1

Chapter I Introduction
The Greeks and Romans confined the word "comedy" to descriptions of stage-plays with happy endings. In the middle Ages, the term expanded to include narrative poems with happy endings and a lighter tone. In this sense Dante used the term in the title of his poem, La Commedia. As time progressed, the word came more and more to be associated with any sort of performance intended to cause laughter. During the middle Ages, the term "comedy" became synonymous with satire and later humour in general, after Aristotle's Poetics was translated into Arabic in the medieval Islamic world, where it was elaborated upon by Arabic writers and Islamic philosophers, such as Abu Bischr, his pupil Al-Farabi, Avicenna, and Averroes. Due to cultural differences, they disassociated comedy from Greek dramatic representation and instead identified it with Arabic poetic themes and forms, such as hija (satirical poetry). They viewed comedy as simply the "art of reprehension", and made no reference to light and cheerful events, or troublous beginnings and happy endings, associated with classical Greek comedy. After the Latin translations of the 12th century, the term "comedy" thus gained a more general semantic meaning in medieval literature. Comedy in the contemporary meaning of the term is any discourse or work generally intended to be humorous or to amuse by inducing laughter, especially in theatre, television, film and stand-up comedy. This sense of the term must be carefully distinguished from its academic one, namely the comic theatre, whose Western origins are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theatres. The theatrical genre can be

simply described as a dramatic performance which pits two societies against each other in an amusing agon or conflict. Northrop Frye famously depicted these two opposing sides as a "Society of Youth" and a "Society of the Old", but this dichotomy is seldom described as an entirely satisfactory explanation. A later view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter. Satire and political satire use ironic comedy to portray persons or social institutions as ridiculous or corrupt, thus alienating their audience from the object of humor. Satire is a type of comedy. Parody subverts popular genres and forms, using certain ironic changes to critique those forms from within (though not necessarily in a condemning way). Screwball comedy derives its humor largely from bizarre, surprising (and improbable) situations or characters. Black comedy is defined by dark humor that makes light of socalled dark or evil elements in human nature. Similarly scatological humor, sexual humor, and race humor create comedy by violating social conventions or taboos in comic ways. A comedy of manners typically takes as its subject a particular part of society (usually upper class society) and uses humor to parody or satirize the behaviour and mannerisms of its members. Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms and focuses on the foibles of those who are falling in love. In the late 20th century, emerged among scholars the tendency to pragmatically prefer the term laughter to comprehensively refer to the whole gamut of the comic, to avoid the classification in ambiguous and

problematically defined genres and fields like humour, grotesque, irony, and satire. Henrik Ibsen is considered to be the father of modern drama. His objectives were to "see accurately and recreate poetically the world and its people, beliefs, ideas, conflicts, and correspondences". The essence of modern drama is to remake, or mirror the society in which the authors lived in. However, at times, these realistic concepts are introduced in an environment that is completely absurd and surreal. It can be explained as the author trying to gear our attention on the plot or the characters rather than the environment. Through this subjective description, various concepts and values were denounced that either favoured or criticized the particular society and its customs. In drama the author tries to establish a relationship with the audience and conveys a message through various techniques; such as: irony, symbolisms, characterization, etc. In everyday life, love is the main aspect that helps us survive. Love is everywhere, from the day we are born, love is offered from parents to the day we pass away, love will always be present. Modern drama has a particular way to discuss, analyse and criticize love as it was in those times. And in this paper, its an attempt to compare and contrast the portrayals of love in Candida by George Bernard Shaw. We will observe whether love is always portrayed the same way, with the technique of comedy with ideas, through the study of the play. In the past, drama associated love with innocence and purity. For instance in Shakespeare's Romeo and Juliet, love was eternal, true and irreversible. However, in modern drama, love seems to be approached with a pessimistic view. There is a lack of belief in eternal love or in true love. There is absolutely no romanticism. One can question if love really exists. Is love confused with sexual attraction or infatuation? What exactly is love?

The New Drama, the realistic social drama which came into existence with the drama of Ibsen in Norway and was marked by its rich flow of ideas and daring views on moral and social questions. It was introduced in England by the admirers of Ibsen such as Sir Edmund Gosse, Bernard Shaw and the dramatic critic William Archer who translated and discussed Ibsens work and forced people to admire it. The New Drama, primarily of intellectual nature made apparent the emptiness and the insipidity. Ward says it dealt with the changing opinions about the new woman, the new man, the new morality, and all the other new social and political ideas. Shaw is regarded as the greatest English dramatist of themodern age, and as a writer of witty and humorous drama, his contribution to British theatre is only second to Shakespeare. By rejecting outmoded theatrical conventions and championing realism and social commentary in his work, critics contend Shaw succeeded in revolutionizing British drama. He has been credited with creating the theatre of ideas, in which plays explore such issues as sexism, sexual equality, socioeconomic divisions, the effects of poverty, and philosophical and religious theories. Shaws plays, contained incisive humour, which was exceptional among playwrights of the Victorian era; and remembered for his comedy. The dramatic volume with which Shaw dazzled the public was called, plays, Pleasant and Unpleasant. Moreover, his innovative dramas are thought to have paved the way for later Symbolist drama and the Theatres of the Absurd. Candida comes under Shaws pleasant play, which is a comedy with ideas. Therefore, his characters are allegorical personification or personified ideas. As such they are run down as inhuman automations. None of them exist in their own right: they are all merely representatives of Shaw, records

