The charisma question: Disraeli and Gladstone reappraised

Dick Leonard's double biography of Disraeli and Gladstone has come at the perfect time: they cast light on our current leaders and the misunderstood charisma gap between them.

An 1880s Vanity Fair illustration of Gladstone and MPs in Parliament. Credit: Michael Nicholson/Corbis
 
The Great Rivalry: Disraeli and Gladstone
Dick Leonard
IB Tauris, 240pp, £22.50
 
Dick Leonard is a master of the brief life. Between 2006 and 2011 he published three volumes of short and vivid biographical sketches of Britain’s prime ministers, covering the 270-odd years between Robert Walpole in the early 18th century and Tony Blair in the late 20th. As befits a former assistant editor of the Economist, Leonard has the good journalist’s nose for a telling anecdote and a plain, unpompous style.
 
The prime-ministerial trilogy was deservedly successful. The biographical sketches were stylish, insightful, witty and fairminded. The whole ensemble threw unexpected light on the evolution of high politics in Britain from the narrow oligarchy of the 18th century to the febrile populism of today. Though Leonard did not say so in so many words, the age of Blair, with its sofa government and sleazy courtiers, turned out to be surprisingly like the age of Walpole.
 
Now, Leonard has ventured into new territory. He has turned his hand to a double biography of the two greatest parliamentary rivals of the 19th century and perhaps of any century: Disraeli and Gladstone. The Great Rivalry is his crowning achievement. It is written with captivating panache, packed with well-chosen quotations, full of psychological insight and, at one and the same time, readable, entertaining and illuminating.
 
Quite apart from that, Leonard has been extraordinarily lucky in his timing. Disraeli once said that the Conservative prime minister Robert Peel had found the Whigs bathing and walked away with their clothes. Ed Miliband’s audacious attempt to clothe the Labour Party in Disraeli’s One Nation mantle is a 21st-century equivalent of this. Meanwhile, the Liberal Democrats are thrashing about in search of respectable ancestors to legitimise their renunciation of the social liberal tradition espoused by most of their leading figures, from David Lloyd George to Charles Kennedy. So far as I know, none of today’s Liberal Democrats has prayed Gladstone in aid but his ghost looms with quizzical menace in the background.
 
Leonard does not spend much time on Miliband’s “one-nation” Labour or the Lib Dems’ about-faces but he offers a new perspective on both. His Disraeli is superficially complex but at bottom straightforward. He was both a cynic and a romantic; a poseur and a charmer. Leonard quotes a nice passage from the memoirs of Jennie Jerome, Winston Churchill’s mother. After sitting next to Gladstone, she wrote, “I thought he was the cleverest man in England. But when I sat next to Disraeli I thought I was the cleverest woman.”
 
Queen Victoria fell for him with an enthusiasm bordering on the unconstitutional. But, as Leonard makes clear, there was much more to Disraeli than cynicism and charm. He had an intuitive grasp of the enduring realities of Britain’s political sociology that no other political leader of the day could match. He steered the 1867 Reform Bill through the House of Commons, increasing the size of the electorate by around 80 per cent and ensuring that in boroughs in England and Wales a majority of the electorate would belong to the working class. The Times commented that Disraeli had discerned a Conservative voter in the working man as a sculptor discerns “the angel in the marble”.
 
Working-class Toryism 150 years later still mystifies the more blinkered sections of the left but it is a fixture of our politics. The virtually unbroken Conservative ascendancy between the wars, the rapid Conservative revival after Labour’s crushing victory in 1945 and the Conservative hegemony from Margaret Thatcher’s victory in 1979 to Blair’s in 1997 all testify to its vitality. Disraeli’s angels have sustained Conservative leaders as various as Lord Salisbury, Stanley Baldwin, Winston Churchill, Harold Macmillan and Edward Heath, as well as Thatcher and John Major. But in the 1860s, as apprehensive political and intellectual elites contemplated the enormous gulf between the property-owning few and the non-propertyowning many, it needed an exceptional combination of imagination and courage to gamble on the future behaviour of angels still hidden in their marble cladding.
 
The iconic liberal, John Stuart Mill, declared publicly that the working classes were “habitual liars”; Thomas Carlyle thought the guiding principle of the post-1867 order would be equality – “any man equal to any other, Quashee Nigger to Socrates or Shakespeare, Judas Iscariot to Jesus Christ”. John Bright, the radical tribune of the people, wished to enfranchise “intelligent and honest working men”, but not those trapped in “poverty and dependence”.
 
In making what the prime minister Lord Derby called a “leap in the dark”, he and Disraeli were defying the conventional wisdom of the time. They had to face down hysterical opposition from the High Tory Lord Cranborne (the future Lord Salisbury) and defeat a wrecking amendment moved by a disgruntled and petulant Gladstone. In the bright light of hindsight, it is easy to see that the leap was bound to succeed but this was far from obvious in 1867.
 
What Disraeli thought, we shall never know. What we do know is that long before the 1867 Reform Bill was on the political agenda he had dreamed wistfully of an alliance between the aristocracy and “the people” against the soulless, money-grubbing bourgeoisie. In his early years as an MP he became the leader and guru of a tiny group of aristocratic young Tory MPs who called themselves “Young England” and saw themselves as the natural leaders of the labouring poor exploited by rapacious capitalists.
 
That neo-feudal message ran through his two great political novels, Coningsby and Sybil: or The Two Nations. The dream of an alliance between the working class and the propertied elite was a central element in his statecraft throughout his career. As Leonard points out, it has surfaced again and again in Conservative rhetoric and to some extent in Conservative practice. But the “One Nation” that Disraeli dreamed of was a Tory nation; he sought to defend the existing structure of property and status against the buffetings of social change. “One-nation” Labour in general and Miliband in particular are not his ideological or emotional descendants.
 
