LOVE AMONG THE ARTISTS (An Autobiographical Novel of G. B. Shaw). GEORGE BERNARD SHAW

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      The Puritan

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      It has been said in the first section that Bernard Shaw draws from his own nation two unquestionable qualities, a kind of intellectual chastity, and the fighting spirit. He is so much of an idealist about his ideals that he can be a ruthless realist in his methods. His soul has (in short) the virginity and the violence of Ireland. But Bernard Shaw is not merely an Irishman; he is not even a typical one. He is a certain separated and peculiar kind of Irishman, which is not easy to describe. Some Nationalist Irishmen have referred to him contemptuously as a “West Briton.” But this is really unfair; for whatever Mr. Shaw’s mental faults may be, the easy adoption of an unmeaning phrase like “Briton” is certainly not one of them. It would be much nearer the truth to put the thing in the bold and bald terms of the old Irish song, and to call him “The anti-Irish Irishman.” But it is only fair to say that the description is far less of a monstrosity than the anti-English Englishman would be; because the Irish are so much stronger in self-criticism. Compared with the constant self-flattery of the English, nearly every Irishman is an anti-Irish Irishman. But here again popular phraseology hits the right word. This fairly educated and fairly wealthy Protestant wedge which is driven into the country at Dublin and elsewhere is a thing not easy superficially to summarise in any term. It cannot be described merely as a minority; for a minority means the part of a nation which is conquered. But this thing means something that conquers, and is not entirely part of a nation. Nor can one even fall back on the phrase of aristocracy. For an aristocracy implies at least some chorus of snobbish enthusiasm; it implies that some at least are willingly led by the leaders, if only towards vulgarity and vice. There is only one word for the minority in Ireland, and that is the word that public phraseology has found; I mean the word “Garrison.” The Irish are essentially right when they talk as if all Protestant Unionists lived inside “The Castle.” They have all the virtues and limitations of a literal garrison in a fort. That is, they are valiant, consistent, reliable in an obvious public sense; but their curse is that they can only tread the flagstones of the courtyard or the cold rock of the ramparts; they have never so much as set their foot upon their native soil.

      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.

      In conjecturally referring this negative side of the man, his lack of the smaller charities of our common childhood, to his birth in the dominant Irish sect, I do not write without historic memory or reference to other cases. That minority of Protestant exiles which mainly represented Ireland to England during the eighteenth century did contain some specimens of the Irish lounger and even of the Irish blackguard; Sheridan and even Goldsmith suggest the type. Even in their irresponsibility these figures had a touch of Irish tartness and realism; but the type has been too much insisted on to the exclusion of others equally national and interesting. To one of these it is worth while to draw attention. At intervals during the eighteenth and nineteenth centuries there has appeared a peculiar kind of Irishman. He is so unlike the English image of Ireland that the English have actually fallen back on the pretence that he was not Irish at all. The type is commonly Protestant; and sometimes seems to be almost antinational in its acrid instinct for judging itself. Its nationalism only appears when it flings itself with even bitterer pleasure into judging the foreigner or the invader. The first and greatest of such figures was Swift. Thackeray simply denied that Swift was an Irishman, because he was not a stage Irishman. He was not (in the English novelist’s opinion) winning and agreeable enough to be Irish. The truth is that Swift was much too harsh and disagreeable to be English. There is a great deal of Jonathan Swift in Bernard Shaw. Shaw is like Swift, for instance, in combining extravagant fancy with a curious sort of coldness. But he is most like Swift in that very quality which Thackeray said was impossible in an Irishman, benevolent bullying, a pity touched with contempt, and a habit of knocking men down for their own good. Characters in novels are often described as so amiable that they hate to be thanked. It is not an amiable quality, and it is an extremely rare one; but Swift possessed it. When Swift was buried the Dublin poor came in crowds and wept by the grave of the broadest and most freehanded of their benefactors. Swift deserved the public tribute; but he might have writhed and kicked in his grave at the thought of receiving it. There is in G. B. S. something of the same inhumane humanity. Irish history has offered a third instance of this particular type of educated and Protestant Irishman, sincere, unsympathetic, aggressive, alone. I mean Parnell; and with him also a bewildered СКАЧАТЬ