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July 2003 |
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Transferred
to www.oscholars.com
with minor revisions December 2008 |
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The Associate Editor of THE OSCHOLARS with
responsibility for helping with this issue of SHAVINGS was Julie A. Sparks of the Department of
English, University of Arkansas-Monticello. |
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Note: Subscribers to this Journal have their
names printed in bold, and can
be contacted through us at oscholars@netscape.net. |
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1. The Plays
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In this section we
shall try to cover productions of Shaw’s pre-1901 plays, and news of
productions of these (with offers of review) will be most welcome. The
plays are Arms and the Man (1894), Cæsar and Cleopatra (1898),
Candida (1895), Captain Brassbound’s Conversion (1899), The
Devil’s Disciple (1897), The Man of Destiny (1895), Mrs
Warren’s Profession (1893), The Philanderer (1893), Widowers’
Houses (1892), You Never Can Tell (1895). (Dates of
composition, not first performance.) Wilde
is known to have attended the first night of Arms and the Man (20th
April 1894). |
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The Shaw
Season at Niagara-on-the-Lake, Ontario, has been announced. The plays
for 2003 are Widowers’ Houses (15th May to 4th October) and Misalliance (10th
April to 2nd November). |
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Arms and The Man is having a number of outings:
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California
Shakespeare Theater |
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Pendragon
Theatre |
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Texas
Shakespeare Festival |
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Bus Barn
Stage Company |
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The
Devil’s Disciple |
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Mrs Warren’s
Profession |
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This is the Peter
Hall Production, reviewed for us when in London by Joseph Donohue (University of
Massachusetts, Amherst). Barbara Blethyn is succeeded as Mrs Warren by
Twiggy Lawson. It is now touring as follows: |
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Richmond Theatre, Richmond |
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Theatre
Royal, Newcastle upon Tyne |
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Theatre
Royal, Brighton |
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Milton
Keynes Theatre, Milton Keynes |
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Twentieth Century clippings: |
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The Dark
Lady of the Sonnets is at
the Forest Arts Centre, Old Milton Road, New Milton, Hampshire on 24th
July, performed by
the RAF Lyneham Stage Club directed by Christopher Bartle. |
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After
opening in Pittsburgh on 5th June, the Pittsburgh Irish and Classical Theatre will be taking a
production of Major Barbara,
directed by Matt O’Brien, to Ireland and playing at the Galway Arts Festival
and the Pavilion Theatre in Dún Laoghaire (29th July to 16th August).
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Man and
Superman opened at the
Pitlochry Festival on the 26th June and runs through the season in repertory
to 17th October. Directed by Richard Baron
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The
current London run of My Fair Lady will close on 30th August. |
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Michael Friend has staged a number
of Shaw’s plays at Shaw’s Corner, Ayot St Lawrence. Full details of all
the productions, cast lists, photographs, and touring plans for 2003, can be
found at Error! Hyperlink reference not valid.. |
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2. Shawlines
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In this
section we will print all the news that we find or, better still, are
sent. We especially welcome news of Shaw on curricula. |
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We also
wish to record articles and papers relating to the earlier Shaw, and news of
new editions of Cashel Byron’s Profession (1886), An Unsocial
Socialist (1887), The Quintessence of Ibsenism (1891), The
Perfect Wagnerite (1898), Love Among the Artists (1900), as well
as other related material. |
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Linda Wong (Hong Kong Baptist University) kindly draws our attention to |
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QIAN, Jiyang. ‘The Symptom of
Subconscious Suppression: On G.B. Shaw’s Plays and the Image of Woman in
“Scholarly-Gentlemen-and-Beautiful-Ladies” Novels in China.’ Foreign
Languages Research 74.4 (2002): 57-66. (China). [In Chinese]. |
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Gearóid O’Flaherty’s
article ‘George Bernard Shaw and Ireland’ will be published in August in The
Cambridge Companion to Twentieth Century Irish Drama, edited by Shaun
Richards. ISBN 0 521 80400 0 Hardback £45.00; ISBN 0 521 00873 5
Paperback £15.95. |
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Shaw’s Corner at Ayot St Lawrence re-opened
for the season on 2nd April. It can be contacted at shawscorner@nationaltrust.org.uk |
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The Shaw Birthplace in Dublin re-opened
on the 1st May.
