萧伯纳简介

合集下载

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。

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。

萧伯纳是谁？爱尔兰剧作家萧伯纳生平简介

萧伯纳是谁？爱尔兰剧作家萧伯纳生平简介本文导读：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。

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。

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。

1876～1898年在伦敦从事新闻工作，在《明星报》、《星期六评论》上写了很多关于音乐和戏剧的评论文章。

1879年第一部小说《未成熟》遭到卡普曼荷尔书局审稿人的拒绝。

他在易卜生影响下，一贯反对王尔德“为艺术而艺术”的观点，大力倡导和创作以讨论社会问题为主旨的“新戏剧”。

1884年9月，他听了美国《进步和贫困》一书作者亨利·乔治的演讲，受到启发，从此开始注意研究社会经济问题，并阅读马克思的《资本论》。

1884年改良主义的费边社成立，萧伯纳参加该社，并成为该组织者之一。

发表长篇小说《业余社会主义者》，尖锐地批判了资本主义。

19世纪的英国戏剧一蹶不振，萧伯纳嘲笑它们是迎合低级趣味的“糖果店”，他认为戏剧应该依赖对立思想的冲突和不同意见的辩论来展开。

不过，当他听了评剧家朗诵了易卜生的剧本《培尔·金特》后，感受到“一刹那间，这位伟大诗人的魔力打开了我的眼睛。

萧伯纳的故事范文

萧伯纳的故事范文萧伯纳(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 * 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 * 的宣传者。

如下是中国给大家的萧伯纳的故事，希望对大家有所作用。

萧伯纳是英国著名作家。

有一次在莫斯科访问时，他遇到一个小姑娘。

小姑娘白白胖胖，一对大眼睛很有神，头上扎着大红蝴蝶结，真是可爱极了。

萧伯纳非常喜欢这个孩子，同她玩了好久。

临别时，萧伯纳对小姑娘说：“别忘了回去告诉你妈妈，就说今天同你玩的是世界有名的大作家萧伯纳。

”他暗想：当小姑娘知道跟自己玩的是一位世界大文豪时，一定会惊喜万分。

可是，出乎预料的是，小姑娘竟学着萧伯纳的口吻说道：“请你回去后告诉你妈妈，就说今天同你玩的是苏联小姑娘娜塔莎。

”萧伯纳听了，不觉为之一震。

他马上意识到刚才太自夸了。

事后，萧伯纳深有感触地说：“一个人不论取得多大成就，都不能自夸。

对任何人，都应该平等相待，永远谦虚。

这就是那位小姑娘给我的教育。

她是我的老师。

”反思：我们中国也有类似的名言：“三人行，必有我师”——孔子“生乎吾前，其闻道也固先乎吾，吾从而师之;生乎吾后，其闻道也亦先乎吾，吾从而师之。

”——韩愈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。

不过，许多人可能都没有想到，开始写作时，萧伯纳曾遭遇过5部小说被60家出版社全部拒绝的尴尬。

萧伯纳出生在一个小公务员家里，由于家庭贫困，他早早地便辍学回家。

从20岁起，萧伯纳开始尝试以写作谋生，并在6年时间里先后写出了5部小说。

不过，令人沮丧的是，当他满怀希望地将这5部小说寄给60多家出版社寻求出版时，那些出版社无一例外地，全都无情地拒绝了给他出书的愿望。

看到儿子遭受到如此大的打击，母亲心疼地劝说萧伯纳放弃这条艰辛的创作之路，并表示她可以挣钱养活儿子。

萧伯纳名言

萧伯纳简介,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，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。

●女人是世界上最麻烦的动物,而男人则是世界上最爱找麻烦来烦恼的动物.男人生存最大的快乐是满足女人的自尊心,而女人生存最大的快乐则是伤害男人的自尊心:就这样子●人生不是一支短短的蜡烛,而是我们暂时拿着的火炬,我们一定要把它燃得十分光明灿烂,然后交给下一代人们●你有一个苹果,我有一个苹果,我们交换一下,一人还是一个苹果;你有一个思想,我有一个思想,我们交换一下,一人就有两个思想。

