Preface to Major Barbara: First Aid to Critics Part 1

Bernard Shaw's Preface to Major Barbara.

by George Bernard Shaw.

N.B. The Euripidean verses in the second act of Major Barbara are not by me, or even directly by Euripides. They are by Professor Gilbert Murray, whose English version of The Baccha; came into our dramatic literature with all the impulsive power of an original work shortly before Major Barbara was begun. The play, indeed, stands indebted to him in more ways than one.

G. B. S.

Before dealing with the deeper aspects of Major Barbara, let me, for the credit of English literature, make a protest against an unpatriotic habit into which many of my critics have fallen. Whenever my view strikes them as being at all outside the range of, say, an ordinary suburban churchwarden, they conclude that I am echoing Schopenhauer, Nietzsche, Ibsen, Strindberg, Tolstoy, or some other heresiarch in northern or eastern Europe.

I confess there is something flattering in this simple faith in my accomplishment as a linguist and my erudition as a philosopher. But I cannot tolerate the a.s.sumption that life and literature is so poor in these islands that we must go abroad for all dramatic material that is not common and all ideas that are not superficial. I therefore venture to put my critics in possession of certain facts concerning my contact with modern ideas.

About half a century ago, an Irish novelist, Charles Lever, wrote a story ent.i.tled A Day's Ride: A Life's Romance. It was published by Charles d.i.c.kens in Household Words, and proved so strange to the public taste that d.i.c.kens pressed Lever to make short work of it. I read sc.r.a.ps of this novel when I was a child; and it made an enduring impression on me. The hero was a very romantic hero, trying to live bravely, chivalrously, and powerfully by dint of mere romance-fed imagination, without courage, without means, without knowledge, without skill, without anything real except his bodily appet.i.tes. Even in my childhood I found in this poor devil's unsuccessful encounters with the facts of life, a poignant quality that romantic fiction lacked. The book, in spite of its first failure, is not dead: I saw its t.i.tle the other day in the catalogue of Tauchnitz.

Now why is it that when I also deal in the tragi-comic irony of the conflict between real life and the romantic imagination, no critic ever affiliates me to my countryman and immediate forerunner, Charles Lever, whilst they confidently derive me from a Norwegian author of whose language I do not know three words, and of whom I knew nothing until years after the Shavian Anschauung was already unequivocally declared in books full of what came, ten years later, to be perfunctorily labelled Ibsenism. I was not Ibsenist even at second hand; for Lever, though he may have read Henri Beyle, alias Stendhal, certainly never read Ibsen. Of the books that made Lever popular, such as Charles O'Malley and Harry Lorrequer, I know nothing but the names and some of the ill.u.s.trations. But the story of the day's ride and life's romance of Potts (claiming alliance with Pozzo di Borgo) caught me and fascinated me as something strange and significant, though I already knew all about Alnaschar and Don Quixote and Simon Tappert.i.t and many another romantic hero mocked by reality. From the plays of Aristophanes to the tales of Stevenson that mockery has been made familiar to all who are properly saturated with letters.

Where, then, was the novelty in Lever's tale? Partly, I think, in a new seriousness in dealing with Potts's disease. Formerly, the contrast between madness and sanity was deemed comic: Hogarth shows us how fas.h.i.+onable people went in parties to Bedlam to laugh at the lunatics.

I myself have had a village idiot exhibited to me as some thing irresistibly funny. On the stage the madman was once a regular comic figure; that was how Hamlet got his opportunity before Shakespear touched him. The originality of Shakespear's version lay in his taking the lunatic sympathetically and seriously, and thereby making an advance towards the eastern consciousness of the fact that lunacy may be inspiration in disguise, since a man who has more brains than his fellows necessarily appears as mad to them as one who has less. But Shakespear did not do for Pistol and Parolles what he did for Hamlet.

The particular sort of madman they represented, the romantic makebeliever, lay outside the pale of sympathy in literature: he was pitilessly despised and ridiculed here as he was in the east under the name of Alnaschar, and was doomed to be, centuries later, under the name of Simon Tappert.i.t. When Cervantes relented over Don Quixote, and d.i.c.kens relented over Pickwick, they did not become impartial: they simply changed sides, and became friends and apologists where they had formerly been mockers.