It can be contacted at shawhouse@dublintourism.ie |
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SHAW IN THE HERE
AND NOW |
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The Dublin Writers Museum will hold an exhibition devoted to Shaw and
to Sean O’Casey throughout March 2004. If any readers have memorabilia
that they are willing to lend, under the usual guarantees of security,
insurance and proper curatorial care, please contact us at oscholars@netscape.net |
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3. A Shaw Anthology
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Echoes of Oscar |
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Arms and the Man |
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Although it is
difficult for even close reading to convince that this play is more than a
trifle, a prelude to deeper plays in future, it can perhaps be given some
added meaning by incorporating it into a Shaw/Wilde discussion. It is
valuable, for example, to read Raina Petkova with Vera, Cicely and Gwendolen
in mind, curious mix as she is of idealism both assumed and real, and
artlessness, both real and assumed. Major Petkoff says of his daughter
‘She always appears at the right moment’, and his wife replies ‘Yes; she
listens for it. It is an abominable habit.’ This is not
necessarily to suggest influence, but it is to suggest affinity. |
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If The Manor House,
Woolton, Hertfordshire is a sort of internal Ruritania, so the house in the
‘small town near the Dragoman Pass’ has its own status between prelapsarian
innocence and the Fall itself, with the Tree of Knowledge (‘the only library
in Bulgaria’), about to give of its fruit. Such knowledge, in the form
of self-awareness, is one of the more serious themes in Wilde: ‘O Arthur,’
says Lady Windermere, ‘don’t love me less, and I will trust you more. I will
trust you absolutely. Let us go to Selby. In the Rose Garden at Selby the
roses are white and red.’ Act II in both The Importance of Being
Earnest and Arms and the Man are each set in thegarden of the
repective houses. Raina tells Bluntschli ‘You shewed great ignorance in
thinking that it was necessary to climb up to the balcony because ours is the
only private house that has two sets of windows. There is a flight of
stairs inside to get up and down by.’ The intertextual reading with
Wilde here is in An Ideal Husband: ‘At the top of the staircase stands
Lady Chiltern, a woman of grave Greek beauty’: we are again in the
Balkans. One may also note that the rose ‘Maréchal Niel’ in the garden
at Woolton is a climber. |
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The subplot between
with servants Nicola and Louka is more eighteenth-century than Wildëan, but
there is one exchange of signficance in a conversation between Sergius (the
officer formally betrothed to Raina) and her maid: |
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Sergius: If our conversation is to continue, Louka,
you will please remember that a gentleman does not discuss the conduct of the
lady he is engaged to with her maid. |
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This shifting of how
a gentleman should behave is a constant themes in Wilde. |
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Lord Fermor: If a man is a gentleman, he knows quite
enough, and if he is not a gentleman, whatever he knows is bad for him. (The
Picture of Dorian Gray) |
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Lord Illingworth:
If a man is a gentleman, he knows quite enough, and if he is not a gentleman,
whatever he knows is bad for him. (A Woman of No Importance ) |
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Sir Robert Chiltern:
You have lived so long abroad, Mrs. Cheveley, that you seem to be unable to
realise that you are talking to an English gentleman. |
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Jack:
It is a very ungentlemanly thing to read a private cigarette case. |
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Jack:
Your duty as a gentleman calls you back. |
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Being found out is
almost an obsessive theme in Wilde (hardly surprisingly): |
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‘No, Basil, you must tell me,’ insisted
Dorian Gray. ‘I think I have a right to know.’ His feeling of
terror had passed away, and curiosity had taken its place. He was
determined to find out Basil Hallward’s mystery. |
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Algernon:
The doctors found out that Bunbury could not live, that is what I mean–so Bunbury
died. |
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Jack:
Gwendolen, it is a terrible thing for a man to find out suddenly that all his
life he has been speaking nothing but the truth. |
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James Fane:
If this man wrongs my sister, I will find out who he is, track him down, and
kill him like a dog. |
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Lady Chiltern:
You have guessed it. After you left last night I found out that what she had
said was really true. Of course I made Robert write her a letter at once,
withdrawing his promise. |
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Lady Hunstanton:
How charming you are, dear Lord Illingworth. You always find out that one’s
most glaring fault is one’s most important virtue. You have the most
comforting views of life. |
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Lady Stutfield:
Do you really, really think, Lady Caroline, that one should believe evil of
every one? |
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Lady Windermere:
Have you found out at what time Lord Windermere came in last night? |
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Lady Windermere:
I know where Arthur keeps his bank book–in one of the drawers of that desk. I
might find out by that. I will find out. |
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Lady Windermere:
You think it wrong that you are found out, don’t you? |
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Lord Darlington:
I think I had better not, Duchess. Nowadays to be intelligible is to be found
out. |
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Lord Goring:
So she has found out everything! Poor woman! Poor woman! |
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Lord Goring:
That is the reason they are so pleased to find out other people’s secrets. It
distracts public attention from their own. |
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Lord Henry Wotton:
But she would have soon found out that you were absolutely indifferent to
her. And when a woman finds that out about her husband, she
either becomes dreadfully dowdy, or wears very smart bonnets that some other
woman’s husband has to pay for. |
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Lord Henry Wotton:
I like to find out people for myself. |
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Mrs Allonby:
I found out then that what he had told me was perfectly true. And that sort
of thing makes a man so absolutely uninteresting. |
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Mrs Erlynne:
Don’t use ugly words, Windermere. They are vulgar. I saw my chance, it is
true, and took it. Lord Windermere: Yes, you took it---and spoiled it all
last night by being found out. |
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Sir Robert Chiltern:
If my wife found out, there would be little left to fight for. |
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It is clear enough
that even in Edenic Bulgaria truth is a negotiable instrument: |
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Bluntschli: You said youd only told two lies in your
whole life. Dear young lady: isnt that rather a short
allowance? I’m quite a straightforward man myself; but it
wouldn’t last me a whole morning. |
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Raina protests that
she is being insulted, and then collapses ‘How did you find me out?’ |
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But of course all is
sham here: the heroism of Sergius, the social standing of Petkoff, the airs
of Louka. Bluntschli, whom we meet as a sort of holy fool, is man of
sense and decisiveness when required to be so. Yet the play ends on an
ambiguous note, with Sergius’s declaration about Bluntschli, which from its
punctuation is a statement, but from its grammar is a question: ‘What a
man! Is he a man!’ |
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Candida |
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In
Candida, we find a number of references that draw us back to Wilde,
not least in the two leading male characters, the Revd James Mavor Morell and
Eugene Marchbanks. Morell (like the Revd Stewart Headlam, who went bail
for Wilde, and is referred in the stage directions towards the beginning of
Act I) is a Christian Socialist, but he also has something of a physical
resemblance to Wilde at the height of his powers: |
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A vigorous, genial, popular man of
forty, robust and goodlooking, full of energy, with pleasant, hearty
considerate manners [. . .] with a wide range and command of expression [ . .
.] His well-spring of enthusiasm and sympathetic emotion has never run dry
for a moment [. . . ] pardonably vain of his powers and unconsciously pleased
with himself [. . .] good forehead [. . .] eyes bright and eager, mouth
resolute but not particularly well cut [. . .] |
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Morell’s
books include Henry George’s Progress and Poverty, Fabian Essays (to
which GBS himself contributed), Morris’s A Dream of John Ball, Marx’s Capital
‘and half a dozen literary landmarks in Socialism’. One would be hard
put in 1898 to name half a dozen literary landmarks in Socialism that did not
include Wilde’s The Soul of Man.
