2.14.2017 Doc of the Day

Numero Uno
THE PREFACE

The artist is the creator of beautiful things.  To reveal art and conceal the artist is art’s aim.  The critic is he who can translate into another manner or a new material his impression of beautiful things.

The highest as the lowest form of criticism is a mode of autobiography.  Those who find ugly meanings in beautiful things are corrupt without being charming.  This is a fault.

Those who find beautiful meanings in beautiful things are the cultivated.  For these there is hope.   They are the elect to whom beautiful things mean only beauty.

There is no such thing as a moral or an immoral book.  Books are well written, or badly written.   That is all.

The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.

The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.  The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.  No artist desires to prove anything.  Even things that are true can be proved.  No artist has ethical sympathies.  An ethical sympathy in an artist is an unpardonable mannerism of style.  No artist is ever morbid.  The artist can express everything.  Thought and language are to the artist instruments of an art.  Vice and virtue are to the artist materials for an art.   From the point of view of form, the type of all the arts is the art of the musician.  From the point of view of feeling, the actor’s craft is the type.   All art is at once surface and symbol.  Those who go beneath the surface do so at their peril.  Those who read the symbol do so at their peril.   It is the spectator, and not life, that art really mirrors.  Diversity of opinion about a work of art shows that the work is new, complex, and vital.   When critics disagree, the artist is in accord with himself.  We can forgive a man for making a useful thing as long as he does not admire it.   The only excuse for making a useless thing is that one admires it intensely.

All art is quite useless.
OSCAR WILDE

CHAPTER 1

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.  The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive.   The dim roar of London was like the bourdon note of a distant organ.

In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement and gave rise to so many strange conjectures.

As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.

“It is your best work, Basil, the best thing you have ever done,” said Lord Henry languidly. “You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. Whenever I have gone there, there have been either so many people that I have not been able to see the pictures, which was dreadful, or so many pictures that I have not been able to see the people, which was worse. The Grosvenor is really the only place.”

“I don’t think I shall send it anywhere,” he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. “No, I won’t send it anywhere.”

Lord Henry elevated his eyebrows and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy, opium-tainted cigarette. “Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion.”

“I know you will laugh at me,” he replied, “but I really can’t exhibit it. I have put too much of myself into it.”

Lord Henry stretched himself out on the divan and laughed.

“Yes, I knew you would; but it is quite true, all the same.”

“Too much of yourself in it! Upon my word, Basil, I didn’t know you were so vain; and I really can’t see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made out of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don’t think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don’t flatter yourself, Basil: you are not in the least like him.”

“You don’t understand me, Harry,” answered the artist. “Of course I am not like him. I know that perfectly well. Indeed, I should be sorry to look like him. You shrug your shoulders? I am telling you the truth. There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one’s fellows. The ugly and the stupid have the best of it in this world. They can sit at their ease and gape at the play. If they know nothing of victory, they are at least spared the knowledge of defeat. They live as we all should live—undisturbed, indifferent, and without disquiet. They neither bring ruin upon others, nor ever receive it from alien hands. Your rank and wealth, Harry; my brains, such as they are—my art, whatever it may be worth; Dorian Gray’s good looks—we shall all suffer for what the gods have given us, suffer terribly.”

“Dorian Gray? Is that his name?” asked Lord Henry, walking across the studio towards Basil Hallward.

“Yes, that is his name. I didn’t intend to tell it to you.”

“But why not?”

“Oh, I can’t explain. When I like people immensely, I never tell their names to any one. It is like surrendering a part of them. I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvellous to us. The commonest thing is delightful if one only hides it. When I leave town now I never tell my people where I am going. If I did, I would lose all my pleasure. It is a silly habit, I dare say, but somehow it seems to bring a great deal of romance into one’s life. I suppose you think me awfully foolish about it?”

“Not at all,” answered Lord Henry, “not at all, my dear Basil. You seem to forget that I am married, and the one charm of marriage is that it makes a life of deception absolutely necessary for both parties. I never know where my wife is, and my wife never knows what I am doing. When we meet—we do meet occasionally, when we dine out together, or go down to the Duke’s—we tell each other the most absurd stories with the most serious faces. My wife is very good at it—much better, in fact, than I am. She never gets confused over her dates, and I always do. But when she does find me out, she makes no row at all. I sometimes wish she would; but she merely laughs at me.”

“I hate the way you talk about your married life, Harry,” said Basil Hallward, strolling towards the door that led into the garden. “I believe that you are really a very good husband, but that you are thoroughly ashamed of your own virtues. You are an extraordinary fellow. You never say a moral thing, and you never do a wrong thing. Your cynicism is simply a pose.”

“Being natural is simply a pose, and the most irritating pose I know,” cried Lord Henry, laughing; and the two young men went out into the garden together and ensconced themselves on a long bamboo seat that stood in the shade of a tall laurel bush. The sunlight slipped over the polished leaves. In the grass, white daisies were tremulous.

After a pause, Lord Henry pulled out his watch. “I am afraid I must be going, Basil,” he murmured, “and before I go, I insist on your answering a question I put to you some time ago.”

“What is that?” said the painter, keeping his eyes fixed on the ground.

“You know quite well.”

“I do not, Harry.”

“Well, I will tell you what it is. I want you to explain to me why you won’t exhibit Dorian Gray’s picture. I want the real reason.”

“I told you the real reason.”

“No, you did not. You said it was because there was too much of yourself in it. Now, that is childish.”

“Harry,” said Basil Hallward, looking him straight in the face, “every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul.”

Lord Henry laughed. “And what is that?” he asked.

“I will tell you,” said Hallward; but an expression of perplexity came over his face.

“I am all expectation, Basil,” continued his companion, glancing at him.

“Oh, there is really very little to tell, Harry,” answered the painter; “and I am afraid you will hardly understand it. Perhaps you will hardly believe it.”

Lord Henry smiled, and leaning down, plucked a pink-petalled daisy from the grass and examined it. “I am quite sure I shall understand it,” he replied, gazing intently at the little golden, white-feathered disk, “and as for believing things, I can believe anything, provided that it is quite incredible.”

The wind shook some blossoms from the trees, and the heavy lilac-blooms, with their clustering stars, moved to and fro in the languid air. A grasshopper began to chirrup by the wall, and like a blue thread a long thin dragon-fly floated past on its brown gauze wings. Lord Henry felt as if he could hear Basil Hallward’s heart beating, and wondered what was coming.

“The story is simply this,” said the painter after some time. “Two months ago I went to a crush at Lady Brandon’s. You know we poor artists have to show ourselves in society from time to time, just to remind the public that we are not savages. With an evening coat and a white tie, as you told me once, anybody, even a stock-broker, can gain a reputation for being civilized. Well, after I had been in the room about ten minutes, talking to huge overdressed dowagers and tedious academicians, I suddenly became conscious that some one was looking at me. I turned half-way round and saw Dorian Gray for the first time. When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. I did not want any external influence in my life. You know yourself, Harry, how independent I am by nature. I have always been my own master; had at least always been so, till I met Dorian Gray. Then—but I don’t know how to explain it to you. Something seemed to tell me that I was on the verge of a terrible crisis in my life. I had a strange feeling that fate had in store for me exquisite joys and exquisite sorrows. I grew afraid and turned to quit the room. It was not conscience that made me do so: it was a sort of cowardice. I take no credit to myself for trying to escape.”

“Conscience and cowardice are really the same things, Basil. Conscience is the trade-name of the firm. That is all.”

“I don’t believe that, Harry, and I don’t believe you do either. However, whatever was my motive—and it may have been pride, for I used to be very proud—I certainly struggled to the door. There, of course, I stumbled against Lady Brandon. ‘You are not going to run away so soon, Mr. Hallward?’ she screamed out. You know her curiously shrill voice?”

“Yes; she is a peacock in everything but beauty,” said Lord Henry, pulling the daisy to bits with his long nervous fingers.

“I could not get rid of her. She brought me up to royalties, and people with stars and garters, and elderly ladies with gigantic tiaras and parrot noses. She spoke of me as her dearest friend. I had only met her once before, but she took it into her head to lionize me. I believe some picture of mine had made a great success at the time, at least had been chattered about in the penny newspapers, which is the nineteenth-century standard of immortality. Suddenly I found myself face to face with the young man whose personality had so strangely stirred me. We were quite close, almost touching. Our eyes met again. It was reckless of me, but I asked Lady Brandon to introduce me to him. Perhaps it was not so reckless, after all. It was simply inevitable. We would have spoken to each other without any introduction. I am sure of that. Dorian told me so afterwards. He, too, felt that we were destined to know each other.”

“And how did Lady Brandon describe this wonderful young man?” asked his companion. “I know she goes in for giving a rapid precis of all her guests. I remember her bringing me up to a truculent and red-faced old gentleman covered all over with orders and ribbons, and hissing into my ear, in a tragic whisper which must have been perfectly audible to everybody in the room, the most astounding details. I simply fled. I like to find out people for myself. But Lady Brandon treats her guests exactly as an auctioneer treats his goods. She either explains them entirely away, or tells one everything about them except what one wants to know.”

“Poor Lady Brandon! You are hard on her, Harry!” said Hallward listlessly.

“My dear fellow, she tried to found a salon, and only succeeded in opening a restaurant. How could I admire her? But tell me, what did she say about Mr. Dorian Gray?”

“Oh, something like, ‘Charming boy—poor dear mother and I absolutely inseparable. Quite forget what he does—afraid he—doesn’t do anything—oh, yes, plays the piano—or is it the violin, dear Mr. Gray?’ Neither of us could help laughing, and we became friends at once.”

“Laughter is not at all a bad beginning for a friendship, and it is far the best ending for one,” said the young lord, plucking another daisy.

Hallward shook his head. “You don’t understand what friendship is, Harry,” he murmured—”or what enmity is, for that matter. You like every one; that is to say, you are indifferent to every one.”

“How horribly unjust of you!” cried Lord Henry, tilting his hat back and looking up at the little clouds that, like ravelled skeins of glossy white silk, were drifting across the hollowed turquoise of the summer sky. “Yes; horribly unjust of you. I make a great difference between people. I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects. A man cannot be too careful in the choice of his enemies. I have not got one who is a fool. They are all men of some intellectual power, and consequently they all appreciate me. Is that very vain of me? I think it is rather vain.”

“I should think it was, Harry. But according to your category I must be merely an acquaintance.”

“My dear old Basil, you are much more than an acquaintance.”

“And much less than a friend. A sort of brother, I suppose?”

“Oh, brothers! I don’t care for brothers. My elder brother won’t die, and my younger brothers seem never to do anything else.”

“Harry!” exclaimed Hallward, frowning.

“My dear fellow, I am not quite serious. But I can’t help detesting my relations. I suppose it comes from the fact that none of us can stand other people having the same faults as ourselves. I quite sympathize with the rage of the English democracy against what they call the vices of the upper orders. The masses feel that drunkenness, stupidity, and immorality should be their own special property, and that if any one of us makes an ass of himself, he is poaching on their preserves. When poor Southwark got into the divorce court, their indignation was quite magnificent. And yet I don’t suppose that ten per cent of the proletariat live correctly.”

“I don’t agree with a single word that you have said, and, what is more, Harry, I feel sure you don’t either.”

Lord Henry stroked his pointed brown beard and tapped the toe of his patent-leather boot with a tasselled ebony cane. “How English you are Basil! That is the second time you have made that observation. If one puts forward an idea to a true Englishman—always a rash thing to do—he never dreams of considering whether the idea is right or wrong. The only thing he considers of any importance is whether one believes it oneself. Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices. However, I don’t propose to discuss politics, sociology, or metaphysics with you. I like persons better than principles, and I like persons with no principles better than anything else in the world. Tell me more about Mr. Dorian Gray. How often do you see him?”

“Every day. I couldn’t be happy if I didn’t see him every day. He is absolutely necessary to me.”

“How extraordinary! I thought you would never care for anything but your art.”

“He is all my art to me now,” said the painter gravely. “I sometimes think, Harry, that there are only two eras of any importance in the world’s history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won’t tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. ‘A dream of form in days of thought’—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty—his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body—how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.”

“Basil, this is extraordinary! I must see Dorian Gray.”

Hallward got up from the seat and walked up and down the garden. After some time he came back. “Harry,” he said, “Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all.”

“Then why won’t you exhibit his portrait?” asked Lord Henry.

“Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!”

“Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions.”

“I hate them for it,” cried Hallward. “An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray.”

“I think you are wrong, Basil, but I won’t argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?”

The painter considered for a few moments. “He likes me,” he answered after a pause; “I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer’s day.”

“Days in summer, Basil, are apt to linger,” murmured Lord Henry. “Perhaps you will tire sooner than he will. It is a sad thing to think of, but there is no doubt that genius lasts longer than beauty. That accounts for the fact that we all take such pains to over-educate ourselves. In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place. The thoroughly well-informed man—that is the modern ideal. And the mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-a-brac shop, all monsters and dust, with everything priced above its proper value. I think you will tire first, all the same. Some day you will look at your friend, and he will seem to you to be a little out of drawing, or you won’t like his tone of colour, or something. You will bitterly reproach him in your own heart, and seriously think that he has behaved very badly to you. The next time he calls, you will be perfectly cold and indifferent. It will be a great pity, for it will alter you. What you have told me is quite a romance, a romance of art one might call it, and the worst of having a romance of any kind is that it leaves one so unromantic.”

“Harry, don’t talk like that. As long as I live, the personality of Dorian Gray will dominate me. You can’t feel what I feel. You change too often.”

