Design for Living: A Comedy in Three Acts by Noel Coward (1932)

LEO: It should be easy, you know. The actual facts are so simple. I love you. You love me. You love Otto. I love Otto. Otto loves you. Otto loves me. There now!

GILDA: Ernest, if you only realized what was going on inside you, you’d be bitterly offended!

‘Design for Living’ is a comedy play written by Noël Coward in 1932. It concerns a trio of artistic characters, Gilda, Otto and Leo, and their complicated three-way relationship. Originally written to star Lynn Fontanne, Alfred Lunt and Coward, it was premiered on Broadway, partly because its risqué subject matter was thought unacceptable to the official censor in London. It was not until 1939 that a London production was presented.

‘Design for Living’ was a success on Broadway in 1933, but it has been revived less often than Coward’s other major comedies. Coward said:

‘It was liked and disliked, and hated and admired, but never, I think, sufficiently loved by any but its three leading actors.’

The play was adapted into a film in 1933, directed by Ernst Lubitsch, with a screenplay by Ben Hecht, and starring Fredric March, Gary Cooper, and Miriam Hopkins.

Background

In the second half the 1920s Coward became one of the world’s most famous playwrights, with a succession of popular hits ranging from the operetta Bitter Sweet (1929) and the extravaganza Cavalcade (1931), to the intimate comedies Hay Fever (1924) and Private Lives (1930). Back when he was penniless Coward had met Lunt and Fontanne Lunt on his first trip to new York and had promised he’d write a play to showcase them as an ensemble. By the early 1930s the time was right for Coward to write their star vehicle.

The play was based on the Lunts’ own marriage. They were a devoted couple but had an open relationship with ‘triangular relationships in their private lives’. Coward wrote:

‘These glib, over-articulate and amoral creatures force their lives into fantastic shapes and problems because they cannot help themselves. Impelled chiefly by the impact of their personalities each upon the other, they are like moths in a pool of light, unable to tolerate the lonely outer darkness but equally unable to share the light without colliding constantly and bruising each other’s wings…. The ending of the play is equivocal. The three of them… are left together as the curtain falls, laughing…. Some saw it as the lascivious anticipation of a sort of a carnal frolic. Others with less ribald imaginations regarded it as a meaningless and slightly inept excuse to bring the curtain down. I as author, however, prefer to think that Gilda and Otto and Leo were laughing at themselves.’

‘Design for Living’ opened in New York on 24 January 1933, at the Ethel Barrymore Theatre on Broadway. It was such a success that Coward was persuaded to relax his usual rule against appearing in any production for more than three months, and he allowed the play to run for a total of five months. So great were the crowds of fans in the street that special police had to be called in during the last week of the run.

Ménage à trois

A ménage à trois is a domestic arrangement or committed relationship consisting of three people in polyamorous romantic or sexual relations with each other, and often dwelling together.

Cast

  • Gilda – ‘a good-looking woman of about thirty’, ‘a permanent spectator’
  • Ernest Friedman – ‘any age between forty and fifty, rather precise in manner’
  • Otto Sylvus – ‘tall and good-looking’
  • Leo Mercuré – ‘thin and nervous’
  • Miss Hodge
  • Photographer
  • Mr Birbeck
  • Grace Torrence
  • Helen Carver
  • Henry Carver
  • Matthew

Plot

Act 1. Otto’s studio in Paris, 1932

Gilda is an interior designer who lives with the painter Otto, who was previously attached to Leo, an author. Ernest Friedman arrives, an art dealer and friend of all three. He is excited about his newly acquired Matisse and wants to show it to Otto. Gilda says that Otto is in bed, ill, has had neuralgia and absolutely cannot be disturbed.

Their conversation consists of classily phrased arguments and insults. ‘Private Lives’ taught me that a good deal of Coward dialogue consists of bad-tempered arguing.

ERNEST: If, in my dotage, I become a bore to you, you won’t scruple to let me know, will you?
GILDA: Don’t be an idiot!

He wonders why she doesn’t marry Otto and she replies because he loves her too much. To be tied legally to him would kill the love. She tells him to mind his own business.

ERNEST: I cannot, for the life of me, imagine why I’m so fond of you. You have such abominable manners.

Ernest tells her that Leo is back in Paris after making a success in New York. They both find it hilarious that he’s staying at the Georges V hotel.

Gilda’s discourse is all on stilts, on a high register of shrill self-awareness occasionally tipping over into hysteria, so much so that Earnest confesses she scares him.

GILDA: I’m yelling! Can’t you hear me yelling like mad?
OTTO: What on earth are you talking about?
GILDA: A bad joke, and very difficult to explain.

For example, she delivers a little speech about how she hates her own femininity, hates being trapped in a woman’s body.

There’s nothing funny in the scenario and few comic lines or jokes. It’s just listening to a posh man being mildly abused by this wilful neurotic. Everything is overdramatised. When Ernest makes the slightest of comments on her claiming to be in love with both Otto and Leo at the same time, she flies into a wild dramatisation of the threesome.

GILDA: Look at the whole thing as a side show. People pay to see freaks. Walk up! Walk up and see the Fat Lady and the Monkey Man and the Living.

To the audience and Earnest’s surprise, Otto – not at all in bed and suffering from neuralgia as Gilda claimed – enters from the street carrying luggage. Gilda lied fluently as so many Coward characters do cf Elyot and Amanda in ‘Private Lives’. In fact Otto’s just returned from a trip to Bordeaux where he was doing a portrait for an unknown client who he insulted by telling her she was fat, and got thrown out.

When Ernest tells Otto that Leo’s back from America, Otto insists that they go and see him straightaway and Gild eggs them on so they both depart.

Then Leo stumbles in from the bedroom and we realise why Gilda lied to Ernest about Otto being in bed with neuralgia and he couldn’t go into the bedroom even to whisper hello. It’s because it wasn’t Otto in the bedroom it was Leo. When he says ‘What we did was inevitable. It’s been inevitable for years’ it makes it sound like they’ve had sex for the first time after fancying each other for years. In other words, that the ménage à trois I’ve read about in all the blurbs and summaries of the play isn’t as established as I thought.

Anyway, he’s racked with guilt about it and they spend some time discussing what it means to have betrayed their best friend etc. As usual with Coward this takes the form of an argument or a squabble. His character suffer from an over-articulacy, they are far too fluent and articulate for their own good – which almost guarantees that they pick up on stray words here and there and magnify them into huge arguments. This was Elyot and Amanda’s way in ‘Private Lives’ and the same here. Leo says something sweet and reassuring which Gilda takes to be an appalling cliché and explodes:

GILDA [viciously]: Let’s have some more! ‘Passion’s only transitory’, isn’t it? ‘Love is ever fleeting!’ ‘Time is a great healer’. Trot them all out, dear.
LEO: Don’t try to quarrel with me.
GILDA: Don’t be so wise and assured and knowing, then. It’s infuriating.

The key word here is ‘viciously’. All Coward characters flip from civilised banter to vicious recriminations and insults in a second, and then back again. It makes them all dislikeable. And it gives the plays a constant sense of walking on eggshells, anxiously waiting for the next character to explode. It’s more like living with a wife beater than attending a sophisticated ‘comedy’.

At the height of their discussion-squabble-argument, Otto walks in and discovers them. Ah. He and Ernest got to the Hotel Georges V only to discover Leo wasn’t staying there at all, so he’s come back to his apartment and found…

They come out and tell him that they slept together in his absence. With crushing inevitability they start arguing and finding articulate fluent ways to describe how miserable they are and to accuse each other. Posh people fighting in a Noel Coward play! Yes.

LEO: What right have you to be hurt and grieved, any more than Gilda and me? We’re having just as bad a time as you are, probably worse.

Much like the audience. Coward’s alleged ‘wit’ is only intermittently apparent. Much, much more present in all these plays is the bad-tempered arguing and insults.

OTTO: I’ve seen something in you that I’ve never seen before; in all these years I’ve never noticed it—I never realized that, deep down underneath your superficial charm and wit, you’re nothing but a cheap, second-rate little opportunist, ready to sacrifice anything, however sacred, to the excitement of the moment.

Not that funny. Otto is violently unpleasant and Gilda collapses in tears.

GILDA (collapsing at the table): Stop it! Stop it! How can you be so cruel! How can you say such vile things?

Otto makes clear his contempt and hatred for both of them, wishes they were dead and in hell, and storms out.

Act 2

Scene 1. Leo’s Flat in London, 18 months later

Most of Coward’s plays take place over a few days. A gap of 18 months is a big thing, more like a novel.

Leo and Gilda are now living together and he is writing plays which are being produced and are tremendously successful. The scene opens with Leo reading out the reviews of his latest play, ‘Change and Decay’, to Gilda,

A playwright nervous about his reviews writing a play about a playwright nervously reading his reviews – you could consider this delightfully meta and cleverly postmodern – or tiresomely self-obsessed and narcissistic, according to taste.

Coward does that thing which numerous modern-ish authors do, which is have a character in one of their novels or plays repeat the popular criticism of them: in this case he has Leo read out the Daily Mirror‘s criticism that his latest play is ‘thin’. This exasperates him and stings him to tell Gilda that in future he will write fat plays about fat characters. This is, of course, to ignore the substance of the criticism: Coward’s plays are thin. The basic scenarios are often quite winning, but the characterisation is generally shallow as a puddle and the dialogue is astonishingly lacking in the wit and humour I have for decades associated with Coward until I actually came to read and watch his plays, and be rather disappointed. Instead of genuine wit or comedy you have exchanges like this.

GILDA: Anyhow, you can’t expect a paper like the Times to be really interested in your petty little excursions in the theatre. After all, it is the organ of the nation.
LEO: That sounds vaguely pornographic to me.

Schoolboy humour. Here’s another example of Coward’s shimmering wit, Gilda pretending to be a brainless newspaper interviewer:

Gilda [conversationally]: Tell me, Mr Mercure, what do you think of the modern girl?
LEO: [politely]: A silly bitch.

Not scintillating repartee, is it?

A phone call from some aristocratic inviting them to dinner prompts Leo to say these social situations are awkward when they’re obviously a couple but not married. So he proposes to her but she sagely turns him down and even says it would be against her moral code.

Presumably this kind of suave, sophisticated exchange was designed to shock and outrage the older, Edwardian generation with their Victorian morals.

The phone rings incessantly, a symptom of the modern world. Leo calls their maid or servant, Miss Hodge, in and tells her to answer the phone for him. Next time the phone rings working class Miss Hodge answers the phone with comic ineptness. The working classes, eh, ha ha ha.

What’s obvious is how bored they are. Gilda is bored to death.

GILDA: Perhaps you’re wise about our marrying; perhaps it would be a good thing. I’m developing into one of those tedious unoccupied women, who batten on men and spoil everything for them. I’m spoiling the excitement of your success for you now by being tiresome and gloomy.

Watching posh bored people torment each other, throwing ‘cheap gibes’ at each other, that’s entertainment. ‘Tiresome’ – that’s the key word. And Leo is as irritated and frustrated.

LEO: This looks like a row but it hasn’t even the virtue of being a new row. We’ve had it before several times, and just lately more than ever.

A journalist, Mr Birbeck, and press photographer from the Evening Standard arrive to do a feature on him. After arguing with Gilda Leo is in a bad mood and gives sharp replies to all the questions. Here is an example of his authorly wit:

MR BIRBECK: Do you believe the talkies will kill the theatre?
LEO: No. I think they’ll kill the talkies.
MR BIRBECK (laughing): That’s very good, that is! It really is.

It isn’t though, is it? It’s not in the slightest bit funny. It’s flippant and cynical and sounds like it ought to be a joke, but it isn’t. Leo gives up answering questions and tells him he’s tired and doesn’t he find asking all these stupid questions ‘grotesque?’ and tells him to come back dome other time when he’s less… tired.

Nonetheless he lets the photographer take some snaps and the scene ends with Mr Birbeck tentatively asking whether Leo could, just maybe, possibly, give them a teeny weeny smile? This is one of the few things I’ve found funny so far, these poor professionals trying to do their job in the face of Leo’s self-important moodiness.

Scene 2. Leo’s London flat, a few days later

A few days later Leo is away. After some comic business with the working class character, the maid Miss Hodge (Gilda asks if she minds that she and Leo are not married; Miss Hodge says she doesn’t mind, having herself been twice married and not thinking much of the institution) departs and Otto turns up.

He too is now successful, as an artist. He’s just back from staging an exhibition in New York.

There’s a joke, a joke with a punchline, such a rarity in Coward it’s worth recording.

OTTO: This seems a very nice flat.
GILDA: It is. You can see right across to the other side of the square on a clear day.

Ooh, immediately followed by another one. Otto says he bumped into a woman just leaving. Gilda explains that that was the maid, Mrs Hodge.

GILDA: That was Miss Hodge. She’s had two husbands.
OTTO: I once met a woman who’d had four husbands.

And a little later, after Otto explains that he went away for a while, on a Norwegian freighter:

OTTO: I can say, ‘How do you do?’ in Norwegian.
GILDA: We must get to know some Norwegian people immediately, so that you can say ‘How do you do? to them.—

Noel’s on fire! Maybe you can see what I mean when I say that this kind of thing isn’t really funny in itself. These aren’t really jokes, or barely. What makes them funny (if it does) is how they exemplify the attitude of these posh, superior, self-absorbed arty types. It’s so exactly the kind of flippant throwaway remark that a posh character in a Coward play ought to say.

Anyway, she asks why he’s avoided them for so frightfully long and he says yes, it has been frightfully long, hasn’t it. Did you miss me, darling etc.

Remember I commented on a playwright having a character in his latest play commenting on newspaper reviews of the character’s previous plays which sound very like the reviews and criticism Coward got for his plays? Happens again here. Otto asks what Gilda thinks of Leo’s latest play, prompting quite a serious reply:

GILDA: Three scenes are first rate, especially the last act. The beginning of the second act drags a bit, and most of the first act’s too facile—you know what I mean—he flips along with easy swift dialogue, but doesn’t go deep enough. It’s all very well played.

‘Doesn’t go deep enough’. Well, there’s no point criticising Coward for what he isn’t. No Ibsen or Strindberg, he. He concocted effective and extremely popular entertainments over a career spanning decades. An awesome achievement.

Back in this play, Otto and Gilda have a picnic dinner together: cold ham, salad, cold rice pudding, and slowly revive their friendship turning back into love. Or whatever it is they have. Maybe just opportunity.

Otto jokes about what would happen if they ended up fighting over Gilda, reminiscent of the fight scene between Elyot and Victor which fizzles out in ‘Private Lives’.

The conversation is frequently difficult to distinguish from an argument or row.

OTTO: Shut up! Don’t talk like that…
GILDA [breaking down]: Don’t—don’t laugh at me.

Author’s message

Remember how I’ve pointed out that the fundamental dichotomy in Coward isn’t between the straight and the gay, it’s between what my son calls ‘the normies’ – the normal, everyday people with their conventional beliefs and lives and morality and behaviour – and the Coward characters who proclaim that they are special, different, exceptional, Well, the same sentiment is expressed here in a pat little speech by Otto. For when Gilda has a moment of ‘normality’ and says that their falling in love is sordid and gross, Otto suavely replies that this is only so if measured by other people’s standards. I might as well give the whole speech, as it amounts to a manifesto of sorts.

