Jon Cruddas investigates the life and work of of a radical, traditional and inspirational figure for the English left today
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William Morris stained glass, Birmingham Museum
- KOTOMI |
William Morris is possibly the most extraordinary figure in the history of the English left; possibly - with the obvious exception of Karl Marx - one of the true greats of the left itself.
A strong statement to begin with, so let's take a step back.
Think about the relationship of Morris to Wimbledon and the radical traditions of that part of London.
In 1881 Morris moved his factory to Merton Abbey Mills in south Wimbledon and for the next 15 years his designs were produced there.
After his death in 1896 both factory workers and followers helped purchase William Morris House, opened by Arthur Henderson on 30th September 1922 - or as it was initially entitled, William Morris Trades and Labour Hall.
Morris and Co continued to operate at the mills until 1940.
I want to start by acknowledging the pride that exists for this radical tradition, and people's respect for Morris and his work.
In today’s Labour party tradition is often seen as a reactionary force; it holds back our ‘progressive’ instincts. I disagree. For me, to paraphrase Somerset Maugham, ‘tradition is a guide and not a jailer’.
We as a party must retain our collective memory; not through ‘ancestor worship’ but through a continuous re-evaluation and self-education.
Never more so than during times of political crisis for our party. The solutions to our problems of today lie deep within our own history. This is not nostalgia but memory and tradition. It is how we can rediscover our voice, our warmth and compassion; our romance and our obligation as a party. William Morris is key to this.
For Morris was a visionary; a maker of language not policy; a romantic not a scientific socialist. Precisely what Labour needs today.
I'd like to talk about the contribution of Morris within our political culture. I admit this a very difficult task. Morris remains a curiously elusive figure in terms of left politics. But I want to search for the core of Morris and his significance to Labour.
Everyone, literally everyone, claims allegiance to Morris; but what is the essence of his political legacy?
Think for example about buildings: I've referred already to Wimbledon. I could equally have picked Hammersmith's Kelmscott House, or Morris's place of birth in Walthamstow and the William Morris Gallery in that borough, or the Red House in Bexleyheath, or one of the many, many other buildings inspired by Morris across London and beyond. Not least the countless pubs called ‘The William Morris’.
The many buildings signal the devotion in which he is held. But what are we actually devoted to; who or what do we cherish?
We could talk about him from a host of concrete perspectives - places, bricks and mortar - yet he remains almost physically elusive.
The basic questions
So let's start with a couple of questions. Who was William Morris? And what was his role in the Labour Party? These are not easy to answer.
Why? To begin with, as a person he was beyond any simple characterisation, and indeed was never an actual member of the Labour party.
He died in 1896, four years before the formation of the Labour Representation Committee; some twelve years after he set up the Socialist League. Earlier he had been treasurer of the National Liberal League before joining what became the Social Democratic Federation; he subsequently left after falling out with Hyndman. On leaving the Socialist League in 1890 he preached the virtue of socialist unity.
These different allegiances reflect the political turbulence of the times: the ILP, the Fabians, the SDF, the Socialist League and many others were all created in this period. People swarmed in and out of these organisations, reflecting the tempo of the times: embryonic socialist movements prior to Labour itself; an intense capitalist period; an economic and social furnace.
Morris's links to Labour as a party remain spartan. We should state a local link however. On April 6th 1918 when the ‘Wimbledon, Merton and Morden Labour Party’ was established, founding members included workers from William Morris’s factory.
Any cursory look at his life, his work and political legacy reinforce the elusiveness of the subject matter.
Despite this, his revolutionary socialism, writings and art have inspired many of the greatest Labour figures of the last 130 years- RH Tawney, GDH Cole, Laski, Keir Hardie, Lansbury, Crossland, Attlee, Barbara Castle and even Tony Blair amongst then.
Morris also remains an icon of the revolutionary left outside of Labour, whilst being simultaneously lambasted as a nostalgic conservative influence within it. Everyone appears to claim allegiance to him and his political legacy. He is an amorphous figure.
Moreover, he remains a key influence on the so called New Left after the Second World War– of so called ‘socialism and new life’ traditions; heavily Communist Party inspired attempts to identify an authentic English communist history. And yet he is also a pin up for certain Trotskyist variants of the creed, oddly standing alongside other mainstream Labour Party ethical traditions.
For example, Tawney once wrote that: ‘it [the Labour movement] is the child, not of Marx… but of Robert Owen, of Ruskin and of Morris’.
So William Morris appears as an icon across literally the whole of the left - across all of the left factions - in and outside the Labour Party - up to and including Tony Blair. He is a hero to both the conservative and the revolutionary.
