Man and Superman, George Bernard Shaw [hardest books to read txt] 📗

is never achieved for its own sake: a man may pay from a shilling to a guinea, according to his means, to see, hear, or read another man’s act of genius; but he will not pay with his whole life and soul to become a mere virtuoso in literature, exhibiting an accomplishment which will not even make money for him, like fiddle playing. Effectiveness of assertion is the Alpha and Omega of style. He who has nothing to assert has no style and can have none: he who has something to assert will go as far in power of style as its momentousness and his conviction will carry him. Disprove his assertion after it is made, yet its style remains. Darwin has no more destroyed the style of Job nor of Handel than Martin Luther destroyed the style of Giotto. All the assertions get disproved sooner or later; and so we find the world full of a magnificent debris of artistic fossils, with the matter-of-fact credibility gone clean out of them, but the form still splendid. And that is why the old masters play the deuce with our mere susceptibles. Your Royal Academician thinks he can get the style of Giotto without Giotto’s beliefs, and correct his perspective into the bargain. Your man of letters thinks he can get Bunyan’s or Shakespeare’s style without Bunyan’s conviction or Shakespeare’s apprehension, especially if he takes care not to split his infinitives. And so with your Doctors of Music, who, with their collections of discords duly prepared and resolved or retarded or anticipated in the manner of the great composers, think they can learn the art of Palestrina from Cherubim’s treatise. All this academic art is far worse than the trade in sham antique furniture; for the man who sells me an oaken chest which he swears was made in the eighteenth century, though as a matter of fact he made it himself only yesterday, at least does not pretend that there are any modern ideas in it, whereas your academic copier of fossils offers them to you as the latest outpouring of the human spirit, and, worst of all, kidnaps young people as pupils and persuades them that his limitations are rules, his observances dexterities, his timidities good taste, and his emptinesses purities. And when he declares that art should not be didactic, all the people who have nothing to teach and all the people who don’t want to learn agree with him emphatically.

I pride myself on not being one of these susceptible: If you study the electric light with which I supply you in that Bumbledonian public capacity of mine over which you make merry from time to time, you will find that your house contains a great quantity of highly susceptible copper wire which gorges itself with electricity and gives you no light whatever. But here and there occurs a scrap of intensely insusceptible, intensely resistant material; and that stubborn scrap grapples with the current and will not let it through until it has made itself useful to you as those two vital qualities of literature, light and heat. Now if I am to be no mere copper wire amateur but a luminous author, I must also be a most intensely refractory person, liable to go out and to go wrong at inconvenient moments, and with incendiary possibilities. These are the faults of my qualities; and I assure you that I sometimes dislike myself so much that when some irritable reviewer chances at that moment to pitch into me with zest, I feel unspeakably relieved and obliged. But I never dream of reforming, knowing that I must take myself as I am and get what work I can out of myself. All this you will understand; for there is community of material between us: we are both critics of life as well as of art; and you have perhaps said to yourself when I have passed your windows, “There, but for the grace of God, go I.” An awful and chastening reflection, which shall be the closing cadence of this immoderately long letter from yours faithfully,

G. Bernard Shaw.

Woking, 1903

Dramatis Personae

Roebuck Ramsden

Parlormaid

Octavius Ramsden

John Tanner

Ann Whitefield

Mrs. Whitefield

Miss Ramsden

Violet Robinson

Henry Straker

Hector Malone

Mr. Malone

Mendoza

Anarchist

Duval

Rowdy Social-Democrat

Sulky Social-Democrat

Goatherd

An Officer

Man and Superman A Comedy and a Philosophy Act I

Roebuck Ramsden is in his study, opening the morning letters. The study, handsomely and solidly furnished, proclaims the man of means. Not a speck of dust is visible: it is clear that there are at least two housemaids and a parlormaid downstairs, and a housekeeper upstairs who does not let them spare elbow-grease. Even the top of Roebuck’s head is polished: on a sunshiny day he could heliograph his orders to distant camps by merely nodding. In no other respect, however, does he suggest the military man. It is in active civil life that men get his broad air of importance, his dignified expectation of deference, his determinate mouth disarmed and refined since the hour of his success by the withdrawal of opposition and the concession of comfort and precedence and power. He is more than a highly respectable man: he is marked out as a president of highly respectable men, a chairman among directors, an alderman among councillors, a mayor among aldermen. Four tufts of iron-grey hair, which will soon be as white as isinglass, and are in other respects not at all unlike it, grow in two symmetrical pairs above his ears and at the angles of his spreading jaws. He wears a black frock coat, a white waistcoat (it is bright spring weather), and trousers, neither black nor perceptibly blue, of one of those indefinitely mixed hues which the modern clothier has produced to harmonize with the religions of respectable men. He has not been out of doors yet today; so he still wears his slippers, his boots being ready for him on the