Information about George Bernard Shaw

George Bernard Shaw

Born:	26 July 1856(1856--) Dublin, Ireland
Died:	2 November 1950 (aged 94)
Occupation:	Playwright, critic, political activist
Nationality:	Irish
Genres:	Comedy
Influences:	Arthur Schopenhauer, Richard Wagner, Henrik Ibsen, Friedrich Nietzsche, Henry George, William Morris
Influenced:	Socialism and Fabianism in the UK, Colin Wilson

George Bernard Shaw (26 July 1856–2 November 1950) was a world-renowned Irish author. Born in Dublin, he moved to London when he turned twenty. Having rejected formal schooling (toward which he had an enduring antipathy), he educated himself by independent study in the reading room of the British Museum; he also began his career there by writing novels for which he could not find a publisher.

His first success was as a music and literary critic, but he was drawn to drama and authored more than sixty plays during his career. Typically his work is leavened by a delightful vein of comedy, but nearly all of it bears earnest messages Shaw hoped his audiences would embrace.

Politically an ardent socialist, he wrote many brochures and speeches for the Fabian Society and became an accomplished orator in furtherance of its causes. Those included gaining equal political rights for men and women, alleviating abuses of the working class, rescinding private ownership of land and promoting healthful lifestyles.

He married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They made their home in Ayot St. Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries incurred on falling from a ladder.

He is the only person to have been awarded both a Nobel Prize (1925) and an Oscar (1938). These were awarded for Shaw's contribution to literature and the film Pygmalion, respectively. (It is not the case that Al Gore shares this distinction, as the Academy Award for An Inconvenient Truth was not awarded to Gore personally).

Biography

George Bernard Shaw was born to George Carr Shaw (1814-1885), 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 (1854-1876).

Shaw briefly attended the Wesleyan Connexional School, a grammar school operated by the Methodist New Connexion, moved to a private school near Dalkey, transferred to Dublin's Central Model School and ended his formal education at the Dublin English Scientific and Commercial Day School. Boy and man, he was always bitterly opposed to 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." ^[1]

He epitomized this attitude in the prologue of Cashel Byron's Profession where young Byron's educational experience is a fictionalized description of Shaw's own formal schooling and underscored it later in his Treatise on Parents and Children.^[2]

Just before Shaw’s sixteenth birthday (1872), his mother left home and followed her voice teacher, George Vandeleur Lee, to London. The daughters accompanied their mother,^[3] but Shaw remained in Dublin with his father, first as a reluctant pupil, then as a clerk in an estate office, where he worked efficiently, albeit discontentedly, for several years.^[3] 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 professionally. He earned his allowance by ghost-writing Vandeleur Lee’s music column,^[4] which appeared in the London Hornet. Between 1879 and 1883, due to a series of rejected novels, his literary earnings remained negligible. His situation improved after 1885, when he became self-supporting as an art and literary critic.

Influenced by his reading, he became a dedicated Socialist and a founding member of the Fabian Society, a middle class organization established in 1884 to promote the gradual spread of socialism^[3] by peaceful means. 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 flat in London. During his final years Shaw enjoyed attending to the grounds at Shaw's Corner; his death when he was 94 resulted from injuries from falling from a ladder while he was pruning a tree. His ashes, mixed with those of his wife, were scattered along footpaths and around the statue of Saint Joan in their garden.^[6]

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.^[7]

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Literary works

The International Shaw Society provides a detailed chronological listing of Shaw's writings.^[8] See also George Bernard Shaw, Unity Theatre^[9]

Criticism

As a music, art, and drama critic he wrote under the pseudonym "Corno di Bassetto" ("basset horn") for the Wolverhampton Star and, as GBS, for Dramatic Review (1885-86), Our Corner (1885-86), and The Pall Mall Gazette (1885-88). Shaw chose the pseudonym because it sounded European, and because nobody knew what a Corno di Bassetto was.^[10] From 1895 to 1898, Shaw was the drama critic for Frank Harris’ Saturday Review. His earnings as a critic made him self-supporting.

