Candida by George Bernard Shaw: A Critical Appreciation
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. 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.
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. 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.
Candida Act 2 by George Bernard Shaw
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.
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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.
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- The Project Gutenberg E-text of Candida, by George Bernard Shaw.
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. 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.
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An Analysis of Socialism, Feminism and Life Force in George Bernard Shaw's Candida | Kibin
SEM 2. The central characters are clergyman James Morell, his wife Candida and a youthful poet, Eugene Marchbanks, who tries to win Candida's affections. The play questions Victorian notions of love and marriage, asking what a woman really desires from her husband. The cleric is a Christian Socialist, allowing Shaw—himself aFabian Socialist—to weave political issues, current at the time, into the story. Shaw attempted but failed to have a London production of the play put on in the s, but there were two small provincial productions.
However, in late actor Arnold Daly had such a great success with the play that Shaw would write by that New York was seeing "an outbreak of Candidamania". The Royal Court Theatre in London performed the play in six matinees in The same theatre staged several other of Shaw's plays from to , including further revivals of Candida. Marchbanks plans to woo Candida, and give her an exceptional life unlike the one she currently lives.
When faced with the dilemma of which man to choose, Candida must make a choice between the man who has given her everything, and the young man who desires to give her so much more. Shaw himself describes Eugene's story-arc as a realization that Candida is not at all what he wants from life, that the kind of domestic love she could provide "is essentially the creature of limitations which are far transcended in his own nature". When Eugene departs into the night, it is not "the night of despair and darkness but the free air and holy starlight which is so much more natural an atmosphere to him than this stuffy fireside warmth of mothers and sisters and wives and so on".
Eugene, according to Shaw, "is really a god going back to his heaven, proud, unspeakably contemptuous of the 'happiness' he envied in the days of his blindness, clearly seeing that he has higher business on hand than Candida". For her part, Candida is "very immoral" and completely misreads Eugene's transformation over the course of the play 4. She was the actress most closely associated with this role, and Shaw stated that because of her success, she had created "an ideal British Candida in my imagination" as she essentially re-envisioned the role of Candida, making her the central character in the play.
Previously, Candida herself was not conceived by directors or actresses as important as the issues and themes that Shaw was trying to convey. The first time she played the role in , she was so acclaimed that The Actors' Guild, which controlled the production rights to the play in the United States, forbade any other actress from playing the role while Cornell was still alive.
In her final production of , a young Marlon Brando played the role of Marchbanks. A version for Australian television aired in Reviewing the adaptation, Sydney Morning Herald was critical of the production style but praised the cast. Theatre Works. In the Canadian Broadcasting Corporation broadcast a production of the play. However, it was not until late , when Arnold Daly mounted a production in New York that the play became a success. Daly's production was quickly followed by one in London. The first public performance in London was on 26 April , at the Royal Court.
The play was so popular in that the phenomenon was referred to as "Candidamania". It may be described as 'Candidamania.
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