A Terrible Beauty is Born by Ulick O’Connor (1975)

I grew up in a free country which was decolonised seven years before my birth. The reflexes of colonialism linger on for a time after the rulers have departed.
(page 14)

‘I defy anyone to study Irish history without getting a dislike and distrust of England.’
(Lady Gregory)

This is, in the old and best sense of the word, an amateur book. It is a highly personal perspective on the series of very famous events in Irish history. Ulick O’Connor had a long and successful life as a sportsman, lawyer, writer, poet, playwright, historian and biographer, summarised in his obituary:

As a sportsman he certainly excelled. As a lawyer I’ve no idea of his status. As a writer, apparently his biographies of Oliver St John Gogarty and Brendan Behan are still important. But he was definitely not a professional historian and it shows. This slim 180-page account of the leadup to and aftermath of the 1916 Easter Rising in Dublin is anecdotal and empassioned rather than detached and scholarly. It’s a handy enough introduction to the events, although there must be many far more rigorous and scholarly accounts.

And it seems to skip or gloss over complex details. Every time I looked up an aspect of the leadup to the rising on Wikipedia, I found it to be more complex and byzantine than O’Connor’s account. This appears to be a simplified and romanticised account.

What makes it stand out is O’Connor’s flashes of real anger against British imperial rule in Ireland and, in the later stages, the number of participants and eye-witnesses who O’Connor seems to have met and interviewed for this book and so quotes verbatim.

Introduction

Setting the personal tone of the book, it opens with O’Connor visiting the Public Records Office at Dublin Castle to see the file on his great-grandfather. This was Matthew Harris who fought in the Irish risings of 1848 and 1867 and became one of three members of the Supreme Council of the Fenians, who, even though he went on to be elected as an MP to Westminster, was in later life followed everywhere by detectives. O’Connor discovers his file is huge and could be compared to the Czarist authorities’ files on Lenin. So O’Connor is using his great-grandfather as an example of the huge amount of time and energy the British colonial system spent keeping tabs on anyone who spoke against it.

But the anecdote is also typical of O’Connor’s romanticising tendency: he is quick to say of his forebears, or of any notable Irishman he’s writing about, that tales were told of him round fireplaces and ballads sung in pubs. The heroes of his story are constantly being turned into tales and ballads sung wherever patriots assemble.

His name had passed into tradition so that as I grew up I heard him talked about with reverence. (p.8)

And it’s typical of O’Connor’s approach in a third way, in that he underpins it, not with scholarly documentary information or research, but with an anecdote told him by an eminent person. In this case it’s the novelist Liam O’Flaherty, who tells O’Connor that he remembered his father recalling Harris’s fiery speeches. And in another anecdote, a visitor to the West of Ireland tells O’Connor that the peasants still remembered his great-grandfather. This is how the book proceeds: by anecdotes about heroes.

And a fourth way in which the introduction sets the tone and approach is when O’Connor broadens out his theme to explain how the Irish patriots’ struggle for independence went on to inspire like-minded revolutionaries in Egypt, India and many other colonies of the British Empire, a point he repeats a number of times in the rest of the book.

Back to great-grandfather Harris: O’Connor tells us that in 1880 he was persuaded to moderate his beliefs enough to stand for Parliament. He was persuaded to do this by Charles Stewart Parnell whose strategy was to unite the three elements in Irish political life: the physical forcers, the Land league and the Parliamentary Party. It was Parnell’s great achievement to do this and make his parliamentary party into the deciding force in British politics.

1. Rise and fall of Charles Stewart Parnell

O’Connor steps back to give us the deep background: he says it was the Flight of the Earls in 1607 after defeat in battle which handed Ireland over to British control. His great-great-grandfather was alive at the time of the 1798 rebellion. His great-grandfather lived through the potato famine when up to a million died of starvation due to the incompetence of the British administration, and some 2 million emigrated, mostly to America.

In the four years after the famine, 58,000 families amounting to 316,000 people were evicted from their homes for non-payment of rent, saw their houses destroyed and were left destitute, living in caves or wooden huts or dying by the roadside.

In 1886, leader of the Liberal Party and Prime Minister William Ewart Gladstone introduced the first Home Rule Bill with a horrified description of the abject poverty found throughout rural Ireland.

At the turn of the century the British Empire was at its height. O’Connor quotes Louis Fischer, the biographer of Gandhi, as saying that imperialism is a sort of perpetual insult to the colonised and governed.

Charles Stewart Parnell was a Protestant, a member of the ‘Protestant ascendency’ born into a wealthy Anglo-Irish Protestant landowning family in County Wicklow in 1846. He was leader of the Home Rule League from 1880 to 1882, and then of the Irish Parliamentary Party from 1882 to 1891, by which time his party held the balance of power in the House of Commons.

In a typically family anecdote, O’Connor remembers his grandmother telling him how, as a small girl, she used to greet Parnell when he came to stay with her father in the west of Ireland. ‘She treasured the table on which he wrote his speeches as if it were the relic of one of her favourite saints’ (p.16).

She also taught O’Connor that it was incorrect to refer to the married woman Parnell had a ten-year affair with as ‘Kitty’ O’Shea, it should always be Mrs O’Shea. It is typical of the book that we see the whole Parnell tragedy through the eyes of an O’Connor family member.

What happened was when it looked likely the Liberals under Gladstone were going to win the 1892 general election and pass his Home Rule bill, some Tory leaders persuaded Captain O’Shea (who knew about his wife’s long-standing affair with Parnell) to divorce her, citing Parnell as the third party. As soon as this happened Gladstone, leading a party whose core was nonconformist, was forced to repudiate Parnell and withdraw his support for the Irish Party till it replaced its leader. Parnell refused to stand down and the furore split his party with the majority of its MPs, and all his senior colleagues, abandoning him to form a new party.

The following, much more recent, account suggests the train of events had more to do with Captain O’Shea’s greed than with scheming Tories. In this as everywhere else you can feel O’Connor’s 1) tendency to simplify the story and 2) burning animus against English rule.

The party split and Parnell went into exile in… England, dying the next year, 1891, of pneumonia, aged just 45. His body was brought back to Dublin. A crowd of some 200,000 watched the procession to Glasnevin Cemetery. Many people say a meteor (or shooting star as O’Connor puts it with characteristic romance) fall from the sky.

O’Connor quotes James Joyce’s famous quip about the Parnell ‘betrayal’ although, characteristically, he slightly misquotes him. Here’s the Joyce quote from his 1912 essay ‘The Shade of Parnell’:

In his final desperate appeal to his countrymen, he begged them not to throw him as a sop to the English wolves howling around them. It redounds to their honour that they did not fail this appeal. They did not throw him to the English wolves; they tore him to pieces themselves.

Joyce’s essay was written 21 years after Parnell’s fall and indicates how long-lasting the sense of failure and loss was, as described in vivid fictional form in 1) his short story ‘Ivy Day in the Committee Room’ and 2) the famous Christmas dinner argument scene in ‘A Portrait of the Artist as a Young Man’.

Rather than attempt a full historical perspective, O’Connor characteristically quotes the opinions of famous writers: Joyce, Dennis Ireland, W.B. Yeats, Sean O’Faolain, P.S. O’Hegarty, an old Sinn Fein writer who spoke to him. All the way through it’s these personal perspectives which O’Connor likes to give. And seeing as these writers or old-timers tend to romanticise and glamorise events, this contributes to the romanticising tendency of the whole book.

2. Celtic Revival

1884: foundation of the Gaelic Athletic Association: hurling, Gaelic football.

1893: Douglas Hyde, another son of the Protestant Ascendency, decided to set up the Gaelic League, an organisation to promote the Gaelic language, fast dying out in the cities but preserved among the peasantry. By 1906, over 3,000 branches.

An early convert was Lady Augusta Gregory, Anglo-Irish daughter of landed gentry (1852 to 1932). She was home schooled then married off to Sir William Henry Gregory, a widower with an estate at Coole Park, near Gort, in 1880. Sir William was 36 years older than her and had just retired from his position as Governor of Ceylon. He had a large house and estate at Coole Park which she, in the coming decades, turned into a major venue for nationalist writers. He also had a town house in London where she held literary soirées for leading figures of the time.

Throughout, O’Connor refers to the military element of the occupying power by the general term ‘the Garrison’.

Novelists George Moore and Edward Martyn were attracted to the Celtic Revival but it was the conversion of young William Butler Yeats which transformed things. Up till then he’d been writing fey pre-Raphaelite poetry under the influence of William Morris.

O’Connor fast forwards to the founding of the Abbey Theatre in 1904 and the renaissance of literary talent which constellated round it including J.M. Synge, James Stephens, George Russell A.E., Padraig Column, Katherine Tynan and more. O’Connor was to deal with the Celtic Revival separately in his 1984 group biography Celtic Dawn.

This all allows him to proceed by his favourite method which isn’t via documents or data, but by cherry-picking quotes from Famous Authors. On the upside, these are always chatty and anecdotal; on the downside, it’s the absence of any real historical context which gives the book its thin texture.

3. Portrait of turn-of-the-century Dublin

Parks, grand squares, the Season at the Castle, debutante balls. Population 400,000 with a small centre where it was easy to bump into people you knew (compare with London’s monstrous 6.5 million).

This leads him to Maud Gonne (1866 to 1953) ‘the most beautiful woman in Europe’ according to Wickham Stead, editor of the Times. Despite her claims she was of English descent on both sides but became a firebrand Irish revolutionary. Willie Yeats fell madly in love with her but she refused to become his lover.

In 1900, Gonne helped found Inghinidhe na hÉireann (Daughters of Ireland). Twenty-nine women attended the first meeting. They decided to ‘combat in every way English influence doing so much injury to the artistic taste and refinement of the Irish people’.

Lady Constance Gore-Booth (1868 to 1927) was an Irish revolutionary, nationalist, suffragist, and socialist, famous as the first woman elected to the UK Parliament (1918), though she did not take her seat. Born into Anglo-Irish aristocracy at Lissadell, she rejected her privileged background to fight for Irish independence, becoming a key figure in the 1916 Easter Rising. In 1900 she married Polish artist and playwright Casimir Dunin-Markievicz, and they styled themselves the Count and Countess = Constance Markievicz.

4. Arthur Griffith and Sinn Fein

Ireland was ruled by England from 1170. There was a short period of home rule from 1782 to 1800 which was put to an end by the 1800 Act of Union. Since 1800 nationalists had wanted to replace this foreign rule with home rule, some by constitutional means, some by violent uprising, as in 1848 and 1867.

In the early 1900s a journalist called Arthur Griffith came to prominence with a new strategy, passive resistance. In 1900 he founded the United Irishman which attracted top writers and became very influential.

Characteristically, O’Connor paints Griffith’s portrait by quoting other writers (Oliver St John Gogarty, James Joyce). Just as characteristically, he dwells on the way the short unprepossessing Griffith was madly in love with Gonne.

1903: Griffith starts publishing articles about how Hungary secured home rule within the Austro-Hungarian Empire under the Hungarian People’s Party led by Francis Deak. The next year he launched a political party to copy Deak’s strategy (the historical figure’s proper name appears to have been Ferenc Deák) – Sinn Fein, ‘Ourselves alone’.

Clause 14 of the Sinn Fein constitution: Non-recognition of the British Parliament. The plan was not just to abstain, but to set up a parallel Irish administration at all levels. However (in the book’s first mention of the Ulster problem) Griffith allowed for there to be a King of Ireland and a King of Britain.

Constance Markievicz joined Sinn Fein as did Maud Gonne.

Chapter 5. Roger Casement

Sir Roger Casement (1864 to 1916) worked for the British Foreign Office as a diplomat. He was honoured in 1905 for the Casement Report on the Congo Free State and knighted in 1911 for his investigations of human rights abuses in the rubber industry in Peru, sometimes credited as the ‘father of twentieth-century human rights investigations’.