In Lever's story there is a real change of att.i.tude. There is no relenting towards Potts: he never gains our affections like Don Quixote and Pickwick: he has not even the infatuate courage of Tappert.i.t. But we dare not laugh at him, because, somehow, we recognize ourselves in Potts. We may, some of us, have enough nerve, enough muscle, enough luck, enough tact or skill or address or knowledge to carry things off better than he did; to impose on the people who saw through him; to fascinate Katinka (who cut Potts so ruthlessly at the end of the story); but for all that, we know that Potts plays an enormous part in ourselves and in the world, and that the social problem is not a problem of story-book heroes of the older pattern, but a problem of Pottses, and of how to make men of them. To fall back on my old phrase, we have the feeling--one that Alnaschar, Pistol, Parolles, and Tappert.i.t never gave us--that Potts is a piece of really scientific natural history as distinguished from comic story telling. His author is not throwing a stone at a creature of another and inferior order, but making a confession, with the effect that the stone hits everybody full in the conscience and causes their self-esteem to smart very sorely. Hence the failure of Lever's book to please the readers of Household Words. That pain in the self-esteem nowadays causes critics to raise a cry of Ibsenism. I therefore a.s.sure them that the sensation first came to me from Lever and may have come to him from Beyle, or at least out of the Stendhalian atmosphere. I exclude the hypothesis of complete originality on Lever's part, because a man can no more be completely original in that sense than a tree can grow out of air.

Another mistake as to my literary ancestry is made whenever I violate the romantic convention that all women are angels when they are not devils; that they are better looking than men; that their part in courts.h.i.+p is entirely pa.s.sive; and that the human female form is the most beautiful object in nature. Schopenhauer wrote a splenetic essay which, as it is neither polite nor profound, was probably intended to knock this nonsense violently on the head. A sentence denouncing the idolized form as ugly has been largely quoted. The English critics have read that sentence; and I must here affirm, with as much gentleness as the implication will bear, that it has yet to be proved that they have dipped any deeper. At all events, whenever an English playwright represents a young and marriageable woman as being anything but a romantic heroine, he is disposed of without further thought as an echo of Schopenhauer. My own case is a specially hard one, because, when I implore the critics who are obsessed with the Schopenhaurian formula to remember that playwrights, like sculptors, study their figures from life, and not from philosophic essays, they reply pa.s.sionately that I am not a playwright and that my stage figures do not live. But even so, I may and do ask them why, if they must give the credit of my plays to a philosopher, they do not give it to an English philosopher? Long before I ever read a word by Schopenhauer, or even knew whether he was a philosopher or a chemist, the Socialist revival of the eighteen-eighties brought me into contact, both literary and personal, with Mr Ernest Belfort Bax, an English Socialist and philosophic essayist, whose handling of modern feminism would provoke romantic protests from Schopenhauer himself, or even Strindberg. As a matter of fact I hardly noticed Schopenhauer's disparagements of women when they came under my notice later on, so thoroughly had Mr Bax familiarized me with the h.o.m.oist att.i.tude, and forced me to recognize the extent to which public opinion, and consequently legislation and jurisprudence, is corrupted by feminist sentiment.

But Mr Bax's essays were not confined to the Feminist question. He was a ruthless critic of current morality. Other writers have gained sympathy for dramatic criminals by eliciting the alleged "soul of goodness in things evil"; but Mr Bax would propound some quite undramatic and apparently shabby violation of our commercial law and morality, and not merely defend it with the most disconcerting ingenuity, but actually prove it to be a positive duty that nothing but the certainty of police persecution should prevent every right-minded man from at once doing on principle. The Socialists were naturally shocked, being for the most part morbidly moral people; but at all events they were saved later on from the delusion that n.o.body but Nietzsche had ever challenged our mercanto-Christian morality. I first heard the name of Nietzsche from a German mathematician, Miss Borchardt, who had read my Quintessence of Ibsenism, and told me that she saw what I had been reading: namely, Nietzsche's Jenseits von Gut and Bose. Which I protest I had never seen, and could not have read with any comfort, for want of the necessary German, if I had seen it.

Nietzsche, like Schopenhauer, is the victim in England of a single much quoted sentence containing the phrase "big blonde beast." On the strength of this alliteration it is a.s.sumed that Nietzsche gained his European reputation by a senseless glorification of selfish bullying as the rule of life, just as it is a.s.sumed, on the strength of the single word Superman (Ubermensch) borrowed by me from Nietzsche, that I look for the salvation of society to the despotism of a single Napoleonic Superman, in spite of my careful demonstration of the folly of that outworn infatuation. But even the less recklessly superficial critics seem to believe that the modern objection to Christianity as a pernicious slave-morality was first put forward by Nietzsche. It was familiar to me before I ever heard of Nietzsche. The late Captain Wilson, author of several queer pamphlets, propagandist of a metaphysical system called Comprehensionism, and inventor of the term "Crosstianity" to distinguish the retrograde element in Christendom, was wont thirty years ago, in the discussions of the Dialectical Society, to protest earnestly against the beat.i.tudes of the Sermon on the Mount as excuses for cowardice and servility, as destructive of our will, and consequently of our honor and manhood. Now it is true that Captain Wilson's moral criticism of Christianity was not a historical theory of it, like Nietzsche's; but this objection cannot be made to Mr Stuart-Glennie, the successor of Buckle as a philosophic historian, who has devoted his life to the elaboration and propagation of his theory that Christianity is part of an epoch (or rather an aberration, since it began as recently as 6000BC and is already collapsing) produced by the necessity in which the numerically inferior white races found themselves to impose their domination on the colored races by priestcraft, making a virtue and a popular religion of drudgery and submissiveness in this world not only as a means of achieving saintliness of character but of securing a reward in heaven. Here you have the slave-morality view formulated by a Scotch philosopher long before English writers began chattering about Nietzsche.

