by Christopher Caudwell
A Study of the Bourgeois Artist
What is the function of the artist? Any artist such as Lawrence, who aims to be 'more than' an artist, necessarily raises this question. It is supposed to be the teaching of Marxism that art for art's sake is an illusion and that art must be propaganda. This is, however, making the usual bourgeois simplification of a complex matter.
Art is a social function. This is not a Marxist demand, but arises from the very way in which art forms are defined. Only those things are recognised as art forms which have a conscious social function. The phantasies of a dreamer are not art. They only become art when they are given music, forms or words, when they are clothed in socially recognised symbols, and of course in the process there is a modification. The phantasies are modified by the social dress; the language as a whole acquires new associations and context. No chance sounds constitute music, but sounds selected from a socially recognised scale and played on socially developed instruments.
It is not for Marxism therefore to demand that art play a social function or to attack the conception of 'art for art's sake', for art only is art, and recognisable as such, in so far as it plays a social function. What is of importance to art, Marxism and society is the question: What social function is art playing? This in turn depends on the type of society in which it is secreted.
In bourgeois society social relations are denied in the form of relations between men, and take the form of a relation between man and a thing, a property relation, which, because it is a dominating relation, is believed to make man free. But this is an illusion. The property relation is only a disguise for relations which now become unconscious and therefore anarchic but are still between man and man and in particular between exploiter and exploited.
The artist in bourgeois culture is asked to do the same thing. He is asked to regard the art work as a finished commodity and the process of art as a relation between himself and the work, which then disappears into the market. There is a further relation between the art work and the buyer, but with this he can hardly be immediately concerned. The whole pressure of bourgeois society is to make him regard the art work as hypostatised and his relation to it as primarily that of a producer for the market.
This will have two results.
(i) The mere fact that he has to earn his living by the sale of the concrete hypostatised entity as a property right - copyright, picture, statue - may drive him to estimate his work as an artist by the market chances which produce a high total return for these property rights. This leads to the commercialisation or vulgarisation of art.
(ii) But art is not in any case a relation to a thing, it is a relation between men, between artist and audience, and the art work is only like a machine which they must both grasp as part of the process. The commercialisation of art may revolt the sincere artist, but the tragedy is that he revolts against it still within the limitations of bourgeois culture. He attempts to forget the market completely and concentrate on his relation to the art work, which now becomes still further hypostatised as an entity-in-itself. Because the art work is now completely an end-in-itself, and even the market is forgotten, the art process becomes an extremely individualistic relation. The social values inherent in the art form, such as syntax, tradition, rules, technique, form, accepted tonal scale, now seem to have little value, for the art work more and more exists for the individual alone. The art work is necessarily always the product of a tension between old conscious social formulations - the art 'form' - and new individual experience made conscious - the art 'content' or the artist's 'message'. This is the synthesis, the specifically hard task of creation. But the hypostatisation of the art work as the goal makes old conscious social formulations less and less important, and individual experience more and more dominating As a result art becomes more and more formless, personal, and individualistic, culminating in Dadaism, surrealism and 'Steining'.
Thus bourgeois art disintegrates under the tension of two forces, both arising from the same feature of bourgeois culture. On the one hand there is production for the market - vulgarisation, commercialisation. On the other there is hypostatisation of the art work as the goal of the art process, and the relation between art work and individual as paramount. This necessarily leads to a dissolution of those social values which make the art in question a social relation, and therefore ultimately results in the art work's ceasing to be an art work and becoming a mere private phantasy.
All bourgeois art during the last two centuries shows the steady development of this bifurcation. As long as the social values inherent in an art form are not disintegrated - e.g. up to say 1910 - the artist who hypostatises the art form and despises the market can produce good art. After that, it becomes steadily more difficult. Needless to say, the complete acceptance of the market, being a refusal to regard any part of the art process as a social process, is even more incompetent to produce great art. Anything which helps the artist to escape from the bourgeois trap and become conscious of social relations inherent in art, will help to delay the rot. For this reason the novel is the last surviving literary art form in bourgeois culture, for in it, for reasons explained elsewhere, the social relations inherent in the art process are overt. Dorothy Richardson, James Joyce, and Proust, all in different ways are the last blossoms of the bourgeois novel, for with them the novel begins to disappear as an objective study of social relations and becomes a study of the subject's experience in society. It is then only a step for the thing experienced to disappear and, as in Gertrude Stein, for complete 'me-ness' to reign.