Typically O’Connor conveys his importance by quoting writers – Joseph Conrad, who knew him in the Congo, and E.D. Morel who campaigned with Casement to end Belgium’s disgusting slave regime in the Belgian Congo (characteristically, the book incorrectly gives his initials as A.D.). See:

Resting in his native County Antrim, Casement heard about Griffith’s party and joined. He set out to learn Gaelic. He had seen imperialism at its most disgusting and had a shrewd feeling that Griffith’s strategy for freeing Ireland could work. He donated money to a school being run by a young Gaelic Leaguer called Eamon de Valera.

Chapter 6. The 1912 home rule bill

In 1910, though, the lead party was not Sinn Fein but the Irish Party led by Parnellite John Redmond. The Liberal Party returned to power in 1906 and, in order to pass its social legislation, needed the support of the Irish Party to pass its legislation neutering the House of Lords. In exchange its leader, Herbert Asquith, promised to sponsor another Irish Home Rule bill.

In March 1912, at a mass meeting in Dublin, Irish nationalists greeted the launch of an Irish Home Rule bill in Parliament but warned that if their hopes were dashed, Ireland would take arms.

 Chapter 7. Ulster

A quarter of the population of Ireland was Protestant, over a million living in the counties of Ulster. Two weeks after the Dublin nationalist meeting, a mass meeting was held in Ulster, with 100,000 men marching past Sir Edward Carson.

O’Connor analyses the Ulster Protestant as a typical colon in that his link to the imperial power gave him superiority. Even the poorest Protestant was, in a sense, superior to the richest Catholic. He compares them to the poor whites in the American South, persuaded of their racial superiority by their exploiters who thus kept the working class divided.

Carson had been Solicitor General in the Conservative government which fell in 1906 election. Next to him on the stand was Andrew Bonar Law, the Canadian-born new leader of the Conservative Party. In subsequent speeches Carson made it quite clear he was prepared to break the law and disobey officers of the Crown if home rule were passed.

In 1912 he and others set up the Solemn League and Covenant which was signed by hundreds of thousands (echoing the Covenants signed in Scotland during the civil wars).

Echoing Griffith, the Ulstermen set up their own provisional government. The Ulster Volunteer Force (UVF) was set up under a British Army general. F.E. Smith was a leading figure, who later became Attorney General of Britain.

In Britain, a British League for Ulster was set up and 120 MPs and 100 Lords joined it.

It became obvious that these Ulster refuseniks were the key issue in the Irish Question. Carson and the rest were openly declaring treason. Warrants were made out for their arrest, in Dublin but not issued. Prime Minister Asquith hoped Ulster resistance would die down.

Chapter 8. The Irish Volunteers

Mirroring the foundation of the Ulster Volunteers, in the south the Irish Volunteers were founded. It was founded by professor of Irish history Eoin MacNeill. Characteristically, O’Connor’s grandfather knew him. His mother told stories of going with her parents and MacNeill to the Aran Isles for the summer to learn Gaelic and come back with Gaelic-speaking nannies.

It was following an article about the Ulster volunteers, that MacNeill was approached to spearhead its southern equivalent. A committee of 30 was set up, including men from Redmond’s party. Roger Casement (returned from Peru) was made secretary.

By January 1914 there were 10,000 volunteers, by September 180,000.

Chapter 9. The Irish Republican Brotherhood (IRB)

Clann na Gael based in New York, run by old Feinian John Devoy. In 1907 he sent Thomas Clarke to Dublin to recruit for the IRB. Willie Yeats joined. And working class Catholic Sean O’Casey. They looked up to intellect and culture.

The (underground) IRB carefully infiltrated its members into the (aboveground) Irish Volunteers.

Chapter 10. The Citizen Army

In chapter 3 O’Connor gave us a very brief sense of upper class life in Dublin. This chapter emphasises the poverty. Dublin had the highest death rate of any city in Europe. The Irish Times compared living conditions of the poor to Dante’s Inferno.

August to Christmas 1913 Dublin saw a massive general strike, led by Jim Larkin (orator and journalist) and James Connolly (brilliant analyst who applied Marxist theory to Ireland, founder of the Irish Socialist Republican Party). He left for the States, then returned to become General Secretary of Larkin’s Transport Union.

The outcome of the long bitter violent general strike wasn’t concessions from the employers, but the creation of a Citizen Army which proceeded to arm itself. It came into being in November 1913 with a constitution drawn up by Sean O’Casey, who became its secretary and later wrote its history.

The Army Commander was Captain Jack White who had distinguished himself in the Boer War. He received a telegram of praise from Roger Casement.

Chapter 11. Guns for the Ulster Volunteers

In March 1914 a huge consignment of arms and ammunition arrived at Ulster to be distributed to the Ulster Volunteers. O’Connor describes how hundreds of cars owned by the landed gentry were parked along the route at night to light the lorries away from the port. Reading this, I was impressed by the commitment and organisation of these people, always painted as the baddies. I went looking for books about the Ulster Volunteers and only found two. History is written by the winners.

Its arrival triggered similar thoughts in the Irish Volunteers who arranged for Roger Casement. In July a yacht left Hamburg carrying 10,000 rifles. They docked at Howth, were met by Irish Volunteers, who marched with them back into Dublin.

Chapter 12. The Curragh Mutiny, then war

In March 1914 General Sir Arthur Paget, commander of British forces in Ireland, ordering to send detachments to protect depots in the north from raids by the Ulster Volunteers, firing on them if necessary. 60 officers and the leader of the 3rd cavalry brigade refused. This was regarded as a mutiny and rocked the British Army.

What it seemed to show everyone was that the British government would back down when faced with the threat of force. This triggers amusingly emotional rhetoric in O’Connor: ‘sordid intrigue… devious charade… ‘

O’Connor is quick to say in this rebellion of part of the Establishment against another, this splinter was the crack that foreshadowed the end of empire in violent independence movements around the world.

The Home Rule bill passed through the Commons in May 1914 and was scheduled to become law in September 1914. But in August the Great War broke out and all domestic legislation was suspended.

When war broke out, John Redmond, leader of the Irish Party which held the balance of power in the Commons, and with a force of some 180,000 trained men at his disposal, could have bargained with the Liberal government and witheld his support until the government absolutely promised to enact the bill. If an Irish government had been set up in Dublin, albeit with limited powers and still under ultimate British control, it is unlikely there would have been any Easter Rising.

But he didn’t. Without consulting his party he stood in the House of Commons and pledged the support of the entire nation of Ireland to the British in their time of need. This made the Irish immensely popular, even with the Conservative right, but at a stroke he handed over his trump card and had nothing left to bargain with.

The bill was placed on the statute book but only to come into force after the war. That was the rub. That was the cause.

Recruits flocked to volunteer. Some 300,000 Irish fought for the Empire, 40,000 of them were killed. But after the first flush of enthusiasm, many Irish found it difficult to win commissions in Irish regiments. The British Army establishment preferred Irish regiments to be officered by loyal British Protestant officers.

Chapter 13. Padraig Pearse and the military council

September 1914 the leadership of the Irish Republican Brotherhood decided that a nationalist uprising would take place before the war ended and began making plans.

James Connolly opposed the war from a Marxist point of view, as empires fighting over resources and markets.

Snapshots of: Padraig Pearse, at this point teaching at St Enda’s school; Thomas MacDonagh, English lecturer at the National University; Joseph Plunkett, poet and editor of the Irish Review. All three are members of the military council of the IRB. They didn’t expect a rising to defeat the British. They expected it to create an independent republic long enough for its case to be made at the conferences which would end the war. More poetically, the felt that they would revive the soul of their nation.

In March 1916 Clann na Gael contacted him to say they would be sending 20,000 rifles and 10 million rounds.

Meanwhile James Connolly, the socialist trade unionist, independent of the IRB, had concluded that an armed uprising was necessary, using his citizen army. Fearful lest the plans clash, the military council invited Connolly to a meeting in January 1916. He was delighted to hear the news from Joseph Plunkett and both sides agreed the uprising would happen at Easter 1916.

Chapter 14. The Easter Rising

Eoin MacNeill interferes MacNeill was the commander-in-chief of the Irish Volunteers but he was deliberately kept out of the loop by the IRB military council. Only on Good Friday did he learn about plans for an uprising on Monday. He strongly disapproved and went to St Enda’s to see Pearse. Pearse persuaded him plans were too far advanced and also a shipment of arms was arriving from Germany so MacNeill acquiesced.

But late on Saturday morning, he learned the arms shipment had been intercepted. Feeling he’d been fooled, MacNeill took out an advert in the Sunday papers telling his volunteers their traditional Easter weekend training manoeuvres were cancelled. Many read this and stayed at home. When the news of the uprising spread on Monday they weren’t ready. Pearse’s response was to send out envoys to Volunteer groups around the country and tell them to carry on, but the damage was done. On the Monday, most Volunteer groups did not rise along with Dublin. If they had the British Army would have been spread very thin. Instead they were able to concentrate their firepower in Dublin and end the uprising after a week (p.84).

O’Connor tells us that his grandfather knew MacNeill and once told him he wasn’t a bad man. Hard to see how he doesn’t come out of this as the fall guy.

The uprising began at 12 noon on Monday 24 April 1916 and continued for 6 days. At 11 Pearse and Connolly marched their men from Liberty Hall over to the poorly defended Post Office and seized it. Pearse stood between the huge Greek columns and read out a declaration of independence. O’Connor gives a good enough account but I’m not sure it’s worth my summarising his summary. Instead here’s the Wikipedia article:

Chapter 15. The uprising continues

The British put Brigadier Lowe in charge of suppressing the uprising. He brought a gunboat up the river which bombarded Liberty Hall then the GPO. Houses on both sides were set on fire. Eight or so other buildings had been seized so sporadic sniping and shelling took place round those, too.

The weirdest thing about it was the way most Dubliners strolled around watching it take place. O’Connor quotes the usual suspects, Gogarty, James Stephens, George Moore, Sean O’Casey, strolling round the city, listening to the shellfire, observing other citizens going about their business.

Chapter 16. The uprising ends; the executions

On Friday 28 April 1916 General Maxwell arrived and began investing the key sites in a rigorous way. At 2.30pm the next day, Saturday 29 April, Pearse surrendered to General Lowe.

Four days later the executions began. Sixteen rebel leaders were shot:

Signatories of the Proclamation of Independence: Patrick Pearse, Tom Clarke, Thomas MacDonagh, Joseph Plunkett, Sean Mac Diarmada, Éamonn Ceannt, and James Connolly.

Other leaders: Willie Pearse (brother of Patrick), Edward Daly, Michael O’Hanrahan, John MacBride, Seán Heuston, Con Colbert, and Michael Mallin.

MacBride was husband to Maud Gonne, the dazzling beauty who bewitched Willie Yeats.

Remember dashing Lady Constance Markievicz? She had been deputy of the troop which held Stephen’s Green then pulled back to the College of Surgeons. She was sentenced to death, too, which was commuted to life imprisonment as she was a woman. In fact she was released after less than a year when the British government offered a general amnesty.

About 1,350 people were killed or wounded, mostly civilians. The centre of Dublin had been gutted. The general population was furious with the rebels. Elsewhere life went on as normal with business carried out while the middle classes played golf and tennis.

Chapter 17. Poetic reactions

Characteristically, O’Connor summarises the aftermath by quoting the usual suspects: W.B. Yeats, George Russell, James Stephens, Lady Gregory, Tom Kettle.

He has a romantic notion of poets, that they are the first to notice the changes in a nation’s soul, that these poets grasped the rising’s significance way before the silly politicians.

