Man and Superman and Three Other Plays (49 page)

However, I am digressing, as a man with a grievance always does. And after all, the main thing in determining the artistic quality of a book is not the opinions it propagates, but the fact that the writer has opinions. The old lady from Colchester was right to sun her simple soul in the energetic radiance of Bradlaugh's genuine beliefs and dis beliefs rather than in the chill of such mere painting of light and heat as elocution and convention can achieve. My contempt for belles let tres, and for amateurs who become the heroes of the fanciers of literary virtuosity, is not founded on any illusion of mind as to the permanence of those forms of thought (call them opinions) by which I strive to communicate my bent to my fellows. To younger men they are already outmoded; for though they have no more lost their logic than an eighteenth century pastel has lost its drawing or its color, yet, like the pastel, they grow indefinably shabby, and will grow shabbier until they cease to count at all, when my books will either perish, or, if the world is still poor enough to want them, will have to stand, with Bunyan‘s, by quite amorphous qualities of temper and energy. With this conviction I cannot be a bellettrist. No doubt I must recognize, as even the Ancient Mariner did, that I must tell my story entertainingly if I am to hold the wedding guest spellbound in spite of the siren sounds of the loud bassoon. But ” for art's sake” alone I would not face the toil of writing a single sentence. I know that there are men who, having nothing to say and nothing to write, are nevertheless so in love with oratory and with literature that they keep desperately repeating as much as they can understand of what others have said or written aforetime. I know that the leisurely tricks which their want of conviction leaves them free to play with the diluted and misapprehended message supply them with a pleasant parlor game which they call style. I can pity their dotage and even sympathize with their fancy. But a true original style is never achieved for its own sake: a man may pay from a shilling to a guinea, according to his means, to see, hear, or read another man's act of genius; but he will not pay with his whole life and soul to become a mere virtuoso in literature, exhibiting an accomplishment which will not even make money for him, like fiddle playing. Effectiveness of assertion is the Alpha and Omega of style. He who has nothing to assert has no style and can have none: he who has something to assert will go as far in power of style as its momentousness and his conviction will carry him. Disprove his assertion after it is made, yet its style remains. Darwin has no more destroyed the style of Job nor of Handel than Martin Luther destroyed the style of Giotto. All the assertions get disproved sooner or later; and so we find the world full of a magnificent debris of artistic fossils, with the matter-of-fact credibility gone clean out of them, but the form still splendid. And that is why the old masters play the deuce with our mere susceptibles. Your Royal Academician thinks he can get the style of Giotto without Giotto's beliefs, and correct his perspective into the bargain. Your man of letters thinks he can get Bunyan's or Shakespear's style without Bunyan's conviction or Shakespear's apprehension, especially if he takes care not to split his infinitives. And so with your Doctors of Music, who, with their collections of discords duly prepared and resolved or retarded or anticipated in the manner of the great composers, think they can learn the art of Palestrina from Cherubini's treatise. All this academic art is far worse than the trade in sham antique furniture; for the man who sells me an oaken chest which he swears was made in the XIII century, though as a matter of fact he made it himself only yesterday, at least does not pretend that there are any modern ideas in it, whereas your academic copier of fossils offers them to you as the latest outpouring of the human spirit, and, worst of all, kidnaps young people as pupils and persuades them that his limitations are rules, his observances dexterities, his timidities good taste, and his emptinesses purities. And when he declares that art should not be didactic, all the people who have nothing to teach and all the people who dont want to learn agree with him emphatically.

