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Notes and Commentary on Genesis 37–50

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Just imposters. Modern discussions of wisdom often reference people from past generations. Rightfully so considering wisdom arrives from the past. The present cannot be wise because wisdom requires time to grow. Therefore, the only wisdom we can rely upon is that of yesterday. But today's society tries to reject the past due to its condemnation of all the wicked things that today's society is promoting. And by forsaking that wisdom, today's generation are raised as fools.

B2, I see what you mean. I have been collecting quotations about wisdom for ages myself. It's just a fact that more of the "good stuff" that came down through the ages comes from men. Not because they were wiser, necessarily, but because they tended to publish more often and of course, sexism. It's a bit of a blind spot that all quotes folks can fall into.

I have to try hard sometimes to make my quotes and blogs more ethinically and sexually diverse. Your point is taken, but I think it's more of the nature of the beast, and perhaps, a blind spot, than anything nefarious. I thought I already many things but in reading your compiled quotations, I realized that I hardly know something. Leon F. What makes your anxiety triumph over anger—and vice versa? Have you ever acted out of spite? Who hasn't? Was it, finally, worth it? When might you need defensive anger to protect yourself from your partner?

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Back Psychology Today. Back Find a Therapist. Back Get Help. Back Magazine. Subscribe Issue Archive. Back Today. The Psychology of Creativity. Gender Segregation at Work. Leon F Seltzer Ph. Follow me on Twitter. Friend me on Faceook. The Wisest Quotes on Wisdom Wisdom, like fine wine, takes time to age. Great article. It seems as Submitted by Bhupen on May 11, - pm.

It seems as though wisdom is like life a complete paradox. Public schools prevent wisdom Submitted by Anonymous on September 19, - pm. Serenity Prayer Submitted by Neil on May 25, - am. Submitted by B2 on September 5, - am. Do you think it's wise that of your selected quotes, only 4 are attributed to women? Even there they were not immune from enemy air raids, and stayed on occasion with Nancy Astor at her country house, Cliveden.

Her condition deteriorated, and she died in September. Shaw's final political treatise, Everybody's Political What's What , was published in Holroyd describes this as "a rambling narrative Pascal was given a third opportunity to film Shaw's work with Caesar and Cleopatra It cost three times its original budget and was rated "the biggest financial failure in the history of British cinema". Shaw thought its lavishness nullified the drama, and he considered the film "a poor imitation of Cecil B.

In , the year of Shaw's ninetieth birthday, he accepted the freedom of Dublin and became the first honorary freeman of the borough of St Pancras, London. He declined, believing that an author's merit could only be determined by the posthumous verdict of history. It was widely praised; a reviewer in the American Journal of Public Health considered it essential reading for any student of the American criminal justice system.

Shaw continued to write into his nineties. His last plays were Buoyant Billions , his final full-length work; Farfetched Fables a set of six short plays revisiting several of his earlier themes such as evolution; a comic play for puppets, Shakes versus Shav , a ten-minute piece in which Shakespeare and Shaw trade insults; [] and Why She Would Not , which Shaw described as "a little comedy", written in one week shortly before his ninety-fourth birthday. During his later years, Shaw enjoyed tending the gardens at Shaw's Corner. He died at the age of ninety-four of renal failure precipitated by injuries incurred when falling while pruning a tree.

His ashes, mixed with those of Charlotte, were scattered along footpaths and around the statue of Saint Joan in their garden. Shaw published a collected edition of his plays in , comprising forty-two works. Including eight earlier plays that he chose to omit from his published works, the total is sixty-two.

Shaw's first three full-length plays dealt with social issues. He later grouped them as "Plays Unpleasant". Shaw followed the first trilogy with a second, published as "Plays Pleasant". The "Three Plays for Puritans"—comprising The Devil's Disciple , Caesar and Cleopatra and Captain Brassbound's Conversion —all centre on questions of empire and imperialism, a major topic of political discourse in the s. Shaw's major plays of the first decade of the twentieth century address individual social, political or ethical issues. Man and Superman stands apart from the others in both its subject and its treatment, giving Shaw's interpretation of creative evolution in a combination of drama and associated printed text.

