Word What title? I Love Thelwell as a book!! RESULTS FOR “THELWELL” at The Green Apple on Clement only word if[IF.] you’re lucky, are[r] you[ewe[u[U[Horseshoer]]]] feeling lucky? Try words knot at fathom on this blog now as that will change.

 

What @ is word??

as all of this equated words a thermometer nib. so, glass is good and that is an Umbrella!!

Now, type fella poa[The Secret of the Universe is Choice] as word name called[Called] Fella the first word pony in Petaluma at the Wolfs House that I word rode and he was terrible to catch!!  So word halter is first?

Cantore Arithmetic is able to state word Film[After Earth Official Trailer - On Blu-ray™ and Digital a Caleeb Pinkett word Production[line.[Line]]] as word recklessness equated word recluse.

There are these lines as such the City Works of SF[San Francisco, California.[Zip code.for the United States Post Office goes.....[A 5-digit number that identifies a particular postal delivery area in the United States]]] is able to comprehend the manhole and every word tab.  Word tab was a way to identify the cracks in the sidewalks for sayings, something about stepping on a crack and your mother is back.  This identified word marrow[Mare oh?] to remember the word are as horse.  Now I may not know how to word knock[Conch] this or the sayings knock three times[x’s] however the importance was the word discovered by Albert Einstein[?:  Do your teeth talk?  Word Comma no, they chatter...] as I only knew him through an identification[indent.] of a word thing called an ident card, the word strap to the marrow.

In[Inn[INN[Hotel]]] this continued effort has developed blocks, and I started with my grand fathers clue:

1.  

This has been negated however City Works is still in word effort as word equated word fortnight[stealth1[wealth]]. These words are in the letters and the people in the nightmares are in these words.

Watch Film and when a person is standing directly in front of the word said Actor that is REM Sleep in Cantore Arithmetic.  The type-sleep that I would just state, I am going to just wake-up and you will not be standing there, and, I just woke-up and guess-what, word they[They] were not standing there!!

Word However, those word Pistols were on Ships that look sort-of like the ones in the movies[move ease].  So these lines surround our Gravity and that is our word atmosphere, so the Sun Stone was an important word post[Pistol.]

This is not a joke as in REM sleep I fall deeper asleep and the persons involved in the words World trades are word mutating to word manifest[Manifest.].

What is gravity?  Word gravity[Gravity] equated word rock.  Slide Rule Men word equated word stone[Stone.] for your equated Minute Men, notice the M and the FONT word size as word sum-How that equated word eyebrow, and now word ewe[Slide Rule Men] equated words minutia.  Word minutia equated words a praying mantis[capitalize it yourself.]:  Film:Ender's Game Official Trailer #1 (2013) - Harrison Ford Movie HD.

Attention word see eye eh, known as word lettered, your problem is not fentanyl[Fentanyl.],  Your problem[Problem] equated word certain[Certain2[worth[word.]].

Word certain retained word certificate and that is every certs on document as word file[emory]!!  Word emory[Emory] at one junction[Junction.] equated word worlds[Worlds] as in this type of world[Earth..............and so on, so use Certs as it is word Like and Add:  Certs were classified as mints, but they contained no oils of any mint plant. Instead, as has long been advertised, the mints contain "Retsyn," a trademarked name for a mixture of copper gluconate, partially hydrogenated cottonseed oil, and flavoring.  The more you allow to close as in safe way in San Francisco the more word product begins to word pour ridge without word dill.  That is not word replaceable as this stuff has word sutured, so National income, Drugs in the Headshop, and, Packages at 18, is no-longer word imperative.

Word now, the animals are so word applicable[scared?] that the animals building sand balls have equated word dust and word dust equated word Planet[pug[Pug[dog[carriage[horse[harness[electricity]]]]]]].  The show was on The History Channel and the little crabs were running in and out of the ocean[water1] and making in word perception word Sand [balls]knubs.knobs.door

Showing posts sorted by relevance for query process. Sort by date Show all posts.  Albert Einstein was word able as Albert Einstein wrote an unknown and with those word papers[Papers.] the World read:  Word read[said] E=mc2 and that is square at[@[2]] E=’smc2.  So should that be word certain than the Slide Rule Men are able to negate math and word use the e leaving the letters of word[mathematics.] as with the igh[H2] word water[Element1] the Slide Rule Men would have word their[Their] first block as in Peru the lay lines are equated word city[City[Nazca.]:  Word block[Block] is able to be equated word flock.

1.  Some people like to draw so pixel to pixel:  Slide Rule Men

a.  Jan 1, 2015 — Philosopher Immanuel Kant believed, for example, that a genius was someone who produced works that were both original and exemplary. The term ... 

1.  So, word their first expression on that word value[vault[Vault[see tack Shop!]]] is JANUARY 1, 2015 12 MIN READ: Identifying genius is a dicey venture. 

2.  So describe Particle board, as word chipboard is word measure to words of dice and dice is word letter to word ice.  What happens with ice:  How to do experiments with ice?  Word Before you start word experiments equated[squared] word expression:  

Procedures equated word selection[Safeway[safe[Vault]]]:

Procedures

1. Fill one dish with room temperature water.
2. Measure and record the temperature.
3. Gently place an ice cube in the dish and record how long it takes for the ice cube to melt. There should be enough water in the dish so the ice cube floats.
4. Measure and record the water temperature after the ice has melted.

 

 

 Slide Rule Men are able to word your next equated words theirs[the persons that have harmed irrevocably just the Genius only?] as the slide between a Slide Rule and this computer equated word now measure.  Dr. Vuksinick word said this is a Funeral.

In[inn] my personal experience I am still in experience as I have what word they said at word now and nobody has stopped.  My Name Is Nobody - Trailer (HQ) as demonstrated by the News and word statements, so, word declare.

I am going to give the Slide Rule Men a leg up:

A Leg At Each Corner

Friday, November 16, 2012

Missing The Future In Advance Of Tomorrow

Our Earth is crying.

We poison our skies!

If I were up there,

if I were a cloud in the sky,

I would disappear.

Look up sometime,

we all evaporate eventually,

like it or not

we all are going to.

I don't want to disappear,

I don't want to evaporate,

I don't want to be poisoned,

I am just a cloud over your head.

I want to stay with you,

there is nothing I can do.

Earth is crying,

for you,

for me,

for everyone.

Stop and look up at true beauty,

simple yet complex,

Magic plays and nobody Sees us.

The subtle merge of purity,

the balance of such an act of beauty.

Two clouds become one,

there in lies my understanding of you.

simple but true.

Love is;

A Full Screen Panoramic View

playing over our heads.

I don't want to disappear,

I don't want to evaporate,

I don't want to be poisoned,

I am just a cloud over your head.

I want to stay with you,

there is nothing I can do.

Earth is crying,

for you,

for me,

for everyone.

Nobody Sees the beauty in a cloud,

nobody Sees the subtle merge of two clouds in the sky.

 When two become one so naturally.

Nobody Sees you, nobody Sees me,

I don't know what to do.

I am just a Cloud over your head,

like you.

Thursday, June 30, 2011

Flip, Flopping

My step-father would tell me as I was growing-up that repressed memory syndrome would not hold up in court.  This went on until I cut off all contact with them a few years ago.  I never said anything at all during my life.   When he said this to me  I would take pause and think to myself, why?  Why does he insist on doing this to me?  Why must we have these dreaded encounters that only include the grilling questions of what I remember as a child?  What do they continue to cover up that has them this obsessed with my life?  In actuality when did I ever have the opportunity to forget and even get repressed memory whatever its called? Simultaneously as the grilling questions of the countless encounters I would be slammed to the ground for the sake of impact? And to be told repeatedly that with nothing that I  remember would hold up in a court of law and anything that I remember is a down right lie about my mother and him anyway.   Where do they think that this would eventually leave me?

I would love to tell you that this ended at 18 when I ran away, but no, from the advice of all the normal people in the world, I was told that I should not hold my parents accountable but should readily forgive them of any indiscretions that may have happened growing-up.  So I have stayed in touch with them never spilling the beans for years. In fact, I never said anything, I mean why bother, suppressed memory syndrome will not hold up in court and anything I do say would be just a lie anyway.  Did I say that already? I seemed to have been able to get that one down very well.  Do you know that I cannot tell you how many times he said that to me during my life.  Do you know how hard I have tried to let it all go because of how lopsided it all has been.  There are more of them then me.  All of society encourages you to "let it go," "get over it," "don't talk about it," "its depressing, I don't want to know," "nobody cares it was years ago, so what, you got raped, get a grip," these are the things that I have been told in the past two years.  Trust me on this one simple fact, I DON'T WANT TO REMEMBER or DEAL WITH ANY OF THIS EITHER !  But nobody in my life will let it go, so here I am, telling you my story because I need to find peace of mind.  I no longer care about what anybody else thinks, believe me or don't believe me, it makes no difference to me because it never did cross my mind that I would not be believed.  All you have to do is meet these people and the proof is in the pudding.  I never did talk about it because I am horribly embarrassed by my family and there lack of sexual control.  Hiding your actions is so important, I mean God forbid someone found out that you married a woman 14 years older so you could rape her three children, that had already been raped by the deserting father, or so it seemed.  My step-father to this day is undoing all the things he has ever done to me.  He told me two and a half years ago over a civilized lunch, you know where we "let it all go and get over things," the advice you hear given to anyone who stands against incest, rape, molestation, suffocation, being snuffed, beatings, shall I go on?  Back to the civilized lunch, that my step-father still feels compelled to tell me that he never beat me, nor did he ever lay a hand on me, which that part was true, it was usually his arm around my neck choking me, not his hand around my throat.  I think that may have been my brother.  My step-father always used his belt, never his hand to hit me. I think they called it a spanking not a beating. Spare the rod, spoil the child, if I remember correctly.  I would venture to go out on a limb and say that 30-40 licks with a belt might qualify as a beating.  Welts that took weeks to go down seemed a little more like what one would refer to as a beating not a spanking.  Oh, and lets not forget where he lost control and the buckle drove itself into my skin.  

So what do you say when people just don't understand that you are compelled to bring justice into your life?  Do you say, "shut the fuck up, I am doing this for myself and my own peace of mind because I am sick of the bombardment on my life from these same people today."  Do you say, "Gosh, my kids are there and I cannot do anything about it because I was so stupid so long ago and took all the advice I was given about forgiveness and now my children are suffering at the hands of these monsters?"  Oh wait, they will come up with, "You could go to court and do something if its that bad and if its true?"  I would say to them they are so completely right but the problem is that I never dealt with the trauma myself and I ran out of money trying to uphold the visitation agreement with my ex-husband, it was then he started to take them to be with my mother.  The same mother that will tell you, confession by my second daughter, that she can say that her Grandmother my mother, still to this day or I guess it was a few years now, but just the same, that my says that I am full of demons, that I am possessed and that I am the spawn of Satan, all per my second daughters experience at my mothers home a few years back.  Do you think that that is a healthy environment?  Of course, since nobody would talk or tell you if they were put under scrutiny that this was happening, there is no way to prove it so there for its not happening and I made it up.  All accept for the fact that my two oldest daughters must be interviewed also and then you would find out that they have nothing to do with my mother or family for these reasons.  So now I have to deal with the horror, the fear, the fright, the flashbacks and the reality that I ran as fast as could to get away from what was causing me so much pain and agony at eighteen years old.  Its like playing catch-up, I can't wage a war unless I am fit to war.

I know what my life's calling is. I have been aware of it since I was young, yet nobody supports a life that calls you into the limelight to tell on others. For those of you that are unaware of the ramafications of such actions, you become a traitor to the family.  Not a good thing to do usually, especially when so much is at stake.  You see abuse runs in families, family's like mine. But my mother had a church, that was a cult, so does it not come to light that it would run in the congregation too?  You have incest, molestation, pedophilia, religious abuse, neglect of a severe nature and you have all that I have written up to now on this blog to guide your way through to here. It is a lot of stuff, to much for most to even bother themselves to acknowledge that there is a problem anywhere, let alone right here in front of them.  Most turn their backs because the reality of bringing to light such a case is embarrassing for everyone around, so its better to bury it. The burial has been going for as long as I can remember.  Some people that were directly involved have run off to different corners of the world and believe that if they live there life from there on forward differently, than they will  never get caught for there involvement in such horrific acts.  The upper class don't want to dirty there hands in it because they donated money to the non-profit that my family runs.  Such dismissal on there part is nothing more than killing the story before it can be told.  It is sad to think that all of this runs in the blood of the children that grow up to repeat the entire process of neglect and sexual abuse again.  This just runs from generation to generation, just like it did with my father and then my brother.  For some reason my step-father believes he cannot be held accountable for anything.  As long as he has plausible deniability than not a court in the land can prosecute him. He is correct.  For all of these years and for all the pain-staking hours that I have spent under their scrutiny to see if I remember and to say that they did nothing is all to there benefit.  Not a court in the land will find them guilty of anything, for they have done nothing wrong as far as they are concerned.  They never manipulated or fornicated with church members or with children, they are free and clear, because they said that they are not guilty and cannot ever be held accountable based on repressed memory syndrome.  Aren't you pleased?  Don't you now find that you can breathe easier knowing that they cannot be held accountable by any court of law?  I know that I find great relief in knowing that they were stupid enough to have said this to me so many times that I can now tell you, there is no way in Hell I could have forgotten anything.  I was never given the opportunity to have suppressed memories when all they did was remind me every day that nobody would ever believe me.

I have spent years trying to decide if I should follow my life and the direction of which it calls me.  I have puzzled through many times trying to decide if it would be worth it to stand independently and alone against these monsters.  I have spent hours in quiet solitude trying to rationalize my silence as I watched them continue there abuse on my life.  I agonized over telling anyone the truth of the horrors which I just happen to have survived.  I silenced myself when I decided that the world was not interested in child abuse, neglect, incest or molestation in the eighties when I came of age.  I decided if the world could not raise an eyebrow to this, then how on earth would I tell anyone of what was worse, trying to survive your own death?  Certainly nobody would believe me, let alone be interested as to why I had to fight so hard just to live.  It all makes sense when you put it all together.  You see they were trying to kill me because they had fucked me and I was a baby, the youngest in the household, I was a child, I had no defenses, oh yea, and I made them feel guilty when they looked at me, like I don't know that or I have never been aware.  They hate me, I don't know a different way to put it, other than to tell you that I don't remember my family not hating me. How then could I ever grow-up to inform anyone of such abuse without having to tell the horrors of my survival of having a plastic bag put over my head to have my life taken from me.  Who would believe me? Who could I tell?  I had tried to tell an Elementary School Principle once. They immediately called my parents and had a good laugh about me making things up and confusing real life with nightmares.  Of course, my wonderful and caring parents failed to mention to the principle at the time that I had been taken to a shrink at three years old because I stopped talking to anyone at all.  Do you think that would have made the difference for me?  Do you know how badly beaten I was by my step-father for talking?  So, badly that I never spoke again, until now and I still shake with fear of reprisal.  Have you ever feared anything that has caused you to silence yourself for forty some years?  Are you so out of touch with what I am saying that all you can do is to read and double click away, saying, "That can't have happened."  Or do you feel compelled to tell me to "Get over it?"  I am curious, because today my truth is your nightmare.