“Ah, my dear Basil, that is exactly why I can feel it. Those who are faithful know only the trivial side of love: it is the faithless who know love’s tragedies.” And Lord Henry struck a light on a dainty silver case and began to smoke a cigarette with a self-conscious and satisfied air, as if he had summed up the world in a phrase. There was a rustle of chirruping sparrows in the green lacquer leaves of the ivy, and the blue cloud-shadows chased themselves across the grass like swallows. How pleasant it was in the garden! And how delightful other people’s emotions were!—much more delightful than their ideas, it seemed to him. One’s own soul, and the passions of one’s friends—those were the fascinating things in life. He pictured to himself with silent amusement the tedious luncheon that he had missed by staying so long with Basil Hallward. Had he gone to his aunt’s, he would have been sure to have met Lord Goodbody there, and the whole conversation would have been about the feeding of the poor and the necessity for model lodging-houses. Each class would have preached the importance of those virtues, for whose exercise there was no necessity in their own lives. The rich would have spoken on the value of thrift, and the idle grown eloquent over the dignity of labour. It was charming to have escaped all that! As he thought of his aunt, an idea seemed to strike him. He turned to Hallward and said, “My dear fellow, I have just remembered.”

“Remembered what, Harry?”

“Where I heard the name of Dorian Gray.”

“Where was it?” asked Hallward, with a slight frown.

“Don’t look so angry, Basil. It was at my aunt, Lady Agatha’s. She told me she had discovered a wonderful young man who was going to help her in the East End, and that his name was Dorian Gray. I am bound to state that she never told me he was good-looking. Women have no appreciation of good looks; at least, good women have not. She said that he was very earnest and had a beautiful nature. I at once pictured to myself a creature with spectacles and lank hair, horribly freckled, and tramping about on huge feet. I wish I had known it was your friend.”

“I am very glad you didn’t, Harry.”

“Why?”

“I don’t want you to meet him.”

“You don’t want me to meet him?”

“No.”

“Mr. Dorian Gray is in the studio, sir,” said the butler, coming into the garden.

“You must introduce me now,” cried Lord Henry, laughing.

The painter turned to his servant, who stood blinking in the sunlight. “Ask Mr. Gray to wait, Parker: I shall be in in a few moments.” The man bowed and went up the walk.

Then he looked at Lord Henry. “Dorian Gray is my dearest friend,” he said. “He has a simple and a beautiful nature. Your aunt was quite right in what she said of him. Don’t spoil him. Don’t try to influence him. Your influence would be bad. The world is wide, and has many marvellous people in it. Don’t take away from me the one person who gives to my art whatever charm it possesses: my life as an artist depends on him. Mind, Harry, I trust you.” He spoke very slowly, and the words seemed wrung out of him almost against his will.

“What nonsense you talk!” said Lord Henry, smiling, and taking Hallward by the arm, he almost led him into the house….

CHAPTER 19

“There is no use your telling me that you are going to be good,” cried Lord Henry, dipping his white fingers into a red copper bowl filled with rose-water. “You are quite perfect. Pray, don’t change.”

Dorian Gray shook his head. “No, Harry, I have done too many dreadful things in my life. I am not going to do any more. I began my good actions yesterday.”

“Where were you yesterday?”

“In the country, Harry. I was staying at a little inn by myself.”

“My dear boy,” said Lord Henry, smiling, “anybody can be good in the country. There are no temptations there. That is the reason why people who live out of town are so absolutely uncivilized. Civilization is not by any means an easy thing to attain to. There are only two ways by which man can reach it. One is by being cultured, the other by being corrupt. Country people have no opportunity of being either, so they stagnate.”

“Culture and corruption,” echoed Dorian. “I have known something of both. It seems terrible to me now that they should ever be found together. For I have a new ideal, Harry. I am going to alter. I think I have altered.”

“You have not yet told me what your good action was. Or did you say you had done more than one?” asked his companion as he spilled into his plate a little crimson pyramid of seeded strawberries and, through a perforated, shell-shaped spoon, snowed white sugar upon them.

“I can tell you, Harry. It is not a story I could tell to any one else. I spared somebody. It sounds vain, but you understand what I mean. She was quite beautiful and wonderfully like Sibyl Vane. I think it was that which first attracted me to her. You remember Sibyl, don’t you? How long ago that seems! Well, Hetty was not one of our own class, of course. She was simply a girl in a village. But I really loved her. I am quite sure that I loved her. All during this wonderful May that we have been having, I used to run down and see her two or three times a week. Yesterday she met me in a little orchard. The apple-blossoms kept tumbling down on her hair, and she was laughing. We were to have gone away together this morning at dawn. Suddenly I determined to leave her as flowerlike as I had found her.”

“I should think the novelty of the emotion must have given you a thrill of real pleasure, Dorian,” interrupted Lord Henry. “But I can finish your idyll for you. You gave her good advice and broke her heart. That was the beginning of your reformation.”

“Harry, you are horrible! You mustn’t say these dreadful things. Hetty’s heart is not broken. Of course, she cried and all that. But there is no disgrace upon her. She can live, like Perdita, in her garden of mint and marigold.”

“And weep over a faithless Florizel,” said Lord Henry, laughing, as he leaned back in his chair. “My dear Dorian, you have the most curiously boyish moods. Do you think this girl will ever be really content now with any one of her own rank? I suppose she will be married some day to a rough carter or a grinning ploughman. Well, the fact of having met you, and loved you, will teach her to despise her husband, and she will be wretched. From a moral point of view, I cannot say that I think much of your great renunciation. Even as a beginning, it is poor. Besides, how do you know that Hetty isn’t floating at the present moment in some starlit mill-pond, with lovely water-lilies round her, like Ophelia?”

“I can’t bear this, Harry! You mock at everything, and then suggest the most serious tragedies. I am sorry I told you now. I don’t care what you say to me. I know I was right in acting as I did. Poor Hetty! As I rode past the farm this morning, I saw her white face at the window, like a spray of jasmine. Don’t let us talk about it any more, and don’t try to persuade me that the first good action I have done for years, the first little bit of self-sacrifice I have ever known, is really a sort of sin. I want to be better. I am going to be better. Tell me something about yourself. What is going on in town? I have not been to the club for days.”

“The people are still discussing poor Basil’s disappearance.”

“I should have thought they had got tired of that by this time,” said Dorian, pouring himself out some wine and frowning slightly.

“My dear boy, they have only been talking about it for six weeks, and the British public are really not equal to the mental strain of having more than one topic every three months. They have been very fortunate lately, however. They have had my own divorce-case and Alan Campbell’s suicide. Now they have got the mysterious disappearance of an artist. Scotland Yard still insists that the man in the grey ulster who left for Paris by the midnight train on the ninth of November was poor Basil, and the French police declare that Basil never arrived in Paris at all. I suppose in about a fortnight we shall be told that he has been seen in San Francisco. It is an odd thing, but every one who disappears is said to be seen at San Francisco. It must be a delightful city, and possess all the attractions of the next world.”

“What do you think has happened to Basil?” asked Dorian, holding up his Burgundy against the light and wondering how it was that he could discuss the matter so calmly.

“I have not the slightest idea. If Basil chooses to hide himself, it is no business of mine. If he is dead, I don’t want to think about him. Death is the only thing that ever terrifies me. I hate it.”

“Why?” said the younger man wearily.

“Because,” said Lord Henry, passing beneath his nostrils the gilt trellis of an open vinaigrette box, “one can survive everything nowadays except that. Death and vulgarity are the only two facts in the nineteenth century that one cannot explain away. Let us have our coffee in the music-room, Dorian. You must play Chopin to me. The man with whom my wife ran away played Chopin exquisitely. Poor Victoria! I was very fond of her. The house is rather lonely without her. Of course, married life is merely a habit, a bad habit. But then one regrets the loss even of one’s worst habits. Perhaps one regrets them the most. They are such an essential part of one’s personality.”

Dorian said nothing, but rose from the table, and passing into the next room, sat down to the piano and let his fingers stray across the white and black ivory of the keys. After the coffee had been brought in, he stopped, and looking over at Lord Henry, said, “Harry, did it ever occur to you that Basil was murdered?”

Lord Henry yawned. “Basil was very popular, and always wore a Waterbury watch. Why should he have been murdered? He was not clever enough to have enemies. Of course, he had a wonderful genius for painting. But a man can paint like Velasquez and yet be as dull as possible. Basil was really rather dull. He only interested me once, and that was when he told me, years ago, that he had a wild adoration for you and that you were the dominant motive of his art.”

“I was very fond of Basil,” said Dorian with a note of sadness in his voice. “But don’t people say that he was murdered?”

“Oh, some of the papers do. It does not seem to me to be at all probable. I know there are dreadful places in Paris, but Basil was not the sort of man to have gone to them. He had no curiosity. It was his chief defect.”

“What would you say, Harry, if I told you that I had murdered Basil?” said the younger man. He watched him intently after he had spoken.

“I would say, my dear fellow, that you were posing for a character that doesn’t suit you. All crime is vulgar, just as all vulgarity is crime. It is not in you, Dorian, to commit a murder. I am sorry if I hurt your vanity by saying so, but I assure you it is true. Crime belongs exclusively to the lower orders. I don’t blame them in the smallest degree. I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations.”

“A method of procuring sensations? Do you think, then, that a man who has once committed a murder could possibly do the same crime again? Don’t tell me that.”

“Oh! anything becomes a pleasure if one does it too often,” cried Lord Henry, laughing. “That is one of the most important secrets of life. I should fancy, however, that murder is always a mistake. One should never do anything that one cannot talk about after dinner. But let us pass from poor Basil. I wish I could believe that he had come to such a really romantic end as you suggest, but I can’t. I dare say he fell into the Seine off an omnibus and that the conductor hushed up the scandal. Yes: I should fancy that was his end. I see him lying now on his back under those dull-green waters, with the heavy barges floating over him and long weeds catching in his hair. Do you know, I don’t think he would have done much more good work. During the last ten years his painting had gone off very much.”

Dorian heaved a sigh, and Lord Henry strolled across the room and began to stroke the head of a curious Java parrot, a large, grey-plumaged bird with pink crest and tail, that was balancing itself upon a bamboo perch. As his pointed fingers touched it, it dropped the white scurf of crinkled lids over black, glasslike eyes and began to sway backwards and forwards.

“Yes,” he continued, turning round and taking his handkerchief out of his pocket; “his painting had quite gone off. It seemed to me to have lost something. It had lost an ideal. When you and he ceased to be great friends, he ceased to be a great artist. What was it separated you? I suppose he bored you. If so, he never forgave you. It’s a habit bores have. By the way, what has become of that wonderful portrait he did of you? I don’t think I have ever seen it since he finished it. Oh! I remember your telling me years ago that you had sent it down to Selby, and that it had got mislaid or stolen on the way. You never got it back? What a pity! it was really a masterpiece. I remember I wanted to buy it. I wish I had now. It belonged to Basil’s best period. Since then, his work was that curious mixture of bad painting and good intentions that always entitles a man to be called a representative British artist. Did you advertise for it? You should.”

“I forget,” said Dorian. “I suppose I did. But I never really liked it. I am sorry I sat for it. The memory of the thing is hateful to me. Why do you talk of it? It used to remind me of those curious lines in some play—Hamlet, I think—how do they run?—

“Like the painting of a sorrow,
A face without a heart.”

Yes: that is what it was like.”

Lord Henry laughed. “If a man treats life artistically, his brain is his heart,” he answered, sinking into an arm-chair.

Dorian Gray shook his head and struck some soft chords on the piano. “‘Like the painting of a sorrow,'” he repeated, “‘a face without a heart.'”

The elder man lay back and looked at him with half-closed eyes. “By the way, Dorian,” he said after a pause, “‘what does it profit a man if he gain the whole world and lose—how does the quotation run?—his own soul’?”

The music jarred, and Dorian Gray started and stared at his friend. “Why do you ask me that, Harry?”

“My dear fellow,” said Lord Henry, elevating his eyebrows in surprise, “I asked you because I thought you might be able to give me an answer. That is all. I was going through the park last Sunday, and close by the Marble Arch there stood a little crowd of shabby-looking people listening to some vulgar street-preacher. As I passed by, I heard the man yelling out that question to his audience. It struck me as being rather dramatic. London is very rich in curious effects of that kind. A wet Sunday, an uncouth Christian in a mackintosh, a ring of sickly white faces under a broken roof of dripping umbrellas, and a wonderful phrase flung into the air by shrill hysterical lips—it was really very good in its way, quite a suggestion. I thought of telling the prophet that art had a soul, but that man had not. I am afraid, however, he would not have understood me.”

“Don’t, Harry. The soul is a terrible reality. It can be bought, and sold, and bartered away. It can be poisoned, or made perfect. There is a soul in each one of us. I know it.”

“Do you feel quite sure of that, Dorian?”

“Quite sure.”

