萧伯纳简介

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2023最新-精彩,源于自信——《大作家的小老师》助读(4篇)

精彩，源于自信——《大作家的小老师》助读（4篇）精彩，源于自信——《大作家的小老师》助读篇一1、萧伯纳简介萧伯纳（georgebernardshaw，1856年7月26日－1950年11月2日），直译为乔治伯纳萧，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。

然而，由于世界观上的局限性，他没能成为无产阶级战士，而终生是一个资产阶级改良主义者。

2、萧伯纳趣事劣性遗传大作家萧伯纳年轻的时候，便名声大噪了。

美国著名舞蹈家邓肯有一次写信给他，说：假如我们两个结婚，生下的孩子头脑像你，面孔像我，该有多好哟。

萧伯纳接到信，笑了笑，一本正经地给她回了一封信，其中一段是这样写的：要是生的孩子，头脑像你，而面孔像我，那岂不是糟透了！捐赠美国妇女和平行动委员会曾写信给萧伯纳，请他为筹款义卖捐赠一本亲笔签名的书。

萧伯纳回信拒绝说：我认为这种该由联合国进行的事业，对于你们小小的妇女行动委员会来说真是太大了。

结果，委员会竟然拍卖了这封信，得到了一百七十美元；而当时一本萧伯纳亲笔签名的书只售七十美元。

皮鞋油商标有一次，一个皮鞋油制造厂的老板要求萧伯纳允许该厂用他的名字作为一种新品种的皮鞋油的商标。

老板对萧伯纳大大地恭维了一番之后说：这样一来，世界上千百万人都会知道您的大名了。

萧伯纳立刻回答道：但是没有穿皮鞋的人可例外哪！征询狗的意见文学大师萧伯纳，有一天接到一位小姑娘写给他的一封信，信中说：您是一位最使我敬佩的作家。

为了表示对您的热爱，我打算用您的名字来命名我的小狮子狗。

不知您的意见如何？萧伯纳回信说：亲爱的孩子，我十分赞同你诚恳的希望。

但是，最主要的一点是，你一定要和你的小狮子狗商量商量，并征得它的同意才是。

萧伯纳

萧伯纳（George Bernard Shaw，1856年7月26日—1950年11月2日），爱尔兰剧作家。

1925年因作品具有理想主义和人道主义而获诺贝尔文学奖，他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，同时他还是积极的社会活动家和费边社会主义的宣传者。

他支持妇女的权利，呼吁选举制度的根本变革，倡导收入平等，主张废除私有财产。

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，而他又读过马克思的著作，不过他却主张用渐进的方法改变资本主义制度，反对暴力革命。

萧伯纳1856年7月26日出生于爱尔兰的首都都柏林一个小公务员家萧伯纳(8张) 里。

他的父亲是个没落贵族，母亲乡绅世家，从小受过严格的上等教育。

[1] 萧伯纳年幼时，研究音乐理论的万达里尔李与他们合租了一幢房子。

受这位研究音乐的邻居影响，萧伯纳迷恋上了音乐，13岁时，他就能用口哨吹出许多优秀歌剧的片段。

[1] 1870年父母分居。

在都柏林美以美教会中学毕业，因家境困难，15岁的萧伯纳不得不辍学。

为了维持生活，他进入都柏林的汤森地产公司当学徒。

[1] 1871年到一家房地产公司当抄写员，后又充任会计。

1876年，他的父母离婚。

萧伯纳告别了年迈的父亲，离开了贫困的故土爱尔兰，随母亲来到伦敦。

年轻的萧伯纳没有工作，靠母亲微薄的薪水维持生活，十分渴望找到一份称心的职业，他先在爱迪生电话公司外务部找到一份差事，可是不久这家公司倒闭了，别人给他介绍到《大黄蜂》报撰写音乐评论，可不久这份报刊也停刊了。

