Читать книгу The Thoughts and Studies of G. Bernard Shaw: Personal Letters, Articles, Lectures & Essays - George Bernard Shaw - Страница 31

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This play, the last work of Ibsen, and at first the least esteemed, has had its prophecy so startlingly fulfilled in England that nobody will now question the intensity of its inspiration. With us the dead have awakened in the very manner prefigured in the play. The simplicity and brevity of the story is so obvious, and the enormous scope of the conception so difficult to comprehend, that many of Ibsen’s most devoted admirers failed to do it justice. They knew that he was a man of seventy, and were prepossessed with the belief that at such an age his powers must be falling off. It certainly was easier at that time to give the play up as a bad job than to explain it. Now that the great awakening of women which we call the Militant Suffrage Movement is upon us, and you may hear our women publicly and passionately paraphrasing Ibsen’s heroine without having read a word of the play, the matter is simpler. There is no falling-off here in Ibsen. It may be said that this is physically impossible; but those who say so forget that the natural decay of a writer’s powers may shew itself in two ways. The inferiority of the work produced is only one way. The other is the production of equally good or even better work with much greater effort than it would have cost its author ten years earlier. Ibsen produced this play with great difficulty in twice as long a period as had before sufficed; and even at that the struggle left his mind a wreck; for he not only never wrote another play, but, like an overstrained athlete, lost even the normal mental capacity of an ordinary man. Yet it would be hard to say that the play was not worth the sacrifice. It shews no decay of Ibsen’s highest qualities: his magic is nowhere more potent. It is shorter than usual: that is all. The extraordinarily elaborate private history, family and individual, of the personages, which lies behind the action of the other plays, is replaced by a much simpler history of a few people in their general human relations without any family history at all. And the characteristically conscientious fitting of the play to the mechanical conditions of oldfashioned stages has given way to demands that even the best equipped and largest modern stages cannot easily comply with; for the second act takes place in a valley; and though it is easy to represent a valley by a painted scene when the action is confined to one spot in the foreground, it is a different matter when the whole valley has to be practicable, and the movements of the figures cover distances which do not exist on the stage, and cannot, as far as my experience goes, be satisfactorily simulated by the stage carpenter, though they are easy enough for the painter. I should attach no importance at all to this in a writer less mindful of technical limitations and less ingenious in circumventing them than Ibsen, who was for some years a professional stage manager; but in his case it is clear that in calling on the theatre to expand to his requirements instead of, as his custom was, limiting his scene of action to the possibilities of a modest provincial theatre, he knew quite well what he was doing. Here then, we have three differences, from the earlier plays. None of them are inferiorities. They are proper to the difference of subject, and in fact increased the difficulty of the playwright’s task by throwing him back on sheer dramatic power, unaided by the cheaper interest that can be gained on the stage by mere ingenuity of construction. Ibsen, who has always before played on the spectator by a most elaborate gradual development which would have satisfied Dumas, here throws all his cards on the table as rapidly as possible, and proceeds to deal intensively with a situation that never alters.

This situation is simple enough in its general statement, though it is so complex in its content that it raises the whole question of domestic civilization. Take a man and a woman at the highest pitch of natural ability and charm yet attained, and enjoying all the culture that modern art and literature can offer them; and what does it all come tor Contrast them with an essentially uncivilized pair, with a man who lives for hunting and eating and ravishing, and whose morals are those of the bully with the strong hand: in short, a man from the stone age as we conceive it (such men are still common enough in the classes that can afford the huntsman’s life); and couple him with a woman who has no interest or ambition in life except to be captured by such a man (and of these we have certainly no lack). Then face this question. What is there to choose between these two pairs? Is the cultured gifted man less hardened, less selfish towards the women, than the paleolithic man? Is the woman less sacrificed, less enslaved, less dead spiritually in the one case than in the other? Modern culture, except when it has rotted into mere cynicism, shrieks that the question is an insult. The stone age, anticipating Ibsen’s reply, guffaws heartily and says, “Bravo, Ibsen!” Ibsen’s reply is that the sacrifice of the woman of the stone age to fruitful passions which she herself shares is as nothing compared to the wasting of the modem woman’s soul to gratify the imagination and stimulate the genius of the modern artist, poet, and philosopher. He shews us that no degradation ever devized or permitted is as disastrous as this degradation; that through it women die into luxuries for men, and yet can kill them; that men and women are becoming conscious of this; and that what remains to be seen as perhaps the most interesting of all imminent social developments is what will happen “when we dead awaken.”

