GEORGE SHAW - Collected Works

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This Collected Works contains:
An Unsocial Socialist
Androcles and the Lion
Annajanska, the Bolshevik Empress
Arms and the Man
Augustus Does His Bit: A True-to-Life Farce
Back to Methuselah: A Metabiological Pentateuch
Caesar and Cleopatra
Candida
Candida: Ein Mysterium in drei Akten
Captain Brassbound's Conversion
Cashel Byron's Profession
Fanny's First Play
Getting Married
Great Catherine (Whom Glory Still Adores)
Heartbreak House
How He Lied to Her Husband
John Bull's Other Island
Major Barbara
Man and Superman: A Comedy and a Philosophy
Maxims for Revolutionists
Misalliance
Mrs. Warren's Profession
O'Flaherty V.C.: A Recruiting Pamphlet
On the Prospects of Christianity / Bernard Shaw's Preface to Androcles and the Lion
Overruled
Preface to Major Barbara: First Aid to Critics
Press Cuttings
Pygmalion
Revolutionist's Handbook and Pocket Companion
The Admirable Bashville; Or, Constancy Unrewarded / Being the Novel of Cashel Byron's Profession Done into a Stage Play in Three Acts and in Blank Verse, with a Note on Modern Prize Fighting
The Dark Lady of the Sonnets
The Devil's Disciple
The Doctor's Dilemma
The Doctor's Dilemma: Preface on Doctors
The Impossibilities of Anarchism
The Inca of Perusalem: An Almost Historical Comedietta
The Irrational Knot / Being the Second Novel of His Nonage
The Man of Destiny
The Miraculous Revenge
The Perfect Wagnerite: A Commentary on the Niblung's Ring
The Philanderer
The Shewing-up of Blanco Posnet
Treatise on Parents and Children
You Never Can Tell
George Bernard Shaw was an Irish playwright, critic, polemicist and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902) and Pygmalion (1912). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature.

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CAESAR. What place is this?

CLEOPATRA. This is where I sit on the throne when I am allowed to wear my crown and robes. ( The slave holds his torch to shew the throne. )

CAESAR. Order the slave to light the lamps.

CLEOPATRA ( shyly ). Do you think I may?

CAESAR. Of course. You are the Queen. ( She hesitates. ) Go on.

CLEOPATRA ( timidly, to the slave ). Light all the lamps.

FTATATEETA ( suddenly coming from behind the throne ). Stop. ( The slave stops. She turns sternly to Cleopatra, who quails like a naughty child. ) Who is this you have with you; and how dare you order the lamps to be lighted without my permission? ( Cleopatra is dumb with apprehension. )

CAESAR. Who is she?

CLEOPATRA. Ftatateeta.

FTATATEETA ( arrogantly ). Chief nurse to——

CAESAR ( cutting her short ). I speak to the Queen. Be silent. ( To Cleopatra ) Is this how your servants know their places? Send her away; and you ( to the slave ) do as the Queen has bidden. ( The slave lights the lamps. Meanwhile Cleopatra stands hesitating, afraid of Ftatateeta. ) You are the Queen: send her away.

CLEOPATRA ( cajoling ). Ftatateeta, dear: you must go away—just for a little.

CAESAR. You are not commanding her to go away: you are begging her. You are no Queen. You will be eaten. Farewell. ( He turns to go. )

CLEOPATRA ( clutching him ). No, no, no. Don’t leave me.

CAESAR. A Roman does not stay with queens who are afraid of their slaves.

CLEOPATRA. I am not afraid. Indeed I am not afraid.

FTATATEETA. We shall see who is afraid here. ( Menacingly ) Cleopatra——

CAESAR. On your knees, woman: am I also a child that you dare trifle with me? ( He points to the floor at Cleopatra’s feet. Ftatateeta, half cowed, half savage, hesitates. Caesar calls to the Nubian ) Slave. ( The Nubian comes to him. ) Can you cut off a head? ( The Nubian nods and grins ecstatically, showing all his teeth. Caesar takes his sword by the scabbard, ready to offer the hilt to the Nubian, and turns again to Ftatateeta, repeating his gesture. ) Have you remembered yourself, mistress?

Ftatateeta, crushed, kneels before Cleopatra, who can hardly believe her eyes.

FTATATEETA ( hoarsely ). O Queen, forget not thy servant in the days of thy greatness.

CLEOPATRA ( blazing with excitement ). Go. Begone. Go away. ( Ftatateeta rises with stooped head, and moves backwards towards the door. Cleopatra watches her submission eagerly, almost clapping her hands, which are trembling. Suddenly she cries ) Give me something to beat her with. ( She snatches a snake-skin from the throne and dashes after Ftatateeta, whirling it like a scourge in the air. Caesar makes a bound and manages to catch her and hold her while Ftatateeta escapes. )

CAESAR. You scratch, kitten, do you?