万般无奈的萧伯纳想以写作谋生，但是他并不顺利，他接着写了5部长篇小说，全部被60家出版社拒绝，这令他更加沮丧。

在长达九年的时间里所得的稿酬不过6英镑，其中5英镑还是代写卖药广告的报酬。

萧伯纳的选择

萧伯纳的选择英国著名的戏剧家萧伯纳（George Bernard Shaw ），以讥诮、讽刺与幽默闻名于世。

他有着机智的应变、诙谐的言辞和爽朗的性格。

这些秉性特点使他的话语具有一种独特的魅力，赢得了人们的欢迎。

不过，在功成名就之前，萧伯纳走过的路极其坎坷。

萧伯纳，1856年7月26日出生在都柏林一个小公务员家里，其母是优秀女中音歌手。

他的父亲做过法院公务员，后经商失败。

萧伯纳的童年、青年时代是不幸的。

他的父亲不仅形象极丑，而且是个谁都不喜欢的懒惰者，老婆孩子的事情，他一概不管，其日子多半是在整天醉醺醺里打发的。

1870年他的父母分居。

萧伯纳在都柏林美以美教会中学念书，因家境困难，15岁的他不得不辍学。

为了维持生活，他进入都柏林的汤森地产公司当学徒。

他先找了一份缮写员的差事，后又任会计。

萧伯纳的文学始于小说创作。

20岁时，萧伯纳去了伦敦，这时，他开始尝试以写作谋生。

他给自己规定，每日必须写出5页东西。

此后，他在6年时间里先后写出了5部小说。

不过，令他无比沮丧的是，当他满怀希望将他的5部小说一次次寄给60多家出版社，寻求出版的时候，每一家出版社好像事前商量好一样，全都“残酷无情”地拒绝了他。

在接受记者采访时，萧伯纳回忆说，“被一家出版社拒绝，并不是多大的事件，但如果被60家出版社同时拒绝，却不是任何人都能接受的打击”。

有一段时间，性格本来就内向的萧伯纳甚至都不敢轻意出门上街，因为只要他一露面，人们就在他身后指指点点。

有的年轻人嘲笑他，称他为“创作了5部名著的大作家”。

那一阵子，萧伯纳的心情跌落到了谷底。

他寻思，他想，自己必须以己之长，击彼之短。

既然小说创作的道路不好走，自己为何不能从戏剧方面寻求突破呢？这里有一段故事。

萧伯纳年幼时，著名音乐家万达里尔李与他们家合租了一幢房子。

“我要怎样才能实现学习上的愿望呢？”萧伯纳向这位邻居请教。

万达里尔李笑着说：“努力。

别人用一个小时读书，你就用两个小时。

”“更为重要的是，要选择一个方法。

萧伯纳

●《鳏夫的房产》（Widowers' Houses） ●《圣女贞德》（Saint Joan） ●《卖花女》（Pygmalion） ●《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） ●《医生的两难选择》（The Doctor's Dilemma）
• 劳动是惟一导向知识的道路。 • 学得越多，知道得越多。知道得越多，忘得越多。忘得越多，知道得越少。那么何必学呢？ • 自我控制是最强者的本能。
一次萧伯纳在街上行走，被一个冒失鬼骑车撞倒在地，幸好没有受伤，只虚惊一场。骑车人急忙扶起他，连连道歉，可是萧伯纳却作出惋惜的样子说：‚你的运气不好，先生，你如果把我撞死了，你就可以名扬四海了！‛
萧伯纳（1856～1950），英国现代杰出的现实主义戏剧作家，世界著名的擅长幽默与讽刺的语言大师。他出生于爱尔兰一个中等家庭，从小就喜爱文学。萧伯纳的戏剧最突出的特点是紧密结合现实的政治斗争，敢于触及资本主义社会最本质的问题，把剥削阶级的丑恶嘴脸赤裸裸地暴露在公众面前。在艺术手法上，他善于通过人物对话和思想感情交锋来表现戏剧冲突和丰题思想。萧伯纳的戏剧语言尖锐泼辣，充满机智，妙言警语脱口而出。
一天，瘦削的萧伯纳碰到一位大腹便便的商人，商人讥讽道：‚看见你，人们会以为英国发生了饥荒！‛ 萧伯纳回击道：‚看见你，人们就会明白饥荒的原因。‛
ห้องสมุดไป่ตู้
一个记者问萧伯纳‚乐观主义者与悲观主义者‛的区别时，萧伯纳回答：‚假如在桌子上有半瓶酒，看到这瓶酒而高喊：‘太好了，还有一半！’这样的人就是乐观主义者；如果叹息酒仅剩下一半，那就是悲观主义者。‛

萧伯纳的故事

萧伯纳的故事爱尔兰剧作家萧伯纳（George Bernard Shaw）是20世纪最伟大的戏剧家之一，他的作品《皮格马利翁》、《凤凰男》等在世界戏剧史上留下了不朽的篇章。