GILDA: Why should we flatter ourselves that we’re so tremendously different?
OTTO: Flattery doesn’t enter into it. We are different. Our lives are diametrically opposed to ordinary social conventions; and it’s no use grabbing at those conventions to hold us up when we find we’re in deep water. We’ve jilted them and eliminated them, and we’ve got to find our own solutions for our own peculiar moral problems.
GILDA: Very glib, very glib indeed, and very plausible.
OTTO: It’s true. There’s no sense in stamping about and saying how degrading it all is. Of course it’s degrading; according to a certain code, the whole situation’s degrading and always has been. The Methodists wouldn’t approve of us, and the Catholics wouldn’t either; and the Evangelists and the Episcopalians and the Anglicans and the Christian Scientists—I don’t suppose even the Polynesian Islanders would think very highly of us, but they wouldn’t mind quite so much, being so far away. They could all club together—the whole lot of them—and say with perfect truth, according to their lights, that we were loose-living, irreligious, unmoral degenerates, couldn’t they?
GILDA [meekly]: Yes, Otto, I expect so.
OTTO: But the whole point is, it’s none of their business. We’re not doing any harm to anyone else. We’re not peppering the world with illegitimate children. The only people we could possibly mess up are ourselves, and that’s our lookout. It’s no use you trying to decide which you love best, Leo or me, because you don’t know! At the moment, it’s me, because you’ve been living with Leo for a long time and I’ve been away. A gay, ironic chance threw the three of us together and tied our lives into a tight knot at the outset. To deny it would be ridiculous, and to unravel it impossible. Therefore, the only thing left is to enjoy it thoroughly, every rich moment of it, every thrilling second.

This is no different from the ancient trope of carpe diem, Latin for ‘seize the day’, which is a literary phrase for the pretty obvious idea that you should enjoy life while you can. (The original Latin phrase comes from Horace’s Odes, which I’ve reviewed for this blog.)

The banter goes on for page after page until they realise they need to go to bed together. They embrace passionately. So it’s partner swapping again, as in ‘Private Lives’.

Scene 3. The same, the next morning

10.30 the next morning. Otto is still asleep when Ernest calls on Gilda. He asks to see Leo but Gilda lies, saying he’s not very well and can’t be disturbed. In reality, as we know, Leo is away at a weekend house party and it’s Otto asleep in the next room. This is quite funny because it mirrors the situation in the first scene, where Ernest arrived wanting to see Otto and Gilda lied, saying he was in bed with neuralgia when it was, of course, Leo who she’d illicitly slept with, who was in the bedroom.

This explains why Gilda is, once again, as in the first scene, slightly hysterical. And in this hysteria liable to sound off and make sweeping statements. For a start she says humanity is a great disappointment, has barely risen above the primeval slime. But this leads onto a more revealing statement.

GILDA: The human race is a let-down, Ernest; a bad, bad let-down! I’m disgusted with it. It thinks it’s progressed but it hasn’t; it thinks it’s risen above the primeval slime but it hasn’t—it’s still wallowing in it! It’s still clinging to us, clinging to our hair and our eyes and our souls. We’ve invented a few small things that make noises, but we haven’t invented one big thing that creates quiet, endless peaceful quiet—something to pull over us like a gigantic eiderdown; something to deaden the sound of our emotional yellings and screechings and suffocate our psychological confusions—

Coward hated critical analysis of his plays, so I’m going to do something he would have loathed and subject this little speech to tuppeny-ha’penny analyses according to several classical schools of literary criticism.

A Marxist interpretation

Most of Coward’s characters come from the parasite rentier class which doesn’t work for a living. Thus, lacking the purpose given to existence by the need to work, they are often bored to death, as Gilda is. In this particular play, the two male leads do in fact work for a living, after a fashion, as a playwright and an artist.

But the real point is that none of them are aligned with the forces of History, specifically the Proletariat which is, in late capitalism, the embodiment of the spirit of History and which must, as Marx proved with his scientific socialism, soon overthrow the exploitative capitalist system and its imperial extensions, and usher in the triumph of the working class.

So on the Marxist view of his day, it is only by throwing in their lot with people with a cause, committed to the liberation of humanity, that Coward’s characters can discover meaning and purpose to life and stop indulging in their squalid, petty bourgeois intrigues.

Thus Gilda’s wish for ‘something to pull over us like a gigantic eiderdown; something to deaden the sound of our emotional yellings and screechings and suffocate our psychological confusions—’ is the cry of the rootless, aimless, cosmopolitan bourgeoisie adrift from the unstoppable march of History, and for which there is only one cure or solution. Align with the class of the future, the proletariat. See the plays of Jean-Paul Sartre which dramatise just this issue.

A Freudian interpretation

Freud’s first, pre-war model of the mind, developed between about 1895 and 1918, attributed the central driving force of the unconscious to Sex, broadly speaking the Darwinian drive of the human organism to reproduce which, more narrowly, creates erotic drives which had to be channelled ‘correctly’ in order to be socially acceptable. Freud was among the first to discover how easily these drives get blocked and misdirected in childhood and adolescence to turn into the florid array of sexual ‘perversions’, or be stifled and emerge was a wide variety of neurotic and obsessive symptoms, which his patients described when they presented to him.

However, the colossal slaughter and destruction of the First World War persuaded him that his theory was inadequate. Nothing about sex could explain the hecatombs of corpses and entire empires brought to their knees.

Thus in the 1920s he developed his second model of the mind and this time posited that alongside the positive Life Force or Eros, of which reproduction and sex are merely subsets, an equal and opposite drive in all humans, indeed (he speculates) in all organisms, which he called the Death Drive or Thanatos: the widespread wish that the whole wretched business of life, all the anxieties and worries and responsibilities, not to mention illnesses and accidents, would all cease once and for all.

Thus Gilda’s wish for ‘something to pull over us like a gigantic eiderdown; something to deaden the sound of our emotional yellings and screechings and suffocate our psychological confusions’ is a textbook expression of the deep wish, a key component of all human minds – sometimes buried deep, sometimes (as here) freely acknowledged – for the whole stressful business just to end.

Anyway, this big speech is all preparatory to Gilda telling Ernest she is leaving. Leaving Leo and Otto. Running away. She feels stifled. She wants to be free. She wants to be her ‘unadulterated self’. She’s going to run away, stay in a hotel, go to Paris, no, Berlin. Explaining all this makes her feel very tender towards Ernest and she throws her arms round his neck. She leaves two letters on the desk and then leaves with Ernest.

The phone rings, Miss Hodge answers it and this prompts Otto to slouch out of his bedroom in his pyjamas and dressing gown. Miss Hodge lets him know she disapproves, and he tells her to go away and mind her own business.

Leo sneaks in through the front door, and for a moment mistakes the back of the head on the sofa and the cigarette smoke rising to be Gilda and shouts Hi honey, I’m home. So is appalled when it’s Otto who turns to greet him.

This turns into a row, with Leo telling him how vile he is, just as Otto told him how vile he was in the earlier scene. As with so much Coward, this is studiedly symmetrical and patterned.

OTTO: I said all that to you in Paris. Do you remember? I thought it was true then, just as you think it’s true now.

They have a long conversation about how they’re doomed to repeat the same situation (infidelity with Gilda). Leo says he needs to be tolerant which Otto, understandably, finds hard.

Then they notice the letters, reading them and concluding that Gilda has escaped. So, rather pathetically, they decide to get completely pissed on brandy and then sherry. Difficult for actors portraying steady descent into quite wild and then tearful drunkenness. Otto delivers a semi-drunken rant:

OTTO (with sudden fury): So many words! That’s what’s wrong with us! So many words—too many words, masses and masses of words, spewed about until we’re choked with them. We’ve argued and probed and dragged our entrails out in front of one another for years! We’ve explained away the sea and the stars and life and death and our own peace of mind! I’m sick of this endless game of three-handed, spiritual ping-pong—this battling of our little egos in one another’s faces! Sick to death of it! Gilda’s made a supreme gesture and got out. Good luck to her, I say!

Apart from the detail of it being a trio, the basic idea of being sick to death of choking themselves with words and dragging their entrails out, this could come from one of Elyot or Amanda’s rants in ‘Private Lives’.

Coward drags out this scene to inordinate length with Leo and Otto arguing at length, though it’s dressed up with fancy ideas, for example:

LEO: Science is our only hope, the only hope for humanity! We’ve wallowed in false mysticism for centuries; we’ve fought and suffered and died for foolish beliefs, which science has proved to be as ephemeral as smoke. Now is the moment to open our eyes fearlessly and look at the truth!

Which might mean something in a more serious play but, spoken by one of Coward’s superficial mannequins, comes over as flippant and inconsequential as everything else they say. For example, increasingly fanciful digressions, for example about the absurdity of the words ‘macaroni’ and ‘wimple’. Eventually they get so drunk that they embrace, sobbing helplessly.

So the act ends with two old friends having got hopelessly drunk and feeling hopelessly lonely and sad. Not immediately comic, in fact quite sad for us…

Act 3

Scene 1. Ernest’s apartment in New York, two years later

Like the gap of 18 months before Acts 1 and 2, two whole years is another long period of time to jump. So we find ourselves in Ernest’s New York apartment. Gilda has married Ernest and become a commercially successful designer. Ernest is away and, on this fine summer’s evening, Gilda is giving a reception for some important clients, namely: Henry and Helen Carver, ‘a comparatively young married couple, wealthy and well dressed’, and Grace Torrence, ‘slightly older, a typical Europeanized New York matron’.

Gilda has grown up. She is elaborately and beautifully gowned. Her manner has changed a good deal. She is much more still and sure than before. A certain amount of vitality has gone from her, but, in its place, there is an aloof poise quite in keeping with her dress and surroundings.

Gilda takes Grace off to show her something and Henry and Helen have an extended argument about the merit of interior decorators, Henry thinking it’s all a racket, Helen defending her. Couples fiercely arguing, it’s Coward’s basic situation.

Doorbell rings and Henry lets in… Otto and Leo, both in fine fantastical moods. They come over as very camp i.e. over self-consciously mocking everything everyone says.

OTTO: There’s something strangely and deeply moving about young love, Mr. and Mrs. Carver.
LEO: Youth at the helm.
OTTO: Guiding the little fragile barque of happiness down the river of life. Unthinking, unknowing, unaware of the perils that lie in wait for you, the sudden tempests, the sharp jagged rocks beneath the surface. Are you never afraid?
HENRY I don’t see anything to be afraid of.
LEO (fondly): Foolish headstrong boy.

This is deliberately aggressively offensive but cast in such suave politeness as to be hard to talk back to. Part of the purpose of camp which is a power play.

Otto and Leo’s fast-talking sophisticated banter startles and puzzles Henry and Helen. This is also a classic scenario – clever, fast-talking smartarses bewildering the normies. Which conceals, not very well, their anger. They are cattily, bitchily angry with Gilda and their anger quickly comes out, constantly teetering on the brink of… yet another argument, a fight, a flaring row. The basic Coward content.

Gilda responds to their aggressive flippancy with bitterness of their own and barely controlled fury. On a general point, lots of twentieth century drama seems to be about people behaving badly on stage. Drunken angry bitterness being the speciality of, for example, Tennessee Williams a generation later.

Their intense, recriminatory conversation drives Helen, Henry and Grace away. Grace recognises boorish behaviour when she sees it. Gilda insists Leo and Otto leave as well but secretly gives them a key and tells them to come back.

After they’ve all gone she compulsively finished one of the other’s drink, with tears in her eyes.

Scene 2. The same, the next morning

Ernest returns the next morning and is greeted by his Black servant who makes him a coffee, he puts down his luggage etc and then… Otto and Leo come down the stairs wearing his pyjamas and dressing gowns.

He is completely flabbergasted and triggers their ‘brazen impertinence’ i.e. more camp flippancy. They tell him they gatecrashed Gilda’s little party the night before, she gave them a key, but when they came back she had gone.

They call him ludicrous for claiming that Gilda is his wife, but they dismiss this as nonsense, claiming she belongs to them just as much as to him (Ernest).

Cue Gilda walking in and explaining that she spent the night at a hotel. Ernest explodes in anger but once again, as in the previous scene, it’s a case of the two tricksters, jokers, sparky and flippant and imaginative people, against the ‘normie’, Ernest, who can’t keep up with their smooth repartee. Just as straight-laced Victor couldn’t keep up with Elyot’s smart repartee in ‘Private Lives’. So:

ERNEST: I think your arrogance is insufferable. I don’t know what to say. I don’t know what to do. I’m very, very angry.

Of course he doesn’t know what to do. He’s the normie in a play about tricksters.

Now it turns out that Gilda has realised she is bored with her life with Ernest and so she’s going to leave him. She reveals that being her wife has no value to her, it’s been very convenient and comfortable but now she realises she has to go back to the tricksters.

Ernest tries to argue that Gilda knows too much to be taken back by them but she denies it. He thinks she’s gone mad but she declares they are all of a piece, they all share the same ‘difference’ from normal society which I commented on earlier.

GILDA: It’s silly to go on saying to yourself that I’m different from Otto. and Leo just because you want to believe it. I’m not different from them. We’re all of a piece, the three of us. Those early years made us so. From now on we shall have to live and die our own way. No one else’s way is any good, we don’t fit.

‘We don’t fit’, cry of the alienated teenager for at least the last 70 years. And more manifesto:

ERNEST: Your values are false and distorted.
GILDA: Only from your point of view.
ERNEST: From the point of view of anyone who has the slightest sense of decency.
LEO: We have our own decencies. We have our own ethics. Our lives are a different shape from yours. Wave us good-bye, Little Ernest, we’re together again.

Ernest accuses them of wallowing in a ‘disgusting three-sided erotic hotch-potch’. But the more angry he gets – the more he invokes conventional morality – the more flippantly amused the naughty threesome become and, as Ernest stomps to the apartment door, leaves and slams it shut, the threesome collapse into hilarious laughter.

Thoughts

I’ve made my main comments: not many comic lines; thin characters; the whole effect achieved almost entirely by the posh self-centred self-satisfied smug superiority of the characters, which the audience is invited to alternately identify with and/or laugh at.

What impresses, maybe, is the professionalism with which the initial premise or scenario is worked through, with clever structural echoes and parallelism. But it gets pretty monotonous at moments, since the audience quickly develops a strong idea of what’s going to happen.

Is it even a real ménage à trois?

Short answer, no. It isn’t. Our three heroes do not live in a relaxed happy ménage, so they? The opposite. What really happens is Gilda sleeps around, betraying first Leo, then Otto and then, a year or so later, her husband Ernest. It is not a ménage at all but the story of a serial adulteress or promiscuous woman. The idea that the three of them can somehow happily co-exist only really comes at the end, in the Betraying Ernest scene.

But again, as with The Vortex, there’s little point judging the scenario by our own modern standards: in its day, the play’s timid hints at a genuine ménage were enough to cause shock and scandal among the bourgeois newspapers, critics and staid theatre goers.

Mocking the provinces

I wonder how long the English upper classes have been mocking the provinces. Maybe since the Norman Conquest. One of Coward’s other plays mocks Newcastle, and there’s a slight dig here.

GILDA: Have you been married much, then?
MISS HODGE: Twice, all told.
GILDA: Where are your husbands now?
MISS HODGE: One’s dead, and the other’s in Newcastle.
GILDA (smiling): Oh.

More sustained metropolitan snobbery is dispensed by Otto in Act 2.

OTTO [drawing up a chair]: What delicious-looking ham! Where did you get it?
GILDA: I have it specially sent from Scotland.
OTTO: Why Scotland?
GILDA: It lives there when it’s alive.
OTTO: A bonny country, Scotland, if all I’ve heard is correct, what with the banshees wailing and the four-leaved shamrock.
GILDA: That’s Ireland, dear.
OTTO: Never mind. The same wistful dampness distinguishes them both.

A post-colonial interpretation

Hilarious (that’s sarcasm). But if you were an Irish nationalist, an Indian nationalist, any educated inhabitant of one of Britain’s 57 colonies, dominions, territories, or protectorates, you might have read this kind of thing as precisely the kind of ignorant, self-centred, privileged, smug indifference that you had to shoot your way through in order to gain independence.


Related links

Related reviews

Leonard Woolf: A Life by Victoria Glendinning (2006)

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(page 151)

‘If it were not for the divine goodness of L. how many times I should be thinking of death.’
(Virginia Woolf diary 28 May 1931, quoted p.291)

Having read most of Virginia Woolf’s adult work, why read a biography of her husband, Leonard, and not her?

