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(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).
George Bernard Shaw demanded truth and despised convention. He punctured hollow pretensions and smug prudishness—coating his criticism with ingenious and irreverent wit. In Mrs. Warren’s Profession, Arms and the Man, Candida, and Man and Superman, the great playwright satirizes society, military heroism, marriage, and the pursuit of man by woman. From a social, literary, and theatrical standpoint, these four plays are among the foremost dramas of the age—as intellectually stimulating as they are thoroughly enjoyable. “My way of joking is to tell the truth: It is the funniest joke in the world.”—G. B. Shaw With an Introduction by Eric Bentley and an Afterword by Norman Lloyd
In the five novels he wrote before he became the great Irish playwright everyone knows, George Bernard Shaw worked out the basic design of his public future, fulfilling his own dictum that "no man is real until he has been transmuted into a work of art." R. F. Dietrich stresses Shaw's psychic transformation from a shy, priggish, inept Shelleyan intellectual to an efficient, extroverted, ironically devilish statesman-poet. Amid the decay and death of the old Victorian father figures, the young genius discovers, as James Joyce did later, that he must commit autogenesis and re-create himself as his own authority figure. In the moral and spiritual emptiness of the modern world, Shaw engendered the inherently moral "Superman," who would triumph over circumstances by being a master rather than a slave of reality. Reflecting contemporary critical theory and advances in Shaw studies, this work is a major overhaul of Dietrich's earlier study of Shaw's transformation, going beyond the merely biographical to examine the psychological and symbolic significance of Shaw's fiction. It will be of interest not only to Shaw scholars but to historians of the novel (the Victorian novel in particular), to historians of culture, and to those interested in the psychology and biography of authors and public figures.
This is the first of three volumes of musical criticisms by Bernard Shaw reflecting his great breadth of knowledge of the works of Wagner, Bach and Mozart to more contemporary British composers such as Walton, Tippett and Britten.
With his inimitable wit and sparkle, George Bernard Shaw brings us the character of Owen Jack, a salty non-conformist composer said to have been suggested by Beethoven. The relations between Jack and the other wayward bohemians of the story with the more conventional socialites around them offers shrewd insight into the nature of the artistic temperament, with its needs for a kind of commitment that overrides the everyday claims of the heart. A novel which anticipated Shaw's first plays by more than ten years, LOVE AMONG THE ARTISTS shows him already mocking the respectable morality of the Victorian society around him.
A dramatic comedy combines high comedy with social commentary in deflating misconceptions about love and warfare.
This dream episode from Man and Superman forms a play within the play, consisting of a dramatic reading in which the Devil himself comments on heaven and hell, good and evil, and human purpose.