The Soviet State wished to remake man and, if one knows Russians, one can sympathize. Pavlov deplored the wild-eyed, sloppy, romantic, undisciplined, inefficient, anarchic texture of the Russian soul, at the same time admiring the cool reasonableness of Anglo-Saxons. Lenin deplored it too, but it still exists. Faced with the sloth of the waiters in Soviet restaurants (sometimes three hours between taking the order and fulfilling it), the manic depression of Soviet taxi-drivers, the sobs and howls of Soviet drunks, one can sometimes believe that without communism this people could not have survived. But one baulks, with a shudder, at the Leninist proposal to rebuild, with Pavlov's assistance, the entire Russian character, thus making the works of Chekhov and Dostoyevsky unintelligible to readers of the far future.
Lenin gave orders that Pavlov and his family should be lodged in capitalist luxury, fed with special rations, and that every possible technical facility should be granted the master, so that he could devise ways of manufacturing Soviet Man. Pavlov went on working with his dogs ('How like a dog is man,' as Shakespeare, if he had read B. F. Skinner, might have said), looking for the seeds of life in the cerebral cortex, afflicting the creatures with diseases of the nervous system in order that he might, with the utmost tenderness (for nobody loved dogs as Pavlov did) cure them. Meanwhile the Soviet police followed up hints about the induction of neuroses, the driving of the Russian soul to breaking-point. And the ancient point was being made about nothing in itself being good or bad, only the way in which fallible human beings use it. Certainly, humanism was being given the lie: man can be changed; the criminal can be turned into a reasonable citizen; the dissident can become orthodox; the obdurate rebel can be broken. But Soviet Man was not made.
We hear less of Pavlovianism these days than of Skinnerism. B. F. Skinner, a practising behavioural psychologist, teaches, and has written in his book Beyond Freedom and Dignity, about the conditions under which human society can alone survive, and these involve changing man through a battery of positive reinforcements. It is never enough to demonstrate to man, on the assumption that he is a rational creature, the rational disadvantages of losing his aggressive tendencies and developing a social conscience. Only by associating a particular mode of behaviour with pleasure can it be made to seem desirable. The other, negative, way, whereby people associate an opposed mode of behaviour with pain, is inhumane. But there is something in all of us that is unconcerned with the manner in which circus animals are trained - whether with sugar lumps or the whip; it is the training itself that disturbs us. We make a distinction between schooling and conditioning. If a child plays truant or shuts his ears or throws ink-pellets at his teacher, this at least is evidence of free will. There is something in all of us that warms to the recalcitrant pupil. But to consider hypnopaedia, or sleep-teaching (which also features in Brave New World), cradle conditioning, adolescent reflex bending, and the rest of the behavioural armoury, is to be appalled at the loss, even if rewarded with sugar lumps, of individual liberty. Skinner's title appals in itself. Beyond truth, beyond beauty, beyond goodness, beyond God, beyond life. Big Brother does not go so far.
Arthur Koestler, a man who has endured communist incarceration and torture, and hence is disposed to horror at the very thought of brain manipulation, nevertheless now seems to believe that something will have to be done to change humanity if humanity is to survive. The dropping of the atom bombs on Hiroshima and Nagasaki started a new era - one in which we face the possibility of the death of the race. Because of his strange cerebral make-up, the horror created by man can be the means of destroying man: the supreme product of reason is in the hands of unreason. In his book Janus Koestler points to the 'paranoid split between rational thinking and irrational, emotion-based beliefs' and suggests that something went terribly wrong in the biological evolution of Homo sapiens. He cites the theory of Dr Paul D. MacLean, of the National Institute for Mental Health in Bethesda, Maryland, to the effect that man was endowed by nature with three brains - a reptilian one, one inherited from the lower mammals, and a third, a late mammalian development, 'which has made man peculiarly man'. These three brains will not gear with each other: the term schizophysiological has to be applied to man's central nervous system: man is a diseased creature.
