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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Man And Superman + +Author: George Bernard Shaw + +Release Date: March 21, 2006 [EBook #3328] +Last Updated: July 30, 2015 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK MAN AND SUPERMAN *** + + + + +Produced by Eve Sobol and David Widger + + + + + +</pre> + <p> + <br /> <br /> + </p> + <h1> + MAN AND SUPERMAN + </h1> + <h2> + A COMEDY AND A PHILOSOPHY <br /> By Bernard Shaw + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <p class="toc"> + <a href="#link2H_4_0001"> EPISTLE DEDICATORY TO ARTHUR BINGHAM WALKLEY + </a> + </p> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0002"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> ACT III </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> ACT IV </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> <br /> <br /> + </p> + <h2> + EPISTLE DEDICATORY TO ARTHUR BINGHAM WALKLEY + </h2> + <h3> + My dear Walkley: + </h3> + <p> + You once asked me why I did not write a Don Juan play. The levity with + which you assumed this frightful responsibility has probably by this time + enabled you to forget it; but the day of reckoning has arrived: here is + your play! I say your play, because qui facit per alium facit per se. Its + profits, like its labor, belong to me: its morals, its manners, its + philosophy, its influence on the young, are for you to justify. You were + of mature age when you made the suggestion; and you knew your man. It is + hardly fifteen years since, as twin pioneers of the New Journalism of that + time, we two, cradled in the same new sheets, made an epoch in the + criticism of the theatre and the opera house by making it a pretext for a + propaganda of our own views of life. So you cannot plead ignorance of the + character of the force you set in motion. You meant me to epater le + bourgeois; and if he protests, I hereby refer him to you as the + accountable party. + </p> + <p> + I warn you that if you attempt to repudiate your responsibility, I shall + suspect you of finding the play too decorous for your taste. The fifteen + years have made me older and graver. In you I can detect no such becoming + change. Your levities and audacities are like the loves and comforts + prayed for by Desdemona: they increase, even as your days do grow. No mere + pioneering journal dares meddle with them now: the stately Times itself is + alone sufficiently above suspicion to act as your chaperone; and even the + Times must sometimes thank its stars that new plays are not produced every + day, since after each such event its gravity is compromised, its platitude + turned to epigram, its portentousness to wit, its propriety to elegance, + and even its decorum into naughtiness by criticisms which the traditions + of the paper do not allow you to sign at the end, but which you take care + to sign with the most extravagant flourishes between the lines. I am not + sure that this is not a portent of Revolution. In eighteenth century + France the end was at hand when men bought the Encyclopedia and found + Diderot there. When I buy the Times and find you there, my prophetic ear + catches a rattle of twentieth century tumbrils. + </p> + <p> + However, that is not my present anxiety. The question is, will you not be + disappointed with a Don Juan play in which not one of that hero's mille e + tre adventures is brought upon the stage? To propitiate you, let me + explain myself. You will retort that I never do anything else: it is your + favorite jibe at me that what I call drama is nothing but explanation. But + you must not expect me to adopt your inexplicable, fantastic, petulant, + fastidious ways: you must take me as I am, a reasonable, patient, + consistent, apologetic, laborious person, with the temperament of a + schoolmaster and the pursuits of a vestryman. No doubt that literary knack + of mine which happens to amuse the British public distracts attention from + my character; but the character is there none the less, solid as bricks. I + have a conscience; and conscience is always anxiously explanatory. You, on + the contrary, feel that a man who discusses his conscience is much like a + woman who discusses her modesty. The only moral force you condescend to + parade is the force of your wit: the only demand you make in public is the + demand of your artistic temperament for symmetry, elegance, style, grace, + refinement, and the cleanliness which comes next to godliness if not + before it. But my conscience is the genuine pulpit article: it annoys me + to see people comfortable when they ought to be uncomfortable; and I + insist on making them think in order to bring them to conviction of sin. + If you don't like my preaching you must lump it. I really cannot help it. + </p> + <p> + In the preface to my Plays for Puritans I explained the predicament of our + contemporary English drama, forced to deal almost exclusively with cases + of sexual attraction, and yet forbidden to exhibit the incidents of that + attraction or even to discuss its nature. Your suggestion that I should + write a Don Juan play was virtually a challenge to me to treat this + subject myself dramatically. The challenge was difficult enough to be + worth accepting, because, when you come to think of it, though we have + plenty of dramas with heroes and heroines who are in love and must + accordingly marry or perish at the end of the play, or about people whose + relations with one another have been complicated by the marriage laws, not + to mention the looser sort of plays which trade on the tradition that + illicit love affairs are at once vicious and delightful, we have no modern + English plays in which the natural attraction of the sexes for one another + is made the mainspring of the action. That is why we insist on beauty in + our performers, differing herein from the countries our friend William + Archer holds up as examples of seriousness to our childish theatres. There + the Juliets and Isoldes, the Romeos and Tristans, might be our mothers and + fathers. Not so the English actress. The heroine she impersonates is not + allowed to discuss the elemental relations of men and women: all her + romantic twaddle about novelet-made love, all her purely legal dilemmas as + to whether she was married or "betrayed," quite miss our hearts and worry + our minds. To console ourselves we must just look at her. We do so; and + her beauty feeds our starving emotions. Sometimes we grumble ungallantly + at the lady because she does not act as well as she looks. But in a drama + which, with all its preoccupation with sex, is really void of sexual + interest, good looks are more desired than histrionic skill. + </p> + <p> + Let me press this point on you, since you are too clever to raise the + fool's cry of paradox whenever I take hold of a stick by the right instead + of the wrong end. Why are our occasional attempts to deal with the sex + problem on the stage so repulsive and dreary that even those who are most + determined that sex questions shall be held open and their discussion kept + free, cannot pretend to relish these joyless attempts at social + sanitation? Is it not because at bottom they are utterly sexless? What is + the usual formula for such plays? A woman has, on some past occasion, been + brought into conflict with the law which regulates the relations of the + sexes. A man, by falling in love with her, or marrying her, is brought + into conflict with the social convention which discountenances the woman. + Now the conflicts of individuals with law and convention can be dramatized + like all other human conflicts; but they are purely judicial; and the fact + that we are much more curious about the suppressed relations between the + man and the woman than about the relations between both and our courts of + law and private juries of matrons, produces that sensation of evasion, of + dissatisfaction, of fundamental irrelevance, of shallowness, of useless + disagreeableness, of total failure to edify and partial failure to + interest, which is as familiar to you in the theatres as it was to me when + I, too, frequented those uncomfortable buildings, and found our popular + playwrights in the mind to (as they thought) emulate Ibsen. + </p> + <p> + I take it that when you asked me for a Don Juan play you did not want that + sort of thing. Nobody does: the successes such plays sometimes obtain are + due to the incidental conventional melodrama with which the experienced + popular author instinctively saves himself from failure. But what did you + want? Owing to your unfortunate habit—you now, I hope, feel its + inconvenience—of not explaining yourself, I have had to discover + this for myself. First, then, I have had to ask myself, what is a Don + Juan? Vulgarly, a libertine. But your dislike of vulgarity is pushed to + the length of a defect (universality of character is impossible without a + share of vulgarity); and even if you could acquire the taste, you would + find yourself overfed from ordinary sources without troubling me. So I + took it that you demanded a Don Juan in the philosophic sense. + </p> + <p> + Philosophically, Don Juan is a man who, though gifted enough to be + exceptionally capable of distinguishing between good and evil, follows his + own instincts without regard to the common statute, or canon law; and + therefore, whilst gaining the ardent sympathy of our rebellious instincts + (which are flattered by the brilliancies with which Don Juan associates + them) finds himself in mortal conflict with existing institutions, and + defends himself by fraud and farce as unscrupulously as a farmer defends + his crops by the same means against vermin. The prototypic Don Juan, + invented early in the XVI century by a Spanish monk, was presented, + according to the ideas of that time, as the enemy of God, the approach of + whose vengeance is felt throughout the drama, growing in menace from + minute to minute. No anxiety is caused on Don Juan's account by any minor + antagonist: he easily eludes the police, temporal and spiritual; and when + an indignant father seeks private redress with the sword, Don Juan kills + him without an effort. Not until the slain father returns from heaven as + the agent of God, in the form of his own statue, does he prevail against + his slayer and cast him into hell. The moral is a monkish one: repent and + reform now; for to-morrow it may be too late. This is really the only + point on which Don Juan is sceptical; for he is a devout believer in an + ultimate hell, and risks damnation only because, as he is young, it seems + so far off that repentance can be postponed until he has amused himself to + his heart's content. + </p> + <p> + But the lesson intended by an author is hardly ever the lesson the world + chooses to learn from his book. What attracts and impresses us in El + Burlador de Sevilla is not the immediate urgency of repentance, but the + heroism of daring to be the enemy of God. From Prometheus to my own + Devil's Disciple, such enemies have always been popular. Don Juan became + such a pet that the world could not bear his damnation. It reconciled him + sentimentally to God in a second version, and clamored for his + canonization for a whole century, thus treating him as English journalism + has treated that comic foe of the gods, Punch. Moliere's Don Juan casts + back to the original in point of impenitence; but in piety he falls off + greatly. True, he also proposes to repent; but in what terms? "Oui, ma + foi! il faut s'amender. Encore vingt ou trente ans de cette vie-ci, et + puis nous songerons a nous." After Moliere comes the artist-enchanter, the + master of masters, 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. + </p> + <p> + 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. + </p> + <p> + 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 Moliere 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 Moliere 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. + </p> + <p> + 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. + </p> + <p> + 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. + </p> + <p> + 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 honor and so forth. + </p> + <p> + On the whole, this is a sensible and satisfactory foundation for society. + Money means nourishment and marriage means children; and that men should + put nourishment first and women children first is, broadly speaking, the + law of Nature and not the dictate of personal ambition. The secret of the + prosaic man's success, such as it is, is the simplicity with which he + pursues these ends: the secret of the artistic man's failure, such as that + is, is the versatility with which he strays in all directions after + secondary ideals. The artist is either a poet or a scallawag: as poet, he + cannot see, as the prosaic man does, that chivalry is at bottom only + romantic suicide: as scallawag, he cannot see that it does not pay to + spunge and beg and lie and brag and neglect his person. Therefore do not + misunderstand my plain statement of the fundamental constitution of London + society as an Irishman's reproach to your nation. From the day I first set + foot on this foreign soil I knew the value of the prosaic qualities of + which Irishmen teach Englishmen to be ashamed as well as I knew the vanity + of the poetic qualities of which Englishmen teach Irishmen to be proud. + For the Irishman instinctively disparages the quality which makes the + Englishman dangerous to him; and the Englishman instinctively flatters the + fault that makes the Irishman harmless and amusing to him. What is wrong + with the prosaic Englishman is what is wrong with the prosaic men of all + countries: stupidity. The vitality which places nourishment and children + first, heaven and hell a somewhat remote second, and the health of society + as an organic whole nowhere, may muddle successfully through the + comparatively tribal stages of gregariousness; but in nineteenth century + nations and twentieth century empires the determination of every man to be + rich at all costs, and of every woman to be married at all costs, must, + without a highly scientific social organization, produce a ruinous + development of poverty, celibacy, prostitution, infant mortality, adult + degeneracy, and everything 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. + </p> + <p> + 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. + </p> + <p> + 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. + </p> + <p> + 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! + </p> + <p> + 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. + </p> + <p> + 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. + </p> + <p> + 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 with love, turn from honest attempts at science in physics to + romantic nonsense, erotic ecstasy, or the stern asceticism of satiety + ("the road of excess leads to the palace of wisdom" said William Blake; + for "you never know what is enough unless you know what is more than + enough"). + </p> + <p> + There is a political aspect of this sex question which is too big for my + comedy, and too momentous to be passed over without culpable frivolity. It + is impossible to demonstrate that the initiative in sex transactions + remains with Woman, and has been confirmed to her, so far, more and more + by the suppression of rapine and discouragement of importunity, without + being driven to very serious reflections on the fact that this initiative + is politically the most important of all the initiatives, because our + political experiment of democracy, the last refuge of cheap misgovernment, + will ruin us if our citizens are ill bred. + </p> + <p> + When we two were born, this country was still dominated by a selected + class bred by political marriages. The commercial class had not then + completed the first twenty-five years of its new share of political power; + and it was itself selected by money qualification, and bred, if not by + political marriage, at least by a pretty rigorous class marriage. + Aristocracy and plutocracy still furnish the figureheads of politics; but + they are now dependent on the votes of the promiscuously bred masses. And + this, if you please, at the very moment when the political problem, having + suddenly ceased to mean a very limited and occasional interference, mostly + by way of jobbing public appointments, in the mismanagement of a tight but + parochial little island, with occasional meaningless prosecution of + dynastic wars, has become the industrial reorganization of Britain, the + construction of a practically international Commonwealth, and the + partition of the whole of Africa and perhaps the whole of Asia by the + civilized Powers. Can you believe that the people whose conceptions of + society and conduct, whose power of attention and scope of interest, are + measured by the British theatre as you know it to-day, can either handle + this colossal task themselves, or understand and support the sort of mind + and character that is (at least comparatively) capable of handling it? For + remember: what our voters are in the pit and gallery they are also in the + polling booth. We are all now under what Burke called "the hoofs of the + swinish multitude." Burke's language gave great offence because the + implied exceptions to its universal application made it a class insult; + and it certainly was not for the pot to call the kettle black. The + aristocracy he defended, in spite of the political marriages by which it + tried to secure breeding for itself, had its mind undertrained by silly + schoolmasters and governesses, its character corrupted by gratuitous + luxury, its self-respect adulterated to complete spuriousness by flattery + and flunkeyism. It is no better to-day and never will be any better: our + very peasants have something morally hardier in them that culminates + occasionally in a Bunyan, a Burns, or a Carlyle. But observe, this + aristocracy, which was overpowered from 1832 to 1885 by the middle class, + has come back to power by the votes of "the swinish multitude." Tom Paine + has triumphed over Edmund Burke; and the swine are now courted electors. + How many of their own class have these electors sent to parliament? Hardly + a dozen out of 670, and these only under the persuasion of conspicuous + personal qualifications and popular eloquence. The multitude thus + pronounces judgment on its own units: it admits itself unfit to govern, + and will vote only for a man morphologically and generically transfigured + by palatial residence and equipage, by transcendent tailoring, by the + glamor of aristocratic kinship. Well, we two know these transfigured + persons, these college passmen, these well groomed monocular Algys and + Bobbies, these cricketers to whom age brings golf instead of wisdom, these + plutocratic products of "the nail and sarspan business as he got his money + by." Do you know whether to laugh or cry at the notion that they, poor + devils! will drive a team of continents as they drive a four-in-hand; turn + a jostling anarchy of casual trade and speculation into an ordered + productivity; and federate our colonies into a world-Power of the first + magnitude? Give these people the most perfect political constitution and + the soundest political program that benevolent omniscience can devise for + them, and they will interpret it into mere fashionable folly or canting + charity as infallibly as a savage converts the philosophical theology of a + Scotch missionary into crude African idolatry. + </p> + <p> + I do not know whether you have any illusions left on the subject of + education, progress, and so forth. I have none. Any pamphleteer can show + the way to better things; but when there is no will there is no way. My + nurse was fond of remarking that you cannot make a silk purse out of a + sow's ear, and the more I see of the efforts of our churches and + universities and literary sages to raise the mass above its own level, the + more convinced I am that my nurse was right. Progress can do nothing but + make the most of us all as we are, and that most would clearly not be + enough even if those who are already raised out of the lowest abysses + would allow the others a chance. The bubble of Heredity has been pricked: + the certainty that acquirements are negligible as elements in practical + heredity has demolished the hopes of the educationists as well as the + terrors of the degeneracy mongers; and we know now that there is no + hereditary "governing class" any more than a hereditary hooliganism. We + must either breed political capacity or be ruined by Democracy, which was + forced on us by the failure of the older alternatives. Yet if Despotism + failed only for want of a capable benevolent despot, what chance has + Democracy, which requires a whole population of capable voters: that is, + of political critics who, if they cannot govern in person for lack of + spare energy or specific talent for administration, can at least recognize + and appreciate capacity and benevolence in others, and so govern through + capably benevolent representatives? Where are such voters to be found + to-day? Nowhere. Promiscuous breeding has produced a weakness of character + that is too timid to face the full stringency of a thoroughly competitive + struggle for existence and too lazy and petty to organize the commonwealth + co-operatively. Being cowards, we defeat natural selection under cover of + philanthropy: being sluggards, we neglect artificial selection under cover + of delicacy and morality. + </p> + <p> + Yet we must get an electorate of capable critics or collapse as Rome and + Egypt collapsed. At this moment the Roman decadent phase of panem et + circenses is being inaugurated under our eyes. Our newspapers and + melodramas are blustering about our imperial destiny; but our eyes and + hearts turn eagerly to the American millionaire. As his hand goes down to + his pocket, our fingers go up to the brims of our hats by instinct. Our + ideal prosperity is not the prosperity of the industrial north, but the + prosperity of the Isle of Wight, of Folkestone and Ramsgate, of Nice and + Monte Carlo. That is the only prosperity you see on the stage, where the + workers are all footmen, parlourmaids, comic lodging-letters and + fashionable professional men, whilst the heroes and heroines are + miraculously provided with unlimited dividends, and eat gratuitously, like + the knights in Don Quixote's books of chivalry. + </p> + <p> + The city papers prate of the competition of Bombay with Manchester and the + like. The real competition is the competition of Regent Street with the + Rue de Rivoli, of Brighton and the south coast with the Riviera, for the + spending money of the American Trusts. What is all this growing love of + pageantry, this effusive loyalty, this officious rising and uncovering at + a wave from a flag or a blast from a brass band? Imperialism: Not a bit of + it. Obsequiousness, servility, cupidity roused by the prevailing smell of + money. When Mr Carnegie rattled his millions in his pockets all England + became one rapacious cringe. Only, when Rhodes (who had probably been + reading my Socialism for Millionaires) left word that no idler was to + inherit his estate, the bent backs straightened mistrustfully for a + moment. Could it be that the Diamond King was no gentleman after all? + However, it was easy to ignore a rich man's solecism. The ungentlemanly + clause was not mentioned again; and the backs soon bowed themselves back + into their natural shape. + </p> + <p> + But I hear you asking me in alarm whether I have actually put all this tub + thumping into a Don Juan comedy. I have not. I have only made my Don Juan + a political pamphleteer, and given you his pamphlet in full by way of + appendix. You will find it at the end of the book. I am sorry to say that + it is a common practice with romancers to announce their hero as a man of + extraordinary genius, and to leave his works entirely to the reader's + imagination; so that at the end of the book you whisper to yourself + ruefully that but for the author's solemn preliminary assurance you should + hardly have given the gentleman credit for ordinary good sense. You cannot + accuse me of this pitiable barrenness, this feeble evasion. I not only + tell you that my hero wrote a revolutionists' handbook: I give you the + handbook at full length for your edification if you care to read it. And + in that handbook you will find the politics of the sex question as I + conceive Don Juan's descendant to understand them. Not that I disclaim the + fullest responsibility for his opinions and for those of all my + characters, pleasant and unpleasant. They are all right from their several + points of view; and their points of view are, for the dramatic moment, + mine also. This may puzzle the people who believe that there is such a + thing as an absolutely right point of view, usually their own. It may seem + to them that nobody who doubts this can be in a state of grace. However + that may be, it is certainly true that nobody who agrees with them can + possibly be a dramatist, or indeed anything else that turns upon a + knowledge of mankind. Hence it has been pointed out that Shakespear had no + conscience. Neither have I, in that sense. + </p> + <p> + You may, however, remind me that this digression of mine into politics was + preceded by a very convincing demonstration that the artist never catches + the point of view of the common man on the question of sex, because he is + not in the same predicament. I first prove that anything I write on the + relation of the sexes is sure to be misleading; and then I proceed to + write a Don Juan play. Well, if you insist on asking me why I behave in + this absurd way, I can only reply that you asked me to, and that in any + case my treatment of the subject may be valid for the artist, amusing to + the amateur, and at least intelligible and therefore possibly suggestive + to the Philistine. Every man who records his illusions is providing data + for the genuinely scientific psychology which the world still waits for. I + plank down my view of the existing relations of men to women in the most + highly civilized society for what it is worth. It is a view like any other + view and no more, neither true nor false, but, I hope, a way of looking at + the subject which throws into the familiar order of cause and effect a + sufficient body of fact and experience to be interesting to you, if not to + the play-going public of London. I have certainly shown little + consideration for that public in this enterprise; but I know that it has + the friendliest disposition towards you and me as far as it has any + consciousness of our existence, and quite understands that what I write + for you must pass at a considerable height over its simple romantic head. + It will take my books as read and my genius for granted, trusting me to + put forth work of such quality as shall bear out its verdict. So we may + disport ourselves on our own plane to the top of our bent; and if any + gentleman points out that neither this epistle dedicatory nor the dream of + Don Juan in the third act of the ensuing comedy is suitable for immediate + production at a popular theatre we need not contradict him. Napoleon + provided Talma with a pit of kings, with what effect on Talma's acting is + not recorded. As for me, what I have always wanted is a pit of + philosophers; and this is a play for such a pit. + </p> + <p> + I should make formal acknowledgment to the authors whom I have pillaged in + the following pages if I could recollect them all. The theft of the + brigand-poetaster from Sir Arthur Conan Doyle is deliberate; and the + metamorphosis of Leporello into Enry Straker, motor engineer and New Man, + is an intentional dramatic sketch for the contemporary embryo of Mr H. G. + Wells's anticipation of the efficient engineering class which will, he + hopes, finally sweep the jabberers out of the way of civilization. Mr + Barrio has also, whilst I am correcting my proofs, delighted London with a + servant who knows more than his masters. The conception of Mendoza Limited + I trace back to a certain West Indian colonial secretary, who, at a period + when he and I and Mr Sidney Webb were sowing our political wild oats as a + sort of Fabian Three Musketeers, without any prevision of the surprising + respectability of the crop that followed, recommended Webb, the + encyclopedic and inexhaustible, to form himself into a company for the + benefit of the shareholders. Octavius I take over unaltered from Mozart; + and I hereby authorize any actor who impersonates him, to sing "Dalla sua + pace" (if he can) at any convenient moment during the representation. Ann + was suggested to me by the fifteenth century Dutch morality called + Everyman, which Mr William Poel has lately resuscitated so triumphantly. I + trust he will work that vein further, and recognize that Elizabethan + Renascence fustian is no more bearable after medieval poesy than Scribe + after Ibsen. As I sat watching Everyman at the Charterhouse, I said to + myself Why not Everywoman? Ann was the result: every woman is not Ann; but + Ann is Everywoman. + </p> + <p> + That the author of Everyman was no mere artist, but an artist-philosopher, + and that the artist-philosophers are the only sort of artists I take quite + seriously, will be no news to you. Even Plato and Boswell, as the + dramatists who invented Socrates and Dr Johnson, impress me more deeply + than the romantic playwrights. Ever since, as a boy, I first breathed the + air of the transcendental regions at a performance of Mozart's + Zauberflote, I have been proof against the garish splendors and alcoholic + excitements of the ordinary stage combinations of Tappertitian romance + with the police intelligence. Bunyan, Blake, Hogarth and Turner (these + four apart and above all the English Classics), Goethe, Shelley, + Schopenhaur, Wagner, Ibsen, Morris, Tolstoy, and Nietzsche are among the + writers whose peculiar sense of the world I recognize as more or less akin + to my own. Mark the word peculiar. I read Dickens and Shakespear without + shame or stint; but their pregnant observations and demonstrations of life + are not co-ordinated into any philosophy or religion: on the contrary, + Dickens's sentimental assumptions are violently contradicted by his + observations; and Shakespear's pessimism is only his wounded humanity. + Both have the specific genius of the fictionist and the common sympathies + of human feeling and thought in pre-eminent degree. They are often saner + and shrewder than the philosophers just as Sancho-Panza was often saner + and shrewder than Don Quixote. They clear away vast masses of oppressive + gravity by their sense of the ridiculous, which is at bottom a combination + of sound moral judgment with lighthearted good humor. But they are + concerned with the diversities of the world instead of with its unities: + they are so irreligious that they exploit popular religion for + professional purposes without delicacy or scruple (for example, Sydney + Carton and the ghost in Hamlet!): they are anarchical, and cannot balance + their exposures of Angelo and Dogberry, Sir Leicester Dedlock and Mr Tite + Barnacle, with any portrait of a prophet or a worthy leader: they have no + constructive ideas: they regard those who have them as dangerous fanatics: + in all their fictions there is no leading thought or inspiration for which + any man could conceivably risk the spoiling of his hat in a shower, much + less his life. Both are alike forced to borrow motives for the more + strenuous actions of their personages from the common stockpot of + melodramatic plots; so that Hamlet has to be stimulated by the prejudices + of a policeman and Macbeth by the cupidities of a bushranger. Dickens, + without the excuse of having to manufacture motives for Hamlets and + Macbeths, superfluously punt his crew down the stream of his monthly parts + by mechanical devices which I leave you to describe, my own memory being + quite baffled by the simplest question as to Monks in Oliver Twist, or the + long lost parentage of Smike, or the relations between the Dorrit and + Clennam families so inopportunely discovered by Monsieur Rigaud Blandois. + The truth is, the world was to Shakespear a great "stage of fools" on + which he was utterly bewildered. He could see no sort of sense in living + at all; and Dickens saved himself from the despair of the dream in The + Chimes by taking the world for granted and busying himself with its + details. Neither of them could do anything with a serious positive + character: they could place a human figure before you with perfect + verisimilitude; but when the moment came for making it live and move, they + found, unless it made them laugh, that they had a puppet on their hands, + and had to invent some artificial external stimulus to make it work. This + is what is the matter with Hamlet all through: he has no will except in + his bursts of temper. Foolish Bardolaters make a virtue of this after + their fashion: they declare that the play is the tragedy of irresolution; + but all Shakespear's projections of the deepest humanity he knew have the + same defect: their characters and manners are lifelike; but their actions + are forced on them from without, and the external force is grotesquely + inappropriate except when it is quite conventional, as in the case of + Henry V. Falstaff is more vivid than any of these serious reflective + characters, because he is self-acting: his motives are his own appetites + and instincts and humors. Richard III, too, is delightful as the whimsical + comedian who stops a funeral to make love to the corpse's widow; but when, + in the next act, he is replaced by a stage villain who smothers babies and + offs with people's heads, we are revolted at the imposture and repudiate + the changeling. Faulconbridge, Coriolanus, Leontes are admirable + descriptions of instinctive temperaments: indeed the play of Coriolanus is + the greatest of Shakespear's comedies; but description is not philosophy; + and comedy neither compromises the author nor reveals him. He must be + judged by those characters into which he puts what he knows of himself, + his Hamlets and Macbeths and Lears and Prosperos. If these characters are + agonizing in a void about factitious melodramatic murders and revenges and + the like, whilst the comic characters walk with their feet on solid + ground, vivid and amusing, you know that the author has much to show and + nothing to teach. The comparison between Falstaff and Prospero is like the + comparison between Micawber and David Copperfield. At the end of the book + you know Micawber, whereas you only know what has happened to David, and + are not interested enough in him to wonder what his politics or religion + might be if anything so stupendous as a religious or political idea, or a + general idea of any sort, were to occur to him. He is tolerable as a + child; but he never becomes a man, and might be left out of his own + biography altogether but for his usefulness as a stage confidant, a + Horatio or "Charles his friend" what they call on the stage a feeder. + </p> + <p> + Now you cannot say this of the works of the artist-philosophers. You + cannot say it, for instance, of The Pilgrim's Progress. Put your + Shakespearian hero and coward, Henry V and Pistol or Parolles, beside Mr + Valiant and Mr Fearing, and you have a sudden revelation of the abyss that + lies between the fashionable author who could see nothing in the world but + personal aims and the tragedy of their disappointment or the comedy of + their incongruity, and the field preacher who achieved virtue and courage + by identifying himself with the purpose of the world as he understood it. + The contrast is enormous: Bunyan's coward stirs your blood more than + Shakespear's hero, who actually leaves you cold and secretly hostile. You + suddenly see that Shakespear, with all his flashes and divinations, never + understood virtue and courage, never conceived how any man who was not a + fool could, like Bunyan's hero, look back from the brink of the river of + death over the strife and labor of his pilgrimage, and say "yet do I not + repent me"; or, with the panache of a millionaire, bequeath "my sword to + him that shall succeed me in my pilgrimage, and my courage and skill to + him that can get it." This is the true joy in life, the being used for a + purpose recognized by yourself as a mighty one; the being thoroughly worn + out before you are thrown on the scrap heap; the being a force of Nature + instead of a feverish selfish little clod of ailments and grievances + complaining that the world will not devote itself to making you happy. And + also the only real tragedy in life is the being used by personally minded + men for purposes which you recognize to be base. All the rest is at worst + mere misfortune or mortality: this alone is misery, slavery, hell on + earth; and the revolt against it is the only force that offers a man's + work to the poor artist, whom our personally minded rich people would so + willingly employ as pandar, buffoon, beauty monger, sentimentalizer and + the like. + </p> + <p> + It may seem a long step from Bunyan to Nietzsche; but the difference + between their conclusions is purely formal. Bunyan's perception that + righteousness is filthy rags, his scorn for Mr Legality in the village of + Morality, his defiance of the Church as the supplanter of religion, his + insistence on courage as the virtue of virtues, his estimate of the career + of the conventionally respectable and sensible Worldly Wiseman as no + better at bottom than the life and death of Mr Badman: all this, expressed + by Bunyan in the terms of a tinker's theology, is what Nietzsche has + expressed in terms of post-Darwinian, post-Schopenhaurian philosophy; + Wagner in terms of polytheistic mythology; and Ibsen in terms of mid-XIX + century Parisian dramaturgy. Nothing is new in these matters except their + novelties: for instance, it is a novelty to call Justification by Faith + "Wille," and Justification by Works "Vorstellung." The sole use of the + novelty is that you and I buy and read Schopenhaur's treatise on Will and + Representation when we should not dream of buying a set of sermons on + Faith versus Works. At bottom the controversy is the same, and the + dramatic results are the same. Bunyan makes no attempt to present his + pilgrims as more sensible or better conducted than Mr Worldly Wiseman. Mr + W. W.'s worst enemies, as Mr Embezzler, Mr Never-go-to-Church-on-Sunday, + Mr Bad Form, Mr Murderer, Mr Burglar, Mr Co-respondent, Mr Blackmailer, Mr + Cad, Mr Drunkard, Mr Labor Agitator and so forth, can read the Pilgrim's + Progress without finding a word said against them; whereas the respectable + people who snub them and put them in prison, such as Mr W.W. himself and + his young friend Civility; Formalist and Hypocrisy; Wildhead, + Inconsiderate, and Pragmatick (who were clearly young university men of + good family and high feeding); that brisk lad Ignorance, Talkative, + By-Ends of Fairspeech and his mother-in-law Lady Feigning, and other + reputable gentlemen and citizens, catch it very severely. Even Little + Faith, though he gets to heaven at last, is given to understand that it + served him right to be mobbed by the brothers Faint Heart, Mistrust, and + Guilt, all three recognized members of respectable society and veritable + pillars of the law. The whole allegory is a consistent attack on morality + and respectability, without a word that one can remember against vice and + crime. Exactly what is complained of in Nietzsche and Ibsen, is it not? + And also exactly what would be complained of in all the literature which + is great enough and old enough to have attained canonical rank, officially + or unofficially, were it not that books are admitted to the canon by a + compact which confesses their greatness in consideration of abrogating + their meaning; so that the reverend rector can agree with the prophet + Micah as to his inspired style without being committed to any complicity + in Micah's furiously Radical opinions. Why, even I, as I force myself; pen + in hand, into recognition and civility, find all the force of my onslaught + destroyed by a simple policy of non-resistance. In vain do I redouble the + violence of the language in which I proclaim my heterodoxies. I rail at + the theistic credulity of Voltaire, the amoristic superstition of Shelley, + the revival of tribal soothsaying and idolatrous rites which Huxley called + Science and mistook for an advance on the Pentateuch, no less than at the + welter of ecclesiastical and professional humbug which saves the face of + the stupid system of violence and robbery which we call Law and Industry. + Even atheists reproach me with infidelity and anarchists with nihilism + because I cannot endure their moral tirades. And yet, instead of + exclaiming "Send this inconceivable Satanist to the stake," the + respectable newspapers pith me by announcing "another book by this + brilliant and thoughtful writer." And the ordinary citizen, knowing that + an author who is well spoken of by a respectable newspaper must be all + right, reads me, as he reads Micah, with undisturbed edification from his + own point of view. It is narrated that in the eighteen-seventies an old + lady, a very devout Methodist, moved from Colchester to a house in the + neighborhood of the City Road, in London, where, mistaking the Hall of + Science for a chapel, she sat at the feet of Charles Bradlaugh for many + years, entranced by his eloquence, without questioning his orthodoxy or + moulting a feather of her faith. I fear I small be defrauded of my just + martyrdom in the same way. + </p> + <p> + However, I am digressing, as a man with a grievance always does. And after + all, the main thing in determining the artistic quality of a book is not + the opinions it propagates, but the fact that the writer has opinions. The + old lady from Colchester was right to sun her simple soul in the energetic + radiance of Bradlaugh's genuine beliefs and disbeliefs rather than in the + chill of such mere painting of light and heat as elocution and convention + can achieve. My contempt for belles lettres, and for amateurs who become + the heroes of the fanciers of literary virtuosity, is not founded on any + illusion of mind as to the permanence of those forms of thought (call them + opinions) by which I strive to communicate my bent to my fellows. To + younger men they are already outmoded; for though they have no more lost + their logic than an eighteenth century pastel has lost its drawing or its + color, yet, like the pastel, they grow indefinably shabby, and will grow + shabbier until they cease to count at all, when my books will either + perish, or, if the world is still poor enough to want them, will have to + stand, with Bunyan's, by quite amorphous qualities of temper and energy. + With this conviction I cannot be a bellettrist. No doubt I must recognize, + as even the Ancient Mariner did, that I must tell my story entertainingly + if I am to hold the wedding guest spellbound in spite of the siren sounds + of the loud bassoon. But "for art's sake" alone I would not face the toil + of writing a single sentence. I know that there are men who, having + nothing to say and nothing to write, are nevertheless so in love with + oratory and with literature that they keep desperately repeating as much + as they can understand of what others have said or written aforetime. I + know that the leisurely tricks which their want of conviction leaves them + free to play with the diluted and misapprehended message supply them with + a pleasant parlor game which they call style. I can pity their dotage and + even sympathize with their fancy. But a true original style 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 Shakespear's style + without Bunyan's conviction or Shakespear'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 XIII + 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. + </p> + <p> + 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, + </p> + <p> + G. BERNARD SHAW. WOKING, 1903 <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT I + </h2> + <p> + 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 to-day; so he still wears his slippers, his + boots being ready for him on the hearthrug. Surmising that he has no + valet, and seeing that he has no secretary with a shorthand notebook and a + typewriter, one meditates on how little our great burgess domesticity has + been disturbed by new fashions and methods, or by the enterprise of the + railway and hotel companies which sell you a Saturday to Monday of life at + Folkestone as a real gentleman for two guineas, first class fares both + ways included. + </p> + <p> + How old is Roebuck? The question is important on the threshold of a drama + of ideas; for under such circumstances everything depends on whether his + adolescence belonged to the sixties or to the eighties. He was born, as a + matter of fact, in 1839, and was a Unitarian and Free Trader from his + boyhood, and an Evolutionist from the publication of the Origin of + Species. Consequently he has always classed himself as an advanced thinker + and fearlessly outspoken reformer. + </p> + <p> + Sitting at his writing table, he has on his right the windows giving on + Portland Place. Through these, as through a proscenium, the curious + spectator may contemplate his profile as well as the blinds will permit. + On his left is the inner wall, with a stately bookcase, and the door not + quite in the middle, but somewhat further from him. Against the wall + opposite him are two busts on pillars: one, to his left, of John Bright; + the other, to his right, of Mr Herbert Spencer. Between them hang an + engraved portrait of Richard Cobden; enlarged photographs of Martineau, + Huxley, and George Eliot; autotypes of allegories by Mr G.F. Watts (for + Roebuck believed in the fine arts with all the earnestness of a man who + does not understand them), and an impression of Dupont's engraving of + Delaroche's Beaux Artes hemicycle, representing the great men of all ages. + On the wall behind him, above the mantelshelf, is a family portrait of + impenetrable obscurity. + </p> + <p> + A chair stands near the writing table for the convenience of business + visitors. Two other chairs are against the wall between the busts. + </p> + <p> + A parlormaid enters with a visitor's card. Roebuck takes it, and nods, + pleased. Evidently a welcome caller. + </p> + <p> + RAMSDEN. Show him up. + </p> + <p> + The parlormaid goes out and returns with the visitor. + </p> + <p> + THE MAID. Mr Robinson. + </p> + <p> + Mr Robinson is really an uncommonly nice looking young fellow. He must, + one thinks, be the jeune premier; for it is not in reason to suppose that + a second such attractive male figure should appear in one story. The slim + shapely frame, the elegant suit of new mourning, the small head and + regular features, the pretty little moustache, the frank clear eyes, the + wholesome bloom and the youthful complexion, the well brushed glossy hair, + not curly, but of fine texture and good dark color, the arch of good + nature in the eyebrows, the erect forehead and neatly pointed chin, all + announce the man who will love and suffer later on. And that he will not + do so without sympathy is guaranteed by an engaging sincerity and eager + modest serviceableness which stamp him as a man of amiable nature. The + moment he appears, Ramsden's face expands into fatherly liking and + welcome, an expression which drops into one of decorous grief as the young + man approaches him with sorrow in his face as well as in his black + clothes. Ramsden seems to know the nature of the bereavement. As the + visitor advances silently to the writing table, the old man rises and + shakes his hand across it without a word: a long, affectionate shake which + tells the story of a recent sorrow common to both. + </p> + <p> + RAMSDEN. [concluding the