Three Guineas (16 page)

Here, if indeed they consent to listen, they might very reasonably ask us to be more explicit — not indeed to define culture and intellectual liberty, for they have books and leisure and can define the words for themselves. But what, they may well ask, is meant by this gentleman’s ‘disinterested’ culture, and how are we to protect that and intellectual liberty in practice? Now as they are daughters, not sons, we may begin by reminding them of a compliment once paid them by a great historian. ‘Mary’s conduct,’ says Macaulay, ‘was really a signal instance of that perfect disinterestedness and self-devotion of which man seems to be incapable, but which is sometimes found in women.’
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Compliments, when you are asking a favour, never come amiss. Next let us refer them to the tradition which has long been honoured in the private house — the tradition of chastity. ‘Just as for many centuries, Madam,’ we might plead, ‘it was thought vile for a woman to sell her body without love, but right to give it to the husband whom she loved, so it is wrong, you will agree, to sell your mind without love, but right to give it to the art which you love.’ ‘But what,’ she may ask, ‘is meant by “selling your mind without love”?’ ‘Briefly,’ we might reply, ‘to write at the command of another person what you do not want to write for the sake of money. But to sell a brain is worse than to sell a body, for when the body seller has sold her momentary pleasure she takes good care that the matter shall end there. But when a brain seller has sold her brain, its anaemic, vicious and diseased progeny are let loose upon the world to infect and corrupt and sow the seeds of disease in others. Thus we are asking you, Madam, to pledge yourself not to commit adultery of the brain because it is a much more serious offence than the other.’ ‘Adultery of the brain,’ she may reply, ‘means writing what I do not want to write for the sake of money. Therefore you ask me to refuse all publishers, editors, lecture agents and so on who bribe me to write or to speak what I do not want to write or to speak for the sake of money?’ ‘That is so, Madam; and we further ask that if you should receive proposals for such sales you will resent them and expose them as you would resent and expose such proposals for selling your body, both for your own sake and for the sake of others. But we would have you observe that the verb “to adulterate” means, according to the dictionary, “to falsify by admixture of baser ingredients.” Money is not the only baser ingredient. Advertisement and publicity are also adulterers. Thus, culture mixed with personal charm, or culture mixed with advertisement and publicity, are also adulterated forms of culture. We must ask you to abjure them; not to appear on public platforms; not to lecture; not to allow your private face to be published, or details of your private life; not to avail yourself, in short, of any of the forms of brain prostitution which are so insidiously suggested by the pimps and panders of the brain-selling trade; or to accept any of those baubles and labels by which brain merit is advertised and certified — medals, honours, degrees — we must ask you to refuse them absolutely, since they are all tokens that culture has been prostituted and intellectual liberty sold into captivity.’

Upon hearing this definition, mild and imperfect as it is, of what it means, not merely to sign your manifesto in favour of culture and intellectual liberty, but to put that opinion into practice, even those daughters of educated men who have enough to live upon may object that the terms are too hard for them to keep. For they would mean loss of money, which is desirable, loss of fame which is universally held to be agreeable, and censure and ridicule which are by no means negligible. Each would be the butt of all who have an interest to serve or money to make from the sale of brains. And for what reward? Only, in the rather abstract terms of your manifesto, that they would thus ‘protect culture and intellectual liberty’, not by their opinion but by their practice.

Since the terms are so hard, and there is no body in existence whose ruling they need respect or obey, let us consider what other method of persuasion is left to us. Only, it would seem, to point to the photographs — the photographs of dead bodies and ruined houses. Can we bring out the connection between them and prostituted culture and intellectual slavery and make it so clear that the one implies the other, that the daughters of educated men will prefer to refuse money and fame, and to be the objects of scorn and ridicule rather than suffer themselves, or allow others to suffer, the penalties there made visible? It is difficult in the short time at our disposal, and with the weak weapons in our possession, to make that connection clear, but if what you, Sir, say is true, and there is a connection and a very real one between them, we must try to prove it.

