But he helps us to keep a balance. His service to us is that when we are inclined to run frantically after the superman, he reminds us of the existence of the common man. If he were not so well-padded with flesh, I should describe him as the skeleton at a feast of supermen, reminding them that even a superman can be a fool.
There are times indeed, when his faith in the common man undergoes a sea-change, and he utters sentiments that might be spoken by Mr. H. L. Mencken, who cannot abide the common mind. In one of his essays, Mr. Chesterton says, "I certainly would much rather share my apartments with a gentleman who thought he was God than with a gentleman who thought he was a grasshopper." So would Nietzsche. But I doubt whether the Early Christians would have approved his preference. They, who were ready to pronounce all flesh to be grass, would not have found anything incompatible with their faith in a gentleman who regarded himself as a grasshopper. They would certainly have considered his rival in misapprehension to be a blasphemer. And if Mr. Chesterton would fail to find pleasure in the company of a man who believed himself to be that interesting but monotonous insect, how much less pleasure would he derive from sharing his apartments with a man who believed not only himself, but all men, to be worms?
He is personally the most kindly and agreeable of men, in whom the one virtue commonly ascribed to fat men, that of good nature, is most highly developed. His anger is almost completely impersonal. His pardon is on the heels of his condemnation. The sins of jealousy and hatred are unknown to him, and he seems to be without the power of resenting spiteful things done to himself. He said to me on one occasion, "Arnold Bennett says I'm an imbecile!" in the tone of a man who was not in the least annoyed by the statement, but puzzled by the fact that any man should call another one an offensive name. We are all children of the one God, in his belief, even if some of us are Jews, and in some mystical manner he contrives, in his anger, to discriminate between the human being and the thing which the human being does. If ever he is moved to slay a sweater or an international financier or a Prohibitionist, he will do so entirely without prejudice to that person's right to be called a child of God. It is a tribute to the charm of his character and the equability of his temper that his stoutest admirers are those who most vigorously combat his opinions, and that most of his friends are men who do not share any of his views, except perhaps the only view that matters, the view that an ill deed must be exposed and a wrong put right. He is Don Quixote in the body of Sancho Panza.
JOHN GALSWORTHY
I
It is sometimes said that an artist never intrudes his personality into his work and that the great writers of the world have kept themselves so closely to themselves that their readers have never been able to discover anything of their faith or partialities. This is not only untrue, but is also absurd, for how can any man hope to exclude himself from his creations, since without him the creations would not be? There never was a book of any sort which did not in some fashion reveal the nature of its author to discerning readers, and I will personally undertake to give a fairly accurate account of the general character of any author after an attentive reading of all his writings. There are authors, such as Mr. Bernard Shaw and Mr. H. G. Wells, who do not make any pretence of excluding themselves from the notice of their readers: they deliberately force themselves into their books; and the habit has become so much a part of their nature that they sometimes do it unconsciously. One may say of them, perhaps, that we learn chiefly from their writings what their opinions are, but learn nothing of their characters. But while it is true that we do receive much information about their opinions, it is true also, I think, that they unmistakably reveal themselves, something of the intimate parts of them, to those who closely consider their books. Fielding formally held up the course of his stories in order that he might state his views to his readers, and Dickens and Thackeray followed his example; but all three of them revealed more than their beliefs to their readers—they revealed themselves. Mr. Shaw and Mr. Wells are excellent examples of what may be described as the Direct Revealers—writers who nakedly manifest their opinions and, more or less nakedly, their personalities in their books. The Indirect Revealers are best exemplified in two poets, Shakespeare and John Millington Synge, and one novelist and dramatist, Mr. John Galsworthy. We have very little documentary evidence of Shakespeare's existence, and it is impossible, therefore, to write his biography with the accuracy of detail with which one is able to record the events of, say, Roosevelt's career; but there is a clear and unmistakable account of his hopes and fears and beliefs and disbeliefs, a most faithful portrait of his character, contained in his poems and plays. How can any one fail to discover behind his work the figure of a grave, fastidious, disdainful and distrustful and solitary man whose spiritual solitude was concealed under an appearance of gregariousness and cheerful living that made him a good companion on most occasions without being excessively popular. Ben Jonson, despite his quarrelsome character, was probably more deeply loved by his contemporaries than Shakespeare was, because Shakespeare had more of reserve and spiritual isolation than Ben had, and was less willing to put faith in the virtue of the crowd; and I imagine that had one interrogated any of Shakespeare's friends, they would have said of him, "Oh, yes, I like William Shakespeare very much! Talks well! He's a good chap, but a little odd ... queer ... at times. It isn't easy to make friends with him. He always keeps us at our distance—not deliberately, of course, but in some vague way. He understands us all right, and he takes part in our revels, but he never completely descends to our level. Now, old Ben ... he's a good, hearty chap! He is so comradely that we frequently forget he is Ben Jonson and think of him as just one of ourselves. Shakespeare's friendly enough, but we never forget that he is Shakespeare. Sometimes, quite unintentionally, he makes us feel a little common!..."
The best biography of John Synge that I have read—and l have read all of them—is contained in his plays and poems. It is impossible to rise from his books without an impression of intense loneliness and unachievable desires, of a man eager to be the hero of romantic exploits, but totally unable to stand up to life and make himself a hero because of some spiritual ineffectiveness, some lack of assertion which results in fumbling and self-distrust; and one goes from the plays and poems to the biographies and is not surprised at reading of his lonely life. How often the word "lonesome" occurs in his writings, and how deeply he insists on the terrors of solitude! Pegeen Mike in the "The Playboy of the Western World" reproves her father for going "over the sands to Kate Cassidy's wake" and leaving her alone in the shebeen: