As with any teacher-student relationship, it's best if there's a firm break Now, the history of Eliza Doolittle, though called a romance because of. Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was Shaw mentioned that the character of Professor Henry Higgins was inspired by Alfred Doolittle, Eliza's father, appears with the sole purpose of getting .. position, as the funny, clumsy, bad-mannered part of the relationship. Eliza Doolittle's final monologues in 'Pygmalion' are filled with dramatic passion. Tim Pigott-Smith (as Henry Higgins) and Michelle Dockery (as Eliza Doolittle) Monologues · Basics & Advice · Plays · Playwrights · Reviews · Games & Activities Eliza explains the relationship she desired from him.
He treats her badly and hurts her feelings almost all the time. But Eliza is not always the victim of Higgins's verbal attacks. She protects herself "I am a good girl! The mere pronunciation is easy enough. I want to talk like a lady. As time goes by, Higgins and Eliza get used to each other, although they don't admit that to anyone, not even to themselves.
Higgins might be a friend, a father, or even a lover to her, and in the course of the play they begin to show feelings for each other and their relationship develops beyond their professional interests. In Act 4 the conflicts between the two begin to prevail and both, especially Eliza, show their anger! Her pride is wounded, because Higgins never thanks her for anything and Higgins is offended by Eliza, because she throws his slippers into his face and says that in Higgins eyes she would be just one of the girls he and Pickering pick up to experiment on.
When she gives Higgins back the ring, which he has bought her as a present, he looses his temper, which has never happened to him before, and he says: In both versions of the play Higgins is obviously convinced that Eliza will return.
Eliza Doolittle - Wikipedia
The audience must surely agree with Higgins that Freddy is unworthy of her. It is therefore not at all unreasonable to suppose that the emotional relationship between Eliza and Higgins may develop in the way that most of the characters in the play expect. An analysis of Pygmalion shows-as I hope I have managed to demonstrate-how Shaw builds up expectations in the audience of a more serious bond between the hero and the heroine.
The stage directions are highly interesting in this connection. Here Shaw himself has to take the whole responsibility; here he cannot interpret the text through hypotheses about how his own imaginary characters would behave if they were people in real life.
This is exactly what he does in his postscript: Nevertheless, people in all directions have assumed, for no other reason than that she became the heroine of a romance, that she must have married the hero of it. This is unbearable, not only because her little drama, if acted on such a thoughtless assumption, must be spoiled, but because the true sequel is patent to anyone with a sense of human nature in general, and of feminine instinct in particular.
For in the world of the theater, the principle holds that the main interest is bound up with the central figures, that the essential conflicts are acted out between these figures, and that what is not stated does not for the most part exist, Higgins-not Freddy Eyusford Hill-is the central male figure in Pygmalion.
The erotic theme may not be the main one in Pygmalion, but it is an important one. The audience therefore expects romantic developments between Higgins and Eliza. Shaw is also very right when he remarks in the preface, writing of 'Eliza's' plan to marry Freddy, 'Our own instincts are not appealed to by her conclusion' It is every bit as improbable as Higgins's curtain-line in the final version indicates: Ha ha ha ha ha!!!!! He roars with laughter as the play ends. Pygmalion was written inand was produced in Germany and Austria before Terry put it on with Mrs.
Campbell as Eliza in London. The film was made inwith Leslie Howard playing Higgins. Lerner's musical My Fair Lady, which has also been filmed in its turn. The changes that the text underwent in its various adaptations or, to use a fashionable term, transformations are interesting material for a semiotic study in their own right.
It is significant, for example, that the scene at the ambassador's reception, where Eliza wins her great victory, was first written for the film. He once told an interviewer: I can sit down without an idea in my head except that I must write a play, and a play comes As to Pygmalion, the scene in which Eliza makes her successful debut at the Ambassador's party was the root of the play at its inception.
But when I got to work I left it to the imagination of the audience, as the theatre could not afford its expense and it made the play too long. Sir James Barrie spotted this at once and remonstrated. So when the play was screened, I added the omitted scene, as the cinema can afford practically unlimited money, and the absence of intervals [intermissions] left plenty of time to spare. It comes in the last act, when she regains the independence and personal integrity that she showed in the second act-before the experiment had begun.
It is equally significant-and for our purposes even more relevant-that Higgins was played in the film by the 'romantic lead' of the 'hero' type, Leslie Howard. In My Fair Lady Mrs. Higgins's at-home is transposed to the Ascot Races, and Eliza's lines have been made coarser-to name only two of the most obvious changes.
It is also interesting that Bentley These changes are probably typical of those made when a text is transposed from one medium to another or from one art form to another, but it is only recently that-through semiotics-they have received much attention. In an interview in Reynolds News in included in Shaw He clearly does not consider that Eliza's return in itself implies a happy ending: I cannot conceive a less happy ending to the story of "Pygmalion" than a love affair between the middle-aged, middle class professor, a confirmed old bachelor with a mother-fixation, and a flower girl of Nothing of the kind was emphasised in my scenario, where I emphasised the escape of Eliza from the tyranny of Higgins by a quite natural love affair with Freddy.
But I cannot at my age undertake studio work: Gabriel Pascal, who does really know chalk from cheese. They devised a scene to give a lovelorn complexion at the end to Mr. This makes it all the more interesting that Freddy's part is much larger in the film than in the play, and larger still in the musical.
In the latter he even has his own solo number Act 1, Scene 8. The first followed Shaw's script to the letter. Although none of the film-makers approved of such a cold and realistic conclusion, this version was filmed in case Shaw should object to any other. The second version was a compromise between Shaw's ideas and a happy ending which everyone agreed was not good. The third ending has Higgins listening to an old recording of Eliza's voice, as Eliza enters and continues where the recording leaves off, saying, "I washed my face and 'ands afore I come, I did.
