Following the death of her father, Ann Whitefield becomes the ward of Jack Tanner and Roebuck Ramsden; Jack is a childhood friend, author of The Revolutionist’s Handbook, and descendant of Don Juan, while Roebuck Ramsden is a respectable friend of her father’s entirely opposed to Jack’s philosophy. Also in mourning are Octavius Robinson, who is openly in love with Ann, and his sister Violet, who is secretly pregnant. So begins a journey that will take them across London, Europe, and to Hell.
George Bernard Shaw wrote Man and Superman between 1901 and 1903. It was first performed in 1905 with the third act excised; a part of that third act, Don Juan in Hell, was performed in 1907. The full play was not performed in its entirety until 1915.
Shaw explains that he wrote Man and Superman after being challenged to write on the theme of Don Juan. Once described as Shaw’s most allusive play, Man and Superman refers to Nietzsche’s concept of the Übermensch. It combines Nietzsche’s argument that humanity is evolving towards a “superman” with the philosophy of Don Juan as a way to present his conception of society: namely, that it is women who are the driving force behind natural selection and the propagation of the species. To this end, Shaw includes as an appendix The Revolutionist’s Handbook and Pocket Companion as written by the character Jack Tanner.
great truth at the bottom of what he says. I believe most intensely in the dignity of labor.
Straker
Unimpressed. That’s because you never done any, Mr. Robinson. My business is to do away with labor. You’ll get more out of me and a machine than you will out of twenty laborers, and not so much to drink either.
Tanner
For Heaven’s sake, Tavy, don’t start him on political economy. He knows all about it; and we don’t. You’re only a poetic Socialist, Tavy: he’s a scientific one.
Straker
Unperturbed. Yes. Well, this conversation is very improvin; but I’ve got to look after the car; and you two want to talk about your ladies. I know. He retires to busy himself about the car; and presently saunters off towards the house.
Tanner
That’s a very momentous social phenomenon.
Octavius
What is?
Tanner
Straker is. Here have we literary and cultured persons been for years setting up a cry of the New Woman whenever some unusually old fashioned female came along; and never noticing the advent of the New Man. Straker’s the New Man.
Octavius
I see nothing new about him, except your way of chaffing him. But I don’t want to talk about him just now. I want to speak to you about Ann.
Tanner
Straker knew even that. He learnt it at the Polytechnic, probably. Well, what about Ann? Have you proposed to her?
Octavius
Self-reproachfully. I was brute enough to do so last night.
Tanner
Brute enough! What do you mean?
Octavius
Dithyrambically. Jack: we men are all coarse. We never understand how exquisite a woman’s sensibilities are. How could I have done such a thing!
Tanner
Done what, you maudlin idiot?
Octavius
Yes, I am an idiot. Jack: if you had heard her voice! If you had seen her tears! I have lain awake all night thinking of them. If she had reproached me, I could have borne it better.
Tanner
Tears! that’s dangerous. What did she say?
Octavius
She asked me how she could think of anything now but her dear father. She stifled a sob—He breaks down.
Tanner
Patting him on the back. Bear it like a man, Tavy, even if you feel it like an ass. It’s the old game: she’s not tired of playing with you yet.
Octavius
Impatiently. Oh, don’t be a fool, Jack. Do you suppose this eternal shallow cynicism of yours has any real bearing on a nature like hers?
Tanner
Hm! Did she say anything else?
Octavius
Yes; and that is why I expose myself and her to your ridicule by telling you what passed.
Tanner
Remorsefully. No, dear Tavy, not ridicule, on my honor! However, no matter. Go on.
Octavius
Her sense of duty is so devout, so perfect, so—
Tanner
Yes: I know. Go on.
Octavius
You see, under this new arrangement, you and Ramsden are her guardians; and she considers that all her duty to her father is now transferred to you. She said she thought I ought to have spoken to you both in the first instance. Of course she is right; but somehow it seems rather absurd that I am to come to you and formally ask to be received as a suitor for your ward’s hand.
Tanner
I am glad that love has not totally extinguished your sense of humor, Tavy.
Octavius
That answer won’t satisfy her.
Tanner
My official answer is, obviously, Bless you, my children: may you be happy!
Octavius
I wish you would stop playing the fool about this. If it is not serious to you, it is to me, and to her.
Tanner
You know very well that she is as free to choose as you.
Octavius
She does not think so.
Tanner
Oh, doesn’t she! Just! However, say what you want me to do.
Octavius
I want you to tell her sincerely and earnestly what you think about me. I want you to tell her that you can trust her to me—that is, if you feel you can.
Tanner
I have no doubt that I can trust her to you. What worries me is the idea of trusting you to her. Have you read Maeterlinck’s book about the bee?
Octavius
Keeping his temper with difficulty. I am not discussing literature at present.
Tanner
Be just a little patient with me. I am not discussing literature: the book about the bee is natural history. It’s an awful lesson to mankind. You think that you are Ann’s suitor; that you are the pursuer and she the pursued; that it is your part to woo, to persuade, to prevail, to overcome. Fool: it is you who are the pursued, the marked down quarry, the destined prey. You need not sit looking longingly at the bait through the wires of the trap: the door is open, and will remain so until it shuts behind you forever.
Octavius
I wish I could believe that, vilely as you put it.
Tanner
Why, man, what other work has she in life but to get a husband? It is a woman’s business to get married as soon as possible, and a man’s to keep unmarried as long as he can. You have your poems and your tragedies to work at: Ann has nothing.
Octavius
I cannot write without inspiration. And nobody can give me that except Ann.
Tanner
Well, hadn’t you better get it from her at a safe distance? Petrarch didn’t see half as much of Laura, nor Dante of Beatrice, as you see of Ann now; and yet they wrote first-rate poetry—at least so I’m told. They never exposed their idolatry to the test of domestic familiarity; and it lasted them to their graves. Marry Ann and at the end of a week you’ll find no more inspiration than in a plate of muffins.
Octavius
You think I shall tire of her.
Tanner
Not at all: you don’t get tired of muffins. But you don’t find inspiration in them; and you won’t in her when she ceases to be a poet’s dream and becomes a solid eleven stone wife. You’ll be forced to dream about somebody else; and then there will be a row.
Octavius
This
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