The sociopolitical climate of Shaw's England appears to have offered
the playwright the subject of his conflict. In his 1895 essay on the
problem play, Shaw states the primacy of social issues in modern drama,
expressing himself in dramatic rather than directly sociopolitical terms.
One critical point is that a good problem play is good chiefly because of
the emotional content of the human condition portrayed in the text.
Social questions are produced by the conflict of human institutions
with human feeling. . . . Now the material of the dramatist is always
some conflict of human feeling with circumstances; so that, since
institutions are circumstances, every social question furnishes
material for drama. The institutions assumed that it was natural to a
woman to allow her husband to own her property and person, and to
represent her in politics as a father represents his infant child. The
moment that seemed no longer natural to some women, it became
grievously oppressive. Immediately there was a woman Question, which
has produced Married Women's Property Acts, Divorce Acts, [and]
Woman's Suffrage in local elections (Shaw 444).
In this essay, which appeared three years before Candida was
published, Shaw dwells at some length on the marriage of the Helmers in
Ibsen's A Doll House, alluding to the theme as "spoiled womanhood" (447), a
reference to the comment that millions of women negate their entire being
in the marriage arrangement. That play treats with great seriousness the
unequal-partner status of women in standard marriages and the consequences
that follow from the realization on the part of the unequal partner that no
benefit attaches to that denying one's fundamental humanity. Shaw's
analysis of Ibsen's thesis takes the form of social commentary in essay
form: "When we have achieved reforms enough to b...