رواية بيجماليون كاملة باللغة العربية مع ملحقاتها حصري لبيت حواء-نبيها لاترميها- - الصفحة 2
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الموضوع: رواية بيجماليون كاملة باللغة العربية مع ملحقاتها حصري لبيت حواء-نبيها لاترميها-

  1. #5
    مساعدة ادارية الصورة الرمزية Miss.Reem
    تاريخ التسجيل
    Sep 2007
    الدولة
    حضرموت نبض قلبي و جدة أنفاس صدري
    المشاركات
    45,067
    معدل تقييم المستوى
    10
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    Act II
    Summary

    The next day, Higgins and Pickering are just resting from a full morning of discussion when Eliza Doolittle shows up at the door, to the tremendous doubt of the discerning housekeeper Mrs. Pearce, and the surprise of the two gentlemen. Prompted by his careless brag about making her into a duchess the night before, she has come to take lessons from Higgins, so that she may sound genteel enough to work in a flower shop rather than sell at the corner of Tottenham Court Road. As the conversation progresses, Higgins alternates between making fun of the poor girl and threatening her with a broomstick beating, which only causes her to howl and holler, upsetting Higgins' civilized company to a considerable degree. Pickering is much kinder and considerate of her feelings, even going so far as to call her "Miss Doolittle" and to offer her a seat. Pickering is piqued by the prospect of helping Eliza, and bets Higgins that if Higgins is able to pass Eliza off as a duchess at the Ambassador's garden party, then he, Pickering, will cover the expenses of the experiment.

    This act is made up mostly of a long and animated three-(sometimes four-)way argument over the character and the potential of the indignant Eliza. At one point, incensed by Higgins' heartless insults, she threatens to leave, but the clever professor lures her back by stuffing her mouth with a chocolate, half of which he eats too to prove to her that it is not poisoned. It is agreed upon that Eliza will live with Higgins for six months, and be schooled in the speech and manners of a lady of high class. Things get started when Mrs. Pearce takes her upstairs for a bath.

    While Mrs. Pearce and Eliza are away, Pickering wants to be sure that Higgins' intentions towards the girl are honorable, to which Higgins replies that, to him, women "might as well be blocks of wood." Mrs. Pearce enters to warn Higgins that he should be more careful with his swearing and his forgetful table manners now that they have an impressionable young lady with them, revealing that Higgins's own gentlemanly ways are somewhat precarious. At this point, Alfred Doolittle, who has learned from a neighbor of Eliza's that she has come to the professor's place, comes a-knocking under the pretence of saving his daughter's honor. When Higgins readily agrees that he should take his daughter away with him, Doolittle reveals that he is really there to ask for five pounds, proudly claiming that he will spend that money on immediate gratification and put none of it to useless savings. Amused by his blustering rhetoric, Higgins gives him the money.

    Eliza enters, clean and pretty in a blue kimono, and everyone is amazed by the difference. Even her father has failed to recognize her. Eliza is taken with her transformation and wants to go back to her old neighborhood and show off, but she is warned against snobbery by Higgins. The act ends with the two of them agreeing that they have taken on a difficult task.
    Commentary

    Even though Higgins is immediately obvious as the Pygmalion figure in this play, what this act reveals is that there is no way his phonetic magic could do a complete job of changing Eliza on its own. What we see here is that Mrs. Pearce and Colonel Pickering are also informal Pygmalions, and with much less braggadocio (the alliteration of Pygmalion, Pearce, and Pickering would support this notion). Only with Mrs. Pearce working on the girl's appearance and manners, and with Pickering working, albeit unknowingly, on her self-respect and dignity, will Eliza Doolittle become a whole duchess package, rather than just a rough-mannered common flower girl who can parrot the speech of a duchess. We learn in this scene, quite significantly, that while Higgins may be a brilliant phonetician, Mrs. Pearce finds fault with his constant swearing, forgetful manners, quarrelsome nature, and other unpleasant habits. His own hold on polite respectability is tenuous at best, and it is only his reputation, and his fundamental lack of malice that keeps him from being disliked by others. If Higgins cannot be a Pygmalion on his own, and is such an untidy, mannerless Pygmalion at that, then the obvious question posed to us is if Pygmalion, the transformer of others, can himself be transformed. Implicit in this question is another: whether it could be imperviousness to change, rather than superior knowledge, which differentiates Pygmalion from Galatea.

