Showing posts with label Russia. Show all posts
Showing posts with label Russia. Show all posts

Thursday, 1 January 2015

The King and His Reign IX: The King and Democracy

James Keir Hardie (1856-1915)
Published in The Spectator, 18th April 1935
1,380 words
(First read 01/01/2015)

EFB gives a brief and not especially riveting account of the birth of the British Labour Party, and is generally fairly even-handed and magnanimous about them¹, except with regard to what he believed to be their part in the ultimate refusal to allow the Russian royal family to find exile in the UK².  As with all these articles, Benson feels obliged to compare George V with his grandmother and father, and, it has to be said, he lays it on pretty thick in his final paragraph.
You can read the article online here.


¹ There's a mildly amusing ~ or perhaps the word is 'risible' ~ anecdote about the King refusing admittance to his garden party to Keir Hardie and his Labour-founding-father pals.
² Even though Labour weren't actually in power at the time.

Monday, 25 August 2014

Friendly Russia

Tsar Nicholas II: "Cute but dim." —L. Trotsky
Non-fiction ~ essay
Published in The Herald [Tamworth], 19th June 1915*
Approx. 1,500 words
(First read 25/08/2014)

In a shameless bit of propagandizing, EFB sings the praises of Russia.  Unfortunately my knowledge of the various campaigns of the First World War is pretty hazy (particularly as regards the Eastern Front), so I'm not sure why Benson felt the need to produce such an article at this precise moment.  In truth, about three quarters of it is more 'Hymn To Holy Russia' than 'Believe Me: Russia Is Okay'.
He begins by praising the progress that Russia has made over the past 20 years in dragging itself into approximately the middle of the 18th century.  [Oops, I'm editorializing here.]  After comparing the country's approach to its disastrous war with Japan as that of a 'careless, contemptuous and derisive' schoolyard bully [remind you of anyone?], he claims Russia 'grew up' as a result.  Yeah right.
Our intrepid propagandist then goes on to argue that the English and the Russians are kindred spirits, finishing his paragraph with this flight of fancy:
[...] epithets are always unsatisfactory, and to take a concrete illustration, which puts the matter in a nutshell, we may say that Wuthering Heights, by Emily Brontë, perhaps the most distinctively English novel in our language, is completely and essentially Russian. The whole spirit and sentiment of it, the love and the ruthlessness of it, its stern fatalism, its noble tenderness, come not only from the moors of Yorkshire, but from the heart of Russia.
I can more or less see his point here.
Nige Insky in Afternoon Fun (1912)
EFB next tackles Russian Culture, which he ~ inevitably ~ thinks is wonderful: while admitting that not all the icons he names are Russian strictu sensu (Chopin had decidedly Polish leanings, apparently), he omits to mention that they're all comprehensively dead ~ the most recent is Rimsky-Korsakov.  Stravinsky was churning 'em out in 1915 ~ but I dare say Fred would sooner have eaten his own feet than mention him.  He might've given poor old Nijinsky a nod, though.
In the last section EFB talks about the 'removal of misunderstandings' between the UK and Russia, over India, the Black Sea, y'know ... little things like that ~ least said soonest mended.
Benson's ideas about Russia are (particularly with the benefit of hindsight) distinctly half-baked, romantic, idealistic ~ but I'm fairly sure he never visited Russia or even got anywhere near it, and the essay is meant as a piece of 'puff', so we'll let him off.

*This is indeed where I found it: it's marked 'All Rights Reserved' so I'm assuming it was an exclusive.  As far as I'm aware, EFB had no association whatever with Tamworth.



The article is reproduced in full below ... well, in full except for a few illegible bits (suggestions welcome!).  This is, to the best of my knowledge, the first time it's appeared free of charge for all the world to see since it's first publication 99 years ago.