Shaw’s early journalism ranged from book reviews and art criticism to music columns (many of them defending the work of the German composer Richard Wagner). The Perfect Wagnerite, printed in 1898, typifies Shaw’s views on Wagner. Conversely, Shaw disparaged Brahms, deriding A German Requiem by saying "it could only have come from the establishment of a first-class undertaker."^[11] As drama critic for the Saturday Review, a post he held from 1895 to 1898, Shaw also championed the Norwegian dramatist Henrik Ibsen, about whom he had already written the influential The Quintessence of Ibsenism(1891). His music criticism has been collected in Shaw's Music (1981).^[12]

Novels

All of the five unsuccessful novels written between 1879 and 1883, at the start of his career eventually were published. They were:

• Cashel Byron's Profession (London, The Modern Press, 1886)
• An Unsocial Socialist (London, Swan Sonnenschein, Lowrey & Co., 1887)
• Love Among the Artists (Chicago, Herbert S. Stone and Company, 1900, UK, 1914)
• The Irrational Knot, Being the Second Novel of his Nonage (revised, New York, Brentano’s, 1905)
• Immaturity (London, Constable, 1931) His first novel. Written in 1879, it was the last one to be printed.

Plays

Although an earlier exists, Shaw began working on his first play destined for publication,Widower's 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. Widower's Houses, a scathing attack on slumlords, was first performed at London's Royalty Theatre on December 9, 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 America 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).

With the exception of Oscar Wilde, the humor in Shaw's writing was unmatched by his contemporaries, and he is remembered for his comedy. However, his 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. In this, he considered himself indebted to Henrik Ibsen, who pioneered modern realistic drama.

As his experience and popularity increased, his plays became increasingly verbose, which did not detract from their success. These works, from what might be called the beginning of his "middle" period, include Caesar and Cleopatra (1898), Man and Superman (1903), Major Barbara (1905) and The Doctor's Dilemma (1906). 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.

By the 1910s, Shaw was a well-established playwright. New works such as Fanny's First Play (1911) and Pygmalion (1912) — on which 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 Strauss (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 Lehar operetta based on Pygmalion; the Broadway musical My Fair Lady could be produced only after Shaw's death.

Shaw's outlook was changed by World War I, which he vigorously 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."

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 preface of Buoyant Billions (1946-48), his last full-length play, he 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."

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 conviction that a "Life Force" purposefully directs evolution toward ultimate perfection. 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 conceded to be one of his better works. Shaw had long considered writing about Joan of Arc, and her canonization supplied a strong incentive. The play was an international success, and is believed to have led to his Nobel Prize in Literature. 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,^[13] 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 themselves. 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.

•  • [ e] The plays of George Bernard Shaw
Plays Unpleasant :	The Philanderer, Mrs Warren's Profession, Widowers' Houses
Plays Pleasant :	Arms and the Man, Candida, The Man of Destiny, You Never Can Tell
Three Plays for Puritans :	Caesar and Cleopatra, Captain Brassbound's Conversion, The Devil's Disciple
Back to Methuselah a cycle of five plays :	In the Beginning: B.C. 4004 (In the Garden of Eden), The Gospel of the Brothers Barnabas: Present Day, The Thing Happens: A.D. 2170, Tragedy of an Elderly Gentleman: A.D. 3000, As Far as Thought Can Reach: A.D. 31,920
Other Plays :	Androcles and the Lion, The Apple Cart, The Doctor's Dilemma, Fanny's First Play, Geneva, Heartbreak House, John Bull's Other Island, Major Barbara, Man and Superman, Misalliance, Pygmalion, Saint Joan

Polemical writing

In a letter to Henry James dated 17 January, 1909, 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.”^[14]

Thus he viewed writing as a way to further his humanitarian and political agendas. 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. His stance ran counter to public sentiment and cost him dearly at the box-office, but he never compromised.

