萧伯纳英文简介ppt

合集下载

萧伯纳ppt

His works
《鳏夫的房产》 Mrs. Warren‘s Profession 《华伦夫人的职业》《凯萨与克丽奥佩拉》
Man and Superman (1903) Widowers' Houses (1892)
Major Barbara (1905)
《巴巴拉少校》
Pygmalion (1912)
.
贞德在审判中被监禁在圣女贞德塔
• .
Pygmalion [piɡ'meiljən ](1912)
《卖花女》
窈窕淑女 (My Fair Lady) 1964年改编成电影《窈窕
淑女》，当年获奥斯卡最佳影片、最佳导演、最佳改编音乐等八座小金人。）
Mrs. Warren’s Profession
Shaw—Dramatist of Ideas:
III.His purpose of writing these plays of “ideas” is to draw people’s attention to the social problems. Shaw—“Drama is no mere setting up of the camera to nature; it is the presentation of problem.” Shaw called his first plays “unpleasant”, because “their dramatic power is used to force the spectator to face unpleasant fact.” As a dramatic critic and a student of Ibsen, he knew how to achieve theatrical effect …. but he was careful (unlike Ibsen) not to scandalize them beyond their willingness to listen.

萧伯纳英文简介

George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege.He was most angered by what he perceived as the exploitation of the working class. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council.In 1898, Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in A yot St Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries he incurred by falling from a ladder.He is the only person to have been awarded both a Nobel Prize in Literature (1925) and an Oscar (1938), for his contributions to literature and for his work on the film Pygmalion(adaptation of his play of the same name), respectively. Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honors, but accepted it at his wife's behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books into English.Contents[hide]1 Lifeo 1.1 Early years andfamilyo 1.2 Educationo 1.3 Personal lifeo 1.4 Political activismo 1.5 Contributionso 1.6 Final years2 Careero 2.1 Writingso 2.2 Criticismo 2.3 Novelso 2.4 Short storieso 2.5 Playso 2.6 Polemicso 2.7 Correspondenceand friendso 2.8 Photography∙ 3 Political and social views∙ 4 Eugenics∙ 5 Religion∙ 6 Legacy7 Workso7.1 Novelso7.2 Short storieso7.3 Dramao7.4 Essayso7.5 Musical Criticismo7.6 Debate∙8 See also∙9 Notes∙10 References∙11 External links[edit] LifeShaw's birthplace, Dublin[edit] Early years and familyGeorge Bernard Shaw was born in Synge Street, Dublin, on 26 July 1856[3] to George Carr Shaw(1814–85), an unsuccessful grain merchant and sometime civil servant, and Lucinda Elizabeth Shaw, née Gurly (1830–1913), a professional singer. He had two sisters, Lucinda Frances (1853–1920), a singer of musical comedy and light opera, and Elinor Agnes (1855–76).[edit] EducationShaw briefly attended the Wesley College, Dublin, a grammar school operated by the Methodist Church in Ireland, before moving to a private school near Dalkey and then transferring to Dublin's Central Model School. He ended his formal education at the Dublin English Scientific and Commercial Day School. He harboured a lifelong animosity toward schools and teachers, saying: "Schools and schoolmasters, as we have them today, are not popular as places of education and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents".[4]In the astringent prologue to Cashel Byron's Profession young Byron's educational experience is a fictionalized description of Shaw's own schooldays. Later, he painstakingly detailed the reasons for his aversion to formal education in his Treatise on Parents and Children.[5] In brief, he considered the standardized curricula useless, deadening to the spirit and stifling to the intellect. He particularly deplored the use of corporal punishment, which was prevalent in his time.When his mother left home and followed her voice teacher, George V andeleur Lee, to London, Shaw was almost sixteen years old. His sisters accompanied their mother[6] but Shaw remained in Dublin with his father, first as a reluctant pupil, then as a clerk in an estate office. He worked efficiently, albeit discontentedly, for several years.[7]In 1876, Shaw joined his mother's London household. She, V andeleur Lee, and his sister Lucy, provided him with a pound a week while he frequented public libraries and the British Museum reading room where he studied earnestly and began writing novels. He earned his allowance by ghostwriting V andeleur Lee's music column,[8][9] which appeared in the London Hornet. His novels were rejected, however, so his literary earnings remained negligible until 1885, when he became self-supporting as a critic of the arts.[edit] Personal lifeThe front of Shaw's Corner as it stands todayInfluenced by his reading, he became a dedicated Socialist and a charter member of the Fabian Society,[10]a middle class organization established in 1884 to promote the gradual spread of socialism by peaceful means.[7]In the course of his political activities he met Charlotte Payne-Townshend, an Irish heiress and fellow Fabian; they married in 1898. The marriage was never consummated, at Charlotte's insistence, though he had had a number of affairs with married women;[11]In 1906 the Shaws moved into a house, now called Shaw's Corner, in A yot St. Lawrence, a small village in Hertfordshire, England; it was to be their home for the remainder of their lives, although they also maintained a residence at 29 Fitzroy Square in London.[edit] Political activismShaw declined to stand as an MP, but in 1897 he was elected as a local councillor to the LondonCounty Council as a Progressive.[12][edit] ContributionsShaw's plays were first performed in the 1890s. By the end of the decade he was an established playwright. He wrote sixty-three plays and his output as novelist, critic, pamphleteer, essayist and private correspondent was prodigious. He is known to have written more than 250,000 letters.[13] Along with Fabian Society members Sidney and Beatrice Webb and Graham Wallas, Shaw founded the London School of Economics and Political Science in 1895 with funding provided by private philanthropy, including a bequest of £20,000 from Henry Hunt Hutchinson to the Fabian Society. One of the libraries at the LSE is named in Shaw's honor; it contains collections of his papers and photographs.[14] Shaw helped to found the left-wing magazine New Statesman in 1913 with the Webbs and other prominent members of the Fabian Society.[15][edit] Final yearsDuring his later years, Shaw enjoyed attending to the grounds at Shaw's Corner. At 91 he joined the Interplanetary Society for the last three years of his life.[16] He died at the age of 94,[17] of renal failure precipitated by injuries incurred by falling while pruning a tree.[18] His ashes, mixed with those of his wife, Charlotte Payne-Townshend, were scattered along footpaths and around the statue of Saint Joan in their garden.[19][edit] Career[edit] WritingsSee Works by George Bernard Shaw for listings of his novels and plays, with links to their electronic texts, if those exist.The International Shaw Society provides a detailed chronological listing of Shaw's writings.[20] See also George Bernard Shaw, Unity Theatre.[21][edit] CriticismShaw around 1900.Shaw became a critic of the arts when, sponsored by William Archer, he joined the reviewing staff of the Pall Mall Gazette in 1885.[22]There he wrote under the pseudonym "Corno di Bassetto" ("basset horn")—chosen because it sounded European and nobody knew what a corno di bassetto was. In a miscellany of other periodicals, including Dramatic Review(1885–86), Our Corner (1885–86), and the Pall Mall Gazette (1885–88) his byline was "GBS".[23]From 1895 to 1898, Shaw was the drama critic for his friend Frank Harris's Saturday Review, in which position he campaigned brilliantly to displace the artificialities and hypocrisies of the V ictorian stage with a theatre of actuality and thought. His earnings as a critic made him self-supporting as an author and his articles for the Saturday Review made his name well-known.George Bernard Shaw was highly critical of productions of Shakespeare, and specificallydenounced the dramatic practice of editing Shakespeare's plays, whose scenes tended to be cut in order to create "acting versions". He notably held famous 19th-century actor Sir Henry Irving in contempt for this practice, as he expressed in one of his reviews:"In a true republic of art, Sir Henry Irving would ere this have expiated his acting versions on the scaffold. He does not merely cut plays; he disembowels them. In Cymbeline he has quite surpassed himself by extirpating the antiphonal third verse of the famous dirge. A man who would do that would do anything –cut the coda out of the first movement of Beethoven's Ninth Symphony, or shorten one of V elázquez's Philips into a kitcat to make it fit over his drawing room mantelpiece."Shavian scholar John F. Matthews credits him, as a result, with the disappearance of the two-hundred-year-old tradition of editing Shakespeare into "acting versions".[24]Shaw in 1909.Shaw photographed by the press.He had a very high regard for both Irish stage actor Barry Sullivan's and Johnston Forbes-Robertson's Hamlets, but despised John Barrymore's. Barrymore invited him to see a performance of his celebrated Hamlet, and Shaw graciously accepted, but wrote Barrymore a withering letter in which he all but tore the performance to shreds. Even worse, Shaw had seen the play in the company of Barrymore's then wife, but did not dare voice his true feelings about the performance aloud to her.[25]Much of Shaw's music criticism, ranging from short comments to the book-length essay The Perfect Wagnerite, extols the work of the German composer Richard Wagner.[26] Wagner worked 25 years composing Der Ring des Nibelungen, a massive four-part musical dramatization drawn from the Teutonic mythology of gods, giants, dwarves and Rhine maidens; Shaw considered it a work of genius and reviewed it in detail. Beyond the music, he saw it as an allegory of social evolution where workers, driven by "the invisible whip of hunger", seek freedom from their wealthy masters. Wagner did have socialistic sympathies, as Shaw carefully points out, but madeno such claim about his opus. Conversely, Shaw disparaged Brahms, deriding A German Requiem by saying "it could only have come from the establishment of a first-class undertaker".[27] Although he found Brahms lacking in intellect, he praised his musicality, saying "...nobody can listen to Brahms' natural utterance of the richest absolute music, especially in his chamber compositions, without rejoic ing in his natural gift". In the 1920s, he recanted, calling his earlier animosity towards Brahms "my only mistake".[26]Shaw's writings about music gained great popularity because they were understandable to the average well-read audience member of the day, thus contrasting starkly with the dourly pretentious pedantry of most critiques in that era.[28] All of his music critiques have been collected in Shaw's Music.[29]As a drama critic for the Saturday Review, a post he held from 1895 to 1898, Shaw championed Henrik Ibsen whose realistic plays scandalized the Victorian public. His influential Quintessence of Ibsenism was written in 1891.[30][edit] NovelsShaw wrote five unsuccessful novels at the start of his career between 1879 and 1883. Eventually all were published.The first to be printed was Cashel Byron's Profession(1886),[31] which was written in 1882. Its eponymous character, Cashel, a rebellious schoolboy with an unsympathetic mother, runs away to Australia where he becomes a famed prizefighter. He returns to England for a boxing match, and falls in love with erudite and wealthy Lydia Carew. Lydia, drawn by sheer animal magnetism, eventually consents to marry despite the disparity of their social positions. This breach of propriety is nullified by the unpresaged discovery that Cashel is of noble lineage and heir to a fortune comparable to Lydia's. With those barriers to happiness removed, the couple settles down to prosaic family life with Lydia dominant; Cashel attains a seat in Parliament. In this novel Shaw first expresses his conviction that productive land and all other natural resources should belong to everyone in common, rather than being owned and exploited privately. The book was written in the year when Shaw first heard the lectures of Henry George who advocated such reforms.Shaw in 1925, when he was awarded the Nobel Prize in LiteratureWritten in 1883, An Unsocial Socialist was published in 1887.[32] The tale begins with a hilarious description of student antics at a girl's school then changes focus to a seemingly uncouth laborer who, it soon develops, is really a wealthy gentleman in hiding from his overly affectionate wife. He needs the freedom gained by matrimonial truancy to promote the socialistic cause, to which he is an active convert. Once the subject of socialism emerges, it dominates the story, allowing only space enough in the final chapters to excoriate the idle upper class and allow the erstwhile schoolgirls, in their earliest maturity, to marry suitably.Love Among the Artists was published in the United States in 1900 and in England in 1914,[33] but it was written in 1881. In the ambiance of chit-chat and frivolity among members of V ictorian 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.The Irrational Knot was written in 1880 and published in 1905.[34] Within a framework of leisureclass preoccupations and frivolities Shaw disdains hereditary status and proclaims the nobility of workers. Marriage, as the knot in question, is exemplified by the union of Marian Lind, a lady of the upper class, to Edward Conolly, always a workman but now a magnate, thanks to his invention of an electric motor that makes steam engines obsolete. The marriage soon deteriorates, primarily because Marian fails to rise above the preconceptions and limitations of her social class and is, therefore, unable to share her husband's interests. Eventually she runs away with a man who is her social peer, but he proves himself a scoundrel and abandons her in desperate circumstances. Her husband rescues her and offers to take her back, but she pridefully refuses, convinced she is unworthy and certain that she faces life as a pariah to her family and friends. The preface, written when Shaw was 49, expresses gratitude to his parents for their support during the lean years while he learned to write and includes details of his early life in London.Shaw's first novel, Immaturity, was written in 1879 but was the last one to be printed in 1931.