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Notes on Drama:

Pygmalion

Pygmalion

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Contents:

Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Further Reading
Sources


George Bernard Shaw 1914

Pygmalion is a comedy about a phonetics expert who, as a kind of social experiment, attempts to make a lady out of an uneducated Cockney flower-girl. Although not as intellectually complex as some of the other plays in Shaw’s “theatre of ideas,” Pygmalion nevertheless probes important questions about social class, human behavior, and relations between the sexes.

Hoping to circumvent what he felt was the tendency of the London press to criticize his plays unfairly, Shaw chose to produce a German translation of Pygmalion in Vienna and Berlin before bringing the play to London. The London critics appreciated the acclaim the play had received overseas, and, after it opened at His Majesty’s Theatre on April 11, 1914, it enjoyed success, firmly establishing Shaw’s reputation as a popular playwright.

Accompanying his subterfuge with the London press, Shaw also plotted to trick his audience out of any prejudicial views they held about the play’s content. This he did by assuming their familiarity with the myth of Pygmalion, from the Greek playwright Ovid’s Metamorphoses, encouraging them to think that Pygmalion was a classical play. He furthered the ruse by directing the play anonymously and casting a leading actress who had never before appeared in a working-class role. In Ovid’s tale, Pygmalion is a man disgusted with real-life women who chooses celibacy and the pursuit of an ideal woman, whom he carves out of ivory. Wishing the statue were real, he makes a sacrifice to Venus, the goddess of love, who brings the statue to life. By the late Renaissance, poets and dramatists began to contemplate the thoughts and feelings of this woman, who woke full-grown in the arms of a lover. Shaw’s central character — the flower girl Liza Doolittle — expresses articulately how her transformation has made her feel, and he adds the additional twist that Liza turns on her “creator” in the end by leaving him.

In addition to the importance of the original Pygmalion myth to Shaw’s play, critics have pointed out the possible influence of other works, such as Tobias Smollett’s novel The Adventures of Peregrine Pickle (which similarly involves a gentleman attempting to make a fine lady out of a “coarse” working girl), and a number of plays, including W.S. Gilbert’s Pygmalion and Galatea and Henrik Ibsen’s A Doll House. Shaw denied borrowing the story directly from any of these sources, but there are traces of them in his play, as there are of the well-known story of Cinderella, and shades of the famous stories of other somewhat vain “creators” whose experiments have unforeseen implications: Faust, Dr. Frankenstein, Svengali.

The play was viewed (thankfully, by many critics) as one of Shaw’s less provocative comedies. Nevertheless, Pygmalion did provoke controversy upon its original production. Somewhat ironically, the cause was an issue of language, around which the plot itself turns: Liza’s use of the word “bloody,” never before uttered on the stage at His Majesty’s Theatre. Even though they were well aware of the controversy from its coverage in the press, the first audiences gasped in surprise, then burst into laughter, at Liza’s spirited rejoinder: “Not bloody likely!”

 
 
Wikipedia: Pygmalion (play)
Play cover, depicting Mrs Campbell as Eliza
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Play cover, depicting Mrs Campbell as Eliza

Pygmalion (1913) is a play by George Bernard Shaw based on Ovid's tale of Pygmalion. It tells the story of Henry Higgins, a professor of phonetics (based on phonetician Henry Sweet or possibly Alexander Melville Bell), who makes a bet with his friend Colonel Pickering that he can successfully pass off a Cockney flower girl, Eliza Doolittle, as a refined society lady by teaching her how to speak with an upper class accent and training her in etiquette. In the process, Higgins and Doolittle grow close, but she ultimately rejects his domineering ways and declares she will marry Freddy Eynsford-Hill – a young, poor, gentleman.

