon’s book takes you right into the heart of power, assessing how leaders like Gladstone and Disraeli (and later on, Lord Rosebery, Campbell-Bannerman and the rest) struggled to:

  1. understand what was going on
  2. fit events into the framework of their own personal ‘beliefs’
  3. fit events into the framework of the ideologies and traditions of the parties they purported to lead (often at odds with their own personal beliefs)
  4. and then try to manage coalitions and constituencies of voters out there in the country, and their representatives in Parliament, in such a way as to a) take meaningful action b) all the time ensuring they remained in power – in a process of endless risk and gamble

That is what this book is about; it is less about the actual events of the period than how the successive leaders used these events to claw their way to power and then how they manipulated the traditions and ideologies, assembled and broke coalitions, recruited this or that member of the party into their cabinet, kept important players onside by offering them this or that reward, and so on.

Gladstone himself, in a note written at the end of his life, in 1896, tried to analyse what it was that distinguished him from the other politicians of his time. He wrote that what it boiled down to was the way Providence had endowed him with a special gift of being able to see, to analyse, right into the heart of situations.

It is an insight into the facts of particular eras, and their relations to one another, which generates in the mind a conviction that the materials exist for forming a public opinion, and for directing it to a particular end. (Quoted p.71)

This book focuses exclusively on the highest of high politics, which explains why there’s little or no social history, very little about people’s lived experiences, little or no gossip about kings and courtiers, very little about new technologies or food or sport or fashion, very little about the regions, or even Scotland or Wales (although Ireland bulks large for obvious reasons).

Instead, the focus is very narrowly on Westminster and the power politics played out between a tiny handful of men at the top, detailing their schemes and strategies to gain and hold on to power. So if you’re looking for any kind of social history or lots of colourful anecdotes this is emphatically not the book for you. To give a fashionable example, in the Edwardian section of the book, there is almost no mention of the suffragettes or any kind of portraits of their leaders or their cause; the emphasis is entirely on the how they were just one of 3 or 4 social and political issues which Edwardian leaders were trying to assess and juggle in order to pursue the endless quest to stay in power.

Preserving the balance

So little or no social or economic history, then. What the book is good on is political theory. At what you might call the academic end of the spectrum, Shannon gives accounts of the political thought of Liberal ideologues such as John Bright and John Stuart Mill, showing how the latter in particular derived from his Utilitarian mentors and then evolved to reflect the times (not least in Mills’s powerful defences of women’s rights).

Shannon refers to the at-the-time well-known collection Essays on Reform, published in 1867 as ‘part of the propaganda of the “advanced party” for a “more national Parliament”‘. In the Essays leading political commentators made suggestions about how to improve the franchise and the voting system. Shannon dwells on the contribution of John Morley (1838 to 1923), nowadays a forgotten figure, but who was not only an influential journalist and editor but went on to be a reforming politician in his own right from the 1890s through to the 1920s, and who in the 1880s consciously positioned himself as the heir to Mill (who had died in 1873) as chief ideologue of classical Liberalism (p.98).

Some of the writings in Essays on Reform turn out to be disconcertingly relevant today, 150 years later. Shannon quotes Lesley Stephen, in his essay on reform, proposing that England is an essentially conservative country with an instinctive liking for the established order of things which led all the upper classes, a lot of the middle classes and a surprising number of the working classes instinctively deferential and reluctant to change. This leapt right off the page and spoke to me now, in 2021 as I read endless articles about why Labour lost the 2019 election so badly and why so many people continue to support the Conservative Party despite it so obviously being led by corrupt fools and incompetents. Reading Stephen’s words suggest the short answer is because it’s always been like that; because that’s what England is like.

But theorising and essay writing wasn’t only done by intellectuals and the higher journalists. Politicians also made speeches or wrote articles, and thus Shannon liberally quotes from speeches or articles by the likes of Disraeli, Gladstone and their heirs, to indicate what they said they believed and what they thought they were trying to do.

The thing is, though, that Shannon rarely takes them at face value. In line with his basic credo about the ‘blind forces’ driving society, Shannon is not shy of pointing out when these figures got it completely wrong.

