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boundless creative will give Spain an impetus which will astonish
the world.
In contemporary painting Miro resembles Klee, although by
nature he is far less complicated than the German. H
is work is
more homogeneous and does not cover nearly such a diversity of
interests, subjects and techniques. For this reason it is purer and
more forceful. This direct and simple purity is, as yet, generdy
unappreciated in England, which has, unfortunately, seen so little
of h s best work. There is also a streak of anarchism, a will to resist
not only whatever form of society tries to impose its standards on
him but also all intellectuals who try to compress his work into
the limitations of theory.
The last news received directly from a friend of his, Louis
Fernandez, a Spanish painter s d in Paris, was that he was leaving
France last April for the home of his wifes parents in the Balearic
Islands.
GEORGE O R W E L L
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HORIZON
135
willing to overwork itself for six years and then to fight for two
years more, whereas for the commonsense, essentially hedonistic
world-view that Mr. Wells puts forward hardly a human creature
is willing to shed a pint of blood. Before you can even talk of
world reconstruction, or even of peace, you have got to e h i n a t e
Hitler, which means bringing into being a dynamic not necessarily the same as that of the Nazis, but probably quite as unacceptable to enlightened and hedonistic people. What has kept
England on its feet during the past year? Partly, no doubt, some
vague idea about a better future, but chiefly the atavistic emotion
of patriotism, the ingrained feeling of the English-spealung
peoples that they are superior to foreigners. For the last twenty
years the main object of English leftwing intellectuals has been to
break this f e e h g down, and if they had succeeded we might be
watching the SS-men patrolltng the London streets at this
moment. Similarly, why are the Russians fighting hke tigers
against the German invasion? In part, perhaps, for some halfremembered ideal of Utopian Socialism, but chiefly indefence
of the Holy Russia (the sacred soil of the Fatherland, etc., etc.),
which Stalin has revived in an only slightly altered form. The
energy that actually shapes the world springs from emotionsracial pride, leader-worship, religious belief, love of war-which
liberal intellectuals mechanically write off as anachronisms, and
which they have usually destroyed so completely in themselves
as to have lost all power of action.
The people who say that Hitler is Antichrist or, alternatively,
the Holy Ghost are nearer an understandmg of the truth than the
lefnving intellectuals who for ten dreadful years have kept it up
that he is merely a figure out of comic opera, not worth taking
seriously. All that this idea really reflects is the sheltered conditions of English Me. The Left Book Club was at bottom a product of Scotland Yard, just as the Peace Pledge Union is a product
of the navy. One development of the last ten years has been the
appearance of the political book, a sort of enlarged pamphlet
combining hstory with political criticism, as an important literary
form. But the best writers in this line-Trotsky, Rauschning,
Rosenberg, Silone, Borkenau, Koestler and others-have none of
them been Englishmen, and nearly all of them have been renegades from one or other extremist party, who have seen totalitarianism at close quarters and known the meaning of exile and
136
HORIZON
138
HORIZON
SELECTED NOTICES
New Year Letter. By W. H. Auden. Faber, 10s. 6d.
A T the beginning of this book Mr. Auden sets a quotation from
Montaigne:
We are, I know not how, double in ourselves, so that what
we believe we disbelieve, and cannot rid ourselves of what we
condemn.
The long Letter in verse that follows is an illustration of this
thesis, a protracted commentary on ambivalence. As a moralist,
a man concerned with what should be rather than with what is,
Mr. Auden tries every now and then to get away from it; but it
always drags him back again into a region where he sees affirmation as an aspect of negation, the Devil as an agent of progress,
art as a compensation for practical incompetence, necessity as
free, and freedom as necessity. The moralist tries repeatedly to
cut this complicated knot, for it has to be cut before a moral act
is possible; but the ends join as soon as they are parted, tymg
hun up as before. For the first three-quarters of the poem this
happens with almost monotonous regularity:
To set in order-thats the task
Both Eros and Apollo ask . . .
That order which must be the end
That all self-loving things intend
Who struggle for their liberty,
Who use, that is, their wdl to be.