Abuse runs a course in a family. It is perpetuated by the silence of the abused and the abusers for obvious reasons.  Unless people begin to realize that it is a voice like mine with an incredible and unbelievable story that can be proved just by introducing yourself to my family members and coming to your own conclusions.  You need to go and say hello to my mother, to my step-father, to my siblings, to my father, ask the tough questions, watch there faces and listen to there reactions.  Know that it is in your court, not mine, I volley and say to you, I would not go to a court of law for justice in this matter if you payed me to attend.  Justice in my life comes from the truth that I write to you.  You see, you are in danger, not I .  I have survived the abuse, neglect and torture but the perpetrators are still active and remember this all runs its course by the abused becoming abusers.  Now you can be scared and wonder, "Do they live next door to me?"  That is the question you need to ask yourself today.  I cannot stop them, nobody will listen to me, but I bet today you will.  I am not on the line anymore.  I have no desire to sue these people for the rampage they have done to my life.  They believe that its all about money for me, its not, it is about the truth being told and holding accountable the liars that have stolen so much from so many people in my life. The only reason I am doing this is to finally tell the truth about my fears, my anxieties, my nightmares and to ensure that in my family, with my children that this ugliness of abusive neglect and sexual promiscuity does not perpetuate itself.  The buck stops here with this one.  I stand in defense of no one, but I stand in the honor of myself to say to you  and to the world that I am not an abuser but I come from abusers that nobody is interested in stopping, all because I have to prove it.   I don't need to prove that two people committed suicide, that trust funds have been lost, that wills have been changed, the proof is not needed by me, I experienced it all live.  I am telling you in all honesty and with fervor, I have to prove nothing because I wear the pain and agony of what they have done to my life everyday.  I live the nightmare, it is my life, regardless of how sad you may find to be, I know no other way.  I was born into this life, I fight for what I believe is right.  It is wrong to do what they have done to me but that is for me to deal with and live through each day, not you.

I do not need a scape-goat, nor do I need to find blame for any of this that has happened.  The blame lies in the laps of the people that have done these things to me.  No proof is needed, it is as easy to see as it is to see the hurt and devastation on me.  But this is not mine to carry anymore, I testify to my own life and my endeavor to follow my calling in continuing to hold a vigil for myself, my survival and my truth to help the fallen.

Tuesday, August 16, 2011

Lyrics to a Song Disappear

Our Earth is crying,

We poison our skies,

if I were up there,

if I were a cloud in the sky,

I would disappear.

Look up sometime,

we all evaporate eventually,

like it or not

we all are going too.

I don't want to disappear,

I don't want to evaporate,

I don't want to be poisoned,

I am just a cloud over your head.

I want to stay with you,

there is nothing I can do.

Earth is crying, for you, for me,

for everyone.

Stop and look up at true beauty.

simple yet complex,

Magic plays and nobody sees.

The subtle merge of purity,

the balance of such an act of beauty.

Two clouds becoming one,

their lies my understanding of you.

simple but true.

Love is

a full screen panoramic view

playing over our heads.

I don't want to disappear,

I don't want to evaporate,

I don't want to be poisoned,

I am just a cloud over your head.

I want to stay with you,

there is nothing I can do,

Earth is crying, for you, for me,

for everyone.

Nobody sees the beauty in a cloud,

nobody see's the subtle merge of two clouds in the sky.

Two become one so naturally.

Nobody see's you and me,

I don't know what to do,

I am just a Cloud over your head.

Saturday, May 28, 2011

What And Why?

Why is it you survive?  Why do you try so hard to get over what has happened to you and yet what has happened to you makes you who you are.  How do you move on from the past when it is slaming you in the face in the present. How do you take life when life delivered you to a monster?  If you don't know love, why is that so bad? If you are the child of a monster, does that make you one?  How do you put one foot in front of another when your flashbacks go live?  How do you stop the pain, when all you know is pain and it hurts all the time?  How do you fight to get back up on your feet, when your feet are tired of running?  How do you do what you promised yourself to do when you were young, when nobody will take the time to listen?  How do you tell a story when the story is your life?  How do you undo your sin, when your sin is being born?  How do you communicate to anyone that a con is still being run today?  How do you tell anyone that you cannot let something go because so many people are still in danger of being manipulated?  How do you do what is so difficult when the nightmares still plague you?  How do you say to anyone that the professionals tell you not to have anything to do with your family because they are so destructive?  How do you stop the destruction of a person, when you cannot get anyone to realize that everyone that has been impacted, ran away after they new it was a con?  How do you tell those people to stop hiding and being embarrassed their losses and to suck it up so that other people don't suffer the same?  How do you stop this train, when nobody ever stands against what harmed them? How do you show compassion for all of these same people when they are the people that caused you so much harm?  How do you explain who you are and that you are missing so much because you don't know love?  How do you tell your older sister to stop telling you she is so sorry you did not have a childhood, when you believe you did, it was just so different?  How do you tell your sister when she starts to tell you all that you are missing, that you don't feel at all bad about it because if you don't know your missing it, you don't know what you are missing.  So, it doesn't matter if I missing something, I don't know what it is.  Why does my life make people cry? Why can't I just stop the madness so nobody else gets hurt?  Why can't I do what I need to do? Why am I so incapable?  Why can't I get anyone's help to stop or look at anything that has happened?  Why does life deliver to you the gift of breath if while I am using this gift I cannot do anything for anyone but myself?  Why do we have flashbacks, if we can't understand what to do with them? Why do we survive, if when we do, we just are meant to go on like all of you?  How can we go on like all of you, if we are survivors of severe neglect, no love, abuse, rape and incest? If I don't have what you have to ground myself with, how is it that I am meant to be acceptable to you if what grounds me is unexplainable?  If you don't know love, then how is it you are meant to know anything else?  If it matters so much then why don't people take the time to show you what it is you are missing?  If I survived so that I could defend my life as an adult, then why would being loved even matter?  If it is so troublesome to listen to my story, then why do you want to always know about horror? Why is it that society doesn't thrive and prosper on the positive?  Why is it people look for the most tragic and horrible stories to report?  Why is is everybody tunes in to these and not to the healthy stories?  Why is it a problem I learned how to be from the brady bunch? Where are you meant to learn family values if they are taught like mine were?  Where do you turn for help, when help never came for you?  How do you do it all, when it all is robbed from you so you cannot do anything? How do you help anyone when nobody will admit there is a problem?

Wednesday, August 2, 2017

Kept in the Hold however I posted it on my 'google+' profile out of excitement for John Senior!! :) In addition and truly this concept-of-my-mind as it has been a duty to show the new passion of writing new music in this epic of a new decade to conceptual and artistic express of 'The Horse and the Harp' 

Karen A. Placek

3d

Oh yea John Senior, and to specific people whom have desire the patent pi is at my home with particular that has a.) this fact known as a 311113311113.0 which concise brings that signature piece to this as done and understood to that being said!!

Published on 8/2/2017, 8:20 AM Pacific Daylight Time!!

The fact that John Senior is the best harpist in the World and cannot achieve another instrument in same as a prodigy is just the fact I held to the phone of cell the actual key note San Francisco Retired  Police Chief Greg Suhr must approve and SFP: Note 311 dot nobody at Eric Schoenberg, Consignment-Eastman AC512 CE#51942009109mainstreet.tiburon.ca.94920www.om28.com at same is GOOGLE for Janitors approved to understand that flooring is of great importance, this is the clean-up at never shredded

Chief Greg Suhr:)

Basically all you have to do John (John Senior was my brother-in-law as he was my older sister Tam's first ex-husband) is to put the hi-note to the piano on the left-side. The flow to the score will naturally move through to a fluid movement to a guitar however you shall have to play a left handed throw until the warm-up is complete to the cello threw the violin as the bow to elbow will not restrict the mind to rosin. The concerto, minuet and or opera for the sonnet of your dream is to have music sheets with the bass and treble clef on the appropriate and traditional view, now as the mid-point music sheet will discuss to the very important next-step as the 'C' note shall be the quote-unquote mid-binder of the three-whole punch as the right to left should be the dot to dot for the 'C' note centered to out from the left hand to the left side of sheet paper as at the same staff the right hand to the right side of the sheet. As the music is timed with your familiar love horses the best concerto in tempo to start is the Lipizzaner as you can imagine each hoof beat to the music of each stirrup as the ear to nostril on the flare of the forelock for crescendo'ing.

I will include the video for a simple introduction to the fact that you must on your computer or in your mind staff the tradition of the music score sheet itself. Any questions just give me a call and I'll talk this to a more thorough barn of comprehension as this is brand new to this world.

One more thing, should you or nobody desire the ample and knowing that San Francisco Retired  Police Chief Greg Suhr must approve, it is the release to staying safe, it is important with the 311.0 that permission would be grained to bucket such a fathom, tradition met by harness of wiring as the cell in my phone of natural is fact, I am the last unicorn:)

Don't forget nobody this is an entire and complete orchestra, the guitar is basic to the style of the rib to the wonder of the piano to break down and use as the core machined parts to the building of it's first guitar, call it Baldwin and or, lets just say Baldwin as we need a corker, one player piano:) as that is the seed pot like the sourdough Boudin as that player piano is your certain, blue-print, it's the rollers that bring the already to a beautiful sounding boards whole; https://www.lyonhealy.com/.

Here is the Stallion, do not allow any woman or women to violate the tradition of The Lipizzan or Lipizzaner, thank you.

Now for the picture; https://www.youtube.com/watch?v=FTS4_0PHWuQ

pictures on the google+ (my profile) showing concept to Art!! On or around the week ending 7/21/2-17, today is the date to place in this hold of my original blog 'The Secret of the Universe is Choice!' and the date today is July 27th, 2017, the time at mark:) is 4:16 PM on my acer laptop computer!! I have also put to sketch the standard 88 keyboard for greater depth and to work the instruments into the actual new guitar, 'The 311118811113.0 (311113311113.0/ the double "three" [33] in the mid-stroke makes an 8, difficult to place on the beacon of the laptop keyboard however it exists) thus optioning the '88' too/&/ore dependent on the lie of the instrument and it's sound board creative system by the designed of Inn and Of it's self!!

Thereby the keystroke said is able to be:

1. 33

2. 8

3. 88

Update on Friday July 28th, 2017 at 1:09 AM and posted on my google+!!

Exciting news for nobody in Tiburon!! I doodled the design for the guitar (the Newt) needed to be the instrument that like the harp to piano to orchestra for Senior (John), this tumbler would do the grace to crescendo at the steer of the Klimke!! 1st Year, 2nd Year, 3rd Year Getz!! The guitar is to be called 'The Fyter" (two dots over the 'Y') should the name be available and a brief research delivered Fire Fyter Safes and Patriot Safes are manufactured at Center Manufacturing Company. Our company proudly traces its roots back more than 100 years at www.firefyter.com/ so we may have to ask permission or task the spelling to greater strength in the spell of the "fyher fly" itself; no kaoss.

( I included a video of Reiner Klimke for sake:)





3s

My Eastman AC512 CE

#5194

2009; small bangs along edge of guitar, otherwise very good condition.

Original hard-shell case.

is up for the bid to reach your imagine as The Newt gave the Fyter the prowess of a met in my mind of complete with this Eastman and after the years since my youth in the hold and from the harp of John Senior to the piano keyboard of the standard 88 keyboard to the actual drawing of the specs. for the Worlds first Sanskrit guitar scores delivering so much more that the Lipizzaner shall be the Horse of Technique for the newest orchestra!! Should your friendly curious to your own imaginative thought be wondering on this Eastman and my choice to the original purchase of such, d.g. played a Gibson and is the stern to bow of how a guitar can sing more than 'The Blues' as now in the draw it can sing in the flames as the acoustical Shaw!!

https://plus.google.com/116522120854088398497/posts/KwNBnqURzT7

⇘ added at 11:36 PM on 8/2/2017, Wednesday, for sake ⇙

To keep this at present state of speak in the Spokes of the times in the now I am adding what I wrote after I posted the above on my blog The Secret of the Universe is Choice. As I wrote on my google+ profile the Shaw!! Out of the curiosity of why I would use Shaw as a description I looked it up on GOOGLE by placing Shaw in the search bar, to my surprise the find in history of such a tummy chortle I found that I could not resist and I just had to venture the speak to the Wheels of signed to my google+ profile posting it at Published on 8/2/2017, 11:44 PM Pacific Daylight Time⥶ as my chortle gave me the vista of a true navigation to a fantastic shore in this, 'The Continue'!!

Karen A. Placek

Public

Aug 2, 8:03 PM

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A funny story to 'Dear Myself,' and as this funnier grasp to The Fyter today August 2nd, 2017 (Happy B-Day Tam!!) that all this time I knew that I needed to find a 'Shaman' for the fact of the tell to what is too personal now, however!! Now for the funny to the funnier to the reality of a word to a noun in the name of why is the verb a 'Sound' as in the Spits that "occur when longshore drift reaches a section of headland where the turn is greater than 30 degrees. ... As spits grow, the water behind them is sheltered from wind and waves, and a salt marsh is likely to develop" as per Wikipedia; https://en.wikipedia.org/wiki/Spit_(landform).

The fact is to what was as that is to what is and was I was to look for a Shaw man not a shaman:) and that makes George Bernard Shaw the first Shaw man I found however he is dead, bummer. Read all about George Bernard Shaw at the Nobelprize.org site as Bernard Shaw (he didn't like being called George) won The Nobel Prize in Literature 1925, exciting stuff; http://www.nobelprize.org/nobel_prizes/literature/laureates/1925/shaw-bio.html. Or, it could or could have been also the Shah man at https://en.wikipedia.org/wiki/Shah_(surname) as that is fairly cool and jets right along with The Newt, either fashion is an address though!!

Re-member the Man!!

George Bernard Shaw - Biographical at http://www.nobelprize.org/nobel_prizes/literature/laureates/1925/shaw-bio.html and at https://en.wikipedia.org/wiki/George_Bernard_Shaw.

George Bernard Shaw (1856-1950) was born in Dublin, the son of a civil servant. His education was irregular, due to his dislike of any organized training. After working in an estate agent's office for a while he moved to London as a young man (1876), where he established himself as a leading music and theatre critic in the eighties and nineties and became a prominent member of the Fabian Society, for which he composed many pamphlets. He began his literary career as a novelist; as a fervent advocate of the new theatre of Ibsen (The Quintessence of Ibsenism, 1891) he decided to write plays in order to illustrate his criticism of the English stage. His earliest dramas were called appropriately Plays Pleasant and Unpleasant (1898). Among these, Widower's Houses and Mrs. Warren's Profession savagely attack social hypocrisy, while in plays such as Arms and the Man and The Man of Destiny the criticism is less fierce. Shaw's radical rationalism, his utter disregard of conventions, his keen dialectic interest and verbal wit often turn the stage into a forum of ideas, and nowhere more openly than in the famous discourses on the Life Force, «Don Juan in Hell», the third act of the dramatization of woman's love chase of man, Man and Superman (1903).

