The Frontiers of Art and Propaganda

A broadcast talk in the B.B.C.’s Overseas Service, 30 April 1941; printed in The Listener, 29 May 1941.
Orwell broadcasting to India for the BBC

George Orwell broadcast to India for the BBC during World War II

I am speaking on literary criticism, and in the world in which we are actually living that is almost as unpromising as speaking about peace. This is not a peaceful age, and it is not a critical age. In the Europe of the last ten years literary criticism of the older kind — criticism that is really judicious, scrupulous, fair-minded, treating a work of art as a thing of value in itself — has been next door to impossible.

If we look back at the English literature of the last ten years, not so much at the literature as at the prevailing literary attitude, the thing that strikes us is that it has almost ceased to be aesthetic. Literature has been swamped by propaganda. I do not mean that all the books written during that period have been bad. But the characteristic writers of the time, people like Auden and Spender and MacNeice, have been didactic, political writers, aesthetically conscious, of course, but more interested in subject-matter than in technique. And the most lively criticism has nearly all of it been the work of Marxist writers, people like Christopher Caudwell and Philip Henderson and Edward Upward, who look on every book virtually as a political pamphlet and are far more interested in digging out its political and social implications than in its literary qualities in the narrow sense.

This is all the more striking because it makes a very sharp and sudden contrast with the period immediately before it. The characteristic writers of the nineteen-twenties — T. S. Eliot, for instance, Ezra Pound, Virginia Woolf — were writers who put the main emphasis on technique. They had their beliefs and prejudices, of course, but they were far more interested in technical innovations than in any moral or meaning or political implication that their work might contain. The best of them all, James Joyce, was a technician and very little else, about as near to being a “pure” artist as a writer can be. Even D.H. Lawrence, though he was more of a “writer with a purpose” than most of the others of his time, had not much of what we should now call social consciousness. And though I have narrowed this down to the nineteen-twenties, it had really been the same from about 1890 onwards. Throughout the whole of that period, the notion that form is more important than subject-matter, the notion of “art for art’s sake”, had been taken for granted. There were writers who disagreed, of course — Bernard Shaw was one — but that was the prevailing outlook. The most important critic of the period, George Saintsbury, was a very old man in the nineteen-twenties, but he had a powerful influence up to about 1930, and Saintsbury had always firmly upheld the technical attitude to art. He claimed that he himself could and did judge any book solely on its execution, its manner, and was very nearly indifferent to the author’s opinions.

Now, how is one to account for this very sudden change of outlook? About the end of the nineteen-twenties you get a book like Edith Sitwell’s book on Pope, with a completely frivolous emphasis on technique, treating literature as a sort of embroidery, almost as though words did not have meanings: and only a few years later you get a Marxist critic like Edward Upward asserting that books can be “good” only when they are Marxist in tendency. In a sense both Edith Sitwell and Edward Upward were representative of their period. The question is, why should their outlook be so different?

I think one has got to look for the reason in external circumstances. Both the aesthetic and the political attitude to literature were produced, or at any rate conditioned by the social atmosphere of a certain period. And now that another period has ended — for Hitler’s attack on Poland in 1939 ended one epoch as surely as the great slump of 1931 ended another — one can look back and see more clearly than was possible a few years ago the way in which literary attitudes are affected by external events. A thing that strikes anyone who looks back over the last hundred years is that literary criticism worth bothering about, and the critical attitude towards literature, barely existed in England between roughly 1830 and 1890. It is not that good books were not produced in that period. Several of the writers of that time, Dickens, Thackeray, Trollope and others, will probably be remembered longer than any that have come after them. But there are no literary figures in Victorian England corresponding to Flaubert, Baudelaire, Gautier and a host of others. What now appears to us as aesthetic scrupulousness hardly existed. To a mid-Victorian English writer, a book was partly something that brought him money and partly a vehicle for preaching sermons. England was changing very rapidly, a new moneyed class had come up on the ruins of the old aristocracy, contact with Europe had been severed, and a long artistic tradition had been broken. The mid-nineteenth-century English writers were barbarians, even when they happened to be gifted artists, like Dickens.

But in the later part of the century contact with Europe was re-established through Matthew Arnold, Pater, Oscar Wilde and various others, and the respect for form and technique in literature came back. It is from then that the notion of ‘art for art’s sake’ — a phrase very much out of fashion, but still, I think, the best available — really dates. And the reason why it could flourish so long, and be so much taken for granted, was that the whole period between 1890 and 1930 was one of exceptional comfort and security. It was what we might call the golden afternoon of the capitalist age. Even the Great War did not really disturb it. The Great War killed ten million men, but it did not shake the world as this war will shake it and has shaken it already. Almost every European between 1890 and 1930 lived in the tacit belief that civilization would last for ever. You might be individually fortunate or unfortunate, but you had inside you the feeling that nothing would ever fundamentally change. And in that kind of atmosphere intellectual detachment, and also dilettantism, are possible. It is that feeling of continuity, of security, that could make it possible for a critic like Saintsbury, a real old crusted Tory and High Churchman, to be scrupulously fair to books written by men whose political and moral outlook he detested.

But since 1930 that sense of security has never existed. Hitler and the slump shattered it as the Great War and even the Russian Revolution had failed to shatter it. The writers who have come up since 1930 have been living in a world in which not only one’s life but one’s whole scheme of values is constantly menaced. In such circumstances detachment is not possible. You cannot take a purely aesthetic interest in a disease you are dying from; you cannot feel dispassionately about a man who is about to cut your throat. In a world in which Fascism and Socialism were fighting one another, any thinking person had to take sides, and his feelings had to find their way not only into his writing but into his judgements on literature. Literature had to become political, because anything else would have entailed mental dishonesty. One’s attachments and hatreds were too near the surface of consciousness to be ignored. What books were about seemed so urgently important that the way they were written seemed almost insignificant.

And this period of ten years or so in which literature, even poetry, was mixed up with pamphleteering, did a great service to literary criticism, because it destroyed the illusion of pure aestheticism. It reminded us that propaganda in some form or other lurks in every book, that every work of art has a meaning and a purpose — a political, social and religious purpose — that our aesthetic judgements are always coloured by our prejudices and beliefs. It debunked art for art’s sake. But it also led for the time being into a blind alley, because it caused countless young writers to try to tie their minds to a political discipline which, if they had stuck to it, would have made mental honesty impossible. The only system of thought open to them at that time was official Marxism, which demanded a nationalistic loyalty towards Russia and forced the writer who called himself a Marxist to be mixed up in the dishonesties of power politics. And even if that was desirable, the assumptions that these writers built upon were suddenly shattered by the Russo-German Pact. Just as many writers about 1930 had discovered that you cannot really be detached from contemporary events, so many writers about 1939 were discovering that you cannot really sacrifice your intellectual integrity for the sake of a political creed — or at least you cannot do so and remain a writer. Aesthetic scrupulousness is not enough, but political rectitude is not enough either. The events of the last ten years have left us rather in the air, they have left England for the time being without any discoverable literary trend, but they have helped us to define, better than was possible before, the frontiers of art and propaganda.

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Source: CEJL2-20

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