for the playing of Shavian themes, spouts through which pour the streams of Shavian doctrines. They can never forget that they have been put on the stage to expound some theory working in their creators mind. For the most they appear before us readymade and we know no more of them than they tell us themselves. There is hardly any development in their characters. This is why Shaw does not allow any considerable period of time between his Acts. Thus Shaws principle characters are either static or subjected to one violent and final revolution. And the part they play, as Shanks points out in the comedy is strictly analogous to the part played by the hero in a romantic drama. They are protagonists; and they must be spectacular and bestride the stage even when discomfort has made them ridiculous. But this is not the whole truth. It is not true to say that all Shaws characters are their authors mouthpieces. In the earlier and more important plays many characters have their own individual personalities. In this connection C.E.M Joad says that The statement that all Shaws characters voice the opinions of theirs author in the sense in which it is true, is a truism; of course, everything that a character says comes out of individual people with authentic personalities but only gramophone records, can be demonstrated by merely citing such names as Dick Dudgeon, Lady Cicely Wynflete, Candida, St Joan or Captain Shotover, who are most indubitable characters in their own right. One remembers them as individual persons just as one remembers people that it is in character for them to say; one even feels that one might recognise them in the street. Yet the charge has some relevance to the characters in the later plays that, it must be admitted, are shadowy. A.C ward also disagrees with the popular criticism that Shaws characters are merely their authors mouthpieces. This complaint, he says, cannot be uplheld if the sayings of Shaws mouthpiece in Saint Joan? Joan

herself?orWarwick?orCouhon? Or the Inquicart, is it King Magnus or the prime minister that is Shaws mouthpiece? Each presents his own case; and the two are irreconcilable. Shaw the rationalist has drawn his women in unsentimental and romantics terms. Most of his women are unpleasant and unsexed women.According to G.B Harrison, Women, above all, he read and presented with a cunning unromantic realism which suggests that, like the novelist Richardson, he understood women even better than men. Shaws portrayal of women is masterly. He invented the modern woman before he discovered himself. His women character are unlike Shakespeares portrayal of women, his women are not entirely charming. While on the one hand many women resented the portrayal of Ann whitely in Man and Superman and of Candida,on the other hand, many feel that Shaws women are well-drawn.

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Chapter II Biographical Sketch of George Bernard Shaw

George Bernard Shaw was born on July 26, 1856, in Dublin, Ireland. At his mother's instruction, Shaw was introduced to music and art early in his childhood and became interested in a career as a writer. At the age of fifteen, he began work as a rent collector for a Dublin land agent, which he did for five years. His experiences on the job became the inspiration for the events in his first drama, Widowers' Houses(1892). In 1876 he moved to London and began a rigorous self-education in economics and politics, with a leaning toward socialist ideals. During the 1880s he garnered attention as an orator, a literary and art critic, a socialist commentator, and Saturday Review drama critic. When his career as a novelist stalled, he turned to playwriting, a form that he soon realized allowed him to express many of his political, social, and philosophical concerns. Generally, his works were successful in book form before appearing on stage and the prefaces to his plays received much critical attention; in fact, critics consider these explanatory essays to be integral to a full understanding of his work. In 1894 Shaw aided Sidney Webb in establishing the London School of Economics. He was elected vestryman in Saint Pancras in 1897, with an emphasis on reform in sanitation and public health conditions. His interest in reform, especially on behalf of those living in poverty, found its ways into his dramatic writing. In 1898 six of his plays were published as Plays: Pleasant and Unpleasant, which catapulted Shaw into a critical and popular success. However, his writings questioning the motives behind England's participation in World War I resulted in a backlashhis books were removed from library

shelves, his plays were boycotted, he was forced to resign from the Society of Authors and the Dramatists Club, and he was accused of being a German sympathizer. Yet the public outcry did not deter Shaw from writing about the implications of the war and incorporating these concerns into his dramatic work. It was not until the appearance of his celebrated play Saint Joan in 1923 that his reputation was repaired. The play was immediately recognized as a masterpiece and earned the playwright a Nobel Prize for Literature in 1925. He continued to be a prolific playwright, essayist, social and political commentator, and socialist activist. In January 1896 Beatrice Webb invited Shaw and Charlotte PayneTownshend to their rented home in the village of Stratford St Andrew in Suffolk. Shaw took a strong liking to Charlotte. He wrote to Janet A church: Instead of going to bed at ten, we go out and stroll about among the trees for a while. She, being also Irish, does not succumb to my arts as the unsuspecting and literal Englishwoman does; but we get on together all the better, repairing bicycles, talking philosophy and religion... or, when we are in a mischievous or sentimental humor, philandering shamelessly and outrageously." Beatrice wrote: "They were constant companions, pedaling round the country all day, sitting up late at night talking. Beatrice Webb recorded in her diary that Charlotte Payne-Townshend was clearly in love with George Bernard Shaw but she did not believe that he felt the same way: "I see no sign on his side of the growth of any genuine and steadfast affection." In July 1897 Charlotte proposed marriage. He rejected the idea because he was poor and she was rich and people might consider him a "fortune-hunter". He told Ellen Terry that the proposal was like an "earthquake" and "with shuddering horror and wildly asked the fare to Australia". Charlotte decided to leave Shaw and went to live in Italy.

