• The title “Pygmalion” of George Bernard Shaw’s play draws from Greek mythology.

In
the myth, Pygmalion is a sculptor who falls in love with a statue he creates, and it’s
brought to life by the goddess Aphrodite. Similarly, in Shaw’s play, Professor Henry
Higgins molds Eliza Doolittle, a Cockney flower girl, into a refined lady through
speech and manners training. The title underscores themes of transformation,
social class, and the power of education and influence.
• The opening scene of Shaw’s famous play of Edwardian low life and high society
rewards close analysis. The social diversity of this scene at Covent garden shows
the frictions of class and money in action, sets up Shaw’s key themes of
transgression and transformation. The names of the characters were not revealed in
the beginning in order to set up the tone of the play and to create to element of
suspense.
• The ending scene of “Pygmalion” is significant for several reasons:
1. Resolution of Character Arcs: The ending provides closure to the character arcs of
Henry Higgins and Eliza Doolittle. Eliza asserts her independence and self-worth by
leaving Higgins, indicating her personal growth and transformation throughout the
play
2. Exploration of Social Class: The ending scene highlights the limitations and
prejudices of the class system, as Eliza rejects Higgins’ attempts to control and
manipulate her. It underscores the idea that social standing does not determine
one’s worth or identity.
3. Questioning of Gender Roles: Eliza’s departure challenges traditional gender
roles and expectations, as she asserts her agency and autonomy. It prompts
reflection on the power dynamics between men and women in society.
4. Open-endedness: The ending is somewhat open-ended, leaving the audience to
ponder the future of Higgins and Eliza’s relationship and the implications of Eliza’s
newfound independence.
Overall, the ending scene of “Pygmalion” serves as a thought-provoking conclusion
that raises questions about identity, social norms, and the nature of relationships.
• The preface of Pygmalion by George Bernard Shaw is significant because it:
1. Provides context: Shaw explains the inspiration behind the play and its
connection to the Greek myth of Pygmalion.
2. Outlines the themes: Shaw explicitly states the play’s themes, including the
transformative power of language, social class, and identity.
3. Defends the play’s ending: Shaw addresses criticism of the play’s conclusion,
arguing that it is a realistic portrayal of societal norms.
4. Highlights the importance of language: Shaw emphasizes the significance of
language in shaping identity and social status.
 5. Offers a commentary on society: Shaw critiques the social conventions and
hypocrisies of his time, setting the tone for the play’s satirical approach.
6. Establishes Shaw’s didactic approach: The preface demonstrates Shaw’s
intention to educate and challenge his audience through his work.
7. Provides insight into Shaw’s philosophy: The preface reveals Shaw’s beliefs on
language, identity, and social class, offering a deeper understanding of his
philosophical perspectives.
By reading the preface, the audience is better prepared to understand the play’s
themes, characters, and social commentary, enriching their overall experience of
Pygmalion.
• The stage directions in Pygmalion by George Bernard Shaw are significant because
they:
1. Create tone and setting: Shaw’s stage directions establish the play’s tone,
atmosphere, and setting, transporting the audience to a specific time and place.
2. Convey character traits: Shaw’s descriptions of characters’ appearances,
mannerisms, and movements reveal their personalities, social status, and
background.
3. Guide actor interpretation: Shaw’s precise directions instruct actors on how to
portray characters, ensuring consistency with his vision.
4. Enhance themes: Stage directions reinforce the play’s themes, such as social
class and identity, through details like costumes, props, and settings.
5. Showcase Shaw’s didactic approach: Shaw’s stage directions demonstrate his
didactic approach, teaching the audience about social issues, language, and
human transformation.
6. Establish pace and rhythm: Shaw’s directions control the play’s tempo, creating a
sense of urgency or calm, and guiding the audience’s emotional response.
7. Reinforce satire and irony: Shaw’s stage directions often highlight the absurdity or
hypocrisy of characters’ actions, amplifying the play’s satirical tone.
8. Create a sense of realism: Shaw’s attention to detail in stage directions aims to
create a realistic representation of life, making the play’s themes and characters
more relatable.
By carefully crafting stage directions, Shaw masterfully controls the tone, setting,
and character development, ensuring his didactic approach and satirical
commentary are effectively conveyed to the audience.
• The major themes of George Bernard Shaw’s “Pygmalion” are as follows ¹ ²:
- The Power of Language: Shaw explores the power of language to form an
individual’s identity and define social expectations.
 - Social Status: The play shows how social status dictates behavior and people
behave according to what is expected of them.
- Transformation: The transformation of Eliza is the plot of the play.
- Identity: The concept of identity goes hand in hand with transformation in the
scope of this play.
- Appearance: In this play, it becomes apparent that beauty is dependent on social
connections, as is a person’s worth.
- Manipulation: It may seem at first glance as though Higgins is the one doing the
manipulating in this play, but Eliza does a bit of manipulating in her own right.
• Henry Higgins and Colonel Pickering serve as foils to each other in “Pygmalion,”
highlighting their contrasting personalities, values, and approaches to life. Here’s a
detailed exploration with textual evidence:
1. Social Class and Background:

- Higgins: He is an unconventional and eccentric phonetics professor, highly intelligent but

lacking in social graces. He is wealthy, independent, and often arrogant in his interactions
with others.

