thesourcesofidealism萧伯纳GBernardShaw

GeorgeBernardShaw萧伯纳(1856-1950)英国现实主义戏剧家Behindeverysuccessfulman,thereisawomanandbehindeveryunsuccessfulman,therearetwo.--BernardShaw每个成功的男人后面都有一个女人；每个不成功的男人后面都有两个女人。—萧伯纳Iwasbornintelligent-educationruinedme.--BernardShaw我生下来时很聪明的——教育把我给毁了。BernardShawwasborninDublin,Ireland,ofEnglishparentagein1856.Hewasinterestedinliterature,musicandart.Heleftschoolat14andstartedtowork.Hehadmuchcontactwiththepoorpeopleandcametoknowtheirmiserablelife.Between1879and1883,hestartedtoattendpublicmeetings.In1884,hejoinedtheFabianSociety.1.HisLifeandEarlyWritingFrom1885,heservedasacriticofmusicanddrama,heintroducedanewstandardinjudgingperformersandcomposers.WhentheFirstWorldWarbrokeout,hedenouncedthoseimperialistwar-launchersinhisbook,CommonSenseAbouttheWar.In1925,hewontheNobelPrize.HevisitedtheformerSovietUnionin1931.In1933,hevisitedChinaandmetMadamSongQinglingandMr.LuXun.G.BernardShaw，SongQingling,CaiYuanpeiandLuXunin1933Shawwrote53playsofalargevarietyoftopics.①criticizecontemporarysocial,economicmoralandreligiousevils②onbehalfofrationalistandsocialist③“LifeForce”——createsuperiorbeingsSolve2.Shaw’sMajorWorksShaw’sMajorWorks:ShawwrotefivenovelsinallthebestofwhichisCashelByron’sProfession《卡歇尔·拜伦的职业》(1886),whichisaboutaworld-famousprizefightermarryingapriggishlyrefinedladyofproperty.TheQuintessenceOfIbsenismBernard《易卜生主义精华》(1915).HiscriticismisentitledOurTheatersintheNineties《90年代的英国戏剧》(1931).Inhislongdramaticcareer,Shawwrotemorethan50playsofavarietyofsubjects:(1)Hisearlyplaysweremainlyconcernedwithsocialproblemsanddirectedtowardsthecriticismofthecontemporarysocial,economic,moralandreligiousevils.Widowers‘House《鳏夫的房产》(1892)isagrotesquelyrealisticexposureofslumlandlordism;Mrs.Warren’sProfession《华伦夫人的职业》(1894)isaplayabouttheeconomicoppressionofwomen.(2)Shawwrotequiteafewhistoryplays,inwhichhekeptaneyeonthecontemporarysociety.TheimportantplaysofthisgroupareCaesarandCleopatra《凯撒和克莉奥佩屈拉》(1898)andSt.Joan《圣女贞德》(1923).(3)Shawalsoproducedseveralplays,exploringhisideaof“LifeForce生命力,”thepowerthatwouldcreatesuperiorbeingstobeequaltoGodandtosolveallthesocial,moral,andmetaphysicalproblemsofhumansociety.ThetypicalexamplesofthisgroupareManandSuperman《人与超人》(1904)andBacktoMethuselah《千岁人》(1921).(4)Besides,Shawwroteplaysonmiscellaneoussubjects:forinstance.TheAppleCart《苹果车》(1929)isaboutpolitics;JohnBull’sOtherIsland《英国佬的另一个岛》(1904)isaboutracialproblems;Pygmalion《皮格马利翁(卖花女)》(1912)isaboutcultureandart;GettingMarried《结婚》(1908),Misalliance《错姻缘》(1910)andFanny’sFirstPlay《法妮的第一场戏》(1911)areabouttheproblemoffamilyandmarriage;andTheDoctor’sDilemma《医生的两难选择》(1906)isabouttheignorance,incompetence,arroganceandbigotryofthemedicalprofession.TooTruetoBeGood《真相必露》(1932)isabetterplayofthelaterperiod,withtheauthor'salmostnihilisticbitternessonthesubjectsofthecrueltyandmadnessofWorldWarIandtheaimlessnessanddisillusionoftheyoung.St.Joan(1923)istheonlytragedybyBernardShaw.Itisnotonlyatragedybutahistoricalplay.Whatthisbookfocusonreligiousfaith,women,society,politicalfactorsthatinfluencethehistoryandpeople,etc.Pygmalion(1912)wasBernardShaw’smostfamouscomedy,whichwasnotacceptedandwelcomedbythepublicityuntilitwasfilmed.Theplayisasharplampoon（讽刺）oftherigidBritishclasssystem,andacommentonwomen'shard-working,independence,andself-respect,aromanticcomedy.3、CharacteristicsofBernardShaw’splays(1)Structurallyandthematically,Shawfollowedthegreattraditionsofrealism.(2)Toportrayhischaracters,heemployedcontrastandantithesis（对立）.Hischaractersaretherepresentativeofideasthatalterduringtheplay.(3)Muchofhisdramaisconstructedbyemployinginversion（倒置）.(4)Theplotofhisplaysadvancednotbyactionbutbydialogues(wittyandbrilliant)likecomediesofmanners（风格手法）.(5)Paradox（悖论）effectivelyused,throughwhichthetruthisrevealed.(6)Ibsen’sinfluenceinmakinghisplaysavehicleforideas(problemplay),inwhichvarioussocialproblemsarediscussed.(7)Satire（讽刺）andblackcomedywerealsoemployed.——王佐良《英国散文的流变》——王佐良《英国散文的流变》——王佐良《英国散文的流变》4、Theanalysisofthelastthreeparagraphsoftheessay.•IreplythatIbsenhimself,thoughhehasnotformallymadethedistinction,hassorepeatedlyharpedonconventionsandconventionalistsasidealsandidealiststhatifIwerenowperverselytocallthemrealitiesandrealists,IshouldconfusereadersofTheWildDuckandRosmersholmmorethanIshouldhelpthem.DoubtlessIshallbereproachedforpuzzlingpeoplebythuslimitingthemeaningofthetermideal.Butwhat,Iask,isthatinevitablepassingperplexitycomparedtotheinextricabletangleImustproduceifIfollowthecustom,andusethewordindiscriminatelyinitstwoviolentlyincompatiblesenses?Ifthetermrealistisobjectedtoonaccountofsomeofitsmodernassociations,Ionlyrecommendyou,ifyoumustassociateitwithsomethingelsethanmyowndescriptionofitsmeaning(Idonotdealindefinitions),toassociateit,notwithZolaandMaupassant,butwithPlato.•TheWildDuck(originalNorwegiantitle:Vildanden)isan1884playbytheNorwegianplaywrightHenrikIbsen.Intheplay,anidealisticoutsider'sgratuitoustruth-tellingdestroysafamily.GregersWerle,whohasacompulsiontotellthetruthatallcosts,revealstotheEkdalfamilycertainunasked-forinformationabouteachfamilymember'spast.Theknowledgedestroy