Candida - Story Dynamics

8/13/2019 Candida - Story Dynamics

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Story Dynamics8 of the 12 essential questions

SteadfastMain Character Resolve

True to the Christian principles he preaches, Morell employs the virtue of patience and

prepares for self sacrifice as he awaits the fate of his marriage.

StartMain Character Growth

Morell needs to hold out for Candida to make the decision to stay with him.

Be-erMain Character Approach

As an example of James Morell s approach as a be -er, when Eugene Marchbanks

announces Candida is better off with himself rather than the clergyman, Morell accepts

him as a threat instead of dismissing the poet s youthful foolishness. He then puts the

burden of settling the crisis upon Candida, avoiding handling the matter himself.

MaleMain Character Mental Sex

Morell thinks linearly; when his marriage is threatened he considers nothing but the

threat itself; if he had put the threat in perspective of his happy marriage, he would

realize the danger never existed.

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o

nStory Driver

Candida focuses on the decision Candida is asked to make, t o stay with Morell or leavewith Marchbanks:

Morell: We have agreed-he and I-that you shall choose between us now. I await your

decision.

It is made clear, however, that Candida may decide on neither man:

Candida: Oh! I am to choose, am I? I suppose it is quite settled that I must belong to one

or the other.

Morell: Quite. You must choose definitely.

Marchbanks: Morell: you dont understand. She means that she belongs to herself. (Shaw,

1895, p. 551)

Story Limit


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As rivals for Candida s affections, Morell and Marchbanks feel the only option in settling

the matter is for Candida to choose between the two men.

Story Outcome

The Morells marriage survives Marchbanks s efforts at disruption; Marchbanks comes to

realize his true nature; Burgess is welcomed back into his daughter and son-in- law s good

graces; and so forth.

Story Judgment

Morell s anxiety over the possibility of losing Candida to Marchbanks is appeased as

Marchbanks takes his leave and husband and wife embrace.

Overall Story Throughline"Candida, We Can Make It Together . . ."

PhysicsOverall Story Throughline


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Morell and Marchbanks rival for Candida; Burgess endeavors to ingratiate himself back

into the Morell household; Lexy attempts to emulate Morell by endeavoring to copy his

mannerisms:

Proserpine: You never cut a poorer figure than when you try to imitate him.

Lexy: I try to follow his example, not to imitate him.

Proserpine: Yes, you do: you imitate him. Why do you tuck your umbrella under your left

arm instead of carrying it in your hand like anyone else? Why do you walk with your

chin stuck out before you, hurrying along with that eager look in your eyes? you! who

never get up before half past nine in the morning. (Shaw, 1895, p. 497)

UnderstandingOverall Story Concern

Marchbanks is concerned with Candida appreciating him, and knowing he understands

her; he cannot understand how the object of his desire can love a windbag like Morell;

Marchbanks understands Proserpine is in love with Morell:

Marchbanks: Ah! I understand now.

Proserpine (reddening): What do you understand?

Marchbanks: Your secret. Tell me: is it really and truly possible for a woman to love

him? (Shaw, 1895, p. 518).

Candida laughingly tells Morell that Marchbanks understands you; he understands me;

he understands Prossy; and you, darling, you understand nothing (Shaw, 1895, p. 530).

InstinctOverall Story Issue Shaw thematically makes an argument that it is best to follow one s innate impulses:

Morell s first instinct upon hearing Marchbanks s declarat ion of love for his wife is to

laugh, however, once his confidence is undermined, he loses his temper:


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Lexy: I think her extremely beautiful, Miss Garnett.how fine her eyes are!

Proserpine: Her eyes are not a bit better that mine: now! And you know very well you

think me dowdy and second rate enough.

Lexy: Heaven forbid that I think of any of God s creatures in such a way! (Shaw, 1895, p.

496)

Morell has great difficulty with the way his father-in-law thinks, specifically Burgess

considering hi s economic success the inevitable and socially wholesome triumph of the

ability, industry, shrewdness, and experience in business of a man who in private is

easygoing, affectionate, and humorously convivial to a fault (Shaw, 1895, p. 498), when

in realit y Burgess success is due to the slave labor practices Morell abhors.

