Preface to Major Barbara by George Bernard Shaw (e reader comics TXT) 📕

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 ejaculation 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 hell 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 sanctity of which the grossest and profanest farce can no more deprive it than a hypocritical sermon by a snobbish bishop can desecrate Westminster Abbey. But in our professional playgoers this indispensable preliminary conception of sanctity 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.

Passion, the life of drama, means nothing to them but primitive sexual excitement: such phrases as “impassioned poetry” or “passionate love of truth” have fallen quite out of their vocabulary and been replaced by “passional crime” and the like.

They assume, as far as I can gather, that people in whom passion has a larger scope are passionless 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 snatches 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 assumed 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 God’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 mass of rent, interest, and profit, every penny of which is bound up with crime, drink, prostitution, 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 superstition. 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 prostitution 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, competitive anarchy: this discovery has been made by everyone except the Pharisees and (apparently) the professional playgoers, who still wear their Tom Hood shirts 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 coarse 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 damnable 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 substitution 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 massacres 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 circumstance 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, Dickens, 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 Shirley 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, Dickens, 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 Dickens’ 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 hellish 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