Mr. Chesterton has illustrated the peculiar quality of the English mind by comparing the roads of France with the roads of England; and the comparison might be used to illustrate the difference between the mind of Mr. Shaw and the mind of the average man. Mr. Chesterton, with that startling profundity that is to be discovered in much of his writing that seems at first merely to be conjuring stuff, asserts that the design of English and French roads, the first all winding and irregular, the second straight as if drawn with the aid of a ruler, shows a fundamental difference between the two races: the English as wayward and casual as their roads, going lazily and easily to their journey's end; the French as logical and well-defined as their roads, going without any circumlocution to their journey's end. Mr. Shaw's mind goes directly to its goal, and he tries to persuade the rest of mankind to follow his example. But the rest of mankind does not wish to go by the most direct route to any goal: it wants to dally on the ways; it wants to explore all the little bye-paths and hidden corners; it even wants to turn back on its course to examine again some place that it has already seen; and above all, it wants to waste time. When Mr. Shaw contemplates the world engaged in this careless way of living, he bursts into a passion of wit where less gifted men, such as Sheehy Skeffington, would burst into anger; and he lashes the world with his tongue. Mankind, because Mr. Shaw is a genius, listens to him, as mankind always has listened to men of genius, in a puzzled fashion, and even speculates on whether it ought not to follow his advice; but it is in the nature of man to be illogical, and so, after a little thought, man goes on being wayward and casual. Even in France, where logic has become an obsession, men are more illogical than Mr. Shaw would have them be; and it is a very curious commentary on his work that in so logical a country as France, his plays make far less stir than in any other country in Europe. I imagine that the French are so cursed with logic that their minds revolt from the extreme reasoning of Mr. Shaw as an overloaded stomach revolts from rich food. Once, in France, when my battalion was marching along a road towards a part of the country in which we had been some weeks before, I heard a soldier in my platoon saying to his comrade as we came to familiar places, "Thank God, they've cut down those bloody trees!" and immediately I understood why the French roads bored the British soldier. That inexorable logic, all that neatness, those terribly straight roads with the trees growing at regular intervals ... "dressing by the right" as the soldiers said, and looking as if the men who planted them had performed the operation according to some mathematical formula ... all these things, inhumanly tidy and well-ordered, nauseated the mind. I have done much walking on English and French roads, and I will wager that boredom will seize the traveller on a French road long before his interest on an English road has been exhausted. And in their unintellectual, instinctive, wayward fashion, the English are more right about life than the French are. Mr. Shaw, I imagine, is incapable of understanding the state of mind of my soldier who thanked God that the neatly-arranged trees on the neatly-designed French road had been cut down. To him it would seem right that if trees are to be grown at all, they should be grown according to formula. He sees something stupid and wrong in the English method of planting an acorn in any hole that is visible and letting the tree grow as it pleases.
VI
In the chapter on Mr. Wells, I have printed an account of Mr. Shaw's religious faith which ought properly to be printed here, but since the reader can more easily turn to the next chapter than I can re-write it, I will leave the account where it is and proceed with an account of the latest developments of this faith as set forth in "Heartbreak House" and "Back to Methusaleh." These two plays are notable for a growth of religious conviction in their author which has brought him to a condition resembling, in the eyes of some, that of John the Baptist and, in the eyes of others (as I heard a clergyman of the Church of Ireland angrily assert) that of a religious fanatic. They are also notable for a weakening of technical skill as a dramatist. Mr. Shaw has set himself so ably to the task of rejecting drama from his plays, that unconsciously he ruins the effect of his lines by an excess of garrulity. No one, reading and particularly seeing, "Heartbreak House" and "Back to Methusaleh" can escape from the belief that Mr. Shaw is using more words than are necessary to express his thought. Either he despises us as people who are not sufficiently intelligent to understand his meaning unless it is delivered to us in a variety of sentences or he has lost his artistic sense and cannot understand that a fine morning is not any finer for being described somewhat in this fashion: "A fine morning is one on which the sun shines from a blue sky in which occasional white clouds may be seen. This morning is such a morning as that. Therefore, this is a fine morning. What a fine morning!" The whole of that extravagant speech, invented by me, not by Mr. Shaw, is contained in the last four words. The rest is not only excess, but insult, for it implies an ignorance in the person listening to it which is not human. There are many passages in these two plays which are not unlike that invented passage of mine. There is a passage near the beginning of the second act of "Heartbreak House" which seems to me to indicate a real decline in Mr. Shaw's sense of the theatre. Ellie Dunn and Boss Mangan, to whom she is thinking of getting engaged, are discussing themselves and marriage. He has just described himself in terms which show that he is one of those financial ruffians who are the modern equivalent, (not of highwaymen, for they were gay and adventurous fellows,) but of slave-drivers:
Mangan. ... Now what do you think of me, Miss Ellie?
