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NEW SECURITY CHALLENGES
SERIES EDITOR: GEORGE CHRISTOU
Suzanne Loftus
New Security Challenges
Series Editor
George Christou
University of Warwick
Coventry, UK
The last decade has demonstrated that threats to security vary greatly in
their causes and manifestations and that they invite interest and demand
responses from the social sciences, civil society, and a very broad policy
community. In the past, the avoidance of war was the primary objective,
but with the end of the Cold War the retention of military defence as the
centrepiece of international security agenda became untenable. There has
been, therefore, a significant shift in emphasis away from traditional
approaches to security to a new agenda that talks of the softer side of secu-
rity, in terms of human security, economic security, and environmental
security. The topical New Security Challenges series reflects this pressing
political and research agenda.
For an informal discussion for a book in the series, please contact the
series editor George Christou (G.Christou@warwick.ac.uk), or Palgrave
editor Alina Yurova (alina.yurova@palgrave-usa.com).
This book series is indexed by Scopus.
Suzanne Loftus
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer
Nature Switzerland AG 2023
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect
to the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
I dedicate this book to my grandparents: Alice and Verne, Julia and John.
You are role models for all of us.
Contents
1 Introduction 1
5 The
Limits of Liberal Universalism and the Crisis
in Ukraine129
Index181
vii
CHAPTER 1
Introduction
Introduction
When the Cold War ended, liberal democracy and liberal market econo-
mies triumphed as the superior form of political and economic governance
over authoritarian communism. It was widely believed that nations around
the world would converge into liberal democracies as a final form of gov-
ernance and that great power rivalry would be a phenomenon of the past.
Francis Fukuyama famously described the era as the “end of history,”1 an
epoch where nations would move beyond great power conflict and focus
on the proliferation of freedom and prosperity for all. The “democratic
peace theory” influenced American and European foreign policy, asserting
that democracies seldom go to war with each other.2 In order to achieve
world peace, it was imperative to lead the world to liberal democracy
through engagement, trade, liberal policy prescriptions, and military
interventions. The idea that democracy would occur naturally as countries
liberalized their economies was also part of the Liberal tradition motivat-
ing policy at the time. Modernization theorists argued economic develop-
ment would bring about social and political change as the middle class
1
Fukuyama (2012).
2
Doyle (1983a, pp. 202–235, 1983b, pp. 323–353, 1986, pp. 1151–1169, 1997) and
Kant (1991, pp. 93–115).
would prosper and demand more freedoms.3 These policies were thought
to be able to put an end to concerns from the Realist school of International
Relations such as “balance of power”4 politics, a natural inclination for
states to want to secure their survival by preventing any one state from
gaining enough military power to dominate all others through uniting in
a defense coalition.
Joining the “liberal international order” was meant to be in every
nation’s best interest and was believed to be able to transcend the forces
of Realism and nationalism. The “liberal international order” can be
described as the set of global, rule-based, structured relationships based
on political liberalism, economic liberalism, and liberal internationalism.5
After experiencing such euphoria in the 1990s on the “triumph of liberal-
ism,” today, 30 or so years later, the world has been experiencing a down-
ward trend in democracy observed over the past 16 years.6 In addition, the
2022 National Defense Strategy states that China is the United States’
“most consequential strategic competitor and the pacing challenge for the
Department” while Russia “poses acute threats, as illustrated by its brutal
and unprovoked invasion of Ukraine.”7 The world has changed dramati-
cally since “the end of history” epoch. Instead of the euphoric optimism
of the 1990s, great power competition, nationalism, and illiberalism have
taken on a more prominent role in international affairs.
In the post-Cold War era, China experienced important economic
growth, finances ambitious infrastructure development projects around
the world, and has more latent power than the United States based on the
speed at which its economy is growing and its projected population
growth.8 Unlike what was originally hoped by engaging China and inte-
grating it into the liberal international order, China did not politically
liberalize. In fact, China has become increasingly more authoritarian illus-
trated by decisions such as the Communist Party ending presidential term
Tarik Oguzlu, “Balance of Power Politics Are Now More Visible Than Ever,” Daily
4
9
Max Fischer, “Xi Sets China on a Collision Course with History,” NY Times, February
28, 2018. https://www.nytimes.com/2018/02/28/world/asia/xi-jinping-china.html
10
Kendall-Taylor and Shullman (2022).
11
Waltz (2000, pp. 5–41).
12
Mearsheimer (2018).
13
Walt (2018).
14
Ron Nixon, “U.S. Groups Helped Nurture Arab Uprisings,” NY Times, April 15, 2011.
https://www.nytimes.com/2011/04/15/world/15aid.html
4 S. LOFTUS
15
Pallavi Gogoi, “Analysis: How the Rise of The Far Right Threatens Democracy
Worldwide,” NPR, January 21, 2019. https://www.npr.org/2019/01/21/687128474/
analysis-how-the-rise-of-the-far-right-threatens-democracy-worldwide
16
Acharya (2017, pp. 271–285).
1 INTRODUCTION 5
17
Fukuyama (2012).
18
Huntington (1991, p. 13).
6 S. LOFTUS
the shared European continent. In contrast, the United States and its
European allies were hoping Russia would democratize and liberalize and
join the West as a junior partner.19 U.S. engagement strategy in relation to
China assumed that increased trade and economic linkages between them
would turn China into a “responsible stakeholder” in a U.S.-led global
order.20 This belief persisted from George Bush Senior to Barrack Obama.
The belief was based on the assumption that economic modernization in
China would be followed by political liberalization. Throughout the many
years of pursuing a policy of engagement, China was treated as a “pre-
ferred nation” and joined the World Trade Organization in 2001.
After many years of pursuing a policy of engagement with China, the
country opened its economy to the rest of the world without politically
liberalizing. China now has the second largest nominal GDP in the world,
and the largest when measured in purchasing power parity.21 WTO reviews
continue to point out the lack of necessary reforms in China and its con-
tinued unfair trading practices.22 In addition, its political regime has
become increasingly more nationalist and authoritarian.23 China has also
defied the rules of international law by seizing key islands and claiming
large swaths of the South China Sea, inconsistent with the 1982 Law of
the Sea Convention.24 Despite this behavior, U.S. policy toward China
never evolved until Donald Trump took office in 2017 and started the
policy of containment, which Joe Biden continues to apply today. China is
investing in research and development, renewable energy, artificial intelli-
gence, and quantum mechanics, and is feared to eventually overtake the
West in these sectors. Today China is the principal challenger to the United
States and its leadership of the international order as it is a strong power
with a different political system able to project its influence
internationally.
Russian-Western relations deteriorated significantly after an initially
hopeful period in the 1990s. This had much to do with their differences
in how the post-Cold War European security architecture would be man-
aged as well as how international security decisions would be made. Their
Sakwa (2017a).
19
21
Investopedia. “The Top 25 Economies in the World.” Accessed August 4, 2022.
22
Katie Silver, “China’s Trade Practices Come under Fire,” BBC, October 21, 2021.
https://www.bbc.com/news/business-58991339
23
Tsang and Cheung (2022, pp. 225–243) and Shirk (2018), pp. 22–36.
24
U.S. Department of State (2022).
1 INTRODUCTION 7
30
Alexander Smith, “Russia and China Forge Closer Ties as U.S. is Preoccupied with
Struggles at Home,” NBC News, February 14, 2022. https://www.nbcnews.com/news/
world/russia-china-forge-closer-ties-us-preoccupied-struggles-home-rcna15722.
31
Freedom House, “Reversing the Decline.”
32
Putzel (2020, pp. 418–441).
33
Krastev and Holmes (2020).
34
Koechlin (2013, pp. 5–30).
35
Noriel Roubini, “Laissez-Faire Capitalism Has Failed,” Forbes, February 19, 2009.
36
Zamora-Kapoor and Coller (2014, pp. 1511–1516) and Center for American
Progress (2020).
37
Rupnik (2018, pp. 24–38).
1 INTRODUCTION 9
38
Wendt (1999).
39
Evans (2015).