It is inevitable that at this stage the conception of the artist as a pure 'artist' must cease to exist. For commercialised art has become intolerably base and negated itself. And equally art for art's sake (that is, the ignoring of the market and concentration on the perfect art work as a goal in itself) has negated itself, for the art form has ceased to exist, and what was art has become private phantasy. It is for this reason that sincere artists, such as Lawrence, Gide, Romain Rolland, Romains and so on, cannot be content with the beautiful art work, but seem to desert the practice of art for social theory and become novelists of ideal, literary prophets and propaganda novelists. They represent the efforts of bourgeois art, exploded into individualistic phantasy and commercialised muck, to become once more a social process and so be reborn. Whether such art is or can be great art is beside the point, since it is inevitably the pre-requisite for art becoming art again, just as it is beside the point whether the transition from bourgeoisdom to communism is itself smooth or happy or beautiful or free, since it is the inevitable step if bourgeois anarchy and misery is to be healed and society to become happy and free.
But what is art as a social process? What is art, not as a mere art work or a means of earning a living, but in itself, the Part it plays in society? I have dealt fully with this point elsewhere, and need only briefly recapitulate now.
The personal phantasy or day-dream is not art, however beautiful. Nor is the beautiful sunset. Both. are only the raw material of art. It is the property of art that it makes mimic pictures of reality which we accept as illusory. We do not suppose the events of a novel really happen, that a landscape shown on a painting can be walked upon - yet it has a measure of reality.
The mimic representation, by the technique appropriate to the art in question, causes the social representation to sweat out of its pores an affective emanation. The emanation is in us, in our affective reaction with the elements of the representation. Given in the representation are not only the affects, but, simultaneously, their organisation in an affective attitude towards the piece of reality symbolised in the mimicry. This affective attitude is bitten in by a general heightening of consciousness and increase in self-value, due to the non-motor nature of the innervations aroused, which seems therefore all to pass into an affective irradiation of consciousness. This affective attitude is not permanent, as is the intellectual attitude towards reality aroused by a cogent scientific argument, but still - because of the mnemic characteristics of an organism - it remains as an experience and must, therefore, in proportion to the amount of conscious poignancy accompanying the experience and the nature of the experience, modify the subject's general attitude towards life itself. This modification tends to make life more interesting to the organism, hence the survival value of art. But viewed from society's standpoint, art is the fashioning of the affective consciousness of its members, the conditioning of their instincts.
Language, simply because it is the most general instrument for communicating views of reality, whether affective and cognitive, has a particularly fluid range of representations of reality. Hence the suppleness and scope of literary art; the novel, the drama, the poem, the short story, and the essay. It can draw upon all the symbolic pictures of reality made by scientific, historical and discursive intellectual processes. Art can only achieve its purpose if the pictures themselves are made simultaneously to produce affect and organisation. Then, even as the artist holds up to us the piece of reality, it seems already glowing with affective colouring.
Reality constitutes for us our environment; and our environment, which is chiefly social, alters continuously - sometimes barely perceptibly, sometimes at dizzy Speeds. The socially accepted pictures we make in words of reality cannot change as if they were reflections in a mirror. An object is reflected in a mirror. If the object moves the reflection moves. But in language reality is symbolised in unchanging words, which give a false stability and permanence to the object they represent. Thus they instantaneously photograph reality rather than reflect it. This frigid character of language is regrettable but it has its utilitarian purposes. It is probably the only way in which man, with his linear consciousness, can get a grip of fluid reality. Language, as it develops, shows more and more of this false permanence, till we arrive at the Platonic Ideas, Eternal and Perfect Words. Their eternity and perfection is simply the permanence of print and paper. If you coin a word or write a symbol to describe an entity or event, the word will remain 'eternally' unchanged even while the entity has changed and the event is no longer present. This permanence is part of the inescapable nature of symbolism, which is expressed in the rules of logic. It is one of the strange freaks of the human mind that it has supposed that reality must obey the rules of logic, whereas the correct view is that symbolism by its very nature has certain rules, expressed in the laws of logic, and these are nothing to do with the process of reality, but represent the nature of the symbolic process itself.
