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Plays by George Bernard Shaw
1898. Most of Shaw's early plays were either banned by the censor or refused production. With Plays: Pleasant and Unpleasant he sought a reading audience. He also began the practice of writing the challenging, mocking, eloquent prefaces to his plays, which were sometimes longer than the play itself. This volume contains the Unpleasant: Widowers' Houses; The Philanderer; and Mrs. Warren's Profession.
447 pages, Mass Market Paperback
First published January 1, 1929
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About the author
George Bernard Shaw
2,010 books4,147 followersGeorge Bernard Shaw stands as one of the most prolific and influential intellectuals of the late nineteenth and early twentieth centuries, a man whose literary output was matched only by his fervent commitment to social reform. Rising from a modest background in Dublin to become a global icon of letters, Shaw redefined the purpose of the stage, transforming it from a place of mere entertainment into a forum for rigorous intellectual debate and moral inquiry. His unique "Shavian" style—characterized by sharp-witted dialogue, paradoxical reasoning, and a relentless assault on Victorian hypocrisy—ensured that his voice resonated far beyond the footlights. As a playwright, critic, and philosopher, he remains a singular figure in history, being one of only two individuals to have been honored with both a Nobel Prize in Literature and an Academy Award. This rare crossover of high-art recognition and mainstream cinematic success speaks to his versatility and the enduring relevance of his narratives. His dramatic work, which includes over sixty plays, often tackled the most pressing issues of his day, from the rigid structures of the British class system to the complexities of gender roles and the ethical dilemmas of capitalism. In masterpieces like Pygmalion, he used the science of phonetics to demonstrate the artificiality of class distinctions, a theme that would later reach millions through the musical adaptation My Fair Lady. In Man and Superman, he delved into the philosophical concepts of the "Life Force" and the evolution of the human spirit, while Major Barbara forced audiences to confront the uncomfortable relationship between religious idealism and the industrial military complex. Beyond his theatrical achievements, Shaw was a foundational force in political thought, serving as a leading light of the Fabian Society. His advocacy for gradual socialist reform, rather than violent revolution, helped shape the trajectory of modern British politics and social welfare. He was instrumental in the creation of the London School of Economics, an institution that continues to influence global policy and economic theory. Shaw was also a formidable critic, whose reviews of music and drama set new standards for the profession, characterized by an uncompromising honesty and a deep knowledge of the arts. His personal lifestyle was as distinctive as his writing; a committed vegetarian, teetotaler, and non-smoker, he lived with a disciplined focus that allowed him to remain productive well into his ninth decade. He was a man of contradictions, often engaging in provocative public discourse that challenged the status quo, even when his views sparked intense controversy. His fascination with the "Superman" archetype and his occasional support for authoritarian figures reflected a complex, often elitist worldview that sought the betterment of humanity through radical intellectual evolution. Despite these complexities, his core mission was always rooted in a profound humanitarianism and a desire to expose the delusions that prevented society from progressing. He believed that the power of the written word could strip away the masks of respectability that hid social injustice, and his plays continue to be staged worldwide because the human foibles he satirized remain as prevalent today as they were during his lifetime. By blending humor with gravity and intellect with accessibility, Shaw created a body of work that serves as both a mirror and a compass for modern civilization. His legacy is not just in the scripts he left behind, but in the very way we think about the intersection of art, politics, and the individual’s responsibility to the collective good. He remains the quintessential public intellectual, a man who never feared to speak his mind or to demand that the world become a more rational and equitable place.
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Displaying 1 - 10 of 10 reviews
February 26, 2020
This multi-volume set represents a lifetime of writing and a lifetime of reading. Shaw lived a long, productive life. I have no difficulty imagining Shaw, were he alive today, as a prolific blogger covering a wide range of topics each day with his unique wit and acid tongue. He has an opinion about everything as evidenced by his prefaces that rival his plays in length.
One must admire his certainty. He had certainty about his uncertainty. Even when he should have been uncertain (vaccinations, eugenics), he was certain. Granted, Shaw often played the provocateur, so his statements should be taken with a grain of salt.
