Man and Superman - George Bernard Shaw

Summary
'Man and Superman' is a four-act play by George Bernard Shaw, published in 1903. It's a comedic exploration of the "life force," evolution, and the battle of the sexes, specifically focusing on the pursuit of man by woman for the purpose of procreation. The central characters are John Tanner, a wealthy, radical intellectual who believes himself to be a free spirit, and Ann Whitefield, a charming, conventional-seeming woman who, underneath, is a powerful embodiment of the Life Force, determined to marry Tanner despite his resistance. The play critiques societal conventions, particularly marriage and morality, through witty dialogue and philosophical debates. A key feature is Act III's "Don Juan in Hell" dream sequence, a philosophical interlude where characters debate evolution, heaven, and hell, which is often omitted in performance. Ultimately, Ann succeeds in marrying Tanner, illustrating Shaw's belief in woman's biological imperative to secure a mate for the continuation of the species.

Book Sections

Section: Act I
The play opens at the home of Mr. Ramsden. The recently deceased Mr. Whitefield has left a will appointing two guardians for his daughters, Ann and Rhoda: Ramsden, an elderly, respectable man, and John Tanner, a young, radical, wealthy intellectual. Ramsden is appalled by Tanner's appointment, viewing him as a dangerous revolutionary, author of "The Revolutionist's Handbook." Tanner, however, accepts the challenge. We meet Octavius Robinson, a romantic young man deeply in love with Ann, and Ann Whitefield herself. Ann quickly establishes her manipulative charm, managing to soothe Ramsden while subtly controlling Octavius and showing a strong, though veiled, interest in Tanner, despite his overt disdain for marriage and conventional morality. Tanner perceives Ann as a predatory female, a personification of the "Life Force" determined to ensnare a suitable male for procreation, and he vows to resist her. Ramsden and Tanner immediately clash over their differing views on morality, politics, and social conventions. Ann subtly orchestrates events, positioning herself as an innocent victim while exerting her will.

Character	Characteristics	Motivations
John Tanner	Wealthy, intellectual, radical, anarchist, author of "The Revolutionist's Handbook," outspoken, anti-marriage.	To resist conventional society and marriage, particularly Ann's perceived designs on him. He believes in individual liberty and the advancement of humanity through intellectual evolution, not romantic love. He sees himself as a champion of free thought.
Ann Whitefield	Charming, outwardly conventional, manipulative, strong-willed, intelligent, embodies the "Life Force."	To fulfill her biological imperative to marry and procreate, specifically to secure Tanner as her husband because she perceives him as a strong, intelligent, and suitable mate for producing superior offspring, despite her outward flirtation with Octavius and denial of interest in Tanner.
Roebuck Ramsden	Elderly, respectable, conventional, conservative, proud of his "advanced" past but now settled.	To uphold Victorian moral standards and protect Ann and Rhoda from Tanner's radical influence. He is easily manipulated by Ann's apparent innocence and wishes to maintain social order.
Octavius Robinson	Young, romantic, poetic, somewhat naive, deeply in love with Ann.	To marry Ann, whom he idealizes. He represents the traditional romantic ideal of love and courtship, which Shaw satirizes as an illusion.
Violet Robinson	Sister of Octavius, intelligent, practical, secretly married to Hector Malone Jr.	To secure her socially advantageous marriage to Hector Malone Jr. and challenge the hypocrisy of societal norms. She proves to be more practical and less romantic than Octavius, ultimately advocating for a modern, independent woman's right to make her own choices.
Hector Malone Jr.	American, wealthy, secretly married to Violet.	To gain his father's approval for his marriage to Violet and secure his inheritance. He represents the self-made American businessman, contrasting with the more traditional English gentry.
Henry Straker	Tanner's chauffeur, intelligent, articulate, socialist, working-class "new man."	To earn a living, improve his social standing, and represent the rising intelligence and capability of the working class. He often serves as a practical, grounded foil to Tanner's abstract intellectualism.

Section: Act II
Tanner and Straker are driving through the English countryside, discussing Tanner's views on women, marriage, and the Life Force. Tanner explains his theory that women are the primary aggressors in courtship, driven by a biological imperative to secure a suitable mate, while men are merely their instruments. Straker, the pragmatic chauffeur, often interjects with common-sense observations that deflate Tanner's high-minded theories. They arrive at a country house where Violet Robinson is staying. Violet, Octavius's sister, has caused a scandal by apparently having a child out of wedlock. Ramsden and Octavius are horrified. However, Violet reveals she is secretly married to Hector Malone Jr., a wealthy American. She had kept it secret to avoid his father's disapproval and secure their financial future. She challenges the hypocrisy of society, which condemns her while celebrating conventional marriage. Ann arrives, and the tension between her and Tanner escalates. Ann subtly controls the situation, eventually leading to Tanner's growing realization that he is indeed her target. Tanner flees, attempting to escape Ann's "pursuit."

