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The English public has commonly professed, with a kind of pride, that it cannot understand Mr. Bernard Shaw. There are many reasons for it which ought to be adequately considered in such a book as this. But the first and most obvious reason is the mere statement that George Bernard Shaw was born in Dublin in 1856. At least one reason why Englishmen cannot understand Mr. Shaw is that Englishmen have never taken the trouble to understand Irishmen. They will sometimes be generous to Ireland; but never just to Ireland. They will speak to Ireland; they will speak for Ireland; but they will not hear Ireland speak. All the real amiability which most Englishmen undoubtedly feel towards Irishmen is lavished upon a class of Irishmen which unfortunately does not exist. The Irishman of the English farce, with his brogue, his buoyancy, and his tender-hearted irresponsibility, is a man who ought to have been thoroughly pampered with praise and sympathy, if he had only existed to receive them. Unfortunately, all the time that we were creating a comic Irishman in fiction, we were creating a tragic Irishman in fact. Never perhaps has there been a situation of such excruciating cross-purposes even in the three-act farce. The more we saw in the Irishman a sort of warm and weak fidelity, the more he regarded us with a sort of icy anger. The more the oppressor looked down with an amiable pity, the more did the oppressed look down with a somewhat unamiable contempt. But, indeed, it is needless to say that such comic cross-purposes could be put into a play; they have been put into a play. They have been put into what is perhaps the most real of Mr. Bernard Shaw's plays, John Bull's Other Island.
It is somewhat absurd to imagine that any one who has not read a play by Mr. Shaw will be reading a book about him. But if it comes to that it is (as I clearly perceive) absurd to be writing a book about Mr. Bernard Shaw at all. It is indefensibly foolish to attempt to explain a man whose whole object through life has been to explain himself. But even in nonsense there is a need for logic and consistency; therefore let us proceed on the assumption that when I say that all Mr. Shaw's blood and origin may be found in John Bull's Other Island, some reader may answer that he does not know the play. Besides, it is more important to put the reader right about England and Ireland even than to put him right about Shaw. If he reminds me that this is a book about Shaw, I can only assure him that I will reasonably, and at proper intervals, remember the fact.
Mr. Shaw himself said once, "I am a typical Irishman; my family came from Yorkshire." Scarcely anyone but a typical Irishman could have made the remark. It is in fact a bull, a conscious bull. A bull is only a paradox which people are too stupid to understand. It is the rapid summary of something which is at once so true and so complex that the speaker who has the swift intelligence to perceive it, has not the slow patience to explain it. Mystical dogmas are much of this kind. Dogmas are often spoken of as if they were signs of the slowness or endurance of the human mind. As a matter of fact, they are marks of mental promptitude and lucid impatience. A man will put his meaning mystically because he cannot waste time in putting it rationally. Dogmas are not dark and mysterious; rather a dogma is like a flash of lightning—an instantaneous lucidity that opens across a whole landscape. Of the same nature are Irish bulls; they are summaries which are too true to be consistent. The Irish make Irish bulls for the same reason that they accept Papal bulls. It is because it is better to speak wisdom foolishly, like the Saints, rather than to speak folly wisely, like the Dons.
This is the truth about mystical dogmas and the truth about Irish bulls; it is also the truth about the paradoxes of Bernard Shaw. Each of them is an argument impatiently shortened into an epigram. Each of them represents a truth hammered and hardened, with an almost disdainful violence until it is compressed into a small space, until it is made brief and almost incomprehensible. The case of that curt remark about Ireland and Yorkshire is a very typical one. If Mr. Shaw had really attempted to set out all the sensible stages of his joke, the sentence would have run something like this: "That I am an Irishman is a fact of psychology which I can trace in many of the things that come out of me, my fastidiousness, my frigid fierceness and my distrust of mere pleasure. But the thing must be tested by what comes from me; do not try on me the dodge of asking where I came from, how many batches of three hundred and sixty-five days my family was in Ireland. Do not play any games on me about whether I am a Celt, a word that is dim to the anthropologist and utterly unmeaning to anybody else. Do not start any drivelling discussions about whether the word Shaw is German or Scandinavian or Iberian or Basque. You know you are human; I know I am Irish. I know I belong to a certain type and temper of society; and I know that all sorts of people of all sorts of blood live in that society and by that society; and are therefore Irish. You can take your books of anthropology to hell or to Oxford." Thus gently, elaborately and at length, Mr. Shaw would have explained his meaning, if he had thought it worth his while. As he did not he merely flung the symbolic, but very complete sentence, "I am a typical Irishman; my family came from Yorkshire."
What then is the colour 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.