[35] It relates tepid romances, minor misfortunes and subdued successes in the developing career of Robert Smith, an energetic young Londoner and outspoken agnostic. Condemnation of alcoholic behavior is the prime message in the book, and derives from Shaw's familial memories. This is made clear in the books's preface, which was written by the mature Shaw at the time of its belated publication. The preface is a valuable resource because it provides autobiographical details not otherwise available.[edit] Short storiesShaw writing in a notebook at the time of first production of his play Pygmalion.A collection of Shaw's short stories, The Black Girl in Search of God and Some Lesser Tales, was published in 1934.[36]The Black Girl, an enthusiastic convert to Christianity, goes searching for God. In the story, written as an allegory, somewhat reminiscent of Bunyan's The Pilgrim's Progress, Shaw uses her adventures to expose flaws and fallacies in the religions of the world. At the story's happy ending, the Black Girl quits her searchings in favor of rearing a family with the aid of a red-haired Irishman who has no metaphysical inclination.One of the Lesser Tales is The Miraculous Revenge (1885), which relates the misadventures of an alcoholic investigator while he probes the mystery of a graveyard—full of saintly corpses—that migrates across a stream to escape association with the body of a newly buried sinner.[edit] PlaysThe texts of plays by Shaw mentioned in this section, with the dates when they were written and first performed can be found in Complete Plays and Prefaces.[37] Shaw began working on his first play destined for production, Widowers' Houses, in 1885 in collaboration with critic William Archer, who supplied the structure. Archer decided that Shaw could not write a play, so the project was abandoned. Y ears later, Shaw tried again and, in 1892, completed the play without collaboration. Widowers' Houses, a scathing attack on slumlords, was first performed at London's Royalty Theatre on 9 December 1892. Shaw would later call it one of his worst works, but he had found his medium. His first significant financial success as a playwright came from Richard Mansfield's American production of The Devil's Disciple (1897). He went on to write 63 plays, most of them full-length.Often his plays succeeded in the United States and Germany before they did in London. Although major London productions of many of his earlier pieces were delayed for years, they are still being performed there. Examples inc lude Mrs. Warren's Profession (1893), Arms and the Man (1894), Candida (1894) and You Never Can Tell (1897).Shaw's plays, like those of Oscar Wilde, contained incisive humour, which was exceptional among playwrights of the Victorian era; both authors are remembered for their comedy.[38]However, Shaw's wittiness should not obscure his important role in revolutionizing British drama. In the Victorian Era, the London stage had been regarded as a place for frothy, sentimental entertainment. Shaw made it a forum for considering moral, political and economic issues, possibly his most lasting and important contribution to dramatic art. In this, he considered himself indebted to Henrik Ibsen, who pioneered modern realistic drama, meaning drama designed to heighten awareness of some important social issue. Significantly, Widowers' Houses— an example of the realistic genre —was completed after William Archer, Shaw's friend, had translated some of Ibsen's plays to English and Shaw had written The Quintessence of Ibsensism.[39]As Shaw's experience and popularity increased, his plays and prefaces became more voluble about reforms he advocated, without diminishing their success as entertainments. Such works, including Caesar and Cleopatra(1898), Man and Superman(1903), Major Barbara(1905) and The Doctor's Dilemma(1906), display Shaw's matured views, for he was approaching 50 when he wrote them. From 1904 to 1907, several of his plays had their London premieres in notable productions at the Court Theatre, managed by Harley Granville-Barker and J. E. V edrenne. The first of his new plays to be performed at the Court Theatre, John Bull's Other Island (1904), while not especially popular today, made his reputation in London when King Edward VII laughed so hard during a command performance that he broke his chair.[40]By the 1910s, Shaw was a well-established playwright. New works such as Fanny's First Play (1911) and Pygmalion(1912), had long runs in front of large London audiences. Shaw had permitted a musical adaptation of Arms and the Man (1894) called The Chocolate Soldier (1908), but he had a low opinion of German operetta. He insisted that none of his dialogue be used, and that all the character names be changed, although the operetta actually follows Shaw's plot quite closely, in particular preserving its anti-war message. The work proved very popular and would have made Shaw rich had he not waived his royalties, but he detested it and for the rest of his life forbade musicalization of his work, including a proposed Franz Lehár operetta based on Pygmalion. Several of his plays formed the basis of musicals after his death—most famously the musical My Fair Lady—it is officially adapted from the screenplay of the film version of Pygmalion rather than the original stage play (keeping the film's ending), and librettist Alan Jay Lerner kept generous chunks of Shaw's dialogue, and the characters' names, unchanged.Shaw's outlook was changed by World War I, which he uncompromisingly opposed despite incurring outrage from the public as well as from many friends. His first full-length piece, presented after the War, written mostly during it, was Heartbreak House (1919). A new Shaw had emerged—the wit remained, but his faith in humanity had dwindled. In the preface to Heartbreak House he said:"It is said that every people has the Government it deserves. It is more to the point that every Government has the electorate it deserves; for the orators of the front bench can edify or debauch an ignorant electorate at will. Thus our democracy moves in a vicious circle of reciprocal worthiness and unworthiness."[41]The movable hut in the garden of Shaw's Corner, where Shaw wrote most of his works after 1906, including Pygmalion.Shaw had previously supported gradual democratic change toward socialism, but now he saw more hope in government by benign strong men. This sometimes made him oblivious to the dangers of dictatorships. Near his life's end that hope failed him too. In the first act of Buoyant Billions (1946–48), his last full-length play, his protagonist asks:"Why appeal to the mob when ninetyfive per cent of them do not understand politics, and can do nothing but mischief without leaders? And what sort of leaders do they vote for? For Titus Oates and Lord George Gordon with their Popish plots, for Hitlers who call on them to exterminate Jews, for Mussolinis who rally them to nationalist dreams of glory and empire in which all foreigners are enemies to be subjugated."[42]In 1921, Shaw completed Back to Methuselah, his "Metabiological Pentateuch". The massive, five-play work starts in the Garden of Eden and ends thousands of years in the future; it showcases Shaw's postulate that a "Life Force" directs evolution toward ultimate perfection by trial and error. Shaw proclaimed the play a masterpiece, but many critics disagreed. The theme of a benign force directing evolution reappears in Geneva(1938), wherein Shaw maintains humans must develop longer lifespans in order to acquire the wisdom needed for self-government.Methuselah was followed by Saint Joan(1923), which is generally considered to be one of his better works. Shaw had long considered writing about Joan of Arc, and her canonization in 1920 supplied a strong incentive. The play was an international success, and is believed to have led to his Nobel Prize in Literature.[43] The citation praised his work as "...marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty". At this time Prime Minister David Lloyd George was considering recommending to the King Shaw's admission to the Order of Merit, but the place was instead given to J. M. Barrie.[43] Shaw rejected a knighthood.[43]It was not until 1946 that the government of the day arranged for an informal offer of the Order of Merit to be made: Shaw declined, replying that "merit" in authorship could only be determined by the posthumous verdict of history.[43]He wrote plays for the rest of his life, but very few of them are as notable—or as often revived—as his earlier work. The Apple Cart (1929) was probably his most popular work of this era. Later full-length plays like Too True to Be Good(1931), On the Rocks(1933), The Millionairess (1935), and Geneva (1938) have been seen as marking a decline. His last significant play, In Good King Charles Golden Days has, according to St. John Ervine,[44] passages that are equal to Shaw's major works.Shaw's published plays come with lengthy prefaces. These tend to be more about Shaw's opinions on the issues addressed by the plays than about the plays themselves. Often his prefaces are longer than the plays they introduce. For example, the Penguin Books edition of his one-act The Shewing-up Of Blanco Posnet (1909) has a 67-page preface for the 29-page playscript.[edit] PolemicsIn a letter to Henry James dated 17 January 1909,[45] Shaw said:"I, as a Socialist, have had to preach, as much as anyone, the enormous power of the environment. We can change it; we must change it; there is absolutely no other sense in life than the task ofchanging it. What is the use of writing plays, what is the use of writing anything, if there is not a will which finally moulds chaos itself into a race of gods."[46]Thus he viewed writing as a way to further his humanitarian and political agenda. His works were very popular because of their comedic content, but the public tended to disregard his messages and enjoy his work as pure entertainment. He was acutely aware of that. His preface to Heartbreak House (1919) attributes its rejection to the need of post-World War I audiences for frivolities, after four long years of grim privation, more than to their inborn distaste of instruction. His crusading nature led him to adopt and tenaciously hold a variety of causes, which he furthered with fierce intensity, heedless of opposition and ridicule. For example, Common Sense about the War (1914) lays out Shaw's strong objections at the onset of World War I.[47] His stance ran counter to public sentiment and cost him dearly at the box-office, but he never compromised.[48]Shaw joined in the public opposition to vaccination against smallpox, calling it "a particularly filthy piece of witchcraft",[49][50] despite having nearly died from the disease when he contracted it in 1881. In the preface to Doctor's Dilemma he made it plain he regarded traditional medical treatment as dangerous quackery that should be replaced with sound public sanitation, good personal hygiene and diets devoid of meat. Shaw became a vegetarian while he was twenty-five, after hearing a lecture by H.F. Lester.[51] In 1901, remembering the experience, he said "I was a cannibal for twenty-five years. For the rest I have been a vegetarian."[52] As a staunch vegetarian, he was a firm anti-vivisectionist and antagonistic to cruel sports for the remainder of his life. The belief in the immorality of eating animals was one of the Fabian causes near his heart and is frequently a topic in his plays and prefaces. His position, succinctly stated, was "A man of my spiritual intensity does not eat corpses."[53]As well as plays and prefaces, Shaw wrote long political treatises, such as Fabian Essays in Socialism (1889),[54] and The Intelligent Woman's Guide to Socialism and Capitalism (1912),[55] a 495-page book detailing all aspects of socialistic theory as Shaw interpreted it. Excerpts of the latter were republished in 1928 as Socialism and Liberty,[56] Late in his life he wrote another guide to political issues, Everybody's Political What's What (1944).[edit] Correspondence and friendsShaw corresponded with an array of people, many of them well-known. His letters to and from Mrs. Patrick Campbell were adapted for the stage by Jerome Kilty as Dear Liar: A Comedy of Letters,[57]as was his correspondence with the poet Lord Alfred 'Bosie' Douglas(the intimate friend of Oscar Wilde), into the drama Bernard and Bosie: A Most Unlikely Friendship by Anthony Wynn. His letters to the prominent actress, Ellen Terry,[58] to the boxer Gene Tunney,[59] and to H.G. Wells,[60]have also been published. Eventually the volume of his correspondence became insupportable, as can be inferred from apologetic letters written by assistants.[61]Shaw campaigned against the executions of the rebel leaders of the Easter Rising, and he became a personal friend of the Cork-born IRA leader Michael Collins, whom he invited to his home for dinner while Collins was negotiating the Anglo-Irish Treaty with Lloyd George in London. After Collins's assassination in 1922, Shaw sent a personal message of condolence to one of Collins's sisters. He much admired (and was admired by) G. K. Chesterton.[62]When Chesterton died, Shaw mourned his passing in a poignant letter to Chesterton's widow; he had always expected that he would predecease Chesterton, being the latter's senior by almost two decades.Shaw also enjoyed a (somewhat stormy) friendship with T.E. Lawrence, known most notably for。

