George Bernard Shaw
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Introduction Introduction Table of Contents
Mr. Bernard Shaw (by G. K. Chesterton)
Novels
Cashel Byron’s Profession
An Unsocial Socialist
Love Among The Artists
The Irrational Knot
Immaturity
Short Stories
Short Stories, Scraps & Shavings
Plays
Plays Unpleasant:
Widowers’ Houses (1892)
The Philanderer (1898)
Mrs. Warren’s Profession (1898)
Plays Pleasant:
Arms And The Man: An Anti-Romantic Comedy in Three Acts (1894)
Candida (1898)
You Never Can Tell (1897)
Three Plays for Puritans:
The Devil’s Disciple
Caesar And Cleopatra
Captain Brassbound’s Conversion
Other Plays:
The Man Of Destiny
The Gadfly Or The Son of the Cardinal
The Admirable Bashville Or Constancy Unrewarded
Man And Superman: A Comedy and A Philosophy
John Bull’s Other Island
How He Lied To Her Husband
Major Barbara
Passion, Poison, And Petrifaction
The Doctor’s Dilemma: A Tragedy
The Interlude At The Playhouse
Getting Married
The Shewing-Up Of Blanco Posnet
Press Cuttings
Misalliance
The Dark Lady Of The Sonnets
Fanny’s First Play
Androcles And The Lion
Overruled: A Demonstration
Pygmalion
Great Catherine (Whom Glory Still Adores)
The Music Cure
Beauty’s Duty (Unfinished)
O’Flaherty, V. C.
The Inca Of Perusalem: An Almost Historical Comedietta
Augustus Does His Bit
Skit For The Tiptaft Revue
Annajanska, The Bolshevik Empress
Heartbreak House
Back To Methuselah: A Metabiological Pentateuch
In the Beginning
The Gospel of the Brothers Barnabas
The Thing Happens
Tragedy of an Elderly Gentleman
As Far as Thought Can Reach
The War Indemnities (unfinished)
Saint Joan
The Glimpse Of Reality: A Tragedietta
Fascinating Foundling: Disgrace To The Author
The Apple Cart: A Political Extravaganza
Too True to Be Good
Village Wooing: A Comedietta for Two Voices
On the Rocks: A Political Comedy
The Simpleton of the Unexpected Isles
The Six of Calais
Arthur and the Acetone
The Millionairess
Cymbeline Refinished: A Variation on Shakespeare’s Ending
Geneva
“In Good King Charles’ Golden Days”
Playlet on the British Party System
Buoyant Billions: A Comedy of No Manners
Shakes versus Shav
Farfetched Fables
Why She Would Not
Miscellaneous Works of G. B. Shaw
What do Men of Letters Say? - The New York Times Articles on War (1915):
"Common Sense About the War" by G. B. Shaw
"Shaw's Nonsense About Belgium" By Arnold Bennett
"Bennett States the German Case" by G. B. Shaw
Flaws in Shaw's Logic By Cunninghame Graham
Editorial Comment on Shaw By The New York World
Comment by Readers of Shaw To the Editor of The New York Times
Open Letter to President Wilson by G. B. Shaw
A German Letter to G. Bernard Shaw By Herbert Eulenberg
“Mr. G. Bernard Shaw on Socialism” (Speech)
The Miraculous Revenge
Quintessence Of Ibsenism
Economic
The Transition to Social Democracy
The Impossibilities Of Anarchism
The Perfect Wagnerite, Commentary on the Niblung’s Ring
Letter to Beatrice Webb
The Revolutionist’s Handbook And Pocket Companion
Maxims For Revolutionists
The New Theology
How to Write A Popular Play: An Essay
A Treatise on Parents and Children: An Essay
Memories of Oscar Wilde
The Intelligent Women’s Guide to Socialism and Capitalism: Excerpts
Women in the Labour Market
Socialism and Marriage
Socialism and Children
Letter to Frank Harris
How These Doctors Love One Another!
The Black Girl in Search of God
The Political Madhouse in America and Nearer Home
On Capital Punishment
Essays on Bernard Shaw
George Bernard Shaw by G. K. Chesterton
The Quintessence of Shaw by James Huneker
Old and New Masters: Bernard Shaw by Robert Lynd
George Bernard Shaw: A Poem by Oliver Herford
Table of Contents
Mr. Bernard Shaw (by G. K. Chesterton)
Table of Contents
In the glad old days, before the rise of modern morbidities, when genial old Ibsen filled the world with wholesome joy, and the kindly tales of the forgotten Emile Zola kept our firesides merry and pure, it used to be thought a disadvantage to be misunderstood. It may be doubted whether it is always or even generally a disadvantage. The man who is misunderstood has always this advantage over his enemies, that they do not know his weak point or his plan of campaign. They go out against a bird with nets and against a fish with arrows. There are several modern examples of this situation. Mr. Chamberlain, for instance, is a very good one. He constantly eludes or vanquishes his opponents because his real powers and deficiencies are quite different to those with which he is credited, both by friends and foes. His friends depict him as a strenuous man of action; his opponents depict him as a coarse man of business; when, as a fact, he is neither one nor the other, but an admirable romantic orator and romantic actor. He has one power which is the soul of melodrama—the power of pretending, even when backed by a huge majority, that he has his back to the wall. For all mobs are so far chivalrous that their heroes must make some show of misfortune—that sort of hypocrisy is the homage that strength pays to weakness. He talks foolishly and yet very finely about his own city that has never deserted him. He wears a flaming and fantastic flower, like a decadent minor poet. As for his bluffness and toughness and appeals to common sense, all that is, of course, simply the first trick of rhetoric. He fronts his audiences with the venerable affectation of Mark Antony—
"I am no orator, as Brutus is;
But as you know me all, a plain blunt man."
It is the whole difference between the aim of the orator and the aim of any other artist, such as the poet or the sculptor. The aim of the sculptor is to convince us that he is a sculptor; the aim of the orator, is to convince us that he is not an orator. Once let Mr. Chamberlain be mistaken for a practical man, and his game is won. He has only to compose a theme on empire, and people will say that these plain men say great things on great occasions. He has only to drift in the large loose notions common to all artists of the second rank, and people will say that business men have the biggest ideals after all. All his schemes have ended in smoke; he has touched nothing that he did not confuse. About his figure there is a Celtic pathos; like the Gaels in Matthew Arnold's quotation, "he went forth to battle, but he always fell." He is a mountain of proposals, a mountain of failures; but still a mountain. And a mountain is always romantic.
There is another man in the modern world who might be called the antithesis of Mr. Chamberlain in every point, who is also a standing monument of the advantage of being misunderstood.
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