handshake and cheering up] Well, well, Octavius, + it's the common lot. We must all face it someday. Sit down. + </p> + <p> + Octavius takes the visitor's chair. Ramsden replaces himself in his own. + </p> + <p> + OCTAVIUS. Yes: we must face it, Mr Ramsden. But I owed him a great deal. + He did everything for me that my father could have done if he had lived. + </p> + <p> + RAMSDEN. He had no son of his own, you see. + </p> + <p> + OCTAVIUS. But he had daughters; and yet he was as good to my sister as to + me. And his death was so sudden! I always intended to thank him—to + let him know that I had not taken all his care of me as a matter of + course, as any boy takes his father's care. But I waited for an + opportunity and now he is dead—dropped without a moment's warning. + He will never know what I felt. [He takes out his handkerchief and cries + unaffectedly]. + </p> + <p> + RAMSDEN. How do we know that, Octavius? He may know it: we cannot tell. + Come! Don't grieve. [Octavius masters himself and puts up his + handkerchief]. That's right. Now let me tell you something to console you. + The last time I saw him—it was in this very room—he said to + me: "Tavy is a generous lad and the soul of honor; and when I see how + little consideration other men get from their sons, I realize how much + better than a son he's been to me." There! Doesn't that do you good? + </p> + <p> + OCTAVIUS. Mr Ramsden: he used to say to me that he had met only one man in + the world who was the soul of honor, and that was Roebuck Ramsden. + </p> + <p> + RAMSDEN. Oh, that was his partiality: we were very old friends, you know. + But there was something else he used to say about you. I wonder whether I + ought to tell you or not! + </p> + <p> + OCTAVIUS. You know best. + </p> + <p> + RAMSDEN. It was something about his daughter. + </p> + <p> + OCTAVIUS. [eagerly] About Ann! Oh, do tell me that, Mr Ramsden. + </p> + <p> + RAMSDEN. Well, he said he was glad, after all, you were not his son, + because he thought that someday Annie and you—[Octavius blushes + vividly]. Well, perhaps I shouldn't have told you. But he was in earnest. + </p> + <p> + OCTAVIUS. Oh, if only I thought I had a chance! You know, Mr Ramsden, I + don't care about money or about what people call position; and I can't + bring myself to take an interest in the business of struggling for them. + Well, Ann has a most exquisite nature; but she is so accustomed to be in + the thick of that sort of thing that she thinks a man's character + incomplete if he is not ambitious. She knows that if she married me she + would have to reason herself out of being ashamed of me for not being a + big success of some kind. + </p> + <p> + RAMSDEN. [Getting up and planting himself with his back to the fireplace] + Nonsense, my boy, nonsense! You're too modest. What does she know about + the real value of men at her age? [More seriously] Besides, she's a + wonderfully dutiful girl. Her father's wish would be sacred to her. Do you + know that since she grew up to years of discretion, I don't believe she + has ever once given her own wish as a reason for doing anything or not + doing it. It's always "Father wishes me to," or "Mother wouldn't like it." + It's really almost a fault in her. I have often told her she must learn to + think for herself. + </p> + <p> + OCTAVIUS. [shaking his head] I couldn't ask her to marry me because her + father wished it, Mr Ramsden. + </p> + <p> + RAMSDEN. Well, perhaps not. No: of course not. I see that. No: you + certainly couldn't. But when you win her on your own merits, it will be a + great happiness to her to fulfil her father's desire as well as her own. + Eh? Come! you'll ask her, won't you? + </p> + <p> + OCTAVIUS. [with sad gaiety] At all events I promise you I shall never ask + anyone else. + </p> + <p> + RAMSDEN. Oh, you shan't need to. She'll accept you, my boy—although + [here he suddenly becomes very serious indeed] you have one great + drawback. + </p> + <p> + OCTAVIUS. [anxiously] What drawback is that, Mr Ramsden? I should rather + say which of my many drawbacks? + </p> + <p> + RAMSDEN. I'll tell you, Octavius. [He takes from the table a book bound in + red cloth]. I have in my hand a copy of the most infamous, the most + scandalous, the most mischievous, the most blackguardly book that ever + escaped burning at the hands of the common hangman. I have not read it: I + would not soil my mind with such filth; but I have read what the papers + say of it. The title is quite enough for me. [He reads it]. The + Revolutionist's Handbook and Pocket Companion by John Tanner, M.I.R.C., + Member of the Idle Rich Class. + </p> + <p> + OCTAVIUS. [smiling] But Jack— + </p> + <p> + RAMSDEN. [testily] For goodness' sake, don't call him Jack under my roof + [he throws the book violently down on the table, Then, somewhat relieved, + he comes past the table to Octavius, and addresses him at close quarters + with impressive gravity]. Now, Octavius, I know that my dead friend was + right when he said you were a generous lad. I know that this man was your + schoolfellow, and that you feel bound to stand by him because there was a + boyish friendship between you. But I ask you to consider the altered + circumstances. You were treated as a son in my friend's house. You lived + there; and your friends could not be turned from the door. This Tanner was + in and out there on your account almost from his childhood. He addresses + Annie by her Christian name as freely as you do. Well, while her father + was alive, that was her father's business, not mine. This man Tanner was + only a boy to him: his opinions were something to be laughed at, like a + man's hat on a child's head. But now Tanner is a grown man and Annie a + grown woman. And her father is gone. We don't as yet know the exact terms + of his will; but he often talked it over with me; and I have no more doubt + than I have that you're sitting there that the will appoints me Annie's + trustee and guardian. [Forcibly] Now I tell you, once for all, I can't and + I won't have Annie placed in such a position that she must, out of regard + for you, suffer the intimacy of this fellow Tanner. It's not fair: it's + not right: it's not kind. What are you going to do about it? + </p> + <p> + OCTAVIUS. But Ann herself has told Jack that whatever his opinions are, he + will always be welcome because he knew her dear father. + </p> + <p> + RAMSDEN. [out of patience] That girl's mad about her duty to her parents. + [He starts off like a goaded ox in the direction of John Bright, in whose + expression there is no sympathy for him. As he speaks, he fumes down to + Herbert Spencer, who receives him still more coldly] Excuse me, Octavius; + but there are limits to social toleration. You know that I am not a + bigoted or prejudiced man. You know that I am plain Roebuck Ramsden when + other men who have done less have got handles to their names, because I + have stood for equality and liberty of conscience while they were + truckling to the Church and to the aristocracy. Whitefield and I lost + chance after chance through our advanced opinions. But I draw the line at + Anarchism and Free Love and that sort of thing. If I am to be Annie's + guardian, she will have to learn that she has a duty to me. I won't have + it: I will not have it. She must forbid John Tanner the house; and so must + you. + </p> + <p> + The parlormaid returns. + </p> + <p> + OCTAVIUS. But— + </p> + <p> + RAMSDEN. [calling his attention to the servant] Ssh! Well? + </p> + <p> + THE MAID. Mr Tanner wishes to see you, sir. + </p> + <p> + RAMSDEN. Mr Tanner! + </p> + <p> + OCTAVIUS. Jack! + </p> + <p> + RAMSDEN. How dare Mr Tanner call on me! Say I cannot see him. + </p> + <p> + OCTAVIUS. [hurt] I am sorry you are turning my friend from your door like + that. + </p> + <p> + THE MAID. [calmly] He's not at the door, sir. He's upstairs in the + drawingroom with Miss Ramsden. He came with Mrs Whitefield and Miss Ann + and Miss Robinson, sir. + </p> + <p> + Ramsden's feelings are beyond words. + </p> + <p> + OCTAVIUS. [grinning] That's very like Jack, Mr Ramsden. You must see him, + even if it's only to turn him out. + </p> + <p> + RAMSDEN. [hammering out his words with suppressed fury] Go upstairs and + ask Mr Tanner to be good enough to step down here. [The parlormaid goes + out; and Ramsden returns to the fireplace, as to a fortified position]. I + must say that of all the confounded pieces of impertinence—well, if + these are Anarchist manners I hope you like them. And Annie with him! + Annie! A— [he chokes]. + </p> + <p> + OCTAVIUS. Yes: that's what surprises me. He's so desperately afraid of + Ann. There must be something the matter. + </p> + <p> + Mr John Tanner suddenly opens the door and enters. He is too young to be + described simply as a big man with a beard. But it is already plain that + middle life will find him in that category. He has still some of the + slimness of youth; but youthfulness is not the effect he aims at: his + frock coat would befit a prime minister; and a certain high chested + carriage of the shoulders, a lofty pose of the head, and the Olympian + majesty with which a mane, or rather a huge wisp, of hazel colored hair is + thrown back from an imposing brow, suggest Jupiter rather than Apollo. He + is prodigiously fluent of speech, restless, excitable (mark the snorting + nostril and the restless blue eye, just the thirty-secondth of an inch too + wide open), possibly a little mad. He is carefully dressed, not from the + vanity that cannot resist finery, but from a sense of the importance of + everything he does which leads him to make as much of paying a call as + other men do of getting married or laying a foundation stone. A sensitive, + susceptible, exaggerative, earnest man: a megalomaniac, who would be lost + without a sense of humor. + </p> + <p> + Just at present the sense of humor is in abeyance. To say that he is + excited is nothing: all his moods are phases of excitement. He is now in + the panic-stricken phase; and he walks straight up to Ramsden as if with + the fixed intention of shooting him on his own hearthrug. But what he + pulls from his breast pocket is not a pistol, but a foolscap document + which he thrusts under the indignant nose of Ramsden as he exclaims— + </p> + <p> + TANNER. Ramsden: do you know what that is? + </p> + <p> + RAMSDEN. [loftily] No, Sir. + </p> + <p> + TANNER. It's a copy of Whitefield's will. Ann got it this morning. + </p> + <p> + RAMSDEN. When you say Ann, you mean, I presume, Miss Whitefield. + </p> + <p> + TANNER. I mean our Ann, your Ann, Tavy's Ann, and now, Heaven help me, my + Ann! + </p> + <p> + OCTAVIUS. [rising, very pale] What do you mean? + </p> + <p> + TANNER. Mean! [He holds up the will]. Do you know who is appointed Ann's + guardian by this will? + </p> + <p> + RAMSDEN. [coolly] I believe I am. + </p> + <p> + TANNER. You! You and I, man. I! I!! I!!! Both of us! [He flings the will + down on the writing table]. + </p> + <p> + RAMSDEN. You! Impossible. + </p> + <p> + TANNER. It's only too hideously true. [He throws himself into Octavius's + chair]. Ramsden: get me out of it somehow. You don't know Ann as well as I + do. She'll commit every crime a respectable woman can; and she'll justify + every one of them by saying that it was the wish of her guardians. She'll + put everything on us; and we shall have no more control over her than a + couple of mice over a cat. + </p> + <p> + OCTAVIUS. Jack: I wish you wouldn't talk like that about Ann. + </p> + <p> + TANNER. This chap's in love with her: that's another complication. Well, + she'll either jilt him and say I didn't approve of him, or marry him and + say you ordered her to. I tell you, this is the most staggering blow that + has ever fallen on a man of my age and temperament. + </p> + <p> + RAMSDEN. Let me see that will, sir. [He goes to the writing table and + picks it up]. I cannot believe that my old friend Whitefield would have + shown such a want of confidence in me as to associate me with— [His + countenance falls as he reads]. + </p> + <p> + TANNER. It's all my own doing: that's the horrible irony of it. He told me + one day that you were to be Ann's guardian; and like a fool I began + arguing with him about the folly of leaving a young woman under the + control of an old man with obsolete ideas. + </p> + <p> + RAMSDEN. [stupended] My ideas obsolete!!!!! + </p> + <p> + TANNER. Totally. I had just finished an essay called Down with Government + by the Greyhaired; and I was full of arguments and illustrations. I said + the proper thing was to combine the experience of an old hand with the + vitality of a young one. Hang me if he didn't take me at my word and alter + his will—it's dated only a fortnight after that conversation—appointing + me as joint guardian with you! + </p> + <p> + RAMSDEN. [pale and determined] I shall refuse to act. + </p> + <p> + TANNER. What's the good of that? I've been refusing all the way from + Richmond; but Ann keeps on saying that of course she's only an orphan; and + that she can't expect the people who were glad to come to the house in her + father's time to trouble much about her now. That's the latest game. An + orphan! It's like hearing an ironclad talk about being at the mercy of the + winds and waves. + </p> + <p> + OCTAVIUS. This is not fair, Jack. She is an orphan. And you ought to stand + by her. + </p> + <p> + TANNER. Stand by her! What danger is she in? She has the law on her side; + she has popular sentiment on her side; she has plenty of money and no + conscience. All she wants with me is to load up all her moral + responsibilities on me, and do as she likes at the expense of my + character. I can't control her; and she can compromise me as much as she + likes. I might as well be her husband. + </p> + <p> + RAMSDEN. You can refuse to accept the guardianship. I shall certainly + refuse to hold it jointly with you. + </p> + <p> + TANNER. Yes; and what will she say to that? what does she say to it? Just + that her father's wishes are sacred to her, and that she shall always look + up to me as her guardian whether I care to face the responsibility or not. + Refuse! You might as well refuse to accept the embraces of a boa + constrictor when once it gets round your neck. + </p> + <p> + OCTAVIUS. This sort of talk is not kind to me, Jack. + </p> + <p> + TANNER. [rising and going to Octavius to console him, but still lamenting] + If he wanted a young guardian, why didn't he appoint Tavy? + </p> + <p> + RAMSDEN. Ah! why indeed? + </p> + <p> + OCTAVIUS. I will tell you. He sounded me about it; but I refused the trust + because I loved her. I had no right to let myself be forced on her as a + guardian by her father. He spoke to her about it; and she said I was + right. You know I love her, Mr Ramsden; and Jack knows it too. If Jack + loved a woman, I would not compare her to a boa constrictor in his + presence, however much I might dislike her [he sits down between the busts + and turns his face to the wall]. + </p> + <p> + RAMSDEN. I do not believe that Whitefield was in his right senses when he + made that will. You have admitted that he made it under your influence. + </p> + <p> + TANNER. You ought to be pretty well obliged to me for my influence. He + leaves you two thousand five hundred for your trouble. He leaves Tavy a + dowry for his sister and five thousand for himself. + </p> + <p> + OCTAVIUS. [his tears flowing afresh] Oh, I can't take it. He was too good + to us. + </p> + <p> + TANNER. You won't get it, my boy, if Ramsden upsets the will. + </p> + <p> + RAMSDEN. Ha! I see. You have got me in a cleft stick. + </p> + <p> + TANNER. He leaves me nothing but the charge of Ann's morals, on the ground + that I have already more money than is good for me. That shows that he had + his wits about him, doesn't it? + </p> + <p> + RAMSDEN. [grimly] I admit that. + </p> + <p> + OCTAVIUS. [rising and coming from his refuge by the wall] Mr Ramsden: I + think you are prejudiced against Jack. He is a man of honor, and incapable + of abusing— + </p> + <p> + TANNER. Don't, Tavy: you'll make me ill. I am not a man of honor: I am a + man struck down by a dead hand. Tavy: you must marry her after all and + take her off my hands. And I had set my heart on saving you from her! + </p> + <p> + OCTAVIUS. Oh, Jack, you talk of saving me from my highest happiness. + </p> + <p> + TANNER. Yes, a lifetime of happiness. If it were only the first half + hour's happiness, Tavy, I would buy it for you with my last penny. But a + lifetime of happiness! No man alive could bear it: it would be hell on + earth. + </p> + <p> + RAMSDEN. [violently] Stuff, sir. Talk sense; or else go and waste someone + else's time: I have something better to do than listen to your fooleries + [he positively kicks his way to his table and resumes his seat]. + </p> + <p> + TANNER. You hear him, Tavy! Not an idea in his head later than + eighteen-sixty. We can't leave Ann with no other guardian to turn to. + </p> + <p> + RAMSDEN. I am proud of your contempt for my character and opinions, sir. + Your own are set forth in that book, I believe. + </p> + <p> + TANNER. [eagerly going to the table] What! You've got my book! What do you + think of it? + </p> + <p> + RAMSDEN. Do you suppose I would read such a book, sir? + </p> + <p> + TANNER. Then why did you buy it? + </p> + <p> + RAMSDEN. I did not buy it, sir. It has been sent me by some foolish lady + who seems to admire your views. I was about to dispose of it when Octavius + interrupted me. I shall do so now, with your permission. [He throws the + book into the waste paper basket with such vehemence that Tanner recoils + under the impression that it is being thrown at his head]. + </p> + <p> + TANNER. You have no more manners than I have myself. However, that saves + ceremony between us. [He sits down again]. What do you intend to do about + this will? + </p> + <p> + OCTAVIUS. May I make a suggestion? + </p> + <p> + RAMSDEN. Certainly, Octavius. + </p> + <p> + OCTAVIUS. Aren't we forgetting that Ann herself may have some wishes in + this matter? + </p> + <p> + RAMSDEN. I quite intend that Annie's wishes shall be consulted in every + reasonable way. But she is only a woman, and a young and inexperienced + woman at that. + </p> + <p> + TANNER. Ramsden: I begin to pity you. + </p> + <p> + RAMSDEN. [hotly] I don't want to know how you feel towards me, Mr Tanner. + </p> + <p> + TANNER. Ann will do just exactly what she likes. And what's more, she'll + force us to advise her to do it; and she'll put the blame on us if it + turns out badly. So, as Tavy is longing to see her— + </p> + <p> + OCTAVIUS. [shyly] I am not, Jack. + </p> + <p> + TANNER. You lie, Tavy: you are. So let's have her down from the + drawing-room and ask her what she intends us to do. Off with you, Tavy, + and fetch her. [Tavy turns to go]. And don't be long for the strained + relations between myself and Ramsden will make the interval rather painful + [Ramsden compresses his lips, but says nothing—]. + </p> + <p> + OCTAVIUS. Never mind him, Mr Ramsden. He's not serious. [He goes out]. + </p> + <p> + RAMSDEN [very deliberately] Mr Tanner: you are the most impudent person I + have ever met. + </p> + <p> + TANNER. [seriously] I know it, Ramsden. Yet even I cannot wholly conquer + shame. We live in an atmosphere of shame. We are ashamed of everything + that is real about us; ashamed of ourselves, of our relatives, of our + incomes, of our accents, of our opinions, of our experience, just as we + are ashamed of our naked skins. Good Lord, my dear Ramsden, we are ashamed + to walk, ashamed to ride in an omnibus, ashamed to hire a hansom instead + of keeping a carriage, ashamed of keeping one horse instead of two and a + groom-gardener instead of a coachman and footman. The more things a man is + ashamed of, the more respectable he is. Why, you're ashamed to buy my + book, ashamed to read it: the only thing you're not ashamed of is to judge + me for it without having read it; and even that only means that you're + ashamed to have heterodox opinions. Look at the effect I produce because + my fairy godmother withheld from me this gift of shame. I have every + possible virtue that a man can have except— + </p> + <p> + RAMSDEN. I am glad you think so well of yourself. + </p> + <p> + TANNER. All you mean by that is that you think I ought to be ashamed of + talking about my virtues. You don't mean that I haven't got them: you know + perfectly well that I am as sober and honest a citizen as yourself, as + truthful personally, and much more truthful politically and morally. + </p> + <p> + RAMSDEN. [touched on his most sensitive point] I deny that. I will not + allow you or any man to treat me as if I were a mere member of the British + public. I detest its prejudices; I scorn its narrowness; I demand the + right to think for myself. You pose as an advanced man. Let me tell you + that I was an advanced man before you were born. + </p> + <p> + TANNER. I knew it was a long time ago. + </p> + <p> + RAMSDEN. I am as advanced as ever I was. I defy you to prove that I have + ever hauled down the flag. I am more advanced than ever I was. I grow more + advanced every day. + </p> + <p> + TANNER. More advanced in years, Polonius. + </p> + <p> + RAMSDEN. Polonius! So you are Hamlet, I suppose. + </p> + <p> + TANNER. No: I am only the most impudent person you've ever met. That's + your notion of a thoroughly bad character. When you want to give me a + piece of your mind, you ask yourself, as a just and upright man, what is + the worst you can fairly say of me. Thief, liar, forger, adulterer, + perjurer, glutton, drunkard? Not one of these names fit me. You have to + fall back on my deficiency in shame. Well, I admit it. I even congratulate + myself; for if I were ashamed of my real self, I should cut as stupid a + figure as any of the rest of you. Cultivate a little impudence, Ramsden; + and you will become quite a remarkable man. + </p> + <p> + RAMSDEN. I have no— + </p> + <p> + TANNER. You have no desire for that sort of notoriety. Bless you, I knew + that answer would come as well as I know that a box of matches will come + out of an automatic machine when I put a penny in the slot: you would be + ashamed to say anything else. + </p> + <p> + The crushing retort for which Ramsden has been visibly collecting his + forces is lost for ever; for at this point Octavius returns with Miss Ann + Whitefield and her mother; and Ramsden springs up and hurries to the door + to receive them. Whether Ann is good-looking or not depends upon your + taste; also and perhaps chiefly on your age and sex. To Octavius she is an + enchantingly beautiful woman, in whose presence the world becomes + transfigured, and the puny limits of individual consciousness are suddenly + made infinite by a mystic memory of the whole life of the race to its + beginnings in the east, or even back to the paradise from which it fell. + She is to him the reality of romance, the leaner good sense of nonsense, + the unveiling of his eyes, the freeing of his soul, the abolition of time, + place and circumstance, the etherealization of his blood into rapturous + rivers of the very water of life itself, the revelation of all the + mysteries and the sanctification of all the dogmas. To her mother she is, + to put it as moderately as possible, nothing whatever of the kind. Not + that Octavius's admiration is in any way ridiculous or discreditable. Ann + is a well formed creature, as far as that goes; and she is perfectly + ladylike, graceful, and comely, with ensnaring eyes and hair. Besides, + instead of making herself an eyesore, like her mother, she has devised a + mourning costume of black and violet silk which does honor to her late + father and reveals the family tradition of brave unconventionality by + which Ramsden sets such store. + </p> + <p> + But all this is beside the point as an explanation of Ann's charm. Turn up + her nose, give a cast to her eye, replace her black and violet confection + by the apron and feathers of a flower girl, strike all the aitches out of + her speech, and Ann would still make men dream. Vitality is as common as + humanity; but, like humanity, it sometimes rises to genius; and Ann is one + of the vital geniuses. Not at all, if you please, an oversexed person: + that is a vital defect, not a true excess. She is a perfectly respectable, + perfectly self-controlled woman, and looks it; though her pose is + fashionably frank and impulsive. She inspires confidence as a person who + will do nothing she does not mean to do; also some fear, perhaps, as a + woman who will probably do everything she means to do without taking more + account of other people than may be necessary and what she calls right. In + short, what the weaker of her own sex sometimes call a cat. + </p> + <p> + Nothing can be more decorous than her entry and her reception by Ramsden, + whom she kisses. The late Mr Whitefield would be gratified almost to + impatience by the long faces of the men (except Tanner, who is fidgety), + the silent handgrasps, the sympathetic placing of chairs, the sniffing of + the widow, and the liquid eye of the daughter, whose heart, apparently, + will not let her control her tongue to speech. Ramsden and Octavius take + the two chairs from the wall, and place them for the two ladies; but Ann + comes to Tanner and takes his chair, which he offers with a brusque + gesture, subsequently relieving his irritation by sitting down on the + corner of the writing table with studied indecorum. Octavius gives Mrs + Whitefield a chair next Ann, and himself takes the vacant one which + Ramsden has placed under the nose of the effigy of Mr Herbert Spencer. + </p> + <p> + Mrs Whitefield, by the way, is a little woman, whose faded flaxen hair + looks like straw on an egg. She has an expression of muddled shrewdness, a + squeak of protest in her voice, and an odd air of continually elbowing + away some larger person who is crushing her into a corner. One guesses her + as one of those women who are conscious of being treated as silly and + negligible, and who, without having strength enough to assert themselves + effectually, at any rate never submit to their fate. There is a touch of + chivalry in Octavius's scrupulous attention to her, even whilst his whole + soul is absorbed by Ann. + </p> + <p> + Ramsden goes solemnly back to his magisterial seat at the writing table, + ignoring Tanner, and opens the proceedings. + </p> + <p> + RAMSDEN. I am sorry, Annie, to force business on you at a sad time like + the present. But your poor dear father's will has raised a very serious + question. You have read it, I believe? + </p> + <p> + [Ann assents with a nod and a catch of her breath, too much affected to + speak]. + </p> + <p> + I must say I am surprised to find Mr Tanner named as joint guardian and + trustee with myself of you and Rhoda. [A pause. They all look portentous; + but they have nothing to say. Ramsden, a little ruffled by the lack of any + response, continues] I don't know that I can consent to act under such + conditions. Mr Tanner has, I understand, some objection also; but I do not + profess to understand its nature: he will no doubt speak for himself. But + we are agreed that we can decide nothing until we know your views. I am + afraid I shall have to ask you to choose between my sole guardianship and + that of Mr Tanner; for I fear it is impossible for us to undertake a joint + arrangement. + </p> + <p> + ANN. [in a low musical voice] Mamma— + </p> + <p> + MRS WHITEFIELD. [hastily] Now, Ann, I do beg you not to put it on me. I + have no opinion on the subject; and if I had, it would probably not be + attended to. I am quite with whatever you three think best. + </p> + <p> + Tanner turns his head and looks fixedly at Ramsden, who angrily refuses to + receive this mute communication. + </p> + <p> + ANN. [resuming in the same gentle voice, ignoring her mother's bad taste] + Mamma knows that she is not strong enough to bear the whole responsibility + for me and Rhoda without some help and advice. Rhoda must have a guardian; + and though I am older, I do not think any young unmarried woman should be + left quite to her own guidance. I hope you agree with me, Granny? + </p> + <p> + TANNER. [starting] Granny! Do you intend to call your guardians Granny? + </p> + <p> + ANN. Don't be foolish, Jack. Mr Ramsden has always been Grandpapa Roebuck + to me: I am Granny's Annie; and he is Annie's Granny. I christened him so + when I first learned to speak. + </p> + <p> + RAMSDEN. [sarcastically] I hope you are satisfied, Mr Tanner. Go on, + Annie: I quite agree with you. + </p> + <p> + ANN. Well, if I am to have a guardian, CAN I set aside anybody whom my + dear father appointed for me? + </p> + <p> + RAMSDEN. [biting his lip] You approve of your father's choice, then? + </p> + <p> + ANN. It is not for me to approve or disapprove. I accept it. My father + loved me and knew best what was good for me. + </p> + <p> + RAMSDEN. Of course I understand your feeling, Annie. It is what I should + have expected of you; and it does you credit. But it does not settle the + question so completely as you think. Let me put a case to you. Suppose you + were to discover that I had been guilty of some disgraceful action—that + I was not the man your poor dear father took me for. Would you still + consider it right that I should be Rhoda's guardian? + </p> + <p> + ANN. I can't imagine you doing anything disgraceful, Granny. + </p> + <p> + TANNER. [to Ramsden] You haven't done anything of the sort, have you? + </p> + <p> + RAMSDEN. [indignantly] No sir. + </p> + <p> + MRS. WHITEFIELD. [placidly] Well, then, why suppose it? + </p> + <p> + ANN. You see, Granny, Mamma would not like me to suppose it. + </p> + <p> + RAMSDEN. [much perplexed] You are both so full of natural and affectionate + feeling in these family matters that it is very hard to put the situation + fairly before you. + </p> + <p> + TANNER. Besides, my friend, you are not putting the situation fairly + before them. + </p> + <p> + RAMSDEN. [sulkily] Put it yourself, then. + </p> + <p> + TANNER. I will. Ann: Ramsden thinks I am not fit be your guardian; and I + quite agree with him. He considers that if your father had read my book, + he wouldn't have appointed me. That book is the disgraceful action he has + been talking about. He thinks it's your duty for Rhoda's sake to ask him + to act alone and to make me withdraw. Say the word and I will. + </p> + <p> + ANN. But I haven't read your book, Jack. + </p> + <p> + TANNER. [diving at the waste-paper basket and fishing the book out for + her] Then read it at once and decide. + </p> + <p> + RAMSDEN. If I am to be your guardian, I positively forbid you to read that + book, Annie. [He smites the table with his fist and rises]. + </p> + <p> + ANN. Of course, if you don't wish it. [She puts the book on the table]. + </p> + <p> + TANNER. If one guardian is to forbid you to read the other guardian's + book, how are we to settle it? Suppose I order you to read it! What about + your duty to me? + </p> + <p> + ANN. [gently] I am sure you would never purposely force me into a painful + dilemma, Jack. + </p> + <p> + RAMSDEN. [irritably] Yes, yes, Annie: this is all very well, and, as I + said, quite natural and becoming. But you must make a choice one way or + the other. We are as much in a dilemma as you. + </p> + <p> + ANN. I feel that I am too young, too inexperienced, to decide. My father's + wishes are sacred to me. + </p> + <p> + MRS WHITEFIELD. If you two men won't carry them out I must say it is + rather hard that you should put the responsibility on Ann. It seems to me + that people are always putting things on other people in this world. + </p> + <p> + RAMSDEN. I am sorry you take it that way. + </p> + <p> + ANN. [touchingly] Do you refuse to accept me as your ward, Granny? + </p> + <p> + RAMSDEN. No: I never said that. I greatly object to act with Mr Tanner: + that's all. + </p> + <p> + MRS. WHITEFIELD. Why? What's the matter with poor Jack? + </p> + <p> + TANNER. My views are too advanced for him. + </p> + <p> + RAMSDEN. [indignantly] They are not. I deny it. + </p> + <p> + ANN. Of course not. What nonsense! Nobody is more advanced than Granny. I + am sure it is Jack himself who has made all the difficulty. Come, Jack! Be + kind to me in my sorrow. You don't refuse to accept me as your ward, do + you? + </p> + <p> + TANNER. [gloomily] No. I let myself in for it; so I suppose I must face + it. [He turns away to the bookcase, and stands there, moodily studying the + titles of the volumes]. + </p> + <p> + ANN. [rising and expanding with subdued but gushing delight] Then we are + all agreed; and my dear father's will is to be carried out. You don't know + what a joy that is to me and to my mother! [She goes to Ramsden and + presses both his hands, saying] And I shall have my dear Granny to help + and advise me. [She casts a glance at Tanner over her shoulder]. And Jack + the Giant Killer. [She goes past her mother to Octavius]. And Jack's + inseparable friend Ricky-ticky-tavy [he blushes and looks inexpressibly + foolish]. + </p> + <p> + MRS WHITEFIELD. [rising and shaking her widow's weeds straight] Now that + you are Ann's guardian, Mr Ramsden, I wish you would speak to her about + her habit of giving people nicknames. They can't be expected to like it. + [She moves towards the door]. + </p> + <p> + ANN. How can you say such a thing, Mamma! [Glowing with affectionate + remorse] Oh, I wonder can you be right! Have I been inconsiderate? [She + turns to Octavius, who is sitting astride his chair with his elbows on the + back of it. Putting her hand on his forehead she turns his face up + suddenly]. Do you want to be treated like a grown up man? Must I call you + Mr Robinson in future? + </p> + <p> + OCTAVIUS. [earnestly] Oh please call me Ricky-ticky-tavy, "Mr + Robinson" would hurt me cruelly. [She laughs and pats his cheek with her + finger; then comes back to Ramsden]. You know I'm beginning to think that + Granny is rather a piece of impertinence. But I never dreamt of its + hurting you. + </p> + <p> + RAMSDEN. [breezily, as he pats her affectionately on the back] My dear + Annie, nonsense. I insist on Granny. I won't answer to any other name than + Annie's Granny. + </p> + <p> + ANN. [gratefully] You all spoil me, except Jack. + </p> + <p> + TANNER. [over his shoulder, from the bookcase] I think you ought to call + me Mr Tanner. + </p> + <p> + ANN. [gently] No you don't, Jack. That's like the things you say on + purpose to shock people: those who know you pay no attention to them. But, + if you like, I'll call you after your famous ancestor Don Juan. + </p> + <p> + RAMSDEN. Don Juan! + </p> + <p> + ANN. [innocently] Oh, is there any harm in it? I didn't know. Then I + certainly won't call you that. May I call you Jack until I can think of + something else? + </p> + <p> + TANKER. Oh, for Heaven's sake don't try to invent anything worse. I + capitulate. I consent to Jack. I embrace Jack. Here endeth my first and + last attempt to assert my authority. + </p> + <p> + ANN. You see, Mamma, they all really like to have pet names. + </p> + <p> + MRS WHITEFIELD. Well, I think you might at least drop them until we are + out of mourning. + </p> + <p> + ANN. [reproachfully, stricken to the soul] Oh, how could you remind me, + mother? [She hastily leaves the room to conceal her emotion]. + </p> + <p> + MRS WHITEFIELD. Of course. My fault as usual! [She follows Ann]. + </p> + <p> + TANNER. [coming from the bockcase] Ramsden: we're beaten—smashed—nonentitized, + like her mother. + </p> + <p> + RAMSDEN. Stuff, Sir. [He follows Mrs Whitefield out of the room]. + </p> + <p> + TANNER. [left alone with Octavius, stares whimsically at him] Tavy: do you + want to count for something in the world? + </p> + <p> + OCTAVIUS. I want to count for something as a poet: I want to write a great + play. + </p> + <p> + TANNER. With Ann as the heroine? + </p> + <p> + OCTAVIUS. Yes: I confess it. + </p> + <p> + TANNER. Take care, Tavy. The play with Ann as the heroine is all right; + but if you're not very careful, by Heaven she'll marry you. + </p> + <p> + OCTAVIUS. [sighing] No such luck, Jack! + </p> + <p> + TANNER. Why, man, your head is in the lioness's mouth: you are half + swallowed already—in three bites—Bite One, Ricky; Bite Two, + Ticky; Bite Three, Tavy; and down you go. + </p> + <p> + OCTAVIUS. She is the same to everybody, Jack: you know her ways. + </p> + <p> + TANNER. Yes: she breaks everybody's back with the stroke of her paw; but + the question is, which of us will she eat? My own opinion is that she + means to eat you. + </p> + <p> + OCTAVIUS. [rising, pettishly] It's horrible to talk like that about her + when she is upstairs crying for her father. But I do so want her to eat me + that I can bear your brutalities because they give me hope. + </p> + <p> + TANNER. Tavy; that's the devilish side of a woman's fascination: she makes + you will your own destruction. + </p> + <p> + OCTAVIUS. But it's not destruction: it's fulfilment. + </p> + <p> + TANNER. Yes, of HER purpose; and that purpose is neither her happiness nor + yours, but Nature's. Vitality in a woman is a blind fury of creation. She + sacrifices herself to it: do you think she will hesitate to sacrifice you? + </p> + <p> + OCTAVIUS. Why, it is just because she is self-sacrificing that she will + not sacrifice those she loves. + </p> + <p> + TANNER. That is the profoundest of mistakes, Tavy. It is the + self-sacrificing women that sacrifice others most recklessly. Because they + are unselfish, they are kind in little things. Because they have a purpose + which is not their own purpose, but that of the whole universe, a man is + nothing to them but an instrument of that purpose. + </p> + <p> + OCTAVIUS. Don't be ungenerous, Jack. They take the tenderest care of us. + </p> + <p> + TANNER. Yes, as a soldier takes care of his rifle or a musician of his + violin. But do they allow us any purpose or freedom of our own? Will they + lend us to one another? Can the strongest man escape from them when once + he is appropriated? They tremble when we are in danger, and weep when we + die; but the tears are not for us, but for a father wasted, a son's + breeding thrown away. They accuse us of treating them as a mere means to + our pleasure; but how can so feeble and transient a folly as a man's + selfish pleasure enslave a woman as the whole purpose of Nature embodied + in a woman can enslave a man? + </p> + <p> + OCTAVIUS. What matter, if the slavery makes us happy? + </p> + <p> + TANNER. No matter at all if you have no purpose of your own, and are, like + most men, a mere breadwinner. But you, Tavy, are an artist: that is, you + have a purpose as absorbing and as unscrupulous as a woman's purpose. + </p> + <p> + OCTAVIUS. Not unscrupulous. + </p> + <p> + TANNER. Quite unscrupulous. The true artist will let his wife starve, his + children go barefoot, his mother drudge for his living at seventy, sooner + than work at anything but his art. To women he is half vivisector, half + vampire. He gets into intimate relations with them to study them, to strip + the mask of convention from them, to surprise their inmost secrets, + knowing that they have the power to rouse his deepest creative energies, + to rescue him from his cold reason, to make him see visions and dream + dreams, to inspire him, as he calls it. He persuades women that they may + do this for their own purpose whilst he really means them to do it for + his. He steals the mother's milk and blackens it to make printer's ink to + scoff at her and glorify ideal women with. He pretends to spare her the + pangs of childbearing so that he may have for himself the tenderness and + fostering that belong of right to her children. Since marriage began, the + great artist has been known as a bad husband. But he is worse: he is a + child-robber, a bloodsucker, a hypocrite and a cheat. Perish the race and + wither a thousand women if only the sacrifice of them enable him to act + Hamlet better, to paint a finer picture, to write a deeper poem, a greater + play, a profounder philosophy! For mark you, Tavy, the artist's work is to + show us ourselves as we really are. Our minds are nothing but this + knowledge of ourselves; and he who adds a jot to such knowledge creates + new mind as surely as any woman creates new men. In the rage of that + creation he is as ruthless as the woman, as dangerous to her as she to + him, and as horribly fascinating. Of all human struggles there is none so + treacherous and remorseless as the struggle between the artist man and the + mother woman. Which shall use up the other? that is the issue between + them. And it is all the deadlier because, in your romanticist cant, they + love one another. + </p> + <p> + OCTAVIUS. Even if it were so—and I don't admit it for a moment—it + is out of the deadliest struggles that we get the noblest characters. + </p> + <p> + TANNER. Remember that the next time you meet a grizzly bear or a Bengal + tiger, Tavy. + </p> + <p> + OCTAVIUS. I meant where there is love, Jack. + </p> + <p> + TANNER. Oh, the tiger will love you. There is no love sincerer than the + love of food. I think Ann loves you that way: she patted your cheek as if + it were a nicely underdone chop. + </p> + <p> + OCTAVIUS. You know, Jack, I should have to run away from you if I did not + make it a fixed rule not to mind anything you say. You come out with + perfectly revolting things sometimes. + </p> + <p> + Ramsden returns, followed by Ann. They come in quickly, with their former + leisurely air of decorous grief changed to one of genuine concern, and, on + Ramsden's part, of worry. He comes between the two men, intending to + address Octavius, but pulls himself up abruptly as he sees Tanner. + </p> + <p> + RAMSDEN. I hardly expected to find you still here, Mr Tanner. + </p> + <p> + TANNER. Am I in the way? Good morning, fellow guardian [he goes towards + the door]. + </p> + <p> + ANN. Stop, Jack. Granny: he must know, sooner or later. + </p> + <p> + RAMSDEN. Octavius: I have a very serious piece of news for you. It is of + the most private and delicate nature—of the most painful nature too, + I am sorry to say. Do you wish Mr Tanner to be present whilst I explain? + </p> + <p> + OCTAVIUS. [turning pale] I have no secrets from Jack. + </p> + <p> + RAMSDEN. Before you decide that finally, let me say that the news concerns + your sister, and that it is terrible news. + </p> + <p> + OCTAVIUS. Violet! What has happened? Is she—dead? + </p> + <p> + RAMSDEN. I am not sure that it is not even worse than that. + </p> + <p> + OCTAVIUS. Is she badly hurt? Has there been an accident? + </p> + <p> + RAMSDEN. No: nothing of that sort. + </p> + <p> + TANNER. Ann: will you have the common humanity to tell us what the matter + is? + </p> + <p> + ANN. [half whispering] I can't. Violet has done something dreadful. We + shall have to get her away somewhere. [She flutters to the writing table + and sits in Ramsden's chair, leaving the three men to fight it out between + them]. + </p> + <p> + OCTAVIUS. [enlightened] Is that what you meant, Mr Ramsden? + </p> + <p> + RAMSDEN. Yes. [Octavius sinks upon a chair, crushed]. I am afraid there is + no doubt that Violet did not really go to Eastbourne three weeks ago when + we thought she was with the Parry Whitefields. And she called on a strange + doctor yesterday with a wedding ring on her finger. Mrs. Parry Whitefield + met her there by chance; and so the whole thing came out. + </p> + <p> + OCTAVIUS. [rising with his fists clenched] Who is the scoundrel? + </p> + <p> + ANN. She won't tell us. + </p> + <p> + OCTAVIUS. [collapsing upon his chair again] What a frightful thing! + </p> + <p> + TANNER. [with angry sarcasm] Dreadful. Appalling. Worse than death, as + Ramsden says. [He comes to Octavius]. What would you not give, Tavy, to + turn it into a railway accident, with all her bones broken or something + equally respectable and deserving of sympathy? + </p> + <p> + OCTAVIUS. Don't be brutal, Jack. + </p> + <p> + TANNER. Brutal! Good Heavens, man, what are you crying for? Here is a + woman whom we all supposed to be making bad water color sketches, + practising Grieg and Brahms, gadding about to concerts and parties, + wasting her life and her money. We suddenly learn that she has turned from + these sillinesses to the fulfilment of her highest purpose and greatest + function—to increase, multiply and replenish the earth. And instead + of admiring her courage and rejoicing in her instinct; instead of crowning + the completed womanhood and raising the triumphal strain of "Unto us a + child is born: unto us a son is given," here you are—you who have + been as merry as Brigs in your mourning for the dead—all pulling + long faces and looking as ashamed and disgraced as if the girl had + committed the vilest of crimes. + </p> + <p> + RAMSDEN. [roaring with rage] I will not have these abominations uttered in + my house [he smites the writing table with his fist]. + </p> + <p> + TANNER. Look here: if you insult me again I'll take you at your word and + leave your house. Ann: where is Violet now? + </p> + <p> + ANN. Why? Are you going to her? + </p> + <p> + TANNER. Of course I am going to her. She wants help; she wants money; she + wants respect and congratulation. She wants every chance for her child. + She does not seem likely to get it from you: she shall from me. Where is + she? + </p> + <p> + ANN. Don't be so headstrong, Jack. She's upstairs. + </p> + <p> + TANNER. What! Under Ramsden's sacred roof! Go and do your miserable duty, + Ramsden. Hunt her out into the street. Cleanse your threshold from her + contamination. Vindicate the purity of your English home. I'll go for a + cab. + </p> + <p> + ANN. [alarmed] Oh, Granny, you mustn't do that. + </p> + <p> + OCTAVIUS. [broken-heartedly, rising] I'll take her away, Mr Ramsden. She + had no right to come to your house. + </p> + <p> + RAMSDEN. [indignantly] But I am only too anxious to help her. [turning on + Tanner] How dare you, sir, impute such monstrous intentions to me? I + protest against it. I am ready to put down my last penny to save her from + being driven to run to you for protection. + </p> + <p> + TANNER. [subsiding] It's all right, then. He's not going to act up to his + principles. It's agreed that we all stand by Violet. + </p> + <p> + OCTAVIUS. But who is the man? He can make reparation by marrying her; and + he shall, or he shall answer for it to me. + </p> + <p> + RAMSDEN. He shall, Octavius. There you speak like a man. + </p> + <p> + TANNER. Then you don't think him a scoundrel, after all? + </p> + <p> + OCTAVIUS. Not a scoundrel! He is a heartless scoundrel. + </p> + <p> + RAMSDEN. A damned scoundrel. I beg your pardon, Annie; but I can say no + less. + </p> + <p> + TANNER. So we are to marry your sister to a damned scoundrel by way of + reforming her character! On my soul, I think you are all mad. + </p> + <p> + ANN. Don't be absurd, Jack. Of course you are quite right, Tavy; but we + don't know who he is: Violet won't tell us. + </p> + <p> + TANNER. What on earth does it matter who he is? He's done his part; and + Violet must do the rest. + </p> + <p> + RAMSDEN. [beside himself] Stuff! lunacy! There is a rascal in our midst, a + libertine, a villain worse than a murderer; and we are not to learn who he + is! In our ignorance we are to shake him by the hand; to introduce him + into our homes; to trust our daughters with him; to—to— + </p> + <p> + ANN. [coaxingly] There, Granny, don't talk so loud. It's most shocking: we + must all admit that; but if Violet won't tell us, what can we do? Nothing. + Simply nothing. + </p> + <p> + RAMSDEN. Hmph! I'm not so sure of that. If any man has paid Violet any + special attention, we can easily find that out. If there is any man of + notoriously loose principles among us— + </p> + <p> + TANNER. Ahem! + </p> + <p> + RAMSDEN. [raising his voice] Yes sir, I repeat, if there is any man of + notoriously loose principles among us— + </p> + <p> + TANNER. Or any man notoriously lacking in self-control. + </p> + <p> + RAMSDEN. [aghast] Do you dare to suggest that I am capable of such an act? + </p> + <p> + TANNER. My dear Ramsden, this is