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Let whosoever may peruse these lines kindly take the pains here to read twice my solemn pledge, that what I write of the language and customs of the congregation in question I write scrupulously, literally, exactly, from the life and the truth.
This produces upon many minds an impression of needless preparation and a kind of bustling prolixity. But the truth is that the very rapidity of such a man’s mind makes him seem slow in getting to the point. It is positively because he is quick-witted that he is long-winded. A quick eye for ideas may actually make a writer slow in reaching his goal, just as a quick eye for landscapes might make a motorist slow in reaching Brighton. An original man has to pause at every allusion or simile to reexplain historical parallels, to reshape distorted words. Any ordinary leader-writer (let us say) might write swiftly and smoothly something like this: “The element of religion in the Puritan rebellion, if hostile to art, yet saved the movement from some of the evils in which the French Revolution involved morality.” Now a man like Mr. Shaw, who has his own views on everything, would be forced to make the sentence long and broken instead of swift and smooth. He would say something like: “The element of religion, as I explain religion, in the Puritan rebellion (which you wholly misunderstand) if hostile to art—that is what I mean by art—may have saved it from some evils (remember my definition of evil) in which the French Revolution—of which I have my own opinion—involved morality, which I will define for you in a minute.” That is the worst of being a really universal sceptic and philosopher; it is such slow work. The very forest of the man’s thoughts chokes up his thoroughfare. A man must be orthodox upon most things, or he will never even have time to preach his own heresy.
He turned paler, and opened it hurriedly; but looking over it, and seeing generally what it was, became less hurried, recovered his colour, and said, ‘Praise the Lord!’
Brother Hawkyard then said, in a livelier strain, ‘You must know, George, that Brother Gimblet and I are going to make our two businesses one. We are going into partnership. We are settling it now. Brother Gimblet is to take one clear half of the profits (O, yes! he shall have it; he shall have it to the last farthing).’
They being well away from my house and from the place after our simple breakfast, the time was come when I must do what I had pledged myself to them that I would do, — break the intelligence to my lady.
The outline of the play is, I suppose, by this time sufficiently well known. It has two main philosophic motives. The first is that what he calls the life-force (the old infidels called it Nature, which seems a neater word, and nobody knows the meaning of either of them) desires above all things to make suitable marriages, to produce a purer and prouder race, or eventually to produce a Superman. The second is that in this effecting of racial marriages the woman is a more conscious agent than the man. In short, that woman disposes a long time before man proposes. In this play, therefore, woman is made the pursuer and man the pursued. It cannot be denied, I think, that in this matter Shaw is handicapped by his habitual hardness of touch, by his lack of sympathy with the romance of which he writes, and to a certain extent even by his own integrity and right conscience. Whether the man hunts the woman or the woman the man, at least it should be a splendid pagan hunt; but Shaw is not a sporting man. Nor is he a pagan, but a Puritan. He cannot recover the impartiality of paganism which allowed Diana to propose to Endymion without thinking any the worse of her. The result is that while he makes Anne, the woman who marries his hero, a really powerful and convincing woman, he can only do it by making her a highly objectionable woman. She is a liar and a bully, not from sudden fear or excruciating dilemma; she is a liar and a bully in grain; she has no truth or magnanimity in her. The more we know that she is real, the more we know that she is vile. In short, Bernard Shaw is still haunted with his old impotence of the unromantic writer; he cannot imagine the main motives of human life from the inside. We are convinced successfully that Anne wishes to marry Tanner, but in the very process we lose all power of conceiving why Tanner should ever consent to marry Anne. A writer with a more romantic strain in him might have imagined a woman choosing her lover without shamelessness and magnetising him without fraud. Even if the first movement were feminine, it need hardly be a movement like this. In truth, of course, the two sexes have their two methods of attraction, and in some of the happiest cases they are almost simultaneous. But even on the most cynical showing they need not be mixed up. It is one thing to say that the mousetrap is not there by accident. It is another to say (in the face of ocular experience) that the mousetrap runs after the mouse.
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Bernard Shaw is not a democrat; but he is a splendid republican. The nuance of difference between those terms precisely depicts him. And there is after all a good deal of dim democracy in England, in the sense that there is much of a blind sense of brotherhood, and nowhere more than among old-fashioned and even reactionary people. But a republican is a rare bird, and a noble one. Shaw is a republican in the literal and Latin sense; he cares more for the Public Thing than for any private thing. The interest of the State is with him a sincere thirst of the soul, as it was in the little pagan cities. Now this public passion, this clean appetite for order and equity, had fallen to a lower ebb, had more nearly disappeared altogether, during Shaw’s earlier epoch than at any other time. Individualism of the worst type was on the top of the wave; I mean artistic individualism, which is so much crueller, so much blinder and so much more irrational even than commercial individualism. The decay of society was praised by artists as the decay of a corpse is praised by worms. The ?sthete was all receptiveness, like the flea. His only affair in this world was to feed on its facts and colours, like a parasite upon blood. The ego was the all; and the praise of it was enunciated in madder and madder rhythms by poets whose Helicon was absinthe and whose Pegasus was the nightmare. This diseased pride was not even conscious of a public interest, and would have found all political terms utterly tasteless and insignificant. It was no longer a question of one man one vote, but of one man one universe.
