His vision in foreign affairs has always been consistently romantic. The struggle of the Jews for self-determination in Palestine engaged his imagination in precisely the way in which the Italian Risorgimento captured the sympathies of his Liberal forebears. Similarly his views on social policy conform to those Liberal principles which he received at the hands of the men he most admired in the great Liberal administration of the first decade of this century—Asquith, Haldane, Grey, above all Lloyd George before 1914—and he has seen no reason to change them, whatever the world might do; and if these views, progressive in 1910, seem less convincing today, that flows from Mr. Churchill's unalterable faith in the firmly conceived scheme of things which he established within himself long ago, once and for all.
It is an error to regard the imagination as a mainly revolutionary force—if it destroys and alters, it also fuses hitherto isolated beliefs, insights, mental habits, into strongly unified systems. These, if they are filled with sufficient energy and force of will—and, it may be added, fantasy, which is less frightened by the facts and creates ideal models in terms of which the facts are ordered in the mind—sometimes transform the outlook of an entire people and generation.
The British statesman most richly endowed with these gifts was Disraeli, who in effect conceived that imperialist mystique, that splendid but most un-English vision which, romantic to the point of exoticism, full of metaphysical emotion, to all appearances utterly opposed to everything most soberly empirical, utilitarian, anti-systematic in the British tradition, bound its spell on the mind of England for two generations.
Mr. Churchill's political imagination has something of the same magical power to transform. It is a magic which belongs equally to demagogues and great democratic leaders: Franklin Roosevelt, who as much as any man altered his country's inner image of itself, of its character and its history, possessed it in a high degree. But the differences between him and the Prime Minister of Britain are far greater than the similarities, and to some degree epitomize the differences of continents and civilizations. The contrast is brought out vividly by the respective parts which they played in the war which drew them so closely together.
The Second World War in some ways gave birth to less novelty and genius than the First World War. It was, of course, a greater cataclysm, fought over a wider area, and altered the social and political contours of the world at least as radically as its predecessor, perhaps more so. But the break in continuity in 1914 was far more violent. The years before 1914 look to us now, and looked even in the twenties, as the end of a long period of largely peaceful development broken suddenly and catastrophically. In Europe, at least, the years before 1914 were viewed with understandable nostalgia by those who after them knew no real peace.
The period between the wars marks a decline in the development of human culture if it is compared with that sustained and fruitful period which makes the nineteenth century seem a unique human achievement, so powerful that it continued, even during the war which broke it, to a degree which seems astonishing to us now. The quality of literature, for example, which is surely one of the most reliable criteria of intellectual and moral vitality, was incomparably higher during the war of 1914-1918 than it has been After 1939. In Western Europe alone these four years of slaughter and destruction were also years in which works of genius and talent continued to be produced by such established writers as Shaw and Wells and Kipling, Hauptmann and Gide, Chesterton and Arnold Bennett, Beerbohm and Yeats, as well as such younger writers as Proust and Joyce, Virginia Woolf and E. M. Forster, T. S. Eliot and Alexander Blok, Rilke, Stefan George, and Valéry. Nor did natural science, philosophy, and history cease to develop fruitfully. What has the recent war to offer by comparison?
Yet perhaps there is one respect in which the Second World War did outshine its predecessor: the leaders of the nations involved in it were, with the significant exception of France, men of greater stature, psychologically more interesting than their prototypes. It would hardly be disputed that Stalin is a more fascinating figure than the Czar Nicholas II; Hitler more arresting than the Kaiser: Mussolini than Victor Emmanuel; and, memorable as the were, President Wilson and Lloyd George yield in the attribute of sheer historical magnitude to Franklin Roosevelt and Winston Churchill.
"History," we are told by a celebrated authority, "is what Alexander did and suffered." This notion, despite all the efforts of the social sciences to overthrow it, remains a good deal more valid than rival hypotheses, provided that history is defined as that which historians actually do. At any rate Mr. Churchill accepts it wholeheartedly, and takes full advantage of his opportunities. And because his narrative deals largely in personalities and gives individual genius its full and sometimes more than its full due, the appearance of the great wartime Protagonists in his pages gives his narrative some of the quality of an epic, whose heroes and villains acquire their stature not merely—or indeed at all—from the importance of the events in which they are involved, but from their own intrinsic human size upon the stage of human history; their characteristics, involved as they are in perpetual juxtaposition and occasional collision with one another, set each other off in vast relief.