Candida, written by George Bernard Shaw in 1894, is a play that doesn’t fit neatly into the category of a mystery play in the traditional sense. Mystery plays typically refer to medieval dramas that depict biblical stories or religious themes, often performed by guilds in public spaces. These plays were didactic in nature, aiming to educate the audience about religious principles.

However, if we approach the term “mystery play” more metaphorically, we can find some elements of mystery in Candida. In this interpretation, the “mystery” lies in the complexities of human relationships, desires, and societal expectations.
Candida revolves around the character of Candida herself, a woman who is desired by two very different men — her husband, Reverend James Morell, and a young poet, Eugene Marchbanks. The play explores the dynamics of love, marriage, and individual fulfillment against a backdrop of societal norms and expectations.

One could argue that the “mystery” in Candida lies in the exploration of the characters’ motivations and the complexities of their relationships. Shaw presents a puzzle for the audience to decipher — Who truly understands Candida? Is it her husband, who provides for her materially and is devoted to her in his own way? Or is it Marchbanks, who sees her as a muse and desires her romantically?

As the play progresses, the audience is invited to peel back the layers of the characters’ personas, revealing deeper truths about love, sacrifice, and the nature of fulfillment. The resolution of the “mystery” comes not in the form of a shocking revelation, but rather in a deeper understanding of the characters and their relationships.

In this sense, Candida can be seen as a mystery play of the human condition, where the true mysteries lie not in external events or plot twists, but in the complexities of the human heart and mind.