Quotes from book
Enemies of Promise

Enemies of Promise

Enemies of Promise is a critical and autobiographical work written by Cyril Connolly first published in 1938.It comprises three parts, the first dedicated to Connolly's observations about English literature and the English literary world of his time, the second a list of adverse elements that affect the ability to be a good writer and the last an account of Connolly's early life. The overarching theme of the book is the search for understanding why Connolly, though he was widely recognised as a leading man of letters and a highly distinguished critic, failed to produce a major work of literature.

“It is by a blend of lively curiosity and intelligent selfishness that the artists who wish to mature late, who feel too old to die, the Goethes, Tolstoys, Voltaires, Titians and Verdis, reach a fruitful senescence. They cannot afford to associate with those who are burning themselves up or preparing for a tragedy or whom melancholy has marked for her own. Not for them the accident-prone, the friend in whom the desire for self-destruction keeps blistering out in broken legs or threatening them in anxiety-neuroses. Not for them the drumming finger, the close-cropt nail, the chewed glasses, the pause on the threshold, the wandering eye, or the repeated ‘um’ and ‘er.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 16: Outlook Unsettled (p. 137)

“Whom the Gods wish to destroy, they first call promising.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 13: The Poppies (p. 109-110)
Context: Whom the Gods wish to destroy, they first call promising.
Young writers if they are to mature require a period of between three and seven years in which to live down their promise. Promise is like the mediaeval hangman who after settling the noose, pushed his victim off the platform and jumped on his back, his weight acting a drop while his jockeying arms prevented the unfortunate from loosening the rope. When he judged him dead he dropped to the ground.

“Literature is the art of writing something that will be read twice; journalism what will be grasped at once, and they require separate techniques.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge of the Mandarins (p. 19)

“The refractory pupil of Socrates, Aristippus the Cyrene, who believed happiness to be the sum of particular pleasures and golden moments and not, as Epicurus, a prolonged intermediary state between ecstasy and pain.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 5: Anatomy of Dandyism (p.38)

“You imply our education is of no use to you in after life. But no education is. We are not an employment agency; all we can do is to give you a grounding in the art of mixing with your fellow men, to tell you what to expect from life and give you an outward manner and inward poise, an old prescription from the eighteenth century which we call a classical education, an education which confers the infrequent virtues of good sense and good taste and the benefit of dual nationality, English and Mediterranean, and which, taking into account the difficulties of modern life, we find the philosophy best able to overcome them.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 3: A Georgian Boyhood, Ch. 24: Vale (p. 258)

“To this period [age seven] I trace my worst faults. Indecision, for I found that by hesitating for a long time over two toys in a shop I would be given both and so was tempted to make two alternatives always seem equally attractive; Ingratitude, for I grew so used to having what I wanted that I assumed it as a right; Laziness, for sloth is the especial vice of tyrants; the Impatience with boredom that is generated by devotion; the Cruelty which comes from a knowledge of power and the Giving way to moods, for I learnt that sulking, crying, moping and malingering were bluffs that paid.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 3: A Georgian Boyhood, Ch. 18: The Branching Ogham (p. 149)

“So wrote Pater, calling an art-for-art's sake muezzin to the faithful from the topmost turret of the ivory tower.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 5: Anatomy of Dandyism (p. 37)

“No education is worth having that does not teach the lesson of concentration on a task, however unattractive. These lessons, if not learnt early, will be learnt, if at all, with pain and grief in later life.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 3: A Georgian Boyhood, Ch. 24: Vale (p. 259)

“The lesson one can learn from Firbank is that of inconsequence. There is the vein which he tapped and which has not yet been fully exploited.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 5: Anatomy of Dandyism (p. 36)

“Were I to deduce any system from my feelings on leaving Eton, it might be called The Theory of Permanent Adolescence. It is the theory that the experiences undergone by boys at the great public schools, their glories and disappointments, are so intense as to dominate their lives and arrest their development. From these it results that the greater part of the ruling class remains adolescent, school-minded, self-conscious, cowardly, sentimental, and in the last analysis homosexual.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 3: A Georgian Boyhood, Ch. 24: Vale (p. 253)

“We write in the language of Dryden and Addison, of Milton and Shakespeare, but the intellectual world we inhabit is that of Flaubert and Baudelaire; it is to them, and not to their English contemporaries, that we owe our conception of modern life. The artist whose reward is perfection and where perfection can be obtained only by a separation of standards from those of the non-artist is led to adopt one of four rôles: the High Priest (Mallarmé, Joyce, Yeats), the Dandy (Firbank, Beerbohm, Moore), the Incorruptible Observer (Maugham, Maupassant) or the Detached Philosopher (Strachey, Anatole France). What he will not be is a Fighter or Helper.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 4: The Modern Movement (p. 30)

“Failure on the other hand is infectious. The world is full of charming failures (for all charming people have something to conceal, usually their total dependence on the appreciation of others) and unless the writer is quite ruthless with these amiable footlers, they will drag him down with them.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 16: Outlook Unsettled (p. 136-137)

“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 2: The Mandarin Dialect (p. 13)

“There is no more sombre enemy of good art than the pram in the hall.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 14: The Charlock’s Shade (p. 116)

“I greet you, my educated fellow bourgeois, whose interests and whose doubts I share.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 1: The Next Ten Years (p. 5)

“It is after creation, in the elation of success, or the gloom of failure, that love becomes essential.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 16: Outlook Unsettled (p. 136)

“Popular success is a palace built for a writer by publishers, journalists, admirers and professional reputation makers, in which a silent army of termites, rats, dry rot and death-watch beetles are tunnelling away, till, at the very moment of completion, it is ready to fall down. The one hope for a writer is that although his enemies are often unseen they are seldom unheard. He must listen for the death-watch, listen for the faint toc-toc, the critic's truth sharpened by envy, the embarrassed praise of a sincere friend, the silence of gifted contemporaries, the implications of the don in the manger, the visitor in the small hours. He must dismiss the builders and contractors, elude the fans with an assumed name and dark glasses, force his way off the moving staircase, subject every thing he writes to a supreme critical court. Would it amuse Horace or Milton or Swift or Leopardi? Could it be read to Flaubert? Would it be chosen by the Infallible Worm, by the discriminating palates of the dead?”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 15: The Slimy Mallows (p. 122-123)

“The Mandarin style at its best yields the richest and most complete expression of the English language.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Context: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

“Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.”

Cyril Connolly book Enemies of Promise

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Context: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

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