“Ah! then it must be an illusion. The things one feels absolutely certain about are never true. That is the fatality of faith, and the lesson of romance. How grave you are! Don’t be so serious. What have you or I to do with the superstitions of our age? No: we have given up our belief in the soul. Play me something. Play me a nocturne, Dorian, and, as you play, tell me, in a low voice, how you have kept your youth. You must have some secret. I am only ten years older than you are, and I am wrinkled, and worn, and yellow. You are really wonderful, Dorian. You have never looked more charming than you do to-night. You remind me of the day I saw you first. You were rather cheeky, very shy, and absolutely extraordinary. You have changed, of course, but not in appearance. I wish you would tell me your secret. To get back my youth I would do anything in the world, except take exercise, get up early, or be respectable. Youth! There is nothing like it. It’s absurd to talk of the ignorance of youth. The only people to whose opinions I listen now with any respect are people much younger than myself. They seem in front of me. Life has revealed to them her latest wonder. As for the aged, I always contradict the aged. I do it on principle. If you ask them their opinion on something that happened yesterday, they solemnly give you the opinions current in 1820, when people wore high stocks, believed in everything, and knew absolutely nothing. How lovely that thing you are playing is! I wonder, did Chopin write it at Majorca, with the sea weeping round the villa and the salt spray dashing against the panes? It is marvellously romantic. What a blessing it is that there is one art left to us that is not imitative! Don’t stop. I want music to-night. It seems to me that you are the young Apollo and that I am Marsyas listening to you. I have sorrows, Dorian, of my own, that even you know nothing of. The tragedy of old age is not that one is old, but that one is young. I am amazed sometimes at my own sincerity. Ah, Dorian, how happy you are! What an exquisite life you have had! You have drunk deeply of everything. You have crushed the grapes against your palate. Nothing has been hidden from you. And it has all been to you no more than the sound of music. It has not marred you. You are still the same.”

“I am not the same, Harry.”

“Yes, you are the same. I wonder what the rest of your life will be. Don’t spoil it by renunciations. At present you are a perfect type. Don’t make yourself incomplete. You are quite flawless now. You need not shake your head: you know you are. Besides, Dorian, don’t deceive yourself. Life is not governed by will or intention. Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams. You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play—I tell you, Dorian, that it is on things like these that our lives depend. Browning writes about that somewhere; but our own senses will imagine them for us. There are moments when the odour of lilas blanc passes suddenly across me, and I have to live the strangest month of my life over again. I wish I could change places with you, Dorian. The world has cried out against us both, but it has always worshipped you. It always will worship you. You are the type of what the age is searching for, and what it is afraid it has found. I am so glad that you have never done anything, never carved a statue, or painted a picture, or produced anything outside of yourself! Life has been your art. You have set yourself to music. Your days are your sonnets.”

Dorian rose up from the piano and passed his hand through his hair. “Yes, life has been exquisite,” he murmured, “but I am not going to have the same life, Harry. And you must not say these extravagant things to me. You don’t know everything about me. I think that if you did, even you would turn from me. You laugh. Don’t laugh.”

“Why have you stopped playing, Dorian? Go back and give me the nocturne over again. Look at that great, honey-coloured moon that hangs in the dusky air. She is waiting for you to charm her, and if you play she will come closer to the earth. You won’t? Let us go to the club, then. It has been a charming evening, and we must end it charmingly. There is some one at White’s who wants immensely to know you—young Lord Poole, Bournemouth’s eldest son. He has already copied your neckties, and has begged me to introduce him to you. He is quite delightful and rather reminds me of you.”

“I hope not,” said Dorian with a sad look in his eyes. “But I am tired to-night, Harry. I shan’t go to the club. It is nearly eleven, and I want to go to bed early.”

“Do stay. You have never played so well as to-night. There was something in your touch that was wonderful. It had more expression than I had ever heard from it before.”

“It is because I am going to be good,” he answered, smiling. “I am a little changed already.”

“You cannot change to me, Dorian,” said Lord Henry. “You and I will always be friends.”

“Yet you poisoned me with a book once. I should not forgive that. Harry, promise me that you will never lend that book to any one. It does harm.”

“My dear boy, you are really beginning to moralize. You will soon be going about like the converted, and the revivalist, warning people against all the sins of which you have grown tired. You are much too delightful to do that. Besides, it is no use. You and I are what we are, and will be what we will be. As for being poisoned by a book, there is no such thing as that. Art has no influence upon action. It annihilates the desire to act. It is superbly sterile. The books that the world calls immoral are books that show the world its own shame. That is all. But we won’t discuss literature. Come round to-morrow. I am going to ride at eleven. We might go together, and I will take you to lunch afterwards with Lady Branksome. She is a charming woman, and wants to consult you about some tapestries she is thinking of buying. Mind you come. Or shall we lunch with our little duchess? She says she never sees you now. Perhaps you are tired of Gladys? I thought you would be. Her clever tongue gets on one’s nerves. Well, in any case, be here at eleven.”

“Must I really come, Harry?”

“Certainly. The park is quite lovely now. I don’t think there have been such lilacs since the year I met you.”

“Very well. I shall be here at eleven,” said Dorian. “Good night, Harry.” As he reached the door, he hesitated for a moment, as if he had something more to say. Then he sighed and went out.

CHAPTER 20

It was a lovely night, so warm that he threw his coat over his arm and did not even put his silk scarf round his throat. As he strolled home, smoking his cigarette, two young men in evening dress passed him. He heard one of them whisper to the other, “That is Dorian Gray.” He remembered how pleased he used to be when he was pointed out, or stared at, or talked about. He was tired of hearing his own name now. Half the charm of the little village where he had been so often lately was that no one knew who he was. He had often told the girl whom he had lured to love him that he was poor, and she had believed him. He had told her once that he was wicked, and she had laughed at him and answered that wicked people were always very old and very ugly. What a laugh she had!—just like a thrush singing. And how pretty she had been in her cotton dresses and her large hats! She knew nothing, but she had everything that he had lost.

When he reached home, he found his servant waiting up for him. He sent him to bed, and threw himself down on the sofa in the library, and began to think over some of the things that Lord Henry had said to him.

Was it really true that one could never change? He felt a wild longing for the unstained purity of his boyhood—his rose-white boyhood, as Lord Henry had once called it. He knew that he had tarnished himself, filled his mind with corruption and given horror to his fancy; that he had been an evil influence to others, and had experienced a terrible joy in being so; and that of the lives that had crossed his own, it had been the fairest and the most full of promise that he had brought to shame. But was it all irretrievable? Was there no hope for him?

Ah! in what a monstrous moment of pride and passion he had prayed that the portrait should bear the burden of his days, and he keep the unsullied splendour of eternal youth! All his failure had been due to that. Better for him that each sin of his life had brought its sure swift penalty along with it. There was purification in punishment. Not “Forgive us our sins” but “Smite us for our iniquities” should be the prayer of man to a most just God.

The curiously carved mirror that Lord Henry had given to him, so many years ago now, was standing on the table, and the white-limbed Cupids laughed round it as of old. He took it up, as he had done on that night of horror when he had first noted the change in the fatal picture, and with wild, tear-dimmed eyes looked into its polished shield. Once, some one who had terribly loved him had written to him a mad letter, ending with these idolatrous words: “The world is changed because you are made of ivory and gold. The curves of your lips rewrite history.” The phrases came back to his memory, and he repeated them over and over to himself. Then he loathed his own beauty, and flinging the mirror on the floor, crushed it into silver splinters beneath his heel. It was his beauty that had ruined him, his beauty and the youth that he had prayed for. But for those two things, his life might have been free from stain. His beauty had been to him but a mask, his youth but a mockery. What was youth at best? A green, an unripe time, a time of shallow moods, and sickly thoughts. Why had he worn its livery? Youth had spoiled him.

It was better not to think of the past. Nothing could alter that. It was of himself, and of his own future, that he had to think. James Vane was hidden in a nameless grave in Selby churchyard. Alan Campbell had shot himself one night in his laboratory, but had not revealed the secret that he had been forced to know. The excitement, such as it was, over Basil Hallward’s disappearance would soon pass away. It was already waning. He was perfectly safe there. Nor, indeed, was it the death of Basil Hallward that weighed most upon his mind. It was the living death of his own soul that troubled him. Basil had painted the portrait that had marred his life. He could not forgive him that. It was the portrait that had done everything. Basil had said things to him that were unbearable, and that he had yet borne with patience. The murder had been simply the madness of a moment. As for Alan Campbell, his suicide had been his own act. He had chosen to do it. It was nothing to him.

A new life! That was what he wanted. That was what he was waiting for. Surely he had begun it already. He had spared one innocent thing, at any rate. He would never again tempt innocence. He would be good.

As he thought of Hetty Merton, he began to wonder if the portrait in the locked room had changed. Surely it was not still so horrible as it had been? Perhaps if his life became pure, he would be able to expel every sign of evil passion from the face. Perhaps the signs of evil had already gone away. He would go and look.

He took the lamp from the table and crept upstairs. As he unbarred the door, a smile of joy flitted across his strangely young-looking face and lingered for a moment about his lips. Yes, he would be good, and the hideous thing that he had hidden away would no longer be a terror to him. He felt as if the load had been lifted from him already.

He went in quietly, locking the door behind him, as was his custom, and dragged the purple hanging from the portrait. A cry of pain and indignation broke from him. He could see no change, save that in the eyes there was a look of cunning and in the mouth the curved wrinkle of the hypocrite. The thing was still loathsome—more loathsome, if possible, than before—and the scarlet dew that spotted the hand seemed brighter, and more like blood newly spilled. Then he trembled. Had it been merely vanity that had made him do his one good deed? Or the desire for a new sensation, as Lord Henry had hinted, with his mocking laugh? Or that passion to act a part that sometimes makes us do things finer than we are ourselves? Or, perhaps, all these? And why was the red stain larger than it had been? It seemed to have crept like a horrible disease over the wrinkled fingers. There was blood on the painted feet, as though the thing had dripped—blood even on the hand that had not held the knife. Confess? Did it mean that he was to confess? To give himself up and be put to death? He laughed. He felt that the idea was monstrous. Besides, even if he did confess, who would believe him? There was no trace of the murdered man anywhere. Everything belonging to him had been destroyed. He himself had burned what had been below-stairs. The world would simply say that he was mad. They would shut him up if he persisted in his story…. Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin. His sin? He shrugged his shoulders. The death of Basil Hallward seemed very little to him. He was thinking of Hetty Merton. For it was an unjust mirror, this mirror of his soul that he was looking at. Vanity? Curiosity? Hypocrisy? Had there been nothing more in his renunciation than that? There had been something more. At least he thought so. But who could tell? … No. There had been nothing more. Through vanity he had spared her. In hypocrisy he had worn the mask of goodness. For curiosity’s sake he had tried the denial of self. He recognized that now.

But this murder—was it to dog him all his life? Was he always to be burdened by his past? Was he really to confess? Never. There was only one bit of evidence left against him. The picture itself—that was evidence. He would destroy it. Why had he kept it so long? Once it had given him pleasure to watch it changing and growing old. Of late he had felt no such pleasure. It had kept him awake at night. When he had been away, he had been filled with terror lest other eyes should look upon it. It had brought melancholy across his passions. Its mere memory had marred many moments of joy. It had been like conscience to him. Yes, it had been conscience. He would destroy it.

He looked round and saw the knife that had stabbed Basil Hallward. He had cleaned it many times, till there was no stain left upon it. It was bright, and glistened. As it had killed the painter, so it would kill the painter’s work, and all that that meant. It would kill the past, and when that was dead, he would be free. It would kill this monstrous soul-life, and without its hideous warnings, he would be at peace. He seized the thing, and stabbed the picture with it.

There was a cry heard, and a crash. The cry was so horrible in its agony that the frightened servants woke and crept out of their rooms. Two gentlemen, who were passing in the square below, stopped and looked up at the great house. They walked on till they met a policeman and brought him back. The man rang the bell several times, but there was no answer. Except for a light in one of the top windows, the house was all dark. After a time, he went away and stood in an adjoining portico and watched.

“Whose house is that, Constable?” asked the elder of the two gentlemen.

“Mr. Dorian Gray’s, sir,” answered the policeman.

They looked at each other, as they walked away, and sneered.  One of them was Sir Henry Ashton’s uncle.

Inside, in the servants’ part of the house, the half-clad domestics were talking in low whispers to each other.   Old Mrs. Leaf was crying and wringing her hands.   Francis was as pale as death.

After about a quarter of an hour, he got the coachman and one of the footmen and crept upstairs.  They knocked, but there was no reply.  They called out.  Everything was still.   Finally, after vainly trying to force the door, they got on the roof and dropped down on to the balcony.  The windows yielded easily—their bolts were old.

When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty.   Lying on the floor was a dead man, in evening dress, with a knife in his heart.  He was withered, wrinkled, and loathsome of visage.   It was not till they had examined the rings that they recognized who it was.”  Oscar Wilde, The Picture of Dorian Gray; pPreface, Chapter One, Chapter 19  

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Numero Dos “THE sociological theory that the loss of the support of objectively established religion, the dissolution of the last remnants of pre-capitalism, together with technological and social differentiation or specialisation, have led to cultural chaos is disproved every day; for culture now impresses the same stamp on everything.

 

Films, radio and magazines make up a system which is uniform as a whole and in every part.   Even the aesthetic activities of political opposites are one in their enthusiastic obedience to the rhythm of the iron system.   The decorative industrial management buildings and exhibition centers in authoritarian countries are much the same as anywhere else.   The huge gleaming towers that shoot up everywhere are outward signs of the ingenious planning of international concerns, toward which the unleashed entrepreneurial system (whose monuments are a mass of gloomy houses and business premises in grimy, spiritless cities) was already hastening.  Even now the older houses just outside the concrete city centres look like slums, and the new bungalows on the outskirts are at one with the flimsy structures of world fairs in their praise of technical progress and their built-in demand to be discarded after a short while like empty food cans.

