Love Among The Artists (A Story With A Purpose). GEORGE BERNARD SHAW

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СКАЧАТЬ very simple and sincere masses of men used to hail with shouts of joy the assurance that they were not immortal. He retains to this day something of the noise and narrowness of that room; as, for instance, when he says that it is contemptible to have a craving for eternal life. This prejudice remains in direct opposition to all his present opinions, which are all to the effect that it is glorious to desire power, consciousness, and vitality even for one’s self. But this old secularist tag, that it is selfish to save one’s soul, remains with him long after he has practically glorified selfishness. It is a relic of those chaotic early days. And just as he mingled with the atheists he mingled with the anarchists, who were in the eighties a much more formidable body than now, disputing with the Socialists on almost equal terms the claim to be the true heirs of the Revolution. Shaw still talks entertainingly about this group. As far as I can make out, it was almost entirely female. When a book came out called A Girl among the Anarchists, G. B. S. was provoked to a sort of explosive reminiscence. “A girl among the anarchists!” he exclaimed to his present biographer; “if they had said ‘A man among the anarchists’ it would have been more of an adventure.” He is ready to tell other tales of this eccentric environment, most of which does not convey an impression of a very bracing atmosphere. That revolutionary society must have contained many high public ideals, but also a fair number of low private desires. And when people blame Bernard Shaw for his pitiless and prosaic coldness, his cutting refusal to reverence or admire, I think they should remember this riffraff of lawless sentimentalism against which his commonsense had to strive, all the grandiloquent “comrades” and all the gushing “affinities,” all the sweetstuff sensuality and senseless sulking against law. If Bernard Shaw became a little too fond of throwing cold water upon prophecies or ideals, remember that he must have passed much of his youth among cosmopolitan idealists who wanted a little cold water in every sense of the word.

      Upon two of these modern crusades he concentrated, and, as I have said, he chose them well. The first was broadly what was called the Humanitarian cause. It did not mean the cause of humanity, but rather, if anything, the cause of everything else. At its noblest it meant a sort of mystical identification of our life with the whole life of nature. So a man might wince when a snail was crushed as if his toe were trodden on; so a man might shrink when a moth shrivelled as if his own hair had caught fire. Man might be a network of exquisite nerves running over the whole universe, a subtle spider’s web of pity. This was a fine conception; though perhaps a somewhat severe enforcement of the theological conception of the special divinity of man. For the humanitarians certainly asked of humanity what can be asked of no other creature; no man ever required a dog to understand a cat or expected the cow to cry for the sorrows of the nightingale.

      Hence this sense has been strongest in saints of a very mystical sort; such as St. Francis who spoke of Sister Sparrow and Brother Wolf. Shaw adopted this crusade of cosmic pity but adopted it very much in his own style, severe, explanatory, and even unsympathetic. He had no affectionate impulse to say “Brother Wolf”; at the best he would have said “Citizen Wolf,” like a sound republican. In fact, he was full of healthy human compassion for the sufferings of animals; but in phraseology he loved to put the matter unemotionally and even harshly. I was once at a debating club at which Bernard Shaw said that he was not a humanitarian at all, but only an economist, that he merely hated to see life wasted by carelessness or cruelty. I felt inclined to get up and address to him the following lucid question: “If when you spare a herring you are only being oikonomikal, for what oikos are you being nomikal?” But in an average debating club I thought this question might not be quite clear; so I abandoned the idea. But certainly it is not plain for whom Bernard Shaw is economising if he rescues a rhinoceros from an early grave. But the truth is that Shaw only took this economic pose from his hatred of appearing sentimental. If Bernard Shaw killed a dragon and rescued a princess of romance, he would try to say “I have saved a princess” with exactly the same intonation as “I have saved a shilling.” He tries to turn his own heroism into a sort of superhuman thrift. He would thoroughly sympathise with that passage in his favourite dramatic author in which the Button Moulder tells Peer Gynt that there is a sort of cosmic housekeeping; that God Himself is very economical, “and that is why He is so well to do.”

