Play Analysis - Sample Essay of Man and Superman

Play Analysis - Sample Essay of Man and Superman The comedy Man and Superman depicts a microcosm of English convention in the early 20th century. It is an adaptation of the Don Juan epic touching on the philosophy of Nietzsche’s ubermensch. The play’s social commentary is strongly influenced by these topics, but it contains undertones that speak to a more specific topic on the implementation of social revolution. Framed in this way, the play is a platform for concepts embodied in the socialist rhetoric of the Fabian Society. During the late 19th Century and Early 20th century, George Bernard Shaw was an active member often using his dramatic works as a vessel by which he could communicate his political views. In the setting of Man and Superman, Shaw uses the metamorphosis of the protagonist as a metaphor for the type of social revolution sought by the Fabian Society. The Character Jack Tanner Jack Tanner is an unconventional character at a time when convention dictated action. He is wealthy, middle-aged, and unattached. As a confirmed bachelor, he preaches free love and constantly decries the institution of marriage. Most notably he is the author of The Revolutionist’s Handbook. This book details opinions on many controversial topics from the overthrowing of governments to the role of women in the daily life. The type of person that he represents is not readily accepted by his peers. In the eyes of Roebuck Ramsden, Jack Tanner is initially viewed in a negative light. Ramsden describes Tanner’s book as â€Å"the most infamous, the most scandalous, the most mischievous, the most black guardly book that ever escaped burning at the hands of the common hangman† (337). Ramsdens views are significant. He is an older gentleman that holds an important position in society. He is introduced as, â€Å"more than a highly respectable man: he is marked out as a president of highly respectable men† (333). It is therefore not unreasonable to think that the views of Ramsden might also be the views held by other important gentlemen in society. Ramsden’s views are shared by like-minded characters in the play. After defending Violet for the circumstances in which she is having a child, Tanner finds himself apologizing to her. Violet says, â€Å"I hope you will be more careful in the future about the things you say. Of course one does not take them seriously; but they are very disagreeable, and rather in bad taste† (376). Regardless of her own motivations at that time, she wanted nothing to do with Tanner’s support. This is in stark contrast to the reception one typically gets as a lone defender. How Tanner Views Himself These reactions to Tanner are generated from the way in which Tanner views himself. He says to Ann, â€Å"I have become a reformer, and like all reformers, an iconoclast. I no longer break cucumber frames and burn gorse bushes: I shatter creeds and demolish idols† (367). This is an extreme stance from which to approach life. It is understandable then that people might be offended, or even threatened, by what he represents. Tanner is unrealistic in his ideas on how to change society. In order to affect these changes in a direct manner, one would truly have to be a superman. Were Tanner to be an ubermensch by the definition of Nietzsche, it is conceivable that he might have been able to pull off a social revolution without subtlety. The main characteristic of the ubermensch is that he/she acts in accordance with his or her desires. However, he repeatedly demonstrates that this is not the case. He is conflicted over his feelings for Ann. Even though he claims that he disliked her, he somehow always attends to her. He claims to be an intellectual but is corrected by his chauffer when quoting Beaumarchais. He freely admits he is a slave to the car and his chauffeur by extension. He admits that he is intimidated by women and needs protection from at least one, namely Ann. Though he gives a long-winded diatribe to Ramsden that claims is almost without shame and almost never regrets his actions, he clearly contradicts himself. Tanner Dreams He Is Don Juan In the third act, Tanner dreams he is Don Juan, choosing whether he belongs in heaven or hell. Of course, this is the Shaw version of Heaven and hell rather than the traditional version in which the Devil punishes the wicked. Don Juan describes Heaven as a place in which â€Å"you live and work instead of playing and pretending. You face things as they are; you escape nothing but glamour, and your steadfastness and your peril are your glory† (436). If hell is a place in which you don’t face reality, then that has a clear connection to the state Jack Tanner finds himself in at the beginning of the third act. He is shirking responsibility in his personal life as well as avoiding the feelings he has for Ann. Choosing the Life Hes Been Avoiding In choosing to go to heaven at the end of the third act, Jack Tanner subconsciously chooses the life he has been avoiding. This is the life that accepts Ann. This is also the life that does not avoid convention but embraces it. Heaven is a place where one contemplates the true nature of the universe. In this case, Jack chooses to contemplate the true nature of his world rather than live an existence only concerned with self-gratification. Here again, Ramsden’s view of Tanner is significant. When Tanner has professed his love for Ann at the end of the play, Ramsden is congratulatory. He says, â€Å"you are a happy man, Jack Tanner, I envy you† (506). This is the first such supportive remark offered by Ramsden. Until this point, they had remained at odds with each other. Tanner’s engagement to Ann probably suggests he has a reasonable nature. Since Ramsden is an influential person, this changed view of Tanner will extend to Ramsden’s sphere of influence. In this light, Tanner has the opportunity to be a much more influential person. We have a clear example of the effectiveness of this kind of man in Ramsden. Ramsden was appalled to hear that Tanner considered him, â€Å"an old man with obsolete ideas† (341), but Ramsden was just like Tanner in his youth. He says to Octavius, â€Å"I have stood for equality and liberty of conscience while they were trucking to the Church and to the aristocracy. Whitefield and I lost chance after chance through our advanced opinions† (339). In his day, his opinions were advanced enough to lose him favor in eyes of his contemporaries. Mendoza, an acquaintance they met in Spain, reported that Ramsden, â€Å"used to supper with several different ladies† (471). This is something Ramsden staunchly disagreed with in Tanner’s personal life. It is clear that a change occurred in Ramsden. It must also be true that a change occurred in society in order for a man with such radical opinions to become a man of honor. This suggests that Tanner evolved in the same way that Ramsden did. Their views became milder as did their lifestyles. This is similar to the method of affecting change that was espoused by the Fabian Society. The Fabian Society was and still is a socialist organization that encourages the advancement of socialist principles through gradual rather than revolutionary means. Here, it is implied that Ramsden and now Tanner became more effective at advancing their own principles after adopting their milder lifestyles. Construction Cumbers the Ground... When he says, â€Å"construction cumbers the ground with institutions made by busybodies. Destruction clears it and gives us breather space and liberty† (367), Tanner did not realize that these words would apply to his own circumstance. His old life, which he thought was liberated, was actually holding him back. It was only in the destruction of that life that he was able to liberate himself. The taming of his radical nature caused his influence to expand. The Fabian Society believed that the destruction of state-created national, political, and moral character. Tanner’s change is a metaphor for this creation of a character. Tanner believed he had strong moral passion, but this passion was undirected. Instead, he had the foundation for a strong moral character. In submitting to Ann and accepting the traditional Victorian lifestyle, he gained a springboard from which to extend his social ideas. In so doing, he developed a stronger moral fiber, the moral fiber of a leader rather than an eccentric.

