Back to Methuselah (eBook)

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2018
260 Seiten
Seltzer Books (Verlag)
978-1-4554-0332-5 (ISBN)

Lese- und Medienproben

Back to Methuselah - George Bernard Shaw
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According to Wikipedia: 'Back to Methuselah (A Metabiological Pentateuch), by George Bernard Shaw consists of a preface (An Infidel Half Century) and a series of five plays: In the Beginning: B.C. 4004 (In the Garden of Eden), The Gospel of the Brothers Barnabas: Present Day, The Thing Happens: A.D. 2170, Tragedy of an Elderly Gentleman: A.D. 3000, and As Far as Thought Can Reach: A.D. 31,920. All were written during 1918-20, published simultaneously by Constable (London) and Brentano's (New York) in 1921, and first performed in the United States in 1922 by the New York Theatre Guild at the old Garrick Theatre and, in Britain, at the Birmingham Repertory Theatre in 1923.' According to Wikipedia: 'George Bernard Shaw (26 July 1856 - 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege. He was most angered by what he perceived as the exploitation of the working class, and most of his writings censure that abuse. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles.'
According to Wikipedia: "e;Back to Methuselah (A Metabiological Pentateuch), by George Bernard Shaw consists of a preface (An Infidel Half Century) and a series of five plays: In the Beginning: B.C. 4004 (In the Garden of Eden), The Gospel of the Brothers Barnabas: Present Day, The Thing Happens: A.D. 2170, Tragedy of an Elderly Gentleman: A.D. 3000, and As Far as Thought Can Reach: A.D. 31,920. All were written during 1918-20, published simultaneously by Constable (London) and Brentano's (New York) in 1921, and first performed in the United States in 1922 by the New York Theatre Guild at the old Garrick Theatre and, in Britain, at the Birmingham Repertory Theatre in 1923."e; According to Wikipedia: "e;George Bernard Shaw (26 July 1856 - 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege. He was most angered by what he perceived as the exploitation of the working class, and most of his writings censure that abuse. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles."e;

ACT I


 

 _The Garden of Eden. Afternoon. An immense serpent is sleeping with her head buried in a thick bed of Johnswort, and her body coiled in apparently endless rings through the branches of a tree, which is already well grown; for the days of creation have been longer than our reckoning. She is not yet visible to anyone unaware of her presence, as her colors of green and brown make a perfect camouflage. Near her head a low rock shows above the Johnswort.

 

The rock and tree are on the border of a glade in which lies a dead fawn all awry, its neck being broken. Adam, crouching with one hand on the rock, is staring in consternation at the dead body. He has not noticed the serpent on his left hand. He turns his face to his right and calls excitedly._

 

ADAM. Eve! Eve!

 

EVE'S VOICE. What is it, Adam?

 

ADAM. Come here. Quick. Something has happened.

 

EVE [_running in_] What? Where? [_Adam points to the fawn_]. Oh! [_She goes to it; and he is emboldened to go with her_]. What is the matter with its eyes?

 

ADAM. It is not only its eyes. Look. [_He kicks it._]

 

EVE. Oh don't! Why doesn't it wake?

 

ADAM. I don't know. It is not asleep.

 

EVE. Not asleep?

 

ADAM. Try.

 

EVE [_trying to shake it and roll it over_] It is stiff and cold.

 

ADAM. Nothing will wake it.

 

EVE. It has a queer smell. Pah! [_She dusts her hands, and draws away from it_]. Did you find it like that?

 

ADAM. No. It was playing about; and it tripped and went head over heels. It never stirred again. Its neck is wrong [_he stoops to lift the neck and shew her_].

 

EVE. Dont touch it. Come away from it.

 

_They both retreat, and contemplate it from a few steps' distance with growing repulsion._

 

EVE. Adam.

 

ADAM. Yes?  EVE. Suppose you were to trip and fall, would you go like that?

 

ADAM. Ugh! [_He shudders and sits down on the rock_].

 

EVE [_throwing herself on the ground beside him, and grasping his knee_] You must be careful. Promise me you will be careful.

 

ADAM. What is the good of being careful? We have to live here for ever. Think of what for ever means! Sooner or later I shall trip and fall. It may be tomorrow; it may be after as many days as there are leaves in the garden and grains of sand by the river. No matter: some day I shall forget and stumble.

 

EVE. I too.

 

ADAM [_horrified_] Oh no, no. I should be alone. Alone for ever. You must never put yourself in danger of stumbling. You must not move about. You must sit still. I will take care of you and bring you what you want.

 

EVE [_turning away from him with a shrug, and hugging her ankles_] I should soon get tired of that. Besides, if it happened to you, _I_ should be alone. I could not sit still then. And at last it would happen to me too.

 

ADAM. And then?

 

EVE. Then we should be no more. There would be only the things on all fours, and the birds, and the snakes.

 

ADAM. That must not be.

 

EVE. Yes: that must not be. But it might be.

 

ADAM. No. I tell you it must not be. I know that it must not be.

 

EVE. We both know it. How do we know it?

 

ADAM. There is a voice in the garden that tells me things.

 

EVE. The garden is full of voices sometimes. They put all sorts of thoughts into my head.