Friendly Russia by E. F. Benson
Never perhaps in the history of the world has any generation seen such amazing change take place in a people as the last twenty years have seen in the case of Russia. It is not that the character of the nation has altered, for the character of nations as of individuals is their one permanent and constant possession, and can no more be changed than can the skin of the Ethiopian or the spots of the leopard, and persists through any vicissitude of disaster or expansion of victory that may happen to them. But in all except character (that collective individuality which marks off nation from nation and people from people) it is impossible to conceive a greater contrast than the aspect presented by Russia of a generation ago when compared with the stern, calm and sober millions, who both in the battle-line and in the vast territory behind it wait in unshaken confidence for the inevitable issue of their conflict with the barbarism that has suddenly flamed out in central Europe. Unchanged in character, in the essentials that lie at the base of the nation's soul, Russia of to-day has nothing else in common with the Russia of twenty years back.
FROM YOUTH TO MATURITY
The change is one of growth and civilised development. Conscious and rightly conscious of her enormous strength, Russia entered the Japanese war, careless, contemptuous and derisive. She was like some huge youth, who, untrained, and without control of his limbs or knowledge of how to use them, went out, hardly taking off his coat, to fight a practised and intelligent foe, who with not one quarter of his adversary's bulk, was quick, decisive and disciplined. There were other disadvantages, circumstances also which have never been fully appreciated, for at that time Russia was not only at war with Japan, but with herself; she was internally dismembered by sedition and revolution, and was shaken by the storm of intestinal trouble. She was beaten, and then there began to rise in her the leaven that was already there, the leaven of her dawning maturity, of her sense of national responsibility. She said nothing, for Russia in adversity is as silent as her own winter nights, but shutting her door, she set herself to win the place that she knew was rightly hers in the hierarchy of the nations. She had been, as we have said, like some big, unthinking boy, and now she disciplined herself into manhood. But her character did not alter, she developed on her own lines, but grew in mind and in self-control. She schooled herself after the example of her own great men with the result that, as far as military matters go, she knows now how to use her inexhaustible strength in sobriety and wisdom and faithfulness to herself and her friends.
It is to English people more than to any of the nations of Europe that the Russian character so strongly appeals. A very foolish proverb, often quoted and supposed to be enlightening, tells us that if you scratch a Russian you will find a Tartar. That is so flippant a view that it only deserves the flippant answer that if you scratch anybody you will probably rouse his temper. But if you make friends with a Russian, if you try to be in sympathy with him instead of scratching him, you will find a very different being. You will discover a loyalty and simplicity that are child-like in their unquestioningness, you will find too, whether your Russian is a boulevardier of Paris, or a moujik of the central steppes, a wild romantic soul that reminds you of the sea at dawn, dim and immense and utterly indescribably. It is a northern nature like ours, sensitive to ridicule, shy of expressing itself, and above all romantic, with the romance of the north. But epithets are always unsatisfactory, and to take a concrete illustration, which puts the matter in a nutshell, we may say that Wuthering Heights, by Emily Brontë, perhaps the most distinctively English novel in our language, is completely and essentially Russian. The whole spirit and sentiment of it, the love and the ruthlessness of it, its stern fatalism, its noble tenderness, come not only from the moors of Yorkshire, but from the heart of Russia.
RUSSIAN CULTURE