他的一生跌宕起伏，充满了传奇色彩。

萧伯纳出生于一个贫穷的爱尔兰家庭，他的童年并不幸福。

父亲是一位小学教师，家境拮据。

但正是在这样的环境下，萧伯纳磨练出了坚韧不拔的性格和不屈不挠的毅力。

他从小就展现出非凡的才华，擅长文学和音乐，尤其对戏剧产生了浓厚的兴趣。

年轻的萧伯纳离开了家乡，前往伦敦追寻自己的梦想。

在伦敦，他经历了一段艰苦的时期，为了生计，他做过文书、校对、评论和写作等工作。

但无论做什么工作，他都不忘对戏剧的执着追求。

他在自学的过程中，广泛涉猎了文学、哲学、经济学等各个领域的知识，这些知识的积累为他后来的创作打下了坚实的基础。

萧伯纳的第一部戏剧作品是《皮格马利翁》，这部作品一经问世，便引起了轰动。

它不仅在英国引起了巨大的反响，也在国际上获得了极高的评价。

《皮格马利翁》以其深刻的思想和优美的语言征服了观众，使萧伯纳一举成名。

此后，他又相继创作了《凤凰男》、《圣女贞德》等一系列杰出的作品，为世人所津津乐道。

除了戏剧创作，萧伯纳还是一位杰出的文论家和社会活动家。

他的《英国各阶级的特征》、《社会主义者的信仰》等著作，揭露了当时社会的种种弊病，引起了社会的广泛关注。

他积极参与了社会改革运动，为废除奴隶制度、争取妇女权利等事业倾注了心血。

萧伯纳一生坚持着自己的理想和信念，他的作品充满了对社会现实的批判和对人性的关怀。

他的作品不仅具有很高的艺术价值，更蕴含着深刻的思想内涵，对当代社会仍具有重要的启示意义。

总的来说，萧伯纳是一位伟大的戏剧家，他的一生充满了传奇色彩。

他的作品不仅在戏剧史上留下了不朽的篇章，也为后人树立了崇高的精神典范。

他的故事激励着我们，让我们更加坚定地追求自己的梦想，为社会的进步贡献自己的力量。

萧伯纳是什么主义作家

萧伯纳是什么主义作家萧伯纳，爱尔兰剧作家。

1925年因作品具有理想主义和人道主义而获诺贝尔文学奖，他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，下面是店铺为你搜集萧伯纳是什么主义作家的相关内容，希望对你有帮助!现实主义作家萧伯纳简介萧伯纳出生于1856年7月26日，他的全名是乔治·伯纳·萧。

他出生于一个小公务员的家庭中，父亲是一个落魄的贵族，母亲出身于一个乡绅世家，从小便接受过严格的上等教育。

在萧伯纳还很小的时候，一位研究音乐理论的人与他们合租了一幢房子，成了他们的邻居。

因为这位邻居的影响，萧伯纳喜欢上了音乐，在十三岁的时候便能用口哨吹出很多优秀的歌剧片段。

1870年的时候，萧伯纳的父母开始分居，并在1876年的时候离婚了。

萧伯纳离开了父亲，跟着母亲来到了伦敦。

那时候的萧伯纳还非常的年轻，没有工作，只能依靠母亲的薪水来维持生活。

他非常地希望自己能够拥有一份称心的职业，但是先后他找到的工作的公司都倒闭了，无奈之下的萧伯纳便开始以写作为生。

但是写作业并不是一帆风顺的，他写了五篇长篇小说，但是全部被出版社拒绝，在写作的九年的时间里，萧伯纳仅仅收入了6英镑，其中的5英镑是代写卖药广告的报酬。

1876年，萧伯纳开始从事新闻工作。

1879年，他的第一部小说《未成熟》依然遭到了出版社的拒绝。

萧伯纳开始注意研究社会经济问题，发表了长篇小说《业余社会主义者》来尖锐的批判资本主义。

之后，在易卜生的影响之下，萧伯纳开始倡导和创作以讨论社会问题为主旨的“新戏剧”。

在研究了易卜生的剧本之后，他写下了《易卜生主义的精华》一书，并立志要革新英国的戏剧。

之后，萧伯纳便开始了他戏剧创作的生涯。

1950年11月2日，九十四岁的萧伯纳因病逝世。

萧伯纳的作品1879年的时候，萧伯纳完成了他的第一部小说《未成熟》，但是却被拒绝出版。

1884年，萧伯纳发表了长篇小说《业余社会主义者》，对资本主义进行了强烈地批判。

老有所为人物-萧伯纳.

