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George Bernard Shaw George Bernard Shaw George Bernard Shaw, (born July 26, 1856, Dublin, Ire.—died Nov. 2, 1950, Ayot St. Lawrence, Hertfordshire, Eng.), Irish comic dramatist, literary critic, and socialist propagandist, winner of the Nobel Prize for Literature in 1925.
George Bernard Shaw EARLY LIFE AND CAREER 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 “ascendancy”—the landed Irish gentry—but 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 agent’s office. Shaw developed a wide knowledge of music, art, and literature as a result of his mother’s 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 mother’s 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.
George Bernard Shaw 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. Shaw’s initial literary work earned him less than 10 shillings a year. A fragment posthumously published as An Unfinished Novel in 1958 (but written 1887– 88) 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 Webb’s term) of the country’s 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 (1885–88) and art criticism in the World(1886–89) to brilliant musical columns in the Star (as “Corno di Bassetto”—basset 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 (1895–98); 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.
George Bernard Shaw FIRST 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 Ibsen’s plays onto the London stage around 1890, when A Doll’s 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-inlaw’s 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 ironiccomedy. The same dramatic predispositions control Mrs. Warren’s 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 Shaw’s 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 Un-
George Bernard Shaw
pleasant (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 husband—a worthy but obtuse Christian socialist—and 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
George Bernard Shaw 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 Shaw’s strength that a minor illness became a major one. In 1898, during the process of recuperation, he married his unofficial nurse, Charlotte PayneTownshend, an Irish heiress and friend of Beatrice and Sidney Webb. The apparently celibate marriage lasted all their lives, Shaw satisfying his emotional needs in paperpassion correspondences with Ellen Terry, Mrs. Patrick Campbell, and others. Shaw’s next collection of plays, Three Plays for Puritans (1901), continued what became the traditional Shavian preface—an introductory essay in an electric prose style dealing as much with the themes suggested by the plays as the plays themselves. The Devil’s 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 Shaw’s first great play. In the play Cleopatra is a spoiled and vicious 16-year-old child rather than the 38-year-old temptress of Shakespeare’s Antony and Cleopatra. The play depicts Caesar as a lonely and austere man who is as much a philosopher as he is a soldier.
George Bernard Shaw The play’s 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 Brassbound’s Conversion (performed 1900), is a sermon against various kinds of folly masquerading as duty and justice.
INTERNATIONAL IMPORTANCE In Man and Superman (performed 1905) Shaw expounded his philosophy that humanity is the latest stage in a purposeful and eternal evolutionary movement of the “life force” toward ever-higher life forms. The play’s hero, Jack Tanner, is bent on pursuing his own spiritual development in accordance with this philosophy as he flees the determined marital pursuit of the heroine, Ann Whitefield. In the end Jack ruefully allows himself to be captured in marriage by Ann upon recognizing that she herself is a powerful instrument of the “life force,” since the continuation and thus the destiny of the human race lies ultimately in her and other women’s reproductive capacity. The play’s nonrealistic third act, the “Don Juan in Hell” dream scene, is spoken theatre at its most operatic and is often performed independently as a separate piece. Shaw had already become established as a major playwright on the Continent by the performance of his plays there, but, curiously, his reputation lagged in England. It was only with the production of John Bull’s Other Island (performed 1904) in London, with a special performance for Edward VII, that Shaw’s stage reputation was belatedly made in England.