We have been told very often during the last six months from Berlin and other places where the Kaiser has been, that the conclusion of the present war willwitness the spread of German 'Kultur' over the whole of this fortunate planet. We are learning a little about German Kultur, and have been permitted to see it cursorily at work in Belgium, and as the weeks go on we are happily beginning to realise that this infernal millennium is getting further off than ever. But we see more and more that another element of civilisation, not enforced by megalo-mania and barbarism and piracy will certainly take its place. For a long time now those who have studied Russian literature, Russian music, and the Russian arts, generally have been aware of the wonderful culture. Turgenieff, Gogol, Lermontoff, Tolstoi expressed it, and in music Chopin, Tschaikowsky, Rubenstein, Rimsky Korsakoff were among its children. Some of these were Poles, other were Cossacks, but all in spirit as in nationality belonged to Russia, and all of them had that sea-like unfathomable suggestions which is the meaning of Russia, and with which in arms as in instincts we find ourselves so intimately allied. It is not easy to express or to give any definite account of the quality that underlies it, for it appeals much more to the emotions than to the mind, and produces in us not so much a train of thought as a mood, often sad, sometimes deliriously light-hearted, but always with the glamour of large spaces and infinite horizons about it. Though trained and ordered, the fruit of industry and endless patience, it never degenerates into artificiality, or loses itself in mere technique. The quality which, after all, is best called Russian, permeates it; it is always romantic, always elemental, born of the steppes and the limitless plains, and the Arctic night light by the remote Aurora of the north. For a long time now its first freshets, the rivulets that earliest began to come down from the vast mysterious [hills?], have been flowing westwards, and they come to us bringing the sense of home with them.
MISUNDERSTANDINGS REMOVED
Already in this crisis of the danger common to Russia and to us, namely the barbarous nest of hornets in the midst of Europe, much misunderstanding has been removed from between us and our Eastern allies. No longer do we fear or have cause to fear what we thought of for years as the Russian menace to India. Germany, who for so long has tried, not always successfully, to promote dissension between nations with whom she professed friendly relationships, no [illegible] one time did encourage our Ally to [illegible] warm-water outlet southwards, and point a diplomatic finger towards India and the Persian Gulf. Now in the utter ruinous fiasco that has befallen Teutonic diplomacy, and now that the day prophetically [illegible: probably dreamt] by Bismarck has dawned, (and that [illegible] ) friendship between Russia and England [illegible] Russia looks, and will not look in vain, towards its natural outlet through the Black Sea and the Dardanelles. Hereby another misunderstanding has been removed, for even as in Whitehall it was thought that Russia turned longing eyes to our Eastern Empire, so in Petrograd it was believed that England would fight to the last drop of her blood in preventing Russia from obtaining this access to the Mediterranean. And once more we are indebted to the blundering diplomacy of Germany, which instead of fomenting has but healed the mutual distrust which for years existed between us and our Ally.
A cordial understanding, an unswerving purpose unites us with France. We work with our Latin neighbours in complete accord; we admire and revere their wit, their warmth, their brilliant achievements in the arts of peace no less than their courage and tenacity in these critical days, but I cannot believe that we are such natural allies with France as we shall prove to be with Russia. Let there be no misunderstanding: it is not that we need anticipate difficulties with our Western Ally, or feel that tact will be necessary to secure the solidity of our alliance; only, in Russia we seem to have found, now that all ground of misconceptions has been removed, our natural and ideal friend. A psychical affinity binds us to her, a certain unity and accord of character that is worth all the treaties in the world, for though they will be loyally kept they cannot in binding force equal or approach the inviolability which springs from characters that naturally fit each other, and from the identity of aims that are dictated by primal and ingrained instincts.