The artist experiences this discrepancy between language and reality as follows: he has had an intense experience of a rose and wishes to communicate his experience to his fellows in words. He wishes to say, 'I saw a rose'. But 'rose' has a definite social meaning, or group of meanings, and we are to suppose that he has had an experience with the rose which does not correspond to any of society's previous experiences of roses, embodied in the word and its history. His experience of the rose is therefore the negation of the word 'rose' it is 'not-rose' - all that in his experience which is not expressed in the current social meaning of the word rose He therefore says - 'I saw a rose like' - and there follows a metaphor, or there is an adjective - 'a heavenly rose', or a euphemism - 'I saw a flowery blush' and in each case there is a synthesis, for his new experience has become socially fused into society's old experiences and both have been changed in the process. His own experience has taken colour from all past meanings of the word 'rose' for these will be present in men's minds when they read his poem, and the word 'rose' will have taken colour from his individual experience, for his poem will in future be in men's minds when they encounter the word 'rose'.
But why was the poet's experience different from society's tradition? Because that cross-section of his environment which we call his individual life-experience was different. But if we take all society's art as a whole, i.e. the sum of individual cross-sections, we get on the one hand the whole experience of the environment averaged out, and also the average man, or average genotype. Now the constant genesis of new art must mean that the environment is changing, so that man's individual experiences are changing, and he is constantly finding inherited social conscious formulations inadequate and requiring resynthesis. Thus if art forms remain unchanged and traditional, as in Chinese civilisation, it is evident that the environment - social relations - are static. If they decay the environment is on the down-grade, as with current bourgeois culture. If they improve, the reverse is the case. But the artist's value is not in self-expression. If so, why should he struggle to achieve the synthesis in which old social formulations are fused with his individual experience? Why not disregard social formalities and express himself direct as one does by shouting, leaping, and cries? Because, to begin with, it is the old bourgeois illusion to suppose there is such a thing as pure individual expression. It is not even that the artist nobly forces his self-expression into a social mould for the benefit of society. Both attitudes are simply expressions of the old bourgeois fallacy that man is free in freely giving vent to his instincts. In fact the artist does not express himself in art forms, he finds himself therein. He does not adulterate his free self-expression to make it socially current, he finds free self-expression only the social relations embodied in art. The value of art to the artist then is this, that it makes him free. It appears to him of value as a self-expression, but in fact it is not the expression of a self but the discovery of a self. It is the creation of a self. In synthesising experience with society's, in pressing his inner self into the mould of social relations, he not only creates a new mould, a socially valuable product, but he also moulds and creates his own self. The mute inglorious Milton is a fallacy. Miltons are made not born.
The value of art to society is that by it an emotional adaptation is possible. Man's instincts are pressed in art against the altered mould of reality, and by a specific organisation of the emotions thus generated, there is a new attitude, an adaptation.
All art is produced by this tension between changing social relations and outmoded consciousness. The very reason why new art is created, why the old art does not satisfy either artist or appreciator, is because it seems somehow out of gear with the present. Old art always has meaning for us, because the instincts, the source of the affects, do not change, because a new system of social relations does not exclude but includes the old, and because new art too includes the traditions of the art that has gone before. But it is not enough. We must have new art.
And new art results from tension. This tension takes two forms.
(i) One is productive - the evolutionary form. The tension between productive relations and productive forces secures the advance of society as a whole, simply by producing in an even more pronounced form the contradiction which was the source of the dynamism. Thus bourgeois culture by continually dissolving the relations between men for relations to a thing, and thus hypostatising the market, procured the growth of industrial capitalism. And, in the sphere of art it produced the increasing individualism which, seen at its best in Shakespeare, was a positive value, but pushed to its limit finally spelt the complete breakdown of art in surrealism, Dadaism and Steinism.
