Nicholas Greeene notes in the introduction to Pygmalion that built into the very

conception of pygmalion were two conflicting beliefs - that a person is capable of

completely transforming their very nature, breaking through cultural and class
divides - and - the conviction that the person was transformed even before their
metamorphosis. To this regard, Shaw satirizes the idea of human difference
epitomized in Shaw's view of class while celebrating the unquenchable genius of the
select few. It is able to do this through the inventiveness of its comedy, the force of
what is has to say to us and the playful tone with which it is communicated.

A great deal of the comedy within Pygmalion is derived from its genial comic
characterization. [Insert character descriptions and what makes them funny
specifically Higgins, Eliza and the colonel].

The title of the play Pygmalion sources itself to the myth of Pygmalion, implying the
play itself is a retelling of the infamous myth. This fungible nature that it lends itself
by virtue of its title is what makes Shaws driving commentary on feminism and class
differences malleable into various contexts. Though Shaws commentary is specific
to his time, the Victorian era, the commentary itself can resonate with all sorts of
people regardless of their cultural context. These grand ideas are relevant to all
cultures even in the modern age. [Insert explanation of how the characters of the
play transform the story of Pygmalion and how Shaw betrays Pymalion by reworking
it].

Pygmalion, despite all of its serious commentary, at its heart is a delightful comedy.
The characters of
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Earlscourt

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