Shaw’s plays are in a critical decline. Once heralded as one of the greats of English theatre, in more recent years, critical opinion has turned against his talky, social-commentary plays. The reason, in part I believe, is that though Shaw has some memorable characters (Joan of Arc, Professor Higgins, Andrew Undershaft, etc.), they never really come to life. There is something in Shaw’s tone or style or presentation that keeps audiences from losing themselves in the characters. (Brecht would approve.)
In Saint Joan, for example, one certainly admires the character of Joan that Shaw creates. She is lively and interesting in a number of unexpected ways. But I think most people don’t feel a dread or suspense about her being burned alive toward the end. We don’t want Joan burned, but there’s not that emotional fear or dread you think you’d feel. There’s a stoic or comic distance that keeps us separated from the fate of the characters.
But Shaw, ever self aware, himself noted, “I have spared no pains to make it known that my plays are built to induce, not voluptuous reverie but intellectual interest, not romantic rhapsody but human concern.” (BH 249)
I think that, like Brecht, Shaw didn’t want audiences’ minds to get caught up in the emotion and cloud their judgment on the thoughts of the play. He keeps raw emotions at arm’s length and there is a sense or assurance in most of his plays that nothing truly bad is going to happen. (Of course, another option is that Shaw may have been incapable of creating truly sympathetic characters.)
I’ve read most of Shaw’s famous plays, but I’m only reviewing them here as I read or re-read them.
Saint Joan *** – This, I’ve read, is Shaw’s only tragedy among his many plays. It is a tragedy, however, as I note above, that doesn’t necessarily pull the reader in. It is more a tragedy in a social sense than a personal sense. All the characters are tragic, though Joan is the only one burned at the stake. The tragedy, according to Shaw, is man’s fate.
Overall, Shaw’s play is full of interesting and likeable characters. It is quite talky – not much happens on stage. It is mostly characters explaining themselves.
If you’re looking for Shaw plays to read, this is a good play to include in your list. In form, it is a bit unusual for Shaw, but the characters are lively.
The Dark Lady of the Sonnets *** – Shaw accurately described this as a Piece de Occasion, written to encourage the endowment of a National Theater. It is a moderately funny piece about the Bard’s chance encounter with Queen Elizabeth. It is mildly amusing.
Arms and the Man ** – Despite the presence of Shaw’s incisive social commentary, Arms and the Man is a rather trite 19th century drawing room drama. Although it has several strong, interesting female characters, their abiding focus is marriage and the play does not disappoint. The poor soldier is found to be the son of a rich man who just died, so he can marry the pampered baroness (or whatever she is). Ain’t it great? (01/2014)
Playlet on the British Party System *** – This is a light commentary on the British political system. I’m not enough of a student of their politics to comment intelligently on it. It displays Shaw’s acerbic commentary. (12/2013)
Mrs. Warren’s Profession *** – Shaw claimed this play was written to “draw attention to the truth that prostitution is caused, not by female depravity and male licentiousness, but simply by underpaying, undervaluing, and overworking women so shamefully that the poorest of them are forced to resort to prostitution to keep body and soul together.” He added, “If on a large social scale we get what we call vice instead of what we call virtue, it is simply because we are paying more for it.” (BH p. 231)
This is a play was berated in its day for being too risqué and daring, and is today berated for not being risqué and daring enough. Such is the life of a polemicist. I half jest of course. More important than facts of Mrs. Warren’s profession, the play revolves around the economics of women in the workplace, and their virtual enslavement (in marriage, in work or in crime) due to their lack of economic opportunity and the appallingly low wages they could earn.