1) Because I’d had enough of Virginia: the essays finished me off, my cup overflowed with Woolf style, snobbery and delirium. 2) I’d learned most of the important facts about her life from the short biographies and notes in each of her novels, and the essays. 3) These notes sometimes referred to books by Leonard, notably a book he wrote called Quack! Quack! mocking the 1930s dictators, Mussolini and Hitler, which intrigued me. He wrote two novels, over 15 books of political science, was a committed socialist, literary editor, publisher, and wrote six volumes of autobiography. Does anyone ever read these? No.

So 4) Leonard is the underdog. The critical industry around Woolf is now mountainous – as Glendinning puts it, ‘There is a small mountain of books and articles on the life and work of Virginia Woolf’ (p.502) – and will only increase year by year. She is a patron saint of feminist writing, as iconic as fellow feminist saints Frida Kahlo and Sylvia Plath. There are lots of biographies of her, hundreds of books and tens of thousands of critical essays about her writing. But what about the mystery man who loved and supported her throughout the years of her great achievements, who tried to manage her recurring bouts of mental illness, who co-founded and ran their famous Hogarth Press? Let’s find out.

Jewish

Woolf was Jewish. He came from a large and extensive Jewish family. I enjoyed Glendinning’s handy summary of the history of the Jews in England, their slow liberation from various legal and customary restrictions during the nineteenth century, and then the transformation in the size of the Jewish population and in attitudes towards them triggered by the mass immigration of Jews from Russia in the 1880s and ’90s.

This more than quadrupled the size of the Jewish community in England and, because so many of them were very poor, from peasant communities, and often settled in the slummiest parts of the East End, it was this mass influx which gave rise to the casual antisemitism you find (distressingly) in so many Edwardian and Georgian writers (Saki and D.H. Lawrence spring to mind. The fact that Virginia includes antisemitic comments in some of her novels, and was regularly casually antisemitic in her letters and diaries – ‘I do not like the Jewish voice, I do not like the Jewish laugh,’ (p.189) – requires a separate explanation).

Father

Woolf was born in London in 1880, the third of ten children of Solomon Rees Sidney Woolf (known as Sidney Woolf), a barrister and Queen’s Counsel, and his wife Marie, maiden name de Jongh). Both parents were Jewish, and from extended families. This is why Glendinning needed four pages to depict the full, extended family trees of both parents. At various points, family members are quoted jokingly referring to it as ‘the Woolf pack’. From time to time grown-up Leonard, feeling sorry for himself, referred to himself as ‘a lone Woolf’.

The family lived at 101 Lexham Gardens off the Earl’s Court Road. The household was:

an example of a typical, well-to-do Victorian way of life, underpinned by an unquestioned social hierarchy and set of values. (p.13)

As a young man Leonard was conscious of ‘the snugness and smugness, snobbery, its complacent exploitation of economic, sexual and racial classes’ (quoted p.15).

We are told all kinds of things about Sidney Woolf but the single most important fact is that he died in his prime, in 1892, aged 47 (p.23). He had earned a lot as a lawyer and that income ended overnight. Now relatively impoverished his widow, Marie, was fortunate enough to have a legacy to live off. She hung on at Lexham Gardens for two years then moved the family to a smaller house further out of town – 9 Colinette Road, off the Upper Richmond Road in Putney.

School

After prep school, Leonard was sent to the prestigious St Paul’s School in west London. Lots of anecdotes, prizes and whatnot, but the important thing is that it was as a slight, shy, Jewish teenager that he developed what he called his ‘carapace’, the protective shell he was to deploy for the rest of his life.

Trinity College, Cambridge

In 1899 he won a classical scholarship to Trinity College, Cambridge. Glendinning vividly paints how he encountered a small group of fellow undergraduates who became soul mates, including the flamboyant Lytton Strachey and the hulking great Thoby Stephen, nicknamed The Goth, son of the biographer Sir Lesley Stephen and brother of the sisters, Vanessa and Virginia Stephen, the second of which Leonard was, of course to marry. But Strachey was the man. Before he’d arrived at Cambridge Strachey was a fully-formed individual with outrageous views and a particular way of speaking which influenced all his friends. Leonard became closer to Lytton Strachey than anyone else in the world, calling him ‘the most charming and witty of human beings since Voltaire’ (p.189).

I tend to think of E.M. Forster as being an old man, but he was actually a year younger than Leonard and they got to know each other at Cambridge.

Leonard was elected to the elite discussion society called The Cambridge Apostles and it is fascinating to learn the rules of this elite club and the kind of topics they discussed. When I was a sixth-former I read A.J. Ayer, learned about Logical Positivism, and went on to read Wittgenstein, all of which convinced me that talk of Beauty and Love and Truth and God is enjoyable, entertaining but ultimately meaningless.

More precisely, they may have a psychological importance and impact on the people who discuss, write and read about such topics, but they don’t really relate to anything in the real world. They derive from a misunderstanding of language. Because we talk about a good meal, a good person and a good day, it’s easy to be deluded into thinking there must be something they have in common. Plato started the ball rolling by writing dialogues in which Socrates and his followers endless debate the True Nature of The Good. Two and a half thousand years later, clever undergraduates at Cambridge were doing just the same.

I follow Wittgenstein in believing there can be no answer to these kinds of questions because they are non-questions based on a misapplication of language. Viewed from a correct understanding of language i.e. that language consists of a vast number of language games – then any given use of language may or may not be appropriate to the vast number of language games people continually play, invent and evolve and self-important Oxbridge discussions of these great big concepts simply take their place among myriads of other linguistic interactions.

Anyway, all this was to come. For the time being these clever young men thought Truth and Beauty were excellent subjects to write long papers about and present at gatherings of like-minded chaps who all considered themselves part of a literally self-selecting intellectual elite, the Apostles. Members of the Apostles included Leonard, Strachey, E. M. Forster and a year or so later, John Maynard Keynes. Thoby Stephen (his future wife’s brother) was friendly with the Apostles, though not a member himself. What comes over from Glendinning’s comprehensive accounts of these meetings and discussions is how absolutely irrelevant everything they discussed is to us today. Here are the dates of Leonard and significant contemporaries:

  • E.M. Forster b. 1879
  • Lytton Strachey b.1880
  • Thoby Stephen b.1880
  • Leonard Woolf b. 1880
  • Clive Bell b.1881
  • John Maynard Keynes b.1883

G.E. Moore

All of them were deeply in thrall to the moral philosopher George Edward (G. E.) Moore (1873 to 1958), himself an older member of the Apostles. They were still undergraduates when Moore published his influential book, Principia Ethica, in 1903, which was concerned with that age-old problem, What is the good? Moore decides that ‘the good’ is ultimately unknowable, so that:

By far the most valuable thing, which we can know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects.’ (p.63)

1. The pleasures of human intercourse and 2. the enjoyment of beautiful objects. Friends, lovers and art. Or, as Wikipedia summarises it:

that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind, and in intensifying experience by contemplating great works of art,

Moore’s conclusions led his book to be treated as a kind of Bible by the network of friends which came to be known as the Bloomsbury Group, validating their belief that human relationships are what count most: Love and Beauty. Sounds like Keats, doesn’t it, from almost a century earlier? Glendinning quotes John Maynard Keynes’s extravagant response to Moore’s theory: ‘It seemed the opening of a new heaven on a new earth’ (p.64).

The thing to understand is that the younger generation experienced this as a tremendous liberation from the oppressive burden of Victorian beliefs in duty and honour and nation and empire and queen and country and all the rest of it. For believers like Leonard the book stripped away centuries of oppressive religious beliefs, shedding the calm light of common sense on the agonising questions of how to live and what to believe.

‘Isn’t that the supreme, the only thing – to be loved.’ (Strachey, quote p.98)

But there were plenty of critics who mocked these earnest young believers. Glendinning quotes Beatrice Webb’s shrewish view that the book had little or no value and simply gave the young generation who worshipped it ‘a metaphysical justification for doing what you like’ (p.65).

Glendinning herself criticises the Principia because:

  1. Its unquestioning definition of The Beautiful was heavily Victorian and becoming out of date as the new aesthetics of the 20th century kicked in
  2. Moore’s idea of the good life was very passive and quiescent i.e. simply ignored the active life of politicians, engineers, administrators, people who did things. It was a privileged academic’s conclusion that the best possible way of life was… to be a privileged academic.
  3. No sex please, we’re British: Moore’s ‘asexual mind-set seemed to preclude the “intrinsic value” of any “state of consciousness” elicited by anything more urgent than affection’ (p.63). In other words, Moore’s was a very pallid, underpowered, sexless view of human emotions.

Choice of career and the Civil Service exam

Woolf was awarded his BA in 1902 but stayed on at Cambridge for another year to study for the Civil Service examinations which he took in the summer of 1904. He got a low pass, 69th in the list, and was offered a job as an imperial administrator in Ceylon. First he went the round saying goodbye to his uni friends and this included dinner at the Stephens new house. Sir Leslie Stephen had recently died (February 1904) and his children had moved out of the gloomy family house in Hyde Park Gate to a roomier lighter one in Bloomsbury. Visiting his friend Thoby (the Goth), meant meeting the two beautiful sisters, Vanessa and Virginia. Glendinning points out that the latter was still recovering from the nervous breakdown triggered by her father’s death, one of what was to become a string of breakdowns and mental health problems. During this breakdown she had made the first of several suicide attempts (p.129).

Ceylon

Woolf was in Ceylon for 7 long years, 1904 to 1911. Glendinning makes the point that he met hundreds of native Sinhalese and Tamils but never became friendly with one of them. He liked Ceylon, some of the scenery was breath-taking. He wrote that the jungle:

‘is a cruel and dangerous place, and, being a cowardly person, I was always afraid of it. Yet I could not keep away from it.’ (quoted p.109)

, but he became an increasingly conflicted imperialist. As he was slowly, systematically promoted, he found himself adjudicating law cases and arguments and realised the only thing to do was be as strict and impartial as possible. At the same time he came to hate the impact many imperial laws and restrictions had on the natives.

Glendinning gives a vivid and fascinating account of all this, based on the twin sources of the official diary he kept of his duties, along with the many letters he exchanged with his friends back in England, Thoby, a friend called Saxon but above all Lytton Strachey.

He lost his virginity to a Singhalese woman and seems to have had occasional sexual encounters, but didn’t keep a native mistress as many other young male imperial administrators did.

The conversation of whores is more amusing than the conversation of bores.

The correspondence with Lytton back in England, in Cambridge, is extraordinarily candid about sex. Lytton deploys what he himself calls ‘the dialect of their intimacy’ (p.146). Lytton was a promiscuous homosexual who needed to be falling in love with new young men all the time. Glendinning quotes liberally from his letters which depict not just his sex life, but the sex lives of those in their set or circle, including Duncan Grant, Clive Bell and Keynes. For example, where he explains that he is having an affair with Duncan Grant, who is also sleeping with Keynes. Lytton and the others delighted in using the word ‘copulate’, in a self-mocking tone.

‘I copulated with him [Duncan] again this afternoon, and at the present moment he is in Cambridge copulating with Keynes.’ (p.115)

As always, it’s the promiscuity of gay men which staggers me, compared with the, as far as I can tell, complete chastity of their female contemporaries, specifically Virginia and Vanessa.

A note that Leonard’s sister, Bella, came out to Ceylon in 1907. She married a colonial administrator, Robert Heath Lock, Assistant Director of the Peradeniya Botanical Gardens, near Kandy in 1910. She wrote children’s books and the first tourist guide to Ceylon. She was one of many voices advising Leonard to get married. She merits a Wikipedia page of her own.

The Longest Journey

While Leonard was in Ceylon, his friend E.M. Forster published an autobiographical novel, The Longest Journey which describes the coming-to-maturity of young Frederick ‘Rickie’ Elliott, including lengthy descriptions of his time as an undergraduate at Cambridge. Critics think the character of Stewart Ansell, the clever student which Rickie’s and their circle look up to, is at least partly based on Woolf. Certainly the flashy pseudo-philosophical conversations at Cambridge which the novel opens with, are based on The Apostles. Woolf and Strachey both hated it.

Back from Ceylon

After seven years service Leonard was given an extended leave to return to England. Glendinning quotes many of the colleagues and managers in the Colonial Service who advised him to get married. it’s interesting to read the opinions of quite a few contemporaries all advising that marriage is the best thing or only thing which a young man can do to acquire focus and purpose in his life. ‘Marriage was the only way forward’ (p.120).

We know from their letters and diaries that it was Lytton who first proposed to Virginia, in a panic that she might accept (p.114). You have to have followed the text quite closely to understand why this flamboyant queer would even consider such a mad move in the first place. She sensibly turned him down.

Virginia’s character As the focus of the story turns towards Virginia Stephen, Glendinning gives a useful profile and description of her (pages 128 to 130). The bit that stood out for me was the notion that her mother was aloof and distant, so that the girl Virginia hardly ever had time with her alone.

In adolescence and beyond, she became emotionally attached to older women. (p.128)

Aha, I thought – this sheds light on the warmth and fondness for mother figures and older women which you find in her fiction – Betty Flanders, Clarissa Dalloway, Mrs Ramsay, Lucy Swithin.

Virginia’s physicians We learn about the wonderfully named Dr Savage, the physician treating her mental illness, and that he had treated her father for depression, and one of her cousins, who ended up committing suicide. Also, we learn that her sister, Vanessa, was also prey to anxiety and depression. She had her own ‘nerve doctor’, Dr Maurice Craig of 87 Harley Street. So was it genetic?

Brunswick Square The Stephens children moved again, to 38 Brunswick Square, and invited several friends to move in and take rooms. Among these was Leonard who moved in on 20 November 1911. Their wooing was slow and painful.

The Aspasia Papers Constant company led Leonard to fell deeper and deeper in love with the beautiful, mercurial, charismatic Virginia, who he came to nickname Aspasia. This was the name of the wife of Pericles (495 to 429 BC), leader of Athens during its so-called Golden Age. He wrote descriptions of her and these expanded to become sketches of the entire social circle or set, all under pen-names, eventually called the Aspasia Papers. The whole gang he joking referred to as The Olympians.

Leonard proposes to Virginia On 10 January 1912 he proposed to her. This upset her so much she took to her bed. But over the following weeks he maintained his suit and the great day came on Wednesday 29 May when she acknowledged the loved him. They told the gang who reacted in different ways. Rupert Brooke claimed it was Leonard’s sexual know-how that got her. He described her eyes lighting up when Leonard described having sex with prostitutes in Ceylon. Put simply, he was the only man she knew who wasn’t gay and had had sex. With a woman!

He was 31, she was 30, both getting on a bit.

Quits the Colonial Service The Colonial Office required him to end his leave and return to Ceylon by May at the latest but Leonard realised he couldn’t go back, and after some surprising shows of flexibility by Whitehall, he eventually resigned his position. Now what was he going to do? He was writing a novel and had written some short stories, but hadn’t made any money from them.

Wedding They were married on Saturday 10 August 1912 at St Pancras Registry Office, a very small low-key affair. As Glendinning puts it:

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(p.151)

And both faults lay behind his failure to invite his mother to the wedding. Not being invited to the most important day of a son for whom she had made such sacrifices as a single mother deeply hurt her.

Sex

Glendinning (like all their friends) moves onto the subject of sex. Virginia seems to have got to the ripe old age of 30 without every experiencing sexual feelings. This is what you’d deduce from her novels and essays which have a kind of hallucinatory sexlessness. So she didn’t have a clue and he wasn’t savvy enough to be a teacher. He’d only slept with a few Singhalese prostitutes and prostitutes are 1) experienced and 2) compliant. Apparently when Leonard went to make his move, Virginia became increasingly anxious and over-excited in the way which preceded her breakdowns so he had to desist. Permanently.

Glendinning cites a letter exchange of 1933 with Ethel Smyth the feminist composer, where they talk about a news story that young women are having operations to break their hymens ahead of getting married, and joke about going to have the operation themselves. Woolf was 51 and apparently serious. Glendinning concludes from this and plenty of other evidence that Leonard and Virginia never had penetrative sex, so the marriage was never consummated in the normal way. Within a year they took to sleeping in separate rooms and never again slept together.