In April 1898 Shaw had an accident. According to Shaw his left foot swelled up "to the size of a church bell". He wrote to Charlotte complaining that he was unable to walk. When she heard the news she travelled back to visit him at his home in Fitzroy Square. Soon after she arrived on 1st May she arranged for him to go into hospital. Shaw had an operation that scraped the necrosed bone clean. Shaw's biographer, Stanley Weintraub, has pointed out: In the conditions of non-care in which he lived at 29 Fitzroy Square with his mother (the Shaws had moved again on 5 March 1887), an unhealed foot injury required Shaw's hospitalization. On 1 June 1898, while on crutches and recuperating from surgery for necrosis of the bone, Shaw married his informal nurse, Charlotte Frances Payne-Townshend, at the office of the registrar at 15 Henrietta Street, Covent Garden. He was nearly forty-two; the bride, a wealthy Irishwoman born at Londonderry on 20 January 1857, thus a half-year younger than her husband, resided in some style at 10 Adelphi Terrace, London, overlooking the Embankment. Shaw later told Wilfrid Scawen Blunt: "I thought I was dead, for it would not heal, and Charlotte had me at her mercy. I should never have married if I had thought I should get well." Shaw's major dramatic works are infused with his social, economic, and political concerns, particularly his criticism of the inequalities and injustices of late-Victorian capitalism. He is also credited with creating the serious farce, a dramatic genre that inverts melodramatic conventions and utilizes comedy to promote serious views on public policy, social institutions, and morality. In his work, Shaw strove to peel away the romantic and false layers in order to reveal the realities of middle- and lower-class life. Completed in 1892, his first play, Widowers' Houses, exposes the hypocrisy of slum landlords who derive their income from the ruthless exploitation of the poor.

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In his next play, The Philanderer, which was written in 1893 but not produced until 1905, Shaw explores his recurring interest in the concept of sexual equality, contending that social pressures and artificial social structures result in sexual discrimination. Mrs Warren's Profession (written 1893; produced 1902) is a scathing indictment of a capitalist system that does not allow women equal opportunities for decent wages and fulfilling work. When Mrs Warren is exposed as a prostitute, she justifies her personal choice as a matter of economics. Viewed as a conventional drama-comedy, Candida (written 1894; produced 1897) chronicles the triangle of a husband, wife, and immature, idealistic young poet. In his John Bull's Other Island (1904) Shaw focuses on the issues of Irish self-rule and Anglo-Irish relations. The play garnered attention for Shaw's reversal of stereotypes: the comic Irishman became wise and the wise Englishman became comic. Originally written in 1901-1902, Man and Superman (produced 1905) is considered a turning point in Shaw's dramatic career. The play is often described as a comedy of manners in which a confident and resourceful woman seduces a reluctant man the reverse of the Don Juan myth, which figures prominently in the story. Subtitled A Comedy and a Philosophy, the play also addresses several controversial and pressing social and philosophical issues, including theories of evolution and religion. Much of the critical reaction to Man and Superman surrounds the relationship between the hell scenes in Act IIIin which the principal characters are depicted as their actual or spiritual ancestors from the Don Juan legendand the rest of the play. Major Barbara(1905) utilizes comedy to explore the dehumanizing consequences of poverty and unemployment. The protagonist of the play, Barbara, rejects her position in the Salvation Army when she realizes that her father's fortune can better aid the poor and

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downtrodden than can the Salvation Army's enforced religiosity. Critics commend Major Barbara as Shaw's most intellectually complex play. Although Shaw described Pygmalion (written 1912; produced 1913) as a didactic play about phonetics, commentators viewed the play as a comedy about love and class. The play chronicles the story of a lower-class cockney flower peddler who is trained by a priggish professor, Henry Higgins, to be a lady. It is regarded as Shaw's most popular play, and has been performed countless times all over the world. Written and performed in 1923, his acclaimed drama Saint Joan chronicles the life of the legendary religious martyr Joan of Arc, whose canonization in 1920 inspired Shaw's play. Joan is portrayed as a nationalist rebel who struggles against the establishment at the risk of her own life. In the preface to the play he finds parallels between medieval France and early twentieth-century Ireland and condemns English tyranny as cruel and unjust. Shaw's published plays come with lengthy prefaces. These tend to be more about Shaw's opinions on the issues addressed by the plays than about the plays themselves. Often his prefaces are longer than the plays they introduce. For example, the Penguin Books edition of his one-act The Shewing-up Of Blanco Posnet (1909) has a 67-page preface for the 29-page play script. He wrote plays for the rest of his life, but very few of them are as notableor as often revivedas his earlier work. The Apple Cart (1929) was probably his most popular work of this era. Later full-length plays like Too True to Be Good (1931), On the Rocks (1933), The Millionaires (1935), and Geneva (1938) have been seen as marking a decline. His last significant play, In Good King Charles Golden Days has, according to St. John Ervine, passages that are equal to Shaw's major works.

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As Shaw's experience and popularity increased, his plays and prefaces became more voluble about reforms he advocated, without diminishing their success as entertainments. Such works, including Caesar and Cleopatra (1898), Man and Superman (1903), Major Barbara (1905) and The Doctor's Dilemma (1906), display Shaw's matured views, for he was approaching 50 when he wrote them. From 1904 to 1907, several of his plays had their London premieres in notable productions at the Court Theatre, managed by Harley Granville-Barker and J. E. Vedrenne. The first of his new plays to be performed at the Court Theatre, John Bull's Other Island (1904), while not especially popular today, made his reputation in London when King Edward VII laughed so hard during a command performance that he broke his chair.Shaw is acclaimed as the most significant British dramatist of the modern era. During his lifetime, critics and theatregoers alike recognized Shaw's innovative, clever, and humorous plays that eschewed romantic conventions and explored relevant and often controversial subjects, such as prostitution, sexual discrimination, class divisions, morality, and the effect of poverty on the lower classes. At the outbreak of World War I, Shaw's anti-war writings proved to be severely damaging to his critical and popular reputation, as commentators accused him of being unpatriotic and a German sympathizer. After the war, however, his commentary on the war was recognized as prescient, and he was once again applauded as an innovative and insightful talent. On the eve of World War II, Shaw once again alienated critics and theatregoers with his anti-democracy tracts and dramas, which were perceived as pro-fascist in nature. Over the years, Shaw's plays have been derided as didactic and unsympathetic and his characters have been censured as