Shaw’s Vivian is a strong character, unwilling to be victimized by this paternal system. Like Pygmalion, Shaw adamantly refuses to soften the ending to make her even slightly sentimental. (01/18)
Cymbeline Refinished *** -- Annoyed, as almost everyone is, by the final act of Cymbeline, Shaw decided to give it a rewrite. He offers his wry alternative, with the king's sons both renouncing the crown to continue to live in the woods, and Innogen/Imogen being irate that Posthumous was betting on her sexual fidelity. It's more of a commentary on Cymbeline than a serious attempt to "refinish" the play. (07/18)
Caesar and Cleopatra — Shaw (12/07)
Man and Superman — Shaw (1/08)
Major Barbara — Shaw (1/08)
Saint Joan — Shaw (2/08)
Heartbreak House — Shaw (2/08)
Too True to Be Good — Shaw (3/08)
Candida – Shaw (10/10)
Don Juan in Hell – Shaw (10/10)
Pygmalion – Shaw (10/10)
I am fortunate (or crazy) to own two separate, multi-volume sets of Shaw's complete plays. Both are very nice. The Dodd, Mead & Company edition, though, chose oddly to not present the plays in chronological order. I'm not sure what order they are in. I also have the Bodley Head version published in the U.K. This edition is in chronological order and it includes some extra program notes and essays by Shaw. I thought this worth pointing out if anyone was considering one or the other.
One must admire his certainty. He had certainty about his uncertainty. Even when he should have been uncertain (vaccinations, eugenics), he was certain. Granted, Shaw often played the provocateur, so his statements should be taken with a grain of salt.
Shaw’s plays are in a critical decline. Once heralded as one of the greats of English theatre, in more recent years, critical opinion has turned against his talky, social-commentary plays. The reason, in part I believe, is that though Shaw has some memorable characters (Joan of Arc, Professor Higgins, Andrew Undershaft, etc.), they never really come to life. There is something in Shaw’s tone or style or presentation that keeps audiences from losing themselves in the characters. (Brecht would approve.)
In Saint Joan, for example, one certainly admires the character of Joan that Shaw creates. She is lively and interesting in a number of unexpected ways. But I think most people don’t feel a dread or suspense about her being burned alive toward the end. We don’t want Joan burned, but there’s not that emotional fear or dread you think you’d feel. There’s a stoic or comic distance that keeps us separated from the fate of the characters.
But Shaw, ever self aware, himself noted, “I have spared no pains to make it known that my plays are built to induce, not voluptuous reverie but intellectual interest, not romantic rhapsody but human concern.” (BH 249)
I think that, like Brecht, Shaw didn’t want audiences’ minds to get caught up in the emotion and cloud their judgment on the thoughts of the play. He keeps raw emotions at arm’s length and there is a sense or assurance in most of his plays that nothing truly bad is going to happen. (Of course, another option is that Shaw may have been incapable of creating truly sympathetic characters.)
I’ve read most of Shaw’s famous plays, but I’m only reviewing them here as I read or re-read them.
Saint Joan *** – This, I’ve read, is Shaw’s only tragedy among his many plays. It is a tragedy, however, as I note above, that doesn’t necessarily pull the reader in. It is more a tragedy in a social sense than a personal sense. All the characters are tragic, though Joan is the only one burned at the stake. The tragedy, according to Shaw, is man’s fate.
Overall, Shaw’s play is full of interesting and likeable characters. It is quite talky – not much happens on stage. It is mostly characters explaining themselves.
If you’re looking for Shaw plays to read, this is a good play to include in your list. In form, it is a bit unusual for Shaw, but the characters are lively.
The Dark Lady of the Sonnets *** – Shaw accurately described this as a Piece de Occasion, written to encourage the endowment of a National Theater. It is a moderately funny piece about the Bard’s chance encounter with Queen Elizabeth. It is mildly amusing.