In practically every respect Gladstone’s assumptions about the shape of the future were belied by events, just as were Disraeli’s assumptions about the possibilities of perpetuating a traditional Palmerstonian past. (p.70)

It would take nearly twenty years for Gladstone to reconcile himself to the inadequacy of his assumptions of 1868. (p.79)

The politicians of the period were engaged in what Shannon calls:

A contest in misapprehension. (p.70)

Or, more likely, were writing articles and making speeches not to convey eternal political truths, but to play the game and position issues or ideas in such a way as to maximise the author’s appeal, not necessarily to the bulk of the population (who couldn’t vote), but to key stakeholders or constituencies or even to specific individuals whose support they need.

As well as 1. intellectual ideas and 2. the strategic ideas promoted by politicians for political gain, there is a third category, 3. underlying commonplaces and beliefs.

These are the ideas which aren’t necessarily articulated in their own day and yet exist as widely accepted commonplaces and traditional values in all political parties (or social organisations such as the Anglican Church). Shannon is very good at  bringing these underlying Victorian beliefs out into the open and so helping you understand not just what the Liberal and Conservative leaders said they stood for, but what the crusty old supporters of both parties actually believed they stood for, which was often very something completely different.

Put more simply, Shannon is a really interesting guide to the ideologies and values which underpinned not only high politics but also the political culture of the times, and which was often not very well expressed at the time.

For example, I found his summary of Matthew Arnold’s 1869 book, Culture and Anarchy: An Essay in Political and Social Criticism, very useful. Arnold, Shannon explains, like so many of his contemporaries, didn’t want to leap forward into a radical future, he wanted to preserve the best elements of the past in troublesome times.

Arnold’s fear was that Britain was moving away from reliance on the disinterested morality of the landowning aristocracy and at the same time losing its religious faith, and that this collapse risked the triumph of the Philistines, the name he gave to the rising middle classes, the factory owners and entrepreneurs who knew the price of everything and the value of nothing.

Arnold’s solution was that literature, art and culture should be promoted as the way to defeat the tide of philistinism and preserve the ‘sweetness and light’ of traditional culture, which he defined as ‘the best that has been thought and known’. In effect, ‘culture’ was to replace religion as the great binding glue and underpinning ideology of society (p.33).

This notion was to have a phenomenal impact and arguably to hold sway across the arts until well into the 1960s. I think it affected the way I was taught my literature degree in the 1980s. But reading it in the context of Shannon’s hard-headed exposition of power politics gives it a whole new meaning.

Arnold is just one of many Victorians who were looking backwards, who were trying to preserve what they idealised as a kind of balance or equilibrium between forces in society, which they hoped would solve all social issues and return life to the idyllic days of their youths.

Shannon shows in detail that Gladstone and Disraeli were, in this way, just the same, both men trying to return Britain to an imagined land of peace and plenty of their youths. Both men only promoted supposedly ‘radical’ policies (such as extending the franchise or extending state support for education in the 1870 Education Act) because they thought it would shut down dissent, end the debate, and restore this mythical equilibrium.

The essence of the question of reform [in 1867]…was a problem of striking a settlement that would satisfy the country and provide the point of rest and stability for a reconstituted Victorian equilibrium. (p.62)

The second stage of the Liberal effort to create a new Victorian equilibrium in the Liberal image fulfilled itself in the great programme of reforms between 1869 and 1873. (p.76)

The essence of the conduct of affairs in the decade 1874-85 was the effort of both Conservative and Liberal governments to operate on the basis of a desired and assumed Victorian equilibrium. Conservatives interpreted this equilibrium to mean a return to ‘normal’ procedures as defined in Palmerstonian pre-1867 terms… Liberals of most strains interpreted the equilibrium in terms of a revised dispensation required by the country to fulfil the potential of 1867… (p.101)

Some later Victorian schools of political thought

Maybe ‘theory’ is too grand and French a word to use for British political thinking, which has always been pragmatic, ad hoc and short term. As I read some of Shannon’s summaries of Victorian schools of thought, it crossed my mind that it might be useful to list and briefly summarise them:

Matthew Arnold

Arnold believed religion had been wounded by science, old aristocratic ideals damaged by democracy. He suggested replacing them with a new national ideology based on Culture which he defined as the best which has been thought and written, meaning, essentially, English literature.

John Stuart Mill

Mill helped define the ‘harm principle’ of freedom, namely that citizens should be free to do just about anything so long as it doesn’t harm, or cause harm to, others. He strongly defended complete freedom of speech on the basis that society could only progress if all ideas were freely expressed and openly discussed, confident that good opinions would defeat bad opinions. (p.32) Under the influence of his wife he became a fervent advocate of women’s rights, and spoke in favour of votes for women in the 1860s.

