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PART TWO: WORKS ABOUT SPECIFIC PLAYS: D through H
The Dark Lady of the Sonnets
Bertolini,
John A. The playwrighting self of Bernard Shaw.
Peters,
Sally. ‘Shaw’s double dethroned: The Dark Lady of the Sonnets, Cymbeline
Refinished, and Shakes Versus Shav.’ SHAW 7 1987 301-16
Riehle,
Wolfgang. ‘Shaws Interlude: The Dark Lady of the Sonnets.’ Pp 607-16 in
Riehle & Hugo Keiper, eds. Anglistentag 1994
Zbierski,
Henryk. ‘Shakespearean criticism and the influence of Bernard Shaw’s Dark
Lady of the Sonnets.’ Pp 192-201 in Stanislaw Helsztynski, ed.
The Devil’s Disciple (see also ‘Shaw’s Screenplays’)
Abbott,
Anthony S. Shaw and Christianity. NY: Seabury Pr., 1965, 93-107: ‘The
Devil’s Disciple’
Bielecka,
Malgorzata. G. B. Shaw’s unconventional hero in Three Plays for Puritans.
Boynton,
Catherine, & Maynard Mack. Introduction to the play. Rev. ed. NY:
Hayden, 1976, 9-10, 30-42, 59-70, 93-96 (act-by-act exegesis)
Broich,
Ulrich. ‘Wandlungen des Melodramas: Boucicaults Arrah-na-Pogue, Shaws The
Devil’s Disciple und
Carpenter,
Charles A. Bernard Shaw & the art of destroying ideals: the early plays.
Crompton,
Louis. Shaw the dramatist.
Cubeta,
Paul M. ‘The Devil’s Disciple.’ Pp 73-81 in Cubeta, ed. Modern drama
for analysis. 3rd ed. NY: Holt, Rinehart & Winston, 1963
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws.
Dervin,
Daniel. Bernard Shaw: a psychological study.
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
Gordon,
David J. Bernard Shaw and the comic sublime. NY:
Gray,
Candor. [pseud. of R. S. Graggs] A treatment of Bernard Shaw’s ‘The Minister
and the Atheist’.
Greiner,
Norbert. Idealism und Realism im Frühwerk George Bernard Shaws: die
Bedeutung und Funktion der Begriffe in den politischen, ästhetischen und
dramatischen Schriften.
Grene,
Nicholas. Bernard Shaw: a critical view.
Holroyd,
Michael. Bernard Shaw, volume I: 1856-1898: The search for love. NY:
Random House, 1988, 392-97
Hubert,
Judd. ‘Upstaging in The Devil’s Disciple.’ Theatre Journal 35
1983 51-57
Nelson,
Raymond S. ‘Shaw and Buchanan.’ English Literature in Transition 12 1969
99-103 (the play and Robert Buchanan’s poem ‘The Devil’s Case’)
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Riddle,
Carol L. ‘Mrs. Dudgeon: more sinned against than sinning?’ SHAW 12 1992
271-80
Royall,
Walter L. ‘De Fonblanque and Shaw’s Burgoyne.’ Shaw Review 10 1967 42-49
Sterner,
Mark H. ‘Shaw’s Devil’s Disciple: the subversion of melodrama / the
melodrama of subversion.’ Modern Drama 42 1999 338-45
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Ward, A. C.
‘Introduction’ and ‘Notes.’ Pp 105-42 in Shaw. The Devil’s Disciple.
Weintraub,
Rodelle. ‘“Only the man . . . draws clear of it”: a new look at Anthony
Anderson.’ Shaw Review 23 1980 130-32
Whitman,
Robert F. ‘Introduction.’ Pp xiii-xxii in Shaw. The Devil’s Disciple: a
facsimile of the holograph manuscript. NY:
-----. ‘The
passion of Dick Dudgeon.’ Shaw Review 21 1978 60-71
-----.
‘Shaw listens to the actors: the completion of The Devil’s Disciple.’ SHAW
3 1983 67-78
Wiedner,
Elsie M. ‘Shaw’s transformation of Ibsen in The Devil’s Disciple.’ Shaw
Review 22 1979 23-28
Zabrouski,
Monica A., & Robert P. Kirschmann. ‘The ungendered will and the Shavian
Superman.’ SHAW 26 2006 79-99 (90-92 on Dick Dudgeon)
The Doctor’s Dilemma
Adams,
Elsie B. Bernard Shaw and the aesthetes.