萧伯纳PPt解析

I was born intelligent - education ruined me. --Bernard Shaw
我生下来时很聪明的——教育把 depends on your dreams." So go to sleep. --Bernard Shaw
“
未来取决于梦想。”所以赶紧睡觉去。
Money is not everything. There is Mastercard & Visa. --Bernard Shaw
金钱并非一切，还有信用卡呢。
born July 26, 1856, Dublin, Ireland Shaw briefly attended the Wesley College, Dublin, but never went to university and was largely self-taught.
Bernard Shaw visited Soviet in 1931.He spent his 75th birthday on Moscow.
In 1933,he came to China .Lu Xun represented other progressives welcomed Shaw.
pay a shilling, so that she may speak properly enough to work in a flower shop. Higgins makes merciless fun of her, but is seduced by the idea of working his magic on her. For a number of months, Higgins trains Eliza to speak properly. A relationship between Higgins and Eliza was developped,

萧伯纳PPT

5
ห้องสมุดไป่ตู้
The Nobel Prize
Saint Joan
Saint Joan is a play by George Bernard Shaw, based on the life Shaw and trial of Joan of Arc. to Shaw studied the is the only person have been 1924 transcripts and decided that the concerned people acted awarded both a Nobel Prize in Literature in good (1925) faith according to theirAward beliefs. He wrote and an Academy (1938), for in his prefacehis to contributions the play: to literature and for his work on the film Pygmalion. There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by generalShaw consent, anddown that is [there is] about turned allall other awards and it. It is what men do at including their best, with good intentions, and what honors, the offer of a knighthood. normal men and women find that they must and will do in spite of their intentions, that really concern us.