Getting Married and Misalliance —the latter seen by Judith Evans as a companion piece to the former—are both in what Shaw called his "disquisitionary" vein, with the emphasis on discussion of ideas rather than on dramatic events or vivid characterisation. In the decade from to the aftermath of the First World War Shaw wrote four full-length plays, the third and fourth of which are among his most frequently staged works.

To correct the impression left by the original performers that the play portrayed a romantic relationship between the two main characters Shaw rewrote the ending to make it clear that the heroine will marry another, minor character. Saint Joan drew widespread praise both for Shaw and for Sybil Thorndike, for whom he wrote the title role and who created the part in Britain. Once again, with On the Rocks and The Simpleton of the Unexpected Isles , a political comedy with a clear plot was followed by an introspective drama.

The first play portrays a British prime minister considering, but finally rejecting, the establishment of a dictatorship; the second is concerned with polygamy and eugenics and ends with the Day of Judgement. The Millionairess is a farcical depiction of the commercial and social affairs of a successful businesswoman. Geneva lampoons the feebleness of the League of Nations compared with the dictators of Europe. In Good King Charles's Golden Days , described by Weintraub as a warm, discursive high comedy, also depicts authoritarianism, but less satirically than Geneva. Ervine writes of Shaw's later work that although it was still "astonishingly vigorous and vivacious" it showed unmistakable signs of his age.

Shaw's collected musical criticism, published in three volumes, runs to more than 2, pages. In Shaw's view, the London theatres of the s presented too many revivals of old plays and not enough new work. He campaigned against " melodrama , sentimentality , stereotypes and worn-out conventions". In a study of Shaw's work as a theatre critic, E.

West writes that Shaw "ceaselessly compared and contrasted artists in interpretation and in technique". Shaw contributed more than articles as theatre critic for The Saturday Review , in which he assessed more than productions. He plays with everything: with wit, with philosophy, with drama, with actors and audience, with the whole theatre".

Shaw maintained a provocative and frequently self-contradictory attitude to Shakespeare whose name he insisted on spelling "Shakespear". He has outlasted thousands of abler thinkers, and will outlast a thousand more". Shaw's political and social commentaries were published variously in Fabian tracts, in essays, in two full-length books, in innumerable newspaper and journal articles and in prefaces to his plays. The majority of Shaw's Fabian tracts were published anonymously, representing the voice of the society rather than of Shaw, although the society's secretary Edward Pease later confirmed Shaw's authorship.

After the turn of the twentieth century, Shaw increasingly propagated his ideas through the medium of his plays. An early critic, writing in , observed that Shaw's dramas provided "a pleasant means" of proselytising his socialism, adding that "Mr Shaw's views are to be sought especially in the prefaces to his plays".

In this, he denounced the pacifist line espoused by Ramsay MacDonald and other socialist leaders, and proclaimed his readiness to shoot all pacifists rather than cede them power and influence. The Intelligent Woman's Guide , Shaw's main political treatise of the s, attracted both admiration and criticism. MacDonald considered it the world's most important book since the Bible; [] Harold Laski thought its arguments outdated and lacking in concern for individual freedoms. A New York Times report dated 10 December quoted a recent Fabian Society lecture in which Shaw had praised Hitler, Mussolini and Stalin: "[T]hey are trying to get something done, [and] are adopting methods by which it is possible to get something done".

He introduced his theories in The Revolutionist's Handbook , an appendix to Man and Superman , and developed them further during the s in Back to Methuselah. A Life magazine article observed that Shaw had "always tended to look at people more as a biologist than as an artist". Shaw's fiction-writing was largely confined to the five unsuccessful novels written in the period — Immaturity is a semi-autobiographical portrayal of mid-Victorian England, Shaw's "own David Copperfield " according to Weintraub.

