Brave New World Revisited - Huxley Aldous Leonard - Страница 11

The task of the commercial propagandist in a democ­racy is in some ways easier and in some ways more difficult than that of a political propagandist employed by an established dictator or a dictator in the making. It is easier inasmuch as almost everyone starts out with a prejudice in favor of beer, cigarettes and ice­boxes, whereas almost nobody starts out with a prej­udice in favor of tyrants. It is more difficult inasmuch as the commercial propagandist is not permitted, by the rules of his particular game, to appeal to the more savage instincts of his public. The advertiser of dairy products would dearly love to tell his readers and lis­teners that all their troubles are caused by the mach­inations of a gang of godless international marga­rine manufacturers, and that it is their patriotic duty to march out and burn the oppressors' factories. This sort of thing, however, is ruled out, and he must be content with a milder approach. But the mild approach is less exciting than the approach through verbal or physical violence. In the long run, anger and hatred are self-defeating emotions. But in the short run they pay high dividends in the form of psychological and even (since they release large quantities of adrenalin and noradrenalin) physiological satisfaction. People may start out with an initial prejudice against tyrants; but when tyrants or would-be tyrants treat them to adrenalin-releasing propaganda about the wickedness of their enemies — particularly of enemies weak enough to be persecuted — they are ready to fol­low him with enthusiasm. In his speeches Hitler kept repeating such words as "hatred," "force," "ruthless," "crush," "smash"; and he would accompany these vio­lent words with even more violent gestures. He would yell, he would scream, his veins would swell, his face would turn purple. Strong emotion (as every actor and dramatist knows) is in the highest degree contagious. Infected by the malignant frenzy of the orator, the audience would groan and sob and scream in an orgy of uninhibited passion. And these orgies were so en­joyable that most of those who had experienced them eagerly came back for more. Almost all of us long for peace and freedom; but very few of us have much enthusiasm for the thoughts, feelings and actions that make for peace and freedom. Conversely almost nobody wants war or tyranny; but a great many people find an intense pleasure in the thoughts, feelings and ac­tions that make for war and tyranny. These thoughts, feelings and actions are too dangerous to be exploited for commercial purposes. Accepting this handicap, the advertising man must do the best he can with the less intoxicating emotions, the quieter forms of irrational­ity.

Effective rational propaganda becomes possible only when there is a clear understanding, on the part of all concerned, of the nature of symbols and of their rela­tions to the things and events symbolized. Irrational propaganda depends for its effectiveness on a general failure to understand the nature of symbols. Simple-minded people tend to equate the symbol with what it stands for, to attribute to things and events some of the qualities expressed by the words in terms of which the propagandist has chosen, for his own purposes, to talk about them. Consider a simple example. Most cos­metics are made of lanolin, which is a mixture of purified wool fat and water beaten up into an emulsion. This emulsion has many valuable properties: it penetrates the skin, it does not become rancid, it is mildly antiseptic and so forth. But the commercial prop­agandists do not speak about the genuine virtues of the emulsion. They give it some picturesquely volup­tuous name, talk ecstatically and misleadingly about feminine beauty and show pictures of gorgeous blondes nourishing their tissues with skin food. "The cosmetic manufacturers," one of their number has written, "are not selling lanolin, they are selling hope." For this hope, this fraudulent implication of a promise that they will be transfigured, women will pay ten or twenty times the value of the emulsion which the propagandists have so skilfully related, by means of misleading symbols, to a deep-seated and almost universal feminine wish — the wish to be more attrac­tive to members of the opposite sex. The principles underlying this kind of propaganda are extremely sim­ple. Find some common desire, some widespread uncon­scious fear or anxiety; think out some way to relate this wish or fear to the product you have to sell; then build a bridge of verbal or pictorial symbols over which your customer can pass from fact to compensa­tory dream, and from the dream to the illusion that your product, when purchased, will make the dream come true. "We no longer buy oranges, we buy vitality. We do not buy just an auto, we buy prestige." And so with all the rest. In toothpaste, for example, we buy, not a mere cleanser and antiseptic, but release from the fear of being sexually repulsive. In vodka and whisky we are not buying a protoplasmic poison which in small doses, may depress the nervous system in a psychologically valuable way; we are buying friendli­ness and good fellowship, the warmth of Dingley Dell and the brilliance of the Mermaid Tavern. With our laxatives we buy the health of a Greek god, the radi­ance of one of Diana's nymphs. With the monthly best seller we acquire culture, the envy of our less literate neighbors and the respect of the sophisticated. In every case the motivation analyst has found some deep-seated wish or fear, whose energy can be used to move the consumer to part with cash and so, indirectly, to turn the wheels of industry. Stored in the minds and bodies of countless individuals, this po­tential energy is released by, and transmitted along, a line of symbols carefully laid out so as to bypass ra­tionality and obscure the real issue.

Sometimes the symbols take effect by being dispro­portionately impressive, haunting and fascinating in their own right. Of this kind are the rites and pomps of religion. These "beauties of holiness" strengthen faith where it already exists and, where there is no faith, contribute to conversion. Appealing, as they do, only to the aesthetic sense, they guarantee neither the truth nor the ethical value of the doctrines with which they have been, quite arbitrarily, associated. As a mat­ter of plain historical fact, the beauties of holiness have often been matched and indeed surpassed by the beauties of unholiness. Under Hitler, for example, the yearly Nuremberg rallies were masterpieces of ritual and theatrical art. "I had spent six years in St. Pe­tersburg before the war in the best days of the old Russian ballet," writes Sir Neville Henderson, the Brit­ish ambassador to Hitler's Germany, "but for gran­diose beauty I have never seen any ballet to compare with the Nuremberg rally." One thinks of Keats — "beauty is truth, truth beauty." Alas, the identity ex­ists only on some ultimate, supramundane level. On the levels of politics and theology, beauty is perfectly compatible with nonsense and tyranny. Which is very fortunate; for if beauty were incompatible with non­sense and tyranny, there would be precious little art in the world. The masterpieces of painting, sculpture and architecture were produced as religious or political propaganda, for the greater glory of a god, a govern­ment or a priesthood. But most kings and priests have been despotic and all religions have been riddled with superstition. Genius has been the servant of tyranny and art has advertised the merits of the local cult. Time, as it passes, separates the good art from the bad meta­physics. Can we learn to make this separation, not after the event, but while it is actually taking place? That is the question.

In commercial propaganda the principle of the disproportionately fascinating symbol is clearly under­stood. Every propagandist has his Art Department, and attempts are constantly being made to beautify the billboards with striking posters, the advertising pages of magazines with lively drawings and photo­graphs. There are no masterpieces; for masterpieces appeal only to a limited audience, and the commercial propagandist is out to captivate the majority. For him, the ideal is a moderate excellence. Those who like this not too good, but sufficiently striking, art may be ex­pected to like the products with which it has been associated and for which it symbolically stands.