Bernard Shaw

1. Bernard Shaw • George Bernard Shaw was born in Dublin in 1856, but removed to London in 1876. he began his career as a novelist, then joined the Fabian socialist movement and , like Wells, devoted himself to social propaganda. Since his novels did not sell and since he could find no commercial producer for his early plays, he earned his living as a critic of music, art and the theatre. Later Shaw came under the influence of Henry George and William Morris and took an interest in socialist theories. Shaw was strongly against the credo of “art for art’s sake” held by those decadent aesthetic artists.

2. Shaw’s works and creation: • 1.The early period • A. The works • a. Shaw began his literary career by writing novels the best known is Cashel Byron's Profession . • b. Shaw directed his attacks on the Neo-Romantic tradition and the fashionable drawing-room drama. In a collection Our Theaters in the Nineties .

3. c. His first play is Widower's Houses . • Shaw's play ,Candida ,was produced and since then ,Shaw's position as the leading playwright of his time was established . • d. Widowers' House and Mrs. Warren's Profession can be regarded as the typical representatives of Shaw's early plays . • B. The theme : • His early plays were mainly concerned with social problems and directed towards the criticism of the contemporary social ,economic ,moral and religious evils.

4. 2.The middle period : • A. The miscellaneous subjects :There are history plays ,the idea of "Life Force " and other subjects . • B. The works : • a.The history plays includ Caesar and Cleopatra and St.Joan b. Shaw also produced several plays , exploring his idea of "Life Force ". The typical examples of this group are Man and Superman and Back to Methuselah . c.Shaw wrote plays on miscellaneous subjects : The Apple Cart is about Politics ;John Bull 's other Island is about racial problems ; Pygmalion is about culture and art .

5. 3.The later period : • A. The features :In the 1930s, Shaw continued his dramatic career and wrote several plays ,but his satire became weaker and less effectual . • B.The works :Too True to Be Good is better play of the later period .

6. The artistic features : • 1.The problem plays : • As a realistic dramatist ,he took the modern social issues as his subjects they can be termed as problem plays . • 2.The character-portrayal:Shaw's characterization is that he makes the trick of showing up one character vividly at the expense of another . Another feature is that Shaw's Characters are the representatives of ideas , points of view .

7. 3.The inversion 倒置of the situation :Much of Shavian 萧伯纳的 drama is constructed around the inversion of a conventional theatrical situation. The inversion is an integral part of an interpretation of life .Inversion is also used in character portrayal to achieve comic effects .

8. 4. The vitality活力 of the talk It is the vitality of the talk that takes primacy over mere story . Action is reduced to minimum ,while the dialogue and the interplay of the minds of the characters maintain the interest of the audience . Shaw held that art should serve social purposes by reflecting human life, revealing social contradictions and educating the common people.

9. In his long dramatic career, Shaw wrote more than 50 plays, touching upon a variety of subjects. His early plays were mainly concerned with social problems and directed towards the criticism of the contemporary social, economic, moral and religious evils.

10. point of view • 　　（1）Shaw was very much impressed by the Norwegian dramatist Ibsen. • 　　（2）He opposed the idea of “art for art's sake”, maintaining that “the theatre must turn from the drama of romance and sensuality to the drama of edification”. • 　　（3）He sought from the beginning to expose the hypocrisy, stupidity, and conventionality of the English way of life as he saw it with a rich wit and lively sense of comedy. • 　　（4）His heroes and heroines are always unheroic, unromantic, common sense people, and he used them to convey ideas.

11. style • 　　（1）Shaw is a critical realist writer. His plays bitterly criticize and attack English bourgeois society. • 　　（2）His plays deal with contemporary social problems. He portrays his situations frankly and honestly, intending to shock his audiences with a new view of society. • 　　（3）He is a humorist and manages to produce amusing and laughable situations.

12. The Analysis of Drama Pygmalion

13. Read the selected reading • Answer the following questions: • 1. why does the Greek diplomatist pretend that he cannot speak nor understand English? 2. What do people at the party think of Eliza? Why do they stare at her so intently? 3. This scene shows that Eliza, now is admired by people for her way of speaking. What do you think of this? Do you think that learning a language can change a person?

