Man and Superman. GEORGE BERNARD SHAW
Mozart, who reveals the hero's spirit in magical harmonies, elfin tones, and elate darting rhythms as of summer lightning made audible. Here you have freedom in love and in morality mocking exquisitely at slavery to them, and interesting you, attracting you, tempting you, inexplicably forcing you to range the hero with his enemy the statue on a transcendant plane, leaving the prudish daughter and her priggish lover on a crockery shelf below to live piously ever after.
After these completed works Byron's fragment does not count for much philosophically. Our vagabond libertines are no more interesting from that point of view than the sailor who has a wife in every port, and Byron's hero is, after all, only a vagabond libertine. And he is dumb: he does not discuss himself with a Sganarelle-Leporello or with the fathers or brothers of his mistresses: he does not even, like Casanova, tell his own story. In fact he is not a true Don Juan at all; for he is no more an enemy of God than any romantic and adventurous young sower of wild oats. Had you and I been in his place at his age, who knows whether we might not have done as he did, unless indeed your fastidiousness had saved you from the empress Catherine. Byron was as little of a philosopher as Peter the Great: both were instances of that rare and useful, but unedifying variation, an energetic genius born without the prejudices or superstitions of his contemporaries. The resultant unscrupulous freedom of thought made Byron a greater poet than Wordsworth just as it made Peter a greater king than George III; but as it was, after all, only a negative qualification, it did not prevent Peter from being an appalling blackguard and an arrant poltroon, nor did it enable Byron to become a religious force like Shelley. Let us, then, leave Byron's Don Juan out of account. Mozart's is the last of the true Don Juans; for by the time he was of age, his cousin Faust had, in the hands of Goethe, taken his place and carried both his warfare and his reconciliation with the gods far beyond mere lovemaking into politics, high art, schemes for reclaiming new continents from the ocean, and recognition of an eternal womanly principle in the universe. Goethe's Faust and Mozart's Don Juan were the last words of the XVIII century on the subject; and by the time the polite critics of the XIX century, ignoring William Blake as superficially as the XVIII had ignored Hogarth or the XVII Bunyan, had got past the Dickens-Macaulay Dumas-Guizot stage and the Stendhal-Meredith-Turgenieff stage, and were confronted with philosophic fiction by such pens as Ibsen's and Tolstoy's, Don Juan had changed his sex and become Dona Juana, breaking out of the Doll's House and asserting herself as an individual instead of a mere item in a moral pageant.
Now it is all very well for you at the beginning of the XX century to ask me for a Don Juan play; but you will see from the foregoing survey that Don Juan is a full century out of date for you and for me; and if there are millions of less literate people who are still in the eighteenth century, have they not Mòliere and Mozart, upon whose art no human hand can improve? You would laugh at me if at this time of day I dealt in duels and ghosts and "womanly" women. As to mere libertinism, you would be the first to remind me that the Festin de Pierre of Mòliere is not a play for amorists, and that one bar of the voluptuous sentimentality of Gounod or Bizet would appear as a licentious stain on the score of Don Giovanni. Even the more abstract parts of the Don Juan play are dilapidated past use: for instance, Don Juan's supernatural antagonist hurled those who refuse to repent into lakes of burning brimstone, there to be tormented by devils with horns and tails. Of that antagonist, and of that conception of repentance, how much is left that could be used in a play by me dedicated to you? On the other hand, those forces of middle class public opinion which hardly existed for a Spanish nobleman in the days of the first Don Juan, are now triumphant everywhere. Civilized society is one huge bourgeoisie: no nobleman dares now shock his greengrocer. The women, "marchesane, principesse, cameriere, cittadine" and all, are become equally dangerous: the sex is aggressive, powerful: when women are wronged they do not group themselves pathetically to sing "Protegga il giusto cielo": they grasp formidable legal and social weapons, and retaliate. Political parties are wrecked and public careers undone by a single indiscretion. A man had better have all the statues in London to supper with him, ugly as they are, than be brought to the bar of the Nonconformist Conscience by Donna Elvira. Excommunication has become almost as serious a business as it was in the X century.