George Bernard Shaw Shaw continued, through high comedy, to explore religious consciousness and to point out society’s complicity in its own evils. In Major Barbara (performed 1905), Shaw has his heroine, a major in the Salvation Army, discover that her estranged father, a munitions manufacturer, may be a dealer in death but that his principles and practice, however unorthodox, are religious in the highest sense, while those of the Salvation Army require the hypocrisies of often-false public confession and the donations of the distillers and the armourers against which it inveighs. In The Doctor’s Dilemma(performed 1906), Shaw produced a satire upon the medical profession (representing the self-protection of professions in general) and upon both the artistic temperament and the public’s inability to separate it from the artist’s achievement. In Androcles and the Lion (performed 1912), Shaw dealt with true and false religious exaltation in a philosophical play about early Christianity. Its central theme, examined through a group of early Christians condemned to the arena, is that one must have something worth dying for—an end outside oneself—in order to make life worth living. Possibly Shaw’s comedic masterpiece, and certainly his funniest and most popular play, is Pygmalion(performed 1913). It was claimed by Shaw to be a didactic drama about phonetics, and its antiheroic hero, Henry Higgins, is a phonetician, but the play is a humane comedy about love and the English class system. The play is about the training Higgins gives to a Cockney flower girl to enable her to pass as a lady and is also about the repercussions of the experiment’s success. The scene in which Eliza Doolittle appears in high society when she
George Bernard Shaw has acquired a correct accent but no notion of polite conversation is one of the funniest in English drama. Pygmalion has been both filmed (1938), winning an Academy Award for Shaw for his screenplay, and adapted into an immensely popular musical, My Fair Lady (1956; motion-picture version, 1964).
WORKS AFTER WORLD WAR I World War I was a watershed for Shaw. At first he ceased writing plays, publishing instead a controversial pamphlet, “Common Sense About the War,” which called Great Britain and its allies equally culpable with the Germans and argued for negotiation and peace. His antiwar speeches made him notorious and the target of much criticism. In Heartbreak House (performed 1920), Shaw exposed, in a country-house setting on the eve of war, the spiritual bankruptcy of the generation responsible for the war’s bloodshed. Attempting to keep from falling into “the bottomless pit of an utterly discouraging pessimism,” Shaw wrote five linked plays under the collective title Back to Methuselah (1922). They expound his philosophy of creative evolution in an extended dramatic parable that progresses through time from the Garden of Eden to 31,920 CE.
George Bernard Shaw The canonization of Joan of Arc in 1920 reawakened within Shaw ideas for a chronicle play about her. In the resulting masterpiece, Saint Joan (performed 1923), the Maid is treated not only as a Roman Catholic saint and martyr but as a combination of practical mystic, heretical saint, and inspired genius. Joan, as the superior being “crushed between those mighty forces, the Church and the Law,” is the personification of the tragic heroine; her death embodies the paradox that humankind fears—and often kills—its saints and heroes and will go on doing so until the very higher moral qualities it fears become the general condition of man through a process of evolutionary change. Acclaim for Saint Joan led to the awarding of the 1925 Nobel Prize for Literature to Shaw (he refused the award). In his later plays Shaw intensified his explorations into tragicomic and nonrealistic symbolism. For the next five years, he wrote nothing for the theatre but worked on his collected edition of 1930–38 and the encyclopaedic political tract “The Intelligent Woman’s Guide to Socialism and Capitalism” (1928). Then he produced The Apple Cart (performed 1929), a futuristic high comedy that emphasizes Shaw’s inner conflicts between his lifetime of radical politics and his essentially conservative mistrust of the common man’s ability to govern himself. Shaw’s later, minor plays include Too True to Be Good(performed 1932), On the Rocks (performed 1933), The Simpleton of the Unexpected Isles (performed 1935), Geneva (performed 1938), and In Good King Charles’s Golden Days (1939). After a wartime hiatus, Shaw, then in his 90s, produced several more plays, including Farfetched Fables (performed 1950), Shakes Versus Shav (performed 1949), and Why She Would Not (1956), which is a fantasy with only flashes of the earlier Shaw. Impudent, irreverent, and always a showman, Shaw used his buoyant wit to keep himself in the public eye to the end of his 94 years; his wiry figure, bristling beard, and dandyish cane were as well known throughout the world as his plays. When his wife, Charlotte, died of a lingering illness in 1943, in the midst of World War II, Shaw, frail and feeling the effects of wartime privations, made permanent his retreat from his London apartment to his country home at Ayot St. Lawrence, a Hertfordshire village in which he had lived since 1906. He died there in 1950.
