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.

Related reviews

Ulysses by Hugh Kenner (1980)

The more we know of someone, the harder it is to say what he is about, he is about so many things…
(page 21)

Few writers have been more intensely, intimately autobiographical.
(p.171)

Hugh Kenner

Hugh Kenner (1923 to 2003) was a Canadian academic who spent his time teaching at universities in the United States and writing a series of critical books about modernist literature. I read his masterpiece, ‘The Pound Era’ (1971), in the late 1970s and it changed my life. It gave me a deep grounding in the modernism of Ezra Pound, T.S. Eliot, Wyndham Lewis and the rest of them, providing handy background info for my English A-level reading of T.S. Eliot’s Four Quartets, and helping me to ace my university entrance exams. ‘The Pound Era’ is not just a dazzling overview in the mindset of the modernist moment just before the Great War, packed with insights and arcane learning, but immerses you in a whole new way of seeing the world and books.

Although Kenner did his PhD thesis on James Joyce, published as a book in 1956, he only wrote about him periodically thereafter. This book was published in 1980 as part of the then-new Unwin General Library shortly after the publication of another Joyce book by him, ‘Joyce’s Voices’ – I wonder how much overlap there is between the two.

The Unwin General Library volumes were intended as study aids but Kenner’s book is every bit as opinionated and eccentrically informative as his other works. From the blizzard of digressions and divagations, here are the bits which stood out for me, starting with the obvious and moving on to the arcane and inspired.

Learnings

Bloomsday ‘Ulysses’ is set over the course of one long day, from 8am on Thursday 16 June to the early hours of the following morning, Friday 17 June, 1904. The book’s millions of fans long ago christened 16 June ‘Bloomsday’, and celebrations are held in Dublin and elsewhere every year.

Victorian It’s worth stopping right there to reflect that although the novel was published in 1922 and had a huge impact on between-the-wars literature, it in fact depicts a world which was barely even Edwardian, was in fact late-Victorian in culture, economics and mindset (Queen Victoria died on 22 January 1901; the Boer War had only just ended, May 1902).

Let’s go back to ‘Ulysses’ prequel, ‘A Portrait of the Artist as a Young Man’, and reflect that almost its entire action takes place in the reign of Queen Victoria. For example, the scene where Stephen Dedalus watches a girl on the beach is supposed to take place in 1898. Only the very last scenes in the book are not Victorian, as Kenner reckons the scenes where Stephen prepares to quit Ireland take place in 1902. So although it became a totem of the Jazz Age, all the music in ‘Ulysses’, the clothes, the culture, the political and social mood, are late-Victorian.

Daylength An awful lots happens in the minds of the protagonists of ‘Ulysses’ but then they have a lot of time. At the latitude of Dublin, the sun rises at 3.33 am and sets at 8.27 pm. The action of the novel actually starts at 8am on top of the Martello Tower at Dalkey on Dublin Bay and continues until 3am the following morning.

Mourning Both the book’s male protagonists, Stephen Dedalus and Leopold Bloom, are dressed in mourning black for the entirety of the novel, Stephen mourning his recently deceased mother, Bloom in black to attend Paddy Dignam’s funeral. It is a novel about two men in mourning, or two Men in Black.

Locations Joyce began writing ‘Ulysses’ in Trieste sometime in 1914 and continued for the next 8 years, in Zurich (during the Great War) then Paris (after the war). It was published in Paris on 2 February 1922, the author’s fortieth birthday. It was promptly banned by the authorities in Britain and the USA, where it was only allowed to be published in 1936, and 1933 respectively. (It was never banned in Ireland because the authorities new they didn’t need to; no respecting publisher dared publish it or bookshop sell it.)

Modernist peers Of Joyce’s three great modernist peers:

  • T.S. Eliot admired what he called ‘the mythic method’ of basing the novel on Homer’s Odyssey, welcoming it as a whole new way of ordering ‘the panorama of anarchy and futility that is the contemporary world’ (‘Ulysses, Order and Myth’, 1923)
  • Ezra Pound, on the contrary, dismissed the mythic method but welcomed the novel as an encyclopedia of contemporary stupidity, a kind of grotesque continuation of the realism of Flaubert’s Bouvard and Pecuchet (‘James Joyce et Pechuchet’, 1922)
  • Wyndham Lewis saw it as a sign of how the modernism he’d helped inspire with Vorticism had gone off course, into trivia and technique, dismissing the use of interior monologue as a simple extension of Charles Dickens’s Alfred Jingle (‘Time and Western Man’, 1927)

Sui generis Kenner considers ‘Ulysses’ one of the small number of great modernist works which created a new genre for themselves, much as ‘The Waste Land’, ‘The Cantos’ and Molloy did. Personally, surveying the literary output of the 2020s and earlier, it feels like the modernist moment was a great digression or diversion. Much was learned and much fanfare was made about the revolutionising of the novel but with a decade novels, by and large, settled back into a 20th century version of the traditional mould (Waugh, Orwell, Greene).

Thoms For the geography of Dublin, Joyce in exile relied very heavily on ‘Thom’s Official Directory of the United Kingdom of Great Britain and Ireland’ published in 1904.

Chiasmus Joyce is fondness for chiasmus, the ‘a rhetorical device where grammatical structures or ideas in a sentence are repeated in reverse order, creating a mirrored or X-shaped pattern (A-B-B-A)’. Here’s a not quite perfect example.

An ecstasy of flight made radiant his eyes and wild his breath and tremulous and wild and radiant his windswept limbs. (‘A Portrait’)

Kenner points out that the overall structure of ‘A Portrait’ is chiasmic in the sense that it both opens and closes with fragments (p.68).

Technology Ulysses is notably more mechanical than ‘Portrait’ in the sense that there is more modern technology in it. Stephen takes an electric tram into the city centre, the newspaper office has enormous printing machines, people use typewriters, telephones. In ‘A Portrait’ all transport is horse-drawn. Reflecting the sweeping technological innovations which came in between completing ‘Portrait’ in 1914 and writing ‘Ulysses’ in the later teens.

Performance Much can be made of the opening sentences:

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. A yellow dressinggown, ungirdled, was sustained gently behind him on the mild morning air. He held the bowl aloft and intoned:
Introibo ad altare Dei.

Mulligan is an actor Kenner makes two points: 1) Mulligan is acting, he is prancing and performing for his own pleasure; 2) and he is performing a mockery of the Catholic Mass, a mockery Kenner goes so far as to say is like an invocation of the Satanic Black Mass. This feels unlikely to me, it feels more like youthful high spirits. But I agree with Kenner’s diagnosis that it 1) introduces the entire novel as an enormous performance and 2) is a cultural critique, suggesting that Ireland and Irishmen are all playing a part, cheerfully and humorously, but somehow alienated from their true selves.

Inside, outside and in-between The narrative never gives Mulligan free indirect speech from his point of view because he has no inside. He is all performance, a mummer, a mocker, a clown. In this he is in stark contrast to Stephen who is almost entirely inside, and whose stream-of-consciousness thoughts reach an early peak in chapter 3. So Stephen and the Buck are yin and yang, chalk and cheese. From this perspective, Bloom comes along, in chapter 4, as a synthesis of opposites, a happy balance of the internal (psychological) and external (sensual) worlds. Very neat. Although in later chapters, this simple model is itself superseded (p.45).

Divisions The division of the book into three parts, of 3, 12 and 3 chapters each, is clear for everyone to read in its table of contents. Kenner suggests it’s also in two parts: the first ten or so chapters are all done in a roughly similar stream-of-consciousness style: Kenner calls them ‘the naturalistic episodes’ (p.53) and tells us that Joyce himself referred to them being in ‘the initial style’ (p.62). From ‘Sirens’ onwards however, each individual chapter has not only a style, but a format of its own. And a possible reason for this? Because between chapters 11 and 12 Boyle sleeps with Molly. Up to then all the chapters are a sort of anticipation and show Bloom in what Kenner insists is virtually a state of shock; afterwards, they become extremely idiosyncratic.

Bloom’s Jewishness Kenner points out that Jewish affiliation is passed down through the mother but Bloom’s mother was Ellen Higgins, herself the daughter of Fanny Hegarty i.e. no Jewish female inheritance there. Moreover, his (Jewish) father converted to Protestantism in which Leopold was raised, and Poldy himself converted to Catholicism before marrying Marion Tweedy. So he is doubly an outsider: although he played with Jewish friends as a boy, and although he has a Jewish name and appearance, he is not part of Dublin’s small Jewish community (p.43). But although he has been baptised a Catholic, on the one occasion he briefly pops into a church, there is plenty of time to make clear that he’s never taken communion, so he is also an outsider to Dublin’s cradle Catholic culture (p.71). ‘Most readers never realise that Bloom by Jewish standards isn’t Jewish’ (p.152).

Narrative skips Despite bombarding us with ‘its din of specificity’, ‘Ulysses’ is oddly silent about key facts. I was puzzled in chapter 4 by the way we get Bloom giving milk to his cat and popping out to buy a pork kidney and then having a poo in his out-house – but we do not get a description of him running, getting into or out of his bath, although he refers to having had a bath many times later on. It is oddly omitted. Far more significant is how Bloom comes to know that Blazes Boylan is popping round to plook his wife at 4pm. He knows and all the commentators know, but how? He doesn’t take a sneaky peek at Boylan’s letter, and in fact it is weirdly absent from the entire final colloquy between Bloom and Molly before he leaves the house for the day. For all its bombardment with facts, many key aspects of the narrative are mysteriously glossed over. (p.49)

Where’s Blazes? The more commentary you read, the more central the event of Boylan shagging Molly becomes, and yet not only is this central scene not described, but Boylan himself is barely even a fleeting presence in the novel, only briefly glimpsed on a couple of occasions (chatting up girls in ‘Wandering Rocks’ and ‘Sirens’). His, also, is a deliberate and glaring absence (p.53).

Timetable of Stephen’s day

  • 8am: Stephen gets up ‘displeased and sleepy’, having been kept awake by Haines raving about shooting a black panther. Since Haines actually has a gun and Stephen is wearing black in mourning for his mother, he is justified in feeling anxious. He refuses to bathe in the sea with Buck and Haines, and makes a date to meet Mulligan at the Ship pub at 12.30.
  • 9 to 10.30am: walks to his school in Dalkey and gives a history lesson, then has the interview with the school’s head, Mr Deasy, who gives him a letter to take to the newspaper.
  • 10.30 to 12 noon: tram to Haddington Road where he toys with going to see his Aunt Sara to ask if he can stay the night with her but instead goes for a walk on Sandymount Strand.
  • 12 to 12.30pm: decides not to meet Mulligan and sends a telegram telling him so. Instead walks across the river to the offices of the Evening Telegraph.
  • 12.30 to 1pm: delivers Deasy’s letter to the newspaper editor.
  • 1 to 1.30pm: drops into Mooney’s bar a few doors down from the Ship.
  • 1.30 to 4pm moves onto another bar then goes to deliver another copy of Deasy’s letter to A.E. at the Irish Homestead where he is (probably) told the A.E. is in the National Library. So Stephen goes to find him there which is where the narrative finds him again in chapter 9 trying to impress A.E. and John Eglinton with his Shakespeare theory. Leaves the Library with Mulligan, bumps into an Italian acquaintance who tells him he should become a professional singer, bumps into his impoverished young sister Dilly but doesn’t give her any money. Given to highfalutin’ rhetoric about Irish nationalism and escaping nets, he lacks charity or fellow feeling for his own family.

Stephen’s plight Kenner sums up Stephen’s situation by 4pm, the cardinal hour when Boylan is plooking Molly: Stephen has nowhere to stay, barely has a job and no prospects, has given it his best shot to impress Dublin’s literary elite and failed miserably. It is flashy superficial Mulligan who will be going that night to George Moore’s gathering of ‘the best wits in town’. His is the bitterness of the outsider. Very depressed, he decides to carry on drinking, accepting his fate as his fluent but shiftless father’s son. We don’t meet him again till 10pm, at the maternity hospital, by which time, having been drinking all day and eaten no lunch, he is shitfaced.

