Some Impressions of My Elders

by St. John G. Ervine

But when I look at his tightened lips, I feel certain that they are drawn closely together, not to prevent himself from forgetting his indifference to himself, but to prevent him from pouring out his anger at wrong and cruelty suffered by other people. His hatred of injustice possesses him like a fury, so that I expect to find his hands always clenched. There are times, indeed, when he allows his feeling for others, human and animal, to destroy his sense of proportion, and he will sometimes imagine that people or beasts are suffering a great deal more of pain than they really are, even that they are suffering when in fact they are not suffering at all. This is the complaint most commonly made of him by his critics, that he sometimes exaggerates the extent to which people and, particularly, animals suffer. When I was a child, I remember that I often read in sentimental Sunday-school books of slum children who never smiled and had never seen grass. I suppose that fundamentally I have a sceptical mind, for even then I found myself doubting whether there were any children in the world who had never seen grass. Grass is so persistent!... I knew that a street had only to be free of traffic for a short while and little blades of grass would begin to push up from between the cobbles!... It might be that slum children never smiled—though I was dubious of that—but all of them must have seen some grass sometime. Then I grew up and left Ulster and went to England, and for two or three years I lived on the confines of a slum in South London, where I discovered that my sentimental authors were sentimental liars, that poor people do not live lives of incessant misery, that they smile and laugh as often as, if not more frequently than, rich people, and are fully as happy as any one else. Happiness and unhappiness are conditions of the spirit, and provided a man has sufficient food to eat and a decent shelter and warm clothes, it matters very little whether he be rich or poor. Mr. Galsworthy is not always as sensible of this as he might be. Like many idealists he attaches more importance to material things than many materialists do. He lets himself be too easily persuaded that a thing is wrong because it looks wrong. If he had walked into the Valley of Elah on that morning when the fair and ruddy youth, David, encountered Goliath, he would certainly have run to David's side. What combat could have seemed more unequal than that? David was young and slender and of ordinary stature. He wore no armor and his weapons were a sling and five pebbles casually picked from a brook. Goliath was five cubits and a span high, and his huge body was covered with heavy armor. There was a helmet of brass on his head, and there were greaves of brass on his legs, and a target of brass between his shoulders. His weapons were terrible: the staff of his spear was like a weaver's beam, and his spear's head weighed six hundred shekels of iron. A man walked in front of him carrying a shield!... No wonder that Goliath mocked at David and threatened to pick the flesh from his bones and give it to the birds. He probably felt that one breath from his mouth would blow David clean out of the valley. Mr. Galsworthy, had he been present on that occasion, would have said to himself, "Poor David, young and slight and ill-armed, has no chance whatever against this great hulking, uncircumcized Philistine!..." The combat certainly was an unequal one, but the advantage lay, not with Goliath, but with David. The giant had the outward show of strength, but David had the Power of God in his right arm, and before that Power Goliath was but a boneless beast. Mr. Galsworthy makes Stephen More in his play "The Mob," revile the crowd in these terms:

You are the thing that pelts the weak; kicks women; howls down free speech. This to-day, and that to-morrow. Brain—you have none! Spirit—not the ghost of it! If you're not meanness, there's no such thing. If you're not cowardice, there is no cowardice.

Neither Stephen More nor Mr. Galsworthy appears to know that these characteristics of the mob are the characteristics of weak things. Strong men do not pelt the weak or kick women, nor do they prevent free speech. It is weak men and timid men and ignorant, frightened men—politicians and officials and guttersnipes and sinners—who do these things, because they have neither the courage nor the strength nor the intelligence to do otherwise. The mob-instinct of unreasoning chivalry, the natural impulse to take the part of "the little 'un," constitutes a very serious danger to Mr. Galsworthy's work: he is becoming increasingly partisan in his opinions and sympathies, with the result that his sentiment is in danger of degenerating into sentimentalism, and he, so commonly considered impartial, is likely to end in a state of hopeless and wrong-headed bias. He is beginning to believe that a weak man is right because he is weak. He is forgetting the truth enunciated, perhaps excessively, by Dr. Stockmann in "An Enemy of the People" that "the strongest man in the world is the man who stands absolutely alone." Or if he has not forgotten it, he is in danger of believing that a minority is always in the right because it is a minority: a belief which is as fallacious as that which Mr. G. K. Chesterton sometimes seems to hold, that a majority is always in the right because it is a majority. The plain and platitudinous truth is that only those are in the right who are in the right, whether they be in a majority or in a minority. Weakness, although it may endow a man with cunning, does not endow him with moral authority. Mr. Galsworthy at times lets his pity for weakness lead him into seeming to regard it as a sign of infallible judgment.