an act of which every man is capable. + That is what comes of getting at cross purposes with Nature. The suspicion + you have just flung at me clings to us all. It's a sort of mud that sticks + to the judge's ermine or the cardinal's robe as fast as to the rags of the + tramp. Come, Tavy: don't look so bewildered: it might have been me: it + might have been Ramsden; just as it might have been anybody. If it had, + what could we do but lie and protest as Ramsden is going to protest. + </p> + <p> + RAMSDEN. [choking] I—I—I— + </p> + <p> + TANNER. Guilt itself could not stammer more confusedly, And yet you know + perfectly well he's innocent, Tavy. + </p> + <p> + RAMSDEN. [exhausted] I am glad you admit that, sir. I admit, myself, that + there is an element of truth in what you say, grossly as you may distort + it to gratify your malicious humor. I hope, Octavius, no suspicion of me + is possible in your mind. + </p> + <p> + OCTAVIUS. Of you! No, not for a moment. + </p> + <p> + TANNER. [drily] I think he suspects me just a little. + </p> + <p> + OCTAVIUS. Jack: you couldn't—you wouldn't— + </p> + <p> + TANNER. Why not? + </p> + <p> + OCTAVIUS. [appalled] Why not! + </p> + <p> + TANNER. Oh, well, I'll tell you why not. First, you would feel bound to + quarrel with me. Second, Violet doesn't like me. Third, if I had the honor + of being the father of Violet's child, I should boast of it instead of + denying it. So be easy: our Friendship is not in danger. + </p> + <p> + OCTAVIUS. I should have put away the suspicion with horror if only you + would think and feel naturally about it. I beg your pardon. + </p> + <p> + TANNER. MY pardon! nonsense! And now let's sit down and have a family + council. [He sits down. The rest follow his example, more or less under + protest]. Violet is going to do the State a service; consequently she must + be packed abroad like a criminal until it's over. What's happening + upstairs? + </p> + <p> + ANN. Violet is in the housekeeper's room—by herself, of course. + </p> + <p> + TANNER. Why not in the drawingroom? + </p> + <p> + ANN. Don't be absurd, Jack. Miss Ramsden is in the drawingroom with my + mother, considering what to do. + </p> + <p> + TANNER. Oh! the housekeeper's room is the penitentiary, I suppose; and the + prisoner is waiting to be brought before her judges. The old cats! + </p> + <p> + ANN. Oh, Jack! + </p> + <p> + RAMSDEN. You are at present a guest beneath the roof of one of the old + cats, sir. My sister is the mistress of this house. + </p> + <p> + TANNER. She would put me in the housekeeper's room, too, if she dared, + Ramsden. However, I withdraw cats. Cats would have more sense. Ann: as + your guardian, I order you to go to Violet at once and be particularly + kind to her. + </p> + <p> + ANN. I have seen her, Jack. And I am sorry to say I am afraid she is going + to be rather obstinate about going abroad. I think Tavy ought to speak to + her about it. + </p> + <p> + OCTAVIUS. How can I speak to her about such a thing [he breaks down]? + </p> + <p> + ANN. Don't break down, Ricky. Try to bear it for all our sakes. + </p> + <p> + RAMSDEN. Life is not all plays and poems, Octavius. Come! face it like a + man. + </p> + <p> + TANNER. [chafing again] Poor dear brother! Poor dear friends of the + family! Poor dear Tabbies and Grimalkins. Poor dear everybody except the + woman who is going to risk her life to create another life! Tavy: don't + you be a selfish ass. Away with you and talk to Violet; and bring her down + here if she cares to come. [Octavius rises]. Tell her we'll stand by her. + </p> + <p> + RAMSDEN. [rising] No, sir— + </p> + <p> + TANNER. [rising also and interrupting him] Oh, we understand: it's against + your conscience; but still you'll do it. + </p> + <p> + OCTAVIUS. I assure you all, on my word, I never meant to be selfish. It's + so hard to know what to do when one wishes earnestly to do right. + </p> + <p> + TANNER. My dear Tavy, your pious English habit of regarding the world as a + moral gymnasium built expressly to strengthen your character in, + occasionally leads you to think about your own confounded principles when + you should be thinking about other people's necessities. The need of the + present hour is a happy mother and a healthy baby. Bend your energies on + that; and you will see your way clearly enough. + </p> + <p> + Octavius, much perplexed, goes out. + </p> + <p> + RAMSDEN. [facing Tanner impressively] And Morality, sir? What is to become + of that? + </p> + <p> + TANNER. Meaning a weeping Magdalen and an innocent child branded with her + shame. Not in our circle, thank you. Morality can go to its father the + devil. + </p> + <p> + RAMSDEN. I thought so, sir. Morality sent to the devil to please our + libertines, male and female. That is to be the future of England, is it? + </p> + <p> + TANNER. Oh, England will survive your disapproval. Meanwhile, I understand + that you agree with me as to the practical course we are to take? + </p> + <p> + RAMSDEN. Not in your spirit sir. Not for your reasons. + </p> + <p> + TANNER. You can explain that if anybody calls you to account, here or + hereafter. [He turns away, and plants himself in front of Mr Herbert + Spencer, at whom he stares gloomily]. + </p> + <p> + ANN. [rising and coming to Ramsden] Granny: hadn't you better go up to the + drawingroom and tell them what we intend to do? + </p> + <p> + RAMSDEN. [looking pointedly at Tanner] I hardly like to leave you alone + with this gentleman. Will you not come with me? + </p> + <p> + ANN. Miss Ramsden would not like to speak about it before me, Granny. I + ought not to be present. + </p> + <p> + RAMSDEN. You are right: I should have thought of that. You are a good + girl, Annie. + </p> + <p> + He pats her on the shoulder. She looks up at him with beaming eyes and he + goes out, much moved. Having disposed of him, she looks at Tanner. His + back being turned to her, she gives a moment's attention to her personal + appearance, then softly goes to him and speaks almost into his ear. + </p> + <p> + ANN. Jack [he turns with a start]: are you glad that you are my guardian? + You don't mind being made responsible for me, I hope. + </p> + <p> + TANNER. The latest addition to your collection of scapegoats, eh? + </p> + <p> + ANN. Oh, that stupid old joke of yours about me! Do please drop it. Why do + you say things that you know must pain me? I do my best to please you, + Jack: I suppose I may tell you so now that you are my guardian. You will + make me so unhappy if you refuse to be friends with me. + </p> + <p> + TANNER. [studying her as gloomily as he studied the dust] You need not go + begging for my regard. How unreal our moral judgments are! You seem to me + to have absolutely no conscience—only hypocrisy; and you can't see + the difference—yet there is a sort of fascination about you. I + always attend to you, somehow. I should miss you if I lost you. + </p> + <p> + ANN. [tranquilly slipping her arm into his and walking about with him] But + isn't that only natural, Jack? We have known each other since we were + children. Do you remember? + </p> + <p> + TANNER. [abruptly breaking loose] Stop! I remember EVERYTHING. + </p> + <p> + ANN. Oh, I daresay we were often very silly; but— + </p> + <p> + TANNER. I won't have it, Ann. I am no more that schoolboy now than I am + the dotard of ninety I shall grow into if I live long enough. It is over: + let me forget it. + </p> + <p> + ANN. Wasn't it a happy time? [She attempts to take his arm again]. + </p> + <p> + TANNER. Sit down and behave yourself. [He makes her sit down in the chair + next the writing table]. No doubt it was a happy time for you. You were a + good girl and never compromised yourself. And yet the wickedest child that + ever was slapped could hardly have had a better time. I can understand the + success with which you bullied the other girls: your virtue imposed on + them. But tell me this: did you ever know a good boy? + </p> + <p> + ANN. Of course. All boys are foolish sometimes; but Tavy was always a + really good boy. + </p> + <p> + TANNER. [struck by this] Yes: you're right. For some reason you never + tempted Tavy. + </p> + <p> + ANN. Tempted! Jack! + </p> + <p> + TANNER. Yes, my dear Lady Mephistopheles, tempted. You were insatiably + curious as to what a boy might be capable of, and diabolically clever at + getting through his guard and surprising his inmost secrets. + </p> + <p> + ANN. What nonsense! All because you used to tell me long stories of the + wicked things you had done—silly boys tricks! And you call such + things inmost secrets: Boys' secrets are just like men's; and you know + what they are! + </p> + <p> + TANNER. [obstinately] No I don't. What are they, pray? + </p> + <p> + ANN. Why, the things they tell everybody, of course. + </p> + <p> + TANNER. Now I swear I told you things I told no one else. You lured me + into a compact by which we were to have no secrets from one another. We + were to tell one another everything, I didn't notice that you never told + me anything. + </p> + <p> + ANN. You didn't want to talk about me, Jack. You wanted to talk about + yourself. + </p> + <p> + TANNER. Ah, true, horribly true. But what a devil of a child you must have + been to know that weakness and to play on it for the satisfaction of your + own curiosity! I wanted to brag to you, to make myself interesting. And I + found myself doing all sorts of mischievous things simply to have + something to tell you about. I fought with boys I didn't hate; I lied + about things I might just as well have told the truth about; I stole + things I didn't want; I kissed little girls I didn't care for. It was all + bravado: passionless and therefore unreal. + </p> + <p> + ANN. I never told of you, Jack. + </p> + <p> + TANNER. No; but if you had wanted to stop me you would have told of me. + You wanted me to go on. + </p> + <p> + ANN. [flashing out] Oh, that's not true: it's NOT true, Jack. I never + wanted you to do those dull, disappointing, brutal, stupid, vulgar things. + I always hoped that it would be something really heroic at last. + [Recovering herself] Excuse me, Jack; but the things you did were never a + bit like the things I wanted you to do. They often gave me great + uneasiness; but I could not tell on you and get you into trouble. And you + were only a boy. I knew you would grow out of them. Perhaps I was wrong. + </p> + <p> + TANNER. [sardonically] Do not give way to remorse, Ann. At least nineteen + twentieths of the exploits I confessed to you were pure lies. I soon + noticed that you didn't like the true stories. + </p> + <p> + ANN. Of course I knew that some of the things couldn't have happened. But— + </p> + <p> + TANNER. You are going to remind me that some of the most disgraceful ones + did. + </p> + <p> + ANN. [fondly, to his great terror] I don't want to remind you of anything. + But I knew the people they happened to, and heard about them. + </p> + <p> + TANNER. Yes; but even the true stories were touched up for telling. A + sensitive boy's humiliations may be very good fun for ordinary + thickskinned grown-ups; but to the boy himself they are so acute, so + ignominious, that he cannot confess them—cannot but deny them + passionately. However, perhaps it was as well for me that I romanced a + bit; for, on the one occasion when I told you the truth, you threatened to + tell of me. + </p> + <p> + ANN. Oh, never. Never once. + </p> + <p> + TANNER. Yes, you did. Do you remember a dark-eyed girl named Rachel + Rosetree? [Ann's brows contract for an instant involuntarily]. I got up a + love affair with her; and we met one night in the garden and walked about + very uncomfortably with our arms round one another, and kissed at parting, + and were most conscientiously romantic. If that love affair had gone on, + it would have bored me to death; but it didn't go on; for the next thing + that happened was that Rachel cut me because she found out that I had told + you. How did she find it out? From you. You went to her and held the + guilty secret over her head, leading her a life of abject terror and + humiliation by threatening to tell on her. + </p> + <p> + ANN. And a very good thing for her, too. It was my duty to stop her + misconduct; and she is thankful to me for it now. + </p> + <p> + TANNER. Is she? + </p> + <p> + ANN. She ought to be, at all events. + </p> + <p> + TANNER. It was not your duty to stop my misconduct, I suppose. + </p> + <p> + ANN. I did stop it by stopping her. + </p> + <p> + TANNER. Are you sure of that? You stopped my telling you about my + adventures; but how do you know that you stopped the adventures? + </p> + <p> + ANN. Do you mean to say that you went on in the same way with other girls? + </p> + <p> + TANNER. No. I had enough of that sort of romantic tomfoolery with Rachel. + </p> + <p> + ANN. [unconvinced] Then why did you break off our confidences and become + quite strange to me? + </p> + <p> + TANNER. [enigmatically] It happened just then that I got something that I + wanted to keep all to myself instead of sharing it with you. + </p> + <p> + ANN. I am sure I shouldn't have asked for any of it if you had grudged it. + </p> + <p> + TANNER. It wasn't a box of sweets, Ann. It was something you'd never have + let me call my own. + </p> + <p> + ANN. [incredulously] What? + </p> + <p> + TANNER. My soul. + </p> + <p> + ANN. Oh, do be sensible, Jack. You know you're talking nonsense. + </p> + <p> + TANNER. The most solemn earnest, Ann. You didn't notice at that time that + you were getting a soul too. But you were. It was not for nothing that you + suddenly found you had a moral duty to chastise and reform Rachel. Up to + that time you had traded pretty extensively in being a good child; but you + had never set up a sense of duty to others. Well, I set one up too. Up to + that time I had played the boy buccaneer with no more conscience than a + fox in a poultry farm. But now I began to have scruples, to feel + obligations, to find that veracity and honor were no longer goody-goody + expressions in the mouths of grown up people, but compelling principles in + myself. + </p> + <p> + ANN. [quietly] Yes, I suppose you're right. You were beginning to be a + man, and I to be a woman. + </p> + <p> + TANNER. Are you sure it was not that we were beginning to be something + more? What does the beginning of manhood and womanhood mean in most + people's mouths? You know: it means the beginning of love. But love began + long before that for me. Love played its part in the earliest dreams and + follies and romances I can remember—may I say the earliest follies + and romances we can remember?—though we did not understand it at the + time. No: the change that came to me was the birth in me of moral passion; + and I declare that according to my experience moral passion is the only + real passion. + </p> + <p> + ANN. All passions ought to be moral, Jack. + </p> + <p> + TANNER. Ought! Do you think that anything is strong enough to impose + oughts on a passion except a stronger passion still? + </p> + <p> + ANN. Our moral sense controls passion, Jack. Don't be stupid. + </p> + <p> + TANNER. Our moral sense! And is that not a passion? Is the devil to have + all the passions as well as all the good times? If it were not a passion—if + it were not the mightiest of the passions, all the other passions would + sweep it away like a leaf before a hurricane. It is the birth of that + passion that turns a child into a man. + </p> + <p> + ANN. There are other passions, Jack. Very strong ones. + </p> + <p> + TANNER. All the other passions were in me before; but they were idle and + aimless—mere childish greedinesses and cruelties, curiosities and + fancies, habits and superstitions, grotesque and ridiculous to the mature + intelligence. When they suddenly began to shine like newly lit flames it + was by no light of their own, but by the radiance of the dawning moral + passion. That passion dignified them, gave them conscience and meaning, + found them a mob of appetites and organized them into an army of purposes + and principles. My soul was born of that passion. + </p> + <p> + ANN. I noticed that you got more sense. You were a dreadfully destructive + boy before that. + </p> + <p> + TANNER. Destructive! Stuff! I was only mischievous. + </p> + <p> + ANN. Oh Jack, you were very destructive. You ruined all the young fir + trees by chopping off their leaders with a wooden sword. You broke all the + cucumber frames with your catapult. You set fire to the common: the police + arrested Tavy for it because he ran away when he couldn't stop you. You— + </p> + <p> + TANNER. Pooh! pooh! pooh! these were battles, bombardments, stratagems to + save our scalps from the red Indians. You have no imagination, Ann. I am + ten times more destructive now than I was then. The moral passion has + taken my destructiveness in hand and directed it to moral ends. I have + become a reformer, and, like all reformers, an iconoclast. I no longer + break cucumber frames and burn gorse bushes: I shatter creeds and demolish + idols. + </p> + <p> + ANN. [bored] I am afraid I am too feminine to see any sense in + destruction. Destruction can only destroy. + </p> + <p> + TANNER. Yes. That is why it is so useful. Construction cumbers the ground + with institutions made by busybodies. Destruction clears it and gives us + breathing space and liberty. + </p> + <p> + ANN. It's no use, Jack. No woman will agree with you there. + </p> + <p> + TANNER. That's because you confuse construction and destruction with + creation and murder. They're quite different: I adore creation and abhor + murder. Yes: I adore it in tree and flower, in bird and beast, even in + you. [A flush of interest and delight suddenly clears the growing + perplexity and boredom from her face]. It was the creative instinct that + led you to attach me to you by bonds that have left their mark on me to + this day. Yes, Ann: the old childish compact between us was an unconscious + love compact. + </p> + <p> + ANN. Jack! + </p> + <p> + TANNER. Oh, don't be alarmed— + </p> + <p> + ANN. I am not alarmed. + </p> + <p> + TANNER. [whimsically] Then you ought to be: where are your principles? + </p> + <p> + ANN. Jack: are you serious or are you not? + </p> + <p> + TANNER. Do you mean about the moral passion? + </p> + <p> + ANN. No, no; the other one. [Confused] Oh! you are so silly; one never + knows how to take you. + </p> + <p> + TANNER. You must take me quite seriously. I am your guardian; and it is my + duty to improve your mind. + </p> + <p> + ANN. The love compact is over, then, is it? I suppose you grew tired of + me? + </p> + <p> + TANNER. No; but the moral passion made our childish relations impossible. + A jealous sense of my new individuality arose in me. + </p> + <p> + ANN. You hated to be treated as a boy any longer. Poor Jack! + </p> + <p> + TANNER. Yes, because to be treated as a boy was to be taken on the old + footing. I had become a new person; and those who knew the old person + laughed at me. The only man who behaved sensibly was my tailor: he took my + measure anew every time he saw me, whilst all the rest went on with their + old measurements and expected them to fit me. + </p> + <p> + ANN. You became frightfully self-conscious. + </p> + <p> + TANNER. When you go to heaven, Ann, you will be frightfully conscious of + your wings for the first year or so. When you meet your relatives there, + and they persist in treating you as if you were still a mortal, you will + not be able to bear them. You will try to get into a circle which has + never known you except as an angel. + </p> + <p> + ANN. So it was only your vanity that made you run away from us after all? + </p> + <p> + TANNER. Yes, only my vanity, as you call it. + </p> + <p> + ANN. You need not have kept away from ME on that account. + </p> + <p> + TANNER. From you above all others. You fought harder than anybody against + my emancipation. + </p> + <p> + ANN. [earnestly] Oh, how wrong you are! I would have done anything for + you. + </p> + <p> + TANNER. Anything except let me get loose from you. Even then you had + acquired by instinct that damnable woman's trick of heaping obligations on + a man, of placing yourself so entirely and helplessly at his mercy that at + last he dare not take a step without running to you for leave. I know a + poor wretch whose one desire in life is to run away from his wife. She + prevents him by threatening to throw herself in front of the engine of the + train he leaves her in. That is what all women do. If we try to go where + you do not want us to go there is no law to prevent us, but when we take + the first step your breasts are under our foot as it descends: your bodies + are under our wheels as we start. No woman shall ever enslave me in that + way. + </p> + <p> + ANN. But, Jack, you cannot get through life without considering other + people a little. + </p> + <p> + TANNER. Ay; but what other people? It is this consideration of other + people or rather this cowardly fear of them which we call consideration + that makes us the sentimental slaves we are. To consider you, as you call + it, is to substitute your will for my own. How if it be a baser will than + mine? Are women taught better than men or worse? Are mobs of voters taught + better than statesmen or worse? Worse, of course, in both cases. And then + what sort of world are you going to get, with its public men considering + its voting mobs, and its private men considering their wives? What does + Church and State mean nowadays? The Woman and the Ratepayer. + </p> + <p> + ANN. [placidly] I am so glad you understand politics, Jack: it will be + most useful to you if you go into parliament [he collapses like a pricked + bladder]. But I am sorry you thought my influence a bad one. + </p> + <p> + TANNER. I don't say it was a bad one. But bad or good, I didn't choose to + be cut to your measure. And I won't be cut to it. + </p> + <p> + ANN. Nobody wants you to, Jack. I assure you—really on my word—I + don't mind your queer opinions one little bit. You know we have all been + brought up to have advanced opinions. Why do you persist in thinking me so + narrow minded? + </p> + <p> + TANNER. That's the danger of it. I know you don't mind, because you've + found out that it doesn't matter. The boa constrictor doesn't mind the + opinions of a stag one little bit when once she has got her coils round + it. + </p> + <p> + ANN. [rising in sudden enlightenment] O-o-o-o-oh! NOW I understand why you + warned Tavy that I am a boa constrictor. Granny told me. [She laughs and + throws her boa around her neck]. Doesn't it feel nice and soft, Jack? + </p> + <p> + TANNER. [in the toils] You scandalous woman, will you throw away even your + hypocrisy? + </p> + <p> + ANN. I am never hypocritical with you, Jack. Are you angry? [She withdraws + the boa and throws it on a chair]. Perhaps I shouldn't have done that. + </p> + <p> + TANNER. [contemptuously] Pooh, prudery! Why should you not, if it amuses + you? + </p> + <p> + ANN. [Shyly] Well, because—because I suppose what you really meant + by the boa constrictor was THIS [she puts her arms round his neck]. + </p> + <p> + TANNER. [Staring at her] Magnificent audacity! [She laughs and pats his + cheeks]. Now just to think that if I mentioned this episode not a soul + would believe me except the people who would cut me for telling, whilst if + you accused me of it nobody would believe my denial. + </p> + <p> + ANN. [taking her arms away with perfect dignity] You are incorrigible, + Jack. But you should not jest about our affection for one another. Nobody + could possibly misunderstand it. YOU do not misunderstand it, I hope. + </p> + <p> + TANNER. My blood interprets for me, Ann. Poor Ricky Tiky Tavy! + </p> + <p> + ANN. [looking quickly at him as if this were a new light] Surely you are + not so absurd as to be jealous of Tavy. + </p> + <p> + TANNER. Jealous! Why should I be? But I don't wonder at your grip of him. + I feel the coils tightening round my very self, though you are only + playing with me. + </p> + <p> + ANN. Do you think I have designs on Tavy? + </p> + <p> + TANNER. I know you have. + </p> + <p> + ANN. [earnestly] Take care, Jack. You may make Tavy very happy if you + mislead him about me. + </p> + <p> + TANNER. Never fear: he will not escape you. + </p> + <p> + ANN. I wonder are you really a clever man! + </p> + <p> + TANNER. Why this sudden misgiving on the subject? + </p> + <p> + ANN. You seem to understand all the things I don't understand; but you are + a perfect baby in the things I do understand. + </p> + <p> + TANNER. I understand how Tavy feels for you, Ann; you may depend on that, + at all events. + </p> + <p> + ANN. And you think you understand how I feel for Tavy, don't you? + </p> + <p> + TANNER. I know only too well what is going to happen to poor Tavy. + </p> + <p> + ANN. I should laugh at you, Jack, if it were not for poor papa's death. + Mind! Tavy will be very unhappy. + </p> + <p> + TANNER. Yes; but he won't know it, poor devil. He is a thousand times too + good for you. That's why he is going to make the mistake of his life about + you. + </p> + <p> + ANN. I think men make more mistakes by being too clever than by being too + good [she sits down, with a trace of contempt for the whole male sex in + the elegant carriage of her shoulders]. + </p> + <p> + TANNER. Oh, I know you don't care very much about Tavy. But there is + always one who kisses and one who only allows the kiss. Tavy will kiss; + and you will only turn the cheek. And you will throw him over if anybody + better turns up. + </p> + <p> + ANN. [offended] You have no right to say such things, Jack. They are not + true, and not delicate. If you and Tavy choose to be stupid about me, that + is not my fault. + </p> + <p> + TANNER. [remorsefully] Forgive my brutalities, Ann. They are levelled at + this wicked world, not at you. [She looks up at him, pleased and + forgiving. He becomes cautious at once]. All the same, I wish Ramsden + would come back. I never feel safe with you: there is a devilish charm—or + no: not a charm, a subtle interest [she laughs]. Just so: you know it; and + you triumph in it. Openly and shamelessly triumph in it! + </p> + <p> + ANN. What a shocking flirt you are, Jack! + </p> + <p> + TANNER. A flirt!! I!! + </p> + <p> + ANN. Yes, a flirt. You are always abusing and offending people, but you + never really mean to let go your hold of them. + </p> + <p> + TANNER. I will ring the bell. This conversation has already gone further + than I intended. + </p> + <p> + Ramsden and Octavius come back with Miss Ramsden, a hardheaded old maiden + lady in a plain brown silk gown, with enough rings, chains and brooches to + show that her plainness of dress is a matter of principle, not of poverty. + She comes into the room very determinedly: the two men, perplexed and + downcast, following her. Ann rises and goes eagerly to meet her. Tanner + retreats to the wall between the busts and pretends to study the pictures. + Ramsden goes to his table as usual; and Octavius clings to the + neighborhood of Tanner. + </p> + <p> + MISS RAMSDEN. [almost pushing Ann aside as she comes to Mr. Whitefield's + chair and plants herself there resolutely] I wash my hands of the whole + affair. + </p> + <p> + OCTAVIUS. [very wretched] I know you wish me to take Violet away, Miss + Ramsden. I will. [He turns irresolutely to the door]. + </p> + <p> + RAMSDEN. No no— + </p> + <p> + MISS RAMSDEN. What is the use of saying no, Roebuck? Octavius knows that I + would not turn any truly contrite and repentant woman from your doors. But + when a woman is not only wicked, but intends to go on being wicked, she + and I part company. + </p> + <p> + ANN. Oh, Miss Ramsden, what do you mean? What has Violet said? + </p> + <p> + RAMSDEN. Violet is certainly very obstinate. She won't leave London. I + don't understand her. + </p> + <p> + MISS RAMSDEN. I do. It's as plain as the nose on your face, Roebuck, that + she won't go because she doesn't want to be separated from this man, + whoever he is. + </p> + <p> + ANN. Oh, surely, surely! Octavius: did you speak to her? + </p> + <p> + OCTAVIUS. She won't tell us anything. She won't make any arrangement until + she has consulted somebody. It can't be anybody else than the scoundrel + who has betrayed her. + </p> + <p> + TANNER. [to Octavius] Well, let her consult him. He will be glad enough to + have her sent abroad. Where is the difficulty? + </p> + <p> + MISS RAMSDEN. [Taking the answer out of Octavius's mouth]. The difficulty, + Mr Jack, is that when he offered to help her I didn't offer to become her + accomplice in her wickedness. She either pledges her word never to see + that man again, or else she finds some new friends; and the sooner the + better. + </p> + <p> + [The parlormaid appears at the door. Ann hastily resumes her seat, and + looks as unconcerned as possible. Octavius instinctively imitates her]. + </p> + <p> + THE MAID. The cab is at the door, ma'am. + </p> + <p> + MISS RAMSDEN. What cab? + </p> + <p> + THE MAID. For Miss Robinson. + </p> + <p> + MISS RAMSDEN. Oh! [Recovering herself] All right. [The maid withdraws]. + She has sent for a cab. + </p> + <p> + TANNER. I wanted to send for that cab half an hour ago. + </p> + <p> + MISS RAMSDEN. I am glad she understands the position she has placed + herself in. + </p> + <p> + RAMSDEN. I don't like her going away in this fashion, Susan. We had better + not do anything harsh. + </p> + <p> + OCTAVIUS. No: thank you again and again; but Miss Ramsden is quite right. + Violet cannot expect to stay. + </p> + <p> + ANN. Hadn't you better go with her, Tavy? + </p> + <p> + OCTAVIUS. She won't have me. + </p> + <p> + MISS RAMSDEN. Of course she won't. She's going straight to that man. + </p> + <p> + TANNER. As a natural result of her virtuous reception here. + </p> + <p> + RAMSDEN. [much troubled] There, Susan! You hear! and there's some truth in + it. I wish you could reconcile it with your principles to be a little + patient with this poor girl. She's very young; and there's a time for + everything. + </p> + <p> + MISS RAMSDEN. Oh, she will get all the sympathy she wants from the men. + I'm surprised at you, Roebuck. + </p> + <p> + TANNER. So am I, Ramsden, most favorably. + </p> + <p> + Violet appears at the door. She is as impenitent and self-assured a young + lady as one would desire to see among the best behaved of her sex. Her + small head and tiny resolute mouth and chin; her haughty crispness of + speech and trimness of carriage; the ruthless elegance of her equipment, + which includes a very smart hat with a dead bird in it, mark a personality + which is as formidable as it is exquisitely pretty. She is not a siren, + like Ann: admiration comes to her without any compulsion or even interest + on her part; besides, there is some fun in Ann, but in this woman none, + perhaps no mercy either: if anything restrains her, it is intelligence and + pride, not compassion. Her voice might be the voice of a schoolmistress + addressing a class of girls who had disgraced themselves, as she proceeds + with complete composure and some disgust to say what she has come to say. + </p> + <p> + VIOLET. I have only looked in to tell Miss Ramsden that she will find her + birthday present to me, the filagree bracelet, in the housekeeper's room. + </p> + <p> + TANNER. Do come in, Violet, and talk to us sensibly. + </p> + <p> + VIOLET. Thank you: I have had quite enough of the family conversation this + morning. So has your mother, Ann: she has gone home crying. But at all + events, I have found out what some of my pretended friends are worth. Good + bye. + </p> + <p> + TANNER. No, no: one moment. I have something to say which I beg you to + hear. [She looks at him without the slightest curiosity, but waits, + apparently as much to finish getting her glove on as to hear what he has + to say]. I am altogether on your side in this matter. I congratulate you, + with the sincerest respect, on having the courage to do what you have + done. You are entirely in the right; and the family is entirely in the + wrong. + </p> + <p> + Sensation. Ann and Miss Ramsden rise and turn toward the two. Violet, more + surprised than any of the others, forgets her glove, and comes forward + into the middle of the room, both puzzled and displeased. Octavius alone + does not move or raise his head; he is overwhelmed with shame. + </p> + <p> + ANN. [pleading to Tanner to be sensible] Jack! + </p> + <p> + MISS RAMSDEN. [outraged] Well, I must say! + </p> + <p> + VIOLET. [sharply to Tanner] Who told you? + </p> + <p> + TANNER. Why, Ramsden and Tavy of course. Why should they not? + </p> + <p> + VIOLET. But they don't know. + </p> + <p> + TANNER. Don't know what? + </p> + <p> + VIOLET. They don't know that I am in the right, I mean. + </p> + <p> + TANNER. Oh, they know it in their hearts, though they think themselves + bound to blame you by their silly superstitions about morality and + propriety and so forth. But I know, and the whole world really knows, + though it dare not say so, that you were right to follow your instinct; + that vitality and bravery are the greatest qualities a woman can have, and + motherhood her solemn initiation into womanhood; and that the fact of your + not being legally married matters not one scrap either to your own worth + or to our real regard for you. + </p> + <p> + VIOLET. [flushing with indignation] Oh! You think me a wicked woman, like + the rest. You think I have not only been vile, but that I share your + abominable opinions. Miss Ramsden: I have borne your hard words because I + knew you would be sorry for them when you found out the truth. But I won't + bear such a horrible insult as to be complimented by Jack on being one of + the wretches of whom he approves. I have kept my marriage a secret for my + husband's sake. But now I claim my right as a married woman not to be + insulted. + </p> + <p> + OCTAVIUS. [raising his head with inexpressible relief] You are married! + </p> + <p> + VIOLET. Yes; and I think you might have guessed it. What business had you + all to take it for granted that I had no right to wear my wedding ring? + Not one of you even asked me: I cannot forget that. + </p> + <p> + TANNER. [in ruins] I am utterly crushed. I meant well—I apologize—abjectly + apologize. + </p> + <p> + VIOLET. I hope you will be more careful in future about the things you + say. Of course one does not take them seriously. But they are very + disagreeable, and rather in bad taste. + </p> + <p> + TANNER. [bowing to the storm] I have no defence: I shall know better in + future than to take any woman's part. We have all disgraced ourselves in + your eyes, I am afraid, except Ann, SHE befriended you. For Ann's sake, + forgive us. + </p> + <p> + VIOLET. Yes: Ann has been very kind; but then Ann knew. + </p> + <p> + TANNER. Oh! + </p> + <p> + MISS RAMSDEN. [stiffly] And who, pray, is the gentleman who does not + acknowledge his wife? + </p> + <p> + VIOLET. [promptly] That is my business, Miss Ramsden, and not yours. I + have my reasons for keeping my marriage a secret for the present. + </p> + <p> + RAMSDEN. All I can say is that we are extremely sorry, Violet. I am + shocked to think of how we have treated you. + </p> + <p> + OCTAVIUS. [awkwardly] I beg your pardon, Violet. I can say no more. + </p> + <p> + MISS RAMSDEN. [still loth to surrender] Of course what you say puts a very + different complexion on the matter. All the same, I owe it to myself— + </p> + <p> + VIOLET. [cutting her short] You owe me an apology, Miss Ramsden: that's + what you owe both to yourself and to me. If you were a married woman you + would not like sitting in the housekeeper's room and being treated like a + naughty child by young girls and old ladies without any serious duties and + responsibilities. + </p> + <p> + TANNER. Don't hit us when we're down, Violet. We seem to have made fools + of ourselves; but really it was you who made fools of us. + </p> + <p> + VIOLET. It was no business of yours, Jack, in any case. + </p> + <p> + TANNER. No business of mine! Why, Ramsden as good as accused me of being + the unknown gentleman. + </p> + <p> + Ramsden makes a frantic demonstration; but Violet's cool keen anger + extinguishes it. + </p> + <p> + VIOLET. You! Oh, how infamous! how abominable! How disgracefully you have + all been talking about me! If my husband knew it he would never let me + speak to any of you again. [To Ramsden] I think you might have spared me, + at least. + </p> + <p> + RAMSDEN. But I assure you I never—at least it is a monstrous + perversion of something I said that— + </p> + <p> + MISS RAMSDEN. You needn't apologize, Roebuck. She brought it all on + herself. It is for her to apologize for having deceived us. + </p> + <p> + VIOLET. I can make allowances for you, Miss Ramsden: you cannot understand + how I feel on this subject though I should have expected rather better + taste from people of greater experience. However, I quite feel that you + have all placed yourselves in a very painful position; and the most truly + considerate thing for me to do is to go at once. Good morning. + </p> + <p> + She goes, leaving them staring. + </p> + <p> + Miss RAMSDEN. Well, I must say—! + </p> + <p> + RAMSDEN. [plaintively] I don't think she is quite fair to us. + </p> + <p> + TANNER. You must cower before the wedding ring like the rest of us, + Ramsden. The cup of our ignominy is full. + </p> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> + <p> + On the carriage drive in the park of a country house near Richmond a motor + car has broken down. It stands in front of a clump of trees round which + the drive sweeps to the house, which is partly visible through them: + indeed Tanner, standing in the drive with the car on his right hand, could + get an unobstructed view of the west corner of the house on his left were + he not far too much interested in a pair of supine legs in blue serge + trousers which protrude from beneath the machine. He is watching them + intently with bent back and hands supported on his knees. His leathern + overcoat and peaked cap proclaim him one of the dismounted passengers. + </p> + <p> + THE LEGS. Aha! I got him. + </p> + <p> + TANNER. All right now? + </p> + <p> + THE LEGS. All right now. + </p> + <p> + Tanner stoops and takes the legs by the ankles, drawing their owner forth + like a wheelbarrow, walking on his hands, with a hammer in his mouth. He + is a young man in a neat suit of blue serge, clean shaven, dark eyed, + square fingered, with short well brushed black hair and rather irregular + sceptically turned eyebrows. When he is manipulating the car his movements + are swift and sudden, yet attentive and deliberate. With Tanner and + Tanner's friends his manner is not in the least deferential, but cool and + reticent, keeping them quite effectually at a distance whilst giving them + no excuse for complaining of him. Nevertheless he has a vigilant eye on + them always, and that, too, rather cynically, like a man who knows the + world well from its seamy side. He speaks slowly and with a touch of + sarcasm; and as he does not at all affect the gentleman in his speech, it + may be inferred that his smart appearance is a mark of respect to himself + and his own class, not to that which employs him. + </p> + <p> + He now gets into the car to test his machinery and put his cap and + overcoat on again. Tanner takes off his leather overcoat and pitches it + into the car. The chauffeur (or automobilist or motoreer or whatever + England may presently decide to call him) looks round inquiringly in the + act of stowing away his hammer. + </p> + <p> + THE CHAUFFEUR. Had enough of it, eh? + </p> + <p> + TANNER. I may as well walk to the house and stretch my legs and calm my + nerves a little. [Looking at his watch] I suppose you know that we have + come from Hyde Park Corner to Richmond in twenty-one minutes. + </p> + <p> + THE CHAUFFEUR. I'd have done it under fifteen if I'd had a clear road all + the way. + </p> + <p> + TANNER. Why do you do it? Is it for love of sport or for the fun of + terrifying your unfortunate employer? + </p> + <p> + THE CHAUFFEUR. What are you afraid of? + </p> + <p> + TANNER. The police, and breaking my neck. + </p> + <p> + THE CHAUFFEUR. Well, if you like easy going, you can take a bus, you know. + It's cheaper. You pay me to save your time and give you the value of your + thousand pound car. [He sits down calmly]. + </p> + <p> + TANNER. I am the slave of that car and of you too. I dream of the accursed + thing at night. + </p> + <p> + THE CHAUFFEUR. You'll get over that. If you're going up to the house, may + I ask how long you're goin to stay there? Because if you mean to put in + the whole morning talkin to the ladies, I'll put the car in the stables + and make myself comfortable. If not, I'll keep the car on the go about + here til you come. + </p> + <p> + TANNER. Better wait here. We shan't be long. There's a young American + gentleman, a Mr Malone, who is driving Mr Robinson down in his new + American steam car. + </p> + <p> + THE CHAUFFEUR. [springing up and coming hastily out of the car to Tanner] + American steam car! Wot! racin us down from London! + </p> + <p> + TANNER. Perhaps they're here already. + </p> + <p> + THE CHAUFFEUR. If I'd known it! [with deep reproach] Why didn't you tell + me, Mr Tanner? + </p> + <p> + TANNER. Because I've been told that this car is capable of 84 miles an + hour; and I already know what YOU are capable of when there is a rival car + on the road. No, Henry: there are things it is not good for you to know; + and this was one of them. However, cheer up: we are going to have a day + after your own heart. The American is to take Mr Robinson and his sister + and Miss Whitefield. We are to take Miss Rhoda. + </p> + <p> + THE CHAUFFEUR. [consoled, and musing on another matter] That's Miss + Whitefield's sister, isn't it? + </p> + <p> + TANNER. Yes. + </p> + <p> + THE CHAUFFEUR. And Miss Whitefield herself is goin in the other car? Not + with you? + </p> + <p> + TANNER. Why the devil should she come with me? Mr Robinson will be in the + other car. [The Chauffeur looks at Tanner with cool incredulity, and turns + to the car, whistling a popular air softly to himself. Tanner, a little + annoyed, is about to pursue the subject when he hears the footsteps of + Octavius on the gravel. Octavius is coming from the house, dressed for + motoring, but without his overcoat]. We've lost the race, thank Heaven: + here's Mr Robinson. Well, Tavy, is the steam car a success? + </p> + <p> + OCTAVIUS. I think so. We came from Hyde Park Corner here in seventeen + minutes. [The Chauffeur, furious, kicks the car with a groan of vexation]. + How long were you? + </p> + <p> + TANNER. Oh, about three quarters of an hour or so. + </p> + <p> + THE CHAUFFEUR. [remonstrating] Now, now, Mr Tanner, come now! We could ha + done it easy under fifteen. + </p> + <p> + TANNER. By the way, let me introduce you. Mr Octavius Robinson: Mr Enry + Straker. + </p> + <p> + STRAKER. Pleased to meet you, sir. Mr Tanner is gittin at you with his + Enry Straker, you know. You call it Henery. But I don't mind, bless you. + </p> + <p> + TANNER. You think it's simply bad taste in me to chaff him, Tavy. But + you're wrong. This man takes more trouble to drop his aiches than ever his + father did to pick them up. It's a mark of caste to him. I have never met + anybody more swollen with the pride of class than Enry is. + </p> + <p> + STRAKER. Easy, easy! A little moderation, Mr Tanner. + </p> + <p> + TANNER. A little moderation, Tavy, you observe. You would tell me to draw + it mild, But this chap has been educated. What's more, he knows that we + haven't. What was that board school of yours, Straker? + </p> + <p> + STRAKER. Sherbrooke Road. + </p> + <p> + TANNER. Sherbrooke Road! Would any of us say Rugby! Harrow! Eton! in that + tone of intellectual snobbery? Sherbrooke Road is a place where boys learn + something; Eton is a boy farm where we are sent because we are nuisances + at home, and because in after life, whenever a Duke is mentioned, we can + claim him as an old schoolfellow. + </p> + <p> + STRAKER. You don't know nothing about it, Mr. Tanner. It's not the Board + School that does it: it's the Polytechnic. + </p> + <p> + TANNER. His university, Octavius. Not Oxford, Cambridge, Durham, Dublin or + Glasgow. Not even those Nonconformist holes in Wales. No, Tavy. Regent + Street, Chelsea, the Borough—I don't know half their confounded + names: these are his universities, not mere shops for selling class + limitations like ours. You despise Oxford, Enry, don't you? + </p> + <p> + STRAKER. No, I don't. Very nice sort of place, Oxford, I should think, for + people that like that sort of place. They teach you to be a gentleman + there. In the Polytechnic they teach you to be an engineer or such like. + See? + </p> + <p> + TANNER. Sarcasm, Tavy, sarcasm! Oh, if you could only see into Enry's + soul, the depth of his contempt for a gentleman, the arrogance of his + pride in being an engineer, would appal you. He positively likes the car + to break down because it brings out my gentlemanly helplessness and his + workmanlike skill and resource. + </p> + <p> + STRAKER. Never you mind him, Mr Robinson. He likes to talk. We know him, + don't we? + </p> + <p> + OCTAVIUS. [earnestly] But there's a great truth at the bottom of what he + says. I believe most intensely in the dignity of labor. + </p> + <p> + 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. + </p> + <p> + 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. + </p> + <p> + 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]. + </p> + <p> + TANNER. That's a very momentous social phenomenon. + </p> + <p> + OCTAVIUS. What is? + </p> + <p> + 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. + </p> + <p> + 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. + </p> + <p> + TANNER. Straker knew even that. He learnt it at the Polytechnic, probably. + Well, what about Ann? Have you proposed to her? + </p> + <p> + OCTAVIUS. [self-reproachfully] I was brute enough to do so last night. + </p> + <p> + TANNER. Brute enough! What do you mean? + </p> + <p> + 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! + </p> + <p> + TANNER. Done what, you maudlin idiot? + </p> + <p> + 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. + </p> + <p> + TANNER. Tears! that's dangerous. What did she say? + </p> + <p> + OCTAVIUS. She asked me how she could think of anything now but her dear + father. She stifled a sob—[he breaks down]. + </p> + <p> + 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. + </p> + <p> + 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? + </p> + <p> + TANNER. Hm! Did she say anything else? + </p> + <p> + OCTAVIUS. Yes; and that is why I expose myself and her to your ridicule by + telling you what passed. + </p> + <p> + TANNER. [remorsefully] No, dear Tavy, not ridicule, on my honor! However, + no matter. Go on. + </p> + <p> + OCTAVIUS. Her sense of duty is so devout, so perfect, so— + </p> + <p> + TANNER. Yes: I know. Go on. + </p> + <p> + 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. + </p> + <p> + TANNER. I am glad that love has not totally extinguished your sense of + humor, Tavy. + </p> + <p> + OCTAVIUS. That answer won't satisfy her. + </p> + <p> + TANNER. My official answer is, obviously, Bless you, my children: may you + be happy! + </p> + <p> + 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. + </p> + <p> + TANNER. You know very well that she is as free to choose as you. She does + not think so. + </p> +<p> +OCTAVIUS.She does not think so. +</p> + <p> + TANNER. Oh, doesn't she! just! However, say what you want me to do. + </p> + <p> + 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. + </p> + <p> + 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? + </p> + <p> + OCTAVIUS. [keeping his temper with difficulty] I am not discussing + literature at present. + </p> + <p> + 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 for ever. + </p> + <p> + OCTAVIUS. I wish I could believe that, vilely as you put it. + </p> + <p> + 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. + </p> + <p> + OCTAVIUS. I cannot write without inspiration. And nobody