Gareth Griffith , in a study of Shaw's political thought, sees the novel as an interesting record of conditions, both in society at large and in the nascent socialist movement of the s. Shaw's only subsequent fiction of any substance was his novella The Adventures of the Black Girl in Her Search for God , written during a visit to South Africa in The eponymous girl, intelligent, inquisitive, and converted to Christianity by insubstantial missionary teaching, sets out to find God, on a journey that after many adventures and encounters, leads her to a secular conclusion.

Shaw was a prolific correspondent throughout his life. His letters, edited by Dan H. Laurence, were published between and Wells and G. Shaw's diaries for —, edited by Weintraub, were published in two volumes, with a total of 1, pages, in Reviewing them, the Shaw scholar Fred Crawford wrote: "Although the primary interest for Shavians is the material that supplements what we already know about Shaw's life and work, the diaries are also valuable as a historical and sociological document of English life at the end of the Victorian age.

Through his journalism, pamphlets and occasional longer works, Shaw wrote on many subjects. His range of interest and enquiry included vivisection , vegetarianism, religion, language, cinema and photography, [n 33] on all of which he wrote and spoke copiously. Collections of his writings on these and other subjects were published, mainly after his death, together with volumes of "wit and wisdom" and general journalism. Despite the many books written about him Holroyd counts 80 by [] Shaw's autobiographical output, apart from his diaries, was relatively slight.

He gave interviews to newspapers—"GBS Confesses", to The Daily Mail in is an example [] —and provided sketches to would-be biographers whose work was rejected by Shaw and never published. He made it clear to his publishers that this slim book was in no sense a full autobiography. Throughout his lifetime Shaw professed many beliefs, often contradictory. This inconsistency was partly an intentional provocation—the Spanish scholar-statesman Salvador de Madariaga describes Shaw as "a pole of negative electricity set in a people of positive electricity".

He favoured archaic spellings such as "shew" for "show"; he dropped the "u" in words like "honour" and "favour"; and wherever possible he rejected the apostrophe in contractions such as "won't" or "that's". Shaw's views on religion and Christianity were less consistent. Having in his youth proclaimed himself an atheist, in middle age he explained this as a reaction against the Old Testament image of a vengeful Jehovah. By the early twentieth century, he termed himself a "mystic", although Gary Sloan, in an essay on Shaw's beliefs, disputes his credentials as such. Shaw espoused racial equality, and inter-marriage between people of different races.

Political parties are not above exploiting these fears and jealousies. In Shaw joined in a controversy about vaccination against smallpox. He called vaccination "a peculiarly filthy piece of witchcraft"; [] in his view immunisation campaigns were a cheap and inadequate substitute for a decent programme of housing for the poor, which would, he declared, be the means of eradicating smallpox and other infectious diseases. Shaw strove throughout his adult life to be referred to as "Bernard Shaw" rather than "George Bernard Shaw", but confused matters by continuing to use his full initials—G.

Bernard Shaw".

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Oxford Encyclopedia of Theatre []. Shaw did not found a school of dramatists as such, but Crawford asserts that today "we recognise [him] as second only to Shakespeare in the British theatrical tradition Crawford lists numerous playwrights whose work owes something to that of Shaw. Eliot , by no means an admirer of Shaw, admitted that the epilogue of Murder in the Cathedral , in which Becket 's slayers explain their actions to the audience, might have been influenced by Saint Joan.

Shaw's influence crossed the Atlantic at an early stage. Bernard Dukore notes that he was successful as a dramatist in America ten years before achieving comparable success in Britain. Behrman , who was inspired to write for the theatre after attending a performance of Caesar and Cleopatra : "I thought it would be agreeable to write plays like that". Assessing Shaw's reputation in a critical study, T. Evans described Shaw as unchallenged in his lifetime and since as the leading English-language dramatist of the twentieth century, and as a master of prose style.

Osborne responded that Shaw "is the most fraudulent, inept writer of Victorian melodramas ever to gull a timid critic or fool a dull public". In a study, R. Kaufmann suggests that Shaw was a key forerunner—"godfather, if not actually finicky paterfamilias"—of the Theatre of the Absurd. Writing in The New Statesman in Daniel Janes commented that Shaw's reputation had declined by the time of his th anniversary in but had recovered considerably.