As Mr Stuart-Glennie traced the evolution of society to the conflict of races, his theory made some sensation among Socialists--that is, among the only people who were seriously thinking about historical evolution at all--by its collision with the cla.s.s-conflict theory of Karl Marx.

Nietzsche, as I gather, regarded the slave-morality as having been invented and imposed on the world by slaves making a virtue of necessity and a religion of their servitude. Mr Stuart-Glennie regards the slave-morality as an invention of the superior white race to subjugate the minds of the inferior races whom they wished to exploit, and who would have destroyed them by force of numbers if their minds had not been subjugated. As this process is in operation still, and can be studied at first hand not only in our Church schools and in the struggle between our modern proprietary cla.s.ses and the proletariat, but in the part played by Christian missionaries in reconciling the black races of Africa to their subjugation by European Capitalism, we can judge for ourselves whether the initiative came from above or below. My object here is not to argue the historical point, but simply to make our theatre critics ashamed of their habit of treating Britain as an intellectual void, and a.s.suming that every philosophical idea, every historic theory, every criticism of our moral, religious and juridical inst.i.tutions, must necessarily be either imported from abroad, or else a fantastic sally (in rather questionable taste) totally unrelated to the existing body of thought. I urge them to remember that this body of thought is the slowest of growths and the rarest of blossomings, and that if there is such a thing on the philosophic plane as a matter of course, it is that no individual can make more than a minute contribution to it. In fact, their conception of clever persons parthenogenetically bringing forth complete original cosmogonies by dint of sheer "brilliancy" is part of that ignorant credulity which is the despair of the honest philosopher, and the opportunity of the religious impostor.

THE GOSPEL OF ST. ANDREW UNDERSHAFT

It is this credulity that drives me to help my critics out with Major Barbara by telling them what to say about it. In the millionaire Undershaft I have represented a man who has become intellectually and spiritually as well as practically conscious of the irresistible natural truth which we all abhor and repudiate: to wit, that the greatest of evils and the worst of crimes is poverty, and that our first duty--a duty to which every other consideration should be sacrificed--is not to be poor. "Poor but honest," "the respectable poor," and such phrases are as intolerable and as immoral as "drunken but amiable," "fraudulent but a good after-dinner speaker," "splendidly criminal," or the like. Security, the chief pretence of civilization, cannot exist where the worst of dangers, the danger of poverty, hangs over everyone's head, and where the alleged protection of our persons from violence is only an accidental result of the existence of a police force whose real business is to force the poor man to see his children starve whilst idle people overfeed pet dogs with the money that might feed and clothe them.

It is exceedingly difficult to make people realize that an evil is an evil. For instance, we seize a man and deliberately do him a malicious injury: say, imprison him for years. One would not suppose that it needed any exceptional clearness of wit to recognize in this an act of diabolical cruelty. But in England such a recognition provokes a stare of surprise, followed by an explanation that the outrage is punishment or justice or something else that is all right, or perhaps by a heated attempt to argue that we should all be robbed and murdered in our beds if such senseless villainies as sentences of imprisonment were not committed daily. It is useless to argue that even if this were true, which it is not, the alternative to adding crimes of our own to the crimes from which we suffer is not helpless submission. Chickenpox is an evil; but if I were to declare that we must either submit to it or else repress it sternly by seizing everyone who suffers from it and punis.h.i.+ng them by inoculation with smallpox, I should be laughed at; for though n.o.body could deny that the result would be to prevent chickenpox to some extent by making people avoid it much more carefully, and to effect a further apparent prevention by making them conceal it very anxiously, yet people would have sense enough to see that the deliberate propagation of smallpox was a creation of evil, and must therefore be ruled out in favor of purely humane and hygienic measures. Yet in the precisely parallel case of a man breaking into my house and stealing my wife's diamonds I am expected as a matter of course to steal ten years of his life, torturing him all the time. If he tries to defeat that monstrous retaliation by shooting me, my survivors hang him. The net result suggested by the police statistics is that we inflict atrocious injuries on the burglars we catch in order to make the rest take effectual precautions against detection; so that instead of saving our wives' diamonds from burglary we only greatly decrease our chances of ever getting them back, and increase our chances of being shot by the robber if we are unlucky enough to disturb him at his work.