George Bernard Shaw George Bernard Shaw was not merely the best comic dramatist of his time but also one of the most significant playwrights in the English language since the 17th century. Some of his greatest works for the stage—Caesar and Cleopatra, the “Don Juan in Hell” episode of Man and Superman, Major Barbara, Heartbreak House, and Saint Joan—have a high seriousness and prose beauty that were unmatched by his stage contemporaries. His development of a drama of moral passion and of intellectual conflict and debate, his revivifying of the comedy of manners, and his ventures into symbolic farce and into a theatre of disbelief helped shape the theatre of his time and after. A visionary and mystic whose philosophy of moral passion permeates his plays, Shaw was also the most trenchant pamphleteer since Swift, the most readable music critic in English, the best theatre critic of his generation, a prodigious lecturer and essayist on politics, economics, and sociological subjects, and one of the most prolific letter writers in literature. By bringing a bold critical intelligence to his many other areas of interest, he helped mold the political, economic, and sociological thought of three generations.
George Bernard Shaw
George Bernard Shaw 14 of George Bernard Shaw's Most Brilliant Quotes
George Bernard Shaw George Bernard Shaw once said, "I often quote myself. It adds spice to my conversation." He had a lot of good ones to choose from. 1. "If you cannot get rid of the family skeleton, you may as well make it dance." — From Immaturity 2. "A life spent making mistakes is not only more honorable, but more useful than a life spent doing nothing." — From The Doctor's Dilemma 3. "[The] power of accurate observation ... is commonly called cynicism by those who have not got it." — The World 4. "The unconscious self is the real genius. Your breathing goes wrong the moment your conscious self meddles with it." — From Maxims for Revolutionaries 5. "There are no secrets better kept than the secrets everybody guesses." — From Mrs. Warren's Profession 6. "We learn from experience that men never learn anything from experience." — via Columbia University Press 7. "Do not do unto others as you would that they should do unto you. Their tastes may not be the same." — From Maxims for Revolutionists
George Bernard Shaw 8. "He knows nothing; and he thinks he knows everything. That points clearly to a political career." — From Major Barbara 9. "There is no sincerer love than the love of food." — From Man and Superman 10. "Hell is full of musical amateurs." — From Man and Superman 11. "My way of joking is to tell the truth. It's the funniest joke in the world." — From John Bull's Other Island 12. "As long as I have a want, I have a reason for living. Satisfaction is death." — From Overruled 13. "The first prison I ever saw had inscribed on it CEASE TO DO EVIL: LEARN TO DO WELL; but as the inscription was on the outside, the prisoners could not read it." — From Preface for English Prisons Under Local Government 14. "Those who cannot change their minds cannot change anything." — via The Quintessence of G.B.S.: The Wit and Wisdom of Bernard Shaw
George Bernard Shaw George Bernard Shaw Facts George Bernard Shaw was a Nobel Prize winning playwright born on July 26th, 1856 in Dublin, Ireland. His father was George Carr Shaw, a civil servant, and Lucinda Elizabeth Shaw, a singer. George had two sisters, Lucinda Frances (1853-1920) a light opera singer, and Elinor Agnes (1855 -1876). Elinor passed away in 1876 from tuberculosis. George Bernard Shaw attended the Wesley College in Dublin briefly and then went to a private school, before finally transferring to Central Model School in Dublin. George Bernard Shaw did not like school and ended his formal education with the English Scientific and Commercial Day School in Dublin. His mother left for London with his sisters when he was 16, and he followed in 1876. He began writing and became a successful art critic.
Interesting George Bernard
George Bernard Shaw
George Bernard Shaw
George Bernard Shaw
George Bernard Shaw 1926 – GEORGE BERNARD SHAW REFUSES TO ACCEPT THE NOBEL PRIZE MONEY OF £7,000 AWARDED TO HIM A YEAR EARLIER. Progress is impossible without change, and those who cannot change their minds cannot change anything. –George Bernard Shaw Shaw was awarded a Nobel Prize in Literature (1925) for his contributions to literature. The citation praised his work as “… marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”. Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honours, but accepted it at his wife’s behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of fellow playwright August Strindberg’s works from Swedish to English. He said: “I can forgive Nobel for inventing dynamite, but only a fiend in human form could have invented the Nobel Prize.” At this time Prime Minister David Lloyd George was considering recommending to the King Shaw’s admission to the Order of Merit, but the place was instead given to J. M. Barrie. Shaw rejected a knighthood. Photo: Shaw in 1925 (aged 69), when he was awarded the Nobel Prize in Literature
George Bernard Shaw About Bernard Shaw, Nobel Prize in Literature, 1925 George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although Shaw's first profitable writing was music and literary criticism, his talent was for drama, and he authored more than 60 plays. Nearly all of his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege and found them all defective. He was most angered by the exploitation of the working class, and most of his writings censure that abuse. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal political rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthful lifestyles. Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St. Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries he incurred by falling. He is the only person to have been awarded both the Nobel Prize for Literature (1925) and an Oscar (1938). These were for his contributions to literature and for his work on the film Pygmalion, respectively. Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honors, but accepted it at his wife's behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English.