Yet the city housing projects designed to perpetuate the individual as a supposedly independent unit in a small hygienic dwelling make him all the more subservient to his adversary – the absolute power of capitalism.  Because the inhabitants, as producers and as consumers, are drawn into the center in search of work and pleasure, all the living units crystallise into well-organised complexes.  The striking unity of microcosm and macrocosm presents men with a model of their culture: the false identity of the general and the particular.   Under monopoly all mass culture is identical, and the lines of its artificial framework begin to show through.  The people at the top are no longer so interested in concealing monopoly: as its violence becomes more open, so its power grows.  Movies and radio need no longer pretend to be art.  The truth that they are just business is made into an ideology in order to justify the rubbish they deliberately produce.  They call themselves industries; and when their directors’ incomes are published, any doubt about the social utility of the finished products is removed.

Interested parties explain the culture industry in technological terms. It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods. The technical contrast between the few production centers and the large number of widely dispersed consumption points is said to demand organisation and planning by management. Furthermore, it is claimed that standards were based in the first place on consumers’ needs, and for that reason were accepted with so little resistance. The result is the circle of manipulation and retroactive need in which the unity of the system grows ever stronger. No mention is made of the fact that the basis on which technology acquires power over society is the power of those whose economic hold over society is greatest. A technological rationale is the rationale of domination itself. It is the coercive nature of society alienated from itself. Automobiles, bombs, and movies keep the whole thing together until their leveling element shows its strength in the very wrong which it furthered. It has made the technology of the culture industry no more than the achievement of standardisation and mass production, sacrificing whatever involved a distinction between the logic of the work and that of the social system.

This is the result not of a law of movement in technology as such but of its function in today’s economy. The need which might resist central control has already been suppressed by the control of the individual consciousness. The step from the telephone to the radio has clearly distinguished the roles. The former still allowed the subscriber to play the role of subject, and was liberal. The latter is democratic: it turns all participants into listeners and authoritatively subjects them to broadcast programs which are all exactly the same. No machinery of rejoinder has been devised, and private broadcasters are denied any freedom. They are confined to the apocryphal field of the “amateur,” and also have to accept organisation from above.

But any trace of spontaneity from the public in official broadcasting is controlled and absorbed by talent scouts, studio competitions and official programs of every kind selected by professionals. Talented performers belong to the industry long before it displays them; otherwise they would not be so eager to fit in. The attitude of the public, which ostensibly and actually favours the system of the culture industry, is a part of the system and not an excuse for it. If one branch of art follows the same formula as one with a very different medium and content; if the dramatic intrigue of broadcast soap operas becomes no more than useful material for showing how to master technical problems at both ends of the scale of musical experience – real jazz or a cheap imitation; or if a movement from a Beethoven symphony is crudely “adapted” for a film sound-track in the same way as a Tolstoy novel is garbled in a film script: then the claim that this is done to satisfy the spontaneous wishes of the public is no more than hot air.

We are closer to the facts if we explain these phenomena as inherent in the technical and personnel apparatus which, down to its last cog, itself forms part of the economic mechanism of selection. In addition there is the agreement – or at least the determination – of all executive authorities not to produce or sanction anything that in any way differs from their own rules, their own ideas about consumers, or above all themselves.

In our age the objective social tendency is incarnate in the hidden subjective purposes of company directors, the foremost among whom are in the most powerful sectors of industry – steel, petroleum, electricity, and chemicals. Culture monopolies are weak and dependent in comparison. They cannot afford to neglect their appeasement of the real holders of power if their sphere of activity in mass society (a sphere producing a specific type of commodity which anyhow is still too closely bound up with easy-going liberalism and Jewish intellectuals) is not to undergo a series of purges. The dependence of the most powerful broadcasting company on the electrical industry, or of the motion picture industry on the banks, is characteristic of the whole sphere, whose individual branches are themselves economically interwoven. All are in such close contact that the extreme concentration of mental forces allows demarcation lines between different firms and technical branches to be ignored.

The ruthless unity in the culture industry is evidence of what will happen in politics. Marked differentiations such as those of A and B films, or of stories in magazines in different price ranges, depend not so much on subject matter as on classifying, organising, and labelling consumers. Something is provided for all so that none may escape; the distinctions are emphasised and extended. The public is catered for with a hierarchical range of mass-produced products of varying quality, thus advancing the rule of complete quantification. Everybody must behave (as if spontaneously) in accordance with his previously determined and indexed level, and choose the category of mass product turned out for his type. Consumers appear as statistics on research organisation charts, and are divided by income groups into red, green, and blue areas; the technique is that used for any type of propaganda.

How formalised the procedure is can be seen when the mechanically differentiated products prove to be all alike in the end. That the difference between the Chrysler range and General Motors products is basically illusory strikes every child with a keen interest in varieties. What connoisseurs discuss as good or bad points serve only to perpetuate the semblance of competition and range of choice. The same applies to the Warner Brothers and Metro Goldwyn Mayer productions. But even the differences between the more expensive and cheaper models put out by the same firm steadily diminish: for automobiles, there are such differences as the number of cylinders, cubic capacity, details of patented gadgets; and for films there are the number of stars, the extravagant use of technology, labor, and equipment, and the introduction of the latest psychological formulas. The universal criterion of merit is the amount of “conspicuous production,” of blatant cash investment. The varying budgets in the culture industry do not bear the slightest relation to factual values, to the meaning of the products themselves.

Even the technical media are relentlessly forced into uniformity. Television aims at a synthesis of radio and film, and is held up only because the interested parties have not yet reached agreement, but its consequences will be quite enormous and promise to intensify the impoverishment of aesthetic matter so drastically, that by tomorrow the thinly veiled identity of all industrial culture products can come triumphantly out into the open, derisively fulfilling the Wagnerian dream of the Gesamtkunstwerk – the fusion of all the arts in one work.

The alliance of word, image, and music is all the more perfect than in Tristan because the sensuous elements which all approvingly reflect the surface of social reality are in principle embodied in the same technical process, the unity of which becomes its distinctive content. This process integrates all the elements of the production, from the novel (shaped with an eye to the film) to the last sound effect. It is the triumph of invested capital, whose title as absolute master is etched deep into the hearts of the dispossessed in the employment line; it is the meaningful content of every film, whatever plot the production team may have selected.

The man with leisure has to accept what the culture manufacturers offer him. Kant’s formalism still expected a contribution from the individual, who was thought to relate the varied experiences of the senses to fundamental concepts; but industry robs the individual of his function. Its prime service to the customer is to do his schematising for him.

Kant said that there was a secret mechanism in the soul which prepared direct intuitions in such a way that they could be fitted into the system of pure reason. But today that secret has been deciphered. While the mechanism is to all appearances planned by those who serve up the data of experience, that is, by the culture industry, it is in fact forced upon the latter by the power of society, which remains irrational, however we may try to rationalise it; and this inescapable force is processed by commercial agencies so that they give an artificial impression of being in command.

There is nothing left for the consumer to classify. Producers have done it for him. Art for the masses has destroyed the dream but still conforms to the tenets of that dreaming idealism which critical idealism baulked at. Everything derives from consciousness: for Malebranche and Berkeley, from the consciousness of God; in mass art, from the consciousness of the production team. Not only are the hit songs, stars, and soap operas cyclically recurrent and rigidly invariable types, but the specific content of the entertainment itself is derived from them and only appears to change. The details are interchangeable. The short interval sequence which was effective in a hit song, the hero’s momentary fall from grace (which he accepts as good sport), the rough treatment which the beloved gets from the male star, the latter’s rugged defiance of the spoilt heiress, are, like all the other details, ready-made clichés to be slotted in anywhere; they never do anything more than fulfil the purpose allotted them in the overall plan. Their whole raison d’être is to confirm it by being its constituent parts. As soon as the film begins, it is quite clear how it will end, and who will be rewarded, punished, or forgotten. In light music, once the trained ear has heard the first notes of the hit song, it can guess what is coming and feel flattered when it does come. The average length of the short story has to be rigidly adhered to. Even gags, effects, and jokes are calculated like the setting in which they are placed. They are the responsibility of special experts and their narrow range makes it easy for them to be apportioned in the office.

The development of the culture industry has led to the predominance of the effect, the obvious touch, and the technical detail over the work itself – which once expressed an idea, but was liquidated together with the idea. When the detail won its freedom, it became rebellious and, in the period from Romanticism to Expressionism, asserted itself as free expression, as a vehicle of protest against the organisation. In music the single harmonic effect obliterated the awareness of form as a whole; in painting the individual colour was stressed at the expense of pictorial composition; and in the novel psychology became more important than structure. The totality of the culture industry has put an end to this.

Though concerned exclusively with effects, it crushes their insubordination and makes them subserve the formula, which replaces the work. The same fate is inflicted on whole and parts alike. The whole inevitably bears no relation to the details – just like the career of a successful man into which everything is made to fit as an illustration or a proof, whereas it is nothing more than the sum of all those idiotic events. The so-called dominant idea is like a file which ensures order but not coherence. The whole and the parts are alike; there is no antithesis and no connection. Their prearranged harmony is a mockery of what had to be striven after in the great bourgeois works of art. In Germany the graveyard stillness of the dictatorship already hung over the gayest films of the democratic era.

The whole world is made to pass through the filter of the culture industry. The old experience of the movie-goer, who sees the world outside as an extension of the film he has just left (because the latter is intent upon reproducing the world of everyday perceptions), is now the producer’s guideline. The more intensely and flawlessly his techniques duplicate empirical objects, the easier it is today for the illusion to prevail that the outside world is the straightforward continuation of that presented on the screen. This purpose has been furthered by mechanical reproduction since the lightning takeover by the sound film.

Real life is becoming indistinguishable from the movies. The sound film, far surpassing the theatre of illusion, leaves no room for imagination or reflection on the part of the audience, who is unable to respond within the structure of the film, yet deviate from its precise detail without losing the thread of the story; hence the film forces its victims to equate it directly with reality. The stunting of the mass-media consumer’s powers of imagination and spontaneity does not have to be traced back to any psychological mechanisms; he must ascribe the loss of those attributes to the objective nature of the products themselves, especially to the most characteristic of them, the sound film. They are so designed that quickness, powers of observation, and experience are undeniably needed to apprehend them at all; yet sustained thought is out of the question if the spectator is not to miss the relentless rush of facts.

Even though the effort required for his response is semi-automatic, no scope is left for the imagination. Those who are so absorbed by the world of the movie – by its images, gestures, and words – that they are unable to supply what really makes it a world, do not have to dwell on particular points of its mechanics during a screening. All the other films and products of the entertainment industry which they have seen have taught them what to expect; they react automatically.

The might of industrial society is lodged in men’s minds. The entertainments manufacturers know that their products will be consumed with alertness even when the customer is distraught, for each of them is a model of the huge economic machinery which has always sustained the masses, whether at work or at leisure – which is akin to work. From every sound film and every broadcast program the social effect can be inferred which is exclusive to none but is shared by all alike. The culture industry as a whole has moulded men as a type unfailingly reproduced in every product. All the agents of this process, from the producer to the women’s clubs, take good care that the simple reproduction of this mental state is not nuanced or extended in any way.

The art historians and guardians of culture who complain of the extinction in the West of a basic style-determining power are wrong. The stereotyped appropriation of everything, even the inchoate, for the purposes of mechanical reproduction surpasses the rigour and general currency of any “real style,” in the sense in which cultural cognoscenti celebrate the organic pre-capitalist past. No Palestrina could be more of a purist in eliminating every unprepared and unresolved discord than the jazz arranger in suppressing any development which does not conform to the jargon. When jazzing up Mozart he changes him not only when he is too serious or too difficult but when he harmonises the melody in a different way, perhaps more simply, than is customary now. No medieval builder can have scrutinised the subjects for church windows and sculptures more suspiciously than the studio hierarchy scrutinises a work by Balzac or Hugo before finally approving it. No medieval theologian could have determined the degree of the torment to be suffered by the damned in accordance with the order of divine love more meticulously than the producers of shoddy epics calculate the torture to be undergone by the hero or the exact point to which the leading lady’s hemline shall be raised. The explicit and implicit, exoteric and esoteric catalogue of the forbidden and tolerated is so extensive that it not only defines the area of freedom but is all-powerful inside it. Everything down to the last detail is shaped accordingly.

Like its counterpart, avant-garde art, the entertainment industry determines its own language, down to its very syntax and vocabulary, by the use of anathema. The constant pressure to produce new effects (which must conform to the old pattern) serves merely as another rule to increase the power of the conventions when any single effect threatens to slip through the net. Every detail is so firmly stamped with sameness that nothing can appear which is not marked at birth, or does not meet with approval at first sight. And the star performers, whether they produce or reproduce, use this jargon as freely and fluently and with as much gusto as if it were the very language which it silenced long ago. Such is the ideal of what is natural in this field of activity, and its influence becomes all the more powerful, the more technique is perfected and diminishes the tension between the finished product and everyday life. The paradox of this routine, which is essentially travesty, can be detected and is often predominant in everything that the culture industry turns out. A jazz musician who is playing a piece of serious music, one of Beethoven’s simplest minuets, syncopates it involuntarily and will smile superciliously when asked to follow the normal divisions of the beat. This is the “nature” which, complicated by the ever-present and extravagant demands of the specific medium, constitutes the new style and is a “system of non-culture, to which one might even concede a certain ‘unity of style’ if it really made any sense to speak of stylised barbarity.” [Nietzsche]

The universal imposition of this stylised mode can even go beyond what is quasi-officially sanctioned or forbidden; today a hit song is more readily forgiven for not observing the 32 beats or the compass of the ninth than for containing even the most clandestine melodic or harmonic detail which does not conform to the idiom. Whenever Orson Welles offends against the tricks of the trade, he is forgiven because his departures from the norm are regarded as calculated mutations which serve all the more strongly to confirm the validity of the system. The constraint of the technically-conditioned idiom which stars and directors have to produce as “nature” so that the people can appropriate it, extends to such fine nuances that they almost attain the subtlety of the devices of an avant-garde work as against those of truth. The rare capacity minutely to fulfil the obligations of the natural idiom in all branches of the culture industry becomes the criterion of efficiency. What and how they say it must be measurable by everyday language, as in logical positivism.