The Television System of Paul Nipkow

The Television System of Paul Nipkow German engineering student, Paul Nipkow proposed and patented the worlds first mechanical television system in 1884. Paul Nipkow devised the notion of dissecting the image and transmitting it sequentially. To do this he designed the first television scanning device. Paul Nipkow was the first person to discover televisions scanning principle, in which the light intensities of small portions of an image are successively analyzed and transmitted. In 1873, the photoconductive  properties of the element selenium were discovered, the fact that seleniums electrical conduction varied with the amount of illumination it received. Paul Nipkow created a rotating scanning disk camera called the Nipkow disk, a device for picture analyzation that consisted of a rapidly rotating disk placed between a scene and a light sensitive selenium element. The image had only 18 lines of resolution. Nipkow Disk According to R. J. Reiman author of Who Invented Television: The Nipkow disk was a rotating disk with holes arranged in a spiral around its edge. Light passing through the holes as the disk rotated produced a rectangular scanning pattern or raster which could be used to either generate an electrical signal from the scene for transmitting or to produce an image from the signal at the receiver. As the disk rotated, the image was scanned by the perforations in the disk, and light from different portions of it passed to a selenium photocell. The number of scanned lines was equal to the number of perforations and each rotation of the disk produced a television frame. In the receiver, the brightness of the light source would be varied by the signal voltage. Again, the light passed through a synchronously rotating perforated disk and formed a raster on the projection screen. Mechanical viewers had the serious limitation of resolution and brightness. No one is sure if Paul Nipkow actually built a working prototype of his television system. It would take the development of the amplification tube in 1907 before the Nipkow Disk could become practical. All mechanical television systems were outmoded in 1934 by electronic television systems.