Events

Breakdown and suicide attempt After the marriage Virginia’s anxiety, nerves and depression grew worse. She became extremely anxious about the likely reception of her first novel, ‘The Voyage Out’. They went to the country hotel to celebrate the first anniversary of their honeymoon but it was a disaster. Virginia had high anxieties about food and refused to eat. Back in Brunswick Square, unattended for a few hours, she took an overdose of veronal (100 grains of veronal) sleeping pills. Prompt action by Keynes’s brother, Geoffrey who was staying in the house, and a stomach pump, saved her life but this necessitated a round of carers, nurses, consultations with the three physicians now treating her.

The Village in the Jungle In the middle of all this Leonard’s first novel, The Village in the Jungle, was published to good reviews. It’s set in Ceylon but not among the white ex-pat and colonial community, instead it entirely habits the minds of poor Singhalese villagers. And it’s written in what, for the times, was very plain factual English, what Glendinning calls ‘spare and unmannered’. Woolf’s old boss, Sir Hugh Clifford, wrote that:

‘Your book is the best study of Oriental peasant life that has ever been written, or that I have ever read.’ (p.168)

It’s available online and I’ve read and reviewed it for this blog.

Virginia Woolf was five feet ten inches tall. She had a ‘cut glass accent’ (p.299).

The Women’s Co-operative Guild The misery with Virginia lasted for months. Throughout this period Leonard became involved with the Women’s Co-Operative Guild, led by its young and energetic president, Margaret Llewelyn Davies. He went to meetings and the annual conference and write articles to promote their work.

He was by this stage writing lots of articles and reviews for a variety of journals, including the New Statesman.

Exempted from war service When the war came the army was at first fuelled with volunteers. The Military Service Act of 1916 widened the age of conscription to all men aged between 16 and 41. Leonard was 35 but underweight and anxious, with a permanent tremor in his hands. In the next three years he underwent three medical examinations but each time presented a letter from his doctor exempting him, predicting that if he were conscripted he would have a physical and mental breakdown within months.

The Fabian Society As well as the Women’s Co-Operative, Leonard had been collared by Sidney and Beatrice Webb, leading lights of the Fabian Society, who were always recruiting likely young chaps for their cause. Sympathetic to gradualist socialism based on facts and figures, Leonard was commissioned to research and write various reports. Thus in 1916 was published the result of extensive researches, his International Government. The book’s central proposal was for an international agency to enforce world peace, and he went on to join a number of the organisations lobbying for a League of Nations to be set up, becoming friendly with the genial H.G. Wells in the process.

Labour Party Leonard joined the Labour Party and helped research and write policy papers. Women’s Co-Operative, League of Nations charities, Fabians and Labour, he wrote research papers, pamphlets and books for all of them. His next book was the thoroughly researched Empire and Commerce in Africa.

1917 Club As a left-winger Leonard welcomed the Russian Revolution. As promptly as December 1917 he helped set up the 1917 Club in Soho as a discussion forum.

The Hogarth Press In 1917 the couple bought an old printing press for £19 and set it up on the dining room table of Hogarth House in Richmond and taught themselves how to use it, to print pages and stitch them together into books. Their first publication was Two Stories, one by Leonard, one by Virginia. Hers was The Mark On The Wall, a free-associating flight of fancy. It was her first published story. His old friend Lytton Strachey immediately saw it was a work of genius. But as Virginia’s confidence grew, Leonard’s shrank. He had published two novels but began to lose faith. He was happier writing factual books.

Mark Gertler, Lady Morrell, Katherine Mansfield They make friends with Mark Gertler, self-obsessed Jewish painter and lover of Dora Carrington. At Garsington Manor, home of Lady Ottoline Morell, they meet the New Zealand short story writer Katherine Mansfield and her husband, the editor John Middleton Murray. They agreed to published Mansfield’s 68-page story The Prelude on their press

Leonard produced another book, Co-operation and the Future of Industry and agreed to edit a journal called International Review. The publishing sensation of 1918 was his old friend, Lytton Strachey’s debunking work of biography, Eminent Victorians.

In the war one of Leonard’s brothers, Cecil, was killed and one, Philip, badly wounded.

Recap When the war ended Glendinning summarises that Woolf had established himself as a documentary journalist and political propagandist, an experienced public speaker and author of distinguished books, as well as a seasoned book reviewer, and publisher in his own right. He was a behind-the-scenes figure in the growing Labour Party and was offered a seat to contest as an MP but, after some hesitation, turned it down.

James Joyce In April 1918 Harriet Weaver, patron of The Egoist magazine, approached them with the unfinished manuscript of James Joyce’s Ulysses but they had to turn it down. Far too big for their expertise, it was rejected on the grounds of obscenity by the two commercial printers they approached. Obscenity was Virginia’s central objection to Joyce, see her essay Mr Bennett and Mrs Brown (1923). She couldn’t get past her snobbish aversion to his references to peeing, pooing and the male anatomy. (The book’s central character, Leopold Bloom, has a bath and idly watches his willy floating in the water.) In her own fictions, almost all references to the body, let alone sex (God forbid) are rigorously excluded, which helps to give them their strange, bloodless, ethereal character.

Woolf’s problematic reaction to Joyce (admiration, envy, rivalry, disgust at his physicality) are explored in two excellent essays by James Heffernan:

T.S. Eliot Conversation with Weaver turned to her other protegé, T.S. Eliot, who they invited to tea to discuss whether he had anything to publish. As a result they published seven of his poems in a small edition of 140 in November 1919. Initially stiff and inhibited, Eliot became friends with Virginia who referred to him, unpretentiously, as Tom. He, like Leonard, was to become carer to a mad wife. He was six years younger than Virginia (born 1888 to Virginia’s 1882). (Later Glendinning wryly notes that ‘Eliot continued to consult Leonard as an expert on mad wives,’ p.265. Ten years later they could have both helped Scott Fitzgerald with Zelda.)

Monk House In 1919 they were meant to go down to Cornwall to join the ménage which had been set up by D.H. Lawrence, his wife Frieda, Middleton Murray and Mansfield – but never did. They had been used to a place in the country named Asheham House but it was sold by the owner. They looked around and settled on Monks House in the village of Rodmell in Sussex. They paid £580 plus £120 for the freehold. This is now a National Trust property. When they moved in it had no running water, electricity or toilet facilities. These two highbrows put up with conditions which would nowadays as unfit for human habitation. Leonard became addicted to working in the garden and had to be dragged away to take Virginia for constitutional walks.

Back in London they bought a bigger press and began to consider the Hogarth Press as a commercial venture. They published Virginia’s story, Kew Gardens. It was 1919 the year of the Paris Peace Conference and Leonard nearly went. They printed Leonard’s Three Tales from the East with a cover by Dora Carrington, to very positive reviews.

Friends’ success Lytton had become a famous name with his Eminent Victorians and Keynes became famous for writing a scathing indictment of the peace terms imposed on Germany in The Economic Consequences of the Peace (December 1919). But although much of Leonard’s research for International Government was used by the British government or other organisations at the Conference, he got little recognition.

Empire and Commerce in Africa: A Study in Economic Imperialism (1920) a scathing indictment of British imperial policy in Africa. He was writing for the New Statesman and wrote leading articles on foreign affairs for the Nation. He was secretary to the Labour Party Committee on International and Imperial Questions. He was in the loop.

The Memoir Club Molly McCarthy set up the Memoir Club to bring together old pals from Cambridge to read works in progress. A propos of this you realise that Leonard, the man, was the objective authoritative and grounded one; Virginia, the woman, was flighty, solipsistic, experimental (p.237).

Gorki and the Russians In 1919 Maxim Gorky sent a friend of theirs, Kotelianski, a manuscript of his life of Trotsky, which he brought to the Woolfs. Thus began a series of careful translations of contemporary Russian literature by the Hogarth Press.

Teeth out In June 1921 Virginia had another nervous collapse. It is mind-boggling to read that some experts thought that having your teeth extracted was a cure from mental illness. On this occasion she had three pulled out. By the end of her life she’d had all her teeth pulled out by these experts.

Jacob’s Room In November 1921 she finished writing Jacob’s Room but with the end of any book came a rush of doubt, anxiety and sometimes collapse. She had come to rely on Leonard entirely, and he had evolved to know his place was by her side and supporting. At the time of the peace conference he had been asked to travel abroad, the Webbs asked him to visit Bolshevik Russia and report back, but he turned all offers down in order to remain by Virginia’s side. This makes him a hero, doesn’t it?

Passage To India Leonard played a key role in helping Morgan Foster complete his most important novel, A Passage To India, when Forster had severe doubts and thought of abandoning it (p.242). Passage was published in 1926 and made Forster famous and financially secure. Leonard was the grey eminence behind it.

Stands for Parliament Leonard stood as a Labour candidate for Liverpool in the 1922 General Election but, thanks to his lacklustre speeches about international affairs and against imperialism, came bottom of the poll. It was a relief.

Literary editor

‘I expect you have heard that, having failed as a) a civil servant b) a novelist c) an editor d) a publicist, I have now sunk to the last rung… literary journalism. I am now Literary Editor of The Nation and Athenaeum.’ (letter to Lytton Strachey, 4 May 1923)

The salary, £500 a year, gave the couple some financial stability and coincided with the start of ‘the most prolific and successful period of Virginia’s writing life’ (p.248). She had published Jacob’s Room and started the long process of writing Mrs Dalloway and was, in addition, writing important essays and reviews.

Leonard’s literary positions Wikipedia gives a handy list of Leonard’s editorial positions:

  • 1919 – editor of the International Review
  • 1920 to 1922 edited the international section of the Contemporary Review from 1920 to 1922
  • 1923 to 1930 – literary editor of The Nation and Athenaeum (generally referred to simply as The Nation)
  • 1931 to 1959 – joint founder and editor of The Political Quarterly from 1931 to 1959

The Waste Land It’s a bit mind-boggling to learn that the Hogarth Press published The Waste Land and the type was set in the household larder. ‘Tom’ was pleased with the typescript and layout. In the same year he established a literary magazine of his own, the Criterion and he and Leonard now were friendly and conspiring literary editors, swapping reviewers and ideas. Tom became a regular visitor to their house, mostly alone, in fact maybe a bit too often as his marriage with the mentally unstable Vivian sank into misery.

Glendinning very entertainingly punctuates the key events of Leonard’s life with a roundup of what all the other Bloomsburies were doing, which is mainly having hetero or bisexual affairs with each other. A little grenade was thrown into the mix when Keynes announced he was not only in love with, but going to marry a dancer from the Ballets Russes, Lydia Lopokova (p.249).

52 Tavistock Square Virginia felt out of it in Richmond and wanted to socialise more. So they sold Hogarth House (for £1,350) and rented 52 Tavistock Square for £140 a year.

Vita Sackville-West At this time Virginia met and became friends with socialite and author Vita Sackville-West. She was married to diplomat Harold Nicholson but they led separate lives, he with a string of boyfriends, she having affairs with women and, eventually, with Virginia. They became ‘tentative’ lovers for about three years. But sex was alien to Virginia’s nature and Vita was a passionate collector of conquests.

Labour As well as working full time as literary editor of the Nation, he continued to be secretary to Labour’s Advisory Committee on International and Imperial Questions. He drafted the foreign policy section of Labour’s 1929 manifesto. Throughout the 1920s he campaigned for India and Ceylon to be given independence. If they had, he later wrote, the murder and mayhem of the independence struggle and the catastrophe of partition would never have happened.

Freud The Hogarth Press embarked on publishing the complete works of Freud being translated by James and Alix Strachey. This project carried on into the 1960s, long after Leonard had parted company with Hogarth, and they’re the edition I own, as republished by Penguin. Despite this, Leonard grew more anti-analysis as he grew older. I’ve reviewed quite a few of Freud’s works:

Vita It became a love affair in December 1925. They took trouble to conceal the full depth of it from Leonard.

Car In August 1927 he bought a car. He drove Virginia all round the country. They drove to the south of France. He wrote that nothing changed his life as much as owning a car.

Mrs Dalloway was published by the Hogarth Press on 14 May 1925. The Common Reader, a volume of 21 short literary essays, was published the same year, and the following year was the first one in which Virginia’s income exceeded Leonard’s. In 1927 her masterpiece To The Lighthouse was published. In 1928 she earned £1,540 to his £394.

Nicknames Virginia never called him Len, she called him Leo. From the start of the marriage they had numerous nicknames for each other but the enduring ones were the Mongoose and the Mandrill. Before she married, Virginia’s nickname in the Stephen household was ‘the Goat’.

They went to Berlin to visit Harold Nicholson, it was a long draining visit with many late nights, and on her return she had a relapse and was in bed for three weeks. Glendinning quotes her as saying she really wanted ‘the maternal protection which… is what I have always wished from everyone’. Suddenly, reading that, I saw how Woolf was a child, endlessly seeking reassurance. And it made me see her novels as essentially childlike, a sexless, jobless, workless, child’s-eye view of life.

Orlando: A Biography was published on 11 October 1928 and sold well, securing their finances. A year later, in October 1929, A Room of One’s Own was also successful.

Richard Kennedy, 24, was the latest young graduate taken on to help out at the Hogarth Press. He describes how Leonard was:

the magician who keeps us all going by his strength of will… and Mrs W is a beautiful, magical doll, very precious but sometimes rather uncontrollable.’

He describes how, when she was lifting off into one of her manic spells, Leonard would gently tap her on the shoulder and she would stop talking, and quietly follow him, go to her bedroom where he talked quietly, read to her and calmed her down. Leonard had to warn new people what they could not say to Virginia to avoid a problem/getting her over-excited. I hadn’t realised she was this on the edge, all the time.

Ethel Smyth During 1930 Virginia gets to know the deaf, feminist composer Ethel Smyth and they become regular, and sometimes bawdy, correspondents. Smyth was 72, Virginia 48. Here’s Smyth’s most famous work, The March of The Women. Very worthy, but heavily Victorian and boring.

New Fabian research Bureau Leonard is appointed to its executive committee in 1931.

Kingsley Martin, an earnest young nonconformist, is appointed editor of the New Statesman which he would remain for 30 years. Leonard became joint editor of the Political Quarterly which he remained for the next 27 years.

The Hogarth Press published 31 books or pamphlets in 1930, 34 in 1931.

John Lehmann just down from Trinity Cambridge, was hired to work on the Press. He lasted two years. While here he published New Signatures, the selection which introduced the poets of the Auden generation. He introduced the Woolfs to Christopher Isherwood. They published Laurens van der Post’s first book. The more I read about the Hogarth press, the more impressive it becomes.

Glendinning cites eye witness accounts from Lehmann, Barbara Bagenal and Harold Nicholson of how Virginia needed Leonard to calm her when she got over-excited or had a fugue, a loss of awareness of where she was or what she was doing (p.294).

There are plenty of eye witnesses testifying to how happy Leonard and Virginia were at Monks House, how relaxed with each other and a civilised routine. Visitors heard Virginia endlessly talking to herself, in the bath, as she pottered round the big garden, and along country lanes, so that the locals came to think of her as bonkers. The servant Louie Everest came to recognise when Virginia was having one of her bad headaches because she pottered round the garden, bumping into trees.

1932

21 January: Lytton Strachey died of cancer. Leonard wrote a sensitive obituary. He had been Leonard’s best friend in their youth. His death confirmed Leonard was middle aged.

11 March, Lytton’s partner, the painter Dora Carrington, shot herself.

Mains water is brought to Monks House and they get a telephone, Lewes 832. Virginia buys new beds from Heals.

1 October Oswald Mosley founded the British Union of Fascists. Marches, rallies and violence in the East End. The Woolfs were connected to all this because up till this point Virginia’s lover, Vita Sackville West’s husband, Harold Nicholson, had been secretary to Mosley. Now he quit.

Conversely, T.S. Eliot‘s mentally unstable wife, Vivian, joined the Fascists. Eliot separated from her and never saw her but she stalked him and made public scenes. Virginia sympathised and ‘Tom’ became a good friend and regular visitor to their London or Sussex house.

