Historical Context
Realism
In the late nineteenth century, playwrights began to move away from what they saw as the artificial nature of melodrama and the rigid structure of "the well-made play." This traditional format, with its strict focus on plot and lack of character depth, was criticized for its lack of genuine character development. Instead, these playwrights turned their attention to everyday life and common experiences. They rejected the shallow characterizations and unmotivated actions that were typical of earlier forms. Their work, along with much of the experimental fiction of that era, embraced the principles of realism—a new literary movement that seriously examined believable characters and their often complex interactions with society.
To achieve this, realistic drama concentrated on ordinary life and removed the improbable coincidences and excessive emotionality of melodrama. Playwrights like Henrik Ibsen and George Bernard Shaw abandoned traditional sentimental theatrical forms, instead documenting the strengths and weaknesses of regular people facing challenging social issues, such as the restrictive norms that plagued nineteenth-century women. Writers who adhered to realism used settings and props that mirrored their characters' everyday lives and employed realistic dialogue that mimicked natural speech patterns.
In the foreword to Signet Classics’s collection of Shaw’s plays, Eric Bentley argues that Shaw introduced "the monkey wrench of character" into the well-made play's structure. Traditional drama characters often acted in ways that met audience expectations rather than driven by internal motivations. Shaw’s characters were groundbreaking because, as Bentley notes, "they made decisions which affected the course of events, and they made them on the basis of their own nature, not of the spectator’s."
The Fabian Society
In 1884, the Fabian Society was established in England as an offshoot of the Fellowship of the New Life, founded by Thomas Davidson. Frank Podmore and Edward Pease were its founders, and George Bernard Shaw and Sidney Webb soon joined, becoming its most active members. The society gained prominence with the publication of its Fabian Essays in 1889, which included contributions from Shaw. These essays outlined their manifesto, which rejected Marxism in favor of a gradual, progressive development of socialism through social and political reforms.
The Fabians believed that violent protest was counterproductive to their aims, so they initially avoided involvement in labor movements. However, when Beatrice Potter joined the group, the society began to focus more on workers' rights. This shift led to the formation of the unified Labour Representation Committee in 1900, which eventually evolved into Britain’s Labour Party and adopted the main principles of the Fabian Society.
Style and Technique
Dramatic Structure
The "well-made" play, dominant in the latter half of the nineteenth century,
strictly adhered to the Aristotelian emphasis on plot, often relegating
characterization to the background. These plays typically reached a happy
ending through accidental twists rather than through the development of
characters. However, George Bernard Shaw, in his play Mrs. Warren's
Profession , diverged from this conventional form. Shaw criticized the artificial nature of well-made plays, asserting that they lacked realism. Instead of a plot-driven narrative, Shaw's work is propelled by character interactions and dialogues that unfold organically. As the play progresses, it becomes evident that Shaw defies traditional expectations, particularly in the conclusion. The typical comedic resolution with all conflicts neatly tied up is absent here. Vivie, the protagonist, finds herself content as she enthusiastically returns to her work, yet the unresolved conflict with her mother lingers. The final scene, with Mrs. Warren leaving without shaking hands with Vivie, leaves the audience contemplating the complexities of their strained relationship. Although Vivie seems relieved, there is an underlying suggestion that her feelings towards her mother might evolve over...
(This entire section contains 329 words.)
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time.
Characterization
Shaw's approach to characters stood in stark contrast to the formulaic figures
of the well-made plays. His characters were imbued with depth and realism,
which contributed to a lack of simplistic resolutions. In Mrs. Warren's
Profession, the intricate portrayal of Vivie and her mother, Mrs. Warren,
creates a dynamic where audience sympathies continuously shift. Initially, Mrs.