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unrealistic and lacking sensuality, spirituality, and vitality. His depiction of strong, independent women has been a frequent topic of interest for feminist critics. The philosophical, theological, and psychoanalytical theories that permeate his work are perceived as reflections of Shaw's own concerns. Scholars have traced the influence of Henrik Ibsen on Shaw's plays, focusing on the aim of both playwrights to call attention to social problems and moral issues rather than melodramatic incidents and sentimental resolutions. Despite criticisms of his work, Shaw's contribution to modern theatre is considered profound. His propounding of the theatre of ideas, in which theatre is obligated to provide moral instruction, is regarded as one of his key achievements. Shaw's plays, like those of Oscar Wilde, contained incisive humour, which was exceptional among playwrights of the Victorian era; both authors are remembered for their comedy. In the Victorian Era, the London stage had been regarded as a place for frothy, sentimental entertainment. Shaw made it a forum for considering moral, political and economic issues, possibly his most lasting and important contribution to dramatic art. In this, he considered himself indebted to Henrik Ibsen, who pioneered modern realistic drama, meaning drama designed to heighten awareness of some important social issue. Shaw founded the Fabian Society with Beatrice and Sidney Webb, a socialist political organization dedicated to transforming Britain into a socialist state, not by revolution but by systematic progressive legislation, bolstered by persuasion and mass education. The Fabian society would later be instrumental in founding the London School of Economics and the Labour Party.

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Shaws lectured for the Fabian Society, and wrote pamphlets on the progressive arts, including The Perfect Wagnerite, an interpretation of Richard Wagner's Ring cycle, and The Quintessence of Ibsenism, based on a series of lectures about the progressive Norwegian playwright, Henrik Ibsen. Meanwhile, as a journalist, Shaw worked as an art critic, then as a music critic (writing under the pseudonym "Corno di Bassetto"), and finally, from 1895 to 1898, as Theatre Critic for the Saturday Review, where his reviews appeared over the infamous initials "GBS." Shaw lived the rest of his life as an international celebrity, travelling the world, continually involved in local and international politics. He visited the Soviet Union at the invitation of Stalin; and he came briefly to the United States at the invitation of William Randolph Hearst, stepping on shore only twice, for a lecture at the Metropolitan Opera House in New York, and for lunch at Hearst's castle in San Simeon in California. And he continued to write thousands of letters and over a dozen more plays. In 1950, Shaw fell off a ladder while trimming a tree on his property at Ayot St. Lawrence in Hertfordshire, outside of London, and died a few days later of complications from the injury, at age 94.In his will, he left a large part of his estate to a project to revamp the English alphabet. (Only one volume was published with the new Shaw Alphabet: a parallel text edition of Shaw's Androcles and the Lion. After that project failed, the estate was divided among the other beneficiaries in his will: the National Gallery of Ireland, the British Museum, and the Royal Academy of Dramatic Art. Royalties from Shaw's plays and from the musical My Fair Lady, based on Shaw's Pygmalion have helped to balance the budgets of these institutions ever since. *****

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Chapter III Candida as a Comedy

Candida begins in October of 1894 in the drawing room of St. Dominic's parsonage in the East End of London. Reverend James Morell, a Christian Socialist minister, discusses his busy schedule with his efficient typist, Miss Proserpine Garnett. Burgess, Morell's father-in-law came to visits his daughters home, for the first time in three years. While Burgess cannot convince Morell that he has changed his nature, he impresses Morell with the news that he has raised the wages of his underpaid workers. Morell's wife Candida returns home accompanied by the 18 year-old poet Eugene Marchbanks, whom Morell has recently rescued from the streets. Once alone with Morell, Marchbanks reveals that he is in love with Candida. His nervousness fades as he speaks of Candida's beauty and how Morell does not deserve her. As ActI ends, the Reverend Morell, shaken by Marchbanks' accusation, nonetheless insists that the young man stay for lunch. The curtain opens for Act II, the same day and same room. Marchbanks wondering around the room goes near the typewriter as if he wants to know how it works and then unexpectedly Miss Garnett enters.Shenotices that somebody has touch her typewriter and then she look toward

Marchbanks.Marchbanks became nervous and tries to explain his things to Miss Garnett and continue to speak in a poetical tone asking silly question now and then. Flustered by Eugene's insinuations, she strikes out instead at Burgess, who has wandered in, accusing him of being a "silly old fathead."

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Meanwhile,Candida senses her husband's growing discomfort on the subject of Marchbanks and pulls him aside to talk. She tries to tease him but ends up reinforcing his insecurities about their marriage and his vocation. Candida suggests that his popularity as a speaker has more to do with his personal charm than his message. Frustrated, Morell considers canceling his evening's speaking appointment. He reconsiders, though, and decides to leave Candida alone with Marchbanks as a kind of test. At the top of Act III, Marchbanks and Candida near the end of their evening together - an evening spent in poetry reading.Marchbanks reading the poems continuously, unaware that Candida is not listening at all and busy with her poker. Then a moment later Marchbanks realized and felt disappointed, but Candida with her sweet charming spellwon over him. After a while Morell came tired and lost after a long lecture he gave in St. Mathew. When Candida saw his husband, with ease moveshe responded, sheapproached toher husbandwith glad and then asked him about his performances. Candida is over active and inquired about the collection, and acts as a perfect housewife who appears to be so conscious about her husband. Then she went to the kitchen to fetch something for him and then the others arrived, Mr Burgess, Mill and Miss Garnett. Candida with her active hospitality bought lemonade for everyone. Later Morell dismissed the work for the day, Miss Garnett, Mill and Mr Burgess they left. And only three of them were left alone in the room, Morell, Candida and Marchbanks. Candida insists Marchbanks to stay back for the night. She tells Marchbank to go to bed and tell him that she wants some moment alone with Morell. But Morell decide to let Marchbanks stays with them and to clarify and end his confusion. At first Candida avoids the situation but later she agreed. Morell and Marchbanks ended to confess their confusion to Candida. They tell Candida to

