Читать книгу The Thoughts and Studies of G. Bernard Shaw: Personal Letters, Articles, Lectures & Essays - George Bernard Shaw - Страница 30

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In Little Eyolf the shadow of death lifted for a moment; but now we enter it again. Here the persons of the drama are not only dead but buried. Borkman is a Napoleon of finance. He has the root of finance in him in a born love of money in its final reality: a love, that is, of precious metals. He does not dream of beautiful ladies calling to him for knightly rescue from dragons and tyrants, but of metals imprisoned in undiscovered mines, calling to him to release them and send them out into all lands fertilizing, encouraging, creating. Music to him means the ring of the miner’s pick and hammer: the eternal night underground is as magical to him as the moonlit starlit night of the upper air to the romantic poet. This love of metal is common enough: no man feels towards a cheque for £20 as he does towards twenty gold sovereigns: he will part from the paper with less of a pang than from the coins. There are misers whose fingers tremble when they touch gold, but close steadily on banknotes. True love of money is, in fact, a passion based on a physical appetite for precious metals. It is not greed: you cannot call a man who starves himself sooner than part with one sovereign from his sack of sovereigns, greedy. If he did the same for the love of God, you would call him a saint: if for the love of a woman, a perfect gentle knight. Men grow rich according to the strength of their obsession by this passion: its great libertines become Napoleons of finance: its narrow debauchees become misers, petty moneylenders, and the like. It must not be looked for in all our millionaires, because most of these are rich by pure accident (our abandonment of industry to the haphazard scrambles of private adventurers necessarily produces occasional windfalls which enrich the man who happens to be on the spot), as may be seen when the lucky ones are invited to display their supposed Napoleonic powers in spending their windfalls, when they reveal themselves as quite ordinary mortals, if not indeed sometimes as exceptionally resourceless ones. Besides, finance is one business, and industrial organization another: the man with a passion for altering the map by digging isthmuses never thinks of money save as a means to his end. But those who as financiers have passionately “made” money instead of merely holding their hats under an accidental shower of it will be found to have a genuine disinterested love of it. It is not easy to say how common this passion is. Poverty is general, which would seem to indicate a general lack of it; but poverty is mainly the result of organized robbery and oppression (politely called Capitalism) starving the passion for gold as it starves all the passions. The evidence is further confused by the decorative instinct: some men will load their fingers and shirtfronts with rings and studs, whilst others of equal means are ringless and fasten their shirts with sixpennorth of mother-of-pearl. But it is significant that Plato, and, following him, Sir Thomas More, saw with Ibsen, and made complete indifference to the precious metals, minted or not, a necessary qualification for aristocracy. This indifference is, as a matter of fact, so characteristic of our greatest non-industrial men that when they do not happen to inherit property they are generally poor and in difficulties. Therefore we who have never cared for money enough to do more than keep our heads above water, and are therefore tempted to regard ourselves; as others regard us (that is, as failures, or, at best, as persons of no account) may console ourselves with the reflection that money-hunger is no more respectable than gluttony, and that unless its absence or feebleness is only a symptom of a general want of power to care for anything at all, it usually means that the soul has risen above it to higher concerns.

All this is necessary to the appreciation of Ibsen’s presentment of the Napoleon of finance. Ibsen does not take him superficially: he goes to the poetic basis of the type: the love of gold — actual metallic gold — and the idealization of gold through that love.

Borkman meets the Misses Rentheim: two sisters: the elder richer than the younger. He falls in love with the younger; and she falls in love with him; but the love of gold is the master passion: he marries the elder. Yet he respects his secondary passion in the younger. When he speculates with other people’s securities he spares hers. On the point of bringing off a great stroke of finance, the other securities are missed; and he is prisoned for embezzlement. That is the end of him. He comes out of prison a ruined man and a dead man, and would not have even a tomb to sleep in but for the charity of Ella Rentheim, whose securities he spared when he broke her heart. She maintains his old home for him.