'Man can leave the earth and land on the moon,' says Koestler, 'but cannot cross from East to West Berlin. Prometheus reaches for the stars with an insane grin on his face and a totem-symbol in his hand.' It is not just a matter of inability on the part of the neocortex to control the old animal brain that makes man as he is. It is also the fact that he has a remarkably long period of post-natal helplessness, which makes him disposed to submit to whatever is done to him, and this leads to the blind submissiveness to authority which welcomes dictators and warlords. Man does not go to war to satisfy his individual aggressive urges: he goes out of blind devotion to what is represented to him as a cause. Again, language - that time-spanning creation that may be the highest achievement of the higher cerebral centres - abets the irrational, divisive element which expresses itself through war. Language, out of which high art is made, is also, 'in view of its explosive emotive potentials, a constant threat to survival'.
Koestler rejects the 'reductionist' approach to man, which turns him into the pliable matter of Pavlov or Skinner. But he favours the use of drugs:
Medicine has found remedies for certain types of schizophrenic and manic-depressive psychoses; it is no longer Utopian to believe that it will discover a combination of benevolent enzymes which provide the neocortex with a veto against the follies of the archaic brain, correct evolution's glaring mistake, reconcile emotion with reason, and catalyse the breakthrough from maniac to man.
Whatever the approach, whatever the therapy, this view of man as a diseased creature is sincerely held, and the need for somebody to do something about him is represented, by Skinner and Koestler alike, as extremely urgent. Man is living on borrowed time; cure, for the night is coming. Strange that the expert beings who are to administer the cure are themselves men. Can we really trust the diagnostics and remedies of these demented creatures? But the assumption is that, though all men are ill, some are less ill than others. Call, for convenience, the less ill ones well, and we have two kinds of being - we and they or, in Prole Oldspeak, us and them. They are ill, we must cure them.
It was the sense of this division between well us and sick them that led me to write, in 1960, a short novel called A Clockwork Orange. It is not, in my view, a very good novel - too didactic, too linguistically exhibitionist - but it sincerely presented my abhorrence of the view that some people were criminal and others not. A denial of the universal inheritance of original sin is characteristic of Pelagian societies like that of Britain, and it was in Britain, about 1960, that respectable people began to murmur about the growth of juvenile delinquency and suggest, having read certain sensational articles in certain newspapers, that the young criminals who abounded - or such exuberant groups as the Mods and Rockers, more playfully aggressive than truly criminal - were a somehow inhuman breed and required inhuman treatment. Prison was for mature criminals, and juvenile detention centres did little good. There were irresponsible people who spoke of aversion therapy, the burning out of the criminal impulse at source. If young delinquents could be, with the aid of electric shocks, drugs, or pure Pavlovian conditioning, rendered incapable of performing anti-social acts, then our streets would once more be safe at night. Society, as ever, was put first. The delinquents were, of course, not quite human beings: they were minors, and they had no vote; they were very much them as opposed to us, who represented society.
Sexual aggression had already been drastically burnt out of certain rapists, who first had to fulfil the condition of free choice, which meant presumably signing a vague paper. Before the days of so-called Gay Liberation, certain homosexuals had voluntarily submitted to a mixture of negative and positive conditioning, so that a cinema screen showed naked boys and girls alternately and at the same time electric shocks
were administered or else a soothing sensation of genital massage was contrived, according to the picture shown. I imagined an experimental institution in which a generic delinquent, guilty of every crime of rape to murder, was given aversion therapy and rendered incapable of contemplating, let alone perpetrating, an anti-social act without a sensation of profound nausea.