- Pickering: In contrast, Pickering is a retired British officer, dignified, and courteous.

He comes from a traditional upper-class background, embodying the values of
gentlemanly conduct and respect for others.
Textual Evidence:
- Higgins: “I can’t waste my time on people who don’t interest me. Besides, they’re
all idiots.” (Act 1)
- Pickering: “I treat a duchess as if she were a flower girl.” (Act 2)
2. Approach to Eliza’s Transformation:
- Higgins: Higgins approaches Eliza’s transformation as an intellectual challenge
and experiment. He focuses solely on her speech and manners, often disregarding
her feelings and autonomy in the process.
- Pickering: Pickering, on the other hand, treats Eliza with kindness and empathy,
viewing her as a human being rather than a mere project. He is considerate of her
feelings and acknowledges her agency in the transformation process.
Textual Evidence:
- Higgins: “The moment I let you see how poor the think was, I repented of it. I’ve
been a martyr to it ever since.” (Act 3)
- Pickering: “She’s a fine girl. I like her. And I think you’ve treated her abominably.”
(Act 4)
3. Communication Style:
 - Higgins: Higgins communicates with bluntness and sarcasm, often using harsh
language and criticism to convey his thoughts. He prides himself on his intellectual
superiority and is dismissive of social niceties.
- Pickering: Pickering’s communication style is characterized by diplomacy and
tact. He chooses his words carefully to avoid causing offense and maintains a
respectful demeanor even in difficult situations.
Textual Evidence:

- Higgins: “She’s so deliciously low—so horribly dirty.” (Act 2)

- Pickering: “You’ve caused me to lose my temper: a thing that’s hardly ever

happened to me before.” (Act 5)
4. Attitude Towards Women:
- Higgins: Higgins demonstrates a cavalier attitude towards women, viewing them
primarily as subjects for his linguistic experiments rather than as individuals with
their own desires and aspirations.

- Pickering: Pickering displays a more respectful and chivalrous attitude towards women,
treating them with courtesy and consideration. He values their opinions and agency.

Textual Evidence:
- Higgins: “The moment I let you see how poor the thing was, I repented of it.” (Act 3)

- Pickering: “Eliza: I say, Pick, I have a treat for you.” (Act 3)

Overall, Higgins and Pickering’s contrasting characteristics and interactions serve to

highlight the complexities of class, gender, and human relationships in Shaw’s exploration
of society.

• Eliza Doolittle is one of the central characters in George Bernard Shaw’s

“Pygmalion.” Her transformation from a Cockney flower girl to a refined lady serves
as a focal point for exploring themes of social class, identity, and autonomy. Here’s
a detailed character analysis of Eliza Doolittle with textual evidence:
1. **Social Background and Circumstances**:
- Eliza is introduced as a poor flower girl selling violets in Covent Garden, London.
She speaks in a thick Cockney accent and struggles to make ends meet.
- Despite her impoverished background, Eliza possesses a strong sense of pride
and determination, refusing to accept her lot in life and aspiring for something
better.
Textual Evidence:
 - Eliza: “I ain’t pretending to be deserving. No, I’m undeserving, and I mean to go on
being undeserving.” (Act 2)
2. **Desire for Self-Improvement**:
- Eliza’s encounter with Professor Henry Higgins and Colonel Pickering ignites her
desire for self-improvement. She sees their offer to teach her proper speech and
manners as an opportunity to escape poverty and elevate her social standing.
- Despite facing numerous challenges and setbacks throughout her transformation,
Eliza remains determined to succeed and prove her worth.
Textual Evidence:

- Eliza: “I want to be a lady in a flower shop stead of sellin’ at the corner of Tottenham Court
Road. But they won’t take me unless I can talk more genteel.” (Act 1)

3. **Independence and Agency**:

- As Eliza undergoes her transformation under Higgins’ tutelage, she begins to assert
her independence and challenge his authority. She refuses to be treated as a mere
object of his experiment and demands to be recognized as a human being with
feelings and aspirations.

- Ultimately, Eliza demonstrates agency by asserting control over her own destiny and
making the decision to leave Higgins and pursue a life of her own choosing.

Textual Evidence:
- Eliza: “I’m a slave now, for all my fine clothes. ... What am I fit for? What have you
left me fit for? Where am I to go? What am I to do? What’s to become of me?” (Act 4)

- Eliza: “I can do without you: don’t think I can’t.” (Act 5)

4. **Empowerment and Self-Discovery**:

- Through her journey of transformation, Eliza undergoes a process of self-
discovery and empowerment. She learns to navigate the complexities of high
society while remaining true to herself and her roots.

- Eliza’s newfound confidence and assertiveness reflect her growth as a character,

illustrating Shaw’s themes of individual agency and the capacity for personal change.

Textual Evidence:
- Eliza: “I’ll offer it to the first poor girl we meet and take the money: we shall touch
her conscience, for she will think it is stolen.” (Act 5)
Overall, Eliza Doolittle’s character arc in “Pygmalion” is a testament to her
resilience, determination, and capacity for self-transformation. She emerges as a
complex and dynamic character who challenges societal norms and asserts her
own agency in a world dominated by men.