But the thoughtless wickedness with which we scatter sentences of imprisonment, torture in the solitary cell and on the plank bed, and flogging, on moral invalids and energetic rebels, is as nothing compared to the stupid levity with which we tolerate poverty as if it were either a wholesome tonic for lazy people or else a virtue to be embraced as St Francis embraced it. If a man is indolent, let him be poor. If he is drunken, let him be poor. If he is not a gentleman, let him be poor. If he is addicted to the fine arts or to pure science instead of to trade and finance, let him be poor. If he chooses to spend his urban eighteen s.h.i.+llings a week or his agricultural thirteen s.h.i.+llings a week on his beer and his family instead of saving it up for his old age, let him be poor. Let nothing be done for "the undeserving": let him be poor. Serve him right! Also--somewhat inconsistently--blessed are the poor!

Now what does this Let Him Be Poor mean? It means let him be weak. Let him be ignorant. Let him become a nucleus of disease. Let him be a standing exhibition and example of ugliness and dirt. Let him have rickety children. Let him be cheap and let him drag his fellows down to his price by selling himself to do their work. Let his habitations turn our cities into poisonous congeries of slums. Let his daughters infect our young men with the diseases of the streets and his sons revenge him by turning the nation's manhood into scrofula, cowardice, cruelty, hypocrisy, political imbecility, and all the other fruits of oppression and malnutrition. Let the undeserving become still less deserving; and let the deserving lay up for himself, not treasures in heaven, but horrors in h.e.l.l upon earth. This being so, is it really wise to let him be poor? Would he not do ten times less harm as a prosperous burglar, incendiary, ravisher or murderer, to the utmost limits of humanity's comparatively negligible impulses in these directions? Suppose we were to abolish all penalties for such activities, and decide that poverty is the one thing we will not tolerate--that every adult with less than, say, 365 pounds a year, shall be painlessly but inexorably killed, and every hungry half naked child forcibly fattened and clothed, would not that be an enormous improvement on our existing system, which has already destroyed so many civilizations, and is visibly destroying ours in the same way?

Is there any radicle of such legislation in our parliamentary system?

Well, there are two measures just sprouting in the political soil, which may conceivably grow to something valuable. One is the inst.i.tution of a Legal Minimum Wage. The other, Old Age Pensions. But there is a better plan than either of these. Some time ago I mentioned the subject of Universal Old Age Pensions to my fellow Socialist Mr Cobden-Sanderson, famous as an artist-craftsman in bookbinding and printing. "Why not Universal Pensions for Life?" said Cobden-Sanderson.

In saying this, he solved the industrial problem at a stroke. At present we say callously to each citizen: "If you want money, earn it,"

as if his having or not having it were a matter that concerned himself alone. We do not even secure for him the opportunity of earning it: on the contrary, we allow our industry to be organized in open dependence on the maintenance of "a reserve army of unemployed" for the sake of "elasticity." The sensible course would be Cobden-Sanderson's: that is, to give every man enough to live well on, so as to guarantee the community against the possibility of a case of the malignant disease of poverty, and then (necessarily) to see that he earned it.

Undershaft, the hero of Major Barbara, is simply a man who, having grasped the fact that poverty is a crime, knows that when society offered him the alternative of poverty or a lucrative trade in death and destruction, it offered him, not a choice between opulent villainy and humble virtue, but between energetic enterprise and cowardly infamy. His conduct stands the Kantian test, which Peter s.h.i.+rley's does not. Peter s.h.i.+rley is what we call the honest poor man. Undershaft is what we call the wicked rich one: s.h.i.+rley is Lazarus, Undershaft Dives.

Well, the misery of the world is due to the fact that the great ma.s.s of men act and believe as Peter s.h.i.+rley acts and believes. If they acted and believed as Undershaft acts and believes, the immediate result would be a revolution of incalculable beneficence. To be wealthy, says Undershaft, is with me a point of honor for which I am prepared to kill at the risk of my own life. This preparedness is, as he says, the final test of sincerity. Like Froissart's medieval hero, who saw that "to rob and pill was a good life," he is not the dupe of that public sentiment against killing which is propagated and endowed by people who would otherwise be killed themselves, or of the mouth-honor paid to poverty and obedience by rich and insubordinate do-nothings who want to rob the poor without courage and command them without superiority. Froissart's knight, in placing the achievement of a good life before all the other duties--which indeed are not duties at all when they conflict with it, but plain wickednesses--behaved bravely, admirably, and, in the final a.n.a.lysis, public-spiritedly. Medieval society, on the other hand, behaved very badly indeed in organizing itself so stupidly that a good life could be achieved by robbing and pilling. If the knight's contemporaries had been all as resolute as he, robbing and pilling would have been the shortest way to the gallows, just as, if we were all as resolute and clearsighted as Undershaft, an attempt to live by means of what is called "an independent income" would be the shortest way to the lethal chamber. But as, thanks to our political imbecility and personal cowardice (fruits of poverty both), the best imitation of a good life now procurable is life on an independent income, all sensible people aim at securing such an income, and are, of course, careful to legalize and moralize both it and all the actions and sentiments which lead to it and support it as an inst.i.tution. What else can they do? They know, of course, that they are rich because others are poor. But they cannot help that: it is for the poor to repudiate poverty when they have had enough of it. The thing can be done easily enough: the demonstrations to the contrary made by the economists, jurists, moralists and sentimentalists hired by the rich to defend them, or even doing the work gratuitously out of sheer folly and abjectness, impose only on the hirers.