can give me that + except Ann. + </p> + <p> + 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. + </p> + <p> + OCTAVIUS. You think I shall tire of her. + </p> + <p> + 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. + </p> + <p> + OCTAVIUS. This sort of talk is no use, Jack. You don't understand. You + have never been in love. + </p> + <p> + TANNER. I! I have never been out of it. Why, I am in love even with Ann. + But I am neither the slave of love nor its dupe. Go to the bee, thou poet: + consider her ways and be wise. By Heaven, Tavy, if women could do without + our work, and we ate their children's bread instead of making it, they + would kill us as the spider kills her mate or as the bees kill the drone. + And they would be right if we were good for nothing but love. + </p> + <p> + OCTAVIUS. Ah, if we were only good enough for Love! There is nothing like + Love: there is nothing else but Love: without it the world would be a + dream of sordid horror. + </p> + <p> + TANNER. And this—this is the man who asks me to give him the hand of + my ward! Tavy: I believe we were changed in our cradles, and that you are + the real descendant of Don Juan. + </p> + <p> + OCTAVIUS. I beg you not to say anything like that to Ann. + </p> + <p> + TANNER. Don't be afraid. She has marked you for her own; and nothing will + stop her now. You are doomed. [Straker comes back with a newspaper]. Here + comes the New Man, demoralizing himself with a halfpenny paper as usual. + </p> + <p> + STRAKER. Now, would you believe it: Mr Robinson, when we're out motoring + we take in two papers, the Times for him, the Leader or the Echo for me. + And do you think I ever see my paper? Not much. He grabs the Leader and + leaves me to stodge myself with his Times. + </p> + <p> + OCTAVIUS. Are there no winners in the Times? + </p> + <p> + TANNER. Enry don't old with bettin, Tavy. Motor records are his weakness. + What's the latest? + </p> + <p> + STRAKER. Paris to Biskra at forty mile an hour average, not countin the + Mediterranean. + </p> + <p> + TANNER. How many killed? + </p> + <p> + STRAKER. Two silly sheep. What does it matter? Sheep don't cost such a + lot: they were glad to ave the price without the trouble o sellin em to + the butcher. All the same, d'y'see, there'll be a clamor agin it + presently; and then the French Government'll stop it; an our chance will + be gone see? That what makes me fairly mad: Mr Tanner won't do a good run + while he can. + </p> + <p> + TANNER. Tavy: do you remember my uncle James? + </p> + <p> + OCTAVIUS. Yes. Why? + </p> + <p> + TANNER. Uncle James had a first rate cook: he couldn't digest anything + except what she cooked. Well, the poor man was shy and hated society. But + his cook was proud of her skill, and wanted to serve up dinners to princes + and ambassadors. To prevent her from leaving him, that poor old man had to + give a big dinner twice a month, and suffer agonies of awkwardness. Now + here am I; and here is this chap Enry Straker, the New Man. I loathe + travelling; but I rather like Enry. He cares for nothing but tearing along + in a leather coat and goggles, with two inches of dust all over him, at + sixty miles an hour and the risk of his life and mine. Except, of course, + when he is lying on his back in the mud under the machine trying to find + out where it has given way. Well, if I don't give him a thousand mile run + at least once a fortnight I shall lose him. He will give me the sack and + go to some American millionaire; and I shall have to put up with a nice + respectful groom-gardener-amateur, who will touch his hat and know his + place. I am Enry's slave, just as Uncle James was his cook's slave. + </p> + <p> + STRAKER. [exasperated] Garn! I wish I had a car that would go as fast as + you can talk, Mr Tanner. What I say is that you lose money by a motor car + unless you keep it workin. Might as well ave a pram and a nussmaid to + wheel you in it as that car and me if you don't git the last inch out of + us both. + </p> + <p> + TANNER. [soothingly] All right, Henry, all right. We'll go out for half an + hour presently. + </p> + <p> + STRAKER. [in disgust] Arf an ahr! [He returns to his machine; seats + himself in it; and turns up a fresh page of his paper in search of more + news]. + </p> + <p> + OCTAVIUS. Oh, that reminds me. I have a note for you from Rhoda. [He gives + Tanner a note]. + </p> + <p> + TANNER. [opening it] I rather think Rhoda is heading for a row with Ann. + As a rule there is only one person an English girl hates more than she + hates her mother; and that's her eldest sister. But Rhoda positively + prefers her mother to Ann. She—[indignantly] Oh, I say! + </p> + <p> + OCTAVIUS. What's the matter? + </p> + <p> + TANNER. Rhoda was to have come with me for a ride in the motor car. She + says Ann has forbidden her to go out with me. + </p> + <p> + Straker suddenly begins whistling his favorite air with remarkable + deliberation. Surprised by this burst of larklike melody, and jarred by a + sardonic note in its cheerfulness, they turn and look inquiringly at him. + But he is busy with his paper; and nothing comes of their movement. + </p> + <p> + OCTAVIUS. [recovering himself] Does she give any reason? + </p> + <p> + TANNER. Reason! An insult is not a reason. Ann forbids her to be alone + with me on any occasion. Says I am not a fit person for a young girl to be + with. What do you think of your paragon now? + </p> + <p> + OCTAVIUS. You must remember that she has a very heavy responsibility now + that her father is dead. Mrs Whitefield is too weak to control Rhoda. + </p> + <p> + TANNER. [staring at him] In short, you agree with Ann. + </p> + <p> + OCTAVIUS. No; but I think I understand her. You must admit that your views + are hardly suited for the formation of a young girl's mind and character. + </p> + <p> + TANNER. I admit nothing of the sort. I admit that the formation of a young + lady's mind and character usually consists in telling her lies; but I + object to the particular lie that I am in the habit of abusing the + confidence of girls. + </p> + <p> + OCTAVIUS. Ann doesn't say that, Jack. + </p> + <p> + TANNER. What else does she mean? + </p> + <p> + STRAKER. [catching sight of Ann coming from the house] Miss Whitefield, + gentlemen. [He dismounts and strolls away down the avenue with the air of + a man who knows he is no longer wanted]. + </p> + <p> + ANN. [coming between Octavius and Tanner]. Good morning, Jack. I have come + to tell you that poor Rhoda has got one of her headaches and cannot go out + with you to-day in the car. It is a cruel disappointment to her, poor + child! + </p> + <p> + TANNER. What do you say now, Tavy. + </p> + <p> + OCTAVIUS. Surely you cannot misunderstand, Jack. Ann is showing you the + kindest consideration, even at the cost of deceiving you. + </p> + <p> + ANN. What do you mean? + </p> + <p> + TANNER. Would you like to cure Rhoda's headache, Ann? + </p> + <p> + ANN. Of course. + </p> + <p> + TANNER. Then tell her what you said just now; and add that you arrived + about two minutes after I had received her letter and read it. + </p> + <p> + ANN. Rhoda has written to you! + </p> + <p> + TANNER. With full particulars. + </p> + <p> + OCTAVIUS. Never mind him, Ann. You were right, quite right. Ann was only + doing her duty, Jack; and you know it. Doing it in the kindest way, too. + </p> + <p> + ANN. [going to Octavius] How kind you are, Tavy! How helpful! How well you + understand! + </p> + <p> + Octavius beams. + </p> + <p> + TANNER. Ay: tighten the coils. You love her, Tavy, don't you? + </p> + <p> + OCTAVIUS. She knows I do. + </p> + <p> + ANN. Hush. For shame, Tavy! + </p> + <p> + TANNER. Oh, I give you leave. I am your guardian; and I commit you to + Tavy's care for the next hour. + </p> + <p> + ANN. No, Jack. I must speak to you about Rhoda. Ricky: will you go back to + the house and entertain your American friend? He's rather on Mamma's hands + so early in the morning. She wants to finish her housekeeping. + </p> + <p> + OCTAVIUS. I fly, dearest Ann [he kisses her hand]. + </p> + <p> + ANN. [tenderly] Ricky Ticky Tavy! + </p> + <p> + He looks at her with an eloquent blush, and runs off. + </p> + <p> + TANNER. [bluntly] Now look here, Ann. This time you've landed yourself; + and if Tavy were not in love with you past all salvation he'd have found + out what an incorrigible liar you are. + </p> + <p> + ANN. You misunderstand, Jack. I didn't dare tell Tavy the truth. + </p> + <p> + TANNER. No: your daring is generally in the opposite direction. What the + devil do you mean by telling Rhoda that I am too vicious to associate with + her? How can I ever have any human or decent relations with her again, now + that you have poisoned her mind in that abominable way? + </p> + <p> + ANN. I know you are incapable of behaving badly. + </p> + <p> + TANNER. Then why did you lie to her? + </p> + <p> + ANN. I had to. + </p> + <p> + TANNER. Had to! + </p> + <p> + ANN. Mother made me. + </p> + <p> + TANNER. [his eye flashing] Ha! I might have known it. The mother! Always + the mother! + </p> + <p> + ANN. It was that dreadful book of yours. You know how timid mother is. All + timid women are conventional: we must be conventional, Jack, or we are so + cruelly, so vilely misunderstood. Even you, who are a man, cannot say what + you think without being misunderstood and vilified—yes: I admit it: + I have had to vilify you. Do you want to have poor Rhoda misunderstood and + vilified to the same way? Would it be right for mother to let her expose + herself to such treatment before she is old enough to judge for herself? + </p> + <p> + TANNER. In short, the way to avoid misunderstanding is for everybody to + lie and slander and insinuate and pretend as hard as they can. That is + what obeying your mother comes to. + </p> + <p> + ANN. I love my mother, Jack. + </p> + <p> + TANNER. [working himself up into a sociological rage] Is that any reason + why you are not to call your soul your own? Oh, I protest against this + vile abjection of youth to age! look at fashionable society as you know + it. What does it pretend to be? An exquisite dance of nymphs. What is it? + A horrible procession of wretched girls, each in the claws of a cynical, + cunning, avaricious, disillusioned, ignorantly experienced, foul-minded + old woman whom she calls mother, and whose duty it is to corrupt her mind + and sell her to the highest bidder. Why do these unhappy slaves marry + anybody, however old and vile, sooner than not marry at all? Because + marriage is their only means of escape from these decrepit fiends who hide + their selfish ambitions, their jealous hatreds of the young rivals who + have supplanted them, under the mask of maternal duty and family + affection. Such things are abominable: the voice of nature proclaims for + the daughter a father's care and for the son a mother's. The law for + father and son and mother and daughter is not the law of love: it is the + law of revolution, of emancipation, of final supersession of the old and + worn-out by the young and capable. I tell you, the first duty of manhood + and womanhood is a Declaration of Independence: the man who pleads his + father's authority is no man: the woman who pleads her mother's authority + is unfit to bear citizens to a free people. + </p> + <p> + ANN. [watching him with quiet curiosity] I suppose you will go in + seriously for politics some day, Jack. + </p> + <p> + TANNER. [heavily let down] Eh? What? Wh—? [Collecting his scattered + wits] What has that got to do with what I have been saying? + </p> + <p> + ANN. You talk so well. + </p> + <p> + TANNER. Talk! Talk! It means nothing to you but talk. Well, go back to + your mother, and help her to poison Rhoda's imagination as she has + poisoned yours. It is the tame elephants who enjoy capturing the wild + ones. + </p> + <p> + ANN. I am getting on. Yesterday I was a boa constrictor: to-day I am an + elephant. + </p> + <p> + TANNER. Yes. So pack your trunk and begone; I have no more to say to you. + </p> + <p> + ANN. You are so utterly unreasonable and impracticable. What can I do? + </p> + <p> + TANNER. Do! Break your chains. Go your way according to your own + conscience and not according to your mother's. Get your mind clean and + vigorous; and learn to enjoy a fast ride in a motor car instead of seeing + nothing in it but an excuse for a detestable intrigue. Come with me to + Marseilles and across to Algiers and to Biskra, at sixty miles an hour. + Come right down to the Cape if you like. That will be a Declaration of + Independence with a vengeance. You can write a book about it afterwards. + That will finish your mother and make a woman of you. + </p> + <p> + ANN. [thoughtfully] I don't think there would be any harm in that, Jack. + You are my guardian: you stand in my father's place, by his own wish. + Nobody could say a word against our travelling together. It would be + delightful: thank you a thousand times, Jack. I'll come. + </p> + <p> + TANNER. [aghast] You'll come!!! + </p> + <p> + ANN. Of course. + </p> + <p> + TANNER. But— [he stops, utterly appalled; then resumes feebly] No: + look here, Ann: if there's no harm in it there's no point in doing it. + </p> + <p> + ANN. How absurd you are! You don't want to compromise me, do you? + </p> + <p> + TANNER. Yes: that's the whole sense of my proposal. + </p> + <p> + ANN. You are talking the greatest nonsense; and you know it. You would + never do anything to hurt me. + </p> + <p> + TANNER. Well, if you don't want to be compromised, don't come. + </p> + <p> + ANN. [with simple earnestness] Yes, I will come, Jack, since you wish it. + You are my guardian; and think we ought to see more of one another and + come to know one another better. [Gratefully] It's very thoughtful and + very kind of you, Jack, to offer me this lovely holiday, especially after + what I said about Rhoda. You really are good—much better than you + think. When do we start? + </p> + <p> + TANNER. But— + </p> + <p> + The conversation is interrupted by the arrival of Mrs Whitefield from the + house. She is accompanied by the American gentleman, and followed by + Ramsden and Octavius. + </p> + <p> + Hector Malone is an Eastern American; but he is not at all ashamed of his + nationality. This makes English people of fashion think well of him, as of + a young fellow who is manly enough to confess to an obvious disadvantage + without any attempt to conceal or extenuate it. They feel that he ought + not to be made to suffer for what is clearly not his fault, and make a + point of being specially kind to him. His chivalrous manners to women, and + his elevated moral sentiments, being both gratuitous and unusual, strike + them as being a little unfortunate; and though they find his vein of easy + humor rather amusing when it has ceased to puzzle them (as it does at + first), they have had to make him understand that he really must not tell + anecdotes unless they are strictly personal and scandalous, and also that + oratory is an accomplishment which belongs to a cruder stage of + civilization than that in which his migration has landed him. On these + points Hector is not quite convinced: he still thinks that the British are + apt to make merits of their stupidities, and to represent their various + incapacities as points of good breeding. English life seems to him to + suffer from a lack of edifying rhetoric (which he calls moral tone); + English behavior to show a want of respect for womanhood; English + pronunciation to fail very vulgarly in tackling such words as world, girl, + bird, etc.; English society to be plain spoken to an extent which + stretches occasionally to intolerable coarseness; and English intercourse + to need enlivening by games and stories and other pastimes; so he does not + feel called upon to acquire these defects after taking great paths to + cultivate himself in a first rate manner before venturing across the + Atlantic. To this culture he finds English people either totally + indifferent as they very commonly are to all culture, or else politely + evasive, the truth being that Hector's culture is nothing but a state of + saturation with our literary exports of thirty years ago, reimported by + him to be unpacked at a moment's notice and hurled at the head of English + literature, science and art, at every conversational opportunity. The + dismay set up by these sallies encourages him in his belief that he is + helping to educate England. When he finds people chattering harmlessly + about Anatole France and Nietzsche, he devastates them with Matthew + Arnold, the Autocrat of the Breakfast Table, and even Macaulay; and as he + is devoutly religious at bottom, he first leads the unwary, by humorous + irreverences, to wave popular theology out of account in discussing moral + questions with him, and then scatters them in confusion by demanding + whether the carrying out of his ideals of conduct was not the manifest + object of God Almighty in creating honest men and pure women. The engaging + freshness of his personality and the dumbfoundering staleness of his + culture make it extremely difficult to decide whether he is worth knowing; + for whilst his company is undeniably pleasant and enlivening, there is + intellectually nothing new to be got out of him, especially as he despises + politics, and is careful not to talk commercial shop, in which department + he is probably much in advance of his English capitalist friends. He gets + on best with romantic Christians of the amoristic sect: hence the + friendship which has sprung up between him and Octavius. + </p> + <p> + In appearance Hector is a neatly built young man of twenty-four, with a + short, smartly trimmed black beard, clear, well shaped eyes, and an + ingratiating vivacity of expression. He is, from the fashionable point of + view, faultlessly dressed. As he comes along the drive from the house with + Mrs Whitefield he is sedulously making himself agreeable and entertaining, + and thereby placing on her slender wit a burden it is unable to bear. An + Englishman would let her alone, accepting boredom and indifference of + their common lot; and the poor lady wants to be either let alone or let + prattle about the things that interest her. + </p> + <p> + Ramsden strolls over to inspect the motor car. Octavius joins Hector. + </p> + <p> + ANN. [pouncing on her mother joyously] Oh, mamma, what do you think! Jack + is going to take me to Nice in his motor car. Isn't it lovely? I am the + happiest person in London. + </p> + <p> + TANNER. [desperately] Mrs Whitefield objects. I am sure she objects. + Doesn't she, Ramsden? + </p> + <p> + RAMSDEN. I should think it very likely indeed. + </p> + <p> + ANN. You don't object, do you, mother? + </p> + <p> + MRS WHITEFIELD. I object! Why should I? I think it will do you good, Ann. + [Trotting over to Tanner] I meant to ask you to take Rhoda out for a run + occasionally: she is too much in the house; but it will do when you come + back. + </p> + <p> + TANNER. Abyss beneath abyss of perfidy! + </p> + <p> + ANN. [hastily, to distract attention from this outburst] Oh, I forgot: you + have not met Mr Malone. Mr Tanner, my guardian: Mr Hector Malone. + </p> + <p> + HECTOR. Pleased to meet you, Mr Tanner. I should like to suggest an + extension of the travelling party to Nice, if I may. + </p> + <p> + ANN. Oh, we're all coming. That's understood, isn't it? + </p> + <p> + HECTOR. I also am the modest possessor of a motor car. If Miss Robinson + will allow me the privilege of taking her, my car is at her service. + </p> + <p> + OCTAVIUS. Violet! + </p> + <p> + General constraint. + </p> + <p> + ANN. [subduedly] Come, mother: we must leave them to talk over the + arrangements. I must see to my travelling kit. + </p> + <p> + Mrs Whitefield looks bewildered; but Ann draws her discreetly away; and + they disappear round the corner towards the house. + </p> + <p> + HECTOR. I think I may go so far as to say that I can depend on Miss + Robinson's consent. + </p> + <p> + Continued embarrassment. + </p> + <p> + OCTAVIUS. I'm afraid we must leave Violet behind, There are circumstances + which make it impossible for her to come on such an expedition. + </p> + <p> + HECTOR. [amused and not at all convinced] Too American, eh? Must the young + lady have a chaperone? + </p> + <p> + OCTAVIUS. It's not that, Malone—at least not altogether. + </p> + <p> + HECTOR. Indeed! May I ask what other objection applies? + </p> + <p> + TANNER. [impatiently] Oh, tell him, tell him. We shall never be able to + keep the secret unless everybody knows what it is. Mr Malone: if you go to + Nice with Violet, you go with another man's wife. She is married. + </p> + <p> + HECTOR. [thunderstruck] You don't tell me so! + </p> + <p> + TANNER. We do. In confidence. + </p> + <p> + RAMSDEN. [with an air of importance, lest Malone should suspect a + misalliance] Her marriage has not yet been made known: she desires that it + shall not be mentioned for the present. + </p> + <p> + HECTOR. I shall respect the lady's wishes. Would it be indiscreet to ask + who her husband is, in case I should have an opportunity of consulting him + about this trip? + </p> + <p> + TANNER. We don't know who he is. + </p> + <p> + HECTOR. [retiring into his shell in a very marked manner] In that case, I + have no more to say. + </p> + <p> + They become more embarrassed than ever. + </p> + <p> + OCTAVIUS. You must think this very strange. + </p> + <p> + HECTOR. A little singular. Pardon me for saving so. + </p> + <p> + RAMSDEN. [half apologetic, half huffy] The young lady was married + secretly; and her husband has forbidden her, it seems, to declare his + name. It is only right to tell you, since you are interested in Miss—er—in + Violet. + </p> + <p> + OCTAVIUS. [sympathetically] I hope this is not a disappointment to you. + </p> + <p> + HECTOR. [softened, coming out of his shell again] Well it is a blow. I can + hardly understand how a man can leave a wife in such a position. Surely + it's not customary. It's not manly. It's not considerate. + </p> + <p> + OCTAVIUS. We feel that, as you may imagine, pretty deeply. + </p> + <p> + RAMSDEN. [testily] It is some young fool who has not enough experience to + know what mystifications of this kind lead to. + </p> + <p> + HECTOR. [with strong symptoms of moral repugnance] I hope so. A man need + be very young and pretty foolish too to be excused for such conduct. You + take a very lenient view, Mr Ramsden. Too lenient to my mind. Surely + marriage should ennoble a man. + </p> + <p> + TANNER. [sardonically] Ha! + </p> + <p> + HECTOR. Am I to gather from that cacchination that you don't agree with + me, Mr Tanner? + </p> + <p> + TANNER. [drily] Get married and try. You may find it delightful for a + while: you certainly won't find it ennobling. The greatest common measure + of a man and a woman is not necessarily greater than the man's single + measure. + </p> + <p> + HECTOR. Well, we think in America that a woman's moral number is higher + than a man's, and that the purer nature of a woman lifts a man right out + of himself, and makes him better than he was. + </p> + <p> + OCTAVIUS. [with conviction] So it does. + </p> + <p> + TANNER. No wonder American women prefer to live in Europe! It's more + comfortable than standing all their lives on an altar to be worshipped. + Anyhow, Violet's husband has not been ennobled. So what's to be done? + </p> + <p> + HECTOR. [shaking his head] I can't dismiss that man's conduct as lightly + as you do, Mr Tanner. However, I'll say no more. Whoever he is, he's Miss + Robinson's husband; and I should be glad for her sake to think better of + him. + </p> + <p> + OCTAVIUS. [touched; for he divines a secret sorrow] I'm very sorry, + Malone. Very sorry. + </p> + <p> + HECTOR. [gratefully] You're a good fellow, Robinson, Thank you. + </p> + <p> + TANNER. Talk about something else. Violet's coming from the house. + </p> + <p> + HECTOR. I should esteem it a very great favor, men, if you would take the + opportunity to let me have a few words with the lady alone. I shall have + to cry off this trip; and it's rather a delicate— + </p> + <p> + RAMSDEN. [glad to escape] Say no more. Come Tanner, Come, Tavy. [He + strolls away into the park with Octavius and Tanner, past the motor car]. + </p> + <p> + Violet comes down the avenue to Hector. + </p> + <p> + VIOLET. Are they looking? + </p> + <p> + HECTOR. No. + </p> + <p> + She kisses him. + </p> + <p> + VIOLET. Have you been telling lies for my sake? + </p> + <p> + HECTOR. Lying! Lying hardly describes it. I overdo it. I get carried away + in an ecstasy of mendacity. Violet: I wish you'd let me own up. + </p> + <p> + VIOLET. [instantly becoming serious and resolute] No, no. Hector: you + promised me not to. + </p> + <p> + HECTOR. I'll keep my promise until you release me from it. But I feel + mean, lying to those men, and denying my wife. Just dastardly. + </p> + <p> + VIOLET. I wish your father were not so unreasonable. + </p> + <p> + HECTOR. He's not unreasonable. He's right from his point of view. He has a + prejudice against the English middle class. + </p> + <p> + VIOLET. It's too ridiculous. You know how I dislike saying such things to + you, Hector; but if I were to—oh, well, no matter. + </p> + <p> + HECTOR. I know. If you were to marry the son of an English manufacturer of + office furniture, your friends would consider it a misalliance. And here's + my silly old dad, who is the biggest office furniture man in the world, + would show me the door for marrying the most perfect lady in England + merely because she has no handle to her name. Of course it's just absurd. + But I tell you, Violet, I don't like deceiving him. I feel as if I was + stealing his money. Why won't you let me own up? + </p> + <p> + VIOLET. We can't afford it. You can be as romantic as you please about + love, Hector; but you mustn't be romantic about money. + </p> + <p> + HECTOR. [divided between his uxoriousness and his habitual elevation of + moral sentiment] That's very English. [Appealing to her impulsively] + Violet: Dad's bound to find us out some day. + </p> + <p> + VIOLET. Oh yes, later on of course. But don't let's go over this every + time we meet, dear. You promised— + </p> + <p> + HECTOR. All right, all right, I— + </p> + <p> + VIOLET. [not to be silenced] It is I and not you who suffer by this + concealment; and as to facing a struggle and poverty and all that sort of + thing I simply will not do it. It's too silly. + </p> + <p> + HECTOR. You shall not. I'll sort of borrow the money from my dad until I + get on my own feet; and then I can own up and pay up at the same time. + </p> + <p> + VIOLET. [alarmed and indignant] Do you mean to work? Do you want to spoil + our marriage? + </p> + <p> + HECTOR. Well, I don't mean to let marriage spoil my character. Your friend + Mr Tanner has got the laugh on me a bit already about that; and— + </p> + <p> + VIOLET. The beast! I hate Jack Tanner. + </p> + <p> + HECTOR. [magnanimously] Oh, he's all right: he only needs the love of a + good woman to ennoble him. Besides, he's proposed a motoring trip to Nice; + and I'm going to take you. + </p> + <p> + VIOLET. How jolly! + </p> + <p> + HECTOR. Yes; but how are we going to manage? You see, they've warned me + off going with you, so to speak. They've told me in confidence that you're + married. That's just the most overwhelming confidence I've ever been + honored with. + </p> + <p> + Tanner returns with Straker, who goes to his car. + </p> + <p> + TANNER. Your car is a great success, Mr Malone. Your engineer is showing + it off to Mr Ramsden. + </p> + <p> + HECTOR. [eagerly—forgetting himself] Let's come, Vi. + </p> + <p> + VIOLET. [coldly, warning him with her eyes] I beg your pardon, Mr Malone, + I did not quite catch— + </p> + <p> + HECTOR. [recollecting himself] I ask to be allowed the pleasure of showing + you my little American steam car, Miss Robinson. + </p> + <p> + VIOLET. I shall be very pleased. [They go off together down the avenue]. + </p> + <p> + TANNER. About this trip, Straker. + </p> + <p> + STRAKER. [preoccupied with the car] Yes? + </p> + <p> + TANNER. Miss Whitefield is supposed to be coming with me. + </p> + <p> + STRAKER. So I gather. + </p> + <p> + TANNER. Mr Robinson is to be one of the party. + </p> + <p> + STRAKER. Yes. + </p> + <p> + TANNER. Well, if you can manage so as to be a good deal occupied with me, + and leave Mr Robinson a good deal occupied with Miss Whitefield, he will + be deeply grateful to you. + </p> + <p> + STRAKER. [looking round at him] Evidently. + </p> + <p> + TANNER. "Evidently!" Your grandfather would have simply winked. + </p> + <p> + STRAKER. My grandfather would have touched his at. + </p> + <p> + TANNER. And I should have given your good nice respectful grandfather a + sovereign. + </p> + <p> + STRAKER. Five shillins, more likely. [He leaves the car and approaches + Tanner]. What about the lady's views? + </p> + <p> + TANNER. She is just as willing to be left to Mr Robinson as Mr Robinson is + to be left to her. [Straker looks at his principal with cool scepticism; + then turns to the car whistling his favorite air]. Stop that aggravating + noise. What do you mean by it? [Straker calmly resumes the melody and + finishes it. Tanner politely hears it out before he again addresses + Straker, this time with elaborate seriousness]. Enry: I have ever been a + warm advocate of the spread of music among the masses; but I object to + your obliging the company whenever Miss Whitefield's name is mentioned. + You did it this morning, too. + </p> + <p> + STRAKER. [obstinately] It's not a bit o use. Mr Robinson may as well give + it up first as last. + </p> + <p> + TANNER. Why? + </p> + <p> + STRAKER. Garn! You know why. Course it's not my business; but you needn't + start kiddin me about it. + </p> + <p> + TANNER. I am not kidding. I don't know why. + </p> + <p> + STRAKER. [Cheerfully sulky] Oh, very well. All right. It ain't my + business. + </p> + <p> + TANNER. [impressively] I trust, Enry, that, as between employer and + engineer, I shall always know how to keep my proper distance, and not + intrude my private affairs on you. Even our business arrangements are + subject to the approval of your Trade Union. But don't abuse your + advantages. Let me remind you that Voltaire said that what was too silly + to be said could be sung. + </p> + <p> + STRAKER. It wasn't Voltaire: it was Bow Mar Shay. + </p> + <p> + TANNER. I stand corrected: Beaumarchais of course. Now you seem to think + that what is too delicate to be said can be whistled. Unfortunately your + whistling, though melodious, is unintelligible. Come! there's nobody + listening: neither my genteel relatives nor the secretary of your + confounded Union. As man to man, Enry, why do you think that my friend has + no chance with Miss Whitefield? + </p> + <p> + STRAKER. Cause she's arter summun else. + </p> + <p> + TANNER. Bosh! who else? + </p> + <p> + STRAKER. You. + </p> + <p> + TANNER. Me!!! + </p> + <p> + STRAKER. Mean to tell me you didn't know? Oh, come, Mr Tanner! + </p> + <p> + TANNER. [in fierce earnest] Are you playing the fool, or do you mean it? + </p> + <p> + STRAKER. [with a flash of temper] I'm not playin no fool. [More coolly] + Why, it's as plain as the nose on your face. If you ain't spotted that, + you don't know much about these sort of things. [Serene again] Ex-cuse me, + you know, Mr Tanner; but you asked me as man to man; and I told you as man + to man. + </p> + <p> + TANNER. [wildly appealing to the heavens] Then I—I am the bee, the + spider, the marked down victim, the destined prey. + </p> + <p> + STRAKER. I dunno about the bee and the spider. But the marked down victim, + that's what you are and no mistake; and a jolly good job for you, too, I + should say. + </p> + <p> + TANNER. [momentously] Henry Straker: the moment of your life has arrived. + </p> + <p> + STRAKER. What d'y'mean? + </p> + <p> + TANNER. That record to Biskra. + </p> + <p> + STRAKER. [eagerly] Yes? + </p> + <p> + TANNER. Break it. + </p> + <p> + STRAKER. [rising to the height of his destiny] D'y'mean it? + </p> + <p> + TANNER. I do. + </p> + <p> + STRAKER. When? + </p> + <p> + TANNER. Now. Is that machine ready to start? + </p> + <p> + STRAKER. [quailing] But you can't— + </p> + <p> + TANNER. [cutting him short by getting into the car] Off we go. First to + the bank for money; then to my rooms for my kit; then to your rooms for + your kit; then break the record from London to Dover or Folkestone; then + across the channel and away like mad to Marseilles, Gibraltar, Genoa, any + port from which we can sail to a Mahometan country where men are protected + from women. + </p> + <p> + STRAKER. Garn! you're kiddin. + </p> + <p> + TANNER. [resolutely] Stay behind then. If you won't come I'll do it alone. + [He starts the motor]. + </p> + <p> + STRAKER. [running after him] Here! Mister! arf a mo! steady on! [he + scrambles in as the car plunges forward]. + </p> + <p> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> + <p> + Evening in the Sierra Nevada. Rolling slopes of brown, with olive trees + instead of apple trees in the cultivated patches, and occasional prickly + pears instead of gorse and bracken in the wilds. Higher up, tall stone + peaks and precipices, all handsome and distinguished. No wild nature here: + rather a most aristocratic mountain landscape made by a fastidious + artist-creator. No vulgar profusion of vegetation: even a touch of aridity + in the frequent patches of stones: Spanish magnificence and Spanish + economy everywhere. + </p> + <p> + Not very far north of a spot at which the high road over one of the passes + crosses a tunnel on the railway from Malaga to Granada, is one of the + mountain amphitheatres of the Sierra. Looking at it from the wide end of + the horse-shoe, one sees, a little to the right, in the face of the cliff, + a romantic cave which is really an abandoned quarry, and towards the left + a little hill, commanding a view of the road, which skirts the + amphitheatre on the left, maintaining its higher level on embankments and + on an occasional stone arch. On the hill, watching the road, is a man who + is either a Spaniard or a Scotchman. Probably a Spaniard, since he wears + the dress of a Spanish goatherd and seems at home in the Sierra Nevada, + but very like a Scotchman for all that. In the hollow, on the slope + leading to the quarry-cave, are about a dozen men who, as they recline at + their cave round a heap of smouldering white ashes of dead leaf and + brushwood, have an air of being conscious of themselves as picturesque + scoundrels honoring the Sierra by using it as an effective pictorial + background. As a matter of artistic fact they are not picturesque; and the + mountains tolerate them as lions tolerate lice. An English policeman or + Poor Law Guardian would recognize them as a selected band of tramps and + ablebodied paupers. + </p> + <p> + This description of them is not wholly contemptuous. Whoever has + intelligently observed the tramp, or visited the ablebodied ward of a + workhouse, will admit that our social failures are not all drunkards and + weaklings. Some of them are men who do not fit the class they were born + into. Precisely the same qualities that make the educated gentleman an + artist may make an uneducated manual laborer an ablebodied pauper. There + are men who fall helplessly into the workhouse because they are good for + nothing; but there are also men who are there because they are + strongminded enough to disregard the social convention (obviously not a + disinterested one on the part of the ratepayer) which bids a man live by + heavy and badly paid drudgery when he has the alternative of walking into + the workhouse, announcing himself as a destitute person, and legally + compelling the Guardians to feed, clothe and house him better than he + could feed, clothe and house himself without great exertion. When a man + who is born a poet refuses a stool in a stockbroker's office, and starves + in a garret, spunging on a poor landlady or on his friends and relatives + rather than work against his grain; or when a lady, because she is a lady, + will face any extremity of parasitic dependence rather than take a + situation as cook or parlormaid, we make large allowances for them. To + such allowances the ablebodied pauper and his nomadic variant the tramp + are equally entitled. + </p> + <p> + Further, the imaginative man, if his life is to be tolerable to him, must + have leisure to tell himself stories, and a position which lends itself to + imaginative decoration. The ranks of unskilled labor offer no such + positions. We misuse our laborers horribly; and when a man refuses to be + misused, we have no right to say that he is refusing honest work. Let us + be frank in this matter before we go on with our play; so that we may + enjoy it without hypocrisy. If we were reasoning, farsighted people, four + fifths of us would go straight to the Guardians for relief, and knock the + whole social system to pieces with most beneficial reconstructive results. + The reason we do got do this is because we work like bees or ants, by + instinct or habit, not reasoning about the matter at all. Therefore when a + man comes along who can and does reason, and who, applying the Kantian + test to his conduct, can truly say to us, If everybody did as I do, the + world would be compelled to reform itself industrially, and abolish + slavery and squalor, which exist only because everybody does as you do, + let us honor that man and seriously consider the advisability of following + his example. Such a man is the able-bodied, able-minded pauper. Were he a + gentleman doing his best to get a pension or a sinecure instead of + sweeping a crossing, nobody would blame him; for deciding that so long as + the alternative lies between living mainly at the expense of the community + and allowing the community to live mainly at his, it would be folly to + accept what is to him personally the greater of the two evils. + </p> + <p> + We may therefore contemplate the tramps of the Sierra without prejudice, + admitting cheerfully that our objects—briefly, to be gentlemen of + fortune—are much the same as theirs, and the difference in our + position and methods merely accidental. One or two of them, perhaps, it + would be wiser to kill without malice in a friendly and frank manner; for + there are bipeds, just as there are quadrupeds, who are too dangerous to + be left unchained and unmuzzled; and these cannot fairly expect to have + other men's lives wasted in the work of watching them. But as society has + not the courage to kill them, and, when it catches them, simply wreaks on + them some superstitious expiatory rites of torture and degradation, and + than lets them loose with heightened qualifications for mischief, it is + just as well that they are at large in the Sierra, and in the hands of a + chief who looks as if he might possibly, on provocation, order them to be + shot. + </p> + <p> + This chief, seated in the centre of the group on a squared block of stone + from the quarry, is a tall strong man, with a striking cockatoo nose, + glossy black hair, pointed beard, upturned moustache, and a + Mephistophelean affectation which is fairly imposing, perhaps because the + scenery admits of a larger swagger than Piccadilly, perhaps because of a + certain sentimentality in the man which gives him that touch of grace + which alone can excuse deliberate picturesqueness. His eyes and mouth are + by no means rascally; he has a fine voice and a ready wit; and whether he + is really the strongest man in the party, or not, he looks it. He is + certainly, the best fed, the best dressed, and the best trained. The fact + that he speaks English is not unexpected in spite of the Spanish + landscape; for with the exception of one man who might be guessed as a + bullfighter ruined by drink and one unmistakable Frenchman, they are all + cockney or American; therefore, in a land of cloaks and sombreros, they + mostly wear seedy overcoats, woollen mufflers, hard hemispherical hats, + and dirty brown gloves. Only a very few dress after their leader, whose + broad sombrero with a cock's feather in the band, and voluminous cloak + descending to his high boots, are as un-English as possible. None of them + are armed; and the ungloved ones keep their hands in their pockets because + it is their national belief that it must be dangerously cold in the open + air with the night coming on. (It is as warm an evening as any reasonable + man could desire). + </p> + <p> + Except the bullfighting inebriate there is only one person in the company + who looks more than, say, thirty-three. He is a small man with reddish + whiskers, weak eyes, and the anxious look of a small tradesman in + difficulties. He wears the only tall hat visible: it shines in the sunset + with the sticky glow of some sixpenny patent hat reviver, often applied + and constantly tending to produce a worse state of the original surface + than the ruin it was applied to remedy. He has a collar and cuff of + celluloid; and his brown Chesterfield overcoat, with velvet collar, is + still presentable. He is pre-eminently the respectable man of the party, + and is certainly over forty, possibly over fifty. He is the corner man on + the leader's right, opposite three men in scarlet ties on his left. One of + these three is the Frenchman. Of the remaining two, who are both English, + one is argumentative, solemn, and obstinate; the other rowdy and + mischievous. + </p> + <p> + The chief, with a magnificent fling of the end of his cloak across his + left shoulder, rises to address them. The applause which greets him shows + that he is a favorite orator. + </p> + <p> + THE CHIEF. Friends and fellow brigands. I have a proposal to make to this + meeting. We have now spent three evenings in discussing the question Have + Anarchists or Social-Democrats the most personal courage? We have gone + into the principles of Anarchism and Social-Democracy at great length. The + cause of Anarchy has been ably represented by our one Anarchist, who + doesn't know what Anarchism means [laughter]— + </p> + <p> + THE ANARCHIST. [rising] A point of order, Mendoza— + </p> + <p> + MENDOZA. [forcibly] No, by thunder: your last point of order took half an + hour. Besides, Anarchists don't believe in order. + </p> + <p> + THE ANARCHIST. [mild, polite but persistent: he is, in fact, the + respectable looking elderly man in the celluloid collar and cuffs] That is + a vulgar error. I can prove— + </p> + <p> + MENDOZA. Order, order. + </p> + <p> + THE OTHERS [shouting] Order, order. Sit down. Chair! Shut up. + </p> + <p> + The Anarchist is suppressed. + </p> + <p> + MENDOZA. On the other hand we have three Social-Democrats among us. They + are not on speaking terms; and they have put before us three distinct and + incompatible views of Social-Democracy. + </p> + <p> + THE MAJORITY. [shouting assent] Hear, hear! So we are. Right. + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. [smarting under oppression] You ain't no + Christian. You're a Sheeny, you are. + </p> + <p> + MENDOZA. [with crushing magnanimity] My friend; I am an exception to all + rules. It is true that I have the honor to be a Jew; and, when the + Zionists need a leader to reassemble our race on its historic soil of + Palestine, Mendoza will not be the last to volunteer [sympathetic applause—hear, + hear, etc.]. But I am not a slave to any superstition. I have swallowed + all the formulas, even that of Socialism; though, in a sense, once a + Socialist, always a Socialist. + </p> + <p> + THE SOCIAL-DEMOCRATS. Hear, hear! + </p> + <p> + MENDOZA. But I am well aware that the ordinary man—even the ordinary + brigand, who can scarcely be called an ordinary man [Hear, hear!]