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Captains at the Helm: Shaw's Industrialist 'Heroes'

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Captains at the Helm: Shaw's Industrialist 'Heroes' by Trevor Howard MacPherson B. A., The University of Alberta, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of English _ We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA November, 2001 © Trevor Howard MacPherson, 2001 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Trevor Howard MacPherson Department of English The University of British Columbia Vancouver, Canada June 4, 2001 Abstract The thesis "Captains at the Helm: Shaw's Industrialist 'Heroes'" attempts to isolate and analyse the concept of the Captain of Industry in Bernard Shaw's essays and drama. The discussion begins with an explication of the social philosophy of Thomas Carlyle (Past and Present and Latter-Day Pamphlets) and John Ruskin (Unto This Last and The Political Economy of Art) as it pertains to leadership and the state of society, or, in particular, to the proper/improper management of capital, industry, and labour. While determining the character and role of Carlyle's and Ruskin's ideal industrial managers— the Captain of Industry and Pilot of State, respectively—the discussion parallels and contrasts these figures with Shaw's own views on the subject, especially concerning his definitive piece of political economy, The Intelligent Woman's Guide to Socialism, Capitalism, Sovietism, and Fascism. The main scope of the thesis is to then explore the nature of Shaw's industrialists, as found in his drama, and critique their characteristics and activities in part according to the schema of industrial management proposed by Carlyle and Ruskin, but principally according to Shaw's own philosophies about social evolution, life purpose, and economies in general. Though Shaw never directly states his own conception of the Captain of Industry, this paper attempts to posit an approximate type. The process of doing so involves a composite sketch drawn from the various capitalists and business people appearing in Shaw's drama, in which characters are compared and contrasted so that a Captain of Industry might be discerned as it develops from this collection of business people. The characters analysed are, as they appear in the order of the discussion, Epifania Fitzfassenden in The Millionairess, Henry Bossborn in Why She Ill Would Not, Boss Mangan in Heartbreak House, Tom Broadbent in John Bull's Other Island, and Andrew Undershaft in Major Barbara. As well, the thesis provides biographical and citational appendices on the German armament manufacturer Alfred Krupp and the American steel tycoon Andrew Carnegie, with special notice put upon Carnegie's business philosophies in his collections of essays, The Gospel of Wealth and The Empire of Business. IV Table of Contents Abstract ii Table of Contents iv Introductory Quotations v Acknowledgements vi Prefatory Chart 1 Section One Plotting a Course: Industry and Society from Carlyle to Shaw 8 Section Two An Interlude upon the "Unreasonable Person" Make Way or Make It My Way: Epifania and Bossborn on Full Steam Ahead 25 Section Three Heartbreak House Phantasm Captains, Drifting Skippers, and Mangan's Wreck 34 Section Four John Bull's Other Island Buoyant but Brainless: The Unsinkable Broadbent and His Unnavigated Success 58 Section 5 Major Barbara Scrapping Old Capitalism and Refitting the Ship of State 81 Closing the Captain's Log: Some Concluding Thoughts 135 Notes 138 Works Consulted 155 Appendix I Andrew Carnegie: Brief Biography and Quotations 160 Appendix II Alfred Krupp: Brief Biography and Notes 171 V If we command our wealth, we shall be rich and free; if our wealth commands us, we are poor indeed. -Edmund Burke, Letters on a Regicide Peace. For what are riches, empire, pow'r, But larger means to gratify the will? -William Congreve, The Mourning Bride. Act ii, sc. 2. A rich person ought to have a strong stomach. -Walt Whitman, Collect, p. 324. vi Acknowledgements I would like to extend many thanks out to everyone who helped support me, in manner both large and small, through this past year's work. Foremost, I would like to thank Jonathan Wisenthal, my thesis supervisor, whose helpful comments and suggestions were a formative part of my research. I appreciate the time my committee (which also includes Andrew Busza and John Cooper) has invested in reviewing my work and taking interest in my topic. My best wishes and thanks go out to all those in NISSC who have fuelled my interest in and increased my awareness of the nineteenth century in general, without which I never could have sorted out some peculiarities of thought among Carlyle, Ruskin, and Shaw. I must lend special recognition to Jill MacLachlan