But Shannon takes us beneath the popular image of Mill as champion of modern human rights, to show how odd and of his time much of his thought was. For Liberals in the 1860s the issue wasn’t about steering the country towards universal suffrage: the pressing concern was to wrest power from the landed aristocracy, the estimated 10,000 or so families who essentially ran Britain, not in order to create a mass democracy, but to relocate power to the Most Intelligent people in the nation who Mill, not surprisingly, identified with himself and his friends.

In other words, Mill didn’t want to abolish the mindset of deference as so many Radicals did. He simply wanted to shift the focus of the population’s deference from the (in his opinion) worthless aristocracy, to the forces of liberal industry and economy and intelligence.

Leslie Stephen

Stephen believed that occult and unacknowledged forces kept England a predominantly aristocratic society, the majority of the population liking to keep things as they are and to defer to their betters. (p.28) (If you wanted to think big, you could say this attitude goes back to the Norman Conquest and the establishment of a two-tier society which, in many occult and unacknowledged ways, endures to this day. Being able to speak French or drop French tags into conversation, for example.)

Whig aristocrats

believed that only possession of land could guarantee independence and freedom. A tenant is forced to vote the way his landlord tells him. The owner of vast acres can, by contrast, stand up against almost any authority (including, back at the origin of the Whig Party, during the Glorious Revolution of 1688, the king himself). English freedom therefore depends on the existence of a well-educated and independent aristocracy, and their existence depends on respect for property. From this perspective, any attempt to tax, confiscate or redistribute someone’s land represents not an attack on them or even the propertied class, but on the entire basis of English freedom and this explains the attitudes and speeches of most MPs and ministers from the landed aristocracy (p.26).

The Manchester School

The Manchester school of economic and political theorists, led by John Bright and William Cobden, believed that free trade between nations would maximise everyone’s wealth and guarantee peace, because eventually every nation would be so tied  together by international trade that war would wreck their own economies. After the death of Palmerston in 1865, the Manchester School thought that Britain’s foreign policy should be one of complete non-intervention, showing the rest of the world by the example of how free trade led to prosperity. The Manchester School passively supported the attempts by peoples across Europe to liberate themselves from foreign (generally reactionary) oppressors, such as the struggle for Italian Unification, completed by 1871, because this would lead them all, in time, to have a constitution and economy as glorious as Britain’s, but we must on no account intervene in those struggles (p.43)

Castlereagh’s foreign policy

The Conservative view looked back to the aftermath of the Napoleonic Wars when Britain had a vested interest in never letting a continent-wide dictator arise again, and so was active in creating and supporting a supposed ‘balance of power’ in Europe, creating a ‘concert of powers’ between France, Prussia, Austro-Hungary and Russia, without ever actually joining sides. (pages 43 and 47).

Unfortunately, the illusion of this concert was seriously damaged by the Crimean War (1853 to 1856) in which a lot of Britons were surprised to find themselves fighting with Muslim Turkey against Christian Russia. And then Bismarck definitively wrecked this model by defeating Denmark, Austria and France in order to create a unified Germany in 1871, from which point the old theories became increasingly irrelevant and British leaders, both Conservative and Liberal, had to cast around for a new model and a new role for Britain in Europe (p.45).

Beneath the surface of a general retraction of diplomatic initiative following the Denmark fiasco, the phase from 1865 to 1874 is characterised by a great deal of manoeuvring and regrouping of political forces… (p.53)

The Crimean System

The Crimean War was fought to contain Russian expansionism, to prevent Russia extending its control right through the Balkans to threaten Constantinople and the Straits i.e. the Bosphorus, where the Black Sea joins the Mediterranean.

If Russia attained control of the Straits it would allow her navy to enter the Mediterranean at will and hugely shift the balance of power in the Eastern Mediterranean and Eastern Europe. Therefore Britain found itself fighting alongside Turkey and propping up the Muslim Sultan against a Christian European power. Many people at the time thought it was a mistake in principle and the actual mismanagement of the war confirmed their worst expectations.

The war ended with the 1856 Treaty of Paris and this goal of propping up Turkey in order to contain Russia became known as the Crimean System, which British politicians then tried to maintain for decades, way after it had become irrelevant to the changing realities on the ground.