Arms and the Man ** – Despite the presence of Shaw’s incisive social commentary, Arms and the Man is a rather trite 19th century drawing room drama. Although it has several strong, interesting female characters, their abiding focus is marriage and the play does not disappoint. The poor soldier is found to be the son of a rich man who just died, so he can marry the pampered baroness (or whatever she is). Ain’t it great? (01/2014)
Playlet on the British Party System *** – This is a light commentary on the British political system. I’m not enough of a student of their politics to comment intelligently on it. It displays Shaw’s acerbic commentary. (12/2013)
Mrs. Warren’s Profession *** – Shaw claimed this play was written to “draw attention to the truth that prostitution is caused, not by female depravity and male licentiousness, but simply by underpaying, undervaluing, and overworking women so shamefully that the poorest of them are forced to resort to prostitution to keep body and soul together.” He added, “If on a large social scale we get what we call vice instead of what we call virtue, it is simply because we are paying more for it.” (BH p. 231)
This is a play was berated in its day for being too risqué and daring, and is today berated for not being risqué and daring enough. Such is the life of a polemicist. I half jest of course. More important than facts of Mrs. Warren’s profession, the play revolves around the economics of women in the workplace, and their virtual enslavement (in marriage, in work or in crime) due to their lack of economic opportunity and the appallingly low wages they could earn.
Shaw’s Vivian is a strong character, unwilling to be victimized by this paternal system. Like Pygmalion, Shaw adamantly refuses to soften the ending to make her even slightly sentimental. (01/18)
Cymbeline Refinished *** -- Annoyed, as almost everyone is, by the final act of Cymbeline, Shaw decided to give it a rewrite. He offers his wry alternative, with the king's sons both renouncing the crown to continue to live in the woods, and Innogen/Imogen being irate that Posthumous was betting on her sexual fidelity. It's more of a commentary on Cymbeline than a serious attempt to "refinish" the play. (07/18)
Caesar and Cleopatra — Shaw (12/07)
Man and Superman — Shaw (1/08)
Major Barbara — Shaw (1/08)
Saint Joan — Shaw (2/08)
Heartbreak House — Shaw (2/08)
Too True to Be Good — Shaw (3/08)
Candida – Shaw (10/10)
Don Juan in Hell – Shaw (10/10)
Pygmalion – Shaw (10/10)
I am fortunate (or crazy) to own two separate, multi-volume sets of Shaw's complete plays. Both are very nice. The Dodd, Mead & Company edition, though, chose oddly to not present the plays in chronological order. I'm not sure what order they are in. I also have the Bodley Head version published in the U.K. This edition is in chronological order and it includes some extra program notes and essays by Shaw. I thought this worth pointing out if anyone was considering one or the other.
May 25, 2017
Read "Candida" and "Mrs. Warren's Profession".
Some of the first plays I've read and studied in a lit class but both very interesting. I enjoyed the writing as well as the characters and themes of the latter more.
Some of the first plays I've read and studied in a lit class but both very interesting. I enjoyed the writing as well as the characters and themes of the latter more.
October 17, 2020
This 1960 paperback (published 60 years ago, which was 60ish years after the latest play in it) includes Man and Superman, Arms and the Man, Mrs. Warren's Profession, and Candida. I'd never read any Shaw, and I certainly enjoyed his facility with words, his sense of comic action, and his ability to delineate character. Many of his concerns were very much of his time - single women aren't limited to the options of poverty or prostitution any more, and the various arguments between socialism, anarchism, and capitalism have changed since then. I'm most especially not sure what to make of Man and Superman, which seems to support the views of its Don Juan/Tanner character more than satirize them. That character is very much in favor of breeding a greater race, and while I think Shaw is aware of how radically ridiculous this is, his inclusion of a very long manifesto purportedly written by Tanner at the end makes it hard to separate the writer from his character. (Also, note, this manifesto contains what may have been the first use of the horrendous idea that "Those who can do, those who cannot teach"). I didn't rush through this book - it was more interesting than enjoyable.
September 1, 2019
Plays. Good read.
June 29, 2023
Brain food
February 11, 2024
Painful but probably not for somebody who cares
February 5, 2016
Man And Superman: -
The idea had been around for a while, in various - genuine, not cartoon - forms, one supposes. At any rate various people developed it according to their best capacities of conception and perception. And it was a natural idea, after all. When one looks at evolution, it is only natural to expect that it might not be yet finished, and there might be higher rungs. If one thinks of creation, why suppose it is over? Who are humans to dictate that Divine can appear only once or is finished with Creation?