Chapter 18. Roger Casement

In the last few years before the war Casement developed a pathological hatred of Britain’s rule in Ireland. Just before the Great War broke out he went to New York to work with Clann na Gael. In December 1914 he persuaded its leader, John Devoy, to Germany, as an envoy from independent Ireland and to secure arms. In fact Casement spent two weary years getting nowhere, and eventually asked to be returned to Ireland (with no guns). The Germans laid on a submarine which took him to the south coast but due to a SNAFU in the arrangements he was put into a canvas boat with two others, while the U-boat departed. The canvas boat overturned in high seas and Casement barely made it ashore. he staggered to the nearest house where he was resting when he was arrested by the local bobby, sent to Dublin and then to the Tower of London.

Chapter 19. The trial of Roger Casement

O’Connor was a practicing lawyer and so gives a brief but vivid account of Casement’s trial. As usual, a trial had nothing to do with ‘justice’ but entirely practical wrangles and politicking. Casement’s defence lawyer, Serjeant Sullivan, had himself recruited in Ireland for the British Army i.e was on the opposite side of the political cause. (O’Connor remembers seeing the 90-something old lawyer still beetling around the Dublin Inns of Court when your man was just a young barrister.)

Not just that, but the prosecuting counsel was F.E. Smith who had been active in the setting up of the Ulster Volunteers back in 1912 i.e. was extremely anti-Casement’s independence position and also, as O’Connor emphasises, arguably more guilty of treason than Casement.

The case revolved round the accusation that casement tried to recruit Irish prisoners of war held in Germany to join the German Army and fight against Britain. The defence argued that the treason act only applied to activities here in England, and Casement’s activities had taken place abroad.

Throughout the trial the authorities made available to the police, lawyers and senior figures in the Establishment the so-called black diaries in which Casement appeared to describe his personal homosexual activities in great detail. For a long time these were thought to be fakes but in the 1990s were apparently confirmed as true.

Poor Casement, a hero of international human rights, a principled nationalist and patriot, he was found guilty and hanged on 3 August 1916. He made a condemned man’s speech from the dock. O’Connor points out that so many Irish patriots did this that it is virtually a literary genre in itself. He made the point that the creation of the Ulster Volunteers created the atmosphere of violence, and the Curragh Mutiny in effect condoned disobedience to the Crown (although all that was fine if you were on the Protestant side).

(True to his recurring attempts to portray the rising as the having international impacts on other freedom struggles of other imperial colonies, O’Connor claims that Casement’s speech had a profound impact on the young Pandit Nehru.)

High Treason, Court of Criminal Appeal: the Trial of Sir Roger Casement 1916 - Government Art Collection

The Trial of Sir Roger Casement by Sir John Lavery (1916)

With the end of the Casement trial we reach the en of the build-up to and events of, the Easter Rising, on page 114 of this 180-page book. The rest of O’Connor’s book describes events over the next 4 years, the rise of Sinn Fein, the success of Arthur Griffith’s abstentionist policy, the granting of home rule and then the bitter civil war of 1921 to ’22.

Chapter 20. Sinn Fein

Some 3,000 people were interned after the rising. Over the next 12 months they were released in batches. By June 1917 the public mood had changed to become more sympathetic to the rising leaders who were coming to be seen as martyrs. In by-elections that year, Sinn Fein candidates won but refused to take their seats in the London Parliament, a tradition which continues to this day.

Eamon de Valera was the only commander who wasn’t executed. Upon release he contested a by-election and defeated the Irish Party candidate. Sinn Fein was replacing Redmond’s party.

Thomas Ashe, president of the IRB, went on hunger strike in prison. When he died, Michael Collins, who’d been released from internment at Christmas 1916, decided to organise a vast funeral for him. Characteristically, O’Connor tells us Sean O’Casey wrote a ballad requiem for Ashe, and quotes a hymn by Ashe himself.

Chapter 21. Conscription and the Dail

Most Irish still favoured the constitutional party of John Redmond and expected the home rule bill, which was on the statute books, to be implemented as soon as the war ended.

Then in spring 1918 the British made the latest in a long line of blunders when the Army Chiefs of Staff prevailed on Lloyd George to pass an act compelling the conscription of all able-bodied men in Ireland into the British Army. Not only Sinn Fein and the Irish Party but the Catholic party opposed it, though O’Connor skips completely over its implementation. He quotes A.J.P. Taylor as saying it was the decisive moment in Ireland’s seceding from the Union.

In the December 1918 general election the Irish Party was obliterated by Sinn Fein, winning just 6 seats to the nationalists’ 73. John Redmond had died in March.

The Sinn Fein MPs promptly set up their own government in the Mansion House in Dublin and called it the Dail. No fewer than 36 of the 73 MPs were in British prisons. A Declaration of Independence was read out.

Three delegates were chosen to attend the Peace Conference in Versailles. In April 1919 a President was elected and a Cabinet chosen. Griffith stood down in favour of de Valera who was beginning to acquire charisma and status, although the latter was in prison in England. Republican courts of justice were set up in the counties of Ireland and slowly these began to replace the British institutions.

When physical force was used later, it was important that the Volunteers and others derived genuine legitimacy by acting as the Army of an elected government rather than a paramilitary force.

Michael Collins, who was becoming chief fixer, organised the escape of de Valera from Lincoln prison.

Chapter 22.

The British banned the Dail and set about arresting nationalists. The cabinet ministers went into hiding. Collins had been made Director of Intelligence. Now he turned out to be a spymaster and guerrilla organiser of genius. O’Connor makes his recurring point that the strategy Collins developed went on to be copied by independence movements around the globe.

Collins knew they couldn’t fight the British soldier for soldier. But imperial rule rested on a network of spies and he could kill these spies. He got his own men on the inside of Dublin Castle and access to government files. He drew up lists of informers, and then he created a cadre of cold-hearted killers who began a campaign of targets assassinations starting in July 1919.

I noted that O’Connor mentioned when he had personal connections with various figures in the story. Now these become more frequent. He appears to have interviewed quite a few of these informers and assassins (Bill Stapleton, Joe Dolan) who give him vivid descriptions of actual assassinations they took part in.

The squad operated out of a decorators’ shop in Abbey Street. It’s difficult to credit, hard to believe, that this gang of assassins operated just a few minutes’ walk from Dublin Castle, the centre of the British police effort. How?

Chapter 23. The IRA in the countryside

At some point the Irish Volunteers morphed into the Irish Republican Army although, apparently, it’s difficult to pinpoint exactly when. O’Connor describes the spread of volunteers through towns around Ireland. Often these were dominated by Big Houses and/or British Army barracks, along with schools, Protestant churches and so on.

As so often, the authorities found it difficult to deal with an enemy which was part of the local population, appeared suddenly to assassinate someone or blow something up, then melted back into the general population. Also they knew the country better than the occupier, and where to hide out.

The strategy of ambushing British Army troops, convoys and so on, sometimes throwing grenades, sometimes mining roads, followed by rifle fusillades. The Brits called it ‘ditch murder’, but in his internationalist mode. O’ Connor points out how it went on to be copied by Mao Tse Tung, Tito, General Guap, Che Guevara and many others (p.140).

These attacks continued through 1920, with sometimes large-scaled engagements leaving 10 to 20 British soldiers dead. It was a real guerrilla war On Easter Sunday 1920 these flying squads set fire to 100 Inland Revenue buildings and 350 empty police stations.

Inevitably the British retaliated with a heavy hand. If a police station was attacked, neighbouring houses were to be burned down. Hunger strikers were to be helped to die. This not only embittered local populations but led to widespread resignations by Irishmen from the Royal Irish Constabulary.

Chapter 24. The Black and Tans

Many servicemen demobilised after the Great War were still unemployed. The British government launched a recruitment drive and many signed up to go and serve in Ireland. There was a shortage of uniforms so they were given dark green tunics and khaki trousers. So the locals nicknamed the Black and Tans. The first arrived in Ireland in March 1920. A few months later they were joined by Auxiliaries, ex-Army officers paid £7 a week. They were given licence to embark on savage, undisciplined reprisals .

Every media outlet was soon condemning their activities which came to be described as a terror campaign. They arrived in force in a town, made all the inhabitants assemble in the street, humiliated and beat them, set some houses on fire, occasionally bayoneted or shot anyone who resisted, then drove off leaving generations of bitterness behind them. Stupid stupid stupid.

The worst burning was in Cork where the Black and Tans went berserk, burning down key buildings including the City Hall. For weeks after they suspended burned corks from their hats. Who authorised this? Whose bright idea was this?

O’Connor gives a particular anecdote. On 15 December 1920 Canon Magnar of Dunmanway County Cork was in the street talking to a man. A lorryload of Auxies drew up, some jumped out, and shot the man dead. When the Canon protested, he was shot dead too.

O’Connor notes how they often destroyed local dairies and creameries in an effort to destroy local economies, prompting a letter of protest from AE who had spent many years setting up dairy co-operatives precisely to support locals. O’Connor quotes Yeats’ poem Nineteen nineteen:

Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free;
The night can sweat with terror as before
We pieced our thoughts into philosophy,
And planned to bring the world under a rule,
Who are but weasels fighting in a hole.

Chapter 25. de Valera

Back in June 1919 de Valera was smuggled onto a ship to New York. Here he held press conferences as the spokesman of the new (not yet existent) republic. New York, Boston, Chicago, San Francisco, he spread the word in a calm and dignified manner, boosting his own profile in the process. He took a financier with him and together they raised over a million dollars by the time he returned in January 1921.

Meanwhile the Dail continued to set up an alternative governance infrastructure with land courts, district courts etc, complete with lawyers and judges. People stopped using the British courts and used the nationalist ones. O’Connor quotes landowners and senior figures praising the new regime for its fairness and efficiency.

As usual, O’Connor internationalises it to say that just these tactics would be used in other colonies under the phrase ‘civil disobedience’ (p.152).

Chapter 26. Michael Collins

By the autumn of 1920 Dublin was under curfew. Lorries of soldiers patrolled the streets, with wire netting so grenades thrown at them bounced off. Houses were subject to random searches and maybe burning by the Black and Tans and citizens hauled off to prison. A police state. Officials and Auxies were assassinated in the streets. The press had uniformly turned against the government.

Meanwhile Michael Collins held four portfolios within the unofficial government and maintained an intricate network of spies, informers and assassination squads. He kept scrupulous records and accounts which O’Connor has perused.

The government put a bounty of £10,000 on his head but, incredibly, he remained not only at liberty but calmly cycled around central Dublin between his various offices. One of Collins’s key spies in Dublin Castle, Eamonn Broy, personally told O’Connor of some of his escapades with Collins.

O’Connor gives a brief impressionistic pen portrait, admiring Collins’s meticulous way with figures and accounting, his head rammed with facts and details which helped him make intelligence connections, his absolute cold-bloodedness when it came to assassinations, his courage in facing out numerous dicey situations and, alongside, what O’Connor sees as a typically Irish strain of romantic patriotism (he spends a page attributing the same thing to Casement, earlier).

Chapter 27. Martyrs

25 October 1920 Terence MacSwiney, Lord Mayor of Cork, died after a prolonged hunger strike in Brixton Prison. His lingering death was given international coverage, along with his claims for Irish freedom. He had actually written a play about a nationalist hunger striker but here, as elsewhere, O’Connor says the British authorities didn’t pay enough attention to Irish poetry, plays and literature. Here’s just one example of O’Connor’s personal and ripe prose style.

As with the death of Thomas Ashe, a shudder ran through the Nation’s being. (p.160)

If you wanted objective history, O’Connor is not your man. Facts yes, but also plenty of melodrama, passion, bitterness and romanticisation, along with quite a few personal confidences from eye witnesses, that’s what this brief book provides.

MacSweeney was afforded a magnificent funeral at Southwark cathedral in London. Sir John Lavery made this preparatory sketch for a large-scale painting.

