Study Guide to Major Barbara by George Bernard Shaw

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645421559
• Edition: 1
• Topic: Guías de estudio
• Subtopic: Guías de estudio

A comprehensive study guide offering in-depth explanation, essay, and test prep for George Bernard Shaw’s Major Barbara, considered a literary classic due to the novel’s religious themes contradicting the religious ideas of the time period. As an early nineteenth century play, Major Barbara provides political commentary on the matter of whether it is morally right or wrong to obtain something that is used for a good cause from death and destruction. Moreover, it encourages conversation among students about whether a charitable act maintains its value even when its roots were immoral. This Bright Notes Study Guide explores the context and history of Shaw’s classic work, helping students to thoroughly explore the reasons it has stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including
essay questions and answers as well as topics for further research.

MAJOR BARBARA

INTRODUCTION

GRAND OPENING

In the late autumn of 1905 London theatergoers were happily agog over the prospects of a new comedy by George Bernard Shaw called Major Barbara. Rumors had indicated that it was to be about the Salvation Army, surely an unusual theme for drawing-room repartee. But then that witty, red-bearded Irish playwright, with the bold Socialist leanings, had proved that he could fashion amusing, provocative plays out of the most unlikely material. During the thirteen years since his first play, Widowers’ Houses, had commanded their attention, they had applauded such entertaining pieces as Candida, The Devil’s Disciple, Caesar and Cleopatra, and Man and Superman. So they eagerly awaited his latest offering, their curiosity further titillated by the hint of possible censorship problems over a Biblical quotation.

On November 28th, the first performance took place in the afternoon before a glittering audience of notables, including the Prime Minister himself, Arthur James Balfour. The Conservative leader’s coming was quite a compliment to Shaw, for a national election was impending, and even his own party was seriously divided over imperialism, tariffs, and the rights of trade unions. And the recent conclusions of the Russo-Japanese War had by no means solved all problems in the Far East. But to miss the opening at the Royal Court Theatre would be unthinkable for a statesman with any interest in the cultural scene. The intelligentsia was there in force. Even more starting to some, however, was the presence in box seats to several Salvation Army Commissioners, in uniform. For it was known that many strict Methodist members of this organization regarded the stage as a moral hazard.

THE FIRST PRODUCTION

The acting company was under the direction of J. E. Vedrenne, a skilled theatrical entrepreneur, and Harley Granville-Barker, known as an actor, a producer, and later as a leading Shakespearean critic. In Major Barbara Granville-Barker played the role of Adolphus Cusins, the young professor of Greek, who loves the heroine, Barbara. He is said to have handled perceptively this complex character which Shaw based upon that of his admired friend, Gilbert Murray, a famous classical scholar.

For Andrew Undershaft, the keen-minded, strong-willed munitions magnate who expresses some of Shaw’s most controversial views, the choice was Louis Calvert, a solidly built, experienced Shakespearean actor with the requisite imposing manner. He seemed an ideal selection, having already won approval as Broadbent, the oracular businessman in Shaw’s John Bull’s Other Island. Yet his new portrayal proved disappointing. As he later ruefully admitted, he simply did not understand at the time the inner workings of the role. Subsequently, when he repeated the part in New York, he apparently gained insight. But Undershaft is probably the play’s pivotal character. And Calvert’s uncertainty undoubtedly tended to decrease the work’s initial dramatic impact.

According to Shaw, however, all were enthusiastic about the winsome and spirited young actress, Annie Russell, who played Barbara, the Earl’s granddaughter who joins the Salvation Army to bring a new vision to the poor and the lost. Originally, the playwright had hoped to engage the lovely American Eleanor Robson, later known to society here as Mrs. August Belmont. But the Robson demands were too high, and her friend, Miss Russell, proved a captivating substitute.

CRITICAL REACTION

Like most other dramatists, however well established, Shaw was vitally interested in the reception his play would receive. He was never one, having from boyhood the pinch of an insufficient income, to be careless about financial returns. He could, in fact, drive fairly hard bargains. In addition, he seems to have cared a great deal about the views on religion, education, economics, and social that he was advancing more seriously than ever in this play. So how people reacted was quite important. Major Barbara is divided into three acts. After the first two, on that November afternoon, the applause was tumultuous, and Shaw’s hopes soared. The last act, he realized, was unusually long and was largely talk rather than action. But “they’ll eat it,” he assured a skeptical and sympathetic fellow-dramatist.

