In any case it can be asserted that the general aim of the work was to exalt the immediate conclusions of practice against the general conclusions of theory. Shaw objected to the solution of every problem in a play being by its nature a general solution, applicable to all other such problems. He disliked the entrance of a universal justice at the end of the last act; treading down all the personal ultimatums and all the varied certainties of men. He disliked the god from the machine--because he was from a machine. But even without the machine he tended to dislike the god; because a god is more general than a man. His enemies have accused Shaw of being anti-domestic, a shaker of the roof-tree. But in this sense Shaw may be called almost madly domestic. He wishes each private problem to be settled in private, without reference to sociological ethics. And the only objection to this kind of gigantic casuistry is that the theatre is really too small to discuss it. It would not be fair to play David and Goliath on a stage too small to admit Goliath. And it is not fair to discuss private morality on a stage too small to admit the enormous presence of public morality; that character which has not appeared in a play since the Middle Ages; whose name is Everyman and whose honour we have all in our keeping.
_The Dramatist_
No one who was alive at the time and interested in such matters will ever forget the first acting of _Arms and the Man_. It was applauded by that indescribable element in all of us which rejoices to see the genuine thing prevail against the plausible; that element which rejoices that even its enemies are alive. Apart from the problems raised in the play, the very form of it was an attractive and forcible innovation. Classic plays which were wholly heroic, comic plays which were wholly and even heartlessly ironical, were common enough. Commonest of all in this particular time was the play that began playfully, with plenty of comic business, and was gradually sobered by sentiment until it ended on a note of romance or even of pathos. A commonplace little officer, the butt of the mess, becomes by the last act as high and hopeless a lover as Dante. Or a vulgar and violent pork-butcher remembers his own youth before the curtain goes down. The first thing that Bernard Shaw did when he stepped before the footlights was to reverse this process. He resolved to build a play not on pathos, but on bathos. The officer should be heroic first and then everyone should laugh at him; the curtain should go up on a man remembering his youth, and he should only reveal himself as a violent pork-butcher when someone interrupted him with an order for pork. This merely technical originality is indicated in the very title of the play. The _Arma Virumque_ of Virgil is a mounting and ascending phrase, the man is more than his weapons. The Latin line suggests a superb procession which should bring on to the stage the brazen and resounding armour, the shield and shattering axe, but end with the hero himself, taller and more terrible because unarmed. The technical effect of Shaw's scheme is like the same scene, in which a crowd should carry even more gigantic shapes of shield and helmet, but when the horns and howls were at their highest, should end with the figure of Little Tich. The name itself is meant to be a bathos; arms--and the man.
It is well to begin with the superficial; and this is the superficial effectiveness of Shaw; the brilliancy of bathos. But of course the vitality and value of his plays does not lie merely in this; any more than the value of Swinburne lies in alliteration or the value of Hood in puns. This is not his message; but it is his method; it is his style. The first taste we had of it was in this play of _Arms and the Man_; but even at the very first it was evident that there was much more in the play than that. Among other things there was one thing not unimportant; there was savage sincerity. Indeed, only a ferociously sincere person can produce such effective flippancies on a matter like war; just as only a strong man could juggle with cannon balls. It is all very well to use the word "fool" as synonymous with "jester"; but daily experience shows that it is generally the solemn and silent man who is the fool. It is all very well to accuse Mr. Shaw of standing on his head; but if you stand on your head you must have a hard and solid head to stand on. In _Arms and the Man_ the bathos of form was strictly the incarnation of a strong satire in the idea. The play opens in an atmosphere of military melodrama; the dashing officer of cavalry going off to death in an attitude, the lovely heroine left in tearful rapture; the brass band, the noise of guns and the red fire. Into all this enters Bluntschli, the little sturdy crop-haired Swiss professional soldier, a man without a country but with a trade. He tells the army-adoring heroine frankly that she is a humbug; and she, after a moment's reflection, appears to agree with him. The play is like nearly all Shaw's plays, the dialogue of a conversion. By the end of it the young lady has lost all her military illusions and admires this mercenary soldier not because he faces guns, but because he faces facts.