Sketch for the Funeral of Terence MacSwiney, Lord Mayor of Cork, at Southwark cathedral by Sir John Lavery (1920)

On 1 November good looking, 18-year-old medical student Keven Barry was hanged for his involvement in an ambush in which a British soldier was killed. According to O’Connor his name became a symbol around the world, and:

There are few places in the English-speaking world where ‘Keven Barry’ is not sung. (p.162)

I’d never heard of it till I read this book. 1) Times change 2) it’s a typical example of O’Connor’s chauvinism, which I use to mean ‘excessive or prejudiced support for one’s own cause or group’, which crops up throughout the book. I don’t really mean that in a bad sense – just to mean that he is very strongly biased indeed.

Yeats had been booked to debate at the Oxford Union and apparently walked up and down the central aisle railing against the British government’s stupidity and mismanagement. A.E. lobbied Lord Northcliffe to get his American newspapers to print opinion pieces decrying British atrocities in Ireland. What with this and de Valera and their own anti-British history, American opinion swung behind the nationalists. It played an important part in negotiations between Britain and Ireland as it was to do for the rest of the century.

O’Connor quotes a very effective letter from Yeats to the Times saying the British spent the entire Great War railing against Germany’s atrocities against civilians in Belgium and philistine burning of cultural centres and now they were doing exactly the same in Ireland.

Chapter 28. The Cairo gang

Set up by Sir Henry Wilson in autumn 1920 to identify and assassinate all key Sinn Fein and IRA personnel. In one night one of these death squads murdered the current and former Lord Mayor of Limerick. The latter was Alderman George Clancy who had been a close friend of James Joyce and appears in ‘A Portrait of the Artist as a Young Man’ as Davin, the peasant nationalist.

Collins used his intelligence network to identify members of the Cairo gang. O’Connor spoke with General Richard Mulcahy, Chief of Staff of the IRA, who is forthright about the need to destroy the death squads. So after much planning, Collins launched Black Sunday, when his death squads assassinated their death squads. 9am on the morning of 21 November 1920. A total of 14 British spies were executed.

O’Connor gives several pages detailed descriptions of men kicking in doors, shooting unarmed men in the back, as they nipped out of windows, taking them to a cellar and shooting them in the side of the head, the British torturing captives.

Lieutenant Aimes and Bennet were pulled out of bed by a group of armed men, placed standing together, both were then shot.

Some of the men refused to come out and were shot in bed. Others came to the door and were shot as they opened it. Two agents were shot on the landing, the stairs were covered in blood.

Flanagan took four Englishmen down to the cellar and after asking their names, shot them in the side of the head.

[Ordered to track down an Irishman identified as a snitch, Bill Stapleton tells O’Connor] We found him in a pub, a big burly man. He blustered at first: then we took him out and shot him.

O’Connor and other nationalists see this as the price of freedom. I see it as the inevitable outcome of the ethnic nationalist way of thinking. Compare the similar accounts I’ve summarised of the civil wars in Yugoslavia or the chaos in Iraq: perfectly decent educated men convinced that in order to make a better world they have to torture and execute other unarmed men, sometimes women, and burn their houses down.

In retaliation for the Bloody Sunday assassinations, later the same day a detachment of Black and Tans drove to Croke Park Sports ground where a Gaelic football match was in progress. They set up a machine gun and started firing into the panic-stricken crowd. A drunk Black and Tan lined up both teams and was going to execute them all until a sober regular British Army officer intervened.

And there are people who still insist that humanity is a rational creature.

O’Connor suggests Bloody Sunday was the day British rule broke in Ireland, although I thought he said the same about the introduction of conscription in 1917. Maybe it broke repeatedly. As I’ve said, O’Connor links Ireland to the independence struggles of other British colonies.

Not only was Bloody Sunday to mark the end of Britain’s rule in the greater part of Ireland, it was to be the beginning of the break-up of British rule throughout the Empire.

In Kenya, in Cyprus, in Egypt, Palestine and Burma, for the next forty years, guerrilla leaders were to claim Collins as their prototype and adapt the strategy he had designed for evacuating the colonial power. (p.175)

What beggars belief is that Collins organised the funeral of his friend Dick McKee who the British had tortured to death to get information about Collins’s operation, and attended the funeral in person, even though the entire British operation in Ireland was obsessed with finding and arresting him. How was that possible?

Epilogue

The last four pages of O’Connor’s book give a very brisk account of the peace talks which led to the Treaty and then the intense civil war between pro and anti-treaty Irish forces which followed, in which Collins himself (pro-treaty) was killed by anti-treaty forces.

He jumps to January 1922 when the British flag was taken down over Dublin Castle and the last troops marched down to the quay to take ship back to England. Negotiations had taken place from September to December 1921 and a treaty signed with the Dail in January 1922. The 6 northern counties were excluded although everyone expected them to join the Irish Free State within a few years. Civil war broke out between pro and anti treaty nationalists and lasted till May 1922. Griffith died of a stroke. W.T. Cosgrave became the independent nation’s first president.

A Senate was formed which at Griffith’s suggestion reached out to specifically invite the Protestant landed gentry. The new nation had to include everyone. W.B. Yeats was nominated and given the job of designing the states new coinage.

1927: De Valera had been anti the treaty but in 1927 was persuaded to attend the Dail.

1932: Five years later the party he created, known as Fianna Fail, won the 1932 general election.

1937: De Valera set about removing the last vestiges of British rule, in 1937 passing a new constitution.

1938: De Valera persuaded the British government to evacuate its three treaty ports.

1939-45: Thus cleansed of British presence it was easy for the Irish Free State to maintain independence in the war against Nazi Germany. So many Irishmen had died defending the Empire which treated them so poorly in 1914-18.

1948: Fianna Fail lost the general election but the new coalition government promptly removed Ireland from the Commonwealth. Non serviam.

In a throwaway last page, he says the tragic legacy of Northern Ireland was a result of Carson and his ilk refusing to accept the home rule movement and being prepared to go to war to preserve their economic and social status. If only they had thrown in their lot with the nationalists, together they could have forced the British government to give independence 1) much earlier and 2) on more inclusive terms to include the Ulster Protestants. Instead they insisted on holing up in their ghetto which, at the time of O’Connor’s writing (1975) was in chaos.

Thoughts

England’s crimes

It goes without saying that it makes me ashamed to be English to read (yet again) the litany of exploitation, repression, spying, corruption and naked violence with which the English mismanaged Ireland for centuries. But a few other thoughts as well:

History is written by the winners

They say history is written by the victors. The irony here is that the victors were the Irish nationalists who won their free state, with the result that thousands of books, papers, presentations, school syllabuses, TV series and movies have been made about Ireland’s heroic struggle for independence, and not least the dramatic events surrounding the Easter Rising. Supported by latterday English progressives, in the same way that we English now retrospectively (and safely) root for the independence movements in India, Kenya and scores of other places, taking a masochistic pleasure in seeing our own men shot and blown up and our own government covered in ignominy.

What about the losers? With no motive except idle curiosity I went looking to see if there are any books about the Ulster Volunteers and discovered there appear to be just three in print: Carson’s Army, a boringly specialised one about the precise configuration, training etc of the UVF; Friends in High Places; and Ulster will Fight, a series of three books which are prohibitively expensive and aren’t stocked by my London library. Of accounts of the Easter Rising and the long centuries of struggle behind it, there will be no end, as a proud nation promotes itself and mythologisers line up to retell the romantic story. Of the much less glamorous but in its way just as important obstinacy of the Ulster Protestants, very little. They’ll always be the ugly sisters in the fairy tale.

(An impression confirmed by contemporary historian Charles Townshend in his recent book ‘The Partition’ (2021) where he mentions ‘the dearth of significant historical studies of Ulster, certainly in comparison with the plethora of nationalist histories of Ireland (p.265).)

Nationalism

As I’ve read my way across the history of the nineteenth century I’ve come to think of nationalism as a mental virus, like something out of a zombie movie. It spreads across entire nations converting everyone to the belief that they must be ‘free’, no matter how much pain is caused and blood is shed in the process. The problem is that forging a nationalist identity almost instantly requires identifying the enemies within, the protestants or Jews or Roma or Muslims who are tainting ‘the purity of the Nation’.

Nationalism gave birth to the utter catastrophes of the 20th century, to the Great War and the collapse of empires which followed it, and led to the rise of fascism and its turbo-charged mission to liquidate the enemies of the People, all of which led up to the catastrophic Second World War.

The fever of nationalism spread far and wide as scores of imperial colonies fought for their freedom and independence: Israel, the partition of India, the long struggles in Algeria or Malaya or Kenya or Vietnam to name obvious ones.

In the 1970s the struggle of self-defined communities to be free led to ruinous civil wars in Cyprus and Lebanon and countless African nations.

And then after the long freeze of the Cold War, ethnic nationalism led to disasters in Rwanda and the Yugoslav civil wars. Then in this century the rise of ISIS in post-war Iraq, the Arab Spring which led to the ruinous Syrian civil war, and now here we are in 2026 with bloody rebellion in Iran, Israel’s brutal suppression of Palestine, the triumph of the Taliban in Afghanistan and the resurgence of ISIS in Syria. My barbers in south London are all Iraqi Kurds. For as long as I’ve been getting my hair cut there I’ve listened to them giving me the latest on their small nation’s struggle to be free.

Everywhere peoples conceiving of themselves as a nation which needs to be free, or needs to expel the enemy within (as in contemporary Myanmar needs to eliminate its Muslim Rohynga minority). There has been no end of young nationalist zealots who are prepared to die for the Fatherland and take quite a few people along with them.

Irish independence was no doubt a righteous cause, the repressive and incompetent rule of the pompous British needed to be overthrown, and the Irish patriots’ struggle for freedom is no doubt inspiring when viewed from the patriotic angle.

But read now, in 2026, after a century of any-level-of-violence-is-justified-to-free-my-people nationalism, and the hecatombs of atrocities it has inspired, a big part of my response to all of these stories is a shiver of horror at humanity’s utter inability to manage itself.

Now more than ever, Stephen Dedalus’s cry, ‘History is a nightmare from which I am trying to awake’, rings true.


Credit

‘A Terrible Beauty is Born’ by Ulick O’Connor was published by Hamish Hamilton in 1975.

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The Secret Agent: A Simple Tale by Joseph Conrad (1907)

There is a sort of lucidity proper to extravagant language.

Joseph Conrad burst upon the literary world in 1895 with his first novel, ‘Almayer’s Folly’. It announced an author with a detailed knowledge of the life of merchant seamen and traders far away in remote ports and settlements of the Far East, a writer with a florid, exotic style, and a man obsessed with futility and death. For the next nine years Conrad produced a series of short stories and novellas all with more or less the same distant setting, themes and style.

But Conrad had ambitions to move out of this initial niche and surprised everyone in 1904 by publishing his longest novel, ‘Nostromo’, which switches geographical location and subject matter entirely, being about revolutionaries in South America.

‘The Secret Agent’ is an even more conscious change of scene and subject matter from Conrad’s initial brand, in at least three ways:

  1. almost all his previous novellas and short stories were set in the Far East, in the ports of Thailand or Malaysia or on the high seas; this was his first story set entirely in the capital of his adoptive country
  2. most of the novellas and short stories up to this point focused on one dominating protagonist, often named in the title: Almayer, Peter Willems, Kurtz in Heart of Darkness, Jim in Lord Jim, Captain MacWhirr in Typhoon, Falk and so on; ‘Secret Agent’ marks a break by being equally about a handful of four or five characters; it is far more collegiate, there is no one dominating figure
  3. Conrad’s style is very sober and reined in – still fluent and loquacious but noticeably less so than in his ‘exotic’ writings; it’s still sometimes florid, sometimes obscure, but it’s as if it’s sobered down to suit London’s chilly, foggy location

As to the subject matter. ‘The Secret Agent’ plunges us straight into the world of London’s underworld of professional revolutionaries and anarchists along with the police and officials who combat them. At least it plunges into Conrad’s vision of those things. How accurately the book relates to any such underworld in Edwardian London is obviously a matter for history specialists. In practice, like most novels ‘The Secret Agent’ feels very small, focusing on a handful of characters – the secret agent, his wife and brother-in-law; just four named professional revolutionaries; and three representatives of the police and Scotland Yard.

