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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FERROVIUS. Lost! lost forever! I have betrayed my Master. Cut off this right hand: it has offended. Ye have swords, my brethren: strike.

LAVINIA. No, no. What have you done, Ferrovius?

FERROVIUS. I know not; but there was blood behind my eyes; and there's blood on my sword. What does that mean?

THE EMPEROR (enthusiastically, on the landing outside his box) What does it mean? It means that you are the greatest man in Rome. It means that you shall have a laurel crown of gold. Superb fighter, I could almost yield you my throne. It is a record for my reign: I shall live in history. Once, in Domitian's time, a Gaul slew three men in the arena and gained his freedom. But when before has one naked man slain six armed men of the bravest and best? The persecution shall cease: if Christians can fight like this, I shall have none but Christians to fight for me. (To the Gladiators) You are ordered to become Christians, you there: do you hear?

RETIARIUS. It is all one to us, Caesar. Had I been there with my net, the story would have been different.

THE CAPTAIN (suddenly seizing Lavinia by the wrist and dragging her up the steps to the Emperor) Caesar this woman is the sister of Ferrovius. If she is thrown to the lions he will fret. He will lose weight; get out of condition.

THE EMPEROR. The lions? Nonsense! (To Lavinia) Madam: I am proud to have the honor of making your acquaintance. Your brother is the glory of Rome.

LAVINIA. But my friends here. Must they die?

THE EMPEROR. Die! Certainly not. There has never been the slightest idea of harming them. Ladies and gentlemen: you are all free. Pray go into the front of the house and enjoy the spectacle to which your brother has so splendidly contributed. Captain: oblige me by conducting them to the seats reserved for my personal friends.

THE MENAGERIE KEEPER. Caesar: I must have one Christian for the lion. The people have been promised it; and they will tear the decorations to bits if they are disappointed.

THE EMPEROR. True, true: we must have somebody for the new lion.

FERROVIUS. Throw me to him. Let the apostate perish.

THE EMPEROR. No, no: you would tear him in pieces, my friend; and we cannot afford to throw away lions as if they were mere slaves. But we must have somebody. This is really extremely awkward.

THE MENAGERIE KEEPER. Why not that little Greek chap? He's not a Christian: he's a sorcerer.

THE EMPEROR. The very thing: he will do very well.

THE CALL Boy (issuing from the passage) Number twelve. The Christian for the new lion.

ANDROCLES (rising, and pulling himself sadly together) Well, it was to be, after all.

LAVINIA. I'll go in his place, Caesar. Ask the Captain whether they do not like best to see a woman torn to pieces. He told me so yesterday.

THE EMPEROR. There is something in that: there is certainly something in that—if only I could feel sure that your brother would not fret.

ANDROCLES. No: I should never have another happy hour. No: on the faith of a Christian and the honor of a tailor, I accept the lot that has fallen on me. If my wife turns up, give her my love and say that my wish was that she should be happy with her next, poor fellow! Caesar: go to your box and see how a tailor can die. Make way for number twelve there. (He marches out along the passage).

The vast audience in the amphitheatre now sees the Emperor re-enter his box and take his place as Androcles, desperately frightened, but still marching with piteous devotion, emerges from the other end of the passage, and finds himself at the focus of thousands of eager eyes. The lion's cage, with a heavy portcullis grating, is on his left. The Emperor gives a signal. A gong sounds. Androcles shivers at the sound; then falls on his knees and prays.

The grating rises with a clash. The lion bounds into the arena. He rushes round frisking in his freedom. He sees Androcles. He stops; rises stiffly by straightening his legs; stretches out his nose forward and his tail in a horizontal line behind, like a pointer, and utters an appalling roar. Androcles crouches and hides his face in his hands. The lion gathers himself for a spring, swishing his tail to and fro through the dust in an ecstasy of anticipation. Androcles throws up his hands in supplication to heaven. The lion checks at the sight of Androcles's face. He then steals towards him; smells him; arches his back; purrs like a motor car; finally rubs himself against Androcles, knocking him over. Androcles, supporting himself on his wrist, looks affrightedly at the lion. The lion limps on three paws, holding up the other as if it was wounded. A flash of recognition lights up the face of Androcles. He flaps his hand as if it had a thorn in it, and pretends to pull the thorn out and to hurt himself. The lion nods repeatedly. Androcles holds out his hands to the lion, who gives him both paws, which he shakes with enthusiasm. They embrace rapturously, finally waltz round the arena amid a sudden burst of deafening applause, and out through the passage, the Emperor watching them in breathless astonishment until they disappear, when he rushes from his box and descends the steps in frantic excitement.

THE EMPEROR. My friends, an incredible! an amazing thing! has happened. I can no longer doubt the truth of Christianity. (The Christians press to him joyfully) This Christian sorcerer—(with a yell, he breaks off as he sees Androcles and the lion emerge from the passage, waltzing. He bolts wildly up the steps into his box, and slams the door. All, Christians and gladiators' alike, fly for their lives, the gladiators bolting into the arena, the others in all directions. The place is emptied with magical suddenness).

ANDROCLES (naively) Now I wonder why they all run away from us like that. (The lion combining a series of yawns, purrs, and roars, achieves something very like a laugh).

THE EMPEROR (standing on a chair inside his box and looking over the wall) Sorcerer: I command you to put that lion to death instantly. It is guilty of high treason. Your conduct is most disgra— (the lion charges at him up the stairs) help! (He disappears. The lion rears against the box; looks over the partition at him, and roars. The Emperor darts out through the door and down to Androcles, pursued by the lion.)

ANDROCLES. Don't run away, sir: he can't help springing if you run. (He seizes the Emperor and gets between him and the lion, who stops at once). Don't be afraid of him.

THE EMPEROR. I am NOT afraid of him. (The lion crouches, growling. The Emperor clutches Androcles) Keep between us.

ANDROCLES. Never be afraid of animals, your Worship: that's the great secret. He'll be as gentle as a lamb when he knows that you are his friend. Stand quite still; and smile; and let him smell you all over just to reassure him; for, you see, he's afraid of you; and he must examine you thoroughly before he gives you his confidence. (To the lion) Come now, Tommy; and speak nicely to the Emperor, the great, good Emperor who has power to have all our heads cut off if we don't behave very, VERY respectfully to him.

The lion utters a fearful roar. The Emperor dashes madly up the steps, across the landing, and down again on the other side, with the lion in hot pursuit. Androcles rushes after the lion; overtakes him as he is descending; and throws himself on his back, trying to use his toes as a brake. Before he can stop him the lion gets hold of the trailing end of the Emperor's robe.

ANDROCLES. Oh bad wicked Tommy, to chase the Emperor like that! Let go the Emperor's robe at once, sir: where's your manners? (The lion growls and worries the robe). Don't pull it away from him, your worship. He's only playing. Now I shall be really angry with you, Tommy, if you don't let go. (The lion growls again) I'll tell you what it is, sir: he thinks you and I are not friends.

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