Top 5 Apps Similar to Pygmalion by Bernard Shaw
George Bernard Shaw- Pygmalion 1.0
George Bernard Shaw "Pygmalion".Series: World classics.Does not require an internet connection. All the data isstoredlocally.Very efficient – runs fast, and uses little memory.---DISCLAIMER----All Books are out of copyright and in public domain.This is an unofficial free fan app. Any content not owned bythisdeveloper belongs to their respective owners.If there is an issue with this app contact us via the emailaddressand we will remove it.All material in this app shall only be used forpersonal,non-commercial purposes.
Pygmalion and the Image 1.1
With the exception of "The DoomofKingAcrisius," "Pygmalion and the Image" is the only poemofTheEarthly Paradise for the illustration of whichBurne-Jonesactuallyexecuted a complete series of pictures; andthough thefinishedpaintings are but four in number, and theoriginal designs,made in1866-1867, were twelve, the numericallysmaller set iscomplete inthe best sense, since not only does itillustrate fullythe textand spirit of Morris's poem, but eachpicture in it,thoughfinished with the loving care and elaborationwhichBurne-Joneslavished on his paintings, fails of itsfullsignificance unlessconsidered in its relation to the seriesofwhich it forms a part.In regard to the poem itself, the inspiration ofthesepictures,even the most casual study will bring in its trainaconvictionthat the story as told by William Morris is farsuperiorto anyother version of classic or of modern times. The poem(one ofthebest of those comprised in The Earthly Paradise) ishomogeneousandadmirably balanced in all its parts; its superiority,however,overall other versions, is not due primarily to the mannerofitsnarration, but arises from its greater spirituality—afinerfeelingrather than a finer form. Prior to the appearanceof"Pygmalion andthe Image" each narrator of the legend haddweltmainly on thephysical side, sensuous or sensual according tohistemperament, ofthe tale. In Morris's version the dominant noteisthe passionatedelight—enthusiasm verging upon madness—of theartistand craftsmanin his own handiwork, reflecting, to a markeddegree,Morris's owntemperament, one of the leading characteristicsofwhich was hishabit of hurling himself headlong into eachnewproject as itclaimed his attention from time to time. That hewaspreventedthereby from arriving at perfection in any one artneednot lessenthe admiration due to him for his whole-souled(thoughusuallyshort-lived) absorption in many and diverse arts. Agreatpoet, inthe sense that Chaucer, his master and model, wasgreat,Morris wasnot; but no one can deny to him the title ofanenthusiastic andskilled craftsman of verse. It is this loveofcraftsmanship forits own sake, joined to a remarkable feelingfordecorative beautywhich both possessed, that binds the picturesofBurne-Jones andthis poem by Morris so closely together thattheyform one perfectwhole. Even the ideal and wholly imaginaryworld inwhich theirfigures move is the same—a land where emotionratherthan passionbears sway, where the fates of man and of womanaredetermined by awhim of the gods rather than dominated bythechivalrous or devouthardihood of the individual.In his "Apology" prefixed to The Earthly Paradise,Morrisclearlyand definitely disclaims any moral purpose in thepoemscomprised init."Why should I strive to set the crooked straight?" hewrites.Howfar this feeling was shared by Burne-Jones we can neverknow,butnearly all of his biographers are agreed that a love ofbeauty,ashe understood it, was his main preoccupation, or, to usehisownwords, that a picture should be a "beautiful,romanticdream."Julia Cartwright, in her Life and Work of SirEdwardBurne-Jones,says: "He never tried to point a moral or toteach alesson; but herescued beauty from the forgetfulness to whichitseemed doomed ina restless and material age, and in so doinghasgiven us anexample of the highest value." Malcolm Bell,also,writing of theart of Burne-Jones and of its critics, expressesalike opinion,and his analysis of the paintings composingthePygmalion Series isnot only interesting in itself, butisespecially so as showing theextent to which the man of letterscanread his own interpretationinto the work of a painter.