The English public has commonly professed, with a kind of pride, that it cannot understand Mr. Bernard Shaw. There are many reasons for it which ought to be adequately considered in such a book as this. But the first and most obvious reason is the mere statement that George Bernard Shaw was born in Dublin in 1856. At least one reason why Englishmen cannot understand Mr. Shaw is that Englishmen have never taken the trouble to understand Irishmen. They will sometimes be generous to Ireland; but never just to Ireland. They will speak to Ireland; they will speak for Ireland; but they will not hear Ireland speak. All the real amiability which most Englishmen undoubtedly feel towards Irishmen is lavished upon a class of Irishmen which unfortunately does not exist. The Irishman of the English farce, with his brogue, his buoyancy, and his tender-hearted irresponsibility, is a man who ought to have been thoroughly pampered with praise and sympathy, if he had only existed to receive them. Unfortunately, all the time that we were creating a comic Irishman in fiction, we were creating a tragic Irishman in fact. Never perhaps has there been a situation of such excruciating cross-purposes even in the three-act farce. The more we saw in the Irishman a sort of warm and weak fidelity, the more he regarded us with a sort of icy anger. The more the oppressor looked down with an amiable pity, the more did the oppressed look down with a somewhat unamiable contempt. But, indeed, it is needless to say that such comic cross-purposes could be put into a play; they have been put into a play. They have been put into what is perhaps the most real of Mr. Bernard Shaw’s plays, John Bull’s Other Island.
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‘Because I have been his faithful servant for five-and-thirty years, and because he knows it. For five-and-thirty years! And he knows it, mind you! I got those words that I wanted on account of my wages. I got ‘em from the Lord, my fellow-sinners. Down! I said, “Here’s a heap of wages due; let us have something down, on account.” And I got it down, and I paid it over to you; and you won’t wrap it up in a napkin, nor yet in a towel, nor yet pocketankercher, but you’ll put it out at good interest. Very well. Now, my brothers and sisters and fellow-sinners, I am going to conclude with a question, and I’ll make it so plain (with the help of the Lord, after five-and-thirty years, I should rather hope!) as that the Devil shall not be able to confuse it in your heads, — which he would be overjoyed to do.’
But on the side of those who fought for Ibsen there was also a disagreement, and perhaps also a mistake. The vague army of “the advanced” (an army which advances in all directions) were united in feeling that they ought to be the friends of Ibsen because he also was advancing somewhere somehow. But they were also seriously impressed by Flaubert, by Oscar Wilde and all the rest who told them that a work of art was in another universe from ethics and social good. Therefore many, I think most, of the Ibsenites praised the Ibsen plays merely as choses vues, ?sthetic affirmations of what can be without any reference to what ought to be. Mr. William Archer himself inclined to this view, though his strong sagacity kept him in a haze of healthy doubt on the subject. Mr. Walkley certainly took this view. But this view Mr. George Bernard Shaw abruptly and violently refused to take.
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We had a heap of I don’t know what foul litter in the darkest corner, which we called ‘the bed.’ For three days mother lay upon it without getting up, and then began at times to laugh. If I had ever heard her laugh before, it had been so seldom that the strange sound frightened me. It frightened father too; and we took it by turns to give her water. Then she began to move her head from side to side, and sing. After that, she getting no better, father fell a-laughing and a-singing; and then there was only I to give them both water, and they both died.
A peculiar difficulty arrests the writer of this rough study at the very start. Many people know Mr. Bernard Shaw chiefly as a man who would write a very long preface even to a very short play. And there is truth in the idea; he is indeed a very prefatory sort of person. He always gives the explanation before the incident; but so, for the matter of that, does the Gospel of St. John. For Bernard Shaw, as for the mystics, Christian and heathen (and Shaw is best described as a heathen mystic), the philosophy of facts is anterior to the facts themselves. In due time we come to the fact, the incarnation; but in the beginning was the Word.