40
Frederick J Turner, “The Significance of the Frontier in American History (1893),”
American Historical Association, Accessed August 4, 2022. www.historians.org/about-aha-
and-membership/aha-history-and-archives/historicalarchives/the-significance-of-the-
frontier-in-american-history.
10 S. LOFTUS
41
Acharya (2017, pp. 271–285).
42
Wu (2012).
43
Coker (2019).
44
Krastev and Holmes (2018, pp. 117–128).
1 INTRODUCTION 11
America what America had been doing to Russia. China’s imitation game
is described as “imitation by appropriation” whereby it took aspects of the
Western model that it found useful for development and rejected any
change of identity. China is now the symbol of how one can partially copy
a development model successfully while retaining national uniqueness.45
“Western civilization is unique, but not universal.” Those were the
words of Samuel Huntington in 1996.46 At the end of the Cold War,
Westerners believed that the West had led the world to modern society
and that as people in other civilizations modernized, they would also
Westernize in the process. It was assumed that as others took on similar
patterns of education, work, wealth, and class structure that Western cul-
ture would become the universal culture of the world. Huntington argued
that this line of thinking was misguided and arrogant because “modern”
civilization and “Western” civilization are not one and the same thing—
Western civilization emerged before modernity. Western civilization stems
from the classic legacies of the Greek and Roman civilizations. It is also
based on Christianity—Protestantism and Catholicism and the impor-
tance of the rift between the two. It is based on European languages such
as Latin, Germanic, and Romance languages. Separation of spiritual and
temporal authority is another feature, which contributed greatly to the
development of “freedom” in the West. The rule of law is another compo-
nent inherited from the Romans which developed into Natural Law in
medieval times and Common Law in England. As a result of the applica-
tion of the rule of law, constitutionalism and the protection of human
rights took shape against the arbitrary exercise of power. Huntington
argues that the relationship between law and shaping behavior was not as
poignant in other civilizations. Social pluralism and civil society are other
characteristics of Western civilization. Class pluralism included a strong
aristocracy, a substantial peasantry, and a small class of merchants and trad-
ers. The presence and strength of the feudal aristocracy limited absolutism
from taking a firm room in Europe. This differs sharply from empires that
existed at the same time in Russia, China, the Ottoman Empire, and other
non-Western civilizations. Representative bodies are also features of
Western civilization as social pluralism gave rise to estates, parliaments,
45
Krastev and Holmes, Lights.
46
Samuel P. Huntington, “The West is Unique, not Universal,” Foreign Affairs,
November/December 1996. https://www.foreignaffairs.com/articles/1996-11-01/west-
unique-not-universal.
12 S. LOFTUS
and other institutions that represented the interests of the various groups
in society. This then paved the way for modern democracy. Self-government
became an important characteristic as representation at the national level
was supplemented by a measure of autonomy at the local level, not seen in
any other civilization at this time. Individualism is another feature. A
strong sense of individualism emerged as a result of all the other features
and a tradition of individual rights and liberties. Collectivism is a more
prominent feature in other civilizations. While none of these are unique to
the West, the combination of them is, and has given the West its distinctive
quality.47
Based on this assessment, it is no wonder that countries that comprise
“Western civilization” have had an easier time consolidating liberal democ-
racy as a form of governance. Institutional legacies pave the way for mod-
ern governance. Understanding this reality helps defend the concept of
non-intervention as a superior foreign policy choice when it comes to
governance. A cross-cultural survey concluded that the values that are
most important in the West are the least important worldwide.48
Huntington also argued that modernization and economic develop-
ment promoted the resurgence of indigenous cultures as opposed to
Western imitations, often taking on a religious form and an anti-Western
tone. While the West believed that non-Western people should commit
themselves to Western values of democracy, free markets, limited govern-
ment, separation of church and state, human rights, individualism, and the
rule of law, what was “universalism” to the West often appeared as “impe-
rialism” to the rest.49 Acharya describes the emerging world order as a
“multiplex.”50 This entails a multi-civilizational world where one can no
longer understand global affairs in terms of the dominance of Western
civilization. It will instead be a world where interactions and mutual learn-
ing among different civilizations and states will take place. In such a world,
there is no room for “liberal hegemony” as a foreign policy or the “uni-
versalization” of the liberal normative framework of governance. Some are
quite pessimistic about this new world. Coker views this shift as an inevi-
table path to chaos. He argues that culture has become the “currency of
power” in the way that ideology was the currency of power during the
47
Huntington, “Unique, not Universal.”
48
Hofstede (1983, p. 53).
49
Huntington, “Unique, not Universal.”
50
Acharya (2017).
1 INTRODUCTION 13
Cold War, putting Russia and China and their “civilization state” against
the United States and the West. Moreover, he argues that the West is in
trouble, as its two “social imaginaries” of Wilsonian liberal international-
ism and Kantian European cosmopolitanism are losing ground. The
Trump Administration expressed no belief in human rights or democracy
promotion, and European Kantian cosmopolitanism appears to have been
replaced by a pragmatism that has lost interest in the project. He under-
lines that while China and Russia celebrate their civilizations, the West is
undergoing deep self-criticism about its colonial and imperialist past that
leaves no room for a constructive revival. The future world order is headed
toward the idea of “cultural coexistence,” and order he fears will only give
more power to the great powers and ensure that little powers have no
relevance, paving the way for a world of chaos, devoid of social norms, and
lawless.51
51
Coker, Civilizational States.
52
Waltz (2000).
53
Walt (1985).
54
Graham Allison, “The Myth of the Liberal Order: From Historical Accident to
Conventional Wisdom,” Foreign Affairs, July/August 2018; Patrick Porter, “A World
Imagined, Nostalgia and the Liberal Order,” Policy Analysis, no. 843 (Washington, DC:
CATO institution 2018).
14 S. LOFTUS
55
Ikenberry (2020).
56
Kagan (2018a).
57
Levitsky and Way (2018).
58
Diamond (2002, pp. 21–35, 2018).
1 INTRODUCTION 15
the United Nations General Assembly as Russia and China increase their
ties with the Global South. Countries heavily engaged in commercial ties
with the Chinese are increasingly backing away from supporting Western
harangues on China’s human rights abuses.59 In the U.S.-led vote to
remove Russia from the UN Human Rights Council after its invasion of
Ukraine, 93 countries supported the move while 100 did not, demon-
strating that national interests are taking precedence over siding with the
West in the increasingly confrontational environment between great pow-
ers. A desire to be “non-aligned” is taking shape as countries refuse to
take sides.60
Rather than liberal democracy suffering as a result of waning U.S. hege-
mony, policy choices and domestic considerations are more to blame for
these struggles. Free-market policies were initially hailed as an important
step in ensuring prosperity and broader freedoms throughout the world,
and a wide body of research attests to their economic benefits in terms of
reduced unemployment and increased economic growth. However, these
policies sacrificed social and political rights in the interest of economic
competitiveness.61 People in the rural communities in the American mid-
west and south have expressed feelings of having become strangers in their
own land. The shutting down of coal plants and the shrinking of the man-
ufacturing sector more broadly have led to major social problems related
to alcohol and drug abuse, increasing the suicide rate in the country.
These issues have fueled politics of resentment in rural America, which
blame global trade, racial minorities, and immigrants for their job losses.
For Trump supporters, globalization and the immigration that accompa-
nies it connote job losses and a drop in social status and self-esteem.
Similarly, the rhetoric behind the Brexit leave campaign alluded to a time
before Britain joined the EU, when society was predominantly white
Anglo-Saxon, when manufacturing jobs still provided security for union-
ized workers, and when Britain was a major economic and military
world power.62
59
Piccone (2018).
60
Shivshankar Menon, “A New Cold War May Call for a Return to Nonalignment,”
Foreign Policy, Jul 1, 2022. https://foreignpolicy.com/2022/07/01/nonalignment-
international-system-alliance-bloc/.
61
Robert Blanton and Dursun Peksen, “The Dark Side of Economic Freedom:
Neoliberalism has Deleterious Effects on Labour Rights,” LSE BPP, August 19, 2016.
https://blogs.lse.ac.uk/politicsandpolicy/the-dark-side-of-economic-freedom/.
