We will come back to this enigma a bit later. The play operates at three levels of societal hierarchy – one represented by Morell and Candida – a typical lower middle class family who live on the meagre earnings of the parson; the other represented by Marchbanks, the aristocrat who has been thrown out of his house, and the final choral pair of Lexy, Proserpine and Burgess. While Lexy and Proserpine belong to the lower class of society, Burgess is a representative of the nouveau riche class who lacks cultural finésse. The interaction of the play is between the class hierarchies that these characters represent. Inspite of their lower middle class status, Morell and Candida depict the perfect conjugal relationship where love (as defined in romantic terms) is fortified by understanding and mutual dependency (cf. the episodes of Morell helping to wash the dishes). Shaw being a Fabian socialist believed in the regenerative capability of the society through the lower middle class that still retained the values essential for reformative social existence. Marchbanks, on the other hand, represents the aristocracy with its high ideals and haughtiness, living in a dream-fantasy world, disillusioned by romantic overdose, believing that love consists only in flights of fancy (cf. his constant reference in the play to go away to a ‘far-off’ island where love can be realised). Quite obviously, Candida is bored by his poetry-reading (Act III) because it does not reflect the social reality that she cherishes.

The Choric characters of Lexy, Proserpine and Burgess not only provide the comic element in the play but also provide a sharp contrast to the ‘love’ that the main characters represent. They are carefree people who love to enjoy life and their drunken departure at the end of the play provides the play with another option : the secret that hides in the lower class society. Life becomes an accumulation of tragedy and comedy. It has both the aspects and no easy solution can be arrived at. The play suggests that Lexy and Prosperine are probably going to get married as Prosperine with her romantic love towards Morell finally discards it and accepts a more stoic and practical approach.

This brings us to the ‘secret’ in the poet’s heart. Throughout the play, Shaw seems to favour a more practical and real approach of love. Love as defined by Marchbanks (as defined by the Romantics) cannot be realized in a society that has all its sordidness. Marriage is not a romantic union but also a mutual practicability. And the secret in Marchbank’s heart, when he says :

I no longer desire happiness : Life is nobler than that …..

The night outside grows impatient.

The ‘secret’ lies here. Marchbanks has come to realise that ‘love’ can and should be practicable, and should not consist of high romantic ideals. He has become a more enlightened person and has understood the true meaning of love. He has comprehended that marriage is a true union of love and dependability. He has finally descended from his aristocratic pedestal and become a commoner : an ideal that Shaw cherished throughout his life.

Shaw claimed that he wrote in the tradition of Moliére, French writer of comedies (1622-73) and his business as a classic writer of comedies was to chasten morals with ridicules. In his hands drama adapted itself to the needs of the present. It became the mirror of the age and instead of escaping into romantic flipperies, it made itself the monitor of the age. Many of his comedies are half-debate, and every conceivable subject is discussed : from love, marriage and family life to religion, science and poetics. Candida represents the problems that Shaw was occupied throughout his life.

Further Reading

Project Gutenberg Candida, Bernard ShaW