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George Bernard Shaw, 2006.
A biography of the Irish playwright George Bernard Shaw.
2,617 words (approx. 10.5 pages), 7 sources, MLA, AU$ 126.95
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Abstract
This paper describes the works, political and social beliefs and life of playwright George Bernard Shaw. It also discusses Shaw's influence on British and world theater and analyzes his most successful plays and the characters.
From the Paper
"George Bernard Shaw would hate to be called a great English playwright. Not that the "great" part would bother him. But he was born in Ireland (and died there at age 94). As one of his biographers put it: "Shaw draws from his own nation two unquestionable qualities, a kind of intellectual chastity, and the fighting spirit." Where some "names" we may be familiar withm\, Oscar Wilde and Noel Coward, sparred and took on "society" with clever words, Shaw was far more than a writer of clever, interesting plays. He was opening the eyes of his audiences well beyond the theatre to the struggle of class, and education. There is always a social moral to be found in his plays. As a pacifist and a Fabian socialist, he usually undertook to defend the poor and the unwary against the foibles of the leisure class."
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George Bernard Shaw's "Major Barbara", 2008.
Looks at the idealism in a world of hypocrisy as presented in George Bernard Shaw's play "Major Barbara".
1,385 words (approx. 5.5 pages), 1 source, MLA, AU$ 75.95
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Abstract
This paper argues that George Bernard Shaw presents his belief that religious organizations for the most part are a sham because their minions will gladly embrace the money of the most wretched people if it will help them to pay their own bills. The paper then suggests that, at the same time, the character of Major Barbara in Shaw's play of the same name, while dismayed by the seeming hypocrisy of the Salvation Army, does not so much recoil from her holy mission as she returns to it with a more realistic understanding of how the world really works - and that doing good may, in the final analysis, involve making certain accommodations that the idealistic and naive might find appalling.
From the Paper
"In the end, Barbara dejectedly walks away from the Salvation Army (Shaw, 113-114; for a good description of how the experience seared Barbara to the quick, please see page 145 of the text) and assumes - it is her father's idea - control of the munitions factory (Shaw, 123-124). From her experiences she has learned a few things that are of the greatest importance: money really is power; Christian organizations can surely be bought for the right price; all men, like her father, who deign to be good men only have the luxury of being so when they are wealthy (for her father's treatise on why he finds poverty so abominable, please see pages 147-148); and evil in life (and those with blasted principles) cannot be avoided."
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'Pygmalion' by George Bernard Shaw, 2006.
A discussion regarding the mysterious relationship of Henry Higgins and Eliza Doolittle.
1,369 words (approx. 5.5 pages), 0 sources, AU$ 73.95
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Abstract
This paper takes a look at the the relationship between Higgins and Eliza in George Bernard Shaw's book 'Pygmalion'. The paper relates the Greek myth of Pygmalion to the character of Henry Higgins and discusses how Pygmalion and Galatea can be compared to Higgins and Eliza.
From the Paper
"Although Higgins may have just viewed Eliza as a project, there was something in the beginning which did fascinate him. "Oh, I can't be bothered with young women. My idea of a lovable woman is somebody as like you [Mrs. Higgins] as possible. I shall never get into the way of seriously liking young women; some habits lie too deep to be changed." (Higgins, p. 71) Higgins also saw Eliza as a challenge. He saw her bad habits and for once actually thought these habits could be changed. As I mentioned earlier, Higgins found the local women to be a bore. He wanted someone more intellectually stimulating, well-mannered, and similar to his own mother. Underlying what society viewed as a duchess was also Higgins' upbringing which helped him to form his own notions of what a lady should be like. Whether he knew it or not, he subconsciously was teaching Eliza to be like the only woman he ever truly did know, his mother. He created a woman that he could love because she was created and taught under his specifications."
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Candida by George Bernard Shaw, 1996.
Play's sociopolitical messages, ideas on marriage & male-female relations, women's roles, power & love.
1,575 words (approx. 6.3 pages), 5 sources, AU$ 89.95
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From the Paper
"The purpose of this research is to examine Candida by George Bernard Shaw. The plan of the research will be to set forth the pattern of ideas emerging in the work and the means by which such ideas are put forward, and then to discuss the character of the male-female relationships that surface in the action of the play.
The sociopolitical climate of Shaw's England appears to have offered the playwright the subject of his conflict. In his 1895 essay on the problem play, Shaw states the primacy of social issues in modern drama, expressing himself in dramatic rather than directly sociopolitical terms. One critical point is that a good problem play is good chiefly because of the emotional content of the human condition portrayed in the text.