Shaw joined in the public’s hysterical attack on vaccination against smallpox,^[15] a dire disease that might have killed him 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.^[16] In 1901, remembering the experience, he said "I was a cannibal for twenty-five years. For the rest I have been a vegetarian."^[17] As a staunch vegetarian, he was firmly anti-vivisectionist and antagonistic to cruel sports for the balance 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."^[18]

As well as plays and prefaces, Shaw wrote long political treatises, such as Fabian Essays in Socialism (1889), ^[19] and The Intelligent Woman's Guide to Socialism and Capitalism (1912),^[20], 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,^[21] Late in his life he wrote another guide to political issues, Everybody's Political What's What (1944).^[22]

Friends and correspondents

Shaw 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; 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,^[23] to the boxer Gene Tunney,^[24] and to H.G. Wells,^[25] have also been published. Eventually the volume of his correspondence became insupportable, as can be inferred from apologetic letters written by assistants.^[26]

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 of condolence to one of Collins's sisters. He had an enduring friendship with G. K. Chesterton, the Roman Catholic-convert British writer.^[27]

Another great 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 (ISBN 0-8020-3002-5). A stage play based on a book 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. ==''

Socialism and political beliefs

Shaw asserted each social class strove to serve its own ends with the upper and middle classes winners in the struggle and the working class the loser. He excoriated the democratic system of his time, saying workers, ruthlessly exploited by greedy employers, lived in abject poverty and were too ignorant and apathetic to vote intelligently.

In 1882, influenced by Henry George's views on land nationalization, Shaw concluded private ownership of land and its exploitation for personal profit was a form of theft and advocated equitable distribution of land and natural resources and their control by governments intent on promoting the commonweal. Shaw believed income for individuals should come solely from the sale of their own labour and that poverty could be eliminated by giving equal pay to everyone. This ideology led Shaw to apply for membership the Social Democratic Federation (SDF), led by H. M. Hyndman who introduced him to the works of Karl Marx. Shaw never joined the SDF, which favored reform by outright revolution, and he never was a Marxist. Instead, in 1884, he helped found the Fabian Society, which accorded with his view that reform should be gradual and induced by peaceful means rather than by outright revolution. He was an active Fabian, writing many of their pamphlets, lecturing and supplying money to set up the independent socialist journal The New Age. As a Fabian he participated in the formation of the Labour Party. The Intelligent Woman's Guide to Socialism and Capitalism.^[20] provides a clear statement of his socialistic views. As evinced in plays like Major Barbara and Pygmalion, class struggle is a motif in much of Shaw's writing.

After visiting the USSR in the 1930s and meeting Stalin, Shaw became an ardent supporter of the Stalinist USSR. The preface to his play On the Rocks (1933) is primarily an effort to justify the pogroms conducted by the OGPU. In an open letter to the Manchester Guardian, he dismisses stories of a Soviet famine as slanderous and calls reports of its exploited workers falsehoods.^[28] Asked why he did not stay permanently in the Soviet 'earthly paradise', Shaw jokingly explained that England was a hell and he was a small devil. He wrote a defense of Stalin's espousal of Lysenkoism, in a letter printed in the January 1949 issue of Labour Monthly.^[29]

Shaw's legacy

In his old age, Shaw was a household name in Britain and Ireland and he was famed throughout the world. His ironic wit endowed English with the adjective "Shavian" to characterize observations like "My way of joking is to tell the truth. It's the funniest joke in the world."^[30]

Concerned about the vagaries of English spelling, he willed a portion of his wealth (probated at £367,233 13s)^[31] to fund the creation of a new phonemic alphabet for the English language. The money available was insufficient to support the project, so it was neglected for a time. That changed when his estate began earning significant royalties from the rights to Pygmalion once My Fair Lady—a musical adapted from the play by Alan Jay Lerner and Frederick Loewe—became a hit. However, the Public Trustee found grounds to challenge the will as being badly worded.^[32] In the end an out-of-court settlement granted only £8600 for promoting the new alphabet, which is now called the Shavian alphabet. The National Gallery of Ireland, RADA and the British Museum all received substantial bequests. His home, now called Shaw's Corner, in the small village of Ayot St Lawrence, Hertfordshire is now a National Trust property, open to the public. The Shaw Theatre, Euston Road, London, opened in 1971, was named in his honour. Near the Shaw Theatre entrance opposite the new British Library there is a contemporary statue, Saint Joan, comemorating the writer. His birthplace on Synge Street in Dublin now houses a small Shaw Museum.

