Love triangle in August Strindberg’s ‘The Stronger’ and G. B. Shaw’s Candida

Other Title(s)

مثلث الحب في مسرحيتي "الأقوى" لأوغست سترندبيرغ و كانديدا لبرناردشو

Joint Authors

Nati, Ikhlas Muhammad
al-Zubaydi, Thamir Rashid Shayal
al-Janabi, Hazim Kamil Abd

Source

مجلة لارك للفلسفة و اللسانيات و العلوم الاجتماعية : مجلة فصلية محكمة

Publisher

Wasit University College of Arts

Publication Date

2021-04-30

Country of Publication

Iraq

No. of Pages

13

Main Subjects

Literature

English Abstract

Love triangle, or eternal triangle, has been the focus of many plays where the plot revolves around a three-sided affair in which the woman becomes a site of love competition between two males, the husband and the lover.

The majority of those plays present the woman as the erring wife who chooses either to be with the lover or remorsefully remain with the husband.

In this paper, we deal with another portrayal of love triangle in which the wife either defends her marriage or stands against the intruder.

Such a portrayal is identified in August Strindberg’s ‘The Stronger’ and G.B.

Shaw’s Candida.

Yet, this does not suggest that the plot in both plays is identical.

While the intruder in Strindberg’s play is a woman, it is a young poet in Shaw’s play.

Moreover, whereas Shaw’s play ends with the intruder’s departure opening the space for the husband and wife to continue their marriage on a new basis of understanding, the conflict remains unresolved in Strindberg’s play.

This paper argues that this contrastive portrayal of love triangle in both plays relies, to a great extent, on the playwright’s personal experience and also his notion of the woman and her role in the domestic and public sphere

Data Type

Conference Papers

Record ID

BIM-1266858

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