In the plays of his later period discussion sometimes drowns the drama, in Back to Methuselah (1921), although in the same period he worked on his masterpiece Saint Joan (1923), in which he rewrites the well-known story of the French maiden and extends it from the Middle Ages to the present.

Other important plays by Shaw are Caesar and Cleopatra (1901), a historical play filled with allusions to modern times, and Androcles and the Lion (1912), in which he exercised a kind of retrospective history and from modern movements drew deductions for the Christian era. In Major Barbara (1905), one of Shaw's most successful «discussion» plays, the audience's attention is held by the power of the witty argumentation that man can achieve aesthetic salvation only through political activity, not as an individual. The Doctor's Dilemma (1906), facetiously classified as a tragedy by Shaw, is really a comedy the humour of which is directed at the medical profession. Candida (1898), with social attitudes toward sex relations as objects of his satire, and Pygmalion (1912), a witty study of phonetics as well as a clever treatment of middle-class morality and class distinction, proved some of Shaw's greatest successes on the stage. It is a combination of the dramatic, the comic, and the social corrective that gives Shaw's comedies their special flavour.

Shaw's complete works appeared in thirty-six volumes between 1930 and 1950, the year of his death.

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969

This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures. To cite this document, always state the source as shown above.



George Bernard Shaw died on November 2, 1950.



Copyright © The Nobel Foundation 1925

George Bernard Shaw
From Wikipedia, the free encyclopedia
"Bernard Shaw" redirects here. For other uses, see Bernard Shaw (disambiguation).
George Bernard Shaw
Middle-aged man with greying hair and full beard
Shaw in 1911, by Alvin Langdon Coburn
Born 26 July 1856
Dublin, Ireland
Died 2 November 1950 (aged 94)
Ayot St Lawrence, Hertfordshire, United Kingdom
Occupation Playwright, critic, political activist
Nationality British (1856–1950)
Irish (dual nationality 1934–50)
Education Wesley College
Spouse Charlotte Payne-Townshend (m. 1898–1943, her death)
George Bernard Shaw (/ˈdʒɔːrdʒ ˈbɜːrˌnərd ʃɔː/;[1] 26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic and polemicist whose influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature.

Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra.

Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the screenplay for a filmed version of Pygmalion for which he received an Academy Award. His appetite for politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian gradualism and often wrote and spoke favourably of dictatorships of the right and left—he expressed admiration for both Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours including the Order of Merit in 1946.

Since Shaw's death scholarly and critical opinion has varied about his works, but he has regularly been rated as second only to Shakespeare among British dramatists; analysts recognise his extensive influence on generations of English-language playwrights. The word "Shavian" has entered the language as encapsulating Shaw's ideas and his means of expressing them.

Contents [hide]
1 Life
1.1 Early years
1.2 London
1.3 Political awakening: Marxism, socialism, Fabian Society
1.4 Novelist and critic
1.5 Playwright and politician: 1890s
1.6 Stage success: 1900–1914
1.7 Fabian years: 1900–1913
1.8 First World War
1.9 Ireland
1.10 1920s
1.11 1930s
1.12 Second World War and final years
2 Works
2.1 Plays
2.1.1 Early works
2.1.2 1900–1909
2.1.3 1910–1919
2.1.4 1920–1950
2.2 Music and drama reviews
2.2.1 Music
2.2.2 Drama
2.3 Political and social writings
2.4 Fiction
2.5 Letters and diaries
2.6 Miscellaneous and autobiographical
3 Beliefs and opinions
4 Legacy and influence
4.1 Theatrical
4.2 General
5 Notes
6 References
6.1 Citations
6.2 Sources
6.2.1 Books
6.2.2 Shaw's writings
6.2.3 Journals
6.2.4 Newspapers
6.2.5 Online
7 External links
Life[edit]
Early years[edit]
Exterior of modest city house
Shaw's birthplace (2012 photograph). The plaque reads "Bernard Shaw, author of many plays, was born in this house, 26 July 1856".
Shaw was born at 3 Upper Synge Street[n 1] in Portobello, a lower-middle-class part of Dublin.[3] He was the youngest child and only son of George Carr Shaw (1814–1885) and Lucinda Elizabeth (Bessie) Shaw (née Gurly; 1830–1913). His elder siblings were Lucinda (Lucy) Frances (1853–1920) and Elinor Agnes (1855–1876). The Shaw family was of English descent and belonged to the dominant Protestant Ascendancy in Ireland;[n 2] George Carr Shaw, an ineffectual alcoholic, was among the family's less successful members.[4] His relatives secured him a sinecure in the civil service, from which he was pensioned off in the early 1850s; thereafter he worked irregularly as a corn merchant.[3] In 1852 he married Bessie Gurly; in the view of Shaw's biographer Michael Holroyd she married to escape a tyrannical great-aunt.[5] If, as Holroyd and others surmise, George's motives were mercenary, then he was disappointed, as Bessie brought him little of her family's money.[6] She came to despise her ineffectual and often drunken husband, with whom she shared what their son later described as a life of "shabby-genteel poverty".[5]

By the time of Shaw's birth, his mother had become close to George John Lee, a flamboyant figure well known in Dublin's musical circles. Shaw retained a lifelong obsession that Lee might have been his biological father;[7] there is no consensus among Shavian scholars on the likelihood of this.[8][9][10][11] The young Shaw suffered no harshness from his mother, but he later recalled that her indifference and lack of affection hurt him deeply.[12] He found solace in the music that abounded in the house. Lee was a conductor and teacher of singing; Bessie had a fine mezzo-soprano voice and was much influenced by Lee's unorthodox method of vocal production. The Shaws' house was often filled with music, with frequent gatherings of singers and players.[3]

In 1862, Lee and the Shaws agreed to share a house, No. 1 Hatch Street, in an affluent part of Dublin, and a country cottage on Dalkey Hill, overlooking Killiney Bay.[13] Shaw, a sensitive boy, found the less salubrious parts of Dublin shocking and distressing, and was happier at the cottage. Lee's students often gave him books, which the young Shaw read avidly;[14] thus, as well as gaining a thorough musical knowledge of choral and operatic works, he became familiar with a wide spectrum of literature.[15]

Between 1865 and 1871, Shaw attended four schools, all of which he hated.[16][n 3] His experiences as a schoolboy left him disillusioned with formal education: "Schools and schoolmasters", he later wrote, were "prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents."[17] In October 1871 he left school to become a junior clerk in a Dublin firm of land agents, where he worked hard, and quickly rose to become head cashier.[7] During this period, Shaw was known as "George Shaw"; after 1876, he dropped the "George" and styled himself "Bernard Shaw".[n 4]

In June 1873, Lee left Dublin for London and never returned. A fortnight later, Bessie followed him; the two girls joined her.[7][n 5] Shaw's explanation of why his mother followed Lee was that without the latter's financial contribution the joint household had to be broken up.[21] Left in Dublin with his father, Shaw compensated for the absence of music in the house by teaching himself to play the piano.[7]

London[edit]
Early in 1876 Shaw learned from his mother that Agnes was dying of tuberculosis. He resigned from the land agents, and in March travelled to England to join his mother and Lucy at Agnes's funeral. He never again lived in Ireland, and did not visit it for twenty-nine years.[3]

young man with faint, wispy beard
Shaw in 1879
Initially, Shaw refused to seek clerical employment in London. His mother allowed him to live free of charge in her house in South Kensington, but he nevertheless needed an income. He had abandoned a teenage ambition to become a painter, and had no thought yet of writing for a living, but Lee found a little work for him, ghost-writing a musical column printed under Lee's name in a satirical weekly, The Hornet.[3] Lee's relations with Bessie deteriorated after their move to London.[n 6] Shaw maintained contact with Lee, who found him work as a rehearsal pianist and occasional singer.[22][n 7]

Eventually Shaw was driven to applying for office jobs. In the interim he secured a reader's pass for the British Museum Reading Room (the forerunner of the British Library) and spent most weekdays there, reading and writing.[26] His first attempt at drama, begun in 1878, was a blank-verse satirical piece on a religious theme. It was abandoned unfinished, as was his first try at a novel. His first completed novel, Immaturity (1879), was too grim to appeal to publishers and did not appear until the 1930s.[7] He was employed briefly by the newly formed Edison Telephone Company in 1879–80, and as in Dublin achieved rapid promotion. Nonetheless, when the Edison firm merged with the rival Bell Telephone Company, Shaw chose not to seek a place in the new organisation.[27] Thereafter he pursued a full-time career as an author.[28]

For the next four years Shaw made a negligible income from writing, and was subsidised by his mother.[29] In 1881, for the sake of economy, and increasingly as a matter of principle, he became a vegetarian.[7] He grew a beard to hide a facial scar left by smallpox.[30][n 8] In rapid succession he wrote two more novels: The Irrational Knot (1880) and Love Among the Artists (1881), but neither found a publisher; each was serialised a few years later in the socialist magazine Our Corner.[33][n 9]

In 1880 Shaw began attending meetings of the Zetetical Society, whose objective was to "search for truth in all matters affecting the interests of the human race".[36] Here he met Sidney Webb, a junior civil servant who, like Shaw, was busy educating himself. Despite difference of style and temperament, the two quickly recognised qualities in each other and developed a lifelong friendship. Shaw later reflected: "You knew everything that I didn't know and I knew everything you didn't know ... We had everything to learn from one another and brains enough to do it".[37]

Victorian photograph of man in early middle age, with centre-parted hair and a walrus moustache
William Archer, colleague and benefactor of Shaw
Shaw's next attempt at drama was a one-act playlet in French, Un Petit Drame, written in 1884 but not published in his lifetime.[38] In the same year the critic William Archer suggested a collaboration, with a plot by Archer and dialogue by Shaw.[39] The project foundered, but Shaw returned to the draft as the basis of Widowers' Houses in 1892,[40] and the connection with Archer proved of immense value to Shaw's career.[41]

Political awakening: Marxism, socialism, Fabian Society[edit]
On 5 September 1882 Shaw attended a meeting at the Memorial Hall, Farringdon, addressed by the political economist Henry George.[42] Shaw then read George's book Progress and Poverty, which awakened his interest in economics.[43] He began attending meetings of the Social Democratic Federation (SDF), where he discovered the writings of Karl Marx, and thereafter spent much of 1883 reading Das Kapital. He was not impressed by the SDF's founder, H. M. Hyndman, whom he found autocratic, ill-tempered and lacking leadership qualities. Shaw doubted the ability of the SDF to harness the working classes into an effective radical movement and did not join it—he preferred, he said, to work with his intellectual equals.[44]

After reading a tract, Why Are The Many Poor?, issued by the recently formed Fabian Society,[n 10] Shaw went to the society's next advertised meeting, on 16 May 1884.[46] He became a member in September,[46] and before the year's end had provided the society with its first manifesto, published as Fabian Tract No. 2.[47] He joined the society's executive committee in January 1885, and later that year recruited Webb and also Annie Besant, a fine orator.[46]

"The most striking result of our present system of farming out the national Land and capital to private individuals has been the division of society into hostile classes, with large appetites and no dinners at one extreme, and large dinners and no appetites at the other"
Shaw, Fabian Tract No. 2: A Manifesto (1884).[48]
From 1885 to 1889 Shaw attended the fortnightly meetings of the British Economic Association; it was, Holroyd observes, "the closest Shaw had ever come to university education." This experience changed his political ideas; he moved away from Marxism and became an apostle of gradualism.[49] When in 1886–87 the Fabians debated whether to embrace anarchism, as advocated by Charlotte Wilson, Besant and others, Shaw joined the majority in rejecting this approach.[49] After a rally in Trafalgar Square addressed by Besant was violently broken up by the authorities on 13 November 1887 ("Bloody Sunday"), Shaw became convinced of the folly of attempting to challenge police power.[50] Thereafter he largely accepted the principle of "permeation" as advocated by Webb: the notion whereby socialism could best be achieved by infiltration of people and ideas into existing political parties.[51]

Throughout the 1880s the Fabian Society remained small, its message of moderation frequently unheard among more strident voices.[52] Its profile was raised in 1889 with the publication of Fabian Essays in Socialism, edited by Shaw who also provided two of the essays. The second of these, "Transition", details the case for gradualism and permeation, asserting that "the necessity for cautious and gradual change must be obvious to everyone".[53] In 1890 Shaw produced Tract No. 13, What Socialism Is,[47] a revision of an earlier tract in which Charlotte Wilson had defined socialism in anarchistic terms.[54] In Shaw's new version, readers were assured that "socialism can be brought about in a perfectly constitutional manner by democratic institutions".[55]

Novelist and critic[edit]
The mid-1880s marked a turning point in Shaw's life, both personally and professionally: he lost his virginity, had two novels published, and began a career as a critic.[56] He had been celibate until his twenty-ninth birthday, when his shyness was overcome by Jane (Jenny) Patterson, a widow some years his senior.[57] Their affair continued, not always smoothly, for eight years. Shaw's sex life has caused much speculation and debate among his biographers, but there is a consensus that the relationship with Patterson was one of his few non-platonic romantic liaisons.[n 11]

The published novels, neither commercially successful, were his two final efforts in this genre: Cashel Byron's Profession written in 1882–83, and An Unsocial Socialist, begun and finished in 1883. The latter was published as a serial in ToDay magazine in 1884, although it did not appear in book form until 1887. Cashel Byron appeared in magazine and book form in 1886.[7]

Two elderly, bushily bearded, Victorian men
William Morris (left) and John Ruskin: important influences on Shaw's aesthetic views
In 1884 and 1885, through the influence of Archer, Shaw was engaged to write book and music criticism for London papers. When Archer resigned as art critic of The World in 1886 he secured the succession for Shaw.[62] The two figures in the contemporary art world whose views Shaw most admired were William Morris and John Ruskin, and he sought to follow their precepts in his criticisms.[62] Their emphasis on morality appealed to Shaw, who rejected the idea of art for art's sake, and insisted that all great art must be didactic.[63]

Of Shaw's various reviewing activities in the 1880s and 1890s it was as a music critic that he was best known.[64] After serving as deputy in 1888, he became musical critic of The Star in February 1889, writing under the pen-name Corno di Bassetto.[65][n 12] In May 1890 he moved back to The World, where he wrote a weekly column as "G.B.S." for more than four years. In the 2016 version of the Grove Dictionary of Music and Musicians, Robert Anderson writes, "Shaw's collected writings on music stand alone in their mastery of English and compulsive readability."[67] Shaw ceased to be a salaried music critic in August 1894, but published occasional articles on the subject throughout his career, his last in 1950.[68]

From 1895 to 1898, Shaw was the theatre critic for The Saturday Review, edited by his friend Frank Harris. As at The World, he used the by-line "G.B.S." He campaigned against the artificial conventions and hypocrisies of the Victorian theatre and called for plays of real ideas and true characters. By this time he had embarked in earnest on a career as a playwright: "I had rashly taken up the case; and rather than let it collapse I manufactured the evidence".[7]

