THE PREVENTION OF LITERATURE- George Orwell
THE PREVENTION OF LITERATURE
About a year ago I attended a meeting of the P.E.N. Club, the occasion being the tercentenary of Milton’s AEROPAGITICA–A pamphlet, it may be remembered, in defense of freedom of the press. Milton’s famous phrase about the sin of “killing” a book was printed on the leaflets advertising the meeting which had been circulated beforehand.
There were four speakers on the platform. One of them delivered a speech which did deal with the freedom of the press, but only in relation to India; another said, hesitantly, and in very general terms, that liberty was a good thing; a third delivered an attack on the laws relating to obscenity in literature. The fourth devoted most of his speech to a defense of the Russian purges. Of the speeches from the body of the hall, some reverted to the question of obscenity and the laws that deal with it, others were simply eulogies of Soviet Russia. Moral liberty–the liberty to discuss sex questions frankly in print–seemed to be generally approved, but political liberty was not mentioned. Out of this concourse of several hundred people, perhaps half of whom were directly connected with the writing trade, there was not a single one who could point out that freedom of the press, if it means anything at all, means the freedom to criticize and oppose. Significantly, no speaker quoted from the pamphlet which was ostensibly being commemorated. Nor was there any mention of the various books which have been “killed” in England and the United States during the war. In its net effect the meeting was a demonstration in favor of censorship. [Note: It is fair to say that the P.E.N. club celebrations, which lasted a week or more, did not always stick at quite the same level. I happened to strike a bad day. But an examination of the speeches (printed under the title FREEDOM OF EXPRESSION) shows that almost nobody in our own day is able to speak out as roundly in favour of intellectual liberty as Milton could do 300 years ago–and this in spite of the fact Milton was writing in a period of civil war. (Author’s footnote)]
There was nothing particularly surprising in this. In our age, the idea of intellectual liberty is under attack from two directions. On the one side are its theoretical enemies, the apologists of totalitarianism, and on the other its immediate, practical enemies, monopoly and bureaucracy. Any writer or journalist who wants to retain his integrity finds himself thwarted by the general drift of society rather than by active persecution. The sort of things that are working against him are the concentration of the press in the hands of a few rich men, the grip of monopoly on radio and the films, the unwillingness of the public to spend money on books, making it necessary for nearly every writer to earn part of his living by hackwork, the encroachment of official bodies like the M.O.I. [Ministry of Information] and the British Council, which help the writer to keep alive but also waste his time and dictate his opinions, and the continuous war atmosphere of the past ten years, whose distorting effects no one has been able to escape. Everything in our age conspires to turn the writer, and every other kind of artist as well, into a minor official, working on themes handed down from above and never telling what seems to him the whole of the truth. But in struggling against this fate he gets no help from his own side; that is, there is no large body of opinion which will assure him that he’s in the right. In the past, at any rate throughout the Protestant centuries, the idea of rebellion and the idea of intellectual integrity were mixed up. A heretic–political, moral, religious, or aesthetic–was one who refused to outrage his own conscience. His outlook was summed up in the words of the Revivalist hymn:
Dare to be a Daniel Dare to stand alone Dare to have a purpose firm Dare to make it known
To bring this hymn up to date one would have to add a “Don’t” at the beginning of each line. For it is the peculiarity of our age that the rebels against the existing order, at any rate the most numerous and characteristic of them, are also rebelling against the idea of individual integrity. “Daring to stand alone” is ideologically criminal as well as practically dangerous. The independence of the writer and the artist is eaten away by vague economic forces, and at the same time it is undermined by those who should be its defenders. It is with the second process that I am concerned here.
Freedom of thought and of the press are usually attacked by arguments which are not worth bothering about. Anyone who has experience of lecturing and debating knows them off backwards. Here I am not trying to deal with the familiar claim that freedom is an illusion, or with the claim that there is more freedom in totalitarian countries than in democratic ones, but with the much more tenable and dangerous proposition that freedom is undesirable and that intellectual honesty is a form of anti-social selfishness. Although other aspects of the question are usually in the foreground, the controversy over freedom of speech and of the press is at bottom a controversy of the desirability, or otherwise, of telling lies. What is really at issue is the right to report contemporary events truthfully, or as truthfully as is consistent with the ignorance, bias and self-deception from which every observer necessarily suffers. In saying this I may seem to be saying that straightforward “reportage” is the only branch of literature that matters: but I will try to show later that at every literary level, and probably in every one of the arts, the same issue arises in more or less subtilized forms. Meanwhile, it is necessary to strip away the irrelevancies in which this controversy is usually wrapped up.
