Major Barbara stands as one of George Bernard Shaw’s most provocative plays, embodying his talent for combining wit and realism to challenge societal norms. Shaw, an iconoclast by nature, often reveled in overturning conventional morality, arguing that true insights often begin as "blasphemies." From its inception, Major Barbara stirred controversy with its complex portrayal of capitalism and morality, prompting diverse interpretations and debates among critics and audiences alike.

The Structure and Themes of Major Barbara

Shaw structured Major Barbara to highlight both the allure and the darker aspects of capitalism. The play's first act introduces the comforts of capitalist society as depicted through the affluent setting of Wilton Crescent. Lady Britomart, a central character, comically distills moral questions into matters of taste and decorum, suggesting that polite hypocrisy is necessary for social cohesion. She criticizes her former husband, Andrew Undershaft, not for any wrongful actions but for his delight in challenging accepted norms, exemplifying what she terms a "religion of wrongness." In contrast, Barbara, her daughter, speaks of religion with a defiant and paradoxical vigor, matching her father in presence and ideals.

The second act shifts to the grim realities of the slums, contrasting sharply with the earlier opulence. Here, Shaw explores mentor-pupil dynamics, a recurring theme in his works, where Barbara undergoes a transformation through her interactions with her father. Initially, she appears to triumph in their ideological battle over the soul of Bill Walker. However, revelations of deceit within the Salvation Army, such as Snobby Price faking confessions for free meals, lead to Barbara’s profound disillusionment. She realizes that the Army, by addressing only symptoms, fails to challenge the societal structures that perpetuate poverty.

Controversy and Interpretations

The play’s third act has often been critiqued for its perceived shortcomings. Even Shaw, during the play's development and subsequent film adaptation, grappled with its conclusion. Following Barbara's disillusionment in Act 2, the final act attempts to find resolution through her acceptance of Undershaft's philosophy, suggesting a synthesis between realism and idealism. This resolution, however, often lacks emotional impact, overshadowed by the earlier vivid scene of Barbara's shattered faith.

The reception of Major Barbara was mixed from its first production, with critics divided. Michael Holroyd, in his biography of Shaw, notes that opinions ranged from seeing the play as filled with "religious passion" to accusing Shaw of lacking "religious emotion." Some viewed Undershaft as triumphing over Barbara’s idealism, while others appreciated the complexity of the ending, which could be interpreted from multiple ideological perspectives. Shaw’s nuanced critique of capitalism, underscored by the stark depiction of the shelter’s residents, reveals the play’s enduring relevance.

Critical Perspectives

Critics remain divided on whether Undershaft's philosophy ultimately prevails or if the play offers a more balanced resolution. While some, like William Archer, argue that Undershaft dominates the narrative with his practical worldview, others emphasize the potential for transformation through Cusins and Barbara’s intentions to turn Perivale St. Andrews towards socialist democracy. This potential shift underscores a recurring theme in Shaw’s work: the interplay between power and morality.

Barbara Bellow Watson points out that Undershaft’s victory is not purely triumphant but rather complex, as Shaw does not forsake his socialist ideals. Alfred Turco, Jr. observes that the play’s resolution lies in the mutual influence between Barbara and Undershaft, where both characters partially adopt the other's views. This synthesis leads to a new understanding where neither character fully overcomes the other, but each grows through their interactions.

Ambiguity and Resolution

Margery M. Morgan suggests that the apparent lack of clear resolution within the play reflects the broader context of socialist drama’s role in society. She argues that...