Why I Write (11 page)

It was in Burma, a sodden morning of the rains. A sickly light, like yellow tinfoil, was slanting over the high walls into the jail yard. We were waiting outside the condemned cells, a row of sheds fronted with double bars, like small animal cages. Each cell measured about ten feet by ten and was quite bare within except for a plank bed and a pot of drinking water. In some of them brown silent men were squatting at the inner bars, with their blankets draped round them. These were the condemned men, due to be hanged within the next week or two.

One prisoner had been brought out of his cell. He was a Hindu, a puny wisp of a man, with a shaven head and vague liquid eyes. He had a thick, sprouting moustache, absurdly too big for his body, rather like the moustache of a comic man on the films. Six tall Indian warders were guarding him and getting him ready for the gallows. Two of them stood by with rifles and fixed bayonets, while the others handcuffed him, passed a chain through his handcuffs and fixed it to their belts, and lashed his arms tight to his sides. They crowded very close about him, with their hands always on him in a careful, caressing grip, as though all the while feeling him to make sure he was there. It was like men handling a fish which is still alive and may jump back into the water.
But he stood quite unresisting, yielding his arms limply to the ropes, as though he hardly noticed what was happening.

Eight o'clock struck and a bugle call, desolately thin in the wet air, floated from the distant barracks. The superintendent of the jail, who was standing apart from the rest of us, moodily prodding the gravel with his stick, raised his head at the sound. He was an army doctor, with a grey toothbrush moustache and a gruff voice. ‘For God's sake hurry up, Francis,' he said irritably. ‘The man ought to have been dead by this time. Aren't you ready yet?'

Francis, the head jailer, a fat Dravidian in a white drill suit and gold spectacles, waved his black hand. ‘Yes sir, yes sir,' he bubbled. ‘All iss satisfactorily prepared. The hangman iss waiting. We shall proceed.'

‘Well, quick march, then. The prisoners can't get their breakfast till this job's over.'

We set out for the gallows. Two warders marched on either side of the prisoner, with their rifles at the slope; two others marched close against him, gripping him by arm and shoulder, as though at once pushing and supporting him. The rest of us, magistrates and the like, followed behind. Suddenly, when we had gone ten yards, the procession stopped short without any order or warning. A dreadful thing had happened – a dog, come goodness knows whence, had appeared in the yard. It came bounding among us with a loud volley of barks, and leapt round us wagging its whole body, wild with glee at finding so many human beings together. It was a large woolly dog, half Airedale, half pariah. For a moment it
pranced round us, and then, before anyone could stop it, it had made a dash for the prisoner, and jumping up tried to lick his face. Everyone stood aghast, too taken aback even to grab at the dog.

‘Who let that bloody brute in here?' said the superintendent angrily. ‘Catch it, someone!'

A warder, detached from the escort, charged clumsily after the dog, but it danced and gambolled just out of his reach, taking everything as part of the game. A young Eurasian jailer picked up a handful of gravel and tried to stone the dog away, but it dodged the stones and came after us again. Its yaps echoed from the jail walls. The prisoner, in the grasp of the two warders, looked on incuriously, as though this was another formality of the hanging. It was several minutes before someone managed to catch the dog. Then we put my handkerchief through its collar and moved off once more, with the dog still straining and whimpering.

It was about forty yards to the gallows. I watched the bare brown back of the prisoner marching in front of me. He walked clumsily with his bound arms, but quite steadily, with that bobbing gait of the Indian who never straightens his knees. At each step his muscles slid neatly into place, the lock of hair on his scalp danced up and down, his feet printed themselves on the wet gravel. And once, in spite of the men who gripped him by each shoulder, he stepped slightly aside to avoid a puddle on the path.

