Shaw, Plato, and Euripides: Classical Currents in <i>Major Barbara</i>

Index

Index Page numbers in italics refer to illustrations. Adam, James, 114, 115 Adeimantus (character), 17–18, 21, 32 Adoption, 153–54. See also Foundling tradition Aeschylus, 90 Aesthetics of Plato and Shaw, 233–34 Agave (character), Barbara compared to, 133, 144, 146–47 Aidos, 88–89, 159 Alexander, S., 229 Amathes, 141–42 Anaides, Undershaft as, 64, 159 Anaximander, 87 Androcles and the Lion (Shaw), 158, 243. See also Preface to Androcles and the Lion (Shaw) Ano kato, 167, 178–79, 188 Antilabe, 54, 118 Antiphon, 173 Aphrodite, 59–60, 61, 95, 108 Apology (Plato), 30, 235, 237 Aporia in Cusins and Barbara, 14 Apotheosis of Barbara, 203 Apparel, meaning of, 135–36, 140 The Apple Cart (Shaw), 57–58 Armorer’s creed, 37–38, 157–59, 173, 174–76, 195 Arrowsmith, William, 60, 95, 187 Artist-philosopher, 221–23, 228–29, 238–40, 241–43 Athens, “sacred way” from, 9–10 Aulos, 77, 79 Author’s Apology for Mrs. Warren’s Profession (Shaw), 168 Bacchae (Euripides): antistrophe of, 101; blood and fire motif in relation to, 73–74; chorus of, 259n21; Cithaeron in, 142–43; conclusion of, 219; connection between human and bestial life in, 144, 172–73; earthquake in, 167–69; hunter hunted theme of, 110–11, 160; madness in, 113; Major Barbara and, 5–6, 53–56, 219–20; Murray on, 54, 103–4, 148; orgia recounted in, 137; as resistance myth, 128–29; revenge, punishment, and retribution in, 85–86; sparagmos and omophagia in, 124; temptation scene in, 165–66; translations of, 7–9, 97–108; turning point in, 182; use of antilabe in, 118. See also Dionysos; Pentheus (character) Back to Methuselah (Shaw), 224, 233, 236, 237–38. See also Preface to Back to Methuselah (Shaw) Baines, Mrs. (character), 119–21, 122, 123, 126–27, 129–30, 138 Bancroft, Squire, 263–64n59 Barker, Ernest, 248n12, 273n47, 274n55 Barzun, Jacques, 53, 223, 227–28 Bather, A. G., 66 Bentley, Eric, 225, 227, 232, 233 Bergson, Henri, 60, 229 Bernal, J. D., 228 Bernard Shaw (Hugo), 246n9 Berst, Charles, 192 Besant, Walter, 217–18 Blood and fire motif, 28, 71–74, 130 Bodger, Sir Horace (Lord Saxmundham, character ), 120, 121–22, 123 298 · Index Bombshell image, 188, 196 Booth, William, 76, 263–64n59 Bunyan, John, Pilgrim’s Progress, 209–11 Butler, Samuel, 175, 223, 234 Cadmus (character): Agave and, 146–47; Barbara compared to, 120; Lady Britomart compared to, 83–84, 134, 139, 140–41; moral drawn by, 219; Mrs. Baines compared to, 129; prophecy for house of, 218 Callicles, 173 Calvert, Louis, 110, 125–26 Candida (Shaw), 218, 225–26 Capitalism, 211 Cardinal virtues, 25–26 Cassirer, Ernst, 22, 48 Cave allegory: final dialogue between Barbara and Cusins and, 41–42, 44–45, 46; return to cave, 50–51; upward path from cave, 47–48; visit to Perivale St. Andrews and, 32–35 Chesterton, G. K., 3, 56, 192 Chthonian fertility deities, cult of, 9 Cithaeron, 142–43 Common people: Barbara and, 199–200; Cusins and, 194–95; power of, 42–43, 116–26 Concertina, 78–80, 81 Conversion motif: Bacchic parallels in, 55; Barbara and, 44–47, 197–206; beginning of confrontation and, 165; celebration of donation to Salvation Army and, 127; Cusins and, 192–97; donation to Salvation Army and, 125–26; Stephen and, 190 Cornford, Francis M., 7, 31 Courage: Barbara and, 25–26, 212–13; Dionysos and, 96; Undershaft exhortation to, 178, 179 “The Crime of Poverty” (Shaw), 212 Crito (Plato), 236 Cushman, Robert E., 18, 35 Cusins, Adolphus (character): characteristics of, 191–92; choral role of, 93, 100, 116; common people and, 42–43, 116–17, 194–95; dialectical pattern of development and, 14; dilemma of, 37–38, 182–84; eschatology of, 108; flexibility of position of, 160–61; Greek precedents and, 87–88; knowledge and, 41, 46; madness of, 114–15; metamorphosis of, 153–54; morality of, 34; motto of, 160; Murray and, 5, 12; nature of, 94–95; nutrition passage and, 96, 184, 194; orgiastic meeting and, 126–28, 138; physis versus nomos motif and, 102–3, 157; power and, 41–44, 51–52; quotations of Murray by, 97–108; reason and, 24; relationship with Barbara, 41–47, 137, 200–201, 211, 218; religion of, 94, 152–53; soldier pupil of, 196–97; sophrosyne of, 191; Stephen and, 155–57, 189–90; as successor to Undershaft, 36–39, 151–52, 153–55; as traversing abyss of moral horror, 183–90; in triunity, 39–41; turning point for, 123; Undershaft...