62
Norris and Inglehart (2019).
1 INTRODUCTION 17
63
Andreas J. Heinö, “Timbro Authoritarian Populism Index 2017,” Accessed August 5,
2022. https://timbro.se/allmant/timbro-authoritarian-populism-index2017/.
64
Diego Muro and Guillem Vidal, “Mind the Gaps: The Political Consequences of the
Great Recession in Europe,” LSE Eurocrisis in the Press, June 10, 2014. https://blogs.lse.
ac.uk/eurocrisispress/2014/06/10/mind-the-gaps-the-political-consequences-of-the-great-
recession-in-europe/
65
Maya Yang, “More than 40% in US do not Believe Biden Legitimately Won Election—
Poll,” The Guardian, January 5, 2022. https://www.theguardian.com/us-news/2022/
jan/05/america-biden-election-2020-poll-victory.
66
Fukuyama (2018).
18 S. LOFTUS
global stability. Even John Mearsheimer, a die-hard realist has said that
promoting an open international economy and creating institutions are
likely to succeed because they can be consistent with both a liberal and a
realist foreign policy. But democracy promotion on the other hand is
not.70 Moreover, the United States would more likely preserve its wealth
and way of life by investing in research and development, technology, job
creation, and infrastructure as opposed to recklessly spending it in the
pursuit of American hegemony abroad or democratizing countries that
may not even wish to democratize. The United States can prioritize its
relations with like-minded nations as well as engage in nonideological rela-
tions with nondemocracies.
The book discusses the idea of a more “pluralist” international system
that makes room for differing sets of interests, respect for national identity,
regime type, and a more pragmatic and diplomatic approach to resolving
global problems. While not proposing a concrete model for the future, the
book uses the war in Ukraine as an example where pluralism and pragma-
tism could have avoided the catastrophic war and could potentially avoid
many more. Since the end of the Cold War, expanding the EU and NATO
was the predominant idea in the Euro-Atlantic space. Essentially, there
was no room for any alternative normative frameworks aside from the
choice of Euro-Atlantic integration or remaining outside of this frame-
work. Also, there was no notion of any “shared neighborhood” practices
with the much larger, non-Western Russian neighbor who had just expe-
rienced the collapse of its empire. Pre-2014 war society in Ukraine was
divided over EU membership and mostly over NATO membership. The
view of Ukrainians was highly dependent on their proximity to Russia and
Europe.71 Moreover, the idea of gaining autonomous status within
Ukraine was rather prevalent in the Donbas.72 This suggests that there
were different visions in Ukraine for the future path of the country as well.
Sakwa describes these two visions as the “Monist” vision and the “Pluralist”
vision. The Monist vision of Ukraine can be defined by the necessity to
gain back an identity that was lost during Russian imperialism and had
developed separately from the East Slavic Community of Russia and
70
Mearsheimer (2018).
71
Julie Ray and Neli Esipova, “Before Crisis, Ukrainians More Likely to See NATO as a
Threat,” Gallup, March 14, 2014. https://news.gallup.com/poll/167927/crisis-
ukrainians-likely-nato-threat.aspx.
72
Katchanovski (2017).
20 S. LOFTUS
73
Sakwa (2017b, pp. 406–425).
74
Eurasian Research Institute. “Geography of the Presidential Elections in Ukraine”
Almaty, Kazakhstan: Eurasian Research Institute, Accessed August 4, 2022. https://www.
eurasian-research.org/publication/geography-of-the-presidential-elections-in-ukraine/.
1 INTRODUCTION 21
75
Charap et al. (2019).
22 S. LOFTUS
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225–257. https://doi.org/10.1017/S0020818320000636
Lepore, J. (2019). These Truths: A History of the United States. W. W. Norton
& Company.
Levitsky, S., & Way, L. (2018). The Myth of Democratic Recession. In L. Diamond
& M. F. Plattner (Eds.), Democracy in Decline? Johns Hopkins University Press.
24 S. LOFTUS
Waltz, K. N. (2000). Structural Realism after the Cold War. International Security,
25(1), 5–41. http://www.jstor.org/stable/2626772
Wendt, A. (1999). Social Theory of International Politics. Cambridge
University Press.
WU, Y. (2012). Modern Chinese National-Cultural Identity in the Context of
Globalization. Transtext(e)s Transcultures 跨文本跨文化 [Online], 7 | 2012,
Online since 02 December 2012 connection on 21 April 2023. http://journals.
openedition.org/transtexts/456; https://doi.org/10.4000/transtexts.456
Zamora-Kapoor, A., & Coller, X. (2014). The Effects of the Crisis: Why Southern
Europe? American Behavioral Scientist, 58(12), 1511–1516. https://doi.
org/10.1177/0002764214530649
CHAPTER 2
Introduction
After the fall of communism, liberal democracy, and liberal market econo-
mies were embraced worldwide as the superior form of political and eco-
nomic governance. Democratization and liberalization processes took
place across the formerly communist world as part of the “third wave of
democratization,” a global trend which started in the late 1970s.1
However, today a leading institution measuring freedom in the world has
assessed that democracy in the world has been in steady decline since the
year 2006. Despite the progress in democratization over a period of almost
40 years where the number of electoral democracies rose from 35 in 1970
to over 110 in 2014, since 2006, there has been a global democratic reces-
sion of declining aggregate Freedom House scores.2 Some scholars have
argued that current democratic trends are more of a perception than the
true representation of reality. Levitsky and Way argue that the state of
global democracy has remained stable over the last decade and has
improved markedly relative to the 1990s. They argue that the perceptions
of a democratic recession are rooted in a flawed understanding of the
events of the early 1990s. At this time, many of the crises occurring in
1
Huntington (1991, p. 13).
2
Freedom in the World (2022).
3
Levitsky and Way (2018).
4
Diamond (2002).
5
Mearsheimer (2018).
6
Kagan (2018a).
2 MANAGEMENT OF THE LIBERAL INTERNATIONAL ORDER 29
United States and Europe gained the advantage and triumphed, democra-
cies proliferated and communism collapsed.7
If a liberal hegemon is then needed for democratic proliferation,
Structural Realism suggests that a unipolar world order, or one with a
single hegemon, is the least durable of all power configurations due to the
hegemon’s tendency to over extend itself and exceed its economic, mili-
tary, demographic, and political resources.8 Based on this theory, the “lib-
eral international order” built after World War II which then widened
across the globe after the Cold War might have been a momentary out-
come of hegemonic forces and will give way as American power declines.9
The “liberal international order” can be described as the set of global,
rule-based, structured relationships based on political liberalism, eco-
nomic liberalism, and liberal internationalism.10 Accordingly, when the
world is less American it will also be less liberal.11 Neorealists argued that
the practice of liberal hegemony, which can be defined as the active pursuit
of re-making the world into America’s image and spreading “the rule of
law, property rights and other guarantees, at gunpoint if need be,” is what
led to American decline today. According to Brown University’s Cost of
War project, America’s post-9/11 wars have incurred roughly $5.6 trillion
and around 370,000 civilian and combatant deaths.12 Unipolarity is also
argued not to be very durable due to the tendency of weaker states in the
international system to balance the power of the hegemon by “bandwag-
oning” with other powers for a more equitable distribution of power. The
“balance of power theory” in international relations suggests that states
may secure their survival by preventing any one state from gaining enough
military power to dominate all others.13
Liberal internationalists see today’s crisis differently. They argue that
today’s crisis is one of leadership and modernity and argue that liberal
internationalism always prevails in spite of the multiple crises it has endured
7
Diamond (2018).
8
Waltz (2000, pp. 5–41).
9
Graham Allison, “The Myth of the Liberal Order: From Historical Accident to
Conventional Wisdom,” Foreign Affairs, July/August 2018; Porter (2018).
10
Lake et al. (2021, pp. 225–257).
11
Ikenberry (2020, p. 10).