The reason why the independent income-tax payers are not solid in defence of their position is that since we are not medieval rovers through a spa.r.s.ely populated country, the poverty of those we rob prevents our having the good life for which we sacrifice them. Rich men or aristocrats with a developed sense of life--men like Ruskin and William Morris and Kropotkin--have enormous social appet.i.tes and very fastidious personal ones. They are not content with handsome houses: they want handsome cities. They are not content with bediamonded wives and blooming daughters: they complain because the charwoman is badly dressed, because the laundress smells of gin, because the sempstress is anemic, because every man they meet is not a friend and every woman not a romance. They turn up their noses at their neighbors' drains, and are made ill by the architecture of their neighbors' houses. Trade patterns made to suit vulgar people do not please them (and they can get nothing else): they cannot sleep nor sit at ease upon "slaughtered" cabinet makers' furniture. The very air is not good enough for them: there is too much factory smoke in it. They even demand abstract conditions: justice, honor, a n.o.ble moral atmosphere, a mystic nexus to replace the cash nexus. Finally they declare that though to rob and pill with your own hand on horseback and in steel coat may have been a good life, to rob and pill by the hands of the policeman, the bailiff, and the soldier, and to underpay them meanly for doing it, is not a good life, but rather fatal to all possibility of even a tolerable one. They call on the poor to revolt, and, finding the poor shocked at their ungentlemanliness, despairingly revile the proletariat for its "d.a.m.ned wantlessness" (verdammte Bedurfnislosigkeit).

So far, however, their attack on society has lacked simplicity. The poor do not share their tastes nor understand their art-criticisms.

They do not want the simple life, nor the esthetic life; on the contrary, they want very much to wallow in all the costly vulgarities from which the elect souls among the rich turn away with loathing. It is by surfeit and not by abstinence that they will be cured of their hankering after unwholesome sweets. What they do dislike and despise and are ashamed of is poverty. To ask them to fight for the difference between the Christmas number of the Ill.u.s.trated London News and the Kelmscott Chaucer is silly: they prefer the News. The difference between a stockbroker's cheap and dirty starched white s.h.i.+rt and collar and the comparatively costly and carefully dyed blue s.h.i.+rt of William Morris is a difference so disgraceful to Morris in their eyes that if they fought on the subject at all, they would fight in defence of the starch. "Cease to be slaves, in order that you may become cranks" is not a very inspiring call to arms; nor is it really improved by subst.i.tuting saints for cranks. Both terms denote men of genius; and the common man does not want to live the life of a man of genius: he would much rather live the life of a pet collie if that were the only alternative. But he does want more money. Whatever else he may be vague about, he is clear about that. He may or may not prefer Major Barbara to the Drury Lane pantomime; but he always prefers five hundred pounds to five hundred s.h.i.+llings.

Now to deplore this preference as sordid, and teach children that it is sinful to desire money, is to strain towards the extreme possible limit of impudence in lying, and corruption in hypocrisy. The universal regard for money is the one hopeful fact in our civilization, the one sound spot in our social conscience. Money is the most important thing in the world. It represents health, strength, honor, generosity and beauty as conspicuously and undeniably as the want of it represents illness, weakness, disgrace, meanness and ugliness. Not the least of its virtues is that it destroys base people as certainly as it fortifies and dignifies n.o.ble people. It is only when it is cheapened to worthlessness for some, and made impossibly dear to others, that it becomes a curse. In short, it is a curse only in such foolish social conditions that life itself is a curse. For the two things are inseparable: money is the counter that enables life to be distributed socially: it is life as truly as sovereigns and bank notes are money.

The first duty of every citizen is to insist on having money on reasonable terms; and this demand is not complied with by giving four men three s.h.i.+llings each for ten or twelve hours' drudgery and one man a thousand pounds for nothing. The crying need of the nation is not for better morals, cheaper bread, temperance, liberty, culture, redemption of fallen sisters and erring brothers, nor the grace, love and fellows.h.i.+p of the Trinity, but simply for enough money. And the evil to be attacked is not sin, suffering, greed, priestcraft, kingcraft, demagogy, monopoly, ignorance, drink, war, pestilence, nor any other of the scapegoats which reformers sacrifice, but simply poverty.

