May 12, 2009

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George Orwell on W. B. Yeats as Occult Fascist

“W. B. Yeats” (1943)
by George Orwell

W. B. Yeats

W. B. Yeats

One thing that Marxist criticism has not succeeded in doing is to trace the connection between “tendency” and literary style. The subject-matter and imagery of a book can be explained in sociological terms, but its texture seemingly cannot. Yet some such connection there must be. One knows, for instance, that a Socialist would not write like Chesterton or a Tory imperialist like Bernard Shaw, though HOW one knows it is not easy to say. In the case of Yeats, there must be some kind of connection between his wayward, even tortured style of writing and his rather sinister vision of life. Mr Menon is chiefly concerned with the esoteric philosophy underlying Yeats’s work, but the quotations which are scattered all through his interesting book serve to remind one how artificial Yeats’s manner of writing was. As a rule, this artificiality is accepted as Irishism, or Yeats is even credited with simplicity because he uses short words, but in fact one seldom comes on six consecutive lines of his verse in which there is not an archaism or an affected turn of speech. To take the nearest example:

Grant me an old man’s Frenzy,
My self must I remake
Till I am Timon and Lear
Or that William Blake
Who beat upon the wall
Till Truth obeyed his call.

The unnecessary “that” imports a feeling of affectation, and the same tendency is present in all but Yeats’s best passages. One is seldom long away from a suspicion of “quaintness”, something that links up not only with the ‘nineties, the Ivory Tower and the “calf covers of pissed-on green”, but also with Rackham’s drawings, Liberty art-fabrics and the PETER PAN never-never land, of which, after all, “The Happy Townland” is merely a more appetizing example. This does not matter, because, on the whole, Yeats gets away with it, and if his straining after effect is often irritating, it can also produce phrases (“the chill, footless years”, “the mackerel-crowded seas”) which suddenly overwhelm one like a girl’s face seen across a room. He is an exception to the rule that poets do not use poetical language:

How many centuries spent
The sedentary soul
In toils of measurement
Beyond eagle or mole,
Beyond hearing or seeing,
Or Archimedes’ guess,
To raise into being
That loveliness?

Here he does not flinch from a squashy vulgar word like “loveliness” and after all it does not seriously spoil this wonderful passage. But the same tendencies, together with a sort of raggedness which is no doubt intentional, weaken his epigrams and polemical poems. For instance (I am quoting from memory) the epigram against the critics who damned THE PLAYBOY OF THE WESTERN WORLD:

Once when midnight smote the air
Eunuchs ran through Hell and met
On every crowded street to stare
Upon great Juan riding by;
Even like these to rail and sweat,
Staring upon his sinewy thigh.

The power which Yeats has within himself gives him the analogy ready made and produces the tremendous scorn of the last line, but even in this short poem there are six or seven unnecessary words. It would probably have been deadlier if it had been neater.

Mr Menon’s book is incidentally a short biography of Yeats, but he is above all interested in Yeats’s philosophical “system”, which in his opinion supplies the subject-matter of more of Yeats’s poems than is generally recognized. This system is set forth fragmentarily in various places, and at full length in A VISION, a privately printed book which I have never read but which Mr Menon quotes from extensively. Yeats gave conflicting accounts of its origin, and Mr Menon hints pretty broadly that the “documents” on which it was ostensibly founded were imaginary. Yeats’s philosophical system, says Mr Menon, “was at the back of his intellectual life almost from the beginning. His poetry is full of it. Without it his later poetry becomes almost completely unintelligible.” As soon as we begin to read about the so-called system we are in the middle of a hocus-pocus of Great Wheels, gyres, cycles of the moon, reincarnation, disembodied spirits, astrology and what not. Yeats hedges as to the literalness with which he believed in all this, but he certainly dabbled in spiritualism and astrology, and in earlier life had made experiments in alchemy. Although almost buried under explanations, very difficult to understand, about the phases of the moon, the central idea of his philosophical system seems to be our old friend, the cyclical universe, in which everything happens over and over again. One has not, perhaps, the right to laugh at Yeats for his mystical beliefs—for I believe it could be shown that SOME degree of belief in magic is almost universal—but neither ought one to write such things off as mere unimportant eccentricities. It is Mr Menon’s perception of this that gives his book its deepest interest. “In the first flush of admiration and enthusiasm,” he says, “most people dismissed the fantastical philosophy as the price we have to pay for a great and curious intellect. One did not quite realize where he was heading. And those who did, like Pound and perhaps Eliot, approved the stand that he finally took. The first reaction to this did not come, as one might have expected, from the politically-minded young English poets. They were puzzled because a less rigid or artificial system than that of A VISION might not have produced the great poetry of Yeats’s last days.” It might not, and yet Yeats’s philosophy has some very sinister implications, as Mr Menon points out.