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I have stepped on one side from the immediate subject because this is as good an instance as any we are likely to come across of a certain almost extraneous fault which does deface the work of Bernard Shaw. It is a fault only to be mentioned when we have made the solidity of the merits quite clear. To say that Shaw is merely making game of people is demonstrably ridiculous; at least a fairly systematic philosophy can be traced through all his jokes, and one would not insist on such a unity in all the songs of Mr. Dan Leno. I have already pointed out that the genius of Shaw is really too harsh and earnest rather than too merry and irresponsible. I shall have occasion to point out later that Shaw is, in one very serious sense, the very opposite of paradoxical. In any case if any real student of Shaw says that Shaw is only making a fool of him, we can only say that of that student it is very superfluous for anyone to make a fool. But though the dramatist’s jests are always serious and generally obvious, he is really affected from time to time by a certain spirit of which that climate theory is a case—a spirit that can only be called one of senseless ingenuity. I suppose it is a sort of nemesis of wit; the skidding of a wheel in the height of its speed. Perhaps it is connected with the nomadic nature of his mind. That lack of roots, this remoteness from ancient instincts and traditions is responsible for a certain bleak and heartless extravagance of statement on certain subjects which makes the author really unconvincing as well as exaggerative; satires that are saugrenu, jokes that are rather silly than wild, statements which even considered as lies have no symbolic relation to truth. They are exaggerations of something that does not exist. For instance, if a man called Christmas Day a mere hypocritical excuse for drunkenness and gluttony that would be false, but it would have a fact hidden in it somewhere. But when Bernard Shaw says that Christmas Day is only a conspiracy kept up by poulterers and wine merchants from strictly business motives, then he says something which is not so much false as startlingly and arrestingly foolish. He might as well say that the two sexes were invented by jewellers who wanted to sell wedding rings. Or again, take the case of nationality and the unit of patriotism. If a man said that all boundaries between clans, kingdoms, or empires were nonsensical or non-existent, that would be a fallacy, but a consistent and philosophical fallacy. But when Mr. Bernard Shaw says that England matters so little that the British Empire might very well give up these islands to Germany, he has not only got hold of the sow by the wrong ear but the wrong sow by the wrong ear; a mythical sow, a sow that is not there at all. If Britain is unreal, the British Empire must be a thousand times more unreal. It is as if one said, “I do not believe that Michael Scott ever had any existence; but I am convinced, in spite of the absurd legend, that he had a shadow.”
We have considered Bernard Shaw as an Irishman. The next step is to consider him as an exile from Ireland living in Ireland; that, some people would say, is a paradox after his own heart. But, indeed, such a complication is not really difficult to expound. The great religion and the great national tradition which have persisted for so many centuries in Ireland have encouraged these clean and cutting elements; but they have encouraged many other things which serve to balance them. The Irish peasant has these qualities which are somewhat peculiar to Ireland, a strange purity and a strange pugnacity. But the Irish peasant also has qualities which are common to all peasants, and his nation has qualities that are common to all healthy nations. I mean chiefly the things that most of us absorb in childhood; especially the sense of the supernatural and the sense of the natural; the love of the sky with its infinity of vision, and the love of the soil with its strict hedges and solid shapes of ownership. But here comes the paradox of Shaw; the greatest of all his paradoxes and the one of which he is unconscious. These one or two plain truths which quite stupid people learn at the beginning are exactly the one or two truths which Bernard Shaw may not learn even at the end. He is a daring pilgrim who has set out from the grave to find the cradle. He started from points of view which no one else was clever enough to discover, and he is at last discovering points of view which no one else was ever stupid enough to ignore. This absence of the red-hot truisms of boyhood; this sense that he is not rooted in the ancient sagacities of infancy, has, I think, a great deal to do with his position as a member of an alien minority in Ireland. He who has no real country can have no real home. The average autochthonous Irishman is close to patriotism because he is close to the earth; he is close to domesticity because he is close to the earth; he is close to doctrinal theology and elaborate ritual because he is close to the earth. In short, he is close to the heavens because he is close to the earth. But we must not expect any of these elemental and collective virtues in the man of the garrison. He cannot be expected to exhibit the virtues of a people, but only (as Ibsen would say) of an enemy of the people. Mr. Shaw has no living traditions, no schoolboy tricks, no college customs, to link him with other men. Nothing about him can be supposed to refer to a family feud or to a family joke. He does not drink toasts; he does not keep anniversaries; musical as he is I doubt if he would consent to sing. All this has something in it of a tree with its roots in the air. The best way to shorten winter is to prolong Christmas; and the only way to enjoy the sun of April is to be an April Fool. When people asked Bernard Shaw to attend the Stratford Tercentenary, he wrote back with characteristic contempt: “I do not keep my own birthday, and I cannot see why I should keep Shakespeare’s.” I think that if Mr. Shaw had always kept his own birthday he would be better able to understand Shakespeare’s birthday—and Shakespeare’s poetry.
For two reasons I have called this concluding series of plays not again by the name of “The Dramatist,” but by the general name of “The Philosopher.” The first reason is that given above, that we have come to the time of his triumph and may therefore treat him as having gained complete possession of a pulpit of his own. But there is a second reason: that it was just about this time that he began to create not only a pulpit of his own, but a church and creed of his own. It is a very vast and universal religion; and it is not his fault that he is the only member of it. The plainer way of putting it is this: that here, in the hour of his earthly victory, there dies in him the old mere denier, the mere dynamiter of criticism. In the warmth of popularity he begins to wish to put his faith positively; to offer some solid key to all creation. Perhaps the irony in the situation is this: that all the crowds are acclaiming him as the blasting and hypercritical buffoon, while he himself is seriously rallying his synthetic power, and with a grave face telling himself that it is time he had a faith to preach. His final success as a sort of charlatan coincides with his first grand failures as a theologian.
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