Playwright and politician: 1890s[edit]
After using the plot of the aborted 1884 collaboration with Archer to complete Widowers' Houses (it was staged twice in London, in December 1892), Shaw continued writing plays. At first he made slow progress; The Philanderer, written in 1893 but not published until 1898, had to wait until 1905 for a stage production. Similarly, Mrs Warren's Profession (1893) was written five years before publication and nine years before reaching the stage.[n 13]

Man in early middle age, with full beard
Shaw in 1894 at the time of Arms and the Man
Shaw's first box-office success was Arms and the Man (1894), a mock-Ruritanian comedy satirising conventions of love, military honour and class.[7] The press found the play overlong, and accused Shaw of mediocrity,[70] sneering at heroism and patriotism,[71] heartless cleverness,[72] and copying W. S. Gilbert's style.[70][n 14] The public took a different view, and the management of the theatre staged extra matinée performances to meet the demand.[74] The play ran from April to July, toured the provinces and was staged in New York.[73] Among the cast of the London production was Florence Farr, with whom Shaw had a romantic relationship between 1890 and 1894, much resented by Jenny Patterson.[75]

The success of Arms and the Man was not immediately replicated. Candida, which presented a young woman making a conventional romantic choice for unconventional reasons, received a single performance in South Shields in 1895;[76] in 1897 a playlet about Napoleon called The Man of Destiny had a single staging at Croydon.[77] In the 1890s Shaw's plays were better known in print than on the West End stage; his biggest success of the decade was in New York in 1897, when Richard Mansfield's production of the historical melodrama The Devil's Disciple earned the author more than £2,000 in royalties.[3]

In January 1893, as a Fabian delegate, Shaw attended the Bradford conference which led to the foundation of the Independent Labour Party.[78] He was sceptical about the new party,[79] and scorned the likelihood that it could switch the allegiance of the working class from sport to politics.[80] He persuaded the conference to adopt resolutions abolishing indirect taxation, and taxing unearned income "to extinction".[81] Back in London, Shaw produced what Margaret Cole, in her Fabian history, terms a "grand philippic" against the minority Liberal administration that had taken power in 1892. To Your Tents, O Israel excoriated the government for ignoring social issues and concentrating solely on Irish Home Rule, a matter Shaw declared of no relevance to socialism.[80][82][n 15] In 1894 the Fabian Society received a substantial bequest from a sympathiser, Henry Hunt Hutchinson—Holroyd mentions £10,000. Webb, who chaired the board of trustees appointed to supervise the legacy, proposed to use most of it to found a school of economics and politics. Shaw demurred; he thought such a venture was contrary to the specified purpose of the legacy. He was eventually persuaded to support the proposal, and the London School of Economics and Political Science (LSE) opened in the summer of 1895.[83]

By the later 1890s Shaw's political activities lessened as he concentrated on making his name as a dramatist.[84] In 1897 he was persuaded to fill an uncontested vacancy for a "vestryman" (parish councillor) in London's St Pancras district. At least initially, Shaw took to his municipal responsibilities seriously;[n 16] when London government was reformed in 1899 and the St Pancras vestry became the Metropolitan Borough of St Pancras, he was elected to the newly formed borough council.[86]

In 1898, as a result of overwork, Shaw's health broke down. He was nursed by Charlotte Payne-Townshend, a rich Anglo-Irish woman whom he had met through the Webbs. The previous year she had proposed that she and Shaw should marry.[87] He had declined, but when she insisted on nursing him in a house in the country, Shaw, concerned that this might cause scandal, agreed to their marriage.[3] The ceremony took place on 1 June 1898, in the register office in Covent Garden.[88] The bride and bridegroom were both aged forty-one. In the view of the biographer and critic St John Ervine, "their life together was entirely felicitous".[3] There were no children of the marriage, which it is generally believed was never consummated; whether this was wholly at Charlotte's wish, as Shaw liked to suggest, is less widely credited.[89][90][91][92][93] In the early weeks of the marriage Shaw was much occupied writing his Marxist analysis of Wagner's Ring cycle, published as The Perfect Wagnerite late in 1898.[94] In 1906 the Shaws found a country home in Ayot St Lawrence, Hertfordshire; they renamed the house "Shaw's Corner", and lived there for the rest of their lives. They retained a London flat in the Adelphi and later at Whitehall Court.[95]

Stage success: 1900–1914[edit]
Stage photograph showing actor as Julius Caesar and actress as Cleopatra in Egyptian setting
Gertrude Elliott and Johnston Forbes-Robertson in Caesar and Cleopatra, New York, 1906
During the first decade of the twentieth century, Shaw secured a firm reputation as a playwright. In 1904 J. E. Vedrenne and Harley Granville-Barker established a company at the Royal Court Theatre in Sloane Square, Chelsea to present modern drama. Over the next five years they staged fourteen of Shaw's plays.[96][n 17] The first, John Bull's Other Island, a comedy about an Englishman in Ireland, attracted leading politicians and was seen by Edward VII, who laughed so much that he broke his chair.[97] The play was withheld from Dublin's Abbey Theatre, for fear of the affront it might provoke,[7] although it was shown at the city's Royal Theatre in November 1907.[98] Shaw later wrote that William Butler Yeats, who had requested the play, "got rather more than he bargained for ... It was uncongenial to the whole spirit of the neo-Gaelic movement, which is bent on creating a new Ireland after its own ideal, whereas my play is a very uncompromising presentment of the real old Ireland."[99][n 18] Nonetheless, Shaw and Yeats were close friends; Yeats and Lady Gregory tried unsuccessfully to persuade Shaw to take up the vacant co-directorship of the Abbey Theatre after J. M. Synge's death in 1909.[102] Shaw admired other figures in the Irish Literary Revival, including George Russell[103] and James Joyce,[104] and was a close friend of Seán O'Casey, who was inspired to become a playwright after reading John Bull's Other Island.[105]

Man and Superman, completed in 1902, was a success both at the Royal Court in 1905 and in Robert Loraine's New York production in the same year. Among the other Shaw works presented by Vedrenne and Granville-Barker were Major Barbara (1905), depicting the contrasting morality of arms manufacturers and the Salvation Army;[106] The Doctor's Dilemma (1906), a mostly serious piece about professional ethics;[107] and Caesar and Cleopatra, Shaw's counterblast to Shakespeare's Antony and Cleopatra, seen in New York in 1906 and in London the following year.[108]

Now prosperous and established, Shaw experimented with unorthodox theatrical forms described by his biographer Stanley Weintraub as "discussion drama" and "serious farce".[7] These plays included Getting Married (premiered 1908), The Shewing-Up of Blanco Posnet (1909), Misalliance (1910), and Fanny's First Play (1911). Blanco Posnet was banned on religious grounds by the Lord Chamberlain (the official theatre censor in England), and was produced instead in Dublin; it filled the Abbey Theatre to capacity.[109] Fanny's First Play, a comedy about suffragettes, had the longest initial run of any Shaw play—622 performances.[110]

Androcles and the Lion (1912), a less heretical study of true and false religious attitudes than Blanco Posnet, ran for eight weeks in September and October 1913.[111] It was followed by one of Shaw's most successful plays, Pygmalion, written in 1912 and staged in Vienna the following year, and in Berlin shortly afterwards.[112] Shaw commented, "It is the custom of the English press when a play of mine is produced, to inform the world that it is not a play—that it is dull, blasphemous, unpopular, and financially unsuccessful. ... Hence arose an urgent demand on the part of the managers of Vienna and Berlin that I should have my plays performed by them first."[113] The British production opened in April 1914, starring Sir Herbert Tree and Mrs Patrick Campbell as, respectively, a professor of phonetics and a cockney flower-girl. There had earlier been a romantic liaison between Shaw and Campbell that caused Charlotte Shaw considerable concern, but by the time of the London premiere it had ended.[114] The play attracted capacity audiences until July, when Tree insisted on going on holiday, and the production closed. His co-star then toured with the piece in the US.[115][116][n 19]

Fabian years: 1900–1913[edit]
Man in late middle age, with full head of hair, full beard, and combative facial expression
Shaw in 1914 aged 57
In 1899, when the Boer War began, Shaw wished the Fabians to take a neutral stance on what he deemed, like Home Rule, to be a "non-Socialist" issue. Others, including the future Labour prime minister Ramsay MacDonald, wanted unequivocal opposition, and resigned from the society when it followed Shaw.[118] In the Fabians' war manifesto, Fabianism and the Empire (1900), Shaw declared that "until the Federation of the World becomes an accomplished fact we must accept the most responsible Imperial federations available as a substitute for it".[119]

As the new century began, Shaw became increasingly disillusioned by the limited impact of the Fabians on national politics.[120] Thus, although a nominated Fabian delegate, he did not attend the London conference at the Memorial Hall, Farringdon Street in February 1900, that created the Labour Representation Committee—precursor of the modern Labour Party.[121] By 1903, when his term as borough councillor expired, he had lost his earlier enthusiasm, writing: "After six years of Borough Councilling I am convinced that the borough councils should be abolished".[122] Nevertheless, in 1904 he stood in the London County Council elections. After an eccentric campaign, which Holroyd characterises as "[making] absolutely certain of not getting in", he was duly defeated. It was Shaw's final foray into electoral politics.[122] Nationally, the 1906 general election produced a huge Liberal majority and an intake of 29 Labour members. Shaw viewed this outcome with scepticism; he had a low opinion of the new prime minister, Sir Henry Campbell-Bannerman, and saw the Labour members as inconsequential: "I apologise to the Universe for my connection with such a body".[123]

In the years after the 1906 election, Shaw felt that the Fabians needed fresh leadership, and saw this in the form of his fellow-writer H. G. Wells, who had joined the society in February 1903.[124] Wells's ideas for reform—particularly his proposals for closer cooperation with the Independent Labour Party—placed him at odds with the society's "Old Gang", led by Shaw.[125] According to Cole, Wells "had minimal capacity for putting [his ideas] across in public meetings against Shaw's trained and practised virtuosity".[126] In Shaw's view, "the Old Gang did not extinguish Mr Wells, he annihilated himself".[126] Wells resigned from the society in September 1908;[127] Shaw remained a member, but left the executive in April 1911. He later wondered whether the Old Gang should have given way to Wells some years earlier: "God only knows whether the Society had not better have done it".[128][129] Although less active—he blamed his advancing years—Shaw remained a Fabian.[130]

In 1912 Shaw invested £1,000 for a one-fifth share in the Webbs' new publishing venture, a socialist weekly magazine called The New Statesman, which appeared in April 1913. He became a founding director, publicist, and in due course a contributor, mostly anonymously.[131] He was soon at odds with the magazine's editor, Clifford Sharp, who by 1916 was rejecting his contributions—"the only paper in the world that refuses to print anything by me", according to Shaw.[132]

First World War[edit]
"I see the Junkers and Militarists of England and Germany jumping at the chance they have longed for in vain for many years of smashing one another and establishing their own oligarchy as the dominant military power of the world."
Shaw: Common Sense About the War (1914).[133]
After the First World War began in August 1914, Shaw produced his tract Common Sense About the War, which argued that the warring nations were equally culpable.[7] Such a view was anathema in an atmosphere of fervent patriotism, and offended many of Shaw's friends; Ervine records that "[h]is appearance at any public function caused the instant departure of many of those present."[134]

Despite his errant reputation, Shaw's propagandist skills were recognised by the British authorities, and early in 1917 he was invited by Field Marshal Haig to visit the Western Front battlefields. Shaw's 10,000-word report, which emphasised the human aspects of the soldier's life, was well received, and he became less of a lone voice. In April 1917 he joined the national consensus in welcoming America's entry into the war: "a first class moral asset to the common cause against junkerism".[135]

Three short plays by Shaw were premiered during the war. The Inca of Perusalem, written in 1915, encountered problems with the censor for burlesquing not only the enemy but the British military command; it was performed in 1916 at the Birmingham Repertory Theatre.[136] O'Flaherty V.C., satirising the government's attitude to Irish recruits, was banned in the UK and was presented at a Royal Flying Corps base in Belgium in 1917. Augustus Does His Bit, a genial farce, was granted a licence; it opened at the Royal Court in January 1917.[137]

Ireland[edit]
Cityscape of badly damaged large buildings
Dublin city centre in ruins after the Easter Rising, April 1916
Shaw had long supported the principle of Irish Home Rule within the British Empire (which he thought should become the British Commonwealth).[138] In April 1916 he wrote scathingly in The New York Times about militant Irish nationalism: "In point of learning nothing and forgetting nothing these fellow-patriots of mine leave the Bourbons nowhere."[139] Total independence, he asserted, was impractical; alliance with a bigger power (preferably England) was essential.[139] The Dublin Easter Rising later that month took him by surprise. After its suppression by British forces, he expressed horror at the summary execution of the rebel leaders, but continued to believe in some form of Anglo-Irish union. In How to Settle the Irish Question (1917), he envisaged a federal arrangement, with national and imperial parliaments. Holroyd records that by this time the separatist party Sinn Féin was in the ascendency, and Shaw's and other moderate schemes were forgotten.[140]

In the postwar period, Shaw despaired of the British government's coercive policies towards Ireland,[141] and joined his fellow-writers Hilaire Belloc and G. K. Chesterton in publicly condemning these actions.[142] The Anglo-Irish Treaty of December 1921 led to the partition of Ireland between north and south, a provision that dismayed Shaw.[141] In 1922 civil war broke out in the south between its pro-treaty and anti-treaty factions, the former of whom had established the Irish Free State.[143] Shaw visited Dublin in August, and met Michael Collins, then head of the Free State's Provisional Government.[144] Shaw was much impressed by Collins, and was saddened when, three days later, the Irish leader was ambushed and killed by anti-treaty forces.[145] In a letter to Collins's sister, Shaw wrote: "I met Michael for the first and last time on Saturday last, and am very glad I did. I rejoice in his memory, and will not be so disloyal to it as to snivel over his valiant death".[146] Shaw remained a British subject all his life, but took dual British-Irish nationality in 1934.[147]

1920s[edit]
Garden hut in well-kept surroundings
The rotating hut in the garden of Shaw's Corner, Ayot St Lawrence, where Shaw wrote most of his works after 1906
Shaw's first major work to appear after the war was Heartbreak House, written in 1916–17 and performed in 1920. It was produced on Broadway in November, and was coolly received; according to The Times: "Mr Shaw on this occasion has more than usual to say and takes twice as long as usual to say it".[148] After the London premiere in October 1921 The Times concurred with the American critics: "As usual with Mr Shaw, the play is about an hour too long", although containing "much entertainment and some profitable reflection".[149] Ervine in The Observer thought the play brilliant but ponderously acted, except for Edith Evans as Lady Utterword.[150]

Shaw's largest-scale theatrical work was Back to Methuselah, written in 1918–20 and staged in 1922. Weintraub describes it as "Shaw's attempt to fend off 'the bottomless pit of an utterly discouraging pessimism'".[7] This cycle of five interrelated plays depicts evolution, and the effects of longevity, from the Garden of Eden to the year 31,920 AD.[151] Critics found the five plays strikingly uneven in quality and invention.[152][153][154] The original run was brief, and the work has been revived infrequently.[155][156] Shaw felt he had exhausted his remaining creative powers in the huge span of this "Metabiological Pentateuch". He was now sixty-seven, and expected to write no more plays.[7]