    This act shows Higgins as an incorrigible scientist. He is not only "violently interested in everything that can be studied as a scientific subject," but interested in them only as subjects of scientific study. For that reason, when "quite a common girl" is said to at his door, Higgins thinks it is a lucky happenstance that will allow him to show Pickering the way he works. When he sees it is Eliza, he chases her away, for, having learned all he can about the Lisson Grove accent, he cannot see how she can be of any more use to him. Later, his mind seizes upon her as being "no use to anybody but me." And when Alfred Doolittle is announced, Higgins is not worried about the trouble, but looks forward instead to listening to this new accent. He displays such a dogged determination and exaggerated focus on his work that it is hard to tell if Shaw wants to make fun of this character or put it on a pedestal. In either case, there is no denying that Higgins makes an absolutely inept romantic hero. For him, if women do not inform his science in any way, "they might as well be blocks of wood." Eliza's criticism comes well-deserved--"Oh, you've no feeling heart in you: you don't care for nothing but yourself." Even Mrs. Pearce chides him for treating people like objects--"Well, the matter is, sir, that you can't take a girl up like that as if you were picking up a pebble on the beach."

    Alfred Doolittle is one of those delightful, quintessential characters that populate all of Shaw's plays. He makes the most iconoclastic, scandalous statements, but all with such wit and humor that we cannot help but find his ideas attractive. In this act, Doolittle performs the extra role of inspiring Higgins break off in the middle of their conversation to analyze Doolittle's language and comment that "this chap has a certain natural gift of rhetoric." This unnatural break to the flow of talk forces us to pay a similar attention to all the rhetoric of the play.

    There is a brief episode in this act in which Eliza threatens to leave because Higgins is being so rude to her, and he calls her an ingrate. She does not leave because he uses chocolates to tempt her back. This is in contrast to the final act when Higgins again calls her an ingrate. However, in the last act, to his request that she return with him, she does indeed step out the door, leaving Higgins alone in the room.





    لتحميل المشهد الثاني صفحة إنجليزي والمقابلة لها عربي

    المشهد الثاني الجزء الاول

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    المشهد الثاني الجزء الثاني

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    المشهد الثاني الجزء الثالث

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    المشهد الثاني الجزء الرابع

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    المشهد الثاني الجزء الخامس

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  2. #6
    مساعدة ادارية الصورة الرمزية Miss.Reem
    تاريخ التسجيل
    Sep 2007
    الدولة
    حضرموت نبض قلبي و جدة أنفاس صدري
    المشاركات
    45,067
    معدل تقييم المستوى
    10
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    Act III
    Summary

    It is Mrs. Higgins' at-home day, and she is greatly displeased when Henry Higgins shows up suddenly, for she knows from experience that he is too eccentric to be presentable in front of the sort of respectable company she is expecting. He explains to her that he wants to bring the experiment subject on whom he has been working for some months to her at-home, and explains the bet that he has made with Pickering. Mrs. Higgins is not pleased about this unsolicited visit from a common flower girl, but she has no time to oppose before Mrs. and Miss Eynsford Hill (the mother and daughter from the first scene) are shown into the parlor by the parlor-maid. Colonel Pickering enters soon after, followed by Freddy Eynsford Hill, the hapless son from Covent Garden.

    Higgins is about to really offend the company with a theory that they are all savages who know nothing about being civilized when Eliza is announced. She makes quite an impact on everyone with her studied grace and pedantic speech. Everything promises to go well until Mrs. Eynsford Hill brings up the subject of influenza, which causes Eliza to launch into the topic of her aunt, who supposedly died of influenza. In her excitement, her old accent, along with shocking facts such as her father's alcoholism, slip out. Freddy thinks that she is merely affecting "the new small talk," and is dazzled by how well she does it. He is obviously infatuated with her. When Eliza gets up to leave, he offers to walk her but she exclaims, "Walk! Not bloody likely. I am going in a taxi." The Mrs. Eynsford Hill leave immediately after. Clara, Miss Eynsford Hill, is taken with Eliza, and tries to imitate her speech.

    After the guests leave, Mrs. Higgins chides Higgins. She says there is no way Eliza will become presentable as long as she lives with the constantly-swearing Higgins. She demands to know the precise conditions under which Eliza is living with the two old bachelors. She is prompted to say, "You certainly are a pretty pair of babies, playing with your live doll," which is only the first of a series of such criticisms she makes of Higgins and Pickering. They assail her simultaneously with accounts of Eliza's improvement until she must quiet them. She tries to explain to them that there will be a problem of what to do with Eliza once everything is over, but the two men pay no heed. They take their leave, and Mrs. Higgins is left exasperated by the "infinite stupidity" of "men! men!! men!!!"
    Commentary

    In this, Eliza's first debut and debacle, we are shown that just speaking correctly is not enough to pass a flower girl off as a duchess. As Higgins knows, "You see, I've got her pronunciation all right; but you have to consider not only how a girl pronounces, but what she pronounces." Mrs. Higgins puts it succinctly with the line, "She's a triumph of your art and of her dressmaker's; but if you suppose for a moment that she doesn't give herself away in every sentence she utters, you must be perfectly cracked about her." In other words, there are aspects to a person that are susceptible to change or improvement, but these cannot override those aspects that are innate to that person, which will surface despite the best grooming.