David Hayman and The Arranger Kenner says the critic David Hayman was the first to nail Ulysses’ main technical innovation which was the irruption half-way through the book into the text of a voice which belongs to none of the characters nor to any narrator, but just intrudes. For example, the 63 newspaper captions in ‘Aeolus’, who is ‘saying’ that? No-one. And as the narrative continues, you realise that, yes yes yes we are getting the famous ‘stream-of-consciousness’ thoughts of the leading characters, but that there is another voice who adds phrases in among the characters’ thoughts. Hayman gives it a name, calling it The Arranger and Kenner devotes a whole chapter to describing its effects.

Parallax Parallax means viewing the same thing from different positions. Kenner explains that thousands of details, moments, perceptions, scraps of speech occur multiple times in ‘Ulysses’, but often seen from two or more angles, described hundreds of pages apart. No one reading can spot all these repetitions, but each rereading leads you deeper into the vast labyrinth of correspondences and correlations Joyce has constructed, building up the impression of infinite interconnection.

Delays Classic detective stories delay the explanation until the end, when Holmes or Poirot make everything clear in One Big Reveal which shows how all the pieces of the puzzle are connected. One Big Revelation explains everything. In ‘Ulysses’, by contrast, there are thousands of little revelations, repetitions and correlations which shed a little light on this or that mystery from earlier in the text. Not one big reveal but thousands and thousands of small reveals because ‘Joyce is all trivia’ (p.76) so no individual one of them transforms our reading, but taken together all immeasurably deepen the experience.

Songs performed in Sirens The primary songs performed or mentioned in the ‘Sirens’ chapter, in chronological order of their appearance or performance:

  • The Bloom is on the Rye, hummed or thought of by Bloom as he watches the barmaids
  • ‘Love and War’, a duet performed by Ben Dollard (bass) and Father Cowley (tenor) shortly after Bloom enters the dining room
  • ‘Tutto è sciolto’ (from Bellini’s La Sonnambula), whistled by Richie Goulding as he and Bloom sit in the dining room
  • ‘M’appari’ (from Flotow’s Martha): the emotional centre of the episode, sung by Simon Dedalus at the piano
  • ‘The Croppy Boy’: a nationalist ballad performed by Ben Dollard toward the end of the episode as Bloom prepares to leave
  • ‘Love’s Old Sweet Song’: although not fully performed in the bar, its melody and lyrics recur throughout the episode in Bloom’s thoughts and are associated with Molly Bloom and Blazes Boylan
  • other musical pieces referred to or hummed include ‘Those Lovely Seaside Girls’ and various motifs from operas like ‘Don Giovanni’ (specifically the minuet played by Father Cowley)

Circe After long trying days, both Stephen and Bloom need purging. According to Aristotle’s classical theory, the form which purges emotions is the drama, the play, so a play is needed to purge his characters. And both men need to confront their ghosts so this shall be a ghost play, wherein Stephen  will confront the accusing ghost of his mother and Bloom will see the ghost of his dead baby, now grown to be an 11-year-old boy. These themes were first mooted when Stephen himself dwelled at length on the nature of theatre in his long disquisition about Hamlet and Shakespeare at the National Library

The nightmare of history Kenner makes one really big point about ‘Circe’. You remember Stephen’s famous declaration to the Unionist headmaster Deasy, which is often quoted out of context, that: ‘History is a nightmare from which I’m trying to awake’? Well, maybe ‘Circe’ can be seen as a dramatisation of the nightmare of history, with its trials and revolutions and politics and crowning of kings and burning at the stake and haunted terrors. Maybe it is the nightmare of history come to life.

THE REVEREND MR HAINES LOVE: (Raises high behind the celebrant’s petticoat, revealing his grey bare hairy buttocks between which a carrot is stuck.) My body.

John F. Taylor and the Gaelic revival It was a commonplace of Irish nationalism to equate the small oppressed Irish nation with their its subaltern language and zealous about its religion struggling to be free, with the Israelites in Egypt, small in number, with their own minority language, struggling to be free. This comparison did all kinds of things, giving the struggle for Irish independence the authority of the Bible, guaranteeing that each generation’s independence leader would be dubbed the ‘Irish Moses’, and so on. In the area of language it supported calls for the revival of Gaelic to accompany campaigns for independence.

On 24 October 1901 the lawyer, orator and man of letters John F. Taylor delivered a speech to the Law Students Debating Society pointing out that if Moses had given in to reason, learned Egyptian and aspired to a high place in the Egyptian administration, we’d have never had the ten commandments, Judaism or Christianity. Well, it is this speech which Professor MacHugh recreates in the office of the Freeman’s Journal in ‘Aeolus’.

Gaelic and Hebrew In questions 98 and 99 of ‘Ithaca’ this topic is treated to debunking irony when Bloom and Stephen try to demonstrate their ancestral languages (Hebrew and Gaelic) to each other and it turns out they can both only manage a few lines of songs, and then scrawl down a handful of characters, of their supposed ancestral tongues. Comedy of mutual ignorance.

Ithacan program Kenner usefully pulls together the thoughts scattered in Ithaca’s question and answer format to clarify that Bloom has parental fantasies about Stephen. Bloom fantasises that he will:

  • become a permanent lodger at Eccles Road
  • pay rent
  • take singing lessons from Molly in return for which he’ll tutor her in Italian
  • distract her from Boylan
  • pass evenings of civilised conversation with him, Bloom
  • become a successful and profitable tenor in Bloom’s travelling troupe of singers
  • in time fall in love with and marry Bloom’s daughter, Milly
  • and produce a little light literature on the side

It’s quite the package, then, for a drunk, depressed young man completely adrift in life, the offer for him to become a son-in-law for Bloom and a replacement for Bloom’s dead son, Rudy. But when you list all the elements like that, you can also see it’s a trap, closing off all of Stephen’s ambitions. When it’s put like this you can see why Stephen politely walks away.

Is Bloom Jewish?

For:

  • he has a Jewish name
  • almost everyone treats him as Jewish i.e. with antisemitic slurs
  • in ‘Cyclops’ he becomes angry and says persecution of ‘his people’ is going on right here, right now
  • and the chapter climaxes with him yelling at the Citizen that ‘Christ was a Jew like me’
  • he owns some of the paraphernalia of Jewish ceremonies inherited from his father and grandfather
  • in ‘Eumaeus’ he delivers a defence of the Jews to Stephen

Against:

  • he is uncircumcised (Nausicaa)
  • nowhere is a bar mitzvah mentioned
  • the novel opens with him buying and eating as pork i.e. no-kosher kidney
  • his mother wasn’t Jewish but Irish and so was his grandmother (Ithaca)
  • he has received not one but two Christian baptisms (as a Protestant and a Catholic)
  • crucially he rolls back from his shouted taunt at the Citizen, in Eumaeus telling Stephen: ‘I mean Christ, was a jew too and all his family like me though in reality I’m not.’
  • and in ‘Ithaca’ question 68:
    • What, reduced to their simplest reciprocal form, were Bloom’s thoughts about Stephen’s thoughts about Bloom and about Stephen’s thoughts about Bloom’s thoughts about Stephen? is answered thus:
    • He thought that he thought that he was a jew whereas he knew that he knew that he knew that he was not.

So in a religious (christenings) and biological (mother and grandmother) and dietary and ceremonial way, Bloom is not a Jew. And yet in a cultural and self-identifying kind of way Bloom clearly still identifies with ‘his people’, his ‘race’, feels their persecution (and experiences it for himself), stands up for them whenever he can. So yes and no.

Molly’s lovers Question 275 in ‘Ithaca’ asks ‘What preceding series?’ and the answer proceeds to list 25 men. For 40 years or more these were taken at face value as a list of Molly’s lovers. Only in the 1970s was the list reinterpreted and came to be seen as anyone who had given Bloom any cause at all to be jealous, and since jealousy can be completely irrational it explains why the list includes a priest (her confessor), her doctor, Simon Dedalus (a drinker not a swiver), and others of the same ilk. And so the list is nowadays reinterpreted as anyone who got close to sexy Molly and triggered jealousy in young Bloom, and so Molly’s reputation has been completely rehabilitated. Scholars have returned Blazes Boylan to his rightful place as the only man Molly has been unfaithful with which also, of course, makes far more sense of why it’s such a big deal for Bloom (p.143).

Bloom’s books ‘Ithaca’ contains a number of catalogues or lists. Kenner notes that the list of (23) books on Bloom’s shelf (in answer to question 292) shows that he does not own a copy of The Odyssey.

Archaeology In a characteristic stretch, Kenner associates the list of memorabilia Bloom finds in his drawers with archaeology. Archaeology reached a golden age in the late nineteenth century; it was in the 1870s that Schliemann excavated Troy in Turkey, capturing the public imagination. Kenner points out that the detailed inventory ‘Ithaca’ makes of the contents of Bloom’s house, in one way treats it as an archaeological site.

Sherlock A little more obvious is the fact that the list of Bloom’s books contains one by Conan Doyle (The Stark-Munro Letters) which makes us think of Sherlock Holmes, and the rather more obvious idea that ‘Ulysses’ is, as well as everything else, a book which is packed with clues which we are meant to find and decipher, starting with the way the parts and chapters of the book are deliberately left unnamed. Whether this world of clues in the end reveals anything beyond the astonishing ingenuity of its own creation – well, that’s a different type of question.

The acme of naturalism Kenner ends with some high-level meditations. In one way ‘Ulysses’ took the late-nineteenth century passion for naturalism (think Émile Zola) to a logical conclusion in a novel where very little happens but we are overloaded with thousands upon thousands of details. The line of thinking anticipated by Ezra Pound.

Eternal recurrence Joyce gets his characters to mull over whether life is predestined and fated, a question of eternal recurrence. Odysseus returns, maybe everything returns.

Picasso, Einstein, Joyce They’re often grouped together because they all removed the distance between the observer and the observed, and so demolished he old-fashioned notion of ‘reality’.

Art: Picasso’s works are rarely and barely ‘about’ the subject (still lives, women in his studio, bullfighters) in the old way that the artist painted a separate reality: the cubist works in particular declare that the subject of the work of art is the work of art itself; the interesting thing is the style and the treatment. (Which explains what, in my opinion, is Picasso’s boring poverty of subject matter, the same half dozen subjects again and again – because the interest is in the style and treatment.)

Physics: In Newtonian physics the observer walked through a fixed, mechanical universe and the two (observer and universe) were completely separate. In Einstein’s view, the observer, their position and speed, create the world. The classical separation between observer and observed is eliminated.

Joyce: in the traditional novel the author writes about something, they are separate from the world and depicting it. Joyce takes late-nineteenth century realism and pushes it to the max and beyond, in a text which became notorious for his pedantic attention to detail, for verifying every aspect of the Dublin of June 1904. But in doing so, he created a text which doesn’t depict the world so much as become a world.

And following from that thought is the idea that at just the moment that the novel reached a peak of naturalism, in Joyce’s idiosyncratic hands, it became an utterly verbal construct. The reader may think they’re reading about the street layout or businesses of Dublin but that world of details’ deeper purpose is to create an encyclopedic system of self-referencing verbal nodes – a vast system of references and clues which no reader can hope to encompass and decipher in just one reading, which demands multiple readings, at each of which the reader notices new details and makes new connections. Each reader writes their own version of ‘Ulysses’.

Somehow it manages to be a vast concordance of objective facts and a Rorschach test of subjective responses, at the same time.

Key books about Ulysses

In a useful appendix, Kenner lists and summarises the main scholarly books written about ‘Ulysses’ in the decades between its publication (1922) and this one (1980).

1920: Joyce sent a schema of ‘Ulysses’ i.e. the Homeric title and parallels for each chapter, along with what happens in each, they style and other structural aspects, to Carlo Linati to help him prepare a lecture. In 1921 Joyce sent a comparable schema to Valery Larbaud for a book he was writing. The key thing is that the two schemas differed in many details.

