All Art Is Propaganda: Critical Essays

  "And nobody came, and nobody went,

  But he took in the milk and he paid the rent"3

  are about as near to spoken English as print can come. On the other hand, here is an entirely typical sentence from Laski's own writing:

  "As a whole, our system was a compromise between democracy in the political realm--itself a very recent development in our history--and an economic power oligarchically organised which was in its turn related to a certain aristocratic vestigia still able to influence profoundly the habits of our society."

  This sentence, incidentally, comes from a reprinted lecture; so one must assume that Professor Laski actually stood up on a platform and spouted it forth, parenthesis and all. It is clear that people capable of speaking or writing in such a way have simply forgotten what everyday language is like. But this is nothing to some of the other passages I could dig out of Professor Laski's writings, or better still, from Communist literature, or best of all, from Trotskyist pamphlets. Indeed, from reading the Left-wing press you get the impression that the louder people yap about the proletariat, the more they despise its language.

  I have said already that spoken English and written English are two different things. This variation exists in all languages, but is probably greater in English than in most. Spoken English is full of slang, it is abbreviated wherever possible, and people of all social classes treat its grammar and syntax in a slovenly way. Extremely few English people ever button up a sentence if they are speaking extempore. Above all, the vast English vocabulary contains thousands of words which everyone uses when writing, but which have no real currency in speech: and it also contains thousands more which are really obsolete but which are dragged forth by anyone who wants to sound clever or uplifting. If one keeps this in mind, one can think of ways of ensuring that propaganda, spoken or written, shall reach the audience it is aimed at.

  So far as writing goes, all one can attempt is a process of simplification. The first step--and any social survey organisation could do this for a few hundreds or thousands of pounds--is to find out which of the abstract words habitually used by politicians are really understood by large numbers of people. If phrases like "unprincipled violation of declared pledges" or "insidious threat to the basic principles of democracy" don't mean anything to the average man, then it is stupid to use them. Secondly, in writing one can keep the spoken word constantly in mind. To get genuine spoken English on to paper is a complicated matter, as I shall show in a moment. But if you habitually say to yourself, "Could I simplify this? Could I make it more like speech?," you are not likely to produce sentences like the one quoted from Professor Laski above: nor are you likely to say "eliminate" when you mean kill, or "static water" when you mean fire tank.

  Spoken propaganda, however, offers greater possibilities of improvement. It is here that the problem of writing in spoken English really arises.

  Speeches, broadcasts, lectures and even sermons are normally written down beforehand. The most effective orators, like Hitler or Lloyd George, usually speak extempore, but they are very great rarities. As a rule--you can test this by listening at Hyde Park Corner--the so-called extempore speaker only keeps going by endlessly tacking one cliche on to another. In any case, he is probably delivering a speech which he has delivered dozens of times before. Only a few exceptionally gifted speakers can achieve the simplicity and intelligibility which even the most tongue-tied person achieves in ordinary conversation. On the air extempore speaking is seldom even attempted. Except for a few programmes, like the Brains Trust, which in any case are carefully rehearsed beforehand, every word that comes from the B.B.C. has been written down, and is delivered exactly as written. This is not only for censorship reasons: it is also because many speakers are liable to dry up at the microphone if they have no script to follow. The result is the heavy, dull, bookish lingo which causes most radio-users to switch off as soon as a talk is announced. It might be thought that one could get nearer to colloquial speech by dictating than by writing; but actually, it is the other way about. Dictating, at any rate to a human being, is always slightly embarrassing. One's impulse is to avoid long pauses, and one necessarily does so by clutching at the ready-made phrases and the dead and stinking metaphors (ring the changes on, ride rough-shod over, cross swords with, take up the cudgels for) with which the English language is littered. A dictated script is usually less life-like than a written one. What is wanted, evidently, is some way of getting ordinary, slipshod, colloquial English on to paper.

  But is this possible? I think it is, and by a quite simple method which so far as I know has never been tried. It is this: Set a fairly ready speaker down at the microphone and let him just talk, either continuously or intermittently, on any subject he chooses. Do this with a dozen different speakers, recording it every time. Vary it with a few dialogues or conversations between three or four people. Then play your recordings back and let a stenographer reduce them to writing: not in the shortened, rationalised version that stenographers usually produce, but word for word, with such punctuation as seems appropriate. You would then--for the first time, I believe--have on paper some authentic specimens of spoken English. Probably they would not be readable as a book or a newspaper article is readable, but then spoken English is not meant to be read, it is meant to be listened to. From these specimens you could, I believe, formulate the rules of spoken English and find out how it differs from the written language. And when writing in spoken English had become practicable, the average speaker or lecturer who has to write his material down beforehand could bring it far closer to his natural diction, make it more essentially speakable, than he can at present.