Shannon’s theory of drag – the way politicians look backward, trying to maintain or recreate the systems and equilibriums they fancy existed in their youths – explains why, 20 years after the war, Disraeli, when Turkey carried out a brutal suppression of Bulgarians seeking independence in 1876, could only conceive of maintaining the ‘Crimea System’ and so continued to prop up a Turkey which had become notably more feeble and maladministered in the interim. Which in turn gave Gladstone the opportunity to score a massive public hit with his speeches giving gruesome details of the Turkish massacres of Bulgarian villagers, the so-called ‘Bulgarian Atrocities’, and decrying Disraeli’s immorality in defending them.

Politics isn’t about principles. It is about attacking your opponent at their weakest point until they collapse. It is about seizing opportunities for political gain.

Liberalism

One of the fundamental ideas of Liberalism, of the classical kind advocated by Cobden and Bright, was that different social groups and forces can, ultimately, be reconciled, not least by the growing science of society – sociology – by the use of reason and good will. It is optimistic about society’s prospects for eventually finding balance and peace (p.31), and the same belief in extends into a foreign policy which believes that free trade between nations is the best way of ensuring peace.

Nonconformism

It is difficult for many moderns to grasp the importance of religion in British politics until relatively recently. Certainly it was of vast importance in the Victorian period. The religious scene still bore the marks of the civil wars and the 1688 revolution which followed it. Basically the Church of England was the settled theological and organisational basis of the Establishment, of most of the landed aristocracy, of Oxford and Cambridge and the elite professions it produced.

After the restoration of Charles II in 1660 an Act of Uniformity and a series of Test Acts were put in place to ensure that nobody could hold any formal office or take a degree unless they swore to uphold the theology of the Anglican church and enforcing episcopal appointment of all ministers of religion.

Now the civil wars of the 1640s and 50s had brought out into the open, and into public life, a large minority of devout Christians who could not swear to the theology of the Anglican Church. They either disagreed about the entire idea of an ‘established’ church, or disagreed with the fact that its leaders, the bishops, were appointed by the civil power i.e. the monarch, or disagreed on a wide range of theological points. Before and during the wars they were known as ‘Puritans’ but the wars’ freedom to debate and define their positions led to a proliferation of sects then and in the decades after 1660, including Presbyterians and Congregationalists, plus Baptists, Quakers, Unitarians and (originating in the 18th century) Methodists.

Because they refused to ‘conform’ to the Act of Uniformity and the various Test Acts they became known as the Nonconformists and came to form a distinct element of British society, large in England, probably a majority in Wales. There’s a lot of ongoing debate about whether the Nonconformists caused the industrial revolution, but there’s no doubt that, because they were excluded by law from holding civil posts (in local or national government) or entering any of the professions, Nonconformists were forced into business and into the worlds of science and industry.

The Test Acts were repealed by 1830 in what amounted, in its day, to a social and political upheaval, alongside Catholic Emancipation i.e. the removal of similar restrictions from Roman Catholics.

The point of all this for our period is that the Nonconformists, despite being split into various sects and subsidiary groupings, by and large formed a large part of British society.

A census of religion in 1851 revealed Nonconformists made up about half the number of people who attended church services on Sundays. In the larger manufacturing areas, Nonconformists clearly outnumbered members of the Church of England. (Wikipedia)

And this large body of Nonconformists constituted a bedrock element of the Liberal Party which they hoped would continue to remove obstacles to their full legal rights, many of these hopes focusing on the (utopian) wish for the disestablishment of the Church of England, so that it would become merely one more religious grouping among many.

But their presence in large numbers meant that the Liberal leader who emerged after Palmerston’s death, Gladstone, had to always take the Nonconformist vote into account when devising his policies and strategies.

You might have thought the Nonconformist influence, like religious belief generally, was slowly declining during the nineteenth century, but it was the opposite. The 1868 general election led to an influx of Nonconformist MPs, the largest cohort ever, who from now onwards had to be taken into all political considerations, and added a substantial layer of complexity to a host of policies, especially regarding Ireland, the disestablishment of the Anglican church in Ireland and then all the discussions about Irish Home Rule.

With the result that 40 years later the coming man in the Liberal Party, David Lloyd George, still had to cultivate and maintain Nonconformist support in the 1900s.

I was really surprised to learn about the tremendous complexity of passing the 1870 Education Act which was caused because of the conflict between the Church of England which ran the majority of state schools and the Nonconformists who wanted more state schools to be set up but not run by the Church and certainly not funded from local rates, a very English, very muddled situation which led to an unsatisfactory and patchy solution, the establishment of ‘Board schools’ which ‘became one of the great shaping factors of later nineteenth century society’ (pp.86 to 92).