His admiration for his wife Candida, ‘a good woman’, is that of Robert for
Gertrude Chiltern (although Candida’s admiration for James is exactly the
reverse of that of Gertrude for Robert). He also expresses himself
aphoristically, although, as so often with Shaw, one feels that Wilde would
have been less sententious: ‘We have no more right to consume happiness
without producing than to consume wealth without producing it’. We are
told that he has addressed the Women’s Liberal Federation on the theme of the
Woman Question [Lady Chiltern: I have just come from the Woman’s Liberal
Association, where, by the way, Robert, your name was received with loud
applause]. Candida can also express herself aphoristically ‘How
conventional all you unconventional people are!’ (cp. Lord Windermere: How
hard good women are! Lady Windermere: How weak bad men are!) |
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But
it is Morell’s foil, the poet Marchbanks, who steps out of the world of the
Rhymer’s Club and the Café Royal. The nephew of an earl (and Eugene of
course means well-born, while Marchbanks, in its form ‘Marjoribanks’, was the
family name of Lord Tweedmouth), he is ‘a strange, shy youth of eighteen,
slight, effeminate, with a delicate childish voice, and a hunted tormented
expression and shrinking manner that shew the painful sensitiveness of very
swift and accurate apprehensiveness [. . . .] Miserably irresolute, he does
not know where to stand or what to do [. . .] His nostrils, mouth, and eyes
betray a fiercely petulant wilfulness’. It is not difficult to give a
queer reading to this description, nor to discern there something of ‘Bosie’
Douglas. We do not get much of his poetry, but we are given too
understand that he is an 1890s æsthete when he says to Candida that he should
to give her ‘a boat; a tiny shallop to sail away in, far from the world,
where the marble floors are washed by the rain and dried by the sun; wherre
the south wind dusts the beautiful green and purple carpets. Or a
chariot! to carry us up into the sky, where the lamps are stars.’ This is not
Marchbanks’ only æsthetic conceit: the phrase ‘Let me go now. The night
outside grows impatient’ is very Wildëan. |
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This
strikes Morell as all too high-falutin’, but Candida reminds Morell that
Marchbanks cleans the household’s boots (Marchbanks: ‘Oh don’t talk about
boots! Your feet should be beautiful on the mountains’), and it will be
recalled that Constance Wilde is said to have interrupted a poetic discourse
of Oscar’s by referring to Cyril’s boots. It is not necessary to
believe that she did so (Vyvyan Holland poured scorn on the notion), but it
may have been an ill-natured on dit at the time, unless the story was
a much later fabrication by Frank Harris. The text and and the anecdote
may be at least be read together; just as one cannot learn Morell’s uncommon
middle name without recalling Sidney Mavor, who once spent the night with
Wilde at the Albemarle Hotel. |
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Morell’s
secretary is called Proserpine Garnett (‘a brisk little woman of the lower
middle class’), and acts to some extent as raisonneuse. Addressed as
Miss Prossy, she may be a younger incarnation of Miss Prism, who also has a
pretentious classical first name, Letitia. Shaw likes to play these
little games with names: one thinks of ‘Rummy’ Mitchens, the broken down old
woman in Major Barbara, who was named after George Eliot’s Romola. |
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Major
Barbara |
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There is some scope
for discussing ‘the most marvellous of all gospels, the gospel of gold’, as
expounded by Baron Arnheim to dazzle Robert Chiltern, and its use by Andrew
Undershaft. Wildëan echoes are frequent in Major Barbara. |
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. . . |
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Sir Robert
Chiltern: Believe me, Mrs. Cheveley, it is a swindle. Let us call
things by their proper names. |
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Undershaft:
Pooh, Professor! let us call things by their proper names. |
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. . . |
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‘I know how people
chatter in England. The middle classes air their moral prejudices
over their gross dinner-tables, and whisper about what they call the
profligacies of their betters in order to try and pretend that they are in
smart society and on intimate terms with the people they slander.’ (Dorian
Gray speaking) |
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Lady
Britomart: ‘It is only in the middle classes that people get in a state of
dumb helpless horror when they find that there are wicked people in the
world. |
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. . . |
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‘Modern morality
consists in accepting the standard of one’s age. I consider that for
any man of culture to accept the standard of his age is a form of the
grossest immorality.’ (Lord Henry Wotton speaking) |
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Mrs
Cheveley: Nowadays, with our modern mania for morality, every one has
to pose as a paragon of purity, incorruptibility, and all the other seven
deadly virtues. |
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Cecil
Graham: But scandal is gossip made tedious by morality. Now, I
never moralise. A man who moralises is usually a hypocrite, and a woman who
moralises is invariably plain. |
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Lady
Britomart: Just as one doesnt mind men practising immorality so long as
they own they are in the wrong by preaching morality; so I couldn’t forgive
Andrew for preaching immorality while practising morality. |
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. . . |
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Gerald:
Mother, this is Lord Illingworth, who has offered to take me as his private
secretary. It is a wonderful opening for me, isn’t it? |
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Lady Bracknell: I
have always been of opinion that a man who desires to get married should know
either everything or nothing. Which do you know? |
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Undershaft:
He knows nothing and thinks he knows everything. That points to a political