    While it may seem that this is the act in which Eliza is exposed for what she is, just about all the other characters are shown up in the process. Pickering and Higgins are an example. After they have been shown to be the undoubted masters of their (phonetic) dominion, lording it over Eliza, here, in Mrs. Higgins' feminine environment, they come across more like over-enthusiastic, ineffective little boys than mature men of science. Mrs. Higgins repeatedly rebukes Higgins for his lack of manners, his surly behavior towards her guests, and for his klutzy habit of stumbling into furniture, and is very reluctant to have him in front of company. This act also reveals middle class civility for what it really is--something dull and uninspiring. Mrs. Higgins' at-home turns out to be an unexciting conversation determinedly choked full with "how do you do's" and "goodbye's," with barely anything interesting said in between. In fact, the only time something is said with any spirit is when Eliza forgets herself and slips back into her normal manner of speaking. Clara Eynsford Hill, for example, is shown to be a useless wannabe with no character of her own (quite in contrast to the feisty and opinionated Eliza). So unremarkable is the mother-son-daughter threesome of the Eynsford Hills that Higgins cannot recall where he has met them (at Covent Garden, in the first act) until halfway through this act. He can only tell that their voices are familiar, suggesting that all they have to recommend them is their accents, and nothing else. If staged well, this act can expose the clumsiness and vapidity of polite Victorian society, causing us to question if the making of a duchess out of a flower girl is really doing her a favor.

    We get another indication in this act that Higgins is incapable of being the romantic hero of the play. We see that when he says to this mother, "My idea of a lovable woman is somebody as like you as possible. I shall never get into the way of seriously liking young women: some habits lie too deep to be changed." The irony is that even though he has no doubt that he can transform Eliza, he takes it as a given that there are natural traits in himself that cannot be changed.







    لتحميل المشهد الثالث صفحة إنجليزي و المقابلة لها عربي

    المشهد الثالث الجزأ الأول

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    المشهد الثالث الجزأ الثاني

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    المشهد الثالث الجزأ الثالث

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  3. #7
    مساعدة ادارية الصورة الرمزية Miss.Reem
    تاريخ التسجيل
    Sep 2007
    الدولة
    حضرموت نبض قلبي و جدة أنفاس صدري
    المشاركات
    45,067
    معدل تقييم المستوى
    10
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    Act IV
    Summary

    The trio return to Higgins' Wimpole Street laboratory, exhausted from the night's happenings. They talk about the evening and their great success, though Higgins seems rather bored, more concerned with his inability to find slippers. While he talks absentmindedly with Pickering, Eliza slips out, returns with his slippers, and lays them on the floor before him without a word. When he notices them, he thinks that they appeared out of nowhere. Higgins and Pickering begin to speak as if Eliza is not there with them, saying how happy they are that the entire experiment is over, agreeing that it had become rather boring in the last few months. The two of them then leave the room to go to bed. Eliza is clearly hurt ("Eliza's beauty turns murderous," say the stage directions), but Higgins and Pickering are oblivious to her.

    Higgins pops back in, once again mystified over what he has done with his slippers, and Eliza promptly flings them in his face. Eliza is mad enough to kill him; she thinks that she is no more important to him than his slippers. At Higgins' retort that she is presumptuous and ungrateful, she answers that no one has treated her badly, but that she is still left confused about what is to happen to her now that the bet has been won. Higgins says that she can always get married or open that flower shop (both of which she eventually does), but she replies by saying that she wishes she had been left where she was before. She goes on to ask whether her clothes belong to her, meaning what can she take away with her without being accused of thievery. Higgins is genuinely hurt, something that does not happen to him often. She returns him a ring he bought for her, but he throws it into the fireplace. After he leaves, she finds it again, but then leaves it on the dessert stand and departs.
    Commentary

    If we consider the conventional structure of a romance or fairy tale, the story has really already reached its climax by this point, because Cinderella has been turned into a princess, and the challenge has been met. Then why does the play carry on for another two acts? This would appear completely counter- productive, only if one thinks that this play is only about changing appearances. The fact that the play carries on indicates that there are more transformations in Eliza to be witnessed: this act shows the birth of an independent spirit in the face of Higgins' bullying superiority. The loosely set-up dichotomy between people and objects (i.e., whether Higgins treats people like people or objects) is brought to a head when Eliza flings his slippers in his face, and complains that she means no more to him than his slippers--"You don't care. I know you don't care. You wouldn't care if I was dead. I'm nothing to you--not so much as them slippers." Not only does she object to being treated like an object, she goes on to assert herself by saying that she would never sell herself, like Higgins suggests when he tells her she can go get married. This climactic move forces Higgins to reconsider what a woman can be, and, as he confesses in the final act, marks the beginning of his considering Eliza to be an equal rather than a burden.

