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Cover of Man and Superman

Man and Superman

743 pages

A razor-sharp comedy of manners that morphs into a cosmic debate about human evolution and the inescapable gravity of romance.

What it feels like

Reading this play feels like stepping into a brilliantly lit drawing room where the smartest people you have ever met are engaged in a relentless, exhilarating debate. The atmosphere is crackling with intellectual electricity and subversive wit, masking deep philosophical inquiries beneath the sparkling veneer of a romantic comedy. It moves at a brisk, talky pace, driven entirely by razor-sharp dialogue and paradoxical aphorisms rather than physical action. The famous dream sequence plunges you into a surreal, thought-provoking underworld that challenges everything you know about morality and human purpose. It is a perfect match for readers who delight in verbal sparring, classic theatricality, and the sensation of having their worldview playfully but thoroughly dismantled by a master rhetorician.

Mood
  • intellectual
  • lively
  • provocative
  • theatrical
Tone
  • witty
  • satirical
  • philosophical
  • irreverent
  • didactic
Pace
brisk
Themes
the battle of the sexes · philosophical evolution · societal hypocrisy · the illusion of free will · romantic pursuit
The writing
Relentlessly articulate and bursting with paradoxical aphorisms, driven by rapid-fire dialogue and famously elaborate stage directions.
The arc
Moves from cynical, detached intellectualism to a reluctant but spirited surrender to the inevitable forces of life and love.
Who it's for
Lovers of classic British wit and intellectual sparring who enjoy their romantic comedies laced with heavy philosophical debate.
Content notes
  • period-typical sexism
  • philosophical discussions of eugenics

About the book

From the book:My dear Walkley: You once asked me why I did not write a Don Juan play. The levity with which you assumed this frightful responsibility has probably by this time enabled you to forget it; but the day of reckoning has arrived: here is your play! I say your play, because qui facit per alium facit per se. Its profits, like its labor, belong to me: its morals, its manners, its philosophy, its influence on the young, are for you to justify. You were of mature age when you made the suggestion; and you knew your man. It is hardly fifteen years since, as twin pioneers of the New Journalism of that time, we two, cradled in the same new sheets, made an epoch in the criticism of the theatre and the opera house by making it a pretext for a propaganda of our own views of life. So you cannot plead ignorance of the character of the force you set in motion. Yon meant me to epater le bourgeois; and if he protests, I hereby refer him to you as the accountable party. I warn you that if you attempt to repudiate your responsibility, I shall suspect you of finding the play too decorous for your taste. The fifteen years have made me older and graver. In you I can detect no such becoming change. Your levities and audacities are like the loves and comforts prayed for by Desdemona: they increase, even as your days do grow. No mere pioneering journal dares meddle with them now: the stately Times itself is alone sufficiently above suspicion to act as your chaperone; and even the Times must sometimes thank its stars that new plays are not produced every day, since after each such event its gravity is compromised, its platitude turned to epigram, its portentousness to wit, its propriety to elegance, and even its decorum into naughtiness by criticisms which the traditions of the paper do not allow you to sign at the end, but which you take care to sign with the most extravagant flourishes between the lines. I am not sure that this is not a portent of Revolution. In eighteenth century France the end was at hand when men bought the Encyclopedia and found Diderot there. When I buy the Times and find you there, my prophetic ear catches a rattle of twentieth century tumbrils.

Description from Open Library.

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