AN UNSOCIAL SOCIALIST. GEORGE BERNARD SHAW
piano he may be cocking a feather, drawing a sword or draining a flagon for all I know. While he is speaking I am sure that there are some things he does not understand. But while he is listening (at the Queen’s Hall) he may understand everything, including God and me. Upon this part of him I am a reverent agnostic; it is well to have some such dark continent in the character of a man of whom one writes. It preserves two very important things — modesty in the biographer and mystery in the biography.
For the purpose of our present generalisation it is only necessary to say that Shaw, as a musical critic, summed himself up as “The Perfect Wagnerite”; he threw himself into subtle and yet trenchant eulogy of that revolutionary voice in music. It was the same with the other arts. As he was a Perfect Wagnerite in music, so he was a Perfect Whistlerite in painting; so above all he was a Perfect Ibsenite in drama. And with this we enter that part of his career with which this book is more specially concerned. When Mr. William Archer got him established as dramatic critic of the Saturday Review, he became for the first time “a star of the stage”; a shooting star and sometimes a destroying comet.
On the day of that appointment opened one of the very few exhilarating and honest battles that broke the silence of the slow and cynical collapse of the nineteenth century. Bernard Shaw the demagogue had got his cart and his trumpet; and was resolved to make them like the car of destiny and the trumpet of judgment. He had not the servility of the ordinary rebel, who is content to go on rebelling against kings and priests, because such rebellion is as old and as established as any priests or kings. He cast about him for something to attack which was not merely powerful or placid, but was unattacked. After a little quite sincere reflection, he found it. He would not be content to be a common atheist; he wished to blaspheme something in which even atheists believed. He was not satisfied with being revolutionary; there were so many revolutionists. He wanted to pick out some prominent institution which had been irrationally and instinctively accepted by the most violent and profane; something of which Mr. Foote would speak as respectfully on the front page of the Freethinker as Mr. St. Loe Strachey on the front page of the Spectator. He found the thing; he found the great unassailed English institution — Shakespeare.
But Shaw’s attack on Shakespeare, though exaggerated for the fun of the thing, was not by any means the mere folly or firework paradox that has been supposed. He meant what he said; what was called his levity was merely the laughter of a man who enjoyed saying what he meant — an occupation which is indeed one of the greatest larks in life. Moreover, it can honestly be said that Shaw did good by shaking the mere idolatry of Him of Avon. That idolatry was bad for England; it buttressed our perilous self-complacency by making us think that we alone had, not merely a great poet, but the one poet above criticism. It was bad for literature; it made a minute model out of work that was really a hasty and faulty masterpiece. And it was bad for religion and morals that there should be so huge a terrestrial idol, that we should put such utter and unreasoning trust in any child of man. It is true that it was largely through Shaw’s own defects that he beheld the defects of Shakespeare. But it needed someone equally prosaic to resist what was perilous in the charm of such poetry; it may not be altogether a mistake to send a deaf man to destroy the rock of the sirens.
This attitude of Shaw illustrates of course all three of the divisions or aspects to which the reader’s attention has been drawn. It was partly the attitude of the Irishman objecting to the Englishman turning his mere artistic taste into a religion; especially when it was a taste merely taught him by his aunts and uncles. In Shaw’s opinion (one might say) the English do not really enjoy Shakespeare or even admire Shakespeare; one can only say, in the strong colloquialism, that they swear by Shakespeare. He is a mere god; a thing to be invoked. And Shaw’s whole business was to set up the things which were to be sworn by as things to be sworn at. It was partly again the revolutionist in pursuit of pure novelty, hating primarily the oppression of the past, almost hating history itself. For Bernard Shaw the prophets were to be stoned after, and not before, men had built their sepulchres. There was a Yankee smartness in the man which was irritated at the idea of being dominated by a person dead for three hundred years; like Mark Twain, he wanted a fresher corpse.