    One thing to consider in this act is why Shaw has chosen not to portray the climax at the ambassador's party where Eliza can prove how well she has been instructed by Higgins (although his movie screenplay does allow for a scene at the embassy). One reason is that most theatrical productions do not have the capacity to stage an opulent, luxurious ball just for a short scene. But another reason is that Shaw's intention is to rob the story of its romance. We are spared the actual training of Eliza as well as her moment of glory (that is, both the science and the magic); instead, all we get is scenes of her pre- and post- the dramatic climax.





    لتحميل المشهد الرابع كامل صفحة انجليزي والمقابلة لها عربي

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    Act V
    Summary

    Higgins and Pickering show up the next day at Mrs. Higgins' home in a state of distraction because Eliza has run away. They are interrupted by Alfred Doolittle, who enters resplendently dressed, as if he were the bridegroom of a very fashionable wedding. He has come to take issue with Henry Higgins for destroying his happiness. It turns out that Higgins wrote a letter to a millionaire jokingly recommending Doolittle as a most original moralist, so that in his will the millionaire left Doolittle a share in his trust, amounting to three thousand pounds a year, provided that he lecture for the Wannafeller Moral Reform World League. Newfound wealth has only brought him more pain than pleasure, as long lost relatives emerge from the woodwork asking to be fed, not to mention that he is now no longer free to behave in his casual, slovenly, dustman ways. He has been damned by "middle class morality." The talk degenerates into a squabble over who owns Eliza, Higgins or her father (Higgins did give the latter five pounds for her after all). To stop them, Mrs. Higgins sends for Eliza, who has been upstairs all along. But first she tells Doolittle to step out on the balcony so that the she will not be shocked by the story of his new fortune.

    When she enters, Eliza takes care to behave very civilly. Pickering tells her she must not think of herself as an experiment, and she expresses her gratitude to him. She says that even though Higgins was the one who trained the flower girl to become a duchess, Pickering always treated her like a duchess, even when she was a flower girl. His treatment of her taught her not phonetics, but self-respect. Higgins is speaking incorrigibly harshly to her when her father reappears, surprising her badly. He tells her that he is all dressed up because he is on his way to get married to his woman. Pickering and Mrs. Higgins are asked to come along. Higgins and Eliza are finally left alone while the rest go off to get ready.

    They proceed to quarrel. Higgins claims that while he may treat her badly, he is at least fair in that he has never treated anyone else differently. He tells her she should come back with him just for the fun of it--he will adopt her as a daughter, or she can marry Pickering. She swings around and cries that she won't even marry Higgins if he asks. She mentions that Freddy has been writing her love letters, but Higgins immediately dismisses him as a fool. She says that she will marry Freddy, and that the two will support themselves by taking Higgins' phonetic methods to his chief rival. Higgins is outraged but cannot help wondering at her character--he finds this defiance much more appealing than the submissiveness of the slippers-fetcher. Mrs. Higgins comes in to tell Eliza it is time to leave. As she is about to exit, Higgins tells her offhandedly to fetch him some gloves, ties, ham, and cheese while she is out. She replies ambivalently and departs; we do not know if she will follow his orders. The play ends with Higgins's roaring laughter as he says to his mother, "She's going to marry Freddy. Ha ha! Freddy! Freddy!! Ha ha ha ha ha!!!!!"
    Commentary

    This final act brings together many of the themes that we have examined in the other acts, such as what constitutes the determinants of social standing, the fault of taking people too literally, or for granted, the emptiness of higher English society, etc. With regard to the first of these themes, Eliza makes the impressively astute observation that "the difference between a lady and a flower girl is not how she behaves, but how she's treated." The line packs double meaning by stating clearly that what is needed is not just one's affectation of nobility, while her delivery is proof of the statement itself as she has grown enough to make such an intelligent claim. Quite contrary to the dresses, the vowels, the consonants, the jewelry (significantly, only hired) that she learned to put on, probably the greatest thing she has gained from this experience is the self-respect that Pickering endowed her with from the first time he called her "Miss Doolittle." In contrast to the "self-respect" that Eliza has learned is the "respectability" that Doolittle and his woman have gained, a respectability that has "broke all the spirit out of her." While respectability can be learned, and is what Higgins has taught Eliza, self-respect is something far more authentic, and helps rather than hinders the growth of an independent spirit. Alfred Doolittle makes the unmitigated claim that acquiring the wealth to enter this society has "ruined me. Destroyed my happiness. Tied me up and delivered me into the hands of middle class morality." Higgins' haughty proclamation--"You will jolly soon see whether she has an idea that I haven't put into her head or a word that I haven't put into her mouth."--mistakes the external for the internal, and betrays too much unfounded pride, which is the ultimate cause of his misunderstanding with Eliza.

