A collection of literary criticism from the Nobel Prize–winning playwright behind such classics as Saint Joan and Pygmalion. The Critical Shaw: On Literature is a comprehensive selection of renowned Irish playwright and Nobel Laureate Bernard Shaw’s ideas and opinions on a wide range of literary forms of expression, from Shakespearean drama to ghost stories, from naturalist novels to philosophical essays. Shaw meticulously applied his comprehensive knowledge of the intricacies of writing and publishing (composition, typesetting, style, themes, censorship) and in the process produced an extensive array of critical works spanning more than fifty years. Always with an axe to grind—whether aesthetic, ethical, or otherwise—Shaw tested the boundaries of satire in his critical essays, occasionally locking horns as a result with some of the most prominent authors of his lifetime. Displaying wit and wisdom in equal proportions, some of his reviews remain fresh even though the authors and books they appraised have long since fallen into oblivion. Shaw’s views about literature challenged established conventions of the canon and helped to shape a renewed collective concept of literature. The Critical Shaw series brings together, in five volumes and from a wide range of sources, selections from Bernard Shaw’s voluminous writings on topics that exercised him for the whole of his professional career: Literature, Music, Politics, Religion, and Theater. The volumes are edited by leading Shaw scholars, and all include an introduction, a chronology of Shaw’s life and works, annotated texts, and a bibliography. The series editor is L.W. Conolly, literary adviser to the Shaw Estate and former president of the International Shaw Society.
George Augustus Henry Sala (1828-1895) was an English journalist and author. At an early date he tried his hand at writing, and in 1851 attracted the attention of Charles Dickens, who published articles and stories by him in Household Words and subsequently in All the Year Round, and in 1856 sent him to Russia as a special correspondent. He became in 1857 a contributor to the Daily Telegraph, and it was in this capacity that he did his most characteristic work, whether as a foreign correspondent in all parts of the world, or as a writer of leaders or special articles. In 1860, he was given the editorship of Temple Bar, and over his own initials G. A.S., he began writing Echoes of the Week for the Illustrated London News. His works include: Twice Round the Clock; or, The Hours of the Day and Night in London (1859), The Strange Adventures of Captain Dangerous (1863), My Diary in America in the Midst of War (1865), Under the Sun: Essays Mainly Written in Hot Countries (1872), America Revisited (1882) and Echoes of the Year Eighteen Hundred and Eighty-Three (1884).
George Augustus Henry Sala (1828-1895) was an English journalist and author. At an early date he tried his hand at writing, and in 1851 attracted the attention of Charles Dickens, who published articles and stories by him in Household Words and subsequently in All the Year Round, and in 1856 sent him to Russia as a special correspondent. He became in 1857 a contributor to the Daily Telegraph, and it was in this capacity that he did his most characteristic work, whether as a foreign correspondent in all parts of the world, or as a writer of "leaders" or special articles. In 1860, he was given the editorship of Temple Bar, and over his own initials "G. A.S., " he began writing "Echoes of the Week" for the Illustrated London News. His works include: Twice Round the Clock; or, The Hours of the Day and Night in London (1859), The Strange Adventures of Captain Dangerous (1863), My Diary in America in the Midst of War (1865), Under The Sun: Essays Mainly Written in Hot Countries (1872), America Revisited (1882) and Echoes of the Year Eighteen Hundred and Eighty-Three (1884).
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.