Arms and the Man (Large print, Paperback, Large type / large print edition)


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 fail him. But finally he has attained a hearing and now attempts at suppression merely serve to advertise their victim.

R328

Or split into 4x interest-free payments of 25% on orders over R50
Learn more

Discovery Miles3280
Delivery AdviceOut of stock

Toggle WishListAdd to wish list
Review this Item

Product Description

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 fail him. But finally he has attained a hearing and now attempts at suppression merely serve to advertise their victim.

Customer Reviews

No reviews or ratings yet - be the first to create one!

Product Details

General

Imprint

Createspace Independent Publishing Platform

Country of origin

United States

Release date

July 2013

Availability

Supplier out of stock. If you add this item to your wish list we will let you know when it becomes available.

First published

July 2013

Authors

Dimensions

229 x 152 x 9mm (L x W x T)

Format

Paperback - Trade

Pages

164

Edition

Large type / large print edition

ISBN-13

978-1-4909-9630-1

Barcode

9781490996301

Categories

LSN

1-4909-9630-3



Trending On Loot