Man and Superman - George Bernard Shaw (little red riding hood ebook .TXT) 📗

that wise men most dread. In short, there is no future for men, however brimming with crude vitality, who are neither intelligent nor politically educated enough to be Socialists. So do not misunderstand me in the other direction either: if I appreciate the vital qualities of the Englishman as I appreciate the vital qualities of the bee, I do not guarantee the Englishman against being, like the bee (or the Canaanite) smoked out and unloaded of his honey by beings inferior to himself in simple acquisitiveness, combativeness, and fecundity, but superior to him in imagination and cunning.

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.

And so your Don Juan has come to birth as a stage projection of the tragi-comic love chase of the man by the woman; and my Don Juan is the quarry instead of the huntsman. Yet he is a true Don Juan, with a sense of reality that disables convention, defying to the last the fate which finally overtakes him. The woman's need of him to enable her to carry on Nature's most urgent work, does not prevail against him until his resistance gathers her energy to a climax at which she dares to throw away her customary exploitations of the conventional affectionate and dutiful poses, and claim him by natural right for a purpose that far transcends their mortal personal purposes.

Among the friends to whom I have read this play in manuscript are some of our own sex who are shocked at the "unscrupulousness," meaning the total disregard of masculine fastidiousness, with which the woman pursues her purpose. It does not occur to them that if women were as fastidious as men, morally or physically, there would be an end of the race. Is there anything meaner then to throw necessary work upon other people and then disparage it as unworthy and indelicate. We laugh at the haughty American nation because it makes the negro clean its boots and then proves the moral and physical inferiority of the negro by the fact that he is a shoeblack; but we ourselves throw the whole drudgery of creation on one sex, and then imply that no female of any womanliness or delicacy would initiate any effort in that direction. There are no limits to male hypocrisy in this matter. No doubt there are moments when man's sexual immunities are made acutely humiliating to him. When the terrible moment of birth arrives, its supreme importance and its superhuman effort and peril, in which the father has no part, dwarf him into the meanest insignificance: he slinks out of the way of the humblest petticoat, happy if he be poor enough to be pushed out of the house to outface his ignominy by drunken rejoicings. But when the crisis is over he takes his revenge, swaggering as the breadwinner, and speaking of Woman's "sphere" with condescension, even with chivalry, as if the kitchen and the nursery were less important than the office in the city. When his swagger is exhausted he drivels into erotic poetry or sentimental uxoriousness; and the Tennysonian King Arthur posing as Guinevere becomes Don Quixote grovelling before Dulcinea. You must admit that here Nature beats Comedy out of the field: the wildest hominist or feminist farce is insipid after the most commonplace "slice of life." The pretence that women do not take the initiative is part of the farce. Why, the whole world is strewn with snares, traps, gins and pitfalls for the capture of men by women. Give women the vote, and in five years there will be a crushing tax on bachelors. Men, on the other hand, attach penalties to marriage, depriving women of property, of the franchise, of the free use of their limbs, of that ancient symbol of immortality, the right to make oneself at home in the house of God by taking off the hat, of everything that he can force Woman to dispense with without compelling himself to dispense with her. All in vain. Woman must marry because the race must perish without her travail: if the risk of death and the certainty of pain, danger and unutterable discomforts cannot deter her, slavery and swaddled ankles will not. And yet we assume that the force that carries women through all these perils and hardships, stops abashed before the primnesses of our behavior for young ladies. It is assumed that the woman must wait, motionless, until she is wooed. Nay, she often does wait motionless. That is how the spider waits for the fly. But the spider spins her web. And if the fly, like my hero, shows a strength that promises to extricate him, how swiftly does she abandon her pretence of passiveness, and openly fling coil after coil about him until he is secured for ever!

If the really impressive books and other art-works of the world were produced by ordinary men, they would express more fear of women's pursuit than love of their illusory beauty. But ordinary men cannot produce really impressive art-works. Those who can are men of genius: that is, men selected by Nature to carry on the work of building up an intellectual consciousness of her own instinctive purpose. Accordingly, we observe in the man of genius all the unscrupulousness and all the "self-sacrifice" (the two things are the same) of Woman. He will risk the stake and the cross; starve, when necessary, in a garret all his life; study women and live on their work and care as Darwin studied worms and lived upon sheep; work his nerves into rags without payment, a sublime altruist in his disregard of himself, an atrocious egotist in his disregard of others. Here Woman meets a purpose as impersonal, as irresistible as her own; and the clash is sometimes tragic. When it is complicated by the genius being a woman, then the game is one for a king of critics: your George Sand becomes a mother to gain experience for the novelist and to develop her, and gobbles up men of genius, Chopins, Mussets and the like, as mere hors d'oeuvres.

I state the extreme case, of course; but what is true of the great man who incarnates the philosophic consciousness of Life and the woman who incarnates its fecundity, is true in some degree of all geniuses and all women. Hence it is that the world's books get written, its pictures painted, its statues modelled, its symphonies composed, by people who are free of the otherwise universal dominion of the tyranny of sex. Which leads us to the conclusion, astonishing to the vulgar, that art, instead of being before all things the expression of the normal sexual situation, is really the only department in which sex is a superseded and secondary power, with its consciousness so confused and its purpose so perverted, that its ideas are mere fantasy to common men. Whether the artist becomes poet or philosopher, moralist or founder of a religion, his sexual doctrine is nothing but a barren special pleading for pleasure, excitement, and knowledge when he is young, and for contemplative tranquillity when he is old and satiated. Romance and Asceticism, Amorism and Puritanism are equally unreal in the great Philistine world. The world shown us in books, whether the books be confessed epics or professed gospels, or in codes, or in political orations, or in philosophic systems, is not the main world at all: it is only the self-consciousness of certain abnormal people who have the specific artistic talent and temperament. A serious matter this for you and me, because the man whose consciousness does not correspond to that of the majority is a madman; and the old habit of worshipping madmen is giving way to the new habit of locking them up. And since what we call education and culture is for the most part nothing but the substitution of reading for experience, of literature for life, of the obsolete fictitious for the contemporary real, education, as you no doubt observed at Oxford, destroys, by supplantation, every mind that is not strong enough to see through the imposture and to use the great Masters of Arts as what they really are and no more: that is, patentees of highly questionable methods of thinking, and manufacturers of highly questionable, and for the majority but half valid representations of life. The schoolboy who uses his Homer to throw at his fellow's head makes perhaps the safest and most rational use of him; and I observe with reassurance that you occasionally do the same, in your prime, with your Aristotle.

Fortunately for us, whose minds have been so overwhelmingly sophisticated by literature, what produces all these treatises and poems and scriptures of one sort or another is the struggle of Life to become divinely conscious of itself instead of blindly stumbling hither and thither in the line of least resistance. Hence there is a driving towards truth in all books on matters where the writer, though exceptionally gifted is normally constituted, and has no private axe to grind. Copernicus had no motive for misleading his fellowmen as to the place of the sun in the solar system: he looked for it as honestly as a shepherd seeks his path in a mist. But Copernicus would not have written love stories scientifically. When it comes to sex relations, the man of genius does not share the common man's danger of capture, nor the woman of genius the common woman's overwhelming specialization. And that is why our scriptures and other art works, when they deal