Shaw wrote the lead role of Eliza Doolittle for Mrs Patrick Campbell (though at 49 she was considered by some to be too old for the part). Due to delays in mounting a London production and Campbell's injury in a car accident, the first English presentation did not take place until some time after Pygmalion premiered at the Hofburg Theater in Vienna on October 16, 1913, in a German translation by Shaw. The first production in English finally opened at His Majesty's Theatre, London on April 11, 1914 and starred Mrs Patrick Campbell as Eliza and Sir Herbert Beerbohm Tree as Henry Higgins; it was directed by Shaw himself.

Plot

Act One

Covent Garden - 11.15p.m. A group of people are sheltering from the rain. Amongst them are the silly, shallow, social climbing Eynsford-Hills, consisting of mother and daughter, Clara. Freddy Eynsford-Hill enters after being unable to find a cab to take them home. He is a weak and ineffectual character. His sister bullies him, and enjoys seeing him look ridiculous. As he goes off once again to find a cab, he bumps into a flower girl, Eliza. Her flowers drop into the mud of Covent Garden, the flowers she needs to survive in her poverty-stricken world. Shortly they are joined by a gentleman, Colonel Pickering. While Eliza tries to sell flowers to the Colonel, a bystander informs her that a man is writing down everything she says. The man is Professor Henry Higgins. A row occurs when Higgins tells people where they were born, which creates both amazement and irritation. One man accuses Higgins of coming from Hanwell Insane Asylum. It becomes apparent that he and Colonel Pickering have a shared interest in phonetics. Indeed, Pickering has come from India to meet Higgins and Higgins was planning to go to India to meet Pickering. Higgins tells Pickering that he could turn the flower girl into a duchess. These words of bravado spark an interest in Eliza, who would love to make changes in her life and become more mannerly, even though, to her, it only means working in a flower shop. At the end of the act, Freddy returns after finding a taxi, only to find that his mother and sister have gone and left him with the cab. The streetwise Eliza takes the cab from him, using the money that Higgins tossed to her out of pity, leaving him on his own.

Act Two

Higgins' Laboratory - Next Day. As Higgins demonstrates his equipment to Pickering, the housekeeper, Mrs. Pearce, tells him that a young girl wants to see him. She is shown up, and to his disappointment it is Eliza. He has no interest in her, but she says she wants to pay to have lessons, so she can talk like a lady in a flower shop. Higgins claims that he could turn her into a duchess. Pickering makes a bet with him on his claim, and says that he will pay for her lessons. She is sent off to have a bath. Mrs. Pearce tells Higgins that he must behave himself in the young girl's presence. He must stop swearing, and improve his table manners. He is at a loss to understand why she should find fault with him. Then Alfred Doolittle, Eliza's father, appears with the sole purpose of getting money out of Higgins. He has no interest in his daughter in a paternal way. He sees himself as member of the undeserving poor, and means to go on being undeserving. He has an eccentric view of life, brought about by a lack of education and an intelligent brain. He is also aggressive, and when Eliza, on her return, sticks her tongue out at him, he goes to hit her, but is prevented by Pickering. The scene ends with Higgins telling Pickering that they really have got a difficult job on their hands.

Act Three

Mrs Higgins' drawing room. Henry tells his mother he has a young 'common' whom he has been teaching. Mrs Higgins is not very impressed with her son's attempts to win her approval because it is her 'at home' day, in which she is entertaining visitors. The visitors are the Eynsford-Hills. Henry is rude to them on their arrival. Eliza enters and soon falls into talking about the weather and her family. The humour stems from the knowledge the audience have of Eliza, of which the Eynsford-Hills are curiously ignorant. When she is leaving, Freddy Eynsford-Hill asks her if she is going to walk across the park, to which she replies; " Walk! Not bloody likely..." (This is the most famous line from the play, and, for many years after, to use the word 'bloody' was known as a pygmalion.) After she and the Eynsford-Hills leave, Henry asks for his mother's opinion. She says the girl is not presentable, and she is very concerned about what will happen to the girl; but neither Higgins nor Pickering understand her, and leave feeling confident and excited about how Eliza will get on. This leaves Mrs Higgins feeling exasperated, and she says "Men! Men!! Men!!!"