高尔基写信向他祝贺称颂他是勇敢的战士还说你活了一世纪的四分之三对于人们的保守倾向和庸俗见解用你尖刻的俏皮话给以致命的打击不知几多次了
萧伯纳

1925年，69岁时爱尔兰作家萧伯纳，凭借《圣女贞德》荣获当年的诺贝尔文学奖。开始时，萧伯纳曾有5部小说被60家出版社拒绝。然而，不服输的萧伯纳坚信自己在文学道路上不会失败。事实证明，萧伯纳当时做出了一个 75寿辰。高尔基写信向他祝贺，称颂他是“勇敢的战士”，还说“你活了一世纪的四分之三，对于人们的保守倾向和庸俗见解用你尖刻的俏皮话给以致命的打击，不知几多次了。”回国后，萧伯纳发表演说撰写文章，赞扬苏联人民的卓越成就，并多次公开声称未来的世界属于社会主义。

1933年2月17日到达上海。与宋庆龄、蔡元培、鲁迅等会面，与高尔基和鲁迅结下诚挚的友谊。是年，发表最后一部小说《黑女求神记》。

1936年发表剧作《意外岛上的傻子》《女百万富豪》《日内瓦》《好国王查理第二治下的黄金时代》。93岁时写了个剧本，名为《牵强附会的寓言》。

1950年病逝，终年94岁。萧伯纳的墓志铭只有一句话：“我早就知道无论我活多久，这种事情迟早总会发生的。”

萧伯纳获得诺贝尔文学奖。他把这笔约合8000 英镑的奖金捐给了瑞典的穷作家们，引起一片赞叹之声。

1925年上海“五卅惨案”发生后，他联合各国著名人士谴责英帝国主义的残暴行径，支持中国人民的反帝爱国运动。 “九· 一八”事变以后，萧伯纳作为“国际反帝同盟”的一员到中国访问。

萧伯纳的妙语趣事阅读理解

萧伯纳的妙语趣事阅读理解摘要：1.萧伯纳其人及其作品简介2.萧伯纳的妙语趣事3.萧伯纳妙语背后的思想内涵4.萧伯纳的妙语对我们的启示正文：1.萧伯纳其人及其作品简介萧伯纳（George Bernard Shaw，1856-1950），全名乔治·伯纳德·萧，爱尔兰裔英国著名戏剧家、评论家和社会活动家。

