The Problem of a Preface

 A peculiar¹ difficulty arrests the writer of this rough study at the very start. Many people know Mr. Bernard Shaw chiefly as a man who would write a very long preface even to a very short play. And there is truth in the idea; he is indeed a very prefatory sort of person. He always gives the explanation before the incident; but so, for the matter of that, does the Gospel of St. John. For Bernard Shaw, as for the mystics, Christian² and heathen (and Shaw is best described as a heathen mystic), the philosophy of facts is anterior³ to the facts themselves. In due time we come to the fact, the incarnation; but in the beginning was the Word.

 

This produces upon many minds an impression of needless preparation and a kind of bustling⁴ prolixity⁵. But the truth is that the very rapidity of such a man’s mind makes him seem slow in getting to the point. It is positively⁶ because he is quick-witted that he is long-winded. A quick eye for ideas may actually make a writer slow in reaching his goal, just as a quick eye for landscapes might make a motorist slow in reaching Brighton. An original man has to pause at every allusion⁷ or simile⁸ to reexplain historical parallels, to reshape distorted words. Any ordinary leader-writer (let us say) might write swiftly and smoothly⁹ something like this: “The element of religion in the Puritan rebellion, if hostile to art, yet saved the movement from some of the evils in which the French Revolution involved morality.” Now a man like Mr. Shaw, who has his own views on everything, would be forced to make the sentence long and broken instead of swift and smooth. He would say something like: “The element of religion, as I explain religion, in the Puritan rebellion (which you wholly misunderstand) if hostile to art—that is what I mean by art—may have saved it from some evils (remember my definition of evil) in which the French Revolution—of which I have my own opinion—involved morality, which I will define for you in a minute.” That is the worst of being a really universal sceptic and philosopher; it is such slow work. The very forest of the man’s thoughts chokes up his thoroughfare. A man must be orthodox upon most things, or he will never even have time to preach his own heresy¹⁰.

 

Now the same difficulty which affects the work of Bernard Shaw affects also any book about him. There is an unavoidable artistic¹¹ necessity to put the preface before the play; that is, there is a necessity to say something of what Bernard Shaw’s experience means before one even says what it was. We have to mention what he did when we have already explained why he did it. Viewed superficially, his life consists of fairly conventional incidents, and might easily fall under fairly conventional phrases. It might be the life of any Dublin clerk or Manchester Socialist¹² or London author. If I touch on the man’s life before his work, it will seem trivial; yet taken with his work it is most important. In short, one could scarcely know what Shaw’s doings meant unless one knew what he meant by them. This difficulty in mere¹³ order and construction has puzzled me very much. I am going to overcome it, clumsily perhaps, but in the way which affects me as most sincere. Before I write even a slight suggestion of his relation to the stage, I am going to write of three soils or atmospheres out of which that relation grew. In other words, before I write of Shaw I will write of the three great influences upon Shaw. They were all three there before he was born, yet each one of them is himself and a very vivid portrait of him from one point of view. I have called these three traditions: “The Irishman,” “The Puritan,” and “The Progressive.” I do not see how this prefatory theorising is to be avoided; for if I simply said, for instance, that Bernard Shaw was an Irishman, the impression produced on the reader might be remote from my thought and, what is more important, from Shaw’s. People might think, for instance, that I meant that he was “irresponsible.” That would throw out the whole plan of these pages, for if there is one thing that Shaw is not, it is irresponsible. The responsibility in him rings like steel. Or, again, if I simply called him a Puritan, it might mean something about nude¹⁴ statues or “prudes on the prowl.” Or if I called him a Progressive, it might be supposed to mean that he votes for Progressives at the County Council election, which I very much doubt. I have no other course but this: of briefly¹⁵ explaining such matters as Shaw himself might explain them. Some fastidious persons may object to my thus putting the moral in front of the fable¹⁶. Some may imagine in their innocence¹⁷ that they already understand the word Puritan or the yet more mysterious word Irishman. The only person, indeed, of whose approval I feel fairly certain is Mr. Bernard Shaw himself, the man of many introductions.