Let us then begin by summoning, if only from the world of imagination, some daughter of an educated man who has enough to live upon and can read and write for her own pleasure and, taking her to be the representative of what may in fact be no class at all, let us ask her to examine the products of that reading and writing which lie upon her own table. ‘Look, Madam,’ we might begin, ‘at the newspapers on your table. Why, may we ask, do you take in three dailies, and three weeklies?’ ‘Because,’ she replies, ‘I am interested in politics, and wish to know the facts.’ ‘An admirable desire, Madam. But why three? Do they differ then about facts, and if so, why?’ To which she replies, with some irony, ‘You call yourself an educated man’s daughter, and yet pretend not to know the facts — roughly that each paper is financed by a board; that each board has a policy; that each board employs writers to expound that policy, and if the writers do not agree with that policy, the writers, as you may remember after a moment’s reflection, find themselves unemployed in the street. Therefore if you want to know any fact about politics you must read at least three different papers, compare at least three different versions of the same fact, and come in the end to your own conclusion. Hence the three daily papers on my table.’ Now that we have discussed, very briefly, what may be called the literature of fact, let us turn to what may be called the literature of fiction. ‘There are such things, Madam,’ we may remind her, ‘as pictures, plays, music and books. Do you pursue the same rather extravagant policy there — glance at three daily papers and three weekly papers if you want to know the facts about pictures, plays, music and books, because those who write about art are in the pay of an editor, who is in the pay of a board, which has a policy to pursue, so that each paper takes a different view, so that it is only by comparing three different views that you can come to your own conclusion — what pictures to see, what play or concert to go to, which book to order from the library?’ And to that she replies, ‘Since I am an educated man’s daughter, with a smattering of culture picked up from reading, I should no more dream, given the conditions of journalism at present, of taking my opinions of pictures, plays, music or books from the newspapers than I would take my opinion of politics from the newspapers. Compare the views, make allowance for the distortions, and then judge for yourself. That is the only way. Hence the many newspapers on my table.’
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So then the literature of fact and the literature of opinion, to make a crude distinction, are not pure fact, or pure opinion, but adulterated fact and adulterated opinion, that is fact and opinion ‘adulterated by the admixture of baser ingredients’ as the dictionary has it. In other words you have to strip each statement of its money motive, of its power motive, of its advertisement motive, of its publicity motive, of its vanity motive, let alone of all the other motives which, as an educated man’s daughter, are familiar to you, before you make up your mind which fact about politics to believe, or even which opinion about art? ‘That is so,’ she agrees. But if you were told by somebody who had none of those motives for wrapping up truth that the fact was in his or her opinion this or that, you would believe him or her, always allowing of course for the fallibility of human judgement which, in judging works of art, must be considerable? ‘Naturally,’ she agrees. If such a person said that war was bad, you would believe him; or if such a person said that some picture, symphony, play or poem were good you would believe him? ‘Allowing for human fallibility, yes.’ Now suppose, Madam, that there were 250 or 50, or 25 such people in existence, people pledged not to commit adultery of the brain, so that it was unnecessary to strip what they said of its money motive, power motive, advertisement motive, publicity motive, vanity motive and so on, before we unwrapped the grain of truth, might not two very remarkable consequences follow? Is it not possible that if we knew the truth about war, the glory of war would be scotched and crushed where it lies curled up in the rotten cabbage leaves of our prostituted fact-purveyors; and if we knew the truth about art instead of shuffling and shambling through the smeared and dejected pages of those who must live by prostituting culture, the enjoyment and practice of art would become so desirable that by comparison the pursuit of war would be a tedious game for elderly dilettantes in search of a mildly sanitary amusement — the tossing of bombs instead of balls over frontiers instead of nets? In short, if newspapers were written by people whose sole object in writing was to tell the truth about politics and the truth about art we should not believe in war, and we should believe in art.

Hence there is a very clear connection between culture and intellectual liberty and those photographs of dead bodies and ruined houses. And to ask the daughters of educated men who have enough to live upon to commit adultery of the brain is to ask them to help in the most positive way now open to them — since the profession of literature is still that which stands widest open to them — to prevent war.