    The greatest problem that people have with Pygmalion is its highly ambivalent conclusion, in which the audience is left frustrated if it wants to see the typical consummation of the hero and heroine one expects in a romance--which is what the play advertises itself to be after all. Most people like to believe that Eliza's talk about Freddy and leaving for good is only womanly pride speaking, but that she will ultimately return to Higgins. The first screenplay of the movie, written without Shaw's approval, has Eliza buy Higgins a necktie. In the London premier of the play, Higgins tosses Eliza a bouquet before she departs. A contemporary tour of the play in America had Eliza return to ask, "What size?" Other films of the play either show Higgins pleading with Eliza to stay with him, or Higgins following her to church. Doubtless, everyone wanted to romanticize the play to a degree greater than that which the playwright presented it. All this makes us question why Shaw is so insistent and abrupt in his conclusion.

    However, in an epilogue that Shaw wrote after too many directors tried to adapt the conclusion into something more romantic, he writes, "The rest of the story need not be shewn in action, and indeed, would hardly need telling if our imaginations were not so enfeebled by their lazy dependence on the ready-mades and reach-me-downs of the ragshop in which Romance keeps its stock of 'happy endings to misfit all stories." He goes on to deliver a detailed and considered argument for why Higgins would never marry Eliza, and vice versa. For one, Higgins has too much admiration for his mother to find any other woman even halfway comparable, and even "had Mrs. Higgins died, there would still have been Milton and the Universal Alphabet." To Shaw's mind, if Eliza marries anyone at all, it must be Freddy--"And that is just what Eliza did." The epilogue goes on to give a dreary account of their married life and faltering career as the owners of a flower and vegetable shop (an ironic treatment of the typical "happily ever after" nonsense) in which Freddy and Eliza must take accounting and penmanship classes to really become useful members of society. One can see this whole play as an intentional deconstruction of the genre of Romance, and of the myth of Pygmalion as well.



    تحميل المشهد الخامس و الاخير صفحه انجليزي و المقابل لها عربي


    المشهد الخامس الجزء الاول

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    المشهد الخامس الجزء الثاني

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    المشهد الخامس الجزء الثالث

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    المشهد الخامس الجزء الرابع

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  4. #8
    مساعدة ادارية الصورة الرمزية Miss.Reem
    تاريخ التسجيل
    Sep 2007
    الدولة
    حضرموت نبض قلبي و جدة أنفاس صدري
    المشاركات
    45,067
    معدل تقييم المستوى
    10
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    Pygmalion Themes



    Pygmalion Theme of Transformation

    This one may seem like a no-brainer: Pygmalion's all about turning a poor girl into a duchess, right? Well, sure, and Eliza's metamorphosis is stunning. You could even go so far as to call it a Cinderella story. But remember: Cinderella turned back into a poor girl before she finally found her prince. Pay attention and you'll notice that not all the attempts at transformation here are successful. There are plenty of false starts and false endings. By play's end, Shaw's made one thing very clear: be careful what you wish for.
    Questions About Transformation

    Higgins and Pickering tell Mrs. Higgins that Eliza is an incredibly quick learner. They even call her a genius. Who, then, deserves more credit for Eliza's transformation: Eliza herself, because of her potential intelligence, or Higgins, for bringing it out?
    Why is Higgins so keen on teaching Eliza? Can we ever really understand his real motives? If so, what are they?
    Eliza tells Colonel Pickering that "her real education" began when Colonel Pickering began treating her like a lady (5.134). Do you agree with her? Can you think of any alternative "beginnings"?


    ***


    Pygmalion Theme of Language and Communication

    We hear language in all its forms in Pygmalion: everything from slang and "small talk," to heartfelt pleas and big talk about soul and poverty. Depending on the situation, and depending on whom you ask, language can separate or connect people, degrade or elevate, transform or prevent transformation. Language, we learn, doesn't necessarily need to be "true" to be effective; it can deceive just as easily as it can reveal the truth. It is, ultimately, what binds Pygmalion together, and it pays to read carefully; even something as small as a single word can define a person.
    Questions About Language and Communication

    Why does Eliza start speaking in her old manner when she gets emotional? What does this say about her training? Or about Higgins's abilities as a teacher?
    Higgins doesn't always use the kindest words when addressing Eliza. Given that language is so important to him, can we believe it when he says he treats all men in the same way?
    At Mrs. Higgins's party, Freddy and Clara confuse Eliza's normal way of speaking for "the new small talk." What does this say about the way language works in different contexts?


    ***


    Pygmalion Theme of Society and Class

    In Pygmalion, we observe a society divided, separated by language, education, and wealth. Shaw gives us a chance to see how that gap can be bridged, both successfully and unsuccessfully. As he portrays it, London society cannot simply be defined by two terms, "rich" and "poor." Within each group there are smaller less obvious distinctions, and it is in the middle, in that gray area between wealth and poverty that many of the most difficult questions arise and from which the most surprising truths emerge.
    Questions About Society and Class

    Shaw was a lifelong socialist, and wrote many essays on the subject. Can Pygmalion be interpreted as a socialist text?
    In the play, we are introduced to members of a number of different classes and areas of society. That said, does Shaw leave anyone out? Or, to put it another way, does he offer us a view of it in full?
    Why is it that the play's poorest characters, Eliza and her father, are also two of their most gifted?