外国文学

三、主要作品
（一）前期 1.《不愉快戏剧集》，包括《鳏夫的房产》（1892）、《荡子》（1893）和《华伦夫人的职业》（1894）等； 2.《愉快的戏剧集》由《武器与人》（1894）、《康蒂妲》（1894）、《风云人物》（1895）和《难以预料》（1896）组成。 3. 第三个戏剧集名为《为清教徒写的戏剧》，其中有《魔鬼的门徒》（1897）、《凯撒和克莉奥佩屈拉》（1898）和《布拉斯庞德上尉的转变》（1897）。（二）进入 20世纪之后，萧伯纳的创作进入高峰。发表了著名的剧本《人与超人》（1903）、《芭芭拉少校》（1905）、
不仅能扫荡英国舞台的污秽，而且能倾诉自己对这个黑暗现实社会的不满，于是，他立志要革新英国的戏剧。 1892年，萧伯纳正式开始创作剧本，他的第一个戏剧集《不愉快的戏剧集》，其中包括《鳏夫的财产》、《华伦夫人的职业》、《荡子》三个剧本；第二个戏剧集包含有《武器与人》等4
部剧本；第三个戏剧集《为清教徒而写的戏剧集》包含《魔鬼的门徒》等3个剧本。
文学道路的坎坷并没有使萧伯纳灰心丧气，为了在社会上有立足之地，他更加勤奋的学习和写作，阅读了大量的文学作品还热心于参加社会活动。但他有一个弱点，就是从小害羞，不敢在大庭广众之下说话，这样怎么可能被社会承认呢？为了克服这个缺点，萧伯纳参加了一个叫“考求者学会”的辩论会。由于经常当众与学者们辩论，不久，他就克服了自身的缺点，为了给别人留下深刻的印象，他特意留起了讽刺家式的发型，对着镜子练习怎样以潇洒的手势来加强演说效果。
2.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！”

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。‛

诺贝尔与萧伯纳

·伯纳德·萧，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，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。其思想深受德国哲学家叔本华及尼采的影响，也读过读过马克思与恩格斯合著的《资本论》，与鲁迅、高尔基是挚友。
历史背景
贞德是法国一个农村牧羊姑娘，生活在英法百年战争期间。当
时，法国半壁河被英国军队侵占，濒临亡国的危险。贞德，为强烈的爱国热情所激励，自称奉上天之命拯救法国。她冲破重重障碍，面见法国太子，被委以军队指挥之权。战斗中她身先士卒，鼓舞斗志，一战而解奥尔良之围，军心大振。在她率领下，短短数月，连克重镇，大挫英国侵略军的锐气，挽救了法国危亡的局势。接着，贞德扶持法国太子在里姆斯大教堂加冕登基，是为法国国王查理七世。巩固了法国的国家主权。在胜利的形势下，本可一举攻克被英军占领的巴黎。但在此关键时刻，法国封建统治者嫉贤妒能，对贞德排斥阻挠。她在支援康边时作战失利，为内奸所俘，由英军以重金买去，交给宗教裁判所，诬以犯有“异端、巫术、妖法之罪”，将她烧死在卢昂广场。
⑥也许，科学家的重要性并不在于是否获奖，而在于是否为造福人类而献身。懂得了这一点，中国人就离诺贝尔奖近了一步。
1、根据第①节内容，指出中国人的“诺贝尔情结”的具体含义。
中国人对诺贝尔奖的渴望和总得不到诺贝尔奖的困惑。
2、结合原文，说说你对“历史似乎总是充满戏剧性”这句话的理解。
面对诺贝尔奖的桂冠，求者不得，得者不求。
西方科学家？中国人离诺贝尔奖有多远？中国人为什么拿不了诺贝尔奖？在中国人的心底，似乎隐藏着一种挥之不去的“诺贝尔情结”。
②客观地说，诺贝尔奖并不能完全反映一个国家的科学研究水平，但是，诺贝尔奖又是一个独特

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。

乔治萧伯纳的简介

乔治萧伯纳的简介乔治萧伯纳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。

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，下面是店铺搜集整理的乔治萧伯纳的简介，希望对你有帮助。

乔治萧伯纳的简介萧伯纳(George Bernard Shaw，1856—1950)爱尔兰剧作家，萧伯纳的世界观比较复杂，他接受过柏格森、叔本华和尼采的哲学思想，又攻读过马克思的《资本论》。

