In the following essay, McFadden asserts that Shaw's political plays from the 1930s are “worthy of re-examination, not only for their artistic merit, but also because they provide engrossing images of the kinds of philosophical debates Shaw was constantly waging with himself and others throughout his lifetime.”

In the following essay, Weintraub identifies Shaw's wife, Charlotte Payne Townsend, as a model for the strong, independent female characters in his plays.

In the following essay, Lady Gregory describes the contributions that playwright George Bernard Shaw made to the Abbey Theatre, along with the resulting battle over censorship.

In the following essay, Ganz discusses the negative vision in Shaw's early plays, contending that there is a recurring pattern of his characters withdrawing from the real world into an intellectual, contemplative existence.

In the following essay, Small contends that Shaw's plays were conceived and written more in the rhetorical tradition than in a realistic style.

In the following essay, Adams considers the significance of Shaw's repeated use of “heart” in compound words and phrases throughout his plays, and the association of these terms with particular characters.

In the following essay, Nickson attempts to explain and correct readers' common misinterpretations of Bernard Shaw's political beliefs as expressed in his plays.