    ***


    Pygmalion Theme of Manipulation

    In Pygmalion, we see different types of influence and control, sometimes literal and other times metaphorical: the teacher training his student, the artist shaping his creation, the con artist fleecing his mark, the child playing with his toy. That said, these roles aren't always well-defined; they can change easily, without warning. Sometimes the master becomes the slave and the slave the master, in the blink of the eye, while other times the two simply become equals. Shaw wants us to observe the consequences of control, to see how these changes occur.
    Questions About Manipulation

    Toward the end of the play, Eliza tells Higgins that she has become a slave. Is she right? Does that make him a slave driver?
    Throughout Pygmalion, Eliza is repeatedly objectified, compared to everything from a pebble to a piece of trash. Is there any reason why Shaw compares her to the things he does? Is there a better way to describe the way she is treated?
    The mythical Pygmalion was a sculptor who fashioned his ideal woman out of stone. Shaw is clearly making a comparison between Pygmalion and Higgins, but does that comparison really hold up?
    Higgins is most certainly the "manipulator-in-chief" in Pygmalion, but what about the other characters? Do any of them exert their own influence on Eliza? Does she do anything manipulating herself?


    ***

    Pygmalion Theme of Women and Femininity

    A lot, as you've probably guessed, has changed in the last century. Back when Shaw wrote Pygmalion, women could not vote in the United Kingdom; in 1918 women over the age of 30 were given the right, and it took another ten years for all women to be given a voice. Shaw's depiction of women and attitudes toward them is impressively and sometimes confusingly varied. They are shown in conventional roles – as mothers and housekeepers – and as strong-willed and independent. The play pays special attention to the problem of women's "place" in society (or lack thereof), and Shaw offers no easy answers to the tough questions that arise.
    Questions About Women and Femininity

    Shaw addresses a lot of problems concerning women, and allows us to hear a number of different opinions on them, many spoken by female characters. Does Shaw's position as a male author prevent him from directly addressing these issues? Or is he able to present an unbiased view?
    Eliza tells Higgins that she wants to be independent. Does she achieve that independence by play's end? Can any of the characters in Pygmalion truly be described that way?
    In Pygmalion, women don't have many options and, at least according to Mrs. Higgins, high class, educated women have fewer than most. What roles are they able to fill? Why can't they fill others?


    ***

    Pygmalion Theme of Dreams, Hopes, and Plans

    Mick Jagger is right when he sings, "You can't always get what you want." It's true, sometimes just by trying you can get what you need, but that's not always the way it works. What if you get what you want only to find out it isn't what you imagined it would be? What if your dreams come true, only to turn into nightmares? They say the best laid plans of mice and men often go astray. Well, in Pygmalion that's true. That said, Shaw also shows us what happens after everything ends up wrong. He offers no quick fixes, but he does leave room for hope.
    Questions About Dreams, Hopes, and Plans

    Although Higgins is able to win the bet, and teach Eliza to speak and act correctly in the process, Eliza's dream of working in a florist's shop is not fulfilled or even addressed. Why do you think this is?
    Why is it that Higgins is so interested in the bet anyway? Is it just a matter of vanity? Does he really hope, for Eliza's sake, that he can do it?
    The play does not end with the happy ending we might have first expected, but does that necessarily mean that it ends unhappily?
    Doolittle ends the play with plenty of money, he's on his way to get married, and he seems to have patched things up with his daughter. In most plays, this would be cause for celebration, but he doesn't seem all that thrilled about it. What does this say about our usual expectations for happiness and success?


    ***


    Pygmalion Theme of Identity

    Every single day we talk about ourselves, saying "I did this," "I did that," "I am," and "I'm not," but we don't usually think about what "I" means. In Pygmalion, Shaw forces us to think this through. Some characters want to change who they are, others don't want to change at all. Things get even more complicated when identities are made up, constructed. The play wants us to ask ourselves what I really means to think about different versions of the self, and whether that self can ever really be changed.
    Questions About Identity

    We watch Eliza change in a number of ways throughout Pygmalion: she learns how to speak properly, she begins dressing differently, etc. But does she ever lose her old self, her old identity? Can we really say what her old identity is anyway?
    On the other hand, can we ever really be sure that identity is fixed? Does Eliza's transformation call into question the way we view the self? Are there any characters who seem totally and completely comfortable with themselves and their personalities?
    What are the different ways in which the characters define themselves? For instance, do they compare themselves to other groups? Do they allow their class to define them, or their jobs? Are they even conscious of their own identities?
    Why the heck is Eliza so afraid that people will think she's not a "good girl"?