Overall Story Solution

Once Candida knows Morell has felt threatened by Marchbanks, she is able to put her

husband in his place asking, Do you mind what is said by a foolish boy? (Shaw, 1895,

p. 550); Prossy recognizes her position in the Morell household as one that is only a

helpmate to Morell and his wife and comes to appreciate her (Candida s) real qualities

far better than any man can (Shaw, 1895, p. 496); Morell demand s Burgess admit he

knows he is a scoundrel:


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So long as you come here honestly as a self-respecting, thorough, convinced,

scoundrelyou are welcome. I wont have you here snivelling about being a model

employer and a converted man when youre only an apostate with your coat turned for the

sale of a County Council contract. No: I like a man to be true to himself, even in

wickedness. (Shaw, 1895, p. 502)

Overall Story Symptom

Prossy concentrates her efforts on making Morell happy by using her excellent secretarial

abilities and her willingness to help with household duties; Lexy concentrates on

improving his abilities as a curate; Candida is capable of running the household, caring

for the children, and keeping her father, husband, and house guest in their proper places.

Overall Story Response

Proserpine longs for love (especially in the shape of Morell); Burgess craves prosperity;

Lexy wants to be the successful clergy man Morell is; in each their own way, Morell and

Candida want order restored to the household.


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Overall Story Catalyst

The story accelerates forward when Candida observes conflict between Morell and

Marchbanks and demands an explanation.

Overall Story Inhibitor

The inevitable arrival of Burgess, Prossy, and Lexy impedes a discussion between

Candida, Morell, and Marchbanks that could have resolved the two men s conflict much

sooner:

Candida (Troubled): I dont understand about this morning.

Morell (gently snubbing her.) You need not understand, my dear.

Candida: But, James, I-(The street bell rings.) Oh bother! Here they all come. (She goes

out to let them in.) (Shaw, 1895, p. 545)


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Overall Story Benchmark

The more everyone learns how family and work relationships function, the closer they are

to preventing seriously disruptive misunderstandings in the community; the more Morell

and Marchbanks learn from Candida what it takes to maintain balance and happiness in

the household, the closer they come to resolving the love triangle:

Marchbanks (flushing with a young poet s rage against tyranny): By what right is he

master?

Candida (quietly): Tell him, James.

Morell (taken aback): My dear: I dont know of any right that makes me master. I assert

no such right.

Candida (with infinite reproach) You dont know! Oh, James! James! (To Eugene,

musingly.) I wonder do you understand, Eugene! (He shakes his head helplessly, not

daring to look at her.) No: youre too young. Well, I give you leave to stay: to stay and

learnI build a castle of comfort and indulgence and love for him, and st and sentinel

always to keep little vulgar cares out. I make him master here, though he does not know

it, and could not tell you a moment ago how it came to be so. (Shaw, 1895, pp. 549, 553)


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MemoryMain Character Concern

Morell recollects his estrangement from his father-in-law is because Burgess paid

starvation wages to his parishioners Burgess hired, and how he shamed the Guardians

out of accepting your tender: I shamed the ratepayers out of letting them do it: I shamed

everybody but you. (Boiling over.) How dare you, sir, come here and offer to forgive

me (Shaw, 1895, p. 500); he unhappily recalls the poet s words of the morning wh en

Candida raves about Marchbanks s astuteness:

Morell: His words!

Candida (checking herself quickly in the act of getting up): Whose words?

Morell: Eugene s.

Candida (delighted): He is always right. He understands you; he understands me; he

understands Prossy; and you, darling, you understand nothing. (She laughs, and kisses

him to console him. He recoils as if stabbed, and springs up). (Shaw, 1895, p. 530)

EvidenceMain Character Issue

Morell s misery increases as he accepts Candida s words as grounds for belief that she no

longer loves him.

SuspicionMain Character Counterpoint

Main Character Thematic ConflictEvidence vs.Suspicion


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Main Character Symptom

Morell focuses on his ability as a pastor, and as a husband:

Morell (with proud humility): I have nothing to offer you but my strength for your

defence, my honesty of purpose for your surety, my ability and industry for your

livelihood, and my authority and position for your dignity. That is all it becomes a man tooffer a woman. (Shaw, 1895, p. 551)

Main Character Response

Morell is motivated to maintain his happy marriage, and makes the mistake of

concentrating on his talent for oratory to expound on his abilities as a man and husband to

keep her-when all Candida wants is his faith in her love for him: Candida is stung with

the ridiculous posturing of her husband s mellow style, andshe speaks coldly,

offended by Morell s yielding to his orator s instinct and treating her as if she were the

audience i n the Guild of St. Matthew (Charney, 1985, p. 487)


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Main Character Unique Ability

As a personage of importance in the community, Morell is in a position to gather

evidence of wrongdoings and misunderstandings and put an end to them as evidenced by

his stopping Burgess mistreatment of the parishioners (slave wages); Morell eventually

has all the proof he needs of his wife s love and loyalty for him.