Allett,
John. ‘Bernard Shaw, The Doctor’s Dilemma: scarcity, socialism, and the
sanctity of life.’ Journal of Value Inquiry 35 2001 227-45
Bertolini,
John A. The playwrighting self of Bernard Shaw.
Boxill,
Roger. Shaw and the doctors. NY: Basic Books, 1969, 134-43
Crompton,
Louis. Shaw the dramatist.
Doan,
William J. ‘The Doctor’s Dilemma: adulterating a muse.’ SHAW 21
2001 152-61
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama.
-----. Money
& politics in Ibsen, Shaw, and Brecht.
Fordyce,
William D. T. ‘The quasi-agon in The Doctor’s Dilemma.’ SHAW 12
1992 181-98
Gillie,
Christopher. Movements in English literature, 1900-1940.
Holroyd,
Michael. Bernard Shaw, volume II: 1898-1918: The pursuit of power. NY:
Random House, 1989, 159-72
Hugo, Leon
H. ‘The Doctor’s Dilemma at the Court Theatre.’ Unisa English Studies
10 ii 1972 29-33
Löwy,
Ilana. ‘Immunology and literature in the early twentieth century: Arrowsmith
and The Doctor’s Dilemma.’ Medical History 32 1988 314-32
McCarthy,
Mary. ‘Shaw at the
Morgan,
Margery M. ‘Introduction.’ In Shaw. The Doctor’s Dilemma: a facsimile of the
holograph manuscript. NY:
-----. The
Shavian playground: an exploration of the art of George Bernard Shaw.
O’Donnell,
Norbert F. ‘Doctor Ridgeon’s deceptive dilemma.’ Shaw Review 2 vii 1959
1-5
Peters,
Sally. ‘Commentary [on The Doctor’s Dilemma]: Bernard Shaw’s dilemma:
marked by mortality.’ International Journal of Epidemiology 32 2003
918-19; see also 919-21: K. Srinath Reddy, ‘Commentary: Shaw’s critique of
health care [in the preface to the play] is still valid’
Quinn,
Martin. ‘William Archer and The Doctor’s Dilemma.’ SHAW 4 1984
87-106 (includes Archer’s reviews)
Smith, J.
Percy. ‘A Shavian tragedy: The Doctor’s Dilemma.’ Pp 189-207 in B. H.
Lehman et al., eds. The image of the work: essays in criticism.
Berkeley: Univ. of California Pr., 1955
Trilling,
Lionel. ‘Commentary.’ Pp 317-21 in Trilling, ed. The experience of
literature: a reader with commentaries. Garden City, NY: Doubleday, 1967
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 265-79
Weintraub,
Stanley. Shaw’s people: Victoria to Churchill. Univ. Park: Penn State
UP, 1996, 86-93: ‘A Jennifer from Australia: Edith Adams, her husband, and The
Doctor’s Dilemma’ (from SHAW 6 1986 77-80)
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 109-18
Fanny’s First Play
Carpenter,
Charles A. ‘Shaw’s cross-section of anti-Shavian opinion.’ Shaw Review 7
1964 78-86
Fisher,
Barbara M. ‘Fanny’s First Play: a critical potboiler?’ SHAW 7
1987 187-205
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 166-88 (incorporates ‘Ruskin and form in Fanny’s First
Play.’ SHAW 15 1995 85-103)
Gibbs, A.