(ii) The tension now becomes revolutionary. For productive relations are a brake on productive forces and the tension between them, instead of altering productive relations in the direction of giving better outlet to productive forces, has the opposite effect. It drives productive relations on still further into negation, increases the tension, and prepares the explosion which will shatter the old productive relations and enable them to be rebuilt anew - not arbitrarily, but according to a pattern which will itself be given by the circumstances of the tension. Thus in art the tension between individualism and the increasing complexity and catastrophes of the artist's environment, between the free following of dream and the rude blows of anarchic reality, wakes the artist from his dream and forces him in spite of himself to look at the world, not merely as an artist, but also as a man, as a citizen, as a sociologist. It forces him to be interested in things not strictly germane to art; - economics, science, and philosophy, just as it did during the early bourgeois Renaissance, producing 'all-round men' like Leonardo da Vinci. Whether this is good for art or not is beside the point. Bourgeois art like bourgeois culture is moribund and this process is an inevitable concomitant of the stage proceeding art's rebirth. And because of this intervening period, the new art when it emerges will be art more conscious of itself as part of the whole social process, will be communist art. This explains why all modern artists of any significance such as Lawrence, Gide, Aragon, dos Passos, Eliot and so on, cannot be content to be 'pure' artists, but must also be prophets, thinkers, philosophers, and politicians, men interested in life and social reality as a whole. They are conscious of having a message. This is the inevitable effect an art of a revolutionary period, and it is not possible to escape from it into 'pure' art, into the ivory tower, for now there is no pure art; that phase is either over or not yet begun.
But at a revolution two paths are possible. So indeed they are in evolution - one can either stay still and be classical, academic and null, or go forward. But at a time of revolution it is not possible to stay still, one must either go forward, or back. To us this choice appears as a choice between Communism and Fascism, either to create the future or to go back to old primitive values, to mythology, racialism, nationalism, hero-worship, and participation mystique. This Fascist art is like the regression of the neurotic to a previous level of adaptation.
It is Lawrence's importance as an artist that he was well aware of the fact that the pure artist cannot exist to-day, and that the artist must inevitably be a man hating cash relationships and the market, and profoundly interested in the relations between persons. Moreover, he must be a man not merely profoundly interested in the relations between persons as they are, but interested in changing them, dissatisfied with them as they are, and wanting newer and fuller values in personal relationships.
But it is Lawrence's final tragedy that his solution was ultimately Fascist and not Communist. It was regressive. Lawrence wanted us to return to the past, to the 'Mother'. He sees human discontent as the yearning of the solar plexus for the umbilical connexion, and he demands the substitution for sharp sexual love of the unconscious fleshy identification of foetus with mother. All this was symbolic of regression, of neurosis, of the return to the primitive.
Lawrence felt that the Europe of to-day was moribund; and he turned therefore to other forms of existence, in Mexico, Etruria and Sicily, where he found or thought he found systems of social relations in which life flowed more easily and more meaningfully. The life of Bourgeois Europe seemed to him permeated with possessiveness and rationalising, so that it had got out of gear with the simple needs of the Body. In a thousand forms he repeats this indictment of a civilisation which consciously and just because it is conscious - sins against the instinctive currents which are man's primal source of energy. It is a mistake to suppose that Lawrence preaches the gospel of sex. Bourgeois Europe has had its bellyful of sex, and a sex cult would not now attract the interest and emotional support which Lawrence's teaching received. Lawrence's gospel was purely sociological. Even sex was too conscious for him.
'Anybody who calls my novel (Lady Chatterley's Lover) a dirty sexual novel, is a liar. It's not even a sexual novel: it's a phallic. Sex is a thing that exists in the head, its reactions are cerebral, and its processes mental. Whereas the phallic reality is warm and spontaneous - '
Again he wrote:
'What ails me is the absolute frustration of my primitive societal instinct . . . I think societal instinct much deeper than the sex instinct - and societal repression much more devastating. There is no repression of the sexual individual comparable to the repression of the societal man in me, by the individual ego, my own and everybody else's. I am weary even of my own individuality, and simply nauseated by other people's.'
One more analysis by him of the evil in bourgeois culture: (In the Cornish people) -
'the old race is still revealed, a race which believed in the darkness, in magic, and in the magic transcendency of one man over another which is fascinating Also there is left some of the old sensuousness of the darkness and warmth and passionateness of the blood, sudden, incalculable. Whereas they are like insects, gone cold, living only for money, for dirt. They are foul in this. They ought to die.'