The same is true of Disraeli’s vision of foreign and imperial affairs. For Disraeli, as for Bismarck, international politics was about power; appeals to morality were sentimental hot air. At the Congress of Berlin that redrew the map of the Balkans following the Russo- Turkish war of 1877-78, Disraeli and Bismarck established a strong rapport. When the congress was over, Bismarck brushed aside compliments on his chairmanship with the famous phrase “the old Jew, that is the man” (Der alte Jude, das ist der Mann). A by-product of the congress was that Cyprus became a British colony, a land-grab with no conceivable moral justification. Earlier, Disraeli had acquired control of the Suez Canal for Britain and succumbed to Queen Victoria’s insistence that she should become empress of India. The hallmark of his foreign and imperial policy was a tough-minded, even cynical realpolitik, wrapped in the romantic tinsel of Young England and his own early novels. There isn’t much realpolitik or romantic tinsel about Miliband, though there was a lot of both in Blair’s incorrigible propensity for interventions in distant parts of the globe.
 
For Gladstone, realpolitik and tinsel were equally abhorrent. They added up to what he called “Beaconsfieldism”. (For his last five years as prime minister, Disraeli was Earl of Beaconsfield.) Gladstone was prepared to intervene in distant continents in defence of British interests, but he did not believe that the unprecedented power of the British empire gave it special privileges; for him, European nations great and small were morally equal. Quite apart from that, the flashy, gimcrack style of Disraeli’s realpolitik stuck in his gullet. Gladstone had started in politics as an insider – though not by birth. He was an Etonian, a graduate of Christ Church, Oxford, and began his parliamentary career as member for a pocket borough controlled by the Duke of Newcastle. He was a junior minister at 25 and a cabinet minister at 33.
 
As he aged, however, he switched from the inside to the outside track of politics. He became the “People’s William” and declared that “all the world over” he “would back the masses against the classes”. Like Lincoln, he appealed to the better angels of the crowds that flocked to hear him at Manchester’s Free Trade Hall or at the whistle-stop meetings he addressed from his campaign trains. During the celebrated Midlothian campaign of 1879, he addressed a total of 86,930 people. But he was no demagogue. He sought to educate, to persuade, to uplift, not just to enthuse. He thought Beaconsfieldism was wicked and said so in no uncertain terms. For him, its wickedness was at least as much a matter of style as of content. It devalued the currency of political debate and appealed to the worst in human nature.
 
Leonard’s treatment of the great rivalry is scrupulously fair but I can’t help feeling that he is more comfortable with Disraeli than Gladstone. One reason is that – like virtually all 20th- and 21st-century writers – he finds it hard to empathise with Gladstone’s profound religious faith. The astonishingly voluminous Gladstone diaries – an unrivalled source for his inner life and also for his political activities, his reading and his sexual temptations – were a record intended for the Almighty. Colin Matthew, who edited most of the diary, wrote that it described Gladstone’s “strivings to harness his will and his passions to the service of God”. It is hard to think of any modern politician of whom that could be said. In the most important area of Gladstone’s life, he was closer to the age of Cromwell and Milton than to ours.
 
A second reason why Leonard finds it difficult to empathise with Gladstone has to do with the role of charismatic leadership in politics. Gladstone was the first notable charismatic political leader in British history. (Lloyd George and Thatcher were the next.) Indeed, Max Weber, who invented the notion of charismatic authority, saw Gladstone as its prime exemplar.
 
Disraeli was not charismatic in the Weberian sense. He was more fun to be with than Gladstone, perhaps because he didn’t take himself so seriously. But, by definition, charismatic leaders do take themselves seriously. They think of themselves as the vehicles and instruments of a higher cause: Gladstone’s statement after receiving the Queen’s commission to form his first government that his “mission” was “to pacify Ireland” is a good example. There is something wild, uncontrolled and untethered about charismatic leadership, and this disconcerts rational moderates such as Leonard and me.
 
That said, Leonard throws a powerful shaft of light on Gladstone’s astonishing political and administrative creativity. Herein lies the most remarkable difference between him and Disraeli. Disraeli was a brilliant opportunist but he was reactive, not initiatory. That was true of his philippics against Peel’s repeal of the Corn Laws in 1846, and it was equally true of his Byzantine manoeuvres during the struggles that preceded the Reform Act of 1867. Gladstone, on the other hand, did more than any other single person to cleanse the British state of nepotism and corruption and to foster the growth of a distinct and confident public realm.
 
The Ballot Act, which helped to break the political power of Irish landlords; the disestablishment of the Anglican Church of Ireland; the abolition of the purchase of commissions in the army; the Corrupt Practices Act, which struck the first serious blow against vote-buying in elections and, most of all, the creation of a professional civil service, recruited on merit, all took place under his governments. The task for the present generation, battered by 30 years of market fundamentalism that has trashed the very notion of an autonomous public realm, is to reinvent Gladstone.
 
Irish home rule, the great cause of Gladstone’s final decade in politics, and in some ways the greatest cause of his life, belongs to a much sadder category. It was his greatest failure. A bleak Tory nationalist vision of the British state defeated his generous and pluralistic quasi-federalism. The end result was the bloodstained secession of the 26 counties of southern Ireland. Now we face essentially the same question in a different guise. Does the UK become a federal state, or does it break up? It would be nice to think that we shall do better than our great-grandparents did.
 
David Marquand is an author and a former principal of Mansfield College, Oxford

This article first appeared in the 22 July 2013 issue of the New Statesman, How to make a saint

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.