Social questions are produced by the conflict of human institutions with human feeling. . . . Now the material of..."
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"John Bull's Other Island" by George Bernard Shaw, 1996.
Examines play's dramatic critique of cultural & political issues from Marxist perspective.
1,800 words (approx. 7.2 pages), 6 sources, AU$ 102.95
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From the Paper
"George Bernard Shaw wrote a number of what have come to be called philosophical comedies, and three of these--Major Barbara, Man and Superman, and John Bull's Other Island--have been viewed as a trilogy in this genre because all of them deal with the issue of the bankruptcy of nineteenth-century liberalism in the face of the prevailing forces of sex, nationalism, and poverty. John Bull's Other Island specifically represents a counter to the neo-Gaelic movement then under the leadership of William Butler Yeats. Indeed, the "other island" referred to in the title is Ireland, and John Bull is the name for the British government, much as we refer to the American government as Uncle Sam. Shaw does not make an overt Marxian appeal in this play, but his analysis of the exploitation of the Irish by the British demonstrates an understanding of the nature of Karl Marx's ideas..."
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Anna Bernard Shaw, 2002.
A biography of Anna Bernard Shaw and her influence on women's rights in America.
1,150 words (approx. 4.6 pages), 2 sources, AU$ 71.95
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Abstract
This paper will discuss Anna Bernard Shaw and her influence upon the Women's Suffrage movement, which, at the turn of the century, started a great upheaval in the advancement of women taking an active part in the voting process. Her story will be told and her accomplishments revealed, to give the scope of a woman who was willing to go to any lengths to create an equal participation of the female gender in the politics of her day.
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The Statements of Behan and Shaw, 2006.
A comparison of the works of Brendan Behan and George Bernard Shaw.
1,800 words (approx. 7.2 pages), 2 sources, AU$ 114.95
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Abstract
This paper explains that the authors Brendan Behan and George Bernard Shaw possessed a common thread of culture despite their vastly different social classes, backgrounds and experiences. The paper examines this commonality and how it expressed in the writings of both authors.
From the Paper
"Brendan Behan and George Bernard Shaw existed in different social classes throughout their lives. Behan was incarcerated multiple times for criminal acts, and was a lifetime member of the Irish Republican Army. Shaw was an author of significant societal standing that mingled with those of the higher class, and was revered as a genius in his work. Yet, these two authors possessed a common thread of culture that was evident in the plays, John Bull's Other Island (Shaw) and The Quare Fellow (Behan). This commonality was an Irish heritage that was an important factor in each author's life, and that prompted them to make statements on the world, as seen through Irish eyes. Shaw and Behan both constructed their works within worlds that they were familiar with. The characters of their plays expressed their individual societal experiences. However, each play was capable of..."
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Shakespeare's ?Measure for Measure? and Shaw's ?Major Barbara?, 2002.
This paper compares the many parallel images in the comedies William Shakespeare's ?Measure for Measure? and George Bernard Shaw's ?Major Barbara".
2,405 words (approx. 9.6 pages), 10 sources, MLA, AU$ 118.95
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Abstract
The author believes that Shaw quite consciously modeled some portions of ?Major Barbara? on Shakespeare's ?Measure for Measure?. The paper discusses the many similarities such as the religious overtones in both plays and the characterization of the female main characters Isabella and Barbara. The author points out that both plays make the same philosophical point: The need to let something go in order to achieve or gain something else, perhaps of greater value.
From the Paper
""Measure for Measure" is gloomy in the beginning; but Shakespeare, as does Shaw, is able to work out the transition from potential tragedy to comedy. Unfortunately, in the transition, Shakespeare, unlike Shaw, does not always make his characters behave consistently. Like Shaw, however, he does order everything that happens in "Measure for Measure" on the principle that the play must be kept a comedy. That was his given reason for making his heroine Isabella a novice nun and for bringing Lucio into her first scene with Angelo (II. ii.); every detail must play its part in intensifying the effect of comic irony. Once used though, such a detail may later be ignored by Shakespeare. Isabella is found to be not too nun-like after all. She is not squeamish or sanctimonious and can be intensely practical, as her "0, let him marry her!" (I. iv. 49) reveals. During the play she develops into a vociferous, ironical nun?almost a Major Barbara."
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"Mrs. Warren's Profession", 2002.
Examines the theme of morality and social hypocrisy in George Bernard Shaw's play.
