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September 2003 |
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The Associate
Editor of THE OSCHOLARS with responsibility for helping with this issue of
SHAVINGS is Julie A. Sparks of the Department of English, University of
Arkansas-Monticello, to whom contributions should be submitted. |
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‘Oh, Shaw! That’s the man who smokes Jaeger
cigarettes!’ |
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Note: Subscribers to this
Journal have their names printed in bold, and can be contacted through
us at oscholars@gmail.com. |
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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, 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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29th September to 4th October |
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This
is a Touring Partnership Production. |
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Arms
and the Man is also at the |
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Pendragon
Theatre |
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Candida |
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Mrs. Warren’s Profession |
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Twentieth Century clippings:
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Man and Superman opened at the Pitochry Festival, Scotland on the 26th June and
runs through the season in repertory to 17th October. Directed by Richard Baron. Misalliance is
at the Germinal Stage, Denver, Colorado, 12th September to 12th October; Center Stage, Baltimore,
Maryland, 3rd October
to 2nd November; and
the Seattle Repertory Theatre, Seattle, Washington 9th October to 1st November.
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John Bull’s Other Island is at the Tricycle Theatre in London, directed by Dominic
Dromgoole. This was the subject of a lengthy review by John Stokes
(King’s College, London) in the Times Literary Supplement for the 26th
September, pp.18-19. |
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There is a reading of How He Lied to Her Husband by Food
for Thought Productions in New York on 15th October. |
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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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Conference |
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The International Joan of Arc
Society is sponsoring a session of papers on ‘The Life and Lives of Joan of
Arc’ at the next International Medieval Congress, to be held in Kalamazoo,
MI, in May, 2004. We welcome a range of submissions on the
"life" of Joan of Arc--treatments in medieval chronicles and modern
histories (Jules Michelet, Anatole France, etc.), as well as modern
biographies (Mary Godron, Vita Sackville-West) and historical fictions (e.g.,
Mark Twain’s Personal Recollections of Joan of Arc). Of special
interest is the extent to which the writer’s own life history and identification
with Joan affects his or her telling of her story. |
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Please send abstracts by 13th September to astell@purdue.edu |
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Ann W. Astell, Professor, Department of English, Purdue
University, 500 Oval Drive, West Lafayette, IN 47907 FAX:
765.494.3780 |
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Lecture |
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31st October: ‘Morris,
Shaw, and Politics’, lecture by David Rainger,
25 Red Lion Square, London. |
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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’ was 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 will close for the season on 2nd November. It can be contacted at shawscorner@nationaltrust.org.uk |
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The
Shaw Birthplace in Dublin closes
for the season in September.
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. |
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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
of both The Importance of Being Earnest and Arms and the Man is
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 significance 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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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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o
After writing the
above, we read Sally Peters: Bernard
Shaw, The Ascent of the Superman. New Haven & London: Yale
University Press 1996. On p.164 Peters writes ‘Adding to the
ambiguity surrounding the character is the fact that Marchbanks originally
had been written as Marjoribanks -- and marjorie was known as an abusive term
for a male homosexual’ [cit. Jeffrey Weeks: Sex, Politics and Society.
London: Longmans 1990 p.111.] |
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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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CECILY: I hope you have not been
leading a double life, pretending to be wicked and being really good all the
time. That would be hypocrisy. |
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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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. . . |
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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; · Kelly, Katherine E.: Imprinting the Stage: Shaw and the Publishing Trade 1883-1903; · Marker, Frederick J.: Shaw’s early plays; ·
Powell, Kerry:
New Women, new plays, and Shaw in the 1890s. |
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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 · Chapter VII: Shaw the Iconoclast--Social Iconoclast ·
Chapter VIII: Shaw the Philosopher. |
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Nicoll, Allardyce: British Drama, An Historical
Survey from the Beginning to the PresentTime. London: George G. Harrap
1925; second edition 1927; 3rd edition revised 1832, reprinted 1945.
Nicoll specifically links Shaw and Wilde. |
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·
Part VII: The
Revival in the Drama (1890-1920) |
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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 Bernard
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. |
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|
Nassaar,
Christopher Suhal: ‘Wilde’s Lady
Windermere’s Fan and Shaw’s Mrs Warren’s Profession.’ Explicator
56 |
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|
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. |
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|
Roy,
Emil: British Drama Since Shaw [Chapter on The Importance of Being
Earnest] Carbondale and London : Southern Illinois U.P. & Feffer and
Simons 1972. |
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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. |
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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. |
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|
Weintraub,
Stanley: ‘"The Hibernian School": Oscar Wilde and Bernard Shaw.’
SHAW: The Annual of Bernard Shaw Studies 13 1993. |
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|
Weintraub,
Stanley: Shaw’s People: Victoria to Churchill. University
Park, Pennsylvania: 1996. |
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|
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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·
We welcome additions
and corrections, and would much like to hear from any of the writers still
living. |
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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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http://www.infography.com/content/272906973619.html
(a bibliography) |
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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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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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·
The Dublin Shaw
Society. This maintains no
website but may be contacted through the Hon. Chairman, Brian Grath
<bricar@gofree.indigo.ie>. The Society meets on the third
Wednesday of every month in the United Arts Club, 3 Fitzwilliam Street,
Dublin 2. Membership is €15 p.a., for an individual, €25 for a couple. |
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6. TAILPIECE
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‘When the nonagenarian Shaw was asked what
famous man from the past he would most like to meet, he chose Wilde.’ |
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–Sally Peters: Bernard Shaw, The Ascent
of the Superman. New Haven & London: Yale University Press 1996
p.228. The source for this is given as Pearson p. 447 but there is no
p.447 in Pearson. |
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