    Pygmalion Characters


    Henry Higgins
    Character Analysis

    Higgins is what you might call a bundle of contradictions. He's a woman-hating mama's boy; an incredibly talented, educated whiny little baby of a man; a personable misanthrope; a loveable jerk. Shaw says it best in his initial description of Higgins:

    His manner varies from genial bullying when he is in good humor to stormy petulance when anything goes wrong; but he is so entirely frank and void of malice that he remains likeable even in his least reasonable moments. (2.05)

    The first time we meet Higgins he's acting as a combination street magician/peacemaker. He calms down Eliza, then proceeds to show off his skills by telling people where they're from just by listening to the sound of their voice. Oh, and he can mimic them too. Right from the beginning we can tell he's a bit of a braggart and a bit of a preacher – he can't help but tell Pickering all about his trade, his life philosophy, and his ability to turn flower girls into duchesses – but as far as first impressions go, he makes a pretty good one. He comes off as one heck of a cool cat.

    By the end of the second act, things have become more complicated. Turns out he treats women like trash sometimes, and his motives for taking on Pickering's bet seem less than sincere. He begins bossing Eliza around rather quickly, telling her what to do, manipulating her with big promises and chocolate – he is quite suave, you have to give him that. He even pays Eliza's father so that he can take her into custody. All of this happens before he calls her an idiot and a slut and almost assaults her…twice.

    Higgins's actions spring from some unexplained distaste for young women, who he tells his mother are "all idiots" (3.23). Oh, and he has this weird thing for women that remind him of his mom. At various points in the play he compares women to blocks of wood, calls Eliza garbage, asks to have her wrapped in brown paper like a package, and refers to her as "his masterpiece." Both his mother and his maid, Mrs. Pearce, point out how unfair this all is, how, in Mrs. Pearce's words, "you can't take a girl up like that as if you were picking up a pebble on the beach" (2.101).

    Though he can be a pigheaded jerk, Higgins is definitely not a fool. He knows he's a jerk, and he's even come up with a justification for his behavior. After Eliza accuses him of treating her unfairly, he tells her,

    The great secret, Eliza, is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no third-class carriages, and one soul is as good as another. (5.197)

    This is the best example of Higgins's high-minded, philosophical side. Sounds pretty convincing, right? Thing is, sometimes it's hard to tell if he's really being sincere or if he's just trying to get out of a tough spot. He does, however, have a penchant for talking about the soul of man, about the importance of language, and social equality. Given Shaw's socialist leanings (he was a member of the British socialist group, The Fabian Society, and wrote on and debated various social issues – learn more here) it's hard to dismiss everything Higgins says as meaningless claptrap.

    Higgins's fervor can get him into trouble, however. He spends so much time "inventing new Elizas" with Pickering that he seems to sometimes forget that she's a human being (3.230). He forgets to congratulate her for her bet-winning performance. He gets so angry he nearly hurts her, and he ultimately puts her into a very tricky position.

    Talking all this into consideration, it's hard to pass judgment on Higgins. He's always likeable, sure. He's the play's voice of reason, the preacher and poet, but he's also a slovenly, absent-minded troublemaker. He is the engine that drives the play. He's not Mr. Perfect, but he has heart. He's the closest thing we get to Shaw, but don't make the mistake of substituting one for the other. Higgins is like Shaw in some ways, but he is not Shaw. He is Pygmalion, the character, and it's safe to say that he's also Pygmalion, the play. Without him, it simply couldn't be.


    ***


    Eliza Doolittle
    Character Analysis

    Eliza comes very close to being a walking cliché. She's the poor girl from the streets who turns out to be a brilliant and beautiful young woman. She's smart, independent, and feisty. This sounds like a recipe for a cookie-cutter inspirational heroine, but, man, does Eliza have charm. For one thing, you can't hate a girl who howls every time she gets angry. And boy does she howl. We're talking "Ah-ah-ah-ow-ow-ow-oo!" (1.127). It should be said that a lot of the time Eliza functions as comic relief. Her howls, her indignation, her frequent exclamations of "Garn!" and "I'm a good girl, I am," and most notably her performance at Mrs. Higgins's party are all designed to make us laugh.

    Throughout it all, however, we know that she's trying her hardest to achieve her goals. We feel for her when we realize that Higgins and Pickering are getting a little carried away with their experiments. By the time we get to Act 4, we're behind Eliza and, when Higgins ignores her, man, are we angry. By then she's gotten over all the things that made us laugh. She doesn't speak with a thick accent; her grammar is correct; she moves with poise and confidence. We here at Shmoop don't usually condone throwing slippers or shoes of any kind, but we understand when Eliza throws a pair at Higgins. Over the course of the play Eliza is transformed from a poor flower girl into a sophisticated young woman, but, perhaps more importantly, she stops being the butt of jokes and becomes a real three-dimensional character, someone for whom we can really feel.

