All Art Is Propaganda (26 page)

It was a pity that Mr. Eliot should be so much on the defensive in the long essay with which he prefaces this selection of Kipling's poetry, but it was not to be avoided, because before one can even speak about Kipling one has to clear away a legend that has been created by two sets of people who have not read his works. Kipling is in the peculiar position of having been a by-word for fifty years. During five literary generations every enlightened person has despised him, and at the end of that time nine-tenths of those enlightened persons are forgotten and Kipling is in some sense still there. Mr. Eliot never satisfactorily explains this fact, because in answering the shallow and familiar charge that Kipling is a "Fascist," he falls into the opposite error of defending him where he is not defensible. It is no use pretending that Kipling's view of life, as a whole, can be accepted or even forgiven by any civilised person. It is no use claiming, for instance, that when Kipling describes a British soldier beating a "nigger" with a cleaning rod in order to get money out of him, he is acting merely as a reporter and does not necessarily approve what he describes. There is not the slightest sign anywhere in Kipling's work that he disapproves of that kind of conduct—on the contrary, there is a definite strain of sadism in him, over and above the brutality which a writer of that type has to have. Kipling
is
a jingo imperialist, he
is
morally insensitive and æsthetically disgusting. It is better to start by admitting that, and then to try to find out why it is that he survives while the refined people who have sniggered at him seem to wear so badly.

And yet the "Fascist" charge has to be answered, because the first clue to any understanding of Kipling, morally or politically, is the fact that he was
not
a Fascist. He was further from being one than the most humane or the most "progressive" person is able to be nowadays. An interesting instance of the way in which quotations are parroted to and fro without any attempt to look up their context or discover their meaning is the line from "Recessional," "Lesser breeds without the Law."
²
This line is always good for a snigger in pansy-left circles. It is assumed as a matter of course that the "lesser breeds" are "natives," and a mental picture is called up of some pukka sahib in a pith helmet kicking a coolie. In its context the sense of the line is almost the exact opposite of this. The phrase "lesser breeds" refers almost certainly to the Germans, and especially the pan-German writers, who are "without the Law" in the sense of being lawless, not in the sense of being powerless. The whole poem, conventionally thought of as an orgy of boasting, is a denunciation of power politics, British as well as German. Two stanzas are worth quoting (I am quoting this as politics, not as poetry):

 

"If, drunk with sight of power, we loose
Wild tongues that have not Thee in awe,
Such boastings as the Gentiles use,
Or lesser breeds without the Law—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!

 

"For heathen heart that puts her trust
In reeking tube and iron shard,
All valiant dust that builds on dust,
And guarding, calls not Thee to guard,
For frantic boast and foolish word—
Thy mercy on Thy People, Lord!"

 

Much of Kipling's phraseology is taken from the Bible, and no doubt in the second stanza he had in mind the text from Psalm cxxvii: "Except the Lord build the house, they labour in vain that build it; except the Lord keep the city, the watchman waketh but in vain." It is not a text that makes much impression on the post-Hitler mind. No one, in our time, believes in any sanction greater than military power; no one believes that it is possible to overcome force except by greater force. There is no "law," there is only power. I am not saying that that is a true belief, merely that it is the belief which all modern men do actually hold. Those who pretend otherwise are either intellectual cowards, or power-worshippers under a thin disguise, or have simply not caught up with the age they are living in. Kipling's outlook is pre-Fascist. He still believes that pride comes before a fall and that the gods punish
hubris.
He does not foresee the tank, the bombing plane, the radio and the secret police, or their psychological results.

But in saying this, does not one unsay what I said above about Kipling's jingoism and brutality? No, one is merely saying that the nineteenth-century imperialist outlook and the modern gangster outlook are two different things. Kipling belongs very definitely to the period 1885—1902. The Great War and its aftermath embittered him, but he shows little sign of having learned anything from any event later than the Boer War. He was the prophet of British Imperialism in its expansionist phase (even more than his poems, his solitary novel,
The Light that Failed?
³
gives you the atmosphere of that time) and also the unofficial historian of the British Army, the old mercenary army which began to change its shape in 1914. All his confidence, his bouncing vulgar vitality, sprang out of limitations which no Fascist or near-Fascist shares.

Kipling spent the later part of his life in sulking, and no doubt it was political disappointment rather than literary vanity that accounted for this. Somehow history had not gone according to plan. After the greatest victory she had ever known, Britain was a lesser world power than before, and Kipling was quite acute enough to see this. The virtue had gone out of the classes he idealised, the young were hedonistic or disaffected, the desire to paint the map red had evaporated. He could not understand what was happening, because he had never had any grasp of the economic forces underlying imperial expansion. It is notable that Kipling does not seem to realise, any more than the average soldier or colonial administrator, that an empire is primarily a money-making concern. Imperialism as he sees it is a sort of forcible evangelising. You turn a Gatling gun on a mob of unarmed "natives," and then you establish "the Law," which includes roads, railways and a court-house. He could not foresee, therefore, that the same motives which brought the Empire into existence would end by destroying it. It was the same motive, for example, that caused the Malayan jungles to be cleared for rubber estates, and which now causes those estates to be handed over intact to the Japanese.
⁴
The modern totalitarians know what they are doing, and the nineteenth-century English did not know what they were doing. Both attitudes have their advantages, but Kipling was never able to move forward from one into the other. His outlook, allowing for the fact that after all he was an artist, was that of the salaried bureaucrat who despises the "box-wallah"
⁵
and often lives a lifetime without realising that the "box-wallah" calls the tune.