whose fervent interests in the period helped to establish NISSC and to lend me guidance on a number of occasions during research and writing. Thank you to all those who have read through and/or listened to my ideas about the Captain of Industry, including Wendy Foster, Theo Finigan, Annie Murray, Stephen Doak, Elliott Sancan, and anyone else I have neglected to mention. My final word goes out to my father, mother, and sister, who have offered me more than any academic guidance I have received. Thank you for keeping my sights on the road ahead when I much sooner would have liked have gone elsewhere. June 3, 2001 1 Prefatory Chart Writing in the mid nineteenth-century, Thomas Carlyle called for a new saviour for society who would organise the workers of England and help redirect the powers of state towards the creation of a proper society. With this idea, he coined the term "Captains of Industry." As Europe rushed towards industrialisation, powerful leaders of business became new representatives of power and wealth, and took on - or were given - the token title of Captains of Industry. However, the designation was often dissociated from the chivalry Carlyle envisioned in his Captains, and through Socialism, • came to adopt even negative connotations. In his drama, Bernard Shaw does not directly address the advent of Carlylean Captains of Industry, but he most certainly takes particular interest in rich and powerful capitalists. My discussion seeks to analyse Shaw's 'Captains of Industry,' comparing them to the Carlylean model and Shaw's own social critique. For each play selected, three criteria are being applied in the analysis of each Captain of Industry character and the consequences of their work: the professional/ industrial, the existential, the social/moral. The first qualification that each character must meet pertains to the very definition of the Captain of Industry: a person who manages—and preferably owns—a large business, commonly a mill, foundry, refinery, factory, or any other workshop of heavy industry. Andrew Carnegie, a veritable Captain of Industry himself, provides some useful parameters of discernment: "A man to be in business must be at least part owner of the enterprise which he manages . .. and be ... chiefly dependent for his revenues ... upon its profits" (GOW viii). The Captain of Industry is at times conflated with the financial side of business, but in my choice of characters, I have weighed their involvement with the production aspect of industrial works and their organisation of labour against their management of capital alone. The reason for doing so has less to do with purism itself, since the directorship of industry actually has a moral or honourable standing in the writing of Carlyle and Ruskin, and holds a different degree of significance with Shaw. The shades of difference between industry, trade, investment, and speculation, vary from critic to critic. Carlyle, who coined the term "Captain of Industry," places great importance on the figure as a chivalrous leader of labour, and disdained the 'moneychangers' of the cash nexus. Ruskin spoke both to merchants, investors, and manufacturers when he charged his "Pilots of State" with the duty to conduct their business on moral grounds. His ideal captain/pilot can be called the "gentleman capitalist." Shaw has no specific description for a Captain of Industry in his drama, prefaces, or social criticism. Part of my task will be to patch together a composite sketch that might characterise Shaw's ideal businessperson had he created such a type. My sources range from the dramatic characters themselves to Shaw's political economy to the traditional influences of Carlyle and Ruskin. There is one element in Shaw's boss characters that set them apart from the conceptions of the two Victorian social philosophers: their vitality. This component of their being relates to Shaw's metabiological philosophy of Creative Evolution and the will of the Life Force. I do not actively pursue a deep analysis into this Shavian 'religion,' but I do draw from the characters' surface details and their general function in Shaw's understanding of history and reality. The remarkable energy that drives some of these characters connects them with the superman model envisioned in Man and Superman, although I have chosen to emphasise the "unreasonable man" described in the play's fictional appendix, "The Revolutionist's Handbook." On top of their physical heartiness, their vigour acts as an inspiring or dominating will that often represents progressive forces of economies, history, or evolution in general. This ability, of sorts, brings with it both deficits and benefits, which I will endeavour to explain in the context of each play.
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