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decide for herself, with whom she would like to spend her rest of her life. Candida with her presence of mind and quick thought solves confusionvery quickly. She tells both of them to announce their state of mind about their needs, and then she explains in a brief manner rejecting the other one. Telling she wants to protect the most needed one. She suggests picking the story of both lives and announced that she wishes to stay with Morell as a faithful wife. She said it is her responsibility and her biggest duty to protect Morell. According to Candida,Morell is the most needed one then Marchbanks. Morell is unaccustomed to misery and pain. And Morell is always adored by his family and people around. Marchbanks in the opposite, his life has always been in Misery and there is no one to look after him, he is always by himself left alone. Even his own family member doesnt care about him and he knows how to survive and live by his own.Morell issuch a baby in comparison toMarchbanks. She solves the confusion without offending herself or the others for her choice. Candida in a surprising turn of events demonstrates that Morell is the weaker of the two, and therefore more deserving of her love. Marchbanks, realizing his future lies elsewhere, leaves Morell and Candida behind. As Candida is an early work and Shaw was to integrate his characters better in his later plays. With Morrell and Marchbanks, it seems Shaw intended to look at two prominent sides of himself that he could not bring into a unity: the socialist preacher caught up in everyday reality, Shaw is a soapbox orator and a member of a borough council and the artist and admirer of artists who, like Shelley, create compelling alternative realities. Marchbanks is meant to be a potential Shelley, who outraged society and lived a scandalous erotic life. Shaw, by contrast, seriously studied economics;he read Marxs Das

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Kapital, served on a local London Council and helped found the socialist political Fabian Society. G.K. Chesterton wrote about Shaw that he is a man who could have enjoyed art among the artists, who could have been the wittiest of flaneurs [idle talkers and dandies]; who could have made epigrams like diamonds and drunk music like wine. He has instead labored in the mill of statistics and crammed his mind with all the most dreary and filthy details, so that he can argue on the spur of the moment about sewing machines or sewage, about typhus fever or two-penny tubes. Though Eugene Marchbanks is given the intellectual victory in Candida, in his career Shaw is closer to Morell. When Eugene goes out into the night, he takes leave of Shaw as well: It is Shaw saying farewell to Shelley and vice-versa. In Candida Shaw has drawn the life of Victorian England. He presented the case of common issues of the middle class society during the Victorian era. The Controversy over the institution of marriage, with marriage rates declining, divorce rates soaring and same-sex partners seeking civil and theological sanctions. As Shaw always uses ideas in his plays, in Candida he uses comedy of ideas to present the reality of the society, hetries to show the paltry manners of the middleclass society way of living, the society that always thinks they are actually doing the right thing but then they are actually making fun of themselves. The characters in Candida are based on the culture and the way of living of middleclass Victorian society. And in the play just like Ibsens plays are largely based on social and political problem of modern society, Shaw who is under the same influences try to present his ideas through comedy, uses the

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same technique to presents reality. The play is simple but the story brings the vast issues of common domestic life, women status, and life of working class and clergymen of Victorian England. The two main male characters in the play Morell and Marchbanks are considered as Shaw dual character which is within him, the conflict character of Shaw. And also the character of Marchbanks is special, for the character is based on Shelly. Shaws influence on Shelly, Shelly as an Aristocrats poet, controversial life, both inhis sexual life and political views. Shaw uses the character of Marchbanks as his perfect weapon to bring humour and amusement in the play: MARCHBANKS. Misery! I am the happiest of men. I desire nothingnow but her happiness. (With dreamy enthusiasm) Oh, Morellletus both give her up. Why should she have to choose between awretched little nervous disease like me, and a pig-headed parson like you? Let us go on a pilgrimage, you to the east and I to thewest, in search of a worthy lover for hersome beautifularchangel with purple wings. (Act-III, 66-67) Shaw has created the character of Marchbanks as eccentric and different from the other characters in the play. The above lines display Marchbankss point of views. The lines spoken by him sound comic but his intentions were serious.When he says misery then he again adds happiest which seems to present his mixed mind. He felt both lucky and unlucky at the same time. As Based on Shaws philosophy of Evolution, poet and the other spirit are the benefactors of mankind. They are the finest soul who helps life force in improvement of quality of the race. They are originators and innovators through whom life seeks to raise itself to higher levels, but they are unlikely to

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prove breadwinners. Shaw has uses the character of Marchbanks as a pepper spray to bring spices, comedy,and light of ideas in the play, which is plain and simple without him. MARCHBANKS.[impetuously] Its the gift of the gab, nothing more and less. What has your knack of fine talking to do with the truth, any more than playing and the organs has? I vebeen to your political

meetings to enthusiasm: that is, you excited then until they behaved exactly as if they were drunk. And their wives looked on and saw what fools they were. Oh, its an old story: you llfind it in bible. I imagine King David, in his fits of enthusiasm, was very like you. [Stabbing him with the words] But despised him in her heart. (Act- I, 31) The above line spoken by Marchbanks is very funny. He indirectly explains the futility of Morells lectures and compared him with King David, what we can notice from his dialogue that he is bringing the play to amusement and the element of ideas through comedy. Marchbanks is a young poet, which means full of imagination and curiosity to experience new things in life; he has lots of expectation with the world. He is in hope to bring peace, which he think is his responsibility to make everyone feel equally loved, for he had never been love by his own family or any one. Andwhen he became acquaintance with Morell and Candida. He started to shapes confident in himself,like he can be reasonable to people by understanding their feelings, especially Candida. But the others find his way of expressing his views strange and not worthy. Marchbanks thinks Candida is the only person who can understand his emotions and he admired her deeply and foolishly. His character brings both