But because he identifies himself with the official class, he does possess one thing which "enlightened" people seldom or never possess, and that is a sense of responsibility. The middleclass Left hate him for this quite as much as for his cruelty and vulgarity. All left-wing parties in the highly industrialised countries are at bottom a sham, because they make it their business to fight against something which they do not really wish to destroy. They have internationalist aims, and at the same time they struggle to keep up a standard of life with which those aims are incompatible. We all live by robbing Asiatic coolies, and those of us who are "enlightened" all maintain that those coolies ought to be set free; but our standard of living, and hence our "enlightenment," demands that the robbery shall continue. A humanitarian is always a hypocrite, and Kipling's understanding of this is perhaps the central secret of his power to create telling phrases. It would be difficult to hit off the one-eyed pacifism of the English in fewer words than in the phrase, "making mock of uniforms that guard you while you sleep."
⁶
It is true that Kipling does not understand the economic aspect of the relationship between the highbrow and the blimp. He does not see that the map is painted red chiefly in order that the coolie may be exploited. Instead of the coolie he sees the Indian Civil Servant; but even on that plane his grasp of function, of who protects whom, is very sound. He sees clearly that men can only be highly civilised while other men, inevitably less civilised, are there to guard and feed them.

How far does Kipling really identify himself with the administrators, soldiers and engineers whose praises he sings? Not so completely as is sometimes assumed. He had travelled very widely while he was still a young man, he had grown up with a brilliant mind in mainly philistine surroundings, and some streak in him that may have been partly neurotic led him to prefer the active man to the sensitive man. The nineteenth-century Anglo-Indians, to name the least sympathetic of his idols, were at any rate people who did things. It may be that all that they did was evil, but they changed the face of the earth (it is instructive to look at a map of Asia and compare the railway system of India with that of the surrounding countries), whereas they could have achieved nothing, could not have maintained themselves in power for a single week, if the normal Anglo-Indian outlook had been that of, say, E. M. Forster. Tawdry and shallow though it is, Kipling's is the only literary picture that we possess of nineteenth-century Anglo-India, and he could only make it because he was just coarse enough to be able to exist and keep his mouth shut in clubs and regimental messes. But he did not greatly resemble the people he admired. I know from several private sources that many of the Anglo-Indians who were Kipling's contemporaries did not like or approve of him. They said, no doubt truly, that he knew nothing about India, and on the other hand, he was from their point of view too much of a highbrow. While in India he tended to mix with "the wrong" people, and because of his dark complexion he was wrongly suspected of having a streak of Asiatic blood. Much in his development is traceable to his having been born in India and having left school early. With a slightly different background he might have been a good novelist or a superlative writer of music-hall songs. But how true is it that he was a vulgar flag-waver, a sort of publicity agent for Cecil Rhodes? It is true, but it is not true that he was a yes-man or a time-server. After his early days, if then, he never courted public opinion. Mr. Eliot says that what is held against him is that he expressed unpopular views in a popular style. This narrows the issue by assuming that "unpopular" means unpopular with the intelligentsia, but it is a fact that Kipling's "message" was one that the big public did not want, and, indeed, has never accepted. The mass of the people, in the 'nineties as now, were anti-militarist, bored by the Empire, and only unconsciously patriotic. Kipling's official admirers are and were the "service" middle class, the people who read
Blackwood's.
In the stupid early years of this century, the blimps, having at last discovered someone who could be called a poet and who was on their side, set Kipling on a pedestal, and some of his more sententious poems, such as "If," were given almost Biblical status. But it is doubtful whether the blimps have ever read him with attention, any more than they have read the Bible. Much of what he says they could not possibly approve. Few people who have criticised England from the inside have said bitterer things about her than this gutter patriot. As a rule it is the British working class that he is attacking, but not always. That phrase about "the flannelled fools at the wicket or the muddied oafs at the goals"
⁷
sticks like an arrow to this day, and it is aimed at the Eton and Harrow match as well as the Cup-Tie Final. Some of the verses he wrote about the Boer War have a curiously modern ring, so far as their subject-matter goes. "Stellenbosch,"
⁸
which must have been written about 1902, sums up what every intelligent infantry officer was saying in 1918, or is saying now, for that matter.

Kipling's romantic ideas about England and the Empire might not have mattered if he could have held them without having the class-prejudices which at that time went with them. If one examines his best and most representative work, his soldier poems, especially
Barrack-Room Ballads,
one notices that what more than anything else spoils them is an underlying air of patronage. Kipling idealises the army officer, especially the junior officer, and that to an idiotic extent, but the private soldier, though lovable and romantic, has to be a comic. He is always made to speak in a sort of stylised Cockney, not very broad but with all the aitches and final "g's" carefully omitted. Very often the result is as embarrassing as the humorous recitation at a church social. And this accounts for the curious fact that one can often improve Kipling's poems, make them less facetious and less blatant, by simply going through them and translating them from Cockney into standard speech. This is especially true of his refrains, which often have a truly lyrical quality. Two examples will do (one is about a funeral and the other about a wedding):

 

"So it's knock out your pipes and follow me!
And it's finish up your swipes and follow me!
       Oh, hark to the big drum calling,
               Follow me—follow me home!"
⁹

 

and again:

 

"Cheer for the Sergeant's wedding—
       Give them one cheer more!
Grey gun-horses in the lando,
       And a rogue is married to a whore!"
¹⁰

 

Here I have restored the aitches, etc. Kipling ought to have known better. He ought to have seen that the two closing lines of the first of these stanzas are very beautiful lines, and that ought to have overriden his impulse to make fun of a working-man's accent. In the ancient ballads the lord and the peasant speak the same language. This is impossible to Kipling, who is looking down a distorting class-perspective, and by a piece of poetic justice one of his best lines is spoiled—for "follow me 'ome" is much uglier than "follow me home." But even where it makes no difference musically the facetiousness of his stage Cockney dialect is irritating. However, he is more often quoted aloud than read on the printed page, and most people instinctively make the necessary alterations when they quote him.