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other play, Getting Married, is a point in Shaw’s career, but only as a play, not, as usual, as a heresy. It is nothing but a conversation about marriage; and one cannot agree or disagree with the view of marriage, because all views are given which are held by anybody, and some (I should think) which are held by nobody. But its technical quality is of some importance in the life of its author. It is worth consideration as a play, because it is not a play at all. It marks the culmination and completeness of that victory of Bernard Shaw over the British public, or rather over their official representatives, of which I have spoken. Shaw had fought a long fight with business men, those incredible people, who assured him that it was useless to have wit without murders, and that a good joke, which is the most popular thing everywhere else, was quite unsalable in the theatrical world. In spite of this he had conquered by his wit and his good dialogue; and by the time of which we now speak he was victorious and secure. All his plays were being produced as a matter of course in England and as a matter of the fiercest fashion and enthusiasm in America and Germany. No one who knows the nature of the man will doubt that under such circumstances his first act would be to produce his wit naked and unashamed. He had been told that he could not support a slight play by mere dialogue. He therefore promptly produced mere dialogue without the slightest play for it to support. Getting Married is no more a play than Cicero’s dialogue De Amicitiâ, and not half so much a play as Wilson’s Noctes Ambrosianæ. But though it is not a play, it was played, and played successfully. Everyone who went into the theatre felt that he was only eavesdropping at an accidental conversation. But the conversation was so sparkling and sensible that he went on eavesdropping. This, I think, as it is the final play of Shaw, is also, and fitly, his final triumph. He is a good dramatist and sometimes even a great dramatist. But the occasions when we get glimpses of him as really a great man are on these occasions when he is utterly undramatic.

      From first to last Bernard Shaw has been nothing but a conversationalist. It is not a slur to say so; Socrates was one, and even Christ Himself. He differs from that divine and that human prototype in the fact that, like most modern people, he does to some extent talk in order to find out what he thinks; whereas they knew it beforehand. But he has the virtues that go with the talkative man; one of which is humility. You will hardly ever find a really proud man talkative; he is afraid of talking too much. Bernard Shaw offered himself to the world with only one great qualification, that he could talk honestly and well. He did not speak; he talked to a crowd. He did not write; he talked to a typewriter. He did not really construct a play; he talked through ten mouths or masks instead of through one. His literary power and progress began in casual conversations — and it seems to me supremely right that it should end in one great and casual conversation. His last play is nothing but garrulous talking, that great thing called gossip. And I am happy to say that the play has been as efficient and successful as talk and gossip have always been among the children of men.

      Of his life in these later years I have made no pretence of telling even the little that there is to tell. Those who regard him as a mere self-advertising egotist may be surprised to hear that there is perhaps no man of whose private life less could be positively said by an outsider. Even those who know him can make little but a conjecture of what has lain behind this splendid stretch of intellectual self-expression; I only make my conjecture like the rest. I think that the first great turning-point in Shaw’s life (after the early things of which I have spoken, the taint of drink in the teetotal home, or the first fight with poverty) was the deadly illness which fell upon him, at the end of his first flashing career as a Saturday Reviewer. I know it would goad Shaw to madness to suggest that sickness could have softened him. That is why I suggest it. But I say for his comfort that I think it hardened him also; if that can be called hardening which is only the strengthening of our souls to meet some dreadful reality. At least it is certain that the larger spiritual ambitions, the desire to find a faith and found a church, come after that time. I also mention it because there is hardly anything else to mention; his life is singularly free from landmarks, while his literature is so oddly full of surprises. His marriage to Miss Payne-Townsend, which occurred not long after his illness, was one of those quite successful things which are utterly silent. The placidity of his married life may be sufficiently indicated by saying that (as far as I can make out) the most important events in it were rows about the Executive of the Fabian Society. If such ripples do not express a still and lake-like life, I do not know what would. Honestly, the only thing in his later career that can be called an event is the stand made by Shaw at the Fabians against the sudden assault of Mr. H. G. Wells, which, after scenes of splendid exasperations, ended in Wells’ resignation. There was another slight ruffling of the calm when Bernard Shaw said some quite sensible things about Sir Henry Irving. But on the whole we confront the composure of one who has come into his own.

      The method of his life has remained mostly unchanged. And there is a great deal of method in his life; I can hear some people murmuring something about method in his madness. He is not only neat and businesslike; but, unlike some literary men I know, does not conceal the fact. Having all the talents proper to an author, he delights to prove that he has also all the talents proper to a publisher; or even to a publisher’s clerk. Though many looking at his light brown clothes would call him a Bohemian, he really hates and despises Bohemianism; in the sense that he hates and despises disorder and uncleanness and irresponsibility. All that part of him is peculiarly normal and efficient. He gives good advice; he always answers letters, and answers them in a decisive and very legible hand. He has said himself that the only educational art that he thinks important is that of being able to jump off tram-cars at the proper moment. Though a rigid vegetarian, he is quite regular and rational in his meals; and though he detests sport, he takes quite sufficient exercise. While he has always made a mock of science in theory, he is by nature prone to meddle with it in practice. He is fond of photographing, and even more fond of being photographed. He maintained (in one of his moments of mad modernity) that photography was a finer thing than portrait-painting, more exquisite and more imaginative; he urged the characteristic argument that none of his own photographs were like each other or like him. But he would certainly wash the chemicals off his hands the instant after an experiment; just as he would wash the blood off his hands the instant after a Socialist massacre. He cannot endure stains or accretions; he is of that temperament which feels tradition itself to be a coat of dust; whose temptation it is to feel nothing but a sort of foul accumulation or living disease even in the creeper upon the cottage or the moss upon the grave. So thoroughly are his tastes those of the civilised modern man that if it had not been for the fire in him of justice and anger he might have been the most trim and modern among the millions whom he shocks: and his bicycle and brown hat have been no menace in Brixton. But God sent among those suburbans one who was a prophet as well as a sanitary inspector. He had every qualification for living in a villa — except the necessary indifference to his brethren living in pigstyes. But for the small fact that he hates with a sickening hatred the hypocrisy and class cruelty, he would really accept and admire the bathroom and the bicycle and asbestos-stove, having no memory of rivers or of roaring fires. In these things, like Mr. Straker, he is the New Man. But for his great soul he might have accepted modern civilisation; it was a wonderful escape. This man whom men so foolishly call crazy and anarchic has really a dangerous affinity to the fourth-rate perfections of our provincial and Protestant civilisation. He might even have been respectable if he had had less selfrespect.

      His fulfilled fame and this tone of repose and reason in his life, together with the large circle of his private kindness and the regard of his fellow-artists, should permit us to end the record in a tone of almost patriarchal quiet. If I wished to complete such a picture I could add many touches: that he has consented to wear evening dress; that he has supported the Times Book Club; and that his beard has turned grey; the last to his regret, as he wanted it to remain red till they had completed colour-photography. He can mix with the most conservative statesmen; his tone grows continuously more gentle in the matter of religion. It would be easy to end with the lion lying down with the lamb, the wild Irishman tamed or taming everybody, Shaw reconciled to the British public as the British public is certainly largely reconciled to Shaw.

      But as I put these last papers together, having finished this rude study, I hear a piece of news. His latest play, The Showing Up of Blanco Posnet, has been forbidden by the Censor. As far as I can discover, it has been forbidden because one of the characters professes a belief in God and states his conviction that God has got him.

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