This was a fitting entrance for Shaw to his didactic drama; because the commonplace courage which he respects in Bluntschli was the one virtue which he was destined to praise throughout. We can best see how the play symbolises and summarises Bernard Shaw if we compare it with some other attack by modern humanitarians upon war. Shaw has many of the actual opinions of Tolstoy. Like Tolstoy he tells men, with coarse innocence, that romantic war is only butchery and that romantic love is only lust. But Tolstoy objects to these things because they are real; he really wishes to abolish them. Shaw only objects to them in so far as they are ideal; that is in so far as they are idealised. Shaw objects not so much to war as to the attractiveness of war. He does not so much dislike love as the love of love. Before the temple of Mars, Tolstoy stands and thunders, "There shall be no wars"; Bernard Shaw merely murmurs, "Wars if you must; but for God's sake, not war songs." Before the temple of Venus, Tolstoy cries terribly, "Come out of it!"; Shaw is quite content to say, "Do not be taken in by it." Tolstoy seems really to propose that high passion and patriotic valour should be destroyed. Shaw is more moderate; and only asks that they should be desecrated. Upon this note, both about sex and conflict, he was destined to dwell through much of his work with the most wonderful variations of witty adventure and intellectual surprise. It may be doubted perhaps whether this realism in love and war is quite so sensible as it looks. _Securus judicat orbis terrarum_; the world is wiser than the moderns. The world has kept sentimentalities simply because they are the most practical things in the world. They alone make men do things. The world does not encourage a quite rational lover, simply because a perfectly rational lover would never get married. The world does not encourage a perfectly rational army, because a perfectly rational army would run away.
The brain of Bernard Shaw was like a wedge in the literal sense. Its sharpest end was always in front; and it split our society from end to end the moment it had entrance at all. As I have said he was long unheard of; but he had not the tragedy of many authors, who were heard of long before they were heard. When you had read any Shaw you read all Shaw. When you had seen one of his plays you waited for more. And when he brought them out in volume form, you did what is repugnant to any literary man--you bought a book.
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 pr
incipal fear; and those two sculptured giantesses largely upheld his fame.
I fancy that the author rather dislikes _Candida_ because it is so generally liked. I give my own feeling for what it is worth (a foolish phrase), but I think that there were only two moments when this powerful writer was truly, in the ancient and popular sense, inspired; that is, breathing from a bigger self and telling more truth than he knew. One is that scene in a later play where after the secrets and revenges of Egypt have rioted and rotted all round him, the colossal sanity of Csar is suddenly acclaimed with swords. The other is that great last scene in _Candida_ where the wife, stung into final speech, declared her purpose of remaining with the strong man because he is the weak man. The wife is asked to decide between two men, one a strenuous self-confident popular preacher, her husband, the other a wild and weak young poet, logically futile and physically timid, her lover; and she chooses the former because he has more weakness and more need of her. Even among the plain and ringing paradoxes of the Shaw play this is one of the best reversals or turnovers ever effected. A paradoxical writer like Bernard Shaw is perpetually and tiresomely told that he stands on his head. But all romance and all religion consist in making the whole universe stand on its head. That reversal is the whole idea of virtue; that the last shall be first and the first last. Considered as a pure piece of Shaw therefore, the thing is of the best. But it is also something much better than Shaw. The writer touches certain realities commonly outside his scope; especially the reality of the normal wife's attitude to the normal husband, an attitude which is not romantic but which is yet quite quixotic; which is insanely unselfish and yet quite cynically clear-sighted. It involves human sacrifice without in the least involving idolatry.
The truth is that in this place Bernard Shaw comes within an inch of expressing something that is not properly expressed anywhere else; the idea of marriage. Marriage is not a mere chain upon love as the anarchists say; nor is it a mere crown upon love as the sentimentalists say. Marriage is a fact, an actual human relation like that of motherhood which has certain human habits and loyalties, except in a few monstrous cases where it is turned to torture by special insanity and sin. A marriage is neither an ecstasy nor a slavery; it is a commonwealth; it is a separate working and fighting thing like a nation. Kings and diplomatists talk of "forming alliances" when they make weddings; but indeed every wedding is primarily an alliance. The family is a fact even when it is not an agreeable fact, and a man is part of his wife even when he wishes he wasn't. The twain are one flesh--yes, even when they are not one spirit. Man is duplex. Man is a quadruped.
Of this ancient and essential relation there are certain emotional results, which are subtle, like all the growths of nature. And one of them is the attitude of the wife to the husband, whom she regards at once as the strongest and most helpless of human figures. She regards him in some strange fashion at once as a warrior who must make his way and as an infant who is sure to lose his way. The man has emotions which exactly correspond; sometimes looking down at his wife and sometimes up at her; for marriage is like a splendid game of see-saw. Whatever else it is, it is not comradeship. This living, ancestral bond (not of love or fear, but strictly of marriage) has been twice expressed splendidly in literature. The man's incurable sense of the mother in his lawful wife was uttered by Browning in one of his two or three truly shattering lines of genius, when he makes the execrable Guido fall back finally upon the fact of marriage and the wife whom he has trodden like mire:
"Christ! Maria! God, Pompilia, will you let them murder me?"