Intuitively, that is not quite good enough. How can we bring William Morris into clearer focus?
William Morris
Let's begin at the end: his death.
EP Thompson wrote: ‘If he failed to bring unity in his life, yet in the moment of his death the whole socialist and progressive movement stood united in sympathy’.
As it is now, so it was at his death: everyone had a slice of him; all varieties of socialist owned him. Not least because it was our ideology that killed him.
His family doctor with ‘unhesitation’ stated that on the 3rd October 1896, aged 63, ‘he died a victim of his enthusiasm for spreading the principles of socialism’.
But what a 63 years it was.
Designer and artist. Primarily textiles and furnishings: carpets, tapestries and wallpapers, furniture and fittings. Architect and planner. Poet: even considered for laureate. Writer of classic texts like
News From Nowhere,
The Pilgrims of Hope and
The Dream of John Bull. A historic socialist figure, yet fundamentally a poet and creative meaning-maker.
Owned by everyone claiming an allegiance to the socialist movement- a revolutionary and a revisionist; progressive and conservative- or to bring it right up to date: red, new and blue Labour.
So we are not getting very far in discovering his individual creed.
Let's start again. What is Labour? What is socialism?
The question of who is William Morris is a question of what is the left itself, and consequently, what is the Labour Party.
Labour and socialism
One central question has plagued Labour through the ages- what is it? What does it stand for? This is also a contemporary question - what is the Labour Party for in 2011?
One easy answer is to say it depends. Tawney wrote that ‘socialism is a word the connotation of which varies, not only from generation to generation, but from decade to decade’.
So socialism is contingent? But what can the essential essence of socialism be if it is so dependent on circumstance; time and place?
What is socialism?
The modern socialist movement can be traced back to the 1848, and the Communist Manifesto of Marx and Engels. Yet arguably its origins go back further - to Gerrard Winstanley during the period of the English Civil War of 1642-1652; the True Levellers; the Diggers.
We might also consider the French Revolution, the ‘Conspiracy of the Equals’ and indeed French and English utopian socialists such as Owen and Fourier in the early part of the 19th Century
Moral issues are central. Utopian socialism carried the sense of a total social transformation, without the revolutionary role of the working class identified by 1848. In contrast Marx and Engels saw socialism as the product of the laws of history; in short a negation of capitalism. For Marxists socialism is a transitional period in the emergence of communism.
All of this is pretty abstract. So let's bring the story up to date with the classic ‘revisionist’ socialist text: Tony Crossland’s
Future of Socialism, which swerved around issues of definition to suggest that socialism was about equality; a ‘strong’ rather than ‘liberal’ approach to equality
It also emphasised the means: not singularly driven by questions of ownership, so as to encompass issues of freedom and democracy, planning and growth. In this classic text Crossland identifies 12 summary socialist doctrines that he thought existed before his own ground-breaking book.
Three of these were driven by the value theories of the classical political economists: Mill, Ricardo and Marx. The fourth was a Fabian tradition owing much to Mill, Ricardo and Jevons. Next, a ‘planning’ tradition emerging after the soviet revolution and its resultant ‘five year plans’, together with a ‘welfarist’ or ‘paternalist’ tradition owing much to - but separate from - fabianism.
He also identifies an early 19th Century ‘natural law’ socialist doctrine in terms of commonly held land. Next a syndicalist or ‘guild’ tradition of industrial democracy, in contrast to state socialism. Ninth a doctrine labelled ‘Owenism’- a utilitarian approach to economic cooperation. Next an ethical Christian Socialist tradition and then a not dissimilar ILP doctrine built around a notion of fellowship.
Finally, he isolates the tradition of William Morris and anti-commercialism.
So, we can identify Morris’s socialism as one of 12 types that have influenced Labour before Crossland. Does this take us any further? We are in danger of suffering from a white noise of various ‘socialisms’. Let's look at it another way.
An alternative approach is to consider socialism - according to Tawney - in terms of its objective of resistance to the market and its constraints to private profit. Two approaches can be identified: ethical and economic.
The economic route is driven by socialised ownership so as to produce alternative allocations of resources to redress poverty, homelessness etc. Here we might place the three value theory types identified by Crossland as well as the ‘Fabian’, the ‘planning’, ‘Owenite’ and ‘welfarist’ traditions.
It encompasses various rational approaches to issues of economic organisation and distribution, driven by science and calculus. Socialism is about resource allocation.
In contrast the ethical approach is based around the search for solidarity and fraternity; stopping the commodification of our lives, our labour and relationships. Returning to Crossland, we can here group the ‘natural law’ and ‘guild’ solidarities, alongside the socialism of Morris, that of the ILP and of Christian Socialism.
