Читать книгу Collected Works - George Bernard Shaw, Bernard Shaw - Страница 117

My name is Ozymandias, king of kings:

Look on my works, ye mighty, and despair.

There is a general stir of curiosity at this.

ACIS. What the dickens does he mean?

THE MALE FIGURE. Silence, base accident of Nature. This [taking the hand of the Female Figure and introducing her] is Cleopatra-Semiramis, consort of the king of kings, and therefore queen of queens. Ye are things hatched from eggs by the brainless sun and the blind fire; but the king of kings and queen of queens are not accidents of the egg: they are thought-out and hand-made to receive the sacred Life Force. There is one person of the king and one of the queen; but the Life Force of the king and queen is all one: the glory equal, the majesty co-eternal. Such as the king is so is the queen, the king thought-out and hand-made, the queen thought-out and hand-made. The actions of the king are caused, and therefore determined, from the beginning of the world to the end; and the actions of the queen are likewise. The king logical and predetermined and inevitable, and the queen logical and predetermined and inevitable. And yet they are not two logical and predetermined and inevitable, but one logical and predetermined and inevitable. Therefore confound not the persons, nor divide the substance: but worship us twain as one throne, two in one and one in two, lest by error ye fall into irretrievable damnation.

THE FEMALE FIGURE. And if any say unto you 'Which one?' remember that though there is one person of the king and one of the queen, yet these two persons are not alike, but are woman and man, and that as woman was created after man, the skill and practice gained in making him were added to her, wherefore she is to be exalted above him in all personal respects, and—

THE MALE FIGURE. Peace, woman; for this is a damnable heresy. Both Man and Woman are what they are and must do what they must according to the eternal laws of Cause and Effect. Look to your words; for if they enter my ear and jar too repugnantly on my sensorium, who knows that the inevitable response to that stimulus may not be a message to my muscles to snatch up some heavy object and break you in pieces.

The Female Figure picks up a stone and is about to throw it at her consort.

ARJILLAX [springing up and shouting to Pygmalion, who is fondly watching the Male Figure] Look out, Pygmalion! Look at the woman!

Pygmalion, seeing what is happening, hurls himself on the Female Figure and wrenches the stone out of her hand. All spring up in consternation.

ARJILLAX. She meant to kill him.

STREPHON. This is horrible.

THE FEMALE FIGURE [wrestling with Pygmalion] Let me go. Let me go, will you [she bites his hand].

PYGMALION [releasing her and staggering] Oh!

A general shriek of horror echoes his exclamation. He turns deadly pale, and supports himself against the end of the curved seat.

THE FEMALE FIGURE [to her consort] You would stand there and let me be treated like this, you unmanly coward.

Pygmalion falls dead.

THE NEWLY BORN. Oh! Whats the matter? Why did he fall! What has happened to him?

They look on anxiously as Martellus kneels down and examines the body of Pygmalion.

MARTELLUS. She has bitten a piece out of his hand nearly as large as a finger nail: enough to kill ten men. There is no pulse, no breath.

ECRASIA. But his thumb is clinched.

MARTELLUS. No: it has just straightened out. See! He has gone. Poor Pygmalion!

THE NEWLY BORN. Oh! [She weeps].

STREPHON. Hush, dear: thats childish.

THE NEWLY BORN [subsiding with a sniff]!!

MARTELLUS [rising] Dead in his third year. What a loss to Science!

ARJILLAX. Who cares about Science? Serve him right for making that pair of horrors!

THE MALE FIGURE [glaring] Ha!

THE FEMALE FIGURE. Keep a civil tongue in your head, you.

THE NEWLY BORN. Oh, do not be so unkind, Arjillax. You will make water come out of my eyes again.

MARTELLUS [contemplating the Figures] Just look at these two devils. I modelled them out of the stuff Pygmalion made for them. They are masterpieces of art. And see what they have done! Does that convince you of the value of art, Arjillax!

STREPHON. They look dangerous. Keep away from them.

ECRASIA. No need to tell us that, Strephon. Pf! They poison the air.

THE MALE FIGURE. Beware, woman. The wrath of Ozymandias strikes like the lightning.

THE FEMALE FIGURE. You just say that again if you dare, you filthy creature.

ACIS. What are you going to do with them, Martellus? You are responsible for them, now that Pygmalion has gone.

MARTELLUS. If they were marble it would be simple enough: I could smash them. As it is, how am I to kill them without making a horrible mess?

THE MALE FIGURE [posing heroically] Ha! [He declaims]

Come one: come all: this rock shall fly

From its firm base as soon as I.

THE FEMALE FIGURE [fondly] My man! My hero husband! I am proud of you. I love you.

MARTELLUS. We must send out a message for an ancient.