Reproduced from The Herald [Tamworth, Staffs., UK], 19/06/1915




Tuesday, 3 June 2014

Scarlet and Hyssop

Fiction ~ novel
Published March 1902
73,800 words
(First read 03/06/2014)

Here's the basic plot: Lady Marie Alston and her husband Jack have been married several years ~ both are still fairly young (late 20s? early 30s? ~ I forget); they have no children; she has never loved him though he once loved her.  Shortly before their marriage Marie thought she might be in love with a chap named Jim Spencer, but didn't go through with it.  Jim went off to South Africa 'to forget', and has just come back a millionaire.  In the meantime Jack has been having an affair with a married woman named Mildred Brereton; he supposes he loves her; she loves him about as much as she loves the average footman, which is to say not one whiff.  Marie and Jack resume their 'friendship' and soon realize they're in love; but they're too noble to consummate their love.  Marie finds out about Jack's affair with Mildred; he breaks it off with Mildred and falls in love with his wife all over again.  (I may be getting some of this in the wrong order: the whole thing was instantly forgettable.)  Marie wants none of him but is persuaded to carry on with the marriage for appearances' sake.  Mildred goes, "Ho hum ~ next!"  Jack gets flattened by an omnibus.  Marie and Jim (and Mildred too, for that matter) live happily ever after.  The End.
Hyssop
I could list 101 reasons for disliking Scarlet and Hyssop but will limit myself to just four:
(1) The wild, glaring improbability at the heart of it: everyone on Earth (i.e. everyone in London Society, because nothing else exists) knows about Jack's affair with Mildred ... except Marie.  This is despite the fact that they all see each other 250 times a week and do nothing but gossip.
(2) None of the characters is in the least bit likeable, with the possible exception of Jack.  (I could add Jim to this except that he can hardly be called a 'character' ~ he's just a shadow.)  Benson's heroine, Marie, is a cold, condescending, snooty witch ~ and knows it.  At one point Jack says to her:
"You are a cold, passionless woman, and will not understand," he said.  Then he paused a moment, for a long sigh lay suspended in her breast.  "You object to my saying that?" he added.
"No; go on," said she.
It's no bleedin' wonder he went off and had an affair (though he could have chosen better), married to that sanctimonious icebox ~ he's just the average man.  And yet he's the one who, in order that a happy ending may take place, gets squashed by a bus.  Ah well.
Mildred is a piece of toxic waste: Dodo on acid.  She'd have to be buried underground for 40,000 years for me to go anywhere near her.
Bloody omnibuses! ~ they get everywhere
(3) If you've already read Daisy's Aunt and Mammon & Co. and umpteen of Fred's short stories that deal with adultery, there's no need to read this: it has absolutely nothing different to say.
(4) The supposedly comic relief, Lady Ardingly, who is another of EFB's preposterously-born-in-Russia Queens of London Society, isn't in the least bit funny.  She's a tedious old hag.  Still, she gets the best line in the book, which you have to wait till the last page of the epilogue for:
"Ah! my dear, we are lepers," said Lady Ardingly.  "We are all wrong and bad, and we roll over each other in the gutter [...].  We strive for one thing, which is wealth, and when we have got it we spend it on pleasure.  [...] and the odd thing is that the pleasure we get does not please us.  It is always something else we want.  I sit and I say 'What news?' and when I am told I say 'What else?' and still 'What else?' and I am not satisfied.  [...] we go after remedies for our ennui, for our leprosy, and there is no such remedy unless we become altogether different."
This pretty neatly sums up all the worst of the Edwardian period ... and of Scarlet and Hyssop. 
Okay, I think that's enough.  You can read the whole thing online here ... but I wouldn't bother.