12
James Carden, “Why Liberal Hegemony?” The Nation, November 12, 2018. https://
www.thenation.com/article/archive/liberal-hegemony-foreign-policy/
13
Walt (1987, pp. 17–29).
30 S. LOFTUS
19
Acharya (2020, pp. 139–156).
20
Jay et al. (2019).
21
Kimmage (2020, p. 384).
32 S. LOFTUS
estern model” without fully being able to achieve it nor being extended
w
the same level of respect. Nations such as Poland and Hungary have
shifted course and have established a more nationalist identity.22
China experienced rapid economic growth with its state-led economic
model and authoritarian political system and is demonstrating that alter-
native forms of governance are also viable and can lead a country to great
prosperity as well. This does not mean that countries will want to imitate
China’s form of governance; it simply represents an alternative normative
framework away from liberal democracy. The rise of China will affect
global norms in this way. In addition, many third-world nations are find-
ing it easier to do business with China without having “liberal strings
attached” which usually require domestic reform in return for aid or
investment. Their growing ties are visible in international forums such as
the United Nations General Assembly, where countries increasingly back
away from supporting Western harangues on China’s human rights abus-
es.23 Russia has also benefited from the 2000s commodities boom and has
become increasingly assertive and authoritarian. Russia has increasingly
resorted to destabilizing Western societies through the use of asymmetric
tactics to try and lessen the influence of political liberalism, which it
believes to be an American-led ideology used for global domination. In
addition, the fact that 35 countries abstained from condemning the
Russian invasion of Ukraine shows that Russia has important influence
abroad. Many developing countries have refused to join the West in its
response to Russia’s aggression in Ukraine. In the U.S.-led vote to remove
Russia from the UN Human Rights Council, for example, 93 countries
supported the move while 100 did not. It is also important to note that
those 100 countries are home to 76% of the world’s population.24
22
Krastev and Holmes (2020).
23
Piccone (2018).
24
United Nations (2022).
25
Mearsheimer (2019), Brands (2016, p. 2); Ikenberry (2001, p. 23, 45).
2 MANAGEMENT OF THE LIBERAL INTERNATIONAL ORDER 33
international order has its roots in the Wilsonian tradition, which is based
on a belief that through the processes of multilateralism and moderniza-
tion, nations of the world would transform politically and socially, leading
to peace in the world. Woodrow Wilson had a vision for international
cooperation which encompassed collective security and free trade, which
would be bound together by rules and norms. However, the interwar
years made it difficult to create such cooperation and were instead plagued
by the Great Depression and the rise of fascism and totalitarianism in
Europe. These issues coupled with the tragedies of World War I also cre-
ated an environment in American domestic politics that favored non-
involvement in world affairs.26
A grand shift in liberal international ideas then took place in the late
1930s and 1940s as Franklin D. Roosevelt’s New Deal became more
expansive and progressive. Universal rights and protections gained
momentum, as did the solidarity of Western liberal democracies around
the world. The idea was to sustain a vision for the world in pursuit of eco-
nomic and social advancement, which would be led by the United States.
Under Harry S. Truman, Roosevelt-era liberal internationalism was incor-
porated into a wider project of American hegemonic leadership during the
Cold War era. After World War II, regional and global institutions led by
the United States were created to foster cooperation and shared norms
and promote peace. These institutions included the International
Monetary Fund (IMF), the World Bank (WB), the General Agreement on
Tariffs and Trade (GATT) which later became the World Trade
Organization (WTO), the United Nations (UN), the European Union
(EU), and the North Atlantic Treaty Organization (NATO). The purpose
of these institutions was to provide a rule-based structure for political,
economic, and security relations. The liberal idea motivating these institu-
tions was that such cooperative frameworks would encourage economic
prosperity and prevent war. As part of this process, the United Nations
Monetary and Financial Conference was held in July 1944 at the Mount
Washington Hotel in Bretton Woods, New Hampshire, where delegates
from 44 nations created a new international monetary system known as
the Bretton Woods system based on free trade and the free convertibility
of currencies.
26
Office of the Historian (2022).
34 S. LOFTUS
27
Ikenberry (2020).
28
Ibid.
2 MANAGEMENT OF THE LIBERAL INTERNATIONAL ORDER 35
29
Kimmage (2020).
30
Fukuyama (2012).
31
Samuel P. Huntington, “The West is Unique, not Universal,” Foreign Affairs,
November/December 1996. https://www.foreignaffairs.com/articles/1996-11-01/
west-unique-not-universal
32
Kimmage (2020).
36 S. LOFTUS
33
Thomas L. Friedman, “Foreign Affairs; Now a Word from X,” New York Times, May 2,
1998. https://www.nytimes.com/1998/05/02/opinion/foreign-affairs-now-a-word-
from-x.html
34
Kimmage (2020).
35
Charles Krauthammer, “The Obama doctrine: Leading from behind,” Washington Post,
April 28, 2011. https://www.washingtonpost.com/opinions/the-obama-doctrine-leading-
from-behind/2011/04/28/AFBCy18E_story.html
36
Lieberthal (2011).
2 MANAGEMENT OF THE LIBERAL INTERNATIONAL ORDER 37
37
Capasso and Cherstich (2014, p. 381).
38
Davidson (2017, pp. 91–116).
39
Reuters Staff. “Air strike hit 11 vehicles in Gaddafi convoy—NATO.” Reuters. 21
October 2011. https://www.reuters.com/article/nato-libya-gaddafi-idAFL5E7LL2L
820111021
40
Simon Tisdall, “The consensus on intervention in Libya has shattered,” The Guardian,
23 March 2011. https://www.theguardian.com/commentisfree/2011/mar/23/libya-
ceasefire-consensus-russia-china-india
38 S. LOFTUS
Council Resolution. Lavrov was heard stating, “We would never allow the
Security Council to authorize anything similar to what happened in
Libya.”41 Interestingly, this is precisely when Russia began to shift into a
more authoritarian direction as the leadership feared the West had similar
plans for Russia. Mass effort to lessen Western influence was then imple-
mented into society such as restrictions on media freedoms and labeling
every Western-financed institution as a “foreign agent.”42
Carothers illustrates the declining value of democratic aid both as a
perception and as a reality.43 The loss of global democratic momentum has
encouraged the perception that democratic aid is either not helpful, waste-
ful, or politically inappropriate. The fact that some of the largest invest-
ments in democratic aid were made in countries such as Iraq and
Afghanistan, which resulted in tremendous failures, have de-legitimized
its utility. Bush’s emphasis on democracy promotion along with Western
support of the color revolutions triggered heightened sensibilities about
democracy aid in Russia and other post-Soviet countries. Domestic prob-
lems in the West also affect global perception as to whether liberal democ-
racy truly is the right path for development. Another issue undermining
democratic aid is simply feebler policy commitment as it has become risk-
ier for many politicians due to its potential for unleashing sectarian conflict
as in Iraq and Libya or for giving rise to populist anti-Western politicians
in Hungary and parts of Latin America.44 In addition, U.S. political sup-
port for democracy promotion abroad has also waned since the Iraq War
and other high-profile shocks in the Middle East.45 In Egypt, the adminis-
tration did nothing as then-President Hosni Mubarak intensified political
repression. In Palestine, the United States pressured the Palestinian
Authority to hold democratic elections in 2006 which led to the victory of
the militant group Hamas. In the Arab Spring, only one democracy
resulted from the uprisings while democratic reversals, crackdowns, and
state implosions occurred elsewhere. As a result of these setbacks, the
41
Sui Lee Wee, “Russia, China oppose ‘forced regime change’ in Syria,” Reuters, 1
February 2012. https://www.reuters.com/article/us-syria-china-russia/russia-china-oppose-
forced-regime-change-in-syria-idUSTRE81007L20120201
42
Loftus (2018).
43
Carothers (2015, pp. 59–73).
44
Ibid.