Thus, Sir, we might address this lady, crudely, briefly it is true; but time passes and we cannot define further. And to this appeal she might well reply, if indeed she exists: ‘What you say is obvious; so obvious that every educated man’s daughter already knows it for herself, or if she does not, has only to read the newspapers to be sure of it. But suppose she were well enough off not merely to sign this manifesto in favour of disinterested culture and intellectual liberty but to put her opinion into practice, how could she set about it? And do not,’ she may reasonably add, ‘dream dreams about ideal worlds behind the stars; consider actual facts in the actual world.’ Indeed, the actual world is much more difficult to deal with than the dream world. Still, Madam, the private printing press is an actual fact, and not beyond the reach of a moderate income. Typewriters and duplicators are actual facts and even cheaper. By using these cheap and so far unforbidden instruments you can at once rid yourself of the pressure of boards, policies and editors. They will speak your own mind, in your own words, at your own time, at your own length, at your own bidding. And that, we are agreed, is our definition of ‘intellectual liberty.’ ‘But,’ she may say, ‘“the public”? How can that be reached without putting my own mind through the mincing machine and turning it into sausage?’ ‘“The public,” Madam,’ we may assure her, ‘is very like ourselves; it lives in rooms; it walks in streets, and is said moreover to be tired of sausage. Fling leaflets down basements; expose them on stalls; trundle them along streets on barrows to be sold for a penny or given away. Find out new ways of approaching “the public”; single it into separate people instead of massing it into one monster, gross in body, feeble in mind. And then reflect — since you have enough to live on, you have a room, not necessarily “cosy” or “handsome” but still silent, private; a room where safe from publicity and its poison you could, even asking a reasonable fee for the service, speak the truth to artists, about pictures, music, books, without fear of affecting their sales, which are exiguous, or wounding their vanity, which is prodigious.
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Such at least was the criticism that Ben Jonson gave Shakespeare at the Mermaid and there is no reason to suppose, with Hamlet as evidence, that literature suffered in consequence. Are not the best critics private people, and is not the only criticism worth having spoken criticism? Those then are some of the active ways in which you, as a writer of your own tongue, can put your opinion into practice. But if you are passive, a reader, not a writer, then you must adopt not active but passive methods of protecting culture and intellectual liberty.’ ‘And what may they be?’ she will ask. ‘To abstain, obviously. Not to subscribe to papers that encourage intellectual slavery; not to attend lectures that prostitute culture; for we are agreed that to write at the command of another what you do not want to write is to be enslaved, and to mix culture with personal charm or advertisement is to prostitute culture. By these active and passive measures you would do all in your power to break the ring, the vicious circle, the dance round and round the mulberry tree, the poison tree of intellectual harlotry. The ring once broken, the captives would be freed. For who can doubt that once writers had the chance of writing what they enjoy writing they would find it so much more pleasurable that they would refuse to write on any other terms; or that readers once they had the chance of reading what writers enjoy writing, would find it so much more nourishing than what is written for money that they would refuse to be palmed off with the stale substitute any longer? Thus the slaves who are now kept hard at work piling words into books, piling words into articles, as the old slaves piled stones into pyramids, would shake the manacles from their wrists and give up their loathsome labour. And “culture”, that amorphous bundle, swaddled up as she now is in insincerity, emitting half truths from her timid lips, sweetening and diluting her message with whatever sugar or water serves to swell the writer’s fame or his master’s purse, would regain her shape and become, as Milton, Keats and other great writers assure us that she is in reality, muscular, adventurous, free. Whereas now, Madam, at the very mention of culture the head aches, the eyes close, the doors shut, the air thickens; we are in a lecture room, rank with the fumes of stale print, listening to a gentleman who is forced to lecture or to write every Wednesday, every Sunday, about Milton or about Keats, while the lilac shakes its branches in the garden free, and the gulls, swirling and swooping, suggest with wild laughter that such stale fish might with advantage be tossed to them. That is our plea to you, Madam; those are our reasons for urging it. Do not merely sign this manifesto in favour of culture and intellectual liberty; attempt at least to put your promise into practice.’