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Now the reason why our fathers did not make marriage, in the middle-aged and static sense, the subject of their plays was a very simple one; it was that a play is a very bad place for discussing that topic. You cannot easily make a good drama out of the success or failure of a marriage, just as you could not make a good drama out of the growth of an oak tree or the decay of an empire. As Polonius very reasonably observed, it is too long. A happy love-affair will make a drama simply because it is dramatic; it depends on an ultimate yes or no. But a happy marriage is not dramatic; perhaps it would be less happy if it were. The essence of a romantic heroine is that she asks herself an intense question; but the essence of a sensible wife is that she is much too sensible to ask herself any questions at all. All the things that make monogamy a success are in their nature undramatic things, the silent growth of an instinctive confidence, the common wounds and victories, the accumulation of customs, the rich maturing of old jokes. Sane marriage is an untheatrical thing; it is therefore not surprising that most modern dramatists have devoted themselves to insane marriage.

The dramatic volume with which Shaw dazzled the public was called, Plays, Pleasant and Unpleasant. I think the most striking and typical thing about it was that he did not know very clearly which plays were unpleasant and which were pleasant. “Pleasant” is a word which is almost unmeaning to Bernard Shaw. Except, as I suppose, in music (where I cannot follow him), relish and receptivity are things that simply do not appear. He has the best of tongues and the worst of palates. With the possible exception of Mrs. Warren’s Profession (which was at least unpleasant in the sense of being forbidden) I can see no particular reason why any of the seven plays should be held specially to please or displease. First in fame and contemporary importance came the reprint of Arms and the Man, of which I have already spoken. Over all the rest towered unquestionably the two figures of Mrs. Warren and of Candida. They were neither of them pleasant, except as all good art is pleasant. They were neither of them really unpleasant except as all truth is unpleasant. But they did represent the author’s normal preference and his principal fear; and those two sculptured giantesses largely upheld his fame.

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But the real sting and substance of Major Barbara is much more practical and to the point. It expresses not the new spirituality but the old materialism of Bernard Shaw. Almost every one of Shaw’s plays is an expanded epigram. But the epigram is not expanded (as with most people) into a hundred commonplaces. Rather the epigram is expanded into a hundred other epigrams; the work is at least as brilliant in detail as it is in design. But it is generally possible to discover the original and pivotal epigram which is the centre and purpose of the play. It is generally possible, even amid that blinding jewellery of a million jokes, to discover the grave, solemn and sacred joke for which the play itself was written.

This blindness to paradox everywhere perplexes his outlook. He cannot understand marriage because he will not understand the paradox of marriage; that the woman is all the more the house for not being the head of it. He cannot understand patriotism, because he will not understand the paradox of patriotism; that one is all the more human for not merely loving humanity. He does not understand Christianity because he will not understand the paradox of Christianity; that we can only really understand all myths when we know that one of them is true. I do not under-rate him for this anti-paradoxical temper; I concede that much of his finest and keenest work in the way of intellectual purification would have been difficult or impossible without it. But I say that here lies the limitation of that lucid and compelling mind; he cannot quite understand life, because he will not accept its contradictions.

The Censor of Plays is a small and accidental eighteenth-century official. Like nearly all the powers which Englishmen now respect as ancient and rooted, he is very recent. Novels and newspapers still talk of the English aristocracy that came over with William the Conqueror. Little of our effective oligarchy is as old as the Reformation; and none of it came over with William the Conqueror. Some of the older English landlords came over with William of Orange; the rest have come by ordinary alien immigration. In the same way we always talk of the Victorian woman (with her smelling salts and sentiment) as the old-fashioned woman. But she really was a quite new-fashioned woman; she considered herself, and was, an advance in delicacy and civilisation upon the coarse and candid Elizabethan woman to whom we are now returning. We are never oppressed by old things; it is recent things that can really oppress. And in accordance with this principle modern England has accepted, as if it were a part of perennial morality, a tenth-rate job of Walpole’s worst days called the Censorship of the Drama. Just as they have supposed the eighteenth-century parvenus to date from Hastings, just as they have supposed the eighteenth-century ladies to date from Eve, so they have supposed the eighteenth-century Censorship to date from Sinai. The origin of the thing was in truth purely political. Its first and principal achievement was to prevent Fielding from writing plays; not at all because the plays were coarse, but because they criticised the Government. Fielding was a free writer; but they did not resent his sexual freedom; the Censor would not have objected if he had torn away the most intimate curtains of decency or rent the last rag from private life. What the Censor disliked was his rending the curtain from public life. There is still much of that spirit in our country; there are no affairs which men seek so much to cover up as public affairs. But the thing was done somewhat more boldly and baldly in Walpole’s day; and the Censorship of plays has its origin, not merely in tyranny, but in a quite trifling and temporary and partisan piece of tyranny; a thing in its nature far more ephemeral, far less essential, than Ship Money. Perhaps its brightest moment was when the office of censor was held by that filthy writer, Colman the younger; and when he gravely refused to license a work by the author of Our Village. Few funnier notions can ever have actually been facts than this notion that the restraint and chastity of George Colman saved the English public from the eroticism and obscenity of Miss Mitford.

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