Right at the end we are told that it is set in 1886. The Verlocs were married on 24 June 1879 and their marriage lasted seven years till the events the story narrates.

Characters

Adolf Verloc is a professional agent provocateur. Contrary to the image that evokes, he is a fat, slothful, lazy man. He maintains a dingy shop selling dirty postcards and French novels, helped out by his wife, Winnie. They’ve been married for seven years. They met when he took rooms in a boarding house run by her mother in Belgravia, and presented himself as an attractive means of escaping her narrow slavey life.

Now her old mother lives in the back room. Also living with them is Winnie’s younger brother, Stevie, who is ‘simple’ and given simple tasks around the house and shop. When not doing simple chores he sits at a deal table:

drawing circles, circles, circles; innumerable circles, concentric, eccentric; a coruscating whirl of circles that by their tangled multitude of repeated curves, uniformity of form, and confusion of intersecting lines suggested a rendering of cosmic chaos, the symbolism of a mad art attempting the inconceivable.

Winnie knows Verloc has a small circle of very intense friends. What she doesn’t realise is that they are professional revolutionaries. They are:

Karl Yundt:

The all but moribund veteran of dynamite wars had been a great actor in his time—actor on platforms, in secret assemblies, in private interviews. The famous terrorist had never in his life raised personally as much as his little finger against the social edifice. He was no man of action; he was not even an orator of torrential eloquence, sweeping the masses along in the rushing noise and foam of a great enthusiasm. With a more subtle intention, he took the part of an insolent and venomous evoker of sinister impulses which lurk in the blind envy and exasperated vanity of ignorance, in the suffering and misery of poverty, in all the hopeful and noble illusions of righteous anger, pity, and revolt. The shadow of his evil gift clung to him yet like the smell of a deadly drug in an old vial of poison, emptied now, useless, ready to be thrown away upon the rubbish-heap of things that had served their time.

Michaelis, first name unmentioned, who has spent 15 years in prison because of his involvement with a cack-handed attempt to rescue some prisoners from a police van which went wrong, described on page 96. Now he is now morbidly obese, weighing maybe 18 stone.

He had come out of a highly hygienic prison round like a tub, with an enormous stomach and distended cheeks of a pale, semi-transparent complexion, as though for fifteen years the servants of an outraged society had made a point of stuffing him with fattening foods in a damp and lightless cellar.

Michaelis has an upper-class fan, an aristocratic lady who has taken the fat revolutionist into her salon as a conversation piece, and then sets him up in a moss-covered cottage to write his memoirs, Autobiography of a Prisoner (p.103).

Comrade Alexander ‘Tom’ Ossipon, nicknamed ‘the Doctor’, an ex-medical student without a degree; afterwards a wandering lecturer to working-men’s associations upon the socialistic aspects of hygiene; author of a popular quasi-medical study entitled ‘The Corroding Vices of the Middle Classes’; special delegate of the mysterious Red Committee, together with Yundt and Michaelis.

There’s a fourth who sits to one side of these three and despises them, known only as the Professor, because he is an expert in explosives.

His title to that designation consisted in his having been once assistant demonstrator in chemistry at some technical institute. He quarrelled with the authorities upon a question of unfair treatment.

The Professor thinks the other three are typical of their groups in that they don’t actually want anything to change, they enjoy feeling like exciting desperados and are trapped by their symbiotic relationship with the very system they claim to despise. Whereas the Professor wants to destroy. In a scene with Ossipon the Professor reveals that he carries a little vial of explosive around with him everywhere and has his left hand permanently on a little detonator in his left pocket. If the police ever try to arrest him, he’ll explode it and take half the street with him.

Ranged against them are some representatives of the British establishment, namely:

  • Chief Inspector Heat of the Special Crimes Department
  • The Assistant Commissioner of the Police
  • The Home Secretary, Sir Ethelred

Police complicity with the revolutionaries

A key and ironic premise of the book is that the police know the names of all the revolutionists. None of them are really secret at all. Inspector Heat knows not just the names but the addresses and usually the day-to-day movements of Michaelis, Yundt, Ossipon, the Professor and many more. In fact the police and the revolutionaries have a sort of working relationship or understanding, what the narrator calls ‘the rules of the game’ (p.105).

This is demonstrated when Heat bumps into the Professor in a side street and they have an uneasy standoff which ends because Heat, for the time being, wants to leave the anarchist alone.

Verloc the provocateur

What none of the revolutionaries nor Heat know is that Verloc is actually a double agent. He is an agent provocateur. Although a member of various Red Councils, a great speaker at socialist meetings and working men’s assemblies, Vice President of The Future of the Proletariat, enthusiastic friend of Ossipon, Yundt and Michaelis – he is in fact in the pay of reactionary, anti-revolutionary foreign embassy and has been for years, 11 years to be precise.

So Verloc is the secret agent of the title.

What kick-starts the plot is that his old handler at this (unnamed) foreign embassy, an old boy named Baron Stott-Wartenheim (‘pessimistic and gullible’) has retired and been replaced in the London embassy by a new go-getter, the First Secretary, Mr Vladimir, ‘a young man with a shaven, big face, sitting in a roomy arm-chair before a vast mahogany writing-table’.

Softly spoken Vladimir tells fat slothful Verloc that the good times are over. The secret service is not a philanthropic institution and Verloc is going to have to start to pull his weight. To be precise, he needs to cause a sensation, a ‘spectacular’, an egregious atrocity,

Why? Because Vladimir and his country are offended that the British authorities are so lax and permissive and ‘liberal’ as to allow countless revolutionaries to thrive in London pretty much untouched, revolutionaries who threaten the basis of his own government, back home. The British police, British society as a whole are, in Vladimir’s view, relaxed and permissive: ‘England lags. This country is absurd with its sentimental regard for individual liberty.’

Therefore Vladimir wants Verloc to commission some kind of spectacular atrocity which will wake up the British authorities and force the police to crack down. The complacent British bourgeoisie needs ‘a jolly good scare’. What is needed is a string of outrages to sting the authorities into a universal repression. Otherwise, Vladimir threatens, his office will stop paying Verloc.

And Vladimir goes further, straying into socio-philosophical territory, when he suggests that his government doesn’t want Verloc to assassinate someone (old hat), or blow up a bank (predictable) but strike at the conceptual foundations of bourgeois society. Which is why he suggests attacking time itself – a bit of dialogue which, for a moment, threatened to turn the story into a whole different type of novel, some kind of science fiction story. Normality is, however, quickly restored, when Vladimir explains that, in practice he just means blowing up the Greenwich Observatory, home of the meridian which, in a sense, during Britain’s heyday, anchored time zones all round the world.

So that is the setup. A fat, seedy complacent middle-aged ‘revolutionary’ who for over a decade has been pocketing money from a foreign embassy to report on radicals and anarchists in London, is told by his new young handler that he needs to pull his finger out and organise a spectacular ‘outrage’ or the embassy will cut off his funding, which has formed most of his family income…

The Assistant Commissioner connection

To digress for a moment, the novel is full of incongruous complicities. I’ve mentioned the way Inspector Heat knows all the revolutionaries by name and they know him and both sides leave each other alone, according to ‘the rules of the game’.

Higher up the food chain something similar obtains for Inspector Heat’s boss, the Assistant Commissioner of Police. This man was enjoying being a police officer in an imperial colony until he came home and made a good marriage but his new wife didn’t fancy the tropical heat. So he had to pack in his colonial career, stay in London and took the Assistant Commissioner post. He’s had it for 18 months when the narrative begins.

So far, so banal, but the ironic gag Conrad concocts is the notion that the Assistant Commissioner’s wife is supported and mentored by the same posh lady who is Michaelis’s patron. This leads to the humorous situation whereby the Assistant Commissioner attends the same parties as Michaelis, in fact has to stand by while the posh lady sings the praises of the lovely, sweet man, a visionary, a ‘saint’ who simply wants to bring fairness to society and food to the poor etc. The posh lady patron is depicted as irredeemably dim, but the bite to the situation is that the Assistant Commissioner knows that if he is involved in putting Michaelis behind bars, the posh lady will know about it and will never forgive his wife – and his wife will never forgive him.

The Greenwich bomb

Why is all this an issue? Because, with unexpected abruptness, in chapter 4 on page 65 of this 249-page-book, we learn that a bomb has gone off in Greenwich Park. Ossipon tells the Professor about it. Seems some unknown person was carrying a bomb, tripped over a tree root and blew themselves to pieces.

In the next chapter Chief Inspector Heat is called to the scene of the explosion and sees for himself the body blown into myriad pieces as by a demented butcher. Amid the fragments of bloody cloth, Heat discovers a piece which, amazingly, has an address written on it, 32 Brett Street. He pockets it as he walks away for, as an expert on the revolutionary underground, he knows it is the address of Adolf Verloc. The police have interviewed a witness who said she saw two figures come out of the nearby Tube station, a fat older man and a thinner younger one. The reader – well, this reader – immediately realises this is Verloc and Stevie and strongly suspects the person blown to pieces was poor simple Stevie.

(Note: a lot later in the book we are told that precisely a month, a long and aggravating month, separated Verloc’s interview with Mr Vladimir and the tragic bomb blast, p.209.)

The authorities

Heat reports to the Assistant Commissioner for the Police. (This is where we learn that the latter’s wife is friends with the posh lady who supports the obese revolutionist Michaelis and Heat senses his reluctance to place Michaelis in the frame). But, having dispatched Heat, the Assistant Commissioner goes to see his own superior, the Secretary of State, Sir Ethelred.

The depiction of Sir Ethelred, and the charming young man, his principle private secretary who everyone calls ‘Toodles’, this is all done with suavity and humour. Conrad deploys the Dickensian tactic of turning people into objects:

The Assistant Commissioner’s figure before this big and rustic Presence had the frail slenderness of a reed addressing an oak.

But more Dickensian is the association of characters with certain key words which are then drummed home. Thus Michaelis can’t be referred to without the phrase ‘the ticket-of-leave apostle’. And the secretary of state’s key word is ‘expansion’ or ‘expanded’.

Vast in bulk and stature, with a long white face, which, broadened at the base by a big double chin, appeared egg-shaped in the fringe of thin greyish whisker, the great personage seemed an expanding man… A shiny silk hat and a pair of worn gloves lying ready on the end of a long table looked expanded too, enormous.

The big time shift and switch to Winnie

All Conrad’s fictions up to this point deploy sophisticated manipulation of time frames. The narrative never just sets off and follows simple chronological order. In the hands of a narrator like Charles Marlow (who narrates Heart of Darkness, Lord Jim and Youth) the narrative continually interrupts itself to go back a few years, get someone else’s eye-witness account, sometimes juggling multiple time zones and frame narratives.

‘The Secret Agent’ is, on the whole simpler than all that, with the events in one chapter often following on simply from that before – with one big exception. Chapter 8, starting precisely half way through the text goes back in time. I’ve explained how the revolutionists heard about someone blowing themselves up in Greenwich Park as early as page 65, and how Heat visits the crime scene, spots the fragment of fabric with Verloc’s address on it, has an interview with his boss the Assistant Commissioner, who himself is called in to brief the Secretary of State. All this, obviously enough, follows the explosion.

