George Bernard Shaw

George Bernard Shaw

Summary

Portrait of George Bernard Shaw George Bernard Shaw,  The Admirable Bashville — Preface (1901)

“ The rigmarole could not stand the strain; and Shakespear's style ended in a chaos of half-shattered old forms, half-emancipated new ones, with occasional bursts of prose eloquence on the one hand, occasional delicious echoes of the rigmarole, mostly from Calibans and masque personages, on the other, with, alas! a great deal of filling up with formulary blank verse which had no purpose except to save the author's time and thought.
When a great man destroys an art form in this way, its ruins make palaces for the clever would-be great.
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Source: Wikisource

Portrait of George Bernard Shaw George Bernard Shaw,  The Admirable Bashville — Preface (1901)

“ I am quite sure that any one who is to recover the charm of blank verse must frankly go back to its beginnings and start a literary pre-Raphaelite Brotherhood, I like the melodious sing-song, the clear simple one-line and two-line sayings, and the occasional rhymed tags, like the half closes in an eighteenth century symphony, in Peele, Kyd, Greene, and the histories of Shakespear. ”
Source: Wikisource

Portrait of George Bernard Shaw George Bernard Shaw,  The Admirable Bashville — Preface (1901)

“ The man who thinks The Duchess of Malfi better than David and Bethsabe is outside the pale, not merely of literature, but almost of humanity.
Yet some of the worst of these post-Shakespearean duffers, from Jonson to Heywood, suddenly became poets when they turned from the big drum of pseudo-Shak- spearean drama to the pipe and tabor of the masque, exactly as Shakespear himself recovered the old charm of the rigmarole when he turned from Prospero to Ariel and Caliban.
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Source: Wikisource

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