Ellie (dropping her hands): How strange! that my mother, who knew nothing at all about business, should have been quite right about you! She always said—not before papa, of course, but to us children—that you were just that sort of a man.
Mangan (sitting up much hurt): Oh! did she? And yet she'd have let you marry me.
Ellie: Well, you see, Mr. Mangan, my mother married a very good man—for whatever you may think of my father as a man of business, he is the soul of goodness—and she is not at all keen on my doing the same.
The parenthetical clause in each of Ellie's speeches is unnecessary, and in the second speech, it has the effect of ruining a very good "line." I assert, as a dramatist with some technical skill, that Ellie's second speech, minus the parenthetical clause, will rouse laughter every time it is spoken. I assert, with equal confidence, that this speech, with the parenthetical clause, will not provoke more than a strangled laugh and may not provoke any laughter at all. Mr. Shaw is entitled to reject laughter if he thinks it is likely to destroy the thought in his speech, but no one can believe that the parenthetical clause to which I object adds anything to Ellie's thought. It is mere redundance, and redundance is destructive of drama. It is also destructive of thought for a man is more likely to be irritated than to be stimulated by hearing a thing repeated to excess.
I may, perhaps, note another matter of technical interest to the student of the Shavian drama, namely, Mr. Shaw's economy in characters. He has or had a strong sense of the theatre which is almost as strong as that possessed by Mr. Galsworthy. The difficulty a critic has in estimating Mr. Shaw's sense of the theatre is increased by the wilfulness with which he rejects technique: one is not always able to decide whether the lack of technique in the later plays is the result of intention or weakness. Mr. Galsworthy is nearly the cleverest technician now writing for the English theatre. He cannot think as clearly as Mr. Shaw can, but he can construct much better. When Mr. Galsworthy treats a theme dramatic in itself, such as the theme of "Loyalties," and does not entangle the drama with arguments, he writes an uncommonly good play. "Loyalties" has been called a "crook" play and in a sense it is one, but the difference between it and such a piece as "The Bat" by Mrs. Mary Roberts Rinehart and Mr. Avery Hopwood is the difference between a crook play written in terms of reality and a crook play written in terms of trick. When, however, Mr. Galsworthy treats a theme not dramatic in itself, such as the theme of "Windows," and entangles any drama it has with much argument, the result is something extraordinarily diffuse and nebulous. Mr. Galsworthy leaves you with a sensation, not only that you do not know what he means, but also that he does not know what he means. Mr. Shaw, in his later pieces, leaves you with the sensation that he knows only too well what he means, but he will never admit that you are capable of understanding him. His economy in characters is a certain sign of his mysticism. Mr. Yeats told me on one occasion that when Sir Horace Plunkett invited "A. E." to take a prominent position in the organization of co-operative agriculture in Ireland, Mr. Arthur Balfour commended the choice on the ground that a mystic is the most practical of men since he is willing to use any instrument that will serve his purpose, whereas your plain, blunt business man, destitute of imagination and firm purpose, will quarrel with his tools and end up by botching his job. The mystic, moreover, serves his purpose more than himself, whereas your plain, blunt business man serves only himself. Mr. Shaw's method of working is singularly interesting as a demonstration of the way in which the mystic achieves his purpose. I do not know of any writer who is so thrifty with his means as Mr. Shaw. Shakespeare, compared with him, is a prodigal and a spendthrift. Mr. Shaw, compared with Shakespeare, is a miser, uniquely stingy. But it is not stinginess which has made Mr. Shaw so economical in his characters and even in his situations. It is his mysticism which