The book was called A Clockwork Orange for various reasons. I had always loved the Cockney phrase 'queer as a clockwork orange', that being the queerest thing imaginable, and I had saved up the expression for years, hoping some day to use it as a title. When I began to write the book, I saw that this title would be appropriate for a story about the application of Pavlovian, or mechanical, laws to an organism which, like a fruit, was capable of colour and sweetness. But I had also served in Malaya, where the word for a human being is orang. The name of the anti-hero is Alex, short for Alexander, which means 'defender of men'. Alex has other connotations - a lex: a law (unto himself); a lex(is): a vocabulary (of his own); a (Greek) lex: without a law. Novelists tend to give close attention to the names they attach to their characters. Alex is a rich and noble name, and I intended its possessor to be sympathetic, pitiable, and insidiously identifiable with us, as opposed to them. But, in a manner, I digress.
Alex is not only deprived of the capacity to choose to commit evil. A lover of music, he has responded to the music, used as a heightener of emotion, which has accompanied the violent films he has been made to see. A chemical substance injected into his blood induces nausea while he is watching the films, but the nausea is also associated with the music. It was not the intention of his State manipulators to induce this bonus or malus: it is purely an accident that, from now on, he will automatically react to Mozart or Beethoven as he will to rape or murder. The State has succeeded in its primary aim: to deny Alex free moral choice, which, to the State, means choice of evil. But it has added an unforeseen punishment: the gates of heaven are closed to the boy, since music is a figure of celestial bliss. The State has committed a double sin: it has destroyed a human being, since humanity is defined by freedom of moral choice; it has also destroyed an angel.
The novel has not been well understood. Readers, and viewers of the film made from the book, have assumed that I, a most unviolent man, am in love with violence. I am not, but I am committed to freedom of choice, which means that if I cannot choose to do evil nor can I choose to do good. It is better to have our streets infested with murderous young hoodlums than to deny individual freedom of choice. This a hard thing to say, but the saying of it was imposed on me by the moral tradition which, as a member of western civilization, I inherit. Whatever the conditions needful for the sustention of society, the basic human endowment must not be denied. The evil, or merely wrong, products of free will may be punished or held off with deterrents, but the faculty itself may not be removed. The unintended destruction of Alex's capacity for enjoying music symbolizes the State's imperfect understanding (or volitional ignorance) of the whole nature of man, and of the consequences of its own decisions. We may not be able to trust man - meaning ourselves - very far, but we must trust the State far less.
It is disturbing to note that it is in the democracies, founded on the premise of the inviolability of free will, that the principle of the manipulation of the mind may come to be generally accepted. It is consistent with the principles of Ingsoc that the individual mind should be free, meaning free to be tormented. There seem to be no drugs in use on Airstrip One, except temporarily mind-dulling cheap and nasty gin. A strong centralized State, with powerful techniques of terrorization, can keep the streets free from muggers and killers. (Queen Elizabeth I's England hanged rioting apprentices on the site of the riot.) Our own democratic societies are growing weak. There is a great readiness to be affected, in the direction of the loss of authority, by pressure groups of all kinds, including street gangs as much as aggressive students. The lack of a philosophy at the centre (which neither Ingsoc nor Communism lacks) is matched by indecisiveness in dealing with crime. This is human; we leave draconian deterrents and punishments to the totalitarian States. But the eventual democratic response to crime may well be what could be represented as the most human, or humane, or compassionate approach of all: to regard man's mad division, which renders him both gloriously creative and bestially destructive, as a genuine disease, to treat his schizophrenia with drugs or shocks or Skinnerian conditioning. Juvenile delinquents destroy the State's peace; mature delinquents threaten to destroy the human race. The principle is the same for both: burn out the disease.
