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Collected letters, 1898-1910 [volume 2] (1985)

door George Bernard Shaw

Andere auteurs: Dan H. Laurence (Redacteur)

Reeksen: Bernard Shaw Collected Letters (2)

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Shaw in this period was able to make reliable generalizations about America, which he had never visited, and when the Fabians split over the South Africa question he put himself above the battle by providing an analysis of the situation prophetic in its clarity — in fact, South African history is now working itself out along lines which Shaw deduced from documents seventy years ago without setting foot outside London. Prophecy is not the test of analysis, but as supplementary evidence it’s hard to ignore, and the reader of this volume will find himself encountering it every few score pages...

Orwell somewhere calls Shaw an empty windbag and somewhere else confesses that he has read practically every word Shaw has written. Such ambivalence is inevitable. The superhuman is inhuman in the end, and only a dolt could admire it without misgivings. But that doesn’t mean we should go on trying to cut Shaw down to size. It’s widely supposed that Shaw wasn’t capable of sex, but a less comfortable and more likely supposition is that he was above it, like Leonardo. He could certainly be an interfering busybody, but only because as a totally truthful man he couldn’t readily conceive of someone intelligent not wanting to hear the truth.
toegevoegd door SnootyBaronet | bewerkThe Listener, Clive James
 

» Andere auteurs toevoegen (1 mogelijk)

AuteursnaamRolType auteurWerk?Status
George Bernard Shawprimaire auteuralle editiesberekend
Laurence, Dan H.RedacteurSecundaire auteuralle editiesbevestigd

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Introduction

Bernard Shaw wrote to be understood.
Shut up your purse, tight, or else give me all your money to keep for you.
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All this is transfigured by your adolescence into something very touching & beautiful; but I am not adolescing but senescing, and it is intolerably disagreeable to me. So drop it or you will drop me.
When Candida describes to the poet what her life and Morell’s really is, he sees at once that it is no life for him. When he says “Out, then, into the night with me,” Morell thinks that “the night” means darkness, despair & suicide—an essentially prosaic notion. To the poet the night means the transfiguration of the sordid noonday world by veiling shadows & magical starlight into a poet’s world, in which Victoria Park sentimentality & domesticity have no part.
I am half tempted to cut into the Saturday Review correspondence with a letter giving the comedic view of De Profundis. It is really an extraordinary book, quite exhilarating and amusing as to Wilde himself, and quite disgraceful & shameful to his stupid tormentors. There is pain in it, inconvenience, annoyance, but no unhappiness, no real tragedy, all comedy. The unquenchable spirit of the man is magnificent... There is only one moment at which he shows himself subject to the common lot of mankind unconscious of its own comedy; and that is where he calls himself “ enfant de son siecle.” Of course, except in his personality and his super-morality, he was thoroughly Irish & old fashioned, a Gautierist in 1875-1900 (!) a chivalrous romanticist (see the Ideal Husband &c) in the days of Strindberg & Ibsen. The British press is as completely beaten by him de profundis as it was in excelsis.
My dear Mark Twain—not to say Dr Clemens (though I have always regarded Clemens as mere raw material—might have been your brother or your uncle)... Once, when I was in Morris’s house, a superior anti-Dickens sort of man (sort of man that thinks Dickens no gentleman) was annoyed by Morris disparaging Thackeray. With studied gentleness he asked whether Morris could name a greater master of English. Morris promptly said “Mark Twain.” This delighted me extremely, as it was my own opinion; and I then found that Morris was an incurable Huckfinomaniac. This was the more remarkable, as Morris would have regarded the Yankee at the Court of King Arthur as blasphemy, and would have blown your head off for implying that the contemporaries of Joan of Arc could touch your own contemporaries in villainy...

I am persuaded that the future historian of America will find your works as indispensable to him as a French historian finds the political tracts of Voltaire. I tell you so because I am the author of a play [John Bull’s Other Island] in which a priest says “Telling the truth’s the funniest joke in the world,” a piece of wisdom which you helped to teach me.
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