1,150 words (approx. 4.6 pages), 1 source, AU$ 71.95
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Abstract
George Bernard Shaw's play, "Mrs. Warren's Profession" is a comment on social hypocrisy, portrayed through the characters' struggles with contradictory social positions and moral conflicts. Vivie, Mrs. Warren's daughter, is expected to be indifferent towards the conflicts of morality, as she was raised to be a 'proper lady;' however, Vivie reveals herself to be cool, calculating and contemptuous of the pretences that are associated with the hypocrisy of being a 'proper lady'.
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"Mrs. Warren?s Profession", 2002.
An examination of the relationship between Mrs. Warren and her daughter Vivie in the play "Mrs. Warren?s Profession" by George Bernard Shaw.
2,995 words (approx. 12.0 pages), 5 sources, MLA, AU$ 142.95
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Abstract
This paper reviews George Bernard Shaw's play "Mrs. Warren?s Profession" and discusses how Mrs. Warren?s secretive profession lies at the core of the relationship between Mrs. Warren and her daughter, Vivie. The income derived from her profession, running several bordello houses in continental Europe, takes Mrs. Warren physically away from her daughter but has allowed Mrs. Warren to provide Vivie with the lifestyle and education, which only people from the upper class can afford. It analyzes how Vivie's perception of her relationship with her mother may seem brutal, but truthful and how without experiencing the intimacy and love of a mother, the grown-up Vivie -- who is cynical of her relationship to her mother because the latter is a virtual stranger -- eventually sees that their only connection is monetary.
From the Paper
"In her proud and flaunting confession about her pseudo holiday in London to a total stranger (Shaw 38; Act I), Vivie demonstrates her audacity and complete lack of concern that she may be "caught" by her mother. On the other hand, Mrs. Warren is clueless to Vivie?s activities and interests. Vivie?s description of her holiday in London illustrates she is creating an existence of financial independence and passion for actuarial calculations, which is divorced from Mrs. Warren?s ideal conception of her daughter?s life. Although Mrs. Warren thinks her daughter is still dependent on her for her affluent lifestyle that includes sightseeing in London, Vivie "[has been] initiated into the business" of Chancery Lane and paid off her expenses. Ironically, Vivie?s "secret" project behind her mother?s back will become completely dwarfed by her mother?s greater life of secrecy."
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Eliza Doolittle and Medea, 2007.
A comparative analysis of the characters of Eliza Doolittle, from George Bernard Shaw's "Pygmalion" and Medea, from Euripides' play, "Medea".
1,305 words (approx. 5.2 pages), 2 sources, MLA, AU$ 71.95
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Abstract
This paper compares the characters of Eliza Doolittle from George Bernard Shaw's "Pygmalion" and Euripides' Medea by considering their different strengths and weaknesses, and the modes of representation used to distinguish them. Some reflection is also given to the means the authors use to convey the nature of each character and the ways in which the changes within the character are expressed. Finally, an attempt is made to analyze the two characters through considering the ways in which they have changed by the end of the play.
From the Paper
" Although many critics have described Medea as being a woman that is transformed from someone who is suicidal and depressed into a person who is driven by anger and revenge, it is clear that Medea had always been a determined, strong woman. She had often used her magic powers to obtain what she wanted; shown through her actions in helping Jason obtain the Golden Fleece, the murder of her own brother, and through manipulating the daughters of Pelias to murder their own father. Instead, Medea is portrayed through Euripides, as a woman that kills while being completely sane, through an anger that is fuelled by pure jealousy. She is a woman scorned."
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| Essay # 35242 |
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Two Pairs of Dramatic Characters, 2007.
This paper compares and contrasts two sets of dramatic characters: Eliza and Higgins in George Bernard Shaw's "Pygmalion" and Biff and Happy in Arthur Miller's "Death of a Salesman."
2,248 words (approx. 9.0 pages), 5 sources, MLA, AU$ 112.95
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Abstract
This paper compares and contrasts the characters in two plays, "Pygmalion" and "Death of a Salesman." Through this comparison, the reader gleans insights into the character development in each play and the resolved and unresolved issues in each play. The paper gives a brief plot summary of each play and describes the traits of the major characters. Also cited are the unresolved conflicts. The author concludes that both Eliza and Higgins in George Bernard Shaw's "Pygmalion," and Biff and Willy in Arthur Miller's "Death of a Salesman" consistently reveal only half-truths about themselves to each other, and to other characters in the play
From the Paper
" If "Drama is the art of significant juxtaposition" (H.D.F.Kitto), that is to say that dramatic conflict springs from a dialectical opposition of ideas; e.g., a half-truth in debate with another half-truth, in analyzing two pairs of dramatic "opponent" characters, then, first Eliza and Higgins in George Bernard Shaw's Pygmalion and second, Biff and Willy in Arthur Miller's Death of a Salesman one may define the nature of the respective "half-truths" of these characters according to how their confrontations are dramatized and resolved (or not). I will explore the issue of whether the dialectic between either of these two pairs of characters, Higgins and Eliza and Willy and Biff, is ever resolved."