I pride myself on not being one of these susceptibles. If you study the electric light with which I supply you in that Bumbledonian public capacity of mine over which you make merry from time to time, you will find that your house contains a great quantity of highly susceptible copper wire which gorges itself with electricity and gives you no light whatever. But here and there occurs a scrap of intensely insusceptible, intensely resistant material; and that stubborn scrap grapples with the current and will not let it through until it has made itself useful to you as those two vital qualities of literature, light and heat. Now if I am to be no mere copper wire amateur but a luminous author, I must also be a most intensely refractory person, liable to go out and to go wrong at inconvenient moments, and with incendiary possibilities. These are the faults of my qualities; and I assure you that I sometimes dislike myself so much that when some irritable reviewer chances at that moment to pitch into me with zest, I feel unspeakably relieved and obliged. But I never dream of reforming, knowing that I must take myself as I am and get what work I can out of myself. All this you will understand; for there is community of material between us: we are both critics of life as well as of art; and you have perhaps said to yourself when I have passed your windows “There, but for the grace of God, go I.” An awful and chastening reflection, which shall be the closing cadence of this immoderately long letter from yours faithfully,

G. BERNARD SHAW. Woking, 1903.

MAN AND SUPERMAN

ACT I

RAMSDEN Shew him up.

THE MAID Mr. Robinson.

RAMSDEN
[concluding the handshake and cheering up]
Well, well, Octavius, it's the common lot. We must all face it some day. Sit down.

OCTAVILIS Yes: we must face it, Mr. Ramsden. But I owed him a great deal. He did everything for me that my father could have done if he had lived.

RAMSDEN He had no son of his own, you see.

OCTAVIUS But he had daughters; and yet he was as good to my sister as to me. And his death was so sudden! I always intended to thank him—to let him know that I had not taken all his care of me as a matter of course, as any boy takes his father's care. But I waited for an opportunity; and now he is dead—dropped without a moment's warning. He will never know what I felt. [He
takes out his handkerchief and cries unaffectedly].

RAMSDEN How do we know that, Octavius? He may know it: we cannot tell. Come! dont grieve.
[OCTAVIUS masters himself and puts up his handkerchief
]. Thats right. Now let me tell you something to console you. The last time I saw him—it was in this very room—he said to me: “Tavy is a generous lad and the soul of honor; and when I see how little consideration other men get from their sons, I realize how much better than a son hes been to me.” There! Doesnt that do you good?

OCTAVIUS Mr. Ramsden: he used to say to me that he had met only one man in the world who was the soul of honor, and that was Roebuck Ramsden.

RAMSDEN Oh, that was his partiality: we were very old friends, you know. But there was something else he used to say about you. I wonder whether I ought to tell you or not!

OCTAVIUS You know best.

RAMSDEN It was something about his daughter.

OCTAVIUS
[eagerly]
About Ann! Oh, do tell me that, Mr. Ramsden.

RAMSDEN Well, he said he was glad, after all, you were not his son, because he thought that someday Annie and you—[
OCTAVIUS blushes vividly
]
.
Well, perhaps I shouldn't have told you. But he was in earnest.

OCTAVIUS Oh, if only I thought I had a chance! You know, Mr. Ramsden, I don't care about money or about what people call position; and I can't bring myself to take an interest in the business of struggling for them. Well, Ann has a most exquisite nature; but she is so accustomed to be in the thick of that sort of thing that she thinks a man's character incomplete if he is not ambitious. She knows that if she married me she would have to reason herself out of being ashamed of me for not being a big success of some kind.

RAMSDEN [
getting up and planting himself with his back to the fire
place] Nonsense, my boy, nonsense! You're too modest. What does she know about the real value of men at her age? [
More seriously]
Besides, she's a wonderfully dutiful girl. Her father's wish would be sacred to her. Do you know that since she grew up to years of discretion, I don't believe she has ever once given her own wish as a reason for doing anything or not doing it. It's always “Father wishes me to,” or “Mother wouldn't like it.” It's really almost a fault in her. I have often told her she must learn to think for herself.

OCTAVIUS [
shaking his head
] I couldn't ask her to marry me because her father wished it, Mr. Ramsden.

RAMSDEN Well, perhaps not. No: of course not. I see that. No: you certainly couldn't. But when you win her on your own merits, it will be a great happiness to her to fulfil her father's desire as well as her own. Eh? Come! you'll ask her, won't you?