1930: James Joyce’s Ulysses by Stuart Gilbert: helped by Joyce himself, this was a semi-official guide to the book. It revealed an intensely detailed schema Joyce claimed to have worked to, which showed not only the hour-by-hour events of the day, but revealed that they all take place under a specific Symbol, Colour, Bodily Organ, Art and so on, plus the Homeric parallels. So for a while it set everyone looking for systems and structures.

1931: Axel’s Castle by Edmund Wilson set ‘Ulysses’ in the wider context of late nineteenth century European symbolism and modernism. Wilson was puzzled by the aspects which wouldn’t yield to ‘a naturalistic-psychological interpretation’.

1934: James Joyce and the making of Ulysses by Frank Budgen, an ex-sailor and painter, a non-literary type which is why Joyce liked him. Budgen took a more down-to-earth approach, making Bloom an ordinary everyman, the centre of the narrative. It contains accounts of many conversations Joyce had with Budgen about his book as he wrote it in Zurich during the years 1918 to 1920.

1937: Word index to James Joyce’s Ulysses by Miles L. Hanley: meticulously lists and locates every word in James Joyce’s novel ‘Ulysses’, acting as a foundational reference for understanding its complex vocabulary and linguistic patterns.

1939: James Joyce: The Definitive Biography by Herbert Gorman: a modest account, heavily edited by Joyce himself who wanted to present himself as a visionary martyr to art.

1941: James Joyce by Harry Levin: Levin was able to take account of the recent publication of ‘Finnegan’s Wake’, which made ‘Ulysses’ no longer the climax of Joyce’s oeuvre but a way station on the road to something even bigger and weirder.

1947: Fabulous Voyager by Richard M. Kain: used both the Word Index and Thom’s Directory to showcase Ulysses’ amazing amount of local fact and detail, and link these with the book’s larger themes.

1958: Joyce among the Jesuits by Kevin Sullivan: analyzing James Joyce’s early life, education and writings, focusing on the profound impact of his Jesuit schooling (at Clongowes Wood and Belvedere College) on his works, particularly ‘A Portrait of the Artist as a Young Man’, exploring themes of faith, rebellion, and the Catholic tradition he later rejected.

1959: James Joyce by Richard Ellmann: transformed Joyce studies with its scale and detail (it contains 50% more words than ‘Ulysses’). In the context of this immense biography, the works shifted from being standalone masterpieces to being episodes in Joyce’s heroic life.


Credit

‘Ulysses’ by Hugh Kenner was published by George Allen and Unwin in 1980.

Joyce reviews

H.G. Wells reviews

Amory threw his coat and hat on the floor, loosened his collar, and took a Wells novel at random from the shelf. ‘Wells is sane,’ he thought…
(young Amory Blaine in This Side of Paradise by F. Scott Fitzgerald, page 113)

1890s

1895 The Time Machine – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701

1896 The Island of Doctor Moreau – Edward Prendick is stranded on a remote island where he discovers that the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids

1897 The Invisible Man – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders

1898 The War of the Worlds – the Martians invade, landing in Surrey and advancing on London, destroying everything with their Heat Rays and Black Smoke, a gripping account told by a terrified survivor

1899 When The Sleeper Wakes – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future

1899 A Story of the Days To Come – set in the same London of the future described in The Sleeper Wakes, Denton and Elizabeth fall in love but descend into poverty and so experience life as serfs in the Underground city run by the sinister Labour Corps

1900s

1900 Love and Mr Lewisham – how the promising working class student Lewisham goes off the rails and ruins his life by falling in love with the uneducated pretty young assistant of a fraudulent ‘medium’, ending with them living in a poky flat and she has a baby

1901 The First Men in the Moon – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites who inhabit it

1904 The Food of the Gods and How It Came to Earth – two scientists invent a compound which makes plants, animals and humans grow to giant size, leading to a giants’ rebellion against the ‘little people’

1905 Kipps: The Story of a Simple Soul – long, laboured account of boyhood, teens and twenties of the dim protagonist, Arthur Kipps, who escapes from apprenticeship in a soul-destroying haberdasher shop when he inherits a fortune, only to find himself forced to choose between two lovers, his uneducated childhood sweetheart or his ambitious, arty, wood-carving teacher

1906 In the Days of the Comet – a passing comet trails gasses through earth’s atmosphere which bring about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford

1908 The War in the Air – Bert Smallways, a bicycle-repairman from Bun Hill in Kent, manages by accident to be an eye-witness to the outbreak of the war in the air which brings Western civilisation to an end

1909 Tono-Bungay – George Ponderevo’s long account of his boyhood then rise to fortune on the coat tails of his fraudulent huckster uncle Edward, packed with negative analyses of contemporary England and upsetting descriptions of his unhappy marriage and love affairs

1909 Ann Veronica – sympathetic portrait of a young woman rebelling against her conventional father and trying to make her way in London who falls into the clutches of a predatory blackmailer before – disappointingly – falling in love with an intelligent he-man who elopes with her to the continent

1910s

1910 The History of Mr Polly – the funniest of the social comedies, following the mishaps of his cheerful protagonist, Alfred Polly, who, characteristically, marries the wrong woman, endures increasing misery trying to make a go of a small-town haberdashery, until he breaks free and finds happiness with the jolly landlady of a country pub

1911 The New Machiavelli – supposedly a novel about contemporary politics which, in reality, is another defence of free love, a long justification by politician Richard Remington of his decision to abandon his wife and political career in order to run off to the Continent with young graduate Isabel Oliver (transparently based on Wells’s own elopement with the young author Amber Reeves)

1914 The World Set Free – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via the stories of a number of characters who are central to events

About Wells

1920s – Selected Essays by Virginia Woolf – 1. Reading and Writing (1) – Virginia Woolf strongly criticised Wells as one of the Edwardian ‘materialists’ who she was reacting against, three famous essays gathered in this selection, namely Modern Fiction (1919), Mr Bennett and Mrs Brown (1923) and Character in Fiction (1924).

1932 – Stamboul Train by Graham Greene where Wells is satirised in the character of Quin Savory, a popular, middle-brow novelist who is depicted as a ‘populist vulgarian’.

1932 – Brave New World by Aldous Huxley, who in letters and notes explained that his dystopia was to some extent a satirical rejection of Wells’s optimistic utopias

1982 The Culminating Ape by Peter Kemp – fascinating, if rather dogged, examination of recurring themes and images in Wells’s writing

2011 A Man of Parts by David Lodge – novel about Wells in old age during the Second World War looking back over his career, focusing mainly on his numerous affairs ,with (as in all Lodge) lots of graphic sex

Reginald by Saki (1904)

Hector

Hector Hugh Munro was born in 1870 in Burma, then still part of the British Empire. He was the son of Charles Augustus Munro, an Inspector General for the Indian Imperial Police, and Mary Frances Mercer, daughter of Rear Admiral Samuel Mercer. Her nephew, Cecil William Mercer, later became a famous novelist under the pen-name ‘Dornford Yates’. So a posh and bookish family.

His mother died when Hector was just two and he, along with his siblings, was sent to Devon to be raised by their grandmother and aunts in a strict and puritanical household. As a result, eccentric or mean aunts loom large in Saki’s fiction and often come to a sticky end.

Susan Mebberley was a charming woman, but she was also an aunt. (The Chronicles of Clovis)

Hector was tutored by governesses until sent to boarding school in Bedford. When his father retired from Burma, he returned to England and took Hector and his sister on tours of fashionable European spas and resorts, which also crop up in Saki’s stories.

In 1893 Hector followed his father into the Indian Imperial Police and was posted to Burma. Two years later, having contracted malaria, he resigned and returned to England.

Back in England Hector developed a new career as a journalist and began writing for newspapers like the Westminster Gazette, the Daily Express, the Morning Post, and magazines such as the Bystander and Outlook.

In 1900 he published a serious historical study, The Rise of the Russian Empire. From 1902 to 1908 Munro worked as a foreign correspondent for the Morning Post in the Balkans, Warsaw, Russia (where he witnessed Bloody Sunday on 22 January 1905) and Paris. He then gave up foreign reporting and settled in London.

Saki

In 1904 Hector published a slender volume of stories and sketches under the pen name ‘Saki’. Nobody is certain where this comes from: it could be a reference to the cup-bearer in the popular Victorian poem, The Rubáiyát of Omar Khayyam. Or it might be a reference to the South American monkey of the same name. Or it might be that his stories are laced with dry sarcasm. Or maybe he just liked the sound of the word.

Reginald

Saki’s first volume, Reginald, is extremely short, comprising twenty short texts of barely two pages each, which had all been first published as snippets in the Westminster Gazette. They are not really stories: each one is more like a topic on which we hear the divine fop, dandy and man-about-town, Reginald, giving his langorous, witty opinions, sometimes to the unnamed narrator, sometimes in dialogue with ‘the Duchess’ or just ‘the Other’, sometimes in plain declamatory prose.

The only thing Reginald cares about is his appearance. He fusses about ties and buttonholes. Even the thought of holding extended conversations exhausts the poor dear. He delights in scandalising aunts and a recurrent character, The Duchess, with deliberately paradoxical and unconventional opinions.

After a few hours in the company of the camp and calculating frivolousness of young Reginald, it comes as no surprise to learn that Saki was gay. Reginald’s character, style and flow of witty epigrams is saturated in the persona and style of Oscar Wilde.

Reginald closed his eyes with the elaborate weariness of one who has rather nice eyelashes and thinks it useless to conceal the fact.

By far the best, the funniest, and the most complete sketch is The Woman Who Told The Truth which contains probably his most quoted line: ‘The cook was a good cook, as cooks go; and as cooks go she went.’

The brief pieces are titled:

1. Reginald

The unnamed narrator takes Reginald to an upper-class garden party where he scandalises everyone he comes in contact with, teaching the children how to make cocktails, mocking the Colonel’s story of how he introduced golf to India, discussing a scandalous French novel with the Archdeacon’s wife. By the time the narrator catches up with him:

I found everyone talking nervously and feverishly of the weather and the war in South Africa, except Reginald, who was reclining in a comfortable chair with the dreamy, far-away look that a volcano might wear just after it had desolated entire villages.

The narrator plays his trump card by telling Reginald a sea-mist is coming in. Reginald sits bolt upright and agrees to beat a hasty retreat to their carriage, for fear that the mist might undo the elaborate curl of hair over his right eyebrow.

2. Reginald on Christmas Presents

Why people are so lamentably bad at giving presents. Really, there ought to be special training in the art of gift-giving:

Then there are aunts. They are always a difficult class to deal with in the matter of presents. The trouble is that one never catches them really young enough. By the time one has educated them to an appreciation of the fact that one does not wear red woollen mittens in the West End, they die, or quarrel with the family, or do something equally inconsiderate. That is why the supply of trained aunts is always so precarious.

3. Reginald on the Academy

Meaning the Royal Academy of Art, for which Reginald affects a fashionable disdain, its sole purpose being to have something to talk about to the tedious country cousins when they come up to Town. As to the actual pictures:

‘The pictures are all right, in their way; after all, one can always look at them if one is bored with one’s surroundings, or wants to avoid an imminent acquaintance.’

In his continual effort to scandalise with unexpected paradox, Reginald reminds the reader of a slightly cut-price Oscar Wilde:

‘What were you talking about? Oh, pictures. Personally, I rather like them; they are so refreshingly real and probable, they take one away from the unrealities of life.’

4. Reginald at the Theatre

A dialogue between Reginald and the Duchess, in which she asks the questions and he supplies the punchlines:

‘Of course you are quite irreligious?’
‘Oh, by no means. The fashion just now is a Roman Catholic frame of mind with an Agnostic conscience: you get the mediæval picturesqueness of the one with the modern conveniences of the other.’