It is curious, but till that moment I had never realized what it means to destroy a healthy, conscious man. When I saw the prisoner step aside to avoid the puddle,
I saw the mystery, the unspeakable wrongness, of cutting a life short when it is in full tide. This man was not dying, he was alive just as we were alive. All the organs of his body were working – bowels digesting food, skin renewing itself, nails growing, tissues forming – all toiling away in solemn foolery. His nails would still be growing when he stood on the drop, when he was falling through the air with a tenth of a second to live. His eyes saw the yellow gravel and the grey walls, and his brain still remembered, foresaw, reasoned – reasoned even about puddles. He and we were a party of men walking together, seeing, hearing, feeling, understanding the same world; and in two minutes, with a sudden snap, one of us would be gone – one mind less, one world less.

The gallows stood in a small yard, separate from the main grounds of the prison, and overgrown with tall prickly weeds. It was a brick erection like three sides of a shed, with planking on top, and above that two beams and a crossbar with the rope dangling. The hangman, a grey-haired convict in the white uniform of the prison, was waiting beside his machine. He greeted us with a servile crouch as we entered. At a word from Francis the two warders, gripping the prisoner more closely than ever, half led, half pushed him to the gallows and helped him clumsily up the ladder. Then the hangman climbed up and fixed the rope round the prisoner's neck.

We stood waiting, five yards away. The warders had formed in a rough circle round the gallows. And then, when the noose was fixed, the prisoner began crying out on his god. It was a high, reiterated cry of ‘Ram! Ram! Ram! Ram!', not urgent and fearful like a prayer or a cry
for help, but steady, rhythmical, almost like the tolling of a bell. The dog answered the sound with a whine. The hangman, still standing on the gallows, produced a small cotton bag like a flour bag and drew it down over the prisoner's face. But the sound, muffled by the cloth, still persisted, over and over again: ‘Ram! Ram! Ram! Ram! Ram!'

The hangman climbed down and stood ready, holding the lever. Minutes seemed to pass. The steady, muffled crying from the prisoner went on and on, ‘Ram! Ram! Ram!' never faltering for an instant. The superintendent, his head on his chest, was slowly poking the ground with his stick; perhaps he was counting the cries, allowing the prisoner a fixed number – fifty, perhaps, or a hundred. Everyone had changed colour. The Indians had gone grey like bad coffee, and one or two of the bayonets were wavering. We looked at the lashed, hooded man on the drop, and listened to his cries – each cry another second of life; the same thought was in all our minds: oh, kill him quickly, get it over, stop that abominable noise!

Suddenly the superintendent made up his mind. Throwing up his head he made a swift motion with his stick. ‘Chalo!' he shouted almost fiercely.

There was a clanking noise, and then dead silence. The prisoner had vanished, and the rope was twisting on itself. I let go of the dog, and it galloped immediately to the back of the gallows; but when it got there it stopped short, barked, and then retreated into a corner of the yard, where it stood among the weeds, looking timorously out at us. We went round the gallows to
inspect the prisoner's body. He was dangling with his toes pointed straight downwards, very slowly revolving, as dead as a stone.

The superintendent reached out with his stick and poked the bare body; it oscillated, slightly. ‘
He's
all right,' said the superintendent. He backed out from under the gallows, and blew out a deep breath. The moody look had gone out of his face quite suddenly. He glanced at his wrist-watch. ‘Eight minutes past eight. Well, that's all for this morning, thank God.'

The warders unfixed bayonets and marched away. The dog, sobered and conscious of having misbehaved itself, slipped after them. We walked out of the gallows yard, past the condemned cells with their waiting prisoners, into the big central yard of the prison. The convicts, under the command of warders armed with lathis, were already receiving their breakfast. They squatted in long rows, each man holding a tin pannikin, while two warders with buckets marched round ladling out rice; it seemed quite a homely, jolly scene, after the hanging. An enormous relief had come upon us now that the job was done. One felt an impulse to sing, to break into a run, to snigger. All at once everyone began chattering gaily.

