Candida by George Bernard Shaw
A Critical Commentary
on the Play
Written in 1895, George Bernard Shaw’s play “Candida” comes
second in the collection “Plays Pleasant” and
is sub-titled “A Mystery”. The play is often categorized as
a comedy, an anti-romantic play and a drama of ideas. It is a common plot out
of which the theme of the play is spun out. It is the story of eternal
triangle that Shaw deals with in an unconventional way.
The plot presents a parson (Reverend James Mavor Morell), his wife
(Candida) and a poet (Eugene Marchbanks) involved in the eternal triangle of
love. The conjugal relations of the clergyman (Morell) with his wife form the
entire content of the play. Marchbanks, a poet, is introduced; he declares his
love for the clergyman’s wife. It is rather stock-in-trade domestic affair that
is turned into sheer unconventional stuff when the wife decides to stay back
with her husband instead of the overtly sentimental poet. The uniqueness of
Shaw’s thinking is shown in the final act where the wife rejects the poet-lover
in favour of happy conjugal domesticity and financial security.
Thus, the story is divested of
the romantic glamour that we expect from a romantic fiction or drama. Shaw is
out to attack valiantly the drab sentimentality by the weapon of his thesis and
idea. Shaw emerges not only as an iconoclast but also a reformer with a fervent
zeal to purge society of spurious senseless conceptions that have hitherto
subjugated our rational faculty of mind.
Such startling twist in the
story provides ample scope for exposing several anomalies prevalent in late
Victorian social institution of marriage. We feel elated on seeing what is
happening in the plot of the story. It is no doubt far away from the idyllic
charm of Shakespearean romantic comedy. What is most salient as regards the
thematic matter is the very thought-provoking exposure of some serious societal
issues that get churned up by Shaw’s hammer of high-strung anti-establishment
fervour.
The motive as it appears behind Shaw’s
manipulation of the theme is his forthright attack on worn-out conventions so
that people may become sane and wise in an analytical way. This is the triumph of rationality over foolishness.
Morell, the ardent socialist, is a pious
Christian and proud of his married life. But in course of time his illusion
fades away when the poet informs him about his love for Candida, his wife. Such
high tension in the story is handled by the dramatist in a convincing way. The
characters are refreshingly drawn and they are different from the conventional
ones. They are suggestively
christened names by dint of which we get
to know the ruling temper and psychological make-up of the characters. Morell
is the embodiment of conventional morality. Candida is noted for her candour.
And Burgess, her father, is of bourgeois mentality. Poet Marchbanks is an
idealist.
Morell never appears to be a
jealous husband; nor does he feel hostile to Marchbanks when he declares love
for Candida. No momentary spurt of anger unsettles his calmness. Morell retains
his cool without any further altercation with Marchbanks. Such crisis of
marital relationship is well averted to as Morell promptly seems too willing to
give Candida freedom to choose between himself and his rival. It is absolutely
astonishing that a husband appears quite unconventional and generous as to give
his wife freedom of choice. It is contrary to the behaviour of a stereotypical
husband. Here it is an appeal to the intellectual stimulation on the part of
the dramatist.
Candida presents herself as the newly emerging emancipated woman. She openly disapproves of her husband’s
sermons. Again, she remains steadfastly dutiful maintaining the traditional
conduct of woman. She never declines her wifely duty. Marchbanks is a fiery romantic
full of compassion for Candida.
Another important facet of the drama is
the presentation of
conflict that is well evident in
the character of Morell who is found the exact opposite to the ideas that he
professes in public. He preaches equality as a believer in Christian piety.
Such public orator treats his wife as a slave. This is the duality of human
nature revealed through the characterization of Morell. Inherent inner weakness
of character is a momentous force that triggers off complexity in the plot.
The main conflict is well
modulated till the end of the play. It takes a sudden surprising turn when we
see Candida inclined to live with her husband. It is a steady deviation from
any sensational happening. Splendidly befitting ending is quite Shavian in
regard to his drama of ideas. This is a new beginning for the couple but it
brings out the hollowness of the ideal of happiness effectively. Shaw brings
out the difference between nobility without happiness and happiness without
nobility.
Minor conflict is beautifully
summed up between Morell and Burgess. Such is the technical expertise of Shaw’s
dramatic art that is helpful in revealing the different facets of the main
characters. Morell-Burgess episode speaks volumes about the socialistic traits in
the character of Morell. No doubt, we get a glimpse of Burgess who is a
representative of business class embodying its vulgar breeding mercantile
preoccupation and intellectual backwardness. It speaks of their stubbornly
ultra-materialistic attitude. Again, the brief conversation between Eugene and
Proserpine delightfully exposes the hypocrisy of existing moral code not
permitting a man to express his true self.
Shaw’s dramas are usually furnished with elaborate exposition. The play Candida is no exception. The exposition is mainly allied to
characterization and stage directions. At first, Morell is presented as a
proficient orator. His other traits are gradually revealed: his true pious
nature is shown as an endowment of virtuous character. The rest of the
characters, too, are brought to the same room before long. Even the minor
conflict between Morell and Burgess is mentioned. Such deft handling of prosaic
details draws our attention.
The dialogues in
Shaw’s drama are essentially lively instruments for propaganda. His mastery
over dialogues is evident in Candida. The sparkling wit of the dialogues imparts to the play a real
charm.
Shaw’s psychological study of characters provides us with insight into human
nature. Candida shows her lack of courage when he rejects Marchbanks in favour
of Morell. This is true human nature revealed astonishingly. Candida is
intelligent enough to decide to settle with Morell instead of idealist
Marchbanks. She never shows any uncontrolled passion and sentiment. Rash
impulsiveness is hardly found in her character.
The conception of love is found far divorced from bodily pleasure. It is really the
intellectual aspect of love that is elevated to a higher plane. We know how
Morell and Candida lead a respectable conjugal life even though they do not
stand on the same intellectual plane. Man is the master as it happens
in Candida and woman is a dependant. Their
relationship is governed by economic factor. The real face of love is exposed
when it comes to choosing between Morell and Eugene, between security and
freedom, between domesticity and boundless imagination. Shaw shatters the
established belief that women would always prefer the stronger man. Rather, as
it appears in the play, woman chooses the more secure and stable life
offered by Morell. This is what makes the play anti-romantic.
Apart from the theme of love and marriage, the play explores a number of minor themes. The freedom of women in Victorian society to choose her own way
of life is one such theme in the play. Moreover, the way the central male
characters Morell and Eugene show their ignorance of the reality of their
actual importance or the truth in their perceptions highlights the theme of
ignorance and arrogance.
The play ends with
Marchbanks’ secret undisclosed. Justifying the subtitle of the play Candida readers are eager to know the mystery of the poet’s (Eugene)
mind.
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