Midsummer Magazine 2007 - Utah Shakespearean Festival

“boy,” “When there is money to give, hegives it; when there is money to refuse, Irefuse it. I build a castle of comfort andindulgence and love for him, and standsentinel always to keep little vulgar caresout. I make him master here, though hedoes not know it.” In response, Morellkneels at her chair: “It’s all true, everyword. What I am you have made me withthe labor of your hands and the love ofyour heart! You are my wife, my mother,my sisters: you are the sum of all lovingcare to me” (144).Morell may appear weak and evenrefers to himself as a “fool” to Burgess,but he is nonetheless a caring clergymanand loving husband. Besides Morell andCandida, the play displays a spectrum ofBritish social classes—a member of thepeerage (Eugene), a capitalist (Burgess),a worker (Proserpine and perhaps Lexyas well). These characters allow Shaw toexplore in this discussion play a range ofclass issues within a rather confined space.All the action takes place in Morell’s studywithin his home, the home Candida rules.Candida’s mothering extends to theyoung nobleman Eugene, a poet rescued bythe Morells because he is incapable of caringfor himself. Eugene displays almost anoedipal attachment to Candida. His ability“to live without happiness” finally exposes“the secret of the poet’s heart” (144–45).The “secret” Eugene holds in his heart,according to Shaw, is that “domestic life isnot a poet’s destiny” (Sixteen Self Sketches,in Standard Edition of the Works [London:Constable, 1949] 101). Shaw may havebeen speaking of himself here because heoften referred to himself as a dramaticpoet.According to Holroyd, the play’spopularity depends on a “sentimentalmisunderstanding.” He believes that Shawemphasizes the mystery thus concealing the“odiousness of Candida” and the “revulsionfrom domestic ideals” (167) that Eugeneshows at the play’s end. To underscore hispoint, Holroyd quotes the notes Shawmade when writing The Intelligent Woman’sGuide to Socialism and Capitalism (1912):“A slave state is always ruled by those whocan get round the masters. The slaveryof women means the tyranny of women.No fascinating woman ever wants toemancipate her sex; her object is to gatherpower into the hands of Man because sheknows she can govern him. A cunning andattractive woman disguises her strength aswomanly timidity, her unscrupulousnessas womanly innocence, her impunities aswomanly defencelessness [sic]: simple menare duped by them” (168).Despite this take on the play, Candidaremains an appealing character. Like thefeminist Shaw claimed to be, he grantsCandida, in the final discussion scene, theright to make her own choice (Gainor,27). Shaw peoples his plays with pleasant,recognizable characters who do unpleasantthings, and that contradiction createsthe drama and the comedy. Through thelaughter, individuals come to recognize thecontradiction.Candida, written more than a centuryago, still seems uncomfortably current: howmany women are admired solely for theirmaternal or physical attributes, and howmany men are infantilized by manipulativewomen? Shaw’s sexual politics continuesto speak to audiences far removed from hisown. Although the irony underlying theplay may have shifted subtly, the overallmessage of the play is still relevant.ition of Excellenceity's finestg old worldwith newrvices.modationsestivalnute Stroll)100% Non-Smoking Property • Poolside RoomsFree Breakfast • Outdoor Pool & Spa • Free High-Speed InternetIn-Room Micro/Fridges • Free Airport ShuttleComplimentary Passes to Gold’s Gym • Guest Laundry18 South Main435-586-2433877-688-8884www.stratfordcourthotel.comMidsummer Magazine 2007 • 25