Hilaire Belloc

Hilaire Belloc is considered one of the most controversial and accomplished men of letters of
early 20th-century England. An author whose writings continue to draw either the deep
admiration or bitter contempt of readers, he was an outspoken proponent of radical social and
economic reforms, all grounded in his vision of Europe as a "Catholic society." Although many
critics have attacked Belloc's prescriptive polemical works for their tone of truculence and
intoleranceand, especially, for recurrent elements of anti-Semitismthey have also joined in
praise of his humor and poetic skill, hailing Belloc as the greatest English writer of light verse
since Lewis Carroll and Edward Lear.

The son of a wealthy French father and English mother, Belloc was born in La Celle St. Cloud,
France, a few days before the Franco-Prussian War broke out. The family fled to England at the
news of the French army's collapse, returning after the war's end to discover that the Belloc home
had been looted and vandalized by Prussian soldiers. Although the estate was eventually restored
and made habitable, the evidence of destruction witnessed by Belloc's parents and later recounted
to their children made a deep impression on Hilaire; throughout his life and through the two
world wars, he habitually referred to Germany as "Prussia" and considered the "Prussians" a
barbaric people worthy only of utter contempt.

By the mid-1890s Belloc had married and, through the influence of his sister Marie Belloc
Lowndes, begun writing for various London newspapers and magazines. His first book, Verses
and Sonnets, appeared in 1896, followed by The Bad Child's Book of Beasts, which satirized
moralistic verse for children and proved immensely popular. Illustrated with superb
complementary effect by Belloc's friend Basil T. Blackwood, The Bad Child's Book of Beasts,
according to critics, contains much of the author's best light verse, as do such later collections as
More Beasts (for Worse Children), The Modern Traveller and Cautionary Tales for Children. An
impulsive man who seldom lived in any one place for more than a few weeks and whose
frequent trips to the continent proved a constant drain on his financial resources, Belloc
welcomed the popular success of his verse collections. But, embracing Cardinal Edward Henry
Manning's dictum that "all human conflict is ultimately theological," he perceived his primary
role as that of polemicist and reformer, whose every work must reflect his desire for Europe's
spiritual, social, and political return to its monarchist, Catholic heritage. Belloc's career as an
advocate of Catholicism first attracted wide public attention in 1902 with The Path to Rome,
perhaps his most famous single book, in which he recorded the thoughts and impressions that
came to him during a walking trip through France and Italy to Rome. In addition to its infusion
of Catholic thought, the work contains what later became acknowledged as typically Bellocian
elements: rich, earthy humor; an eye for natural beauty; and a meditative spiritall of which
appear in the author's later travel books, which include Esto Perpetua, The Four Men, and The
Cruise of the "Nona."

The period between the century's turn and the mid-1920s was the time of Belloc's widest fame
and influence. Throughout these years Belloc's name and reputation were frequently linked in the
public mind with G. K. Chesterton, whom Belloc had met around 1900 when each was a
contributor to the radical journal the Speaker. In Chesterton, Belloc found a talented illustrator of
his books, a friend, and a man who shared and publicly advocated many of his own religious and
political views. Anti-industrial and antimodern in much of their advocacy, the two were jointly
caricatured in print by George Bernard Shaw as "the Chesterbelloc," an absurd pantomime beast
of elephantine appearance and outmoded beliefs. Both, according to Shaw and other adverse
critics, had a passion for lost causes. Belloc and Chesterton were "Little Englanders"opposed
to British colonialism and imperialismwhose essays in the Speaker had infuriated many
Londoners by the authors' opposition to Britain's imperial designs on South Africa and the
nation's participation in the Boer War. Each looked to the Middle Ages as an era of spiritual and
material fulfillment when Europe was united in Catholicism and small landowners worked their
own, Church-allotted parcels of property, providing for their own individual needs, free from
both the wage-slavery that later developed under capitalism and the confiscatory taxation and
collectivist policies of state socialism. (Belloc in particular, after serving for several years as a
Liberal M.P. in the House of Commons, held a cynical view of the modern British political
system, seeing little difference in the methods of the government's Liberal and Conservative
ministers, who were often, to his disgust, fellow clubmen and the closest of friends outside the
halls of Parliament.) As an alternative both to capitalism and to the Fabian socialism advanced by
such contemporaries as Shaw, H. G. Wells, and Beatrice and Sidney Webb, Belloc propounded
an economic and political program called Distributism, a system of small landholding which
harks back to Europe's pre-Reformation history. This system was outlined in the 1891 Papal
Encyclical Rerum Novarum, and is fully described in Belloc's controversial essay The Servile
State, published in 1912.