Main Character Critical Flaw


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Morell s absurd self -importance and tendency toward being overly dramatic undermines

his sincerity with Candida and others around him:

Morell s supreme fault is one which is typical of all eloquent people, whether they be

politicians or priests. Such mendeceive not only emotional audiences, but, what isworse, themselves, because they vainly imagine that eloquence and mind are identical.

(Ervine, 1956, p. 281)

Main Character Benchmark The more Morell considers Marchbanks a threat, the more he is concerned with the state

of his marriage.


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Main Character Description

A vigorous, genial, popular man of forty, robust and good-looking, full of energy, with

pleasant, hearty, considerate manners, and a sound unaffected voice, which he uses withthe clean athletic articulation of a practised orator, and with a wide range and perfect

command of expression. (Shaw, 1896, p. 492)

Main Character Throughline Synopsis

Irvine (1949) states:

In the opening scenes we learn a good deal about the Reverend Morell. Toward Prossy

and Lexy, he is wise and indulgent; toward Burgess, vigorous and frank. He is a first

rate clergyman, able to say what he likes to whom he likes, to lecture people withoutsetting himself up against them, to impose his authority on them without humiliating

them. We learn also that he considers his wife the rock and foundation of his happiness.

(Irvine, 1949, p. 174) Problems occur for Morell when a young friend of the family

decides he is in love with Morell s wife, Candida, and the clergyman s self -confidence

diminishes. It is not until he puts this tempest in a teapot on his wife s shoulders to


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resolve that he himself is finally put in his place in regard to himself, his wife, and their

relationship.

Influence Character ThroughlineEugene Marchbanks Poet

UniverseInfluence Character Throughline

Marchbanks explores the institution of marriage and domestic bliss.

PastInfluence Character Concern Candida points out to Marchbanks his past is what makes him the poet, and that domestic

life would stilt him:

Candida: ...You have had to live without comfort or welcome or refuge, always lonely,

and nearly always disliked and misunderstood, poor boy!

Marchbanks (faithful to the nobility of his lot): I had my books. I had Nature. And at last

I met you

Candida (i n his (Morell s) arms smiling, to Eugene): Am I your mother and sisters to

you, Eugene?

Marchbanks (rising with a fierce gesture of disgust): Ah, never. Out, then, into the night

with me! (Shaw, 18955, pp. 551-552)

PredictionInfluence Character Issue

Marchbanks foretells the demise of Morells marriage when he compares James Morell to

King David and Candida to his wife who despised him in her heart (Shaw, 1895, p.

512).


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InterdictionInfluence Character Counterpoint

Influence Character Thematic ConflictPrediction vs.Interdiction

Influence Character Problem

Marchbanks is infatuated with the thought of being completely devoted to one person and

receiving complete devotion in return. This infatuation drives him away from his own

family and into Candida s.


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Influence Character Solution

Marchbanks accepts the knowledge that what he thinks is his undying love for Candida is

a passing infatuation and comes to the conclusion he must remain a lonely poet when he:

Experiences the metamorphosis from sensuality to spirituality and artistic dedication.Looking upon the suffocating commonplaces of the Morell household, he concludes that

domesticity, security, and love are inferior ends compared with the sublime and lonely

renunciation of the artist. (Holroyd, 1988, p. 316)

Influence Character Symptom

With great disdain, Marchbanks focuses on how the Morells marriage is structured; his

opinion of their domestic situation unnerves Morell.

Influence Character Response

Marchbanks s declaration to Morell that he loves his wife brings chaos into Morell s well

ordered life.


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Influence Character Unique Ability

Marchbanks predicts to Morell Candida will leave her husband for himself; this forces

the clergyman to re-evaluate himself, his wife, and their marriage.