他是20 世纪初英国文坛的风云人物，与奥斯卡·王尔德、约翰·高尔斯华绥并称为英国戏剧史上的三杰。

萧伯纳的创作涉及戏剧、小说、评论等多种体裁，其作品以机智、犀利的语言和独特的讽刺手法著称，对社会现象和问题进行了深刻的揭示和批判。

2.萧伯纳的妙语趣事萧伯纳的妙语趣事数不胜数，以下列举几则以供读者欣赏：（1）萧伯纳在一次宴会上遇到一位肥胖的贵妇人，她向萧伯纳抱怨自己的体重总是减不下来。

萧伯纳回答：“夫人，您难道不知道吗？这是地球引力的罪过。

”（2）萧伯纳曾说：“人生有两大悲剧：一是没有得到你想要的，二是得到了你想要的。

”（3）有人问萧伯纳：“您是如何保持年轻的？”萧伯纳回答：“因为我从来没有长大过。

”3.萧伯纳妙语背后的思想内涵萧伯纳的妙语趣事看似轻松幽默，实则蕴含着深刻的思想内涵。

例如，他关于人生悲剧的论述，实际上是对人生欲望的无常和虚幻的一种反思，揭示了人类在欲望的驱使下，往往陷入无尽的痛苦和挣扎。

而他的“我从未长大”的说法，体现了其始终保持独立思考、追求真理的精神。

4.萧伯纳的妙语对我们的启示萧伯纳的妙语不仅具有文学价值，还能给我们带来许多人生启示。

首先，我们应该学会用幽默的心态看待人生，化解生活中的烦恼和压力。

其次，我们要保持独立思考，勇于追求真理，不盲从权威。

萧伯纳的故事

萧伯纳的故事萧伯纳（George Bernard Shaw）是一位著名的爱尔兰剧作家和文学家，被誉为20世纪英国文学的重要人物之一。

萧伯纳于1856年出生在都柏林的一个中产阶级家庭，年轻时曾是一位音乐评论员和剧院评论员。

他的第一部剧作《胡安——你来自哪里？》于1893年发表，引起了轰动。

此后他又相继出版了许多重要的剧作，如《成为最高统治者》、《圣女贞德》和《皆大欢喜》等。

萧伯纳的剧作大多涵盖社会问题和政治问题，以及对人性和道德的深刻探讨，深受广大读者和观众的喜爱。

萧伯纳不仅是一位出色的剧作家，还是一位积极的社会活动家和政治家。

他关注贫穷、教育和女权等社会问题，在政治上则支持社会主义和左翼思想，曾经加入英国社会党。

他还借助自己的影响力，在二战期间募集了大量的捐款，用于支援战争的难民和战斗的士兵。

萧伯纳的一生充满了传奇色彩，他是一位充满激情和智慧的人。

他不仅是一位伟大的文学家，更是一个伟大的人格。

他的故事激励着人们追求真理和正义，为了自己的信仰和理想而不断奋斗。

在他的作品中，萧伯纳通常会带着讽刺和挖苦的口吻揭示社会的黑暗面和人性的弱点，打破现实的假象，勇敢地挑战社会权力和传统观念。

他的剧作常常充满了幽默和反讽，挑战了观众对生活的认知和理解。

萧伯纳早年积极参与文学界和剧院界的工作，他在评论古典音乐方面颇有造诣，曾经写过许多音乐评论，而这也是他日后创作音乐剧的基础。

他的剧作也被广泛地演出，并得到了许多的赞誉和奖项。

他所创作的剧作一直受到读者和观众的热爱和追捧，被视为现代戏剧史上的经典之作。

在萧伯纳的后期，他也参与了政治和社会的活动，曾经担任伦敦市议会的成员和英国社会党的领导人。

他一直致力于改善社会的不公和不平等，为穷苦人民和弱势群体的权益而奋斗。

他的思想理念深深地影响了20世纪的英国文化和社会。

萧伯纳虽已离开人世多年，但他的作品和思想依然在人们心中生生不息。

他是英国文学史上的巨人，也是世界文学史上的瑰宝，他的故事将一直流传下去，激励着人们追求美好和幸福的生活。

萧伯纳的妙语趣事阅读理解

萧伯纳的妙语趣事阅读理解（最新版）目录1.萧伯纳其人及其成就2.萧伯纳的妙语3.萧伯纳的趣事4.萧伯纳妙语趣事的启示正文萧伯纳，全名乔治·萧伯纳，是爱尔兰著名的剧作家、评论家和政治活动家。

他生于 1856 年，逝于 1950 年，其创作生涯跨越了几乎一个世纪。

萧伯纳是 20 世纪最重要的戏剧家之一，他的作品以机智、深刻和犀利的讽刺手法著称，对社会问题进行了深刻的揭示。

他一生创作了众多脍炙人口的剧本，如《人与超人》、《匹夫之勇》和《卖花女》等，被誉为“英国戏剧史上的奇迹”。

萧伯纳的妙语是其作品和言论中的一大亮点，充满了智慧和幽默。

他的妙语常常一针见血，直击问题要害，令人拍案叫绝。

例如，他曾说：“人生有两大悲剧，一是没有得到你想要的，二是得到了你想要的。

”这句话道出了人生在世无法摆脱的矛盾和困境，引人深思。

萧伯纳的趣事也是人们津津乐道的话题。

据说，萧伯纳在一次宴会上遇到了一位胖女士，对方故意调侃他，说他那么瘦，一定是因为把所有的智慧都放在了头脑里。

萧伯纳机智地回应：“夫人，您错了，我之所以瘦，是因为我在您身上看到的美好东西，都在我身上。

”这样的趣事佳话，不胜枚举。

阅读萧伯纳的妙语趣事，不仅可以让我们领略到这位伟大戏剧家的智慧和才情，还能从中得到许多人生的启示。

我们应该学会像萧伯纳那样，用机智和幽默去面对生活的种种困境，以乐观的态度去化解人生的种种矛盾。

同时，我们还应该学习他关注社会、关注人类的精神，将个人的智慧和力量投入到对社会、对人类的关爱之中。

总之，萧伯纳的妙语趣事阅读理解，不仅可以让我们更加了解这位伟大的戏剧家，还能让我们从中受益，学到许多人生的道理。

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萧伯纳的简介 _350字

萧伯纳的简介_350字
作文初中作文高中作文小学作文作文网
萧伯纳(George
Bernard
Shaw，1856年7月26日~1950年11月2日)，直译为乔治·伯纳·萧，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”。

然而，由于世界观上的局限性，他没能成为无产阶级战士，而终生是一个资产阶级改良主义者。

萧伯纳简介(中英文)

