Samarkand state institute of foreign languages faculty of english philology and translation studies the chair of translation theory and practise

2.2. The Analysis of George Bernard Shaw’s plays
George Bernard Shaw (26 July 1856 – 2 November 1950) entered the English theater scene and produced a masterful play that had not seen a top-notch playwright in over a century. Pope, who catered to his audience, provided a comforting escape from the harsh realities of the working world, not unlike today's television offerings. Instead of adhering to this unrealistic standard, the production presented reality in all its facets: social, political, economic, and religious. He was an educator, a preacher who openly acknowledged that the stage was his podium. In stark contrast to his contemporaries Oscar Wilde and Wilde's fellow aesthetes, Shaw maintained that he did not write a single sentence merely for the sake of art; yet he outdid the aesthetes in their own artistic game. Although he espoused socialism, creative evolution, prison abolition, and true gender equality, and denounced the insincerity of the causes of war, he did so through humor in some of the funniest comedies ever written. He did not aspire to be a martyr, and even if his peers merely chuckled at his plays, he asserted that "humor is the seriousness of the age." Even if the current generation is only interested in amusement, the following generation will comprehend his message [ 6, 71].
Shaw's argument that writing is a continuous learning process and one never truly masters it, was eventually understood by later generations. His belief that the message can only be conveyed to the youth in order to reach the next generation still holds true today. The topics of evolution, creationism, creative evolution, and the life force, which Shaw explored, are still relevant today. In fact, Henri Bergson's change of Shaw's "Víve force" to "Elan vital force" and Pierre Teilhard de Chardin's popular evolutionary ideas during Shaw's time are still being discussed today. Shaw's evolutionary theory of the "noosphere," the idea that humanity is in the process of creating God in relation to Omega Man, is still relevant [ 6, 76].
Shaw's criticism of the prison system being more vindictive than rehabilitative is consistent with the current widespread concern about its ineffectiveness. His advocacy for true equality between men and women before the law is still relevant and contemporary. Shaw's work brought serious issues to the English stage and established him as one of the greatest playwrights of the 20th century.
Shaw's dramas are not restricted to such abstract concepts. They tackle political, societal, and financial concerns such as the misguided belief that people assist criminals by incarcerating them, or help themselves by purifying (Major Barbara, The Conversion of Captain Brassbound, The Simplicity of Unexpected Islands), The necessity for diversity (About), Rocks, Androcles and the Lion), irrational veneration of medicine and science ("Philander", "The Doctor's Dilemma"), the superiority of socialism over capitalism (Widow Houses, Apple Cart, Perusalem Incas), the vices of nationalism (O'Flaherty, W.C., Arms and the Man) [9, 45], the requirement for a state above nations (Geneva), the requirement to recognize the parity of women with men (In Good King Charles Golden Days, Press cuttings), and so on. Nevertheless, all of Shaw's endeavors to challenge social and political traditions are connected to his religious mission. They were all created to aid in the liberation of the human spirit in its quest to create a better and more intelligent man, to create a superman, and ultimately to create God.