tricky and complex, when it is really direct and offensive. He always accuses Shaw of pulling his leg, at the exact moment when Shaw is pulling his nose.
This prompt and pungent style he learnt in the open, upon political tubs and platforms; and he is very legitimately proud of it. He boasts of being a demagogue; "The cart and the trumpet for me," he says, with admirable good sense. Everyone will remember the effective appearance of Cyrano de Bergerac in the first act of the fine play of that name; when instead of leaping in by any hackneyed door or window, he suddenly springs upon a chair above the crowd that has so far kept him invisible; "les bras croisés, le feutre en bataille, la moustache herissée, le nez terrible." I will not go so far as to say that when Bernard Shaw sprang upon a chair or tub in Trafalgar Square he had the hat in battle, or even that he had the nose terrible. But just as we see Cyrano best when he thus leaps above the crowd, I think we may take this moment of Shaw stepping on his little platform to see him clearly as he then was, and even as he has largely not ceased to be. I, at least, have only known him in his middle age; yet I think I can see him, younger yet only a little more alert, with hair more red
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