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The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman

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The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman The Utopian Imagination of George Bernard Shaw: Totalitarianism and the Seduction of the Superman Dissertation Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew B. Yde, MA Graduate Program in the Department of Theatre The Ohio State University 2011 Dissertation Committee: Lesley Ferris, Advisor Richard Dutton Beth Kattelman Copyright by Matthew B. Yde 2011 Abstract Playwright George Bernard Shaw has a reputation as a humanitarian, an indefatigable seeker of justice and, in his own words, a ―world betterer.‖ But this reputation is difficult to reconcile with his support for the totalitarian regimes and dictators that emerged after the First World War, which is not so well known. This enthusiasm is usually dismissed as an expression of Shaw‘s well known propensity for comic exaggeration and hyperbole, his pugnacious rhetoric, his love of paradox, and especially his addiction to antagonizing the British political establishment. However, as I believe this dissertation proves, Shaw‘s support was genuine, rooted in his powerful desire for absolute control over the unruly and chaotic, in a deep psychological longing for perfection. Shaw expressed rigid control over his own bodily instincts, and looked for political rulers of strong will and utopian designs to exercise similar control over unruly social elements. It is occasionally stated that Shaw‘s support for totalitarianism grew out of his frustration with nineteenth century liberalism, which ineffectually culminated in a disastrous world war. Yet close analysis to two of Shaw‘s Major Critical Essays from the 1890s shows that even then Shaw expressed a desire for a ruthless man of action unencumbered by the burden of conscience to come on the scene and establish a new world order, to initiate the utopian epoch. Indeed, a ii further analysis of a number of plays from before the war shows the impulse to be persistent and undeniable. This dissertation attempts to reveal the genuineness of Shaw‘s totalitarianism by looking at his plays and prefaces, articles, speeches and letters, but is especially concerned to analyze the utopian desire that runs through so many of Shaw‘s plays, looking at his political and eugenic utopianism as it is expressed in his drama and comparing it to his political totalitarianism. Shaw considered himself a ―revolutionary writer,‖ and his activity as a socialist agitator, propagandist for Creative Evolution, and world famous playwright must be seen as growing out of the same utopian impulse. For fifty years Shaw expressed a desire for state liquidation of recalcitrant or incorrigibly unproductive citizens in the hope of clearing the ground for a ―higher‖ kind of human creature. While Shaw knew that the public was not ready to act on such controversial ideas, he did hope that by disseminating his ideas through highly entertaining plays and essays they would take root in the mind and be activated later by the power of the will. This is how Lamarckian evolution works, and his method is a species of Fabian permeation. As Keegan says in John Bull’s Other Island, ―every jest is an earnest in the womb of time.‖ By looking closely at Shaw‘s plays and connecting them to his political activity, we will see that for Shaw the dictators were provisional supermen clearing the way for the advent of the real supermen who would come later, such as we see in the utopian plays that Shaw wrote in the last three decades of his life. iii Dedication Dedicated to Jacqulyn Groves Yde 1935-2009 ―Blessed are they which do hunger and thirst after righteousness: for they shall be filled‖ iv Acknowledgments The writing of this dissertation was begun a little over two months after my mom passed away; that loss, but also her inspiration, was deeply felt always, and to her the work is dedicated. My biggest debt of gratitude is due to my advisor Lesley Ferris, without whom I would never have been able to navigate my way through the daunting interstices of graduate school. Both my other committee members, Richard Dutton and Beth Kattelman, were invaluable as well: their sensitive reading, valuable suggestions, and encouragement are greatly appreciated. I also want to thank Thomas Postlewait and Simon Williams for reading my prospectus and recommending me for a Presidential Fellowship; without that generous award I cannot imagine how I would have finished the dissertation as expeditiously as I did. A big thank you is also due to Sebastian Knowles, who took time away from his very busy schedule to read a very long chapter of this dissertation; his support and excellent suggestions are greatly appreciated. I also want to thank Penny Farfan and Julia Walker for inviting me to circulate a portion of this dissertation in an ASTR working group, Pamela Decker for many small assistances and support along the way, and the many members of the ISS who have encouraged me throughout this process, especially Leonard Conolly, Richard Dietrich, Ellen Dolgin, Tony Stafford, Robert Gaines, and Lawrence Switzky. I also want to thank my dad for all his support, and Al Alschuler. v Vita 1995 BA, DePaul University, English 1996 MA, Northwestern University, English 2006-2010 Graduate Teaching Associate, Department of Theatre, The Ohio State University 2010-2011 Presidential Fellowship, The Ohio State University Fields of Study Major Field: Theatre Publications Performance Review: The Cone of Uncertainty: New Orleans after Katrina Theatre Journal, Vol. 59, No.4, December 2007 vi Table of Contents Abstract……………………………………….