M. Bernard Shaw: a life. Gainesville: UP of Florida, 2005, 307-10
Holroyd,
Michael. Bernard Shaw, volume II: 1898-1918: The pursuit of power. NY:
Random House, 1989, 279-84
Horzyca,
Wilam. O dramacie. Warsaw: Wydawnictwa Artystyczne i Filmowe, 1969,
226-32: ‘Rodowód Ma»gorzaty
Knox’ (1956 essay on the play)
Hugo, Leon
H. Edwardian Shaw: the writer and his age. NY: St. Martin's Pr., 1999,
266-75: ‘Postscript 1911: Fanny’s First Play’ (incorporates ‘Shaw and
his critics: Fanny’s First Play.’ Pp 61-80 in Conolly)
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 113-31:
‘Fanny and Margaret in Fanny’s First Play: rebellion and emancipation’
Nelson,
Raymond S. ‘Fanny’s First Play and The Mill on the Floss.’ Shaw
Review 12 1969 59-65
Farfetched Fables
Carpenter,
Charles A. Dramatists and the bomb: American and British playwrights
confront the Nuclear Age, 1945-1964. Westport, CT: Greenwood Pr., 1999,
55-60: ‘Shaw’s reactions to the birth of the Atomic Age’ (from SHAW 18
1998 173-79)
Hummert,
Paul A. Bernard Shaw’s Marxian romance. Lincoln: Univ. of Nebraska Pr.,
1973, 208-16
‘Symposium:
Farfetched Fables.’ SHAW 14 1994 83-92
The Gadfly (adaptation of novel by Ethel Voynich)
Greiner,
Norbert. Idealism und Realism im Frühwerk George Bernard Shaws: die
Bedeutung und Funktion der Begriffe in den politischen, ästhetischen und dramatischen
Schriften. Heidelberg: Winter, 1977, 255-58: ‘The Gadfly: ein
revolutionäres Melodrama’
Geneva
Coleman, D.
C. ‘Shaw, Hitler, and the satiric fiction.’ Dalhousie Review 46 1966-67
443-56
Fyrth, H.
J. ‘In the devil’s decade: Geneva and international politics.’ SHAW
11 1991 239-55
Geduld,
Harry M. ‘Bernard Shaw and Adolph Hitler.’ Shaw Review 4 i 1961 11-20
Goldfarb,
Alvin. ‘Adolf Hitler as portrayed in drama and film during his lifetime.’
Journal of Popular Culture 13 1979 55-66
Griffith, Gareth.
Socialism and superior brains: the political thought of Bernard Shaw.
London: Routledge, 1993, 269-72
Harrison,
William. ‘Geneva: a post-war approach.’ Journal of Irish Literature 19
ii 1990 52-57
Holroyd,
Michael. Bernard Shaw, volume III: 1918-1951: The lure of fantasy. NY:
Random House, 1991, 396-409
Isser,
Edward R. Stages of annihilation: theatrical representations of the
Holocaust. Madison, NJ: Fairleigh Dickinson UP, 1997, 44-61: ‘Bernard Shaw
and British Holocaust drama’
Kamer,
Hansruedi. Künstlerische und politische Extravaganz im Spätwerk Shaws.
Bern: Francke, 1973, 139-50: ‘Nationalismus versus Supranationalismus: Geneva
(1938/39)’
Langner,
Lawrence. The magic curtain: the story of a life in two fields, theatre and
invention. NY: Dutton, 1951, 454-58: appendix documenting the Langner-Shaw
discussion of the pre-publication version of the play, which led to rewriting
parts
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 316-25
Pilecki,
Gerard A. Shaw’s Geneva: a critical study of the evolution of the
text in relation to Shaw’s political thought and dramatic practice. The
Hague: Mouton, 1965. 189 pp; pp 101-03, 105-38, & 140-51 repr. on pp 145-84
in Otten
Sharp,
Sister M. Corona. ‘The theme of masks in Geneva.’ Shaw Review 5
1962 82-91
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 138-49: ‘The failure of governments: The Apple
Cart, On the Rocks, and Geneva’ (from Shaw Review 21
1978 20-30)
Stone,
Susan C. ‘Geneva: paean to the dictators?’ Shaw Review 16 1973
21-29
Getting Married
Bentley,
Eric. Bernard Shaw: a reconsideration. 2nd ed. NY: Norton, 1976, 127-31,
133-35
Davis,
Jill. ‘The New Woman and the new life.’ Pp 17-36 in Viv Gardner & Susan
Rutherford, eds. The New Woman and her sisters: feminism and theatre
1850-1914. London: Harvester Wheatsheaf, 1992
Denninghaus,
Friedhelm. Die dramatische Konzeption George Bernard Shaws: Untersuchungen
zur Struktur der Bühnengesellschaft und zum Aufbau der Figuren in den Stücken
