萧伯纳的英文简介 急
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1856-1950
[爱尔兰]
乔治·萧伯纳（George Bernard Shaw，1856-1950）爱尔兰戏剧家。生于爱尔兰首都都柏林，父亲做过*公务员，后经商失败，酿酒成癖，母亲为此离家去伦敦教授音乐。受母亲熏陶，萧伯纳从小就爱好音乐和绘画。在都柏林美以美教会中学毕业后，因经济拮据未能继续深造，15岁便当了缮写员，后又任会计。1876年多居伦敦母亲处，为《明星报》写音乐评论，给《星期六评论》周报写剧评，并从事新闻工作。
George Bernard Shaw
1856-1950
[Ireland]
George Bernard Shaw (George Bernard Shaw ,1856-1950) Irish playwright. Born in Dublin, Ireland, his father did the Court of the civil service, after business failed, wine became an addiction, the mother left home to go to London for this professor of music. By the mother, nurturing, George Bernard Shaw childhood love of music and painting. Dublin Methodist Episcopal Church, after graating from high school, unable to continue studies e to financial constraints, 15-year-old member of lunch the Shan Xie and later served the accounting. More than 1876 mothers at home in London for the "star," wrote music criticism, to the "Saturday Review" weekly write theater, and engaged in journalism.
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时间：2023-08-05 08:06
萧伯纳，爱尔兰人，生于都柏林。英国剧作家、政论家。1876年移居英国。1879年开始文学活动。1884年参加创建费边社，写了很多有关社会和*的著作，包括费边社宣言，被认为是费边社会主义的主要代表之一。1925年获诺贝尔文学奖。1933年2月17日晨乘“不列颠皇后”号轮船到上海。宋庆龄偕两位朋友乘小轮至吴淞登轮往访。在轮船的餐厅里与宋等就中国和世界的问题进行了广泛的交谈，甚为欢洽。后登岸赴宋寓所，宋设宴招待。1950年11月2日在赫特福德郡埃奥特圣劳伦斯寓所病逝。著作编为《萧伯纳全集》。
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时间：2023-08-05 08:06
这都放不下了
George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined ecation, marriage, religion, government, health care and class privilege.
He was most angered by the exploitation of the working class, and most of his writings censure that abuse. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of proctive land, and promoting healthy lifestyles.
Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St. Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries he incurred by falling.
He is the only person to have been awarded both a Nobel Prize for Literature (1925) and an Oscar (1938), for his contributions to literature and for his work on the film Pygmalion, respectively.[1] Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honors, but accepted it at his wife's behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English.[2]
George Bernard Shaw was born in Synge Street, Dublin in 1856 to George Carr Shaw (1814–85), whose father was Bernard Shaw, an unsuccessful grain merchant and sometime civil servant, and Lucinda Elizabeth Shaw, née Gurly (1830–1913), a professional singer. He had two sisters, Lucinda Frances (1853–1920), a singer of musical comedy and light opera, and Elinor Agnes (1854–76). George briefly attended the Wesleyan Connexional School, a grammar school operated by the Methodist New Connexion, before moving to a private school near Dalkey and then transferring to Dublin's Central Model School. He ended his formal ecation at the Dublin English Scientific and Commercial Day School. He harbored a lifelong animosity toward schools and teachers, saying: "Schools and schoolmasters, as we have them today, are not popular as places of ecation and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents".[3]
Shaw expressed this attitude in the astringent prologue to Cashel Byron's Profession where young Byron's ecational experience is a fictionalized description of Shaw's own schooldays. Later, he painstakingly detailed the reasons for his aversion to formal ecation in his Treatise on Parents and Children.[4] In brief, he considered the standardized curricula useless, deadening to the spirit and stifling to the intellect. He particularly deplored the use of corporal punishment, which was prevalent in his time.
