… Shaw is not at all the heretic his fascinated victims see him, but an orthodox Scotch Presbyterian of the most cock-sure and bilious sort. In the theory that he is Irish I take little stock. His very name is as Scotch as haggis, and the part of Ireland from which he comes is peopled almost entirely by Scots. The true Irishman is a romantic; he senses religion as a mystery, a thing of wonder, an experience of ineffable beauty; his interest centers, not in the commandments, but in the sacraments. The Scot, on the contrary, is almost devoid of that sort of religious feeling; he hasn’t imagination enough for it; all he can see in the Word of God is a sort of police regulation; his concern is not with beauty but with morals. Here Shaw runs true to type. Read his critical writings from end to end, and you will not find the slightest hint that objects of art were passing before him as he wrote. He founded, in England, the superstition that Ibsen was no more than a tin-pot evangelist — a sort of brother to General Booth, Mrs. Pankhurst, Mother Eddy and Billy Sunday. He turned Shakespeare into a prophet of evil, croaking dismally in a rain-barrel. He even injected a moral content (by dint of abominable straining) into the music dramas of Richard Wagner, surely the most colossal slaughters of all moral ideas on the altar of beauty ever seen by man. Always this ethical obsession, the hall-mark of the Scotch Puritan, is visible in him. He is forever discovering an atrocity in what has hitherto passed as no more than a human weakness; he is forever inventing new sins, and demanding their punishment; he always sees his opponent, not only as wrong, but also as a scoundrel. I have called him a good Presbyterian.
H.L. Mencken, “Shaw as Platitudinarian”, The Smart Set, 1916-08.