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comic and tension in the so called happy settle life of Morell and in the climax of the play. Morell is a well-respected man in the society, he think he is doing everything right, everything in his life seems perfect, a beautiful loving wife and a children. There is nothing more he wanted but then Marchbanks came in their life, and he felt something indifferences in himself,Likehe started to feel his incapability and insecurity,even though later his wife Candida chooses him over Marchbanks and remain with him forever as a faithful wife. But still the question remain in him, is his perfect life actually perfect: MORELL. (philosophically) She seems to bear it pretty well.(Looking him straight in the face.)Eugene, my boy: you aremaking a fool of yourselfa very great fool of yourself. Theresa piece of wholesome plain speaking for you. MARCHBANKS. Oh, do you think I dont know all that? Do you thinkthat the things people make fools of themselves about are anyless real and true than the things they behave sensibly about? They aremore true: they are the only things that are true.You are verycalm and sensible and moderate with me because you can see that Iam a fool about your wife; just as no doubt that old man who washere just now is very wise over your socialism, because he seesthat YOU are a fool about it Does that prove you wrong? Does your Complacent superiority to me proves that I am wrong? (Act I, 28-29) Marchbanks open up the things which Morell had never thought of, and the strange and unusual way of Marchbanks has done a lots. The conversation between Morell and Marchbanks are serious though itseems more comic, for the way every time Marchbanks reply back to Morell as if he knows better. He

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is indirectly provoking him, but again the words of Marchbanks is making Morell realized his silly behaviours too. During their conversation they disclose many matters, like the matter of his wife, likehow we come to know Candidas intelligence through their conversation. When Morell asked Marchbanks to stay for Lunch and then Marchbanks reply: MARCHBANKS. Thank you, I should like that very much.But I really mustnt. The truth is, Mrs Morell told me not to. She said she didnt think youd ask me to stay to lunch, but that I was to remember, if you did, that you didnt really want me to. (Plaintively.) She said Id understand; but I dont. Please dont tell her I told you. (Act-I, 26) Marchbanks straight and honest dialogue uncovers the reality of Candida to the readers. The above lines strike the correct shot of comedy to presents the reality. We came to know Candidas intelligence,how she is handling the two men. The way Marchbanks spokes in the above line is comic and sensible, which makes the readers laugh but again comedy display alots of truth. Candida represents the middle class housewife. Candida like other middle class women of Victorian England, She was clever and beautiful. She controls her husband and takes care of him. Her character is charismatic; she captivates her husband mind with her goodness of appearances. She had the ability to toy any one with her sweet charms and confidence. If See her relationship with another man, Marchbanks in the play. One can understand what actually she wanted from him. He is a young poet, who is lost in the world of imagination and heavenly thought. He loves Candida deeply, which give Candida the power to control over him and he is doing everything she

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says. And she controls both men Morell and Marchbanks without letting them know her selfish activities. Candida appears to be so sweet, hardworking and encouraging wife infornt of her husband Morell that he never suspects a thing. She is fast in arranging things quickly to normal. She knows to have a prosperous and respectable life; she needs a husband like Morell. And for her entertainment and dog like lover who will serve her, who will do all her works and give her pleasure of youth was Marchbanks, which she cannot get it from Morell. But in contrary she doesnt want to spend her whole life with a fool like Marchbanks.She doesnt want to risk her life, she knows Marchbanks can just entertain her but he cannot give her a secure life. In the end when she chooses his Husband over Marchbanks by giving a silly comparison which sound more funny then what actually Candida seriously think she has proved her point, and we get the idea of what actually Candida really wants and her intention : CANDIDA.(smiling a little) You remember what you told me Aboutyourself, Eugene: how nobody has cared for you since your Oldnurse died: how those clever, fashionable sisters and successfulbrothers of yours were your mothers and fathers pets: howmiserable you were at Eton: how your father is trying to starveyou into returning to Oxford: how you have had to live withoutcomfort or welcome or refuge, always lonely, and nearly alwaysdisliked and misunderstood, poor boy!... CANDIDA. Never mind that just at present. Now I want you to Lookat this other boy hereMY boyspoiled from his cradle. We Goonce a fortnight to see his parents. You should come with us,Eugene, and see the pictures of the hero of that household. Jamesas a babys...And when he thought I might go away with you, his onlyanxiety was what should

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become of ME! And to tempt me to stay he offered me ... his strength for MY defence, his industry for mylivelihood, his position for my dignity, his (Relenting.) Ah, Iam mixing up your beautiful sentences and spoiling them, am Inot, darling? (She lays her cheek fondly against his.) MORELL WhatI am you have made me with the labor of your hands ,And the loveof your heart! You are my wife, my mother, my sisters: you arethe sum of all loving care to me. CANDIDAAm I YOUR mother.Andsisters to you, Eugene? (Act-III, 78-79) Marchbanks accepted her decision without any question. Candidas status qua left Marchbanks nothing good but miseries again, like he was before.His life when back to where once Morell rescued him from the street.Candida left nothing for Marchbanks to say. The character of women like Candida is not hard to find in the society during the Nineteen century Victorian England. The lower middle class and middle class family teaches their daughter from their beginning of their Education to be very sweet and gentle from outside and tells them to make acquaintance with higher class or well earn men. Their education system is so different from men and ultimately they learn to be cunning and materialistic. When they grow up and get married, their marriages are the consequences of their education from home. And marrying a man by just seeing only the status and wealth, they later find themselves lonely and try to seek another love affair secretly for their entertainment without making their husband aware of it. And they create the scene just like in Candida. Candidas background is also from the lower middle class family. She knows the important of money and status; therefore she stands along her husband till the end of the play, without any regret of what she had done to