The Eurasian boy walking beside me nodded towards the way we had come, with a knowing smile: ‘Do you know, sir, our friend (he meant the dead man), when he heard his appeal had been dismissed, he pissed on the floor of his cell. From fright. – Kindly take one of my cigarettes, sir. Do you not admire my new silver case, sir? From the boxwallah, two rupees eight annas. Classy European style.'

Several people laughed – at what, nobody seemed certain.

Francis was walking by the superintendent, talking garrulously: ‘Well, sir, all hass passed off with the utmost satisfactoriness. It wass all finished – flick! like that. It iss not always so – oah, no! I have known cases where the doctor wass obliged to go beneath the gallows and pull the prisoner's legs to ensure decease. Most disagreeable!'

‘Wriggling about, eh? That's bad,' said the superintendent.

‘Ach, sir, it iss worse when they become refractory! One man, I recall, clung to the bars of hiss cage when we went to take him out. You will scarcely credit, sir, that it took six warders to dislodge him, three pulling at each leg. We reasoned with him. “My dear fellow,” we said, “think of all the pain and trouble you are causing to us!” But no, he would not listen! Ach, he wass very troublesome!'

I found that I was laughing quite loudly. Everyone was laughing. Even the superintendent grinned in a tolerant way. ‘You'd better all come out and have a drink,' he said quite genially. ‘I've got a bottle of whisky in the car. We could do with it.'

We went through the big double gates of the prison, into the road. ‘Pulling at his legs!' exclaimed a Burmese magistrate suddenly, and burst into a loud chuckling. We all began laughing again. At that moment Francis's anecdote seemed extraordinarily funny. We all had a drink together, native and European alike, quite amicably. The dead man was a hundred yards away.

Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent, and our language – so the argument runs – must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes.

Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influences of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by
imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step towards political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.

These five passages have not been picked out because they are especially bad – I could have quoted far worse if I had chosen – but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative samples. I number them so I can refer back to them when necessary:

1. I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien (
sic
) to the founder of that Jesuit sect which nothing could induce him to tolerate.

Professor Harold Laski (Essay in
Freedom of Expression
)

2. Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes such egregious collocations of vocables as the Basic
put up with
for
tolerate
or
put at a loss
for
bewilder.

Professor Lancelot Hogben (
Interglossa
)

3. On the one side we have the free personality: by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous. But
on the other side
, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity?

Essay on psychology in
Politics
(New York)

4. All the ‘best people' from the gentlemen's clubs, and all the frantic Fascist captains, united in common hatred of Socialism and bestial horror of the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction to proletarian organizations, and rouse the agitated petty-bourgeoisie to chauvinistic fervour on behalf of the fight against the revolutionary way out of the crisis.

Communist pamphlet

5. If a new spirit
is
to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the BBC. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may be sound and of strong beat, for instance, but the British lion's roar at present is like that of Bottom in Shakespeare's
Midsummer Night's Dream
– as gentle as any sucking dove. A virile new Britain cannot continue
indefinitely to be traduced in the eyes, or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as ‘standard English'. When the Voice of Britain is heard at nine o'clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school-ma'amish arch braying of blameless, bashful mewing maidens!

Letter in
Tribune

Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery: the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of
words
chosen for the sake of their meaning, and more of
phrases
tacked together like the sections of a prefabricated hen-house. I list below, with notes and examples, various of the tricks by means of which the work of prose construction is habitually dodged:

Dying Metaphors. A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically ‘dead' (e.g.
iron
resolution
) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are:
Ring the changes on, take up the cudgels for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, rift within the lute, on the order of the day, Achilles' heel, swan song, hotbed
. Many of these are used without knowledge of their meaning (what is a ‘rift', for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example,
toe the line
is sometimes written
tow the line
. Another example is
the hammer and the anvil
, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would be aware of this, and would avoid perverting the original phrase.

