Man and Superman by George Bernard Shaw (world of reading TXT) 📕
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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.
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- Author: George Bernard Shaw
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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 Shakespeare 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 Shakespeare 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.
Tanner Clapping him rudely on the shoulder. Put them in the fire, President. Mendoza Startled. Eh? Tanner You are sacrificing your career to a monomania. Mendoza I know it. Tanner No you don’t. No man would commit such a crime against himself if he really knew what he was doing. How can you look round at these august hills, look up at this divine sky, taste this finely tempered air, and then talk like a literary hack on a second floor in Bloomsbury? Mendoza Shaking his head. The Sierra is no better than Bloomsbury when once the novelty has worn off. Besides, these mountains make you dream of women—of women with magnificent hair. Tanner Of Louisa, in short. They will not make me dream of women, my friend: I am heartwhole. Mendoza Do not boast until morning, sir. This is a strange country for dreams. Tanner Well, we shall see. Goodnight. He lies down and composes himself to sleep. Mendoza, with a sigh, follows his example; and for a few moments there is peace in the Sierra. Then Mendoza sits up suddenly and says pleadingly to Tanner— Mendoza Just allow me to read a few lines before you go to sleep. I should really like your opinion of them. Tanner Drowsily. Go on. I am listening. Mendoza I saw thee first in Whitsun week Louisa, Louisa— Tanner Roaring himself. My dear President, Louisa is a very pretty name; but it really doesn’t rhyme well to Whitsun week. Mendoza Of course not. Louisa is not the rhyme, but the refrain. Tanner Subsiding. Ah, the refrain. I beg your pardon. Go on. MendozaPerhaps you do not care for that one: I think you will like this better. He recites, in rich soft tones, and to slow time.
Louisa, I love thee.
I love thee, Louisa.
Louisa, Louisa, Louisa, I love thee.
One name and one phrase make my music,
Louisa. Louisa, Louisa, Louisa, I love thee.
Mendoza thy lover,
Thy lover, Mendoza,
Mendoza adoringly lives for Louisa.
There’s nothing but that in the world for Mendoza.
Louisa, Louisa, Mendoza adores thee.
Affected. There is no merit in producing beautiful lines upon such a name. Louisa is an exquisite name, is it not?
Tanner All but asleep, responds with a faint groan. MendozaO wert thou, Louisa,
The wife of Mendoza,
Mendoza’s Louisa, Louisa Mendoza,
How blessed were the life of Louisa’s Mendoza!
How painless his longing of love for Louisa!
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