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Marchbanks.Her role is realistic and natural. She is the modern woman and she chooses to have a secure and respectable life for herself and her children. She is among the new women era, wanted to live a life with choices of her own, wants freedom and security at the same time. Candidas character in the play is very practical. Many critics have mentioned that the play Candida is a parody of Ibsens play A Dollhouse where Nora the protagonist leave her husband because she cannot live anymore the life of a doll house and seek freedom by leaving his husband.Nora thinks her husbandfail to understand her feelings and leaving him alone to suffer for his weakness. But in Candida it is different and Candida is more broadminded and a new woman of the modern era, she chooses to stay with her husband even knowing his weakness, for she knows that her life is more secure with him and it is the best option. Many author says that she is the grown up and mature Nora. She is brought up in the new women society era and like the other women of her time. She knows that she has to be more rational and strong to survive in the materialistic society she is borne in. The character of Candida is based on Shawsown experiences of the new women of the era. The new woman, in the sense of the best woman, the flower of all the womanhood of past ages, has come to stay, if civilization is to endure. The sufferings of the past have but strengthened her, maternity has deepened her, education is broadening her and she now knows that she must perfect herself if shewould perfect the race, and leave her imprint uponimmortality, through her offspring or her works. Candida is Shaw's emancipated or free New Woman. The name Candida shows this feature because Candida means "free". She is most dominating figure. Candida, the down to earth, maternal, wise woman is there to puncture both Eugene's Romantic ideas of Love and Morell's idea of

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manly protection. Shaw's demonstration of her wise practicality in contrast to Eugene's idealism and Morell's personal limitations, risks her appearing as too smug a demonstration. Ibsen's A Doll House had made a tremendous impact on the British theatres idea of the 'womanly woman' and Candida is there to reinforce the lesson of Nora, this time by making the wife remain at home to protect the un-happy husband. The character of Morell is close to Shaw. From the very beginning of the play we are made aware of some common features which bring the close ideas of Shaw in Morells character. While narrating Morells character in the text, like his interest in book, his library, which contents the books like Brownings poems, Maurice theology essays, Fabian essays, A Dream of John ball, Marxs capital, and a dozen other literary land marks in socialism. The author wants the readers to understand the psychology of Morell and his ideas which is Shaws mouthpiece. Shaw describes him as a vigorous, genial, popular man of forty, robust and good-looking, full of energy, with pleasant, hearty, considerate manners, and a sound unaffected voice, which he uses with the clean athletic articulation of a practiced orator, and with a wide range and perfect command of expression. Morell preach the radical club and in other public places to convey the message of church and his views as a socialist and he is a good speaker. The character of Morell and his philosophy is the mask which Shaw uses to present his Ideas in the play. Just like Morell, he is also a good speaker and keeps his interest in the affair of England politics and a part of Fabian society. Shaw gave lectures on socialism on street corners and helped distribute political literature just like Morell in the play. Morell viewpoint is close to Shaws philosophy.

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The minor character like Candidas father Mr Burgess represents the helpless men of the Victorian society, a successful but unscrupulous businessman from a working class background without talent, the world has offered him no decently paid work except ignoble work, and he has become in consequence, somewhat hoggish. He honestly regards his commercial prosperity as the inevitable and socially wholesome triumph of the ability, industry, shrewdness and experience in business of a man, who in private is easy-going, affectionate and humorously convivial to a fault: BURGESS.(chuckling in spite of himself.) Well, you are a queerbird, James, and no mistake. But (almost enthusiastically) onecarnt elplikin you; besides, as I said afore, of course onedont take all a clorgyman says seriously, or the world couldnt ssgo on. Could it now? (He composes himself for graver discourse,and turning his eyes on Morell proceeds with dull seriousness.) MORELL. (delighted ) Aha! Youre finding that out at last, areyou? BURGESS. (portentously) Yes, times as changed morn I could abelieved. Five yorr (year) ago, no sensible man would a thoughto takin up with your ideas. I used to wonder you was letpreach at all. Why, I know a clorgyman ifhenyone was to offer to bet me a thousan poun that youll endbybein a bishop yourself, I shouldnt venture to take the bet.You and yore crew are gettin influential: I can see that.Theyll ave to give you something someday, if its only to stopyore mouth. You ad the right instinc arter all, James: the lineyou took is the payin line in the long run fur a man o your sort. (Act I, 18-19)

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Shaw tries to represents Burgess as a man with less moral and a totally business minded person and therefore, it is easy to make Burgess Characterlook funny. The way Burgess pronounce words are very different from others like for example, he pronounce clorgyman for clergyman, fur for for, yore for your, he pronounce differently.The way he everytime pronounce word in a funny tone is again bringing the funny side in the scene. The comedy Burgess brings is very natural. Candida's purpose is not to just expose social ills though it does casually refer to "socialism and corruption in government, it deals more with "controversial social issues" such as the reality of marriage in the 19th Century: MARCHBANKS. Here endeth the thousand and first lesson. Morell: Idont think much of your preaching after all: I believe I coulddo it better myself. The man I want to meet is the man thatCandida married. MORELL.The man that? Do you mean me? MARCHBANKS. I dont mean the Reverend James

MavorMorell,moralist and windbag. I mean the real man that the Reverend Jamesmust have hidden somewhere inside his black coatthe man thatCandida loved. You cant make a woman like Candida loves you bymerely buttoning your collar at the back instead of in front. (Act III, 64) The lines spoken by Marchbanks are understatement, the conversation brings humour in the scene, Marchbanks tries to get really mature and lecture Morell on his views toward their relationships with Candida. The issues Marchbanks brought up are serious and provokeMorell but we reader at the