makes him extraordinarily indifferent to his means. Any old plot, however disreputable it might be, would serve Shakespeare for drawing on to the stage a crowd of dissimilar persons and enriching their lives with his verse; and any old character, however remote from human semblance will serve Mr. Shaw as a vent for opinions. Shakespeare primarily was interested in people. Mr. Shaw primarily is interested in doctrine. The principal difference between a dramatist who is interested in people and a dramatist who is interested in doctrines, is that the former will delight in the creation of the greatest variety of characters whereas the latter will not trouble to create a new character if an old one will do. I doubt whether there are more than twelve distinct persons in the whole of Mr. Shaw's work. When he began his career as a dogmatist, he set himself to writing novels, but found after he had written five, of which only four have been published, that he could not use this instrument so effectively for his purpose as he could use the instrument of the play. And so he turned his attention to the stage. But he did not waste his novels: he dramatised them. He lifted passages from his books and put them into his plays. He took some of the novel-characters and, after he had tidied them and changed their names, forced them from between their covers on to the stage. There is little in the thirty-eight plays he has written which is not to be found, developed or suggested, in his four novels. He has preached one doctrine all his life, and has preached it with singular consistency. It is set out in the succeeding chapter to this one. The parsimoniousness with which it has been preached is remarkable. The whole of the first act of "Major Barbara" is almost identically a repetition of the first act of "You Never Can Tell." Lady Britomart Undershaft, of the first piece, is Mrs. Clandon, of the second, under another name. The situation of two women is nearly the same. They are living apart from their husbands whom they have not seen for a number of years. Lady Britomart and Mrs. Clandon have each two daughters and a son with the haziest or no recollections of their fathers. A meeting between the two parents and their children is arranged, in each case, on a flimsy pretext. Lady Britomart, like Mrs. Clandon, is one of those strong-minded, silly women who flourish, nowadays, more commonly in America than in England. (She is the sort of dense female who belongs to the Lucy Stone League and refuses to bear the name of the man she has chosen to be her husband although she is willing to bear the name of the man whom she did not choose to be her father!) Lady Britomart, like Mrs. Clandon, has abandoned her husband for a particularly fatuous cause. Mr. Crampton (for Mrs. Clandon is really Mrs. Crampton) was deprived of his wife's society (which was probably no great loss) and that of his children (which probably was) because he very properly spanked his elder daughter when she had been naughty. Lady Britomart left her husband because he declined to change the basis of his armaments-factory in the interests of his son. Her excuse for her behaviour was more natural than Mrs. Clandon's excuse for hers, for we are all susceptible to the attractions of primogeniture; but a more sensible woman might have achieved her purpose in being less headstrong. Barbara Undershaft, her elder daughter, is Gloria Clandon, a little older and less priggish. Sarah Undershaft, her younger daughter, is a chastened and spiritless Dolly Clandon. There is a difference, however, between Stephen Undershaft and Philip Clandon so remarkable that I can only surmise that Mr. Shaw in transferring the Clandon family into the Undershaft family mislaid Philip and, in searching for him, discovered another youth, this Stephen, who was the product of an illicit love affair between Mrs. Clandon and the austere Finch McComas! Adolphus Cusins, the Professor of Greek who beats the big drum in the Salvation Army so that he may be near to Barbara, is Valentine, the dentist, dragged out of "You Never Can Tell," after a brief and misguided career as John Tanner in "Man and Superman."