George Bernard Shaw 简介George Bernard Shaw (26 July 1856 – 2 November 1950) 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 than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make 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, and most of his writings censure that abuse. 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.Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot 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.He is the first 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 (adaption of his play of the same name), respectively.[1] 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 to English.[2]LifeEarly years and familyGeorge Bernard Shaw was born in Synge Street, Dublin in 1856 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 Wesleyan Connexional School, a grammar school operated by the Methodist New Connexion, 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 harbored 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".[3]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.[4] 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 Vandeleur Lee, to London, Shaw was almost sixteen years old. His sisters accompanied their mother[5] 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.[6] In 1876, 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. He earned his allowance by ghostwriting Vandeleur Lee's music column,[7][8] 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 life and political activismThe 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,[9] a middle class organization established in 1884 to promote the gradual spread of socialism by peaceful means.[6] In the course of his political activities he met Charlotte Payne-Townshend, an Irish heiress and fellow Fabian; they married in 1898. In 1906 the Shaws moved into a house, now called Shaw's Corner, in Ayot St. Lawrence, a small village in Hertfordshire; it was to be their home for the remainder of their lives, although they also maintained a residence at 29 Fitzroy Square in London.Shaw'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.[10]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.[11][edit] Final yearsDuring his latter years, Shaw enjoyed attending to the grounds at Shaw's Corner. He died at the age of 94, of renal failure precipitated by injuries incurred by falling while pruning a tree.[12] 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.[13][edit] Career[edit] WritingsThe International Shaw Society provides a detailed chronological listing of Shaw's writings.[14]See also George Bernard Shaw, Unity Theatre.[15]View Shaw's Works for listings of his novels and plays, with links to their electronic texts, if those exist.[edit] CriticismShaw became a critic of the arts when, sponsored by William Archer, he joined the reviewing staff of the Pall Mall Gazette in 1885.[16] 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".[17] From 1895 to 1898, Shaw was the drama critic for Frank Harris' Saturday Review, in which position he campaigned brilliantly to displace the artificialities and hypocrisies of the Victorian stage with a theater 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.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.[18]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.[19]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 made no 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".[20] 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 rejoicing in his natural gift". In the 1920s, he recanted, calling his earlier animosity towards Brahms "my only mistake".[19] 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.[21] All of his music critiques have been collected in Shaw's Music.[22] 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.[23][edit] NovelsShaw wrote five unsuccessful novels at the start of his career between 1879 and 1883. Eventually all were published.Shaw in 1925, when he was awarded the Nobel Prize for LiteratureThe first to be printed was Cashel Byron's Profession(1886),[24]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.Written in 1883, An Unsocial Socialist was published in 1887.[25]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,[26]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.The Irrational Knot was written in 1880 and published in 1905.[27] Within a framework of leisure class 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 andis, 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.[28]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.[29]The Black Girl, an enthusiastic but misguided convert to Christianity, goes searching for God, whom she believes to be an actual person. 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. The story is wildly different from Shaw's usual style.[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.[30]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. Years 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 include 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, were fraught with incisive humor, which was exceptional among playwrights of the Victorian era; both authors are remembered for their comedy.[31] 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.[32]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. Vedrenne. 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.[33]By the 1910s, Shaw was a well-established playwright. New works such as Fanny's First Play (1911) and Pygmalion (1912)—on which the famous, award-winning musical My Fair Lady(1956) is based—had long runs in front of large London audiences. A musical adaptation of Arms and the Man (1894)—The Chocolate Soldier by Oscar Straus (1908)—was also very popular, but Shaw detested it and, for the rest of his life, forbade musicalization of his work, including a proposed Franz Lehár operetta based on Pygmalion; the Broadway musical My Fair Lady could be produced only after Shaw's death. There is, however, a sharp difference between The Chocolate Soldier and My Fair Lady which Shaw never anticipated, and perhaps never could have; The Chocolate Soldier uses none of Shaw's own dialogue, while My Fair Lady, despite having a few speeches entirely written by librettist Alan Jay Lerner, uses generous chunks of Shaw's dialogue 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."[34]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."[35]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 hisNobel Prize in Literature.[36]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.[36] Shaw rejected a knighthood.[36]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.[36]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,[37] 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,[38] 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 of changing 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."[39]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 the 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.[40] His stance ran counter to public sentiment and cost him dearly at the box-office, but he never compromised.[41]Shaw joined in the public opposition to vaccination against smallpox, calling it "a particularly filthy piece of witchcraft",[42][43] 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.[44] In 1901, remembering the experience, he said "I was a cannibal for twenty-five years. For the rest I have been a vegetarian."[45] 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."[46]As well as plays and prefaces, Shaw wrote long political treatises, such as Fabian Essays in Socialism(1889),[47]and The Intelligent Woman's Guide to Socialism and Capitalism (1912),[48] 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,[49] Late in his life he wrote another guide to political issues, Everybody's Political What's What (1944).[edit] CorrespondenceShaw 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,[50]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,[51]to the boxer Gene Tunney,[52] and to H.G. Wells,[53] have also been published. Eventually the volume of his correspondence became insupportable, as can be inferred from apologetic letters written by assistants.[54] 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 ofcondolence to one of Collins's sisters. He had an enduring friendship with G. K. Chesterton, the Roman Catholic-convert British writer.[55]Shaw also enjoyed a personal friendship with T.E. Lawrence, known most notably for his book Seven Pillars of Wisdom and his role as liaison for the Arab revolt during World War I. Lawrence even took the name Shaw sometime after the war.Another friend was the composer Edward Elgar. The latter dedicated one of his late works, Severn Suite, to Shaw; and Shaw exerted himself (eventually with success) to persuade the BBC to commission from Elgar a third symphony, though this piece remained incomplete at Elgar's death. Shaw's correspondence with the motion picture producer Gabriel Pascal, who was the first to successfully bring Shaw's plays to the screen and who later tried to put into motion a musical adaptation of Pygmalion, but died before he could realize it, is published in a book titled Bernard Shaw and Gabriel Pascal.,[56] A stage play by Hugh Whitemore, The Best of Friends, provides a window on the friendships of Dame Laurentia McLachlan, OSB (late Abbess of Stanbrook) with Sir Sydney Cockerell and Shaw through adaptations from their letters and writings. A television adaptation of the play, aired on PBS, starred John Gielgud as Cockerell, Wendy Hiller as Laurentia, and Patrick McGoohan as Shaw. It is available on DVD.[edit] PhotographyShaw bought his first camera in 1898 and was an active amateur photographer until his death in 1950. Prior to 1898 Shaw had been an early supporter of photography as a serious art form and includes reviews of photographic exhibitions among his writings.The photographs document a prolific literary and political life - Shaw's friends, travels, politics, plays, films and home life. It also records his experiments with photography over 50 years and for the photographic historian provides a record of the development of the photographic and printing techniques available to the amateur photographer between 1898 and 1950.[edit] PoliticsShaw asserted that each social class strove to serve its own ends, and that the upper and middle classes won in the struggle while the working class lost. He condemned the democratic system of his time, saying that workers, ruthlessly exploited by greedy employers, lived in abject poverty and were too ignorant and apathetic to vote intelligently.[57] He。