Which leads into the Duchess’s earnest defence of the British Empire and Reginald’s debonaire mockery of it.

5. Reginald’s Peace Poem

A mockery of poetry as Reginald explains how he’s setting about writing a poem for peace.

‘You must have angels in a Peace poem and I know dreadfully little about their habits.’

6. Reginald’s Choir Treat

The vicar’s grown-up daughter in the village where Reginald’s unworldly family still live, is encouraged to undertake his moral reformation. Obviously she fails when it comes to verbal exchanges and so shifts tack and asks him to help with the village children’s choir. Unfortunately, she then takes to her bed with a cold. With a glint in his eye, Reginald leads the children to a stream, gets them to strip off and bathe, then decorate each other with flowers, and process mostly naked through the village leading a goat, in a delightful homage to the pagan world. Nude Greek paganism.

7. Reginald on Worries

To my mind, education is an absurdly over-rated affair. At least, one never took it very seriously at school, where everything was done to bring it prominently under one’s notice. Anything that is worth knowing one practically teaches oneself, and the rest obtrudes itself sooner or later.

8. Reginald on House-Parties

One never gets to know one’s hosts and one’s hosts never get to know you and if they do then quite often, as in the unfortunate affair of the peacock, they take a decided turn against you.

So I got up the next morning at early dawn—I know it was dawn, because there were lark-noises in the sky, and the grass looked as if it had been left out all night…

9. Reginald at the Carlton

Discussing travel with the Duchess:

‘And, after all, they charge so much for excess luggage on some of those foreign lines that it’s really an economy to leave one’s reputation behind one occasionally.’

As usual, even in comedy, these old stories reveal that some social issues are with us forever.

‘And the youngest daughter, who was intended for the American marriage market, has developed political tendencies, and writes pamphlets about the housing of the poor. Of course it’s a most important question, and I devote a good deal of time to it myself in the mornings.’

10. Reginald on Besetting Sins (The Woman Who Told The Truth)

There was once (said Reginald) a woman who told the truth. Not all at once, of course, but the habit grew upon her gradually, like lichen on an apparently healthy tree. She had no children—otherwise it might have been different. It began with little things, for no particular reason except that her life was a rather empty one, and it is so easy to slip into the habit of telling the truth in little matters…

This ironical inversion of the usual values is conceived and delivered with style and aplomb. And talking of how some things never change, Southern trains were, apparently, as proverbial for their lateness in 1900 as they are in 2020.

The revenge of an elder sister may be long in coming, but, like a South-Eastern express, it arrives in its own good time.

11. Reginald’s Drama

Reginald plans a play which would open with the sound and scent of wolves wafted across the footlight such as to make nervous Lady Whortleberry scream, It would then become a tragedy such as that of the mismatched Mudge-Jervises, where he was always absent at sports and she was always absent doing Good Works for the Poor, and when they did finally meet up after 18 months of marriage, they discovered they had nothing in common. If and when the characters could think of nothing brilliant to say about marriage or the War Office, they could open a window and listen to the howling of the wolves. ‘But that would be very seldom.’

This harping on about wolves is one of the first appearances of the large wild animals which would become the signature note of his most effective stories.

12. Reginald on Tariffs

Talking about tariffs, the lift-boy, who reads extensively between the landings, says it won’t do to tax raw commodities. What, exactly, is a raw commodity? Mrs. Van Challaby says men are raw commodities till you marry them.

13. Reginald’s Christmas Revel

Reginald describes a perfectly beastly Christmas he spent as a house guest at the Babswolds’ once, where he took his revenge by playing a particularly corking practical joke.

I don’t like to play games of skill for milk-chocolate, so I invented a headache and retired from the scene. I had been preceded a few minutes earlier by Miss Langshan-Smith, a rather formidable lady, who always got up at some uncomfortable hour in the morning, and gave you the impression that she had been in communication with most of the European Governments before breakfast. There was a paper pinned on her door with a signed request that she might be called particularly early on the morrow. Such an opportunity does not come twice in a lifetime. I covered up everything except the signature with another notice, to the effect that before these words should meet the eye she would have ended a misspent life, was sorry for the trouble she was giving, and would like a military funeral. A few minutes later I violently exploded an air-filled paper bag on the landing, and gave a stage moan that could have been heard in the cellars. Then I pursued my original intention and went to bed. The noise those people made in forcing open the good lady’s door was positively indecorous; she resisted gallantly, but I believe they searched her for bullets for about a quarter of an hour, as if she had been an historic battlefield.

14. Reginald’s Rubaiyat

Reginald outrages the Duchess with steadily more outlandish versions of verses he composes for her album.

15. The Innocence of Reginald

Reginald announces he is going to write ‘a book of personal reminiscences’ and leave nothing out, which prompts an absolute panic among his acquaintance. It prompts a prolonged argument with Miriam Klopstock all the way through a play at His Majesty’s Theatre.

She leaned back and snorted, ‘You’re not the boy I took you for,’ as though she were an eagle arriving at Olympus with the wrong Ganymede.

Bons mots

Reginald in his wildest lapses into veracity never admits to being more than twenty-two.

‘People may say what they like about the decay of Christianity; the religious system that produced green Chartreuse can never really die.’

‘To have reached thirty,’ said Reginald, ‘is to have failed in life.’

‘I agree with you.’
‘I wish you wouldn’t. I’ve a sweet temper, but I can’t stand being agreed with.’

No really provident woman lunches regularly with her husband if she wishes to burst upon him as a revelation at dinner. He must have time to forget; an afternoon is not enough.

‘Lift-boys always have agèd mothers; shows such nice feeling on their part, I think.’

‘There are certain fixed rules that one observes for one’s own comfort. For instance, never be flippantly rude to any inoffensive grey-bearded stranger that you may meet in pine forests or hotel smoking-rooms on the Continent. It always turns out to be the King of Sweden.’

‘I always say beauty is only sin deep.’

‘You promised you would never mention it; don’t you ever keep a promise?’ When people had stopped glaring in our direction, I replied that I’d as soon think of keeping white mice.

‘Her frocks are built in Paris, but she wears them with a strong English accent. So public-spirited of
her. I think she must have been very strictly brought up, she’s so desperately anxious to do the wrong thing correctly.’

‘A woman who leaves her cook never wholly recovers her position in Society.’

‘I hate posterity — it’s so fond of having the last word.’

Saki and Kipling

A few years ago I read most of Kipling’s works and was interested to see him referenced a couple of times in these brief skits. As the son of an Imperial official, born in India and sent to prep school in Devon and forced to stay with uncongenial ‘carers’, Hector’s early life was eerily similar to Kipling’s and they were only five years apart in age (Kipling born 1865, Saki 1870).

And yet Saki was of a completely different temperament and instead of respecting the older writer, he enjoys satirising him and his earnest embodiment of Imperial values.

Kipling or someone has described somewhere the look a foundered camel gives when the caravan moves on and leaves it to its fate. The peptonised reproach in the good lady’s eyes brought the passage vividly to my mind.

In Reginald at the theatre the Duchess tries to provoke the sceptical Reginald into admitting that, despite his pose of elaborate cynicism, he at least believes in patriotism. What’s interesting is the way she expresses herself in Kiplingesque clichés and quotes.

‘But there are other things,’ she continued, ‘which I suppose are to a certain extent sacred even to you. Patriotism, for instance, and Empire, and Imperial responsibility, and blood-is-thicker-than-water, and all that sort of thing… Oh, well, “dominion over palm and pine,” you know,’ quoted
the Duchess hopefully; ‘of course we mustn’t forget that we’re all part of the great Anglo-Saxon Empire.’

In among her jumble of platitudes she is quoting Kipling’s most eminent poem, Recessional

God of our fathers, known of old,
Lord of our far-flung battle line,
Beneath whose awful hand we hold
Dominion over palm and pine—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!

It’s interesting evidence of the way Kipling’s phrases had penetrated the culture; the way in which a sub-Kipling Imperial worldview was just part of the respectable mindset of the day.

Elsewhere, Reginald jokes about a couple who lived very happily apart, him serving overseas, until they accidentally met one day and discovered they profoundly disagreed on ‘the Fiscal Question’ (a reference, I think, to Joseph Chamberlain’s campaign for tariff reform designed to bind the British Empire together into one trading bloc) and so are divorcing and trying to agree custody of the Persian cats. Reginald is considering turning the story into a drama mockingly titled ‘The Price They Paid For Empire’. In other words, part of the comedy derives from deliberately ridiculing and belittling everything Kipling held dear.

Elsewhere Saki elaborately guys Kipling’s genuinely creepy horror story, At The End of The Passage, when Reginald sneaks off from an after-dinner party game of charades to go and gamble with the servants, later giving his excuse that he was at the end of the passage. ‘I never did like Kipling,’ comments his hostess, Mrs Babwold, so it is assumed that not only the characters but the reader will recognise that phrase, the end of the passage, as the title of a Kipling story.

There are quite a few references to ‘the war’ – for example, the peace poem Reginald is composing relates to the ongoing conflict, and elsewhere he jokes:

‘And nowadays there are always the Johannesbourgeois, who bring a Cape-to-Cairo atmosphere with them — what may be called the Rand Manner, I suppose.’

In a play on ‘the Grand manner’. These are all references to the Boer War (1899 to 1902) and show that Saki’s stories are very aware of their times, are more full of topical and contemporary references than people think.

‘There’s lots more about the blessings of Peace, shall I go on reading it?’
‘If I must make a choice, I think I would rather they went on with the war.’

In its studied frivolity and its awareness of contemporary British politics and international affairs, Saki’s stories are a kind of antidote to everything earnest and manly about Kipling and his circle of Imperial visionaries.

Saki and Oscar Wilde

It’s easy to accuse Saki of being a poor man’s Oscar Wilde and it feels like Reginald owes more or less everything to the dandies of Wilde’s plays and Dorian Grey, except that most of his bon mots are not quite as polished and silvery as Wilde’s. Wilde is an incomparable prose stylist, Saki a lot less so.

Also Saki, despite appearance to the contrary, is firmly embedded in his times, as the references to the Boer War or Tariff Reform suggest, a topicality which becomes dominant in his invasion novel, When William Came. Completely different from Wilde who set his stories in an upper class fairyland. Saki’s stories always have this element of topicality about them.

But this was just the very start of his career. Soon it was to become clear that Saki’s real métier wasn’t wit alone, but the macabre and gruesome dressed as comedy. The Reginald strain remains, and some later stories still consist entirely of dandyish wit, but the best ones are known for the bizarre inclusion of wild animals and the black comedy of bullying aunts coming to grisly ends.


Related links

Saki’s works

The Napoleon of Notting Hill by G.K. Chesterton (1904)

In his prime, between 1910 and into the 1930s, Gilbert Keith Chesterton (1874-1936) was a hugely successful ‘writer, poet, philosopher, dramatist, journalist, orator, lay theologian, biographer, and literary and art critic’.

He wrote a vast amount of essays, reviews, columns, articles and literary criticism – notably helping a revival of interest in Dickens with his 1906 biography of the great man – and also wrote extensively about religion, leading up to his own conversion to Roman Catholicism in 1922.

Probably Chesterton’s most enduring legacy is the 53 Father Brown detective stories published between 1910 and 1936, which are regularly dramatised for TV or radio. His next most famous works are probably the novels The Man Who Was Thursday, and The Napoleon of Notting Hill.

Edwardian humour

The Napoleon of Notting Hill is a comic novel, full of satire and high spirits, not all of which are easily understandable. Some of the incidental humour is pretty laboured and dated.

For example, book three (of five) opens with an extended satire on the kind of poetry published around 1904 and the kind of criticism it received, in the form of an extended joke about a volume of poetry, Hymns on the Hill. This fictional book of poetry is described as being reviewed by the king, no less, who uses the pseudonym ‘Thunderbolt’ and is described as being a member of the so-called ‘Hammock’ school of criticism. This ‘hammock’ school of criticism gets its name because so many of their reviews start by referring to the great pleasure the book brought the reviewer as he lazed in his hammock on a seasonal summer’s afternoon.