In summary, it is impossible to understand a lot of political events between 1868 and the Great War unless you have a good feel for the importance of the Nonconformist interest in politics and in Britain’s broader cultural life.

Thomas Henry Huxley (1825 to 1895)

Although famous as a vigorous defender of Charles Darwin’s theory of evolution by natural selection, Huxley was solidly on the side of the angels and made speeches and wrote articles (notably Evolution and Ethics) pointing out that just because nature works through violent competition and extermination, doesn’t mean that humans have to. In fact humans have the capacity to do the exact opposite and use the reason evolution has handed us in order to devise rational and compassionate solutions to social problems which transcend the whole vulgar notion of nature ‘red in tooth and claw’.

Gladstone

Shannon credits Gladstone with realising that politics had to move on from the old notion that it was about balancing categories of ‘interest’ (for example, trying to frame policies which reconciled the landed interest and the industrial interest, and so on) to categories of ‘morality’ (p.55).

In making this shift of the basis of politics the essential task of the Liberal party Gladstone made it into a vehicle of political moralism. (p.55)

Hence the intensely moralising tone Gladstone adopted as he came to political prominence from the 1860s onwards, the increasing emphasis on judging government policies and bills on the grounds of social morality and hence Gladstone’s long, high-minded lectures which many found inspiring, but many (including, famously, Queen Victoria herself) found patronising and infuriating. Maybe Gladstone was the first mansplainer.

Reasons for losing

The Liberal government, convinced of its own virtue and its mission to reform and rebalance society, was flabbergasted when it lost the 1874 general election badly. Lots of commentators and the Liberal leadership itself were deeply puzzled why this had happened. Gladstone took it very personally and resigned the Liberal leadership in 1875. Journalist and soon-to-become politician John Morley wrote a book, On Compromise, giving his explanations for the defeat:

  • the example of French demagogy i.e. populism; appealing to the vulgar mob
  • the intellectual trend of the ‘historical method’ which had undermined the moral authority of the Bible
  • the corruptions of the popular press
  • the influence of the reactionary Church of England

But the deepest cause, Morley thought, was the material prosperity which had mushroomed during these years and had impaired ‘the moral and intellectual nerve of our generation’ (p.98). A generation later, the Liberal commentator Charles Masterman would attribute Tory victory to flag-waving jingoism and imperialism which rallied the uneducated masses to the Conservative cause.

Sound strangely familiar don’t they, these excuses for losing an election, 150 years later. No reflection on your own policies: instead, blame the electorate for being uneducated, venal and easily corrupted.

The Victorian balance unravels

Between 1865 and 1915 a devil of a lot of things happened, but from Shannon’s narrow focus on power politics, he places almost everything within the context of one overriding thesis.

This is that the High Victorian period (1850 to 1870) had been characterised by balance, by a synthesis of opposing forces, by what you could call the Liberal conviction that conflicting beliefs, ideas, ideologies, policies and political movements would, in the end, be reconciled, and the less interference by government, the quicker these solutions would come about.

Thus in the realm of culture, even critics of traditional Christian theology thought that the shocks of the Higher Criticism originating in Germany academia and, in a later generation, the discoveries of Charles Darwin and the geologists, could be absorbed by society, maybe into a new science of society, maybe into the new ideas of positivism articulated by August Comte. Scientific optimism.

In society at large the rise of working class militancy (the Chartists) was largely contained, an extension of the franchise in 1867 drew the sting from anti-establishment protest, a new education act in 1870 looked set to address long-running concerns about the shameful illiteracy of the underclass.

In foreign affairs Britain’s navy had unparalleled control of the seas, underpinning British possession of a huge range of colonies, while affairs on the continent of Europe remained mostly peaceful (apart from the relatively small skirmishes surrounding Bismarck‘s campaign to unify Germany under Prussian control) and the blundering shambles of the Crimean War which didn’t take place in Europe.

The entire worldview was underpinned by the immense pomp and circumstance surrounding Queen Victoria who was made empress of India by a grovelling Disraeli in 1877.

But by the 1880s this optimism was under strain in every direction. Working class militancy increased. Journalism and charitable work exposed the appalling poverty in Britain’s cities.

Abroad, trouble in the Balkans as the power of the Ottoman Empire declined led to flashpoints at the meeting points of the Russian and Austro-Hungarian and Ottoman empires. Britain watched and then became involved in various attempts to set up alliances and pacts to ensure security, all of them unstable.

