Arms and the Man - Illustrated - 8 Angebote vergleichen

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To the irreverent-and which of us will claim entire exemption from that comfortable classification?-there is something very amusing in the attitude of the orthodox criticism toward Bernard Shaw. He so obviously disregards all the canons and unities and other things which every well-bred dramatist is bound to respect that his work is really unworthy of serious criticism (orthodox). Indeed he knows no more about the dramatic art than, according to his own story in The Man of Destiny, Napoleon at Tavazzano knew of the Art of War. But both men were successes each in his way-the latter won victories and the former gained audiences, in the very teeth of the accepted theories of war and the theatre. Shaw does not know that it is unpardonable sin to have his characters make long speeches at one another, apparently thinking that this embargo applies only to long speeches which consist mainly of bombast and rhetoric. There never was an author who showed less predilection for a specific medium by which to accomplish his results. He recognized, early in his days, many things awry in the world and he assumed the task of mundane reformation with a confident spirit. It seems such a small job at twenty to set the times aright. He began as an Essayist, but who reads essays now-a-days?-he then turned novelist with no better success, for no one would read such preposterous stuff as he chose to emit. He only succeeded in proving that absolutely rational men and women-although he has created few of the latter-can be most extremely disagreeable to our conventional way of thinking. As a last resort, he turned to the stage, not that he cared for the dramatic art, for no man seems to care less about Art for Arts sake, being in this a perfect foil to his brilliant compatriot and contemporary, Wilde. He cast his theories in dramatic forms merely because no other course except silence or physical revolt was open to him. For a long time it seemed as if this resource too was doomed to fail him. But finally he has attained a hearing and now attempts at suppression merely serve to advertise their victim. It will repay those who seek analogies in literature to compare Shaw with Cervantes. After a life of heroic endeavor, disappointment, slavery, and poverty, the author of Don Quixote gave the world a serious work which caused to be laughed off the worlds stage forever the final vestiges of decadent chivalry. The institution had long been outgrown, but its vernacular continued to be the speech and to express the thought of the world and among the vulgar, as the quaint, old novelist puts it, just as to-day the novel intended for the consumption of the unenlightened must deal with peers and millionaires and be dressed in stilted language. Marvellously he succeeded, but in a way he least intended. We have not yet, after so many years, determined whether it is a work to laugh or cry over. It is our joyfullest modern book, says Carlyle, while Landor thinks that readers who see nothing more than a burlesque in Don Quixote have but shallow appreciation of the work. Shaw in like manner comes upon the scene when many of our social usages are outworn. He sees the fact, announces it, and we burst into guffaws. The continuous laughter which greets Shaws plays arises from a real contrast in the point of view of the dramatist and his audiences. When Pinero or Jones describes a whimsical situation we never doubt for a moment that the authors point of view is our own and that the abnormal predicament of his characters appeals to him in the same light as to his audience. With Shaw this sense of community of feeling is wholly lacking. He describes things as he sees them, and the house is in a roar. Who is right? If we were really using our own senses and not gazing through the glasses of convention and romance and make-believe, should we see things as Shaw does? Must it not cause Shaw to doubt his own or the publics sanity to hear audiences laughing boisterously over tragic situations? And yet, if they did not come to laugh, they would not come at all. Mockery is the price he must pay for a hearing. Or has he calculated to a nicety the power of reaction? Does he seek to drive us to aspiration by the portrayal of sordidness, to disinterestedness by the picture of selfishness, to illusion by disillusionment? It is impossible to believe that he is unconscious of the humor of his dramatic situations, yet he stoically gives no sign. He even dares the charge, terrible in.