These two motives there were, but they were small compared with the other. It was the third part of him, the Puritan, that was really at war with Shakespeare. He denounced that playwright almost exactly as any contemporary Puritan coming out of a conventicle in a steeple-crowned hat and stiff bands might have denounced the playwright coming out of the stage door of the old Globe Theatre. This is not a mere fancy; it is philosophically true. A legend has run round the newspapers that Bernard Shaw offered himself as a better writer than Shakespeare. This is false and quite unjust; Bernard Shaw never said anything of the kind. The writer whom he did say was better than Shakespeare was not himself, but Bunyan. And he justified it by attributing to Bunyan a virile acceptance of life as a high and harsh adventure, while in Shakespeare he saw nothing but profligate pessimism, the vanitas vanitatum of a disappointed voluptuary. According to this view Shakespeare was always saying, “Out, out, brief candle,” because his was only a ballroom candle; while Bunyan was seeking to light such a candle as by God’s grace should never be put out.
It is odd that Bernard Shaw’s chief error or insensibility should have been the instrument of his noblest affirmation. The denunciation of Shakespeare was a mere misunderstanding. But the denunciation of Shakespeare’s pessimism was the most splendidly understanding of all his utterances. This is the greatest thing in Shaw, a serious optimism — even a tragic optimism. Life is a thing too glorious to be enjoyed. To be is an exacting and exhausting business; the trumpet though inspiring is terrible. Nothing that he ever wrote is so noble as his simple reference to the sturdy man who stepped up to the Keeper of the Book of Life and said, “Put down my name, Sir.” It is true that Shaw called this heroic philosophy by wrong names and buttressed it with false metaphysics; that was the weakness of the age. The temporary decline of theology had involved the neglect of philosophy and all fine thinking; and Bernard Shaw had to find shaky justifications in Schopenhauer for the sons of God shouting for joy. He called it the Will to Live — a phrase invented by Prussian professors who would like to exist, but can’t. Afterwards he asked people to worship the Life-Force; as if one could worship a hyphen. But though he covered it with crude new names (which are now fortunately crumbling everywhere like bad mortar) he was on the side of the good old cause; the oldest and the best of all causes, the cause of creation against destruction, the cause of yes against no, the cause of the seed against the stony earth and the star against the abyss.
His misunderstanding of Shakespeare arose largely from the fact that he is a Puritan, while Shakespeare was spiritually a Catholic. The former is always screwing himself up to see truth; the latter is often content that truth is there. The Puritan is only strong enough to stiffen; the Catholic is strong enough to relax. Shaw, I think, has entirely misunderstood the pessimistic passages of Shakespeare. They are flying moods which a man with a fixed faith can afford to entertain. That all is vanity, that life is dust and love is ashes, these are frivolities, these are jokes that a Catholic can afford to utter. He knows well enough that there is a life that is not dust and a love that is not ashes. But just as he may let himself go more than the Puritan in the matter of enjoyment, so he may let himself go more than the Puritan in the matter of melancholy. The sad exuberances of Hamlet are merely like the glad exuberances of Falstaff. This is not conjecture; it is the text of Shakespeare. In the very act of uttering his pessimism, Hamlet admits that it is a mood and not the truth. Heaven is a heavenly thing, only to him it seems a foul congregation of vapours. Man is the paragon of animals, only to him he seems a quintessence of dust. Hamlet is quite the reverse of a sceptic. He is a man whose strong intellect believes much more than his weak temperament can make vivid to him. But this power of knowing a thing without feeling it, this power of believing a thing without experiencing it, this is an old Catholic complexity, and the Puritan has never understood it. Shakespeare confesses his moods (mostly by the mouths of villains and failures), but he never sets up his moods against his mind. His cry of vanitas vanitatum is itself only a harmless vanity. Readers may not agree with my calling him Catholic with a big C; but they will hardly complain of my calling him catholic with a small one. And that is here the principal point. Shakespeare was not in any sense a pessimist; he was, if anything, an optimist so universal as to be able to enjoy even pessimism. And this is exactly where he differs from the Puritan. The true Puritan is not squeamish: the true Puritan is free