45
Larry Diamond, “Democracy Demotion: How the Freedom Agenda Fell Apart,”
Foreign Affairs, July/August 2019. https://www.foreignaffairs.com/articles/2019-06-11/
democracy-demotion
2 MANAGEMENT OF THE LIBERAL INTERNATIONAL ORDER 39
The spread of neoliberal economic policies around the world was helpful
in taking much of the world out of poverty, but the adverse effects of such
policies are causing extreme challenges today such as the rise of populism48
and resentment in countries that were advised to take on these policies
leading to detrimental results.49 Eventually, liberal economic policies cre-
ated vast inequality50 throughout the world which thus undermined their
viability. The point of no return was the 2008 financial crisis, which deeply
underscored the dangers of excessive, un-monitored capitalism.51 The lin-
gering effects of the crisis have weakened the appeal of liberal democracies
on a global scale.52 In the EU, economic stagnation in Southern Europe
sparked resentment and feelings of German domination as it demanded
continentwide austerity, with a focus on cutting debt. Austerity measures
proved to be disappointing for nations across the EU as they failed to
recover properly from the crisis and subsequent recession in Europe.53
Due to the lack of a common fiscal policy, some EU states were unable to
pull themselves out of the recession, which led to utterly disastrous results
for Southern Europe.54 In Central Europe, nationalists defied Brussels and
the idea of the liberal international order. Since then, the rise of “illiberal”
46
Drake (2021).
47
Pew Research Center (2018).
48
Putzel (2020, pp. 418–441).
49
Krastev and Holmes (2020).
50
Koechlin (2013, pp. 5–30).
51
“Laissez-Faire Capitalism Has Failed,” Forbes, February 19, 2009. https://www.forbes.
com/2009/02/18/depression-financial-crisis-capitalism-opinions-columnists_recession_
stimulus.html?sh=21e91c7e22ef
52
Kagan (2018a).
53
McKee et al. (2012, pp. 346–350).
54
Max Bergman, “The Effects of the Crisis: Why Southern Europe?” American Progress,
May 13, 2020. https://www.americanprogress.org/article/europes-lost-decade-demands-
progressive-response/
Another random document with
no related content on Scribd:
In incident and character-drawing the play is rather elemental.
Sartorius is the stock capitalist of drama—a figure as invariable as
the types in Jerome K. Jerome’s “Stageland.” And the other persons
of the play—Harry Trench, the altruist with reservations; William de
Burgh Cokane, his mentor in orthodox hypocrisy; Lickcheese,
Sartorius’ rent-collector and rival, and Blanche herself—all rather
impress us as beings we have met before. Nevertheless, an
occasional flash reveals the fine Italian hand of Shaw—a hand albeit,
but yet half trained. That Blanche is a true daughter to Sartorius,
psychologically as well as physically, is shown in a brief scene
wherein she and a serving maid are the only players. And the
“grand” scene at the close of the play, between Blanche and Harry,
smells of the latter-day Shaw to high heaven. Harry has come to her
father’s house to discuss their joint affairs and she goes at him
savagely:
“Well? So you have come back here. You have had the
meanness to come into this house again. (He blushes and retreats a
step.) What a poor-spirited creature you must be! Why don’t you go?
(Red and wincing, he starts huffily to get his hat from the table, but
when he turns to the door with it she deliberately gets in his way, so
that he has to stop.) I don’t want you to stay. (For a moment they
stand face to face, quite close to one another, she provocative,
taunting, half-defying, half-inviting him to advance, in a flush of
undisguised animal excitement. It suddenly flashes upon him that all
this ferocity is erotic—that she is making love to him. His eye lights
up; a cunning expression comes into the corner of his mouth; with a
heavy assumption of indifference he walks straight back to his chair
and plants himself in it with his arms folded. She comes down the
room after him.)...”
It is too late for poor Harry to beat a retreat. He is lost as
hopelessly as John Tanner in “Man and Superman” and in the same
way.
The scene savors strongly of Nietzsche, particularly in its frank
acceptance of the doctrine that, when all the poets have had their
say, plain physical desire is the chief basis of human mating. No
doubt Shaw’s interest in Marx and Schopenhauer led him to make a
pretty thorough acquaintance with all the German metaphysicians of
the early eighties. “Widowers’ Houses” was begun in 1885, four
years before Nietzsche was dragged off to an asylum. In 1892, when
the play was completed and the last scene written, the mad
German’s theories of life were just beginning to gain a firm foothold
in England.
“THE PHILANDERER”
SHAW calls “The Philanderer” a topical comedy, which describes it
exactly. Written in 1893, at the height of the Ibsen craze, it served a
purpose like that of the excellent revues which formerly adorned the
stage of the New York Casino. Frankly, a burlesque upon fads of the
moment, its interest now is chiefly archeological. For these many
moons we have ceased to regard Ibsen as a man of subterranean
mystery—who has heard any talk of “symbolic” plays for two years?
—and have learned to accept his dramas as dramas and his
heroines as human beings. Those Ibsenites of ’93 who haven’t
grown civilized and cut their hair are now buzzing about the head of
Maeterlinck or D’Annunzio or some other new god. To enjoy “A Doll’s
House” is no longer a sign of extraordinary intellectual muscularity.
The stock companies of Peoria and Oil City now present it as a
matter of course, between “The Henrietta” and “Camille.”
But when Shaw wrote “The Philanderer” a wave of groping
individualism was sweeping over Europe, the United States and
other more or less Christian lands. Overeducated young women of
the middle class, with fires of discontent raging within them,
descended upon Nora Helmer with a whoop and became fearsome
Ibsenites. They formed clubs, they pleaded for freedom, for a wider
area of development, for an equal chance; they demanded that the
word “obey” be removed from their lines in the marriage comedy;
they wrote letters to the newspapers; they patronized solemn pale-
green matinées: some of them even smoked cigarettes. Poor old
Nietzsche had something to do with this uprising. His ideas
regarding the orthodox virtues, mangled in the mills of his disciples,
appeared on every hand. Iconoclasts, amateur and professional,
grew as common as policemen.
Very naturally, this series of phenomena vastly amused our
friend from Ireland. Himself a devoted student of Ibsen’s plays and a
close friend to William Archer, their translator, he saw the absurdity
and pretense in the popular excitement, and so set about making fun
of it.
In “The Philanderer” he shows a pack of individualists at war with
the godly. Grace Tranfield and Julia Craven, young women of the
period, agree that marriage is degrading and enslaving, and so join
an Ibsen club, spout stale German paradoxes and prepare to lead
the intellectual life. But before long both fall in love, and with the
same man, and thereafter, in plain American, there is the devil to
pay. Julia tracks the man—his name is Leonard Charteris—to
Grace’s home and fairly drags him out of her arms, at the same time,
yelling, shouting, weeping, howling and gnashing her teeth.
Charteris, barricading himself behind furniture, politely points out the
inconsistency of her conduct.
“As a woman of advanced views,” he says, “you determined to
be free. You regarded marriage as a degrading bargain, by which a
woman sold herself to a man for the social status of a wife and the
right to be supported and pensioned out of his income in her old age.
That’s the advanced view—our view....”
“I am too miserable to argue—to think,” wails Julia. “I only know
that I love you....”
And so a fine temple of philosophy, built of cards, comes
fluttering down.
As the struggle for Charteris’ battle-scarred heart rages, other
personages are drawn into the trenches, unwillingly and greatly to
their astonishment. Grace’s papa, a dramatic critic of the old school,
and Julia’s fond parent, a retired military man, find themselves
members of the Ibsen club and participants in the siege of their
daughters’ reluctant Romeo. Percy Paramore, a highly respectable
physician, also becomes involved in the fray. In the end he serves
the useful peace-making purpose delegated to axmen and hangmen
in the ancient drama. Charteris, despairing of eluding the erotic Julia
shunts her off into Paramore’s arms. Then Grace, coming out of her
dream, wisely flings him the mitten and the curtain falls.