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Von Händler/Antiquariat, Harvest Moon Farm Book Cellar.
Old Tappan, New Jersey, U.S.A.: Old Tappan, New Jersey, U.S.A.: Macmillan Publishing Company, Incorporated, 1969. Trade Paperback. Fair/No Dust Jacket as Issued. 2nd Printing. 8vo - over 7¾" - 9¾" tall. Book shows moderate to heavy wear/ spine tight/ covers scuffed, moderate to heavy edge wear/ used college text-numerious underlining, margin notes, and high-liting/ corners and spine creased/ good readers copy/ covers creased****We ship most book within 24 hours****Customer satisfaction 100% guaranteed****Over 22 years of experience in the book selling community . Fair. Trade Paperback. 2nd Printing. 1969.

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Von Händler/Antiquariat, The Book Cellar.
Bobbs-Merrill Company Inc. PAPERBACK. 0672610876 Has heavy shelf wear, corner wear, highlighting, underlining & or writing. CD-ROM or supplement may not be included. The book is still a good reading copy. A portion of your purchase of this book will be donated to non-profit organizations. Over 1,000,000 satisfied customers since 1997! We ship daily M-F. Choose expedited shipping (if available) for much faster delivery. Delivery confirmation on all US orders. . Fair. 1990-08-01.

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To the irreverent-and which of us will claim entire exemption from that comfortable classification?there is something very amusing in the attitude of the orthodox criticism toward Bernard Shaw. He so obviously disregards all the canons and unities and other things which every well-bred dramatist is bound to respect that his work is really unworthy of serious criticism (orthodox). Indeed he knows no more about the dramatic art than, according to his own story in "The Man of Destiny," Napoleon at Tavazzano knew of the Art of War. But both men were successes each in his way-the latter won victories and the former gained audiences, in the very teeth of the accepted theories of war and the theatre. Shaw does not know that it is unpardonable sin to have his characters make long speeches at one another, apparently thinking that this embargo applies only to long speeches which consist mainly of bombast and rhetoric. There never was an author who showed less predilection for a specific medium by which to accomplish his results. He recognized, early in his days, many things awry in the world and he assumed the task of mundane reformation with a confident spirit. It seems such a small job at twenty to set the times aright. He began as an Essayist, but who reads essays now-a-days?he then turned novelist with no better success, for no one would read such preposterous stuff as he chose to emit. He only succeeded in proving that absolutely rational men and women-although he has created few of the latter-can be most extremely disagreeable to our conventional way of thinking. As a last resort, he turned to the stage, not that he cared for the dramatic art, for no man seems to care less about "Art for Art's sake," being in this a perfect foil to his brilliant compatriot and contemporary, Wilde. He cast his theories in dramatic forms merely because no other course except silence or physical revolt was open to him. For a long time it seemed as if this resource too was doomed to f.

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Von Händler/Antiquariat, True Amazing Deals.
Arms and the Man is a comedy by George Bernard Shaw, whose title comes from the opening words of Virgil's Aeneid, in Latin: Arma virumque cano ("Of arms and the man I sing"). The play was first produced on 21 April 1894 at the Avenue Theatre and published in 1898 as part of Shaw's Plays Pleasant volume, which also included Candida, You Never Can Tell, and The Man of Destiny. Arms and the Man was one of Shaw's first commercial successes. He was called onto stage after the curtain, where he received enthusiastic applause. Amidst the cheers, one audience member booed. Shaw replied, in characteristic fashion, "My dear fellow, I quite agree with you, but what are we two against so many?" Arms and the Man is a humorous play that shows the futility of war and deals comedically with the hypocrisies of human nature. George Bernard Shaw (1856 – 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic and polemicist whose influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature. Paperback, Етикет: Bobbs-Merrill Company Inc, Bobbs-Merrill Company Inc, Продуктова група: Book, Публикувани: 1990-08, Студио: Bobbs-Merrill Company Inc, Продажбата ранг: 18849084.

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Von Händler/Antiquariat, ExtremelyReliable, TX, Richmond, [RE:4].
Paperback.

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Von Händler/Antiquariat, The Book Cellar, NH, Nashua, [RE:4].
PAPERBACK.