He was overly optimistic. Some ordinary playgoers grew impatient toward the end, finding the argument on poverty, wealth, and the moral aspects of munitions manufacture confusing and somewhat wearisome. Indeed, even some of the leading theatre critics of the day were alienated by the extended discussions. Arthur Bingham Walkley, a cultivated writer who liked shows to be graceful and amusing, thought the work a bewildering hodge-podge. And William Archer, a close friend of Shaw, was disappointed to find no genuine human beings. Only those who, like Sir Oliver Lodge and William T. Stead, were primarily interested in stimulating ideas reacted with enthusiasm. Most, said Shaw himself, condemned the author for not having written a play at all.

Nevertheless, the work did run at the Court for the maximum possible period of six weeks, even though toward the end few were attending any theatres because of the general election that would end Balfour’s tenure. As indicated above, Major Barbara later played fairly successfully in the United States, with Calvert and Grace George. Also in this 1915 cast were such other names later famed in the American theatre as Clarence Derwent, Conway Tearle, John Cromwell, and Guthrie McClintic. There followed a screen version in 1940, the script of which has been published.

LATER CRITICISM

During the more than 50 years since Major Barbara opened, the play has received further critical attention, much of it quite favorable. The astute Gilbert K. Chesterton, it is true, regretted its “materialistic pessimism,” and Edmund Fuller, its “curiously negative, compromised quality.” And the politically oriented have argued heatedly as to its alignment with Marxist or capitalist views. Shaw’s biographer, Archibald Henderson, speaking more generally, called it “powerful and impressive,” Edward Everett Hale, Jr. considered it “much the best” of the later plays. Probably few would take up the fairly recent challenge of the American critic Joseph Frank to see it possibly as “one of the great works of the twentieth century.” But it is interesting to consider another of Mr. Frank’s suggestions, namely, that Major Barbara is an epitome, or summing up, of much that is characteristically Shavian.

BRIEF SUMMARY

The first act opens in a well-appointed library in fashionable Wilton Crescent. An assertive dowager, Lady Britomart, has summoned home for a visit her husband, Andrew Undershaft, a millionaire munitions maker. They have long been separated because he has refused to leave his business to Stephen, their son, since an industry tradition insists that he choose as heir a bright, capable foundling. Lady Britomart, though still unappeased, has condescended to ask that he provide their two daughters, now engaged, with handsome supplementary incomes. Sarah, pale and indolent, will marry Charles Lomax, a fatuous youth with good but remote inheritance prospects. Barbara, vital and sensible, has chosen Adolphus Cusins, a brainy but moneyless professor. Arriving on cue, the genial but forceful Undershaft is most impressed with Barbara, who wears the uniform of a major in the Salvation Army. The subject of religion having arisen, he agrees to let her try to convert him at her shelter in the slums, if she will let him show her his munitions works the next day.

Act II, taking place at the bleak West Ham center of the Army, introduces Rummy Mitchens and Snobby Price, ill-fed, poorly clothed Cockneys who sham conversions for free hand-outs. Also arriving is Peter Shirley, a starving unemployed workman, an ardent Secularist. Then in bursts truculent Bill Walker, demanding that the Army return a former love of his, now reformed. Infuriated when denied, he strikes Jenny Hill, a young Salvationist lass. Coming on the scene, Barbara stirs his conscience, so that he wants to square matters by receiving an equal blow or paying a fine of sorts. But she says that salvation cannot be bought. Her coolly calculating father then demonstrates that he can at least “buy” the Army by having them accept a huge check despite their disapproval of the wars his weapons make so deadly. Horrified, Barbara removes her Army emblem and pins it on Undershaft, as Walker offers taunts. The idealistic Barbara thus is sadly disillusioned, as her father intended.

The last act brings the Undershafts and their friends to Perivale St. Andrews. All are astonished to find the munitions town a marvel of fine houses, clean streets, and well-paid, spirited workers. Undershaft then declares that the worst crime of all is poverty. By providing high wages, he saves more souls than Barbara ever could. Cusins, here fiance, having satisfied the foundling technicality, agrees to be Undershaft’s successor, but only to “make war on war.” After some hesitation, Barbara decides to transfer her spiritual ministrations to the Undershaft employees, whom she need not “bribe” with bread as she did the starving. She will talk to them of highest and holiest things. The Major thus returns to the colors.

SHAW AND THE ARMY

During the first years after coming to London from his native Ireland, Shaw became much interested in the Fabian Society and other movements formed to correct social evils. He became a skilled and effective speaker for these groups and often talked to street-corner crowds in the poorer districts. He thus came frequently into contact with Salvation Army missionaries holding their meetings in the same locale. Always musically inclined, Shaw was particularly delighted with the rousing hymns played by their bands.

