60 Plays: The George Bernard Shaw Edition (Illustrated). GEORGE BERNARD SHAW

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СКАЧАТЬ of this Irish society of which Bernard Shaw, with all his individual oddity, is yet an essential type? One generalisation, I think, may at least be made. Ireland has in it a quality which caused it (in the most ascetic age of Christianity) to be called the “Land of Saints”; and which still might give it a claim to be called the Land of Virgins. An Irish Catholic priest once said to me, “There is in our people a fear of the passions which is older even than Christianity.” Everyone who has read Shaw’s play upon Ireland will remember the thing in the horror of the Irish girl at being kissed in the public streets. But anyone who knows Shaw’s work will recognize it in Shaw himself. There exists by accident an early and beardless portrait of him which really suggests in the severity and purity of its lines some of the early ascetic pictures of the beardless Christ. However he may shout profanities or seek to shatter the shrines, there is always something about him which suggests that in a sweeter and more solid civilisation he would have been a great saint. He would have been a saint of a sternly ascetic, perhaps of a sternly negative type. But he has this strange note of the saint in him: that he is literally unworldly. Worldliness has no human magic for him; he is not bewitched by rank nor drawn on by conviviality at all. He could not understand the intellectual surrender of the snob. He is perhaps a defective character; but he is not a mixed one. All the virtues he has are heroic virtues. Shaw is like the Venus of Milo; all that there is of him is admirable.

      But in any case this Irish innocence is peculiar and fundamental in him; and strange as it may sound, I think that his innocence has a great deal to do with his suggestions of sexual revolution. Such a man is comparatively audacious in theory because he is comparatively clean in thought. Powerful men who have powerful passions use much of their strength in forging chains for themselves; they alone know how strong the chains need to be. But there are other souls who walk the woods like Diana, with a sort of wild chastity. I confess I think that this Irish purity a little disables a critic in dealing, as Mr. Shaw has dealt, with the roots and reality of the marriage law. He forgets that those fierce and elementary functions which drive the universe have an impetus which goes beyond itself and cannot always easily be recovered. So the healthiest men may often erect a law to watch them, just as the healthiest sleepers may want an alarum clock to wake them up. However this may be, Bernard Shaw certainly has all the virtues and all the powers that go with this original quality in Ireland. One of them is a sort of awful elegance; a dangerous and somewhat inhuman daintiness of taste which sometimes seems to shrink from matter itself, as though it were mud. Of the many sincere things Mr. Shaw has said he never said a more sincere one than when he stated he was a vegetarian, not because eating meat was bad morality, but because it was bad taste. It would be fanciful to say that Mr. Shaw is a vegetarian because he comes of a race of vegetarians, of peasants who are compelled to accept the simple life in the shape of potatoes. But I am sure that his fierce fastidiousness in such matters is one of the allotropic forms of the Irish purity; it is to the virtue of Father Matthew what a coal is to a diamond. It has, of course, the quality common to all special and unbalanced types of virtue, that you never know where it will stop. I can feel what Mr. Shaw probably means when he says that it is disgusting to feast off dead bodies, or to cut lumps off what was once a living thing. But I can never know at what moment he may not feel in the same way that it is disgusting to mutilate a pear-tree, or to root out of the earth those miserable mandrakes which cannot even groan. There is no natural limit to this rush and riotous gallop of refinement.

      But it is not this physical and fantastic purity which I should chiefly count among the legacies of the old Irish morality. A much more important gift is that which all the saints declared to be the reward of chastity: a queer clearness of the intellect, like the hard clearness of a crystal. This certainly Mr. Shaw possesses; in such degree that at certain times the hardness seems rather clearer than the clearness. But so it does in all the most typical Irish characters and Irish attitudes of mind. This is probably why Irishmen succeed so much in such professions as require a certain crystalline realism, especially about results. Such professions are the soldier and the lawyer; these give ample opportunity for crimes but not much for mere illusions. If you have composed a bad opera you may persuade yourself that it is a good one; if you have carved a bad statue you can think yourself better than Michael Angelo. But if you have lost a battle you cannot believe you have won it; if your client is hanged you cannot pretend that you have got him off.