THE CRITICS
In Scarlet and Hyssop […] Mr E. F. Benson has returned to his earlier manner. He opens by introducing us to a couple of ladies whose talk overflows with studied smartness in a way that may choke off some readers. But as many as persevere will not find their courage very well rewarded. Mr Benson's society ladies tire one very soon. Their affections and their affectations are equally a bore. We crave for something a little more natural, a little more healthy.
~The Yorkshire Post, 19/03/1902
All Mr E. F. Benson's stories may be said to make for righteousness, inasmuch as virtue always somehow finds its reward. But it must be frankly confessed that generally it is not the goal but the way we travel to it which interests his readers. Marie, Lady Alston, in [Scarlet and Hyssop] […] stands for right-doing, her friend Mildred, Mrs Brereton, for the opposite. Jim Spencer is the decent but poor young man who is sent out to South Africa to make his fortune. Like so many other young men in novels, he succeeds, and comes home to find Marie, whom he loves, married to Lord Alston, who loves Mrs Brereton. We sit at a game of whist, see the cards shuffled, cut, and dealt, note the mistakes made, and the cheating, and see how the wiles of the wicked are fruitless against the straight play and good cards of Marie and Jim. The best-drawn character in the book is Marie's husband Jack, Lord Alston, who wins popularity as a politician by preaching the doctrine of 'efficiency'. He finds, too late, that his mistress is not nearly so clever or beautiful a woman as his wife. His death was a necessity for Marie's reward on earth, and it comes about somewhat melodramatically, at the hands of Mildred, or rather at the feet of her horses. The characters all move in an atmosphere where the first law of life is apparently to be very amusing or very rich. Cleverness is pardoned if it can contrive to be interesting; stupidity is condoned if set in a gold frame. Men are apparently of little account except as counters in the game. That in spite of so much that is unreal, and our indifference as to the fate of the characters, we can enjoy the depiction of their little plots and counterplots, is the best testimony to the cleverness of the book.
~The Manchester Courier and Lancashire General Advertiser, 29/03/1902
The author of Dodo gives us here another study of the decadent aspects of certain circles of London aristocratic and wealthy society. The book has not the dash and cleverness which inclined one to condone some of the disagreeable features of Dodo. On the other hand, it has a very plainly put moral; the only man and the only woman in the book who have strong and true characters are duly rewarded. Nevertheless and despite this fact, the presentation of vice, artificiality, and insincerity in modern society has a depressing rather than a tonic effect, and the whole leaves a bad taste in the mouth.
 
~The Outlook (US), 19/04/1902
Mr. Benson here plays the part of social satirist. He whips the manners and fashions of the smart set, not exactly with scorpions, but severely enough, and, we believe, in all sincerity of indignation. Through the mouth of his heroine, Lady Alston, he calls them vulgar, and he shows convincingly that their vulgarity does not even purchase enjoyment. “'Ah! my dear, we are lepers,' says one open-eyed old sinner. 'We are all wrong and bad, and we roll over each other in the gutter like these Arabs scrambling for backshish. We strive for one thing, which is wealth, and when we have got it, we spend it on pleasure . . . and the odd thing is that the pleasure we get does not please us. It is always something else we want. I sit and I say, "What news?" and when I am told, I say, "What else?" and still "What else?" and I am not satisfied.'" That is one of the mildest arraignments; Mr. Benson's favourite term of reproach for the vulgar woman of society, 'a cook,' is a slander on a highly respectable class, but at least he means to indicate unspeakable depths of stupidity and hopeless moral and mental obtuseness. It is some satisfaction to note also that, as none of the satirised are made to appear charming, their originals in real life are left with little consolation. A more brilliant exhibition of their weak wickedness might have tickled them; Mr. Benson's can hardly fail to annoy. So far good. But he has not chosen the most effective way of reform. To ignore entirely the stupid whirl after money and senseless pleasure is perhaps too slow, too doubtfully efficacious a method of showing contempt; but, at least some stalwarts might have been introduced into the story, uninfected by the general corruption and untempted by what the 'smart set' have to offer. Of course, there is Jim; but he is a shadow; and there is Lady Alston, but she is an abstraction, or little more than a mouthpiece for Mr. Benson's tirades of reproach. Contrast is wanted in the book—a picture of the other people. These need not have been saints, they might have filled their place admirably with a moderate amount of virtue, provided they were endowed with active brains, and were minded to demand from life some of its realities.
~The Bookman (UK), 05/1902
Scathing in satire and relentless in exposure. In point of construction, Scarlet and Hyssop seems to us to mark a distinct advance in the author's work. Nothing is out of place, nothing superfluous, but all is in due order and sequence, while the interest never flags for a moment. There are many pages of witty dialogue, and quite enough clever people who talk epigrams, and, on the whole, Scarlet and Hyssop must be accounted a really brilliant piece of work, unsurpassed by anything Mr. Benson has given us.
~The Pall Mall Gazette, quoted in endpapers of An Act in a Backwater and Juggernaut and in newspaper ad of 04/06/1902
Mr. Benson has returned to the field which he developed with such signal success in Dodo, and his new novel reveals a brilliancy, social knowledge, and worldly wisdom that show how much the author has grown in force and pungency since the appearance of his first book. This remarkable story of London society may or may not afford reasons for identifications. It is certain that the author's range of acquaintances and his knowledge of the subject are exceptional, and in this amusing and striking picture of life as it is lived in London he has utilized his opportunities to the full.
 