The colonies grew restive. There was a religious uprising against British rule in Egypt led by Muhammad Ahmad bin Abd Allah in 1881. The Indian National Congress was founded in 1885.

The really big colonial issue was on Britain’s doorstep as the pressure for Irish Home rule grew relentlessly, and this brings us to a really big theme of the period, which is, the splitting up of the major parties by huge political issues.

Even more than the first half, the second half of the book views all the political developments through the lens of attempts to retain or restore this mythical social and political ‘balance’.

Shannon’s view is that social and political events presented a challenge and that the two main political parties, and their successive leaders, struggled to address these challenges. It explains the structure he gives to the last three parts of his book as he first of all enumerates the problems facing later Victorian society and then weighs the responses of, first the Unionist Party, then the Liberals, and finds them both, in the end, inadequate to the task.

Part III: The forming elements of a modern society

  • Social dynamics 1886 to 1895
  • The politics of Unionism and Home Rule 1886 to 1895
  • New directions in external problems 1886 to 1895
  • Victorianism and Modernism: cultural themes and variations in the 1880s and 1890s

Part IV: The search for adequate responses: the Unionist version 1895 to 1905

  • The Unionist domestic bid 1895 to 1902
  • Unionist efforts to save the external situation 1895 to 1905
  • The Unionist impasse 1903 to 1905

Part V: The search for adequate responses: the Liberal version 1905 to 1915

  • The Liberal domestic bid 1905 to 1911
  • Liberal responses in foreign affairs 1905 to 1911
  • The Liberal impasse 1912 to 1915

As the Victorian equilibrium and Liberal confidence that social problems would, basically, sort themselves out, both unravelled in the 1880s, two really major themes come to dominate the book, namely the ruinous impact of trying to conceptualise and implement Irish Home Rule from the 1880s onwards, and the equally divisive attempt led by Joseph Chamberlain to create an Imperialist party and policy, which coalesced around the policy of tariff reform in the early 1900s.

The really striking thing about both issues is the extent to which:

  • they dominated political discussions and calculations from the 1880s through the 1900s
  • they ended up fatally dividing existing political parties, with the Liberals splitting over Home Rule and the Conservative party splitting over tariff reform
  • and that both issues ended in abject failure

The failure of Liberalism

The 1885 general election resulted in a parliament where Home Rule MPs from Ireland held the balance of power. This helped crystallised the great leader of Liberalism, William Gladstone’s, conviction that Ireland deserved home rule, in effect a revision of the terms under which Ireland formed part of the United Kingdom since the merger of the kingdoms in 1800. Gladstone made Irish Home Rule a central policy of the Liberal Party.

But a large number of traditionalist Liberals disagreed and, in 1886, broke away to form the Liberal Unionist Party which soon found a leader in the charismatic figure of Joseph Chamberlain. Eventually, the Liberal Unionists formed a political alliance with the Conservative Party in opposition to Irish Home Rule. The two parties formed the ten-year-long coalition Unionist Government 1895 to 1905 but were swept to defeat by a Liberal landslide in the 1906 general election.

But not only did the precise nature of Home Rule stymie Gladstone in the final years of his political career (he died in 1898) but it returned as a major political crisis at the end of the Edwardian era and it is always striking to be reminded that, as Europe rushed towards war in August 1914, the British cabinet was far more concerned about the possibility of real civil war breaking out in Ireland between the nationalist majority and the Protestant die-hards of Ulster.

In other words, long and very complicated and tortuous as the issue of Irish Home Rule was, the liberal Party failed to solve it.

The failure of Unionism

The Conservatives successfully positioned themselves as the party of the British Empire during Disraeli’s leadership (mostly, as we have suggested, out of sheer opportunism). Imperial ambition reached its peak with the attempt from the turn of the century by Joseph Chamberlain to promote a policy of Tariff Reform designed to bind together the major Anglo-Saxon colonies (Canada, Australia, New Zealand and South Africa) into a protectionist trading bloc.

The policy had a rhetorical or branding appeal to the imaginations of many, but it hit at least two very big rocks which were:

  1. It would almost certainly lead to higher prices for basic foodstuffs for most Britons; hence its opponents could set up lobbying groups with names like the Free Food organisation.
  2. Chamberlain organised a series of conferences attended by the Prime Ministers of the Anglo colonies, but they never got anywhere near agreeing trading terms – it was a nice idea, but never fleshed out in practice.