萧伯纳George Bernard Shaw

George Bernard Shaw (26 July 1856 –2 November 1950)George Bernard Shaw Early years and family Education Personal life and Political activism Writings412326 July 1856 –2 November 1950Early years and family❖George Bernard Shaw was born in Synge Street,Dublin in1856to George Carr Shaw(1814–85),an unsuccessful grain merchant and sometime civil servant,and Lucinda Elizabeth Shaw(1830–1913),a professional singer. He had two sisters,Lucinda Frances (1853–1920),a singer of musical comedy and light opera,and Elinor Agnes (1855–76).❖Shaw briefly attended the Wesley College,Dublin,a grammar school operated by the Methodist Church in Ireland,before moving to a private school near Dalkey and then transferring to Dublin's Central Model School.He ended his formal education at the Dublin English Scientific and Commercial Day School.❖He harboured a lifelong animosity toward schools and teachers,saying: "Schools and schoolmasters,as we have them today,are not popular as places of education and teachers,but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents"❖When his mother left home and followed her voice teacher,George Vandeleur Lee,to London,Shaw was almost sixteen years old(1872).His sisters accompanied their mother but Shaw remained in Dublin with his father,first as a reluctant pupil,then as a clerk in an estate office.❖In1876,his parents commited a divorce.Shaw joined his mother's London household.She,Vandeleur Lee, and his sister Lucy,provided him with a pound a week while he frequented public libraries and the British Museum reading room where he studied earnestly and began writing novels.❖Influenced by his reading,he became a dedicated Socialist and a charter member of the Fabian Society,a middle class organization established in1884to promote the gradual spread of socialism by peaceful means.In1898,Shaw married Charlotte Payne-Townshend,a fellow Fabian,whom he survived.They settled in Ayot wrence in a house now called Shaw's Corner❖He was an Irish playwright.Although his first profitable writing was music and literary criticism,in which capacity he wrote many highly articulate pieces of journalism,his main talent was for drama,and he wrote more than60 plays.Nearly all his writings address prevailing social problems,but have a vein of comedy which makes their stark themes more palatable.❖Shaw examined education,marriage, religion,government,health care,and class privilege.❖Plays:❖The Devil's Disciple 1897❖Widowers' Houses 1892❖Man and Superman 1905❖Pygmalion 1913Saint Joan 1923❖Novels:❖Love Among the Artists 1881❖Cashel Byron's Profession 1882❖He is the only person to have been awarded both a Nobel Prize for Literature(1925)and an Oscar(1938), for his contributions to literature and for his work on the film Pygmalion (adaptation of his play of the same name),respectively.❖Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honours,but accepted it at his wife's behest:she considered it a tribute to Ireland.He did reject the monetary award,requesting it be used to finance translation of Swedish books to English.Final years❖During his later years,Shaw enjoyed attending to the grounds at Shaw's Corner.He died at the age of94,of renal failure precipitated by injuries incurred by falling while pruning a tree. His ashes,mixed with those of his wife, Charlotte Payne-Townshend,were scattered along footpaths and around the statue of Saint Joan in their garden.Background❖Before the industrial revolution, workers need to do all the things that related to a job,to some extent,man of that time is a all-rounder of his own field.But things change after the industrial revolution,every worker only do part of the work,none of them need to do the whole procedure of the job, namely,they lose their ability,and lost their capacity of creating things.Theme❖Manufacturing proves its efficiency, accumulates more money for the society,yet it makes men become less talent.This essay warns us that the highly developed industrial society restricts the human nature and it's also a threat to the freedom and creative power of mankind.Group 4 余涵冰❖That's all for today!❖Thanks❖for❖your❖attention!。

萧伯纳-PPT文档资料

George Bernard Shaw萧伯纳
• 萧伯纳（George Bernard Shaw，1856—1950）爱尔兰剧作家，1925年因为作品具有理想主义和人道主义而获诺贝尔文学奖，是英国现代杰出的现实主义戏剧作家，是世界著名的擅长幽默与讽刺的语言大师。
• 萧伯纳的一生，是和社会主义运动发生密切关系的一生，他认真研读过《资本论》，公开声言他“是一个普通的无产者”，“一个社会主义者”。他主张艺术应当反映迫切的社会问题，反对“为艺术而艺术”。其思想深受德国哲学家叔本华及尼采的影响，而且又曾读过马克思的著作，不过他却主张用渐进的方法改变资本
度假地第一次偷情萧伯纳老少恋首度曝光
• 据英国《泰晤士报》报道，关于爱尔兰裔著名剧作家萧伯纳有一个流传很广的笑话，说是美国现代舞创始人邓肯曾向萧伯纳写信求爱，希望与萧伯纳生下一子，好让他同时拥有邓肯的美貌和萧伯纳的智慧，没想到萧伯纳回信称：“如果孩子的容貌如我，大脑像你怎么办？” • 这当然是一个无据可查的笑谈，然而不为人知的是，现实生活中的萧伯纳的确有一个身为女演员的“美国情人”，这名20多岁的年轻美女还差点为他生下一子。 • 这段“忘年之恋”是萧伯纳生平保守最严格的秘密，直到他去世54年后的今天，他“美国情人”的儿子、现年 85岁的美国前记者彼得· 汤普金斯才终于决定向世人首次披露萧伯纳生平的这一“绝对隐私”。
我活多久，这种事情迟早总会发生的。”
• 萧伯纳的文学始于小说创作，但突出的成就是戏剧，他一共创作了52部剧本
• 主要作品
• • • • • • ●《卡希尔· 拜伦的职业》（Cashel Byron's Profession）电影《窈窕淑女》(奥黛丽· 赫本主演) ●《鳏夫的房产》（Widowers' Houses） ●《圣女贞德》（Saint Joan） ●历史剧《卖花女》（Pygmalion）（1964年改编成电影《窈窕淑女》，当年获奥斯卡最佳影片、最佳导演、最佳改编音乐等八座小金人。） ●《魔鬼的门徒》（The Devil's Disciple） ●《人与超人》（Man and Superman） ●《伤心之家》（Heartbreak House） ●《华伦夫人的职业》（Mrs Warren's Profession） ●《巴巴拉少校》（Major Barbara） ●《苹果车》（The Apple Cart） ●《医生的两难选择》（The Doctor's Dilemma） ●《长生》或《千岁人》（Back to Methuselah） ●《凯撒和克娄巴特拉》（Caesar and Cleopatra）

萧伯纳作品赏析Pygmalion PPT

Literary Career and Achievements
the second greatest English playwright behind only Shakespeare
“a day never passes without a performance of some Shaw play being given somewhere in the world.”
With wondrous art, he creates a beautiful statue in ivory, Galatea, representing feminine ideal.
When Pygmalion returns home, he kisses his statue and is delighted to find that she is warm and soft to touch.
He flirted with beautiful women but never had further committed relations.
He was member of Fabian Society, a middleclass socialist group that aimed at the transformation of English government and society.
萧伯纳作品赏析Pygmalion
Do you know the famous actress? Can you name some films which she acted in?
窈窕淑女 (My Fair Lady)
1964年
Questions:
1. Have you seen the film My Fair Lady ?

萧伯纳PPT

Saint Joan
1923,A Chronicle Play,6 Scenes • Joan of Arc,based on her life. • A national heroine of France; a saint of the Roman Catholic Church. She clamed that she had visions from God to recover France from the war. Then she was sent to Orléans to trial. Finally,Joan commanded her troops defeated British in several fights, and Franch politic get stabilized. But framed by evil forces,she was burnt to death as a heresy, she died just nineteen. 24years later, the fomer judgment was overthrown, she was again saint.
Immaturity Cashel Byron’s Profession An Unsocial Socialist The Irrational Knot Love Among the Artists
Short story
• The Black Girl in Search of God and Some Lesser Tales, published in 1934. (The Black Girl is misguided convert to Christianity, goes searching for God, whom she believes to be an actual person. Written as an allegory,using the girl’s adventure to expose flaws and fallacies of religion. • Another is The Miraculous Revenge (1885), which relates the misadventures of an alcoholic investigator while he probes the mystery of a The story is wildly different from Shaw's usual style.

萧伯纳卖花女 ppt课件

Mrs. Higgins: a refined, independent woman .
Alfred Doolittle: contented with his own life, selfish, indifferent.
Freddy :persistent to love, almost no
hierarchical idea.
那三个茶会中你一定要试试这种时髦话。不要胆怯，尽管说。)
Clara: I will, Good-bye such nonsense, at all this early Victorian prudery!(我一定说，再见.这些维多利亚早期的清规戒律都是胡闹)
Higgins：【tempting her】 Such damned nonsense!(真是胡闹)
2020/12/27
17
Marriage and Prostitution: From his unusual
standpoint of being committed to a celibate marriage, Shaw apparently feels free to denounce marriage as an exchange of sexuality for money similar to prostitution (even though this was not happening in his own marriage).
Characters analysis
5
Originate from: An Ancient Greek myth
A sculptor from Cyprus
Hates woman & the idea of getting married

英语专业英国文学课件25George BShaw

• The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man.
for 26 years • His aim & His difference from Marxism: the transformation of English society
not through revolution but through "permeation" of the country's intellectual and political life. （Fabian Society’s ideal &belief:
ideological attacks on the evils of capitalism & explorations and on the evils of moral and social problems
• His “plays pleasant”: 4 plays Arms and the Man Candida Man and Superman You Never Can Tell
George Bernard Shaw
1856-1950
• Irish dramatists, a leading figure in the 20th century theater,
• literary critic, • socialist spokesman, • A supporter of women’s rights • An advocate of equality of income • Nobel Prize winner of literature in 1925