I understand how this is a gentle satire on the state of literary criticism circa 1904, and it is sort of funny, in its way, but it requires a bit of effort to cast your mind back to that kind of era and worldview.

Similarly, book one opens with a chapter satirising the fashion for ‘prophecies of the future’ which were so popular in Chesterton’s day and which is obviously designed to skewer not only H.G. Wells – by then the leader of a whole school of scientific prophecy – but all the other prophets of socialism and pacifism and vegetarianism and so on which proliferated at the turn of the century. Chesterton mocks them all by describing their prophetic predictions, and then extending them to ludicrous extremes.

Then, having itemised all the individual prophets and their foibles, Chesterton demolishes the lot with one grand fictional gesture. Which is to make this novel, The Napoleon of Notting Hill, another grand social prophecy, to set it in the far distant remote year of 1984, and then to assert the simple fact that, contrary to all the predictions of all the so-called prophets… nothing whatsoever has changed!

All the great catastrophes and collapses and social revolutions predicted by the prophets… have failed to transpire.

For, as Chesterton writes, with a broad smile on his face, the people – the uneducated, uninterested masses – have listened to the Great Prophets, have read their books and articles and… ignored them, and just got on with their lives.

They have played the traditional game which Chesterton puckishly names ‘Cheat the Prophet’, with the result that:

When the curtain goes up on this story, eighty years after the present date, London is almost exactly like what it is now.

The Napoleon of Notting Hill

In fact the England of 1984 is a despotism but in the nicest possible way. Democracy has faded into the rule of one man, a titular ‘king’, overseeing committees of efficient civil servants. But there have been no devastating wars, society carries on much as it always has, chaps still wear frock coats and top hats, ladies wear elaborate Victorian dresses with corsets and bustles, horse-drawn hansom cabs rumble through the streets. The only change that concerns us is that the ruler of the country, the so-called ‘king’, is chosen at random, from a long list of eligible citizens.

In the first couple of pages we are introduced to a trio of young men – the Honourable James Barker (‘one of the most powerful officials in the English Government’), Wilfrid Lambert (a ‘youth with a nose which appears to impoverish the rest of his face’, ‘a fool’) and their short friend Auberon Quin, who:

had an appearance compounded of a baby and an owl. His round head, round eyes, seemed to have been designed by nature playfully with a pair of compasses.

Some of the early incidents, before the story really gets going and taking up several chapters – are offputtingly inexplicable. In one they bump into the exiled President of Nicaragua in Whitehall, and watch as he goes to mad extremes to recreate the flag of his lost country – first sourcing the colour yellow by tearing a rip in an advertising hoarding for Coleman’s mustard, then the colour red by plunging a knife into his own hand and staining a handkerchief red. After spouting much inconsequential Latin fieriness, the ex-President walks proudly off into the night never to be met again. I found this scene incomprehensible.

Quin, Lambert and Barker are strolling through Kensington Gardens one fine day, Quin infuriating the other two with his latest tom-fool idea which is that the secret of humour is telling elaborate stories which don’t have a point. He is just sticking his head between his legs and making a cow noise when… two equerries walk up and announce that the new King of England, picked by random lot is…. Quin! He will be King Auberon!

While the other two go pale with horror, Quin preens and plumes himself and struts around.He wanders up into Notting Hill, where a serious little boy wearing a toy knight in armour costume, prods him in the tummy with a wooden sword, whereat Quin very seriously tells the young man he must defend his home turf, the Hill of Notting, with all his strength and honour, before strolling off dispensing similar ‘advice’ to puzzled passersby.

But this brief encounter with the little boy sets Quin thinking. What if he used his power to make the rulers of all of London’s boroughs wear medieval armour and halberds and…? And so when his friend Barker visits ‘his majesty’ a few days later, he finds Quin on the floor surrounded by poster paints, playfully sketching out new coats of arms and coloured standards for each of the 32 London boroughs.

The King was happy all that morning with his cardboard and his paint-box. He was engaged in designing the uniforms and coats-of-arms for the various municipalities of London. They gave him deep and no inconsiderable thought. He felt the responsibility. (Book 2, chapter 2)

As the last sentence indicates, the whole thing is told with an amused, tongue-in-cheek drollery.

Ten years later

Cut to ten years later: Quin is still King Auberon and still the joker. the 32 London boroughs really have become self-governing fiefdoms and all their officials forced to wear the ridiculous cod-medieval outfits Quin has designed for them.

One day a building developer (‘Mr Buck, the abrupt North Kensington magnate’) comes to complain about delays in getting a new road and housing development which he is managing. It is intended to go from Hammersmith up through Notting Hill and beyond but the rulers of Notting Hill are being obstructive. Soon he is joined by the Provosts of West Kensington and so on – all dressed in the ceremonial costumes which Quin still childishly insists they all wear, announced by medieval pages and so on.

They’re all complaining to Quin about the hold-ups and delays blocking the project, and the costs and the overheads and profit margins, when a remarkable thing happens — the Provost of Notting Hill arrives and, at a stroke, reveals that he takes all Quin’s nonsense about medieval pageantry perfectly seriously!

He speaks medieval phraseology as if he means it. He says ‘my liege’ and ‘my honour’ and waves his doughty sword and generally takes Quin’s silly joke at face value.

‘I bring homage to my King. I bring him the only thing I have – my sword.’
And with a great gesture he flung it down on the ground, and knelt on one knee behind it.
There was a dead silence.
‘I beg your pardon,’ said the King, blankly.

Stunned, Quin looks closer and realises this chap is none other than the little boy who prodded him in the tummy with a toy sword ten years earlier. His name is Adam Wayne and now, aged 19, he announces that he is prepared to defend the Hill of Notting to the death! Well, well.

The novel then tells us something about Adam Wayne’s character. Never having been out of London – or even Notting Hill – he is a genuine modernist, in the sense that he finds poetic beauty in the urban landscape, finds fairyland in railings and gas lamps and hansom cabs, and in the silhouette of terraced houses against the night sky. (This is, again, satire on what Chesterton takes to be the absurd pretentiousness of modernist poets and writers.)

Above all Wayne takes absolutely seriously the notion that Notting Hill is a precious land, worthy of his patriotism, worthy of defending.

In a comic sequence we are shown Wayne canvassing opinion among the shop-keepers on Notting Hill, visiting a grocer’s, a chemist’s, a barber’s, an old curiosity shop and a toy-shop. The comic premise is simple: Wayne enters each shop and speaks the 15th-century register of patriotism and heroism and defending the Hill – and the (generally) short, round, balding shop-keepers are comically nonplussed.

(It’s interesting to learn just how long short, irascible shopkeepers have been a reliable staple of English humour – from H.G. Wells’s numerous retailers [I’ve just read about Bert Smallways, keeper of a bicycle hire shop in The War In The Air] to Jones the butcher in Dad’s Army and Arkwright in Open All Hours, the blustering, bumbling shopkeeper is a comic staple.)

Anyway, Wayne meets with predictable, and comic, incomprehension until he comes to the sweet and toy shop of Mr Turnbull, who stuns him by revealing that, in his spare time, he plays wargames with his lead soldiers and – has even built a model of Notting Hill which he uses to play wargames!

What a find! A man after Wayne’s own heart!

The Pump Street fight

Anyway, the Provosts of the boroughs affected by Wayne’s refusal to let the new road development cut up through Notting Hill put their case before King Auberon for his approval. Specifically the plans call for the demolition of a few buildings in Pump Street. Wayne says no. Led by Buck, the businessmen offer Wayne three times the properties’ value. But Wayne refuses point blank to see any part of his kingdom despoiled, and leaves the meeting.

At which point Buck and the other speculators say they will simply send men in to knock down the buildings, halbardiers from each of the allied boroughs, Wayne or no Wayne – and the king sadly acquiesces. He had intended to create fun, frivolity and fantasy, and now it’s all got a little out of hand.

The king has only just moved on to begin a champagne dinner, arranged by servants in Kensington Gardens, when things really do get out of hand.

He hears the sound of shouting, footsteps running closer, and then – to his and his courtiers’ astonishment – wounded halberdiers come running and stumbling from Notting Hill, beating down a flimsy wall which separates Kensington Gardens from the public thoroughfare and then, in the gap, appears a god-like figure, blazoned with light – it is Adam Wayne, General of the army of Notting Hill!

A dazed Barker (one of Quin’s friends who we met back at the start of the book), who had been involved in the battle, stumbles south to High Street Kensington where he bumps into the entrepreneur Buck closing up his shop, and tells him what has happened.

Buck is immediately on his mettle, rallies the Provosts of all the nearby London boroughs, quickly assembles a few hundred soldiers from each of them, and leads them on a march converging on Pump Street, which has now become the symbolic epicentre of the war.

But the Notting Hillers take control of the nearby gasworks and turn off the gas supply to the streetlamps, plunging all the roads into darkness. Intimately familiar with their home turf, the Hillers launch devastating attacks, genuinely hurting, maiming and killing their opponents.

Chesterton manages to gloss over the seriousness of injury and death, instead inserting writing a funny chapter where King Auberon storms into the offices of his favourite newspaper, The Court Journal. Here he terrorises the editor into giving him huge placards to write incendiary headlines on, and then sets about concocting an entirely fictional description of the battle – in the manner of a modern newspaper – presumably this is all satire on journalism and newspapers’ readiness simply to invent the stuff they print – when real eye witnesses to the fighting, Barker and Buck, stumble into the offices.

Immediately the whimsical king nominates himself Foreign Correspondent to the paper and sets off ‘for the front’, in his usual, comically histrionic style:

‘I have an idea,’ he said. ‘I will be an eye-witness. I will write you such letters from the Front as will be more gorgeous than the real thing. Give me my coat, Paladium. I entered this room a mere King of England. I leave it, Special War Correspondent of the Court Journal. It is useless to stop me, Pally; it is vain to cling to my knees, Buck; it is hopeless, Barker, to weep upon my neck. “When duty calls”… the remainder of the sentiment escapes me.’

There follows an increasingly complex description of the various battles now being fought across the borough, which climax with man-to-man fighting around the waterworks on Campden Hill.

Meanwhile Buck has sent for reinforcements from the further-flung London boroughs, who have all promptly sent a few hundred men each. He now has a substantial force at his disposal. During a lull in the battle Buck sends an emissary to Wayne pointing out that they now outnumber the Notting Hillers by ten to one. In the manner of confident business men he makes a bet with the king that Wayne will promptly surrender. The king suspects not.

And is proved correct when an emissary from Wayne arrives, arrayed in full medieval gear, and blandly asks the assembled army of the boroughs to surrender.

Buck and his entourage burst out laughing, what a preposterous idea. But the emissary goes on to point out that Wayne has secured Campden Hill reservoir and, if a surrender is not given in ten minutes, will open it, flooding and drowning the entire army which is standing in the valley below.

Astonished, Buck realises they will have to surrender. The mischievous king is delighted with this turn of events. And so the Empire of Notting Hill commences.

The last battle

Now the novel cuts to twenty years later. Notting Hill is an empire to which the other London boroughs pay obeisance. It is entered via nine huge, elaborately carved gateways on which are depicted events from the battle for Independence.

King Auberon is walking its quiet and amazingly prosperous streets. He notes how the five shopkeepers who Wayne visited all those years ago now rule over colourful emporia and use the elaborate diction of medieval merchants. In fact Wayne’s victory is not so much a military conquest of the rest of the London as the discovery that everyone turned out to want to live a life of medieval colour and romance, to want more than the simple Edwardian money-grubbing. Dressing and speaking as medieval burghers and courtiers turns out to be surprisingly liberating.

