Man and Superman by George Bernard Shaw (finding audrey txt) 📖

     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!

That is real poetry—from the heart—from the heart of hearts. Don't you think it will move her?

No answer.

[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—

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

(a staff of music is supplied here)

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:—

(more music)

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?

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:

(Here there is another musical staff.)

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.

THE OLD WOMAN. Excuse me; but I am so lonely; and this place is so awful.

DON JUAN. A new comer?

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.

DON JUAN. [sighing] Ah! you have not yet lost the sense of time. One soon does, in eternity.

THE OLD WOMAN. Where are we?

DON JUAN. In hell.

THE OLD WOMAN [proudly] Hell! I in hell! How dare you?

DON JUAN. [unimpressed] Why not, Senora?

THE OLD WOMAN. You do not know to whom you are speaking. I am a lady, and a faithful daughter of the Church.

DON JUAN. I do not doubt it.

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.

DON JUAN. Hell, Senora, I assure you; hell at its best—that is, its most solitary—though perhaps you would prefer company.

THE OLD WOMAN. But I have sincerely repented; I have confessed.

DON JUAN. How much?

THE OLD WOMAN. More sins than I really committed. I loved confession.

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.

THE OLD WOMAN [indignantly] Oh! and I might have been so much wickeder! All my good deeds wasted! It is unjust.

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.

THE OLD WOMAN. Were you a good man?

DON JUAN. I was a murderer.

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?

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.

THE OLD WOMAN. But whom can I ask?

DON JUAN. I should ask the Devil, Senora: he understands the ways of this place, which is more than I ever could.

THE OLD WOMAN. The Devil! I speak to the Devil!

DON JUAN. In hell, Senora, the Devil is the leader of the best society.

THE OLD WOMAN. I tell you, wretch, I know I am not in hell.

DON JUAN. How do you know?

THE OLD WOMAN. Because I feel no pain.

DON JUAN. Oh, then there is no mistake: you are intentionally damned.

THE OLD WOMAN. Why do you say that?

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.

THE OLD WOMAN. Do you feel no pain?

DON JUAN. I am not one of the wicked, Senora; therefore it bores me, bores me beyond description, beyond belief.

THE OLD WOMAN. Not one of the wicked! You said you were a murderer.

DON JUAN. Only a duel. I ran my sword through an old man who was trying to run his through me.

THE OLD WOMAN. If you were a gentleman, that was not a murder.

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.

THE OLD WOMAN. You were like all men. Libertines and murderers all, all, all!

DON JUAN. And yet we meet here, dear lady.

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?

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?

THE OLD WOMAN. And are you happy here?

DON JUAN. [Springing to his feet] No; and that is the enigma on which I ponder in darkness. Why am I here? I, who repudiated all duty, trampled honor underfoot, and laughed at justice!

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!

DON JUAN. Patience, lady: you will be perfectly happy and at home here. As saith the poet, "Hell is a city much like Seville."

THE OLD WOMAN. Happy! here! where I am nothing! where I am nobody!

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.

THE OLD WOMAN. My servants will be devils!

DON JUAN. Have you ever had servants who were not devils?

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.

DON JUAN. No more real devils than you will be a real lady. Nothing is real here. That is the horror of damnation.

THE OLD WOMAN. Oh, this is all madness. This is worse than fire and the worm.

DON JUAN. For you, perhaps, there are consolations. For instance: how old were you when you changed from time to eternity?

THE OLD WOMAN. Do not ask me how old I was as if I were a thing of the past. I am 77.

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.

THE OLD WOMAN. How can I help my age, man?

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.

THE OLD WOMAN. Nonsense!

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?

THE OLD WOMAN. No, younger: at 30 I was a fool. But of what use is it to feel younger and look older?

DON JUAN. You see, Senora, the look was only an