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relation to the social realities of the day. First, Charles Berst has studied the convictions of Andrew
Undershaft in the play, and compared them with Shaw's own philosophical ideas. Robert Everding has discussed the gradual presentation of the ideas and character of Andrew Undershaft as the play progresses. The pseudonymous commentator 'Ozy' has compared Andrew Undershaft's apparent undermining of Shaw's own personal, general convictions about the 'Life Force', and Shaw's attempt to have Adolphus Cusins restore some philosophical balance. Norma Nutter has briefly discussed conflicts between the character's personal convictions compared to the social realities that they eventually face, via the concept of 'false consciousness'.
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scruples about the nature of the business, arguing that paying his employees provides a much higher service to them than
Barbara's Army service, which only prolongs their poverty; as an example, the firm has hired Peter. Cusins' gradual acceptance of Undershaft's logic makes Barbara more content to marry him, not less, because bringing a message of salvation to the factory workers, rather than to London slum-dwellers, will bring her more fulfilment.
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the
Salvation Army. He makes a sizeable donation, matching another donation from a whisky distiller. Barbara wants the Salvation Army to refuse the money because it comes from the armaments and alcohol industries, but her supervising officer eagerly accepts it. Barbara sadly leaves the shelter in disillusionment, while Cusins views Undershaft's actions both with disgust and sarcastic pleasure.
225:). Lady Britomart leads Stephen to accept her decision that they must ask her estranged husband, Andrew Undershaft, for financial help. Mr. Undershaft is a successful and wealthy businessman who has made millions of pounds from his munitions factory, which manufactures the world-famous Undershaft guns, cannons, torpedoes, submarines and aerial battleships.
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pure" sources, arguing that using money to benefit the poor will have more practical benefit than ethical niceties. He points out that donations can always be used for good whatever their provenance, and he quotes a
Salvation Army officer, "they would take money from the devil himself and be only too glad to get it out of his hands and into God's."
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According to tradition, the heir to the
Undershaft fortune must be an orphan who can be groomed to run the factory. Lady Britomart tries to convince Undershaft to bequeath the business to his son Stephen, but neither man consents. Undershaft says that the best way to keep the factory in the family is
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Many studies have looked at main character
Undershaft's beliefs and morals from several points of view, including their relation to Shaw's personal beliefs; their presentation throughout the play, and their changes over the course of the play; the counterpoints to them by Adolphus Cusins, and their
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and marry him to
Barbara. Later, Barbara and the rest of her family accompany her father to his munitions factory. They are all impressed by its size and organisation. Cusins declares that he is a foundling, and is thus eligible to inherit the business. Undershaft eventually overcomes Cusins' moral
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from the
Salvation Army: she treats them with patience, firmness, and sincerity. Undershaft and Cusins discuss the question of Barbara's commitment to The Salvation Army, and Undershaft decides he must overcome Barbara's moral horror of his occupation. He declares that he will therefore "buy" (off)
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Although
Barbara initially regards the Salvation Army's acceptance of Undershaft's money as hypocrisy, Shaw did not intend that it should be thought so by the audience. Shaw wrote a preface for the play's publication, in which he derided the idea that charities should only take money from "morally
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in London. For many years, Barbara and her siblings have been estranged from their father, Andrew
Undershaft, who now reappears as a rich and successful munitions maker. The father gives money to the Salvation Army, which offends Barbara because she considers it "tainted" wealth. The father argues
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Relatedly, several others have looked at the play in relation to the circumstances of the period in which it was written. Bernard Dukore has examined the historical context of the depiction of money in the play, relating the then-contemporary situation with inflation to more recent historical
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A subplot involves the down-and-out and fractious visitors to the shelter, including a layabout painter and con artist (Snobby Price), a poor housewife feigning to be a fallen woman (Rummy Mitchens), an older laborer fired for his age (Peter Shirley), and a pugnacious bully (Bill Walker) who
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When their children were still small, the Undershafts separated; now grown, the children have not seen their father since, and Lady Britomart has raised them by herself. During their reunion, Undershaft learns that Barbara is a major in The Salvation Army who works at their shelter in
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Sidney P. Albert, a noted Shaw scholar, analysed various aspects of the play in several articles. These include first, Shaw's own account of the writing of the play; second, the chosen time of the play's setting, January 1906, and third, references to the Lord's Prayer
221:, and her son Stephen discuss a source of income for her grown daughters Sarah, who is engaged to Charles Lomax (a slightly comic figure who continually stupidly says "Oh, I say!"), and Barbara, who is engaged to Adolphus Cusins (a scholar of
575:. Undershaft's unscrupulous sale of weapons to any and all bidders, as well as his government influence and more pertinently his company's method of succession (to a foundling rather than a son), tie him especially to
595:; given the district's longstanding status as the financial centre of London, the association underscores the play's thematic emphasis on the interpenetration of religion and economics, of faith and capital.
