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 “dealer of death” in the munitions industry. Barbara doesn’t wish to be associated with her father’s ill-gotten wealth, but can’t 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 Shaw’s work and was greeted with decidedly mixed reviews, yet it endures as one of his most famous plays.
shelter and lend the lasses a hand for a while: we’re worked off our feet.
Shirley
Bitterly. Yes: I’m in their debt for a meal, ain’t I?
Barbara
Oh, not because you’re in their debt; but for love of them, Peter, for love of them. He cannot understand, and is rather scandalized. There! Don’t stare at me. In with you; and give that conscience of yours a holiday Bustling him into the shelter.
Shirley
As he goes in. Ah! it’s a pity you never was trained to use your reason, miss. You’d have been a very taking lecturer on Secularism.
Barbara turns to her father.
Undershaft
Never mind me, my dear. Go about your work; and let me watch it for a while.
Barbara
All right.
Undershaft
For instance, what’s the matter with that outpatient over there?
Barbara
Looking at Bill, whose attitude has never changed, and whose expression of brooding wrath has deepened. Oh, we shall cure him in no time. Just watch. She goes over to Bill and waits. He glances up at her and casts his eyes down again, uneasy, but grimmer than ever. It would be nice to just stamp on Mog Habbijam’s face, wouldn’t it, Bill?
Bill
Starting up from the trough in consternation. It’s a lie: I never said so. She shakes her head. Who told you wot was in my mind?
Barbara
Only your new friend.
Bill
Wot new friend?
Barbara
The devil, Bill. When he gets round people they get miserable, just like you.
Bill
With a heartbreaking attempt at devil-may-care cheerfulness. I ain’t miserable. He sits down again, and stretches his legs in an attempt to seem indifferent.
Barbara
Well, if you’re happy, why don’t you look happy, as we do?
Bill
His legs curling back in spite of him. I’m ’appy enough, I tell you. Why don’t you lea’ me alown? Wot ’av I done to you? I ain’t smashed your face, ’av I?
Barbara
Softly: wooing his soul. It’s not me that’s getting at you, Bill.
Bill
Who else is it?
Barbara
Somebody that doesn’t intend you to smash women’s faces, I suppose. Somebody or something that wants to make a man of you.
Bill
Blustering. Make a man o’ me! Ain’t I a man? eh? ain’t I a man? Who sez I’m not a man?
Barbara
There’s a man in you somewhere, I suppose. But why did he let you hit poor little Jenny Hill? That wasn’t very manly of him, was it?
Bill
Tormented. ’Av done with it, I tell you. Chock it. I’m sick of your Jenny Ill and ’er silly little face.
Barbara
Then why do you keep thinking about it? Why does it keep coming up against you in your mind? You’re not getting converted, are you?
Bill
With conviction. Not me. Not likely. Not arf.
Barbara
That’s right, Bill. Hold out against it. Put out your strength. Don’t let’s get you cheap. Todger Fairmile said he wrestled for three nights against his Salvation harder than he ever wrestled with the Jap at the music hall. He gave in to the Jap when his arm was going to break. But he didn’t give in to his salvation until his heart was going to break. Perhaps you’ll escape that. You haven’t any heart, have you?
Bill
Wot d’ye mean? Wy ain’t I got a ’art the same as ennybody else?
Barbara
A man with a heart wouldn’t have bashed poor little Jenny’s face, would he?
Bill
Almost crying. Ow, will you lea’ me alown? ’Av I ever offered to meddle with you, that you come noggin’ and provowkin’ me lawk this? He writhes convulsively from his eyes to his toes.
Barbara
With a steady soothing hand on his arm and a gentle voice that never lets him go. It’s your soul that’s hurting you, Bill, and not me. We’ve been through it all ourselves. Come with us, Bill. He looks wildly round. To brave manhood on earth and eternal glory in heaven. He is on the point of breaking down. Come. A drum is heard in the shelter; and Bill, with a gasp, escapes from the spell as Barbara turns quickly. Adolphus enters from the shelter with a big drum. Oh! there you are, Dolly. Let me introduce a new friend of mine, Mr. Bill Walker. This is my bloke, Bill: Mr. Cusins. Cusins salutes with his drumstick.
Bill
Goin to marry ’im?
Barbara
Yes.
Bill
Fervently. Gawd ’elp ’im! Gawd ’elp ’im!
Barbara
Why? Do you think he won’t be happy with me?
Bill
I’ve only ’ad to stand it for a mornin’: ’e’ll ’av to stand it for a lifetime.
Cusins
That is a frightful reflection, Mr. Walker. But I can’t tear myself away from her.
Bill
Well, I can. To Barbara. Eah! do you know where I’m goin’ to, and wot I’m goin’ to do?
Barbara
Yes: you’re going to heaven; and you’re coming back here before the week’s out to tell me so.
Bill
You lie. I’m goin to Kennintahn, to spit in Todger Fairmile’s eye. I bashed Jenny Ill’s face; and now I’ll get me own face bashed and come back and show it to ’er. E’ll it me ’ardern I ’it ’er. That’ll make us square. To Adolphus. Is that fair or is it not? You’re a genlmn: you oughter know.
Barbara
Two black eyes won’t make one white one, Bill.
Bill
I didn’t ast you. Cawn’t you never keep your mahth shut? I ast the genlmn.
Cusins
Reflectively. Yes: I think you’re right, Mr. Walker. Yes: I should do it. It’s curious: it’s exactly what an ancient Greek would have done.
Barbara
But what good will it do?
Cusins
Well, it will give Mr. Fairmile some exercise; and it will satisfy Mr. Walker’s soul.
Bill
Rot! there ain’t no sach a thing as a soul. Ah kin you tell wether I’ve a soul or not? You never seen it.
Barbara
I’ve seen it hurting you when you went against it.
Bill
With compressed aggravation. If you was my girl and took the
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