But when we start reading chapter 8 we find ourselves transported back to several weeks before the explosion. In fact the narrative makes what appears to be quite a big digression which I found obscure and hard to follow, to begin with. Suddenly it is describing the motivation of Winnie’s aged mother, Verloc’s mother-in-law, who has decided she needs to move out of the Verloc household and has negotiated with the secretary of a charity for licensed victuallers, moving into one of their almshouses.

There is then another long passage describing how Winnie and Stevie help the old lady pack her bags and ride with her in a hansom cab to her new home (according to the notes, the Licensed Victuallers’ Asylum in Asylum Road, Peckham). This trip is distinguished by Stevie getting very upset at the way the cab driver whips his horse and the cab driver’s rather shamefaced defence of this behaviour.

What is this all about? Well, it’s the start of the novel’s shift to being, not about The Secret Agent but The Secret Agent’s Wife. it’s not only a clever playing with the novel’s timeframes but a switch in its focus. it is the first of a series of chapters in which we see the world from Winnie’s point of view, and get some detail on her feelings for her mother and her brother Stevie. It means that, once her mother is settled in her new cottage, Winnie feels lonely without her in the Verloc home and comes to rely more on Stevie, to think about him more.

I can sympathise with some contemporary critics who wondered why we’re bothering to go in such exquisite detail into the minds and feelings of pretty stupid and pretty insalubrious characters, but this is what the aristocratic and fastidious Conrad wanted to do.

The weeks pass and Winnie carries on feeling more lonely (in the absence of her mother) and more solicitous of Stevie, and also concerned about Verloc who seems to be on edge and anxious all the time. I think we are meant to realise that Winnie’s mother’s departure coincided with Verloc’s meeting with Vladimir and him giving Verloc the ultimatum to do something spectacular.

The effect is to create a dramatic irony in the mind of the reader. We know what’s coming. We have a very strong hunch that Verloc is going to take Stevie to Greenwich Park, with a bomb he’s had the Professor make for him, and commission him with planting it but simple clumsy Stevie is going to trip up and blow himself to smithereens.

So these scenes, as we share Winnie’s feelings for her brother, have a very bleak or tragic effect and this must be the effect Conrad is aiming for. There’s the ‘plot’ – what actually happens – and then there’s how Conrad has arranged it, which is to sidestep all the men he itemised for us in the first part of the book, and shift the whole focus onto poor Winnie.

Stevie goes away

Back in the nitty-gritty of the plot, Verloc suggests that Stevie might like a break from life in Brett Street and so kindly offers to arrange for him to go and stay with Michaelis in the cottage and Kent where the posh lady fan has set him up. Winnie is happy to pack his things and let Verloc take him off.

The two narrative timelines resynchronise

On page 156, a little into chapter 9, the timelines come back together, mesh up, resynchronise, as this digression, Winnie’s timeline, catches up with the ‘main narrative’.

She was alone longer than usual on the day of the attempted bomb outrage in Greenwich Park, because Mr Verloc went out very early that morning and did not come back till nearly dusk.

They mesh up again except that the reader knows (or thinks they know) what happened, namely that Stevie’s been blown to pieces. Which means that, when Verloc returns to the house that evening, every word Winnie utters, no matter how innocent, has a terrible ironic meaning.

The horrible truth: Stevie is dead

Now the reunified narrative picks up pace. Winnie makes dinner for Verloc, who’s come home late. When she asks him where he’s been he blusters, although admitting he’s been to the bank to withdraw all his money, which he’s placed in a pigskin wallet. Why? Because, he tells her, they must flee to the continent.

But he’s still explaining this to a puzzled Winnie when they are surprised by two visitors in quick succession. The first is the Assistant Commissioner himself who insists Verloc go for a walk with him. Shortly afterwards arrives Inspector Heat. Heat is is who produces the fragment of Stevie’s overcoat and shows it to Winnie who recognises it. When she identifies it Heat realises at a stroke that Verloc was the other man the eye witness saw emerge from the Tube and head to the park, Verloc accompanying his simple brother-in-law.

At that moment Verloc re-enters the shop, back from his walk and talk with the Assistant Commissioner. Heat hustles him into the back parlour of the house and shuts the door. Winnie kneels by the door with her ear to the keyhole. And thus she hears her husband confess everything – the plan to blow up the Observatory, obtaining the explosive from the Professor, his taking Stevie and sending him to plant the device, the tragic accident – and her world crashes in ruins around her.

The Assistant Commissioner pays visits

Meanwhile the Assistant Commissioner 1) goes to brief his boss, Sir Etheldred, during which we learned that Verloc has completely confessed to him too, as well as to Heat; 2) goes home, changes then 3) onto a reception given by the lady patron of Michaelis. Here he is introduced to Mr Vladimir. It is a small world – at least it is in books and films which limit the number of characters to the optimum number their audiences can handle.

More importantly, the Assistant Commissioner knows it was Vladimir who intimidated Verloc into commissioning this ridiculous tragedy. Indeed, Vladimir is scaring the posh ladies he likes flirting with by suggesting the Greenwich Park scandal is just the start of a campaign of terror.

When Vladimir leaves the Assistant Commissioner accompanies him and lets him know that Verloc has confessed everything and implicated Vladimir and his embassy. The AC tells him the British authorities want to use it as an excuse to round up all the secret agents and foreign political spies and expel them. In other words, Vladimir and his ilk. Vladimir says no-one will believe the word of such a man in court. The CA isn’t really interested in the court case he just wanted to rattle Vladimir and his rattledness confirms Verloc’s story. Vladimir is the instigator.

Chapter 11

Cut back to Verloc and Winnie at home after Inspector Heat has left. This is a long (28 pages) excruciatingly slow and horrible chapter whose purpose is to contrast the way Verloc more or less dismisses Stevie’s death, regrets Winnie overhearing it all from his and Inspector Heat’s conversation, but now he wants Winnie to pull herself together and wants to make plans. He’ll probably be tried and sent away for two years during which she will have to look after the shop. But then they’ll have to plan what to do on his release, maybe emigrate to America etc.

All this babble is contrasted with the cosmic horror in Winnie’s mind. She only married Verloc because she thought he offered enough money and stability to keep her poor brother safe. All she can think of is that, instead, he walked away with him one fine day in order to murder him. She considers herself utterly released from her marriage, no longer tied in any way to this horrible man, ‘the bargain was at an end’. And so, while Verloc burbles on, blissfully unaware of her complete alienation, of her internal screaming existential crisis, she becomes consumed with the thought of flight.

Throughout the chapter increasing reference is made to the carving knife lying on the table next to the loaf of bread and cold beef which was to form Verloc’s supper. And now, in a trance, Winnie picks it up, walks over to the sofa where Verloc, exhausted, had lain down to rest, and stabs him through the side right into his heart. He barely has time to sigh ‘Don’t’ before he dies.

Chapter 12

Winnie’s shock is slowly penetrated by the sound of Verloc’s blood tick tick ticking from the knife handle onto the floor. Shocked back to her senses she has a vivid premonition of the rope going round her neck as she is hanged, and so fastens her veil and staggers into the street with the vague intention of throwing herself off one of the Thames bridges.

She was alone in London: and the whole town of marvels and mud, with its maze of streets and its mass of lights, was sunk in a hopeless night, rested at the bottom of a black abyss from which no unaided woman could hope to scramble out. (p.218)

Who does she blunder into but Comrade Ossipon. Ossipon is a sensualist and a womaniser. He’s had his eye on Mrs Verloc for some time and is delighted to find her in such a state that he needs to hold her up, steady her, and generally touch and reassure her.

But his thoughts of seduction are quickly overwhelmed by her panic fear, and the whole chapter becomes a a very black joke in miscommunication and misunderstanding. For Ossipon readily falls in with Winnie saying Verloc is dead, because he thinks the person who blew themselves up in Greenwich Park was Ossipon. So he completely misreads Winnie’s repeated wailing that ‘he’s dead, he’s dead’ and then is perplexed when she goes on to say things like ‘he made me do it, he was a devil’ and so on. What is the woman on about?

Ossipon is keen on anything which involves the possibility of seduction but is puzzled and worried when Winnie starts babbling about fleeing the country. but then reassured when she draws out of her dress the pigskin wallet with all the money Verloc had withdrawn from the bank.

He has a brainwave and remembers the Southampton to St Malo ferry which leaves at midnight. they can get a train from Waterloo. But she insists they go back to the shop first, to close the door, and then she insists that a reluctant Ossipon goes inside to turn off the gas lights which she, of course, is horrifiedly reluctant to do. And where he, of course, stumbles across Verloc’s body, dead on the sofa.

He has a panic attack but has barely moved before he realises the woman has come running in from the street and gripped his arms. A policeman is coming! They stand in a frozen embrace as the copper very leisurely strolls up, checks the door, peers through the shop window into the dark interior before finally moving on. It is a scene from a movie. And Winnie hisses in his ear, ‘If he finds me, kill me, Tom, kill me’ such is her panic fear of the gallows.

And now in the darkness she explains why she murdered Verloc, for taking away her boy and blowing him up, and a great lightbulb goes on in Ossipon’s head. So the blown up body in the park wasn’t Verloc, it was her simple brother. And Verloc was responsible. And so she killed him.

Now, in words which must have been scandalous for the time, she begs him to take her away, to escape England: she’ll be his slave, she’ll adore him, she’ll do anything for him, he won’t even have to marry her. She falls to the floor and grips his legs and, in his mortal terror of her, Ossipon fancies her a snake, an angel of death. They’re both completely hysterical. For a moment, there in the dark, it crosses Ossipon’s mind to strangle her and be free.

But the moment passes and instead they go out and hail a cab to take them to the station. Here Ossipon instructs her to buy a ticket and enter the train by herself, he being known to the police and accompanying her would trigger alarm bells.

Her hysteria and his panic are vividly conveyed in a way which made me tenser, more uptight than at many a movie thriller I’ve seen. They enter a compartment of the train and sit waiting for it to depart, her weeping copiously and blessing him as her ‘saviour’, him wondering what the devil he’s got himself into.

Finally, finally the train starts to move off and even as Winnie continues tearfully thanking him as her saviour and promising to serve him all her days, he takes a few strides, opens the carriage door and jumps out, flinging the door closed behind him.

Something is required artistically, to round off the mad series of events following Verloc’s murder and Conrad makes the maybe obvious, maybe stylish decision to let the train pull out and leave without a word, and gives us nothing of Winnie’s response, no words, no thoughts, nothing about her at all, leaving the reader to imagine her horror and despair.

Instead Conrad has a couple of pages describing how Ossipon walks walks walks all night long the length and breadth of central London, walking off the trauma and shock and horror and fear and confusion he has just experienced until finally, at dawn, he enters his cheap digs, collapses on the bed and falls asleep.

Chapter 13

Cut to a completely different scene. We really are never going to hear more of Winnie Verloc. Instead we are in the Professor’s bare garret where Ossipon has paid him a visit. The Professor is describing a visit of his own to Michaelis’s rural cottage and ridiculing the ‘book’ he is writing for its sentimental thick-headedness. Michaelis witters on about creating an ideal world in which the strong will tend to the weak. Hah! says the Professor.

‘The weak! The source of all evil on this earth!… I told him that I dreamt of a world like shambles, where the weak would be taken in hand for utter extermination.’

And they catch a bus to the Silenus, the bar where we first met them drinking and arguing about radical politics. But the Professor isn’t a radical, he’s a nihilist.

‘What’s the good of thinking of what will be!’ He raised his glass. ‘To the destruction of what is,’ he said calmly. (p.245)

But Ossipon isn’t listening. He has in his jacket pocket the press report of a mystery woman who went aboard a Channel ferry, was spotted by several ship staff wandering looking lost and ill. Who was questioned by staff who went to get help and when they got back she was gone, presumed jumped over the side. So that was the end of Winnie Verloc.

