What John Willett said. (Except, don't go wiring your microphones in parallel.)
The rear lobe isn't necessarily "pesky," however. I think it's a great advantage. Reflected sound that hasn't traveled much farther than the direct sound only confuses and jumbles a recording. Reflected sound that has traveled far and been spread out and had its edges honed off is what you want. In a more or less normally shaped recording venue, especially if your microphones are raised up and angled downward at least a little, the rear lobe gives you a greater proportion of reverberation from the farthest reaches of the room (and thus delayed by distance and both diffused and warmed/darkened by reflection) rather than from the area around the performers. That's all good.
In a well-made microphone, the rear lobe will have a "neat" pattern across the audio frequency range. The sound that it does pick up will be basically neutral, not emphasizing any one frequency range over the others. Again this is not necessarily the case for microphones with broader patterns. Dual-diaphragm cardioids, for example, typically have "bathtub-shaped" response around the back of the capsule, emphasizing the lows and highs (i.e. the "cardioid" pattern is maintained only in the midrange).
P.S.: The MK 41 is somewhat closer to being a supercardioid than a hypercardioid; Schoeps changed the designation in their catalogs many years ago. The "hypercardioids" of other manufacturers, including Sennheiser, Neumann, AKG and Beyer, are almost without exception the same way. A true hypercardioid would have even MORE of a rear lobe than a (near-)supercardioid, since it is closer to being a figure-8.
How to tell: Look for the "null" (the angle of lowest sensitivity) in the polar diagram. A figure-8 has its null 90° off axis; a true hypercardioid would have its null not so far from there at around 110°. A true supercardioid would have the null at about 126°, while most available "hypercardioid" microphones and capsules are in the zone around 120°. From the experience of the users of these microphones, that just seems to be the most useful place to plant one's flag.
P.P.S.: Just to clarify Roger G's reference above, the diagram for the Neumann KM 185 is another example of a microphone that's between supercardioid and hypercardioid, but a little closer to the supercardioid. "Shotgun" isn't a pattern--it's a type of microphone construction that takes a directional capsule of some given pattern and puts a slotted interference tube in front of it so that sound pickup from the sides is more or less canceled or attenuated above a certain frequency.
To compare the KM 185's pattern with that of a shotgun microphone, on the same Web site look at the "short shotgun" model KMR 81, or for an even more extreme example, the "long shotgun" model KMR 82. Keep in mind that these are some of the best examples of the type, and that the curves (especially the polar response curves at high frequencies) are smoothed and "idealized" ...