…………………………………..…..ii Dedication………………………………………………………………………….…iv Acknowledgments…………………………………………………………………….v Vita…………………………………………………………………………………....vi Chapter One: Introduction: George Bernard Shaw Revolutionary Playwright………….…….…………………………………………………………….1 Chapter Two: Previsions of the Superman in the Coming Age of Will: The Quintessence of Ibsenism………………………………………………………..……42 Chapter Three: Utopia in Flames: Shaw and Wagner‘s Ring: The Perfect Wagnerite……………………………………………….…….…..………….…...91 Chapter Four: From Hell to Heaven: Creative Evolution and the Drive toward the Military-Industrial-Religious Complex: Man and Superman, John Bull’s Other Island, Major Barbara…………….…………123 Chapter Five: Shaw‘s Modern Utopia: Back to Methuselah...........................................191 Chapter Six: Shaw‘s Totalitarian Drama of the Thirties (Shaw and the Dictators): Geneva, The Millionairess, The Simpleton of the Unexpected Isles………………………………………………...240 Chapter Seven: Conclusion: George Bernard Shaw, 1856-1950: Utopian to the End…………………………………………………………..……….…304 Bibliography………………………….………………………………………..……….328 vii 1. Introduction George Bernard Shaw: Revolutionary Playwright Liberalism is an exhilarating tale of emancipation from the prelates and patriarchs, insisting as it does on the scandalous truth that men and women are free, equal, self- determining agents simply by virtue of their membership of the human species. This is one of the most astonishingly radical insights ever to see the light of day, though it had a precedent in Judeo-Christianity. In its heyday, middle-class liberalism was far more of a revolutionary current than socialism has ever managed to be. Any socialism that fails to build on its magnificent achievements risks moral and material bankruptcy from the outset. Terry Eagleton1 I In July 1931 George Bernard Shaw embarked on his first and only trip to the Soviet Union. He had been a champion of this new experiment in political and economic organization from the outset, but had refrained from visiting because he wanted to give the experiment time to develop before he offered his first-hand observations. By 1931 Lenin‘s for the most part successful New Economic Policy or NEP had been succeeded by Stalin‘s First Five Year Plan of crash industrialization and agricultural collectivization, and Shaw felt that the time was finally right to make a visit. Soon after their arrival in Russia Shaw and Lady Astor, one of his traveling companions and like 1 Shaw something of a celebrity, received cablegrams from an exiled Russian professor of civil engineering at Yale University, Dmitry Krynin. Worried for his family, the exiled scholar implored the two eminent visitors ―in the name of humanitarian principles, please help my wife in Moscow.‖ Shaw remained silent, but Lady Astor went down on her knees importuning her host Maxim Litvinov to come to the aid of this man and his destitute family. The obviously embarrassed Litvinov simply remarked that he was unable to help, and walked away. But Lady Astor would not let the matter rest, and was soon at the central office of the GPU or Soviet secret police, Shaw and Viscount Astor in tow, pleading with them to help the distressed family. After the visitors had returned to England it was discovered that Mrs. Krynin‘s apartment was ―occupied by a new tenant. The Krynin family had ‗disappeared.‘‖2 I begin my introduction with this brief anecdote because it gives a picture of Shaw, the ―revolutionary writer,‖ in his own words (vol. 1, 336),3 in the country where his utopian aspirations were finally being pursued, and shows him face to face with the reality of utopian political formation and its central humanitarian problem, the ―disappearance‖ of invidious social elements. Although Shaw may have been proud of his dramatic talent and of his achievements as a famous playwright, he viewed himself principally as a political revolutionary and considered his art to be in the service of his political goals. The totalitarian regimes that sprouted up in the 1920s and thirties, especially in the Soviet Union, seemed to him to decisively signal the end of the anarchical, wasteful, and disorderly capitalist system that so appalled him, and to whose eradication he had dedicated his life. Shaw came of age during the British Socialist 2 Revival of the 1880s, when many artists and intellectuals believed that socialism would soon put an end to the poverty and squalor that was the apparent by-product of industrial capitalism. Shaw was a part of this movement, and it gave meaning and purpose to his life.
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