This mood was short-lived. In 1920 Joan of Arc was proclaimed a saint by Pope Benedict XV; Shaw had long found Joan an interesting historical character, and his view of her veered between "half-witted genius" and someone of "exceptional sanity".[157] He had considered writing a play about her in 1913, and the canonisation prompted him to return to the subject.[7] He wrote Saint Joan in the middle months of 1923, and the play was premiered on Broadway in December. It was enthusiastically received there,[158] and at its London premiere the following March.[159] In Weintraub's phrase, "even the Nobel prize committee could no longer ignore Shaw after Saint Joan". The citation for the literature prize for 1925 praised his work as "... marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty".[160] He accepted the award, but rejected the monetary prize that went with it, on the grounds that "My readers and my audiences provide me with more than sufficient money for my needs".[161][n 20]

After Saint Joan, it was five years before Shaw wrote a play. From 1924, he spent four years writing what he described as his "magnum opus", a political treatise entitled The Intelligent Woman's Guide to Socialism and Capitalism.[163] The book was published in 1928 and sold well.[3][n 21] At the end of the decade Shaw produced his final Fabian tract, a commentary on the League of Nations. He described the League as "a school for the new international statesmanship as against the old Foreign Office diplomacy", but thought that it had not yet become the "Federation of the World".[165]

Shaw returned to the theatre with what he called "a political extravaganza", The Apple Cart, written in late 1928. It was, in Ervine's view, unexpectedly popular, taking a conservative, monarchist, anti-democratic line that appealed to contemporary audiences. The premiere was in Warsaw in June 1928, and the first British production was two months later, at Sir Barry Jackson's inaugural Malvern Festival.[3] The other eminent creative artist most closely associated with the festival was Sir Edward Elgar, with whom Shaw enjoyed a deep friendship and mutual regard.[166] He described The Apple Cart to Elgar as "a scandalous Aristophanic burlesque of democratic politics, with a brief but shocking sex interlude".[167]

During the 1920s Shaw began to lose faith in the idea that society could be changed through Fabian gradualism, and became increasingly fascinated with dictatorial methods. In 1922 he had welcomed Mussolini's accession to power in Italy, observing that amid the "indiscipline and muddle and Parliamentary deadlock", Mussolini was "the right kind of tyrant".[168] Shaw was prepared to tolerate certain dictatorial excesses; Weintraub in his ODNB biographical sketch comments that Shaw's "flirtation with authoritarian inter-war regimes" took a long time to fade, and Beatrice Webb thought he was "obsessed" about Mussolini.[169]

1930s[edit]
"We the undersigned are recent visitors to the USSR ... We desire to record that we saw nowhere evidence of economic slavery, privation, unemployment and cynical despair of betterment. ... Everywhere we saw [a] hopeful and enthusiastic working-class ... setting an example of industry and conduct which would greatly enrich us if our systems supplied our workers with any incentive to follow it."
Letter to The Manchester Guardian, 2 March 1933, signed by Shaw and 20 others.[170]
Shaw's enthusiasm for the Soviet Union dated to the early 1920s when he had hailed Lenin as "the one really interesting statesman in Europe".[171] Having turned down several chances to visit, in 1931 he joined a party led by Nancy Astor.[172] The carefully managed trip culminated in a lengthy meeting with Stalin, whom Shaw later described as "a Georgian gentleman" with no malice in him.[173] At a dinner given in his honour, Shaw told the gathering: "I have seen all the 'terrors' and I was terribly pleased by them".[174] In March 1933 Shaw was a co-signatory to a letter in The Manchester Guardian protesting at the continuing misrepresentation of Soviet achievements: "No lie is too fantastic, no slander is too stale ... for employment by the more reckless elements of the British press."[170]

Shaw's admiration for Mussolini and Stalin demonstrated his growing belief that dictatorship was the only viable political arrangement. When the Nazi Party came to power in Germany in January 1933, Shaw described Hitler as "a very remarkable man, a very able man",[175] and professed himself proud to be the only writer in England who was "scrupulously polite and just to Hitler".[176][n 22] His principal admiration was for Stalin, whose regime he championed uncritically throughout the decade.[174] Shaw saw the 1939 Molotov–Ribbentrop Pact as a triumph for Stalin who, he said, now had Hitler under his thumb.[179]

Shaw's first play of the decade was Too True to be Good, written in 1931 and premiered in Boston in February 1932. The reception was unenthusiastic. Brooks Atkinson of The New York Times commenting that Shaw had "yielded to the impulse to write without having a subject", judged the play a "rambling and indifferently tedious conversation". The correspondent of The New York Herald Tribune said that most of the play was "discourse, unbelievably long lectures" and that although the audience enjoyed the play it was bewildered by it.[180]

During the decade Shaw travelled widely and frequently. Most of his journeys were with Charlotte; she enjoyed voyages on ocean liners, and he found peace to write during the long spells at sea.[181] Shaw met an enthusiastic welcome in South Africa in 1932, despite his strong remarks about the racial divisions of the country.[182] In December 1932 the couple embarked on a round-the-world cruise. In March 1933 they arrived at San Francisco, to begin Shaw's first visit to the US. He had earlier refused to go to "that awful country, that uncivilized place", "unfit to govern itself ... illiberal, superstitious, crude, violent, anarchic and arbitrary".[181] He visited Hollywood, with which he was unimpressed, and New York, where he lectured to a capacity audience in the Metropolitan Opera House.[183] Harried by the intrusive attentions of the press, Shaw was glad when his ship sailed from New York harbour.[184] New Zealand, which he and Charlotte visited the following year, struck him as "the best country I've been in"; he urged its people to be more confident and loosen their dependence on trade with Britain.[185] He used the weeks at sea to complete two plays—The Simpleton of the Unexpected Isles and The Six of Calais—and begin work on a third, The Millionairess.[186]

Despite his contempt for Hollywood and its aesthetic values, Shaw was enthusiastic about cinema, and in the middle of the decade wrote screenplays for prospective film versions of Pygmalion and Saint Joan.[187][188] The latter was never made, but Shaw entrusted the rights to the former to the unknown Gabriel Pascal, who produced it at Pinewood Studios in 1938. Shaw was determined that Hollywood should have nothing to do with the film, but was powerless to prevent it from winning one Academy Award ("Oscar"); he described his award for "best-written screenplay" as an insult, coming from such a source.[189][n 23] He became the first person to have been awarded both a Nobel Prize and an Oscar.[192] In a 1993 study of the Oscars, Anthony Holden observes that Pygmalion was soon spoken of as having "lifted movie-making from illiteracy to literacy".[193]

Shaw's final plays of the 1930s were Cymbeline Refinished (1936), Geneva (1936) and In Good King Charles's Golden Days (1939). The first, a fantasy reworking of Shakespeare, made little impression, but the second, a satire on European dictators, attracted more notice, much of it unfavourable.[194] In particular, Shaw's parody of Hitler as "Herr Battler" was considered mild, almost sympathetic.[177][179] The third play, an historical conversation piece first seen at Malvern, ran briefly in London in May 1940.[195] James Agate commented that the play contained nothing to which even the most conservative audiences could take exception, and though it was long and lacking in dramatic action only "witless and idle" theatregoers would object.[195] After their first runs none of the three plays were seen again in the West End during Shaw's lifetime.[196]

Towards the end of the decade, both Shaws began to suffer ill health. Charlotte was increasingly incapacitated by Paget's disease of bone, and he developed pernicious anaemia. His treatment, involving injections of concentrated animal liver, was successful, but this breach of his vegetarian creed distressed him and brought down condemnation from militant vegetarians.[197]

Second World War and final years[edit]
Although Shaw's works since The Apple Cart had been received without great enthusiasm, his earlier plays were revived in the West End throughout the Second World War, starring such actors as Edith Evans, John Gielgud, Deborah Kerr and Robert Donat.[198] In 1944 nine Shaw plays were staged in London, including Arms and the Man with Ralph Richardson, Laurence Olivier, Sybil Thorndike and Margaret Leighton in the leading roles. Two touring companies took his plays all round Britain.[199] The revival in his popularity did not tempt Shaw to write a new play, and he concentrated on prolific journalism.[200] A second Shaw film produced by Pascal, Major Barbara (1941), was less successful both artistically and commercially than Pygmalion, partly because of Pascal's insistence on directing, to which he was unsuited.[201]

"The rest of Shaw's life was quiet and solitary. The loss of his wife was more profoundly felt than he had ever imagined any loss could be: for he prided himself on a stoical fortitude in all loss and misfortune."
St John Ervine on Shaw, 1959[3]
Following the outbreak of war on 3 September 1939 and the rapid conquest of Poland, Shaw was accused of defeatism when, in a New Statesman article, he declared the war over and demanded a peace conference.[202] Nevertheless, when he became convinced that a negotiated peace was impossible, he publicly urged the neutral United States to join the fight.[201] The London blitz of 1940–41 led the Shaws, both in their mid-eighties, to live full-time at Ayot St Lawrence. Even there they were not immune from enemy air raids, and stayed on occasion with Nancy Astor at her country house, Cliveden.[203] In 1943, the worst of the London bombing over, the Shaws moved back to Whitehall Court, where medical help for Charlotte was more easily arranged. Her condition deteriorated, and she died in September.[203]

Shaw's final political treatise, Everybody's Political What's What, was published in 1944. Holroyd describes this as "a rambling narrative ... that repeats ideas he had given better elsewhere and then repeats itself".[204] The book sold well—85,000 copies by the end of the year.[204] After Hitler's suicide in May 1945, Shaw approved of the formal condolences offered by the Irish Taoiseach, Éamon de Valera, at the German embassy in Dublin.[205] Shaw disapproved of the postwar trials of the defeated German leaders, as an act of self-righteousness: "We are all potential criminals".[206]

Pascal was given a third opportunity to film Shaw's work with Caesar and Cleopatra (1945). It cost three times its original budget and was rated "the biggest financial failure in the history of British cinema".[207] The film was poorly received by British critics, although American reviews were friendlier. Shaw thought its lavishness nullified the drama, and he considered the film "a poor imitation of Cecil B. de Mille".[208]

View of modest-sized country house from extensive gardens
Garden of Shaw's Corner
In 1946, the year of Shaw's ninetieth birthday, he accepted the freedom of Dublin and became the first honorary freeman of the borough of St Pancras, London.[3] In the same year the government asked Shaw informally whether he would accept the Order of Merit. He declined, believing that an author's merit could only be determined by the posthumous verdict of history.[209][n 24] 1946 saw the publication, as The Crime of Imprisonment, of the preface Shaw had written 20 years previously to a study of prison conditions. It was widely praised; a reviewer in The American Journal of Public Health considered it essential reading for any student of the American criminal justice system.[210]

Shaw continued to write into his nineties. His last plays were Buoyant Billions (1947), his final full-length work; Farfetched Fables (1948) a set of six short plays revisiting several of his earlier themes such as evolution; a comic play for puppets, Shakes versus Shav (1949), a ten-minute piece in which Shakespeare and Shaw trade insults;[211] and Why She Would Not (1950), which Shaw described as "a little comedy", written in one week shortly before his ninety-fourth birthday.[212]

During his later years, Shaw enjoyed tending the gardens at Shaw's Corner. He died at the age of ninety-four of renal failure precipitated by injuries incurred when falling while pruning a tree.[212] He was cremated at Golders Green Crematorium on 6 November 1950. His ashes, mixed with those of Charlotte, were scattered along footpaths and around the statue of Saint Joan in their garden.[213][214]

Works[edit]
See also: List of works by George Bernard Shaw
Plays[edit]
Shaw published a collected edition of his plays in 1934, comprising forty-two works.[215] He wrote a further twelve in the remaining sixteen years of his life, mostly one-act pieces. Including eight earlier plays that he chose to omit from his published works, the total is sixty-two.[n 25]

Early works[edit]
1890s
Full-length plays

Widowers' Houses
The Philanderer
Mrs Warren's Profession
Arms and the Man
Candida
You Never Can Tell
The Devil's Disciple
Caesar and Cleopatra
Captain Brassbound's Conversion
Adaptation

The Gadfly
Short play

The Man of Destiny
Shaw's first three full-length plays dealt with social issues. He later grouped them as "Plays Unpleasant".[216] Widower's Houses (1892) concerns the landlords of slum properties, and introduces the first of Shaw's New Women—a recurring feature of later plays.[217] The Philanderer (1893) develops the theme of the New Woman, draws on Ibsen, and has elements of Shaw's personal relationships, the character of Julia being based on Jenny Patterson.[218] In a 2003 study Judith Evans describes Mrs Warren's Profession (1893) as "undoubtedly the most challenging" of the three Plays Unpleasant, taking Mrs Warren's profession—prostitute and, later, brothel-owner—as a metaphor for a prostituted society.[219]

Shaw followed the first trilogy with a second, published as "Plays Pleasant".[216] Arms and the Man (1894) conceals beneath a mock-Ruritanian comic romance a Fabian parable contrasting impractical idealism with pragmatic socialism.[220] The central theme of Candida (1894) is a woman's choice between two men; the play contrasts the outlook and aspirations of a Christian Socialist and a poetic idealist.[221] The third of the Pleasant group, You Never Can Tell (1896), portrays social mobility, and the gap between generations, particularly in how they approach social relations in general and mating in particular.[222]

The "Three Plays for Puritans"—comprising The Devil's Disciple (1896), Caesar and Cleopatra (1898) and Captain Brassbound's Conversion (1899)—all centre on questions of empire and imperialism, a major topic of political discourse in the 1890s.[223] The three are set, respectively, in 1770s America, Ancient Egypt, and 1890s Morocco.[224] The Gadfly, an adaptation of the popular novel by Ethel Voynich, was unfinished and unperformed.[225] The Man of Destiny (1895) is a short curtain raiser about Napoleon.[226]

1900–1909[edit]
1900–1909
Full-length plays

Man and Superman
John Bull's Other Island
Major Barbara
The Doctor's Dilemma
Getting Married
Misalliance
Short plays

The Admirable Bashville
How He Lied to Her Husband
Passion, Poison, and Petrifaction
The Shewing-Up of Blanco Posnet
Press Cuttings
The Fascinating Foundling
The Glimpse of Reality
Shaw's major plays of the first decade of the twentieth century address individual social, political or ethical issues. Man and Superman (1902) stands apart from the others in both its subject and its treatment, giving Shaw's interpretation of creative evolution in a combination of drama and associated printed text.[227] The Admirable Bashville (1901), a blank verse dramatisation of Shaw's novel Cashel Byron's Profession, focuses on the imperial relationship between Britain and Africa.[228] John Bull's Other Island (1904), comically depicting the prevailing relationship between Britain and Ireland, was popular at the time but fell out of the general repertoire in later years.[229] Major Barbara (1905) presents ethical questions in an unconventional way, confounding expectations that in the depiction of an armaments manufacturer on the one hand and the Salvation Army on the other the moral high ground must invariably be held by the latter.[230] The Doctor's Dilemma (1906), a play about medical ethics and moral choices in allocating scarce treatment, was described by Shaw as a tragedy.[231] With a reputation for presenting characters who did not resemble real flesh and blood,[232] he was challenged by Archer to present an on-stage death, and here did so, with a deathbed scene for the anti-hero.[233][234]

