George Bernard Shaw, (born July 26, 1856, Dublin, Irelanddied November 2, 1950, Ayot St. Lawrence, Hertfordshire, England), Irish comic dramatist, literary critic, and socialist propagandist, winner of the Nobel Prize for Literature in 1925.

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George Bernard Shaw is famous for his role in revolutionizing comedic drama. He was also a literary critic and a prominent British socialist. Shaws most financially successful work, Pygmalion, was adapted into the popular Broadway musical My Fair Lady. He won the Nobel Prize for Literature in 1925.

George Bernard Shaw was born in Dublin, Ireland, as the youngest of three children. He was raised in genteel poverty, and his mothers career as a professional singer influenced his interest in music, art, and literature. He remained relatively impoverished throughout his 20s, trying his hand at novel-writing several times to no avail.

George Bernard Shaw wrote rather unmemorable fiction throughout his 20s and early 30s. In 1885 the drama critic William Archer recruited Shaw to write book, art, and musical reviews in various publications. In 1895 Shaw began writing for the Saturday Review as a theatre critic, and from there he began to write his first plays.

George Bernard Shaws plays are thematically diverse. He wove threads of humour and romance between analyses of contemporary hypocrisies and social tensions. About the beginning of the 20th century, Shaw began affixing lengthy prefaces to his plays that engaged more deeply with their philosophical foundations.

In the mid-1880s George Bernard Shaw joined the Fabian Society, a newly formed socialist club for middle-class intellectuals hoping to transform English society through culture. He remained a socialist for the rest of his life. He also became a pacifist and an antiwar activist, attracting much criticism during World War I.

George Bernard Shaw was the third and youngest child (and only son) of George Carr Shaw and Lucinda Elizabeth Gurly Shaw. Technically, he belonged to the Protestant ascendancythe landed Irish gentrybut his impractical father was first a sinecured civil servant and then an unsuccessful grain merchant, and George Bernard grew up in an atmosphere of genteel poverty, which to him was more humiliating than being merely poor. At first Shaw was tutored by a clerical uncle, and he basically rejected the schools he then attended; by age 16 he was working in a land agents office.

Shaw developed a wide knowledge of music, art, and literature as a result of his mothers influence and his visits to the National Gallery of Ireland. In 1872 his mother left her husband and took her two daughters to London, following her music teacher, George John Vandeleur Lee, who from 1866 had shared households in Dublin with the Shaws. In 1876 Shaw resolved to become a writer, and he joined his mother and elder sister (the younger one having died) in London. Shaw in his 20s suffered continuous frustration and poverty. He depended upon his mothers pound a week from her husband and her earnings as a music teacher. He spent his afternoons in the British Museum reading room, writing novels and reading what he had missed at school, and his evenings in search of additional self-education in the lectures and debates that characterized contemporary middle-class London intellectual activities.

His fiction failed utterly. The semiautobiographical and aptly titled Immaturity (1879; published 1930) repelled every publisher in London. His next four novels were similarly refused, as were most of the articles he submitted to the press for a decade. Shaws initial literary work earned him less than 10 shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 188788) was his final false start in fiction.

Despite his failure as a novelist in the 1880s, Shaw found himself during this decade. He became a vegetarian, a socialist, a spellbinding orator, a polemicist, and tentatively a playwright. He became the force behind the newly founded (1884) Fabian Society, a middle-class socialist group that aimed at the transformation of English society not through revolution but through permeation (in Sidney Webbs term) of the countrys intellectual and political life. Shaw involved himself in every aspect of its activities, most visibly as editor of one of the classics of British socialism, Fabian Essays in Socialism (1889), to which he also contributed two sections.

Eventually, in 1885, the drama critic William Archer found Shaw steady journalistic work. His early journalism ranged from book reviews in the Pall Mall Gazette (188588) and art criticism in the World (188689) to brilliant musical columns in the Star (as Corno di Bassettobasset horn) from 1888 to 1890 and in the World (as G.B.S.) from 1890 to 1894. Shaw had a good understanding of music, particularly opera, and he supplemented his knowledge with a brilliance of digression that gives many of his notices a permanent appeal. But Shaw truly began to make his mark when he was recruited by Frank Harris to the Saturday Review as theatre critic (189598); in that position he used all his wit and polemical powers in a campaign to displace the artificialities and hypocrisies of the Victorian stage with a theatre of vital ideas. He also began writing his own plays.