1933

1933: Victor Gollancz asked Leonard to edit An Intelligent Man’s Way to Prevent War. This is the same subject as prompted Virginia’s great book, Three Guineas. In April Mosley held a rally for 10,000 followers at the Albert Hall. Leonard and the Fabians thought he might be in power in five years’ time.

1934

July: they visited the fabulously wealthy Victor Rothschild and promised to look after his pet marmoset while he went abroad. It was called Mitzy and became so attached to Leonard’s kindness that she never went back. She perched on Leonard’s shoulder or head and the back of his jacked was routinely strewn with her poo.

5 to 10 September: Leonard listens to the Nazi Nurenberg rally, relayed on the radio. He was inspired to write his satire on the totalitarian regimes, Quack Quack!

9 September: art critic and populariser of the French post-impressionist painters, Roger Fry, died. Vanessa had had a fiercely sexual affair with him (13 years older than her) and was inconsolable. Slowly the idea crystallised that Virginia should write his biography. This was to turn into a chore and produce a not very good book.

1935

May: Driving to Italy Leonard decided to take a detour through Nazi Germany. Glendinning points out that in his autobiographies he doesn’t mention the antisemitism of the 1930s, doesn’t mention Mosley or the British Union of fascists. She thinks this is because he didn’t want to put down in black and white even the possibility of his country’s rejection of himself, as a Jew. The British Foreign Office advised Jews not to visit Hitler’s Germany. Brief description of their journey through Nazi Germany, soldiers everywhere, public notices against Jews, mobs of children giving the Nazi salute. They had taken Mitzy the marmoset with them who made people laugh and defused tensions.

June: published his attack on the Fascist governments, Quack Quack!

September: Nazi Nuremberg Race Laws Jews legally different from their non-Jewish neighbours introducing all kinds of legal discrimination.

September: Leonard and Virginia attended the Labour Party Conference where Ernest Bevin argued that Britain had to rearm to face the Fascist powers, annihilating pacifist speaker in the process.

2 October: Mussolini invaded Abyssinia. Sanctions were useless as didn’t include Germany or the USA. Leonard wrote bleakly about the failure of the League of Nations. He had spent 20 years arguing that the only way to keep peace was international co-operation. Now he was forced to abandon that position and agree with Bevin that Britain needed to re-arm and make itself strong.

1 November: UK General Election in which Labour were thrashed and the new coalition government of Conservatives along with small breakaway factions of the Labour and Liberal parties, was headed by Conservative Stanley Baldwin.

Tom Eliot brought Emily Hale, a former love and confidante, to meet Leonard and Virginia, who left a record of their tea, finding Leonard more sympathetic, warm and tired.

1936

20 January: King George V died, succeeded by his son, Edward VIII.

6 March: Hitler’s troops reoccupied the Rhineland in breach of the Versailles Treaty. The atmosphere of growing antisemitism in Britain. British Union of Fascists symbols drawn on the walls.

Trying to finalise The Years and separate out the polemical book which was to become Three Guineas brought Virginia closer to breakdown than she’d been since 1913. She lost half a stone and for over three months was unable to work, an unusual hiatus. Only in the last 3 months of the year could she resume work on what was to be her longest novel.

July: Spanish Civil War broke out with the army’s coup against the republican, anti-clerical socialist government. Leonard concluded the international system had collapsed and a European war was inevitable.

Sunday 4 October: the Battle of Cable Street as anti-fascists attacked a march by the British Union of Fascists through the East End.

5 to 31 October: the Jarrow march.

19 December: after a prolonged constitutional crisis, Edward VIII abdicates because of the Establishment’s refusal to let him marry the American divorcee, Wallis Simpson.

1937

Leonard was ill for an extended period of time. Glendinning thinks it expressed his anguish about the international situation and dread for the plight of the Jews. He tried various consultants who thought it was diabetes or prostate trouble i.e. didn’t have a clue.

April: the bombing of Guernica.

24 June: Leonard and Virginia were among many artists and performers onstage at the Albert Hall for a concert to raise money for Basque orphans.

20 July: the terrible news that Virginia’s nephew (Vanessa’s son) Julian Bell had been killed after volunteering to drive an ambulance in Spain.

Leonard was diagnosed with numerous ailments and prescribed loads of medicines none of which worked. He even went to see the inventor of the Alexander technique, Frederick Alexander, but gave it up as too arduous. His ongoing illness prompted love and support from Virginia. Glendinning quotes Virginia’s diary describing them walking round Tavistock Square like a lovestruck couple:

‘love-making – after 25 years can’t bear to be separate…you see it is enormous pleasure being wanted: a wife. And our marriage so complete.’ (Virginia’s diary 22 October 1937)

21 October: after a long gestation, Virginia’s final and longest novel, The Years was published. It received good reviews and was her most commercially successful novel although Leonard thought it was her worst.

In late 1937 John Lehmann became a partner in the Hogarth press, buying out Virginia’s share for £3,000.

1938

March: Lehmann started full time as co-director of the Hogarth Press. Endless bickering with Leonard. But it was making more money than ever, £6,000 in this tax year.

March: Leonard installs a wireless in 52 Tavistock Square. He himself makes regular radio broadcasts.

12 March: the Anschluss, Nazi Germany marches into Austria and takes it over. At the Labour Party Executive Leonard argues for a coalition with the Conservatives and the introduction of conscription.

April: Lady Ottoline Morrell, hostess of the literary salon at Garsington Manor, died.

June: Three Guineas published. Leonard thought it typified Virginia’s impeccable feminism but their friends didn’t like it. Forster thought it cantankerous, Keynes thought it silly, Vita thought it unpatriotic. I think its structure (like a lot of Woolf’s writing) is eccentrically oblique and sometimes confusing, but the picture she builds up, especially through the extended notes, of the patriarchy which held back British women, is magnificent, radiating scorn and quiet rage.

August: Tom Eliot’s wife Vivian was certified insane and sent to a lunatic asylum where she spent the last 9 years of her life. Eliot never visited her.

September: the Munich Crisis, Neville Chamberlain flies to Munich and along with the French Prime Minister allows Hitler to annex the Sudetenland, part of Czechoslovakia with a large German population. Leonard predicted war. Virginia is still very much in love with him. She bakes a loaf of bread and calls out to the garden, where he’s up a ladder ‘where he looked so beautiful my heart stood still with pride that he had ever married me’ (letter to Vanessa Bell, October 1938).

9 November: Kristallnacht when the Nazis unleashed stormtroopers on Jewish homes, business and synagogues across Germany. Hundreds of synagogues throughout Germany, Austria and the Sudetenland were damaged, over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. Leonard has a recurrence of the painful rash which covers his back and other parts. He sees doctors but Glendinning thinks it was psychosomatic, stress, and to do with the persecution of the Jews.

December: Leonard finished the first volume of After the Deluge, an analysis of Enlightenment thought into the early nineteenth century. His aim was to show the psychological and sociological process which bring about wars, and so avoid them. Fat chance. When it was published in September 1939 it sold pitifully.

1939

January: Leonard and Virginia go to tea with Sigmund Freud, recently escaped from Nazi Vienna. The Hogarth press had been publishing his works for 15 years. Leonard was struck by Freud’s aura of greatness. Freud died a few weeks into the war, on 23 September 1939.

15 March: German army annexes the rest of Czechoslovakia and claims the country has ceased to exist. France and Britain bring forward their rearmament programmes. Leonard’s psychosomatic rash returns with a vengeance.

23 June: their friend the artist Mark Gertler gassed himself. He was suffering from financial difficulties, his wife had recently left him, his most recent exhibition had been slammed, he was still depressed by the death of his mother and the suicide of Dora Carrington with whom he’d been madly in love, and was fearful of the imminent world war.

Victor Gollancz commissioned Leonard to write a book in defence of civilisation and tolerance for the Left Book Club for £500. But the final manuscript of Barbarians at the Gate contained criticisms of the Soviet Union which were unacceptable to the communists at the club, leading to a prolonged exchange of angry letters.

2 July: Leonard’s mother died. He was unsentimental.

The Woolfs moved to 37 Mecklenburg Square, taking their thousands of books and the Hogarth printing press.

23 August: Germany and Russia signed their non-aggression pact. 1 September Germany invaded Poland. 3 September Britain was at war with Germany.

November: The Barbarians at the Gate was published and slated by left-wing fellow travellers.

1940

The War for Peace published in which Leonard defended what critics called his utopianism in international relations.

June: France collapsed. Hitler enters Paris. Dunkirk. Leonard was shaken.

September: the Blitz began and was to last until May 1941. The blackout is enforced in Rodmell (the village where they had their country home). Virginia spoke to the local Women’s Institute then became its secretary. Like many others they equipped themselves with means of committing suicide should the Germans invade (p.353).

Correspondents: Virginia was still writing letters about her everyday life to Ethel Smyth who didn’t die until May 1944. Leonard still wrote letters to Margaret Llewelyn Davies of the Women’s Co-operative Guild.

They drove to London but couldn’t get as far as Mecklenburgh Square because of the bombing. A pill box was built in the field beyond their garden. German planes flew overhead every day. The flat in Mecklenburgh had its windows blown out by bombs, but their old place at 52 Tavistock Square was reduced to rubble. The Hogarth press machinery was evacuated to Letchworth. The books from Mecklenburgh were shipped down to Monks House where they packed the corridors.

23 November: Virginia finishes first draft of Between the Acts. She slowly fell into a depression, Her hand started to shake.

1941

25 January: Virginia turned 59 and Leonard began to be worried about her persistent depression. She was revising Between the Acts, always a dangerous time. They socialise, Virginia telling people her new novel is no good, though Leonard praised it.

March: she went for a walk in the fields and fell into the river whose banks had broken and flooded some of their land. Leonard returned from giving a talk to find her staggering back towards the house, wet and upset. Vanessa visits and tries to cheer her up.

Monday 24 1941: he realised she was becoming suicidal. The situation was as bad as her collapse in 1913. He consults a friend, Octavia Wilberforce, about whether to his nurses and force 24 hour supervision on Virginia against her will. But this is what had triggered furious psychotic breakdowns in the past so they decided to try and gentler approach, of Leonard calmly supporting and encouraging her.

Next day was a series of humdrum chores, recorded by Leonard and the house servant, and Virginia said she was going for a walk before lunch. An hour or so later Leonard went up to his sitting room and found two letters there, one for Vanessa one for himself, suicide notes. The letter to him is so full of love it made me cry. She thanked him and said she had had a wonderful life but she could feel her madness coming on, she was hearing voices, she couldn’t read, he would be better off without her.

Obviously he came running downstairs, hailed all the servants, sent one to get the police and help and spent the day till sunset searching the flooded river Ouse. He found Virginia’s walking stick lying on the bank. In subsequent days the river was dragged for the body. Eventually the authorities gave up the search for her body.

Three weeks later he body was discovered floating in the river by some teenagers having a picnic. They called the police. Leonard had to identify it. Coroner’s report etc. Leonard drove on his own to the cremation.

All his friends tried to console him, saying she was better off dead than really mad, but Leonard swore she would have recovered from this attack as from previous ones. He buried her ashes under two elm trees in the garden at Monks House which they had jocularly named after themselves.

Joyce and death Born February 2, 1882, Joyce was precisely eight days younger than Virginia. Two days after his death on January 13, 1941, she noted in her diary that he was ‘about a fortnight younger’ (D 5: 352-53). She outlived him by just a little over ten weeks.

Virginia asked Leonard to destroy all her papers

He disobeyed and in the years to come Virginia Woolf’s diaries and letters, autobiographical writings and unpublished works, were to be published and pored over in ever greater detail. The shape of her legacy, and the broader picture of the Bloomsbury Group, would have been very different if he’d obeyed her wishes.

Was he right to ignore her explicit, direct request, as Max Brod disobeyed Kafka’s request to burn his papers?

The shocked response of friends and family, other writers, journalists, and the wider world, are described and done with by about page 380 of this 500-page book. Leonard Woolf still had 28 years to live (died 14 August 1969). A man who was born the year Gladstone replaced Disraeli as Prime Minister (1880) lived to see men land on the moon. The twentieth century, century of marvels but also cataclysmic disasters.

After Virginia

What’s interesting is the power of the biography completely evaporates with Virginia’s death. I hadn’t realised how much Leonard’s story had come to be entwined with hers, and his existence justified by his support of her as she wrote her masterpieces. When it’s back to just him it remains sort of interesting in a journalistic gossipy way but the pressure drops right down.

Twenty-eight more years of living, writing, politicking, editing, publishing and loving – one year less than his marriage to Virginia (1912 to 1941). According to Glendinning ‘Few people are so fortunate in their later life as Leonard Woolf’ and he had many happy years. But for this reader, at any rate, all the life went out of the book when Virginia died.

Trekkie

In the next few years he fell in love with a woman called Trekkie (real name Margaret Tulip) Parsons, a keen but nondescript painter, married to Ian Parsons, an editor at Chatto and Windus, a handsome charming man. Ian sort of permitted a menage a trois to develop though it’s doubtful that Leonard and Trekkie ever had sex, and I hate myself for reading about other people’s sex lives, though this is an unavoidable aspect of modern biography. Ian meanwhile was having an affair with his editorial assistant Norah Smallwood so… so people will be people.

Superficial though it sounds, the relationship with Trekkie lasted for the rest of their lives.

The growth of Bloomsbury

The other theme which emerges is the slow steady growth of the Bloomsbury industry. Post-war interest in Virginia and other figures just kept on growing. The surviving members of the network –published books every year and fed the market throughout the 1950s (p.433). The advent of the swinging 60s, sexual liberation, the decriminalisation of homosexuality in 1967, a greater openness about sex, made the Bloomsburies, with their fluid sexuality and open relationships, seem forebears and founders.

The members wrote autobiographies and memoirs, and a steadily growing tribe of academics wrote books about them. Glendinning describes some of the early Virginia scholars who began to approach Leonard asking for help, advice, an interview, and whatever papers he could spare.

Glendinning records Leonard’s growing involvement with not just American scholars but professional buyers of manuscripts such as Hamill and Barker, to whom he sold off packets and parcels of letters, manuscripts and diaries, through the 1950s and ’60s, for lucrative sums (pages 427, 450).

The schism between academics and public intellectuals

This move to biography was encouraged by the growing schism between general, freelance public intellectuals such as Leonard, and the growing number of professional academics housed in the growing number of postwar universities. When Virginia and Leonard started writing all intellectuals were on about the same level, with some being experts at universities, but many freelance writers knowing quite as much across a broad range of subjects. The tone of discourse across public writers and academics was comparable. In the new era of academic specialisation, academics developed technical terms and jargon, assumed specialist knowledge, which increasingly cut them off from generalists let alone the man in the street.

Leonard fell victim to this specialisation with his book on international politics, After the Deluge, published in 1955. He intended it to form the third part of a trilogy (the previous books published in 1931 and 1939) which he allowed himself to be persuaded to give the grandiose title Principia Politica. This begged comparisons with the masterworks of Newton (Philosophiæ Naturalis Principia Mathematica), Whitehead and Russell’s Principia Mathematica or GE Moore’s Principia Ethica, but it was nothing of the kind, as reviewers were quick to point out. Compared to the new ranks of professional academics, Leonard appeared discursive, repetitive, anecdotal and amateurish (p.444).

The spread of universities and growth of a class of specialist academics was epitomised by the opening, in 1961, of the University of Sussex, just outside Brighton and only 5 miles from Leonard’s rural retreat in the village of Rodmer (p.465).

For the public intellectual locked out of the growing ivory tower of academia, there remained publishing (he continued to be a director of the Hogarth Press), ‘the higher journalism’ (he continued to edit the Political Quarterly, and biography and memoirs. So this feeds back into the growth of Bloomsbury books – none of the survivors (Vanessa, Duncan, Quentin and so on) were really expert, scholarly expert-level on anything except… themselves.