Warren garners empathy as her daughter appears unduly harsh. As the narrative
unfolds and Vivie learns of her mother's true profession, the audience is
swayed towards understanding Vivie's stance. However, Shaw skillfully turns the
tide yet again by revealing Mrs. Warren's past struggles, invoking sympathy for
her plight. This dance of allegiances culminates in a nuanced division of
sympathy as Vivie realizes her mother's unwillingness to abandon her
profession. By the play's conclusion, the audience is left contemplating the
intricate balance of emotions between the resolute daughter and her estranged
mother.
Compare and Contrast
Late Nineteenth Century: The Married Woman’s Property Act is enacted in England, providing women with several key rights.
Today: In England, women are ensured equal rights under the law.
Late Nineteenth Century: Realism emerges as the leading literary movement in the Western world during the late nineteenth century. In the final decade, symbolism and naturalism also become significant movements.
Today: Broadway is dominated by musicals like The Producers and reality-based plays such as Rent.
Late Nineteenth Century: The term “New Woman” is coined to describe women who defy traditional roles, particularly the roles of wife and mother. These challenges are perceived as a threat to the American family structure.
Today: Women have the option to work inside the home, outside the home, or both. However, balancing a career and children can be challenging due to rigid work and promotion schedules.
Late Nineteenth Century: In 1871, feminist Victoria Woodhull begins a lecture tour promoting a free-love philosophy, reflecting the women's movement's increasing openness to discussing sexual matters.
Today: Women have the freedom to engage in premarital sex and have children outside of marriage. The topic of single parenting sparked controversy in the early 1990s when Vice President Quayle criticized the TV character Murphy Brown for choosing not to marry her baby’s father. Nowadays, single parenting is more widely accepted.
Adaptations
Mrs. Warren’s Profession (1972) was adapted for television by the BBC. Directed by Herbert Wise, the production featured Coral Browne in the role of Mrs. Warren and Penelope Wilton portraying Vivie.
Bibliography
Sources
Bentley, Eric, “Foreword,” in Plays, by George Bernard Shaw, New American Library, 1960, pp. vii–xxx.
Berst, Charles A., “Propaganda and Art in Mrs. Warren’s Profession,” in ELH, Vol. 33, No. 3, September 1966, pp. 390–404.
Shaw, George Bernard, “The Author’s Apology,” in Plays, by George Bernard Shaw, Penguin, 1960.
———, Mrs. Warren’s Profession, in Plays, by George Bernard Shaw, Penguin, 1960, pp. 31–115.
———, Preface to Mrs. Warren’s Profession, in Complete Plays with Prefaces, by George Bernard Shaw, Vol. 3, Dodd, Mead, 1962, pp. 3, 22–23.
Weintraub, Stanley, “George Bernard Shaw,” in Dictionary of Literary Biography, Vol. 10, Modern British Dramatists, 1900–1945, edited by Stanley Weintraub, Gale Research, 1982, pp. 129–48.
Wellwarth, George E., “Mrs. Warren Comes to America; or, the Blue-Noses, the Politicians and the Procurers,” Shaw Review, Vol. 2, May, p. 12.
Further Reading
Berst, Charles A., Bernard Shaw and the Art of Drama, University of Illinois Press, 1973. Berst explores Shaw’s dramatic techniques and suggests that he innovates upon traditional forms in his plays.
Carpenter, Charles A., Bernard Shaw and the Art of Destroying Ideals: The Early Plays, University of Wisconsin Press, 1969. Carpenter analyzes Shaw’s political motifs in his early works, including Mrs. Warren’s Profession.
Meisel, Martin, Shaw and the Nineteenth-Century Theater, Princeton University Press, 1963. This study situates Shaw’s plays, such as Mrs. Warren’s Profession, within their social and literary milieus.
Rao, Valli, “Vivie Warren in the Blakean World of Experience,” in Shaw Review, Vol. 22, 1979, pp. 123–34. Rao examines Vivie’s transformation from innocence to experience, applying a Blakean framework.
Turco, Alfred, Shaw’s Moral Vision: The Self and Salvation, Cornell University Press, 1976. This work investigates the moral themes in Shaw’s plays, including Mrs. Warren’s Profession.