Once take your eyes from the ends of the earth and fix them on this truth just under your nose; and Andrew Undershaft's views will not perplex you in the least. Unless indeed his constant sense that he is only the instrument of a Will or Life Force which uses him for purposes wider than his own, may puzzle you. If so, that is because you are walking either in artificial Darwinian darkness, or to mere stupidity.

All genuinely religious people have that consciousness. To them Undershaft the Mystic will be quite intelligible, and his perfect comprehension of his daughter the Salvationist and her lover the Euripidean republican natural and inevitable. That, however, is not new, even on the stage. What is new, as far as I know, is that article in Undershaft's religion which recognizes in Money the first need and in poverty the vilest sin of man and society.

This dramatic conception has not, of course, been attained per saltum.

Nor has it been borrowed from Nietzsche or from any man born beyond the Channel. The late Samuel Butler, in his own department the greatest English writer of the latter half of the XIX century, steadily inculcated the necessity and morality of a conscientious Laodiceanism in religion and of an earnest and constant sense of the importance of money. It drives one almost to despair of English literature when one sees so extraordinary a study of English life as Butler's posthumous Way of All Flesh making so little impression that when, some years later, I produce plays in which Butler's extraordinarily fresh, free and future-piercing suggestions have an obvious share, I am met with nothing but vague cacklings about Ibsen and Nietzsche, and am only too thankful that they are not about Alfred de Musset and Georges Sand.

Really, the English do not deserve to have great men. They allowed Butler to die practically unknown, whilst I, a comparatively insignificant Irish journalist, was leading them by the nose into an advertis.e.m.e.nt of me which has made my own life a burden. In Sicily there is a Via Samuele Butler. When an English tourist sees it, he either asks "Who the devil was Samuele Butler?" or wonders why the Sicilians should perpetuate the memory of the author of Hudibras.

Well, it cannot be denied that the English are only too anxious to recognize a man of genius if somebody will kindly point him out to them. Having pointed myself out in this manner with some success, I now point out Samuel Butler, and trust that in consequence I shall hear a little less in future of the novelty and foreign origin of the ideas which are now making their way into the English theatre through plays written by Socialists. There are living men whose originality and power are as obvious as Butler's; and when they die that fact will be discovered. Meanwhile I recommend them to insist on their own merits as an important part of their own business.

THE SALVATION ARMY

When Major Barbara was produced in London, the second act was reported in an important northern newspaper as a withering attack on the Salvation Army, and the despairing e.j.a.c.u.l.a.t.i.o.n of Barbara deplored by a London daily as a tasteless blasphemy. And they were set right, not by the professed critics of the theatre, but by religious and philosophical publicists like Sir Oliver Lodge and Dr Stanton Coit, and strenuous Nonconformist journalists like Mr William Stead, who not only understood the act as well as the Salvationists themselves, but also saw it in its relation to the religious life of the nation, a life which seems to lie not only outside the sympathy of many of our theatre critics, but actually outside their knowledge of society. Indeed nothing could be more ironically curious than the confrontation Major Barbara effected of the theatre enthusiasts with the religious enthusiasts. On the one hand was the playgoer, always seeking pleasure, paying exorbitantly for it, suffering unbearable discomforts for it, and hardly ever getting it. On the other hand was the Salvationist, repudiating gaiety and courting effort and sacrifice, yet always in the wildest spirits, laughing, joking, singing, rejoicing, drumming, and tambourining: his life flying by in a flash of excitement, and his death arriving as a climax of triumph. And, if you please, the playgoer despising the Salvationist as a joyless person, shut out from the heaven of the theatre, self-condemned to a life of hideous gloom; and the Salvationist mourning over the playgoer as over a prodigal with vine leaves in his hair, careering outrageously to h.e.l.l amid the popping of champagne corks and the ribald laughter of sirens! Could misunderstanding be more complete, or sympathy worse misplaced?

Fortunately, the Salvationists are more accessible to the religious character of the drama than the playgoers to the gay energy and artistic fertility of religion. They can see, when it is pointed out to them, that a theatre, as a place where two or three are gathered together, takes from that divine presence an inalienable sanct.i.ty of which the grossest and profanest farce can no more deprive it than a hypocritical sermon by a sn.o.bbish bishop can desecrate Westminster Abbey. But in our professional playgoers this indispensable preliminary conception of sanct.i.ty seems wanting. They talk of actors as mimes and mummers, and, I fear, think of dramatic authors as liars and pandars, whose main business is the voluptuous soothing of the tired city speculator when what he calls the serious business of the day is over.

