Vulgarity in literature must be distinguished from the vulgarity inherent in the profession of letters. Every man is born with his share of Original Sin, to which every writer adds a pinch of Original Vulgarity. Necessarily and quite inevitably. For exhibitionism is always vulgar, even if what you exhibit is the most exquisitely refined of souls.

Some writers are more squeamishly conscious than others of the essential vulgarity of their trade—so much so, that, like Flaubert, they have found it hard to commit that initial offense against good breeding: the putting of pen to paper.

It is just possible, of course, that the greatest writers have never written; that the world is full of Monsieur Testes and mute inglorious Miltons, too delicate to come before the public. I should like to believe it; but I find it hard. Your great writer is possessed by a devil, over which he has very little control. If the devil wants to come out (and, in practice, devils always do want to come out), it will do so, however loud the protests of the aristocratic consciousness, with which it uneasily cohabits. The profession of literature may be “fatally marred by a secret absurdity”; the devil simply doesn’t care. Scribo quia absurdum.

To be pale, to have no appetite, to swoon at the slightest provocation—these, not so long ago, were the signs of maidenly good breeding. In other words, when a girl was marked with the stigmata of anemia and chronic constipation, you knew she was a lady. Virtues are generally fashioned (more or less elegantly, according to the skill of the moral couturier) out of necessities. Rich girls had no need to work; the aristocratic tradition discouraged them from voluntarily working; and the Christian tradition discouraged them from compromising their maiden modesty by taking anything like violent exercise. Good carriage-roads and, finally, railways spared them the healthy fatigues of riding. The virtues of Fresh Air had not yet been discovered and the Draft was still the commonest, as it was almost the most dangerous, manifestation of the Diabolic Principle. More perverse than Chinese foot-squeezers, the topiarists of European fashion had decreed that the elegant should have all her viscera constricted and displaced by tight lacing. In a word, the rich girl lived a life scientifically calculated to make her unhealthy. A virtue was made of humiliating necessity, and the pale ethereal swooner of romantic literature remained for years the type and mirror of refined young womanhood.

Something of the same kind happens from time to time in the realm of literature. Moments come when too conspicuous a show of vigor, too frank an interest in common things are signs of literary vulgarity. To be really lady-like, the Muses, like their mortal sisters, must be anemic and constipated. On the more sensitive writers of certain epochs circumstances impose an artistic wasting away, a literary consumption. This distressing fatality is at once transformed into a virtue, which it becomes a duty for all to cultivate.

“Vivre? Nos valets le feront pour nous.” For, oh, the vulgarity of it! The vulgarity of this having to walk and talk; to open and close the eyes; to think and drink and every day, yes, every day, to eat, eat and excrete. And then this having to pursue the female of one’s species, or the male, whichever the case may be; this having to cerebrate, to calculate, to copulate, to propagate… No, no—too gross, too stupidly low. Such things, as Villiers de l’Isle-Adam says, are all very well for footmen. But for a descendant of how many generations of Templars, of Knights of Rhodes and of Malta, Knights of the Garter and the Holy Ghost and all the variously colored Eagles—obviously, it was out of the question; it simply wasn’t done. Vivre? Nos valets le feront pour nous. At the same point, but on another plane, of the great spiral of history, Prince Gotama, more than two thousand years before, had also discovered the vulgarity of living. The sight of a corpse rotting by the roadside had set him thinking. It was his first introduction to death. Now, a corpse, poor thing, is an untouchable and the process of decay is, of all pieces of bad manners, the vulgarest imaginable. For a corpse is, by definition, a person absolutely devoid of savoir vivre. Even your sweeper knows better. But in every greatest king, in every loveliest flowery princess, in every poet most refined, every best dressed dandy, every holiest and most spiritual teacher, there lurks, waiting, waiting for the moment to emerge, an outcaste of the outcastes, a dung carrier, a dog, lower than the lowest, bottomlessly vulgar.

What with making their way and enjoying what they have won, heroes have no time to think. But the sons of heroes—ah, they have all the necessary leisure. The future Buddha belonged to the generation which has time. He saw the corpse, he smelt it vulgarly stinking, he thought. The echoes of his meditations still reverberate, rich with an accumulated wealth of harmonics, like the memory of the organ’s final chord pulsing back and forth under the vaulting of a cathedral.

No less than that of war or statecraft, the history of economics has its heroic ages. Economically, the nineteenth century was the equivalent of those brave times about which we read in Beowulf and the Iliad. Its heroes struggled, conquered or were conquered, and had no time to think. Its bards, the Romantics, sang rapturously, not of the heroes, but of higher things (for they were Homers who detested Achilles), sang with all the vehemence which one of the contemporary heroes would have put into grinding the faces of the poor. It was only in the second and third generation that men began to have leisure and the necessary detachment to find the whole business—economic heroism and romantic bardism—rather vulgar. Villiers, like Gotama, was one who had time. That he was the descendant of all those Templars and Knights of this and that was, to a great extent, irrelevant. The significant fact was this: he was, or at any rate chronologically might have been, the son and grandson of economic heroes and romantic bards—a man of the decadence. Sons have always a rebellious wish to be disillusioned by that which charmed their fathers; and, wish or no wish, it was difficult for a sensitive man to see and smell the already putrefying corpse of industrial civilization and not be shocked by it into distressful thought. Villiers was duly shocked; and he expressed his shockedness in terms of an aristocratic disdain that was almost Brahminical in its intensity. But his feudal terminology was hardly more than an accident. Born without any of Villiers’ perhaps legendary advantages of breeding, other sensitives of the same post-heroic generation were just as profoundly shocked. The scion of Templars had a more striking vocabulary than the others—that was all. For the most self-conscious and intelligent artists of the last decades of the nineteenth century, too frank an acceptance of the obvious actualities of life, too hearty a manner and (to put it grossly) too many “guts” were rather vulgar. Vivre? Nos valets le feront pour nous. (Incidentally, the suicide rate took a sharp upward turn during the ‘sixties. In some countries it is nearly five times what it was seventy years ago.) Zola was the master footman of the age. That vulgar interest in actual life! And all those guts of his—was the man preparing to set up as a tripe-dresser?

A few aging ninetyites survive; a few young neo-ninetyites, who judge of art and all other human activities in terms of the Amusing and the Tiresome, play kittenishly around with their wax flowers and stuffed owls and Early Victorian bead-work. But, old and young, they are insignificant. Guts and an acceptance of the actual are no longer vulgar. Why not? What has happened? Three things: the usual reaction of sons against fathers, another industrial revolution and a rediscovery of mystery. We have entered (indeed, we have perhaps already passed through) a second heroic age of economics. Its Homers, it is true, are almost without exception skeptical, ironic, denunciatory. But this skepticism, this irony, this denunciation are as lively and vehement as that which is doubted and denounced. Babbitt infects even his detractors with some of his bouncing vitality. The Romantics, in the same way, possessed an energy proportionate to that of their enemies, the economic heroes who were creating modern industrialism. Life begets life, even in opposition to itself.