George Bernard Shaw George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. He was also an essayist, novelist and short story writer. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Issues which engaged Shaw's attention included education, marriage, religion, government, health care, and class privilege.
He was most angered by what he perceived as the exploitation of the working class. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council.Early years and family[edit] George Bernard Shaw was born in Synge Street, Dublin, on 26 July 1856[3] to George Carr Shaw (1814–85), an unsuccessful grain merchant and sometime civil servant, and Lucinda Elizabeth Shaw, née Gurly (1830–1913), a professional singer. He had two sisters, Lucinda Frances (1853–1920), a singer of musical comedy and light opera, and Elinor Agnes (1855–76), who died of tuberculosis in 1876. Education[edit] Shaw briefly attended the Wesley College, Dublin, a grammar school operated by the Methodist Church in Ireland, before moving to a private school near Dalkey and then transferring to Dublin's Central Model School. He ended his formal education at the Dublin English Scientific and Commercial Day School. He harboured a lifelong animosity toward schools and teachers, saying, "Schools and schoolmasters, as we have them today, are not popular as places of education and teachers, but rather prisons and turnkeys in which children are kept to prevent them disturbing and chaperoning their parents."[4] In the astringent prologue to Cashel Byron's Profession young Byron's educational experience is a fictionalized description of Shaw's own schooldays. Later, he painstakingly detailed the reasons for his aversion to formal education in his Treatise on Parents and Children.[5] In brief, he considered the standardized curricula useless, deadening to the spirit and stifling to the intellect. He particularly deplored the use of corporal punishment, which was prevalent in his time. When his mother left home and followed her voice teacher, George Vandeleur Lee, to London, Shaw was almost sixteen years old. His sisters accompanied their mother[6] but Shaw remained in Dublin with his father, first as a reluctant pupil, then as a clerk in an estate office. He worked efficiently, albeit discontentedly, for several years.[7] In 1876, Shaw joined his mother's London household. She, Vandeleur Lee, and his sister Lucy, provided him with a pound a week while he frequented public libraries and the British Museum reading room where he studied earnestly and began writing novels. He earned his allowance by ghostwriting Vandeleur Lee's music column,[8][9] which appeared in the London Hornet. His novels were rejected, however, so his literary earnings remained negligible until 1885, when he became self-supporting as a critic of the arts.
George Bernard Shaw