career. Get him a private secretaryship to some one who can get him an
Under Secretaryship. |
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Lady
Bracknell: What is your income? |
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Lady
Britomart: You know how poor my father he is: he has barely seven thousand a
year now; and really, if he were not the Earl of Stevenage, he would have to
give up society. |
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. . . |
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One should also note
that the career of Adolphus Cusins in Major Barbara turns on his being
a foundling, while the future of Jack Worthing turns on his not being one. |
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Jack: It is a
terrible thing for a man to find out suddenly that all his life he has been
speaking nothing but the truth. |
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‘Make
any statement that is so true that it has been staring us in the face all our
lives, and the whole world will rise up and contradict you.’ |
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Letters |
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Algernon: I wish you
would reform me. You might make that your mission. |
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‘No
fascinating woman ever wants to emancipate her sex’ |
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Cashel
Byron’s Profession |
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Cashel Byron’s
Profession was written some years
before the greater part of Wilde’s work was undertaken, but it reveals how
Shaw was also dipping into the same pool as Wilde. Here is Lydia Carew
on railway trains: |
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A train is a beautiful thing. Its pure
white fleece of steam harmonises with every variety of landscape. |
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This was said at
Clapham Junction, where in November 1895 Wilde had other things on his mind. |
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Cashel Byron’s
Profession also has a prominent
character called Lord Worthington. Had it been written ten years
later we would have seized on this compound of John Worthing and Lord
Darlington, just as Wilde’s Lady Roxton and Lady Plymdale seem to combine in
Shaw’s Lady Roxdale (Widowers’ Houses). Byron goes to a
‘scholastic establishment for the sons of gentlemen’ called Moncrief House. |
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Man
and Superman |
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John Cooper draws our attention
to the following: |
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In
this world there are two tragedies. One is not getting what one wants, and
the other is getting it. The last is much the worst. |
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There
are two tragedies in life. One is to lose your heart’s desire. The other is
to gain it. |
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4. Bibliographies & Links
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GBS for Wildeans: A Bibliography
of 19th Century Shaw. |
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This
will be a cumulative bibliography as references come to hand. |
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Beerbohm,
Max: Around Theatres.
London: Rupert Hart-Davis 1953. |
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This carries reviews of plays published in the Saturday
Review, namely The Devil’s Disciple (‘“G.B.S.” at Kennington’, 7th
October 1899, pp.38-41; and the 1907 revival ‘Mr. Vedrenne’, 26th October
1907, pp.481-4); You Never Can Tell (12th May 1900, pp.78-9); the 1901
reprint of Cashel Byron’s Profession (‘A Cursory Conspectus of
G.B.S.’, 2nd November 1901, pp.171-5); Mrs Warren’s Profession (‘Mr
Shaw’s Tragedy’, 1st February 1902, pp. 191-5); the 1907 revival of The
Philanderer (9th February 1907 pp.449-51); and the 1908 revival of Arms
and the Man (4th January 1908, pp.491-3). There is also a review of
the published edition of Three Plays for Puritans (The Devil’s
Disciple, Cæsar and Cleopatra and Captain Brassbound’s Conversion)
(‘Mr Shaw Crescent’, 26th January 1901, pp. 118-22). |
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Outside
our current range are reviews of The Doctors’ Dilemma, Getting Married,
John Bull’s Other Island, Major Barbara, Man and Superman, Misalliance,
and Pygmalion. |
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Beerbohm,
Max: More Theatres.
London: Rupert Hart-Davis 1969. This volume contains Beerbohm’s pieces for
the Saturday Review that he omitted from the first edition of Around
Theatres (1924), an omission followed in the 1953 edition. |
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This volume opens with three squibs against Shaw ‘G.B.S. Oblige’
(9th April 1898, pp.17-21), ‘Mr Shaw’s Profession’ (14th May 1898, pp.21-4)
and ‘Mr Shaw’s Profession II’ (pp.25-7, 21st May 1898). These contain
allusions to Arms and the Man (p.25), Candida (p.26), Mrs
Warren’s Profession (pp.21-4, 25), Plays Pleasant and Unpleasant (p.11),
The Devil’s Disciple (pp.21, 335), The Philanderer (p.21), Widowers’
Houses (21, 25), You Never Can Tell (pp.25, 26). |
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There
are further references to Mrs Warren’s Profession (p70), Arms and
the Man (p267), Cæsar & Cleopatra (p.271). |
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The
volume also contains a review of Captain Brassbound’s Conversion (29th
December 1900, pp.335-7). From beyond our period is The Admirable
Bashville (pp.580-2). |
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Borsa,
Mario: The
English Stage of To-day. Translated from the original Italian and
edited with a prefatory note by Selwyn Brinton M.A. London: John Lane
The Bodley Head 1908. This has one chapter on Shaw. |
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Chapter IV: G.B.S. |
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Boyd, Ernest A.: Appreciations and Depreciations, Irish Literary
Portraits. Dublin:
Talbot Press & London: T. Fisher Unwin 1919. This has one chapter
on Shaw. |
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Chapter V: An Irish Protestant, Bernard Shaw. |
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Dietrich, Richard:
Portrait of the Artist as a Young Superman: A Study of Shaw’s Novels.