And the woman's witness to the same fact has been best expressed by Bernard Shaw in this great scene where she remains with the great stalwart successful public man because he is really too little to run alone.
There are one or two errors in the play; and they are all due to the primary error of despising the mental attitude of romance, which is the only key to real human conduct. For instance, the love making of the young poet is all wrong. He is supposed to be a romantic and amorous boy; and therefore the dramatist tries to make him talk turgidly, about seeking for "an archangel with purple wings" who shall be worthy of his lady. But a lad in love would never talk in this mock heroic style; there is no period at which the young male is more sensitive and serious and afraid of looking a fool. This is a blunder; but there is another much bigger and blacker. It is completely and disastrously false to the whole nature of falling in love to make the young Eugene complain of the cruelty which makes Candida defile her fair hands with domestic duties. No boy in love with a beautiful woman would ever feel disgusted when she peeled potatoes or trimmed lamps. He would like her to be domestic. He would simply feel that the potatoes had become poetical and the lamps gained an extra light. This may be irrational; but we are not talking of rationality, but of the psychology of first love. It may be very unfair to women that the toil and triviality of potato peeling should be seen through a glamour of romance; but the glamour is quite as certain a fact as the potatoes. It may be a bad thing in sociology that men should deify domesticity in girls as something dainty and magical; but all men do. Personally I do not think it a bad thing at all; but that is another argument. The argument here is that Bernard Shaw, in aiming at mere realism, makes a big mistake in reality. Misled by his great heresy of looking at emotions from the outside, he makes Eugene a cold-blooded prig at the very moment when he is trying, for his own dramatic purposes, to make him a hot-blooded lover. He makes the young lover an idealistic theoriser about the very things about which he really would have been a sort of mystical materialist. Here the romantic Irishman is much more right than the very rational one; and there is far more truth to life as it is in Lover's couplet--
"And envied the chicken That Peggy was pickin'."
than in Eugene's solemn, sthetic protest against the potato-skins and the lamp-oil. For dramatic purposes, G. B. S., even if he despises romance, ought to comprehend it. But then, if once he comprehended romance, he would not despise it.
The series contained, besides its more substantial work, tragic and comic, a comparative frivolity called _The Man of Destiny_. It is a little comedy about Napoleon, and is chiefly interesting as a foreshadowing of his after sketches of heroes and strong men; it is a kind of parody of _Csar and Cleopatra_ before it was written. In this connection the mere title of this Napoleonic play is of interest. All Shaw's generation and school of thought remembered Napoleon only by his late and corrupt title of "The Man of Destiny," a title only given to him when he was already fat and tired and destined to exile. They forgot that through all the really thrilling and creative part of his career he was not the man of destiny, but the man who defied destiny. Shaw's sketch is extraordinarily clever; but it is tinged with this unmilitary notion of an inevitable conquest; and this we must remember when we come to those larger canvases on which he painted his more serious heroes. As for the play, it is packed with good things, of which the last is perhaps the best. The long duologue between Bonaparte and the Irish lady ends with the General declaring that he will only be beaten when he meets an English army under an Irish general. It has always been one of Shaw's paradoxes that the English mind has the force to fulfil orders, while the Irish mind has the intelligence to give them, and it is among those of his paradoxes which contain a certain truth.
A far more important play is _The Philanderer_, an ironic comedy which is full of fine strokes and real satire; it is more especially the vehicle of some of Shaw's best satire upon physical science. Nothing could be cleverer than the picture of the young, strenuous doctor, in the utter innocence of his professional ambition, who has discovered a new disease, and is delighted when he finds people suffering from it and cast down to despair when he finds that it does not exist. The point is worth a pause, because it is a good, short way of stating Shaw's attitude, right or wrong, upon the whole of formal morality. What he dislikes in young Doctor Paramore is that he has interposed a secondary and false conscience between himself and the facts. When his dise
ase is disproved, instead of seeing the escape of a human being who thought he was going to die of it, Paramore sees the downfall of a kind of flag or cause. This is the whole contention of _The Quintessence of Ibsenism_, put better than the book puts it; it is a really sharp exposition of the dangers of "idealism," the sacrifice of people to principles, and Shaw is even wiser in his suggestion that this excessive idealism exists nowhere so strongly as in the world of physical science. He shows that the scientist tends to be more concerned about the sickness than about the sick man; but it was certainly in his mind to suggest here also that the idealist is more concerned about the sin than about the sinner.
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