The Shaw Festival, an annual theater festival in Niagara-on-the-Lake, Ontario, began as an eight week run of Don Juan in Hell (as the long third act dream sequence of Man And Superman is called when staged alone) and Candida in 1962, and has grown into an annual festival with over 800 performances a year, dedicated to producing the works of Shaw and his contemporaries.

Works available online

Novels

The full texts of Cashel Byron's Profession (London, The Modern Press, 1886), An Unsocial Socialist (London, Swan Sonnenschein, Lowrey & Co., 1887), and The Irrational Knot, Being the Second Novel of his Nonage (revised, New York, Brentano’s, 1905) are available online.[1]

Drama

Plays Unpleasant (published 1898) Widowers' Houses (1892)[2] The Philanderer (1893)[3] Mrs Warren's Profession (1893)[4] Plays Pleasant (published 1898): Arms and the Man (1894)[5] Candida (1894)[6] The Man of Destiny (1895)[7] You Never Can Tell (1897)[8] Three Plays for Puritans (published 1901): The Devil's Disciple (1897)[9] Caesar and Cleopatra (1898)[10] Captain Brassbound's Conversion (1899)[11] The Admirable Bashville (1901)http://www.gutenberg.org/dirs/etext04/cshbp10.txt Man and Superman (1902-03)http://www.gutenberg.org/catalog/world/readfile?fk_files=226129 John Bull's Other Island (1904)http://www.gutenberg.org/catalog/world/readfile?fk_files=5909 How He Lied to Her Husband (1904)http://www.gutenberg.org/catalog/world/readfile?fk_files=3462 Major Barbara (1905)http://www.gutenberg.org/catalog/world/readfile?fk_files=6122 The Doctor's Dilemma (1906)http://www.gutenberg.org/catalog/world/readfile?fk_files=9498 Getting Married (1908)http://www.gutenberg.org/catalog/world/readfile?fk_files=10757 The Glimpse of Reality (1909)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300471.txt Press Cuttings (1909)http://www.online-literature.com/george_bernard_shaw/press-cuttings/ Misalliance (1910)http://www.gutenberg.org/catalog/world/readfile?fk_files=37451 Annajanska, the Bolshevik Empress (1917)http://www.gutenberg.org/catalog/world/readfile?fk_files=2802 Dark Lady of the Sonnets (1910)http://www.gutenberg.org/catalog/world/readfile?fk_files=37169 Alternate source for "Dark Lady" (1910) [12]

Fanny's First Play (1911)http://www.gutenberg.org/catalog/world/readfile?fk_files=9871 Overruled (1912)http://www.gutenberg.org/catalog/world/readfile?fk_files=6294 Androcles and the Lion (1912)http://www.gutenberg.org/catalog/world/readfile?fk_files=6210 Pygmalion (1912-13)http://www.gutenberg.org/catalog/world/readfile?fk_files=6390 The Great Catherine (1913)http://www.online-literature.com/george_bernard_shaw/great-catherine/ ''The Inca of Perusalem (1915) http://www.gutenberg.org/catalog/world/readfile?fk_files=3344 O'Flaherty VC (1915)http://www.gutenberg.org/etext/3484 Augustus Does His Bit (1916)http://www.online-literature.com/george_bernard_shaw/augustus/0/ Heartbreak House (1919)http://www.gutenberg.org/catalog/world/readfile?fk_files=3334 Back to Methuselah (1921)http://www.gutenberg.org/catalog/world/readfile?fk_files=85824 In the Beginning The Gospel of the Brothers Barnabas The Thing Happens Tragedy of an Elderly Gentleman As Far as Thought Can Reach Saint Joan (1923)http://etext.library.adelaide.edu.au/pgaus/ebooks02/0200811.txt The Apple Cart (1929)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300431.txt Too True To Be Good (1931)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300591.txt On the Rocks (1933)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300561.txt The Six of Calais (1934)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300531.txt The Simpleton of the Unexpected Isles (1934)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300481.txt The Shewing Up of Blanco Posnet (1909)http://www.gutenberg.org/catalog/world/readfile?fk_files=12684 The Millionairess (1936)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300121.txt Geneva (1938)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300551.txt In Good King Charles' Golden Days (1939)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300441.txt Buoyant Billions (1947)http://etext.library.adelaide.edu.au/pgaus/ebooks03/0300421.txt Shakes versus Shav (1949)http://www.time.com/time/magazine/article/0,9171,935288-2,00.html

