CULTURAL INTERTEXT IN G.B. SHAW’S PLAY “CANDIDA”

The article explores cultural intertext and forms of intertextuality in G.B. Shaw’s play “Candida”. The cultural intertext in the play was influenced by the author’s life circumstances, namely his position as an art critic, and his social stance alike. G.B. Shaw studied H. Ibsen’s legacy extensively and developed the Norwegian playwright’s views in his own works – which resulted in Shaw developing his own art theory and the principles of “drama of ideas”. “Candida” is a vivid example of “drama of ideas”, wherein the conflicts are determined not by external circumstances, but rather by ideas and philosophies expressed by the characters. Cultural intertext plays an important role in characters’ descriptions. In his play, G.B. Shaw uses different kinds of cultural intertext: artistic and literary (Titian, R. Browning, E.T.A. Hoffmann, Voltaire, the legend of Tristan and Isolde), religious (F. D. Maurice, the Virgin Mary, archangel Zadkiel), social (S. Grand, K. Marx, Fabian Society). It was determined that the name ‘Candida’ has been widely employed in culture, both in biblical stories and classical works of literature (Voltaire, E.T.A. Hoffmann etc). However, G.B. Shaw’s reception of this literary context is critical. While associations can be drawn between “Candida” and “Little Zaches, Great Zinnober” (in terms of plot, imagery, symbols and motives), it is clear that the British playwright seeks to enrich classical images with modern meaning. Therefore, he turns to the genre of mystery play, which allows for use of biblical imagery while also securing a tight bond to reality. The plot is based around the framework of a love triangles. As to how the conflict is resolved, on the surface level (text), the status quo pertains and societal norms are reinforced; however, on a deeper level (subtext), deciphering intertextual allusions and reminiscences changes perception of the conflict by the reader and allows to connect it to a broader cultural realm.