It is frankly burlesque and in places it is Weberfieldian in its
extravagance. It was not presented in London in 1893 because no
actors able to understand it could be found. When it was published it
made a great many honest folk marvel that a man who admired
Ibsen as warmly as Shaw could write such a lampoon on the
Ibsenites. This was the foundation of Shaw’s present reputation as a
most puzzling manufacturer of paradoxes. The simple fact that the
more a man understood and admired Ibsen the more he would laugh
at the grotesqueries of the so-called Ibsenites did not occur to the
majority, for the reason that an obvious thing of that sort always
strikes the majority as unintellectual and childish and, in
consequence, unthinkable. So Shaw got fame as a paradoxical
sleight-of-hand man, as Ibsen did with “The Wild Duck” in 1884, and
it has clung to him ever since. At present every time he rises to
utterances a section of the public quite frankly takes it for granted
that he means exactly the opposite of what he says.
It is unlikely that “The Philanderer” will ever take the place of
“East Lynne” or “Charley’s Aunt” in the popular repertoire. In the first
place, as has been mentioned, it is archaic and, in the second place,
it is not a play at all, but a comic opera libretto in prose, savoring
much of “Patience” and “The Princess Ida.” In the whole drama there
is scarcely a scene even remotely possible.
Every line is vastly amusing,—even including the sermonizing of
which Mr. Huneker complains,—but all remind one of the “I-am-
going-away-from-here” colloquy between “Willie” Collier and Miss
Louise Allen in a certain memorable entertainment of Messrs. Weber
and Fields.
“CAPTAIN BRASSBOUND’S
CONVERSION”
CAPTAIN BRASSBOUND’S CONVERSION” is a fantastic comedy,
written with no very ponderous ulterior purpose and without the
undercurrents that course through some of Shaw’s plays, but
nevertheless, it is by no means a bit of mere foolery. The play of
character upon character is shown with excellent skill, and if the
drama has never attracted much attention from aspiring comedians it
is because the humor is fine-spun, and not because it is weak.
The scene is the coast of Morocco and the hero, Captain
Brassbound, is a sort of refined, latter-day pirate, who has a working
arrangement with the wild natives of the interior and prospers in
many ventures. To his field of endeavor come two jaded English
tourists—Sir Howard Hallam, a judge of the criminal bench, and
Lady Cicely Waynflete, his sister-in-law. Lady Cicely is a queer
product of her sex’s unrest. She has traveled often and afar; she has
held converse with cannibal kings; she has crossed Africa alone.
Hearing that it is well-nigh suicidal to venture into the Atlas
Mountains, which rear their ancient peaks from the eastern skyline,
she is seized by a yearning to explore them. Sir Howard
expostulates, pleads, argues, and storms—and in the end consents
to go with her.
It is here that Brassbound enters upon the scene—in the
capacity of guide and commander of the expedition. He is a strange
being, this gentleman pirate, a person of “olive complexion, dark
southern eyes ... grim mouth ... and face set to one tragic
purpose....” A man of blood and iron. A hero of scarlet romance, red-
handed and in league with the devil.
And so the little caravan starts off—Sir Howard, Lady Cicely,
Brassbound and half a dozen of Brassbound’s thugs and thieves.
They have little adventures and big adventures and finally they reach
an ancient Moorish castle in the mountains, heavy with romance and
an ideal scene for a tragedy. And here Brassbound reveals his true
colors. Pirate no longer, he becomes traitor—and betrays his
charges to a wild Moroccan chieftain.
But it is not gold that leads him into this crime, nor anything else
so prosaic or unworthy. Revenge is his motive—dark, red-handed
revenge of the sort that went out of fashion with shirts of mail. He
has been seeking a plan for Sir Howard’s destruction for years and
years, and now, at last, providence has delivered his enemy into his
hands.
To see the why and wherefore of all this, it is necessary to know
that Sir Howard, before reaching his present eminence, had a
brother who fared upon the sea to the West Indies and there
acquired a sugar estate and a yellow Brazilian wife. When he died
the estate was seized by his manager and his widow took to drink.
With her little son she proceeded to England, to seek Sir Howard’s
aid in her fight for justice. Disgusted by her ill-favored person and
unladylike habits, he turned her out of doors and she, having no
philosophy, straightway drank herself to death. And then, after many
years, Sir Howard himself, grown rich and influential, used his riches
and his influence to dispossess the aforesaid dishonest manager of
his brother’s estate. Of the bibulous widow’s son he knew nothing,
but this son, growing up, remembered. In the play he bobs into view
again. He is Captain Brassbound, pirate.
Brassbound has cherished his elaborate scheme of vengeance
for so many years that it has become his other self. Awake and
sleeping he thinks of little else, and when, at last, the opportunity to
execute it arrives, he goes half mad with exultation. That such
revenges have come to seem ridiculous to civilized men, he does not
know. His life has been cast along barren coasts and among
savages and outcasts, and ethically he is a brother to the crusaders.
His creed still puts the strong arm above the law, and here is his
chance to make it destroy one of the law’s most eminent ornaments.
Viewed from his standpoint the stage is set for a stupendous and
overpowering drama.
But the saturnine captain reckons without the fair Lady Cicely. In
all his essentials, he is a half-savage hairy-armed knight of the early
thirteenth century. Lady Cicely, calm, determined and cool, is of the
late nineteenth. The conflict begins furiously and rages furiously to
the climax. When the end comes Brassbound feels his heroics grow
wabbly and pitiful; he sees himself mean and ridiculous.
“Damn you!” he cries in a final burst of rage. “You have belittled
my whole life to me!”
There is something pathetic in the figure of the pirate as his
ideals come crashing down about his head and he blindly gropes in
the dark.
“It was vulgar—vulgar,” he says. “I see that now; for you have
opened my eyes to the past; but what good is that for the future?
What am I to do? Where am I to go?”
It is not enough that he undoes his treason and helps to save Sir
Howard. What he wants is some rule of life to take the place of the
smashed ideals of his wasted years. He gropes in vain and ends,
like many another man, by idealizing a woman.
“You seem to be able to make me do pretty well what you like,”
he says to Lady Cicely, “but you cannot make me marry anybody but
yourself.”
“Do you really want a wife?” asks Cicely archly.
“I want a commander,” replies the reformed Brassbound. “I am a
good man when I have a good leader.”
He is not the first man that has fallen beneath the spell of her
dominating and masterful ego, to mistake his obedience for love, and
she bluntly tells him so. And thus they part—Brassbound to return to
his ship and his smuggling, and Cicely to go home to England.
As will be observed, this is no ordinary farce, but a play of
considerable depth and beam. Shaw is a master of the art of
depicting such conflicts as that here outlined, and Brassbound and
Cicely are by no means the least of his creations. With all the
extravagance of the play, there is something real and human about
each, and the same may be said of the lesser characters—Sir
Howard; the Rev. Leslie Rankin, missionary and philosopher;
Drinkwater, Brassbound’s recruit from the slums of London; the
Moorish chiefs; Captain Hamlin Kearney of the U. S. S. Santiago,
who comes to Sir Howard’s rescue, and the others.
The chief fault of the play is the fact that the exposition, in the
first act, requires an immense amount of talk without action. The
whole act, in truth, might be played with all of the characters
standing still. Later on, there is plenty of movement, but the play as a
whole is decidedly inferior to the majority of the Shaw dramas. The
dialogue lacks the surface brilliancy of “You Never Can Tell” and
“Candida” and the humor, in places, is too delicate, almost, for the
theme. The piece, in fact, is a satirical melodrama disguised as a
farce—a melodrama of the true Shaw brand, in which the play of
mind upon mind overshadows the play of club upon skull.
“CÆSAR AND CLEOPATRA”
BECAUSE he put it forth as a rival to “Julius Cæsar” and “Anthony
and Cleopatra,” Shaw’s “Cæsar and Cleopatra” has been the football
in an immense number of sanguinary critical rushes. His preface to it
is headed “Better than Shakespeare?” and he frankly says that he
thinks it is better. But that he means thereby to elbow himself into the
exalted position occupied by William of Avon for 300 years does not
follow. “In manner and art,” he said, in a recent letter to the London
Daily News, “nobody can write better than Shakespeare, because,
carelessness apart, he did the thing as well as it can be done within
the limits of human faculty.” Shaw, in other words, by no means lacks
a true appreciation of Shakespeare’s genius. What he endeavors to
maintain is simply the claim that, to modern audiences, his Cæsar
and his Cleopatra should seem more human and more logical than
Shakespeare’s. That this is a thesis susceptible of argument no one
who has read “Cæsar and Cleopatra” will deny.