A third aspect was the disastrous showing of the British army in the Boer War, 1899 to 1902. This had the effect of discrediting the Unionist government which was in power at the time and, although Britain ultimately defeated the Boers on the battlefield, in the years that followed, the Boers won back all their political rights and more. It was a colossal moral defeat.

Obviously there’s a lot more detail, but overall it was widely felt, by 1906, that the Imperial project of the Unionists had failed. This is what is explained in detail in Shannon’s chapter, ‘The Unionist impasse 1903 to 1905’.

High numbers

The naive and simple minded think that democratic politics is about ideals and principles. This is why they are continually disappointed by actual political events, because what politics is really about is numbers.

From 1885 to 1915, Shannon’s history shows how a huge amount of political energy went into detailed political calculations about how to win and maintain power and that these boiled down again and again to the numbers: will you get enough votes in a general election? (GEs were held in 1885, 1886, 1892, 1895, 1900, 1906 and twice in 1910). Will a high enough percentage of voters turn out?

Is it necessary to do deals with other parties, as the young Labour Representation Committee did in the 1906 election when the LRC won 29 seats because of a secret pact between its leader, Ramsay MacDonald, and Liberal Chief Whip, Herbert Gladstone, to avoid splitting the anti-Conservative vote between Labour and Liberal candidates?

If you extend the franchise (as the UK did in 1867 and 1884 and 1918), how will it affect your vote? This was one of the elements in the government’s calculations about whether to bow to suffragette pressure and extend the vote to women. If so, which women and how many and what would be the impact on the balance of power? It wasn’t about principle. It was about calculating the numbers.

Would the growth of trade unions affect the working class vote? Would legalisation of trade unions garner support for the party (Liberal or Conservative) which did it, or would it lead to the creation of a new radical party?

And you may be able to form a government, but do you have a big enough majority to pass all the laws you want to? Will you have to make alliances with other parties (as the Liberals did with Irish Nationalists and the small Labour Party in 1910 to get is social policies and radical budget passed)?

If the House of Lords refuses to pass laws which have been approved by the House of Commons, will having a second general election (as there was in 1910) increase or decrease your majority? Will you be able to persuade then king to create so many new Liberal peers that they will swamp the House of Lords and guarantee the passage of your bill (as the Liberal government threatened to do in 1910 to get its contentious Finance Bill past an obstructive House of Lords)?

And within so-called parties, will you be able to win round some groups or elements in an opposition party to your way of thinking, without alienating too many members of your own party?

High finance

Another way in which politics is obviously all about numbers is the finances and the basic, entry-level question: how are you going to pay for your fancy policies?

This is why almost all policies are, in the final analysis, subject to the control of the Treasury and the Chancellor of the Exchequer and why there often end up being such fierce rivalries between the Prime Minister, who is in charge of policy and strategy and creating alliances and support for policies; and his Chancellor who has great power to wreck all these plans if the figures don’t add up.

If you plan mighty new policies who is going to pay? Take the famous naval rivalry between Britain and Germany which took a leap in intensity after Britain launched its first Dreadnought class warship in 1906. The initial dreadnoughts cost £1,783,000, compared to £1,540,000 for the previous largest ships, but eight years later the new Queen Elizabeth class was costing £2,300,000 each. Who was going to pay for them?

In 1909 David Lloyd George wanted to complete the Liberal agenda of tackling poverty in the shape of caring for the elderly and for the unemployed, so he introduced the so-called People’s Budget. Half the attention given to it by historians concerns the way its provisions began to lay the foundations for what, a generation later, would be called the Welfare State. But Shannon is more interested in the numbers, namely who was going to pay for this new state largesse? A central point of the budget was that it introduced unprecedented taxes on the lands and incomes of Britain’s wealthy (it introduced higher rates of income tax, higher death duties and a 20% tax on increases in value when land changed hands).

No wonder the members of the class very obviously targeted by these changes, who populated the House of Lords, rejected it, which led to a great constitutional crisis, which pitted the House of Commons and ‘the will of the people’ against the representatives of the landed elite.