Years later, after he had achieved a reputation both as a music and drama critic and as a playwright, he was much annoyed when a journalist made a casual slurring reference to Salvation Army music. Springing to the defense of his old acquaintances, Shaw wrote a tribute that won him a grateful invitation to attend the Army’s next band festival at Clapham Hall. Continuing the association, Shaw suggested that perhaps the Army might be able to use short plays to interest its potential converts. And he offered technical assistance. Nothing came of the proposal, but Shaw did think more and more of the Army’s operations as dramatic material and eventually wrote Major Barbara, for which the Army lent uniforms as costumes.

CHILDHOOD PREPARATION

Yet in some sense the genesis of the work is traceable to Shaw’s earliest experiences as a boy in Dublin. He was born on July 26, 1856, the son of George Carr Shaw, an amiable, kindly gentleman with no head for business and a disconcerting fondness for alcohol. His mother, Elizabeth Gurly, an imaginative lady with above-average musical gifts, was notable for her independent thinking, dignified aloofness, vivacity, and good humor. As in Major Barbara the family consisted of one boy and two girls.

Culturally, Shaw’s home provided good opportunities for a future writer. He had access to books and music, and considerable freedom to develop individual preferences. His parents were agreeable enough but do not seem to have sought any close association with their children. Young Shaw was cared for mostly by servants.

Among his earlier memories were those of walks through the dismal slums of Dublin. Nursemaids instructed to take him to the park slipped off with him instead to visit friends. There the boy became acquainted with the dirt, disease, and drink-induced wretchedness that went with poverty. Later works, notably Major Barbara, were to reflect his profound conviction that such deplorable conditions should be corrected.

In addition to his own observations, he read such works as Dickens’s Hard Times, that spelled out the sad lot of the impoverished. And although he himself seems never to have suffered real penury, he knew as a boy the meaning of financial pressures. His father put all his capital into a corn business that brought him close to ruin. His mother’s marriage cost her a large inheritance, and eventually, having left her husband, she was obliged to support herself by giving music lessons. The Shaws were a proud family, but there was never quite enough money to enable them to feel secure.

RELIGIOUS SENTIMENTS

If his youthful experiences helped to create that horror of poverty so pronounced in Major Barbara, there is also evidence that certain attitudes Shaw takes therein toward religion went back to childhood impressions. In Major Barbara only the rigidly conventional or frankly foolish characters belong to the Established Church. Barbara is a Salvation Army evangelist, and her father has made up his own creed. His religion, he says, is that of a Millionaire, with its principal commandment, forbidding its votaries ever to be poor. And Cusins, the classics professor, merely claims to be a “collector of religions,” who somehow believes in them all.

The Shaws were Protestants in largely Catholic Dublin. The playwright’s father sometimes talked of the Bible with sardonic humor, suggesting a skeptical attitude. And his mother seemed diffident about imposing any firm beliefs upon the children. There were family prayers for a time, as well as Sunday school and compulsory attendance at bleak services. And some of the Catholic maids added their incidental instruction. But the boy fairly early rejected orthodoxy, and Shaw later associated in London with many who were free thinkers.

He seems, however, to consider himself a “religious” man and to regard all serious individuals as also being so. From the evolutionists and other modern thinkers, he took over and developed a concept of a Life-Force-operating through matter and therefore through men-that was forever seeking higher levels. The good or religious individual was therefore one who rose above petty personal concerns and consciously exercised his full capabilities to make himself and others better, happier, nobler. Shaw talks often of God. But God to him, according to C. E. M. Joad, may mean simply “the principle of change and development in the universe.” Undershaft does the work of the Life-Force by lifting himself out of dire poverty and becoming rich and powerful. He also saves his workers from the deadening effects of poverty and so enlightens his daughter that she can make an even better use of her own superior talents. Barbara, on her part, also labors to bring the poor and ignorant a new sense of their dignity as people, and Cusins hopes, by warring upon war, to make a better existence possible for thousands. Chesterton, for one, regarded Shaw’s religious views rather critically. How could anyone, he inquired wittily, worship a hyphen? But Shaw, although he could never boast about converts, apparently found his synthesis satisfactory. And it is worth noting that whereas he disliked some traditional Christian doctrines, such as that of the Atonement, he could give qualified approval to a group such as the Salvation Army insofar as their workers helped the deprived to raise their sights.

LONDON AND SOCIALISM

Having completed a desultory...