The first two acts of George Bernard Shaw’s Man and Superman take place in England. Questions of interpersonal relations, including marriage and pregnancy, are interspersed with broader social concerns such as class conflict and radical politics. Although Shaw utilizes some humorous dialogue and situations, the overall situation largely fits within realist conventions. The audience learns about Violet and Hector’s secret marriage and the probable upcoming engagement of Violet’s brother, Octavius, to Ann.

While political concerns are conveyed through Tanner, the author of a book on revolution, his status as a confirmed bachelor is also highlighted in regard to his relationship with Ann. His conviction that marriage does not mix with radicalism is shown by his flight from England—and Ann—to Spain. However, in an elaborate fantasy sequence, Shaw makes clear the limits of romanticized escapism.

In act three, as the setting changes to Spain, the audience finds Tanner and Straker being captured by a band of robbers. It seems that Shaw is expanding the satirical humor as, through a set of far-fetched coincidences, the Spanish characters are shown to be intertwined with the English ones. What follows is a sharp departure from the rest of the play. An elaborate scenario unfolds, with diverse characters in Hell debating philosophical issues stemming from Friedrich Nietzsche’s ideas about the Superman.

As these fantastic beings, including the Devil, are obviously alter egos of the “real” characters, their relationships are roughly parallel. In some respects, Shaw’s device is rather cumbersome and intrusive. However, these philosophical discussions, especially the importance of the abstract but powerful life force, enable Tanner to accept the strong bond that connects him and Ann. She ends up with a man who is fundamentally well-matched to her, rather than settling for one that society would find acceptable.