    Toward the end of the play we find out that she's not 100% confident – she starts again with the darn howling – and that she's not all sweetness and light. She shows Higgins that she's proud and she's shrewd, and tells him that she'd rather go into competition with him than be married off to some rich guy. Like Higgins says, she is his equal, but she doesn't want to go his way or live his life.

    On a thematic level, Eliza serves to show us how messed up society is. Her transformation is a testament to the power of education and language. Her difficulties demonstrate how little "the system" appreciates her kind of intelligence. She's an inspiration and a warning, and she's anything but a cliché.


    ***

    Colonel Pickering
    Character Analysis

    Colonel Pickering is the closest thing Pygmalion has to a father figure. He's a genial old chap, an expert in Sanskrit, and an all-around nice guy. He and Higgins hit it off right away, and without his suggestion, the whole bet would have never happened. Eliza credits Pickering's gentlemanly ways for starting her transformation from flower girl to duchess, for truly making her feel like a lady. He is the good cop to Higgins's bad cop (see "Character Roles" for more on this), the Sancho Panza to his Don Quixote. That said, he still gets carried away sometimes: he gets all worked up about "inventing new Elizas," he forgets to congratulate her on her achievement, and he ignores the many warnings that he and Higgins receive.

    Pickering really is the epitome of the sidekick. He serves a counterpoint for Higgins, someone Higgins can bounce remarks off. His presence also allows for the humorous, effusive bit of Eliza worship at the end of Act 3 (3.226-244). Ultimately, Pickering adds a little more spirit and little more kindness into the mix.

    ***

    Mrs. Higgins
    Character Analysis

    Mrs. Higgins, Henry Higgins's mother, was once a young, intelligent independent woman with progressive ideas. When we meet her, she's older, but she's no less intelligent, independent, or progressive – well, maybe a little less progressive. In many ways, she's a traditional mother figure: she doesn't take any of her son's nonsense, and she does ask him why he hasn't married. At the same time, she knows a thing or two about being a woman in turn-of-the-century London, and she fears for Eliza's fate. After watching Eliza's performance at her little party, Mrs. Higgins tells it like it is to her son: Eliza's certainly a fine example of your art, she says, but you're just going to leave her in an awkward position. Eliza won't be able to support herself with the kind of skills you're giving her.

    Mrs. Higgins's primary function is to raise these big issues, and to warn Higgins of the eventual, unavoidable consequences of his actions. By giving her a sharp wit and a bit of a motherly streak, Shaw makes Mrs. Higgins more than simply a talking head. There's a reason why Eliza runs off to Mrs. Higgins's place when she's had enough of Higgins: she's just the kind of cool older lady you want to run to when you need some good advice.


    ***

    Mrs. Pearce
    Character Analysis

    Mrs. Pearce is a housekeeper. She's also, like Pickering and Mrs. Higgins, a voice of reason. Heck, if Pickering is the play's father figure, then Mrs. Pearce is its mother figure (which makes Mrs. Higgins the, uh, alternative mother figure, we guess). Mrs. Pearce watches out for Eliza from the very beginning; like Mrs. Higgins, she's used to dealing with Henry Higgins, and she knows he can get carried away with his little projects. After she shows Eliza to the bathroom, she tells Higgins in no uncertain terms: this scheme is ridiculous. She wants to make sure Eliza doesn't get hurt.

    Now, you may be wondering why Shaw has all these so-called voices of reasons. Isn't one enough? Well, no. Think of it this way: Pickering represents the fatherly, gentlemanly voice. Mrs. Higgins represents the once hip young woman voice. Mrs. Pearce represents the traditional, motherly, lower-class (we're talking socioeconomic class, here) voice. She has another perspective on the problems of being a woman, one more closely related to Eliza's original situation in life, and it comes as no surprise that she wants to protect the girl

    ***


    Freddy
    Character Analysis

    Freddy is the Romantic Interest. In another play, he might have a big part. In this play, he barely has a part at all. There's not much romance to be found. Freddy's not exactly a heartthrob, though. When we first meet him he's running around looking for a cab…which he never finds. In Act 3, he mistakes Eliza's normal Cockney speech – the stuff about influenza and "doing in" – for "small talk." He thinks she's the bee's knees, and quickly falls in love with her. He wants to walk through the park with Eliza…but she'll have no such thing. Still, he leaves the party – and the play – in high spirits.

    If anything, Freddy shows us how unconventional Pygmalion really is. There's not much room for your standard love affair in there, not with all the heavy stuff. He's another bit of comic relief, and, as we see in the last act, blackmail material for Eliza.

    ***

    The Parlor-Maid
    Character Analysis

    The Parlor-Maid is Mrs. Higgins's maid/housekeeper.

    ***

    The Bystander, The Sarcastic Bystander, etc.
    Character Analysis

    In the first act, there are a number of peripheral characters, some sarcastic, some not, who make comments and move the action along.



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