Getting Married (1908) and Misalliance (1909)—the latter seen by Judith Evans as a companion piece to the former—are both in what Shaw called his "disquisitionary" vein, with the emphasis on discussion of ideas rather than on dramatic events or vivid characterisation.[235] Shaw wrote seven short plays during the decade; they are all comedies, ranging from the deliberately absurd Passion, Poison, and Petrifaction (1905) to the satirical Press Cuttings (1909).[236]

1910–1919[edit]
1910–1919
Full–length plays

Fanny's First Play
Androcles and the Lion
Pygmalion
Heartbreak House
Short plays

The Dark Lady of the Sonnets
Overruled
The Music Cure
Great Catherine
The Inca of Perusalem
O'Flaherty V.C.
Augustus Does His Bit
Annajanska, the Bolshevik Empress
In the decade from 1910 to the aftermath of the First World War Shaw wrote four full-length plays, the third and fourth of which are among his most frequently staged works.[237] Fanny's First Play (1911) continues his earlier examinations of middle-class British society from a Fabian viewpoint, with additional touches of melodrama and an epilogue in which theatre critics discuss the play.[77] Androcles and the Lion (1912), which Shaw began writing as a play for children, became a study of the nature of religion and how to put Christian precepts into practice.[238] Pygmalion (1912) is a Shavian study of language and speech and their importance in society and in personal relationships. To correct the impression left by the original performers that the play portrayed a romantic relationship between the two main characters Shaw rewrote the ending to make it clear that the heroine will marry another, minor character.[239][n 26] Shaw's only full-length play from the war years is Heartbreak House (1917), which in his words depicts "cultured, leisured Europe before the war" drifting towards disaster.[241] Shaw named Shakespeare (King Lear) and Chekhov (The Cherry Orchard) as important influences on the piece, and critics have found elements drawing on Congreve (The Way of the World) and Ibsen (The Master Builder).[241][242]

The short plays range from genial historical drama in The Dark Lady of the Sonnets and Great Catherine (1910 and 1913) to a study of polygamy in Overruled; three satirical works about the war (The Inca of Perusalem, O'Flaherty V.C. and Augustus Does His Bit, 1915–16); a piece that Shaw called "utter nonsense" (The Music Cure, 1914) and a brief sketch about a "Bolshevik empress" (Annajanska, 1917).[243]

1920–1950[edit]
1920–1950
Full length plays

Back to Methuselah
Saint Joan
The Apple Cart
Too True to Be Good
On the Rocks
The Simpleton of the Unexpected Isles
The Millionairess
Geneva
In Good King Charles's Golden Days
Buoyant Billions
Short plays

A Village Wooing
The Six of Calais
Cymbeline Refinished
Farfetched Fables
Shakes versus Shav
Why She Would Not
Saint Joan (1923) drew widespread praise both for Shaw and for Sybil Thorndike, for whom he wrote the title role and who created the part in Britain.[244] In the view of the commentator Nicholas Grene, Shaw's Joan, a "no-nonsense mystic, Protestant and nationalist before her time" is among the 20th century's classic leading female roles.[240] The Apple Cart (1929), was Shaw's last popular success.[245] He gave both that play and its successor, Too True to Be Good (1931), the subtitle "A political extravaganza", although the two works differ greatly in their themes; the first presents the politics of a nation (with a brief royal love-scene as an interlude) and the second, in Judith Evans's words, "is concerned with the social mores of the individual, and is nebulous."[246] Shaw's plays of the 1930s were written in the shadow of worsening national and international political events. Once again, with On the Rocks (1933) and The Simpleton of the Unexpected Isles (1934), a political comedy with a clear plot was followed by an introspective drama. The first play portrays a British prime minister considering, but finally rejecting, the establishment of a dictatorship; the second is concerned with polygamy and eugenics and ends with the Day of Judgement.[247]

The Millionairess (1934) is a farcical depiction of the commercial and social affairs of a successful businesswoman. Geneva (1936) lampoons the feebleness of the League of Nations compared with the dictators of Europe. In Good King Charles's Golden Days (1939), described by Weintraub as a warm, discursive high comedy, also depicts authoritarianism, but less satirically than Geneva.[7] As in earlier decades, the shorter plays were generally comedies, some historical and others addressing various political and social preoccupations of the author. Ervine writes of Shaw's later work that although it was still "astonishingly vigorous and vivacious" it showed unmistakable signs of his age. "The best of his work in this period, however, was full of wisdom and the beauty of mind often displayed by old men who keep their wits about them."[3]

Music and drama reviews[edit]
Music[edit]
Shaw's collected musical criticism, published in three volumes, runs to more than 2,700 pages.[248] It covers the British musical scene from 1876 to 1950, but the core of the collection dates from his six years as music critic of The Star and The World in the late 1880s and early 1890s. In his view music criticism should be interesting to everyone rather than just the musical élite, and he wrote for the non-specialist, avoiding technical jargon—"Mesopotamian words like 'the dominant of D major'".[n 27] He was fiercely partisan in his columns, promoting the music of Wagner and decrying that of Brahms and those British composers such as Stanford and Parry whom he saw as Brahmsian.[67][250] He campaigned against the prevailing fashion for performances of Handel oratorios with huge amateur choirs and inflated orchestration, calling for "a chorus of twenty capable artists".[251] He railed against opera productions unrealistically staged or sung in languages the audience did not speak.[252]

Drama[edit]
In Shaw's view, the London theatres of the 1890s presented too many revivals of old plays and not enough new work. He campaigned against "melodrama, sentimentality, stereotypes and worn-out conventions".[253] As a music critic he had frequently been able to concentrate on analysing new works, but in the theatre he was often obliged to fall back on discussing how various performers tackled well-known plays. In a study of Shaw's work as a theatre critic, E. J. West writes that Shaw "ceaselessly compared and contrasted artists in interpretation and in technique". Shaw contributed more than 150 articles as theatre critic for The Saturday Review, in which he assessed more than 212 productions.[254] He championed Ibsen's plays when many theatregoers regarded them as outrageous, and his 1891 book Quintessence of Ibsenism remained a classic throughout the twentieth century.[255] Of contemporary dramatists writing for the West End stage he rated Oscar Wilde above the rest: "... our only thorough playwright. He plays with everything: with wit, with philosophy, with drama, with actors and audience, with the whole theatre".[256] Shaw's collected criticisms were published as Our Theatres in the Nineties in 1932.[257]

Shaw maintained a provocative and frequently self-contradictory attitude to Shakespeare (whose name he insisted on spelling "Shakespear").[258] Many found him difficult to take seriously on the subject; Duff Cooper observed that by attacking Shakespeare, "it is Shaw who appears a ridiculous pigmy shaking his fist at a mountain."[259] Shaw was, nevertheless, a knowledgeable Shakespearian, and in an article in which he wrote, "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 Shakespear when I measure my mind against his," he also said, "But I am bound to add that I pity the man who cannot enjoy Shakespear. He has outlasted thousands of abler thinkers, and will outlast a thousand more".[258] Shaw had two regular targets for his more extreme comments about Shakespeare: undiscriminating "Bardolaters", and actors and directors who presented insensitively cut texts in over-elaborate productions.[260][n 28] He was continually drawn back to Shakespeare, and wrote three plays with Shakespearean themes: The Dark Lady of the Sonnets, Cymbeline Refinished and Shakes versus Shav.[264] In a 2001 analysis of Shaw's Shakespearian criticisms, Robert Pierce concludes that Shaw, who was no academic, saw Shakespeare's plays—like all theatre—from an author's practical point of view: "Shaw helps us to get away from the Romantics' picture of Shakespeare as a titanic genius, one whose art cannot be analyzed or connected with the mundane considerations of theatrical conditions and profit and loss, or with a specific staging and cast of actors."[265]

Political and social writings[edit]
Shaw's political and social commentaries were published variously in Fabian tracts, in essays, in two full-length books, in innumerable newspaper and journal articles and in prefaces to his plays. The majority of Shaw's Fabian tracts were published anonymously, representing the voice of the society rather than of Shaw, although the society's secretary Edward Pease later confirmed Shaw's authorship.[47] According to Holroyd, the business of the early Fabians, mainly under the influence of Shaw, was to "alter history by rewriting it".[266] Shaw's talent as a pamphleteer was put to immediate use in the production of the society's manifesto—after which, says Holroyd, he was never again so succinct.[266]

Middle-aged man with bushy beard
Shaw in 1905
After the turn of the twentieth century, Shaw increasingly propagated his ideas through the medium of his plays. An early critic, writing in 1904, observed that Shaw's dramas provided "a pleasant means" of proselytising his socialism, adding that "Mr Shaw's views are to be sought especially in the prefaces to his plays".[267] After loosening his ties with the Fabian movement in 1911, Shaw's writings were more personal and often provocative; his response to the furore following the issue of Common Sense About the War in 1914, was to prepare a sequel, More Common Sense About the War. In this, he denounced the pacifist line espoused by Ramsay MacDonald and other socialist leaders, and proclaimed his readiness to shoot all pacifists rather than cede them power and influence.[268] On the advice of Beatrice Webb, this pamphlet remained unpublished.[269]

The Intelligent Woman's Guide, Shaw's main political treatise of the 1920s, attracted both admiration and criticism. MacDonald considered it the world's most important book since the Bible;[270] Harold Laski thought its arguments outdated and lacking in concern for individual freedoms.[163][n 29] Shaw's increasing flirtation with dictatorial methods is evident in many of his subsequent pronouncements. A New York Times report dated 10 December 1933 quoted a recent Fabian Society lecture in which Shaw had praised Hitler, Mussolini and Stalin: "[T]hey are trying to get something done, [and] are adopting methods by which it is possible to get something done".[271] As late as the Second World War, in Everybody's Political What's What, Shaw blamed the Allies' "abuse" of their 1918 victory for the rise of Hitler, and hoped that, after defeat, the Führer would escape retribution "to enjoy a comfortable retirement in Ireland or some other neutral country".[272] These sentiments, according to the Irish philosopher-poet Thomas Duddy, "rendered much of the Shavian outlook passé and contemptible".[273]

"Creative evolution", Shaw's version of the new science of eugenics, became an increasing theme in his political writing after 1900. He introduced his theories in The Revolutionist's Handbook (1903), an appendix to Man and Superman, and developed them further during the 1920s in Back to Methuselah. A 1946 Life magazine article observed that Shaw had "always tended to look at people more as a biologist than as an artist".[274] By 1933, in the preface to On the Rocks, he was writing that "if we desire a certain type of civilization and culture we must exterminate the sort of people who do not fit into it";[275] critical opinion is divided on whether this was intended as irony.[174][n 30] In an article in the American magazine Liberty in September 1938, Shaw included the statement: "There are many people in the world who ought to be liquidated".[274] Many commentators assumed that such comments were intended as a joke, although in the worst possible taste.[277] Otherwise, Life magazine concluded, "this silliness can be classed with his more innocent bad guesses".[274][n 31]

Fiction[edit]
Shaw's fiction-writing was largely confined to the five unsuccessful novels written in the period 1879–1885. Immaturity (1879) is a semi-autobiographical portrayal of mid-Victorian England, Shaw's "own David Copperfield" according to Weintraub.[7] The Irrational Knot (1880) is a critique of conventional marriage, in which Weintraub finds the characterisations lifeless, "hardly more than animated theories".[7] Shaw was pleased with his third novel, Love Among the Artists (1881), feeling that it marked a turning point in his development as a thinker, although he had no more success with it than with its predecessors.[278] Cashel Byron's Profession (1882) is, says Weintraub, an indictment of society which anticipates Shaw's first full-length play, Mrs Warren's Profession.[7] Shaw later explained that he had intended An Unsocial Socialist as the first section of a monumental depiction of the downfall of capitalism. Gareth Griffith, in a study of Shaw's political thought, sees the novel as an interesting record of conditions, both in society at large and in the nascent socialist movement of the 1880s.[279]

Shaw's only subsequent fiction of any substance was his 1932 novella The Adventures of the Black Girl in Her Search for God, written during a visit to South Africa in 1932. The eponymous girl, intelligent, inquisitive, and converted to Christianity by insubstantial missionary teaching, sets out to find God, on a journey that after many adventures and encounters, leads her to a secular conclusion.[280] The story, on publication, offended some Christians and was banned in Ireland by the Board of Censors.[281]

Letters and diaries[edit]
Caricature of middle-aged bearded man at his ease in an armchair
"The strenuous literary life—George Bernard Shaw at work": 1904 caricature
Shaw was a prolific correspondent throughout his life. His letters, edited by Dan H. Laurence, were published between 1965 and 1988.[282] Shaw once estimated his letters would occupy twenty volumes; Laurence commented that, unedited, they would fill many more.[283] Shaw wrote more than a quarter of a million letters, of which about ten per cent have survived; 2,653 letters are printed in Laurence's four volumes.[284] Among Shaw's many regular correspondents were his childhood friend Edward McNulty; his theatrical colleagues (and amitiés amoureuses) Mrs Patrick Campbell and Ellen Terry; writers including Lord Alfred Douglas, H. G. Wells and G. K. Chesterton; the boxer Gene Tunney; the nun Laurentia McLachlan; and the art expert Sydney Cockerell.[285][n 32] In 2007 a 316-page volume consisting entirely of Shaw's letters to The Times was published.[286]

Shaw's diaries for 1885–1897, edited by Weintraub, were published in two volumes, with a total of 1,241 pages, in 1986. Reviewing them, the Shaw scholar Fred Crawford wrote: "Although the primary interest for Shavians is the material that supplements what we already know about Shaw's life and work, the diaries are also valuable as a historical and sociological document of English life at the end of the Victorian age." After 1897, pressure of other writing led Shaw to give up keeping a diary.[287]

Miscellaneous and autobiographical[edit]
Through his journalism, pamphlets and occasional longer works, Shaw wrote on many subjects. His range of interest and enquiry included vivisection, vegetarianism, religion, language, cinema and photography,[n 33] on all of which he wrote and spoke copiously. Collections of his writings on these and other subjects were published, mainly after his death, together with volumes of selected aphorisms, "wit and wisdom" and general journalism.[286]

Despite the many books written about him (Holroyd counts 80 by 1939)[290] Shaw's autobiographical output, apart from his diaries, was relatively slight. He gave interviews to newspapers—"GBS Confesses", to The Daily Mail in 1904 is an example[291]—and provided sketches to would-be biographers whose work was rejected by Shaw and never published.[292] In 1939 Shaw drew on these materials to produce Shaw Gives Himself Away, a miscellany which, a year before his death, he revised and republished as Sixteen Self Sketches (there were seventeen). He made it clear to his publishers that this slim book was in no sense a full autobiography.[293]