—is + not a philosopher. Common sense is good enough for him; and in our + business affairs common sense is good enough for me. Well, what is our + business here in the Sierra Nevada, chosen by the Moors as the fairest + spot in Spain? Is it to discuss abstruse questions of political economy? + No: it is to hold up motor cars and secure a more equitable distribution + of wealth. + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. All made by labor, mind you. + </p> + <p> + MENDOZA. [urbanely] Undoubtedly. All made by labor, and on its way to be + squandered by wealthy vagabonds in the dens of vice that disfigure the + sunny shores of the Mediterranean. We intercept that wealth. We restore it + to circulation among the class that produced it and that chiefly needs it—the + working class. We do this at the risk of our lives and liberties, by the + exercise of the virtues of courage, endurance, foresight, and abstinence—especially + abstinence. I myself have eaten nothing but prickly pears and broiled + rabbit for three days. + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. [Stubbornly] No more ain't we. + </p> + <p> + MENDOZA. [indignantly] Have I taken more than my share? + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. [unmoved] Why should you? + </p> + <p> + THE ANARCHIST. Why should he not? To each according to his needs: from + each according to his means. + </p> + <p> + THE FRENCHMAN. [shaking his fist at the anarchist] Fumiste! + </p> + <p> + MENDOZA. [diplomatically] I agree with both of you. + </p> + <p> + THE GENUINELY ENGLISH BRIGANDS. Hear, hear! Bravo, Mendoza! + </p> + <p> + MENDOZA. What I say is, let us treat one another as gentlemen, and strive + to excel in personal courage only when we take the field. + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. [derisively] Shikespear. + </p> + <p> + A whistle comes from the goatherd on the hill. He springs up and points + excitedly forward along the road to the north. + </p> + <p> + THE GOATHERD. Automobile! Automobile! [He rushes down the hill and joins + the rest, who all scramble to their feet]. + </p> + <p> + MENDOZA. [in ringing tones] To arms! Who has the gun? + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. [handing a rifle to Mendoza] Here. + </p> + <p> + MENDOZA. Have the nails been strewn in the road? + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. Two ahnces of em. + </p> + <p> + MENDOZA. Good! [To the Frenchman] With me, Duval. If the nails fail, + puncture their tires with a bullet. [He gives the rifle to Duval, who + follows him up the hill. Mendoza produces an opera glass. The others hurry + across to the road and disappear to the north]. + </p> + <p> + MENDOZA. [on the hill, using his glass] Two only, a capitalist and his + chauffeur. They look English. + </p> + <p> + DUVAL. Angliche! Aoh yess. Cochons! [Handling the rifle] Faut tire, + n'est-ce-pas? + </p> + <p> + MENDOZA. No: the nails have gone home. Their tire is down: they stop. + </p> + <p> + DUVAL. [shouting to the others] Fondez sur eux, nom de Dieu! + </p> + <p> + MENDOZA. [rebuking his excitement] Du calme, Duval: keep your hair on. + They take it quietly. Let us descend and receive them. + </p> + <p> + Mendoza descends, passing behind the fire and coming forward, whilst + Tanner and Straker, in their motoring goggles, leather coats, and caps, + are led in from the road by brigands. + </p> + <p> + TANNER. Is this the gentleman you describe as your boss? Does he speak + English? + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. Course he does. Y'don't suppowz we Hinglishmen + lets ahrselves be bossed by a bloomin Spenniard, do you? + </p> + <p> + MENDOZA. [with dignity] Allow me to introduce myself: Mendoza, President + of the League of the Sierra! [Posing loftily] I am a brigand: I live by + robbing the rich. + </p> + <p> + TANNER. [promptly] I am a gentleman: I live by robbing the poor. Shake + hands. + </p> + <p> + THE ENGLISH SOCIAL-DEMOCRATS. Hear, hear! + </p> + <p> + General laughter and good humor. Tanner and Mendoza shake hands. The + Brigands drop into their former places. + </p> + <p> + STRAKER. Ere! where do I come in? + </p> + <p> + TANNER. [introducing] My friend and chauffeur. + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. [suspiciously] Well, which is he? friend or + show-foor? It makes all the difference you know. + </p> + <p> + MENDOZA. [explaining] We should expect ransom for a friend. A professional + chauffeur is free of the mountains. He even takes a trifling percentage of + his princpal's ransom if he will honor us by accepting it. + </p> + <p> + STRAKER. I see. Just to encourage me to come this way again. Well, I'll + think about it. + </p> + <p> + DUVAL. [impulsively rushing across to Straker] Mon frere! [He embraces him + rapturously and kisses him on both cheeks]. + </p> + <p> + STRAKER. [disgusted] Ere, git out: don't be silly. Who are you, pray? + </p> + <p> + DUVAL. Duval: Social-Democrat. + </p> + <p> + STRAKER. Oh, you're a Social-Democrat, are you? + </p> + <p> + THE ANARCHIST. He means that he has sold out to the parliamentary humbugs + and the bourgeoisie. Compromise! that is his faith. + </p> + <p> + DUVAL. [furiously] I understand what he say. He say Bourgeois. He say + Compromise. Jamais de la vie! Miserable menteur— + </p> + <p> + STRAKER. See here, Captain Mendoza, ow much o this sort o thing do you put + up with here? Are we avin a pleasure trip in the mountains, or are we at a + Socialist meetin? + </p> + <p> + THE MAJORITY. Hear, hear! Shut up. Chuck it. Sit down, etc. etc. [The + Social-Democrats and the Anarchist are hurtled into the background. + Straker, after superintending this proceeding with satisfaction, places + himself on Mendoza's left, Tanner being on his right]. + </p> + <p> + MENDOZA. Can we offer you anything? Broiled rabbit and prickly pears— + </p> + <p> + TANNER. Thank you: we have dined. + </p> + <p> + MENDOZA. [to his followers] Gentlemen: business is over for the day. Go as + you please until morning. + </p> + <p> + The Brigands disperse into groups lazily. Some go into the cave. Others + sit down or lie down to sleep in the open. A few produce a pack of cards + and move off towards the road; for it is now starlight; and they know that + motor cars have lamps which can be turned to account for lighting a card + party. + </p> + <p> + STRAKER. [calling after them] Don't none of you go fooling with that car, + d'ye hear? + </p> + <p> + MENDOZA. No fear, Monsieur le Chauffeur. The first one we captured cured + us of that. + </p> + <p> + STRAKER. [interested] What did it do? + </p> + <p> + MENDOZA. It carried three brave comrades of ours, who did not know how to + stop it, into Granada, and capsized them opposite the police station. + Since then we never touch one without sending for the chauffeur. Shall we + chat at our ease? + </p> + <p> + TANNER. By all means. + </p> + <p> + Tanner, Mendoza, and Straker sit down on the turf by the fire. Mendoza + delicately waives his presidential dignity, of which the right to sit on + the squared stone block is the appanage, by sitting on the ground like his + guests, and using the stone only as a support for his back. + </p> + <p> + MENDOZA. It is the custom in Spain always to put off business until + to-morrow. In fact, you have arrived out of office hours. However, if you + would prefer to settle the question of ransom at once, I am at your + service. + </p> + <p> + TANNER. To-morrow will do for me. I am rich enough to pay anything in + reason. + </p> + <p> + MENDOZA. [respectfully, much struck by this admission] You are a + remarkable man, sir. Our guests usually describe themselves as miserably + poor. + </p> + <p> + TANNER. Pooh! Miserably poor people don't own motor cars. + </p> + <p> + MENDOZA. Precisely what we say to them. + </p> + <p> + TANNER. Treat us well: we shall not prove ungrateful. + </p> + <p> + STRAKER. No prickly pears and broiled rabbits, you know. Don't tell me you + can't do us a bit better than that if you like. + </p> + <p> + MENDOZA. Wine, kids, milk, cheese and bread can be procured for ready + money. + </p> + <p> + STRAKER. [graciously] Now you're talking. + </p> + <p> + TANNER. Are you all Socialists here, may I ask? + </p> + <p> + MENDOZA. [repudiating this humiliating misconception] Oh no, no, no: + nothing of the kind, I assure you. We naturally have modern views as to + the justice of the existing distribution of wealth: otherwise we should + lose our self-respect. But nothing that you could take exception to, + except two or three faddists. + </p> + <p> + TANNER. I had no intention of suggesting anything discreditable. In fact, + I am a bit of a Socialist myself. + </p> + <p> + STRAKER. [drily] Most rich men are, I notice. + </p> + <p> + MENDOZA. Quite so. It has reached us, I admit. It is in the air of the + century. + </p> + <p> + STRAKER. Socialism must be looking up a bit if your chaps are taking to + it. + </p> + <p> + MENDOZA. That is true, sir. A movement which is confined to philosophers + and honest men can never exercise any real political influence: there are + too few of them. Until a movement shows itself capable of spreading among + brigands, it can never hope for a political majority. + </p> + <p> + TANNER. But are your brigands any less honest than ordinary citizens? + </p> + <p> + MENDOZA. Sir: I will be frank with you. Brigandage is abnormal. Abnormal + professions attract two classes: those who are not good enough for + ordinary bourgeois life and those who are too good for it. We are dregs + and scum, sir: the dregs very filthy, the scum very superior. + </p> + <p> + STRAKER. Take care! some o the dregs'll hear you. + </p> + <p> + MENDOZA. It does not matter: each brigand thinks himself scum, and likes + to hear the others called dregs. + </p> + <p> + TANNER. Come! you are a wit. [Mendoza inclines his head, flattered]. May + one ask you a blunt question? + </p> + <p> + MENDOZA. As blunt as you please. + </p> + <p> + TANNER. How does it pay a man of your talent to shepherd such a flock as + this on broiled rabbit and prickly pears? I have seen men less gifted, and + I'll swear less honest, supping at the Savoy on foie gras and champagne. + </p> + <p> + MENDOZA. Pooh! they have all had their turn at the broiled rabbit, just as + I shall have my turn at the Savoy. Indeed, I have had a turn there already—as + waiter. + </p> + <p> + TANNER. A waiter! You astonish me! + </p> + <p> + MENDOZA. [reflectively] Yes: I, Mendoza of the Sierra, was a waiter. + Hence, perhaps, my cosmopolitanism. [With sudden intensity] Shall I tell + you the story of my life? + </p> + <p> + STRAKER. [apprehensively] If it ain't too long, old chap— + </p> + <p> + TANNER. [interrupting him] Tsh-sh: you are a Philistine, Henry: you have + no romance in you. [To Mendoza] You interest me extremely, President. + Never mind Henry: he can go to sleep. + </p> + <p> + MENDOZA. The woman I loved— + </p> + <p> + STRAKER. Oh, this is a love story, is it? Right you are. Go on: I was only + afraid you were going to talk about yourself. + </p> + <p> + MENDOZA. Myself! I have thrown myself away for her sake: that is why I am + here. No matter: I count the world well lost for her. She had, I pledge + you my word, the most magnificent head of hair I ever saw. She had humor; + she had intellect; she could cook to perfection; and her highly strung + temperament made her uncertain, incalculable, variable, capricious, cruel, + in a word, enchanting. + </p> + <p> + STRAKER. A six shillin novel sort o woman, all but the cookin. Er name was + Lady Gladys Plantagenet, wasn't it? + </p> + <p> + MENDOZA. No, sir: she was not an earl's daughter. Photography, reproduced + by the half-tone process, has made me familiar with the appearance of the + daughters of the English peerage; and I can honestly say that I would have + sold the lot, faces, dowries, clothes, titles, and all, for a smile from + this woman. Yet she was a woman of the people, a worker: otherwise—let + me reciprocate your bluntness—I should have scorned her. + </p> + <p> + TANNER. Very properly. And did she respond to your love? + </p> + <p> + MENDOZA. Should I be here if she did? She objected to marry a Jew. + </p> + <p> + TANNER. On religious grounds? + </p> + <p> + MENDOZA. No: she was a freethinker. She said that every Jew considers in + his heart that English people are dirty in their habits. + </p> + <p> + TANNER. [surprised] Dirty! + </p> + <p> + MENDOZA. It showed her extraordinary knowledge of the world; for it is + undoubtedly true. Our elaborate sanitary code makes us unduly contemptuous + of the Gentile. + </p> + <p> + TANNER. Did you ever hear that, Henry? + </p> + <p> + STRAKER. I've heard my sister say so. She was cook in a Jewish family + once. + </p> + <p> + MENDOZA. I could not deny it; neither could I eradicate the impression it + made on her mind. I could have got round any other objection; but no woman + can stand a suspicion of indelicacy as to her person. My entreaties were + in vain: she always retorted that she wasn't good enough for me, and + recommended me to marry an accursed barmaid named Rebecca Lazarus, whom I + loathed. I talked of suicide: she offered me a packet of beetle poison to + do it with. I hinted at murder: she went into hysterics; and as I am a + living man I went to America so that she might sleep without dreaming that + I was stealing upstairs to cut her throat. In America I went out west and + fell in with a man who was wanted by the police for holding up trains. It + was he who had the idea of holding up motors cars—in the South of + Europe: a welcome idea to a desperate and disappointed man. He gave me + some valuable introductions to capitalists of the right sort. I formed a + syndicate; and the present enterprise is the result. I became leader, as + the Jew always becomes leader, by his brains and imagination. But with all + my pride of race I would give everything I possess to be an Englishman. I + am like a boy: I cut her name on the trees and her initials on the sod. + When I am alone I lie down and tear my wretched hair and cry Louisa— + </p> + <p> + STRAKER. [startled] Louisa! + </p> + <p> + MENDOZA. It is her name—Louisa—Louisa Straker— + </p> + <p> + TANNER. Straker! + </p> + <p> + STRAKER. [scrambling up on his knees most indignantly] Look here: Louisa + Straker is my sister, see? Wot do you mean by gassin about her like this? + Wot she got to do with you? + </p> + <p> + MENDOZA. A dramatic coincidence! You are Enry, her favorite brother! + </p> + <p> + STRAKER. Oo are you callin Enry? What call have you to take a liberty with + my name or with hers? For two pins I'd punch your fat ed, so I would. + </p> + <p> + MENDOZA. [with grandiose calm] If I let you do it, will you promise to + brag of it afterwards to her? She will be reminded of her Mendoza: that is + all I desire. + </p> + <p> + TANNER. This is genuine devotion, Henry. You should respect it. + </p> + <p> + STRAKER. [fiercely] Funk, more likely. + </p> + <p> + MENDOZA. [springing to his feet] Funk! Young man: I come of a famous + family of fighters; and as your sister well knows, you would have as much + chance against me as a perambulator against your motor car. + </p> + <p> + STRAKER. [secretly daunted, but rising from his knees with an air of + reckless pugnacity] I ain't afraid of you. With your Louisa! Louisa! Miss + Straker is good enough for you, I should think. + </p> + <p> + MENDOZA. I wish you could persuade her to think so. + </p> + <p> + STRAKER. [exasperated] Here— + </p> + <p> + TANNER. [rising quickly and interposing] Oh come, Henry: even if you could + fight the President you can't fight the whole League of the Sierra. Sit + down again and be friendly. A cat may look at a king; and even a President + of brigands may look at your sister. All this family pride is really very + old fashioned. + </p> + <p> + STRAKER. [subdued, but grumbling] Let him look at her. But wot does he + mean by makin out that she ever looked at im? [Reluctantly resuming his + couch on the turf] Ear him talk, one ud think she was keepin company with + him. [He turns his back on them and composes himself to sleep]. + </p> + <p> + MENDOZA. [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 Shakespear seem to fit every crisis in our + emotions! + </p> +<pre xml:space="preserve"> + I loved Louisa: 40,000 brothers + Could not with all their quantity of love + Make up my sum. +</pre> + <p> + 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 Shakespear 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]. + </p> + <p> + TANNER. [clapping him rudely on the shoulder] Put them in the fire, + President. + </p> + <p> + MENDOZA. [startled] Eh? + </p> + <p> + TANNER. You are sacrificing your career to a monomania. + </p> + <p> + MENDOZA. I know it. + </p> + <p> + 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? + </p> + <p> + 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. + </p> + <p> + TANNER. Of Louisa, in short. They will not make me dream of women, my + friend: I am heartwhole. + </p> + <p> + MENDOZA. Do not boast until morning, sir. This is a strange country for + dreams. + </p> + <p> + TANNER. Well, we shall see. Goodnight. [He lies down and composes himself + to sleep]. + </p> + <p> + 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— + </p> + <p> + MENDOZA. Just allow me to read a few lines before you go to sleep. I + should really like your opinion of them. + </p> + <p> + TANNER. [drowsily] Go on. I am listening. + </p> + <p> + MENDOZA. I saw thee first in Whitsun week Louisa, Louisa— + </p> + <p> + TANNER. [roaring himself] My dear President, Louisa is a very pretty name; + but it really doesn't rhyme well to Whitsun week. + </p> + <p> + MENDOZA. Of course not. Louisa is not the rhyme, but the refrain. + </p> + <p> + TANNER. [subsiding] Ah, the refrain. I beg your pardon. Go on. + </p> + <p> + MENDOZA. Perhaps you do not care for that one: I think you will like this + better. [He recites, in rich soft tones, and to slow time] + </p> +<pre xml:space="preserve"> + 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. +</pre> +<pre xml:space="preserve"> + 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. +</pre> + <p> + [Affected] There is no merit in producing beautiful lines upon such a + name. Louisa is an exquisite name, is it not? + </p> + <p> + TANNER. [all but asleep, responds with a faint groan]. + </p> + <p> + MENDOZA. + </p> +<pre xml:space="preserve"> + O wert thou, Louisa, + The wife of Mendoza, + Mendoza's Louisa, Louisa Mendoza, + How blest were the life of Louisa's Mendoza! + How painless his longing of love for Louisa! +</pre> + <p> + That is real poetry—from the heart—from the heart of hearts. + Don't you think it will move her? + </p> + <p> + No answer. + </p> + <p> + [Resignedly] Asleep, as usual. Doggrel to all the world; heavenly music to + me! Idiot that I am to wear my heart on my sleeve! [He composes himself to + sleep, murmuring] Louisa, I love thee; I love thee, Louisa; Louisa, + Louisa, Louisa, I— + </p> + <p> + Straker snores; rolls over on his side; and relapses into sleep. Stillness + settles on the Sierra; and the darkness deepens. The fire has again buried + itself in white ash and ceased to glow. The peaks show unfathomably dark + against the starry firmament; but now the stars dim and vanish; and the + sky seems to steal away out of the universe. Instead of the Sierra there + is nothing; omnipresent nothing. No sky, no peaks, no light, no sound, no + time nor space, utter void. Then somewhere the beginning of a pallor, and + with it a faint throbbing buzz as of a ghostly violoncello palpitating on + the same note endlessly. A couple of ghostly violins presently take + advantage of this bass + </p> + <p> + (a staff of music is supplied here) + </p> + <p> + and therewith the pallor reveals a man in the void, an incorporeal but + visible man, seated, absurdly enough, on nothing. For a moment he raises + his head as the music passes him by. Then, with a heavy sigh, he droops in + utter dejection; and the violins, discouraged, retrace their melody in + despair and at last give it up, extinguished by wailings from uncanny wind + instruments, thus:— + </p> + <p> + (more music) + </p> + <p> + It is all very odd. One recognizes the Mozartian strain; and on this hint, + and by the aid of certain sparkles of violet light in the pallor, the + man's costume explains itself as that of a Spanish nobleman of the XV-XVI + century. Don Juan, of course; but where? why? how? Besides, in the brief + lifting of his face, now hidden by his hat brim, there was a curious + suggestion of Tanner. A more critical, fastidious, handsome face, paler + and colder, without Tanner's impetuous credulity and enthusiasm, and + without a touch of his modern plutocratic vulgarity, but still a + resemblance, even an identity. The name too: Don Juan Tenorio, John + Tanner. Where on earth—-or elsewhere—have we got to from the + XX century and the Sierra? + </p> + <p> + Another pallor in the void, this time not violet, but a disagreeable smoky + yellow. With it, the whisper of a ghostly clarionet turning this tune into + infinite sadness: + </p> + <p> + (Here there is another musical staff.) + </p> + <p> + The yellowish pallor moves: there is an old crone wandering in the void, + bent and toothless; draped, as well as one can guess, in the coarse brown + frock of some religious order. She wanders and wanders in her slow + hopeless way, much as a wasp flies in its rapid busy way, until she + blunders against the thing she seeks: companionship. With a sob of relief + the poor old creature clutches at the presence of the man and addresses + him in her dry unlovely voice, which can still express pride and + resolution as well as suffering. + </p> + <p> + THE OLD WOMAN. Excuse me; but I am so lonely; and this place is so awful. + </p> + <p> + DON JUAN. A new comer? + </p> + <p> + THE OLD WOMAN. Yes: I suppose I died this morning. I confessed; I had + extreme unction; I was in bed with my family about me and my eyes fixed on + the cross. Then it grew dark; and when the light came back it was this + light by which I walk seeing nothing. I have wandered for hours in + horrible loneliness. + </p> + <p> + DON JUAN. [sighing] Ah! you have not yet lost the sense of time. One soon + does, in eternity. + </p> + <p> + THE OLD WOMAN. Where are we? + </p> + <p> + DON JUAN. In hell. + </p> + <p> + THE OLD WOMAN [proudly] Hell! I in hell! How dare you? + </p> + <p> + DON JUAN. [unimpressed] Why not, Senora? + </p> + <p> + THE OLD WOMAN. You do not know to whom you are speaking. I am a lady, and + a faithful daughter of the Church. + </p> + <p> + DON JUAN. I do not doubt it. + </p> + <p> + THE OLD WOMAN. But how then can I be in hell? Purgatory, perhaps: I have + not been perfect: who has? But hell! oh, you are lying. + </p> + <p> + DON JUAN. Hell, Senora, I assure you; hell at its best—that is, its most + solitary—though perhaps you would prefer company. + </p> + <p> + THE OLD WOMAN. But I have sincerely repented; I have confessed. + </p> + <p> + DON JUAN. How much? + </p> + <p> + THE OLD WOMAN. More sins than I really committed. I loved confession. + </p> + <p> + DON JUAN. Ah, that is perhaps as bad as confessing too little. At all + events, Senora, whether by oversight or intention, you are certainly + damned, like myself; and there is nothing for it now but to make the best + of it. + </p> + <p> + THE OLD WOMAN [indignantly] Oh! and I might have been so much wickeder! + All my good deeds wasted! It is unjust. + </p> + <p> + DON JUAN. No: you were fully and clearly warned. For your bad deeds, + vicarious atonement, mercy without justice. For your good deeds, justice + without mercy. We have many good people here. + </p> + <p> + THE OLD WOMAN. Were you a good man? + </p> + <p> + DON JUAN. I was a murderer. + </p> + <p> + THE OLD WOMAN. A murderer! Oh, how dare they send me to herd with + murderers! I was not as bad as that: I was a good woman. There is some + mistake: where can I have it set right? + </p> + <p> + DON JUAN. I do not know whether mistakes can be corrected here. Probably + they will not admit a mistake even if they have made one. + </p> + <p> + THE OLD WOMAN. But whom can I ask? + </p> + <p> + DON JUAN. I should ask the Devil, Senora: he understands the ways of this + place, which is more than I ever could. + </p> + <p> + THE OLD WOMAN. The Devil! <i>I</i> speak to the Devil! + </p> + <p> + DON JUAN. In hell, Senora, the Devil is the leader of the best society. + </p> + <p> + THE OLD WOMAN. I tell you, wretch, I know I am not in hell. + </p> + <p> + DON JUAN. How do you know? + </p> + <p> + THE OLD WOMAN. Because I feel no pain. + </p> + <p> + DON JUAN. Oh, then there is no mistake: you are intentionally damned. + </p> + <p> + THE OLD WOMAN. Why do you say that? + </p> + <p> + DON JUAN. Because hell, Senora, is a place for the wicked. The wicked are + quite comfortable in it: it was made for them. You tell me you feel no + pain. I conclude you are one of those for whom Hell exists. + </p> + <p> + THE OLD WOMAN. Do you feel no pain? + </p> + <p> + DON JUAN. I am not one of the wicked, Senora; therefore it bores me, bores + me beyond description, beyond belief. + </p> + <p> + THE OLD WOMAN. Not one of the wicked! You said you were a murderer. + </p> + <p> + DON JUAN. Only a duel. I ran my sword through an old man who was trying to + run his through me. + </p> + <p> + THE OLD WOMAN. If you were a gentleman, that was not a murder. + </p> + <p> + DON JUAN. The old man called it murder, because he was, he said, defending + his daughter's honor. By this he meant that because I foolishly fell in + love with her and told her so, she screamed; and he tried to assassinate + me after calling me insulting names. + </p> + <p> + THE OLD WOMAN. You were like all men. Libertines and murderers all, all, + all! + </p> + <p> + DON JUAN. And yet we meet here, dear lady. + </p> + <p> + THE OLD WOMAN. Listen to me. My father was slain by just such a wretch as + you, in just such a duel, for just such a cause. I screamed: it was my + duty. My father drew on my assailant: his honor demanded it. He fell: that + was the reward of honor. I am here: in hell, you tell me that is the + reward of duty. Is there justice in heaven? + </p> + <p> + DON JUAN. No; but there is justice in hell: heaven is far above such idle + human personalities. You will be welcome in hell, Senora. Hell is the home + of honor, duty, justice, and the rest of the seven deadly virtues. All the + wickedness on earth is done in their name: where else but in hell should + they have their reward? Have I not told you that the truly damned are + those who are happy in hell? + </p> + <p> + THE OLD WOMAN. And are you happy here? + </p> + <p> + DON JUAN. [Springing to his feet] No; and that is the enigma on which I + ponder in darkness. Why am <i>I</i> here? I, who repudiated all duty, trampled + honor underfoot, and laughed at justice! + </p> + <p> + THE OLD WOMAN. Oh, what do I care why you are here? Why am _I_ here? I, who + sacrificed all my inclinations to womanly virtue and propriety! + </p> + <p> + DON JUAN. Patience, lady: you will be perfectly happy and at home here. As + saith the poet, "Hell is a city much like Seville." + </p> + <p> + THE OLD WOMAN. Happy! here! where I am nothing! where I am nobody! + </p> + <p> + DON JUAN. Not at all: you are a lady; and wherever ladies are is hell. Do + not be surprised or terrified: you will find everything here that a lady + can desire, including devils who will serve you from sheer love of + servitude, and magnify your importance for the sake of dignifying their + service—the best of servants. + </p> + <p> + THE OLD WOMAN. My servants will be devils! + </p> + <p> + DON JUAN. Have you ever had servants who were not devils? + </p> + <p> + THE OLD WOMAN. Never: they were devils, perfect devils, all of them. But + that is only a manner of speaking. I thought you meant that my servants + here would be real devils. + </p> + <p> + DON JUAN. No more real devils than you will be a real lady. Nothing is + real here. That is the horror of damnation. + </p> + <p> + THE OLD WOMAN. Oh, this is all madness. This is worse than fire and the + worm. + </p> + <p> + DON JUAN. For you, perhaps, there are consolations. For instance: how old + were you when you changed from time to eternity? + </p> + <p> + THE OLD WOMAN. Do not ask me how old I was as if I were a thing of the + past. I am 77. + </p> + <p> + DON JUAN. A ripe age, Senora. But in hell old age is not tolerated. It is + too real. Here we worship Love and Beauty. Our souls being entirely + damned, we cultivate our hearts. As a lady of 77, you would not have a + single acquaintance in hell. + </p> + <p> + THE OLD WOMAN. How can I help my age, man? + </p> + <p> + DON JUAN. You forget that you have left your age behind you in the realm + of time. You are no more 77 than you are 7 or 17 or 27. + </p> + <p> + THE OLD WOMAN. Nonsense! + </p> + <p> + DON JUAN. Consider, Senora: was not this true even when you lived on + earth? When you were 70, were you really older underneath your wrinkles + and your grey hairs than when you were 30? + </p> + <p> + THE OLD WOMAN. No, younger: at 30 I was a fool. But of what use is it to + feel younger and look older? + </p> + <p> + DON JUAN. You see, Senora, the look was only an illusion. Your wrinkles + lied, just as the plump smooth skin of many a stupid girl of 17, with + heavy spirits and decrepit ideas, lies about her age? Well, here we have + no bodies: we see each other as bodies only because we learnt to think + about one another under that aspect when we were alive; and we still think + in that way, knowing no other. But we can appear to one another at what + age we choose. You have but to will any of your old looks back, and back + they will come. + </p> + <p> + THE OLD WOMAN. It cannot be true. + </p> + <p> + DON JUAN. Try. + </p> + <p> + THE OLD WOMAN. Seventeen! + </p> + <p> + DON JUAN. Stop. Before you decide, I had better tell you that these things + are a matter of fashion. Occasionally we have a rage for 17; but it does + not last long. Just at present the fashionable age is 40—or say 37; + but there are signs of a change. If you were at all good-looking at 27, I + should suggest your trying that, and setting a new fashion. + </p> + <p> + THE OLD WOMAN. I do not believe a word you are saying. However, 27 be it. + [Whisk! the old woman becomes a young one, and so handsome that in the + radiance into which her dull yellow halo has suddenly lightened one might + almost mistake her for Ann Whitefield]. + </p> + <p> + DON JUAN. Dona Ana de Ulloa! + </p> + <p> + ANA. What? You know me! + </p> + <p> + DON JUAN. And you forget me! + </p> + <p> + ANA. I cannot see your face. [He raises his hat]. Don Juan Tenorio! + Monster! You who slew my father! even here you pursue me. + </p> + <p> + DON JUAN. I protest I do not pursue you. Allow me to withdraw [going]. + </p> + <p> + ANA. [seizing his arm] You shall not leave me alone in this dreadful + place. + </p> + <p> + DON JUAN. Provided my staying be not interpreted as pursuit. + </p> + <p> + ANA. [releasing him] You may well wonder how I can endure your presence. + My dear, dear father! + </p> + <p> + DON JUAN. Would you like to see him? + </p> + <p> + ANA. My father HERE!!! + </p> + <p> + DON JUAN. No: he is in heaven. + </p> + <p> + ANA. I knew it. My noble father! He is looking down on us now. What must + he feel to see his daughter in this place, and in conversation with his + murderer! + </p> + <p> + DON JUAN. By the way, if we should meet him— + </p> + <p> + ANA. How can we meet him? He is in heaven. + </p> + <p> + DON JUAN. He condescends to look in upon us here from time to time. Heaven + bores him. So let me warn you that if you meet him he will be mortally + offended if you speak of me as his murderer! He maintains that he was a + much better swordsman than I, and that if his foot had not slipped he + would have killed me. No doubt he is right: I was not a good fencer. I + never dispute the point; so we are excellent friends. + </p> + <p> + ANA. It is no dishonor to a soldier to be proud of his skill in arms. + </p> + <p> + DON JUAN. You would rather not meet him, probably. + </p> + <p> + ANA. How dare you say that? + </p> + <p> + DON JUAN. Oh, that is the usual feeling here. You may remember that on + earth—though of course we never confessed it—the death of + anyone we knew, even those we liked best, was always mingled with a + certain satisfaction at being finally done with them. + </p> + <p> + ANA. Monster! Never, never. + </p> + <p> + DON JUAN. [placidly] I see you recognize the feeling. Yes: a funeral was + always a festivity in black, especially the funeral of a relative. At all + events, family ties are rarely kept up here. Your father is quite + accustomed to this: he will not expect any devotion from you. + </p> + <p> + ANA. Wretch: I wore mourning for him all my life. + </p> + <p> + DON JUAN. Yes: it became you. But a life of mourning is one thing: an + eternity of it quite another. Besides, here you are as dead as he. Can + anything be more ridiculous than one dead person mourning for another? Do + not look shocked, my dear Ana; and do not be alarmed: there is plenty of + humbug in hell (indeed there is hardly anything else); but the humbug of + death and age and change is dropped because here WE are all dead and all + eternal. You will pick up our ways soon. + </p> + <p> + ANA. And will all the men call me their dear Ana? + </p> + <p> + DON JUAN. No. That was a slip of the tongue. I beg your pardon. + </p> + <p> + ANA. [almost tenderly] Juan: did you really love me when you behaved so + disgracefully to me? + </p> + <p> + DON JUAN. [impatiently] Oh, I beg you not to begin talking about love. + Here they talk of nothing else but love—its beauty, its holiness, + its spirituality, its devil knows what!—excuse me; but it does so + bore me. They don't know what they're talking about. I do. They think they + have achieved the perfection of love because they have no bodies. Sheer + imaginative debauchery! Faugh! + </p> + <p> + ANA. Has even death failed to refine your soul, Juan? Has the terrible + judgment of which my father's statue was the minister taught you no + reverence? + </p> + <p> + DON JUAN. How is that very flattering statue, by the way? Does it still + come to supper with naughty people and cast them into this bottomless pit? + </p> + <p> + ANA. It has been a great expense to me. The boys in the monastery school + would not let it alone: the mischievous ones broke it; and the studious + ones wrote their names on it. Three new noses in two years, and fingers + without end. I had to leave it to its fate at last; and now I fear it is + shockingly mutilated. My poor father! + </p> + <p> + DON JUAN. Hush! Listen! [Two great chords rolling on syncopated waves of + sound break forth: D minor and its dominant: a round of dreadful joy to + all musicians]. Ha! Mozart's statue music. It is your father. You had + better disappear until I prepare him. [She vanishes]. + </p> + <p> + From the void comes a living statue of white marble, designed to represent + a majestic old man. But he waives his majesty with infinite grace; walks + with a feather-like step; and makes every wrinkle in his war worn visage + brim over with holiday joyousness. To his sculptor he owes a perfectly + trained figure, which he carries erect and trim; and the ends of his + moustache curl up, elastic as watchsprings, giving him an air which, but + for its Spanish dignity, would be called jaunty. He is on the pleasantest + terms with Don Juan. His voice, save for a much more distinguished + intonation, is so like the voice of Roebuck Ramsden that it calls + attention to the fact that they are not unlike one another in spite of + their very different fashion of shaving. + </p> + <p> + DON JUAN. Ah, here you are, my friend. Why don't you learn to sing the + splendid music Mozart has written for you? + </p> + <p> + THE STATUE. Unluckily he has written it for a bass voice. Mine is a + counter tenor. Well: have you repented yet? + </p> + <p> + DON JUAN. I have too much consideration for you to repent, Don Gonzalo. If + I did, you would have no excuse for coming from Heaven to argue with me. + </p> + <p> + THE STATUE. True. Remain obdurate, my boy. I wish I had killed you, as I + should have done but for an accident. Then I should have come here; and + you would have had a statue and a reputation for piety to live up to. Any + news? + </p> + <p> + DON JUAN. Yes: your daughter is dead. + </p> + <p> + THE STATUE. [puzzled] My daughter? [Recollecting] Oh! the one you were + taken with. Let me see: what was her name? + </p> + <p> + DON JUAN. Ana. + </p> + <p> + THE STATUE. To be sure: Ana. A goodlooking girl, if I recollect aright. + Have you warned Whatshisname—her husband? + </p> + <p> + DON JUAN. My friend Ottavio? No: I have not seen him since Ana arrived. + </p> + <p> + Ana comes indignantly to light. + </p> + <p> + ANA. What does this mean? Ottavio here and YOUR friend! And you, father, + have forgotten my name. You are indeed turned to stone. + </p> + <p> + THE STATUE. My dear: I am so much more admired in marble than I ever was + in my own person that I have retained the shape the sculptor gave me. He + was one of the first men of his day: you must acknowledge that. + </p> + <p> + ANA. Father! Vanity! personal vanity! from you! + </p> + <p> + THE STATUE. Ah, you outlived that weakness, my daughter: you must be + nearly 80 by this time. I was cut off (by an accident) in my 64th year, + and am considerably your junior in consequence. Besides, my child, in this + place, what our libertine friend here would call the farce of parental + wisdom is dropped. Regard me, I beg, as a fellow creature, not as a + father. + </p> + <p> + ANA. You speak as this villain speaks. + </p> + <p> + THE STATUE. Juan is a sound thinker, Ana. A bad fencer, but a sound + thinker. + </p> + <p> + ANA. [horror creeping upon her] I begin to understand. These are devils, + mocking me. I had better pray. + </p> + <p> + THE STATUE. [consoling her] No, no, no, my child: do not pray. If you do, + you will throw away the main advantage of this place. Written over the + gate here are the words "Leave every hope behind, ye who enter." Only + think what a relief that is! For what is hope? A form of moral + responsibility. Here there is no hope, and consequently no duty, no work, + nothing to be gained by praying, nothing to be lost by doing what you + like. Hell, in short, is a place where you have nothing to do but amuse + yourself. [Don Juan sighs deeply]. You sigh, friend Juan; but if you dwelt + in heaven, as I do, you would realize your advantages. + </p> + <p> + DON JUAN. You are in good spirits to-day, Commander. You are positively + brilliant. What is the matter? + </p> + <p> + THE STATUE. I have come to a momentous decision, my boy. But first, where + is our friend the Devil? I must consult him in the matter. And Ana would + like to make his acquaintance, no doubt. + </p> + <p> + ANA. You are preparing some torment for me. + </p> + <p> + DON JUAN. All that is superstition, Ana. Reassure yourself. Remember: the + devil is not so black as he is painted. + </p> + <p> + THE STATUE. Let us give him a call. + </p> + <p> + At the wave of the statue's hand the great chords roll out again but this + time Mozart's music gets grotesquely adulterated with Gounod's. A scarlet + halo begins to glow; and into it the Devil rises, very Mephistophelean, + and not at all unlike Mendoza, though not so interesting. He looks older; + is getting prematurely bald; and, in spite of an effusion of goodnature + and friendliness, is peevish and sensitive when his advances are not + reciprocated. He does not inspire much confidence in his powers of hard + work or endurance, and is, on the whole, a disagreeably self-indulgent + looking person; but he is clever and plausible, though perceptibly less + well bred than the two other men, and enormously less vital than the + woman. + </p> + <p> + THE DEVIL. [heartily] Have I the pleasure of again receiving a visit from + the illustrious Commander of Calatrava? [Coldly] Don Juan, your servant. + [Politely] And a strange lady? My respects, Senora. + </p> + <p> + ANA. Are you— + </p> + <p> + THE DEVIL. [bowing] Lucifer, at your service. + </p> + <p> + ANA. I shall go mad. + </p> + <p> + THE DEVIL. [gallantly] Ah, Senora, do not be anxious. You come to us from + earth, full of the prejudices and terrors of that priest-ridden place. You + have heard me ill spoken of; and yet, believe me, I have hosts of friends + there. + </p> + <p> + ANA. Yes: you reign in their hearts. + </p> + <p> + THE DEVIL. [shaking his head] You flatter me, Senora; but you are + mistaken. It is true that the world cannot get on without me; but it never + gives me credit for that: in its heart it mistrusts and hates me. Its + sympathies are all with misery, with poverty, with starvation of the body + and of the heart. I call on it to sympathize with joy, with love, with + happiness, with beauty. + </p> + <p> + DON JUAN. [nauseated] Excuse me: I am going. You know I cannot stand this. + </p> + <p> + THE DEVIL. [angrily] Yes: I know that you are no friend of mine. + </p> + <p> + THE STATUE. What harm is he doing you, Juan? It seems to me that he was + talking excellent sense when you interrupted him. + </p> + <p> + THE DEVIL. [warmly shaking the statue's hand] Thank you, my friend: thank + you. You have always understood me: he has always disparaged and avoided + me. + </p> + <p> + DON JUAN. I have treated you with perfect courtesy. + </p> + <p> + THE DEVIL. Courtesy! What is courtesy? I care nothing for mere courtesy. + Give me warmth of heart, true sincerity, the bond of sympathy with love + and joy— + </p> + <p> + DON JUAN. You are making me ill. + </p> + <p> + THE DEVIL. There! [Appealing to the statue] You hear, sir! Oh, by what + irony of fate was this cold selfish egotist sent to my kingdom, and you + taken to the icy mansions of the sky! + </p> + <p> + THE STATUE. I can't complain. I was a hypocrite; and it served me right to + be sent to heaven. + </p> + <p> + THE DEVIL. Why, sir, do you not join us, and leave a sphere for which your + temperament is too sympathetic, your heart too warm, your capacity for + enjoyment too generous? + </p> + <p> + THE STATUE. I have this day resolved to do so. In future, excellent Son of + the Morning, I am yours. I have left Heaven for ever. + </p> + <p> + THE DEVIL. [again grasping his hand] Ah, what an honor for me! What a + triumph for our cause! Thank you, thank you. And now, my friend—I + may call you so at last—could you not persuade HIM to take the place + you have left vacant above? + </p> + <p> + THE STATUE. [shaking his head] I cannot conscientiously recommend anybody + with whom I am on friendly terms to deliberately make himself dull and + uncomfortable. + </p> + <p> + THE DEVIL. Of course not; but are you sure HE would be uncomfortable? Of + course you know best: you brought him here originally; and we had the + greatest hopes of him. His sentiments were in the best taste of our best + people. You remember how he sang? [He begins to sing in a nasal operatic + baritone, tremulous from an eternity of misuse in the French manner]. + </p> +<pre xml:space="preserve"> + Vivan le femmine! + Viva il buon vino! +</pre> + <p> + THE STATUE. [taking up the tune an octave higher in his counter tenor] + </p> +<pre xml:space="preserve"> + Sostegno a gloria + D'umanita. +</pre> + <p> + THE DEVIL. Precisely. Well, he never sings for us now. + </p> + <p> + DON JUAN. Do you complain of that? Hell is full of musical amateurs: music + is the brandy of the damned. May not one lost soul be permitted to + abstain? + </p> + <p> + THE DEVIL. You dare blaspheme against the sublimest of the arts! + </p> + <p> + DON JUAN. [with cold disgust] You talk like a hysterical woman fawning on + a fiddler. + </p> + <p> + THE DEVIL. I am not angry. I merely pity you. You have no soul; and you + are unconscious of all that you lose. Now you, Senor Commander, are a born + musician. How well you sing! Mozart would be delighted if he were still + here; but he moped and went to heaven. Curious how these clever men, whom + you would have supposed born to be popular here, have turned out social + failures, like Don Juan! + </p> + <p> + DON JUAN. I am really very sorry to be a social failure. + </p> + <p> + THE DEVIL. Not that we don't admire your intellect, you know. We do. But I + look at the matter from your own point of view. You don't get on with us. + The place doesn't suit you. The truth is, you have—I won't say no + heart; for we know that beneath all your affected cynicism you have a warm + one. + </p> + <p> + DON JUAN. [shrinking] Don't, please don't. + </p> + <p> + THE DEVIL. [nettled] Well, you've no capacity for enjoyment. Will that + satisfy you? + </p> + <p> + DON JUAN. It is a somewhat less insufferable form of cant than the other. + But if you'll allow me, I'll take refuge, as usual, in solitude. + </p> + <p> + THE DEVIL. Why not take refuge in Heaven? That's the proper place for you. + [To Ana] Come, Senora! could you not persuade him for his own good to try + a change of air? + </p> + <p> + ANA. But can he go to Heaven if he wants to? + </p> + <p> + THE DEVIL. What's to prevent him? + </p> + <p> + ANA. Can anybody—can I go to Heaven if I want to? + </p> + <p> + THE DEVIL. [rather contemptuously] Certainly, if your taste lies that way. + </p> + <p> + ANA. But why doesn't everybody go to Heaven, then? + </p> + <p> + THE STATUE. [chuckling] I can tell you that, my dear. It's because heaven + is the most angelically dull place in all creation: that's why. + </p> + <p> + THE DEVIL. His excellency the Commander puts it with military bluntness; + but the strain of living in Heaven is intolerable. There is a notion that + I was turned out of it; but as a matter of fact nothing could have induced + me to stay there. I simply left it and organized this place. + </p> + <p> + THE STATUE. I don't wonder at it. Nobody could stand an eternity of + heaven. + </p> + <p> + THE DEVIL. Oh, it suits some people. Let us be just, Commander: it is a + question of temperament. I don't admire the heavenly temperament: I don't + understand it: I don't know that I particularly want to understand it; but + it takes all sorts to make a universe. There is no accounting for tastes: + there are people who like it. I think Don Juan would like it. + </p> + <p> + DON JUAN. But—pardon my frankness—could you really go back + there if you desired to; or are the grapes sour? + </p> + <p> + THE DEVIL. Back there! I often go back there. Have you never read the book + of Job? Have you any canonical authority for assuming that there is any + barrier between our circle and the other one? + </p> + <p> + ANA. But surely there is a great gulf fixed. + </p> + <p> + THE DEVIL. Dear lady: a parable must not be taken literally. The gulf is + the difference between the angelic and the diabolic temperament. What more + impassable gulf could you have? Think of what you have seen on earth. + There is no physical gulf between the philosopher's class room and the + bull ring; but the bull fighters do not come to the class room for all + that. Have you ever been in the country where I have the largest following—England? + There they have great racecourses, and also concert rooms where they play + the classical compositions of his Excellency's friend Mozart. Those who go + to the racecourses can stay away from them and go to the classical + concerts instead if they like: there is no law against it; for Englishmen + never will be slaves: they are free to do whatever the Government and + public opinion allows them to do. And the classical concert is admitted to + be a higher, more cultivated, poetic, intellectual, ennobling place than + the racecourse. But do the lovers of racing desert their sport and flock + to the concert room? Not they. They would suffer there all the weariness + the Commander has suffered in heaven. There is the great gulf of the + parable between the two places. A mere physical gulf they could bridge; or + at least I could bridge it for them (the earth is full of Devil's + Bridges); but the gulf of dislike is impassable and eternal. And that is + the only gulf that separates my friends here from those who are + invidiously called the blest. + </p> + <p> + ANA. I shall go to heaven at once. + </p> + <p> + THE STATUE. My child; one word of warning first. Let me complete my friend + Lucifer's similitude of the classical concert. At every one of those + concerts in England you will find rows of weary people who are there, not + because they really like classical music, but because they think they + ought to like it. Well, there is the same thing in heaven. A number of + people sit there in glory, not because they are happy, but because they + think they owe it to their position to be in heaven. They are almost all + English. + </p> + <p> + THE DEVIL. Yes: the Southerners give it up and join me just as you have + done. But the English really do not seem to know when they are thoroughly + miserable. An Englishman thinks he is moral when he is only uncomfortable. + </p> + <p> + THE STATUE. In short, my daughter, if you go to Heaven without being + naturally qualified for it, you will not enjoy yourself there. + </p> + <p> + ANA. And who dares say that I am not naturally qualified for it? The most + distinguished princes of the Church have never questioned it. I owe it to + myself to leave this place at once. + </p> + <p> + THE DEVIL. [offended] As you please, Senora. I should have expected better + taste from you. + </p> + <p> + ANA. Father: I shall expect you to come with me. You cannot stay here. + What will people say? + </p> + <p> + THE STATUE. People! Why, the best people are here—princes of the + church and all. So few go to Heaven, and so many come here, that the + blest, once called a heavenly host, are a continually dwindling minority. + The saints, the fathers, the elect of long ago are the cranks, the + faddists, the outsiders of to-day. + </p> + <p> + THE DEVIL. It is true. From the beginning of my career I knew that I + should win in the long run by sheer weight of public opinion, in spite of + the long campaign of misrepresentation and calumny against me. At bottom + the universe is a constitutional one; and with such a majority as mine I + cannot be kept permanently out of office. + </p> + <p> + DON JUAN. I think, Ana, you had better stay here. + </p> + <p> + ANA. [jealously] You do not want me to go with you. + </p> + <p> + DON JUAN. Surely you do not want to enter Heaven in the company of a + reprobate like me. + </p> + <p> + ANA. All souls are equally precious. You repent, do you not? + </p> + <p> + DON JUAN. My dear Ana, you are silly. Do you suppose heaven is like earth, + where people persuade themselves that what is done can be undone by + repentance; that what is spoken can be unspoken by withdrawing it; that + what is true can be annihilated by a general agreement to give it the lie? + No: heaven is the home of the masters of reality: that is why I am going + thither. + </p> + <p> + ANA. Thank you: I am going to heaven for happiness. I have had quite + enough of reality on earth. + </p> + <p> + DON JUAN. Then you must stay here; for hell is the home of the unreal and + of the seekers for happiness. It is the only refuge from heaven, which is, + as I tell you, the home of the masters of reality, and from earth, which + is the home of the slaves of reality. The earth is a nursery in which men + and women play at being heros and heroines, saints and sinners; but they + are dragged down from their fool's paradise by their bodies: hunger and + cold and thirst, age and decay and disease, death above all, make them + slaves of reality: thrice a day meals must be eaten and digested: thrice a + century a new generation must be engendered: ages of faith, of romance, + and of science are all driven at last to have but one prayer, "Make me a + healthy animal." But here you escape the tyranny of the flesh; for here + you are not an animal at all: you are a ghost, an appearance, an illusion, + a convention, deathless, ageless: in a word, bodiless. There are no social + questions here, no political questions, no religious questions, best of + all, perhaps, no sanitary questions. Here you call your appearance beauty, + your emotions love, your sentiments heroism, your aspirations virtue, just + as you did on earth; but here there are no hard facts to contradict you, + no ironic contrast of your needs with your pretensions, no human comedy, + nothing