In Janes's view, the many current revivals of Shaw's major works showed the playwright's "almost unlimited relevance to our times". It produces plays by or written during the lifetime of Shaw as well as some contemporary works. In the s the author Harold Nicolson advised the National Trust not to accept the bequest of Shaw's Corner, predicting that Shaw would be totally forgotten within fifty years.

The original society was founded in London in and survives; it organises meetings and events, and publishes a regular bulletin The Shavian. A second American organisation, founded in as "The Bernard Shaw Society", remains active as of [update]. More recent societies have been established in Japan and India. Besides his collected music criticism, Shaw has left a varied musical legacy, not all of it of his choosing. Despite his dislike of having his work adapted for the musical theatre "my plays set themselves to a verbal music of their own" [] two of his plays were turned into musical comedies: Arms and the Man was the basis of The Chocolate Soldier in , with music by Oscar Straus , and Pygmalion was adapted in as My Fair Lady with book and lyrics by Alan Jay Lerner and music by Frederick Loewe.

The substance of Shaw's political legacy is uncertain. In Shaw's erstwhile collaborator William Archer, in a letter to the playwright, wrote: "I doubt if there is any case of a man so widely read, heard, seen, and known as yourself, who has produced so little effect on his generation. She thought he worked "immensely hard" at politics, but essentially, she surmises, it was for fun—"the fun of a brilliant artist".

He was no originator of ideas.

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He was an insatiable adopter and adapter, an incomparable prestidigitator with the thoughts of the forerunners. By bending to their service all the faculties of a powerful mind, by inextinguishable wit, and by every artifice of argument, he carried their thoughts as far as they would reach—so far beyond their sources that they came to us with the vitality of the newly created. From Wikipedia, the free encyclopedia. For other uses, see Bernard Shaw disambiguation.

Irish playwright, critic and polemicist, influential in Western theatre. Shaw in , by Alvin Langdon Coburn. Charlotte Payne-Townshend m. We desire to record that we saw nowhere evidence of economic slavery, privation, unemployment and cynical despair of betterment. Everywhere we saw [a] hopeful and enthusiastic working-class The loss of his wife was more profoundly felt than he had ever imagined any loss could be: for he prided himself on a stoical fortitude in all loss and misfortune.

See also: List of works by George Bernard Shaw. Play media. Shaw was a poseur and a puritan; he was similarly a bourgeois and an antibourgeois writer, working for Hearst and posterity; his didacticism is entertaining and his pranks are purposeful; he supports socialism and is tempted by fascism.

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Shaw, arguably the most important English-language playwright after Shakespeare, produced an immense oeuvre , of which at least half a dozen plays remain part of the world repertoire. Academically unfashionable, of limited influence even in areas such as Irish drama and British political theatre where influence might be expected, Shaw's unique and unmistakable plays keep escaping from the safely dated category of period piece to which they have often been consigned.

Stewart, professor of music at Trinity College , denounced him as a charlatan, and succeeded in driving him out. He was also a teetotaller and non-smoker, and was known for his habitual costume of unfashionable woollen clothes, made for him by Jaeger. Stone of Chicago. Sachs, Bernard Stern and Sally Peters, believe Shaw was a repressed homosexual, and that after Jenny Patterson all his relationships with women, including his marriage, were platonic. Shaw chose it as his pen name because he thought it seemed dashing: "it sounded like a foreign title and nobody knew what a corno di bassetto was".

Only later did he hear one played, after which he declared it "a wretched instrument [of] peculiar watery melancholy. The devil himself could not make a basset horn sparkle". He insisted that it was Gilbert who was heartless, while he himself was constructive. His plays would thus have no place in the Irish theatre movement". Kavanagh added, "an important part of Shaw's plays was political argument, and Yeats detested this quality in dramatic writing. Lipscomb , who had also worked on adapting Shaw's text.