Act Four

Higgins' laboratory - The time is midnight, and Higgins, Pickering, and Eliza have returned from the ball. Pickering congratulates Higgins on winning the bet. As they retire to bed, Higgins asks where his slippers are, and on returning to his room Eliza throws them at him. The remainder of the scene is about Eliza not knowing what she is going to do with her life, and Higgins not understanding her difficulty. Higgins says she could get married, but Eliza interprets this as selling herself like a prostitute. "We were above that at the corner of Tottenham Court Road." Finally she returns her jewellery to Higgins, including the ring he had given her, as though she is cutting her ties with him, but retrieves it from the hearth.

Act Five

Mrs Higgins' drawing room. Higgins and Pickering are perturbed at discovering that Eliza has walked out on them. Doolittle returns now dressed in wedding attire and transformed into the middle class in which he feels '..intimidated..'. The scene ends with another confrontation between Higgins and Eliza, which is basically a repeat of the previous act. The play ends with everyone leaving to see Doolittle married, except for Higgins, who leaves on his own.

Ending

Despite the intense central relationship between Eliza and Henry, the original play ends with her leaving to marry the eager young Freddy Eynsford-Hill. Shaw, annoyed by the tendency of audiences, actors, and even directors to seek 'romantic' re-interpretations of his ending, later wrote an essay[1] for inclusion with subsequent editions, in which he explained precisely why it was impossible for the story to end with Higgins and Eliza getting married.

Some subsequent adaptations have changed this ending. Despite Shaw's insistence that the original ending remain intact, director Gabriel Pascal provided a more ambiguous end to the 1938 film: instead of marrying Freddy, Eliza apparently reconciles with Henry in the final scene, leaving open the possibility of their marriage. The musical version My Fair Lady and its 1964 film have similarly happy endings.

Adaptations

The play led to a series of adaptations:

Television References

  • Will and Grace referenced the title in the four part episode "Fagmalion" in which Will and Jack make-over newly queer Barry.
  • Boy Meets World made reference to the story in the episode "Turnaround", where Cory and Shawn enlist the help of a friend to turn Cory's date to the dance popular. Shawn gets the idea from reading Pygmalion in English Class.
  • Foster's Home for Imaginary Friends made a reference to Pygmalion in the episode "My So-Called Wife" when Mr. Harriman has to pretend Coco is his wife, and thus attempts to teach her English using the following sentence: "The sleet in Crete stays neatly in the street."

Trivia

Some have speculated that Alexander Melville Bell was the model for Professor Higgins. Evidence supporting this includes the fact that Eliza is not a common name, and Eliza Grace Bell was Alexander Melville Bell's wife. However, in earlier retellings of Ovid's story a similar name is used; Goethe calls her Elise, based upon the variants in the story of Dido/Elissa. The play also owes something to the legend of King Cophetua.

Shaw's play shocked Edwardian audiences with Eliza's swearing in the line "Not bloody likely!". Campbell was considered to have risked her successful career by speaking the line.

Joseph Weizenbaum named his artificial intelligence computer program ELIZA after the character Eliza Doolittle.

A story goes that Shaw, as part of an ongoing feud with Winston Churchill, sent Churchill tickets to the opening night of Pygmalion, with an attached note saying that "I have included two tickets so that you may bring a friend, if you have any." Churchill sent a reply: "I regret to say that I am unable to attend that night; I would like tickets to the second performance, if there is one."

Similar works

Willy Russell's 1980 stage comedy Educating Rita, and the subsequent film adaptation, are similar in plot to Pygmalion, but are based on the author's own experiences.[2]

References to play

In the 2004 film Confessions of a Teenage Drama Queen starring Lindsay Lohan, the musical which the school drama club performs is a modern-day adaptation of Pygmalion with a New York twist (meaning it focuses on a New Yorker woman, rather than a British one).

References

  1. ^ page 86 of the Project Gutenberg edition.
  2. ^ http://www.willyrussell.com/page2intro.html

External links


 
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