14. 原来古希腊赛浦洛斯国的国王匹克梅梁（皮格马里翁）是一个大雕塑家，此公为人苛峻，因厌恶国中女子轻浮淫逸而决定独身终老。然而出于技痒难熬，他用一根象牙雕成了一个姿容曼妙的少女。匹克梅梁即刻就爱上了自己这尊栩栩如生的塑像。他请求美神阿芙洛狄忒赐予塑像生命。美神让其如愿以偿，塑像复活，匹克梅梁喜得佳偶，于是欣然背弃初衷，甘心做围城中一员。原来古希腊赛浦洛斯国的国王匹克梅梁（皮格马里翁）是一个大雕塑家，此公为人苛峻，因厌恶国中女子轻浮淫逸而决定独身终老。然而出于技痒难熬，他用一根象牙雕成了一个姿容曼妙的少女。匹克梅梁即刻就爱上了自己这尊栩栩如生的塑像。他请求美神阿芙洛狄忒赐予塑像生命。美神让其如愿以偿，塑像复活，匹克梅梁喜得佳偶，于是欣然背弃初衷，甘心做围城中一员。

15. 而萧伯纳的《窈窕淑女》剧情梗概则如下：英国皇家学会的语言学教授息金斯Higgins和朋友辟克林Pickering打赌，他能用六个月时间将一个粗俗不文的底层女子培养成一个公爵夫人。经过如期的潜心练习，目不识丁的卖花女伊莉莎Eliza果然被息金斯教导成一个风华绝代的窈窕淑女。试验大获成功。然而与皮格马里翁的神话原型不同的是，卖花女伊莉莎和语言学教授息金斯虽然难免情愫暗茁，但却终未结成连理。盖因为息金斯是一个比皮格马里翁更尖刻、更顽固到底的独身主义者。而伊莉莎呢，毕竟不是用象牙雕成的不食人间烟火者，她是街坊市井里跌模滚打出来的肉身凡胎，她对男子爱慕和崇拜的渴求远远比一根象牙所仰承艺术家的恩宠要来得多。伊莉莎决心要嫁给追求她的中产阶级破落户弗莱第。而萧伯纳的《窈窕淑女》剧情梗概则如下：英国皇家学会的语言学教授息金斯Higgins和朋友辟克林Pickering打赌，他能用六个月时间将一个粗俗不文的底层女子培养成一个公爵夫人。经过如期的潜心练习，目不识丁的卖花女伊莉莎Eliza果然被息金斯教导成一个风华绝代的窈窕淑女。试验大获成功。然而与皮格马里翁的神话原型不同的是，卖花女伊莉莎和语言学教授息金斯虽然难免情愫暗茁，但却终未结成连理。盖因为息金斯是一个比皮格马里翁更尖刻、更顽固到底的独身主义者。而伊莉莎呢，毕竟不是用象牙雕成的不食人间烟火者，她是街坊市井里跌模滚打出来的肉身凡胎，她对男子爱慕和崇拜的渴求远远比一根象牙所仰承艺术家的恩宠要来得多。伊莉莎决心要嫁给追求她的中产阶级破落户弗莱第。