When his mother left home and followed her voice teacher, George Vandeleur Lee, to London, Shaw was almost sixteen years old. His sisters accompanied their mother[5] but Shaw remained in Dublin with his father, first as a reluctant pupil, then as a clerk in an estate office. He worked efficiently, albeit discontentedly, for several years.[6] In 1876, Shaw joined his mother's London household. She, Vandeleur Lee, and his sister Lucy, provided him with a pound a week while he frequented public libraries and the British Museum reading room where he studied earnestly and began writing novels. He earned his allowance by ghostwriting Vandeleur Lee's music column,[7][8] which appeared in the London Hornet. His novels were rejected, however, so his literary earnings remained negligible until 1885, when he became self-supporting as a critic of the arts.
The front of Shaw's Corner as it stands todayInfluenced by his reading, he became a dedicated Socialist and a charter member of the Fabian Society,[9] a middle class organization established in 1884 to promote the graal spread of socialism by peaceful means.[6] In the course of his political activities he met Charlotte Payne-Townshend, an Irish heiress and fellow Fabian; they married in 1898. In 1906 the Shaws moved into a house, now called Shaw's Corner, in Ayot St. Lawrence, a small village in Hertfordshire; it was to be their home for the remainder of their lives, although they also maintained a residence at 29 Fitzroy Square in London.
Shaw's plays were first performed in the 1890s. By the end of the decade he was an established playwright. He wrote sixty-three plays and his output as novelist, critic, pamphleteer, essayist and private correspondent was prodigious. He is known to have written more than 250,000 letters.[10] Along with Fabian Society members Sidney Webb and Beatrice Webb and Graham Wallas, Shaw founded the London School of Economics and Political Science in 1895 with funding provided by private philanthropy, including a bequest of £20,000 from Henry Hunt Hutchinson to the Fabian Society. One of the libraries at the LSE is named in Shaw's honor; it contains collections of his papers and photographs.[11]
During his final years, Shaw enjoyed attending to the grounds at Shaw's Corner. He died at the age of 94, of renal failure precipitated by injuries incurred by falling while pruning a tree.[12] His ashes, mixed with those of his wife, were scattered along footpaths and around the statue of Saint Joan in their garden.[13]
[edit] Literary works
The International Shaw Society provides a detailed chronological listing of Shaw's writings.[14] See also George Bernard Shaw, Unity Theatre.[15] View Shaw's Works for listings of his novels and plays, with links to their electronic texts, if those exist.
[edit] Work as a critic
Shaw became a critic of the arts when, sponsored by William Archer, he joined the reviewing staff of the Pall Mall Gazette in 1885.[16] There he wrote under the pseudonym "Corno di Bassetto" ("basset horn")—chosen because it sounded European and nobody knew what a corno di basseto was. In a miscellany of other periodicals, including Dramatic Review (1885–86), Our Corner (1885–86), and the Pall Mall Gazette (1885–88) his byline was "GBS".[17] From 1895 to 1898, Shaw was the drama critic for Frank Harris' Saturday Review, in which position he campaigned brilliantly to displace the artificialities and hypocrisies of the Victorian stage with a theater of actuality and thought. His earnings as a critic made him self-supporting as an author and his articles for the Saturday Review made his name well-known.