Beliefs and opinions[edit]
Shaw was a poseur and a puritan; he was similarly a bourgeois and an antibourgeois writer, working for Hearst and posterity; his didacticism is entertaining and his pranks are purposeful; he supports socialism and is tempted by fascism.
—Leonard Feinberg, The Satirist (2006)[294]
In his lifetime Shaw professed many beliefs, often contradictory. This inconsistency was partly an intentional provocation—the Spanish scholar-statesman Salvador de Madariaga describes Shaw as "a pole of negative electricity set in a people of positive electricity".[295] In one area at least Shaw was constant: in his lifelong refusal to follow normal English forms of spelling and punctuation. He favoured archaic spellings such as "shew" for "show"; he dropped the "u" in words like "honour" and "favour"; and wherever possible he rejected the apostrophe in contractions such as "won't" or "that's".[296] In his will, Shaw ordered that, after some specified legacies, his remaining assets were to form a trust to pay for fundamental reform of the English alphabet into a phonetic version of forty letters.[7] Though Shaw's intentions were clear, his drafting was flawed, and the courts initially ruled the intended trust void. A later out-of-court agreement provided a sum of £8,300 for spelling reform; the bulk of his fortune went to the residuary legatees—the British Museum, the Royal Academy of Dramatic Art and the National Gallery of Ireland.[297][n 34] Most of the £8,300 went on a special phonetic edition of Androcles and the Lion in the Shavian alphabet, published in 1962 to a largely indifferent reception.[300]

Shaw's views on religion and Christianity were less consistent. Having in his youth proclaimed himself an atheist, in middle age he explained this as a reaction against the Old Testament image of a vengeful Jehovah. By the early twentieth century, he termed himself a "mystic", although Gary Sloan, in an essay on Shaw's beliefs, disputes his credentials as such.[301] In 1913 Shaw declared that he was not religious "in the sectarian sense", aligning himself with Jesus as "a person of no religion".[302] In the preface (1915) to Androcles and the Lion, Shaw asks "Why not give Christianity a chance?" contending that Britain's social order resulted from the continuing choice of Barabbas over Christ.[302] In a broadcast just before the Second World War, Shaw invoked the Sermon on the Mount, "a very moving exhortation, and it gives you one first-rate tip, which is to do good to those who despitefully use you and persecute you".[301] In his will, Shaw stated that his "religious convictions and scientific views cannot at present be more specifically defined than as those of a believer in creative revolution".[303] He requested that no one should imply that he accepted the beliefs of any specific religious organisation, and that no memorial to him should "take the form of a cross or any other instrument of torture or symbol of blood sacrifice".[303]

Shaw espoused racial equality, and inter-marriage between people of different races.[304] Despite his expressed wish to be fair to Hitler,[176] he called anti-Semitism "the hatred of the lazy, ignorant fat-headed Gentile for the pertinacious Jew who, schooled by adversity to use his brains to the utmost, outdoes him in business".[305] In The Jewish Chronicle he wrote in 1932, "In every country you can find rabid people who have a phobia against Jews, Jesuits, Armenians, Negroes, Freemasons, Irishmen, or simply foreigners as such. Political parties are not above exploiting these fears and jealousies."[306]

In 1903 Shaw joined in a controversy about vaccination against smallpox. He called vaccination "a peculiarly filthy piece of witchcraft";[307] in his view immunisation campaigns were a cheap and inadequate substitute for a decent programme of housing for the poor, which would, he declared, be the means of eradicating smallpox and other infectious diseases.[30] Less contentiously, Shaw was keenly interested in transport; Laurence observed in 1992 a need for a published study of Shaw's interest in "bicycling, motorbikes, automobiles, and planes, climaxing in his joining the Interplanetary Society in his nineties".[308] Shaw published articles on travel, took photographs of his journeys, and submitted notes to the Royal Automobile Club.[308]

Shaw strove throughout his adult life to be referred to as "Bernard Shaw" rather than "George Bernard Shaw", but confused matters by continuing to use his full initials—G.B.S.—as a by-line, and often signed himself "G. Bernard Shaw".[309] He left instructions in his will that his executor (the Public Trustee) was to license publication of his works only under the name Bernard Shaw.[7] Shaw scholars including Ervine, Judith Evans, Holroyd, Laurence and Weintraub, and many publishers have respected Shaw's preference, although the Cambridge University Press was among the exceptions with its 1988 Cambridge Companion to George Bernard Shaw.[257]

Legacy and influence[edit]
Theatrical[edit]
Shaw, arguably the most important English-language playwright after Shakespeare, produced an immense oeuvre, of which at least half a dozen plays remain part of the world repertoire. ... Academically unfashionable, of limited influence even in areas such as Irish drama and British political theatre where influence might be expected, Shaw's unique and unmistakable plays keep escaping from the safely dated category of period piece to which they have often been consigned.
Oxford Encyclopedia of Theatre (2003)[240]
Shaw did not found a school of dramatists as such, but Crawford asserts that today "we recognise [him] as second only to Shakespeare in the British theatrical tradition ... the proponent of the theater of ideas" who struck a death-blow to 19th-century melodrama.[310] According to Laurence, Shaw pioneered "intelligent" theatre, in which the audience was required to think, thereby paving the way for the new breeds of twentieth-century playwrights from Galsworthy to Pinter.[311]

Crawford lists numerous playwrights whose work owes something to that of Shaw. Among those active in Shaw's lifetime he includes Noël Coward, who based his early comedy The Young Idea on You Never Can Tell and continued to draw on the older man's works in later plays.[312][313] T. S. Eliot, by no means an admirer of Shaw, admitted that the epilogue of Murder in the Cathedral, in which Becket's slayers explain their actions to the audience, might have been influenced by Saint Joan.[314] The critic Eric Bentley comments that Eliot's later play The Confidential Clerk "had all the earmarks of Shavianism ... without the merits of the real Bernard Shaw".[315] Among more recent British dramatists, Crawford marks Tom Stoppard as "the most Shavian of contemporary playwrights";[316] Shaw's "serious farce" is continued in the works of Stoppard's contemporaries Alan Ayckbourn, Henry Livings and Peter Nichols.[317]


Set of the complete plays of Shaw
Shaw's influence crossed the Atlantic at an early stage. Bernard Dukore notes that he was successful as a dramatist in America ten years before achieving comparable success in Britain.[318] Among many American writers professing a direct debt to Shaw, Eugene O'Neill became an admirer at the age of seventeen, after reading The Quintessence of Ibsenism.[319] Other Shaw-influenced American playwrights mentioned by Dukore are Elmer Rice, for whom Shaw "opened doors, turned on lights, and expanded horizons";[320] William Saroyan, who empathised with Shaw as "the embattled individualist against the philistines";[321] and S. N. Behrman, who was inspired to write for the theatre after attending a performance of Caesar and Cleopatra: "I thought it would be agreeable to write plays like that".[322]

Assessing Shaw's reputation in a 1976 critical study, T. F. Evans described Shaw as unchallenged in his lifetime and since as the leading English-language dramatist of the (twentieth) century, and as a master of prose style.[323] The following year, in a contrary assessment, the playwright John Osborne castigated The Guardian's theatre critic Michael Billington for referring to Shaw as "the greatest British dramatist since Shakespeare". Osborne responded that Shaw "is the most fraudulent, inept writer of Victorian melodramas ever to gull a timid critic or fool a dull public".[324] Despite this hostility, Crawford sees the influence of Shaw in some of Osborne's plays, and concludes that though the latter's work is neither imitative nor derivative, these affinities are sufficient to classify Osborne as an inheritor of Shaw.[316]

In a 1983 study, R. J. Kaufmann suggests that Shaw was a key forerunner—"godfather, if not actually finicky paterfamilias"—of the Theatre of the Absurd.[325] Two further aspects of Shaw's theatrical legacy are noted by Crawford: his opposition to stage censorship, which was finally ended in 1968, and his efforts which extended over many years to establish a National Theatre.[317] Shaw's short 1910 play The Dark Lady of the Sonnets, in which Shakespeare pleads with Queen Elizabeth I for the endowment of a state theatre, was part of this campaign.[326]

Writing in The New Statesman in 2012 Daniel Janes commented that Shaw's reputation had declined by the time of his 150th anniversary in 2006 but had recovered considerably. In Janes's view, the many current revivals of Shaw's major works showed the playwright's "almost unlimited relevance to our times".[327] In the same year, Mark Lawson wrote in The Guardian that Shaw's moral concerns engaged present-day audiences, and made him—like his model, Ibsen—one of the most popular playwrights in contemporary British theatre.[328]

The Shaw Festival in Niagara-on-the-Lake, Ontario, Canada is the second largest repertory theatre company in North America.[329] It produces plays by or written during the lifetime of Shaw as well as some contemporary works.

General[edit]
In the 1940s the author Harold Nicolson advised the National Trust not to accept the bequest of Shaw's Corner, predicting that Shaw would be totally forgotten within fifty years.[330] In the event, Shaw's broad cultural legacy, embodied in the widely used term "Shavian", has endured and is nurtured by Shaw Societies in various parts of the world. The original society was founded in London in 1941 and survives; it organises meetings and events, and publishes a regular bulletin The Shavian. The Shaw Society of America began in June 1950; it foundered in the 1970s but its journal, adopted by Penn State University Press, continued to be published as Shaw: The Annual of Bernard Shaw Studies until 2004. A second American organisation, founded in 1951 as "The Bernard Shaw Society", remains active as of 2016. The International Shaw Society was founded in 2002 and regularly sponsors Shaw symposia and conferences in Canada, the US, and other countries. More recent societies have been established in Japan and India.[331]

Besides his collected music criticism, Shaw has left a varied musical legacy, not all of it of his choosing. Despite his dislike of having his work adapted for the musical theatre ("my plays set themselves to a verbal music of their own")[332] two of his plays were turned into musical comedies: Arms and the Man was the basis of The Chocolate Soldier in 1908, with music by Oscar Straus, and Pygmalion was adapted in 1956 as My Fair Lady with book and lyrics by Alan Jay Lerner and music by Frederick Loewe.[67] Although he had a high regard for Elgar, Shaw turned down the composer's request for an opera libretto, but played a major part in persuading the BBC to commission Elgar's Third Symphony, and was the dedicatee of The Severn Suite (1930).[67][333]

The substance of Shaw's political legacy is uncertain. In 1921 Shaw's erstwhile collaborator William Archer, in a letter to the playwright, wrote: "I doubt if there is any case of a man so widely read, heard, seen, and known as yourself, who has produced so little effect on his generation."[334] Margaret Cole, who considered Shaw the greatest writer of his age, professed never to have understood him. She thought he worked "immensely hard" at politics, but essentially, she surmises, it was for fun—"the fun of a brilliant artist".[335] After Shaw's death, Pearson wrote: "No one since the time of Tom Paine has had so definite an influence on the social and political life of his time and country as Bernard Shaw."[334]

In its obituary tribute to Shaw, The Times Literary Supplement concluded:

He was no originator of ideas. He was an insatiable adopter and adapter, an incomparable prestidigitator with the thoughts of the forerunners. Nietzsche, Samuel Butler (Erewhon), Marx, Shelley, Blake, Dickens, William Morris, Ruskin, Beethoven and Wagner all had their applications and misapplications. By bending to their service all the faculties of a powerful mind, by inextinguishable wit, and by every artifice of argument, he carried their thoughts as far as they would reach—so far beyond their sources that they came to us with the vitality of the newly created.[336]

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You searched for

"YOUR NEXT" in the KJV Bible

Related words: 

You   Your   Yours   Yourselves   Youward   

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1,342 Instances   -   Page 1 of 45   -   Sort by Book Order   -   Feedback

Acts 20:15chapter context similar meaning copy save

And we sailed thence, and came the next day over against Chios; and the next day we arrived at Samos, and tarried at Trogyllium; and the next day we came to Miletus.

Nehemiah 3:2chapter context similar meaning copy save

And next unto him builded the men of Jericho. And next to them builded Zaccur the son of Imri.

Nehemiah 3:10chapter context similar meaning copy save

And next unto them repaired Jedaiah the son of Harumaph, even over against his house. And next unto him repaired Hattush the son of Hashabniah.

Nehemiah 3:4chapter context similar meaning copy save

And next unto them repaired Meremoth the son of Urijah, the son of Koz. And nextunto them repaired Meshullam the son of Berechiah, the son of Meshezabeel. And next unto them repaired Zadok the son of Baana.

Nehemiah 3:8chapter context similar meaning copy save

Next unto him repaired Uzziel the son of Harhaiah, of the goldsmiths. Next unto him also repaired Hananiah the son of one of the apothecaries, and they fortified Jerusalem unto the broad wall.

Deuteronomy 12:6chapter context similar meaning copy save

And thither ye shall bring your burnt offerings, and your sacrifices, and your tithes, and heave offerings of your hand, and your vows, and your freewill offerings, and the firstlings of your herds and of your flocks:

Exodus 12:4chapter context similar meaning copy save

And if the household be too little for the lamb, let him and his neighbour next unto his house take it according to the number of the souls; every man according to his eating shall make your count for the lamb.

Deuteronomy 12:12chapter context similar meaning copy save

And ye shall rejoice before the LORD your God, ye, and your sons, and yourdaughters, and your menservants, and your maidservants, and the Levite that is within your gates; forasmuch as he hath no part nor inheritance with you.

Deuteronomy 29:10chapter context similar meaning copy save

Ye stand this day all of you before the LORD your God; your captains of your tribes, your elders, and your officers, with all the men of Israel,

Numbers 29:39chapter context similar meaning copy save

These things ye shall do unto the LORD in your set feasts, beside your vows, and your freewill offerings, for your burnt offerings, and for your meat offerings, and for your drink offerings, and for your peace offerings.

Numbers 10:10chapter context similar meaning copy save

Also in the day of your gladness, and in your solemn days, and in the beginnings of your months, ye shall blow with the trumpets over your burnt offerings, and over the sacrifices of your peace offerings; that they may be to you for a memorial before your God: I am the LORD your God.

Jeremiah 27:9chapter context similar meaning copy save

Therefore hearken not ye to your prophets, nor to your diviners, nor to yourdreamers, nor to your enchanters, nor to your sorcerers, which speak unto you, saying, Ye shall not serve the king of Babylon:

Isaiah 59:3chapter context similar meaning copy save

For your hands are defiled with blood, and your fingers with iniquity; your lips have spoken lies, your tongue hath muttered perverseness.

Exodus 12:11chapter context similar meaning copy save

And thus shall ye eat it; with your loins girded, your shoes on your feet, and yourstaff in your hand; and ye shall eat it in haste: it is the LORD'S passover.

Deuteronomy 11:18chapter context similar meaning copy save

Therefore shall ye lay up these my words in your heart and in your soul, and bind them for a sign upon your hand, that they may be as frontlets between your eyes.

John 1:35chapter context similar meaning copy save

Again the next day after John stood, and two of his disciples;

Isaiah 1:7chapter context similar meaning copy save

Your country is desolate, your cities are burned with fire: your land, strangers devour it in your presence, and it is desolate, as overthrown by strangers.