Now here is a clear artistic, i.e. emotional, analysis of the decay of bourgeois social relations. They live for money, the societal instinct is repressed, even the sex relations have become cold and infected. Survivals of barbaric social relations between men (the magic transcendency of man over man) stand out as valuable in a culture where these relations have become relations between man and a thing, man and dirt.
But Lawrence does not look for a cause in social relations themselves, but in man's consciousness of them. The solution of the individual's needs is then plainly to be found in a return to instinctive living. But how are we to return to instinctive living? By casting off consciousness; we must return along the path we have come. But intellectualism consists in this, that we give either linguistically, plastically, or mentally, a symbolic projection to portions of reality, and consciousness or thinking consists simply in shuffling these images or verbal products. If therefore we are to cast off intellectualism and consciousness we must abandon all symbolism and rationalisation tout court, we must be, and no longer think, even in images. Yet on the contrary Lawrence again and again consciously formulates his creed in intellectual terms or terms of imagery. But this is self-contradiction, for how can we be led intellectually and consciously back from consciousness? It is our consciousness that Lawrence attempts to extend and heighten even at the moment he urges us to abandon it.
Consciousness can only be abandoned in action, and the first action of Fascism is the crushing of culture and the burning of the books. It is impossible therefore for an artist and thinker to be a consistent Fascist. He can only be like Lawrence, a self-contradictory one, who appeals to the consciousness of men to abandon consciousness.
There is a confusion here due to equating consciousness with thinking and unconsciousness with feeling.
This is wrong. Both are conscious. No one ever had or could have an unconscious affect or emotion. Feeling indeed is what makes the unconscious memory-traces conscious, and heats them into thoughts. All of us, in times of deep feeling, whether artistic or emotional feeling, are aware of heightened consciousness almost like a white light in us so intense and clear is it. But Lawrence never clearly saw this, and constantly equates unconsciousness with feeling and consciousness with intellect. For example:
My great religion is a belief in the blood, in the flesh, as being wiser than the intellect. We can go wrong in our minds. But what our blood feels and believes and says is always true. The intellect is only a bit and a bridle. What do I care about knowledge? All I want is to answer to my blood, direct, without fumbling intervention of mind, or moral, or what not. I conceive a man's body as a kind of flame, like a candle flame forever upright and yet flowing: and the intellect is just the light that is shed on the things around, coming God knows how from out of practically nowhere, and being itself, whatever there is around it that it lights up. We have got so ridiculously mindful, that we never know that we ourselves are anything - we think there are only the objects we shine upon. And there the poor flame goes on burning ignored, to produce this light. And instead of chasing the mystery in the fugitive, half-lighted things outside us, we ought to look at ourselves and say, "My God, I am myself!" That is why I like to live in Italy. The people are so unconscious. They only feel and want, they don't know. We know too much. No, we only think we know such a lot. A flame isn't a flame because it lights up two, or twenty objects on a table. It's a flame because it is itself. And we have forgotten ourselves.'
Feeling and thinking play into each other's hands and heighten each other. Man feels more deeply than the slug because he thinks more. Why did Lawrence make this error of supposing them essentially exclusive, and equate feeling with unconsciousness? Once again, the answer is in the nature of current society. All feeling and all thinking must contain something of each other to form part of consciousness at all. But it is possible to distinguish certain conscious phenomena as chiefly feeling, or vice versa. 'Pure' feelings, any more than 'Pure' thoughts, do not exist at all, since the first would be a mere instinctive tendency, the second nothing but a mnemic trace. Both would be unconscious and evidenced therefore only in behaviour. Lawrence might mean that feeling has wilted under modern conditions and that we must expand the feeling basis of our consciousness.