"Look out, luv ~ E. F. Benson's about!"
~Pittsburg Press, spliced together from quotes in endpapers to US editions of The House of Defence and An Act in a Backwater

There is much pleasure, as well as philosophy, in the book; its satire is pungent, the characters are well sketched, and it is certainly a book to read.
~The Sketch, quoted in endpapers to An Act in a Backwater and Sheaves
It is astonishingly up-to-date: it brims over with chatter, with Saturday-to-Monday parties, with Bridge ~ everlasting Bridge ~ flirtation, motor-cars, semi-detached husbands and wives, and the Boer War; in fact with everything in which London society of to-day interests itself. An admirable picture, witty, cynical and amusing. It is full of brilliant things.
~The Standard, quoted in endpapers to An Act in a Backwater and Juggernaut



Thursday, 3 April 2014

A Woman's Ambition

Fiction ~ short story
Published in The Windsor Magazine, December 1900
Reprinted in Bensoniana No. 2 (Hermitage Books, 1993)
3,930 words
(First read 03/04/14)

Another preposterous EFB heroine does the noble thing ...  Actually, this one's doubly preposterous in that not only is she the cynosure of London society and (we're told) kind to the poor but ~ for crying out loud ~ she's Russian to boot!  Marie Laridoff is a 24-year-old divorcée, stinking-rich for no particular reason, in love, for reasons not explained, with diplomat Sir Herbert Vivian (40).  Her love is requited but, also for reasons not explained, she's vowed never to remarry until the death of her first husband, who ~ no, I swear I'm not making this up! ~ rather bizarrely got her implicated in a revolutionary plot and banished from Russia ... ermm ... so as to be able to divorce her ... or something ~ details are sketchy, at best.  Anyway, in the best traditions of Bensonian and other fiction, the news that Hubby No. 1 has popped his clogs¹ and the news that Herb has landed the plum job of ambassador to Petersburg happen to arrive on the same day, and obviously Marie can't blah blah yadda yadda ... the usual.  The story is available online here.

¹ I daresay he was run over by a 'bus.  

Monday, 26 December 1994

Mrs Andrews's Control

Fiction ~ short story
Published September 1915
Approx. 3,200 words
(First read 26/12/1994)

Mrs Henry Andrews and her husband live in extreme happiness and comfort together at Oakley¹.  Mrs is a chronic faddist: having worked her way through every diet in the book, she moves on to matters psychical.  Cartomancy, Christian Science, astrology, palmistry, and (her husband having now joined her) finally they hit on automatic writing².  Sadly, though they produce reams and reams, none of it is intelligible.  Success arrives when they decide to hold a pencil together rather than one each.  A 'control' by the name of Pocky quickly 'comes through' and makes himself useful, advising Mr A on his investments, etc.  But what is this? ~ 'the German war' breaks out³, Pocky becomes 'patriotic and truculent', changes his name to Pocksky and throws his weight behind the Russians before the author administers the coup de grâce.  A thoroughly fun read, Benson at his satirical best.  Available online here (in The Countess of Lowndes Square and Other Stories) and in Fine Feathers and Other Stories (1994).


¹ EFB's novel The Oakleyites appeared in the same year: it too featured a Mrs Andrews much like this one ...
² Psychography is the technical term, apparently.
³ The actual term EFB uses: luckily it never reached Capri.  I know, I know, I'm unkind to him on this subject, and it's utterly uncalled-for.