Bernard Shaw, The Man and the Mask by Richard Burton

By Richard Burton

This can be an OCR version with out illustrations or index. it will probably have a variety of typos or lacking textual content. despite the fact that, dealers can obtain a unfastened scanned replica of the unique infrequent publication from it's also possible to preview excerpts from the publication there. dealers also are entitled to a unfastened trial club within the basic Books membership the place they could choose between greater than one million books for free of charge. unique released via: H. Holt in 1916 in 339 pages; matters: Dramatists, English; Biography & Autobiography / normal; Drama / English, Irish, Scottish, Welsh; Literary feedback / Drama;

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For bitter insistence and It looks a s if he recognized he had been extreme in method here, and decided to mitigate the message hereafter. In any event, the idea o f the drama i s well worth attention. " Make possible a comfortable living wage for women, recognize maternity at its true value to the state, and you throttle prostitution. If there be fallacy in this, i t is to be found in overlooking two classes of women : those who prefer vice for its own s ake ; and those incapable of earning an honest wage.

It can easily be understood that in 1 892 it would not succeed. Its date of production, December 9, 1 892, at The Independent Theatre, London , must be quali­ fied by the knowledge that it was begun ( as de­ scribed ) seven years earlier, in 1 885. If it was 40 BE RNARD SHAW in advance of the day in 1 892, it was still more ahead of the time when conceived. Reduced to a brutally condensed statement, the play tells how a young man, loving a girl and winning her, is then repelled by the fact that her father's money is gained by iniquitous landlordism ; at first he refuses to have her, but finally, through sex­ charm and also because he finds his own money is involved in these questionable investments, re­ turns to her : a sufficiently cynical conclusion.

It is safe to say that no such dialogue had ap­ peared in the English theatre since Congreve. For its earnest, satiric purpose, with the relief of scintillant wit and atmospheric humor, it is unsurpassed. The frequent statement that all Shaw's stage folk talk Shavian language is flatly contradicted by a delightful comic personage like Lickcheese, whose name, by the way, sug­ gests that when the author began dramatic writ­ ing, he was willing to do what later he would have eschewed : place des criptive type names upon his stage creatures.

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