Mrs Warren's Profession, Candida, and You Never Can Tell are plays which give a clear sense of the range of Shaw's first forays into playwriting. Together they showcase his early negotiations between his political and social concerns and the constraints and possibilities of the British stage at the fin de siecle.
Pygmalion, Heartbreak House, and Saint Joan are widely considered to be three of the most important in the canon of modern British theatre
Pygmalion - here presented in its definitive 1941 version, with footnotes indicating the textual variants from the first volume edition of 1916 - has spawned a great number of adaptations, among them the famous 1956 Broadway musical My Fair Lady, and shows ancient myth's undiminished ability to find new incarnations in modern life.
Back To Methuselah: A Metabiological Pentateuch With Preface (The Infidel Half Century)This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
Over the course of three decades, George Bernard Shaw and theatre critic Malcolm Watson of the Daily Telegraph carried out an extensive correspondence. My Dear Watson brings together in book form the previously unpublished letters from Shaw to Watson (those from Watson to Shaw are no longer extant): letters that are significant for the light they shed on the working relationship between Shaw and one of London's major newspapers.Many of the letters include self-drafted "interviews" with Shaw that Watson was able to use (sometimes with considerable embellishment) in his columns in the Telegraph. The letters reveal not only Shaw's views on his own plays, but also important theatrical initiatives of the time. Shaw's attempts to educate Watson on theatre censorship add new dimensions to Shaw's deep engagement with the controversial issue, while Watson's "interview" with Shaw about anticipated raucous audience behaviour at the opening night of Pygmalion, and Shaw's subsequent thank-you to Watson for his cooperation in trying to establish a "new code of manners in thetheatre," speak to Shaw's serious concern about giving actors a fair hearing. All but one of the letters deal with theatrical matters; the exception deals with a personal income tax question that Watson had raised with Shaw and, apart from revealing Shaw's knowledge of British tax legislation, suggests that the professional relationship between the two men had reached a level of comfort and respect that enabled such discussion of personal matters.Shaw's letters to Watson, and the self-drafted interviews that accompanied some of the letters, provide the backbone of the narrative of their relationship. Editor L.W. Conolly has provided relevant context to link the letters, including transcripts of Watson's columns on Shaw. The book also includes full transcripts of, or lengthy extracts from, Daily Telegraph reviews of Shaw's major plays during the years that Watson worked for the paper. The result is a work that sheds significant light not only on one of the English language's greatest playwrights but also on the practice and profession of theatre criticism."Conolly's editing, notes and references are thorough and illuminating, and his subtle editorial approach and impeccable scholarship make this slim volume highly entertaining as well as informative." --Dr. Anne Wright, The Shavian
This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!
Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913.In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871. Shaw would also have been familiar with the burlesque version, Galatea, or Pygmalion Reversed. Shaw's play has been adapted numerous times, most notably as the musical My Fair Lady and its film version.Shaw mentioned that the character of Professor Henry Higgins was inspired by several British professors of phonetics: Alexander Melville Bell, Alexander J. Ellis, Tito Pagliardini, but above all, the cantankerous Henry Sweet.
