{"id":1264,"date":"2009-08-26T17:52:00","date_gmt":"2009-08-26T21:52:00","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=1264"},"modified":"2009-08-26T17:52:00","modified_gmt":"2009-08-26T21:52:00","slug":"frye-and-shaw","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/08\/26\/frye-and-shaw\/","title":{"rendered":"Frye and Shaw"},"content":{"rendered":"

\u00a0\"vanity3\"<\/p>\n

Bob Denham sends us still more excerpts\u00a0from Frye\u00a0on Shaw.\u00a0 The mischievous spirit of the Vicar of Bray evidently prevails.\u00a0\u00a0All in all,\u00a0 a remarkable amount of commentary has been generated by\u00a0a single\u00a0compellingly ambiguous diary entry from\u00a0August 25th, 1942<\/a>.<\/em><\/strong><\/p>\n

From the<\/em> Diaries,<\/em>\u00a0 391-2:<\/em><\/p>\n

I think the Blake is well in hand, and I\u2019m starting on Shaw. [The reference is to CBC Radio talks on Blake and Shaw that Frye gave in 1950.]\u00a0 My adolescent interest in Shaw pretty well faded out when I came to college\u2014well, no, it didn\u2019t, as I re-read all of his stuff later, but for some reason I\u2019d never read any play of his later than The Apple Cart<\/em>. [When he was on a visit to the home of classmate Graham Miller during the summer of 1933, Frye wrote to Helen Kemp that \u201cthe family here has all of Shaw\u2019s plays in one volume and I have read six since Wednesday.\u00a0 I read all of Shaw at fifteen and he turned me from a precocious child into an adolescent fool.\u00a0 Therefore he has had far more influence on me than any other writer\u201d (NFHK<\/em> 1:98).]\u00a0 Doesn\u2019t look as though I\u2019ve really missed much. Too True to be Good<\/em> is an interesting comedy of humors: his trouble is he can\u2019t just let humors be enlightened by each other: he wants a central character.\u00a0 In that particular play the nearest norm is Private Meek, an ingenious tricky-slave modulation.\u00a0 On the strength of The Apple Cart<\/em> and the name of Good King Charles <\/em>I\u2019d been saying that Shaw had finally revealed himself as a frustrated Royalist, & I don\u2019t think I was so far out.\u00a0 Meek is actually a Caesar in disguise, Charles II is certainly the one idealized figure in his play, the Judge in Geneva<\/em> is a practically royal centre of gravity, & the fact that the king is missing from On the Rocks<\/em> is what makes that such a silly play: it\u2019s Shaw\u2019s version of England in 1659, waiting for its monarch to appear.\u00a0 Of course Shaw points out the vulnerable point of hereditary kingship, the non-transmissibility of genius, which he gets around in Major Barbara\u2014significant he has to speak of it.\u00a0 But there\u2019s more to it than that….<\/p><\/blockquote>\n

