the ace of trumps in his hand and knows when to play it. As the prettier player of the two he has the sympathy of the audience. Not being as pampered and powerful as an operatic prima donna, and depending as he does not on some commercially valuable talent but on his conformity to the popular ideal of dignity and perfect breeding, he has to be trained, and to train himself, to accept good manners as an indispensable condition of his intercourse with his subjects, and to leave to the less highly placed such indulgences as tempers, tantrums, bullyings, sneerings, swearings, kickings: in short, the commoner violences and intemperances of authority.

His ministers have much laxer standards. It is open to them, if it will save their time, to get their own way by making scenes, flying into calculated rages, and substituting vulgar abuse for argument. A clever minister, not having had a royal training, will, if he finds himself involved in a duel with his king, be careful not to choose the weapons at which the king can beat him. Rather will he in cold blood oppose to the king’s perfect behavior an intentional misbehavior and apparently childish petulance which he can always drop at the right moment for a demeanor as urbane as that of the king himself, thus employing two sets of weapons to the king’s one. This gives him the advantages of his own training as a successful ambitious man who has pushed his way from obscurity to celebrity: a process involving a considerable use of the shorter and more selfish methods of dominating the feebly recalcitrant, the unreasonable, the timid, and the stupid, as well as a sharp sense of the danger of these methods when dealing with persons of strong character in strong positions.

In this light the style of fighting adopted by the antagonists in the scrap between King Magnus and Mr. Joseph Proteus is seen to be a plain deduction from their relative positions and antecedents, and not a manufactured contrast between democracy and royalty to the disadvantage of the former. Those who so mistook it are out of date. They still regard democracy as the underdog in the conflict. But to me it is the king who is doomed to be tragically in that position in the future into which the play is projected: in fact, he is visibly at least half in it already; and the theory of constitutional monarchy assumes that he is wholly in it, and has been so since the end of the seventeenth century.

Besides, the conflict is not really between royalty and democracy. It is between both and plutocracy, which, having destroyed the royal power by frank force under democratic pretexts, has bought and swallowed democracy. Money talks: money prints: money broadcasts: money reigns; and kings and labor leaders alike have to register its decrees, and even, by a staggering paradox, to finance its enterprises and guarantee its profits. Democracy is no longer bought: it is bilked. Ministers who are Socialists to the backbone are as helpless in the grip of Breakages Limited as its acknowledged henchmen: from the moment when they attain to what is with unintentional irony called power (meaning the drudgery of carrying on for the plutocrats) they no longer dare even to talk of nationalizing any industry, however socially vital, that has a farthing of profit for plutocracy still left in it, or that can be made to yield a farthing for it by subsidies.

King Magnus’s little tactical victory, which bulks so largely in the playhouse, leaves him in a worse plight than his defeated opponent, who can always plead that he is only the instrument of the people’s will, whereas the unfortunate monarch, making a desperate bid for dictatorship on the perfectly true plea that democracy has destroyed all other responsibility (has not Mussolini said that there is a vacant throne in every country in Europe waiting for a capable man to fill it?), is compelled to assume full responsibility himself, and face all the reproaches that Mr. Proteus can shirk. In his Cabinet there is only one friendly man who has courage, principle, and genuine good manners when he is courteously treated; and that man is an uncompromising republican, his rival for the dictatorship. The splendidly honest and devoted Diehard lady is too scornfully tactless to help much; but with a little more experience in the art of handling effective men and women as distinguished from the art of handling mass meetings Mr. Bill Boanerges might surprise those who, because he makes them laugh, see nothing in him but a caricature.

In short, those critics of mine who have taken The Apple Cart for a story of a struggle between a hero and a roomful of guys have been grossly taken in. It is never safe to take my plays at their suburban face value: it ends in your finding in them only what you bring to them, and so getting nothing for your money.

On the subject of Democracy generally I have nothing to say that can take the problem farther than I have already carried it in my Intelligent Woman’s Guide to Socialism and Capitalism. We have to solve two inseparable main problems: the economic problem of how to produce and distribute our subsistence, and the political problem of how to select our rulers and prevent them from abusing their authority in their own interests or those of their class or religion. Our solution of the economic problem is the Capitalist system, which achieves miracles in production, but fails so ludicrously and disastrously to distribute its products rationally, or to produce in the order of social need, that it is always complaining of being paralysed by its “overproduction” of things of which millions of us stand in desperate want. Our solution of the political problem is Votes for Everybody and Every Authority Elected by Vote, an expedient originally devised to prevent rulers from tyrannizing by the very effectual method of

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