Pygmalion, a play by George Bernard Shaw, portrays the transformation of a cockney flower girl, Eliza Doolittle, into a sophisticated society lady through the handiwork of her "sculptor," Professor Henry Higgins. Soon, Eliza appears on Higgins ' doorstep to ask him to teach her proper pronunciation so that she can become a flower shop girl. This opportunity. Both female protagonists in the text and film begin as lower class citizens who lack education, etiquette and in context of social class, are frowned upon.
The impact of the theme of social class in these texts include the interaction and perception. At his prayer, Aphrodite brought the statue to life as Galatea.
George Bernard Shaw's play Pygmalion is the story of Henry Higgins, a master phonetician, and his mischievous plot to pass a common flower girl, Eliza Doolittle, off as a duchess at the Embassy Ball.
In order to achieve his goal, Higgins must teach Eliza how to speak properly and how to act in upper-class society. The play looks at " middle class morality" and upper-class superficiality, and reflects the social ills of nineteenth century England, and attests that …show more content… In the following essay, I will discuss whether George Bernard Shaw agreed with this distinction and division of society and how he exhibited his views through his renowned play "Pygmalion".
Throughout the play, ladies and gentleman are continuously recognized for who they are through different factors such as how they are dressed, their manners, how they speak, morality or their money. It is however noticeable that a combination of all factors is rarely to be found. For instance Henry Higgins although well dressed, well spoken and with money, has manners which could not be characterized as genteel.
Alfred Doolittle after acquiring some money is well dressed, has some form of manners and could be classified as rich, yet is not well spoken. Wherever he can, the characters are seen to be belabored by the trivial details of life like napkins and neckties, and of how one is going to find a taxi on a rainy night.
These noisome details keep the story grounded and decidedly less romantic. Finally, and most significantly, Shaw challenges the possibly insidious assumptions that come with the Pygmalion myth, forcing us to ask the following: Is the male artist the absolute and perfect being who has the power to create woman in the image of his desires?
Is the woman necessarily the inferior subject who sees her lover as her sky? Does beauty reflect virtue? Does the artist love his creation, or merely the art that brought that creation into being?
Famous for writing "talky" plays in which barely anything other than witty repartee takes center stage plays that the most prominent critics of his day called non-plays , Shaw finds in Pygmalion a way to turn the talk into action, by hinging the fairy tale outcome of the flower girl on precisely how she talks. In this way, he draws our attention to his own art, and to his ability to create, through the medium of speech, not only Pygmalion's Galatea, but Pygmalion himself.
More powerful than Pygmalion, on top of building up his creations, Shaw can take them down as well by showing their faults and foibles. Wind erosion is most common in flat, bare areas User: A logical Blood is transported from the right and left ventricles of the heart Fill in the blank.
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