Leonard himself epitomised the trend. Having had his masterwork of political commentary rubbished he retreated to the safer territory of his own life, and commenced his own autobiography which ended up taking no fewer than six volumes:

  • Sowing: An Autobiography of the Years 1880 to 1904 (1960)
  • Growing: An Autobiography of the Years 1904 to 1911 (1961)
  • Diaries in Ceylon 1908 to 1911, and Stories from the East: Records of a Colonial Administrator (1963)
  • Beginning Again: An Autobiography of the Years 1911 to 1918 (1964)
  • Downhill All the Way: An Autobiography of the Years 1919 to 1939 (1967)
  • The Journey Not the Arrival Matters: An Autobiography of the Years 1939 to 1969 (1969)

I’d never heard of these but they won him prizes. Beginning Again won the W.H. Smith book prize and the handy sum of £1,000.

Michael Holroyd’s two-volume biography of Lytton Strachey published in 1967-8 proved to be a turning point. Its openness about Strachey’s homosexuality, his numerous affairs, his thousands of camp letters, shed a completely new light on the Bloomsburies, rendering much that had been written up to that point obsolete, but confirming their reputation as sexual pioneeers (p.475).

Pointless

In the last volume of his autobiography Leonard candidly, devastatingly, adjudged that a lifetime of political activism, sitting on innumerable committees, spending years researching and writing position papers and polemical books (calling for international co-operation for peace) achieved more or less nothing.

‘I see clearly that I achieved practically nothing.’ (quoted p.484)

Thoughts

Authoritative, thorough, empathetic, insightful, fascinating and often very funny, nonetheless Glendinning’s definitive biography becomes increasingly focused on the mental illness of poor Virginia, relentlessly building up to Virginia’s suicide which is so terrible, so upsetting, so devastating, that I could barely read on and stopped trying to review it after that point.


Credit

‘Leonard Woolf: A Life’ by Victoria Glendinning was first published by Simon and Schuster in 2006. Page references are to the 2007 Pocket Books paperback edition.

Related links

Virginia explaining and justifying her technique in ‘Modern Novels’ (TLS 10 April 1919):

The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions–trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small.

Revised as ‘Modern Fiction’ in The Common Reader (1925).

The Virgin and the Gypsy by D.H. Lawrence (1926)

‘I suppose it’s sex, whatever that is,’ said Lucille.

‘The Virgin and The Gypsy’ feels drastically unlike other Lawrence I’ve read so far because it is:

  1. funny
  2. ‘with it’ (i.e. littered with fashionable 1920s slang)
  3. written (mostly) in surprisingly pared-back, declarative prose

The wife of meek Arthur Saywell, the vicar, runs off and leaves him with two young daughters to raise. The scandal makes his current post untenable so the Church moves him to the Yorkshire parish of Papplewick and makes him rector there. The rectory is a much bigger house and into it move Saywell’s ancient, fat domineering mother, ‘The Mater’, as well as silently seething Aunt Cissie and self-absorbed Uncle Fred.

The depiction of ‘the Mater’, her psychological domination of Saywell, and of Aunt Cissie with her hissing green rages, are done for comic effect and reminiscent, in their grotesqueness and the repetition of key words for comic effect, of Dickens. For example, the way the mother who ran away comes to be referred to as ‘She-who-was-Cynthia’, a phrase Lawrence repeats 16 times for comic effect. Or straight out sitcom-style comedy like the daily palaver of getting Granny involved with the evening crossword puzzle. Comedy! Who knew Lawrence was capable of lols!

‘With it’ phraseology

  • So the young people set off on their jaunt, trying to be very full of beans.
  • Leo, always on the go, moved quickly.
  • ‘More glad rags!’ said her father to her, genially.
  • Leo arrived with his car, the usual bunch.
  • Lucille kept breaking out with: ‘Oh, I say!’

I assume Lawrence is satirising these ‘with it’, ‘always on the go’ sorts of phrases – they are solely associated with the young generation of characters – but they indicate a comically satirical effect I haven’t come across before in his writing.

Prose style

Lawrence’s basic unit of meaning is the paragraph and a lot of the prose conforms to the fundamental Lawrence playbook, namely depicting character, perceptions and moods through a kind of whipped-up meringue of paragraphs which repeat key words and phrases to magnify the thing and view it from different angles.

What feels new is that there are quite a few sentences which are freestanding statements of fact, which simply state something and not part of paragraphs constructed with repetition of key words or feelings in mind. This is completely normal for other writers, in fact it’s how most writers operate but it is completely new in my reading of Lawrence.

Posh women

What is like the other stories I’ve been reading is that ‘The Virgin and the Gypsy’ has 1) a woman protagonist and 2) she’s posh. The narrative tells us that Saywell sent his two daughters, Lucille and Yvette, away to boarding school and when the story opens they’re returning from finishing school in Lausanne. They both have fashionable 1920s haircuts and:

were quite the usual thing, tall young creatures with fresh, sensitive faces and bobbed hair and young-manly, deuce-take-it manners

where I assume ‘deuce’ was the acceptable version of Devil, as in ‘the Devil take it’!

The two sisters say ‘frightfully’ and ‘awfully’ and ‘jolly’ all the time. Their friends at home – Lottie and Ella and Leo and Bob – are similarly posh. Lawrence is crystal clear about the gulf that separates them from the ‘workmen’ whose cottages they occasionally visit in a spirit of charity.

If anybody asked her out to a meal, even if a woman in one of the workmen’s houses asked her to stay to tea, she accepted at once. In fact, she was rather thrilled. She liked talking to the working men, they had often such fine, hard heads. But of course they were in another world.

When the others ask why she tipped the gypsy, Yvette explains:

‘You have to be a bit lordly with people like that.’ (p.191)

The household employs a cook, a housemaid and a gardener who are never named or, I think, even speak. Why did Lawrence, the son of an illiterate miner, the most working class of our great writers, end up writing stories about phenomenally posh middle-class ladies?

Despising men

‘St Mawr’ is a novella about two women who despise modern men for being pathetic, tamed and lifeless. So is this. Yvette thinks the gypsy woman is strong but, like Lou in St Mawr, she can only define a woman’s strength, or her own desire for independence, by contrast with men and, more specifically, by denigrating contemporary men who, in both women’s opinions, are barely worth the name.

She liked her [the gypsy woman]. She liked the danger and the covert fearlessness of her. She liked her covert, unyielding sex, that was immoral, but with a hard, defiant pride of its own. Nothing would ever get that woman under. She would despise the rectory and the rectory morality, utterly! She would strangle Granny with one hand. And she would have the same contempt for Daddy and for Uncle Fred, as men, as she would have for fat old slobbery Rover, the Newfoundland dog. A great, sardonic female contempt, for such domesticated dogs, calling themselves men. (p.196)

The disappointing younger generation

Like E.M. Forster in ‘Howards End’, Lawrence has to accept that people drive cars, but he can still cordially dislike them, their noise and pollution, and associate them with spiritual emptiness. Bigger than this, though, is his disappointment with the empty-headed younger generation.

Six young rebels, they sat very perkily in the car as they swished through the mud. Yet they had a peaked look too. After all, they had nothing really to rebel against, any of them. They were left so very free in their movements. Their parents let them do almost entirely as they liked. There wasn’t really a fetter to break, nor a prison-bar to file through, nor a bolt to shatter. The keys of their lives were in their own hands. And there they dangled inert.

Combine the two, disappointing young people and disappointing men and you have a the simple setup that when a real man enters pampered Yvette’s life, she will, of course, fall for him off a cliff.

The plot

So meek, genial Arthur Saywell lives in the Rectory, dominated by the monstrous figure of fat, farting, deaf old Granny who insists on having a stiflingly hot fire burning at all times in the living room where she squats, with jealous passive-aggressive Aunt Cissie seething off to one side. Lawrence is particularly disgusted by the aroma of human ordure which taints the air.

Her heart was hard with repugnance, against the rectory. She loathed these houses with their indoor sanitation and their bathrooms, and their extraordinary repulsiveness. She hated the rectory, and everything it implied. The whole stagnant, sewerage sort of life, where sewerage is never mentioned, but where it seems to smell from the centre of every two-legged inmate, from Granny to the servants, was foul. (p.196)

The daughters, Lucille and Yvette, return from finishing school abroad to be appalled by the literally oppressive, smelly atmosphere of this sordid dwelling. The narrative is interesting for depicting the extreme boredom which most people of the day endured. There was nowhere to go, except the pub or for walks in the surrounding country, so most people spent most of their time in their little houses. The radio was still uncommon so, in the Rectory, the two bright young girls sit in an agony of boredom, trying to read or sew while Arthur and Uncle Fred shout clues to the daily crossword at the deaf and blind Mater.

They go out as much as they can, in fact they’re very sociable, but it isn’t enough for Yvette.

So the months went by. Gerry Somercotes was still an adorer. There were others, too, sons of farmers or mill-owners. Yvette really ought to have had a good time. She was always out to parties and dances, friends came for her in their motor-cars, and off she went to the city, to the afternoon dance in the chief hotel, or in the gorgeous new Palais de Danse, called the Pally.

Yet she always seemed like a creature mesmerised. She was never free to be quite jolly. Deep inside her worked an intolerable irritation, which she thought she ought not to feel, and which she hated feeling, thereby making it worse. She never understood at all whence it arose.

At home, she truly was irritable, and outrageously rude to Aunt Cissie. In fact Yvette’s awful temper became one of the family by-words.

Occasionally the girls’ posh young friends call round only to be trapped in the same stifling atmosphere, being laboriously introduced to deaf, blind Mater then sitting on the edges of their chairs in agonies of boredom before they’re allowed to go out to play.

Best of all is when Leo comes round and invites everyone to go for a drive through the hilly, laney countryside. On one such drive they motor up to Bonsall Head and come across a small gypsy camp under the shelter of some cliffs. They have to slow right down because the lane is blocked by a gypsy backing his cart into the entrance of the small quarry where the others have parked their three caravans. As they’re stationary an older gypsy woman calls out to ask whether they want their fortunes read and the young people agree to do so for a lark.

But the point of this extended scene is the animal magnetism of the 30-year-old male gypsy who was backing the cart into the little camp, and now sardonically watches the young people one by one have their palms read amid squeaks and squawks of amusement, but all the time has his eye on Yvette, who feels watched and caught and weighed.

‘Don’t the pretty young ladies want to hear their fortunes?’ said the gipsy on the cart, laughing except for his dark, watchful eyes, which went from face to face, and lingered on Yvette’s young, tender face. She met his dark eyes for a second, their level search, their insolence, their complete indifference to people like Bob and Leo, and something took fire in her breast. (p.185)

He looked at Yvette as he passed, staring her full in the eyes, with his pariah’s bold yet dishonest stare. Something hard inside her met his stare. But the surface of her body seemed to turn to water. (p.189)

Yvette realises he is married to the fortune teller, though it doesn’t affect the uncanny impact his hard stare has on her body and mind.

Chapter 4

A big row when Aunt Cissie discovers Yvette has been pilfering cash from the box where she’s been storing funds towards commissioning a stained glass window for the church to commemorate the fallen of the Great War. Massive row which genial Arthur steps in to resolve by replacing the money, as a loan on which Yvette will have to pay interest, but Aunt Cissie hates Yvette with a hissing malignity.

A second row breaks out when the girls have cluttered the table with all the paraphernalia of making a dress and Yvette accidentally knocks a large mirror off the piano. It doesn’t break but Cissie (filled with ‘a great tumour of hate’) bursts out with accusations which blind old Granny joins in and the household is instantly in an uproar. From all this tension, Yvette retreats to her room where she lies, dreaming of the gypsy.

And the gipsy man himself! Yvette quivered suddenly, as if she had seen his big, bold eyes upon her, with the naked insinuation of desire in them. The absolutely naked insinuation of desire made her life prone and powerless in the bed, as if a drug had cast her in a new molten mould. (p.197)

Chapter 5

The gypsy comes by on his cart, pulled by a roan horse, into Papplewick to hawk his wares, and knocks at the Rectory door. The maid answers and calls Aunt Cissie but Yvette saw him from the landing window and also goes to the door. The gypsy is handsome and dapper, soft and submissive, but his eyes flash desire.

‘The candlestick is lovely!’ said Yvette. ‘Did you make it?’
And she looked up at the man with her naïve, childlike eyes, that were as capable of double meanings as his own.
‘Yes lady!’ He looked back into her eyes for a second, with that naked suggestion of desire which acted on her like a spell, and robbed her of her will. (p.205)

Maybe the key point about her, is that Yvette wants someone, or something, ‘to have power over her’. Not in a BDSM way. More because she suffers an existentialist emptiness. The whole of her life, whether the stifling atmosphere of the Rectory or the endless shiny parties, both seem equally as meaningless.

Dimly, at the back of her mind, she was thinking: Why are we all only like mortal pieces of furniture? Why is nothing important?
That was her constant refrain, to herself: Why is nothing important? Whether she was in church, or at a party of young people, or dancing in the hotel in the city, the same little bubble of a question rose repeatedly on her consciousness: Why is nothing important?
There were plenty of young men to make love to her: even devotedly. But with impatience she had to shake them off. Why were they so unimportant? – so irritating! (p.208)

She wants something real, something that matters, something that will shake her out of her emptiness.

Lest anyone think she is the unqualified heroine of the story, it needs pointing out that she is selfish. She cultivates a vague, heedless manner which doesn’t hide the fact that she genuinely doesn’t care about other people, ‘her straying, absent-minded detachment from things’ (p.226).

This is especially true of the friends her age. Loads of men throw themselves at her and she dismisses them all. At a dance, poor young Leo shyly proposes to her. Yvette has no idea that, without meaning to, she has been sweet with him and has led him on, leading him away from poor Emma Framley who is besotted with Leo and distraught that he ignores her for Yvette. And Yvette snorts with laughter at Leo’s proposal, he makes a few attempts to talk her into it then goes off in anger. She has no idea she has this effect on others.

And a key part of this aloofness is despising the young men of her generation (exactly as Lou Carrington despises the men of her generation in ‘St Mawr’). Here she is at a dance watching the young men.

She looked at the young men dancing, elbows out, hips prominent, waists elegantly in. They gave her no clue to her problem. Yet she did particularly dislike the forced elegance of the waists and the prominent hips, over which the well-tailored coats hung with such effeminate discretion… The elegance of these dancers seemed so stuffed, hips merely wadded with flesh. Leo the same, thinking himself such a fine dancer! and a fine figure of a fellow!… She gazed glaringly at the insipid beaux on the dancing floor. And she despised them. Just as the raggle-taggle gipsy women despise men who are not gipsies, despise their dog-like walk down the streets, she found herself despising this crowd. Where among them was the subtle, lonely, insinuating challenge that could reach her? She did not want to mate with a house-dog. (p.211)

In St Mawr, Lou describes the pallid young Englishmen she knows as domesticated dogs. Obviously it was a favourite thought of Lawrence, from a different class and generation and an unfathomably different worldview.

On a practical note, when Aunt Cissie bought a candlestick of the gypsy and went inside, Yvette playfully asked about his wife, the fortune teller and the gypsy quietly tells her his wife is absent every Friday. Every Friday. This fact sticks in her mind…

Chapter 6

A few Fridays later Yvette goes for a bike ride, up to the tops and then finds herself meandering and arrives at the gypsy camp. The sexy gypsy is there tapping a brass pot, the old woman is tending a fire, three kids are playing ‘like little wild animals’. She stays for the meal the old woman has been cooking. They all eat and the gypsy’s soul masters hers.

And he, as he blew his hot coffee, was aware of one thing only, the mysterious fruit of her virginity, her perfect tenderness in the body.

Like a snowdrop blossoming. God, Lawrence has such a magician’s way with words.

The gypsy, supremely aware of her, waited for her like the substance of shadow, as shadow waits and is there.

Anyway, he has complete control over her almost as if he’s hypnotised her and suggests she go into his caravan to wash her hands where he transparently plans to have sex with her and she, hypnotised, is on the steps up into the caravan, when they all hear a motor car approaching.

