The stylistic method of Bernard Shaw, Детальна інформація

In such plays as "Arms and the Man" and "Major Barbara" Shaw uses mainly satire in order to criticize and improve. In the play "Pygmalion" humour, not satire is used: it treats its subject kindly, laughing at some exaggerated or strange features of the person. Humour is created at different levels: lexical and syntactic.

Humour is induced by using the word "manner" in two meanings: direct – "style (rules) of behaviour" and contextual "treating people (communicating) with them in some way": "the great secret is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no third-class carriages, and one soul is as good as another". The humourous effect is emphasized by using in one sentence such lofty and colloquial words as "Heaven", "third-class carriages" and "soul".

In the following example there is a play on the literal and figurative meaning of the expression "to be passed over": direct – by a bus, fig. – to be disregarded. There are also instances of pun, based on ordinary repetition: "I’m no preacher: I don’t notice things like that. I notice that you don’t notice me".

The instance of humour is based upon the similiarity of syntactical structures of the sentences, while their meanings are changed completely: "Eliza: He [Pickering] treats a flower girl as if she was a duchess. – Higgins: And I treat a duchess as if she was a flower girl".

So, Bernard Shaw created a new social drama of discussion. The writer dealt with such vital problems as incompetent government, war, climbing social ladder, education. Shaw’s ideas are rendered chiefly through the dialogue, and even a negative personage can be the author’s mouthpiece. Playwright’s favourite devices are paradoxes, gradation, grotesque, mixture of lofty and colloquial words for creating irony. The author definitely prefers satire and irony to humour because his main task is to criticize and reveal, but not\x7420\x206F\x6E65\x6574\x7472\x6961\x2E6E\x0D0D\x4C0C\x5449\x5245\x5441\x5255\x3A45\x310D\x202E\x6F43\x6C6C\x6E69\x2073\x2E57\x4520\x7373\x6E65\x6974\x6C61\x4520\x676E\x696C\x6873\x6420\x6369\x6974\x6E6F\x7261\x2E79\x20A0\x2096\x6F4C\x646E\x6E6F\x203B\x6C47\x7361\x6F67\x3A77\x4320\x6C6F\x696C\x736E\x5020\x6275\x696C\x6873\x7265\x3B73\x7420\x6568\x5520\x2D6E\x7974\x6F20\x2066\x6942\x6D72\x6E69\x6867\x6D61\x202E\x2096\x3931\x3039\x202E\x2096\x2E50\x3320\x3632\x0D2E

ЛИТЕРАТУРА:

1. Аникст А. Бернард Шоу (К столетию со дня рождения). – М.: Знание, 1956. – 32 с.

2. Леонова Н.И., Никитина Г.И. Английская литература 1890-1960: Учебное пособие по английскому языку. – М.: Флинта, Наука, 1997. – 144 с.

3. Образцова А. Б.Шоу и европейская театральная культура. – М., 1974.

4. Шоу Б. Пьесы. – М.: Правда, 1981. – 352 с.

5. Шоу Б. Избранные пьесы. – М.: Просвещение, 1986. – 256 с.