The producers are experts. The idiom demands an astounding productive power, which it absorbs and squanders. In a diabolical way it has overreached the culturally conservative distinction between genuine and artificial style. A style might be called artificial which is imposed from without on the refractory impulses of a form. But in the culture industry every element of the subject matter has its origin in the same apparatus as that jargon whose stamp it bears. The quarrels in which the artistic experts become involved with sponsor and censor about a lie going beyond the bounds of credibility are evidence not so much of an inner aesthetic tension as of a divergence of interests. The reputation of the specialist, in which a last remnant of objective independence sometimes finds refuge, conflicts with the business politics of the Church, or the concern which is manufacturing the cultural commodity. But the thing itself has been essentially objectified and made viable before the established authorities began to argue about it. Even before Zanuck acquired her, Saint Bernadette was regarded by her latter-day hagiographer as brilliant propaganda for all interested parties. That is what became of the emotions of the character. Hence the style of the culture industry, which no longer has to test itself against any refractory material, is also the negation of style. The reconciliation of the general and particular, of the rule and the specific demands of the subject matter, the achievement of which alone gives essential, meaningful content to style, is futile because there has ceased to be the slightest tension between opposite poles: these concordant extremes are dismally identical; the general can replace the particular, and vice versa.

Nevertheless, this caricature of style does not amount to something beyond the genuine style of the past. In the culture industry the notion of genuine style is seen to be the aesthetic equivalent of domination. Style considered as mere aesthetic regularity is a romantic dream of the past. The unity of style not only of the Christian Middle Ages but of the Renaissance expresses in each case the different structure of social power, and not the obscure experience of the oppressed in which the general was enclosed. The great artists were never those who embodied a wholly flawless and perfect style, but those who used style as a way of hardening themselves against the chaotic expression of suffering, as a negative truth. The style of their works gave what was expressed that force without which life flows away unheard. Those very art forms which are known as classical, such as Mozart’s music, contain objective trends which represent something different to the style which they incarnate.

As late as Schönberg and Picasso, the great artists have retained a mistrust of style, and at crucial points have subordinated it to the logic of the matter. What Dadaists and Expressionists called the untruth of style as such triumphs today in the sung jargon of a crooner, in the carefully contrived elegance of a film star, and even in the admirable expertise of a photograph of a peasant’s squalid hut. Style represents a promise in every work of art. That which is expressed is subsumed through style into the dominant forms of generality, into the language of music, painting, or words, in the hope that it will be reconciled thus with the idea of true generality. This promise held out by the work of art that it will create truth by lending new shape to the conventional social forms is as necessary as it is hypocritical. It unconditionally posits the real forms of life as it is by suggesting that fulfilment lies in their aesthetic derivatives. To this extent the claim of art is always ideology too.

However, only in this confrontation with tradition of which style is the record can art express suffering. That factor in a work of art which enables it to transcend reality certainly cannot be detached from style; but it does not consist of the harmony actually realised, of any doubtful unity of form and content, within and without, of individual and society; it is to be found in those features in which discrepancy appears: in the necessary failure of the passionate striving for identity. Instead of exposing itself to this failure in which the style of the great work of art has always achieved self-negation, the inferior work has always relied on its similarity with others – on a surrogate identity.

In the culture industry this imitation finally becomes absolute. Having ceased to be anything but style, it reveals the latter’s secret: obedience to the social hierarchy. Today aesthetic barbarity completes what has threatened the creations of the spirit since they were gathered together as culture and neutralised. To speak of culture was always contrary to culture. Culture as a common denominator already contains in embryo that schematisation and process of cataloguing and classification which bring culture within the sphere of administration. And it is precisely the industrialised, the consequent, subsumption which entirely accords with this notion of culture. By subordinating in the same way and to the same end all areas of intellectual creation, by occupying men’s senses from the time they leave the factory in the evening to the time they clock in again the next morning with matter that bears the impress of the labor process they themselves have to sustain throughout the day, this subsumption mockingly satisfies the concept of a unified culture which the philosophers of personality contrasted with mass culture.

And so the culture industry, the most rigid of all styles, proves to be the goal of liberalism, which is reproached for its lack of style. Not only do its categories and contents derive from liberalism – domesticated naturalism as well as operetta and revue – but the modern culture monopolies form the economic area in which, together with the corresponding entrepreneurial types, for the time being some part of its sphere of operation survives, despite the process of disintegration elsewhere.

It is still possible to make one’s way in entertainment, if one is not too obstinate about one’s own concerns, and proves appropriately pliable. Anyone who resists can only survive by fitting in. Once his particular brand of deviation from the norm has been noted by the industry, he belongs to it as does the land-reformer to capitalism. Realistic dissidence is the trademark of anyone who has a new idea in business. In the public voice of modern society accusations are seldom audible; if they are, the perceptive can already detect signs that the dissident will soon be reconciled. The more immeasurable the gap between chorus and leaders, the more certainly there is room at the top for everybody who demonstrates his superiority by well-planned originality. Hence, in the culture industry, too, the liberal tendency to give full scope to its able men survives.

To do this for the efficient today is still the function of the market, which is otherwise proficiently controlled; as for the market’s freedom, in the high period of art as elsewhere, it was freedom for the stupid to starve. Significantly, the system of the culture industry comes from the more liberal industrial nations, and all its characteristic media, such as movies, radio, jazz, and magazines, flourish there. Its progress, to be sure, had its origin in the general laws of capital. Gaumont and Pathe, Ullstein and Hugenberg followed the international trend with some success; Europe’s economic dependence on the United States after war and inflation was a contributory factor. The belief that the barbarity of the culture industry is a result of “cultural lag,” of the fact that the American consciousness did not keep up with the growth of technology, is quite wrong. It was pre-Fascist Europe which did not keep up with the trend toward the culture monopoly.

But it was this very lag which left intellect and creativity some degree of independence and enabled its last representatives to exist – however dismally. In Germany the failure of democratic control to permeate life had led to a paradoxical situation. Many things were exempt from the market mechanism which had invaded the Western countries. The German educational system, universities, theatres with artistic standards, great orchestras, and museums enjoyed protection. The political powers, state and municipalities, which had inherited such institutions from absolutism, had left them with a measure of the freedom from the forces of power which dominates the market, just as princes and feudal lords had done up to the nineteenth century. This strengthened art in this late phase against the verdict of supply and demand, and increased its resistance far beyond the actual degree of protection. In the market itself the tribute of a quality for which no use had been found was turned into purchasing power; in this way, respectable literary and music publishers could help authors who yielded little more in the way of profit than the respect of the connoisseur.

But what completely fettered the artist was the pressure (and the accompanying drastic threats), always to fit into business life as an aesthetic expert. Formerly, like Kant and Hume, they signed their letters “Your most humble and obedient servant,” and undermined the foundations of throne and altar. Today they address heads of government by their first names, yet in every artistic activity they are subject to their illiterate masters.

The analysis Tocqueville offered a century ago has in the meantime proved wholly accurate. Under the private culture monopoly it is a fact that “tyranny leaves the body free and directs its attack at the soul. The ruler no longer says: You must think as I do or die. He says: You are free not to think as I do; your life, your property, everything shall remain yours, but from this day on you are a stranger among us.” Not to conform means to be rendered powerless, economically and therefore spiritually – to be “self-employed.” When the outsider is excluded from the concern, he can only too easily be accused of incompetence.

Whereas today in material production the mechanism of supply and demand is disintegrating, in the superstructure it still operates as a check in the rulers’ favour. The consumers are the workers and employees, the farmers and lower middle class. Capitalist production so confines them, body and soul, that they fall helpless victims to what is offered them. As naturally as the ruled always took the morality imposed upon them more seriously than did the rulers themselves, the deceived masses are today captivated by the myth of success even more than the successful are. Immovably, they insist on the very ideology which enslaves them. The misplaced love of the common people for the wrong which is done them is a greater force than the cunning of the authorities. It is stronger even than the rigorism of the Hays Office, just as in certain great times in history it has inflamed greater forces that were turned against it, namely, the terror of the tribunals. It calls for Mickey Rooney in preference to the tragic Garbo, for Donald Duck instead of Betty Boop. The industry submits to the vote which it has itself inspired. What is a loss for the firm which cannot fully exploit a contract with a declining star is a legitimate expense for the system as a whole. By craftily sanctioning the demand for rubbish it inaugurates total harmony. The connoisseur and the expert are despised for their pretentious claim to know better than the others, even though culture is democratic and distributes its privileges to all. In view of the ideological truce, the conformism of the buyers and the effrontery of the producers who supply them prevail. The result is a constant reproduction of the same thing.

A constant sameness governs the relationship to the past as well. What is new about the phase of mass culture compared with the late liberal stage is the exclusion of the new. The machine rotates on the same spot. While determining consumption it excludes the untried as a risk. The movie-makers distrust any manuscript which is not reassuringly backed by a bestseller. Yet for this very reason there is never-ending talk of ideas, novelty, and surprise, of what is taken for granted but has never existed. Tempo and dynamics serve this trend. Nothing remains as of old; everything has to run incessantly, to keep moving. For only the universal triumph of the rhythm of mechanical production and reproduction promises that nothing changes, and nothing unsuitable will appear. Any additions to the well-proven culture inventory are too much of a speculation. The ossified forms – such as the sketch, short story, problem film, or hit song – are the standardised average of late liberal taste, dictated with threats from above. The people at the top in the culture agencies, who work in harmony as only one manager can with another, whether he comes from the rag trade or from college, have long since reorganised and rationalised the objective spirit. One might think that an omnipresent authority had sifted the material and drawn up an official catalogue of cultural commodities to provide a smooth supply of available mass-produced lines. The ideas are written in the cultural firmament where they had already been numbered by Plato – and were indeed numbers, incapable of increase and immutable.

Amusement and all the elements of the culture industry existed long before the latter came into existence. Now they are taken over from above and brought up to date. The culture industry can pride itself on having energetically executed the previously clumsy transposition of art into the sphere of consumption, on making this a principle, on divesting amusement of its obtrusive naïvetes and improving the type of commodities. The more absolute it became, the more ruthless it was in forcing every outsider either into bankruptcy or into a syndicate, and became more refined and elevated – until it ended up as a synthesis of Beethoven and the Casino de Paris. It enjoys a double victory: the truth it extinguishes without it can reproduce at will as a lie within. “Light” art as such, distraction, is not a decadent form. Anyone who complains that it is a betrayal of the ideal of pure expression is under an illusion about society. The purity of bourgeois art, which hypostasised itself as a world of freedom in contrast to what was happening in the material world, was from the beginning bought with the exclusion of the lower classes – with whose cause, the real universality, art keeps faith precisely by its freedom from the ends of the false universality. Serious art has been withheld from those for whom the hardship and oppression of life make a mockery of seriousness, and who must be glad if they can use time not spent at the production line just to keep going. Light art has been the shadow of autonomous art. It is the social bad conscience of serious art. The truth which the latter necessarily lacked because of its social premises gives the other the semblance of legitimacy. The division itself is the truth: it does at least express the negativity of the culture which the different spheres constitute. Least of all can the antithesis be reconciled by absorbing light into serious art, or vice versa. But that is what the culture industry attempts.

The eccentricity of the circus, peepshow, and brothel is as embarrassing to it as that of Schönberg and Karl Kraus. And so the jazz musician Benny Goodman appears with the Budapest string quartet, more pedantic rhythmically than any philharmonic clarinettist, while the style of the Budapest players is as uniform and sugary as that of Guy Lombardo. But what is significant is not vulgarity, stupidity, and lack of polish.

The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived. But what is new is that the irreconcilable elements of culture, art and distraction, are subordinated to one end and subsumed under one false formula: the totality of the culture industry. It consists of repetition. That its characteristic innovations are never anything more than improvements of mass reproduction is not external to the system. It is with good reason that the interest of innumerable consumers is directed to the technique, and not to the contents – which are stubbornly repeated, outworn, and by now half-discredited. The social power which the spectators worship shows itself more effectively in the omnipresence of the stereotype imposed by technical skill than in the stale ideologies for which the ephemeral contents stand in.

Nevertheless the culture industry remains the entertainment business. Its influence over the consumers is established by entertainment; that will ultimately be broken not by an outright decree, but by the hostility inherent in the principle of entertainment to what is greater than itself. Since all the trends of the culture industry are profoundly embedded in the public by the whole social process, they are encouraged by the survival of the market in this area. Demand has not yet been replaced by simple obedience. As is well known, the major reorganisation of the film industry shortly before World War I, the material prerequisite of its expansion, was precisely its deliberate acceptance of the public’s needs as recorded at the box-office – a procedure which was hardly thought necessary in the pioneering days of the screen. The same opinion is held today by the captains of the film industry, who take as their criterion the more or less phenomenal song hits but wisely never have recourse to the judgment of truth, the opposite criterion. Business is their ideology. It is quite correct that the power of the culture industry resides in its identification with a manufactured need, and not in simple contrast to it, even if this contrast were one of complete power and complete powerlessness.

