George Bernard Shaw, his life and works; a critical biography (authorized) . a ginton the Dily Chronicle. In Drinkwater, Shaw sought to fixon paper the dialect of the London cockney, and he once toldme that he regarded this as the only accurate effort of thekind in modern fiction. Interested in the study of phoneticsthrough his acquaintance and friendship with that revolu-tionary don and academic authority, Henry Sweet of Oxford,Shaw put his knowledge to work to represent phonetically thelingo of the Board-School-educated cockney. All that theconventional spelling has done, Shaw once said in o
George Bernard Shaw, his life and works; a critical biography (authorized) . a ginton the Dily Chronicle. In Drinkwater, Shaw sought to fixon paper the dialect of the London cockney, and he once toldme that he regarded this as the only accurate effort of thekind in modern fiction. Interested in the study of phoneticsthrough his acquaintance and friendship with that revolu-tionary don and academic authority, Henry Sweet of Oxford,Shaw put his knowledge to work to represent phonetically thelingo of the Board-School-educated cockney. All that theconventional spelling has done, Shaw once said in one of hisnumerous journalistic controversies, is to conceal the onechange that a phonetic spelling might have checked; namely,the changes in pronunciation, including the waves of debase-ment that produced the half-rural cockney of Sam Weller, andthe modern metropolitan cockney of Drinkwater in CaptainBrassbounds Conversion. . Refuse to teach the BoardSchool legions your pronunciation, and they will force theirson you by mere force of numbers. And serve you right! 331. i J. Steic/i «.] IN CONSULTATION From the oiiginal monochrome, made at 10, Adelphi Terrace, London. August, 1907. ; f>. 33L THE PLAYWRIGHT—II I have, I think, always been a Puritan in my attitude towards Art. Iam as fond of fine music and handsome buildings as Milton was, or Crom-well, or Bunyan; but if I found that they were becoming the instrumentsof a systematic idolatry of sensuousness, I would hold it good statesman-ship to blow every cathedral in the world to pieces with dynamite, organand all, without the least heed to the screams of the art critics and culturedvoluptuaries.—Why for Puritans? Preface to Three Plays for Puritans,p. xix. I do not satirize types. I draw individuals as they are. When Idescribe a tub, Archer and Walkley say it is a satire on a tub.—Con-versation with the author. CHAPTER XI CAESAR AND CLEOPATRA, unique in Bernard Shawstheatre, alike in subject matter and genre, war
Size: 1351px × 1849px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bo, bookcentury1900, bookdecade1910, bookidgeorgebernardsha00hend