Ibsen’s greatest contemporary outside his own art was Rodin the French sculptor. Whether Ibsen knew this, or whether he was inspired to make his hero a sculptor just as Dickens was inspired to make Pecksniff an architect, is not known. At all events, having to take a type of the highest and ablest masculine genius, he made him a sculptor, and called his name, not Rodin, but Rubeck: a curious assonance, if it was not intentional. Rubeck is as able an individual as our civilization can produce. The difficulty of presenting such an individual in fiction is that it can be done only by a writer who occupies that position himself; for a dramatist cannot conceive anything higher than himself. No doubt he can invest an imaginary figure with all sorts of imaginary gifts. A drunken author may make his hero sober; an ugly, weak, puny, timid one may make him a Hyperion or a Hercules; a deaf mute may write novels in which the lover is an orator and his mistress a prima donna; but whatever ornaments and accomplishments he may pile up on his personages, he cannot give them greater souls than his own. Defoe could invent wilder adventures for Robinson Crusoe than Shakespear for Hamlet; but he could not make that mean adventurer, with his dull eulogies of the virtues of “the middle station of life,” anything even remotely like Shakespear’s prince.

For Ibsen this difficulty did not exist. He knew quite well that he was one of the greatest men living; so he simply said “Suppose ME to be a sculptor instead of a playwright,” and the thing was done. Thus he came forward himself to plead to his own worst indictment of modem culture. One of the touches by which he identifies himself has all the irony of his earliest work. Rubeck has to make money out of human vanity, as all sculptors must nowadays, by portrait busts; but he revenges himself by studying and bringing out in his sitters “the respectable pompous horse faces, and self-opinionated donkey-muzzles, and lop-eared lowbrowed dog-skulls, and fatted swine-snouts, and dull brutal bull fronts” that lurk in so many human faces. All artists who deal with humanity do this, more or less. Leonardo da Vinci ruled his notebook in columns headed fox, wolf, etc., and made notes of faces by ticking them off in these columns, finding this, apparently, as satisfactory a memorandum as a drawing. Domestic animals, terriers, pugs, poultry, parrots, and cockatoos, are specially valuable to the caricaturist, as giving the original types which explain many faces. Ibsen must have classified his acquaintances a good deal in this way, not without an occasional chuckle; and his attribution of the practice to Rubeck is a confession of it.

Rubeck makes his reputation, as sculptors often do, by a statue of a woman. Not, be it observed, of a dress and a pair of boots, with a head protruding from them, but of a woman from the hand of Nature. It is worth noting here that we have hardly any portraits, either painted or carved, of our famous men and women or even of our nearest and dearest friends. Charles Dickens is known to us as a guy with a human head and face on top. Shakespear is a laundry advertisement of a huge starched collar with his head sticking out of it. Dr. Johnson is a face looking through a wig perched on a snuffy suit of old clothes. All the great women of history are fashion plates of their period. Bereaved parents, orphans, and widows weep fondly over photographs of uniforms, frock coats, gowns, and hats, for the sake of the little scrap of humanity that is allowed to peep through these trappings. Women with noble figures and plain or elderly faces are outdressed and outfaced by rivals who, if revealed as they really are, would be hardly human. Carlyle staggers humanity by inviting the House of Commons to sit unclothed, so that we, and they themselves, shall know them for what they really are.

Hence it is that the artist who adores mankind as his highest subject always comes back to the reality beneath the clothes. His claim to be allowed to do this is so irresistible that in every considerable city in England you will find, supported by the rates of prudish chapel goers, and even managed and inspected by committees of them, an art school where, in the “life class” (significant term!) young women posed in ridiculous and painful attitudes by a drawing master, and mostly under the ugliest circumstances of light, color, and surroundings, earn a laborious wage by allowing a crowd of art students to draw their undraped figures. It is a joylessly grotesque spectacle: one wonders whether anything can really be learnt from it; for never have I seen one of these school models in an attitude which any human being would, unless the alternative were starvation, voluntarily sustain for thirty seconds, or assume on any natural occasion or provocation whatever. Male models are somewhat less slavish; and the stalwart laborer or olive-skinned young Italian who poses before a crowd of easels with ludicrously earnest young ladies in blue or vermilion gowns and embroidered pinafores drawing away at him for dear life is usually much more comfortably and possibly posed. But Life will not yield up her more intimate secrets for eighteenpence an hour; and these earnest young ladies and artsome young men, when they have filled portfolios with such sordid life studies, know less about living humanity than they did before, and very much less about even the mechanism of the body and the shape of its muscles than they could learn less inhumanly from a series of modem kinematographs of figures in motion.