George Bernard Shaw goes here into a hilarious look at things as they are and then into what might, what magnanimity they can achieve at the next stage; at life force that dictates people marry and reproduce, albeit calling it romance and love; at limitations of best and sharpest intellect when faced with life force; and in an inspired act, at concepts of heaven and hell as they really should be seen, rather than the silly prevailing ones.
Truly delightful, one of the most hilariously delightful works of Shaw, and that is saying a lot. It leads you to think deep within while you are too busy laughing to notice it.
Monday, September 22, 2008.
........................................................................
........................................................................
Arms And The Man: -
What seems obvious might after all not be so, and those that are seemingly snobbish and haughty might be not as affluent after all as those that seem casual or even comic. those that speak of love and are rewarded for their bravery might have never experienced either.
And then there is Switzerland, the beautiful land with snow and meadows and chocolate and cheese, and contradictions - a country that never fought a war in recent history but has always hired out mercenaries to every nation.
September 10, 2008.
........................................................................
........................................................................
Mrs. Warren's Profession: -
Age old dilemma of society - "respectable"vs. the other side, and the need of one for the other. It must have of course been extremely controversial when it was written - and published - but this writer was always more than equal to any criticism and could always argue either side of a debate with reason.
This one is not a comedy, though, and one is presented with Mrs. Warren's side quite reasonably.
Wednesday, September 10, 2008.
.........................................................................
........................................................................
Candida: -
Revolutionary, as much else by Mr. Shaw, this work, about a luminous woman with her own mind and strength and wisdom - perhaps much like your wife or mother, at that - and entirely worthy of more than reading. About love and truth about love, and about marriage. About strength, and about one's responsibility.
Once it was understood without hypocrisy that a man looked for a wife who could make a home for him, and a woman had to make the best possible choice at every moment, either gambling on getting a better offer, or taking the best she had, in marrying a man who could provide for the home she would make. Few were lucky to find love as well, at the same time - most did the best they could, and things have not changed in this respect, only there is more hypocrisy in name of love.
Love is not so easy to either find or choose or live with.
Love might very well be a man too young to provide a family for the woman whom he fell in love with - she might be married, with a family, if she is lucky, not still waiting and dispirited. Will she then choose him? Or will conservative values win and she advise the younger man, the lover, to go find someone appropriate?
If she does, it might just be that she has wisdom and courage to name the real reasons for her decision, and explain them. A woman - a wife and mother, in potential and instinct even when not de facto - chooses the weaker one, to care for and to protect with all she has to give, which is love and care and understanding and more.
A scrawny young poet, and a respected much loved minister, who does the woman choose? Or does she have to choose between them?
Monday, September 22, 2008.
........................................................................
........................................................................
Friday, July 9, 2010.
........................................................................
........................................................................
The idea had been around for a while, in various - genuine, not cartoon - forms, one supposes. At any rate various people developed it according to their best capacities of conception and perception. And it was a natural idea, after all. When one looks at evolution, it is only natural to expect that it might not be yet finished, and there might be higher rungs. If one thinks of creation, why suppose it is over? Who are humans to dictate that Divine can appear only once or is finished with Creation?
George Bernard Shaw goes here into a hilarious look at things as they are and then into what might, what magnanimity they can achieve at the next stage; at life force that dictates people marry and reproduce, albeit calling it romance and love; at limitations of best and sharpest intellect when faced with life force; and in an inspired act, at concepts of heaven and hell as they really should be seen, rather than the silly prevailing ones.
Truly delightful, one of the most hilariously delightful works of Shaw, and that is saying a lot. It leads you to think deep within while you are too busy laughing to notice it.
Monday, September 22, 2008.
........................................................................
........................................................................
Arms And The Man: -
What seems obvious might after all not be so, and those that are seemingly snobbish and haughty might be not as affluent after all as those that seem casual or even comic. those that speak of love and are rewarded for their bravery might have never experienced either.
