Back to Methuselah
| Company type | Literary work |
|---|---|
| Industry | Theatre, Literature |
| Founded | 1921 |
| Founder | George Bernard Shaw |
| Headquarters | London; New York , United Kingdom; United States |
| Products | Play cycle (five plays and a preface) |
Back to Methuselah (A Metabiological Pentateuch) authored by George Bernard Shaw consists of a preface titled The Infidel Half Century along with five distinct 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.
Composed during the period from 1918 to 1920, these pieces were released simultaneously in 1921 by Constable in London and Brentano's in New York. Their initial staging took place in 1922 at New York’s Garrick Theatre under the auspices of the New York Theatre Guild, followed by their British premiere at the Birmingham Repertory Theatre in 1923.
Preface
In the preface, Shaw reflects on the widespread despair and economic hardship that afflicted Europe after World War I, attributing these conditions to inadequate leadership. He asserts that governance was simpler in primitive societies but has become increasingly unmanageable as societal complexity grows beyond what individuals can effectively oversee within a normal lifespan. Shaw proposes extending human longevity so that those living to a hundred years would be regarded as middle-aged, thereby fostering wiser and more experienced rulers.
He envisions this transformation emerging through Creative Evolution, a Lamarckian theory suggesting evolutionary progress results from needs or desires rather than solely natural selection, driven by the Life Force (l'élan vital). Shaw draws on philosopher Henri Bergson’s idea of élan vital, equating it with concepts known in religion as Providence and in science as Functional Adaptation or Natural Selection. Although these notions have lost scientific credibility by the 21st century, they form the philosophical foundation for the plays.
Moreover, Shaw champions a "homeopathic" style of education—one that involves teaching through intentional falsehoods until learners are capable of questioning and overcoming them—arguing that traditional education methods tend to restrict freedom and entrap society.
In the Beginning: B.C. 4004
The allegorical play In the Beginning: B.C. 4004 portrays Adam and Eve as representatives of early mankind who come to understand mortality upon discovering a dead fawn. Immune to aging themselves, they nevertheless dread eternal life’s monotony but feel compelled to preserve Eden. The Serpent reveals that Lilith, their progenitor, fashioned them male and female with the ability to reproduce. This revelation offers them a means to create others who can tend the garden, relieving them from endless existence. The story delves into themes such as solitude, affection, fear, loyalty, and bravery, concluding with Eve acquiring knowledge of reproduction accompanied by complex feelings.
As centuries elapse, Adam and Eve experience minimal aging yet remain mostly unchanged. Their son Cain appears, boasting of inventing murder after killing his brother Abel. Rejecting agricultural life, Cain departs abruptly as a warrior figure. Eve contemplates that life encompasses more than killing or farming and foresees her future offspring undertaking greater pursuits.
The Gospel of the Brothers Barnabas: Present Day
The Gospel of the Brothers Barnabas features two siblings—Franklyn, a retired and influential clergyman, alongside Conrad, a respected biologist—who independently determine that human lifespans need to be extended to around three hundred years to acquire the wisdom necessary for managing intricate societies. Their conclusions are published by Conrad.
At a presentation attended by politicians Lubin and Burge, who hold conflicting perspectives, the brothers promote the idea of extended longevity. Lubin expresses skepticism about its practicality, while Burge accepts the concept but opposes it on the grounds that it would apply universally rather than exclusively to privileged groups. Franklyn’s daughter Savvy and her clerical partner Haslam are also present but show little interest, as the subject surpasses their comprehension. The only person profoundly affected is the housemaid, who has thoroughly studied Conrad’s publication. Despite the lukewarm reception, the brothers remain optimistic about achieving extended lifespans.
[Shaw initially wrote an extra scene for this section, which was later published separately under the title A Glimpse of the Domesticity of Franklyn Barnabas]
The Thing Happens: A.D. 2170
Set in 2170, one and a half centuries after the revelations of the Barnabas brothers, The Thing Happens portrays an England still in a state of societal immaturity where government positions have become largely ceremonial. Actual authority is wielded by consultants from Africa and China unless suitable candidates from Scotland, Ireland, or Wales are available. (These foreign consultants mature earlier but have shorter life expectancies.)
The narrative begins with England's president, Burge-Lubin—a descendant of the politicians in The Gospel of the Brothers Barnabas—engaged in a videophone dispute with a Barnabas heir over who should greet an American inventor specializing in underwater breathing apparatus. Barnabas meets with this inventor, who intends to utilize archival footage from the Records Office to advertise his invention by highlighting notable British figures who drowned but might have survived had they possessed this technology. Burge-Lubin consults Confucius, the Chief Secretary and effective head of government—a Chinese consultant. Subsequently, Burge-Lubin suggests playing marine golf; however, Confucius refuses, citing insufficient maturity. Burge-Lubin then privately contacts the Minister of Health, an impressive Black African woman; their videophone conversation turns flirtatious but concludes without commitment.