When Shaw began writing for the English stage, its most prominent dramatists were Sir A.W. Pinero and H.A. Jones. Both men were trying to develop a modern realistic drama, but neither had the power to break away from the type of artificial plots and conventional character types expected by theatregoers. The poverty of this sort of drama had become apparent with the introduction of several of Henrik Ibsens plays onto the London stage around 1890, when A Dolls House was played in London; his Ghosts followed in 1891, and the possibility of a new freedom and seriousness on the English stage was introduced. Shaw, who was about to publish The Quintessence of Ibsenism (1891), rapidly refurbished an abortive comedy, Widowers Houses, as a play recognizably Ibsenite in tone, making it turn on the notorious scandal of slum landlordism in London. The result (performed 1892) flouted the threadbare romantic conventions that were still being exploited even by the most daring new playwrights. In the play a well-intentioned young Englishman falls in love and then discovers that both his prospective father-in-laws fortune and his own private income derive from exploitation of the poor. Potentially this is a tragic situation, but Shaw seems to have been always determined to avoid tragedy. The unamiable lovers do not attract sympathy; it is the social evil and not the romantic predicament on which attention is concentrated, and the action is kept well within the key of ironic comedy.

The same dramatic predispositions control Mrs. Warrens Profession, written in 1893 but not performed until 1902 because the lord chamberlain, the censor of plays, refused it a license. Its subject is organized prostitution, and its action turns on the discovery by a well-educated young woman that her mother has graduated through the profession to become a part proprietor of brothels throughout Europe. Again, the economic determinants of the situation are emphasized, and the subject is treated remorselessly and without the titillation of fashionable comedies about fallen women. As with many of Shaws works, the play is, within limits, a drama of ideas, but the vehicle by which these are presented is essentially one of high comedy.

Shaw called these first plays unpleasant, because their dramatic power is used to force the spectator to face unpleasant facts. He followed them with four pleasant plays in an effort to find the producers and audiences that his mordant comedies had offended. Both groups of plays were revised and published in Plays Pleasant and Unpleasant (1898). The first of the second group, Arms and the Man (performed 1894), has a Balkan setting and makes lighthearted, though sometimes mordant, fun of romantic falsifications of both love and warfare. The second, Candida (performed 1897), was important for English theatrical history, for its successful production at the Royal Court Theatre in 1904 encouraged Harley Granville-Barker and J.E. Vedrenne to form a partnership that resulted in a series of brilliant productions there. The play represents its heroine as forced to choose between her clerical husbanda worthy but obtuse Christian socialistand a young poet who has fallen wildly in love with her. She chooses her seemingly confident husband because she discerns that he is actually the weaker man. The poet is immature and hysterical but, as an artist, has a capacity to renounce personal happiness in the interest of some large creative purpose. This is a significant theme for Shaw; it leads on to that of the conflict between man as spiritual creator and woman as guardian of the biological continuity of the human race that is basic to a later play, Man and Superman. In Candida such speculative issues are only lightly touched on, and this is true also of You Never Can Tell (performed 1899), in which the hero and heroine, who believe themselves to be respectively an accomplished amorist and an utterly rational and emancipated woman, find themselves in the grip of a vital force that takes little account of these notions.

The strain of writing these plays, while his critical and political work went on unabated, so sapped Shaws strength that a minor illness became a major one. In 1898, during the process of recuperation, he married his unofficial nurse, Charlotte Payne-Townshend, an Irish heiress and friend of Beatrice and Sidney Webb. The apparently celibate marriage lasted all their lives, Shaw satisfying his emotional needs in paper-passion correspondences with Ellen Terry, Mrs. Patrick Campbell, and others.

Shaws next collection of plays, Three Plays for Puritans (1901), continued what became the traditional Shavian prefacean introductory essay in an electric prose style dealing as much with the themes suggested by the plays as the plays themselves. The Devils Disciple (performed 1897) is a play set in New Hampshire during the American Revolution and is an inversion of traditional melodrama. Caesar and Cleopatra (performed 1901) is Shaws first great play. In the play Cleopatra is a spoiled and vicious 16-year-old child rather than the 38-year-old temptress of Shakespeares Antony and Cleopatra. The play depicts Caesar as a lonely and austere man who is as much a philosopher as he is a soldier. The plays outstanding success rests upon its treatment of Caesar as a credible study in magnanimity and original morality rather than as a superhuman hero on a stage pedestal. The third play, Captain Brassbounds Conversion (performed 1900), is a sermon against various kinds of folly masquerading as duty and justice.

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