So we can detect a general socialist fault line - between rationality and relations; economic law and ethics; allocation and alienation.
Let's drill a bit deeper into this ethical tradition to discover what Morris was really about.
The New Left, Ruskin and Morris
After the second world war, parts of the so called ‘New Left’ in the UK sought to focus on Morris and his work as part of a general rehabilitation of a perceived historical socialist arc - a tradition we might describe as authentically English and communist. This owed a profound debt to English romanticism: anti scientific and artistic in orientation.
EP Thompson’s work- which pivots around his biography of Morris - is part of a distinct political project within the Communist Party to identify a specific English radicalism - a politics of virtue - in the character of Morris himself, but also that of the broader emerging working class itself. Just think of the sub-title of Thompson’s biography of Morris:
Romantic to Revolutionary.
Raymond Williams, in his classic text
Culture and Society, defines a political, artistic and cultural tradition from John Ruskin, through Morris, to the modern New Left.
Starting with John Ruskin, he focuses on his resistance to laissez faire society though artistic criticism where ‘the art of any country is the exponent of its social and political virtues… the exponent of its ethical life’.
What is vital is the way that what we value in life is taken out of the realm of political economy - of supply and demand, and calculus - and instead relates to the virtue of the labour itself - seen as the ‘joyful and right exertion of perfect life in man’.
Within Ruskin, the notion of wealth and value, and indeed labour, are used to attack 19th Century liberalism for its cold utilitarianism, and instead promote a society goverened by ‘what is good for men, raising them and making them happy’. To live a virtuous life; to become wiser, compassionate, righteous, creative. What it is to become a ‘freeborn Englishman’.
What is of value is not the notion of ‘exchange value’. It amounts to a radical critique of political economy; of economic transactions.
For Williams, Morris is the critical link, as this form of socialist thought is attached to the political formation of the emerging working class in the late 19th Century - he goes beyond the ‘medievalism’ of Ruskin through his political activity.
This turbulent period of class struggle occurs alongside a ‘neo-classical’ economic revolution; removing value away from labour itself into the scientific realm of individual rational preferences. This still dominates today.
The socialism of Morris is still grounded in the emancipatory conception of human labour and creativity. It links into a romantic, anti-scientific and anti-rationalist perspective where science might substitute for art. Art constitutes a politics of resistance to life being commodified. Socialism is not some technical solution or an equation; more a form of resistance to this commodification of life.
‘The cause of art is the cause of the people’, Morris tells us. One day, he says, ‘we shall win back art, that is to say the pleasure of life; win back art again to our daily labour’. For Morris it is the ‘province of art to set the true ideal of a full and reasonable life before him’.
This was not - as is often assumed - backward looking or anti-technology. This is a crass misreading of Morris: to pitch him as against civilisation. Rather it is built around the creativity of human labour, its possibilities and the need for real choice over the use of machinery. It is a continuous struggle, not just against capitalism - given its alienating effects on human creativity - but also left-wing utilitarianism and Fabianism.
Socialist change is not simply political and economic change - the ‘machinery’ of socialism - as he called it - but heightened consciousness that aims to realise a person’s true capacities. Self realisation.
I would suggest that it is here we can begin to see the true significance of Morris.
He is the key historic figure in translating a romantic approach to life and art into heightened political activity, in the cauldron of 1880s England. It was a politics built around a resistance to human commodification, involving knowledge, art, relationships, culture and society. A search for an authentic human life and growth. The struggle for a society that releases other human virtues.
This period was one of profound change and economic rupture; major political realignment and struggle. Socialist responses divided between rationalist and romantic ones; Morris stands as the key figure on one side. Fabianism, utilitarian and various socialist scientific or economistic strands stand on the other.
He once said: ‘political economy is not my life, and much of it appears to be dreary rubbish’. So returning to Tawney and Crossland: arguably the real divide within socialism and labour is between the rational and the romantic; in short hand between the economic and the ethical. Can we not see the whole history of socialism and labour through this prism?
The bridge between the romance of socialism, labour and political struggle is provided by Morris in what we value. It is therefore no surprise that he was both artist and activist. It is no surprise that his workers were employed creatively. Space, architecture, form and labour are critical.
Moreover, in what is generally a forward-looking socialist and Labour culture - about progress and change - Morris provides for a sense of loss. Lost labour and creativity; lost fellowship and beauty. Everything with a price; losing what we truly value
Turning Again to Labour
Morris is long dead.
Who are the great heroes of Labour? Who embody that sense of human creativity, hope and cultural struggle?