CLEOPATRA ( breaking from him ). I will beat somebody. I will beat him . ( She attacks the slave. ) There, there, there! ( The slave flies for his life up the corridor and vanishes. She throws the snake-skin away and jumps on the step of the throne with her arms waving, crying ) I am a real Queen at last—a real, real Queen! Cleopatra the Queen! ( Caesar shakes his head dubiously, the advantage of the change seeming open to question from the point of view of the general welfare of Egypt. She turns and looks at him exultantly. Then she jumps down from the step, runs to him, and flings her arms round him rapturously, crying ) Oh, I love you for making me a Queen.

CAESAR. But queens love only kings.

CLEOPATRA. I will make all the men I love kings. I will make you a king. I will have many young kings, with round, strong arms; and when I am tired of them I will whip them to death; but you shall always be my king: my nice, kind, wise, good old king.

CAESAR. Oh, my wrinkles, my wrinkles! And my child’s heart! You will be the most dangerous of all Caesar’s conquests.

CLEOPATRA ( appalled ). Caesar! I forgot Caesar. ( Anxiously ) You will tell him that I am a Queen, will you not?—a real Queen. Listen! ( stealthily coaxing him ) let us run away and hide until Caesar is gone.

CAESAR. If you fear Caesar, you are no true Queen; and though you were to hide beneath a pyramid, he would go straight to it and lift it with one hand. And then—! ( He chops his teeth together. )

CLEOPATRA ( trembling ). Oh!

CAESAR. Be afraid if you dare. ( The note of the bucina resounds again in the distance. She moans with fear. Caesar exalts in it, exclaiming ) Aha! Caesar approaches the throne of Cleopatra. Come: take your place. ( He takes her hand and leads her to the throne. She is too downcast to speak. ) Ho, there, Teetatota. How do you call your slaves?

CLEOPATRA ( spiritlessly, as she sinks on the throne and cowers there, shaking ). Clap your hands.

He claps his hands. Ftatateeta returns.

CAESAR. Bring the Queen’s robes, and her crown, and her women; and prepare her.

CLEOPATRA ( eagerly—recovering herself a little ). Yes, the crown, Ftatateeta: I shall wear the crown.

FTATATEETA. For whom must the Queen put on her state?

CAESAR. For a citizen of Rome. A king of kings, Totateeta.

CLEOPATRA ( stamping at her ). How dare you ask questions? Go and do as you are told. ( Ftatateeta goes out with a grim smile. Cleopatra goes on eagerly, to Caesar ) Caesar will know that I am a Queen when he sees my crown and robes, will he not?

CAESAR. No. How shall he know that you are not a slave dressed up in the Queen’s ornaments?

CLEOPATRA. You must tell him.

CAESAR. He will not ask me. He will know Cleopatra by her pride, her courage, her majesty, and her beauty. ( She looks very doubtful. ) Are you trembling?

CLEOPATRA ( shivering with dread ). No, I—I—( in a very sickly voice ) No.

Ftatateeta and three women come in with the regalia.

FTATATEETA. Of all the Queen’s women, these three alone are left. The rest are fled. ( They begin to deck Cleopatra, who submits, pale and motionless. )

CAESAR. Good, good. Three are enough. Poor Caesar generally has to dress himself.

FTATATEETA ( contemptuously ). The Queen of Egypt is not a Roman barbarian. ( To Cleopatra ) Be brave, my nursling. Hold up your head before this stranger.

CAESAR ( admiring Cleopatra, and placing the crown on her head ). Is it sweet or bitter to be a Queen, Cleopatra?

CLEOPATRA. Bitter.

CAESAR. Cast out fear; and you will conquer Caesar. Tota: are the Romans at hand?

FTATATEETA. They are at hand; and the guard has fled.

THE WOMEN ( wailing subduedly ). Woe to us!

The Nubian comes running down the hall.

NUBIAN. The Romans are in the courtyard. ( He bolts through the door. With a shriek, the women fly after him. Ftatateeta’s jaw expresses savage resolution: she does not budge. Cleopatra can hardly restrain herself from following them. Caesar grips her wrist, and looks steadfastly at her. She stands like a martyr. )

CAESAR. The Queen must face Caesar alone. Answer “So be it.”

CLEOPATRA ( white ). So be it.

CAESAR ( releasing her ). Good.

A tramp and tumult of armed men is heard. Cleopatra’s terror increases. The bucina sounds close at hand, followed by a formidable clangor of trumpets. This is too much for Cleopatra: she utters a cry and darts towards the door. Ftatateeta stops her ruthlessly.

FTATATEETA. You are my nursling. You have said “So be it”; and if you die for it, you must make the Queen’s word good. ( She hands Cleopatra to Caesar, who takes her back, almost beside herself with apprehension, to the throne. )

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