The Philanderer

📘 About This Book

The second of Shaw’s “unpleasant” plays, written in 1893, published in 1898, but not performed until 1905, The Philanderer is subtitled “A Topical Comedy.” The eclectic range of topical subjects addressed in the play includes the influence of Norwegian playwright Henrik Ibsen on British middle-class social mores (the second act of The Philanderer is set in the fictional Ibsen Club), medical follies, the rise of the “New Woman,” and, in particular, the destructive impact of Victorian marriage and divorce laws. Just as Shaw’s other “unpleasant” plays, Widowers’ Houses and Mrs Warren’s Profession, call, respectively, for reform of laws that allow corrupt property owners to exploit the poor and for radical change to economic structures that drive women into prostitution, so The Philanderer makes the case for more liberal legislation to allow easier divorce—particularly for women—when marriages become irretrievably broken. Shaw’s attack on divorce laws becomes even clearer and stronger in the final act that he wrote for the play but discarded in favour of the version he published. The discarded version is published for the first time in this Broadview edition of the play.

📖 Summary

The Philanderer stands as the second of Bernard Shaw's grouped plays known collectively as his unpleasant plays, written originally in 1893, published later in 1898, and finally brought to the stage in 1905. Subtitled a topical comedy, the 210-page drama delves directly into the complex and often absurd social mores of the British middle class during the late Victorian era. Shaw uses the vehicle of drama not merely for entertainment, but as a razor-sharp instrument of social critique, targeting the rigid institutions, medical follies, and outdated legal structures governing domestic life. Central to the narrative is an eclectic range of topical subjects that defined the cultural anxieties of the period. Among these is the profound influence of the Norwegian playwright Henrik Ibsen on contemporary British society, highlighted brilliantly in the second act which is set entirely within the fictional and pretentious Ibsen Club. Through this setting and the interactions of its characters, Shaw exposes the hypocrisy of individuals who claim to embrace progressive ideals while remaining trapped in conventional behaviors. The play also engages heavily with the cultural rise of the New Woman archetype, examining how shifting gender roles challenge traditional domestic arrangements. Most crucially, The Philanderer trains its critical eye on the destructive impact of Victorian marriage and divorce laws. Just as Shaw used his other unpleasant plays, Widowers Houses and Mrs Warrens Profession, to demand systemic reform regarding corrupt property exploitation and the economic structures driving prostitution, this comedy uses laughter to expose marital oppression. The characters navigate a maze of romantic entanglements, jealousy, and social posturing, revealing the inherent flaws in how society regulates human affection and legal union. Shaw refuses to offer easy moral comforts or tidy resolutions, preferring instead to leave the audience grappling with the contradictions of their own social world. By blending intellectual debate with theatrical wit, the play challenges Victorian complacency and encourages a radical reexamination of gender, marriage, and personal freedom. Ultimately, this 2015 published edition of the drama preserves Shaws enduring brilliance, offering modern readers a fascinating window into a pivotal era of social transition and theatrical reform.

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