“The sun do move,” said the Rev. Mr. Jasper. Shaw says the
same thing of the world. In Shakespeare’s day knighthood was still in
flower and the popular ideals of military perfection were medieval. A
hero was esteemed in proportion as he approached Richard Cœur
de Lion. Chivalry was yet a very real thing and the masses of the
people were still influenced by the transcendentalism of the
Crusades. And so, when Shakespeare set out to draw a conqueror
and hero of the first rank, he evolved an incarnation of these far-
fetched and rather grotesque ideals and called it Julius Cæsar.
To-day men have very different notions. In these piping times of
common-sense, were a Joan of Arc to arise, she would be packed
off to a home for feeble-minded children. People admire, not
Chevalier Bayard, but Lord Kitchener and U. S. Grant; not so much
lofty purposes as tangible achievements; not so much rhetoric as
accomplishment. For a man to occupy to-day the position held by
Cæsar at the beginning of the year 44 B.C. he would have to
possess traits far different from those Shakespeare gave his hero.
Shaw endeavors to draw a Cæsar with just such modern marks of
heroism—to create a Roman with the attributes that might exalt a
man, in this prosaic twentieth century, to the eminence attained by
the immortal Julius 1900 years ago. In other words, Shaw tries to
reconstruct Shakespeare’s Cæsar (and incidentally, of course, his
Cleopatra) just as a latter-day stage manager must reconstruct the
scenes and language of Shakespeare to make them understandable
to-day. That his own Cæsar, in consequence, is a more
comprehensible, a more human and, on the whole, a more possible
hero than Shakespeare’s is the substance of his argument.
The period of the play is the year 48 B.C., when Cleopatra was a
girl of sixteen and Cæsar an oldster of fifty-two, with a widening bald
spot beneath his laurel and a gradually lessening interest in the
romantic side of life. Shaw depicts the young queen as an
adolescent savage: ignorant, cruel, passionate, animal, impulsive,
selfish and blood-thirsty. She is monarch in name only and spends
her time as any child might. Egypt is torn by the feud that finally
leads to the Alexandrine war, and, Cleopatra, perforce, is the
nominal head of one of the two parties. But she knows little of the
wire-pulling and intriguing, and the death of her brother and rival,
Ptolemy Dionysius, interests her merely as an artistic example of
murder. The health of a sacred cat seems of far more consequence
to her than the welfare of Asia Minor.
Cæsar comes to Alexandria to take a hand in the affairs of Egypt
and, incidentally, to collect certain moneys due him for past services
as a professional conqueror. Cleopatra fears him at first, as a most
potent and evil bogey-man, and is so vastly surprised when she finds
him quite human, and even commonplace, that she straightway falls
in love with him. Cæsar, in return, regards her with a mild and cynical
interest. “He is an important public man,” says Max Beerbohm, “who
knows that a little chit of a girl-queen has taken a fancy to him and is
tickled by the knowledge, and behaves very kindly to her and rather
wishes he were young enough to love her.” He needs 1600 talents in
cash and tries to collect the money. In truth, he has little time to
waste in listening to her sighs. Pothinus, of the palace—an early
Roman Polonius—is appalled.
“Is it possible,” he gasps, “that Cæsar, the conqueror of the
world, has time to occupy himself with such a trifle as our taxes?”
“My friend,” replies Cæsar affably, “taxes are the chief business
of a conqueror of the world.”
And so there comes fighting and the burning of the Alexandrine
library and the historic heaving of Cleopatra into the sea and other
incidents more or less familiar. Through it all the figure of Cæsar
looms calm and unromantic. To him this business of war has become
a pretty dull trade: he longs for the time when he may retire and
nurse his weary bones. He fishes Cleopatra out of the water—and
complains of a touch of rheumatism. He sits down to a gorgeous
banquet of peacock’s brains and nightingale’s tongues—and asks for
oysters and barley water. Now and then Cleopatra’s blandishments
tire him. Again, her frank savagery startles and enrages him. In the
end, when his work is done and his fee pocketed, when Cleopatra’s
throne is safe, with Roman soldiers on guard about it, he goes home.
“I will send you a beautiful present from Rome,” he tells the
volcanic girl-queen.
She demands to know what Rome can offer Egypt.
“I will send you a man,” says Cæsar, “Roman from head to heel
and Roman of the noblest; not old and ripe for the knife; not lean in
the arms and cold in the heart; not hiding a bald head under his
conqueror’s laurels; not stooped with the weight of the world on his
shoulders; but brisk and fresh, strong and young, hoping in the
morning, fighting in the day and revelling in the evening. Will you
take such an one in exchange for Cæsar?”
“His name? His name?” breathes the palpitating Cleopatra.
“Shall it be Mark Anthony?” says Cæsar.
And the erotic little Cleopatra, who has a vivid remembrance of
Anthony’s manly charms, born of a fleeting glimpse of him, falls into
her elderly friend’s arms, speechless with gratitude.
Unlike most of Shaw’s plays, “Cæsar and Cleopatra” is modelled
upon sweeping and spectacular lines. In its five acts there are
countless scenes that recall Sardou at his most magnificent—scenes
that would make “Ben Hur” seem pale and “The Darling of the Gods”
a parlor play. And so, too, there is plenty of the more exciting sort of
action—stabbings, rows, bugle-calls, shouts and tumults. What
opportunity it would give to the riotous, purple fancy of Klaw and
Erlanger or the pomp and pageantry of David Belasco!
Shaw makes Cleopatra a much more human character than
Cæsar. In the latter there appears rather too much of the icy sang
froid we have grown accustomed to encounter in the heroes of the
brigade commanded by “The Prisoner of Zenda.” Some of Cæsar’s
witticisms are just a bit too redolent of the professional
epigrammatist. Reading the play we fancy him in choker collar and
silk hat, with his feet hoisted upon a club window-sill and an Havana
cigar in his mouth,—the cynical man-of-the-world of the women
novelists. In other words, Shaw, in attempting to bring the great
conqueror down to date, has rather expatriated him. He is scarcely a
Roman.
Cleopatra, on the contrary, is admirable. Shaw very frankly
makes her an animal and her passion for Cæsar is the backbone of
the play. She is fiery, lustful and murderous; a veritable she-devil;
and all the while an impressionable, superstitious, shadow-fearing
child. In his masterly gallery of women’s portraits—Mrs. Warren,
Blanche Sartorius, Candida, Ann Whitefield and their company—
Cleopatra is by no means the least.
The lesser characters—Brittanus, the primitive Briton (a parody
of the latter-day Britisher); Apollodorus, the Sicilian dilletante;
Ftatateeta, Cleopatra’s menial and mistress; Rufio, the Roman
general (a sort of Tiber-bred William Dobbin); and the boy Ptolemy—
all remain in the memory as personages clearly and certainly drawn.
In view of the chances that the play affords the player and the
stage manager it seems curious that it was so long neglected by the
Frohmans of the day. Between Shaw’s Cæsar and Shakespeare’s
Cæsar there is a difference wide enough to make a choice
necessary. That a great many persons, pondering the matter calmly,
would cast their ballots for the former is a prophecy not altogether
absurd. Just as the world has outgrown, in succession, the fairy tale,
the morality play, the story in verse, the epic and the ode, so it has
outgrown many ideas and ideals regarding humanity that once
appeared as universal truths. Shakespeare, says Shaw, was far
ahead of his time. This is shown by his Lear. But the need for
earning his living made him write down to its level. As a result those
of his characters that best pleased his contemporaries—Cæsar,
Rosalind, Brutus, etc.—now seem obviously and somewhat painfully
Elizabethan.
“A MAN OF DESTINY”
THAT characteristic tendency to look at the under side of things and
to explore the depths beneath the obvious surface markings, which
Shaw displays in “Cæsar and Cleopatra,” “Arms and the Man” and
“The Devil’s Disciple,” is shown at the full in “The Man of Destiny.”