I thought it would be her friends but it isn’t, it’s strangers who stop and ask if they can warm their hands at the fire. It’s winter and they (foolishly) have been driving with the car’s top down. Must be freezing! Of course this breaks the spell and the gypsy goes back to tapping his bronze pot, now with the anger of frustrated lust. Again, the trope of men as dogs.

The man… strolled over to the gipsy, and stood in silence looking down on him, holding his pipe to his mouth. Now they were two men, like two strange male dogs, having to sniff one another.

This couple stay a long time, it becomes an entire episode during which the athletic chap with his expensive clothes goes over to watch the gypsy at work while the rich mistress sits with Yvette and explains her situation in unnecessary detail. She explains that she is the wife of the well-known northern engineer, Simon Fawcett, and she is divorcing him. Then she’ll be free to marry the handsome rich sportsman, Major Eastwood, who’s driving her round in his big manly car.

In the kind of coincidence which only occurs in fiction it turns out the gypsy was in the same regiment as Major Eastwood during the war, and Lawrence captures the big blond man’s officer-class confidence:

‘I thought I remembered his face,’ he said. ‘One of our grooms, A. 1. man with horses.’ (p.220)

Mrs Fawcett is Jewish, a fact Lawrence really drives home (see Antisemitism section, below). It’s clouding over and getting cold. They offer to give her a lift down to a nearby town from which it will be an easy cycle back to Papplewick.

Antisemitism

In ‘St Mawr’ Mrs Witt hates looking at the rich Jews riding their horses along Rotten Row.

Her eyes became dagger-like as she watched the clipped, shorn, mincing young Englishmen. She refused to look at the prosperous Jews.

The entire episode of Major Eastwood and Mrs Fawcett stopping by the gypsy camp in the quarry is dominated by Lawrence’s negative depiction of her as a Jewess, invoking classic tropes around her wealth, her fingers festooned with jewels, her sharp malice. So:

She was a very small woman, with a rather large nose: probably a Jewess. Tiny almost as a child, in that sable coat she looked much more bulky than she should, and her wide, rather resentful brown eyes of a spoilt Jewess gazed oddly out of her expensive get-up.

She crouched over the low fire, spreading her little hands, on which diamonds and emeralds glittered.

‘Ugh!’ she shuddered. ‘Of course we ought not to have come in an open car! But my husband won’t even let me say I’m cold!’ She looked round at him with her large, childish, reproachful eyes, that had still the canny shrewdness of a bourgeois Jewess: a rich one, probably.

Apparently she was in love, in a Jewess’s curious way, with the big, blond man…

The gipsy had laid down his work, and gone into his caravan. The old woman called hoarsely to the children, from the enclosure. The two elder children came stealing forward. The Jewess gave them the two bits of silver, a shilling and a florin, which she had in her purse, and again the hoarse voice of the unseen old woman was heard.

The gipsy descended from his caravan and strolled to the fire. The Jewess searched his face with the peculiar bourgeois boldness of her race.

We know her name is Mrs Fawcett because she tells us so. But Lawrence doesn’t refer to her name, instead insists on describing her as ‘the Jewess’, ‘the little Jewess’, ‘the tiny Jewess’, nearly 50 times, denying her individuality, emphasising her ‘race’ and racial stereotypes.

Chapter 7

Unexpectedly, the Eastwoods – Major Eastwood and the soon-to-be-divorced Mrs Fawcett, who give out to the world that they’re married – become a major part of the story. They’ve rented a small summer cottage, by the moors up at Scoresby, not far from the hills. Mrs Fawcett is diminished even further by being referred to as ‘the little Jewess’ or even ‘the tiny Jewess’. They have filled the rented cottage with fine treasures but have dispensed with a maid and so the tall strong blond Major does the washing up and ‘the tiny Jewess’ dries. Unconventional for the 1920s, we assume.

Back from a visit where she witnesses all this, Yvette and Lucille have a conversation about what makes men and women fall in love, is it sex (which neither of them have experienced or understand)? What is sex? Why are the ‘low’ ‘common’ sort of men, who you could never associate with, noted for sex, while the posh good sort of chap they know, is never associated with sex? Oh if men and women could only be people without all this beastly sex business interfering? Will we ever get married? Will we ever fall in love?

‘I believe, one day, I shall fall awfully in love.’
‘Probably you never will,’ said Lucille brutally. ‘That’s what most old maids are thinking all the time.’ (p.225)

This long conversation is very similar to the long conversation on the same topic between March and Banford in ‘The Fox’. I note it for two reasons. 1) It marks extended and relatively short, brisk dialogue, something absent from his master text, The Rainbow. And 2) why are these male writers drawn to writing stories about young women protagonists who have conversations about sex and marriage?

Anyway, Yvette takes to regularly visiting ‘the Eastwoods’, where she is intrigued by ‘the little Jewess’ and attracted to tall, handsome, athletic, commanding Major Eastwood. Hang on. I thought this was a story about the virgin and a gypsy. It’s more than that, isn’t it? More variegated and complex.

On one of her visits Yvette raises the subject of love and marriage, asking this experienced couple about it. Mrs Fawcett explains that love means being attracted to someone who makes you feel different, is there any man who does that to her? After a pause, Yvette replies that the only one she can think of is the gypsy. Mrs Fawcett is appalled that such a low commoner should be the only one Yvette can think of but the Major makes one of his rare interventions.

Major Eastwood on desire and appetite

There’s something quietly comic about the strong, mostly silent, pipe-smoking Major Charles Eastwood. He intervenes in Yvette and Mrs Fawcett’s conversation to say:

‘I think,’ said the Major, taking his pipe from his mouth, ‘that desire is the most wonderful thing in life. Anybody who can really feel it, is a king, and I envy nobody else!’ He put back his pipe.
The Jewess looked at him stupefied.
‘But Charles!’ she cried. ‘Every common low man in Halifax feels nothing else!’
He again took his pipe from his mouth.
‘That’s merely appetite,’ he said.
And he put back his pipe. (p.229)

Then he says something strange and mysterious. He tells them the gypsy was really a notable man in his regiment for his way with horses. He nearly died of pneumonia but survived. So the Major regards him as ‘a resurrected man’. This is all the more significant because the Major himself is a resurrected man. He was buried under a huge snowfall for 20 hours but survived. In a throwaway but immensely telling detail, he says they only dug him out by accident.

It’s a tiny detail at the end of the chapter but conveys a kind of seismic implication: all of our lives hang on the slightest coincidences and accidents.

Chapter 8

Chapter 8 opens with a detailed description of the rector’s character. On the surface he is genial, humorous and tolerant but deep down he doesn’t believe and this makes him afraid of the unconventional, afraid that it will unmask him.

With what feels like a sudden lurch of tone, Lawrence has the rector suddenly hating his daughter for consorting with the adulterous Eastwoods, hate her with a rat-like venom. Hang on. Where did this come from. This is a throwback to the rhetorical exorbitance of The Rainbow. The rector is suddenly viciously hateful to his daughter which leads up to the ridiculously melodramatic declaration: ‘But I will kill you before you shall go the way of your mother.’ Where did this come from?

And with the old Rainbow manner comes the old Rainbow approach of repeating key words.

Somewhere inside him, he was cowed, he had been born cowed. And those who are born cowed are natural slaves, and deep instinct makes them fear with prisonous fear those who might suddenly snap the slave‘s collar round their necks.

It was for this reason the rector had so abjectly curled up, who still so abject curled up before She-who-was-Cynthia: because of his slave‘s fear of her contempt, the contempt of a born-free nature for a base-born nature.

So that’s the root of it. The rector and the Saywell family in general, are base-born while the two daughters have inherited their mother’s spirited freedom. But it was that free-spiritedness which prompted her to run off with a man causing great hurt but also social scandal, and so the rector is terrified his two daughters will turn out the same. Hence his mad over-reaction to Yvette seeing the ‘dirty’ ‘unclean’ adulterous Eastwoods. Hence his ludicrous threat:

‘But I will kill you before you shall go the way of your mother.’ (p.232)

Well, she depends on him for her food and housing so she buckles down. She writes a short note to the Eastwoods saying her father disapproves so she can’t visit them again and she stops. But she hardens inside. She becomes more cynical. She realises her father is a scared little man and despises him. But most of all she comes to hate the old Granny, squatting like a red fungus as the centre of the household. God, what a ghastly existence!

What was the revolt of the little Jewess, compared to Granny and the Saywell bunch! A husband was never more than a semicasual thing! But a family!–an awful, smelly family that would never disperse, stuck half dead round the base of a fungoid old woman! How was one to cope with that?

She sees the gypsy once, from the landing window as he comes to hawk wares again, but she doesn’t go down, but they see each other through the glass. How can she escape? Sometimes she fantasises about running away with him, but she likes being ‘inside the pale’, she likes the warmth and prestige being a rector’s daughter brings her, albeit small. She likes safety.

Lucille says a woman has till she’s 26 to have her ‘fling’, then she must marry and settle down. Yvette is 21. Five years to have her ‘fling’, whatever that means, and then settle down with someone like Leo or Gerry Somercotes.

The gypsy again

Months pass and it is March. Yvette bumps into the gypsy hawking his wares to cottages by Codnor Gate. She stops to have a look and buys ‘a little oval brass plate, with a queer figure like a palm-tree beaten upon it.’ She feels the connection between him but he is as distant as ever. He tells her the old gypsy (referred to as the hag) had a dream about her, in which it was said ‘Be braver in your body, or your luck will leave you’ and ‘Listen for the voice of water.’

He tells her they’ll be breaking camp soon and heading north. She says maybe she’ll come and visit before they leave, to say goodbye to them all.

Chapter 9. The Flood

Yvette is dawdling in the terrace garden leading down to the wall by the hump-backed bridge over the river Papple. The water is loud with spring torrent from melting snow. Her father is out. She senses Aunt Cissie saying goodbye and she accompanies her sister, Aunt Nell, over the bridge and back towards her home.

Then she sees the gardener running towards her and, of all people, the gypsy running downhill the road opposite and she hears a mighty roar and the next thing she knows a huge tsunami of water engulfs the garden. The gypsy has made it across the bridge and grabs her as the water sweeps her off her feet. In the next few action-packed minutes, he manhandles her through the flood up the terraces to the house, but even here the flood is up to their waists.

He clings to the wisteria with one hand, her wrist with the other, till she’s in a position to make it to the back door and he follows her inside. Here it’s flooding fast. They run to the stairs and are on the first landing when she sees old Granny struggling in the flood, gasping and going under.

They feel the house itself shake with the shock of the waters. He knows the chimney piece will stay so orders her to take him to their bedroom. He is correct, the chimney, and her room around it, remains in place, but when he re-opens her bedroom door they see that half the house has been swept away. It opens into raving flood water and the evening sky.

They are both shivering from the snow melt water and shock and so he orders her to strip and strips himself and rubs them both dry with a towel. She gets into her bed shivering and he climbs in, too, and holds her, till the shock passes away, and the warmth takes them and they fall asleep.

The flood reminds me of the canal breaking, flooding Marsh Farm and drowning drunk Tom Brangwen in The Rainbow.

Chapter 10

The last few pages describe the efforts of the rescuers. The bridge over the Papple has been swept away so they cross it on ladders to the perilously half-wrecked rectory, surrounded by mud and broken trees and detritus. Very tentatively they enter the ruins, encountering Granny’s foot sticking out of a wall of mud, then use ladders to go up to the only first floor windows remaining, all the time shouting with no reply.

When one smashes the window it wakes Yvette from her deepest ever sleep with a cry, and she takes minutes to come fully conscious. And then she wonders where on earth the gypsy is! Where is he? They were in the bed together.

But she quickly gets dressed in her soaking wet things (! did none of the rescuers think of bringing blankets?) and is coaxed by the friendly policeman into climbing down the wobbly ladder to greet her father who’s crying his eyes out for his dead mother but also for the life of his daughter.

She faints and is taken to the nearby house of friends, the Framleys to be reunited with weeping Aunt Cissie, hysterical Lucille etc.

The flood was caused by the sudden bursting of the great reservoir, up in Papple Highdale, five miles from the rectory. It was found out later that an ancient, perhaps even a Roman mine tunnel, unsuspected, undreamed of, beneath the reservoir dam, had collapsed, undermining the whole dam. That was why the Papple had been, for the last day, so uncannily full. And then the dam had burst.

Yvette is vague at the best of times. Now she tells everyone the gypsy ran across the bridge to warn her and helped her to the porch, she went in and upstairs by himself. Witnesses saw him running across the bridge in the last moments. To everyone’s surprise Bob Framley declares the gypsy is owed a medal for saving Yvette’s life.

But when they motor up to the quarry they find the gypsies have vanished, struck camp and disappeared. And Yvette cries and cries and tells herself she loves him but, at the same time, knows the wisdom of his going. He has left her something much deeper than sex could ever be.

Names

But after Granny’s funeral, she received a little letter, dated from some unknown place.

‘Dear Miss, I see in the paper you are all right after your ducking, as is the same with me. I hope I see you again one day, maybe at Tideswell cattle fair, or maybe we come that way again. I come that day to say goodbye! and I never said it, well, the water give no time, but I live in hopes. Your obdt. servant Joe Boswell.’

And only then she realised that he had a name.

Wow. After all the gruelling travails (the smelly Granny, the stifling house), madness (of the rector ranting about clean and unclean), the dreamlike digression of the Mrs Fawcett and her blond lover, the dance parties and puppy love, somehow the whole thing ends with this fairy tale completion.

Feelings are so complicated

Between her and the gypsy is always a complicated web of feelings.

Something almost like a perfume seemed to flow from her young bosom direct to him, in a grateful connection… She looked at him with clear eyes. Man or woman is made up of many selves. With one self, she loved this gypsy man. With many selves, she ignored him or had a distaste for him.

But then something similar is true of her feelings for the rector, her father, after he rants and threatens to kill her.

Under the rector’s apparently gallant handsomeness, she saw the weak, feeble nullity. And she despised him. Yet still, in a way, she liked him too. Feelings are so complicated.

And it is this complexity, love unto hate, attraction and repulsion, the unsettling irrationality of the soul, the never-still nature of these ever-changing moods, which is Lawrence’s territory, of which he is king. As he puts it in ‘The Captain’s Doll’:

But then one never can know the whys and the wherefores of one’s passional changes.


Credit

‘The Virgin and The Gipsy’ by D.H. Lawrence was written in 1926 but first published in 1930. References are to the 1984 Penguin paperback edition, where it is packaged with ‘St Mawr’.

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The Journey To The East by Hermann Hesse (1932)

A slender novella, 88 pages in the Picador paperback version, The Journey To The East is a first-person narrative told by a former member of the secretive ‘League’ of poets, writers and seekers who, in their different ways, all undertook journeys to the East in ‘the troubled, confused, yet so fruitful period following the Great War’ (p.5).

What sets it apart, at least to begin with, is that it is nothing like a sensible factual account of a straightforward ‘journey’ such as you might read by traditional travel writers like Robert Byron or Peter Fleming.

Instead it is more like a fairy story, in which the ‘travellers’ encounter legendary figures and mythical beasts, pass through fictional lands from fables and fairy tales, and travel not only in space, but in time – back into the past, penetrating ‘into the heroic and the magical’ (p.7).

One day, when I was still quite a new member, someone suddenly mentioned that the giant Agramant was a guest in our leaders’ tent, and was trying to persuade them to make their way across Africa in order to liberate some League members from Moorish captivity. Another time we saw the Goblin, the pitch-maker, the comforter, and we presumed that we should make our way towards the Blue Pot.

The giant Agramant, the Goblin. It is fairy land.

Despite these imaginative frills, though, the League feels like a Christian monastic order – casual phrases continually remind the reader that Hesse had an intensely pious Christian upbringing, against which he rebelled but whose stern moral seriousness he kept for the rest of his life.

Thus newcomers to the League are ‘novitiates’, must take an ‘oath’ to renounce the world and its temptations, must wear a ring proclaiming their membership of the order. The journey is referred to as a ‘pilgrimage’ and the travellers as ‘pilgrims’. The leader of the narrator’s group talks freely about ‘grace’ and ‘repentance’, both utterly Christian concepts.