We know this of feelings (and affects generally) that they come into consciousness associated with innate responses or - more loosely - that they seem to be born of the modification, by experience and in action of the 'instincts'. Instinct going out in unmodified action, in mechanical response to a stimulus, is without feeling, it is pure automatism. Only when it becomes modified by memory traces or stifled by action does it become conscious and appear as feeling. The more intelligent the animal, the more its behaviour is modifiable by experience, the more feeling it displays. This extra display of feeling is because it is more intelligent, more conscious, less swayed by heredity, more subject to personal experience. Modification of innate responses by experience simply implies that previous behaviour leaves a mnemic trace on the neurones, chiefly of the cortex. These when innervated produce a new pattern, whose modification takes in the cortical sphere the form of thoughts and, in the visceral and thalamic sphere, the form of feelings or emotional dynamism. The different proportion of the components decides whether we call them thoughts or feelings. Even the simplest thought is irradiated with affect, and even the simplest emotion is accompanied by a thought, not necessarily verbalised but of some such character as 'I am hurt ', or 'A pain'. It is because thought and feeling arise from the same modification of innate responses, by experience, that the growth of intelligence, i.e. of the capacity for modification of behaviour by experience, is accompanied by a steadily increasing emotional complexity, richness, and deepness. It is plain that the growth of civilisation in Homo Sapiens has been accompanied by a steady increase in sensibility to pain and pleasure. This is the famous 'sensitiveness' of civilised man, the 'luxury' of high cultures, which is also manifested in their art and their vocabulary. Primitive peoples on the other hand show a marked deficiency in their sensibility, not only to refined emotions but even the cruder ones. The extremely erotic character of savage dances is not due, as some observers naively suppose, to the emotional erethism of the natives, but to the reverse, that in them the erotic impulses, owing to their deficient sensibility, can only be aroused by violent stimulation, whereas a slight stimulus will set off the hair-trigger emotions of civilised people. The same phenomenon is shown in primitive insensibility to pain. Consequently if we are to return down the path we have come from, back to primitiveness, to the blood, to the flesh, it is not only to less and cruder thought but also to less and cruder feeling, to a lessened consciousness in which feeling and thought, precisely because they are less rich and complex, will be more intimately mingled, until finally, as they both blend completely and become one, they vanish and nothing is left but unconscious behaviour. But how can this goal be of value to an artist, save on condition he denies himself the very law of his being? Art is not unconscious behaviour, it is conscious feeling.
It is, however, possible to broaden feeling without altering thought or losing consciousness, by altering the ratio between them in modern civilisation. That is precisely the purpose of art, for the artist makes use always of just those verbal or pictorial images of reality which are more charged with feeling than cognition, and he organises them in such a way that the affects re-inforce each other and fuse to a glowing mass. Consequently, he who believes that at all costs the feeling element must be broadened in present-day consciousness, must preach and secure, not the contraction of all consciousness, but the widening of feeling consciousness. This is art's mission. Art is the technique of affective manipulation in relation to reality. Lawrence was doing what I suppose him to have wished to do, just when he was artist pure and simple, sensitively recording the Spirit of a place or the emotions of real people - in his early work. In proportion as he became a prophet, preaching a gospel intellectually, he departed from that goal.
How did he come to make first the initial sortie in favour of feeling, and then the contradictory error, deserting art for preaching? He came to the first conclusion because feeling is impoverished by modern bourgeois culture. Social relations, by ceasing to be between man and man and adhering to a thing, become emptied of tenderness. Man feels himself deprived of love. His whole instinct revolts against this. He feels a vast maladaption to his environment. Lawrence perceives this clearly when he talks about the repression of the societal instinct.
But things have gone so far that no tinkering with social relations, no adaptation of the instincts to the environment by means of art, will cure this. Social relations themselves must be rebuilt. The artist is bound for the sake of his integrity to become thinker and revolutionary. Lawrence therefore was bound not to be content with pure art, with widening feeling consciousness in the old circle. He had to try and recast social relations and proceed to a solution. But there is only one revolutionary solution. Social relations must be altered, not so as to contract consciousness but so as to widen it. The higher feeling must be found, not in a lower but as always in a higher level of culture.
Naturally consciousness seems in bourgeois culture now, as in all periods of decay, full of defects with which being struggles, and this seems like unconsciousness crippled by consciousness. Those defects in bourgeois social relations all arise from the cash nexus which replaces all other social ties, so that society seems held together, not by mutual love or tenderness or obligation, but simply by profit. Money makes the bourgeois world go round and this means that selfishness is the hinge on which bourgeois society turns, for money is a dominating relation to an owned thing. This commercialisation of all social relations invades the most intimate of emotions, and the relations of the sexes are affected by the differing economic situations of man and woman. The notion of private property, aggravated by its importance and overwhelming power in bourgeois relations, extends to love itself. Because economic relations in capitalism are simply each man struggling for himself in the impersonal market, the world seems torn apart with the black forces of envy, covetousness and hate, which mix with and make ambivalent even the most 'altruistic' emotions.