萧伯纳

萧伯纳
作者简介
相关作品
名人名言
萧伯纳（George Bernard Shaw，1856年7月26日 ~1950年11月2日），直译为乔治· 伯纳· 萧，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”。然而，由于世界观上的局限性，他没能成为无产阶级战士，而终生是一个资产阶级改良主义者。
戏剧特点
萧伯纳的戏剧最突出的特点是紧密结合现实政治斗争，敢于触及资本主义社会最本质的问题，把剥削阶级的丑恶嘴脸暴露在公众面前。在艺术手法上，他善于通过人物对话和思想感情交锋来表现性格冲突和主思想。萧伯纳的戏剧性语言尖锐泼辣，充满机智，妙语警名脱口而出。他的最著名的剧作有：《鳏夫的房产》、《华伦夫人的职业》、《武器与人》、《真相毕露》等。其喜剧作品《卖花女》（Pygmalion）因被 Alan Lerner 改编为音乐剧《窈窕淑女》（My Fair Lady），该音乐剧又被好莱坞改编为同名卖座电影而家喻户晓。三十年代初，萧伯纳访问苏联和中国，与高尔基，鲁迅结下诚挚友谊。
《匹克梅梁》《匹克梅梁》(1912)是剧作家的一部最著名的喜剧作品。在此之前，作者已经创作并上演了二十八个剧本，虽然在戏剧界引起了广泛的重视，但却没有在观众中广为流行。直到这部喜剧上演，并被拍成电影、上了广播，他才真正作为喜剧大师赢得了观众的普遍接受与欢迎。 “匹克梅梁”即希腊神话中塞浦路斯王皮格马利翁，善雕刻，一次他雕刻了一个少女像，并且爱恋上了这个雕像，爱神受到感动，便给了雕像以生命，使他们二人结为夫妇。剧作家借用这个名字和典故以表示剧中语音学家息金斯和卖花女伊莉莎的关系。息金斯对语音学有着精湛的研究，一个偶然机会，他发现在菜市场卖花的穷姑娘伊莉莎有语言天赋，于是将她带回家中，调教并打扮成一个华丽、高贵而端庄的公爵夫人，让她在大使夫妇举行的晚宴和游园活动中大出风头而没有露出破绽来。然而，息金斯是个独身主义者，不可能与她结婚，而伊莉莎既成不了真正的公爵夫人，又不能再回菜市场卖花，遂被置于一种不上不下的尴尬境地。本剧的意义，除了其喜剧效果外，还在于它表现了剧作者的语音天才。萧伯纳是一位对英语语音有着特殊研究的剧作家，他善于通过人物的口音来表现他们的社会地位、生活环境和思想性格。在本剧中，他把鲜为人知的语音学知识及其重要性介绍给了广大观众。