ACIS. Need we bother an ancient about such a trifle? It will take less than half a second to reduce our poor Pygmalion to a pinch of dust. Why not calcine the two along with him?

MARTELLUS. No: the two automata are trifles; but the use of our powers of destruction is never a trifle. I had rather have the case judged.

The He-Ancient emerges from the grove. The Figures are panic-stricken.

THE HE-ANCIENT [mildly] Am I wanted? I feel called. [Seeing the body of Pygmalion, and immediately taking a sterner tone] What! A child lost! A life wasted! How has this happened?

THE FEMALE FIGURE [frantically] I didn't do it. It was not me. May I be struck dead if I touched him! It was he [pointing to the Male Figure].

ALL [amazed at the lie] Oh!

THE MALE FIGURE. Liar. You bit him. Everyone here saw you do it.

THE HE-ANCIENT. Silence. [Going between the Figures] Who made these two loathsome dolls?

THE MALE FIGURE [trying to assert himself with his knees knocking] My name is Ozymandias, king of—

THE HE-ANCIENT [with a contemptuous gesture] Pooh!

THE MALE FIGURE [falling on his knees] Oh dont, sir. Dont. She did it, sir: indeed she did.

THE FEMALE FIGURE [howling lamentably] Boohoo! oo! ooh!

THE HE-ANCIENT. Silence, I say.

He knocks the Male Automaton upright by a very light flip under the chin. The Female Automaton hardly dares to sob. The immortals contemplate them with shame and loathing. The She-Ancient comes from the trees opposite the temple.

THE SHE-ANCIENT. Somebody wants me. What is the matter? [She comes to the left hand of the Female Figure, not seeing the body of Pygmalion]. Pf! [Severely] You have been making dolls. You must not: they are not only disgusting: they are dangerous.

THE FEMALE FIGURE [snivelling piteously] I'm not a doll, mam. I'm only poor Cleopatra-Semiramis, queen of queens. [Covering her face with her hands] Oh, don't look at me like that, mam. I meant no harm. He hurt me: indeed he did.

THE HE-ANCIENT. The creature has killed that poor youth.

THE SHE-ANCIENT [seeing the body of Pygmalion] What! This clever child, who promised so well!

THE FEMALE FIGURE. He made me. I had as much right to kill him as he had to make me. And how was I to know that a little thing like that would kill him? I shouldn't die if he cut off my arm or leg.

ECRASIA. What nonsense!

MARTELLUS. It may not be nonsense. I daresay if you cut off her leg she would grow another, like the lobsters and the little lizards.

THE HE-ANCIENT. Did this dead boy make these two things?

MARTELLUS. He made them in his laboratory. I moulded their limbs. I am sorry. I was thoughtless: I did not foresee that they would kill and pretend to be persons they were not, and declare things that were false, and wish evil. I thought they would be merely mechanical fools.

THE MALE FIGURE. Do you blame us for our human nature?

THE FEMALE FIGURE. We are flesh and blood and not angels.

THE MALE FIGURE. Have you no hearts?

ARJILLAX. They are mad as well as mischievous. May we not destroy them?

STREPHON. We abhor them.

THE NEWLY BORN. We loathe them.

ECRASIA. They are noisome.

ACIS. I don't want to be hard on the poor devils; but they are making me feel uneasy in my inside. I never had such a sensation before.

MARTELLUS. I took a lot of trouble with them. But as far as I am concerned, destroy them by all means. I loathed them from the beginning.

ALL. Yes, yes: we all loathe them. Let us calcine them.

THE FEMALE FIGURE. Oh, don't be so cruel. I'm not fit to die. I will never bite anyone again. I will tell the truth. I will do good. Is it my fault if I was not made properly? Kill him; but spare me.

THE MALE FIGURE. No! I have done no harm: she has. Kill her if you like: you have no right to kill me.

THE NEWLY BORN. Do you hear that? They want to have one another killed.

ARJILLAX. Monstrous! Kill them both.

THE HE-ANCIENT. Silence. These things are mere automata: they cannot help shrinking from death at any cost. You see that they have no self-control, and are merely shuddering through a series of reflexes. Let us see whether we cannot put a little more life into them. [He takes the Male Figure by the hand, and places his disengaged hand on its head]. Now listen. One of you two is to be destroyed. Which of you shall it be?

THE MALE FIGURE [after a slight convulsion during which his eyes are fixed on the He-Ancient] Spare her; and kill me.

STREPHON. Thats better.

THE NEWLY BORN. Much better.

THE SHE-ANCIENT [handling the Female Automaton in the same manner] Which of you shall we kill?

THE FEMALE FIGURE. Kill us both. How could either of us live without the other?

ECRASIA. The woman is more sensible than the man.

The Ancients release the Automata.