Translated into political terms, Yeats’s tendency is Fascist. Throughout most of his life, and long before Fascism was ever heard of, he had had the outlook of those who reach Fascism by the aristocratic route. He is a great hater of democracy, of the modern world, science, machinery, the concept of progress—above all, of the idea of human equality. Much of the imagery of his work is feudal, and it is clear that he was not altogether free from ordinary snobbishness. Later these tendencies took clearer shape and led him to “the exultant acceptance of authoritarianism as the only solution. Even violence and tyranny are not necessarily evil because the people, knowing not evil and good, would become perfectly acquiescent to tyranny. . . . Everything must come from the top. Nothing can come from the masses.” Not much interested in politics, and no doubt disgusted by his brief incursions into public life, Yeats nevertheless makes political pronouncements. He is too big a man to share the illusions of Liberalism, and as early as 1920 he foretells in a justly famous passage (“The Second Coming”) the kind of world that we have actually moved into. But he appears to welcome the coming age, which is to be “hierarchical, masculine, harsh, surgical”, and is influenced both by Ezra Pound and by various Italian Fascist writers. He describes the new civilization which he hopes and believes will arrive: “an aristocratic civilization in its most completed form, every detail of life hierarchical, every great man’s door crowded at dawn by petitioners, great wealth everywhere in a few men’s hands, all dependent upon a few, up to the Emperor himself, who is a God dependent on a greater God, and everywhere, in Court, in the family, an inequality made law.” The innocence of this statement is as interesting as its snobbishness. To begin with, in a single phrase, “great wealth in a few men’s hands”, Yeats lays bare the central reality of Fascism, which the whole of its propaganda is designed to cover up. The merely political Fascist claims always to be fighting for justice: Yeats, the poet, sees at a glance that Fascism means injustice, and acclaims it for that very reason. But at the same time he fails to see that the new authoritarian civilization, if it arrives, will not be aristocratic, or what he means by aristocratic. It will not be ruled by noblemen with Van Dyck faces, but by anonymous millionaires, shiny-bottomed bureaucrats and murdering gangsters. Others who have made the same mistake have afterwards changed their views and one ought not to assume that Yeats, if he had lived longer, would necessarily have followed his friend Pound, even in sympathy. But the tendency of the passage I have quoted above is obvious, and its complete throwing overboard of whatever good the past two thousand years have achieved is a disquieting symptom.

How do Yeats’s political ideas link up with his leaning towards occultism? It is not clear at first glance why hatred of democracy and a tendency to believe in crystal-gazing should go together. Mr Menon only discusses this rather shortly, but it is possible to make two guesses. To begin with, the theory that civilisation moves in recurring cycles is one way out for people who hate the concept of human equality. If it is true that “all this”, or something like it, “has happened before”, then science and the modern world are debunked at one stroke and progress becomes for ever impossible. It does not much matter if the lower orders are getting above themselves, for, after all, we shall soon be returning to an age of tyranny. Yeats is by no means alone in this outlook. If the universe is moving round on a wheel, the future must be foreseeable, perhaps even in some detail. It is merely a question of discovering the laws of its motion, as the early astronomers discovered the solar year. Believe that, and it becomes difficult not to believe in astrology or some similar system. A year before the war, examining a copy of GRINGOIRE, the French Fascist weekly, much read by army officers, I found in it no less than thirty-eight advertisements of clairvoyants. Secondly, the very concept of occultism carries with it the idea that knowledge must be a secret thing, limited to a small circle of initiates. But the same idea is integral to Fascism. Those who dread the prospect of universal suffrage, popular education, freedom of thought, emancipation of women, will start off with a predilection towards secret cults. There is another link between Fascism and magic in the profound hostility of both to the Christian ethical code.