Essays

• Quintessence of Ibsenism (1891)http://books.google.com/books?vid=ISBN0486281299&id=LhEV5f_CTe0C&pg=PP1&lpg=PP1&ots=7umqFdEOfN&dq=Quintessence+of+Ibsenism+Shaw&sig=e5zsgledNxVpKIWOtI2wcdYc8rs#PPP1,M1
• The Perfect Wagnerite, Commentary on the Ring (1898}http://www.gutenberg.org/catalog/world/readfile?fk_files=38696&pageno=1
• Preface to Major Barbara'' {1905) http://www.gutenberg.org/catalog/world/readfile?fk_files=6334&pageno=1
• How to Write a Popular Play (1909) http://www.imagi-nation.com/moonstruck/clsc18w1.html
• Treatise on Parents and Children (1910)http://www.online-literature.com/george_bernard_shaw/1101/
• Common Sense about the War(1914)http://books.google.com/books?id=A9kBAAAAMAAJ&dq=George+Bernard+Shaw+Common+Sense+about+the+war&pg=PA571&ots=d_3XeqR1rt&sig=Ef-
• The Intelligent Woman's Guide to Socialism and Capitalism (1928)http://www.marxists.org/reference/archive/shaw/index.htm

Debate

• Shaw V. Chesterton, a debate between George Bernard Shaw and G.K. Chesterton 2000 Third Way Publications Ltd. ISBN 0-9535077-7-7http://www.cse.dmu.ac.uk/~mward/gkc/books/debate.txt

References and footnotes

Further reading

• Chesterton, Gilbert Keith, George Bernard Shaw,"
• Holroyd, Michael, Bernard Shaw: The One-Volume Definitive Edition, Random House, 1998. ISBN-13: 978-0393327182
• Ohmann, Richard M., "Shaw: The Style and the Man", Wesleyan University Press, 1962. ASIN: B000OKX9H2
• Gibbs, A. M., Bernard Shaw, A Life, University Press of Florida, 2005. ISBN 0-8130-2859-0

External links

• International Shaw Society, includes a chronology of Shaw's works
• The Shaw Society, UK, established in 1941
• http://nobelprize.org/nobel_prizes/literature/laureates/1925/shaw-bio.html,The Nobel Prize Biography on Shaw, From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, (1969).
• Dan H. Laurence/Shaw Collection in the University of Guelph Library, Archival and Special Collections, holds more than 3,000 items related to his writings and career
• George Bernard Shaw at the Internet Movie Database
• Michael Holroyd. "Send for Shaw, not Shakespeare", The Times Literary Supplement, July 19, 2006. 
• Sunder Katwala. "Artist of the impossible", Guardian Comment, July 26, 2006. 
• The Bernard Shaw Society, New York

•  • [ e] Nobel Prize in Literature Laureates
Sully Prudhomme (1901) • Theodor Mommsen (1902) • Bjrnstjerne Bjrnson (1903) • Frdric Mistral / Jos Echegaray (1904) • Henryk Sienkiewicz (1905) • Giosu Carducci (1906) • Rudyard Kipling (1907) • Rudolf Eucken (1908) • Selma Lagerlf (1909) • Paul von Heyse (1910) • Maurice Maeterlinck (1911) • Gerhart Hauptmann (1912) • Rabindranath Tagore (1913) • Romain Rolland (1915) • Verner von Heidenstam (1916) • Karl Gjellerup / Henrik Pontoppidan (1917) • Carl Spitteler (1919) • Knut Hamsun (1920) • Anatole France (1921) • Jacinto Benavente (1922) • William Yeats (1923) • Władysław Reymont (1924) • George Bernard Shaw (1925)

Persondata
NAME	Shaw, George Bernard
ALTERNATIVE NAMES
SHORT DESCRIPTION	Irish playwright, critic, and political activist
DATE OF BIRTH	26 July, 1856
PLACE OF BIRTH	Dublin, Ireland
DATE OF DEATH	November 2, 1950
PLACE OF DEATH	Ayot St Lawrence