Shaws. Stuttgart: Kohlhammer, 1971, 106-25: ‘Der Determinismus und der
Verlust der moralischen Integrität’
Downer,
Alan S. ‘Shaw’s first play.’ Pp 3-24 in Rosenblood 2 (on Getting
Married as well as Widowers’ Houses)
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 90-96
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 213-27
Holroyd,
Michael. Bernard Shaw, volume II: 1898-1918: The pursuit of power. NY:
Random House, 1989, 198-206
Innes,
Christopher. ‘“Nothing but talk, talk, talk—Shaw talk”: discussion plays and
the making of modern drama.’ Pp 162-79 in Innes (stresses this play and Misalliance)
Kohl,
Norbert H. Bernard Shaws viktorianisches Erbe. Heidelberg: Winter, 1992,
206-16: ‘Getting Married’
Lorichs,
Sonja. The unwomanly woman in Bernard Shaw’s drama and her social and
political background. Stockholm: Almqvist & Wiksell, 1973, 89-111:
‘Edith and Lesbia in Getting Married, a Disquisitory Play: marriage and
divorce’
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 176-86: ‘The Greek form again: Getting
Married’
Sharp,
William L. ‘Getting Married: new dramaturgy in comedy.’ Educational
Theatre Journal 11 1959 103-09
Solomon,
Stanley J. ‘Theme and structure in Getting Married.’ Shaw Review 5
1962 92-96
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 279-86
Great Catherine
Bertolini,
John A. The playwrighting self of Bernard Shaw. Carbondale: Southern
Illinois UP, 1991, 151-55
Heartbreak House
Appel,
Sybille. Die Funktion der Gesellschaftskomödie von 1910-33 im europäischen
Vergleich: dargestellt an Beispielen aus Deutschland, England, Frankreich und
Österreich-Ungarn bzw. Österreich und Ungarn. Frankfurt: Lang, 1985,
202-36: ‘George Bernard Shaw und seine Gesellschaftskomödien Pygmalion
(1913) und Heartbreak House (1920)’
Bennett,
Benjamin. Modern drama and German classicism: renaissance from Lessing to
Brecht. Ithaca, NY: Cornell UP, 1979, 265-73
Berst,
Charles A. Bernard Shaw and the art of drama. Urbana: Univ. of Illinois
Pr., 1973, 221-58: ‘Heartbreak House: Shavian expressionism’
Brown, G.
E. George Bernard Shaw. NY: Arco, 1971, 109-19
Brustein,
Robert. The theatre of revolt. London: Methuen, 1965, 220-27
Bryden,
Ronald. ‘The roads to Heartbreak House.’ Pp 180-94 in Innes
Clurman,
Harold. ‘Notes for a production of Heartbreak House.’ Tulane Drama
Review 5 iii 1961 58-67; repr. on pp 407-16 in Smith and on pp
445-51 in Marjorie Loggia & Glenn Young, eds. Collected works of Harold
Clurman. NY: Applause Theatre Book Publishers, 1994
Cole, David
W. ‘Shaw’s Heartbreak House.’ Explicator 62 2003 22-23
Coleman, D.
C. ‘Fun and games: two pictures of Heartbreak House.’ Drama Survey
5 1966-67 223-36 (the play compared to Albee’s Who’s Afraid of Virginia
Woolf?)
Corrigan,
Robert W. The theatre in search of a fix. NY: Delacorte Pr., 1973,
161-74: ‘The collapse of the Shavian cosmos’ (stresses the play)
-----. ‘Heartbreak
House: Shaw’s elegy for Europe.’ Shaw Review 2 ix 1959 2-6
Crompton,
Louis. Shaw the dramatist. Lincoln: Univ. of Nebraska Pr., 1969, 153-68;
repr. on pp 416-30 in Smith
Dukore,
Bernard F. Bernard Shaw, playwright: aspects of Shavian drama. Columbia:
Univ. of Missouri Pr., 1973, 99-107, 227-31
-----. Money
& politics in Ibsen, Shaw, and Brecht. Columbia: Univ. of Missouri Pr.,
1980, 82-92
Edgecombe,
Rodney S. ‘Two Verdian echoes in Heartbreak House.’ Notes and Queries
52 2005 99-100
Frank,
Joseph. ‘Exile and the kingdom: the incipient absurdity of Milton and Shaw.’ Mosaic
9 i 1975 111-21
-----.
‘Internal vs. external combustion: Dickens’ Bleak House and Shaw’s Major
Barbara and Heartbreak House.’ Shaw Review 20 1977 126-34
Freeborn,
Richard. ‘A Shavian fantasia in the Russian manner and Chekhov’s last play.’ Shavian
8 vii 1999-2000 6-9
Ganz,
Arthur. George Bernard Shaw. London: Macmillan, 1983, 187-94
Garner,
Stanton B. The absent voice: narrative comprehension in the theater.
