On the whole, this is a sensible and satisfactory foundation for society. Money means nourishment and marriage means children; and that men should put nourishment first and women children first is, broadly speaking, the law of Nature and not the dictate of personal ambition. The secret of the prosaic man's success, such as it is, is the simplicity with which he pursues these ends: the secret of the artistic man's failure, such as that is, is the versatility with which he strays in all directions after secondary ideals. The artist is either a poet or a scallawag: as poet, he cannot see, as the prosaic man does, that chivalry is at bottom only romantic suicide: as scallawag, he cannot see that it does not pay to spunge and beg and lie and brag and neglect his person. Therefore do not misunderstand my plain statement of the fundamental constitution of London society as an Irishman's reproach to your nation. From the day I first set foot on this foreign soil I knew the value of the prosaic qualities of which Irishmen teach Englishmen to be ashamed as well as I knew the vanity of the poetic qualities of which Englishmen teach Irishmen to be proud. For the Irishman instinctively disparages the quality which makes the Englishman dangerous to him; and the Englishman instinctively flatters the fault that makes the Irishman harmless and amusing to him. What is wrong with the prosaic Englishman is what is wrong with the prosaic men of all countries: stupidity. The vitality which places nourishment and children first, heaven and hell a somewhat remote second, and the health of society as an organic whole nowhere, may muddle successfully through the comparatively tribal stages of gregariousness; but in nineteenth century nations and twentieth century empires the determination of every man to be rich at all costs, and of every woman to be married at all costs, must, without a highly scientific social organization, produce a ruinous development of poverty, celibacy, prostitution, infant mortality, ***** degeneracy, and everything that wise men most dread. In short, there is no future for men, however brimming with crude vitality, who are neither intelligent nor politically educated enough to be Socialists. So do not misunderstand me in the other direction either: if I appreciate the vital qualities of the Englishman as I appreciate the vital qualities of the bee, I do not guarantee the Englishman against being, like the bee (or the Canaanite) smoked out and unloaded of his honey by beings inferior to himself in ****** acquisitiveness, combativeness, and fecundity, but superior to him in imagination and cunning.
The Don Juan play, however, is to deal with sexual attraction, and not with nutrition, and to deal with it in a society in which the serious business of *** is left by men to women, as the serious business of nutrition is left by women to men. That the men, to protect themselves against a too aggressive prosecution of the women's business, have set up a feeble romantic convention that the initiative in *** business must always come from the man, is true; but the pretence is so shallow that even in the theatre, that last sanctuary of unreality, it imposes only on the inexperienced. In Shakespear's plays the woman always takes the initiative. In his problem plays and his popular plays alike the love interest is the interest of seeing the woman hunt the man down. She may do it by blandishment, like Rosalind, or by stratagem, like Mariana; but in every case the relation between the woman and the man is the same: she is the pursuer and contriver, he the pursued and disposed of. When she is baffled, like Ophelia, she goes mad and commits suicide; and the man goes straight from her funeral to a fencing match. No doubt Nature, with very young creatures, may save the woman the trouble of scheming: Prospero knows that he has only to throw Ferdinand and Miranda together and they will mate like a pair of doves; and there is no need for Perdita to capture Florizel as the lady doctor in All's Well That Ends Well (an early Ibsenite heroine) captures Bertram. But the mature cases all illustrate the Shakespearian law. The one apparent exception, Petruchio, is not a real one: he is most carefully characterized as a purely commercial matrimonial adventurer. Once he is assured that Katharine has money, he undertakes to marry her before he has seen her. In real life we find not only Petruchios, but Mantalinis and Dobbins who pursue women with appeals to their pity or jealousy or vanity, or cling to them in a romantically infatuated way. Such effeminates do not count in the world scheme: even Bunsby dropping like a fascinated bird into the jaws of Mrs MacStinger is by comparison a true tragic object of pity and terror. I find in my own plays that Woman, projecting herself dramatically by my hands (a process over which I assure you I have no more real control than I have over my wife), behaves just as Woman did in the plays of Shakespear.
And so your Don Juan has come to birth as a stage projection of the tragi-comic love chase of the man by the woman; and my Don Juan is the quarry instead of the huntsman. Yet he is a true Don Juan, with a sense of reality that disables convention, defying to the last the fate which finally overtakes him. The woman's need of him to enable her to carry on Nature's most urgent work, does not prevail against him until his resistance gathers her energy to a climax at which she dares to throw away her customary exploitations of the conventional affectionate and dutiful poses, and claim him by natural right for a purpose that far transcends their mortal personal purposes.