Love Among the Artists was published in the United States in 1900 and in England in 1914, but it was written in 1881. In the ambiance of chit-chat and frivolity among members of Victorian polite society a youthful Shaw describes his views on the arts, romantic love and the practicalities of matrimony. Dilettantes, he thinks, can love and settle down to marriage, but artists with real genius are too consumed by their work to fit that pattern. The dominant figure in the novel is Owen Jack, a musical genius, somewhat mad and quite bereft of social graces. From an abysmal beginning he rises to great fame and is lionized by socialites despite his unremitting crudity. George Bernard Shaw (1856 - 1950) was an Irish playwright, essayist, novelist and short story writer and wrote more than 60 plays. He is the only person to have been awarded both a Nobel Prize in Literature (1925) and an Academy Award (1938). Excerpt: "It is certainly a magnificent piece of work, Herbert," said the old gentleman. "To you, as an artist, it must be a treat indeed. I don''t know enough about art to appreciate it properly. Bless us! And are all those knobs made of precious stones?" "More or less precious: yes, I believe so, Mr. Sutherland," said Herbert, smiling." (Love Among The Artists, Book I)
An Unsocial Socialist, Shaw''s last written novel was published in 1887, having been written in 1883. The tale begins with a humorous description of student antics at a girl''s school then changes focus to a seemingly uncouth labourer who, it soon develops, is really a wealthy gentleman in hiding from his overly affectionate wife. Tinged with self-satirical overtones this novel shows both the positive and negative aspects of Socialism in a comically paradoxical manner. George Bernard Shaw (1856 - 1950) was an Irish playwright, essayist, novelist and short story writer and wrote more than 60 plays. He is the only person to have been awarded both a Nobel Prize in Literature (1925) and an Academy Award (1938). Excerpt: "I am expected to be something more than mortal. Everyone else is encouraged to complain, and to be weak and silly. But I must have no feeling. I must be always in the right. Everyone else may be homesick, or huffed, or in low spirits. I must have no nerves, and must keep others laughing all day long." Table of Contents: Biography: George Bernard Shaw by G. K. Chesterton An Unsocial Socialist
Excerpt: "It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him." (Pygmalion, Preface) Named after a Greek mythological character the play was first presented on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. Professor of phonetics Henry Higgins makes a bet that he can train a bedraggled Cockney flower girl, Eliza Doolittle, to pass for a duchess at an ambassador''s garden party by teaching her to assume a veneer of gentility, the most important element of which, he believes, is impeccable speech. The play is a sharp lampoon of the rigid British class system of the day and a commentary on women''s independence and has been successfully adapted into a motion picture and a musical comedy. George Bernard Shaw (1856 - 1950) was an Irish playwright, essayist, novelist and short story writer and wrote more than 60 plays. He is the only person to have been awarded both a Nobel Prize in Literature (1925) and an Academy Award (1938).
The play is set in a seaside town and tells the story of Mrs Clandon and her three children, Dolly, Phillip and Gloria, who have just returned to England after an eighteen-year stay in Madeira. The children have no idea who their father is and, through a comedy of errors, end up inviting him to a family lunch. At the same time a dentist named Valentine has fallen in love with the eldest daughter, Gloria. However, Gloria considers herself a modern woman and claims to have no interest in love or marriage.
It is midsummer night on the terrace of the Palace at Whitehall, overlooking the Thames. The Palace clock chimes four quarters and strikes eleven. The Man arrives at Whitehall where he meets a Beefeater guard. He persuades the Beefeater to allow him to stay to meet his girlfriend, a lady of the court, who will be arriving soon for a secret tryst. The Man notes down various interesting phrases used by the Beefeater. The Lady arrives, cloaked, but it is not the woman he is expecting. The Man immediately falls for her.
A lady and gentleman are making love to one another in the drawing room of a flat in Ashley Gardens in the Victoria district of London. The lady is a young widow, Grace Tranfield, in love with the man, Leonard Charteris, who is the ‘philanderer’ of the title. Grace is shocked and disconcerted to find that Charteris, on his own lightΓÇÉhearted admission, has been in a similar position with Julia Craven and others. The affair with Julia, in fact, has never been broken off. He maintains that it is not his fault that half the women he speaks to fall in love with him; and he is in full flight of cajolery when Julia Craven herself erupts on to the scene, attacks Grace, and announces her intention of staying until Charteris has given her up.
Androcles, a fugitive Christian tailor, accompanied by his nagging wife, is on the run from his Roman persecutors. While hiding in the forest he comes upon a wild lion who approaches him with a wounded paw. His wife runs off. Androcles sees that the cause of the animal's distress is a large thorn embedded in its paw, which he draws out while soothing the lion in baby language.
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