This was the ending that won Shaw's approval and that found its way, along with many other details from the film, into My Fair Lady.
Lerner's stage-directions indicate clearly how much he shares the popular, very unShavian instinct that Higgins is in love with Eliza: He goes back to his desk and decides to sit on the stool rather than his own chair behind the desk. His hat still on, his head bowed, he listens to the recording.
But they won't take me unless I talk more genteel. He said he could teach me. Well, here I am ready to pay, not asking any favour-and he treats me as if I was dirt. I know what lessons cost, and l'm ready to pay. She's so deliciously low, so horribly dirty. If he could but let himself, his face would radiate unmistakable relief and joy. If he could but let himself, he would run to her. Where the devil are my slippers?
She understands The curtain falls slowly. Goodlad uses the term central character and appears to identify it with the concept of the 'hero': Styan identifies empathy with sympathy: It would seem to be a characteristic feature of popular drama that it arouses sympathy for the central figure as well as identification with him. When discussing Pygmahon, Shaw's stage direction in Act Two is of particular interest here: Higgins 'remains likable even in his least reasonable moments'.
In Tartuffe, for example, which I discuss later, the audience certainly does not identify itself with the villain, and hardly with the author; but rather with those who unmask the villain, and who stand for reason and love. This is also the reason why 'the garden party, a dinner party, and the opera' i. They are flat when they are recognisable and predictable and show us only one aspect of human nature; they are round when they are individual and unpredictable and to be judged as complete beings.
The problem however, is far more complex than I have demonstrated here. When she is leaving, he asks her if she is going to walk across the park, to which she replies, "Walk? Campbell was considered to have risked her career by speaking the line on stage. She says the girl is not presentable and is very concerned about what will happen to her, but neither Higgins nor Pickering understands her thoughts of Eliza's future, and leave feeling confident and excited about how Eliza will get on.
Higgins feeling exasperated, and exclaiming, "Men! A tired Eliza sits unnoticed, brooding and silent, while Pickering congratulates Higgins on winning the bet. Higgins scoffs and declares the evening a "silly tomfoolery", thanking God it's over and saying that he had been sick of the whole thing for the last two months.
Still barely acknowledging Eliza beyond asking her to leave a note for Mrs."I Could Have Danced All Night" – Audrey Hepburn, "My Fair Lady” (1964)
Pearce regarding coffee, the two retire to bed. Higgins returns to the room, looking for his slippers, and Eliza throws them at him.
Higgins is taken aback, and is at first completely unable to understand Eliza's preoccupation, which aside from being ignored after her triumph is the question of what she is to do now. When Higgins does understand he makes light of it, saying she could get married, but Eliza interprets this as selling herself like a prostitute.
Furious with himself for losing his temper, he damns Mrs. Pearce, the coffee and then Eliza, and finally himself, for "lavishing" his knowledge and his "regard and intimacy" on a "heartless guttersnipe", and retires in great dudgeon. Eliza roots around in the fireplace and retrieves the ring.
Act Five[ edit ] Mrs. Higgins' drawing room — the next morning Higgins and Pickering, perturbed by the discovery that Eliza has walked out on them, call on Mrs.
Higgins to phone the police. Higgins is particularly distracted, since Eliza had assumed the responsibility of maintaining his diary and keeping track of his possessions, which causes Mrs. Higgins to decry their calling the police as though Eliza were "a lost umbrella". Doolittle is announced; he emerges dressed in splendid wedding attire and is furious with Higgins, who after their previous encounter had been so taken with Doolittle's unorthodox ethics that he had recommended him as the "most original moralist in England" to a rich American founding Moral Reform Societies; the American had subsequently left Doolittle a pension worth three thousand pounds a year, as a consequence of which Doolittle feels intimidated into joining the middle class and marrying his missus.
Higgins observes that this at least settles the problem of who shall provide for Eliza, to which Higgins objects — after all, he paid Doolittle five pounds for her. Higgins informs her son that Eliza is upstairs, and explains the circumstances of her arrival, alluding to how marginalised and overlooked Eliza felt the previous night. Higgins is unable to appreciate this, and sulks when told that he must behave if Eliza is to join them.
Doolittle is asked to wait outside. Eliza enters, at ease and self-possessed. Higgins blusters but Eliza isn't shaken and speaks exclusively to Pickering.
Throwing Higgins' previous insults back at him "Oh, I'm only a squashed cabbage leaf"Eliza remarks that it was only by Pickering's example that she learned to be a lady, which renders Higgins speechless.
Eliza goes on to say that she has completely left behind the flower girl she was, and that she couldn't utter any of her old sounds if she tried — at which point Doolittle emerges from the balcony, causing Eliza to relapse totally into her gutter speech. Higgins is jubilant, jumping up and crowing over her. Doolittle explains his situation and asks if Eliza will come with him to his wedding.
Higgins also agree to go, and leave with Doolittle and Eliza to follow. The scene ends with another confrontation between Higgins and Eliza.
RELATIONSHIP BETWEEN ELIZA AND HIGGINS
Higgins asks if Eliza is satisfied with the revenge she has brought thus far and if she will now come back, but she refuses. Higgins defends himself from Eliza's earlier accusation by arguing that he treats everyone the same, so she shouldn't feel singled out. Eliza replies that she just wants a little kindness, and that since he will never stop to show her this, she will not come back, but will marry Freddy.
Higgins scolds her for such low ambitions: Eliza realises that this last threat strikes Higgins at the very core and that it gives her power over him; Higgins, for his part, is delighted to see a spark of fight in Eliza rather than her erstwhile fretting and worrying.
He remarks "I like you like this", and calls her a "pillar of strength". Higgins returns and she and Eliza depart for the wedding.