The king bumps into Barker, who begins explaining that the men of Kensington sometimes get exasperated by the Notting Hillers’ lordliness when… the lights abruptly go out. A local inhabitant tells our puzzled protagonists that this happens every year on the anniversary of the Great Battle. Then the Hillers start singing a martial song of victory — and this pushes the ever-touchy Barker over the edge. He grabs a sword, yells ‘South Kensington’ and leaps at passing revellers. Some of the other passersby turn out to be from other London boroughs, and join in. From nowhere appears Buck, leader of the allied boroughs in the earlier war and so soon there is a massive battle taking place… again.

And these final pages are odd, strange and puzzling. One of the reasons I read older books is because they come from a foreign country, where lots if not most of the assumptions are different – about society, class, technology, gender, race, about language itself – and you find yourself being brought up dead on every page by words, expressions, ideas, things taken for granted by the author and their Edwardian readers which we, a hundred years later, find outlandish or inexplicable – all of which force the modern reader to stop and rethink their prejudices, values and opinions.

I find this approach much more challenging than reading modern fiction, which mostly just confirms our current liberal pieties. It is more bracing to be challenged.

In these last passages the reader is really challenged.

Chesterton descends into a kind of romantic fugue state, the battle becomes a vision of romantic fighting from the period of King Arthur, all swords and halberds, and quickly relinquishes all contact with reality.

At the climax of the battle Wayne stands with his back against a huge old oak tree, symbolic of deep English character. Repeated waves of attackers can’t separate him from it until, in finally pulling him from it, they only manage in pulling the whole tree up by its roots, which promptly falls onto the crowd of soldiers killing all of them.

This is obviously a hugely symbolic moment but… symbolic of what, exactly?

I read in the introduction to the book that Chesterton was criticised, then and now, for glorifying war, for thinking of war as a redeeming cleansing activity. For example, critics quote King Auberon musing as he walks round the empire of Notting Hill:

‘Old Wayne was right in a way,’ commented the King. ‘The sword does make things beautiful.’

But the use of the word ‘sword’ immediately reveals that Chesterton is not really thinking about war as such. The book was written in the aftermath of the Boer War with its barbed wire, concentration camps and machine guns which had very much dominated British culture. No fool glamorises that kind of war. The key is given by the king’s very next remark:

‘It has made the whole world romantic…’

The book doesn’t glamorise war, it praises the life-enhancing qualities of medieval romance – while at the same time richly satirising it. The book tries to have its cake and eat it. Right up until the end, when something much stranger happens.

This strangeness reaches a new height in the very last chapter – titled ‘Two Voices’ – when out of the ruins and grim silence at the end of the last battle, from out of the darkness of the night amid the landscape ruined with corpses, arise two voices.

I’ve read the chapter twice but still don’t really understand what they’re saying. It seems to be a sort of conservative hymn to the notion of undying, unchanging values.

‘If all things are always the same, it is because they are always heroic. If all things are always the same, it is because they are always new. To each man one soul only is given; to each soul only is given a little power – the power at some moments to outgrow and swallow up the stars. If age after age that power comes upon men, whatever gives it to them is great. Whatever makes men feel old is mean – an empire or a skin-flint shop. Whatever makes men feel young is great – a great war or a love-story.

‘And in the darkest of the books of God there is written a truth that is also a riddle. It is of the new things that men tire – of fashions and proposals and improvements and change. It is the old things that startle and intoxicate. It is the old things that are young. There is no sceptic who does not feel that many have doubted before. There is no rich and fickle man who does not feel that all his novelties are ancient.

‘There is no worshipper of change who does not feel upon his neck the vast weight of the weariness of the universe. But we who do the old things are fed by nature with a perpetual infancy. No man who is in love thinks that any one has been in love before. No woman who has a child thinks that there have been such things as children. No people that fight for their own city are haunted with the burden of the broken empires. Yes, O dark voice, the world is always the same, for it is always unexpected.’

The text then takes on a theological tone. Suppose he is God, says one voice, and he made the whole universe as a joke, as a jeu d’esprit, knocked it off for his own amusement and then forgot about it.

At which point dawn begins to lighten the eastern sky (with rather crashing symbolism) and one of the two voices is revealed as that of King Auberon and the other, that of Wayne.

‘Wayne,’ says the king, ‘it was all a joke. I meant it as a joke.’ ‘Then that makes it all the more real,’ says Wayne.

All criticism of Chesterton sooner or later mentions his fondness for paradoxes, for the unexpected, for reversals. And that’s what happens here. Somehow, the very fact that the entire premise of the story was one man’s childish joke — makes its unintended consequences all the more profound and serious.

Wayne says it doesn’t matter what motivated Auberon: all that matters is that the two of them – the two poles of human nature – the over-satirical and the over-earnest – came together to restore humanity to the poetic way of life, vision and diction which it deserves.

It isn’t war as such: it is the romance of human life which Chesterton is asserting, in this strange visionary conclusion to what had been, up until these last few pages, a fairly easy-to-assimilate satire.

‘I know of something that will alter that antagonism, something that is outside us, something that you and I have all our lives perhaps taken too little account of. The equal and eternal human being will alter that antagonism, for the human being sees no real antagonism between laughter and respect, the human being, the common man, whom mere geniuses like you and me can only worship like a god.

‘When dark and dreary days come, you and I are necessary, the pure fanatic, the pure satirist. We have between us remedied a great wrong. We have lifted the modern cities into that poetry which every one who knows mankind knows to be immeasurably more common than the commonplace.

‘But in healthy people there is no war between us. We are but the two lobes of the brain of a ploughman. Laughter and love are everywhere. The cathedrals, built in the ages that loved God, are full of blasphemous grotesques. The mother laughs continually at the child, the lover laughs continually at the lover, the wife at the husband, the friend at the friend.

‘Auberon Quin, we have been too long separated; let us go out together. You have a halberd and I a sword, let us start our wanderings over the world. For we are its two essentials. Come, it is already day.’

In the blank white light Auberon hesitated a moment. Then he made the formal salute with his halberd, and they went away together into the unknown world.

As I say, I read older books because they are so often challenging, not because of their plots or characters, but because of ideological or political or theological or cultural assumptions which underly them are so often hard to understand or sympathise with. Making the effort to do so, in my opinion, whether you agree with them or not (indeed, whether you completely understand them or not) expands your mind.

Better than TV. Better than movies. Better than drugs.


A hint of modernism

Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.

Thus T.S. Eliot wrote in The Waste Land, published in 1922 but much of it written much earlier. Accidie and world-weariness were clearly common feelings among Edwardian writers – passages in Conrad and Wells spring to mind – and I was struck how vivid and forceful the same feeling appears in Chesterton.

He is eloquent on the sheer oppressive boredom of London’s long, blank streets. Adam Wayne is a figure of fun, but in his innocence he often speaks truth:

‘I sometimes wondered how many other people felt the oppression of this union between quietude and terror. I see blank well-ordered streets and men in black moving about inoffensively, sullenly. It goes on day after day, day after day, and nothing happens; but to me it is like a dream from which I might wake screaming. To me the straightness of our life is the straightness of a thin cord stretched tight. Its stillness is terrible. It might snap with a noise like thunder.’

Maybe it was Tennyson who introduced this mood of specifically urban despair into English poetry. Here’s a lyric from his long, desolate poem In Memoriam, commemorating his best friend who died young.

Dark house, by which once more I stand
Here in the long unlovely street,
Doors, where my heart was used to beat
So quickly, waiting for a hand,

A hand that can be clasp’d no more –
Behold me, for I cannot sleep,
And like a guilty thing I creep
At earliest morning to the door.

He is not here; but far away
The noise of life begins again,
And ghastly thro’ the drizzling rain
On the bald street breaks the blank day.

Dickens knew that long bald street, and so did Chesterton.

The blank white morning had only just begun to break over the blank London buildings when Wayne and Turnbull were to be found seated in the cheerless and unswept shop.

Blankness upon blankness. And:

‘I have walked along a street with the best cigar in the cosmos in my mouth, and more Burgundy inside me than you ever saw in your life, and longed that the lamp-post would turn into an elephant to save me from the hell of blank existence.’

So although most of the book bubbles with (sometimes incomprehensible) satire and good humour, and then metamorphoses into a hymn to medievalism – nonetheless, not far from the surface and bubbling up in random locations, is Chesterton’s awareness of the bleak boredom of city life.


Related links

Traffics and Discoveries by Rudyard Kipling (1904)

Kipling wrote some 250 short stories. He published them in all sorts of contemporary newspapers and journals throughout his long career, and it was his practice to bring them together into collections published every few years. These collections form milestones through his oeuvre.

It was also his habit to prefix or follow each story with a short poem commenting directly or obliquely on the narratives they decorate, a habit he picked up, apparently, from a favourite author, Ralph Waldo Emerson and took to new heights of complex interaction and subtle commentary.

This 1904 collection takes its name from The Principal Navigations, Voyages, Traffiques and Discoveries of the English Nation of Richard Hakluyt (c. 1552 to 1616), a compendium of exciting Elizabethan sailing expeditions. Traffics and Discoveries includes:

The Captive (1902)

This starts as a third-person account of a journalist (obviously Kipling) visiting a Boer prisoner of war camp during the Boer War (1899 to 1902). As so often the opening scene setting is vivid and powerful. Wandering among the men he gets talking to one, an American – Laughton O. Zigler from Akron, Ohio – who gives a long rambling first-person account of how he brought across the Atlantic a field gun and ammunition of his own design to sell to the Boers and ended up getting involved with one of their commandos, led by Adrian Van Zyl, helping them fight in the field against the British, until they were all captured.

Kipling characteristically stuffs the text with his technical know-how about artillery pieces, about the ‘hopper-feed and recoil-cylinder’, trying to out-man and out-engineer the reader, which isn’t very difficult. Zigler’s tone, his description of the sporadic artillery encounters with the Brits, is very casual; it’s hard not to find Zigler’s joking about ‘laying out’ the British boys with his gun, offensive.

‘They [the Boers] fought to kill, and, by what I could make out, the British fought to be killed. So both parties were accommodated.’

The war is seen as a comradely adventure between ‘friends’ and all the British officers Zigler meets admit to being ‘a bit pro-Boer’. (Is this how combatants saw the Boer War? Or is it the sentimental self-serving view of a privileged observer?) From Zigler’s account both sides spend half the time trying to kill each other and the other half being polite and complimentary. Often the combatants had actually met socially, dined and gossiped: now they are trying to kill each other.

The second half of the ‘story’ describes the dinner the British General and officers give for Zigler and Van Zyl, once they are prisoners, during which they compare notes like professionals. The British General is mighty lofty and complacent, hoping the war will go on another five years, so that he can knock his ragtag collection of floorworkers and stevedores into a professional army. Nothing is mentioned of the rank incompetence and idiocy which made the Boer War such a shambles for the British. (See The Boer War by Thomas Pakenham.) And a ghost walks over the text when the General boomingly declares:

‘It’s a first-class dress-parade for Armageddon.’

Yes, far more so than anyone knew. These are the kind of heartless pro-war sentiments for which Kipling would later be crucified.

As well as satirising the amateur, jolly-good-chap attitude of the British officers, using Zigler, an American, as a mouthpiece, means Kipling can also be sarcastic about the British political class, all couched in Zigler’s down-home terminology:

‘Well, you’ve an effete aristocracy running yours, and we’ve a crowd of politicians. The results are practically identical.’

‘I tell you, Sir, there’s not much of anything the matter with the Royal British Artillery. They’re brainy men languishing under an effete system which, when you take good holt of it, is England…’

The Captive is of a piece with Kipling’s other ‘warning’ poems and stories, warning that only eternal vigilance could keep Britain safe from her ever-present enemies, and lamenting the failure of peacetime politicians to pay enough heed, to take war seriously and to prosecute it whole-heartedly.

The Bonds of Discipline (1903)

Inspired by reading a book by a Frenchman who stowed away on a Royal Navy ship, the narrator travels to Portsmouth where he asks a publican to rustle up any sailors from the ship in question. He is introduced to Emanuel Pyecroft, second-class petty-officer, who serves on the very same ship and happened to be present when the French author of the book was caught masquerading as a Portuguese stowaway. He explains that the captain of the ship quickly realised the so-called Portuguese was in fact a french spy, and so proceeded to put on a lot of preposterous ship-board behaviour (including a mock execution) to rag and mislead him.

