Two farcical plays of the war, "The Inca of Perusalem" and "Augustus does his Bit", produced by the London Stage Society and the former also in New York, are ascribed to Shaw though unacknowledged by him.
Of Shaw's critical work we have in book form "The Perfect Wagnerite", 1895, and "The Quintessence of Ibsen", 1890, which championed two unpopular causes; "The Sanity of Art", 1908, attacking Nordau's theory of the degeneracy of artists; and two volumes of "Dramatic Opinions and Essays", which, although reviews of current plays of the nineties, retain a permanent value. Shaw's four early novels "Cashel Byron's Profession", "An Unsocial Socialist", "Love Among the Artists", and "The Irrational Knot" are of less interest than his plays.
His socialism has found expression in "The Common Sense of Municipal Trading" and "Fabian Essays in Socialism", and numerous other tracts and articles as well as most of his plays and prefaces.
Shaw's fugitive contributions to journalism are too numerous and scattered to be cited here, but I will mention a few of them that are of special interest: "The Case Against Chesterton" (Metropolitan, 1916); "The Case for Equality" (Metropolitan, 1913); "The German Case Against Germany" (New York Times, April 16, 1916).
More has been written about Shaw's personality than about all the rest of my "Twelve Major Prophets" put together. The chief and authorized biography is "George Bernard Shaw: His Life and Work" by Professor Archibald Henderson of the University of North Carolina. (Cincinnati: Stewart and Kidd, 1911.) It contains a full bibliography up to its date and some twenty portraits as well as much inaccessible and unpublished material. Besides this we have:
"George Bernard Shaw: A Critical Study" by Joseph McCabe (London: Paul, French, Trubner, 1914); "Bernard Shaw: A Critical Study" by Percival P. Howe (Dodd, Mead, 1915); "George Bernard Shaw" by G. K. Chesterton (John Lane, 1909); "Bernard Shaw as Artist-Philosopher", an exposition of Shavianism, by Renée M. Deacon (John Lane, 1910); "George Bernard Shaw: His Plays" by H. L. Mencken (Luce, 1909); "Bernard Shaw" by Holbrook Jackson (Jacobs, 1907); and "The Innocence of Bernard Shaw" by D. Scott (Doran, 1914).
Latest of all is "Bernard Shaw: The Man and the Mask" by Richard Burton, a study of his plays in chronological order by the ex-president of the Drama League of America (Henry Holt, November, 1916).
"Bernard Shaw: An Epitaph" by John Palmer (London: Richards, 1915), "Harlequin or Patriot" (Century). Mr. Palmer comes to bury Shaw, not to praise him, yet gives him more credit than many of his admirers.
Biographical data and criticism are also to be found in Archibald Henderson's "European Dramatists" (Stewart and Kidd) and his "Interpreters of Life and the Modern Spirit" (Kennerley); Ford Madox Hueffer's "Memories and Impressions"; R. A. Scott-James's "Personality in Literature" which also contains sketches of Wells and Chesterton (London: Seeker, 1913); E. E. Hale's "Dramatists of To-day" (Holt, 1911); J. G. Huneker's "Iconoclasts" (Scribner, 1905); Cyril Maude's "The Haymarket Theater"; Edward Pease's "History of the Fabian Society" (London, 1916); Herman Bernstein's "With Master Minds" (Universal Series Co., New York, 1913); and "Bernard Shaw et son oeuvre" by Professor Cestre of the University of Bordeaux (Mercure de France, 1912).
Augustine F. Hamon, who has translated many of Shaw's plays into French, has published the lectures he gave on them at the Sorbonne in the volume "Le Molière du XXe siècle" (Paris: Figuière, 1913) which has been translated "The Twentieth Century Molière" (Stokes, 1915), and a separate chapter of it as "The Technique of Bernard Shaw's Plays" (London: Daniel, 1912).