Going on with Shaw, he\u2019s preoccupied by the search for the \u201cruler\u201d: he simply can\u2019t understand that the world is trying to outgrow all that nonsense about rulers.\u00a0 He has very little sense of the governor-principle as that which has authority without power: it\u2019s there in the middle of Geneva<\/em>, I know, but he\u2019s not satisfied with it.\u00a0 The dialogue of Christ & Pilate ends in a deadlock.\u00a0 He can see through Pilate, & doesn\u2019t really want a dictator, though he\u2019s enough of a senile enfant terrible<\/em> to play with the notion.\u00a0 The closest he comes to it is in the preface to Geneva<\/em>, where he speaks of Mill & of the right to criticize.\u00a0 He naturally sees that Stalin is a Pope, the incarnation of a dialectic, & rejects the Papacy, which he\u2019s consistent in regarding as the only possible form of Christianity.\u00a0 But in a rare flash of real insight he makes King Charles say that the Pope is always a Whig.\u00a0 And he doesn\u2019t really<\/em> go for the Platonic philosopher-ruler.\u00a0 No, it\u2019s the royal epiphany, the king and queen (it\u2019s very funny how he plops the \u201ccoupled vote\u201d business into the preface to Good King Charles<\/em>) [Shaw\u2019s proposal that the representative unit should be a man and<\/em> a woman so that every elected body would have equal numbers of men and women.\u00a0 See the preface to \u201cIn Good King Charles\u2019s Golden Days,\u201d<\/em> in Complete Plays with Prefaces<\/em> (New York: Dodd, Mead, 1962), 6:7\u20139.] who are also normative in The Apple Cart<\/em>, the rejuvenated father & mother (Cf. \u201cMopsy & Popsy\u201d in TTG [To True to be Good<\/em>]: the process doesn\u2019t carry through there).\u00a0 Not national royalty ultimately, of course: a Caesar or Charlemagne: Dante\u2019s Feltro or super-Constantine: but still nostalgia for the days \u201cwhen loyalty no harm meant\u201d [\u201cIn good King Charles\u2019s golden days, \/ When loyalty no harm meant\u201d (The Vicar of Bray<\/em>, ll. 1\u20132).] & when a representative of Louis XIV could be the comic Last Judgement on Tartuffe<\/em>.<\/p><\/blockquote>\n

\u00a0From the <\/em>Diaries, 398-9:<\/em><\/p>\n

The Shaw paper didn\u2019t really come up to my expectations, whatever they were.\u00a0 His chief archetype, which he reads into Ibsen, perhaps correctly, is the idealist-as-humor, as I\u2019ve said.\u00a0 His superman is just there as the comic society as man\u2014what I now call the Ghibelline epiphany\u2014and to represent a transcendence of all humorous (or all-too-human) syntheses.\u00a0 I must work out the connection between the superman and the angel.\u00a0 Meanwhile, the Shavian hero is a superman deputy or regent: the busy, simple, unpretentious, efficient housewife, Caesar & St. Joan.\u00a0 He\u2019s a complete pragmatist, of course, all dogmatics proceeding from the learned-doctor or humor.\u00a0 I think Good King Charles<\/em>, which shows a variety of types being liberalized by one another with a royal archon in charge, is about as concentrated a comedy form as he gives us.\u00a0 The only thing I haven\u2019t found is a real communion symbol: I could be wrong about that, of course.\u00a0 The relation to dialectic comes out in a lot of places\u2014Major Barbara, for instance\u2014it\u2019s linked with the fact that creative evolution in a conscious being is partly an act of conscious will, & hence dialectic decisions have transcendental consequences, or may have.\u00a0 Also, of course, the link between this symposium-comedy & Fabian tactics.<\/p><\/blockquote>\n

\u00a0From<\/em> Northrop Frye on Literature and Society, 89\u201390, 156\u20137:<\/em><\/p>\n

Many poets seem to feel that, of the three ideals of the French Revolution, liberty, equality, and fraternity, liberty and equality can to some degree be realized in an age of rapidly growing cities, population, and industry, but that fraternity, the sense of immediate and personal relationship, gets lost.\u00a0 Several of Scott\u2019s novels, including the very popular Waverley<\/em>, describe the destruction of the aristocratic and primitive society of the Scottish Highlands by the middle-class Hanoverians from the south.\u00a0 The imaginative sympathy falls on the side of the former.\u00a0 Scott\u2019s compatriot Carlyle, in Past and Present<\/em>, symbolizes the lost sense of fraternity by a medieval monastery, which he makes into a kind of model for contemporary society.\u00a0 As Carlyle presents it, the chief problem of the monastery, and by implication of society generally, is to find the right man for its leader.\u00a0 The search for a leader or hero whose charisma will draw society into an organic unity again continues into the twentieth century, where it inspires some very quixotic partisanships.\u00a0 Eliot\u2019s \u201croyalism,\u201d Yeats\u2019s nostalgic cult of aristocracy, Lawrence\u2019s exaltation of a racial Mexican hero in The Plumed Serpent<\/em>, and many tendencies in Bernard Shaw (see, for instance, the discussion between Charles II and his queen in the second act of In Good King Charles\u2019 Golden Days<\/em>) are some examples. . . .<\/p><\/blockquote>\n