The enemies of intellectual liberty always try to present their case as a plea for discipline versus individualism. The issue truth-versus-untruth is as far as possible kept in the background. Although the point of emphasis may vary, the writer who refuses to sell his opinions is always branded as a mere egoist. He is accused, that is, of either wanting to shut himself up in an ivory tower, or of making an exhibitionist display of his own personality, or of resisting the inevitable current of history in an attempt to cling to unjustified privilege. The Catholic and the Communist are alike in assuming that an opponent cannot be both honest and intelligent. Each of them tacitly claims that “the truth” has already been revealed, and that the heretic, if he is not simply a fool, is secretly aware of “the truth” and merely resists it out of selfish motives. In Communist literature the attack on intellectual liberty is usually masked by oratory about “petty-bourgeois individualism”, “the illusions of nineteenth-century liberalism”, etc., and backed up by words of abuse such as “romantic” and “sentimental”, which, since they do not have any agreed meaning, are difficult to answer. In this way the controversy is maneuvered away from its real issue. One can accept, and most enlightened people would accept, the Communist thesis that pure freedom will only exist in a classless society, and that one is most nearly free when one is working to bring such a society about. But slipped in with this is the quite unfounded claim that the Communist Party is itself aiming at the establishment of the classless society, and that in the U.S.S.R. this aim is actually on the way to being realized. If the first claim is allowed to entail the second, there is almost no assault on common sense and common decency that cannot be justified. But meanwhile, the real point has been dodged. Freedom of the intellect means the freedom to report what one has seen, heard, and felt, and not to be obliged to fabricate imaginary facts and feelings. The familiar tirades against “escapism” and “individualism”, “romanticism”, and so forth, are merely a forensic device, the aim of which is to make the perversion of history seem respectable.
Fifteen years ago, when one defended the freedom of the intellect, one had to defend it against Conservatives, against Catholics, and to some extent–for they were not of great importance in England–against Fascists. Today one has to defend it against Communists and “fellow-travelers”. One ought not to exaggerate the direct influence of the small English Communist Party, but there can be no question about the poisonous effect of the Russian MYTHOS on English intellectual life. Because of it known facts are suppressed and distorted to such an extent as to make it doubtful whether a true history of our times can ever be written. Let me give just one instance out of the hundreds that could be cited. When Germany collapsed, it was found that very large numbers of Soviet Russians–mostly, no doubt, from non-political motives–had changed sides and were fighting for the Germans. Also, a small but not negligible portion of the Russian prisoners and displaced persons refused to go back to the U.S.S.R., and some of them, at least, were repatriated against their will. These facts, known to many journalists on the spot, went almost unmentioned in the British press, while at the same time Russophile publicists in England continued to justify the purges and deportations of 1936-38 by claiming that the U.S.S.R. “had no quislings”. The fog of lies and misinformation that surrounds such subjects as the Ukraine famine, the Spanish civil war, Russian policy in Poland, and so forth, is not due entirely to conscious dishonesty, but any writer or journalist who is fully sympathetic for the U.S.S.R.–sympathetic, that is, in the way the Russians themselves would want him to be–does have to acquiesce in deliberate falsification on important issues. I have before me what must be a very rare pamphlet, written by Maxim Litvinoff in 1918 and outlining the recent events in the Russian Revolution. It makes no mention of Stalin, but gives high praise to Trotsky, and also to Zinoviev, Kamenev, and others. What could be the attitude of even the most intellectually scrupulous Communist towards such a pamphlet? At best, the obscurantist attitude of saying that it is an undesirable document and better suppressed. And if for some reason it were decided to issue a garbled version of the pamphlet, denigrating Trotsky and inserting references to Stalin, no Communist who remained faithful to his party could protest. Forgeries almost as gross as this have been committed in recent years. But the significant thing is not that they happen, but that, even when they are known about, they provoke no reaction from the left-wing intelligentsia as a whole. The argument that to tell the truth would be “inopportune” or would “play into the hands of” somebody or other is felt to be unanswerable, and few people are bothered by the prospect of the lies which they condone getting out of the newspapers and into the history books.
For the moment the totalitarian state tolerates the scientist because it needs him. Even in Nazi Germany, scientists, other than Jews, were relatively well treated and the German scientific community, as a whole, offered no resistance to Hitler. At this stage of history, even the most autocratic ruler is forced to take account of physical reality, partly because of the lingering-on of liberal habits of thought, partly because of the need to prepare for war. So long as physical reality cannot altogether be ignored, so long as two and two have to make four when you are, for example, drawing the blueprint of an aeroplane, the scientist has his function, and can even be allowed a measure of liberty. His awakening will come later, when the totalitarian state is firmly established. Meanwhile, if he wants to safeguard the integrity of science, it is his job to develop some kind of solidarity with his literary colleagues and not disregard it as a matter of indifference when writers are silenced or driven to suicide, and newspapers systematically falsified.
But however it may be with the physical sciences, or with music, painting and architecture, it is–as I have tried to show–certain that literature is doomed if liberty of thought perishes. Not only is it doomed in any country which retains a totalitarian structure; but any writer who adopts the totalitarian outlook, who finds excuses for persecution and the falsification of reality, thereby destroys himself as a writer. There is no way out of this. No tirades against “individualism” and the “ivory tower”, no pious platitudes to the effect that “true individuality is only attained through identification with the community”, can get over the fact that a bought mind is a spoiled mind. Unless spontaneity enters at some point or another, literary creation is impossible, and language itself becomes something totally different from what it is now, we may learn to separate literary creation from intellectual honesty. At present we know only that the imagination, like certain wild animals, will not breed in captivity. Any writer or journalist who denies that fact–and nearly all the current praise of the Soviet Union contains or implies such a denial–is, in effect, demanding his own destruction.
Fifty Orwell Essays Author: George Orwell http://gutenberg.net.au/ebooks03/0300011h.html#part46