But it is simplifying the drama to make it a struggle between contemporary consciousness and old being. It is a conflict between productive relations and productive powers, between the contemporary formulations of consciousness, and all the possibilities of future being including consciousness latent in society and struggling to be released from their bonds. Bourgeois defects are implicit in bourgeois civilisation and therefore in bourgeois consciousness. Hence man wants to turn against the intellect, for it seems that the intellect is his enemy, and indeed it is, if by intellect we mean the bourgeois intellect. But it can only be fought with intellect. To deny intellect is to assist the forces of conservatism. In hundreds of diverse forms we see to-day the useless European revolt against intellectualism.
In any civilisation the role of consciousness is to modify instinctive responses so that they flow smoothly into the mill of social relations and turn it. Instinct not money really turns the social mill, though in the bourgeois world instinctive relations can only operate along the money channel. Hence when social relations come to be a brake on society's forces, there is felt a conflict between the social relations and the instincts. It seems as if the feelings were out of gear, as if the world was uncomfortable and hurt the feelings and repressed them. It seems as if the instincts, and the feelings, those products of the instincts, were being penalised by the environment, and that, therefore, the instincts and feelings must be 'given their due' must be exalted even if it means breaking up and abandoning the civilised environment for a more primitive one. To-day this exaltation of the instincts is seen in all demands for a return to deeper 'feeling' as with Lawrence, and in all worships of unconscious 'mentation' as with the surrealists, Hemingways, and Fascists. In individuals this mechanism is infantile regression, seen in its pathological form in the neuroses.
Now these mechanisms involve the discovery of a real defect. Social being is held back by social consciousness; the instincts are thwarted and the feelings are made poor by the environment. But the remedy is wrong. The neurotic cannot, as we know, be cured by infantile regression. All it does for him is to secure him unconsciousness and take from him painful thoughts, at the price of a lowering of consciousness and an impoverishing of values. Civilisation cannot be cured by going back along the path to the primitive, it can only become at a lower level more unconscious of its decay. Just as the neurotic's return to childhood solutions of problems is unhealthier than childhood, so a civilisation's return to a primitive solution is unhealthier than primitive life itself. The very history between makes such solutions unreal. To the primitive these problems have never existed. To the regressive they have existed but he has repressed them. It is into the wilderness these people would lead us. They preach, not new vigour, but old decadence.
What then is the cure? We know that both in the case of the neurotic and the civilisation, the cure is a more strenuous and creative act than the invalid's relapse into the womb of that unconsciousness from which we emerged. Our task is to be performed, not in an air heavy and fetid with mysteries and dead symbolism like that of a cavern used for old obscene rites, but in the open air.
We are not to return to the old but it is into the new we must go; and the new does not exist, we must bring it into being. The child would love to return to the womb, but it must become adult and face the strenuous and bracing talks of life. We are not to abandon consciousness but to expand it, to deepen and purge feeling and break up and recast thought, and this new consciousness does not exist in any thing's keeping either Mexicans or Yogis or the 'blood' but we must make it ourselves. In this struggle with reality in which instincts, feeling and thought all partake and interact, the instincts themselves will be changed, and emerging in consciousness as new thought and new feeling, will once again feel themselves in harmony with the new environment they have created. Social relations must be changed so that love returns to the earth and man is not only wiser but more full of emotion. This is not a task which one prophet can perform in one Gospel, but since the whole fabric of social relations are to be changed, every human being must in some sort participate in the change, be either for it or against it, and be victorious if he is for it and be defeated if he is against it.
Why did Lawrence, faced with the problem, fail of a solution? He failed because while hating bourgeois culture he never succeeded in escaping from its limitations. Here in him, too, we see the same old lie. Man is 'free' in so far as his 'free' instincts, the 'blood', the flesh are given an outlet. Man is free not through but in spite of social relations.