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that poverty is a worse problem than munitions and claims that he is doing more to help society by giving his workers jobs and a steady income than she is doing by giving people free meals in a
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circumstances. Nicholas Williams has discussed possibilities for reinterpretation of the play in a more contemporary context, away from the immediate historical context of its original period.
123:, written and premiered in 1905 and first published in 1907. The story concerns an idealistic young woman, Barbara Undershaft, who is engaged in helping the poor as a Major in the
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introductory essay explaining the play's themes, and the phonetic spelling of dialect English, as when Bill Walker jeers, "Wot prawce selvytion nah?" (What price salvation now?).
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died by suicide in 1902 following publication of claims he was a homosexual. His two daughters were his heirs. Undershaft shares a name with a
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distiller. She eventually decides that bringing a message of salvation to people who have plenty will be more fulfilling and genuine than
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Several scholars have compared this work to other works, including one of Shaw's own, and others from different periods.
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of Dante. J.L. Wiesenthal has discussed parallels with the play and Shaw's personal interpretations of Richard Wagner's
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Albert, Sidney P. (2014). "Fiction and Fact in Shaw's Account of "Major Barbara"'s Salvation Army Origins".
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Albert, Sidney P. (May 1968). ""In More Ways than One": "Major Barbara"'s Debt to Gilbert Murray".
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Wisenthal, J.L. (May 1972). "The Underside of Undershaft: A Wagnerian Motif in
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The play script displays typical Shavian techniques in the omission of
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Macintosh, Fiona (1998). "The Shavian Murray and the Euripidean Shaw:
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released a 4-LP recording of the play in 1965 (TRS 319 S) directed by
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is noted in the discussion following Laughton's guest appearance on
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Ozy (January 1958). "The Dramatist's Dilemma: an Interpretation of
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Albert, Sidney P. (September 2013). "The Time of Major Barbara".
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accepts money from an armaments manufacturer (her father) and a
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has examined Shaw's use of classical literary sources, such as
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as Adolphus Cusins in the original 1915 Broadway production of
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Dukore, Bernard F. (2016). "How Much?: Understanding Money in
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The play has been produced a number of times for BBC Radio:
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from contractions and other punctuation, the inclusion of a
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The Intelligent Woman's Guide to Socialism and Capitalism
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https://www.imdb.com/title/tt1489916/?ref_=nv_sr_srsg_1
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The Adventures of the Black Girl in Her Search for God
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Jordan, Robert J (Fall 1970). "Theme and Character in
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Lady Britomart Undershaft, the daughter of a British
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1705:A Glimpse of the Domesticity of Franklyn Barnabas
1234:Williams, Nicholas (2006). "Shaw Reinterpreted".
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880:Albert, Sidney P. (1981). "The Lord's Prayer and
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374:on 25 November 1956. Meredith was on the panel.
292:as Jenny Hill in the 1915 Broadway production of
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155:Act I: Lady Britomart's house in Wilton Crescent
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158:Act II: The Salvation Army shelter in West Ham
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1740:How These Doctors Love One Another!
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1803:In Good King Charles's Golden Days
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186:the starving in return for bread.