著名作家萧伯纳的童年、青年时代是很不幸的。

父亲做过法院公务员，后经商失败，酗酒成癖，母亲为此离家去伦敦教授音乐。

受母亲熏陶，萧伯纳从小就爱好音乐和绘画。

在都柏林美以美教会中学毕业后，因经济拮据未能继续深造，15岁便当了缮写员，后又任会计。

1876年移居伦敦母亲处，为《明星报》写音乐评论，给《星期六评论》周报写剧评，并从事新闻工作。

他的父亲不仅形象极丑，而且是个谁都不喜欢的懒惰者，多半是整天醉醺醺的。

老婆孩子的事情一概不管。

萧伯纳15岁时就不得不出去找事做。

20岁时，萧伯纳去了伦敦，却不知到何处寻找作，后来他参加了许多讨论社团。

起初他总是感到困窘，逐渐地情况好了起来，他知道怎么把话说得通晓明白，不久他就被各种集会邀请前去做专题演讲。

在12年的时间里，他是靠演讲过日子的。

然而萧伯纳并没有满足于眼前的成功，他想将这新发现的才能应用于写作。

于是，他给自己规定每日必写5页东西，不管好坏，一概不拘。

就这样过了4年，他从自己的那些文章里总共才得到30美元的稿费，这不免使他很失望。

但他仍然没有放弃写作，他接着写了5部长篇小说，全部被60家出版社所拒绝，这令他更加沮丧。

但他吸取了当初演讲从失败到成功的经验，坚信自己这次也不会失败。

他鼓励自己，仍然每日写一定数量的文章。

就这样全力以赴，未受过正规学校教育的萧伯纳成了世界上最有名气、收入最多、最为人们所喜爱的作家之一。

成功是主动的进取，不是被动的乞求施舍。

乔治萧伯纳的文学思想萧伯纳的世界观比较复杂，他接受过柏格森、叔本华和尼采的哲学思想，又攻读过马克思的《资本论》。

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。

语文苏教版三年级下册萧伯纳个人资料

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。

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。

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。

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。

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。

1876～1898年在伦敦从事新闻工作，在《明星报》、《星期六评论》上写了很多关于音乐和戏剧的评论文章。

1879年第一部小说《未成熟》遭到卡普曼荷尔书局审稿人的拒绝。

他在易卜生影响下，一贯反对王尔德“为艺术而艺术”的观点，大力倡导和创作以讨论社会问题为主旨的“新戏剧”。

1884年9月，他听了美国《进步和贫困》一书作者亨利·乔治的演讲，受到启发，从此开始注意研究社会经济问题，并阅读马克思的《资本论》。

[2] 1884年改良主义的费边社成立，萧伯纳参加该社，并成为该组织者之一。

发表长篇小说《业余社会主义者》，尖锐地批判了资本主义。

19世纪的英国戏剧一蹶不振，萧伯纳嘲笑它们是迎合低级趣味的“糖果店”，他认为戏剧应该依赖对立思想的冲突和不同意见的辩论来展开。

不过，当他听了评剧家朗诵了易卜生的剧本《培尔·金特》后，感受到“一刹那间，这位伟大诗人的魔力打开了我的眼睛。

[名人故事]萧伯纳简介

[名人故事]萧伯纳简介萧伯纳简介萧伯纳，全名乔治·伯纳德·萧（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。

萧伯纳的戏剧最突出的思想特点是，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。

萧伯纳是西欧批判现实主义文学最杰出的代表之一，是现代英国最伟大的戏剧家和批评家，是18世纪以来英国最重要的散文作家，现代最优秀的戏剧评论家，音乐评论家，政治、经济、社会学等方面的卓越的演说家和论文作家。

在他60多年的创作生涯中，除了5部长篇小说和大量评论文章外，一共创作了52个剧本。

其中《卖花女》在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。

他于1925年获得了诺贝尔文学奖。

他的戏剧在世界范围内广泛传播，并且跨越时间的长河，具有极强的生命力。

萧伯纳的文学作品包含囊括了人文理念之下的不同人性展示、时代现状揭露以及社会改良思考，具有强烈鲜明的批判精神，对于文学艺术的拓展革新以及社会意识的引导改良都具备积极务实的价值效用。

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。

萧伯纳的故事

于1933年到访过中国。
图为在上海与宋庆龄、蔡元培、鲁迅、林语堂等人的合影
萧伯纳在中国
萧伯纳先生头像
想一想，这幅图片讲了一个怎样的故事呢？
萧伯纳的幽默
英国大文豪萧伯纳一生幽默，他年老时，腿脚行动不便，一次过马路时，他被一骑自行车的年轻人撞倒，年轻人非常惶恐，连忙将他搀扶起来，不住的道歉： “真对不起，发生了这样不幸的事。”萧伯纳却说：“不，先生，您比我更不幸。要是你再使点劲，那你就可以作为撞死萧伯纳的好汉而永远名垂史册了。”
读了这个故事，你有什么启示？
名言警句
海纳百川，有容乃大伯纳（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，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。

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。