Barrie , who accepted it. Shaw later said he would have refused it if offered, just as he refused the offer of a knighthood. Tree and then with film producers, to prevent it being returned to stock with a 'happy' ending. This was a battle Shaw was to lose posthumously when the sugar-coated musical comedy adaptation, Lerner and Loewe's My Fair Lady , went on to make more money for the Shaw estate than all his plays put together.

Here we reach a colon; and a pointed pository phrase, in which the accent falls decisively on the relative pronoun, brings us to the first full stop. Matthews credits Shaw with a successful campaign against the two-hundred-year-old tradition of editing Shakespeare into "acting versions", often designed to give star actors greater prominence, to the detriment of the play as a whole. Although death duties severely reduced the residuary sum, royalties from My Fair Lady later boosted the income of the estate by several million pounds. Broadview Press. Adams, Elsie Bonita Bernard Shaw and the Aesthetes.

Columbus: Ohio State University Press. Adelman, Paul The Rise of the Labour Party — Abingdon, Oxfordshire: Routledge. Bennett, Richard The Black and Tans. Bentley, Eric What is Theatre? New York: Atheneum. Berst, Charles In Christopher Innes ed. Bevir, Mark The Making of British Socialism. Dictionary to the Plays and Novels of Bernard Shaw. New York: Haskell House.

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Burton, Alan; Steve Chibnall Historical Dictionary of British Cinema. London: Scarecrow Press. Carr, Pat Bernard Shaw. New York: Ungar. Clare, David Bernard Shaw's Irish Outlook. Basingstoke, Hampshire: Palgrave Macmillan. Cole, Margaret Growing up into Revolution. London and New York: Longmans, Green. The Story of Fabian Socialism. London: Heinemann. Conolly, L. Bernard Shaw: "Mrs Warren's Profession". Peterborough, Ontario: Broadview Press. Cooper, Duff Old Men Forget.

52 Things I Wish I Could Tell My Younger Self

London: Rupert Hart-Davis. Present Indicative — Autobiography to London: Methuen. Crawford, Fred D. In Bertolini, John Anthony ed. Shaw and Other Playwrights. Croall, Jonathan Sybil Thorndike. London: Haus. Stacked on the other side of the scale are the "sages": characters ranging from Yoda, to Dumbledore, to Morgan Freeman who in role after role plays the wise elder for those around him. Despite some negative images, younger Americans seem at least open to the idea of older people as potential repositories of wisdom.

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Still young people are right to ask: Why should I spend time listening to old people's advice about how to live my life? Let me offer three reasons why the wisdom of older Americans can be a uniquely important source of guidance for the not-yet-old. Listening to the advice of older people has promoted well-being and even survival for millennia. Over the 1. Anthropologists tell us that in prehistoric times, the accumulated wisdom of older people was a key to human survival. Not only did the old and especially grandmothers improve the survival chances of their grandchildren by caring for them and finding them food; they also were the source of tried and tested experience, the true "elders" to whom group members would go in time of crisis.

Later on in agricultural societies, the family elder was often the only one who knew how his clan's property should be farmed or how to handle drought or pest infestation. Without that elder's knowledge, starvation could ensue. So consulting older people is really a "natural" thing for humans to do. People in their seventies and beyond have lived through experiences many of us in the United States today can only imagine.

Their lives have often included what the psychologist Juan Pascual-Leone has termed "ultimate limit situations.

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  4. It is precisely these situations that lead to wisdom. America's elders have this kind of wisdom more than the rest of us because on average they have been through many more ultimate limit situations. This unique perspective is a valuable lens through which younger people can view their own lives. And their advice seems especially relevant now. In our economic downturn, why wouldn't we consult people who held their families together in the much-worse Great Depression? As our country is engaged in war abroad, couldn't we learn how to cope from our World War II and Korean War veterans and their spouses?

    There's a paradox here: this point is simultaneously why we should seek out elder wisdom and also why younger people may not pay attention. From our surveys of 1, elders about their lessons for living, we found that their perspectives often shake up conventional wisdom. Conventional wisdom is what the members of a society learn while they are growing up. Conventional wisdom offers up images of the good life and reinforces the values of the culture. It ultimately becomes the basis of our identity and self-esteem.