did. Indeed, I soon found that they equally misunderstood

Mozart and Beethoven, though, having come to like their tunes and harmonies, and to understand their mere carpentry, they pointed out what they supposed to be their merits with an erroneousness far more fatal to their unfortunate pupils than the volley of half-bricks with which they greeted Wagner (who, it must be confessed, retaliated with a volley of whole ones fearfully well aimed).”[7]

Although he did a good deal of accompanying, especially in the days of his intimacy with the Salt family, he never really mastered the instrument. Once, in a desperate emergency, he supplied the place of the absent half of the orchestra at a performance of _Il Trovatore_ at a People's Entertainment evening at the Victoria Theatre--and, luckily, came off without disaster. To-day he goes to his little Bechstein piano, a relic of the first Arts and Crafts Exhibition, and fearlessly attacks any opera or symphony. He is his own Melba, his own Plançon, too, thanks, as his wife pathetically explains, to “a remarkable power of making the most extraordinary noises with his throat.” He even revels in the pianola! And I have shared his enjoyment in his own rendition of a Chopin nocturne upon that remarkable mechanical toy.

Bernard Shaw would have been a model young man at the desk but for the fact that, like Nathaniel Hawthorne at the Boston Custom House, like Ibsen at the apothecary's shop in Grimstad, his heart was not in the thing. “I never made a payment,” he once frankly confessed to me, “without a hope or even a half resolve that I should never have to make it again. In spite of which, I was so wanting in enterprise and so shy and helpless in worldly matters (though I believe I had the air of being quite the reverse), that six months later I found myself making the payment again.”

There gradually came to him a consciousness of the futility of his life, the consciousness of one who has been freed of illusion. In this young boy was none of the soft-blarney, the winning and dulcet melancholy, of the proverbial Irishman. He escaped that mystic influence of Roman Catholicism, which produces the phantast, the dreamer and the saint. Calvinism had taught him that “once a man is born it is too late to save him or damn him; you may 'educate' him and 'form his character' until you are black in the face; he is predestinate, and his soul cannot be changed any more than a silk purse can be changed into a sow's ear.” In the atmosphere of the Island of the Saints--“that most mystical of all mystical things”--he learned to realize the barrenness of all else in comparison with the supreme importance of realizing the purpose of his existence on this earth.

Hence it was that his work and position finally became unbearably irksome, unendurable. London imperatively beckoned to him. That way, perhaps, lay freedom from the obsession of hated respectability, freedom from repression of his convictions, freedom for self-development and spiritual expansion. At the age of twenty, this raw Irish lad, wholly ignorant of the great world, walked out of his office, and threw himself recklessly into London. There, immediately after the death of his sister Agnes in the Isle of Wight, in 1876, he joined his mother in _la lutte pour la vie_.[8] There he was to set the crystalline intellectual clarity, the philosophic consciousness of the brilliant Celt, into sharp juxtaposition with the plodding practicality, the dogged energy of the complacent Briton. There he was to find the arena for his championship of those advanced movements in art, music, literature and politics, which give significance and character to the closing quarter of the nineteenth century.

In these early years we may discern in Shaw the gradual birth of the social consciousness, the slow unfolding of deep-rooted impulses toward individualism and self-expression. Like other boys of his day and time, Shaw melted lead on Holieve, hid rings in pancakes, and indulged in the conventional mummeries of Christmas. But to him these were dreary, silly diversions, against which his nature rebelled. He once refused to celebrate Shakespeare's birthday--for the very good reason that he had never celebrated his own. In the conventional sense, he was never “reared” at all: he simply “grew up wild.” No effort was made to form his character: he developed from within, strangely aloof in spirit from the healthy gaieties of the normal lad. Thus was bred in him, even at an early age, a sort of premature asceticism which left its indelible mark upon his character. The puritanic convictions which have animated his entire life find their origin in the half-instinctive, half-enforced aloofness of his childhood days.

Shaw was not brought up, as we might expect, a Nonconformist; he was a member of the Irish Protestant Church. He rebelled against the inhuman repression, the meaningless ritualism of his church; but the influences of his home, nevertheless, left their impress upon his nature. His whole long life is an outcry of soaring individualism against repressive authority; and yet the puritan intensity in condemnation of self-indulgence, the ascetic revolt from alcoholism, speaks forth unmistakably in the humanitarian, the vegetarian, the teetotaller of a later epoch.