If The Captive allowed Kipling to showcase his knowledge of artillery, this story is a prolonged exercise in Kipling showing off his knowledge of naval speech rhythms, slang and technical gubbins aboard ship. The entire thing is told through the voice of Pyecroft which – like the voices of the three soldiers back in his Plain Tales period, or the rural dialect of his later Sussex period, is excruciatingly difficult to follow:

‘“When it comes to “Down ‘ammicks!” which is our naval way o’ goin’ to bye-bye, I took particular trouble over Antonio, ‘oo had ‘is ‘ammick ‘ove at ’im with general instructions to sling it an’ be sugared. In the ensuin’ melly I pioneered him to the after-‘atch, which is a orifice communicatin’ with the after-flat an’ similar suites of apartments. He havin’ navigated at three fifths power immejit ahead o’ me, I wasn’t goin’ to volunteer any assistance, nor he didn’t need it.’
“‘Mong Jew!’ says ‘e, sniffin’ round. An’ twice more ‘Mong Jew!’— which is pure French. Then he slings ‘is ‘ammick, nips in, an’ coils down. ‘Not bad for a Portugee conscript,’ I says to myself, casts off the tow, abandons him, and reports to ‘Op.

Like most of Kipling’s stories told by ‘characters’ in their slang and accents, it is almost unreadable (cf The Wish House). Kipling comes over as immensely pleased with himself and the bumptious diction of his music hall marine, revelling in his self-congratulatory facetiousness:

“In the balmy dawnin’ it was given out, all among the ‘olystones, by our sub-lootenant, who was a three-way-discharge devil, that all orders after eight bells was to be executed in inverse ration to the cube o’ the velocity. ‘The reg’lar routine,’ he says, ‘was arrogated for reasons o’ state an’ policy, an’ any flat-foot who presumed to exhibit surprise, annoyance, or amusement, would be slightly but firmly reproached.’

The ‘story’, as much as you can disentangle it from all this verbiage, is that the whole crew realised the Frenchie was a spy and so put on all manner of extravagant performances of incompetence and disobedience in order to mislead him, leading up to a faked execution by firing squad of a sailor. All of which is dutifully reported in the Frenchman’s book, which is the one the narrator was reading in the opening lines. Conclusions: Silly gullible French.

This is the first of six Pyecroft stories devoted to showcasing Kipling’s knowledge of naval matters and carry his booming calls for naval re-armament.

A Sahibs’ War (1901)

Umr Singh is a Sikh in the British Army who is in South Africa during the Boer War and has been tasked with going to ‘Eshtellenbosch’ to collect horses. The text is entirely his monologue to a Sahib who helps him get a ticket for the right train, in which he a) shows off his knowledge of Indian customs, religion, traditions and service in the Indian Army b) laments the British setbacks in the Boer War due to their being too courteous and considerate of the Boer guerrillas.

The Sikh thinks it silly of the British not to have used the Indian Army to put down the Boers, silly and subversive, for if the Brits fail in South Africa other colonies will take note of their weakness. That is the view of Umr’s ‘sahib’, his former master, Captain Corbyn or ‘Kurban Sahib’.

But privately to me Kurban Sahib said we should have loosed the Sikhs and the Gurkhas on these people till they came in with their foreheads in the dust.

The reason the Indian Army was forbidden to be involved is that it is a White Man’s war – white British against white Dutch. The actual African inhabitants of South Africa are hardly mentioned except insofar as they spark Umr’s own prejudices – he is not happy, when he arrives in Africa, to be given command of a load of ‘niggers’ – Kaffirs, who are ‘filth unspeakable’.

But the core of the story is how Umr and his Sahib, Captain Corbyn both volunteered to take ‘sick leave’ from their Indian regiment to come and fight the Boers – the kind of higher loyalty to the Empire and the Law which Kipling admires. They attach themselves to a regiment of Australians for whom Kipling has boundless admiration. In the central episode they are all tricked by the Boers inhabiting an ‘innocent’, ‘peaceful’ farmhouse, who are in fact organising an ambush of them all, a sudden fusillade of rifle shots, in which Corbyn is killed and Umr only just escapes.

In a rage Umr and the Muslim servant Sikandar Khan who they have picked up in their travels, go back to the farmhouse to take revenge, beheading one of the wounded Boers inside it and seizing the mentally sub-normal son of the householders to hang him in a nearby tree as punishment, as revenge on the treacherous farmer-priest and his wife.

But here – the irrational and uncanny in Kipling shows itself, as so often – for in the middle of this brutal wartime anecdote, the ghost of Kurban Sahib appears to Umr and three times forbids him from hanging the boy, ‘for it is a Sahibs’ war’.

This latter part of the text, the account of the ambush and then the narrator’s revenge, is vivid and powerful, and the appearance of the Sahib’s ghost eerie – it has a real imaginative force – Kipling’s daemon pushing through. But it is embedded in a text which overflows with contempt, hatred, resentment, is marinated in multiple types of racial prejudice, and is continually teetering on the edge of, not just violence but sadistic violence, vengeful hateful violence.

This is all epitomised in the last few lines of the text when Umr returns to the site of his Sahib’s death and rejoices to find, not only a memorial carved by the loyal and dutiful Australians – but that the Boer farmhouse, the well, the water tank, the barn and fruit trees – all have been razed from the face of the earth, by the ‘manly’ Australians, who aren’t shackled by the British concern for ‘fair play’.

The narrator rejoices, Kipling rejoices, and the reader is meant to rejoice in this act of nihilistic vengeance – the kind of scorched earth policy which will characterise so much of 20th century history.

‘Their Lawful Occasions’

The narrator (pretty obviously Kipling) is invited to go down to Weymouth to go aboard ship and witness Royal Navy manoeuvres; but in the town he bumps into his old mucker, Emanuel Pyecroft (who we met in The Bonds of Discipline). Very like Mulvaney, one of the Three Soldiers, Pyecroft has a cheeky and facetious sense of humour with which he explains that his ship, 267, is being mocked up by its captain to look like a destroyer so it can steam out and take part in the naval wargames starting that night. The whole thing is told in a tone of forced humour and all the characters speak with elaborate facetiousness.

A thin cough ran up the speaking-tube.
“Well, what is it, Mr. Hinchcliffe?” said Moorshed.
“I merely wished to report that she is still continuin’ to go, Sir.”
“Right-O! Can we whack her up to fifteen, d’you think?”
“I’ll try, Sir; but we’d prefer to have the engine-room hatch open — at first, Sir.”
Whacked up then she was, and for half an hour was careered largely through the night, turning at last with a suddenness that slung us across the narrow deck.

With Kipling, you often have the feeling that a huge amount of effort, imagination and humour has been wasted on ‘stories’ which no way justify them. Here, for example, is our hero describing what a torpedo boat sounds like if you’re trying to get to sleep on it.

‘Sleepin’ in a torpedo-boat’s what you might call an acquired habit.”
I coiled down on an iron-hard horse-hair pillow next the quivering steel wall to acquire that habit. The sea, sliding over 267’s skin, worried me with importunate, half-caught confidences. It drummed tackily to gather my attention, coughed, spat, cleared its throat, and, on the eve of that portentous communication, retired up stage as a multitude whispering. Anon, I caught the tramp of armies afoot, the hum of crowded cities awaiting the event, the single sob of a woman, and dry roaring of wild beasts. A dropped shovel clanging on the stokehold floor was, naturally enough, the unbarring of arena gates; our sucking uplift across the crest of some little swell, nothing less than the haling forth of new worlds; our half-turning descent into the hollow of its mate, the abysmal plunge of God-forgotten planets. Through all these phenomena and more — though I ran with wild horses over illimitable plains of rustling grass; though I crouched belly-flat under appalling fires of musketry; though I was Livingstone, painless, and incurious in the grip of his lion — my shut eyes saw the lamp swinging in its gimbals, the irregularly gliding patch of light on the steel ladder, and every elastic shadow in the corners of the frail angle-irons; while my body strove to accommodate itself to the infernal vibration of the machine. At the last I rolled limply on the floor, and woke to real life with a bruised nose and a great call to go on deck at once.

Vivid, as are the descriptions of the ship and of the sea, the English Channel, in its changing lights – all excellent, down to the presentation of tiny and convincing details.

Presently a hand-bellows foghorn jarred like a corncrake, and there rattled out of the mist a big ship literally above us. We could count the rivets in her plates as we scrooped by, and the little drops of dew gathered below them.

But there is little or no plot to speak of and what there is is very hard to make out. Only slowly did I realise that the ‘267’ is going under cover so it can ‘bag’ the destroyers in the war games; i.e. it is joining the flotilla masquerading as another ship and then will sail close enough to the other ships to – I think – mark them with some kind of paint, indicating that it is an ‘enemy’ ship and has ‘destroyed’ them as part of the war games.

In practice this amounts to dialogue-overheavy larks in the Channel fog and dark, as the captain and crew dodge and weave between the vast destroyers on manoeuvres.

Kipling was thrashed and beaten as a boy at his miserable foster home in Portsmouth and then at public school. It is difficult to read a story like this and not see it as the troubled adult who emerged from this hellish childhood fantasising about being accepted on their own terms by manly men – one of the team, one of the crew, manfully shaking hands, drinking strong liquor and eyes shining with troubles and challenges shared and overcome.

The manliness, the obsession with technical detail and the brusque, obscure way in which it’s conveyed, can be read as all part of the bookish, short-sighted wimp’s massive over-compensation, his adoration of Real Men.

Hence also, maybe, the excessive anger and vengefulness, the addiction to kicking the weak and vulnerable, which disfigures so many of his stories.

The Comprehension of Private Copper (1902)

A Boer guerrilla captures Private Alf Copper who had strayed unwisely far from his platoon and into the bush. The Boer descants at length about how his father, a Transvaal shop-keeper, was deceived out of his livelihood by the British, along with numerous insults of the British fighting ability or the morale of the poor Tommy far from home.

But in saying all this the Boer gets just a bit too close to Alf Copper, who lays him out with one well-aimed punch. Hah! Decadent, demoralised Tomy, is he! that’ll show ‘im! Kipling couldn’t be more frothingly on the side of the British Army and against the treacherous deceiving Boers.

More propaganda follows when Alf gets his now-captive Boer captive back to his picket, where his mates are looking over a British Liberal paper which is blackening their names back home. One of the Tommies satirically quotes it:

‘You’re the uneducated ‘ireling of a callous aristocracy which ‘as sold itself to the ‘Ebrew financier. Meantime, Ducky”— he ran his finger down a column of assorted paragraphs —“you’re slakin’ your brutal instincks in furious excesses. Shriekin’ women an’ desolated ‘omesteads is what you enjoy, Alf . . ., Halloa! What’s a smokin’ ‘ektacomb?’

The general idea is that both the arrogant Boer and the treacherous Liberals back home think the British Tommy doesn’t know what he’s fighting for and is a poor, badly educated pawn – but oh yes he does and oh no he isn’t! The text sets out to humiliate the arrogant Boer and ridicule whining anti-Imperial Liberals.

Steam Tactics (1902)

Third of the six Pyecroft stories, in which the narrator – while driving in his new-fangled steam motor car – meets him and Hinchcliffe, the naval engineer, on leave in sunny Sussex. Taking the idea that there are all kinds of angers and revenges going on in Kipling’s mind and texts, stories like this provide plenty of examples of the way this anger operates not only at the level of storyline and character (arrogant Boer, stupid Liberals, dogged Tommy, in the stories above). It might also explain the deliberate, wilful and aggressive obscurity of individual paragraphs and sentences. For example:

A bluish and silent beast of the true old sheep-dog breed glided from behind an outhouse and without words fell to work.