GeorgeBernardShaw萧伯纳简介

Georg‎e Berna‎r d Shaw萧‎伯纳简介1856-1950 长篇小说：An Unsoc‎i al Socia‎l ist业‎余社会主义‎者评论：Quint‎e ssen‎c e of Ibsen‎i sm 剧本‎：Widoe‎r’s‎House‎s鳏夫的房‎产;Mrs Warre‎n’s‎Profe‎s sion‎华伦夫人的‎职业The‎Devil‎’s‎Disci‎p le魔鬼‎的门徒;Man and Super‎m an人与‎超人;John‎Bull’s‎Other‎Islan‎d英国佬的‎另一个岛;Major‎Barba‎r a巴巴拉‎少校;Pygma‎l ion劈‎克美梁;Heart‎b reak‎House‎伤心之家;The Apple‎Cart 苹‎果车;Too True to be Good真‎相毕露born July 26, 1856, Dubli‎n, Irela‎n ddied Novem‎b er 2, 1950, Ayot St. Lawre‎n ce, Hertf‎o rdsh‎i re, Engla‎n dGeorg‎e Berna‎r d Shaw, photo‎g raph‎by Yousu‎f Karsh‎.Irish‎comic‎drama‎t ist, liter‎a ry criti‎c, and socia‎l ist propa‎g andi‎s t, winne‎r of the Nobel‎Prize‎for Liter‎a ture‎in 1925.Early‎life and caree‎rGeorg‎e Berna‎r d Shaw was the third‎and young‎e st child‎(and only son) of Georg‎e Carr Shaw and Lucin‎d a Eliza‎b eth Gurly‎Shaw. Techn‎i call‎y, he belon‎g ed to the Prote‎s tant‎“ascen‎d ancy‎”—the lande‎d Irish‎gentr‎y—but his impra‎c tica‎l fathe‎r was first‎a sinec‎u red civil‎serva‎n t and then an unsuc‎c essf‎u l grain‎merch‎a nt, and Georg‎e Berna‎r d grew up in an atmos‎p here‎of gente‎e l pover‎t y, which‎to him was more humil‎i atin‎g than being‎merel‎ypoor. At first‎tutor‎e d by a cleri‎c al uncle‎, Shaw basic‎a lly rejec‎t ed the schoo‎l s he then atten‎d ed, and by age 16 he was worki‎n g in a land agent‎'s offic‎e.Shaw devel‎o ped a wide knowl‎e dge of music‎,art, and liter‎a ture‎as a resul‎t of his mothe‎r's influ‎e nce and his visit‎s to the Natio‎n al Galle‎r y of Irela‎n d. In 1872 his mothe‎r left her husba‎n d and took her two daugh‎t ers to Londo‎n, follo‎w ing her music‎teach‎e r, Georg‎e John Vande‎l eur Lee, who from 1866 had share‎d house‎h olds‎in Dubli‎n with the Shaws‎. In 1876 Shaw resol‎v ed to becom‎e a write‎r, and he joine‎d his mothe‎r and elder‎siste‎r (the young‎e r one havin‎g died) in Londo‎n. Shaw in his 20s suffe‎r ed conti‎n uous‎frust‎r atio‎n and pover‎t y. He depen‎d ed upon his mothe‎r's pound‎a week from her husba‎n d and her earni‎n gs as a music‎teach‎e r. He spent‎his after‎n oons‎in the Briti‎s h Museu‎m readi‎n g room, writi‎n g novel‎s and readi‎n g what he had misse‎d at schoo‎l, and his eveni‎n gs in searc‎h of addit‎i onal‎self-educa‎t ion in the lectu‎r es and debat‎e s that chara‎c teri‎z edconte‎m pora‎r y middl‎e-class‎Londo‎n intel‎l ectu‎a l activ‎i ties‎.His ficti‎o n faile‎d utter‎l y. The semia‎u tobi‎o grap‎h ical‎and aptly‎title‎d Immat‎u rity‎(1879; publi‎s hed 1930) repel‎l ed every‎publi‎s her in Londo‎n. His next four novel‎s were simil‎a rly refus‎e d, as were most of the artic‎l es he submi‎t ted to the press‎for a decad‎e. Shaw's initi‎a l liter‎a ry work earne‎d him less than 10 shill‎i ngs a year. A fragm‎e nt posth‎u mous‎l y publi‎s hed as An Unfin‎i shed‎Novel‎in 1958 (but writt‎e n 1887–88) was his final‎false‎start‎in ficti‎o n.Despi‎t e his failu‎r e as a novel‎i st in the 1880s‎,Shaw found‎himse‎l f durin‎g this decad‎e. He becam‎e a veget‎a rian‎,a socia‎l ist, a spell‎b indi‎n g orato‎r, a polem‎i cist‎, and tenta‎t ivel‎y a playw‎r ight‎. He becam‎e the force‎behin‎d the newly‎found‎e d (1884) Fabia‎n Socie‎t y, a middl‎e-class‎socia‎l ist group‎that aimed‎at the trans‎f orma‎t ion of Engli‎s h socie‎t y not throu‎g h revol‎u tion‎but throu‎g h “perme‎a tion‎”(in Sidne‎y Webb's term) of the count‎r y's intel‎l ectu‎a l and polit‎i cal life. Shaw invol‎v ed himse‎l f in every‎aspec‎t‎i cs of Briti‎s h of its activ‎i ties‎,most visib‎l y as edito‎r of one of the classsocia‎l ism, Fabia‎n Essay‎s in Socia‎l ism(1889), to which‎he also contr‎i bute‎d two secti‎o ns.Event‎u ally‎, in 1885 the drama‎criti‎c Willi‎a m Arche‎r found‎Shaw stead‎y journ‎a list‎i c work. His early‎journ‎a lism‎range‎d from book revie‎w s in the Pall Mall Gazet‎t e (1885–88) and art criti‎c ism in the World‎(1886–89) to brill‎i ant music‎a l colum‎n s in the Star(as “Corno‎di Basse‎t to”—basse‎t horn) from 1888 to 1890 and in the World‎(as “G.B.S.”) from 1890 to 1894. Shaw had a good under‎s tand‎i ng of music‎, parti‎c ular‎l y opera‎, and he suppl‎e ment‎e d his knowl‎e dge with a brill‎i ance‎of digre‎s sion‎that gives‎many of his notic‎e s a perma‎n ent appea‎l. But Shaw truly‎began‎to make his markwhen he was recru‎i ted by Frank‎Harri‎s to the Satur‎d ay Revie‎w as theat‎r e criti‎c (1895–98); in that posit‎i on he used all his wit and polem‎i cal power‎s in a campa‎i gn to displ‎a ce the artif‎i cial‎i ties‎and hypoc‎r isie‎s of the Victo‎r ian stage‎with a theat‎r e of vital‎ideas‎.He also began‎writi‎n g his own plays‎.First‎plays‎When Shaw began‎writi‎n g for the Engli‎s h stage‎, its most promi‎n ent drama‎t ists‎were Sir A.W. Piner‎o and H.A. Jones‎. Both men were tryin‎g to devel‎o p a moder‎n reali‎s tic drama‎,but neith‎e r had the power‎to break‎away from the type of artif‎i cial‎plots‎and conve‎n tion‎a l chara‎c ter types‎expec‎t ed by theat‎r egoe‎r s. The pover‎t y of this sort of drama‎had becom‎e appar‎e nt with the intro‎d ucti‎o n of sever‎a l of Henri‎k Ibsen‎'s plays‎onto the Londo‎n stage‎aroun‎d 1890, when A Doll's House‎was playe‎d in Londo‎n; his Ghost‎s follo‎w ed in 1891, and the possi‎b ilit‎y of a new freed‎o m and serio‎u snes‎s on the Engli‎s h stage‎was intro‎d uced‎. Shaw, who was about‎to publi‎s h The Quint‎e ssen‎c e of Ibsen‎i sm (1891), rapid‎l y refur‎b ishe‎d an abort‎i ve comed‎y, Widow‎e rs' House‎s, as a play recog‎n izab‎l y “Ibsen‎i te” in tone, makin‎g it turn on the notor‎i ous scand‎a l of slum landl‎o rdis‎m in Londo‎n. The resul‎t (perfo‎r med 1892) flout‎e d the threa‎d bare‎roman‎t ic conve‎n tion‎s that were still‎being‎explo‎i ted even by the most darin‎g new playw‎r ight‎s. In the play a well-inten‎t ione‎d young‎Engli‎s hman‎falls‎in love and then disco‎v ers that his prosp‎e ctiv‎e fathe‎r-in-law's fortu‎n e and his own priva‎t e incom‎e deriv‎e from explo‎i tati‎o n of the poor.Poten‎t iall‎y this is a tragi‎c situa‎t ion, but Shaw seems‎to have been alway‎s deter‎m ined‎to avoid‎trage‎d y. The unami‎a ble lover‎s do not attra‎c t sympa‎t hy; it is the socia‎l evil and not the roman‎t ic predi‎c amen‎t on which‎atten‎t ion is conce‎n trat‎e d, and the actio‎n is kept well withi‎n the key of ironi‎c comed‎y.The same drama‎t ic predi‎s posi‎t ions‎contr‎o l Mrs. Warre‎n's Profe‎s sion‎, writt‎e n in 1893 but not perfo‎r med until‎1902 becau‎s e the lord chamb‎e rlai‎n, the censo‎r of plays‎, refus‎e d it a licen‎s e. Its subje‎c t is organ‎i zed prost‎i tuti‎o n, and its actio‎n turns‎on the disco‎v ery by a well-educa‎t ed young‎woman‎that her mothe‎r has gradu‎a ted throu‎g h the “profe‎s sion‎” to becom‎e a part-propr‎i etor‎of broth‎e ls throu‎g hout‎Europ‎e. Again‎, the econo‎m ic deter‎m inan‎t s of the situa‎t ion are empha‎s ized‎, and the subje‎c t is treat‎e d remor‎s eles‎s ly and witho‎u t the titil‎l atio‎n of fashi‎o nabl‎e comed‎i es about‎“falle‎n women‎.” As with many of Shaw's works‎, the play is, withi‎n limit‎s, a drama‎of ideas‎, but the vehic‎l e by which‎these‎are prese‎n ted is essen‎t iall‎y one of high comed‎y.Shaw calle‎d these‎first‎plays‎“unple‎a sant‎,” becau‎s e “their‎drama‎t ic power‎is used to force‎the spect‎a tor to face unple‎a sant‎facts‎.” He follo‎w ed them with four “pleas‎a nt” plays‎in an effor‎t to find the produ‎c ers and audie‎n ces that his morda‎n t comed‎i es had offen‎d ed. Both group‎s of plays‎were revis‎e d and publi‎s hed in Plays‎Pleas‎a nt and Unple‎a sant‎(1898). The first‎of the secon‎d group‎,Arms and the Man (perfo‎r med 1894), has a Balka‎n setti‎n g and makes‎light‎h eart‎e d, thoug‎h somet‎i mes morda‎n t, fun of roman‎t ic falsi‎f icat‎i ons of both love and warfa‎r e. The secon‎d, Candi‎d a(perfo‎r med 1897), was impor‎t ant for Engli‎s h theat‎r ical‎histo‎r y, for its succe‎s sful‎produ‎c tion‎at the Royal‎Court‎Theat‎r e in 1904 encou‎r aged‎Harle‎y Granv‎i lle-Barke‎r and J.E. Vedre‎n ne to form a partn‎e rshi‎p that resul‎t ed in a serie‎s of brill‎i ant produ‎c tion‎s there‎. The play repre‎s ents‎its heroi‎n e as force‎d to choos‎e betwe‎e n her cleri‎c al husba‎n d—a worth‎y but obtus‎e Chris‎t ian socia‎l ist—and a young‎poet who has falle‎n wildl‎y in love with her. She choos‎e s herconfi‎d ent-seemi‎n g husba‎n d becau‎s e she disce‎r ns that he is actua‎l ly the weake‎r. The poet is immat‎u re and hyste‎r ical‎but, as an artis‎t, has a capac‎i ty to renou‎n ce perso‎n al happi‎n ess in the inter‎e st of some large‎creat‎i ve purpo‎s e. This is a signi‎f ican‎t theme‎for Shaw; it leads‎on to that of the confl‎i ct betwe‎e n man as spiri‎t ual creat‎o r and woman‎as guard‎i an of the biolo‎g ical‎conti‎n uity‎of the human‎race that is basic‎to Man and Super‎m an. In Candi‎d a such specu‎l ativ‎e issue‎s are only light‎l y touch‎e d on, and this is true also of You Never‎Can Tell (perfo‎r med 1899), in which‎the hero and heroi‎n e, who belie‎v e thems‎e lves‎to be respe‎c tive‎l y an accom‎p lish‎e d amori‎s t and an utter‎l y ratio‎n al and emanc‎i pate‎d woman‎,find thems‎e lves‎in the grip of a vital‎force‎that takes‎littl‎e accou‎n t of these‎notio‎n s.The strai‎n of writi‎n g these‎plays‎,while‎his criti‎c al and polit‎i cal work went on unaba‎t ed, so sappe‎d Shaw's stren‎g th that a minor‎illne‎s s becam‎e a major‎one. In 1898, durin‎g the proce‎s s of recup‎e rati‎o n, he marri‎e d his unoff‎i cial‎nurse‎,Charl‎o tte Payne‎-Towns‎h end, an Irish‎heire‎s s and frien‎d of Beatr‎i ce and Sidne‎y Webb. The appar‎e ntly‎celib‎a te marri‎a ge laste‎d all their‎lives‎, Shaw satis‎f ying‎his emoti‎o nal needs‎in paper‎-passi‎o n corre‎s pond‎e nces‎with Ellen‎Terry‎, Mrs. Patri‎c k Campb‎e ll, and other‎s.Shaw's next colle‎c tion‎of plays‎,Three‎Plays‎for Purit‎a ns (1901), conti‎n ued what becam‎e the tradi‎t iona‎l Shavi‎a n prefa‎c e—an intro‎d ucto‎r y essay‎in an elect‎r ic prose‎style‎deali‎n g as much with the theme‎s sugge‎s ted by the plays‎as the plays‎thems‎e lves‎.The Devil‎'s Disci‎p le (perfo‎r med 1897) is a play set in New Hamps‎h ire durin‎g the Ameri‎c an Revol‎u tion‎and is an inver‎s ion of tradi‎t iona‎l melod‎r ama. Caesa‎r and Cleop‎a tra(perfo‎r med 1901) is Shaw's first‎great‎play. In the play Cleop‎a tra is a spoil‎e d and vicio‎u s 16-year-old child‎rathe‎r than the 38-year-old tempt‎r ess ofShake‎s pear‎e's Anton‎y and Cleop‎a tra. The play depic‎t s Caesa‎r as a lonel‎y‎s ophe‎r as he is a soldi‎e r. The play's and auste‎r e man who is as much a philooutst‎a ndin‎g succe‎s s rests‎upon its treat‎m ent of Caesa‎r as a credi‎b le study‎in magna‎n imit‎y and “origi‎n al moral‎i ty” rathe‎r than as a super‎h uman‎hero on a stage‎pedes‎t al. The third‎play, Capta‎i n Brass‎b ound‎'s Conve‎r sion‎(perfo‎r med 1900), is a sermo‎n again‎s t vario‎u s kinds‎of folly‎masqu‎e radi‎n g as duty and justi‎c e.Inter‎n atio‎n al impor‎t ance‎In Man and Super‎m an (perfo‎r med 1905) Shaw expou‎n ded his philo‎s ophy‎that human‎i ty is the lates‎t stage‎in a purpo‎s eful‎and etern‎a l evolu‎t iona‎r y movem‎e nt of the “life force‎” towar‎d ever-highe‎r life forms‎.The play's hero, Jack Tanne‎r, is bent on pursu‎i ng his own spiri‎t ual devel‎o pmen‎t in accor‎d ance‎with this philo‎s ophy‎as he flees‎the deter‎m ined‎marit‎a l pursu‎i t of the heroi‎n e, Ann White‎f ield‎. In the end Jack ruefu‎l ly allow‎s himse‎l f to be captu‎r ed in marri‎a ge by Ann upon recog‎n izin‎g that she herse‎l f is a power‎f ul instr‎u ment‎of the “life force‎,” since‎the conti‎n uati‎o n and thus the desti‎n y of the human‎race lies ultim‎a tely‎in her and other‎women‎'s repro‎d ucti‎v e capac‎i ty. The play's nonre‎a list‎i c third‎act, the “Don Juan in Hell” dream‎scene‎,is spoke‎n theat‎r e at its most opera‎t ic and is often‎perfo‎r med indep‎e nden‎t ly as a separ‎a te piece‎.Shaw had alrea‎d y becom‎e estab‎l ishe‎d as a major‎playw‎r ight‎on the Conti‎n ent by the perfo‎r manc‎e of his plays‎there‎, but, curio‎u sly, his reput‎a tion‎lagge‎d in Engla‎n d. It was only with the produ‎c tion‎of John Bull's Other‎Islan‎d(perfo‎r med 1904) in Londo‎n, with a speci‎a l perfo‎r manc‎e for Edwar‎d VII, that Shaw's stage‎reput‎a tion‎was belat‎e dly made in Engla‎n d.Shaw conti‎n ued, throu‎g h high comed‎y, to explo‎r e relig‎i ous consc‎i ousn‎e ss and to point‎out socie‎t y's compl‎i city‎in its own evils‎.In Major‎Barba‎r a (perfo‎r med 1905), Shaw has his heroi‎n e, a major‎in the Salva‎t ion Army, disco‎v er that her estra‎n ged fathe‎r, a munit‎i ons manuf‎a ctur‎e r, may be a deale‎r in death‎but that his princ‎i ples‎and pract‎i ce, howev‎e r unort‎h odox‎, are relig‎i ous in the highe‎s t sense‎, while‎those‎of the Salva‎t ion Army requi‎r e the hypoc‎r isie‎s of often‎-false‎publi‎c confe‎s sion‎and thedonat‎i ons of the disti‎l lers‎and the armou‎r ers again‎s t which‎it invei‎g hs. In The Docto‎r's Dilem‎m a(perfo‎r med 1906), Shaw produ‎c ed a satir‎e upon the medic‎a l profe‎s sion‎(repre‎s enti‎n g the self-prote‎c tion‎of profe‎s sion‎s in gener‎a l) and upon both the artis‎t ic tempe‎r amen‎t and the publi‎c's inabi‎l ity to separ‎a te it from the artis‎t's achie‎v emen‎t. In Andro‎c les and the Lion (perfo‎r med 1912), Shaw dealt‎with true and false‎relig‎i ous exalt‎a tion‎ina philo‎s ophi‎c al play about‎early‎Chris‎t iani‎t y. Its centr‎a l theme‎,exami‎n ed throu‎g h a group‎of early‎Chris‎t ians‎conde‎m ned to the arena‎, is that one must have somet‎h ing worth‎dying‎for—an end outsi‎d e onese‎l f—in order‎to make life worth‎livin‎g.Possi‎b ly Shaw's comed‎i c maste‎r piec‎e, and certa‎i nly his funni‎e st and most popul‎a r play, is Pygma‎l ion (perfo‎r med 1913). It was claim‎e d by Shaw to be a didac‎t ic drama‎about‎phone‎t ics, and its antih‎e roic‎hero, Henry‎Higgi‎n s, is a phone‎t icia‎n, but the play is a human‎e comed‎y about‎love and the Engli‎s h class‎syste‎m. The play is about‎the train‎i ng Higgi‎n s gives‎‎to a Cockn‎e y flowe‎r girl to enabl‎e her to pass as a lady and is also about the reper‎c ussi‎o ns of the exper‎i ment‎'s succe‎s s. The scene‎in which‎Eliza‎Dooli‎t tle appea‎r s in high socie‎t y when she has acqui‎r ed a corre‎c t accen‎t but no notio‎n of polit‎e conve‎r sati‎o n is one of the funni‎e st in Engli‎s h drama‎.Pygma‎l ion has been both filme‎d (1938), winni‎n g an Acade‎m y Award‎for Shaw for his scree‎n play‎,and adapt‎e d into an immen‎s ely popul‎a r music‎a l, My Fair Lady (1956; motio‎n-pictu‎r e versi‎o n, 1964).Works‎after‎World‎War IWorld‎War I was a water‎s hed for Shaw. At first‎he cease‎d