Occasionally, Huxley’s biblical references take the form, not of direct citation, but of the use of little tags of obsolescent language borrowed from the Authorized Version. After a long passage of lucid and essentially modern exposition, he will sometimes announce the oncoming of his peroration by a phrase or two of sixteenth-century prayer-book or Bible English. Our modern taste has veered away from this practice; but among writers of the early and middle nineteenth century it was very common. Lamb and his contemporaries were constantly dropping into Wardour Street Elizabethan; Carlyle’s writings are a warehouse of every kind of fancy-dress language; Herman Melville made a habit of breaking out, whenever he was excited, into bogus Shakespeare; the very love-letters of the Brownings are peppered with learned archaisms. Indeed, one of the major defects of nineteenth-century literature, at any rate in our eyes, was its inordinate literariness, its habit of verbal dressing up and playing stylistic charades. That Huxley should have made brief and occasional use of the literary devices so freely exploited by his contemporaries is not surprising. Fortunately, his passion for veracity prevented him from overdoing the literariness.
I have constantly spoken, in the course of these analyses, of ‘literary devices.’ The phrase is a rather unfortunate one; for it is liable to call up in the hearer’s mind a picture of someone laboriously practising a mixture of card-sharping and cookery. The words make us visualize the man of letters turning over the pages of some literary Mrs. Beeton in quest of the best recipe for an epigram or a dirge; or else as a trickster preparing for his game with the reader by carefully marking the cards. But in point of fact the man of letters does most of his work not by calculation, not by the application of formulas, but by aesthetic intuition. He has something to say, and he sets it down in the words which he finds most satisfying aesthetically. After the event comes the critic, who discovers that he was using a certain kind of literary device, which can be classified in its proper chapter of the cookery-book. The process is largely irreversible. Lacking talent, you cannot, out of the cookery-book, concoct a good work of art. The best you can hope to do is to produce an imitation, which may, for a short time, deceive the unwary into thinking it the genuine article.
Huxley’s was unquestionably the genuine article. In this necessarily perfunctory discussion of a few characteristic examples of his writing, I have tried to show why he was a great man of letters, and how he produced those artistic effects, which cause us to make this critical judgment. The analysis might be carried much further, but not by a lecturer and not within the lecturer’s allotted hour. ‘Had we but world enough and time . . .’ Alas! we never have.
Delivered as the Huxley Memorial Lecture, 1932.
WORDS AND BEHAVIOR
Words form the thread on which we string our experiences. Without them we should live spasmodically and intermittently. Hatred itself is not so strong that animals will not forget it, if distracted, even in the presence of the enemy. Watch a pair of cats, crouching on the brink of a fight. Balefully the eyes glare; from far down in the throat of each come bursts of a strange, strangled noise of defiance; as though animated by a life of their own, the tails twitch and tremble. What aimed intensity of loathing! Another moment and surely there must be an explosion. But no; all of a sudden one of the two creatures turns away, hoists a hind leg in a more than fascist salute and, with the same fixed and focussed attention as it had given a moment before to its enemy, begins to make a lingual toilet.
Animal love is as much at the mercy of distractions as animal hatred. The dumb creation lives a life made up of discrete and mutually irrelevant episodes. Such as it is, the consistency of human characters is due to the words upon which all human experiences are strung. We are purposeful because we can describe our feelings in rememberable words, can justify and rationalize our desires in terms of some kind of argument.
Faced by an enemy we do not allow an itch to distract us from our emotions; the mere word ‘enemy’ is enough to keep us reminded of our hatred, to convince us that we do well to be angry. Similarly the word ‘love’ bridges for us those chasms of momentary indifference and boredom which gape from time to time between even the most ardent lovers. Feeling and desire provide us with our motive power; words give continuity to what we do and to a considerable extent determine our direction. Inappropriate and badly chosen words vitiate thought and lead to wrong or foolish conduct. Most ignorances are vincible, and in the greater number of cases stupidity is what the Buddha pronounced it to be, a sin.
For, consciously or sub-consciously, it is with deliberation that we do not know or fail to understand—because incomprehension allows us, with a good conscience, to evade unpleasant obligations and responsibilities, because ignorance is the best excuse for going on doing what one likes, but ought not, to do. Our egotisms are incessantly fighting to preserve themselves, not only from external enemies, but also from the assaults of the other and better self with which they are so uncomfortably associated. Ignorance is egotism’s most effective defence against that Dr. Jekyll in us who desires perfection; stupidity, its subtlest stratagem. If, as so often happens, we choose to give continuity to our experience by means of words which falsify the facts, this is because the falsification is somehow to our advantage as egotists.
Consider, for example, the case of war. War is enormously discreditable to those who order it to be waged and even to those who merely tolerate its existence. Furthermore, to developed sensibilities the facts of war are revolting and horrifying. To falsify these facts, and by so doing to make war seem less evil than it really is, and our own responsibility in tolerating war less heavy, is doubly to our advantage. By suppressing and distorting the truth, we protect our sensibilities and preserve our self-esteem. Now, language is, among other things, a device which men use for suppressing and distorting the truth.
Finding the reality of war too unpleasant to contemplate, we create a verbal alternative to that reality, parallel with it, but in quality quite different from it. That which we contemplate thenceforward is not that to which we react emotionally and upon which we pass our moral judgments, is not war as it is in fact, but the fiction of war as it exists in our pleasantly falsifying verbiage. Our stupidity in using inappropriate language turns out, on analysis, to be the most refined cunning.
The most shocking fact about war is that its victims and its instruments are individual human beings, and that these individual human beings are condemned by the monstrous conventions of politics to murder or be murdered in quarrels not their own, to inflict upon the innocent and, innocent themselves of any crime against their enemies, to suffer cruelties of every kind.
The language of strategy and politics is designed, so far as it is possible, to conceal this fact, to make it appear as though wars were not fought by individuals drilled to murder one another in cold blood and without provocation, but either by impersonal and therefore wholly non-moral and impassible forces, or else by personified abstractions.
Here are a few examples of the first kind of falsification. In place of ‘cavalrymen’ or ‘foot-soldiers’ military writers like to speak of ‘sabres’ and ‘rifles.’ Here is a sentence from a description of the Battle of Marengo: ‘According to Victor’s report, the French retreat was orderly; it is certain, at any rate, that the regiments held together, for the six thousand Austrian sabres found no opportunity to charge home.’ The battle is between sabres in line and muskets in échelon—a mere clash of ironmongery.
On other occasions there is no question of anything so vulgarly material as ironmongery. The battles are between Platonic ideas, between the abstractions of physics and mathematics. Forces interact; weights are flung into scales; masses are set in motion. Or else it is all a matter of geometry. Lines swing and sweep; are protracted or curved; pivot on a fixed point.
Alternatively the combatants are personal, in the sense that they are personifications. There is ‘the enemy,’ in the singular, making ‘his’ plans, striking ‘his’ blows. The attribution of personal characteristics to collectivities, to geographical expressions, to
