In their insistence on judging the value of a work of art principally in terms of its moral qualities, the publishers of today are heirs to a tradition of puritanism going back to Plato. But there has long been an anti-puritanical argument available too, the most notorious of them being the one articulated by Oscar Wilde: that to assess art in moral terms is to commit some sort of category mistake. “There is no such thing as a moral or an immoral book. Books are well-written, or badly written. That is all.” But that argument was never very persuasive by itself, and contains a large non sequitur. Why should that be “all”? Why can’t it be that part of what we’re saying in calling a book well-written is that it is morally exemplary? Surely it is those who call on us to leave our moral values at the door who have some explaining to do.
George MacDonald Fraser himself sometimes seemed to take Wilde’s view of the matter. He zealously repudiated, in his non-fiction, all attempts to defend his fiction as covertly anti-colonial, taking great pleasure in mocking critics who “hailed it as a scathing attack on British imperialism”. Was he “taking revenge on the 19th century on behalf of the 20th”? “Waging war on Victorian hypocrisy”? Were the books, as one religious journal was supposed to have claimed, “the work of a sensitive moralist” highly relevant to “the study of ethics”? No, he said, The Flashman Papers were to be taken “at face value, as an adventure story dressed up as the memoirs of an unrepentant old cad”.
Is Fraser’s avowed amoralism the whole story? In one respect, the Flashman books are certainly amoral: they embody no systematic view that colonialism was wrong, illegitimate, unjust. (Nor, come to it, do they embody the view that it was right, legitimate and just.) As Fraser appears to see it in his fiction, empire was simply the default mode of political life in much of the world. This indeed was the case for much of human history. To be colonised was generally a misfortune for the colonised, but the individual coloniser was neither hero nor villain, just a self-interested actor acting on what he believed to be the necessities of his time and place.
We live in a world where we are constantly exercised by the problem of complicity. We wonder: am I complicit in climate change because I just put on the washing machine? In a sufficiently inclusive sense of the word “complicit”, of course I am: one of countless agents whose everyday actions add a tiny bit more carbon to the atmosphere. But outside an ethics seminar, what I’d tell you is that I was just doing my laundry because the clothes were beginning to stink.
Fraser was a deft enough writer to force his characters to confront the larger, what we today might call “structural” questions, in terms that belong to their own times, not to ours. At a pivotal moment in Flash for Freedom, Flashman is enslaved himself in America. Thrown into a cart with a charismatic slave called Cassy, he gets to hear her relish the irony of his position: “Well, now one of you knows what it feels like … Now you know what a filthy race you belong to.” Is there any hope of escape, he asks her desperately. None, she replies, “there isn’t any hope. Where can you run to, in this vile country? This land of freedom! With slave-catchers everywhere, and dogs, and whipping-houses, and laws that say I’m no better than a beast in a sty!” Flashman has the grace to be silent; what can he say?
Nikhil Krishnan, “Harry Flashman’s imperial morality”, UnHerd, 2022-12-26.
April 5, 2023
QotD: Harry Flashman’s adventures were not intended as “covert anticolonialism”
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