Urbana: Univ. of Illinois Pr., 1989, 125-47: ‘Shaw’s comedy of disillusionment:
Major Barbara and Heartbreak House’ (from Modern Drama 28
1985 638-58)
Gibbs, A.
M. The art and mind of Shaw: essays in criticism. NY: St. Martin’s Pr.,
1983, 177-90: ‘The tragi-comic vision of Heartbreak House’
-----. Bernard
Shaw: a life. Gainesville: UP of Florida, 2005, 350-59 and see index
-----. ‘Heartbreak
House: chamber of echoes.’ SHAW 13 1993 113-32 (King Lear and
The Cherry Orchard are the main literary echoes)
-----.
Heartbreak House: preludes of apocalypse. NY: Twayne, 1994. 149 pp
Gibbs,
Tony. ‘Confessional play: biography and modern drama.’ Pp 149-64 in A. M.
Gibbs, ed. Masks of time: drama and its contexts. Canberra: Australian
Academy of the Humanities, 1994 (all on the play)
Gill,
Richard. Happy rural seat: the English country house and the literary
imagination. New Haven, CT: Yale UP, 1972, 135-40
Glicksberg,
Charles. ‘The modern playwright and the absolute: the decline of tragedy.’ Queen’s
Quarterly 65 1958 459-71 (part on the play)
Gordon,
David J. Bernard Shaw and the comic sublime. NY: St. Martin’s Pr., 1990,
155-63
Grene,
Nicholas. Bernard Shaw: a critical view. London: Macmillan, 1984, 114-31
Guy,
Stéphane. ‘Progrès et illusion théâtrale: la scène engagée de George Bernard
Shaw dans Heartbreak House.’ Études Anglaises 55 2002 40-50
Handley,
Miriam. ‘Chekhov translated: Shaw’s use of sound effects in Heartbreak House.’
Modern Drama 42 1999 565-78
Harding,
Desmond. ‘Bearing witness: Heartbreak House and the poetics of trauma.’ SHAW
26 2006 6-26
Hare,
David. ‘Introduction.’ Pp vii-xii in Shaw. Heartbreak House: A Fantasia in
the Russian Manner on English Themes. E. Dan H. Laurence. London: Penguin
Books, 2000
Hark, Ina
R. ‘Anti-Shavian satire in Heartbreak House.’ Dalhousie Review 58
1979 661-73
Holroyd,
Michael. Bernard Shaw, volume III: 1918-1951: The lure of fantasy. NY:
Random House, 1991, 8-25
Hornby,
Richard. ‘The symbolic action of Heartbreak House.’ Drama Survey
7 1968-69 5-24
Hoy, Cyrus.
‘Shaw’s tragicomic irony: from Man and Superman to Heartbreak House.’
Virginia Quarterly Review 47 1971 56-78
Hugo, Leon
H. Bernard Shaw, playwright and preacher. London: Methuen, 1971, 173-86
Hynes,
Joseph. ‘Heartbreak House: between modernism and postmodernism.’ Independent
Shavian 26 1988 51-56
Innes,
Christopher. Modern British drama: the twentieth century. Cambridge:
Cambridge UP, 2002, 13-54: ‘Defining modernism: George Bernard Shaw
(1856-1950)’ (pp. 44-51 on the play)
-----, ed. A
sourcebook on naturalist theatre. London: Routledge, 2000, 189-248:
‘Bernard Shaw 1856-1950’ (writings by Shaw and other contemporaries on Mrs
Warren’s Profession, Heartbreak House, and their social and economic
contexts, edited and discussed by Innes)
Jordan,
John. ‘Shaw’s Heartbreak House.’ Threshold 1 1957 50-56
Kaufmann,
Michael W. ‘The dissonance of dialectic: Shaw’s Heartbreak House.’ Shaw
Review 13 1970 2-9
Kruse,
Axel. ‘Bernard Shaw’s Heartbreak House: the war in “Neverland.”’ Sydney
Studies in English 13 1987-88 100-119
Leary,
Daniel J. ‘Heartbreak House: a dramatic epic.’ Independent Shavian
37 1999 3-13
-----.
‘Shaw’s Blakean vision: a dialectic approach to Heartbreak House.’ Modern
Drama 15 1972 89-103
Lewis,
Allan. The contemporary theatre: the significant playwrights of our time.