Amusement under late capitalism is the prolongation of work. It is sought after as an escape from the mechanised work process, and to recruit strength in order to be able to cope with it again. But at the same time mechanisation has such power over a man’s leisure and happiness, and so profoundly determines the manufacture of amusement goods, that his experiences are inevitably after-images of the work process itself. The ostensible content is merely a faded foreground; what sinks in is the automatic succession of standardised operations. What happens at work, in the factory, or in the office can only be escaped from by approximation to it in one’s leisure time.

All amusement suffers from this incurable malady. Pleasure hardens into boredom because, if it is to remain pleasure, it must not demand any effort and therefore moves rigorously in the worn grooves of association. No independent thinking must be expected from the audience: the product prescribes every reaction: not by its natural structure (which collapses under reflection), but by signals. Any logical connection calling for mental effort is painstakingly avoided. As far as possible, developments must follow from the immediately preceding situation and never from the idea of the whole. For the attentive movie-goer any individual scene will give him the whole thing. Even the set pattern itself still seems dangerous, offering some meaning – wretched as it might be – where only meaninglessness is acceptable. Often the plot is maliciously deprived of the development demanded by characters and matter according to the old pattern. Instead, the next step is what the script writer takes to be the most striking effect in the particular situation. Banal though elaborate surprise interrupts the story-line.

The tendency mischievously to fall back on pure nonsense, which was a legitimate part of popular art, farce and clowning, right up to Chaplin and the Marx Brothers, is most obvious in the unpretentious kinds. This tendency has completely asserted itself in the text of the novelty song, in the thriller movie, and in cartoons, although in films starring Greer Garson and Bette Davis the unity of the socio-psychological case study provides something approximating a claim to a consistent plot. The idea itself, together with the objects of comedy and terror, is massacred and fragmented. Novelty songs have always existed on a contempt for meaning which, as predecessors and successors of psychoanalysis, they reduce to the monotony of sexual symbolism. Today, detective and adventure films no longer give the audience the opportunity to experience the resolution. In the non-ironic varieties of the genre, it has also to rest content with the simple horror of situations which have almost ceased to be linked in any way.

Cartoons were once exponents of fantasy as opposed to rationalism. They ensured that justice was done to the creatures and objects they electrified, by giving the maimed specimens a second life. All they do today is to confirm the victory of technological reason over truth. A few years ago they had a consistent plot which only broke up in the final moments in a crazy chase, and thus resembled the old slapstick comedy. Now, however, time relations have shifted. In the very first sequence a motive is stated so that in the course of the action destruction can get to work on it: with the audience in pursuit, the protagonist becomes the worthless object of general violence. The quantity of organised amusement changes into the quality of organised cruelty. The self-elected censors of the film industry (with whom it enjoys a close relationship) watch over the unfolding of the crime, which is as drawn-out as a hunt. Fun replaces the pleasure which the sight of an embrace would allegedly afford, and postpones satisfaction till the day of the pogrom. Insofar as cartoons do any more than accustom the senses to the new tempo, they hammer into every brain the old lesson that continuous friction, the breaking down of all individual resistance, is the condition of life in this society. Donald Duck in the cartoons and the unfortunate in real life get their thrashing so that the audience can learn to take their own punishment.

The enjoyment of the violence suffered by the movie character turns into violence against the spectator, and distraction into exertion. Nothing that the experts have devised as a stimulant must escape the weary eye; no stupidity is allowed in the face of all the trickery; one has to follow everything and even display the smart responses shown and recommended in the film. This raises the question whether the culture industry fulfils the function of diverting minds which it boasts about so loudly. If most of the radio stations and movie theatres were closed down, the consumers would probably not lose so very much. To walk from the street into the movie theatre is no longer to enter a world of dream; as soon as the very existence of these institutions no longer made it obligatory to use them, there would be no great urge to do so. Such closures would not be reactionary machine wrecking. The disappointment would be felt not so much by the enthusiasts as by the slow-witted, who are the ones who suffer for everything anyhow. In spite of the films which are intended to complete her integration, the housewife finds in the darkness of the movie theatre a place of refuge where she can sit for a few hours with nobody watching, just as she used to look out of the window when there were still homes and rest in the evening. The unemployed in the great cities find coolness in summer and warmth in winter in these temperature-controlled locations. Otherwise, despite its size, this bloated pleasure apparatus adds no dignity to man’s lives. The idea of “fully exploiting” available technical resources and the facilities for aesthetic mass consumption is part of the economic system which refuses to exploit resources to abolish hunger.

The culture industry perpetually cheats its consumers of what it perpetually promises. The promissory note which, with its plots and staging, it draws on pleasure is endlessly prolonged; the promise, which is actually all the spectacle consists of, is illusory: all it actually confirms is that the real point will never be reached, that the diner must be satisfied with the menu. In front of the appetite stimulated by all those brilliant names and images there is finally set no more than a commendation of the depressing everyday world it sought to escape. Of course works of art were not sexual exhibitions either. However, by representing deprivation as negative, they retracted, as it were, the prostitution of the impulse and rescued by mediation what was denied.

The secret of aesthetic sublimation is its representation of fulfilment as a broken promise. The culture industry does not sublimate; it represses. By repeatedly exposing the objects of desire, breasts in a clinging sweater or the naked torso of the athletic hero, it only stimulates the unsublimated forepleasure which habitual deprivation has long since reduced to a masochistic semblance. There is no erotic situation which, while insinuating and exciting, does not fail to indicate unmistakably that things can never go that far. The Hays Office merely confirms the ritual of Tantalus that the culture industry has established anyway. Works of art are ascetic and unashamed; the culture industry is pornographic and prudish. Love is downgraded to romance. And, after the descent, much is permitted; even license as a marketable speciality has its quota bearing the trade description “daring.” The mass production of the sexual automatically achieves its repression. Because of his ubiquity, the film star with whom one is meant to fall in love is from the outset a copy of himself. Every tenor voice comes to sound like a Caruso record, and the “natural” faces of Texas girls are like the successful models by whom Hollywood has typecast them. The mechanical reproduction of beauty, which reactionary cultural fanaticism wholeheartedly serves in its methodical idolisation of individuality, leaves no room for that unconscious idolatry which was once essential to beauty.

The triumph over beauty is celebrated by humour – the Schadenfreude that every successful deprivation calls forth. There is laughter because there is nothing to laugh at. Laughter, whether conciliatory or terrible, always occurs when some fear passes. It indicates liberation either from physical danger or from the grip of logic. Conciliatory laughter is heard as the echo of an escape from power; the wrong kind overcomes fear by capitulating to the forces which are to be feared. It is the echo of power as something inescapable. Fun is a medicinal bath. The pleasure industry never fails to prescribe it. It makes laughter the instrument of the fraud practised on happiness. Moments of happiness are without laughter; only operettas and films portray sex to the accompaniment of resounding laughter. But Baudelaire is as devoid of humour as Hölderlin. In the false society laughter is a disease which has attacked happiness and is drawing it into its worthless totality. To laugh at something is always to deride it, and the life which, according to Bergson, in laughter breaks through the barrier, is actually an invading barbaric life, self-assertion prepared to parade its liberation from any scruple when the social occasion arises. Such a laughing audience is a parody of humanity. Its members are monads, all dedicated to the pleasure of being ready for anything at the expense of everyone else. Their harmony is a caricature of solidarity. What is fiendish about this false laughter is that it is a compelling parody of the best, which is conciliatory. Delight is austere: res severa verum gaudium. The monastic theory that not asceticism but the sexual act denotes the renunciation of attainable bliss receives negative confirmation in the gravity of the lover who with foreboding commits his life to the fleeting moment. In the culture industry, jovial denial takes the place of the pain found in ecstasy and in asceticism. The supreme law is that they shall not satisfy their desires at any price; they must laugh and be content with laughter. In every product of the culture industry, the permanent denial imposed by civilisation is once again unmistakably demonstrated and inflicted on its victims. To offer and to deprive them of something is one and the same. This is what happens in erotic films. Precisely because it must never take place, everything centres upon copulation. In films it is more strictly forbidden for an illegitimate relationship to be admitted without the parties being punished than for a millionaire’s future son-in-law to be active in the labour movement. In contrast to the liberal era, industrialised as well as popular culture may wax indignant at capitalism, but it cannot renounce the threat of castration. This is fundamental. It outlasts the organised acceptance of the uniformed seen in the films which are produced to that end, and in reality. What is decisive today is no longer puritanism, although it still asserts itself in the form of women’s organisations, but the necessity inherent in the system not to leave the customer alone, not for a moment to allow him any suspicion that resistance is possible.

The principle dictates that he should be shown all his needs as capable of-fulfilment, but that those needs should be so predetermined that he feels himself to be the eternal consumer, the object of the culture industry. Not only does it make him believe that the deception it practices is satisfaction, but it goes further and implies that, whatever the state of affairs, he must put up with what is offered. The escape from everyday drudgery which the whole culture industry promises may be compared to the daughter’s abduction in the cartoon: the father is holding the ladder in the dark. The paradise offered by the culture industry is the same old drudgery. Both escape and elopement are pre-designed to lead back to the starting point. Pleasure promotes the resignation which it ought to help to forget.

Even today the culture industry dresses works of art like political slogans and forces them upon a resistant public at reduced prices; they are as accessible for public enjoyment as a park. But the disappearance of their genuine commodity character does not mean that they have been abolished in the life of a free society, but that the last defence against their reduction to culture goods has fallen. The abolition of educational privilege by the device of clearance sales does not open for the masses the spheres from which they were formerly excluded, but, given existing social conditions, contributes directly to the decay of education and the progress of barbaric meaninglessness. Those who spent their money in the nineteenth or the early twentieth century to see a play or to go to a concert respected the performance as much as the money they spent. The bourgeois who wanted to get something out of it tried occasionally to establish some rapport with the work. Evidence for this is to be found in the literary “introductions” to works, or in the commentaries on Faust. These were the first steps toward the biographical coating and other practices to which a work of art is subjected today.

Even in the early, prosperous days of business, exchange-value did carry use value as a mere appendix but had developed it as a prerequisite for its own existence; this was socially helpful for works of art. Art exercised some restraint on the bourgeois as long as it cost money. That is now a thing of the past. Now that it has lost every restraint and there is no need to pay any money, the proximity of art to those who are exposed to it completes the alienation and assimilates one to the other under the banner of triumphant objectivity. Criticism and respect disappear in the culture industry; the former becomes a mechanical expertise, the latter is succeeded by a shallow cult of leading personalities. Consumers now find nothing expensive. Nevertheless, they suspect that the less anything costs, the less it is being given them. The double mistrust of traditional culture as ideology is combined with mistrust of industrialised culture as a swindle. When thrown in free, the now debased works of art, together with the rubbish to which the medium assimilates them, are secretly rejected by the fortunate recipients, who are supposed to be satisfied by the mere fact that there is so much to be seen and heard. Everything can be obtained. The screenos and vaudevilles in the movie theatre, the competitions for guessing music, the free books, rewards and gifts offered on certain radio programs, are not mere accidents but a continuation of the practice obtaining with culture products. The symphony becomes a reward for listening to the radio, and – if technology had its way – the film would be delivered to people’s homes as happens with the radio. It is moving toward the commercial system. Television points the way to a development which might easily enough force the Warner Brothers into what would certainly be the unwelcome position of serious musicians and cultural conservatives. But the gift system has already taken hold among consumers. As culture is represented as a bonus with undoubted private and social advantages, they have to seize the chance. They rush in lest they miss something. Exactly what, is not clear, but in any case the only ones with a chance are the participants. Fascism, however, hopes to use the training the culture industry has given these recipients of gifts, in order to organise them into its own forced battalions.

Culture is a paradoxical commodity. So completely is it subject to the law of exchange that it is no longer exchanged; it is so blindly consumed in use that it can no longer be used. Therefore it amalgamates with advertising. The more meaningless the latter seems to be under a monopoly, the more omnipotent it becomes. The motives are markedly economic.

One could certainly live without the culture industry, therefore it necessarily creates too much satiation and apathy. In itself, it has few resources itself to correct this. Advertising is its elixir of life. But as its product never fails to reduce to a mere promise the enjoyment which it promises as a commodity, it eventually coincides with publicity, which it needs because it cannot be enjoyed. In a competitive society, advertising performed the social service of informing the buyer about the market; it made choice easier and helped the unknown but more efficient supplier to dispose of his goods. Far from costing time, it saved it.

Today, when the free market is coming to an end, those who control the system are entrenching themselves in it. It strengthens the firm bond between the consumers and the big combines. Only those who can pay the exorbitant rates charged by the advertising agencies, chief of which are the radio networks themselves; that is, only those who are already in a position to do so, or are co-opted by the decision of the banks and industrial capital, can enter the pseudo-market as sellers. The costs of advertising, which finally flow back into the pockets of the combines, make it unnecessary to defeat unwelcome outsiders by laborious competition. They guarantee that power will remain in the same hands – not unlike those economic decisions by which the establishment and running of undertakings is controlled in a totalitarian state. Advertising today is a negative principle, a blocking device: everything that does not bear its stamp is economically suspect. Universal publicity is in no way necessary for people to get to know the kinds of goods – whose supply is restricted anyway. It helps sales only indirectly. For a particular firm, to phase out a current advertising practice constitutes a loss of prestige, and a breach of the discipline imposed by the influential clique on its members. In wartime, goods which are unobtainable are still advertised, merely to keep industrial power in view. Subsidising ideological media is more important than the repetition of the name. Because the system obliges every product to use advertising, it has permeated the idiom – the “style” – of the culture industry. Its victory is so complete that it is no longer evident in the key positions: the huge buildings of the top men, floodlit stone advertisements, are free of advertising; at most they exhibit on the rooftops, in monumental brilliance and without any self-glorification, the firm’s initials. But, in contrast, the nineteenth-century houses, whose architecture still shamefully indicates that they can be used as a consumption commodity and are intended to be lived in, are covered with posters and inscriptions from the ground right up to and beyond the roof: until they become no more than backgrounds for bills and sign-boards. Advertising becomes art and nothing else, just as Goebbels – with foresight – combines them: l’art pour l’art, advertising for its own sake, a pure representation of social power. In the most influential American magazines, Life and Fortune, a quick glance can now scarcely distinguish advertising from editorial picture and text. The latter features an enthusiastic and gratuitous account of the great man (with illustrations of his life and grooming habits) which will bring him new fans, while the advertisement pages use so many factual photographs and details that they represent the ideal of information which the editorial part has only begun to try to achieve.