Ezekiel 36:31chapter context similar meaning copy save

Then shall ye remember your own evil ways, and your doings that were not good, and shall lothe yourselves in your own sight for your iniquities and for yourabominations.

1 Samuel 10:19chapter context similar meaning copy save

And ye have this day rejected your God, who himself saved you out of all youradversities and your tribulations; and ye have said unto him, Nay, but set a king over us. Now therefore present yourselves before the LORD by your tribes, and by your thousands.

1 Samuel 8:16chapter context similar meaning copy save

And he will take your menservants, and your maidservants, and your goodliest young men, and your asses, and put them to his work.

Ezekiel 24:21chapter context similar meaning copy save

Speak unto the house of Israel, Thus saith the Lord GOD; Behold, I will profane my sanctuary, the excellency of your strength, the desire of your eyes, and that which your soul pitieth; and your sons and your daughters whom ye have left shall fall by the sword.

Ezekiel 24:23chapter context similar meaning copy save

And your tires shall be upon your heads, and your shoes upon your feet: ye shall not mourn nor weep; but ye shall pine away for your iniquities, and mourn one toward another.

Acts 16:11chapter context similar meaning copy save

Therefore loosing from Troas, we came with a straight course to Samothracia, and the next day to Neapolis;

Ezekiel 6:4chapter context similar meaning copy save

And your altars shall be desolate, and your images shall be broken: and I will cast down your slain men before your idols.

Nehemiah 4:14chapter context similar meaning copy save

And I looked, and rose up, and said unto the nobles, and to the rulers, and to the rest of the people, Be not ye afraid of them: remember the Lord, which is great and terrible, and fight for your brethren, your sons, and your daughters, your wives, and your houses.

Jeremiah 2:30chapter context similar meaning copy save

In vain have I smitten your children; they received no correction: your own sword hath devoured your prophets, like a destroying lion.

Deuteronomy 3:19chapter context similar meaning copy save

But your wives, and your little ones, and your cattle, (for I know that ye have much cattle,) shall abide in your cities which I have given you;

Leviticus 26:30chapter context similar meaning copy save

And I will destroy your high places, and cut down your images, and cast yourcarcases upon the carcases of your idols, and my soul shall abhor you.

Matthew 5:16chapter context similar meaning copy save

Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.

Deuteronomy 12:11chapter context similar meaning copy save

Then there shall be a place which the LORD your God shall choose to cause his name to dwell there; thither shall ye bring all that I command you; your burnt offerings, and your sacrifices, your tithes, and the heave offering of your hand, and all yourchoice vows which ye vow unto the LORD:

 

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You searched for

"DUST" in the KJV Bible

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102 Instances   -   Page 1 of 4   -   Sort by Book Order   -   Feedback

Ecclesiastes 3:20chapter context similar meaning copy save

All go unto one place; all are of the dust, and all turn to dust again.

Genesis 13:16chapter context similar meaning copy save

And I will make thy seed as the dust of the earth: so that if a man can number the dust of the earth, then shall thy seed also be numbered.

Deuteronomy 9:21chapter context similar meaning copy save

And I took your sin, the calf which ye had made, and burnt it with fire, and stamped it, and ground it very small, even until it was as small as dust: and I cast the dustthereof into the brook that descended out of the mount.

Genesis 3:19chapter context similar meaning copy save

In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return.

Exodus 8:17chapter context similar meaning copy save

And they did so; for Aaron stretched out his hand with his rod, and smote the dustof the earth, and it became lice in man, and in beast; all the dust of the land became lice throughout all the land of Egypt.

Isaiah 29:4chapter context similar meaning copy save

And thou shalt be brought down, and shalt speak out of the ground, and thy speech shall be low out of the dust, and thy voice shall be, as of one that hath a familiar spirit, out of the ground, and thy speech shall whisper out of the dust.

Psalms 103:14chapter context similar meaning copy save

For he knoweth our frame; he remembereth that we are dust.

Lamentations 3:29chapter context similar meaning copy save

He putteth his mouth in the dust; if so be there may be hope.

Job 39:14chapter context similar meaning copy save

Which leaveth her eggs in the earth, and warmeth them in dust,

Job 40:13chapter context similar meaning copy save

Hide them in the dust together; and bind their faces in secret.

Job 16:15chapter context similar meaning copy save

I have sewed sackcloth upon my skin, and defiled my horn in the dust.

Psalms 119:25chapter context similar meaning copy save

DALETH. My soul cleaveth unto the dust: quicken thou me according to thy word.

Psalms 102:14chapter context similar meaning copy save

For thy servants take pleasure in her stones, and favour the dust thereof.

Acts 13:51chapter context similar meaning copy save

But they shook off the dust of their feet against them, and came unto Iconium.

Job 42:6chapter context similar meaning copy save

Wherefore I abhor myself, and repent in dust and ashes.

Job 27:16chapter context similar meaning copy save

Though he heap up silver as the dust, and prepare raiment as the clay;

Job 28:6chapter context similar meaning copy save

The stones of it are the place of sapphires: and it hath dust of gold.

Job 30:19chapter context similar meaning copy save

He hath cast me into the mire, and I am become like dust and ashes.

Job 38:38chapter context similar meaning copy save

When the dust groweth into hardness, and the clods cleave fast together?

Job 34:15chapter context similar meaning copy save

All flesh shall perish together, and man shall turn again unto dust.

Job 7:5chapter context similar meaning copy save

My flesh is clothed with worms and clods of dust; my skin is broken, and become loathsome.

Psalms 78:27chapter context similar meaning copy save

He rained flesh also upon them as dust, and feathered fowls like as the sand of the sea:

Job 5:6chapter context similar meaning copy save

Although affliction cometh not forth of the dust, neither doth trouble spring out of the ground;

Psalms 22:15chapter context similar meaning copy save

My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death.

Job 10:9chapter context similar meaning copy save

Remember, I beseech thee, that thou hast made me as the clay; and wilt thou bring me into dust again?

Job 17:16chapter context similar meaning copy save

They shall go down to the bars of the pit, when our rest together is in the dust.

Job 4:19chapter context similar meaning copy save

How much less in them that dwell in houses of clay, whose foundation is in the dust, which are crushed before the moth?

Acts 22:23chapter context similar meaning copy save

And as they cried out, and cast off their clothes, and threw dust into the air,

Luke 9:5chapter context similar meaning copy save

And whosoever will not receive you, when ye go out of that city, shake off the very dust from your feet for a testimony against them.

Micah 1:10chapter context similar meaning copy save

Declare ye it not at Gath, weep ye not at all: in the house of Aphrah roll thyself in the dust.

 

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You searched for

"CERTAIN" in the KJV Bible

Related words: 

Certainly   Certainty   

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194 Instances   -   Page 1 of 7   -   Sort by Book Order   -   Feedback

Luke 10:38chapter context similar meaning copy save

Now it came to pass, as they went, that he entered into a certain village: and a certain woman named Martha received him into her house.

Acts 16:1chapter context similar meaning copy save

Then came he to Derbe and Lystra: and, behold, a certain disciple was there, named Timotheus, the son of a certain woman, which was a Jewess, and believed; but his father was a Greek:

Acts 27:26chapter context similar meaning copy save

Howbeit we must be cast upon a certain island.

Luke 15:11chapter context similar meaning copy save

And he said, A certain man had two sons:

Mark 5:25chapter context similar meaning copy save

And a certain woman, which had an issue of blood twelve years,

Ezekiel 14:1chapter context similar meaning copy save

Then came certain of the elders of Israel unto me, and sat before me.

Luke 21:2chapter context similar meaning copy save

And he saw also a certain poor widow casting in thither two mites.

Matthew 9:3chapter context similar meaning copy save

And, behold, certain of the scribes said within themselves, This man blasphemeth.

Daniel 3:8chapter context similar meaning copy save

Wherefore at that time certain Chaldeans came near, and accused the Jews.

Acts 5:1chapter context similar meaning copy save

But a certain man named Ananias, with Sapphira his wife, sold a possession,

John 12:20chapter context similar meaning copy save

And there were certain Greeks among them that came up to worship at the feast:

Luke 14:2chapter context similar meaning copy save

And, behold, there was a certain man before him which had the dropsy.

Luke 14:16chapter context similar meaning copy save

Then said he unto him, A certain man made a great supper, and bade many:

Matthew 22:2chapter context similar meaning copy save

The kingdom of heaven is like unto a certain king, which made a marriage for his son,

Luke 18:18chapter context similar meaning copy save

And a certain ruler asked him, saying, Good Master, what shall I do to inherit eternal life?

Matthew 18:23chapter context similar meaning copy save

Therefore is the kingdom of heaven likened unto a certain king, which would take account of his servants.

Hebrews 10:27chapter context similar meaning copy save

But a certain fearful looking for of judgment and fiery indignation, which shall devour the adversaries.

Luke 19:12chapter context similar meaning copy save

He said therefore, A certain nobleman went into a far country to receive for himself a kingdom, and to return.

Luke 12:16chapter context similar meaning copy save

And he spake a parable unto them, saying, The ground of a certain rich man brought forth plentifully:

Acts 27:16chapter context similar meaning copy save

And running under a certain island which is called Clauda, we had much work to come by the boat:

Luke 24:22chapter context similar meaning copy save

Yea, and certain women also of our company made us astonished, which were early at the sepulchre;

John 11:1chapter context similar meaning copy save

Now a certain man was sick, named Lazarus, of Bethany, the town of Mary and her sister Martha.

Mark 14:57chapter context similar meaning copy save

And there arose certain, and bare false witness against him, saying,

Luke 20:39chapter context similar meaning copy save

Then certain of the scribes answering said, Master, thou hast well said.

Luke 17:12chapter context similar meaning copy save

And as he entered into a certain village, there met him ten men that were lepers, which stood afar off:

Luke 18:35chapter context similar meaning copy save

And it came to pass, that as he was come nigh unto Jericho, a certain blind man sat by the way side begging:

John 5:5chapter context similar meaning copy save

And a certain man was there, which had an infirmity thirty and eight years.

Mark 2:6chapter context similar meaning copy save

But there were certain of the scribes sitting there, and reasoning in their hearts,

1 Timothy 6:7chapter context similar meaning copy save

For we brought nothing into this world, and it is certain we can carry nothing out.

Mark 11:5chapter context similar meaning copy save

And certain of them that stood there said unto them, What do ye, loosing the colt?

 

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You searched for

"ROCK" in the KJV Bible

Related words: 

Rocks   

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106 Instances   -   Page 1 of 4   -   Sort by Book Order   -   Feedback

Deuteronomy 32:31chapter context similar meaning copy save

For their rock is not as our Rock, even our enemies themselves being judges.

Numbers 20:10chapter context similar meaning copy save

And Moses and Aaron gathered the congregation together before the rock, and he said unto them, Hear now, ye rebels; must we fetch you water out of this rock?

2 Samuel 22:47chapter context similar meaning copy save

The LORD liveth; and blessed be my rock; and exalted be the God of the rock of my salvation.

Judges 20:47chapter context similar meaning copy save

But six hundred men turned and fled to the wilderness unto the rock Rimmon, and abode in the rock Rimmon four months.

Job 39:28chapter context similar meaning copy save

She dwelleth and abideth on the rock, upon the crag of the rock, and the strong place.

1 Corinthians 10:4chapter context similar meaning copy save

And did all drink the same spiritual drink: for they drank of that spiritual Rock that followed them: and that Rock was Christ.

Exodus 17:6chapter context similar meaning copy save

Behold, I will stand before thee there upon the rock in Horeb; and thou shalt smite the rock, and there shall come water out of it, that the people may drink. And Moses did so in the sight of the elders of Israel.

Luke 6:48chapter context similar meaning copy save

He is like a man which built an house, and digged deep, and laid the foundation on a rock: and when the flood arose, the stream beat vehemently upon that house, and could not shake it: for it was founded upon a rock.

2 Chronicles 25:12chapter context similar meaning copy save

And other ten thousand left alive did the children of Judah carry away captive, and brought them unto the top of the rock, and cast them down from the top of the rock, that they all were broken in pieces.

Isaiah 48:21chapter context similar meaning copy save

And they thirsted not when he led them through the deserts: he caused the waters to flow out of the rock for them: he clave the rock also, and the waters gushed out.

Deuteronomy 32:13chapter context similar meaning copy save

He made him ride on the high places of the earth, that he might eat the increase of the fields; and he made him to suck honey out of the rock, and oil out of the flinty rock;

1 Samuel 14:4chapter context similar meaning copy save

And between the passages, by which Jonathan sought to go over unto the Philistines' garrison, there was a sharp rock on the one side, and a sharp rock on the other side: and the name of the one was Bozez, and the name of the other Seneh.

Numbers 20:8chapter context similar meaning copy save

Take the rod, and gather thou the assembly together, thou, and Aaron thy brother, and speak ye unto the rock before their eyes; and it shall give forth his water, and thou shalt bring forth to them water out of the rock: so thou shalt give the congregation and their beasts drink.

Psalms 62:6chapter context similar meaning copy save

He only is my rock and my salvation: he is my defence; I shall not be moved.

Psalms 62:2chapter context similar meaning copy save

He only is my rock and my salvation; he is my defence; I shall not be greatly moved.

Psalms 92:15chapter context similar meaning copy save

To shew that the LORD is upright: he is my rock, and there is no unrighteousness in him.

Psalms 89:26chapter context similar meaning copy save

He shall cry unto me, Thou art my father, my God, and the rock of my salvation.

Job 29:6chapter context similar meaning copy save

When I washed my steps with butter, and the rock poured me out rivers of oil;

Psalms 78:16chapter context similar meaning copy save

He brought streams also out of the rock, and caused waters to run down like rivers.

Job 19:24chapter context similar meaning copy save

That they were graven with an iron pen and lead in the rock for ever!

Psalms 31:2chapter context similar meaning copy save

Bow down thine ear to me; deliver me speedily: be thou my strong rock, for an house of defence to save me.

Psalms 94:22chapter context similar meaning copy save

But the LORD is my defence; and my God is the rock of my refuge.

Deuteronomy 32:37chapter context similar meaning copy save

And he shall say, Where are their gods, their rock in whom they trusted,

Exodus 33:21chapter context similar meaning copy save

And the LORD said, Behold, there is a place by me, and thou shalt stand upon a rock:

Luke 8:6chapter context similar meaning copy save

And some fell upon a rock; and as soon as it was sprung up, it withered away, because it lacked moisture.

Romans 9:33chapter context similar meaning copy save

As it is written, Behold, I lay in Sion a stumblingstone and rock of offence: and whosoever believeth on him shall not be ashamed.

Job 28:9chapter context similar meaning copy save

He putteth forth his hand upon the rock; he overturneth the mountains by the roots.

Matthew 7:24chapter context similar meaning copy save

Therefore whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man, which built his house upon a rock:

Job 24:8chapter context similar meaning copy save

They are wet with the showers of the mountains, and embrace the rock for want of a shelter.

Psalms 105:41chapter context similar meaning copy save

He opened the rock, and the waters gushed out; they ran in the dry places like a river.

 

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