but a perpetual romance, a universal melodrama. As our German + friend put it in his poem, "the poetically nonsensical here is good sense; + and the Eternal Feminine draws us ever upward and on"—without + getting us a step farther. And yet you want to leave this paradise! + </p> + <p> + ANA. But if Hell be so beautiful as this, how glorious must heaven be! + </p> + <p> + The Devil, the Statue, and Don Juan all begin to speak at once in violent + protest; then stop, abashed. + </p> + <p> + DON JUAN. I beg your pardon. + </p> + <p> + THE DEVIL. Not at all. I interrupted you. + </p> + <p> + THE STATUE. You were going to say something. + </p> + <p> + DON JUAN. After you, gentlemen. + </p> + <p> + THE DEVIL. [to Don Juan] You have been so eloquent on the advantages of my + dominions that I leave you to do equal justice to the drawbacks of the + alternative establishment. + </p> + <p> + DON JUAN. In Heaven, as I picture it, dear lady, you live and work instead + of playing and pretending. You face things as they are; you escape nothing + but glamor; and your steadfastness and your peril are your glory. If the + play still goes on here and on earth, and all the world is a stage, Heaven + is at least behind the scenes. But Heaven cannot be described by metaphor. + Thither I shall go presently, because there I hope to escape at last from + lies and from the tedious, vulgar pursuit of happiness, to spend my eons + in contemplation— + </p> + <p> + THE STATUE. Ugh! + </p> + <p> + DON JUAN. Senor Commander: I do not blame your disgust: a picture gallery + is a dull place for a blind man. But even as you enjoy the contemplation + of such romantic mirages as beauty and pleasure; so would I enjoy the + contemplation of that which interests me above all things namely, Life: + the force that ever strives to attain greater power of contemplating + itself. What made this brain of mine, do you think? Not the need to move + my limbs; for a rat with half my brains moves as well as I. Not merely the + need to do, but the need to know what I do, lest in my blind efforts to + live I should be slaying myself. + </p> + <p> + THE STATUE. You would have slain yourself in your blind efforts to fence + but for my foot slipping, my friend. + </p> + <p> + DON JUAN. Audacious ribald: your laughter will finish in hideous boredom + before morning. + </p> + <p> + THE STATUE. Ha ha! Do you remember how I frightened you when I said + something like that to you from my pedestal in Seville? It sounds rather + flat without my trombones. + </p> + <p> + DON JUAN. They tell me it generally sounds flat with them, Commander. + </p> + <p> + ANA. Oh, do not interrupt with these frivolities, father. Is there nothing + in Heaven but contemplation, Juan? + </p> + <p> + DON JUAN. In the Heaven I seek, no other joy. But there is the work of + helping Life in its struggle upward. Think of how it wastes and scatters + itself, how it raises up obstacles to itself and destroys itself in its + ignorance and blindness. It needs a brain, this irresistible force, lest + in its ignorance it should resist itself. What a piece of work is man! + says the poet. Yes: but what a blunderer! Here is the highest miracle of + organization yet attained by life, the most intensely alive thing that + exists, the most conscious of all the organisms; and yet, how wretched are + his brains! Stupidity made sordid and cruel by the realities learnt from + toil and poverty: Imagination resolved to starve sooner than face these + realities, piling up illusions to hide them, and calling itself + cleverness, genius! And each accusing the other of its own defect: + Stupidity accusing Imagination of folly, and Imagination accusing + Stupidity of ignorance: whereas, alas! Stupidity has all the knowledge, + and Imagination all the intelligence. + </p> + <p> + THE DEVIL. And a pretty kettle of fish they make of it between them. Did I + not say, when I was arranging that affair of Faust's, that all Man's + reason has done for him is to make him beastlier than any beast. One + splendid body is worth the brains of a hundred dyspeptic, flatulent + philosophers. + </p> + <p> + DON JUAN. You forget that brainless magnificence of body has been tried. + Things immeasurably greater than man in every respect but brain have + existed and perished. The megatherium, the icthyosaurus have paced the + earth with seven-league steps and hidden the day with cloud vast wings. + Where are they now? Fossils in museums, and so few and imperfect at that, + that a knuckle bone or a tooth of one of them is prized beyond the lives + of a thousand soldiers. These things lived and wanted to live; but for + lack of brains they did not know how to carry out their purpose, and so + destroyed themselves. + </p> + <p> + THE DEVIL. And is Man any the less destroying himself for all this boasted + brain of his? Have you walked up and down upon the earth lately? I have; + and I have examined Man's wonderful inventions. And I tell you that in the + arts of life man invents nothing; but in the arts of death he outdoes + Nature herself, and produces by chemistry and machinery all the slaughter + of plague, pestilence and famine. The peasant I tempt to-day eats and + drinks what was eaten and drunk by the peasants of ten thousand years ago; + and the house he lives in has not altered as much in a thousand centuries + as the fashion of a lady's bonnet in a score of weeks. But when he goes + out to slay, he carries a marvel of mechanism that lets loose at the touch + of his finger all the hidden molecular energies, and leaves the javelin, + the arrow, the blowpipe of his fathers far behind. In the arts of peace + Man is a bungler. I have seen his cotton factories and the like, with + machinery that a greedy dog could have invented if it had wanted money + instead of food. I know his clumsy typewriters and bungling locomotives + and tedious bicycles: they are toys compared to the Maxim gun, the + submarine torpedo boat. There is nothing in Man's industrial machinery but + his greed and sloth: his heart is in his weapons. This marvellous force of + Life of which you boast is a force of Death: Man measures his strength by + his destructiveness. What is his religion? An excuse for hating ME. What + is his law? An excuse for hanging YOU. What is his morality? Gentility! an + excuse for consuming without producing. What is his art? An excuse for + gloating over pictures of slaughter. What are his politics? Either the + worship of a despot because a despot can kill, or parliamentary + cockfighting. I spent an evening lately in a certain celebrated + legislature, and heard the pot lecturing the kettle for its blackness, and + ministers answering questions. When I left I chalked up on the door the + old nursery saying—"Ask no questions and you will be told no lies." + I bought a sixpenny family magazine, and found it full of pictures of + young men shooting and stabbing one another. I saw a man die: he was a + London bricklayer's laborer with seven children. He left seventeen pounds + club money; and his wife spent it all on his funeral and went into the + workhouse with the children next day. She would not have spent sevenpence + on her children's schooling: the law had to force her to let them be + taught gratuitously; but on death she spent all she had. Their imagination + glows, their energies rise up at the idea of death, these people: they + love it; and the more horrible it is the more they enjoy it. Hell is a + place far above their comprehension: they derive their notion of it from + two of the greatest fools that ever lived, an Italian and an Englishman. + The Italian described it as a place of mud, frost, filth, fire, and + venomous serpents: all torture. This ass, when he was not lying about me, + was maundering about some woman whom he saw once in the street. The + Englishman described me as being expelled from Heaven by cannons and + gunpowder; and to this day every Briton believes that the whole of his + silly story is in the Bible. What else he says I do not know; for it is + all in a long poem which neither I nor anyone else ever succeeded in + wading through. It is the same in everything. The highest form of + literature is the tragedy, a play in which everybody is murdered at the + end. In the old chronicles you read of earthquakes and pestilences, and + are told that these showed the power and majesty of God and the littleness + of Man. Nowadays the chronicles describe battles. In a battle two bodies + of men shoot at one another with bullets and explosive shells until one + body runs away, when the others chase the fugitives on horseback and cut + them to pieces as they fly. And this, the chronicle concludes, shows the + greatness and majesty of empires, and the littleness of the vanquished. + Over such battles the people run about the streets yelling with delight, + and egg their Governments on to spend hundreds of millions of money in the + slaughter, whilst the strongest Ministers dare not spend an extra penny in + the pound against the poverty and pestilence through which they themselves + daily walk. I could give you a thousand instances; but they all come to + the same thing: the power that governs the earth is not the power of Life + but of Death; and the inner need that has nerved Life to the effort of + organizing itself into the human being is not the need for higher life but + for a more efficient engine of destruction. The plague, the famine, the + earthquake, the tempest were too spasmodic in their action; the tiger and + crocodile were too easily satiated and not cruel enough: something more + constantly, more ruthlessly, more ingeniously destructive was needed; and + that something was Man, the inventor of the rack, the stake, the gallows, + and the electrocutor; of the sword and gun; above all, of justice, duty, + patriotism and all the other isms by which even those who are clever + enough to be humanely disposed are persuaded to become the most + destructive of all the destroyers. + </p> + <p> + DON JUAN. Pshaw! all this is old. Your weak side, my diabolic friend, is + that you have always been a gull: you take Man at his own valuation. + Nothing would flatter him more than your opinion of him. He loves to think + of himself as bold and bad. He is neither one nor the other: he is only a + coward. Call him tyrant, murderer, pirate, bully; and he will adore you, + and swagger about with the consciousness of having the blood of the old + sea kings in his veins. Call him liar and thief; and he will only take an + action against you for libel. But call him coward; and he will go mad with + rage: he will face death to outface that stinging truth. Man gives every + reason for his conduct save one, every excuse for his crimes save one, + every plea for his safety save one; and that one is his cowardice. Yet all + his civilization is founded on his cowardice, on his abject tameness, + which he calls his respectability. There are limits to what a mule or an + ass will stand; but Man will suffer himself to be degraded until his + vileness becomes so loathsome to his oppressors that they themselves are + forced to reform it. + </p> + <p> + THE DEVIL. Precisely. And these are the creatures in whom you discover + what you call a Life Force! + </p> + <p> + DON JUAN. Yes; for now comes the most surprising part of the whole + business. + </p> + <p> + THE STATUE. What's that? + </p> + <p> + DON JUAN. Why, that you can make any of these cowards brave by simply + putting an idea into his head. + </p> + <p> + THE STATUE. Stuff! As an old soldier I admit the cowardice: it's as + universal as sea sickness, and matters just as little. But that about + putting an idea into a man's head is stuff and nonsense. In a battle all + you need to make you fight is a little hot blood and the knowledge that + it's more dangerous to lose than to win. + </p> + <p> + DON JUAN. That is perhaps why battles are so useless. But men never really + overcome fear until they imagine they are fighting to further a universal + purpose—fighting for an idea, as they call it. Why was the Crusader + braver than the pirate? Because he fought, not for himself, but for the + Cross. What force was it that met him with a valor as reckless as his own? + The force of men who fought, not for themselves, but for Islam. They took + Spain from us, though we were fighting for our very hearths and homes; but + when we, too, fought for that mighty idea, a Catholic Church, we swept + them back to Africa. + </p> + <p> + THE DEVIL. [ironically] What! you a Catholic, Senor Don Juan! A devotee! + My congratulations. + </p> + <p> + THE STATUE. [seriously] Come come! as a soldier, I can listen to nothing + against the Church. + </p> + <p> + DON JUAN. Have no fear, Commander: this idea of a Catholic Church will + survive Islam, will survive the Cross, will survive even that vulgar + pageant of incompetent schoolboyish gladiators which you call the Army. + </p> + <p> + THE STATUE. Juan: you will force me to call you to account for this. + </p> + <p> + DON JUAN. Useless: I cannot fence. Every idea for which Man will die will + be a Catholic idea. When the Spaniard learns at last that he is no better + than the Saracen, and his prophet no better than Mahomet, he will arise, + more Catholic than ever, and die on a barricade across the filthy slum he + starves in, for universal liberty and equality. + </p> + <p> + THE STATUE. Bosh! + </p> + <p> + DON JUAN. What you call bosh is the only thing men dare die for. Later on, + Liberty will not be Catholic enough: men will die for human perfection, to + which they will sacrifice all their liberty gladly. + </p> + <p> + THE DEVIL. Ay: they will never be at a loss for an excuse for killing one + another. + </p> + <p> + DON JUAN. What of that? It is not death that matters, but the fear of + death. It is not killing and dying that degrade us, but base living, and + accepting the wages and profits of degradation. Better ten dead men than + one live slave or his master. Men shall yet rise up, father against son + and brother against brother, and kill one another for the great Catholic + idea of abolishing slavery. + </p> + <p> + THE DEVIL. Yes, when the Liberty and Equality of which you prate shall + have made free white Christians cheaper in the labor market than by + auction at the block. + </p> + <p> + DON JUAN. Never fear! the white laborer shall have his turn too. But I am + not now defending the illusory forms the great ideas take. I am giving you + examples of the fact that this creature Man, who in his own selfish + affairs is a coward to the backbone, will fight for an idea like a hero. + He may be abject as a citizen; but he is dangerous as a fanatic. He can + only be enslaved whilst he is spiritually weak enough to listen to reason. + I tell you, gentlemen, if you can show a man a piece of what he now calls + God's work to do, and what he will later on call by many new names, you + can make him entirely reckless of the consequences to himself personally. + </p> + <p> + ANA. Yes: he shirks all his responsibilities, and leaves his wife to + grapple with them. + </p> + <p> + THE STATUE. Well said, daughter. Do not let him talk you out of your + common sense. + </p> + <p> + THE DEVIL. Alas! Senor Commander, now that we have got on to the subject + of Woman, he will talk more than ever. However, I confess it is for me the + one supremely interesting subject. + </p> + <p> + DON JUAN. To a woman, Senora, man's duties and responsibilities begin and + end with the task of getting bread for her children. To her, Man is only a + means to the end of getting children and rearing them. + </p> + <p> + ANA. Is that your idea of a woman's mind? I call it cynical and disgusting + materialism. + </p> + <p> + DON JUAN. Pardon me, Ana: I said nothing about a woman's whole mind. I + spoke of her view of Man as a separate sex. It is no more cynical than her + view of herself as above all things a Mother. Sexually, Woman is Nature's + contrivance for perpetuating its highest achievement. Sexually, Man is + Woman's contrivance for fulfilling Nature's behest in the most economical + way. She knows by instinct that far back in the evolutional process she + invented him, differentiated him, created him in order to produce + something better than the single-sexed process can produce. Whilst he + fulfils the purpose for which she made him, he is welcome to his dreams, + his follies, his ideals, his heroisms, provided that the keystone of them + all is the worship of woman, of motherhood, of the family, of the hearth. + But how rash and dangerous it was to invent a separate creature whose sole + function was her own impregnation! For mark what has happened. First, Man + has multiplied on her hands until there are as many men as women; so that + she has been unable to employ for her purposes more than a fraction of the + immense energy she has left at his disposal by saving him the exhausting + labor of gestation. This superfluous energy has gone to his brain and to + his muscle. He has become too strong to be controlled by her bodily, and + too imaginative and mentally vigorous to be content with mere + self-reproduction. He has created civilization without consulting her, + taking her domestic labor for granted as the foundation of it. + </p> + <p> + ANA. THAT is true, at all events. + </p> + <p> + THE DEVIL. Yes; and this civilization! what is it, after all? + </p> + <p> + DON JUAN. After all, an excellent peg to hang your cynical commonplaces + on; but BEFORE all, it is an attempt on Man's part to make himself + something more than the mere instrument of Woman's purpose. So far, the + result of Life's continual effort not only to maintain itself, but to + achieve higher and higher organization and completer self-consciousness, + is only, at best, a doubtful campaign between its forces and those of + Death and Degeneration. The battles in this campaign are mere blunders, + mostly won, like actual military battles, in spite of the commanders. + </p> + <p> + THE STATUE. That is a dig at me. No matter: go on, go on. + </p> + <p> + DON JUAN. It is a dig at a much higher power than you, Commander. Still, + you must have noticed in your profession that even a stupid general can + win battles when the enemy's general is a little stupider. + </p> + <p> + THE STATUE. [very seriously] Most true, Juan, most true. Some donkeys have + amazing luck. + </p> + <p> + DON JUAN. Well, the Life Force is stupid; but it is not so stupid as the + forces of Death and Degeneration. Besides, these are in its pay all the + time. And so Life wins, after a fashion. What mere copiousness of + fecundity can supply and mere greed preserve, we possess. The survival of + whatever form of civilization can produce the best rifle and the best fed + riflemen is assured. + </p> + <p> + THE DEVIL. Exactly! the survival, not of the most effective means of Life + but of the most effective means of Death. You always come back to my + point, in spite of your wrigglings and evasions and sophistries, not to + mention the intolerable length of your speeches. + </p> + <p> + DON JUAN. Oh come! who began making long speeches? However, if I overtax + your intellect, you can leave us and seek the society of love and beauty + and the rest of your favorite boredoms. + </p> + <p> + THE DEVIL. [much offended] This is not fair, Don Juan, and not civil. I am + also on the intellectual plane. Nobody can appreciate it more than I do. I + am arguing fairly with you, and, I think, utterly refuting you. Let us go + on for another hour if you like. + </p> + <p> + DON JUAN. Good: let us. + </p> + <p> + THE STATUE. Not that I see any prospect of your coming to any point in + particular, Juan. Still, since in this place, instead of merely killing + time we have to kill eternity, go ahead by all means. + </p> + <p> + DON JUAN. [somewhat impatiently] My point, you marbleheaded old + masterpiece, is only a step ahead of you. Are we agreed that Life is a + force which has made innumerable experiments in organizing itself; that + the mammoth and the man, the mouse and the megatherium, the flies and the + fleas and the Fathers of the Church, are all more or less successful + attempts to build up that raw force into higher and higher individuals, + the ideal individual being omnipotent, omniscient, infallible, and withal + completely, unilludedly self-conscious: in short, a god? + </p> + <p> + THE DEVIL. I agree, for the sake of argument. + </p> + <p> + THE STATUE. I agree, for the sake of avoiding argument. + </p> + <p> + ANA. I most emphatically disagree as regards the Fathers of the Church; + and I must beg you not to drag them into the argument. + </p> + <p> + DON JUAN. I did so purely for the sake of alliteration, Ana; and I shall + make no further allusion to them. And now, since we are, with that + exception, agreed so far, will you not agree with me further that Life has + not measured the success of its attempts at godhead by the beauty or + bodily perfection of the result, since in both these respects the birds, + as our friend Aristophanes long ago pointed out, are so extraordinarily + superior, with their power of flight and their lovely plumage, and, may I + add, the touching poetry of their loves and nestings, that it is + inconceivable that Life, having once produced them, should, if love and + beauty were her object, start off on another line and labor at the clumsy + elephant and the hideous ape, whose grandchildren we are? + </p> + <p> + ANA. Aristophanes was a heathen; and you, Juan, I am afraid, are very + little better. + </p> + <p> + THE DEVIL. You conclude, then, that Life was driving at clumsiness and + ugliness? + </p> + <p> + DON JUAN. No, perverse devil that you are, a thousand times no. Life was + driving at brains—at its darling object: an organ by which it can + attain not only self-consciousness but self-understanding. + </p> + <p> + THE STATUE. This is metaphysics, Juan. Why the devil should—[to the + Devil] I BEG your pardon. + </p> + <p> + THE DEVIL. Pray don't mention it. I have always regarded the use of my + name to secure additional emphasis as a high compliment to me. It is quite + at your service, Commander. + </p> + <p> + THE STATUE. Thank you: that's very good of you. Even in heaven, I never + quite got out of my old military habits of speech. What I was going to ask + Juan was why Life should bother itself about getting a brain. Why should + it want to understand itself? Why not be content to enjoy itself? + </p> + <p> + DON JUAN. Without a brain, Commander, you would enjoy yourself without + knowing it, and so lose all the fun. + </p> + <p> + THE STATUE. True, most true. But I am quite content with brain enough to + know that I'm enjoying myself. I don't want to understand why. In fact, + I'd rather not. My experience is that one's pleasures don't bear thinking + about. + </p> + <p> + DON JUAN. That is why intellect is so unpopular. But to Life, the force + behind the Man, intellect is a necessity, because without it he blunders + into death. Just as Life, after ages of struggle, evolved that wonderful + bodily organ the eye, so that the living organism could see where it was + going and what was coming to help or threaten it, and thus avoid a + thousand dangers that formerly slew it, so it is evolving to-day a mind's + eye that shall see, not the physical world, but the purpose of Life, and + thereby enable the individual to work for that purpose instead of + thwarting and baffling it by setting up shortsighted personal aims as at + present. Even as it is, only one sort of man has ever been happy, has ever + been universally respected among all the conflicts of interests and + illusions. + </p> + <p> + THE STATUE. You mean the military man. + </p> + <p> + DON JUAN. Commander: I do not mean the military man. When the military man + approaches, the world locks up its spoons and packs off its womankind. No: + I sing, not arms and the hero, but the philosophic man: he who seeks in + contemplation to discover the inner will of the world, in invention to + discover the means of fulfilling that will, and in action to do that will + by the so-discovered means. Of all other sorts of men I declare myself + tired. They're tedious failures. When I was on earth, professors of all + sorts prowled round me feeling for an unhealthy spot in me on which they + could fasten. The doctors of medicine bade me consider what I must do to + save my body, and offered me quack cures for imaginary diseases. I replied + that I was not a hypochondriac; so they called me Ignoramus and went their + way. The doctors of divinity bade me consider what I must do to save my + soul; but I was not a spiritual hypochondriac any more than a bodily one, + and would not trouble myself about that either; so they called me Atheist + and went their way. After them came the politician, who said there was + only one purpose in Nature, and that was to get him into parliament. I + told him I did not care whether he got into parliament or not; so he + called me Mugwump and went his way. Then came the romantic man, the + Artist, with his love songs and his paintings and his poems; and with him + I had great delight for many years, and some profit; for I cultivated my + senses for his sake; and his songs taught me to hear better, his paintings + to see better, and his poems to feel more deeply. But he led me at last + into the worship of Woman. + </p> + <p> + ANA. Juan! + </p> + <p> + DON JUAN. Yes: I came to believe that in her voice was all the music of + the song, in her face all the beauty of the painting, and in her soul all + the emotion of the poem. + </p> + <p> + ANA. And you were disappointed, I suppose. Well, was it her fault that you + attributed all these perfections to her? + </p> + <p> + DON JUAN. Yes, partly. For with a wonderful instinctive cunning, she kept + silent and allowed me to glorify her; to mistake my own visions, thoughts, + and feelings for hers. Now my friend the romantic man was often too poor + or too timid to approach those women who were beautiful or refined enough + to seem to realize his ideal; and so he went to his grave believing in his + dream. But I was more favored by nature and circumstance. I was of noble + birth and rich; and when my person did not please, my conversation + flattered, though I generally found myself fortunate in both. + </p> + <p> + THE STATUE. Coxcomb! + </p> + <p> + DON JUAN. Yes; but even my coxcombry pleased. Well, I found that when I + had touched a woman's imagination, she would allow me to persuade myself + that she loved me; but when my suit was granted she never said "I am + happy: my love is satisfied": she always said, first, "At last, the + barriers are down," and second, "When will you come again?" + </p> + <p> + ANA. That is exactly what men say. + </p> + <p> + DON JUAN. I protest I never said it. But all women say it. Well, these two + speeches always alarmed me; for the first meant that the lady's impulse + had been solely to throw down my fortifications and gain my citadel; and + the second openly announced that henceforth she regarded me as her + property, and counted my time as already wholly at her disposal. + </p> + <p> + THE DEVIL. That is where your want of heart came in. + </p> + <p> + THE STATUE. [shaking his head] You shouldn't repeat what a woman says, + Juan. + </p> + <p> + ANA. [severely] It should be sacred to you. + </p> + <p> + THE STATUE. Still, they certainly do always say it. I never minded the + barriers; but there was always a slight shock about the other, unless one + was very hard hit indeed. + </p> + <p> + DON JUAN. Then the lady, who had been happy and idle enough before, became + anxious, preoccupied with me, always intriguing, conspiring, pursuing, + watching, waiting, bent wholly on making sure of her prey—I being + the prey, you understand. Now this was not what I had bargained for. It + may have been very proper and very natural; but it was not music, + painting, poetry and joy incarnated in a beautiful woman. I ran away from + it. I ran away from it very often: in fact I became famous for running + away from it. + </p> + <p> + ANA. Infamous, you mean. + </p> + <p> + DON JUAN. I did not run away from you. Do you blame me for running away + from the others? + </p> + <p> + ANA. Nonsense, man. You are talking to a woman of 77 now. If you had had + the chance, you would have run away from me too—if I had let you. + You would not have found it so easy with me as with some of the others. If + men will not be faithful to their home and their duties, they must be made + to be. I daresay you all want to marry lovely incarnations of music and + painting and poetry. Well, you can't have them, because they don't exist. + If flesh and blood is not good enough for you you must go without: that's + all. Women have to put up with flesh-and-blood husbands—and little + enough of that too, sometimes; and you will have to put up with + flesh-and-blood wives. The Devil looks dubious. The Statue makes a wry + face. I see you don't like that, any of you; but it's true, for all that; + so if you don't like it you can lump it. + </p> + <p> + DON JUAN. My dear lady, you have put my whole case against romance into a + few sentences. That is just why I turned my back on the romantic man with + the artist nature, as he called his infatuation. I thanked him for + teaching me to use my eyes and ears; but I told him that his beauty + worshipping and happiness hunting and woman idealizing was not worth a + dump as a philosophy of life; so he called me Philistine and went his way. + </p> + <p> + ANA. It seems that Woman taught you something, too, with all her defects. + </p> + <p> + DON JUAN. She did more: she interpreted all the other teaching for me. Ah, + my friends, when the barriers were down for the first time, what an + astounding illumination! I had been prepared for infatuation, for + intoxication, for all the illusions of love's young dream; and lo! never + was my perception clearer, nor my criticism more ruthless. The most + jealous rival of my mistress never saw every blemish in her more keenly + than I. I was not duped: I took her without chloroform. + </p> + <p> + ANA. But you did take her. + </p> + <p> + DON JUAN. That was the revelation. Up to that moment I had never lost the + sense of being my own master; never consciously taken a single step until + my reason had examined and approved it. I had come to believe that I was a + purely rational creature: a thinker! I said, with the foolish philosopher, + "I think; therefore I am." It was Woman who taught me to say "I am; + therefore I think." And also "I would think more; therefore I must be + more." + </p> + <p> + THE STATUE. This is extremely abstract and metaphysical, Juan. If you + would stick to the concrete, and put your discoveries in the form of + entertaining anecdotes about your adventures with women, your conversation + would be easier to follow. + </p> + <p> + DON JUAN. Bah! what need I add? Do you not understand that when I stood + face to face with Woman, every fibre in my clear critical brain warned me + to spare her and save myself. My morals said No. My conscience said No. My + chivalry and pity for her said No. My prudent regard for myself said No. + My ear, practised on a thousand songs and symphonies; my eye, exercised on + a thousand paintings; tore her voice, her features, her color to shreds. I + caught all those tell-tale resemblances to her father and mother by which + I knew what she would be like in thirty years time. I noted the gleam of + gold from a dead tooth in the laughing mouth: I made curious observations + of the strange odors of the chemistry of the nerves. The visions of my + romantic reveries, in which I had trod the plains of heaven with a + deathless, ageless creature of coral and ivory, deserted me in that + supreme hour. I remembered them and desperately strove to recover their + illusion; but they now seemed the emptiest of inventions: my judgment was + not to be corrupted: my brain still said No on every issue. And whilst I + was in the act of framing my excuse to the lady, Life seized me and threw + me into her arms as a sailor throws a scrap of fish into the mouth of a + seabird. + </p> + <p> + THE STATUE. You might as well have gone without thinking such a lot about + it, Juan. You are like all the clever men: you have more brains than is + good for you. + </p> + <p> + THE DEVIL. And were you not the happier for the experience, Senor Don + Juan? + </p> + <p> + DON JUAN. The happier, no: the wiser, yes. That moment introduced me for + the first time to myself, and, through myself, to the world. I saw then + how useless it is to attempt to impose conditions on the irresistible + force of Life; to preach prudence, careful selection, virtue, honor, + chastity— + </p> + <p> + ANA. Don Juan: a word against chastity is an insult to me. + </p> + <p> + DON JUAN. I say nothing against your chastity, Senora, since it took the + form of a husband and twelve children. What more could you have done had + you been the most abandoned of women? + </p> + <p> + ANA. I could have had twelve husbands and no children that's what I could + have done, Juan. And let me tell you that that would have made all the + difference to the earth which I replenished. + </p> + <p> + THE STATUE. Bravo Ana! Juan: you are floored, quelled, annihilated. + </p> + <p> + DON JUAN. No; for though that difference is the true essential difference—Dona + Ana has, I admit, gone straight to the real point—yet it is not a + difference of love or chastity, or even constancy; for twelve children by + twelve different husbands would have replenished the earth perhaps more + effectively. Suppose my friend Ottavio had died when you were thirty, you + would never have remained a widow: you were too beautiful. Suppose the + successor of Ottavio had died when you were forty, you would still have + been irresistible; and a woman who marries twice marries three times if + she becomes free to do so. Twelve lawful children borne by one highly + respectable lady to three different fathers is not impossible nor + condemned by public opinion. That such a lady may be more law abiding than + the poor girl whom we used to spurn into the gutter for bearing one + unlawful infant is no doubt true; but dare you say she is less + self-indulgent? + </p> + <p> + ANA. She is less virtuous: that is enough for me. + </p> + <p> + DON JUAN. In that case, what is virtue but the Trade Unionism of the + married? Let us face the facts, dear Ana. The Life Force respects marriage + only because marriage is a contrivance of its own to secure the greatest + number of children and the closest care of them. For honor, chastity and + all the rest of your moral figments it cares not a rap. Marriage is the + most licentious of human institutions— + </p> + <p> + ANA. Juan! + </p> + <p> + THE STATUE. [protesting] Really!— + </p> + <p> + DON JUAN. [determinedly] I say the most licentious of human institutions: + that is the secret of its popularity. And a woman seeking a husband is the + most unscrupulous of all the beasts of prey. The confusion of marriage + with morality has done more to destroy the conscience of the human race + than any other single error. Come, Ana! do not look shocked: you know + better than any of us that marriage is a mantrap baited with simulated + accomplishments and delusive idealizations. When your sainted mother, by + dint of scoldings and punishments, forced you to learn how to play half a + dozen pieces on the spinet which she hated as much as you did—had + she any other purpose than to delude your suitors into the belief that + your husband would have in his home an angel who would fill it with + melody, or at least play him to sleep after dinner? You married my friend + Ottavio: well, did you ever open the spinet from the hour when the Church + united him to you? + </p> + <p> + ANA. You are a fool, Juan. A young married woman has something else to do + than sit at the spinet without any support for her back; so she gets out + of the habit of playing. + </p> + <p> + DON JUAN. Not if she loves music. No: believe me, she only throws away the + bait when the bird is in the net. + </p> + <p> + ANA. [bitterly] And men, I suppose, never throw off the mask when their + bird is in the net. The husband never becomes negligent, selfish, brutal—oh + never! + </p> + <p> + DON JUAN. What do these recriminations prove, Ana? Only that the hero is + as gross an imposture as the heroine. + </p> + <p> + ANA. It is all nonsense: most marriages are perfectly comfortable. + </p> + <p> + DON JUAN. "Perfectly" is a strong expression, Ana. What you mean is that + sensible people make the best of one another. Send me to the galleys and + chain me to the felon whose number happens to be next before mine; and I + must accept the inevitable and make the best of the companionship. Many + such companionships, they tell me, are touchingly affectionate; and most + are at least tolerably friendly. But that does not make a chain a + desirable ornament nor the galleys an abode of bliss. Those who talk most + about the blessings of marriage and the constancy of its vows are the very + people who declare that if the chain were broken and the prisoners left + free to choose, the whole social fabric would fly asunder. You cannot have + the argument both ways. If the prisoner is happy, why lock him in? If he + is not, why pretend that he is? + </p> + <p> + ANA. At all events, let me take an old woman's privilege again, and tell + you flatly that marriage peoples the world and debauchery does not. + </p> + <p> + DON JUAN. How if a time comes when this shall cease to be true? Do you not + know that where there is a will there is a way—that whatever Man + really wishes to do he will finally discover a means of doing? Well, you + have done your best, you virtuous ladies, and others of your way of + thinking, to bend Man's mind wholly towards honorable love as the highest + good, and to understand by honorable love romance and beauty and happiness + in the possession of beautiful, refined, delicate, affectionate women. You + have taught women to value their own youth, health, shapeliness, and + refinement above all things. Well, what place have squalling babies and + household cares in this exquisite paradise of the senses and emotions? Is + it not the inevitable end of it all that the human will shall say to the + human brain: Invent me a means by which I can have love, beauty, romance, + emotion, passion without their wretched penalties, their expenses, their + worries, their trials, their illnesses and agonies and risks of death, + their retinue of servants and nurses and doctors and schoolmasters. + </p> + <p> + THE DEVIL. All this, Senor Don Juan, is realized here in my realm. + </p> + <p> + DON JUAN. Yes, at the cost of death. Man will not take it at that price: + he demands the romantic delights of your hell whilst he is still on earth. + Well, the means will be found: the brain will not fail when the will is in + earnest. The day is coming when great nations will find their numbers + dwindling from census to census; when the six roomed villa will rise in + price above the family mansion; when the viciously reckless poor and the + stupidly pious rich will delay the extinction of the race only by + degrading it; whilst the boldly prudent, the thriftily selfish and + ambitious, the imaginative and poetic, the lovers of money and solid + comfort, the worshippers of success, art, and of love, will all oppose to + the Force of Life the device of sterility. + </p> + <p> + THE STATUE. That is all very eloquent, my young friend; but if you had + lived to Ana's age, or even to mine, you would have learned that the + people who get rid of the fear of poverty and children and all the other + family troubles, and devote themselves to having a good time of it, only + leave their minds free for the fear of old age and ugliness and impotence + and death. The childless laborer is more tormented by his wife's idleness + and her constant demands for amusement and distraction than he could be by + twenty children; and his wife is more wretched than he. I have had my + share of vanity; for as a young man I was admired by women; and as a + statue I am praised by art critics. But I confess that had I found nothing + to do in the world but wallow in these delights I should have cut my + throat. When I married Ana's mother—or perhaps, to be strictly + correct, I should rather say when I at last gave in and allowed Ana's + mother to marry me—I knew that I was planting thorns in my pillow, + and that marriage for me, a swaggering young officer thitherto + unvanquished, meant defeat and capture. + </p> + <p> + ANA. [scandalized] Father! + </p> + <p> + THE STATUE. I am sorry to shock you, my love; but since Juan has stripped + every rag of decency from the discussion I may as well tell the frozen + truth. + </p> + <p> + ANA. Hmf! I suppose I was one of the thorns. + </p> + <p> + THE STATUE. By no means: you were often a rose. You see, your mother had + most of the trouble you gave. + </p> + <p> + DON JUAN. Then may I ask, Commander, why you have left Heaven to come here + and wallow, as you express it, in sentimental beatitudes which you confess + would once have driven you to cut your throat? + </p> + <p> + THE STATUE. [struck by this] Egad, that's true. + </p> + <p> + THE DEVIL. [alarmed] What! You are going back from your word. [To Don + Juan] And all your philosophizing has been nothing but a mask for + proselytizing! [To the Statue] Have you forgotten already the hideous + dulness from which I am offering you a refuge here? [To Don Juan] And does + your demonstration of the approaching sterilization and extinction of + mankind lead to anything better than making the most of those pleasures of + art and love which you yourself admit refined you, elevated you, developed + you? + </p> + <p> + DON JUAN. I never demonstrated the extinction of mankind. Life cannot will + its own extinction either in its blind amorphous state or in any of the + forms into which it has organized itself. I had not finished when His + Excellency interrupted me. + </p> + <p> + THE STATUE. I begin to doubt whether you ever will finish, my friend. You + are extremely fond of hearing yourself talk. + </p> + <p> + DON JUAN. True; but since you have endured so much you may as well endure + to the end. Long before this sterilization which I described becomes more + than a clearly foreseen possibility, the reaction will begin. The great + central purpose of breeding the race, ay, breeding it to heights now + deemed superhuman: that purpose which is now hidden in a mephitic cloud of + love and romance and prudery and fastidiousness, will break through into + clear sunlight as a purpose no longer to be confused with the + gratification of personal fancies, the impossible realization of boys' and + girls' dreams of bliss, or the need of older people for companionship or + money. The plain-spoken marriage services of the vernacular Churches will + no longer be abbreviated and half suppressed as indelicate. The sober + decency, earnestness and authority of their declaration of the real + purpose of marriage will be honored and accepted, whilst their romantic + vowings and pledgings and until-death-do-us-partings and the like will be + expunged as unbearable frivolities. Do my sex the justice to admit, + Senora, that we have always recognized that the sex relation is not a + personal or friendly relation at all. + </p> + <p> + ANA. Not a personal or friendly relation! What relation is more personal? + more sacred? more holy? + </p> + <p> + DON JUAN. Sacred and holy, if you like, Ana, but not personally friendly. + Your relation to God is sacred and holy: dare you call it personally + friendly? In the sex relation the universal creative energy, of which the + parties are both the helpless agents, over-rides and sweeps away all + personal considerations and dispenses with all personal relations. The + pair may be utter strangers to one another, speaking different languages, + differing in race and color, in age and disposition, with no bond between + them but a possibility of that fecundity for the sake of which the Life + Force throws them into one another's arms at the exchange of a glance. Do + we not recognize this by allowing marriages to be made by parents without + consulting the woman? Have you not often expressed your disgust at the + immorality of the English nation, in which women and men of noble birth + become acquainted and court each other like peasants? And how much does + even the peasant know of his bride or she of him before he engages + himself? Why, you would not make a man your lawyer or your family doctor + on so slight an acquaintance as you would fall in love with and marry him! + </p> + <p> + ANA. Yes, Juan: we know the libertine's philosophy. Always ignore the + consequences to the woman. + </p> + <p> + DON JUAN. The consequences, yes: they justify her fierce grip of the man. + But surely you do not call that attachment a sentimental one. As well call + the policeman's attachment to his prisoner a love relation. + </p> + <p> + ANA. You see you have to confess that marriage is necessary, though, + according to you, love is the slightest of all the relations. + </p> + <p> + DON JUAN. How do you know that it is not the greatest of all the + relations? far too great to be a personal matter. Could your father have + served his country if he had refused to kill any enemy of Spain unless he + personally hated him? Can a woman serve her country if she refuses to + marry any man she does not personally love? You know it is not so: the + woman of noble birth marries as the man of noble birth fights, on + political and family grounds, not on personal ones. + </p> + <p> + THE STATUE. [impressed] A very clever point that, Juan: I must think it + over. You are really full of ideas. How did you come to think of this one? + </p> + <p> + DON JUAN. I learnt it by experience. When I was on earth, and made those + proposals to ladies which, though universally condemned, have made me so + interesting a hero of legend, I was not infrequently met in some such way + as this. The lady would say that she would countenance my advances, + provided they were honorable. On inquiring what that proviso meant, I + found that it meant that I proposed to get possession of her property if + she had any, or to undertake her support for life if she had not; that I + desired her continual companionship, counsel and conversation to the end + of my days, and would bind myself under penalties to be always enraptured + by them; and, above all, that I would turn my back on all other women for + ever for her sake. I did not object to these conditions because they were + exorbitant and inhuman: it was their extraordinary irrelevance that + prostrated me. I invariably replied with perfect frankness that I had + never dreamt of any of these things; that unless the lady's character and + intellect were equal or superior to my own, her conversation must degrade + and her counsel mislead me; that her constant companionship might, for + all I knew, become intolerably tedious to me; that I could not answer for + my feelings for a week in advance, much less to the end of my life; that + to cut me off from all natural and unconstrained relations with the rest + of my fellow creatures would narrow and warp me if I submitted to it, and, + if not, would bring me under the curse of clandestinity; that, finally, my + proposals to her were wholly unconnected with any of these matters, and + were the outcome of a perfectly simple impulse of my manhood towards her + womanhood. + </p> + <p> + ANA. You mean that it was an immoral impulse. + </p> + <p> + DON JUAN. Nature, my dear lady, is what you call immoral. I blush for it; + but I cannot help it. Nature is a pandar, Time a wrecker, and Death a + murderer. I have always preferred to stand up to those facts and build + institutions on their recognition. You prefer to propitiate the three + devils by proclaiming their chastity, their thrift, and their loving + kindness; and to base your institutions on these flatteries. Is it any + wonder that the institutions do not work