Analysis
George Bernard Shaw emerged as a pioneering playwright who sought to dismantle societal complacencies and hypocrisies through drama. A strong advocate for incorporating social criticism into theater, Shaw was deeply influenced by Henrik Ibsen, whom he admired for addressing contemporary issues and engaging audiences in realistic dialogue. Shaw's works are marked by a profound critique of Victorian norms, a drive to promote social reform, and a belief in humanity's capacity for improvement.
Shaw’s Dramatic Philosophy and Influences
Shaw's approach to drama was heavily inspired by the Norwegian playwright Henrik Ibsen, whose work he introduced to British audiences as a model of realistic and reformative theater. In his writing, Shaw sought to emulate Ibsen's focus on social issues and discussion-led dialogues. Shaw's departure from the traditional idolization of William Shakespeare opened the British stage to more socially conscious themes, challenging the established "Sardoodledom" of the Victorian era.
Shaw saw himself as a societal prophet, tasked with suggesting pathways to a better civilization. Like Charles Dickens, Shaw aimed to be a radical reformer, combining humor with critical social observation. While Oscar Wilde shared Shaw’s Irish heritage and comedic flair, their goals diverged; Shaw's agenda focused on reform, whereas Wilde’s was centered on ridicule.
Subversion of Traditional Norms
Shaw's plays consistently challenged conventional norms, often subverting traditional hero and villain roles. His characters engage in intellectual debates that unravel societal paradoxes, revealing hidden hypocrisies. This structure is evident in plays like Candida, Man and Superman, Major Barbara, and Arms and the Man. Shaw often leaves audiences questioning their assumptions before guiding them to a Shavian vision of society.
Shaw’s Secular Religion and Life Force
A key aspect of Shaw's philosophy is his concept of the Life Force, a secular belief in humanity’s intrinsic drive to improve and evolve. Influenced by Arthur Schopenhauer, Shaw’s Life Force represents a collective will driving societal progress. He argued against reliance on divine intervention, advocating for human responsibility in shaping destiny. Shaw’s belief in the Life Force is vividly depicted in "The Revolutionist’s Handbook" from Man and Superman and forms the crux of his life-preserving philosophy.
Man and Superman and Creative Evolution
In Man and Superman, Shaw explored the theme of creative evolution, portraying the character Don Juan as a proponent of the Life Force. This play suggests that human evolution is driven by a will to improve rather than environmental adaptation, countering Darwin’s theories. The "Don Juan in Hell" sequence in the play encapsulates Shaw’s vision of humanity’s evolutionary potential.
Back to Methuselah: The Masterpiece
Back to Methuselah is considered by Shaw as his masterpiece, delving deeper into creative evolution and the potential of the Life Force. The play presents a future where humans, through willpower, can live long enough to gain immense wisdom. Shaw’s preface highlights the belief in self-reliance over divine salvation, positing that humanity must consciously strive for its own betterment.
Educational Plays of Intellectual Debate
Shaw sought to educate his audiences through plays infused with intellectual discussions, Shavian wit, and comedy. His characters often debate social and ethical issues, compelling spectators to reassess their beliefs and societal norms. This approach is evident in several of his works, which are structured to provoke thought and inspire change.
Candida: A Mystery of Dependency
First produced in 1897, Candida is a part of Shaw’s "Plays: Pleasant" collection. It centers on the socialist speaker Reverend Morell, who comes to realize that his wife Candida is the true foundation of his success. The young nobleman Eugene’s revelation that he loves Candida and sees her husband as repulsive exposes Morell’s dependency on his wife....
(This entire section contains 1026 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
Candida chooses to stay with her husband, acknowledging her role as the family’s backbone, and Morell’s understanding of this dependency redefines his heroism.
Shaw likened Candida to Ibsen’s A Doll’s House, with a twist depicting the man as the one in control. Morell, rather than Candida, is the "doll," reflecting Shaw’s view of English society as ultimately governed by women. The play’s naturalistic elements conceal deeper social implications, making it one of Shaw’s most enigmatic early works.
Major Barbara: Morality and Poverty
Produced in 1905, Major Barbara intertwines Christian myths with social critique and ethical dialogue. The narrative explores the morality of Andrew Undershaft, an arms producer, who argues that eradicating poverty is paramount. Despite his controversial business, Undershaft provides for his workers more effectively than his daughter Barbara, a Salvation Army major, can for the poor.
Shaw presents Undershaft as a complex character, whose "money and gunpowder" philosophy contrasts with traditional Christian values. The play questions the practicality of poverty eradication versus moral ideals, offering no straightforward resolution but instead provoking diverse interpretations and ethical reflections.
Pygmalion: Class and Transformation
Pygmalion, first produced in 1913, tackles social class distinctions through the lens of phonetics and etiquette. Professor Henry Higgins’ transformation of Eliza Doolittle from a flower girl to a lady challenges the arbitrary value placed on accent in determining social worth. Despite her successful transformation in speech, Eliza’s experience exposes the superficiality of class judgments and the importance of respect over pronunciation.
The play’s comedic elements are underscored by serious questions about social mobility and gender roles. Shaw’s afterword clarifies that Eliza’s future lies with Freddy, emphasizing her journey towards self-reliance and dignity beyond Higgins’ influence. Pygmalion was later adapted into the acclaimed musical My Fair Lady.
Saint Joan: The Embodiment of the Life Force
Produced in 1923, Saint Joan stands as Shaw’s enduring representation of the Life Force, embodied by the historical figure Joan of Arc. Shaw’s Joan is a practical leader and a life-preserver, defying traditional martyrdom narratives. Her story, framed as a tragedy with comedic elements, critiques institutional rigidity and English nationalism.
Joan’s trial and execution display the Church’s intolerance for nonconformity and challenge the status quo. Despite her death, Joan’s vitality and spirit endure, symbolizing the struggle for progress against societal constraints. The epilogue’s dream sequence connects Joan’s saga to Shaw’s contemporary world, highlighting the ongoing need for societal evolution to accommodate visionary individuals like Joan.