THE MALE FIGURE [sinking to the ground] I am discouraged. Life is too heavy a burden.

THE FEMALE FIGURE [collapsing] I am dying. I am glad. I am afraid to live.

THE NEWLY BORN. I think it would be nice to give the poor things a little music.

ARJILLAX. Why?

THE NEWLY BORN. I don't know. But it would.

The Musicians play.

THE FEMALE FIGURE. Ozymandias: do you hear that? [She rises on her knees and looks raptly into space] Queen of queens! [She dies].

THE MALE FIGURE [crawling feebly towards her until he reaches her hand] I knew I was really a king of kings. [To the others] Illusions, farewell: we are going to our thrones. [He dies].

The music stops. There is dead silence for a moment.

THE NEWLY BORN. That was funny.

STREPHON. It was. Even the Ancients are smiling.

THE NEWLY BORN. Just a little.

THE SHE-ANCIENT [quickly recovering her grave and peremptory manner] Take these two abominations away to Pygmalion's laboratory, and destroy them with the rest of the laboratory refuse. [Some of them move to obey]. Take care: do not touch their flesh: it is noxious: lift them by their robes. Carry Pygmalion into the temple; and dispose of his remains in the usual way.

The three bodies are carried out as directed, Pygmalion into the temple by his bare arms and legs, and the two Figures through the grove by their clothes. Martellus superintends the removal of the Figures, Acis that of Pygmalion. Ecrasia, Arjillax, Strephon, and the Newly Born sit down as before, but on contrary benches; so that Strephon and the Newly Born now face the grove, and Ecrasia and Arjillax the temple. The Ancients remain standing at the altar.

ECRASIA [as she sits down] Oh for a breeze from the hills!

STREPHON. Or the wind from the sea at the turn of the tide!

THE NEWLY BORN. I want some clean air.

THE HE-ANCIENT. The air will be clean in a moment. This doll flesh that children make decomposes quickly at best; but when it is shaken by such passions as the creatures are capable of, it breaks up at once and becomes horribly tainted.

THE SHE-ANCIENT. Let it be a lesson to you all to be content with lifeless toys, and not attempt to make living ones. What would you think of us ancients if we made toys of you children?

THE NEWLY BORN [coaxingly] Why do you not make toys of us? Then you would play with us; and that would be very nice.

THE SHE-ANCIENT. It would not amuse us. When you play with one another you play with your bodies, and that makes you supple and strong; but if we played with you we should play with your minds, and perhaps deform them.

STREPHON. You are a ghastly lot, you ancients. I shall kill myself when I am four years old. What do you live for?

THE HE-ANCIENT. You will find out when you grow up. You will not kill yourself.

STREPHON. If you make me believe that, I shall kill myself now.

THE NEWLY BORN. Oh no. I want you. I love you.

STREPHON. I love someone else. And she has gone old, old. Lost to me for ever.

THE HE-ANCIENT. How old?

STREPHON. You saw her when you barged into us as we were dancing. She is four.

THE NEWLY BORN. How I should have hated her twenty minutes ago! But I have grown out of that now.

THE HE-ANCIENT. Good. That hatred is called jealousy, the worst of our childish complaints.

Martellus, dusting his hands and puffing, returns from the grove.

MARTELLUS. Ouf! [He sits down next the Newly Born] That job's finished.

ARJILLAX. Ancients: I should like to make a few studies of you. Not portraits, of course: I shall idealize you a little. I have come to the conclusion that you ancients are the most interesting subjects after all.

MARTELLUS. What! Have those two horrors, whose ashes I have just deposited with peculiar pleasure in poor Pygmalion's dustbin, not cured you of this silly image-making!

ARJILLAX. Why did you model them as young things, you fool? If Pygmalion had come to me, I should have made ancients of them for him. Not that I should have modelled them any better. I have always said that no one can beat you at your best as far as handwork is concerned. But this job required brains. That is where I should have come in.

MARTELLUS. Well, my brainy boy, you are welcome to try your hand. There are two of Pygmalion's pupils at the laboratory who helped him to manufacture the bones and tissues and all the rest of it. They can turn out a couple of new automatons; and you can model them as ancients if this venerable pair will sit for you.

ECRASIA [decisively] No. No more automata. They are too disgusting.

ACIS [returning from the temple] Well, thats done. Poor old Pyg!

ECRASIA. Only fancy, Acis! Arjillax wants to make more of those abominable things, and to destroy even their artistic character by making ancients of them.

THE NEWLY BORN. You wont sit for them, will you? Please dont.

THE HE-ANCIENT. Children, listen.

ACIS [striding down the steps to the bench and seating himself next Ecrasia] What! Even the Ancient wants to make a speech! Give it mouth, O Sage.

