In Man and Superman Shaw Was Not Writing a Regular Play.Docx
In Man and Superman Shaw was not writing a regular play; he only united up dialogue, discussion, arguments for the purpose of making them appear as plays. Still the incidents of situations in the play do in one way or the other perpetuate the pursuit of man by woman—of Tanner by Ann. The most interesting is the Hell Scene where the traditional Don Giovanni motif is most comically inverted in the spirit of parody to substantiate Shaw’s thesis that it is the woman basically who is boa-constrictor from whom the new Don Juan flies away to save his person.
The Hell Scene has been grafted on the plot from outside and it does not grow from the soil of the story. Its central business is to highlight the central motive of the play—the chase of man by woman as part of the process of Creative Evolution as well as the edification of hell as a most dynamic, therefore desirable condition of existence which ensures happiness of humanity.
The metamorphosis of the characters like Tanner and Ann suiting the atmosphere is amazing; but soon the dramatic interest wanes as the arguments start rattling the pros and cons of the Scene. From the point of view of the force of the arguments the Hell Scene has significance, otherwise it looks just bizarre and from the point of view of the force of the plot extraneous. It cannot be denied that the Hell Scene is a most powerful tour-de-force of Shaw’s imagination. Shaw had added to the play a lengthy Preface, rich in thought and content and at the end we get the Revolutionist’s Hand Book and Pocket Companion. The overriding Shavian pre-occupation with his philosophy gets to be continued in Hell Scene. Whenever Shae has an opportunity, he expresses his views (although comically) on happiness, love, marriage, sex relations, women, art, socialism, democracy, industrialisation, religion, morality, virtue, sin, death, peace, war, slavery and a host of other topics. Shaw has been impartial enough to allow even the Devil to have his say and freely
The Hell Scene has been grafted on the plot from outside and it does not grow from the soil of the story. Its central business is to highlight the central motive of the play—the chase of man by woman as part of the process of Creative Evolution as well as the edification of hell as a most dynamic, therefore desirable condition of existence which ensures happiness of humanity.
The metamorphosis of the characters like Tanner and Ann suiting the atmosphere is amazing; but soon the dramatic interest wanes as the arguments start rattling the pros and cons of the Scene. From the point of view of the force of the arguments the Hell Scene has significance, otherwise it looks just bizarre and from the point of view of the force of the plot extraneous. It cannot be denied that the Hell Scene is a most powerful tour-de-force of Shaw’s imagination. Shaw had added to the play a lengthy Preface, rich in thought and content and at the end we get the Revolutionist’s Hand Book and Pocket Companion. The overriding Shavian pre-occupation with his philosophy gets to be continued in Hell Scene. Whenever Shae has an opportunity, he expresses his views (although comically) on happiness, love, marriage, sex relations, women, art, socialism, democracy, industrialisation, religion, morality, virtue, sin, death, peace, war, slavery and a host of other topics. Shaw has been impartial enough to allow even the Devil to have his say and freely