The assembly-line character of the culture industry, the synthetic, planned method of turning out its products (factory-like not only in the studio but, more or less, in the compilation of cheap biographies, pseudo-documentary novels, and hit songs) is very suited to advertising: the important individual points, by becoming detachable, interchangeable, and even technically alienated from any connected meaning, lend themselves to ends external to the work. The effect, the trick, the isolated repeatable device, have always been used to exhibit goods for advertising purposes, and today every monster close-up of a star is an advertisement for her name, and every hit song a plug for its tune. Advertising and the culture industry merge technically as well as economically. In both cases the same thing can be seen in innumerable places, and the mechanical repetition of the same culture product has come to be the same as that of the propaganda slogan. In both cases the insistent demand for effectiveness makes technology into psycho-technology, into a procedure for manipulating men. In both cases the standards are the striking yet familiar, the easy yet catchy, the skilful yet simple; the object is to overpower the customer, who is conceived as absent-minded or resistant.

By the language he speaks, he makes his own contribution to culture as publicity. The more completely language is lost in the announcement, the more words are debased as substantial vehicles of meaning and become signs devoid of quality; the more purely and transparently words communicate what is intended, the more impenetrable they become.

The demythologisation of language, taken as an element of the whole process of enlightenment, is a relapse into magic. Word and essential content were distinct yet inseparable from one another. Concepts like melancholy and history, even life, were recognised in the word, which separated them out and preserved them. Its form simultaneously constituted and reflected them. The absolute separation, which makes the moving accidental and its relation to the object arbitrary, puts an end to the superstitious fusion of word and thing.

Anything in a determined literal sequence which goes beyond the correlation to the event is rejected as unclear and as verbal metaphysics. But the result is that the word, which can now be only a sign without any meaning, becomes so fixed to the thing that it is just a petrified formula. This affects language and object alike. Instead of making the object experiential, the purified word treats it as an abstract instance, and everything else (now excluded by the demand for ruthless clarity from expression – itself now banished) fades away in reality. A left-half at football, a black-shirt, a member of the Hitler Youth, and so on, are no more than names. If before its rationalisation the word had given rise to lies as well as to longing, now, after its rationalisation, it is a straitjacket for longing more even than for lies.

The blindness and dumbness of the data to which positivism reduces the world pass over into language itself, which restricts itself to recording those data. Terms themselves become impenetrable; they obtain a striking force, a power of adhesion and repulsion which makes them like their extreme opposite, incantations. They come to be a kind of trick, because the name of the prima donna is cooked up in the studio on a statistical basis, or because a welfare state is anathematised by using taboo terms such as “bureaucrats” or “intellectuals,” or because base practice uses the name of the country as a charm.

In general, the name – to which magic most easily attaches – is undergoing a chemical change: a metamorphosis into capricious, manipulable designations, whose effect is admittedly now calculable, but which for that very reason is just as despotic as that of the archaic name. First names, those archaic remnants, have been brought up to date either by stylisation as advertising trade-marks (film stars’ surnames have become first names), or by collective standardisation.

In comparison, the bourgeois family name which, instead of being a trade-mark, once individualised its bearer by relating him to his own past history, seems antiquated. It arouses a strange embarrassment in Americans. In order to hide the awkward distance between individuals, they call one another “Bob” and “Harry,” as interchangeable team members. This practice reduces relations between human beings to the good fellowship of the sporting community and is a defence against the true kind of relationship.

Signification, which is the only function of a word admitted by semantics, reaches perfection in the sign. Whether folk-songs were rightly or wrongly called upper-class culture in decay, their elements have only acquired their popular form through a long process of repeated transmission. The spread of popular songs, on the other hand, takes place at lightning speed. The American expression “fad,” used for fashions which appear like epidemics – that is, inflamed by highly-concentrated economic forces – designated this phenomenon long before totalitarian advertising bosses enforced the general lines of culture. When the German Fascists decide one day to launch a word – say, “intolerable” – over the loudspeakers the next day the whole nation is saying “intolerable.” By the same pattern, the nations against whom the weight of the German blitzkrieg was thrown took the word into their own jargon. The general repetition of names for measures to be taken by the authorities makes them, so to speak, familiar, just as the brand name on everybody’s lips increased sales in the era of the free market. The blind and rapidly spreading repetition of words with special designations links advertising with the totalitarian watchword. The layer of experience which created the words for their speakers has been removed; in this swift appropriation language acquires the coldness which until now it had only on billboards and in the advertisement columns of newspapers. Innumerable people use words and expressions which they have either ceased to understand or employ only because they trigger off conditioned reflexes; in this sense, words are trade-marks which are finally all the more firmly linked to the things they denote, the less their linguistic sense is grasped. The minister for mass education talks incomprehendingly of “dynamic forces,” and the hit songs unceasingly celebrate “reverie” and “rhapsody,” yet base their popularity precisely on the magic of the unintelligible as creating the thrill of a more exalted life. Other stereotypes, such as memory, are still partly comprehended, but escape from the experience which might allow them content. They appear like enclaves in the spoken language. On the radio of Flesch and Hitler they may be recognised from the affected pronunciation of the announcer when he says to the nation, “Good night, everybody!” or “This is the Hitler Youth,” and even intones “the Fuehrer” in a way imitated by millions. In such cliches the last bond between sedimentary experience and language is severed which still had a reconciling effect in dialect in the nineteenth century. But in the prose of the journalist whose adaptable attitude led to his appointment as an all-German editor, the German words become petrified, alien terms. Every word shows how far it has been debased by the Fascist pseudo-folk community.

By now, of course, this kind of language is already universal, totalitarian. All the violence done to words is so vile that one can hardly bear to hear them any longer. The announcer does not need to speak pompously; he would indeed be impossible if his inflection were different from that of his particular audience. But, as against that, the language and gestures of the audience and spectators are coloured more strongly than ever before by the culture industry, even in fine nuances which cannot yet be explained experimentally.

Today the culture industry has taken over the civilising inheritance of the entrepreneurial and frontier democracy – whose appreciation of intellectual deviations was never very finely attuned.   All are free to dance and enjoy themselves, just as they have been free, since the historical neutralisation of religion, to join any of the innumerable sects.   But freedom to choose an ideology – since ideology always reflects economic coercion – everywhere proves to be freedom to choose what is always the same.  The way in which a girl accepts and keeps the obligatory date, the inflection on the telephone or in the most intimate situation, the choice of words in conversation, and the whole inner life as classified by the now somewhat devalued depth psychology, bear witness to man’s attempt to make himself a proficient apparatus, similar (even in emotions) to the model served up by the culture industry.

The most intimate reactions of human beings have been so thoroughly reified that the idea of anything specific to themselves now persists only as an utterly abstract notion: personality scarcely signifies anything more than shining white teeth and freedom from body odour and emotions.  The triumph of advertising in the culture industry is that consumers feel compelled to buy and use its products even though they see through them.”   Max Horkheimer, “The Culture Industry —  Enlightenment as Mass Deception  