But it isn’t the end of the consequences. Because ever since he read it Ossipon has lost his natural joie de vivre and his easy success with women. he radiated health and vitality which seduced no end of women but now his words come haltingly, he embarrasses them, he has lost his seductive powers. He asks the professor for his help but the gnome-like Professor is no use, tells him he is a mediocrity in an age destroyed by mediocrity, bids farewell and leaves.

Ossipon stumbles out into the daylight a broken man. He’s not going to keep the date he has with a likely prospect (‘an elderly nursery governess putting her trust in his Apollo-like ambrosial head’), he has lost all his lust for life. he likes drinking now, drinking to forget, drinking to head towards a future of alcoholism and vagabond ruin. He is the moral casualty left behind by the squalid little Verloc affair.

But the last word is given to Conrad’s spooky description of the Professor, in suitably ominous, threatening tones. I imagine a black and white movie ending with huge end credits and melodramatic Hollywood music.

And the incorruptible Professor walked too, averting his eyes from the odious multitude of mankind. He had no future. He disdained it. He was a force. His thoughts caressed the images of ruin and destruction. He walked frail, insignificant, shabby, miserable—and terrible in the simplicity of his idea calling madness and despair to the regeneration of the world. Nobody looked at him. He passed on unsuspected and deadly, like a pest in the street full of men. (p.248)

Minor characters

One of the things which makes ‘The Secret Agent’ such a chewy and rewarding read is the depth and care Conrad gives to even minor characters. Everybody who comes onstage is given some thought and analysis:

The Italian waiter in the Italian restaurant where the Assistant Commissioner stops for a cheap dinner, who, when the latter pays, is divided between counting the silver coins and eyeing up the pretty young woman who’s just leaving. (p.125)

The cabman with his ‘fierce little eyes’, who takes Winnie’s mother to the almshouse, and even more so the cabby’s horse, are treated to an extended description (pages 130 to 142).

Stevie was staring at the horse, whose hind quarters appeared unduly elevated by the effect of emaciation. The little stiff tail seemed to have been fitted in for a heartless joke; and at the other end the thin, flat neck, like a plank covered with old horse-hide, drooped to the ground under the weight of an enormous bony head. The ears hung at different angles, negligently; and the macabre figure of that mute dweller on the earth steamed straight up from ribs and backbone in the muggy stillness of the air.

The secretary of the charity who bends the rules to grant Winnie’s mother her alms cottage is given a paragraph or more to fill out his character (p.134).

Mrs Neale who cleans for the Verloc’s is given several pages:

Victim of her marriage with a debauched joiner, she was oppressed by the needs of many infant children. Red-armed, and aproned in coarse sacking up to the arm-pits, she exhaled the anguish of the poor in a breath of soap-suds and rum, in the uproar of scrubbing, in the clatter of tin pails. (p.150)

Revolutionary arguments

Yundt, Michaelis, Ossipon and the Professor are made to represent different flavours or strands of revolutionary thought and Conrad presents extensive conversations in which they articulate and debate their points of view.

Michaelis is the most articulate and he expresses 100% pure Marxism:

‘The future is as certain as the past – slavery, feudalism, individualism, collectivism.’ He saw Capitalism doomed in its cradle, born with the poison of the principle of competition in its system. The great capitalists devouring the little capitalists, concentrating the power and the tools of production in great masses, perfecting industrial processes, and in the madness of self-aggrandisement only preparing, organising, enriching, making ready the lawful inheritance of the suffering proletariat.

By contrast, the Professor is placed in a dialogue with Comrade Ossipon in which he is given very powerful critique of the professional revolutionaries for their smug complacency, and the Professor’s insistence on destruction for its own sake. The Professor accuses Ossipon and his ilk of being mirror images of the society they claim to want to overthrow, which shapes and limits them. They are its slaves.

‘You revolutionists… are the slaves of the social convention, which is afraid of you; slaves of it as much as the very police that stands up in the defence of that convention. Clearly you are, since you want to revolutionise it. It governs your thought, of course, and your action too, and thus neither your thought nor your action can ever be conclusive… You are not a bit better than the forces arrayed against you – than the police, for instance… The terrorist and the policeman both come from the same basket. Revolution, legality – counter moves in the same game; forms of idleness at bottom identical…’ (p.64)

By contrast with this comfortable arrangement, the Professor wants to blow up society, erase and destroy it.

The influence of Dickens

I read a lot of Conrad as a student and when I came to ‘The Secret Agent’ I was struck by the flavour of Charles Dickens in a lot of the descriptions. Not just of the fog and damp of London which is, after all, in Sherlock Holmes and umpteen other late Victorian texts, but something more animated and alive.

He advanced at once into an immensity of greasy slime and damp plaster interspersed with lamps, and enveloped, oppressed, penetrated, choked, and suffocated by the blackness of a wet London night, which is composed of soot and drops of water. (p.126)

What’s more specifically Dickensian is giving inanimate objects such as houses, or parts of people’s anatomy or physiology, a humorous life of their own.

Sir Ethelred opened a wide mouth, like a cavern, into which [his] hooked nose seemed anxious to peer; there came from it a subdued rolling sound, as from a distant organ with the scornful indignation stop. (p.117)

All was so still without and within that the lonely ticking of the clock on the landing stole into the room as if for the sake of company.

Striking a match on the box she held in her hand, she turned on and lighted, above the parlour table, one of the two gas-burners, which, being defective, first whistled as if astonished, and then went on purring comfortably like a cat.

Mr Verloc obeyed woodenly, stony-eyed, and like an automaton whose face had been painted red. (p.162)

A thick police constable, looking a stranger to every emotion, as if he too were part of inorganic nature, surging apparently out of a lamp-post, took not the slightest notice of Mr Verloc.

Also, for anyone who’s read ‘Bleak House’, Conrad’s Chief Inspector Heat brings echoes of Dickens’s Inspector Bucket.

And names, Dickens was a genius at naming his characters which is why so many remain part of popular culture (Oliver Twist, Scrooge). Verloc, Ossipon and so on are not particularly great names, but when I came across the assistant to the Secretary of State and found his name was Toodles this rang a big bell. Toodles is the name of the warm and generous family in ‘Dombey and Son’.

Conrad’s cosmic imagery

As I’ve pointed out in all my Conrad reviews, all his stories contain a sprinkling of similes or descriptions which lift off from the present banal situation and suddenly see everything from a cosmic perspective, suddenly drawing comparisons with the entire earth, the human race, the universe, all space and time and so on.

Down below in the quiet, narrow street measured footsteps approached the house, then died away unhurried and firm, as if the passer-by had started to pace out all eternity, from gas-lamp to gas-lamp in a night without end… (p.55)

His wisdom was of an official kind, or else he might have reflected upon a matter not of theory but of experience that in the close-woven stuff of relations between conspirator and police there occur unexpected solutions of continuity, sudden holes in space and time. (p.76)

All the inhabitants of the immense town, the population of the whole country, and even the teeming millions struggling upon the planet, were with him. (p.85)

The Assistant Commissioner remembered very well the conversation between these two. He had listened in silence. It was something as exciting in a way, and even touching in its foredoomed futility, as the efforts at moral intercourse between the inhabitants of remote planets. (p.94)

She kept still as the population of half the globe would keep still in astonishment and despair, were the sun suddenly put out in the summer sky by the perfidy of a trusted providence. (p.198)

Vivid images

Conrad has a knack of knocking out, every now and then, startlingly vivid and unexpected images.

The Assistant Commissioner’s delivery was leisurely, as it were cautious. His thought seemed to rest poised on a word before passing to another, as though words had been the stepping-stones for his intellect picking its way across the waters of error. (p.86)

He led a cortege of dismal thoughts along dark streets, through lighted streets, in and out of two flash bars, as if in a half-hearted attempt to make a night of it, and finally back again to his menaced home, where he sat down fatigued behind the counter, and they crowded urgently round him, like a pack of hungry black hounds.

Mr Verloc went on divesting himself of his clothing with the unnoticing inward concentration of a man undressing in the solitude of a vast and hopeless desert.

Something wild and doubtful in his expression made it appear uncertain whether he meant to strangle or to embrace his wife.

Sometimes clunky

Conrad handles the English language with the fearlessness of an outsider. Very often this results in sentences and whole paragraphs of vivid power, long, loquacious, studded with unusual words or phrasing. But now and then the same preparedness to experiment and find new expression drives him over the edge into a kind of rule-breaking clunkiness – although this, like everything else about Conrad, is still interesting and entertaining.

He was strong in his integrity of a good detective, but he saw now that an impenetrably attentive reserve towards this incident would have served his reputation better. (p.77)

All the time his trained faculties of an excellent investigator, who scorns no chance of information, followed the self-satisfied, disjointed loquacity of the constable. (p.79)

That singed piece of cloth was incredibly valuable, and he could not defend himself from astonishment at the casual manner it had come into his possession. (p.80)

Somehow it’s as if the effort to make his prose closer to a more functional detective style, at the same time reveals its occasional oddity and boniness. It also brings out the French in him.

French word order

Conrad was Polish and like lots of boys of his class was taught French as his primary foreign language. He lived for a while in Paris and was fluent in the language long before he began picking up English and, I would argue, it shows. I think this French tinge to his thinking comes out mostly in placing adjectives and adverbs and adverbial phrases after rather than before the nouns or verbs they refer to.

He turned no longer his back to the room.

The stranger gave her again a silent smile.

‘I’ve heard of him,’ whispered uneasily Mr Verloc.

Mrs Verloc adjusted nicely in its place a small cardboard box… (p.167)

‘He’s been frightening me,’ declared suddenly the lady who sat by the side of Mr Vladimir…

All of these are against traditional English word order. As Hugh Epstein writes, in the notes to the Wordsworth Classics edition, ‘Conrad’s translations from French occasionally interfere with idiomatic English’ to which I would add ‘occasionally’? Conrad’s often Frenchified word order is one of the reasons his prose style is often described as ‘exotic’.

Animal imagery

The use of animal imagery to dehumanise characters, by implication to compare all the characters to dumb beasts, is not particularly Dickensian. In fact Conrad did it earlier in ‘Amy Foster where he compares the emigrant husband, and his baby son, to birds caught in a snare. It’s a kind of anti-humanistic tactic but one he uses extensively in ‘The Secret Agent’.

Mr Verloc extended as much recognition to Stevie as a man not particularly fond of animals may give to his wife’s beloved cat.

Mr Verloc called aloud to the boy, in the spirit, no doubt, in which a man invites the attendance of the household dog

Stevie prowled round the table like an excited animal in a cage.

Mr Verloc’s immobility by the side of the arm-chair resembled a state of collapsed coma — a sort of passive insensibility interrupted by slight convulsive starts, such as may be observed in the domestic dog having a nightmare on the hearthrug.

‘When he heard me scraping the ground with it he leaned his forehead against a tree, and was as sick as a dog.’

Chief Inspector Heat, though what is called a man, was not a smiling animal.

The perfect anarchist was not recognised as a fellow-creature by Chief Inspector Heat. He was impossible — a mad dog to be left alone.

On all fours amongst the puddles, wet and begrimed, like a sort of amphibious and domestic animal living in ash-bins and dirty water, [Mrs Neale] uttered the usual exordium.

Stevie moped in the striking fashion of an unhappy domestic animal.

Mr Verloc felt this difficulty acutely. He turned around the table in the parlour with his usual air of a large animal in a cage.

