This essay shall aim at portraying Shaw’s Fabian thought and morality in his early plays, i.e. Widowers’ Houses, Arms and the Man, and The Devil’s Disciple. Such a task automatically renders the essay no more than an attempt at finding traces, for there are no socialists in the plays mentioned. Instead, socialist thought is conveyed implicitly, i.e. by means of the plot, by method of showing, or by confronting a Victorian theatre audience with realities they would only too well like to ignore. Widower’s Houses is a good case in point: it is highly unlikely any tenants living in the sort of substandard accommodation portrayed in the play could afford a night out in Covent Garden, and it is equally unlikely the theatre-going audience would ever bother to visit them in “their” rundown houses. Consequently, Shaw forced the reality upon the audience and explicitly tried to use drama as a means of propaganda (Grene: 1987: 15 and 3). However, here one could critically add that Shaw – like most Fabians – had as little contact with the working class as those he criticised for the same reasons (Ballay 1980: 237).
I shall focus on Widowers’ Houses, Arms and the Man, and The Devil’s Disciple, for reasons I will explain in the conclusion. The essay follows a hypothesis, which is as written above: Shaw forced upon his audience realities they would like to ignore, and he wished to radicalise his audience (Gahan: 13). The second assumption this essay follows is that morality is as much part of Fabianism as politics are. In his economic and political writings, Shaw made a strong connection between economics and morality (Griffith: 29f.). His opposition to capitalism rooted very much in the fact that he rejected it morally. Hence, according to Fabian logic, the struggle for a better (i.e. socialist) society is hardly to be separated from the question of individual conduct, at least to those who can afford it. The verbal claims made by Trench and Sartorius that they would like to change society for the better but find their hands bound collide with Richard in “The Devil’s Disciple”, who claims to follow the devil but immunises himself from attack by immaculate behaviour. Again, Shaw forced a reality upon his audience they might not have witnessed elsewhere, and effectively used the stage for propagandistic purposes, even though they might not be quite as obvious as with other political writers such as Brecht.
Inhaltsverzeichnis (Table of Contents)
- Introduction: Shaw's Drama and Fabian Socialism - portraying politics implicitly
- "Wilde wrote for the stage as an artist. I am simply a propagandist.” (cited in: Grene, 3)
- Did Shaw succeed with Widowers' Houses?.....
- Attacking War in Arms and the Man....
- Reconfiguring morality in The Devil's Disciple .....
- Conclusion: Fabian morality and moral Fabians......
- Bibliography.......
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay aims to analyze the portrayal of Fabian thought and morality in George Bernard Shaw's early plays, including "Widowers' Houses," "Arms and the Man," and "The Devil's Disciple." The essay explores how Shaw subtly conveys socialist ideas through plot, character interaction, and the juxtaposition of Victorian audience expectations with uncomfortable realities. Key themes explored in the essay include:- Fabian Socialism and its connection to morality
- The use of drama as a tool for social commentary and propaganda
- The conflict between individual morality and economic necessity
- The hypocrisy of Victorian society and its blind spots regarding social injustices
- The limitations of traditional theatrical conventions in portraying socialist ideas
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: Shaw's Drama and Fabian Socialism - portraying politics implicitly
This chapter introduces the essay's focus on examining Fabian thought and morality in Shaw's early plays. It explains the challenges of directly portraying socialist ideas in these plays, suggesting that Shaw employed indirect methods like plot devices and character interactions to subtly convey his message. The chapter also highlights the concept of confronting Victorian audiences with realities they often preferred to ignore."Wilde wrote for the stage as an artist. I am simply a propagandist.” (cited in: Grene, 3)
This chapter analyzes Shaw's statement and explores his use of propaganda in his early works. It focuses on "Widowers' Houses" and highlights the character Trench's initial moral outrage at the source of his future wealth, which stems from exploitative practices in slum housing. The chapter discusses how the audience is initially led to identify with Trench's moral stance but is later disappointed as he compromises his principles for personal gain.Did Shaw succeed with Widowers' Houses?.....
This chapter delves deeper into the use of theatrical techniques to confront the audience with social realities. It examines the character development of Trench, the role of the play's farcical elements, and the play's exploration of the issues of rent-collecting, poverty, and social injustice. The chapter discusses how Shaw's approach aligns with Fabian principles, particularly in challenging the economic and moral foundations of Victorian society.Schlüsselwörter (Keywords)
The key focus of this essay lies in exploring the intersections of Fabian socialism, morality, and dramatic representation. The analysis centers on the use of drama as a tool for social commentary, the hypocrisy of Victorian society, and the conflict between individual morality and economic necessity. Key terms include: Fabianism, socialism, morality, drama, propaganda, Victorian society, social justice, and economic exploitation.- Quote paper
- Nicholas Williams (Author), 2007, Fabianism and Fabianist Morals in G.B. Shaw’s Widowers’ Houses, Arms and the Man and The Devil’s Disciple, Munich, GRIN Verlag, https://www.grin.com/document/127213