外国名人故事：萧伯纳

外国名人故事：萧伯纳外国名人故事：萧伯纳妙退英王爱尔兰作家萧伯纳(1856--1950年)成名之后，门庭若市，使他苦于应付，。

一天，英王乔治六世前去访问这位文豪。

寒暄之后，出于兴趣爱好和文化修养的悬殊，两人很快就沉默无语了。

萧伯纳看英王还没有离去的举动，便慢慢从口袋里掏出怀表，然后一个劲地盯着表看，直到英王不得不告辞。

事后，有人问他喜不喜欢乔治六世，萧伯纳饶有风趣地微微一笑，答道：“当然，在他告辞的时候，确实使我高兴了一下。

”无一不晓有一天，萧伯纳应邀参加了一个丰盛的晚宴。

席间有一青年在大文豪面前滔滔不绝地吹嘘自己的天才，好像自己天南海北样样通晓，大有不可一世的气概。

起初，萧伯纳缄口不言，洗耳恭听。

后来，愈听愈觉得不是滋味。

最后，他终于忍不住了，便开口说道：“年轻的朋友，只要我们两人联合起来，世界上的事情就无一不晓了。

”那人惊愕地说：“未必如此吧!”萧伯纳说：“怎么不是，你是这样地精通世界万物，不过，尚有一点欠缺，就是不知夸夸其谈会使丰盛的佳肴也变得淡而无味，而我刚好明了这一点，咱俩合起来，岂不是无一不晓了吗?”饥荒的原因“一天，瘦削的萧伯纳碰到一位大腹便便的商人，商人讥讽道：“看见你，人们会以为英国发生了饥荒!”萧伯纳回击道：“看见你，人们就会明白饥荒的原因。

”拒绝“收买”有一次，一个鞋油厂的老板，想了一个发财的鬼点子，他请求萧伯纳，允许用萧伯纳的名字做一种新鞋油的商标名称。

老板对萧伯纳说：“如果你同意这样办，世界上千百万人都会知道你的大名了。

”萧伯纳道：“不，也有例外。

”老板愣住了。

萧伯纳接着说：“你忘了没鞋穿的人哪!”贵妇的岁数一位年过半百的贵妇问萧伯纳：“您看我有多大年纪?”“看您晶莹的牙齿，像18岁;看您蓬松的卷发，有19岁;看您扭捏的腰肢，顶多14岁。

”萧伯纳一本正经他说。

贵妇人高兴得跳了起来：“您能否准确他说出我的年龄?”“请把我刚才说的三个数字加起来!”侯客有一天，萧伯纳收到一个有钱的女人寄来的大红请帖：“我将在星期二下午4时至6时在舍下恭候。

萧伯纳名人名言

萧伯纳名人名言萧伯纳名人名言名人名言-萧伯纳名言:萧伯纳简介,萧伯纳(george bernardshaw，1856年7月26日－1950年11月2日)，直译为乔治伯纳萧，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，其喜剧作品《卖花女》（pygmalion）因被alan lerner改编为音乐剧《窈窕淑女》(my fair lady),该音乐剧又被好莱坞改编为同名卖座电影而家喻户晓。

未受过正规学校教育的萧伯纳是世界上最有名气.收入最多.最为人们所喜爱的作家之一。

一个尝试错误的人生不但无所事事的人生更荣耀，并且有意义。

破落户的英国绅士,一旦卖掉了最后的礼服,那钱往往还是饮下午茶用的。

所谓天才人物指的就是具有毅力的人.勤奋的人.入迷的人和忘我的人。

科学始终是不公道的。

如果它不提出十个问题，也就永远不能解决一个问题。

我年轻时注意到，我每做十件事有九件不成功，于是我就十倍地去努力干下去。

我不是教师,只是一个你可以问路的旅伴。

我指向前方-在你的前方,也在我的前方一般人只看到已经发生的事情而说为什么如此呢?我却梦想从未有过的事物,并问自己为什么不能呢?恐怕你们不常想吧。

在一年中想两三次的人已经不多。

我每星期总想一两次，所以名闻天下。

躯体总是以惹人厌烦告终。

除思想以外，没有什么优美和有意思的东西留下来，因为思想就是生命。

所谓爱国心，是指你身为这个国家的国民，对于这个国家，应当比对其他一切的国家感情更深厚。

如果我们不能建筑幸福的生活，我们就没有任何权利享受幸福，这正和没有创造财富无权享受财富一样。

对我来说，在享受人生的乐趣方面，有钱和没钱的差别是微乎其微的。

在我这一种人看来，金钱就是安全和避免小苛政的工具。

人生苦闷有二，一是欲（自第一范文网www.diyifanwen，请保留此标记。

）望没有被满足，二是它得到了满足。

因此我努力从一种临界状态中得到快乐理性的人让自己适应社会，非理性的人总是坚持让社会适应自己，所以所有的进步都得靠这些非理性的人。