And then there is Switzerland, the beautiful land with snow and meadows and chocolate and cheese, and contradictions - a country that never fought a war in recent history but has always hired out mercenaries to every nation.
September 10, 2008.
........................................................................
........................................................................
Mrs. Warren's Profession: -
Age old dilemma of society - "respectable"vs. the other side, and the need of one for the other. It must have of course been extremely controversial when it was written - and published - but this writer was always more than equal to any criticism and could always argue either side of a debate with reason.
This one is not a comedy, though, and one is presented with Mrs. Warren's side quite reasonably.
Wednesday, September 10, 2008.
.........................................................................
........................................................................
Candida: -
Revolutionary, as much else by Mr. Shaw, this work, about a luminous woman with her own mind and strength and wisdom - perhaps much like your wife or mother, at that - and entirely worthy of more than reading. About love and truth about love, and about marriage. About strength, and about one's responsibility.
Once it was understood without hypocrisy that a man looked for a wife who could make a home for him, and a woman had to make the best possible choice at every moment, either gambling on getting a better offer, or taking the best she had, in marrying a man who could provide for the home she would make. Few were lucky to find love as well, at the same time - most did the best they could, and things have not changed in this respect, only there is more hypocrisy in name of love.
Love is not so easy to either find or choose or live with.
Love might very well be a man too young to provide a family for the woman whom he fell in love with - she might be married, with a family, if she is lucky, not still waiting and dispirited. Will she then choose him? Or will conservative values win and she advise the younger man, the lover, to go find someone appropriate?
If she does, it might just be that she has wisdom and courage to name the real reasons for her decision, and explain them. A woman - a wife and mother, in potential and instinct even when not de facto - chooses the weaker one, to care for and to protect with all she has to give, which is love and care and understanding and more.
A scrawny young poet, and a respected much loved minister, who does the woman choose? Or does she have to choose between them?
Monday, September 22, 2008.
........................................................................
........................................................................
Friday, July 9, 2010.
........................................................................
........................................................................
June 5, 2016
I am about to finish this book but I thought that I had so much to say, so decided to write a review. It's a coincidence that I am discovering GBS after reading Nietzsche, as it's clear that GBS was greatly marked by Nietzsche's works in developing his characters.
GBS' women, I feel are quite particular: In Man and Superman, Ann is the conniving, intelligent and yet pretentious woman with an independent mind while in Mrs Warren's Profession, Vivie is a businesslike, no nonsense type, who rejects marriage and social conventions to turn into a cold-hearted Margaret Thatcher like figure (although with certain anti-capitalist beliefs). Despite these nuances, what's common to GBS' women is that they are all strong and independent, and what I found remarkable was that I could relate to many of the motives that GBS attributed to their actions and objectives in the plays.
Man and Superman was a lot about Nietzsche and I must say that I was reminded once again of the truth that most of what has been produced after Nietzsche, and inspired by him, has merely been an interpretation or extension of his own thoughts or philosophies on various subjects. With GBS, it feels that way -- there is nothing new. All that GBS does is apply Nietzschean thoughts to his characters. What is perhaps beyond that, is when GBS comments on Nietzsche's legacy and warns the reader through the mouthpiece of one of his characters, that one should not take the concept of the Superman to heart, because if one does so, he might be embittered with man... And of course in the same play, GBS seems to ridicule what Nietzsche really was, by sending him not to hell, where one would think he ought to be, but "to heaven". In this we find the need or yearning on the part of GBS to detach himself from Nietzsche, although he would have been clearly enamored by his works. True to Nietzschean preachings, GBS understood that to really understand Nietzsche, one should not be his follower or disciple, but to be oneself.
A final note on characterization: I notice how GBS succeeds in conveying how boot licking, or brown nosing, or in simpler terms, trying to commend oneself to another, is a trait that Nietzsche despised. (quite rightly so). I found it really amusing that GBS managed to convey this through his characters -- especially when pompous men come across his really bold and no nonsense type of women in the plays (e.g.. Vivie meeting Praed).