Gainesville: University of Florida Press 1969. |
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Innes,
Christopher (ed.): The
Cambridge Companion to George Bernard Shaw. Cambridge: Cambridge
University Press 1998. This contains four essays on the younger Shaw: |
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Gordon, David J.: Shavian Comedy and the Shadow of Wilde; |
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Jackson, Holbrook:
The Eighteen Nineties. 1913. Pelican Books 1939. This
contains a chapter devoted to Shaw. |
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Chapter XIV: Enter
G.B.S. |
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Kennedy,
J.M. English
Literature 1880-1905. London: Stephen Swift 1912. This
contains one chapter on Shaw. |
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Chapter VI: George Bernard Shaw. |
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Laurence, Dan H.: Bernard Shaw, Collected Letters 1874-1897.
London: Max Reinhardt 1965. |
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Laurence, Dan H.: Bernard Shaw,
Collected Letters 1898-1910. London: Max Reinhardt 1972. |
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Meisel,
Martin: Shaw and
the Nineteenth Century Theater. Princeton University Press 1963;
new edition New York: Limelight Editions 1984 ISBN 0-87910-017-6. |
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Morgan,
A.L.: Tendencies
of Modern English Drama. London: Constable 1924. This
contains three chapters on Shaw: |
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Chapter
VI. Shaw the Iconoclast--Dramatic Iconoclast |
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Peters, Sally: Bernard Shaw,
The Ascent of the Superman. New Haven & London: Yale University
Press 1996. |
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This is chiefly concerned with the first half of Shaw’s life,
and includes some notable ‘queer’ reading. |
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–and
covering a later period than the pre-1901 Shaw, the following should be
mentioned: |
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Hyde,
Mary (ed.)::Bernard Shaw and Alfred Douglas,
A Correspondence.
London: John Murray 1982. |
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Weintraub,
Stanley (ed.): The
Playwright and the Pirate, Bernard Shaw and Frank Harris, A Correspondence.
Pittsburgh: Pennsylvania State University Press and Gerrards Cross: Colin
Smythe 1982. |
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This covers not only Harris’s ‘biography’ of Shaw but the
attempts of Harris to involve Shaw in his book on Wilde. The first
letter in this collection is Harris to Shaw 30th November 1898. The
second (Shaw to Harris 4th November 1900) gives Shaw’s views on Mr and Mrs
Daventry. There is one more letter from this period
(Shaw to Harris 16th December 1900); the correspondence resumes in December
1904. |
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The
following bring together Shaw and Wilde: |
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Bader,
Earl Delbert: ‘The Self-Reflexive Language: uses of Paradox in Wilde,
Shaw and Chesterton .’ Ph. D. dissertation. Indiana University 1962. |
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Beckson, Karl:
‘Oscar Wilde’s Celebrated Remark on Bernard Shaw.’ Notes and Queries
41(239): 3 Oxford 1994. |
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Gollin, Richard M.:
‘Beerbohm, Wilde, Shaw and “The Good-Natured Critic”.’ Bulletin of the New
York Public Library 68, New York February 1964. |
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Harris, Frank: Oscar
Wilde, including My Memories of Oscar Wilde by George Beranrd Shaw.