NY: Crown, 1962, 80-111: ‘The drama of discussion—George Bernard Shaw’
(stresses the play)
Li, Kay. ‘Heartbreak
House and the Trojan War.’ Pp 83-92 in Rusinko
McDowell,
Frederick P. W. ‘Apocalypse and after: recent interpretations of Heartbreak
House.’ Independent Shavian 25 1987 3-15
-----.
‘Technique, symbol, and theme in Heartbreak House.’ PMLA 68 1953
335-56; repr. on pp 85-104 in Adams
Meisel,
Martin. Shaw and the nineteenth-century theater. Princeton, NJ:
Princeton UP, 1963, 314-23
Mendelsohn,
Michael J. ‘The heartbreak houses of Shaw and Chekhov.’ Shaw Review 6
1963 89-95; repr. on pp 399-407 in Smith
Mizener,
Arthur. ‘Poetic drama and the well-made play.’ English Institute Essays
1949 33-54; 45-54 treat the play and Saint Joan
Morgan,
Margery M. The Shavian playground: an exploration of the art of George
Bernard Shaw. London: Methuen, 1972, 200-220: ‘Heartbreak House:
Shaw’s dream play’
Murrenus,
Valerie. ‘Hostages of heartbreak: the women of Heartbreak House.’ SHAW
23 2003 17-25
Nathan,
Rhoda B. ‘The “daimons” of Heartbreak House.’ Modern Drama 21
1978 253-65
-----. ‘The
House with no exit: the existential Shaw.’ Independent Shavian 25
1987 35-42
Nethercot,
Arthur. ‘Zeppelins over heartbreak house.’ Shaw Review 9 1966 46-51;
largely repr. on pp 430-33 in Smith
Nickson,
Richard. ‘Heartbreak House: play and earnest.’ Independent Shavian
41 2003 13-15
Pagliaro,
Harold E. Relations between the sexes in the plays of George Bernard Shaw.
Lewiston, NY: Edwin Mellen Pr., 2004, 127-32 (incorporates part of ‘Truncated
love in Candida and Heartbreak House.’ SHAW 24 2004
204-14)
Perkins,
Richard. ‘[Michael Cook’s] Jacob’s Wake and the European tradition.’ Canadian
Drama 15 1989 159-68 (compared to Heartbreak House)
Peters
[Vogt], Sally. ‘Heartbreak House: Shaw’s ship of fools.’ Modern Drama
21 1978 267-86
Potter,
Rosanne G. ‘Changes in Shaw’s dramatic rhetoric: Mrs Warren’s Profession,
Major Barbara, and Heartbreak House.’ Pp 225-58 in Potter, ed. Literary
computing and literary criticism: theoretical and practical essays on theme and
rhetoric. Philadelphia: Univ. of Pennsylvania Pr., 1989
Quinn,
Martin. ‘The Dickensian presence in Heartbreak House.’ Shaw Review 20
1977 119-25
Raben,
Estelle M. Major strategies in twentieth century drama: apocalyptic vision,
allegory and open form. NY: Lang, 1989, 37-62: ‘Chekhov and Shaw’ (compares
The Cherry Orchard with the play)
Rabey,
David I. ‘Power, culture, and the politics of absolute play: Heartbreak
House and Too True to be Good as existential expressionism.’ SHAW
12 1992 199-212
Radford,
Frederick L. ‘The conspicuously elusive Mr. Shaw: some remarks on recent
Shaviana.’ Nineteenth Century Theatre Research 3 1975 37-45
Reed,
Robert R. ‘Boss Mangan, Peer Gynt, and Heartbreak House.’ Shaw Review
2 vii 1959 6-12
Smith,
Warren S. Bishop of everywhere: Bernard Shaw and the Life Force. Univ.
Park: Penn State UP, 1982, 73-78
Stewart, J.