It is easy, I think, to trace the life of each one of the twelve Shavian characters in this fashion. Consider, for example, the vivid and very interesting career of that brutal ruffian, Bill Walker, in "Major Barbara." Bill began his life in "Widowers' Houses" under the name of Lickcheese and flourished so well as a speculative property-owner that he was able to climb into middle-class society, under the name of Burgess, and marry his daughter Candida to the Reverend James Mavor Morell. His association with the clergy, however, must have had a disastrous effect on him for we find him, in "Captain Brassbound's Conversion," leading an adventurous, but misunderstood, career under the name of Drinkwater. Religion had peculiar allurements for Drinkwater, understandably enough when one remembers his former association with his son-in-law, the clergyman, and we are not surprised, therefore, to find him in the Salvation Army's West Ham Shelter, now named Bill Walker and looking less than his years. He suffers terribly from the spiritual garrulity of Major Barbara. The reader who is familiar with the play will remember that Bill cruelly misused a little Salvation Army lass, called Jenny Hill, who would keep on praying for him and turning the other cheek. He struck her on the mouth and twisted her arm and almost tore her hair out by the roots. She cried with the pain, but she went on praying for him!... Then Major Barbara twisted Bill's heart for him as cruelly as he had twisted Jenny Hill's arm, by preaching with terrible iteration the doctrine of forgiveness and non-resistance. We know how Bill, at the penultimate moment, escaped from the penitent form, but few of us realise what happened to him after he had fled, precipitately and full of bitter cynicism, from that Salvation Army Shelter in West Ham. Who could have believed, after witnessing his behaviour in the presence of Barbara and snivelling Jenny Hill, that Jenny Hill herself would be the means of his undoing in the wilds of America to which he had hurried under the name of Blanco Posnet? And here we discover a characteristic example of Mr. Shaw's sardonic humour. For Bill was nabbed, not by the strong Barbara, not even by the weak, though willing, Jenny, but by Jenny's helpless, croup-stricken child. The lion is caught by the mouse; the strong are brought down by the weak; a little child shall lead them into a trap. God, in Mr. Shaw's religion, is not a just God: he is a God determined to have His own way and entirely indifferent to the desires of His creatures. If man will not help God to fulfil His purpose, then God will destroy man and invent another and more submissive instrument whereby He may do so. Such is the Shavian gospel. In what respect does it differ from the most devastating and blasting form of Calvinism? When I was a child in Belfast, I was taught that if I persisted in being a wicked boy, I would be roasted for ever in a red-hot hell. Is there any real difference between the Calvinist who tells a child that he will be burned for all eternity and Mr. Shaw who tells it that it will be scrapped for all eternity. There is one difference, in favour of the Calvinist. I was taught to believe in the All-Perfection of God. Even if I persisted in being a wicked child and thus damned myself for ever, my relatives could comfort themselves with the reflection that God would fulfil Himself in His own time. Somewhere, somewhen, there would be "peace, perfect peace." But Mr. Shaw's God offers no such guarantee. He cannot assure us, even if we help Him by every means in our power, that He will ever become perfect. He makes inexorable demands upon our service, but cannot offer us any hope that our labour will not be in vain. Serve me without question or be scrapped, says the Shavian God, but he will not assure us that we are not being bilked. And is not the desolation of desolations a religious faith in which there is no certainty and very little hope? I prefer the romantic delusions of my Ulster forefathers to the practical religion of Mr. Shaw. I dislike the thought that I may be roasted for ever in a red-hot hell, but I like even less the coal-black nullity with which Mr. Shaw threatens me if I persist in my evil courses. There will at least be colour and excitement in Calvin's hell, but there will be nothing whatever in Mr. Shaw's. And I am not sure, after all, that God, Perfect or Imperfect, will not prefer to spend eternity in the company of people like me who decline to accept life on any but their own terms, rather than in the society of servile instruments.
Mr. Shaw's thirty-eight plays are not thirty-eight separate plays but one long, continuous piece, in which his twelve characters, in every conceivable disguise and situation, strive to elude the hand of God but are nabbed by Him in the end. Twist how you may, He'll get you in the end, unless, indeed, He wearies of trying to make use of you, when, inexorably, without a pang, He will cast you on to the scrap-heap where you will perish utterly as your little brothers, the mammoth beasts, perished long ago.