Think of the early years: who were the great figures? Who dominated the first three decades of the last century? Who stir the passions? Are they scientists and planners or are they different types of visionary; romantics even? Where lies the emotion and the energy in Labour’s history?
Go to the three great prophets of Labour: Keir Hardie, Ramsey MacDonald and George Lansbury. Three quite incredible men driven by a profound sense of human fellowship, forged alongside Morris in the 1880s.
Keir Hardie, ‘ a latter-day Jesus’, formed as a rebel in the Ayrshire coalfields in the 1880s. A founder of the ILP in 1893. An illegitimate miner reading Carlyle and Ruskin. A spiritualist and sentimentalist; of passionate religious convictions who disliked economics. Socialism was the creed of ‘the Christ to be’. Hardie cited William Morris as the ‘greatest man whom the socialist movement has yet claimed in this country’.
Ramsey MacDonald, who joined the ILP in 1894. Essentially a utopian pacifist who was especially pronounced in his opposition to the First World War. Extraordinary. He had a unique popular appeal; and charisma.
David Marquand puts it this way: ‘Many Labour men and women had been inspired as much by a revulsion from the ugliness and materialism of late nineteenth century industrial society as by a hatred of poverty and injustice. It was partly because he spoke to and for this strand of British socialism, the strand that produced the ILP Arts Guild of the middle twenties and which looked back to Walter Crane and William Morris, that Macdonald was able to capture the imagination of the Labour movement in a way that a narrowly political leader would have found it hard to do’.
George Lansbury. ‘the most lovable figure in British politics, and involved with the ILP and SDF. Morris’s last political speech was to second a motion put up by Lansbury at Holborn Town Hall. Twenty five years later Lansbury wrote from his prison cell in south London: ‘in the columns of commonweal, in pamphlets, lectures and speeches [he] made me realise that there was something more to be thought of than Acts of Parliament and State Bureaucracy…surely what we strive for is a society of free men and women bound together by ties of comradeship and communal wellbeing as pictured by Morris in his wonderful book
News from Nowhere’.
All three were towering romantics in the Labour tradition. With Bevin’s removal of Lansbury as party leader in August 1935, Labour turned the page on this tradition. It lost its romance as it embraced rationality.
From 1935 it is the planners, scientists, organisers and the economists - Dalton, Morrisson, Bevin, Jay, Gaitskill, Wilson, Attlee, that won out. The rationalists that won out, backed by the unions, who retreated into the party structures. Mechanistic, centralising remedies. Where are the prophets from 1935?
Webb's mistake, according to Morris, was to ‘overestimate the importance of the mechanism of a system of society apart from the end towards which it may be used’. The question of human virtue becomes at best residual.
The romantics lost. Sure, from time to time a few creep through. Bevan with his focus on the aesthetic of council house production. His ‘emotional concern for human life’. Deeply artistic, he held a libertarian belief in the capacity of all humans to flourish. He could make socialism sing. A ‘sensual puritan’ as described by Michael Foot.
Indeed Foot himself had elements of the tradition, alongside Kinnock and very early Blair, with his search for a ‘modern patriotism’. It crashed and burned.
It is William Morris that lies behind the romance of socialism. Its possibilities. Its hopes. The sense of a creative life we could all live: that is our shared humanity. It also talks of what we have lost as we commodify our lives and our relationships; our children, our culture.
The fault line between romance and rationalism accounts for why socialism and Labour retains such hope and such disappointment. Morris will always be contemporary. He retains a timeless humanity because of the possibilities that he reminds us exist within us and our children.
Following the economic crash, many people are looking for renewed meaning in their lives; to search for and to live a virtuous life, beyond consumption and commodities. Labour should return to William Morris to rediscover our own vitality and language. To quote Raymond Williams: ‘to be truly radical is to make hope possible rather than despair convincing’.
I will finish with two great radical artists who I think of when I think of Morris.
First, pacifist and socialist Vaughan Williams. It was once said of him: ‘his ‘nationalism’ was rooted in a love of the underdog ‘whose day was to come’. But his radicalism was of the William Morris kind (as was that of Dearmer, Sharp and Holst), which rebelled against contemporary conditions in the interests of a fuller, deeper and more beautiful life for the individual’.
That, I would suggest, should be the centre of Labour’s message for today. It might even be fun.
I will leave you with this quote from across the Irish Sea. From WB Yeats, who wrote this of Morris: ‘No man I have ever known was so well loved… People loved him as children are loved. I soon discovered his spontaneity and joy and made him my chief of men’.
If the man from Sligo says it, it has to be right.
Labour should own him again.
Originally delivered at the William Morris Society, 19 May 2011.