"I want a fur coat and a villa and a cat": The art and agony of the English marriage

Using details from the huge Mass Observations archive at Sussex University, a new book "The English in Love" charts the changing meaning and reality of marriage since 1945.

The English in Love: the Intimate Story of an Emotional Revolution
Claire Langhamer
Oxford University Press, 320pp, £20
 
Claire Langhamer, a trustee of the Mass Observation Archive at Sussex University and a lecturer there, has written a wise and important book that deserves the attention of policymakers and opinion-formers as well as historians. Relying on the prodigious data on everyday life and feelings collected by Mass Observation researchers since 1937 but also drawing on other sources, she has scrutinised the ways in which the Second World War wrought lasting changes in English expectations of marriage, evaluations of domesticity, quests for individual fulfilment and marital stability. Her focus is on the intimacies of everyday life from the mid-1930s to the mid-1970s but her book has a thunderous resonance for the 21st century. It is the best sort of history, which makes intelligible the problems of our time and gives a subtle lesson in past and present mistakes.
 
Langhamer presents the 1940s and 1950s as a watershed in emotional intimacy, sexual conduct and gender relations among the English working and middling classes (she writes little about the upper-middle class or higher social altitudes). It was mid-century idealisations of love and new notions about personal fulfilment, rather than a later proliferation of sexual activity, that caused the most far-reaching social changes. She views the 1960s not as the “permissive” decade of journalistic cliché but as “a golden age of romance”, when youth culture was permeated with the peer pressure to marry young.
 
New ideas about matrimony, with their investment in “romantic love”, “sexual satisfaction” and “emotional growth”, invited disillusion and proved to be an unsteady basis for lifelong commitment. “A matrimonial model based upon the transformative power of love carried within it the seeds of its own destruction,” Langhamer argues. “The end-of-century decline of lifelong marriage was rooted in the contradictions, tensions and illogicalities that lay at the heart of midcentury intimacy.”
 
Change was already under way in the 1930s. “A lot of girls,” the Daily Mirror’s agony aunt warned on St Valentine’s Day in 1938, “think that marriage is going to be sentiment and romance and a perpetual petting party, and that they will live in a state of thrills. They are disgruntled and disappointedwhen they find that marriage is work, responsibility, doing their duty and being taken for granted.” Yet a surprising number of men were romantics who believed in “love at first sight” and had sweet dreams of domestic bliss.
 
People married in haste during the Second World War. They were impelled by “the war and the excitement and the Blitz – feeling you might be gone tomorrow”, as one Mass Observation respondent said. “He was going abroad and I wanted him to know that he’d have someone to come back to,” explained a war bride. For those who had survived hardships and peril, “love and marriage” symbolised postwar hopes for a social order that would be more stable, fair and protective than that of the past. In the late 1940s, private emotional intimacies seemed to promise to bind people together and to change society as much as the National Health Service.
 
But in the 15 years after the war, national service, rising prosperity, new workplace habits and diversified recreations destabilised the old courtship practices more lastingly than wartime dislocation. “The willingness to marry for love above all else was strongly linked to economic security,” Langhamer reports. Young people’s rising incomes eroded the need for long courtships. Men who had been called up for national service were enabled – if not induced – to marry by the “family allowances” that the state paid to them. A young national serviceman could afford to marry. His wife would live with her parents for the two years that he was conscripted; she would work full-time and her savings, as well as his pay, would enable them to set up home or buy a house once he was released.
 
The longing for a home of one’s own was all-encompassing. As one commentator explained, “Where almost everything else is ruled from outside, is chancy and likely to knock you down when you least expect it, the home is yours and real.” Those who idealise long-lost working-class communities forget how many people married to escape their parents. David Kynaston, in his recent book Modernity Britain, notes that an attraction of postwar new towns such as Stevenage was their distance from the London slums, where mothers monitored the emotional lives of their daughters and sons and enforced stifling family traditions. He cites the BBC producer Leonard Cottrell’s assessment of the relief felt by working-class wives at putting 30 miles between themselves and “‘Mum’ . . . with her aboriginal warmth, her glutinous, devouring affection. Young wives who had been dominated throughout childhood . . . by these stupid, arrogant, self-pitying matriarchs have suddenly found that they can do without them.”
 
For many young women after the war, the process of “courting” had a similar appeal to escaping to a new town. Langhamer quotes a woman born in the postwar baby boom recalling courtship: “It gave you a sense of independence from your parents, in particular your father who didn’t dare criticise you once you were seriously courting because another, unknown force thought you were perfect.”
 
The contempt for women who made their own sexual choices was pervasive. They were depicted as outcasts or criminals. “One of the most serious results of the new attitude of mind among women,” announced a retired CID officer in a book entitled Women and Crime, “is the behaviour of a steadily growing class of ‘respectable’ girls who deliberately reverse the natural order of sex life. The women belonging to this class are content no longer to be sought by men; they have themselves become the seekers. Setting no price other than a ‘good time’ upon their favours, and putting no check to their eroticism, they constitute an element of serious unrest.”
 