‘The Embassy,’ Mr Verloc began again, after a preliminary grimace which bared his teeth wolfishly. (p.198)

He paused, and a snarl lifting his moustaches above a gleam of white teeth gave him the expression of a reflective beast, not very dangerous — a slow beast with a sleek head, gloomier than a seal. (p.208)

He felt her now clinging round his legs, and his terror reached its culminating point, became a sort of intoxication, entertained delusions, acquired the characteristics of delirium tremens. He positively saw snakes now. He saw the woman twined round him like a snake, not to be shaken off. (p.234)

The Russian character

It seems to be generally agreed that the unnamed foreign power paying Verloc is Russia – Vladimir is the founding ruler of the Russian Orthodox Church and Verloc visits an embassy in ‘Chesham Square’, the Russian Embassy was in Chesham Place – so it is generally assumed that Vladimir, the suave commissioner of this terrorist attack, is Russian. No change there, then.

As a Pole, whose nation had for centuries oppressed by the Russians, Conrad gives an inevitably negative account of the Russian character, with its centuries-old tradition of illiberal, autocratic, repressiiveness

Descended from generations victimised by the instruments of an arbitrary power, he was racially, nationally, and individually afraid of the police. It was an inherited weakness, altogether independent of his judgment, of his reason, of his experience. He was born to it. (p.183)

Thoughts

I disagree with the critics quoted on the paperback blurb, in the introduction and the Wikipedia article, who claim this is a great political novel or even, ludicrously, the greatest novel about terrorism ever written. It’s obviously nothing of the sort. The little cohort of revolutionists described here are more like cartoon comedy figures than the terrorist groups of the world I grew up in – the PLO, the IRA, the Baader-Meinhof group, more recently al-Qaeda and all its franchises and affiliates.

Slothful Verloc and his shop of seedy photos and his moany mother-in-law are more the stuff of a comic novel (if Conrad could do genuine comedy), as is the long peculiar passage about taking the mother by cab to Peckham.

The central event of sending an idiot boy to plant a bomb which he trips over and detonates by accident has no meaning or significance, is simply sad and squalid, Viewed from a different angle it has a Keystone Cops slapstick element about it.

Even the ‘arguments’ between the revolutionists are moderately interesting but feel like they’ve been tacked on as required by the nominal subject matter, and mostly amount to ad hominem abuse of each other. There’s none of the intellectual clarity and incisiveness you get from, for example, something like Jean-Paul Sartre’s play Dirty Hands.

The machinations of the foreign embassy manipulator Mr Vladimir have the quaint home-made feeling of a character from The Prisoner of Zenda or a Sherlock Holmes story.

The entire thing lacks the sense of real threat you only really begin to get in fiction following the First World War, which transformed the world into a much more dangerous and threatening place. None of these people is a threat, they’re harmless jokes.

In any case, the entire earlier parts of the book are entirely overshadowed by the final two chapters which are harrowing in the extreme; everything else – Vladimir’s threats, Verloc’s pathetic career, Ossipon and Michaelis and Yundt’s pointless bickering – are just foreplay for the big event, which is the searingly tragic impact on Winnie of finding out about Stevie’s death.

That chapter is unstoppable, unput-downable, her terrible grief gripped me by the throat, and then rolled on into the long sequence of events with Ossipon which carry you like a rollercoaster to the bitter end of the text.

It’s odd that liberal critics – and Conrad himself in his dull prefaces – go on about ‘morality’ and ‘moral choices’ and so on, as if this is what Conrad’s fiction is about, when what so many of his stories actually convey, with nerve-flaying power, is the horror and futility of existence. Everybody quotes Kurtz’s final phrase in ‘Heart of Darkness’, ‘The horror, the horror’, mainly because it’s so short and quotable, but the final two chapters of ‘The Secret Agent’ should be up there alongside ‘Heart of Darkness’ as one of the most nerve-shredding, intense and psychologically horrifying passages in literature.


Credit

The Secret Agent by Joseph Conrad was first published in Blackwood’s Magazine in 1902. Page references are to the 1975 Penguin Modern Classics paperback edition.

Related links

Conrad reviews

Kidnapped by Robert Louis Stevenson (1886)

Kidnapped was published in the same year as Jekyll and Hyde, 1886. It is funny to think that these two stirring tales, one set in smoky London, one in the Scottish Highlands, were both written in a comfortable suburban house in Bournemouth.

Plot

It is 1751, Scotland, in the years after the failed Jacobite rebellion. Young David Balfour, his parents recently dead, sets out to see his only blood relative, Uncle Ebenezer. Who sells him into slavery on a boat bound for the West Indies. Which collides with a rowing boat off the Isles, carrying the notorious Jacobite fugitive, Alan Breck Stewart. Who along with David, fights off the entire ship’s crew. The ship is then shipwrecked and David and Alan make it ashore, to spend weeks on the run from English troops, hiding in the heather and among poor Jacobite sympathisers. The plot is gripping, fast-moving and creates a continuously exciting sense of jeopardy.

Style

Over and above the story, though, what gives bottomless pleasure is the easiness of Stevenson’s prose, its accuracy, its crisp vividness, its pace in moving from one telling detail to the next.

“Country folk went by from the fields as I sat there on the side of the ditch, but I lacked the spirit to give them a good-e’en. At last the sun went down, and then, right up against the yellow sky, I saw a scroll of smoke go mounting, not much thicker, as it seemed to me, than the smoke of a candle; but still there it was, and meant a fire, and warmth, and cookery, and some living inhabitant that must have lit it; and this comforted my heart.”

18th century

Setting it in the 18th century liberates Stevenson, liberates his prose from the fussy, upper class English and melodramatic straitjacket it was trapped in for the New Arabian Nights. It runs lithe and free. The description of Alan Breck is a compact, typical example.

He was smallish in stature, but well set and as nimble as a goat; his face was of a good open expression, but sunburnt very dark, and heavily freckled and pitted with the small-pox; his eyes were unusually light and had a kind of dancing madness in them, that was both engaging and alarming; and when he took off his great-coat, he laid a pair of fine silver-mounted pistols on the table, and I saw that he was belted with a great sword.

The cabin boy is murdered by a drunk crewman. Note the detail:

As he spoke, two seamen appeared in the scuttle, carrying Ransome in their arms; and the ship at that moment giving a great sheer into the sea, and the lantern swinging, the light fell direct on the boy’s face. It was as white as wax, and had a look upon it like a dreadful smile. The blood in me ran cold, and I drew in my breath as if I had been struck.

Psychological descriptions like that follow immediately and directly from the physical action and from Stevenson’s genius for the telling detail. His imagination is fully engaged by the characters and the scenarios with the result that everything is described with a wonderful immediacy. As Davey and Alan are about to be attacked in the roundhouse:

I do not know if I was what you call afraid; but my heart beat like a bird’s, both quick and little; and there was a dimness came before my eyes which I continually rubbed away, and which continually returned. As for hope, I had none; but only a darkness of despair and a sort of anger against all the world that made me long to sell my life as dear as I was able. I tried to pray, I remember, but that same hurry of my mind, like a man running, would not suffer me to think upon the words; and my chief wish was to have the thing begin and be done with it.

Scots

‘Like a man running.’ Strange and wonderful phrasing. Imagining an 18th century voice allows Stevenson to experiment with diction, wandering far from Standard English, creating wonderful phrasings. The text is given extra saltiness, tang and savour by Stevenson’s obvious enjoyment of the Highland Scots dialect used by so many of the characters:

‘Captain,’ says Alan, ‘I doubt your word is a breakable. Last night ye haggled and argle-bargled like an apple-wife; and then passed me your word, and gave me your hand to back it; and ye ken very well what was the upshot. Be damned to your word!’ says he.

Manliness

The virility, the energy of Stevenson’s style perfectly matches the manliness of the tale. Unencumbered by feminine concerns the novel explores and depicts a wide variety of male types, all revolving round the sometimes ludicrous but always winning masculinity of its hero, Alan Breck.

‘Do ye see me?’ said Alan. ‘I am come of kings; I bear a king’s name. My badge is the oak. Do ye see my sword? It has slashed the heads off mair Whigamores than you have toes upon your feet. Call up your vermin to your back, sir, and fall on! The sooner the clash begins, the sooner ye’ll taste this steel throughout your vitals.’

“I saw him pass his sword through the mate’s body” by Howard Pyle (1895)

“I saw him pass his sword through the mate’s body” by Howard Pyle (1895)


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The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson (1886)

The Strange Case of Dr Jekyll and Mr Hyde was published in 1886. It’s a novella i.e. very short, just 60 pages in the Oxford University Press edition.

Reams have been written about the notion of the Double in Stevenson’s fiction. It’s easy to associate it with ‘The Picture of Dorian Gray’, serialised just four years later, and claim there was a Victorian fascination with the dark underbelly of their world (and particularly of London, where both novels are set). Maybe. Though remember that Gray was heavily criticised on its magazine publication, so much so that Wilde had to tone down the book version.

Best bit

For my money the early chapters (some only a few pages long) suffer from the same shortcomings as the New Arabian Nights i.e. a lack of detail and a lack of narrative drive. The horror is told but not really described. It feels loose, until the genuinely scary letter left by the dead Dr Lanyon describes witnessing Jekyll’s transformation – and then the whole thing is pulled together by Jekyll’s harrowing written confession. This last section could have stood on its own, frankly, and would have been one of the most powerful short stories in the canon.

Style

The style is much tauter than the New Arabian nights. Tighter, each phrase packing meaning.

‘The scud had banked over the moon, and it was now quite dark. The wind, which only broke in puffs and draughts into that deep well of building, tossed the light of the candle to and fro about their steps, until they came into the shelter of the theatre, where they sat down silently to wait. London hummed solemnly all around; but nearer at hand, the stillness was only broken by the sounds of a footfall moving to and fro along the cabinet floor.’

Dream

Apparently the inspiration for the story came to Stevenson in a dream. He wrote a draft and showed it to his wife who said it’s more an allegory than a story. So he burned that version and rewrote the whole thing from scratch in six days. Impressive.

London

Like the New Arabian Nights, the setting is London, London, London. Not by accident but as a pre-requisite, London being the biggest city in the world, one which struck all visitors as so vast that a man could be anonymous, have multiple identities, seek out strange adventures, get away with murder.

Freud

Freud was 20 when this was published. Unlikely he ever knew about it. He was led to his ‘discoveries’ by the persistence of patients with compulsive, neurotic or hysterical symptoms which appeared to be the result of conflict and suppression. Ie the ‘civilised’ part of the mind trying to suppress or control damage done to, early memories of, or lusts arising from, the more ‘primitive’, base personality. I was struck that the scientist Jekyll speculates that there are more than just two sides to a personality.

This is more in line with Freud – with his tripartite system of id, ego and superego – but also with modern neuroscience which suggests the mind is a congeries of interlocking systems. Either way it undermines the simplistic ‘Doubles’ debate.

‘With every day, and from both sides of my intelligence, the moral and the intellectual, I thus drew steadily nearer to that truth, by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two. I say two, because the state of my own knowledge does not pass beyond that point. Others will follow, others will outstrip me on the same lines; and I hazard the guess that man will be ultimately known for a mere polity of multifarious, incongruous, and independent denizens.’

Darwin and science

In the OUP introduction it explains how Darwin’s works (On The Origin of Species 1859, The Descent of Man 1870) had led to a widespread cultural anxiety about the possible degeneration of humanity to a baser state i.e. there is no Providence guiding human affairs inexorably upwards. There is no necessary reason why Evolution should work in what we puny mortals consider a more moral direction.

For me the interesting aspect of Jekyll isn’t the religious one – the anxiety of the Scottish Calvinist tradition going back through Hogg and beyond etc; it’s the connection it makes between scientific experimentation and degeneration. Rather than linking back to a Scottish religious past, for me Jekyll links forward to a science fiction future. HG Wells and his anxiety that science could unleash the Beast, for example, The Island of Dr Moreau, 1896.

Adaptations

There are umpteen movie versions. The 1941 one stars Spencer Tracy and gives him Ingrid Bergman as a completely factitious love interest.


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