He had a very high regard for both Irish stage actor Barry Sullivan's and Johnston Forbes-Robertson's Hamlets, but despised John Barrymore's. Barrymore invited him to see a performance of his celebrated Hamlet, and Shaw graciously accepted, but wrote Barrymore a withering letter in which he all but tore the performance to shreds. Even worse, Shaw had seen the play in the company of Barrymore's then-wife, but did not dare voice his true feelings about the performance aloud to her.[18]
Much of Shaw's music criticism, ranging from short comments to the book-length essay The Perfect Wagnerite, extols the work of the German composer Richard Wagner.[19] Wagner worked 25 years composing Der Ring des Nibelungen, a massive four-part musical dramatization drawn from the Teutonic mythology of gods, giants, dwarves and Rhine maidens; Shaw considered it a work of genius and reviewed it in detail. Beyond the music, he saw it as an allegory of social evolution where workers, driven by "the invisible whip of hunger", seek freedom from their wealthy masters. Wagner did have socialistic sympathies, as Shaw carefully points out, but made no such claim about his opus. Conversely, Shaw disparaged Brahms, deriding A German Requiem by saying "it could only have come from the establishment of a first-class undertaker".[20] Although he found Brahms lacking in intellect, he praised his musicality, saying "...nobody can listen to Brahms' natural utterance of the richest absolute music, especially in his chamber compositions, without rejoicing in his natural gift".[19] Shaw's writings about music gained great popularity because they were understandable and fair, as well as pleasantly light-hearted and free of affectation, thus contrasting starkly with the dourly pretentious pedantry of most critiques in that era.[21] All of his music critiques have been collected in Shaw's Music.[22] As a drama critic for the Saturday Review, a post he held from 1895 to 1898, Shaw championed Henrik Ibsen whose realistic plays scandalized the Victorian public. His influential Quintessence of Ibsenism was written in 1891.[23]
[edit] Novels
Shaw wrote five unsuccessful novels at the start of his career between 1879 and 1883. Eventually all were published.
Shaw in 1925, when he was awarded the Nobel Prize for LiteratureThe first to be printed was Cashel Byron's Profession (1886),[24] which was written in 1882. Its eponymous character, Cashel, a rebellious schoolboy with an unsympathetic mother, runs away to Australia where he becomes a famed prizefighter. He returns to England for a boxing match, and falls in love with erudite and wealthy Lydia Carew. Lydia, drawn by sheer animal magnetism, eventually consents to marry despite the disparity of their social positions. This breach of propriety is nullified by the unpresaged discovery that Cashel is of noble lineage and heir to a fortune comparable to Lydia's. With those barriers to happiness removed, the couple settles down to prosaic family life with Lydia dominant; Cashel attains a seat in Parliament. In this novel Shaw first expresses his conviction that proctive land and all other natural resources should belong to everyone in common, rather than being owned and exploited privately. The book was written in the year when Shaw first heard the lectures of Henry George who advocated such reforms.
Written in 1883, An Unsocial Socialist was published in 1887.[25] The tale begins with a hilarious description of student antics at a girl's school then changes focus to a seemingly uncouth laborer who, it soon develops, is really a wealthy gentleman in hiding from his overly affectionate wife. He needs the freedom gained by matrimonial truancy to promote the socialistic cause, to which he is an active convert. Once the subject of socialism emerges, it dominates the story, allowing only space enough in the final chapters to excoriate the idle upper class and allow the erstwhile schoolgirls, in their earliest maturity, to marry suitably.
Love Among the Artists was published in the United States in 1900 and in England in 1914,[26] but it was written in 1881. In the ambiance of chit-chat and frivolity among members of Victorian polite society a youthful Shaw describes his views on the arts, romantic love and the practicalities of matrimony. Dilettantes, he thinks, can love and settle down to marriage, but artists with real genius are too consumed by their work to fit that pattern. The dominant figure in the novel is Owen Jack, a musical genius, somewhat mad and quite bereft of social graces. From an abysmal beginning he rises to great fame and is lionized by socialites despite his unremitting crudity.
The Irrational Knot was written in 1880 and published in 1905.[27] Within a framework of leisure class preoccupations and frivolities Shaw disdains hereditary status and proclaims the nobility of workers. Marriage, as the knot in question, is exemplified by the union of Marian Lind, a lady of the upper class, to Edward Conolly, always a workman but now a magnate, thanks to his invention of an electric motor that makes steam engines obsolete. The marriage soon deteriorates, primarily because Marian fails to rise above the preconceptions and limitations of her social class and is, therefore, unable to share her husband's interests. Eventually she runs away with a man who is her social peer, but he proves himself a scoundrel and abandons her in desperate circumstances. Her husband rescues her and offers to take her back, but she pridefully refuses, convinced she is unworthy and certain that she faces life as a pariah to her family and friends. The preface, written when Shaw was 49, expresses gratitude to his parents for their support ring the lean years while he learned to write and includes details of his early life in London.