16. 社会的阶级分野是建立在经济能力上的。一旦社会等级确立之后，那自命不凡的所谓上层便会构筑藩篱和沟堑，用以界定和标识他们的阶级优越感。在萧伯纳那个时代，当权得势的是中产阶级（布尔乔亚）。中产阶级比之中世纪的贵族缺少法理上的特权，他们用以构筑阶级优越感的是中产阶级的所谓知识教养和道德标准，所谓上流社会的交际规则和礼仪风度。也就是剧中男一号息金斯教授所说的“资产阶级言语间的那种故意的“h”音”。中产阶级用衣着和谈吐上的时髦让平头百姓望尘莫及，以此拉大距离并小心翼翼地保持它。中产阶级自卫的方法是不越规制，稳守边线不过火，可以幽默俏皮嘲谑讽刺，但“言行适度”这个词常常被中层阶级挂在嘴边奉为圭臬。中层阶级的全部教养就在于从容、优雅、不走极端。中产阶级的所谓教养使其自具格调，但这个行为信条也使中层阶级僵化，显得颟顸可笑。社会的阶级分野是建立在经济能力上的。一旦社会等级确立之后，那自命不凡的所谓上层便会构筑藩篱和沟堑，用以界定和标识他们的阶级优越感。在萧伯纳那个时代，当权得势的是中产阶级（布尔乔亚）。中产阶级比之中世纪的贵族缺少法理上的特权，他们用以构筑阶级优越感的是中产阶级的所谓知识教养和道德标准，所谓上流社会的交际规则和礼仪风度。也就是剧中男一号息金斯教授所说的“资产阶级言语间的那种故意的“h”音”。中产阶级用衣着和谈吐上的时髦让平头百姓望尘莫及，以此拉大距离并小心翼翼地保持它。中产阶级自卫的方法是不越规制，稳守边线不过火，可以幽默俏皮嘲谑讽刺，但“言行适度”这个词常常被中层阶级挂在嘴边奉为圭臬。中层阶级的全部教养就在于从容、优雅、不走极端。中产阶级的所谓教养使其自具格调，但这个行为信条也使中层阶级僵化，显得颟顸可笑。

17. 易卜生在其诗剧《布朗德》里对中产阶级的行为特征有一个绝妙德描述：易卜生在其诗剧《布朗德》里对中产阶级的行为特征有一个绝妙德描述： • “酒神巴克斯德信徒――是明白的、完整的形象， • 可是醉酒的人――只是一幅漫画。 • 在国内到处走一走吧，听听人们的话―― • 你就知道，在这里每个人都学会了 • 什么都只是一点点――这样是一点， • 那样是一点：星期天在教堂做礼拜有点严肃， • 说到那样风俗的话――就有点固执， • 象在睡觉之前要饱餐一顿，跟我们的父亲和祖父一样！ • 在宴会上有点象热烈的爱国者―― • 因为当时歌声歌唱故乡的岩石和象岩石一样坚强的， • 没有受过奴役的束缚和棍子的，我们的人民； • 在举起酒杯来作种种允诺的时候， • 性情有点大方而又慷慨； • 到清醒的考虑履行不履行它们的时候―― • 就有那么点吝啬起来。 • 但是这一点或是那一点统统只是那么一点点； • 无论是它的美德，或是它的罪行全都没有什么了不起； • 它――是一小点小也如此，大也如此， • 恶也如此，善也如此。顶糟糕的是， • 任何一小点把其余的整个的都败坏了。”

18. 息金斯教授是中产阶级里的异类，他是本阶级的一只牛虻。他桀骜不驯，目空一切，视“所有公爵夫人如街头卖花女”。但拥有息金斯这样的异己分子却是整个中产阶级社会的希望和活力所在。息金斯的可爱之处在于他那种旁若无人的直率。他破坏中产阶级的交际规则，但也更新了布尔乔亚社会那些陈旧因袭的恶俗风气。其实，桀骜不驯的出格言行和作风，某些时候正是那些新交际潮流和新风尚的肇始。你看伊莉莎在息金斯夫人茶会上的一番粗口就让希尔小姐新鲜不已，并跃跃欲试要去效尤尝试。可见，布尔乔亚社会的社交新风正是息金斯这样的中产阶级边缘人引进的。中产阶级因息金斯这类人而得以拓展它的包容圈子，并因善加吸纳而保证了中产阶级的活力不衰，从而可以一直牢牢保持他们的阶级优越感。息金斯教授是中产阶级里的异类，他是本阶级的一只牛虻。他桀骜不驯，目空一切，视“所有公爵夫人如街头卖花女”。但拥有息金斯这样的异己分子却是整个中产阶级社会的希望和活力所在。息金斯的可爱之处在于他那种旁若无人的直率。他破坏中产阶级的交际规则，但也更新了布尔乔亚社会那些陈旧因袭的恶俗风气。其实，桀骜不驯的出格言行和作风，某些时候正是那些新交际潮流和新风尚的肇始。你看伊莉莎在息金斯夫人茶会上的一番粗口就让希尔小姐新鲜不已，并跃跃欲试要去效尤尝试。可见，布尔乔亚社会的社交新风正是息金斯这样的中产阶级边缘人引进的。中产阶级因息金斯这类人而得以拓展它的包容圈子，并因善加吸纳而保证了中产阶级的活力不衰，从而可以一直牢牢保持他们的阶级优越感。

