GEORGE SHAW - The Complete Works

George Bernard Shaw

Published by

Books

- Advanced Digital Solutions & High-Quality eBook Formatting -

musaicumbooks@okpublishing.info

2021 OK Publishing

EAN 4064066379711

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

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.