STREPHON. For heaven's sake don't tell us that the earth was once inhabited by Ozymandiases and Cleopatras. Life is hard enough for us as it is.

THE HE-ANCIENT. Life is not meant to be easy, my child; but take courage: it can be delightful. What I wanted to tell you is that ever since men existed, children have played with dolls.

ECRASIA. You keep using that word. What are dolls, pray?

THE SHE-ANCIENT. What you call works of art. Images. We call them dolls.

ARJILLAX. Just so. You have no sense of art; and you instinctively insult it.

THE HE-ANCIENT. Children have been known to make dolls out of rags, and to caress them with the deepest fondness.

THE SHE-ANCIENT. Eight centuries ago, when I was a child, I made a rag doll. The rag doll is the dearest of all.

THE NEWLY BORN [eagerly interested] Oh! Have you got it still?

THE SHE-ANCIENT. I kept it a full week.

ECRASIA. Even in your childhood, then, you did not understand high art, and adored your own amateur crudities.

THE SHE-ANCIENT. How old are you?

ECRASIA. Eight months.

THE SHE-ANCIENT. When you have lived as long as I have—

ECRASIA [interrupting rudely] I shall worship rag dolls, perhaps. Thank heaven I am still in my prime.

THE HE-ANCIENT. You are still capable of thanking, though you do not know what you thank. You are a thanking little animal, a blaming little animal, a—

ACIS. A gushing little animal.

ARJILLAX. And, as she thinks, an artistic little animal.

ECRASIA [nettled] I am an animated being with a reasonable soul and human flesh subsisting. If your Automata had been properly animated, Martellus, they would have been more successful.

THE SHE-ANCIENT. That is where you are wrong, my child. If those two loathsome things had been rag dolls, they would have been amusing and lovable. The Newly Born here would have played with them; and you would all have laughed and played with them too until you had torn them to pieces; and then you would have laughed more than ever.

THE NEWLY BORN. Of course we should. Isnt that funny?

THE HE-ANCIENT. When a thing is funny, search it for a hidden truth.

STREPHON. Yes; and take all the fun out of it.

THE SHE-ANCIENT. Do not be so embittered because your sweetheart has outgrown her love for you. The Newly Born will make amends.

THE NEWLY BORN. Oh yes: I will be more than she could ever have been.

STREPHON. Psha! Jealous!

THE NEWLY BORN. Oh no. I have grown out of that. I love her now because she loved you, and because you love her.

THE HE-ANCIENT. That is the next stage. You are getting on very nicely, my child.

MARTELLUS. Come! what is the truth that was hidden in the rag doll?

THE HE-ANCIENT. Well, consider why you are not content with the rag doll, and must have something more closely resembling a real living creature. As you grow up you make images and paint pictures. Those of you who cannot do that make stories about imaginary dolls. Or you dress yourselves up as dolls and act plays about them.

THE SHE-ANCIENT. And, to deceive yourself the more completely, you take them so very very seriously that Ecrasia here declares that the making of dolls is the holiest work of creation, and the words you put into the mouths of dolls the sacredest of scriptures and the noblest of utterances.

ECRASIA. Tush!

ARJILLAX. Tosh!

THE SHE-ANCIENT. Yet the more beautiful they become the further they retreat from you. You cannot caress them as you caress the rag doll. You cannot cry for them when they are broken or lost, or when you pretend they have been unkind to you, as you could when you played with rag dolls.

THE HE-ANCIENT. At last, like Pygmalion, you demand from your dolls the final perfection of resemblance to life. They must move and speak.

THE SHE-ANCIENT. They must love and hate.

THE HE-ANCIENT. They must think that they think.

THE SHE-ANCIENT. They must have soft flesh and warm, blood.

THE HE-ANCIENT. And then, when you have achieved this as Pygmalion did; when the marble masterpiece is dethroned by the automaton and the homo by the homunculus; when the body and the brain, the reasonable soul and human flesh subsisting, as Ecrasia says, stand before you unmasked as mere machinery, and your impulses are shewn to be nothing but reflexes, you are filled with horror and loathing, and would give worlds to be young enough to play with your rag doll again, since every step away from it has been a step away from love and happiness. Is it not true?

THE SHE-ANCIENT. Speak, Martellus: you who have travelled the whole path.

MARTELLUS. It is true. With fierce joy I turned a temperature of a million degrees on those two things I had modelled, and saw them vanish in an instant into inoffensive dust.

THE SHE-ANCIENT. Speak, Arjillax: you who have advanced from imitating the lightly living child to the intensely living ancient. Is it true, so far?

ARJILLAX. It is partly true: I cannot pretend to be satisfied now with modelling pretty children.

THE HE-ANCIENT. And you, Ecrasia: you cling to your highly artistic dolls as the noblest projections of the Life Force, do you not?