Similarly, the senior judge Lord Denning told the National Marriage Guidance Council in 1950 that the rising divorce rate was attributable to “the emancipation of women”. In fairness, the old prude disliked male sexual freedom equally, and in a speech in 1957 he urged that it should be a criminal offence for a man to undergo a vasectomy, enabling him to enjoy “the gratification of sexual intercourse without any of the responsibilities”. Perhaps Denning thought possession of a condom should be criminalised, too, if he had any logic. Two years later, Geoffrey Fisher, the then archbishop of Canterbury, suggested that “adultery” had “become such a public menace that the time has come when it ought to be made a criminal offence”.
 
The emotional exclusivity prescribed by public moralists diverged from people’s experiences and beliefs. The anthropologist Geoffrey Gorer found that the population was divided between those who believed that “falling in love” was a unique event, culminating in marriage, and those who saw it as a repeatable sensation. His respondents in the early 1950s seldom reckoned infidelity as the worst marital offence. Only a minority believed that adultery should end a marriage and those who considered sexual activity “very important” in marriage were far likelier to consider terminating the marriage on grounds of infidelity than those who considered it “fairly important”.
 
“Should I pick a girl who can cook, sew and be a good housewife, or must I wait until I meet the girl who can make my heart thump?” a young man asked the Daily Mirror in 1947. As marriages became less based on performing the roles of good housewife and good earner and more concerned with thumping hearts, attitudes to infidelity changed. Many more of the cohort whom Gorer interviewed in 1969 emphasised sexual fidelity and jealousy as central to married happiness than those in 1951. While postwar attitudes towards premarital sex relaxed with increased incidences, those towards extramarital affairs became harsher as adultery increased.
 
Langhamer characterises the period between 1945 and 1975 as “a golden age of marriage”. More people “got spliced” than ever before in British demographic history. The notion of marriage as romantic fulfilment, a signal of maturity and a means to liberation became ubiquitous in youth culture. Those born in 1946 were less likely than members of any earlier generation to remain single. By the start of the 1970s, marriage was crucial to young people’s self-definition: most wished to marry early in life. The marriage rate for England and Wales reached its peacetime peak in 1972. Thereafter, the wedding rate plummeted; in 2009 it sank to the lowest level ever recorded.
 
In 1931 the average age at first marriage for women was 25 and for men 27. For the “dedicated follower of fashion” about whom the Kinks sang in the Swinging Sixties, the biggest fad of all was not Carnaby Street finery but marriage. By 1970, the average ages at first marriage had fallen to 22 for women and 24 for men (but by 2009 they had risen by eight years for both sexes).
 
As early as in 1953, the bishop of Sheffield warned that marriage was no longer seen as “a social institution” but was regarded “as a freely entered and freely maintained personal relationship worked out by the persons concerned”. This intensified hopes and stresses and required closer compatibility and emotional adjustment, all of which increased the risk of failure. Moreover, the higher priority given to the needs and welfare of children, often to the detriment of adult feelings, made many marriages unsatisfactory or hopeless. As notions of duty and self-sacrifice declined in matrimonial importance, they increased in the practice of parenthood.
 
The Royal Commission on Marriage and Divorce, which reported in 1956, considered that if divorce rates continued to rise, the laws permitting divorce might have to be repealed. The commissioners regarded marriage not as a contract between two individuals but as the spouses’ contract with the state. Marriage was a social institution, they believed, rather than an emotional partnership – intended to promote the greater good of society, rather than the selfish needs of personal happiness. Few young married couples agreed.
 
One of Langhamer’s significant findings is the extent to which the postwar working class identified “ordinariness” as a virtue: there was little of today’s desire to be famous, conspicuous or a celebrity. Ordinariness was a badge proudly worn, denoting that one had no “flash” wealth or unfair advantages.
 
The English in Love is a treasury of quick quotations that tell a huge story. The headmaster who pronounced that “the sexual act is humiliating unless it is accompanied by love” represents the tradition that rejected intercourse as an enjoyable pastime and insisted that it was a gift from a woman to a man, a signifier and a privilege. An aspirational wife who realised too late that her poorly educated husband would never prosper put a lifetime of regret into 11 words: “I want a fur coat and a villa and a cat.” Generations of chauvinists are represented by the father who tells his daughter, “He’ll be a lucky man who marries you,” when she serves him a tin of John West tinned salmon for tea.
 
There are countless talking points, revisionist challenges and shrewd sidelights in Langhamer’s compelling and humane book. She has the confidence to write in clear, honest prose, without the mystifying, polysyllabic jargon in which lesser historians write about sexuality to hide the thinness of their ideas. Her bracing good sense stands in splendid contrast to the nonsense in which the English entangled themselves whenever they approached a bedroom door. “Having a climax is, for a woman, arrived at through feelings of being loved, secure, free from doubts and fears and willing to let herself go,” Woman’s Own advised its readers in 1970. “It is naturally hard to have all these feelings outside marriage – this is biology, not morals!”
 
Richard Davenport-Hines is the author of “An English Affair: Sex, Class and Power in the Age of Profumo” (HarperPress, £9.99)
Since 1945, the model of matrimony has been about more than just companionship and duty. Photograph: Laura Letinsky / Gallery Stock.