Carroll: New York 1997. |
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Harris, Frank: Oscar
Wilde: His Life & Confessions, with memories of Oscar Wilde by Bernard
Shaw and Criticisms by Robert Ross. The author, 2nd edition, the
first with the pieces by Shaw and Ross. New York 1918. |
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Harris, Frank: Oscar
Wilde: His Life & Confessions. Together with Memories of Wilde by
Bernard Shaw. The author. London 1918. |
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Harris, Frank: Oscar
Wilde: His Life & Confessions. Together with Memories of Wilde by
Bernard Shaw. New York: Crown Publishing Co 1930. |
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Hill, John Edward:
‘Dialectical Æstheticism — Essays on the Criticism of Swinburne, Pater,
Wilde, James, Shaw and Yeats’. University of Virginia Thesis
Virginia 1972. |
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Jordan, John: ‘Shaw,
Wilde, Synge and Yeats: Ideas, Epigrams, Blackberries and Chassis’ Wolfhound
in The Irish Mind; Exploring Intellectual Traditions Dublin 1985. |
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Koritz, Amy E.:
‘Gendering Bodies, Performing Art: Theatrical Dancing and the Performance
Æsthetics of Wilde, Shaw & Yeats’. Dissertation Abstracts
International 50 : 3 [North Carolina 1988] Ann Arbor 1989. |
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Lee, Josephine D.:
‘Language & Action in the Plays of Wilde, Shaw & Stoppard.’
Dissertation Abstracts International 48 : 7 Ann Arbor 1988. |
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Livermore,
Ann: ‘Goldoni, Wilde and Shaw: Co-Inventors of Comedy.’ Revue de la
Littérature Comparée 53 |
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Loughney, Martin: Springs
of Irish Wisdom: Shaw, Wilde, Swift, Yeats. Dublin: Infinity Books
1989. |
|
Nassaar, Christopher Suhal:
‘Wilde’s Lady Windermere’s Fan and Shaw’s Mrs Warren’s Profession.’
Explicator 56 |
|
Powell, Kerry: ‘Wilde, Shaw and
Women of the Stage.’ William Andrews Clark Memorial Library Conference:
Oscar Wilde and the Culture of the Fin-de-Siècle, Session II Los Angeles 5th
March 1999. |
|
Roy, Emil: British
Drama Since Shaw [Chapter on The Importance of Being Earnest]
Carbondale and London : Southern Illinois U.P. & Feffer and Simons
1972. |
|
Ruff, William: ‘Shaw
on Wilde and Morris, A Clarification’ Shaw Review 11 : 1
January 1968. |
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Sherard, Robert
Harborough: Bernard Shaw, Frank Harris & Oscar Wilde.
New York 1936. |
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Sherard, Robert
Harborough: Bernard Shaw, Frank Harris & Oscar Wilde. T. Werner
Laurie London 1937. |
|
Sherard, Robert
Harborough: Oscar Wilde ‘Drunkard & Swindler’: A Reply to George
Bernard Shaw, Dr G.J. Renier, Frank Harris etc. Calvi: Vindex Publishing
Co. 1933. |
|
Weintraub, Stanley:
‘“The Hibernian School”: Oscar Wilde and Bernard Shaw.’ SHAW: The
Annual of Bernard Shaw Studies 13 1993. |
|
Weintraub,
Stanley: Shaw’s People: Victoria to Churchill. University
Park, Pennsylvania: 1996. |
|
Wisenthal, J. L.: ‘Wilde, Shaw and
the Play of Conversation Modern Drama.’ (U. of Toronto Graduate Centre
for Study of Drama) 37:1 Downsview, Ontario Spring 1994. |
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A list
of websites kindly provided by Richard Dietrich (University of South Florida): |
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BERNARD
SHAW SOCIETY WEB SITE (see illustration below): |
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UNIVERSITY PRESS OF
FLORIDA SHAW SERIES WEB SITE: |
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SHAW BIZNESS WEB
SITE: |
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INTERNATIONAL SHAW
SOCIETY WEB SITE: |
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THE SHAW FESTIVAL |
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UNIVERSITY OF SOUTH
FLORIDA SHAW CONFERENCE 2004 AT SARASOTA: |
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BRITISH DRAMA
1890-1950: |
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Other websites
include |
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|
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5. SHAW ASSOCIATIONS
|
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The Bernard Shaw Society
may be reached at |
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P.O.
Box 1159, |
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The Society
publishes The Independent Shavian. The image below is the latest
one on their website (vol.40 nos 2-3. 2002). |
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|
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The Independent Shavian appears three times a year and is sent to
all members of the Bernard Shaw Society at no charge as part of their
membership dues. |
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6. TAILPIECE
|
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‘On 4th May 1886,
when the Haymarket riots took place in Chicago, Shaw sought signatories for a
petition in support of the anarchists involved, and among London men of
letters, only Wilde lent his name at once. “A very handsome thing to
do,” said Shaw.’ |
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– Richard Ellmann: Oscar Wilde.
London: Hamish Hamilton 1987 p.273. |
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