      There must be some sense in every popular prejudice, even about foreigners. And the English people certainly have somehow got an impression and a tradition that the Irishman is genial, unreasonable, and sentimental. This legend of the tender, irresponsible Paddy has two roots; there are two elements in the Irish which made the mistake possible. First, the very logic of the Irishman makes him regard war or revolution as extra-logical, an ultima ratio which is beyond reason. When fighting a powerful enemy he no more worries whether all his charges are exact or all his attitudes dignified than a soldier worries whether a cannon-ball is shapely or a plan of campaign picturesque. He is aggressive; he attacks. He seems merely to be rowdy in Ireland when he is really carrying the war into Africa — or England. A Dublin tradesman printed his name and trade in archaic Erse on his cart. He knew that hardly anybody could read it; he did it to annoy. In his position I think he was quite right. When one is oppressed it is a mark of chivalry to hurt oneself in order to hurt the oppressor. But the English (never having had a real revolution since the Middle Ages) find it very hard to understand this steady passion for being a nuisance, and mistake it for mere whimsical impulsiveness and folly. When an Irish member holds up the whole business of the House of Commons by talking of his bleeding country for five or six hours, the simple English members suppose that he is a sentimentalist. The truth is that he is a scornful realist who alone remains unaffected by the sentimentalism of the House of Commons. The Irishman is neither poet enough nor snob enough to be swept away by those smooth social and historical tides and tendencies which carry Radicals and Labour members comfortably off their feet. He goes on asking for a thing because he wants it; and he tries really to hurt his enemies because they are his enemies. This is the first of the queer confusions which make the hard Irishman look soft. He seems to us wild and unreasonable because he is really much too reasonable to be anything but fierce when he is fighting.

      In all this it will not be difficult to see the Irishman in Bernard Shaw. Though personally one of the kindest men in the world, he has often written really in order to hurt; not because he hated any particular men (he is hardly hot and animal enough for that), but because he really hated certain ideas even unto slaying. He provokes; he will not let people alone. One might even say that he bullies, only that this would be unfair, because he always wishes the other man to hit back. At least he always challenges, like a true Green Islander. An even stronger instance of this national trait can be found in another eminent Irishman, Oscar Wilde. His philosophy (which was vile) was a philosophy of ease, of acceptance, and luxurious illusion; yet, being Irish, he could not help putting it in pugnacious and propagandist epigrams. He preached his softness with hard decision; he praised pleasure in the words most calculated to give pain. This armed insolence, which was the noblest thing about him, was also the Irish thing; he challenged all comers. It is a good instance of how right popular tradition is even when it is most wrong, that the English have perceived and preserved this essential trait of Ireland in a proverbial phrase. It is true that the Irishman says, “Who will tread on the tail of my coat?”

      But there is a second cause which creates the English fallacy that the Irish are weak and emotional. This again springs from the very fact that the Irish are lucid and logical. For being logical they strictly separate poetry from prose; and as in prose they are strictly prosaic, so in poetry they are purely poetical. In this, as in one or two other things, they resemble the French, who make their gardens beautiful because they are gardens, but their fields ugly because they are only fields. An Irishman may like romance, but he will say, to use a frequent Shavian phrase, that it is “only romance.” A great part of the English energy in fiction arises from the very fact that their fiction half deceives them. If Rudyard Kipling, for instance, had written his short stories in France, they would have been praised as cool, clever little works of art, rather cruel, and very nervous and feminine; Kipling’s short stories would have been appreciated like Maupassant’s short stories. In England they were not appreciated but believed. They were taken seriously by a startled nation as a true picture of the empire and the СКАЧАТЬ