Déjà vu all over again

One of the pleasures of reading history and, in particular, fairly recent history (i.e. not medieval or ancient history) is to read the past through the prism of the present, or read the past with the issues and pressures of the present in mind. In this respect, it never fails to amaze me how some things never change. Thus we read that:

1. Why did we lose?

The high-minded Liberals just couldn’t understand how they could lose the 1874 election to the elitist, land-owning and greedy and reactionary Conservative Party. The best reasons they could come up with was that the voting public had been corrupted by a new, more aggressively populist press and by a new and unprecedentedly high standard of living. They were wallowing in luxury and had forgotten their high-minded responsibility to build a better, fairer society, instead the sustained prosperity of the 1850s and 60s had caused:

‘a general riot of luxury in which nearly all classes had their share…[in which] money and beer flowed freely.’ (p.97).

Which sounds to me very like the excuses the Labour Party made about losing three successive elections to Mrs Thatcher in the 1980s and, again, about their thumping defeat in the 2019 election.

2. The progressive coalition in disarray

As Shannon is at pains to demonstrate, the Liberal Party had only recently been founded – the conventional date for its establishment is 1859 – and was made up of a diverse coalition of forces: the traditional land-owning Whig aristocracy; urban Radicals; Irish nationalists; high-minded Anglicans like Gladstone but also a very large number of Nonconformists who Gladstone conscientiously courted. During its ministry from 1868 to 1874 the Liberal government had achieved much but also alienated many of these key constituents.

3. Cosmopolitans versus patriots

I was fascinated to read that in his landmark speech at Crystal Palace in 1872, Disraeli attempted some political positioning and branding, by accusing the Liberals of being elite and out of touch with the ordinary voter, but in particular of being ‘cosmopolitan‘, meaning too quick to truckle to foreigners, not willing to defend the ‘national’ interest, which, of course, Disraeli strongly identified himself and the Conservatives with (p.53). The Conservatives had lost touch with the people and ‘cosmopolitan’ doctrines had been imported from the continent and foisted on the innocent British public under the guise of ‘Liberalism’. The Liberals had tried to ‘substitute cosmopolitan for national principles’ (p.95).

During this period Disraeli tried to reposition the Conservatives as the party which would defend a) the constitution and the great historic institutions of England, b) our national interests, our place as a Great Power, and combine these with c) a comprehensive programme of social reform.

The combination of flag-waving patriotism with the promise of robust reform and prosperity for all sounds very reminiscent of the 2019 Conservative Party under Boris Johnson, another unprincipled but eerily successful chancer.

4. Working class conservatism

Shannon emphasises that British trade unions didn’t want to overthrow the system, they just wanted a greater say in the fruits of the system and a share in its profits for their members (p.29). The majority of the great unwashed just wanted to be left alone, without a nanny state sticking its nose in their business and insisting they were ‘improved’, whether they wanted to be or not (p.103).

Again, resentment at the tendency of high-minded Liberals to poke their noses into people’s private affairs and educate and inform them and force them to become more progressive sounds eerily similar to the resentment in at least some parts of the 2019 electorate towards the urban, college-educated cadres of the modern Labour Party who want to force everyone to be more aware of racial issues and feminist issues and transgender issues and LGBTQ+ issues and take the knee and defund the police and fight for justice for Palestine. Many people, then as now, just want to be left alone to get on with their lives and not be continually hectored and lectured, thank you very much.

5. The sorry state of English education

In the 1860s education in England lagged far behind standards on the continent, especially by comparison with Germany, especially in the area of technical education. Lots of committees wrote lots of reports. Lots of commentators agonised (including the wordy school inspector, Matthew Arnold) (pages 86 to 95). 160 years later, has much changed or does the UK still languish behind the best in Europe in its maths and literacy and technical education?

6. Ireland

Obviously Irish nationalism evolved throughout the 19th century, taking many forms, and characterised by different leading elements from Daniel O’Connell’s Catholic Association and Repeal Association of the 1840s to the violent tactics of the Irish Republican Brotherhood led by Michael Davitt.

It is a vast subject with a powerful mythology and huge literature of its own which I don’t have any space to go into. I’m just making the point that I’m reading about Gladstone’s attempts to solve the Irish Question in the 1870s and 1880s in July 2021 at the same time I am hearing on the radio about the issues caused by Brexit, the Northern Irish Protocol and its possible breaches of the Good Friday Agreement. In other words, it’s hard to avoid the conclusion that the ‘Irish Question’ will be with us (and the Irish) forever.

Credit

The Crisis of Imperialism 1865 to 1915 by Richard Shannon was published in 1974 by Hart-David, MacGibbon Books. All references are to the 1976 Paladin paperback edition.


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