Free All Art Is Propaganda by George Orwell

was the enforced contact with "low" associates:
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No words can express the secret agony of my soul as I sunk into this companionship; compared these every day associates with those of my happier childhood ... But I held some station at the blacking warehouse too ... I soon became at least as expeditious and as skilful with my hands, as either of the other boys. Though perfectly familiar with them, my conduct and manners were different enough from theirs to place a space between us. They, and the men, always spoke of me as "the young gentleman." A certain man ... used to call me "Charles" sometimes in speaking to me; but I think it was mostly when we were very confidential ... Poll Green uprose once, and rebelled against the "young-gentleman" usage; but Bob Fagin settled him speedily.
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    It was as well that there should be "a space between us," you see. However much Dickens may admire the working classes, he does not wish to resemble them. Given his origins, and the time he lived in, it could hardly be otherwise. In the early nineteenth century class-animosities may have been no sharper than they are now, but the surface differences between class and class were enormously greater. The "gentleman" and the "common man" must have seemed like different species of animal. Dickens is quite genuinely on the side of the poor against the rich, but it would be next door to impossible for him not to think of a working-class exterior as a stigma. In one of Tolstoy's fables the peasants of a certain village judge every stranger who arrives from the state of his hands. If his palms are hard from work, they let him in; if his palms are soft, out he goes. This would be hardly intelligible to Dickens; all his heroes have soft hands. His younger heroes—Nicholas Nickleby, Martin Chuzzlewit, Edward Chester, David Copperfield, John Harmon—are usually of the type known as "walking gentlemen." He likes a bourgeois exterior and a bourgeois (not aristocratic) accent. One curious symptom of this is that he will not allow anyone who is to play a heroic part to speak like a working man. A comic hero like Sam Weller, or a merely pathetic figure like Stephen Blackpool, can speak with a broad accent, but the
jeune premier
always speaks the then equivalent of B.B.C. This is so, even when it involves absurdities. Little Pip, for instance, is brought up by people speaking broad Essex, but talks upper-class English from his earliest childhood; actually he would have talked the same dialect as Joe, or at least as Mrs. Gargery. So also with Biddy Wopsle, Lizzie Hexam, Sissie Jupe, Oliver Twist—one ought perhaps to add Little Dorrit. Even Rachel in
Hard Times
has barely a trace of Lancashire accent, an impossibility in her case.
    One thing that often gives the clue to a novelist's real feelings on the class question is the attitude he takes up when class collides with sex. This is a thing too painful to be lied about, and consequently it is one of the points at which the "I'm-not-a-snob" pose tends to break down.
    One sees that at its most obvious where a class-distinction is also a colour-distinction. And something resembling the colonial attitude ("native" women are fair game, white women are sacrosanct) exists in a veiled form in all-white communities, causing bitter resentment on both sides. When this issue arises, novelists often revert to crude class-feelings which they might disclaim at other times. A good example of "class-conscious" reaction is a rather forgotten novel,
The People of Clopton,
by George Bartram. 6 The author's moral code is quite clearly mixed up with class-hatred. He feels the seduction of a poor girl by a rich man to be something atrocious, a kind of defilement, something quite different from her seduction by a man in her own walk of life. Trollope deals with this theme twice (
The Three Clerks
and
The Small House at Allington
) and, as one might expect, entirely from the upper-class angle. As he sees it, an affair