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Comedy, 2006.
An analysis of comedy as a form of entertainment, looking at two particular plays, "Candida" by George Bernard Shaw and "The School for Scandal" by Brinsley Sheridan.
1,898 words (approx. 7.6 pages), 3 sources, MLA, AU$ 97.95
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Abstract
The paper analyzes the use of comedy within the entertainment business. The paper specifically compares two plays - George Bernard Shaw's Victorian-era comedy "Candida" and Richard Brinsley Sheridan's "The School for Scandal". The paper discusses each of these plays in detail and focuses on the use of comedy within them.
From the Paper
"Shaw presents a play that is designed to teach as well, however, although Shaw holds up a far less socially acceptable model for his viewers to embrace. The characters are not immediately humorous in as broad a fashion as Sheridan's caricatures, even though the Shaw comedy does aspire to a didactic purpose. "Candida" tells the tale of the Reverend James Morell who is happy in his marriage to a woman named Candida. "Get a wife like my Candida; and you'll always be in arrear with your repayment." (Act I) Morell speaks some of the common, conventional notions about morality, marriage, and loving one's wife that would likely have been embraced by Shaw's Victorian audience. This creates a sense of connection between the audience and the conventional characters that Sheridan lectured his audience overtly to feel."
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"Pygmalion" and "Major Barbara", 2007.
An analysis of love in "Pygmalion" and "Major Barbara" written by George Bernard Shaw .
866 words (approx. 3.5 pages), 3 sources, MLA, AU$ 49.95
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Abstract
This paper compares the love depicted in the plays "Pygmalion" and "Major Barbara" written by George Bernard Shaw. The paper suggests that the final outcome of the analysis is an intermingling of the two perspectives on love and it notes that in both situations, the heroes attract each other in spite of the paradoxical opposition.
From the Paper
"In opposition, their projections in the real world, Lisa and Cusins, trapped in reality, are only capable of projecting human love limited to the sole adulation of man, as the main actor of the reality they live in. Although Lisa loves her master, her passion, being deeply anchored in the every day life, she proves herself more powerful, succeeding in tearing down the wall her master had created around himself, by projecting her newly tailored personality upon her master. Thus, the creation becomes more powerful than its creator "But [with sudden humility] I shall miss you, Eliza"(Shaw, 1916, act V). On a similar note, Cusins represents the source of physical love whose subject becomes Barbara, as her own mother admits: "I have a very strong suspicion that you went to the Salvation Army to worship Barbara and nothing else" Shaw, 2000, act I). He loves her earthly existence, and the person her ideals embody."
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The Oppression and/or Liberation of Women in Drama, 2002.
An examination of the dramatic representation of the oppression andliberation of women in the plays "Mrs. Warren?s Profession" by George Bernard Shaw and "Hindle Wakes" by Stanley Houghton.
2,058 words (approx. 8.2 pages), 6 sources, MLA, AU$ 104.95
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Abstract
This paper uses two plays from the beginning of the century, "Mrs. Warren?s Profession" by George Bernard Shaw and "Hindle Wakes" by Stanley Houghton to examine the attitudes of the playwright and British society toward women. It deals with such issues as prostitution and marriage and shows how different the views of the turn of the century man can be. It looks at how the liberation and oppression of women are major themes in both plays and discusses how exactly which of the female characters in each play is liberated or oppressed is a more contentious issue ? and views of this are subject to the social climate of the contemporary audience.
From the Paper
"Mrs. Warren can also be seen as a liberated woman, for in actuality she is not legally attached to a man, and she makes her own way in the world. She has provided for herself and given her daughter a good life and a good education, so that Vivie does not have to make the same choices as her mother ? she may move in far better social circles with her mothers money than her mother herself can. In the same way that Vivie does not want a husband, and is therefore seen as a liberated woman because she has the opportunity to live her own life, nor does Mrs. Warren have or require a husband."
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