Influence Character Critical Flaw

Marchbanks instinctively understands the true nature of others, however, this instinct

fails when it comes to understanding his own. This quality eventually undermines his

impact on Morell.


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Influence Character Benchmark

The longer Marchbanks remains in the Morells existing domestic situation, the more he

comes to realize he wants no part of it. This eventually leads to his exit, relieving the

pressure he has put on their relationship.


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Influence Character Description He is a strange, shy youth of eighteen, slight, effeminate, with a delicate childish voice,

and a hunted and tormented expression and shrinking manner that shew [sic] the painful

sensitive of very swift and acute apprehensiveness in youth, before the character has

grown to its full strengthhe is so uncommon as to be almost unearthly; and to prosaic

people there is something noxious in this unearthliness, just as to poetic people there is

something angelic in it. (Shaw, 1895, p. 505)

Influence Character Throughline Synopsis

Marchbanks, an eighteen year old poet and friend of the Morell family has fallen in lovewith Candida Morell, and conceiving love as a romantic ecstasy which has nothing to do

with the domesticities of peeling onions and trimming lamps and little to do with the

sublunary detail of physical possession (Irvine, 1949, p. 175) he unsuccessfully attempts

to win her away from her husband.

In the extremity of defeat and suffering, he rises suddenly to a realization of his destiny,

and rejecting the mere happiness of Candida and her husband, goes out into the night, so

that at the very close of the play the theme of the loneliness and self-sufficiency of genius

surges up to dominance. (Irvine, 1949, p. 178)

Relationship Story Throughline"Who Will Win Fair Candida's Heart? The Clergyman or the Poet?"

PsychologyRelationship Story Throughline

Morell and Marchbanks differ in their ways of thinking about love, James s idea of love

is as romantically conventional as Eugene s is romantically poetic (Irvine, 1949, p. 175).

ConceptualizingRelationship Story Concern


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Marchbanks forces Morell to imagine how Candida may feel about her husband:

Ive never been in your church; but Ive been to your political meetings; and Ive seen you

do whats called rousing the meeting to enthusiasm: that is, you excited them until they

behave exactly as if they were drunk. And their wives looked on and saw what fools theywere. Oh it s an old story: youll find it in the Bible. I imagine King David, in his fits of

enthusiasm, was very like you. (Stabbing him with the words.) But his wife despised

him in her heart. (Shaw, 1895, p. 512)

State of BeingRelationship Story Issue

Marchbanks a ttacks Morell s perception of himself with what he claims is the actual

nature of his character:

Marchbanks (looking round wildly): Is it like this for her here always? A woman, with a

great soul, craving for reality, truth, freedom; and being fed on metaphors, sermons, stale

perorations, mere rhetoric. Do you think a woman s soul can live on your talent for

preaching?

Morell (stung): Marchbanks, you make it hard for me to control myself. My talent is like

yours insofar as it has any real worth at all. It is the gift of finding words for divine truth.

Marchbanks (impetuously): It s the gift of the gab, nothing more and nothing less. (Shaw,

1895, p. 512)

And later:

Marchbanks: Here endeth the thousand and first lesson, Morell, I dont think much of your

preaching after all: I believe I could do it better myself. The man I want to meet is the

man that Candida married.I don t mean the Reverend James Mavor Morell, moralist

and windbag. I mean the real man that the Reverend James must have hidden somewhere

inside his black coat-the man that Candida loved. (Shaw, 1895, p. 540)

Sense of SelfRelationship Story Counterpoint


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Relationship Story Thematic ConflictState of Being vs.Sense of Self

Relationship Story Problem

Morell giving credence to the unlikely scenario Candida may leave him for Marchbanks

is the source of problems between the two men.


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Relationship Story Solution

Once Morell and Marchbanks are able to extrapolate there is no place in the poet s futurefor the Morells kind of domestic happiness, their problem is resolved:

Marchbanks: I no longer desire happiness: life is nobler than that. Parson James: I give

you my happiness with both hands: I love you because you have filled the heart of the

woman I loved. Goodbye. (Shaw, 1895, pp. 553-554)

Relationship Story Symptom Each man is convinced they are the only one suited to make Candida happy. Morell

concentrates on his conventional qualities as an upright and honest man, who makes a

viable living, while Marchbanks is sure his romantic imagination and childish neediness

will fulfill her dreams:

Morell: Some fiddlestick! oh, if she is mad enough to leave me for you, who will protect

her? who will help her? who will work for her? who will be a father to her children? (He

sits down distractedly on the sofa, with his elbows on his knees and his head propped on

his clenched fists.)