The play is in one act and in intent it is a mere bravura piece, written,
as the author says, “to display the virtuosity of the two principal
performers.” But its picture of Napoleon Bonaparte, the principal
character, is a startlingly novel one, and the little drama is
remarkable alike for its fantastic character drawing, its cameo
craftsmanship, its ingenious incident and its fairly dazzling dialogue.
There is more of the quality called “brilliancy” in its one scene than in
most three-act society comedies of the day. Some of its episodes are
positive gems.
The Napoleon of the play is not the emperor of popular legend
and Meissonier’s painting, but the young general of 1796, but
recently come to opportunity and still far from immortality. The scene
is the parlor of a little inn on the road from Lodi to Milan and the
young general—he is but twenty-seven—is waiting impatiently for a
packet of despatches. He has defeated the Austrians at Lodi, but
they are yet foes to be feared and he is very eager to know whether
General Massena will make his next stand at Mantua or at
Peschiera. A blundering jackass of a lieutenant, the bearer of the
expected despatches, comes staggering in with the information that
he has been met on the road and outwitted and robbed of them by a
boyish young officer of the enemy’s. Napoleon flies into a rage, very
naturally, but after all it is an incident of the wars and, the papers
being lost, he resigns himself to doing without them.
Almost simultaneously there appears from upstairs a handsome
young woman. The lieutenant, seeing her, is instantly struck with her
remarkable resemblance to the youthful officer who cajoled and
robbed him. Napoleon pricks up his ears and orders the half-witted
lieutenant out of the room. And then begins a struggle of wits. The
young woman and the young officer are one person. Bonaparte
knows it and demands the dispatches. But she is a nimble one, this
patriot in skirts, and it seems for a while that he will have to play the
dragoon and tear them from her bodice. Even when she yields and
he has the papers in his hands, she is the victor. There is one letter
that he dare not read. It is a billet-doux from a woman to a man who
is not her husband and it has been sent from Paris by a well-
meaning blunderer that the husband may read it and learn.
Josephine is the woman, the director Barras is the other man—and
Napoleon himself is the husband.
Here we have Bonaparte the man, facing a crisis in his affairs
more appalling than any he has ever encountered on the field of war.
There is no gleam of a crown ahead to cheer him on and no crash of
artillery to hearten him. It is a situation far more terrifying than the
fight about the bridge at Lodi, but he meets it squarely and
resolutely. And in the end he outplays and vanquishes his fair
conqueror.
She tells the blundering lieutenant that the officer boy who
outwitted him was her brother.
“If I undertake to place him in your hands, a prisoner,” she says,
“will you promise me on your honor as an officer and a gentleman
not to fight with him or treat him unkindly in any way?”
The simple-minded lieutenant promises—and the young woman
slips out and once more discards her skirts for the uniform of a
young officer. Then she reappears and surrenders.
“Where are the dispatches?” demands Napoleon, with heavy
dissembling.
“My sister has bewitched the general,” says the protean stranger.
“General: open your coat; you will find the dispatches in the breast of
it....”
And lo! they are even there—and all agree that as papers
bearing the gristly finger-prints of a witch, they must be burnt.
Cæsar’s wife must be above suspicion.
“I read them the first thing....” whispers the witch’s alter ego; “So
you see I know what’s in them; and you don’t.”
“Excuse me,” replies Napoleon blandly. “I read them when I was
out there in the vineyard ten minutes ago.”
It would be impossible to exaggerate the humor and delicacy of
this little play. Napoleon, it must be remembered, is still a youngster,
who has scarcely dared to confess to himself the sublime scope of
his ambitions. But the man of Austerlitz and St. Helena peeps out,
now and then, from the young general’s flashing eyes, and the
portrait, in every detail, is an admirable one. Like Thackeray, Shaw is
fond of considering great men in their ordinary everyday aspects. He
knows that Marengo was but a day, and that there were thousands
of other days in the Little Corporal’s life. It is such week-days of
existence that interest him, and in their light he has given us plays
that offer amazingly searching studies of Cæsar and of Bonaparte,
not to speak of General Sir John Burgoyne.
“THE ADMIRABLE BASHVILLE”
THE ADMIRABLE BASHVILLE, or Constancy Rewarded,” a blank
verse farce in two tableaux, is a dramatization by Shaw of certain
incidents in his novel, “Cashel Byron’s Profession.” Cashel Byron,
the hero of the novel, is a prize-fighter who wins his way to the hand
and heart of Lydia Carew, a young woman of money, education and
what Mulvaney calls “theouries.” Cashel sees in Lydia a remarkably
fine girl; Lydia sees in Cashel an idealist and a philosopher as well
as a bruiser. The race of Carew, she decides, needs an infusion of
healthy red blood. And so she marries Byron—and they live happily
ever after.
Bashville is Lydia’s footman and factotum, and he commits the
unpardonable solecism of falling in love with her. Very frankly he
confesses his passion and resigns his menial portfolio.
“If it is to be my last word,” he says, “I’ll tell you that the ribbon
round your neck is more to me,” etc., etc.... “I am sorry to
inconvenience you by a short notice, but I should take it as a
particular favor if I might go this evening.”
“You had better,” says Lydia, rising quite calmly and keeping
resolutely away from her the strange emotional result of being
astonished, outraged and loved at one unlooked-for stroke. “It is not
advisable that you should stay after what you have just——”
“I knew that when I said it,” interposes Bashville, hastily and
doggedly.
“In going away,” continues Lydia, “you will be taking precisely the
course that would be adopted by any gentleman who had spoken to
the same effect. I am not offended by your declaration; I recognize
your right to make it. If you need my testimony to further your future
arrangements, I shall be happy to say that I believe you to be a man
of honor.”
An American pugilist-actor, struck by the possibilities of the story,
engaged a journeyman playwright to make a play of it, and Shaw, to
protect his rights, put together “The Admirable Bashville.” The one
performance required by the English copyright law was given by the
Stage Society at the Imperial Theater, London, in the summer of
1903.
“It was funny,” says James Huneker, who witnessed the
performance. “It gibed at Shakespeare, at the modern drama, at
Parliament, at social snobbery, at Shaw himself, and at almost
everything else within reach. The stage setting was a mockery of the
Elizabethan stage, with two venerable beef-eaters in Tower costume,
who hung up placards bearing the legend, ‘A Glade in Wiltstoken
Park,’ etc. Ben Webster as Cashel Byron and James Hearn as the
Zulu King (whom Cashel entertains by an exhibition of his fistic
prowess) carried off the honors. Aubrey Smith, made up as Mr.
Shaw in the costume of a policeman with a brogue, caused
merriment, especially at the close, when he informed his audience
that the author had left the house. And so he had. He was standing
at the corner when I accosted him.”
Shaw explains that he wrote the extravaganza in blank verse
because he had to hurry over it and “hadn’t time to write it in the
usual prose.” To anyone “with the requisite ear and command of
words,” he says in another place, “blank verse, written under the
amazingly loose conditions which Shakespeare claimed, with full
liberty to use all sorts of words, colloquial, technical, rhetorical and
even obscurely technical, to indulge in the most far-fetched ellipses,
and to impress ignorant people with every possible extremity of
fantasy and affectation, is the easiest of all known modes of literary
expression, and this is why whole oceans of dull bombast and drivel
have been emptied on the head of England since Shakespeare’s
time in this form by people who could not have written ‘Box and Cox’
to save their lives.”
“The Admirable Bashville” may be seen in the United States
before long. Not long ago the London Daily Mail reported that the
eminent comedian and gladiator, Mr. James J. Corbett, was casting
eager eyes upon it and that Shaw rather liked the idea of his
appearing in it.
“He is a man who has made a success in one profession,” the
dramatist is reported to have said, “and will therefore understand that
there are difficulties to be encountered in making a success in
another. Look at the books written to-day, and then consider which
you would rather have—a man who can do nothing or a really
capable prize-fighter.”
All of which you will find, much elaborated, in “Cashel Byron’s
Profession,” which was written in 1882.