Pygmalion by George Bernard Shaw
The Power of Language: Shaw's
Critique of Social Stratification in Pygmalion
Currently, we are examining Pygmalion, a renowned play
from the Victorian Era, written by George Bernard Shaw and performed in 1913. In
1956, the theatrical adaptation of Pygmalion, titled My Fair Lady, premiered,
and in 1964, a film featuring Audrey Hepburn in the lead role was released. The
movie eventually secured eight Oscar Awards, notably clinching the Best Picture
category. Shaw, unlike many Victorian
playwrights, often employed anticlimactic endings to challenge audience
expectations and encourage new perspectives. To fully grasp plays from this
era, understanding the historical context is crucial. I have shared a relevant
blog on the Victorian Age.
George Bernard Shaw
Bernard Shaw, one of the most renowned playwrights, was born in 1856 and died in 1950. He was born in Dublin into a prosperous family. However, his father's failings led to the family's loss of status. When he was 16, his family separated, and his mother and sister moved to London. After four years of working various jobs, he also moved to London. He lived with his mother until he got married at the age of 42. Striving to make a living in London, he wrote five novels in six years, all of which were rejected by publishing companies. Additionally, he produced reviews of music, art, books, and drama, and wrote more than fifty plays in his career. In 1925, Shaw was awarded the Nobel Prize in Literature. The 'fashionable drama' of the day has become increasingly unsatisfactory. Some believe that the current drama is unrelated to present-day issues. It is referred to as modern and realistic by some.
Shaw held the view that art ought not to be created
merely for its own sake. Instead, he believed in the instructive nature of art,
asserting that it should serve a purpose in shaping and improving society.
Characters in the Play
Flower Girl (Eliza
Doolittle)
Women from the lower classes often made a living by selling flowers in London's open markets, restaurants, or going door-to-door. Someone like Eliza Doolittle would have earned around 38 pounds a year, while a lady working in a shop could bring in up to 300 pounds annually.
Mr. Higgins and
Phonetics
In Pygmalion, Henry Higgins, a central figure,
specializes in phonetics. During this era, a person's distinct pronunciation is
influenced by either their regional or social origins. Additionally, it is
shaped by the phonetic patterns ingrained in the speaker's native language,
which may manifest when they speak another language. Henry Higgins uses proper
English, the widely acknowledged standard form, and articulates his words meticulously,
even when delivering insults. He selects his words with precision. On the other
hand, Eliza communicates in the Cockney dialect, specific to London's
impoverished working class, characterized by unique pronunciation and
vocabulary.
Alfred Doolittle
Eliza's father is a dustman with a sonorous voice and
Welsh accent, who proudly believes in his position as a member of the
"undeserving".
Colonel Pickering
A respected former military officer with expertise in
spoken Sanskrit visited England to meet the renowned Professor Henry Higgins.
He displayed politeness towards Eliza and actively participated in Higgins'
phonetics experiments aimed at instructing Eliza to speak like a duchess.
Mrs. Higgins
Henry Higgins’ mother thoroughly loves her son but
also thoroughly disapproves of his manners, language and behaviours
Mrs.
Eyensford-Hill
A woman from the upper-middle class who finds herself
in somewhat challenging circumstances but is determined to maintain her
refinement. She has two children.
Clara Eyensford-Hill
Her daughter, who tries to act the role of modern,
advanced young person.
Freddy
Eyensford-Hill
Her son, a pleasant young man, is enchanted by Eliza
upon first meeting her.
Mrs. Pearce
Professor Higgins’s housekeeper for a long standing,
she is the one who first sees the difficulty of what is to happen to Eliza
after Higgins and Pickering have finished their experiment.
In my view, the play's central conflict revolves
around a social issue, deviating from the typical happy resolution seen in
comedies. Poverty in Edwardian Britain takes centre stage, turning Pygmalion into a problem play that
addresses social inequality, particularly between men and women. Shaw suggests
that Eliza Doolittle's chance at a better life depends on her participation in
an experiment orchestrated by an affluent upper-class man, highlighting the
persistent presence of poverty and stark disparities in wealth and
opportunities between social classes. Shaw aimed to challenge and change this
condition through Pygmalion. The play
struggles with the issue which is in Britain and the problem is mainly related
to women and their social status. For instance, Henry Higgins saved Eliza from
the pavement of London, where she struggled to survive as a flower seller. He
transformed her into a middle-class woman in reaction to the bet. Then, When he
changes her clothing, accent and manners, she gains impressive success. Shaw
challenges this view that social status supports the oppressive condition of
the working classes. But we observe that rising social class is ambiguous.
Therefore, when Eliza has been turned into a lady, Mrs. Higgins asks her son
and Colonel Pickering, “What’s going to happen to her now?”
The play perfectly reflects the social norms of the Victorian era. The issue of education, which remains a common problem in our times, was a fundamental theme in the play. We observe the impact it has on a person's life through the teaching of correct pronunciation and good manners. The focal point of the play is the issue of social identity, reflected prominently in linguistic speech, which plays a crucial role in Eliza's transformation. Shaw uses accents not only as a marker of social status but also as a determinant of social acceptability, serving as the primary vehicle for his social critique in Pygmalion.
Arrogant
Higgins treats Eliza poorly, and this mistreatment is related to class distinction. Unlike Colonel Pickering, whose manners are uniformly pleasant, Higgins, even after Eliza wins the bet for him at the party, refers to her as a 'guttersnipe.
Morality
Another important aspect is middle-class morality. Bernard Shaw demonstrates a distinction between the higher class and the lower class through Doolittle. Likewise, he emphasizes that middle-class morality is inappropriate for lower-class people through the character of Alfred Doolittle. He does not want to be rich because he does not want responsibilities; he just wants money from Higgins, no other work. He lives with numerous women without marrying them. Eventually, he has to marry. He is reluctant to bear these responsibilities and prefers his former life. These attitudes relate to work responsibilities and morality that accompany the middle class.
Transformation
Eliza undergoes a remarkable change from a modest
flower seller with a Cockney accent to a woman capable of blending into the
upper class. With Higgins' guidance, she not only refines her speech, attire,
and manners but also becomes a confident and assertive individual. Eliza's
transformation extends beyond superficial changes, as she defies Higgins'
objections to pursue her own path. She opens a flower shop and forms a
relationship with Freddy, showcasing her newfound independence and resilience.
She no longer lives her life as
Higgins.
Shaw explores the significant role of accent as a key
factor in determining social identity and acceptance in a humorous way. Eliza's
dialogue highlights a comedic contrast between the content of her speech and
the manner in which she expresses herself, underscoring the societal importance
placed on linguistic distinctions. Eliza's social identity has been altered by
Higgins. Both Alfred Doolittle and Eliza become capable of playing the social
roles of a lady and a gentleman as Alfred Doolittle gains wealth. Shaw contends
that gentility is more than just money and the arbitrary stipulations of social
behaviour. In the final act of the play; Eliza stresses to Higgins that when a
child is brought to a foreign country, it picks up the language in a few weeks,
and forgets its own. I have forgotten my language and can speak nothing but
yours.
Conclusion
George Bernard Shaw's Pygmalion stands as a thought-provoking
piece that defies the conventions of Victorian-era plays. Shaw's departure from
traditional happy endings and his deliberate incorporation of anticlimactic
conclusions underscore his commitment to challenging societal norms and
prompting audiences to reconsider their perspectives.
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