frog mirror narcissist vanity grimm

Numero TresI first interviewed Christopher Lasch in the Fall of 1980.  He had just published his best-seller The Culture of Narcissism, which remains the classic critique of the ‘me’ generation.  In it, he had some hard-hitting things to say about the state of higher learning in America.  He wrote, for example: ‘Not only does higher education destroy the students’ minds; it incapacitates them emotionally as well, rendering them incapable of confronting experience without benefit of textbooks, grades, and pre-digested points of view.’  He also wrote: ‘The university remains a diffuse, shapeless, and permissive institution that has absorbed the major currents of cultural modernism and reduced them to a watery blend, a mind-emptying ideology of cultural revolution, personal fulfillment, and creative alienation.’
Strong words!  In fact, at the time, I thought them excessive.  But what I understood from the interview was that Lasch’s criticisms of higher education were part of a broader analysis of our political culture.  The disintegration of our public life was the focus of his concerns.  He spoke quite eloquently of our eroding liberties, the new paternalism of government, the Midgard-like grip of huge bureaucracies, and the substitution of therapeutic justice for retributive justice.  In fact, he came down hard on the professions for their lack of civic concern.  They, too, have become engulfed in the pursuit of narcissism.
Lasch’s recent writings have contributed significantly to the literature, pointing a way out of our public philosophy impasse.  He argues that our choices historically have been limited to some form of liberalism, on the one hand, and some form of collectivism on the other.  Each has led to unacceptable social pathologies.  Liberalism has emphasized individual rights and autonomy to the great detriment of community and the common good.  Collectivism has gone in the other direction and usually ended in authoritarian regimes and political repression.  Lasch now talks about the communitarian compromise as a middle position.  What we need, he says, is a political conception of community that can overcome the excesses of liberal individualism and the cloying, holistic conception of community that ends in a sentimental glorification of the past.
All of these themes are elaborated in his recently published The True And Only Heaven: Progress and Its Critics.  It seemed an opportune occasion for another interview with Christopher Lasch and in due course I recorded the following conversation. BM
    BM – What kinds of questions are people asking you these days?
    CL – Mostly about why I am so hard on liberals.
    BM – Why are you?
    CL – Because I think liberalism is an impoverished philosophy and it is causing all kinds of problems in our society.
    BM – Which liberalism is the villain? There are many varieties.
    CL – Think of the kind of liberalism that is currently identified with the Democratic party.
    BM – Of so recent a vintage?
    CL – As I interpret the history of liberalism it underwent a kind of sea change in the 1920s. Then liberals began increasingly to define their position in terms of a set of cultural values rather than any specific politics. H.L. Mencken was a leading figure in this change. He had nothing but contempt for the majority of Americans and developed the style of what I have called the civilized minority school of social criticism. It is a school that holds itself superior to the vast majority of Americans and is candidly elitist in outlook. Walter Lippmann called Mencken the most important thinker of his times. This elitist view came more and more to infect the liberalism of the Democratic party, which hasn’t given a hoot for workers in decades, and especially to infect academic liberalism.
    BM – Presumably Lippmann himself was guilty of this elitism?
    CL – I think so.
    BM – What about the classical liberalism we associate with John Locke and John Stuart Mill?
    CL – I am worried about that too because it substitutes efficient organizations for virtuous citizens. People are left free to pursue their private interests so long as government is there to referee things with some modicum of fairness.
    BM – But you suspect that it is sometimes less than a modicum?
    CL – As it turns out, yes. It has become unmistakably clear that even a liberal social order requires a moral infrastructure – neighborhoods, families, churches and an array of institutions in which self-government actually works. No social order can get along without them.
    BM – That was De Tocqueville’s point in the 1830s. But you surely wouldn’t want to deny all moral vision to classical liberalism. It wasn’t, after all, only political nuts and bolts, procedures and institutions. What about the philosophy of rights? The emancipatory presuppositions of liberalism, a legacy of the Enlightenment, were what chiefly distinguished it from other political philosophies. Such a philosophy can properly be called a moral philosophy and is very much alive among us.
    CL – Yes, it is a moral vision. But a very limited one. The Enlightenment concept of reason was very abstract and the liberalism that flows from it as a matter of fact is quite neutral and non-committal about a whole range of moral issues. It assumes that if you eliminate impediments to free choice all sorts of beneficent consequences will follow, including a well functioning society. Reason was seen as something self-regulating and axiomatic. Descartes said in future generations the ordinary peasant would know more than the philosophers of his day. This attitude is the source of the idea of progress that I criticize in my recent book. Moreover, what we don’t often remember is that classical liberalism relied on the moral and cultural capital of earlier traditions to underwrite its vision of a liberal society much more heavily than it was willing to admit at the time. Adam Smith is a case in point. As a political economist he could speculate boldly about free markets, the acquisitive self and invisible hands. But as a moral philosopher part of his being was firmly rooted in a restraining tradition.
    BM – John Locke might be an even better example.
    CL – Sure. Locke can no longer be held accountable for the “possessive individualism” often attributed to him. Religion, more particularly Calvinism, was a major part of Locke’s perspective.
    BM – And not only religion. He was closely allied with a group called the Cambridge Platonists in much of his moral and political thinking. He seems to have accepted the ancient view of the universe as a cosmic harmony that exercizes a strong moral and erotic pull upon us.
    CL – Interesting.
    BM – While all of this is very true, it still seems that the philosophy of rights today does not seem either neutral or minimalist but quite aggressive.
    CL – It is aggressive when confronted with overtly oppressive institutions. I grant that. I don’t say there is no moral value in the liberal tradition. But I do say it is limited. Liberals have a lot to say about rights. But on the whole they do not have much to say about responsibility. A lot less in any event.
    BM – Is democracy in worse shape now than it has ever been?
    CL – I don’t know about that. What I am saying is that it is not in very good shape.
    BM – Can you point to a time when it was in better shape?
    CL – That would be futile.
    BM – Maybe it is the case the democracy is not designed to work very well.
    CL – That is one argument. Another is that democracy is better than any of its alternatives, even though it doesn’t work very well.
    BM – Do you buy that?
    CL – Well sure, who wouldn’t? But that is not an argument that is going to get you very far.
    BM – What is the essence of democracy for you?
    CL – What interests me is that in the early iterations of democratic theory it was understood that you had to have certain preconditions in order to make democracy work, the most important of which was the wide distribution of property ownership. Democracy was based on small property and the responsibility that went along with that for the formation of certain habits of mind and character development. This was the necessary basis of democratic citizenship, a view clearly articulated for example in Jefferson. It comes out again in the suffrage debates in the middle of the 19th century. Suffrage qualifications were removed only because it was believed that property was sufficiently widely distributed to make restrictions on voting unnecessary. Now, what happens in a society where we have a permanent wage earning class? This develops a servile rather than an independent state of mind. The central question now is: What is going to substitute for the small property owner in our democratic polity? That is a question that is not being addressed very well.
    BM – Couldn’t much the same be said of the habit forming institutions in general?
    CL – Yes. They have all been seriously weakened.
    BM – And you blame liberalism for this?
    CL – It would be much too simple to see liberalism as the evil genius behind all of our problems. What I am insisting on is that liberals haven’t given this problem attention enough. They have assumed that if we democratize access to consumer goods and put in place a minimal welfare state together with certain governmental procedures things would run pretty well. It is no longer possible to believe that.
    BM – What we are talking about here is a lack of moral vision. You argue well that the moral underpinnings that sustained earlier liberalism now no longer do so. So it has become, so to speak, an empty shell. But is that entirely true in America? When I teach my American Thought course I try to impress upon students the enormous and still politically influential importance of the Puritans. Fred Greenstone at the University of Chicago proposes a middle theory between liberalism and the classical tradition which can be found in the convenantal tradition. He suggests that the American political tradition flows from two main currents of thought. One is liberalism and social contract theory. The other came down through Puritanism and was expressed in the image of a covenant which offers a quite different cluster of values.
    CL – There is no doubt that Puritanism remains a strong moral force in American life. It is perhaps our strongest reservoir of moral idealism. Where moral vision is alive today it can be connected rather directly to the Puritan tradition. I believe that profoundly.
    BM – It’s interesting that in the mid 19th century leading figures like Ralph Waldo Emerson and Walt Whitman articulated a moral vision of democracy that bypassed altogether liberalism and bought into an older, more idealistic, even Platonic strain of thought. They did not speak in the accents of a Locke or a Madison.
    CL – That is precisely because they were concerned with the moral vision that sustains democracy and without which democracy would not work. They were interested in problems that couldn’t be illuminated by political machinery. This is clear in Whitman’s Democratic Vistas, a major democratic document that everyone should read. Nor is Whitman entirely bouncy there as he sometimes is in his poetry. There is a darker vision in Democratic Vistas; It is full of misgivings and harsh criticisms about democracy. Whitman could be downright gloomy.
    BM – So we agree liberalism hasn’t entirely won the field?
    CL – No, not entirely. My criticism bears on the fact that liberals haven’t given the cultural presuppositions of democracy enough thought. The moral tradition is alive but not well.
    BM – Do you see a consensus on that point shaping in American society today?
    CL – Yes, I do.
    BM – Where do you find the utopian element in social thought today?
    CL – I wouldn’t use the word utopian. I would say something like social idealism or hope or I can accept the language of moral vision.
    BM – Where do we find it today? In feminism? In multiculturalism?
    CL – I don’t see much there. That’s politics as usual, different groups trying to get a bigger piece of the pie.
    BM – In religion?
    CL – Not much. It is present in unarticulated form in the experience of many people. But it won’t help us much if it remains unarticulated. One finds flashes of it in the Catholic tradition. The Catholic Bishops’ letter on social justice was very good. One might even say that the Pope has some of the best insights into social questions.
    BM – Writers like Whitman and Emerson effectively grounded their moral vision of democracy in a metaphysics of nature. That wouldn’t get us very far today, So where do we turn for a convincing ground?
    CL – One hope may be a recovery of the American pragmatic tradition. I am thinking of William James who was such a compelling figure in American intellectual history and who forms a bridge of sorts between the earlier Puritan and the later pragmatic schools. And there is John Dewey. A colleague of mine has just written a very fine book on Dewey and I sense a renewal of interest in him as the philosopher of democracy.
    BM – Say a little more about James as a bridge.
CLJames saw life as an arena of moral combat. He entered into the debate begun by the Puritans about good and evil, heroism and conformity, hope and despair. The question for James was always how are our moral energies to be distributed. Life, he said in a memorable phrase, must be conceived as the moral equivalent of war.
    BM – In our present intellectual climate I suspect moral equivalence arguments would be as futile as the earlier arguments based on nature mysticism.
    CL – You are probably right. So I keep coming back to populism in some form as our best hope for a morally respirited democracy. It’s an old tradition in America with lots of life left in it. Ronald Reagan with great political astuteness appealed to the still living elements of that tradition. That was one of the most extraordinary developments in American political history. And it all happened in something like four years. As late as 1976 the Republican party was still the party of anti-communism, of wealth and privilege. Four years later is was the party of ordinary Americans with much grassroots attraction.
    BM – And you credit Ronald Reagan with that turn around?
    CL – Absolutely. Reagan was a political genius. His ability should never be underestimated as it is all the time, particularly by his political opponents. You simply cannot understand recent American history if you think Reagan was some kind of bumbler, a B minus actor with little political savvy. His policies were quite disastrous in my mind but he had an imagination that transformed the political landscape and a populist instinct to boot.
    BM – Do you find it odd that the Democrats can’t seem to connect to that tradition, which is after all their own. It is as though Reagan and the Republicans stole the crown jewels in broad daylight.
    CL – I find it puzzling and deeply distressing. We can put our finger on some of the reasons for this. I mentioned the elitist factor earlier. Leadership is another problem. The Party’s captivity to certain interest and minority groups. You can’t go to the mat on issues like pro-choice, affirmative action, gay rights and the like and still tap into the older tradition without running into incompatibilities.
    BM – You recently said that restoring a sense of civic virtue is the greatest challenge that faces us as this century winds down. I take it that when you talk about civic virtue you mean of the populist variety rather than the classical republican tradition.
CL – Yes, but I do see classical republicanism as one of the sources from which populism drew. I think of 19th century populism in America as a mix of classical republicanism, Lockean liberalism, Puritanism and other elements as well. They were all agreed upon and right on the central issue: we got to have virtuous citizens.
    BM – How much of this was in the Framers?
    CL – It was there to an extent. Jefferson had it but I doubt Madison did. The historian Gordon Wood claims that the Constitution represents a departure from republican thought rather than a continuation or fulfillment of it. Wood says republicanism died in America at the end of the 18th century. For one thing, those influenced by the republican tradition were uncomfortable with the whole idea of representative government. They conceived citizens as people who would not hand their civic duties over to hired representatives. So the adoption of representative government is already a defeat of sorts.
    BM – Do you see anything in the current education debate of significance?
    CL – I think it draws away a lot of energy that might better be put to other issues.
    BM – For example?
    CL – Well, what we were just talking about. Where in the debate do we hear anything about civic virtue?
    BM – I would agree that it is the missing piece in the education debate.
    CL – It certainly is. That is why talk about canons, multiculturalism, political correctness and so forth is so tedious. These are not central issues. They don’t address the problems of standards, substance, vision. We can’t isolate education from the moral vision of democracy and expect either to work.
    BM – Where have we gone wrong in our thinking about education?
    CL – I think we took two wrong turns. At a certain point we began to think of education as the path to upward social mobility, a way of climbing the ladder of success, storming the doors of opportunity. This provided the key to middle class hegemony. More recently, we have taken an even narrower view of education and come to see it as exposure to and the imposition of the culture of dominant groups like white European males. As a result we have lost to all intents and purposes any concept of liberal education.
    BM – What would liberal education be for you?
    CL – I would harken back to an older tradition that thought of education as a common achievement of humanity that is multicultural in the best sense of the word. Far from enclosing the mind in class bound dogmas and ideologies, liberal education opens the mind to new horizons and calls every kind of dogma and ideology into criticism. It offers a critical perspective on every position. Liberal education is power and freedom, cogent analysis, orderly exposition, logical argumentation, the discipline of study and thought, the rich experience of the past as well as the assimilation of past culture and the common sense of modern civilization. This is education conceived neither as upward mobility not assimilation to regnant ideologies but the acquisition of intellectual resources that make us free. I would want to argue that the notion of upward social mobility is pretty much what we mean by freedom today.
    BM – How does that argument go?
    CL – Take the example of affirmative action. Social mobility is the cornerstone of liberal thinking on the issue of race. The gist of this thinking is that an educated, professional, upwardly mobile class of blacks will serve as role model for other blacks. But this is wrong-headed thinking because it assumes that the mobility of the few will benefit black people as whole. It is now all too clear that it won’t. Even as more and more blacks are assimilated to the money getting classes, black neighborhoods and the cities in general tend to deteriorate. Enterprise and ambition emigrate to the suburbs, leadership is drained away, communities weaken. We are accustomed to thinking that the suburbs are the solution to the problem of the cities. We need to recognize that in the deepest sense they are the cause of the problem and not the solution. Suburbs institutionalize a false idea of freedom as social mobility, as climbing out of one’s class. They dramatize the dangerous freedom that drains talent and wealth and imagination away. To say that our ideal of freedom is above all a suburban ideal is to give it palpable shape; it helps us understand more explicitly than any other image what’s wrong with it. It is not only the underclass that is impoverished by this flight to the suburbs. In one way or another it diminishes all of us. The suburb organized around the shopping mall rather than the neighborhood eradicates the last vestiges of reciprocal obligation. It underscores the illusion that the good life consists of unlimited choices unconstrained by any sense that others are in the picture. No less than the drug culture of the ghetto, suburban culture rests on the phantasy of escape. So it is no accident that the suburbs have a drug problem too, or that young people in the suburbs find that nothing holds their attention, that sustained effort is beyond their powers and that nothing seems to justify sustained effort anyway.
    BM – It cannot console you that the largest single voting block now resides in suburbia.
    CL – No consolation.
   BM – If the suburbs are a problem it is likely to be with us for a long time, mainly because they aren’t perceived to be the problem as you describe it.
    CL – True. I think in the long run that the best solution would be to have cities and suburbs under the same political jurisdiction. This isn’t a panacea but it is the best solution I can think of. It might do something to improve inner city schools and equalize the tax burden. I think busing would have taken on a very different complexion if in the 70s the suburbs had been required to participate in that experiment in social engineering.
    BM – Let’s conclude on a more personal note and talk a bit about your own intellectual development. By what paths have you come to your present views?
    CL – I grew up in the tradition of Midwest progressivism and New Deal liberalism. In the late 60s I called myself a socialist and made a thorough study of socialist thought. Marx was very important to me.
    BM – Why was Marx important?
    CL – As I read him through the interpretations of Frankfurt school thinkers like Herbert Marcuse and American socialists like Dwight Macdonald and Irving Howe, the main thing was the critique of mass culture, his insights into what Gramsci called the devastated realm of the spirit. The theme that began to preoccupy me was the powerlessness of individuals in a mass society of large agglomerations. That is why I was much more impressed by Eisenhower’s farewell speech warning about the military-industrial complex than I was by Kennedy’s inaugural address about getting the nation moving again. I feared the motion would be entirely in the direction of what Eisenhower warned against. It became increasingly evident to me that mass society no longer required the informed consent of citizens and was not in fact governed by a moral consensus.
    BM – I take it that you would not now call yourself a Marxist or even a socialist.
    CL – No. My faith in the explanatory power of the old ideologies began to waver in the mid 70s when my study of the family led me to question the left’s program of sexual liberation, careers for women and professional child care. I saw a new form of socialization taking place as children were less subject to parental authority and more subject to the tutelage of the mass media and the so-called helping professions. I saw this inducing important changes in our understanding of personality and character, especially the decreased capacity for independent judgment, initiative and self-discipline upon which democracy had always been understood to depend. It was, broadly speaking, a crisis of authority but it included the degradation of work and the substitution of careerism for vocation, addiction for commitment and training for education. My experience as a parent exposed me to our society’s indifference to everything that makes it possible for children to flourish and grow up to be responsible adults.
    BM – Have you then become a man of the right?
    CL – People sometimes say I have.  And there are obviously some forms of conservatism I espouse.  But if I have to be labelled I would prefer to be called a populist.  That is an ambiguous term to be sure and can give rise to all sorts of misunderstandings.  I readily admit populism can be reactionary.  Nor has it been successful at countering bad economic programs with good ones of its own.  I use the term primarily to recapture a moral vision that has been largely lost in modern society.  It is, first of all, a useful way of criticizing the pretensions of progress and also a way of setting in relief certain values I cherish: a sense of limits, a respect for the accomplishments and aspirations of ordinary people, a realistic appraisal of life’s possibilities, genuine hope without utopianisrn which trusts life without denying its tragic character.  Populism, however ideally we might want to reconstruct it, does not offer a ready made solution to our multiple ills.  I think, however, it asks the right questions.  And it comes closest to answering the question about civic virtue.  Above all, it is connected to a moral tradition.  For this reason alone we cannot let it go out of fashion.
    BM – We’ll leave it there. Thank you very much.
”  Christopher Lasch, “On the Moral Vision of Democracy;” an interview