We must, say both Koestler and Skinner, accept the necessity of change. A new race, Homo sapientior, must be created. But, I say again, how far can we trust the therapists, who are as imperfect as ourselves? Whose blueprint of the new man must we follow? We want to be as we are, whatever the consequences. I recognize that the desire to cherish man's unregenerate nature, to deny the possibility of progress and reject the engines of enforced improvement, is very reactionary, but, in the absence of a new philosophy of man, I must cling to whatever I already have. What I have in general is a view of man which I may call Hebreo-Helleno-Christian-humanist. It is the view which the Savage in Brave New World, who has been reared in the wilds on a volume of William Shakespeare, brings to the stable Utopia of AF 632: 'I don't want comfort. I want God, I want poetry, I want real danger, I want freedom, I want goodness. I want sin.' The World Controller, Mustapha Mond, sums it up for him: 'In fact, you're claiming the right to be unhappy.' Or the right, perhaps, not to find life dull. Perhaps the kind of humanity that can produce Hamlet, Don Giovanni, the Choral Symphony, the Theory of Relativity, Gaudi, Schoenberg and Picasso must, as a necessary corollary, also be able to scare hell out of itself with nuclear weapons.
What I have in particular is a kind of residual Christianity that oscillates between Augustine and Pelagius. Whoever or whatever Jesus Christ was, people marvelled at him because he 'taught with authority'. There have been very few authoritative teachers in the world, though there have been plenty of authoritarian demagogues. It is possible, just possible, that by attempting the techniques of self-control that Christ taught something can be done about our schizophrenia - the recognition of which goes back to the Book of Genesis. I believe that the ethics of the Gospels can be given a secular application. I am sure too that this has never seriously been tried.
The basis of the teaching is as realistic as Professor Skinner's, though the terms are rather emotive. Sin is the name given to what the behaviourists would like to cut, burn, or drug out. There is a parallel between the cohesion of the universe and the unity of man. This makes a kind of sense out of the doctrine of the Incarnation. In order that the unity of man may be more than a mere aspiration, love, charity, tolerance have to be deliberately practised. The technique of loving others has to be learned, like any other technique. The practice of love is, we may say, ludic: it has to be approached like a game. It is necessary first to learn to love oneself, which is difficult: love of others will follow more easily then, however. If I learn to love my right hand, as a marvel of texture, structure and psychoneural co-ordination, I have a better chance of loving the right hand of the Gestapo interrogator. It is difficult to love one's enemies, but the difficulty is part of the interest of the game.
The serious practitioners of the game, or ludus amoris, will find it useful to form themselves into small groups, or 'churches', and meet at set intervals for mutual encouragement and inspiration. They may find it valuable to invoke the spirit of the founder of the game. Indeed, they may gain strength from conjuring his, in a sense, real presence in the form of a chunk of bread and a bottle of wine. If they believe in the divine provenance of the founder, they will be able to strengthen their sense of the need to promote human love to the end of human unity, since this is a figure of the unity of the divinely created cosmos. Men and women must practise the technique of love in the real world and not seal themselves off into communes or convents. The existence of the State is ac
knowledged, but it is accepted that it has little to do with the real purpose of living. Caesar has his own affairs, which he considers serious but are really frivolous. The practice of love has nothing to do with politics. Laughter is permitted, indeed encouraged. Man was put together by God, though it took him a long time. What God has joined together, even though it be an unholy trinity of a human brain, let no man put asunder. Pray for Dr Skinner. May Pavlov rest in peace. Amen.
The death of love
When Winston Smith takes part in one of the daily mandatory sessions of Organized Hate, he is aware of how efficiently the emotion of homicidal loathing is aroused in himself by a two-minute montage of noises, and images. He is aware too of how the hatred he is made to feel can be used as an indifferent weapon, pointed at anyone or anything. This was perhaps one of the big discoveries of the period in which Orwell planned and wrote Nineteen Eighty-Four - that hate could, once aroused, be pointed like a blowgun at any object that the State decreed was hatable. It is, of course, necessary for doublethink that emotions should be automatically transferable from one object to another, without the necessity to take thought and consider why the hatable has now become the lovable, and vice versa. Eastasia changes, in mid-sentence, from friend to enemy, and emotional adjustments have to be immediate. Orwell was doubtless thinking of how the attitude of his own country to Soviet Russia, once as fiendish as Nazi Germany, now a fellow-victim of Nazi aggression, had to change overnight. The great age of hypocrisy had begun.
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