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main time, we laugh and also get the ideas. This is actually Shaw ways of presenting reality. Marchbanks compels Morell to think that he is not worthy to have Candida as his wife.The lines of Marchbanks are argumentive and it is aquestion for all the male races about their marriage life, question for their responsibility, and question on what does a woman really wants. As Shaw always include women subject in his plays, he applied theideas of women issues to open up in Candida through the character of Marchbanks in a comic ways, he question the world about the issues of what a women really wants. Sociologically, Shaws propose in the play is to attack the so -called marital love and domestic happiness. Shaws contention is that mans passion for his wife is allied to the proprietary instinct. He regards himself as her breadwinner and protector whereas the truth is, as in Morells case, which man himself is a parasite on his wife, for it she who is the sum of all loving care to him. More often than not the husband is indeed, the Doll in the house. Shaw exposes the hollowness of the assumption that marriage establishes a personal and intimate relationship between the husband and the wife. Marriages like that of Morell and Candida begin to quake when a better man and woman intrudes into the household with the promise of a better life of beauty and delight. The fact is that in the existing set up of society, all marriages are misalliances and all the husbands and wives are maintaining only an illusion of happiness to keep up appearances.

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Chapter IV Conclusion
Shaw is acclaimed as the most significant British dramatist of the Modern era. During his lifetime, critics and theatregoers alike recognized Shaw's innovative, clever, and humorous plays that eschewed romantic conventions and explored relevant and often controversial subjects, such as prostitution, sexual discrimination, class divisions, morality, and the effect of poverty on the lower classes. At the outbreak of World War I, Shaw's anti-war writings proved to be severely damaging to his critical and popular reputation, as commentators accused him of being unpatriotic and a German sympathizer. After the war, however, his commentary on the war was recognized as prescient, and he was once again applauded as an innovative and insightful talent. Nevertheless, apart from the amusing love triangle portrayed in Candida, it is also possible to identify, at a higher level of analysis, the presence of those elements which are often considered to be Shaw's major ideas in writing: Socialism, Feminism and the concept of Life Force. Out of those three notions, that of the Socialism is by far the most evident, since it appears in the story itself as the basis of Morrell's political ideas. This is made clear from the beginning of the play, basically in two moments. First, when describing the elements in the room, among which we find "Fabian Essays, a Dream of John Ball, Marx's Capital and half a dozen other literary landmarks in Socialism".

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Later, and more explicitly, when Morrell is presented as a Christian Socialist clergyman of the Church of England, and an active member of the Guild of St. Matthew and the Christian Social Union. In this way the author, having been an active member of the Fabian Society, introduces his belief that the ordering of society should be. Candida could certainly be classified as one of Shaw's "discussion plays," and the dialogue is full of Shaw's customary wit, politics, and intellectual ideas. Amidst all the discussion, however the need for more attentive listening than the average contemporary audience is accustomed to exert. The dialogue bristles, the comedy resonates richly, and the characters including three finely drawn supporting roles come to life with vivid and memorable expression. At just over two hours, the evening passes swiftly and enjoyably. Shaw also must have possessed great affinity for Marchbanks, the amorous young poet, the truth teller, shattering the smug assumptions of the minister and his world. Ultimately, however, in creating this play, Shaw perhaps plays the role of Candida, the maternal figure, presiding over the proceedings and helping, with firmness and love, her two "boys" to better understand themselves and to find or restart their paths in life. The issues are infinitely complex, infinitely controversial. As Shaw later wrote in his Man and Superman, "Those who talk about the blessings of marriage and the constancy of its vows are the very people who declare that if the chains were broken and the prisoners were left free to choose, the whole social fabric would fly asunder. You can't have the argument both ways. The philosophical, theological, and psychoanalytical theories that permeate his work are perceived as reflections of Shaw's own concerns.

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Scholars have traced the influence of Henrik Ibsen on Shaw's plays, focusing on the aim of both playwrights to call attention to social problems and moral issues rather than melodramatic incidents and sentimental resolutions. Despite criticisms of his work, Shaw's contribution to modern theatre is considered profound. His propounding of the theatre of ideas, in which theatre is obligated to provide moral instruction, is regarded as one of his key achievements. Shaw is chiefly interested in the problem of the day. He saw things as they were and had the courage to tell in uncompromising language exactly what he saw. He thought of himself, resolutely refused to accept readymade opinions, and judged solely on evidence or on logic. He set his mind free from prejudice, superstition, illusions, and popular delusions. He had his original thoughts on contemporary problems as well as problems affecting humanity at large. He saw things with direct vision and altogether apart from the prejudice imposed by custom. He refused to be carried away by contemporary emotions by which the general public was swept off it feet. Shaw believed that unless society is formed, no man can reform himself except in the most insignificant small ways. His aim has been not to tell a story but to convey ideas. Shaw himself wrote that Candida is a counterpoint to Ibsen'sA Doll's House, showing that in the real typical doll's house it is the man who is the doll. Ibsen in A Doll's House(1879)had shown how men treated their wives as inferior creatures, or dolls, and at the end of the play his heroine rebels and leaves her husband.In Candida Shaw powerfully and effectively reverses Ibsen's idea. Counterpoint or reversal is Shaw's favourite technique in all of his plays.In Candida, he not only reverses the main idea of A Doll's House but also counterpoints the typical situation of an established type of Victorian

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domestic comedy. Play about romantic adultery, or its type possibility, were very popular in the nineteenth century. These plays usually featured a dull husband, a romantic wife, and an attractive, glamorous lover. In the interest of morality, the lover usually lost and the marriage was reversed, but his attractions remained strong. In reaction against this trend, a new type of play began to emerge in which the prosaic husband turns out to be the better man than the glamorous loverwhich Shaw has presented in Candida.

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