Operators, or verbal false limbs. These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. Characteristic phrases are:
render inoperative, militate against, prove unacceptable, make contact with, be subject to, give rise to,
give grounds for, have the effect of, play a leading part (role) in, make itself felt, take effect, exhibit a tendency to, serve the purpose of
, etc., etc. The keynote is the elimination of simple verbs. Instead of being a single word, such as
break, stop, spoil, mend, kill
, a verb becomes a
phrase
, made up of a noun or adjective tacked on to some general-purposes verb such as
prove, serve, form, play, render
. In addition, the passive voice is wherever possible used in preference to the active, and noun constructions are used instead of gerunds (
by examination of
instead of
by examining
). The range of verbs is further cut down by means of the -
ize
and
de
- formations, and banal statements are given an appearance of profundity by means of the
not un
- formation. Simple conjunctions and prepositions are replaced by such phrases as
with respect to, having regard to, the fact that, by dint of, in view of, in the interests of, on the hypothesis that;
and the ends of sentences are saved from anticlimax by such resounding commonplaces as
greatly to be desired, cannot be left out of account, a development to be expected in the near future, deserving of serious consideration, brought to a satisfactory conclusion
, and so on and so forth.

Pretentious diction. Words like
phenomenon, element, individual
(as noun),
objective, categorical, effective, virtual, basic, primary, promote, constitute, exhibit, exploit, utilize, eliminate, liquidate
, are used to dress up simple statements and give an air of scientific impartiality to biased judgements. Adjectives like
epoch-making, epic, historic, unforgettable, triumphant, age-old, inevitable, inexorable, veritable
, are used to dignify the sordid processes of international
politics, while writing that aims at glorifying war usually takes on an archaic colour, its characteristic words being:
realm, throne, chariot, mailed fist, trident, sword, shield, buckler, banner, jackboot, clarion
. Foreign words and expressions such as
cul de sac, ancien régime, deus ex machina, mutatis mutandis, status quo, Gleichschaltung, Weltanschauung
, are used to give an air of culture and elegance. Except for the useful abbreviations
i.e., e.g.
, and
etc
., there is no real need for any of the hundreds of foreign phrases now current in English. Bad writers, and especially scientific, political and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like
expedite, ameliorate, predict, extraneous, deracinated, clandestine, sub-aqueous
and hundreds of others constantly gain ground from their Anglo-Saxon opposite numbers. The jargon peculiar to Marxist writing (
hyena, hangman, cannibal, petty bourgeois, these gentry, lackey, flunkey, mad dog, White Guard
, etc.) consists largely of words and phrases translated from Russian, German or French; but the normal way of coining a new word is to use a Latin or Greek root with the appropriate affix and, where necessary, the -
ize
formation. It is often easier to make up words of this kind (
deregionalize, impermissible, extramarital, non-fragmentatory
and so forth) than to think up the English words that will cover one's meaning. The result, in general, is an increase in slovenliness and vagueness.

Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal
to come across long passages which are almost completely lacking in meaning. Words like
romantic, plastic, values, human, dead, sentimental, natural, vitality
, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly even expected to do so by the reader. When one critic writes, ‘The outstanding feature of Mr X's work is its living quality', while another writes, ‘The immediately striking thing about Mr X's work is its peculiar deadness', the reader accepts this as a simple difference of opinion. If words like
black
and
white
were involved, instead of the jargon words
dead
and
living
, he would see at once that language was being used in an improper way. Many political words are similarly abused. The word
Fascism
has now no meaning except in so far as it signifies ‘something not desirable'. The words
democracy, socialism, freedom, patriotic, realistic, justice
, have each of them several different meanings which cannot be reconciled with one another. In the case of a word like
democracy
, not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of régime claim that it is a democracy, and fear that they might have to stop using the word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different. Statements like
Marshal Pétain was a true patriot, The Soviet press is the freest in the world, The
Catholic Church is opposed to persecution
, are almost always made with intent to deceive. Other words used in variable meanings, in most cases more or less dishonestly, are:
class, totalitarian, science, progressive, reactionary, bourgeois, equality.