Burge-Lubin reproaches himself for blending romantic interests with official duties when Barnabas arrives visibly upset. He reveals that all the drowned notables featured in the footage are actually the same individual—currently alive as the Archbishop of York. Burge-Lubin dismisses this claim as impossible. When questioned, the Archbishop identifies himself as Reverend Haslam, formerly Barnabas’ romantic interest—now a dignified man approximately fifty years old. He confesses to repeatedly faking his death due to laws requiring retirement at a certain age without pension provision because he appeared too youthful. To circumvent this, he assumed multiple new identities to continue his work. Barnabas urges prosecution; however, Burge-Lubin advises restraint given the implications of extended lifespans.
Their conversation is interrupted by Domestic Minister Mrs Lutestring’s quarterly briefing. Both men hold her in high regard despite her striking appearance. She expresses no surprise regarding Haslam’s longevity and discloses that she herself is long-lived, remembering Haslam from her time as Franklyn Barnabas’ parlour maid. After a brief exchange, she departs with Burge-Lubin, hinting at plans to produce long-lived descendants. Meanwhile, others express concern that revealing these long-lived individuals could encourage more to come forward, potentially endangering populations with shorter lifespans. No preventative actions are taken since any individual could unknowingly possess extended longevity.
Later, the Minister of Health invites Burge-Lubin on a romantic yacht excursion in Fishguard Bay, involving a parachute jump into water for rescue practice. He declines due to concerns over rheumatism from cold-water exposure given his potential three-century lifespan. Confucius commends him for reaching the initial stage of maturity.
Tragedy of an Elderly Gentleman: A.D. 3000
The narrative unfolds in 3000 AD along the southern edge of Galway Bay, where an elderly man is found weeping while seated on a weathered stone bollard. A woman approaches, offering assistance. He attributes his tears to hay fever and identifies himself as a Briton residing in Baghdad, currently touring islands that once formed the heart of the British Commonwealth.
Despite both speaking English, their cultural differences create barriers to understanding. She, a long-lived guardian of the brief-lived visitors, suspects he is afflicted with discouragement, a hazardous condition affecting short-livers interacting with long-livers over the age of sixty. The man has been avoiding his assigned nurse, Zozim, prompting her to summon aid.
He reveals that he accompanies the Prime Minister—married to his daughter—and General Aufsteig, who is secretly the Emperor of Turania, all seeking guidance from the oracle on pressing issues. Zozim defers to a younger nurse named Zoo, who, though fifty-six years old, appears as a nineteen-year-old. Their challenging dialogue underscores the advantages of extended life spans before they proceed toward the oracle.
The Emperor, self-styled as Napoleon, insists on direct access to the oracle, dismissing both women and elders. The veiled oracle cautions that contact with elders induces discouragement; when she slightly lifts her veil, he panics and pleads for it to be replaced. Subdued, he requests counsel on how to fulfill his warrior genius amid impending revolt. The oracle advises him simply to "Die now," firing a pistol that misses him. He becomes trapped by an invisible force field near a Falstaff monument.
Zozim and Zoo guide the visitors into the temple, whose grand setting unnerves them. The Prime Minister—now referred to as The Envoy—after consuming brandy, inquires whether elections should be held immediately or delayed due to challenges from opposition Rotterjacks. The oracle bluntly replies, "Go home, poor fool," echoing her earlier response to his predecessor Sir Fuller Eastwind. The magical influence fades; Zoo removes her disguise.
The anticipated answer had been Eastwind’s fabricated prophecy about Britain’s prosperity under an east wind and warnings directed at the Rotterjacks—political theater that secured Eastwind’s fifteen-year rule. The Envoy intends to mimic this deception for political advantage.
Disturbed by these events, the Elderly Gentleman seeks out the Oracle alone, begging to remain on the island rather than return home to despair. She warns that staying will cause death by discouragement; nevertheless, he accepts this risk out of honor. She consents but upon clasping his hands, he stiffens and dies instantly. "Poor short-lived thing! What else could I do for you?" she mourns.
As Far as Thought Can Reach: A.D. 31,920
As Far as Thought Can Reach takes place in a distant future where extended longevity is common and short-lived individuals are relics of history. The scene opens in a sun-drenched clearing featuring a classical temple and marble altar. Youths aged eighteen and above dance gracefully to flute melodies. An "Ancient", exhibiting mature features yet marked by age-worn skin, descends the stairs and accidentally collides with dancers. Although invited to join them, he declines, preferring traditional ways.
