Bøker av George Bernard Shaw

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - English readers to this German edition as the most complete in existence.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG - - In a dentist's operating room on a fine August morning in 1896. Not the usual tiny London den, but the best sitting room of a furnished lodging in a terrace on the sea front at a fashionable watering place. The operating chair, with a gas pump and cylinder beside it, is half way between the centre of the room and one of the corners. If you look into the room through the window which lights it, you will see the fireplace in the middle of the wall opposite you, with the door beside it to your left; an M.R.C.S. diploma in a frame hung on the chimneypiece; an easy chair covered in black leather on the hearth; a neat stool and bench, with vice, tools, and a mortar and pestle in the corner to the right. Near this bench stands a slender machine like a whip provided with a stand, a pedal, and an exaggerated winch. Recognising this as a dental drill, you shudder and look away to your left, where you can see another window, underneath which stands a writing table, with a blotter and a diary on it, and a chair. Next the writing table, towards the door, is a leather covered sofa.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG - - Mrs Warren's Profession has been performed at last, after a delay of only eight years; and I have once more shared with Ibsen the triumphant amusement of startling all but the strongest-headed of the London theatre critics clean out of the practice of their profession. No author who has ever known the exultation of sending the Press into an hysterical tumult of protest, of moral panic, of involuntary and frantic confession of sin, of a horror of conscience in which the power of distinguishing between the work of art on the stage and the real life of the spectator is confused and overwhelmed, will ever care for the stereotyped compliments which every successful farce or melodrama elicits from the newspapers. Give me that critic who rushed from my play to declare furiously that Sir George Crofts ought to be kicked. What a triumph for the actor, thus to reduce a jaded London journalist to the condition of the simple sailor in the Wapping gallery, who shouts execrations at Iago and warnings to Othello not to believe him! But dearer still than such simplicity is that sense of the sudden earthquake shock to the foundations of morality which sends a pallid crowd of critics into the street shrieking that the pillars of society are cracking and the ruin of the State is at hand. Even the Ibsen champions of ten years ago remonstrate with me just as the veterans of those brave days remonstrated with them. Mr Grein, the hardy iconoclast who first launched my plays on the stage alongside Ghosts and The Wild Duck, exclaimed that I have shattered his ideals. Actually his ideals! What would Dr Relling say? And Mr William Archer himself disowns me because I "cannot touch pitch without wallowing in it". Truly my play must be more needed than I knew; and yet I thought I knew how little the others know.

Edited by Elizabeth T. Forter, this edition of Major Barbara for performance and study includes Shaw's complete "Preface." The text follows Shaw's spelling and punctuation. It also includes a highly regarded twenty-four page introduction, a list of the principal dates in the life of Bernard Shaw, and a selected bibliography.

This collection presents the best of George Bernard Shaw's witticisms and other turns-of-phrase. It surveys Shaw's passion for politics, the arts, and life in general.

After poleaxing his mathematics master with a perfect right, Cashel Byron, the unloved son of a successful actress, runs away to Australia. He returns to England and becomes the most famous prizefighter of his age, only to be floored himself by the lovely and impossible Lydia Carew. Can Lydia, with her reputation for vast learning and exquisite culture, be wooed by the ruffian Cashel? Can Cashel successfully hide his illegal professional? And so follows, with Shaw's inimitable wit and sparkle, a tale of miscommunication, drawing-room comedy and love.

Sidney Trefusis is a proselytizing socialist. Armed with irony and paradox, he is determined to overthrow a society riddled with class and sexual exploitation. Henrietta, his adoring wife, 'loves' him: he must abandon her. Son of a millionaire, he gives up everything to pose as an 'umble peasant'. But when this unsocial socialist goes to work as a gardener in the vicinity of a girls' school he meets his match - for Agatha Wylie is a new kind of woman, perfectly armed: and she doesn't love him. With the character of his clown-prophet Trefusis, George Bernard Shaw presented for the first time his view of what the relationship between the sexes should be. Galloping, exuberant, and irresistibly entertaining, AN UNSOCIAL SOCIALIST is a brilliant satire on social prejudice from a great author of the past.

Shaw believed that theatre audiences of the 1890s deserved more than the hollow spectacle and sham he saw displayed on the London stage. But he also recognized that people wanted to be entertained while educated, and to see purpose mixed with pleasure. In these three plays of ideas, Shaw employed traditional dramatic forms - Victorian melodrama, the history play and the adventure story - to turn received wisdom upside down. Set during the American War of Independence, The Devil's Disciple exposes fake Puritanism and piety, while Caesar and Cleopatra, a cheeky riposte to Shakespeare, redefines heroism in the character of the ageing Roman leader. And in Captain Brassbound's Conversion, an expedition in Morocco is saved from disaster by a lady explorer's skilful manipulation of the truth.

One of Bernard Shaw s most glittering comedies, Arms and the Man is a burlesque of Victorian attitudes to heroism, war and empire. In the contrast between Bluntschli, the mercenary soldier, and the brave leader, Sergius, the true nature of valour is revealed. Shaw mocks deluded idealism in Candida, when a young poet becomes infatuated with the wife of a Socialist preacher. The Man of Destiny is a witty war of words between Napoleon and a strange lady , while in the exuberant farce You Never Can Tell a divided family is reunited by chance. Although Shaw intended Plays Pleasant to be gentler comedies than those in their companion volume, Plays Unpleasant, their prophetic satire is sharp and provocative.

When Ellie Dunn joins a house-party at the home of the eccentric Captain Shotover, she causes a stir with her decision to marry for money rather than love, and the Captain's forthright daughter Hesione protests vigorously against the pragmatic young woman's choice. Opinion on the matter quickly divides and a lively argument about money and morality, idealism and realism ensues as Hesione's rakish husband, snobbish sister and Ellie's fianc - a wealthy industrialist - enter the debate. Written between 1916 and 1917 as war raged across Europe, Heartbreak House is a telling indictment of the generation responsible for the First World War. With its bold combination of high farce and bitter tragedy, Shaw's play remains an uncannily prophetic depiction of a society on the threshold of an abrupt awakening.

'Yes, you squashed cabbage leaf . . . you incarnate insult to the English language: I could pass you off as the Queen of Sheba'Pygmalion both delighted and scandalized its first audiences in 1914. A brilliantly witty reworking of the classical tale of the sculptor who falls in love with his perfect female statue, it is also a barbed attack on the British class system and a statement of Shaw's feminist views. In Shaw's hands, the phoneticist Henry Higgins is the Pygmalion figure who believes he can transform Eliza Doolittle, a cockney flower girl, into a duchess at ease in polite society. The one thing he overlooks is that his 'creation' has a mind of her own.With an Introduction by NICHOLAS GRENE

Shaw s story is rife with such beyond opinions , as an Anglo-Irish Protestant, a Dubliner in London, and a socialist living in the aftermath of the industrial revolution. In one sense, as a Protestant choosing to live in London, he is a John Bull, yet he remains Irish an Irish Bull, something alluded to in his one play set in Eire, John Bull s Other Island.