Although he admired Mussolini, Belloc detested Hitler, particularly the German's anti-Jewish
ravings, and he was outspoken with anger and pity when his prophecy from The Jews began to
come true within his lifetime. But even though he condemned persecution of Jews, he remained
to the last a man who considered Jews "Christ-killers" and shylocks. To Belloc, Jews were
altogether too prominent in the world of international finance, maintaining capitalism and
industrialism through loans and investments, and thereby extending the "servile state."
Capitalism was, to Belloc, itself an outgrowth of Protestantism, which had originated in
"Prussia," usurped Church authority during the Middle Ages, given the peasants' Church-
allocated land to the wealthy aristocracy, and driven the peasants themselves off the land and into
wage-slavery under their new, rich rulers. Among the most scurrilous of Britain's Protestants
were university dons, who, according to Belloc, trained the young to embrace the capitalist
system, with its inherent need for cheap labor and easily obtained raw materials (hence its need
for imperialistic colonialism), the success of which further enriched and entrenched the Jews in
their positions of financial power.

While Belloc's political and social views have proven unpopular, critics have highly praised the
author's light verse, with W. H. Auden going so far as to state of Belloc that "as a writer of Light
Verse, he has few equals and no superiors." In his widely known cautionary verse for children,
Belloc assumed the perspective of a ridiculously stuffy and pedantic adult lecturing children on
the inevitable catastrophes that result from improper behavior. Among his outstanding verses of
this type are "Maria Who Made Faces and a Deplorable Marriage," "Godolphin Horne, Who Was
Cursed with the Sin of Pride, and Became a Bootblack," and "Algernon, Who Played with a
Loaded Gun, and, on Missing his Sister, Was Reprimanded by His Father." "Unlike Lear and
Carroll, whose strategy was to bridge the gulf between adults and children," Markel has written,
"Belloc startled his readers by exaggerating that gulf. Belloc's view of children did not look
backward to the Victorian nonsense poets, but forward to the films of W. C. Fields." Like his
children's verse, Belloc's satiric and non-cautionary light verse is characterized by its jaunty,
heavily rhythmic cadences and by the author's keen sense of the absurd, as reflected in "East and
West" and in "Lines to a Don," which skewers a "Remote and ineffectual Don / That dared attack
my Chesterton."

Belloc wrote in every genre except drama, but, according to critics, achieved wide success in but
two: poetry and the personal essay. While his novels and polemical writings are considered too
tightly bound to obscure issues of the early twentieth century and are little read, his poetry, as
well as The Path to Rome and The Four Men, continue to attract the interest of readers and
critics. In addition, Belloc's small corpus of literary criticism is considered highly insightful. But
overshadowing his literary accomplishments is the common perception of Belloc as a loud,
intolerant bull of a writer whose strongly stated opinions not only tainted the thought of the
otherwise genial G. K. Chesterton, but also contributed to the atmosphere of anti-Jewish hatred
that culminated in the Holocaust. Some critics have noted the odd fact that while all of Belloc's
writings are frequently examined for evidence of anti-Semitism, the works of Shaw, who praised
Joseph Stalin's policies during the great purges of the 1930s, and Wells, who in Anticipations
(1902) flatly proposed the extermination of any race or group that dared oppose the coming
omnicompetent utopian technocracy, are read and critically treated without reference to their
authors' excesses. Several critics have explained this discrepancy by pointing out that, in light of
the Holocaust, many people today consider anti-Semitism an unforgivable attitude, and that
while many moderns have seen newsreel films of Nazi concentration camps, no one has seen so
much as a photograph of a Soviet gulag. "Given Belloc's abrasive manner and peculiarities of
thought," Robert Royal has concluded, "it is not surprising that he has failed to attract a larger
audience. But many other authors of the same periodShaw, for exampleare still read in spite
of their eccentricities. Belloc has clearly been neglected because of his sharp opposition to
almost everything that has become part of the liberal modern world. The world will not care to
read Belloc, but those who pick up his best books to savor his historical imagination, the overall
keenness of his mind, and the simple force of his prose will need no other reason to return to him
again and again."

Cited Sources

https://www.poetryfoundation.org/poems-and-poets/poets/detail/hilaire-belloc

https://poets.org/poetsorg/poet/hilaire-belloc