Over at The Passive Voice, while Passive Guy is away, the guest bloggers have put up the sole surviving recording of the voice of Virginia Woolf. Talking of the poor state of the literature of England in her time, she makes this revealing remark:

Where are we to lay the blame? Not on our professors, not on our reviewers, not on our writers, but on words. Words are to blame.

There is a very old English saying, invented by people who had a far better instinct for the use of language than Virginia Woolf ever had: ‘It’s a poor craftsman that blames his tools.’ At the very time when Woolf (and a lot of other tired English littérateurs) complained about the exhaustion of the English language, a generation of mostly American and Irish writers were making those poor old words do wonderful new tricks, and breathed a whole new vigour into literature. (Then there were Welshmen like Dylan Thomas, and a few Scots. There may even have been a Canadian in there somewhere.)

Of course it was the Americans’ turn to slip into decadence half a century later, when it became fashionable for the darlings of American Lit to blame the failure of their books on the inadequacy of words to express their wonderful sublime ideas. B. R. Myers had a short way with such people, pointing out sarcastically that English words were good enough for ‘a piker like Shakespeare’.

What did the Americans, Irish, and Welsh have in Woolf’s time that Woolf and her English friends lacked? Part of the answer may perhaps be found when we hear Woolf’s accent. It is a very pure and correct ‘educated’ accent, an early form of ‘Received Pronunciation’, the chief purpose of which was to prove that the speaker did not belong to the despised working classes. It was a deracinated English, deliberately divorced from any regional dialect or demotic form of speech; it did not even have the vitality to generate a vivid slang of its own. George Orwell, who was brought up to to speak it, observed:

The ‘educated’ accent, of which the accent of BBC announcers is a sort of parody, has no asset except its intelligibility to English-speaking foreigners. In England, the minority to whom it is natural don’t particularly like it, while in the other three-quarters of the population it arouses an immediate class antagonism.

This is precisely Woolf’s accent; you can hear it in recordings by Noel Coward also, and any number of English politicians of the time. (Not Churchill; as Orwell points out, ‘Too old to have acquired the modern “educated” accent he speaks with the Edwardian upper-class twang which to the average man’s ear sounds ilke cockney.’ This gave Churchill a great advantage as a public speaker: people could hear him without hating him.) In documents of the period, it is often called a mincing accent; it would not be too much to say that it was seldom spoken without fear – fear of seeming ‘common’; fear of being mistaken for a member of the Lower Orders; fear of breaking the innumerable social taboos that ‘educated’ speakers were supposed to obey, and thus revealing (truly or falsely) that the accent was merely an act.

Great literature is not written by people who are afraid to speak freely. So the task devolved upon people like Hemingway, Faulkner, Thomas, and Eliot, who spoke and wrote in their own regional dialects and never felt any need to apologize for it. It is not the inadequacy of words that kills literature, but the fear of being seen to use them differently from other people.