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Բեռնարդ Շոու 24 սրամիտ ասույթ Բեռնարդ Շոուից Բեռնարդ Շոուն միակ մարդն է, ով միաժամանակ արժանացել է և՛ Նոբելյան մրցանակի, և՛ Օսկարի «Պիգմալիոն» կինոնկարի սցենարի համար։ Գրողը խոստովանել է, որ ոչինչ չի սովորել այն դպրոցներում, որոնք հաճախել է, սակայն շատ բան է քաղել իր համար Աստվածաշնչից, Չարլզ Դիքենսի, Շեքսպիրի և այլ գրողների գրքերից, ինչպես նաև այն օպերաներից, որոնցում երգում էր իր մայրը։ Նրա հարուստ կենսափորձն ու իմաստությունը իրենց արտացոլումն են գտել նրա բազմաթիվ ստեղծագործություններում։ Մենք ծաղկաքաղ են արել այդ ստեղծագործություններից մի քանի սրամիտ աֆորիզմ ու ստորև ներկայացնում ենք դրանք Ձեր ուշադրությանը։ 1. Աշխարհը բաղկացած է պորտաբույծներից, ովքեր ցանկանում են փող ունենալ, և հիմարներից, ովքեր պատրաստ են աշխատել առանց հարստանալու։ 2. Պարը հորիզոնական ցանկության ուղղահայաց դրսևորումն է։ 3. Ատելությունը վախկոտի հաշվեհարդարն է իր ապրած վախի համար։ 4. Կատարյալ ամուսինը այն տղամարդն է, ով համարում է, որ ինքը կատարյալ կին ունի։ 5. Մեծագույն պարգև է կարողանալ դիմանալ մենությանը և հաճույք ստանալ դրանից։ 6. Երբեմն պետք է ծիծաղեցնել մարդկանց, որպեսզի շեղեք նրանց Ձեզ սպանելու մտադրությունից։ 7. Մերձավորի հանդեպ ամենամեծ մեղքը ոչ թե ատելությունն է, այլ անտարբերությունը։ Հենց անտարբերությունն է անմարդկայնության գագաթնակետը։ 8. Կանայք անմիջապես կռահում են, թե ում հետ ենք մենք պատրաստ դավաճանել նրանց։ Նրանք երբեմն կռահում են դա, նախքան դա մեր մտքով կանցնի։ 9. Ավելի հեշտ է ապրել կրքոտ, քան ձանձրալի կնոջ հետ։ Ճիշտ է կրքոտ կանանց երբեմն խեղդում են, սակայն նանց հազվադեպ են լքում։ 10. Ալկոհոլը անեսթեզիա (ցավազրկում) է, որը թույլ է տալիս հետաձգել կյանք կոչվող վիրահատությունը։
Բեռնարդ Շոու
11. Իրականության օբյեկտիվ ընկալումից զուրկ մարդիկ հաճախ այն ցինիզմ են անվանում։ 12. Նա, ով կարողանում է, անում է, իսկ ով ինքը չի կարողանում, ուրիշներին է սովորեցնում։ 13. Փորձեք ստանալ այն, ինչ հավանում եք, հակառակ դեպքում ստիպված կլինեք հավանել այն, ինչ ստացել եք։ 14. Ծերություննը ձանձրալի է, սակայն դա երկար ապրելու միակ ճանապարհն է։ 15. Միակ դասը, որը կարելի է քաղել պատմությունից, այն է, որ մարդիկ պատմությունից ոչ մի դաս չեն քաղում։ 16. Ժողովրդավարությունը փուչիկ է, որը կախված է Ձեր գլխավերևում և ստիպում է Ձեզ վեր նայել, մինչ ուրիշները թալանում են Ձեր գրպանները։ 17. Եթե ես ու Դուք մեկական խնձոր ունենանք ու փոխանակվենք այդ խնձորներով, յուրաքանչյուրիս մոտ նախկինի պես մեկ խնձոր կմնա։ Իսկ եթե ես ու Դուք մեկական գաղափար ունենանք ու փոխանակվենք այդ գաղափարներով, երկուսս էլ առնվազն երկու գաղափար կունենանք։
Բեռնարդ Շոու 18. Առողջ բանականությունը ու աշխատասիրությունը փոխհատուցում են տաղանդի բացակայությունը, այնինչ Դուք կարող եք տաղանդավոր լինել և սեփական հիմարության պատճառով կործանել Ձեր կյանքը։ 19. Մարդը նման է աղյուսի։ Այրվելով էլ ավելի է ամրանում։ 20. Հեղինակությունը դիմակ է, որը մարդ ստիպված է կրել ճիշտ այնպես, ինչպես անդրավարտիքը կամ կոստյումը։ 21. Այն մարդը, ով ոչնչի չի հավատում, ամեն ինչից վախենում է։ 22. Խելամիտ մարդը հարմարվում է աշխարհին, իսկ անխելքը փորձում է աշխարհը հարմարեցնել իրեն։ Հենց այս պատճառով էլ առաջընթացը կախված է անխելքներից։ 23. Հարուստ մարդիկ, ում մոտ բացակայում են համոզմունքները, ժամանակակից հասարակության մեջ ավելի վտանգավոր են, քան աղքատ կանայք, ում մոտ բացակայում է բարոյականությունը։ 24. Հիմա, երբ մենք սովորել են թռչունների պես սավառնել օդով, ձկների պես լողալ ջրի տակ, մեզ միայն մի բան է պակասում. սովորել մարդավարի ապրել այս աշխարհում։
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