Shaw discovered in his own practice that what emerges from comedy is not a dialectic, but emancipation from all formulated principles of conduct.\u00a0 The shape of such a comedy is very clear in Shaw\u2019s own sketch Good King Charles<\/em>, where even the most highly developed human types, the saintly Fox and the philosophical Newton, are shown to be humors by the mere simultaneous presence of other types of people.\u00a0 This is the comedy of Terence\u2019s motto \u201cnothing human is alien to me,\u201d the vision of the free society which by tolerating as wide a variety of life as possible purges the humors from all who belong to it.\u00a0 It may be noted that the king serves as the umpire of the discussion, and if a socialist writer is impelled to make this use of a royal figure, we can understand better the importance of the courtliness in Shakespeare which so outraged Walt Whitman, of how the aristocrat\u2019s code of liberal manners can be a valid symbol of free society in a comedy like Twelfth Night<\/em>, whatever it may be in real life.\u00a0\u00a0<\/p><\/blockquote>\n

From<\/em> Northrop Frye\u2019s Fiction and Miscellaneous Writings, 283\u20134:<\/em><\/p>\n

This sense of cultural advance underlies Shaw\u2019s Fabianism, which is partly too a feeling that the bourgeois town-culture that fought for independence against the landowners is the real basis of revolutionary power.\u00a0 Cf. Bluntschli, Edward at Calais, etc.\u00a0 His heroes are those who accept responsibilities, like the hero of Major Barbara, Caesar, the Millionairess who goes off to Russia because it\u2019s a managerial economy.<\/p><\/blockquote>\n

Sense of advance gets a shock after the first world war, and produces the Chekhovian Heartbreak House.\u00a0 Saint Joan expresses the new sense of concern, but tendency to get confused and run around in circles.\u00a0 Second act of the King Charles play: the frustrated royalist there and in The Apple Cart. . . .<\/p><\/blockquote>\n

Shaw the pamphleteer was a progressivist: he didn\u2019t explicitly believe in progress, but a sense of cultural advance buoyed him up until after the first world war; after that he got sillier and sillier.\u00a0 I\u2019ve mentioned the Carlyle pseudo-problem of who\u2019s to be the ruler in the King Charles play; it goes with his tee-hee references to Hitler and Stalin as very able rulers.\u00a0 As a writer of comedy, he really was a social critic.\u00a0\u00a0<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Bob Denham sends us still more excerpts\u00a0from Frye\u00a0on Shaw.\u00a0 The mischievous spirit of the Vicar of Bray evidently prevails.\u00a0\u00a0All in all,\u00a0 a remarkable amount of commentary has been generated by\u00a0a single\u00a0compellingly ambiguous diary entry from\u00a0August 25th, 1942. From the Diaries,\u00a0 391-2: I think the Blake is well in hand, and I\u2019m starting on Shaw. […]<\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[57,139,144,147],"tags":[],"class_list":["post-1264","post","type-post","status-publish","format-standard","hentry","category-frye-diaries-august","category-satire","category-secular-society","category-shaw"],"yoast_head":"\nFrye and Shaw - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/08\/26\/frye-and-shaw\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frye and Shaw - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"\u00a0 Bob Denham sends us still more excerpts\u00a0from Frye\u00a0on Shaw.\u00a0 The mischievous spirit of the Vicar of Bray evidently prevails.\u00a0\u00a0All in all,\u00a0 a remarkable amount of commentary has been generated by\u00a0a single\u00a0compellingly ambiguous diary entry from\u00a0August 25th, 1942. 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