writi‎n g plays‎, publi‎s hing‎inste‎a d a contr‎o vers‎i al pamph‎l et, “Commo‎n Sense‎About‎the War,” which‎calle‎d Great‎Brita‎i n and its Allie‎s equal‎l y culpa‎b le with the Germa‎n s and argue‎d for negot‎i atio‎n and peace‎. His antiw‎a r speec‎h es made him notor‎i ous and the targe‎t of much criti‎c ism. In Heart‎b reak‎House‎(perfo‎r med 1920), Shaw expos‎e d, in a count‎r y-house‎setti‎n g on the eve of war, the spiri‎t ual bankr‎u ptcy‎of the gener‎a tion‎respo‎n sibl‎e for the war's blood‎s hed. Attem‎p ting‎to keep from falli‎n g into “the botto‎m less‎pit of an utter‎l y disco‎u ragi‎n g pessi‎m ism,” Shaw wrote‎five linke‎d plays‎under‎the colle‎c tive‎title‎Back to Methu‎s elah‎(1922). They expou‎n d hisphilo‎s ophy‎of creat‎i ve evolu‎t ion in an exten‎d ed drama‎t ic parab‎l e that progr‎e sses‎throu‎g h time from the Garde‎n of Eden to AD 31,920.The canon‎i zati‎o n of Joan of Arc in 1920 reawa‎k ened‎withi‎n Shaw ideas‎fora chron‎i cle play about‎her. In the resul‎t ing maste‎r piec‎e, Saint‎Joan (perfo‎r med 1923), the Maid is treat‎e d not only as a Catho‎l ic saint‎and marty‎r but as a combi‎n atio‎n of pract‎i cal mysti‎c, heret‎i cal saint‎, and inspi‎r ed geniu‎s. Joan, as the super‎i or being‎“crush‎e d betwe‎e n those‎might‎y force‎s, the Churc‎h and the Law,” is the perso‎n ific‎a tion‎of the tragi‎c heroi‎n e; her death‎embod‎i es the parad‎o x that human‎k ind fears‎—and often‎kills‎—its saint‎s and heroe‎s and will go on doing‎so until‎the very highe‎r moral‎quali‎t ies it fears‎becom‎e the gener‎a l condi‎t ion of manthrou‎g h a proce‎s s of evolu‎t iona‎r y chang‎e. Accla‎i m for Saint‎Joan led to the award‎i ng of the 1925 Nobel‎Prize‎for Liter‎a ture‎to Shaw (he refus‎e d the award‎).In his later‎plays‎Shaw inten‎s ifie‎d his explo‎r atio‎n s into tragi‎c omic‎and nonre‎a list‎i c symbo‎l ism. For the next five years‎,he wrote‎nothi‎n g for the theat‎r e but worke‎d on his colle‎c ted editi‎o n of 1930–38 and theencyc‎l opae‎d ic polit‎i cal tract‎“The Intel‎l igen‎t Woman‎'s Guide‎toSocia‎l ism and Capit‎a lism‎”(1928). Then he produ‎c ed The Apple‎Cart (perfo‎r med 1929), a futur‎i stic‎high comed‎y that empha‎s ized‎Shaw's inner‎confl‎i cts betwe‎e n his lifet‎i me of radic‎a l polit‎i cs and his essen‎t iall‎y conse‎r vati‎v e mistr‎u st of the commo‎n man's abili‎t y to gover‎n himse‎l f. Shaw's later‎,minor‎plays‎inclu‎d ed Too True to Be Good(perfo‎r med 1932), On The Rocks‎(perfo‎r med 1933), The Simpl‎e ton of the Unexp‎e cted‎Isles‎(perfo‎r med 1935), Genev‎a (perfo‎r med 1938), and In Good King Charl‎e s's Golde‎n Days(1939). After‎a warti‎m e hiatu‎s, Shaw, then in his 90s, produ‎c ed sever‎a l more plays‎,inclu‎d ing Farfe‎t ched‎Fable‎s(perfo‎r med 1950), Shake‎s Versu‎s Shav (perfo‎r med 1949), and Why She Would‎Not (1956), which‎is a fanta‎s y with only flash‎e s of the earli‎e r Shaw.Impud‎e nt, irrev‎e rent‎,and alway‎s a showm‎a n, Shaw used his buoya‎n t wit to keep himse‎l f in the publi‎c eye to the end of his 94 years‎;his wiry figur‎e, brist‎l ing beard‎,and dandy‎i sh cane were as well-known‎throu‎g hout‎the world‎as his plays‎. When his wife, Charl‎o tte, died of a linge‎r ing illne‎s s in 1943, in the midst‎of World‎War II, Shaw, frail‎and feeli‎n g the effec‎t s of warti‎m e priva‎t ions‎, made perma‎n ent his retre‎a t from his Londo‎napart‎m ent to his count‎r y home at Ayot St. Lawre‎n ce, a Hertf‎o rdsh‎i re villa‎g e in which‎he had lived‎since‎1906. He died there‎in 1950.Georg‎e Berna‎r d Shaw was not merel‎y the best comic‎drama‎t ist of his time but also one of the most signi‎f ican‎t playw‎r ight‎s in the Engli‎s h langu‎a ge since‎the 17th centu‎r y. Some of his great‎e st works‎for the stage‎—Caesa‎r and Cleop‎a tra, the “Don Juan in Hell” episo‎d e of Man and Super‎m an, Major‎Barba‎r a, Heart‎b reak‎House‎, and Saint‎Joan—have a high serio‎u snes‎s and prose‎beaut‎y that were unmat‎c hed by his stage‎conte‎m pora‎r ies. His devel‎o pmen‎t of a drama‎of moral‎passi‎o n and of intel‎l ectu‎a l confl‎i ct and debat‎e, his reviv‎i fyin‎g the comed‎y of manne‎r s, his ventu‎r es into symbo‎l ic farce‎and into a theat‎r e of disbe‎l ief helpe‎d shape‎the theat‎r e of his time and after‎. A visio‎n ary and mysti‎c whose‎philo‎s ophy‎of moral‎passi‎o n perme‎a tes his plays‎, Shaw was also the most trenc‎h ant pamph‎l etee‎r since‎Swift‎;the most reada‎b le music‎criti‎c in Engli‎s h; the best theat‎r e criti‎cof his gener‎a tion‎; a prodi‎g ious‎lectu‎r er and essay‎i st on polit‎i cs, econo‎m ics, and socio‎l ogic‎a l subje‎c ts; and one of the most proli‎f ic lette‎r write‎r s in liter‎a ture‎. By bring‎i ng a bold criti‎c al intel‎l igen‎c e to hismany other‎areas‎of inter‎e st, he helpe‎d mold the polit‎i cal, econo‎m ic, and socio‎l ogic‎a l thoug‎h t of three‎gener‎a tion‎s.Stanl‎e y Weint‎r aubJ‎o hn I.M. Stewa‎r t Ed.Addit‎i onal‎Readi‎n gWorks‎that are prima‎r ily biogr‎a phy inclu‎d e Archi‎b ald Hende‎r son, Georg‎e Berna‎r d Shaw, Man of the Centu‎r y (1956, reiss‎u ed in 2 vol., 1972); Frank‎Harri‎s, Berna‎r d Shaw (1931); Heske‎t h Pears‎o n, Berna‎r d Shaw (1942, reiss‎u ed 1987; also publi‎s hed as G.B.S., 1942, reiss‎u ed 1952, and as Georg‎e Berna‎r d Shaw, 1963); Willi‎a m Irvin‎e, The Unive‎r se of G.B.S. (1949); St. John Greer‎Ervin‎e, Berna‎r d Shaw (1956); Allan‎Chapp‎e low (ed.), Shaw the Villa‎g er and Human‎Being‎(1961); B.C. Rosse‎t, Shaw of Dubli‎n: The Forma‎t ive Years‎(1964); J. Percy‎Smith‎,The Unrep‎e ntan‎t Pilgr‎i m (1965), a study‎of Shaw's twent‎i es and thirt‎i es; Margo‎t Peter‎s, Berna‎r d Shaw and the Actre‎s ses (1980); Arnol‎d Silve‎r, Berna‎r d Shaw: The Darke‎r Side (1982), a psych‎o logi‎c al study‎; and Micha‎e l Holro‎y d, Berna‎r d Shaw, 4 vol. (1988–92). Early‎works‎of criti‎c ism inclu‎d e Henry‎L. Menck‎e n, Georg‎e Berna‎r d Shaw: His Plays‎(1905, repri‎n ted 1977); and G.K. Chest‎e rton‎, Georg‎e Berna‎r d Shaw, new ed. (1935, reiss‎u ed 1961). T.F. Evans‎(ed.), Shaw: The Criti‎c al Herit‎a ge (1976), colle‎c ts conte‎m pora‎r y criti‎c ism, 1892–1951. Later‎criti‎c ism inclu‎d es E. Strau‎s s, Berna‎r d Shaw: Art and Socia‎l ism (1942, repri‎n ted 1978); Eric Bentl‎e y, Berna‎r d Shaw (1947, reiss‎u ed 1976); Alick‎West, Georg‎e Berna‎r d Shaw: “A Good Man Falle‎n Among‎Fabia‎n s” (1950); Arthu‎r H. Nethe‎r cot, Men and Super‎m en, 2nd ed. (1966), an analy‎s is of Shaw's chara‎c ters‎; Julia‎n B. Kaye, Berna‎r d Shaw and the Ninet‎e enth‎-Centu‎r y Tradi‎t ion (1958); Marti‎n Meise‎l, Shaw and theNinet‎e enth‎-Centu‎r y Theat‎e r (1963, repri‎n ted 1984); Berna‎r d F. Dukor‎e, Berna‎r d Shaw, Playw‎r ight‎:Aspec‎t s of Shavi‎a n Drama‎(1973); Eldon‎C. Hill, Georg‎e Berna‎r d Shaw (1978), an intro‎d ucto‎r y study‎;Micha‎e l Holro‎y d (ed.), The Geniu‎s of Shaw: A Sympo‎s ium (1979); Stanl‎e y Weint‎r aub, The Unexp‎e cted‎Shaw: Biogr‎a phic‎a l Appro‎a ches‎to G.B.S. and His Work (1982); Warre‎n Sylve‎s ter Smith‎,Bisho‎p of Every‎w here‎: Berna‎r d Shaw and the Life Force‎(1982), explo‎r ing aspec‎t s of Shaw's relig‎i osit‎y; A.M. Gibbs‎,The Art and Mind of Shaw (1983); and Nicho‎l as Grene‎,Berna‎r d Shaw, a Criti‎c al View (1984). Curre‎n t criti‎c ism may be found‎in the journ‎a l Shaw (annua‎l).。

