The Collected Articles, Lectures, Essays & Letters of George Bernard Shaw - GEORGE BERNARD SHAW

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spoils its verbal consistency. For we unfortunately use this word ideal indifferently to denote both the institution which the ideal masks and the mask itself, thereby producing desperate confusion of thought, since the institution may be an effete and poisonous one, whilst the mask may be, and indeed generally is, an image of what we would fain have in its place. If the existing facts, with their masks on, are to be called ideals, and the future possibilities which the masks depict are also to be called ideals — if, again, the man who is defending exisiting institutions by maintaining their identity with their masks is to be confounded under one name with the man who is striving to realize the future possibilities by tearing the mask and the thing masked asunder, then the position cannot be intelligibly described by mortal pen: you and I, reader, will be at cross purposes at every sentence unless you allow me to distinguish pioneers like Shelley and Ibsen as realists from the idealists of my imaginary community of one thousand. If you ask why I have not allotted the terms the other way, and called Shelley and Ibsen idealists and the conventionalists realists, I reply that Ibsen himself, though he has not formally made the distinction, has so repeatedly harped on conventions and conventionalists as ideals and idealists that if I were now perversely to call them realities and realists, I should confuse readers of The Wild Duck and Rosmersholm more than I should help them. Doubtless I shall be reproached for puzzling people by thus limiting the meaning of the term ideal. But what, I ask, is that inevitable passing perplexity compared to the inextricable tangle I must produce if I follow the custom, and use the word indiscriminately in its two violently incompatible senses? If the term realist is objected to on account of some of its modem associations, I can only recommend you, if you must associate it with something else than my own description of its meaning (I do not deal in definitions), to associate it, not with Zola and Maupassant, but with Plato.

      Now let us return to our community of 700 Philistines, 299 idealists, and I realist. The mere verbal ambiguity against which I have just provided is as nothing beside that which comes of any attempt to express the relations of these three sections, simple as they are, in terms of the ordinary systems of reason and duty. The idealist, higher in the ascent of evolution than the Philistine, yet hates the highest and strikes at him with a dread and rancor of which the easygoing Philistine is guiltless. The man who has risen above the danger and the fear that his acquisitiveness will lead him to theft, his temper to murder, and his affections to debauchery: this is he who is denounced as an archscoundrel and libertine, and thus confounded with the lowest because he is the highest. And it is not the ignorant and stupid who maintain this error, but the literate and the cultured. When the true prophet speaks, he is proved to be both rascal and idiot, not by those who have never read of how foolishly such learned demonstrations have come off in the past, but by those who have themselves written volumes on the crucifixions, the burnings, the stonings, the headings and hangings, the Siberia transportations, the calumny and ostracism which have been the lot of the pioneer as well as of the camp follower. It is from men of established literary reputation that we learn that William Blake was mad, that Shelley was spoiled by living in a low set, that Robert Owen was a man who did not know the world, that Ruskin was incapable of comprehending political economy, that Zola was a mere blackguard, and that Ibsen was “a Zola with a wooden leg.” The great musician, accepted by the unskilled listener, is vilified by his fellow-musicians: it was the musical culture of Europe that pronounced Wagner the inferior of Mendelssohn and Meyerbeer. The great artist finds his foes among the painters, and not among the men in the street: it was the Royal Academy which placed forgotten nobodies above Burne Jones. It is not rational that it should be so; but it is so, for all that.

      The realist at last loses patience with ideals altogether, and sees in them only something to blind us, something to numb us, something to murder self in us, something whereby, instead of resisting death, we can disarm it by committing suicide. The idealist, who has taken refuge with the ideals because he hates himself and is ashamed of himself, thinks that all this is so much the better. The realist, who has come to have a deep respect for himself and faith in the validity of his own will, thinks it so much the worse. To the one, human nature, naturally corrupt, is held back from ruinous excesses only by self-denying conformity to the ideals. To the other these ideals are only swaddling clothes which man has outgrown, and which insufferably impede his movements. No wonder the two cannot agree. The idealist says, “Realism means egotism; and egotism means depravity.” The realist declares that when a man abnegates the will to live and be free in a world of the living and free, seeking only to conform to ideals for the sake of being, not himself, but “a good man,” then he is morally dead and rotten, and must be left unheeded to abide his resurrection, if that by good luck arrive before his bodily death. Unfortunately, this is the sort of speech that nobody but a realist understands. It will be more amusing as well as more convincing to take an actual example of an idealist criticizing a realist.

      THE WOMANLY WOMAN

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      In 1890 the literary sensation of the day was the Diary of Marie Bashkirtseff. An outline of it, with a running commentary, was given in The Review of Reviews (June 1890) by the editor, the late William Stead, who, having gained an immense following by a public service in rendering which he had to simulate a felony and suffer imprisonment for it in order to prove that it was possible, was engaged in a campaign with the object of establishing the ideal of sexual “purity” as a condition of public life. He had certain Ibsenist qualities: faith in himself, wilfulness, conscientious unscrupulousness, and could always make himself heard. Prominent among his ideals was an ideal of womanliness. In support of that ideal he would, like all idealists, make and believe any statement, however obviously and grotesquely unreal. When he found Marie Bashkirtseffs account of herself utterly incompatible with the picture of a woman’s mind presented to him by his ideal, he was confronted with the dilemma that either Marie was not a woman or else his ideal was false to nature. He actually accepted the former alternative. “Of the distinctively womanly,” he says, “there is in her but little trace. She was the very antithesis of a true woman.” William’s next difficulty was, that selfcontrol, being a leading quality in his ideal, could not have been possessed by Marie: otherwise she would have been more like his ideal. Nevertheless he had to record that she, without any compulsion from circumstances, made herself a highly skilled artist by working ten hours a day for six years. Let anyone who thinks that this is no evidence of selfcontrol just try it for six months. William’s verdict nevertheless was “No selfcontrol.” However, his fundamental quarrel with Marie came out in the following lines. “Marie,” he said, “was artist, musician, wit, philosopher, student, anything you like but a natural woman with a heart to love, and a soul to find its supreme satisfaction in sacrifice for lover or for child.” Now of all the idealist abominations that make society pestiferous, I doubt if there be any so mean as that of forcing selfsacrifice on a woman under pretence that she likes it; and, if she ventures to contradict the pretence, declaring her no true woman. In India they carried this piece of idealism to the length of declaring that a wife could not bear to survive her husband, but would be prompted by her own faithful, loving, beautiful nature to offer up her life on the pyre which consumed his dead body. The astonishing thing is that women, sooner than be branded as unsexed wretches, allowed themselves to be stupefied with drink, and in that unwomanly condition burnt alive. British Philistinism put down widow idealizing with the strong hand; and suttee is abolished in India. The English form of it still flourishes; and Stead, the rescuer of the children, was one of its high priests. Imagine his feelings on coming across this entry in a woman’s diary: “I love myself.” Or this, “I swear solemnly — by the Gospels, by the passion of Christ, by myself — that in four years I will be famous.” The young woman was positively proposing to exercise for her own sake all the powers that were given to her, in Stead’s opinion, solely that she might sacrifice them for her lover or child! No wonder he was driven to exclaim again, “She was very clever, no doubt; but woman she was not.”

      Now observe this notable result. Marie Bashkirtseft, instead of being a less agreeable person than the ordinary female conformer to the ideal of womanliness, was most conspicuously the reverse. Stead himself wrote as one infatuated with her mere diary, and pleased himself by representing her as a person who fascinated everybody, and was a source of delight to all about

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