III

Mr. Galsworthy can create people and he can write natural dialogue. "The Silver Box" is a testimony of his power to do so. But in his later plays he has not always allowed his creatures to behave in a creditable fashion, nor has he always written dialogue that exactly fits their tongues. One suspects, too, that he is losing his sense of proportion, that he is not so capable now as he was earlier in his career of distinguishing between things which are important and things which are not. He has developed an interest in trivial questions of sex and has become so absorbed in dilemmas of colliding characters that he has lost sight of the nature of his characters. He has been called a Determinist because he shows his people as the creature of circumstances, but in his later work, particularly in his play "The Fugitive," his Determinism has become wilful: he seems to have made up his mind that his characters shall become the victims of circumstances in defiance of facts and the natures with which he has created them. He deliberately ties their hands behind their backs and then exclaims: "These are the victims of adverse circumstances!" And indeed they are, but the circumstances have been artificially created by Mr. Galsworthy and not by any force that governs the universe. He is so eager to bring Clare Dedmond, in "The Fugitive," to her death in a restaurant frequented by prostitutes that he totally neglects to consider the fact that with the nature he gives her she is the last person on earth likely to end that way.

It is not in ideas that Mr. Galsworthy fails, so far as his later work is concerned—it is in execution. The idea of "The Fugitive" is a notable one. The play, which in its faults is significant of all Mr. Galsworthy's later plays, deals with the tragic failure of a sensitive woman to adjust her life to that of a dull, unimaginative man in whom, although the conventions and traditions of his class have schooled him into a certain decency of form, there is a very large measure of coarseness. The collision is between the finely-perceptive and the totally-imperceptive, and the theme is similar, in one respect, to that of "The Doll's House," and in another to that of "The Shadow of the Glen." But the treatment of it is very inferior to the treatment of it by Ibsen and Synge. Ibsen plainly showed how impossible it was for Nora to continue to live with her husband after she had suffered her disillusionment. He showed with equal clarity how natural it was that she should marry and love her husband, and yet in the end, turn away from him. Mr. Galsworthy takes Clare Dedmond beyond the stage to which Ibsen took Nora. Ibsen was content to end his play with Nora's exit from her husband's home: he did not follow her from it nor show what became of her thereafter. Mr. Galsworthy is concerned less with the act of separation and more with the consequences of it. He is not so interested in her flight from her husband as he is in what happens to her after she has flown from him. He has taken a longer stretch of Clare's life than Ibsen took of Nora's, but he has contrived to make it smaller than Nora's. One derives an extraordinary sense of completeness and space from "The Doll's House," but does not derive a similar sense from "The Fugitive." Ibsen gives one a sense of familiarity with his people, but Mr. Galsworthy hardly makes one more familiar with Clare Dedmond and her husband than a reader of a newspaper is with the principal parties to a divorce suit.

Clare Dedmond, like Nora Burke in Synge's "The Shadow of the Glen," is suffering from starved emotions, but Synge in his one-act play has created the atmosphere of starved emotions far more successfully than Mr. Galsworthy has done in his four acts. The antagonism between Nora and Daniel Burke is instantly understood by the reader, who, however, cannot immediately understand why it is that Clare and George Dedmond do not "get on" together. The reader knows why Nora married Daniel. "And how would I live and I an old woman if I hadn't a bit of a farm with cows on it and sheep on the blackhills?" The sense of desolation in this woman's life is so powerfully expressed that the reader of the play does not ask questions. He does not stop to inquire why Nora married her husband: he knows why she married him, and this knowledge is derived, not from the author's assertions, but from the woman's behaviour. A sense of desolation is not created when the author says that there is desolation, nor is it created when a character says: "I am miserable!" It is created when the speech and behaviour of the characters are such as one hears and sees when people are unhappy. It would be absurd for a writer to make a character say: "I have a very kindly disposition," and then show him in the normal habit of beating his wife, kicking his grandmother, and ill-treating animals ... unless he were trying to be funny or were portraying a madman. There must be consistency between character and conduct, and the measure of a writer's artistry is the degree to which he succeeds in reconciling the one with the other.

It is when Mr. Galsworthy's later work is tested in this manner that one realizes how lamentably he has failed to create the illusion of life. One goes through the pages of "The Fugitive" making notes of interrogation! One does not ask: "Why did Ibsen's Nora marry her husband?" "Why did Synge's Nora marry her husband?" because one knows the answer to these questions from the beginning of the plays, and it is not necessary to ask them. But why did Clare Dedmond marry her husband? Because she loved him? Because she wished to be married and no one else had asked her? For money? To escape from her parents? It is impossible to say. Most of the faults which I find in Mr. Galsworthy's work are to be found in this play and so I propose to examine it here in detail.