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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THE EDITOR (out of patience) Shove them in, there.

The remaining gladiators and the Call Boy make a movement towards them.

FERROVIUS (interposing) Touch them, dogs; and we die here, and cheat the heathen of their spectacle. (To his fellow Christians) Brothers: the great moment has come. That passage is your hill to Calvary. Mount it bravely, but meekly; and remember! not a word of reproach, not a blow nor a struggle. Go. (They go out through the passage. He turns to Lavinia) Farewell.

LAVINIA. You forget: I must follow before you are cold.

FERROVIUS. It is true. Do not envy me because I pass before you to glory. (He goes through the passage).

THE EDITOR (to the Call Boy) Sickening work, this. Why can't they all be thrown to the lions? It's not a man's job. (He throws himself moodily into his chair).

The remaining gladiators go back to their former places indifferently. The Call Boy shrugs his shoulders and squats down at the entrance to the passage, near the Editor.

Lavinia and the Christian women sit down again, wrung with grief, some weeping silently, some praying, some calm and steadfast. Androcles sits down at Lavinia's feet. The Captain stands on the stairs, watching her curiously.

ANDROCLES. I'm glad I haven't to fight. That would really be an awful martyrdom. I AM lucky.

LAVINIA (looking at him with a pang of remorse). Androcles: burn the incense: you'll be forgiven. Let my death atone for both. I feel as if I were killing you.

ANDROCLES. Don't think of me, sister. Think of yourself. That will keep your heart up.

The Captain laughs sardonically.

LAVINIA (startled: she had forgotten his presence) Are you there, handsome Captain? Have you come to see me die?

THE CAPTAIN (coming to her side) I am on duty with the Emperor, Lavinia.

LAVINIA. Is it part of your duty to laugh at us?

THE CAPTAIN. No: that is part of my private pleasure. Your friend here is a humorist. I laughed at his telling you to think of yourself to keep up your heart. I say, think of yourself and burn the incense.

LAVINIA. He is not a humorist: he was right. You ought to know that, Captain: you have been face to face with death.

THE CAPTAIN. Not with certain death, Lavinia. Only death in battle, which spares more men than death in bed. What you are facing is certain death. You have nothing left now but your faith in this craze of yours: this Christianity. Are your Christian fairy stories any truer than our stories about Jupiter and Diana, in which, I may tell you, I believe no more than the Emperor does, or any educated man in Rome?

LAVINIA. Captain: all that seems nothing to me now. I'll not say that death is a terrible thing; but I will say that it is so real a thing that when it comes close, all the imaginary things—all the stories, as you call them—fade into mere dreams beside that inexorable reality. I know now that I am not dying for stories or dreams. Did you hear of the dreadful thing that happened here while we were waiting?

THE CAPTAIN. I heard that one of your fellows bolted, and ran right into the jaws of the lion. I laughed. I still laugh.

LAVINIA. Then you don't understand what that meant?

THE CAPTAIN. It meant that the lion had a cur for his breakfast.

LAVINIA. It meant more than that, Captain. It meant that a man cannot die for a story and a dream. None of us believed the stories and the dreams more devoutly than poor Spintho; but he could not face the great reality. What he would have called my faith has been oozing away minute by minute whilst I've been sitting here, with death coming nearer and nearer, with reality becoming realler and realler, with stories and dreams fading away into nothing.

THE CAPTAIN. Are you then going to die for nothing?

LAVINIA. Yes: that is the wonderful thing. It is since all the stories and dreams have gone that I have now no doubt at all that I must die for something greater than dreams or stories.

THE CAPTAIN. But for what?

LAVINIA. I don't know. If it were for anything small enough to know, it would be too small to die for. I think I'm going to die for God. Nothing else is real enough to die for.

THE CAPTAIN. What is God?

LAVINIA. When we know that, Captain, we shall be gods ourselves.

THE CAPTAIN. Lavinia; come down to earth. Burn the incense and marry me.

LAVINIA. Handsome Captain: would you marry me if I hauled down the flag in the day of battle and burnt the incense? Sons take after their mothers, you know. Do you want your son to be a coward?

THE CAPTAIN (strongly moved). By great Diana, I think I would strangle you if you gave in now.

LAVINIA (putting her hand on the head of Androcles) The hand of God is on us three, Captain.

THE CAPTAIN. What nonsense it all is! And what a monstrous thing that you should die for such nonsense, and that I should look on helplessly when my whole soul cries out against it! Die then if you must; but at least I can cut the Emperor's throat and then my own when I see your blood.

The Emperor throws open the door of his box angrily, and appears in wrath on the threshold. The Editor, the Call Boy, and the gladiators spring to their feet.

THE EMPEROR. The Christians will not fight; and your curs cannot get their blood up to attack them. It's all that fellow with the blazing eyes. Send for the whip. (The Call Boy rushes out on the east side for the whip). If that will not move them, bring the hot irons. The man is like a mountain. (He returns angrily into the box and slams the door).

The Call Boy returns with a man in a hideous Etruscan mask, carrying a whip. They both rush down the passage into the arena.

LAVINIA (rising) Oh, that is unworthy. Can they not kill him without dishonoring him?

ANDROCLES (scrambling to his feet and running into the middle of the space between the staircases) It's dreadful. Now I want to fight. I can't bear the sight of a whip. The only time I ever hit a man was when he lashed an old horse with a whip. It was terrible: I danced on his face when he was on the ground. He mustn't strike Ferrovius: I'll go into the arena and kill him first. (He makes a wild dash into the passage. As he does so a great clamor is heard from the arena, ending in wild applause. The gladiators listen and look inquiringly at one another).

THE EDITOR. What's up now?

LAVINIA (to the Captain) What has happened, do you think?

THE CAPTAIN. What CAN happen? They are killing them, I suppose.

ANDROCLES (running in through the passage, screaming with horror and hiding his eyes)!!!

LAVINIA. Androcles, Androcles: what's the matter?

ANDROCLES. Oh, don't ask me, don't ask me. Something too dreadful. Oh! (He crouches by her and hides his face in her robe, sobbing).

THE CALL Boy (rushing through from the passage as before) Ropes and hooks there! Ropes and hooks.

THE EDITOR. Well, need you excite yourself about it? (Another burst of applause).

Two slaves in Etruscan masks, with ropes and drag hooks, hurry in.

ONE OF THE SLAVES. How many dead?

THE CALL Boy. Six. (The slave blows a whistle twice; and four more masked slaves rush through into the arena with the same apparatus) And the basket. Bring the baskets. (The slave whistles three times, and runs through the passage with his companion).

THE CAPTAIN. Who are the baskets for?

THE CALL Boy. For the whip. He's in pieces. They're all in pieces, more or less. (Lavinia hides her face).

(Two more masked slaves come in with a basket and follow the others into the arena, as the Call Boy turns to the gladiators and exclaims, exhausted) Boys, he's killed the lot.

THE EMPEROR (again bursting from his box, this time in an ecstasy of delight) Where is he? Magnificent! He shall have a laurel crown.

Ferrovius, madly waving his bloodstained sword, rushes through the passage in despair, followed by his co-religionists, and by the menagerie keeper, who goes to the gladiators. The gladiators draw their swords nervously.

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