But at the same time it is a phantasmagoria of all the cultural greats through the ages:

Our League was in no way an off-shoot of the post-war years, but that it had extended throughout the whole of world history, sometimes, to be sure, under the surface, but in an unbroken line, that even certain phases of the World War were nothing else but stages in the history of our League; further, that Zoroaster, Lao Tse, Plato, Xenophon, Pythagoras, Albertus Magnus, Don Quixote, Tristram Shandy, Novalis and Baudelaire were co-founders and brothers of our League.

This is a kind of greatest hits of world culture. And the way the ‘pilgrims’ travel is both a physical path or itinerary, very much in the style of medieval pilgrims –

And as we moved on, so had once pilgrims, emperors and crusaders moved on to liberate the Saviour’s grave, or to study Arabian magic; Spanish knights had traveled this way, as well as German scholars, Irish monks and French poets.

But also an imaginative one, as they travel through realms of magic and myth, experiencing not only all times, but the real and the imaginary on the same terms.

The core of the experience, the thing which, looking back, the narrator realises brought him the greatest happiness, was:

The freedom to experience everything imaginable simultaneously, to exchange outward and inward easily, to move Time and Space about like scenes in a theatre.

When you reflect on this, it sounds increasingly like the adventures of someone in their library – with the leisure time to roam freely over time and space, and between factual and imaginative literature.

The plot

The first-person narrator is ‘a violinist and story-teller’ who joined the League with the aim of travelling to the East to meet the princess Fatima and, if possible, to win her love (we learn that all League members have quirky or idiosyncratic goals, one wants to see the coffin of Mohammed, another to learn the Tao).

But the oddest thing about the story is that… they don’t travel to the East. About a third of the way through the text, the narrator tells us that at an early point of the journey, while they were still in Europe, at a place called Morbio Inferiore, a municipality in Switzerland, one of his team’s most loyal servants, Leo, goes missing, so the entire squad sets out to find him, searching up hill and dale.

Not only do they never find him, but his group begins to squabble amongst itself, loses focus. Somehow the journey was abandoned and he never made it to the East. Now, we learn, the narrator is struggling to set it all down in a written account, in a bid to revive the heady joy of those young days.

Now the narrative cuts to ‘the present’, some ten years after the journey. The narrator tells us it is a long time since he was active in the League, he doesn’t know whether it exists any more, he’s not sure it ever existed and these things ever happened to him.

And now the narrator tells us that the episode of missing Leo has given him writer’s block, he doesn’t know how to tell the episode correctly, and can’t manage to get the story past it.

And in an abrupt and surprising switch, the narrative stops being about any journey to the East whatsoever.

Now, surprisingly, the scene cuts back to the narrator’s home town and becomes spectacularly more realistic and mundane. To address his problem of writer’s block, the narrator goes to meet a friend of his who’s a newspaper editor, named Lukas, and who wrote a successful book of war memoirs.

Discussion of the war memoirs gives rise to a consideration of how difficult it is to describe any human experience, at how you need to create eras or characters or plots to even begin to get it down.

Even further than this, how some experiences are so intense or evanescent, that you can’t even be sure you had them. In which case, how do you describe them? Lukas replies that he wrote his book about the war because he simply had to, whether it was any good or not was secondary, the writing itself was vital therapy, which helped him control ‘the nothingness, chaos and suicide’ which would otherwise have overwhelmed him (p.46)

So. This is less a book about a journey anywhere, and a lot more a book about the difficulty of writing a book. Ah.

When the narrator tells Lukas how, in writing his account of the journey to the East, he’s got blocked on this episode of the missing servant, Leo, Lukas promptly looks Leo up in the telephone directory and finds there is a Andreas Leo living at 69a Seilergraben. Maybe it’s the same guy, he says – as if we’re in a 1930s detective novel and not the imaginative phantasmagoria we started out in. ‘Go and see him,’ the editor suggests.

So the narrator does, and finds 69a Seilergraben to be an apartment in an anonymous building in a quiet street. The narrator knocks on the door, questions the neighbours, hangs around, and goes back on successive days. Finally he sees this Leo exit his apartment block and walk quietly to the park where he sits on a bench and eats dried fruit from a tin.

This is not at all the mystical imaginative phantasmagoria I was promised on the back of the book, is it? This is staggeringly mundane.

The narrator approaches Leo, and tries to remind him of their time back in the League and on the great journey East which, the text confirms, happened some 10 years earlier. But Leo is calmly dismissive and walks off, leaving the narrator standing alone in the park as dusk falls, in the rain.

Now he is rejected like this, we learn the narrator is prone to depression, in fact to despair and thoughts of suicide.

I had experienced similar hours in the past. During such periods of despair it seemed to me as if I, a lost pilgrim, had reached the extreme edge of the world, and there was nothing left for me to do but to satisfy my last desire: to let myself fall from the edge of the world into the void — to death. In the course of time this despair returned many times; the compelling suicidal impulse…

In other words, he shows the same bouncing from one to extreme to the other that characterised the Steppenwolf and his moods of suicidal despair. And very like the author himself, a glance at whose biography reveals attempts at suicide, prolonged psychotherapy, and a spell in a mental sanatorium.

The narrator gets home and sits down, still damp from the rain and writes a long letter to Leo, then falls asleep. When he wakes up Leo, is sitting in his living room. Leo reveals he is still a member of the League and says he will take the narrator to see the current President. Leo leads him through the streets of the quiet town by a circuitous route, stopping at various inconsequential locations including a church, to an anonymous building, which is large and labyrinthine on the inside (reminding me of the labyrinthine buildings Franz Kafka’s protagonists stumble through).

The narrator is led into an enormous room full of shelves lined with books which turn out to be the archive the League. Leo suddenly starts singing and, as in movie special effects, the archive recedes into the distance and in the foreground appears a large judgement chamber.

A jury assembles and a ‘Speaker’, who acts like a judge. It has turned into a sort of court-room, which makes the comparison with Kafka feel overwhelming – a confused little man dragged to judgement before a huge, imposing court which he doesn’t understand. The essence of the Kafkaesque.

For the first time the narrator is named as ‘H.H.’. H.H.? So a barely veiled reference to the author himself which, yet again, could barely be more like the Kafka who named his two most famous protagonists K. and Joseph K. with his own initial.

The ‘Speaker’ refers to H.H. as ‘the self-accused’ and asks him:

‘Is your name H.H.? Did you join in the march through Upper Swabia, and in the festival at Bremgarten? Did you desert your colours shortly after Morbio Inferiore? Did you confess that you wanted to write a story of the Journey to the East? Did you consider yourself hampered by your vow of silence about the League’s secrets?’
I answered question after question with ‘Yes’…

So I was expecting H.H. to get hammered, but, surprisingly, he is now given permission to go right ahead and write a full account of the League and all its laws.

He is handed a copy of the manuscript of the Journey he had been working on and which had got bogged down at that moment when Leo left the group. But now, when he rereads it, he feels it is bodged, clumsy, inaccurate and – further – as he tries to amend it, he watches the letters change shape, become patterns and pictures, illegible, the entire manuscript changes form in front of his eyes.

Rather improbably, the Speaker gives him free run of the immense archive to research his book, which leads to a passage where H.H. rummages through the archives to find records about his friends and then himself, but finds the records written in strange languages and arcane scripts. Slowly he realises there isn’t enough time in the world to go through this immense and probably infinite library.

From all sides the unending spaciousness of the archive chamber confronted me eerily. A new thought, a new pain shot threw me like a flash of lightning. I, in my simplicity, wanted to write the story of the League, I, who could not decipher or understand one-thousandth part of those millions of scripts, books, pictures and references in the archives! Humbled, unspeakably foolish, unspeakably ridiculous, not understanding myself, feeling extremely small, I saw myself standing in the midst of this thing with which I had been allowed to play a little in order to make me realize what the League was and what I was myself.

the court magically re-assembles, with the Speaker presiding. Now we learn that this little episode was a further step in H.H.’s trial, to show him how vain and presumptuous his aim of writing a history of the league was. The Speaker asks if he is ready for the verdict on him, and whether he wants it delivered by the Speaker or the President himself.

In a surreal development, the grand figure who emerges from the bloom of the archive hall turns out to be none other than… Leo! The Leo he had followed into the party, who is himself the Leo who was his group’s servant on the Journey and now he comes to think about it, was the same President who initiated him into the League and gave him his ring.

H.H. is covered in shame and confusion. To think that he could write a history of the League. To think that he had imagined the League had ended or had never existed. Now Leo recounts H.H.s sins against the League. Forgetting about its existence. Losing his League ring. Even their long walk through the town had been a test because H.H. should have gone into the church and worshipped, as is fitting, instead of standing outside locked in his impatient egotism. It is his egotism which made him deny the League and sink into a world plagued with depression and despair.

Again, as in so many of Hesse’s books, which you imagine will be about Eastern philosophy, the most eloquent passages are about misery and despair. Leo tells the jury how H.H.s loss of faith in the League led him down into the pit, and delivers some puzzling lines:

‘The defendant did not know until this hour, or could not really believe, that his apostasy and aberration were a test. For a long time he did not give in. He endured it for many years, knowing nothing about the League, remaining alone, and seeing everything in which he believed in ruins. Finally, he could no longer hide and contain himself. His suffering became too great, and you know that as soon as suffering becomes acute enough, one goes forward. Brother H. was led to despair in his test, and despair is the result of each earnest attempt to understand and vindicate human life. Despair is the result of each earnest attempt to go through life with virtue, justice and understanding and to fulfill their requirements. Children live on one side of despair, the awakened on the other side. Defendant H. is no longer a child and is not yet fully awakened. He is still in the midst of despair.’

So: Despair is what you enter when you are no longer a child, when you become a questing adult, and before you are initiated or awakened.

Now President Leo initiates H.H. for a second time, giving him a replacement ring and welcoming him back into the ranks of the League.

This really is nothing at all about any literal Journey To The East, is it? It is about adventures of the spirit, or maybe psychological experiences, in a quiet Swiss town.

Now the President leads H.H. to the final test. He is shown the League archives about himself. Specifically, he is shown several other accounts written by members of his group or party on his Journey of ten years ago. Here he is horrified to read that it is he, H.H. that the other members of the group blamed for Leo’s disappearance, for accusing Leo of having taken key documents with him, it was he, H.H. who was blamed by the rest of the group for spreading dissension.

He learns something about trying to write ‘the truth’ (something which is, to be blunt, fairly obvious), which is that everyone has a different account of what happened, and no ‘truth’ can ever be arrived at.

If the memory of this historian was so very confused and inaccurate, although he apparently made the report in all good faith and with the conviction of its complete veracity – what was the value of my own notes? If ten other accounts by other authors were found about Morbio, Leo and myself, they would presumably all contradict and censure each other.

No, our historical efforts were of no use; there was no point in continuing with them and reading them; one could quietly let them be covered with dust in this section of the archives. ..

How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible ?

The final few pages end on an enigmatic moment and symbol. Tucked away in the shelf where his records are stored, he finds a grotesque little statuette, like a pagan idol. Only slowly does he realise it is two-sided, shows two human figures joined at the back. And then slowly makes out that one is a depiction of himself, with blurred features, weak and dying. And as he lights another candle he sees something stirring in the heart of the glass statuette, and realises that some kind of life force is moving from his half of the statuette over into Leo’s

And in the last few sentences of the book he remembers a conversation he had with the servant Leo on the Journey, ten years earlier, amid a wonderful festival early in the journey, where Leo had explained that a pet or writer drains himself in order to give eternal life to his work, just as a mother suckles a baby and gives the babe life, at her own expense. So the poet.

And on this slightly ominous, pregnant image the book ends. The narrator feels very sleepy. He turns to find somewhere to sleep. Maybe enacting exactly the gesture whereby the poet, writer or maker, gives all their spirit and life force to their creation and then expires.

Thoughts

Well, it turns out not to be a literal Journey To The East in the slightest. Anyone expecting a straightforward narrative of a pilgrimage to India will be disappointed and puzzled.

However, anyone familiar with Hesse will be less surprised by its combination of the strangely mundane and the wildly phantasmagorical. This is the same combination as in Steppenwolf, which evolved from being a dull account of a middle-aged boarder in a provincial boarding house into the giddy surrealism of the Magic Theatre.

And Steppenwolf also covered a similar range of emotional or psychological states – to be more precise, it displayed a similar, almost schizophrenic, tendency to jump between extremes of Despair and the giddy heights of ecstatic imaginative delirium.

I had this impression of Hesse as being a lofty propounder of high-minded Eastern philosophy. I wasn’t prepared to encounter so many characters who were so full of despair, self-loathing and so many discussions of suicide.

And I’m still reeling from the way the book is not about a Journey To The East at all; it’s much more about the psychological adventures or journey of a middle-aged man living in a Swiss town. All the key events happen in the narrator’s mind. It is a psychological odyssey.

Building a universe

It’s a small detail, but it’s interesting that Hesse includes among fellow members of the League, not only some of his real-life friends, but characters from his other books.

Thus the character ‘Goldmund’, one of the two leads in Narziss and Goldmund, crops up in his initial memories of the Journey, as does the painter Klingsor, who is the fictional lead of Hesse’s earlier novel Klingsor’s Last Summer.

And when I started reading Hesse’s final novel, The Glass Bead Game, early in the introduction the narrator mentions the League of Journeyers To The East as forerunners of the game. Hesse was quite obviously creating a kind of larger imaginative canon, an imaginarium, in which characters not only from history, not only actual writers and composers, along with mythical and legendary figures, but figures from his own earlier fictions, could meet and mingle on equal terms.


Images of war in The Journey To The East

I am always interested in the social history revealed by older texts. It is striking that Hesse doesn’t just launch straight into his fairy-tale journey, but feels the need to define the times, the era, the period against which his pilgrim is reacting, and that he defines these times by repeated references to the social, economic, cultural and spiritual chaos following Germany’s defeat in the Great War.

Ours have been remarkable times, this period since the World War, troubled and confused, yet, despite this, fertile…

It was shortly after the World War, and the beliefs of the conquered nations were in an extraordinary state of unreality. There was a readiness to believe in things beyond reality…

Have we not just had the experience that a long, horrible, monstrous war has been forgotten, gainsaid, distorted and dismissed by all nations? And now that they have had a short respite, are not the same nations trying to recall by means of exciting war novels what they themselves caused and endured a few years ago?…

At the time that I had the good fortune to join the League – that is, immediately after the end of the World War – our country was full of saviors, prophets, and disciples, of presentiments about the end of the world, or hopes for the dawn of a Third Reich. Shattered by the war, in despair as a result of deprivation and hunger, greatly disillusioned by the seeming futility of all the sacrifices in blood and goods, our people at that time were lured by many phantoms, but there were also many real spiritual advances. There were Bacchanalian dance societies and Anabaptist groups, there was one thing after another that seemed to point to what was wonderful and beyond the veil. There was also at that time a widespread leaning towards Indian, ancient Persian and other Eastern mysteries and religions…

His name is Lukas. He had taken part in the World War and had published a book about it which had a large circulation…

And indeed, from a structural point of view, this editor, Lukas, is included mainly for the discussion he promotes about the struggle he had to write his memoirs of the war, and his eventual conclusion that it was better to write something rather than nothing – even if untrue or less than perfect – if only because the act of writing was so therapeutic and saved him from terrible feelings of despair and suicide.

I’m doing no more than suggest that Hesse, who is generally thought of as a kind of high-minded explorer of timeless values was, in fact, very much a man of his times, and that his thinking was marked and shaped by the great cataclysm which he and his nation lived through just as much as all the other authors of the Weimar period.

Credit

Die Morgenlandfahrt by Hermann Hesse was published in German in 1932. The English translation by Hilda Rosner was published by Peter Owen Ltd in 1956. All references are to the 1995 Picador paperback edition.


Related links

20th century German literature

The Weimar Republic

German history