after sketches of heroes and strong men; it is a kind of parody of Caesar and Cleopatra before it was written. In this connection the mere title of this Napoleonic play is of interest. All Shaw's generation and school of thought remembered Napoleon only by his late and corrupt title of "The Man of Destiny," a title only given to him when he was already fat and tired and destined to exile. They forgot that through all the really thrilling and creative part of his career he was not the man of destiny, but the man who defied destiny. Shaw's sketch is extraordinarily clever; but it is tinged with this unmilitary notion of an inevitable conquest; and this we must remember when we come to those larger canvases on which he painted his more serious heroes. As for the play, it is packed with good things, of which the last is perhaps the best. The long duologue between Bonaparte and the Irish lady ends with the General declaring that he will only be beaten when he meets an English army under an Irish general. It has always been one of Shaw's paradoxes that the English mind has the force to fulfil orders, while the Irish mind has the intelligence to give them, and it is among those of his paradoxes which contain a certain truth.
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