Chloe, nearly four years old and tired of youthful pastimes, feels drawn toward the Ancient’s lifestyle, causing tension with her two-year-old companion Stephen. Acís, aged three, attempts to console Stephen who remains despondent until finding another partner.
A bustling day unfolds at the nursery: a birth followed by the Festival of the Artists. A She-Ancient oversees the delivery of a child eager for life. In procession, youths carry ritual objects along with a large egg placed upon the altar. The Ancient carefully opens it to reveal Amaryllis, a fresh-faced girl appearing seventeen years old. After bathing and dressing her, the Ancient declares her fit for life—unlike defective children who are gently euthanized. Amaryllis provides comic relief throughout the play.
During the Festival of the Artists two prominent sculptors appear: Arjillax and Martellus. Martellus brings no sculptures; meanwhile Arjillax presents busts of ancients that disappoint youths who favor youthful depictions. Arjillax plans to exhibit sculptures representing all stages of life within the temple. Martellus reveals he abandoned sculpture altogether, claiming that life itself holds meaning while marble remains lifeless regardless of form. Instead, he introduces scientist Pygmalion, creator of living artificial humans.
Pygmalion unveils a noble-looking man and woman modeled after twentieth-century primitives. Initially amiable, their behavior soon turns violent; Pygmalion is killed attempting control over them. The Ancients arrive to humanely destroy the pair and incinerate their remains alongside Pygmalion’s laboratory.
Using this incident, the Ancients teach youth about life's truths: artistic representations are like dolls soon outgrown; one’s body is likewise a temporary vessel destined for abandonment. Ultimately, humans transform into bodiless energy vortices—immortal entities free to explore the cosmos. After tiring of their lessons, the Ancients depart as night falls and children seek refuge within the temple.
In darkness appear ghosts of Adam, Eve, Cain, the Serpent, and Lilith—each voicing their perspectives. Lilith foretells an end to existence’s bondage to matter before these spectres fade away.
Commentary
Michael Holroyd characterizes the plays as "a masterpiece of wishful thinking," categorizing them within the science fiction genre. Methuselah stands as Shaw's foremost exploration into science fiction, employing speculative concepts to enhance credibility and engage the audience while promoting his perspective on humanity’s future. Shaw’s emphasis was more political than scientific, as detailed in the Preface, where he calls for fundamental reforms essential for effective human governance. The concluding play, As Far as Thought Can Reach, does not propose a definitive answer but imagines humanity transforming into beings of pure energy, thereby rendering government obsolete. Furthermore, Shaw’s subsequent works, such as Farfetched Fables (1950) and The Simpleton of the Unexpected Isles (1934), also approach the boundaries of science fiction.
Shaw regarded Back to Methuselah highly, describing it in a publisher’s press release (Constable & Co., London) as a piece that would captivate biologists, theologians, and enthusiasts of extraordinary literature and drama. He considered it more of a literary creation than conventional theater, yet he welcomed productions by figures like Lawrence Langner in New York and Barry Vincent Jackson in Birmingham, despite anticipating financial deficits. Unlike his other plays that include extensive stage directions, Methuselah offers sparse guidance on staging, aiming instead to ignite the imagination of readers. For example, when questioned about how to depict the Serpent, Shaw provided only a basic outline and recommended consultation with professional artists. The BBC’s 1958 radio adaptation compensated with vivid descriptive elements.
Shaw’s scientific rationale for extended human longevity was based on Lamarckian inheritance—the transmission of acquired characteristics—a concept aligned with Jean-Baptiste Lamarck’s theories, even though by the 1920s, when these plays were written, such ideas had largely been supplanted by Charles Darwin’s evolutionary framework.
Louis Crompton observes in Shaw the Dramatist that H. M. Geduld’s comprehensive six-volume variorum edition (1961) remains the most thorough academic examination of Back to Methuselah. This edition includes detailed intellectual context, textual comparisons, annotations, and documentation of theatrical performances. Copies are held in prominent research libraries including Goldsmiths' Library (University of London), Indiana University Bloomington’s Lilly Library, and the University of Texas at Austin’s Rare Books Collection.
One memorable line from Back to Methuselah—"You see things; and you say, 'Why?' But I dream things that never were; and I say, 'Why not?'"—is frequently misattributed to Robert F. Kennedy, who acknowledged borrowing it from Shaw. In the play itself, this phrase is spoken by the serpent addressing Eve in the Garden of Eden.