Rubeck does not make his statues in a class at a municipal art school by looking at a weary girl in a tortured attitude with a background of match-boarding, under a roof of girders, and with the ghastly light of a foggy, smoky manufacturing town making the light side of her flesh dirty yellow and the shadowed side putrid purple. He knows better than that. He finds a beautiful woman, and tells her his vision of a statue of The Resurrection Day in the form of a woman “filled with a sacred joy at finding herself unchanged in the higher, freer, happier region after the long dreamless sleep of death.” And the woman, immediately seizing his inspiration and sharing it, devotes herself to the work, not merely as his model, but as his friend, his helper, fellow worker, comrade, all things, save one, that may be humanly natural and necessary between them for an unreserved co-operation in the great work. The one exception is that they are not lovers; for the sculptor’s ideal is a virgin, or, as he calls it, a pure woman.

And her reward is that when the work is finished and the statue achieved, he says “Thank you for a priceless EPISODE,” at which significant word, revealing as it does that she has, after all, been nothing to him but a means to his end, she leaves him and drops out of his life. To earn her living she must then pose, not to him, but before crowds in Variety Theatres in living pictures, gaining much money by her beauty, winning rich husbands, and driving them all to madness or to death by “a fine sharp dagger which she always has with her in bed,” much as Rita Allmers nearly killed her husband. And she calls the statue her child and Rubeck’s, as the book in Hedda Gabler was the child of Thea and Eilert Lôvborg. But finally she too goes mad under the strain.

Rubeck presently meets a pretty Stone Age woman, and marries her. And as he is not a Stone Age man, and she is bored to distraction by his cultured interests, he disappoints her as thoroughly as she disgusts and wearies him: the symptoms being that though he builds her a splendid villa, full of works of art and so forth, neither he nor she can settle down quietly; and they take trips here, trips there, trips anywhere to escape being alone and at home together.

But the retribution for his egotism takes a much subtler form, and strikes at a much more vital place in him: namely, his artistic inspiration. Working with Irene, the lost model, he had achieved a perfect work of art; and, having achieved it, had supposed that he was done with her. But art is not so simple as that. The moment she forsakes him and leaves him to the Stone Age woman and to his egotism, he no longer sees the perfection of his work. He becomes dissatisfied with it. He sees that it can be improved: for instance, why should it consist of a figure of Irene alone? Why should he not be in it himself? Is he not a far more important factor in the conception? He changes the single figure design to a group. He adds a figure of himself. He finds that the woman’s figure, with its wonderful expression of gladness, puts his own image out of countenance. He rearranges the group so as to give himself more prominence. Even so the gladness outshines him; and at last he “tones it down,” striking the gladness out with his chisel, and making his own expression the main interest of the group. But he cannot stop there. Having destroyed the thing that was superior to him, he now wants to introduce things that are inferior. He carves clefts in the earth at the feet of his figure, and from these clefts he makes emerge the folk with the horse faces and the swine snouts that are nearer the beast than his own fine face. Then he is satisfied with his work; and it is in this form that it makes him famous and is finally placed in a public museum. In his days with Irene, they used to call these museums the prisons of works of art. Precisely what the Italian Futurist painters of today are calling them.

And now the play begins. Irene comes from her madhouse to a “health resort.” Thither also comes Rubeck, wandering about with the Stone Age woman to avoid being left at home with her. Thither also comes the man of the Stone Age with his dogs and guns, and carries off the Stone Age woman, to her husband’s great relief. Rubeck and Irene meet; and as they talk over old times, she learns, bit by bit, what has happened to the statue, and is about to kill him when she realizes, also bit by bit, that the history of its destruction is the history of his own, and that as he used her up and left her dead, so with her death the life went out of him. But, like Nora in A Doll’s House, she sees the possibility of a miracle. The dead may awaken if only they can find an honest and natural relation in which they shall no longer sacrifice and slay one another. She asks him to climb to the top of a mountain with her and see that promised land. Half way up, they meet the Stone Age pair hunting. There is a storm coming. It is death to go up and danger to climb down. The Stone Age man faces the danger and carries his willing prey down. The others are beyond the fear of death, and go up. And that is the end of them and of the plays of Henrick Ibsen.

The end, too, let us hope, of the idols, domestic, moral, religious and political, in whose name we have been twaddled into misery and confusion and hypocrisy unspeakable. For Ibsen’s dead hand still keeps the grip he laid on their masks when he first tore them off; and whilst that grip holds, all the King’s horses and all the King’s men will find it hard to set those Humpty-Dumpties up again.