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1684:Annajanska, the Bolshevik Empress
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172:officer of The Salvation Army
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676:10.1007/978-1-349-05402-2_75
467:with June Tobin as Barbara,
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1347:public domain audiobook at
1301:Major Barbara
989:– Shaw's "Divine Comedy"".
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2000:Twain and Shaw Do Lunch
1502:The Admirable Bashville
635:Der Ring des Nibelungen
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310:Harley Granville-Barker
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1544:The Doctor's Dilemma
1488:Caesar and Cleopatra
1474:The Devil's Disciple
745:: The Outside Story"
670:(September): 17–24.
593:St Andrew Undershaft
336:on 9 December 1915.
30:For other uses, see
18:Major Barbara (play)
1733:Too True to Be Good
1385:George Bernard Shaw
465:BBC Third Programme
447:BBC Third Programme
428:BBC Light Programme
288:as Bill Walker and
121:George Bernard Shaw
63:George Bernard Shaw
1972:production history
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1698:Back to Methuselah
1607:Fanny's First Play
1467:You Never Can Tell
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1824:Farfetched Fables
1775:The Millionairess
1768:The Six of Calais
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1311:Program from
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628:
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614:
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547:as Undershaft
546:
545:Matthew Marsh
542:
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538:
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526:David Yelland
523:
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512:
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508:
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330:Annie Russell
327:
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319:
315:
314:Louis Calvert
311:
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303:
302:Court Theatre
295:
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291:
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264:
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107:
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1411:Passion Play
1409:
1394:Bibliography
1343:
1325:
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1300:
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1280:
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1199:(1): 73–81.
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773:. Retrieved
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539:as Barbara,
530:Peter Bowles
524:as Barbara,
507:Jeremy Clyde
505:as Barbara,
488:Alec McCowen
486:as Barbara,
473:Malcolm Keen
451:Joyce Redman
434:as Barbara,
421:
411:as Barbara,
406:
394:Alec McCowen
392:as Barbara,
390:Maggie Smith
376:
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351:as Barbara,
349:Wendy Hiller
338:
326:Oswald Yorke
322:Edmund Gwenn
299:
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247:
239:
235:
227:
216:
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203:Grace George
188:
176:denomination
169:
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130:soup kitchen
115:
114:
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1909:Non-fiction
1593:Misalliance
1242:: 143–161.
1090:: 103–116.
892:: 107–128.
775:24 November
613:The Bacchae
518:BBC Radio 3
503:Anna Massey
499:BBC Radio 4
432:Irene Worth
419:as Cusins.
396:as Cusins,
318:Clare Greet
137:apostrophes
2022:1905 plays
2016:Categories
1858:Immaturity
1719:Saint Joan
1481:The Gadfly
649:References
552:Background
492:Max Adrian
455:Esme Percy
249:to find a
184:converting
59:Written by
1635:Pygmalion
1621:Overruled
1264:201757876
1221:156687492
1112:160860271
927:: 64–84.
867:160860271
820:191267448
770:159544781
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290:Mary Nash
251:foundling
1349:LibriVox
1256:40681737
1174:40682547
1143:40681527
1065:40754113
1034:40682274
1003:40754113
972:40754113
941:25528324
915:and the
898:40681060
599:Analysis
231:West Ham
166:Synopsis
141:didactic
1941:Related
1453:Candida
1304:at the
917:Bacchae
714:3204896
579:steel.
147:Setting
105:Setting
90:English
1849:Novels
1796:Geneva
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497:1980,
478:1967,
463:1961,
445:1962,
426:1955,
277:(1905)
180:whisky
152:London
108:London
1402:Plays
1260:S2CID
1252:JSTOR
1217:S2CID
1209:JSTOR
1170:JSTOR
1139:JSTOR
1108:S2CID
1100:JSTOR
1061:JSTOR
1030:JSTOR
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573:Krupp
520:with
501:with
482:with
449:with
430:with
384:with
99:Drama
95:Genre
1236:Shaw
1193:Shaw
1084:Shaw
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777:2016
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