He now enters on the grimmest lying in state ever exposed to public view by mortal dramatist. His wife, a proud woman, must live in the same house with the convicted thief who has disgraced her, because she has nowhere else to lay her head; but she will not see him nor speak to him. She sits downstairs in the drawingroom eating the bitter bread of her sister’s charity, and listening with loathing to her husband’s steps as he paces to and fro in the long gallery upstairs “like a sick wolf.” She listens not for days but for years. And her one hope is that her son Erhart will rehabilitate the family name; repay the embezzled money; and lead her from her tomb up again into honor and prosperity. To this task she has devoted his life.

Borkman has quite another plan. He is still Napoleon, and will return from his Elba to scatter his enemies and complete the stroke that ill-luck and the meddlesomeness of the law frustrated. But he is proud: prouder than Napoleon. He will not come back to the financial world until it finds out that it cannot do without him and comes to ask him to resume his place at the head of the board. He keeps himself in readiness for that deputation. He is always dressed for it; and when he hears steps on the threshold he stands up by the table; puts one hand into the breast of his coat; and assumes the attitude of a conqueror receiving suppliants. And this also goes on not for days but for years, long after the world has forgotten him, and there is nobody likely to come for him except Peer Gynt’s button moulder.

Borkman, like all madmen, cannot nourish his delusion without some response from without. One of the victims of his downfall is a clerk who once wrote a tragedy, and has lived ever since in his own imagination as a poet. His family ridicules his tragedy and his pretensions; and as he is a poor ineffectual little creature who has never lived enough to feel dignified among the dead, like Borkman, he too finds it hard to keep his illusion alive without help. Fortunately he has admired Borkman, the great financier; and Borkman, when he has ruined him and ruined himself, is quite willing to be admired by this humble victim, and even to reward him by a pretence of believing in his poetic genius. Thus the two form one of those Mutual Admiration Societies on which the world so largely subsists, and make the years in the long gallery tolerable by flattering each other. There are even moments when Borkman is nerved to the point of starting for his second advent as a great financial redeemer. On such occasions the woman downstairs hears the footsteps of the sick wolf on the stairs approaching the hatstand where his hat and stick have waited unused all the years of his entombment; but they never reach that first stage of the journey. They always turn back into the gallery again.

This melancholy household of the dead crumbles to dust at the knock of the younger generation at the door. Erhart, dedicated by his mother to the task of paying his father’s debts and retrieving his ruin, and by his aunt to the task of sweetening her last days with his grateful love, has dedicated himself to his own affairs — for the moment mostly love affairs — and has not the faintest intention of concerning himself with the bygone career of the crazy ex-felon upstairs or the sentimentalities of the old maid downstairs. He detests the house and the atmosphere, and associates his aunt’s broken heart with nothing more important than the scent of stale lavender, which he dislikes. He spends his time happily in the house of a pretty lady in the neighborhood, who has been married and divorced, and knows how to form an adolescent youth. And as to the unpardonable enemy of the family, one Hinkel, who betrayed Borkman to the police and rose on his ruins, Erhart cares so little for that old story that he goes to Hinkel’s parties and enjoys himself there very much. And when at last the pretty lady raises his standard of happiness to a point at which the old house and the old people become impossible, unthinkable, unbearable, he goes off with her to Italy and leaves the dead to bury their dead.

The details of this catastrophe make the play. The fresh air and the light of day break into the tomb; and its inhabitants crumble into dust. Foldal, the poet clerk, lets slip the fact that he has not the slightest belief in Borkman’s triumphant return to the world; and Borkman retorts by telling him he is no poet. After this comedy comes the tragedy of the son’s defection; and amid the recriminations of the broken heart, the baffled pride, and the shattered dreams, the castles in the air vanish and reveal the open grave they have hidden. Poor Foldal, limping home after being run over by a sledge in which his daughter is running away to act as “second string” and chaperone for Erhart and the pretty lady, is the only one who is wanted in the world, since he must still work for his derisive family. But Borkman returns to his dream, and ventures out of doors at last, not this time to resume his place as governor of the bank, but to release the imprisoned metal that rings and sings to him from the earth. In other words, to die in the open, mad but happy, whilst the two sisters, “we two shadows,” end their strife over his body.