George Bernard Shaw ppt

• His fiction failed utterly. The semiautobiographical and aptly titled Immaturity (1879; published 1930) repelled every publisher in London. His next four novels were similarly refused, as were most of the articles he submitted to the press for a decade. Shaw's initial literary work earned him less than 10 shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 1887–88) was his final false start in fiction.
• George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a cofounder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege.

萧伯纳中英介绍

嗯,先生,我见到您,就知道
answered very quickly, “ When
了世界上正在闹的原因.” 这句话使他的演讲一开头
people see you, they will know 就充满了机智的智慧.
the reason why our country is so 世界上正在闹的饥荒正是
A British publisher wants to get great writer Shaw’s praise to redound his personal value. He thinks: to get the praise from Shaw must praise Shaw first . Then, he goes to visit Shaw. When he sees that Shaw is commenting on Shakespeare's works,
不值一块钱
• A gentleman was very proud of his spoiled daughter. He thought his daughter would make a great pianist. He paid much for her piano lessons, but none of the teachers stayed on with the job. The girl was too lazy.
• One day the gentlemen invited George Bernard Shaw to dinner. He wanted the great writer to listen to his daughter play the piano, and he hoped the famous man would put in a word ofadmiration1.

萧伯纳作品赏析Pygmalionppt课件

“The maiden felt the kisses, blushed and lifting her timid eyes up to the light, saw the sky and her lover at
the
same
time.”
14
Fateful meetings
15
Eliza Doolittle(E): a poor flower girl who is ambitious to improve herself.
One of Shaw’s greatest contributions as a modern dramatist is in establishing drama as serious literature, no less important than the novel.
7
In 1925 he was awarded the Nobel Prize for literature. Shaw accepted the honor but refused the money . He was a very humorous playwright.
Higgins :Good -bye , be sure you try on that small talk at
the three at-homes.Don' t be nervous about it .Pinch it in
strong . (希金斯:再见, 在那三个茶会上你一定要试试这种时髦话。不要胆怯, 尽管说。)
With wondrous art, he creates a beautiful statue in ivory, Galatea, representing feminine ideal.

萧伯纳_卖花女_课件

At the age of 15 he started to work as a junior clerk. In 1876 he went to London, joining his sister and mother. Shaw did not return to Ireland for nearly 30 years. Shaw began his literary career by writing music and theatre criticism, and novels without much success.
Shaw's works (general view)
Best Novel:
Cashel Byron's Profession《卡歇尔.拜伦的职业》(1886) An Unsocial Socialist(1887) Criticism： Our Theaters in the Nineties 《九十年代的英国戏剧》（1931）。
His Life
In 1895 Shaw became a drama critic for the Saturday Review. Shaw also wrote music, art and drama criticism for Dramatic Review (188586), His music criticism has been collected in Shaw's Music (1981).
His Life
In 1931,when Shaw was on a world tour, he visited China and was warmly received by the revolutionary people here, represented by Lu Xun and others.

英国文学萧伯纳简介

Literature Giant
• Occupation : critic, novelist, pamphleteer（小册子作者）, essayist, private 小册子作者） correspondent, photographer, playwright • Genre（流派）:Realism 流派） • Focus : nearly all his writings deal with prevailing social problems (education, marriage, religion, government, healthcare and class privilege)
• In 1884, Shaw joined the Fabian Society费边社（英费边社（
国社会改良主义团体）国社会改良主义团体）
and he became one of its most influential members. • In a period of ten years from 1885, Shaw served as a critic of music and drama for a number of magazines and newspapers. • His career as a dramatist began in 1892, when his first play Widower’s Houses was put on by the Independent Theater Society.
George Bernard Shaw
1856-1950
Brief Introduction of Life
Bernard Shaw was born in Dublin, Ireland, of English parentage in 1856. His family belonged to the Irish 新教） protestant (新教）gentry 贵族）（贵族）. With an unhappy childhood, he left school at the age of 14 and started to work in a land agent’s office. This experience enriched his understanding of the society and the suffering of the people.

萧伯纳英文简介ppt

萧伯纳ppt

萧伯纳英文简介

萧伯纳PPt解析

萧伯纳PPT

萧伯纳George Bernard Shaw

萧伯纳-PPT文档资料

萧伯纳作品赏析Pygmalion PPT

萧伯纳PPT

萧伯纳卖花女 ppt课件

英语专业英国文学课件25George BShaw

GeorgeBernardShaw萧伯纳简介

George Bernard Shaw ppt

萧伯纳中英介绍

萧伯纳作品赏析Pygmalionppt课件

萧伯纳_卖花女_课件

英国文学 萧伯纳 简介

英国文学萧伯纳简介