It is impossible from reading this to know what is going on; only the succeeding sentence makes it clear:

Pyecroft kept him at bay with a rake-handle while our party, in rallying-square, retired along the box-bordered brick-path to the car.

So ‘fell to work’ means the dog began barking and menacing them. Ah. In individual paragraphs, in sequences, and across entire stories, Kipling deliberately keeps things from the reader. Why? In a spirit of Modernist elitism and allusion? No. In order to beat the reader, to ‘best’ the reader. To be the winner, yah boo sucks.

This enjoyment of physical humiliation is present from the first few lines, where the narrator takes typically brutal pleasure in driving up behind the dawdling horse-drawn postal carrier and using his loud steam hooter to scare the horse so badly that it bolts into the hedgerow, scattering parcels all over the road. Ha ha ha, yah boo sucks. Kipling thinks this is hilarious. The reader thinks he’s a bully.

The ‘story’ only finally arrives after pages and pages of Pyecroft’s ship’s engineer, Hinchcliffe, and the narrator’s own chauffeur and mechanic poring over the steam car’s entrails to show us Kipling’s detailed technical knowledge.

The ‘story’ amounts to the car being pulled over by a man who pretends to be a special constable who will fine them for exceeding the speed limit. But Kipling, Pyecroft and Hinchcliffe suspect he is an imposter and con man. So they invite him into the car and immediately strong-arm and threaten and humiliate him. They’re discussing whether to strip him of his boots or just hang him, when another jalopy turns up, driven by Kipling’s friend Kysh, and they fall to discussing how the authorities have got it in for the poor motorist (the kind of aggressive self-pity which and aggrieved victimhood which all motorists still enjoy to this day).

Instead they drive in Kysh’s vast powerful petrol-fuelled Octopod across Sussex, then off the road into a private park all to deliberately maroon the poor policeman in an early version of a safari park, among bemused kangaroos in a rich man’s private game park. Yah boo sucks to all traffic police.

“Wireless” (1902)

An eerie supernatural story in which Kipling is invited to the local chemist’s shop where the tubercular chemist, Mr Shaynor, is allowing a young friend, Mr Cashell, to set up very early radio antenna and equipment to receive a signal from Poole.

But wile the engineer is fussing over his equipment a completely different signal comes through: for the young chemist is in love with a local girl called Fanny but he is tubercular and coughing blood. He dozes off in a corner then suddenly wakes and, in a kind of trance, starta to scribble verses which Kipling realises exactly match The Eve of St Agnes, a long poem by the Romantic poet John Keats. And now the narrator realises that Keats himself was a chemist’s assistant, he had tuberculosis, he also was in love with a young woman named Fanny. The narrator has a weird out-of-body moment as he realises that-– maybe the chemist is channeling the spirit of the long-dead poet!

For an instant, that was half an eternity, the shop spun before me in a rainbow-tinted whirl, in and through which my own soul most dispassionately considered my own soul as that fought with an over-mastering fear.

Weird and uncanny, like most of Kipling’s many supernatural stories. (And always a relief that nobody gets beaten or humiliated.)

The Army of a Dream (1904)

The narrator falls asleep in his club and has a long and obscure dream in which he meets old military men who live in a parallel universe, in a society designed and run to create an unbeatable army, a society in which they recruit and train men much earlier and better, in fact starting as early as six. Having had the new system explained to him in theory, the narrator goes to watch men practising with arms in the vast parade ground in central London, realising that passersby and lookers-on admire and envy the British Army – unlike the mockery and condescension it suffers in actual Victorian society.

In other words, this long fantasia stems from Kipling’s anger at the incompetent amateurishness of the British Army during the Boer War.

Kipling’s stories often teeter on the edge of having no plot: this one falls over the edge into being a kind of fictionalised pamphlet, advocating a recipe for the militarisation of society in a way familiar to students of Prussian society or Nazi Germany. And what could be more stirring than marching in shiny uniform through an adoring public.

I rejoiced to the marrow of my bones thus to be borne along on billows of surging music among magnificent men, in sunlight, through a crowded town whose people, I could feel, regarded us with comradeship, affection — and more.

As a rule of thumb, the more dialogue in a Kipling story the more incomprehensible it will be, as he exercises his unfailing enthusiasm to do funny voices at the reader’s expense.

“I was roped in the other day as an Adjustment Committee by the Kemptown Board School. I was riding under the Brighton racecourse, and I heard the whistle goin’ for umpire — the regulation, two longs and two shorts. I didn’t take any notice till an infant about a yard high jumped up from a furze-patch and shouted: ‘Guard! Guard! Come ’ere! I want you perfessionally. Alf says ‘e ain’t outflanked. Ain’t ‘e a liar? Come an’ look ‘ow I’ve posted my men.’ You bet I looked. The young demon trotted by my stirrup and showed me his whole army (twenty of ’em) laid out under cover as nicely as you please round a cowhouse in a hollow. He kept on shouting: ‘I’ve drew Alf into there. ‘Is persition ain’t tenable. Say it ain’t tenable, Guard!’ I rode round the position, and Alf with his army came out of his cowhouse an’ sat on the roof and protested like a — like a Militia Colonel; but the facts were in favour of my friend and I umpired according. Well, Alf abode by my decision. I explained it to him at length, and he solemnly paid up his head-money — farthing points if you please.”

The most telling moment of this long, long text comes in the last paragraph where the narrator suddenly sees all the bright young officers who have been showing him round the dream army, dining and bantering and chaffing – he sees them all dead or expiring on the dusty veldt of South Africa. A characteristically brutal and bitter and angry symbol of the price of the Army, and society’s, rank incompetence.

It is characteristic of Kipling’s impact in the real world of active men, that the following year he had this ‘story’ – really a prospectus for the organisation of a conscript army – printed as a six-penny pamphlet ‘as there have been numerous requests from adjutants of volunteers etc. to get it to their companies’. (Rudyard Kipling: His life and Work by Charles Carrington, Penguin edition, page 469)

“They” (1904)

The unnamed narrator is driving his car round Sussex when he comes across a mysteriously beautiful and quiet country house, where he spies children playing amid the landscaped gardens, before meeting the owner, an elegant beautiful woman who is quite blind. It takes several visits and repeated hints from the remote butler, before the penny drops, and the narrator realises that the elusive children are ghosts – a realisation passed to him when one of the children kisses his palm in a way he realises, with a jolt, only his dead daughter did.

A major feature of Kipling’s fiction is its tendency to be clipped and elliptical. Thus nowhere in the story does it say it was the kiss of the narrator’s child; I only learned this crucial fact from the Kipling Society website’s excellent notes on the story.

Atmosphere and description he does excellently well. Here is the narrator in his car:

As I reached the crest of the Downs I felt the soft air change, saw it glaze under the sun; and, looking down at the sea, in that instant beheld the blue of the Channel turn through polished silver and dulled steel to dingy pewter. A laden collier hugging the coast steered outward for deeper water and, across copper-coloured haze, I saw sails rise one by one on the anchored fishing-fleet. In a deep dene behind me an eddy of sudden wind drummed through sheltered oaks, and spun aloft the first day sample of autumn leaves. When I reached the beach road the sea-fog fumed over the brickfields, and the tide was telling all the groins of the gale beyond Ushant. In less than an hour summer England vanished in chill grey. We were again the shut island of the North, all the ships of the world bellowing at our perilous gates; and between their outcries ran the piping of bewildered gulls. My cap dripped moisture, the folds of the rug held it in pools or sluiced it away in runnels, and the salt-rime stuck to my lips.

Mrs. Bathurst (1904)

Fourth of the stories about Petty Officer Emanuel Pyecroft. As with all Kipling’s stories told in dialogue it is difficult to follow and hard to care.

“Moon — Moon! Now where did I last . . .? Oh yes, when I was in the Palladium! I met Quigley at Buncrana Station. He told me Moon ‘ad run when the Astrild sloop was cruising among the South Seas three years back. He always showed signs o’ bein’ a Mormonastic beggar. Yes, he slipped off quietly an’ they ‘adn’t time to chase ’im round the islands even if the navigatin’ officer ‘ad been equal to the job.”
“Wasn’t he?” said Hooper.
“Not so. Accordin’ to Quigley the Astrild spent half her commission rompin’ up the beach like a she-turtle, an’ the other half hatching turtles’ eggs on the top o’ numerous reefs. When she was docked at Sydney her copper looked like Aunt Maria’s washing on the line — an’ her ‘midship frames was sprung. The commander swore the dockyard ‘ad done it haulin’ the pore thing on to the slips. They do do strange things at sea, Mr. Hooper.”

The narrator meets old friend Hooper, a railway official, at Simon’s Town, the naval base in South Africa. They’re enjoying a beer in a carriage near the beach when up comes none other than Pyecroft accompanied by a burly marine, Sergeant Pritchard, a Royal Marine.

As in so many Kipling stories they get to yarning and gossiping about people we’ve never heard of and don’t care about – to establish the mood – and this takes up a good half of the text, before they get round to discussing a particular tale. This concerns a man they know who deserted for the sake of a woman, a Mrs Bathurst, a widow who kept a bar in Auckland. He was Vickery, fifteen years in the service and just 18 months short of his pension, hopelessly smitten by the loyal Mrs B.

Eerie aspects:

1. Vickery has four false teeth in his lower left jaw. They don’t fit very well, hence his nickname ‘Clicks’. This is the kind of spooky detail Kipling does so well.

2. Vickery sees Mrs B in a very early cinematograph film shot at Paddington station and being shown as part of a travelling circus in the Cape. He insists on taking Pyecroft to it five nights in a row just to watch 45 seconds of Mrs B walking jerkily and silently towards the camera. This is one of the first mentions of a cinematoscope in fiction and typical of Kipling’s interest in gadgets and technology.

3. Hooper has been listening hard all this time, and asks whether Vickery had a tattoo before revealing that, as part of his work, he had to investigate the case of two corpses found burnt to carbon in a densely wooded part of the rail system in the interior – and one of them had a tattoo like Pyecroft describes, and four false teeth!

Victorian culture prevented any mention of sex or sexual attraction. Maybe what makes stories like this so unfulfilling is that Vickery clearly had some kind of burning obsession for Mrs Bathurst – but whatever its true nature, the repressed obsessiveness of it comes out in the bizarreness of the details of the text, which are almost like symptoms in a case study by Freud.

Below the Mill Dam (1904)

One of Kipling’s ‘objects and animals speaking’ stories. The mill is, of course, as old as he Doomsday book and the Mill Wheel talks, so do the Waters, and the Grey Cat and the Black Rat which inhabit it.

The joke is that they speak in ever-so-posh phraseology, presumably mocking the English upper classes.

The plot seems to be that the humans have rigged up a dynamo to the mill wheel which, towards the end of the story, they switch on and which floods the mill house with new-fangled electric light, much to all the inhuman characters’ amazement!

And the twist is that the Spirit of the Mill adapts wonderfully fast to the new electric turbines and all its advantages. Within a page or so it has taken the new-fangled technology in its stride and is telling the animals all about the benefits of electricity, for example illuminating the barn where cows can now calve at night etc.

It is powerfully done – but imagining animals and machinery talking isn’t really a story.

Kipling and le Carré

In his aggressive public school facetiousness, Kipling reminds me exactly of the laboured humour of John le Carré:

After a great meal we poured libations and made burnt-offerings in honour of Kysh, who received our homage graciously.

I conceived great respect for Apothecaries’ Hall, and esteem for Mr. Cashell, a zealous craftsman who magnified his calling.

This is exactly the kind of pompous-sounding phraseology which mars so much of le Carré’s prose, as detailed in any of my reviews of his novels. Either the self-congratulatory and elaborately facetious lingo of the public school environment was remarkably consistent from the 1870s to the 1930s (when le Carré attended boarding school) or there’s a more direct influence of Kipling the Imperial propagandist on the twentieth century’s greatest English spy writer. Would be interesting to know if a study has been made on the relationship…


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