Section: Act III
Tanner, in his frantic attempt to escape Ann, finds himself in the Sierra Nevada mountains in Spain, where he is captured by a band of brigands led by Mendoza. Mendoza, a romantic and philosophical brigand, was formerly a hotel waiter in love with Louisa, the housemaid, but was rejected. He engages in a lengthy philosophical discussion with Tanner about society, love, and revolution. Octavius, Ann, and Ramsden arrive in pursuit of Tanner, having traced him to Spain.
This act famously features the "Don Juan in Hell" dream sequence (often omitted in performance). Tanner dreams he is Don Juan, Ann is Doña Ana, Mendoza is the Devil, and Ramsden is the Commander. In Hell, they engage in a lengthy philosophical debate about heaven and hell, the Life Force, and the nature of humanity. Don Juan argues that heaven is for the lazy and thoughtless, while hell is a place for the creative and intellectually active, those who strive for self-overcoming and the advancement of the human race. He champions the Life Force as the driving power behind evolution, constantly pushing towards the creation of the Superman. Doña Ana, representing the Woman, declares her intention to return to Earth to pursue the perfect father for her children, confirming her role as an instrument of the Life Force. The dream concludes with Don Juan deciding to leave Hell for Heaven, not for rest, but to observe from a new perspective.

Section: Act IV
The play returns to the real world, in a villa in Granada. The pursuit continues. Tanner, having awakened from his dream, is more convinced than ever that Ann is relentlessly hunting him. He attempts to reason with her, to explain his philosophical objections to marriage and his radical ideas, but Ann remains unimpressed by his intellectual arguments. She dismisses his "Revolutionist's Handbook" as mere talk. She focuses on her goal: marriage. Despite Tanner's eloquent protests and appeals for freedom and individuality, Ann, with her calm persistence and powerful will, corners him. He realizes the futility of resistance against the overwhelming force of nature. In a climactic scene, Tanner finally surrenders, acknowledging that Ann has captured him and that he is destined to become her husband, the father of her children, an instrument of the Life Force. He is both resigned and slightly thrilled by his defeat, recognizing the grandeur of the natural process even as he laments his lost intellectual freedom. The play ends with Tanner and Ann engaged, with the implication that they will marry and fulfill Ann's biological imperative.

Literary Genre:
Philosophical Comedy, Comedy of Ideas, Social Satire, Problem Play.

Author Data:
George Bernard Shaw (1856–1950) was an Irish playwright, critic, polemicist, and political activist. He wrote more than 60 plays, including 'Pygmalion' (the basis for 'My Fair Lady'), 'Saint Joan', and 'Major Barbara'. He was a prominent socialist, a Fabian, and a co-founder of the London School of Economics. Shaw was awarded the Nobel Prize in Literature in 1925, which he initially declined but eventually accepted the monetary prize to fund the Anglo-Swedish Literary Foundation. He is known for his witty, often provocative plays that explored social issues, moral dilemmas, and philosophical concepts, often through the vehicle of comedy.

Morale:
The central morale of 'Man and Superman' revolves around Shaw's concept of the "Life Force" and the biological imperative of humanity. Shaw argues that the driving force behind evolution and human progress is a fundamental, unconscious will towards the creation of a "Superman" – an improved, more evolved human being. Women are portrayed as the primary agents of this Life Force, driven by an instinct to secure the most suitable male for procreation, irrespective of romantic illusions. Men, despite their intellectual pretensions and desires for freedom, are ultimately instruments in this biological process. The play's morale challenges conventional notions of romantic love, marriage, and gender roles, suggesting that these are often superficial constructs masking deeper, more primal biological forces. It's a call to acknowledge and embrace these evolutionary drives, even if they contradict individual desires for intellectual autonomy.

Curiosities:

• "Don Juan in Hell": The third act, known as 'Don Juan in Hell', is a lengthy philosophical debate that is often published separately and frequently omitted from theatrical performances due to its length and purely intellectual nature, despite being central to Shaw's philosophical thesis.
• "The Revolutionist's Handbook": This "handbook" is a fictional work written by John Tanner within the play. Shaw, however, actually published it as an appendix to the printed version of 'Man and Superman', containing aphorisms and essays attributed to Tanner, further expounding on the play's themes.
• Shaw's Preface: Like many of his plays, 'Man and Superman' includes a substantial preface by Shaw himself, where he elaborates on his philosophical ideas, social critiques, and intentions behind the play. These prefaces are often as famous and influential as the plays themselves.
• A "Philosophical Comedy": Shaw coined the term "Philosophical Comedy" or "Comedy of Ideas" to describe 'Man and Superman', emphasizing its intellectual depth and its use of comedy to explore serious philosophical and social issues, rather than merely to entertain.
• Inspired by Mozart: Shaw explicitly states in his preface that the play was inspired by the Don Juan legend and Mozart's opera 'Don Giovanni', reinterpreting the characters and themes in a modern, evolutionary context.
• Gender Role Reversal: The play famously reverses traditional gender roles in courtship, portraying the woman (Ann) as the active pursuer and the man (Tanner) as the reluctant, pursued party, driven by the Life Force. This was a radical idea for its time.