I. M. Eight modern writers. Oxford: Clarendon Pr., 1963, 169-75
Stockholder,
Fred E. ‘A Schopenhauerian reading of Heartbreak House.’ Shaw Review 11
1968 42-51
Thaler,
Estelle M. ‘Apocalyptic vision in Heartbreak House and Endgame:
the metaphor of change.’ Zeitschrift für Anglistik und Amerikanistik 34
1986 343-51
Throne,
Marilyn. ‘Madness, mysticism, and black cultures: G. B. Shaw’s Peter Keegan and
Captain Shotover.’ Colby Library Quarterly 23 1987 123-34
-----. ‘The
social value of the privileged class: a comparison of Shaw’s Heartbreak
House and Friel’s Aristocrats.’ Colby Library Quarterly 24
1988 162-72
Turco,
Alfred. Shaw’s moral vision: the self and salvation. Ithaca, NY: Cornell
UP, 1976, 229-63
Valency,
Maurice. The cart and the trumpet: the plays of George Bernard Shaw. NY:
Oxford UP, 1973, 335-48
Vidal,
Gore. Rocking the boat. Boston: Little, Brown, 1962, 94-105: ‘Bernard
Shaw’s Heartbreak House’; repr. on pp 222-27 in his United States:
essays, 1952-1992. NY: Random House, 1993 (1959 essay that builds its
thesis on an error that Shaw promulgated: the play’s prewar date of inception)
Vogt, Sally
P., see Peters, Sally
Waterman,
David. ‘The human body as a text of resistance: madness as a social /
individual wound in Wilfred Owen, George Bernard Shaw and Virginia Woolf.’ Sprachkunst
30 1999 67-96 (77-83 on the play)
Webster,
Grant. ‘Smollett and Shaw: a note on a source for Heartbreak House.’ Shaw
Review 4 iii 1961 16-17 (Peregrine Pickle)
Weightman,
John. ‘The mystery of Heartbreak House.’ Encounter 44 v 1975
39-41
Weintraub,
Stanley. ‘Curtains speech: a new source for Heartbreak House.’ English
Literature in Transition 38 1994 497-500
-----.
‘Introduction.’ Pp xiii-xxviii in Shaw. Heartbreak House: a facsimile of the
revised typescript. NY: Garland, 1981
-----. Journey
to heartbreak: the crucible years of Bernard Shaw 1914-1918. NY: Weybright
& Talley, 1971, 162-83: ‘Heartbreak House’; 333-43: ‘Appendix:
Shaw’s Lear’ (revision of ‘Shaw’s Lear.’ Ariel: A Review of
International English Literature 1 iii 1970 59-68; also publ. as ‘Heartbreak
House: Shaw’s Lear.’ Modern Drama 15 1972 255-65; revised on
pp 173-80 in his The unexpected Shaw: biographical approaches to G.B.S. and
his work. NY: Ungar, 1982)
Whitaker,
Thomas R. Fields of play in modern drama. Princeton, NJ: Princeton UP,
1977, 79-82, 89-96
-----. Mirrors
of our playing: paradigms and presences in modern drama. Ann Arbor: Univ.
of Michigan Pr., 1999, 65-78 on the play
-----.
‘Playing in earnest.’ Pp 407-23 in Susan Dick, ed. Omnium gatherum: essays
for Richard Ellmann. Gerrards Cross: Smythe, 1989
Whitman,
Robert F. Shaw and the play of ideas. Ithaca, NY: Cornell UP, 1977,
237-56
Wilkenfeld,
Roger B. ‘Perpetual motion in Heartbreak House.’ Texas Studies in
Literature and Language 13 1971 321-35
Wisenthal,
J. L. The marriage of contraries: Bernard Shaw’s middle plays.
Cambridge, MA: Harvard UP, 1974, 136-71
-----. Shaw’s
sense of history. Oxford: Clarendon Pr., 1988, 158-64 (the play as ‘present
history’)
Woodfield,
James. ‘Ellie in wonderland: dream and madness in Heartbreak House.’ English
Studies in Canada 11 1985 334-45
Wright,
Anne. Literature of crisis, 1910-22: Howards End, Heartbreak
House, Women in Love and The Waste Land. London: Macmillan, 1984,
63-112: ‘Heartbreak House: “The judgement has come”’
-----.
‘Shaw’s burglars: Heartbreak House and Too True to be Good.’ Shaw
Review 23 1980 2-10
Household of Joseph see Passion Play
How He Lied to Her Husband (see also ‘Shaw’s Screenplays’)
Dukore,
Bernard F. ‘Shaw improves Shaw.’ Modern Drama 6 1963 26-31 (emendations
to the play)
Gahan,
Peter. Shaw shadows: rereading the texts of Bernard Shaw. Gainesville:
UP of Florida, 2004, 147-51
Smith, J.
Percy. ‘Introduction.’ Pp xiii-xxii in Shaw. Candida and How He Lied to
Her Husband: facsimiles of the holograph manuscripts. NY: Garland, 1981