      This combination of the widest kindness and consideration with a consistent ungraciousness of tone runs through all Shaw’s ethical utterance, and is nowhere more evident than in his attitude towards animals. He would waste himself to a whitehaired shadow to save a shark in an aquarium from inconvenience or to add any little comforts to the life of a carrion-crow. He would defy any laws or lose any friends to show mercy to the humblest beast or the most hidden bird. Yet I cannot recall in the whole of his works or in the whole of his conversation a single word of any tenderness or intimacy with any bird or beast. It was under the influence of this high and almost superhuman sense of duty that he became a vegetarian; and I seem to remember that when he was lying sick and near to death at the end of his Saturday Review career he wrote a fine fantastic article, declaring that his hearse ought to be drawn by all the animals that he had not eaten. Whenever that evil day comes there will be no need to fall back on the ranks of the brute creation; there will be no lack of men and women who owe him so much as to be glad to take the place of the animals; and the present writer for one will be glad to express his gratitude as an elephant. There is no doubt about the essential manhood and decency of Bernard Shaw’s instincts in such matters. And quite apart from the vegetarian controversy, I do not doubt that the beasts also owe him much. But when we come to positive things (and passions are the only truly positive things) that obstinate doubt remains which remains after all eulogies of Shaw. That fixed fancy sticks to the mind; that Bernard Shaw is a vegetarian more because he dislikes dead beasts than because he likes live ones.

      It was the same with the other great cause to which Shaw more politically though not more publicly committed himself. The actual English people, without representation in Press or Parliament, but faintly expressed in public-houses and music-halls, would connect Shaw (so far as they have heard of him) with two ideas; they would say first that he was a vegetarian, and second that he was a Socialist. Like most of the impressions of the ignorant, these impressions would be on the whole very just. My only purpose here is to urge that Shaw’s Socialism exemplifies the same trait of temperament as his vegetarianism. This book is not concerned with Bernard Shaw as a politician or a sociologist, but as a critic and creator of drama. I will therefore end in this chapter all that I have to say about Bernard Shaw as a politician or a political philosopher. I propose here to dismiss this aspect of Shaw: only let it be remembered, once and for all, that I am here dismissing the most important aspect of Shaw. It is as if one dismissed the sculpture of Michael Angelo and went on to his sonnets. Perhaps the highest and purest thing in him is simply that he cares more for politics than for anything else; more than for art or for philosophy. Socialism is the noblest thing for Bernard Shaw; and it is the noblest thing in him. He really desires less to win fame than to bear fruit. He is an absolute follower of that early sage who wished only to make two blades of grass grow instead of one. He is a loyal subject of Henri Quatre, who said that he only wanted every Frenchman to have a chicken in his pot on Sunday; except, of course, that he would call the repast cannibalism. But cæteris paribus he thinks more of that chicken than of the eagle of the universal empire; and he is always ready to support the grass against the laurel.

      Yet by the nature of this book the account of the most important Shaw, who is the Socialist, must be also the most brief. Socialism (which I am not here concerned either to attack or defend) is, as everyone knows, the proposal that all property should be nationally owned that it may be more decently distributed. It is a proposal resting upon two principles, unimpeachable as far as they go: first, that frightful human calamities call for immediate human aid; second, that such aid must almost always be collectively organised. If a ship is being wrecked, we organise a lifeboat; if a house is on fire, we organise a blanket; if half a nation is starving, we must organise work and food. That is the primary and powerful argument of the Socialist, and everything that he adds to it weakens it. The only possible line of protest is to suggest that it is rather shocking that we have to treat a normal nation as something exceptional, like a house on fire or a shipwreck. But of such things it may be necessary to speak later. The point here is that Shaw behaved towards Socialism just as he behaved towards vegetarianism; he offered every reason except the СКАЧАТЬ