The ingrained and constitutional protestantism of his forbears found expression in his boyish, yet rigorously atheistic protest against the religion of Moody and Sankey. In this audacious protest we can scarcely expect to find any sort of matured conviction; it is the first bold denial of his life. Thus early we observe the workings of polemic, of criticism and analysis--before he had ever left Irish soil. Even then, I fancy, he felt faint stirrings of a deeper religious protestant faith. In that protest, we may discern a forecast of the _Plays for Puritans_ and _The Showing-up of Blanco Posnet_.

Thrown upon his own resources, sharing with his fellows none of the wholesome and joyous foolhardiness of youth, he developed a maturity of judgment, a detachment in observation, out of all proportion to his years. His puritanism expressed itself in silent condemnation of the social self-righteousness he saw around him, the distinctions so sharply drawn on lines, not of individual worth, but of social station and respectability. That arresting passage in _Man and Superman_ in which he describes the birth of the social passion is a piece of spiritual autobiography: it changed the child into the man. There was already at work within him the leaven of the later social revolution of our own day. Intensity of political conviction was a family tradition and heritage. In the eighteenth century a Shaw had been leader of the “Orangemen”; and in the nineteenth century one of Shaw's uncles was the first Protestant priest in Ireland who, contrary to the convictions of his companions in creed, declared himself in favour of Home Rule. By heritage, by environment, by temperament, Bernard Shaw was destined to display throughout his life that intensity of political conviction, that depth of humanitarian concern, that passion for social service which will for ever remain associated with his name.

FOOTNOTES:

[1] This letter, signed “S,” appeared in _Public Opinion_ on April 3d, 1875. It is a criticism of the methods adopted by Messrs. Moody and Sankey, and an attempt to show that the enormous audiences drawn to the evangelistic services were not proof of their efficacy. Shaw then proceeds to explain the motives which induced many people to attend, predominant among them being “the curiosity excited by the great reputation of the evangelists and the stories, widely circulated, of the summary annihilation by epilepsy and otherwise of sceptics who had openly proclaimed their doubts of Mr. Moody's divine mission.” This letter has been reprinted in _Public Opinion_, November 8th, 1907.

In his monograph on Shaw (pp. 42-3), Mr. Holbrook Jackson has pointed out that this was not Shaw's first bid for publicity. In the _Vaudeville Magazine_ of September, 1871, there appeared among the Editorial Replies the following: “G. B. Shaw, Torca Cottage, Torca Hill, Dalkey, Co. Dublin, Ireland.--You should have registered your letter; such a combination of wit and satire ought not to have been conveyed at the ordinary rate of postage. As it was, your arguments were so weighty, we had to pay _twopence_ extra for them.”

[2] _On Going to Church._ This essay appeared originally in the _Savoy Magazine_, January, 1896; it is now published in book form by John W. Luce and Co., Boston, Mass.

[3] _In the Days of My Youth._ By Bernard Shaw. _Mainly About People_, 1898.

[4] Compare _Jubilee of Wesley College, Dublin_, December, 1895--being a special number of the _Wesley College Quarterly_.

[5] Lee continued steadily to advance in his profession, becoming successively music-teacher, opera-conductor, festival conductor, and finally fashionable teacher of singing in Park Lane, London. He accomplished everything that he undertook, even conducting a Handel Festival in Dublin, participated in by Tietjens, Agnesi, and other leading singers of the day. For several years he enjoyed great popularity in London as a teacher of music. When he died, quite suddenly, at his home in Park Lane, it was discovered, Shaw afterwards remarked, that he had exhausted his stock of health in his Dublin period, and that the days of his vanity in London were days of progressive decay.

[6] In speaking of his apprenticeship as a clerk in the land office, Shaw declares: “I should have been there still if I had not broken loose in defiance of all prudence, and become a professional man of genius--a resource not open to every clerk. I mention this to show that the fact that I am not still a clerk may be regarded for the purposes of this article as a mere accident. I am not one of those successful men who can say, Why don't you do as I do?'”--From _Bernard Shaw as a Clerk_. _By Himself_ in _The Clerk_, January, 1908.

[7] _The Religion of the Pianoforte_, in the _Fortnightly Review_, February, 1894.

[8] Mr. Shaw's other sister, Miss Lucy Carr Shaw, was the immediate cause of her mother's settling in London. She became a professional singer, and, later, a writer. Her best known book is entitled _Five Letters of the House of Kildonnel_.

LONDON

“My destiny was to educate London, but I had neither studied my pupil nor related my ideas properly to the common stock of human knowledge.”--_George Bernard Shaw: an Interview_, in _The Chap-Book_, November, 1896.