  Of course, demotic speech is not solely a matter of being colloquial and avoiding ill-understood words. There is also the question of accent. It seems certain that in modern England the "educated" upper-class accent is deadly to any speaker who is aiming at a large audience. All effective speakers in recent times have had either cockney or provincial accents. The success of Priestley's broadcasts in 1940 was largely due to his Yorkshire accent, which he probably broadened a little for the occasion. Churchill is only a seeming exception to this rule. Too old to have acquired the modern "educated" accent, he speaks with the Edwardian upper-class twang which to the average man's ear sounds like cockney. The "educated" accent, of which the accent of the B.B.C. announcers is a sort of parody, has no asset except its intelligibility to English-speaking foreigners. In England the minority to whom it is natural don't particularly like it, while in the other three-quarters of the population it arouses an immediate class antagonism. It is also noticeable that where there is doubt about the pronunciation of a name, successful speakers will stick to the working-class pronunciation even if they know it to be wrong. Churchill, for instance, mispronounced "Nazi" and "Gestapo" as long as the common people continued to do so. Lloyd George during the last war rendered "Kaiser" as "Kayser," which was the popular version of the word.

  In the early days of the war the Government had the greatest difficulty in inducing people to bother to collect their ration books. At parliamentary elections, even when there is an up-to-date register, it often happens that less than half of the electorate use their votes. Things like these are symptoms of the intellectual gulf between the rulers and the ruled. But the same gulf lies always between the intelligentsia and the common man. Journalists, as we can see by their election forecasts, never know what the public is thinking. Revolutionary propaganda is incredibly ineffective. Churches are empty all over the country. The whole idea of trying to find out what the average man thinks, instead of assuming that he thinks what he ought to think, is novel and unwelcome. Social surveys are viciously attacked from Left and Right alike. Yet some mechanism for testing public opinion is an obvious necessity of modern government, and more so in a democratic country than in a totalitarian one. Its complement is the ability to speak to the ordinary man in words that he will understand and respond to.

  At present propaganda only seems to succ
eed when it coincides with what people are inclined to do in any case. During the present war, for instance, the Government has done extraordinarily little to preserve morale: it has merely drawn on the existing reserves of good-will. And all political parties alike have failed to interest the public in vitally important questions--in the problem of India, to name only one. But some day we may have a genuinely democratic government, a government which will want to tell people what is happening, and what must be done next, and what sacrifices are necessary, and why. It will need the mechanisms for doing so, of which the first are the right words, the right tone of voice. The fact that when you suggest finding out what the common man is like, and approaching him accordingly, you are either accused of being an intellectual snob who wants to "talk down to" the masses, or else suspected of plotting to establish an English Gestapo, shows how sluggishly nineteenth-century our notion of democracy has remained.

  Raffles and Miss Blandish

  August 28, 1944; Horizon, October 1944; Politics, November 1944

  Nearly half a century after his first appearance, Raffles, "the amateur cracksman," is still one of the best-known characters in English fiction. Very few people would need telling that he played cricket for England, had bachelor chambers in the Albany and burgled the Mayfair houses which he also entered as a guest. Just for that reason he and his exploits make a suitable background against which to examine a more modern crime story such as No Orchids for Miss Blandish.1 Any such choice is necessarily arbitrary--I might equally well have chosen Arsene Lupin, for instance--but at any rate No Orchids and the Raffles books* have the common quality of being crime stories which play the limelight on the criminal rather than the policeman. For sociological purposes they can be compared. No Orchids is the 1939 version of glamourised crime, Raffles the 1900 version. What I am concerned with here is the immense difference in moral atmosphere between the two books, and the change in the popular attitude that this probably implies.

  At this date, the charm of Raffles is partly in the period atmosphere, and partly in the technical excellence of the stories. Hornung was a very conscientious and, on his level, a very able writer. Anyone who cares for sheer efficiency must admire his work.

  However, the truly dramatic thing about Raffles, the thing that makes him a sort of by-word even to this day (only a few weeks ago, in a burglary case, a magistrate referred to the prisoner as "a Raffles in real life"), is the fact that he is a gentleman. Raffles is presented to us--and this is rubbed home in countless scraps of dialogue and casual remarks--not as an honest man who has gone astray, but as a public-school man who has gone astray. His remorse, when he feels any, is almost purely social: he has disgraced "the old school," he has lost his right to enter "decent society," he has forfeited his amateur status and become a cad. Neither Raffles nor Bunny appears to feel at all strongly that stealing is wrong in itself, though Raffles does once justify himself by the casual remark that "the distribution of property is all wrong anyway." They think of themselves not as sinners but as renegades, or simply as outcasts. And the moral code of most of us is still so close to Raffles's own that we do feel his situation to be an especially ironical one. A West End clubman who is really a burglar! That is almost a story in itself, is it not? But how if it were a plumber or a greengrocer who was really a burglar? Would there be anything inherently dramatic in that? No--although the theme of the "double life," of respectability covering crime, is still there. Even Charles Peace2 in his clergyman's dog-collar seems somewhat less of a hypocrite than Raffles in his Zingari3 blazer.