Pa.s.sion, the life of drama, means nothing to them but primitive s.e.xual excitement: such phrases as "impa.s.sioned poetry" or "pa.s.sionate love of truth" have fallen quite out of their vocabulary and been replaced by "pa.s.sional crime" and the like. They a.s.sume, as far as I can gather, that people in whom pa.s.sion has a larger scope are pa.s.sionless and therefore uninteresting. Consequently they come to think of religious people as people who are not interesting and not amusing. And so, when Barbara cuts the regular Salvation Army jokes, and s.n.a.t.c.hes a kiss from her lover across his drum, the devotees of the theatre think they ought to appear shocked, and conclude that the whole play is an elaborate mockery of the Army. And then either hypocritically rebuke me for mocking, or foolishly take part in the supposed mockery! Even the handful of mentally competent critics got into difficulties over my demonstration of the economic deadlock in which the Salvation Army finds itself. Some of them thought that the Army would not have taken money from a distiller and a cannon founder: others thought it should not have taken it: all a.s.sumed more or less definitely that it reduced itself to absurdity or hypocrisy by taking it. On the first point the reply of the Army itself was prompt and conclusive. As one of its officers said, they would take money from the devil himself and be only too glad to get it out of his hands and into G.o.d's. They gratefully acknowledged that publicans not only give them money but allow them to collect it in the bar--sometimes even when there is a Salvation meeting outside preaching teetotalism. In fact, they questioned the verisimilitude of the play, not because Mrs Baines took the money, but because Barbara refused it.

On the point that the Army ought not to take such money, its justification is obvious. It must take the money because it cannot exist without money, and there is no other money to be had. Practically all the spare money in the country consists of a ma.s.s of rent, interest, and profit, every penny of which is bound up with crime, drink, prost.i.tution, disease, and all the evil fruits of poverty, as inextricably as with enterprise, wealth, commercial probity, and national prosperity. The notion that you can earmark certain coins as tainted is an unpractical individualist superst.i.tion. None the less the fact that all our money is tainted gives a very severe shock to earnest young souls when some dramatic instance of the taint first makes them conscious of it. When an enthusiastic young clergyman of the Established Church first realizes that the Ecclesiastical Commissioners receive the rents of sporting public houses, brothels, and sweating dens; or that the most generous contributor at his last charity sermon was an employer trading in female labor cheapened by prost.i.tution as unscrupulously as a hotel keeper trades in waiters' labor cheapened by tips, or commissionaire's labor cheapened by pensions; or that the only patron who can afford to rebuild his church or his schools or give his boys' brigade a gymnasium or a library is the son-in-law of a Chicago meat King, that young clergyman has, like Barbara, a very bad quarter hour. But he cannot help himself by refusing to accept money from anybody except sweet old ladies with independent incomes and gentle and lovely ways of life. He has only to follow up the income of the sweet ladies to its industrial source, and there he will find Mrs Warren's profession and the poisonous canned meat and all the rest of it. His own stipend has the same root. He must either share the world's guilt or go to another planet. He must save the world's honor if he is to save his own. This is what all the Churches find just as the Salvation Army and Barbara find it in the play. Her discovery that she is her father's accomplice; that the Salvation Army is the accomplice of the distiller and the dynamite maker; that they can no more escape one another than they can escape the air they breathe; that there is no salvation for them through personal righteousness, but only through the redemption of the whole nation from its vicious, lazy, compet.i.tive anarchy: this discovery has been made by everyone except the Pharisees and (apparently) the professional playgoers, who still wear their Tom Hood s.h.i.+rts and underpay their washerwomen without the slightest misgiving as to the elevation of their private characters, the purity of their private atmospheres, and their right to repudiate as foreign to themselves the coa.r.s.e depravity of the garret and the slum. Not that they mean any harm: they only desire to be, in their little private way, what they call gentlemen. They do not understand Barbara's lesson because they have not, like her, learnt it by taking their part in the larger life of the nation.

BARBARA'S RETURN TO THE COLORS.

Barbara's return to the colors may yet provide a subject for the dramatic historian of the future. To go back to the Salvation Army with the knowledge that even the Salvationists themselves are not saved yet; that poverty is not blessed, but a most d.a.m.nable sin; and that when General Booth chose Blood and Fire for the emblem of Salvation instead of the Cross, he was perhaps better inspired than he knew: such knowledge, for the daughter of Andrew Undershaft, will clearly lead to something hopefuller than distributing bread and treacle at the expense of Bodger.

It is a very significant thing, this instinctive choice of the military form of organization, this subst.i.tution of the drum for the organ, by the Salvation Army. Does it not suggest that the Salvationists divine that they must actually fight the devil instead of merely praying at him? At present, it is true, they have not quite ascertained his correct address. When they do, they may give a very rude shock to that sense of security which he has gained from his experience of the fact that hard words, even when uttered by eloquent essayists and lecturers, or carried unanimously at enthusiastic public meetings on the motion of eminent reformers, break no bones. It has been said that the French Revolution was the work of Voltaire, Rousseau and the Encyclopedists.

