Art; English literature -- History and criticism; Literature -- History and criticism
It is to me a strange thing that since the beginning of the war
Utopia-building has gone on more merrily than ever. Almost every one has
a scheme for social reconstruction; and of these schemes, though most
are of that familiar kind which discovers in compulsory
strike-arbitration the true and only panacea, some are in themselves
attractive enough, being more or less intelligent attempts to combine
Socialist economics with the maximum of personal liberty. And yet I can
take no interest in any of them, though my apathy, I know, vexes my
friends who complain that in old days, before the war, no castle-builder
was more reckless than I.
Very true: but things have changed since then. Before the war England
was immensely rich; and the upper classes, before the war, were
beginning to find barbarism boring. Consequently the lower and
lower-middle, as they got money and pushed up towards the light, entered
a world that could afford to be liberal, about which floated, vaguely
enough, ideas that in time might have been turned to good account. That
is where the Edwardian-Georgian age differed most hopefully from the
Victorian. In Victorian days when a man became rich or ceased to be
miserably poor he still found himself in a society where money-making
was considered the proper end of existence: intellectually he was still
in the slums. In the spring of 1914 society offered the new-comer
precisely what the new-comer wanted, not cut-and-dried ideas, still less
a perfect civilization, but an intellectual flutter, faint and feverish
no doubt, a certain receptivity to new ways of thinking and feeling, a
mind at least ajar, and the luxurious tolerance of inherited wealth.
Not, I suppose, since 1789 have days seemed more full of promise than
those spring days of 1914. They seem fabulous now, and a fairy-tale
never comes amiss.
Public-domain text, read in full here on John Shaqi.
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