As a result, Man is no longer, like Don Juan, victor in the duel of sex. Whether he has ever really been may be doubted: at all events the enormous superiority of Woman's natural position in this matter is telling with greater and greater force. As to pulling the Nonconformist Conscience by the beard as Don Juan plucked the beard of the Commandant's statue in the convent of San Francisco, that is out of the question nowadays: prudence and good manners alike forbid it to a hero with any mind. Besides, it is Don Juan's own beard that is in danger of plucking. Far from relapsing into hypocrisy, as Sganarelle feared, he has unexpectedly discovered a moral in his immorality. The growing recognition of his new point of view is heaping responsibility on him. His former jests he has had to take as seriously as I have had to take some of the jests of Mr. W. S. Gilbert. His scepticism, once his least tolerated quality, has now triumphed so completely that he can no longer assert himself by witty negations, and must, to save himself from cipherdom, find an affirmative position. His thousand and three affairs of gallantry, after becoming, at most, two immature intrigues leading to sordid and prolonged complications and humiliations, have been discarded altogether as unworthy of his philosophic dignity and compromising to his newly acknowledged position as the founder of a school. Instead of pretending to read Ovid he does actually read Schopenhaur and Nietzsche, studies Westermarck, and is concerned for the future of the race instead of for the freedom of his own instincts. Thus his profligacy and his dare-devil airs have gone the way of his sword and mandoline into the rag shop of anachronisms and superstitions. In fact, he is now more Hamlet than Don Juan; for though the lines put into the actor's mouth to indicate to the pit that Hamlet is a philosopher are for the most part mere harmonious platitude which, with a little debasement of the word-music, would be properer to Pecksniff, yet if you separate the real hero, inarticulate and unintelligible to himself except in flashes of inspiration, from the performer who has to talk at any cost through five acts; and if you also do what you must always do in Shakespear's tragedies: that is, dissect out the absurd sensational incidents and physical violences of the borrowed story from the genuine Shakespearian tissue, you will get a true Promethean foe of the gods, whose instinctive attitude towards women much resembles that to which Don Juan is now driven. From this point of view Hamlet was a developed Don Juan whom Shakespear palmed off as a reputable man just as he palmed poor Macbeth off as a murderer. To-day the palming off is no longer necessary (at least on your plane and mine) because Don Juanism is no longer misunderstood as mere Casanovism. Don Juan himself is almost ascetic in his desire to avoid that misunderstanding; and so my attempt to bring him up to date by launching him as a modern Englishman into a modern English environment has produced a figure superficially quite unlike the hero of Mozart. And yet I have not the heart to disappoint you wholly of another glimpse of the Mozartian dissoluto punito and his antagonist the statue. I feel sure you would like to know more of that statue—to draw him out when he is off duty, so to speak. To gratify you, I have resorted to the trick of the strolling theatrical manager who advertizes the pantomime of Sinbad the Sailor with a stock of second-hand picture posters designed for Ali Baba. He simply thrusts a few oil jars into the valley of diamonds, and so fulfils the promise held out by the hoardings to the public eye. I have adapted this simple device to our occasion by thrusting into my perfectly modern three-act play a totally extraneous act in which my hero, enchanted by the air of the Sierra, has a dream in which his Mozartian ancestor appears and philosophizes at great length in a Shavio-Socratic dialogue with the lady, the statue, and the devil.
But this pleasantry is not the essence of the play. Over this essence I have no control. You propound a certain social substance, sexual attraction to wit, for dramatic distillation; and I distil it for you. I do not adulterate the product with aphrodisiacs nor dilute it with romance and water; for I am merely executing your commission, not producing a popular play for the market. You must therefore (unless, like most wise men, you read the play first and the preface afterwards) prepare yourself to face a trumpery story of modern London life, a life in which, as you know, the ordinary man's main business is to get means to keep up the position and habits of a gentleman, and the ordinary woman's business is to get married. In 9,999 cases out of 10,000, you can count on their doing nothing, whether noble or base, that conflicts with these ends; and that assurance is what you rely on as their religion, their morality, their principles, their patriotism, their reputation, their