Women writers are often criticized for not daring to venture out of the house in their storytelling. GBS restores that confidence to women (and men) by showing that you can very well be Nietzschean and apply those concepts to what goes on in society, or inside the house.
GBS' women, I feel are quite particular: In Man and Superman, Ann is the conniving, intelligent and yet pretentious woman with an independent mind while in Mrs Warren's Profession, Vivie is a businesslike, no nonsense type, who rejects marriage and social conventions to turn into a cold-hearted Margaret Thatcher like figure (although with certain anti-capitalist beliefs). Despite these nuances, what's common to GBS' women is that they are all strong and independent, and what I found remarkable was that I could relate to many of the motives that GBS attributed to their actions and objectives in the plays.
Man and Superman was a lot about Nietzsche and I must say that I was reminded once again of the truth that most of what has been produced after Nietzsche, and inspired by him, has merely been an interpretation or extension of his own thoughts or philosophies on various subjects. With GBS, it feels that way -- there is nothing new. All that GBS does is apply Nietzschean thoughts to his characters. What is perhaps beyond that, is when GBS comments on Nietzsche's legacy and warns the reader through the mouthpiece of one of his characters, that one should not take the concept of the Superman to heart, because if one does so, he might be embittered with man... And of course in the same play, GBS seems to ridicule what Nietzsche really was, by sending him not to hell, where one would think he ought to be, but "to heaven". In this we find the need or yearning on the part of GBS to detach himself from Nietzsche, although he would have been clearly enamored by his works. True to Nietzschean preachings, GBS understood that to really understand Nietzsche, one should not be his follower or disciple, but to be oneself.
A final note on characterization: I notice how GBS succeeds in conveying how boot licking, or brown nosing, or in simpler terms, trying to commend oneself to another, is a trait that Nietzsche despised. (quite rightly so). I found it really amusing that GBS managed to convey this through his characters -- especially when pompous men come across his really bold and no nonsense type of women in the plays (e.g.. Vivie meeting Praed).
Women writers are often criticized for not daring to venture out of the house in their storytelling. GBS restores that confidence to women (and men) by showing that you can very well be Nietzschean and apply those concepts to what goes on in society, or inside the house.
Want to read
February 24, 2018Plays read (see individual plays for reviews):
"Pygmalion", 4½ *
February 2015, "Caesar and Cleopatra", 3 *
April 2015, "Fanny's First Play", 3 *
July 2015, "The Doctor's Dilemma", 3 *
13 August 2015, "Major Barbara", 4 *
October 2015, "Press Cuttings", 4 *
9 January 2016, "Don Juan in Hell", 3*
30 March 2016, "The Devil's Disciple", 5 *
23 May 2016: "Androcles and the Lion", 3½ *
5 July 2016: "Pygmalion", 4½ * {reread}
24 Feb. 2018: "John Bull's Other Island", 3½ *
"Pygmalion", 4½ *
February 2015, "Caesar and Cleopatra", 3 *
April 2015, "Fanny's First Play", 3 *
July 2015, "The Doctor's Dilemma", 3 *
13 August 2015, "Major Barbara", 4 *
October 2015, "Press Cuttings", 4 *
9 January 2016, "Don Juan in Hell", 3*
30 March 2016, "The Devil's Disciple", 5 *
23 May 2016: "Androcles and the Lion", 3½ *
5 July 2016: "Pygmalion", 4½ * {reread}
24 Feb. 2018: "John Bull's Other Island", 3½ *
October 31, 2011
This was the cheapest Kindle way to buy Pygmalion (a big dollar), but the quality is great.
This is a rediscovery for me, after reading it at high school. A pleasant read, with a few smiles - but I don't get how it wanders off into prose to complete the story. Found myself skipping over sections.
19 other works to discover at some point.
This is a rediscovery for me, after reading it at high school. A pleasant read, with a few smiles - but I don't get how it wanders off into prose to complete the story. Found myself skipping over sections.
19 other works to discover at some point.
Displaying 1 - 10 of 10 reviews