No doubt Yeats wavered in his beliefs and held at different times many different opinions, some enlightened, some not. Mr Menon repeats for him Eliot’s claim that he had the longest period of development of any poet who has ever lived. But there is one thing that seems constant, at least in all of his work that I can remember, and that is his hatred of modern western civilization and desire to return to the Bronze Age, or perhaps to the Middle Ages. Like all such thinkers, he tends to write in praise of ignorance. The Fool in his remarkable play, THE HOUR-GLASS, is a Chestertonian figure, “God’s fool”, the “natural born innocent”, who is always wiser than the wise man. The philosopher in the play dies on the knowledge that all his lifetime of thought has been wasted (I am quoting from memory again):

The stream of the world has changed its course, And with the stream my thoughts have run Into some cloudly, thunderous spring That is its mountain-source; Ay, to a frenzy of the mind, That all that we have done’s undone Our speculation but as the wind.

Beautiful words, but by implication profoundly obscurantist and reactionary; for if it is really true that a village idiot, as such, is wiser than a philosopher, then it would be better if the alphabet had never been invented. Of course, all praise of the past is partly sentimental, because we do not live in the past. The poor do not praise poverty. Before you can despise the machine, the machine must set you free from brute labour. But that is not to say that Yeats’s yearning for a more primitive and more hierarchical age was not sincere. How much of all this is traceable to mere snobbishness, product of Yeats’s own position as an impoverished offshoot of the aristocracy, is a different question. And the connection between his obscurantist opinions and his tendency towards “quaintness” of language remains to be worked out; Mr Menon hardly touches upon it.

This is a very short book, and I would greatly like to see Mr Menon go ahead and write another book on Yeats, starting where this one leaves off. “If the greatest poet of our times is exultantly ringing in an era of Fascism, it seems a somewhat disturbing symptom,” he says on the last page, and leaves it at that. It is a disturbing symptom, because it is not an isolated one. By and large the best writers of our time have been reactionary in tendency, and though Fascism does not offer any real return to the past, those who yearn for the past will accept Fascism sooner than its probable alternatives. But there are other lines of approach, as we have seen during the past two or three years. The relationship between Fascism and the literary intelligentsia badly needs investigating, and Yeats might well be the starting-point. He is best studied by someone like Mr Menon, who can approach a poet primarily as a poet, but who also knows that a writer’s political and religious beliefs are not excrescences to be laughed away, but something that will leave their mark even on the smallest detail of his work.

This work is licensed under a Creative Commons Licence.
The University of Adelaide Library.

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  1. This site has a number of very interesting articles. It is a shame that you don’t have them set up for printing. I wanted to print this one, but only got part on paper. Just a suggestion for you.

  2. avatar
    EMBRACE said:

    Yeats’s concept of the artist as antithetical to society also yields antisocial elements in his art, and we find ourselves with the question of Yeats distinction as a purveyor of transgressive literature. In the humanities as it is, poetry complicit to tyranny and violence must be studied with a critical eye. It would be another argument altogether involving censorship and merit, but the weight of the reason we do not include portions of The Marquis De Sade’s “120 days of Sodom” or “Justine” in Norton anthologies is not for its lack of interesting language. Works with such longevity and notoriety would indeed fit the study of humanity, but the gruesome exploitation and violence committed by De Sade’s antithetical patricians is simply inhumane.

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