Todo cuanto sabemos de la vida de Bernard Shaw nos ha llegado de la mano de sus biógrafos y de todos aquellos que creyeron conocerle bien. Sin embargo, el único testimonio que tenemos de su puño y letra son estos Dieciseis esbozos de mi mismo (1949), una guia cronica de los acontecimientos mas destacados, publicos y privados, que jalonaron la vida del genial Dramaturgo irlandes. Con noventa años ya cumplidos, Shaw pasa revista a sus actividades y a sus obras con una sinceridad asombrosa, que roza incluso la modestia. Su vida contada por el mismo, despojada de la retorica con la que oscurecieron sus biografos, se presenta ante el lector de hoy dotada de un tono, una unidad y una coherencia fundamentales para la comprension de sus obras y de la extraordinaria ligazon que estas mantienen con la vida y la sociedad modernas.
Shaws play "Saint Joan" is a hommage to 15th-century French military figure Joan of Arc. It was premiered in 1923, three years after her canonization by the Roman Catholic Church, and reflects Shaws belief that the people involved in Joans trial acted according to what they thought was right. It is widely considered as Shaws only tragedy.
Soldiering, my dear madam, is the cowards art of attacking mercilessly when you are strong, and keeping out of harms way when you are weak Get your enemy at a disadvantage; and never, on any account, fight him on equal terms One of Bernard Shaws most glittering comedies, Arms and the Man is also a burlesque of Victorian attitudes to heroism, war and empire. In the contrast between Bluntschli, the mercenary soldier, and the brave leader, Sergius, the true nature of valour is revealed. Bernard Shaw mocks self-deluding idealism in Candida when the foolish young poet Marchbanks becomes infatuated with the wife of a Socialist preacher. The Man of Destiny is a witty war of words between Napoleon and a strange lady, and You Never Can Tell is an exuberant farce, which turns on the chance reunion of a divided family. While Plays Pleasant were intended by Shaw to be gentler comedies than those in their companion volume Plays Unpleasant, their prophetic satire is still sharp and provocative today. As W. J. McCormack writes, There is amusement but also unease. His wit unsettles us. The definitive text, under the editorial supervision of Dan H. Laurence