1 peculiar   

adj.古怪的，异常的；特殊的，特有的

参考例句：

• He walks in a peculiar fashion.他走路的样子很奇特。
• He looked at me with a very peculiar expression.他用一种很奇怪的表情看着我。

2 Christian   

adj.基督教徒的；n.基督教徒

参考例句：

• They always addressed each other by their Christian name.他们总是以教名互相称呼。
• His mother is a sincere Christian.他母亲是个虔诚的基督教徒。

3 anterior   

adj.较早的；在前的

参考例句：

• We've already finished the work anterior to the schedule.我们已经提前完成了工作。
• The anterior part of a fish contains the head and gills.鱼的前部包括头和鳃。

4 bustling   

adj.喧闹的

参考例句：

• The market was bustling with life. 市场上生机勃勃。
• This district is getting more and more prosperous and bustling. 这一带越来越繁华了。

5 prolixity   

n.冗长，罗嗦

参考例句：

• As we know prolixity is a big shortcoming to write articles. 众所周知，罗嗦是写文章的大忌。 来自辞典例句
• Otherwise,it will probably make misunderstanding,and make the version prolixity. 否则，就可能造成理解错误，或使译文冗长罗嗦。 来自互联网

6 positively   

adv.明确地，断然，坚决地；实在，确实

参考例句：

• She was positively glowing with happiness.她满脸幸福。
• The weather was positively poisonous.这天气着实讨厌。

7 allusion   

n.暗示，间接提示

参考例句：

• He made an allusion to a secret plan in his speech.在讲话中他暗示有一项秘密计划。
• She made no allusion to the incident.她没有提及那个事件。

8 simile   

n.直喻，明喻

参考例句：

• I believe this simile largely speaks the truth.我相信这种比拟在很大程度上道出了真实。
• It is a trite simile to compare her teeth to pearls.把她的牙齿比做珍珠是陈腐的比喻。

9 smoothly   

adv.平滑地，顺利地，流利地，流畅地

参考例句：

• The workmen are very cooperative,so the work goes on smoothly.工人们十分合作，所以工作进展顺利。
• Just change one or two words and the sentence will read smoothly.这句话只要动一两个字就顺了。

10 heresy   

n.异端邪说；异教

参考例句：

• We should denounce a heresy.我们应该公开指责异端邪说。
• It might be considered heresy to suggest such a notion.提出这样一个观点可能会被视为异端邪说。

11 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

12 socialist   

n.社会主义者；adj.社会主义的

参考例句：

• China is a socialist country,and a developing country as well.中国是一个社会主义国家，也是一个发展中国家。
• His father was an ardent socialist.他父亲是一个热情的社会主义者。

13 mere   

adj.纯粹的；仅仅，只不过

参考例句：

• That is a mere repetition of what you said before.那不过是重复了你以前讲的话。
• It's a mere waste of time waiting any longer.再等下去纯粹是浪费时间。

14 nude   

adj.裸体的；n.裸体者，裸体艺术品

参考例句：

• It's a painting of the Duchess of Alba in the nude.这是一幅阿尔巴公爵夫人的裸体肖像画。
• She doesn't like nude swimming.她不喜欢裸泳。

15 briefly   

adv.简单地，简短地

参考例句：

• I want to touch briefly on another aspect of the problem.我想简单地谈一下这个问题的另一方面。
• He was kidnapped and briefly detained by a terrorist group.他被一个恐怖组织绑架并短暂拘禁。

16 fable   

n.寓言；童话；神话

参考例句：

• The fable is given on the next page. 这篇寓言登在下一页上。
• He had some motive in telling this fable. 他讲这寓言故事是有用意的。

17 innocence   

n.无罪；天真；无害

参考例句：

• There was a touching air of innocence about the boy.这个男孩有一种令人感动的天真神情。
• The accused man proved his innocence of the crime.被告人经证实无罪。