The Collected Plays of George Bernard Shaw - 60 Titles in One Edition (Illustrated Edition). GEORGE BERNARD SHAW

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СКАЧАТЬ in abstractions and incredibilities? And so I am compelled to hide Lady Cicely’s speech under the veil of conventional orthography.

      I need not shield Drinkwater, because he will never read my book. So I have taken the liberty of making a special example of him, as far as that can be done without a phonetic alphabet, for the benefit of the mass of readers outside London who still form their notions of cockney dialect on Sam Weller. When I came to London in 1876, the Sam Weller dialect had passed away so completely that I should have given it up as a literary fiction if I had not discovered it surviving in a Middlesex village, and heard of it from an Essex one. Some time in the eighties the late Andrew Tuer called attention in the Pall Mall Gazette to several peculiarities of modern cockney, and to the obsolescence of the Dickens dialect that was still being copied from book to book by authors who never dreamt of using their ears, much less of training them to listen. Then came Mr. Anstey’s cockney dialogues in Punch, a great advance, and Mr. Chevalier’s coster songs and patter. The Tompkins verses contributed by Mr. Barry Pain to the London Daily Chronicle have also done something to bring the literary convention for cockney English up to date. But Tompkins sometimes perpetrates horrible solecisms. He will pronounce face as fits, accurately enough; but he will rhyme it quite impossibly to nice, which Tompkins would pronounce as newts: for example Mawl Enn Rowd for Mile End Road. This aw for i, which I have made Drinkwater use, is the latest stage of the old diphthongal oi, which Mr. Chevalier still uses. Irish, Scotch and north country readers must remember that Drinkwater’s rs are absolutely unpronounced when they follow a vowel, though they modify the vowel very considerably. Thus, luggage is pronounced by him as laggige, but turn is not pronounced as tern, but as teun with the eu sounded as in French. The London r seems thoroughly understood in America, with the result, however, that the use of the r by Artemus Ward and other American dialect writers causes Irish people to misread them grotesquely. I once saw the pronunciation of malheureux represented in a cockney handbook by mal-err-err: not at all a bad makeshift to instruct a Londoner, but out of the question elsewhere in the British Isles. In America, representations of English speech dwell too derisively on the dropped or interpolated h. American writers have apparently not noticed the fact that the south English h is not the same as the never-dropped Irish and American h, and that to ridicule an Englishman for dropping it is as absurd as to ridicule the whole French and Italian nation for doing the same. The American h, helped out by a general agreement to pronounce wh as hw, is tempestuously audible, and cannot be dropped without being immediately missed. The London h is so comparatively quiet at all times, and so completely inaudible in wh, that it probably fell out of use simply by escaping the ears of children learning to speak. However that may be, it is kept alive only by the literate classes who are reminded constantly of its existence by seeing it on paper.

      Roughly speaking, I should say that in England he who bothers about his hs is a fool, and he who ridicules a dropped h a snob. As to the interpolated h, my experience as a London vestryman has convinced me that it is often effective as a means of emphasis, and that the London language would be poorer without it. The objection to it is no more respectable than the objection of a street boy to a black man or to a lady in knickerbockers.

      I have made only the most perfunctory attempt to represent the dialect of the missionary. There is no literary notation for the grave music of good Scotch.

      BLACKDOWN, August 1900

       Caesar and Cleopatra: A History (1901)

       Table of Contents

Table of Contents

       PROLOGUE

       AN ALTERNATIVE TO THE PROLOGUE

       ACT I

       ACT II

       ACT III

       ACT IV

       ACT V

       NOTES TO CAESAR AND CLEOPATRA

      PROLOGUE

       Table of Contents

      [In the doorway of the temple of Ra in Memphis. Deep gloom. An august personage with a hawk’s head is mysteriously visible by his own light in the darkness within the temple. He surveys the modern audience with great contempt; and finally speaks the following words to them.]

      Peace! Be silent and hearken unto me, ye quaint little islanders. Give ear, ye men with white paper on your breasts and nothing written thereon [to signify the innocence of your minds]. Hear me, ye women who adorn yourselves alluringly and conceal your thoughts from your men, leading them to believe that ye deem them wondrous strong and masterful whilst in truth ye hold them in your hearts as children without judgment. Look upon my hawk’s head; and know that I am Ra, who was once in Egypt a mighty god. Ye cannot kneel nor prostrate yourselves; for ye are packed, in rows without freedom to move, obstructing one another’s vision; neither do any of ye regard it as seemly to do ought until ye see all the rest do so too; wherefore it commonly happens that in great emergencies ye do nothing though each telleth his fellow that something must be done. I ask you not for worship, but for silence. Let not your men speak nor your women cough; for I am come to draw you back two thousand years over the graves of sixty generations. Ye poor posterity, think not that ye are the first. Other fools before ye have seen the sun rise and set, and the moon change her shape and her hour. As they were so ye are; and yet not so great; for the pyramids my people built stand to this day; whilst the dust heaps on which ye slave, and which ye call empires, scatter in the wind even as ye pile your dead sons’ bodies on them to make yet more dust.

      Hearken to me then, oh ye: compulsorily educated ones. Know that even as there is an old England and a new, and ye stand perplexed between the twain; so in the days when I was worshipped was there an old Rome and a new, and men standing perplexed between them. And the old Rome was poor and little, and greedy and fierce, and evil in many ways; but because its mind was little and its work was simple, it knew its own mind and did its own work; and the gods pitied it and helped it and strengthened it and shielded it; for the gods are patient with littleness. Then the old Rome, like the beggar on horseback, presumed on the favor of the gods, and said, “Lo! there is neither riches nor greatness in our littleness: the road to riches and greatness is through robbery of the poor and slaughter of the weak.” So they robbed their own poor until they became great masters of that art, and knew by what laws it could be made to appear seemly and honest. And when they had squeezed their own poor dry, they robbed the poor of other lands, and added those lands to Rome until there came a new Rome, rich and huge. And I, Ra, laughed; for the minds of the Romans remained the same size whilst their dominion spread over the earth.

      Now mark me, that ye may understand what ye are presently to see. Whilst the Romans still stood between the old Rome and the new, there arose among them a mighty soldier: Pompey the Great. СКАЧАТЬ