 

ADAM. To me there is only one voice. It is very low; but it is so near that it is like a whisper from within myself. There is no mistaking it for any voice of the birds or beasts, or for your voice.

 

EVE. It is strange that I should hear voices from all sides and you only one from within. But I have some thoughts that come from within me and not from the voices. The thought that we must not cease to be comes from within.

 

ADAM [_despairingly_] But we shall cease to be. We shall fall like the fawn and be broken. [_Rising and moving about in his agitation_]. I cannot bear this knowledge. I will not have it. It must not be, I tell you. Yet I do not know how to prevent it.

 

EVE. That is just what I feel; but it is very strange that you should say so: there is no pleasing you. You change your mind so often.

 

ADAM [_scolding her_] Why do you say that? How have I changed my mind?

 

EVE. You say we must not cease to exist. But you used to complain of having to exist always and for ever. You sometimes sit for hours brooding and silent, hating me in your heart. When I ask you what I have done to you, you say you are not thinking of me, but of the horror of having to be here for ever. But I know very well that what you mean is the horror of having to be here with me for ever.

 

ADAM. Oh! That is what you think, is it? Well, you are wrong. [_He sits down again, sulkily_]. It is the horror of having to be with myself for ever. I like you; but I do not like myself. I want to be different; to be better, to begin again and again; to shed myself as a snake sheds its skin. I am tired of myself. And yet I must endure myself, not for a day or for many days, but for ever. That is a dreadful thought. That is what makes me sit brooding and silent and hateful. Do you never think of that?

 

EVE. No: I do not think about myself: what is the use? I am what I am: nothing can alter that. I think about you.

 

ADAM. You should not. You are always spying on me. I can never be alone. You always want to know what I have been doing. It is a burden. You should try to have an existence of your own, instead of occupying yourself with my existence.

 

EVE. I _have_ to think about you. You are lazy: you are dirty: you neglect yourself: you are always dreaming: you would eat bad food and become disgusting if I did not watch you and occupy myself with you. And now some day, in spite of all my care, you will fall on your head and become dead.

 

ADAM. Dead? What word is that?

 

EVE [_pointing to the fawn_] Like that. I call it dead.

 

ADAM [_rising and approaching it slowly_] There is something uncanny about it.

 

EVE [_joining him_] Oh! It is changing into little white worms.

 

ADAM. Throw it into the river. It is unbearable.

 

EVE. I dare not touch it.

 

ADAM. Then I must, though I loathe it. It is poisoning the air. [_He gathers its hooves in his hand and carries it away in the direction from which Eve came, holding it as far from him as possible_].

 

Eve looks after them for a moment; then, with a shiver of disgust, sits down on the rock, brooding. The body of the serpent becomes visible, glowing with wonderful new colors. She rears her head slowly from the bed of Johnswort, and speaks into Eve's ear in a strange seductively musical whisper.

 

THE SERPENT. Eve.

 

EVE [_startled_] Who is that?

 

THE SERPENT. It is I. I have come to shew you my beautiful new hood. See [_she spreads a magnificent amethystine hood_]!

 

EVE [_admiring it_] Oh! But who taught you to speak?

 

THE SERPENT. You and Adam. I have crept through the grass, and hidden, and listened to you.

 

EVE. That was wonderfully clever of you.

 

THE SERPENT. I am the most subtle of all the creatures of the field.

 

EVE. Your hood is most lovely. [_She strokes it and pets the serpent_]. Pretty thing! Do you love your godmother Eve?

 

THE SERPENT. I adore her. [_She licks Eve's neck with her double tongue_].

 

EVE [_petting her_] Eve's wonderful darling snake. Eve will never be lonely now that her snake can talk to her.

 

THE SNAKE. I can talk of many things. I am very wise. It was I who whispered the word to you that you did not know. Dead. Death. Die.

 

EVE [_shuddering_] Why do you remind me of it? I forgot it when I saw your beautiful hood. You must not remind me of unhappy things.

 

THE SERPENT. Death is not an unhappy thing when you have learnt how to conquer it.

 

EVE. How can I conquer it?

 

THE SERPENT. By another thing, called birth.

 

EVE. What? [_Trying to pronounce it_] B-birth?

 

THE SERPENT. Yes, birth.

 

EVE. What is birth?

 

THE SERPENT. The serpent never dies. Some day you shall see me come out of this beautiful skin, a new snake with a new and lovelier skin. That is birth.

 

EVE. I have seen that. It is wonderful.

 

THE SERPENT. If I can do that, what can I not do? I tell you I am very subtle. When you and Adam talk, I hear you say 'Why?' Always 'Why?' You see things; and you say 'Why?' But I dream things that never were; and I say 'Why not?' I made the word dead to describe my old skin that I cast when I am renewed. I call that renewal being born.

 

EVE. Born is a beautiful word.

 

THE SERPENT. Why not be born again and again as I am, new and beautiful every time?

 

EVE. I! It does not happen: that is why.

 

THE SERPENT. That is how; but it is not why. Why not?

 

EVE. But I...

Erscheint lt. Verlag 1.3.2018
Sprache englisch
Themenwelt Literatur Lyrik / Dramatik Dramatik / Theater
ISBN-10 1-4554-0332-6 / 1455403326
ISBN-13 978-1-4554-0332-5 / 9781455403325
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