It seems to me to have been the work of men who had observed that virtuous indignation, caustic criticism, conclusive argument and instructive pamphleteering, even when done by the most earnest and witty literary geniuses, were as useless as praying, things going steadily from bad to worse whilst the Social Contract and the pamphlets of Voltaire were at the height of their vogue. Eventually, as we know, perfectly respectable citizens and earnest philanthropists connived at the September ma.s.sacres because hard experience had convinced them that if they contented themselves with appeals to humanity and patriotism, the aristocracy, though it would read their appeals with the greatest enjoyment and appreciation, flattering and admiring the writers, would none the less continue to conspire with foreign monarchists to undo the revolution and restore the old system with every circ.u.mstance of savage vengeance and ruthless repression of popular liberties.

The nineteenth century saw the same lesson repeated in England. It had its Utilitarians, its Christian Socialists, its Fabians (still extant): it had Bentham, Mill, d.i.c.kens, Ruskin, Carlyle, Butler, Henry George, and Morris. And the end of all their efforts is the Chicago described by Mr Upton Sinclair, and the London in which the people who pay to be amused by my dramatic representation of Peter s.h.i.+rley turned out to starve at forty because there are younger slaves to be had for his wages, do not take, and have not the slightest intention of taking, any effective step to organize society in such a way as to make that everyday infamy impossible. I, who have preached and pamphleteered like any Encyclopedist, have to confess that my methods are no use, and would be no use if I were Voltaire, Rousseau, Bentham, Mill, d.i.c.kens, Carlyle, Ruskin, George, Butler, and Morris all rolled into one, with Euripides, More, Moliere, Shakespear, Beaumarchais, Swift, Goethe, Ibsen, Tolstoy, Moses and the prophets all thrown in (as indeed in some sort I actually am, standing as I do on all their shoulders). The problem being to make heroes out of cowards, we paper apostles and artist-magicians have succeeded only in giving cowards all the sensations of heroes whilst they tolerate every abomination, accept every plunder, and submit to every oppression. Christianity, in making a merit of such submission, has marked only that depth in the abyss at which the very sense of shame is lost. The Christian has been like d.i.c.kens' doctor in the debtor's prison, who tells the newcomer of its ineffable peace and security: no duns; no tyrannical collectors of rates, taxes, and rent; no importunate hopes nor exacting duties; nothing but the rest and safety of having no further to fall.

Yet in the poorest corner of this soul-destroying Christendom vitality suddenly begins to germinate again. Joyousness, a sacred gift long dethroned by the h.e.l.lish laughter of derision and obscenity, rises like a flood miraculously out of the fetid dust and mud of the slums; rousing marches and impetuous dithyrambs rise to the heavens from people among whom the depressing noise called "sacred music" is a standing joke; a flag with Blood and Fire on it is unfurled, not in murderous rancor, but because fire is beautiful and blood a vital and splendid red; Fear, which we flatter by calling Self, vanishes; and transfigured men and women carry their gospel through a transfigured world, calling their leader General, themselves captains and brigadiers, and their whole body an Army: praying, but praying only for refreshment, for strength to fight, and for needful MONEY (a notable sign, that); preaching, but not preaching submission; daring ill-usage and abuse, but not putting up with more of it than is inevitable; and practising what the world will let them practise, including soap and water, color and music. There is danger in such Activity; and where there is danger there is hope. Our present security is nothing, and can be nothing, but evil made irresistible.

WEAKNESSES OF THE SALVATION ARMY.

For the present, however, it is not my business to flatter the Salvation Army. Rather must I point out to it that it has almost as many weaknesses as the Church of England itself. It is building up a business organization which will compel it eventually to see that its present staff of enthusiast-commanders shall be succeeded by a bureaucracy of men of business who will be no better than bishops, and perhaps a good deal more unscrupulous. That has always happened sooner or later to great orders founded by saints; and the order founded by St William Booth is not exempt from the same danger. It is even more dependent than the Church on rich people who would cut off supplies at once if it began to preach that indispensable revolt against poverty which must also be a revolt against riches. It is hampered by a heavy contingent of pious elders who are not really Salvationists at all, but Evangelicals of the old school. It still, as Commissioner Howard affirms, "sticks to Moses," which is flat nonsense at this time of day if the Commissioner means, as I am afraid he does, that the Book of Genesis contains a trustworthy scientific account of the origin of species, and that the G.o.d to whom Jephthah sacrificed his daughter is any less obviously a tribal idol than Dagon or Chemosh.