Page:Man and superman; a comedy and a philosophy (IA mansupermancomed00shawrich).pdf/17

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to Arthur Bingham Walkey
xi

indeed your fastidiousness had saved you from the empress Catherine, Byron was little of a philosopher as Peter the Great ; both were instances of that rare and useful, but unedifying variation, an energetic genius barn without the prejudices or superstitions of his contemporaries. The resultant unscrupulous freedom of thought made Byron a greater poet than Wordsworth just as it made Peter a greater king than George III; but as it was, after all, only a Negative qualification, it did not prevent Peter from being an appalling blackguard and an errant poltroon, nor did it enable Byron to become a religious force like Shelley, Let us, then, leave Byron’s Don Juan out of account. Mozart’s is the last of the true Don Juans; for by che time he was of age, his cousin Faust had, in the hands of Goethe, taken his place and carried both his warfare and his reconciliation with the gods far beyond mere lovemaking into politics, high art, schemes for reclaiming new continents from the ocean, and recognition of an eternal womanly principle in the universe. Goethe’s Faust and Mozart’s Don Juan were the last words of the XVIII century on the subject; and by the time the polite critics of the XIX century, ignoring William Blake as superficially as the XVIII had ignored Hogarth or the XVII Bunyan, had got past the Dickens-Macaulay Dumas-Guizot stage and the Stendhal-Meredith-Turgenief stage, and were confronted with philosophic fiction by such pens as Ibsen’s and Tolstoy’s, Don Juan had changed his sex and become Doña Juana, breaking out of the Doll’s House and asserting herself as an individual instead of a mere item in a moral pageant.

Now it is all very well for you at the beginning of the XX century to ask me for a Don Juan play; but you will see from the foregoing survey that Don Juan is a full century out of date for you and for me; and if there are millions of less literate people who are still in the eighteenth century, have they mot Moliére and Mozart, upon whose art no human hand can improve? You would laugh at me if at this time of day I dealt in duels and ghosts and “womanly”