Marchbanks (snapping his fingers wildly): She does not ask those silly questions. It is she

who wants somebody to protect, to help, to work for. Some grown man who has become

as a little child again. Oh, you fool, you fool, you triple fool! I am the man, Morell: I am

the man. (Shaw, 1895, p. 543)


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Relationship Story Response

As much as Marchbanks is driven to upset the Morells domestic situation, Morell is

motivated to maintain it. Morell s anxiety increases as Marchbanks undermines his sense

of security; Marchbanks becomes sympathetic toward Morell as he begins to understand

his rival s vulnerability.

Relationship Story Catalyst

Morell and Marchbanks determine their situation is intolerable and must be resolved

quickly.


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Relationship Story Inhibitor

Morell s and Marchbanks s progress toward resolving their conflict is impeded when atfirst Morell keeps the truth of Marchbanks s revelation from Candida:

Morell (puzzled): Why do you want her to know this?

Marchbanks (with lyric rapture): Because she will understand me, and know that I

understand her. If you keep back one word of it from her-if you are not ready to lay the

truth at her feet as I am-then you will know to the end of your days that she really

belongs to me and not to you. Goodbye. (Going.)

Morell (terribly disquieted): Stop: I will not tell her.

Marchbanks (turning near the door): Either the truth or a lie you must tell her, if I go.

Morell (temporizing): Marchbanks: it is sometimes justifiable-

Marchbanks (cutting him short): I know: to lie. It will be useless. Goodbye, Mr.

Clergyman. (Shaw, 1895, pp. 513-514)


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Relationship Story Benchmark

As time goes on, Morell arrives at the idea Marchbanks is accurate in his prediction thatCandida has come to despise him in her heart:

Morell (continuing): Eugene was right. As you told me a few hours after, he is always

right. He said nothing that you not say far better yourself. He is the poet, who sees

everything; and I am the poor parson, who understands nothing. (Shaw, 1895, p. 550)


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Relationship Story Throughline Synopsis

Irvine (1949) states Marchbanks:

...cannot understand how a woman like Candida can have any feeling for a windbag like

James Morell. He tells James so without delay, having first declared his own love. Morell

meets this youthful outburst with magnificent condescension and indulgence. And yet hehas apparently h imself noticed in Candida s attitude toward him something disturbing,

which he has always been reluctant to understand.Slashing about with truths that are

quite irrelevant of Candida s marriage, he cuts deep into the clergyman s self -confidence

and theref ore into the latter s faith in his wife s love. (p. 175)

Additional Story PointsKey Structural Appreciations

UnderstandingOverall Story Goal

The goal of common concern to the objective characters is reaching an understanding of

how the family and work relationships are balanced within the parsonage, and to clear up

any misunderstandings that occur:

Candida is based on a very old dramatic device: a misunderstanding. In the course ofthe play, husband and wife come for the first time to genuinely understand each other and

their actual relationship (Irvine, 1949, p. 174).

ConceptualizingOverall Story Consequence


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If Morell doesn t come to understand his wife and marriage, he will remain vulnerable to

imagining she may leave him; if Candida doesn t under stand the true anguish behind

Morell s preachy words she may very well envision leaving him; if Marchbanks doesn t

realize the domesticity is not for him, he will have to envision creating poetry, not in

artist s solitude, but while carrying out such munda ne chores as trimming lamps and peeling onions.

PastOverall Story Cost

Marchbanks turns his back on his past life as an aristocrat; Burgess must curb his

tendency to be a scoundrel if he is to be a welcome member of the Morell family; and so

forth.

MemoryOverall Story Dividend

Marchbanks will always have a fond memory of the first woman he fell in love with;

Morell will never forget the young man who poked holes in his complacency; and so

forth.

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gOverall Story Requirements

As a woman living in a time where females were not encouraged to form, much less

voice, their opinions, Candida must learn how to speak her mind; Morell must learn how

his marriage operates; Marchbanks must learn what the unromantic side of domestic life

consists of (peeling onions and cleaning boots) before rushing into it; and so forth.


