Fragrance of Deliverance in the Slough of Agony in George Bernard Shaw's the Devil's Disciple

By Hooti, Noorbakhsh; Jeihouni, Mojtaba | Studies in Sociology of Science, December 1, 2011 | Go to article overview

Fragrance of Deliverance in the Slough of Agony in George Bernard Shaw's the Devil's Disciple


Hooti, Noorbakhsh, Jeihouni, Mojtaba, Studies in Sociology of Science


INTRODUCTION

This study begins with a concise look at Shaw's endless interest in criticism of his contemporary drama and society, which is followed by a close scrutiny of the play through the concept of deliverance; finally, it arrives at its conclusion by bringing to life the dominant feature of the play, which show that the importance of existence is valued in a free and democratic atmosphere.

To see or not to see, to bear or not to bear the cruelty of the conquerors, one thing remains the same: there has to be somebody to awaken his fellow beings from the deep slumber of negligence, who wait for a Godot as their savior. Richard in this play serves as that somebody. He is an outcast known by the people of his town as the Devil's Disciple, and he himself claims to be so. Though, throughout the play he proves his bravery by underscoring Anderson's identity to indirectly acquaint him to raise a rebellion against their foreign conquerors. By leaving his footmark in Anderson's heart he makes him believe his role in leading the history of a nation to glory.

Indeed, Shaw reproaches the imperialistic ways of Britain by showing America as an example of a dominated country among all the other dominated nations where people sense the fear whenever they come across a British soldier. Indeed, they are afraid of being sent to the gallows, which is set at the center of town to make an example of what the British call as "rebels" and is aimed to put fear into the heart of those who seek freedom for their nation. He anticipates a future for the world where the cloud of colonialism casts its eternal shadow over those who are considered the "weak" and are always expected to obey their cruel and unfair rules.

By browsing through the crinkled and dusted pages of history, we may witness all the moments of agony of people who were the slaves of their foreign conquerors. This play brings to light the issue of freedom of a nation dominated by Britain.

One man rises to stand against all the sufferings caused by this issue and awakens his compatriots from the slumber of ignorance. He makes an attempt to unite his compatriots in order to release their body and soul from slavery.

According to Bullock (2003), by using the principles, Life, Liberty, and Property of John Locke, a nation is impressed to devote his life to the realization of freedom from the shackles of the imperialism of Britain, and to do so it takes a long way which necessitates the importance of self-sacrifices of those who are ready to give it all to be free.

GEORGE BERNARD SHAW

Innes holds: "Shaw could be seen as the father of modern British drama, having created the conditions that attracted later authors to write for the theatre" (1998, p. xvii). George Bernard Shaw as a sympathetic critic of our time always deals with social evils of the current world, particularly, Britain. He attempts to guide the thinking of common mass toward an intelligent and at the same time responsible outlook at the issues of their time. Griffith explicates: "Shaw was a willing convert. Poverty and lack of social standing, his radical temper and compulsive intellectualism, all conspired to impress on him the truth of his most fundamental critique of established values, structures and practices" (1993, p. 26). He uses comedy to meet an end and the laughter in his comedies is a cry against social, economical, and political conventions of his time. He changes the course of English drama by condemning the credo of "art for art's sake" an idea held by the aesthetic artists of his time most importantly his compatriot, Oscar Wilde. He is widely against the "well made" but empty, merely entertaining plays which were dominant in 19th century on English stage, Sulleiman holds: "George Bernard Shaw thought that there was no sense in writing something for mere entertainment, what he wrote had to serve a higher purpose and encourage people to think rather to sit and be content to be entertained" (2010, p. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Fragrance of Deliverance in the Slough of Agony in George Bernard Shaw's the Devil's Disciple
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.