Shaw's first novel, Immaturity, was written in 1879 but was the last one to be printed in 1931.[28] It relates tepid romances, minor misfortunes and subed successes in the developing career of Robert Smith, an energetic young Londoner and outspoken agnostic. Condemnation of alcoholic behavior is the prime message in the book, and derives from Shaw's familial memories. This is made clear in the books's preface, which was written by the mature Shaw at the time of its belated publication. The preface is a valuable resource because it provides autobiographical details not otherwise available.
[edit] Short stories
Shaw writing in a notebook at the time of first proction of his play Pygmalion.A collection of Shaw's short stories, The Black Girl in Search of God and Some Lesser Tales, was published in 1934.[29] The Black Girl, an enthusiastic but misguided convert to Christianity, goes searching for God, whom she believes to be an actual person. Written as an allegory, somewhat reminiscent of Bunyan's The Pilgrim's Progress, Shaw uses her adventures to expose flaws and fallacies in the religions of the world. At the story's happy ending, the Black Girl quits her searchings in favor of rearing a family with the aid of a red-haired Irishman who has no metaphysical inclination.
One of the Lesser Tales is The Miraculous Revenge (1885), which relates the misadventures of an alcoholic investigator while he probes the mystery of a graveyard—full of saintly corpses—that migrates across a stream to escape association with the body of a newly buried sinner. The story is so different from Shaw's ordinary style that it is hard to believe he wrote it.
[edit] Plays
The texts of plays by Shaw mentioned in this section, with the dates when they were written and first performed can be found in Complete Plays and Prefaces.[30] Shaw began working on his first play destined for proction, Widowers' Houses, in 1885 in collaboration with critic William Archer, who supplied the structure. Archer decided that Shaw could not write a play, so the project was abandoned. Years later, Shaw tried again and, in 1892, completed the play without collaboration. Widowers' Houses, a scathing attack on slumlords, was first performed at London's Royalty Theatre on 9 December 1892. Shaw would later call it one of his worst works, but he had found his medium. His first significant financial success as a playwright came from Richard Mansfield's American proction of The Devil's Disciple (1897). He went on to write 63 plays, most of them full-length.
Often his plays succeeded in the United States and Germany before they did in London. Although major London proctions of many of his earlier pieces were delayed for years, they are still being performed there. Examples include Mrs. Warren's Profession (1893), Arms and the Man (1894), Candida (1894) and You Never Can Tell (1897).
Shaw's plays, like those of Oscar Wilde, were fraught with incisive humor, which was exceptional among playwrights of the Victorian era; both authors are remembered for their comedy.[31]
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Despite his failure as a novelist in the 1880s, Shaw found himself ring this decade. He became a vegetarian, a socialist, a spellbinding orator, a polemicist, and tentatively a playwright. He became the force behind the newly founded Fabian Society, a middle-class socialist group that aimed at the transformation of English society not through revolution but through “permeation”of the country's intellectual and political life. Shaw involved himself in every aspect of its activities, most visibly as editor of one of the classics of British socialism, Fabian Essays in Socialism, to which he also contributed two sections.
Eventually, in 1885 the drama critic William Archer found Shaw steady journalistic work. His early journalism ranged from book reviews in the Pall Mall Gazette and art criticism in the World to brilliant musical columns in the Star from 1888 to 1890 and in the World from 1890 to 1894. Shaw had a good understanding of music, particularly opera, and he supplemented his knowledge with a brilliance of digression that gives many of his notices a permanent appeal. But Shaw truly began to make his mark when he was recruited by Frank Harris to the Saturday Review as theatre critic ; in that position he used all his wit and polemical powers in a campaign to displace the artificialities and hypocrisies of the Victorian stage with a theatre of vital ideas. He also began writing his own plays.
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