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Overall Story Prerequisites

Candida surmises Morell and Marchbanks have argued over her, and they must both be

put in their place.

Overall Story Preconditions

The circumstances that precipitate Candida and Morell reaching a new understanding oftheir marital relationship, and Marchbanks coming to an understanding of his true nature,

occur the moment Marchbanks declares his rivalry for Candida s affections and Morell

accepts his threat.


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Overall Story Forewarnings

Morell s serious consideration of Marchbanks s threat to take Candida away signals the

potential loss of his marriage; Candida cautions Morell to keep in mind her love for him,

for if that went, I should care very little for your sermons (Shaw, 1895, p. 530).

Plot ProgressionDynamic Act Appreciations

Overall Story


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UnderstandingOverall Story Signpost 1

Morell teases Lexy that if he catches the measles he would be a lucky man if nursed by

Candida:

Lexy (smiling uneasily): It s so hard to understand you about Mrs. Morell -

Morell (tenderly): Ah, my boy, get married; get married to a good woman; and then

you ll understand (Shaw, 1895, p. 495).

After a three year estrangement, Morell s father -in- law seeks an honora ble

unnerstannin (Shaw, 1895, p. 504) and whatever else he can get from his son -in-law;

and so forth.

DoingOverall Story Signpost 2

Morell is receiving a deputation; Proserpine is transcribing Morell s letters; Candida is

tending to household matters; Ma rchbanks is wandering about the room in his lost

ways (Shaw, 1895, p. 517).

ObtainingOverall Story Signpost 3 Candida informs Morell she must have his attention; Candida tells Morell to Put your

trust in my love for you, James; for if that went, I should care very little for your

sermons: mere phrases that you cheat yourself and others with every day (Shaw, 1895,

p. 530); Burgess exclaims madness is catchin! Four in the same ouse (Shaw, 1895, p.

533); through Morell, Burgess wants to obtain an introduction to the chairman of the

Works Committee of the County Council; and so forth.

LearningOverall Story Signpost 4

Candida discerns what has transpired between Morell and Marchbanks; Marchbanks

wishes to find out what Candida ever saw in Morell; Proserpine learns the effects of

champagne; and so forth.


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Main Character

ConsciousMain Character Signpost 1

Morell contemplates a speaking engagement for Communist Anarchists; he considers if

Burgess has actually changed his slave driving ways; Morell considers he has a rival for

his wife.

SubconsciousMain Character Signpost 2

As Morell begins to take Marchbanks s rivalry seriously, he starts to fear for his

marriage:

(Morell is silent. Apparently he is busy with his letters: really he is puzzling with

misgiving over his new and alarming experience that the surer he is of his moral thrusts,

the more swiftly and effectively Eugene parries them. To find himself beginning to fear a

man whom he does not respect afflicts him bitterly.) (Shaw, 1895, p. 525)


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MemoryMain Character Signpost 3

At the opening of Act 1, Morell makes clear to Prossy, that despite his active schedule, he

is committed to address any group that asks of his services. And later on, Candida asks,

Why must you go out every night lecturing and talking? I hardly have one evening a

week with you (Shaw, 1895, p. 527). Yet, by Act 3, because he believes himself to be in

the midst of a marital crisis, for the first time in everyone s memory Morell is frustrated

with a demand for a speaking engagemen t, These people forget that I am a man: they

think I am a talking machine to be turned on for their pleasure every evening of my life

(Shaw, 1895, p. 532).

PreconsciousMain Character Signpost 4 Morell s immediate response to Marchbanks addressing his wi fe by her first name is to

involuntarily seize the poet:

Morell: Out with the truth, man: my wife is my wife: I want no more of your poetic

fripperies. I know well that if I have lost her love and you have gained it, no law will bind

her. (Shaw, 1895, p. 542)


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Influence Character

PastInfluence Character Signpost 1

Marchbanks wishes to put his past life as an aristocrat behind him to take on what he

believes is the romantic life of a starving artist.

FutureInfluence Character Signpost 2

Marchbanks recites to Candida how he would like to take her away into the future with,

A tiny shallop to sail away in, far from the worldor a chariot! to carry us up into the

sky, where the lamps are stars, and dont need to be filled with parafin oil every day

(Shaw, 1895, p. 524).

ProgressInfluence Character Signpost 3


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Documents

Candida - Story Dynamics