Major Barbara by George Bernard Shaw (different e readers .TXT) ๐
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Major Barbara is a three-act play that premiered at the Court Theatre in 1905, and was subsequently published in 1907. It portrays idealist Barbara Undershaft, a Major in the Salvation Army, and her encounter with her long-estranged father who has made his fortune as a โdealer of deathโ in the munitions industry. Barbara doesnโt wish to be associated with her fatherโs ill-gotten wealth, but canโt prevent him from donating to the Salvation Army and eventually converting her family to his capitalist views on how best to help the poor.
In the preface, Shaw addresses his critics and explicates his actual attitudes towards the Salvation Army, versus the attitudes and fates portrayed by his characters and responded to by the critics. He continues on to discuss the issues of wealth and poverty, religion and science, and how they all fit into his views of society.
Major Barbara is one of the most controversial of Shawโs work and was greeted with decidedly mixed reviews, yet it endures as one of his most famous plays.
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- Author: George Bernard Shaw
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Such is the false position from which neither the Salvation Army nor the Church of England nor any other religious organization whatever can escape except through a reconstitution of society. Nor can they merely endure the State passively, washing their hands of its sins. The State is constantly forcing the consciences of men by violence and cruelty. Not content with exacting money from us for the maintenance of its soldiers and policemen, its gaolers and executioners, it forces us to take an active personal part in its proceedings on pain of becoming ourselves the victims of its violence. As I write these lines, a sensational example is given to the world. A royal marriage has been celebrated, first by sacrament in a cathedral, and then by a bullfight having for its main amusement the spectacle of horses gored and disembowelled by the bull, after which, when the bull is so exhausted as to be no longer dangerous, he is killed by a cautious matador. But the ironic contrast between the bullfight and the sacrament of marriage does not move anyone. Another contrastโ โthat between the splendor, the happiness, the atmosphere of kindly admiration surrounding the young couple, and the price paid for it under our abominable social arrangements in the misery, squalor and degradation of millions of other young couplesโ โis drawn at the same moment by a novelist, Mr. Upton Sinclair, who chips a corner of the veneering from the huge meat packing industries of Chicago, and shows it to us as a sample of what is going on all over the world underneath the top layer of prosperous plutocracy. One man is sufficiently moved by that contrast to pay his own life as the price of one terrible blow at the responsible parties. Unhappily his poverty leaves him also ignorant enough to be duped by the pretence that the innocent young bride and bridegroom, put forth and crowned by plutocracy as the heads of a State in which they have less personal power than any policeman, and less influence than any chairman of a trust, are responsible. At them accordingly he launches his sixpennorth of fulminate, missing his mark, but scattering the bowels of as many horses as any bull in the arena, and slaying twenty-three persons, besides wounding ninety-nine. And of all these, the horses alone are innocent of the guilt he is avenging: had he blown all Madrid to atoms with every adult person in it, not one could have escaped the charge of being an accessory, before, at, and after the fact, to poverty and prostitution, to such wholesale massacre of infants as Herod never dreamt of, to plague, pestilence and famine, battle, murder and lingering deathโ โperhaps not one who had not helped, through example, precept, connivance, and even clamor, to teach the dynamiter his well-learnt gospel of hatred and vengeance, by approving every day of sentences of years of imprisonment so infernal in its unnatural stupidity and panic-stricken cruelty, that their advocates can disavow neither the dagger nor the bomb without stripping the mask of justice and humanity from themselves also. Be it noted that at this very moment there appears the biography of one of our dukes, who, being Scotch, could argue about politics, and therefore stood out as a great brain among our aristocrats. And what, if you please, was his graceโs favorite historical episode, which he declared he never read without intense satisfaction? Why, the young General Bonaparteโs pounding of the Paris mob to pieces in 1795, called in playful approval by our respectable classes โthe whiff of grapeshot,โ though Napoleon, to do him justice, took a deeper view of it, and would fain have had it forgotten. And since the Duke of Argyll was not a demon, but a man of like passions with ourselves, by no means rancorous or cruel as men go, who can doubt that all over the world proletarians of the ducal kidney are now revelling in โthe whiff of dynamiteโ (the flavor of the joke seems to evaporate a little, does it not?) because it was aimed at the class they hate even as our argute duke hated what he called the mob.
In such an atmosphere there can be only one sequel to the Madrid explosion. All Europe burns to emulate it. Vengeance! More blood! Tear โthe Anarchist beastโ to shreds. Drag him to the scaffold. Imprison him for life. Let all civilized States band together to drive his like
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