On Shakespeare

by George Bernard Shaw

Drawn from reviews, prefaces, letters to actors and critics, and other writings, Shaw on Shakespeare offers a fascinating and unforgettable critique of history's most famous playwright by his most outspoken critic, George Bernard Shaw. From a man who knew Shakespeare inside and out—and spoke out against theills of "bardolotry"—comes a witty and provocative anthology, written with a prose style second-to-none (except, perhaps, Shakespeare).

Genres: Shakespeare, Literary Criticism, Nonfiction

302 pages, Paperback

First published November 30, 1960

About the author

George Bernard Shaw stands as one of the most prolific and influential intellectuals of the late nineteenth and early twentieth centuries, a man whose literary output was matched only by his fervent commitment to social reform. Rising from a modest background in Dublin to become a global icon of letters, Shaw redefined the purpose of the stage, transforming it from a place of mere entertainment into a forum for rigorous intellectual debate and moral inquiry. His unique "Shavian" style—characterized by sharp-witted dialogue, paradoxical reasoning, and a relentless assault on Victorian hypocrisy—ensured that his voice resonated far beyond the footlights. As a playwright, critic, and philosopher, he remains a singular figure in history, being one of only two individuals to have been honored with both a Nobel Prize in Literature and an Academy Award. This rare crossover of high-art recognition and mainstream cinematic success speaks to his versatility and the enduring relevance of his narratives. His dramatic work, which includes over sixty plays, often tackled the most pressing issues of his day, from the rigid structures of the British class system to the complexities of gender roles and the ethical dilemmas of capitalism. In masterpieces like Pygmalion, he used the science of phonetics to demonstrate the artificiality of class distinctions, a theme that would later reach millions through the musical adaptation My Fair Lady. In Man and Superman, he delved into the philosophical concepts of the "Life Force" and the evolution of the human spirit, while Major Barbara forced audiences to confront the uncomfortable relationship between religious idealism and the industrial military complex. Beyond his theatrical achievements, Shaw was a foundational force in political thought, serving as a leading light of the Fabian Society. His advocacy for gradual socialist reform, rather than violent revolution, helped shape the trajectory of modern British politics and social welfare. He was instrumental in the creation of the London School of Economics, an institution that continues to influence global policy and economic theory. Shaw was also a formidable critic, whose reviews of music and drama set new standards for the profession, characterized by an uncompromising honesty and a deep knowledge of the arts. His personal lifestyle was as distinctive as his writing; a committed vegetarian, teetotaler, and non-smoker, he lived with a disciplined focus that allowed him to remain productive well into his ninth decade. He was a man of contradictions, often engaging in provocative public discourse that challenged the status quo, even when his views sparked intense controversy. His fascination with the "Superman" archetype and his occasional support for authoritarian figures reflected a complex, often elitist worldview that sought the betterment of humanity through radical intellectual evolution. Despite these complexities, his core mission was always rooted in a profound humanitarianism and a desire to expose the delusions that prevented society from progressing. He believed that the power of the written word could strip away the masks of respectability that hid social injustice, and his plays continue to be staged worldwide because the human foibles he satirized remain as prevalent today as they were during his lifetime. By blending humor with gravity and intellect with accessibility, Shaw created a body of work that serves as both a mirror and a compass for modern civilization. His legacy is not just in the scripts he left behind, but in the very way we think about the intersection of art, politics, and the individual’s responsibility to the collective good. He remains the quintessential public intellectual, a man who never feared to speak his mind or to demand that the world become a more rational and equitable place.

Reviews

[Jenna May · Rating 4 out of 5]

I disagree entirely with most of what is said in this book, but it's an absolute ball to read. All of Shaw's characteristic wit, humour, and exacting criticism make their several appearances, and his ego all but leaps of the page. Wonderful. And Shakespeare's there, too, sort of. Most wonderful.

Shaw's claims are so sturdy and pompous, they will either anger or amuse, I think. I fall into the amused bunch. Also, given his drastic and haughty opinions, he doesn't give the Bard, or his 19th/early 20th century producers a break, merely for the sake of being reverent. What moves him, he praises--what bores or irritates him, he dismembers. There isn't much equivocation. That, in itself, is refreshing. He's telling it like it is (as he sees it, of course).

Possibly the most brilliant thing about this book, which makes it invaluable, even to serious Shakespeare scholars/practitioners who violently disagree with most of what is said, is that it's a first-hand account of actual productions of these plays at a particular time in western theatre history. It's like a little time capsule. With biting wit. Mind your noses.

[Mahmoud Khaleil · Rating 3 out of 5]

كم من العداء والكراهية ليس لها مثيل يكنها برنارد شو لشكسبير ، يقول في نقده لمسرحية سيمبيلين :
هي في معظم أجزائها نفاية مسرحية ، وفي أحط مرتبة يمكن أن تنحط اليها الميلودراما ، وفي بعض أجزائها مكتوبة باسلوب مقيت منفر ، ومن أولها الى آخرها مبتذلة فكريا ، لأننا اذا طبقنا عليها المعايير الفكرية العصرية وجدناها عملا فجا منفرا وبذيئا ، يضيق به الصدر عن كل احتمال ، وتمر على الانسان لحظات يتساءل فيها وهو بائس ، لماذا كتب على مسرحنا أن يبتلي بهذا " النشال الخالد " الذي ينشل قصص وأفكار غيره من الناس والمعروف بإطنابه الملل وفصاحته البشعة وأحاديثه التي لا تطاق ، وهبوطه المفتعل بأدق مشاكل الحياة وأرهفها الى مستوى الحوادث اليومية الدارجة مما هو جدير بأن تثور عليه ثائرة أي ناد من نوادي المناظرة ، وبجموده التام عن الإيحاء بالافكار جمودا لا يمكن تصوره ، أقول إنني لا أجد باستثناء كاتب واحد هو – هوميروس – كاتبا مشهورا ولا حتى – سير وولتر سكوت – يمكنني أن أحتقره احتقارا جامعا كما أحتقر شكسبير عندما أقيس عقليته بعقليتي ، اشهد أن ضيقي به يتفاقم في بعض الاحيان فيبلغ من الحدة والعنف بحيث لايسري عني فعلا الا أن أذهب راسا الى قبره فأنبشه نبشا وأستخرج رفاته وأرجمها بالحجارة ، لأنني أعلم وانا أفعل ذلك عجزه وعجز مريديه وعباده أن يفهموا اية صورة أخرى من صور الإهانة أوضح وأبلغ من هذه

[Tim · Rating 4 out of 5]

I read the bits I had some chance of getting something out of - the bits about plays and/or writers I know. They were good... Shaw seems to have been a bit pleased with himself, which can be pleasing and tiresome. But his general effort to pay attention to Shakespeare's stuff itself, resisting bedazzlement by what would these days be called his iconic status, commands respect and approval.
A useful example and model for those who would like to learn to think for themselves (not just to strike poses).

[Kit · Rating 4 out of 5]

come for the practical and unconventional shakespeare criticism, stay for the wildly catty reviews shaw wrote of shakespeare revivals of his day. a really fun read for shakespeare aficionados.