smoothly? + </p> + <p> + THE STATUE. What used the ladies to say, Juan? + </p> + <p> + DON JUAN. Oh, come! Confidence for confidence. First tell me what you used + to say to the ladies. + </p> + <p> + THE STATUE. I! Oh, I swore that I would be faithful to the death; that I + should die if they refused me; that no woman could ever be to me what she + was— + </p> + <p> + ANA. She? Who? + </p> + <p> + THE STATUE. Whoever it happened to be at the time, my dear. I had certain + things I always said. One of them was that even when I was eighty, one + white hair of the woman I loved would make me tremble more than the + thickest gold tress from the most beautiful young head. Another was that I + could not bear the thought of anyone else being the mother of my children. + </p> + <p> + DON JUAN. [revolted] You old rascal! + </p> + <p> + THE STATUE. [Stoutly] Not a bit; for I really believed it with all my soul + at the moment. I had a heart: not like you. And it was this sincerity that + made me successful. + </p> + <p> + DON JUAN. Sincerity! To be fool enough to believe a ramping, stamping, + thumping lie: that is what you call sincerity! To be so greedy for a woman + that you deceive yourself in your eagerness to deceive her: sincerity, you + call it! + </p> + <p> + THE STATUE. Oh, damn your sophistries! I was a man in love, not a lawyer. + And the women loved me for it, bless them! + </p> + <p> + DON JUAN. They made you think so. What will you say when I tell you that + though I played the lawyer so callously, they made me think so too? I also + had my moments of infatuation in which I gushed nonsense and believed it. + Sometimes the desire to give pleasure by saying beautiful things so rose + in me on the flood of emotion that I said them recklessly. At other times + I argued against myself with a devilish coldness that drew tears. But I + found it just as hard to escape in the one case as in the others. When the + lady's instinct was set on me, there was nothing for it but lifelong + servitude or flight. + </p> + <p> + ANA. You dare boast, before me and my father, that every woman found you + irresistible. + </p> + <p> + DON JUAN. Am I boasting? It seems to me that I cut the most pitiable of + figures. Besides, I said "when the lady's instinct was set on me." It was + not always so; and then, heavens! what transports of virtuous indignation! + what overwhelming defiance to the dastardly seducer! what scenes of Imogen + and Iachimo! + </p> + <p> + ANA. I made no scenes. I simply called my father. + </p> + <p> + DON JUAN. And he came, sword in hand, to vindicate outraged honor and + morality by murdering me. + </p> + <p> + THE STATUE. Murdering! What do you mean? Did I kill you or did you kill + me? + </p> + <p> + DON JUAN. Which of us was the better fencer? + </p> + <p> + THE STATUE. I was. + </p> + <p> + DON JUAN. Of course you were. And yet you, the hero of those scandalous + adventures you have just been relating to us, you had the effrontery to + pose as the avenger of outraged morality and condemn me to death! You + would have slain me but for an accident. + </p> + <p> + THE STATUE. I was expected to, Juan. That is how things were arranged on + earth. I was not a social reformer; and I always did what it was customary + for a gentleman to do. + </p> + <p> + DON JUAN. That may account for your attacking me, but not for the + revolting hypocrisy of your subsequent proceedings as a statue. + </p> + <p> + THE STATUE. That all came of my going to Heaven. + </p> + <p> + THE DEVIL. I still fail to see, Senor Don Juan, that these episodes in + your earthly career and in that of the Senor Commander in any way + discredit my view of life. Here, I repeat, you have all that you sought + without anything that you shrank from. + </p> + <p> + DON JUAN. On the contrary, here I have everything that disappointed me + without anything that I have not already tried and found wanting. I tell + you that as long as I can conceive something better than myself I cannot + be easy unless I am striving to bring it into existence or clearing the + way for it. That is the law of my life. That is the working within me of + Life's incessant aspiration to higher organization, wider, deeper, + intenser self-consciousness, and clearer self-understanding. It was the + supremacy of this purpose that reduced love for me to the mere pleasure of + a moment, art for me to the mere schooling of my faculties, religion for + me to a mere excuse for laziness, since it had set up a God who looked at + the world and saw that it was good, against the instinct in me that looked + through my eyes at the world and saw that it could be improved. I tell you + that in the pursuit of my own pleasure, my own health, my own fortune, I + have never known happiness. It was not love for Woman that delivered me + into her hands: it was fatigue, exhaustion. When I was a child, and + bruised my head against a stone, I ran to the nearest woman and cried away + my pain against her apron. When I grew up, and bruised my soul against the + brutalities and stupidities with which I had to strive, I did again just + what I had done as a child. I have enjoyed, too, my rests, my + recuperations, my breathing times, my very prostrations after strife; but + rather would I be dragged through all the circles of the foolish Italian's + Inferno than through the pleasures of Europe. That is what has made this + place of eternal pleasures so deadly to me. It is the absence of this + instinct in you that makes you that strange monster called a Devil. It is + the success with which you have diverted the attention of men from their + real purpose, which in one degree or another is the same as mine, to + yours, that has earned you the name of The Tempter. It is the fact that + they are doing your will, or rather drifting with your want of will, + instead of doing their own, that makes them the uncomfortable, false, + restless, artificial, petulant, wretched creatures they are. + </p> + <p> + THE DEVIL. [mortified] Senor Don Juan: you are uncivil to my friends. + </p> + <p> + DON JUAN. Pooh! why should I be civil to them or to you? In this Palace of + Lies a truth or two will not hurt you. Your friends are all the dullest + dogs I know. They are not beautiful: they are only decorated. They are not + clean: they are only shaved and starched. They are not dignified: they are + only fashionably dressed. They are not educated they are only college + passmen. They are not religious: they are only pewrenters. They are not + moral: they are only conventional. They are not virtuous: they are only + cowardly. They are not even vicious: they are only "frail." They are not + artistic: they are only lascivious. They are not prosperous: they are only + rich. They are not loyal, they are only servile; not dutiful, only + sheepish; not public spirited, only patriotic; not courageous, only + quarrelsome; not determined, only obstinate; not masterful, only + domineering; not self-controlled, only obtuse; not self-respecting, only + vain; not kind, only sentimental; not social, only gregarious; not + considerate, only polite; not intelligent, only opinionated; not + progressive, only factious; not imaginative, only superstitious; not just, + only vindictive; not generous, only propitiatory; not disciplined, only + cowed; and not truthful at all—liars every one of them, to the very + backbone of their souls. + </p> + <p> + THE STATUE. Your flow of words is simply amazing, Juan. How I wish I could + have talked like that to my soldiers. + </p> + <p> + THE DEVIL. It is mere talk, though. It has all been said before; but what + change has it ever made? What notice has the world ever taken of it? + </p> + <p> + DON JUAN. Yes, it is mere talk. But why is it mere talk? Because, my + friend, beauty, purity, respectability, religion, morality, art, + patriotism, bravery and the rest are nothing but words which I or anyone + else can turn inside out like a glove. Were they realities, you would have + to plead guilty to my indictment; but fortunately for your self-respect, + my diabolical friend, they are not realities. As you say, they are mere + words, useful for duping barbarians into adopting civilization, or the + civilized poor into submitting to be robbed and enslaved. That is the + family secret of the governing caste; and if we who are of that caste + aimed at more Life for the world instead of at more power and luxury for + our miserable selves, that secret would make us great. Now, since I, being + a nobleman, am in the secret too, think how tedious to me must be your + unending cant about all these moralistic figments, and how squalidly + disastrous your sacrifice of your lives to them! If you even believed in + your moral game enough to play it fairly, it would be interesting to + watch; but you don't: you cheat at every trick; and if your opponent + outcheats you, you upset the table and try to murder him. + </p> + <p> + THE DEVIL. On earth there may be some truth in this, because the people + are uneducated and cannot appreciate my religion of love and beauty; but + here— + </p> + <p> + DON JUAN. Oh yes: I know. Here there is nothing but love and beauty. Ugh! + it is like sitting for all eternity at the first act of a fashionable + play, before the complications begin. Never in my worst moments of + superstitious terror on earth did I dream that Hell was so horrible. I + live, like a hairdresser, in the continual contemplation of beauty, toying + with silken tresses. I breathe an atmosphere of sweetness, like a + confectioner's shopboy. Commander: are there any beautiful women in + Heaven? + </p> + <p> + THE STATUE. None. Absolutely none. All dowdies. Not two pennorth of + jewellery among a dozen of them. They might be men of fifty. + </p> + <p> + DON JUAN. I am impatient to get there. Is the word beauty ever mentioned; + and are there any artistic people? + </p> + <p> + THE STATUE. I give you my word they won't admire a fine statue even when + it walks past them. + </p> + <p> + DON JUAN. I go. + </p> + <p> + THE DEVIL. Don Juan: shall I be frank with you? + </p> + <p> + DON JUAN. Were you not so before? + </p> + <p> + THE DEVIL. As far as I went, yes. But I will now go further, and confess + to you that men get tired of everything, of heaven no less than of hell; + and that all history is nothing but a record of the oscillations of the + world between these two extremes. An epoch is but a swing of the pendulum; + and each generation thinks the world is progressing because it is always + moving. But when you are as old as I am; when you have a thousand times + wearied of heaven, like myself and the Commander, and a thousand times + wearied of hell, as you are wearied now, you will no longer imagine that + every swing from heaven to hell is an emancipation, every swing from hell + to heaven an evolution. Where you now see reform, progress, fulfilment of + upward tendency, continual ascent by Man on the stepping stones of his + dead selves to higher things, you will see nothing but an infinite comedy + of illusion. You will discover the profound truth of the saying of my + friend Koheleth, that there is nothing new under the sun. Vanitas + vanitatum— + </p> + <p> + DON JUAN. [out of all patience] By Heaven, this is worse than your cant + about love and beauty. Clever dolt that you are, is a man no better than a + worm, or a dog than a wolf, because he gets tired of everything? Shall he + give up eating because he destroys his appetite in the act of gratifying + it? Is a field idle when it is fallow? Can the Commander expend his + hellish energy here without accumulating heavenly energy for his next term + of blessedness? Granted that the great Life Force has hit on the device of + the clockmaker's pendulum, and uses the earth for its bob; that the + history of each oscillation, which seems so novel to us the actors, is but + the history of the last oscillation repeated; nay more, that in the + unthinkable infinitude of time the sun throws off the earth and catches it + again a thousand times as a circus rider throws up a ball, and that the + total of all our epochs is but the moment between the toss and the catch, + has the colossal mechanism no purpose? + </p> + <p> + THE DEVIL. None, my friend. You think, because you have a purpose, Nature + must have one. You might as well expect it to have fingers and toes + because you have them. + </p> + <p> + DON JUAN. But I should not have them if they served no purpose. And I, my + friend, am as much a part of Nature as my own finger is a part of me. If + my finger is the organ by which I grasp the sword and the mandoline, my + brain is the organ by which Nature strives to understand itself. My dog's + brain serves only my dog's purposes; but my brain labors at a knowledge + which does nothing for me personally but make my body bitter to me and my + decay and death a calamity. Were I not possessed with a purpose beyond my + own I had better be a ploughman than a philosopher; for the ploughman + lives as long as the philosopher, eats more, sleeps better, and rejoices + in the wife of his bosom with less misgiving. This is because the + philosopher is in the grip of the Life Force. This Life Force says to him + "I have done a thousand wonderful things unconsciously by merely willing + to live and following the line of least resistance: now I want to know + myself and my destination, and choose my path; so I have made a special + brain—a philosopher's brain—to grasp this knowledge for me as + the husbandman's hand grasps the plough for me. And this" says the Life + Force to the philosopher "must thou strive to do for me until thou diest, + when I will make another brain and another philosopher to carry on the + work." + </p> + <p> + THE DEVIL. What is the use of knowing? + </p> + <p> + DON JUAN. Why, to be able to choose the line of greatest advantage instead + of yielding in the direction of the least resistance. Does a ship sail to + its destination no better than a log drifts nowhither? The philosopher is + Nature's pilot. And there you have our difference: to be in hell is to + drift: to be in heaven is to steer. + </p> + <p> + THE DEVIL. On the rocks, most likely. + </p> + <p> + DON JUAN. Pooh! which ship goes oftenest on the rocks or to the bottom—the + drifting ship or the ship with a pilot on board? + </p> + <p> + THE DEVIL. Well, well, go your way, Senor Don Juan. I prefer to be my own + master and not the tool of any blundering universal force. I know that + beauty is good to look at; that music is good to hear; that love is good + to feel; and that they are all good to think about and talk about. I know + that to be well exercised in these sensations, emotions, and studies is to + be a refined and cultivated being. Whatever they may say of me in churches + on earth, I know that it is universally admitted in good society that the + prince of Darkness is a gentleman; and that is enough for me. As to your + Life Force, which you think irresistible, it is the most resistible thing + in the world for a person of any character. But if you are naturally + vulgar and credulous, as all reformers are, it will thrust you first into + religion, where you will sprinkle water on babies to save their souls from + me; then it will drive you from religion into science, where you will + snatch the babies from the water sprinkling and inoculate them with + disease to save them from catching it accidentally; then you will take to + politics, where you will become the catspaw of corrupt functionaries and + the henchman of ambitious humbugs; and the end will be despair and + decrepitude, broken nerve and shattered hopes, vain regrets for that worst + and silliest of wastes and sacrifices, the waste and sacrifice of the + power of enjoyment: in a word, the punishment of the fool who pursues the + better before he has secured the good. + </p> + <p> + DON JUAN. But at least I shall not be bored. The service of the Life Force + has that advantage, at all events. So fare you well, Senor Satan. + </p> + <p> + THE DEVIL. [amiably] Fare you well, Don Juan. I shall often think of our + interesting chats about things in general. I wish you every happiness: + Heaven, as I said before, suits some people. But if you should change your + mind, do not forget that the gates are always open here to the repentant + prodigal. If you feel at any time that warmth of heart, sincere unforced + affection, innocent enjoyment, and warm, breathing, palpitating reality— + </p> + <p> + DON JUAN. Why not say flesh and blood at once, though we have left those + two greasy commonplaces behind us? + </p> + <p> + THE DEVIL. [angrily] You throw my friendly farewell back in my teeth, + then, Don Juan? + </p> + <p> + DON JUAN. By no means. But though there is much to be learnt from a + cynical devil, I really cannot stand a sentimental one. Senor Commander: + you know the way to the frontier of hell and heaven. Be good enough to + direct me. + </p> + <p> + THE STATUE. Oh, the frontier is only the difference between two ways of + looking at things. Any road will take you across it if you really want to + get there. + </p> + <p> + DON JUAN. Good. [saluting Dona Ana] Senora: your servant. + </p> + <p> + ANA. But I am going with you. + </p> + <p> + DON JUAN. I can find my own way to heaven, Ana; but I cannot find yours + [he vanishes]. + </p> + <p> + ANA. How annoying! + </p> + <p> + THE STATUE. [calling after him] Bon voyage, Juan! [He wafts a final blast + of his great rolling chords after him as a parting salute. A faint echo of + the first ghostly melody comes back in acknowledgment]. Ah! there he goes. + [Puffing a long breath out through his lips] Whew! How he does talk! + They'll never stand it in heaven. + </p> + <p> + THE DEVIL. [gloomily] His going is a political defeat. I cannot keep these + Life Worshippers: they all go. This is the greatest loss I have had since + that Dutch painter went—a fellow who would paint a hag of 70 with as + much enjoyment as a Venus of 20. + </p> + <p> + THE STATUE. I remember: he came to heaven. Rembrandt. + </p> + <p> + THE DEVIL. Ay, Rembrandt. There a something unnatural about these fellows. + Do not listen to their gospel, Senor Commander: it is dangerous. Beware of + the pursuit of the Superhuman: it leads to an indiscriminate contempt for + the Human. To a man, horses and dogs and cats are mere species, outside + the moral world. Well, to the Superman, men and women are a mere species + too, also outside the moral world. This Don Juan was kind to women and + courteous to men as your daughter here was kind to her pet cats and dogs; + but such kindness is a denial of the exclusively human character of the + soul. + </p> + <p> + THE STATUE. And who the deuce is the Superman? + </p> + <p> + THE DEVIL. Oh, the latest fashion among the Life Force fanatics. Did you + not meet in Heaven, among the new arrivals, that German Polish madman—what + was his name? Nietzsche? + </p> + <p> + THE STATUE. Never heard of him. + </p> + <p> + THE DEVIL. Well, he came here first, before he recovered his wits. I had + some hopes of him; but he was a confirmed Life Force worshipper. It was he + who raked up the Superman, who is as old as Prometheus; and the 20th + century will run after this newest of the old crazes when it gets tired of + the world, the flesh, and your humble servant. + </p> + <p> + THE STATUE. Superman is a good cry; and a good cry is half the battle. I + should like to see this Nietzsche. + </p> + <p> + THE DEVIL. Unfortunately he met Wagner here, and had a quarrel with him. + </p> + <p> + THE STATUE. Quite right, too. Mozart for me! + </p> + <p> + THE DEVIL. Oh, it was not about music. Wagner once drifted into Life Force + worship, and invented a Superman called Siegfried. But he came to his + senses afterwards. So when they met here, Nietzsche denounced him as a + renegade; and Wagner wrote a pamphlet to prove that Nietzsche was a Jew; + and it ended in Nietzsche's going to heaven in a huff. And a good riddance + too. And now, my friend, let us hasten to my palace and celebrate your + arrival with a grand musical service. + </p> + <p> + THE STATUE. With pleasure: you're most kind. + </p> + <p> + THE DEVIL. This way, Commander. We go down the old trap [he places himself + on the grave trap]. + </p> + <p> + THE STATUE. Good. [Reflectively] All the same, the Superman is a fine + conception. There is something statuesque about it. [He places himself on + the grave trap beside The Devil. It begins to descend slowly. Red glow + from the abyss]. Ah, this reminds me of old times. + </p> + <p> + THE DEVIL. And me also. + </p> + <p> + ANA. Stop! [The trap stops]. + </p> + <p> + THE DEVIL. You, Senora, cannot come this way. You will have an apotheosis. + But you will be at the palace before us. + </p> + <p> + ANA. That is not what I stopped you for. Tell me where can I find the + Superman? + </p> + <p> + THE DEVIL. He is not yet created, Senora. + </p> + <p> + THE STATUE. And never will be, probably. Let us proceed: the red fire will + make me sneeze. [They descend]. + </p> + <p> + ANA. Not yet created! Then my work is not yet done. [Crossing herself + devoutly] I believe in the Life to Come. [Crying to the universe] A father—a + father for the Superman! + </p> + <p> + She vanishes into the void; and again there is nothing: all existence + seems suspended infinitely. Then, vaguely, there is a live human voice + crying somewhere. One sees, with a shock, a mountain peak showing faintly + against a lighter background. The sky has returned from afar; and we + suddenly remember where we were. The cry becomes distinct and urgent: it + says Automobile, Automobile. The complete reality comes back with a rush: + in a moment it is full morning in the Sierra; and the brigands are + scrambling to their feet and making for the road as the goatherd runs down + from the hill, warning them of the approach of another motor. Tanner and + Mendoza rise amazedly and stare at one another with scattered wits. + Straker sits up to yawn for a moment before he gets on his feet, making it + a point of honor not to show any undue interest in the excitement of the + bandits. Mendoza gives a quick look to see that his followers are + attending to the alarm; then exchanges a private word with Tanner. + </p> + <p> + MENDOZA. Did you dream? + </p> + <p> + TANNER. Damnably. Did you? + </p> + <p> + MENDOZA. Yes. I forget what. You were in it. + </p> + <p> + TANNER. So were you. Amazing + </p> + <p> + MENDOZA. I warned you. [a shot is heard from the road]. Dolts! they will + play with that gun. [The brigands come running back scared]. Who fired + that shot? [to Duval] Was it you? + </p> + <p> + DUVAL. [breathless] I have not shoot. Dey shoot first. + </p> + <p> + ANARCHIST. I told you to begin by abolishing the State. Now we are all + lost. + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. [stampeding across the amphitheatre] Run, + everybody. + </p> + <p> + MENDOZA. [collaring him; throwing him on his back; and drawing a knife] I + stab the man who stirs. [He blocks the way. The stampede it checked]. What + has happened? + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT, A motor— + </p> + <p> + THE ANARCHIST. Three men— + </p> + <p> + DUVAL. Deux femmes— + </p> + <p> + MENDOZA. Three men and two women! Why have you not brought them here? Are + you afraid of them? + </p> + <p> + THE ROWDY ONE. [getting up] Thyve a hescort. Ow, de-ooh lut's ook it, + Mendowza. + </p> + <p> + THE SULKY ONE. Two armored cars full o soldiers at the end o the valley. + </p> + <p> + ANARCHIST. The shot was fired in the air. It was a signal. + </p> + <p> + Straker whistles his favorite air, which falls on the ears of the brigands + like a funeral march. + </p> + <p> + TANNER. It is not an escort, but an expedition to capture you. We were + advised to wait for it; but I was in a hurry. + </p> + <p> + THE ROWDY ONE. [in an agony of apprehension] And Ow my good Lord, ere we + are, wytin for em! Lut's tike to the mahntns. + </p> + <p> + MENDOZA. Idiot, what do you know about the mountains? Are you a Spaniard? + You would be given up by the first shepherd you met. Besides, we are + already within range of their rifles. + </p> + <p> + THE ROWDY ONE. Bat— + </p> + <p> + MENDOZA. Silence. Leave this to me. [To Tanner] Comrade: you will not + betray us. + </p> + <p> + STRAKER. Oo are you callin comrade? + </p> + <p> + MENDOZA. Last night the advantage was with me. The robber of the poor was + at the mercy of the robber of the rich. You offered your hand: I took it. + </p> + <p> + TANNER. I bring no charge against you, comrade. We have spent a pleasant + evening with you: that is all. + </p> + <p> + STRAKER. I gev my and to nobody, see? + </p> + <p> + MENDOZA. [turning on him impressively] Young man, if I am tried, I shall + plead guilty, and explain what drove me from England, home and duty. Do + you wish to have the respectable name of Straker dragged through the mud + of a Spanish criminal court? The police will search me. They will find + Louisa's portrait. It will be published in the illustrated papers. You + blench. It will be your doing, remember. + </p> + <p> + STRAKER. [with baffled rage] I don't care about the court. It's avin our + name mixed up with yours that I object to, you blackmailin swine, you. + </p> + <p> + MENDOZA. Language unworthy of Louisa's brother! But no matter: you are + muzzled: that is enough for us. [He turns to face his own men, who back + uneasily across the amphitheatre towards the cave to take refuge behind + him, as a fresh party, muffled for motoring, comes from the road in + riotous spirits. Ann, who makes straight for Tanner, comes first; then + Violet, helped over the rough ground by Hector holding her right hand and + Ramsden her left. Mendoza goes to his presidential block and seats himself + calmly with his rank and file grouped behind him, and his Staff, + consisting of Duval and the Anarchist on his right and the two + Social-Democrats on his left, supporting him in flank]. + </p> + <p> + ANN. It's Jack! + </p> + <p> + TANNER. Caught! + </p> + <p> + HECTOR. Why, certainly it is. I said it was you, Tanner, We've just been + stopped by a puncture: the road is full of nails. + </p> + <p> + VIOLET. What are you doing here with all these men? + </p> + <p> + ANN. Why did you leave us without a word of warning? + </p> + <p> + HECTOR. I want that bunch of roses, Miss Whitefield. [To Tanner] When we + found you were gone, Miss Whitefield bet me a bunch of roses my car would + not overtake yours before you reached Monte Carlo. + </p> + <p> + TANNER. But this is not the road to Monte Carlo. + </p> + <p> + HECTOR. No matter. Miss Whitefield tracked you at every stopping place: + she is a regular Sherlock Holmes. + </p> + <p> + TANNER. The Life Force! I am lost. + </p> + <p> + OCTAVIUS. [Bounding gaily down from the road into the amphitheatre, and + coming between Tanner and Straker] I am so glad you are safe, old chap. We + were afraid you had been captured by brigands. + </p> + <p> + RAMSDEN. [who has been staring at Mendoza] I seem to remember the face of + your friend here. [Mendoza rises politely and advances with a smile + between Ann and Ramsden]. + </p> + <p> + HECTOR. Why, so do I. + </p> + <p> + OCTAVIUS. I know you perfectly well, Sir; but I can't think where I have + met you. + </p> + <p> + MENDOZA. [to Violet] Do YOU remember me, madam? + </p> + <p> + VIOLET. Oh, quite well; but I am so stupid about names. + </p> + <p> + MENDOZA. It was at the Savoy Hotel. [To Hector] You, sir, used to come + with this lady [Violet] to lunch. [To Octavius] You, sir, often brought + this lady [Ann] and her mother to dinner on your way to the Lyceum + Theatre. [To Ramsden] You, sir, used to come to supper, with [dropping his + voice to a confidential but perfectly audible whisper] several different + ladies. + </p> + <p> + RAMSDEN. [angrily] Well, what is that to you, pray? + </p> + <p> + OCTAVIUS. Why, Violet, I thought you hardly knew one another before this + trip, you and Malone! + </p> + <p> + VIOLET. [vexed] I suppose this person was the manager. + </p> + <p> + MENDOZA. The waiter, madam. I have a grateful recollection of you all. I + gathered from the bountiful way in which you treated me that you all + enjoyed your visits very much. + </p> + <p> + VIOLET. What impertinence! [She turns her back on him, and goes up the + hill with Hector]. + </p> + <p> + RAMSDEN. That will do, my friend. You do not expect these ladies to treat + you as an acquaintance, I suppose, because you have waited on them at + table. + </p> + <p> + MENDOZA. Pardon me: it was you who claimed my acquaintance. The ladies + followed your example. However, this display of the unfortunate manners of + your class closes the incident. For the future, you will please address me + with the respect due to a stranger and fellow traveller. [He turns + haughtily away and resumes his presidential seat]. + </p> + <p> + TANNER. There! I have found one man on my journey capable of reasonable + conversation; and you all instinctively insult him. Even the New Man is as + bad as any of you. Enry: you have behaved just like a miserable gentleman. + </p> + <p> + STRAKER. Gentleman! Not me. + </p> + <p> + RAMSDEN. Really, Tanner, this tone— + </p> + <p> + ANN. Don't mind him, Granny: you ought to know him by this time [she takes + his arm and coaxes him away to the hill to join Violet and Hector. + Octavius follows her, doglike]. + </p> + <p> + VIOLET. [calling from the hill] Here are the soldiers. They are getting + out of their motors. + </p> + <p> + DUVAL. [panicstricken] Oh, nom de Dieu! + </p> + <p> + THE ANARCHIST. Fools: the State is about to crush you because you spared + it at the prompting of the political hangers-on of the bourgeoisie. + </p> + <p> + THE SULKY SOCIAL-DEMOCRAT. [argumentative to the last] On the contrary, + only by capturing the State machine— + </p> + <p> + THE ANARCHIST. It is going to capture you. + </p> + <p> + THE ROWDY SOCIAL-DEMOCRAT. [his anguish culminating] Ow, chock it. Wot are + we ere for? WOT are we wytin for? + </p> + <p> + MENDOZA. [between his teeth] Goon. Talk politics, you idiots: nothing + sounds more respectable. Keep it up, I tell you. + </p> + <p> + The soldiers line the road, commanding the amphitheatre with their rifles. + The brigands, struggling with an over-whelming impulse to hide behind one + another, look as unconcerned as they can. Mendoza rises superbly, with + undaunted front. The officer in command steps down from the road in to the + amphitheatre; looks hard at the brigands; and then inquiringly at Tanner. + </p> + <p> + THE OFFICER. Who are these men, Senor Ingles? + </p> + <p> + TANNER. My escort. + </p> + <p> + Mendoza, with a Mephistophelean smile, bows profoundly. An irrepressible + grin runs from face to face among the brigands. They touch their hats, + except the Anarchist, who defies the State with folded arms. + </p> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV + </h2> + <p> + The garden of a villa in Granada. Whoever wishes to know what it is like + must go to Granada and see. One may prosaically specify a group of hills + dotted with villas, the Alhambra on the top of one of the hills, and a + considerable town in the valley, approached by dusty white roads in which + the children, no matter what they are doing or thinking about, + automatically whine for halfpence and reach out little clutching brown + palms for them; but there is nothing in this description except the + Alhambra, the begging, and the color of the roads, that does not fit + Surrey as well as Spain. The difference is that the Surrey hills are + comparatively small and ugly, and should properly be called the Surrey + Protuberances; but these Spanish hills are of mountain stock: the amenity + which conceals their size does not compromise their dignity. + </p> + <p> + This particular garden is on a hill opposite the Alhambra; and the villa + is as expensive and pretentious as a villa must be if it is to be let + furnished by the week to opulent American and English visitors. If we + stand on the lawn at the foot of the garden and look uphill, our horizon + is the stone balustrade of a flagged platform on the edge of infinite + space at the top of the hill. Between us and this platform is a flower + garden with a circular basin and fountain in the centre, surrounded by + geometrical flower beds, gravel paths, and clipped yew trees in the + genteelest order. The garden is higher than our lawn; so we reach it by a + few steps in the middle of its embankment. The platform is higher again + than the garden, from which we mount a couple more steps to look over the + balustrade at a fine view of the town up the valley and of the hills that + stretch away beyond it to where, in the remotest distance, they become + mountains. On our left is the villa, accessible by steps from the left + hand corner of the garden. Returning from the platform through the garden + and down again to the lawn (a movement which leaves the villa behind us on + our right) we find evidence of literary interests on the part of the + tenants in the fact that there is no tennis net nor set of croquet hoops, + but, on our left, a little iron garden table with books on it, mostly + yellow-backed, and a chair beside it. A chair on the right has also a + couple of open books upon it. There are no newspapers, a circumstance + which, with the absence of games, might lead an intelligent spectator to + the most far reaching conclusions as to the sort of people who live in the + villa. Such speculations are checked, however, on this delightfully fine + afternoon, by the appearance at a little gate in a paling on our left, of + Henry Straker in his professional costume. He opens the gate for an + elderly gentleman, and follows him on to the lawn. + </p> + <p> + This elderly gentleman defies the Spanish sun in a black frock coat, tall + silk bat, trousers in which narrow stripes of dark grey and lilac blend + into a highly respectable color, and a black necktie tied into a bow over + spotless linen. Probably therefore a man whose social position needs + constant and scrupulous affirmation without regard to climate: one who + would dress thus for the middle of the Sahara or the top of Mont Blanc. + And since he has not the stamp of the class which accepts as its + life-mission the advertizing and maintenance of first rate tailoring and + millinery, he looks vulgar in his finery, though in a working dress of any + kind he would look dignified enough. He is a bullet cheeked man with a red + complexion, stubbly hair, smallish eyes, a hard mouth that folds down at + the corners, and a dogged chin. The looseness of skin that comes with age + has attacked his throat and the laps of his cheeks; but he is still hard + as an apple above the mouth; so that the upper half of his face looks + younger than the lower. He has the self-confidence of one who has made + money, and something of the truculence of one who has made it in a + brutalizing struggle, his civility having under it a perceptible menace + that he has other methods in reserve if necessary. Withal, a man to be + rather pitied when he is not to be feared; for there is something pathetic + about him at times, as if the huge commercial machine which has worked him + into his frock coat had allowed him very little of his own way and left + his affections hungry and baffled. At the first word that falls from him + it is clear that he is an Irishman whose native intonation has clung to + him through many changes of place and rank. One can only guess that the + original material of his speech was perhaps the surly Kerry brogue; but + the degradation of speech that occurs in London, Glasgow, Dublin and big + cities generally has been at work on it so long that nobody but an arrant + cockney would dream of calling it a brogue now; for its music is almost + gone, though its surliness is still perceptible. Straker, as a very + obvious cockney, inspires him with implacable contempt, as a stupid + Englishman who cannot even speak his own language properly. Straker, on + the other hand, regards the old gentleman's accent as a joke thoughtfully + provided by Providence expressly for the amusement of the British race, + and treats him normally with the indulgence due to an inferior and unlucky + species, but occasionally with indignant alarm when the old gentleman + shows signs of intending his Irish nonsense to be taken seriously. + </p> + <p> + STRAKER. I'll go tell the young lady. She said you'd prefer to stay here + [he turns to go up through the garden to the villa]. + </p> + <p> + MALONE. [who has been looking round him with lively curiosity] The young + lady? That's Miss Violet, eh? + </p> + <p> + STRAKER. [stopping on the steps with sudden suspicion] Well, you know, + don't you? + </p> + <p> + MALONE. Do I? + </p> + <p> + STRAKER. [his temper rising] Well, do you or don't you? + </p> + <p> + MALONE. What business is that of yours? + </p> + <p> + Straker, now highly indignant, comes back from the steps and confronts the + visitor. + </p> + <p> + STRAKER. I'll tell you what business it is of mine. Miss Robinson— + </p> + <p> + MALONE. [interrupting] Oh, her name is Robinson, is it? Thank you. + </p> + <p> + STRAKER. Why, you don't know even her name? + </p> + <p> + MALONE. Yes I do, now that you've told me. + </p> + <p> + STRAKER. [after a moment of stupefaction at the old man's readiness in + repartee] Look here: what do you mean by gittin into my car and lettin me + bring you here if you're not the person I took that note to? + </p> + <p> + MALONE. Who else did you take it to, pray? + </p> + <p> + STRAKER. I took it to Mr Ector Malone, at Miss Robinson's request, see? + Miss Robinson is not my principal: I took it to oblige her. I know Mr + Malone; and he ain't you, not by a long chalk. At the hotel they told me + that your name is Ector Malone. + </p> + <p> + MALONE. Hector Malone. + </p> + <p> + STRAKER. [with calm superiority] Hector in your own country: that's what + comes o livin in provincial places like Ireland and America. Over here + you're Ector: if you avn't noticed it before you soon will. + </p> + <p> + The growing strain of the conversation is here relieved by Violet, who has + sallied from the villa and through the garden to the steps, which she now + descends, coming very opportunely between Malone and Straker. + </p> + <p> + VIOLET. [to Straker] Did you take my message? + </p> + <p> + STRAKER. Yes, miss. I took it to the hotel and sent it up, expecting to + see young Mr Malone. Then out walks this gent, and says it's all right and + he'll come with me. So as the hotel people said he was Mr Ector Malone, I + fetched him. And now he goes back on what he said. But if he isn't the + gentleman you meant, say the word: it's easy enough to fetch him back + again. + </p> + <p> + MALONE. I should esteem it a great favor if I might have a short + conversation with you, madam. I am Hector's father, as this bright + Britisher would have guessed in the course of another hour or so. + </p> + <p> + STRAKER. [coolly defiant] No, not in another year or so. When we've ad you + as long to polish up as we've ad im, perhaps you'll begin to look a little + bit up to is mark. At present you fall a long way short. You've got too + many aitches, for one thing. [To Violet, amiably] All right, Miss: you + want to talk to him: I shan't intrude. [He nods affably to Malone and goes + out through the little gate in the paling]. + </p> + <p> + VIOLET. [very civilly] I am so sorry, Mr Malone, if that man has been rude + to you. But what can we do? He is our chauffeur. + </p> + <p> + MALONE. Your what? + </p> + <p> + VIOLET. The driver of our automobile. He can drive a motor car at seventy + miles an hour, and mend it when it breaks down. We are dependent on our + motor cars; and our motor cars are dependent on him; so of course we are + dependent on him. + </p> + <p> + MALONE. I've noticed, madam, that every thousand dollars an Englishman + gets seems to add one to the number of people he's dependent on. However, + you needn't apologize for your man: I made him talk on purpose. By doing + so I learnt that you're staying here in Grannida with a party of English, + including my son Hector. + </p> + <p> + VIOLET. [conversationally] Yes. We intended to go to Nice; but we had to + follow a rather eccentric member of our party who started first and came + here. Won't you sit down? [She clears the nearest chair of the two books + on it]. + </p> + <p> + MALONE. [impressed by this attention] Thank you. [He sits down, examining + her curiously as she goes to the iron table to put down the books. When + she turns to him again, he says] Miss Robinson, I believe? + </p> + <p> + VIOLET. [sitting down] Yes. + </p> + <p> + MALONE. [Taking a letter from his pocket] Your note to Hector runs as + follows [Violet is unable to repress a start. He pauses quietly to take + out and put on his spectacles, which have gold rims]: "Dearest: they have + all gone to the Alhambra for the afternoon. I have shammed headache and + have the garden all to myself. Jump into Jack's motor: Straker will rattle + you here in a jiffy. Quick, quick, quick. Your loving Violet." [He looks + at her; but by this time she has recovered herself, and meets his + spectacles with perfect composure. He continues slowly] Now I don't know + on what terms young people associate in English society; but in America + that note would be considered to imply a very considerable degree of + affectionate intimacy between the parties. + </p> + <p> + VIOLET. Yes: I know your son very well, Mr Malone. Have you any objection? + </p> + <p> + MALONE. [somewhat taken aback] No, no objection exactly. Provided it is + understood that my son is altogether dependent on me, and that I have to + be consulted in any important step he may propose to take. + </p> + <p> + VIOLET. I am sure you would not be unreasonable with him, Mr Malone. + </p> + <p> + MALONE. I hope not, Miss Robinson; but at your age you might think many + things unreasonable that don't seem so to me. + </p> + <p> + VIOLET. [with a little shrug] Oh well, I suppose there's no use our + playing at cross purposes, Mr Malone. Hector wants to marry me. + </p> + <p> + MALONE. I inferred from your note that he might. Well, Miss Robinson, he + is his own master; but if he marries you he shall not have a rap from me. + [He takes off his spectacles and pockets them with the note]. + </p> + <p> + VIOLET. [with some severity] That is not very complimentary to me, Mr + Malone. + </p> + <p> + MALONE. I say nothing against you, Miss Robinson: I daresay you are an + amiable and excellent young lady. But I have other views for Hector. + </p> + <p> + VIOLET. Hector may not have other views for himself, Mr Malone. + </p> + <p> + MALONE. Possibly not. Then he does without me: that's all. I daresay you + are prepared for that. When a young lady writes to a young man to come to + her quick, quick, quick, money seems nothing and love seems everything. + </p> + <p> + VIOLET. [sharply] I beg your pardon, Mr Malone: I do not think anything so + foolish. Hector must have money. + </p> + <p> + MALONE. [staggered] Oh, very well, very well. No doubt he can work for it. + </p> + <p> + VIOLET. What is the use of having money if you have to work for it? [She + rises impatiently]. It's all nonsense, Mr Malone: you must enable your son + to keep up his position. It is his right. + </p> + <p> + MALONE. [grimly] I should not advise you to marry him on the strength of + that right, Miss Robinson. + </p> + <p> + Violet, who has almost lost her temper, controls herself with an effort; + unclenches her fingers; and resumes her seat with studied tranquillity and + reasonableness. + </p> + <p> + VIOLET. What objection have you to me, pray? My social position is as good + as Hector's, to say the least. He admits it. + </p> + <p> + MALONE. [shrewdly] You tell him so from time to time, eh? Hector's social + position in England, Miss Robinson, is just what I choose to buy for him. + I have made him a fair offer. Let him pick out the most historic house, + castle or abbey that England contains. The day that he tells me he wants + it for a wife worthy of its traditions, I buy it for him, and give him the + means of keeping it up. + </p> + <p> + VIOLET. What do you mean by a wife worthy of its traditions? Cannot any + well bred woman keep such a house for him? + </p> + <p> + MALONE. No: she must be born to it. + </p> + <p> + VIOLET. Hector was not born to it, was he? + </p> + <p> + MALONE. His granmother was a barefooted Irish girl that nursed me by a + turf fire. Let him marry another such, and I will not stint her marriage + portion. Let him raise himself socially with my money or raise somebody + else so long as there is a social profit somewhere, I'll regard my + expenditure as justified. But there must be a profit for someone. A + marriage with you would leave things just where they are. + </p> + <p> + VIOLET. Many of my relations would object very much to my marrying the + grandson of a common woman, Mr Malone. That may be prejudice; but so is + your desire to have him marry a title prejudice. + </p> + <p> + MALONE. [rising, and approaching her with a scrutiny in which there is a + good deal of reluctant respect] You seem a pretty straightforward + downright sort of a young woman. + </p> + <p> + VIOLET. I do not see why I should be made miserably poor because I cannot + make profits for you. Why do you want to make Hector unhappy? + </p> + <p> + MALONE. He will get over it all right enough. Men thrive better on + disappointments in love than on disappointments in money. I daresay you + think that sordid; but I know what I'm talking about. My father died of + starvation in Ireland in the black 47, Maybe you've heard of it. + </p> + <p> + VIOLET. The Famine? + </p> + <p> + MALONE. [with smouldering passion] No, the starvation. When a country is + full of food, and exporting it, there can be no famine. My father was + starved dead; and I was starved out to America in my mother's arms. + English rule drove me and mine out of Ireland. Well, you can keep Ireland. + I and my like are coming back to buy England; and we'll buy the best of + it. I want no middle class properties and no middle class women for + Hector. That's straightforward isn't it, like yourself? + </p> + <p> + VIOLET. [icily pitying his sentimentality] Really, Mr Malone, I am + astonished to hear a man of your age and good sense talking in that + romantic way. Do you suppose English noblemen will sell their places to + you for the asking? + </p> + <p> + MALONE. I have the refusal of two of the oldest family mansions in + England. One historic owner can't afford to keep all the rooms dusted: the + other can't afford the death duties. What do you say now? + </p> + <p> + VIOLET. Of course it is very scandalous; but surely you know that the + Government will sooner or later put a stop to all these Socialistic + attacks on property. + </p> + <p> + MALONE. [grinning] D'y' think they'll be able to get that done before I + buy the house—or rather the abbey? They're both abbeys. + </p> + <p> + VIOLET. [putting that aside rather impatiently] Oh, well, let us talk + sense, Mr Malone. You must feel that we haven't been talking sense so far. + </p> + <p> + MALONE. I can't say I do. I mean all I say. + </p> + <p> + VIOLET. Then you don't know Hector as I do. He is romantic and faddy—he + gets it from you, I fancy—and he wants a certain sort of wife to + take care of him. Not a faddy sort of person, you know. + </p> + <p> + MALONE. Somebody like you, perhaps? + </p> + <p> + VIOLET. [quietly] Well, yes. But you cannot very well ask me to undertake + this with absolutely no means of keeping up his position. + </p> + <p> + MALONE. [alarmed] Stop a bit, stop a bit. Where are we getting to? I'm not + aware that I'm asking you to undertake anything. + </p> + <p> + VIOLET. Of course, Mr Malone, you can make it very difficult for me to + speak to you if you choose to misunderstand me. + </p> + <p> + MALONE. [half bewildered] I don't wish to take any unfair advantage; but + we seem to have got off the straight track somehow. + </p> + <p> + Straker, with the air of a man who has been making haste, opens the little + gate, and admits Hector, who, snorting with indignation, comes upon the + lawn, and is making for his father when Violet, greatly dismayed, springs + up and intercepts him. Straker doer not wait; at least he does not remain + visibly within earshot. + </p> + <p> + VIOLET. Oh, how unlucky! Now please, Hector, say nothing. Go away until I + have finished speaking to your father. + </p> + <p> + HECTOR. [inexorably] No, Violet: I mean to have this thing out, right + away. [He puts her aside; passes her by; and faces his father, whose + cheeks darken as his Irish blood begins to simmer]. Dad: you've not played + this hand straight. + </p> + <p> + MALONE. Hwat d'y'mean? + </p> + <p> + HECTOR. You've opened a letter addressed to me. You've impersonated me and + stolen a march on this lady. That's dishonorable. + </p> + <p> + MALONE. [threateningly] Now you take care what you're saying, Hector. Take + care, I tell you. + </p> + <p> + HECTOR. I have taken care. I am taking care. I'm taking care of my honor + and my position in English society. + </p> + <p> + MALONE. [hotly] Your position has been got by my money: do you know that? + </p> + <p> + HECTOR. Well, you've just spoiled it all by opening that letter. A letter + from an English lady, not addressed to you—a confidential letter! a + delicate letter! a private letter opened by my father! That's a sort of + thing a man can't struggle against in England. The sooner we go back + together the better. [He appeals mutely to the heavens to witness the + shame and anguish of two outcasts]. + </p> + <p> + VIOLET. [snubbing him with an instinctive dislike for scene making] Don't + be unreasonable, Hector. It was quite natural of Mr Malone to open my + letter: his name was on the envelope. + </p> + <p> + MALONE. There! You've no common sense, Hector. I thank you, Miss Robinson. + </p> + <p> + HECTOR. I thank you, too. It's very kind of you. My father knows no + better. + </p> + <p> + MALONE. [furiously clenching his fists] Hector— + </p> + <p> + HECTOR. [with undaunted moral force] Oh, it's no use hectoring me. A + private letter's a private letter, dad: you can't get over that. + </p> + <p> + MALONE [raising his voice] I won't be talked back to by you, d'y' hear? + </p> + <p> + VIOLET. Ssh! please, please. Here they all come. + </p> + <p> + Father and son, checked, glare mutely at one another as Tanner comes in + through the little gate with Ramsden, followed by Octavius and Ann. + </p> + <p> + VIOLET. Back already! + </p> + <p> + TANNER. The Alhambra is not open this afternoon. + </p> + <p> + VIOLET. What a sell! + </p> + <p> + Tanner passes on, and presently finds himself between Hector and a strange + elder, both apparently on the verge of personal combat. He looks from one + to the other for an explanation. They sulkily avoid his eye, and nurse + their wrath in silence. + </p> + <p> + RAMSDEN. Is it wise for you to be out in the sunshine with such a + headache, Violet? + </p> + <p> + TANNER. Have you recovered too, Malone? + </p> + <p> + VIOLET. Oh, I forgot. We have not all met before. Mr Malone: won't you + introduce your father? + </p> + <p> + HECTOR. [with Roman firmness] No, I will not. He is no father of mine. + </p> + <p> + MALONE. [very angry] You disown your dad before your English friends, do + you? + </p> + <p> + VIOLET. Oh please don't make a scene. + </p> + <p> + Ann and Octavius, lingering near the gate, exchange an astonished glance, + and discreetly withdraw up the steps to the garden, where they can enjoy + the disturbance without intruding. On their way to the steps Ann sends a + little grimace of mute sympathy to Violet, who is standing with her back + to the little table, looking on in helpless annoyance as her husband soars + to higher and higher moral eminences without the least regard to the old + man's millions. + </p> + <p> + HECTOR. I'm very sorry, Miss Robinson; but I'm contending for a principle. + I am a son, and, I hope, a dutiful one; but before everything I'm a Man!!! + And when dad treats my private letters as his own, and takes it on himself + to say that I shan't marry you if I am happy and fortunate enough to gain + your consent, then I just snap my fingers and go my own way. + </p> + <p> + TANNER. Marry Violet! + </p> + <p> + RAMSDEN. Are you in your senses? + </p> + <p> + TANNER. Do you forget what we told you? + </p> + <p> + HECTOR. [recklessly] I don't care what you told me. + </p> + <p> + RAMSDEN. [scandalized] Tut tut, sir! Monstrous! [he flings away towards + the gate, his elbows quivering with indignation] + </p> + <p> + TANNER. Another madman! These men in love should be locked up. [He gives + Hector up as hopeless, and turns away towards the garden, but Malone, + taking offence in a new direction, follows him and compels him, by the + aggressivenes of his tone, to stop]. + </p> + <p> + MALONE. I don't understand this. Is Hector not good enough for this lady, + pray? + </p> + <p> + TANNER. My dear sir, the lady is married already. Hector knows it; and yet + he persists in his infatuation. Take him home and lock him up. + </p> + <p> + MALONE. [bitterly] So this is the high-born social tone I've spoilt by my + ignorant, uncultivated behavior! Makin love to a married woman! [He comes + angrily between Hector and Violet, and almost bawls into Hector's left + ear] You've picked up that habit of the British aristocracy, have you? + </p> + <p> + HECTOR. That's all right. Don't you trouble yourself about that. I'll + answer for the morality of what I'm doing. + </p> + <p> + TANNER. [coming forward to Hector's right hand with flashing eyes] Well + said, Malone! You also see that mere marriage laws are not morality! I + agree with you; but unfortunately Violet does not. + </p> + <p> + MALONE. I take leave to doubt that, sir. [Turning on Violet] Let me tell + you, Mrs Robinson, or whatever your right name is, you had no right to + send that letter to my son when you were the wife of another man. + </p> + <p> + HECTOR. [outraged] This is the last straw. Dad: you have insulted my wife. + </p> + <p> + MALONE. YOUR wife! + </p> + <p> + TANNER. YOU the missing husband! Another moral impostor! [He smites his + brow, and collapses into Malone's chair]. + </p> + <p> + MALONE. You've married without my consent! + </p> + <p> + RAMSDEN. You have deliberately humbugged us, sir! + </p> + <p> + HECTOR. Here: I have had just about enough of being badgered. Violet and I + are married: that's the long and the short of it. Now what have you got to + say—any of you? + </p> + <p> + MALONE. I know what I've got to say. She's married a beggar. + </p> + <p> + HECTOR. No; she's married a Worker [his American pronunciation imparts an + overwhelming intensity to this simple and unpopular word]. I start to earn + my own living this very afternoon. + </p> + <p> + MALONE. [sneering angrily] Yes: you're very plucky now, because you got + your remittance from me yesterday or this morning, I reckon. Wait til it's + spent. You won't be so full of cheek then. + </p> + <p> + HECTOR. [producing a letter from his pocketbook] Here it is [thrusting it + on his father]. Now you just take your remittance and yourself out of my + life. I'm done with remittances; and I'm done with you. I don't sell the + privilege of insulting my wife for a thousand dollars. + </p> + <p> + MALONE. [deeply wounded and full of concern] Hector: you don't know what + poverty is. + </p> + <p> + HECTOR. [fervidly] Well, I want to know what it is. I want'be a Man. + Violet: you come along with me, to your own home: I'll see you through. + </p> + <p> + OCTAVIUS. [jumping down from the garden to the lawn and running to + Hector's left hand] I hope you'll shake hands with me before you go, + Hector. I admire and respect you more than I can say. [He is affected + almost to tears as they shake hands]. + </p> + <p> + VIOLET. [also almost in tears, but of vexation] Oh don't be an idiot, + Tavy. Hector's about as fit to become a workman as you are. + </p> + <p> + TANNER. [rising from his chair on the other ride of Hector] Never fear: + there's no question of his becoming a navvy, Mrs Malone. [To Hector] + There's really no difficulty about capital to start with. Treat me as a + friend: draw on me. + </p> + <p> + OCTAVIUS. [impulsively] Or on me. + </p> + <p> + MALONE. [with fierce jealousy] Who wants your dirty money? Who should he + draw on but his own father? [Tanner and Octavius recoil, Octavius rather + hurt, Tanner consoled by the solution of the money difficulty. Violet + looks up hopefully]. Hector: don't be rash, my boy. I'm sorry for what I + said: I never meant to insult Violet: I take it all back. She's just the + wife you want: there! + </p> + <p> + HECTOR. [Patting him on the shoulder] Well, that's all right, dad. Say no + more: we're friends again. Only, I take no money from anybody. + </p> + <p> + MALONE. [pleading abjectly] Don't be hard on me, Hector. I'd rather you + quarrelled and took the money than made friends and starved. You don't + know what the world is: I do. + </p> + <p> + HECTOR. No, no, NO. That's fixed: that's not going to change. [He passes + his father inexorably by, and goes to Violet]. Come, Mrs Malone: you've + got to move to the hotel with me, and take your proper place before the + world. + </p> + <p> + VIOLET. But I must go in, dear, and tell Davis to pack. Won't you go on + and make them give you a room overlooking the garden for me? I'll join you + in half an hour. + </p> + <p> + HECTOR. Very well. You'll dine with us, Dad, won't you? + </p> + <p> + MALONE. [eager to conciliate him] Yes, yes. + </p> + <p> + HECTOR. See you all later. [He waves his hand to Ann, who has now been + joined by Tanner, Octavius, and Ramsden in the garden, and goes out + through the little gate, leaving his father and Violet together on the + lawn]. + </p> + <p> + MALONE. You'll try to bring him to his senses, Violet: I know you will. + </p> + <p> + VIOLET. I had no idea he could be so headstrong. If he goes on like that, + what can I do? + </p> + <p> + MALONE. Don't be discurridged: domestic pressure may be slow; but it's + sure. You'll wear him down. Promise me you will. + </p> + <p> + VIOLET. I will do my best. Of course I think it's the greatest nonsense + deliberately making us poor like that. + </p> + <p> + MALONE. Of course it is. + </p> + <p> + VIOLET. [after a moment's reflection] You had better give me the + remittance. He will want it for his hotel bill. I'll see whether I can + induce him to accept it. Not now, of course, but presently. + </p> + <p> + MALONE. [eagerly] Yes, yes, yes: that's just the thing [he hands her the + thousand dollar bill, and adds cunningly] Y'understand that this is only a + bachelor allowance. + </p> + <p> + VIOLET. [Coolly] Oh, quite. [She takes it]. Thank you. By the way, Mr + Malone, those two houses you mentioned—the abbeys. + </p> + <p> + MALONE. Yes? + </p> + <p> + VIOLET. Don't take one of them until I've seen it. One never knows what + may be wrong with these places. + </p> + <p> + MALONE. I won't. I'll do nothing without consulting you, never fear. + </p> + <p> + VIOLET. [politely, but without a ray of gratitude] Thanks: that will be + much the best way. [She goes calmly back to the villa, escorted + obsequiously by Malone to the upper end of the garden]. + </p> + <p> + TANNER. [drawing Ramsden's attention to Malone's cringing attitude as he + takes leave of Violet] And that poor devil is a billionaire! one of the + master spirits of the age! Led on a string like a pug dog by the first + girl who takes the trouble to despise him. I wonder will it ever come to + that with me. [He comes down to the lawn.] + </p> + <p> + RAMSDEN. [following him] The sooner the better for you. + </p> + <p> + MALONE. [clapping his hands as he returns through the garden] That'll be a + grand woman for Hector. I wouldn't exchange her for ten duchesses. [He + descends to the lawn and comes between Tanner and Ramsden]. + </p> + <p> + RAMSDEN. [very civil to the billionaire] It's an unexpected pleasure to + find you in this corner of the world, Mr Malone. Have you come to buy up + the Alhambra? + </p> + <p> + MALONE. Well, I don't say I mightn't. I think I could do better with it + than the Spanish government. But that's not what I came about. To tell you + the truth, about a month ago I overheard a deal between two men over a + bundle of shares. They differed about the price: they were young and + greedy, and didn't know that if the shares were worth what was bid for + them they must be worth what was asked, the margin being too small to be + of any account, you see. To amuse meself, I cut in and bought the shares. + Well, to this day I haven't found out what the business is. The office is + in this town; and the name is Mendoza, Limited. Now whether Mendoza's a + mine, or a steamboat line, or a bank, or a patent article— + </p> + <p> + TANNER. He's a man. I know him: his principles are thoroughly commercial. + Let us take you round the town in our motor, Mr Malone, and call on him on + the way. + </p> + <p> + MALONE. If you'll be so kind, yes. And may I ask who— + </p> + <p> + TANNER. Mr Roebuck Ramsden, a very old friend of your daughter-in-law. + </p> + <p> + MALONE. Happy to meet you, Mr Ramsden. + </p> + <p> + RAMSDEN. Thank you. Mr Tanner is also one of our circle. + </p> + <p> + MALONE. Glad to know you also, Mr Tanner. + </p> + <p> + TANNER. Thanks. [Malone and Ramsden go out very amicably through the + little gate. Tanner calls to Octavius, who is wandering in the garden with + Ann] Tavy! [Tavy comes to the steps, Tanner whispers loudly to him] Violet + has married a financier of brigands. [Tanner hurries away to overtake + Malone and Ramsden. Ann strolls to the steps with an idle impulse to + torment Octavius]. + </p> + <p> + ANN. Won't you go with them, Tavy? + </p> + <p> + OCTAVIUS. [tears suddenly flushing his eyes] You cut me to the heart, Ann, + by wanting me to go [he comes down on the lawn to hide his face from her. + She follows him caressingly]. + </p> + <p> + ANN. Poor Ricky Ticky Tavy! Poor heart! + </p> + <p> + OCTAVIUS. It belongs to you, Ann. Forgive me: I must speak of it. I love + you. You know I love you. + </p> + <p> + ANN. What's the good, Tavy? You know that my mother is determined that I + shall marry Jack. + </p> + <p> + OCTAVIUS. [amazed] Jack! + </p> + <p> + ANN. It seems absurd, doesn't it? + </p> + <p> + OCTAVIUS. [with growing resentment] Do you mean to say that Jack has been + playing with me all this time? That he has been urging me not to marry you + because he intends to marry you himself? + </p> + <p> + ANN. [alarmed] No no: you mustn't lead him to believe that I said that: I + don't for a moment think that Jack knows his own mind. But it's clear from + my father's will that he wished me to marry Jack. And my mother is set on + it. + </p> + <p> + OCTAVIUS. But you are not bound to sacrifice yourself always to the wishes + of your parents. + </p> + <p> + ANN. My father loved me. My mother loves me. Surely their wishes are a + better guide than my own selfishness. + </p> + <p> + OCTAVIUS. Oh, I know how unselfish you are, Ann. But believe me—though + I know I am speaking in my own interest—there is another side to + this question. Is it fair to Jack to marry him if you do not love him? Is + it fair to destroy my happiness as well as your own if you can bring + yourself to love me? + </p> + <p> + ANN. [looking at him with a faint impulse of pity] Tavy, my dear, you are + a nice creature—a good boy. + </p> + <p> + OCTAVIUS. [humiliated] Is that all? + </p> + <p> + ANN. [mischievously in spite of her pity] That's a great deal, I assure + you. You would always worship the ground I trod on, wouldn't you? + </p> + <p> + OCTAVIUS. I do. It sounds ridiculous; but it's no exaggeration. I do; and + I always shall. + </p> + <p> + ANN. Always is a long word, Tavy. You see, I shall have to live up always + to your idea of my divinity; and I don't think I could do that if we were + married. But if I marry Jack, you'll never be disillusioned—at least + not until I grow too old. + </p> + <p> + OCTAVIUS. I too shall grow old, Ann. And when I am eighty, one white hair + of the woman I love will make me tremble more than the thickest gold tress + from the most beautiful young head. + </p> + <p> + ANN. [quite touched] Oh, that's poetry, Tavy, real poetry. It gives me + that strange sudden sense of an echo from a former existence which always + seems to me such a striking proof that we have immortal souls. + </p> + <p> + OCTAVIUS. Do you believe that is true? + </p> + <p> + ANN. Tavy, if it is to become true you must lose me as well as love me. + </p> + <p> + OCTAVIUS. Oh! [he hastily sits down at the little table and covers his + face with his hands]. + </p> + <p> + ANN. [with conviction] Tavy: I wouldn't for worlds destroy your illusions. + I can neither take you nor let you go. I can see exactly what will suit + you. You must be a sentimental old bachelor for my sake. + </p> + <p> + OCTAVIUS. [desperately] Ann: I'll kill myself. + </p> + <p> + ANN. Oh no you won't: that wouldn't be kind. You won't have a bad time. + You will be very nice to women; and you will go a good deal to the opera. + A broken heart is a very pleasant complaint for a man in London if he has + a comfortable income. + </p> + <p> + OCTAVIUS. [considerably cooled, but believing that he is only recovering + his self-control] I know you mean to be kind, Ann. Jack has persuaded you + that cynicism is a good tonic for me. [He rises with quiet dignity]. + </p> + <p> + ANN. [studying him slyly] You see, I'm disillusionizing you already. + That's what I dread. + </p> + <p> + OCTAVIUS. You do not dread disillusionizing Jack. + </p> + <p> + ANN. [her face lighting up with mischievous ecstasy—whispering] I + can't: he has no illusions about me. I shall surprise Jack the other way. + Getting over an unfavorable impression is ever so much easier than living + up to an ideal. Oh, I shall enrapture Jack sometimes! + </p> + <p> + OCTAVIUS. [resuming the calm phase of despair, and beginning to enjoy his + broken heart and delicate attitude without knowing it] I don't doubt that. + You will enrapture him always. And he—the fool!—thinks you + would make him wretched. + </p> + <p> + ANN. Yes: that's the difficulty, so far. + </p> + <p> + OCTAVIUS. [heroically] Shall <i>I</i> tell him that you love him? + </p> + <p> + ANN. [quickly] Oh no: he'd run away again. + </p> + <p> + OCTAVIUS. [shocked] Ann: would you marry an unwilling man? + </p> + <p> + ANN. What a queer creature you are, Tavy! There's no such thing as a + willing man when you really go for him. [She laughs naughtily]. I'm + shocking you, I suppose. But you know you are really getting a sort of + satisfaction already in being out of danger yourself. + </p> + <p> + OCTAVIUS [startled] Satisfaction! [Reproachfully] You say that to me! + </p> + <p> + ANN. Well, if it were really agony, would you ask for more of it? + </p> + <p> + OCTAVIUS. Have I asked for more of it? + </p> + <p> + ANN. You have offered to tell Jack that I love him. That's self-sacrifice, + I suppose; but there must be some satisfaction in it. Perhaps it's because + you're a poet. You are like the bird that presses its breast against the + sharp thorn to make itself sing. + </p> + <p> + OCTAVIUS. It's quite simple. I love you; and I want you to be happy. You + don't love me; so I can't make you happy myself; but I can help another + man to do it. + </p> + <p> + ANN. Yes: it seems quite simple. But I doubt if we ever know why we do + things. The only really simple thing is to go straight for what you want + and grab it. I suppose I don't love you, Tavy; but sometimes I feel as if + I should like to make a man of you somehow. You are very foolish about + women. + </p> + <p> + OCTAVIUS. [almost coldly] I am content to be what I am in that respect. + </p> + <p> + ANN. Then you must keep away from them, and only dream about them. I + wouldn't marry you for worlds, Tavy. + </p> + <p> + OCTAVIUS. I have no hope, Ann: I accept my ill luck. But I don't think you + quite know how much it hurts. + </p> + <p> + ANN. You are so softhearted! It's queer that you should be so different + from Violet. Violet's as hard as nails. + </p> + <p> + OCTAVIUS. Oh no. I am sure Violet is thoroughly womanly at heart. + </p> + <p> + ANN. [with some impatience] Why do you say that? Is it unwomanly to be + thoughtful and businesslike and sensible? Do you want Violet to be an + idiot—or something worse, like me? + </p> + <p> + OCTAVIUS. Something worse—like you! What do you mean, Ann? + </p> + <p> + ANN. Oh well, I don't mean that, of course. But I have a great respect for + Violet. She gets her own way always. + </p> + <p> + OCTAVIUS. [sighing] So do you. + </p> + <p> + ANN. Yes; but somehow she gets it without coaxing—without having to + make people sentimental about her. + </p> + <p> + OCTAVIUS. [with brotherly callousness] Nobody could get very sentimental + about Violet, I think, pretty as she is. + </p> + <p> + ANN. Oh yes they could, if she made them. + </p> + <p> + OCTAVIUS. But surely no really nice woman would deliberately practise on + men's instincts in that way. + </p> + <p> + ANN. [throwing up her hands] Oh Tavy, Tavy, Ricky Ticky Tavy, heaven help + the woman who marries you! + </p> + <p> + OCTAVIUS. [his passion reviving at the name] Oh why, why, why do you say + that? Don't torment me. I don't understand. + </p> + <p> + ANN. Suppose she were to tell fibs, and lay snares for men? + </p> + <p> + OCTAVIUS. Do you think <i>I</i> could marry such a woman—I, who have known + and loved you? + </p> + <p> + ANN. Hm! Well, at all events, she wouldn't let you if she were wise. So + that's settled. And now I can't talk any more. Say you forgive me, and + that the subject is closed. + </p> + <p> + OCTAVIUS. I have nothing to forgive; and the subject is closed. And if the + wound is open, at least you shall never see it bleed. + </p> + <p> + ANN. Poetic to the last, Tavy. Goodbye, dear. [She pats his check; has an + impulse to kiss him and then another impulse of distaste which prevents + her; finally runs away through the garden and into the villa]. + </p> + <p> + Octavius again takes refuge at the table, bowing his head on his arms and + sobbing softly. Mrs Whitefield, who has been pottering round the Granada + shops, and has a net full of little parcels in her hand, comes in through + the gate and sees him. + </p> + <p> + MRS WHITEFIELD. [running to him and lifting his head] What's the matter, + Tavy? Are you ill? + </p> + <p> + OCTAVIUS. No, nothing, nothing. + </p> + <p> + MRS WHITEFIELD. [still holding his head, anxiously] But you're crying. Is + it about Violet's marriage? + </p> + <p> + OCTAVIUS. No, no. Who told you about Violet? + </p> + <p> + MRS WHITEFIELD. [restoring the head to its owner] I met Roebuck and that + awful old Irishman. Are you sure you're not ill? What's the matter? + </p> + <p> + OCTAVIUS. [affectionately] It's nothing—only a man's broken heart. + Doesn't that sound ridiculous? + </p> + <p> + MRS WHITEFIELD. But what is it all about? Has Ann been doing anything to + you? + </p> + <p> + OCTAVIUS. It's not Ann's fault. And don't think for a moment that I blame + you. + </p> + <p> + MRS WHITEFIELD. [startled] For what? + </p> + <p> + OCTAVIUS. [pressing her hand consolingly] For nothing. I said I didn't + blame you. + </p> + <p> + MRS WHITEFIELD. But I haven't done anything. What's the matter? + </p> + <p> + OCTAVIUS. [smiling sadly] Can't you guess? I daresay you are right to + prefer Jack to me as a husband for Ann; but I love Ann; and it hurts + rather. [He rises and moves away from her towards the middle of the lawn]. + </p> + <p> + MRS WHITEFIELD. [following him hastily] Does Ann say that I want her to + marry Jack? + </p> + <p> + OCTAVIUS. Yes: she has told me. + </p> + <p> + MRS WHITEFIELD. [thoughtfully] Then I'm very sorry for you, Tavy. It's + only her way of saying SHE wants to marry Jack. Little she cares what <i>I</i> + say or what I want! + </p> + <p> + OCTAVIUS. But she would not say it unless she believed it. Surely you + don't suspect Ann of—of DECEIT!! + </p> + <p> + MRS WHITEFIELD. Well, never mind, Tavy. I don't know which is best for a + young man: to know too little, like you, or too much, like Jack. + </p> + <p> + Tanner returns. + </p> + <p> + TANNER. Well, I've disposed of old Malone. I've introduced him to Mendoza, + Limited; and left the two brigands together to talk it out. Hullo, Tavy! + anything wrong? + </p> + <p> + OCTAVIUS. I must go wash my face, I see. [To Mrs Whitefield] Tell him what + you wish. [To Tanner] You may take it from me, Jack, that Ann approves of + it. + </p> + <p> + TANNER. [puzzled by his manner] Approves of what? + </p> + <p> + OCTAVIUS. Of what Mrs Whitefield wishes. [He goes his way with sad dignity + to the villa]. + </p> + <p> + TANNER. [to Mrs Whitefield] This is very mysterious. What is it you wish? + It shall be done, whatever it is. + </p> + <p> + MRS WHITEFIELD. [with snivelling gratitude] Thank you, Jack. [She sits + down. Tanner brings the other chair from the table and sits close to her + with his elbows on his knees, giving her his whole attention]. I don't + know why it is that other people's children are so nice to me, and that my + own have so little consideration for me. It's no wonder I don't seem able + to care for Ann and Rhoda as I do for you and Tavy and Violet. It's a very + queer world. It used to be so straightforward and simple; and now nobody + seems to think and feel as they ought. Nothing has been right since that + speech that Professor Tyndall made at Belfast. + </p> + <p> + TANNER. Yes: life is more complicated than we used to think. But what am I + to do for you? + </p> + <p> + MRS WHITEFIELD. That's just what I want to tell you. Of course you'll + marry Ann whether I like it myself or not— + </p> + <p> + TANNER. [starting] It seems to me that I shall presently be married to Ann + whether I like it myself or not. + </p> + <p> + MRS WHITEFIELD. [peacefully] Oh, very likely you will: you know what she + is when she has set her mind on anything. But don't put it on me: that's + all I ask. Tavy has just let out that she's been saying that I am making + her marry you; and the poor boy is breaking his heart about it; for he is + in love with her himself, though what he sees in her so wonderful, + goodness knows: <i>I</i> don't. It's no use telling Tavy that Ann puts things + into people's heads by telling them that I want them when the thought of + them never crossed my mind. It only sets Tavy against me. But you know + better than that. So if you marry her, don't put the blame on me. + </p> + <p> + TANNER. [emphatically] I haven't the slightest intention of marrying her. + </p> + <p> + MRS WHITEFIELD. [slyly] She'd suit you better than Tavy. She'd meet her + match in you, Jack. I'd like to see her meet her match. + </p> + <p> + TANNER. No man is a match for a woman, except with a poker and a pair of + hobnailed boots. Not always even then. Anyhow, I can't take the poker to + her. I should be a mere slave. + </p> + <p> + MRS WHITEFIELD. No: she's afraid of you. At all events, you would tell her + the truth about herself. She wouldn't be able to slip out of it as she + does with me. + </p> + <p> + TANNER. Everybody would call me a brute if I told Ann the truth about + herself in terms of her own moral code. To begin with, Ann says things + that are not strictly true. + </p> + <p> + MRS WHITEFIELD. I'm glad somebody sees she is not an angel. + </p> + <p> + TANNER. In short—to put it as a husband would put it when + exasperated to the point of speaking out—she is a liar. And since + she has plunged Tavy head over ears in love with her without any intention + of marrying him, she is a coquette, according to the standard definition + of a coquette as a woman who rouses passions she has no intention of + gratifying. And as she has now reduced you to the point of being willing + to sacrifice me at the altar for the mere satisfaction of getting me to + call her a liar to her face, I may conclude that she is a bully as well. + She can't bully men as she bullies women; so she habitually and + unscrupulously uses her personal fascination to make men give her whatever + she wants. That makes her almost something for which I know no polite + name. + </p> + <p> + MRS WHITEFIELD. [in mild expostulation] Well, you can't expect perfection, + Jack. + </p> + <p> + TANNER. I don't. But what annoys me is that Ann does. I know perfectly + well that all this about her being a liar and a bully and a coquette and + so forth is a trumped-up moral indictment which might be brought against + anybody. We all lie; we all bully as much as we dare; we all bid for + admiration without the least intention of earning it; we all get as much + rent as we can out of our powers of fascination. If Ann would admit this I + shouldn't quarrel with her. But she won't. If she has children she'll take + advantage of their telling lies to amuse herself by whacking them. If + another woman makes eyes at me, she'll refuse to know a coquette. She will + do just what she likes herself whilst insisting on everybody else doing + what the conventional code prescribes. In short, I can stand everything + except her confounded hypocrisy. That's what beats me. + </p> + <p> + MRS WHITEFIELD. [carried away by the relief of hearing her own opinion so + eloquently expressed] Oh, she is a hypocrite. She is: she is. Isn't she? + </p> + <p> + TANNER. Then why do you want to marry me to her? + </p> + <p> + MRS WHITEFIELD. [querulously] There now! put it on me, of course. I never + thought of it until Tavy told me she said I did. But, you know, I'm very + fond of Tavy: he's a sort of son to me; and I don't want him to be + trampled on and made wretched. + </p> + <p> + TANNER. Whereas I don't matter, I suppose. + </p> + <p> + MRS WHITEFIELD. Oh, you are different, somehow: you are able to take care + of yourself. You'd serve her out. And anyhow, she must marry somebody. + </p> + <p> + TANNER. Aha! there speaks the life instinct. You detest her; but you feel + that you must get her married. + </p> + <p> + MRS WHITEFIELD. [rising, shocked] Do you mean that I detest my own + daughter! Surely you don't believe me to be so wicked and unnatural as + that, merely because I see her faults. + </p> + <p> + TANNER. [cynically] You love her, then? + </p> + <p> + MRS WHITEFIELD. Why, of course I do. What queer things you say, Jack! We + can't help loving our own blood relations. + </p> + <p> + TANNER. Well, perhaps it saves unpleasantness to say so. But for my part, + I suspect that the tables of consanguinity have a natural basis in a + natural repugnance [he rises]. + </p> + <p> + MRS WHITEFIELD. You shouldn't say things like that, Jack. I hope you won't + tell Ann that I have been speaking to you. I only wanted to set myself + right with you and Tavy. I couldn't sit mumchance and have everything put + on me. + </p> + <p> + TANNER. [politely] Quite so. + </p> + <p> + MRS WHITEFIELD. [dissatisfied] And now I've only made matters worse. + Tavy's angry with me because I don't worship Ann. And when it's been put + into my head that Ann ought to marry you, what can I say except that it + would serve her right? + </p> + <p> + TANNER. Thank you. + </p> + <p> + MRS WHITEFIELD. Now don't be silly and twist what I say into something I + don't mean. I ought to have fair play— + </p> + <p> + Ann comes from the villa, followed presently by Violet, who is dressed for + driving. + </p> + <p> + ANN. [coming to her mother's right hand with threatening suavity] Well, + mamma darling, you seem to be having a delightful chat with Jack. We can + hear you all over the place. + </p> + <p> + MRS WHITEFIELD. [appalled] Have you overheard— + </p> + <p> + TANNER. Never fear: Ann is only—well, we were discussing that habit + of hers just now. She hasn't heard a word. + </p> + <p> + MRS WHITEFIELD. [stoutly] I don't care whether she has or not: I have a + right to say what I please. + </p> + <p> + VIOLET. [arriving on the lawn and coming between Mrs Whitefield and + Tanner] I've come to say goodbye. I'm off for my honeymoon. + </p> + <p> + MRS WHITEFIELD. [crying] Oh don't say that, Violet. And no wedding, no + breakfast, no clothes, nor anything. + </p> + <p> + VIOLET. [petting her] It won't be for long. + </p> + <p> + MRS WHITEFIELD. Don't let him take you to America. Promise me that you + won't. + </p> + <p> + VIOLET. [very decidedly] I should think not, indeed. Don't cry, dear: I'm + only going to the hotel. + </p> + <p> + MRS WHITEFIELD. But going in that dress, with your luggage, makes one + realize—[she chokes, and then breaks out again] How I wish you were + my daughter, Violet! + </p> + <p> + VIOLET. [soothing her] There, there: so I am. Ann will be jealous. + </p> + <p> + MRS WHITEFIELD. Ann doesn't care a bit for me. + </p> + <p> + ANN. Fie, mother! Come, now: you mustn't cry any more: you know Violet + doesn't like it [Mrs Whitefield dries her eyes, and subsides]. + </p> + <p> + VIOLET. Goodbye, Jack. + </p> + <p> + TANNER. Goodbye, Violet. + </p> + <p> + VIOLET. The sooner you get married too, the better. You will be much less + misunderstood. + </p> + <p> + TANNER. [restively] I quite expect to get married in the course of the + afternoon. You all seem to have set your minds on it. + </p> + <p> + VIOLET. You might do worse. [To Mrs Whitefield: putting her arm round her] + Let me take you to the hotel with me: the drive will do you good. Come in + and get a wrap. [She takes her towards the villa]. + </p> + <p> + MRS WHITEFIELD. [as they go up through the garden] I don't know what I + shall do when you are gone, with no one but Ann in the house; and she + always occupied with the men! It's not to be expected that your husband + will care to be bothered with an old woman like me. Oh, you needn't tell + me: politeness is all very well; but I know what people think—[She + talks herself and Violet out of sight and hearing]. + </p> + <p> + Ann, musing on Violet's opportune advice, approaches Tanner; examines him + humorously for a moment from toe to top; and finally delivers her opinion. + </p> + <p> + ANN. Violet is quite right. You ought to get married. + </p> + <p> + TANNER. [explosively] Ann: I will not marry you. Do you hear? I won't, + won't, won't, won't, WON'T marry you. + </p> + <p> + ANN. [placidly] Well, nobody axd you, sir she said, sir she said, sir she + said. So that's settled. + </p> + <p> + TANNER. Yes, nobody has asked me; but everybody treats the thing as + settled. It's in the air. When we meet, the others go away on absurd + pretexts to leave us alone together. Ramsden no longer scowls at me: his + eye beams, as if he were already giving you away to me in church. Tavy + refers me to your mother and gives me his blessing. Straker openly treats + you as his future employer: it was he who first told me of it. + </p> + <p> + ANN. Was that why you ran away? + </p> + <p> + TANNER. Yes, only to be stopped by a lovesick brigand and run down like a + truant schoolboy. + </p> + <p> + ANN. Well, if you don't want to be married, you needn't be [she turns away + from him and sits down, much at her ease]. + </p> + <p> + TANNER. [following her] Does any man want to be hanged? Yet men let + themselves be hanged without a struggle for life, though they could at + least give the chaplain a black eye. We do the world's will, not our own. + I have a frightful feeling that I shall let myself be married because it + is the world's will that you should have a husband. + </p> + <p> + ANN. I daresay I shall, someday. + </p> + <p> + TANNER. But why me—me of all men? Marriage is to me apostasy, + profanation of the sanctuary of my soul, violation of my manhood, sale of + my birthright, shameful surrender, ignominious capitulation, acceptance of + defeat. I shall decay like a thing that has served its purpose and is done + with; I shall change from a man with a future to a man with a past; I + shall see in the greasy eyes of all the other husbands their relief at the + arrival of a new prisoner to share their ignominy. The young men will + scorn me as one who has sold out: to the young women I, who have always + been an enigma and a possibility, shall be merely somebody else's property—and + damaged goods at that: a secondhand man at best. + </p> + <p> + ANN. Well, your wife can put on a cap and make herself ugly to keep you in + countenance, like my grandmother. + </p> + <p> + TANNER. So that she may make her triumph more insolent by publicly + throwing away the bait the moment the trap snaps on the victim! + </p> + <p> + ANN. After all, though, what difference would it make? Beauty is all very + well at first sight; but who ever looks at it when it has been in the + house three days? I thought our pictures very lovely when papa bought + them; but I haven't looked at them for years. You never bother about my + looks: you are too well used to me. I might be the umbrella stand. + </p> + <p> + TANNER. You lie, you vampire: you lie. + </p> + <p> + ANN. Flatterer. Why are you trying to fascinate me, Jack, if you don't + want to marry me? + </p> + <p> + TANNER. The Life Force. I am in the grip of the Life Force. + </p> + <p> + ANN. I don't understand in the least: it sounds like the Life Guards. + </p> + <p> + TANNER. Why don't you marry Tavy? He is willing. Can you not be satisfied + unless your prey struggles? + </p> + <p> + ANN. [turning to him as if to let him into a secret] Tavy will never + marry. Haven't you noticed that that sort of man never marries? + </p> + <p> + TANNER. What! a man who idolizes women! who sees nothing in nature but + romantic scenery for love duets! Tavy, the chivalrous, the faithful, the + tenderhearted and true! Tavy never marry! Why, he was born to be swept up + by the first pair of blue eyes he meets in the street. + </p> + <p> + ANN. Yes, I know. All the same, Jack, men like that always live in + comfortable bachelor lodgings with broken hearts, and are adored by their + landladies, and never get married. Men like you always get married. + </p> + <p> + TANNER. [Smiting his brow] How frightfully, horribly true! It has been + staring me in the face all my life; and I never saw it before. + </p> + <p> + ANN. Oh, it's the same with women. The poetic temperament's a very nice + temperament, very amiable, very harmless and poetic, I daresay; but it's + an old maid's temperament. + </p> + <p> + TANNER. Barren. The Life Force passes it by. + </p> + <p> + ANN. If that's what you mean by the Life Force, yes. + </p> + <p> + TANNER. You don't care for Tavy? + </p> + <p> + ANN. [looking round carefully to make sure that Tavy is not within + earshot] No. + </p> + <p> + TANNER. And you do care for me? + </p> + <p> + ANN. [rising quietly and shaking her finger at him] Now Jack! Behave + yourself. + </p> + <p> + TANNER. Infamous, abandoned woman! Devil! + </p> + <p> + ANN. Boa-constrictor! Elephant! + </p> + <p> + TANNER. Hypocrite! + </p> + <p> + ANN. [Softly] I must be, for my future husband's sake. + </p> + <p> + TANNER. For mine! [Correcting himself savagely] I mean for his. + </p> + <p> + ANN.[ignoring the correction] Yes, for yours. You had better marry what + you call a hypocrite, Jack. Women who are not hypocrites go about in + rational dress and are insulted and get into all sorts of hot water. And + then their husbands get dragged in too, and live in continual dread of + fresh complications. Wouldn't you prefer a wife you could depend on? + </p> + <p> + TANNER. No, a thousand times no: hot water is the revolutionist's element. + You clean men as you clean milkpails, by scalding them. + </p> + <p> + ANN. Cold water has its uses too. It's healthy. + </p> + <p> + TANNER. [despairingly] Oh, you are witty: at the supreme moment the Life + Force endows you with every quality. Well, I too can be a hypocrite. Your + father's will appointed me your guardian, not your suitor. I shall be + faithful to my trust. + </p> + <p> + ANN. [in low siren tones] He asked me who would I have as my guardian + before he made that will. I chose you! + </p> + <p> + TANNER. The will is yours then! The trap was laid from the beginning. + </p> + <p> + ANN. [concentrating all her magic] From the beginning—from our childhood—for + both of us—by the Life Force. + </p> + <p> + TANNER. I will not marry you. I will not marry you. + </p> + <p> + ANN. Oh, you will, you will. + </p> + <p> + TANNER. I tell you, no, no, no. + </p> + <p> + ANN. I tell you, yes, yes, yes. + </p> + <p> + TANNER. NO. + </p> + <p> + ANN. [coaxing—imploring—almost exhausted] Yes. Before it is + too late for repentance. Yes. + </p> + <p> + TANNER. [struck by the echo from the past] When did all this happen to me + before? Are we two dreaming? + </p> + <p> + ANN. [suddenly losing her courage, with an anguish that she does not + conceal] No. We are awake; and you have said no: that is all. + </p> + <p> + TANNER. [brutally] Well? + </p> + <p> + ANN. Well, I made a mistake: you do not love me. + </p> + <p> + TANNER. [seizing her in his arms] It is false: I love you. The Life Force + enchants me: I have the whole world in my arms when I clasp you. But I am + fighting for my freedom, for my honor, for myself, one and indivisible. + </p> + <p> + ANN. Your happiness will be worth them all. + </p> + <p> + TANNER. You would sell freedom and honor and self for happiness? + </p> + <p> + ANN. It will not be all happiness for me. Perhaps death. + </p> + <p> + TANNER. [groaning] Oh, that clutch holds and hurts. What have you grasped + in me? Is there a father's heart as well as a mother's? + </p> + <p> + ANN. Take care, Jack: if anyone comes while we are like this, you will + have to marry me. + </p> + <p> + TANNER. If we two stood now on the edge of a precipice, I would hold you + tight and jump. + </p> + <p> + ANN. [panting, failing more and more under the strain] Jack: let me go. I + have dared so frightfully—it is lasting longer than I thought. Let + me go: I can't bear it. + </p> + <p> + TANNER. Nor I. Let it kill us. + </p> + <p> + ANN. Yes: I don't care. I am at the end of my forces. I don't care. I + think I am going to faint. + </p> + <p> + At this moment Violet and Octavius come from the villa with Mrs + Whitefield, who is wrapped up for driving. Simultaneously Malone and + Ramsden, followed by Mendoza and Straker, come in through the little gate + in the paling. Tanner shamefacedly releases Ann, who raises her hand + giddily to her forehead. + </p> + <p> + MALONE. Take care. Something's the matter with the lady. + </p> + <p> + RAMSDEN. What does this mean? + </p> + <p> + VIOLET. [running between Ann and Tanner] Are you ill? + </p> + <p> + ANN. [reeling, with a supreme effort] I have promised to marry Jack. [She + swoons. Violet kneels by her and chafes her hand. Tanner runs round to her + other hand, and tries to lift her bead. Octavius goes to Violet's + assistance, but does not know what to do. Mrs Whitefield hurries back into + the villa. Octavius, Malone and Ramsden run to Ann and crowd round her, + stooping to assist. Straker coolly comes to Ann's feet, and Mendoza to her + head, both upright and self-possessed]. + </p> + <p> + STRAKER. Now then, ladies and gentlemen: she don't want a crowd round her: + she wants air—all the air she can git. If you please, gents— + [Malone and Ramsden allow him to drive them gently past Ann and up the + lawn towards the garden, where Octavius, who has already become conscious + of his uselessness, joins them. Straker, following them up, pauses for a + moment to instruct Tanner]. Don't lift er ed, Mr Tanner: let it go flat + so's the blood can run back into it. + </p> + <p> + MENDOZA. He is right, Mr Tanner. Trust to the air of the Sierra. [He + withdraws delicately to the garden steps]. + </p> + <p> + TANNER. [rising] I yield to your superior knowledge of physiology, Henry. + [He withdraws to the corner of the lawn; and Octavius immediately hurries + down to him]. + </p> + <p> + TAVY. [aside to Tanner, grasping his hand] Jack: be very happy. + </p> + <p> + TANNER. [aside to Tavy] I never asked her. It is a trap for me. [He goes + up the lawn towards the garden. Octavius remains petrified]. + </p> + <p> + MENDOZA. [intercepting Mrs Whitefield, who comes from the villa with a + glass of brandy] What is this, madam [he takes it from her]? + </p> + <p> + MRS WHITEFIELD. A little brandy. + </p> + <p> + MENDOZA. The worst thing you could give her. Allow me. [He swallows it]. + Trust to the air of the Sierra, madam. + </p> + <p> + For a moment the men all forget Ann and stare at Mendoza. + </p> + <p> + ANN. [in Violet's ear, clutching her round the neck] Violet, did Jack say + anything when I fainted? + </p> + <p> + VIOLET. No. + </p> + <p> + ANN. Ah! [with a sigh of intense relief she relapses]. + </p> + <p> + MRS WHITEFIELD. Oh, she's fainted again. + </p> + <p> + They are about to rush back to her; but Mendoza stops them with a warning + gesture. + </p> + <p> + ANN. [supine] No I haven't. I'm quite happy. + </p> + <p> + TANNER. [suddenly walking determinedly to her, and snatching her hand from + Violet to feel her pulse] Why, her pulse is positively bounding. Come, + get up. What nonsense! Up with you. [He gets her up summarily]. + </p> + <p> + ANN. Yes: I feel strong enough now. But you very nearly killed me, Jack, + for all that. + </p> + <p> + MALONE. A rough wooer, eh? They're the best sort, Miss Whitefield. I + congratulate Mr Tanner; and I hope to meet you and him as frequent guests + at the Abbey. + </p> + <p> + ANN. Thank you. [She goes past Malone to Octavius] Ricky Ticky Tavy: + congratulate me. [Aside to him] I want to make you cry for the last time. + </p> + <p> + TAVY. [steadfastly] No more tears. I am happy in your happiness. And I + believe in you in spite of everything. + </p> + <p> + RAMSDEN. [coming between Malone and Tanner] You are a happy man, Jack + Tanner. I envy you. + </p> + <p> + MENDOZA. [advancing between Violet and Tanner] Sir: there are two + tragedies in life. One is not to get your heart's desire. The other is to + get it. Mine and yours, sir. + </p> + <p> + TANNER. Mr Mendoza: I have no heart's desires. Ramsden: it is very easy + for you to call me a happy man: you are only a spectator. I am one of the + principals; and I know better. Ann: stop tempting Tavy, and come back to + me. + </p> + <p> + ANN. [complying] You are absurd, Jack. [She takes his proffered arm]. + </p> + <p> + TANNER. [continuing] I solemnly say that I am not a happy man. Ann looks + happy; but she is only triumphant, successful, victorious. That is not + happiness, but the price for which the strong sell their happiness. What + we have both done this afternoon is to renounce tranquillity, above all + renounce the romantic possibilities of an unknown future, for the cares of + a household and a family. I beg that no man may seize the occasion to get + half drunk and utter imbecile speeches and coarse pleasantries at my + expense. We propose to furnish our own house according to our own taste; + and I hereby give notice that the seven or eight travelling clocks, the + four or five dressing cases, the salad bowls, the carvers and fish slices, + the copy of Tennyson in extra morocco, and all the other articles you are + preparing to heap upon us, will be instantly sold, and the proceeds + devoted to circulating free copies of the Revolutionist's Handbook. The + wedding will take place three days after our return to England, by special + license, at the office of the district superintendent registrar, in the + presence of my solicitor and his clerk, who, like his clients, will be in + ordinary walking dress. + </p> + <p> + VIOLET. [with intense conviction] You are a brute, Jack. + </p> + <p> + ANN. [looking at him with fond pride and caressing his arm] Never mind + her, dear. Go on talking. + </p> + <p> + TANNER. Talking! + </p> + <p> + Universal laughter. + </p> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Man And Superman, by George Bernard Shaw + +*** END OF THIS PROJECT GUTENBERG EBOOK MAN AND SUPERMAN *** + +***** This file should be named 3328-h.htm or 3328-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/3/2/3328/ + +Produced by Eve Sobol and David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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