19. 布尔乔亚不是这个社会的唯一成分。对于杜立特尔（卖花女伊丽莎之爹）这样欲望膨胀的社会底层的活跃分子，中产阶级那一套装腔作势的仁义道德可真是害死人的枷锁。老市侩杜立特尔因为息金斯的一句戏言而获得飞来横财。他的阶级地位立刻改观了，成了缙绅之一员。但这个意外的幸运并不使杜立特尔快活：“做了什么！夫人，息金斯教授把咱毁了。咱的快活日子全完了。他把咱给绑起来，送到满口仁义道德的绅士们手里去了。”----啊哈哈-哈-哈，杜立特尔这个人物是《My fairy lady》里最有趣也是最重要的角色。萧伯纳写这个剧本的意图就是借市侩杜立特尔的攸攸之口表达出来的。正如息金斯对辟克林说的：“辟克林，要是我们再多听这个家伙五分钟的唠叨，那我们的一切道德标准都得完蛋！”----息金斯当然深知中产阶级仁义道德是销骨毁人的东西，否则他就不会那么桀骜不驯了，张狂是息金斯的自卫手段，以保护自己不沦落为一个颟顸可笑的布尔乔亚的手段。杜立特尔这个剧本里最有活力的粗胚一旦成为缙绅，那他就算完了，这个粗俗不堪的匹夫就要成为一个喃喃不休的乏味说教者了。

20. 还有伊莉莎，她被息金斯改造成一个贵族小姐之后她还能做什么？她什么都干不了了。既回不到从前上街去卖花糊口，又没有实际的经济基础可依托，可到真正的上流社交圈里施展身手。尤其是她深知在息金斯和辟克林这样的中产阶级中坚面前，她永远也无法摆脱下层贱民的自卑心态。她的出路只能是委身于弗莱第这样的废物，一来可以获得名正言顺的上流身份，以壮底气，二来可以或许就此昂首杀入上流社会的广天阔地。伊莉莎最可能的发展，那就是在《华伦夫人的职业》中未出场的莉兹姨妈。可见中层阶级借仁义道德来掩护的阶级构成异常地驳杂，三教九流，只要他有能耐获取经济能力，他就能挤入所谓的上流阶层。至于敷贴在中产阶级面子上的那一套教养，伊莉莎花六个月就可以学会了，对于这个杜立特尔也很清楚：“咱怕的不是道德讲演。咱可以给他们讲个没完没了，咱也毫不在乎。咱反对的是要咱做个绅士还有伊莉莎，她被息金斯改造成一个贵族小姐之后她还能做什么？她什么都干不了了。既回不到从前上街去卖花糊口，又没有实际的经济基础可依托，可到真正的上流社交圈里施展身手。尤其是她深知在息金斯和辟克林这样的中产阶级中坚面前，她永远也无法摆脱下层贱民的自卑心态。她的出路只能是委身于弗莱第这样的废物，一来可以获得名正言顺的上流身份，以壮底气，二来可以或许就此昂首杀入上流社会的广天阔地。伊莉莎最可能的发展，那就是在《华伦夫人的职业》中未出场的莉兹姨妈。可见中层阶级借仁义道德来掩护的阶级构成异常地驳杂，三教九流，只要他有能耐获取经济能力，他就能挤入所谓的上流阶层。至于敷贴在中产阶级面子上的那一套教养，伊莉莎花六个月就可以学会了，对于这个杜立特尔也很清楚：“咱怕的不是道德讲演。咱可以给他们讲个没完没了，咱也毫不在乎。咱反对的是要咱做个绅士