George Bernard Shaw - Man and Superman [extracts]

[source: simpsonswiki.com]

MAN AND SUPERMAN

by George Bernard Shaw

extracts

From the Epistle Dedicatory to Arthur Bingham

The Don Juan play, however, is to deal with sexual attraction, and not with nutrition, and to deal with it in a society in which the serious business of sex is left by men to women, as the serious business of nutrition is left by women to men. That the men, to protect themselves against a too aggressive prosecution of the women's business, have set up a feeble romantic convention that the initiative in sex business must always come from the man, is true; but the pretence is so shallow that even in the theatre, that last sanctuary of unreality, it imposes only on the inexperienced. In Shakespear's plays the woman always takes the initiative. In his problem plays and his popular plays alike the love interest is the interest of seeing the woman hunt the man down. She may do it by blandishment, like Rosalind, or by stratagem, like Mariana; but in every case the relation between the woman and the man is the same: she is the pursuer and contriver, he the pursued and disposed of. When she is baffled, like Ophelia, she goes mad and commits suicide; and the man goes straight from her funeral to a fencing match. No doubt Nature, with very young creatures, may save the woman the trouble of scheming: Prospero knows that he has only to throw Ferdinand and Miranda together and they will mate like a pair of doves; and there is no need for Perdita to capture Florizel as the lady doctor in All's Well That Ends Well (an early Ibsenite heroine) captures Bertram. But the mature cases all illustrate the Shakespearian law. The one apparent exception, Petruchio, is not a real one: he is most carefully characterized as a purely commercial matrimonial adventurer. Once he is assured that Katharine has money, he undertakes to marry her before he has seen her. In real life we find not only Petruchios, but Mantalinis and Dobbins who pursue women with appeals to their pity or jealousy or vanity, or cling to them in a romantically infatuated way. Such effeminates do not count in the world scheme: even Bunsby dropping like a fascinated bird into the jaws of Mrs MacStinger is by comparison a true tragic object of pity and terror. I find in my own plays that Woman, projecting herself dramatically by my hands (a process over which I assure you I have no more real control than I have over my wife), behaves just as Woman did in the plays of Shakespear.



ACT I

TANNER

 Quite unscrupulous. The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother's milk and blackens it to make printer's ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of childbearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a bloodsucker, a hypocrite and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist's work is to show us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.


ACT III

MENDOZA

[to Tanner, becoming more confidential as he finds himself virtually alone with a sympathetic listener in the still starlight of the mountains; for all the rest are asleep by this time] 

It was just so with her, sir. Her intellect reached forward into the twentieth century: her social prejudices and family affections reached back into the dark ages. Ah, sir, how the words of Shakespear seem to fit every crisis in our emotions! 

I loved Louisa: 40,000 brothers 

Could not with all their quantity of love 

Make up my sum.
And so on. I forget the rest. Call it madness if you will—infatuation. I am an able man, a strong man: in ten years I should have owned a first-class hotel. I met her; and you see! I am a brigand, an outcast. Even Shakespear cannot do justice to what I feel for Louisa. Let me read you some lines that I have written about her myself. However slight their literary merit may be, they express what I feel better than any casual words can. 

[He produces a packet of hotel bills scrawled with manuscript, and kneels at the fire to decipher them, poking it with a stick to make it glow].

Hamlet Act I Scene 3

Scene III. A room in Polonius's house.
[Enter Laertes and Ophelia.]

Laer.
My necessaries are embark'd: farewell:
And, sister, as the winds give benefit
And convoy is assistant, do not sleep,
But let me hear from you.
Oph.
Do you doubt that?
Laer.
For Hamlet, and the trifling of his favour,
Hold it a fashion, and a toy in blood:
A violet in the youth of primy nature,
Forward, not permanent, sweet, not lasting;
The perfume and suppliance of a minute;
No more.
Oph.
No more but so?
Laer.
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk; but as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now;
And now no soil nor cautel doth besmirch
The virtue of his will: but you must fear,
His greatness weigh'd, his will is not his own;
For he himself is subject to his birth:
He may not, as unvalu'd persons do,
Carve for himself; for on his choice depends
The safety and health of this whole state;
And therefore must his choice be circumscrib'd
Unto the voice and yielding of that body
Whereof he is the head. Then if he says he loves you,
It fits your wisdom so far to believe it
As he in his particular act and place
May give his saying deed; which is no further
Than the main voice of Denmark goes withal.
Then weigh what loss your honour may sustain
If with too credent ear you list his songs,
Or lose your heart, or your chaste treasure open
To his unmaster'd importunity.
Fear it, Ophelia, fear it, my dear sister;
And keep you in the rear of your affection,
Out of the shot and danger of desire.
The chariest maid is prodigal enough
If she unmask her beauty to the moon:
Virtue itself scopes not calumnious strokes:
The canker galls the infants of the spring
Too oft before their buttons be disclos'd:
And in the morn and liquid dew of youth
Contagious blastments are most imminent.
Be wary then; best safety lies in fear:
Youth to itself rebels, though none else near.
Oph.
I shall th' effect of this good lesson keep
As watchman to my heart. But, good my brother,
Do not, as some ungracious pastors do,
Show me the steep and thorny way to heaven;
Whilst, like a puff'd and reckless libertine,
Himself the primrose path of dalliance treads
And recks not his own read.
Laer.
O, fear me not.
I stay too long:--but here my father comes.

