The Collected Dramas of George Bernard Shaw (Illustrated Edition). GEORGE BERNARD SHAW
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in the Socialist cause light was needed more than heat.
Thus the Irish detachment and the Puritan austerity did much good to the country and to the causes for which they were embattled. But there was one thing they did not do; they did nothing for Shaw himself in the matter of his primary mistakes and his real limitation. His great defect was and is the lack of democratic sentiment. And there was nothing democratic either in his humanitarianism or his Socialism. These new and refined faiths tended rather to make the Irishman yet more aristocratic, the Puritan yet more exclusive. To be a Socialist was to look down on all the peasant owners of the earth, especially on the peasant owners of his own island. To be a Vegetarian was to be a man with a strange and mysterious morality, a man who thought the good lord who roasted oxen for his vassals only less bad than the bad lord who roasted the vassals. None of these advanced views could the common people hear gladly; nor indeed was Shaw specially anxious to please the common people. It was his glory that he pitied animals like men; it was his defect that he pitied men only too much like animals. Foulon said of the democracy, “Let them eat grass.” Shaw said, “Let them eat greens.” He had more benevolence, but almost as much disdain. “I have never had any feelings about the English working classes,” he said elsewhere, “except a desire to abolish them and replace them by sensible people.” This is the unsympathetic side of the thing; but it had another and much nobler side, which must at least be seriously recognised before we pass on to much lighter things.
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 oldfashioned 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 æsthete 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.
I have in my time had my fling at the Fabian Society, at the pedantry of schemes, the arrogance of experts; nor do I regret it now. But when I remember that other world against which it reared its bourgeois banner of cleanliness and common sense, I will not end this chapter without doing it decent honour. Give me the drain pipes of the Fabians rather than the panpipes of the later poets; the drain pipes have a nicer smell. Give me even that businesslike benevolence that herded men like beasts rather than that exquisite art which isolated them like devils; give me even the suppression of “Zæo” rather than the triumph of “Salome.” And if I feel such a confession to be due to those Fabians who could hardly have been anything but experts in any society, such as Mr. Sidney Webb or Mr. Edward Pease, it is due yet more strongly to the greatest of the Fabians. Here was a man who could have enjoyed art among the artists, who could have been the wittiest of all the flâneurs; who could have made epigrams like diamonds and drunk music like wine. He has instead laboured in a mill of statistics and crammed his mind with all the most dreary and the most filthy details, so that he can argue on the spur of the moment about sewing-machines or sewage, about typhus fever or twopenny tubes. The usual mean theory of motives will not cover the case; it is not ambition, for he could have been twenty times more prominent as a plausible and popular humorist. It is the real and ancient emotion of the salus populi, almost extinct in our oligarchical chaos; nor will I for one, as I pass on to many matters of argument or quarrel, neglect to salute a passion so implacable and so pure.
The Critic
It appears a point of some mystery to the present writer that Bernard Shaw should have been so long unrecognised and almost in beggary. I should have thought his talent was of the ringing and arresting sort; such as even editors and publishers would have sense enough to seize. Yet it is quite certain that he almost starved in London for many years, writing occasional columns for an advertisement or words for a picture. And it is equally certain (it is proved by twenty anecdotes, but no one who knows Shaw needs any anecdotes to prove it) that in those days of desperation he again and again threw up chances and flung back good bargains which did not suit his unique and erratic sense of honour. The fame of having first offered Shaw to the public upon a platform worthy of him belongs, like many other public services, to Mr. William Archer.
I say it seems odd that such a writer should not be appreciated in a flash; but upon this point there is evidently a real difference of opinion, and it constitutes for me the strangest difficulty of the subject. I hear many people complain that Bernard Shaw deliberately mystifies them. I cannot imagine what they mean; it seems to me that he deliberately insults them. His language, especially on moral questions, is generally as straight and solid as that of a bargee and far less ornate and symbolic than that of a hansom-cabman. The prosperous English Philistine complains that Mr. Shaw is making a fool of him. Whereas Mr. Shaw is not in the least making a fool of him; Mr. Shaw is, with laborious lucidity, calling him a fool. G. B. S. calls a landlord a thief; and the landlord, instead of denying or resenting it, says, “Ah, that fellow hides his meaning so cleverly that one can never make out what he means, it is all so fine spun and fantastical.” G. B. S. calls a statesman a liar to his face, and the statesman cries in a kind of ecstasy, “Ah, what quaint, intricate and half-tangled trains of thought! Ah, what elusive and many-coloured mysteries of half-meaning!” I think it is always quite plain what Mr. Shaw means, even when he is joking, and it generally means that the people he is talking to ought to howl aloud for their sins. But the average representative of them undoubtedly treats the Shavian meaning as tricky and complex, when it is really direct and offensive. He always accuses Shaw of pulling his leg, at the exact moment when Shaw is pulling his nose.
This prompt and pungent style he learnt in the open, upon political tubs and platforms; and he is very legitimately proud of it. He boasts of being a demagogue; “The cart and the trumpet for me,” he says, with admirable good sense. Everyone will remember the effective appearance of Cyrano de Bergerac in the first act of the fine play of that name; when instead of leaping in by any hackneyed door or window, he suddenly springs upon a chair above the crowd that has so far kept him invisible; “les bras croisés, le feutre en bataille, la moustache hérissée, le nez terrible.” I will not go so far as to say that when Bernard Shaw sprang upon a chair or tub in Trafalgar Square he had the hat in battle, or even that he had the nose terrible. But just as we see Cyrano best when he thus leaps above the crowd, I think we may take this moment of Shaw stepping on his little platform to see him clearly as he then was, and even as he has largely not ceased to be. I, at least, have only known him in his middle age; yet I think I can see him, younger yet only a little more alert, with hair more red but with face yet paler, as he first stood up upon some cart or barrow in the tossing glare of the gas.
The first fact that one realises about Shaw (independent of all one has read and often contradicting it) is his voice. Primarily it is the voice of an Irishman, and then something of the voice of a musician. It possibly explains much of his career; a man may be permitted to say so many impudent things with so pleasant an intonation. But the voice is not only Irish and agreeable, it is also frank and as it were inviting conference. This goes with a style and gesture which can only be described as at once very casual and very emphatic. He assumes that bodily supremacy which goes with oratory, but he assumes it with almost ostentatious carelessness; he throws back the head, but loosely and laughingly.