The onset of this scene is marked by music of a "Mozartian strain" and is foreshadowed by a preface written to Arthur Bingham Walkley.
The onset of this scene is marked by music of a "Mozartian strain" and is foreshadowed by a preface written to Arthur Bingham Walkley. It sees one figure despair that he lost Rembrandt before scolding a 77 year-old over woman's foolishness in creating men. Occurring just prior to an auto accident in the Sierra Nevada, this scene is centrally an excursus on the idea of (*) "Life Force," and ends with a female participant triumphantly seeking insemination. A white marble version of Roebuck Ramsden complains of boredom and threatens a counterpart with fencing in this scene, which casts Ann Whitefield as Dona Ana, who finds John Tanner in the guise of the namesake literary figure. For 10 points, identify this oft-excerpted scene from Act III of Shaw's Man and Superman in which a famed Spanish lothario chats with Lucifer in the underworld.
The onset of this scene is marked by music of a "Mozartian strain" and is foreshadowed by a preface written to Arthur Bingham Walkley.
Don Juan in Hell [accept equivalents mentioning both Don Juan and the underworld; grudgingly prompt on answers of "Man and Superman"]