[Enter Polonius.]

A double blessing is a double grace;
Occasion smiles upon a second leave.
Pol.
Yet here, Laertes! aboard, aboard, for shame!
The wind sits in the shoulder of your sail,
And you are stay'd for. There,--my blessing with thee!
[Laying his hand on Laertes's head.]
And these few precepts in thy memory
Look thou character. Give thy thoughts no tongue,
Nor any unproportion'd thought his act.
Be thou familiar, but by no means vulgar.
Those friends thou hast, and their adoption tried,
Grapple them unto thy soul with hoops of steel;
But do not dull thy palm with entertainment
Of each new-hatch'd, unfledg'd comrade. Beware
Of entrance to a quarrel; but, being in,
Bear't that the opposed may beware of thee.
Give every man thine ear, but few thy voice:
Take each man's censure, but reserve thy judgment.
Costly thy habit as thy purse can buy,
But not express'd in fancy; rich, not gaudy:
For the apparel oft proclaims the man;
And they in France of the best rank and station
Are most select and generous chief in that.
Neither a borrower nor a lender be:
For loan oft loses both itself and friend;
And borrowing dulls the edge of husbandry.
This above all,--to thine own self be true;
And it must follow, as the night the day,
Thou canst not then be false to any man.
Farewell: my blessing season this in thee!
Laer.
Most humbly do I take my leave, my lord.
Pol.
The time invites you; go, your servants tend.
Laer.
Farewell, Ophelia; and remember well
What I have said to you.
Oph.
'Tis in my memory lock'd,
And you yourself shall keep the key of it.
Laer.
Farewell.
[Exit.]

Pol.
What is't, Ophelia, he hath said to you?
Oph.
So please you, something touching the Lord Hamlet.
Pol.
Marry, well bethought:
'Tis told me he hath very oft of late
Given private time to you; and you yourself
Have of your audience been most free and bounteous;
If it be so,--as so 'tis put on me,
And that in way of caution,--I must tell you
You do not understand yourself so clearly
As it behooves my daughter and your honour.
What is between you? give me up the truth.
Oph.
He hath, my lord, of late made many tenders
Of his affection to me.
Pol.
Affection! pooh! you speak like a green girl,
Unsifted in such perilous circumstance.
Do you believe his tenders, as you call them?
Oph.
I do not know, my lord, what I should think.
Pol.
Marry, I'll teach you: think yourself a baby;
That you have ta'en these tenders for true pay,
Which are not sterling. Tender yourself more dearly;
Or,--not to crack the wind of the poor phrase,
Wronging it thus,--you'll tender me a fool.
Oph.
My lord, he hath importun'd me with love
In honourable fashion.
Pol.
Ay, fashion you may call it; go to, go to.
Oph.
And hath given countenance to his speech, my lord,
With almost all the holy vows of heaven.
Pol.
Ay, springes to catch woodcocks. I do know,
When the blood burns, how prodigal the soul
Lends the tongue vows: these blazes, daughter,
Giving more light than heat,--extinct in both,
Even in their promise, as it is a-making,--You must not take for fire. From this time
Be something scanter of your maiden presence;
Set your entreatments at a higher rate
Than a command to parley. For Lord Hamlet,
Believe so much in him, that he is young;
And with a larger tether may he walk
Than may be given you: in few, Ophelia,
Do not believe his vows; for they are brokers,--Not of that dye which their investments show,
But mere implorators of unholy suits,
Breathing like sanctified and pious bawds,
The better to beguile. This is for all,--I would not, in plain terms, from this time forth
Have you so slander any moment leisure
As to give words or talk with the Lord Hamlet.
Look to't, I charge you; come your ways.
Oph.
I shall obey, my lord.
[Exeunt.]