If one believes this - which, as we have seen, is the deepest and most ineradicable bourgeois illusion, all others are built on this - one must, if one is hurt by bourgeois social relations, see security and freedom only in casting them off, and returning to a primitive state with less 'constraints'. One must necessarily believe freedom and happiness can be found by one's own individual action. One will not believe freedom and happiness can only be found through social relations, by co-operating with others to change them, but there is always something one can do, fly to Mexico, find the right woman or the right friends, and so discover salvation. One will never see the truth, that one can only find salvation for oneself by finding it for all others at the same time.
Lawrence therefore could never escape from this essential selfishness - not a petty selfishness but the selfishness which is the pattern of bourgeois culture and is revealed in pacifism, Protestantism, and all varieties of salvation obtained by individual action. The world to which Lawrence wished to return is not really the world of primitives who are in fact bound by more rigid relations than those of bourgeois Europe. It is the old bourgeois pastoral heaven of the natural man born everywhere in chains, which does not exist. It does not exist because it is self-contradictory, and because it is self-contradictory the bourgeois world in striving for it more clearly produces the opposite, as in moving towards an object in a mirror we move away from the real object. Lawrence's gospel therefore only forms part of the self-destructive element in bourgeois culture.
Lawrence for all his gifts suffered from the old petit bourgeois errors. Like Wells, he strove to climb upwards into the world of bourgeois culture; being more artistic than Wells and born in a later era, it could not be the security and power of that already sick class that appealed to him. It was their cultural values. He succeeded in entering that world and drinking deeply of all its tremendous intellectual and aesthetic riches, only to find them riches turning into dust. The shock of that disillusion, added to the pain endured in that climb, filled him finally with a hatred for bourgeois values. He could criticise them relentlessly and bitterly, but he could provide no solution for the whole set of his life; all that long difficult climb of his into the bourgeois sunshine ensured that he remained a bourgeois. His was always bourgeois culture, conscious of its decay, criticising itself and with no solution except to go back to a time when things were different and so undo all the development that had brought bourgeois culture to this pass.
Had he been born later, had that sunlit world never appealed to him so irresistibly, he might have seen that it was the proletariat - to whom he was so near at the start of his climb - that was the dynamic force of the future. Not only would he then have had a standpoint outside bourgeois culture from which to criticise it, but from that position he would have been able to find the true solution - in the future, not the past. But Lawrence remained to the end a man incapable of that subordination of self to others, of co-operation, of solidarity as a class, which is the characteristic of the proletariat. He remained the individualist, the bourgeois revolutionary angrily working out his own salvation, critical of all, alone in possession of grace. He rid himself of every bourgeois illusion but the important one. He saw finally neither the world nor himself as it really was. He saw the march of events as a bourgeois tragedy, which is true but unimportant. The important thing, which was absolutely closed to him, was that it was also a proletarian renaissance.
Everywhere to-day will be found the conscious or unconscious followers of Lawrence - the pacifists, the snug little hedonists, the conscientious sexualists, the well-meaning Liberals, the idealists, all seeking the impossible solution, salvation through the free act of the individual will amid decay and disaster. They may find a temporary solution, a momentary happiness, although I judge Lawrence to have found neither.
But it is of its nature unstable, for external events to which they have regressively adjusted themselves, beget incessantly new horrors and undreamed-of disasters. What avails such pinchbeck constructs during the screaming horror of a War? One may stop one's ears and hide oneself in Cornwall like Lawrence, but the cry of one's millions of suffering fellow-humans reaches one's ears and tortures one. And, the War at last survived, there come new horrors. The eating disintegration of the slump. Nazism outpouring a flood of barbarism and horror. And what next? Armaments piling up like an accumulating catastrophe, mass neurosis, nations like mad dogs. All this seems gratuitous, horrible, cosmic to such people, unaware of the causes. How can the bourgeois still pretend to be free, to find salvation individually? Only by sinking himself in still cruder illusions, by denying art, science, emotion, even ultimately life itself. Humanism, the creation of bourgeois culture, finally separates from it. Against the sky stands Capitalism without a rag to cover it, naked in its terror. And humanism, leaving it, or rather, forcibly thrust aside, must either pass into the ranks of the proletariat or, going quietly into a corner, cut its throat. Lawrence did not live to face this final issue, which would necessarily make straw of his philosophy and his teaching.
End of D.H. Lawrence by Christopher Caudwell