This article first appeared in the 19 August 2013 issue of the New Statesman, Why aren’t young people working

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Young people want big ideas – that's why I refuse to dumb down Radio 4

My week, from finding a way through the fog to getting the quarterly audience figures.

I walk to work through Regent’s Park, when possible accompanied by my dogs, which my husband then collects on his bike ride and takes home. If there is time we have coffee together in the small hut just before the inner circle. This is a good way to listen to the Today programme, I find, as I can keep one ear in, achieve a rational, critical detachment and still enjoy the birds, and then add the other ear if a strong interview demands immersion, or take both out altogether when despair creeps up. On the subject of Today, I hope to have some fun with Sarah Sands, whom we have just appointed as the programme’s new editor; it’s good to see an experienced woman brought in at a senior level to the BBC.

 

A winter’s tale

The park through the seasons has become something of an addiction, measured out by inspired planting of appropriate annuals, the names of which I note and discuss with the gardeners when I dare interrupt them.

Memorable events occur quite frequently during this walk: I once stumbled upon a proposal of marriage involving a beautiful young woman who once had worked for me; an elderly Chinese gentleman practises t’ai chi regularly at a certain spot and I imagine talking to him about the changes he has seen in his lifetime back home. I have seen a rare green woodpecker on the grass pecking boldly in plain sight, and hopeless ducks, silent, puffed up, marooned in the fountains, unable to find their way back to the ponds, so close by.

At the start of winter, while walking home one day, I got stuck in the park, with a group of other stragglers, as the gates locked with the onset of darkness. Rather than retreating the way I had come, I accepted the offer (from a rather good-looking stranger) of a lift down from the top of the gate. The atmosphere then was alive, exhilarating, with crowds heading for the Frieze Masters marquee. How different it all is now, in 2017. There’s a new mood, a new American president, a new era.

 

Musical interlude

Recently, Roger Vignoles – the glorious pianist and a close friend – was playing, as he often does, in a lunchtime concert recorded for Radio 3 around the corner from Broadcasting House at the Wigmore Hall, with the baritone Roddy Williams. French songs: Fauré, Poulenc, Honegger, with a handful from Caplet (the latter quite new to me). All thoughts of politics fled, giving way to “L’adieu en barque”, set late one summer’s day on the river, a moment to clear the fog, both within and enveloping us that day in London.

I left an hour later in clear sunshine, feeling smug because we have commissioned Roddy’s Choral ­History of Britain for Radio 4 later this year.

 

Power trip

Waiting for coffee to brew, I was discussing Book of the Week with Gill Carter, commissioning assistant on this slot, when my drama commissioner, Jeremy Howe, put his head round the door. “Clarke Peters (yes, the one from The Wire) is here reading The Underground Railroad for Book at Bedtime.” Assured, deep tones rang out from a tiny studio on the third floor. “I have to keep stopping,” he said, as I thanked him.

Who could not be overcome by this story of slavery and bravery at this moment in American history? I am so glad to bring it to listeners this month. “Can you help?” the producer pleaded as we left. “We’re about to be thrown out of the studio.” That’s real power, I thought, as ten minutes later Jeremy had conjured up the extra time.

Clarke Peters will be back in the autumn with a series about the real history of black music in the UK which, he says, is little understood.

 

Culture and anarchy

This is the time of year when we launch the commissioning round calling for big ideas for next year. It’s a humbling thing to stand in our beloved art-deco Radio Theatre in front of hundreds of programme-makers, hoping that they will be inspired to bring “the best which has been thought and said in the world” (my guiding principle from Matthew Arnold).

I try on these occasions to lay out a little of how I see the shape of the world in the commissioning period ahead. This year the Loneliness of the Long-Distance Runner overcame me. Better perhaps simply to outline the way we commissioned the first week of 2017 to catch the mood. T S Eliot, more or less all New Year’s Day, read by the formidable Jeremy Irons, raised an echo of the Thirties, then a factual series of considerable documentaries across the week described The New World, followed by writers around the globe Imagining the New Truth.

Finally, inspired by Twelfth Night and the spirit of misrule, the comedy writer John Finnemore, one of our favourites, took over as the Lord of Misrule himself.

The imaginative world and writers have never been more needed. Whether it is truth or post-truth, I suspect that dramatic, imagined and creative truth when properly achieved is probably the nearest we can ever get to truth itself.

 

Tuning in

It’s the week of Rajar. These are quarterly audience figures for radio. In the past few months, they tell us, over 11 million people have listened each week to BBC Radio 4, setting new records. Just under half are below our average age of 56 and 1.5 million are under 35. At the moment we seem to have over two million weekly visitors to the website and roughly 20 million monthly global downloads.

Who says young people don’t want intelligent content? Who says that dumbing down is the only way to attract big audiences? We at Radio 4 try to be all about smartening up. We mark Rajar Day (whether the numbers are up or down) with cake, so I make my way to Paul for two tarts, pear and blueberry this time.

Gwyneth Williams is the controller of BBC Radio 4

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times