  Raffles, of course, is good at all games, but it is peculiarly fitting that his chosen game should be cricket. This allows not only of endless analogies between his cunning as a slow bowler and his cunning as a burglar, but also helps to define the exact nature of his crime. Cricket is not in reality a very popular game in England--it is nowhere near so popular as football, for instance--but it gives expression to a well-marked trait in the English character, the tendency to value "form" or "style" more highly than success. In the eyes of any true cricket-lover it is possible for an innings of ten runs to be "better" (i.e. more elegant) than an innings of a hundred runs: cricket is also one of the very few games in which the amateur can excel the professional. It is a game full of forlorn hopes and sudden dramatic changes of fortune, and its rules are so ill-defined that their interpretation is partly an ethical business. When Larwood, for instance, practised body-line bowling in Australia he was not actually breaking any rule: he was merely doing something that was "not cricket." Since cricket takes up a lot of time and is rather expensive to play, it is predominantly an upper-class game, but for the whole nation it is bound up with such concepts as "good form," "playing the game," etc., and it has declined in popularity just as the tradition of "don't hit a man when he's down" has declined. It is not a twentieth-century game, and nearly all modern-minded people dislike it. The Nazis, for instance, were at pains to discourage cricket, which had gained a certain footing in Germany before and after the last war. In making Raffles a cricketer as well as a burglar Hornung was not merely providing him with a plausible disguise; he was also drawing the sharpest moral contrast that he was able to imagine.

  Raffles, no less than Great Expectations or Le Rouge et le Noir, is a story of snobbery, and it gains a great deal from the precariousness of Raffles's social position. A cruder writer would have made the "gentleman burglar" a member of the peerage, or at least a baronet. Raffles, however, is of upper-middle-class origin and is only accepted by the aristocracy because of his personal charm. "We were in Society but not of it," he says to Bunny towards the end of the book; and "I was asked about for my cricket." Both he and Bunny accept the values of "Society" unquestioningly, and would settle down in it for good if only they could get away with a big enough haul. The ruin that constantly threatens them is all the blacker because they only doubtfully "belong." A duke who has served a prison sentence is still a duke, whereas a mere man-about town if once disgraced, ceases to be "about town" for evermore. The closing chapters of the book, when Raffles has been exposed and is living under an assumed name, have a twilight-of-the-gods feeling, a mental atmosphere rather similar to that of Kipling's poem, Gentleman Rankers:

  A trooper of the forces--

  I, who kept my own six horses! etc.

  Raffles now belongs irrevocably to the "cohorts of the damned."4 He can still commit successful burglaries, but there is no way back into Paradise, which means Piccadilly and the M.C.C.5 According to the public-school code there is only one means of rehabilitation: death in battle. Raffles dies fighting against the Boers (a practiced reader would foresee this from the start), and in the eyes of both Bunny and his creator this cancels his crimes.

  Both Raffles and Bunny, of course, are devoid of religious belief, and they have no real ethical code, merely certain rules of behaviour which they observe semi-instinctively. But it is just here that the deep moral difference between Raffles and No Orchids becomes apparent. Raffles and Bunny, after all, are gentlemen, and such standards as they do have are not to be violated. Certain things are "not done," and the idea of doing them hardly arises. Raffles will not, for example, abuse hospitality. He will commit a burglary in a house where he is staying as a guest, but the victim must be a fellow-guest and not the host. He will not commit murder,* and he avoids violence wherever possible and prefers to carry out his robberies unarmed. He regards friendship as sacred, and is chivalrous though not moral in his relations with women. He will take extra risks in the name of "sportsmanship," and sometimes even for aesthetic reasons. And above all he is intensely patriotic. He celebrates the Diamond Jubilee ("For sixty years, Bunny, we've been ruled over by absolutely the finest sovereign the world has ever seen") by despatching to the Queen, through the post, an antique gold cup which he has stolen from the British Museum. He steals, from partly political motives, a pearl which the German Emperor is sending to one of the enemies of Britain, and when the Boer War begins to go badly his one thoug
ht is to find his way into the fighting line. At the front he unmasks a spy at the cost of revealing his own identity, and then dies gloriously by a Boer bullet. In this combination of crime and patriotism he resembles his near-contemporary Arsene Lupin, who also scores off the German Emperor and wipes out his very dirty past by enlisting in the Foreign Legion.

  It is important to note that by modern standards Raffles's crimes are very petty ones. Four hundred pounds' worth of jewelry seems to him an excellent haul. And though the stories are convincing in their physical detail, they contain very little sensationalism--very few corpses, hardly any blood, no sex crimes, no sadism, no perversions of any kind. It seems to be the case that the crime story, at any rate on its higher levels, has greatly increased in bloodthirstiness during the past twenty years. Some of the early detective stories do not even contain a murder. The Sherlock Holmes stories, for instance, are not all murders, and some of them do not even deal with an indictable crime. So also with the John Thorndyke stories, while of the Max Carrados stories only a minority are murders. Since 1918, however, a detective story not containing a murder has been a great rarity, and the most disgusting details of dismemberment and exhumation are commonly exploited. Some of the Peter Wimsey stories, for instance, seem to point to definite necrophilia. The Raffles stories, written from the angle of the criminal, are much less anti-social than many modern stories written from the angle of the detective. The main impression that they leave behind is of boyishness. They belong to a time when people had standards, though they happened to be foolish standards. Their key phrase is "not done." The line that they draw between good and evil is as senseless as a Polynesian taboo, but at least, like the taboo, it has the advantage that everyone accepts it.